VOLTA Fashion & Lifestyle Society
The sole responsibility for the content of this publication lies with the authors. Its contents do not reflect the opinion of the University Students’ Council of the University of Western Ontario (“USC”). The USC assumes no responsibility or liability for any error, inaccuracy, omission or comment contained in this publication or for any use that may be made of such information by the reader.
table of contents 04 CONTRIBUTORS the Volta team
18 CULTURE current events
46 REFINED LINES men’s theme
05 EDITOR’S LETTER Emma Barrett & Stephanie Wood
22 DRESS UP embellished atmospheres
56 FROM STREET CHIC TO SINGH STREET by Jag Raina
06 MAJOR CONTRIBUTORS notable magazine members
32 THE STORY WEAVED WITHIN CLOTHING by Dana El-Tawil
60 WHEN NIGHT COMES an evening affair
07 BEHIND THE SCENES & COVER PAGE an inside look at Volta
34 LUSTROUS Chanel-inspired
68 RUSHMORE: STYLE ICON by Conrad Floryan
08 TIMELESS by Stephanie Wood
42 THE JAZZ AGE by Emma Barrett
70 A YUMMY TAKEOVER by Logan Ly
10 PLAYED DOWN varsity expression
44 INDUSTRIAL DECADENCE by Patrick Carter
71 VOLTA DEFINITION dramatic change
Photo by Jan Kuzan
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CO-EDITORS IN CHIEF Emma Barrett & Stephanie Wood CREATIVE DIRECTOR Faustina Sari Setiawan
WOMEN’S FASHION DIRECTOR Hannah Murphy-Marshman WOMEN’S STYLISTS Courtney Cadieux Tatiana Warke Grace Yang MEN’S FASHION DIRECTOR-AT-LARGE Torrel Ollivirrie MEN’S FASHION DIRECTOR Aaron Gray MEN’S STYLIST Marcel Sokalski CASTING DIRECTOR Logan Ly
PHOTOGRAPHERS Ross Mortimer Jan Kuzan Julian Romano Maryam Golafshani Sean Israelson WRITERS Stephanie Wood Conrad Floryan Sam Kolpin Angelica Ng Dana El-Tawil Emma Barrett Patrick Carter Jag Raina Logan Ly MAKE-UP ARTISTS Angela Clemente Grace Yang Roelle Kim MODELS Kristen Willie Brennan de Langley Zach Forsythe Julia Dmytryshyn Brenna Llewellyn Alicia Ellies Emma Barrett Dian Han Finn Cogswell Tully Cogswell Marc Addison Darren Weltman Sydney Stone Adam Coulter
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CREATIVE ADVISORS Stephanie Ling Georgina Miles Selina Stengel LAYOUT EDITORS Emma Barrett Maryam Golafshani Natalia Kondratieva Kerstin Maciuk BEHIND-THE-SCENES PHOTOGRAPHY Bethany Dietz Logan Ly SHOOT CONTRIBUTORS Angela Kovacs Joanne Li Sydney Stone Danielle Taffe
Letter from the Editors
The SS’14 issue focuses its content on an unusual take of current fashion trends, accented with a decadent edge. Each article and editorial contains elements that contrast sharply together, resulting in an intriguing desire to delve deeper into its sentiment. In our first ever after-dark shoot, When Night Comes, shot by Sean Israelson, models mix unconventional textures and patterns with the deserted sensations of their surroundings. It encapsulates the more daring effect of blending pieces to create a coarse, finished look. In “From Street Chic to Singh Street”, Jag Raina writes about the Sikh blogger, Pardeep Bahra, who has captured emerging trends and transformed them to align with culture. Dress Up, conceptualized by Selina Stengel and Stephanie Ling, combines delicate and ornate dresses, donated by the London boutique Elizabeth Noel, with powerful granite and oak settings. This metaphorical editorial channels the opulence of the clothing with the cold background to unleash the feeling of wistful reflection. Volta SS’14 is excited to introduce Maryam Golafshani, who photographed the menswear shoot, Refined Lines, which focuses on casual wear contrasted with a structured environment. We also welcome photographer Ross Mortimer, who shot our varsity-inspired editorial, Played Down. Finally, Julian Romano once again joined us for Lustrous, as well as shooting Volta’s first-ever cover featuring a male model. It is with great pleasure we introduce Faustina Sari Setiawan, who will be taking the graduating Emma Barrett’s place as Co-Editor. A key member since Volta’s inception, we expect promising things in the years to come. We hope you enjoy this issue, and are looking forward to the Fall/Winter ’14 edition.
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MAJOR CONTRIBUTORS Marcel Sokalski - Stylist Marcel, a 1st-year music student, has been an integral new member of the Volta team. Marcel is interested in fashion as a way of expressing himself without saying a single word; everyone can buy fashion, but style is what you do with it. Marcel values a constantly changing style, mixing preppy with other elements, discovering how to find perfection in imperfect things. Outside of the fashion world, Marcel is an accomplished singer, reveling in the creative aspects that both his passions of music and fashion entail.
Grace Yang - Stylist, Make-up Artist Grace is a second year student in economics, and has enthusiastically joined Volta this year as a Stylist. Her philosophy on fashion can be summed up in the fabulous words of Coco Chanel: “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street; fashion has to do with ideas, the way we live, what is happening.” Grace has tackled multiple aspects of our photoshoots by exploring extensions of fashion such as nail design and make-up, adding to her well-rounded skills. In her free time, Grace keeps up with various TV shows and hangs out with friends, but always saves time for a short (a long) shopping break.
