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fall staples


glamourista FA L L S E A S O N 2 0 1 0

0 5 — S taples of t h e Season

The biggest fashion trends for Fall.

0 9 — Ac c essories

Fall’s must-have accessories. Everything from handbags to jewlery.

13 — I nsi de t h e Design: M arc Jac ob s

An interview with Marc Jacobs on his new fall line.

Get to know fashion photographer Julia Pogodina.

23 — Run way S t y list

Mini-featurette on a notable fashion makeup stylist and/or hair stylist.

27 — I nsi de t h e Design: R ic c ar d o tis c i

An interview with Givenchy designer Riccardo Tisci.

33 — Fash ion Ic on

Mini-featurette on a notable fashion icon.

35 — Colle c tions G allery 

 art-gallery-type showcase of various fashion lines just released from An designers for the fall season.

41 — L etter from t h e E ditor A letter from the editor of Glamourista.

4 3 — Contri butors 

Acknowledgements for those who contributed content to the magazine.


19 — Fash ion Photograph y: J ulia P ogodina

— S ta pl e s of t h e se a s on


tight knit

Designers are getting “heavy” this season in the best way possible. No more borrowing your boyfriend’s comfy sweater—now you can grab your own! Chunky kknits are fall’s most confortable style, perfect for combating brisk weather. Prada belted a thick knit for the illusion of a slimmer silhouette, while Rag & Bone piled several

knits on for a layered approach. Cushnie et Ochs gave us their version of a sleek, hooded dress in a rich fuzzy knit fo a look that is both confy and sexy. The key element to pulling this look off is toying with textures and shapes to ensure you bring in the cooler months in style.

cool camel


Certain staples never go out of style. Considered the little black dress of outerwear, a camel-hued coat is the classic addition to any fall ensemble. The runways were littered with countless adaptations to suit any taste or occasion. Whether you favor a sleek blazer for a minimalist look a la Dries Van Noten, or an embellished version

perfect for evening as seen at Alberta Ferretti, these light, coffeecolored toppers enhance any look. Prada, ever the innovator, even gave us a glossy version of the coat, for a cool update on the classic. Keep in mind camel is a rich neutral with the ability to blend with many colors—so experiment!

— fa sh ion pho t o gr a ph e r

julia Pogodina


How did your career in fashion photography unfold? On July 15th, 2006 I quit my job as a foreign associate at Sidley Austin law firm in NY and started doing photography full-time. But I guess it all started much earlier. As a child, I stayed up all night with my Dad in our homemade darkroom watching him develop b&w pictures from our family trips to the Black sea. Then it was my first camera, a 35mm Lomo compact that I received for my 8th birthday. And lots of art books in my parents library, weekly trips to the museums and exhibitions with my parents, beautiful art pieces & pictures on the wall of our apartment in St.Peterbsurg where I grew up. My parents always encouraged my artistic beginnings (my Dad himself is an antique restorer & jeweler) but the harsh reality of post-Soviet Russia didn’t allow the luxury to pursue your inclinations when it was time to choose where to go to school. Instead, stable income and prestige were the criteria in choosing your future career. The latter together with my excellent grades in school brought me to St. Peteresburg Law school at the age of 18. It took me 9 years to realize that it was a mistake. Without regretting the past I moved on to a very uncertain future and started a new career, fresh, without proper education, at the age of 27.

Honestly, there was no smooth transition between being a corporate lawyer and becoming a fashion photographer. I guess there couldn’t be. It was abrupt, unexpected, scary, and very exciting. I’m not sure I’d be able to do it again if I had to... It takes not only guts but also some kind of blind fearlessness, courage and sense of adventure. It’s like jumping with the parachute for the first time. I loved it! But I would be very cautious to recommend anyone to repeat this path. 2.5 years later everything is different now starting with my self. The way I look, the way I spend my day, my circle of friends and acquaintances, the place where I live. Elegant suits and high heels were replaced by jeans and converse sneakers. My tiny studio in a fancy building in the West Village was abandoned for a spacious loft in East Williamsburg. But the biggest changes happened in my head. Living your dream is a difficult thing. Dreaming about being an artist is easier then becoming one. It is not an overnight process and I still have a long and exciting journey ahead. Can you talk about collaborating with stylists, makeup artists, models, etc. Each designer has a task but you are all working together to create a look, how does this collaboration work? In fashion photography – opposite to fine art photography, for example, - team is a key. A glossy picture that you see in a magazine is always a collaborative effort – of an art director, photographer, model, stylist, set designer, make-up artists, hair stylist, photo retoucher, layout designer, etc, etc. It’s a huge production, and each level of it is crucial. I personally always liked that part. I love working with creative people and this is one of the reasons I’m in this industry. It’s different from the type of team work people talk about in the offices – here it’s not as technical. It is a mix of creativity & different personalities. Magical in a way, and very powerful. Sometimes you feel that you have no control over it; this is when beautiful things are happening – when each team member is in love with the project and you see everybody’s unique touch in the final outcome.


