November 2011 Issue

FAST FORWARD

YOUTH-DRIVEN IDEAS LEAD INDUSTRY REVOLUTION FEATURING YOUNG ENTREPRENEURS PRINT VS. DIGITAL ALTERNATE REALITY

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IN THIS ISSUE

08 FROM THE EDITOR

CULTURE SHOCK

FASHION FORWARD

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Magazines Are Moving Forward Adapting to the mobile revolution

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The Last Days Of Nuclear Summer Fashion for any climate; photographed by Monika Jelinska

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Alternate Reality From fashion photographer to photojournalist?

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A Day In The Life Of An International Model And she just happens to be this writer’s big sister

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Primal Fear Fierce looks for fall; photographed by Andre Gabb

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Globe Trotter Fashions from around the world; photographed by Alvin Nguyen

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Art For Sale Artsicle brings contemporary art collecting to the common man

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Ekaterina Kukhareva Our November designer feature

BUZZWORTHY

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On The Verge Entrepreneur edition

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Glamoured Bold beauty; photographed by Remi Kozdra & Kasia Baczulis

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A Touch Of Dark Menswear...with an edge; photographed by Christopher Hench

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Spoiled The gas problem

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EDITOR-IN-CHIEF Hayley Maybury CREATIVE DIRECTOR Nicole Bechard MARKETING & TECHNICAL DIRECTOR Jamall Oluokun ADVERTISING DIRECTOR & PUBLISHER Shomari Miller FASHION EDITOR Nicole Herzog COPY EDITOR Nora E. S. Gilligan MARKET EDITOR Jessica Young WEB DEVELOPER Jason DePeaux CONTRIBUTING WRITERS Erin Berry Carley Burke Alyssa Davis Lee Hershey Anoop Singh Alicia Strusa Jessica Young

CONTRIBUTING PHOTOGRAPHERS Kasia Baczulis Emily Byrom Jannes Frubel Andre Gabb Christopher Hench Lara Jade Monika Jelinska Ines Klinger Remi Kozdra Andreas Lindback Oscar May Alvin Nguyen Arby Reed Anoop Singh

ON THE COVER

Photographed by ALVIN NGUYEN

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Hair NIKO WEDDLE Makeup CASEY GOUVEIA (CELESTINE) Styling ALVIN STILLWELL (CELESTINE) Model KAYANNA JAY (ELITE TORONTO) On Kayanna: coat by Meghan, top by Aryn K, hat by Kokin and jewelry by Anton Heunis

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FROM THE EDITOR LIFE AFTER FASHION WEEK...AND BEYOND!

CLOCKWISE FROM TOP: The Papercut team on set at our “Beneath the Shadows” editorial shoot; Hayley at Lincoln Center during Mercedes-Benz Fashion Week; Hayley and Nicole in the tent at Lincoln Center for the Emerson runway show.

Welcome to the November Issue!

With the insanity that the fall months bring to the fashion world, I find that November is a peaceful month were we get a chance to revitalize ourselves before the holiday season takes over. It seems that many times we get so caught up in our own worlds that we forget what is going on around us.

Contributing fashion photographers Anoop Singh and Andreas Lindback make us stop and remember, by sharing with us their journey to capture everyday life at the Dadaab refugee camps in Kenya.

I suggest you get cozy, cuddle up and spend some time exploring the pages of this month’s issue. Not only will you find engaging articles such as Alicia Strusa’s “A Day In The Life Of A Model,” or one of my personal favorites, “Magazines are Moving Forward:

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Adapting to the Mobile Revolution” by Alyssa Davis, but you will also find yourself getting lost in the beautiful images that we have carefully selected for you to enjoy. Emily Bryon’s editorial, featuring garments by the immensely talented knitwear designer Yekaterina Kukhareva, is sure to be a show stopper. You will love it all, I am sure of it!

Enjoy, Papercutters! xo

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MAGAZINES ARE MOVING FORWARD ADAPTING TO THE MOBILE REVOLUTION. Written by ALYSSA DAVIS Pinpoint a time when magazines ruled the fashion world. Come on, take a stab at it. Five, ten years ago? An era when we turned to Elle and Vogue for answers rather than The Sartorialist, Fashionista and Fashion Toast. It’s not as easy as it sounds. Glossies have been out of the picture for quite some time.

Between 2002 and 2008, annual sales for the industry had grown just 1.6 percent, and profit margins were shrinking. Like other struggling businesses, publishers had slashed expenditures, laying off editors and publicists and taking fewer chances on unknown writers.

Losing readers to fashion blogs that are updated weekly, if not daily, led the industry to become desperate for a solution, or more, a savior. E-readers arguably brought our beloved issues back to life—with a new spin of course.

Take note from Interview, Glamour, and Women’s Health, some of the first publications to dive headfirst into this technological pool of new knowledge, new ways of thinking and—thankfully —new strategies to keep a broken business afloat.

Pamela Maffei McCarthy, Deputy Editor of The New Yorker, Jim Meigs, Editor-in-Chief of Popular Mechanics, Dana Points, Editor-in-Chief of

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Parents and American Baby, Jason Revzon, Senior Vice President of Interactive at The Tauton Press and Sam Syed, Creative Director of the Bonnier Technology Group gathered in October at the Magazine Publishers of America’s Magazine Media Conference in New York City. Conversations centered around many challenges that occurred while extending content past tablet personal computers. The group discussed ongoing struggles, including new working relationships that had formed because of the changes, and what the tech industry has in store for them this upcoming season.

The tight bond that was held between editors, executives, writers and photographers for decades is being transformed. One of many obstacles has been the vast rift in communication between editors and coders. Meigs noted that the addition of mobile and tablet devices to their publishing lineup is changing the way stories are being developed. “You have to blow up the print model. We don’t think, ‘This is what makes a perfect print story’, we have to think like multi-platform publishers. When we assign a package, we assign elements for iPad, for the web, perhaps even for an ebook that could come at the end of a project.”

Evolving from black-and-white to color options has been another struggle. Face it, it doesn’t matter how lightweight or convenient an e-reader is if the product cannot be enjoyed to the same extreme as the original.