Sydney Stone - Model Returning as a model for our Spring/Summer ‘14 issue, Sydney is a 2nd-year sociology student who has always been obsessed with fashion. Often found sporting skyhigh heels, or an ethereal flowing gown, Sydney is fascinated with the mesmerizing narratives that fashion can portray. We are looking forward to working with Sydney in the future!
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BEHIND THE SCENES
Photographs by Jan Kuzan, Bethany Dietz & Logan Ly
COVER Photographer: Julian Romano Make-Up Artist: Angela Clemente Model: Brandon Logie Creative Advisors: Julian Romano, Emma Barrett & Stephanie Wood
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TIMELESS written by STEPHANIE WOOD Perhaps considered one of the most essential pieces in any woman’s closet, the little black dress or the “LBD”, is a timeless classic. Its origins can be traced back to the 1920s, when, along with winning the right to vote, women expressed their freedom through changing the fashion they wore. Black, a colour symbolically and strictly associated with women in mourning, was transformed over the next few decades to become the most indispensable colour in a woman’s wardrobe. In 1926, a black dress designed by Coco Chanel was pictured in Vogue. It was simple: cut with straight lines and reached the calf. While it was not the first LBD, Vogue dubbed it “Chanel’s Ford”, a comparison to Ford’s highly popular Model T. This dress caught the women’s attention and motivated countless designers to create similar looks. Unlike other trends that faded, the little black dress continued to evolve even through the difficult years of the Great Depression and World War II when fabric was rationed. Black was the fashion colour of choice for women going into the work force. Through the 1950s, the little black dress became a symbol of the freespirited woman and was often contrasted against the more conservative styles of housewives. Hollywood’s most
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WITH ITS LONG AND DIVERTING HISTORY, PEOPLE MAY WONDER: WHY IS THIS ITEM SO ENDURING?
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daring and loved actresses were portrayed in various versions of the little black dress. In 1961, Audrey Hepburn wore Givenchy’s classic black sheath dress in Breakfast at Tiffany’s, prompting women everywhere to demand that designers recreate the dress. Still today, the style that Givenchy created is incredibly popular; it was both perfectly sophisticated and flattering. The Sixties, a decade wrought with cultural change and radical trends, was when the true little black dress came into existence. Individual freedom was a huge focus, with many of the youth shedding more conservative and conformist ways of life. Fashion became an avenue for expres-
sion. It was in these years that Mary Quant’s mini-skirt was all the rage; this led to the cocktail-styled little black dress, which was daringly short to fit this trend. In the next two decades, the little black dress remained a popular fashion, evolving with the major trends in the industry, such as using unconventional fabrics or pairing the dress with unexpected accessories. With its long and diverting history, people may wonder: why is this item so enduring? There is no single answer, however it can be certain that the little black dress is potentially the most versatile piece that one can own. As Karl Lagerfeld said, “One is never over-dressed or underdressed with a Little Black Dress.”
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Played Down
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Photographer: Mortimer Photographer: Ross Ross Mortimer CreativeDirector: Director: Faustina Creative FaustinaSari SariSetiawan Setiawan CreativeAdvisor: Advisor: Georgina Creative GeorginaMiles Miles Men’sFashion Fashion Directors: Directors: Torrel & Aaron Gray Men’s TorrelOllivirrie Ollivirrie & Aaron Gray
Men’s Stylist: Marcel Sokalski Men’s Stylist: Marcel Sokalski HairHair & Makeup: Roelle Kim Kim & Makeup: Roelle Shoot Contributor: Joanne Li Shoot Contributor: Joanne Li Models: Brennan de Langley, Zach Forsythe & Kristen Willie Willie Models: Brennan de Langley, Zach Baker & Kristen
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heather grey sweatpants and brown boots, stylist’s own. Kristen wears black crop top, leather motor jacket, skinny jeans, suede boots and grey toque, stylist’s own.
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Zach wears oversized jean jacket, grey knitted sweater and navy blue pants, stylist’s own.
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Zach wears printed button-up shirt, white pullover sweater, beige pants, grey knit socks, white running shoes and sunglasses, stylist’s own.
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Kristen wears white blouse, navy varsity jacket, grey printed circle skirt, sunglasses and navy duffel bag, stylist’s own.
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Kristen wears printed silk trousers, bright pink sports bra, navy blue blazer and grey fitted cap, stylist’s own.
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FASHION & LIFESTYLE SOCIETY Brennan wears white T-shirt, black mesh T-shirt and leather varsity jacket, stylist’s own.
