THE DAPIFER BRAVO BRAVO F/W13

THE DAPIFER F/W 13

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THEDAPIFER

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THE DAPIFER CO N T RI BU T O RS

Editor-in-Chief

L a kenya Kel l y Cr eative Dir ector

Fr an ci s Vazquez Contr ibuting Photo Editor

J o n G o r do n Associate Fashion Producer

Nathan Dotson Associate Beauty Editor (Hair)

Keila Sone Associate Beauty Editor (Make Up)

Romana Lai Associate Accessories Editor

Vanessa Bellan CONTRIBUTING PHOTOGRAPHERS Martin Brown Studio Jon Gordon Yachin Parham Francis Vazquez J.D. Barnes David Zanes Duck Feeney Seth London

FEATURED INTERVIEWS Oisin Byrne Josef Meloy Dana-Maxx

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GLOSSARY EDITORIAL I CITY LIGHTS

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RADAR: COSTELLO

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GUILTY DREAMS

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LOVE THY SISTER

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RADAR: BRANDON

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THE GENESIS

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ARTICLE I BLACK INK

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DANA-MAXX

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EDITORIAL II

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BRAVO BRAVO

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EASTERN PROMISES

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OFF DUTY: SUZI

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FEMME FATALE

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GLOSSARY BEAUTY I NAIL: POP ART

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BEAUTY INSIDER

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TOUGH LUXE: GOLD

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BLACK HORIZON

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ARTICLE II INSIDE THE CHAOS

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EDITOR’S RUNWAY REWIND

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PF RELEASE PARTY

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FASHION FILM PAGE

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Letter Editor from the

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efinitions are always difficult things to define. I think that’s what makes the process of creating for us, so intensely personal and emotional. In this issue we continue to show you who we are as creators, artists, editors, and producers. This is our performance or rather “our” performance. An ongoing collection of images, people, places, and ideas created just as much by you as ourselves. This is The Dapifer.

The title “Bravo, Bravo” has many meanings for us personally , and for the magazine collectively. It is our attempt to construct and deconstruct the millions of thoughts and ideas trying to escape our minds each day of our lives. In doing so , we challenge both our ourselves and our readers to remember one thing. We must remember from where these thoughts come. For fashion is completely mundane and utterly useless without the forces that make it meaningful. We are the forces that make it meaningful.

A sharp line or soft silhouette tracing the glossed over runways and monochromatic boardrooms of the World, says something more than “this is fashion”. It has become fashion- because we needed it to- because sometimes words aren’t enough. It can be argued that this is the very place where all art begins. In the inability to accept the world as it is, and the willingness to push forward- toward a new type of reality.

The process of creating then- must be emotional and highly personal, or else it is not art. Like most other things in our world, it becomes manufactured; a sort of neo-art industrial revolution. We find inspiration in exposing this type of critical commentary. Fashion has the beautiful ability to ask the questions we cannot and provide its own type of silent answer. Some may call it social commentary, while others may brand it as modern classicism. Many view it simply as ‘fashion’, a two-syllable noun written across billboards and magazines with no meaning outside of the 4 walls that contain it.

An iconic editor once said, “Fashion is about change”. It is with this simple, yet powerful mantra that we persist on pushing forward. In creating and producing something much more than a fashion magazine. Our applause may be premature, or perhaps it’s just our way of starting the show. Yes, that’s it. “Bravo, Bravo”

-Lakenya Kell y

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Pho to Art graph er: D Fa s i r e c t o r Ya c h i hio n P n E : Fr a n arh cis dito Va z a m r: L qu ake nya ez Ke l ly

JACKET GOLD HAIR SHOULDERS & BLACK SEQUINED PANTS BY JOANNA MASTROIANNI.

Mak e Hai Up: R om r: M o d Ke i l a S a n a L ai el: C on arin e a @ VNY

E. G TA N , I N I, W NN I, S, V GO IA SK OE O V GE R O SH IN ST AR NG FR MA SW IVI K A , R AC N GS D BL AN RIN ED O J AR DD E TU S

EMBOSSED GOLD GOWN, JOANNA MASTROIANNI, EARRINGS, SWAROVSKI.

EMBOSSED GOLD JACKET, LEATHER PANTS, BOTH JOANNA MASTROIANNI, SHEER TOP, LEONID GUREVICH, LION PENDANT NECKLACE, VINTAGE.

FEATHER PLUME TOP, METALLIC TROUSERS, BOTH JOANNA MASTROIANNI.

FRINGE HALTER DRESS, LACE OVERLAY SLEEVES, JOANNA MASTROIANNI.

JACKET, JOANNA MASTROIANNI, CASHMERE SWEATER, DEAR CASHMERE, TROUSESRS, TRUE ROYAL, CLUTH, AVEC MODERATION, EARRINGS, VINTAGE.

