THE EDITORS EDITORS NOTE NOTE
CONTENTS UNDER THE VISION AND PATRONAGE OF HER HIGHNESS SHEIKHA FATIMA BINT HAZZA› BIN ZAYED AL NAHYAN
ONE YEAR OF... TIMELINE 4
A RETROSPECTIVE
6
OUR DESIGNERS
8
THE CARTEL - THE SPACE
BYUNGMUN SEO - SEOUL/UK
!ERS AMBER FEROZ 10
- UAE
6 8
THE CARTEL THE SPACE
ON S›ENT FOUT - FRANCE
12
MANISH BANSAL - UK 34 UNDER THE PATRONAGERITA SZILAS - HUNGARY 36 SHEIKHA HER HIGHNESS
10
OUR CLIENTS WHAT BRINGS YOU BACK?
UNITED ARAB EMIRATES
UNDER THE PATRONAGE
EDITOR
52
RICHARD DE LA TOUR - FRANCE
MAY BARBER
54
ASHTIANI - CANADA
CAROLINE MINAR - SWITZERLAND/UK 62 COVER photography PETER RICHWEISZ JACOB BIRGE - SCOTLAND 64 MUSE MAISON - UAE
BARBARA MANDICH
ARTICLES 20 46 50
1
1
ILJA AMSTERDAM
2
DORA KELEMEN HUNGARY
THE DEATH OF LABEL
A RETROSPECTIVE ON UNSEX FASHION 2 BYUNGMAN SEO
AN DISCLAIMER:
INTERVIEW WITH RAD HORANI
EDITORIALS 45* OF FASHION 24
THE AUTHORS, PUBLISHERS, DESIGNERS AND PHOTOGRAPHERS RESERVE THEIR RIGHTS IN REGARDS TO COPYRIGHT OF THEIR WORKS. NO PART OF THIS WORK MAY BE REPRODUCED OR COPIED WITHOUT THE EXPRESS WRITTEN CONSENT OF THE PUBLISHER. THE VIEWS AND OPINIONS EXPRESSED IN THE ARTICLES ARE THOSE OF THE AUTHORS AND DO NO NECESSARILY REFLECT THOSE OF THE PUBLISHER.
2
SEOUL/UK MARC STONE ZURICH
BARBARA MANDICH - BARB.MANDICH@GMAIL.COM | WWW.BARBARAMANDICH,COM WORK MAY BE REPRODUCED OR COPIED WITHOUT THETHE AUTHORS, DESIGNERS AND
ACCESORIZE
74 4
WHAT BRINGS YOU BACK?
ON S›EN FOUT FRANCE GRAPHICS PRESENTED TO YOU IN MONOCHROMES, THE SOLIDS1 OFILJA OUR FASHION WORLD, AND THE CARTEL - 1ST STRETCHED TO A SIZE CHALLENGING OUR RELENTLESS AMBITIONS, WE DO BARBARA MANDICH AMSTERDAM WWW.THECARTEL.ME 2 MANISH BANSAL HOPE THAT YOU ENJOY THIS FIRST ISSUE OF THE CARTEL MAGAZINE UNITED KINGDOM AND WE PROMISE TO BRING YOU MOREKELEMEN INSIGHTS FROM OUR 2 DORA FASHION WORLD VERY SOON. HUNGARY 2 RICHARD DE LA TOUR EDITOR IN CHIEF / FOUNDER MAY BARBER - MAY@THECARTEL.ME FRANCE 2 BYUNGMAN SEO SEOUL/UK 1 THE STORY OF UNISEX DISCLAIMER: PHOTOGRAPHER / FOUNDER 2 ASHTIANI MAY BARBER PETER RICHWEISZ - PETER@THECARTEL.ME | WWW.RICHWEISZ.COM CANADA 2 MARC STONE THE AUTHORS, PUBLISHERS, DESIGNERS AND PHOTOGRAPHERSDISCLAIMER: MAY BARBER 2 THE DEATH OF LABel RESERVE THEIR RIGHTS IN REGARDS TO CO-FOUNDER OF THE CARTEL DESIGN ZURICH MAY BARBER COPYRIGHT OF THEIR WORKS. NO PART OF THIS
DESIGNERS
GRAPHICS 66
PETER RICHWEISZ
SHEIKHA AND NAVIGATE THROUGH ITS CONTEXTUAL FRAMEWORK AND WE HIGHNESS HERTHEME IN THIS ISSUE, WE CELEBRATE THE OF UNISEX 1 D’ORA TOKAIFATIMA BINT BIN ZAYED AL VOICE IN THIS DISTINCTIVE FASHION SUBJECT, THE WORLD’S HAVE THE PLEASUREMONACO OF SPEAKING TO HAZZA› AN EXPERIENCED 2 ON THE ROOF NAHYAN FIRST UNISEX HAUTE COUTURIER RAD HOURANI. WE ARE PROUD TO TAKE YOURICHWEIS THROUGH VISUALLY COMPELLING Z PETER EDITORIALS HIGHLIGHTING 2 KAY-LI OUR UNIQUE ANGLE TO FASHION AND NARRATED WITH THE LENS OF OUR OWN PETER EDITOR TO BRING TO YOU A SELECTION OF STORIES SHARED BY SOME OF OUR UNIQUE RICHWEISZ. WE AREHONG ALSOKONG PLEASED CARTEL DESIGNERS WHO MANAGED TO INSCRIBE THEIR NAMES IN THE FASHION SCENE AND BEYOND. WE ARE MAY BARBER PROUD TO SZILAS SHARE WITH YOU OUR UNIQUE INTELLECTUAL THOUGHTS ON SOME CONTROVERSIAL FASHION 2 RITA SUBJECTS OF ‘UNISEX’ AND ‘DEATH OF LABEL’, WHICH ENCAPSULATE OUR CRITICAL VOICE IN THE HUNGARYCOVER photography FASHION PETER DISCOURSE. RICHWEISZ
FATIMA BINT HAZZA› D›ORA TOKAI - MONACO 42 BIN ZAYED AL NAHYAN KAY LI - HONG KONG 44
stories
THE cartE - ISSUE 1
BIRGE OF THE CARTEL MAGAZINE, AN ISSUE MARKING THE START 12 JACOB 6 OFTIMELINE WELCOME TO THIS FIRST ISSUE SCOTLAND A RETROSPECTIVE OUR OWN CARTEL CALENDAR YEAR AND BORN IN MARCH, THE MONTH WHICH EMBODIES SPRING AND REJUVENATION, COLOSSAL ART CELEBRATIONS AND MANY CULTURAL AND FASHION HIGHLIGHTS MINAR CAROLINE THE CARTEL 8 VISUAL SWEEPING THE2UAE AND THE REGION. WE ARE PROUD TO BRING TO YOU COLLECTIVE ANNUALS SWITZERLAND/UK SPACE IN 2013 OF OUR BURGEONING ACHIEVEMENTS COMPILED OVER THE PAST YEAR STARTING WITH OUR THE INCEPTION AND HIGHLIGHTING THE MILESTONES THROUGHOUT OUR RELENTLESS PERUSAL OF A CREATIVE ABUNDANCE OF ARTS 2 AMBER FEROZ 10 OUR CLIENTS AND FASHION CONTRIBUTIONS. 1 BALLOON
TIMELINE A RETROSPECTIVE
stories
68
EDITORIALS
ILJA - AMSTERDAM
ARTICLES
56
THE cartE - ISSUE 1
MARC STONE - ZURICH
ONE YEAR OF
38
ONE YEAR OF
!ER STORIES DORA KELEMEN - HUNGARY 14
VISIT US! 6 AL SERKAL AVENUE,
ONE YEAR OF 4
EXPRESS WRITTEN CONSENT OF THE PUBLISHER. THE VIEWSPHOTOGRAPHERS RESERVE THEIR RIGHTS OF rad THEIR horani WORKS. AND OPINIONS EXPRESSED IN THE ARTICLES ARE THOSE OF THEIN REGARDS TO COPYRIGHT 2 // NO PART OF THIS WORK MAY BE REPRODUCED, COPIED AUTHORS AND DO NO NECESSARILY REFLECT THOSE OF THE PUBLISHER. OR SOLD WITHOUT THE EXPRESS WRITTEN CONSENT OF THE CARTEL. THE VIEWS AND OPINIONS EXPRESSED IN THE ARTICLES ARE THOSE OF THE AUTHORS AND DO NO NECESSARILY REFLECT THOSE OF DUBAI, UAE | +971 4 388 4341 THE CARTEL. ALL ARTICLES ARE PROVIDED BY DESIGNERS AND THEIR PARTIES.
5
TIMELINE -A RETROSPECTIVE
LONDON FASHION WEEK FASHION OVERDOSE
MY MUSIC X
GOLF AND BEAUTY
GRAZIA MAGAZINE
L›OFFICIEL MAGAZINE
LJUBLJANA FASHION WEEK ONE YEAR OF...
