LUCY’S Magazine Vol. 27

LUCY’S VOL.27

BEAUTY

ISSUE

LETTER FROM THE EDITOR April Beauty Issue is here! This month has been incredible so far, we got to hire

new writing interns and we also had exclusive coverage of Massif Fashion Week in Denver, Colorado. It was fantastic because we got to see several international designers and also a few from NYC and LA!

Special thanks to NORBERT ZSOLYOMI for shooting a stunning cover story in London for us!

We are now accepting editorials for our May Fashion Print Issue! Send in your submissons by May 1st or sooner.

Please check our website for mood boards and guidelines:

www.lucysmagazine.com

Ramona

CONTENTS EKATERINA BELINSKAYA p.4 AMY ROILAND p.16 RUCHEN p.20 MARIUS BĂRĂGAN p.22 MAURIZIO PECORARO p.28 FABIANA DELCANTON p.30 CLIO SAGE p.36 HELLAVAGIRL p.42 NORBERT ZSOLYOMI p.44 A HAT TO TURN HEADS p.50 HOLLY PARKER p.54 MIREIA LUDEVID p.62 CĂLIN ANDREESCU p.68 ASHLEY BLAKE p.74 DANIEL NADEL p.76 REGINA BURYAK p.82 NICOLE JOPEK p.84 KATE WOODMAN p.92 Contributors

COVER CREDITS photographer NORBERT ZSOLYOMI makeup SOPHIA GUNEV styling VINCENT LOH hair VIKTORIA S. TOTH model DARA @ PREMIER MODEL MANAGEMENT black lace sleeves DARKEST STAR deadpiece LE RONI BACK COVER photographer NORBERT ZSOLYOMI makeup SOPHIA GUNEV styling VINCENT LOH hair VIKTORIA S. TOTH model DARA @ PREMIER MODEL MANAGEMENT dress GYUNEL deadpiece LE RONI

RAMONA ATKIN

Editor in Chief & Publisher Graphic Designer * JESS HARR AMANDA SZCZEMBARA LIZ SARGEANT SUMMER LEE DAYNA MARIE JESS HARR CHINHSIN ESTHER KAO

Writers *

GAVIN ATKIN

Editor Assistant Creative Director

LUCY’S 4

photographer EKATERINA BELINSKAYA @avine_ fashion stylist IRINA CHERNYAK @irina_chernyak hair stylist ISAAC DAVIDSON @wigbar @ WILHELMINA ARTISTS using ORIBE HAIR CARE makeup artist DANIEL AVILAN @danavilan @ WILHELMINA ARTISTS using MAC COSMETICS

Light Fairies production STYLE IN DETAILS NYC @styleindetailsnyc model CHARLOTTE BOS @boscharlotte @ WILHELMINA MODELS @wilhelminamodels top HYUNGMIN LEE headpiece SARINA SURIANO brooch INÉS FIGAREDO ring IZA by SILVIA D’AVILA

LUCY’S 7

jacket JORGE AYALA PARIS @jorgeayalaparis www.luxcartel. com/jorge-ayala/ / blouse and skirt like a scarf PATRICIA PADRON @patriciapadron__ www.patriciapadron / briefs MONZLAPUR @monzlapur.ny www. Monzlapur.com / rings and earrings SARINA SURIANO @sarinasurianojewels www. sarinasuriano.com / ring THE MODERN TALES @themoderntales www.themoderntales.com / rings IZA by SILVIA D’AVILA @ izabysilviadavila www.izabysilviadavila.com / ring with diamonds KASANÉ JEWELLRY @kasanejewellry www.kasanejewellry. com / sneakers APPARIS @apparis_ / www.apparis.com

ROMANTIC RUFFLES AND OVERSIZED SLEEVES DRAPED AND DRIZZLED DOWN NEARLY EVERY BLOUSE THIS SEASON. DANCING THEIR WAY ONTO SKIRTS AND TROUSERS, RUFFLES OF EVERY CALIBER IN THE MOST WHIMSICAL PALLETS OF PINK WERE PROMINENT AND PROMISCUOUS. HEART RACING REDS AND SHADES OF SUNFLOWER YELLOW POPPED UP ALL OVER THE RUNWAYS, AS WELL AS BRIGHT BOLD STORMY RAINBOW HUES.

by AMANDA SZCZEMBARA @amandajean.18 www.2bdetermined.net

LUCY’S 8

APRIL SHOWERS ARE SURE TO BRING SPRING FLOWERS THIS YEAR. TO YOUR DENIM THAT

IS.

STATEMENT

JEANS

AND JACKETS ARE ALREADY BLOSSOMING TO

COAST,

FROM

COAST

EMBELLISHED

AND EMBROIDERED IN FLIRTY FLORAL’S AND PEARL APPLIQUE’S. COMBINED

WITH

RAW,

JAGGED HEMS AND TAILORED THROWBACK STYLES THE OLDIS-NEW-AGAIN COMEBACK WILL TRULY NEVER GO OUT OF STYLE. PAIRED

WITH

PEEK-A-BOO

PLATFORMS OR A KITTEN HEELED MULE, THIS LOOK WAS SEEN ALL OVER THE STREETS OF NEW YORK DURING FASHION WEEK.

by AMANDA SZCZEMBARA @amandajean.18 www.2bdetermined.net

jeans XB OFCL @xb_ofcl www. xbofcl.com jacket JORGE AYALA PARIS @jorgeayalaparis www.luxcartel.com/jorge-ayala/ top UNDERTOP @under.top www.undertop.com.br belt EX INFINITAS @exinfinitas www.exinfinitas.com shoes 12AM @12amnyc earrings and necklaces MARLO LAZ @marlolazjewelry www.marlolaz.com golden necklace SOLOMEINA @solomeinajewelry www.solomeina.us opposite page dress and jacket BILL BLASS @billblassusa www.bilblass.com bag INÉS FIGAREDO @inesfigaredoofficial www.inesfigaredo.com earring 12AM @12amnyc ring THE MODERN TALES @themoderntales www.themoderntales.com ring with diamonds KASANÉ JEWELLRY @kasanejewellry www.kasanejewellry.com rings in the hair H&M @hm www.hm.com

SPACE BUNS, HAIR RINGS AND CORAL TULLE ADD FUTURISTIC FRAGMENTS TO THE PIECE. MINIMAL MAKEUP AND A ONE OF A KIND INÉS FEGAREDO BAG PLAY WITH FEATHERS AND SEQUINS IN A STUNNING IRINA CHERNYAK STYLED EDITORIAL. caption by JESS HARR @jessharrblog www.jessharr.com

LUCY’S 10

NO MATTER WHAT TREND YOU CHOSE TO PICK AND GROW INTO YOUR WARDROBE THIS SEASON, YOU’RE GUARANTEED TO MAKE A STATEMENT BECAUSE INDIVIDUALLY NO TWO BLOOMS ARE IDENTICAL MAKING US EXTRAORDINARILY UNIQUE IN STYLE. WHETHER IT’S BANNING LAST SEASONS BORING BLOUSE, OR UPGRADING TO A MORE POLISHED PROFESSIONAL YOGI, THIS YEARS SPRING FASHION IS BREEZING THROUGH JUST IN TIME TO GIVE US HOPE FOR A BEAUTIFUL CLOSET ARRANGEMENT.

