OPALUS "Beauty" - Issue 19

OPALUS ‘‘Beauty’’

beauty

arts

Issue 19

ALIEN PLAYGROUND

JULY 2020

i m a g e c r e d i ts o n pa g e

74

edi tor

c r eat i ve di r ector m a lor i e S h myr

B eaut y Edi tor ben d n i p rows k i j c o py edi tor s a n d r a s h myr

o n th e b ack cover

on t he front c ov er

s u b m i ss ions su b m iss ions @o pa lus m agaz i ne.c o m

P h ot o g r a p h e r M a k e u p A r t i st Model

images by b o dy s c u l pt u r e s

&

m a k e u p a r t i st

m a k e u p a s s i sta n t s p e c i a l t h a n k s to model

Ben Dniprowskij Ben Dniprowskij Harley Brennan

J u st i n R i d l e r Ben Dniprowskij M a d e l e i n e S t e wa r t Splice Boys & Ali Rae T a n ya W e n c z e l

No part of this publication may be reproduced in whole or part without the permission of the publishers.

The views expressed in OPALUS Magazine are those of the contributors and are not necessarily shared by the publishers.

Submissions are welcome but no responsibility is taken. We strive to provide accurate representation of our contributors work. We apologize for any errors or omissions. OPALUS Magazine is published twice a year, and we thank all of our amazing contributors for being a part of OPALUS.

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O P A L U S m aga z i n e . C o m

g ot t h e b e st

We've

contributors xuebing du ben dniprowskij m a lo r i e s h m y r c h r i st o p h e r

polack

n i c a sio to r r e s theresa hall k at h e r i n e ts e t i n a pa c h ta j u st i n r i d l e r splice boys ta n ya w e n c z e l

duxuebing.com bendniprowskij.ne t m a lo r i e s h m y r . c o m c h r i st o p h e r p o l a c k . n e t n i c a s i ot o r r e s . n e t t h e r e s a h a l l p h ot o . c o m . a u k at h e r i n e - ts e . c o m t i n a pa c h ta . c o m

j u st i n r i d l e r . n e t spliceboys.t v ta n yaw e n c z e l a r t . c o m

keith greenbaum

keithgreenbaum.com

c h e ls e a ga l i n o s

c h e ls e aga l i n o s . c o m

laura v illegas serna i tis

ridemoreunicorns.com

j e n n i e n i p pa r d

j e n n i e n i p pa r d . c o . u k

p h o e b e tay lo r

p h o e b e tay lo r . c o m

cliona sweene y ya s m i n e e lwa k i l

be aut iquecork.ie

ya s m i n e - e lwa k i l . c o m

fa m i d a pat h a n

fa m i d a pat h a n . c o m

ta s h i h o n n e r y

ta s h i h o n n e r y . c o m

sharon robinson

sharonrobinsonhair.com

claire healey

clairehealey.com

m e t ta f r a n c i s

n a i l s b y m e ts . c o m

l a u r a st r e e t e r

l a u r a st r e e t e r p i n k n a i l s . c o m

p o i n t st u d i o

p o i n tst u d i o h k . c o m

n a r ya a b h i m ata

n a r ya a b h i m ata . c o m

O P A L U S m aga z i n e . C o m

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Issue 19

ALIEN PLAYGROUND

contents

6

10

Th e c rysta l et h e r

24

M utac ions Nicas io To r r e s int e rv ie w

32

vor xq

42

moth er o f p ea r l

50

I f o u n d a m as k o n a f or e ign pl a n et

54

th e c e l e st i a l ga r de n

66

sta r j u m p

74

Nac h b a r n im U n i ve rs u m

86

b ac kstag e

96

not o u r t u r n

106

St i l l no s ig n o f i nte l l e ge nt l if e

114

S po r e s

1 24

c r eato r o f wo r l ds j ust i n r idl e r int e rv ie w

1 36

th e s u r face

140

meka

148

s epa r at io n M a lo r i e s h my r & ben d n i p rows k i j int e rv ie w

O P A L U S m aga z i n e . C o m

A NOTE FROM THE

edito r I

b e l i e v e i n t h e e x i st e n c e o f l i f e f o r m s , b e a u t y ,

a n d lo v e o u ts i d e t h e b o r d e r s o f t h e

M i l k y W ay

a n d o u ts i d e o f t h e c u r r e n t awa r e n e s s o f human-kind.

I

t h i n k o n e c a n n ot b e g i n t o i m a g i n e t h e f u l l

e x t e n t o f w h at o r w h o t h e sta r s b e y o n d o u r r e a c h e s h av e w i t n e s s e d a n d d o e s n ' t t h at m e a n t h at a b s o l u t e ly a n y t h i n g c a n e x i st ?

I m a g i n e w h at a r t galaxy. Imagine

f o r m s e x i st i n a n ot h e r w h at a n a l i e n m i g h t f i n d

be aut iful and h ow the y might v ie w the concept o f va n i t y .

With

m at e r i a l s a n d l aw s o f

p h y s i c s y e t u n d i s c o v e r e d b y m a n , o n e c a n o n ly dr e am of h ow an alien might a dorn or e ven t r a n s f o r m t h e m s e lv e s f o r t h e s a k e o f b e a u t y .

I i n v i t e yo u P l ay g r o u n d '.

t o b e c o m e lo st i n t h i s i s s u e

It

i s a c u r at e d j o u r n e y o f o u r

found across our

"beauty" Universe.

OPALUS " b e a u t y "

is limitless.

i n t e r p r e tat i o n o f t h e

M a lo r i e S h m y r , C r e at i v e D i r e c t o r

'A l i e n

t h at c o u l d b e

E di to r

p hoto b y Li n d s ay Robinson O P A L U S m aga z i n e . C o m

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A NOTE FROM our

beauty editor Earth

i s a st r a n g e p l a c e ‌

The

word

"beauty"

for

me has been soiled and corrupted by the same c o m pa n i e s t h at b u i lt t h e i n d u st r y .