Without a color screen, magazines on e-readers are just a “gray, lifeless mess,” says PC Mag’s Lance Ulanoff.

For a while, the iPad, whose costly price tag competed with that of laptops, was the only option for magazines to build, and for the bulk of consumers to buy, in color. Then, low and behold, Barnes & Noble may have come to the rescue with the new version of the NOOK— which boasts a full-color LCD screen and up to 16 million shades of color. The NOOK is substantially cheaper than the iPad, offers ePub (a free and open standard that allows e-books to be read on multiple e-reader devices) and, from an eco-friendly point of view, eliminates the accumulation of paper. With all the possibilities and ideas that come to life with an interactive magazine, it can be easy to lose sight of the simplicity that made these publications successful to begin with.

Meigs describes why the video and motion approach detracts from the reading experience: “Despite all of the

interactivity, readers were still saying, ‘We love the articles, we love to read.’ Good pictures and text, great storytelling— those are at the heart of the magazine.”

With new e-readers being introduced almost monthly, what’s with all the hype around Amazon’s Kindle Fire? Maybe publishers and consumers alike want to imagine there will be something that will present a real alternative to the iPad. While programmers like to think that it is the product that is innovative, that’s not always the case. There is absolutely nothing wrong with the way the iPad performs. It is the innovation of Amazon’s business model, however, that will reign, rather than a change in product. Amazon is going to make the Fire a “media consumption” device that also acts as a portal to its online service that sells everything—think: virtual Walmart—a

gateway to a vast online department store that sells goods and services.

The other factor, that will make or break the Amazon device, is its conveniently lower price tag. McCarthy of The New Yorker admitted she had never held one, but said that the price point and early reports suggested it would be good. It seems other companies are feeling the heat of the Kindle Fire as well. The recent sale by Hewlett-Packard of its TouchPads was the pointer to this new segmentation—the company put the regularly-priced $499 tablet up for sale for 99 dollars, because it was “getting out of the business.” Research In Motion has started to test this market by discounting its BlackBerry PlayBook to as low as 200 dollars—which is about the cost of production—in selected sub-markets.

We’re living in a generation of

constant change, or from a technical perspective, constant upgrade. For decades, magazine layouts have stayed the same. Some readers believe there’s beauty and comfort in familiarity. If this is true, then are we losing these features each day to the growing mobile community? Or is it human nature to constantly search for a better, more equipped system to perfect an outlet to source these stories? Whether it is convenience in size or the newfound interactivity that has loyal readers running towards these changes, one thing remains obvious: publishers are celebrating new recognition and programmers seem intimidated for the first time. With the anticipation of the Kindle Fire, we embrace the mobile revolution (and the savior to our cherished fashion bibles!).

ALVIN NGUYEN

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WHAT HAPPENS WHEN TWO ASPIRING FASHION PHOTOGRAPHERS DROP EVERYTHING, DRIVE TO THE KENYA-SOMALI BORDER AND DOCUMENT THE LIVES OF THE PEOPLE THERE...

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ALTERNATE REALITY

ANOOP SINGH AND ANDREAS LINDBACK AND THEIR STINT AS PHOTOJOURNALISTS. Written by ANOOP SINGH Photographed by by ANOOP SINGH & ANDREAS LINDBACK Anoop Singh and Andreas Lindback are two aspiring fashion photographers who traveled into the desert of northeast Kenya in September 2011. Over the course of ten days, they documented the response to the famine in the Horn of Africa and the aid processes in place to deal with it. Here, an excerpt from their experience.

What could have possessed two aspiring fashion photographers to drop everything for a month and drive to the Kenya-Somali border, to document the lives of the people there? It’s a question I still don’t have an answer to. It is one of the most spontaneous things I have done, more so for Andreas who flew in from Sweden to accompany me. As we headed out of Nairobi into the desert, we were filled with nervous excitement—compounded by the uncertainty of a non-responsive press liaison. We didn’t even know if we would have accomodation provided. The atmosphere in Garissa town was straight out of a film: a tiny hotel, jam-packed with Land Cruisers toting huge antennae, “no guns” decals and flying their respective flags. Sweaty, officious people, having seemingly important conversations over lunch, completed the illusion. It felt like an alternate reality.

Multiple phone calls later and with the dubious advice to “just show up—I’m sure we’ll find space for you,” Andreas and I hunkered down in Garissa for the night and headed into Dadaab town in the morning. After the horrific images we had seen on television we were shocked, not by the desperation of the situation but by the apparent lack of it—a testament to the efforts of the United Nations and associated agencies like Medecins Sans Frontieres (MSF). These camps are 21 years old, and some people have lived their entire lives here. They have thriving markets and micro-economies (refugees are not allowed to enter Kenya proper), and it becomes evident to us

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as we speak to people that, far from being a last resort, the vast majority of inhabitants prefer to be in Dadaab than return to Somalia, regardless of whether the situation there improves.

It is on the outskirts of the camps that the theme of death and disease is more apparent. This is where the huge numbers of new arrivals—as many as 10,000 a week in July—flee famine and persecution, and wait to be processed. Driving into the outskirts of the IFO camp we come across a funeral by the roadside, a father burying his twelve-year-old child. All the unassuming mounds we had been seeing with dry thorn bush laid over them were graves. Ten minutes later we come across another burial. This time a baby that wouldn’t eat, discharged by the MSF doctors only a couple days earlier, her parents younger than ourselves.

While living conditions in the camp may be preferable to those in Somalia (the alternative being Al Shabaabcontrolled towns just over the border), mortality rates are still high. The predominant cause is malnutrition, with rates increasing amongst new arrivals during their first three months in camp (pre-departure mortality rates from the camp are even higher). This reality hits home as we come across a girl, unable to eat and desperately malnourished despite being in the camp for some time now, and the news that her baby sister had passed away overnight.

Driving away on our last evening in Dadaab, dark rain clouds loom in the sky, a harbinger of hope consistent with the nature of the town’s inhabitants.