FASHION FILM SCREENING
AHLAN HOT 100
A CARTEL FESTIVE SEASON
HELLO MAGAZINE
GRAND OPENING
NIGHT OF STYLE II
NIGHT OF STYLE
ESQUIRE MAGAZINE
GRAZIA MAGAZINE
GOLF AND BEAUTY
SUHOOR NIGHT
PHILLIPINES FASHION WEEK
TIMEOUT MAGAZINE
feb 2013 4
MARCH 2013
PARIS FASHION WEEK
APRIL 2013
MAY 2013
FASHION FORWARD
JUNE 2013
JULY 2013
AUGUST 2013
SEPT 2013
OCT 2013
COMME CI COMME CA
NOV 2013
DEC 2013
JAN 2014
FEB 2014
OUr !ERS
6
THE CARTEL -
THE CARTEL IS A UNIQUE CONCEPT SHOWROOM & RETAIL SPACE IN DUBAI, UAE BASED IN THE CENTER OF THE ARTS HUB OF AL SERKAL AVENUE. IT IS A PLATFORM TO SHOWCASE AND SELL THE WORKS OF CURATED UNIQUE DESIGNERS FROM AROUND THE WORLD. SHOPPING AT THE CARTEL IS A 5 SENSED EXPERIENCE WHERE WE CATER TO A NICHE CUSTOMER AUDIENCE. THE STOCK CONSISTS OF CONTEMPORARY, ARTISTIC, AVANT- GARDE AND EDGY FASHION, ACCESSORIES AND FURNITURE. SET AGAINST THE HYSTERIA OF MEGA SHOPPING MALLS, THE CARTEL RE-INTRODUCES THE ORIGINALITY OF THE STAND ALONE BOUTIQUE WITH EXTENDED LAYERS OF SERVICES INCLUDING STYLING, PERSONAL SHOPPING AND AN ONLINE STORE. IN ADDITION TO BEING A UNIQUE CONCEPT STORE WITH ONE OF A KIND COLLECTIONS IN DUBAI, THE CARTEL EXECUTES CONCEPTUAL FASHION SHOOTS, CREATIVE CAMPAIGNS AND FASHION FILMS DIRECTED BY CEATIVE DIRECTOR PETER RICHWEISZ, INCLUDING AWARD WINNING ‘ALCHEMY’ AND HIS RECENT ‘TOO MANY DOORS TO ONESELF’ WHICH FEATURED SIGNATURE CARTEL APPAREL. DUBAI IS THE NEW GLOBAL FASHION HUB AND EMBRACES THE FUTURE LIKE NO OTHER CITY IN THE WORLD. THERE ARE NO LIMITS TO WHAT DUBAI CAN BUILD AND WE WANT PEOPLE TO THINK THAT WAY ABOUT FASHION. THE CARTEL REINVENTS FASHION PER SEI AND STARTS A NEW ERA. WE NURTURE REAL AND AMBITIOUS TALENTS ACROSS THE WORLD AND HELP TO ESTABLISH A DYNAMIC PLATFORM BETWEEN DESIGNERS, CLIENTS AND CREATIVE MINDS. 8
THE SPACE
OUR UNIQUE SHOPPING EXPERIENCE ATTRACTS SHOPPERS FROM ALL AROUND THE WORLD REGARDLESS OF CULTURAL, ETHNICAL, RELIGIOUS OR POLITICAL BACKGROUD.IT IS NOT ONLY A STORE, IT IS A LIFESTYLE AND A CREATIVE CULTURE WHERE EACH IS INVITED TO EXPRESS THEIR INDIVIDUALITY IN THE WAY THEY WISH. THE CARTEL STANDS FOR AUTHENTICITY AND UNIQUENESS WHICH REFLECTS FROM ITS EXCLUSIVE AND LIMITED DESIGN SELECTIONS THAT ARE NON REPLICATE AND TIMELESS.
WE CATER TO THE ARTISTIC SOULS, THE STYLISH, THE INDEPENDENT, THE FEARLESS, THE CONTEMPORARY, THE CHIC, THE INDIVIDUALIST, THE URBAN, AND THE AVANT-GARDE. THE CARTEL SPACE CONSISTS OF 3000 SQUARE FEET MEZZANINE FLOOR & GROUND FLOOR WITHIN THE CREATIVE STUDIO. THERE IS DIRECT ACCESS TO DESERT FISH PHOTOGRAPHY STUDIO SO PHOTOSHOOTS ARE EASILY ATTAINABLE. THE SPACE IS ADAPTABLE TO HOSTING OF EVENTS, FASHION SHOWS & TRUNK SHOWS.
THERE ARE 35 GEOMETRICAL UNITS FOR DESIGNERS HOUSING INDIVIDUAL COLLECTIONS, AS WELL AS MANNEQUINS AND DISPLAYS THROUGHOUT THE STORE. EACH INDIVIDUAL UNIT HAS THE DESIGNERS BIO PRINTED ALONGSIDE THE INTERIOR MUCH LIKE A GALLERY HENCE THE COINED TERM “WEARABLE ART GALLERY”.
amber feroz -
uae
HAILED AS ONE OF THE FINEST FASHION TALENTS IN THE MIDDLE EAST AND ONE OF DUBAIS MOST FORMIDABLE CREATIVE FORCES
Q : WITH WHAT AIM, DID YOU CHOOSE THE CARTEL AS YOUR ONLY RETAIL SPACE IN THE UAe? a: 10
MY WORK STRIKES THE PERFECT BALANCE BETWEEN AVANT GARDE AND WEARABLE FASHION AND i BELIEVE THAT IS EXACTLY WHAT THE CARTEL AIMS AT AND THEREFORE MAKES IT THE PERFECT RETAIL SPACE FOR AMBER FEROZ IN THE UAE.
on s’ en fout -
france
UNIQUE INNOVATIVE BAGS MADE MIXING CUTTING EDGE TECHNIQUES SUCH AS 3D PRINTING WITH TRADITIONAL SAVOIR-FAIRE,
12
Q : HOW IMPORTANT IS THE FUSION OF TECHNOLOGY AND 3D PRINTING IN YOUR CREATIONS?
Q : as a duo from lebanon and hong kong, how does this unique combination influence your brand?
a: EVERYDAY OBJECTS THAT ARE AROUND US INSPIRE US. WITH THE HELP OF 3D PRINTING, WE WANTED TO MIX NON-FASHION OBJECTS WITH FASHION OBJECTS TO CREATE SOMETHING ALIEN, BOTH NAÏVE AND VERY BOLD. 3D PRINTING IS VERY NEW TO THIS MARKET AND WE WANT TO INTRODUCE UNIQUE AND WEARABLE OBJECTS. WE WANT TO SHOW THAT BEAUTY COMES FROM A MIXTURE OF THINGS. WITH ONE OF US COMING FROM BEIRUT AND THE OTHER FROM HONK-KONG, OUR DIFFERENT CULTURES PLAYED A ROLE IN CREATING SOMETHING THAT IS CLASHING.
a: WE COULD SAY THAT ONE OF US focuses on THE VOLUME and is the NON-STOP fantasizer whilst the OTHER ONE focuses on THE DETAIL, exhibiits PATIENCE AND THINKS MORE CONCRETELY. SO WE COMPLETE AND BALANCE EACH OTHER. OUR BAGS TELL A STORY, THEY ARE A MIX OF INNOCENCE AND ETHEREALNESS, ABSTRACT AND REPRESENTATIONAL.
!ER STORY I content PROVIDED BY BRAND
DORA KELEMEN -
HUNGARY
A TRIANGLE OF FASHION, ARCHITECTURE AND PHOTOGRAPHY
KAPSULEKOLLEKTIVE IS A COLLABORATIVE APPROACH EXPLORING THE THEME OF STRUCTURE, A VISUAL ENSEMBLE OF THREE DIFFERENT ART FORMS – FASHION DESIGN, ARCHITECTURE AND PHOTOGRAPHY - AND ALSO A FANTASYLAND WHERE THE FEATURES OF A BUILDING MAGICALLY RESOUND IN THE CHARACTERISTICS OF THE ATTIRES. KAPSULEKOLLEKTIVE’S UNIQUE VIEWPOINT IS BOUND TO REVOLUTIONIZE BUILDING PHOTOGRAPHY AND BUILDING PROMOTION AS WE KNOW IT: INVOLVING COUTURE IS ADDING A NEW, ASTOUNDINGLY FORCEFUL ELEMENT TO THE CONVENTIONAL TWO-AGENT MIX OF ARCHITECTURE AND PHOTOGRAPHY. THEIR PROJECT IS BASED ON AN EXTRAORDINARY IDEA: GIVING BUILDINGS ADDITIONAL IDENTITY BY DESIGNING A ONE OF A KIND FASHION COLLECTION THAT NOT ONLY POSSESSES, BUT ARTICULATES AND EMPHASIZES THEIR ORIGINAL ATTRIBUTES. THEY DO NOT DOUBT THAT A BUILDING PROVIDES A COMPLEX VISUAL EXPERIENCE BY ITSELF. IN THEIR APPROACH THIS EXPERIENCE IS EXTENDED TO A DIFFERENT LEVEL, QUALITY AND AUDIENCE TO PROVIDE AN ARCHITECTECTURE COMPANY WITH A BRAND NEW OPPORTUNITY FOR DISTINCTION AND TO MAKE AN INESCAPABLE IMPRESSION BY LAUNCHING AN ARCHITECT’S PORTFOLIO INTO NEW DIMENSIONS OF CAPTIVATION.
DORA KELEMEN IS A YOUNG HUNGARIAN FASHION DESIGNER, HAVING GRADUATED IN 2009 AS A TEXTILE DESIGNER AT THE MOHOLYNAGY UNIVERSITY OF ART AND DESIGN, BUDAPEST. ALTHOUGH SHE SPECIALISED IN KNITTING, DORA HAS MANY FIELDS OF INTEREST FROM COTHING TO ACCESSORIES. HER STYLE IS EXPERIMENTAL, FUTURISTIC, AND ECLECTIC. SHE TEAMED UP WITH PHOTOGRAPHER TAMÁS RÉTHEY-PRIKKEL TO START A NEW CONCEPT CALLED ‘KAPSULEKOLLEKTIVE’. 14
DORA KELEMEN -
THE BASIC CONCEPT OF THE KNITTED PIECES REMAINED, BUT THE STYLING UNDERWENT SOME ALTERATIONS IN ORDER TO MATCH THE VARIOUS FUNCTIONS AND CHARACTERISTICS OF THE BUILDINGS. FOR TELENOR’S TELECOMMUNICATIONS OFFICE BUILDING THEY WERE TRYING TO EMPHASIZE THE ATMOSPHERE CREATED BY THE NOVELTY, MODERNITY AND TECHNOLOGICAL INNOVATIONS RADIATING FROM THE BUILDING’S ARCHITECTURE. PALACE OF THE ARTS IS A BUILDING COMPLEX WITH NUMEROUS FUNCTIONS: THEATER, CONCERT HALL, AND
16
HUNGARY
A CONTEMPORARY ART MUSEUM. THIS DIVERSITY IS REFLECTED IN THE STYLING AND THE ATMOSPHERE OF THE COMPLETE SERIES OF THE IMAGES. WORKING ON THE RICHTER GEDEON LTD. AND OFFICE BUILDING THEY TRIED TO EMPHASIZE ITS FUTURISTIC STYLE AND THE TRANSPARENT QUALITY OF IT.
