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Afi magazine CULT CANDY COSMETICS Former rockstar mother & daugther team up on an inclusive, vegan and cruelty-free makeup brand

VOL.4 ISSUE 1

LONDON FASHION WEEK SS20

Paul Costelloe, Mark Fast, Alice Archer, IA London and more

Go backstage with LFW

KEY ARTISTS Brendan O’Sullivan, Michelle Webb, Astrid Kearney, Valentina Creti

NATURES PALETTE This season is about excess, added layers, ruffles and textures. Our editors picks out the best for your autumn wardrobe

On the Cover

LUNAR ECLIPSE by Ellin Anderegg starring Olivia Dunn


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VOL.4 ISSUE 1

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Contents EDITORIALS “Lunar Eclipse” by Ellin Anderegg “Memory Lane” by Conrad Lee “Road Trip” by Hlin Arngrimsdottir “The First Gate” by Oleg Chebotarev “District of Angels” by Ilenia Modica “Baltic Sunrise” by Peter Olsson

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London FashionMark Week Fast P.16 Roberta Einer Paul Costelloe Oxford Fashion Studio IA London Alice Archer SuperSuperSuper

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P.04 P.20 P.40 P.54 P.64 P.76

P.17 P.36 P.50 P.62 P.72 P.88

From The Editors

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Natures palette P.18 Cult Candy Cosmetics P.92

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Contributors 20

Ellin Anderegg, Conrad Lee, Peter Olsson, Hlin Arngrimsdottir, Ilenia Modica, Oleg Chebotarev, Brendan O’Sullivan, Michelle Webb, Astrid Kearney, Valentina Creti, with thanks to Slingshot London, McCluskey PR, POP PR, Spring London, The Lobby London


VOL.4 ISSUE 1

editor's Note Dear Readers

ON THE COVER Photography: ELLIN ANDEREGG @ellinanderegg | Hair, makeup and wardrobe styling: JULIA GRUNZ @juliagrunz | Model: OLIVIA DUNN | Behind-the-scenes photographer: OLIVIA PULVER @oliviapulver-fotografie | Assistants: CAROLINE STÄGER and NICOLE BÖCKHAUS

Editor-in-Chief - Conrad Lee Fashion Editor - Stef Carter Beauty Editor - Luciana Petrossian Assistant Graphic Designer - Jana Kroslakova

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Preparing the October issues is always one of the busiest but also the most exciting moments for me for the magazine. Not only because it is the anniversary issue, but also we have begun to feature fashion week contents from amazing designers and artists in the British fashion scene. My involvement with fashion week hasn’t been extensive, yet after several seasons following some of the designers, I began to catch a glimpse of their artistic minds. It’s quite exciting to see what magic comes down the runway and the beautiful chaos that goes on backstage, but one thing that I want to highlight isn’t the beautiful garments, but the artist’s infinite imagination. Coming up with new unique designs is really not a simple task as the world becomes more and more saturated with ideas and creations. If you are a creative, you probably know what I mean and perhaps have thought the same at some point. How do you come up with ideas!? It’s all been done! From seeing some of the designers work, I see one common theme, and that is consistency; The consistency to stay true to their vision, their aesthetics. They take an inspiration, and mix it with something new and make it their own. Of course, this is much harder than it sounds, but this is where research and being well prepared come into play. However, sometimes you do need to know how to go with the flow, and follow your instincts. Be decisive, learn when to pursue and when to let an idea go. Creativity is a morphing process and isn’t static. So I urge everyone (also reminding myself) to go back and review your own creations, see if they stay true to you. Apart from beautiful fashion stories created by our brilliant contributors, this issue also includes inspiring interviews with key artists during London Fashion Week, and also from Angie and Jazmin, the mother daughter duo that is the creative brains behind an upcoming makeup brand – Cult Candy Cosmetics. As you can see, we have revamped our cover! I hope you enjoy this issue.

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Conrad Lee (Editor-In-Chief) Copyright ©. All rights reserved. No content within this publication is to be reproduced in any form without explicit written permission from afi magazine. Opinions and views of contributors are their own and not necessarily those of the publishers. Afi magazine reserves the right to edit any submitted material if required and is not liable for any errors/omissions.

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Lunar eclipse Step into this surreal landscape and explore the new ways of inventive layering with statement accessories. Photographed by Ellin Anderegg. Styling by Julia Grunz

Photography: ELLIN ANDEREGG @ellinanderegg | Hair, Makeup and wardrobe styling: JULIA GRUNZ @juliagrunz | Model: OLIVIA DUNN | Behind-the-scenes photographer: OLIVIA PULVER @oliviapulver-fotografie | Assistants: CAROLINE STÄGER and NICOLE BÖCKHAUS

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Olivia wears: Hat by SEEBERGER, Head piece hy AUMI, Jacket by PRETTY LITTLE THING, Dress by SANJAY GARG, necklaces by ZARA

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Olivia wears: Silver top by TEMPERLY LONDON, Tights by FOGAL, Shoes by ASH, Turban & necklaces are stylists own, Belt by RALPH LAUREN

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Olivia wears: Tops by ROLAND MOURET and ETNO, Jewellery by DONNA KAREN, urban & Naturaleza by MANOR, Armor is stylists own

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Olivia wears: Top by TIBI, Necklace by MAISON MARTIN MARGIELA, Green satin top by ZARA, Skirt by PINKO, Boots are Stylist own, Belts by DOLCE & GABBANA and AUMI, Leggings by H&M

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Olivia wears: Trousers by CHRISTOPHER KANE, Nightgown by PLEASURE STATE, Bra & belt by AUMI, Shoes by ALEXANDER MCQUEEN, necklaces by CARMENSITA JONES and ZARA

