METAL MAGAZINE: Issue 20 Cover Editorial

METAL's 4th Anniversary Issue is about to hit newsstands in the U.S., check out the cover editorial featuring model Meghan Collison, in which I assisted Senior Editor and stylist Angela Esteban Librero.

Photographer: San Sierra
Art direction: San Sierra & Cesar León
Stylist: Angela Esteban Librero
Make up: Chiho Omae using Sephora
Hair: Shinichi Arima
Production: Cesar León
Set design: Heather Feather,
Courtnay Saunders and Suzanne Arrow
Photography assistant: Manfredi Giaccochini
Stylist assistants: Carolyn Brennan,
Kei Furuichi & Abdoul Diallo
Lighting assistant: Mathew Margolin
Production assistant: Diego Aguirre
Model: Meghan Collison @ Next

NEW YORK FASHION WEEK A/W 2010/11 MENSWEAR

FROM WWW.REVISTAMETAL.COM:

Once a week solely devoted to what women want to wear, New York Fashion Week has seen a great increase of men’s shows in the past few seasons –and it’s something this city should be proud of. This was also a season of “seconds” for many designers: womenswear designer Maria Cornejo offered her second season of men’s clothing, and Siki Im, Petrou\Man and In Aisce showed their second ever collections to date. The following designers are those who caught our eye during a very hectic, crazy fashion week. Get to know your new favorite menswear designers.

PETROU\MAN
The Central Saint Martin’s graduate has previously dabbled in womenswear as the creative director of Dennis Basso, as well as running his own line. But from the looks of his second menswear collection for Petrou\Man, Petrou is clearly going places with his offbeat, macabre visions. The designer combines elements of classic tailoring with sportswear fabrics and unconventional detailing. Citing the travels of nomads as the inspiration behind this season, Petrou played with various textures and patterns, including hand dyed tartan jackets, metallic suiting, feathered headpieces and trousers tie dyed in shades of black, white and blue. A jacket covered in over seven thousand safety pins is the perfect pick for Petrou’s modern day warrior on the move. (Styling: Robbie Spencer (Menswear Fashion Editor Dazed & Confused), hair: Duffy, makeup: Maki Ryoke, sets: Robert Sumrell, music: Michael Magnan, photos: Fumi Nagasaka)


ROBERT GELLER
Downtown rock and roller met Upper East Side dandy at Robert Geller’s Autumn/Winter show. The CFDA award-winning German designer first stepped onto the fashion scene in 2002 with his cult label Cloak, and he hasn’t looked back since. Geller’s men stormed the runway to a roaring soundtrack of ‘70s rock outfitted in elegant wool capes, shredded black denim, slick leather jackets and the designer’s signature striped wool blazers and trousers. Luxurious touches were added with silk scarves and fur vests and shawls made from the wool of Japanese mountain goats. Always dark and romantic, Geller’s collection was fully realized and simply stunning.
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SIKI IM
For his sophomore menswear presentation titled “New Era,” the Ecco Domani prizewinner and former senior designer of Helmut Lang cleverly arranged his models throughout a maze of trashed office cubicles, and included a live show by the band Sick Fix. This was not a typical day on Wall Street, and in our opinion Siki’s hand tailored menswear runs circles around the average businessman’s stodgy suiting. The collection featured sharp made to measure blazers, kimono-like overcoats and skirts in both knee and floor lengths. The clean looks were accessorized with leather straps, knee socks and knit scarves that transformed into sleeves. Hats constructed from newspaper were an appropriate finishing touch.
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RAD HOURANI
Rad Hourani continued his dark reign over New York Fashion Week with another bad to the bone runway show of androgynous models cloaked from head to toe in black. Inspired by the process of transformation, the self-taught Canadian designer created unisex pieces that could be worn in a multitude of ways. There were knit cardigans with detachable sleeves and rectangular leather jackets that transformed into capes, skirts and various other looks. One magical jacket could apparently be worn twelve different ways: an economical feat indeed. Other looks included patent leather pants and vests, jackets with attached backpacks, skintight strap covered leather pants— and zippers, zippers everywhere. The gothy black-clad audience salivated over each and every striking silhouette.
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IN AISCE
In Aisce (pronounced “in aska”) is a promising young label in its second season, created by Brooklyn based designer, Jona. A dichotomy between precision tailoring and rough, deconstructed garments, In Aisce is growing and developing into new territories. For his fall collection called Grey Heart Leaking, Jona decided to look to the arduous years of the American Civil War for reference. A classic 1800s cutaway style blazer was a beautiful standout piece, as well as a slim black tailored overcoat and an impeccably crafted hooded leather jacket. Other looks included a pair of white button fly overalls, elbow length shearling fingerless gloves and an intimidating wide brimmed leather hat.

