I always dreamed of becoming a fashion designer,” says Angelys Balek, “but it was always important for me to create each piece of clothing as a work of art.” And her dreams have come true — as a trained painter and a visual artist at heart, Balek’s designs look just as stunning on clothing as they would on the walls of a museum.
IVY, the world’s first ‘Social University,’ will feature Balek’s Spring | Summer 2017 line in a special Fashion Week presentation at the High Line Hotel hosted by Miss USA 2015, Olivia Jordan.
Balek, who grew up in Thailand and studied design in London, has earned international recognition for her innovative synthesis of fine arts illustration and fashion-forward design. In 2013, she was nominated as a finalist in WGSN’s Global Fashion Awards, reflecting the breakout success she has since garnered. Her work has been featured in fashion publications including WWD, Marie Claire, Elle, Lucky, and Harper’s Bazaar, and she continues to build a red-carpet clientele of Hollywood’s leading stars.
Schooled originally as a painter, Balek won’t compromise when it comes to combining her crafts, holding fashion to the standards of contemporary painting practices. She incorporates her original artwork into a complex process of manipulating fabric and texture to create nothing less than ‘wearable art.’ And her jet-setting lifestyle (Balek maintains a flagship store in Bangkok and production in New York) is echoed in her designs, which draw upon both eastern and western influences to achieve a universally striking aesthetic.
IVY’s upcoming presentation with Balek will feature models tastefully showcasing her work for IVY members, VIPs, press, and fashion influencers. In anticipation of this special event, we sat down with Balek for an inside look at her process, perspective, and plans for the future.
Q: Was there a designer or artist who inspired you most to become an artist-designer yourself?
It’s hard to choose just one designer that inspired me, to be honest. I grew up completely enamored with fashion, spending any free time I had looking at fashion magazines and studying the colors, textures, and styling of the looks in the editorials. That inspired my own imagination and prompted me to start drawing and painting on my own. I always dreamed of becoming a fashion designer, but it was always important for me to create each piece of clothing as a work of art — I love to paint in a more abstract style and it only seemed natural to use my own paintings and art as the basis for my designs.
It was always important for me to create each piece of clothing as a work of art.
Q: Can you describe the “Angelys Balek woman”?
The Angelys Balek woman is a strong, empowered female who can freely celebrate her individuality, always confident in her self expression. She is feminine and playful, yet also artistic and bold. We aim to mirror that tenacity with our one-of-a-kind prints, designed to make women feel beautiful but still comfortable.
The Angelys Balek woman is a strong, empowered female.
Q: What would you say differentiates your designs from other designers?
I am a fine artist — my prints, embroidery, and shapes all manifest inside me first and in the form of abstract fine art before being transferred to our fabrics, which I don’t think many designers do these days. My prints tend to be more complex to execute on clothing because, like my paintings, there are layers and layers that build the final result. My work is very personal and I love that many of our clients really understand this and choose to wear our designs for that reason — they feel connected to the pieces.
My work is very personal.
Q: What have been the most difficult challenges you’ve faced?
One of the most difficult challenges we’ve faced as a company is growing our brand over the years and having the patience to wait for it to truly become recognized in the market. Additionally, coming up with the original artwork that will serve as the basis of the prints season-after-season, as well as executing the final product to my standards can be challenging, but that’s also fun and exciting at the same time.
Q: What has been your proudest moment or a time you were particularly excited about someone wearing your designs?
I think with each collection that is completed, I reach a new proud moment so really seeing the brand evolve and my vision come to life season-after-season is the most rewarding part of what we do. Hopefully, after my first show during New York Fashion Week I will reach my next proud moment as showing the collection to so many people at once in such a fantastic setting has always been a dream of mine.
Q: What do you believe in that you don’t think everyone else does?
That’s a tough question as it’s hard to know what anyone else believes in, however, I believe in my artistic process and the fact that I can push myself to be a better designer with each season. I think as a designer, your job is never really done.
Q: What is the one idea that you want to impart to everyone in the world or impact you’d like to leave as a legacy?
Develop your own design aesthetic and sense of branding. Focus on your vision no matter what might shake your passion along the way. Celebrate your core values and unique point of view.
Celebrate your core values and unique point of view.
Q: What do you aspire to do next with your brand?
It’s been exciting to grow our company into a true global luxury lifestyle brand that offers products across many categories including ready-to-wear, swimwear, and accessories. We hope to expand more in the swimwear and accessories categories globally, as well as explore other products that would work well with our original prints.
