Uptempo Magazine May/June 2012

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4 Editor's Letter 6 Masthead 8 The Fashionable Artist: Haley Lieberman 10 A Modern Thread In Design: Jenny Mannis 12 The Designing Crossover: Michael Bevins 14 Designing For Dance Judtith Hansen 16 Dynamic Dance Design: Aviad Arik Herman 18 The Art Element In Fashion: Peach Carr & David Chum 22 Beyond The Contemporary Years: Ben Chmura

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24 Ornamental Sculpting: Mahtab Hanna 26 Knitting Through Life: Laura Theiss 30 Magical Realism: Tata Christiane 52 Dark Expressions Of The Mind: Alex London 62 Pushing The Limits Of Design: Malgorzata Dudek 76 The Artistic Canvas Of A Model: Naduah Rugley 86 Stitched Silence 92 Dark Dominatrix 102 A Natural Canvas

It’s been quite some time since our last issue release.

Over the past few months, we’ve been revving up our engines for something new, something fresh, and most importantly, something Uptempo. This time has been spent brainstorming ideas on how to enlighten our readers with content both in and outside of their comfort zones. With new ways to tie in fashion to the arts and vice-versa, I think you’ll enjoy the journey and transformation you’ll see in each of our coming issues.

First and foremost, our team has expanded immensely, and we now have more creative minds collaborating to bring you something special in each issue. Second, we’ve pushed our limits to two covers each month, one featuring an artistic cover story, and the other featuring a model. Third, we recently began our new online journey of daily categorized posts to our website. Each day of the week is now dedicated to a particular form of art or fashion, and every week on that day, a related post will be added for your enjoyment. Lastly, we’ll be experimenting with new design elements, which you’ll see transforming before your very eyes from issue to issue.

Within this particular issue, we wanted to showcase a range of different designers, from costume to couture, and learn all about the craft and construction of their garment, their design process, and their views on the line between artistic fashion and costume design. The featured designers come from different backgrounds, some are strictly involved in costume design, and some are strictly involved in fashion design. Additionally, we got up close and personal with America’s Next Top Model alum, Naduah Rugley.

Keep your eyes and ears pealed for some fantastic new plans, design concepts, issues, and events in the coming months. It’s time to start marching to an Uptempo beat.

Joseph Gualtiere Editor-In-Chief

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Joseph Gualtiere Editor-In-Chief Lindsay Wynn Creative Director

Nora Kobrenik Visuals Coordinator

Hannah Sparks Art Director Chris Evangelista Public Relations Director Carole Bersilion Marketing Director Francis Vazquez Image Director Yvonne Grays Nathane Culture Editor Raffaella Cimino Beauty Editor Christie Connolley Music Editor Jane Taylor Theater Editor Bayla Gottesman Dance Editor David Aronson Art Editor

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Haley Lieberman, a native New Yorker, discovered her passion for costume design while growing up in the Manhattan world of theater, music, art and fashion. She is currently a costume designer and stylist for stage, film and commercial work regionally, internationally, and in New York City. Her stage work includes opera, theater and dance.

Haley's costume design career began during her first job out of college in the costume department of T he Metropolitan Opera, where she worked to bring designer’s sketches to life through her fabrics and trim expertise.

From The Met, she went on to assist many prominent designers in the fashion and costume design industry, ultimately landing a position in the costume department of Madonna’s Sticky and Sweet International Tour where she was responsible for sourcing all the materials (down to zippers) for Madonna’s custom-built tour costumes.

THE FASHIONABLE ARTIST

HALEY LIEBERMAN ON COSTUME DESIGN & STYLING Photography by: James Maher You have an incredibly diverse design background in both the realms of fashion and the arts. How has your experience in one affected the other?

They go hand in hand, really, though I find that there's less crossover than I'd like between the industries. My interest and knowledge of fashion is an inextricable factor in all of my designs for stage. Even when designing an 18th Century period piece I can't help but draw on modern fashion influences. It's just in my blood. When working in fashion, such as styling a photo shoot, I always ask myself and my collaborators "what is the story we are trying to tell?" which is an approach very much based in my theater and film design roots.

Having worked in both fashion design showrooms and behind the scenes of live theater, you’ve been exposed to both mediums in such a fascinating way. What differences and similarities do you find in each?

Oh, they are worlds apart. Though the gap is being bridged by capsule collections by artists for fashion designers and smaller, independent labels getting more attention these days, the two industries are completely separate arenas. The core difference is that the fashion industry is commerce. It is trying to sell something - specifically clothes - for consumption.

Theater is entertainment.

It is storytelling. I think both arenas are equally mystified, intrigued and intimidated by the other. Working on the costume designs for Madonna's Sticky and Sweet tour was the ultimate example of this. The team, knowing my background involved stage design, would ask for less "theatrical" or "costume-y" designs, but I would have to wonder what the difference was.

Madonna is a showman! We were putting on the ultimate theatrical experience. Living in both worlds simultaneously I often think, "Wow. The only thing these two mediums have in common is clothing." And EVERYONE wears clothes.

As for the arts, you’ve worked a wide range of artistic performances like opera, dance, and theater. Do you have a particular favorite to design for?

Oh yes, opera! It's just so big! The stage is huge, the music is enormous, and there are throngs of people on stage. In opera, anything seems possible. There's nothing greater than the feeling of a chorus of say 50, or 100, singing to a live orchestra and dressed in a world you have been a part of creating.

It is emotionally overwhelming. That is the sensation I hope to create and feel in all of my work.

How does your aesthetic change when designing for stage as opposed to fashion or film?

You have to think about your audience's proximity to the actors.

On stage, your audience is far from the action so you must paint with broader strokes.

While the aesthetic must be honed to the same level of perfection as in film, in theater I place a greater emphasis on silhouette and color.

The audience member sitting at the back of the balcony might not be able to see the details of the actor's face, but they will come to recognize the character through the colors they wear and shape of their clothes. In film it's just you and the characters. You are living in their conversations. So small details like a locket or a way a man has worn his shirt collar influence your perception of their character. In film it's all about the details.

Where do you seek inspiration for each project you design for? What’s your biggest design dream?

The inspiration is always in the script. Telling the story of people's lives - their heartaches, their wonders, their pain, their love provides the greatest inspiration for the imagination. When conceiving an aesthetic of the world they live in I look always look at art to inform my understanding of how clothes looked in the past, and generally couple those period styles with modern fashion to create a unique world. The project I am working on now is deeply informed by the late medieval and early renaissance Italian silhouette so I have been spending a lot of time at The Metropolitan Museum of Art in NYC and looking at ways modern designers like Chanel, Dolce and Gabanna, Marchesa and Gareth Pugh have interpreted that period of style.

Can we ever expect to see your own clothing line in the future?

Does the Magic 8 ball ever land on "Never say never”? Outlook's hazy on that one, but who knows what the future holds. I'm excited for what's to come.

For more, please visit Hayley’s website at: www.haleylieberman.com

A MODERN THREAD IN DESIGN STAGE & FILM DESIGNER JENNY MANNIS

Ms. Mannis is a costume designer for stage and film with an eye for contemporary design. Her New York credits include 10 Things To Do Before I Die and Swimming in the Shallows at Second Stage Theatre; Port Authority and The Intelligent Design of Jenny Chow at Atlantic Theater Company; The Drunken City for which she received a Lucille Lortel Award nomination, Pen and Manic Flight Reaction at Playwrights Horizons; Something You Did and The Right Kind of People at Primary Stages; Spain and In a Dark Dark House at MCC Theater; Dog Sees God at Century Center; The Polish Play at Katharsis Theater Company; Heddatron and Boozy at Les Freres Corbusier; Stay and Where We’re Born at Rattlestick Playwrights Theater; and Animal Farm at Synapse Productions for which she received a Drama Desk Award nomination. Her regional credits include work with Two Rivers Theater Company, The Studio Theatre, Huntington Theatre Company, Williamstown Theatre Festival, Bay Street Theatre, Yale Repertory Theatre and The Old Globe, where she will be designing for the upcoming Whisperhouse. Ms. Mannis’ film work includes costume design for Beloved (Elevation Filmworks) and All Saints Day (Washington Square Films). She received her MFA from the Yale School of Drama, where she was awarded the Leo Lerman Fellowship in Design.