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Room516 There’s nothing quite like the delight experienced when you hear that perfect tune. However, with the endless flow of new music flooding the atmosphere, it can be a challenge sifting through the clutter to find engaging sounds. Enter Room516: the burgeoning electronic music label based out of London, Ontario. Second-year Western Law student Mikolaj Niski established Room516 in 2011 as a simple Tumblr site. “I would post music I liked multiple times a day and with time, the following grew,” he explains. “At first I wasn’t really sure where I wanted to
go with it, but I began to realize that a label was the best way to share music I was passionate about.” The enterprise is dedicated to promoting innovative artists. Whether it is Bass, Hip Hop, Future Garage or anything in-between and beyond, the tracks Niski posts daily on his blog have one common theme: originality. The elegantly stark website also hosts exclusive mixes and arresting interviews with forward-thinking artists like Sebastien Bouchet and Whitesquare. After operating as a blog for two years, the outfit will be releasing
their first record this month. This dual approach allows them to showcase music that inspires them, as well as develop their own distinct sound. “Our goal is to establish ourselves as a mainstay in the electronic music industry,” declares Niski. “We want to be a respected and soughtafter label that can be relied upon for consistently putting out good music.” If you’re hungry for cool tunes, Niski has some final words of advice: “Do your iTunes library a big favour and check out room516.com.” - CONRAD FLORYAN
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The London Wine & Food Show I have been a long-time attendee of the London Wine and Food Show, and therefore have had the opportunity to watch it grow both in size and in quality over the last few years. I’ve noticed that in the last year, they have made the effort to appeal to a wider variety of patrons - not only did they have booths from some of the higher-end restaurants and wineries in the area, they also had the ‘ManCave’, featuring beer, spirits, and street-style food offerings. My favourite aspect of the fair is getting to enjoy some samples from higher-end restaurants in London, that as a student, are currently out of my price range. I decided to try a pork tostada from Che Resto Bar, a downtown restaurant offering Latin-American fare. It definitely assured me that it’d be worth it to get out to this restaurant soon - it was great! We also took advantage of a free cheese tasting course offered by the Dairy Farmer’s of Canada. The woman leading the tasting walked us through seven different types of cheese, where I was surprised by how much I liked the Gorgonzola (generally speaking, I’m usually the type to avoid mold in my cheese). I was able to learn something new about my personal preferences as the fair, and I’m sure a nice Gorgonzola will make it’s way into my shopping cart soon.
On the alcohol side of things, I made sure to attend a wine tasting, where the instructor focused on blending wines and the process behind it. While I don’t feel I really learned too much at this session, I suppose getting expand my pallet when it comes to wine made it worth it. Although we didn’t get a chance to watch any of them, the show featured food and cooking demonstrations, perfect for someone wanting to learn some new techniques, or just to watch a pro in action. The guest celebrity chef of the event was Bob Blumer of World’s Weirdest Restaurants. I was hoping that they would have scheduled his show for Friday or Saturday (when I would have assumed the show would have been at it’s busiest) but unfortunately, he presented on Thursday evening. Apparently he loved a sample from Che, so I guess we have that in common! Overall, the fair was a great experience. It is relatively inexpensive, considering how many different offerings you can try. It’s perfect to test out some new restaurants and wines without ‘committing’ to a restaurant bill or a full bottle. Of course, I will plan on attending next year - and until then, I have a list of restaurants to make reservations for. - SAM KOLPIN
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FLORA: The F&LS Annual Fashion Show Photos by Logan Ly
A good fashion show is about more than just the clothing. It is about the ambiance, the inspiration, the helping hands backstage, and in Fashion & Lifestyle Society’s case, the cause. For 2014, F&LS’s annual fashion show was titled FLORA, and it celebrated the beauty of springtime through “bold patterns, streamlined pastels, conversational prints, and palette-cleansing basics.” But behind the dazzle of the show was a cause that fueled the palpable passion of Fashion Show Coordinators Kirin Sennik and Cat Williams. 100% of ticket sales went to OneProsper International, a Canadian charity that provides small farmers in India with drip irrigation kits to improve outdated farming practices, paving the way to higher income, healthier food, and a better life. Set against the sophisticatedly intimate yet humbly grandiose atmosphere of Museum London, the show was a lesson in dressing for the season of rebirth. FLORA embodied the happy, languid days of Spring with stunning female and male models in fresh all-white looks, edgy denim pieces, pretty pastels, slick rainwear, and of course, floral in all shapes and sizes. Divinely layered and exquisitely cut resortwear balanced glamour with wearability, but the energy was electrifying in the boldcoloured swimwear and angelic lingerie segments. Finally, a hush ran through the audience when Beyoncé’s sultry “Partition” sounded through the speakers, and a beautiful model emerged in a sparkling, embellished number and a handsomely suited man on her arm. Classy, captivating, and charitable. FLORA had marvelous clothing—and more. Without question, it was a good show. - ANGELICA NG
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Western’s Fashionable Elite Hit the Town With a student population of nearly 30,000 individuals, one would expect Western University to have an exciting extra-curricular scene. When it comes to fashion and events, you would not be disappointed; Western is home to a number of fashion productions, from the dance-fusion OHM Fashion Show, to the high-fashion F&LS Show, with CAISA and the Spur Fashion Show set in-between. Not only are these events catered towards Western’s fashionable elite, but every show supports a cause near and dear to the organizer’s hearts. Perhaps the most recognizable on this list, the CAISA fashion show has been making waves over the past 13 years for its extremely creative and professional shows. The 2014 show, Arcadia, based on the famous story of Alice in Wonderland, was presented to a sold-out crowd at Centennial Hall. What makes CAISA so unique is its effortless integration of a storyline among the dancers and models. Arcadia saw Alice fall down the rabbit hole, only to meet up with the Mad Hatter and finally fight the Red Queen of Hearts. The complexity of the dances the models perform shifts
CAISA from a typical runway show where the garments are fully featured, to a fullblown Fashion Production. All proceeds of this year’s show went once again to the Children’s Health Foundation, a non-profit organization based in London, ON. Next on the events list comes the OHM Fashion Show, another dance-inspired event featuring local designers and boutiques. Titled From Chaos to Couture, and in support of the Canadian Cancer Society, the OHM Fashion Show certainly delivers an edgy outlook on fashion. Models donned punk-themed clothing, their scenes surrounded by dance routines ranging from hip-hop to contemporary. The show is definitely focused on dance, as the numbers were beautifully polished and featured incredible choreography, while the models in the runway scenes just didn’t have the same level of energy. It would be interesting to see OHM take on a CAISA-style integration, with dancers and models performing on the same stage, at the same time. The Spur Fashion Show was back again this year, and truly stepped up its game. In
previous years, the Spur Show had taken place at Jim Bob Ray’s, on a glorified “runway”; fast-forward to present day, and you would be taken aback by the polished production. This year’s theme, Civita, Latin for “cities”, took audience members around the world, showcasing the appropriate depth and breadth of fashions. In support of the Cystic Fibrosis London Chapter, the show was well-produced and well-attended. Unfortunately, for those primarily interested in fashion, it loses some of its professional appeal when choreography is excessively provocative. Considering the huge jump in production quality over the last 3 years, it will be interesting to see what Spur has in store next year! Finally, there is the F&LS Fashion Show, critiqued on the previous page. This is the only show at Western that features a straight runway, with the focus being entirely on the runway walk. It is quite amazing how Western University is home to so many fashion productions - ranging from the danceinspired to luxury-inspired. There truly is something for everyone, and Western’s fashionable elite enjoy each moment of it. - EMMA BARRETT
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Alicia wears white studded cap sleeve dress from Elizabeth Noel ($598), and 22 pearl chain bracelet by Wanderlust.
