__MAIN_TEXT__

Page 1

19 6 8 winter 2015-16

WINTER

ISSUE


MAZDA CX-9


TABLE OF CONTENTS

8

14

22

NIGHT CRAWLERS Joseph Saraceno TOUGH LOVE Benjamin Kaufmann THE GIRL WITH NO NAME Chris Haylett

30 ONE TIME TOO MANY Malina Corpadean 36 ARTIST Byron Hodgins

40 JEWELLERY DESIGNER Rita Dobberstein

42 ILLUSTRATOR Tracy Turnbull

COVER Photographed by Benjamin Kaufmann Stylist: Alton Hetariki Model: Sarah Louise Wiffen - Models1

45 FASHION DESIGNER Bojana Sentaler

48

EVENT Sentebale Royal Salute Polo Cup

52

ME Genevieve Charbonneau

68

LAKE CABIN Maude Arsenault

50

EVENT Kryolan at Bambi Awards

60

IN THE STILL OF THE NIGHT Philip Blythman

76

SEASONS IN BEAUTY Joerg Schieferecke

84 4

22

30

52

68

TRAVEL Mexico

1968magazine.com


1968 MAGAZINE MARTIN VOLPE

Editor in Chief - Creative Director

1968 Team

Fashion and Art

Contact us info@1968magazine.com advertising@1968magazine.com submissions@1968magazine.com subscriptions@1968magazine.com letters@1968magazine.com Contributing Photographers Joseph Saraceno, Benjamin Kaufmann, Chris Haylett, Malina Corpadean, Genevieve Charbonneau, Philip Blythman, Maude Arsenault, Joerg Schieferecke Contributing Stylists Tricia Hall, Alton Hetariki, Deanna Palkowski, Emmanuelle Rochon, Olivia Leblanc, Jay Forest Contributing Makeup Artists and Hair Stylists Barrie Griffith, Kristopher Smith, Lucyanne Botham, Nicolas Blanchet, Cynthia-Christian Cadieux, Claudine Blythman, Dani Metcalfe, Soraya Qadi, Suzana Santalab Contributing Writer Megan Honan

1968 Magazine is a registered Copyright of 1968 Group. All rights reserved. No content or segment of 1968 Magazine is, under any circumstances, to be replicated, reproduced or diffused in any manner without the expressed written consent from the publisher. All work is copyright protected. 1968 Magazine is not responsible for copyright violations or misuse by others. The publisher protects the right to reject and/or amend any contribution or material supplied. All submitted material may or may not be published due to space, editorial review and/or quality. By submitting images, photographers certify that it is their own original work, for which they have the copyright and are holders of the model release, and give 1968 Magazine permission to publish it on any issue. Photographers grant an exclusive licence to use photographs in its submitted form, or subject to resizing to fit the magazine’s format. 1968 Magazine reserves the right to edit material and assumes no responsibility concerning any error and/or omission. Material may be also featured on www.1968magazine.com. Information presented is from various sources and thus, there can be no warranty or responsibility by the publisher as to accuracy, originality or completeness, despite the care taken in reviewing editorial content. 1968 Magazine assumes no liability for products or services advertised herein.

6

1968magazine.com


FOUR SEASONS RESORT Punta Mita

www.fourseasons.com/puntamita


Giorgio Armani Si eau de toilette

NIGHT CRAWLERS Photographed by Joseph Saraceno www.josephsaraceno.com Represented by Judy Inc. Stylist: Tricia Hall Represented by Judy Inc.

8

1968magazine.com


Viktor & Rolf Spice Bomb eau de toilette


Armani Prive Encens Satin eau de parfum

10

1968magazine.com


Viktor & Rolf BonBon eau de parfum


YSL Black Opium eau de toilette

12

1968magazine.com


YSL la Nuit de L’Homme L’intense eau de parfum


Tough Love Photographed by Benjamin Kaufmann

14

www.benjaminkaufmann.com Stylist: Alton Hetariki Represented by N Management Makeup Artist: Barrie Griffith Represented by N Management Hair Stylist: Kristopher Smith Model: Sarah Louise Wiffen - Models1

1968magazine.com


Left: Embellished dress DKNY Yellow Gold cuff Shaun Leane

Metallic leather top Una Burke


Blazer jacket Todd Lynn Knickers Agent Provocateur

16

1968magazine.com


Silk blouse Saint Laurent Top necklace Diamond and white gold necklace Shaun Leane Bottom necklace Pave Diamond and white gold magnipheasant necklace Stephen webster


Leather jacket worn as dress Saint Laurent Gold black chromium plated ring Repossi Gold and Diamond croissant earring Sophie Bille Brahe both from Dover Street Market Yellow gold cuff Shaun Leane

18

1968magazine.com


Blazer jacket BLK Denim Yellow gold and diamond star earrings Venyx


Wool bandeau top Calvin Klein Silk knickers Agent Provocateur Leather studded cuffs Una Burke

20

1968magazine.com


Shearling Coat Todd Lynn


The Girl With No Name Photographed by Chris Haylett www.chrishaylett.com Represented by THEY Stylist: Deanna Palkowski Represented by Liz Bell Agency Makeup and Hair: Lucyanne Botham Represented by Liz Bell Agency Model: Savannah - Wilhelmina Vancouver

22

1968magazine.com


Turtleneck Comme Des Garçons Dress Apiece Apart at One of a Few Scarf stylist’s own Holden Hat


