Flanelle Magazine #12 - The Sleepless Edition

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THE SLEEPLESS EDITION

A L I C E C A LY P S O - A A R O N C H A M B E R L A I N - E S M E E D O O R N - M A R Í A A C E V E D O - L I S S Y E L L E J U L I A L E G O - L A U R A Z A L E N G A - A N D R E Y YA R O S H E V I C H - K Y L E T H O M P S O N - W E I H U N G C H E N

My dearest readers, Your days of lullaby and daydreaming will surely never be over. You sometimes feel like you are wandering in this world, but your most beautiful fantasies are to be kept alive. Your sleepless nights and drowsy days can define you, your strengths and your passions.

We define ourselves by the ability to overcome the impossible. These moments are important. We aim higher to our dreams, to break barriers, to reach for the stars and clouds. You can not wait for them to fall from the sky.

This spring, we are, at Flanelle, glad to take this time to remind you about this talent that makes us all dream to better ourselves. Discover the designers, photographers, artists, models, writers and creative teams that we most recently fell in love with, and let yourself be transposed in this beautiful reverie that is reality.

Sarah-Eve Leduc

editor’s letter

12 the sleepless edition

Founder / Editor-in-Chief

Art Director

Graphic Designer

Sarah-Eve Leduc

Stephanie Serfaty

Garrett Naccarato

Contributing Writers

Director of Marketing

Social Media

Hannah Nussbaum

Sarah-Eve Leduc

Marketing Manager

Lindsay Cooper

Stephanie Gravel

Veronica Iannuzzi

Contributing Photographers

Contributing Artists & Designers

Alice Calypso

Aaron Chamberlain

Azahara Fernandez

Kissothen

Daria Gaar

MarĂ­a Acevedo

Esmee Doorn

Michelle & Lucy Perrett

Imogen Baron

Olya Glogolya

Julia Lego

Side Project

Kyle Thompson

Wei Hung Chen

Laura Zalenga Lissy Elle Andrey Yaroshevich

Flanelle Magazine

General Inquiries, Press & Marketing

Facebook: flanellemag

info@flanellemag.com

Instagram: @flanellemagazine Pinterest: flanellemag

Online and Print submissions submission@flanellemag.com

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morning: the promise of a new day

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dress the sexes

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call it magic

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favorite contemporary photographers

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flower finesse

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a new dawn for sustainable design

cloud break

in pursuit of a dream

authentic lab

sleeping girls

MORNING: the promise of a new day michelle and lucy perrett of Matin Text by Lindsay Cooper

There’s something magical about first light. It’s a transformative time few are awake to experience. The sky burns through every colour, turning from deep blue to vibrant orange in the span of minutes. It’s easy, unhurried before the sun rises, everyone trying to preserve the thin veil of night that continues to linger.

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Morning. It’s a block of hours that posses a personality: delicate, tranquil, and somehow both new and vaguely reminiscent of a time passed. Entranced by the easy early hours, Michelle and Lucy Perrett founded their women’s wear brand, Matin. Embodying the essence of the early morning in their designs, the pair focuses on merging easy comfort with beauty.

Do you remember your first experience being drawn to fashion?

The earliest memory of being really interested in fashion was as teenagers. We would design and sew a new outfit together every time we went to see a band. We have always loved design across many different disciplines—be it interiors, photography, textile design, art—but fashion is what we really enjoy creating.

And do you remember first considering fashion as a professional pursuit?

We have both always been involved in the fashion industry in some capacity; it has been something that has happened naturally. Neither of us being formally trained, but both of us being passionate about design and creating. We were drawn to the freedom of creativity and the freedom of structure in starting our own label.

The two of you are from Australia’s Northern Beaches and are now based in Tamarama, Sydney. Do you see these locations at all informing the brand?

Absolutely, we have such a beach lifestyle here in Sydney and that is paramount to what the label is about. We have always been inspired by the natural ease and elegance of

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“We have always been inspired by the natural ease and elegance of French dressing and we have tried to capture that reference in our designs.�

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French dressing and we have tried to capture that reference

And do you still see that original concept informing the

in our designs. We look towards Parisienne chic—particularly

designs created by the studio today?

the 1970’s period, which we feel encapsulates the elegance and understated nature of a beach lifestyle. Women today

Absolutely. Our collections are largely trans-seasonal, in a

want to wear clothes that are multi-dimensional and allow

neutral colour palette. Our collections are designed to be

them to simultaneously feel amazing and effortless.

mixed and matched and work alongside previous Matin collections. We are not trend driven, instead we focus on creating pieces that you can wear season in season out; that

How would you describe Matin’s ethos?

are effortless, understated, and elegant; that are essentially Local production and natural fabrications are at the heart of

Matin.