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up photographer: Jan Kuzan creative director: Faustina Sari Setiawan creative advisors: Selina Stengel and Stephanie Ling women’s fashion director: Hannah Murphy-Marshman women’s stylists: Courtney Cadieux, Grace Yang models: Brenna Llewellyn, Julia Dmytryshyn, Alicia Ellies shoot contributor: Sydney Stone
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Brenna wears blue-grey strapless dress with jewelled bodice from Elizabeth Noel ($348). Julia wears white tank dress with jewelled bodice from Elizabeth Noel ($398).
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Julia wears white mesh cut-out floor-length dress from Elizabeth Noel, with jewelled silver statement necklace, stylist’s own.
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Alicia wears white studded cap sleeve dress, from Elizabeth Noel ($598), pearl chain bracelet by Wanderlust, and nude heels, stylist’s own.
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Julia wears pink textured sweater, blue studded shorts and nude heels, stylist’s own. Alicia wears pale silk tank top, silk pants and nude heels, stylist’s own.
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Alicia wears nude jewelled floor-length dress from Elizabeth Noel, and pearl chain by Wanderlust.
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Brenna wears white tank dress with jewelled bodice from Elizabeth Noel ($398). 30
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The story weaved within pre-loved clothing written by DANA EL-TAWIL A critical report on putting the natural essence, passion and attention to detail back into the fashion discourse through the appreciation of clothing that has been worn and preserved through time and transition. Alluding to the notion of originality (or lack thereof), let us take into consideration the spotlight reality of fast fashion and the behind-the-seams labour of authentic hand-weaving. There is an indubitable sense of escapism and fantasy in fashion that nurtures our souls. Fast fashion has stripped clothing of this passion, and material runs through factories at a rate too fast to comprehend. Fashion in its essence is now being co-opted by the high street; the fastest to take what is aesthetically pleasing on the runway and duplicate it into a cheaper form both in quality and price. However, it once used to mean designer fashion and designer not meaning labels, but that it was something made by a creator, with a vision, who puts care, thought, inspiration and passion into what is being created. It was a mental vision that travelled from the complexity of the brain into the motion in one’s fingertips touching the fabric, carefully crafting a design that places attention to detail and aesthetic sensibility. But somewhere along the line, the definition of ‘fashion’ shifted at a speed no one can grasp driving onto a freeway to the city of mass production and zero originality. On this note, I question whether fast fashion brands produce ‘fashion’ in the original sense of the word. Take a stroll on any highly populated street in a fashion district and witness swarms of individuals like moths to a light on their weekly shopping pilgrimages courtesy of massmarket retailers that are flushing fashion down the pipelines of waste. These pioneers of fashion destruction have taken designers ideas presented to us on runways and watered them down for mass consumption.
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So why should we appreciate clothing that has been pre-loved and has a life that was lived and a story to tell? How one pulls together their appearance is at the core of it all and is what differentiates us as individuals in society. Real style is a matter of taste and reading into the fabric that you’re placing onto your body that will ultimately speak for you as an individual; taste is a matter of experience. It takes effort and knowledge that is acquired. There is ultimately a recognizable paradox in the fact that everyone strives to be unique and one-of-a-kind, yet end up looking like replicas of each other. Stay true to your own style, regardless of the trends. Coco Chanel may loom large as a personality but her title that has long lived until today relied on the practical efforts of millions of anonymous workers whose labour is what escorted those opulent interlocking C’s into the elite sphere of the fashion market.
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Things are, after all, mere things. And to accumulate things is not to give them life.