Turtleneck and skirt Giu Giu at One of a Few Hat stylist’s own Jacket stylist’s own Choker at Trash and Vaudeville

24

1968magazine.com


Top Evan Clayton Pants Allure Hat East Side Re-Rides Bracelet, Choker and Ring MINTING DIE 1.5 Shoes Dayton


Top Lip Service Pants at Holt Renfrew Jacket Cherry Bomb Chain mail bra at Allan & Suzi’s Hat stylist’s own Gloves at Deadly Couture Shoes Isabel Marant at Gravity Pope Tailored Goods

26


Top Eliza Faulkner Jeans Levis Hey Jude Chaps East Side Re-Rides Undies Polymorphe at Deadly Couture Sunglasses stylist’s own Hat Australian Outback Collection


Jacket East Side Re-Rides Dress Creature of Comfort at One of a Few Rings Minting Die at One of a Few Hat Australian Outback Collection Belt “AKLD” Aldo Kleyn Leather Designs Boots Alexander Wang at Gravity Pope Tailored Goods

28


Tank Nu Kind Jeans Eliza Faulkner Jacket Hey Jude Hat stylist’s own Choker Deadly Couture Belt “AKLD” Aldo Kleyn Leather Designs Shoes Isabel Marant at Gravity Pope Tailored Goods


ONE TIME TOO MANY Photographed by Malina Corpadean www.malinacorpadean.com Art Director: Atelier Vingt Quatre Stylist: Emmanuelle Rochon Makeup and Hair: Nicolas Blanchet Represented by Folio Montreal Makeup Assistant: Olivier Vinet Hair Assistant: Marc-Andre Poliquin Models: Vie, Pamela, Vincent - Montage Models Kate, Brunelle - Folio Montreal

30

1968magazine.com


Makeup: High Precision Retouch 3,5 by Armani Secret Camouflage SC-4 by Laura Mercier Cream Colour Base in Pink by M.A.C Matte Lipstick in Whirl by M.A.C Single Eye Shadow in Concrete by M.A.C Hair: Dual Styliers Liss & Pump-Up by L’oreal Clothes: Vest Faith Connexion Bra Urbain Outfitters Necklace Cos


Makeup: Face and Body Foundation in C1 and C2 by M.A.C High Recision Retouch in 2 and 3 by Armani Velvet Matte Lip Pencil in Belle De Jour by Nars Dual-Intensity Eye Shadow in Lysithea by Nars Hair: Powder Bluff by Kerastase Tecni.Art Texture Dust by L’oreal Clothes: Top Luko Marion-L’autre Couture Bra Urbain Outfitters Necklace Luko Marion-L’autre Couture

32

1968magazine.com


Makeup: Face and Body Foundation in C1 by M.A.C High Precision Retouch in 2 by Armani Pur Mat Lipstick in Taskent by Nars Creme Colours in CL-22 Sky Blue by Ben Nye Single Eye Shadow in Electric EEl by M.A.C Hair: V.I.P Volume in Powder by Kerastase Dual Stylers Nextday Hair by L’oreal Clothes: Coat Cos Turtle Neck Cos Shirt Cos


Makeup: High Precision in 4 by Armani Matte Lipstick in Fashion Revival by M.A.C Cream Colour Base in Pink by M.A.C Hair: Wild Stylers Crepage De Chignon by L’oreal Tecni.Art Hollywood Waves by L’oreal Clothes: Coat Just Cavalli

34

1968magazine.com


Makeup: Single Eyeshadow in 48 by Bourjois Sheertone Shimmer Blush in Dollymix by M.A.C Amplified Lipstick in Morange by M.A.C Hair: Tecni.Art Crystal Gloss by L’oreal Clothes: Shirt Simons Vest Simons Coat Cos


INTERVIEW - ARTIST

Byron Hodgins

I

n the words of Byron Hodgins, his artistic vision has led him to “experience the common place as transformational, an opportunity to be present and focus on the self”. That is clear when viewing his work, with canvases covered in pure abstraction, transporting you to another world. Hodgins nods to nature, drawing attention to his wispy sweeps and colourful symbolism. This London, Ontario, native has held solo exhibits across the country, with evergrowing popularity. Today, he continues to paint and share his work at exhibits. www.byronhodgins.com

Wild Fire

When did you realize you wanted to pursue being an artist 24/7? I’ve always wanted to be an artist since I was a kid, grade 4 or 5. What about Toronto inspires your work? Because I’m a plein air painter I’m always working outside the Lakeshore, The Humber Valley, High Park. Toronto has a long history with the group of 7, JEH MacDonald painting High Park and teaching at OCAD. There’s a deep tradition of these artists not only working locally but then travelling to the north country, which is something I’ve been doing as well. So I feel a kinship with artists in Toronto’s history. How would you describe your particular style? My style is loose, energetic, abstracted from representation, but still rooted with a sense of place, and gravity. What was your first solo exhibit like? It was both terrifying but also extremely exciting. On the one hand I was already used to seeing the work in the best format outside, where it was made under natural light. Later, they go into storage for a while, and from there curated into a gallery; it’s in the gallery that I’ll see them with each other, and you start seeing relationships between pieces. A curious equation between paintings begins and from there new work starts to form.