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IVY is the world’s first Social University, dedicated to education and inspiring the next generation of leaders. To join IVY, please visit ivy.com.
Since September 2013 during London Fashion Week, the Lady K Production team has bought international designers to the forefront.
Now in its second year, House of iKons gives a platform to designers around the world, helping them reach media, press, buyers, high profiled clients, and joining forces with Fashion One TV, giving global coverage to designers to 100 million viewers worldwide in more than 120 countries. House of iKons
They’ve aligned themselves with London Fashion Week biannually, celebrating the 40th anniversary of The Prince’s Trust. Being appointed as one of The Trust’s ambassadors, CEO Savita Kaye of House of iKons is not just raising funds through her fashion shows, but proactively fundraising with The Trust — and most importantly — highlighting this royal charity’s work with young people.
In addition, House of iKons shows have taken place in Los Angeles, Beijing, Dubai, and Abu Dhabi.
For February 2016, more international designers — from as far as China and LA, to up-and-coming British designers — graced the catwalk. The last fashion week show was a huge success; 14 designers under one roof in one day did not just exhibit couture from around the world, but sold and furthered celebrity endorsements.
Designers have been signed to departments stores around the world, and are working with major celebrities such as JLo, Katy Perry, Lady Gaga, Paris Hilton, Britney Spears, and Tyra Banks, to name but a few.
House of iKons hwas created as platform to launch emerging designers to the next level. Models and presenters who have taken part with the House of iKons shows here in London, Dubai and Los Angeles have also benefited, working in TV, film, and hosting their own TV shows in Hollywood.
This September, House of iKons will pay tribute to one of the biggest iKonic music legends the world has loved, experienced and lost … PRINCE. BritRox on Sky TV will be airing the show to 400 million viewers worldwide in over 76 countries.
Sponsored by KSAVI, HoD, Maria Golfinopoulou, and Beauti-fly. Afternoon
Opening of afternoon show: Prince Tribute by House of iKons team
DESIGNERS
1. Lisa Jayne Millinery (Grand Opening)
2. C-Atomic by Geeta Handa
3. Gabriella Gambetta
4. YEN
5. Ann-Celeste London
6. Links by Gwen
7. I love Four Seasons by Emilia Walls
8. FFolaji London
9. Kyree Forrest
10. Reka Orosz (Grand Finale)
Music entertainment by CANDENCE Evening
Opening of evening show: Prince Tribute by House of iKons team
DESIGNERS
1. Yama (Grand Opening)
2. Forever Devine
3. Shaleena Nowbuth
4. House of Maya
5. Rocky Gathercole
6. Raffealla
7. Boastie of London
8. Haus of MoHawk
9. Sajda by Suman
10. Mitch Desunia (Grand Finale)
Celebrity athletes are quickly becoming some of our most visible style icons. (See FWO writer Claire Stemen’s analysis of the NBA draft.) SI’s Sports Style Swipe gives us a look at how well they are — or aren’t — scoring big in the arena of style.
Celebrity athletes are quickly becoming our most visible style icons.
They start by taking a look at some of the style choices of Cam Newton of the Carolina Panthers (whose outfit our publisher thinks is actually a pretty rad, but YMMV), Rob Gronkowski of the New England Patriots, and Deandre Hopkins of the Houston Texans.
Alexa Chung Has a New Line Coming. What Will It Look Like?
(Photo: Brandon Clark/ABImages for Neiman Marcus)Model turned style icon Alexa Chung is starting her own fashion line. Cue the madness. Chung has been increasingly popular over the years, her signature cat-eye and quirky style — with that perfectly-mussed hair — sending most fans into a frenzy to capture her “je ne sais quoi.”
What would an Alexa-led line even look like?
With collaborations with Eyeko, Madewell, AG Jeans, Marks & Spencer, and Superga under her belt (they were riotous successes), we have only a taste of what Alexa can do.
I propose a set of predictions, then, in light of previous style choices and consistent Alexa Chung trends:
1. A dash of menswear.
This is Alexa’s calling card: menswear inspiration. Trousers, button-down blouses, and boyish shapes make up the sea of ensembles that Alexa is known for. I would be shocked to find anything less than that signature lean towards menswear. If it’s a collection of 1950s Dior “New Look” restored, I don’t know what I’ll do.