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An appreciation for the divine process of making a garment, the strenuous effort and skill, the attention to detail and delicacy in every weave can be fully seen in vintage clothing. Clothing that has been preserved and handled with care, saved for your children and their children’s children. Material that has been transformed from simply just fabric into a story that speaks volumes worth thousands of pages.The essence of the very word (vintage) itself embodies a level of prestige and value when uttered. The term typically denotes wine of high quality that has been aged and with time increases its value and taste. Likewise, in the world of fashion, this ideology can be interchangeable with vintage clothing. So too, as wine, vintage clothing does get better with time. Things are, after all just that, mere things. And to accumulate things is not to give them life. It is because things are not “fetishized” that they remain lifeless. In a cloth economy though, things take on a life of their own. That is to say, one is paid not in the neutral currency of money but in material that is richly absorbent of symbolic meaning, and in which memories and social relations are literally embodied. Clothing tends to be powerfully associated with memory. Vintage clothing holds so much memory. When you leave, your clothes are left behind, hanging lifelessly in your wardrobe. If I wear the beaded vest my grandmother left me, my grandmother wore me. She was there in the wrinkles of the elbows, wrinkles that in the technical jargon of seeing are literally called “memory”. She was there in the sweet musk. I’ve thought about clothing time and time again. The magic of cloth. I’ve come to believe that it receives us: receives our smells, our sweat and our shape. And when our parents, our friends and our lovers leave us, the clothes in their closests still hang there, holding their gestures, both reassuring and terrifying, bringing together the living with the dead. In thinking of clothes as passing fashions, we repeat less than a half-truth. Bodies come and go; the clothes that have received those bodies survive and they circulate. Keeping that individuals story alive, long after they have left us. Clothing receives the human imprint, it endures but it is mortal. There is a mysteriously personal union with the past and history. When you wear a garment that a woman (or man) has already worn, thereby overlapping the past habits of those women with your present day ones, we actively collapse the distinction between the past and the present. And in that way, I live, briefly, a part of the past I only imagine in my mind.
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lustrous photographer: Julian Romano creative director: Faustina Sari Setiawan models: Dian Han & Emma Barrett shoot contributor: Angela Kovacs 34
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THE
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written by EMMA BARRETT
he 1920s are often characterized by the common title “roaring twenties”, shedding light on the decade’s economic and cultural prosperity. The 1920s saw radical changes in politics, literature, art and film, but most notably perhaps were the changes seen in music and fashion.
Following the end of World War I, an era of prosperity began, with social customs and morals relaxing all over the world. The optimistic feeling was especially evident when, in 1920, the right to vote was extended to women in the US. Overall, women had a changing role in society, with the post-war boom providing a large consumer market. A jubilant sense of freedom during the decade saw women enter the workforce, now with more money to spend. As a result, a growing number of advertisements began being targeted to women. Changing societal roles translated into a desire for a change in lifestyle. The decade saw tubular dresses from the 1910s now being cut shorter, sportswear becoming extremely popular, and a trend of bobbed hair cut short. Jean Patou’s famous two-piece sweater and skirt outfits became standard uniform, with Elsa Schiaparelli’s simple tunics capping of the 1920s. The development of a boyish appearance in style reflected the overall new versatility felt by women.
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The 1920s featured a period of decadent indulgence, where fashion transformed both from necessity and desire.
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All spotlights focus on her pranks, all tongues her prowess herald, for which she well may render thanks, to God or Scott Fitzgerald. Her golden rule is plain enough- just get them young and treat them rough.
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- Dorothy Parker, The Flapper
One of the most notable influences on women’s fashion in the 1920s was the emergence in popularity of jazz music. Jazz music, consisting of syncopation and polyrhythms, was a vigorous and animated new style. Jazz’s freedom of improvisation aligned well with the desire to break away from the older, constricting fashions. An element of exoticness in the music also purported that the decade’s new woman desired to rebel against the previous generation’s stiffness. Dance, where motion rules all, was the tying factor between Jazz and fashion. To indulge in the new sounds, women were required to do away with the structured and complex garments that were a precursor for the Jazz Age, instead opting for fringe and pleating to move with the body as they danced. The Art Deco style of the decade took cues from geometry, focused on rich tones and ornamentation, similar to how the accompanying jazz music took cues from ragtime, focused on resonating sounds and improvisation. Another item which needed updating for dance were women’s shoes. Shoe design became extremely important, with a simple explanation being that with hemlines higher, dancing shoes were now more visible. Andre Perugia, the first major shoe designer of the 1920s, popularized the t-strap, while also experimenting with decadent and fantastical designs. The son of an Italian shoemaker, Perugia worked with popular couturier Paul Poiret, and together they styled the ideal “flapper” woman. One of the decade’s most popular performers was Josephine Baker, an American-born singer and dancer who gained popularity in Paris. Being fluent in both English and French made her extremely accessible, contributing to her success overseas. Baker furthered innovations in fashion with her dance, popularizing Art Deco-inspired garments. Her most famous outfit, the “banana costume” further exemplified the modern Jazz Age woman’s desire to push boundaries and embrace jazz’s versatility while experiencing new social norms. The 1920s featured a period of decadent indulgence, where fashion transformed both from necessity and desire. While some elements of the drastic shifts in fashion were due to a practicality standpoint in terms of dancing, the majority of changes resulted from a new viewpoint of the modern woman. It is unlikely that music’s influence on fashion will ever cease to exist, with the 1920s typifying the ways in which one cultural aspect has ramifications throughout society.
