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X-MEN AHEAD Tunic THOMAS WYLDE. Photo: Alexei Kolpakov
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An eclectic spirit has always been at the core of Chloë Sevigny: she can deliver as an absolutely phantasmagoric model, capable of comprehensive transformation, but also always in command of an extreme elegance. It was her handmade hat that first caught the eye of Jane Pratt, the editor of Sassy, an alternative youth magazine. At age 17, Sevigny had just moved to Brooklyn from Connecticut, where she had been wallowing in loneliness and boredom, developing an interest in sewing and hallucinogens. Pratt originally hired Sevigny as an intern, but soon the latter started showing up on the pages themselves, as a model distinguished by her fearless self-presentation. At the time, Chloë was modeling for the X-Girl brand, which had been founded by Kim Gordon, bassist and vocalist of Sonic Youth. She was later featured in the video for the band’s song “Sugar Kane” (a video which, incidentally, includes cameos from Marc Jacobs and his 1992 Grunge Collection for Perry Ellis). Real fame found her after a role in Larry Clark’s film Kids (1995). As her acting career rocketed off, Chloë still maintained her hold as an established alternative style icon. It’s no small task to rattle off all of Sevigny’s accomplishments, so for the purposes of this piece, let’s stick to her experiments within the design world. Her previous interest was formalized in 2003, with the “Imitation of Christ” collection, created in collaboration with Tara Subkoff and Scarlett Johansson. Of course, Chloë Sevigny would not have been Chloë Sevigny, if she had not tripped over her formidable heels, knocking out four teeth during the presentation of her own collection. Later, she launched her own independent projects, before teaming up with Opening Ceremony in 2008. Everything that Sevigny touches bears a clear imprint of her extraordinary, electric personality; everything she designs might as well be pulled from her own wardrobe (and may be – she models for the lookbooks.) The key elements of the Chloë style are high-waisted short shorts, an exposed naval, tunic dresses that leave legs lusciously bare, funny hats, and very high heels – or maybe even male shoes, combined with girly-girl dresses. Let the records show that the trend of setting off open-toe sandals against brightly-colored, outrageously-patterned socks can be traced back to Chloë. Sevigny currently works as a designer for Opening Ceremony, a sprawling trade network of boutiques, showrooms, and designers’ collections, head-quartered in New York. Opening Ceremony challenges monster brands like Pendleton, Levi's, Timberland, Keds and Robert Clergerie to create unique looks that embody one particular concept. Opening Ceremony updates the strategy of Pierre de Coubertin, the founder of the contemporary Olympic Games, who was able to mingle sports and business in an international context, only Opening Ceremony subs in fashion for sports. Every year, large-scale projects are held in a selected country, in cooperation with designers, brands and boutiques. Nowadays, the constantly-expanding fashion team has outposts in China, Brazil, China, France, Germany, Great Britain, Sweden and Japan, where Opening Ceremony recently collaborated with Comme des Garçons boutique while also opening its own eight-level concept store. The Spring-Summer collection by Chloë Sevigny for Opening Ceremony features a magnificent flourish of polka dots, paisley, flowers and leopard-print on dresses, pantyhose and berets. Photo-prints of famous Robert Mapplethorpe images catch more than the eye on her loose tops, whether long or cropped, while her sunglasses boast little blue hearts. If it sounds a mite aggressive, then perhaps it is worthwhile to mention the more refined, high-waisted short dresses, with modest collars and lantern sleeves. They fit their names: Winnie Sailor Baby Doll or Lesley Peter Pan, in praise of an eternal childhood. Chloë has recently spiked her collection with unisex jackets, cardigans, and boleros with buttons or zippers. These items are all marked by elegance, but there is something off about them too; they distinctively lack the frivolity and coquetry necessary to complete a harmonic feminine image. Chloë Sevigny is both reveling and rebelling, and the result is nevertheless somehow absolutely subtle.
BAD GIRL Jacket and dress CHLOË SEVIGNY FOR OPENING CEREMONY
Photo: Paul Maffi
THE LAST ROMANTIC
Joseph Altuzarra
WHEN JOSEPH ALTUZARRA WAS NOMINATED FOR AN AWARD BY THE COUNCIL OF FASHION DESIGNERS OF AMERICA (CFDA), IT HARDLY FELT LIKE THE SHOCK IT SHOULD HAVE BEEN. WHILE HIS SIGNATURE LABEL HAS THRIVED FOR TWO YEARS NOW, ALTUZARRA HIMSELF NEVER STUDIED DESIGN TECHNIQUE FORMALLY; INSTEAD, HIS EXPERTISE WAS HONED INTERNING AT MARC JACOBS, FREELANCING FOR PROENZA SCHOULER, AND LATER WORKING CLOSELY WITH RICCARDO TISCI AS HIS DESIGN ASSISTANT AT GIVENCHY Needless to say, when Altuzarra presented his debut collection at New York Fashion Week, it was a mature body of work, serious and purposeful. Born in Paris, but having relocated to New York after school, Altuzarra sees his work as somewhere “between the legacy of French culture and New York’s pulsating energy.” His models are distinguished by a triumphant eroticism, perhaps what the designer meant when he has repeatedly claimed that he does not design for girls, but for grown women. Much of his work balances on the verge of provocation, simple and yet able to transform its wearer into a goddess. After witnessing Altuzarra’s spring-summer collection, Carine Roitfeld remarked that “it makes me want to be that girl.” Joseph, you are best known through the fashion practice, but you actually started to study fashion in theoretical way. Are you still drown to theory? I started thinking about fashion from a much more art historical point of view, as an expression of a culture, within a time period. This is still something I am interested in: thinking about the culture I live in, the preoccupations of the people I know and trying to synthesize some of it in a collection. I also believe that as a designer, you really have to think about how women live, and how that is reflected in their wardrobe. How came the decision to start your own brand? Was hard or just natural? The decision came rather organically. I wanted to have some experience before starting a brand, and wanted to really have something to say. I knew when the time was right. Your SS11 collection was very modernist, and
somewhere reminded me of the Protazanov’s Aelita. Did you ever interested in Russian avant-garde? That’s such an interesting point of view on the collection. I definitely have been interested in the Russian avant-garde, especially in the realm of art. I love Kandinsky, and Chagall, and Malevich. When I was working on the spring collection, I was looking at a lot of work by a contemporary American artist called Julie Mehretu, and her work is in some ways reminiscent of Malevich, and that whole movement, so in a way your interpretation of the collection is very accurate! What are the key elements of Altuzarra style? The ALTUZARRA woman is seductive, confident, feminine. She knows her fashion and appreciates luxury quality. Do you need a muse sometimes? Yes The women around me, Vanessa, Melanie, my mother. I am constantly challenged and inspired by the complexity of women. What does the total visibility, brought by internet, change in the fabric of fashion? How do you use that? I think the internet has brought on an era of complete freedom in terms of communication and information, which also leads to loss of control of your image, and sometimes of your message. We’ve only dipped our toe, as a company, in this medium, but we plan to start developing more of a digital presence in the year to come! I believe that for Altuzarra, the internet can be a powerful asset, as long as we have a very specific and controlled strategy. How important are people you surrounded with? You’re living between NY and Paris – do you bring the environment with you or “just dive within”?
