My brain is burned out from all my Cultural Studies and Communications papers, but here goes…
Phoenix ‘alien’ is unsuccessfully acculturated (enter aesthetically pleasing scene with some Classic/Last Supper/ Ballet break) then some exchange where the girl (who is a bird) tells Kanye that she has to leave, but Kanye whines (she’s a bird, Kanye). Then the love scene (bestiality?). She rises from her ashes (she’s a Phoenix, get it?) and leaves Kanye running in his loafers.
Run-on-sentences, comma splices and all — the coloring, photography, and composition of most of the shots were pleasing. But can Kanye please tell me why he went from “Power” (2 mins) to 30-minute-“Runaway”??
Also love the Stephen Sprouse (for Louis Vuitton) handwriting of the title.
Erm, I’m taking a wee break from school stuffs to point out, that firstly, Spring 2010 was all about cats (Miu Miu), but the literary world has opted to trend frail little critters (or the derogatory term: “rodents”) instead. Case in point, Rakoff and Sedaris both have new books out, and lo and behold:
Oh, and Alex Prager’s “Spellbound” for W? Resort collections were taken through Hitchcock’s “Birds” and sprinkled with some kaleidoscopic color explosion and were then warped into some Dali surrealist dream. That sentence barely made sense (midterm haze), but I’m going to let it chill.
During the summer, Eliza and I had discussed outfit posts, because we’re blog nerds like that. Outfit posts are totally cool and all, but we tend to prefer candids where the person is totally caught off-guard, or not even aware of the shot; the vibes are just so much more carefree. There are also so many bloggers out there who take an outfit post to the next level, for example, Elizabeth, and her adorable pictures of her No 6 clogs chilling in a field. I guess just standing in front of a camera is très weird for me (I keep trying to get used to it, and yeah, I have posted staged shoots of myself, but I’ll take a shot I’m totally unaware of any day).
Case in point, here are some birthday (!!) candids that (thank god) somebody else took. I’m posting these because, through these photos, I discovered that: a) I layer tons around my neck, and b) I take my sweetasstime to peel the layers off once indoors.
This scarf is from that beautiful Marc Jacobs’s Fall 2009 Sprouse-inspired collab that I ADORED. I picked up the scarf while in Paris back in the summer of oh-nine. Everybody who works in a Marc Jacobs’s store is so damn effortlessly cool. It’s not fair.
This next blue-themed portion of my post is a dedication to http://iheartenidcoleslaw.tumblr.com/ whose tumblr is the mostest (her blog is pretty rad too). Anywho, bluehairextensiongift! It clips into my hair and it’s hilariously too long right now.
(Yeah, I tried one last time — for serious, this is still weird.)
Ok, so, I am in the process of editing photos from a recent shoot, but until then, ummm reading break? All I have been doing is sitting in a fluorescent, poorly ventilated cubicle studying personality and interpersonal relationships. Everytime I open my computer to study lecture slides, it cries. I decided to take a little study break and go book shopping.
A book on LAWNS! I mean, they’re everywhere in Sci-fi films, so WHY NOT?
The best line thus far, “A cultural history of Americans’ thirty-million-acre fetish, from colonial times to the present day.”
I paired this book with a Chanel S2011 look.
Neon and neon » Proenza Schouler Resort 2011 and Tom Wolfe’s Kandy-Kolored Tangerine-Flake Streamline Baby.
Breakfast of Champions and JAMES LANCE!!!
The Room and Darth Vader!
This is my upcoming book cover for: I’ve Got a Bone to Pick with You!
I’ll be back to regz fashion programming, but for serious, reading is muy importante, guys! I am thinking of starting a reading group — you pick a book, provide a photo with you and said book (even plan a look around the cover, theme, whatever!), and a discussion to follow. Email me if you’re interested » email@example.com!
I recently picked up this copy of Tom Wolfe’s Mauve Gloves & Madmen, Clutter & Vine. I’ve only just begun reading, but so far, he has managed to deflate the pretentiousness of poseurs and hipsters on the first page. His illustrations are also pretty nifty:
The look above reminded me of Kelly’s look from not too long ago.