DORA KELEMEN -
18
HUNGARY
THE DEATH OF LABEL OF BURBERRY AND THE RALPH LAUREN RICH KID IN A GOLF CLUB LOOK, ALL TO SHOWCASE THAT ‘WE CAN AFFORD IT’. THE PURSUIT WAS NO LONGER ABOUT THE STYLE, BUT RATHER THE LABEL. OF COURSE LUXURY INDUSTRIES RECOGNIZED THIS TREND AND FED IT WELL INTO PEOPLE’S SHOPPING LISTS USING MULTIMILLION DOLLARS CAMPAIGNS AND ‘STYLE’ ICONS.
SOURCE: GETTY / BERTRAND RINDOFF PETROFF
SHOES AND SHIRT VERSACE YOUR B**** WANT IN ON MY POCKETS SHE ASK ME WHY MY DRAWERS SILK ,
CHEETAH PRINT ON MY SLEEVE, BUT I AIN›T EVER BEEN IN THE JUNGLE
WHILE YOU MOST LIKELY HEARD THE TUNE VERSACE VERSACE OVER THE RADIO, I CAN EASILY SAY THE SONG IS AN AUDIO SHOWCASE OF LABEL OVERDOSE; LABEL LOVERS ARE THE VISUAL. THERE WAS A TIME WHEN IT WAS OKAY TO WEAR DESIGNERS’ LABELS FROM HEAD TO TOE. IN FACT, IT WAS COOL AND MEANT YOU WERE PROBABLY EITHER RICH OR STEALING CLOTHES FROM PARIS HILTON CLOSET. LUXURY LABELS EMERGED IN THE 90’S CREATING A FASHION REVOLUTION AND SUBSEQUENTLY THE ‘LABEL’ GAINED MORE SIGNIFICANCE OVER TIME. IT WAS NO LONGER ABOUT THE DESIGN, THE STYLE OR EVEN QUALITY. IT WAS SIMPLY THE LOGO. A BIG CC ON YOUR BAG OR AN LV MONOGRAM ON YOUR WALLET MEANT A LOT. THE BURBERRY CHECKERED SHIRT AND VERSACE CHAINS-PRINTS WERE WIDELY RECOGNIZED. THE TREND EVEN INVADED THE CLOSETS OF POOR KIDS WHO WERE FORCED TO DRESS IN LARGE CHECKERS 20
IT WAS RECKONED A MUST TO HAVE AN LV TOTE. I WENT TO A SCHOOL TO INQUIRE ABOUT MY CHILD’S ENROLLMENT AND WAS STRUCK BY THE SCENE OF MODERN-DAY HIGHSCHOOL ‘MEAN GIRLS’ REPLACING BACKPACKS WITH LV TOTES. THEY GAVE ME THE ‘WHAT IS YOUR PROBLEM’ LOOK AND THAT’S WHEN I FELT LIKE A DINOSAUR AND REALIZED THE LABEL HYSTERIA HAS ACTUALLY INVADED ACADEMIC INSTITUTIONS AS THE CHERRY ON TOP. YOU MAY SIMPLY GOOGLE THE POSSIBILITIES IN YOUR AREA TO FIND WHERE YOU COULD RENT A DESIGNER BAG FOR A WEEKEND IF YOU CAN’T AFFORD ONE. THIS IS IN ADDITION TO THE NUMEROUS ONLINE SITES SELLING PRE-USED BAGS AND THE CHINESE FAKES. A TRIP TO KARAMA CAN BE THE ULTIMATE FIELD TRIP TO INVESTIGATE THIS TREND AND LET’S FACE IT, IT IS A BILLION DOLLARS INDUSTRY RELYING ON SMALL INVESTMENTS IN RURAL THIRD WORLD COUNTRIES AND SAVVY SHOPPERS LIKE US WHO DROOL OVER AN IMAGE OF MARION COTILLARD AND HER ELEGANT ‘LADY DIOR’ BAG OR MR. BECKHAM IN HIS DESIGNER SUIT. IN A WORLD WHERE ONE IS MEASURED BY HOW MANY INSTAGRAM FOLLOWERS THEY HAVE AND HOW MANY COLORS OF HERMES BERKINS THEY POSSES, FASHION RULES HAVE BENDED WHERE LUXURY DESIGNERS ARE FEEDING THIS PHENOMENA BY SHAKING HANDS WITH RIHANNA AND GIFTING THE BURBERRY HEARTS SHIRTS TO EVERY CELEBRITY MAN AND WOMAN OF A SIZE SMALL. NO DOUBT, THE PHENOMENA REACHED THE SURFACE CAUSING THE SENDER AND THE TARGET TO SUFFOCATE FROM THE LABEL OVERDOSE. CHANEL IN THEIR RECENT FALL WINTER 14 MADE FUN OF THIS IRONY BY CREATING A CHANEL WORLD WHERE EVERY DISPOSABLE ITEM GAINED SIGNIFICANCE BY
SIMPLY ADDING THE CHANEL LOGO. THE FLOCK OF PEOPLE TO ‘OWN’ A LABELED UNWORTHY ITEM FOLLOWING THE SHOW SADLY PORTRAYS THE REALITY OF BLIND FOLLOWING, A RATHER PREDICTABLE AFTERMATH THAT COMES PACKAGED WITH THE KARDASHIANS AS ROLE MODELS AND INSTAGRAM AS THE NEW FAME. THE INTELLIGENT FASHION LOVERS; HOWEVER, ARE RESISTANT AND ALMOST IMMUNE TO THIS WAVE. YES THEY WEAR DESIGNERS’ CLOTHES, WHICH ARE FASHIONABLE AND TRENDY (AND I HAVE A LIST OF MY OWN MUST-HAVES WHICH DON’T INCLUDE MONOGRAMS), BUT THEY ARE CONSCIOUS ABOUT THEIR SELF PRESENTATION AND THEY ARE THE ARTISTS OF THEIR IMAGE. THEY COULD GO AS FAR AS MAKING THEIR OWN CLOTHES HAD THEY ENVISIONED A CERTAIN LOOK FOR THEMSELVES. THESE INDIVIDUALS OPT FOR A UNIQUE STYLE, ITEMS THAT HAVEN’T BEEN MASS PRODUCED IN ZARA’S FACTORIES NOR HAVE IT FILLED THE DISPLAYS OF LUXURY FLAGSHIP STORES WORLDWIDE. THEY DON’T MIND SHOPPING IN EXOTIC PLACES IN THE WORLD FOR UNIQUE FINDS, AND RELY ON THEIR OWN SENSE AS THEIR JUDGMENT. THEY MIX AND MATCH HIGHSTREET, VINTAGE, LUXURY WITH UNIQUE INDIVIDUAL PIECES WITH ORIGINAL CUTS AND SHAPES.
PERHAPS THE BEST EXAMPLE IS THE STREETSTYLE IN FASHION WEEKS WHERE FASHIONISTAS RACE TO CAPTURE PHOTOGRAPHERS’ ATTENTION AND SECURE PRESENCE ON SOCIAL MEDIA PAGES. IT HAS BEEN ESTABLISHED THAT THE REAL FASHION SHOWCASE DURING FASHION WEEKS HAS ESCAPED THE TRADITIONAL RUNWAYS INTO THE STREETS WITH BLOGGERS, EDITORS AND FASHION LOVERS SHOWCASING THEIR EDGE. AND ALTHOUGH STREETSTYLE HAS LOST ITS ORIGINAL IDENTITY OF BEING AUTHENTIC AND INTUITIVE, THE NEW SCENE OF ‘STAGED’ STREETSTYLE CONTINUES TO SHOWCASE INDIVIDUAL TAKES INTO FASHION. SO WHAT IS THE NEW’ COOL’? NOT KNOWING WHAT BRAND YOU ARE WEARING (LADIES HIDE THOSE RED SOLES!) THE AVANTE-GARDE FASHION LOVERS OPT FOR THE UNKNOWN, THE UNDERGROUND, THE PERSONAL, THE SARTORIALLY ORIGINAL
STYLES, REFINING THE OTHERWISE CLUSTERS OF LABELS AND CLUSTERS OF LABELS AND LOGOS. THEY ENJOY CHALLENGING THE PUBLIC TO ‘GUESS’ THEIR OUTFITS AND SAVOR THE RED CARPET CLASSIC QUESTION OF “WHAT ARE YOU WEARING?” THESE INTERESTING CHANGING DYNAMICS OF FASHION POWERS WERE ONE REASON WHY WE GAVE BIRTH TO THE CARTEL. WE ARE BORED OF THE LABEL INVASION AND TIRED OF REDUNDANT CHEAP-QUALITY HIGH STREET, SO WE DECIDED TO COME UP WITH OUR OWN FORMULA; A SPACE DEDICATED TO ORIGINAL FASHION CURATED USING INTERNATIONAL DESIGNERS NOTORIOUS FOR THEIR TECHNIQUES, AVANTEGARDE STYLES AND MOST IMPORTANTLY NON-CONFORMITY TO TRENDS. IT IS THE PLACE WHERE YOU CAN FIND A COOL LASER-CUT BLAZER, FUNKY BODY JEWELRY, ASYMMETRICAL DRESSES, ARCHITECTURAL SKIRTS, BAGS MADE OUT OF FOUND OBJECTS AS WELL AS MEN’S WEAR WHICH CAN ENJOY SOME ORIGINAL CUTS AND PRINTS ADDING COLOR TO AN OTHERWISE BORING WARDROBE OF SUITS AND SEPARATES. THESE ITEMS ARE THE BABIES OF A DESIGN PROCESS MIRRORING THE CREATION OF AN ARTWORK: INDIVIDUAL, LIMITED-EDITION AND COMES WITH A RICH STORY. GOING AGAINST MAINSTREAM ISN’T THAT EASY AND WE KNEW WE CHOSE THE ROAD LESS-TRAVELED BY, BUT BEHIND EVERY SUCCESS STORY LIES A VISION, A GREAT DEAL OF RISK AND PATIENCE. DEFYING A WORLD OF MICRO CELEBRITIES AND STITCHED LABELS IS AN ONGOING BATTLE WE INTEND TO TAKE, BUT THE REWARD IS FAR GREATER, ENLIGHTENING US EVERYDAY WITH NEW TALENTS, INNOVATIVE TECHNIQUES AND WONDERFUL NEW ADDITIONS TO THE CARTEL FAMILY OF CUSTOMERS AND CONTRIBUTORS WHO LOVE TO JOIN US IN OUR RISKY FUN RIDE. - MAY BARBER
ORDER NOW AT THE CARTEL
22
12
O
45 OF FASHION PHOTOGRAPHER
PETER RICHWEISZ HAIR AND MAKEUP
JOJO DANTESPADUA STYLING
PETER RICHWEISZ + JOJO DANTESPADUA
MODEL
ANITA NAYYAR MMG MODELS
MODEL WEARS: DRESS - MIMI.C.
