Deux Hommes Issue 4 by Deux Hommes

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spring/summer 2016

the new wave

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the new wave

spring/summer 2016

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spring/summer 2016

the new wave

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...is a digital fashion platform that features a curated list of emerging designers in the luxury sportswear, avant-garde and high-end streetwear markets. Founded by Jared Robin and Carlos Basora, Deux Hommes brings to light designers who are frequently overshadowed by mainstream fashion brands. deuxhomm.es

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contents

ROBERTO SIPOS in Fingers Crossed, IDA DYBERG + CHRYSTAL COPELAND in Blair Moore, LUNA SCHULZE in Maikel Tawadros.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MISSION STATEMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LETTER FROM EDITORS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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MASTHEAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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THE NEW WAVE, Text by Yasamin Rahmanparast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . RISING TALENT: THE MUSE, ROBERTO SIPOS, Interview by Jennifer Stevens . . . . . . . . . . . . . . . . . . . . . . ..............

CONCEPTUAL ANALYSIS, LEXICON 1, JOSHUA MYRIE, Text by Ana Callahan-Roman. . . . . . . . . . . . . . .

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CONCEPTUAL ANALYSIS, DELIGHTFUL DREAD, KATHERINE MAVRIDIS, Text by Ana Callahan-Roman. . .

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THE HOT LIST: A DAY IN THE LIFE OF HYUNA SHIN, Interview by Amy Vosejpka . . . . . . . . . . . . . . . . . .

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A DAY IN THE LIFE OF EMMA PULLBROOK, Interview by Amy Vosejpka . . . . . . . . . . . . . . . . . . . . . . . . . .

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A DAY IN THE LIFE OF AERIEL D’A NDREA PAYNE, Interview by Amy Vosejpka . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . BEAUTY: COLOR SYMPHONY , Photography by Hyuna Shin .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..............

MUSIC: FROM JOHN TO JAY, Interview by Malcolm Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Covers 2-3 8

10 12-13 14-15 18-23 22-27 28-29

30-31 32-33 34-41 42-45

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FOCAL POINT: PARIS, GET INTO BED WITH THE IVY’S, Text by Yasamin Rahmanparast . . . . . . . . . . . . . . EDITORIAL: FINGERS CROSSED, Text by Jennifer Stevens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NORDIC FUTURISM, Text by Danielle Bullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EZEKIEL, Text by Ana Callahan-Roman. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A REFLECTION OF SELF, Text by Danielle Bullen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DECONSTRUCTED VISION, Text by Alexander Cao. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IDIOSYNCRATIC CULTURE, Text by Alexander Cao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IT’S THE BONES OF THE THING, Text By Danielle Bullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTO THE WOODS, Photography by Ace Amir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LOOK INTO MY EYES, Interview by Amy Vosejpka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . REWIND: AN AFTER TASTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BACK COVER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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46-55 56-65 66-73 74-85 86-93 94-101

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102-113 . . . . . . . . . . . . . . 114-123 . . . . . . . . . . . . . . 146-147 . . . . . . . . . . . . . . 136-145 . . . . . . . . . . . . . . 146-147 . . . . . . . . . . . . . . 148 ..............

editors’ letter THE NEW WAVE: A BREATH OF FRESH AIR, A NEW GENERATION of highly skilled creatives of the 21st century, anxiously waiting for their turn to inject their ideas into the world of fashion. Realizing that the newest of the new push the limits the most, it was important for this issue to have the edge only the freshest innovators can have, with a focus on designers established three years or less. In this issue, Deux Hommes drives past the constraints of fashion alone and into a full ecosystem that is fashion and life. When brainstorming who would be the perfect muse, budding model and Deux Hommes homie Roberto Sipos was summoned. We dive into what makes this worldtravelling cover star tick and how his new adventure is keeping us in suspense (p.14). Meanwhile, Parsons MFA graduates, Joshua Myrie and Katherine Mavridis, are advancing fashion technology, as seen through our exclusive access to their moodboards created for their thesis collections (p.18). You’re invited to spend a day with three industry professionals, Photographer Hyuna Kim, Stylist Emma Pulbrook and Makeup Artist

Aeriel D’andrea Payne, who bring you behind the camera to see what it’s like to be them for a day (p.28). In a unique alliance of friends and associates, Hyuna Shin and D’andrea Payne team up to bring Deux Hommes its first beauty editorial featuring all of spring’s top make-up trends (p.34). For our music edition, we talk with Rapper Jay Royce about his life-changing run-in with Jay-Z and how he fell down the rabbit hole of modeling (p.42). Leading

Photographer Ace Amir asks us to follow him “Into the Woods”(p.124) in his editorial collaboration with Stylist Jahulie Elizalde. Just like our featured talents are breaking the boundaries, it was important for Deux Hommes to do the same. As such, Photographers Gus and Lo masterfully shot Designer Blair Moore’s thesis collection as the subject of the first video editorial ever integrated in a Deux Hommes issue (p.138). You’ll also

notice Instagram handles next to all our contributors on our masthead. We invite you to keep the conversation going, as you are one very crucial part to what we’re curating and where we are going. To Be Continued...

Jared and Carlos DEUX HOMMES

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Jared Robin

Carlos Basora

President

Editor In Chief

@jared_homme_

@carlos_homme_

FASHION

Managing Editor Amy Vosejpka @amyveditor Fashion Editor Jennifer Stevens @jenniferstevens222 Features Editor Yasamin Rahmanparast @yasamin.rah Assistant Editor Kelsey Tucker @kelseylaynetucker ART + DESIGN

Design Director Socrates Gomez @socratesgomez MARKETING/PUBLIC RELATIONS

Marketing Director Emily Elliott @emilyinheels Marketing Associate Iosu Bascaran @iosubasc TECHNOLOGY

Director of Technology Peter Ligeiro

CONTRIBUTING WRITERS Daniel Bullen @sotheniwaslike_ Ana Callahan-Roman @ana_in_space Alexander Cao @chinitochulo Malcolm Thomas @its_malcolmthomas

ERRATUM

In Deux Hommes’ “Korea Issue”, on page 114-129 in the editorial, “On Tempo” featuring Leo & Ravi of the K-pop musical group VIXX, the photographer Jun Shim was not credited. The publisher wishes to express its sincere apologies for the error.

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R I S I N G Text By

T A L E N T

Yasamin Rahmanparast IN A SEA OF SAMENESS, THERE ARE FEW WHO HAVE THE STRENGTH TO BEAT CEASELESSLY AGAINST the current. With neither corporate fathers nor iconic names, these greenhorns navigate the fashion realms without a compass — blind, yet free to pursue their own iconoclastic endeavors. The new tide of designers defines its worth not in their short years of three or less, but by the limitless expanses of their imaginations. In this issue, we will explore every inch of these young minds. We’ll pick apart inspiration processes, and peek into the daily life of these new creators. From the Nordics to Korea and onward to West Africa, the span of the new millennial artist is worldwide, augmented — not intimidated — by technology. We’ll see style unlike any before. Some will feel defiant and foreign, others idiosyncratic yet reverent. Into the woods we go, connecting and not just looking into the eyes of these young talents. Onward...

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R I S I N G

T A L E N T

the muse

How model Roberto Sipos is climbing the fashion rungs Interview By Jennifer

YEAR IN AND YEAR OUT ROBERTO SIPOS HAS WALKED DOZENS OF top runways, appeared in many major publications and has traveled the world countless times. His experiences trump those that grew up with him in the small town of Transylvania, Romania. He is signed by 10 modeling agencies in 9 different countries, yet he is only 20-years-old and on the verge of becoming one of the top models in the world. Still, what makes Roberto truly special is his humility, his love of his mother, his entrepreneurial spirit and an exceptional story about how he was discovered. How were you discovered? I got a message on Facebook five years ago from my mother agency [MRA Models] asking if I would like to become a model and try it out. How old were you? 15-years-old.

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Stevens Illustration By Gil Goldin

Tell us a little about your family and the values that they instilled in you. I grew up just with my mom back in my hometown [in Romania]. I feel like I learned so many things from my mom, such as respect, loyalty, manners, truth and how to treat people the right way! Some of your photos push the envelope and you have an undeniable presence about you. Were you always confident? I was always a very openminded person. I like to take risks. I was never a shy person either; [I was] always open to new adventures, new challenges. There is nothing to lose! Who are some of your idols? Leonardo DiCaprio, Bob Marley, Notorious BIG and Dr. Dre, yeah (laughs).

