TABLE OF CONTENTS Letter from the Editor 101 Reasons Why We Love Austin A Hair Affair Couture Fall 2010 Style Icon: Hedi Slimane Wilhelmina Brown: An Interview with Justin Brown 101 Reasons Cont. Hello My Name Is‌ I Am Man 101 Reasons Cont. Kilty Pleasure Designer of the Month: Vivienne Westwood 101 Reasons Cont. Talking Fantasy Credits and Special Thanks
Letter from the Editor When I first moved to Austin, I found myself unsure of how to absorb this city. I was a city slicker from Houston finding myself tiring of the Keep Austin Weird memorabilia, vintage clothes that smelled like my grandma, and Austin’s glorification of small businesses. I must admit, I just didn’t get it. Where were the big leagues? The huge corporations? The national brands I had been raised to enjoy? Since then, I came to really know Austin, and as if by some miraculous revelation the skies parted, the doves descended, and my eyes were opened. I found myself addicted to local businesses. I realized that here anything is truly possible. In the course of falling in love with Austin, I decided to play the anything’s possible card for myself. A friend and I decided we wanted to create a community of writers, photographers, designers, models, and hair and makeup artists who were passionate about becoming part of a local fashion community, and that’s exactly what we’ve done. A lot of people have asked us, What makes Spark different? What’s new about Spark? As tough as it is to admit, I had been asking myself that same question. However, this magazine has pushed my staff and I closer to Austin, and it was in this bond that I found my response: In no other city, could Spark become more than a dream. There’s such a beautiful community in Austin that you won’t find anywhere else. Everyone wants to help each other. Everyone is genuinely interested in each other, somehow bonded by the fact that we are all in this together. I realized there’s no way we could do what we’ve done in a larger city. There would have been forms to fill out, letters sent to far-away corporate offices, and jungles of red tape. Through this realization came a feeling of gratitude for a city I once misunderstood. To answer the question, Spark was an idea that is now becoming part of a larger Austin community. It is fashion dissected on an Austin level. You can pick up a national fashion magazine and see the big international brands and the famous models that you will probably never meet, and there’s nothing wrong with that. In contrast, after reading Spark, you can bump into a model from our editorials on your way to a featured store or salon. With this idea in mind, our editorial took us on an adventure through Austin as we followed a girl in search of herself. We also decided to feature Austin’s finest, from restaurants and festivals to public figures and local landmarks. At the core, Spark is fashion the way Austin would have it: local, unpretentious, and most importantly, accessible to all. As an idea that sparked in the brains of a few ambitious people, we hope our September issue, and every other issue; will be a platform with which to spark your own fashion adventure.
Ian Milan
A HAIR AFFAIR
Is that a ship on her head?” Cameras flashed
“
rapidly, struggling to capture the moment. A model in a large, ship crowned, pink wig strutted cautiously to the end of the runway. Undoubtedly this was the highlight of the evening at the Phoenix. However, the remainder of the fashion show was anything but supplementary. The theatrics of A Hair Affair were intoxicating. Each model was garbed in her corresponding class attire, from aristocracy to the petit bourgeoisie. Aristocratic models wore elaborate wigs and garments contrary to the “lower class” who donned simple wigs and revealing frocks. The most astonishing looks of the evening aside from the pink wig, topped with a ship, were
an elegant red dress, an elaborate bird cage
wig and a few tops that were literally painted on the body of the model. The red dress was the show stopper. Ruffles gently framed an open neckline, cascaded down the full skirt and circled the hem of the dress. Black tights as intricate and delicate as a spider’s web were harmoniously paired with the red dress. On the opposite end of the spectrum was a black dress, or rather skirt. It appeared to be a dress but as the model stepped into the light it became apparent that her top was completely
painted onto her body. This was naturally shocking to some but it was done so tastefully that it became a crowd favorite. Her seamless top was black-gold was so artfully executed the paint appeared to be lace. The bird-cage was more art than hair. Cast in bronze, the whimsical cage was etched with flowers and leaves. It was attached with a goldenrod ribbon about the model’s neck. The cage was balanced by a simple combination of a powder pink corset, a gold belt, and a ruffled white skirt layered on top of soft white tights.