My surroundings are crucial, I carry some with me and dive into the rest but I am constantly inspired by my surroundings, the people, the media… Who are the people you work for? I try to think about specific women, like Vanessa, my mother, Carine, Melanie Huyhn, when I design. But I also hope I think about women as a whole, and how they live their lives today, what their needs and desires are, and how that is reflected in their wardrobe. Have you watched 3D films in your childhood? What does 3D add to viewer’s experience? The first time I watched a 3D movie was a Disneyland. It was the Michael Jackson movie Ride, and I remember thinking it was so magical, and so unexplainable! 3D can be a gimmick, but I think when it’s done right, it can add a tremendously exciting layer of enjoyment to the viewing experience. How did you meet Gaia Repossi? Was it your first jewelry collaboration? Do you like to wear jewelry? Any plan’s to go further? I met Gaia through Vanessa. I had done jewelry before with Eddie Borgo. At this time we are looking to really focus on the RTW collection so we do not have immediately plans to make more jewelry but you never know! I do wear jewelry, I have a couple bracelets by Philip Crangi, and a charm necklace I always wear. Can you call yourself an ordinary person? As ordinary as they come. Your favorite magazines? Fantastic Man, Gentlewoman, T Magazine, Cook’s Illustrated. YouTube or Vimeo? YouTube. 3
FASTEN YOUR BELT THE MARIOS SCHWAB LABEL IS ONLY SIX YEARS OLD, BUT SOMEHOW IT HAS ALREADY MANAGED TO ESTABLISH A REPUTATION THAT ECHOES THE ABSOLUTE PERFECTIONISM OF ITS FOUNDER. GROWING UP IN ATHENS WITH A GREEK MOTHER AND AN AUSTRIAN FATHER, SCHWAB EXCELLED AS A STUDENT IN THE BERLIN BRANCH OF THE RESPECTED DESIGN SCHOOL, ESMOD, BEFORE RECEIVING HIS MASTER’S AT SAINT MARTINS. IN 2006, HE WAS RECOGNIZED AS “THE BEST YOUNG DESIGNER” AT THE BRITISH FASHION AWARDS – AND NO ONE WOULD DISPUTE THAT HE HAD EARNED THAT TITLE But Marios Schwab is by no means a teacher’s pet. Even his latest collections still get mixed responses. Dazed&Confused considered his Spring-Summer 2011 show to be his best work to date, while more conservative fashion critics shied away from its tendency towards “danger.” Regardless, the majority of the audience welcomed it with a standing ovation. Since Schwab’s every theme is chosen with intense deliberation, it is well worth it to explore them in-depth. As the designer describes it, his silk lace dresses, striking occult prints and the abundance of leather derive from three major sources of inspiration: the fashion of 30s, Transylvania, and Asia Argento. All three are summed up by the Nirvana soundtrack accompanying the show. The list above provides partial explanation but does not fully describe the motifs of the collection. Besides flesh-colored and blue silk, decorated with pentagrams and even Freemason eyes, Schwab has imbued his clothes with a gentle swish of BDSM. Dresses adorned with tightened belts on the back or shoulder straps crossed into pentagrams brought a truly dangerous spirit to the collection. The liberated, but simultaneously elegant gesture of Marios Schwab has the marvelous effect of transforming his “sticks” into genuine “carrots.” It is amazing to watch how the jagged eccentricity of his separates combine into a total image of absolute femininity. The artful hand of such transitions more than merits the enthusiastic commendations, coming from clients such as Kate Moss, Kylie Minogue, Chloë Sevigny and Clémence Poesy. dress MARIOS SCHWAB; shoes VERSACE
ROCK&BONE While for a man, this season means a leather jacket is primarily connected with steel, speed and the smell of gasoline, for a girl it's first and foremost punk, then rock, and then the hardware. It's the Bad Girl, or maybe just the clever girl who wanted to play with toy soldiers. The maxi dress – another spring must-have – doesn't allow her to jump on a chopper, so she's not going to be running away from home with the king of the road anytime soon. But a favourite band concert or just a city block party is sure to light her fire. Jacket PRADA; skirt MAISON MARTIN MARGIELA; bag MIU MIU; scarf ALEXANDER MCQUEEN; boots RAG&BONE
Photo: Philippe Biancotto
AZZEDINE ALAÏA BELONGS TO THAT COTERIE OF DESIGNERS WHOSE WORK RESOUNDS THROUGH AN ENTIRE CULTURAL EPOCH. IN THE CASE OF ALAÏA, HIS GOLDEN AGE BEGAN IN THE 80S, WHICH HE HELPED IMAGINE AS THE TIME OF THE TEMPTRESS, AGGRESSIVE AND SLIGHTLY ANDROGYNOUS. THE STYLE IS EXEMPLIFIED BY GRACE JONES, FROM WHOM THE DESIGNER CREATED CLOTHES FOR HER TURN IN A VIEW TO A KILL, AS WELL AS MANY OF HER STAGE COSTUMES. ALWAYS INSPIRED BY THE ICY EROTICISM OF THE 40S AND 50S, THE YOUNG ALAÏA WAS EVEN HONORED TO MAKE A DRESS FOR GRETA GARBO
THE FIRST
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It could be said that Alaïa was responsible for bringing up future supermodels Naomi Campbell, Linda Evangelista and Stephanie Seymour. In fact, he was actually one of those who gave birth to the notion of “supermodel” (after which grateful supermodels started calling him “Daddy.”) According to Seymour, it was Alaïa’s samples that inspired the fiercest competition between models, who coveted them as presents. Regal and posh, his designs accentuate the waist and cling to the hips, crafting the ideal silhouette that became a symbol of the 90s (that is, until the teenage heroin look took over.) There is a myth that such perfect clothes only fit perfect bodies, but Seymour swears that isn’t true. Alaïa had earned a degree in sculpture, which explains how it is his shapes veer so sharply from the usual tailoring. To prove that Alaïa’s clothes can fit absolutely different women, one only has to name a few of his famous clients: Victoria Beckham, Nicole Richie, Sandra Bullock, Jennifer Aniston and Michelle Obama who has recently became one of his most loyal admirers. The history of Azzedine Alaïa’s career – his gradual ascent through Parisian high society and his frequent inspirations from his childhood – reads like one of Proust’s novels. Born on a farm in Tunisia, he experienced the colorful and chaotic world of the post-war years. Alaïa’s grandfather worked at the passport office of a police department, and as a child, Azzedine collected the unused photos, analyzing male and female types of city dwellers. From the tender age of 10, he was fascinated with cinematography, frequenting the