Matin. All pieces are designed and made in Sydney, Australia.

Cotton, linen, and silk constructed into timeless shapes

You’ve grown a lot since the brand’s inception. Do you

with a contemporary edge. Traditional masculine tailoring

have an achievement or moment you remember being

in harder wearing cotton fabrications sit harmoniously

particularly proud of your work with Matin?

alongside ‘70’s French romantic shapes with lace, gathered skirts, intricate trims, and subtle ruffles.

I think taking the brand to Paris in September 2016 was a key milestone. We have such a strong connection with France

Can you describe a bit more what the creation process is

and to have our collection displayed for leading buyers and

like? How does a piece of clothing come to be at Matin?

press around the world was wonderful. The label was picked up by a number of international stockists and we are excited

It’s a very organic design process. We shun trends and

to be returning to Paris for Fall ‘17 sales. It’s always great

instead focus on creating timeless pieces, which women

seeing the coterie of Matin supporters wearing the label. It

of all ages can wear and feel comfortable in—pieces that

has garnered such a huge following through word of mouth

can take them from the beach to the restaurant. We are

and we get some amazing requests but, even beyond that, it

passionate about creating a sustainable business and

always blows us away to see customers on the street wearing

supporting the local fashion and design infrastructure. All our

our pieces.

pieces are made from cotton, linen, or silk; we focus on using natural fabrications. We work with a wonderful array of local

Now looking forward, what can we expect from Matin in

pattern makers, with all our clothes are produced in Sydney.

the future?

We seek inspiration from our surroundings and are fortunate to live in one of the most beautiful cities in the world.

I think we will continue to stay true to the brand’s DNA of using natural fabrications and creating timeless pieces that

If your designs had a personality, what three character

women of all ages can wear and love. It would a dream to

traits would be used to describe them?

open a store overseas. We are not rigid in our approach and strategy and are open to the adventures that present

Relaxed, understated, and uncontrived.

themselves along the journey.

Who is Matin designing for today?

Photography by Imogene Barron.

The Matin woman is adventurous, grounded, and effortless. She has a natural ability to seamlessly blend a laid back sensibility with a classic, understated elegance. Her clothes enable her personality to shine through. She wears them, not the other way round. She is open-minded, free spirited, an adventuress who knows no bounds.

What drew you to the name Matin when naming the label?

What does that time of day represent to you?

We wanted to a name which summed up the essence of the label, and we liked that Matin stands for the earliest period ‘the morning of the world’ as well as sunrise, daybreak, and dawn.

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dress

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aaron chamberlain and challenging traditional tailoring Text by Veronica Iannuzzi

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Aaron Chamberlain is redefining gendered dressing and blurring the lines between the masculine and feminine from his London base. Reminiscent of the late 20th century’s gender revolution, this aesthetic makes a statement and blurs lines of conformity.

This year at the Golden Globes, actress Evan Rachel Wood decided to forego the traditional Hollywood gown and opted for a suit instead. When asked about her fashion choice she replied, “I decided early in the year not to wear any dresses to awards shows to be a gentle reminder to young girls and women that you’re not required one if you don’t want to— to really be yourself and that your worth is more than the dresses you wear.” Taking after Katherine Hepburn, a woman whose resistance to dresses and skirts made her legendary, Wood confronts the idea of gendered dressing.

Aaron Chamberlain finds himself on the flip side of the same coin, addressing the parallel concerns facing men. Using menswear and traditional tailoring, he tackles taboos in the hopes of evoking social change. Often mocked as a shallow, fanciful interest, the thought of using fashion as a vehicle of social or political change is easily dismissed. It may seem farfetched, but if we look at the gender revolution of the 60s and 70s—dressing provocatively is exactly how men and women stood up to societal constraints.