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Olivia wears: Belt & Head Piece by AUMI, Scarf by VALENTINO, Hat by SEEBERGER, Dress by LANVIN

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Olivia wears: Hat by LACK OF COLOR, Scarf by JOHANNA ORTIZ, Body by HOUSE OF CB, Top & transparent dress by REVOLVE, Skirts by BAUM UND PFERDGARTEN and ZARA, Over knee socks by H&M, Shoes are stylists own

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Olivia wears: Shirt by MOSCHINO, Skirt by ESSENTIEL, Hat by LACK OF COLOR, Scarf by DOLCE & GABBANA, Belts by DOLCE & GABBANA and AUMI, Tights by FOGAL, Jacket is stylists own

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Olivia wears: Hats by SEEBERGER and LACK OF COLOR, Scarf by MADELEINE, Silver top by ROLAND MOURET, Sprayed Top by ZARA

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M A R K

F A S T

S S 2 0 written by Stef Carter

As the lights switch on, the sound of hard house fills the show space for Mark Fast’s vibrant collection. There is no doubt that every one of Fast’s collections pack a punch as voluminous shapes and delecibly tactile garments prance down the runway. This season Fast drew inspiration from multiple sources to create a bright and diverse collection. It was a blend of his childhood idol Madonna, combined with the energetic vibrancy of East London twinned with colours from the Amazon. Fast wanted to pay homage to the “colours and creations that were lost” in the recent devastation the forest suffered. “It is a mixture of bringing the city into nature and the wild into captivity, where neon lights meets neon leopard patterns,” The first garment to appear was a neon green top and knitted skirt combination which set the tone for the remaining collection. Prints and palettes were undoubtedly drawn from the Amazonian wildlife. No one can create evening knitwear as Fast does: yarn fringe appears weightless as it trims dresses, and metallic fine yarns moved in a mesmeric fashion. Yarns were blended with spandex to create form fitting styles for men and women, showing Fasts emphasis on gender fluidity within his collections. This season spread into the sports luxe territory as slogan knitwear, crop tops, bomber jackets, cropped joggers and tailored jackets weaved their way throughout the collection. Fast’s signature knitted dresses were aplenty, paired with sleek high ponytails, with snakeskin heels and chunky jewellery for an edgier undertone, thanks to the talent of stylist Calvin Opaleye.

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This bountiful collection was one of Fast’s largest, and certainly most wearable. I cannot conclude this round up without applauding Fast’s camp for their diverse choice of models, heralding different ethnicities, sizes and genders - something more designers should undoubtedly adopt.


ROBERTA EINER

ss20

written by Stef Carter

Are you ready for the best holiday ever? Roberta Einer certainly is as she presented her ninth collection this season inspired by the notion of how you intend to be seen through the clothes you wear on holiday. Think Sofia Loren or Monica Belucci and pair that with vintage seaside postcards from the 40s 50s and 60s and you have Einer’s all encompassing collection. From stylish daytime city dressing, to chic beachwear, and evening gowns Einer has you covered for all dress codes. Standard ice cream shades were left behind as Einer injected neons offset against soft mint tones and hazy pastels. Each garment was given the maximalist treatment we have come to know and love from the brand. Iridescent sequin trousers were trimmed with feathers, while hand embroidered lace was fixed onto oversized padded jackets. Cycling shorts came in mesh, sequinned, and beaded options, while there were were also denim shorts which had been given various embellished treatments too. Choose from relaxed suiting, or keep it “casual” in slogan t-shirts or slouchy sweatshirts. From brightly knitted bodycon dresses, asymmetric sequinned shifts, to high neck princess sleeved gowns you really could pick and mix your holiday style from this sweet delectable selection. Roberta Einer creates clothes for the cool, strong woman who believes in more in more and is always willing to push the boundaries with a playful wardrobe - and we are fully on board!

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ROTATE gingham mini dress - £310

CAMILLA AND MARC Alissa snakeskin print skirt - £340

GEORGINA HARDING Sinclair turtleneck - £175

H&M Wool blend shirt jacket - £79.99 LOW CLASSIC belted faux leather tapered trousers - £215

STEFFEN SCHRAUT sequin mini dress - £300

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TOGA PULLA western ankle boots - £585


KALDA Alba mule in neon green - £290

afi fashion

Editors Picks

ADER ERROR balaclava turtleneck jumper - £340

Natures palette

RAVE REVIEW plaid coat - €1500

MOLLY GODDARD Gabriella argyle knit - £220

This season, natures natural palette has been amplified: Bright neons perfectly offset classic autumnal hues. This season is about excess, added layers, ruffles and textures to form your perfect autumnal look. Most importantly, play with print clashes. Argyle on check, animal on animal.. the best way to beat the summer holiday blues is to have fun with your autumn wardrobe!

BYTIMO tiered ruffled floral blouse - £240

By Stef Carter.