36

1968magazine.com


Night Animal

Your work is pure abstract painting, what gravitated you towards this form? I’m definitely not interested in painting what I see completely, since that has been taken over by photography. There’s no point in executing a map of a visual field. I like the thinking of Hans Hoffmann, where you go outside to paint and have a sense of energies and forces that are inspired by the natural environment, but are not held to them in terms of painting a tree to look like a tree. Instead a tree is a representation for a series of inspirations. The paintings are not completely nonobjective, the colours are rooted in a spatial relationship to where I am at that time and place. I would also say that every painting is abstract at its initial stages, and paintings that move towards representation are one aspect of my work. There’s another pull of working the paint to the point where the paint suggests its own form and subject, and there’s always a tension between the two realms, but they exist on a continuum.

Is there any medium you haven’t worked with yet, but would like to in the future? Performance art; there’s a performative aspect to my work because I’m painting in public spaces (and in some degrees private spaces). I’m always running into and talking to the public. That part of my painting is really interesting to me, and I’ll choose places that allow me to interact with people. For instance, I’ll paint a picture by the overpasses on the CNE grounds, and if I were there with a camera taking photographs of the highway, I probably wouldn’t be allowed but, when the security guards drive over on their golf cart and see that I’m painting, they’ll wave and smile. That painting gets a free pass in dealing with those sorts of possibilities is really interesting; so whether I just take some of the experiences I’m having and make a performance from them, or whether I do that in a gallery, or I do that and have the public come to these spaces outside and do a performance there is quite possible.

How important is it, in your opinion, to factor in nature in conjunction with creating art? For me the core project is to be situated in a real place and be forced within a constrained period of time to make a painting that’s rooted in a real experience of nature; whether it’s my own nature as a creative person and those aesthetic associations that I have to deal with, or looking out to the field and drawing upon various forms.

What message do you most strive to communicate with your work? The message of a living, breathing, palpable kind of experience; being inspired by living things. And I want the paintings to have that kind of living feeling too. I think the best paintings are the ones that have a rich energy in them, both in colour and gesture, but more than that they have a sense of gravity to them that is rooted in reality so they have a living feeling about them.


Night Rising

If you could sit down to coffee with any artist, dead or alive, who would it be and why? Obviously someone like Van Gogh comes to mind right away, and I’d love to go back in time and sit at the fringes of Paris where the sidewalk and the roads end, where Van Gogh would be painting the fields at the edge of the city. I think that would be incredible to see, but I’d also love to talk to Arshile Gorky before he committed suicide. His work is a real source of inspiration for me. How would you describe the art scene currently in Toronto? It’s amazing that everyone comes to Toronto at some point so it’s incredibly varied and every gallery has its own approach in its relationship to its artists and to its public. Some galleries are obviously more commercial than others, and some galleries are much more academic in their concern. It’s fascinating to see what artists go, where and why and how they work within the gallery system. For me, I feel like I’m at that place right now where I’m in Toronto and where it can go from here. It’s home base. What advice would you offer young artists? There’s a lot that can be said to a young artist. Some of the advice that stuck with me was: you have to make a painting one step at a time and you have to work an awful lot; to get one or two good paintings you have to make five or six paintings. To artists in general my advice would be that you have

38

a voice, and it’s a matter of listening to the type of words and poetry that’s innate in you and learning how to use it. You can go to school to broaden your vocabulary and the type of things you want to experience, but ultimately you’re going to have to contend with what you can do, what you feel you can intrinsically do, and you have to believe in yourself because you’ll be in this for the long haul. Whether or not you can find a place for it, at least personally you’re going to be growing and developing, and that in itself should be rewarding. Any dream collaboration you haven’t done yet? Dream collaboration? My plan is to travel outside of the city and take my project all over, do what I do now in Toronto but in environments up north or in cities all across Canada. It’s a collaboration in the sense that I’m working with a place and the people that inhabit the place. So I could go to a Nunavut diamond mine or to the tar ponds by Fort McMurray and paint not just those particular industrial sites, but the place that people live, and try to find out how they inhabit their cities and their parks, and get a sense of the relationship with the natural world and how it can be different; that’s the collaboration that I think about, it’s with the people who live in these places. I’m getting a sense of that in Toronto all the time, I get a sense of that when I go to Haliburton, but it would be nice to go to other places in Canada and experience that, paint those stories.

1968magazine.com


What is the proudest moment of your career so far? I think it was the leap to large scale painting outside. Once I got outside with canvases larger than 48” x 60” and the 78” x 96” canvases outside plein air painting I knew I was doing something unique, not just for me but for the plein air community. I think it’s very rare for people to paint large outside and the kind of difficulties and struggles that are supporting and working that scale is really fascinating. It feels very natural, and it’s the appropriate thing to do. I think that when I did my first large scale paintings I felt like the sky was the limit after that, and I just wanted to go out and do more. What is your creative process like? I work everyday; I work when I don’t feel like it and I work when I do feel like it. In a month I find that I make small paintings daily, then I’ll do a few mid-size paintings, then I’ll work a large scale painting. It’s also affected by the seasons and the time of day, so it’s difficult to paint large outside in the winter, but you can do things in the winter time with paint that you can’t do in the summertime, so it’s a fascinating relationship with the seasons and how paint can be influenced by it. I don’t paint a complete field of view, I have this mental Photoshop that happens pulling from what’s on my right and from what’s over to my left, and then seeing the light through the trees above me; and you bring all these points of view together to create a sense of nature, but it’s not rooted in a pure objective, the way a camera would see. It’s a way of painting, an experience of nature.