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“It’s not that women’s clothing became more masculine, but rather most of these pieces were “either feminized [through skin-tight tailoring or cropping] or were no longer considered masculine at all”

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Jo. B’s Paoletti’s Sex and Unisex explores the fashions of the sexual revolution as representative of cultural shifts taking place during the time. She argues that it’s easy to write off fashion and pop culture, but we should instead look to them as symbols of real social change. In recent years, fashion has become a relationship between masculinity and femininity, but Paoletti traces the movement back to its half-century old roots. Unisex fashion peaked as women entered maledominated professions. Girls started wearing pants to school and mothers wore them to work. As women feminized masculine fashion trends and men donned more feminine hairstyles, police forces began enforcing laws to create clear boundaries of how men and women were supposed to look. It’s during this pivotal time that current designers like Chamberlain found inspiration.

The latter half of the century continued to see women

But it’s not only the womenswear of the era that Chamberlain

asserting themselves through power dressing, women

has taken hold of. Paradoxically, Chamberlain’s chosen

wearing more and more menswear in an attempt to

design elements that are more evocative of contemporary

eschew stereotypes associated with anything feminine.

femininity are actually borrowed from the 60’s era menswear

But Paoletti argues it’s not that women’s clothing became

movement known today as the peacock revolution. Used to

more masculine, but rather most of these pieces were

describe the styles coming from London’s Carnaby Street

“either feminized [through skin-tight tailoring or cropping] or

designers, the movement revitalized flamboyant, custom

were no longer considered masculine at all”. While Paoletti

tailored suits with unique colour palettes, soft fabrics, and

offers a rational understanding in regards to the evolution of

bold decorative finishes. Following in the footsteps of this

these fashions and perhaps its inevitable regression to clear

revolution, Chamberlain uses latex facings, exposed pad

gender boundaries, it did also represent a rebellion against

stitching, and intricate floral embroidery in his clothing,

the traditional image of femininity. Cracks were being made

providing us with pictures of both the masculine and the

in this long-held idea of the feminine.

feminine to examine and play with. Just like men of the 60s and 70s rebelled against strict definitions of masculinity,

Ironically, it’s exactly these ideals that Chamberlain is tapping

designers like Chamberlain continue to push boundaries

into in the hopes of evoking a sense of femininity within his

today and evoke the social change that began during those

menswear. After decades of wear by young women trying

pivotal decades.

to gain masculine power through suits, blazers with tapered waists and puffed up shoulders have lost any masculine

Today ideas surrounding gender are back at the forefront

edge they once held. Now this once room-commanding

of political and social discussion. What does it really mean

version of a pantsuit is more likely to serve as a reminder

to be a man, a woman, or anywhere else on the spectrum?

of a businesswoman than a businessman. Chamberlain’s

First impressions are made considering how we present

layering of padding on top of already broad shoulders,

ourselves to the world. What does our clothing say about

his cropped jackets that further accentuate the already

who we are and—more importantly—what do we want it to

narrow hips of the male model, and his choice of oversized

say? Again, some people may think it trivial to dedicate such

trousers all manage to coincide to create a delicate image

debate about fashion and its relationship to our motivations.

of femininity.

However, if we look to the people of the past, and the daring designers of the future, there is so much bravery in blurring the lines of gender.

Aaron Chamberlain’s graduate collection featured embroidery

by Ami Waring and was photographed by Stephen Maycock and Shannon.

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call it magic Photographer Andrey Yaroshevich Stylist Polina Vinogradova Makeup & Hair Olga Armand Model Masha Harchenko 24

T-shirt Zara; Corset, jacket & pants Nebo; 25

authentic lab

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(Left) Dress, belt & pin Nebo; (Right) Dress Zara;

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Dress, belt & pin Nebo; Shoes Zara; 28

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(Left) Dress, belt & pin Nebo; (Right) Poloneck & shoes Zara; Pin & pants Nebo;

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Longsleeve & blouse Zara; Pants Nebo; 32

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T-shirt Zara; Corset, jacket & pants Nebo; 34

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our favorite contemporary surrealist photographers Text by Hannah Nussbaum

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Surrealism was a cultural and artistic movement that began in Europe in the 1920s, one we can all vaguely put our fingers on as the locus of so many vaguely illogical and disquieting images that circulate today on art posters and as desktop backdrops. The artists and thinkers in the movement drew from the likes of Sigmund Freud and Carl Jung, to create work that experimented with freeform thought associations, automatic mark-making, and dream articulation. They aimed to archive images from the subconscious in art that could perhaps decode people’s innermost fears and desires.

