Issuu

THE isolation ISSUE

VOLUME N°0

FALL/WINTER 2020

THE isolation ISSUE N°0

Editor-in-Chief & Artistic Director Rachel Rubi @rachelrubi Copy Editor Alyssa Montenegro @alyssa.montenegro

Fashion Designers Gianna Rosina @gianna.rosina

Writers Bérénice Le Liepvr @berenicelelpvre

Interior Designers Carla Lores @carlalores

Liso Ceza @lisoceza Rachel Vandenberg @rachelroseangel Camilo Pinedo @quirquet Ria Alonso @margielartist Jerard De Leon @jae_dee_ell

Floral Designers Elle Jaime @calma_floral Artists Liz Mydlowski @dustybluelizard Rachel Saunders @rachelsaundersceramics Rachelle Cunningham @rachellecunning

Samantha Lopez @weare_thebloom

Photographers Yaz Yuceil @yazyuceil

Mariah Rose @diorsfinest

Gianna Rosina @gianna.rosina

RUBÍ is a fashion, art and design magazine which explores creativity through the lens of Generation Z and the emerging creative community online. Maintaining an international contributor base, RUBÍ bridges the gap between the major fashion capitals and design enthusiasts across a global scale. Enabling URL connections into IRL impacts, the biannual publication is a creative's omnipresent phygital journal. The Isolation Issue is a late edition of what would have been released in the fall and winter of 2020. Serving as an examination of resilience, creativity and community in the digital age of a pandemic, creatives from New York to Paris weigh in on reimagining the future of the creative industry. Issue N°0 acts as a mirror and a time capsule of our generation's reflections during the COVID-19 outbreak, fulfilling our generation’s wildest escapist desires.

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THE UNEDITED

FALL/WINTER 2020

THE OBSESSIONS/ EDITOR'S Pick 12 / La Casa ORGANICA 18 / Le PALAIS Bulles 20 / La MURALLA Roja 24 The EAMES House 26 / La MAISON au BORD de L’Eau 28 / Chapelle NOTRE DAME du HAUT 30 / CALMA floral 32 / SANA skin STUDIO 34 /Rachel SAUNDERS Ceramics 36 THE NOW/ FASHION post-quarantine 46 / INTO the future POST–PANDEMIC 48 / Handbuilding in ISOLATION 50 FW20/ The REVIEW 56

THE MUSES/ RACHELLE Cunningham 70 / Vivienne WESTWOOD: Punk in Fashion 72 / Understanding MARGIELA 76 INITIATED DIALOGS/ Cortne BONILLA 82 / Cydnie COLE 83 / Recho OMONDI 86 / Gianna ROSINA 87 THE UNEDITED/ Der BLAUE 98 / La DANSE 100 / *FASHION as SALVATION 102 / MI casa ES TU casa 106 / CHAIRS, chairs, CHAIRS! 108 / THESE four WALLS 112 /ART deco FACADES 116 / DREAMING in CLAY 112 / face SERIES 126

*Cover story on page 86

THE OB SESS IO NS

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Letter from the Editor Alone. Alone without a job title. Alone between four walls figuring out how to feign stability. Over-extending ourselves even when the world gives us every sign not to. When do you decide it's time to tell a life-altering story? When you have nowhere else to run. Not even two months before graduating University of Miami, I found myself grasping at straws to find the fruit of my labor during a pandemic. Conceived in a time of instability, RUBÍ was born—and in the same breath, I was reborn. It was heartbreak after heartbreak. I couldn't catch a break. I was grieving romantic, platonic and familial relationships. Navigating cold shoulders, only to be met with "that's just the way it is." Each day grew increasingly difficult to mobilize myself. I found myself grieving something I never even had—financial stability. Just 2 days before Christmas 2021, my immigrant mother and I received a note saying we had to vacate our home of 24 years within 30 days. Gentrification came knocking at my door. Only in isolation I realized I had to part ways with tradition. To cope with my heartache, I rose up in protest to our housing discrimination. Low-income, disabled, elderly, immigrant neighbors and children stood beside me. I felt community for the first time in years. Later that month, I fled Miami to escape to New York for 2 weeks. Alone. But this time, to remind myself who I was when I wasn't in a state of instability. And, for 2 weeks, I remembered. I spent beautiful nights with people I had been wishing for all my life. They showed me my dreams were waiting for me on the other side of crisis. They taught me to be at peace with change and contradiction. An unfamiliar feeling that touched me in a way I will never forget. I was reminded to always allow space for transformation. In the late '80s, my Nicaraguan parents fled the motherland to get to the United States. For the longest time, I felt out of place and misunderstood. As my beautiful friend Frezar says, "Give yourself grace. In nomadic times, we wouldn't have been able to survive if we didn't have a tribe." I fought so hard to find mine, I almost forgot I had it in me to create one, all along. This is for the voices that often go unheard. Alone, but never really alone.

R'S PICK

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EDITOR'S PICK

FALLEN ANGELS (1995) Directed by Wong Kar Wai Director of Photography: Christopher Doyle Production Design: William Chang Costume Design: William Chang

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LA CASA ORGANICA PHOTOGRAPHY by JAVIER SENOSIAN TEXT by BERENICE LE LIEPVRE

Near Mexico City, you can find the greenest house that has ever been built and it is in the shape of a peanut. From an outside perspective, it’s always invisible because it’s hidden between grass, bushes, trees and flowers. On the inside, the semi-buried house is composed of two spaces: one bedroom and the living room. Both floors are connected by

a narrow corridor. The architect Javier Senosian completed this seamless home in 1984, one that integrated itself totally with the natural landscape around it. “Walking in the garden is walking on the roof of the house without realizing it,” said Senosian.

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Le Palais Bulles

In the south of France, you can find a villa that has the shape of a woman—just as Pierre Cardin, the owner of the house, liked to say when describing it. With a bubbly shape and its large porthole windows, you won't find any 90° corners. This structure encapsulates the meaning of curvy, organic and round.