Having such a keen eye for stage design, how do you separate the often-dramatic costume style from every day ready to wear in your own closet?

Most of the characters that I design for are nothing like me!

Some examples from the past year include gay boy scouts, a Southern family from 1965, Palestinian refugees and postapocalyptic survivors. So there is not too much overlap there.

More frequently, I will take elements from an actor's personal style and incorporate it into the look for the character. The truth is, the clothes I wear are quite boring - I think that costume design satiates any exotic sartorial desires I might personally have.

While so much of costume design is over the top, you keep your designs realistic to the character without making them beyond theatrical. How do find the medium between too little and too much in a costume?

Truth is stranger than fiction. I find that really thorough research and keeping an open and honest eye usually results in a design that is truthful but also interesting. If you really look at photographs, art or even people walking down the street, you find that reality is pretty odd and thrilling.

What is your view on true costume design, where someone designs and builds each piece, rather than those who rent costumes and call themselves the designer? Are they really just stylists?

I'm not sure that building clothes is "true" costume design. As Michael Kors says, "It's not called Project Seamstress." Using vintage pieces can be just as valid for making everything - some patterns and fabrics are impossible to find now. And there is a quality to real vintage garments that cannot be replicated. It's all about the intention - what is right for each show.

Do you have a period preference to design for?

No. I love strange time periods, the revolutionary periods, but I like the pretty ones too - it's more about using the time period to illustrate the characters and the story.

Is there a particular show you can say was your best in terms of design? If so, why?

I'm very happy with How I Learned to Drive, at Second Stage right now. The play, by Paula Vogel & directed by Kate Whoriskey, is this amazing fusion of an intimate relationship between a girl and uncle) Elizabeth Reaser and Norbert Leo Butz) and a broader, dreamlike landscape populated by her memories of growing up in the South in the 60s. I used a very realistic and neutral palette for the girl and her uncle and an acidic, bright palette inspired by the photographs of William Eggleston for the family. I found it very satisfying to do these subtle, nuanced costumes for Elizabeth and Norbert and also be able to make really bold gestures for the dreamscapes.

What is your dream show to design for?

Why? I love Camino Real by Tennessee Williams - it takes place in this sort of mythic Mexico - very sprawling and epic and dirty and kitschy and sexy - kind of John Waters meets Sergio Leone.

For more, please visit www.jennymannis.com

THE DESIGNING CROSSOVER

MICHAEL BEVINS ON COUTURE VERSUS COSTUME Michael is a costume designer who has designed costumes for over 30 feature films as well as numerous Off Broadway plays and musicals. He has designed for James Gandolfini, Famke Janssen, Betty Buckley, Amy Irving, Sigourney Weaver, Kelly Ripa, and numerous others. He brings to the world of costume design over 25 years experience in the fashion industry, designing for several major companies.

How did you get started in the design industry?

I started as a professional dancer, and when I was on tour I found I was more interested in the clothing the cast wore, than actually being on stage. This particular show was a variety show, and there were Vegas style showgirl costumes, as well as a lot of other great pieces. When this particular job ended I went back to my home base in Phoenix and took some sewing classes. I was hooked; I loved that I could create things that nobody else had. This was in the mid 70’s, the whole disco era, so one can imagine the fun designs we would make and wear to the clubs.

I moved to NY in 1982, and found a job the second day I was here working for a women’s knit house. Great training ground for what women actually wear, and I continued my education at F.I.T. in the evenings. I then decided to have my own men’s fashion line, and we had some good success with our menswear. The line was sold to stores like Saks Fifth Avenue, Beau Brummel, as well as several other stores in the U.S.. Exciting times, but being self-financed was difficult in the mid to late 80’s. After I closed the business I went to work for several designers as a patternmaker/draper. This was a very fun way to make a living, and a great place to expand my technical skills. I find working in the creative field that I am constantly learning and being inspired on a daily basis. Each designer that I’ve worked for has a unique vision, and a different methodology for creating their designs.

You’ve dipped your feet into designing for fashion, film, theater and more.

Do you have a creative preference?

I really do not have a preference; I love the whole creative process. Each field has it’s own set of rules, and is fulfilling in it’s own way. That said, designing costumes for film and theater does afford one more opportunities to be creative.

For the comedy “Made for Each Other” I had to recreate costumes from the film “Waterworld” for a touring company of “Waterworld the Musical”, as well as for a Kiss tribute band called “Tiny Kiss” with little people. How much more fun is that?

For “The Woman”, I had to create a dress that a shackled woman would wear. The problem was how to get it on and off the character without removing the restraints. The director Lucky McKee and I came up with a dress inspired by the compound wives in Texas, and gave it a series of snaps on the sleeves and front that could be easily put on. The other problem was it had to look like something the wife Belle would have sewn at home on her little machine. I love these types of challenges. Designing for theater has it’s own set of rules. The costumes have to read from the audience, plus be easily maintained. For “The Screwtape Letters”, both characters have completely different needs. For Screwtape, he is an adversary to the Devil, and is a bit of a peacock with his clothing choices. His undersecretary Toadpipe is a character that was inspired by a gargoyle crossed with an alligator. The director wanted this character to have a menacing quality, like a pet that might bite your hand off if you are not careful. Of course these costumes have to be cleaned after every performance, as the parts are very physical. To this end Screwtape has 6 versions of his shirt, and 4 versions of his pants. These all have to be machine washable as that is what the theaters have for cleaning the garments. The Toadpipe costume has it’s own problems as it also had the added need of taking a beating each performance as the actor does not speak but spends a lot of time crawling on a cobblestone set. I made three versions of the under leotard with special pockets for the microphone pack, and three versions of the bodysuit with hundreds of vinyl scales attached to it. These get hand washed nightly and left to air-dry overnight. When designing for fashion, one must always look to find the “next” big thing. As it is a business, the reality of selling your product is first and foremost the bottom line. It is a fine line as the designs have to be new in attitude but flattering and wearable as well. We all marvel at the magnificent pieces on a lot of designer runways, but a lot of designers get caught up in this being the be all and end all of a successful fashion line. It does get them press and help establish their unique identity, but is it truly something enough clients will buy to keep you in business and provide the stores a good sell through? It’s not easy these days, and I feel the fashion industry is not really nurturing their young in a way that can sustain them.

How was working with Yves Saint Laurent, Joanna Mastroianni, and Zac Posen?

I absolutely love working with other designers, and each company that I have worked with has presented it’s own set of rewards. I found working with Zac to be a very exciting experience, as he is not only talented and extremely nice, he has a true vision. He has such unique ways of seaming clothes to really flatter his women, and his pieces have a drama few American designers possess. He really understands construction and spends a lot of time in the development of his creations.

Joanna is such a strong eveningwear designer who really knows and understands her clients.

Her gowns are beautifully made using the best fabrics, and she is so focused and great to collaborate with. A word she uses a lot in her development phase is “modern”. I worked at Yves Saint Laurent in Paris on a stage for several months through the wonderful school Chambre Syndical De La Couture Paris, which I attended one year to learn more about haute couture construction. I loved this experience, and the biggest difference between New York and Paris is that the workrooms are divided into 2 sections. They have an atelier flou, where dressmaking techniques are used, and an atelier taileur, where tailoring techniques are used. A luxury we had was spending a lot of development time making swatches of different sewing techniques before we even cut into the fabric. YSL also treated their employees well, they had a canteen, or cafeteria where we would eat our meals from a wide selection of just made meals for just a few Euros. I also studied at Lesage for a year, the venerable embroidery house where all the couture gowns in Europe are developed.

Seeing the old Schiaparelli, Dior and other major designer swatches in their hermetically sealed archive room was definitely a highlight!

What differences do you find in designing for film, against designing for theatre?

The biggest difference between the two is in overall silhouette. Most films are shot from the waist up for 80-90% of the film, so your designs should concentrate more on the bodices of your garments.