by AMANDA SZCZEMBARA @amandajean.18 www.2bdetermined.net top BILL BLASS @billblassusa www.bilblass.com hoody and briefs MONZLAPUR @monzlapur.ny www.Monzlapur.com dress QUE SAL MAH

by LITAL DOTAN @quesalmah www.quesalmah.com earrings, ring and headpiece SARINA SURIANO @sarinasurianojewels www.sarinasuriano.com opposite page top and shorts HYUNGMIN LEE @hyungmin_lee_1987 www.hyungminlee.com headpiece and rings SARINA SURIANO @sarinasurianojewels www.sarinasuriano.com

LUCY’S 12

jacket and shorts with embroidery KATYA DOBRYAKOVA @katyasobryakovanyc www.katyadobryakova.com dress like a skirt and shoes BILL BLASS @billblassusa www.bilblass.com earrings 12AM @12amnyc opposite page dress KARIE LAKS @karielaks www.karielaks.com top like a collar BILL BLASS @billblassusa www.bilblass.com cuffs IZA by SILVIA D’AVILA @izabysilviadavila www.izabysilviadavila.com earrings SARINA SURIANO @sarinasurianojewels www.sarinasuriano.com rings in hair H&M @hm www.hm.com

OUT OF THIS WORLD CAN ONLY BEGIN TO DESCRIBE THE LIKE NO OTHER STYLE. EMBROIDERED DENIM, 12AM ACCESSORIES AND EMBELLISHED LOAFERS PLAY WITH SHADES OF MINT AND DENIM IN THIS JAW DROPPING DESIGN. caption by JESS HARR @jessharrblog www.jessharr.com

LUCY’S 14

. top LEKA NYC @lekanyc www.leka.nyc jacket MARNA RO @marnaro_official www.marnaro.com cardigan TOTTI @tottihats www.totti-shop.ru necklaces SARINA SURIANO @sarinasurianojewels www.sarinasuriano.com earrings 12AM @12amnyc jeans with calligraphy JORGE AYALA PARIS rings in the hair H&M opposite page sleeveless coat HYUNGMIN LEE @hyungmin_lee_1987 www.hyungminlee.com necklace and earrings SARINA SURIANO @sarinasurianojewels www.sarinasuriano.com

A WHIRLWIND OF BUBBLEGUM PINK, HOLOGRAPHIC PRINTS AND OVERSIZED SEQUINS, CREATES AN ECCENTRIC YET CHIC LOOK. SLEEVELESS COATS AND FUR LINING ADDS FUNKY ELEMENTS TO A UNIQUE LOOK. caption by JESS HARR @jessharrblog www.jessharr.com

an interview with

LUCY’S 16

AMY ROILAND

by SUMMER LEE @summerannelee is a fashion blogger based in Los Angeles, California. She is also an eyewear enthusiast, designer, and CEO of the FashionTap App. We reached out to Amy to inquire about her style evolution, fashion inspirations, go-to makeup looks, as well as her health blog and FashionTap. AMY ROILAND

Q: How would you describe your personal style?

A: I feel like my style is a mix between the 1960’s and modern times.

I really love playing with color and accessories. I always accessorize my looks first and then build on top of that. Definitely a fun, unique, quirky, colorful style.

Q: Your outfits from the past four years are documented on your blog, and your looks from 2013 are so different than what we see today!

How have your style influences changed since you first started blogging?

A: Along the way I found different things to really inspire me - from Wes Anderson movies to 1960’s art books. I also am very inspired by Miranda Makaroff, she is a brilliant designer/artist in Spain. She really opened my world up to more color and having way more fun. I always love testing out different styles as well. I would change my hair all the time and experiment. I feel like my look now is something I will stick with for a very long time.

Q: Do you have any “rules” when you’re putting together an outfit?

A: I believe there are no rules in fashion. I hate when an event has a dress code because I never follow the rules. I want to dress how I feel and I love to express myself through my fashion. If I walk the streets and get a lot of eyes on me and a lot of laughs then I have done my job. I love making people smile or laugh when they see my looks.

Q: Your style gives off retro vibes - do you wear a lot of vintage pieces, or do you stick to more modern brands?

A: I wear some vintage pieces here and there, but I mainly love to wear modern vintage-styled pieces. A lot of my friends design super retro clothing that gives off the vintage vibe, so I love wearing those kinds of designs. I love vintage scarves and eyewear to help accessorize my looks as well.

Q: What are you favorite colors to wear and why?

A: I love wearing pink! Mauve 60’s pink is my favorite color to wear.

Lately I have been going a little overboard with the color pink actually.

I also love wearing red, red lipstick, red boots, a red beret. I love adding red to help accent my look.

Q: What clothing or accessory items do you tend to splurge on?

A: Sunglasses and eyeglasses for sure. I once spent $800 on one pair of Chanel sunglasses - they’re worth $10,000 now, so a win in the end. I’ve always believed sunglasses are so worth it, they really make an outfit pop.

Q: How does living in Los Angeles influence what you wear?

A: I feel like I really stand out here with my fashion. I actually feel like my style doesn’t fit into LA very well. I think my style fits in more with San Francisco or New York. Everyone in LA has more of a casual, relaxed, summer feel to them. I wear collared dresses with big glasses and knee high socks. I always walk around like cartoon character or a Wes Anderson character from one of his amazing movies. So, LA doesn’t really influence me on what to wear.

When it comes to the hot weather here, I do wear more dresses and skirts.

Q: On your blog, you can be seen wearing striking eyewear. What is it about eyewear that you love? Do you have any makeup tips specifically for glasseswearers?

A: I always feel like eyewear really makes an outfit pop. I always create an outfit around a good pair of glasses. I think making the lipstick pop with sunglasses is the best makeup tip I have for glasses-wearers. If you are wearing optical, a killer cat eye is always a good idea.

Q: The camera loves you! You have stunning poses and facial expressions - and you’ve recently done some commercial modeling for Betty and Veronica

by Rachel Antonoff. Is modeling another passion of yours?

A: Thank you! I am obsessed with the new line Betty and Veronica. I actually work social media for them, as well as model and design. I have some amazing designs coming out with the line in the next few months. Modeling is fun for sure, and I always felt like blogging and modeling go hand in hand.

I used to model more when I was younger. I have a pretty extensive modeling portfolio from when I was younger. I was happy to become a blogger because I could incorporate what I learned in the modeling world into my blog, such as fun poses and looks.

Q: In late January you started an Instagram and a YouTube channel titled “tohealthwithyou”, where you are documenting your health journey. As you’re falling in love with fitness and yoga, are you also falling in love with active wear?

A: I am so excited about this channel and the entire health world. I mainly spend most of my time watching health documentaries and reading health books. I am also just starting yoga and I am truly falling in love with it. I wish I started Yoga and my health journey years ago. I am getting more and more into fun active wear, I love super high-waisted yoga pants and cute crop top bras for sure. I have a yoga outfit in all pink that is one of my favorites. This world of health is such a fascinating world. You can cure so much by what you eat. I eat to feel good, and lately I have been feeling great!

Q: You are CEO and founder of the app “FashionTap” - and you even have a tattoo of its logo! Can you tell our readers why they need to have FashionTap on their phones?

