DUJOUR MAGAZINE

DUJOUR LIMITED EDITION PREVIEW

101

Looking Back:

reasons to

Click, Shop, Wear

YSL

from our fave online stores

ZOOEY DESHANEL MAKES US SWOON

R E Portland M M N U S ASHIO F R T T S BE

F O S END

2008

the new NYC?

Fashion Capitols face off

Vegan Leather Anyone?

ELEZAR HANDABGS

what’s inside JULY-AUGUST 2008 /DUJUORMAG.COM

ON THE COVER 36 Click Today, Wear Tomorrow 101 looks from the hottest online tore

DUJOUR IN EVERY ISSUE

editor’s letter reader mail socialista obsessions du jour

28 SUMMER FASHION ROUNDUP transitional looks to take you from sand to snow 60 Fashions fade, Style is eternal...

A Tribute to YSL 116 Zooey Deschanel Makes Us Swoon the coming of She&Him

INSIDE 54 fashionalities Elezar handbags and Cocotte Couture should be on your radar 58 the look can’t afford Nina Ricci and Givenchy? No sweat, pay rent and then shop!

76 portland follow Rebecca Goldshmidt as she finds out if this eco city really holds a torch to NYC

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108 the look an exclusive foray into backstage makeup 117 culture du jour she & him, purple magazine, the book of a generation 72 shops du jour we hit up Porltland and San Fran for the latest fashions 94 fashion channel your inner chameleon with an array of inspirations from varsity chic to vintage goddess

CONTRIBUTORS Rebecca Goldschmidt recently moved from Portland to San Francisco after graduating with a Bachelor’s Degree in German Studies from Lewis & Clark College. She still works part-time in SF (bills must be paid) in addition to freelancing and working as a wardrobe stylist. Her favorite colors are all colors and her favorite drink is lemonade. She collects vintage Vera scarves and napkins. Also, we have to mention, Becca usually doesn’t look this angry. It must be jet lag and pure exhaustion from all the loyal hard work that went into discovering the hottest boutiques for Dujour readers this summer. Bad readers..bad!

Jan F. Lee, 23, fell into the world of beauty accidentally, but wouldn’t have wanted to plunge anywhere else. And now her obsession with lip gloss has grown exponentially (times infinity). Originally from Annapolis, MD, she loves books, flora, being warm and her Snowshoe cat, Storm. Oh, and reality TV. Who could forget that? For our exclusive online summer issue, Jan diggs deep in beauty’s trenches to find the most covetable fragrances that will have boys taking a whiff of your fabulousness left and right.

New Zealand grown and London based photographer Camille Sanson began her coveted career as a catwalk photographer 7 years ago where her insatiable desire to pursue fashion photography grew. Prior to joining the world of photography, she spent 5 years as a graphic designer, which now strongly influences her eye for color, composition and the conceptual.

In her personal work (the little free time she has) she explores the intricacies of popular culture, religion and high fashion within the post-modern world of fashion.

After stints as beauty editor and deputy editor on Australian teen girls’ magazine Girlfriend, Erica took the freelance plunge six months ago. She now writes a daily blog (girlwithasatchel.blogspot. com) reviewing the latest Aussie magazines and musing about ‘pretty things’, contributes stories to Girlfriend (still) as well as CLEO, and spends her down-time tending to the domestic needs of her new(ish) husband (as a staunch feminist, this does not come naturally), reading biographical books, playing make-up with her niece, perusing the glossy stands in newsagents and Borders book stores and standing stage-side at her husband’s freestyle motocross events. Her childhood passions were ballet, strawberry milkshakes, Janet Jackson’s Rhythm Nation and Judy Blume books.

Mario Miotti is an international photographer who speaks Italian, French and English. His creative eye has been infused with a variety of style and culture, as much through the influence of his mother’s Italian Vogues, as by having lived in cities and has lived in cities such as Trieste Italy, Dallas Texas, Melbourne Australia, and Montreal Canada. Mario finds true passion in creating photos that are beautiful, luxurious, and vital.

His ability to incorporate luxury items with beauty and fashion has been key in seeing his client work grow.

Raquel is a freelance writer based in Brooklyn, New York. When not writing about fashion, she enjoys French New Wave films, bowling, and perfecting her smoky eye.

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DUJOUR Letitia Burrell Editor-in-Chief

Eduardo Rodriguez Art Director Audra G. Copy Editor FASHION Contributing Market Editor Jessica Goldfond Contributing Features Editor Rebecca Goldschmidt BEAUTY Contributing Beauty Editors Erica Bartle Jan F. Lee Contributing Makeup & Hair MaRaZ FEATURES Contributing Features Editor Raquel Laneri ART & PHOTO Photo Director Eduardo Rodriguez Design Production Interns Joseph Pielichaty, Emily Andrews INTERNS Noel Duan, Desiree Guery, Pascale Petienn, Ariana Gold, Megan Prossnitz CONTRBIBUTING PHOTOGRAPHERS & ARTISTS Mario Miotti, Sara Coe, GL Wood, Eduardo Rodriguez, Camille Sanson, Héðinn Eiríksson, Denise Boomkens, Kristiina Wilson, Kelly Thompson, Julie Williams, Minh Tran

Letitia Burrell Publisher

media inquiries:feedback@dujourmag.com advertising inquiries: advertise@dujourmag.com subscription inquiries: Subscribe@dujourmag.com contact us: feedback@dujourmag.com

Dujourmag.com DUJOUR is published by LookLook Media Group, a subsidiary of LookLook Studios. All material published in Dujour is copyright and remains the legal property of LookLook Media Group.

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EDITORS LETTER B

onjour! As you may have already caught on, this is our inaugural issue of Dujour Magazine, a little preview of what’s to come if you will. While on the topic of firsts, we are the first internationally distributed fashion magazine based in America whose content is unequivocally dedicated to independent and eco-friendly fashion Everyone involved with magazines has been waiving around this word ‘pretentious’, some of whom don’t even know the meaning of the word- well, I am just damn proud, nothing more. Proud to have finally stopped complaining about Vogue’s ad to content ratio and Nylon’s hipster posing, and finally created my own genuine product. I am not one to self-congratulate as much as I am known to be a trendsetter in my own right. Trends go far deeper than patent leather in fall and gladiators for spring. For the last nine years I’ve been in planning ing this magazine from within the pages of a dollar store notebook, I have during which seen my many ideas come and go as corporate head honchos shove their millions down people’s throats in the form of publicity stunts. While years have gone by as I planned away and defined a vision, I watched as the CDFA (Council of Fashion Designers of America) formulated itself (and still continues to revolve around the same handful gaggle of designers already quite established- Proenza Schouler anyone?), witnessed fashion weeks pop up left and right for the sake of exposing emerging designers (only to get crushed by IMG one way or another), as well groaned while the the forefathers of retail put put their two cents in on the sustainable apparel movement while the kettle was still hot (and shoved it to the backburner now of course).

Marketing to fashion is what cocaine is to Hollywood— an inevitable addiction. Rest assured, that will never be the case at Dujour or our parent company LookLook, who was founded for the simple cause of being an alliance for emerging talent, similar to our wonderful friends over at GenART (we love those guys!). We are in the business of living our youthful lives through the very pages of this magazine. A life that is not dictated by any editor’s muses, and one that is independent and responsible by choice.

So I hope that this magazine has found its ideal reader in you.

You have decided to read this, longing for a publication of substance, integrity, and artistic inspiration. You understand that fashion is not a luxury, but luxury can be found in the

DUJOUR 10 www.dujourmag.com

art of craftsmanship by anyone’s hands. You are someone that sees far beyond shopping, glamour and allure. You are young or young-at-heart. You dream of bringing the depth back into fashion. Just do me a favor, will you? If you have something to say, say it (in the form of reader feedback, perhaps?). If there is a goal that awaits, just do go for it. There is more to life than feeling pretty in designer clothes. But if your closet is in need of a desperate overhaul— well, I won’t stop you from heading heading straight to page 92 for this summer’s hottest looks.

What did you expect? An editor’s letter without page -number pushing? Hah— keep dreaming...

L.B.

Editor-in-Chief

JULY AU socialista

July 2 Limited Hyperdunk colorway launches at the Santa Monica outpost of underground sneaker powerhouse Undefeated. Nike teamed up with the “shoe game” leader (also a fave of Entourage’s character “Turtle”) to release a limited colorway and the store will host a special guest…

July 4 It’s America’s birthday! “On matters of style, swim with the current, on matters of principle, stand like a rock.”- Thomas Jefferson.

July 17-21 Mercedez-Benz Fashion Week in Miami at the Raleigh Hotel will showcase the latest swimwear and resort collections from the likes of Zimmerman and TIBI. Expect fashionistas and celebs at the swimwear industry’s largest trade show.

July 18 The Dark Knight is scheduled to be released on this date. Heath Ledger plays the joker in this Batman-related flick. It’s his final completed perfor mance in a film, to which he has already received rave reviews from those who have seen it.

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UGUST July 19 Avril Lavigne’s new juniors’ clothing line, Abbey Dawn, debuts at Kohl’s department stores.

The name was drawn from Avril’s childhood nickname, and it features items such as hoodies and tees for your inner rocker.

July 25, 26 As the Supreme’s lead singer, she was known for hits like “Stop! In the Name of Love.” Grammy –nominated artist and sometime diva will perform for the first time at the Hollywood Bowl.

July 25-27 The 3 –day Pemberton Festival in Canada’s lineup includes Coldplay, Jay-Z, and Tom Petty and The Heartbreakers, and Death Cab for Cutie. There are benefits for carpoolers, hydro-electric energy will be the main power source and local farm products will be served throughout. With the show’s noted “green” intentions, what’s not to like?

August 25-27 There is MAGIC in Vegas, baby. The fashion and apparel trade show surfaces new trends and hosts buyers and sellers from around the world…

York.

What

could

tasy at be more

Through September 1 Superheroes: Fashion and Fanthe Metropolitan Museum of Art in New empowering than gowns and superheroes?

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3.9

8

billion amount online apparel, accessories and footwear sales are expected to reach in 2008.

percentage by which U.S. sales of belts rose from 2005 to 2006, the highest for any segment in accessories that year.

100

the number make 22

of

projected change in U.S. belt sales for 2008.

market in 2007.

1 out of 162,000

40

number of aspiring fashion designers that become a household name.

percentage of footwear imports accounted for by the U.S.

pairs of shoes purchased, on average, by Americans each year.

4 out of 10

takes to sweaters.

0

30 billion value of U.S. accessories

4

goats it cashmere

1920-1960

Fashion By Numbers

number of designers that are self employed.

3%

amount of world’s farmland occupied by conventional cotton.

25%

25%: amount of world’s chemical pesticides and fertilizers conventional cotton demands.

50%

amount of fashion designers that leave the industry by 5 years of professional work.

8%

amount of fashion designers that drop out of the business after 2 years of professional work.

DUJOUR 14 www.dujourmag.com

period clothing from which clothing must date in order to be considered vintage.

1 to 3

years of on-the-job training beginning designers usually need before advancing to a higher-level position.

10%-12%

amount fashion designer jobs are expected to rise through 2012.

bits and bobbins People are still buzzing about the Nina Ricci dress designed by Olivier Theyskens that Sarah Jessica Parker wore to the Sex and the City Premiere. Of corse this wouldn’t be news if it the same dress was not worn before by Lauren Davis Santo Domingo at the Metropolatin Museum ball- a big fashion faux pas on behalf of such a trusted design house that has been dressing red carpet stars for years (a la Witherspoon in the striking yellow number for Oscar night). Obviously, SJP was disappointed because the fashion icon was expecting a dress that no one had ever seen for the much anticipated big premiere. And who could blame her, Sex and the City sets trends, not muddles around in a pond of used frocks.

High-end denim line, Earnest Sewn, is launching diffusion line AM I. Jeans from the AM I line will cost between $124-148, still a hefty penny for the average Joe, but those already fans of the brand are well in the know that this is more than half off the original collection. Get your agendas ready, next month there’s a launch party for AM I and will be djayed by the Ruff Club. Isabelle McNally will be the spokesperson.

Urban Outfitters is not following the trend of having high end designers create affordable pieces for the chain like you might find at say, mega chain Target. Instead, Steven Alan, native New York indie retailer turned menswear designer, is designing a low-priced collection for them. Dubbed Lark and Wolf, the collection is inspired by the rustic outdoors. Alan’s Lark and Wolfe line will be sold in stores starting July 4th.

Karen Nelson, supermodel and spouse of Jack White of White Stripes fame, is launching a vintage store in Nashville, Tennessee. The boutique will sell everything from Kenny Valenti and rare Ossie Clarke to Valentino couture. The joint is scheduled to open later this year, just in time for fall fashion mayhem. We doubt this redhead beauty could make a wrong move. Style is almost engrained in models DNA so we’ll wait with baited breaths and hope they take call orders.