I

will never

f i n d t h e u n n e c e s s a r y i n j e c t i n g o f p r o d u c ts i n t o a n i m a ls e y e s b e a u t i f u l .

I

will never find the prey

o n p e o p l e ' s i n s e c u r i t i e s t o s e l l p r o d u c ts beautiful.

Nor

will

I

f i n d p h ot o s h o p p i n g a n

i m a g e t o u n r e a c h a b l e sta n d a r d s o r e x c l u d i n g e n t i r e s k i n to n e s b e a u t i f u l .

The

c o n sta n t l i e s

t h at t h e i n d u st r y i s b u i lt o n i s h o r r i f i c .

W h at I "freak"

d o f i n d b e a u t i f u l i s s e e i n g t h at o n e b r av e e n o u g h t o b e t h e m s e lv e s a s t h e y c u t

t h r o u g h t h e m a s s o f c lo n e s t h at h av e labeled them.

Beauty

i s w i t h t h e a r t i sts w h o

e x p e r i m e n t o u ts i d e o f w h at t h e stat u s q u o d e e m s a c c e p ta b l e n o m at t e r h o w a l i e n i n f o r m .

I

d e l i g h t i n t h e i n d i v i d u a l s w h o a r e u n r e st r a i n e d i n pa i n t i n g t h e i r f l e s h ; f r e e f r o m t h e

c o n sta n t n a r r o w - m i n d e d i d e a l t h at i s c o n t i n u o u s ly p u m p e d i n t o t h e m e d i a .

In

s ay i n g t h at , w h o a m

I

o r a n yo n e e ls e to

j u d g e w h at i s b y d e f i n i t i o n u n i q u e t o e v e r y i n d i v i d u a l ' s ta st e . armour

I

I

guess

I' m

st i l l d r o p p i n g

h a d t o b u i l d t o p r ot e c t m y s e l f f r o m

p e o p l e w h o d i d n ' t u n d e r sta n d m y a e st h e t i c ch oices.

I

h o p e t h e h u m a n r a c e g e ts t h e m e m o

s o o n a n d r e a l i g n w i t h t h e r o ots o f t h e w o r d

" b e a u t y ".

Ben Dniprowskij, B e a u t y E di to r O P A L U S m aga z i n e . C o m

9

edmonton, canada c r e at e d i n

The Crysta l E t he r p h ot o g r a p h e r

m a k e u p a r t i st

10

O P A L U S m aga z i n e . C o m

&

model

MALORIE SHMYR Pau l Leszczyns k i

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c r e at e d i n

m utacion es a r t i st

Nicas io Tor r es

b a r c e lo n a , s pa i n

MUTAT ION N ยบ 57 22.5 X 17.5 CM O P A L U S m aga z i n e . C o m

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MUTAT ION N ยบ 5 6 16.5 X 14 C M

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MUTAT ION N ยบ 15 25 X 19 CM O P A L U S m aga z i n e . C o m

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MU TAT IO N N ยบ 17 2 5 X 19 CM 28

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M UTAT ION N ยบ 3 7 23 . 5 X 17. 5 C M O P A L U S m aga z i n e . C o m 29

nicasio torres on beauty and mutations Interviewed by Malorie Shmyr There is something in your work that makeup artists are very inspired by. Do you have any correlation to makeup, and have you applied it before?

My work has an important link with Fashion in general. I really like how we represent and express ourselves through Fashion and I like its performance and constantly changing aspects. On the other hand, I am fascinated by working around the face and many times makeup is part of it, so it becomes part of my pictorial process as well. But it is something I don´t have to think about, it is quite intuitive.

What are your ideals on beauty?

For me, beauty has to do with the ability to make people feel an emotion, and not only with pleasure or complacency. It can be accompanied by discomfort, mystery, rebellion, a transformation of the one who looks. So, I do not have fixed ideals, but rather an open and curious attitude towards what I look at, although understanding that what I see is what I currently have the capacity to look at. I also understand that we may be missing the opportunity to enjoy a beauty that is in front of us because of the inability to feel it.

What do you think of the global standards on beauty today?

I can talk about what I like, because I don’t pay attention to what doesn’t interest me. Then, I find it is very stimulating that different aesthetic categories currently coexist, that when we speak of beauty we also speak of sublime, ironic and even grotesque. And this intersection of categories seems liberating to me, and that it makes different ways of feeling visible. And I like that very much.

How do you approach the use of colour on the face?

In general, I use color in a very intuitive way. I have a tendency to use contrasting combinations, the use of artificial colors such as metallic and acids that collide with the naturalism of the flesh colors that I also include in my color palette.

Lastly, what do you hope your audience will feel when they view your work?

I don´t expect anything in particular. My work will challenge some people and others not, I imagine with those who share aesthetic interests. In Mutations, the intention of this series is a pictorial mutation, where I appropriate representations of characters from another era and that are part of the great History of Art to transform them into another, more abstract, blurred pictorial entity.

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MUTAT ION N ยบ 30 23.5 X 17.5 CM O P A L U S m aga z i n e . C o m

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m e l b o u r n e , a u st r a l i a c r e at e d i n

vo rqx p h ot o g r a p h e r m a k e u p a r t i st model

CHRISTOPHER POL ACK ben Dn ip rows k i j Jayden Tr ifu nov ic

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“The only truly alien planet is Earth.�

- J. G. Ballard

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“In an infinite multiverse there is no such thing as fiction.�

- Scott Adsit

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cupertino, u.s.a c r e at e d i n

M Othe r of p ear l p h ot o g r a p h e r

Xuebing Du

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I fo u n d a m as k o n

m e d e l l i n , c o lo m b i a

a fo r e ig n pl a net

Wh at d o i d o ? p h ot o g r a p h y

&

print

c r e at e d i n

masks designed by

Lau r a V illegas Ser n a i t is Lau r a V illegas Ser n a i t is & Ma r i a An dr ea Ru iz Ba lbin

O P A L U S m aga z i n e . C o m

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The origins of masks are lost in the mists of ancient history. More than a facade, they have the power to mutate. They symbolize the needs, fears and concerns of a community and represent the desire to hide and at the same time to manifest each other transforming or hiding their identity to reveal themselves in a different way.