What followed the cotton-candied wigs was positively tantalizing. Lights dimmed on the dance floor and colorful spotlights revealed a belly dancer on a pedestal. Her body imitated the mysterious beauty of a snake as she swayed lethargically and struck with her hands, hips and feet. As if the exotic belly dancer was not enough, an aerialist performed tricks from a cerceaux, suspended from the ceiling. The aerialist spun and displayed her mind-blowing elasticity as she swung and flipped in and around the hoop. LegitArt Entertainment spared no amusement for A Hair Affair to raise money for Locks of Love. Among the open bar, unbelievable fashion show, belly dancer, and aerialist, the event was truly one of Austin Fashion Week’s best.
~ Autumn Ashley
Managing Executive Editor
101 REASONS WHY WE LOVE AUSTIN
FOOD!!! [2]
[1]
Top
Tomo
This sushi bar is
BIG
Austin’s best kept
[3]
secret. With saucy names and explosive tastes,
[6]
Tomo will give Uchi a run for its money!
Chuy’s [4]
[8]
Farmer's Markets
[5]
Mandola’s
Located in the Triangle, Mandola’s serves up some of the most addicting Italian food you’ll ever find in Austin.
Sweet Leaf Tea Magnolia café
[12]
[11]
“How Do You Roll” Sushi
Antonelli’s Cheese Shop [7]
Boasting a wide selection of delightfully aromatic cheeses, Antonelli’s is sure to become an Austinite institution.
[10] [9]
Uchi
Polvo’s
Mexican food so good even your abuela would approve
Sno Beach
With a ceiling made of wine bottles, this café serves up Austin’s finest gelato, espresso, panini, and desserts.
[13]
[17]
Cupcake Shops
Dolce Vita
Juan in a Million
[16] Whole Foods
[14]
This local taqueria has caught the attention of musicians, politicians, celebrities, and even Martha Stewart. The “Don Juan” is a house favorite, and you can expect Juan himself to give you a hearty handshake and a sincere farewell on your way out.
[18]
[21]
Progress Coffee
Joe’s
*not the crab shack
[15] Teuscher
Chocolates [20]
[19]
Austin has a slew of cupcake shops, some admittedly better than others, but one thing is for sure: Austin has a passion for these little confections.
Bennu
Mozart’s This lakeside coffee shop has a relaxing aura perfect for dates and studying alike.
Kerby Queso [23]
[22]
Kerby Lane’s infamous Kerby Queso is the stuff of late night legend, and for good reason!
Epoch coffee
Halcyon Café [24]
This warm, inviting lounge is the perfect place to unwind at the end of the week or to roast s’mores with friends.
[26] The Steeping
Room This tearoom at the Domain mall boasts an extensive tea list, including unique flavors like crème brûlée and chocolate, as well as a full menu of light and delicious fare.
[22]
[25] During Austin summers, a cold treat is a must, and there is no better place than GoodPop, the innovative popsicle trailer offering unique flavors like Pineapple Basil and Mango Chile.
[30] Mighty Cone
[27] Bananarchy
Viva Chocolato [29]
[31]
[28]
North
This Italian restaurant nestled inside The Domain proves itself a master of both modern and classic cuisine.
La Condessa
[32] Madam Mam’s
Best Thai in Austin. Anything on the menu will become your new favorite. Try the pad thai or the green curry. No matter what you order, you will crave it again, if you don’t already.
[34] P.Terry’s
[33] Holy
Cacao
[35] Café Crepe The delicate smell of butter and flour is instant when you walk into this casual, no-frills restaurant; it’s a ticket to Paris wrapped in a delicious, freshly made crepe.