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INDUSTRIAL DECADENCE AND POST-MODERN SPIRITUALITY
THE WORK OF WIM DELVOYE Inspired as much by medieval discipline as he is by post-modern irreverence, Wim Delvoye is an artist vehemently distancing himself from the conventional in favor of the conceptual. Combining the elegance of the past with the utility of the present, Wim Delvoye creates works that are as engaging and difficult to classify as the man himself. Born in 1965 in the small Belgian town of Wervik, Delvoye developed an aptitude and appreciation for art at a very young age. Naturally, this saw him through to art school, where during the early days, he honed the artistic mindset that would dictate so many of his future endeavors; emphasizing concept over creation. Rather than match contemporary methods of self-expression, Delvoye instead chooses to create concepts, hiring specialists in any number of fields to complete the physical projects themselves. His most notable example is a machine called Cloaca; a mechanical recreation of the human digestive system, the synthetic excrement of which is coveted by modern art collectors worldwide. His other most notable example is his ongoing Art Farm project, which sees him tattooing anesthetized pigs and selling their skin upon natural death. His most recent foray into the world of contemporary gothic sculpture, while perhaps conceptually tame, is no less engaging nor easy to classify. Indeed his recent series including cement trucks, mixers, and excavators, leaves aficionados perplexed, and purists quietly enraged.
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I’M A BOY AND I’M NOT ASHAMED OF WHAT I’M MADE UP OF: SCIENCE, TRUCKS, CARS, AND MODELS.
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Fusing medieval decadence and modern utility, Wim Devloye has created a series of sculptures combining traits that at a glance should be violently opposed. While one might expect the pairing of heavy modern machinery and gothic religious iconography to be a blasphemous one, Delvoye does so without detracting from either. Indeed, these two opposing forces instead amplify one another, creating a new aesthetic that looks both natural and alien; evidence of a period now passed akin to the luxurious high-style of the thirties or the space-age stylings of the sixties. Indeed the St. Medardus Cathedral, for which Wervik is known, has left its mark on the imagination of Deloye. Emerging in his adult years, this has aided him in pushing the envelope beyond the brink of normality. These steel creations, while not as dwarfing as the structure upon which they’re based, leave an impact no less equal in scale. Justifying his metal creations in as simple and straightforward a manner as possible, Delvoye does more with less; “I’m a boy and I’m not ashamed of what I’m made up of: Science, trucks, cars, and models”. It is works such as these that have made the name Delvoye synonymous with mystery, defiance, and wry wit. Indeed, such traits are evident in his gothic series, for which the products of a modern industry in which aesthetic has little influence on the final product were built, using the details and sensibilities of a time during which aesthetic was everything. Steel buttresses, arches, and stained glass come together to create tools used by the working class but meant for the ruling class. While visually akin to the works of such Gothic architectural masters such as Simone da Orsenigo and Hans Neissenberger, the idea of combining such aesthetics with modern machinery is undoubtedly surreal. While he may scoff at the notion of being classified as a surrealist alongside fellow Belgians Hieronymus Bosch and René Magritte, Delvoye nonetheless challenges our collective views of normality in much the same manner. Creating works that appear both natural and artificial, unified and at war with themselves, Delvoye has succeeded in establishing himself as a master of both the physical and conceptual, regardless of whether he’d accept such a title or not.
BY PATRICK CARTER
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refined
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lines photographer
Maryam Golafshani
creative director
Faustina Sari Setiawan
fashion directors
Aaron Gray & Torrel Ollivirrie
stylist models
Marcel Sokalski Tully Cogswell, Finn Cogswell, Marc Addison, Darren Weltman
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Tully wears black printed button-up shirt, stylist’s own. Finn wears black cotton button-up shirt, stylist’s own. 47
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Tully wears black printed button-up shirt, black pants and dress shoes, stylist’s own. Finn wears black cotton button-up shirt, black pants, and running shoes, stylist’s own.
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Marc wears navy blue blazer, striped cotton T-shirt, white pants, brown dress shoes, and wristwatch, stylist’s own.
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Darren wears grey blazer, white cotton T-shirt, jeans, chain necklace and black shoes, stylist’s own.
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Darren wears dark blazer, graphic T-shirt, jeans and brown laced shoes, stylist’s own. Finn wears white blazer with navy pocket square, black mesh T-shirt, jeans and dress shoes, stylist’s own. Marc wears black varsity jacket, white T-shirt, black pants and black running shoes, stylist’s own. Tully wears red blazer, cream and black sweater vest, white pants and black dress shoes, stylist’s own.
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© Singh Street Style
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STREET CHIC SINGH STREET
FROM TO
The Rise of South Asian Diversity in Fashion and the 21st Century Blogger written by JAG RAINA
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treet style culture, known for its eccentricity and avant-garde clothing, has come to redefine 21st century fashion. Popularized by the likes of blogs such as Scott Schulman’s The Sartorialist, and Tommy Ton’s Jak and Jil, the digital documentation of this spectacle from city to city has shifted the culture of celebrated clothing away from the clutches of celebrities, socialites, runways, and the fashion elite. It has transformed street style into a universal language and a global brand that the everyday person can take part in. Fashion weeks have seen an explosion of photographers, social media personalities, and bloggers flocking to the bricked cobblestones of London’s Somerset House, winding avenues of Paris and Milan, and dodging in and out of the New York’s Mercedes Benz Tents to capture as much creativity in creative clothing as possible. 2013 also saw the birth of a new fashion blog: Singh Street Style. This new blog quickly made a distinct impact in it’s own right. Formed in the streets of London and founded by recent university graduate Pardeep Bahra, it’s an exclusive fashion blog that has become known for showcasing young Sikh and South Asian men who all have one thing in common, their Turban. The young men are photographed by Bahra himself throughout the streets of London, ranging from the posh terraced avenues of Chelsea, Knightsbridge and Mayfair, to the gritty and colourful lanes of East London’s Shoreditch, Dalston and Brick Lane. Bahra has created a smooth and minimalist look for his blog, beautifully recreating the aesthetic of Ton and Schulman in his own special way. His ode to the turban is what initially caught my eye after I stumbled upon the blog last summer. I noticed it being spread like wildfire, posted on countless Facebook statuses of friends and family as well as filling my twitter timeline and Instagram feed. Seeing that I also sport a turban and identify as a South Asian Sikh Male, I immediately connected with the blog and found myself enamored by it.