MODEL WEARS: JACKET - SANDOR LAKATOS SHIRT - ILJA SKIRT - Raphaelle H›limi
MODEL WEARS: COAT - SMARANDA ALMASAN BRACELET - BRANTE
MODEL WEARS: DRESS - ILJA
MODEL WEARS: DRESS - AKULUTURA NECKLACE - KARAGH
MODEL WEARS: DRESS - MIMI. C. NECKLACE - DARIO SCAPITTA
mANISH BANSAL THE APPROACH TO CLASSIC TAILORING MAKES A MANISH BANSAL ENSEMBLE A VALUED ADDITION TO A MAN’S WARDROBE
Q : IF YOU WERE BORN IN ANOTHER EPOCH, WHICH ONE WOULD IT BE, why? a: IF I WOULD HAVE BEEN BORN IN ANOTHER EPOCH, I WOULD HAVE LIKED TO BE A TEENAGER IN the 60›S WHEN COMMERCIAL AVIATION BECAME MAINSTREAM. THE WORLD SAW ITSELF CHANGE AS COMMON PEOPLE STARTED TRAVELLING. PERCEPTIONS OF THE YOUNG CHANGED WITH EXPOSURE TO FOREIGN CULTURES, RITUALS AND PRACTICES. WHEN «LETS GIVE PEACE A CHANCE» AND «LETS MAKE 34
LOVE NOT WAR» CAME INTO BEING. THE time that witndessed the INVENTION OF VIDEO, and the BIRTH TO HOME FILM MAKING AND A WHOLE NEW INDUSTRY WAS BORN. WHEN IT WAS ALL ABOUT BEING COOL, HIP AND CAREFREE.
UK
RITA SZILAS -
HUNGARY
UNIQUE CUSTOM BAGS, ACCESORIES AND CLOTHES. MOTTO - DON›T BE AFRAID TO KISS THE FROG AND FOLLOW YOUR HEART! C
Q : What inspired you to work with FOUND OBJECTS AND ANTIQUES? A: I HAVE HAD A KEEN INTEREST IN A NUMBER OF SOCIAL QUESTIONS FOR QUITE SOME TIME AND THIS IS OFTEN REFLECTED IN MY COLLECTIONS. I LIKE TO PLACE SHORT AND CONCISE PHRASES ON MY CLOTHING OR TO POSE FURTHER QUESTIONS TO PEOPLE WITH A PECULIAR FORM AND PATTERN. I LIKE OLD THINGS, ESPECIALLY THOSE THAT HAVE A USEFUL FUNCTION. THE TYPEWRITER, FOR EXAMPLE, IS A SUPERB INVENTION. IT ACCOMPANIED THE ENTIRE LITERATURE OF THE FIRST CENTURY OF MODERNISM. MAGNIFICENT THINGS ARE LINKED TO IT AND THE MECHANISM ITSELF IS A THING OF BEAUTY. NOW THAT DIGITAL DEVICES HAVE TAKEN OVER, WE STILL LIKE TO CLING TO OLD THINGS; ANTIQUES HAVE ALWAYS BEEN IN VOGUE AND PERHAPS THESE OBJECTS THEMSELVES RADIATE A SORT 36
OF MENTAL SENSE OF SECURITY. THAT WAS HOW THE IDEA CAME: IF WE CARRY AROUND LAPTOP COMPUTERS WITH US, WHY CAN’T WE CARRY AROUND TYPEWRITERS AS WELL IN A COMFORTABLE AND SPECTACULAR DESIGN. THE TYPEWRITER BAGS ARE A VERITABLE DESIGNER ANTIQUE-MODERN HYBRID. ALL OF THEM ARE ONE OF A KIND COMPOSITIONS. EVERY SINGLE BAG IS MADE OF ANTIQUE PIECES WHICH RADIATE THEIR WEARER’S PERFECTLY UNIQUE STYLE AND INTELLECT.
!ER STORY II content PROVIDED BY BRAND
marC stone - zurich
ON INNOVATING MENSWEAR MARC STONE HAS DEVELOPED HIS CLOTHING BRAND AS A HOLISTIC CONCEPT INFLUENCED BY CONTEMPORARY ART, JOURNEYS, MUSIC, THEATRE AND FILM. MARC STONE COMBINES CLASSIC, MODERN STYLE WITH SUBTLE FUTURISTIC TOUCHES. THE EFFORTLESS MINIMALIST SPIRIT OF EACH COLLECTION COMES FROM WORKING QUALITY AND HI-TECH FABRICS. COLOURS ARE SUBTLE, AND DICTATED BY THE FEEL OF THE SEASON. THE STORY OF MARC STONE STARTED IN ZÜRICH IN THE MULTICULTURAL DISTRICT CIRCLE FOUR. AS A PROGRESSIVE FASHION BRAND MARC STONE STANDS FOR MINIMALIST DESIGN, WHICH BOASTS CLEAN LINES AND INNOVATIVE LOOKS. THE BRAND SELLS ITS PRODUCTS IN A VARIETY OF INTERNATIONAL SHOWROOMS (PARIS, MILAN, BERLIN, SEOUL, SINGAPORE AND NEW YORK) AND AT NUMEROUS INTERNATIONAL TRADE SHOWS IN ADDITION TO THE CARTEL AS ITS CURRENT SOLE STOCKIST IN THE GULF REGION. MOREOVER, IN 2011, THE BRAND OPENED ITS ONLINE STORE WITH INTERNATIONAL SHIPPING. TODAY, THE AWARDED SWISS BRAND IS BASED IN ZÜRICH WITH AN INTERNATIONAL PRESENCE IN PARIS, MILAN, NEW YORK, BERLIN AND SEOUL. THIS SUMMER MARC STONE WILL LAUNCH ITS FIRST EVER EYEWEAR COLLECTION TO HIT THE STORES IN SPRING 2015. MARC STONE IS PART OF TO THE OFFICIAL RUNWAY-SCHEDULE AT MERCEDES-BENZ FASHION WEEK IN BERLIN.
HAILING FROM ZURICH, MARC STONE HAS DEVELOPED HIS CLOTHING BRAND AS A VERSATILE CONCEPT. HIS DEBUT COLLECTION (TITLED ‘MECANIC’) WAS PRESENTED IN ZURICH’S GESSNERALLEE THEATRE, AND THE SECOND (UNDER THE NAME ‘METROPOLE’) SAW ITS CONCEPTUAL ARTWORK BEING SELECTED FOR AN EXHIBITION IN THE CITY’S ‘MUSEUM FÜR GESTALTUNG’. HIS NEXT PROJECT, ‘EE79 M1’, WON SECOND PLACE AT THE TRIUMPH INTERNATIONAL COMPETITION IN VALENCIA, SPAIN, AND THE FOLLOWING COLLECTION (‘HUMAN PROTECTION’) WON THE FIRST PLACE AT BASEL’S FASHION PRIZE AWARDS. 38
FOLLOWING THIS GROWING SUCCESS, ‘PROJECT 12’ (FOR SPRING/ SUMMER 2012) WAS AWARDED THE PREMIUM YOUNG DESIGNERS AWARD IN THE MENSWEAR CATEGORY. SINCE 2011, THE LABEL HAS PRESENTED ITS COLLECTIONS IN PARIS, MILAN, BERLIN AND NEW YORK.
marC stone - zurich
40
D›ORA TOKAI -
MONACO
A CONTEMPORARY FAIRY TALE FOR JET-SETTING COSMOPOLITANS WRITTEN IN MONACO USING THE FINEST MATERIALS AND DETAILS
Q : HOW DO YOU INTERPRET YOUR INFLUENCE FROM THE GLAM AND NOBLE HERITAGE OF MONACO? a: IN TRUE LUXURY, TRADITION AND INNOVATION GO HAND IN HAND. THE PRINCIPALITY›S NOBLE HERITAGE AND MONTE-CARLO›S FAMED MOTORING ARE D›ORA TOKAI›S SOURCE OF INSPIRATION. OUR DESIGNS ARE TIMELESS WITH A CONTEMPORARY TWIST. THE USE OF MATERIALS, SUCH AS PEARLS, PRECIOUS METALS, GEMSTONES, LEATHERS AND FEATHERS BLEND WITH TECHNICAL INNOVATIONS. MY MISSION IS TO RETURN TO THE REAL ROOTS OF LUXURY WHILE BRINGING MONACO STYLE TO THE WORLD. 42
KAY LI -
HONG KONG
THE ESSENCE OF THE EPONYMOUS LABEL “KAY LI” IS TO PRODUCE INNOVATIVE PIECES THAT EXPRESS AND ACCENTUATE INDIVIDUALITY
44
Q : CAN YOU DESCRIBE THE SYNERGY BETWEEN YOUR BRAND AND THE CARTEL?