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ZERO + MARIA CORNEJO
Cornejo’s androgynous female looks translate well into menswear, which she debuted last season. Always an exercise in architectural minimalism, the Chilean-born designer looked to “the darkness of Europe” for her Autumn/Winter collection. With a palette of charcoal gray, black and dark brown, Cornejo’s men were simple yet sophisticated in boxy wool overcoats, slouchy tapered trousers and fedoras. One model sported a comfy gray cape over brown leather jacket and pants, while another was outfitted in a black and white tartan jacket and hood combination. Very clean and very minimal, Cornejo’s vision is one we want to continue seeing.

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ODYN VOVK
Austin Sherbanko of Odyn Vovk (Ukrainian for “one wolf”) offered an array of gothic garments with grungy appeal for his “Three Fold Path” collection. There were cropped distressed trousers, several black ribbed capes and a beautiful ochre-colored leather jacket with a diagonal zipper running from the shoulder to the waist. As usual, Sherbanko threw in several women’s looks for good measure —and despite sending a topless model down the runway last season— this time Sherbanko outfitted his lady in cropped fur jacket layered over a black hooded cape, and an asymmetrically cut and draped overcoat with origami-like folds. The feeling was dark and moody, and the cool kids were eating it all up.

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YIGAL AZROUEL
Yigal Azrouel has been steadily building his menswear repertoire in the last few seasons after first showing men’s clothing for Autumn/Winter 2007. The designer’s first look was a wool charcoal suit with black leather sleeves, soon followed by a model in slim black trousers and a leather tee with cotton sleeves. The designer continued this sleeve trend with a seemingly Rick Owens/Gareth Pugh inspired wool overcoat with attached metallic leather sleeves. Other looks included slim fitting leather jackets, a charcoal cardigan with offset buttons, turtlenecks and one very unfortunate looking pair of fair isle long johns with a cod piece fly that we could have done without.

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PATRIK ERVELL
With a collection full of ponchos, macs and translucent raincoats, Patrik Ervell’s models were ready to take on some seriously stormy weather. The show opened with a cropped blue belted mac and slim gray trousers, followed by models with windswept hair outfitted in a translucent yellow rubber raincoats and slightly nerdy office get-ups. There were clean-cut suits in shades of navy and gray, backpacks, cropped jackets and lots of synthetic outerwear. Ervell’s minimalist, utilitarian aesthetic will likely serve him and his customers well in the new decade.

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BILLY REID
Southern dandy is what comes to mind when describing Billy Reid’s A/W 2010 collection. This year’s CFDA award winning designer presented clothing fit for country cousins and sophisticated urban dwellers alike. Models tramped through fog and leaves in a winter forest setting, outfitted in warm wooly knits, boxy jackets and plenty of plaid. The first model sported an oatmeal hued tweed suit, chambray button down and striped tie, while another model strolled by in a brown, black and red plaid suit and suspenders. Reid’s collection may not be breaking new ground, but its simple and comfortable and the guys want to wear it.

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G-STAR
G-STAR’S extravagant runway show at the Hammerstein Ballroom was all about bright colors and exaggerated detailing. Large, hulking models stomped down the runway in neon yellow overcoats, rain jackets, vests, and of course, denim (though not as much as one would expect). One model wore tan baggy overalls paired with a chunky yellow knit turtleneck, while another sported patchwork jeans and a Big Bird-esque yellow cape. The bright yellow hues soon shifted into shades of neon blue and green, keeping up the brand’s extreme nature with large funnel necks, outlined pockets and metallic denim.

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BESPOKEN
Originally inspired by the classic British clothier Turnbull and Asser, Bespoken adds a modern twist when creating its menswear collections —and there was definitely a British rocker vibe going on at the label’s A/W presentation. Models were dressed in slim fitting single-breasted jackets and trousers, a gray tweed vest and pants, a black corduroy jacket and accessories including bowties, suspenders and fedoras. A red and black buffalo plaid shawl collared blazer was a crowd pleaser, as well as a luxurious black leather jacket.

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VNFOLD MAGAZINE: ESPRIT DU TEMPS

The second issue of VNFOLD Magazine is out, and I assisted with the styling of the cover shoot. Check it out here: http://www.vnfold.com/fashion/145

Photographer: Julia Soler www.juliasoler.com
Stylist: Angela Esteban Librero www.aestebanlibrero.com
Art Direction/Props: Zahara Gallardo & Lucia Martinez
Model: Lauren Brown at Elite Models NYC
Makeup: Fumiaki Nakagawa for Mac Cosmetics
Hair: Nelson Vercher for Redken/Rita Hazan Salon NY
Photo Assistant: Emma Hopson
Stylist Assistant: Carolyn Brennan

KATIE GALLAGHER A/W 10-11

Dazed Digital.com-- Katie Gallagher’s mystical presentation at Soho Grand takes us into “the heart of the woods.”