There are no rules in this process, I believe. With my team I’m usually the one throwing initial ideas on the table. Some inspiration, a couple of reference pictures, a short description of a concept. Then each member of the team starts working on his own part. Here I usually give complete freedom and always encourage them to experiment and create something unique. Sometimes it works, sometimes it doesn’t, but at the end it’s all a learning curve, where an ultimate goal is to find and express yourself. What inspires you? Lots of things. The people around me. The places I used to live or visit. My childhood memories. Literature. Movies. Exhibitions. Music. Sometimes inspiration is very directional, for example, I can watch the Pillow book by Peter Greenaway and my head starts spinning with ideas about a fashion shoot inspired by the style of the film. But usually it’s more complex. Ideas come as a mix of experiences and aftertastes, dreams and fears, sounds and quotes, flashbacks of emotions.

MJ I nsi de t h e Design: M arc Jac ob s

The Louis Vuitton designer dishes about the new fall collection, his inspirations, and how he fares in high heels. Together, Marc Jacobs and Louis Vuitton are nuclear. But before their union, Jacobs was a badboy designer—he’d been fired from Perry Ellis for his now-legendary Grunge collection—and Vuitton was little more than a stodgy luggage company. All that changed in 1997 when Jacobs became Vuitton’s creative director. In the decade that followed, he brought ready-to-wear, jewelry, and accessories to the French maison. Collaborations with artists Richard Prince, Stephen Sprouse, and Takashi Murakami reinvented the LV monogram as a pop-culture icon. A master of the unexpected, Jacobs sent buxom babes, from Laetitia Casta to Elle Macpherson, down Vuitton’s fall runway instead of the usual waifs. “The criteria for the girls was that they just be gorgeous at every age and size,” he says. We wouldn’t have it any other way. Glamourista: What was on your mood boards for the fall 2010 collection? Marc Jacobs: Oh God, once these things are over I can barely remember. I don’t know that there was anything specific on the mood boards. We always start out in one way and then go through an evolution. It’s not like we decide on a theme and it stays that way. During the course of putting the collection together, we’re looking at fabrics and talking about silhouettes, ideas, and different moods and spirits. GLM: How do you distance yourself from your own collection to bring something new to Louis Vuitton each season? MJ: The Vuitton show is after my collection. The last thing we want to do is have anything look too much like what we’ve done in New York. But a lot of the process at Vuitton comes from working very closely and hard on the bags. I started this whole thing with the bag team, working with the house’s iconic Speedy bag that’s been part of Vuitton for many, many years. For fall, I wanted to do a very sophisticated collection of handbags. That dictated the shoes and the unusual color combinations. Ultimately we got to this womanly point that was much more non-fashion in a way.



GLM: What do you mean non-fashion? Some of the biggest names in modeling walked in the Vuitton show. MJ: When I say non-fashion I mean, it wasn’t one of those shows that I felt you had to be a fashion insider to get the innuendo. For example, I received an e-mail from a very good friend’s brother who’d seen the show on Facebook or whatever. He said, “Oh my God, I know nothing about fashion but I’ve never seen so many beautiful women!” That was really the reaction that we wanted. It just felt graceful. When Laetitia Casta opened the show, there was just a stunning energy. And when Elle [Macpherson] came out, she was so charming — the way she moved and even smiled at the audience. None of that was planned. It was just the way the girls felt in the clothes that they were wearing. GLM: What does it feel like to be considered an oracle of fashion? MJ: Well, first of all, I don’t feel that way at all. I don’t see myself as being as big of an influence as other people seem to think. It’s funny. I was just on the Time 100 list and I thought, What in the world was the criteria for that? I talked to my shrink about it. He says I’m always putting myself down. I don’t really think that I’m putting myself down. I probably do that sometimes. It isn’t that I have a low opinion of myself. But there are so many people in the world of fashion who I admire. When I look at Alber Elbaz or Karl Lagerfeld, or when I think about Saint Laurent or Coco Chanel herself, and I think Stefano Pilati and Rei Kawakubo — there are so many people who are so brilliant and total in their vision. What they do, to me, looks so effortless and inspired that I feel like I’m just not in their league.