Colored in the same red ochre as the rock behind it, is like a grandiose futuristic Jules-Verne theatre that Pierre Cardin used as a background to present his 2008 collection and Dior’s Cruise 2016 show.

TEXT by BERENICE LE LIEPVRE

PHOTOGRAPHY via DIOR

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LA MURALLA ROJA

Located in the city of Calp, near Valencia, this architecture complex is easily recognizable with its massive pastel blue and bright pink walls. The building inspired by the architecture of the Arab Mediterranean is infamous on Instagram and Pinterest. It is also where several fashion editorials or music videos were shot. Created in 1973 by Ricardo Boffil, this grandiose complex contains fifty apartments and an atypical swimming pool in a

cross-shape. This fortress is characterized by its many interlocking staircases and bridges and creates the feeling of walking in a maze. In fact, you can easily sleep there for a few nights via Airbnb and discover the view that coordinates with tones like indigo, red, pink and even violet covering the exterior façade.

TEXT by BERENICE LE LIEPVRE

PHOTOGRAPHY via PINTEREST

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THE EAMES HOUSE

TEXT by BERENICE LE LIEPVRE

PHOTOGRAPHY via ARCHITECTURAL DIGEST

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In 1934, the French architect and designer Charlotte Perriand who worked with Le Corbusier, focused her work on expanding the domain for leisure pursuits and sent her application to a contest created by an architecture magazine; the instruction was to create affordable holiday homes. Her project only ended up in second place and was never created until 2013 when the Louis Vuitton foundation decided to build and furnish it according to Perriand’s plan for their upcoming exhibition dedicated to Perriand.

With “La Maison au Bord de l’Eau” her aim was to draw a beach house accessible to everyone, that would be very simple to build and low in material cost. Everything in it is well thought-out and practical yet very modern for its time. The house that was never seen by its own creator is a beautiful tribute to an architect who was ahead of her time.

TEXT by BERENICE LE LIEPEVRE

PHOTOGRAPHY via LOUIS VUITTON

LA MAISON AU BORD DE L'EAU

Top SKETCH by CHARLOTTE PERRIAND, Bottom PHOTOGRAPHY via LOUIS VUITTON

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Notre Dame du Haut

eralded as one of the most important buildings of the 20th century, Chapelle Notre Dame du Haut, the small chapel in Ronchamp, France, has become one of CharlesÉdouard Jeanneret-Gris— better known by his pseudonym Le Corbusier—most iconic designs. Completed in 1954, this structure marked a pivotal shift from the functionalist form of Modernism the artist was known for, coining the term for a new type of building structure, appropriately named the Dom-Ino house. This was a reinforced concrete frame that would stand on “pilotis,” or piers, which would free the walls of their structural

function and further allow for free-plan housing. These types of houses could be joined end to end like dominos, and the term was hyphenated to combine the words "domus" and "innovation". Though the Chapelle Notre Dame du Haut marked a change in his architectural style, influences of his earlier freeplan method can be seen in the seemingly random placement of the windows; contrastingly, there are changes to note such as the lack of sparsity in the structural walls of the chapel.

TEXT by ALYSSA MONTENEGRO

PHOTOGRAPHY via DUNCAN STANDRIDGE ( flickr)

THE OBSESSIONS

The main structure of Le Chapelle consists of thick masonry walls, which are curved to improve stability and provide structural support. The monumental curved concrete roof is a shell formation supported by columns hidden in the walls, alluding to his previous usage of piers but incorporated more efficiently for the sake of composition.

Although its external appearance suggests a complicated layout, the interior is fairly simple in plan. Three thick white walls curl inwards from the outside to create smaller chapels at the sides of the main space, while two sit on either side of the north entrance and one in the south-east corner next to the primary entrance.

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Ca lm a Fl o ral TEXT by ALYSSA MONTENEGRO PHOTOGRAPHY by ELIZABETH JAIME

THE OBSESSIONS

Calma is a Miami based floral studio. Modern, vibrant and constantly evolving, they blend old and new floral traditions to create alluring and memorable efflorescent moments for people and brands alike, having collaborated with esteemed brands like Laura Mercier and hosting installations at The Standard Spa and the Glossier pop-up in Miami. Created by Elizabeth Jaime, Calma blossomed after she departed from the magazine industry (previously at Bon Appétit) in search of something new. Experimenting with arrangements for herself and small collaboration projects eventually lead to Calma becoming a fulltime floral studio, with a pop-up shop offering

workshops for those pursuing their curiosity and admiration of all things floral design. Calma’s work is crafted with seasonally available flowers and their attention to detail has led them to be as experimental as possible. No two arrangements are ever the same and they consider that to be part of their charm. From intimate gatherings to established brands, Calma endeavors and succeeds in bringing that “something new” to the world of floral arrangements.

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sana skin studio

Sana is a skin studio based in Miami that offers a clean beauty facial experience. The designer behind the studio's design, Carla Lores, was heavily inspired by '70s woven modern style, sculpture fields, shades of terracotta, and an ivory art deco dream.

PHOTOGRAPHY by CARLA LORES TEXT by RACHEL RUBÍ

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RACHEL SAUNDERS CERAMICS With intentionality and a natural approach to ceramics, Rachel Saunders has grown a cult following on Instagram. Her organic shapes and muted earth tones are inspired by raw material which can be found on the lands of Mexico, Morocco, and Greece. Bulbous and curvy, each piece is thoughtfully handmade by Rachel and the RSC team in Victoria, Canada. Rachel's work inspires us to find joy in the everyday. One of her most iconic pieces, The Woman Vase almost always instantly sells out on every restock.

