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Menswear Suit ALEXANDER WANG
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THE DAPIFER
@THEDAPIFER
THE ROMANTICS
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CONTRIBUTORS
EDITOR IN CHIEF
Lakenya Kelly
CREATIVE DIRECTOR
Francis Vazquez
PHOTO DIRECTOR
Jon Gordon
MANAGING FASHION EDITOR
Vanessa Bellan
ASSISTANT TO EDITOR IN CHIEF
Suliya Gisele
CONTRIBUTING
CONTRIBUTING
PHOTOGRAPHERS
FASHION EDITORS
Ace Amir
Jahulie Elizalde
Raen Badua
Brendon Alexander
Patrick Lacsina
Vanessa Sanchez
Michael Raveney
Morgan Jordan
Eva Tuerbl
Antje Gohlke
Quintin & Ron
Leonid Gurevich
JD Barnes
Raytell Bridges
Jon Gordon
Karina Sarif
Gregory Keith
Tara Ziegfeld
Julie Michelet
Nick Lugovena
Yachin Parham
Adtresa Edmunsonz
Duck Feeney
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THE DAPIFER
EDITOR’S LETTER
To believe in art is an enormous risk. Our world has been shaped
as well as the pulse that traced above, below, and within him. Art
sharply by the revolving hands of industrialization and together we
once again became ethereal, aggressive, and intensely emotional.
have produced a mechanism for survival. Both personal and group
Literature again became a dance of seduction and nature regained her
purpose has been reduced to a singular motive and for many of us this
haunting wonder.
has become our passion. Perhaps Darwin would call it adaptation or something similar- Survival of the fittest. What many of us have found
Each story in this issue is inspired by a mix of classic Romantic
however is that survival alone may not be enough.
references revolving around the way we see the world. Often times intense, overwhelming, or mildly sedated we realize that as artists we
Cultures have attempted to finesse this dynamic as we’ve assigned
are fundamentally Romantics. We’re forced to constantly tap into our
meaning and emotion to object hoping to form an objective or
emotion as we share our thoughts and answer questions of ourselves
definitive stance on our many unanswered questions. Reasoning has
and others. We’re forced to spend a lot of time with ourselves and for
become a science and so has art for that matter. Titling this issue,
many this produces madness. The public- they see this as a painting,
“The Romantics” leaves an enormous amount of interpretive freedom
a novel, a sonnet, or perhaps a fashion collection, but the artist he
to both the reader and the the director. For it isn’t the act of being
knows exactly what he has done. What’s even more fascinating is
Romantic that we’re interested in, but the Romantic Period, itself.
that people seem to understand this madness, this sickening tension that leads one to create. When the mind has will, the body can do
We travel back to early 18th century Europe. The Industrial Revolution
absolutely anything.
has already etched its way through almost every part of society leaving behind reshaped notions of our world. Philosophy, Art,
As you flip through our latest volume we hope that you too are
History, Religion, Nature- it had all been rationalized. The wonder,
awakened. Whether it’s by the enigmatic covery story shot by our
folklore, and mystery of life has vanished and instead been replaced
Creative Director, Francis Vazquez or the words of Jean Michel
by mechanism. However, this wasn’t enough for the innovators, the
Basquiat, Andy Warhol, or Dianna Vreeland beautifully illustrated by
trailblazers, or for those who dared to ask why. The Romantic period
artist Natalie Jhete- we urge you to find a piece of your story within
was a beautiful rebellion, one that valued the aesthetic experience
our pages in hopes that you’ll someday be sharing your very own. The
over all else. Today we would likely call this intuition or going with
Romantics, Vol. IV
your gut. The individual was urged to reconnect with his emotions
-
Editor in Chief LAKENYA KELLY
THE ROMANTICS
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FASHION I
Royal Affair - 10 Nejilka - 18 Every Siren - 26 Hotel - 34 Western Youth - 44
FEATURES I
Gone Girl - 53 Boy Meets World - 58
The Great Romantics - 66 Anya Caliendo - 70 Radar: Michelet - 76 Radar: Lacsina - 78 Model Access - 80
GLOSSARY 6
THE DAPIFER
FASHION II
Pygmalion & Galatea - 84 Lucid - 96 The Hearts of Age - 104 Glitch - 112 Exalted - 118 Muse - 124
FEATURES II
Interview: Francis - 130 Finding Forever - 133 Radar: Coleman - 138 Young Nobles - 140 Runway Rewind - 146
THE ROMANTICS
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Tigers scream can not be heard anymore. There were eight tiger subspecies at one time. Three became extinct during the 20th century. Tigars are hunted as trophies, and as body parts that are used in traditional Chinese medicine. Over the last 100 years, hunting and forest destruction have reduced tiger population from millions to perhaps fewer than 2,500 today. Tigers scream can not be heard anymore...
“Tiger’s Scream” Oil on denim part of the series from the “Art of Denim” exhibition
THE ROMANTICS
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ROYAL AFFAIR PHOTOGRAPHER STYLIST
AC E A M I R
JA H U L I E E L I Z A L D E
MAKEUP ARTIST & HAIR STYLIST MODEL
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C H R I S T Y N A K AY
COLLEEN (FRAME MODELS)
THE DAPIFER
Dress NHA KHANH, Dress worn as Shawl NHA KHANH Mask JADE CHIU, Bullet Necklace BRANDY PHAM Body Harness JO ROCCO, Shoes TANIA SPINELLI
THE ROMANTICS
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Dress ALEXIA ULIBARRI, Red Leather Belt JADE CHIU Fur Shawl BRANDON SUN, Mask COUTURE MASK Shoes TANIA SPINELLI
12
THE DAPIFER
Dress KRIS GYRO, Head piece COUTUREMASK Cuff JADE CHIU, Shoes TANIA SPINELLI
THE ROMANTICS
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Dress NHA KHANH, Leather Crown JADE CHIU Choker JO ROCCO, Bullet Choker BRANDY PHAM Neck Piece ALIBI, Fringe Necklace JADE CHIU Ear Cuffs JADE CHIU, Hand Cuff ALIBI Bracelet ALIBI, Shoes TANIA SPINELLI
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THE DAPIFER
Pant suit FEMME D’ARMES, Skirt worn as top LINIE Belt JADE CHIU, Cuffs JADE CHIU, Necklace JO ROCCO Earrings JO ROCCO, Boots TANIA SPINELLI
THE ROMANTICS
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Dress VALENTINA KOVA, Mask COUTUREMASK Boots TANIA SPINELLI, Shoulder Harness JADE CHIU Ring JADE CHIU
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THE DAPIFER
THE ROMANTICS
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NEJILKA FA S H I O N E D I T O R
BRENDON ALEXANDER
PHOTOGRAPHER MODEL MAKEUP ARTIST HAIR STYLIST
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R A E N B A D UA
NEJILKA ERIC VOSBERG
JUSTIN ARRELLANO
THE DAPIFER
Holster, Eyewear, & Shoes NICHOLAS K Pants JILL SANDER Gloves CAROLINA AMATO
THE ROMANTICS
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Hat GABRIEL LIBERTY, Dress ROSARIO Corset MANFREDONIA, Pants CAROLINA SARRIA Shoes TOM FORD
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THE DAPIFER
Coat KIT WOO, Short LISA PERRY Choker VINTAGE, Belt TOM FORD
THE ROMANTICS
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Menswear Suit ALEXANDER WANG Shoes NATALLIA PILIPENKA, Socks FALKE
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THE DAPIFER
Hat GABRIEL LIBERTY, Dress IRO Gloves CAROLINA AMATO
THE ROMANTICS
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Hat GABRIEL LIBERTY Coat KIT WOO, Skirt THE ROW
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THE DAPIFER
Coat KIT WOO Hat GABRIEL LIBERTY
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EVERY
On Sadiq Briefs 2(X)IST On Erica Dress HALSTON HERITAGE, Shorts DOLCE & GABBANA Beaded belt MARIE COPPS, Earrings CHANEL Necklace CAROLE TANENBAUM COLLECTION On Jade Briefs CALVIN KLEIN, Mesh shorts VINTAGE
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THE DAPIFER
SIREN PHOTOGRAPHER STYLING
MAKEUP ARTIST
PAT R I C K L AC S I N A
VA N E S S A S A N C H E Z
M A R K J O R DY G O N Z A L E S ( M AC C O S M E T I C S )
HAIR STYLIST
MODEL
J E R E M I A H L U K E ( P 1 M A N AG E M E N T ) E R I C A K R AU T E R ( P L U T I N O )
S A D I Q D E S H & JA D E C H A R L E S ( P U S H )
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Dress MAJE, Neckpiece MARIE COPPS Earrings CAROLE TANENBAUM COLLECTION
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THE DAPIFER
On Jade Trousers JOAO PAULO GUEDES, Neckpiece MARIE COPPS On Sadiq Trousers LANVIN, Neckpiece MARIE COPPS
THE ROMANTICS