[36] Austin Street Foo d
there is ever a moment when fashion seems If to be more about the art than the profit, it is couture week in Paris. This season there were only nine designers who met the rigorous requirements of France’s Chambre Syndicale de la Haute Couture. This select few pulled out all the stops, selecting lush fabrics and seeking to inspire with garments that may never be put into production. The fall 2010 season was no exception to the luxury, expert workmanship, and decadence that the title, “couture,” evokes. Armani Privé is one of the few brands, which, because its founder continues to design the label, retains a clear vision that rarely wavers. There will be no Gareth Pugh-esque melodrama or Alexander McQueen theatrics, because Giorgio Armani consistently sends nothing but elegance and sophistication down his runways. His fall 2010 collection, entitled “A Play on Amber,” began with a new take on his trademark suit. The slightly pleated skirt moved well and complimented a blouse with an asymmetrical neckline, but the true standout in the ensemble was the dramatic coat thrown nonchalantly over Carmen Kass’ shoulders like a chic, nude-colored cape, showcasing Armani’s celebrated draping. The muted elegance of this first look set the tone for the rest of the collection, which included memorable pieces such as a beige A-line coat with a paradoxically structured cowl neck. Even the more casual looks, such as a grey tailored pant and off-white cardigan, were unmistakably elegant, reminding us that it is possible to be stylish on any occasion.
ARMANI
However, Armani reserved his coup de thêâtre for the final look, when Karlie Kloss presented – in her signature melancholy glide– an evening gown drenched in amber sequins that glittered salmon in the light. The ruching at the shoulders, the gentle folds of the fabric, and the tailoring of the sleeves all attested to Armani’s place among Paris’ couturiers. No less iconic was Karl Lagerfeld’s collection for Chanel this fall. Nevertheless, when the show first opened with suits and tweed, members of the audience may have wondered if they were to be merely shown a rerun of past collections. However, Lagerfeld was sure to distinguish himself with a new tone and concept for the brand. The very lines of this collection differed markedly from its predecessors, as evident in a deconstructed military jacket with sleeves cuffed at the forearm over what appeared to be an asymmetrical waistcoat. The aesthetic at first was darker and more masculine, a bit more Karl Lagerfeld than Coco Chanel: cuffed, voluminous sleeves abounded, along with cropped jackets and bow ties.
Chanel
Valentino
As a playful nod to the Chanel 2.55, Lagerfeld created a handful of dresses sporting the unmistakable quilted pattern. From there, the collection took an unusual turn, with decadence in jewelry and ornamentation. There was a heavy presence of brocade and lace, and a mystifying dress in the typical Chanel silhouette – slim, topped with a cropped jacket – but with the color of red lacquer and festooned with red flowers at the collar and hip. Other dresses seemed to take their cues from origami, while one featured a satin, scalloped skirt that inevitably recalls the mermaids of fairy tales. The collection concluded with a series of regal dresses and Baptiste Giabiconi, Karl Lagerfeld’s male model du jour, carrying a lion’s head tucked under his arm. This season, Chanel offered not only a presentation of clothing but also a fantasy. Some designers, on the other hand, are less concerned with fantasy and more fascinated by the prospect of glamor, pure and simple. Elie Saab is one of those designers, as his couture collection demonstrated this fall. This season for Saab was quite literally theatrical; inspired by Il Fenice, the storied opera house of Venice that joins London’s Covent Garden and Paris’ Opera Garnier as a colossus of the art world.
This meant velvet, sequins, and copious amounts of red. From the very first gown Saab sent down the runway – a floor-length, carefully draped gown in a deep scarlet velvet – the audience knew that fall 2010 was going to revel in the drama of evening wear. The collection was composed almost entirely of dresses, each one threatening to outdo the last in luxury. A particularly decadent creation was a knee-length, sea-foam number, sheer but for a slip and dripping with sequins. Saab also included a chilling trilogy of three gowns to represent the three occasions upon which Il Fenice burned to the ground; the fabric, aptly chosen, moved easily and billowed like the fiery story it was fashioned to tell. These were followed by another selection of three dresses, this time in a deep carmine. Easily some of the most striking in the collection, the gowns flowed like water, moving with lightness and grace – no doubt strong contenders for the red carpet.