A: YES! I was even on Shark Tank on ABC with my app FashionTap Season 7, Episode 26! FashionTap is a fashion social networking app that connects to your Instagram, making your images shoppable. It’s also an entire social network where you can find people by what they do in fashion and where they live. If people tag an item to their image and someone buys it they make a percentage of the sale, which is awesome. We make regular people influencers, basically. We do what Uber has done with drivers, making the everyday person into a taxi driver. The app has a lot to offer and is pretty amazing. You can also make your Twitter and Facebook shoppable with FashionTap by sharing your FashionTap URL to everyone. It’s a super fun network and people should join and connect. My goal is to actually connect everyone in fashion on one social platform. @afashionnerd @bettyandveronica www.afashionnerd.com www.fashiontap.com/AMY

Photos by SEAN FLYNN www.seanmflynnart.com @smfmusic

LUCY’S 19

POSHMARK @bloggersposh

LUCY’S 21

LUCY’S 22

sculpted photographer MARIUS BĂRĂGAN www.facebook.com/studiobaragan @studiobaragan hair SORIN STRATULAT www.facebook.com/SorinStratulatOficial @stratulatsorin makeup IOANA STRATULAT www.facebook.com/ioanastratulatmakeup @ioanastratulat model BEATRICE ADOCHIȚEI @ MISSION MODELS/MRA MODELS @b33a

captions by DAYNA MARIE HOODVoile Artistry makeup artist + journalist @themakeupartivist www.themakeupartivist.com

Ethereal Meets Timeless Beauty

GRAPHIC LINER REMAINS A MAKEUP STAPLE, AS IT SWEEPS ACROSS THE UPPER AND LOWER LASHLINE WITH GRACE. SKIN IS LIT FROM WITHIN, AND LIPS ARE FINISHED WITH A HINT OF GLOSS. SOFT AND MAGNETIC, THIS LOOK IS ONE TO REMEMBER.

Emerald Envy

CHANNEL YOUR INNER VENUS, THE GODDESS OF LOVE AND BEAUTY, WITH CAPTIVATING EMERALD LIPS. GENTLE FLICKERS OF LIGHT KEEP THIS LOOK CURRENT AND MEMORABLE. SOFT LEATHER COMPLETES THE TOUGH GIRL IMAGE, WHILE SUBTLE CURVES OF LIGHT PROVE A HINT OF INNOCENCE REMAINS.

LUCY’S 25

Petals and Pouts

THIS SEASON’S HUES ARE INSPIRED BY NATURE. SOFT HUES OF AUBERGINE POP AGAINST DELICATELY HIGHLIGHTED SKIN. BOLD BROWS FRAME THE FACE, WHILE A ROMANTIC, SULTRY GLOW FINISHES THE LOOK.

LUCY’S 27

LUCY’S 28

an interview with

MAURIZIO PECORARO

by DAYNA MARIE HOOD, VOILE ARTISTRY makeup artist + journalist @themakeupartivist www.themakeupartivist.com

Q. Your pieces all have so much texture and seem to tell a story. What was the story behind your Fall 2017 Collection?

A. The start was to re-explore the universal male and then work on outerwear purely male, both in shape and measures, a little oversized.

Q. What is your favorite feature on a woman? How does this inspire your design?

A. I’m attracted to women who have a great sense of freedom and love to mix the clothes and accessories with ease without following patterns! On the road, when meeting women who have this talent, they always seem to capture my attention!

Q. Who is your favorite model?

A. The model who has most affected my aesthetic sense is a model of the 80’s; Christy Turlington.

Q. What is your favorite fabric to work with?

A. Fabrics that I love most are those used for outerwear with some weight! I also love the fluidity of fabrics like satin and georgette.

Q. Name three personality traits that every designer must have in order to be successful.

A. Precise identity, not repeating yourself while respecting your own style, and timelessness.

Q. Who was your idol growing up?

A. A fashion designer I have always admired is Azzedine Alaia for his firmness in never betraying his brand’s primary origin of “sexiness.”

Q. Where do you seek inspiration?

A. I am a collector of contemporary art. When I go into an art fair, if a specific artist’s work hits me, then I try to translate it into fashion in my own way.

Q. What is your favorite place to visit?

A. Trips help me so much with the creative process. Places like India and Nepal are incredibly inspiring to me.

FEBRUARY 26, 2017, MAURIZIO PECORARO READY TO WEAR FALL/WINTER 2017, MILAN / ALL PHOTOS BY GIO STAIANO FOR NOWFASHION

LUCY’S 30

ZODIAC

model ZOEY KAY @ NEVS MODELS / SOSOLID CREATIVE photography FABIANA DELCANTON makeup KERRY WHITE using KIKO MILANO hair CHELSEA HUNTLEY using TIGI PRODUCTS styling NATALIE HOLBOURNS

all jewellery MONOCRAFFT opposite page earring MARIA BLACK nose ring KINGSLEY RYAN

LUCY’S 32

earrings MARIA BLACK opposite page choker and earring MARIA BLACK

LUCY’S 34

choker and earring MARIA BLACK opposite page necklace CRUX LONDON lip ring stylist’s own

an interview with

LUCY’S 36

CLIO SAGE

by SUMMER LEE @summerannelee Clio Sage is an accomplished and award-winning designer, whose talents are not at all limited to her wearable art.

She has a degree in architecture from Barnard College, Columbia University and works as a full-time architectural model maker. Clio was kind enough to invite me into her Brooklyn apartment to chat about her unconventional designs and current projects. What I discovered while speaking with Clio was her deep emotional investment and personal ties to her work. It’s this connection that causes her to feel so strongly about her designs and their presentation. Clio presented her Spring/Summer ’17 line, “TESSELLATIONS,” at Vancouver Fashion Week, and as a Fall/Winter ’17 line, “FUSIONS,” at New York Fashion Week. She discussed with me in detail the emotional differences she felt between both shows, and expressed excitement about her current project and her goals for the future. Clio continues to explore her identity as an artist, all the while being celebrated as a rising star in the design world.

photographer DOMINIC CHAN www.domchanphotography.com @domchanphoto fashion designer & stylist CLIO SAGE www.cliosage.com @cliosage makeup artist JANE MENG www.25thandjane.com @25thandjane hair stylist AISHIA WRIGHT www.aishiawright.com @bookmswright models LAURA @VNY @laurawinges MADI @VNY @madisinrian

Q: You have a BA from Barnard College in architecture, and you also studied architecture in high school. Where along the line did you become interested in fashion design?

A: I was a tomboy growing up, and I didn’t care about clothes at all. Then I hit high school, and they became a way of self expression for me.

I went through a lot of horrible phases, as everyone does in high school. I went through a year where I wore only stripes every day, and it was just bad. I was like, working something out. Making fashion never hit me at all, ever. It wasn’t even a peripheral pipe dream. So, it wasn’t until after I graduated college, and I had done this one piece for a sculpture class out of metal. That was like my first - and it was just a hood, it was very basic. Then I got hit up by the music supervisor for Broad City. We had met on online a couple of years ago, but we had never met, and he had seen this piece I made. A year later, he hit me up about a music video and he was like ‘Would you be able to loan that to us, and also possibly make more?’ We were talking about possibly making tops, and I was like ‘I’ve never done this, but I think I can figure that out.’

And I was working at this architecture firm with a laser cutter, and realized I could expedite the whole process if we changed the material to something I could laser cut. So, we sat down and had a discussion about that , and I came back a couple of weeks later with a prototype and showed it to him. That whole project fell through, and it couldn’t come together. But I made this one top, and I was like, ‘Well I made one out of

wood, I might as well try plexiglass now’, since that was another idea we were throwing around. And then that led into, ‘What about transparent plexiglass?’ and then it was all experiments after that.

Q: How does your background in architecture and model-making influence your fashion designs?

