WTF! - February 2013 by WTF! Fashion Magazine

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FEBRUARY 2013

INAUGURAL ISSUE

WTF!

MEN IN TIES FASHION FEATURE PAGE PAGE 20 20

THE FRENCH CONNECTION MODELING IN SPOKANE

PAGE PAGE 36 36

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WTF! what the f@$#!%Ñ FEBRUARY 2013

INAUGURAL ISSUE

FEATURES FML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BTW - The FRENCH CONNECTION . . . . . . . . . LOCAL MUSIC SPOTLIGHT . . . . . . . . . . . . . . . MEN IN TIES . . . . . . . . . . . . . . . . . . . . . . . . . SPOKANE FASHION . . . . . . . . . . . . . . . . . . . . THE “F” WORD . . . . . . . . . . . . . . . . . . . . . . .

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CONTENT: FASHION FEATURE

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FASHION'S MY LIFE Sharmaine Nichole Crosswhite Beautician, 8 years experience

For Rachel and Kyra, I decided to go with an elegant, smooth style that has a timeless quality to it -- a modern French twist. The hair product I used to achieve this look is all Paul Mitchell product. I used the root boost from the volume line at the root of the hair to create volume, While manipulating the hair into place, I used the worked-up working spray from the style line to create a moveable hold so that I could manipulate the hair into the desired place. Then I finished the style with the Extra Body Finishing spray to eliminate any fly-a-ways and to create a concrete hold and long lasting shine. These girls have amazing hair and to be able to wrap up their hair as I did, not only impressed them, but impressed myself as well.

Ariel-Renea Burdette Beautician, 8 years experience

For color in the salon we use Paul Mitchell color line, Jordan’s color is a level 5 cool beige. I took a lightning bolt pattern off center on the top of his head to create a nice texture that would blend into his natural hair color. For men's styling I used the new Paul Mitchell product line "Mitch, for Men". To style Jordan’s hair I used "Clean Cut". This styling cream has a medium hold with a semi-matte finish so it isn't too shiny and is still moldable throughout the day. For Kip’s style we were going for a messy, beach look. I chose the same product for Kip's long hair. The "construction paste" has the best texture for long hair and has a very elastic hold. This mesh styler is very unique in that the best way to apply it is by clapping your hands which causes the "construction paste" to web out and fall evenly on the hair, applying a quick scrunch and bunch and his hair has great hold with plenty of texture.

Heidi Ann Greenwalt

Esthetician 14 years experience For Rachel and Kyra, I decided to go with a makeup look that mirrored the timelessness of the French twist. After some research I went with a look that had a touch of elegant romance and chose Lancome cosmetics to help achieve this look. For a great start Nude Aquatique shadow base, to help the shadows become crease proof, water proof, and long wearing. I followed with Exhibition (sheen) Color Design eye shadow, from lash line to crease. On top of that, Makeover (metallic) Color Design eye shadow, again from lash line to crease. Next, line the upper and lower inner rim of the eyes with Black Ebony,Le Crayon Kohl eyeliner; also apply on the upper lid only in a fine line, winging out at the tip into a subtle cat eye. Smudge that line with a small smudger brush, with Lava (shimmer) Color Design eye shadow, pulling up at a slight angle. Whatever remains on the brush, apply to the lower lash line. Raise the brows, by blending Pink Zinc (metallic) Color Design eye shadow, just underneath the brows and softening the line at the crease. Finish the eyes with Black Hypnose Doll Lashes mascara, curling lashes first. Blush was Pink Pool Blush Subtil, applied just on the apples of the cheek's for a nice flush. To tie in the romance of pink shades that this look has, lips also get the flush of pink. Love It! Color Design lip color gets the first layer. To help give a defined lip, top the lip color with Cherub Le Crayon lip liner, just outline the lip then smudge the liner to soften the line by blending in with a lip brush. Give the lips a full, pouty lip using Raspberry Ice Juicy Tube, just in the cupids bow and center of the lower lip.