It’s crushing to design a gorgeous hem detail on a ball gown that will never be seen! Also film does not lie, so the clothing has to look real. Any aging/ distressing of the clothing choices have to be organic, and read on camera. One trick I use is baby powder lightly rubbed into the seams of garments to give it a more aged feel. Also in film, some scripts take place over several days. One thing I learned was not to deviate too much from the overall feel of the character. Variations of the same theme are less distracting to the audience, and make the clothing fade more into the background. An example of this is on the film “In The Family” (2011 Independent Spirit Award Nominee). The film took place over several months, but the attached images show how we varied up the look very subtly, for the Joey character. For theatre, the whole garment comes into play. The details should read from the audience, so up close they may look less flattering, but look great from the 2nd row. The use of Velcro and large snaps are also used in costumes to facilitate the quick changes that are often required. I remember seeing an opera at The Metropolitan Opera and the women in the chorus all looked like they had on the same dress but in slightly different hues. When I had the chance to see the gowns up close, I could see that each one had such beautiful details and construction, but they were all tone on tone that got lost on such a large stage.

Has your work in fashion inspired your theatrical costume design, or vice versa?

It is indeed a fine line. When the project requires a fashionable character, then of course. I tend to go for more of a fashion influence when I design romantic comedies, or want to make a character stand out. For the film “A Novel Romance” I designed a lot of great pieces for the actress Shannon Elisabeth. Her character was supposed to shine, and come across as very sophisticated. Other times it is a choice one must make depending on the project. On the play “All Eyes and Ears” by Eduardo Machado, the main character was a seamstress in Cuba during the Cuban Missile Crisis, Her daughter inherited all the previous tenants couture clothes from the home the family was relocated to, so this gave me the chance to really be creative and make some beautiful dresses. The fashionable clothes were a plot point, the actresses felt great in them, and most critics commented favorably on the costumes. A few did feel that the clothes did a disservice to the actors, as they were too prominent. So, the lesson is follow your vision, but use what is best for the particular project, and feel confident in that your work will get critiqued, not always favorably!

Do you ever try to bring in elements of the current trends in fashion to your costume design?

When I am designing a contemporary project, I most definitely use current trends. When shopping for a project, I try to use elements that are currently available in retail stores that speak to a character’s soul. Certain styles can be used for several different decades. A button front cardigan with a matching shell for example can be used with different accessories for a project in the 50’s, 60’s as well as now. I find fabric choices influence me a lot when designing a project; I am always looking for lighter ways to create garments that still maintain the proper silhouette. I find the actors are more comfortable when they can move freely and not be weighted down by a particular costume. In period projects especially, if we can make a dress that might weigh 20 to 30 pounds normally down to 5 pounds with lighter fabrics and underpinnings, it is better for the actor.

For more, please visit wwwmichaelbevins.com

DESIGNING FOR DANCE

JUDITH HANSEN’S DESIGNS FOR DANCERS Photography by: Lawrence Luk Judy Hansen, a native Washingtonian, is the resident costume designer for Dana Tai Soon Burgess & Co and has created costumes for Dakshina, Nejla Yatkin, Robert Battle, Karen Reedy Dance, the Washington Ballet, Opera Lafayette, Lar Lubovitch, Natalie Moffet-Smith DanceSmith, Maryland Youth Ballet, Eric Hampton Dance, Tony Powell Movement & Music, CityDance Ensemble, The Julliard School, George Washington University, Rincones and Company Dance Theater, Universal Ballet, Alvin Mayes, Maida Withers, Deborah Riley, Nancy Havlik, Karen & Alvin, Beth Davis, individual artists of the American Ballet Theater, Joffrey Ballet, and Kirov Ballet. Ms. Hansen is the recipient of the 2003, 2004, & 2006 Metro D.C. Dance Award for Excellence in Costume Design. In addition to dance Ms. Hansen has created costumes for the Washington Opera, The Shakespeare Theatre, The Warehouse Theatre Players, The Eleven O'Clock Show, The Shakespeare Summer Festival and Theatre Fifty-Four.

Your background seems to revolve primarily around designing for dance. How did you become so heavily involved with the dance community?

My background had been in theater & opera with just a smattering of dance. At the ballet studio, where my oldest daughter( 5 at the time) was taking classes, they had posted a sign asking for volunteers to help sew costumes. I then met Tensia Fonseca, the director of the studio (Maryland Youth Ballet). I began working with her and quickly realized that I had found something that really spoke to me and that I was good at. That was 25 years ago!! Costuming for dance is very much a part of the overall art form. It is as integral to the art form as the movement. I find the creative process in dance much more collaborative than theater or opera.

Especially in modern dance. It is really a joint effort between choreographer and designer, working very closely together to achieve the final product.

What type of training did you have in order to aide you in the career you have today Well, my grandmother taught me to sew when I was 7 or 8.

I made costumes for my troll dolls. When we were kids, we always put on "shows" in our neighbors garage. My sister, Karen, was always the star...I made the costumes!! When I was 11 I was volunteering at the Shakespeare Summer Festival at the Sylvan Theater. I think I was supposed to be an usher, but I gravitated to the wardrobe trailer. I was hooked from that point on! I belonged to theater groups and took design classes, but it was really the hands on work experiences that gave me the most training. I worked with local theater and opera companies as a stitcher, wardrobe, and designer. This gave me a lot of experience with crafts, such as dying & painting fabrics and draping, pattern making etc.

Tell us a bit about your design technique, and what you do to gain inspiration when designing for a new show.

Usually, I start by meeting with the director/choreographer and talking about the project and what their vision is etc.

Then I start attending rehearsals. I like to attend as many rehearsals as possible, to get a feel for the dance and also to see if there is any specific movement that would inhibit certain designs. Then I research any historical/ethnic materials. I start looking for fabrics/materials/trims etc I start thinking about how the costumes are going to help interpret what the choreographer is saying, how to make the dancers beautiful, hiding their flaws, and keep within budget!! So many things inspire me! The dancers, paintings, nature, my grandmother, fashion and the constant scroll of images in my head!!

I love to spend hours at the fabric stores. Touching the fabrics and draping them always inspires me.

What was one of your most memorable shows to design for? Why? It's hard to pick just one! I would say I LOVED working on "Charlie Chan and the Mysteries of Love" with Dana Tai Soon Burgess & Co. Dana made this piece about watching Charlie Chan movies as an adolescent. While he was watching Charlie Chan I was watching The Thin Man! Dolly Tree, who designed most of the Thin Man series, was always one of my idols!! (Along with Edith Head, of course!!) So I got to design glamorous DRESSES for modern dancers!! It’s no small task convincing the choreographer that the dancers could actually wear these dresses AND dance in them! In fact, I built in culottes of the same fabrics as the dresses, so that when the dancers were inverted, the skirts stayed in place!

How much of the design process is based on freedom to move versus artistic representation of the garment?

The artistic representation is always paramount. The construction of dance costumes is unique. There are many techniques that I use to make sure that movement is not impeded in any way. Secrets.......

Would you ever venture off to design for other realms of the arts?

Probably not. I love designing for dance. It is truly my métier. Though sometimes I think I would like to learn to weave and dabble in fiber arts.

For more about Judith, please www.judyhansencostumes.com

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DYNAMIC DANCE DESIGN

THE WORK OF ARTIST AVIAD ARIK HERMAN Photography by: Rachel Herman Born in Israel, Aviad Arik Herman is a multi-disciplinary artist, who has received recognition and praise for his work as both a dancer and a designer. Mr. Herman’s wide range of experience in the performing arts includes dancing and performing throughout the world as a principal dancer, in addition to serving as a designer, a choreographer, and more.

How did you go from dancing professionally to designing costumes professionally?

From a very young age, I used to draw and sketch, be creative and express my imagination. I have even used my sketches as a kind of a diary, having my experiences, feelings, thoughts and memories inspire my designs. I also liked dressing and styling my 80 Barbie dolls as a young kid. A big influence comes from my mother who is a multi-disciplined artist herself, and my grandmother who was a professional seamstress for Flamenco dancers in Spain. At the age of 17 I discovered a great passion for the art of dance and wanted to become a professional dancer myself. I joined the ballet school and was surrounded by students who started their training at the age of 4. With a great courage, motivation, enthusiasm and dedication I have worked very hard to achieve my goal. I was fortunate to have the support of organizations that believed in my talent and potential. I received scholarships by America-Israel cultural foundation, Princess Grace Award in Monte-Carlo, Carina Ari's and Anders Sandrew's in Sweden and more. I was blessed to have this help for my artistic development and growth. I have made it to become a professional dancer, worked with worldknown leading dance companies in Israel, Europe and USA, have been invited as a guest artist to perform, choreograph, teach and judge. In 2006, when I was dancing with the Gothenburg Opera Ballet inType Sweden, two great to my enter textinterests – dance and design, were given the opportunity to merge, when I was invited by Canadian choreographer Mireille Leblanc to design the costumes for her new dance production. This was a successful experience, and mostly very meaningful.