What is the most challenging part of being an artist? I think everyone has his or her struggles, so I do think it’s related to art people make. We all have our personal backstory that we’re dealing with, and that’s probably the most difficult thing, but I think the art is an escape to that to a certain degree, and it’s also a way of dealing with it, it’s a corrective vision for the personal things that are going on. You can’t divorce being an artist from your real life but your arts can be a corrective to the experience. What is one thing most people don’t know about you? I love movies, I love film noir and the unusual characters in them. I have a real love for foreign films, for German and French New Wave. If I could dress like someone from one of Goddard’s films I probably would. Where do you see yourself in five years? I hope to have moved out of Toronto by then, but visiting Toronto very often, driving a pick-up truck with a stack of canvases in the back. And I’d like to invite artists from Toronto to come outside up north for the first time and kind of rock their world like it did mine.

Night Vision


INTERVIEW - JEWELLERY DESIGNER

Rita Dobberstein

R

ita D. is a Toronto based jewellery designer who graduated from the prestigious Academy of Fine Arts in Berlin, Germany. She has remained at the forefront of the Canadian fashion industry for the past 25 years. She is a true artist and uses her creativity to incorporate shape, colour and texture in a contemporary way that never falters from the extraordinary. She interprets Haute Couture her way and makes every woman who wears her designs look fashionable, unique and sexy. Her collection has several lines, available in fine stores throughout Canada, USA and Europe. www.ritad.com When did you realize you wanted to be a jewellery designer? From a very young age I was always very creative, involved in painting, drawings, and sculpture. I grew up by the beach, and my first necklace was made of hand-painted small sea shells that I had found, so you can say that I realized it as a girl, very early on (probably 5 years old). I always liked wearing something I created. From High School on, every time I wore a personal piece, someone always wanted to buy it. So it has been a part of my life ever since.

What is it like being a jewellery designer in Toronto? When I came to Canada in 1984, whenever I wanted to buy a piece of jewellery I couldn’t find it, so I thought I should simply design my own. Ever since then, designing in Toronto has been interesting because of all the different opportunities, such as working with department stores to independent boutiques; the range of clientele is vast compared to other cities. What is your favourite piece of jewellery from your own personal collection? A big beaded pendant necklace that I launched 7 years ago, because it brings all my techniques together‌ a picture says a thousand words! What is your favourite material and/or stone to work with? My favourite stone would be Agate because of the variations of colours and shapes.

How was your experience studying at the Academy of Fine Arts in Berlin? The experience was simply amazing. Coming from communist Poland into a free art community of West Berlin was life-changing for me. There were no boundaries so it freed up my conceptual thinking; I could paint and create whatever I wanted. How would you describe the aesthetic of your designs? I would describe my aesthetic as bold, unique, architectural with a sense of humour and plenty of attention to detailed elements. I love connecting the past (vintage) with today`s fashion.

40

1968magazine.com


How would you describe the ideal Rita D. woman? Bold & Beautiful! Fashionable & fearless. If you could move anywhere and set up a studio, where would it be and why? Saint Tropez, because it is my favourite place on earth! Beautiful beach and small, sophisticated town. Or Sopot Poland because again of the beach and sophisticated town; it is where I went to High School and where I started to sell my first pieces of jewellery. What is your source of inspiration? My main sources of inspiration would be fashion, art and travel; to see something unexpected and extraordinary speaks to me and makes me want to communicate it through my jewellery.

Do you have a favourite era of jewellery design? I would have to say the 40s because of the detailed elements in jewellery and in general, fashion; very refined and well thought out designs. Are there any jewellery trends you never want to see again? The 80s when it was just too much of everything within one outfit…especially shoulder pads. What’s one piece of jewellery every woman should have in her collection? An absolute must would be a woven crystal collar. What should a woman look for in a good piece of jewellery? Number one for me: Interesting design that combines beautiful colour and quality materials, that is wearable with many outfits for various occasions. What would you say is your most popular design? Years ago (about 20 years) I would have to say the brooch design, but in the past few years, it would be my statement woven collar which comes in an array of colours and materials.

Do you have a favourite jewellery designer you find inspiration in? I have a few favourite jewellery designers, however, I don`t necessarily take inspiration from them. I`ve always wanted to create something that I`ve never seen before. But the one that comes to mind would be Miriam Haskell. Can you tell us about your creative process when you design? I tend to evolve from my key statement pieces. I try to use my old techniques in new ways by incorporating new materials for a fresh take on what`s hot now. Is there a message you wish to communicate with your designs? My main message is timeless beauty and that any woman can look pretty. Who do you most enjoy designing for? Somebody who enjoys expressing their individualistic style in a fearless yet classy way, where the jewellery brings everything together. Bracelets, earrings, necklaces…do you have a favourite? Necklaces! It`s a MUST for me! Where do you see yourself in the next five years? In a castle outside Saint Tropez, designing my jewellery using my old (from Berlin) pliers.