MJ: I don’t know that I’m sane at all. But I’m blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me. When I’m nervous and insecure and doubting, I become very stimulated by the creative people around me. I’m useless at staring at a piece of white paper. But if you put a piece of white paper with a black line on it in front of me, I’ll say no that black line should be red and it should go this way or that way. I need something to change. I’m not an inventor or someone who can just do it. GLM: You’re not afraid to be a little outrageous—blue hair, man kilts. Do you have any new looks for yourself on the horizon? Man heels, perhaps? MJ: Oh, I’m wearing them right now—a pair of boots from Saint Laurent. They have quite the high heel. But I’m short and I only wear high heels when I’m wearing jeans. I don’t wear high heels with a skirt because that would just be too much. Although sometimes before the Vuitton show when we’re doing the fittings I’ll put on the heels from the show. I empathize with women in their high heels so I’ll be there in my kilt and T-shirt and I’ll walk around all day just to prove that if I can wear the shoes for 36 hours then certainly our customer can wear them. It’s more of a joke than anything else. I’m certainly not running around in drag. GLM: What’s something you hope to do that you haven’t done yet? MJ: I really dream of launching perfumes for Louis Vuitton someday. It’s something I’ve pushed for for a long time and they’ve been a bit resistant. But I think now, they’re ready. Vuitton’s legacy has of course been in luggage but I can see it becoming a brand that’s remembered as much for its ready-towear, fashion accessories, and, hopefully, its perfumes and everything else. •


GLM: How do you juggle three super-successful collections and still stay sane?


Tisci’s Gi v e nch y de sign er R icca r do T isci is a m a n of m a n y m use s . G O i nside t h e


Tribe ge n der-be n di ng a d hoc fa m i ly t h at r ei n v e n te d t h e house H u be rt bu i lt

Fro Gro Mal Jare and


ast May, on the final day of the art event of the season, Riccardo Tisci, Givenchy’s 36-year-old artistic director, was pacing unrecognized among the throng that had gathered at the Museum of Modern Art to watch Marina Abramović conclude her marathon performance, “The Artist Is Present.” Without moving or speaking, Abramović had been sitting in the same straight-backed wooden chair almost daily for three months, clocking more than 700 hours and locking eyes with some 1,545 members of the public, who came to sit opposite her, one at a time, after enduring a long line. Tisci and Abramović, 63, are close friends, and while he wanted to summon the nerve to sit with her, he has always considered himself exceedingly shy. “I don’t know if I can do it,” he’d confided to me the day before, adding that it was the worst time of year for him to make the trip to New York. Tisci, the youngest major couturier in Paris, had men’s and haute couture shows to prepare and a resort collection to unveil. “But I want to give her the last kick of this really long performance. It’s a big goal for me.” The previous summer the two had gone to Santorini together on holiday, but since each had just broken up with someone, they had spent most of their time “crying and crying—we were like an island,” said Tisci, who is appealingly forthcoming, if given to drama. “I told her in Greece, ‘Forget it. I prefer to cut off my hands than sit in front of people.’” Now, in the atrium, as Abramović’s performance approached its denouement, there were at least 2,500 people jostling for a view. Over the course of the three-month show, she had drawn as much press attention as the rock royalty Tisci dresses, a roster of muses that includes Björk, Courtney Love, and Madonna. Beads of sweat began to form on Tisci’s brow. Tall and solidly built, the result of daily kickboxing sessions, he wore a scruffy two-day beard, and was dressed in his by now familiar uniform of jeans, baggy black Givenchy Homme T-shirt, and superwhite Pumas, a rosary around his neck. His smile revealed a mouthful of metal braces. With 20 minutes to go before the artist made her exit, Tisci sat down across from her. Surprised to see him, and looking into what she calls “those huge eyes like coffeepots,” she began to cry. Like Abramović, Tisci goes in for extremes. “Everything he does is intense, and that’s why we connect,” Abramović told me afterward. When I asked Tisci about their bond, he acknowledged, “It’s like a mother and son, a very strong friendship. We can spend hours and hours really vomiting ideas and energy. If you wrote down all the things Marina and I want to do together, one life is not enough.” So far he has asked her to direct a fashion show for him, and they’re planning to sit together for a portrait. “I thought it would be funny if we did Riccardo drinking milk from my breasts,” she said, “because that’s really what it is—we feed each other. We’re family.” Seeing the trial she had put herself through convinced Tisci to push himself beyond his own comfort zone, something he has always strived to do in his work. “In the last three years,” he said, “I’ve gone through a real metamorphosis.” If Tisci has changed, so has the maison he’s headed since 2005. At the time he assumed the reins, 10 years after Hubert de Givenchy’s retirement, John Galliano, Alexander McQueen, and Julien Macdonald had already come and gone. And yet Givenchy, founded in 1952 and best known for its storied association with Audrey Hepburn and her little black dress, remained a prisoner of its fusty, ladylike aura. When Tisci nabbed the job, seemingly out of nowhere, he was working in Milan on a shoestring budget, a Central Saint Martins graduate with just two collections to his name. Like Galliano at Dior, Stefano Pilati at Yves Saint Laurent, and a host of other young designers, Tisci had to find a way to riff on the codes of a legendary house without limiting his own self-expression. “For the first year and a half at Givenchy, I was always questioning myself, which had never happened to me before,” he said. “I’d ask, ‘Is it very Givenchy? Is it very Riccardo Tisci?’ Because I wanted to keep the elegance, the chicness, the DNA of the house but