local cinema where he could see Italian movies, reveling in the subtle realism of Anna Magnani. But it was not only movie stars that fed Alaïa’s passion for female beauty. His sisters supplied him with Vogue magazine, but he was also very much influenced by a family friend from France. As the midwife who had delivered him, she was also the one who helped him reach his decision to study in École des Beaux-Arts in Tunis. Alaïa was very much interested in French cultural history; Versailles permeates his work as a critical – and covert – point of departure. During his free time as a student, Alaïa worked at a small sewing workshop. The remarkable skills of the young man led to his acquaintance with a seamstress who specialized in copies of Dior dresses. She would be his first teacher. Soon Alaïa would also meet clients of the real Dior, who helped him to find a job in Paris. Yet he worked for Christian Dior only five days in total – the Algerian war came to its end and the beginning designer lost the legal status that allowed him to work in France. Since that time, Alaïa began to climb the ranks of high society. He lived in house of famous architect Bernard Zehrfuss, whose wife Simone was a patron of the young Tunisian. Their friends included writers, intellectuals, artists and businessmen. Alaïa started to make clothes for his female friends; for a long time, one could reach him only through certain personal connections, as his
name remained virtually unknown in other milieus. Later, the designer moved in with the Countess Blegier, making dresses for her while also looking after her children. It was most likely in this moment that he started his habit of living with his models he was fitting (one of those once was Naomi Campbell), as well as the paternal attitude he took towards the girls. After a few years with the Blegier family, Alaïa was ready to begin working as a professional. With his substantial experience with making luxury couture, he found a position with Guy Laroche (it is often said that that he also worked with Thierry Mugler, but Alaïa himself always stresses that they were only colleagues, never collaborators.) The designer worked from morning until night in a tiny flat full of sewing machines. Even today, as an undisputed living legend, Alaïa impresses with his diligence and perfectionism. He works on every item from the first drawing to the fitting on a figure. In the late 70s and early 80s, his inspiration came from personal contacts with the artist elite of different spheres. He particularly emphasized his friendship with film directors René Clair and Orson Welles, relationships that were clearly important for Alaïa, a cineophile who always created his clothes as if he were working a character. In 1985, he received an award from the French Ministry of Culture. In 2000, after fifteen years of diligent work, both brilliant success and slack, all stubbornly sticking to his own rhythm (Alaïa is infamous for ignoring the calendars of the fashion), he joined the Prada group. After seven years, when his business was flourishing, he bought back his Azzedine Alaïa brand and now continues to work on his own. Every collection of Alaïa is waited upon with the same breathless wonder as that which greets the birth of Venus from sea foam. Every item is an object of contemplation as a potential masterpiece. There is a strong reason for this anticipation, considering what Alaïa has done for the world of fashion. It is not so much his innovation and experiment, but rather the pristine stylishness he imbues all of his items with. For his Spring-Summer 2011 collection, Alaïa played with perforation, a pet trick of the designer’s (dating back to the late 80s) but also complementing this spring’s tendency towards transparency. Fitted dresses with bell-shaped skirts are created out of lace, which gives only the slightest hint of skin. Azzedine Alaïa suggests wearing a delicate peach or coral mini-dress under a long black gauze, elegantly tempering the cheerful summer colors. His black python patterned dresses and sandals that cover a foot like a soft lace are both absolute works of art. In a word, this collection brings together the next masterpieces of Azzedine Alaïa. Linda Evangelista said about one of them, dreamily closing her eyes, “I have come to Azzedine’s fashion show, because this is Azzedine…”
dress AZZEDINE ALAIA
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SCIENCE NON-FICTION OVER THE LAST FEW YEARS, TODD LYNN HAS BEEN ONE OF THE MOST RECOGNIZED YOUNG DESIGNERS IN LONDON. HIS SUCCESS CAN BE ATTRIBUTED TO HIS ROCK-N-ROLL ATTITUDE AND HIS TOTAL COMMITMENT TO HIS PERSONAL SENSE OF STYLE
Photo: Nick Hartley
Lynn ignores trends, injecting his edgy, androgynous clothes with a dash of sci-fi, while at the same time introducing a variety of innovative elements, referring to the same refined silhouettes. Each of his collections has an absolutely distinctive mood, whether that be liberated and impertinent or subtly dandy. Since graduating with his Master’s from St Martins in 2000, Lynn has consistently clothed Mick Jagger, Keith Richards, Courtney Love, PJ Harvey, and Bono. He started out as a technical consultant of Roland Mouret, responsible for structure, shape and cut. These three categories still serve as the pillars of Lynn’s design. In September 2006, he established his own label. The first fashion show of Todd Lynn proved a much-anticipated, blowout event in London, attracting everyone from fashion world elite such as Giorgio Armani to members of rock bands like The Dirty Pretty Things and The Licks. His debut received high marks from all sides: suddenly his clothing was popping up in the pages of all the industry mags – the undisputed pinnacle of success these days. The latest Todd Lynn collections feature more and more sophisticated forms together with more and more subtle contours. He named his Spring-Summer 2011 collection “Genesis Redux,” conjuring the artificial creation of living beings through new-worldly attire that mutates and shifts, like snakeskin or the exoskeleton of an insect. Clearly, the designer’s source of inspiration derives from several spheres; besides music – for a long time considered to be a staple aspect of Lynn’s work – Lynn has also indicated his interest to contemporary art. His clothing testifies to his ability to thoroughly analyze the world nowadays, reflecting his creative intuition.