From this moment in history, Salvador Dali conceived of a surrealist process he called the Oniric-Critical Method.

This was a technique that aimed to spool images from dreams and freeze them on a canvas. The work of Dali and his peers wasn’t easily assimilated into the art canon: the art establishment was more interested in the chaos of abstraction, and later the verisimilitude of realism that glorified modern life. And yet, we can feel the influence of surrealism in a number of artistic cycles that have come and gone in the past several decades.

Today we feel the presence of surrealism in contemporary works whose visual compositions linger in a space between realism and abstraction, making the everyday lyrical and poetic and atomizing dreams into images. Contemporary surrealist work holds the same potential today as it did decades ago: to reveal the beauty and strangeness in the banal, and to archive subconscious scenarios we might otherwise forget. Here we’ve curated a selection of work by contemporary photographers who are drawing on the surrealist tradition to create images informed by dream logic,

Contemporary surrealist work holds the same potential today as it did decades ago: to reveal the beauty and strangeness in the banal, and to archive subconscious scenarios we might otherwise forget.

or perhaps by sleepless reveries.

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KYLE thompson Kyle Thompson is a Chicago-based photographer who describes his work as producing “the ephemeral narrative, a nonexistent story-line that only lives for a split moment�. Thompson creates surrealist photography that breaks the rules of reality and physics in striking compositions - often self-portraits - that are at once deeply real and surreal. His work taps into a sense of lucid dreaming, where impossible moments become terrestrial. His images are private feeling; the experience of viewing them is akin to entering into his dreams for a moment. Parables and metaphors linger beneath the surface of his levitated objects and strange natural landscapes.

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LAURA zalenga

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Laura Zalenga is a German photographer whose images have a dreamy, surrealist ethos that capture inscrutable and serene moments. Her work foregrounds bodies in strangely familiar but also visually de-territorialized settings. True to iconic surrealist images, her work incorporates and reappropriates everyday images - a ponytail, a spiderweb - and superimposes them onto scenes that feel fantastical or even biblical.

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LISSY elle Lissy Elle is a New York based photographer, set artist and stylist. Her work incorporates folklorical and mystical motifs, easily moving between a contemporary editorial aesthetic and something dreamier. There’s a mythical, fairy-princess quality to her images that infantilizes the viewer in a glorious way. We’re transfixed by tents made of bed sheets and floating cardboard boxes. Her visual perspective hypnotizes and paralyzes. Ordinary snapshots are transformed into dreams we haven’t had in years.

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flower Photographer Julia Lego Model Barbara Zanco (Ford Models) Beauty Julia Lego

finesse

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We are on the cusp of a sartorial revolution—the dawning of a new fashion epoch. With our current model emphasizing new, newer, newest and disregarding environmental ramifications, we are at a critical point. Still we side with fast fashion. The stock of fast fashion five-and-dimes rotates out weekly, shortening the lifespan of trends from a season to a matter of days. And perhaps for the first time ever, we are seeing well-respected ateliers looking to compete with their immediacy-focused counterparts. Fashion houses have begun introducing see-now-buy-now models, which— as we saw in the case of the Gigi Hadid x Tommy Hilfiger collection—nearly sell out before they debut on the runway.

It’s clear every niche of the industry is feeling the pressures of “more”.

Text by Lindsay Cooper

wei hung chen

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Fashion has come to rely on quantity, passing the pressures of more, more, more onto the consumer for the sake of success. And while adopting a completely new wardrobe every season is tempting and even necessary to maintain the fast fashion model, it’s unsustainable.

Fashion currently ranks as the world’s second most polluting industry, outdone only by fossil fuels. Overshadowed by big oil, the destructive practices of the $4 trillion (CAD) industry have gone comparatively unnoticed by consumers.

Environmental debate is likely to conjure up mental images of oilrigs, strip mining, oil-slicked marine life, islands of garbage floating in the Pacific, or some interpretation of what the hole in the ozone layer might look like.