A: The model-making is really connected to it directly, because of the machines that I’m using came exactly from working in a shop. We had a laser cutter at school and I never ever used it, because I didn’t have to, and it was problematic to get time to do it and all that. Then I started working in this firm where it was open all the time, and it felt bad not to be taking advantage of that in some way. Now I’ve moved to a professional model making shop, and I would compare it to going to vocational school. It’s like going and learning a craft, and killing yourself over like, a really technical craft. It’s sort of like, the design aspect is totally gone. The design aspect I got from college, and studying, and architecture, and studio, and thinking, and putting together projects. Now I’m totally out of that and doing pure technical construction. That’s really where I’ve learned a bunch of new materials, and that’s progressed me into this next phase after my last show, where I think it’s really going to start moving into something different.

Q: Congratulations on presenting at NYFW in February! What are a few key differences between the line you presented there, FUSIONS, and your first line, TESSELLATIONS? A: I was thinking about this - you hit me up at an interesting time. It’s been a couple weeks now, and you have the initial excitement phase of like, wrapping and all that and then I’ve been feeling unsettled for some reason, and I couldn’t put my finger on it. Something about the show - you want to feel good about everything, and I have to accept that I don’t feel good about this one. I didn’t live up to what I think I’m capable of, which is a hard thing to sit down and be like, ‘I put in all this time and all these hours and killed myself over it and I’m not happy with it.’ So, TESSELLATIONS was kind of like, I like to call it almost pure. It was not intended for anyone but me. It was me making clothes in my spare time, for fun, and my deadlines were like ‘Oh, my office is having a Christmas party, and I want a skirt for that.’ And so I’d make a skirt for that, and then I’d find another event where I could wear a piece and it makes sense. I didn’t care about anyone else, or expectations, it was just my work.

FUSIONS was for this show. I got asked to do a show, and everything made was for this show. That already set a precedent of ‘You aren’t making these for you, you’re making them for the public,’ to some extent. Especially since TESSELLATIONS went so well, then there was that level of expectation. I did the first show in Vancouver and it was received really well, and people were excited, and I didn’t want to let anyone down.

After Vancouver, having these articles, and I have my stuff listed on VOUGE, people were giving me this title of ‘Fashion Designer,’ which I’ve been avoiding. A lot. I don’t feel like a fashion designer, but I kind of started accepting it. I was like ‘Maybe I am a fashion designer, and this is what I should be doing.’ I was trying to fulfill the role of a fashion designer, of making wearable clothes. Everything in this line is definitely more wearable. It’s more tame. There’s lots more fabric. Getting the girls into the pieces was really easy this time, as opposed to the first time, I was carefully trying to maneuver them into it. So, that’s the biggest difference.

Q: So you felt like TESSELLATIONS was more representative of you?

A: Yeah, it was honest. It was really honest, and I think I got caught up in the

because that seemed to make sense.

fact that TESSELLATIONS was not intentional. I felt bad for it. I have this problem

My intent moving forward is pulling a writer and a industrial designer

with guilt. I never wanted or thought I was going to end up in fashion. I know

in. I’ve been really big about collaboration, and I think collaborating

people who have worked all their lives through college and now out of college in

with an artist who paints my pieces - you can only go so far with that.

fashion, who are now, like, killing themselves to break in. I feel like I almost got

I want a writer who can give a short story sci-fi narrative to explain

a shortcut, because I never applied for anything, I never asked for anything. I

the context of the world where people are wearing clothes that carry

just started getting emails once I put my work up online, and it snowballed from

nature and water, and what happened and why. Then, an industrial

there. TESSELLATIONS was so accidental, I wasn’t trying to impress anyone,

designer who would draw up the machines that are supposedly

I was just trying to satisfy myself creatively. From my job, I wasn’t getting that

making these pieces. I think that kind of builds its own little world. I’m

sort of creative satisfaction, and this was a good outlet, and that was it. I felt like

excited about it.

FUSIONS had to be intentional, and thought about, and controlled, and I couldn’t experiment because that was too risky. I think at this point I’m accepting that

Q: A few of your pieces feature painted-on details. Do you work in

I’m not a fashion designer in the classical sense, but why can’t I rewrite what it

collaboration with a painter?

means to be a designer? I feel like designer is the right word for what I’m doing,

A: TESSELLATIONS had a friend of mine, Addis Goldman, who does

but maybe fashion isn’t the word. It’s somewhere else in there. I’m navigating

abstract expressionist art and he’s amazing, and he has a studio in

that space.

Red Hook. We met through a mutual friend, and at some point I asked if he would be interested in collaborating with me. He kind of threw

Q: Are you currently working on your Summer/Spring 2018 line?

some things together really quickly, and then I built some things really

A: I don’t want to think about the fashion schedule anymore, because that

quickly, so it wasn’t a really invested effort.

became my new deadline schedule. I’m just going to work, and when it’s ready

FUSIONS was all collaborative with a different painter, Giovanni Dulay,

it’s ready, and that’s when it’s going to come out. But, I am working on new stuff

who I met through my current job, and that was different because it

now.

was me asking for things. Like - ‘Oh, I want it to be this, can you make it look like this?’ I got really stuck on marble, and getting a marble

Q: Where are you pulling inspiration from for that?

pattern. I think this is what I finally identified as being the core of my

A: It was like a week after my NYFW show wrapped, and I was like ‘I finally have

issue with FUSIONS, is that it’s fake. My whole mission has been

free time, I can hang out with my friends, and just not do any work after my job,’

taking these materials you can’t work with in fashion, and making them

and so a friend of mine and I went and jumped around to galleries in Chelsea. We

so that you can. Taking something and making it look like something

got to one, and there was a piece that was just sand in a plexiglass box. I really

else so that it looks like you made it work doesn’t count. That’s like

liked that, and I took a photo of it. We spent the day out just walking around in the city, and I’m brooding on this. The gears are already going, and I’m like ‘I work with plexiglass, and I like this effect. Could I now embed materials between two layers of plexiglass, and make them supported in that way? From my new job, I know that there are adhesives that still allow for it to be transparent.’ My friend was like, ‘Look, you just need to write it all down, don’t worry about it, don’t start anything. Just write it all down.’ So I’m writing it all down in my phone, and then we went our separate ways for the day, and I get all the way home, and I go ‘I have to go back, I have to buy some plexiglass right now.’ So I ran back to the city, bought some plexiglass, came home, and I go ‘So what do I want to do?’ and a friend of mine’s birthday was coming up, and she’s kind of like, a flower child and loves nature. I was like ‘Well, maybe I can press flowers, and embed those between two layers of plexiglass.’

The first test didn’t work out because the material was cheap, and the adhesive melted, but I think it looks pretty dang cool. I just bought the new material which should work better. Sand is something I want to throw in. I’m interested in salt. I’m going to make something with water in it - that just has to happen.

This creative process has been super quick. FUSIONS, I struggled with, because it was so personal. It was really conceptual, and dealing with a lot of emotional things. It was a little too raw, and then it didn’t get realized right. This one feels more optimistic in a way, and playful. I’m already calling it PRESERVATIONS,

LUCY’S 39

dishonest - like, I couldn’t actually work with marble, so I painted it to look like marble. Which I think is why I went to the other extreme, of like, ‘Give me something alive!’

Q: The styling of your NYFW runway included black baseball hats and black boots, giving off a casual, streetwear vibe. Can you see yourself ever designing formalwear?

A: That’s I think where I’m headed, but beyond formalwear. I think for me, I had to go back and think about this show I saw at the MET - the fashion show that was there this summer. They had all these incredible pieces that no one would really wear out. Really innovative stuff. I guess someone wore it at some point for something, but it’s not a piece you wear casually, and I think I have to go back to that. If you want to wear something amazing, it can’t be easy.