PHOTOGRAPHY by RACHEL SAUNDERS TEXT by RACHEL RUBÍ

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the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW the NOW

PHOTOGRAPHY via ITALY MAGAZINE

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Top left PHOTOGRAPHY via NICOLÒ CAMPO Bottom right PHOTOGRAPHY by YAZ YÜCEIL

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fashion post QUARANTINE

With the global issue we’re facing, many have been wondering about how businesses within the fashion industry are going to recover from COVID-19. Enthusiasts contemplate upon the direction the industry will move towards— whether there will be a sense of escapism from what we’ve known or whether the industry will be demanding more efficiency than ever before. I question how designers across the industry will showcase their future collections and how some companies will keep their customers loyal to the brand. Having a look at historical records during dark

TEXT by LISO CEZA

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killed an estimated 25 million people, birthed the Renaissance. The Spanish Influenza of the early 1900s and the First World War sparked the Golden Twenties. Times of hardship allowed the arts to evolve beyond the boundaries and head dive straight into the unknown. Moments of darkness encourage individuals to invent new ways of expressing their form of dress. ESCAPISM IN FASHION Escapism is a vessel used to leave the present and enter but a fleeting moment of happiness; fashion can be used in the same manner. In a time where people are confined in their homes, designers and students around the world are given the opportunity to rethink fashion and the direction the industry is going. Redefining what clothing means to me

Escapism is a vessel and enter but a fleeting times in history, there’s a pattern of humans finding innovative ways to express themselves and the rebirth of the new world’s post-world crisis. When we look at examples in history, we recognize the events that remain deep within the collective subconscious, eventually birth movements. The ‘Black Death’ of the mid 1300s, a tragic disease that nearly

calls for entertainment and delight while I experiment with styles, silhouettes and design. Experimenting is a catalyst for inspiration during times of melancholy and boredom throughout quarantine. Almost frozen in time, this glitch in the system gives creatives of all mediums an almost daunting and endless amount of time to reflect on and re-evaluate the way we work.

THE NOW For once in our capitlist society, time grants us the luxury to reframe the kind of creative we want to be and the changes we wish to implement in the uncertain future. Essentially exhausting creatives of their resources, the industry continues to move at a fast pace. That's just the nature of capitalism; We are undergoing a crisis in the industry which is simply over-saturated with fast fashion business models, overproduction and overconsumption with the sole purpose of prioritizing profits over quality creation. I hope that as a society, we get to wake up from all the noise so we don’t have to feel the need to escape anymore. I want us to have the chance to ground ourselves back down to Earth. SHOWCASING FASHION ON DIGITAL PLATFORMS

comfortable with the unknown, and scrap everything they ever knew. Digital technology has been paving the way for virtual presentations as seen in SHOWstudio’s “Fashion For The Future Human Psyche - 'Ceremonial Formality'” by Frederik Heyman. Through such collaborations SHOWstudio has incorporated 3D digital models and artificial space to debut pieces from brands. That being said, this opens doors to young and less established creatives to showcase their projects in an affordable and experimental manner. Platforms such as Instagram and Twitter make it that much more accessible to interact with these digital productions. This form of showcasing talent can also be a substantial tool in the post-COVID-19 future and shouldn’t be

much more genuine. Creating an authentic bond helps build a sense of connection, enabling the business to maintain brand loyalty. During quarantine, certain businesses have continued to reach out to their customer base. Fashion brands such as Bottega Venta, LOEWE, 1017 ALYX 9SM, and J.W. Anderson created an interactive space for their customer base to share inspiration, music, film recommendations and conduct online interviews submitted by their audience, allowing people to entertain themselves in the comfort of their homes. Giving the impression that brands aren’t just solely focused on the distribution of products while inviting their loyal customers and new audiences into the world of their brand storytelling creates an escape for people to in-

used to leave the present moment of happiness... Creating and debuting new collections in quarantine is an issue many designers have had to face, spending months exploring and strategizing in ways we never had to think about before. What seems rather intriguing is how much room for creativity has been in the delivery of fashion shows. Fashion Week being postponed forced everyone to push the boundaries, get

neglected simply because people will be able to one day reunite in a physical space. BRAND LOYALTY & RELEVANCY Particularly now, practicing compassion at the workplace has been celebrated on a global scale; it essentially allows us to form an emotional bond with the company because the interactions are made to feel that

”

dulge into and encourages optimism to move towards. This perhaps has the potential to be a substantial means of digital marketing and tactful customer services for luxury companies. It is rather vital for businesses to maintain the connection with their demographic and it is perhaps what will keep them relevant and beloved. After all, community heals.

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INTO THE FUTURE post pandemic

TEXT by LISO CEZA

PHOTOGRAPHY via PALAIS GALLIERA

THE NOW Just as the Great Depression changed the course of fashion for the people of the 1930’s, the outbreak of the Coronavirus will have an impact on the fashion industry of 2020 greatly, and into 2021 as well. The Depression altered the transition of style forcefully rather than naturally, somewhat, as it does between decades. We normally see silhouettes evolve but with the Depression, all traditions were completely left behind and instead we looked to novelty and historical influences as a way to deter ourselves from the harsh new reality. Rather than excess, we opted for streamlining and modernity which very much reflected the new way of life, however we incorporated with it antiquated influences of the American Civil War and Queen Elizabeth I—both of which were heavily imbued in American plays, novels, and films. Despite the setbacks the fashion industry faced, we saw some great and influential womenswear designers emerge to prominence and notoriety through innovations that the current economic state implemented and yet realized into art and fashion. Two prominent figures leading the way were Elsa Schiaparelli and Madeleine Vionnet. Schiaparelli pulled the streamline ideals into her silhouettes with tubular dressings. She also partnered with artistic

greats like Salvador Dalí to incorporate contemporary art into her designs, most notably the high-heeled hat of 1937. Vionnet, on the other hand, pulled influences of antiquity through Greek statues and art, and became widely known for a bias-cut in her dressmaking—which allowed for the accentuation on the female form while simultaneously allowing stretch for the wearer. This is all to say, during times of duress, the fashion industry will go through a period of adaptation and growth, just as all industries do. Designers will have to think about the new jaded society that has undergone a pandemic and forecast a new way of fashion thinking. Will we opt for more leisure dressing, which has become our everyday uniform, or will we jump back into the way things were before? I don’t think we know yet. People will, and I can attest to this, miss the act of dressing up and going out and being a part of the normal we used to know—but to what extent? Are we going to be willing to spend on fashion and material goods as we were before or are we going to lean more on thrifted goods and living for experiences rather than looks? I think it’s going to be a two-sided coin, or perhaps a Libra scale of weighing the balance of these two ideas and working them into our new normal. In