I began to realize that I could pursue both interests simultaneously. Soon after that I started to get new commissions and was invited to collaborate and design for wonderful choreographers and dance companies such as Cullberg Ballet, Pustervik Theatre, Royal Swedish Ballet School, Gothenburg Opera Ballet, BalletX, The Washington Ballet, Chemnitz Ballet, Ballet Mainz, Israeli Opera for “TheProject”, KAMEA Contemporary Dance Company, Fresco Dance Company, The National Dance Company of Spain. In addition to my costumes design, I also design for individual clients. This presents me the opportunity to style exclusive outfits for special occasions for these individuals. My designs complement the woman’s femininity and sensuality and empower her confidence with my unique fashion. To lend credibility to my pursuits in fashion and costume design, I completed the fashion design program at the Art College of the Folk University in Sweden. In 2010, I was selected as a finalist in Fresh Fish, Sweden’s annual fashion fair and contest for promising fashion designers. I received favorable reviews by Swedish press and media. One of my proudest achievements was designing the national costume of Miss Universe Sweden for the Miss Universe Pageant held in Brazil September 2011.

In what ways have your experiences as a dancer influenced the way you design?

Being a dancer myself and having performed many dance styles in various types of costumes, has taught me a priceless lesson of design – how one feels in what they are wearing, whether on stage, or on the street is of great importance. A costume, or the outfit one wears, helps to instill confidence and support a positive self-image. What you wear is important to giving a good performance whether that’s on stage, or otherwise. After all we rarely face the world, or an audience, in the nude. What’s more important than feeling good in what your wear? There are a various important elements I always consider when I approach a new design project. Aside of looking gorgeous (joking), complementing my body and serving the choreography, it is important for it to be comfortable, and not limit the movement range. There is a big value for how the costume feels on the body.

The costume could really affect the dancing and how I feel on stage. The choice of fabrics and materials for example is very important, and the use of these for different types of garments. Another influence is the way I design male costumes.

I always wanted to be wearing a costume that would be at lease as special and nice as the women got to wear. Even if the choreographer requests simplicity, I like to give it a sophisticated and luxurious look.

Do you feel that fashion is inspired by art forms such as dance?

Fashion is an art form unto itself, and I believe it is very much connected, inspired and influenced by other art forms, including dance. The art of dance has been developing and evolving over many years. Its presence in our culture is growing and more people are experiencing dance as an art form than ever before. In addition, the movement range of dancers, their powerful and flexible bodies, and the way they appear in their costumes often inspires fashion designers. So much so, that now it is very fashionable to have dancers model on catwalks and for photo shoots of designers. It is common to see garments such as ballerina-like tulle skirts and dresses trending in the fashion - a gift to the fashion industry from the dance world. For instance the costume I designed for Miss Universe Sweden was essentially a tutu paired with crystal high heels and a feathered headpiece.

This also works the other way. Stage costumes are influenced by what is current in the fashion world – certain garments, cuts, fabrics, seasonal colors, etc. This was the case when I was called to design for choreographer Annabelle Lopez Ochoa’s “In Transit” for the National Dance Company of Spain last January. Each one of the seventeen dancers had individual designs that presented a casual and classy look often seen on stylish passengers at airport terminals.

What has designing taught you about the visual appeal of live performance?

To me, it’s apparent that in seeing a live performance the visual elements are of great importance to audiences. It’s my job as a designer to work towards creating a stunning and appealing part of that visual intrigue. People come to see a live performance and have an expectation of seeing a magnified and often times suspended take on reality. I give my all to ensure that there is a positive visual memory that goes home with each audience member after seeing a production I’ve designed.

Is it more important to design for the image and aesthetic of the character, or for the freedom of the dancer? It depends on what is called for by the piece.

Freedom of a dancer generally is important, but there may be occasions where movement is restricted by character or concept, and therefore my costume design would be appropriately suited. It’s always important for me to design for the image and aesthetic that a choreographer is seeking to achieve.

Where would you rather be- on stage dancing, or backstage dressing fellow dancer? Do you ever design for yourself? In fact, I prefer to do both, and that’s what I do.

I have the occasions to dance and design. It’s fitting for where I am in my career right now. I am grateful and feel very blessed to be able to continue dancing and have various design projects fill my life. I have designed for myself. I’ve created both costumes for stage and outfitted my own wardrobe. Fresh ideas never seem to stop coming to me and I am eager for new opportunities to share my talents.

THE ART ELEMENT IN FASHION

PROJECT RUNWAY’S PEACH CARR & DAVID CHUM By: Yvonne Grays Nathane

Fashion is a visually connective art form to art itself, as some emerging designers might agree, having a background in one or more artistic fields or having used art as an operative element in the design process.

From Project Runway contestants, Peach Carr, Jonathan Joseph Peters, and Project hopeful, David Chum, art – be it figurative, directional, or a muse for creating – has inspired the creation of their designs in some way.

Tennis/Sportswear designer, Peach Carr, is a Season 8 Project Runway contestant whose retro-inspired designs symbolize the zeitgeist culture of the 60s and 70s. The time of the hip/mod eras, whose fashion trends reverberated with shows like The Mod Squad; time of pop-artist, Andy Warhol and muse, Edie Sedgwick; to the time of The Motown Sound, Bellbottomed jeans, and famed model, Twiggy, whose bold lashes were a cohesive compliment to the daring minis and vibrant prints of the day.

While the respective living and late fashion icons, Twiggy and Sedgwick, are two of Carr’s favorites, she credits the creative elements of Warhol’s works as a vital source of inspiration. “His clean lines, pop of color against black and white, and sense of humor have seeped into my work,” Carr says. Utilizing Warhol as her muse along with retro symbolisms, Carr’s collection is infused with striking prints and “sharp graphics,” describing her love for such patterns and her attraction to graphic art.

Using geometric shapes and striking prints in her designs, it was Carr’s tennis-wear pieces that stood out during her callback audition for Project Runway and which caught the attention of Tim Gunn and Zanna Roberts Rossi who agreed that tennis was her niche.

“They both suggested that I drop everything and start with spandex,” she says of their great advice and encouragement to pursue her tennis/sportswear aesthetic.

A native of Chicago, Carr received media coverage in the Chicago Tribune after it was discovered that she was a contestant on Project Runway, leading to another artinspired design with a pair of paper maché shoes constructed from newspaper clippings.

The shoes, made from the comics and crossword puzzles – a parallel to the creative elements of Warhol’s influence – she describes, “… are pure paper maché, and the heels: covered in red rhinestones … black and white and ‘read’ all over.”

Added as an accessory to a dress she was asked to sketch for the Tribune, she took the challenge a step further by making a dress in lieu of sketching, thus creating the shoes which have attracted a purchase offer from a local author.

Heeding the advice of Project Runway judges, Peach Carr Designs have launched into a tennis-wear collection and is quickly evolving into a sportswear/womenswear line, as clients find her tennis-wear socially adaptable for work, play, and cocktails. “I have been asked many times to recreate the lace-top/blue-skirt look from the team challenge on Project Runway … however I will be leaving out the gold chains,” per Nina Garcia’s editing advice, says Carr. Looking ahead, Carr is incorporating her chic take on the lace/military team challenge, adding, “You will see a tiny bit of military (my favorite) seep into Fall ’13.”

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Photography by: Karl Schmid & Yolanda Jones

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Referring to himself as a multi-disciplinary artist, David Chum is a fashion designer, who, though eliminated from Season 9 of Project Runway’s premiere episode, impressed enough to audition his line before millions on the Lifetime reality show.

Holding a B.F.A from the Art Institute of Boston at Lesley University with a body of artwork comprised of paintings, David maintains that he is not just a painter, just as his eponymous site unveils two distinct gateways into his talents, one to his work as an artist, and the other to his skills as a designer, via his Selahdor clothing line.

As his website is divided into Fashion and Art, he maintains a distinct view of the two mediums, stating, “… fashion is so different from art,” noting that it’s an ongoing debate he has with himself and other designers. Yet, David acknowledges the role art plays in fashion, explaining that his professional training as an artist has given him a trained eye and has provided him with a full understanding of proportion, shape, line, and color. “I feel I can convey an idea or point of view to an audience in a manner that is very different,” he says, further expounding on the advantages his art training imparts.