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Masks act like a portal allowing communication with the gods, the past, future, and parallel worlds.

Fiction is a faithful portrait of reality.

O P A L U S m aga z i n e . C o m

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C e l est i a l Ga r d e n p h ot o g r a p h e r

&

a r t di r e cto r

c r e at e d i n

q u e e n s l a n d , a u st r a l i a

a s s i sta n ts

Ther es a Ha ll Simon & Mi a Ha ll

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m e l b o u r n e , a u st r a l i a c r e at e d i n

Star Ju m p p h ot o g r a p h y m a k e u p a r t i st model

ben Dn ip rows k i j ben Dn ip rows k i j h a r ley br en n a n

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berlin, germany c r e at e d i n

N achba rn im U n ivers u m p h ot o g r a p h e r h a i r st y l i st

Ma lor ie Shmyr t in a pachta

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backstage What is it like to be backstage during London, Milan and Paris Fashion Week?

We asked manicurists, hair stylists, and makeup artists what it’s like to witness iconic fashion moments, what they have learned from participating in fashion week, and what they predict the future of fashion week will look like after COVID-19. These artists work for the top team leads in the world, including icons like Val Garland, Marian Newman, Sam McKnight, and Guido Palau.

Interviewed by Malorie Shmyr With a special thanks to Alissa Droog

Photography on page 86, 88, 89, 92 by Malorie Shmyr

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Jennie Nippard @jenniennails

Discipline: Manicurist Yrs. backstage: 9 years Fav show: Anya Hindmarch AW15 Have any iconic fashion moments happened in front of you, and did you realize it at the time?

The most iconic moment I have experienced was February this year at Jean Paul Gaultier’s final show ever.

The atmosphere was electric, with around 140 extremely famous models, actresses and high society women walking and also with a fabulous performance from Boy George. At the end of the show, all of the models and backstage teams ended up on stage dancing with Jean Paul Gaultier and Boy George. It really was a “pinch me” moment. Getting to be part of fashion history was such a great honour.

A second iconic moment was at headwear designer Philip Treacy’s show SS13. The show was opened by Lady Gaga and all the rest of the models wore Michael Jackson’s original clothing. The show was held in the Royal Courts of Justice so security was super tight.

It was an incredible event and the atmosphere was electric! I was new to shows at the time, so I literally couldn’t believe I was experiencing this.

Backstage at Manish Arora AW/17 Paris Fashion Week

A third iconic moment was the Victoria’s Secret show in 2014 which came to London for the first time. The show was held at Earl’s Court and the backstage was dressed with pink carpets and had the feel of a girl’s bedroom with pink lamps, glass tables and the models all in pink silky dressing gowns. All of the models were absolutely stunning - particularly the Angels, who were Adriana Lima, Alessandra Ambrosio, Doutzen Kroes, Candice Swanepoel, Lily Aldridge, Behati Prinsloo and Karlie Kloss. There were performances from Taylor Swift, Ed Sheeran, Ariana Grande and Hozier. It was an epic show to be part of and I’ve never experienced a show like it again.

How does “the vibe” of fashion week inspire you?

I feel so lucky to be a part of fashion week. To witness creativity at it’s finest and to be part of bringing to life the vision of the designer is incredible. Backstage you get to work with such passionate creative people who are all used to working in fast-paced, high pressure environments; I find this such a buzz! I absolutely love to see the creative vision of all of the elements coming together. It is a very special thing to be part of the process of transformation. From when a model walks in, then goes into nails, makeup and hair and then steps into styling, to then emerge as a different person.

Backstage at Vivienne Westwood AW17 Paris Fashion Week

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Laisum Fung @laisumfung

Discipline: Makeup Artist Yrs. backstage: 5 Years Fav show: Gareth Pugh AW17 Have any iconic fashion moments happened in front of you, and did you realize it at the time?

I’ve been lucky to assist Val Garland for the Le Défilé L’Oréal Paris fashion shows. The first show was at the Champs-Élysées! Backstage was full of supermodels and Hollywood actresses.... that was my first “pinch me” moment.

How does “the vibe” of fashion week inspire you?

Every fashion week I learn something new - a technique, method or approach. I always feel recharged and ready to push my skills even further.

What is one aspect of the potential changes of fashion week that you feel really excited about?

All change is a good change! I’m not sure what will happen but I’m looking forward to when all creatives can join forces again.

Backstage at Ulyana Sergeenko Couture SS20 Paris Couture Fashion Week

What is Beauty to you?

Beauty is the freedom to be yourself!

Phoebe Taylor @phoebetaylormakeup

Discipline: Makeup Artist Yrs. backstage: 4 Years Fav show: Tom Ford SS20 What is the most gratifying part of working at fashion week?

Seeing how much I have grown as an artist. I don’t notice it until I am in certain intense/stressful situations and I need to really nail a look in a small amount of time. I also love all the friends I have made and get to work with along the way, as well as building on great relationships.

How does fashion week(s) influence you during the rest of the year?

I think when it comes to executing looks for certain clients / brands and learning to work in a fast-paced environment. I also think it influences you on particular styles and aesthetics and how you go about your work. I think the beauty of being a Makeup Artist is that there is not just one avenue to follow, whether it’s film, TV, Bridal , Fashion, etc. Every part of the industry has its own merit, and for me, working in Fashion definitely dominates my style of artistry.

What is Beauty to you?

Beauty to me is being comfortable to express yourself and feel empowered in your own skin.

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Backstage at Ulyana Sergeenko Couture SS20 Paris Couture Fashion Week

Antonia Catalano @antonia_c_nails

Location: Manicurist Yrs. backstage: 4 years Fav show: Vivienne Westwood AW17 How does fashion week(s) influence you during the rest of the year?

I try to incorporate some of the trends seen on the catwalk into the options I offer when I’m back in the salon. Clients love having that “insider” info and love to find out what’s trending.

How do you anticipate your job backstage changing in the future?