If you really want to make that impression, if it looks like it’s easy to wear, that kind of takes away from it. I don’t know what to call it - formalwear sounds like a gala, or prom. I don’t want to do, like, prom dresses, but I’m definitely thinking bigger-scale for PRESERVATIONS - floor-length, trains, and volume.

Q: There appears to be a very intentional lack of color in your pieces. Why do you gravitate towards black, white, and grays? Can you picture yourself ever creating a line that features bright colors?

A: It’s funny - I had a birthday party at my parents’ place last night, and it’s the first time my friends have seen my parents’ place. They were like ‘This apartment is white, and black, and gray. And there’s nothing else.’ And I was like, ‘Now you understand. This is what I grew up in.’ It’s just what I grew up in, and I kind of fought that for a while. I like pastels, actually. I like cold tones, so blue to purple I’m okay with, and then red to yellow, I’m not, and green is just off the table. So, blue, I can see myself incorporating. I guess green might inevitably though, with this nature, and pressing these flowers. This actually motivates me to work with color, because I need that contrast. If it’s going to be legible, it’s going to have to be more dramatic. Also, with these water pods I’m making, you can’t really see it if it’s clear water. It has to have a color in it, and once I start making them in a color, do I make it into a gradient of blue to black, or something like that?

There’s a lot to play with now, and I think I have to not get stuck in just being a black and white designer.

LUCY’S 40 Q: When it comes to displaying your work on the runway, how do you use hair and makeup to further the narrative of your designs?

A: Obviously, with FUSIONS, the hats was a move that was intentional because it was supposed to look more casual and more streetwear. I also just got these really dumb long-brimmed hats, and I love them. It’s been a thing I’ve been wearing for a while, and this weird conversation starter, because it’s like, ‘Is your hat just too long?’ and I’m like ‘Yeah. It is.’ I just fell in love with it, so I got them embroidered with my logo and decided to throw them into the show. I’m not great with hair and makeup, honestly. I have one look that I do every day, and that’s my life. So, to think about it with every show, to have a concept and put together a board and all of that - honestly, I have a great makeup artist that I work with, Jane Meng. When I do editorial shoots, she’s the person that I pull on. What’s great it I can just give her vocabulary, and then a couple of source images, and then she takes that and gives it a narrative. She comes with like three drawings, and is like ‘So let me tell you a story,’ and that’s what I need - someone who approaches their work like that. This is what I’ve learned to accept, that there are things I’m not good at, and the best thing is to find someone who’s great at it and put total trust in them. Me forcing my vision, which is obviously not as clear, doesn’t make sense.

Q: Your designs are extremely unique in that they consistently feature hard materials such as plexiglass and plywood. Is it difficult using these materials to conform to the round contours of the human body?

A: It comes down into breaking it down into pieces. I think I have the size of the piece that works best, like, the absolute limit that allows for it to be comfortable enough and not bulky. Then, the smaller those pieces get, you run into other issues, like if the rings and the pieces are in a weird proportion. It’s definitely something I’m working on. I have sort of the sketch for like, the perfect top - the size of the piece, the number of rows in the front and the back, where do you cut out the sleeve holes and all of that. It’s a process of working out that ratio.

Q: You mentioned earlier that in TESSELLATIONS it was difficult getting the models into the pieces. Is it simply that your designs are difficult to put on?

A: Yeah, I mean, it’s mostly hair getting stuck in the pieces. That was a lesson learned - you always cover the hair before you get the first to dive into the shirt.

When I did FUSIONS, I tried to avoid it being an over-the-head, pullover shirt as much as possible. I started opening up, putting in clasps, and stuff like that. As much as I’m not happy with FUSIONS, I sort of learned that there are a lot of tricks in there which I picked up, and I lot of things I had never done before which were a better approach than what I had been doing. But yes, it can be very miserable sometimes, especially if you’re working with someone who isn’t very happy with the situation.

Q: How would you describe the woman who wears your designs? Who are you designing for?

A: My new pipe dream, because I like to have a goal out of reach at all times - sci-fi film. That’s where it should be. That’s what I want to do. I finally put that together. Like, my stuff doesn’t really functionally belong in this word. I’m a big fan of the newest TRON movie, from like 2010, not as a piece of film, but the guy who

directed it was an architect from Columbia and he was at Columbia’s grad school and he decided to go into film. I read an interview with him, and it was like, ‘I realized that I could do just so much more in the non-physical world than I could here.’ That’s exactly the track of an architect, is you work your whole life, and you see a couple things go up at some point if you’re really lucky, and that’s it. For him to take that and just go ‘I’m just gonna build an entire city, because I can,’ and then work down from that and design the clothing that goes in that city, and I’m going to design the accessories that people wear, and what a cup looks like. That’s kind of the goal now, like, how do I get my stuff in a film where it’s almost just atmospheric and sets a tone?

Q: So you’re designing for a woman of the future, or perhaps for aliens?

A: Woman of the future sounds right - sort of, post-apocalyptic with a metropolitan vibe.

Q: Do you ever wear your own pieces when you go out?

A: Yes, I do. It used to be more difficult because they weren’t as stable. I was still working out materials and stuff, and things would break inevitably over the course of a night. I would come home and be like ‘Oh, only five pieces broke! That’s a good night.’ FUSIONS was just stuff I could just wear out, like wear the shorts I made to work. Some of the tops are ones I’ll wear. It really comes down to whether I used the right material, and that it’s not going to bust immediately. Some of them just can’t handle a lot of activity, but others can, which is cool. My friends wear them more often than I do, honestly. They come over and wear everything.

Q: How would you describe your own personal style, and what are your favorite brands to wear?

A: I don’t wear any colors. In the winter I wear all black, and then I shift into all white in the summer. I shop at OAK, which is kind of the goal of where I can buy clothes regularly. I like things that are a little off, honestly. I like things that are not quite right for some reason. Like, I got these jeans from OAK where they’re drop-crotch, and the drop isn’t even that much. It’s just enough to be off, and they’re jeans, so it’s weird. They’re just kind of the worst, and I love that! I just like dumb stuff, like this hat. It doesn’t make any sense, but it’s become a staple for me. Whoever came up with this was a genius. I don’t want to be that person on the street where people are like ‘Oh my god, look at that,’ you know? But I want that person to do a double take and be like ‘Wait, that’s not right,’ and they kind of move on with their day feeling a little sick. That’s the goal.

My personal style is very questionable, I feel. Sometimes I feel hyper-aware of what I’m wearing, and try to put together a really well-proportioned and right outfit. If you’re going to wear black on black on black, you have to work with proportions and shapes and balance. At some point it became where if I was having a day where I was feeling bad, to get up and really put on something that makes it look like I’m confident, and a good face of makeup, and just get it all together, and look really put together, it does help to some extent. People can knock fashion for being superficial and all that, but when you interact with people, it’s the first thing you see! That’s just the impression you’re giving. As much as you want to be like, ‘Oh, I don’t care,’ it sends a message about who you are, and you immediately put together all these other ideas about that person. It’s important.

photographer MAGIC OWEN model CECI ZHANG paper flowers TISSUE BLOSSOMS all garments HELLAVAGIRL @hellavagirl www.hellavagirl.com

LUCY’S 43

LUCY’S 44

photographer NORBERT ZSOLYOMI makeup SOPHIA GUNEV styling VINCENT LOH hair VIKTORIA S. TOTH model DARA @ PREMIER MODEL MANAGEMENT blue jacket YVAILO headpiece LE RONI opposite page dress GYUNEL headpiece LE RONI

OVERD

RDOSE

LUCY’S 46

silver leather jacket YVAILO headpiece LE RONI opposite page headpiece LE RONI

LUCY’S 47

LUCY’S 48

white crystal dress MIMI TRAN headpiece LE RONI opposite page dress ROCKY STAR headpiece LE RONI

LUCY’S 49

LUCY’S 50

A Hat To Turn Heads For the April issue of Lucy’s magazine, LIZ SARGEANT talks to The Season Hats founders PAUL STAFFORD and SELINA HORSHI. Here they speak candidly about everything from date nights and life with their little spaniel Willow to the collections, their inspirations and what they have in store for 2018.