SOLANGE AZAGURYPARTRIDGE got lips ring - £185

MAJE Janty asymmetric tartan twill wrap skirt - £210 NANUSHKA Lynne leather tote £530 CHLOE Adelie loafer pumps - £620

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MEMORY L ANE

Photographer: CONRAD LEE @conradleephotography Wardrobe stylist: STEF CARTER @future_bloom Makeup artist: LUCIANA PETROSSIAN @luciana_makeupartist_ Hair stylist: SANDRA HAHNEL @sandrahahnel Model: ALEXANDRA GOLDENBERG @alexandragoldenberg represented by PROFILE MODELS @profilemodels

Go retro with a modern twist. Take a trip down memory lane with these looks infused with nostalgia. Photography by Conrad Lee. Styling by Stef Carter


Alexandra wears: Leopard print satin kimono by ROKIT, Leopard print swimsuit by 1ST MAN 1ST WOMAN

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Alexandra wears: Leopard print satin kimono by ROKIT, Leopard print swimsuit by 1ST MAN 1ST WOMAN

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Alexandra wears: Vintage rose dress by KELLY LOVE at YOUNG BRITISH DESIGNERS, Printed cardigan by ST MICHAELS, Checker heels by LOUIS VUITTON, Solaire hoop earrings by LES GEORGETTES


Alexandra wears: Luca gingham swimsuit by FLORENCE BRIDGE at YOUNG BRITISH DESIGNERS, Denim zip up maxi by ROKIT, Elena embellished robe by MANE at YOUNG BRITISH DESIGNERS, Pearl headpiece by EKATERINA WEBB, Sunshine ring set by SWAROVSKI

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Alexandra wears: Belted high waist bikini by SEAFOLLY, Powder pink shearling jacket by BELIZE at YOUNG BRITISH DESIGNERS

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Alexandra wears: Multi strand pearl sunglasses by EKATERINA WEBB, Pearl encrusted jacket by EKATERINA WEBB, Polka dot swimsuit by ROKIT, Belt by 1ST MAN 1ST WOMAN


Alexandra wears: Jessie jumpsuit by ROCK THE JUMPSUIT, Shirred bikini top in mint by SEAFOLLY

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Alexandra wears: Beau one piece by FRANKIES BIKINIS, Multi Jewell chandelier earring by SWAROVSKI, Floral swimming cap by BLUE REEF

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Alexandra wears: One shoulder swimsuit by SEAFOLLY, Tie dye fringed wrap by ROKIT, Lifelong bow cuff by SWAROVSKI, Aqua starburst stud earrings by SWAROVSKI

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Alexandra wears: One shoulder swimsuit by SEAFOLLY, Tie dye fringed wrap by ROKIT, Lifelong bow cuff by SWAROVSKI, Aqua starburst stud earrings by SWAROVSKI

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Alexandra wears: Bandana bay multi ring one piece by SEAFOLLY, Gold tone bracelet watch by VERSUS BY VERSACE, Mirrored oval sunglasses by MONCLER, Headscarf by JAEGER

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Alexandra wears: Janelle one piece by FRANKIES BIKINIS, Gold tone bracelet watch by VERSUS BY VERSACE

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PAUL COSTELLOE LFW SS20 Backstage A throwback to the 60s with big hair, bold colours, floral prints and layered accessories. Costelloe’s fresh take on the retro vibe is yet another masterpiece on the runway. A burst of sunshine was cast over the Waldorf hotel as Paul Costello presented his spring Sumer ‘20 collection. Proving that he is the master of feminine tailoring, Costello exhibited a collection reminiscent of time by gone. Picture Rodeo drive in the 60’s with an array of bright florals, coiffured hair, and floaty soft silhouettes. Neon hues were injected into heavy prints; screen printed by his son William, taking form in Costelloe’s famous mini dresses. Cropped jackets with voluminous shoulders were layered upon matching twinsets and wide leg jumpsuits flounced down the runway. The collection was complemented by chunky jewellery and delectable bags from his own label. This collection placed emphasis on fun and flirty styles charged with zest, leaving the audience full of delight. Season after season, Costelloe immerses the audience into his collections, with careful consideration placed on the venue, music and atmosphere. His intrinsic ability to make each garment so wearable and desirable as the next has solidified his prominent position in the fashion industry.

written by Stef Carter and Luciana Petrossian

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Lead Makeup Artist Valentina Creti has been in the industry for over 20 years. Due to her impeccable reputation she’s built up an impressive client base and is known for her perfectionist approach, technical skill and bold use of colour and texture. Valentina’s editorial contributions include; i-D Magazine, Dazed & Confused, Tatler, Fault Magazine and Elle (USA) to name a few. Backstage I had a moment to ask Valentina about the makeup she designed for the collection. To compliment the bold prints and colours of Paul Costelloe’s collection, Valentina has taken inspiration from Sharon Tate - American actress and model - in the late 60s early 70s. “You can really see the 60s influence with the eyeliner and because we’ve added a lot of mascara. We also added a lot of bronzer which is taken more from the 70s. It’s a mix of the two eras really.” Valentina and her AOFM Pro team used Dermalogica to prep the model’s skin and Kevyn Aucoin products to create the colourful retro makeup looks.

Right: Key makeup artist Valentina Creti with teams and models during backstage

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Key hairstylist Indira Schauwecker with Label.m team at backstage

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Helen wears: Jumpsuit by FUCHSIA SHAW, Turtleneck by ZARA, Scarf by VINTAGE FENDI, Bag by GUCCI

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Pack a bit of playfulness for your road trip. Don’t forget the bandanas, jumpsuits and a good old vintage suitcase. Photographed by Hlín Arngrímsdóttir. Styling by Kolbrún Anna Vignisdóttir

Photographer and creative director: HLÍN ARNGRÍMSDÓTTIR @hlinarngrims Model: Helen Óttarsdóttir from ESKIMO MODELS ICELAND @eskimo_model Hair, makeup, and wardrobe styling: KOLBRÚN ANNA VIGNISDÓTTIR @ kolavig with products from Label. M Skin retouch: LIDIIA BEREZHNAIA @berezhnaia.retouch

ROADTRIP

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Helen wears: Coat is vintage, Top by FREEBIRD, Jeans by RAG&BONE, Shoes by CONVERSE, Sunglasses by RAYBAN

