ROCKET, Fall 2011 by ROCKET Magazine

TABLE OF CONTENTS

FEATURES 04 From the Editor TEXT, FASHION 05 Fall Reports Hitchcock Heroines, Sheer Fabrics, and Polkadots 06 Haute Stuff 2011â&#x20AC;&#x2122;s fall couture is nothing but fantastical 08 Dior : A Case Study Dior flounders without its dismissed creative director 10 Spring 2013 The 1960s, the deep sea, pastel hues, and more 12 Gucci: 90 Years A brief review of an Italian icon

EDITORIALS 14 Supernova Let there be light 20 Graveyard Girls Occult encounters 28 Youth Knows No Pain Angst and innocence 40 The Hunter and the Hunted Artemisian tension awaits

ROCKET Editor-in-Chief Justin Miller Art Director Selden Koolman Photo Chief Evrett Paist Features Editor Eden Stuart Booking Editor Tara Oladimeji Beauty Editors Francesca Rizzo Elizabeth Ostick Text Morgan Fletcher, Kathryn Lawerence, Lauren Jones, Elise Rivera, Grace Martini, Katie Sharp, Michelle Repper, Tess DeAtley Photography Alex Smith, Zach Hughes, Ashley Napier, Pocket Sun, Katie Herzfeld, Gianna BaigĂŠs Parilla Design John Maza, Kathryn Lawerence, Elizabeth Kerver Beauty Georgia Hazell, Jenny Horowitz, Julia Brady, Kim Boyce, Kim Miller, Zoe Altholz, Chloe Jefferson Modeling Director Valerie Santiago

FROM THE EDITOR

antasy has always been an inspiration for art. As alluring as it is mysterious, the attraction to the unnatural gives birth to a heightened aesthetic that

creates yearning and disdain. One either embraces or rejects enchantment. This issue Rocket meditates on that tension. We sought fantasy from within, cultivating and exposing the rudimentary and natural veins at the crux of the individual. Drawing influence from raw emotion, our musings dwell on serenity, sorrow, detachment, angst, and pain to present visceral and stimulating compositions. The vast cosmos inspired us first, and ‘Supernova’ bursts with shimmering, lighthearted wonder. ‘Graveyard Girls’ falls into the profane, and serves as our cryptic and nearly taboo rendition of the occult. ‘Youth Knows No Pain’ creates a bleak, purgatorial setting and captures the tension of complacency and sorrow. Lastly, and nearly cinematically, ‘The Hunter and the Hunter’ tells the story of how ferocity stalked, and conquered, elegance. The issue isn’t entirely gloomy. Our reports predict the spring to flourish as exotically as the last. And if the Mayans’ apocalyptic prophecy proves wrong, then we’ll shine brightly into the New Year. If not, well, fantastical indeed.

by Lauren Jones Kathryn Lawrence Elise Rivera

Photos: Elle.com

HA UT E_S TU FF 06

by Eden Stuart

aking cues from suiting and drapery, Anne-Valerie Hash’s tenth couture collection was a far cry from the fantastical, showier pieces of many of her contemporaries. In shades of black, white, and neutrals, Hash’s ten looks exhibited an often unseen practical angle of haute couture… perhaps at the expense of entertainment value. Like Hash, Alexis Mabille lacks the brand recognition that many of his fellow couturiers carry, but has cultivated an impressive and well regarded reputation within the fashion community. His latest collection, focused more on evening wear than past outings, was centered around all things animal. The feathers flew, prints fell to the floor in the form

of column gowns with trains, and fur accents came in the form of sleeves and foxtails. Though there were certainly more than a few out of place elements- bright tights felt too jovial when compared to the rest of the collection, and trio of skin tight black dresses appeared as though they would be more at home on the streets of London than on the Serengeti- the frocks will undoubtedly prove to be a hit amongst risk taking fashionistas. Master couturier Azzedine Alaia also took to the jungle, but while Mabille chose to release his inner animal, Alaia chose to tame his own. Crocodile skin took on structured, boxy silhouettes in the form of suit separates, and feathers abounded: be it on crocodile and velvet minidresses, or consuming coats top: a fantastical Dior creation, fall 2011; reverse: left, Alexis Mabille ruffles feathers; right, a twist of a Chanel classic. Photos: fashionbangs.com, Elle.com