From

elegant

embellished

headbands,

to

expertly

crafted

headpieces hand-stitched from layers of delicate folding tulle, The Season Hats continues to excel, delight and surprise with its now notoriously recognisable chic and intelligent design. Featured in the pages of Vogue and with a customer base spanning Europe, Hong Kong, Australia and America, it comes as no surprise that the brand has successfully cemented itself as a ‘go-to’ accessory, fast becoming the buzzword on every fashion aficionado and millinery enthusiast’s lips.

The last time I saw Paul (award-winning milliner and designer of The Season Hats) and Selina (his partner and the marketing brains behind the brand) was at their press day in April 2016, when they first launched The Season Hats. I remember instantly being drawn to a striking red headpiece constructed from beautiful tulle fan structures.

It was one of those moments in a fashion stylist’s career when you see something exceptionally special – a design both startling and incredibly innovative. Not only are Paul’s creations unique as stand alone pieces, but what made this particular design so astounding was its ability to fold from an elaborate avant-garde structure into a small palm sized fan. Selina put Paul’s design to the test, folding one of the hats into a tiny fan-like structure, a size and shape suitable for the smallest of handbags. I was instantly won over by the ‘Folding Hat’ creation, and one year on The Season Hats is still continuing to attract attention and capture hearts with groundbreaking, state-ofthe-art and sophisticated design.

It’s now February 2017 and I’m at 180 The Strand, the designated home to London Fashion Week. Paul and Selina are showcasing their Autumn/Winter 2017 collection in the designer showrooms to attentive fashion press and buyers. The couple, who married in 2013, met while studying at Girton College, Cambridge University. Selina tells me she studied English Literature and Paul, Natural Sciences.

“We’re really lucky that we pretty much got to grow up together,” she says. I ask Paul to talk me through the history of The Season Hats and how the brand evolved into what we now know it as today. “I had completed a Masters in Fashion at the Royal College of Art and had worked for other designers for a few years,” he says. “Selina had a lot of experience in the commercial side of business, sales and

marketing so it felt like we could really compliment each other in our own business.” Selina adds “Yes I had been working in digital advertising at the Times and Economist since graduating. Both of our parents run their own businesses so it really felt natural for us to work together. Looking at the hats that were available at the time, we felt that there was a gap in the market for more structural, less whimsical pieces.” Paul tells me that millinery design wasn’t his initial career path. “I’d been training as an accountant and it very much wasn’t the career choice for me – I started taking evening classes in Millinery at the London College of Fashion as an escape but loved it and went on to do a full time course while working as an apprentice to Rachel Trevor-Morgan.”

I ask Selina how she would sum up the brand; it’s ethos and story. “In a nutshell, we just like to make elegant, innovative headwear for the contemporary wardrobe – pieces that inspire confidence in the wearer and are a joy to wear. We pride ourselves on making beautiful, exquisitely made pieces.” I tell them that I’m a huge fan of the new collection for Autumn/Winter 2017. “Thank you!” beams Paul. “We were really pleased with the results too. We wanted to really emphasise our construction this season, using a lot of contrasting colours and I think it worked really well both for the product and for our customer.”

I’m still fixated on their ‘Folding Hat’ design, gladly welcoming Paul and Selina’s re-introduction of the model in a monochrome colour palette for Autumn/Winter 2017. Admiring one of the many beautiful headpieces, I ask Paul to talk me through the concept and what inspired the design. He tells me that “when working for other milliners, the problem of how hats are to be stored and transported always came up – how to take a delicate piece to a wedding on the continent or even on the train to or from Ascot, or for those who are able to amass a collection of hats, how to store them all without damaging them. I love construction techniques and the details of fabrication, and looking at folding paper Christmas decorations I thought that it was possible to make beautiful pieces, but also to have them fold flat, which is also the best way for our folding pieces to be stored – they’re naturally pressed over time. The folding designs were launched in Spring/Summer 2016, and since them, we’ve continued to experiment with how different materials can be used to best enhance the effect.”

Of course, the ‘Folding Hats’ are just one part of The Season Hats, as Paul goes on to explain. “We make three types of collection each year – though they tie together both technically and aesthetically. We show a casual range during men’s fashion week, though they’re great for women too, a range

of women’s event pieces which are perfect for attending weddings or the races, and a bridal range which includes our take on the traditional wedding veil, as well as an extended range of headbands and tiaras.”

Selina continues, “We like to make intelligent, elegant headwear, and hope that we make pieces that appeal to people who love wearing hats and those who wouldn’t normally choose to wear one.” I ask if they had ever imagined that the headpieces would be received with such acclaim and prove to be so popular. Paul replies “We were really excited before bringing out the unfolding pieces, and so far each collection has become our new favourite – but as it’s just the two of us it’s like we’re in a little bubble so it’s really rewarding to find that they’re appreciated in the outside world – and it’s just incredible to know that we now have customers in Hong Kong, Australia and across America.”

“Last Summer,” adds Selina, “a whole bridal party chose pieces from another milliner but we got a call from one member of the party – an engineering lecturer - asking us to make a piece for her for the event, and she looked amazing in it! It’s great to have someone seek us out as they appreciate the construction and aesthetics of our pieces.”

As for a favourite piece, they both differ in opinion. “I still love Aurora from Autumn/Winter 2016” says Paul. “It’s the widest hat we’ve made to date – an unfolding piece made out of metres of tulle and days of sewing. The first time I make a new style of unfolding piece, there’s no knowing if it will be a success until the construction is completed. And it was a lovely moment to unfold this piece for the first time, see how dense it is at its centre but how it blends into an ethereal haze at its edges.” Selina tells me that the headbands are her favourites, adding “I like the Halley in particular, which has been refined over a number of seasons – they’re just so easy to wear and are enough to enliven both daytime and evening looks.”

I ask Paul what inspires and fuels his creativity. “I just love making and experimenting with new techniques and developing established ones – there’s always more to refine or a different material which will push the designs in an exciting direction. It’s just great to see the final results and have a very happy customer - especially after a few days of solid sewing.” I nod in agreement at how extremely rewarding this must be. You can see the hours of hard work and complex thought that have gone into every single piece.

It is then not surprising to hear Paul say that in terms of an average day “there’s no such thing! - There are just two of us and our days are a combination of making, designing, keeping on top of the website, private orders, accounts; everything involved in running a young business.” “Though we always take the time to go on a walk with Willow, our little spaniel,” smiles Selina. And the best thing about your job? - I ask. “It’s great to be able to spend time with each other. We used to have to arrange date nights in order to make sure we saw each

LUCY’S 53

other,” says Selina laughing. Of course, it’s rare to see a couple so at ease with one another, on both an emotional and creative level.