Text by Carolyn Brennan Photography by Chris Reed | Published 17 February 2010

http://www.dazeddigital.com/Fashion/article/6629/1/Katie_Gallagher_AW_1011


The mood backstage at Katie Gallagher was lighthearted as models gathered around a table filled with candy hearts and other sweets. “No smiling… act like lost cats!” read a nearby poster. Despite last minute complications involving a no-show model, Katie was cool, calm and collected- and ready to put on a breathtaking presentation. With only one previous fashion week presentation to date, the young RISD educated designer has already made a name for herself with her dark, ethereal designs.

With their big teased hair, appliquéd fingernails and dramatic cat-like eye makeup inspired by Katie’s own look, the models were transformed into beautiful woodland nymphs. The icy color palette included winter white, pale pinks, neutrals, grays and black. At show time the girls drifted into the room outfitted in sheer silk tops and dresses with cut out backs, futuristic leather jackets, zipper front skinny trousers and translucent leggings with geometric panels. A long white leather jacket with a large halo-esque hood was a definite standout, although Katie’s entire collection is sure to be coveted by free-spirited fashionistas.

Dazed Digital: What was the inspiration behind this collection?
Katie Gallagher: It started mainly with a painting that it did. I usually do paintings and drawings, so they inspire everything that make. It was a landscape full of pastels: greens, pinks, grays and whites.

DD: How are you styling the hair and makeup?
KG: The hair and makeup is like an extreme version of me: the big hair, the lines on the eyes. The faces are pretty pale, but not as white as last season. It’s more pure, just kind of whitening the models’ natural skin tones. As for the hair, we wanted it to be pretty big with lots of teasing. Because I’m doing a hood, we wanted it to look like a halo around the hair.

DD: I love your dark, gothic aesthetic. How have you developed it since last season?
KG: I don’t really consider it gothic; I usually just make what I would want to wear. I try to transform my two-dimensional drawings into 3-D. Right now I’m wearing most of my own clothing from my last collection.

DD: What designers are you most inspired by?
KG: Right now I really love a lot of Japanese tailoring, so I love Comme des Garçons, Rei is one of my favorites. And I always like Balenciaga.

DD: What made you want to become part of the fashion industry?
KG: I don’t know… I didn’t really know I would end up being in the fashion industry. I didn’t go to school to be in fashion, I went for painting. At RISD you do four years and the first year is foundation, so you have to decide during freshman year what you want to do. And I was always like, “painting, painting… or maybe I’ll do sculpture,” and then I became interested in apparel because I wanted to learn a new skill. I decided that I didn’t want to sit around in a studio and wait around to have someone tell me how to paint, because I already know how to paint. I just wanted to learn how to make clothing, and I just went from there.

ROBERT GELLER A/W 10-11

Dazed Digital.com-- The CFDA award-winning menswear designer pulls off another dark and romantic show.

Text by Carolyn Brennan Photography by Chris Reed | Published 14 February 2010

http://www.dazeddigital.com/Fashion/article/6550/1/Robert_Geller_AW_10-11


With his latest collection Robert Geller has really stepped out on his own. Much admired for his work at the influential cult label Cloak, the designer is carving out new territory and exploring a mix between downtown rocker cool and uptown sophistication. The show opened with a duo of fair-isle knits, and was soon followed by Geller’s signature striped suiting in rich shades of azure and plum. A model outfitted in a sleek black leather jacket paired with dusty blue lounge pants was accessorized with a thick distressed wool scarf and a bowler hat perched on top of his head. The hats and suede boots were done in collaboration with Common Projects.

Other looks included dramatic wool capes, black shredded denim, leather “puffy” jackets, and a black and denim blazer paired with an indigo tuxedo jean: a new take on the Canadian tuxedo. Wide legged shorts in the vein of Yohji Yamamoto and luxurious fur vests and scarves were also a fun surprise. And that’s what Geller does best– he’s a dedicated designer who just wants to have fun.

Dazed Digital: Congratulations! How are you feeling?
Robert Geller: I’m feeling really good, I’m exhausted but I’m happy. I’m ready to have a good time. I feel relieved– I guess that’s the best way to describe it.

DD: What was the inspiration behind this collection?
Robert Geller: I really wanted to marry upscale, uptown luxury with an indie rocker vibe. There’s a little bit of arrogance, but in the end it’s really cool because it’s such a nice mix of the downtown guy playing with the elements of old school suiting.

DD: I really liked all of the fur that you used.
Robert Geller: Actually it was all goats’ wool– there are apparently hundreds of different kinds of goats. The ones we used were Japanese mountain goats.

DD: How do you feel your collection has evolved from its inception? Robert Geller: I think in the last three or four seasons it’s become much clearer of what I am on my own. It’s also me stepping away from Cloak, which is something that exists already; I didn’t want to do that again. It’s becoming much clearer in my head about what the Robert Geller brand is, and who the customer is. You have an idea, but you don’t really know until you see people wearing the clothes.

DD: Music is really important to you, how do you decide on the music for the shows? Tonight you used a song by Denim, a rock band from the '70s.
Robert Geller: We work with Scott Mou– he’s an old friend of mine. We’ve been working together since way back. We sit together and I explain to him what the collection is about and then we talk about music and put together a playlist.