Gaultier
The collection finished off with opulence at its best: silky and shimmering, many of the dresses sported slim pleats that outlined and complemented the shape of the women who wore them. Complete with startling thigh-high slits, flowing fabrics, and impeccable draping, Elie Saab’s collection is sure to win over starlets with a taste for decadence. Equally a master of opulence is Ricardo Tisci for Givenchy. Famed for his gothic aesthetic, Tisci surprised the fashion world this season by forgoing his darker look for an almost entirely white color scheme. At the same time, couture provided a perfect stage to display the dramatic design techniques he is best known for, notably lace and fringes. In fact, the first dress foreshadowed the look of the entire collection, as Natasha Poly posed regally in a skeletal-patterned lace gown that culminated in a forest of fringe at the ankles. The piece shifted the focus onto the body and heralded the extravagant ornamentation to follow. The next few looks are variations upon this theme, sometimes with the bewildering addition of a shaggy fur or leather jacket. One of the most stunning pieces this season for Ricardo Tisci resembled the deconstructed dress of a Grecian goddess. A creation of mixed fabrics, alternately sheer and opaque, the dress also boasted a flowing, twenties-esque fringe hem. Had any another designer attempted such a medley of techniques; the result would have been more in the vein of Frankenstein’s Creature. However under the careful hand of Ricardo Tisci, the dress became both elegant and edgy. Interestingly, Givenchy’s couture collection this season was, in many ways, reminiscent of Alexander McQueen’s work – that is, never dull, but always majestic. The late McQueen and Tisci shared a penchant for the gothic, yet neither forsook painstaking workmanship or elegance for his forward-
looking creations. Unlike the heady cocktail of influences, textures, and techniques at Givenchy, Jean Paul Gaultier referred to a very distinctly Parisian haute couture style. His aesthetic was at play from the moment Karlie Kloss strode down the runway in a beautifully proportioned military trench, slim as a pencil skirt at the bottom, but voluminous at the top, the perfect emblem of Parisian sophistication. There was an abundance of expertly worked leather – perhaps a vestige of Gaultier’s creations for Hermes – generous amounts of fur, including a silver fox wrap and the puzzling mink bra, and plenty of volume. Despite these bold choices, one couldn’t help but sense that they were merely adaptations of the same experiments seen on other runways. There were the exaggerated, rounded shoulders and hips à la Nicholas Ghesquière for Balenciaga, sharp shoulders in the Balmain style, and Dolce & Gabbana’s peculiar mutton leg-shaped sleeves. Gaultier nevertheless produced some eye-catching pieces when he seemed least self-conscious about experimentalism. A fabulous sheer top paired with a slim, yet flowing knee-length skirt belted high at the waist made for pure elegance in the true Parisian fashion. Similarly, the most beautiful pieces in the collection were the simple black dresses that placed the spotlight on draping and craftsmanship rather than unhelpful attempts at futurism. Though it is difficult to forgive the designer for some of the downright hideous pieces, such as a bright green, satin dress with a matching wrap, the last selection of dresses were deliciously slinky and luxurious, guaranteed to make any woman feel like a movie star of the early twentieth century. At the opposite end of the spectrum, Maria Grazia Chiuri and Pier Paolo Piccioli celebrated a different kind of femininity for Valentino’s couture collection. In place of the dramatic, floor-
Givenchy
Saab
sweeping gowns at Gaultier and Elie Saab, Chiuri and Piccioli opted for a more girlish, youthful look with A-line, baby doll dresses. Sporting considerably raised hemlines, the pieces were among the most wearable of those presented during this couture season. The first was an easy, navy blue dress boasting a slightly exaggerated shoulder and a bow at the waist. The collection’s color palette first wavered between navy and white and finally settled upon a range of nude tones for its frothiest creations toward the end of the show. Ruffles, bows, tulle, and roses reminded the audience of Valentino’s simple, yet admirable aim. The house has not been preoccupied with challenging the frontier of fashion, but instead is quite content to produce lovely, feminine pieces that will both uphold the