When I write essays or study for exams, one of the most important things to me in the world (apart from complex carbohydrates aka “brain food”) is a nice, comfy, cozy sweater…especially in a bitchin Aztec print. These sweater preferences help counteract the drab architectural features and lack of heating (how ruuuuude).
My intention when re-issuing my blog was to update it frequently, and after my technology problems, I now have school to blame? I’m sorry. Once I catch up to the 1383080389 pages in readings (wtf, this is only week 2?) I’ll be back online, webiverse.
Until then, I went to dye the ends of my hair, and apparently my hair just scoffed at the dye and peroxide? When I say “scoffed,” I mean that after four rounds of I-N-T-E-N-S-I-V-E peroxide and fire engine red hair dye applications, the peroxide only managed to strip, like maybe, half a shade off my natural color? My hairdresser still can’t figure out why it went ashy-military-green? He told me to come back for the red, but I kinda like it this way? I’m not mad, I’m glad? We shall see. It’s wet in the photo, but it still kinda shows? It’s kind of a cross between McMenamygrey and last season’s militaryjacketgreen. My hair also brings out my eyes because it now matches my eyes!
As for this face — it was 6 A.M.? I was delusional? It is now archived forever on the internets? Wah waaahhhhhh
I know, I know! I haven’t been updating as of late. Shameful. School just started and my days have been filled with waiting in long lines all day just to speak to an advisor for about ten minutes (I’m graduating this spring - EEP!)
I get it. Fine. It is definitely ironic that this shoot used clothing so expensive that the clothing alone could probably finance more cleaning projects to soak up all the oil covering the beaches and animals. Fine. But don’t you feel something when you look at these photos? McMenamy is drenched in oil, and you barely notice what she’s wearing because of the many painful expressions on her face. She is dirty, beaten down, but she’s still trying to pull through. Her body is writhed in agony, but at the same time, she’s twisting and molding her body to the surrounding environment in this desperate effort to reconnect to her surroundings. Isn’t this also known as survival? I don’t think Meisel intended for this shoot to solely address the issue of the oil spill, but it is an effective trope for disaster (at least nowadays); however you can extend it to so many other issues as well. We are all trying to survive something at the end of the day, and I think this is why so many people react so strongly to these images; the images themselves are highly evocative of disaster in general. This series of photos is art. Meisel is an artist, and McMenamy is acting and feeling — to this day, this woman is still setting a high standard of modelling. At the end of the day, fashion photography can sell you something, this is very true, but it can also make you feel exhilarated, horrified, anxious, uncomfortable, really happy — feeds off a wide range of emotions. Meisel has captured everything here, and framed a miserable chaos into this touching and disturbing photo essay. It’s art imitating life at its finest.
The video of the shoot is equally interesting as there is this constant juxtaposition between the tidy indoor space, which houses all the couture, and the gritty outdoors — the location for the shoot. Here are some of the stills.
Not sure how I feel about the studded collar on this trench; that would have been relevant and refreshing, say, last fall. I do, however, love the layering going on here: jean sweater under jean jacket under trench.
Excuse me while I post some summer photos, taken at the beginning of summer, so that I can figure out just where it is my summer went. See that smile right below? It says, “Hi, I have the whole summer ahead of meeeee!”
Acid washed denim and cruisin’ with the top down (sort of)? Happened.
Floral shirts and DIY hats (sort of) in Chinatown? Happened.
Elated? Elated? Neon poncho, bedazzling skull ring, killer comedy routine, gold cowboy boots (HIS). Military vest adorned with sparkly pins (HERS). Elated? Elated? YES.
Summer this year was a much needed personal break, so the small things were the most important? Yes? So now Fall has come knocking on my door with all the back-to-school commercials, and I’m going back in time to February, when the fall/winter collections were presented.
So, I’m just going to be a Pro Scho girl this year. The soft, subtle details of this collection struck my OCD faster than anything. And yeah, Fly Girlz are going to be in my Fall playlist, even though they were already on my Winter playlist. The video above is a video of the Fall/Winter 2010 Presentation. It was February. It was a study break. And I am posting it because I wanted to emphasize the styling and proportions that Hernandez and McCollough have perfected that I will now discuss below.