Despite usually favoring boyish or androgynous pieces, there’s always a sneaky ruffled shirt or Peter Pan collar in Alexa’s repertoire. One day she’s got a classic “le smoking,” and the next it’s a glittering ball gown. I feel I can safely count on some mini dresses and ruffles.
There’s always a sneaky ruffled shirt in Alexa’s repertoire.
3. Something childhood affiliated that somehow we all relate to.
In her collaboration with Marks & Spencer, Alexa created “The Edna Shirt,” which was apparently created since it is “reminiscent of Alexa’s childhood painting apron.” The story itself is personal and cool — plus, we all had a giant shirt from our early days. Another wonderful anecdote — and a subsequent piece — is something I’m hoping to see, and then promptly sigh nostalgically at.
“Jumper,” meaning a nice pullover sweater in America. There’s a story about a navy-colored jumper from an ex-boyfriend in her fabulous book It, which pretty much convinces us that we all need one … now. And — because not everyone can date a man with fabulous navy jumpers — let’s hope Alexa makes one. Just for us!
Okay, “dungarees,” if I’m sticking with the British-English terms. We all thought overalls were so lame. Then Alexa wore overalls and suddenly there are overalls in my closet. Alexa is the queen of this tricky look — it’s all about the fit, and I know I’m too lazy to dig through the mire of on-trend overalls to find the Chung-iest. What with her AG Jeans collaboration, we saw overalls shorts, skirts, and full-length pants combos. What else will she do? Overall-maxi dresses? Overalls with overalls for your knees? The possibilities are endless.
We all thought overalls were so lame. Then Alexa wore overalls.
Neiman Marcus presents Alexa Chung for AG Personal Appearance on January 22, 2015 in Beverly Hills, California (Photo: Brandon Clark/ABImages) / Via http://blog.neimanmarcus.com
6. A phrase on a shirt that we never knew we needed.
Sacred monster. J’ai du vague à l’âme. (“My soul is in the waves.”) Things you want imprinted across your chest, so that people raise an eyebrow in confusion. Alexa always has the coolest phrases on her shirts and sweatshirts. No amount of digging through thrift store boxes will satisfy my envy. A few suggestions for phrases: J’ai mal à la tête. Slippery Boulder.
You know that white t-shirt you’ve been searching for from the beginning of time? The one that wouldn’t be too thin and sheer, or too long, or too short? I’m not sure it exists, even after digging through my boyfriend’s affects. I am, however, fairly suspicious that Alexa has such blueprints.
Hats are difficult to pull off. They’re statements and draw plenty of attention, so wearing them becomes a nervous operation. Alexa wears hats that were cool fifty years ago, or were a common sight on newspaper boys.
It all started in February; I was invited by close colleague and celebrity stylist Jen Abraham to a Style Fashion Week show by a designer named Corey Woods. Always a steadfast supporter of anything Jen is involved in, I accepted the invitation and made plans to be there. The night of the show, I had a full schedule and didn’t think I could make it in time. Fortunately I did, and that’s when YEROC sunglasses first entered my fashion vision.
The show was well-curated, with all-white garments to allow for the construction, color palette, and overall look of the sunglasses to be appreciated. I saw some that immediately caught my eye and made a note to ask Jen to introduce me to Corey. She did — although it was a brief meeting due to the hectic montage that is backstage. Jen did manage to give me two pairs to see if they worked.
Chris Collie wears Yeroc shades
A few days pass, and it’s a cold but sunny day in New York, so I decided to wear one pair of the shades — the Ice Colter editions. I turned on my camera to snap a shameless selfie to see how they looked, which I then decided to post on Instagram. Immediately a stream of likes came in, then direct messages asking where could they buy them, followed by more comments. Needless to say, those sunglasses became my new favorites. I loved the fact the frames were outlined in clear see-through sheer white, and how the shape of the lenses fit the frame of my face.
Immediately a stream of Instagram “likes” came in.
Fast forward to present day, when I was invited to the SS17 launch of his new HANGAR collection, in a private location in Midtown. Arriving in time to see the models walking off and Corey taking his walk down the runway, it was time to see the sunglasses up-close backstage.
The HANGAR collection impressed me with the unique framework of the sunglasses coupled with the detailed intricacy of the lenses’ shapes and colors. I kept my eye on three particular pairs of shades that I felt represented the excitement of this new collection. Having been seen on countless celebrities such as Beyoncé, Rihanna, Kim Kardashian, Pitbull — and the list goes on — I was honored when he told me, “Chris, take whichever ones you want.”