DD: You attended Rhode Island School of Design, but what first influenced you to want to become part of the fashion industry?
Robert Geller: It was the Belgians, it really was. It was the old Raf Simons back in the day– not that he doesn’t make good menswear today– but I really, really loved it back then, that was a big inspiration for me. Also, Ann Demeulemeester and the whole Belgian aesthetic in general. But Yohji Yamamoto and Comme des Garcons too.

THREEASFOUR A/W 10-11

Dazed Digital.com-- The avant-garde trio present an electrifying show inspired by the science of alchemy.

Text by Carolyn Brennan Photography by Shawn Brackbill | Published 17 February 2010

http://www.dazeddigital.com/Fashion/gallery/34/6633/52/Three_As_Four_AW_10-11

The basis of the designers’ abstract Autumn/Winter 2010 collection was the seven metals of alchemy and the planets that control them: the first being “lead dominated by Saturn” followed by “silver dominated by the moon,” and other metals including iron, copper and tin. As the show began, the models marched onto the runway through a cloud of smoke and took their places in a circle around a painted alchemical star on the floor.

The first look was a long asymmetric black wool coat with a tall leather collar guarding the model’s face. It was followed by a luxurious leather jacket with a curved front zipper, and several dresses made out of winding rope in shades of copper, metallic blue and black. These body conscious dresses seemed to take on lives of their own as they encircled each model like ivy clinging to a tree. Other looks included flowing silk capes and leggings with sheer curvy cutouts. The collection was a true study of the female form as fabrics mimicked and mirrored the shapes of the models’ bodies.

Dazed Digital: What was the inspiration behind this season?

Gabriel Asfour: Alchemy and metals.

Adi Gil: Each metal has a planet that dominates the metal. For instance, gold is ruled by the sun, silver is ruled by the moon, and mercury by mercury.

Angela Donhauser: And the music we played was Tomita’s Clair de Lune / Snowflakes are Dancing.

DD: How are the three of you able to work together to achieve a common vision? Do you ever have disagreements?

GA: All the time!

AG: We still ask ourselves how do we do it, but we somehow do.

GA: And we know that it’s just clothing.

AD: I think it’s meant to be, we all love each other and support each other… it’s like a snowman! (laughs) We’re a little family.

DD: I loved the way you styled the hair and makeup, and how you used netting over the models’ faces. How did you decide upon it?

AG: I think it takes awhile, I cannot really describe how, but we wanted to do something wavy with the hair that would work with the curving lines of the clothing.

DD: What were the fabrics that you used?

GA: A lot of leather, wool, silks, chiffons.

AD: And a lot of rope!

RAD HOURANI A/W 10-11

Dazed Digital.com-- The Canadian born, Paris based designer shows off a slick, sexy collection that’s more than meets the eye.

Text by Carolyn Brennan Photography by Mark Reay | Published 17 February 2010

http://www.dazeddigital.com/Fashion/article/6615/1/Rad_Hourani_AW_10-11


Thanks to his razor sharp aesthetic and bondage inspired style, in several short seasons Rad Hourani has garnered quite a cult following in New York and beyond. The designer’s army of darkness stormed the runway to the suspenseful tones of “Black Planet” by The Sisters of Mercy. There were dramatic capes, jackets with attached backpacks and the designer’s signature draped jackets and strap front leather pants. The most important theme of the collection was transformation: Hourani created many pieces that could be folded like origami into completely different looks. Though his price points are still sky high, Hourani’s fashion resourcefulness is just what we need in this economic climate.

Dazed Digital: What was the starting point for this collection?
Rad Hourani: The starting point was all about transformation, and about creating pieces that are unisex. With these pieces you can create both masculine looks and feminine looks, or you can create tough looks or sensual looks. It’s about making it your own way, and making it go with the mood that you are feeling each day– whether it be masculine, feminine or unisex. I was able to take one jacket and create many different shapes with it. For instance, the cape that you see on one guy is also transformed into a different jacket on another girl. It’s also worn as a skirt on another model. So we have around 12 different ways of wearing one item.

DD: I really liked all of the knits that you did, and how they obscured the models’ faces.
Rad Hourani: Yes, the silk cotton knits– these knits are transformable too. You can wear them as a skirt, or as a scarf or cape. With the knit cardigan you can take off the sleeve, turn it into a scarf, or you can wear it just as a vest or even as a skirt. So my collection is all about transformation and creating completely new silhouettes.

DD: How do you feel your collection has developed from the previous season?
Rad Hourani: I don’t really think about it that way. I think more about continuation from the last season. It’s things that I’ve wanted to do in the past but never had time to do. So I think the development will be how the pieces are able to transform, and you can take it very far. We had ten jackets, and with these ten jackets you can wear them 26 different ways.