Mortality stats are from the Centers for Disease Control and Prevention (CDC)/United Nations High Commission for Refugees (UNHCR), http://www.cdc.gov/mmwr/preview/mmwrhtml/mm6033a4.htm

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Suit by FOGLE BY FOGLE

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PRIMAL FEAR Photography by ANDRE GABB Hair/make-up by LIA RIVETTE Styling by TOYE ADEDIPE Model KAYTE STEINMETZ (MC2)

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THIS SPREAD AND FOLLOWING White dress with shoulder detailing by MYCHAEL KNIGHT; headpiece by ANDRE GABB

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THIS PAGE White turtle neck with pleated detail by MYCHAEL KNIGHT; Brown leather Belt with fur detail and white aline leather skirt by THE RABBIT HOLE OPPOSITE Black houndstooth coat with shouldered detailing by MYCHAEL KNIGHT; silver ring by BILL HALLMAN

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ART FOR RENT

ARTSICLE BRINGS CONTEMPORARY ART COLLECTING TO THE COMMON MAN. Written by ERIN BERRY

Stepping into a high-end contemporary art gallery can feel like being at a fivestar restaurant while you’re dressed for Wendy’s. Something about the stark white walls, the cold stares from curators and the palpable silence makes one feel like an unwelcome intruder. It seems as if the more expensive the product, the less customer service is provided.

Alexis Tryon, co-founder and Chief Executive Officer of Artsicle, felt this way when trying to purchase a piece of art from an upscale gallery and found that the curators couldn’t be bothered to take a piece out of the back for her, insisting that she come back at a better time for them.

Alexis was immediately taken aback by the lack of customer service in the gallery and decided to instead purchase a piece of art from a street vendor. But when she brought the piece home, she realized that it wasn’t quite fitting to her apartment.

Alexis wanted an art-buying experience that was both non-committal and where customer service is a top priority. Thus, Artsicle was born.

A company as non-threatening as its name, Artsicle takes the scariness and commitment out of art collecting by allowing customers to rent a chosen piece starting at a low 25 dollars a month before deciding whether to continue renting, return and swap or purchase for permanent ownership. The premise of the company is to bring the glamorous aspect of artcollecting to everyone, while supporting established and emerging artists in their careers. Participating artists are hand24

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picked by the website’s curatorial team and all pieces are on consignment from the artist, with 50 percent of the profit going directly to them. Dubbed the “Netflix of the Art World,” Artsicle allows collectors to rent a piece and swap out at the end of the month for another piece. If the collector really falls in love with a particular

“A COMPANY AS NON-THREATENING AS ITS NAME, ARTSICLE TAKES THE SCARINESS AND COMMITMENT OUT OF ART COLLECTING BY ALLOWING CUSTOMERS TO RENT A CHOSEN PIECE STARTING AT A LOW 25 DOLLARS A MONTH BEFORE DECIDING WHETHER TO CONTINUE RENTING, RETURN AND SWAP OR PURCHASE FOR PERMANENT OWNERSHIP.” artwork, they can purchase it with half of their rental fee credited towards the purchase. Not sure which type of art is right for you? No problem, Artsicle offers a unique “Taste-Quiz,” where customers are presented with a series of images that match the offered pieces to the customer’s taste. Whether your taste bounces with electricity, or you prefer the calmness of minimalism, Artsicle will provide you with the right piece to fit your style. Art collecting no longer needs to be reserved to those with mansions and yachts, because art, like music, is a luxury that all people should be able to enjoy regardless of financial status.

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GOT MILCH?

ANKE DOMASKE HAS DEVELOPED A TEXTILE COMPANY THAT MANUFACTURES MILK FIBERS. Written by LEE HERSHEY Anke Domaske, owner of the fashion line Mademoiseille Chi Chi (MCC) says, “Back when I was 19, it was so much fun starting MCC [founded in 2003]. Being creative and to work as a businesswoman was just so incredibly exciting.”

Now, as Anke launches QMilch in 2011, the same energy that drove her with MCC returns. QMilch is the branding for her textile company, as well as the name of a material made from milk fibers, which Anke has been developing. Both MCC and QMilch are based in Hanover, Germany.

Anke was only 19 at the time that she started MCC: “You never know if being a successful fashion designer will work out, and I was just starting college. I always thought I had to decide one day which direction to choose, but I managed to split between fashion and biology.” Anke graduated with her master’s degree in microbiology in 2009, and then decided to continue with fashion (she studied pattern-making and sewing from her grandmother, who was a milliner). It was around this time, that Anke started her research on the milk fiber. Her fashion and biology talents have merged to develop this innovation.

The QMilch textile is made from high concentrations of the milk protein casein. No pesticides or chemicals are involved in its creation, making it the first man-made fiber produced through a completely natural process. As Anke points out, “There are no natural products anymore,” - even wools and silks are produced with chemical substances to make them more durable. In addition to its ecological appeal (even the production process is energy and resource efficient, taking only an hour and a maximum of two liters of water),

QMilch has many health benefits. The amino acids in the milk have anti-bacterial and anti-ageing properties, and are known to help regulate both blood circulation and body temperature. Casein has been known for hundreds of years as a solution to heal wounds. QMilch production does not reduce the quality of the casein, and its ingredients remain intact with the fibers. “[With QMilch,] we are so anxious learning about so many things and experiencing what you can do with the fibers, hearing from clients about where they see the use of [the product]. This is so much fun, I can’t even tell you…and

“YOU NEVER KNOW IF BEING A SUCCESSFUL FASHION DESIGNER WILL WORK OUT, AND I WAS JUST STARTING COLLEGE. I ALWAYS THOUGHT I HAD TO DECIDE ONE DAY WHICH DIRECTION TO CHOOSE, BUT I MANAGED TO SPLIT BETWEEN FASHION AND BIOLOGY.” we don’t mind working late!”

With Anke’s background in developing MCC, she already has the professional experience to utilize with QMilch.

“With MCC, we have been through a lot of ups and downs. All that I have accomplished,” Anke describes, “I have done by myself, as I had no contacts. To sell in Tokyo, I went to the biggest department store’s information desk and asked

JANNES FRUBEL

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INES KLINGER

them to give me the number of the boss. And I received it.”