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How did you get into fashion design? What had attracted you in the realm? I spent my youth attending a high school of performing arts in Canada. I wanted to be an actor. After spending time working in a couple of projects as an actor in my youth I realized that it wasn’t for me… too much waiting around. So I investigated working behind the scenes where I could be a bit busier. So I worked on set design which eventually led to costume design, and then logically to fashion. I guess for me it was about creating something from start to finish. With my work, I start with the concept chose the fabrics and other materials and design in both 2D and 3D. I draw and work on the stand to create shape and details. I also cut the patterns. I’m very particular about every detail in every piece. Did the decision to launch your own brand come “naturally”? I guess that everyone who works in fashion has some desire to launch their own brand, as it was for me. I had a lot of famous private clients who I would design for, but it was my friends who encouraged me to start my own label because they wanted to wear what my private clients were getting. When the timing was right I just jumped in and did it. So I guess it did come naturally, in a roundabout way. What are the key points of Todd Lynn style? It’s polished, structured, and detailed. There is always lightness in the darkness and it’s always a
combination between dress-up and dress-down. Plus the cut, I cut every single piece in the collection. This is very important. For the tailoring I start with the cutting lines of the shoulder and collar and the work on the silhouette of the main look for the collection. I love working with the best materials and demand high quality from the factories who make the clothes. You should be able to wear every piece for many years mixing all the seasons together. It’s important that the pieces find their way into the client’s wardrobe and not the other way around. And essentially the clothes are part of a life-style. Observers name Mad Max, as your imaginary locus, or maybe it is THX 1138, would you agree with any? What is your personal dystopia (utopia)? I would have to agree that there are many films that influence my work. There are many films that I have on my DVD collection and of course those are two of them. I am very inspired by film and hope that I’m able to go beyond that medium, as I never want my work to look like it came from a film. Fashion need to live outside of that realm, after all it’s not costume. I would love to see the world dressing the way that they feel. A modern look isn’t based on trends, it based on what’s happening around the world. Style is more important than trend, and individual style is personal. For SS11 the idea came from science, where they are developing actual artificial life in a laboratory. This got me thinking about all those science fiction films that I used to love watching as a kid as it turns out that science fiction will become science non-fiction eventually. Is the any time/place after fashion (if any)? What could be fashion’s dystopia? Fashion’s dystopia… I guess that really the great thing about fashion is that the wrong becomes the right. Ideas are born and an idea that looks modern can strike a cord with the world, which then becomes part of a trend. I really believe that high fashion isn’t about a trend. Trends are what magazines put together so that they can make stories of products. They find similarities between their key advertising brands and key big brands that support retailers and make those the trends of the season. What is your favorite movie? I have always been attracted to Peter
Todd Lynn
Greenaway’s films. They are so rich with imagery that you can watch them over and over always spotting something new. I particularly love; A Zed and Two Noughts, The Cook the Thief His Wife and Her Lover, The Draughtsman’s Contract and The Pillow Book. Your recent collection is about revolution, so what is revolution for you? Is it permanent state of mind or the things that occur within a singularity? The starting point for the collection was based on the student riots that took place in the autumn of last year. Looking at the French Revolution I could see similarities to those events in London with regards to the violence that occurred. Namely how much violence is justified even if you strongly believe that your cause is right. The subsequent revolutions that occurred in the beginning of this year and still continue right now, were just bound to happen. When the Wiki-leaks occurred last year, it gave people new information about themselves and the way that they live, it was like the modern-day “age of enlightenment”. People the world over are taking their own future in their own hands. I think in these cases it was based on singular moments, but I believe in the entire world revolution is always happening or about to happen. Even in those countries that have laws preventing events such as public protest, you can tell that there are those just waiting for the right moment where the number for their cause will outweigh the authorities. Who are your music idols? Is there any relation between your musical preferences and things that you do in fashion? My music idols are vast. As a teenager growing up in small town Canada, music was my salvation and I would spend hours listening to my heroes and wanting to have their style and swagger. My studio is always loud with music, it helps me concentrate on what my customer wants to feel like. Nirvana, Courtney Love, Shirley Manson, Arcade Fire, The Gossip, My Chemical Romance, Radiohead and many many more… Can you call yourself a hardworking person? I think about my work all the time. I work a lot because it’s my passion. I work long hours because I think that my customer expects something from me. What does “new” means for you? “New” for me is a viewpoint. I think that there are very few things that can exist without some seeds from the past. We move forward hopefully learning from our past. When we look at fashion or art and see the past, what will ultimately be new will be what in the modern interpretation of this. And as humans we immediately need to compartmentalize things… we don’t like it when we don’t understand, so we look for what’s familiar and label things. This ultimately can skew the vision. It would be better to accept the differences rather than latch onto the similarities. What can be a dope for you? I love fashion. Growing up, I was enamored by designers like Claude Montana and Thierry Mugler because of the skills in their cutting. I love to create shape through cutting techniques in my work. Cutting is a real art and takes a lot of time. I really respect those designers who use this in their work.