Though having worked in every imaginable medium, David finds the medium of fashion an intriguing one, recognizing a link between his artwork and the creations of his designs: “My artwork was primarily figurative, so I have a very good understanding of the human form,” adding, “… I’ve always appreciated the sculptural aspects of fashion design and how the medium can be manipulated by pressure, tension, and gravity.”

David Chum designs with the female figure in mind and with the objective of making women feel beautiful and empowered. Aware of his innate proclivities as a fashion designer, he confesses, “Fashion was always there … just a matter of when I was ready to fully commit.”

In making the commitment to fashion, he is again aware of the edge that his fine arts background has afforded him, sensing that it, along with being a self-taught designer was an angle that Project Runway felt would be intriguing in the competition.

Stating on his art site that his artwork is a result of Jungian psychology, fashion, pop culture, and a variety of other interests, his design philosophy in turn produces a well-rounded interplay of culture and aesthetics. “The one thing I have learned is that everything we produce, every [single] object, is a reflection of a specific part of the larger human population at a specific time.” Seeing the correlation between fashion trends, politics, and societal interests, Chum admits that his work is a part of such correlations and will remain so. “It’s a very natural thing that we (fashion designers) do,” he says, “… if I’ve really nailed it, the themes within the collection will echo those of the bigger fashion houses,” an echo that excites him during the fashion weeks.

The bio pic on Chum’s fashion site – photographed on-set for his A/W 2011 collection – is another example of that “echo” from the larger houses, exuding a polished aesthetic while conveying a cultivated, artistic/intellectual feel. When asked how he came up with the name, Selahdor, he credits it to the linguistic observations of J.R.R. Tolkien, who viewed the phrase “cellar door” as the most beautiful sounding phrase in the English language. Likewise, Selahdor has garnered respect since its launch, becoming the first recipient of Boston’s 2011 Emerging Designer Fund.

For more information about the designers featured in this article, visit their respective sites at: www.peachcarrdesigns.com 20!

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www.selahdor.com

Images by Conor Doherty Hair by Christine Bellemare at Mizu Makeup by Kacie Corbelle Art Directed and Produced by CONTRA All 2011 partners of the Emerging Designer Fund, sponsored by The Liberty Hotel

BEYOND THE CONTEMPORARY YEARS PROJECT RUNWAY’S BEN CHMURA Photography by: Eli Schmidt

Ben Chmura has produced several independent fashion collections since graduating with his B.F.A. in Fashion Design from the Savannah College of Art and Design in 2001. His first independent fashion show Feral was a collection of menswear inspired by the cult classic Mad Max. Recognized as one-to-watch early in his career, Chmura was selected as one of four senior students to discuss his design work and career plans over dinner with Andre Leon Talley, Vogue magazine Editor-at-Large.

After living in New York City and freelancing for companies such as Club Monaco, Ralph Lauren and American Eagle, Chmura returned to Tampa, FL and designed several collections including Red Hood, Ozmapolitan which featured his first women’s collection, Welcome To The Jungle, Azteca, Venom and Taliesin, and Lamia’s Wrath. Chmura has participated in numerous fashion events including Fashion Week Tampa Bay, Dirty But Sophisticated and Sweatshop: Art, Fashion and Music Compendium, which he also helped co-found. Chmura excels at delivering quality designs in his sci-fi/ futuristic vision to his fashion fans locally and beyond.

In 2010, Ben Chmura was among the top ten designers from Project Runway Season 7 and had the opportunity to show his first collection at Mercedes-Benz Fashion Week, which was inspired by Ray Bradbury’s The Martian Chronicles. He is currently the Senior Graphic Designer for Fishman & Tobin, Inc. in New York and is planning to re-launch his eponymous label in February 2012 at Style Week Providence. Chmura currently resides in Brooklyn, NY with his husband, Bobby and their Scottish Terrier, Malfi.

How have things changed since finishing your work on Project Runway?

The major thing that has changed has been the increase of my fan base on an international level. The whole point of doing something like Project Runway is to increase the visibility of your work and it's been wonderful connecting with fans all over the world. The other thing that begins changing is the connections you are able to make through the notoriety of the show, which is always beneficial to an independent designer.

What did you take away from showcasing your collection at Mercedes-Benz Fashion Week?

I learned a lot about myself as a designer and my craft from showcasing at Mercedes-Benz. The Martian Chronicle collection that I showed was really the beginning of the new direction that I wanted to take my clothing and my brand. The back-story of a collection is always a major component each season, especially being a sequential artist in college before switching to fashion design. I feel that the maturity of the story behind this collection is what helped me want to refocus and re-imagine the brand.

Your designs portray an edgy and forward image. What message do you want your audience to perceive while exploring your collections?

I want anyone looking at my collections to not be afraid of the unknown. Many people put so many limitations on what they feel they can wear without giving it a chance first. Just because my collections have a sci-fi inspiration doesn't mean that only a size 2 can wear them. Fashion is all about exploration and that's the message I want to send out each season.

The fantastic designs that you create give off a very contemporary and futuristic vibe. Is this intentional, or are you just talented beyond our years?

It's a design aesthetic that comes naturally to me.

I almost feel that this particular style is imbedded in me because of my obsession with comic books as a teenager. Sharp angular lines and the element of sci-fi have always been a consistent undertone in my work and I feel that it's only getting stronger as I learn my voice as a designer.

Are you ever inspired by visual art? How so?

Absolutely! Anything from fine art, graphic design, comic book illustration, photography, all of it. I'm a very visual person and when I see visual art and it strikes an emotion in me, I'm always challenged to figure out how to strike an emotion through my collection. Whether the emotion be positive or negative- it is crucial to have your audience bond to your work in some manner. Music is also a very integral part to my design process and presentation. Music strikes up the same emotions.

Tell us about your NIBIRU collection? Where did the inspiration come from for this collection?

NIBIRU is my Fall/Winter 2012 collection and it comes from the book, The Twelfth Planet by Zecharim Stitchin. The theory is that aliens from the planet NIBIRU came to Earth to obtain natural resources and in doing so, they actually helped speed up the evolution of man. The concept behind the collection is that the same race of alien came back to Earth to observe humans and possibly begin the process again to move us in to the future. I've always been interested in the alien conspiracy theories/ abductions stories and after seeing the film, The 4th Kind, it led me to begin researching Sumerian astronauts (aliens) and it was such an interesting concept to translate into a contemporary sportswear line for men and women. I also studied Pre-Columbian Art History in college and have always had an interest in the theories that civilizations like the Mayans, Incas and Aztecs were possibly alien civilizations as well. The whole collection was about protective pieces that could withstand travel and natural elements. It also had a small militant element to create the sense that these figures were strong and on a mission of sorts. It was a very interesting and informative concept to work with. That's what I truly enjoy about the design process, because I learn so much from the research process.

For more, please visit www.benchmura.com

ORNAMENTAL SCULPTING THE JEWELRY OF MAHTAB HANNA

As a sculptor and painter, how does your artistic background influence the fine craftsmanship seen in your work?

For me, the human body is my canvas. My jewelry creations are forms of wearable sculptures that create communication between the wearer and observer. My artistic background plays a substantial role in the craftsmanship of my work by introducing a special responsibility: I represent not only my own artistic integrity, but that of the wearer/ client who cannot be with me throughout the different processes.

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What statement do you hope to make through your wearable art?

Ultimately, extending the experience of jewelry wearing is to challenge the boundaries of function and ornamented decorative art, concluding with stimulating contemplation. While creating each piece is a process and expression or development of a vision I have, jewelry is created for other people. It is important to remember this without compromising on the original vision I have throughout the design and creation process. Critically, people communicate in different ways, and this is how I communicate. Part evolution, part revolution.

How do you find the motivation to express yourself through art?

My passion is my motivation, and jewelry is my passion. Everything around me is an inspiration – every day that arrives is an opportunity to challenge tomorrow.

What prompted you to start designing jewelry?

Jewelry has been my passion since I was a little girl when I would play with or wear my mother’s. As I got older, I started to collect different pieces from various parts of the world and eras, which led me to study the art of and making of jewelry.

Where do you most wish to see your incredible designs? (runway, editorials, art galleries, etc.)