Q : WHAT DO YOU AIM TO ACHIEVE WITH YOUR CREATIONS?
a: THE CARTEL IS ALL ABOUT WEARABLE FORM OF ART. AN ART IS A RESULT OF WHAT AN ARTIST WANTS TO EXPRESS OR COMMUNICATE AT THAT POINT WHEN THE PIECE WAS CONCEIVED. MY WORK, I.E. MY COLLECTIONS, IS ALWAYS ABOUT MY LIFE JOURNEY, WHETHER I WAS FEELING SPIRITUAL, HOMESICK OR HAPPY ETC. THROUGH MY COLLECTIONS, I WANT TO TELL A STORY. IT IS NOT JUST A HEARTLESS PIECE OF CLOTHING ASSEMBLED TOGETHER. AND I THINK THE CARTEL APPRECIATES THIS GENUINE AND RAW FEELING THAT COMES IN MY CLOTHING. THE TEAM IN THE CARTEL REALLY PROVIDES ME WITH THE POSITIVE SUPPORT I NEED AS AN EMERGING DESIGNER; A SPACE TO DISPLAY MY WORK, A CHANNEL TO COMMUNICATE MY STORIES TO CUSTOMERS AND RELAY FEEDBACK TO ME SO I CAN IMPROVE.
a: ON ONE END OF THE MARKET, WE HAVE FAST FASHION (CHEAP AND DISPOSABLE). ON THE OTHER END, WE HAVE THE SUPER BRANDS (WHICH NOT MANY OF US CAN AFFORD). EITHER END, A LOT OF THEM ARE MASS PRODUCED IN MEGA FACTORIES IN CHINA, BANGLADESH, INDONESIA ETC. WHAT I WOULD LIKE THE EMERGING DESIGNERS AROUND THE WORLD TO DO IS TO PUT SOUL BACK INTO FASHION. WE ARE STORYTELLERS, AND WE ARE TRENDSETTERS. WE DON›T MASS PRODUCE. I WOULD LIKE PEOPLE WHO WEAR MY GARMENTS TO APPRECIATE ALL THE EFFORTS THAT GO IN TO THE MAKING OF THE PIECE. TO FEEL THE STORY AND BE PART OF THE STORY.
A RETROSPECTIVE:
ON UNISEX FASHION LONG HAIR AND FUNKY NECKLACES. THE INSTITUTION OF GENDER CHANGED RAPIDLY DURING THE 18TH CENTURY, A PERIOD WHICH WITNESSED THE TRANSITION FROM THE ‘ONE GENDER MODEL’ TO THE ‘TWO GENDERS MODEL’. EPISTEMOLOGICAL, SCIENTIFIC AND POLITICAL FACTORS CAUSED THE SHIFT FROM RECOGNIZING MEN AND WOMEN AS TWO VARIATIONS OF THE SAME COMMON SEX TO A COMPLETE ALTERNATIVE VIEW SUGGESTING THAT THEY ARE DIFFERENT BODY AND SOUL.
ACCORDING TO WIKIPEDIA, “THE TERM «UNISEX» WAS FIRST USED IN THE 1960S TO DESCRIBE A NEW STYLE OF CLOTHING DESIGNED TO BE WORN BY BOTH GENDERS”. DOES THAT MEAN MEN COULD WEAR FLORALS AND PINKS WHILE WOMEN COULD WEAR, WELL, PANTS AND SUITS? PERHAPS YES, BUT THAT DOESN’T QUITE SAY IT ALL. THE BRIEF STATEMENT IS AN ENCAPSULATION OF DECADES OF HISTORICAL MOVEMENTS, DRIVEN BY POP CULTURE, MOVIE STARS, AVANTE-GARDE DESIGNERS, THE MUSIC SCENE AND OF COURSE REBELLIOUS YOUTHS, ALL WHICH GRADUALLY DEMOLISHED THE BARRIER BETWEEN MEN’S AND WOMEN’S FASHION AND MADE IT ACCEPTABLE FOR ANY OF THEM TO CROSS OVER TO THE OTHER SIDE. ANDROGYNOUS FASHION, (A THESAURUS-LIKE TERM WHICH SIMPLY MEANS MAN-WOMAN IN GREEK), BECAME A POPULAR TREND SEEN ON THE CATWALKS STARTING 1990’S AND MORE SO IN CONTEMPORARY FASHION. WHILE IT DOESN’T QUITE MEAN THAT MEN AND WOMEN WOULD SHARE THE SAME WARDROBE, IT CERTAINLY INTRODUCES MULTI-FACETED IDENTITY-ENDORSED FASHION THAT COULD HIGHLIGHT 46
THE IDENTITY OF EACH GENDER AND BRING OUT THE STRONGEST TANGIBLE AND NON-TANGIBLE FEATURES IN THEIR CHARACTER. A FASHION-INFLUENCED MAN WHO COULD WEAR A PRINTED
SHIRT WITH A PAIR OF PANTS AND A CONFIDENT WOMAN WHO CAN PULL OFF A TUXEDO, WERE THE FIRST PROTOTYPES OF THE 1990’S. GETTING THERE; HOWEVER, TOOK GENERATIONS WITH MIXED IDEOLOGIES, GENDER STUDIES, ABUNDANT TEXTS, CHANGING INTERPRETATIONS AND LOTS OF ROCK STARS WITH
ORIGINALLY CONCEIVED BY ELISABETH CHARLOTTE, SISTERIN-LAW OF LOUIS XIV, WHO WAS MARRIED TO PHILLIP I, AN OPENLY HOMOSEXUAL. FRUSTRATED WITH HER OWN ASEXUAL LIFE, ELISABETH CHARLOTTE CONCEIVED THE CONCEPT OF ANDROGYNOUS DRESSING FOR ALL SEXES AND EXPELLED HER FRUSTRATION IN LONG RHETORIC LETTERS OF TALES DEPICTING HER UNFULFILLED LIFE AS AN ESTRANGED WIFE.
THE 20TH CENTURY POSTHUMOUSLY UNDERWENT SEVERAL MOVEMENTS IN EMBRACING ANDROGYNY. 1920S AND 1930S WITNESSED A SHY MOVEMENT IN WOMEN’S ‘CONSIDERATION’ OF PANTS, THOUGH IT WAS STILL RATHER UNACCEPTED BY SOCIETY’S NORMS. KATHARINE HEPBURN, THE STAR BEHIND CLASSICS SUCH AS “BRINGING UP BABY” AND “THE AFRICAN QUEEN”, AND ACCORDING TO HER BIOGRAPHY, ONCE THE FIRST MODEL, ACCORDING THREATENED TO WALK AROUND A FILM SET NAKED FOLLOWING TO AMERICAN HISTORIAN THE FILM PRODUCERS’ CONFISCATION OF HER PANTS, AN ITEM AND SEXOLOGIST THOMAL DEEMED INAPPROPRIATE IN A WOMAN’S WARDROBE AT THE LACQUER WHO IS ALSO THE TIME. ALTHOUGH THERE IS NO RECORD WHETHER SHE EVER AUTHOR BEHIND MAKING SEX: GOT HER PANTS BACK, THE NEXT GENERATION CERTAINLY BODY AND GENDER FROM LOADED UP ON PANTS THANKS TO THE GREAT DEPRESSION THE GREEKS TO FREUD, AND WORLD WAR II, WHERE WOMEN BLENDED WITH MEN, THEORIZES THAT “NO ONE WAS MUCH INTERESTED IN LOOKING WORE THEIR PANTS AND ADOPTED OTHER MACHO-DEEMED FOR EVIDENCE OF TWO DISTINCT SEXES, AT THE ANATOMICAL TRENDS OF WORK, DRESS CODE AND SOCIAL ROLE. AND CONCRETE PHYSIOLOGICAL DIFFERENCES BETWEEN MEN AND WOMEN, UNTIL SUCH DIFFERENCES BECAME POLITICALLY THE BIRTH OF ROCK&ROLL IN MID 1950’S ALTERED ALL THE IMPORTANT”. SO BASICALLY PRIOR TO 18TH CENTURY, IT WAS LAWS AND ORDER FOREVER, AND THANKS TO MR. PRESLEY, NORMAL TO ASSUME A FEMALE IDENTITY TO A PHYSICALLY MALE AND MR. BRANDO, JEANS BECAME THE ULTIMATE ANDROGENIC PERSON DUE TO SOCIAL STATUS FOR INSTANCE, WHILE WOMEN FASHION ITEM. SKINNY, RIPPED OR LOOSE, THE DENIM PANTS COULD, WHEN CONSIDERED APPROPRIATE, ENJOY THE LOOK, BECAME A SYMBOL OF FREEDOM, YOUTH, AND ANDROGYNY LIFESTYLE AND SOCIAL ROLE OF MEN DESPITE THEIR PHYSICALITY. AND SOON TRANSFORMED INTO AN ANTI-CONFORMISM SOCIAL THE SECOND MODEL, SYMBOL LIBERATING PEOPLE FROM DRESS CODES AND WHICH PREVAILED OFFERING THEM A LITTLE BIT OF COMFORT AND TOO MUCH IN THE 18TH AND FUNCTIONALITY. 19TH CENTURY, WAS THE FOUNDATION “PUT ON YOUR PANTS ONE LEG AT A TIME, JUST LIKE EVERYBODY TO MODERN DAY ELSE» COCO CHANEL’S INSTRUCTIONS WERE CLEAR AND SIMPLE ‘GENDER IDENTITY’, ENCOURAGING A GENERATION OF WOMEN TO ABANDON THEIR WHERE BOTH MALE BODY BRACES AND, AND FEMALE ARE IN FACT, GET THEIR SEEN AS POLAR BODIES BACK. OPPOSITES WITH UNIQUE QUALITIES. THE ANDROGYNOUS MOVEMENT IN THEREFORE, FASHION WAS FAR ALTHOUGH MODERN COMPLEMENTED BY DAY GENDER IDENTITY OTHER RISING TRENDS RESTS ON ALTERNATIVE PILLARS, THE ONE-SEX MODEL IN BEAUTY DEFINITION SUGGESTED A WIDER APPROACH IN THE IDENTIFICATION OF AND SOCIAL PROTOTYPES. WHILE ROCK&ROLL BANDS BEGAN BOTH MEN AND WOMEN, DISREGARDING THE ANATOMICAL AND GROWING THEIR HAIR LONG AND ACCESSORIZING HEAVILY NATURAL FACTORS. AND ALTHOUGH YVES SAINT LAURENT MIGHT WITH NECKLACES AND CHAINS, WOMEN BEGAN CUTTING THEIR HAVE BEEN THE FIRST TO LAUNCH THE ANDROGYNOUS SUIT ON HAIR SHORT AND ADOPTING THE ‘BOYISH’ LOOK, RESULTING THE RUNWAY, JENNIFER M JONES, THE AUTHOR BEHIND SEXING IN A ‘COMME DES GARCONS’ MOVEMENT WHERE IT WAS LA MODE, ARGUES THAT THAT THE ANDROGYNOUS LOOK WAS RATHER HARD TO DISTINGUISH THE ‘HE’ FROM THE ‘SHE’.