Is there a particular client that you are always happy to work with or any designer that you like walking for in particular? It is always a pleasure to work with all of my clients all the time! One of my favorite clients is Perry Ellis. They have a great team; everybody is very nice every time that I work for them. They take really good care of me. Youâ&#x20AC;&#x2122;ve traveled quite a bit. What places have you been to? In the last two months, Iâ&#x20AC;&#x2122;ve been to places like Barcelona, Berlin, Amsterdam, Stockholm, Seattle, New York and London. What other projects are you working on right now besides modeling? I am working on a personal business opportunity with two of my friends. Stay tuned!

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HAVVA WWW.HAVVAMUSTAFA.COM

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lexicon R I S I N G

T A L E N T

How jet engines & NASA spacesuits can be the source of inspiration to a graduate’s design process

TO DESCRIBE RECENT PARSONS SCHOOL OF DESIGN GRADUATE Joshua Myrie as a “budding” designer would be nothing short of injurous. With a collaboration already in the works for Nike’s Air Jordan brand, the high-tech humility and craftsmanship delivered in Myrie’s thesis collection entitled “Lexicon 1” earned him his school’s Critics Choice Award in 2012. The smell of jet fuel and aerodynamics coupled with a sincere homage to all modern amazons who’ve influenced him to create these seminal structures are nothing short of universally epic. For centuries, women have been denied their unflinching strength in art, however Myrie’s strict research and mechanical eye for detail has changed the course of events forever. How? Within the cyclotron of his own quantum physics, the designer has birthed one of the most fundamental space-goddess styles of the early 21st century. There is a soul in every piece of machinery, and through

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Text By

Ana Callahan-Roman

Joshua Myrie

careful testing you can see the very creatures of human design emerging from each piece; lest we forget that the designer dedicates this collection to the women in his life. However, the

future of womandom is not about mechanized power or harnessing the beauty of simple machinery. That story has already been told. The designer’s final transmission is in encouraging us to propel

ourselves, masculine and feminine, beyond earthbound expectations and obstacles. So don your helmets and bow your heads you otherwordly beings, you’re finally ready for take off.

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“Lexicon1” Spring/Summer 2016 Collection

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Jet engine detail: Textural inspiration

Early NASA /Air Force spacesuit testing footage. The ultimate aspirational function lead design.

Rough blue print collection sketches where I begin to map out shapes and proportions.

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My research at the beginning of this thesis collection lead me to the early NASA space suit development being crafted in the Playtex bra factories. I was drawn to photos of these female Playtex factory workers crafting the future of space exploration.

Jet wing detail: Construction inspiration

Combining model fitting sessions with 2D design exploration. Balancing the design process between the 3D making aspects of my work and my affinity for designing through drawing.

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Combining model fitting sessions with 2D design exploration. Balancing the design process between the 3D making aspects Of my work and my affinity for designing through drawing.

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Merging fabric samples with prefabricated design muslin. Within the model fitting process I began to let the fabric development and design muslin inform each other.

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A few embossing and heat transfer fabric developments. Melting,embossing and bonding fabrics in an effort to find their true potential. I designed an upward of 200 new fabric samples at the start of this collection.

Computer generated collection line up collages helped me begin to align silhouettes, color ratio and distribution of textures.

Swarovski crystal fabric rib knit development.

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R I S I N G

T A L E N T

delightful dread

A look at what the human body, emotions and ceramic vessels have in common with thesis notes Text By Ana Callahan-Roman

WEAVING NEWFANGLED FUSION INTO THE FUTURE IS NO EASY feat. Everyday Katherine Mavridis gets up to greet the world is another day filled with ominous hope and delightful dread. The Parson’s MFA graduate scribbles on her thesis notes, “Sometimes I sit in bed with an open laptop and half a sandwich, contemplating the impending heat-death of the universe.” If the universe meets back at the very point where it began, then for Mavridis that point would be sustainability. “A new grassroots breed of fashion is going to rise,” she warns. Some will be threatened, while others will greet the Australian designer with open arms. With maverick hands and

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Katherine Mavridis

bold impetus, Mavridis has a better chance of pushing her agenda by establishing herself as the humble headmistress of interwoven ready-to-wear sculptures and expansive signature pieces. What emerges from her lacuna coils may just be the elixir of what’s to come inside fashion’s next dimension. Unselfconscious but fully aware, Mavridis knows that it’s not just the simple world of wool watching her every move. Her new techniques demand construction, breadth and amplitudes of play allowing for more than just fullyfashioned knitwear. Coiled ropes, she has transformed into her own sacred geometry shakes the proverbial fist at outdated modes of

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wasteful manufacturing. Her invention of a new coiling technique is what earned her a sponsorship with the luxury Japanese ribbon company Mokuba. What quickly follows is a cellular structure of heroic protection, giving birth to purity rings of all white robustness and fortitude. Outside the stark tones of her vision belies a whimsy in the forms of carefully crafted air-ducts at the elbows intermingled with asymmetrical draping. Whirling dervish figurations and exaggerated bell shapes traveling downstream gives the human body room for day-today ritual dance. The word sustainable is the last thing anyone thinks of when admiring or contemplating these pieces. “It’s a dirty word in the ears of executives,” the designer reveals. “That’s because sustainability’s true definition is a two-part problem to tackle; one part ecological, another equal part ethical.” It’s as if Mavridis wants us to know in the most exacting terms what she stands for and against. With composure, and the steely gracefulness of a heroine emerging like a phoenix from fashion’s wasteful world, we know we can no longer look away from the sun. If fashion’s least favorite subject is sustainability, then Mavridis is the mother of reinventing it.

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Collage Sketch: relation of coiled object to human form

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Inspiration Disruption: folds and forms of the human figure

Detailed collage with design analysis layered transparent knitwear / ripped coiled chord

Inspiration: contemplation

Inspiration: vessel forms light and shadow interplay

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Collage Sketch: inquisition of tubes and human form

Detailed collage with design analysis layered transparent knitwear / ripped coiled chord

Mentor: Doug Johnston vessels

Inspiration, Interior Structures: The Space Within

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T H E

H O T

L I S T

a day in the life of...

Hyuna Shin

I WAKE UP AT 7A.M. WITH MY SLEEPING MATE, MY TOY POODLE, NILE. THE first thing I do is go to my espresso machine. Once the espresso is ready, I sit down and have it for about 10 minutes. I don’t check my email until I get to the studio because I try to give some time to myself. The morning time is for me, and I don’t want any other work thing to contaminate my time. I take Nile out for a walk, and when I come home, I go to the gym, which is downstairs of my building. I do 30 minutes of cardio, 20 minutes of weights and 10 minutes on the treadmill. My new goal is that I’m trying to get on the habit of doing spinning. But when it gets warmer, I’m trying to take the classes. I love yoga, too. When the weather is nice, I sometimes go to the yoga center in the Chelsea area, and I love running on the Westside Highway on the jogging track. I’ve been working out for years in the same gym, so I feel like I need to spice it up a little bit and

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Interview By Amy

Vosejpka Transcription By Kelsey Tucker

try different things. I’m Korean, so for breakfast, I like to eat some rice with eggs and a little bit of protein and vegetables. Or when I don’t have time, I mix a protein shake. By then, I have already had three cups of espresso, and I’m wide-awake. I’m very quick to get ready. I have short hair, and I don’t really spend a lot of time on make-up or anything. I don’t wear foundation — I feel complicated when I do that. I have my style, which is based on jeans, leggings and t-shirts. I like things tight, as it’s easier when I’m working. I walk to my studio, which takes about 25 minutes. When the weather is nice, I bring Nile. The first thing I do is open the window, and then I have one cigarette and drink another coffee. Then, the studio manager and I go through the everyday tasks, like what we should do and what will happen that day. After that, I get onto my email and I start with followups. Most of the time, I am working on the selection and processing and proof sheets

for clients. A lot of people don’t know what goes on after the shoot. Actually, the shooting day is the fun day- I can play around with a lot of people. If I have a shoot, it normally starts at 10, but sometimes earlier. We get here about an hour before to prep for the shoot. It can go until whenever. I love cooking, so for lunch I will usually cook something in the studio. I prepare all of the ingredients for maybe a sandwich, or we cook in the slow cooker. I like it because I know what I’m putting in there. It’s fresh, so it’s good. I don’t like to have sugar in anything. Once in a while I will treat myself to a dessert. Other than that, I don’t like sugar. I normally leave the studio around 6:30 or 7P.M. But if there is work that has to be done, I will stay here until about 9P.M. After I leave, all I want is to go home, take a shower and lay down. I love grilling salmon and eating rice. So for dinner, I’ll have salmon, sometimes chicken – it doesn’t matter as

long as it isn’t greasy. I’m not a picky eater. I eat everything, but I’m careful with what I’m putting in and what ingredients I’m picking. I don’t really follow any TV shows, but one thing I like is HGTV. It’s easy to watch, and I also love to see how they flip around the house, the interior, everything. It’s pretty fascinating. My dad used to be an architect, so I think I’m more interested in those projects. At night, I try to catch up with my family because they live in Korea and there is a 12hour difference. I also clean up my place and get ready for the next day. I used to go out a lot, but now, I need to really learn how to rest so that I can be functional the following day. I enjoy having a glass of wine — it makes me relax. But sometimes, one glass can lead to a second glass, so I decided maybe I would do that only during the weekend when I hang out with my friends so that I can appreciate it more. I go to bed around 11P.M., midnight the latest.