Often excluded from such discussions are the 1,800 gallons of water required to make a single pair of jeans, the near8,000 chemicals used globally to turn raw fibers into fabric, and the 20 per cent of industrial water pollution caused by the dyeing process. Even the parts of the planet virtually

“My primary concern is to introduce new methods of manufacturing and assembling garments in order to lessen the damage in the long run.”

destroyed by fashionable practices—like Indonesia’s Citarum, a river made caustic and by the surrounding printing and dyeing factories—often escape critique. And the everincreasing immediacy of fast fashion is only exacerbating these crises.

But it’s always darkest before the dawn. After decades of over-consumption, the mounting stress placed on the environment is finally starting to garner attention. A new generation has been raised on pointed critiques, creating fashion followers who are well informed on the accumulating issues. Having had environmentalist ethics instilled in them seemingly at birth, this new age of designers and consumers are leading a revolution.

With the eco-conscious clothing movement arguably dating back to the locally grown, pesticide-free movement pushed by the ‘70s’ hippies, its solutions are dated and unable to solve the growing number of problems introduced by recent industrial expansions and contemporary consumer behavior.

Enter Wei Hung Chen, a recent grad of Parson’s Fashion Design program.

“I applaud these fast fashion companies’ abilities to deliver products in such a short period of time and churn out product after product” Wei remarks of his contemporaries. “However, as a consumer, I have the responsibility to interrogate personal purchasing choices and examine the necessity of falling into the traps and ideals of fast fashion.”

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Recognizing the power balance within fashion, Wei encourages consumers to make better choices while also understanding designers need to supply them with different options to choose from. “I believe understanding and learning about the manufacturing and production aspect of fashion is crucial as a consumer. Understanding these things gives one a better perspective.”

It was with this mindful attitude that the modular dress was made. Described as a “garment system”, the modular dress allows the user to freely design and redesign the dress to suit different needs. In its most basic form, it’s a white, sleeveless dress falling just below the knee. The body is covered in a grid of nodes, which attach to interchangeable ruffles and panels used to lengthen the dress, create volume, or add decorative details like sleeves, pleats, collars, and belts.

“The root of the modular dress began with the desire to create a piece that maximizes flexibility in terms of styling and functionality; allowing the wearers to freely adjust and change the dress depending on how they want to look” explains the designer. “It’s about allowing the wearers to construct and manipulate these garments to suit their need and desire. It’s about having these basic silhouettes in mind and ways of maximizing their modularity and interchangeability to fit the wearers’ need.”

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In an age that asserts a need to have more in order to be fashionable, many environmentalists encourage buyers to simply own less and, in turn, sacrifice variety and style.

With the modular dress offered alongside a wide range of customizable designs and neutral, easy-to-pair pieces, Wei’s designs address cultural anxieties surrounding both fast fashion and eco-friendly design.

“My primary concern is to introduce new methods of manufacturing and assembling garments in order to lessen the damage in the long run.” Wei comments on his unwillingness to compromise with his designs. “I want to be able to feed into people’s need and desire for a flexible closet.”

And it’s with that statement that Wei emphasizes our need for personal choice. While fast fashion has the reputation of providing an overwhelming number of options, it’s designers like Wei who are really giving you the freedom to choose.

Not just through his completely customizable garments, but also by providing a viable, attractive alternative to overconsumption. “Art and design are subjective, how I define my studio personally might not echo across a broad spectrum.

I would say my collection is open to interpretation, and as it aims to suggest, my collection is what the customer desires and interprets it to be.”

Photo credits : Models Reece Perkins, Aly Ndiaye, and Alexander Newman were photographed by Lane Lang wearing Wei Hung Chen’s Editorial no.2 with makeup by Sofi Chernyak and hair by Ty Shearn. Assistance was provided by Raiheth Rawla.

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cloud break

Photographer Esmee Doorn Stylist Sarah Cheikh Makeup & Hair Farah Ajoeb Model Eva Verlaan (Elite Amsterdam) 60

Suit Hugo Boss; 61

Blouse Zara; Knit dress Extreme Cashmere; Long skirt Ivy & Oak; Shoes Dr. Martens; Earrings Monki;

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Knit dress Extreme Cashmere;

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(Left) Knit sweater Extreme Cashmere; Skirt Ivy & Oak; (Right) Blouse Zara; Earring Monki;

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Suit Hugo Boss;

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(Above) Blouse Filippa K; Top Won Hundred; Wool jacket Samsoe Samsoe; Pants Filippa K; (Right) Knit dress Extreme Cashmere; Turtle neck Denham; Dress Zara; 67

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maria avcevedo of BETOLAZA Text by Veronica Iannuzzi

BETOLAZA SS17 Collection Photographer Azahara Fernandez Stylist Marta Acevedo Model Kristina Malevych

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Designed by María Acevedo, BETOLAZA’s garments reflect a “new concept of feminine delicacy and sophistication through a sense of relaxed and timeless silhouettes”.