om left: Daphne oeneveld, Lea T, lgosia bela, ed Buckhiester, d Pablo Otero.


bring the darkness, the romanticism, and the sensuality—things that were missing.” His talent for making women feel not just powerful and sexy but practically totemic—plus his willingness to suspend his own independent label, something his predecessors had refused to do—revitalized the moribund house. By 2007 it was profitable, and a magnet for modern waifs and über fashionistas, like French Vogue editor Carine Roitfeld, an influential early champion, who were drawn to his darkly romantic and feminine yet tough brand of chic. While his visual bravado was at once apparent, critics initially considered his goth-gamine aesthetic and high-concept shows overwrought. But in the past year Tisci has become part of the firmament of designers who set the fashion agenda. Even Pierre Bergé, Yves Saint Laurent’s partner in life and business, remarked of Tisci in March, on leaving Givenchy’s fall 2010 readyto-wear show, “Of all the designers in the world today, he is the most talented.” “At first people wondered, Is he the right fit?” recalls Marco Gobbetti, former CEO of Givenchy Couture and the man who hired Tisci. “But already he had a 360-degree vision. It wasn’t just the clothes, or the woman. He could put her in a universe.” Now, he adds, “there is no longer a distinction between Givenchy and Riccardo Tisci.”


says madonna, who asked tisci to design costumes for her 2008 sticky & sweet tour, HE HAS A CLASSICAL POINT OF VIEW WITH A PUNK-ROCK SENSIBILITY.˝ That singular vision was clearly at work at the closing dinner Tisci hosted at MoMA to celebrate Abramović’s feat, just 26 hours after she’d completed it. The dress code of black, white, and gold had been dictated by Abramović, but the fabulous parade of personalities, clothes, and statement footwear all bore Tisci’s distinctive stamp and monomaniacal eye for detail. Many of the guests he’d outfitted personally. There was plenty of sheer chiffon, lace, gold-spiked hardware, and goddess gowns with frayed edges or ostrich-feather fringe. Björk wore a gold lamé gladiator minidress, while singer Antony Hegarty of Antony and the Johnsons arrived in a custom-made floor-length zigzag-print chiffon cape, with the words oh no drawn in black on his forehead. Tisci and Abramović had gotten ready together in her downtown loft and she was now glammed up in a belted black dress with a train and a jacket Tisci had patched together from assorted snakeskins. Also in Givenchy haute couture were Liv Tyler, Courtney Love, and R&B star Ciara. Love had missed out on “Marina’s staring thing,” she told me, but was there for her good friend Riccardo, who, in 2007, had invited her to perform in-house at the Givenchy salon. “You have not lived until you’ve seen Suzy Menkes and Karl Lagerfeld moshing in front of you while you’re playing rock in a couture dress,” Love said, noting that onstage these days she wears only “Riccardo, Marc [Jacobs], and Rick [Owens].” Tisci’s clothes, she added, “have a rock ’n’ roll inherent value to them. He understands women and masculine energy in women. He can take some of the strangest elements, put them together, and they work.” The same might be said of Tisci’s tribe, who orbit him with near- cultish devotion and were also on hand at MoMA that night contributing to the cozy mood, which felt more like that of a family wedding than a red-carpet photo op. In addition to Abramović, Love, and Antony, they include Italian model Mariacarla Boscono, transgendered Brazilian stylist Lea T, London-based Greek stylist Panos Yiapanis, and Argentine-born, Milan-based DJ, event planner, and stylist Marcelo Burlon, who has one of Tisci’s initials tattooed on each elbow. Tisci’s world, says Abramović, is very much of his own making. “There’s a big difference between Courtney Love and Antony and Lea T,” she said the following week. “He’s able to bring together people from underground and pop culture, music, art, and fashion in the most unusual way, and that’s why the scene looks so interesting. Normally these people would never get together, but Riccardo unites them.” It was Abramović who introduced Tisci to Antony at a dinner party two years ago. Music inspires Tisci; it’s always playing when he designs, and Antony’s work, he says, “gives me emotion.” For the singer’s 2009 summer tour, Tisci created an ensemble for him that was “men’s, women’s, and couture all together,” he said at the time. “I told him my cat had died, and he made me this beautiful coat,” recalls Antony. “It had hundreds of layers of felt separated by pearls, and it was layered to form the impression of a cat’s head curling around my shoulder. And on the back were all these skeletal plumes. It felt so personal.”