either case, if designers want to stay current and afloat in whatever new landscape is created, I think they’ll have to think of the consumer now more than ever. Beyond the scope of designers, a new form of business that is crucial to our ever-evolving fashion landscape will face hardships in a way that we’ve never experienced: influencer culture. We all know it—it’s ubiquitous, and either you love it or hate it. In either case, the fashion industry will have to be careful in the way they approach the utilization of influencers. We’ve seen examples of tone-deaf comments celebrities have made about their experiences in quarantine and while their experiences are valid, their comments can be insensitive to the quotidian person. Will designers have the same problem? Pushing products on an economicallychallenged society could fall heavily on the masses, unlike the upper class who haven’t been affected as substantially. Backlash could be public disapproval and with the heightened use of cancel culture, it could result in less than ideal circumstances. Not to say influencer culture will become nonexistent by any means. We’re a narcissistic society that feeds off of self-promotion and what better way to feed into that than to buy products to make our online presences as

pristine as possible? I don’t know one. This is all supposed or theoretical though, right? We, as a collective, haven’t experienced something like this in over a century—which leaves us with so many open-ended questions for the state of the fashion industry in particular, and what it’ll look and feel like postquarantine. Fashion, though, is adaptable, thought provoking, it pushes boundaries, and is ever-evolving—and this is sure to be no exception.

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PHOTOGRAPHY by RACHEL SAUNDERS TEXT by ALYSSA MONTENEGRO

HAND BUILD ING IN ISO LAT ION

Multidisciplinary artist Rachel Saunders places emphasis on connection and simplicity through her ceramic work. During quarantine, Saunders hosted several IGTVs on how to handbuild and make your own air dry clay at home using kitchen ingredients like baking soda, corn starch and water. The concept derives from the idea of using clay as meditative practice. In a time where supplies were limited and places for connection were put to a stop, Saunders sought to find a way to bridge the gap, even if it meant doing so virtually. No stranger to community building in real life, Saunders contributes to organizations that focus on the development of BIPOC, reminding her audience that her craft would not exist without the wellbeing of the Earth and its Indigenous people.

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NENSI DOJAKA

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Top left row: (Nensi Dojaka) PHOTOGRAPHY via NOWFASHION.

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RICK OWENS

All PHOTOGRAPHY via VOGUE RUNWAY.

DION LEE

FW20

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FW20

FW20 TEXT by RIA ALONSO February 7th, New York Fashion Week begins to present for FW20. February 8th, the first American citizen dies of the coronavirus in Wuhan. On April 20th, a total of 182,897 deaths are reported worldwide due to COVID-19. The world seems to stand still as we continue to self-isolate and many have turned to art as an outlet of expression or simply for comfort. As have I—scrolling past photos of beautiful dresses imaging myself in an aromatic field of flowers. I have also, in this time, taken the opportunity to browse and break down my favorite collections for RTW Fall/Winter 2020. To hopefully provide some optimism that we will be alright by then. Here are some highlights.

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NENSI DOJAKA | FASHION EAST Central Saint Martins M.A. graduates are that of a different breed, and Dojaka is no exception. A unique take on patchwork using sheer panels of silk-blend crêpe, tulle, and asymmetrical ruching—I would normally say the seductive form-fitting silhouettes leave “little to the imagination.” Yet, the intricacy of the slinky garments creates an effect which is quite the opposite; the viewer is led to conceptualize sensuality, often symbolized by fluidity, with the atypical deconstructed designs.

PHOTOGRAPHY via NOWFASHION.

PHOTOGRAPHY via VOGUE RUNWAY.

FW20

JACQUEMUS | L'ANNEE 97 As a stark contrast to his SS20 collection Simon Porte Jacquemus, chose an empty arena for his fall coed show— fitting for mostly simplistic looks of neutral linens. He did not stray far from his signatures with wrapped skirts, oversized blazers, strappy sandals, and of course: Le Chiquito. But there was a certain level of intimacy to the presentation with several cinched and cropped pieces which bared skin. Evidence that returning to one’s roots often serves as a reminder to why it all began, subsequently inciting beautiful and honest work.

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MAISON MARGIELA | RESTORATIVE John Galliano’s 2018 “Artisanal” collection was one which enamored me, employing themes of repurposing. Galliano utilized this subject matter once again in “Restorative” with the concept of “recicla,” a crossover between replicating and recycling. The presentation blended pastels with bold reds, blues, and black in a multitude of layered de-constructed looks. Galliano recreates classics of the past and working/social uniforms using left-over luxury materials and even creating initial renderings with thrift store finds.

PHOTOGRAPHY via VOGUE RUNWAY.

PHOTOGRAPHY via NOWFASHION.

FW20

DION LEE | JEWELRY FUSION Lee is an Australian native, making it so that his F/W presentations often appear to have a S/S feel, juxtaposing the western hemisphere’s seasons. This collection continued to support the notion that Lee has mastered draping and clean lines but introduced a new facet, jewelry—not as a separate entity but coexisting with dress. Chains became one with garments as a waistband for a low-rise pant. Fishnet, thong belts, hook/eye closures—were also continual themes, which exemplified inspiration from raver culture.

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BALENCIAGA | APOCALYPSE As graphics of thunder, fire, and smog lit up the ceiling, the runway was submerged and uncanny music filled the space. Demna Gvasalia was sure to emphasize that this apocalypse is exceedingly real and it has a name—climate change. Models were seen sporting mostly black; robes, leather, lock and key “chastity belts,” scuba-like “toe shoes,” and men’s thigh high boots. With dramatic pointed shoulder pads, the immersive presentation was as much of a political statement as it was a fashion statement.