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A lot of people donâ&#x20AC;&#x2122;t know what goes on after the shoot. Actually, the shooting day is the fun day- I can play around with a lot of people.

Hyuna Shin

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T H E

H O T

L I S T

a day in the life of...

Emma Pulbrook

I WAKE UP AT 8 A.M. AND SIT IN MY BED FOR ABOUT AN HOUR, looking at social media and answering emails. I have a stovetop espresso maker, so that’s the first thing I do when I get up. My day-to-day really depends because my jobs vary. Some days, I go to production companies. It’s almost like doing job interviews — just meeting with photographers, reviewing portfolios, doing go-sees, etc. If I have a shoot coming up, I spend a lot of time prepping it. It takes a whole week to prepare and organize all of the pieces and one or two days to collect all of the clothes. On a shoot day, I have to get up at 6A.M. to be there by 7A.M. The model’s makeup takes about an hour and hair is about another hour. Depending on how set-up the photographer is with the lighting and the mood, you can get that done fairly quickly. You really have to work together and come to

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Interview By Amy

Vosejpka Transcription By Kelsey Tucker

an agreement about what you both want to achieve. Then, I literally have to churn out outfit after outfit, making sure they’re right for the right setting. It’s pretty difficult when you have a location shoot because you have to pre-plan each outfit for each location, whereas in a studio, you can choose which look to do first. I’m definitely on social media quite a bit. The only time I really have time during a shoot is if an outfit is really simple, and I don’t have to watch it as much, or if there is a make-up change. But I’m constantly checking my email. I normally wear all black — jeans and a t-shirt — because it’s easy if you get anything on it like pen or tape. When it comes to make-up, if I can choose not to wear it, I won’t wear it. As for my hair, I just usually tie it up. If I have no food in my stomach, I start to shake. I have an issue with my blood sugar, so I need to eat quite a lot. I always have nuts with

me because they fill you up so much. For breakfast, I usually have an egg with lots of fruit or avocado toast with Vegemite. When I’m on set, I always get Pret for lunch. I love their super food salads — they’re amazing. In an ideal world, I’d have a burger for lunch everyday. On a good day, the shoot may end around 7P.M. If it all goes according to plan, you just pack up an outfit when you’re finished using it. It’s a good system to get into. Sometimes if you’re shooting 14 looks, you normally have to pack up at the end of the day. Often, we will all have a drink at the studio. The idea of going out after a long day is kind of draining on your body. It’s nice to go home and take a hot bath. I take an Uber to and from the shoots— it’s just the most amazing thing. I used to have assistants, but that didn’t work out so well, so I decided to work by myself for a while until the right person comes along. It’s such a risk because

it’s a big responsibility, and at the end of the day, it’s my reputation. If I go straight home, I’ll definitely have a glass of wine with some nice music while I finish up. If you have a lot of space, you can organize everything by company at the shoot. When I’m not shooting, I do work from home quite a bit. I have a membership at the Soho House, so I like to go there and work because everyone is working and the vibe is inspirational. If I’m at my house, I’m not doing work as much as I should. I love reading and try to do that in my spare time. I like fiction and philosophical books, like Brave New World. At the moment, I’m reading Steppenwolf by Herman Hesse It’s kind of dark. My next book is going to be by Rolland, the French writer. I go to bed around midnight, maybe a little after. Especially after a shoot, I just crash.

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PHOTOGRAPHY BY DAVID REISS

Emma Pulbrook

I used to have assistants, but that didn’t work out so well… It’s such a risk because it’s a big responsibility, and at the end of the day, it’s my reputation. deuxhomm.es

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RTI H S E I NH G O TT A LL IE SNT T

a day in the life of...

Aeriel D’andrea Payne Interview By Amy

I GET UP ANYWHERE BETWEEN 9-9:30A.M. THE FIRST THING I DO IS make a cup of green tea. I’m not a coffee drinker. I also stretch and check emails and messages. Every now and then, I go through Instagram to respond to any comments. Once my tea is ready, I like to sit outside and have a quiet moment before I start the day. I work out in my apartment, and if I don’t do it in the morning, I get too busy with everything else and it never happens. So, I throw on my work out clothes because if I don’t, I won’t do it that day. While I’m working out, I like to watch a movie, usually a horror flick or something. Or I read a book on my iPad. Then, I jump in the shower, get dressed and look at errands I need to run so that I can get them out of the way. My goto outfit is leggings or jeans, a t-shirt and a light jacket. I have a wardrobe of black clothes. I don’t own any white clothes. As a make-up artist, I tend to get a lot of products from Make-Up Forever, Smashbox and MAC. Those are my

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Vosejpka Transcription By Kelsey Tucker

three favorites. I do not wear a lot of make-up, but I do love skincare. I don’t have a particular favorite, but I’ve been loving Context Daily Facial Cleanser and Restorative Night Cream, Doll Face Defend Moisturizer and Mario Badescu Herbal Hydrating Serum. Once a week, I use Doll Face Brilliance Illuminating Face Polish to exfoliate. As for make-up, I use Smashbox Camera Ready BB

out and shower, I have eggs or something like that. When people are having lunch, I’m still having breakfast. On shoot days, if a calltime is at 9 A.M., I usually wake-up at 7A.M., take a shower, get dressed and throw my hair into a ponytail. I grab my headphones and a book, so I can listen to music and read on the train. I have everything on my iTunes from hip-hop to Adele to house music to reggae. It’s a mixture because

Once I have a feel for that, I go through the wardrobe and get a muse. Being on set can be a little crazy. There’s so much going on and there are so many opinions. You have to be able to work in stressful environments. You just have to do your job and stay focused. You can’t show that you’re tired or even hungry. Models can do that, but for us, we have to grin and bear it. What I have for lunch

You have to be able to work in stressful environments….You can’t show that you’re tired or even hungry. Models can do that, but for us, we have to grin and bear it. Eye Cream Concealer and Limitless 15-hour wear Cream Shadow in Icon, Mally Eye Amplifying Shadow Liner in Chestnut, MAC Brow Gel, Laura Geller Style Lash Mascara and EOS Lip Balm in Sweet Mint. I eat breakfast, but it comes in stages. I have the green tea, and then an hour later, I have yogurt. After I work

I love music. Right now, I’m reading Chronicle of a Death Foretold by Gabriel Garcia Marquez and Dark Places by Gillian Flynn. I like to get to the shoot location about 10 minutes early to set up. I wait for my model then prep her skin. I have a meeting with the photographer or client to see which direction we’re going.

depends on what I have in my cabinet or how lazy I am. If I’m running errands, I usually pick something up while I’m out. If I’m on set, it is usually sandwiches, pasta or salad. I’m not a vegetarian, but I don’t eat red meat or pork, only poultry and fish. Because I’m in Brooklyn and my friends are in the city, I only go out with them if

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PHOTOGRAPHY BY RICK DAY

I am already in the city for work or running errands. Our favorite place is Tequila Chito Mexican Grill. We always go for happy hour because they have $3 margaritas. 9 times out of 10, we stay for dinner, too. Sometimes, we go to Patsy’s or Shilla Korean — it really depends on the mood. If I’m at home, I usually prepare food or order from GrubHub — either sushi, Thai or Chinese. I can always eat leftovers and not feel gross. I love Mexican, but the leftovers aren’t good. It’s mainly just what will have the best leftovers. I love a glass of red wine. I don’t have cable because I’m not much of a TV person, so I like having Apple TV since it has a couple channels. Netflix is probably what I watch the most. I love science fiction and British TV. And I usually have the TV on in the background if I’m doing something else. At night, I’m usually on Instagram or updating my website, sending out invoices or things like that. I don’t really shop online for clothes or beauty products. I go through emails if I couldn’t do that on set, and maybe return some phone calls. I unwind for a minute and stare into space. It’s quite comical. I put on my pajamas, wash my face, brush my teeth, floss — the whole routine, and then head to bed.