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R A D A R C O S T E L L O

T A G L I A P I E T R A

Photos compliments of Starworks Group New York Fashion Week S/S 14

The design, genius-duo formally known as Costello Tagliapietra takes the term “effortless chic” to entirely new levels. Clean lines, impeccable tailoring, and a complete ‘couture au natural’ feel are epitomes of this rising fashion house. This effortlessly beautiful statement is sure to keep the brand on our radar for many seasons to come.

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GUILTY DREAMS

The dream is guilty of the crime. Hidden within; free from judgement, and above innocence, it stirs the mind with dangerous desires. And we lay in the bed, willful victims, still.

Trenchcoat by Jaclyn Iavarone

Top by Dahn Duangkamol

(left) Vest & Dress by Christina Yi (right) Jacket by Christina Yi, Pants by Sylvia Rodriguez

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(right) Top by Dahn Duangkamol, Pants by Nathalie Kraynina (left) Blazer by Christina Yi, Pants by Hannah Christine

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Shades by Ritchie White Top by Jazmine Miller Pants by Nathalie Kraynina

Blazer by Anya Zuyeva

Bodysuit by Sylvia Rodriguez Skirt by Hannah Christine

Photographer - Francis Vazquez Stylist - eLeana Kanellou Makeup - Melissa Garcia Hair Stylist/Makeup C.D. - Jessah Amarante

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Valentina Wears: Leather Embroidered Trench: Mango Knit Zip Sweater Dress: Morris Janks Handbag: Mango

Natalja Wears: Leather Embroidered Trench: Mango Knit Zip Sweater Dress: Morris Janks Boots: Mango

LOVE THY Photographer: J.D. Barnes

Stylist: Raytell Bridges

Hair/MUA: Katlina Mitchell

SISTER Models : Natalja and Valentina @ TRUMP Model Mgmt

Natalja Wears: Sequins Mini-Dress: Morris Janks

Natalja Wears: Sequins Feathered Blazer: Leila Shams

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Valentina Wears: Knit Floral Dress: Mango

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Valentia Wears Knit Floral Dress: Mango

Natalja Wears: Jacket: Mango High Waisted Shorts: Kotoba Tights (Throughout): Vintage Shoes: Mango

Valentina Wears: Fur Vest: MNG Basics Bustier Dress: Carolina Sorria Tights (Throughout): Vintage Shoes: Mango

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Valentina Wears: Knit Zip Sweater Dress: Mango

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R A D A R B R A N D O N

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Photos compliments of Greg Mills Showroom New York Fashion Week S/S 14

“We’ve had our eye on the Brandon Sun Collection for some time now. I remember flipping through the pages of the brand’s first collection and thinking, “wow, now this is luxury”. Known for his signature leather and fur outerwear and accessories, Brandon Sun is a brand that seamlessly blends rich fabrics and textures with equally daring and robust cuts, drapes, and tailoring. There’s a certain classicism found here- a certain modern baroque- equal parts undone and enamored.

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On Mega: Top . Carolina Sarria Belt . Electric Feathers Skirt . JACABA Boots . Andrew Kayla

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GENESIS Photographer: Martin Brown

Art Direction: Francis Vazquez Hair & Makeup: Jacqueline Parker Stylist: Jahulie Elizalde Stylist Asst: Christopher Chung Photo Assistant: Nayoyetunde Thomas Production: Chaunielle Brown Model Direction: Scott Cameron Models: Lucas @ Wilhelmina, Tyler @ Fusion, Mega @ Major, Alina @ Re:Quest

On Alina: Infinite Rope Dress . Electric Feathers Sheer Gloves . Purple Passion NYC Stockings . Falke Booties . Edmundo Castillo

On Mega: White silk lame dress . Electric Feathers Corset . WhatKatieDid.com

On Tyler: Sweater: Dries Van Noten Latex Gloves: Purple Passion NYC On Alina: Bustier . WhatKatieDid.com Latex gloves . Purple Passion NYC Skirt . JACABA Stockings . Falke Booties . Edmundo Castillo

On Tyler: Total Look: Agnes B.

On Mega: Dress . BCBG Max Azria Latex gloves . Purple Passion NYC Latex stockings . Purple passion NYC Shoes. Jean Michel Cazabat

BLA THE DAPIFER INTERVIEWS ARTIST OISIN BYRNE ABOUT HIS DRAWINGS, PATTERNS, AND COLLABORATIONS.

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>So you’ve been working on some exciting projects since you spoke to us last, tell me more about that?

It’s been quite busy, yes! I am currently a part of “The Temptation of AA Bronson” in Witte de With Centre for Contemporary Art in Rotterdam, I made fabric prints and the runway itself for the Jasper Conran SS14 show in London Fashion Week, and my new portrait work has just opened in a group show at The Irish Museum of Modern Art. >How did you first meet Jasper Conran?

We met at the wedding of my friends Rebecca Guinness and Heron White. >What did you think when he asked you to embark upon this project with him?

We had been talking about collaborating for some time. We started with my making painted patterns on the fabrics for the clothes. When Jasper invited me to make the set, I thought wow, what rare bravery. He was totally unafraid to collaborate, and to let me share in his vision in a very unmediated and trusting way. >What was your inspiration for the collection?