PHOTOGRAPHY via VOGUE RUNWAY.

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RICK OWENS | PERFORMA Rick Owens is a man with no fear of the unorthodox. Themes of asymmetry were present with callous chains and leather, juxtaposed by entirely bright blue looks featuring leotards. Owens shared the theatrical nature of the collection, being that all people perform whether intentional or not, exemplifying a novel beauty in the unconventional. A nudge to us that straying from the expected should warrant celebration.

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This page: GIANNA ROSINA wears a red and white pleated dress, GIANNA ROSINA. Opposite page: ANNA TSUDA wears a checkered and blue satin dress, GIANNA ROSINA.

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IT'S THAT CONSTANT REMINDER THAT ROMANTICISM ISN'T DEAD

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THE MUSES

artist and the muse PHOTOGRAPHY BY RACHELLE CUNNINGHAM TEXT by ALYSSA MONTENEGRO Rachelle Cunningham is a multi disciplinary artist based in Paris, France, originally hailing from Dublin, Ireland. Her work has been featured across affluent magazines such as Vogue Paris, Grazia France, Marie Claire Argentina and most recently, Cultured. Though she’s slowly but steadily risen to these accomplishments, the reason for it can be seen in her devotion to her art and the carefully constructed, Romantic worlds she puts to parchment. In her own words, her passion “explores the Byronesque affinity for renaissance principles. A semi-gothic reinvigoration of what inspired the renaissance. To the modern audience it’s that constant reminder that romanticism isn’t dead and that we must accept both the euphoria in life but also the cracks in our foundations.

We’re broken but still beautiful.” Expressing her craft through paintings, writing, fashion and nature, she channels her creativity from the very same realms she draws inspiration from. Fashion has been another medium for how she portrays her artwork, and vice versa. Over the last few years, she has collaborated with luxury brands, namely Dolce & Gabbana, Dior and Marc Jacobs, to showcase her own rendering of these classic Houses and their designs. She has spoken of vintage being an indicator of her own personal style, altering those same pieces and tailoring them to her Romanesque aesthetic. Most notably, she believes in her freedom of expression to unearth extraordinary tales from the inner workings of her mind. Art imitates life, and so on.

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VIVIENNE WESTWOOD TEXT by RACHEL VANDENBERG

Opposite page: PHOTO via DAZED MAGAZINE.

ivienne Westwood began a creative partnership with Malcom Mclaren and eventually got married. Malcom was managing the Sex Pistols around the time Vivienne began to make clothes. They opened a store that continually changed its name along with the style of clothing.

NEW ROMANTICS The Pirate collection kicked off the 80s for Westwood with its unisex style. It was a flamboyant collection inspired from punk, glam rock and put through an avant-garde lens. Some notable artists that used the look throughout the eighties include Bow Wow, Siouxsie Sioux and David Bowie.

WORLDS END/SEX Clothing from the sex shops that had exploded onto the punk scene were expiremental with the leather and bondage. It ushered in the style to take over punk in the late seventies. The store changed names along with the clothing; “Let it Rock”, “Sex”, “Seditionaries”, “Too Fast to Live”, and “Too Young to Die”. One of the most important pieces that came from the shop was a ripped up muslin shirt with a swastika, upside down Christ, Sex Pistols lyrics and a symbol of royalty with the word “DESTROY” spray painted in red. This was an ode to her contrarian, anarchic views, her stance against authoritarianism, and her challenging of the older generation. Vivienne Westwood used her designs as a creative medium to express her political ideologies. She confronts the establishment in clothing collaged and ripped brilliantly.

PORTRAIT AND CAFE SOCIETY Vivienne Westwood searched through the 18th and 19th century for inspiration by studying the garments of that time. She popularized the corset in 1990 with the “Portrait Collection”. The paintings on the corsets were that of François Boucher, a Rococo painter from France. His paintings used classical themes and allegories. According to Vivienne Westwood, “When I arranged these fabrics, there was still something missing: somehow, the paintings themselves. I included a piece of painter’s canvas; and then I knew I just had to have a photographic print of a painting. I chose the most decorative painter–Boucher –and the most typical of his paintings in the Wallace Museum is the 'Shepherd Watching a Sleeping Shepherdess.' I wanted her to look as if she’d just stepped out of a painting.”

ACTIVISM AND ENVIRONMENTALISM Vivienne Westwood has a passionate stance on overconsumption and climate change. She made a collection named “Pack of Cards”, an activist campaign of graphics made over the years. Vivienne Westwood has also donated £300,000 to the Green Party. In 2012 during the London Paralympics she launched a “Climate Revolution” campaign to bring light to the issue. In 2011, she traveled to Africa for her Ethical Fashion Africa campaign where women made clothes sustainably. Vivienne Westwood uses her clothing and brand as a creative medium to communicate her activism. LEGACY Vivienne Westwood is an important designer defined by her rebellion, activism and creativity. She used her clothes to comment on the system and inspire activism. Vivienne Westwood is fearless and passionate for everything she stands for and is an inspiration to designers to follow their own rules and stay true to what they believe in.

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PHOTO via CLIMATEREVOLUTION.CO.UK.

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Vivienne Westwood Graphic Campaign. Pack of Cards, 2012.