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On Sadiq Blazer CALVIN KLEIN, Brooch CAROLE TANENBAUM COLLECTION On Erica Dress NARCES, Earrings CAROLE TANENBAUM COLLECTION
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THE DAPIFER
Dress HALSTON HERITAGE, Beaded belt MARIE COPPS Earrings CHANEL, Necklace CAROLE TANENBAUM COLLECTION
THE ROMANTICS
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On Sadiq Blazer CALVIN KLEIN On Erica Dress NARCES, Headpiece MARIE COPPS Earrings CAROLE TANENBAUM COLLECTION On Jade Blazer JOAO PAULO GUEDES
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THE DAPIFER
On Jade Trousers JOAO PAULO GUEDES, Neckpiece MARIE COPPS On Erica Dress MAJE, Earrings CHRISTIAN DIOR Bracelet CAROLE TANENBAUM COLLECTION Shoes ALEXANDER MCQUEEN On Sadiq Neckpiece CAROLE TANENBAUM COLLECTION
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HOTEL PHOTOGRAPHER
JON GORDON
C R E AT I V E D I R E C T O R FA S H I O N E D I T O R
F R A N C I S VA Z Q U E Z
L A K E N YA K E L LY
& VA N E S S A B E L L A N MAKEUP ARTIST On Jordon: Top MAISON KITSUNE, Bikini TRIUMPH
HAIR STYLIST
R YO YA M A Z A K I
K I YO I G A R A S H I
Backpack WANT LES ESSENTIALS On Sean: Pants TOMORROWLAND, Blazer MARCELLA
J O R DA N H A M P T O N ( O N E .1 M A N AG E M E N T )
S H AU N M I C H E L S O N ( W I L H E L M I N A )
Loafers SWIMS
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MODEL
THE DAPIFER
Robe & Bikini TRIUMPH
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Bra, Bikini, & Garter Belt TRIUMPH Cardigan REISS
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THE DAPIFER
On Jordon: Dress REISS On Sean: Blazer TOMORROWLAND, Pants REISS
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Top REISS
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THE DAPIFER
Pants REISS, Hats BAILEY
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40
THE DAPIFER
Nightdress TRIUMPH
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Jacket REISS Bikini TRIUMPH
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THE DAPIFER
On Jordon: Swimsuit THAPELO PARIS On Sean: Briefs THAPELO PARIS
THE ROMANTICS
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W ESTERN YOUTH PHOTOGRAPHER STYLIST
F R A N C I S VA Z Q U E Z
MORGAN JORDON
MAKEUP ARTIST & HAIRSTYLIST MODELS
L AU R A B U R N S
ADEELE RASSEL (WILHELMINA)
A N N A E D WA R D S ( M A J O R )
44
THE DAPIFER
Pants ELIZABETH AND JAMES Hat GOORIN BROS.
THE ROMANTICS
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Dress CHANEL Jacket SPORTMAX
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THE DAPIFER
Dress made by stylist Belt VINTAGE
THE ROMANTICS
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Vest RACHAEL ZOE Skirt made by stylist
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THE DAPIFER
Jacket BROCHU WALKER Skirt NEIMAN MARCUS
THE ROMANTICS
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Hat VINTAGE, Top HELMUT LANG Pants GIORGIO ARMANI, Tights HUE
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THE DAPIFER
Blazer HELMUT LANG Pants HELMUT LANG
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THE DAPIFER
Dress LINIE
GONE GIRL FA S H I O N E D I T O R
BRENDON ALEXANDER
PHOTOGRAPHER
M I C H A E L R AV E N E Y
MAKEUP ARTIST MODELS
K AT Y A L B R I G H T
TA JA ( W I L H E L M I N A )
THE ROMANTICS
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Rope SURFACE TO AIR, Dress WON HUNDREDS Tights AMERICAN APPAREL, Men’s Boots VIVIENNE WESTWOOD
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THE DAPIFER
Cape LINIE, Dress RELIGION Skirt & Boots by VIVIENNE WESTWOOD
THE ROMANTICS
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Top By LINIE, Pants by BLACKD Boots VIVIENNE WESTWOOD
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THE DAPIFER
Dress by RELIGION Jewelry EDDIE BARGO
THE ROMANTICS
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BOY MEETS WORLD
PHOTOGRAPHER STYLING A S S I S TA N T
A N TJ E G O H L K E
CAROLINA DEL PILAR
MAKEUP ARTIST & HAIR STYLIST MODEL
E VA T U E R B L
TRICIA LE HANNE/ BIGOUDI
SAMI GOTTSCHALCK (INDEED)
Original 70s Shirt Brown, Black Shorts HENRIK VIBSKOV Silk Scarf HEINER RADAU, Gold Necklace & Bracelet SABRINA DEHOFF Optical Glasses Round Gold MYKITA, socks FALKE Original 70s Slip ons Green
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THE DAPIFER
Fringed Leather Cape AUGUSTIN TEBOUL Original 70s Shirt PIERRE CARDIN Shorts Snake Light Grey Leather AVELON Long Gold Necklace Chain VIBE HARSLOF, 2 Rings Gold Green: & OTHER STORIES
THE ROMANTICS
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Raincoat Black & White Striped STUTTERHEIM Original 70s Flared Trousers White Original 70s Slip ons Green
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THE DAPIFER
Original 70s Velvet Studded Jacket Green
THE ROMANTICS
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Fringed Leather Cape AUGUSTIN TEBOUL Original 70s Shirt PIERRE CARDIN 2 Rings Gold Green & OTHER STORIES
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THE DAPIFER
Crepe Shirt Leopard GIANNI, Dress Green Leopard RIKA Original 70s Flared Trousers Black, Double Gold Necklace CAROLINA DEL PILAR, Black Coat RAF SIMONS Vintage Belt DUNKELBERG, Original 70s Plateau Boots
THE ROMANTICS
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White & Yellow Striped Tank Top VLADIMIR KARALEEV Vest Leather MARTIN NIKLAS WIESER Original 70s Flared Trousers white Original 70s Slip ons Green
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THE DAPIFER
Mesh Tank Top VLADIMIR KARALEEV, Jaquard Silk Organza Coat CAPARA Tuxedo Trousers SISSI GOETZE, Silver Cuff & Ring INA BEISSNER
THE ROMANTICS
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“I don’t think about art when I’m working. I try to think about life.”
T HE GREAT RO MAN TICS
JEAN MICHEL BASQUIAT
There are very few figures that have influenced the landscape of modern art , especially in America, as much as the wildly influential Jean Michel Basquiat. Originally known only by his 4 letter graffiti alterego, SAMO, Basquiat disrupted the established conventions of social status, construct, and composition as he tagged the buildings of Lower Manhattan with his sharp-edged, politically driven messages. With an aura that captivated everyone and everything that he encountered, Basquiat’s legend grew as he went on Words LAKENYA KELLY
to become one of the most celebrated
Illustration NATALIA JHETÉ
fine artists of the 20th century with exhibitions spanning from Edinburgh to Los Angeles. We at THE DAPIFER will be forever influenced by the daring, original voice of Jean Michel Basquiat.
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THE DAPIFER
Ask anyone “who is the greatest fashion designer to ever live?” and you’re bound to come across the name Alexander McQueen. One of Words LAKENYA KELLY
the most influential designers of the
Illustration NATALIA JHETÉ
20th century, Lee Alexander McQueen was a man of few words and many actions. McQueen began his career as an apprentice on Savile Row in London, refining his tailoring skills to such an exquisite extent that he quickly branched off on his own with clients such as Prince Charles and Mikhail Gorbachev. With an increasing appetite for discovery, McQueen enrolled in the renowned Central Saint Martins fashion school of the University of the arts London, where his attention grabbing senior collection launched his fashion career. McQueen went on to produce a controversial (and insanely influential) series of couture collections that have marked the 20th century with his signature sense of the sinister and grotesquely beautiful. We at THE DAPIFER will continue to be inspired by the beautifully intimate spirit of Lee Alexander McQueen.
“There is something sinister, something quite biographical about what I do - but that part is for me. It’s my personal business. I think there is a lot of romance, melancholy. There’s a sadness to it, but there’s romance in sadness. I suppose I am a very melancholy person.” ALEXANDER MCQUEEN
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Choosing just one quote from this magical woman was extremely difficult! Diana Vreeland took fashion seriously; quickly rising through the ranks at Harper’s Bazaar to become fashion editor for 26 glorious years. She was known for her quick wit and unique take on the world of fashion. At the time of her death famed photographer Richard Avedon remarked, “she was and remains the only genius fashion editor.” We at THE DAPIFER remain deeply influenced by the humorous, poetic soul of this phenomenal woman.