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B E A U T Y

color symphony A colorful stimulation as we leave hibernation Photography By

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Hyuna Shin

Makeup By

Aeriel Dâ&#x20AC;&#x2DC;andrea Payne

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nail artist EMI AOKI model MILA (Q MODELS)

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www.alighieri.co.uk

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top VIOLENT ROSE

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M U S I C

from john to jay

Enterprising hip-hop artist, Jay Royce, on modeling, HOV and why “it’s definitely in the streets” Interview By

“I’LL BE STANDING OUT FRONT ON THE BROADWAY SIDE, wearing a brown coat with a Trapstar hat,” read John McGauley’s Wednesday afternoon e-mail. “Sounds good. I’m in a black biker jacket, skinny jeans, combat boots and skull cap,” I replied, as I hustled boot to boot out of Port Authority and across 42nd Street to 1411 Broadway, the Roc Nation HQ and rap heaven for any recording artist worth their salt. After a very successful bout with Google Maps, I spotted the man in the brown coat and the Trapstar hat. “What’s up, man?” he said. “I just got your e-mail. I’m actually in the middle of a fitting. It’s funny, they got me modeling and creative directing.” We shook hands. I was meeting with Jay Royce, rising hip hop artist, model and apparently, creative director. If you’re still following, you may be wondering who the heck John McGauley is. We’ll get to that

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Malcolm Thomas Photography By Karina Ordell

later. “We can do this right here if you want,” Royce said, as we sat down on a bench outside the monumental skyscraper. MT: Just speak into the phone. JR: OK. Who is Jay Royce on and off the stage? Yo honestly, off the stage I’m pretty simple. You can find me doing regular tourist-y shit in New York. Wait. Am I allowed to curse? [Laughter] It’s fine. But yeah, mostly off the stage I do a lot of streetwear modeling. It’s picked up for me in the last year. I try to stay busy when I’m not performing, but on the stage I’m just like any other rapper. I go up there and give it my all. How would you describe your stage persona? When I’m on stage, I’m not aware of anything. So, I couldn’t tell you. I don’t remember moments on

stage. It’s like something takes over me. I couldn’t even tell you. You’d have to ask someone else. Are you the same or different? Jay Royce is definitely reserved for the stage. He’s the same dude behind the camera too. They’re pretty much the same entity but the person is totally different. I’m more laid back. On stage you amp it up? You have to. You don’t want to be boring. Your birth name is not Jay Royce, is it? It’s John McGauley. Mhmm. Where did the name come from? My mentor since I was thirteen. His name is Jay. A lot of people used to call me, “Little Jay”. I experimented with a few names. Royce just stuck. I’ve been using that name for almost ten years now.

With over 20,000 followers on Instagram, I have to ask, what are we all doing wrong? [laughs] I don’t know man, it’s all about branding and finding your niche. I don’t know what the people want. I just try to post dope shit. On your feed, it seems you’re far from a lonely guy. How important have your friendships been on your journey? Having the support of your friends, knowing that there’s people in your corner, gives you a sort of purpose. When you have people in your corner it makes you go harder. At the end of the day, no one wants to feel like they’re doing something by themselves. It’s a team effort. Definitely. Can you talk a little bit more about your modeling experience? It goes back to 2011. I remember one time I was in Benihana with my mom. She

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In a separate interview, you mentioned a Clubs and Drugs EP trilogy. Is that still in the works? Yeah definitely. It’s actually been two years in the making. I talked about that during an interview back in 2014, I did for Crack radio. The After Party EP was obviously the first entry. I’ve been focusing so much on different things this past year. I was in a different head space but it’s definitely still in the works. It should be dropping this year. Are you going to turn it into an album? I’ll probably just turn the whole trilogy into an album and probably add a few more songs. I’d like to get it on iTunes. was talking to this lady from Ford Models, and she wanted me to come into the office or whatever. So basically, long story short, that was not me. Like the whole high fashion modeling world, I couldn’t take to it. So, fast forward a few years, I just got thrown into it. I knew so many models. They were like, “You should do this, you should do this.” Then a friend of mine referred me for a Footaction shoot and I was like, “Forget it, I’ll do it”. You know just as a favor. Then it went from that to them booking me again, to basically me being the face. You go to any store, I’m right there in the window. Then Violent Rose, a lot of people know about that shoot. That

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was a big thing because of the whole collaboration with Willy Cartier. He’s a good friend of mine. Modeling is not as bad as I thought it was, but I honestly love streetwear modeling more than I think I would high fashion. Why? It’s edgier and more relatable. High fashion as a whole feels like its lost its way. It’s not… Relatable? Yeah, it’s not relatable at all. If you look at it, a lot of high fashion designers are copying the streetwear designers. So, it’s definitely in the streets. Everything is in the streets. If it doesn’t resonate here, it’s not going

to resonate anywhere. Do you think style is just as important as talent? Definitely. When you’re an artist you can have lyrics but lyrics don’t work alone. You need to have a full package. People want to be you. People should want to be you. I think of artists like Drake. Drake doesn’t really need the style because his music is that great. You have other artists where the style compliments the music. I don’t really want to say any names but you have a lot of artists that are like fashion rappers, you know? That’s their market. Without the fashion, they probably wouldn’t have a market.

In Drop Life you rap, “Anywhere I go, just know I do it for the city.” Sounds like a personal mantra, is it? I’m from New York City. I want to represent New York wherever I go. I feel like being from here is a responsibility, you know? I feel like a lot of artists represent the city but they don’t show the love for the city like they should. Especially towards one another. When you compare New York hip hop to L.A. hip hop, the love is definitely missing. In L.A., the best rapper could do a song with the worst rapper and here everyone wants to be God. Everyone wants to be Hov

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[Jay-Z]. Hov didn’t make it without a bunch of Hov’s on his team, you know? Do you feel like there’s an added pressure because you’re a New Yorker and because hip hop originated here? The irony is, when you’re from New York, the people from New York are reluctant to listen to you. But when you go anywhere else, “Oh, he’s from New York! I gotta listen to him! He might be the next best thing!” It’s definitely added pressure but it’s not a bad pressure.

It’s a good pressure. Are your lyrics autobiographical? Most of them. Then you have the braggadocious raps. The thing is I feel like I lived a certain life before I was supposed to. Being able to say I’ve been to the VMAs or I’ve been around these A-list stars on a daily basis and then bringing that to a track, you would think someone’s lying because you’re like, “How?” But that’s just the life I live and that’s all I can talk about. I’d be lying if I said I was like Tupac or Dr. Dre or like

the dudes from Straight Outta Compton. I grew up in the Bronx and Harlem but the thing is I gravitated away from the hood. It made me who I am but I didn’t embrace the bad side of it. I took the good from it, and I ran with it.

beats. Someone once told me, “If Kanye and Drake were one person, it would be me.” So, I guess that’s my niche right there. I don’t like commenting on the music because it’s for the people to decide what it sounds like. Me, I just make it.

Compared to old school hip hop, like NWA and Run DMC, to the hip hop of today, Kanye West and The Weeknd, where do you fit? The After Party EP got a lot of The Weeknd comparisons. I like a lot of echoes on my

If you could boil your story down to one moment, what would it be? I always tell everyone this story. I started rapping in 2008. I was on my way to a Nets vs 76’ers game. It was Allen Iverson’s first game with the 76’ers. So, we were late as hell, and I was in the car talking to my friend and I was like, “I don’t even know if I want to do this music thing. I might just go the school route. Get a desk job.” We get to the stadium. There was a Roc Nation trailer. I say this in front of Roc Nation. This is hilarious. There was a Roc Nation trailer like right there. [points north] I was thinking in my head, imagine if Jay-Z pops out. I swear to God, he walks from around the trailer and just says, “What up?” I was star struck. I’ve never been star struck in my life. Ever. I rap because of Jay-Z! The stadium is probably across the street. [points west] I was on my flip phone calling everyone telling them, “Yo! I just met Jay-Z! Oh my God!” Ever since that day, I took that as a sign to stick with what I’m doing.

When you’re an artist you can have lyrics but lyrics don’t work alone. You need to have a full package. People want to be you. coat VIOLENT ROSE style director KEINO BENJAMIN

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F O C A L

P O I N T

paris,

get into bed

with the ivys

The need for proactive and not reactive fashion sustainability Jun Shim Text By Yasamin Rahmanparast

Photograpy By

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s S OMETIMES I SIT IN BED WITH AN OPEN LAPTOP AND HALF A SANDWICH, contemplating the impending heat death of the universe. It’s a theory that states — in layman’s terms — that eventually the cold and the hot in the universe will melt together and create a lame, lukewarm final existence for the once very animated cosmos. It’s the metaphorical label I’ve also given to our collective 21st century blasé towards fashion’s key to maintaining its very own life, her least favorite subject: sustainability. It’s a dirty word in the ears of executives. That’s because sustainability’s true definition is a two part problem to tackle: one part ecological, another equal part ethical. It’s relatively easy for a customer to look at a clothing label made from crinkly paper, read “100% organic cotton, $46” and feel good about that new purchase because the packaging is recyclable, the cost isn’t exactly cheap and it’s most importantly, not made out of plastic.