The drawings I made for the collection were of people and of interiors. These combine and spill into each other, forming what I think of as an ‘intimate architecture’  >I know from our previous conversations that your work is very intimate and personal. How did you select the model for this project? What did you attempt to capture?

The faces that animate the architecture, heading the columnades, and populating the tiles of the runway are of the people that make up my thinking life, friends and fellow artists, including Jasper. >How did it feel to see your prints be transferred to textile?

It’s something I’ve always wanted. Before the work with JC, I had just finished a set of “flag portraits”, which are large scale portraits, made in ink on cotton in flag form and currently on show at IMMA (The Irish Museum of Modern Art). I chose the form of a flag for these portraits because it is both intimate and declarative. >Was it surreal seeing your prints on both the models and the very runway they walked on?

It was definitely visually overwhelming, and those dresses were the finale of the collection. That continuity or visual confusion between the garments and their environment really interests me- the spillages of a person into their environment, and ideas around the boundaries of our bodies. >How was it working with a designer for such a public project, London Fashion Week?

It was fast. Very fast. The clothes, the set, and the concept are worked on for months and the event itself is about nine minutes. And as someone involved in the making of it, you have a very short window to take it all in, to change from a maker into an enjoying spectator.

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>Do you have any interest in continuing your collaborations in fashion?

Absolutely. >Could you ever see yourself as an independent designer yourself?

I don’t see myself as a dress designer or maker, no. Jasper made these dresses and it is his hand in the cut of them. But costume, clothing, and the body in it’s environment all constitute a big part of my practice.The photo (far left) shows a collaborative performance I made with AA Bronson in Ireland this year. We commissioned Bless in Berlin to knit costumes from Shetland wool and hi-vis material. In daylight they appear quite mundane and functional garments for keeping warm, but in the flash of the camera, they become luminous like a byzantine icon. >So our inspiration for this issue is titled BRAVO, BRAVO. it’s an introspective look into performers and performances. How is this executed in your work?

Performance for me is about risk. It is a testing ground, to step outside our ordinary behaviour with the “excuse” of the stage or new set of rules.

Performance produces a state of exception- which often then extends into or permeates ordinary life.

>What does an ideal ‘performance’ consist of for you?

A good performance, I think, makes a rift in reality, a delineated space in which different rules apply. This can do any number of things including redefining our rules of self-governance, generating new relational possibilities within a group, or allowing us to think and act in ways we may have before that forbidden. >How did critics react to this most recent collaborative work?

The reaction to Jasper’s collection and to my contribution has been overwhelmingly positive. You put your neck on the chopping block in a particular way with fashion - the critical response is pretty much instant.

Luckily, we’ve kept our heads. >Should we expect more Oisin Byrne prints strutting down runways?

That door is definitely open. 

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YOU PUT YOUR NECK ON THE CHOPPING BLOCK IN A PARTICULAR WAY WITH FASHION

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THE CRITICAL RESPONSE IS PRETTY MUCH INSTANT. LUCKILY, WE’VE KEPT OUR HEADS.

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Photo: Jon Gordon

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DANA -MAXX INTERVIEW

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NYC?

o tell me a little about yourself Dana-Maxx - where did you grow up, and how did you finally arrive in

I was born in New York City and then my family moved to New Jersey a few years later. Since I was a kid, I have loved the city and I knew that this is where I wanted my business to be one day.

Where did you attend school?

I went to The Fashion Institute of Technology and got a BFA in fashion design.

What's the earliest memory you have of creating something?

I had a pretend store in my bedroom when I was a little girl. My stuffed animals were my clients. It was called “Dana’s World” – because I hated my full first name at the time, Dana-Maxx. I still have the sketches I did to this day. Designing was always in my blood.

Did you always know that you wanted to be a designer?

Definitely. I knew when I was pretty young that this is what I wanted to do. Having a strong passion like that is both a blessing

and a curse when you are growing up.

People don’t understand it, and rightfully so. They don’t understand how your identity is tied to what you want to do. Your focus is constantly on trying to figure out how to make this giant dream a reality.

But it’s something that can’t be explained.

You eat, breathe, sleep, and dream about it. It’s who you are.

Who influenced your personal style growing up?

My mom has the finest taste. And my grandmother, her mother, and my aunt have both always loved fashion. My grandmother would always look so glamorous; red nails, the chicest clothing, and her hairstyle would change depending upon her outfit. My aunt is obsessed with vintage clothing and all things unique. She goes on these amazing vintage hunts in Paris… She literally goes across the world to shop for one-of-a-kind pieces!

Do these influences still influence the way you design today?

In a way they do. I like to think that my designs are done tastefully, with a touch of a sophistication, and with a sense of whimsy.

What's the most difficult part of design for you?