Hernandez and McCollough make me want to leave the house with fresh-out-of-the-shower-hair, a beanie over that, and any one of their looks from their Fall/Winter presentation. I mean, they always appropriately balance the proportions of the legs-to-skirt-to-chunky-knit-or-tailored-jacket ratio. The OCD rush I was getting from all the details: the teal blues, the cobalt blues, the oranges, the browns, the feathers, the wools, the graphic prints layered under monochromatic graphic prints — the styling was incredible. Whenever I watch Fall/Winter shows, I always need to feel like the styling will make me feel excited for school — which could also be why I’m so worried about taking a year off from school — what will be my raison d’être when I watch the shows this year? What the hell am I going to do?
And I’m not sure if this anxiety for the last year of my undergraduate career is predicating my sartorial choices, but I’m now leaning towards structured, simple pieces, paired with a crazy sweater or two? My ideal wardrobe now gravitates towards a wardrobe as a blank canvas, so that I can just drench myself in accessories. And perhaps revamping my hair? It’s a confusing time, but I plan on just having six or seven pieces I can wear in for this year. It’s strange; I still don’t know what to make of this sudden shift, really, but The Row obviously captures just what I need. I mean, Mary-Kate and Ashley have perfected the slouchy-but-still-fitted look, and I like the careless ease of just wearing these pieces. Especially for days when I don’t really feel like dressing myself. The draping is also so beautiful, and paired with the simplicity and luxury of the fabrics, why say no to minimalism? Or longer skirts?
Don’t these two remind you of 1990s Calvin Klein?
Next promising/inspiring label is HOPE. I came across HOPE a few weeks ago, and sent it to Eliza because the collection had her name written all over it. A couple of the looks really attracted me to the label.
The first look is from the Spring Presentation.
The layering, the soft lines, the peaking shirt from underneath. Again, styling and details are the key elements at play in this outfit, and the tiny hint of color — (pink) and black, added with a statement jewelry piece really complete this outfit. So effortless and comfortable.
The second look is from the Fall Collection, in the Men’s Section, particularly, that jacket.
Yummy, yummy shearling jacket.
*Photos from HOPE.
The last set of inspirational looks is from The Gap.
Jacket leather details — harnesses and a lovely poncho — all geared towards warmth and comfort, which are ideal for Montreal Fall/Winter. (Although Fall is slowing being erased out of our seasons, for some reason.)
Those Pierre Hardy Collabs are screaming for me through this sreen. I barely own any heels, and I wouldn’t be scared to wear these anywhere.
*Photos on my desktop from style.com
With two weeks left of vacation, my mind is wandering to bundling up and buckling down. But I am excited for layering again? Not as excited as last year though. Summer just seems to be zooming by the older I get.
Back in February, when the weather outside ruled my wardrobe with an iron fist, I came across Foam (Fashion Ocean Art Music) Magazine. It boasted editorials from my previous Teen Vogue dreams: girls in light, loose layers preparing to surf, or just ease into the California sun like any other day. I have always been attracted to editorials depicting some sort of beach bum lifestyle — the careless ease with which the girls don their clothing for the day, the beach, the surfing, the crystal blue waters — there is something nice about occasionally retreating to a cove somewhere and just skidding on top of water. Also, the girls and boys always manage to pair high and low end clothes so effortlessly. Today, I can still see why the whole “boho-chic” movement picked up with such voracity; it was calm, cool and collected dressing — from the Olsen twins to regular kids in skateboarding documentaries, they all dressed like they didn’t care, but were somehow attentive to fit and small details… This is where my mind wandered on that cold, cold February morning. Suffice it to say, I liked what I saw; and today, Foam still manages to stay consistent in the styling by keeping with the laid-back beach bum look.
First detail, and this is minor, but the Contributors page is labeled “Deckhands.” Nice nautical/ocean touch.
The description of the first story really intrigued me — a photographer and writer join pro longboarders for a five-day adventure? The trip is documented in a photoessay? Yes! There is only one problem: it is so short! There are promises of more photos and captions on the website, but it completely cut off the photodiary vibe for me. Like any other trip, I wish it were longer.
Let us examine the above photographs.
Wedges digging in the sand? Check.
Shaggy coat in unreasonably warm weather? Check.
Tousled locks all up in her face? Check.
Personalized wetsuits in your shower. Why not?
The caption about this new underwear line is absolutely right — these pieces (especially the yellow set) are far too nice to hide underneath clothing.