In light of COVID-19, I do wonder if we will see a shift into more of a digital fashion era as opposed to the shows we know and love. So, therefore, potentially less of that bustling, energetic, backstage environment. I’d be so sad to see the end of the catwalk as we know it, but some fashion houses have already shown their willingness to move into a more digital way of showing. I think session techs can expect smaller teams and less shows unfortunately. More than happy to be corrected though!!!

Backstage at Gareth Pugh SS19 London Fashion Week

What is Beauty to you?

Beauty to me is authenticity and confidence.

Nothing more beautiful than seeing someone truly being themselves and loving the skin they’re in.

Cliona Sweeney @beautiquecork

Discipline: Manicurist Yrs. backstage: 4 years Fav show: Manish Arora AW19 Do you have a favorite fashion week, and show?

I absolutely loved Manish Arora’s show in Paris A/W 2019. The outfits and accessories were incredible and the nails were unbelievably intricate. It was set in a beautiful American Cathedral.

As for my favorite fashion week, I love Couture in Paris. I especially love the freedom of the artists and the creativity. The buildings in Paris are also so spectacular to work in.

Have you had a “sink or swim” moment during fashion week?

There have been a few sink or swim moments certainly, and as anyone who has worked backstage quickly comes to learn, it’s definitely not for the faint hearted.

Marian Newman’s mantra is “failure is not an option”.

And so when things get tense, that circulates round and round in my mind to get focus and do what needs to be done. A lot of the time it depends on model count, backstage space and how late models arrive from other shows as to how smoothly the process will go but we always get the job done.

Backstage at Erdem SS20 London Fashion Week

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Tina Pachta @tinapachta

Discipline: Hair Stylist Yrs. backstage: 9 years Fav show: YSL AW18/19 What is the most gratifying part of working at fashion week?

I am always excited to see the new collections, hair and makeup trends. I’m thrilled to see and learn about the new hair techniques and styles. And of course, I like to meet everybody from the team again because it’s like a little family after all these years.

How does fashion week(s) influence you during the rest of the year?

Fashion week influences me a lot during the rest of the year. I always try to give a touch of the hair techniques and hairstyles I learned and combine it within my work.

Backstage at Berluti Men’s AW20 Paris Fashion Week

How do you anticipate your job backstage changing in the future?

It is so hard to say! It depends on how the fashion industry wants to continue with the COVID-19 crisis and the idea of environmentalism. Maybe going forward there will be fewer shows. To move forward it means one thing: taking our foot off the accelerator.

Yasmine Elwakil @yasmineelwakil

Discipline: Manicurist Yrs. backstage: 3 years Fav show: Philipp Plein SS18 Do you have a favorite fashion week, and why?

Women’s Fashion Week is where most of the work is for Manicurists. In New York, the nails are generally more creative and I prefer the energy there. Cruise shows are also good, as there is a bigger budget and I get to travel to different destinations than the other shows.

What do you think about brands not following the traditional fashion week calendar?

I think it is a positive move as it can be hard to put regimented deadlines on creativity. I think it will allow the designers to come up with more forward thinking ideas and allow an outdated structure to evolve, which will be exciting and interesting to see.

Have you had a “sink or swim” moment during fashion week?

Probably a few! One moment that springs to mind is when we were advised that a male model who was due to arrive seriously close to show time had severely bitten nails which the designer would not be happy with. We had to get press-ons put on him, cut them down and make them look totally natural in record time!

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Backstage at Moschino SS19 Milan Fashion Week

Kristine Toce @kikasnailart

Discipline: Manicurist Yrs. backstage: 3 years Fav show: Vin + Omi 2018 Why do you continually do fashion week?

I love working on the shows because it is an experience you cannot compare to anything else. It is always different, ever-changing and an exciting journey. To me, the shows are the most inspiring.

Especially when you go to the test and have an opportunity to see the collection up close and witness all details and hard work which has been put in. The colours, textures, prints and construction all fill my soul with joy. I think the process of creation makes me come back each season and look for new experiences. It is food for my soul and being among such a buzz makes my brain tick much quicker.

Backstage at Schiaparelli 2019/2020 Paris Couture Fashion Week

What have you learned through working on a team?

The most important thing about working on a team is communication, and sometimes without even words. It is great to have team members who have your back and vice versa. Shows cannot be done by just one person so therefore team is a key factor for success. A big role that plays within a team is personality and the ability to adapt . Being at a show makes me think about fishes in the ocean... if one moves then the rest will move as well. If one team member needs help, another team member “feels” it and comes to the rescue.

Moving forward, what changes do you anticipate for fashion week?

In my opinion there are big changes coming. In the last few years I have noticed growth in Fashion Films and similar projects. I had a feeling that the fashion industry was moving towards a digital platform, and now during COVID-19, I believe this is even more relevant. I think many brands will rethink and change how shows are shown to the public. To me personally, it would be sad to see the shows go. It is almost like losing a personal touch. Having that rush of experience when the first model walks down the runaway and to see it in real life presents the creations of 100 people working side-by-side to create this “miracle” in the form of clothing. This is an irreplaceable feeling. Unfortunately watching it on a screen does not give us the same feeling or euphoria.

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Sharon Robinson @sharonrobinsonhair

Discipline: Hair Stylist Yrs. backstage: 5 years Fav show: Chanel A/W17 Why do you continually do fashion week?

Because I’m crazy! I think it’s my vice. I love working backstage because I feel at home there and I continuously learn something new that I can use for future projects.

What have you learned through working on a team?

I have learned so much that there is not just one thing. I’ve definitely learned how to move internally, since space is always an issue backstage. I’ve also learned to communicate with people from all over the world through the language of fashion. I’ve picked up tips on equipment and techniques and I’ve learned that no one person is more than the team.

Backstage at Marc Jacobs AW20 New York Fashion Week

Claire Healey

Moving forward, what changes do you anticipate for fashion week?

I’m not sure what fashion week will look like but I have a feeling that it will be a lot more stripped back. I think that teams will be smaller, as well as model counts and I don’t think as much press will be allowed backstage which will allow for more creativity. I think we are headed for unsure but magical times.