A DELICATE MATTER THE FASHION INDUSTRY HAS ALWAYS HAD A VESTED INTEREST IN EMERGING NEW NAMES, QUICKLY PROMOTING RISING OR FRESHLY DISCOVERED TALENTS TO CULT STATUS. THAT IS WHAT HAPPENED (PERHAPS TO AN EVEN HIGHER DEGREE) WITH TURKISH DESIGNER HAKAN YILDIRIM His designs veer towards minimalist futuristic clothes, best suited for the extraordinary, elegant, and extraterrestrial. In his own words, Yildirim’s main source of ideas are works by surrealist artist Hans Rudolf Giger, who created images and visual effects for Alien. It is the particular genius of Yildirim that the expressiveness of his clothes is hardly associated with eccentricity, nor does it conflict with the subtle luxuriousness that his clothes have become known for. He often experiments with cut, borrowing elements of classic men’s suits. Yildirim’s work has a clearly defined aim: to glorify the female body using strong shapes tightly-fitted to the body. Guests of his first fashion show in Paris included Eva Herzigova, Naomi Campbell and Carine Roitfeld, whose personal fascination with Yildirim is comparable to that of Anna Wintour patronizing Marc Jacobs in the beginning of his career. Not to say Hakaan’s success hasn’t been earned. The 40-year-old has commanded fame in Turkey for over 15 years now. In 1998, after graduating from Istanbul University of Fine Arts, he won a national competition for young designers. In 2002, he established a label under his own name. Once on a shooting, he became acquainted with his fellow countryman Mert Alas, one half of the well-known fashion photographers Mert&Marcus. Alas inspired Yildirim to create a new brand to present on an international level. That is how he began working as Hakaan, with an additional “a” inserted to distinguish his brand from a common Turkish surname and to emphasize its significance. His London fashion show received an ANDAM award, whose roster of recent recipients include Martin Margiela, Gareth Pugh and Giles Deacon and whose jury boasts Roitfeld, Alber Elbaz and Sarah Lerfel. The ANDAM award was a pass to the Paris fashion week and a guarantee of excited reviews. In particular, the fashion elite were training their eyes on Hakaan’s Spring-Summer 2011 collection, a critical step in Paris. Yildirim had lured some of the most sought-after models: Natalia Vodianova, Maria Carla Boscono, Sasha Pivovarova and Daria Verbova were all modeling for his show. Tight forms, geometrical elements, and white, nude and black form the laconic core of Hakaan’s program. Through these clearly defined perimeters, every item acts as a perfect and unique sue generis piece, whose details can continue to merit consideration long after the first glance. The collection hinges on two types of extremes: very long and very short. Expect a knee-length dress consisting of a semitransparent tank top and a pencil skirt that are “bound” together with trapezium at the waist. Flowing or fitted, overalls and maxi-skirts contrast with fine cut mini-dresses. Yildirim makes clothes to blend with the body, to copy lovingly its forms as well as to strip it freely. The Hakaan Spring collection is not only innovative, it is also extremely up to date. Deep V-necks, hints of navels and chests set off opaque dresses, soft men’s trousers, and long blouses. Nude palettes and semitransparent details give the items a very feminine calm, while also wielding an edge, allowing a Hakaan woman to wear a short tight top over black skin. These versatile works of Yildirim prove that ANDAM is not awarded by accident. top and skirt HAKAAN; bracelet VIONNET
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LAST MAN S TA N D I N G
Jacket and scarf BALMAIN
The Ministry of Health, the Ministry of Ecology, Lance Armstrong and the cult brand Moncler all strongly recommend cycling rides at least once a week. You don't need to go for a grand-tour and leave for France – for a beginner, a single day will do. Even on a rainy or a windy day, cycling can be a most pleasurable experience, particularly if you could equipped for the weather. Jacket and polo shirt MONCLER GAMME BLEU; shorts FENDI
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Suit BRIONI; shirt KITON; tie ZILLI; shoes BERLUTI
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THE TOUCHABLES The History of Gangster Couture
IN HIS ESSAY ON GANGSTER FILMS, THE FAMOUS AMERICAN CRITIC ROBERT WARSHOW WRITES THAT, "THE REAL CITY PRODUCES ONLY CRIMINALS, THE IMAGINARY CITY PRODUCES THE GANGSTER." THIS ASSERTION CONFIRMS THE MYTHICAL STATUS OF THE GANGSTER PRIMARILY AS A MEDIA-CHARACTER, WHO HAS LITTLE IN COMMON WITH HIS HISTORICAL PROTOTYPES. PUBLISHED IN 1948, THE ESSAY WAS TITLED "THE GANGSTER AS TRAGIC HERO." FOURTEEN YEARS EARLIER, HOWEVER, AN EVENT TOOK PLACE THAT BLURRED THE BOUNDS BETWEEN THE REAL AND THE IMAGINARY, DESPITE WARSHOW’S CONVICTIONS
The story is about the murder of legendary gangster John Dillinger, which took place in Chicago in 1934. As is well-known, Dillinger was shot leaving the Biography cinema after attending the film Manhattan Melodrama, starring Clark Gable. Ironically, Gable's character, the charming gangster “Blackie” Gallagher, was modeled after Dillinger's larger than life persona. Handsome Blackie, like all silver-screen gangsters before him, had a stormy life and a tragic death. (After all, the notorious Hollywood "Production Code" of 1930s dictated that he who breaks the law should certainly be punished.) In the final scene, a few minutes before his execution, Gallagher waives a possible pardon. "Die the way you live: all of a sudden," he declares before dying. A few minutes later the same fate would meet Blackie’s prototype. Now for us, it is Dillinger who remains the tragic hero, the character of modern mythology. His biography fully follows the laws of the genre. Gangster films began to conquer cinema screens starting in the 1930s. It was at this time, during the Great Depression, when America experienced a flourishing of organized crime, and the figure of the gangster established itself in the public imagination. Writers drew scenes from the newspapers, which accounts for sudden appearances of thinly-veiled doppelgangers of heroes from the newspapers. Probably this idealized representation of their own life held a special appeal for those portrayed. It comes as no surprise that they entered the cinema as "criminals, produced by the real city," but went out as gangsters. By and large the gangsters were those few who have managed to achieve significant influence and material wealth through illegal activity. Stories about them usually took up the basic