At that moment, it made me even happier for his success. Even though he’s been on A-listers, he hasn’t forgotten the true fans of his sunglasses. The launch event was filled with a “who’s who” of different industries, such as Fatima Ptacek who is the voice of the world-known Dora the Explorer. The diverse attendees only further lent truth to the notion that these glasses were resonating with people from all walks of life.
The next day, I chose which of the three new pairs of shades I wanted to wear for a bright sunny summer day — like a child who can’t wait to take his new toy outside. The reactions continued to increase.
During Corey Wood’s SS17 show, I had a chance to catch up with him and ask a few questions to dig deeper into the creative process: how the collection came to be, and his take on fashion overall.
Q: How does this collection differ from your previous ones?
Of all the multimodal, multifarious forms of my previous collections, my current HANGAR collection is by far the most delicate. There is a metaphorical message braided in each one of my collections. In the instance of this one, levitation and elevation are explored. Therefore, I infused those elements into the physical construction of the eyewear. The HANGAR collection is comprised of hanger-like wiring balanced with brilliant metalloid foils.
In HANGAR, levitation and elevation are explored.
The physical hanger is a utilitarian staple in our wardrobes; it literally holds organizes and preserves our fabric adornments. Hangars harbor airplanes and private jets. Since I am uplifting and elevating people to a whole new aerial-like dimension of eyewear — a new vision; a greater overarching sight, while combining those airy physical elements in conjunction with the lightweight thinness of an actual hanger — I have aptly named it the HANGAR collection.
Q: What do you think resonates with celebrities to make them gravitate toward your brand?
Fashion has always been a visual demonstration of your imagination.
Hence, my aphorism, “Standing out is a natural consequence of being an icon.” To be iconic is to be the human embodiment of a lightning bolt; a powerful physical exclamation point that makes an unforgettable and impressionable statement. My celebrity clientele express to me in a plethora of dialects one irrevocable point: “I can be fashion-forward in your eyewear.” I am forever grateful to have so many of them in my life at the forefront, championing my brand.
I am forever grateful for my celebrity clientele.
Q: How do you see the accessories market evolving in the next five years?
The evolution of the accessories market will rival clothing in the forthcoming five years. I predict seasons of pieces so histrionic they will overpower the ensemble itself, leaving you to ponder the irreversibility of the accessory.
The creation of YEROC transcends the physical matter of the actual eyewear; it is a physical, static symbol of my vision for an enhanced, sharper future. That vision will continue to propel me to design pieces that will not dissolve in the trends of time, but sustain and withstand through actual time. The big picture of Corey Woods is a limitless puzzle; in which I create worlds within worlds, piece by piece.
Q: How did you decide fashion was your path while holding two masters in other fields?
I was born a creator.
Ever since I could think, I have been constructing things in my mind with the thought of physically executing these things. The pursuit and attainment of higher education has quenched my aridity for knowledge. I am an eclectic individual, whose mind is equipped with a multivariate palette. Art has always been a cornerstone of my life, from the onset as a very young child. I am still that boy with the deluxe box of Crayola colored pencils, except now my hand is much more deft, and dexterously skilled.
Q: Do you feel you are reaching your immediate goals within fashion?
Goals are never-ending. The majestic and encrusted jeweled road to fashion is an endless path. I am fortunate to be traversing this tantalizing highway of heightened high-fashion and visualized physical imagery in a world that I am proud to call my own; a world that I can now view through the lens of my YEROC glass.
A number of producers create runway shows during “New York Fashion Week:” the cycle of fashion exhibitions — traditionally held for store buyers and the press — that, of course, has been happening since the 1940s.
Adriana Marie of AMCONYC is one of those producers. She says, “I truly enjoy helping emerging brands get their lines off the ground.”
Q: How did you get your start as a show producer?
I got a taste of producing in college, when I was the president of the fashion club. We produced all of the shows for the graduating seniors. To date, we’ve still produced the biggest show to date, and even had to collaborate with several other departments. I enjoyed that very much.
Fast forward eight years later, and I’m now producing between 8-15 shows during NYFW, and truly helping emerging brands get their lines off the ground. It’s very rewarding.
I truly enjoy helping emerging brands get their lines off the ground.
Q: How did AMCONYC get its name?