@clairehealeyhair

Discipline: Hair Stylist Yrs. backstage: 7 Years Fav show: Dior Cruise 2020, Marrakech Have any iconic fashion moments happened in front of you, and did you realize it at the time?

Watching the big hair at Valentino Couture Fall 18 being created backstage. It was such a major look and there was so much excitement that was building around it. It was then that I knew this was going to be an iconic moment.

How does “the vibe” of fashion week inspire you?

Backstage you are immersed into a bubbling pot of creativity. You find yourself surrounded by so many interesting and influential people, and for a whole month you move from city to city with each other. It is a time for networking, education, and inspiration for me. I love being around it. The vibe inspires you to throw yourself out of your comfort zone, especially under pressure, try new things, do what you’re afraid of (even when you don’t want to), and when you do this, great things can happen!

What is one aspect of the potential changes of fashion week that you feel really excited about?

I feel really excited to see how there is going to be a more sustainable approach, not only at fashion week, but in the industry as a whole.

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Backstage at Vivienne Westwood AW18 Paris Fashion Week

Metta Francis @nailsbymets

Discipline: Manicurist Yrs. backstage: 9 years Fav show: Moschino A/W 2018/2019 What have you learned through working on a team?

I have learned so many new tricks and techniques.

Like simple things such as the best medium to use for adhering false nails on models, kit must haves, and the best ways to achieve the “perfect nail”.

Also, how to be more confident and how to work efficiently while under immense pressure. Not to mention, the best positions to work in, when under a table and/or on the floor!

Backstage at Preen by Thornton Bregazzi AW17 London Fashion Week

Moving forward, what changes do you anticipate for fashion week?

I expect a lot of designers will be making their shows/presentations digital and looking at ways to create immersive and virtual experiences. I think we will start to see more virtual/3D/augmented reality fashion shows that people can watch from anywhere in the world, with virtual models, or simply (headless) 3D bodies a la designer Hanifa. For designers that still want to have a traditional fashion week show or presentation, I think they will be looking to think completely outside of the box and try something new and fresh. Not having just an elaborately decorated catwalk and venue, but perhaps something that truly gets the audience involved in the experience... maybe augmented reality using guests’ phones...

Laura Streeter @laurapinknails

Discipline: Manicurist Yrs. backstage: 8 years Fav show: Carine Roitfeld X Luisaviaroma Do you feel more inspired or more pressure when working with a high profile model?

No! If you’re going to get star struck, then fashion week isn’t the right working environment for you. It is part of the job and there is no time for distractions.

Have any iconic fashion moments happened in front of you, and did you realize it at the time?

Maybe THE Grace Jones walking for Tommy Hilfiger AW19... but we all knew that was iconic!

Moving forward, what changes do you anticipate for fashion week?

I think this will lead to a huge shake-up of the way designers show, probably some of it for the better!

Social distancing will continue for a while so our job as manicurists will have to be done in a much more methodical way and less of a scramble. Hopefully this will mean longer call times and maybe even our own nail area instead of working under hair/MUA’s feet!

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Famida Pathan @FamidaMua

Discipline: Makeup Artist Yrs. backstage: 13 years Fav show: L’Oréal Défilé show 2018 Do you feel more inspired or more pressure when working with a high profile model?

I totally feel more inspired when working with a high profile model. It inspires me to do my best, to create the best look possible and offer an exceptional experience for that model. Plus you are representing the key artist so you want to do even better.

Backstage at L’Oréal Défilé show 2018 Paris Fashion Week

Have you had a “sink or swim” moment during fashion week?

A number of times! One in particular I remember is when we were working on the first Balmain Couture show. The models had to be painted or sprayed in either all white or black. I was spraying them in white working with another artist. The paint would not sit well on the models face as it had been watered down too much, plus the models had watery eyes which kept running. I had to think on my feet as the end result had to be opaque. With little time, I decided to paint the models first with a brush, set lightly with powder, then spray over to give a finer fuller finish to the entire look. Eventually it began to look how we wanted it and I could take it to be checked.

What is Beauty to you?

To be confident in your own skin, not to follow trends but to go with what makes you happy and comfortable. Beauty to me is something that stirs up positive emotions and which leaves positive memories.

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Nicola Hills @Nichillsnails

Discipline: Manicurist Yrs. backstage: 6 years Fav show: Vivienne Westwood Men’s AW17 Have you had a “sink or swim” moment during fashion week?

In fashion there is no time to ‘Sink’.......you only ‘Swim’ and that is why our particular team (Team Marian Newman) works so well together. For example, at a show where you are using temporary stick-on nails (we use these for easy removal) a model might have multiple look changes and there is a chance of them coming off. Of course it happens, and there is limited time to get a model back on the runway so you certainly see the adrenaline pumping. If a nail comes off, it MUST go back on, and before there have been times that I have to chase a model down the line up to re-apply before they walk again. Failure is not an option! When models are holding expensive handbags or props and being constantly photographed, every single nail must be intact. The pressure is always on.

Backstage at Balmain SS19 Paris Fashion Week

Tashi Honnery

What is Beauty to you?

Beauty to me is from within. It starts from inside.

The one thing I have always seen, experienced and felt and why I have a huge interest in fashion is that clothes are a massive part of this. You put something beautiful on and instantly you feel great.

You see the change in a person, giving them instant confidence, simply the way people move and hold themselves, it’s lovely to see and that itself is beauty.

@tashijusttashi

Discipline: Makeup Artist Yrs. backstage: 3 years Fav show: Balmain SS19 Do you have a favorite fashion week, and why?

Couture, for sure! That is true fashion and artistry.

It pushes the limits for hair, makeup and of course - the collections. Each show is a different world... jumping from a fairytale to outer space.

Have you had a “sink or swim” moment during fashion week?

Yes. Once we had a model come in five minutes after the runway went out in full hair and makeup plastered to their face from a previous show! We had myself and two other makeup artists and four hairstylists scrubbing her face and ripping at her hair (so she felt like she was in a simulator) all the while me having to do a PERFECT WINGED EYELINER…. This was done while I was on my knees while other people held my palettes.