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That same person might second-guess the purchase if he discovered that his new shirt may be pesticide-free, but it took 2,700 liters of water to produce. It’s also the same shirt that was sewn together at a factory a lot like disaster-stricken Rana Plaza in Bangladesh that left thousands dead and wage-less. It is, after all, easier to look at a photo of a leafy green logo than an exploited foreign worker on a brand’s perfectly curated Instagram feed. See why this is a multi-platform marketing nightmare already? That’s not to say that the little steps taken by large fashion companies aren’t by volume good ones. In fact, Patagonia’s manufacturing transparency, H&M’s ecofriendly Conscious collection and Stella McCartney’s cruelty-free initiatives have put a positive peer pressure on other brands to follow. But, because many of the world’s most iconic brands are either run by people who are either too old to see past today’s consumer-driven economy and forgo the future, or by those who are too financially committed to their traditional manufacturing processes to move forward, a new grassroots breed of fashion is going to rise. Scene cut to the much smaller and much younger brands that are blazing a thousand steps ahead of their conglomerated peers into real sustainable territory, Take 1.

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These brands start at the most basic component of fashion: textiles. They recognize that true sustainable innovation isn’t simply swapping a synthetic fiber for a natural one, and opt for new and nontraditional fabrics instead. For example, MIT-born Ministry of Supply creates menswear with phase-change technology that regulates the wearer’s body temperature as he moves through different climates. That means you essentially get a few shirts in one, eliminating fabric waste and carbon emissions. Further, this new thinking extends to dyes. Berlin-based Blond and Bieber design studio created an awardwinning substance called Algaemy, a distilled algae that can be naturally tinted and transferred to textiles as colorchanging dye, free of toxins and reproduced without harm. Imagine if these processes were applied to designer ready-to-wear and couture. Paris needs to get into bed with more Ivy-leaguers. Design is the next step where the young ones are revolutionizing the supply chain. Designers know that most garments shouldn’t have a life cycle that only lasts 10 wears (cough, Zara, cough). Multi-purpose garments with utilitarian functions and multi-size garments that can be adjusted with fasteners, however, do need to go into higher production to accommodate a wider audience and sustain

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a larger market with various body types. Additionally, zero-waste patterns such as those championed by one of the few established but proactive designers Issey Miyake almost mathematically map out patterns on yards of fabric ensuring that no fabric whatsoever is left to waste: a technique that is not only the future but is now. A young group of designers at Korea’s Re:Code, for example, is making sure nothing goes to waste while maintaining a truly futuristic spirit. The brand has three distinct product lines that transform overlooked scraps into wearable puzzle-piece garments and accessories. Their first line is called the Inventory Collection. This assortment breathes new life into leftover fashion stock that failed to sell or ended up in a landfill. Their second line, the Industrial Collection, completely repurposes seat covers, airbags and fabric linings into clothing, while their third line utilizes discarded military fabrics like parachutes and uniforms. These upcycled garments and textiles are collected, then cut, pleated and reconstructed into one-of-a-kind avant-garde pieces that give the Antwerp design school a run for their money. It’s a brand that practices what it preaches. In regards to inclusivity, almost 20 individual designers contribute their international points of view to the brand. Forward, these thinkers

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It’s a dirty word in the ears of executives. That’s because sustainability’s true definition is a two part problem to tackle: one part ecological, another equal part ethical.

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hair + makeup SEUNGYUN LEE models SIM SOYOUNG + KIM YUNHA (YG KPLUS) wardrobe RECODE SPRING/SUMMER 2016 location GANA ART

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employ their company’s motto -- “this is not just fashion” -- by applying their talents to both art collaborations and social projects. From participating in cultural events, such as the worldrenowned Frieze Art Fair to even sponsoring Seoul’s Green Film Festival, brands like Re:Code are the types of guys who are our new hope. But recycling clothes, planting seeds, turning off lights and paying higher wages isn’t where the scope should end. To succeed, sustainability needs to work from the bottom-up at the basic business model. Traditionally, a consumerdriven fashion conglomerate would encourage its designers to sometimes create upwards of 16 collections per year in addition to a hit purse and commercially-successful fragrance — a grotesque pressure that is rumored to have contributed to Dior Galliano’s infamous mental breakdowns. By saturating people, I mean, “consumers,” with countless print ads, online pop-ups and free samples pushing the need for more, more, more, NOW, a rampant obsession for the coolest, latest thing trumps any item made sustainably with integrity and character. Today, new companies are challenging this with a different “sharing economy” approach, eliminating waste in the process. Instead of owning their inventory, fashion’s Rent the Runway operates similarly to Facebook

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or Airbnb. By relying on third party people to provide their physical collateral or content, they eliminate the need for unnecessary inventory and instead invest in communication infrastructure, logistics and drones (lots of drones) to do the heavy lifting and cut unnecessary waste. But even though a computer-operated SkyNet drone system may one day deliver your online shopping purchases straight to your door in 60 minutes or less, I do predict that another old-school fashion channel -- the magazine -- will never lose its luster and appeal to human emotions. That being said, sustainable responsibility applies to the editorial sector that without a doubt contributes to the corresponding emotional attachments of readers who relate to the zeitgeist’s printed ideals of beauty. Wide-eyed but naive young kids browse through breathtaking but overly photoshopped images in fashion magazines and perceive those unrealistic and unattainable photos of blemish-free subjects as corporeal truths. Fashion has had a tendency to do more harm than good in the self-esteem and healthy body image departments, and we’re at a point where we might need disclaimers and warning labels on certain content to discern fantasy cloaked as reality. It’s time for this industry to stop both its physical and ethical pollution, and leave the world a better

place than how it started each and every time the process repeats. These are some of the grievances that have some of the greatest designers of our time, i.e. the Raf ’s and Alber’s of the world, to leave their prestigious titles at historic fashion houses in favor of their own ventures in the pursuit of work and real, 21st century life balance. So somehow, in an authentic and perfectly-voiced omni-channel approach, marketers will have the tremendous task of convincing the entire fashion industry that all of these aforementioned facets are worth defending. They will have to work overtime to tackle the sustainaphobia of the luxury sector in particular, and somehow make sustainability both sexy and luxurious without the hippie tree hugger connotation. Until we as a society collectively call out companies who half-heartedly advertise a disingenuous “Green is the new black” for its mere PR sparkle and instead demand that the entire fashion production calendar amends to accommodate more progressive measures in sustainability, the change will be lukewarm at best. During the first week of February in a groundbreaking twist of events, luxury behemoth Burberry has announced that it will align its runway and retail calendar. Instead of showing 6+ collections a year, the brand will forward recognize only two collections per year (titled

‘February’ and ‘September’ not SS or FW) that will showcase both the men’s and women’s looks of the current season, and not the season of six months in advance. Further, the collections will be immediately available for purchase following the show online and at its stores. Not only is this move genius for responding to the now broken and disruptive fashion cycle, but it responds to the shifting consumer expectations and trends influenced by the millennial consumer. Once more high-profile brands follow, our own shopping experiences both through social media and in-store will never be the same. The time is right. Designers, get creative. Companies and governments, enforce new standards and offer subsidization or tax breaks as incentives to those who wish to move forward but simply cannot without help. Fashion educators, teach your students the truth about the industry and lead them to nontraditional innovation instead of the comfortable known past. Encourage young Generation Z’s entrepreneurial spirit to change the world. And most importantly, recognize that you have the power to demand that fashion’s biggest players must be proactive, and not simply reactive. We must not only sustain the current state of our planet, but like science before us, push forward and evolve.

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N E W

Y O R K

fingers crossed

Paint me a picture Photograpy By Hyuna

Shin Text By Jennifer Stevens

DESIGNER RYU HAYAMA HAILS FROM CENTRAL TOKYO, WHERE HE initially studied mechanical engineering at Waseda University. However, upon completing his studies, Hayama discovered he no longer wished to build planes. It was fashion which stirred him the most, inspiring him to pursue a design career in New York City. Hayama began his foundations in menswear design at the Fashion Institute of Technology. He refined his patternmaking and design skills while working for Indigo People, Cloak and Ralph Lauren before establishing Fingers Crossed. Inspired by the vivid color of Nick Cooperâ&#x20AC;&#x2122;s photographs of sunsets, designer Fingers Crossed Spring Summer 2016 collection displays deep golden yellow, hues along with rich reds and a deep black. Styled with mismatched socks worn with Birkenstocks, shapes were soft and voluminous: wide cropped trousers and long tunic shapes gave flow, however were metropolitan in terms of of color and layering. There were prints mixed in to the golden end of the spectrum, and throughout, shiny fabrics contrasted with matte, layers were artfully arranged to reveal contrasting shapes and textures.