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Helen wears: Coat is vintage, Top and trousers by GANNI, Shoes by VAGABOND

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Helen wears: Coat is vintage, Top and trousers by GANNI, Shoes by VAGABOND

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Helen wears: Scarf by VINTAGE FENDI, Sunglasses is Vintage

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Helen wears: Coat is vintage

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Helen wears: Jumpsuit by FUCHSIA SHAW, Turtleneck by ZARA, Scarf by VINTAGE FENDI, Bag by GUCCI

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Helen wears: Dress by H&M, Coat is vintage

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Backstage at Oxford Fashion Studio we caught up with Fashion Week dynamic duo - Michelle Webb and Brendan O’Sullivan 50 afi

written by Luciana Petrossian


Lead Makeup Artist Michelle Webb talked me through the makeup looks she created for Oxford Fashion Studio. Michelle’s career is varied and extensive, from leading makeup teams for top designers across the globe and on many feature films, to celebrity clients. Today she’s leading the AOFM Pro Team - The only makeup school in the world to take its graduates to assist and work backstage every year at all four fashion capitals of the world.

your normal no-makeup-makeup-look because it’s a bit more glam.”

Can you please talk us through the looks for today?

“I would say we’re focusing on not over powdering the skin, even though we want it to be matte, what we like to do is apply the foundation and then let it sit on the skin for a little while before we powder it in the line-up. Also one of my tips would be to use a good hydrating toner, it’s all about keeping the model’s skin hydrated for the makeup to look beautiful throughout the show.”

“So today we have a few looks, the first of which features beautiful matte skin, contour but no blush, a very natural lid, lots of mascara on the top and bottom eyelashes, a matte browny pink lip and strong highlight on the high points of the face. It’s a really beautiful and classic look that can complement all the different collections that are showing but still looks quite strong. Next we’re moving on to a bit more of a glam look with a smoky eye with a liner, again carrying on with the contour – we have a lot of contouring going on today – and we’re going to team it with a brick coloured lip. For the final show we’re going to go in and make the skin a little more dewy with an orange smoke under the eye and a little bit of a brown on top this will be paired with a glossy lip. So three very classic looks focusing on keeping the skin flawless but more than

What key products are you using for these looks? Are you using any particular techniques? “Today we’re prepping all the models skin with Dermalogica skincare, I’m using the Doll Beauty Hall of Fame Palette, and also the Charlotte Tilbury Glowgasm Face Palette too.”

Have you got anything exciting coming up that you’d like to share with us? What’s next? “Oh gosh, what’s next! It’s been a crazy season but next I’m going with AOFM to Dubia for a press event there, we’ve just opened in Dubia so that’s really exciting. However now that fashion season is starting to die down I think I’m just going to take a bit of time to re-coop and get ready for February to do it all again!”

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Whilst backstage at Oxford Fashion Studio I had a chance to chat with the extraordinarily talented Lead Hair Stylist Brendan O’Sullivan. Brendan has a reputation that proceeds him and his widely known for shaping the look of supermodels and celebrities across the globe. In addition to this, Brendan has been Lead Hair Stylist for many prestigious international clothing designers including Vivienne Westwood, Celia Kritharioti, Christopher Raeburn and Liu Chao on the Fashion Week and Paris Haute Couture catwalks. How has your Fashion Week been so far Brendan? “It’s been the best fashion week, I just did ten shows in New York and nine shows here in London. It’s been the best fashion week that I can remember for creativity. I’ve had the hairdressers dream jobs in

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terms of the styles that we were doing. Really great hair!” Can you please talk us through the looks you’re creating today? “We have four looks today, the first look is a loose low messy bun. What we’ve seen is a real return to natural hair looking like the person has almost put it up themselves, but in a very good way. The second look is a ponytail but again its fairly messy with softer pieces. We’re working with dry shampoos to give a softer texture but also a bit of control. The third look is a vintage 1940’s wave, but we’re going to make it slightly more modern by adding some gel, just to give it a bit of separation and shine. For the final look, we’ve seen


Michelle Webb and Brendan O’Sullivan

this return to ‘extraordinary texture’ I call it – because its working a lot with heavy gels, so under the lights you just see this real shine and this control weather its curly hair or straight her. So today, we’re smothering the hair, all through the top with wet-looking gel but then we’re keeping the ends dry and free, that gives it a very modern look. We don’t want the models to look as if they’ve just got out the shower, it needs to be styled and look controlled. That’s always the issue with people knowing how to do this style.” What’s next for you after London Fashion Week? “Next week I’m presenting my new collection in San Diego to 800 hairdressers. Then I’m going to Los Angeles where I’m working with a top Hollywood star – I can’t say who unfortunately – but it’s for a magazine. Next month I have got five front covers of international magazines such as ‘L’Officiel UK’ and ‘L’Officiel Italia’, ‘Glamour USA’, ‘Grazia Italy’ ‘Grazia Serbia’ and also eight editorials coming out, so it’s a really exciting time. I’m also working on a documentary, my son is a film maker so he’s making a documentary for Netflix and it’s all about sustainable fashion. It’s a really positive documentary and there’s quite a few big celebrities and designers who are going to be on it. We’re filming it in Hong Kong, in London and in New York so we start filming for that soon. So that’s really exciting. My daughter, she’s an actress. She’s currently filming as well, she also comes and works with me backstage. She’s filming a new Netflix TV series called ‘Cursed’ and she’s also filming another one that’s meant to be the replacement for ‘Game of Thrones’ called ‘The Nevers’. I say we are the von Trapp’s of fashion!”