INTERVIEW - ILLUSTRATOR

Tracy Turnbull

F

ashion illustrations hold a particular romance to them, with splashes of whimsy colour and elongated limbs. It holds its own prestige in the art world and Tracy Turnbull, it’s reigning queen. Currently located in Newcastle, England, she graduated in Fashion Design at Newcastle Polytechnic and studied as a clothing designer for many years. Combining a mixture of digital and hand rendering, along with her use of loose lines, Turnbull’s work has become recognized worldwide. We for one can’t wait to see where her ever-changing style takes her next! www.tracyturnbull.com Tell us a little bit about yourself Tracy… How did you get started as a fashion illustrator? I was always obsessed with drawing when I was young, I was at my happiest with an art pad and a bunch of pens and pencils; I was forever sketching characters and designing outfits. My grandfather loved to draw and paint and encouraged me to do the same. When I began to take notice of clothing and fashion I linked the two, so I suppose it all started back then. I’m trained as a Fashion designer but I have always been interested in the fashion illustration side, so I began to build a

42

Oh My!

portfolio and website to show my work, as well as promoting my work on various social media platforms. I began to get noticed and was commissioned to illustrate for Nylon Magazine and Benefit cosmetics soon after I was asked to join Illustration Ltd Agency, who now represent me worldwide; I’ve been really lucky.

1968magazine.com


Bling Bling

What would you say is your signature style and how did you refine it? Just as fashion is always evolving and changing, I try to keep my work fresh and contemporary. I change my style quite a lot, influenced by what’s current in illustration I tend to experiment and adapt my style constantly. I’m drawn to illustrating strong characters with unusual features, and like to incorporate a quirky feel to my work. You have worked with various mediums including digital and traditional, do you have a particular favourite medium at the moment? And if so, why? My favourite medium is still digital, I prominently work using Photoshop and my Wacom Cintiq which I love! It’s so versatile; I love experimenting with brushes and textures.

Where do you find inspiration? I find a lot of my inspiration from fashion and illustration blogs and social media. There are so many talented illustrators out there showing their work on Behance Network and Instagram. I am still clothing obsessed and always take a huge interest in the seasonal designer collections. As well as that, I’m always on the look out for interesting faces to draw. When creating your portraits, do you work from photographs or imagination? I tend to work from photographs but often distort the features of the person I’m illustrating, so I suppose I work from both photographs and my imagination.


Do you have a favourite artist? I love Egon Schiele, I think you can relate his style to fashion illustration, the elongated arms and legs. I also love Robert Knoke, Elizabeth Peyton and Howard Tangye, as well as a plethora of fashion illustrators who I regard as artists too! What do you think sets your illustrations apart from others? I suppose I’m constantly trying to change my style, experiment and be adaptable; some illustrators have a set style that doesn’t move on so quickly. I think Fashion illustration is just like clothing design, drawing styles go in and out of fashion. Do you have a favourite piece you have created to date? That’s a hard one, I’m always really critical of my own work. I still really like the work I was commissioned to do for Nylon magazine, maybe because it helped launch me as an illustrator! What is your dream collaboration? When it comes to collaboration on illustration, I’d probably choose Consuelo Castiglioni (Marni). I love her bold use of colour, textiles and silhouette. She has a quirky style to her design work that can be exaggerated really well for illustration; a dream to draw for an illustrator. You had mentioned before that you like listening to music while you work, any favourite songs at the moment? I’d say CDs rather than individual songs, I’m listening to EL:VY (I love The National) The newest Wilco album, My morning Jacket, Father John Misty, I could go on... Describe your take on England’s fashion/art scene. Inspirational, forward thinking, exciting! What would you be doing if you weren’t an illustrator? I’d probably be still working as a fashion designer or a graphic designer. What are three things you cannot live without? My family, little dog Dave and a pencil.

44

Indigo Girl

Any projects you are currently working on that you can tell us about? I have a couple of things in the pipeline but afraid I can’t say. I have recently completed a big project for L’Oreal Olia which was good fun, and I’m in the middle of working on a book cover for Harpers Collins. Any advice for aspiring illustrators? Go for it, it’s a great career, hard work but really rewarding. Where do you see yourself in 5 years time? Illustrating!

1968magazine.com


INTERVIEW - FASHION DESIGNER

Bojana Sentaler

D

rawing on the diverse vibrancy and beauty of her journeys, Bojana Sentaler became inspired to begin a personal journey of her own in 2009. The designer created Sentaler, a luxury outerwear brand that exudes elegance and sophistication. Hosting multiple collections, each dreamy piece is created with the modern, classy and

sophisticated women in mind. With hand-finished craftsmanship, high-end quality, and timeless designs, Sentaler has become a Canadian household name. Today, her designs can be found at the Sentaler showroom in the Fashion District of Toronto, as well as Holt Renfrew stores across the country. www.sentaler.com

45


When did you realize you wanted to be a fashion designer? Since I was a little girl, I used to sketch models in different outfits. I used to draw other things, but fashion was my favourite. What pushed you to pursue your dream and start the brand in 2009? I graduated from the Schulich School of Business with a degree in Marketing and Finance. I worked in the corporate world but soon realized that my entrepreneurial spirit guided me to seek new adventures. I left Canada and decided to travel around the world. While living in Dubai, I had an

opportunity to meet the fashion guru, Karl Lagerfeld, who inspired me to start thinking about my own fashion brand. My next adventure took me to South America, where I came across the beautiful alpaca fiber. I spent time in Peru sketching designs and studying the alpaca fabric and its amazing qualities. I automatically fell in love with its softness, light weight and warm features. I knew then that I wanted to create luxury coats for women. I had my first collection made and launched in 2009.