Perhaps it’s this unique bond, a meeting of minds and strength of rapport, which has driven the brand to such a huge success.

And as for 2018 and the future, what can we expect to see?

With a glint of excitement in his eye, Paul tells me “Constant development – we’re building on what we’ve made and learned over the past seasons. There’ll be a lot of experiment and play over the coming months – making toiles out of card, paper and fabric and research into what new techniques and materials would best push our designs forward.”

Well I’m already excited at what the future will bring. With a growing fan base and an ability to push creative boundaries, there clearly is no stopping this partnership. Come rain or shine, there’s no doubt about it, the ‘season-a-head’ looks set to be bright for Paul and Selina.

Press Samples and Imagery: josie@felicities.co.uk Article by LIZ SARGEANT, Fashion Stylist & Style Writer www.lizsargeantstyling.com @LS_Styling

NEO P LUCY’S 54

photographer HOLLY PARKER model JOLINE BRAUN @ SUPREME makeup ALEX ALVA using MAC COSMETICS hair MIRNA JOSE fashion assistant YOLANDE MACON location NYC sweater NUDE trousers JULIANNA BASS shoes ALEXIS GAMBLIN choker STERLING KING

PUNK

LUCY’S 56

blazer & shorts NUDE trainers ADIDAS

LUCY’S 57

LEFT dress USE UNUSED leggings GOTTEX trainers by ADIDAS RIGHT leather shrug PRITCH LONDON ear shield STERLING KING

LUCY’S 58

jacket DAMNSEL

dress RINAT BRODACH shoes LENA ERZIAK

dress USE UNUSED leggings GOTTEX trainers by ADIDAS

LUCY’S 59

LUCY’S 60

total look CHILDRENS OF OUR TOWN necklace CARALARGA boots LEVI’S

top SHARON WANG choker STERLING KING

LUCY’S 61

dress RINAT BRODACH shoes LENA ERZIAK

top SHARON WANG trousers JULIANNA BASS shoes ALEXIS GAMBLIN white Camelia pin CHANEL earshield STERLING KING

LUCY’S 62

ALL FLOWERS ARE MINE photographer MIREIA LUDEVID @mludevid model ALEGRA CERRUTTI @ VIEW MANAGEMENT @psychedeliagirl stylist SOL MIREABELLA @solmirabella makeup and hair NEIDA PALACIOS @neidapalacios dress AGOGÓ opposite pagetop and skirt MIKIMONO

LUCY’S 63

LUCY’S 64

all MIKIMONO

LUCY’S 65

NEIDA PALACIOUS BRUSHES PALE PINK OVER THE EYE AND EMBELLISHES AN ELEGANT LOOK WITH PRECIOUS PETALS. A SIMPLE GLOSSED POUT AND DEFINED FEATURES ADD SWEET NOTES TO A DAINTY PIECE. caption by JESS HARR @jessharrblog www.jessharr.com

LUCY’S 66

all MIKIMONO

DAINTINESS, GRACE AND A HINT OF BOLD DANCE AMONG ALEGRA CERRUTTI. SOFT CURLS CASCADE OVER A WISPY SILK GOWN. DELICATE DETAILS ADD A DAYDREAM FEEL TO THE FASHION. caption by JESS HARR @jessharrblog www.jessharr.com

LUCY’S 67

LUCY’S 68

photography CĂLIN ANDREESCU @CalinAndreescu make-up artists LOREDANA LUPEA & ANGELA KIS / MAC COSMETICS RO hairdresser BEBE VEJA / WELLA PROFESSIONALS RO & ALEXANDRU PODARIU nail technician LOREDANA ZAGON / NAIL ART RO & ALEXANDRA MIRCEA / NAIL ARCHI.TECH model GABRIELA IORDACHE @ ONE MODELS & MARIA BALAN @ AVENUE MODELS white feather cape DYROGUE pink fur INGRID TEODOSIU

ALL THAT SHINE

LUCY’S 70

LUCY’S 73

LUCY’S 74

article by

ASHLEY BLAKE

S

ummer is the perfect time of the year to pull out all your wild cards and wear all of your bright

colors. As the temperature goes up, so does our hair. It’s crucial to keep ourselves cool while looking hot. Up-does are a summer must. A simple ponytail or top bun works wonders while providing the ‘effortless’ look.

Summer is all about showing off what you’ve worked hard to preserve all winter.

One of my most-loved summer fashion trends is an off-the-shoulder top. No other top can compete with the beautiful display of shoulders, neck, and glowing skin. One of my favorite off the shoulder tops is from Queens Things™, it’s fitted, light, breathable, and reads an empowering statement!

oil is “Coconut good for your hair, skin, and the soul.

”

A summer must is soft skin. Coconut oil is thee major key. Coconut oil is good for hair, skin, and the soul. I mix coconut oil with my moisturizer and SPF to preserve my glow all the while protecting my skin.

I buy my organic coconut oil from Thrive Market, saving money without sacrificing quality.

Lastly, the best thing about summer is the sun and the natural lighting it provides to slay a bomb selfie!

With the sun behind the camera, the light will hit all the right places and voila!

#SummerSelfie worth a million likes!

model @AshleyBlake_ photographer @photographer_curt makeup @PlushBeauty_ styling @StyledBySNL links for products mentioned in the article www.shopqueensthings.com/products/queen-definition-off-the-shoulder-crop www.shopqueensthings.com/ www.thrivemarket.com/thrive-market-organic-virgin-coconut-oil www.thrivemarket.com/?utm_medium=Link_RAF&utm_source=UserReferral

LUCY’S 76

ZARINA’S METALLIC GOLD LIP PAIRED WITH A NEUTRAL FACE IS A SUBTLE, YET STRIKING, LOOK. SOFT WISPS OF RED HAIR FRAME AND BALANCES OUT THIS STATEMENT FACE.

Black & Gold

photographer DANIEL NADEL makeup VALENTINA CRETI using MAC COSMETICS makeup assistant MARIJELLE MORENO model ZARINA @ PREMIER caption writer CHINHSIN ESTHER KAO

LUCY’S 79

caption writer CHINHSIN ESTHER KAO

ZARINA’S EYES ARE LINED WITH A HINT OF GOLD GLITTER, QUIETLY ACCENTUATING PETAL PINK LIPS AND A MINIMAL LOOK. A SOFT NET DETAIL WRAPPING HER UPTURNED FACE CONTRASTS WITH AN ARCHITECTURAL HAIRWORK.

LUCY’S 81

IN BLACK AND WHITE, ZARINA SPORTS DARING LIDS LAYERED WITH GLITTER. A SHORT, SIMPLE, AND BOYISH CUT BRINGS ATTENTION TO THE DARK LIPS AND DARK LINER PULLING THIS DRAMATIC LOOK TOGETHER.

LUCY’S 82

an interview with

REGINA BURYAK RAMONA Tell us more about your work! Are you creating art digitally or is it actual painting?

REGINA My name is Regina Buryak and I am a watercolor and mixed media portrait artist, living in the Bay Area of San Francisco. I specialize in female portraits in the pop art and fashion illustration style. Although I dabbled in the arts when I was growing up, I didn’t start painting until the summer of 2015 and it has changed my life.