Lauren Conrad of Hills MTV fame is continuing her fashion focus by “offering timeless pieces that are sophisticated and chic” for the fall. Her spring/summer looks offered a California clean and flirty vibe in dresses, tops and silhouettes. Conrad promises to offer the same laid-back style in her fall collection.

News

Vera Wang can now add blogging to her ever growing list of new skills. We all can follow her wishful thinking at Brides.com.

This is not to outdo the launch of her latest project- a site called VeraWangOnWeddings.com. The online destination is to be used as a “one stop shop for brides while offering registry ideas, a gown finder, planning tips, and more.” She blogs, “It’s my way of being there with you to help make the decisions and choices that will affect your lives.” She is being compared to Martha Stewart with her branding empire in such areas as apparel, bedding, and jewelry. But she is always known for the impeccable sophistication and luxury that she brings to each of these endeavors, as opposed to Stewart’s middleAmerica mass consumption of course.

Controversial rapper, Nas, has sealed a one-year partnership with athletic apparel company Fila. Under the contract, Nas will wear Fila products and co-create an apparel line that draws from bright, loud and crazy 80’s fashions. In return, Fila will offer reciprocal financial support for Nas’ print and TV ad campaign as well as his upcoming tour in support of his untitled album, due July 15 via Def Jam records.

Well-known fashion store, Steve & Barry’s, was slated to open a new store in prominent NYC NoHo area this fall. However, Steve & Barry’s (which features Sarah Jessica Parker’s line Bitten) may not be opening any stores any time soon. Although their volume grew to $1 billion, their profit margins are still so narrow that the chain was unable to properly finance its rapid expansion plans. The reason may be because their clothing items are too cheap; most items are priced under $20, even those from the acclaimed Bitten line. The store is expected to file bankruptcy in the near future.

The summer cover for Italian Vogue has long been revealed and with its slush of controversies no less. With an all black cast of talent, cover models included Liya Kebede, Sessilee Lopez, Jourdan Dunn, and Naomi Campbell.

The editor of Italian Vogue, Franca Sozzani, was inspired to use this cover because of Barack Obama’s campaign and retaliation against the lack of color on fashion runways.

The photographer Steven Meisel has long been campaigning for more color to be used in fashion, as well have we’re sure. New York magazine writes, the concern is that consumers will resist the product, because “it all comes down to the money.” Is that to say diversity doesn’t sell? Food for thought.

TOP7 Summer

Transitions I

n a lot of ways, this time of year is the best for young fashion connoisseurs. Fall fashion is put into gear, and we start to analyze what summer trends will transition seamlessly into the rest of the year. As expected, there was a fair share of the commercial, dramatic, redundant, and even bohemian tendencies showing appearing this year.

There was pPlenty that caught our eye, though —both from a few newcomers and transcontinental houses, as well as the latest from old faves such as Luella and Phillip Lim who can do no wrong (really, they can’t). We loved the gutsy exploration of androgyny, the new sort of modern femininity with a touch of ‘70’s–-‘80’s throwback, the decadent mash-up of prints, and the exuberant use of grungy layering (thanks, Marc…and Japan, for that matter!). As always, there was plenty that didn’'t appeal, but let’s take a look at the trends of ‘08 that are here to stay.

-L.B.

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WAIST BELT

With hemlines still rising (yes, still), it’s not a surprise that belts by the number around the waist have grown in popularity in conjunctiontandem. Behnaz Sarafpour presented shimmering thin belts around the ultimate classy dresses at New York Fashion Week—involving organic fabrics and natural fabric coloring. From Luella’s thin leather belts to Lela Rose’s multicolored buckled belts, the hourglass figure is undoubtedly enhanced with the cinch of the waist. Designers have chosen to discard the thicker belts of the past for strappy, skinny belts that subtly and aptly update an old jumper dress or even a stiff oxford shirt—one of few accessories that can be successfully mass -manufactured at retail prices, and yet still retail its original vision.

SHEER

Semi-transparent clothing, no longer just lingerie and the beach coverup, are a lightweight and stylishly accessible way to beat the current heat today and layer up for the coming fall at the same time. At the Portland Fashion Week, Elizabeth Dye covered finishedup a slinky white dress with a see-through ruffled shrug. Rick Owens and J. Mendel also chose to embrace the ethereal effects of translucent white transparent fabric in their coats and dresses. In contrast, Anteprima and Naoki Takizawa opted for different punchy colors.

Obviously, these fabrics don’t leave much to the imagination—p. Perhaps the beach cover-up is still the most viable option for a that sheer skirt.

RED FROCK

The little black dress, perpetuated by Coco Chanel and Audrey Hepburn, might be a wardrobe stapleregular, but designers chose to embrace red dresses for this time ‘round. Garnish, NatureVvsFfuture, and Lizzie Parker designed chic red day dresses, presented at the Portland Fashion Week. Meanwhile, Marchesa, queens of the red carpet, Marchesa, released a hypnotic ball gown with layers of ruffles— representing a red rose freshly covered in dew representation. Naeem Khan also presented a red ball gown, but with more muted coloring. The sequined strapless minidress by Luella resembled a bright red disco ball, while Ben de Lisi incorporated similar large sequins to create a petal motif for the his dresses.

TUXEDO

A staple trend for many seasons over, the suit has returned for spring—, this time defined and redefined. Jens Laugesen incorporated a long gold tuxedo jacket with satin skinny pants a la ‘90’s Tom Ford, while Haider Ackermann opted for a loose pajama-suit category of formality. The skirt has not been forgotten, however, as designers such as Phi and Ann Demeulemeester paired short suit skirts with long blazers and jackets. Long tuxedo jackets were the norm on the runway—many of which were longer than the shorts or skirts that were their counterpartsthey were paired with. Some designers like Todd Lyn, preferred a fitted, shrunken look—enhanced with even skinnier pants.

SHOULDERS

There was a time when only blouses and dresses were considered to be incredibly sensual; luckily, designers have discovered that more is sometimes better sometimes—especially if it involves pleating or shoulder ruffles or pleating. For example, Maison Martin Margiela revealed pointy shoulder plates that protrude outward in his collection, creating an inverted triangular shape for the body. On the softer side, Emily Ryan presented enormous ruffles stitched to the shoulders in her collection at Portland Fashion Week—both puffy and more structured than the average ruffle.

Elizabeth Dye also chose to explore soft ruffles on the shoulders with cropped semi-transparent cropped shrugs at Portland Fashion Week. Portland must be home to romantics, or on to an imposing trend for next year.

FLORAL

Yes, floral prints are no surprise as a spring trend—everyone (and their mothers) has a floral print summer dress sitting somewhere in the closet, attic, or eBay bin. However, the newest crop of floral prints explored by designers such asas the likes of Thakoon and Daks, is refreshingly bold and resembles a structured tie-dyed pattern to the passing eye. Other designers, including Junko Shimada and Lucia, opted for more subtle prints in contrasting colors and miniature motifs—proving that black -and -white are viable color palettes even in thefor springtime, which of course can providee longevity for into upcoming fall wardrobes.

NEON

If one thinks floral prints are too reminiscent of grandmother’s afternoon tea parties in the garden, one should definitely embrace the very modern (maybe futuristic?) neon colors that were released onto the runway. Valentin Yudashkin created a long tuxedo jacket using shocking lime green and hot pink textiles—not your typical day at the office day outfit, but still very well-tailored. 3.1 Phillip Lim also showcased Aa collection of loose-fitting tops and pants in bright eye-catching hues were also showcased by 3.1 Phillip Lim, such as tangerine orange— bringing summertime snow cones in Central Park to mind. Amidst all the classic little black dresses, Andrew Gn presented a bright yellow one-shoulder minidress—a sunny transition piece between from spring and into late summer. words: noel duan

OP ST N E- THA S. ON R QUE CKE I I R OF H T L U OT BOU Y S YO GA .

Y XR NE E IT ING KS TON N C LU NO LI LG O T E T ON A U LO BU TH A ITE R’E IND RE A L NG R OU R E A OF VE PI VO Y E O ER K RE OP FA ER IT TH LIC SH UR TH AN E, C YO HE RB SID HE W G U ET T T IN E A SW RE LO

CL TO I DACK Y

W RO AROR WE M TO

P ED HOT S D O LE T YL IE GRA TI ED RO P TI B DR HE A Y IG D B BU UE Y RR Z EL L

Black silk halter dress, beaded necklace, both IDOM.Striped canvas tote, stylists own. Red twill jeans, GAP.

THE URBANITE 2 1 5 3

4 6

7 1. aztec print dress by see by chloe, $300 available at mywardrobe.com; 2. vera by biba, $167 at mywordrobe.com; 3. striped tank by twenty8bytwelve, $248 available at myteresa.com; 4. croc clutch by castor and pollux, $160 available atcastorandpolluxstore.com; 5. pink gladiators by k.jaques saint tropez at myteresa.com; 6. arteis sandals by biba, $431 at mywordrobe.com; 7. the seven twenty one green pattent bag by cc skype; 8. nani scarf by a peace treaty, $109 available at oaknyc.com; 9. octopus ring, $160 available at OctopusMe (an etsy shop)

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Red hand scarf IDOM. Turqouise and leather necklace, silver knit top, army drawstring skirt, all GAP. Gold jacquard tunic, Julianna Bass.

THE TOMBOY 3

1

2

5 4

7 6

8

9

1. free mont color jumpsuit, $126 available at gargyle.com; 2.marino shall in mudcluf $97 by virginia jonson; henrik available at kronkron.com; 4.denim shorts by lover at gargyle 5.black pattent boots by castaner, $287 at kronkron 6. black jersery jumper at kronkron 7.oxford shoes by rachel comey, $138 at creature of comfort 8.sexy glasses by jee vice, $300 at couturecandy.com;. 9 vivi barrel bag by elezar, $374 at style-scene.com

DUJOUR 29 www.dujourmag.com

White neck-tie blouse, 3.1 Phillip Lim. Duchess satin yoke skirt, Julianna Bass. Jewelry and leather gloves, stylist’s own.

THE WORKAHOLIC 2 3

1

6 4

8

5 7

9

1. jersey dress by anglomania, $299 at mywardrobe.com; 2. penny suede pumps at mywardrobe.com; 3. corded silk tunic by phillip lim, $308 at mytheresa.com; 4. white button blouse by vivienne westwood anglomania, $354 at mywardrobe.com; 5. game on draw string shorts available at gargyle; 6. jaguar quilted leather tote by angel jackson, $448 at asos; 7. stripe scarf by twenty8bytwelve at mytheresa.com; 8. printed wrap skirt by marc by marc jacobs at mywardrobe; 9. rose suede mary janes by pedro garcia, $419 at mytheresa

DUJOUR 31 www.dujourmag.com

Pink ruffle dress, IDOM. Ruffle cardigan, striped scarf, both GAP.Gold necklace used as bracelet, stylist’s own.

THE FEMINIST 3

2 1 4

7

5

8

9 6

1. fleur blouse by biba, $308 at mywardrobe.com; 2. pink quilted ‘cecilia’ bag by marc jacobs at mytheresa.com; 3. yellow day dress by twenty8bytwelve at mytheresa.com; 4. floral bustier by chloe at kronkron.com; 5. seersucker short by united bamboo available at la garconne; 6. kimono top by tibi at mytheresa.com; 7. white chiffon gown by stella macartney at mywardrobe.com; 8. leather flats by lark, $148 available at gargyle; 9. satin ballerina flats by pedro garcia at mytheresa.com DUJOUR 33 www.dujourmag.com

LA ISLA

BONITA DUJOUR 34 www.dujourmag.com

Photography: Sara Coe (www.saracoe.com) Styling: Celia Hill Make up: Rafit Noy using m.a.c cosmetics Hair: Lisa Ind using redken Model: Alba C @ Elite Photo assistant: Dacil Hernandez

Yellow bikini, Roxy; Purple jacket, H&M; Bracelet, Carmina Rotger

Swimming suit, AndrĂŠs SardĂĄ; Denim jacket, Lois; esphadrille edges, Guess by Marciano

Lurex trikini, Custo Barcelona; Fish necklace, Junieski Alfonso for Le Swing

Floral bikini, Dos Mares; Crochet red top, Antik Batik; Red metallic sneakers, Ash; Tinted sunglasses,Le Swing.