What is Beauty to you?

Beauty is the individuality of a human being, breaking boundaries and making the audience look twice... once not knowing how to feel, but then having that second moment of “wow but it’s so beautiful!” Beauty should be speechless.

Backstage at Alexander McQueen AW18 Paris Fashion Week

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h ong kong c r e at e d i n

N OT OUR TU RN a r t di r e ct io n p h ot o g r a p h e r st y l i st st y l i st a s s i sta n t m a k e u p a r t i st h a i r st y l i st se t designer s e t d e s i g n a s s i sta n t gaffer a s s i sta n ts model s p e c i a l t h a n k s to

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Point Stu dio & Per petu a Ip Point Stu dio Per petu a Ip Ja n Li Eda Lee Tong Tong Zhou Point Stu dio joan Leung Duncan Lui Sherwin Wong Cat Wong Jane Song, ET Venus Cheung

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ST I LL NO SIG N OF I NT E L L E GE NT LIF E h a i r st y l i st

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Beth K en

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s po r es designer p h ot o g r a p h e r m a k e u p a r t i st model

Si y i Chen Kather ine Tse Dav id Gillers pol in a boyko

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m a k e u p a s s i sta n t s p e c i a l t h a n k s to m o d e ls

Just in Ridler Ben Dn ip rows k i j m a dele ine stewa rt Spl ice Boys & a l i r ae TANYA WENCZEL NICKOLAS JAMEZ

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jusTIn ridLer Interview Interviewed by Ben Dniprowskij To say that my brain is perplexed in understanding exactly what Justin does, is an understatement. The immersive 3D landscapes and the inhabitants he places in them are so alien to anything I have experienced on Earth, yet somehow spark strong emotions of fernweh (farsickness, or the longing of far off places).

I wasn’t fully prepared for what I was stepping into when we worked together. On the set of a momentous 100 or so cameras in a large Hexagonal structure which felt reminiscent of a Sci-fi vortex that could warp beings to foreign galaxies, there’s Justin and his collaborator Tom Brandon doing their thing. So I decided to ask Justin some questions about the elusive nature of the his art form and how he came to be a creator of worlds.

What exactly is this technology called, and can you explain how it works?

I use a multi-camera array to document an object or person from multiple angles - the images are then processed through software to create a 3d scan. I then use this high resolution photorealistic 3d scan to produce my work in 3d simulation software ( like the ones video games are built-in )

How would you describe your aesthetic?

If Bernini and Richard Feynman had a love child, my work would be their love child.

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How does one arrive at the point in their life that they are literally creating alternate worlds. Was there a defining moment in bringing this to you?

Haha well, its difficult to really put the finger on it but I’d say that I was very interested in special effects when I was a kid. I was obsessed with the two Alien films ( Scott and Cameron ) and then later Jurassic Park.

I’ve been a commercial photographer for 20 years. Over my career, I sort of dabbled in the technology from time to time. In the last five years that’s really increased exponentially to a point where now pretty much everything I do is created in a computer. I think the real appeal of it for me is that the systems I work with simulate nature so I can play around with ideas of space-time and gravity.

You have mentioned before this technology is in early stages of testing, how much of what you’re creating is born from experimentation?

I think the workflow offers me new ideas that I could never have had through my traditional methods so with that comes a significant degree of experimentation but one thing I would say is that I’ve tried as hard as I can to not let the tech side of it overshadow the work and I’m allowing some of the inherent decay/distortion/imperfections to stay on in the images I’m making so that it doesn’t get too detached from reality

Tom Brandon aka Splice Boys who you collaborate with on these 3D volumetric captures. How did you and Tom connect, and what is his part in these projects?

Tom’s amazing. We come at images from pretty dissimilar pathways, but we seem to have met in the middle for this work. Tom has one of those minority-report minds where sometimes he looks like he’s actually in the computer figuring out how to make the system go faster...We connected through a supplier of mine. I was looking for someone who owned 100+ cameras, and he introduced me to Tom who runs a bullet-time operation called Splice Boys.. We had a chat about volumetric and the rest is history I guess.

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Are you a connoisseur of augmented reality films, and what are your other influences Truth be told I actually have never watched an AR film in its entirety. I feel uncomfortable with the gimmick in them. To some extent, I think the same about VR. There’s just something about them that feels incomplete in terms of the way we engage with art experiences. But I think thats also possibly why I’m interested in working within those two mediums. Historically speaking, new creative technologies go through a bit of a gimmick phase, but eventually, their language refines and artists start to craft meaningful work within them. I’m very influenced by sculpture and choreography as art forms and also video games which I feel are definitely starting to become far more complex and compelling.

Tell me how the following words are linked to your artform: Nature I read a lot about physics and cosmology and most of my work is, in some way, connected to ideas that I’ve come across in books by Sean Carroll, Carolo Rovelli and Richard Feynman. So at a fundamental level, my work reflects nature and its laws.

Portraiture I think in its totality my work is a representation of self as well as a representation of subject so its more like a two way mirror than a portrait.

Avatar Avatar’s are a fascinating and potentially quite dangerous sub genre of creative expression and I feel like I’m just scratching the surface here.

In years to come the way we engage with the world will , I believe, increasingly take place through interfacing avatars.

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You can create whatever you want, what does having a makeup artist create texture and 3D sculpture on the skin bring to your process In the Large Hadron Collider physicists spend decades smashing subatomic particles together to see what new particles they can generate.

Same thing here really.. I could never come up with a nuanced makeup idea on my own because it is not my area of focus. So, the work I’m creating is also a place of collaboration/collision.

What are your views on Character creature creation?

I think its an exciting sub-genre at the moment and I think it might grow into quite a large field of creative expression if the world continues its love affair with AR / VR and gaming.

And finally, It has been implied that throughout history, alien lifeforms have downloaded code to humans... Do you think given the nature of your work that there is any chance our extraterrestrial counterparts may be assisting you?

If they are can they please assist me towards at least 10 more GPUs and some interns because I really need a nap and a sandwich.