DD: How did you decide upon the styling of the hair and makeup?
Rad Hourani: I wanted to do something timeless and unisex, in a way that isn’t trendy or the look of the moment. It’s all about slick silhouettes and models that look very modern. I don’t like references to the past. I don’t want someone to say, “Oh its ‘70s or ‘60s or ‘80s.” I wanted the models to look fresh and clean and completely timeless. And it’s all about the clothes. It’s not really about the hair and makeup for me because I want the clothes to stand out. But at the same time, you still have to apply perfect makeup and have flawless foundation, and that’s why I like working with MAC. They have the best products for these kinds of things.

DD: What’s your advice for young designers just starting out in the industry?
Rad Hourani: It’s important to always have a clear vision of what you want to do. It’s not about just creating a collection. Creating a collection takes so much time and if you want to do it right, it takes so much energy and effort. You have to be very passionate about what you’re doing. If you want to be a designer, you must be real to your vision and have faith in what you believe in… and you need to work really, really hard (laughs). It’s not easy. But if you put all of your energy and love into it, you will get somewhere. It’s all about believing in your vision and believing in yourself. And remember to think about what you want to wear, because that’s the most important thing.

UNITED BAMBOO A/W 10-11

Dazed Digital.com -- Menswear meets womenswear at United Bamboo’s swanky show.

Text by Carolyn Brennan Photography by Shawn Brackbill | Published 14 February 2010

http://www.dazeddigital.com/Fashion/article/6553/1/United_Bamboo_AW_1011

For Autumn/Winter 2010 Miho Aoki and Thuy Pham drew heavy inspiration from the fearless women of the 1930s, focusing on “the masculine part of feminine and the feminine part of masculine.” That entailed plenty of high waisted skirts, pleated trousers and wool overcoats, as well as draped silk dresses adorned with bows and embellished pencil skirts. The designers infused a bit of flair to the collection with shimmering fabrics and delicate sequined details, and despite the popularity of the bob haircut in the ‘30s, the models slinked down the runway with wild, untamable crimped hair. The duo closed the show with a black velvet sweetheart dress that was both sweet and seductive.

Wanted Magazine: Graham Tabor

From the premiere issue of Wanted Magazine: http://www.awantedmag.com/Issue-1/grahamtabor.html

“It’s always very important that whatever you’re working on feels modern, even if you’re working with an archaic technique,” remarks New York-based knitwear designer Graham Tabor. “Like macramé, for instance, which has been around for thousands of years. The challenge is how you’re able to take that technique and reinterpret it to make it exciting and new– and something that’s appropriate for now.”

There is a quality of organized chaos to Graham Tabor’s sophisticated designs. With his layers of deconstructed translucent fabrics, perforated wool knits, torn stitching and fantastically distorted facial masks made in collaboration with Kristen Barron, Tabor’s overall vision is an archetype of the primitive merging with the futuristic.

The designer has been developing his innovative tailoring techniques for the past ten years, and is currently making a name for himself as a forerunner in a skill that has remained largely untouched by American designers. “Knits are a very marketable commodity in New York,” says Tabor. “There aren’t a lot of people here who’re both technically skilled and have a good eye, and there’s very little production in the U.S.”

Born and bred outside of Detroit, Tabor later studied at Johns Hopkins and took several patternmaking classes at FIT before attending the Sorbonne in Paris for courses in photography. It was then that Tabor began to make an organic transition into the world of fashion design. “It actually happened almost by accident– I had all of these different interests, but I wasn’t necessarily really looking for a job in fashion. I was mostly trying to justify a reason for staying in Paris,” laughs Tabor. Clearly cut for the cloth, Tabor snagged an internship with Sébastien Menier, who is now the head of menswear at Maison Martin Margiela. The internship led to a knitwear design job under Melanie Ward at Karl Lagerfeld. “Lagerfeld was one of the best working experiences I’ve ever had,” comments Tabor. “It was a bit of a dream because it was so design lead. The team was very strong, and the product that we were doing was really amazing.”

Following his position at Lagerfeld, Tabor spent two years as the head of knitwear at Helmut Lang. Prada had just sold the company to Link Theory Holdings of Japan, and Tabor describes the challenging experience as “a bit mental.” But it was a challenge that prepared the designer for the launch of his own label. In 2008 Tabor was invited to show his debut eponymous collection in Paris at the annual Hyeres Festival of Fashion and Photography– the same event that has set the careers of Viktor and Rolf and photographer Sølve Sundsbø into motion. In addition to creating his own label, Tabor has consulted for TSE Cashmere, Rachel Roy and Camilla Staerk, and also styles photo shoots regularly for the likes of Qvest, Metal and Wad, among others.

Inspired by his natural surroundings as well as avant-garde Japanese designers Yohji Yamamoto and Rei Kawakubo of Comme des Garçons, Tabor cautions, “You always have to be careful to not be too directly inspired by someone, because then what is your voice?” With his body transforming creations and curiosity for the cutting-edge, Tabor’s voice is an escape to a brave new world of adventurous fashion: a black and white world of structural illusion and sexual ambiguity; and a world where apocalyptic drifters search for new life.