Rachel Cox Hair: Sharmaine Nichole Crosswhite Makeup: Heidi Ann Greenwalt

BTW

FASHION TRIVIA

THE FRENCH CONNECTION by

Joelle Osias

hat is “fashion”? According to Wikipedia, “Fashion is a general term for a popular style or practice, especially in clothing, footwear, accessories, m al trend in a look and dress up of a person, as well as to prevailing styles in behavior. The four major current fashion capitals are acknowledged to be Paris, Milan, New York City, and London, which are all headquarters to the greatest fashion companies and are renowned for their major influence on global fashion. Fashion weeks are held in these cities, where designers exhibit their new clothing collections to audiences. Fashions may vary considerably within a society according to age, social class, generation, occupation, and geography as well as over time.” When did it all start? It started many, many years ago, in Europe, and was recorded as far back as the 1700s. Although fashion changes constantly, it is usually recorded by decades or longer time periods sometimes. From beginning to-date, these are the time periods recorded in history:

1750 - 1795: Old Regime

During the “Old Regime”, high-waist, bright, heavy dresses over stiff corsets were typical outfits for women between 1750 and 1795, until the early 1790s, when Emma Hamilton started performing her “attitudes”, a contemporized pantomime of mythological and historical figures. Her

flowing Greek-inspired chemise, made of colored muslin, with a ribbon tied under her chest, and her cashmere shawls, capes, and cloaks soon influenced the fashion in Italy and France. Men wore bicone and tricone hats.

1795 - 1799: Directoire and Dandyism

In the mid 1790s, influenced by the English country wear, the Revolution, and the newly discovered ruins of Pompeii and Herculaneum, France turned to neo-classicism. A sheer, white, muslin or batiste shift dress loosely draped the body in the manner of the Greek and Roman statues, and similar to the prison shirt women wore during the Revolution. Nudity “a la grecque” was so fashionable that being “fully” dressed meant that the bosom and shoulders were bare, while being “under” dressed meant that clothing reached the chin and covered the arms. Middle and upper class women wore two main types of dresses. The “morning dress”, worn at home during the day, was plain and had a high neck and long sleeves, while the dinner and evening gowns were cut low and sported short sleeves. Long white gloves would cover the bare arms. Young ladies were to wear pastels, while it was appropriate for mature women to wear bright or dark colors. Other types of dresses were available for riding, walking, and traveling. Maternity became very fashionable during that time, and while exposing the breasts became acceptable, some women went as far as wearing a pad under

colorful empire dresses, made of the most luxurious French and Italian velvets and satins, and adorned with laces and trimmings. The neckline was low and either round or square, with a fitted torso and puffy shoulders, and a string or ribbon crisscrossing from the bust line to the waist. Short sleeve dresses were accessorized with long gloves past the elbow. A cashmere shawl added warmth and beauty. Men wore fancy embroidered military jackets, accessorized with pins on the collar and ties, over knee-length culottes or britches, and stockings. Leather shoes and boots became popular for men and women. The Nobels’ shoes were decorated with buckles. Peasants had wooden clogs. After Napoleon, the waistline returned to the natural waist. The corset came back and with it, the hoop skirts, panniers, bustles, and stiff, padded crinolines, made of satin, silk, or taffeta in the winter, and tulle, crepe, or muslin in the summer. Skirts and sleeves both widened and became brighter, while the shawl was still an accessory of choice. Braided hair gathered in a bun was embellished with lace, flowers, and ribbons for an evening out. In response to men’s desire for a smaller waistline, the wide waist sash was born. The high collar shirt became very popular. Men’s overcoat or greatcoat, with its contrasting collar made of fur or velvet, was very fashionable and came in various styles, such as the three-quarter cloak, and the Garrick or coachman’s coat. The tall collar white waistcoat was fashionable until 1815. The wardrobe was designed to make it easier to ride a horse. High military-style boots, like the Hessian boots, with their heart-shaped tops and tassels, were the popular men’s footwear. Top hats were worn on formal occasions. Shops, such as Quenin in Paris, France, and Korn and Hostrupp in Hamburg, Germany were soon born, taking away the need for a personal tailor.