name of Valentino and reap a profit. This is not, however, to the detriment of the brand, because it is impossible to resist the classic beauty of its dresses. Despite a few bold choices, such as the cream-colored cage encircling one model’s torso or the tongue-incheek Valentino rosette magnified and placed on a sheer blouse, the brand creates a youthful fantasy that offers customers what they seek in fashion: a thing of beauty. With Valentino, it comes down to a knee-jerk reaction along the lines of, “It’s lovely. I want it.” Fall 2010 couture demonstrated a wide variety of styles and aesthetics, spanning the creative distance between Givenchy’s haunting majesty and Valentino’s breezy femininity. Among these couturiers, these giants of fashion, it is clear that John Galliano for Dior nevertheless surpassed his peers. This season, Galliano literally made a study of Christian Dior’s tulip skirt by putting forth a show bursting with floral patterns, shapes, and colors, as if the runway were one, colossal garden of fantastical proportions. The ubiquitous Karlie Kloss opened the show with an explosion of violet, a coat with – of course – a tulip skirt, cinched at the waist by a belt resembling blades of grass. The collar was a parade of exaggerated ruffles in the shape of roses, and the look was finished off with a pair of bright orange gloves. And yet, in true Galliano fashion, the ensemble was exquisite despite its seeming outlandishness. While it would certainly be difficult to find a woman capable of pulling off such a look in the street, the outrageous purple coat managed to be elegant, as it pitted a classic shape against cheeky colors and playful styling. The rest of the collection was no less stunning and highlighted Galliano’s peerless craftsmanship: a bold top with a plunging neckline highlighted by a fiery fringe toughened up a baby blue tulle skirt, while a voluminous black dress featured a slit along the center of the skirt to reveal, like a flower blossoming, layers of yellow tulle splashed with magenta petals. Each piece unfolded a new fantasy, employing classic silhouettes and transforming them entirely into delectable creations. Galliano created a true garden of earthly delights, the very embodiment of couture.
Dior All Photos Style.com
STYLE ICON: HEDI SLIMANE Dior homme, Karl lagerfelD’s infamous diet, and Lady Gaga have one thing in common…the
of Hedi Slimane.
genius
Edited by Autumn Ashley
HEDI SLIMANE
Fashion’s Renaissance man, Slimane launched his career when he helped to revive Yves Saint Laurent’s menswear collection in 1997. After stepping in as creative director of Dior Homme, Slimane pioneered his trademark suits with clean, tailored silhouettes; compelling even Karl Lagerfeld to adopt the infamous cube of cheese diet. Today, the silhouette remains a sartorial canon in the world of menswear, resisting fashion’s overwhelming thirst for the next new look. “I never wanted to please,” Slimane announces in an interview with Style.com. “I always and only thought about my own time and the birth of an entire generation”, and he has. Despite his work for couture heavyweights, Slimane defies authority and precedent, preferring instead to blaze his own path. As a photographer, Slimane has developed a striking, minimalist aesthetic that parallels his designs, while as a music enthusiast; he has established symbiotic relationship with the London rock scene. He has discovered and launched the careers of many models, and, more recently, shot Lady Gaga for the cover of The Fame Monster. It is almost impossible to consider the state of photography, menswear, or music today without noticing the influence of Hedi Slimane: from minimalism to slim ties, sharp lines and stark photos to skinny jeans, the designer has left his mark on the art world with style. ~ Lisa Siva
www.style.com www.thefashionspot.com www.hedislimane.com http://www.runway2reality.com/2007/09/50-most-stylish-men-of-past-50-years-by.html
101 REASONS WHY WE LOVE AUSTIN
FESTIVALS!!! [37] Umlauf Garden Party
One of Austin’s most elegant events, the Garden Party at the legendary Umlauf Sculpture gardens is not to be missed and will feature live music and food from some of the city’s best restaurants.
Restaurant Week [39]
During a week of reasonable prixfixe menus at the city’s top restaurants, Austin proves itself a force to be reckoned with in the culinary world.
[38] Runway to Heaven A fashionable benefit gala, Runway to Heaven features new and established designers for an unforgettable evening of style, food, and entertainment.