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THE FIRST GATE

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Photographer: OLEG CHEBOTAREV @chebotarevphoto Makeup and wardrobe styling: ALINA ARLEE @arlialina Model: ANETE AUZINA @anete_auzina at WAY OUT MODELS & BASIC MODELS Location: Basilica San Lorenzo Maggiore, Milan, Italy


Anete wears: Blazer by SIMON CRACKER, Belt by J’AMEMME, Boy cap by RUSLAN BAGINSKIY, Shoes by DÀ QUY

Display a feminine yet powerful image with ruffled collars, oversized suit and hats. Photographed by Oleg Chebotarev. Styling by Alina Arlee

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Anete wears: Dress by BOBKOVA, Belt and purse by J’AMEMME

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Anete wears: Dress by BOBKOVA, Belt and purse by J’AMEMME

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Anete wears: Blouse by YLENIA MANGANO, Pants by ELENA GRAZIA, Hat by MONICA MAZZANTI PR, Necklace by SIMON CRACKER


Anete wears: Blouse by YLENIA MANGANO, Pants by ELENA GRAZIA, Hat by MONICA MAZZANTI PR, Necklace by SIMON CRACKER

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Anete wears: Dress by GOLETS

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Anete wears: Dress by GOLETS

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IA LONDON SS20

British avant-garde fashion brand - IA London’s SS20 collection ‘I’m Bias-Blind’ infuses thought provoking ideas of soical and political contrasts into art and fashion on the runway. Written by Conrad Lee When it comes to being a creative genius on the runway, nothing less is expected from designer Ira Iceberg, founder of IA London. Showcased at the One to Watch Award show at Fashion Scout, her Spring Summer 2020 collection, titled “I’m Bias-Blind”, was inspired by Shakespeare’s King Lear, and explored the themes of consciousness, prejudice and corruption of our society. Through a range of very thoughtfully deigned pieces of garments, accessories and props, recurring images of sight and blindness were seen throughout the collection. Models walked down the runway with eyes covered with blindfolds and large eye pads. The oversized silhouettes, baby doll heads, fishnets and layers of sheer fabrics certainly had a dark and punk undertone, yet beautiful with Ira’s distinctive hand painted artworks digitally imprinted on to the garments. Floral artworks brought in hints of spring elements from the darkness. Tasselled lined foot-

wear meticulously matched with exaggerated eyelashes that models wore. Alike with the story of King Lear, the garments metaphorically illustrate the blindness of our ignorance to the happenings of society. Being blinded from the prejudices and corruption, one can then become more conscious and self-aware. The designer cleverly embraced these elements along with human diversity with a line-up of models of different ages, gender and ethnicities. For me, I loved the thoughtfulness of this collection. It’s deep and thought provoking. Each look were pieces of art, and each time you look at it you would discover new details. It was exciting to see the next look that came down the runway. Whilst evolving from IA London’s previous collections, it connects well and stays true to IA London’s vision of originality and personalised fashion.

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District of

Angels Photographer: ILENIA MODICA @ileniamodicaphoto | Creative director and wardrobe stylist: ANIA CHIZ @aniachiz | Stylist assistant: FABRIZIO MINARDO @fabrym | Production: IMOLA FEDOR @fedorim @zenlaproductions | Hair Stylist: MIRKO BATTIPAGLIA @mirko.battipaglia.hairboutique | Model: ULIANA STALNOVA from WB MANAGEMENT @wb.management

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Uliana wears: Head peice by ELEONORA BRUNO, Skirt and corset by MARCO STRANO ATELIER, Shoes by MIU MIU

Neutral tones, feathers, and statement head pieces. Add these for an angelic look this season. Photographed by Ilenia Modica. Styling by Ania Chiz

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Uliana wears: Full look by ELEONORA BRUNO, Shoes by VALENTINO

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Uliana wears: Full look by ELEONORA BRUNO

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Uliana wears: Top by DEREK LAM, Head peice by FABRIZIO MINARDO

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Uliana wears: Earrings by CHANEL, Fur coat by AINEA

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Uliana wears: Jacket by VIONNET PARIS, Head peice and skirt by ELEONORA BRUNO

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Alice Archer displayed whimsical watercolour creations transporting you to dreamier times. This collection had strong embellishment techniques combined with a sustainable approach for garments you can treasure for a lifetime.

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oho studios in Fitzrovia pro vided the stark background to offset Alice Archers delicate and intricate collection. Archer is an RCA and Central Saint Martins graduate, but it is her past as an embroidery designer for Dries Van Noten that is most evident in her SS20 collection.

watercolour works of Charles Rene Mackintosh this collection was a beautiful display of silk and soft tulles delicately embroidered with botanical designs. Models moved gracefully through the show space echoing the soft garments they exhibited.

Drawing inspiration from the

Painted prints were embel-


lished with different embroidery techniques making each garment a work of art, echoing Archers point of inspiration. Rich jewel tones were balanced against dark blues and pastels in the designers first capsule collection for the luxury store Browns. Sequins and line drawings combined with tulle layers gave this collection texture and

dimension but in a fluid and soft approach. Archer aims to slow the fashion industry by placing a strong emphasis on quality, making this a sustainable collection designed for the wearer to treasure for a lifetime, and with a collection like this you wouldn’t ever want to pass it on.

written by Stef Carter

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BALTIC SUNRISE

Experience the noise between the New World and the Old. Loud colourful prints with modern silhouettes, infused in a dreamy yet rustic location. Photographed by Peter Olsson. Styling by Martina Martiala