QMilch has so far received a positive reception, in the first year of its launch. “We have interest from very big companies, and seeing where I am coming from, working hard to get the recognition, it is sometimes scary that we are getting so much attention and interest, even from big firms!”

But Anke reflects, “It is an invention [with a lot of] potential, and we are strongly hoping that it will stay on the market, as there are many great ideas that never make it to the market.”

Anke’s daily operations right now concentrate on the creation of the milk fibers and QMilch branding. With regards to future plans, “We want to build up a production company next year that produces 70 kilograms [of the fiber] per hour, which would be 560 tons a year. So we are talking to our machine producers. This is a big step. I am hoping that QMilch will take part in a lot of branches and products.

We have been getting clients from textile, automobile, and medical industries.” Anke muses, “Maybe we might have production firms in other countries as well?”

MCC itself will expand to include the milk fiber offering.

Collaboration between Anke’s two companies “will lead to a complete collection made from milk.” Anke’s design collection specializes in dresses, for women of all ages, groups and sizes.

The cut is classically feminine to flatter all body types, and the dress is versatile enough to work on its own or combined with simple basics. The MCC woman is looking for clothing that will last for more than one season. She has an eye for quality pieces, for dresses that function beyond one occasion.

The MCC website describes the dress as being in “continuous service”; it can be worn as business attire, but also as a sexy after-work outfit.

So what does a dress made of milk fibers look and feel like? “The fibers feel like silk,” Anke describes, “but are cheaper to produce. It is a textile that is both wearable and ecologically safer and more efficient. In body and in mind, you can feel the comfort, whether going to a party, a board meeting, or a stroll in the park.”

INES KLINGER

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OSCAR MAY

PHOTO FIXATION

FOCUSED ON ARTISTRY AND AMBITION, LARA JADE IS A PHOTOGRAPHY PHENOM. Written by JESSICA YOUNG I am a fashion addict and fashion photography is my drug. As far back as elementary school, I would tear the latest issue of Vogue or Harper’s Bazaar out of the mailbox, lay on my bedroom floor, and jump down the rabbit hole into the otherworldly realm of a compelling editorial spread, to escape into a fashion story unfolding. Reality melted away as my mind absorbed the intricate interplay of colors, textures, emotions, starkness, boldness, softness, hardness, shock, beauty and the novel newness that combine for a captivating image. All the ones I loved and couldn’t let go of found permanent residency as haphazard bedroom wallpaper (much to my parents’ dismay), creating a collage of delicious aesthetic euphoria that I could take a hit of again and again when life became a bit bland (which was always).

Thus, my interest and awe in those who create such photographic wonder.

These days, with the advent of social media and digital technology, those who excel in photography are no longer largely just the male and middle-aged. Only 21-years-old, and beautiful to boot, Lara Jade is a prime example of the cream of the photography crop rising to the surface 30

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of a cluttered creative landscape. Expert in weaving a tale of romanticism, fantasy and darkness through imagery, Lara is internationally-acclaimed through both her commercial and editorial work for toptier brands and high-profile publications.

Although her work transforms fashion into the fantastical, there’s nothing imaginary about her success and drive.

When most teenagers are deciding between the mall or the movies, fourteen was the magical age at which Lara Jade pinpointed photography as her artistic medium of choice. “Early experimentation with art and not being able to find the ‘right media’ to express [her] artistic skill,” she discovered that she could be creative through photography. The rest is history. Without the need for models, she began with self-portraiture to hone her skills in fine-art photography. Three years later, living in the small English town of West Midlands, and devoid of creatives she could connect with, digitally savvy Lara initially harnessed the power of the Internet to garner constructive criticism from the creative community. Utilizing DeviantART, Flickr and Myspace, she showcased her portfolios to the world

with the intentions of receiving feedback for improvement. Instead, she became a poster-child of how talent can be cherry-picked via the accessibility of the Internet. Through these sites, models, dancers and actors began booking Lara to shoot their portfolios, which beautifully bolstered her own. The jump from hobby to job was cleared, and Lara Jade Photography was born.

Although it sounds fateful and a bit convenient that one’s passionate career would unfold so smoothly, Lara does not coast on early successes, nor does she take them for granted.

Represented by agencies in New York, London and Milan, Lara insists that it’s easy to expect agents to do all the legwork to keep a career moving, but that it’s really up to the individual to market their business for growth. She constantly engages in personal projects, networking, and channeling social media to build buzz about her business.

Handling a busy work life of commercial and editorial work, jetting from city to city and constantly catering to clients needs can drain an artist of energy and inspiration. Forgoing the easy solution of rest and relaxation to recharge

creative juices, Lara instead is “always self-investing in new projects and new material for the portfolio purely because [she loves] doing it and not because of monetary gain.” This includes selffunded travel around the world for exposure to new environments and new ideas to later turn into creative concepts that come alive photographically. When not traveling, Lara calls New York home base. And while she appreciates the city’s busy, fast-paced lifestyle, Lara maintains that “the only solution to keep being inspired [is] to keep setting yourself new challenges.” Spoken like a true citizen of the workaholic Mecca.

Being a New York transplant as well, it wasn’t until I fully immersed myself in the city, bursting at its creative seams, to realize that I truly am a creative at heart. Unlike Lara, whose artistic abilities were nurtured from an early age, I came from a background where academics ruled and art drooled.

Inklings of my inclinations are painfully obvious now looking back at how Alexander McQueen’s paint-splashed Shalom Harlow from his Spring/ Summer 1999 show kept watch over my childhood bed. My voracious appetite for

the abstract and avant-garde still fuels my fashion obsession, although now I’m tumbling fashion photos rather than decorating the apartment (minus plans for a wall-sized mood board!).

Writing about Lara’s career, it’s obvious that much of her evolving talent and business growth is due to her ambitious attitude and self-sufficiency.