Each wearer is a prophet communicating my message. Most of all, runway and catwalk illustrates my art directly on the body’s canvas.

Is there a particular concept you have in mind that you’re looking to work on for a future collection?

Mother Nature is a fascination to me, and she directly inspires my future collection. As the veins of a leaf bring it life, my creations using different materials, bring verve to the design.

For more, please visit www.mahtab.co.uk

KNITTING THROUGH LIFE LAURA THEISS TALKS KNITWEAR Photography: Oggy Yordanov Styling and Creative Direction: Kabir Make Up: Philipp Ueberfellner Hair: John Mullan Nails: Joanna Webb Model: Nastya P at Models1 26!

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Did you always design knitwear, or has it varied over time?

I have been knitting since the age of seven or so. It has been a tradition in our family. My grandmother’s house was decorated in knitted table clothes, pillows, blankets and even pictures. At the age of 15, I began knitting sweaters.

I can’t imagine my life without knitwear. It has become my lifestyle and passion. I also think young girls should take the opportunity and learn from the older generation. There are endless possibilities and a ways to create something unusual to wear.

What does your design and creative process generally entail?

The creative process starts with an idea, inspiration, or sometimes the yarn. The yarn is the most important factor in the creative process. Therefore, I do visit yarn exhibitions rather frequently. After research of images, mood boards, pattern sampling, and ideas, garment construction begins with creating and sketching the collection, where I translate these ideas into knitwear.

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Is there a particular piece you’ve created that stands out to you as a favorite? If so, why?

My favorite piece is the navy blue/metallic crochet dress. The traditional crocheting was manipulated via computer to create digital patterns. The dress is made out of many little pieces and then sewn together.

Your designs often accentuate the natural figure of a woman. Is this something you focus on during your creative process?

I create most of the designs on the mannequin, searching for the best shape and pattern placement.

Knitwear patterns look their best when you can actually see the shape and pattern. I want my knitwear to be sexy.

Do you consider the pieces in your collection art?

The most creative pieces show the inspiration behind the collection. It could be exhibited and is very interesting to look at, but it can also be worn, which I absolutely love to see! The art is the creative process of the pattern making and garment making. As soon as it is finished, it becomes a wearable piece of art.

What was the inspiration behind you collection?

The inspiration came from early science fiction films, space, cosmos, maps of the moon, lunar rocks, and titanium-rich minerals. I combined heritage and crafts with technology.

How did your film come about?

The film was a collaboration project with a film maker Oggy Yordanov of Basement Studios and creative director/stylist Kabir. We decided to work on something abstract and conceptual to show the mood of the collection and to present the Laura Theiss knitwear brand in a different way. We used abstract and symmetric visual effects including mirrored and multiplied scenes in slow motion, unexpected close-ups and kaleidoscopelike fragmentations. In the film, a mysterious male/female figure - Luna - moves under a sea of chiffon, perpetually creating a metaphysical encounter with fabric through her/his body. Lady Lloyd played Lunar.

For more, please visit www.lauratheiss.com UPTEMPOMAGAZINE.COM!

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MAGICAL REALISM

TATA CHRISTIANE’S STREET COSTUMES Designer: Tata Christiane Photographer: Valquire Veljkovic www.valquire.de Styling and makeup: Tata Christiane Model: Zoé Coulon

Tata Christiane is a fashion label founded in 2007 by Julie Bourgeois and Hanrigabriel. The brand proposes collections with serial and unique pieces and stands with its costume design studio for various cooperation inart performances, theater, cinema, photography and music. Tata Christiane is a vision of the street costume, and proposes an absurd and disturbing vision of beauty, with decline, maladjustment, extravagance and immoderation. It plays with the borders of elegance and bad taste, digging up our old memories, recycling the waste of our civilization, and becoming a monomania, a machination and a monstrous and sublime piece. Tata Christiane could have been a punk, if she was not also an ambiguous queen, a one eyed flautist, a gypsy woman and a street child. Tata Christiane is for boys and girls, women and transvestites, men and old people, kings and madmen. The brand develops two trends / collections a year, producing limited serial clothing and unique pieces. Using hand made and industrial production, the design, cuts, materials and fabrics follow from a poetic adaptation of art, costumes, and street wear… transforming pieces into a contemporary street costume.

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How did the Tata Christiane brand begin?

I studied Literature and Philosophy for five years in France and one year in Germany. At the same time, I trained myself in sewing, especially at the beginning, as wardrobe master for theater companies and through various training courses with stylists and wardrobe masters in Paris. When I stopped my studies and moved to Berlin in 2007, I created the label Tata Christiane with my associate Hanrigabriel (graphic designer, composer and musician), with whom I also have a band Aniaetleprogrammeur. We wanted to develop the parallels of music and fashion.

Your unique collection is a true example of fine craftsmanship, detailed construction, and artistic freedom. How do you manage to pull all of that off in just one piece?

Being self-taught, I appropriated techniques, which I have interpreted and adapted to my way of making garments for my affinities.

My work articulates around the idea of unique pieces, the construction by molding, and the important sensibility attached to the color and printed matters, to the mixtures, to the details and to the successive layers which guide the construction of the piece as well as its discovery. The pieces often represent research for the effects of the world, sometimes on the verge of the immoderation. I grant a lot of importance for the fall of the garment, for its flexibility and for the comfort. It’s kind of split between an interpretation or variation on street wear and couture. I like the incongruity of the elegance, its very mysterious, and highlights personal dimension. The humor is also really important in my work. The individuality has a creative dimension, free and aware of its own dream.

Since it is often spoken about as a fashion and costume label, is there any difference in the way you design a piece as part of a fashion collection versus the way you design a costume?

When I create costumes, I'm very tuned in to the expectations of the customers. When I design collection, I am the only guide.

In what ways are you inspired by the arts?

My inspiration comes from the things surrounding me; the books I read, the music I listen to, the places and the landscapes I visit.

It is a weft of a novel or poem made by the various materials, at first a vague impression, which defines itself little by little by the pieces I elaborate through meditation. I'm actually inspired by many things like tribal societies, opera, travesties, hip hop culture, street wear, surrealism, pop art, and experimental music.

The last collection "Magical Realism", is inspired by the Gabriel Garcia Marquez novel "One Hundred Years of Solitude" written in 1967. By extension, I was inspired by the "Magical realism", created by German art critic Franz Roh in 1925, expressing a genre of fiction, in which magical elements blend into reality to create another reality. As soon as I consider fashion as a visual art genre and as an element of the world’s fiction, what is real and what is fiction are indistinguishable. In his book “Magical realism and postmodernism” Theo L. D’haen describes “…self-reflexiveness, metafiction, eclecticism, redundancy, multiplicity, discontinuity, intertextuality, parody, the dissolution of character and narrative instance, the erasure of boundaries, and the destabilization of the reader”. The new collection explores this area, the city of mirrors and the subjectivity of reality to propose a world, according to a particular perception, "in the complexity of times". It turns around mocked mood, mixture of fabrics and motives, feathers and froufrou, fantastic and marvelous humor.

Can you tell us a bit about the “street costume” and what that means to you?

The idea through the brand is that you can wear what you want, how you want, when you want, and that desire and personality are really a necessity, with no rules. I like the idea that people can be super heroes. I like to be surprised by the way people dress.

Do you anticipate any artistic or theatrical collaboration in the future? If so, tell us about it.

At the moment we are working on different projects. The main project is the new collection and a new album with my band that should be like a soundtrack for the collection.

I'm collaborating as well for a photo project with Romanian artist Viviana Druga and will be participating in a workshop initiated by Raki Fernandez on the interpretation of the Rio Carnaval headpieces with six other designers.

For more, please visit www.tatachristiane.com

DARK EXPRESSIONS OF THE MIND THE DESIGN PSYCHE OF ALEX LONDON Photography: Julia Comita Makeup: Lisa Christine Hair: Alex London Styling: Alex London Model: Rachel Jean

Alex London is a small couture house based out of NYC. With a deep need to capture the images seen in the darkest and most beautiful parts of the human mind, Alex London uses less then conventional techniques and aesthetic.

Recently Alex London has made its NYFW debut with " Kagami " for F|W. Since the label has been receiving increasing amounts of attention from the media and designers alike.

