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.

FashionFUCK Preview x Don the Verb

From Dazed Digital.com: A new zine is set to launch because founder Brigitte Nicole Grice "felt like New York today was missing this power of print."
Text by Carolyn Brennan | Photography by Daria Radlinski |Published 05 November 2009
http://www.dazeddigital.com/Fashion/article/5753/1/FashionFUCK_Preview_x_Don_the_Verb

Brigitte Nicole Grice gave fashion-goers an exclusive preview of her sexy new ‘zine FashionFUCK this past Monday night, along with the unveiling of Hanna Astrom and Yanina Landsaat’s Hostess Spring/Summer 2010 collection for Don The Verb. FashionFUCK will be printing four limited edition issues total, with the first one launching this December.

Dazed Digital: What inspired you to launch your own magazine?
Brigitte Nicole Grice: I have always been interested in the world of print and especially magazines more than anything. I am constantly searching for magazines from the past and the present, that have dramatically influenced communities like Real Life magazine did in the art community in the ‘80s and how i-D and Dazed took fashion and fused the pages with multifaceted outlets of creativity. I felt like New York today was missing this power of print, and people were getting a bit too caught up with the internet and blog cultures. FashionFUCK would be a way reposition and approach this new, young and old, professional and emerging, creative community that needs more than the internet can provide.

DD: Can you tell me what else will be featured in the premiere issue?
Brigitte Nicole Grice: I can’t give away too much, but I can tell there is going to be more from Chadwick Tyler, there’s going to be some beautiful illustrations stretching the runway looks into our own fantasy land, a lot of collaborations amongst artists, designers and photographers, and some exclusive shoots with New York designers. The rest is hush-hush, but many amazing things are happening in the four issues to be released of fashionFUCK.

DD: Who else has been working with you on FashionFUCK?
Brigitte Nicole Grice: There are a lot of great and extremely talented people on board; fashionFUCK is very much community-focused and operating like a collaborative team. In an attempt to eliminate the hierarchy system used in mainstream fashion magazines, fashionFUCK is teaming up with the most talented creatives in the fields of fashion, art, photography and literature, whether well-known professionals or emerging youths. We are leveling the playing field when it comes to the elite attitude that comes with fashion, making it accessible, and in that way opening adding fresh ideas.

DD: How do you know Don The Verb?
Brigitte Nicole Grice: I’ve been going to their shows for a couple of years now, and when they had their store I would come and wander into their beautiful space on Delancey. We worked on some shoots together and to use a way too overused phrase, the rest is history. It was a great time working with Yana and Hanna, we all have very similar ideas about fashion, and they have been very supportive of the magazine.

DD: In an economy where other magazines are suffering, what will fashionFuck do to stay relevant to readers?
Brigitte Nicole Grice: It’s usually in times of economic downfalls that people crave a creative outlet more than anything. They want something to take them away from their personal lives and be able to escape within. It is this cry to the imagination to actually rethink fashion in terms of art, literature, music and performance, instead of spitting out the same thing season after season. It’s these cravings for something different that will make fashionFUCK stand out and stay relevant to its readers.

Rad Hourani A/W 09/10

DazedDigital.com-- The Montreal export adds a newfound shine and depth of texture to his latest collection.
Photography by Shawn Brackbill Text by Carolyn Brennan | Published 23 February 2009
http://www.dazeddigital.com/Fashion/article/2074/1/Rad_Hourani_AW_09


The famously self-taught Rad Hourani from Montreal has been carving out a hard-edged niche for himself, never straying too far from sexy androgynous looks. For A/W 08, that case remains but there was an added experimentation with fabrics and textures and jewelled embellishments that made Hourani shine on the last day of New York Fashion Week.

Dazed Digital: What were your inspirations for this season?
Rad Hourani: My main influence is myself. It's always something that is a continuity of the first collection I started. It's just a feeling... doing what I want to wear, it's a continuity of all of that. My references are always the same: architecture, graphic design... it can be an image, a movie, a person-- it can be anything. There are no specific influences. I always make clothing that I would like to wear myself. It's completely myself, as if I'm a frame that catches everything around me and related to me-- everything that I see and do. And my brain is like a computer that spits out what I feel like wearing.

DD: I attended last season's show and loved it. Is there going to be as much leather this time?
RH: There is always lots of leather, but I'm also really hoping to see how technology will evolve-- especially with the development of fake leather. I use real leather now, but I would like to eventually experiment with fake leather that looks and feels real. I would like to look into it one day, when it's the right time.

DD: Despite your "no-background background," how did you first become interested in fashion?
RH: I guess when I was a kid, my mom used to always take me to her seamstress. I was always surrounded by fabrics and pattern makers. I was really a little kid, so I didn't understand what it was all about. But then I also never wanted to wear anything that the other kids where wearing. Like when my mom would buy me the same outfit as my brother, there was no way I would wear it. I was always into something different-- something that has an aesthetic that doesn't belong.

DD: And lots of black!
RH: Yeah, and my background was really finishing high school, and after high school I started scouting. The one day someone said to me, "Ah, you have great style, why don't you be a stylist?" And I had no idea what styling was. From there I just really continued developing my personal style, and thinking about what I would want to create. I kind of knew that one day that I would start making a collection with my name as a brand-- but for a while maybe I didn't feel I was ready. I never like to do something half way, you know? I want to do it the right way. And I've always been like that about a certain aesthetic. But I'm not interested in fashion-- I'm interested in style. I speak to people who are interested in something seasonless. Something that they will figure out how to wear themselves and make it their own.

DD: What other fabrics are you using today?
RH: I always use silk, wool-- the classic fabrics that will never go out of style, but then I like to mix it up. I like paillettes, or sequins, and the effects of patterns. I look for fabric that has a comfort to it, and then I mix it up by adding some little touches. I always like subtlety-- but this time I feel like having fun so maybe I put more flash in there. When I pulled looks for the show, I like to pair the flashier pieces with more subtle ones.

DD: Which designers are you most influenced by?
RH: I've really always be attracted to Pierre Cardin. I think he was someone who started something that was a bit more futuristic, more modern and graphic. And he kind of invented fabric, he was a great designer. If I see something from another designer that I like, or something that relates to me, I will always relate it back to Pierre Cardin.

DD: Do you live in New York now, after showing in Paris in the beginning?
RH: Yes, part time. So I was living in Paris full time and it just felt natural then. After that I spoke to Wayne Sterling (my casting director) about casting the show and I said, "Ah, why not do it in New York?" And I like the idea of being from nowhere and everywhere. For me, cities are the same as numbers and the same as colors-- it's not something that has a limit to it. I feel very comfortable in New York, I feel like home here. Everyone has been very supportive here, so it's been great.

DD: What are your plans for the future of your label? Where do you see yourself in a few years?
RH: It's a continuity to the beginning, and it's really sticking to my style and just developing it as much as possible. It's like a feeling I want to continue... I would like to have accessories, shoes, bags. I would also like to eventually have my own perfume.

DD: What you have going on, it's like a way of life.
RH: Yeah, it's a world I've created... a world, my world that I have in my mind-- and if you like it, if you want to get in it, that's good, that's wonderful.