Photographer: PETER OLSSON @npoostudios | Models: MELANIE BANGURA @melaniebangura and VERA IGNATIUS @veraignatius | Model agency: PAPPARAZZI MODEL MANAGEMENT @paparazzimodelmanagement | Hair and makeup: FATMA BENDRIS @fatmabendris | Wardrobe stylist: MARTINA MARTIALA @stylistmartinamartiala | Videography: DANIEL WARBERG | Location: Helsinki, Finland 76 afi


Mel wears: Body by BIKBOK, Dress by BAUM UND PFERDGARTEN

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Vera wears: Dress by VIMMA COMPANY

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Vera wears: Jumpsuit by VIMMA COMPANY

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Mel wears: Unisex Dress by MAXJENNY!, Top is stylists own

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Mel wears: Blazer by ZALANDO, Dress by MAXJENNY!, Belt bag by LOVE STORIES X H&M, Sneakers by NIKE

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Vera (left) wears: Pants by ZALANDO, Sequin top by TIGER OF SWEDEN, Shoes by ZALANDO. Mel (right) wears: Dress by H&M TREND, Top by BIKBOK, Cap is Stylists own


Vera (above) wears: Unisex Dress by MAXJENNY!

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Mel wears: Tulle top and skirt by VIMMA COMPANY, Shoes by ZALANDO

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Vera (left) wears: Suit & Shorts set by MAXJENNY!, Boot-leggings by VIMMA COMPANY, Mel (right) wears: Tulle top and skirt by VIMMA COMPANY, Shoes by ZALANDO

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Mel wears: Tulle top and skirt by VIMMA COMPANY, Shoes by ZALANDO

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Vera wears: Suit & Shorts set by MAXJENNY!, Boot-leggings by VIMMA COMPANY

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Key makeup artist Astrid Kearney backstage at SuperSuperSuper

Creative force Astrid Kearney talks about her passion for project-based briefs and her creative process being the key makeup artist at the London Fashion Week’s SuperSuperSuper show In the creative whirlwind that was backstage at Super Super Super, I watched Key Artist – the fabulous Astrid Kearney - lead her team in the most beautifully calm and poetic manor. Astrid was so hands on, seeming to be everywhere at once checking every detail was perfect, giving constructive critique and supportive guidance to her team while keeping the atmosphere positive and under control. There was a wonderful sense of creative buzz in the room, and I couldn’t wait to steal her away for an interview. International Makeup Designer and Creative Educator Astrid is known throughout the industry for her passion for project-based briefs and creative versatility. She has had an extensive career so far ranging from working alongside award winning creative directors, film producers and celebrity clients at Film Premiers in London and the Venice Film Festival, to commercials, editorials in Vogue, Tatler, Conde Nast Traveller and ID magazine, music videos and bespoke advertising campaigns. In addition to this Astrid also has a large portfolio of celebrity clients such as Steven Spielberg, Sienna Miller and Daryl Hannah to name a few! Astrid also likes to give back to the industry by lecturing and sharing her vast amount of knowledge and experience with students at prestigious beauty schools

throughout the UK, Europe and Asia. In the beginning, what made you realise that being a makeup artist is something that you wanted to pursue? What sparked your passion? Astrid: As young as 8 I played with creating my own homemade masks in the blender and using my 5-yearold brother as my model. My Norwegian mother Ingrid inspired me with her glamour and love of dressing up and I also used to love to sit watching my neighbour do an incredible French pleat daily lovingly placing vintage pins into her blond hair. My brother aged 12 for Christmas gave me an incredible book about the history of makeup and hair and I devoured it page by page. I was going to do P.R and it was my mother who said ‘No, you are a creative, become a Makeup Artist’ and she and my dad helped research and get me on the path of makeup and hair. I built up my portfolio to skincare specialist and makeup at all London stores, studying display design and working at Harvey Nichols, getting an agent, writing creating and running educational makeup departments, all my editorial commercials and love of creativity led me to where I am today.

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What has been the highlight of your career so far? Astrid: So many and still happening. One big highlight is working on the Venice Film Festival and meeting Steven Spielberg and Tom Hanks. I have worked with many celebrities over the years and on fabulous productions and editorials, but the real highlight is how it’s really developing in the area I am most passionate about …project led productions. Bringing together the many layers I love... research, creativity, development, training teams and liaising with production. What do you love most about being a Makeup Designer and Creative Educator? Astrid: When the brief first comes to me by brain gets to work. It’s a bit like a nail painting with pins and threads as I start with a thought and then a medium, a colour, a painting inspiration and so on. When it moves to testing a look and the collaboration it’s very exciting and this is where the magic happens. After all these years I still get very excited with each project and it is the same with being an Educator as many of those I educate join me on projects and we revel together in what we have achieved. How would you describe your teaching style? Astrid: I have a very clear memory of starting out myself and I remember the vulnerability that comes with that. I have met so many energies over the years who come to be taught, those starting out in the world and those on their second or tenth career change. I do believe in layering your life in working in many areas. Having life experiences and those students with a history of being out the world have so much to offer and give. I have learned through the years to be an educator who inspires and guides and keeps my professional practices in place also. What is your favourite thing about working at London Fashion Week? Astrid: If you can imagine a small room with a tornado within the two weeks leading up to it, this is it! Organisation and production are my passion and favourite action, and it is key during this hectic time. Throughout the year I keep creating my assistant list, noting their strong areas re creativity and leadership and I am on automatic as we get nearer the time. Creating and testing the looks is the main event for me also, especially if I have carte blanche with ideas. Can you please tell us about the looks you created for Super Super Super? Why did you create each look for each designer? What was your process?