This was my favorite story in this issue. It’s with Jenna Wilson, designer at Nike. It’s a typical story of how a designer makes a space their own. I like that she willingly chooses to live outside of the hipster-filled Williamsburg centre of Brooklyn for the tree-filled Ditmas Park area (most creative people enjoy living amongst their peers, you know?). To be quite honest, I thought that Brooklyn was Brooklyn, but apparently Ditmas Park manages to be far enough from that scene. It is nice to see some people turn away from said trendy urban areas for more peaceful, personal hoods. I also like her personal style, and her home decor decisions as well — I just wish the piece was a bit longer. I felt as though it ended right when the writer really started to pick her brain.
All in all, Foam is a pretty great magazine; the visual content delivers. But, I do find that their written pieces tend to be really short; however, for a relatively new magazine, it definitely leaves a warm fuzzy feeling when you’re either too far away from a beach, or finding shelter from the cold.
I met Jonah Leslie way back in December for a small project I was working on; the project itself didn’t call for such an in-depth discussion of the store itself, but I couldn’t help but share his thoughts on just about everything — art, materialism, and time machines, even. Our conversation was interrupted by people in the neighborhood stopping by to chat on a cold Friday evening, and if anything, this interview experience made me realize why Montreal shops are some of the most pleasant around — because Montreal is this tight-knit community where people support each other and their endeavors. Jonah himself started the shop with the help of local Montrealers offering him their storefront spaces during Montreal street festivals. These kind efforts allowed him to better promote and sell everything he brought back from his travels on a table. By slowly building himself up, he finally opened his own shop in 2007.
Stepping into Jonah Leslie’s OldgOld boutique feels as though you’ve stepped into a personal, yet accessible space. The store is lined with vintage suitcases hanging from the ceiling, old birdcages drenched in Pac-Man bracelets and necklaces, an antique cabinet filled with elaborate rings – one cannot begin to fathom the intricacy and multitude of everything in the space. If you were, however, obliged to put the experience into words, it’s as though you have ventured up into your grandparents’ attic with the intention of creating your own universe, only to discover that it has actually come to life. All of this comes from simply opening the door and stepping in. The sheltering walls surround the space with gilded bathroom accessories; the walls themselves house clothing so difficult to categorize — the pieces are just so colorful and unique. You can move on from those Pac-Man necklaces to t-shirts with giant black cut-out circles that transform you into a walking art installation. Because the store holds such different pieces, one would wonder how to create a space that can better unify the store’s aesthetic. Or, to better articulate Jonah’s initial plan for the store, “I wanted a good foundation for the clothes. That, and I have a soft spot for antiques; they have such a soul to them.”
The decor, as well as the name, he explains, hark back to a time “when things were made with care, people specialized in their trade, and people knew what they were doing. Objects like that just speak of humanity – they leave an imprint on the planet.” The clothes he carries are the result of many forged friendships with designers during his travels to Bangkok, Tokyo, and Hong Kong. The lack of familiarity of the brands is just what he wants, “You have to not be afraid to buy something you have no clue about. You might not know the brand, but you know you like the piece and you know that it is made properly.” This instinctual process is key when visiting the store; pieces are snatched up very quickly. It just so happens that a girl is now in the shop looking for a camera ring she saw a couple of days ago, and Jonah informs her that it has already been purchased.
Jonah’s vivid imagination is not solely focused on the shop, “I have always had this creative turmoil and motivation to do stuff. I like to be productive in a creative way, but not be so self-absorbed.” And so the genesis of the online store slowly came together. The online shop not only makes the clothing and accessories more accessible to people outside of the city, but it also allows serves as a way to connect with people creatively. “My parents are both performers and dancers. I noticed, early on, how dance can be so self-involved: you can watch it and experience it, but the audience can’t communicate with you. I want to push the boundaries a little bit and make people think. I like to take care of people when I host events (he djs in both Montreal and Bangkok). On the site - I’ll put a mix that you can download for free, and I make videos. For the physical store, I still change the window with every changing season. The online shop is more of a platform to engage and interact with others.” While the site may look nothing like the shop, Jonah explains that he still creates atmospheres and aesthetics “that are consistent in themselves.”
