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in this issue 28

THE FRONT ROW US VS THEM

16

JOLYNN KRYSTOSEK

2233

THE FRONT ROW US VS THEM

DIOR SPRING 2013

0415

PANTONE 16-3520 R 181 G 151 B 194

32 PANTONE 17-1664 R 237 G 53 B 50

This issue was created with inspiration by the return of unseasonal fur and the expected use of cut outs in dresses, shirts, pants, everything. You’ll see our different takes on a cut out bodysuit from Charlotte Russe and a salt & pepper vest from Forever 21. In addition, we’ve featured paper artist Jolynn Krystosek who creates beautiful paper sculptures as well as mixed media paintings that are simply extraordinary. In this issue, and every issue, we feature two of the 10 Pantone© colours that were predicted to trend for Spring 2013. This issue includes Poppy Red and African Violet.


OSCAR DE LA RENTA Oscar de la Renta

fur

SPRING FASHION REPORT 2013

The clothing was beautifully extravagant, with occasional touches of whimsy. Basso attributed this to his desire to have, “A little bit of something extra and not take things so serious.” The designer shared with us that the collection was inspired by life at the glamorous society resort of Deauville, France, back in the ‘60s, explaining, “

FENDI Karl Lagerfeld Reigning influence—the Ballets Russes era, when, exactly 100 years ago, Poiret cocoon cloaks swept Paris. With a keen eye toward making fur light and modern, Heather appropriated this shape to stunning effect.

SAINT LAURENT Hedi Silmane Heavy on ‘70s rock and roll glamour, tinged with a little bit of darkness.

CELINE Pheobe Philo

DENNIS BASSO Dennis Basso The clothing was beautifully extravagant, with occasional touches of whimsy. Basso attributed this to his desire to have, “A little bit of something extra and not take things so serious.” The designer shared with us that the collection was inspired by life at the glamorous society resort of Deauville, France, back in the ‘60s, explaining, “We totally took that era and transformed it into beautiful dresses and gowns for the modern woman today.” Many of the collection’s designs were festooned with beading, lace, fringe, and enough creatively styled fur pieces that we think it’s safe to say that PETA was not a sponsor.

POPPY RED PANTONE 17-1664

SIGNATURE COLOR Crimson — while no garment is made completely of Crimson, there are accents of it all throughout the collection; we wanted to create a collection that transcends time and crimson is a very classic and powerful color. -Sachin+Babi

MIU MIU Miuccia Prada She put her own spin on the Hitchcock heroine. The late ’50s/early ’60s silhouettes were there–the boxy jackets over pencil skirts, the sexy cocktail dresses, the long Aline dress coats–but done up in surprising materials like denim, fur, and shiny patent leather. This spring’s Miu Miu girl lady wears silk elbow-length gloves and carries a mink stole–but it’s dyed with rorschach splotches, a print that carried over on dresses and suits as well. The palette–navy, black, dark green, and splashes of red–was dark and moody.

There were new silhouettes, new bags, and some outrageous new shoes; mink high heels and mink-lined pool sandals that were near-instantly christened ‘furkenstocks’ And then there were those shoes; leather sandals that saw their wearer’s feet ensconced in a mink-inner sole, or mink encased high-heels coloured Big Bird yellow, pale lilac, or rich vermilion. For the mink-resistant, there was a clever alternative that provided the collections sharpest flash of humour, a pair of flesh-coloured heels with scarlet toenails painted perfectly in place. Shoes that come with an ever-lasting pedicure painted on?

REVILLON Andrew Heather Reigning influence—the Ballets Russes era, when, exactly 100 years ago, Poiret cocoon cloaks swept Paris. With a keen eye toward making fur light and modern, Heather appropriated this shape to stunning effect. It’s always a challenge for a fur house to take on spring. To meet this test, Heather proposed laser cuts and handstitched fox, peony-colored pony, wreaths of leather flowers to encircle a pretty neck, and even an extraordinary silvery python jacket.

PRADA Miuccia Prada Miuccia explained how she’d taken all the elements women can’t normally wear “without being laughed at, and tried to make them more acceptable” Together with the skinny satin skirts, the origami folded satin tops (worn with sugar almond coloured satin cycling shorts) and boxy fur coats, all of it embellished with naive flowers, it added up to a punk assault on Hello Kitty.


center: FENDI

center: MIU MIU

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(top & bottom: OSCAR DE LA RENTA

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(top & bottom: DENNIS BASSO


center: PRADA center: CELINE

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(top & bottom: REVILLON

see further descriptions on opener (top & bottom: SAINT LAURENT


US VS THEM

There were many surprising uses of fur on the spring 2013 runway, the most outrageous most likely being Celine’s selection of fur pumps. The creators of Juxtapose took a more traditional stab at fur with a black and white faux fur vest from Forever 21.