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Makeup looks, makeup sponsor by Cult Candy Cosmetics

Astrid: First I like to connect with the designer, the looks and see the pieces and the fabric. When you


baclstage at SuperSuperSuper with the london school of makeup team

have many Designers like at Super Super Super it is sometimes challenging as info comes in so slowly, but I like to correlate first so I get a great picture of the Designers desires. For some group shows there can be one uniform look but I prefer to get more personal and make the whole performance more exciting. I worked with the pro team at London School of Makeup who I tested and placed into squads and trained up according to their strengths so its very time consuming but worth it for best results. After my tests with makeup and model I break it down and test with crew and liaise with all members of production also. Wonderful Artist Tonee Roberio also joined me on the day.I arranged the hair department with Kevin Fortune Hairdressing Academy and was the thread that connected makeup and hair teams, production and designers . It’s quiet a dance!! Were there any key products that you used to create these looks? Astrid: This season we worked with Cult Candy Cosmetics, which is vegan and cruelty free which was very important. It is rich in pigment and has an array of colours so great for inspiration, the pro team and Tonee loved it too. I loved creating pieces from vintage Swarovski and respun Masaibeads for the Samson Saboye collection. Lots of skin prepping pre shows so models look and feel their best, that is so important to me also. What’s next for you after London Fashion Week? Anything exciting coming up that you’d like to share with us? Astrid: LFW does not end for me the day it finishes. I have a huge volume of post-production re kit, images,

social media, interviews and liaising with production. New productions re commercials and other work are always coming through sometimes on top of each other so I compartmentalize ideas, crew and planning. Off the wall emails and skype interviews to be a new judge on ‘Glow Up’ comes my way to travelling to Edinburgh for the Creative Awards in October re a fashion/ opera I designed called ‘ROBE’. January we have men’s fashion week then February LFW A/W2020 so life is always busy and exciting! Hugely important to me also is self-care. We work with many ‘energies’ and building relationships in our lives both professionally and personally but the biggest and most important relationship is the one we have with ourselves. The work is not just adapting briefs, realising and unravelling client’s ideas, organising teams and kit. It is the personal creative work and the importance of that to the Artist. Keeping a balanced viewpoint with it all is key. The methods of self-care are different to each Artist but for me it lies in layering my life and I teach that to my crew and students. I love mixing the different areas of my work re fashion week, commercials, editorial and celebrity equally writing courses and my role as educator. I also work with the homeless and other organisations as I firmly believe that kindness and compassion is everything and it grounds me. Meditation and breathing work, making good choices professionally and personally, nourishing your body, letting go of electronics regularly, being in nature, and being with the ones you love is key. It makes me a better leader, happier within myself and more present in my life.

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Cult Candy Cosmetics - key makeup sponsor at Super Super Super at London Fashion Week. We chat with mother and daughter co-founders to hear all about their up-and-coming brand. written by Luciana Petrossian

Tell us about yourselves and your careers before the creation of Cult Candy Cosmetics? Angie: I left London college of fashion at 19, signed a deal with virgin records and toured the world with my all girl punk rock band Fluffy. Music was my main focus for many years but later on I qualified as a homeopath and also started a children’s wear brand called Question Everything. Jazmin: I had been doing makeup looks and visual art for years and was studying film at the Brit School as well as starting to work on my music career. What’s your relationship like as mother and child and what is it like running a business together? Angie: I’d say we are quite close and have a lot of similar interests which makes things easier but we do bicker a bit when we are both stressed and have a lot to do! I love working with Jazmin as she is so creative, has brilliant ideas and is so driven. They’re the inspiration behind this brand. Jazmin: It can be hard sometimes but I wouldn’t want to work constantly with anyone else I don’t think. Working that much with anyone especially sharing a creative project is bound to be tricky especially as I like to be in control with my creative projects!

Above: Heavenly Urchins Palette £29.99 Left: Playhouse Matte Liquid lipsticks set £38

We’d love to know how CCC came to be and all about the development process? Angie: We had an offer from an investor to create a cosmetics brand in which we could bring both our experiences and expertise in to. We were really excited to have the opportunity to realise of vision! We had to work with a few suppliers in sampling as we wanted to make sure we got the quality and pigments that would be the benchmark for Cult Candy! It’s more difficult with vegan makeup to get deep and bright colours but we hit there and we are very happy with what we’ve managed to create. Jazmin: I’ve always been a huge makeup enthusiast and wanted to have some products that came straight from my head. I had always wanted to create those products that were perfect in my mind as I always felt that finding a perfect and interesting product was hard for me and people with similar interests to me. And there really isn’t enough out there.

www.cultcandycosmetics.com @cultcandycosmetics

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What do you think makes a beauty brand or product ‘cult’? Angie: I think a cult product is a product that doesn’t fit into mainstream ideals and starts with a smaller and very devoted following, and when that product filters into the mainstream it doesn’t compromise on its original ideals. Jazmin: I think many of the cult makeup brands have really flourished and become “cult” brands as people have been searching for brands that think more out of the box than your standard mainstream beauty brand. Society is changing and you cant put a label on beauty anymore. There is a demand did cult beauty. How important is it to you that Cult Candy Cosmetics is 100% vegan and cruelty free? Angie: It’s very important.Everyone should be aware that they need to make a contribution to future, by being more aware of the environment. We’re not going to compromise our identity and integrity to fit in with what’s in fashion at the time, or what other brands are doing. We’ll always be about respect – respect for animals,for individuals and for the planet. Jazmin: I feel like it’s the least we can do at this point. Humans are so extremely selfish and gluttony drives us as does vanity. We can’t control what people eat but we can control what people put on their face with our products. We aren’t going to see animals suffer for makeup. Everything in the CCC collection is insanely pigmented and budge proof - how much work goes into each product? What’s the process like? Are you involved in the formulation? Angie: A lot of work goes into each product and the time frame is around 8 months from start to release. Yes we are involved in everything. It starts with choosing the colours and finish and then the formulation starts. The first lab samples come back after around 8-12 weeks and we go from there and keeps making amendments until we are happy with the formula and pay off. At the same time we are working on packaging design. We use upcoming young artist we find on Instagram to collaborate with. There’s so