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creative director CARLOS BASORA makeup & body art MOISES RAMIREZ model ROBERTO SIPOS (SOUL ARTIST MANAGEMENT) hair NIC SANTOS assistant stylist LEO CHANG wardrobe FINGERS CROSSED SPRING/SUMMER 2016 footwear DANIELE MICHETTI

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c i d r o n C O P E N H A G E N

OF I M E NT T N E S TH E this G TO B E N I ners from ig M s e E d E g S in A g I e emer aying O STA LG er than p ateliers, th th y a n r W IT H N a d m a e o om s ing ah s and reflected fr d in look te s e r te ll the bell a in reference f e o r o d e m p h uc nd strip e to our wn are m urbane a t has com , n ty le r o ta Nordic to p f s o , crop Sleek â&#x20AC;&#x2122;t the past. This fresh . But don e to t. b e in g to o a p d m e e s o h that u e, ight to th of things landscap e y get stra n e d a io th r h , a s s p e fa e tl whis petitiv stopian from a re etell a dy s r u fo g e daring. â&#x20AC;&#x2122;t in n th v s e f a s o o , d c e ti u m c is s is r re d futur haracte rability c treamline e s ln is u h v T f . o y hint w orr ess with a n ld o b a r but rathe

S, WADRO A T L E AIK TAN : right M opposite DOMINO Y L N E K K left MAR

m s i r u t fu Text

Adams n n e l y l l c u a B J ielle tography By By Dan Pho

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this page MAIKEL

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TAWADROS; oppo site M

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te MARK KENLY DOMINO TA

S; opposi this page MAIKEL TAWADRO

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stylist MARIA ANGELOVA makeup ANNE KRARUP hair JOSEPHINE MAI models LUNA (2PM) + RAKUL (UNIQUE MODELS)

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left FREJA DALSJO, right MAIKE

L TAWADROS; opposite FREYA

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ezekiel N E W

Y O R K

Our bones are dried up and our hope is gone. We are cut off Text By

SUN TZU, AUTHOR OF THE 5TH CENTURY B.C. TREATISE ENTITLED THE Art of War, manages to sum up everyday battle in the recent century in one prophetic quote, “Appear weak when you are strong, and strong when you are weak.” War, in the biblical sense, hasn’t changed for time travelers like London-based designer and illustrator Florian Wowretzko. His Spring/ Summer 2016 collection entitled “Ezekiel,” is energized and activated by the story of the bible prophet’s heady vision of dune-like waves rippling over desert encampments, all glittered and dusted with the remains of achromatized skeletons. Quantum leaps from previous collections, Wowretzko’s current choreography inside the minds-eye of inner

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Ana Callahan-Roman Photography By You Bin

warriors communicates that we must separate today’s weak pre-emptive strikes from the real ninjas. There are simply no friendly fires or empty threats to be found here. This visualized mental judo is demonstrated by the designer’s use of neoteric simulacrums encapsulated by stark architecture. Frames come in the forms of contrasting lengths, and angles are executed with laser-cut precision. All lengths emphasize strength in movement, which never allows for hindrance. These robes of metamorphosis, some ensconced in straps while others giving way to freeflowing cocoon shapes, emerge as signature statements. Leathers that have undergone rebirths into ribbed and tunic-like configurations graze the body to steely perfection.

Menacing trench coats with military lapels demonstrates Wowretzko’s uncanny use of utility. Somnambulistic layers paired with ankle-length kilts accentuated by single-sleeved jackets that jettison the upper torso further develops the collection’s nod towards our unsung inner warriors. Mesh fabrics sculpted into sheer kilts paired with Ecru jackets adorned with leather loops advances the contrast of fragility paired with stealth, silencer muscularity. The collection may read quasi-robotic, however it’s duly evident that Wowretzko’s carefully crafted hand is stronger than any

strict machine. Symmetry throughout the collection emulates fluid, modern-day breastplates, as if Wowretzko’s prophetic vision aims to protect the wearer from the battlefields of invisible Wi-Fi signals, surveillance and the unpredictable measures of everyday urban sprawl. The collection weaves its final divinatory tale with singular spirit, challenging its forebears to realize that it’s simply not a question of pushing the confines of masculinity and scope of gender fluidity, but of embracing the ancient one inch punch of distinct subtlety.

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model EFREN GARZA (DNA) wardrobe FLORIAN WOWRETZKO SPRING/SUMMER 2016

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jacket BY THE NUMBER

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self

S W E D E N

an expression of

A taste of Swedish glamour

Text By Danielle Bullen Photography By Viktor

Nilsson

THE NEW CLASS OF FEATURED SWEDISH DESIGNERS HAVE CREATED COLLECTIONS THAT PLAY LIKE OUR FAVORITE SONG. EASY AND effortless, some form of sublime rock and roll comes to mind. With moments of intensity that get our hearts pumping and our pulses racing, weâ&#x20AC;&#x2122;re reminded of a striking ballad that speaks to a youthfulness we can relate to. The freshness added to the dynamic is halfway between reality and a daydream. Attention to every fold, stitch, tuck and tear suggests an experienced mastery, yet there is an obvious budding exuberance that is essential. It brings to mind all of our most cherished things, showing us the beauty in the well loved and well worn. These emerging designersâ&#x20AC;&#x2122; concepts are larger than life, exaggerating as they see fit, and astoundingly, it works. Capturing and immortalizing the beauty of it like a Grecian sculpture, these designers remind us that like the spring, all things that were before, can become new again.

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jacket EA4TH earrings MORGAN BORGSTRÖM

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jacket TOVE ULLSÅKER bodysuit SOFIE LARSSON

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pants + jacket TOVE ULLSĂ&#x2026;KER pants WDEE handbag BRAND-FYR

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jacket BY THE NUMBER top TOVE ULLSÅKER belt JH NOCTURNAL skirt EMELIE JANRELL

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glove JH NOCTURNAL earrings MORGAN BORGSTRÖM

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stylist NATALIE OLENHEIM (ROCKSON) hair JULIE GARRETT (UNIQUE CREATIVES) makeup METTE SCHOU (AGENTURCPH) model NASTYA (SCOOP MODELS) dress JEANET ROERHOLT jacket EA4TH footwear BY THE NUMBER

black dress brand JEANET ROERHOLT white jacket brand EA4TH sandals brand BY THE NUMBER deuxhomm.es

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deconstructed vision

C H I N A

The beginning meets the end

Text By Alexander

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Cao Photography By Tong Meng deuxhomm.es

VISUAL SIGHT IS THE HUMAN’S MOST PRIMARY MODALITY. OUR NOSES ARE COMPARATIVELY obsolete and our ears, while sensitive, just don’t communicate the same degree of information. This is a system of perception that operates, quite literally, at the speed of light. Sight is also the underlying principle that makes fashion so relevant. “Fashion is the most powerful art there is. It’s movement, design and architecture all in one. It shows the world who we are and who we’d like to be.” It’s a visual declaration, a secondary manifestation of the self. For Sean Suen, the effect is even more pronounced. Though studied as a painter and experienced as a graphic designer, the Beijing-based designer has turned to fashion as his creative outlet. Familiar with these different identities, Suen translates them into his deconstructed garments. With people comprised of so many different facets that encompass our identities — each prone to ceaseless change, some that compliment each other and others that seem to strike a stark contrast — Suen attentively dresses each of these traits and expressions, solemnity in particular, in his clothes. A flair for multi-level cuts and mixed textiles, he’s able to articulate all of the nuances in each emotion and feeling. Suen really does live up to his design ethos where each garment truly embodies an eye-grabbing dynamism.

WARDROBE: SEAN SUEN SPRING/SUMMER 2016 (THROUGHOUT) deuxhomm.es

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makeup GING QIAN hair LI JIAWEI models WANG RUI + CHE BIAO + TANG XIAO TIAN + ZIW EI (ESEE MODEL MANAGEMENT) wardrobe SEAN SUEN SPRING/SUMMER 2016

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enneth

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ing

Emotions breed physical interpretations Photography By

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Brent Chua Text By Alexander Cao

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id·i·o·syn·crat·ic culture At some point, we question whether or not fashion can be re-innovated. Like chords in music,

there are only so many ways

to recombine tops and bottoms. Are these permutations really finite? And then

we meet designers like Kenneth Ning

that alleviate our

concerns, introducing us to garments that we’ve never seen before and yet, look

so familiar. For Ning, the challenge to create idiosyncratic pieces isn’t

kitschy novelty. Rather, it becomes a task of making old things relevant again in a

contemporary culture.