Creating a story within each collection is so hard for me to do. Plus thinking about what’s going to sell, while remaining creative, all the while staying true to my voice, it’s a lot sometimes. People think designing is so glamorous and easy. It’s definitely not for the faint of heart. There is so much that goes into designing a collection, it’s unreal. I like to tell fashion students that being a designer is 80% business, 20% being creative. That’s the reality.

What type of women do you envision wearing your designs?

She is a go-getter. She works hard and doesn’t necessarily have time to shop. She wants clothing that is easy, sophisticated, fashionable, sexy, and transitional. Clothing that she can wear to the office and then out for dinner afterwards.

Dana-Maxx is carried in department stores such as Bergdorf Goodman.

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Photo: Jon Gordon

“People think designing is so glamorous and easy. It’s definitely not for the faint of heart. There is so much that goes into designing a collection, it’s unreal.”

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Any advice for up and comers trying to break through?

Be true to yourself, never stop learning, and don’t compare where you are to anyone else. Everybody’s journey is different! And know that it takes time to grow a successful business. It’s not going to happen overnight. It takes a tremendous amount of hard work, patience, persistence, timing, and money to make it happen.

There's a pretty even mix of designers who use their names to brand their designs and others who come up with other solutionsWhat made you device to simply be Dana-Maxx and where there other options on the table?

I think I always knew that I wanted my line to be my name, DanaMaxx.

What were they?

When I initially started my business, the company was my whole name, Dana-Maxx Pomerantz. Then a dear friend said to me, “why don’t you just call it Dana-Maxx? It’s memorable.” So that’s what I did.

If you could choose one person to be a Dana-Maxx style ambassador who would that be?

I really don’t have one particular celebrity that I see wearing Dana-Maxx, and I am very grateful for the celebrities that do wear the line. BUT if I had to pick someone, it would probably be Emma Stone, Drew Barrymore, or Lily Collins. They are fun, intelligent, real, and just simply cool women.

Where do you consider to be your quiet space or place of inspiration?

My couch at home. I need to be surrounded by plain white walls, my designing music playlist, my sketchpad, and I am good to go.

Oh and I only wear certain outfits when I design too. I’m kind of superstitious.

What designers most influence your style aesthetic?

DFV has always been my #1 inspiration. I love that she is very involved in philanthropy and empowering women. In terms of aesthetic, I really admire Christian Lacroix, Mathew Williamson and Balmain.

What's your most immediate goal for the Dana-Maxx Brand?

To keep learning, developing, and growing as a designer. I try to get better each season and hopefully that shows. My immediate goal is to continue to keep the brand on the right track to becoming a go-to brand. Like a DVF. It’s always been my long-term goal.

Are you working on any projects or collaborations currently?

I’m someone that likes to make things happen, not let things happen, so I enjoy looking for great new partnerships and collaborations. There are always fun and exciting projects to be worked on!

What does fashion mean to you?

Fashion means self-expression. It’s the first and last impression you leave with someone so you better make it worthwhile.

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Matthew wears, Denim Blazer, Suit Supply, Graphic Knit Top, Pants, Both Christina Yi. Dana Wears, Fur Vest, Adrienne Landau, Pencil Skirt, Mathieu Mirano, Necklace, Vintage, Ring (left),Eneresant, Ring (right), Verameat.

BRAVO BRAVO Photographer

Art Director

Stylist/Fashion Editor Hair Stylist Makeup Artist Models

Jon Gordon

Francis Vasquez Lakenya Kelly

Leo Crews, Jr. Rie Hirabayashi Dana Almada @ Muse Matthew Vande Vegte @ Major

Matthew Wears, Trousers, Christina Yi, Dana Wears, Leather Blend Gown, Christina Yi, Fur Stole, Dana-Maxx, Gold “Kitty Kat” Ring, Vermeat.

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Fur Jacket, Mathieu Mirano, Lace Tights, Stylist Own.

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Matthew Wears, Jacket and Pants, Both Christina Yi, Dana Wears, Cape and Skirt, Both Dana-Maxx, Silk Blouse, Vintage.

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Cape and Skirt, Both Dana-Maxx, Silk Blouse, Vintage, Jodphur Boots, Aigle.

Metallic Trousers, True Royal, Top, Christina Yi.

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Vintage Smoking Jacket, YSL. Ring, Enteresant.

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Jacket with Animal Hair Trim, Christina Yi.

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Knit Sweater, Dana-Maxx, Fur Skirt, Gold-Tipped Booties, Mathieu Mirano, Belt, Valentine Gauthier, Fox Head Cuff, Verameat

Gold “Kitty Kat” Ring, Vermeat.

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Concept and Art Direction: Jon Gordon & Quentin Regos Photography and Design: Jon Gordon Stylist: Sharon Sim Hair: Ty Shearn MUA: Mikako Shojima

Jacket Mackage Bodysuit Topshop

Sleeves Stylist’s Own Pants Diesel Black Gold

Dress

Diesel Black Gold

Dress

Elin Kling for Marciano Shoes Prada

Dress

Helmut Lang

Top Tibi Bottoms La Perla Shoes L.A.M.B.