plot of gangster films, glorifying, according to all canons of the embodied American dream, an uncompromising will to succeed and a stubborn self-affirmation of the characters. It is worth noting that one of the obligatory key scenes in such movies was the main protagonist's purchase of an expensive suit, indicating the achievement of his coveted status and his entry into the world of the successful and the respected. According to the magic logic of Hollywood stories, the luxury suit acted as a passport to high society; in reality, it became many gangsters a true fetish, a guarantee of their identity. Undoubtedly, one of the most famous fashion-conscious criminals was Al Capone. His unparalleled ensembles have long since gone down in the annals of style. The all white, tailored three-piece suit, the handmade shirt, trilby hat and a long, floor-length coat combined in a striking image – at once the reflection and the total inversion of the image of the "businessman," bandied about at the time. In seeking recognition in high society, the gangsters naturally mimicked the society's taste in dress. Moreover, they revered the idea of the self-made man, which lies at the heart of the American ideology of private enterprise, which explains the impetus for them to want to identify with the image of a businessman. As a result, the gangster costume in today's sense appears as nothing but a kind of common business suit from the 1930s: a double-breasted striped or checkered jacket with accented shoulders and a narrow waist, with four or six buttons, wide, sharply peaked
lapels, and oversized pants. This image borrows from a design by Frederick Scholte, personal tailor of Prince of Wales, and, therefore, carries the imprint of an aristocratic style, which could not fail to attract the class-conscious gangsters. Judging from photographs, one particularly popular model was the "Kent", named in honor of the Prince of Wales's younger brother Prince George, the Duke of Kent. The suit featured longer lapels that reach the waist, and four buttons, of which only the bottom are buttoned. With this design, one seemed to be longer and more slender. The style was not just popular with gangsters; its following included Hollywood stars like Gable and Cary Grant (both, incidentally, known for their gangster characters.) Despite the supposed symmetry, one can note a significant distinction between the image of the businessman and that of the gangster: the latter had the courage to go beyond the conventional social and moral norms, guided in their entrepreneurial activities by their own personal set of rules. This nonconformist streak – a key component of gangster mythology, particularly valorized on screen – reflected in self-presentation as well. The desire to convince everyone of one’s uniqueness found expression in extravagance. Every detail of the "business" suit was often brought to extremes by gangsters. The colors of their clothes were brighter, the stripes on the fabrics wider, the pants more spacious, but much narrower in the waist, shoulders always more accentuated, and neckties and scarves were multicoloured. Apart from everything else, clothes stressing a V-shaped silhouette emphasized the masculinity of the wearer. Craving affirmation of their self-importance, particularly in the alien environment of the "legal world," members of this self-proclaimed elite were forced to pay special attention to the general splendor of their apparel. A raccoon coat, a Borsalino hat and a tie-clip with diamond from the old South American mine Jagersfontein - these are indispensable elements from Al Capone's wardrobe that became the obligatory components of the gangster chic standard, and also scripted the canon for his cinematic representation (the Borsalino phenomenon later played out in a film starring Alain Delon and Jean-Paul Belmondo.) In the 1930's, an era defined by its economic downturn, personal tailoring was a sign of luxury that only representatives of the charmed circle could afford. Handkerchiefs were the most expensive and lavishly deployed, exemplifying the extravagance of the details. Such "exclusive" clothing made it possible to express their “position,” with handkerchiefs noticeably brighter than those made in mass production, and shirts often emblazoned with embroidered initials of their wearers. Martin Scorsese – a close observer of gangster life practically from childhood – pointed out how the custom tailoring tradition was preserved in gang communities in 1950s as well: "When we were kids,” he recalled, “we always admired the shirts worn by the bad guys and tried to copy them. But these shirts could not be found in the stores; they were always tailored. We thought it was really cool." All in all, the appearance of the most famous "bosses" of the 1930s is still largely associated with gangster style in the public mind. Along with Al
Capone, bootlegger Duch Schultz, the owner of the famous Cotton Club Owney “Killer” Madden and "Pimp Number One," Charlie Lucky Luciano were habitués of Broadway shows and heroes of mass-media. Aware of their power over the imagination of their contemporaries, they loved showing off for the cameras, and left galleries of photographs depicting their gorgeous outfits. Despite the volatility of fashion, the images of these godfathers served as a guide for the next generations of gangsters, including the Kray twins, John Gotti and Frank Lucas (who is, by the way, still alive.) All these kings of the postwar underworld could be called real stars, press favorites who became film characters while still alive. They were all dandies. Flawless down to the smallest details, Gotti was known for his love of Brioni silk suits, which he usually combined with Italian silk ties and silk socks with his own monogram and handmade shoes. But Gotti's special charm consisted in his carefully constructed image; his custom double-breasted Brioni were invariably decorated with large, sharpened lapels, which stressed his commitment to the aesthetic traditions of Golden Era gangsterism. London gangster-dandies Kray twins (about whom Peter Medak made an eponymous film in 1990) set the tone of fashion in the 1950s and 1960s, observing a type of aesthetic continuity. Their suits were made in the style of their contemporaries, but accented with elements borrowed from the gangsters of the 1930s, such as a narrowed single-breasted jacket with the broad shoulders. The ties were always narrow – as seen in the film Reservoir Dogs. As for Frank Lucas (the inspiration for the film American Gangster), his love of ostentation cost him