in shades of gray and green. Meanwhile, red carpet fave Elie Saab steered clear of the season’s dominant themes- leather, fur, and animal prints- in favor of sheer, ethereal gowns featuring his trademark beading. The fabrics were light and romantic; the colors, as the collection progressed, grew from soft shades of beige and blue to creamy mochas, culminating in rich browns and blues conjuring images of fairy tales more Grimm than Disney. Over at Chanel, Karl Lagerfeld drew inspiration from the fantastical as well. But while Saab took on the fairy tales, the house that Coco built offered a take on Fritz Lang’s silent classic Metropolis in the form

of metallic fabrics, glossy beads, and angular cuts. The futuristic touch added a much needed dose of freshness to the Lagerfeld for Chanel standbys of ladylike suits and drop waist dresses. Giorgio Armani, also on the 1920’s vibe, took his collection to the Far East. Cherry blossom prints and obi-esque belts accented sharply tailored suits and streamlined sheath dresses, resulting in one of the designers strongest couture collections to date. Paired with iridescent fabrics and lush velvet blazers, the looks were nothing short of a brilliant combination of the new and old east with the styles of the lost generation. Maria Grazia Chiuri and Pier Paolo Piccoli at Val-

entino released, yet again, a collection that could only be described as “Mormon prostitute chic.” The duo still seems keen on the concept of sexing up dowdy silhouettes by using sheer fabrics; a concept that has yet to be successful. Ricardo Tisci wowed once again at Givenchy with architectural origami folds and sheer lace on sexy white gowns, and Bill Gaytten, given the unfortunate task of spearheading Dior Couture between the departure of John Galliano and the installation of a new creative director, sent looks down the catwalk that would soon be seen on the back of the likes of Katy Perry… which, really, says more than any review ever could.

DIOR: by Kathryn Lawrence

he 2013 spring collections have come and gone in fashion capitals around the globe, and most of the collections were neither very good, nor notably bad, and instead fell somewhere between. They weren’t unwearable, but at times, uncreative; not hard to look at, but pretty hard to get excited about. Dior didn’t place among its critically acclaimed brethren in the LMVH group, but gently, and firmly, among the middling, so-so brands. Alexandra Golovanoff, a French TV host, compared the brand’s collection to “waiting music.” Sarah Mower of Vogue called it “idling.” Mainly a safe rehash of Dior standbys—the Bar Jacket, little cocktail dresses in soft colors and feminine shapes—the show wasn’t awful, it just wasn’t very interesting. It was quite a change from the jaunty, sailorinspired pieces of Dior’s spring/summer 2011 collection. Since Galliano’s official dismissal from Dior after his arrest in a café in the Marais district of Paris for assault and making antiSemitic remarks, the brand is flattening. The fall 2011 collection, which walked

A CASE STUDY

only days after Galliano’s dismissal, seemed mainly focused on Galliano’s original designs, a collection exhibiting the label’s entire design aesthetic. This show, as well as the haute couture and spring 2012 collection, was handled by Bill Gaytten, who serves as the temporary creative director. Gaytten’s lackluster spring collection was no surprise—Dior, at this point, is just trying to kill time until an official successor is named. It’s a tall order, and raises an interesting question: what would a designer gain from Dior, given the amount of pressure and scrutiny the position entails? And, perhaps even more importantly: what would this new successor lose? Let’s examine the case of designer Marc Jacobs, who, like Galliano, is very much as famous for his antics as for his achievements. In 1986, Jacobs launched his still-active eponymous label; the following year he became the youngest designer to be awarded the CFDA’s Perry Ellis Award for New Fashion talent. A decade later, Jacobs was appointed creative director of Louis Vuitton and launched its first RTW collection, transforming the brand that