Words JON GORDON
“You don’t have to be born beautiful to be wildly attractive.” DIANA VREELAND
Illustration NATALIA JHETÉ
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THE DAPIFER
“I hate good taste. It’s the worst thing that can happen to a creative person.” HELMUT NEWTON
Contradiction and irony were prevalent in the fashion, nude, and portrait photography of Helmut Newton. After starting a career shooting for Australian Vogue in 1950, he went on to shoot for almost every major fashion publication in the world. His work challenged conventions, often blending elements of documentary with erotica. His confrontational style of shooting his subjects has influenced more than three generations of photographers, and his classic work from the 60’s, 70’s and 80’s would fit into any fashion magazine running today. We at THE DAPIFER owe a lot to his luxurious, casual style. Thanks, Helmut.
Words JON GORDON Illustration NATALIA JHETÉ
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CHIC, ELEGANCE, LUXURY, EXCITEMENT AND ENCHANTMENT, ALL FIT LACONICALLY IN JUST TWO WORDS:
ANYA CALIENDO
“The Thief: Ruby Hunter” by ANYA CALIENDO, Photo ED HAFIZOV
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THE DAPIFER
She is the first American milliner in over thirty years to have a solo millinery presentation at Lincoln Center during Mercedes-Benz Fashion Week. She studied under Rose Cory, the late Queen Mother’s personal milliner, and interned for Stephen Jones. She creates sublime millinery masterpieces - delicate wearable art of exquisite workmanship. She embodies the term Haute Couture. All her hats are made entirely by hands. Every chapeau is a pure marvel, completely different from the next. Her hats are spectacular fairytale dreams wondrously brought into our reality. When people say “beauty will save the world,” they talk about Anya Caliendo. Anya and myself have collaborated on numerous occasions in the past, guest-starring in each other’s shows, presentations, and editorials. Aside from being privileged to be the in-house-illustrator of her stunning work, her friend and confidant, I am also one of her biggest fans. I am thrilled to be interviewing her for the DAPIFER and I know that after you read her words and see her work for yourself, you will be mesmerized by her just as I am, and will be forever. -Leonid Gurevich
ANYA DEAR, THE THEME OF THIS ISSUE OF THE DAPIFER IS THE ROMANTICS. WHAT DOES THIS CONCEPT MEAN TO YOU?
It means a world of possibilities. The concept of the Romantics is an endless creative conversation whether you interpret it within a frame of a clear definition - think Shakespeare’s love stories, or decide to add a bit of a dark side like Alexander McQueen, whose iconic images of Savage Beauty made Fashion History. In my work I often reference Romantics theme. For me it combines both vulnerability and strength. Grace and beauty. Heartache and sorrow of a broken heart - all expressed in the designs of the couture hats I create. NOT ONLY ARE YOUR HATS VISUALLY STUNNING, THEY ARE ALL 100% MADE BY HAND. MOST PEOPLE DON’T REALIZE WHAT THE CONCEPT OF COUTURE TRULY ENTAILS. TELL US ABOUT YOUR TECHNIQUES AND MATERIALS.
I believe you are only as good of a Milliner as your techniques are. Techniques in Couture Millinery are usually highly guarded, protected, cherished and carefully preserved. I am not talking about those “Do It Yourself ” tutorials you can see in abundance on YouTube. I am talking about the true Couture Millinery techniques that not only require talent, but also a tremendous amount patience, understanding of the material, and a careful, thought-through design, among many other components. In Couture Millinery we only use the highest quality of fabrics and trimmings. I usually export fabrics from France, Italy and Japan. Some materials are custom created to my specific design. “In The Shadow”
Virtually every hat I design undergoes a significant preparation period
by ANYA CALIENDO, Photo ED HAFIZOV
in production.
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YOUR CHAPEAUS GRACE THE PAGES OF VOGUES AND BAZAARS OF THE WORLD. RIHANNA AND LADY GAGA ARE AMONG THOSE SEEN WEARING THEM IN PUBLIC. WHO ARE YOU LOOKING FORWARD TO WORKING WITH?
Creating couture hats for the women who personify the definition of Style Legends is always an amazing journey to me mainly because it represents an entirely new level of creative freedom. I would love to work with Catherine Baba, Carmen Dell’Orefice, Renata Litvinova, Giovanna Battaglia just to name a few. I have an endless list of names. WHY IS INDIVIDUALITY IMPORTANT?
Individuality equals authenticity. To me it is always plain and simple. Authenticity is far more entertaining and alluring. I have very little time and I cannot afford to waste it on a anyone who is a bore. OVER THE YEARS YOU’VE CREATED MULTITUDE OF MILLINERY MASTERPIECES. WHICH CHAPEAU IS OF A PARTICULAR IMPORTANCE TO YOU?
There are many. Each couture hat is deeply personal to me. I usually never create a hat that I know I will not be able to fall in love with. Among my favorites are “Silverlake”, “Asylum”, “Awake”...I could probably go on and on about my favorite hats born in my Atelier. WHAT IS INVOLVED INTO THE PROCESS OF CREATING THE COLLECTION?
I approach the subject of creating every Collection very seriously. It always begins with the extensive research of the chosen theme. Months and months of reading various sources, studying images and finalizing ideas in my head. Then the process of fabric selection begins. Often many components of the Collection are created in advance, always by hand only. Embroidery in gem stones, silk thread embroidery, feather work and creation of various attachments are
“Pom Pom Flirt”
some of the examples. I always create very schematic drawings of the
by ANYA CALIENDO, Photo ED HAFIZOV
preliminary designs, make numerous changes along the way, adding or removing certain versions. Physical execution of the design is a vital stage It takes months in development. Ultimately, it is what I call the “life inside of life”. It is an unbelievable privilege of experiencing the creation of each piece. I am always exhausted at the end, but only for a moment. WHAT IS THE MOST EXCITING PART OF BEING A MILLINERY ARTIST? WHAT IS THE MOST CHALLENGING?
The most exciting part, of course, is the artistic part of it. You essentially are given a gift of creating beauty in its pure form. I think of it as a very special form of freedom. It cannot be experienced anywhere else but in the midst of the creative process. The most challenging is that you are only as good of a milliner as your last creation. I stopped worrying about running out of ideas several years ago. Now it is all about how far I can push the level of my craftsmanship and my vision. Another challenge is dealing with inevitable defeat and realizing that you cannot have it all, and you cannot have it all on your terms.
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THE DAPIFER
TOP “Toulouse Market” by ANYA CALIENDO, Photo ED HAFIZOV RIGHT “Rouge Azure” by ANYA CALIENDO, Photo ED HAFIZOV
IT IS NOT A SECRET THAT A CRITIC’S OPINION CAN MAKE OR DESTROY A
Absolutely correct. “Confessions” - my very first presentation of
DESIGNER’S CAREER. IRONICALLY, MOST FASHION CRITICS WERE NEVER
SS2014 collection was held at the legendary Lincoln Center. I felt that
DESIGNERS. HOW DOES IT FEEL TO BE CRITIQUED REGULARLY BY THE PEOPLE
THE BOX was the best possible way for the presentation to have a
WHO HAVE NEVER BEEN IN YOUR SHOES?
strong impact. After all, it was the first solo Millinery Presentation
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by American Milliner as an official part of Mercedes-Benz Fashion
Long time ago I resolved to listen to the opinions of those in the
Week in New York in decades. It turned out to be the right choice.
industry who exhibited a deep understanding of the essence of
“Confessions” made a huge splash, attracted very positive attention
fashion, knowledge of fashion history and, above all, who chose
of the global press, and ultimately put my name on the map. For
to focus on quality and design rather than chasing the “trend”
the following collection presentation for SS2015 called the “Ghost
factor. The great Elsa Schiaparelli thought that it was critical for any
Gardens”, I chose the luxurious Dior Suite at the St. Regis Hotel in
designer to spend first five years of the creative career in the “solitary
NYC, because I strongly felt that the interior of the Suite and general
confinement” in order to grow thick skin to be able to deal with critics.
atmosphere of the St. Regis were the best possible backdrop for my
I have done just that. I am very private and extremely introverted. I
newest collection. This presentation, I felt, delivered better results in
despise cameras and live interviews. I insist that everything I have to
terms of the press quality we have received. I absolutely loved the
say I already said in my designs. Thankfully, critics have been kind
very intimate, elegant, very controlled, beautiful atmosphere at the
to me. Once in a while I would hear about certain negative thing said
St. Regis. Generally, I strongly feel that the location for each Show
by my peers… I never take it personally and I never take it close to
or Presentation must be chosen based on the aesthetics of each
heart. In order for me to react to this emotionally, it would have to be
Collection. The venue should never be generic or repetitive. It must
a colleague of mine whose work I hold in the highest regard. The rest
serve as a beautiful framing for a jewel. The venue is a part of the
do not matter.
story the designer is trying to tell with the Collection.
TWO OF YOUR LAST COLLECTIONS WERE PRESENTED DURING PAST FASHION
WHERE CAN YOUR DESIGNS BE PURCHASED?