I am a hands-on artist, I do everything physically. I am a mover. I don’t even like to sit when I paint. I made a standing adjustable work station so I can move freely when I paint. Using inks, watercolors, and markers, I make what you see manually. I love the physicality of it. I’ve always loved to dance and act and even was a competitive public speaker, this may be part of why I haven’t created art digitally. Getting my hands, as I say “busy-dirty” is really important for me to feel the portrait emerge. Since I’m not a big planner when it comes to making portraits, movement helps my paintings emerge. I don’t like plodding out the details or graphics. A quick sketch and I’m off to the races--even colors come later. I’m not sure if becoming more disciplined in the planning stages will help me develop or kill my creativity. Since I’m not formally trained I was never forced to plan or plod or even paint anything I didn’t want to, so I’m very free spirited in my creative process.

RAMONA What inspires you?

REGINA Fashion photography. I love looking at fashion mags, especially online. I’m also a movie buff. Classic movie cinematography and great photo editorials help me put images together in my head. Artists are able to see things in their minds’ eye and then put it on paper or film for others to see. This is the essence of art. Showing others what’s on your mind, maybe using words, maybe pictures, I use paint and ink. Writers, together with film makers combine the two (images and words) in a union that can be dazzling and really capture and rivet the soul. And good art can and should leave some room for interpretation.

I paint large format eyes, just single eyes and I thought that was pretty straight forward as an image and yet, a woman looking at one of my paintings said, “what are you conveying here?” Wow, I thought it was just an eye, but she really loved it and it inspired her. That made me feel good.

I think one of the best fashion photographers of course is Paolo Roversi.

His haunting images are very much like paintings and show the beauty and femininity of women.

INNOCENZA Watercolor Mixed Media, India Ink and Marker by Regina Buryak Inspired by a photograph by Jamie Nelson of the model Martha Hunt Below RAGAZZA Watercolor Mixed Media, India Ink and Marker by Regina Buryak Based on a photograph by Elizaveta Porodina

Music has also inspired me, not just in the movement and dance, but in looks--the lusty quality of synth pop, the darkwave beats and the aesthetic of the New Wave, Punks and Goth rockers, for instance. The foppishness of Morrissey, the heavily made-up androgynous fashion icons, the likes of Robert Smith and Adam Ant and Siouxsie Sioux were pace setters-- these guys were ground-breaking and over the top then without being garish. The catwalks are still looking to them for cues!

In terms of everyday inspiration, definitely building out my repertoire, as a new artist is very important to me, so that my portraits become more complex, for instance, the graphics are getting more refined or punchy, the colors more cohesive, the composition more technical and appealing and of course the overall size of my paintings are increasing.

RAMONA What’s your favorite piece that you’ve created?

REGINA I don’t like feeling stifled by process so I like to jump in and just go. After cogitating about an image I want to create, I need to just get the paints out and start. There may be some false starts, but there has to be a point where you become okay with them. I always create something new when I sit down long enough. A new technique or style will emerge. For example, I recently started painting upside down, or using backgrounds over the entire face I’m painting. I worry sometimes that if I don’t try to sketch or paint I may not develop something new that I’m supposed to. There may be a great portrait in me waiting to be painted, but I was too busy or careful to paint it. This is scary! I spent a lot of time in my life not painting, I guess I feel I’m making up for it.

A portrait I created in this manner, that I always go back to is “High Aspirations”. It looks simple, but to me it captures so much of what I love about abstraction, imperfection and femininity, beauty and the punk rock sensibility and aesthetics.

Artist REGINA BURYAK San Francisco, USA www.reginaburyak.com Facebook Regina Buryak Watercolors www.facebook.com/regina.buryak.art/ IG @regina_buryak_art

1. REINA Watercolor with India Ink

by Regina Buryak Inspired by a photograph of Germaine Persinger taken by Zhang Jingna

La Signora

a in Rosso LUCY’S 85

photographer NICOLE JOPEK www.nicolejopek.com / model ALINA @ WHY NOT MILAN mua YASMIN SCHWITZER www.yasminschwitzer.com / styling TAHEED KHAN www.taheedk.com hair KIRSTY KAYE photographer’s assistant PHILLIP JAMES jacket KUMETH trousers RALPH LAUREN captions by DAYNA MARIE HOOD Voile Artistry makeup artist + journalist @themakeupartivist www.themakeupartivist.com

LUCY’S 86

blouse MONOKAIN trousers RALPH LAUREN opposite page dress CCUOCO

A LADY IS ALL ABOUT MOVEMENT AND CHANGE. SHE BREEZES IN AND OUT OF EVERY ROOM IN CURVE-GRAZING FABRICS LIKE THIS CCUOCO DRESS. HER HAIR IS SWEPT OFF THE FACE TO HIGHLIGHT THE WINDOWS TO HER SOUL. YOU’D BETTER MOVE QUICKLY BEFORE SHE IS WHISKED AWAY, LEAVING ONLY A MEMORY OF HER TOUCH.

LUCY’S 88

skirt CARA LAMAER top ZARA scarf YSL opposite page jumpsuit LISA JAYNE DANN

LA SIGNORA IS A SEXY SIREN WITH VOLUPTUOUS CURLS CASCADING DOWN HER BACK. A CLASSIC HIGH-WAISTED CARA LAMAER PENCIL SKIRT LEAVES YOU WANTING MORE. HER GAZE WARNS YOU THERE ARE DANGEROUS CURVES AHEAD WITH LUSCIOUS LASHES AND POLISHED SKIN. SHE IS READY FOR ANYTHING LIFE THROWS AT HER, AND MAINTAINS AN HEIR OF CLASS WITH A YSL SCARF SWEPT ACROSS HER NECK.

A LADY IS STRUCTURED, POWERFUL, AND

SENSUAL.

WITH

EVERY

GUST OF WIND, SHE MAKES AN UNFORGETTABLE WIDE-LEG

LISA

STATEMENT. JAYNE

DANN

JUMPSUIT ACCENTUATES ALL THE RIGHT PLACES ON HER BODY. SHE IS MODEST YET MAGNETIC, AND KEEPS YOU WANTING MORE.

dress MOLLY MAYopposite page top ALANNA WALKER skirt CCUOCO

A SOFT SMOKY EYE AND TOUCHABLE SKIN FINISH THIS ROMANTIC LOOK. LAYERS AND TEXTURES FROM HER CCUOCO SKIRT BLOSSOM FOR THE SUN, TRANSFORMING HER INTO A HUMAN ROSE. DELICATE LACE SEALS THE LOOK WITH ONE FINAL FEMININE TOUCH.

LUCY’S 92

photography & styling KATE WOODMAN www.katewoodman.com model ROBDU HAILU hmua BETH LEVEL www.bethlevel.com all wardrobe in vintage, sourced from RED LIGHT CLOTHING EXCHANGE / PORTLAND, OREGON captions by JESS HARR @jessharrblog www.jessharr.com

STOPLIGHT FASHION

LUCY’S 93

LUCY’S 94

STRIKING CAPTURE

SHADES THE EYE,

PAIRED WITH A SIMPLE NUDE LIP. A FIERCE RED EYE LOOK PAIRED WITH AN EFFORTLESSLY STYLED KNIT, SPINS A BOLD LOOK.

LUCY’S 95

LUCY’S 96

ROBDU HAILU TAKES A SPASH INTO POPPING PRINTS IN A FUNKY VINTAGE LOOK. VIBRANT LIPS AND AND SUBTLE ACCESSORISING ADD EDGY STYLED, PAIRED WITH UNIQUELY STYLED CRIMSON AND SOFT BLUE SHADES.

LUCY’S 97

LUCY’S WWW.LUCYSMAGAZINE.COM IG/FB @LUCYSMAGAZINE