FUR

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SP/13

1  Loose Knit Sweater from Kohl’s   2  Outfit Accessories from Forever 21   3  Salt & Pepper Vest from Forever 21   4  Leather Leggings from ASOS

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2

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THE PIECE salt & pepper vest, forever 21, $27.80

Fur, a traditionally winter or fall trend is being used as a perfect luxurious addition to spring outfits, and that was my intention as well. I chose to layer an oversized sweater, breezy tank & our vest from Forever 21. When creating an outfit with fur its important to walk the line between looking like a rich housewife and a cheap teenager, pairing classic colours or silhouettes helps to do so. I recommend hair up with this kind of vest otherwise its fur overload!


SP/13

FUR

1  Salt & Pepper Vest from Forever 21   2  Various Outfit Accessories   3  Black Tank from Target  4  Denim from Buffalo

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1

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THE PIECE salt & pepper vest, forever 21, $27.80

When I wear a busy piece like a fur vest, I make sure I don’t wear any other pieces that will conflict or steal attention. I paired it with a plain off-white tunic tank, beige suede wedges, and black leather paneled leggings. Keeping a simple color pallet gives me the opportunity to play with the different textures in fabrics. I used a bold red lip for a pop of color, so I kept my eye makeup minimal with just a simple cat-eye. Finally I swept my hair into a big top bun to keep it up and away from my vest, and threw on a few gold accessories.


JO LY N N KRYSTOSEK

Jolynn Krystosek was born in California and earned her BA from San Francisco State University and her MFA from Hunter College in New York. She now lives and works in New York City. Her work with wax floral relief carvings and large-scale, site-specific paper cut-outs denote a reverence for traditional craftsmanship and make reference to Dutch still life painting, botanicals, and Victorian cameos. Both media demonstrate Krystosek’s mastery of materials and her ability to evoke beauty and delicacy from her compositions. Simultaneously, due to the vulnerability of the media and temporal nature of the subject matter, the images that are produced also hint at impending decay and the fragility of life. Krystosek’s series of drawings of exotic fowl capture male birds—roosters, pheasants, and pigeons—in their mating prime and displaying a variety of decorative embellishments used to demonstrate sexual prowess. By choosing to depict fowl types that draw attention to themselves through seductive or exaggerated bodily adornment and by accentuating these features, Krystosek plays with the historical tradition of associating masculine sexuality with aspects of the natural world. Kyrstosek has exhibited at the Philadelphia Art Alliance in Philadelphia, PA, Lucas Schoormans Gallery, the Horticultural Society of New York, Broadway Gallery, 3rd Ward, and Hunter Times Square Gallery, all in New York City.


WILDFLOWER 2  2010  paper  50 x 42 inches Felisardo  2007  watercolor and feathers  18 x 13 inches


>>> HOW DO YOU COME UP WITH YOUR COMPOSITIONS? 

>>> WHAT ARTISTS INSPIRE YOUR WORK?

This depends on the type of work as well. With the paper cut outs I make small pen and ink drawings before hand, whereas with the wax carvings I don’t do any preliminary work and simply carve directly in the material. Although I do generally have a lot of source material around to reference. With the newest felt pieces I am making small paper models before hand.

I have been looking a lot at Lynda Benglis’s work lately. Frank Stella is always awesome. Bonnard and Vuillard are favorites.

>>> WHAT INSPIRES YOUR SUBJECT MATTER?

WITH JOLYNN KRYSTOSEK

UNTITLED  2006  wax and burl  21 x 18 inches

>>> HOW OR WHEN DID YOU START WORKING WITH PAPER? I starting working with paper as a sculptural medium in grad school at Hunter College where I made my first paper cut-out in 2003/2004. Pushing the material to its limits of sustainability, the paper cut-outs overgrown and entangled density is achieved through a process of layering intricate botanical silhouettes. The monochromatic palette helps to exaggerate the form and the cast shadows they create. >>> HOW LONG DOES A PIECE TYPICALLY TAKE? This varies greatly on the particular piece. Some works take months others a few days. >>> WHAT SIZE DO YOU PREFER TO WORK IN, AND HOW DOES SCALE CONTRIBUTE TO EACH PIECE?  The scale of my work ranges from large full wall size works to small very intimate pieces. The scale of a piece can dictate the type of relationship the viewer has with the work, how it relates to their own bodies etc. >>> WHAT IS YOUR PREFERRED MEDIUM TO WORK IN?  I work in a variety of different mediums and don’t have a favorite.