WEEKS AT ENTIRELY DIFFERENT VENUES: THE “CONFESSIONS” WERE SHOWN
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AT LINCOLN CENTER IN A BLACK ASCETIC (THE) BOX, WHILE THE “GHOST
All Collections are available on my official site at www.anyacaliendo.
GARDEN” WAS UNVEILED AT THE LUXURIOUS DIOR SUITE AT ST. REGIS
com Prices are available upon request. The best way to place an
HOTEL. HOW DO YOU COMPARE THE TWO EXPERIENCES AND HOW IMPORTANT
order would be via an e-mail to info@anyacaliendo.com
IS THE RIGHT LOCATION FOR PRESENTATION?
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WHAT IS YOUR DREAM PROJECT?
works of Galliano, Peter Copping, Alessandro Dell’Acqua, Christian
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Lacroix, Alexis Mabille. And then, of course, there are Legends like
I am surprised to find out I don’t have one. I am open to anything over
Madame Paulette, Elsa Schiaparelli, Yves Saint Laurent. They are my
the top, spectacular, magnificent, crazy!
creative refuge, clear examples of vision and quality of work which transcend time.
WHAT IS FASHION TO YOU?
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WHAT QUALITY IN PEOPLE TO YOU VALUE THE MOST?
A force. A power of an individual to express a state of being in the
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context of modern time.
Honesty and kindness. Rare combination in today’s world. I am lucky to be surrounded by those who possess both of these qualities.
WHAT ROLE DOES THE ARTIST PLAY IN SOCIETY, IN YOUR OPINION?
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YOU TEACH YOUR FAMOUS MILLINERY CLASSES. WHAT ADVICE WOULD YOU
A great artist plays a crucial role. Artists are a reflection of the time
GIVE TO ASPIRING MILLINERS / DESIGNERS / ARTISTS?
they live in. Hundred years from now, when people will look back
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to the beginning of 21st Century to see the examples of the best
I have been told I am too blunt when it comes to giving any advice
creations of that period, it will be the works of those who represented
regarding a career in fashion. Well, I prefer to think of it as realistic.
their craft to the highest artistic degree that will stand out.
Do not overestimate your capabilities and do not underestimate them. Get proper training. Polish your art and never stop learning. Babysit
AS AN ARTIST, WHAT DO YOU THINK SOCIETY COULD BENEFIT FROM THE MOST?
your own insecurities and do not expect for anyone else to do it for
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you. Brace yourself for the impact. You will be told “no” too many
Quality in everything. Quality in beauty, fashion, books, cinema
times. Deal with it. There are plenty of tears in Fashion.
and every day life. “Casual” is a dangerous word. I feel nowadays everything is too casual, too disposable. Take a look at the dress
WE ALL KNOW THAT THERE IS NO MAGIC FORMULA FOR SUCCESS. BUT IN YOUR
code, for instance. I think here in the US we are suffering from the
OPINION WHAT ARE THE MOST IMPORTANT TRAITS TO POSSESS TO HAVE A
“Casual Disease” as I call it. People no longer make an effort to dress
SUCCESSFUL CAREER?
up for an occasion. I see dudes in jeans and sweatshirts attending
-
concerts in the Carnegie Hall, for example. I doubt they would be
Discipline, vision, sacrifice, work ethic, creative partnerships and
allowed to enter La Scala dressed like that. Or women wearing flip-
determination. If you do not believe in what you do, you can hardly
flops at all times during day. I would ban flip-flops outside the beach.
expect anyone else to believe in you. Be honest with people. ALWAYS.
I am tired of looking at dirty feet in flip-flops of all kinds.
But more importantly, be honest with yourself.
WHAT IS, IN YOUR OPINION, PUBLIC’S BIGGEST MISCONCEPTION OF THE
“Rouge Cardinal”
FASHION WORLD?
by ANYA CALIENDO, Photo ED HAFIZOV
Fashion is not as fickle, trend and sale oriented as one might think. For most of the designers their work is far more than just an equivalent of a dollar sign hanging on the rack. I choose to believe it. WHAT DO YOU DISLIKE ABOUT FASHION WORLD?
Many things. While I adore the theatricality of it, at the same time I dislike the fact that far too often while being theatrical, the clothing lacks quality. I adore creative minds and characters within the Fashion industry but despise the politics of it. I suppose you have to take it all as it is, otherwise it is very easy to get discouraged. WHAT IS FASHION FAUX PAS FOR YOU?
Poor quality. Poor quality of the design, poor quality of people in fashion, poor quality of anything that has to do with the creative. WHO ARE PEOPLE YOU ADMIRE?
Thankfully, there are many of those. They are keeping me afloat and help me in my work in so many different ways. I will always admire the
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www.barquenewyork.com
R A DA R
JU LIE M ICHE LE T _
WHEN DID YOU DECIDE TO PURSUE PHOTOGRAPHY ? DO YOU REMEMBER THE
WHAT DO YOU WANT TO CAPTURE IN YOUR IMAGES ? IS THIS DIFFICULT ?
FIRST PHOTOGRAPH YOU TOOK ? DESCRIBE IT FOR ME ?
-
-
When I take a picture, it’s important for me to be able to look at it
During my Fine Art studies, I tried a lot of things: drawing, painting,
and say “Wow, I’ve never done that”. And if people look at it and say
sculpture… I can’t really remember how, but I started taking pictures
“Wow, I’ve never seen something like that”, then I’ve accomplished
and found that it was a better way to express myself.
something. The great thing is that I have amazing teams working with
I think one of the first pictures I took was a self-portrait. I looked for
me with the same purpose.
clothes in my wardrobe; took a vintage leather skirt and perfecto! I did
WHERE IS YOUR FAVORITE PLACE IN THE WORLD ?
hair and make-up, stood next to a jukebox and tried to find the perfect
-
attitude and angle to create the story. I can say now that it’s way
I’ve traveled a bit, but I think it’s too soon to call a favorite place in
easier with a model!
the world, because I haven’t seen enough yet. But I would say that I need the balance between the effervescence of the city and the time
WHERE ARE YOU FROM, AND DID THAT INFLUENCE YOUR ART ?
with my family in the countryside. I love Paris, and it will probably
-
stay one of my favorite places in the world, but I would love to travel
I’m from a very small city in Bourgogne (the region in France where
to New York and possibly stay and work as a fashion photographer.
your find the best wines !). Growing up, I didn’t know anything about fashion and art. I couldn’t go to the museums every weekend as some
THE THEME OF THE ISSUE IS « THE ROMANTICS ». WHAT DOES THAT MEAN
others did, but I think that’s what made me come to Paris with a fresh
TO YOU ?
eye and being eager to discover everything I missed. As of today, I
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think I kept some of this naivety and work on my art without trying to
Like everyone, when I hear “The Romantics”, I think about movies, from
know everything about what’s been made or what’s going on in the
the classic Pretty Woman, to the tragic Titanic. When I hear “Romantic”
Fashion World.
I think big, but in reality, I think romanticism is in small things, like telling a person she’s beautiful when she wakes up with the print of the pillow still on her cheek.
WHO OR WHAT IS YOUR IDEAL MUSE ? -
Judging by my Instagram account, I guess we could say that my
WHAT DO YOU WANT PEOPLE TO FEEL WHEN THEY VIEW YOUR WORK ? IS THAT
cat is my best muse ! My ideal muse has different faces, she’s not
DIFFICULT ?
necessarily what we call beautiful but she has something unique and
-
mysterious. She reads my mind and knows exactly what I want without
We see images everywhere: on our computer, on our phone, in the
having to talk.
subway, in the journal, on the streets… I think one of my goal is to make images strong enough so people will look at it more than 5 seconds, and remember it as the day passes.