Coming full-circle in her success, Lara genuinely is interested in sharing her skills with those who can call her a mentor. She offers fashion photography workshops worldwide, including in New York, London, Toronto and Hawaii, where photographers of all skill-levels can improve techniques while building their portfolios with her guidance and creative team. Still feel like an amateur? Lara is also penning a new book, Fashion Photography 101, due out in 2012. Busy girl! Beyond the stellar shots, all her initiative has me inspired.

Finally coming to terms with earlier creative repression, I am resolved to quit vicariously getting high on other’s visual genius and hope to eventually get lost in my own. Any space left in a NY workshop? Perhaps one day I will be tumbling my own photos.

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CLOTHES HORSE REVOLUTIONIZING THE WAY CUSTOMERS SHOP ONLINE. Interview by ERIN BERRY Although I am usually wary about buying anything online, it is nice to click a mouse, order something, and have it delivered all without leaving my home. However, occasionally what turns up at the door is not exactly what’s expected. Anyone who indulges in the convenience of online shopping knows that it’s especially risky when it comes to clothes. Without access to a fitting room, it can be difficult to determine what size is right since one brand’s small may be another brand’s medium. Clothes Horse, an online clothing retailer, aspires to revolutionize the way customers shop online by aligning the online experience as close as possible to the in-store experience without the hassle of actually having to go anywhere. The basic premise of the service is to use a system based on accurate data to create a customized style and fit to each individual.

Clothes Horse uses a unique memory system based on the buying patterns of customers to determine and then curate a selection of clothes that best suit each person.

Understanding that size is one of the biggest issues with online shopping, Vik Venkatraman with co-founders Dave Whittemore and Will Charczuk developed a technology that automatically personalizes size to each customer helping people find exactly what they want in their correct size across

“IMAGINE HOW MUCH BETTER YOUR SHOPPING EXPERIENCE WOULD BE IF THE INTERNET FLEXED ITSELF AROUND YOU, YOUR PREFERENCES, YOUR HISTORY, AND EVERYTHING YOU LOVED. IT WOULD BE A FUNDAMENTALLY DIFFERENT EXPERIENCE. AND THAT’S WHAT WE’RE BUILDING.” different brands—thus, reducing the risk of online clothes shopping while increasing the ease of making a purchase decision. The service is also available as a mobile app which enables the customer to bring their customized size directly into a bricks & mortar store.

“Imagine how much better your shopping experience would be if the Internet flexed itself around you, your preferences, your history, and everything you loved. It would be a fundamentally different experience. And that’s what we’re building.”

Although the experience of physically trying on clothes in a bricks & mortar store cannot be exactly replicated online, Clothes Horse aims to make their service comparable to shopping in the three-dimensional world if not better. Through this customized system for accurately determining one’s size and hopefully (in the future) preferences, shopping online will be exceedingly more efficient than just clicking quick. By only shopping the best-suited selection of products to oneself, gone will be the days of disappointment at the door!

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GLAMOURED Photography by REMI KOZDRA & KASIA BACZULIS Hair by ALINA DEBOWSKA Make-up by KINGA SZEWCZYK Model KAMILA (MODEL PLUS) 34

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OPPOSITE Jewelry by ANNA DUNIN; dress by ALEKSANDRA KUCHARCZYK THIS PAGE Jewelry by ANNA DUNIN

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THIS PAGE Jewelry by ANNA DUNIN; dress by JOANNA BIELENICA OPPOSITE Jewelry by ANNA DUNIN; dress by MAGDALENA KOBZA

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OPPOSITE Jewelry by ANNA DUNIN; dress by ALEKSANDRA KUCHARCZYK THIS PAGE Jewelry by ANNA DUNIN; dress by JOANNA BIELENICA

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A TOUCH OF DARK Photography by CHRISTOPHER HENCH Photo assistants CHRIS NEW & ELLIOT ROSS Digital tech CODY LANDSTROM Hair/make-up by CHARLES EDWARD Styling by LSC STYLING FOR 4SEASON STYLE MANAGEMENT Assistant stylist NINOSKA ETIENNE Model ZACH & FELIX (RED MODELS NYC)

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Jacket and pants by ROCHAMBEAU; necklaces by MORDEKAI and BEN AMUN; earrings by CRUX; cuff by 41 J. COTTONGIM

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OPPOSITE Jacket by LIZ DUNHAM, necklaces

by LAUREN WOLF and stylist’s own; cuff by MORDEKAI; epaulettes by LAURELUXE, ring by CHRIS HABANA; boots by ANDREW BUCKLER THIS PAGE Jacket by ANDREW BUCKLER; sweater by LARS ANDERSSON; pants

by N.I.C.E. COLLECTIVE; scarf by FACTORY BY ERIK HART; necklaces by MIXOLOGY NYC; cuff by MORDEKAI; cuff by MARIA FRANCESCA PEPE; boots by INC

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THIS PAGE Jacket by TWEEN; pants by ANDREW BUCKLER; scarf by KATYA LEONOVICH; necklace

by JOOMI LIM; ring by CHRIS HABANA; brooch by BEN AMUN; shoes by CESARE PACIOTTI OPPOSITE Jacket by LIZ DUNHAM; shirt by BOBLIOLI; pants by 5TH AVE SHOE REPAIR; helmet by JAC LANGHEIM; hood by LAURELUXE; necklace

by BEN AMUN; boots by ANDREW BUCKLER; bow tie is stylist’s own

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THIS PAGE (Left) wears jacket by RIVIERA CLUB; sweater by ANDREW BUCKLER; pants by GENERAL IDEA; necklace by MORDEKAI; cuff by BEN AMUN (Right) wears shirt by JOSE DURAN; pants by ROCHAMBEAU; necklace by MARIA FRANCESCA PEPE; ring by CHRIS HABANA; boots by CAMPER OPPOSITE AND FOLLOWING Jacket by GENERAL IDEA; sweater by BOGLIOLI; pants by JANET ZHENG; choker and ring by CHRIS HABANA

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SPOILED: THE GAS PROBLEM

RECOGNIZING THE INNATE, SYSTEMIC AND LONG-TERM INSTABILITY OF THE GLOBAL OIL MARKETS IS THE FIRST STEP IN ADDRESSING THE PROBLEM WE ARE FACING AS A NATION. Written by ALICIA STRUSA “Even if gas prices fall, consumers will continue to be gouged at the pump. The only thing that we can be sure rises faster than the price of gasoline is the skyrocketing profits of oil companies.” —R. Owens

Our country’s dependence on gasoline, oil, coal and natural gas must end.