46

Why did you decide to design coats? I love coats and I saw a gap in the market for luxury, wellfitted coats. People have a perception that a coat must be black and heavy and only functional. I think that a coat completes every outfit. It is the first and last item people see on you so it has to look good. I was also excited to bring a lot of colour to coats. It makes the gloomy winter days brighter and happier. What continues to inspire your designs today? I continue to be inspired by my travels and everything I see around me.

What do you think makes your coats standout? The Sentaler fit is what makes the coats differ the most. I design feminine silhouettes that are comfortable but also complement a woman’s figure. Sentaler is sophisticated, classy and minimalistic. This look is consistent in all the collections and can easily be spotted (Sentaler ribbed cuff details, oversized hoods, wide collars). Sentaler is also known for high quality craftsmanship and the use of alpaca fabric in all of the collections.

1968magazine.com


Who would you like to see wearing one of your designs? Olivia Palermo.

Do you have a favourite piece from your current collection? My favourite piece is still the signature hooded wrap coat.

What is one style or silhouette of coat that every woman should have in her closet? The Sentaler signature hooded wrap coat.

What advice would you give yourself if you could go back in time? Follow your intuition. It is always right.

Who is the Sentaler woman? The Sentaler woman is classy, modern and has an appreciation for quality. What are your favourite materials/textiles? Any that you would like to work with in the future? My favourite material is still alpaca and I plan to continue using it in my collections. Any plans to expand outside of the outerwear market? For now, I want to stay in outerwear and outerwear accessories and continue to expand in international markets. With 7 years behind me, I know coats really well and I want to be the best at coats. There are so many untouched territories that Sentaler has yet to reach, and I am very excited for these new opportunities.

Where do you see the future of Sentaler? The future for Sentaler is to continue to grow brand awareness globally. I want to see Sentaler in retail locations in the major fashion cities in the world. Photos by Mike Lewis


EVENT

Sentebale Royal Salute Polo Cup

Prince Harry took the field for the Sentebale Royal Salute Polo Cup in Cape Town as part of His Royal Highness’ South African tour. The Royal Salute team took home the trophy presented by Royal Salute guest of honour, Torquhil Campbell, the 13th Duke of Argyll, in what was a closely fought match, with a victory of 8 over the Sentebale team score of 7. In the sixth year of partnership between Sentebale and British luxury whisky Royal Salute, the Polo Cup follows the charity’s official opening of the ‘Mamohatu Children’s Centre’ - the flagship centre in Lesotho that will provide emotional and psychological support to communities currently affected by HIV and AIDS. Distinguished international guests at the renowned Val de Vie Polo Club included Laura Main, George the Poet and some of South Africa’s most influential figures, who eagerly watched Prince Harry battle it out on the field, alongside Royal Salute World Polo Ambassador Malcolm Borwick and Sentebale Polo Ambassador Nacho Figueras.

48

Sentebale is a charity co-founded by Prince Harry and Prince Seeiso - a country bordered by South Africa. Prince Harry visited Lesotho in 2004 and was struck by the devastating effect the HIV/AIDS epidemic was having on the nation and particularly its children. Prince Harry and Prince Seeiso founded Sentebale, meaning ‘forget me not’ in Sesotho in 2006 - a charity aiming to rewrite the future for the impoverished population of Lesotho, providing the thousands of children and young people affected by HIV/AIDS with vital access to accommodation, care, education and critical psychosocial support. Royal Salute is a careful blend of malt and grain whiskies created to mark the coronation of Queen Elizabeth II and the 21 gun salute that honoured her. Royal Salute is deeply involved in polo – the world’s oldest surviving team sport and a game that’s expanding in the modern era. The brand sponsors more than 15 international tournaments from the UK and the USA through Argentina and China to Korea.

1968magazine.com


EVENT

Kryolan at Bambi Awards

Heidi Klum

Marie Nasemann

The glamorous BAMBI Awards were held at Stage Theater located at Potsdamer Platz in Berlin. The international cosmetics company Kryolan was the exclusive partner of the event and contributed by creating unique looks for the perfect red carpet appearance. The invitation to attend Germany’s most important media award ceremony and one of the country’s largest society events of the year was accepted once again this year by national and international celebrities. These included Hilary Swank, Heidi Klum, Lena Gercke, Pamela Anderson, Sylvie Meis, Franziska Knuppe, Til Schweiger, Eva Padberg, Rita Ora, Wolfgang Joop, Marie Nasemann, Nina Ruge, Regina Halmich, Toni Garn and Alexander Fehling. Millions of people were delighted as they watched the glamorous evening on their TVs.

50

Regina Halmich

Kryolan make-up artists went about their handiwork in styling lounges, making up celebrities and special guests in the best possible way for their elegant evening attire – the perfect preparation for their closely watched gracing of the red carpet. “Glamorous make-up with a harmonious complexion and accentuated lips or eyes is ideal for an evening event like the BAMBI Awards,” explains Dominik Langer from Kryolan. “We are pleased to contribute to BAMBI with our many years of experience as professional make-up artists,” Langer went on.