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Editorial - Cactus for FLANELLE Magazine by JULIE MICHELET
THE ROMANTICS
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Photo & Styling PATRICK LACSINA Model DAVID KUBAS (Re:Quest) Grooming CHRISTINE JAIRAMSINGH
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R A DA R
PATRICK LACSINA _ WHAT BROUGHT YOU INTO THE WORLD OF PHOTOGRAPHY?
you’re doing exactly what you’re meant to do. And that’s how I feel
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every time I’m working in the city. It’s almost tangible, the feeling of
I’ve been into the arts as far back as I can imagine. I was that weird
home inside your body. Beyond that, I just want to continue shooting
kid that would rather draw than play outside during recess. I attended
and establish myself further in the fashion industry.
a visual and performing arts high school which validated the idea that art could be a serious platform for a meaningful career. It was during
WHAT TYPE OF SUBJECT MATTER IS MOST IMPORTANT TO YOU?
that time I realized I had a passion for photography and eventually
-
went on to receive a BFA at OCAD University. I decided to pursue
First, it needs to involve people. I love beautiful landscapes and pretty
fashion and editorial work after that when it became clear without a
skies, but I can shoot those on my iPhone. I’m a firm believer that
doubt that that’s where my true interest lies.
people shouldn’t get lost in photos, so whether I’m shooting fashion or portraits, my main goal is to be able to recognize a real sense of
WHEN DID YOU FEEL LIKE EVERYTHING CLICKED AND YOU FOUND YOUR STYLE?
the person in the final product. That’s why I tend not to give too much
-
direction when I’m shooting because I’m always looking for a tiny
I didn’t realize I actually had a style until after a few years of shooting
sense of honesty through the lens.
full time and someone made mention of it. For me it was more of a natural progression- I was just always drawn to simple lighting and
WHAT DID YOU THINK WHEN GIVEN THE THEME FOR THIS ISSUE, THE
smarter composition versus anything with super elaborate post-
ROMANTICS?
production work. It wasn’t really until I saw my work altogether that I
-
realized everything I’ve been shooting is clean and the models aren’t
I thought it was pretty amazing and right up my alley. And when I
too posed. Even when I shoot anything on the edgier side now, I’m
saw the corresponding moodboard, I was even more excited. As a
always aware there needs to be some form of commercial appeal.
photographer, being able to convey a narrative through images is important to me, and this theme made that really easy. I think the
WHERE ARE YOU FROM, AND DID THAT INFLUENCE YOUR ART?
theme is something everyone can relate to, whether it’s rooted in past
-
eras or set in modern times, the idea of love and romance, lost and
I was born in the Philippines, but grew up in Toronto. I think being
sorrow, is something we’ve all navigated through, so it’s a great to see
raised by Filipino parents, coupled with being Canadian, its influence
a full issue exploring that.
bleeds beyond any one aspect and more into an overall way of seeing life. It’s permanently ingrained in my head that I need to be polite and
WHAT DO WANT PEOPLE TO FEEL WHEN THEY VIEW THIS STORY- AND VIEW
treat people respectfully, almost to a fault. There’s almost always
YOUR WORK IN GENERAL?
snacks on my sets and I sometimes have to hold back in being too
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motherly to models. I’m reminded every time I’m in New York how
With this story, we tried to convey that love and romance is a complex
“nice” I am.
idea- that love is beautiful and love hurts and it’s beyond any singular definition. When it comes to my work as a whole, I hope people can
WHERE DO YOU SEE YOUR PHOTOGRAPHY GOING IN THE FUTURE?
view it and feel a sense of honesty, even past the fancy clothes and
-
makeup. That nothing is too far from reality. At the end of the day, the
The number one goal at the moment is to get signed with an agency in
lasting hope is that people view my work and see it’s coming from a
New York. There’s a cheesy saying that you know you’re home when
genuine place.
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Jumpsuit GIA VENTOLA
MODEL ACCESS PHOTOGRAPHER C R E AT I V E D I R E C T O R FA S H I O N E D I T O R MAKEUP ARTIST
F R A N C I S VA Z Q U E Z L A K E N YA K E L LY
R I E H I R A B AYA S H I ( M AC C O S M E T I C S )
HAIR STYLIST MODELS
JON GORDON
K I YO I G A R A S H I
V I R G I N I A S L AG H E K K E ( T R U M P ) NEJILKA ARIAS (MAJOR)
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Jacket GIA VENTOLA Swimsuit THAPELO PARIS
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Top GIA VENTOLA Shoes ZARA
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Jacket GIA VENTOLA
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PYGMALION AND GALATEA. EPILOGUE. … NOW I SEEM TO F IN D H E R, N OW I RE AL IZE SHE’S FAR AWAY, N OW I’M C OMF ORT E D, N OW DESPA IR, NOW LON GIN G F OR H E R, N OW TRULY SEEING HER … .
- P E TRARCH. SON N E T 227 FA S H I O N I L L U S T R AT I O N + S T Y L I N G + A R T D I R E C T I O N
LEONID GUREVICH PHOTOGRAPHY MODELS
QUINTIN & RON
V I K A C O S TA ( N E X T )
NICK BILLINGS (MINT) HAIRSTYLIST
LAZARUS DOUVOS
MAKEUP ARTIST
KUMA
P H O T O G R A P H E D I N T H E P R I VAT E S T U D I O O F A R T I S T A N D S C U L P T O R A R C A DY KO T L E R . ALL SCULPTURES AND ARTWORK ARE THE P R O P E R T Y O F M R . KO T L E R .
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Dress STEPHANE ROLLAND
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Sweater VIVIENNE WESTWOOD Rolled Up Slacks COMME DES GARCONS Socks THOM BROWNE
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Dress & Pants JEAN PAUL GAULTIER Crown JOHN GALLIANO FOR MAISON MARGIELA
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Dress & Belt ELIE SAAB Hat CHANEL Top DIOR HOMME Shorts VIVENNE WESTWOOD
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Dress VALENTINO Top & Pants BOTTEGA VENETA
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Dress & Hat VIKTOR & ROLF
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Dress & Nude Top CHRISTIAN DIOR Cape ULYANA SERGEENKO Two-tone Stockings JOHN GALLIANO FOR MAISON MARGIELA
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Shirt VERSACE
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Dress VERSACE
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Turtleneck PRADA
LUCID PHOTOGRAPHER STYLIST
R AY T E L L B R I D G E S
MAKEUP ARTIST HAIR STYLIST MODEL
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JD BARNES
SHON SANKS
K A R L PAY T O N
H A N N A H VA N D E R M O L E N ( T R U M P )
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Mock Shawl Collar Dress ALLIONA KONONOVA
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Dress ALLIONA KONONOVA
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Embroidered Crinoline Dress AUGUSTIN TEBOUL
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Leather Tulle Dress AUGUSTIN TEBOUL
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Sleeveless Maxi Dress IIOKONEE
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Satin Dress with Lace Finish AUGUSTIN TEBOUL
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TH E HE ART S OF AG E
GREGORY KEITH
PHOTOGRAPHER
STYLIST
KARINA SARIF
MAKEUP ARTIST
JA M I E D O R M A N
HAIR STYLIST
BENNETT GREY
NAILS MODELS
CAS LAMAR
ELENA (WILHELMINA)
M AT T H E W ( W I L H E L M I N A ) T I FA N N I E ( PA R T S ) H A N D M O D E L
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Model wears her own bra & panty Suit CALVIN KLEIN, Shirt KENNETH COLE Arm Harness ZANA BAYNE
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Shoes CAROLINA ESPINOSA Belt & Pants CALVIN KLEIN
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Latex Top VOYEUR BY VEX, Skirt MANFREDONIA Male Belt & Pants CALVIN KLEIN
THE ROMANTICS
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Caged Latex Thigh Highs RENEÉ MASOOMIAN Shoes INC INTERNATIONAL Male Belt & Pants CALVIN KLEIN
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Pink Tunic NP ELLIOT Latex Corset VOYEUR BY VEX
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Sheer Top MANFREDONIA Rings SUSAN RITTER Latex Panty VOYEUR BY VEX
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Organza Jacket PHOENIX KEATING Latex Bra & Panty VOYEUR BY VEX
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GL ITCH 112
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LEFT Collar ALEXANDRA KONWINSKI
PHOTOGRAPHER A S S I S TA N T
JULIE MICHELET
MARIE AMELIE MARTIN
Dress AZZEDINE ALAIA STYLIST
TOP Top ILJA Skirt DEUX A
A S S I S TA N T
TA R A Z I E G F E L D
ANGELIQUE LANCELLE
MAKEUP ARTIST
LAMIA BERNAD
Caps IS NOT DEAD Earings OH BY KAPIA SASHA
HAIR STYLIST MODEL
NINA OLIVET
A L E X I A G I O R DA N O ( C R Y S TA L )
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Top ELISABETTA FRANCHI Mask FOREVER GLAM
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Dress ISSEY MIYAKE Robe SONIA DELAUNNAY Earings JOANNA LAURA CONSTANTINE
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Dress OSCAR CARVALLO Cap ON AURA TOUT VU Belt AZZEDINE ALAIA
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Dress OSCAR CARVALLO Cap ON AURA TOUT VU Belt AZZEDINE ALAIA Rings ISHARYA
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Jacket ON AURA TOUT VU Skirt IS NOT DEAD Bag ISSEY MIYAKE BAO BAO Ring ISHARYA
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Corset FOREVER GLAM Earings OH BY KAPIA SASHA Necklace CHARLOTTE MARTYR
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E X A LT E D PHOTOGRAPHER FA S H I O N E D I T O R MAKEUP ARTIST HAIR STYLIST
JON GORDON L A K E N YA K E L LY R YO YA M A Z A K I
A N D R E A S S C H O E N AG E L
MODELS
FRED (MUSE)
G I N TA R E N AV I K A I T E ( M A J O R ) JEWELRY BY
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DA N I E L A N T O S H
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AS THE ROMANTICS IDEALIZE NATURE AND THE NATURAL, SO THEY EXALT THE CREATIVE SINGULARITY OF THE INDIVIDUAL IN THE PERSON OF THE HERO. ROMANTIC HEROES DIFFER FROM TRADITIONAL HEROES IN THAT THEY TEND TO CHALLENGE RATHER THAN CHAMPION THE SOCIAL AND MORAL VALUES OF THEIR TIME.