1815 - 1820: Regency of George IV – The Rise of Dandyism Goodbye neoclassical! Welcome gothic and romance, as the sleeves are being pulled, pinched, and tied in elaborate ways. The petticoat is in fashion. The waistlines are slightly dropping. The new cone-shaped skirt calls for fancier and higher hairdos and hats.

their chemise to appear pregnant. For men, dandyism, “a specialization in the art of dressing oneself with daring and elegance”, became the new trend. A dandy was a refined and sober dresser, as opposed to a fop, someone prissy, obsessed with fashion. In 1795, Beau Brummell was the fashion leader for dandyism in Britain. He was one of the first to trade the traditional long wig for a short Roman style hair cut, and to replace his short pants with tailored trousers or pantalons. The mutton chops facial hairstyle, and hair wax became very popular. Young men started wearing their hair in short curls with long sideburns, while others adopted the short Brutus and Bedford hairstyles. Soon only lawyers, judges, physicians, military officers, elderly gentlemen, and servants wore the wig. Bicorne and tricorne hats were still worn but the tall hat was the new trend. This period marked the end of all types of embellishment from men’s clothing outside of formal court attire, until the Aesthetic dress of 1880 and Young Edwardian look of the 1960s.

1800 - 1815: Empire

By 1804, a grandiose Napoleon Bonaparte had proclaimed himself emperor and had declared Versailles his home. Preoccupied with the appearance of his court, he declared Leroy, a tailor who dressed the rich people of his entourage, a fashion authority. The white neoclassical simple garments progressively disappeared, replaced by high waist

For men, dandyism was becoming more prevalent. After Beau Brummell launched dandyism in Britain, in1795, Barbey d’Aurevilly became the most recognized French dandy of the nineteenth century. Fitted trousers, light during daytime and darker at night, and stiff stand-up shirt collars became the trend. Men’s linen shirts with an attached collar were worn with stocks or wrapped in a cravat. The high-waist coats of the time were double breasted, and had tall standing collars, with a wide lapel featuring a very unusual M-shaped notch specific of that period. They came in a variety of styles, from squared off at the bottom to the tailcoat. In 1815, the Wellington boots, knee-high in the front and lower in the back, became the trend. The two-color jockey boot, with its contrasting leather cuff, was the boot of choice for riding. By the 1850s, tailcoats were the eveningwear of choice. The top hat reigned on formal occasions for a century. In 1856, Isaac Merritt Singer revolutionized women’s world with the sewing machine.

1920: Frivolous after WWI

The 1920s following WWI, were an amazing decade for fashion, influenced by so many different sources for the very first time in history. It was considered a decade of frivolity in the fashion world. Free spirited, happy-go-lucky people wanted less formal wear. Mass produced garments rendered clothing more affordable for the working class. Adopting a more “masculine” look, with flat chests, flat hips, and the famous “bob” hairdo, more liberated women (remember the Women’s Liberation movement!), exposed their legs for the very first

time, and traded their confining corset for a boned corset, a chemise, a around 1920. Because of its affordability, soon the mass-produced camisole, and later a bandeau. garment became more popular than the custom one-of-a-kind garment. Hollywood movie stars and glamour heavily influenced the ten-year period. Fashion took on new dimensions to include coiffure, figure, face, cosmetics, grooming, and posture. That is when the three major women’s fashion magazines emerged or grew: Vogue (first published, but insignificant in 1892), The Queen, and Harper’s Bazaar. Paris, with Coco Chanel’s simple styles, scarves, and affordable jewelry, remained the seat of most haute couture (high fashion).

New York’s garment district moved from the Lower East Side to Seventh Avenue and is still the “hub” of American women’s fashion. In 1922, The Country Club, the US’ first outdoor shopping mall, was built in Kansas City, Kansas, where it is still today.