As we end the interview, I ask Jonah, “If you could time travel, where would you go and why?” He stops for a moment and asks me to give him some time, “I’ll have to email you that one – there are just so many possible answers! I am working on a time machine, you know. It’s a secret, so don’t tell anyone.” A couple of days of reflection yield this one answer, “I take 97 million years ago on the Pangea continent surrounded with dinosaurs. Can I flick a switch and time travel right back in case I get attacked?”
While I was temporarily disconnected from the webiverse…
Does a supermarket really need this much space? This should inspire some summer reading: Allen Ginsberg’s “A Supermarket in California.” Although, you won’t be finding Walt Whitman tasting any artichokes.
Bus ride home.
I direct your attention not to the fire hazard, but to that sweater; in all fairness though, if the sweater was cotton or rayon — danger, danger.
The entire city of Montreal seems to be under construction these days.
I am searching for film so I can break this out. Anytime. Any place.
Let me just open this post with an apology for the slowdown. My computer crashed and the technicians are still taking forever to restore it and retrieve all of my data. Still, I have been running around gathering and editing some material for the blog, and posts will be resuming slowly but surely. Whining and apologizing done, here are some photos taken over the past couple of weeks while moving/painting/furnishing my place. (This is going to be a self-indulgent post.)
Blue walls, vintage red silk skirt, old H&M dress underneath.
Old Marc Jacobs’ ad on my wall. The blue background is similar, but slightly darker than the blue hue dominating my hall right now.
I never used to be much of a lipstick girl, but recently, I have been adding to my lipstick collection. In a year, I have really varied my color palette.
Picked up these chocolate brown puppies for a tenth of their original price? Extremely comfortable, and just enough heel to lengthen any look.
I have been thrifting quite a bit for some little trinkets to decorate the house. I then came across these flats at Village des Valeurs (Value Village) last week. They are a bit pop arty mixed with Picasso.
I interviewed Audrey Cantwell back in December, and her newest collection at the time, Salem, evoked an almost eerie feel with its long, dramatic, free-flowing draping. Looking through her more recent collections, Mysterium and Solar Eye, she has gone in a more colorful direction; the lines and draping are still there, but they have now evolved. She has varied her accessories and leggings even more, and she has expanded her repertoire by now layering furs, sheers, marble-tie-dye, leather, tassels, and cut-outs. She is someone who carefully selects her materials based on her own range of emotions and her intuition, and its no wonder her collections blend the eerie, the beautiful, and the mystical so effortlessly.
Are you originally from Montreal?
Audrey Cantwell: I’m from a small town — Acton Vale — about an hour outside of Montreal.
What was appealing about Montreal?
AC: It’s the nearest big city to where I grew up, so I came here pretty often to shop or go to shows. It was kind of a natural move.
Describe being a young designer in Montreal. What are some of the different aspects to developing your designs?
AC: Right now, I really like designing in Montreal. I love how it’s a small industry. I buy all my knits from one guy Joe and he always knows what I want and when he gets new things he think I’d like he puts them aside for me. And then I get all my leather from Sammy and my fur from Ivan. They’re my friends and we know each other and have a great relationship. I don’t know if that could happen in other cities. I also get the chance to meet a lot of other independent designers, which is great.
Are you very selective when it comes to choosing your materials?
AC: I think I am. Using quality materials is important to me. Also, the material has to instantly appeal to me and I need it, that’s how I shop for fabrics and materials mostly. It’s very intuitive and impulsive.
"I cut and I sew and I save the more fortunate results." What kind of process do your creations go through? Do you often have to rework pieces until you are satisfied?
AC: I think I have a pretty strange process; I never draw or sketch or plan anything out. It starts with finding beautiful materials that inspire me and create an overall mood and setting. I usually have ideas for separate garments and I make a first sample of them, usually just by draping. After a month or two when I have about 20 pieces, I edit the collection and see what fits and what’s out, and then I usually have to add a few pieces to complete looks. I always end up throwing out about half of what I’ve made, and reworking the rest a few times before it makes sense to me.
Your collections are very dark and moody, right down to the names of each collection (“Howl,” “X,” and “Salem.”) What does inspire the mood, the look?