Stripy bikini, Billabong; Black hooded jacket, Springfield; Plastic bracelets, Top Shop

Black and white bikini, AndrĂŠs SardĂĄ; Sunglasses, Tom Ford; Necklace, Carmina Rotger

Grey bikini, H&M; Yellow plastic visor and sports bag, Le Swing; Necklaces, Carmina Rotger.

fashionalities

C

When it comes to the idea of independent feminine style, there’s one designer par excellence: Claire Pignot, of the steadily emerging Barcelona label, Cocotte

oming of

AGE

DUJOUR 44 www.dujourmag.com

Claire Pignot’s romantic delicacies are clearly renaissance-inspired concoctions. Whether she attributes these designs to the celebrated art revival of the 14th century or not, her design independence and graceful craft are subtle indications that indie designers will forever prevail with their personal touch and timeless efforts. With only three collections under her belt (each one undoubtedly better than the last), Pignot’s girly frocks and elegant separates read like summertime prose or an excerpt from a Jane Austen novel—short and sweet. Androgyny grunge minions need not apply.

From the tender age of six, as many fashion darling stories go, Pignot was already a style prodigy. Using the remnants of her grandmother’s magazines, she would make hundreds upon hundreds of traced silhouette drawings, leaving her parents to decipher that maybe this was more than a simple hobby. However, she admits that, though the piles of magazines and books started collecting dust and her transformation to somewhat of a fashion geek slowly took place, she had no sense of craft at all and felt most fulfilled as an illustrator.

Of course the jump to design eventually had to be made out of curiosity, and graceful silhouettes with such utter wearability can only be derived from the capital of chic—Paris, France. After acquiring knowledge in the Applied Arts in high school, Claire Pignot studied under the masters at the École Duperré in Paris whilst interning for Gaspard Yurkievich, also an up-and-coming young designer. She soon took flight into all Paris had to offer by partaking in dream jobs, including the coveted spot of backstage dresser at the Chanel shows—a gig every young woman drooling over the season finale of The Hills could only wish for.

From The Hills to The Devil Wears Prada, Pignot followed the footsteps of all aspiring interns and hopped

on a plane to New York, where she interned for a year under the brilliant Peter Som. “[This is] what I consider my official first start, because that's when I realized I had no idea what this whole business was about,” Pignot declared. And rightfully so.

Only under the mentorship and direction of an emerging powerhouse can one truly learn to emerge from their own creative shell. Peter Som just happened to be that catalyst; an incomparably great starting point.

“When I first started interning, I realized that school didn't teach me much about the reality of [the] fashion business, and then when I started to work by myself I realized that internships didn't teach me much about actually making things, that practical, technical part,” explained Pignot. “A lot of designers tend to neglect the very essence of design—patternmaking, cutting, sewing—and instead opt to delegate it, as it is, well, very technical and sometimes boring. I couldn't afford doing this, so I pretty much taught myself everything by just trying, failing and trying again until I got what I want. I actually learned to like it a lot, because it makes me feel productive.”

Is there a significant difference in those who delegate and those who create? Do fashionistas prefer a product made by the designer’s very hands to that of a slaved seamstress?

One can only wonder if the true appreciation of independent fashion lay in the quirks and incongruous traits that the clothing exemplifies when produced one after the other by the designer hard at work.

Pignot recalls the first piece she ever made—some resemblance of “bride knickers” made of white silk ruffles and embroidered beads, a prelude to her signature ethereal and decorous features. “I never sold the first item I made because obviously it wasn't sellable at all,” she exclaims. This would soon change when she was invited to showcase her debut collection in on of Barcelona’s main trade buying events called Changing Room, where she, of course, went on to happily sell her first piece. It was a baby doll tunic with silver anchors on the straps, which was the epitome of girls who lunch, or girls who do tea parties in frou frou skirts, pink stockings and Mary Janes,

to be exact—which best sums up the spirit of her sold-out first collection.

Cocotte got its start in the beginning 2006 during Claire’s departure from New York to Barcelona. When asked why she decided to enter such an oversaturated and competitive industry at the tender age of 19, Pignot recalls shrugginly, “I honestly didn't plan anything, it happened quite naturally. I just knew I wasn't ready to work for another designer, not to mention the fact I didn't speak any Spanish, so making my own wares was the only option I had left.” The designer still blushes when asked such formal questions, acknowledging that the idea of a tangible “business” makes her sound more grown-up than she realized—especially when this all started so innocently, without any realistic plans of selling. But selling is exactly what came next. Interest in her work quickly developed and led to numerous trade show invitations and shopping events, which in turn left her no option but to set up shop just this past December on Etsy (with much success)— leaving the outsider to believe that igniting the design career train is a rather simple task. “The good thing about Barcelona is that the fashion sphere is not overcrowded like it can be in Paris or NY, so I felt pretty well received. But I'm conscious that starting is easy, and the most difficult challenge in this business is to last, to keep the customers interested. This is my main ambition; I hope I'll get there.”

Pignot happily obliged to share some sound advice for would-be online business owners. “Most important is to describe the product very accurately. As people won't be able to actually see or try on the clothes before buying them, detailed pictures are a must; they say a lot about the quality of your work and they represent the image you want to give to your brand, which is the credibility you'll get. Poor pictures can seriously ruin a nice piece of work. I've also been fortunate enough to never succumb to advertising, but it's essential to publicize your online store by any way possible. Being featured in a blog will bring people from all over the world who otherwise would have never knew you existed. No [advertising] option should be neglected.”

The label Cocotte was a spontaneous choice, which settled in and felt like a perfect fit, as one now looks back. Pignot attests that the name embodies everything she enjoys about fashion: femininity, humor, casual elegance, and a touch of kookiness. This obviously reflects the little girl at heart in all of her ideal clients; more so than the designer herself. “I still feel like a young amateur, and I define Cocotte as ‘homemade couture’ because that’s exactly what it is,” she says simply. “I never really thought about the competitiveness of the fashion business, and I don't want to. I'm not naïve; I know it exists, but I wouldn't like to design my clothes by just thinking about what hasn't been done yet or what is ‘hot’ right now. I think everybody can have a place in this industry as long as you offer a beautiful, quality product. Besides, Cocotte [is] also derived from the fact that I found it very difficult to find reasonably priced designers’ clothes. I definitely think there is [still] a void to fill for this kind of product.” Can anyone disagree with that?

Aside from the obvious drawbacks of independence are the overruling perks of independent business ownership. Organizing her own schedule, choosing priorities, and enjoying the the fact that no one is around to tell her what to do, is ultimately Pignot’s fuel for survival.

This works great for someone like Claire whose creative style can change from one day to the next, reinventing the wheel whenever she so chooses. “I'm still young and I don't think I can pretend to have defined my style yet; it is exciting to know that I can try different things.”

Having no boundaries, though, can be problematic for a young designer.

“I feel like I'm losing my focus sometimes. It can get lonely too, especially when there is a lot of work to do; I often get dramatically desperate, but Then I just get back on my feet and deal with it,” Pignot exclaims.

All thoughts of hardship fade away when the constant buzz of inspi-

“When I first started interning, I realized that school didn’t teach me much about the reality of the fashion business, and then when I started to work by myself I realized that internships didn’t teach me much about actually making things, that practical, technical part”

ration and creative energy flourishes.

For Claire, this energy comes in the form of books, movies, people, and the overall attitude of her creative environment— which in a city like Barcelona is undeniably electric. “I also remember designing a whole collection in high school around the dreaminess of The Virgin Suicides movie,” Pignot recalls, which starred Kirsten Dunst, an indie heroine already playing the muse to Erin Fetherson as well. The 1910s and ‘20s are also a period of note for the designer, describing the vintage magazines she used to create collages using lingerie ads, which led to the theme of her aforementioned debut collection. As for her summer ’07 collection that soon followed, it was none other than Faye Dunaway’s Bonnie Parker character in Bonnie and Clyde—as well as the actual Bonnie Parker herself—whose casual style and cool elegance resonated deeply within Pignot’s design style. Since watching that movie (which is now one of her favorites) she confesses, “I secretly wonder whenever I make something: ‘would she wear that?’”

It was a mixture of 1920’s showgirls from the Ziegfeld Follies, cabarets, Metropolis, Frida Khalo, young Bridgette Bardot, Sophia Loren, and an image of Jane Birkin riding an elephant in a sparkly playsuit that led to the ultra luxe, yet playful pieces that sum up her summer 2008 collection. “I tried to translate this into something modern and cool that I would want to wear. I’m trying to avoid copying vintage.”

It came as no surprise then, that her beloved indie designer of choice would be Vena Cava, whose seem-

ingly vintage-inspired and painterly collections have commanded attention from Vogue to Hollywood. “I relate to what they do, their style inspiration. I like the simple beauty of it, the elegance of their clothes; yet it's funny and a little weird. I also adore their prints and appreciate the fact that they draw them by hand, without tools like Photoshop. I also adore Heimstone and Preen, who are the kinds of labels I would aspire to be in the future.” Needless to say there are hidden gems in her own city of Barcelona, such as Gemma Degara who can only be found on MySpace (www.myspace.com/gemmadegara), and who brilliantly designs elegant, quirky, refined street wear.

In the next few years, Claire hopes to land many accounts with store buyers so that clients can actually feel and try on the clothes before they buy (an insecurity she faces by currently selling online only); and the financial rewards of such expansion certainly wouldn’t hurt. On a more practical note, a decent workplace wouldn’t be so bad, either. “So far, I've been working out of my apartment, and it's getting tinier and tinier.” A backdoor passion that will draw more of her attention is fashion styling (of which she has little experience but thoroughly enjoys); she points out that it’s a great way to build contacts within the industry, and stay socially active when designing can get so lonely.

A final piece of advice? Claire replies, “The greatest thing I learned—as simple as it sounds—is that hard work is key, and I truly believe that nothing comes for free.”

fashionalities

EL EZ AR DUJOUR 49 www.dujourmag.com

In the late ‘70s, Diane von Furstenberg was the absolute answer for a working girl’s “style meets function” wardrobe needs accessible, affordable and made you look damn good. Well, when it comes to handbags, the modern day 9-5 fashionista need not look any further than the ultra-covetable carry-alls from Elezar.

I spy a woman who has an overly full full-time job running a small business from six to ten a.m. every day; jets about to manufacturers throughout the week to oversee production and sampling; supervises a sales rep in charge of introducing her brand around the world; squeezes in business meetings around town—all while having time for a full social life in the heart of vibrant NYC. Julie is her name, and handbags are her game. Rethink the impossible—it just so happens that a young artistic trendsetter is making the hard look easy . . . or maybe it just is (easy, that is). And like herself, the Elezar woman is a definite ‘working’ girl. A woman of style, substance and individuality that requires functioning luxury when multi-tasking all day, every day. That’s probably why Elezar’s bags have been featured in every major publication and seen in the hands of Hollywood’s princesses. And if that’s not enough to make you cry for your butler, come fall ‘08 Elezar will be introducing their new vegan line, aptly named Vivi.

Julie was eight years old when she was told she had an artistic talent, and is her own living proof that she never relinquished the possibilities of those talents. Of course, with the encouragement of a supportive mother, Julie was later enrolled in art classes where she doodled murals on the walls of their basement after school, and enjoyed “mommy and me” time on Saturdays painting on one canvas after another.

And like many other designers (or designers in the making), from a young age she always loved wonderful clothes with that little something special about them—like the flirtiness a ruffled sleeve exudes, to a strategically placed leather accent with unique stitching details; while blues and emerald greens were big favorites in the palette department. Naturally, it took her 25 years and a handful of design courses later to realize her place in the consuming fashion world. She started with a course that any fan of accessories would gravitate toward—shoes. Although she loved finally having a creative and fashionable outlet, Julie craved for a larger format in which to use her years in graphic arts and printmaking; a path with a little more freedom. It was not long after that she absorbed herself into a bag design class, which struck just the right cord with her—so much so, she could not stop drawing.

An early struggle was to find her own voice. “I had so many things to say in bags, but it was not until I combined my fine arts background, graphic design background and love for fashion details that I was really brought out of my shell,” she explains. Perfect timing, because all that creative energy resulted in “Boskin,” Julie’s first produced handbag. From then on, she kept pushing herself to create ‘art for your arm’ so to speak. Though she acknowledges she hasn’t fully reached her peak where art and fashion meets, each year she gets closer and closer, and new fans of her brand have come to appreciate her design efforts.

The Morgan collection came about, in part, of finally landing an efficient and reliable manufacturer who—wait for it . . . listens! This allows her to focus on what’s really important: designing. The Morgan is a sought after (more like sold out) blend of unique shapes, wonderful leathers and acute attention to detail—like the gorgeous inner fabrics, rouching on DUJOUR 50 www.dujourmag.com

the side gussets, and even the well-executed pockets—taking details so small and overlooked, and crafting them into another treasured element of the bag’s design. It was no short task, but Elezar has found their footing in the design world, and have many plans for the future. “In five years I hope to be creating [products] I am still proud of; that speak to my clients’ [needs] while finding new [products]; to have really pushed ‘art for your arm’ to the point where we are having gallery shows. And by then I would assume either shoes or clothing will start appearing in our line,” says Julie matterof-factly. But like I said before, they are in a comfortable place now, and see no need to rush into diversifying.