1968magazine.com


Nina Ruge

Lena Gercke

Toni Garn

About Kryolan Founded in 1945, Kryolan is the leading international manufacturer of professional make-up. Kryolan’s roots are in theater cosmetics. The executives of the family business still always keep an open ear for the needs and wishes of the make-up artists and develop custom products for specific theater productions. Over the past 40 years the company has greatly expanded internationally and long ago moved beyond limiting itself to just theater. Kryolan is the exclusive make-up partner for BAMBI 2014, London Fashion Week, New York Fashion Week, Britain’s and Ireland’s and America’s Next Top Model, The Pink Ribbon Foundation London and even blockbusters like Lord of the Rings, Pirates of the Caribbean, The White Ribbon, Hunger Games, Cloud Atlas, or internationally successful series like Star Trek or Game of

Thrones – all testament to the fact that make-up artists and stylists rely on Kryolan’s made-in-Germany quality for film, TV and photographic productions.


ME

Photographed by Genevieve Charbonneau www.genevievecharbonneau.com Stylist: Olivia Leblanc Represented by Folio Montreal Makeup and Hair: Cynthia-Christian Cadieux Represented by Judy Inc. Photo Assistant: Melanie May Taillon Retoucher: Retouche Clandestine Model: Nova - Dulcedo Models

52

1968magazine.com


Left: One piece J Crew

White blouse Topshop Pink skirt J Crew Green boots ASOS Bow American Apparel


Black dress House of CB Ring Delilah K White shoes Chanel

54

1968magazine.com


Gold blouse H&M


White blouse Topshop Bow American Apparel

56

1968magazine.com


Gold blouse H&M Grey pants J Crew Belt COS Shoes Nine West


Black dress House of CB Ring Delilah K

58

1968magazine.com


White blouse Topshop Pink skirt J Crew Green boots ASOS Bow American Apparel


in the still of the night Photographed by Philip Blythman www.philipblythman.com Stylist: Alton Hetariki Represented by N Management Makeup Artist: Claudine Blythman Hair Stylist: Dani Metcalfe Model: Tessa Westerhof - Wilhelmina Models

60

1968magazine.com


Wool crochet knit dress Stella McCartney Hooded jacket A Bathing


Leather jacket Martine Rose

62

1968magazine.com


Ruffle shirt Christopher Shanonn Metallic pants Martine Rose


Tweed quilted jacket Chanel Velvet flares Mary Bensen

64

1968magazine.com


Leather jacket Arise Jeans Fendi


66

1968magazine.com


Faux fur coat Shrimpy Denim jeans Arise Shirt Christopher Shannon


lAKE CABIN Photographed by Maude Arsenault www.maudearsenault.com Stylist: Jay Forest Represented by Folio Montreal Makeup and Hair: Soraya Qadi Represented by Judy Inc. Model: Melizanne - Dulcedo Models

68

1968magazine.com


Left: Cashmere Grey turtleneck Sandro Animal print wool sweater By Marlene Birger Grey wool jacket attached to the waist Isabel Marant Clay wool coat Nice Things Dress black pants SinĂŠquanone

Grey wool sweater Heartloom Black turtleneck Kooples Wool, alpaca, silk sweater Stella Jean


Wool coat SinĂŠquanone Stripped dress shirt Hugo Boss Grey Turtleneck Zara

70

1968magazine.com


Black dress Missoni Black Jumpsuit with see-through legs Mustard Seed Black Turtleneck wool and cashmere Marc Jacobs Black leather shoes with rubber sole Saint-Laurent


Layered mohair, wool turtleneck H&M Studio Collection See-through pants By Marlene Birger Leg warmer Free People Black leather shoes Aldo Wool bronze metallic sweater By Marlene Birger

72

1968magazine.com


Oversize Jeans, La Maison Margiela for H&M Wool Coat Part Two Sweater Isabel Marant Turtleneck Cashmere, nylon, acrylic, viscose Vince Brogue leather black with white sole shoes Hego’s Liverpool


Multicolour mohair, alpaca, wool, coat Sachin + Babi Faux fur vest Design Lab Turtleneck Zara Overalls, Handmade and artisanal from Oaxaca, Mexico Grey mohair sweater Acne Studios Brogue leather black with white sole shoes Hego’s Liverpool

74

1968magazine.com


Grey wool sweater Heartloom Black turtleneck Kooples Wool, alpaca, silk sweater Stella Jean


76

1968magazine.com


Seasons in Beauty Photographed by Joerg Schieferecke www.joergschieferecke.com Makeup and Hair: Suzana Santalab Represented by N Management Set Design: Sandra Wiesemann Model: Lea Talay - Mega Model Agency

Winter “Diamond Dust” Foundation: Chanel vitalumieère Powder: Giorgio Armani Luminous Silk Powder Concealer: Yves Saint Laurent Touche Éclat Eyeliner: Laura Mercièr creme Eyeliner Eyeshadow: Rougebunnyrouge Long lasting Eyeshadow Mascara: Nars Audacious Mascara Lipliner: Und Gretel Lipstick: Guerlain Rouge G Brillante White: Makeupforever Eyebrows: Benefit Instant Brow Pencil Nails: Sally Hansen Colour Foil Liquid


Spring “Dark Knight” Foundation: Sisley Phyto-Teint Eclat Powder: La Prairie Cellular Treatment Foundation - Powder Finish Puder Concealer: Bare Minerals Eyeshadow: Sisley Phyto Ombre Glow Mascara: Helena Rubinstein Spectacular Blush: Nars blush Lipstick: Laura Mercier Vibrant to sheer Lipliner: YSL Dessin Des Levres Nail polish: Chanel Le Vernis Eyebrows: Rougebunnyrouge Brows