Dress Diesel Black Gold Shoes Balenciaga

Top Stylist’s Own Skirt Boss Black Tights Wolford

Bodysuit Topshop Shoes Giambattista Valli

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OFF :DUTY Suzi, Photog raphed by Jon Gordon

Perhaps no trend has spanned time as effortlessly as the statement fur coat.

This utilitarian and undeniably chic piece adds a refined air of luxury to any look.

SUZI

Whether you’re buying off the rack or borrowing from mom’s closet of expensive treasures- have no doubt that you’ve found the perfect piece to luxe up any look.

(Suzi wears, Fur Coat, Vintage, Cotton Graphic Shirt, Commes Des Garcon, Trousers, Alexander Wang, Boots, Doc Martens)

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FEMME FATALE Photographer: David Zanes

Fashion Editor: Lakenya Kelly Make Up: Bre Kali Hair: Keila Sone

Model: Clara @ Boss

Fur Shawl, Adrienne Landau, Knit Top, Trousers, both Costello Tagliapietra, Shoes, Laurence Decade.

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Fur Jacket, Adrienne Landau, Jumper, Glaze.

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Wrap Dress, Costello Tagliapietra, Embossed Leather Boustier, Anthony Manfredonia, Knee High Boots, Laurence Decade.

Atelier Gown with Feather Detail, Houghton, Fur Vest, Adrienne Landau, Boots, Laurence Decade.

Leather Blend Dress, Femme D’Armes, Floral Detail Jacket, Houghton.

Chain Detail Top, Anthony Manfredonia, Goat Hair Jacket, Adrienne Landau.

Dress, Femme D’Armes, Luxe Cape, Costello Tagliapietra.

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: L I A N

P O P T R A n n Gordo pher: Jo h & Co. Photogra lis Po ing osario us R ie d a :M MUFE Nail-art Lai using : Romana ce Hair Make-up fa ur S g usin la Sone ei K : ir a H

ent anagem Model M - MUSE s Girl el n d w o M owto as the D (Blonde) Girl n w to Ashton p s the U nette) a ru (B y Ashle

lks catwa t e the s illian u r r b e we p ith a s w s a k s l s u a e d tw our ey rovide red ca atches ason p rt. Enarmo eauty c e b s s t y s s a i e new s n g a l w n We e k . T h Po p A ’ i d : n h l n t o i a i e a sio t, N fash Som nicure e k Fa s h n o t h e r s o r io of a l r w m o o , f Y s t h r n c Fr e n atter al po of New action of a p u o s t t i d c v s d a e a r distr with a updat o abst ays to ed us imple ed int limitless w p r o v i d a l . Fr o m s c r i s s - c r o s s . e re ith th es petroi reviv textur entranced w uty re a e e l b p i t r u mul tely ts to o bsolu accen g were a n i r a d

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Gear up ladies, as the Fall/Winter season is approaching, stay ahead of the trend with these fabulous fall/winter shades from Polish & Co. edited by our Beauty Editors. We’re excited for you to translate these editorial looks to your everyday personal style repertoire.

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www.barquenewyork.com

BEAUTY INSIDER:

COCO & BREEZY 3

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EYES: Next we add dimension to our look by highlighting the eyes with, Laura Mercier Kohl Purple Sapphire Eye Pencil,Makeup forever eyeshadow #9, and Maybeline Great Lash Mascara.

FACE: We chose to keep things vibrant to accent the model’s beautiful bone structure and signature style. We begin with, Embryolisse Lait-Crème Concentrè (24 Hour Miracle Cream), followed by Makeup Forever HD Foundation #175, Make Up For Ever Camo Palette and MAC Bronzing Powder in Matte Bronze to finish.

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LIPS: For the lips, we define our look with, NARS Satin Lip Pencil, and finished with M.A.C Glaringly lipstick.

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CHEEKS: We then move on to the cheeks. We keep it simple here , as we never want to overwhelm the model’s features. We chose a vibrant yet approachable blush, Smashbox Blush Rosy.

HAIR: We finish our look with simple, yet statement hair with the help of, MANIC PANIC’s “Pretty Flamingo” Pink & “Electric Sky” color gel.

“B ea ut y Ed ito r, Ke ila So ne , ta ke s us in si de ou r la st co ve r st or y an d re ve al s ho w wi th ce le br ity ey sh e go t th em re ew ea r de si gn er ad y fo r th ei r be s Co Co & Br ee zy au ty cl os e up .”

PHOTOGR APHER: J .D. BARN FASHION ES EDITOR: L AKENYA K ELLY MAKEUP: ROMANA LAI HAIR:KEI LA SONE

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“Statement gold plated pieces exude timeless chic style. No matter how you rev up your individual style, you’ll be golden!”