1930: The Great Depression: Empire dress, New Styles of Shoes

The October 24, 1929 Wall Street Crash affected the world of fashion dramatically. Women started mending, patching, and sewing. The masculine look was soon replaced by a feminine style. The hemlines returned to the ankles, the waistline to the natural waist, and the necklines were lowered and put on display with wide scallop-edged or ruffled collars. Square shoulders towered over molded torsos, while soft gathers replaced darts. A V-shaped yoke was inserted into the skirt from hip to hip to accentuate the waist and hips, while the rest of the skirt In the 1920s, most garments were made of wool or cotton, as silk was was femininely layered, ruffled, gathered, or pleated. in short supply and therefore a luxury. They fastened with laps, hooks and eyes, snaps, or buttons. In 1891, France had created a “man-made” Stars of the entertainment industry began endorsing lines of clothing, silk (officially named rayon in 1924) from a cellulose solution, which strongly influencing fashion, and more so eveningwear. Ankle length was patented, then produced in the United States, in 1910. This fiber empire gowns that tied in the back, trains, bows, fabric flowers, was substituted for silk in the making of stockings and undergarments peplums, pillbox and brimmed hats added a formal dimension. Fur was worn extensively day or night. Styles changed drastically during the 1920s. The loose and non-fitted waistlines, full long skirts and belted jackets of 1920 were dropped between the natural waist and hips in 1923, then to the hips in 1924. By 1925, dresses had no waistline at all. In 1928, hemlines rose to the knee and dresses became more fitted. The hat of choice was the cloche. Beaded purses and enameled mesh bags were “in”.

The sport suits, slacks, and leather jackets kept women’s sportswear more masculine. Hats were worn at an angle. The beret became popular, followed by turbans. The 1930s saw much transformation in the shoe industry, with the apparition of the round toe, wide and medium heels, pumps, flats, ankle straps, buckles, lace-ups, slip-ons, and the spectator two-tone shoes. The beaded and enameled mesh bags, still popular throughout the 30s, started being replaced by the popular three-pocket leather clutch embossed on the flap with the owner’s initials. Women’s undergarments and stockings were reinvented: the one-piece corset, with or without boning, consisting in a brassiere and girdle with garters, turned into a bra and girdle by the end of the decade. Du Pont de Nemours Company introduced the first synthesized nylon fabric in 1935, and by 1939, the first nylon stockings were made available, but were soon recalled to accommodate for the needs of the war. The locker, patented in 1893, and renamed “zipper” by B.F. Goodrich in 1926, was first used in shoes, and became more popular as a side-closing fastener in garments in the late 1930s. The mass production and fashion innovations of the decade were abruptly interrupted in 1939 at the advent of WWII.

1940: WWII Shortage

The entry of the US into WWII caused a shortage in raw materials and the debut of the synthetic and blended world of fabric. Many men were serving their country and wore formal military outfits, patterned after the uniforms of the British naval officers and the so-called Eisenhower blousy jacket, fitted and belted at the waist. Women’s rugged work attire was mainly dark or neutral since women made their knee or calf length full skirt or dress ensembles from the wardrobe their husband left behind. The clutch coats had to be held shut for lack of fasteners. On casual days, women wore flared shorts with square padded shoulder tops, inspired by actresses Mary Pickford and Lauren Bacall. With the European fashion world on hold, American designers gained much popularity.

1950: The Conservative Family

In the 1950s, men were coming back from the war. Women were able

to leave the workforce and regain their home life. The emphasis was on rebuilding family and finances. Garments were conservative and took on a more casual turn: long A-line or pencil skirts below the knee, softened shoulders, and fitted jackets for business or errands, full (Audrey Hepburn, Joan Crawford), fitted, or pleated skirts with nylons or bobby socks for more casual looks. Younger girls wore poodle skirts and bobby socks. Evening gowns with full skirts and endless amounts of fabric were the popular formal wear, until hourglass shaped dresses (Anita O’Day), worn with wraps, appeared toward the end of the decade. A pregnant Lucille Ball inspired the designer maternity wear. Men wore a suit, a tie, and a fedora hat, and the increasingly popular cardigan sweater. However, by 1956, Elvis Presley’s tight pants and wide opened shirts pushed for a more relaxed style.