Not only is it damaging our health and gravely threatening our planet’s future but our dependence on foreign oil is also entrapping us in costly military adventures, and contributing to our massive trade deficit. High oil prices are sustaining autocracies in Iran, Saudi Arabia, Russia, Venezuela and other countries in the world.

The United States generates over one-quarter of the world’s carbon dioxide emissions, and must take the lead in solving this problem for our future generations and those of other nations. We need an energy policy that efficiently taxes the use of dirty energy and uses the proceeds to subsidize clean alternatives. Clean energy must be sustainable over the long term.

The development of hydropower, wind, solar, wave, bio-fuels, electricity, geothermal, biomass and other clean or cleaner energy alternatives must be everyone’s goal. This is an issue on which all Americans can agree. While there are positives to using oil, we can no longer rely on it as a source. It is not renewable and we are running out of it fast. This will have an extreme impact on our economy, how we live our lives on a daily basis and our planet as a whole.

Although much of the world depends on the production or the trade of oil to fuel its economies, these activities can cause severe damage to the environment, either knowingly or unintentionally. Oil production and transportation can disrupt the human population, and the animal and fish life of a region. Oil waste dumping, production pollution and spills wreak havoc on the surrounding wildlife and habitat. Oil threatens the extinction of several plants, and has already harmed 50

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many land, air, and sea animal and plant species.

The exploration for oil has created numerous environmental problems of all types in the Amazon region.

The Amazon basin in Ecuador has the greatest number of plant species of any South American country. The Sierra highlands have been almost completely deforested. Also, the Orient is a species-rich jungle with numerous mammals in danger of extinction. Oil that was placed on roads to cut dust has flowed into rivers. Oil waste in the past was placed in holes in the ground that contaminated the forests and surrounding waters. Ecuadorian officials estimate that ruptures to the major pipeline alone have discharged more than 16.8 million gallons of oil into the Amazon over the past eighteen years (compared to the 10.8 milliongallon Exxon Valdez spill).

During Iraq’s control of Kuwait in the Persian Gulf War, the Iraqi government deliberately set many of the Kuwaiti oil fields on fire. Although international cooperation eventually put an end to the crisis, more than 250 million gallons of oil flowed into the Persian Gulf and many species of animals died as a result of exposure to the oil or from the polluted air.

This could be an example of conflict in the future; countries may damage the natural resources of others rather than attempting to defeat the country militarily.

One proposed method of reducing the amount of oil production worldwide is the imposition of an oil tax. A tax would increase the price of oil, and it has been predicted that this would reduce the global demand for oil by about 2.6 million barrels per day.

Although this plan is designed to reduce the amount of gas emissions, it could also be useful in reducing the amount of environmental damage that comes from oil production.

However, it could be argued that a tax that discriminates against oil is not only unfair to oil producing

countries, but also is unlikely to be efficient for reducing gas emissions and oil production. One reason for the inefficiency is that a probable energy substitute is coal, which is even more environmentally damaging.

The problem is nothing new and many documentaries have emphasized the impact oil has on us. In The Party’s Over: Oil, War And The Fate Of Industrial Societies, by Richard Heinberg, experts discuss the fact that so much can be done to stop these harmful effects, such as using alternative fuel sources.

However, many major oil companies and surprisingly many people aren’t excited about going green.

“Companies will lose money if we stop using oil for everyday needs,” said Heinberg in a 2001 interview in TIME magazine, about his film. “People don’t want to take the time to research about ‘green’ cars that will save the planet, it’s time consuming work to them and sadly they’re not interested.”

Today, oil prices are higher than ever and increasing. The planet is rapidly running out of this ‘black gold’ and we know it. So why has nothing been done?

And what’s been taking us so long?

A study done on a school bus showed that children were breathing in the toxic fumes from gasoline stronger inside the bus than outside it. Some school buses in Las Vegas have made the switch from gasoline to bio-diesel in the form of used cooking oil. The children breathe in a corn-smelling air that is non-toxic and safe for the environment. Buses in other school districts would benefit from making this change as well.

There are claims of technology invented in the 1950s that could have revolutionized modern cars and reduced our dependency on oil. There is evidence of patents of technology being bought up and then vanishing, even mysterious deaths and threats against those trying to make vehicles more efficient. Like a bully on a playground, the oil industry continues to harass

hardworking people, crushing dreams of inventors and stealing money to feed into their own greed.

The time has come to find and use alternative fuels to replace our need for oil. Some say solar power is the best while others turn to bio-fuel. Biodiesel is the name of a clean-burning alternative fuel produced from domestic, renewable resources. It doesn’t contain petroleum, but it can be blended at any level with petroleum diesel to create a bio-diesel blend.

Bio-diesel contains virtually no sulfur or aromatics, and use of the fuel in a conventional diesel engine results in substantial reduction of unburned hydrocarbons. A U.S. Department of Energy study showed that the production and use of bio-diesel, compared to petroleum diesel, resulted in a 78.5 percent reduction in carbon dioxide emissions. For every unit of energy needed to produce a gallon of bio-diesel, at least 4.5 units of energy are gained.

It is better than spending money at the gas pump, knowing you are paying more than it costs to actually make the gasoline going into your car.

Caught up in wars to protect our oil supply, faced with high-energy costs and confronted by a massive trade

imbalance, reducing our dependency on foreign oil would help stimulate the economy. The war in Iraq has already cost this nation trillions of dollars and over 5,000 lives. That is money that could be spent on improving infrastructure or simply saved to reduce our debt!