-Vanessa

TOUGH LUXE:

GOLD P h ot o g rapher: D u ck Feeney

A cce s s orie s / Fashion Edit or: Vanessa B el l an Fa s h io n Edit or: Lakenya Kel l y M a ke U p: C atheri ne S u h H air: Kei l a S one M od e l: Leah R eynol d s @ F OR D

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Eye - NYX (gold shadow and cream glitter) MAC Fluidliner (black track) Hair - Surface Hair (swirl sea salt spray) Trousers, True Royal, Dress Used as Top, Dana-Maxx, Rings, Verameat, Gold Cuff, Stylist Own.

Leather Jacket with Shearling Trim, Anveglosa, Trousers, True Royal, Knowledge Lion Ring, Rome & Tale, Gold Top, Gucci, Crown, Stylist Own. Eyeliner- MAC (fascinating) Lips- One & Only (copper bronze) Hair - Surface Hair (theory styling spray)

Blue Leather Jacket, Anveglosa,Gold Metallic Jeans, Almost Famous, Gold Choker, Stylist Own, Four Block rings, H&M, Rocket Spike Rings, Enteresant.

Lip - MAC (fix on drama) Hair - Surface Hair (Theory styling spray)

FACE: Foundation - MAC (costume blend) dime of C15+ a drpo of W50 Contour - MUFE sculpting kit(02 neutral light) Highlight - Graftobian HD Glamour Creme Palette (Extra Hi-Lite) Set powder - MAC (pro-product set power) EYES: Eyeliner: MAC longwear eyeliner (definitely black) Macara: MAC (studio fix boldblack lash) LIP: NYX (Jupiter) HAIR: Surface Hair (reflect sryling gel) Black Goat Hair Coat, Adrienne Landau, Rocket Spike Ring, Enteresant, Double Finger Ring, Enteresant

LIP: MUFE (#22) Leather Skirt & Vest ,Anveglosa, White Lace Dress Used as Top, Balmain, Sunglasses, Misguided.

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IZON

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Top by Claire Bee

Gold scarf vintage by Immortal

Photographer Jason Fitzgerald Art Director Francis Vazquez Stylist Roselda Debora MUA Heather Lucas Hair Stylist Clay Nielsen Model Thais & Kat (MUSE)

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Jacket tuxedo by JNigel Top by Claire Bee Earrings by Express

Top by Claire Bee

Earrings by Swarovski

”How beautiful it must be to chase the horizon and join it in it’s mortality.

Embrace me as you rise towards the blackness of your shadow.”

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Top by Claire Bee Earrings by BCBG Maxazria

Left : Black blazer by Ann Taylor Blouse by Club Monaco Earrings by Lia Sophia Right : Black turtle neck by JNigel Blazer by Necessary Object Earrings by Second Time Around Necklace by Tavia Sanza

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Yo u ’ v e b e e n d y i n g t o k n o w : E x a c t l y w h a t t h e h e l l i s Va n d a l E x p r e s s i o n i s m ?

J o s e p h M e l o y, a f i x t u r e i n N e w Yo r k ’ s u n d e r g r o u n d a r t s c e n e , w a s p u l l e d i n t o t h e commercial ar t world at a young age, quickly becoming an in-demand designer and ar t director for adver tising agencies. It was around that time he returned t o h i s e a r l y l o v e o f p a i n t i n g a n d f o u n d e d Va n d a l E x p r e s s i o n i s m , I n c . , a c r e a t i v e

A

o u t l e t f o r h i s p r i m a l , p o s t - g r a f f i t i a e s t h e t i c . We s p o k e w i t h h i m o n e o n o n e i n

h i s h o m e s t u d i o i n N e w Yo r k ’ s p r e m i e r a r t d i s t r i c t , C h e l s e a . T h e a l w a y s c a n d i d

M e l o y t a l k s i n f l u e n c e s , h i s t a k e o n t h e N e w Yo r k s c e n e , a n d h o w h e ’ s c h a n g e d h i s process throughout the years.

Inter v

iew w ith Ar tist Jo seph M e l oy

by J o n Gordo n

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When I’m drawing loose and quick, that feels really fulfilling.

The only time I would say things become tedious is when the idea has already been created and I know what I want and it’s no longer a creative task to get there.

---Do you usually find yourself chasing something when you’re working?

I’m alway looking for balance; I’m trying to capture energy in a controlled chaos. I like the idea that it somehow just makes sense; it’s very much an improv thing.

I think it’s nice to go into some things with a plan, but ultimately the nature of what I do—so much of it is about intuition, being able to find that thing that feels right inside the chaos. I usually don’t sit there and envision a specific thing, it’s more about capturing feelings by way of making marks.

---How do you feel about the gallery experience in New York?

Do you go to a lot of other artists’ shows?

---Your work seems to always be in a state of transition. What have you been working on lately?

This year I feel like I’ve really hit my stride artistically and [feel] that I’ve really honed in on a unique and consistent visual language that almost feels like breathing at this point. In the past three months I’ve created more than 85 works on paper that all really look like they belong together and I can’t wait to get them all framed and up on the wall at a nice gallery.