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. . . fashion always played a pivotal role throughout [Bahra’s] childhood and youth, but it was in University that his interest really started to blossom.
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I had the wonderful opportunity to meet up with Pardeep during a trip to England in fall of 2013 where we strolled the streets of London and talked all thing fashion and style. Upon my trip back to Canada, I found myself even more eager to know about what had triggered Pardeep to start up this blog and thus our conversation on Singh Street Style began. For Bahra, fashion always played a pivotal role throughout his childhood and youth, but it was in University that his interest really started to blossom. Having gone to school just off of Oxford Street in the heart of Central London, Bahra candidly spoke to me about living in a cosmopolitan environment like London, where his interest in fashion began to deepen. Creating a unique mix of High Street and vintage outfits for himself became a regular routine for Bahra. He began to use instagram and fashion blogs as platforms to document and archive his garments, becoming immersed in the world of fashion. It was through this process that Bahra realized something; “There were no turbaned sikh men on any menswear fashion blogs. It just seemed natural for me to create the blog!” It may seem like a very simple realization, but it was this precise thought that led to the birth of Singh Street Style.
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There were no turbaned Sikh men on any menswear fashion blogs. It just seemed natural for me to create the blog.
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In less then a year alone, Singh Street Style has become recognized on a global scale. From Bahra’s recent appearance at London Fashion Week to being featured in Vogue India, Menswear Style and New York Daily News, it is these milestones that have continued to shape the blog’s legacy. The celebration of South Asian influence on Fashion has become more prominent this past year then ever before. Christopher Bailey’s decision to feature Neelam Johal in Burberry officially opened the door for the first female Indian model at London Fashion Week. New York based Jewelry Designer and actor Waris Ahluwalia, known for his crisp suits and colourful turbans has become a celebrated fashion icon. His recent appearance in the infamous 2013 Gap Ad, as well as a video profile on Mr Porter has further cemented the influence of a strong South Asian presence in the global world of Fashion. It is also through technology and the simple means of World Wide Web, that Street Style Culture and an ever-growing international presence in fashion will continue to push the boundaries of this influential phenomenon.
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WHEN NIGHT comes Photographer: Sean Israelson Creative Director: Faustina Sari Setiawan Women’s Fashion Director: Hannah Murphy-Marshman Women’s Stylist: Grace Yang Men’s Fashion Director: Torrel Ollivirrie Men’s Stylist: Marcel Sokalski Shoot Contributor: Danielle Taffe Models: Sydney Stone, Adam Coulter
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Adam wears black cape, blue geometric button-up shirt, blue paisley pants and black belt, stylist’s own. Sydney wears Charlie Jade two-tone pants from Leslie’s Boutique ($198), black blazer and translucent green clutch, stylist’s own.
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Sydney wears Maison Scotch vest from Leslie’s Boutique ($138), beige sequined flower top, black distressed jeans, heavy wool socks, black satchel purse and Jeffrey Campbell heels, stylist’s own.
Adam wears leather jacket, patterned cardigan, black tank top and plaid pants, stylist’s own.
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Sydney wears Gentle Fawn mustard top from Leslie’s Boutique ($60), Religion grey jacket from Leslie’s Boutique ($185), silk blue slip, black fishnet tights, gold & black geometric triangular necklace, wide-strap black booties and coral purse, stylist’s own.
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Adam wears patterned jacket, distressed graphic T-shirt, burgundy plaid shirt, light denim jeans, and hiker boots, stylist’s own.
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Adam wears blue paisley pants, grey socks and black dress shoes, stylist’s own. Sydney wears Charlie Jade two-tone pants from Leslie’s Boutique ($198), green translucent clutch, and coloured heels, stylist’s own.
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Rushmore: written by CONRAD FLORYAN
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ressing sharp won’t make you cool, but it will help get you there. Rushmore (1998) is a classic film because it oozes cool; stemming from wunderkind director Wes Anderson’s singular offbeat vision, Bill Murray and Jason Schwartzman embodying enthrallingly impertinent characters, and of course the fashion.