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b r o o k ly n , u . s . a c r e at e d i n

the su rface p h ot o g r a p h e r a r t di r e ct io n

K e i th Gr eenb au m Chelsea Ga l inos

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Na rya Abhim ata Ta l i a Sub a n dr io Ra nggi Pr at i w i Ra m a Dica n dr a Ma r i a, Na dhifa, & Eva

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Ma lor ie Shmyr Ben Dn ipows k i j step h a n ie d over

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In conversation with malorie shmyr & ben dniprowskij An alchemist proverb states that if two geographically challenged artists are destined to create an alien together, the ocean which separates them will eventually become a pathway to deliver a package of facial features.

Malorie Shmyr Let’s talk about how this collaboration even started, we met in Croatia at a Mastered Program meet up.

I remember looking at your work and feeling that it was so fearless, adventurous and unconventional and I thought, “whoa… I want to work with him.”

But we haven’t been able to because I live in Canada, and you live in Australia!

Ben Dniprowskij I know, it’s just been these weird moments of missing each-other in different countries, and then me seeing you working with my friends and me getting jealous. You know we are star-crossed lovers fated to create together.

Malorie We had to figure something out…

So, we made a plan that you’d make something for me to photograph and mail it to me from Australia to Canada. I needed to find a model here in Canada and we would then do a video call during the shoot where you would direct me to apply the face installations you mailed to me and direct me on how to do makeup to accent each look. And that’s what we did back in 2019! You were on my computer screen, sitting on a cart that I could roll you around on so you were with us the entire shoot. How many hours do you think we shot?

Malorie You know, I had no idea what you were going to mail me. Absolutely no idea. What was your process of making these face installations?

Ben The way that I create my face installations is that I make a cast of the person’s head and then I work off of that specific structure of the face so that way they will fit perfectly. The thing with my work is that each project has its own set of limitations and I like to let those limitations shape the project. I also usually work with trash and rubbish so according to what I find, this will also influence how the project is shaped. I didn’t want to send you just one thing; I wanted to send you a whole series of things. But I thought, how am I going to do that without having the model here in Australia?

So I decided to use one of the molds that I already had and use semi-pliable things so they could form around the face easily. And for the most part, I think that they worked out great!

Malorie Yes, all the pieces were very easy to apply, and they fit perfectly onto Stephanie’s face!

Ben It was just under 7 hours.

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Ben What was your reaction when you opened the package? Were you expecting anything in particular?

Malorie Well, when I went to the post office and they came out with this tiny little box, I thought, “hmmmm. what did he send me?” Based on the larger face installations you’ve made in the past I was expecting a bigger box. But, when I opened it up… I thought “YES, this is a dream.” I couldn’t believe the colour combinations and I LOVE EYEBALLS! I draw eyeballs all the time and my favourite subject to capture is the eye! So the fact that I got a box of eyeballs, I was definitely excited about that.

Ben I must have picked up on that, because I love eyeballs too, but I don’t think I’ve actually ever made eyeballs for a look before.

Malorie All of these looks are different versions of tear drops. Why did you make this choice?

Ben We decided that the theme was going to be “Separation”. I started thinking about how I feel so trapped here in Australia because I am separated from all of these amazing people that I want to create with. And so the tears thing came up because it upsets me. And also, I am so used to pushing my lines and shapes upwards for makeup, like when I am doing a cat eye shape or whatever. So I thought, let’s bloody try something new!

Because, you know, the bulk of my work is me just trying something new to see if it works or not. And so I ended up deciding to draw everything going downwards.

But, you had said that you wanted people to feel happy when they looked at the images, so that’s where all the colour and brightness came in.

Malorie Yes! And I decided to put a star filter on the lens because you have so many different textures and shiny bits on these creations. I really think that the star filter accented and contrasted well with the sadness of the downwards shape. There is something about sparkles and shine that I think people in general like and makes them happy. I also wanted to create a kind of hazy dreaminess to the images as well. These images are sharp, but they also have a softness to them. Our model has a shaved head and we asked her to also shave her eyebrows to really pull the look together, aw…. poor Stephanie!

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Ben Such a trooper! I think it was essential to the final looks. I was channeling YOU when I was creating these looks and all of them were meant to be accented with real makeup done by you during the shoot.

Malorie Yes, I had a whole lot of makeup and you directed me how to do it.

Ben How was that for you?

Malorie It was exciting for me! A secret dream of mine is to do makeup on people. I’ll often create makeup looks in my head when lying in bed at night. However, there are so many things you have to think about being a makeup artist and interact with people so intimately that I think it is just not for me. I feel confident knowing that I just like documenting the makeup artist and their work. But, with that being said, I am a painter! So, it was exciting for me to do the makeup for this and I treated Stephanie’s lovely face as a canvas. You gave me permission to indulge in my fantasy of doing makeup.

Ben I am really glad and I have to say to you that I don’t think you should say you never would to something. You know, for this process I didn’t necessarily want a makeup artist to do it because I had seen your paintings and thought you were perfect for it!

It was hard for me over the video call to see what you were doing because the images were a little blurry but now that I see the images in person, you did a really good job.

Malorie Well, thank you! I felt bad for you with the quality of video because I could tell it wasn’t good for you while I was shooting. Part of this reason was because while I was shooting I was using a spotlight.

I wanted a really intense single source light in order for it to pick up all of the stars on all the glistening surfaces. So that made things completely overexposed on the video you were watching. What did it look like from your end?

Ben It was really bizarre, there was a lot of buildup in creating those things I sent you.

Because usually I am there doing it, so seeing someone doing it for me being an ocean apart with a blurry camera was really cool but it was like some weird kind of sexy fantasy dream.

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Malorie By the way, I showed these pictures to my mom.

Ben What did she say?

love to treat Photoshop as an extra level to create a desired image. It can help you to push the surrealism in an image, which I love and it can help take away distractions from the message you are trying to bring forward. I do not see it as “cheating”, I see it as a part of the entire process.