“TODAY, OIL PRICES ARE HIGHER THAN EVER AND INCREASING. THE PLANET IS RAPIDLY RUNNING OUT OF THIS ‘BLACK GOLD’ AND WE KNOW IT. SO WHY HAS NOTHING BEEN DONE? AND WHAT’S BEEN TAKING US SO LONG?” While it’s no easy task, the same nation that put a man on the moon can surely accomplish this necessary task, that will spur innovation, create jobs and reduce our trade deficit. Energy created in this nation would keep money at home, keep people employed and keep our military out of foreign resource wars.

One of the most important avenues for dealing with the oil shortage is through conservation. Another is developing substitute and alternative

fuels, such as ethanol, methanol and gas-to-liquid. Higher oil prices are likely to come of new engine and car designs that will work more efficiently and/or run on different fuels. Plugin hybrids and other technological breakthroughs may eventually wean the world from the internal combustion of engine and oil dependence. However, these kinds of technological and structural transformations are, like many things, likely to take longer than many expect, are certain to require massive investments and are beyond the scope of any article or story.

We must find alternative sources of fuel, like solar power and bio-diesel, because it is inevitable that the world will eventually run out of oil. We need to encourage new ideas and innovations for the future to save our planet from the harm we have done to it, and will continue to do to it, if a change does not happen soon. More research needs to be done in order to find more alternative fuels before we run dry of oil for good.

The dependence of the U.S. and the global economy on oil is growing, which has dire consequences for the economic well-being of the country.

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THE LAST DAY OF NUCLEAR SUMMER Photography by MONIKA JELINSKA Make-up by MIKA LATALSKA Styling by DAG Model AGATA (REBELMODELS) All wardrobe designed by DOMI GRZYBEK

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A DAY IN THE LIFE OF AN INTERNATIONAL MODEL DID I MENTION SHE’S ALSO MY BIG SISTER? Written by ALICIA STRUSA “I never really had the dream of being a model at first,” Michelle tells me in an interview. She’s bright, bubbly and sophisticated. She glows with passion and excitement for life. She’s studious, successful and, on top of that, she’s uniquely gorgeous. Not only is she my older sister, she’s my best friend and I look up to her.

Originally from Nashua, New Hampshire, Michelle Strusa was discovered at a mall in Rhode Island about seven years ago, at the age of seventeen, by the Rhode Island Modeling Agency. From there, she went to auditions for the first time. She participated in a talent competition in Orlando, Florida with modeling agencies all over the world.

“I saw how passionate models, actors, dancers and singers were about getting noticed,” said Strusa. “It was then that I realized how passionate I was about modeling.”

Strusa modeled part time locally, but always dreamed of someday working for the Asian market. So she took advantage of opportunities through her agency and packed her bags for the beautiful country of Thailand.

“I felt as though I would have [the] potential to do well [there] because I am half Thai,” said Strusa. “I learned that ‘mixed-cultured’ models did well in Asia.”

In Thailand, Strusa stayed at an international home with other models and aspiring actresses. As a full time model in Bangkok, the work varied. Castings and jobs ranged from editorial commercial prints to walking the runway.

“I had been in a couple of commercials, done some catalogues and magazines, billboard ads and fashion shows. I had a taste of all different kinds of modeling which was a great experience.”

Compared to the modeling industry in the States, casting calls are much quicker in Thailand. The make-up artist and hair stylist doll the models up, even if it’s just for an audition. This helps them to truly visualize how the model will look if selected for the job.

(ABOVE L-R) Strusa models for a Bangkok Bank ATM ad campaign; on a billboard for Sweet Musk UV Lotion.

Abroad, each day was long, and sometimes jobs required travel to another city or even country. The photo shoot would start early in the morning, with Strusa showing up to the set with a clean, fresh face ready for the makeup artists to work their magic. While getting ready, a photographer would set up his or her camera equipment.

Then the designer picked out what specific outfits from his or her collection Strusa would wear.

“Depending on what the casting was for, I could be working for a whole day straight or only for a couple of hours,” Strusa recalls. “As a model you have to know that work is what is expected of you. One time I did a shoot for a magazine and it featured one look, so the shoot was very quick. Other times my days would be taken up by photo shoots and commercials.”

A typical day can be exhausting for a model—especially for a model traveling and working in a different country—and a lot of hard work goes into preparing for a shoot. Many people don’t realize that it takes more than just a pretty face and a couple of glamorous outfits to be a model. It takes hard work and a whole lot of talent in front of the camera. To evoke an emotion or feeling from someone when they look at the photo is the goal. Unfortunately, modeling is more often than not shown in the media in a negative light. How can a model (or an aspiring model) break free from the pre-conceived notion that the industry is made up of a bunch of shallow,

beautiful people with eating disorders?

Strusa is one of those unique beauties that uses her talents to do more than just look pretty in front of a camera.

She works hard. She inspires.

“I think it’s sad that models are portrayed negatively,” said Strusa. “It doesn’t send a good message to young girls. I think healthy equals beautiful.

Kind and positive attitudes are beautiful. It starts with inner beauty first and from there it will shine from the inside out. You can be thin, but there is a healthy way to go about it.”

Strusa understands the ins and outs of the modeling industry. She knows how to stand out with not only her look, but with her humble and sweet personality.

“Don’t give up if it’s something you really have a passion for, not just with modeling but with anything in life. And never take rejection personally, just learn from it and move on.”

Michelle Strusa is an example, in more ways than one, that anything is possible. She opened a lot of doors for herself by showing a strong will to succeed. She is still currently modeling and plans to return to Thailand again as well as travel to other countries.

“Just be yourself and always have a positive attitude. That’s going to get you far.”

Anyone can be pretty, but true beauty is having passion for what you do.

And that will shine from the inside out.