78

1968magazine.com


80

1968magazine.com


Summer “Red Butterfly” Foundation: Kanebo Fluid Finish Lasting Velvet Powder: Laura Mercier Translucent Loose Setting Powder Concealer: Lancôme Effacernes Concealer Eyeshadow: MAC Cosmetics Mono eyeshadow Mascara: Helena Rubinstein Spectacular Red: Makeupforever Rouge: Guerlain Metéorités Perles de Blush Lipgloss: Shiseido Lacquer Rouge gloss Eyebrows: Giorgio Armani Eye & Brow Maestro


Fall “Touch of Yellow” Foundation: Giorgio Armani Luminous Silk Foundation Powder: Laura Mercier Translucent Loose Setting Powder Concealer: Shiseido Natural Finish Cream Concealer Eyeshadow: Nars Eyeshadow Mono Mascara: Urban Decay Perversion Mascara Lipgloss: Shiseido Lacquer Rouge gloss Eyebrows: Giorgio Armani Eye & Brow Maestro

82

1968magazine.com


TRAVEL - MEXICO

Four Seasons Resort

F

our Seasons Resort Punta Mita, an award-winning paradise beachfront oasis tucked into the lush landscape of the Riviera Nayarit, has been recognized as one of the top resorts in the world in the 20th annual Travel + Leisure’s 2015 World’s Best Awards. Four Seasons Resort Punta Mita was ranked #1 among the Best Hotels and Resorts in Mexico for Families, top five among the Best Hotels and Resorts in Mexico, and placed #26 in the Top 100 World’s Best Hotels with an overall score of 93.54.

84

“We are honoured to be recognized as the top resort in Mexico’s Pacific Coast and as one of the best resorts in the world”, said John O’Sullivan, General Manager Four Seasons Resort Punta Mita. “This recognition is a true testament to our dedicated staff, who take great pride in maintaining the highest level of service and amenities that our loyal guests have come to expect as they return year after year.” “It is our goal to continue to provide our guests with an incredible experience through the exceptional service and new programming and Resort enhancements, including the recent redesign of our two private beaches.”

1968magazine.com


Four Seasons Resort Punta Mita is located in a picturesque fishing village nestled on the southwest point of the Riviera Nayarit, just 45 minutes from Puerto Vallarta on the Bahia de Banderas. The beachfront property is set on 400 acres and boasts incredible surf, lush jungles and endless adventure. In addition, 173 spacious, traditional Mexican-style casitas guest rooms, three alfresco Richard Sandoval restaurants with ocean views (the bar has over 200 types of tequilas!), a serene spa and world-class golf courses designed by Jack Nicklaus offer guests unrivalled Four Seasons luxury infused with an authentic taste of rural Mexico. With four pools, two beaches, the Apuane Spa, two Jack Nicklaus golf courses, ten tennis courts, dedicated facilities and programs for children and teens, four restaurants and dozens of daily on-site activities, it’s no surprise that many guests of Four Seasons Resort Punta Mita choose never to leave the property during their stay. The Resort’s pools include a Nuna Pool with constant temperature of 30C (86F) and shallow splashing areas for children; the Tamai Pool Complex with two main pools, two plunge pools, whirlpool, full bar and 10 private cabanas; and the cool and refreshing Lazy River encircles the Oasis complex (with inner tubes and noodles that are provided for relaxing reads along the pool’s currents). But for those interested in exploring further afield, there’s a wealth of things to do and see within minutes or a few hours of the Resort. Guests may start by consulting the weekly Activity Guide and let the expert Concierge staff book an experience to remember; from snorkel and scuba exploration, to fishing, surfing, horseback riding, zip-lining and even a private helicopter Tequila Tour of the world-renowned Jose Cuervo Distillery.


On honeymoon, Valentine’s Day or any time, nothing sets the stage for a romantic encounter better than a special dinner for two, a private yacht charter to a secluded beach, or a shared spa experience. At Four Seasons Resort Punta Mita, one of the most romantic resorts in Mexico, it’s as easy as booking one of these unique couples experiences, or creating one’s own bespoke journey with the help of Resort staff.

As far as tropical vacation destinations go, Mexico’s Punta Mita is very attractive. For one, it’s a small village rather than a large resort area. Second, it’s home to what is probably the most unique golf course in the world - the Jack Nicklaus-designed Pacifico Golf Course at Four Seasons Resort Punta Mita.

With the supervised Kids for All Seasons program and the fully-wired Nunutzi game room for teens, the whole family will find something to enjoy, whether together or on their own. Professional babysitting service is also available, including overnight.

What makes this course so incredible? Hole 3B. Commonly known as the “Tail of the Whale,” it’s the world’s only natural island green. That’s right, the hole is on its own black-lava island, and the only way to get to it is by amphibious golf cart. It’s a favourite of guests, from experienced golfers to beginners, and Jack Nicklaus himself has said it’s probably the nicest hole he’s ever designed.

Supervised children’s programme is also offered in a dedicated facility featuring an indoor tree house and outdoor play area with jungle gym.

For more information visit: www.fourseasons.com/puntamita


Profile for 1968 Magazine

Issue 15 - Winter 2015/16  

This issue features fashion editorial stories from recognized photographers Benjamin Kaufmann, Joseph Saraceno, Chris Haylett, Malina Corpad...

Issue 15 - Winter 2015/16  

This issue features fashion editorial stories from recognized photographers Benjamin Kaufmann, Joseph Saraceno, Chris Haylett, Malina Corpad...