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much talent out there! Once we are happy with both the makeup and packaging we approve them and final production begins. That takes around 16 weeks Jazmin: I love creating the mood, vibe and theme of the palettes and vibe and theme of each product and seeing that come to life. Sometimes the products we plan on creating aren’t always my style but I like to submerge myself into and think if this was my style what would my Ideal perfect palette be.... I love looking for the artists to work with on my ideas , finding the shades and coming up with the shade names. It’s a really fun process and it always has to perfect and on theme. All the small details make it what it is and I’m about all those small details! What do you think makes a good makeup palette and why do you think they’ve increased in popularity over the last few years? Angie: I think a good makeup palette has had a lot of thought put into it. A theme and reasons behind each colour chosen. There also has to be a story and connection between those colours and different ways these can be Interpreted into a multitude of looks for many different types of people. The shade names need to be creative and cool. The quality of the makeup has to be very good, the formulas top of the range and the pay off of colours outstanding. And of course, the packaging! I think each palette should be a complete piece of art. It’s due to palettes being seen in this way as to why they have been growing in popularity. It’s makeup and art and modern culture all rolled into one amazing product. Jazmin: A good makeup palette has to have a lot of thought put into it and this has to manifest itself in the final product. It has to be special on many different levels and a collectors item. This is the standard of quality that’s expected in the cult beauty world. How important is packaging for a brand and where do you get your inspiration from? Angie: Packaging is very important to us at Cult Candy! Jazmin plays a very big part in this process and finds the artist we work with. Generally when creating my inspiration comes from rock n roll, 70s punk rock and


Above: Playhouse Palette £32

glam, the 90s, the N.Y limelight club kids, tattoo art, 80s cartoons and Japanese culture. I love the harajuku girls and Sanrio. My main inspiration for Cult Candy is Jazmin and their friends who have become family to us. They are all extraordinary people with great style and integrity. Jazmin: I really love film, people like Tim burton and Jim Henson and all their worlds and characters they have created. They inspire me massively! I collect a lot of toys, especially Japanese toys. They constantly inspire me and all I have to do is look around my room. Sometimes to get inspiration. There’s inspiration everywhere and it’s important when you’re a creative to surround yourself with things that inspire you! What does individuality mean to you? Angie: It means everything. Being brave enough to be yourself and feeling comfortable in your own skin in the way that makes you feel happy. Jazmin: I mean it’s everything to me. having a strong sense of individuality has always been important to me. It was hard when I was younger but now I feel I’ve broken through that and my individuality inspires others which feels really good. What inspired you to make CCC such a bold, colourful brand? Angie: If you look at my inspirations above this should answer the question.

Above: several creative looks created using Cult Candy Cosmetics. As seen on instragem

Jazmin: I feel that in the makeup and beauty industry everything’s getting a bit dry. Brands are constantly censoring themselves and toning down the inclusivity

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or extremity of their products. Especially in the promotional shoots in order to sell to more people. This is really not the direction we would like to go in no matter who it does or doesn’t appeal to. I think finding a colour ful and exiting brand that’s also exclusive and genuine with their word is hard right now. What is your most important piece of beauty advice? Angie: Confidence. That’s what beauty is to me. Jazmin: look how you want to look , don’t adhere to the beauty standards around you. If you think you look beautiful that’s all that matters Jazmin, you have a large following on Instagram, how has that affected the development of CCC as a brand? Jazmin: it definitely helps as I can tell more people about cult Candy and guide them towards the brand. it’s really great that I can use my platform to help cult candy flourish and spread the word and our ideals and that we are makeup “for everyone”. I’m really grateful for my instagram following and all the people that support me. What advice would you give to young people looking to start their own beauty business? Angie: I’d say if you have that ambition then go for it. Just be prepared that’s there’s a lot of planning and work that goes into it and you need to be commuted and prepared to work hard at creating a brand. Jazmin: I would say have a really strong vision and make sure it’s one people haven’t seen before. at this point everything’s been done and there are so many makeup product out there. Even people with really original concepts are having to step their game up. it’s a really difficult industry to make a mark in. Where do you see Cult Candy Cosmetics going in the next 5 years and what’s next for the brand? Any exciting news you’d like to share with us? Angie: we would love to be stocked in retailers all over the world and to do some collaborations with some people and other brands we admire. We want to spread our word that we don’t expect people to have to define their gender identity. What’s important is that people have the opportunity to create individual looks and to express themselves, whoever they are. At Cult Candy, we are what we are on all surfaces. Jazmin; I’d love to see Cult Candy as a huge worldwide success. To spread our word that there are so many different manifestations of beauty and to give people the confidence to be who they are and who they want to be.

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Above: vibrant looks created using Cult Candy Cosmetics at SuperSuperSuper show at LFW


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Afi Vol 4 Issue 1  

afi magazine - sharing your creative fashion / beauty works worldwide. Featuring Editorials from: Ellin Anderegg, Conrad Lee, Peter Olsson,...

Afi Vol 4 Issue 1  

afi magazine - sharing your creative fashion / beauty works worldwide. Featuring Editorials from: Ellin Anderegg, Conrad Lee, Peter Olsson,...

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