his freedom. Just like the hero in a gangster film, his passion and pursuit of unsurpassed success combined with his confidence in his own exceptionality. A line from his autobiography, Original Gangster, gives insight into the mind of Harlem’s most notorious drug dealer: "It is impossible to beat me, either in conversation, or in business, or in thought, or in clothes." This aspiration for inimitability led to tragic consequences. As recorded in the same autobiography, in March 1971, Lucas (who hadn't been noticed by the police before) once came to see Ali-Joe Frazier fight at Madison Square Garden in a luxurious chinchilla fur coat. Legal agents were surprised to see an absolutely unknown owner of such a prodigious coat, with one of the best seats in the house – the type that even figures like Frank Sinatra, Diana Ross, Dustin Hoffman, Barbara Streisand and the Vice President Spiro Agnew didn’t dare sit in. Lucas left this fight under surveillance, which eventually resulted in a prison sentence. The tragic consequences of such a fashionable appearance – intended to show high society "who is actually the boss" – suggests the tale of the chinchilla coat as something of a parable. In the gangster’s life, so full of hazard (including being noticed by the wrong crowd), it is much more advisable not to stand out. But the real charm of such a life lies precisely in the opposite direction. Since the "original gangster" is "impossible to beat", there is no danger that can keep him from proving it. Precisely this devotion to preserving his own self-image drives him to risk, making real dandies out of gangsters, and capturing the cultural imagination for nearly a century now. 13
One of the main hits of the season – the image of the biker, freedom and the lost American Dream, as imprinted in the mass cultural conscience by the wanderings of Hunter S. Thompson and Dennis Hopper. The legendary leather jacket that has had thousands of reincarnations, wielded by everyone from Brando to Schwarzenegger to Depp. This season it harks back to the early 90s. Weighted down by zippers and rivets, the top part is reminiscent of the steel horse, with deep denim to match. Even in spite of the global warming, which threatens to pack a sizzling summer sun, the true road wolf wouldn't be easy to separate from his faithful squaw. Jacket and shirt ALEXANDER MCQUEEN; jeans and belt BALMAIN
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THE GOLD STANDARD WHILE PERSONAL STYLE AND SOCIAL GRACES MAY MAKE A STRONG IMPRESSION, IN THE END IT IS THE SHOES THAT MAKE THE MAN. BUT ONE CANNOT JUDGE THE PLETHORA OF LUXURY BRANDS BASED SOLELY ON THE ATTRACTIVENESS OF THE DESIGN OR THE QUALITY OF THE MATERIAL. SHOES HAVE SOUL, AT LEAST ACCORDING TO OLGA BERLUTI, CREATIVE DIRECTOR OF THE BERLUTI COMPANY Shoes are able to set the mood, striking a balance that is somewhere between the ideology of the brand and that of the wearer. That is why Olga - a stand-out as a woman in the world of men’s shoes swears that one has to wear shoes for twenty years, so that they have enough time to adopt the personal characteristics of their owner. From this point of view, the history of Berluti becomes an endless effort to nourish “the soul of shoes”. The label was founded by Alessandro Berluti in 1895. He had already worked for several years as a bespoke shoemaker in Paris, where he had moved to from Italy. Ten years before he patented his business, Berluti invented a method of making men’s shoes from a whole piece of thin leather; the so-called Venezia material is unique to Berluti and provides the exceptional comfort so central to the brand. Another distinguishing feature is the patina, which imparts a deep, regal tint to every pair. In the times of Alessandro Berluti, men’s shoes were either black or, less commonly, dark brown. Berliuti complemented the more traditional colors with dmoky, greenish, blue and grey hues. Another of his innovations was the introduction of ornament, often referring to calligraphy or African patterning. Painter and social pariah Henri Toulouse-Lautrec could be counted among the admirers of Berluti’s first generation of shoes. The son of the talented artisan, Torello Berluti successfully continued both the creative and commercial development of the family business. In
1928, he opened what would become a highly regarded shop, “Luxury Shoes from Berluti,” on Rue Marbeuf 26. His clients mainly belonged to the European elite, prevalent in the high society milieu as well as the court - including even the Duke of Windsor. Catering specifically to the royal admirers, “Windsor” knots were invented to prevent loose laces in inappropriate moments. After Torello Berluti, the business was managed by Talbinio Berluti and later by Olga’s cousin, before it was handed to Olga, who invented a special technique for shoe varnish. The exact composition remains a secret; the ingredients are preserved in bottles of Guerlain perfume in her atelier, guarded by a samurai doll. Olga’s first client was Andy Warhol,
who was brought for the first time to the store by none other than Yves Saint Laurent, a great admirer of the brand. The history of this commission might as well have been borrowed from the pages of a fairytale. At the time, the seventeen-year-old Olga Berluti was not even allowed to enter the workshop. Instead, her duties consisted of cleaning rooms and, as a reward, polishing old shoes. Warhol had placed his order with a barely comprehensible scrawl of some square boots. Upon returning to his office, however, Berluti senior threw away the drawing, because Olga forgot to take a prepayment from the client. One of the old artisans felt sorry for Olga, so he helped her to complete the order. To make the shoes, she had to use a piece of defective cow leather. When Olga decided to show the finished shoes to her grandfather, he deemed them too long and too square, and, because of the scar on leather, better thrown away. But when Warhol came to get his loafers, he was thrilled, at once dancing in what were for him the perfect boots. In the future, he remained faithful to precisely this model. Other no-less famous fans of Berluti include John Kennedy, Frank Sinatra, Federico Fellini, Alain Delon, and Henri Royce. The brand maintains a club for its admirers called “Swann,” where guests arrive for official events all wearing their favorite pair of Berluti’s. By the end of the meeting, they take off their shoes and put them on the table, where they proceed to pour Dom Pérignon generously across them (After all, “shoes with a soul” also deserve a luxury party.)