As a designer from the NYC/NJ area growing up in the heart of the fashion and entertainment industry, Alex London was introduced to a high-end aesthetic at an early age. Alex now takes classes at Parson The New School for Design. Having shown collections and new work in a variety of different scenes, and at a rapid pace, Alex truly hopes to some day continue where fashion icon Alexander McQueen sadly left off. With an eye for the disturbingly beautiful, and a sense of humor to match, Alex London aims to show the world that what is wonderful is not always what is expected.

Your designs exceed the limits of human expression. What inspires you to create such intricate and elaborate pieces?

Honestly, I feel that every time someone asks me this I’m going to give a different answer. Not that I can’t make up my mind, but because my life is always changing and I’m constantly growing as an artist. As my life and my mind change, my design and inspiration also change.

So much of it comes from my ‘dreams’ or just a gut feeling, whereas a lot of it comes from… me being me. I just draw and… see what happens.. or... drape and.. see what happens. But I have found that the music I’m listening to has a lot of influence on what I’m doing at the moment. I’ve probably over simplified it.

But I am not very good at explaining things like that. Currently I’m on another Bjork moment. So…who knows what will pop out of my head this time?

How much did growing up in New York area inspire your eye for craftsmanship and design?

Well as a “melting pot” it gave me every culture at my fingertips, as well as so much history and beauty to just play with. I’m spoiled in that sense.

I’ve always been multi cultural; I guess it just sort of left its mark on me. I have always adored Japanese street fashion, but I’ve always died for French Rococo period...anything, and I’ve always been a sucker for traditional Chinese garments, as well as some of the tribal African arts.

New York City gave me all of this, and then gave me fashion… So one thing sort of leads to another.

Can you describe your design aesthetic and technique?

At the end of my garments I like them to LOOK perfect, even though my samples probably aren’t. I like to take fabric and experiment with it. I will have a vague idea in mind, but what I am usually thinking will be the exact opposite of what comes out. As for aesthetic, I would have to say my eye is weird. But I enjoy things that don’t always make a lot of sense, but work in some odd little way.

Just go for it and see what happens… “ The worst things are beautiful “

What is the ultimate goal for the development of your label?

I hope to get to the point of being the next “McQueen” or “Chanel”. I don’t want ‘fame’ so much as I want recognition. I want to be able to live a comfortable and happy life with the freedom to do what I love.

And it would be sort of brilliant posthumous or not, to have my pieces in a few museums. A bit of a fashion footnote “Alex London, mostly unknown designer influenced a generation of new artists and designers...” That would be pretty cool. I am a simple person. I am easily pleased. I don’t need much in life to be happy.

How much artistic expression do you feel is enhanced though your work?

My work has felt like a part of me for so long. I’m giving birth to this creature that doesn’t seem real, or to make any sense.

I get so attached to the concept, and while its being made it’s like an extension of my own body and mind that when it’s done… the garment feels foreign to me. As if I had nothing to do with it in the first place. Like there is a stranger in my home. Sort of like some type of odd fashion ameba splitting off into two. Right now I feel like I’ve lost myself a bit, I don’t know where I am or where I stand half of the time. I’ve been away from my machine and form for a bit too long. I need to get back to it. I’ve gotten distracted with so many other projects. It’s a lull, but I will get out of it eventually. I get like this when I don’t feel I am “doing enough” or having enough “success” even though sales wise, I am doing SO much better. I guess I am too hard on myself. My point of view as an artist is so subjective, even to me. I’m still young yet and I still haven’t completely figured out who I am as an artist. But if I know myself at all, I know I never will truly know who I am. Maybe when we figure out who we are is when our time in this world is over, McQueen left us too early, but perhaps he had figured out who he was and his time here was over. Someday I should be so lucky to have that kind of clarity.

For more on Alex London, please visit www.alexlondondesign.com

PUSHING THE LIMITS OF DESIGN

THE IMAGINATIVE DESIGNS OF MALGORZATA DUDEK Photographer: Christoph Musiol Model: Katarzyna Nawrocka Stylist: Jadwiga Pokryszka Hair: Margo Wegierek Make-up: Patricia Bontscheff // Set-design: Uli Gajsa Sunglasses: Slav Nowosad

Malgorzata Dudek is a London based fashion designer. Her creations have been photographed and featured in magazines such as Vogue, Harper's Bazaar, Elle, Madame Figaro Paris, L'Officiel, Glamour, Cosmopolitan, Grazia, Amica Italia, Glass Magazine, Z!NK, Faces, and Bullett, as well as looks being shown on top internet sites and blogs.

She's been awarded the special jury prize by Madame Figaro Paris in the White Swan contest and nominated Woman of the Year in Fashion by Glamour Magazine (PL). Her Spring / Summer 2012 collection, which was a collaboration with H.R. Giger, brought praise from around the globe, with bloggers calling her "The Next Alexander McQueen".

Celebrities like Taylor Momsen, Paz de la Huerta, Izabella Miko, Rachel Bilson, Chelsea Wolfe and Macy Gray are on her dressed-in list. While international musicians, such as, Hong Kong superstar Joey Yung, German superstar Nena and Russian pop-stars Nikita and Karina Koks have looked to Malgorzata Dudek's collections to get the spot light on the redcarpet or in music videos.

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What inspires you to construct such imaginative and artistic garments?

Anything can inspire you if you look deep enough to find what it really means to you. When I do find inspiration for a collection, I always feel very emotionally tied to it, and express it through my art.

Do you construct your collections with a specific concept in mind?

Yes. But it’s always the child or the grandchild of the concept that I start with. I don’t confine my creativity and let the concept reproduce – give birth.

Your pieces represent an extremely artistic perception. Does art play a role in your design process?

What kind of artist would I be if I were immune to the beauty found in works of art, which surround us and are available to anyone who is even slightly interested?

Being sensitive to all areas of art has an effect on my own creativity. I don’t know if I quite understand the word ‘extreme’ because everything that I make seems, to me, very natural. Actually, I’d like to create a project that would surprise me and, with a clear conscious, I could say that it was in its own way extreme.

Would you say that costume design and the performing or visual arts play a role in fashion? How so?

In fashion, the manner in which you present your collection is equally important as to what the collection represents.

Costume design, the performing arts and the visual arts are irrevocably tied to fashion. Fashion has many identities and I’m most interested in the most spectacular aspect.

Honestly, I don’t analyze it much because it comes to me so naturally, and the extreme aspects, which give my collections a theatrical character, seem most normal.

You have been hailed as “the next Alexander McQueen”.

What does this mean to you? Has this affected your design process?

I take it as a great compliment because I understand the important role that Alexander McQueen has played in the world of fashion and personally I consider him one of my three favorite designers. As a creative, I know that I have my own style and ideas flowing through my mind, and I think that even if we had to realize the same project we would have approached it differently and the outcome would be completely different. My style of designing is still constantly changing, evolving and I’m consciously moving in a direction to where I can’t be put against a template or pigeonholed.

For more, please visit www.malgorzatadudek.com

THE ARTISTIC CANVAS OF A MODEL GETTING TO KNOW NADUAH RUGLEY

Naduah Rugley is a rising model with an edgy look and a deep story linked to an artistic background that would further advance her skills of modeling. Having competed on America’s Next Top Model, Naduah Rugely seemed unlikely to be one of the first girls eliminated from the show's fourteenth season. Unfortunately, that’s exactly what wound up happening after the judges decided her classic modeling style made her edge “almost a waste.” We happen to disagree, loving Naduah’s dynamic look, her artistic past, and her optimistically philosophical outlook on life.

“Firstly, I would like to say that I am honored to be featured on the cover of Uptempo Magazine, and grateful for the opportunity to share my experiences. I would also like to give due credit to photographer Gail Bowman, who has been a professional and artistic companion during many, many jobs together. She is a talented and ambitious woman with whom I have been privileged to frequently work.”

How has America’s Next Top Model changed your career in modeling?

Perhaps most significantly, it has broadened my grasp of the business of media and television. As Doris Lessing put it, “…suddenly understanding something you have understood all your life, but in a different way.” Radio, stage, and television have been a part of my life since an early age, and I have served in these fields as both a student and as a guide. Yet, in life one should never cease to be a student, and it is imperative not to rely solely on previous knowledge, but always be prepared to analyze each situation from a new perspective. The education I received from my time there has been invaluable.

If you could go back and compete again, would you do anything differently?