AC: I’ve always had a penchant for dark or eerie things. The inspiration for Salem was a mix of dark fantasy and mythology; witches, vampires, magic and nature; the forest at night, northern wilderness, organic shapes and dark earth tones. The title Salem refers to the witch hunts of 1692, so I guess that brings a sort of melancholy and dark mood to the whole collection.
With Salem, you are draping different materials over each other (Shearling Panel Sweater, for example) and there seems to be much more draping in general (like the jersey dresses and skirts from both Howl and Salem). Do you feel this long draping helps evoke the dramatic, darker moods without constraining the body?
AC: Definitely, I think it is. I’ve never been that attracted to more modern, structured clothing. I like the idea of garments that can wrap and hang around your body and flow and have movement. It’s a kind of freedom I think.
How is “Salem” still different from the rest of the collections? What do you see changing?
AC: Salem is different because I consider it my first real collection, I’m done school now and on my own, I used different techniques and materials, I used fur for the first time.
Who do you design your clothes for?
AC: Anyone really — one of my best clients is 60 years old with black and white streaked hair; she looks amazing. She looks like Cruella Deville. I think it’s for anyone who wants something different and not mass produced, and who has a slightly dark aesthetic.
You have your shop on Etsy, Black Market Baby, what inspired the name?
AC: I didn’t really think it through much, or anything, I just happened to be listening to the Tom Waits song at the time and liked the sound of it.
How do you envision your collection in the future?
AC: Always changing, I have no idea what will happen next. All I know for now is Spring will be really different; lots of white, a touch of color, still a lot of black. Stripes and an ethnic print, more fur, silk chiffon and georgette…
In keeping with the Salem theme (and I hope you don’t mind) what kind of supernatural powers do you wish you had?
AC: Invisibility would be a pretty good one.
You can pick up Audrey’s pieces at Headquarters Galerie + Boutique in Montreal (1649 Amherst) General 54 (54 St-Viateur Ouest), Unicorn (5135 St-Laurent), or from her Etsy shop: http://www.etsy.com/shop/blackmarketbaby
During my first ever visit to New York, I came across a little shop I fell in love with: In God We Trust was beautifully decorated, it carried lovely labels, and awesome jewelry (ie brozed retainer necklace!). When I finally sent questions over to the owner, Shana Tabor, I received both hilarious and interesting responses. She gave insight on designing a concept for a store, selecting labels she cares about, as well as working with whatever space or location she is dealt (there are now 4 In God We Trust stores in the New York area).
Background info: From her first shop in Williamsburg to her now three locations, Shana Tabor maintains a feeling of comfortable nostalgia through and through. The store shelters pieces from her own collection, as well as pieces from her friends - ranging from interesting little charm necklaces to colorful vintage-inspired dresses. Shana Tabor elaborates on decorating, designing, and dressing à la classic American.
How would you describe the atmosphere of your store?
ST: I would like to believe the stores are very comforting and warm. Across the board, from employees to décor, I personally feel comforted and nostalgic for my New England upbringing and I think that is fully reflected in my work
There is also a sense of adventure and fantasy to the décor of your store, but with some sort of call back to a different era. Which era and why?
ST: I think there are a lot of classic American concepts that I will reference when creating a space, it’s not intentionally from a particular past era, but my own perception of a simpler ideal. Everyone views the world differently, I’m just lucky enough to share what I see.
You initially had a store in Williamsburg, then ventured out to Manhattan. Did you feel pressure to change the store’s aesthetic?
ST: No not really, I just work with what the space already has; I like to call it “making shit shine.” In the end, I think that is what gives each store personality. By the way, I’m try to pitch a TV show called “Making Shit Shine with Shana,” if anyone is interested?
Who is the person you design for?
ST: First and foremost, myself. I know that sort of sucks but, hey, I have really good taste! Oh and other people with really good taste: I like them too.
You also house other designers? How do you choose what to include? What really has to attract you to a piece?
ST: I am lucky to have a lot of talented friends, most of the other collections we carry we have found from word of mouth or friends. When I pick for the stores, it really has to be something that I personally would wear: good fabric, quality construction, reasonable cost.
What piece in your store are you really excited about?