made your grandpa’s smelly leather luggage into a global symbol of wealth and style. He is a respected, talented, and successful designer. Well, sort of. It depends on whom you ask. Critically, there isn’t much to say against Jacobs. His shows have vision and impact. They are “the major, pivotal, prophetic moment of the season,” says Andre Leon Talley, Vogue’s editor-at-large. But in terms of commercial popularity, well, Jacobs just isn’t cool. Back in June, The New York Times printed ‘The Survivor,’ which presents the “uncool” and “commercial” criticisms aimed mainly at Jacobs’s personal and diffusion brands, but the same sorts of complaints are made about Louis Vuitton. Jacobs didn’t just make Vuitton popular, he made it too popular. If it’s not as exclusive, it’s not as desirable. Perhaps a better parallel to the situation at Dior, however, is Sarah Burton’s appointment as creative director of Alexander McQueen in May 2010 after the designer’s suicide in February 2010. Unlike Jacobs, Burton has no line of her own, and has worked exclusively at McQueen her entire career, starting as an intern with the brand during her last year at Central St. Martins design school. The main protest made against Burton’s appointment at McQueen, however, was not that she wouldn’t honor the designer’s vision and legacy, but that she would lose herself as a designer, forever typecasting herself as McQueen, Version 2.0. And unfortunately, this seems to be the case. Any review you read of Burton’s first collection at McQueen inevitability references Burton’s faithfulness to the McQueen spirit. Both Jacobs and Burton are old news at this point, however. They are both examples of designers who found success in their positions as creative directors of other people’s brands. The real mystery, however, rests in who will uphold Galliano’s success with Dior.

reverse: a portrait of Galliano; top: one of Galliano’s last designs, fall 2011; bottom: Gaytton’s spring 2012 designs proved less exciting than Galliano’s. Photos: Elle.com, Thegloss.com

LOOKING AHEAD: S/S 2012

reviews of spring and summer 2012 Ready-to-Wear proved nothing short of a return to unparalleled femininity and flawless tailoring. From Milan to Paris to New York, designers explored a plethora of lace textures, asymmetrical hemlines and printed motifs. Designers largely focused on separates—the skirt is here to stay. There is simply no mystery why the French are eternally chic; spring RTW shows in Paris deviated little from the riveting haute couture. At Alexander McQueen, Sarah Burton’s models were creatures of the sea in brilliant scalloping, lace and pleating. Among the collection’s highlights were the brilliant coral dress and intricate lace headpieces. In another mesmerizing Paris show, Karl Lagerfeld’s Chanel also evoked the deep sea theme. Lagerfeld departed from the iconic Chanel tweeds and looked to seaweedlike textures and a series of bold prints. True to Chanel style, models wore classic pearl belts and simple, pulled back hair. Lagerfeld’s fitted white dress with matching shrunken blazer arguably outshined the rest. Marc Jacobs for Louis Vuitton followed suit of Phoebe Philo’s 60’s motif at Celine. A carousel themed show, Jacobs paid tribute to the 60s with big white buttons on boxy jackets, knee-length skirts and sweet lacy collars in ladylike pastel hues: pale peaches, lemonade yellow and light spearmint green. In Milan, Muiccia Prada departed from last spring’s jaunt to Brazil and

playful primitivism. Following the haute leather trend, Prada showcased an array of pleated skirts with flirty bandeau tops and surprisingly brilliant leather skirts with cars. Muiccia also highlighted gorgeous textured lace jackets in 1960s style. These fun skirts were paired with 60s styled Varsity leather jackets. A silk dress with covered of vintage 60s cars prints stole the show. Etro was inspired by art deco and vivid patters, slightly deviating from their iconic paisley patterns. Orange, the hot color of the season, was present in primitive patterns and fun fringed dresses. Loose, flapper style dresses juxtaposed festive patterns, an aesthetic delight. Missoni followed Etro’s lead, employing majestic blues and rumba style flounces, as well as a series of ruffles and fringe, yet sticking to their signature cuts and style. In New York, Rodarte’s created 1950s nip-waisted dressed inspired by Vincent Van Gough in an array of yellow and blue pastels. The Mulleavy sisters mastered Van Gough’s sunflowers and masterfully paid tribute to Starry Night. Proenza Schouler showed a collection that included a variety of colors and prints. Amidst many printfilled collections, Diane Von Furstenberg’s boldly matching printed silk top and trousers echoed the runways of Peter Som and Karen Kane in London. reverse from top to bottom: Chanel, Etro, Rodarte, Louis Vuitton, Diane Von Furstenberg, Prada. top: McQueen. Photos: Elle.com