“I’m interested in the idea of how knowledge is transferred by certain groups in certain situations, and from one civilization to the next,” comments Tabor. “The knowledge that we have of the past is very fragmentary, and it’s through these bits and pieces that we try to bring together a story– and that’s what I find so interesting. Whenever I make a collection, I’m putting forth my own universe. And what I was trying to do was to put forth fragments of this universe, so the spectator can excavate and fill in the gaps with their own ideas and theories in order to make it their own.”

Also influenced by the work of American artist Gordon Matta-Clarke, Tabor's eyes light up when discussing the man’s unconventional processes. “One of the things he’s most known for are his excavations of abandoned buildings,” Tabor says. “He would cut out apertures in the ceiling and walls to allow light to come in. By removing these pieces and revealing many different dimensions at once, he was able to completely transform how your brain experienced the space.”

Adapting and expanding upon Matta-Clarke’s architectural techniques, Tabor uses his intricate stitch work, cut-outs, and various sheer fabrics to manipulate one’s perception of his own line of garments. “Part of the whole understanding for the collection was the idea of opening up this transparency,” he says. “Not necessarily actually revealing the body or the garment, but transforming it. These transparencies alter the texture of the skin and add to and change the dimension of the body, so it’s as if the transparency has been negated.” In shades of ivory and black, Tabor’s paper-thin trousers, seamless translucent jackets, and gash-filled knits play with the silhouette of each wearer. The garments drape and unravel around the body, forming a complex sort of camouflage for the new millennium.

What’s up next for this talented young designer? In a joint effort with photographer Miguel Villalobos (a regular contributor to Jalouse, Fantastic Man, Metal and more), Tabor’s latest project, titled 1 – 100, is a seasonless collection of uniquely handcrafted one-off cuffs, bracelets and headpieces. Each unisex collection of accessories will focus on a different material and artesian technique, the first being leather molded and dyed by hand. Sold in numbered editions of 100 pieces, 1 – 100 is currently available in Japan— though Tabor and Villalobos plan to enter the European market very soon.

While his conceptual fashions are currently available through private order only, Tabor has been working with Woolmark and Australian Wool Innovation to develop some more commercial pieces to add to his line. “Creating unconventional clothing can be a bit self-limiting because it can be too extreme for consumers,” says Tabor, “But I still want to make something that people are excited about.”

Written by Carolyn Brennan

Photos courtesy of Migue Villalobos, www.miguelvillalobos.net

Wanted Magazine: Matohu Interview

From the premiere issue of Wanted Magazine: http://www.awantedmag.com/Issue-1/matohu.html

With a new guard of forward-thinking young talent emerging, Japan is rapidly becoming a fashion destination for those seeking an escape from the mundane. Hiroyuki Horihata and Makiko Sekiguchi are two of these such designers. Taught by the very best (i.e.: Yohji Yamamoto and Rei Kawakubo), Hiroyuki and Makiko were well qualified by the time they launched their label in 2004. Titled Matohu, the designers are well versed in the art of traditional Japanese textiles. They use the same fabric techniques developed by wealthy Japanese merchants in the Momoyama period, a fleeting era that existed from 1568 to 1603. Though their craft stems from the past, Hiroyuki and Makiko fuse these rich techniques with their innovative design concepts of freedom and movement—in the end creating something that extends itself beyond fashion.

Matohu’s latest collection for Autumn/Winter 2009 further expands upon these ideals. The theme for this collection is “Kabukimono,” a type of anarchic wandering warrior from the Keich? era of 1596 to 1615. Just like the modern-day punk movement, the Kabukimono refused to behave by society’s rules. They defected from their Samurai masters and chose to dress and act with reckless abandon. The collection itself is sharp, angular, textured and almost entirely black—except for several splashes of white and vibrant blue. Long coats and strong shoulders, futuristic leather jackets and skirts, and complex knits made from Tibetan lamb and mink created severe silhouettes on the catwalk. Blending the past with the new, Matohu are carving their own creative niche in fashion history.

WANTED: What triggered your decision to first get involved in the fashion industry?

Hiroyuki Horihata: To have seen works by Yohji, Issey and Comme des Garcons in a museum in Kyoto.

W: You and Makiko met each other while attending Bunka Fashion College-- how did you meet exactly?

HH: We actually met at a foundation course on the first day of class-- we soon became best friends.

W: “Matohu” means “to wear lightly” – to wear in a way that creates an atmosphere of beauty but also with a sense of restraint. Can you discuss these notions and why you decided upon this name for your label?

HH: We wanted to name our label not just after our own names, but a pure Japanese word that is impossible to translate into other languages. “Matohu” is a verb, and it is originally a very special word of how to wear the Kimono.

W: You’ve worked for both Yohji Yamamoto and Rei Kawakubo. What was it like to work for two of the biggest designers in Japanese fashion (as well as fashion in general)?

HH: It was extremely tough-- beyond description.

W: What are some of the most valuable lessons you learned from these designers?