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MAISON MARTIN MARGIELA TEXT by BERENICE LELPEUVRE PHOTOGRAPHY by ANNIE LEIBOVITZ

artin Margiela graduated from The Royal Academy of Fine Arts in Antwerp in 1979. He began as a freelancer before working at Jean Paul Gaultier’s studio as his assistant between 1985 and 1987, and then a year later he launched his label under his own name: Maison Martin Margiela. In a time where the trends were stilettos and wide shoulders, bright colors and gold jewelry; Martin showed a vision of fashion that focused on a concept rather than appearance. His first show in 1989 took place in a café in Paris, where he debuted chunky heels and veils over the model’s faces so as to focus on the garment instead of who was wearing it. On the runway, pants with raw hems [exhibited] the process of the pieces being made, 18th century jabots were used as bracelets instead of around the neck, and removable sleeves and backward skirts became one of the many staples of the House. When most designers would hide the darts [on a garment], Margiela was exposing them—placing them on the outside, where it was unmistakably visible. It was only his first show but the house established itself as a powerful and disruptive one. Margiela introduced a movement called “Deconstruction,” which focuses on the importance of material, the process of creating, experimenting with product, and appreciation of the imperfect temporality of clothing. Margiela’s philosophy is to re-use existing clothes to create his own version— repurposing gloves, socks, belts

or even plastic bags. A part of his vision was making clothes out of something that are typically not used for their purpose; wigs, advertisement posters and porcelain plates were a few unique pieces that were part of “artisanal” lines or “line zero”. His conceptual approach of fashion led him to show and deconstruct every step of the process of fabricating a garment and revealing raw hems, stitches, patterns later on the runway. In a way, he glorified the process [of making clothes] and made the unfinished look finished. Authenticity was a part of Margiela’s DNA. He wanted everything to look “as if the women could have put it together themselves,” as said by Ward Stegerhoek, Margiela’s hairstylist for the Spring/Summer 1990 show. This simple quote can define the entire Margiela universe. He wanted to make fashion accessible for everyone and everywhere— something that was attainable, wearable and not limited to the elite. As a kid, Martin’s first designs were on dolls which made him explore the idea of proportion. He made oversize pieces or doll-sized clothes and adapted them to the human body. He played with our senses and the body of his models by painting patterns or masks on them. Lest we forget his first show, where a faint sunburn recreated the outline of a v-neck t-shirt and questioned the temporality and memory of clothes. Instead of creating new spaces for his shows, he used already existing places which was atypical for the time. In the 90s, most of the fashion shows were held in the center of Paris, but Margiela wanted

more authentic places. The best example is when he presented his third collection, the Spring/ Summer 1990 collection, held in a playground in the Parisian suburbs. Children at the school next to the playground created the invitations for the show, which led to having five hundred unique invitations that were sent to the guests. While some of the kids were front row at the show, others were walking down the runway with the models and even ended up on their shoulders. This was a time where a production like this had never been done before and the fashion industry was in awe.

Maison Martin Margiela Spring/Summer 2009.

Maison Martin Margiela Spring/Summer 1992.

Following spread: Maison Martin Margiela team missing Margiela, PHOTOGRAPHY via Vogue, September 2008.

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INITIATED DIALOGS In conversation with new faces across artistic disciplinaries. Ushering in a new generation of inclusivity and artistic exploration, we ask creatives about their process, how they got their start and what keeps them motivated—a question many aspiring designers, editors, stylists and creatives inquire about within these elite industries. Curated by Rachel Rubί

CURATED BY RACHEL RUBÍ

Editor-in-Chief, Artistic Director and Model, Rubí Magazine @rachelrubi All photography courtesy of the creatives

Inner peace over anything and anyone else. RECHO OMONDI

Everyone is just pretending, it's all a façade. I need to stop comparing myself to others, it will only hurt me in the long run. GIANNA ROSINA

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CORTNE BONILLA Branded Content Editor, Vox Media and Writer, The Cut @cortnebonilla

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CYDNIE COLE Art Production Assistant, Stateline Films @cydniecole

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EMAIL CONVERSATION WITH CORTNE BONILLA

On February 8, 2022

RR: Hi Cortne, thank you so much for agreeing to do this interview! I absolutely love what you’re doing over at The Cut and frankly, really love your tweets! CB: Hi, babe!!! Thank you for thinking of me. RR: When did you know you wanted to work in the industry and how did you get your foot in the door? CB: I honestly didn’t know I wanted to work in the industry at first. I’ve always been a writer, and used to fill up composition notebooks with dreamy, flowery novels about young love and mystery. I wanted to be an author, and still do, but I didn’t realize you could actually write as a full-time career until maybe after high school. I got my foot in the door with internships, and I had a few blogs that got a decent following over time! I write runway reviews, posted outfits, and chatted to the internet in an old-school column like fashion. RR: How did you stay motivated during lockdown? CB: I luckily had more work during the lockdown, with my 9-5 and with freelance. For me lockdown was a great time to reevaluate what working meant to me — when there’s no office to go into and no commute to rush to. It helped to keep a general routine — pilates in the morning, going to grab a coffee, walking the dog before a certain time so I can replace that commute with something productive.

RR: What new perspectives do you have after the past 2 years? CB: That we are all so much more than our jobs. Every single person has an entire world swirling around inside of them, and we should be exploring that as much as we care about our careers. RR: What drives you? CB: Is it bad to say that I love money? But I also love making money in a way that aligns with myself. For example, I am a black woman in media and I love being able to profile and write about other People of Color and give them the spotlight they deserve. Creativity and connection also drives me. Social media has helped with that in a sense; we’re all so connected now, and it can be both good and bad but I choose to use it to create, and found a little community online. RR: What would you tell your younger self ? CB: To stop thinking about what a stranger you’ll never see again will think of you. Dance, take those photos, make a youtube, be free — get out of your own head because no one really cares that much. RR: Where can we find you on socials? CB: @cortnebonilla on Instagram, @bonillacortne on Twitter.

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RR: What new perspectives do you have after the past 2 years? RR: Hi, Cyd! I hope you're having a fabulous Friday. <3 I was wondering if you'd be willing to answer 5 questions for my magazine I'm working on. I'd love to have a mini interview highlighting you and what you do! CC: Hiii my love!!! I'd love to OMGGGGG thank you so much for thinking of me. <3 RR: When did you know you wanted to work in the industry and how did you get your foot in the door? CC: Probably when I was 10 years old I’ve always enjoyed film more than anything else and I wanted any part in creating a movie, TV show, or commercial. One of my dad’s closest friends owns a casting company and hired me when I was 17 and I’ve been working in the industry since.