So, what exactly does it take to be in this so called “comfortable” place that Julie and Esther (Elezar’s current other half) are cruising through? Well, if you can simultaneously handle running a new business while working full-time in the corporate world (which doesn’t seem to phase Julie), switch up sales reps or manufacturers left and right, and even cope with the demise of trusted vendors (Julie strolled into the garment district one afternoon to find that her long-time dealer was replaced by a new condo project), then this industry might be right up your alley.

The bulk of our conversation circled around the trials

“Consumer consciences are evolving and women are more in tune with the (what seems to be more than just a trend) natural organic movement –by incorporating environmentfriendly products into their daily routines and even adopting the vegetarian lifestyle. and tribulations of independent designers suffering with the daunting task of landing a trusted manufacture to pair with, fostering a long and prosperous business relationship. So of course when I asked what the one aspect would be that she would change about her job as a start-up designer, it would be not dealing with manufacturers altogether. But ignorant is one thing Julie is not. “If you want to be a designer, you have to work them,” she states in an exasperated tone. Just that simple, I guess. Dealing with her old manufacturers was one big headache; they were stubborn to resolve issues and hardly understood deadlines. Julie likes to say, “They speak in a language of yes, yes, yes. When I say yes, that’s what I mean; but when they say yes, it means something totally different, but most times no.”

To stay on top, Julie stresses the importance of networking.

After all, that’s what landed her a jam-packed launch party at the Time Warner building in Manhattan’s Upper West

Side, with the likes of WWD and sister magazine, W. After begging to learn how she scored such a deal, her answer should have been expected. “Oh, I knew a friend that lived in the building.” Of course she did. She pitched in by doing beautifully handmade invitations that she personally hand-delivered to all the media and press she wanted in attendance at the event. Rewards were pouring in soon after that launch party, including a stint on the Today Show the following week. “Networking is key when you have your own business, and I love meeting new people, so it’s one of the perks of the job!”

But the subject of greatest importance is really these fabulous bags. Elezar boasts unique shapes and fabrication, while always focusing on infusing artistic values in the collections. Potential clients will be pleased to know they even do repairs if the leathers, on an off-chance, happen to break or tear at the seams. “We really do get amazing leathers and fabrics that have wonderful quality,” says Julie. When Julie is designing, she’s often inspired by natural organic shapes and objects. Running about New York City, you have the luxury of coming across sightings day and night you wouldn’t find anywhere else. “I use my camera phone a lot,” Julie adds. I would, too.

Nowadays you can find the dynamic duo obsessing over their new Vivi line, which matches the beauty, sophistication and functionality of Elezar’s leather Morgan Collection while providing working women with another fabulous form of their eco-friendly expression. Vivi’s sumptuous ‘Ecouture’ materials mirror the same luxury provided

by Elezar’s leather bags, but is made from a unique biodegradable material sourced from Italy. “Consumer consciences are evolving and women are more in tune with the natural and organic movement – incorporating environment-friendly products into their daily routines and even adopting the vegetarian lifestyle. But these same women don’t want to sacrifice quality and style,” says the Elezar team. Now we can finally imagine high fashion that meets this growing need in the accessory industry with handbags now following suit (as we all know about Natalie Portman’s vegan shoes).

So what can we look forward to for fall? For the Morgan line in particular, butterflies were the main inspiration.

This didn’t surprise Julie one bit, as butterflies have followed her since she first used them on an art project in school back in 1989. In the meantime, Elezar will aim to grow brand awareness and become a household name.

“Although you may not have the money for [everything], you have to believe you will when the bill comes, or you won’t move forward to push your designs, and without that you should not be in the independent fashion world in my opinion.”

Point taken.

DUJOUR 51 www.dujourmag.com

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LATEST CELEB STYLES VOTE ON YOUR FAVORITE DESIGNER MUSES FROM SJP TO KATE AND THE TWINS

YVES SAINT LAURENT

According to various experts, talking heads, dilettantes and friends, the late designer, Yves Saint Laurent, was known as: the greatest couturier in the world, the man who liberated women, a prêt a porter pioneer, the creator of the modern fashion show, and as French President Nicolas Sarkozy pronounced in December of 2007, “the first to elevate haute couture to the rank of art.” That was only an inkling of Saint Laurent’s character. He popularized such staples as the safari dress and “le smoking”—the tuxedo for women. At his peak—and perhaps even past his peak—he probably was the greatest (living and working) couturier in the world, though he did have some tough competition in the ‘60s from veteran Coco Chanel, the reigning princess of haute couture and sportswear. And despite the myths, Saint Laurent was hardly the first designer to put women in pants (thus “liberating” them); he did not invent ready-to-wear (though he did help give it the artistic clout it enjoys today with his Rive Gauche line); he did not single-handedly transform the modern fashion show (though he did have a big hand in it); and he was not the first designer considered a bona fide artist, as opposed to just a couturier. This is certainly not to belittle Saint Laurent’s genius, influence or talent; and the fact that he has garnered such lofty claims and titles from critics, fashionistas and others speaks to the power of his clothing. Take, for example, le smoking. Why is Saint Laurent considered the great liberator of women, or the first to popularize pants? The early 20th century coutuDUJOUR 55 www.dujourmag.com

rier Paul Poiret scandalously shook up society with his ballooning, Orientalinspired trousers for women. (Speaking of liberation, Poiret is also credited with abolishing the corset.) Chanel also designed trousers for women; she once said that she “did nothing more than transform men’s clothing into women’s jackets, haircuts, ties, and cuffs.” Before Saint Laurent introduced his tuxedo, jeans had already become a must-have in the American teenager’s wardrobe (though perhaps not their French counterparts). And Saint Laurent would not create the definitive trouser: later, in the 1980s Giorgio Armani would be acknowledged for liberating women with his unstructured, soft power suits that a woman could wear to claim her place in the male-dominated workplace.

Instead, what Saint Laurent did was transform the trouser from an intellectual statement, symbol of rebellion, or merely something comfortable, into a weapon of seduction. His tuxedos exuded a disarming sexuality, unlike Poiret’s abstruse bloomers or Chanel’s sporty trousers. His pants showed off a woman’s body, rather than obscured it. Of course, his ad campaign photographer, Helmet Newton, helped shaped the sexuality of Saint Laurent’s tuxedo. His darkly lit blackand-white photograph of a woman— sensual yet androgynous—smoking in an alley wearing a YSL le smoking has become iconic. Designers do not create in a vacuum. History—the history of fashion, of a garment—is inherent in an article of quality clothing, but too often the history burdens the garment or is made too explicit. This was

Saint Laurent’s genius: when you ists themselves. Surrealist designer looked at his clothing, all you saw Elsa Schiaparelli not only socialized was Yves. He rendered each article so with Salvador Dalí, Jean Cocteau, beautifully, artistically, and originally and Man Ray, she collaborated with that he—as Alicia Drake explained in them. Her most famous garments— her book The Beautiful Fall—obliterthe lobster dress, the shoe hat— ated all past variations of the theme. were indeed the result of a partnerFew designers today have this power ship with Dalí. Coco Chanel also had over the critic or consumer. (Marc Jaher artist friends and collaborators, cobs is perhaps one who comes to such as Jean Cocteau, Pablo Picasso, mind—his clothing is executed with and Igor Stravinsky (with whom she such conviction and ebullience that had an affair)--these artists’ works you forget that Rei Kawakubo did the did not shape her haute couture so same thing ten years ago with his much, but they frequently worked Comme des Gartogether, colcons.) Because laborating on according to Yves Saint plays and experts, talking heads, diletLaurent ’s ballets, c r e f o r tantes and friends, the late de-

signer Yves Saint Laurent was known as: the greatest couturier in the world, the man who liberated women, a prÍt a porter pioneer, the creator of the modern fashion show, and, as French President Nicolas Sarokozy pronounced in December of 2007, “the ations first to elevate haute couture elicit such which an emoChanel to the rank of art.” tional response from the viewer or wearer, it’s easy to overstate, or exaggerate, his legacy, as Sarkozy did when he described him as the first designer to elevate couture to the realm of art. Now fashion is somewhat (and wrongfully) seen as a lesser art form, probably due to its ties to consumerism, vanity, and mass production.

However, a few designers in their lifetimes enjoyed artistic clout—not just among fashion critics and editors, but among intellectuals and art-

would design the costumes. And were not couturiers such as Poiret, Dior, and Balenciaga considered artists, too—particularly the avant-garde, conceptual designs of Balenciaga, whom Yves Saint Laurent revered? But again, Saint Laurent used Matisse colors and motifs in his clothes, put out an homage to Picasso collection in 1979, with a cubism one following in 1988—and voila, history was rewritten, or obliterated, or forgotten. Of course, Saint DUJOUR 56 www.dujourmag.com

Laurent was doing something new, (and the fashion faster) our attenbut what was new was not the eletion spans wander—as do our loyvation of haute couture to art. What alties. How many designers today was new was the way in which he can claim to have dressed a gendid it—the literalness of the homeration, to have defined an era? age. His Picasso collection was not Yves Saint Laurent may be one of an abstraction of Picasso; images the last to be able to do so. And and motifs from Picasso’s work were he not only dressed the uber-rich, actually used on the garments—just his foray into ready-wear brought like Saint Laurent’s Matisse-inspired designer clothes to a wider swath designs. He took the familiar and of people, and his influence would made it new; he took high art and trickle down (and not in the form made it something to be consumed of cheap disposable fashion). The and worn; and he took fashion and, smoking jacket, the safaby referencing masters such ri dress, the peasant as Picasso and Matisse, put blouse, the pant w h at it on the same level as suit, the dyed Saint Laurent art. This proved a great fur chubby: influence: as recently did was transform staples in evas the spring 2008 ery woman’s trousers from an incollections, Miuccia wardrobe Prada, one of the tellectual statement, (well, exmost original and cluding the influential design- symbol of rebellion, or fur chubby, ers working today, something comfort- maybe); not evoked YSL’s Picajust for the able to a weapon of sso collection in her couture cussilk pants and dresses tomer, and not seduction with Art Nouveau fairies just in his time, for her eponymous line, as but, likely forever. well as the Harlequin printed Saint Laurent passed minidresses for her Miu Miu colaway on June 1, 2008 at lection. Mostly, though, Saint Lauthe age of 71 after a year-long rent made clothes that moved wombattle with brain cancer. Though en—and no amount of artistic clout he retired from the industry in or revolution could trump that. His 2002, his death still strongly remuses and customers showed a verberated throughout the fashion devotion to his work and vision of industry. We lost one of the last women that is unparalleled today— bastions of haute couture, one of how many women predominantly the true romantics of the fashion wear one designer and subscribe so world, and arguably a woman’s wholly into his or her womanly ideal? best friend.

As the market becomes more global DUJOUR 57 www.dujourmag.com

PORT LAND by: Rebecca Goldschmidt

In the past twenty years, Portland has emerged as a creative mecca for musicians, writers, artists, and most recently, fashion designers. Known mainly in the past for its thriving indie music scene, musicians and groups like Elliott Smith, The Thermals, and The Decemberists have earned Portland a thumbtack on the hipness map.

Fight Club writer Chuck Palahniuk as well as Beverly Cleary, author of the famous children’s series, also hail from Portland, and cult filmmaker Gus van Sant has set several of his films in the City of Roses. Even abstract expressionist Mark Rothko has ties to Portland, having graduated from a local high school to then stage his first one-man art show at the Portland Art Museum.

The link that connects all of these famous names, besides the city itself, is a strong independent spirit, a rejection of stereotypical labels, trends, and mainstream culture, and topped with an enthusiastic embraceing of all that is offbeat. All of these artists have decided, in one way or another, to “do-it-yourself,” no matter the medium. Even today, cars throughout the city are plastered with “Keep Portland Weird” bumper stickers. Indie rockers and hipsters, gutter punks, and aging hippies, and other various subcultures constitute a sizable portion of the city’s population. It has become the place to be in the United States for the 18-30 artistic crowd looking for something cheaper than New York or San Francisco, warmer than Chicago, and bigger than Olympia, Athens, or Providence—and you’d be surprised at how many people are that picky.

On the fashion front, that same one-of-a-kind mentality prevails. New boutiques have sprouted up carrying locally designed and hard-to-find European and Ameri-

can lines; fashion shows are held in non-traditional venues- like warehouses, galleries, museums, and on sidewalks or rooftops- and designers keep themselvesbusy by keeping their production local and limited. Portland’s fashion community has developed very quickly and it’s attracting more attention than ever before.