HH: We learned that they were our masters. We learned everything from them such as creativity, a special way to make clothes, textiles and the mind of “Never-give-up.” / the thought process of never giving up.

W: Your label is known for taking a spin on traditional Japanese themes and concepts by reinterpreting them into modern-day fashion masterpieces. Can you discuss your focus on the ‘Momoyama’ period?

HH: It was the most attractive age to us in Japanese History. It was a brief span of free thought, chaotic fashion, foreign influences and trade, which gave birth to an elegant, minimalist style.

W: Where else to you take inspiration from when designing your clothing?

HH: In ordinary and beautiful things in our lives, like seeing blooming flowers on the way home from work.

W: How are the two of you able to work together to achieve your collective vision? Is it ever difficult to agree on certain things? How did you develop the label’s style?

HH: There is no difficulty between us. When there is some disagreement, we discuss it until we can each share our opinions.

W: What is going on in your heads when you’re in the middle of designing a collection?

HH: Just concentration. Nothing except that.

W: I like how the Kabukimono warriors share characteristics with the modern-day punk movement – both were resistant to conformity and social norms, and both, (with their dark garments and bold hairstyles) stood out in a crowd for what they believed in. Can you discuss this?

HH: If you want to be original, you have to be brave in your own style. Kabukimono is a way of life-- of standing alone and having a strong will.

W: What types of fabric do you most enjoy working with?

HH: We’ve always enjoyed making original textiles for every collection.

W: The economic downturn has caused some designers to introduce more austerity into their collections, while other designers have opted to provide their clients with a route of escapism and fantasy. Do you think that the recession has had any effect on the way you design clothing?

HH: Nothing. We are going to do it according to our way.

W: What are you plans for the future of your label?

HH: To go global.

W: Horihata, you originally studied menswear in school – do you think Matohu will launch a men’s line as well? Your designs are already very androgynous.

HH: We already make making men’s sizes in Matohu already as well. It is actually a unisex brand.

W: Do you plan to eventually have a fashion show in Paris? Or would you rather continue to promote Japanese fashion week?

HH: Right now we are waiting for what we should do next and the right time to do it.

Written Carolyn Brennan
Photos courtesy of Matohu

Wanted Magazine: Damir Doma Interview

From the premiere issue of Wanted Magazine: http://www.awantedmag.com/Issue-1/damirdoma.html

Damir Doma is a young Croatian-born menswear designer in the prime stages of his career. He grew up in Germany, studied fashion at Esmod in Munich and Berlin and is currently based in the fashion capital of Paris. Doma’s creations are unlike most options available to men today, and the 28-year-old Raf Simons protégé has already been compared to gothic greats like Rick Owens and Ann Demeulemeester. After his debut collection, Damir Doma quickly became a name to watch in the menswear industry– however fickle it may be. While greatly inspired by his natural surroundings, Doma is also a purveyor of art, and counts significant 20th century German artists Anselm Kiefer, Joseph Beuys and Gerhard Richter as important influences in his creative design process. A perfectionist who values originality in every dimension, Doma is known to even compose the music played during his own runway shows.

Doma’s Autumn/Winter 2009-2010 collection featured pale-faced models swathed in layers of beautifully draped fabric, heavy wool coats, leggings and asymmetrically cut jackets with rounded or sloping shoulders. An abundance of looks came in winter white, though Doma didn’t forget to include various shades of grey and his favorite, jet black. There were zip-front jumpsuits and boots, full trousers with tapered ankles, head wraps and lots of braided detailing.

The designer’s latest collection for Spring/Summer 2010 was shown at the Palais de Tokyo in Paris this June. His new looks expand upon the ideas and silhouettes formed in the previous season: oversized shapes, multi-layered fabrics and thought-out androgynous appeal. The collection has a much more natural pallet of earth tones, with neutral shades of beige, cream, and ivory– although the most surprising aspect this season is a multitude of eye-popping blood red pieces. With slicked-back hair and stern gazes, the models were outfitted in sheer tanks, oversized linen tunics and trousers, crisp white jackets and sheer harem shorts paired with sturdy boots or strappy Jesus sandals. Doma paid great detail to the varying textures and movement of the fabric, making the collection one of his strongest yet.

WANTED: How did you first become interested in fashion?

DAMIR DOMA: Fashion was all around me when I was growing up. My mother is a fashion designer as well. My sister and I were always playing with her fabrics, and at an early age we started to create our own things. My first contact with a well-known fashion designer was when I was about 14 or 15 years old. I grew up in a little city in the South of Germany, so it was quite hard to buy fashion clothes. There was and still is one tiny fashion boutique called “Altra Moda.” That’s the shop where I bought my first Helmut Lang pieces! I used to be a big fan of Helmut– I think it’s really sad that he stopped designing.

W: What was it like growing up in Germany?

DD: My childhood was really amazing. I was very lucky growing up in South Germany, just in front of the Alps-- between the lakes and the mountains. I spent most of my time outside, playing sports and exploring the nature.