I get most of my inspiration from nature or from a material in itself. >>> WHAT DO YOU HOPE TO CREATE IN THE FUTURE, WHAT DIRECTION DO YOU SEE Y  OUR WORK GOING? My newest body of work in are sculptures in a combination of paper, felt, gold leaf, and stone. This developing body of work has begun to interact more with the architecture of a space, stretching from the wall to the floor. The combination of the different materials is creating new and exciting vocabularies to expand upon the themes of my work. The weight of the stone, fragility of the paper and gold leaf, and fluidity of the felt, borrow each other’s material characteristics in unexpected ways. In some works I am pairing stone blocks and slabs with cut silhouettes of seaweed in thick industrial felt. The forms of cut felt grew from my earlier paper cut-outs, which are composed of layers of cut forms of intricate botanical silhouettes that create an overgrown and entangled density. For the seaweed forms, I was looking for a more malleable material that could maintain a definite shape while it easily twists, curls, and folds over on it’s self. I found the matte black felt absorbs light, which flattens and abstracts its own forms as it overlaps. In stark contrast, much of the stone I use is translucent and glows when light passes through.


SPRING FASHION REPORT 2013

CUT OUT BCBG MAX AZRIA Max Azria Max Azria’s girls worked some extremes: work wear and lingerie; elongated silhouettes and open backs; bourgeois and bondage. The frilly flirty clothes were butched up with leather harnesses.

ROBERTO CAVALLI Roberto Cavalli The clothing was beautifully extravagant, with occasional touches of whimsy. Basso attributed this to his desire to have, “A little bit of something extra and not take things so serious.” The designer shared with us that the collection was inspired by life at the glamorous society resort of Deauville, France, back in the ‘60s

PACO RABANNE Lydia Maurer

AFRICAN VIOLET PANTONE 16-3520

IS THERE A COLOR THAT COMPLEMENTS ALL SKIN TONES? I like to be playful with my personal wardrobe and incorporate color in shades of Purple, Orange, Red and Blue. Everyone looks good in Purple, specifically Eggplant or Aubergine. It’s as neutral as Black or Navy. -Tadashi Shoji

“I worked on making light clothing, supple, soft and sensual. I was concerned with the fabric mix - the metal and plastic - and creating something new, soft and light to touch,” said Maurer after the show, grabbing a garment off the rail to make her point. “It was really about evolving the woman,”

ALEXANDER WANG Alexander Wang He took leather garments, seemingly cut them in many pieces, then sewed the pieces loosely back together with some sort of magical invisible thread that left strips of skin peeking through–the line notes kept referring to it as a “suspended” detail. It was a technique that almost made the leather flowy; it moved in a way that leather usually doesn’t.


center: ALEXANDER WANG center: ROBERTO CAVALLI

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(top & bottom: ROBERTO CAVALLI

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center: ALEXANDER WANG

center: PACO RABANNE

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(top & bottom: BCBG MAX AZRIA

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(top & bottom: PACO RABANNE


US VS THEM

On the runway we see daring cutout patterns revealing just the right amount of skin, plunging backs and the mix between sheer and full fabrics. Our minds were all over the place when considering what piece we wanted to select for cut outs, there was a lot of back and forth over what would be too predictable, what would be too risque, etc. The spring designers managed to balance peek-a-boo moments of skin elegantly and we wanted to style ourselves in a similar way.


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5

SP/13

1  Cutout Boysuit from Charlotte Russe   2  Various Outfit Accessories   3  Clutch from Aldo   4  Headband from F21   5  Skirt from Forever 21

C UT OUT

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THE PIECE

Cut out bodysuit, Charlotte Russe, $17.99

Bodysuits are not the easiest pieces to wear. My suggestion to prevent looking like a sausage (or dancer if you have a perfect body) is to pair it with a loose fitting bottom; a flowing skirt, boyfriend jeans, etc. I chose a high-low skirt from Forever 21. Wearing a body suit with an intricate pattern like this one from Charlotte Russe begs to be paired with a neutral bottom so that the pattern and beautiful cut out back can shine!


4 3

SP/13

1  Scarf from American Eagle   2  Cutout Bodysuit from Charlotte Russe   3  Skirt from F21   4  Hat from Aldo   5  Various accessories

CUTOUT

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THE PIECE Cut out bodysuit, forever 21, $17.99

This bodysuit has an amazing chevron pattern and a fun color palette. I decided to play up the color by pairing it with a bordeaux maxi skirt that is in the same color family and also has black trim. I wanted to keep my hair up to show off the cuts in the back of the bodysuit, so I wore a fishtail braid with a black headband. I love layering bracelets and my watches so I picked a few pieces that gave everything an edgy touch. All together this was an effortless boho look.


Juxtapose issue1