1960: Jacqueline Kennedy, Mini Skirt, British Style, Hippie Days

“Saturday Night Fever” featured the stylish and trendy white suit, worn bare-chested. By the mid 1970s, the bell-bottom pants and peasant blouses were replaced with high-waist flared denim jeans or satin trousers, worn with cropped tops still. Skirts and dresses, with bold geometric patterns, came in mini, midi (mid-calf) and maxi (ankle) lengths. The 1970s also marked the introduction of the one-piece bathing suit. Men began wearing wider ties, colorful wide-collared shirts, and threepiece suits with flared bottoms. Iron-on decal shirts and baseball jerseys became popular. Platform shoes and fitted blazer jackets made of wool, leather, suede, or other materials were a hit for both sexes.

1980: Wealth, Power, Status vs. Casual Wear

The 1980s Fashion Trends were all about Wealth, Power, and Status, and the 80s saw many trends come and go. The man’s narrow pinstripes The early 1960s were greatly inspired by Jacqueline Kennedy: pillbox suit with the narrow tie replaced the traditional three-piece suit. The hats, pastel skirt suits with square jackets and oversize buttons, and man’s leisure suit – expensive and colorful – gained popularity with simple dresses. Ball gowns will full skirts, tight waists, and revealing the “Miami Vice” TV show. “Magnum PI” brought on the Hawaiian shirt, necklines were still the choice for formal wear, until baby doll and while Michael Jackson’s “Thriller” popularized the thriller jacket and cocktail dresses appeared toward the end of the decade. In 1964, Mary the single white glove. Quant revolutionized fashion with her mini skirts. By 1968, the British Women’s fashion was influenced by the fact that women joined the Hippie style had conquered the market, and women traded in their workforce. The shoulder pad suit was the power suit of choice. The relaxed Capri pants for the famous British bell-bottom pants, peasant TV series “Dallas”, “Dynasty”, “Falcon Crest”, and “Knots Landing”, chiffon blouses, cropped tops, ribbed sweaters, tie dyed shirts, and featuring very powerful and elegant women, pushed jewelry as a status sandals. Twiggy, Jean Shrimpton, and Penelope Tree were the popular symbol. As for casual attire, it is “Flash Dance” and “Valley Girl” that models that influenced the women’s fashion. made leggings, leotards, leg warmers, headbands, and designer jeans As for men, it was the Beatles’ white wide-lapel casual suits, the Mod the most wanted things of the decade. On a casual note, Madonna Squad’s jeans and bell-bottoms, and the Rolling Stones’ crushed velvet created the fishnet and underwear the outerwear craze. or striped suits, brocade coats, and ruffle shirts that made their marks in the every day fashion world, while the formal wear consisted of bright The music world influenced both genders with punk rocker multisuits and wide ties. The casual slacks and plaid shirts were fast replaced colored hairstyles, heavy metal big hair and torn jeans, and basketball by the Hippie wear toward the end of the decade. icon Michael Jordan’s Air Jordan sneakers, worn by rap bands. Converse, Keds, and casual wear were definitely in.

1970: Casual, Punk Rocker, Disco

The fashion message of the 1970s was split between the poverty stricken and angry punk style and the happy times of disco. David Bowie and Roxy Music were the major influencers of the glam and punk rock style, with torn T-shirts, ripped leather jackets, “holy” jeans, pointy boots, and sloppy tennis shoes, while John Travolta and the disco movie

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wtfezine.com 17

WTF!

LOCAL MUSIC SPOTLIGHT

How did you start out? I started out writing songs when I was five. Most of them were about food, places, or boys I liked on the playground. The song-writing never stopped. I picked up my first guitar when I was 18. My vocals developed over a long period of time, and I continue to work on them. Who influences you in music? Lights is currently my biggest influence. I love her electro-indie sound and her lyrics are incredible and real. Kate McGill is my biggest acoustic influence. Her voice is the most amazing thing I’ve ever heard. I got the chance to meet her in Manchester, England and she is very down to earth. She treats her fans exceptionally well. She has stayed in contact with me which has inspired me do the same for my fans. I respect her as a musician, and as a person. What are your songs about? My songs are usually quite personal. I write them about events that are going on in my life at the moment. I put a piece of me into every song I write. Itís how I release my feelings. How would you describe your music to someone whose never heard it? I would describe my music as being a variety of sounds depending on my mood. Some could be indie, some just acoustic, or some electronic. I even added some dubstep to my next album. I like to mix up the styles that way there is something for everyone and not all my songs sound the same. Also, I listen to so many genres so it would be hard to just stick with one.