[40] Austin
[42] South by southwest (a.k.a sxsw)
Fashion Week
[46] Le Garage Sale
Zilker Kite Festival [43]
This biannual event is like dozens of sales from independent boutiques in Austin under one roof. Enjoy clearance prices on unique items while benefiting local businesses.
[41] Trail of Lights
[45] Art City Austin [44] Old Pecan Street Festival
More than just a festival in a city of festivals, Art City is a celebration of Austin’s vibrant creative community.
Austin City Limits (a.k.a. ACL) [47]
W I
L H E L M I O B R N W a
An interview with Justin Brown
Edited By Ian Milan, Autumn Ashley
Wilhelmina has become a sacred name in the fashion industry. Young models mention her name with fervor in their voices. Eyes light up with anticipation as she walks into a room. We have all heard of her through one medium or another, whether it was flipping through Vogue or hearing Tyra Banks drop her name every fifteen minutes on America’s Next Top Model. But what you may not know is that Wilhelmina chose Austin, TX, as one of the most promising places for fresh new talent. A few weeks ago I had the honor of sitting with Justin Brown, the former owner of Texas Acting and Modeling Academy who became the next proud member of the Wilhelmina family. Within seconds of speaking with him, the six foot tall, blond hair, blue-eyed man had managed to capture my attention through an easy sense of humor rarely found in the fashion industry.
SP A RK : W ha t w as it ab o ut A u st i n th a t dr e w W il he l mi n a t o op e n a br a nc h h er e o ve r H o us t on o r Da l la s? Brown: Nothing against Houston or Dallas, I just knew them already and there’s the closeness and proximity; we can cater to Houston, Dallas and San Antonio.
SP A RK : H ow wa s t he tr a ns it i on in be c om in g W i lh el m in a B r ow n? Wh a t di d t hi s t r an si t io n e n ta il an d wo u ld y o u s ay i t w a s e as y o r di f fi cu l t f or y o u?
Brown: It was really easy transitioning into Wilhelmina Brown. I’ve been to New York and California. I had to meet with the heads out there and learn what they were looking for, observe what kind of marketing materials they use to find models and how they do a booking, take that and combine it with what we were already doing.
SP A RK : W ha t a re so m e g en er a l r es tr i ct i o ns fo r m od e ls on a co n tr a ct ? H av e y ou ev e r ha d a m o de l c om p le t el y v io l at e a c o nt r a ct by cu tt i ng of f t he i r h ai r o r d yi ng it ne o n or a ng e o r a ny t hi n g li k e t ha t?
Brown: No… In general you must keep your sizes and look consistent. Even a mild change requires an update in marketing material. It’s like you change a recipe in a soda pop, you have to change the marketing. You are a product and the product must match the marketing. If you’re expecting to eat chocolate and you open the package and find vanilla, you’re mad.
SPA RK : Wh at t hi ng s do you l oo k fo r in a m od el, in te rm s of c as ti ng a n ind iv id ua l?
Brown: We do all aspects of modeling, and acting, but we want to be a small agency. We decreased our roster and want to increase quality. We want to fill the right jobs, and the right rolls. We’re not looking for character actors. We’re looking for good-looking talent. Not tons of people are looking for the star type of people. Everyone we work with must be able to fill out rolls. Models must be actors. Some goodlooking people don’t want to work hard. But we want to focus on even outside of Texas. Those who aren’t right for Austin could do something national or even international.
SPA RK : Wh er e is W il he lmi na B ro wn hea di ng r ig ht n ow , in te rm s of tal en t? I s th e fo cu s on me n or wom en , mo de li ng ( co mm erc ia l or run wa y) o r ac ti ng ?
Brown: Depends on what you’re marketing for, are you the friendly commercial type, the fashion type with a great body for swimwear? How old are you?
It’s only been six months since their launch, but it would be impossible to imagine Austin’s fashion community without Wilhelmina Brown.
Autumn Ashley
Managing Executive Editor
[ 5 0 ]
[ 4 8 ]