Right now, our society is in a state that fosters and cultivates

empowerment in young people. Never has there been such a surge in young professionals, creatives and dreamers, taking action to

ensure that their aspirations become realities. Ning, through his suiting and tailoring, imbues this high-spirited, youthful energy. Print and color, though carefully limited, are all fair game. He removes the suit from a place of bland convention and throws it out into the street for

the urban beau monde to find and relish in. It is through this

aesthetic that

Ning’s designs have become a symbol that

expresses power and autonomy for the young people of today. They, too, belong

This is the new generation.

to the doers and makers. This is who Ning designs for.

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stylist KENNETH NING grooming MARI MATSUMOTO model NICK MADSEN (RE:QUEST) wardrobe KENNETH NING SPRING/SUMMER 2016 deuxhomm.es

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L O N D O N

the bones of the thing,

it’s

the skeleton that holds it all together

Photography By Nicholas Lapité Text By Danielle Bullen

IT’S THE BONES OF THE THING, the skeleton that holds it all together. Mai-Gidah’s designer, Ali Abdulrahim, gives his collection strength of foundation by focusing on patternmaking, cutting and construction, all of which give soul and depth to his energetic designs. Being of Ghanaian-Belgium descent, and having grown up in the West African country of Ghana, Abdulrahim draws inspiration from his own experience of the intermingling of cultures,

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invoking the West African tradition of storytelling and communication through vibrant representation, making his collection self-reflective and to an extent, autobiographical in nature. Pouring interpretations of personal experiences into the details, Mai-Gidah adds a powerfully unique voice to the conversation of young British designers that correctly reflects the multicultural epicenter of London, where the garments are designed. Much in the same way that where one comes from is as important as

where one is headed, Mai-Gidah places equal amounts of care and consideration in it’s roots in tailoring and tradition as in the contemporary concepts and unparalleled innovation. The details are heavy hitting and layered, some quickly calling attention to themselves while others are more subtle and require a keener idea. They give the sense of being able to engage you in a captivating conversation of their origins. These are garments you want to take the time to get to know.

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WARDROBE: MAI GIDAH SPRING/SUMMER 2016 (THROUGHOUT)

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stylist EMMA PULLBROOK grooming VERONICA PETÈRS assistant photographer GRAY BRAME models NICK V + NIL (IMG) wardrobe MAI GIDAH SPRING/SUMMER 2016

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Photography By

Ace Amir

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coat DANIEL GREGORY NATALE

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blazer HELLESSY pants DANIEL GREGORY NATALE earrings TULESTE footwear + handbag CMCK

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dress LONG XU pants DANIEL GREGORY NATALE footwear FENG CHEN WANG

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dress PENGJII CAI pants + footwear FENG CHEN WANG

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dress NOVIS jacket + footwear FENG CHEN WANG

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shirt DANIEL GREGORY NATALE skirt HELLESSY jacket FENG CHEN WANG earrings EDGAR MOSA footwear PENGJI

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sweater KATHERINE MAVRIDIS pants + footwear FENG CHEN WANG choker TULESTE

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top + footwear PENG JI CAI dress TAMUNA INGOROKVA pants + handbag FENG CHEN WANG socks 3NY

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blazer + pants ICB skirt PENGJI CAI socks 3NY bag ETHAN HON footwear DILETTA CANCELLATO

stylist JAHULIE ELIZALDE makeup CHRISTINA KAY hair AKIHISA YAMAGUCHI USING ORIBE HAIR CARE model JULIA SCHNEIDER (WOMEN 360 MANAGEMENT) deuxhomm.es

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eyes

look into my Wunderkind: Blair BlairMoore Moore The The Wunderkind: Interview By

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Amy Vosejpka

Transcription By Kelsey

Tucker Photoraphy By Gus & Lo

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BLAIR MOORE, A PARSONS FASHION DESIGN STUDENT, first went on to obtain a business degree before moving to New York to pursue fashion design. During her time at Parsons, she was one of two winners of the fourth annual “Empowering Imagination” competition, which is sponsored by Parsons and Kering, and was also nominated for Designer of The Year and Portfolio of The Year. Moore even went on to become the Founder and Creative Director of stitchlinens.com, where she works with artisans in their own apartments throughout New York City, by developing a line of linen homewares with them. But it is Moore’s background that is just as intriguing as her diverse portfolio: growing up in the Australian outback and taking the gamble of only applying to Parsons, Moore is a risk-taker with a unique perspective on life. We sat down with Moore to hear more about her interesting upbringing, her family, work and her dream destinations. AV: Why don’t we start with where you grew up, your childhood and all that fun stuff. BM: I grew up on a cattle property in Australia. I grew up working on the land, working with cattle and the environmental aspect of it. I’m from the East Coast, New South Wales. My father was a grazier, which is a

cattle farmer, and my mum is American. They met in Scotland, traveling around the world. That’s how I grew up, traveling.

Blaire Moore

Tell me more about how your parents met? It sounds really interesting! My mom is from Greenwich, CT. She traveled the world, met my father when she was cycling to raise money for a CAT scan in Scotland. So, she was this cute little blonde woman, and my dad was a bartender who studied agriculture. They spent the next few years traveling together all over Europe. What was your dad doing in Scotland? He was surfing. All Australians surf. If you don’t surf and you’re Australian, then you’re not really an Aussie. He was in Scotland for the waves and to see a new place. All Australians travel. We are so far from the rest of the world! We feel isolated! We don’t get to see other cultures. You just graduated, right? Yes, I just graduated from Parsons with my BFA. I worked on a business degree in Australia before hand. Growing up on a cattle property, I was always playing with textiles. We had nothing to do. There were no games, just riding horses and general farm tasks. And it was all great, but there was nothing to do at nighttime. You’re

WARDROBE & FOOTWEAR: BLAIR MOORE STUDIO (THROUGHOUT)

pretty much working with the materials you have and your only creativity comes from the eco-systems around you. Did you feel very isolated? No, not really. There’s a beautiful sense of being alone and thinking about how nature, sort of, comforts you. There are no real words to explain it, but I felt a lot more connected there. It’s very enriching to be able to have a connection to animals and the land that people don’t have in the city, even in suburbs. You

look out and everything you see around you is your own property. It’s really calming. But that’s also why I left. Normally, the eldest takes over the property. It was a great upbringing, I mean, it was amazing, and it’s the greatest experience I could have ever had, but if I had to do my entire life there, I would probably go absolutely crazy. Who’s running the farm now? They sold it. It was really heart wrenching when we sold the property. Dyraaba Station was

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one of the top historical homes in Australia. I would say my parents are restoration activists. They love finding incredibly old homes and restoring them. They are sort of my muses, I would say. Why did you move to New York? I always knew I wanted to move to New York. I was pursuing my degree in Brisbane, Australia but there wasn’t this fantastic hustleand-bustle, which New York had. I came to New York for a holiday, and I was like, ‘this is where I’ve got to be.’ When I came here, I didn’t know a single person. I found an apartment through Craigslist, and just started the ball rolling from there. I started styling but soon realized that everything that I was finding lacked in craftsmanship. Growing up in a family where craftsmanship is key, I knew I needed to start constructing my own garments. And when I heard about Parsons, I decided that’s where I was going to go. I only applied to Parsons and luckily got in! Why did you pursue a business degree first? I really wanted to pursue something in the arts, but I needed solid business knowledge, and I think I do always see both sides to the industry in terms of design and how to sell it. So the end goal was always to go to an art school?

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I don’t know, I think it just came into play. I always liked business, I always knew I liked constructing things, but I wasn’t sure about what that avenue would be. Everyone knew I was a little strange when I was growing up because I would always wear crazy outfits. When people were wearing their Australian Akubra [hats], jeans and a t-shirt, I’d wear something like a layered floral print dress while driving the cattle. I was definitely different.