A
A RETROSPECTIVE:
ON UNISEX FASHION NON-CONFORMING TO GENDER PROTOTYPES WAS ALSO A RESULT OF SOCIETY LOSING FAITH IN WHAT WAS TRADITIONALLY ‘GIVEN’ BY AUTHORITY FIGURES AND IDEOLOGIES, A CONSEQUENCE TO THE BLOODY WARS AND THE FAILING SYSTEMS, AND PEOPLE BEGAN BLURRING BOUNDARIES AND ALTERING DEFINITIONS.
SITE, HOURANI BEGINS WITH ANATOMICAL STUDIES OF THE BODY BEFORE MOVING ON TO CREATING WHAT HE ENVISIONS AS SENSUAL, MONOCHROME AND TIMELESS. HIS EXHIBITION ‘5 WHAT ’UNISEX’ MEANS NOWADAYS, FROM A CARTEL PERSPECTIVE, YEARS OF UNISEX’, HOSTED AND WITH ALL RESPECT TO WIKIPEDIA, IS A TRANSFORMABLE AT THE CARTEL, IS A VISUAL FASHION ITEM RICH WITH DEFINITIONS, CAPACITIES AND LAYERS RETROSPECTIVE OF HIS AND ABLE TO ADAPT TO WORK IN THE CREATION OF THE BODY IT ENCLOSES. IT THE RAD HOURANI LABEL CONFORMS TO NO CODES AND THE NARRATION OF A LONG LOVE STORY WITH UNISEX. OF COLOR, TEXTURE OR SILHOUETTE, BUT RATHER - MAY BARBER IS A CREATIVE BOUNDARY THAT BECOMES ALIVE, FRESH AND UNIQUE, WITH EVERY SINGLE BODY IT ENCOUNTERS. WITH THIS FIRST ISSUE OF THE CARTEL MAGAZINE, AND BECAUSE WE CATER TO BOTH MEN AND WOMEN IN OUR FASHION OFFERINGS, WE THOUGHT IT WOULD BE FUN TO TOUCH UPON THIS WIDELY-MISUNDERSTOOD TREND AND HIGHLIGHT A GREAT EXAMPLE THAT COULD SHOWCASE JUST PERFECTLY HOW THIS TREND COULD WORK. NO ONE DOES IT BETTER THAN, RAD HOURANI, THE WORLD’S FIRST COUTURIER TO INTRODUCE UNISEX HAUTE COUTURE CREATING ARCHITECTURAL COLLECTIONS THAT CAN BE TRANSFORMED IN DIFFERENT ARTICLES PORTRAYING HIS VISION OF ‘UNISEX’. HAUTE COUTURE, A WORLD WHERE NAMES LIKE ELIE SAAB AND VALENTINO RING STRONG BELLS, EMBRACED RAD HOURANI AS THE FIRST UNISEX MEMBER TO BE RECOGNIZED BY THE CHAMBRE SYNDICALE DE LA HAUTE COUTURE. A CANADIAN DESIGNER WITH MIDDLE EASTERN ROOTS WHO STUMBLED UPON ANATOMY, PHOTOGRAPHY, MODELING AND ART DIRECTION BEFORE DECIDING TO MAKE HIS OWN CLOTHES, RAD HOURANI ATTEMPTS TO REDEFINE ANDROGYNY TAKING IT TO A WHOLE NEW LEVEL WHERE ALL BOUNDARIES ARE ERASED: “ANDROGYNY IS A STYLE,” HE SAID. “UNISEX IS ERASING ALL LIMITATIONS.” HIS PROCESS, WHICH HE DESCRIBES AS “EVOLUTIONARY”, INCORPORATES ALL FORMS OF RESEARCH AND CAN VERY MUCH BE DESCRIBED AS ARCHITECTURAL. LIKE AN ARCHITECT SURVEYING THE 48
AN interview:
with rad horani RAD IS THE FIRST OFFICIEL INVITED MEMBER BY LA CHAMBRE SYNDICALE IN PARIS TO DESIGN AND SHOW A UNISEX HAUTE COUTURE SHOW
q : YOUR DESIGNS ARE OFTEN DESCRIBED AS ARCHITECTURAL. CAN YOU TELL US A BIT ABOUT THE ARCHITECTURE OF THE RAD HOURANI CREATIONS? I THINK MY COLLECTIONS ARE DEFINITELY ARCHITECTURAL, BUT I AM NOT REALLY INSPIRED BY IT. I DON’T LOOK TO THINGS FOR INSPIRATION. MY DESIGNS COME IN A VERY ORGANIC AND NATURAL WAY. FASHION AND ARCHITECTURE ARE VERY RELATED, BOTH AESTHETIC AND ARE A FORM OF EXPRESSION.
q : HOW DO YOU DESIGN FOR BOTH A FEMALE AND MALE ‘THE UNISEX’? FIRST OF ALL, BEFORE I STARTED MY FIRST COLLECTION, I TOOK A YEAR BEFORE SKETCHING MY FIRST COLLECTION TO REALLY STUDY AND UNDERSTAND THE ANATOMY OF A MAN AND WOMAN, THE QUESTION CAME UP WHY SHOULD A MAN BE DRESSED DIFFERENT THAN A WOMAN? SO I WANTED TO ASSEMBLE THE TWO PATTERNS/CANVASES TOGETHER TO CREATE ONE CANVAS THAT IS MADE TO ADAPT TO ANY BODY, A MASCULINE OR FEMININE BODY. ALSO, BY SKETCHING THINGS IN A RECTANGULAR LINE, AFTER CONSTRUCTING THAT CANVAS, I STARTED DOING TESTS ON DIFFERENT TYPES OF BODIES AND DIFFERENT TYPES OF SHAPES. FINALLY I CAME UP WITH A CANVAS THAT IS VERY RECTANGULAR IN A WAY. ALSO THIS CANVAS IS VERY VERSATILE IN TERMS OF CHANGING THE STYLE OF IT, IF YOU WANT IT TO BE SENSUAL, IF YOU WANT IT TO BE FEMININE, MASCULINE, CASUAL, SPORTY, WHATEVER STYLE YOU WOULD LIKE TO GIVE TO THIS GARMENT, YOU CAN GIVE IT. BECAUSE IT’S A VERY STRAIGHT CANVAS, AND EASY TO TRANSFORM. FROM LOOKING AT A CATWALK SOMEONE CAN DECIDE, OH THIS LOOK IS ANDROGYNOUS, THIS LOOK IS FEMININE. BUT YOU CAN’T JUST LOOK AT THE CATWALK, AND SAY THIS IS THE WAY THE CLOTHES SHOULD BE WORN. THE CUSTOMER HAS TO TAKE IT AND ADAPT IT TO THEIR PERSONALITY.
q : HOW DO YOU DEFINE THE RAD HOURANI MAN OR WOMAN? FIRST OF ALL IT’S A PERSON, NOT A WOMAN OR MAN, IT’S NOT SOMEONE WHO DIVIDES THEMSELVES BY GENDER OR BY AGE, OR BY RACE, OR RELIGION. IT IS SOMEONE WHO LIKES A NEW WAY OF DRESSING AND WANTS TO LOOK TIMELESS, THAT WILL LOOK BACK IN TEN YEARS AND STILL WANT TO HAVE THAT PIECE IN THEIR WARDROBE. WE HAVE CLIENTS THAT ARE 65 YEARS OLD, WITH CHILDREN, SOME WHICH ARE PLUS SIZE, SOME THAT ARE 16 YEARS OLD AND ADMIRE THE LINE. AND WANT TO BE DIFFERENT OR EVEN A BUSINESSMAN. THE CLIENTS ALWAYS SURPRISE ME AND MAKE IT REALLY EXCITING FOR ME AND IT GIVES ME A LOT OF ENERGY KNOWING THAT.
q : WHAT ARE YOUR HOPES FOR BEING AT THE CARTEL? I HOPE TO FIRST OF ALL FIT INTO YOUR WORLD, AND TO PARTICIPATE IN A MODERN WAY OF DRESSING THAT CAN EXCITE PEOPLE AND GIVE THEM A NEW MESSAGE. I ALSO WOULD LIKE TO PARTICIPATE IN HELPING YOUR CLIENTS FEEL FREE, NEW, CONFIDENT AND TIMELESS. ONE OF THE BEST COMPLIMENTS I GET FROM CLIENTS IS THAT THEY FEEL AGELESS AND TIMELESS. I HOPE TO BE ABLE TO BRING THAT WITH THE CARTEL IN DUBAI.
INTERVIEWED BY KATHLEEN BURBRIDGE AND FEYROUZ ASHOURA
50
RICHARD DE LA TOUR -
FRANCE
JEWELLERY DESIGNER USING LEATHER, METAL AND WOOD AND COMBINATIONS OF LEATHER AND LACE
52
Q : HOW LONG DOES IT USUALLY TAKE YOU FROM THE BIRTH OF THE IDEA UNTIL THE FINAL PRODUCT?
Q : WHAT DO YOU LIKE MOST ABOUT HANDWORK??
a: I CONSTANTLY THINK ABOUT MY JEWELRY. I ALWAYS HAVE A NOTEBOOK TO JOT DOWN IDEAS, TECHNIQUES ... I MAkE MANY TESTS BEFORE MAKING THE FINAL PIECES. I USUALLY PUT 6 MONTHS TO 1 YEAR TO REACH A COLLECTION.
a: IT IS PRECISELY THE ABILITY TO TEST MANY THINGS, AND THUS BE ABLE TO CONTROL ALL STAGES, FROM CONCEPTION TO COMPLETION. I AM FASCINATED BY THE BEAUTY AND THE THOROUGHNESS OF CRAFTSMANSHIP !
ashtiani -
cana"
A MODERNISTIC AND CLEAN-CUT TAKE ON DESIGN INSPIRED BY THE CLASSIC ERA
54
Q : WHERE DOES YOUR FEARLESSNESS OF TEXTURECLASHING COME FROM?