ST: I have been working on a new jewelry collection that I am super pumped about (although it’s not in the shop yet… soon though) I’ve been experimenting with stones a bit more and it feels fun and fresh to me. Oooh, also rhinestones are on the top of my list. We have this killer rhinestone banana pin right now!
What is the advantage to handmade versus mass-produced jewelry?
ST: I think it stands out against mass-produced products. Handmade jewelry really carries a story and a warmth that is lost otherwise, you can see the designer’s movement, thought process, and actual construction. I think it’s great - much more personal, which jewelry should be. Personal.
What is the significance of buying something directly from the designer?
ST: There can be more of an experience. Everything is in its proper context and makes a bit more sense. Also, I always feel it’s nice to put a face to a name.
What influences how you personally dress?
ST: The weather? Man, I go through some serious fashion phases: sometimes, I want to own nothing and be super simple, and other times I want to dress like a maniac. I am not really sure what the root of that is. Hormones?
In God we Trust can now be found in three different locations: 153 Ludlow, 265 Lafayette (Manhattan, New York), 135 Wythe (Brooklyn, New York), and 70 Greenpoint Ave (Brooklyn, New York).
*Also, Shana kindly sent over this photo, so please, ask for permission to use!
I recently interviewed Sara Sachs, of Moonspoon Saloon, to ask her some questions about how she puts together her theatrical and youthful collections. Some background information: Moonspoon Saloon is a Scandinavian label. Sachs, a design graduate, is not the only mind behind Moonspoon Saloon, but Tal R (artist responsible for the crazy color combinations) and photographer Noam Giegst (photographer in fashion and art). The answers are interesting, and give quite a bit of insight into not only the process, but the perspective of living life all the way to death, odd concepts for such a humorous set of collections.
What are each of your backgrounds in design and art and how do you marry them in your collections?
Sachs: I, Sara, am design educated, and have been working in the costume world mainly for dance companies. Tal is an artist; he makes sculptures and paintings. Noam is a photographer both in fashion and art. I am the glue that combines the poles.
What inspires your colorful collections? What world do they live in?
Sachs: Feelings of lost feelings. Memories of reality. I get inspired to make clothes when I don’t understand, or when I misunderstand the time we live in. I see our clothes living amongst us.
What inspired The White Crane Collection? The name as well?
Sachs: It came from a show Tal did at Victoria Miro called “Armes de Chine.” White Crane is a karate form mainly used in theater; it is like a weapon that lost its purpose. So the clothes have hints of Chinese armor, like a broken army.
In the White Crane Collection, also you were using many different furs as well as other materials used and layered – what sparked this transition?
Sachs: The idea of dressing up to die. You want to wear the best you own. And all of it.
How important are unique, individual pieces to you?
Sachs: We have made one rule in Moonspoon Saloon: we make 99 designs/characters 99 times and then we close. All our designs vary. You cant find 2 pieces that are the same.
You have incorporated dancers, dancing, and movement in the conception of your collections. Why?
Sachs: Dance can deliver a complicated message natural.
What inspired the name of your label?
Sachs: The moon is way above us; the spoon is in your mouth. It’s big and small.
Your shows not only blur the distinctions between genders, but also dancers and non-dancers as well. How do gender and dance influence your collections? Do they influence your collections, the silhouettes?
Sachs: It comes from our urge to change totally. Fashion is a mild escape.
What is the selection process for your materials?
Sachs: It varies, for the latest collection California, it was settled in 30 minutes. For White Crane, it was much more fluently.
For the White Crane Collection, you made a short film to accompany the presentation – how important is the presentation of a collection? Does it aid in articulating the story?
Sachs: Actually we have made a film to accompany every collection we have done. In the White Crane film, we collaborated with “ We are the World” and they played their song “The Fight Song”.
Moonspoon Saloon is available at Seven New York (110 Mercer Street, NY). All photos were sent over by Sara Sachs, so please R-E-S-P-E-C-T, and just ask permission.
So, I had an old blog, and now I decided that only focusing on fashion was not enough; I saw myself really leaning more towards photography, art, and just the minds surrounding the fashion industry. My earliest and fondest memories of fashion were when designers sat down and discussed just what inspired them in general. I also love photography and writing and really want to focus on uniting all these interests here. I know, I made a move, but I just needed a fresh new start and a new platform for doing so. Thank you for following, and welcome.