ong before he gathered round him this fantastic constellation of muses , Tisci imagined what it might be like to live in such a world. Growing up in Como, in a poor family from Taranto, in the south of Italy, he was the youngest child and only boy in a household with eight sisters. He was four when his father, a fruit seller, died, and at 12 he started working after school for his uncle, a plasterer, because his family needed the money. “My mom treated me as a man, not a boy,” he told me on a return trip to New York to present his 2011 resort collection. It was the end of a long day, and he was sitting in his suite at the Mercer hotel, his bare feet tucked under him, chain-smoking his way through a pack of American Spirits. “She saw me as the person who replaced the love of her life. She said, ‘You have to learn how to work.’ I am what I am today thanks to my mom, because she gave me this education.” A “supershy” kid who was less well-off than his classmates, he relied on his sisters as playmates. Watching them get ready to go out on the weekends, he saw up close, times eight, the transformative power of clothing. “I would sit on the little bidet watching them put on makeup and dress up for the club, and I was so attracted by the metamorphosis they were making,” he said in Italian-accented English. “It was the Eighties, so there was lots of red lipstick, big shoulders, and gleeter.” Locking himself in his room to be alone and draw, he’d blast Alice Cooper and the Cure, and make what he calls “these strange collages” of male and female faces and body parts that he’d ripped out of magazines. Sometimes he would create figures that were half human and half animal. “It was always my dream to have a brother,” he recalled. Only in Tisci’s dream his brother was “a faun—half man, half goat,” he said. “My second collection was inspired by that. Lea T came out with these big fur boots and looked like a faun.” His inspiration for this year’s men’s, resort, and haute couture collections was Frida Kahlo. “I’m a big freak of Frida—her obsessions are similar to mine,” Tisci said, ticking off animals, religion, sexuality. “She loved exotic animals, and saw their bones and skeletons as positive things.” He collects animal skulls and bones; mounted on the wall in his bedroom in Paris is a unicorn head. It’s actually a horse head with a narwhal tusk jutting from its forehead, and it was his first splurge on assuming the reins at Givenchy. Kahlo’s strength and ambiguity are no less of a draw. “She’s also a masculine woman, which I love,” he continued. “The fact of the eyebrow—this masculinity left raw, and at the same time this elegance. When I found out she was a Leo like me, I got more fascinated.” From his earliest days Tisci embraced an inclusive, nonconventional idea of beauty. As a student at London’s Central Saint Martins College of Art and Design in the mid-Nineties, he persuaded Mariacarla Boscono to pose for his graduation-show invitation after asking a mutual friend to introduce them. She was then new to modeling and just 16, but he loved the way she looked like a “supersexual tomboy, like an alien,” with her short hair and gamine physique. They’ve been friends ever since, and she has inspired many of his designs. When he met Lea T in Milan a few years later, she was a boy named Leo, the son of a former Brazilian soccer star, and as Tisci remembered, “a beautiful, superskinny boy wearing jeans and a T-shirt with curly afro hair. We grew up together. We’d walk around Milano and people would call her lei [she], and she would look at me and say, ‘But I’m a boy.’ I could see she was suffering in her own body.” Tisci saw other possibilities. “He was the one who had the courage to tell me I should think about a sex change,” confided Lea—who has been undergoing hormone treatments since last year—when we met in Paris in June. Tall and striking, with impossibly narrow hips, pronounced cheekbones, and long black hair, she has about her an air of fragility, even in open-toe bondage sandals with thick wedge heels. “We had a party to go to, and he was like, ‘Why don’t you try these shoes?’ They were high heels.” Soon Tisci helped Lea step into her new identity by making her his fit model while a fledgling designer in Milan. “I’ve got a lot of transsexual friends,” Tisci said in New York. “I like the fact that they have the strength of a man and the femininity of a woman. But Lea T, she’s got something very special—like a Greek goddess.” As Abramović sees it, transsexuals “are a kind of abandoned race who he can include in his work. They have this advantage or disadvantage not to be one sex or the other but to be in between.”