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Top MANFREDONIA NEW YORK Dress RELIGION, Rings BOND HARDWARE
MU S E
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PHOTOGRAPHER MODEL STYLIST MAKEUP ARTIST HAIR STYLIST
DUCK FEENEY
NINA BURNS
NICK LUGOVIÑA DILLON PEÑA FOR NARS
B R I T TA N Y W H I T E U S I N G O R I B E
Top JENNIFER KATE Skirt MAURIE & EVE Shoes JOSE DURAN
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Top NIRCO CASTILLO Pants DANIEL SILVERSTAIN, Shoes CHROMAT
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Dress ASSALI Top DANIEL SILVERSTAIN Shoes CHROMAT
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Top DANIEL SILVERSTAIN
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Pants VALENTINA KOVA Bra MODEL’S OWN
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I N T E RV I E W
F R ANCI S VA ZQUE Z TELL US A LITTLE ABOUT YOURSELF. WHERE ARE YOU FROM AND HOW DID YOU
YOU’VE BEEN THE CREATIVE DIRECTOR OF THE DAPIFER FOR A LITTLE OVER 2
END UP IN NEW YORK?
YEARS NOW. IS THERE A PROJECT THAT HAS STOOD OUT TO YOU MORE THAN
-
THE REST?
Sure, I’m Francis, the CD here at The Dapifer. I’ve been in the City for
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almost 6 years now, but I was born in Colorado.
I remember the cover story for ‘Bravo Bravo’ with Dana. I think that shoot was something great. Things were just working.
WHAT DOES THE DAPIFER MEAN TO YOU ? HOW DO YOU VIEW THE ROLE OF CREATIVE DIRECTOR?
WHAT IS YOUR BIGGEST INSPIRATION?
-
-
The Dapifer right now is like this shadow, and every now an then I
Probably music. I’ve been listening to a lot of Don Ellis, beautiful stuff.
catch a peak of it. With each issue though, it reveals itself a little more. As a Creative Director, I think of myself as more of a gardener,
THE THEME FOR THIS ISSUE IS THE ROMANTICS.. WHAT DOES THIS MEAN TO
then an architect. I like to plant seeds, and see what happens, see
YOU? HOW DID YOU BRING THE CONCEPT TO LIFE?
where it goes next, nurture when it needs it, and pull some weeds
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when it’s called for.
Romanticism was always a form of idealism. I think I was attracted to the concept because it’s something we can all relate to now. We’re
YOU DO QUITE A FEW DIFFERENT THINGS IN THE CREATIVE WORLD
in this sort of rut right now, and I think a lot of people are looking
(PHOTOGRAPHY, VIDEO, ART DIRECTION).. DO YOU HAVE A FAVORITE MEDIUM?
towards the past, and idealizing it. For the issue, I think we all tried to
-
really up the emotional value, really make things mean something.
I love being behind the lens, but thats something I could one day step away from and be fine. Art Direction though, there’s something so
WHAT INSPIRED YOUR COVER STORY? WAS THE PROCESS DIFFICULT? WERE
free about it. Nowadays campaigns are so multi-platform that it’s not
YOU HAPPY WITH THE RESULTS?
enough to just be good at one thing.
The inspiration came from Rodin. He compresses so much emotion in
DO YOU REMEMBER THE FIRST THING THAT YOU EVER CREATED?
to his sculptures, it’s crazy. The image of the hands was actually a
-
recreation of one of his pieces. I’m happy with it.
There was this little painting I did when I was in highschool, of just some waves, real Bob Ross stuff. I remember I kept painting over it, it
WHAT’S THE MOST FRUSTRATING THING ABOUT CREATING?
was frustrating. But there was something real satisfying about being in
-
control of the canvas. Of picking the colors.
Explaining things to people who can’t see what you see, and have to just trust you.
WHAT’S YOUR CONNECTION TO FASHION? HOW DO YOU ILLUSTRATE THIS IN YOUR WORK?
WHERE ARE YOU TAKING YOUR WORK NEXT? ANY INSPIRATIONS OR
-
ASPIRATIONS?
Fashion, as an industry, just feels alive. There’s such an embrace of
-
creative thought. Sometimes though, we can get a little stiff, and I
Just traveling, I want to experience different scenes. New York is
have to remind myself that fashion, at it’s core, is fun.
great, but there’s some amazing work coming out of certain places;
IF YOU COULD DESCRIBE YOUR AESTHETIC IN 3 WORDS WHAT WOULD THEY
Munich, Portland, Barcelona, etc. But I think people either travel
BE?
because they’re running from something, or chasing something. I’m
-
definetly chasing something.
Sleek, Emotional, Edge.
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Model ALINA PHILLIPS Photographer FRANCIS VAZQUEZ
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FINDING FORE VER A CONVERSATION WITH MICHAEL ALAN & JOSEPH MELOY
THIS WAS A FUN ONE FOR US. WHILE FEATURING
WHO BETTER TO TALK SHOP AND PROBE MICHAEL
JOSEPH MELOY IN OUR THIRD ISSUE, WE ASKED HIM
ALAN THAN HIS FRIEND AND FELLOW ARTIST JOSEPH
TO NAME HIS FAVORITE ARTIST WORKING IN NEW
MELOY? WE SAT WITH ALAN AND MELOY AT ALAN’S
YORK RIGHT NOW. HE QUICKLY NAMED MICHAEL ALAN,
BROOKLYN STUDIO SPACE, HIT RECORD, AND MOSTLY
A MYSTERIOUS FIGURE IN THE NEW YORK ART SCENE,
GOT OUT OF THE WAY AS MELOY AND MICHAEL ALAN
WHOM HE HAD BEEN RECENTLY PHOTOGRAPHING.
TALKED ABOUT EVERYTHING FROM THEIR FRIENDSHIP,
ALAN DEFIES CONVENTION, INSPIRING A SOLID ARTIST
TO ALAN’S RECENT HEALTH ISSUES, TO HOW THEY
AND CELEBRITY-LADEN FOLLOWING FOR EVERYTHING
MIGHT LIKE TO BE REMEMBERED IN THE ANNALS OF
FROM HIS PAINTINGS, SKETCHES, AND BOOKS TO
ART HISTORY. WE HERE AT THE DAPIFER SINCERELY
HIS LEGENDARY ART-AS-PERFORMANCE LIVING
HOPE YOU ENJOY THIS BEAUTIFUL, REVEALING
INSTALLATION SERIES, WHERE HE ARRANGES AND
CONVERSATION THAT IS HOPEFUL, SAD, JOYOUS,
PAINTS MODELS, SETS, AND HIMSELF IN FRONT OF AN
AND MOST IMPORTANTLY, GENUINE.
AUDIENCE, USUALLY SET TO A SOUNDTRACK OF HIS OWN MUSICAL MACHINATIONS.
on left
Words JON GORDON
Michael Jackson MICHAEL ALAN
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135
THE DAPIFER: Michael, what was your first impression of Joseph?
while before we actually started talking more, and I was like, “oh I
MICHAEL ALAN: He was odd and nice.
think we could be BFF’s, I get this guy!”
JOSEPH MELOY: So handsome. [Laughs].
You’ve been in the fine art world for fifteen years now? Or more—
MA: Yeah, I don’t know, he’s a really nice dude. I grew up around some
twenty? What would you say are some of the first things that come to
pretty crazy people so it was a relief, you know? This dude makes art,
mind when I [ask] what is different now than when you first started?
he isn’t just completely mentally deranged, and then I looked at his
With regard to the scene, and with regard to showing and the types of
stuff and I was happy [to find] someone I can relate to. I don’t relate
things you’re involved in?
to a lot of artists. Then he was taking these crazy photos of the Living
MA: I don’t know, man. When I first started out I was showing in
Installation for some months, really spectacular.
Chelsea, a long time ago, and I felt it was way more . . . I don’t know, I
JM: I first saw your work on Facebook because of Michael Kronenberg
just felt people cared about the work more and there were less people
and had met him through some artist friends of mine who I later found
around, it was super Chelsea. People came out to see, like, “can this
out were artists friends of yours. He had posted some photos of your
guy draw?” I remember my first solo show: it was like, serious people
work and I was instantly struck. I remember pulling a few of them
came out to see your stuff and really give you a critique, and now
down off of Facebook and put them in a folder like, “this guy is good.”
there are just so many shows that it’s hard to take it as art.