CC: Probably to just do what I want even if I fail or if I’m not good at something. To start saying yes more. Oh, and to become friends with your family if you can. RR: What drives you? CC: Love drives me. I know that sounds corny but I like the idea of doing something or creating something and having people realize that life is a gift and it’s way too short not to love yourself, love others and love how you see things. It’s extremely important. RR: Where can we find you on socials? CC: @cydniecole on Instagram, @fellinysl on Twitter, @3cyd on TikTok.

RR: How did you stay motivated during lockdown? CC: I have always been very disciplined and productive—sometimes to a fault so I found it easy to dive into new hobbies and ways to express myself.

On February 4, 2022 at 3:27 PM

TEXT MESSAGE CONVERSATION WITH CYDNIE COLE

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RECHO OMONDI Apparel Designer and Podcaster, The Cutting Room Floor @omndi

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GIANNA ROSINA Costume Designer and Artist, Parsons School of Design @giannarosinaa

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RR: Hi Recho, I hope you’re well among all the NYFW buzz. I was wondering if you'd be willing to answer 5 questions for my magazine I'm working on. I absolutely love what you’re doing at The Cutting Room Floor. I listen to it every week! RO: Hi! Yes, for sure! Send me the questions! RR: When did you know you wanted to work in the industry and how did you get your foot in the door?

RO: Connecting with other human beings. Vulnerability and curiousity. RR: What would you tell your younger self ?

RO: I knew since age 20 (Which I think is late!) I transferred to an art & design school. And got my first internship working for Jeffrey Kalinsky.

RO: Identify your gifts. Start sooner. Eliminate distractions. Keep a smaller circle. Be patient. Listen to your gut.

RR: How did you stay motivated during lockdown?

RR: Where can we find you on socials?

RO: Staying off social media, reading books, cooking and editing podcast episodes!

RO: @omndi on Instagram, @omondipresents on Twitter, @omndi99 on TikTok.

RR: What new perspectives do you have after the past 2 years? RO: Inner peace over everything and anyone else.

RR: What drives you?

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RR: How did you stay motivated during lockdown?

RR: Hi Gianna! I hope you're well. <3 I was wondering if you'd be willing to answer 5 questions for my magazine. (I'm finally in the final stages, I know it's been a long time coming.) RR: OH AND I'm in the city this Sunday until the 20th!! I'd love love love to meet up for coffee. GR: hi rachel! I would love to answer some questions. :) And would love to meet up for coffee! We can definitely try to figure out a day that works for us. GR: I do have work today so if I am not responding to things for hours that's why! haha. RR: No worries at all, you’re all good :) I’ll send over the questions and yes let me know what day works for you! RR: When did you know you wanted to work in the industry and how did you get your foot in the door? GR: I once saw a production of Macbeth when I was fourteen and I knew I wanted to work in the arts in some way. I've probably read everything and anything by Shakespeare. Maybe I'm a masochist, but knowing there will be a tragic end was something I liked, a play that doesn't end perfectly like real life. I also remember researching the work of Hussein Chalayan and Eiko Ishioka and really wanted to start designing after that, to create something otherworldly and brilliant. I don't think I have my foot in the door just yet! But I hope it happens soon.

GR: I definitely needed a creative outlet during this time and having to only go to work and then back home and repeat, having something like painting, knitting, drawing, etc. was my way to keep my creativity flowing even if it was busy work sometimes. I could sit down and study techniques that I had no time to do in the past and that sort of desire and motivation to learn new ideas made me want to keep making and designing. RR: What new perspectives do you have after the past 2 years? GR: I still have so much to learn, both as a person and in my work. This pandemic has definitely humbled me. When I was living in London as a 19 year old I thought I knew it all but as I have gotten older I realize I don't know anything! Everyone is just pretending, it's all a façade. I need to stop comparing myself to others, it will only hurt me in the long run. RR: What drives you? GR: I have trouble expressing myself with words so instead I turn to art. I want to make things that I am proud of and one day when I look back on my life I don't want to regret anything. RR: Where can we find you on socials? GR: @giannarosinaa on Instagram and Twitter.

TWITTER CONVERSATION WITH GIANNA ROSINA

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That we are all so much more than our jobs. Every single person has an entire world swirling around inside of them, and we should be exploring that as much as we care about our careers. CORTNE BONILLA

Probably to just do what I want even if I fail or if I’m not good at something. To start saying yes more. CYDNIE COLE

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THE UNEDITED A SELECT OF CREATIVE MINDS What do you hide when the cameras are rolling? Behind-the-scenes and backstage captures of personal work, published shoots, outtakes, streams of consciousness, unedited photos and unfiltered thoughts. A select group of creatives show us the beauty of the imperfect and unconventional process of their mind.

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Design affects our mood and every day life, especially at home. Whether it be the Pierre J. Armchair we strategically placed under the morning sunbeams for some light reading, or the curvature of the typeface on that book we've been meaning to pick up—attention to detail is as crucial for our mental health as it is to creating our own narrative.

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Fabric and paint swatches torn from Gianna Rosina's sketchbook.

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ashion saved my life, to put it short. I felt lost in middle school and thought I'd never be able to come out of the darkness. I would wear bland, baggy clothes so I wouldn't stand out to people. Over time, I stopped caring because life is too short to waste time not living in your truth.