What image do you convey? I want my image to make an impact. I don’t want to be a sell-out or write the same old pop music that everyone listens to. My music conveys emotions and concepts. I am a deep thinker, so a lot of those thoughts are transferred into my songs. My image is important to me, although not everyone will understand it.

Who is your fan base or demographic? My intended fan base would be people in their mid to late 20’s because much of my music is written about life and I even incorporate some heavy topics about the world and people in general. Anyone who thinks deeply would probably appreciate my music for its lyrics. But I think the variety in my sound could be intended for any age really. What are your immediate music goals? My goals are just for people to hear my music and make them think. I want people to be able to relate to my music and possibly have it help them through issues that they’re going through. Eventually I would like to make a living off of music, but I really just want to help people and make a difference.

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Bound - EP Jordan

Alejandro Garcia Suit: Don Juan Tailoring Circle Design Reversible Necktie: Shaun Rhames Fashions Rachel Cox Kyra Musselman Dresses: Timbre Wolf Designs

WTF!

FASHION FEATURE

MEN IN TIES

MEN IN TIES - BEHIND THE SCENES VIDEO 22

Alejandro Garcia Suit: Don Juan Tailoring Circle Design Reversible tie: Shaun Rhames Fashions Rachel Cox Kyra Musselman Dresses: Timbre Wolf Designs

MEN IN TIES 24

Alejandro Garcia Suit: Don Juan Tailoring Circle Design Reversible Necktie: Shaun Rhames Fashions Rachel Cox Kyra Musselman Dresses: Timbre Wolf Designs

MEN IN TIES 26

Eddie U. Love Suit: Don Juan Tailoring Plaid Design Reversible Necktie: Shaun Rhames Fashions Rachel Cox Kyra Musselman Dresses: Timbre Wolf Designs

Jordan Rigi Suit: Don Juan Tailoring Plaid Design Reversible Necktie: Shaun Rhames Fashions

MEN IN TIES 28

Kip Coffman Suit: Don Juan Tailoring Circle Design Reversible Necktie: Shaun Rhames Fashions

Kip Coffman Circle Design Reversible Necktie: Shaun Rhames Fashions

MEN IN TIES

Alejandro Garcia Circle Design Reversible Necktie: Shaun Rhames Fashions

MEN IN TIES 30

Alejandro Garcia Suit: Don Juan Tailoring Striped Design Reversible Necktie: Shaun Rhames Fashions

Eddie U. Love Suit: Don Juan Tailoring Plaid Design Reversible Necktie: Shaun Rhames Fashions

MEN IN TIES 31

MEN IN TIES 32

Jordan Rigi Suit: Don Juan Tailoring Circle Design Reversible Necktie: Shaun Rhames Fashions

Kip Coffman Suit: Don Juan Tailoring Circle Design Reversible Necktie: Shaun Rhames Fashions

MEN IN TIES 33

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CONTENT: FASHION FEATURE

WTF! WHAT THE FASHION IN SPOKANE

Alaska Bruneau Hair: Douglas McCoy Makeup: Yisel Serna Photographer: Eric Barro

CONTENT: FASHION FEATURE

Hannah Huggins Hair & makeup: Kelly Lynch/Ravenous Raven Photographer: Rocky Castaneda

Joanna Yearta Photographer: Rocky Castaneda

Jordan Baker Photographer: Rocky Castaneda

WTF!

THE 'F' WORD

ERIC BARRO

ashion is not a four letter word but it almost always evokes a response like the ever famous four letter word that also begins with the letter F. What the F* has now become quite acceptable in daily use. It conveys either frustration or amazement depending on the mood or circumstance.