Then I found out about the Living Installations, which was interesting,
JM: There are more shows than there used to be?
I had to see that. Then coincidently, I didn’t even know Eric Torres,
MA: Yes. JM: More artists?
but Eric used to work with my [other] friend and we both kind of found
MA: Yes. There are more artists, more shows, more institutions . . .
out about this thing going on at ABC No Rio that night. I went to check
there’s just more. More isn’t better. I used to feel like you had to work
it out, and yeah I kept up with your work through Facebook. I didn’t
so hard to get a show back then, or to be a part of anything. Now it’s
know you, but I kept up with it. And then you had a Living Installation
just very simple. Its “my dad knows this person,” and boom you have a
at your old place on Walker Street?
show. So you have to compete with this. Not compete—I don’t like that
MA: Franklin Street.
word—but you’re in the same bracket with that crowd of people. I was
JM: Franklin street, yes. And I kind of sat there in the back and
just that NY kid and knew some people and they liked my work, and
snapped a few photos, and I said, “oh these are good let me send
I worked really hard [to get] a show. But now its like oh, “you’re also
them to him.” You liked them a lot. That led to me being the de
gonna show with this guy who has never shown before but his dad is
facto living installation photographer. Then, twenty thousand photos
friends with Mary’s great cousin.” I mean, it’s always been
later . . . yeah I guess that’s how we met initially. I knew you for a
that way, but now it is super intense. But [before] it was less shows,
Performance JOSEPH MELOY
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“I REMEMBER MY FIRST SOLO SHOW: IT WAS LIKE, SERIOUS PEOPLE CAME OUT TO SEE YOUR STUFF AND REALLY GIVE YOU A CRITIQUE, AND NOW THERE ARE JUST SO MANY SHOWS THAT IT’S HARD TO TAKE IT AS ART.”
Propeller MICHAEL ALAN
-MICHAEL ALAN and I felt they were stronger then. JM: The quality of the work overall? MA: Yeah. There’s just so [many] pop ups, so much unplanned stuff.
And they’re fun, it’s not like I have a bad time. But it’s just very scene-y stuff right now. Twenty years ago, it was a little less scene-y. It was right after the downtown 81 stuff, and things were kinda trying to find their way so they were more quiet. And it just seemed more serious. The gallerists would come to your studio [and] review your work; they would always write you a press release. The old basic stuff. They would always make your card—you had slides, you know? Things were different. Now it’s “do it yourself,” “can your girlfriend write your press release?” “Can you photograph all your work?” Not [for] all galleries, but I get a lot of these offers, and I’m like, “are you kidding me? No I can’t do that. You wouldn’t ask someone that owned a jewelry shop to give you half price jewelry, so why would you do the same to artists?” So I think there is kind of a shift in respect to what artists should be doing. That’s my opinion. TD: But why do you think there is that shift? MA: Because there’s so fucking many of them. So everybody will do
anything. Like any artist will suck any gallery’s dick in the street live on TV, and Jerry Saltz will cover it, and then post dick photos.
Russian Making PeePee
So anyone is ready to do everything to get in a gallery. But there
in Movable Box
are so many. Now you’ve multiplied. It’s almost like zombies. Like a
MICHAEL ALAN
zombie spread. You had like 20 quarantined patients in an office, and the world is ending, and they’re all painting and now they’ve bitten like 3000 people and they are ready to drop their drawers and do anything possible to show a piece. That’s cool and that’s great, but I’d like to see some real talent behind the piece if you’re gonna suck some guys cock on Madison. That’s a little harsh, but that’s how I feel. I wanna see some real original style, I don’t just wanna see nothing and a whole lot of blank. JM: I think real style is important . . . MA: I’m in a weird spot; if anything my style is more traceable of [early
20th century Austrian painter] Egon Schiele . Some of my work is very abstract, but a lot of it is figurative. It has an old timeless feel—kind of faded, watercolor, traditional stuff mixed with new contemporary. Its almost like if you didn’t know me and you framed a lot of my work you would say, “oh that guy is from 1920 . . . it was interesting, he was doing that.” I wouldn’t say that the work I do fits a lot of what’s going on now. That’s my personal opinion. That’s what I’ve been told by teachers, mentors, gallerists, you know? JM: I know you mentioned Schiele, but was Schiele an initial influence
on you or was it someone that you discovered along the way? I feel like in my own experiences, sometimes I’ve seen an artist work and I know for a fact that it becomes incorporated into my own, and other times I feel like I found an artist that I didn’t even know about and you discover a kindred soul you didn’t know you had. Have you had those similar experiences? THE ROMANTICS
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MA: Most for all of it; I was relieved. The only artist I did know of
was Dali from my father and Miró, and that was like my artistic
Joseph Meloy
background.
Photography YACHIN PARHAM
JM: For me, I know that Miró was one of them. I saw his work it
definitely felt the looseness and symbols and shapes and motifs. Obviously, he could paint however he wanted, but when he started doing that type of work . . . I know that was definitely an influence. MA: The surrealists are obviously stuff my dad collected and showed me. He had prints and I was like, “wow, a human can draw that?” I was really like, “what?” That’s all my mind would think over and over again, and that changed my whole childhood. Why am I gonna go outside and do nonsense when I’m gonna try and live up to this? So I tried and tried and tried. All the artists after that I just stumbled upon and I was like, “oh god, thank you.” I thought I was mental. I was such an outsider New York artist. That’s how I feel like I still am. I feel like I’m the outside New York artist. I’ll do the Living Installation or a collaboration and people will be like, “that’s so crazy,” I’m like, “that’s so art, it’s not that crazy.” I just feel like that’s my description. I’m the outside NY artist, the guy who’s respecting old traditions and values and also incorporating some—not street art—but street. Some violent kind of punches in to the paper. It’s got some roughness with my character or whatever that is . . . childhood upbringing? Working through that. There’s not that many that I feel make sense with that. That’s why I talk to [you] a lot. A lot of the work really is. If there is a scene, I’m not a part of it. I’m friends with people, and its fun to go. JM: What scene would you say that is? MA: I think there is like a social, graffiti, hip mixture of pop art, mixture
of street art, mixture of bad paintings, mixture of like fun, mixture of naked girls, which obviously helps me because naked girls always are a part of my live shows so that is nice. But there is that kind of scene, and at the same time many. I just pop up at shows with good vibes and draw, everyone wants to hang out and have a good time, [and] I’m always there drawing. I always find it funny; people say, “why are you drawing?” I’m like, “its fucking art, its twelve at night, the show is over, I’m making art. I’m drawing you, I’m making you, and I’m documenting you.” I also feel like I’m documenting what’s happening. JM: In an abstract way there is a document, like when you’re just
drawing people going about their business MA: And they look at me funny sometimes, like even my own friends. It
can be funny sometimes. My own friends will be like, “you never stop drawing!” I’m like, “because that’s what the fuck we’re doing, people! Pick up a pen, dummy.” [Laughs] That’s who I am. I’m the person who draws everything. Just like there is some guy who always sculpts something or always some girl who is topless, free the nipples. You know, like I’m the guy that’s always drawing. JM: What’s the longest you’ve gone without drawing in the past five
years? MA: Realistically there has been two to four days where I was really
sick and people were worried. You were one of the people who texted me, “hey what the hell I haven’t seen any drawings?” TD: Do you mind if I ask what the sickness is? MA: Well I had a spinal surgery that failed. So I have a failed spinal
surgery which there is different definitions for it. Which created nerve damage from my L5 –L1 [vertebrae] all the way to my foot. Which is pretty intense. I don’t take pills anymore; Then for some reason I ended up getting blood clots which we thought was from the surgery but were actually passed from my dad. Thanks dad. Which is fucking permanent and I can’t do anything about it. So I’m on medicine that 70
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year olds are on. I’m friends with like 70 year olds on blood thinners, Michael Alan Photography YACHIN PARHAM
and I have water in my head from the accident. TD: What was the accident? MA: A car hit me. I got hit by a car pretty hard. And then I have
asthma and other shit. A heart murmur. But it’s really mostly the nerve damage, missing parts of the spine, failed surgery, and clotting [caused] heart attacks, which I’ve had and it causes post embolisms, which Joe came to visit me for. They suck. But whatever. Everyone has something right? Its just kind of strange because I was always known for being like rambunctious and active and I took it hard. But I think my friends were like, ‘damn, that dude? He’s pretty crazy,’ fuck. So its helped me kinda mature up if anything. A little bit. That’s the sad part because I still am doing crazy stuff. You only live once so you’ve got to push it. JM: I know a lot of the pieces you’ve done in the past have been done
over time, where you’ll start a piece 5 years ago and start working on it [again] years later. Have you continued doing that? MA: Yes—I’m running out of pieces from eight years ago that need any
editing—but I still am. I moved obviously back to kinda where I grew up in Bed-Stuy [the Bedford-Stuyvesant neighborhood of Brooklyn, NY] – I didn’t grow up here but pretty close to where I grew up- and when I unpacked I found so many little like baseball cards and little drawings that I did in high school so I was like oh good there is still some. So yes I’m still reworking some, the paintings I’m letting be. I feel like they said something. But you know I’m reworking stuff from this year. JM: Once you’ve shown something, does it ever get reworked? MA: Very rarely; once it is framed it’s done. That’s my kind of
smart-ass answer. People always [ask] ‘when is it done?’ When it’s framed. I don’t want to open it again, but sometimes the frame breaks. Or when it’s sold its done. Or when it’s in the gallery and under consignment you can’t get it back. So simple answers to a rhetorical question but I really do feel that once I showed it, you never know who is gonna ask for it or what museum or if the gallery wants to show it again. It’s not really fair to the gallery to take a photo and it’s in their catalog and they try and push it and then you totally change it. Which I did before, I did that to Tanja Grunert a couple of times and we lost sales and I thought that was fucked up of me, to be honest. I thought that was rude I’m being honest. Ill call it when I call a mistake on my own. I was like that was stupid I could have left that be. JM: What role would you say that social media has in the creation and
promotion of your work? You can answer that in two separate parts – like in the creation of your work and then separately the promotion MA: I’ll do the promotion first – promotion is so great cause like
honestly I don’t get out as much as I used to and its insane you link with one person who links you to a whole other motherboard of people. I grew up in the city and you know so many people and then I’ll link to like one friend and then all of a sudden I’ll find twenty of my other friends from way back when. And they are like ‘you’re still making art from when you were fourteen?’ and they want to get something or see stuff or come to [my] show. It’s so crucial; if I didn’t have it I’d be standing on the street with a sign like I used to, back to grassroots. But now it’s just a couple of posts, a couple of texts and people just spread the word. They really get hyped to like post stuff for you without you asking. They’ll just be like ‘oh that’s so good, good for you Mike.’ It’s pretty awesome. FOR MORE VISIT WWW.THEDAPIFER.COM
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Photography CAVIER COLEMAN
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R ADAR
CAVIER COLE MAN _ DO YOU REMEMBER THE FIRST PHOTOGRAPH YOU TOOK? WHAT’S MEMORABLE
WHAT DO YOU VALUE MOST?