Q : WHAT CHALLENGES DO YOU FACE IN YOUR ! PROCESS?
a: MY UNDENIABLE OBSESSION WITH DIFFERENT TEXTURES AND COLOURS NATURALLY FORCED ME TO EXPERIMENT COMBINING DIFFERENT FABRICS IN ONE GARMENT.
a: I ALWAYS GO THROUGH HESITATING MOMENTS AT THE BEGINNING OF EACH COLLECTION, USUALLY STARTING WITH THE MOST COMPLICATED PIECE THAT HAS AT LEAST 3 DIFFERENT FABRICS, IF IT FEELS AND LOOKS RIGHT THEN I CONTINUE WITH THE REST.
!ER STORY III content PROVIDED BY BRAND
ILJA -
aMSTER"M
A DECADE OF LUXURY MAKING FOUNDED IN 2005, THE LABEL ILJA AROSE FROM ILJA VISSER’S DREAM TO EXPRESS HER INDIVIDUAL CONCEPTUAL VISION AND ARTISTIC APPROACH TO FASHION. WITH HIGH REGARD TO IMPECCABLE CRAFTSMANSHIP IN TAILORING, FABRIC MANIPULATION AND INFLUENCE OF MODERN INNOVATIONS, THE COLLECTION EXHIBITS AN ORGANIC AND SCULPTURAL DISTINCTION IN HER COUTURE SHOWPIECES, AS WELL AS THE MORE WEARABLE PIECES OF THE LINE. THE ILJA LABEL COMBINES INSPIRATIONS OF THE ARTS AND THE DUALITY OF STRENGTH AND FEMININITY IN WOMEN INTO OUTSPOKEN GARMENT AND SHOE DESIGNS. THE CONTRADICTORY ELEMENTS OF HARD/SOFT AND STRONG/ FRAGILE ARE CONCEPTUALIZED THROUGH THE USE OF ORGANIC SHAPES BY INCORPORATING TRADITIONAL DESIGN TECHNIQUES WITH CONTEMPORARY AND INNOVATIONAL APPROACHES. THE SKILLFUL CONTROL OF MATERIALS PRODUCES DYNAMIC MOVEMENTS ESTABLISHED BY A STRUCTURED FLUIDITY OF THE GARMENTS. THE VISION OF ILJA IS PROVIDING WOMEN THE ABILITY TO EXPRESS FRAGILITY AND COMPASSION, TO SHOW THEIR SENSITIVE SIDE, WHILE REMAINING AUTHORITATIVE AND RESPECTED FOR BOTH THEIR BEAUTY AND STRENGTH. THIS VISION IS FULFILLED THROUGH THE COMPANY’S MISSION, CREATING WEARABLE ART IN ORDER TO TELL A STORY.
DUTCH FASHION DESIGNER, ILJA VISSER, EMBARKED ON HER CAREER IN FASHION BY ATTENDING THE SCHOOL OF ARTS IN ARNHEM, THE NETHERLANDS. STUDYING FASHION DESIGN LED HER TO NEW YORK FOR INTERNSHIPS AT DONNA KARAN AND MARIA CORNEJO WHERE SHE ACQUIRED HER FINE SKILLS OF TAILORING. UPON GRADUATION IN 2001, ILJA MOVED TO MILAN, ITALY TO FURTHER DISCOVER THE FOUNDATION OF FASHION, TEXTILES, AND DESIGN. LAUNCHING HER FIRST NAMESAKE COUTURE LINE, ILJA, IN 2005, ILJA WAS ABLE TO EXPRESS HER OWN CONCEPTUAL VISION AND AR TISTIC APPROACH TO FASHION. WITH HIGH REGARD TO IMPECCABLE CRAFTSMANSHIP IN TAILORING, FABRIC MANIPULATION AND INFLUENCE OF CONTEMPORARY INNOVATIONS, HER COLLECTIONS EXHIBIT AN ORGANIC AND SCULPTURAL DISTINCTION.FOLLOWING 56
SUCCESS OF HER COUTURE LINE, ILJA DECIDED TO TRANSFORM THE SAME NATURE AND ATTRIBUTES OF ILJA INTO MORE WEARABLE, EVERYDAY DESIGNS. THE PRÊT-A-PORTER LINE, READY TO FISH_ WAS INTRODUCED IN 2006, TRANSLATING A CONSISTENT INNOVATIONAL APPROACH OF ARTISTIC EXPRESSIONS AS ILJA DOES.
ILJA -
58
aMSTER"M
ILJA -
AUTUMN/WINTER 13 SKINFONIE
A DANCE IS ABOUT PURE EXPRESSION AND GRACE. IT IS ONE OF THE MOST EMOTIONAL MOVEMENTS A HUMAN BEING CAN CREATE WITH HIS OWN BODY. THIS COLLECTION IS ENTIRELY STANDING IN THE NAME OF BEAUTY AND MOVEMENT. IT REPRESENTS A BLEND OF MODERN EXPRESSIONAL DANCE WITH CLASSICAL BALLET INFLUENCES. BOTH DISCIPLINES ARE COMBINED IN SYMMETRICAL ORGANIC SHAPES AND UNDERLINED WITH THE MOVING LOOK OF VOLUMINOUS SKIRTS AND DRESSES. LIGHTWEIGHT VISCOSE BATIST IS PAIRED WITH HEAVY WASHED SILKS, WHILE PALE SKIN COLOURS ARE COMBINED WITH RAW STONE COLOURS LIKE CONCRETE GREY AND BLACK MELANGE. SKINFONIE IS THE FUSION OF INSTINCTIVE MOVEMENT, SOUND AND THE ART OF DANCE. FOR THIS COLLECTION, HANDCRAFTED GRAPHICS WERE DIGITALLY PRINTED ON FABRIC, CREATING THE ILLUSION OF SOUND FREQUENCIES MOVING ALONG THE SILHOUETTES.
60
aMSTER"M
caroline minar -
switz./uk
CAROLINE›S SIGNATURE TECHNIQUE INVOLVES PRECISE LASER CUTTTING INSPIRED BY THE RIGID AESTHETIC OF COMPUTER LANGUAGE
Q : WHO IS THE CAROLINE MINAR WOMAN? a: THE CAROLINE MINAR WOMAN LIKES SIMPLICITY, YET CARES ABOUT DETAILS IN DESIGN. SHE PREFERS INTERESTING AND UNIQUE DESIGN TO FAST FASHION AND LIKES TO ACCESSORISE AND ADD SOMETHING TO HER FAVOURITE OUTFIT WITH A CAROLINE MINAR ITEM. I DO NOT WANT TO CREATE CLOTHES THAT REPLACE OTHER CLOTHES, BUT RATHER WANT TO CREATE AN OBJECT THAT SOMEBODY WANTS TO OWN IN THEIR WARDROBE I DO NOT WANT TO CREATE CLOTHES THAT REPLACE OTHER CLOTHES, BUT RATHER WANT TO 62
CREATE AN OBJECT THAT SOMEBODY WANTS TO OWN IN THEIR WARDROBE AND IS EXCITED TO WEAR. I›D LIKE TO THINK THAT THE CLOTHES I CREATE WILL HAVE A LONG LIFE AND THAT THE WEARER APPRECIATES ITS TIMELESS DESIGN.
JACOB BIRGE -
SCOTLAND
A FORWARD THINKING FASHION BRAND SPECIALIZING IN HIGH-END FUTURISTIC WOMENSWEAR AND ACCESSORIES
Q : DO YOU GO AGAINST THE TREND, PREDICT THE TREND OR IGNORE THE TREND? a: IN MY WORK I TRY TO BE AWARE OF CURRENT TRENDS BY CONDUCTING RESEARCH WITHIN FASHION AND MODERN SOCIETY. I USED TO BE MORE AGAINST TRENDS, BUT NOW IT SEEMS LIKE THEY INFLUENCE ME MORE AND HAVE IMPACT ON MY WORK, BUT I ALWAYS TRY TO BRING SOMETHING FRESH AND NEW TO FASHION AND ADD SOME VALUE TO THE REALITY. 64
MUSE MAISON AN EDGY LUXURY BRAND THAT BLENDS TEXTURES AND PRINTS TOGETHER TO CREATE INNOVATIVE FASHION
Q : AS THE NEWEST MEMBERS TO THE CARTEL FAMILY TELL US A BIT ABOUT YOURSELVES! a: Muse Maison is edgy luxury. We utilize our extensive knowledge of haute couture and have A design philosophy that lends itself to innovative fashion. Our aesthetic sense guides us into using contrasting textures that are tactile and blend together organically and sensuously. The end product is strong yet soft in its femininity. Playing against and complimenting each other, all the components come together to create an unusual garment which is cutting
66
standards. In every woman there is a muse, Someone who has an identity and is a creation of her own life experiences. She is OUR muse and we want to make her feel beautiful in what we create for her.
uae
!ER STORY IV content PROVIDED BY BRAND
byungmun seo -
seoul/uk
NARRATED WITH MONOCHROMES BYUNGMUN SEO IS A VISUALLY PROVOCATIVE MENSWEAR READY-TO-WEAR LINE. IT DISPLAYS AN UNCONVENTIONAL CONSTRUCTION OF GARMENT THAT OFTEN PLAYS WITH CREATIVE PATTERN CUTTING AND PUSHES THE BOUNDARIES OF TRADITIONAL FASHION AND SILHOUETTE. THE PHILOSOPHY OF THIS LABEL IS THAT FASHION NEEDS TO BE FUNCTIONAL FIRST OF ALL, BUT ALSO CONCEIVE A STYLE THAT REFLECTS THE MOOD AND STATE OF MIND: POETIC, SENSITIVE AND MELANCHOLIC. THE INSPIRATION EXUDES A SENSE OF DISCREET CHIC, THE ESSENCE OF TIMELESS STYLE, DRAWN ON A MONOCHROMATIC, POETIC EXPRESSION THROUGH EXPERIMENTAL PATTERN CUTTING. THE LIMIT OF COLOUR ON THIS BRAND (PALETTE OF BLACK, GREY AND TOUCHES OF PURE WHITES) ALLOWS TO MIX ALL PIECES WITH EACH OTHER AND TO CREATE FRESH, PERSONALIZED LOOKS. IT ALSO CAN ACCENTUATE THE CONTRAST OF HIGH TEXTURED FABRIC SHOWING DIVERSITY AND HARMONY. THE INTELLIGENT COMBINATION OF HIGH END FABRIC WITH A VARIETY OF OTHER MATERIALS GIVES THE BRAND A LUXURIOUS AND EXCLUSIVE LOOK AND FEEL. THE CONTRASTING FABRICS ARE DRAPED AND LAYERED TO CREATE VERY DISTINCTIVE AND SOMBRE CLOTHES TO CLAD A TWENTY-FIRST CENTURY GENTLEMAN. BYUNGMUN SEO EXPRESSES PHENOMENA INTEREST THROUGH THE CREATIVE NARRATIVES RATHER THAN AS RESPONSES TO SEASONAL TRENDS.