The venerable F word has been around for ages and just like the F word, fashion has been around for ages. Two words that begin with the letter F, French and Fashion, go hand in hand especially when we consider the amount of influence the French have had and still do in the world of Haute Couture. Joelle Osias,a French woman, writes about the influence of the French, not only in fashion, but also in everyday life. It seems that everywhere we turn, we are confronted by the French influence. The driving force (there’s another F word!) behind WTF! is the F word -- not the objectionable one but the more fashionable one -- FASHION. Just like the influence of the French in everyday life, fashion is all around us. Every single time we pick an article of clothing we adorn our bodies with, we make a fashion statement. For some that statement can be considered NSFW (Not Safe For Work) and can be so loud of a statement that it evokes the SMH (Shakes My Head) response. For some, those choices are driven not so much by a strong desire to make a statement, but moreso by pure economics. Our very own Fashion FruGAL will share where and how to find the latest in fashion bargains. FML! Yes you will find a ton of F-bombs floating around in this publication. But FML is not about you but all about the men and women who work in the fashion industry because well, fashion is their life. For this issue, Sharmaine Nichole Crosswhite and her team -- Heidi Greenwalt and Ariel-Renae Burdette, tell us how they achieved the look for the models featured in our fashion editorial. BTW, fashion trivia will be all about the little things you didn’t know about the F word. Oftentimes, it’s the little things that do matter. For example, did you know that the famous chase scene in the movie, The French Connection, the song by Carlos Santana -- “Black Magic Woman” was used during editing to help shape the chase sequence? Well guess what? Did you know that the timing of Justin Timberlake’s new single -- Suit and Tie just happened to be released a few days before we shot our fashion editorial and hence became the background music for our behind-the-scenes video production shot by Jon Kuritz of One Degree Media? It’s as if Timberlake knew what we were planning to shoot! If you haven’t seen the video -- Men In Ties, you might want to check it out on our site at http://www.wtfezine.com before it disappears to make way for the next issue. Oh, and you can bet that we’re already shooting the next issue. We’d like to think that you care so if you want to let us know how we are doing you can tell us to STFU -- literally send letters to the editor that is. FYI, we will be letting you know where the fashionable events in and around town and even around the world are taking place. Our goal is to feature fashion not only in Spokane and the surrounding areas but fashion all over the world. We want to feature up-and-coming designers, artists, models, photographers, hair stylists, make up artists, fashionistas, basically everyone involved in the fashion industry. We think that it’s about time that we recognize the movers and shakers in the local fashion industry. And in case you were wondering if this is the F (inal) word...better think twice because in the fashion world, nothing is absolutely final! WTF!

Wolf }

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Fashion Editorial Models: Alejandro Garcia Jordan Rigi Eddie U. Love Kip Coffman Rachel Cox Kyra Musselman Featured Models: Alaska Bruneau Hannah Huggins Joanna Yearta Jordan Baker Alexandra Collins Brooke Urbaniak Brianna Frost Melinda Jo Spiteri Sharmaine Nichole Crosswhite

Jordan Collins Musician/Model facebook.com/jordansmusicpage Lynne Rossman Blackwood Blackwood Art OOAK Clothing and Accessories facebook.com/BlackwoodArt Andrea Smith Lunexxe Jewelry Designs (208) 398-3068

DreamCatchers Jon Kuritz (509) 731-4843 one-degreemedia.com facebook.com/onedegreemedia youtube.com/onedegreemedia

Heidi Ann Greenwalt Ariel-Renae Burdette Sharmaine Nichole Beauty and Barber 1601 W Pacific Ave Spokane WA (509) 534-0782 facebook.com/SNHDbeautybarber

Myk Crawford Layout & Design (509) 993-7130 Joelle Osias, MBA Designer/Writer Osias International, LLC Lille, France Stevan Veselinovic CITADEL Computer Systems citadelcompsystems.com

Joshua Cooper DreamCatchers Talent 1433 12th Ave Suite A1 Seattle WA 98122 (208) 696-1761 dreamcatcherstalent.com

Rocky Castaneda Photographer Lake City Photography lakecityphotography.com (208) 936-3698 Eric Barro Photographer Lake City Photography lakecityphotography.com (949) 929-7481

CONTENT: BACK COVER