Employing a contemporary approach to lightweight fabrics and muted colour palettes, the studio is creating the perfect portrait of the modern woman. With her astute observations of fashion’s current climate, Acevedo sat down with Flanelle to discuss each collection’s vision and the exciting direction of women’s fashion.

Can you tell us a little bit about yourself and the foundation for BETOLAZA? I was born in the Basque Country, north of Spain in 1983 and I was raised surrounded by watercolours, pencils, and oils. Drawing and fashion were the two important pillars in my life. During my late 20s I lived between Spain and the United Kingdom but it was not until 2015 that I relocated to Madrid and graduated from Instituto Europeo di Design with a Masters in Fashion Design.

In 2016 my dreams came true when I launched my own brand: BETOLAZA. Fashion has always been an aspiration and a passion of mine. I waited a long time to set up my own brand and I wanted to take the time to make sure I did this properly.

How would you define your own personal style?

My style is very comfortable and elegant. I love simple, timeless pieces that offer versatility alongside elements of classic dressing. A good pair of Levis and a classic white shirt is a staple for me. However, I also love pieces from The Row, Céline, and Marni.

What type of woman do you design for and what is your direction for women’s fashion?

All the clothes I design are pieces I would wear myself. I keep my own style in mind, but I also design for every kind of woman. I want my clothes to make women feel empowered– to feel like the best versions of themselves.

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And what about the work that goes into each season? What

What is the production process like? Where are the

themes or elements do you wish to bring forward?

clothes manufactured and how do you pick the fabrics for each collection?

I approach each season differently, and I always try to circle my collection around one theme or particular idea. I find

We control and manage the quality of all our garments. At

inspiration in art, books, films, and far off cultures. However,

BETOLAZA we believe in tradition and quality as opposed

one motif that is always inspiring is Japan. This country has

to quantity. This is why we take great pride in all our pieces

always fascinated me and I always find myself looking back

being made here in Spain. With regards to the fabrics, we

to their unique culture and practices.

carefully select them from suppliers all over the world. We love linen, wool, and silk because they drape so well over a

For the Spring/Summer 2017 collection, I was inspired by

woman’s body.

the Japanese term mono no aware [the pathos of things], reflected in Yasujirō Ozu’s film, Sanma No Aji (an Autumn

You seem to have the brand’s present figured out, but what

Afternoon). My upcoming Autumn/Winter collection is

about BETOLAZA’s future? What is your goal?

inspired by ma, another Japanese term, described as an interval of space and time. Ma speaks of lack as opposed to

I would like to see BETOLAZA as a consolidated brand. We

excess, silence as opposed to sound. It is the emptiness full

continually look to the future and how to better ourselves,

of possibilities.

while also not forgetting where we come from. I am always optimistic about the next step in this creative journey and I

The one inspiration I find in all my collections is opposing

will continue to push myself and my brand towards greater

binaries. I believe finding the contrast and balance between

achievements and exciting possibilities.

ideas is what makes BETOLAZA so special and unique.

What are some the key pieces of your upcoming collection? Are there any major statements you want to make?

“Away from it all” (AW17) is a collection full of possibilities. I like the idea of building a wardrobe with classic, signature pieces. You will see us again playing with binaries through delicate but strong garments, elegant but comfortable, and very feminine but with masculine undertones.

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“The one inspiration I find in all my collections is opposing binaries. I believe finding the contrast and balance between ideas is what makes BETOLAZA so special and unique. “

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authentic Photographer Daria Gaar Designer Olya Glagolya

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sleeping girls

Photographer Alisa Calypso Models Laura , Natalia (View Management), Bruk, Silvia, Eva (UNO models), Blanca (MAD models), Paula (Blow models), Inmaculada (Francina models), Africa, Chacha Stylist Alisa Calypso & Africa Makeup Alisa Calypso & Pia Clothing HERIDADEGATO

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