AMCO was coined by my customers when I had my clothing line. It’s short for “Adriana Marie Co.” When I started doing the pop-up stores, I was looking for a hashtag and created #AMCONYC, since I was planning to do the pop-up shops all over.
Q: You were a designer for your own line for several years. What made you want to switch gears from designer to producer?
Well, as a designer, you are doing everything, and being that I had previous experience producing, I was also producing my own events and shows as a designer.
When you are starting out building your clothing brand, you’re doing everything by yourself: from design, sales, PR, marketing, social media, website building and maintenance, photo shoots, castings … the list goes on and on.
I started back in 2009, and I knew no one. It was really difficult to make connections and do everything else that the business needed in order to run. Going out and networking was another job in and of itself.
So, after a few good years of struggling and building and connecting, I finally had a great group of industry connections and a database of consumers, press, media, stylists, etc., and I thought, “How can I use this to help others like me? No one is helping emerging designers. It’s all about the big names and celebrities. How can I change that?”
I thought, “No one is helping emerging designers. How can I change that?”
The DNA of my clothing line was all about giving back. So I decided to help emerging designers. I was putting together pop-up stores, shopping events, and fashion shows for my brand, and I infused other brands to help get their name out there and generate awareness and sales.
After the first collaborative fashion week pop-up shop, AMCONYC was born.
Q: How has your role evolved as AMCONYC has grown?
My role has evolved immensely, and AMCONYC has grown significantly in just the past year.
The company started by producing events and bringing people together. Since then, we have grown into a bi-continental agency that provides PR, sales, continuing education, social media management, and much more.
The demand from this market is remarkable. They want the help, they need the help, and they relate to me because I’ve been in their shoes. I have to not only bring in new business, but also manage the team and make sure everyone is on track. It’s my dream job.
In 1 year, we have grown into a bi-continental agency.
Q: How do you envision AMCONYC helping emerging designers in the future?
I plan on continuing to use our resources and network to help the emerging designers. Both continue to grow, and AMCONYC continues to build relationships with thousands of these talented people.
Q: AMCONYC recently expanded to LA and now, London. What’s next for AMCONYC?
Yes! We are so excited to now be in the major markets!
We are planning to bring our platform to these markets, and others, and cut their costs even further by us going to them. Long gone are the days where the production company is the ONLY entity making money. It’s time for the designers to see the ROI almost immediately. If you come to our shows, you will see how we are doing that, and how we are changing this.
It’s time for the designers to see the ROI almost immediately.
I find it comical when Kim K was saying that Kanye was the first person to open a fashion show to the public. We’ve been inviting the public to our shows and events since 2009. I even went so far as to refuse to allow celebrities to attend my events. The industry is finally catching up, and we are planning to continue to be trailblazers in this industry and market segment.
Photo: Tina TurnbowOne light, early, summer evening, I met up with the British actress and basically all around multi-talented bad-ass Joanna Pickering, at the super-exclusive Norwood club in NYC.
I first met her six months back — during my time working with Diane von Furstenberg — where she quickly became one of her top stylists. She always struck me as interesting, having traveled the world, modeled, and acted. And now she’s setting up as an independent artist in the USA, with major film and TV series upcoming, I felt I had to pin her down to find out how she manages it all.
Q: What brought you to the U.S.?
I was accepted to study method acting at Lee Strasberg Theater Institute, which is one of the leading acting schools in the U.S.
Q: Why New York City?
There was a clear affinity showing in myself — in my thinking, writing and lifestyle — that linked me to more abstract thought and expression. I was curious about the Greenwich Village scene that started in the 1950s and the artistic vibrance that flourished. I had already explored Paris, I was living in London, so New York was left, like a beacon for me. I wanted to be an artist, and never have to explain this decision again.
I wanted to be an artist, and never have to explain this decision again.
Q: I know you have many talents — what do you consider your main occupation?
I am a creative artist — it all overlaps; it’s the same energy. I am known as an actress and writer first and foremost, but I also produce, and I still work as a model and now a stylist. These are the areas I wish to focus on as an independent female artist, with longevity in a very tough industry.
Q: What is your usual week like?
It’s never the same. Today was styling, tomorrow is a magazine model shoot, the day after I’m filming an indie TV show. I often need to be in LA for producer meetings. I write around this, usually late into night. I have option to publish one of my novels, and a magazine column starting up. Not everything will take off, but it’s all exciting.