I went onto the show somewhat naïve in that I was looking at it with a view to modeling, rather than with the mentality of a reality show contestant. Needless to say, there is a significant difference, and one cannot ride both horses, so-to-speak. Now that I understand the difference, it is not something I would again pursue, for the sole reason that it leads in a very different direction than I am interested in going.

What was the most challenging part of competing on ANTM? What was the most rewarding?

Well, having thought of it more from a model's perspective, I was unprepared for the amount of focus that was placed on the drama and conflict between the contestants, and for the level of interest many of the people involved had in playing to that, and it obviously proved to be my biggest challenge. It was definitely very rewarding to meet Tyra Banks, as she is someone I have admired for some time, especially as a businesswoman. I am very glad to have met her and some of the people around her, and to have seen what I could of how they conduct themselves and their business. It was certainly my favorite part of it all. It was also my first time seeing New York as an adult, so that was very nice as well.

You are an extremely versatile model. You can portray both edgy and soft imagery. Do you have a preference?

Versatility is very important to me for a number of reasons. I think my personality most naturally leans towards the edgier, more aggressive ideas and poses. Blame it on the Poe in me. But, I also very much enjoy performing in the softer, chic style employed by most of my favorite icons such as Brigitte Bardot, Audrey Hepburn, Grace Kelly, Lauren Bacall, Katherine Hepburn, Sophia Loren, and Natalie Woods (just to name a few). Because I am always looking for ways to pull off what people would least expect, I equally enjoy portraying androgynous characters, and channeling strong male icons. Some of my favorites are James Stewart, Clint Eastwood, Kirk Douglas, Marlon Brando, John Hurt, Sidney Poitier, Paul Newman, and Anthony Quinn. A Nat King Cole-themed shoot would be a dream! It is very much a matter of being able to experience and accurately portray the lives of different peoples from various perspectives, just as would an actor. As there is no single emotion to any human being, I would lose much by having to choose only one method by which to perform.

Is there anything in particular that inspires you to continue a career in modeling?

I have practiced various arts I wanted to pursue, namely dance, drawing, music, and poetry. The opportunity to model came by surprise, but I have happily found it to be something of a combination of all these arts.

The dancer grasps movement, the sketcher understands symmetry, the poet describes the emotion, and the musician plants the seed of inspiration. All these are the backbone of my modeling. I am inspired by life itself, by all that makes the mind and body capable of the extraordinary.

Photography: Gail Bowman Model: Naduah Rugely Makeup: Lisa G Artistry Hair: Amber Shamshoian

Tell us about your family background. What was it like to break away from the lifestyle you were subjected to?

It is almost impossible to properly address it briefly, but I'll try. My parents both had difficult upbringings, and, like many young people, both of their generation, and in their situations, they were taken advantage of, and consequently made some very poor choices which had a very negative effect on how I and my siblings were raised. They have since been working to rectify their mistakes, and to establish a positive relationship with us, and I am proud of them for doing so, especially for my younger siblings. So many people go their entire lives and never find a way to break away from the handicaps of their childhood, even when they have already physically distanced themselves from the negative people around them. It is impossible to do this without clear guidance, so I am very grateful for the friendships I have been able to form, and I make a point of being there for those who most need me. The two most important things anyone can ever be given are A) a sense of worth and B) options in life. My parents never really felt they had either, so they never knew how to give them to us. The only solace I could find was in what poetry, art, and education I could glean from what few sources were available to me, which were mostly books and some classic films. I love to socialize, and making a new friend is much like discovering, or rediscovering a part of oneself; but my primary interests are still artistic and intellectual. Possibly no combination is more valuable or more potent than that of love and education.

How have the struggles you overcame in your childhood affected the woman and model you are today?

Emerson said, “We acquire the strength we have overcome.”

Like being in a life-threatening accident, the damage does not end as soon as you leave the wreckage. Self-improvement takes daily effort and dedication, and I always try to keep that in mind. Difficult situations -particularly upbringingseither destroys people, or make them stronger. The things I, and so many others, have been through should never happen to anyone, but I have gained from them a more intimate understanding of myself, of how people think and the things they go through, and of life in general than I would ever have had a reason to possess. Modeling is a very intricate art, and all art is about expression. The more you understand yourself and the world around you, the more fluent you become in your craft, and that is probably the most vital thing a model can have. “A single moment of understanding can flood a whole life with meaning”.

You have a background in dance. Tell us about that.

Being a dancer was probably the first dream I ever had. I never was afforded much classical training, but I learned what I could and practiced incessantly. Through diligence, I also came to work as choreographer on several occasions. Modeling did eventually eclipse that, but it is still something I treasure and keep up when I can. I have a reverence for dancing which no other thing quite seems to equal. Â Having a background in dance, do you feel that your Salsa and Jazz technique has helped you in photo shoots or on the runway?

Most definitely! Being able to understand and control your body is so incredibly vital to the craft in many ways. Dancing is one of those arts, which require a mastery of the physical in order to achieve its goal. Anything that can give you that knowledge is invaluable to a model,

In what way do you think the performing and visual arts are portrayed in fashion?

They really do touch on every level of the fashion industry. The way models perform, the designs we wear, and the ideas everyone in fashion strives to convey, in front of and behind the camera, come from the same place, as do the performing arts. In that sense, modeling truly is a performing art in its own right; but, where dancers have an entire show, and actors have a whole film to tell a story, models often have but a single stretch of runway, or a single frame. You could almost see it as story telling in its most difficult form.

Do you have any advice for aspiring models?

Education and persistence. Beauty, talent, and a special look, are all just adime-a-dozen, as they say. You need to constantly be studying your craft, honing your abilities, and pursuing people and opportunities, which will help you achieve the goals you want. Additionally, not enough emphasis can be placed on self-confidence. Being honest with yourself and believing in your dreams will get you through anything. But, if you rely solely on your looks, or a certain style, you are fighting a losing battle. Knowledge and the application of it are your greatest allies. Even learning a new language will improve your performance as every bit of information gives you self-awareness, confidence, and an understanding of the world you work in. Be persistent and be driven.

Success is never handed to you, but it is fought for. Napoleon Hill’s philosophy of achievement is of invaluable inspiration to me. He wrote “Effort only fully releases its reward after a person refuses to quit.”

Do you have any exciting plans for the future? Where do you ultimately see yourself?

I love modeling and I hope to be doing it as long as I can stand. I love to perform, and love the many ways stories can be told, so I have also developed a strong interest in acting and the film industry. I love Uta Hagen's work, and that of Sanford Meisner. I study their teachings and those of others like them almost every day. I have made some contacts in the industry and will continue to pursue that as well.

I would also love to write and direct movies. This would be an amazing way to put my passion for travel, writing and composition to use. A few other important things on my agenda are to publish a book of my poetry, open an art gallery, and eventually begin my own clothing line. As you can see, I plan to remain very, very busy. Ha! If I may, I would like to sign off with words from one of the most electrifying artists this planet will ever know. I believe they perfectly describe where I stand as a model and as a woman.

“To grasp the full significance of life is the actor's duty, to interpret it is his problem, and to express it his dedication.” ~Marlon Brando

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Photography: Catherine Asanov Model: Alex Feldman Makeup: April Hicks Designer: Meret Goetschel

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Dark Dominatrix Photographer: Xi Sinsong Fashion Stylist: Donald Hicks Make Up/ Hair: Cassi Renee Model: Vanusa Savaris @ New York Models Photo Assistant: Elvin Tavarez

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Bra: Agent Provocateur, Leather Harness: Zana Bayne, Skirt: Nathan Jenden, Necklace: Pamela Love for Opening Ceremony, Gloves: DVF Leather whip: Agent Provocateur

Blouse: D&G Leather Harness: Zana Bayne Shorts: T by Alexander Wang Leather Arms: stylist own Tights: Agent Provocateur Shoes: Balenciaga

Dress: Unique Shoes: Balenciaga

Jacket: Nicole Miller Skirt: Stylist’s own Tights & underwear: Agent Provocateur Shoes: Balenciaga

Fux fur dress: stylist own Corset: The Blonds Tights: Wolford Shoes: Alexander Wang

All Clothes: Stylist’s own Necklace: Pamela Love for Opening Ceremony Belts: Nicole Miller

A NATURAL CANVAS

Photographer: Xi Sinsong Makeup: Misha Shahzada Model: Valentina @ Fusion