I’m very pleased with the progress I’ve made doing spray paint murals. I was commissioned to paint a 70 foot silo at the Tuthilltown distillery, I painted the entire interior of [rock club] Arlene’s Grocery, and I was invited to paint a mural at Five Points, the Graffiti mecca. I consider what I do to be a part of post-graffiti art, and to be welcomed by the graffiti community in at a place like that really felt great.

---You’re pretty prolific; does the work come naturally or do you find you have to force yourself?

It just flows. If I don’t work for a day or two I feel jammed up. I feel like it’s my primary creative outlet. So much of what I’m doing is letting loose; getting in touch with some kind of impulse and channeling it into a language. If I’m not drawing I feel anxious and fidgety, like “what am I doing?!”

Drawing is a conduit for something beyond myself so making [art] is definitely not a chore; especially when I’m in my most expressive states.

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Yeah! Right now I live in Chelsea so I’m enjoying walking around and checking out the scene. There’s different tiers to it, so at the same time I go to up and-comer’s shows in smaller, alternative spaces downtown or in Bushwick. It’s nice to become involved in those scenes; you start to see familiar people.

---Do you feel like you’re part of a scene?

Not formally. What’s most important to me is making my work.

But it’s nice to go out and meet other artists. You learn from other people along the way; bring it into what you do. As someone doing street art I find that there is definitely a sense of community, almost like we’re co-workers. And just like in real life, sometimes co-workers don’t like each other - I’ll leave it at that!

The art world is like any other scene—there’s a ladder to climb and you work your way from one thing to another. That being said I believe in the value of making your own scene and taking advantage of any opportunity you can get to share your work with the public. I see myself as an emerging artist, I’ve only been in [the fine art] game for a short period of time but I’ve worked my ass off to stand out and associate myself with people who are similarly driven. I’m not hanging out with lazy people!

---Who do you like in the art world right now?

Michael Alan’s work really strikes a chord with me. [Also] Brandon Friend, Greg Haberny...Borbay, Paul Zepeda, Ari Lankin, Julian Rapp, Cassius Fouler, Kiki Valdez…They’re so many cool artists out there; those are just a few that come to mind immediately.

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U n i t l e d , 2 0 11 , J o s e p h M e l o y

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---Who are your main inspirations?

Pollack and Basquiat come to mind first, and certainly played a role in my decision to become a full time artist. The drawings of Yves Tanguy had a huge influence on me, as did Miró. Steven Gammell, who illustrated the Scary Stories series! Those images were ingrained into my mind. Also, Ralph Steadman, David Smith, and Andy Warhol.

Photo: Jon Gordon

With regard to my street art and graffiti, I’m from the Lower East Side, where there’s always been a healthy amount of graffiti.

It’s not like I followed specific writers in that sense, but the fact that it was always around, these graffiti murals—My earliest memories of the graffiti murals was this one

by Lee on Madison Street, the Lion’s Den, and it’s practically my earliest memory of an art image, or certainly being scared by art.

Scared in a good way! I liked the mystery of the art I saw on the street growing up. I was mystified by COST and REVS. I first learned about wheat paste when I stayed up to watch their public access show at two in the morning back in the day.

Photo: Daniel Albanese | TheDustyRebel

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T h e P r i m a t e , 2 0 12 , J o s e p h M e l o y

T h e P r i m a t e , 2 0 13 , J o s e p h M e l o y

---About the Primate…

Bringing the primate to life has been a fun process.

I think of my abstract work as something more cerebral and kinetic, like jazz, where the primate is more punk rock—I make it in a photocopy machine and stick it on a wall to make people smile. It’s cute, it’s fun, and the more people ask me if it’s supposed to be me I wonder if they’re right...

It’s really become the mascot or poster child of Vandal Expressionism. I think in part, I felt like I needed an intentional counterpoint to all the abstract work that I do. There’s no denying that people connect with faces; it’s quicker to digest.

It all began with the most random sketch back in April 2012, which at the time didn’t even fit the bill of my notion of what Vandal Expressionism was, but there was something in that silly face that I knew was special, and over that summer I began experimenting with it. Photocopying it, coloring it in, printing and cutting it up, rephotographing, and watching as it diverged into all these different characters. That series of 40 something works was known as the “Idol” series, which was sort of an absurdist nod to religious panel paintings. Each of the characters took on its own feel—some more funny, some more scary, but it was Idol #39 that emerged from the pack and went to become the poster child. The first thing it reminded me of was Bela Lugosi, a 1930’s movie monster. Then when my friend, Michael Kronenberg, saw it he called it punk rock gorilla, so for several months he had the ridiculous name “Bela Lugosi Punk Rock Gorilla” which was a bit hard to swallow. I started putting him out on the street, curious to see what people would make of it, and as it would pop up on Instagram, people would tag it as #monkey, #gorilla #monster, but the one that really hit the nail on the head for me was #primate…I wish I could remember who it was that said that. From that day on, I decided that would be his name.