Not everything will take off, but it’s all exciting.
Q: Wow, seems you have your hands full! Who are you styling for, and how you are finding it?
I style for Diane Von Furstenburg. I enjoy it. I work as a professional model also — but now I find it refreshing to work the clothes for other women, too — women in all shapes and sizes, from 20 years to 80 years.
It’s keeping it real on the streets, not just for the catwalk and the flaws of the fashion industry. I know how clothes work and feel, the importance of the expression and mood a piece gives to an individual, and vice versa. It never fails to bewilder me how many women have so little confidence in their bodies and their style choices.
There is a lot of pressure to be perfect, via fashion and glossy magazines that are not realistic. The solution offered is then to buy all these wonder products to fit in. It’s not a profitable scenario for ourselves on any level. It is the antithesis of style. If you can detach from that cycle you can feel and be beautiful, youthful, and stylish.
If you can detach from that cycle you can be beautiful, youthful, and stylish.
Q: So how do you define style?
Your style is just your freedom, your natural spirit and expression of character. It does not age; it grows. It becomes more sure, more wise.
Style does not age; it becomes more wise.
Q: Describe your own style?
I’m always told how glamorous or “rock and roll” I am. I don’t try to be. I do as I feel.
Q: What type of style do you admire?
I adore ’60s French New Wave cinema, and that is an early influence in my fashion. I have a natural ’60s style; you can see that in many of my photos. I went though an Ana Karina phase as a kid, and the Julie Christie-signature fur hat must be my trademark by now. My style is definitely old world and eclectic. My clothes are stories of travel and adventure from my favorite places in the world. I like that, and I like to see similar independence in others.
My clothes are stories of travel and adventure.
Q: Any fashion rules or tips?
No rules! I don’t follow trends; I actually hate showing off designer labels, and I can’t remember the last time I went into a high street store. Maybe it was Top Shop with my mum at 14, and I begged her to buy me some red velvet hot pants … which changed my life …
Q: The power of clothes …?
Ha! Exactly. The day before I was a bird spotter and physics geek; the day after I was the hottest girl at school! [giggles] I’m joking — but I do love being dramatic — especially in ball gowns! I equally love 1950s boy Levis and Ray Bans. I love shirts with brooches and bow ties. I am masculine and feminine in my style; you can play with that energy together; you don’t need to separate them. A perfect example is a tux smoking jacket with velvet lapels and delicate satin buttons.
I am masculine and feminine in my style; you can play with that energy together.
Q: Where do you find your ideal pieces?
I prefer to shop vintage, thrift and flea markets. I like to mix rich and extravagant materials such as fur, velvet, lace, silk, and satin. I adore patterns and fabrics from the orient or exotic destinations — the best items I have, always found on my travels — in the souks somewhere in Northern Africa, or dusty old town markets in South America.
Q: What is your favorite piece in your wardrobe?
My favorite dress from DVF is black, backless lace. It has velvet birds sewn into the lace all over the front, but my all time favorite dress is a gift from my friend Leni, who is a wonderful urban light designer, and it’s like a Grace Kelly white satin slip. So simple; so chic.
My favorite dress from DVF is black, backless lace.
Q: Where does your inspiration come from when styling?
For any inspiration — art, film, music, on the streets, off the beaten track, other cultures — a lot of spying, love, story telling.
Q: Do you have any memorable outfits?
My friend Steven designed my graduation dress at my instruction. It was a leather backless long, pencil-thin dress; I’d had the idea years before. I asked for so many crisscrosses from the neck, down to the base of my spine, that he was up sewing through the night for a week. I didn’t even go to my graduation in the end, but I wore it on the red carpet in a Cannes fashion show instead.
Q: Wow, where did you get that vision?
Ha! I stole it. Off a friend years earlier at her 16th birthday party. I had remembered it and I made the memory far more dangerous after a visit to the Helmut Newton Gallery in Berlin.
Q: Do you ever style when you’re in the film itself?
Yes. One of my favorite short films was playing the Baroness Elsa Von Freytag Loringhoven — a wonderful Dada artist. The film screened about her life at The Whitney Museum here in New York. We shot it in Berlin. She was described as “futuristic” for her fashion sense.
Marcel Duchamp said she was the future. She wore egg cups and tin cans as a bra, way before Warhol was doing his thing. My suitcase was so many kilos over. I had sculpted white wooden hands, feather boas, wired hats. Creating another person’s style in film helps you know the character. She was really fabulous; quite insane.