Portland Fashion Week, held in October 2007, was the first comprehensive showcase of local talent on a national and international level. Other fashion weeks had been produced in the past, but not on this scale, with this level of participation, or with this much publicity. Over thirty designers showed their spring/summer collections— most of them local, but there was also a sprinkling of designers from Chicago, Seattle, LA and San Francisco.

The event itself was applauded by the press mainly as being the first sustainable fashion week—think bamboo runways, organic hors d’oeuvres, energy-efficient lighting, even eco-friendly hair products! But besides the green tinge, the event was also a “stepping out” for many of the designers. Not every local was represented (a participation fee was charged), but a representative slice of the community was certainly involved. Chris Cone, one of the executive producers of the event, stated that the mission of PFW is “to emphasize eco-responsible fashion, stage independent designers, and draw national and international attention to Portland’s unique intersection of art, commerce, and sustainability.” According to those goals, the event was truly successful. Press gathered from around the country and as far away as Europe, and eco-blogs were raving about the fashionable, sustainable lines coming out of one of America’s greenest cities.

DUJOUR 58 www.dujourmag.com

Photography by: Minh Tran

After being awed by the recent avant-garde senior collection of a certain Art Institute student, Radon shares her take on his future: “If he were in New York, his collection might be in the windows of Barney’s. If he were in London, he might have a financial backer lining up. Here, he will have to struggle for the resources to launch his collection.” But she adds that most designers “want to be hands-on.

They want to connect to the clients, to the seams, to each retailer.” The hand-cut and hand-sewn garment has become obsolete in our Forever 21 and Gap-laden world, so those that are still making garments by hand are offering something very special to the customer that can appreciate it.

But who exactly is buying? With Nike, Adidas, and Columbia headquartered in and around the city, Portland is also the athletic apparel industry capital of America. Employed

by these huge corporations are potential indie retail customers—designers and developers who appreciate well-designed constructed pieces. In addition to this source, major design agencies such as Wieden+Kennedy also supply the retail food chain with hungry customers looking for something different than what’s available at Nordstrom or Saks. And with the recent wave of media attention, Portland is becoming known as a food and shopping destination for west-coasters wanting to escape Seattle and San Francisco for a quick weekend trip.

Many out-of-towners scour the shops for a unique, wearable souvenir, with the added bonus of shopping sans sales tax.

But some designers still find it difficult to get the Northwest clientele to fork over the triple -digit dough. “I’m facing a very tough time right now in Portland, simply because it is hard to convince people to spend a certain amount of money, even

for well-designed and well-constructed garments,” confesses Modi Soondarotok, designer and boutique owner of a boutique, both cleverly named IDOM—her name spelled backwards.

Soondarotok moved to Portland in 2006 after working for various design houses in New York (DKNY, Armani), but still misses the “vibrant, diverse energy” of that city. “It’s great to be able to go to the MET and MoMA, or to find inspiration from peoples’ outfits on the streets.” Johnson also admits that she misses the “hustle” and the ability to get dinner “at 11, or even 10, or even 9:30 on a Friday night!” It’s this culture that separates the cities from each other—one a crazy, competitive climb, and the other a relaxed community effort.

As for whether or not Portland is becoming the new New York, Towers bites back with an emphatic, “NO! We are not the new New York! We can’t be! We don’t want to be. Let’s let New York be New York and Portland be Portland. We

are on our own special level. Not better, but just as good.”

Within Portland itself, the fashion community is always growing, changing and supporting itself, its own bubble of independence in a fiercely competitive industry. And in a few years, Portland will have unquestionably developed even more boutiques, more big names in retail, more tourists and bigger spenders to buy up the small indie designs. But yet it is inevitable that it will always keep its independent spirit and character, which has attracted so many individuals so far.

Dye puts it this way: “Yes, sometimes I get frustrated that there’s no Barney’s here, but then I get over it.” What’s a girl to do?

And that’s Portland for you. Not a step ahead or behind, but just to the beat of a different drummer.

“Life in Portland is much easier, more relaxing, less stressful and more affordable; you can have your own house and yard!” gushes Suzi Johnson, the master knitter behind her now 10-year-old hand-loomed cashmere knitwear line, Ssouchi. “[The low cost-of-living] allows me more time to be creative and take risks,” she adds.

The quality of life is high and the rent is low, but one of the most unique aspects of working in fashion in here is the tightness and cooperativeness of the community. Unlike New York, with its cutthroat competition and droves of people scrambling to be America’s next top designer, Portland’s community is small and supportive, and the designers are friendlier than the average rat in the race.

Seaplane, a boutique founded by Kate Towers and Holly Stalder, was one of the forerunners of Portland’s fashion scene —they and started the crafty, handmade, vintage-reconstruction trend that Portlanders have become known for. Towers and Stalder took over a vintage shop in 2000 and began selling their own homemade designs as well as arts, crafts and clothes made by friends. “It just started to grow and catch on like crazy, and suddenly anyone making anything would come in to see if we wanted to sell it,” explains Towers. “At one point we even sold things like knit beer cozies!” They have grown exponentially since the beer-cozy days, selling designs by locals, staging group fashion shows and relocating the store to the NW 23rd neighborhood, right down the street from Johnson’s flagship Ssouchi store.

“In New York there are more designers than you could name, but here in Portland, the designers all know each other and smile and say hello,” says Emily Katz, another native designer. Along with many other Portlanders, Katz has recently attracted national attention from the likes of Nylon, Bust, and Lucky magazines for her handcraftedmade, hip and mostly sustainable designs. After dropping out of art school in 2003, Katz and her boyfriend began to embroidering drawings onto vintage clothes, and sellingold them under the pseudonym Bonnie Heart Clyde. Now she has a full-fledged eponymous line carried in boutiques all overacross the country, including Seaplane and Fred Segal Fun, the high-end, youth-oriented extension of the Santa Monica department store.

Many designers will also work together on projects or in collectives to foster support for each other and their work.

In such a small community, it only makes sense for creatives to group together to share resources, tips, and help each other with the elaborate process of designing and producing a fashion line. Several local designers, including sky&boat, Leanimal, and Chelsea Erhart (of the her line, Erhart line), started the Fashion Fight Club in order to “help each other rise and be successful,” but also to offer other up-and-coming designers a sense of direction and a starting point. They help assist each one another with design-

ing, patternmaking, PR, and even sharinge space at tradeshows. “We keep each other fresh through camaraderie instead of competition,” says Erhart of her fashion peers.

“There is a sense that one person’s success is a win for the whole of the Portland fashion community,” gushes Pamela Baker-Miller, owner of the recently opened boutique, Frances May. After working and going to school in New York, she moved to Portland and opened the shop, excited to be in a town with a supportive community and room to grow.

Another homegrown designer and owner of the popular boutique, The English Dept., is Elizabeth Dye. “The traditional fashion industry has become such a moneyminded meat grinder. There is a strong sense of community here [in Portland] and a desire to do things differently than the classic apparel industry model,” which, according to Dye, is why she has chosen to stay in Portland for so long. “I think there is a reason that we usually say ‘fashion community’ rather than ‘fashion industry’ when we talk about Portland,” says Lisa Radon, founding editor of the online Portland fashion magazine, ultrapdx.com. The emphasis on supportive rather than competitive is a defining characteristic of Portland fashion.

Despite the nurturing community and the abundance of creative and physical space, industry resources aren’t as readily available in Portland as in does not have the industry resources available in other larger cities like like LA or New York. Friends and community can only go so far when you’re running a business—, making designing in Portland a double-edged sword for Portland designers. The lack of basic manufacturing hinders the professional growth of many small designers, limiting them to smaller production and a narrower distribution. “Even though New York is no longer thronged with the members of the mighty ILGWU,” says Radon, “”some remnants of manufacturing remain. There are wholesalers of fabric and notions, there are established houses under whose wings the next generation of talent is nurtured, and the beating heart of the PR/publication machine with all of its attendant photographers, modeling agencies, etceteras is there. Simply, the full palette of fashion resources, at world-class levels, is right there.” And although the grassroots organization of designers in Portland is developinggrowing in Portland, it can’t even compare to the thick forest of New York’s industry that makes up New York.

Because of these limitations, designers like Dye, the stylish Liza Rietz and more experimental Adam Arnold have storefronts that double as studio space, where all garments are designed, constructed, and eventually sold. Instead of lamenting the absence of resources, Souchi’s Johnson incorporates the whole of the handmade process into the luxury and quality of her products—a sweater sewn together by hand is much sturdier and lasts longer than its manufactured counterparts.

Boutique Review edited by_Rebecca Goldschmidt

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www.dujourmag.com

Frances May 1013 SW Washington St. Portland. Oregon 97205 t. 503.227.3402

Having opened in April by Pamela Baker-Miller and her grandmother, Connie Codding, Frances May splashed onto Portland’s boutique scene with a champagne party and has been attracting attention from the city’s fashion-conscious set ever since. Just west of downtown Portland, it’s located on the backside of the ultracool Ace Hotel in a vintage storefront, on a block that has become the new hangout for the hip. The shop carries many lines previously unavailable in Portland, like cult indie New York designers Rachel Comey, Sophomore, and Christian Joy; as well as local lines Church & State, Emily Katz, and jewelry by Anna Korte.

The scent of freshly cut wood greets you at the door, lingering from their recent renovation. The décor has a vintage flavor; antique furniture sprinkled about tall ceilings and classic storefront windows, juxtaposed with the more modern, cutting-edge apparel.

You will want everything, especially the startlingly unique jewelry; though the funkiest are Unearthen’s various healing crystals jammed into used bullet casings, strung on gold chains, and housed delicately inside test tubes cradled in a box full of dried moss.

“I try to stock original works by up-and-coming designers,” says Baker-Miller, who moved to Portland after schooling and working in New York. “Fabrics, textures, lines, and wearability are all factors when buying for the store.” The size and layout of the shop just begs for an art or fashion show, which Baker-Miller says is in the works, artists already in mind. The future holds many things for Frances May; most importantly is the promise of a well-curated collection of new pieces, and even some vintage thrown in for good measure. If you love the old but are always searching for something new— Frances May is the place for you. I should write slogans.

Cooler Planet 2211 W. Roscoe Chicago, IL

A new boutique in Chicago’’s Roscoe Village is changing the world, one recycled toothbrush at a time. Opened in May by sisters Heidi Bailey and Krista White, A Cooler Planet is the first all- green lifestyle store in the city. The shop is stocked with everything for the eco-conscious consumer——organic cotton mattresses and bed linens, dinnerware from recycled glass, natural skincare, and even earth-friendly kids’ toys and games.

The journey began as when, in constructing her new home, Bailey struggled to find sustainable materials in the Midwest for the construction of her new home. After hitting many nonsustainable brick walls, she completed the her home and then faced a new challenge——keeping the inside as consistently green as the outside. From there, both sisters set out to find the safest, most stylish housewares for their families and the planet.

All the products they carry have been extensively researched to ensure ethical treatment, on from both the ecological and human endsperspectives. “We’re looking for reputable certification on organics, where it’s coming from, what the factories are like, how the people are being treated. Many different products are called eco or green, but we have pretty strict guidelines.”

Keeping consistent with their goals, the store itself is constructed out of salvaged, recycled, and toxin-free materials. The insulation is made from recycled denim, and the shelves from formaldehyde-free particleboard. They even plant a tree for every customer that who doesn’t require use a shopping bag for their purchases, and donate a portion of their profits to local eco-minded organizations.

Despite the trendiness of going green, Bailey is adamant that sustainability isn’t just a fad, but rather “a way of life.” She emphasizes education and small steps to green up our daily routines. “It’s not that hard,” says Bailey, “it’s simple choices we can all make that can really do something.” And thanks to A Cooler Planet, those choices are now even easier to make for the rest of us..

Visit A Cooler Planet at 2211 West Roscoe in Chicago, or on the Wweb at itsacoolerplanet.com

O p u l e n c e 153 East Clayton St. Athens, GA

During June in Athens, Georgia, it’s hard to notice anything but the blazing heat. Cruising the downtown area just north of the University of Georgia campus, differentiating between the red and black Bulldogs shops and the real shopping is a chore—until we came across Opulence.

Immediately we were drawn to the vintage storefront with high windows and immaculate displays. On one side is an exceptional showcase displaying a chandelier of cascading ribbons; and to other, a large, white wall gridded with baskets overflowing with bright faux flowers. Each is flanked by mannequins clad in summer dresses and outfits seemingly perfect for the sticky Georgia heat. We ducked inside quicker than lightning in a thunderstorm (of which you’ll find none of here in the big GA—you’re starting to become aware of our hostility towards their weather, right?).