---So it’s like a crowd-sourced, street art phenomenon That’s an interesting way of putting it. Somebody just sent me a photo from Bilbao Spain, where they printed out a Primate from god knows where and colored it in and stuck up on a wall, as a tribute to Vandal Expressionism. I couldn’t believe it.

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F l o r a , 2 0 13 , J o s e p h M e l o y

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---Where did you get the name Vandal Expressionism?

I had been taking notes—I still have them actually—of things I wanted to touch upon. I kept coming back to ideas of value and damage, finding beauty within stress. Not all things that are damaged are beautiful, but I’ve always liked to see things that are broken in. Coming from the advertising and art directing world where everything’s digital, things can become stiff and sterile. Don’t get me wrong, there’s a lot of amazing work out there, but I wanted something with texture. Also from that world I learned about branding, which is a big part of my work.

One of the things I like about [Vandal Expressionism] is that even if it’s a completely new term, it’s very clear what it means and it translates into almost every Western Language.

I’ve been getting messages in French, Italian, even the Turkish Version looks similar!

---To find out more about Joseph Meloy and Vandal Expressionism, Inc., check out facebook.com/ vandalexpressionism and vandalexpressionism.com

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Carlos Campos SS14

We called upon one of our favorite runway photographers to capture moments s tr aight fr om the r unwa y s of N ew Yor k F ashion Week as designer s pr esented t h e i r S p r i n g / S u m m e r 14 C o l l e c t i o n s f o r a u d i e n c e s f u l l o f e d i t o r s , bloggers, and international fashion influencers.

Mr. London, with camer a in hands brings you the looks as he saw them, up close and highly personal.

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EDITOR’S RUNWAY REWIND P H OTO G R A P H E D B Y: S E T H L O N D O N @ NYFW S/S 14 SHOWS E D I T E D B Y: L A K E N YA K E L LY

CARLOS CAMPOS

The designer ushered in the forthcoming seasons with equal amounts of whimsy and classic haberdashery. Perfectly tailored pieces in oh-so cool rainy, seaside hues echo European influences of debonnaire.

MARISSA WEBB

Solidifying her name and even more so her signature style, MW graced the SpringSummer runways with exquisitely draped, architectural pieces that were just feminine enough to flow effortlessly, while still demanding a certain sort of silent obedience.

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RICHARD CHAI W W W. T H E DA P I F E R . C O M

Known for his approachable, modern silhouettes, Richard Chai, showcases a collection full of sophisticated, polished, sometimes ‘rock and roll cool’ pieces. Chai’s ‘cool kids’ strut down the runway with deserving stares of confidence and tailoring to match.

Osklen is a brand known for it’s beautifully brilliant contrast of shape, color, and texture. This season certainly lived up to its namesake, as bronze- modern day -goddesses float down the runway draped

OSKLEN

in ultra violet hues and accompanying patterns. These women were headed to the sun and were invited to witness the voyage.

It’s all about the jacket- and the details. That’s the message that Marlon Globel reinforces as he presents modern interpretations of the perfect coat on his latest runway. However, the designer’s outerwear was not the only signature this season. He provided us with just as much commentary on how to 360-style the modern day, effortless cool man as well. Take Notes.

MARLON GLOBEL

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CHRISTIAN SIRIANO

No one quite makes a feminine statement like Christian Siriano. The New York based designer, celebrated for his beautiful melodies of textile, silhouette, and pure ‘c’est la vie’ brings a soft palette of blush and luxurious accents to create a collection laced with modern day elegance and couture flare.

PF-13 RELEASE PARTY

We r e ce nt l y c e le b r ate d t he r e le as e of our f ir s t of f i ci al i ssue, PF -13 at Temp Ar t Space i n Tr ibe c a. We hos ted an int im ate eve nt wi th a sel ect gr oup of bl ogger s, ed i to r s , c on t r ibu tor s and ou r br illiant c ove r m odel s, cel ebr i ty eyewear desi gner s an d N ew Yor k F ash io n inf luenc er s , CoCo & B r eez y.

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THE ALL- NEW

THEDAPIFER.COM HAVE A SEAT FRONT ROW ALONGSIDE FASHION’S NEWEST NAME, AS WE SHARE UNPUBLISHED IMAGES, VIDEOS, AND FASHION SECRETS FROM OUR EDITORS TO YOU.

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RSVP TODAY AND DOWNLOAD OUR NEWEST ISSUE NOW AVAILABLE ON A SLEEK NEW PLATFORM JUST FOR YOU.

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P R E S S P L AY A N D S I T F R O N T R O W A S W E S H A R E O U R L AT E S T FA S H I O N F I L M S, I N T E RV I E W S, A N D V I D E O E X C L U S I V E S.

THE DAPIFER-TV

B R AV O B R AV O D i r e c t e r - Fr a n c i s Va z q u e z Fa s h i o n E d i t o r - L a k e n y a K e l l y

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THE BEGINNING

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Fall/W inter ‘13 P U B L I S H E D

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