W: What made you decide to start designing your own label?

DD: My personality is one that needs to create new things. I believe that it’s my destiny to create and it actually doesn’t matter so much if it is fashion or anything else. I need to merge myself into my work and I always wanted to create my own universe and to express myself.

W: Can you tell me what it was like to show your collection at Modniy Desant in St. Petersburg?

DD: Modniy Desant was an exiting experience for me and also for my whole team. It was my first time in Russia. As I’m originally coming from a Socialistic country, I had some kind of image in mind before entering Russia. At the border we immediately had the pleasure to meet the Russian custom officers. That was shocking. I remember I thought that we would never enter Russia with the full collection! Besides some initial difficulties, the trip was nice. We did a beautiful show and I met Frol [Burimskiy], who is now part of my team. He moved from St. Petersburg to Paris, and is the responsible for our Paris Damir Doma boutique.

W:W: What was the purpose behind your Viel video collaboration with Alessandro Tinelli?

DD: When it comes to art, most of the time the process is the purpose. I met Alessandro during my first visit to Tokyo in 2007. Alessandro is an Italian artist who moved to Japan a few years ago. Masahiro Tsunoda from Lift introduced us to each other. In the last two years we’ve done so many things together. Alessandro’s specialties are video, video post-production and music. Viel is the video/music form of Damir Doma. We tried to explain my universe through different “eyes.”

W: Your Identity project shows how influenced you are by nature– can you discuss how the great outdoors has shaped your character as well as your collections?

DD: First of all, I believe that it’s crucial that my personality and my collection is 100% as “one.” As I mentioned earlier, I grew up with nature all around me, and I believe that a big part of my aesthetics developed in my early years. I love natural materials and colors– but my concept goes much further. I believe that clothing and body have to be a unity– clothing shouldn’t fight against the shape of the body. Clothing needs to respect the individual’s identity. A masquerade is not an option for me. I’m a very respectful, calm and sensitive person– and that’s what you'll find in my clothing. They are subtle and profound. My collections need to be explored and well understood.

W: What was it like to work for your mentor Raf Simons?

DD: Raf has a great personality. I remember that I was overwhelmed at the beginning. When I was at fashion school I looked up to him. Raf showed me a new perspective on fashion and a new way of working. At the end, it’s hard to recognize his influence on my work, as we don’t share the same aesthetics, but I adopted some of his concepts.

W: What other designers are you influenced or inspired by?

DD: As I mentioned at the beginning, I loved Helmut Lang and I also like Jil Sander. I adore the early work of Issey Miyake.

W: You also worked for Dirk Schoenberger– what was that experience like?

DD: Working with and for Dirk was more difficult for me, as we were never able to find a common denominator. At that time, Dirk was part of the BVBA 32 [a Belgian collective that produces high quality designer goods]. I believe that from a business point-of-view, I learned a lot during that period. I learned how to structure a good collection, and I learned to be focused.

W: You referenced the German painter/sculptor Anselm Kiefer as an inspiration behind your latest collection for A/W ’09-‘10– can you explain why?

DD: Anselm Kiefer did a fantastic exhibition in the Grand Palais two years ago. I love Kiefer’s images, haptics and structures. I imagined the models walking through the deserts of stone towers, which he built up. In his work, nature conquers the human creation, and I think that’s an amazing idea.

W: I got a bit of a post-apocalyptic Star Wars vibe from this collection– I could see Luke Skywalker wearing a lot of these looks– is that something you thought about?

DD: I’m not a big Star Wars fan, but I can see the connection. In particular, you are probably thinking of the priests in the movie. I like the idea of spirituality!

W: What are your favorite fabrics to work with?

DD: I work with all kinds of natural materials. It really depends on the product, but in general, linen is my favorite material. Linen has some kind of life of it’s own– you have to treat it with respect.

W: How do you pick the haunting music for your shows?

DD: For a while we have been composing the music especially for the shows. I decided this way works better for me, because I don’t want to give any references. The music goes hand in hand with the clothing, the materials and the colors. I’m a creator. The fashion show is giving an idea of the future and I believe that it’s wrong to use music that already exists.

W: You recently opened your flagship store in Paris – can you describe the experience?

DD: The store is our little baby. We take good care of it and we’re trying to raise it at the moment. We want it to be an amazing and cool adult!

W: What are your plans for the future of your label?

DD: We want to keep the label very exclusive. In the future we are planning to expand the Damir Doma universe with new products. I’m working on some very secret stuff right now. I also want to come up with a women’s line quite soon.

W: What are your other interests besides fashion?

DD: I love the arts. Every season I try to collaborate with a young artist to create other projects next to the collection.

Damir Doma’s designs are available in the U.S. at Atelier New York, Sartorial Loft and H. Lorenzo in Los Angeles, and Mixmix in Honolulu and Waikiki.

Written by Carolyn Brennan
Photo courtesy of Damir Doma and Etienne Tordoir