I started thinking that if I kept myself busy with something, I could probably slow my negative thoughts. I stumbled upon High Fashion Twitter—also known as HF Twitter—and was introduced to so many things—from Korean culture, to converse collabs, to small bands in New York City. I was fascinated to learn so much from this niche fashion community on an app with a 280 character limit. You can just tell that everyone there is simply so passionate about art and design. Through the high fashion community on Twitter, I try to learn more about the designers I look up to and the models who walk their shows. HF twitter is more than just moodboards and iced coffee. You can curate who you follow based on the content you like; it can be educational as well as inspirational. It is a complete culture with unique lingo, abbreviations and memes of its own. And thanks to a small community of people I only know online, I wear whatever I want now. I don't like simplicity and I make that known [with my sartorial choices]. I’ve learned that clothing isn't just fabric put together to keep you warm. Clothing shapes who you are as a person. There is a false pretense that the more clothes you have, the more abundant you are. But what is abundance if it is not sustainable? Especially if it’s fast fashion. Even if I had the option to own an innumerable amount of pieces, I love that I don’t. Opting for thrifting, taught me the responsibility of choosing my pieces intentionally. [There’s no need to] have clothes you never wear, just sitting in your closet, while someone out there could be making use of it. I rarely go shopping for clothes anymore because other than fast fashion being a major issue in the United States, the brands that claim to be sustainable are usually really unattainable. I accept hand-medowns from my other family members. When my friends clean out their closets, they invite me over to hang out and pick through some items. Society looks down on wearing used clothes, (which is elitist and classist, but that’s a conversation for another day) but all you really have to do is wash them thoroughly. If some of the clothing items I pick up need minor corrections, I have my sewing machine and my mom to fix them. In essence, garments are what you make of them. They've helped me turn my life around. Take your time in quarantine and come up with ways you can make your closet reflect your true self. Play with new styles. Put together an outfit no one would expect you to wear. Fashion doesn’t have to be stressful. END

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MI CASA ES TU CASA INTERIOR DESIGN by CARLA LORES PHOTOGRAPHY by CARLA LORES

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CHAIRS, CHAIRS, CHAIRS! TEXT by CAMILO PINEDO

I think it is very important to question our day to day, we could find very interesting things... It's curious how daily objects like chairs are so important in a different context such as design and not only to be [used] in a comfortable way. I created the Instagram account @chairsdaily_ for my big interest in chairs. It is a good way to learn, not only for me, but also for my followers. I learn by sharing. If I could talk about my chairs, it definitely would be the "Wassily Chair" by Marcel Breuer in 1925-26. The canvas seat, back, and arms seem to float in space and the body of the sitter does not touch the steel framework. Breuer spoke of the chair as his “most extreme work… the least artistic, the most logical, the least ‘cozy’ and the most mechanical.” It was also his most influential piece of design, taking furniture in a radical new direction, inspired by a simple bicycle. Of course I have to mention "LC2" by Le Corbusier in 1928. To create this model, the designers believed that each seat had its specific function, that not all of them could be used for the same activities. For example, the ottoman is for relaxing, an armchair or sofa for conversation, and a stool was ideal for working. In all the workshops and factories of the time, that is what he was looking for for his new creation; the functionality of a sofa or armchair with a beautiful appearance following his hypotheses of modernist art. Depending on the time of day, people's concerns and the attitude adopted in a room, there were several ways of sitting. Responding to the diversity of positions, Le Corbusier considered appropriate pieces of furniture should be used in each situation. The present is a hard time for the world and humanity, the best way to help right now is to improve our physical and mental knowledge from home, to make the future a better place. Watch, read, and learn new things. END

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I feel as though art and design is something everyone—whether they are a natural-born creative or not—turns to in times of stress and uncertainty. No matter which outlet you choose, art has a special way of helping us escape reality, even if it’s just for a few hours while you paint, sculpt, or dance. I'm currently in my final year of the Interior Design Bachelor’s Degree program at the Fashion Institute of Technology. Quarantine or not, I’d still be designing every day, even though I do need a break from my work once in a while. I love designing but it can feel daunting and impossible at times. Particularly, in these times of high stress and anxiety, my natural responsibilities seem less pressing. Being an interior designer, my space is my sanctuary and it has to reflect me as a person and what my vision is at that time. So, to help myself cope with the year, I redesigned an area of my room during quarantine, as I was basically being forced to move out, I had to remove all my furniture.

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My boyfriend was kind enough to take some and store them for me. To replace my couch and give me a place to sit while I was still living in my dorm room, he gave me this gorgeous thrifted black and brass vintage barbers chair. I think it’s pretty neat, and I like it more than my original industrial sofa. It inspired me to make my space beautiful again with the hole that was once my sofa, even if I was only living in it for one more week. COVID-19 quickly put everyone’s lives in a whirlwind. Among many things, I’m grateful for my health, safety, and ability to use design as my creative outlet. It helped me cope with being “kicked out” of my dorm room in the middle of my final college semester. Ultimately, quarantine reminded me that even when the things you love are taken from you, you can still make something beautiful with what you have left. END

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THE FACADES WE ENCOUNTER AND WHAT WE SEE ON THE EXTERIOR At its root, architecture is an outside representation of where we spend our time. But it also represents culture, and how we see ourselves in the world. In a time of recluse, we shift to our exteriors as a way to continue our interior storytelling.

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Carla Lores is a multidisciplinary designer who recen launched her instag @pastelfacades. Th instagram celebrat Art Deco designs Miami Beach. Sh creative you don’t w to miss out on her w

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THE ART OF LIVING AND EXPERIENCING TRANSFORMATION Turning to art as an anchor for chaos has been a characteristic of the Human Condition since the beginning of time. Methodical craft used to explore new meaning within crisis has led to history’s most notable creations—and our generation's artists are no exception.

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dreaming in clay CLAY SCULPTURE by LIZ MYDLOWSKI TEXT by RACHEL RUBÍ Liz Mydlowski is an art director who entered ceramicist Eny Lee Parker's "Clay Play" challenege. Clay Play was a creative antidote to the unknown of the COVID-19 outbreak. Liz sculpted her dream room with clay and was selected as one of the 9 finalists for the challenge. With the use of a cardboard box, sculpey clay and wire, Mydlowski reimagined the room with her dream designer furniture pieces: a slime green Eames chair, a Picasso mural, a Faye Toogood table, and the Klug Terrazza sofa. END

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A study of the internal and external self through self-portrait painting and photography. SELF-PORTRAITS by GIANNA ROSINA

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