The space is painted a robin’s egg blue—it’s cool but not cold; clean but not sterile—decidedly comfortable and welcoming, just like the staff. We’re greeted with a “How ya’ll doin’ today?” by Lacie Ingram, buyer and store manager. In her sweet Southern accent she explains Opulence’s goal: “To be different.” From carrying lines unavailable elsewhere in town, to a heavy emphasis on customer service, Opulence strives to be something special. In lieu of advertising, Ingram creates colorful, eye-catching window displays; on weekends, customers are pampered with mimosas and homemade chocolate chip cookies. A recent anniversary party celebrated their first year downtown with special offers and giveaways for customers.

And the clothes are equally unique—lines like Saja, Ingwa, Melero, and 213 round out their large collection of dresses, while denim from People’s Liberation and Rich & Skinny hang in a nook by the dressing rooms. Adorable lingerie by Honeydew along with girls’-best-friends, Spanx and Nu Bras, have a home on shelves throughout the shop.

The price-point is affordable, the atmosphere affable, and the good ol’ Southern hospitality unbeatable. On your next visit to Athens, be sure to stop by this clothing oasis. They might even have something red and black that you can wear to the game.

Visit Opulence on the Web at www.opulencefashion.com.

Curiosity Shoppe 855 Valencia St San Francisco, CA

www.curiosityshoppeonline.com

When I first walked into the Curiosity Shoppe on their opening weekend back in thelast fall, I instantly fell instantly head-over-heels in love with the porcelain peanuts. In the end, though, I settled on the more practical hedgehog necklace made by a woman in Detroit;, but ever since, I ha’ve been fantasizing about those lovely legumes.

This tiny space in the heart of San Francisco’Õs eclectic, coveted eclectic Mission District, is an expertly edited selection of knick knacks, clever paper goods, quirky housewareshouse wares, and a terrific selection of doit-yourself books and kits. Ex-New Yorkers Lauren Smith and Derek Fagerstrom choose only the best and the best-looking for the Shoppe, requiring all items to possess to following: personality, a sense of humor, good craftsmanship, beauty, and maybe an element of surprise.

With their assortment of kits, learn will teach you how to build a ukeleleukulele, whittle, or make a pinhole camera. Pick up a few sew-your-own-message greeting cards, and cruise to the back of the shop to admire the rotating, craft-inspired works of artÑfelt guns, fabric bats, and cross-stitched canvases. The current artist, Neil Freese, has outfitted the shop with gigantic God’Õs Eyes, those childhood crosses made from popsicle sticks and colored yarn. Come back later for a workshop on how to make your own God’Õs Eye, or for one of the many other craft tutorials held at the Shoppe. ÒIt’Õs possible that because we’Õve become so accustomed to mass- produced, cheap, disposable items, that learning a new skill, finding out about materials and process, and creating something that is unique feels particularly good,”Ó says the coupleproprietors—not surprising, as they both , who also grew up in families that encouraged creativity.

If someone in Boise needs a porcelain peanut, they can make that happen, so i But if you’Õre not lucky enough to make it to the SF location, the Shoppe also has an online persona. ÑÒIf someone in Boise needs a porcelain peanut, we can make that happen.Ó Well, I’Õm not in Boise, but I sure as heckll need would love one of those adorable porcelain peanuts.

Gravel & Gold Treat & 18th Street San Francisco, CA

On a discreet corner in the Mission, inside a brand new building full of offices and art studios and behind a façade of corrugated metal hides a barely two-month-old addition to the neighborhood’s rapidly growing selection of hip boutiques—including Gravel & Gold. This miniature treasure trove of carefully chosen antiques and handmade goodies features the best of the owners’ flea market pickings, sprinkled with the art and craftwork of talented friends. Lisa Foti-Straus, Cassie McGettigan and Nile Nash, also busy with their various day jobs (filmmaker, internet startup-er and midwife, respectively) take turns manning the store, each contributing their own exciting finds to the shop’s collection.

Despite the closet-sized location, the three women have managed to create a cozy space full of objects to please those who appreciate detail and rarity—the size only makes the experience that much more endearing. A Comme des Garçon piece mingles on a rack with jackets made by a friend out of Tibetan quilts and a ‘50s Christmas-ornament-print frock. Salvaged redwood shelves are chock full of glasses, trinkets, stacks of stripey tees, and albums of friends’ bands. The antique jewelry case is lined with strands of beads, old sepia-tone photos, and pieces of costume jewelry guaranteed to illicit a “Where did you get that?!” from envious admirers.

Everything in the store is either found or made by a personal friend, infusing an extra-special meaning into each item. Artist Tahiti Pehrson, the paper-cut king of San Francisco, designed their window decal, and another local artist down the street fashioned their wooden “Open” sign. The trio also throw parties at the shop; art, music—and more recently, lectures—can be found after hours, and are promoted and extensively documented on their blog. By keeping it local and in the family, Gravel & Gold offers us more than just beautiful, exquisite things—we’re invited to grab an exciting glimpse into their beautiful, exquisite lives.

BEHIND THE SEAMS

debut nyc Have you ever mistaken a gallery opening for a fashion show? Most likely not. Debut boutique, yet another hidden gem to grace us with it presence in Downtown New York, will do just that. Not a show per se- more of a presentation that slender human hangers trotting down a runway. You won’t quite know what hit you one foot into the door. With a mix of minimalistic galleryesque architecture and merchandising installations, it’s well worth the visit if only for the delightful delirium.

Designed by Zivkovic Connolly Architects, the gallery-like environment was more than intentional. Owner Lisa Weiss wanted to create an atmosphere that highlighted individual collections and showcased designers in their true art forms.

Throughout the boutique you will find plaques on the wall that identify each designer of the collections. The plaque will inform you of their origin, the collection’s launch date and inspiration behind the line; a definite satisfaction for nosy fashionistas who spend all hours on The Fashion Spot forum digging through such information daily.

So why would one need to trot off into Nolita for another fashion boutique? Well, according to owner Lisa, “the boutique offers the customer an opportunity to truly express their individuality.” Sounds a little press release, yes, but true! The majority of the pieces in the shop are one of kind, giving you a sense of atelier or a brick and mortar Etsy if you will. There’s nothing better than having a beautiful and refined piece of clothing that you can truly call your own in a world of H&M and Target’s Go International series all vying for our attention.

Each season shoppers can expect a fresh new crop of designers; no stale fries here. Designers are hand selected by Lisa based on their background story and how they fit in with the space’s unique concept. “The selection is very diverse,” she says, “highlighting the visions of the designers and their individual style inspirations.”

Always the most intriguing aspect of fashion, are how things come to be. In an industry where everyone and their mother wants to be a model, designer and boutique owner, there is much respect to be had for those who see their dreams through, and do so with style and innovation. “I visited many galleries and retail stores to find the perfect balance for the store’s design. I also spent endless hours scouring the Internet and fashion publications to secure

DUJOUR 73 www.dujourmag.com

a great lineup of designers for our opening season.” And like many personalities I have had the pleasure of interviewing, like Nina of Nina and Lola, Lisa manifested the idea of Debut through a genuine yearning to showcase the talent around her. “While completing a degree in fashion merchandising at FIT I found myself surrounded by extremely talented young designers in need of opportunity.”

But of course, like these very same women I have come across, Lisa found herself nowhere near fashion a few years ago. “I started out in finance and wasn’t happy. I became a personal trainer for a while, then went to culinary school and worked as a chef. I always had an interest in fashion and finally enrolled at FIT to see how I could couple this interest with my business background. While I was at FIT, I developed the concept for début,” Lisa explains.

Lisa’s definition of an ideal customer for Debut is a woman who is adventurous, confident and independent; just the way we like here at Dujour. “She creates her own trends and is willing to take risks,” Lisa adds. It’s only fitting that some of her own favorite hot spots include Barneys, Dernier Cri, and Opening Ceremony among others. A sure fire way to discover emerging talents. Her tastes in design vary, from well-known houses such as Thomas Maier, Kate & Laura Mullavey of Marchesa, and Nicholas Ghesquier of Balenciaga, to coveted niche designers like Thomas Aquilano Robert Rimondi, Roland Mouret, and Raf Simmons.

There is much to look out for when it comes to the future of Debut. Lisa has a keen eye set on Belgium, noting, “Some of the most experimental and innovative designers of the moment are hailing from there.” Any designer that has a passion for what they do, sense of direction with their line and respect for quality, will garner the chance to be under Lisa’s microscope. This fall, she is anticipating adding Arthur Mendonca to Debut’s roster. His elegant silhouettes and luxurious fabrics are sure to pass over well. We might be seeing bold prints from Michael Angel’s line, the understated elegance of Maja Schulz’s jewelry collection, unconventional silhouettes from BERUBE, and the chic sophistication of Vassilisa.

With prices ranging from $200-$1200, you’ll find your masterpiece awaits!

-L.B. Début, 298 Mulberry Street; www.debutnewyork.com

Photography: Kristin Brynn Costello Model: Berta@ Muse Models Hair & Make-up: Chris Sanchez Styling: Jessica Goldfond Creative Direction: G.L. Wood

theshinysquirrel.com

as seen in NYLON and LUCKY MAGAZINE

TAKE M

AWA

Photography: Kate Benson Styling: Letitia Burrell Hair&Make up: MaRaZ Model: Ana-Carolina

ME AY

Pink cotton and lurex drop waist dress, IDOM, $215.00.

Hat, stylist’s own.

Yellow ruffled dress, at GUAPA. Burnt orange skirt, San & Soni. Leather satchel, Tulina Handbags.

White sheer tank, $9.99, Urban Outfitters.

Red hand woven kaffiyeh scarf, $57.50, IDOM. Turqouise and leather necklace, $24.99, GAP. Color block one-piece suit, GUAPA.

Grey glossy zip up jacket, $121, IDOM. Lime bikini, GUAPA.

Beaded chiffon gown $535, Miriam Ocariz.

Navy print dress and beaded bracelet, both available at GUAPA. White pleated top with beaded detail, San & Soni.

Multi-color lurex scarf, pink ruffled crop cardigan, both GAP. Aqua tiered dress, Miriam Ocariz.

Emerald dress, San & Soni. Metallic waist belit, Anja Bruhn at IndieCoterie.com. Gold necklace, stylist's own.

beaut The Braidy Bunch

French ne Heigl’s chic braids ri he at K d te ve We secretly co er the Hero and simply adored wn his braid in My Fath ew Williamson sent models do ndling back when Matthorting the look. Now we’re rekid S&B 2005 runway sp them thanks to Nicole Richie an hippie our affection for girlie, summer lovin’ or luxe a great ey’re Vie. Nothing says not to mention th n you don’t n— tio ac t ai pl of he face w like a bit hair out of your g into way to keep the icking to your lip gloss, waftina pash. want strands st cream cone or launching into texture a choc-chip ice- u first need to create hair with me sea To get the look, yohed locks won’t do), so spritz in soof your (fluffy-freshly was h your hair up. Start at one side lly addions and gradua lacksalt spray and roug ly small but even sect head, taking threections. If your hair skills are severe er than th se l ra al ft so sm ose and ing more recital. help out; aim for lo ing, have a friend lest you appear headed to a ballet t, tight and perfec

HeadGear

The name-plate necklace, tutu and vintage faux fur coat are all returning to the fashion fray thanks to Sex and the City (the movie); now the corsage is getting the ecoconscious recycling treatment. Models in the Easton Pearson, Akira and Illionaire shows at Australian Fashion Week were all adorned with elaborate headgear, the corsage garnering all the attention. Center parts and soft waves were set off by blooming headbands at Illionaire, creating an ethereal ‘60s look; while fruity and floral confections complemented Easton Pearson’s colorful collection, and hairstylist Daren Borthwick and his Redken team paired high-set buns with pretty petals

tybits Good Vibrations

Mascara—the one beauty item most women would stow in their ‘if I was stranded on a deserted island’ stash—has evolved over the past few years to include comb wands, as well as lash-lifting formulas, lash-fattening formulas and lash-defining technology. Now the buzz is all about, um, well, the buzz— wands that vibrate or oscillate to aid in a more thorough, makeup-artist-like application (wand wiggling from lash base to end being their preferred technique). Think of it as the electric toothbrush of eye makeup in fancy packaging. Estée Lauder has the battery-operated TurboLash All Effects Motion Mascara, while Lancôme is bringing out the Oscillation mascara. L’Oreal and P&G (CoverGirl/ Max Factor) reportedly have their own versions in the works. If the thought of something whizzing away near your eyeball makes you squirm, best to stick to your tried-and-true lash-curling/sweep of shadow/quick swipe of Great Lash routine.