Malorie Well, she said, “Oooo they are a bit scary but I can’t stop looking!” And I said, “Scary?! Really, I don’t find them scary at all.” So I wonder if some people might think that these are a bit scary. For me, I think that these images represent what beauty is to me. When I opened the package from you Ben and looked at what you created, I said, “Finally, finally somebody gets me!”

Ben Well, you’ve used Photoshop so nicely here to the point where I question if you had done it. And that’s what I like. Because I can’t handle this world that we live in now where things are just being wiped out. When I get work back sometimes from photographers, I get upset when they touch my work. I have chosen to do it like THAT, so don’t touch it! You don’t NEED to touch it.

Ben That’s what I was like when I saw the final images!

I was like, “Oh my god, this was perfect!”

Malorie Well, I appreciate a makeup artist that wants to create everything perfectly in camera because that’s what separates a really super good makeup artist from a GREAT one. I have had the great honour of shooting backstage at fashion week for Val Garland for several seasons now, and let me tell you there is absolutely NOTHING I need to retouch on the makeup she creates. It’s utter perfection and it couldn’t be more of a dream to photograph. I mean, she IS a master of her craft, we all know that! However, I have worked with makeup artists in the past that have asked me during the shoot if I can Photoshop their error. I will say, yes I can, but let’s try to make it as perfect as possible now.

Because also with video, it’s different! You can’t rely on Photoshop retouching. You’ve got to do it right. I mean, of course, sometimes there can be something that we decide together, as a team, that I need to Photoshop, which I’m super happy to do when we both realize that is the best option and needed for a particular situation.

Malorie I wanted to bring up Photoshop with you because I know we have really different opinions on that subject.

Ben Yes, you know I have an adverse reaction to Photoshop. Sometimes when I see the quality of makeup versus what it looks like after Photoshop I am like, “Wow!” I hear, “fix it in Photoshop” so often, whereas I am a big believer of, “I’m going to show you my muscles”. I don’t want you to have to fix it in Photoshop. I pride myself on not needing to Photoshop things so that people know what I am creating is real. I think this comes from people often not thinking what I have done is real, they think it’s Photoshopped.

Malorie So, I have a different feeling toward Photoshop. I love Photoshop! I will put all of my images through Photoshop. I don’t like to adjust the colours of the makeup because that’s what the makeup artist has chosen, and I like to honour that. However, if I have to do that for some reason, I like to discuss it with the makeup artist first and decide together on the adjustments. I pride myself in trying to capture the real colour and the real texture of the makeup that the makeup artist has worked hard to create. Where Photoshop comes in most handy for me is that I like to work with the texture of skin if needed. Lighting is going to help with the texture of skin of course, but a makeup artist can’t really deal with a raised surface. I like to be able to not distract from the makeup, and therefore will always remove textures that are not permanent on the model. Since my background is as a painter, I

Ben I always think specifically about the photographer when I am creating stuff. I make sure that whatever I do, that they aren’t going to have to spend hours in post-production. I’ve had to retouch some of my own photos and I know if something is done wrong, it can take FOREVER!

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Malorie When I first started Photoshopping, I would take out the dark circles that were underneath people’s eyes.

You see, I have a permanently darker tone under my eyes. Many images I see in the media of women have no dark circles and I think this is what made me think my face wasn’t normal or something. But then, after gaining more experience shooting hundreds of faces and discovering that so many people have darker under eyes, I realized that if everyone is removing dark circles from the majority of the images we are seeing, that it is really bad. That is WHY it stands out to me that I have it. So I stopped removing it from people. I now find that it looks very beautiful when under the eye is slightly darker.

It’s made me feel better about myself and hope others who worry about this themselves can also find the beauty in it.

Malorie And with the bags it looked almost like they were futuristic, and it feels sporty somehow.

On another note, what is one of the most important things to you when collaborating with someone?

Ben It has got this weird… I don’t want to say innocence, but it’s got a vulnerable kind of feeling to it. Does that make sense?

Ben I think the main thing about collaborating is TRUST because even when you said that you were getting styling and props for this shoot I wasn’t feeling it, but I knew I just had to trust you. Everyone who knows me knows that I don’t normally like styling, but it ended up being perfect!

Malorie Yes, I knew that you were hesitant about me pulling some clothes for this. I had no idea what to pull and I even was at a point where I thought it was silly for me to pull anything. But then I thought further about why you made tears and that we were sad we can’t be physically together to create. This photoshoot is a way that we can “be together” and that brought me to start thinking about travelling which brought me to think about luggage and bags.

I found all these miniature backpacks and fanny packs. So this image (page 161) with all the bags represents us travelling to go see each other and Stephanie is the one who is uniting us!

And, let’s talk about this pipe cleaner look (page 161).

Ben You know, as an artist I am always pushing myself to do something new. I can’t tell you how many things I tried and made that just got thrown out. I was looking at these pipe cleaners and I thought about how pipe cleaners are so TRASHY! They are so ugly and cheap! But sometimes the simplest thing can be the best. So I literally just took 3 pipe cleaners, bent them and then glued them to the sticker base and then I thought, “Am I crazy?!” But they looked amazing!

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Let’s talk about this look (page 149). I love the fuzzy lips! There were so many different photo options for this look that it was hard to decide what the final image would be. My process normally for choosing the final images is that I will look through the photos on the same day as the shoot and select the ones that catch my eye. Then I won’t look at them for a few days, when time allows of course.

This way I can come back with fresh eyes and look to see which ones still stand out. Often the ones I had selected on the day of the shoot make it through to the final selects, and this one stood out to all three of us on the day of the shoot.

Malorie Yes, totally. It’s kind of cute, or sort of anime!

And the reason that I suggested Stephanie for our model was because she does drag and often creates different sculptural pieces for herself to wear. She has this great ability to emote so well with her body language. She is very aware of her body.

This sweater is a Moschino sweater, and the reason I got it is because it says different airport routes and different airport codes, which brings us back to us travelling to each other.

Ben And, it’s funny because you know artists pour out their hearts so much into their work and the first thing that I am seeing on the sweater is the word “LOVE”.

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