MR. SUTOR In accordance with the well-known Latin proverb – ne sutor supra crepidam – a shoemaker (sutor) “should not judge higher than the boot.” Perhaps Ettore and Enea Mantellassi had a slightly different interpretation when they opened their own business in Florence in 1912. The history of this label provides a classical example of what it means to be “Made in Italy.” The tiny, family-run artisan workshop of two men, fashioning a few pairs of elegant, hand-made shoes, has now exploding into one of the world’s leading labels, whose shoes are sold in the best department stores all over the world, as well as in its main stores in Cortina, Milano, Florence and London. But one thing remains the same – everything is made by hand at all steps of the production. No exceptions. These values are encapsulated in the label’s logo, a set of crossed needles with a crown on top. The leather for Sutor Mantellassi products is very specifically chosen. Following the time-honored traditions, tanning is stretched across wooden barrels, rather than subjected to the spray coloring so common nowadays. Because of this care in its creation, the leather produced is firm and durable, resilient against damage. Crocodile models are made using a special technolog that has been kept a secret for over three generations of masters. It’s the type of secret that transforms their craft into art. Today, twenty-five people work in the workshop,
some of whom are already seventy years old. Counter to the general tendency toward overproduction, Sutor Mantellassi manufactures only a few thousand pairs of shoes per year. Precise lines, soft leather, an elegant minimalism of form, and modest decorative elements are a place of pride for the artisans of Sutor Mantellassi, who are confident that they are making something
more than just another pair of shoes. The products of Sutor Mantellassi are designed to enrich the personality of the wearer, to characterize his taste and attitude to life. One might say that they livetogether with him, and, in due time, grow closer to their owner. Perhaps it is not a coincidence that Marcello Mastroianni put on Sutor Mantellassi shoes when his footprint was embedded into a brass star of the Hollywood Walk of Fame in 1965. The brand has attracted many other famous admirers – among them, Luis Aragones, Ezra Pound, Robert De Niro, motorcycle racer Valentino Rossi, and the list trails on from there. The Sutor Mantellassi Spring-Summer collection embodies the exceptional character of the brand, co-mingling the highest quality, classical shapes and modern design. Every pair of shoes is recognizably noble in form, flawless in detail and fashioned from carefully selected materials. What’s more, Sutor Mantellassi shoes are marked by the fluid style and the sense of casual of its Mediterranean origins. The collection is the sum of its elements: respect to traditions, high quality materials, intricate production, a subtle sense of colors and attention to detail. This echoes the traditional Italian formula for transforming everyday accessories into unique, aesthetic objects; and, as is proven by history, high culture never goes out of style.
EVENING ON PALM BEACH It’s no a secret that slippers nowadays have claimed a place in even the most refined wardrobe, as a reminder of times when they were paired with a dinner jacket for gentleman attending a formal dinner. Today, however, they are no longer confined to the comforts of the home; now slippers can be seen just as much on the pavement as on parquet. The design of each pair affords a revealing look at their owner’s taste, as well as about his general character. Despite the long history, there are only a few slipper experts. Leading the pack is Stubbs & Wootton, an icon of the present day prep. The history of the company begins in 1993 in sunny Palm Beach, California, but they did not rise to prominence until after they opened stores in Manhattan and Southampton, New York. The brand was a success, ensuring a smooth entry into the global market. Recently Stubbs & Wootton joined forces with Marc Jacobs to create a collection under the Stinky Rat brand. The upbeat, beachy feel of the brand meets an unrestrained elegance, imparted by the exquisite quality of the shoes, which are all handmade in
Europe. No one can compare to Stubbs & Wootton’s art of applying classic patterns or insignias of heraldry. They produce a wide variety of slippers, bearing embroidered emblems of anchors, starfishes, dolphins that jump out of the water, and palm trees, waving in the Florida winds. Slippers emblazoned with inscriptions like “true prep,” the letter “U,” an embroidered screw, or the popular “College” design have covered the famous feet of American model Olivia Palermo and movie star Scott Disick, testament to the success of the brand when it comes to the play of words and images. Stubbs & Wootton’s Spring-Summer collection steals the soft tints of sea and sand, to sing the song of the coming summer. And who could love summer more than a company from Palm Beach? Who could ever embody the promise of unforgettable holidays spent on the sand better than the beach-bound? Stubbs & Wootton stick to tradition, keeping the top part of their shoes in dense woven cotton, but this season they shake things up with African motifs and stylized leopard print. 15
Suggestions for a Starter Bar from SANAHUNT Lounge Whiskey Maccallan Fine Oak 18 Vodka Beluga Gold Line Rum Appleton Estate Tequila Sauza Tres Generasiones Anejo Gin Bombay Sapphire Vermouth Martini & Rossi Cointreau Campari Cognac Hennesy Biblioteque Sherry Gonzalez Byass Matusalem 30 Port Porto Cruz Vintage 1989 Grappa Nonino Reserva Antica Cuvee Don’t forget to have at least two reds and two whites on hand, as well as soda, tonic and lemons.
Having your own bar at home means you are always at the ready for an unexpected guest, in clear demonstration of not only the wonders of modern hospitality, but also your own exquisite taste. It is hard to imagine a guest – who comes not for business, but maybe just to catch up with an old friend whom he has not seen for ages – refusing a glass of whiskey on the rocks. Maybe this is because, as the classic of American literature William Faulkner once observed, “There is no such thing as bad whiskey. Some whiskeys just happen to be better than others.” Faulkner wasn’t the only admirer; Winston Churchill honored this drink very much, imbibing at least 6 glasses a day. Perhaps the great UK Prime-minister may not be the best example, but no one would ever debate that it is always useful to brace your bar
with a bottle of good whiskey. After all, everyone knows that, taken in moderation, alcohol makes the soul stronger and the mind freer, easing reservations and clearing the way for true conversations. A bar can serve as a critical part of an interior, creating coziness and bringing a free and easy atmosphere to any home. While in the past, the kitchen was the heart of the house – where destinies were determined and philosophy flourished – now a small bar and a few rows of expertly chosen bottles have usurped this role. Every host enjoys the chance to flaunt his knowledge of alcohol culture. After all, a modest cocktail list isn’t just for restaurant menus; it can help to distinguish the amateur bartender at home. It is enough to have rum and vodka at your bar, since these two spirits tend to play well with
others: among them, liqueurs, tonics, fruits, or simply soda water. Just don’t forget that every truly thoughtful host anticipates those guests who prefer wine, and stocks his stores with bottles of white and red as well as gin and tequila. There are a few special items, which complete any bar: a shaker to blend cocktails, an ice bucket and tongs, and a measuring jar. A well-equipped host will never be left confused in front of his guests; on the contrary, he only garners more respect. But one must keep in mind that by having a fully loaded bar, a host may be risking those cherished quiet evenings alone with his thoughts. Also, he must always come prepared with a back-up plan and a set of gentle hints when his working hours as a bartender have come to an end.
THE SANAHUNT TIMES
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