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Coat by Prada; dress by ARYN K; shoes by Sergio Rossi; ring by VIRGIN, SAINTS AND ANGELS (Hitchcock Madrona); earrings by MARIA CARTER (Hitchcock Madrona)

GLOBE TROTTER

THE LATEST FASHIONS FROM DESIGNERS AROUND THE WORLD Photography by ALVIN NGUYEN Hair by NIKO WEDDLE Make-up by CASEY GOUVEIA (CELESTINE) Styling by ALVIN STILLWELL (CELESTINE) Model KAYANNA JAY (ELITE TORONTO)

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THIS PAGE AND OPPOSITE Jacket and skirt by LIE SANG BONG; ring by L’AGE D’OR BY ERIC SAETER; shoes by Jeffrey Campbell

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THIS PAGE AND OPPOSITE Jacket and skirt by PINK TARTAN; shirt by AMBER SAKAI; cuff by PAMELA LOVE (Hitchcock Madrona); bracelets by LEE ANGEL

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PREVIOUS Scarf (worn as turban) by THREADS OF LIFE: INDONESIA; jacket by PINK TARTAN THIS PAGE Jacket by MEGHAN; shirt by ARYN K; shorts by Paul and Joe Sister; shoes by Brian Atwood

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THIS PAGE AND OPPOSITE Jacket by CONSPICUOUS; pants by BROSE; necklace by HITCHCOCK JEWELRY; ring by L’AGE D’OR BY ERIC SAETER; shoes by YSL

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EKATERINA KUKHAREVA OUR NOVEMBER DESIGNER FEATURE. Interview by CARLEY BURKE Photographed by EMILY BYROM How can I best describe Ekaterina Kukhareva collections?

In one word, magnificent! All four collections since Spring/ Summer 2010 scream, “This is a woman’s world.”

Each season has its own inspiration behind it, usually a powerful iconic woman from our history, or a fabulous historical building, with lots of amazing architecture and paintings.

Ekaterina collections are all created with knitwear, which sets her apart from many other designers. With her background in textiles, fabrics come first then the garments follow. All of which are very feminine and flattering for any woman’s figure, as they flow and fit the body perfectly.

I was looking forward to finding out what would be the next step for Ekaterina, as well as the background inspiration of her previous four collections.

What was it that first enticed you to the fashion industry?

I guess I’ve always been interested in clothes, their textures and color. I used to draw women dressed in different gowns since I was very young, about eight or nine years old (that is what I can remember). But I never thought of actually going to study fashion back then. Even when I grew older, I thought I would be doing business or economics for my major. But [in] the end, Central Saint Martin’s was my only choice on the UCAS [British Universities and Colleges Admissions Service] application form, and I was very happy when I got accepted.

Tell me what interested you about creating your collections with knitted fabric.

I have always concentrated on fabrics first, as I am a textile graduate and this is how we were taught in college. I create

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fabrics before I put them into garments. With knitting there are so many possibilities. You can create even your own yarn. I work on different textures, experimenting with yarn, then embellishing the fabrics, and only afterwards [do] I think of how they would sit on the garment and about their placement. That is how my process of working goes.

Of course I do sketches beforehand, but they always tend to change when I start working with fabrics and placing them on a body.

Do you have a favorite knitting technique? One that you feel creates a special pattern or gives an outfit a special touch?

I really like lace techniques. I know that they are considered old-fashioned, but it is easy to make [lace] modern and wearable for this day and age! The fabric is light-weight, and you can have so many different varieties of lace that everyone can find a favorite one.

Sarah Harding from Girls Aloud wore a beautiful dress in the News of the World Sunday supplement Magazine Fabulous.

What was your inspiration behind this wonderful creation?

Yes she did. And I couldn’t believe my eyes! Because I didn’t know she would be wearing it, until I saw her in a newspaper.

It looked really good on her! The inspiration behind this dress came from the lines of St. Basil’s Cathedral in Moscow.

If you look carefully you will see the lines resembling its beautiful domes, and the colors come from Russian Tsars attire, thus the whole collection was given a name “Russian Tsaritsa” (i.e. Queen).

How did you feel seeing a celebrity in one of your designs? What other celebrity would you like to dress and why? Where would they be wearing the garment?

It is very rewarding to see someone wearing my dress, be it a celebrity or any woman. I try to make my dresses as flattering and as beautiful [as possible] so that women can wear [them] to either parties or special occasions, and some dresses for everyday or evening. The celebrities that I would love to dress would be Beyonce, Jennifer Lopez and Adele, to name a few.

How would you describe your daily working life?

Mornings are spent in the studio doing research and sampling knitting or yarn sources. Evenings I spend in search of inspiration, thinking of the next step.

Which historic Queen will be your next inspiration?

It is a secret, but I will give you a hint—she is from North Africa as well.

What can we expect from your next collection?

A lot of knitwear, handwork embellishments and rich, demure fabrics.

What would you like to achieve within the next five years?

I would like to keep doing what I love and to be able to continue in the future. I would also love to collaborate with either jewelry or shoe designers to create a line of knitted accessories. I would obviously love for my business to grow and to open a few of my own boutiques, and to be able to sell in other renowned retailers. This would be a dream come true!

I cannot wait to see Ekaterina’s next collection and to find out which North African Queen will be her next inspiration. This is definitely a designer to watch; no doubt she will create more beautiful collections along with a line of knitted accessories.

To find out more about Ekaterina Kukhareva’s work visit her website: http://www.kukhareva.com/.

I know a lot of your inspiration comes from your Russian roots and world history. You are particularly inspired by iconic women, such as Cleopatra. What inspired you about Cleopatra and how did you interpret her essence in your collections?

Yes that is true. What inspired me most about Cleopatra is the fact that everyone sees her differently. As time passes by, every generation sees her as a certain character, but still powerful, sometimes soft and of course very seductive and sexy. I looked at the movies made about Cleopatra and the actresses that played her, and then tried to create my own Cleopatra [as] I would see her. I guess this is the same job that the costume designers did for those movies.When I work on each collection I always imagine myself as a woman who would wear [the pieces] or a character that I would like to see in my clothes.

Are there any designers you would like to work with one day?

If so, why?

Obviously, being a knitwear designer, it would be Missoni. I love their work, their spirit and [their attachment] to family roots. Keeping the collection fresh and modern each season is hard work! I would love to collaborate with them one day.

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EDITORIAL CREDITS: photography by Emily Byrom at Gottshot Photography; hair by Magdalena Tucholska; make-up by Hila Karmand; styling by Nicole Herzog; model is Jade Mezard (Elite London)

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