ABOUT IT?
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FAMILY
Yes I actually do my first photo was with an iPhone 3 kinda hard to forget. lol IF YOU COULD DESCRIBE YOUR AESTHETIC IN ONE WORD, WHAT WOULD THAT WHERE ARE YOU FROM, AND DID THAT INFLUENCE YOUR ART?
BE?
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I’m originally from Detroit, Michigan yes I would have to say that
RAW
influence my art a lot my up-bringing and my experience there still affect me and sometimes I revisit those moments in my paintings.
WHAT’S YOUR FAVORITE PIECE OF ART/PHOTOGRAPHY THAT YOU’VE CREATED SO FAR?
YOU’VE DONE QUITE A LOT IN THE CREATIVE WORLD- FROM MODELING,
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PHOTOGRAPHY, TO ART. HOW DID THESE VARIOUS PIECES EVENTUALLY
None of it is for me so that’s hard to say lol, but I would have to say I
CONNECT TO BRING YOU TO WHERE YOU ARE TODAY?
really like one of my new sculptors.
It’s funny I actually started out modeling then over time I became
WHERE DO YOU SEE YOURSELF IN THE FUTURE?
curious about photography and started shooting with an iPhone. From
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that moment I began to see everything differently and I wanted to
I see myself doing many things from shooting major editorials and
take photos of everything. Having a modeling background made the
campaigns , to having huge art shows across the world, and making
transition very comfortable.
music that heal the mind and soul.
Then painting came back into my life, it was second nature from
WHAT’S YOUR FAVORITE PLACE IN THE WORLD?
when I did art when I was younger. My mom was an art teacher at one
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point. However, when I was in Cape Town, South Africa with one of
I would have to say New York!
my closest friends who was a painter, she inspired me and I knew the moment when I made it back to NYC I had to paint.
THE THEME FOR THIS ISSUE IS THE ROMANTICS. WHAT DOES THAT BRING TO MIND FOR YOU?
I like to keep my mind free and always building and looking for ways
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to get better and the quickest time possible. Time is all we have so I
Romantics make me think of a love that is unbreakable in comparison
like to work fast and efficient.
to an Empire.
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Water Color Twisted Scarves SHAWLUX Brown Suiting FRED PERRY Gold Flower Crown MERCURA
YOU N G N OB LE S
PHOTOGRAPHER STYLIST
JON GORDON
ADTRESA EDMUNSON
GROOMING MODELS
LEVI MONARCH
JON ZELNA (MAJOR)
RAIN DOVE (MAJOR) DILLON (WILHELMINA) C H R I S H A KO S ( W I L H E L M I N A ) SOLOMON LANG (MINT) CARLOS LONG (MINT)
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THE ROMANTIC PERIOD OF HISTORY WAS A TIME OF SOCIAL AND POLITICAL UPHEAVAL, ESPECIALLY IN THE UPPER CLASS. THIS IS THE STORY OF DANGEROUS AND UNIQUE YOUNG MEN ENGAGED IN A CULTURAL REVOLT AGAINST ARISTOCRATIC SOCIAL NORMS. THEIR POSH-YET-REBELLIOUS STYLE ATTRACTS ENEMIES AND LOVERS ALIKE. SHOWCASING TALENT FROM THREE OF NEW YORK’S PREMIER MEN’S AGENCIES, PHOTOGRAPHER JON GORDON AND STYLIST ADTRESA EDMUNSON HAVE CREATED A NEW WORLD FOR THESE YOUNG NOBLES TO THRIVE.
Brown Reversible Cape DAVID HART Denim Jacket J. CREW Gold Locket Necklace LARUICCI
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Black Blazer with beaded trimming DOLCE & GABBANNA White Button Up Shirt LUCIO CASTRO Black Trousers DAVID HART Gold Pin Necklace LARUICCI Brown Scarf with bronze trimming SHAWLUX
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Black Cow Hide Trench Coat DOLCE & GABBANA Black Button Up J. CREW White/Black Necklace with tassles HAUS OF TOPPER
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Short Sleeve Khaki Jumper JOSE DURAN Gold Shibuya Necklace LARUICCI Green Fur ADRIENNE LANDAU
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Black Coat LPD NEW YORK White Button Up Shirt with black trimming TOP SHOP DESIGN Burgundy Corduroy Pants ERNEST ALEXANDER Brown B Duck Boots LL BEAN
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TH E DAPIFER PRESE NT S
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RUNWAY REW IND
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Alexander Wang is a designer who always keeps his fingers firmly pressed on the pulse of modern fashion. The designer’s Spring 2015 collections offers a glimpse into the super cool complexities that have come to define street style in the 21st century. A robust mix of reshaped basics, bold textiles, and provocative style innuendos marched across the runway as we’re urged to be little sharper this season.
A L EXAN DER WA N G
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Dark and elegant- this was the theme of Anne Demeulmeester’s Spring 2015 Collection. Sheer fabrics in stark white, black, cool blue, and nude created a neo-goth tension that cut like a knife across the runway. Even more impressive were the precise bits of fabrics that moved just so as silent bits of wind carried the garments effervescently across the space
AN N E DEMEU L E M E E ST E R
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BALLY
Luxurious fabrics and a rich, romantic color palette defined Pablo Coppola’s perfectly poised collection. A strong assortment of must-have accessories and every-day wardrobe essentials danced across the runway with a sophistication that was hard to ignore. It was almost as if American Sportswear met Couture creating an aesthetic that was equally daring and classic.
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Dries Van Noten always has a story to tell, though the objective is not always obvious. We found ourselves swept away to Bohemia in the designer’s Spring 2015 Collection. Opulent textiles and and delicate styling suggested scenery in Persia or some other grand landscape. Interesting cuts exposing just the right amount of flesh offered a fresh perspective on the ideal silhouette and we were once again intrigued by the mysterious ways of Dries Van Noten.
D R IES VAN NOT E N
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JON ATHAN S IMKHAL Inspired by the concept of shattered glass, Jonathan Simkhai presents a Spring 2015 collection that is anything but rough around the edges. Superpolished contouring silhouettes wrapped in a modern color palette of black, nude, and white offer a refreshing take on the warmer months. Sportswear influenced details make subtle appearances creating pieces that are just as versatile as they are luxurious.
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VERSACE
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Donatella Versace knows how to sell sexy! The risque, the boastful, the confident woman: these are the characteristics of Versace’s Spring 2015 Collection. A classic color palette of black, red, blue, muted pastels, and shimmer adorned the runway as classic Versace cuts and patterns created a Neo-Vintage innuendo. Appearances of the classic cage cut-out and crest reminds us of the sheer power of the Versace woman.
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