She wore egg cups and tin cans as a bra.
Q: Any lessons for film styling, as opposed to modeling?
Yes, you need to pay attention to avoid tones of black and white, and never patterns or anything fussy; they mess with the camera’s image. Comfy shoes, and remember actors get nervous and stand under very hot lamps, so cool materials are good.
Q: So far, who was the most interesting person to style?
Well, other than myself — where I can break all the rules and, say, cut the hem off a dress and use it as a head scarf — then definitely the people I have met working in New York City.
I have met the Canadian president and his wife; I have styled for inaugurations, Ascot, The Tony’s, top actors — it’s funny how they all like stylists, yet its something I’ve always insisted on doing myself. But everyone I meet has an interesting story of strengths and vulnerabilities; women are incredible. They leave feeling confident: rightly so.
Q: Any hurdles?
Yes — the most common thing I hear in styling is, “but I don’t have an event for it.” I just want to weep. Urban streetwear is so cool, but a gown or a robe is the event. Throw a party! Dance to jazz in your home on a morning. I’d play chess in a ball gown. It’s that simple.
Q: What is your creative space like?
It’s my home: an old brownstone with period antique features. Old fireplaces, wooden floors, and the ceilings are to die for. I don’t have all the furniture yet — I need a piano.
Q: Space in New York is so tight; how do you work your closet … what’s in it?
Well, I call it a wardrobe! It’s a walk-in one. There are amazing pieces in it — my friends come round to borrow things — vintage Chanel and Dior gowns and coats, lots of lace.
Space is a nightmare. I still have wardrobes in France and London where I visit family. My dad calls me up and tells me there are clothes cluttering up his house. Once when I was living at home, I went into the cancer research shop in London in the village we lived, and I found a piece and I said this is lovely, so very me. And this. Oh, and I love this. To the lady, oh, and I have this very piece! And then I slowly realized all my clothes were in the shop.
My dad had — accidentally, he says — sent the wrong bags to charity. I had to buy them all back. We’re very good at recycling in my family.
Q: What obstacles have you faced since moving?
Superficial people and mice.
Q: Ah! How did you overcome?
Lots of traps — sadly, they are vermin.
Q: Ok! So, do you have any advice for people who want to start styling and acting?
For acting you need to have technical talent to express yourself. As for finding personal, unique style, just be yourself. If you like birds, wear birds; if you miss Paris, wear a beret that day; if you like roses, put one in your hair. For styling others, be a good listener.
If you like birds, wear birds; if you miss Paris, wear a beret.
Q: What about for artists?
Accept it’s not supposed to be easy, and remember that in the long run hardships give us the opportunity for new creative power. As soon as I hear the word “no,” I automatically think of five ways to get my own way.
Q: Yet following you online always looks glamorous and easy?
For every time I have been on a yacht, or a glamorous party, or in a 5-star hotel, I have been a struggling artist.
When I first went to South of France I saw everyone on yachts and I thought, “hang on, I want to be on a yacht.” So I got a job selling them. Once I was sitting on a yacht, I thought “is that all there is to a yacht,” and I flew to New York to train in acting.
My first published writing was on the pauperism of starting out as an artist. The money needed to be an actor is insane. The cost of living in the cities for acting is insane. Most actors in New York have four jobs; they’re all mostly famous and still do not dare leave their job. That’s the reality.
The money needed to be an actor is insane.
Q: So when people remark on what a glamorous life you have, what do you say in response?
I don’t care what people remark — but the fact is that this path did not just fall into my lap: I fought for it. It came with the risk of daring to do the unconventional, with no guaranteed backing. It requires not only lots of hard work, but phenomenal endurance. I’m pretty tough and street wise, and I am, and always will be, a self-made artist.
This path requires not only lots of hard work, but phenomenal endurance.
Q: Tell me what your time in NYC has been like in 3 words.
Never give up.
Q: What will you take away with you from New York City, and your experiences working here as an artist and now stylist?
Definitely the fortune to work alongside The Russian Arts Theatre Studio, after the acclaimed director saw me audition. It brought me artistic support and a way to keep training, along with the message that it has to be about others around you — on stage, absolutely no ego.
Also working in an environment that stands for feminism, where the motto focuses on an awareness to the power you have the moment you realize you don’t need anyone but yourself to survive. Independence isn’t easy. But being humble and working hard are everything to success. I will take that with me everywhere.