Go for Green

Eco-conscious bea launched a 100-p uty brand Aveda has ercent organic hai r ca Intelligent Nutrie nts, to satiate its tr re line, end-andsocially-consciou s customers. Em ploying the services of food and beauty chem ists founder, former h air stylist and org , Aveda anic farmer Horst Rechelb acher claims the line will be first to bear the gr een USDA seal of approval.

The Nutrients li ne will soon exp an compass body, d to enfacial and baby products.

VanityFair Fruity Kisses

It’s not uncommon for magazine editors to pen novels (think Plum Sykes) or for books based within the glossy world to garner fanatic attention (think The Devil Wears Prada) but Zoë Foster’s debut novel, Air Kisses ($32.95; Penguin), offers us something that’s neither snarky (no doubt she wants to keep her relationships intact) nor snobby (she’s a girl from the bush who made it big in the city but remains unaffected). Currently Editor in Chief of Primped.com.au, Foster was beauty editor of Cosmopolitan (Australia) and beauty director for Harper’s Bazaar before going digital; though her popular beauty blog, FruityBeauty.com.au, became her natural writing home long before she left the land of mags. Air Kisses is a fun, fast-paced fictional novel with a romantic theme (single girl gets duped, dates a bunch of guys, gets revenge) underpinned with insights into the world of beauty editing and, of course, the fine art of primping (each chapter starts with a beauty tip). Foster’s conversational, clever and witty style is Marian Keyes meets Maggie Alderson, and given she’s inked a three-book deal, is likely to be every bit as successful.

THELOOK Twisted

“The idea is she has come out of the [futuristic] desert,” explains Vincent Longo, key makeup artist for Benjamin Cho’s spring 08 show. Breezy and beautiful faces were the aim.

Hair

Eyes

On the lid, Vincent Longo crème beige eyeshadow was applied with the fingertips so it wouldn’t look too perfect.

Dennis Lanni, key hairstylist, hand tailored each models hair in a twisted concoction to match Cho’s pieces.

Lanni positioned the coils to make designs, creating an intricate, tight to the head look. Bumble and Bumble Holding Spray keep the hair in place.

Face

Lips

Vincent Longo Smooth Spice gave the cheeks and chin a natural rosey color

The lips are muted to give the feel of natural desert sand

.

La Dolce Vita

Loris Diran turned the models of his spring 2008 show into 50s and 60s glam-bots. With humpy hair and a dramatic eye, Diran’s hair and makeup team put a modern spin on a classic look.

Hair

To get the junk-in-the-trunk-looking style, Christo of Christo Fifth Avenue, used a cylindrical-shaped hair foundation sponge under teased hair. Curlisto Glow and Shine polished while Curlisto Hairspray kept it all in place. The headband was the cherry atop the sundae.

Face

The skin was glowing and bronzed. Blemishes on the face and body were covered with MAX Factor Erace Secret Cover-up.

Eyes The MAX Factor trio eyeshadow palette in Ravenous, which consists of a black, a bronze and a dark golden color, was used to make the eyes dramatic ic. More drama was added with two coats of Volume Couture mascara.

Lips Super shiny Maxalicious lip gloss in Champagne Bath complimented the bronze look.

THELOOK Sassy Lassie

‘Parisian Fly Girls’ paraded down the runways of the Sass & Bide show.

The funky hair with the smoky eye contrasting with the nude lip shows just how quirky these designers can get.

Hair

Hairstylist Renya Xydis created cornrows that will “[still look] hot after five days of wear and tear” using Wella System Professional Pearl Smooth from the Tailor Made Shine collection. Once they braided down to the ends of the hair, they secured with an elastic and formed into a bun, finishing with High Hair Finishing Spray.

Eyes

Pure Color EyeShadows in Eggplant and Onyx, lined with Eye Pencil in Softsmudge Black and topped off with Projectionist mascara gave a strong smoky eye. .

Face

Make-up Artist Kent Vaughan shaded the cheek bone to give the face strength and added a touch of Estee Lauder Tender Blush Stick in Natural #6 on the apple of the cheek.

Lips

Pure Color Lipstick in Beige bestowed the matte, nude lip.

DUJOUR 101 www.dujourmag.com

PERFECTLY FLAWED If Rachel Zoe and Amy Winehouse are playing spokeswomen for today’s modern beauty, it just might be time for young women to take heed regarding the care of their skin, or else . . .

by Erica Bartle

If I were to write a book about beauty, it would be called Atonement: Cautionary Tales of a Tortured Complexion. I’d use a similar formula to Lesley Arfin’s edgy tragic-memoir Dear Diary, only where Arfin took pleasure in confronting every queen bee, wannabe and family member who contributed to her middle-class adolescent descent into alcohol and heroin addiction, I would seek revenge on all the people, practices and products who helped me ravage my young skin. As an honorary Raisin Face, it’s only right. Chloe Sevigny wrote Arfin’s introduction; perhaps Rachel Zoe would write mine?

Despite public health warnings against excessive sun exposure, and pale-skinned icons like Madonna, Winona Ryder, Shannon Doherty and Alicia Silverstone taking the pop cultural centre stage, I lapped up UVA and UVB rays like Perez Hilton uploads celebrity gossip as a teen.

Afternoons were often spent beachside applying coconut oil; returning from a holiday with a deep, Bali tan instantly upgraded one’s social status at school. By 17, with images of bronzed Billabong models and Helena Christensen firmly implanted in my brain via magazine osmosis, I was a dedicated tanning salon attendee.

To make matters worse, I also attacked my blemish-prone skin with harsh, grainy scrubs from The Body Shop when exfoliation was all the rage, eschewed moisturizer in the belief it would cause pimple breakouts, and smoked outside school just to look cool.

Add to that a diet supplemented with sugary alcoholic beverages on weekends and you’ve got one dehydrated, tortured dermis.

As the generation of girls who grew up listening to Bananarama, watching The Goonies, crushing on Corey Feldman, and scrunching their socks like DJ on Full House slipped ’n’ slid into DUJOUR 103 www.dujourmag.com

their 30s, we’re starting to take stock and noticing a severe skin deficit. Yet, some of us still sun bake (“I love the feeling on my skin,” says one friend of mine; “Brown fat is better than white fat,” quips another), and though ‘solarium’ is a dirty word and faux tanning products have vastly improved since those early tangerine days, sunbeds remain an addiction for some.

Our lifestyles often leave a lot to be desired, too—all those late nights out partying are bound to catch up, right? At 35, I’ve little doubt that acne-prone, sunloving, hard-partying smoker Cameron Diaz wishes she’d taken a leaf out of Cate Blanchett’s creamy complexion book. Lindsay Lohan, take note: your career longevity depends on it.

Girls just want to have fun, but it’s our skin that ends up paying the price. As a result, fine lines, freckles, dehydration and discoloration, not to mention moles and melanomas, are just some of the dilemmas we’re waking up to. And even born-again beauty angels (self included) cannot escape the dreaded skin hangover. Like a boyfriend you wish you could erase from your dating history, it will come back to haunt you . . . only on your face, not on Facebook.

We Gen-Yers are accustomed to instant gratification. Brought up on the belief that someone would invent something to counteract the complications elicited by our bad behavior just as quickly as the Walkman evolved into the Discman and then iPod, the idea that we might have to take responsibility for our skin (and our health) never really did sink in. Eat too much?

There’s always lipo. Smoke and slurp red wine till your teeth turn yellow? Book me in for bleaching. One too many late nights? Detox!

Premature wrinkles? Pass the dermal filler. For every sin there is some kind of quick-fix cosmetic trick or way to fake it—only, like being

bailed out of debt by our Boomer parents, we haven’t really learned to take responsibility.

It’s only when our recklessness comes back to bite us in the butt that we get the guilts.

But let’s not be getting down on ourselves.

Everyone makes mistakes. And in terms of mistake-making relativities, Amy Winehouse has set the bar really high (look into a crystal ball and Courtney Love is what you’ll see), and my friend Rachel Zoe is a glamorous precautionary advert for sun worshippers who eat only asparagus for dinner (sun + poor nutrition = aging not so gracefully). The good news is, if we start to make amends for our facial foibles now, there is hope that we won’t one day wake up confronting Farrah Fawcett face.

“The single most effective skin care measure that 20-year-olds can take is to wear 30+ sunscreen all the time, even in winter and on cloudy days,” says dermatologist Dr. Natasha Cook (natashacook.com). “Sunscreen will prevent aging, wrinkles, broken capillaries and pigmentation. You’ll see early signs of pigmentation, especially in your late twenties. And once pigmentation starts, it will get worse with age and progressive sun exposure, so it’s best to start early with sun avoidance and strict protection so you don’t get it in the first place. It takes ten to 20 years to develop, so if you are not protecting in your teens and twenties, you will be destined to get brown blotches in your thirties.”

Sunscreen is the retirement fund of beauty products, giving us insurance against further dermis damage—ensure yours contains filters against both UVA (aging) and UVB (burning) rays. Dr. Cook also recommends establishing a good skin-care routine now, cleansing twice a day, and using non-clogging, noncomedogenic moisturizers. Salicylic acid and fruit acid products will also help if you suffer from blackheads, whiteheads and breakouts in your twenties, a la Cameron Diaz.

While creams and screens are all well and good (and fill the coffers of cosmetic giants), we also need to pay more attention to what we put inside our bodies if we want to get into true self-preservation mode. As the cliché goes, you are what you eat . . . and drink and smoke. Excessive alcohol will cause skin dehydration (hello, fine lines), while sleep deprivation, smoking and avoiding whole food groups (thanks, Mr. Atkins) are other DUJOUR 104 www.dujourmag.com

sure-fire ways to look old before your time.

“During our twenties we can get away with bad habits,” says nutritionist Fiona Workman (syndeynutrition.com.au). “If we eat good food, we can counteract the consequences to a certain extent. It’s like our monthly credit card bill; if we put some money aside to pay the debt, we won’t get stung at the end of the month, despite our huge spending sprees.”

Workman says it’s our skin, hair and nailsthat often show the first signs of nutritional deficiency in the body; so if your skin is dry, hair is brittle and nails are breaking, you need to increase the amount of sulphur in your diet. Dubbed “the beauty mineral,” sulphur is found in protein-rich foods like eggs and red meat, vegetables like leeks, onions, garlic, chives, cabbage, brussel sprouts and legumes, molasses, horseradish, sesame seeds, and Brazil nuts. Eat ’em up, buttercup.

To counteract the effects of drinking alcohol,Workman recommends buying a liver detox kit twice a year from your health food store and allocating two weeks to a sugar-free, vegetarian and whole foods diet. If you feel great afterward, that’s an indication that your body is underperforming in its everyday life, so you need to focus on living and eating better.

That includes keeping stress to a minimum, and making time to let your body relax and recuperate—no easy feat when your social schedule is busting at the seams on a Chloe Sevigny scale.

But back to my book . . . at the end of Arfin’smemoir, she confesses that she has learned some great life lessons but is still insecure, and she doesn’t regret making mistakes.

I feel the same way—the face I’m wearing is testimony to my delinquent beauty behavior; as a bona fide grownup, I’m prepared to take responsibility. I may look longingly at Liv Tyler’s milky complexion and freak out when a Rachel Zoe picture crosses my computer screen, but I’ll be more than happy to wind up somewhere in between. After all, a girl in her twenties has better things to worry about than the condition of her skin . . . umm, like shoes!

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I S U

L L I

the tunnel sisters s N O

S on ist m th o thers u e ve e p m i in a n du k stery

It would seem that the career transition from accountant to professional makeup artist would be an unlikely one, but that’s not quite the case for twin sisters and celebrity makeup artists Denise and Janice Tunnell. For about ten years each the sisters punched numbers, but their interest in skin care and cosmetics eventually took hold and landed them on the sets of major movies and television networks. Now these lovely ladies are two forces to be reckoned with in the beauty industry.

“I think my interest was always there,” said Denise. When she was young, she used to watch her mother, who was very particular about what she wore and put on her skin, apply her makeup in the mornings, and always caught a late-night television show, Beauty Showcase, which sparked an interest in skincare. Janice’s original desire was to open an accessories boutique, which sold cosmetics as well. She found out that to in order to sell cosmetics, a cosmetology license is required, so she went to school. “I always loved makeup, but never thought of it as a career,” said Janice. We’re glad she did.

Minorities often have it tougher than the majority when it comes to breaking into certain industries.

When is comes to beauty, the Tunnells believe you‘ll have a good chance of succeeding if you are well prepared. “I don’t think [the beauty industry is] tough to get into, but it’s tough to remain in. You have to be well educated,” said Denise, who attended the International School of Skin and Nail Care in Atlanta, and honed her skills with the likes of MAC, Bobbi Brown and Giorgio Armani. “Once you get the education, you can always get the practice,” said Janice, who attended Von Lee School of Esthetics and sharpened her skills with cosmetic lines such as Bobbi Brown, Tony Tina, and Smashbox. She even logged time assisting Reggie Wells, Oprah’s personal makeup artist.