GUCCI

90 YEARS by Anuysha Rose

Illustration: Selden Koolman

hen Guccio Gucci opened a specialist leather goods store in 1921, he could not have imagined that by the end of its ninth decade his small family shop would expand to become Italy’s biggest selling brand with 425 stores worldwide. Luxury and innovation have always been at the heart of the brand. This first came to the fore during World War Two, when the scarcity of leather compelled the company to look to less traditional materials for use. By introducing linen, hemp and jute whilst accessorizing their products with stirrups and other equestrian branding, Gucci kept its image connected with its origins while still broadening the brand aesthetic. Two years after the war, the label introduced bamboo handled purses, followed shortly afterwards by the men’s moccasin. Together these two products galvanized the company onto the international stage, as celebrities such as Elizabeth Taylor were photographed with its wares. When, in 1966, Monacan Princess and former film star Grace Kelly requested a scarf from the company, the result of which was the iconic Flora, their cutting edge status was cemented. Within the following two decades other hallmarks of the Gucci brand were introduced, from its classic loafer to the Hobo bag. Soon growing family tensions within the company led it to the brink of a dramatic collapse. The departure of one of Guccio’s sons from the company in an attempt to launch his own fashion line under the same name triggered a series of poor company decisions that left Gucci internally weak with a power vacuum they would struggle to fill. Unable to find a solution to these problems Gucci became a public company in 1982.

When Guccio’s grandson Maurizio came to be President of the company seven years later, he sold all of his stocks and shares and put an abrupt end to the label’s status as a family owned business. Whilst this was a disastrous move for the brand, it was when Maurizio’s wife hired contract killers to carry out his murder that sent real shockwaves through the company, suggesting Gucci’s dominant position in the fashion industry had come to an electrifying end. Fortunately, this was not to be. When Tom Ford was brought in to rescue the company he introduced a ready-to-wear line that immediately set Gucci back on course to reclaim its status. With the introduction of his snaffle clog, a worldwide sensation, the take off had begun, a fact compounded by Ford’s rise to creative director of the company in 1994. Within a decade he had seen through the acquisition of other leading fashion houses, such as Yves Saint Laurent and Bottega Veneta, as well as joining in part ownership at Alexander McQueen other houses. At the same time, a power struggle erupted between companies battling for control of the brand, eventually won by the French company Pinault Printemps Redoute. Although a controversial move, there is no doubt that Gucci has emerged once more as a force to be reckoned with on the international fashion scene. During the global financial crisis the sales of Gucci products rose by five percent and its current creative director Frida Giannini was recently named as one of the Wall Street Journal’s “50 women managers in the world to watch”. Ninety years after its founding, the double G logo is back for good.

Photos Zach Hughes, Ashley Napier Pocket Sun, Katie Herzfeld Models Elaine Vega, Megan Tatum Morgan Fletcher, Stephen Prifti

Photos Pocket Sun, Zach Hughes, Ashley Napier, Alex Smith, Katie Herzfeld Models Morgan Fletcher, Catie Pavilack

Photos Evrett Paist, Gianna Baiges Parilla Models Megan Tatum, Anjana Radhakrishnan

Photos Evrett Paist, Alex Smith, Zach Hughes, Selden Koolman Models Elaine Vega, Virginia Haggerty

FALL 2011 Vol. II, Issue 1