Q: Okay, last question. If you had to compare yourself to one person, style-wise and character-wise, who would it be?
Fassbinder’s Petra Von Kant! [giggles] No, but really! I’d be lying center stage on the white fur rug, in a long green robe, looking fabulous, sobbing dramatically. I want to play that role!
It was quite a night for Brett Johnson. Not only did he debut a spot-on collection of tailored, unmistakably modern, retail-ready looks, his show was well-attended, to say the least.
586 people attended — including the entire GQ team, the entire WWD team, Robin Givhan of the Washington Post, Julie Gilhart, Steven Kolb, Ken Downing, Eric Jennings, Nick Sullivan, Bruce Pask, and Ray Smith — to name a few.
For SS17, Brett Johnson took an inspirational quest to the sparse ruggedness of the Arizona and New Mexico deserts. The collection explored the “unique chiaroscuro of unabated light on ragged dark angles … beneath a bright blue sky or a smoldering sunset.” Indeed, the looks were refined, yet understated and easy.
Outerwear –- such as the Bomber and the Eisenhower jacket — were reimagined in a relaxed cardigan silhouette. Cotton poplins and jacquards, as well as Japanese denim, were paired with denser fabrics, such as coated cotton and twill jerseys, and embossed and printed suedes. Knitwear celebrated the intricate geometries of Navajo blankets.
And this season’s color palette was a “direct reflection of the astounding color spectrum of Arizona and New Mexico: anthracite, iron ore grays, indigo, and olive green were juxtaposed with dusty roses, sun-bleached yellows, oranges, and translucent blues.”
Said Brett Johnson:
“This season, I wanted the collection to adopt a more relaxed, understated perspective with looser, more casual silhouettes, without losing the refined sensibility synonymous with the Brett Johnson brand.”
Ultimately, the collection did what any good collection — and good any designer — must do: create a collection that looks and feels great.
Johnson created a collection that looks and feels great.
Yet again, Brett Johnson shows us he is a real designer on an unmistakably upward trajectory.
The amount of people waiting at the W New York, anticipating the start of the Grungy Gentleman show, was rather alarming.
There was certainly a sense of excitement and urgency in the air, until it became obvious based on floating remarks that most guests had been invited to probably the first or second fashion show of their lives.
Now, “democratization” of fashion — and fashion shows — is certainly a good thing. But I have to confess there’s also something to be said for people who really do care about fashion. As playful — even silly — as fashion can be, the craftsmanship behind it deserves to be taken seriously, for in the best designs, a mountain of labor is involved.
And maybe that’s where this show fell apart for me: a show should be 85% about the clothes and 15% about there being a show at all. And at Grungy Gentlemen this NYFW: Men’s, the ratio seemed to tip dangerously in the opposite direction.
As the invitees gathered into the event space, the DJ was playing fantastic tunes — we would later find out that the music would turn out to be one of the more exciting elements of the showcase.
Countless stripes and one hour later, the show was beyond underwhelming — and although there were some nice moments, there was no interesting or finitely complex detail to make this collection as memorable as it needs to be, to bring talented designer Jace Lipstein to level he may yet deserve to be.
Every product category that was presented had only a variation in the location of GG’s signature stripe, and all were extraordinarily simple. It became exhausting to see the same knit pant, tee shirt, and boots in endless minor reiterations, with no noticeable variety to speak of. He also presented too many looks, making the lack of variety even more evident.
As a result, the aforementioned excitement flatlined very quickly.
The most exciting look was a pair of possibly-vinyl pants, although a bit ill-fitting on the model.
As much as I wanted to like it, I feel Jace needs to do something — anything — to break the monotony, and instead of wearing us out, leave us begging for more.
Here’s to next season from this otherwise burgeoning talent.
I always dreamed of becoming a fashion designer,” says Angelys Balek, “but it was always important for me to create each piece of clothing as a work of art.” And her dreams have come true — as a trained painter and a visual artist at heart, Balek’s designs look just as stunning on clothing as they would on the walls of a museum.
Of all the multimodal, multifarious forms of my previous collections, my current HANGAR collection is by far the most delicate. There is a metaphorical message braided in each one of my collections. In the instance of this one, levitation and elevation are explored. Therefore, I infused those elements into the physical construction of the eyewear. The HANGAR collection is comprised of hanger-like wiring balanced with brilliant metalloid foils.