15-year-old prodigy Max Fischer (Jason Schwartzman) is Rushmore Academy’s most extracurricular student, although he struggles to pass his classes. He’s fitted out in the classic preppy uniform: navy blazer adorned with the school crest, baby-blue oxford button-down, club tie and khakis cut extra high so they can look down on more mortal trousers. He marks himself as a true yuppie prince with two distinctive pins adorning his blazer (one for perfect attendance, the other for punctuality), beat-up Rod Lavers, and horn-rimmed glasses. Max employs his wardrobe to distinguish himself above his fellow students in order to fulfill his sense of superiority and distract from his humble origins—he claims his father is a neurosurgeon, while he’s actually a barber. The other students wear either an oxford without a tie, or a white polo. Their simple, classic prep school attire not only paints Rushmore Academy as a top-class school, but underscore Max’s rebellious ambition. When he dons an iconic red military beret, it’s the cherry atop the haute-monde sundae that blares out this little man is not to be trifled with. When he’s not busy looking sharp, Max spends much of his time creating elaborate stage productions. His actors are decked out in intricate getups fitting within the film’s examination of costume. A costume is clothing designed to evoke a specific type of person. It carries connotations that are thrust onto the clotheshorse and juxtapose with their individuality. The film trots out a parade of costumes: concierge, wrestler, and barber among others. Max wears the preppy uniform for most of the movie and with his little touches establishes his own Max Fischer costume. Wearing the same clothes impresses his character in viewer’s minds. The film highlights the childish joy of playing dress up; it’s set in fall and Max’s friends wear Halloween costumes when they pelt him with rocks. Little do they know that one day kids will be wearing the Max Fischer costume, yours for only $1200.00 at J. Press. Establishing Max’s uniform lends saliency to the occasions when he steps out into different attire. In the closing third, he wears a green velvet suit with a bowtie: a quirky uniform that’s just as fun as a Halloween costume.
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Style Icon
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A costume is clothing designed to evoke a specific type of person. It carries connotations that are thrust onto the clotheshorse and juxtapose with their individuality.
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Herman Blume (Bill Murray) embodies his own uniform. The disillusioned industrialist who takes a liking to Max spends most of the film in a black pinstriped suit with different iterations of a peculiar combination: solid tie and shirt in the same color. This consistent getup not only helps to distinguish him but also imbues him with a beguiling quirkiness. Although he coordinates his outfits, he doesn’t seem to care about much else. His Budweiser swim trunks further frame a gentleman taking life easy in his own way. A mustache between Ron Burgundy and Clark Gable conjure a man middle-aged enough to not give a damn. Be advised: no damns were given in this movie. Wes Anderson understands how to use accessories to develop his characters. Magnus—a Scottish oaf who bullies Max—wears a cast on his arm that emphasizes his crudeness by implying that he uses his body recklessly. While there won’t be medicinal wrappings beside socks and other accessories at The Gap, they do make a serendipitous fashion statement. When Max is bathing in applause after having directed a successful stage play, he turns to reveal his nose stuffed with bloody Kleenex following a backstage fight. His nonchalance certifies the bloody clots as intriguing badges of honor, like 50 Cent’s bullet wounds. Cigarettes are among the most magnetic style accessories, so much so that millions are willing to drop thousands of dollars and risk ghastly disease just to look awesome when those daring vapours plume from their lips. Death sticks are inherently cinematic and figure in endless classic screen moments. Rushmore is aware of movie yore and customarily employs cigarettes to great aesthetic effect. Blume’s nonchalance is accentuated by having a dart at unexpected times, like when he’s on the diving board about to cannonball or when he’s puckering two cigarettes in a hospital elevator. Preppy style came into vogue shortly following the release of Rushmore, and this trend is blossoming to this day. The movie, and Max Fischer, specifically made being a geek and dressing like one cool because he was his own person. Coolness is about individuality, and dressing like yourself surely helps. It’s this swagger that has made Rushmore a style classic and why it continues to enthrall after the second viewing, and the third, fourth, f…
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A YUMMY TAKEOVER
young urban males behind the new faces of luxury
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written by LOGAN LY oco Chanel, the iconic femme fatale who changed the face of fashion once said, “Some people think luxury is the opposite of poverty. It is not. It is the opposite of vulgarity.” With that, evoked centuries of wealthy women as the classic luxury consumer. As the fashion industry evolves into the global market and becomes more androgynous, a new consumer-type has soon changed the face of luxury fashion – the rise of the “Yummy”. A twenty-something year old man living in a world-class metropolis with his own income is the figure considered to be what retail analysts are dubbing the Young Urban Male – a “Yummy”. The Yummy, according to a recent report from HSBC, are the future of luxury spending. Gone are the days of relying dominantly on female consumers, as these young urban males are the new faces predicted to reshape the $1 trillion luxury industry.
“The metro-sexual, that cliché from 20 years ago, is now becoming a commercial reality,” the report said. The age shift from the (Prada Crocodile leather) wallets of male consumers in their forties descending to twenties, is largely influenced by the occupation of luxury brands on social media, blogs, and smartphones. With various luxe conglomerates developing a influential presence in the digital sphere, brands such as Burberry streaming live their fashion shows online are able to reach the eyes of a younger demographic. This in itself causes a domino effect, with luxury goods clients to only become younger. HSBC also notes that a lot of men now have different lifestyle than previous generations, freeing up their income in their twenties that their predecessors would have otherwise spent on starting a family. This means an indulgent pleasure in Tom Ford soft-calfskin toiletry case for himself, instead of having to buy diapers and baby formulas.
“Whether it is cosmetics, outdoor sports, fashion or accessories, male purchases have really started to impact overall growth rates,” the HSBC team writes. “Men-specific luxury stores are one of the ways in which brands have adapted to this new type of consumer.” The Yummy’s growth strategy isn’t without repercussions. With spending, especially for luxury goods, men are the most sensitive consumers when the economy fluctuates. While there are more risks for the Yummy during economic downtowns – as in, they stop spending all together, the industry remains optimistic about overall global sales from this consumer-type, having shifted their gender and age focus in luxury goods.
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VOLTA: [vohl-tuh, vol-; It. vawl-tah] In literature, the volta, also referred to as the turn, is the shift or point of dramatic change.