Designer Alexander Wang, Fashion Editor Giovanna Battaglia, Actress Aimee Mullins, and Colleen Sherin of Saks Fifth Avenue, was really, really amazing. When Alexander Wang grabbed my shoes and was like, “I’m sorry, but you need to tell me about these right now,” I couldn’t believe it — he loved them! So when I went to Kering, it was probably the greatest experience I could have ever had, working in the innovation lab, working with different textiles and materials

Was this when you were a finalist or after you won? After I won. You go through six or seven different rounds for Designer of the Year, Portfolio of the Year and Kering x Style.com. To go through each of those rounds, and to actually make it to the final round, is crazy. It was crazy to have all of those big names sitting and enjoying my collection — it felt like a dream. After I won, I went to Italy with Kering. Bottega

I think as a designer you always have an idea of something better. I hit the ground running, so this collection was my jumping off point, and I got my hands dirty. You were one of the finalists in the Kering x Style.com x Parsons Empowering Imagination Contest, and you ended up winning. Tell me about that experience. Before I started Parsons, I had two goals: to get on the runway and to be on the Style. com website. Although, my final year I kind of lost sight of that because I had dived completely into my thesis and its journey. So when I was nominated, I couldn’t believe it. Being in that room and pitching my collection to panel of judges, including Parsons’ former Dean of Fashion Simon Collins, Style. com’s Nicole Phelps, Kering’s Laurent Claquin, Fashion

and their sheer focus for sustainability. Truly enriching. Is your brand sustainable? Yes, that’s also what I’m working on right now, as well as how to bring the collection into the next phase. After heading to Italy with the Kering team, I started to look more into Kering and their sustainability efforts and they are beyond incredible— a real inspiration. Sustainability in every aspect has always passion of mine, from growing up on the land, living off the land and having to gather a greater knowledge of what it means to be resourceful. So I would say sustainability runs in my blood.

Veneta was by far my favorite stop. They’re sustainability efforts are just amazing. Going there and seeing their Platinum LED certification, the sustainable green award they have for their villa, the efforts they’re making are amazing. We were working in the innovation lab with new textiles, new textiles! We don’t even see eco-textiles like this here in the States. I could have made my entire collection out of those textiles! When you’re swatching for a collection, say you go to Mood and you ask, “What organic materials do you have? Are the materials made with a sustainable effort? Do you have any materials with a % of recycled textiles?”, they will look at you

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like you’re crazy, and hand you organic cotton that feels like your mother’s 1920s couch, and it’s awful. So working in the innovation lab and seeing the textiles that they have and their quality was breathtaking. It really gives you a perspective and makes you wonder why we all are we not using them more!

Phelps. How was that? Yeah, it’s great. Right now, it’s not so much with the transition [to Vogue Runway], but just to have mentoring sessions with them and being able to grab incite from them is fantastic. They showed a different side of the industry. I know construction, development, production and design. They know the market,

specific destination. I wanted to gear those elements of that personal destination into each kit. That’s amazing! Not many designers can do that in such a cohesive manner. It all translates so easily. I really enjoyed the color palettes you used: cream, off-white,

I always knew I wanted to move to New York. I was pursuing my degree in Brisbane, Australia but there wasn’t this fantastic hustle-and-bustle... And why is that? I think it’s still a new idea. Kering has really been trying to focus on how they can create a greater awareness for when people look at a garment. Most people don’t even know what “sustainable” means. Exactly. Sustainability is such a broad term that people just roll their eyes at. What exactly does it mean to me? Waste consumption, organic, recyclability, water consumption, land management etc. There are a few brands that are doing it but it’s not enough. To make a real impact, we all need to make an effort. You also were able to receive a mentorship with Style.com, specifically with Nicole

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the research, what people are wearing and what they’re going to wear. So gathering all these different facets of people together is an amazing network. This collection is titled “Walkabout.” Tell me about the inspiration. I know it ties in with your childhood. Yes, it became a sort of homage to my cultural roots. I started thinking about how much of a nomadic upbringing I had and traveling on a horse or to the U.S., so I started thinking about different ideas of travel kits and the whole global travel experience. I started doing a lot of research and thinking about all of the places I still want to go, so it became homage to my own personal walkabout. Each look was basically tailored around a

tan, camel and navy blue. Why these specific colors? I have such a love for earth bound colors, so the tanorange color came from my backyard in Australia, and the others came from different destinations. I wanted a beautiful array of something that started really light and breathless and ended with a gritty midnight feeling. You’re using a lot of leathers, right? Yes, I wanted to use some split-leather, which is the underside of the leather that is mostly thrown away. I wanted to use the forgotten materials and reconstitute them for something that was more wearable. Growing up in Australia on a cattle farm, I worked a lot with leather. I wanted to tie that back into durability while traveling —

what you can get dirty and move with but is also a layer of protection. You also made quite a few accessories. What was your favorite accessory to create? Gosh, I’d have to say the shoes because I’m a shoe lover at heart. They’re multifunctional: a sandal, a boot and a bootie all in one. They all have the lug sole undern eath for that idea of walking different terrains. It was based on the movement of the foot and how to combine functionality, comfort and aesthetic. You recently had your collection hanging in the Saks Fifth Avenue windows! Did you have a lot of great feedback from that? I did! I had a lot of amazing feedback. People were coming into Saks asking where they could purchase the items. I was really happy that people were having a connection to my clothing. Most people loved your bag! Yeah, it’s actually a multi-functional traveler’s kit. It’s transformable from a traveler’s garment bag to a backpack and side satchel, so it completely expands open and has a multitude of pockets. You can carry pretty much anything in it.

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creative director CARLOS BASORA makeup STEFAN KEHL (WILHELMINA) hair PAUL VENOIT (WILHELMINA) models IDA DYBERG (FUSION) + CRYSTAL COPELAND (MUSE) wardrobe & footwear BLAIR MOORE STUDIO

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What are your plans going forward, including manufacturing and selling? I think as a designer you always have an idea of something better. I hit the ground running, so this collection was my jumping off point, and I got my hands dirty. I loved it. I want to take this idea and gear it to the next level. How can I garner more sustainability within the collection? How can I make it lighter and more multifunctional? I don’t want to give everything away, but there were a few things people really responded well to, so we will really gear the collection around a couple specific items and products and see how the market reacts to them. Businesses succeed when they figure out the one thing they do well, and then expand on that instead of doing a new collection and a different aesthetic every single time. Right now, I’m working with some people who I cannot name, who have started some amazing labels. That’s a lot of mystery! I can’t wait to tell you who I’m working with because they’re amazing, and I was dumbfounded when they wanted to work with me. If you had to classify your collection into one category, what would it be?

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Probably a girl who likes to do a lot — she’s definitely a ‘doer’. She likes to go places, loves to travel, but she likes a little bit of luxury there. What is one fashion trend that you just can’t get into? When people wear Uggs and tracksuit pants in public. It drives me nuts. I see New Yorkers doing it at night, and I almost pass out. Ugg boots are Australian, so essentially we wear Ugg boots all the time, but it’s indoor or when you’re getting out of the surf on the beach and you’re cold. We don’t walk to the store in our Ugg boots and velour tracksuit pants.

diversification. Australia is such a large country, but there are so few people there. For me, my Australia has always been gritty. I grew up with my hands in the dirt. That’s my heritage and that’s how I was born. But most Australians grow up on the East Coast where it’s surfing all the time, the weather is fantastic and you’re living this gorgeous lifestyle. It’s literally Malibu every day. It’s this chic, ‘what am I doing after work? After drinks, am I going to surf?’ Weekends are for barbecuing. But, there’s this middle Australia that is overlooked. A lot of people don’t know much about Australia other than Sydney and the Great

Why? Thailand because…God, I wish I could explain it better. There was such a rich connection to Mother Earth there, and it felt like home. It had such a great community and culture, and the people are so happy, really happy, even with the little that they have. And with Bath, the history and the heritage. England is just to die for. Even with all the gloom? Oh God, I love it. I love the gloom. It’s wonderful. I love it because in Australia, I grew up with sunshine year round. It’s wonderful. But when we get the rainy days, oh man, you cherish them.

I went to Kering, it was probably the greatest experience I could have ever had, working in the innovation lab, working with different textiles and materials and their sheer focus forsustainability. What do you think it’s going to take for Australia and Australian designers to get the fashion industry to start paying more attention? It’s definitely heading in that direction. There are some amazing new Australian Designers out there like Kim Ellery, Zimmerman, Sass & Bide and you can’t forget R.M Williams. But I would say we need a little more

Barrier Reef. Australia was founded by cattle work and land use. Most of Australia is farmers and no one thinks about that. So, I mean, I think maybe people knowing that there is more to Australia than the Malibu-esque lifestyle. Where is your favorite place to travel to? I was just in Bali — it was great. Thailand and Bath in England are my two favorites.

So when I’m in London, and it’s overcast and rainy, I get so happy. I smile from ear-to-ear. I think that’s my happiest moment, when it’s raining. I’m not joking! It’s replenishing. One of my favorite things is that in Australia we have tin roofs. So when I moved here, I didn’t know when it was raining! Because in Australia, you can hear it! It’s beautiful, especially after a day of hard cattle work.

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dniwer An aftertaste...

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the new wave

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