“It’s nice to know you’re making a living and you’re good at what you do, regardless of if you’re white,” said Denise on what it’s like in the industry as an African-American woman. “[But] you can get stuck into the category of “only black” productions.” Because of their exceptional talent, they’ve worked on the sets of The Notebook, Big Fish and The Wedding Crashers, in addition to Stomp the Yard and Idlewild.

What brand does the Tunnell sisters prefer on set? Illusions Cosmetics—their own cosmetics line. The line started as a lip gloss collection in 1999, but as 2006 wound down, the sisters decided to re-launch the brand as a complete collection for eyes, lips and face that includes skincare products. The name came to Janice during a brainstorming session. “I started thinking about what makeup really does,” she said, ergo Illusions.

Illusions Cosmetics has a wide array of colors for a variety of skin tones—perfected for a tonal range from African-American and Asian to Brazilian women. “I feel most women are not represented,” said

Denise. “We want to offer women of color more choices,” added Janice. “[Another goal] is to educate the women about the products they take home. If they don’t know how to use them, they aren’t going to use them.” Seems education is an important philosophy in the lives and lipstick of Janice and Denise.

Earlier this year they created a collection of Lustre Lip Glosses, the shades of which were named after girly movies (Dreamgirls, a shimmery tan; Carmen, a sultry pink shade). A line of lip glosses named after influential women in the beauty industry is forthcoming. Also, a makeup DVD focusing on beauty for the everyday woman is in the works, and they aim to get their cosmetics line into major beauty retail outlets in the future.

Since these ladies make movie stars look cameraready on a daily basis, Dujour couldn’t resist inquiring about summer makeup trends and tips. “Wear plenty of sunscreen,” suggests Denise. Make sure to get allover body coverage, and don’t forget the neck and ears. Many a time Denise has had to powder an actor’s ears because they’re darker than the rest of their body.

As for trends, “Color is seen everywhere, and everybody is wearing it,” said Denise. She especially notes bright, pink cheeks—any shade of which a woman can wear. “You just have to know how much to apply.”

She recommends layering, which makes it easier to see when you should stop. Try the Illusions blush in Azalea for this look. Janice also suggests a shimmer for the summer—dust on Illusions Sublime eye shadow or Gold Star eye dust, or highlight cheek bones with Horizon eye dust. Dual purpose—we like that.

Late last June the sisters hosted their second annual Shimmer, Sparkle and Shine event, offering their Illusions clients and enthusiasts a decadent array of spa services and fun. Attendees like Lauren London, Vanessa Simmons and Angela Simmons were treated to massages, eyelash extensions, manis and pedis, and an overall fabulous time. “It was a highlight just to see how hard work can pay off, and see the relationships you have made over the years,” remarked Denise. Janice added, “We really felt the love.”

In addition to cultivating the Illusions Cosmetics brand into a successful venture and striving to offer the crème de la crème in beauty products, the sisters are determined to be at the top of what they love to do: makeup artistry.

DUJOUR 107 www.dujourmag.com

sugar sugar & & spice spice

Photographer: Camille Sanson

Photographer: Camille Sanson Hair: Michael Price @ Unruly Makeup: Lan Nguyen usingArmani Georgio Armani Makeup: Lan Nguyen using–Giorgia Models: Georgia and Eva @ @ Storm Hair: Michael Price Unruly Models: Georgia and Eva @ Storm

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We take a sneak peak at the beautiful people from ford, elite, and beyond.

For your eyes only!

CULTURE SHE I

t wasn’t so long ago that actress Zooey Deschanel introduced the world to her sweet, slightly papery musical voice for her singing-in-the-shower scene in the Will Ferrell comedy, Elf. A different sort of audience witnessed her singing chops as an accompaniment to friend Erin Fetherston’s fall 2007 ethereal, little-girl lace frocks fashion show—a stage debut befitting any self-respecting hipster darling.

And now the “quirky” actress with the blue saucer eyes and sweet baby doll dresses has teamed up with the folkie Matt Ward (who performs under the moniker M. Ward) to form She & Him, a duo who performs sleepyAM-rock ditties, mostly penned by Deschanel herself. She sings; he produces. It’s a match made in indie heaven.

This all sounds almost too cloyingly precious to bear, but fortunately Deschanel is an adept songwriter, and Ward a spare and tasteful arranger. The group’s first album, Volume One, has ten songs all about boys, or a boy—written by Deschanel (there are twelve songs in all). The title of the first track, “Sentimental Heart,” sums up the singer: naive and romantic, with a dash of wry self-awareness. “Habits die hard when you have a sentimental heart,” she sings in her best Emmy Lou Harris impression—an admission that she knows her optimism is in vain. In “Why Do You Let Me Stay Here?” she sounds playful and young, with a bit of knowing insouciance when

DUJOUR 126 www.dujourmag.com

&

HIM

she sings about sitting on the shelf waiting for her boy friend. Still, rollicking guitar and girl-group backup vocals can’t overshadow the fact that she’s sitting and waiting—alone (Deschanel and Ward reveal their debt to the Ronettes and Phil Spector’s wall of sound here).

These simple, melodic songs work so well partly because of Deschanel’s delivery: plainspoken, with a bit of a humanistic crack that makes her immediately empathetic. Her voice, quite simply, is a treasure, and Ward knows it. He produces with a light hand; some staccato strings here, a bit of guitar twang there, or his own warbly, fragile voice providing occasional harmony (or counterpoint). Of course, these songs are hardly revolutionary, and perhaps a bit too heavy-handed in their fetishization of retro classics. Still, they are truthful, sincere and easy to listen to—do they need to be anything else?

E DU JUOR I

Really Miss the ‘90s This isn’t the self-awareness nos talgia for all things kitsch that characterized the 1980s’ revival in the first part of the millennium. No “I [Heart] the ‘80s” snark; no “so-bad-it’s-good” championing of hair metal or Saved By the Bell; no postmodern appreciation for really ugly articles of clothing (ehem, leggings).

In comparison, look at what the ‘90s produced: My So-Called Life, Reality Bites, Richard Linklater, Nirvana, Bikini Kill, Helmut Lang. This was a wonderful time in which to grow up. Instead of turning on the TV or radio and being pandered to with celebrity gossip or manufactured pop, for the most part I was exposed to mainstream outlets—cynicism, existentialism, the crumbling of the family unit, grrl power, feminism, minimalism, and a questioning of authority, society, and cultural norms. Of course, the young adults, those unfairly maligned Gen Xers creating pop culture at the time, were probably miserable, poor and jaded; but at least they had outlets and intellect and, well, good taste.

And perhaps a healthy dose of pessimism and self-doubt is good. Perhaps, instead of stunting growth and progress (a charge doled out to Gen Xers by baby boomers in countless articles about the disaffected youth in the 1990s), this guarded cynicism is actually necessary to incite change. (Maybe it’s not cynicism, but pragmatism or practicality—or an instinct to constantly question the status quo.) Whatever it is, we need it in order to, as Gen Xer Jeff Gordinier would say, “keep America from sucking.”

This is the central thesis to Gordinier’s book X Saves the World: How Generation X Got the Shaft but Can Still Keep Everything from Sucking. “This is a manifesto for a generation that’s never had much use for manifestos,” writes Gordinier in his introduction. His argument: The hedonism, consumerism and narcissism that characterized the first part of the millennium are no longer appropriate for a world on the brink of economic, environmental and spiritual crisis. It is time for Xers to step in and make everything right—and reclaim their place in the sun.

X Saves the World chronicles the rise and fall of Gen X (those born roughly between 1960 and 1980), the media obsession with Baby Boomers (those born during the post-WWII baby boom) and their progeny, the Millennials (those born

after 1980, often called Gen Y), and Gen X’s recent achievements (Google, YouTube, Netflix, Architecture for Humanity, McSweeney’s, a new brand of political satire patented by Jon Stewart and Stephen Colbert, to name a few) and how they are changing the world in a way that the boomers’ love-ins, Woodstock and talk of peace and love never could.

Gordinier, an editor and writer at Details, is not alone. There has been a small—but significant—movement away from the ‘80s revival and glorification of maximimalism and kitsch and toward the stripped down, grunge ethos of the 1990s in pop culture. Underground bands are no longer aping the angular, polished postpunk of the 1980s, but the ambivalent distortion of My Bloody Valentine and Sonic Youth. The year 1994 is the setting for the upcoming film The Wackness, about an intellectual slacker/stone, a fixture of the Gen X milieu. And grunge seemed to influence a number of designers’ Fall/Winter 2008, including Jenni Kayne and Alexander Wang.

Not to mention that the ultimate arbiter of cool, Marc Jacobs, had Sonic Youth play at his last fashion show, inspiring a frenzy of Sonic Youth totes and T-shirts appearing everywhere from eBay to Urban Outfitters.

Somehow, unlike the 1980s revivalthis doesn’t just seem like a nostalgia trip. X Saves the World occasionally comes dangerously close to falling into that trap (Gordinier, like many Gen Xers, has an encyclopedic knowledge of pop culture and a penchant for reference-dropping), but it ultimately treads the line between an ode to a forgotten generation and dissection of the current cultural climate (leading to a Gen X call to arms).

And how should Xers go about changing the world,you might ask? Gordinier’s answer is a simple one—something along the lines of keep on keepin’ on. Keep building your Internet communities, keep providing outlets for the niche and outsider, keep growing your own community gardens, keep beautifying your inner-city neighborhoods, keep on stitchin’and bitchin’, keep on questioning everything around you.Will do.

DUJOUR 127 www.dujourmag.com

Photographer: Camille Sanson Stylist: Shyla Hassan Stylist Assistant: Beth Davies Hair: Michael Price @ Unruly using Sebastian Makeup: Natasha Devedlaka using Georgio Armani Cosmetics Model: Diana D @ Premier

boufFant

SWIRL THE WHIRL Photographer: Hedinn Eiriksson Makeup: Elisabet Alma Styling: Erna Bergmann and Eva Katrin M贸del: Eva Katrin

Opposite Page: Dress: Sonia Rykiel Jeans: Marjan Pejoski Necklaces: Florian Shoes: ChloĂŽ Sevigny for Opening Ceremony. This Page: Dress: Roksanda Ilincic Headband: An Soffia Arnadottir Shoes:Sonia Rykiel

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Dress: Bernhard Willhelm Top: ChloĂŽ Sevigny for Opening Ceremony Hairpiece: Roksanda Ilincic Socks: Gaspard Yurkievich Shoes: Sonia Rykiel

Dress: Bernhard Willhelm Top: ChloĂŽ Sevigny for Opening Ceremony Hairpiece: Roksanda Ilincic Socks: Gaspard Yurkievich Shoes: Sonia Rykiel

Vivienne Westwood Headpiece: Roksanda Ilincic Necklace: Florian

Dress: Erna Bergmann Socks: Eley Kishimoto Shoes: Sonia Rykiel Shorts: Bernhard Willhelm Necklaces: Florian Hairpiece: Roksanda Ilincic Socks: Gaspard Yurkievich Shoes: Sonia Rykiel Knitted Seal: Vik Prjonsdottir

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Dress: Bernhard Willhelm Top: Humanoid Skirt: Vivienne Westwood Necklace: Florian

Knit bathing suit, Krelwear; Airplane hat, stylist’s own; sunglasses photographer’s own.

WILD

CHILD Photographer: GL Wood, www.theglfactory.com Makeup: Rebecca Casciano for Nars Hair: Lacy Redway for Redkin Styling: Jessica Bosch for Blink Management Módels: Amy Hixon @ Marilyn NY & Gilda @ MUSE NY

American flag bandana used as top, avai able at Ricky’s NYC; Print skirt, stylist’s own.

Bla Ho sty

il-

ack bathing suit, H&M; Pants, Mara offman; Racoon tail used as scarf, ylist’s own.

Vintage bathing suit, available at Wasteland; Butterfly print plastic raincoat, stylist’s own; Vintage sunglasses, American Apparel.

Bar Necklace, available at People’s Revolution NYC; Black and gold knit top, Krelwear.

Skirt, Christian Joy (Christianjoy.us); Black bathing Suit, Prada; plastic sleeves, stylist’s own.

Black fringe dress, Christian Joy; Hat stylist’s own; Necklace, available at Peoples Revolution NY.

Danskin bathing suit, Vintage; Cape, Grey Ant; Yellow straw hat, stylist’s own.

Color block ruffle cape, Sass and Bide; Bandeau, Krelwear; Underwear, available at H&M.

photography Mario Miotti