From left: Diego calheiros,Bambou, Ciara Harris, Riccardo Tisci


That fascination with opposing forces plays out in Tisci’s designs, whether in his predominantly black and white palette or in his juxtaposition of unlikely elements—scuba and skiwear, as in his fall 2010 ready-to-wear collection, or frothy chiffon dresses with utilitarian zippers. But testing ideas of gender has been a constant. From the first he opted for men’s tailoring in women’s jackets, and in his spring 2011 men’s wear show in June, he sent athletic male models out on the runway in white lace shirts and skorts. “My men and women are confident in their sexuality, so they can play with both worlds,” Tisci said. “His world is strong women and sisters, and transgendered and gay people,” says Antony, who is himself a study in contrasts: a tall, broad-shouldered man with a delicate, quavering, melancholic voice. “Transgender and gay sit at the divide between male and female, and that’s a very alchemical place.” This past spring Tisci decided to feature Lea T prominently in his fall 2010 advertising campaign, sparking buzz in the fashion press over his use of a transsexual. In June, at the Givenchy men’s show in Paris, she was on hand to make her runway debut. “She’s going to have an operation, but that’s secondary,” Tisci told me when I arrived. “She’s a woman, and I believe in her beauty.” For the first time he was planning to include women in his men’s show, and Lea would be joining Boscono and Malgosia Bela in the ornate salon of the Intercontinental hotel, along with perhaps the most ethnically diverse cast of male models yet seen on a Paris runway. He wanted to make Lea a part of his cast, he said, to drive home the point that the ad wasn’t some kind of a stunt. This was Tisci’s fifth collection since taking over Givenchy men’s wear in 2008. Backstage he was huddled in his private room—a black box in a corner of the dressing area—with Yiapanis, his men’s stylist, sorting out the show’s final 36 looks, pared down from an initial 500. Just outside, male models in geometric haircuts with killer physiques were milling about, gauze strips affixed to their heads to keep their hairstyles in place. Some wore leopard-print suits and matching pointed shoes, others vertebrae necklaces and trompe l’oeil jackets—one piece that looks like two. Tisci likes to mine what he calls “the darkness inside of me.” His designs are rife with references to his Catholic roots and to memories of Baroque churches and funeral processions. He prays before each presentation, and already that day he’d put a bag of salt in each corner of the venue, another preshow ritual. The theme of this collection was Victorian Circus. As his models began to line up, Tisci described how he’d drawn on Mexican wrestling masks, religion, and the 1932 Tod Browning film Freaks, which was novel in its day for having been cast with actual carnival folk. “I think it’s romantic and quite melancholy,” he said of the movie, which he’s watched “about 200 times. The fact of all these strange people, all outside of society, getting together to make something that is quite beautiful.” I asked if there weren’t obvious parallels to his own circle. “Today is a celebration of what is my circus,” he said. “This is my family—like it or not.” •

— a f e w wor d s

fromthe editor AT GLAMOURISTA We believe that fashion is an art.


Each piece is beautiful, inspiring, unique. Our love for fashion stems from a deep respect and admiration for the designers who create the looks that define cultures around the world. Our goal is to showcase these fashions in a visual manner that is worthy of being considered art. We strive to produce a fashion publication that is the visual equivalent to this season’s fashions. Visual and artistic excellence is vital in capturing the essence of the world’s most regarded fashion designers. Our hope is that we have created something you can cherish; something beautiful, collectible and tactile. Let our love for the art of fashion, ignite and inspire your passions.

Rachel Galindo Editor in Chief


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