BYUNGMUN SEO WAS BORN AND RAISED IN SEOUL, SOUTH KOREA. HE MOVED TO LONDON WHERE HE GRADUATED FROM LONDON COLLEGE OF FASHION WITH MA IN FASHION DESIGN AND TECHNOLOGY. HIS COLLECTION WAS SHOWCASED AT THE V & A MUSEUM. THE COLLECTION WAS DISPLAYED IN UNCONVENTIONAL USE OF GARMENT PATTERN, AS WELL AS IN GIVING NEW UNCOMMON MEANING BY CREATIVE PATTERN CUTTING. THROUGH ALL DESIGN DEVELOPMENT, HE ALWAYS ENJOYS THE PROCESS OF MAKING A STORY, TAKING ELEMENTS FROM DIVERSE AREAS AND BRINGING THEM INTO A MORE CONTEMPORARY FASHION DESIGN AND HE IS ALSO OFTEN OBSESSIVE ABOUT DEPICTING HUMAN NATURE CREATING A STORY AND THEN INTERPRETING THE STORY IN HIS WORK. HE ASPIRES TO BECOME AN ARTISTIC FASHION DESIGNER BY EXPANDING AN INSPIRATION TO OTHER RELATED AREAS, SUCH AS THE FILM, FINE ARTS AND HISTORY. IT IS TO DERIVE A NEW CONCEPT FROM THE INTERPRETATION AND APPLY IT TO THE DEVELOPMENT OF DESIGN. 68
HE ASPIRES TO BECOME AN ARTISTIC FASHION DESIGNER BY EXPANDING AN INSPIRATION TO OTHER RELATED AREAS, SUCH AS THE FILM, FINE ARTS AND HISTORY. IT IS TO DERIVE A NEW CONCEPT FROM THE INTERPRETATION AND APPLY IT TO THE DEVELOPMENT OF DESIGN. IT REPRESENTS A CULTURAL ENDEAVOR AIMING TO REFLECT THE SPIRIT OF THE 21ST CENTURY GENTLEMAN FROM HIS PERSPECTIVE.
byungmun seo -
[
FALL/WINTER 2013 STUDY OF HIDDEN RECESS OF MIND
FOR THIS COLLECTION, BYUNGMAN WAS LOOKING DEEPER INTO THE IMMENSE SHADOWS OF THE UNCONSCIOUS. ENVISIONING A FULL METAMORPHOSIS WITHIN THE UNCONSCIOUS, HE SET THE INHERENT DIALECTIC IN MOTION. THIS DIALECTIC IS RESOLVED BY THE FUSION OF THE UNEXPECTED AND INEXISTENT PHENOMENA IN THE CONSCIOUS AND MANIFESTS IN A RESISTANCE AGAINST THE TRADITIONAL AND EXISTING PERSPECTIVE OF OBJECTS. HE CONTEMPLATED THIS HIDDEN RECESS OF THE MIND IN FREEDOM AND VENTURED TO LIBERATE THE MIND OF PRECONCEIVED IDEAS, TO RELEASE ALL OBJECTS FROM THEIR CUSTOMARY ASSOCIATION, AND TO REVITALIZE THE POETIC IMAGERY THEN HE PURSUED TO DEVELOP THIS IMAGERY INTO THE CONSTRUCTION OF GARMENT. THE CONSTRUCTION WAS LED BY A SINGLE CONCEPT WHERE A NEW SILHOUETTE IS CREATED BY THE SPATIAL MATING OF BOTH TWO-DIMENSIONAL AND THREE-DIMENSIONAL OBJECTS. THIS ALSO BRINGS AN ASPECT WHERE SUCH PLAYING OF SHAPES IN CONSTRUCTION REFUSES HIS INITIAL PERCEPTION OF THEM AND GIVES THE OBJECTS A NEW MEANING. 70
.
seoul/uk
ONE YEAR OF PHOTOGRAPHER
PETER RICHWEISZ HAIR AND MAKEUP
JOJO DANTESPADUA STYLING
MAY BARBER, PETER RICHWEISZ + BARBARA MANDICH
MODELS
PETER, MARIA + KATIA [ PROVIDED BY MMG MODELS DUBAI ]
74
COVER: Top - Cunnington and Sanderson SKIRT - Cunnington and Sanderson Shoulders Chains - Krave Shoes - Jailjeans Sunglasses - Andy Wolf MARIA WEARS: DRESS - ZORAN DOBRIC SKIRT - HEMYCA PETER WEARS: JACKET - BYUNGMAN SEO TROUSERS - SONGZIO BOOTS - RYNSHU KATIA WEARS: TOP - AMBER FEROZ TROUSERS - AMBER FEROZ SHOES - AMBER FEROZ NECKLACE - KARAGH
byungmun seo -
seoul/uk
SPRING/SUMMER 2014 PARADOX OF NON-EXISTANT EXISTANCE
MANY CREATIONS HAVE BEEN DERIVED AND DEVELOPED FROM THE NOTION OF THE ARCHETYPE OF AN EXISTING OBJECT. THE IDEA ABOUT THE ARCHETYPE OF THE OBJECT HAS BEEN ALSO A RECURRING TOPIC EXPLORED BY MANY ARTISTS. BUT MOST ARCHETYPES OF EXISTING OBJECTS IN MODERN SOCIETY HAVE BEEN STUCK IN THE CONCEPT THAT IS PREDETERMINED BY THE NOTION OF CONVENIENCE FOR CAPITALISM AND MATERIALISM. THEY HAVE BEEN SEEN ONLY IN THEIR DESIGNATED PERSPECTIVE. IF IT IS NOT EXISTED IN THE WAY THAT THEY WERE SUPPOSED TO BE AND MOST PEOPLE EXPECT TO SEE, IT CAN BE PERCEIVED THAT IT IS NONEXISTENT AS PEOPLE TEND TO BELIEVE ONLY WHAT THEY HAVE BELIEVED AND THEY ALSO SEE ONLY WHAT THEY WANT TO SEE AND IT SHOWS REPULSION AGAINST THE UNFAMILIAR. THIS PARADOX CAN BE RESOLVED BY THE FUSION OF THE UNEXPECTED AND INEXISTENT ASPECT OF OBJECTS AND MANIFESTS IN A RESISTANCE AGAINST THE TRADITIONAL AND EXISTING PERSPECTIVE OF OBJECTS. 72
PETER WEARS: JACKET - SANDOR LAKATOS TSHIRT - SANDOR LAKATOS TROUSERS - SANDOR LAKATOS BAG - RITA SZILAS
KATIA WEARS: JACKET - JACOB BIRGE VISION DRESS - MUSE MAISON
MARIA WEARS: COAT - CORNIO DRESS - lynnja wang
PETER WEARS: COAT - BYUNGMAN SEO SHORTS - PATH SHOES - RYNSHU
MARIA WEARS: JACKET - CAROLINE MINAR DRESS - Pitchouguina SUNGLASSES - ANDY WOLF
KATIA WEARS: JACKET - HEMYCA DRESS - CHARLIE DESIGN SHOES - AMBER FEROZ
PETER WEARS: JACKET - Spirit by T.B JEANS - JAIL JEANS MARIA WEARS: DRESS - MUSE MAISON
KATIA WEARS: DRESS - CHARLIE DESIGN
KATIA WEARS: DRESS - NATASA HRUPIC BRACELET - BRANTE BAG - RITA SZILAS PETER WEARS: JACKET - SPIRIT BY T.B. SHORTS - SONGZIO BOOTS - RYNSHU MARIA WEARS: TROUSERS - PATH SHIRT - PATH BRACELETS - KARAGH
PETER WEARS: JACKET - SPIRIT BY T.B. SHORTS - SONGZIO BOOTS - RYNSHU PETER WEARS: JACKET - BYUNGMAN SEO SHORTS - SONGZIO
MARIA WEARS: TROUSERS - PATH SHIRT - PATH BRACELETS - KARAGH
MARIA WEARS: DRESS - MUSE MAISON COLLAR - RYNSHU SHOES - JAIL JEANS
MARIA WEARS: TOP - SPIRIT BY T.B. CORSET TOP - MAIMOONA BODY BRACE - UNA BURKE SKIRT - HEMYCA SHOES - JAIL JEANS
KATIA WEARS: SHIRT - PATH SKIRT - REEMAMI
MARIA WEARS: JACKET - CUNNINGTON AND SANDERSON
PETER WEARS: TROUSERS - SANDOR LAKATOS SHIRT - SPIRIT BY T.B JACKET - SPIRIT BY T.B. BOOTS - RYNSHU MARIA WEARS: JACKET - SANDOR LAKATOS DRESS - NATASA HRUPIC KATIA WEARS: TOP - AMBER FEROZ TROUSERS - AMBER FEROZ
12
12