Jute magazine jute magazine vol xiv

XVI - C O N T E N T S

JUTE MAGAZINE | PAGE 3

005 LETTER FROM THE EDI-TORS

007CONTRIBUTORS

fashion&features009“MONSTERS ARE A GIRL’S BESTFRIEND “BY Kaylin Amabile

017“DOWN THE RABIT HOLE “BY Annie Buado

027“DEVIL’S WHISPER“BY Aaron McPolin

037“ADORNED IN DREAM “BY Chairit Prapai

043“PRIS “BY Danielle Chau

053“SAND TOMB “BY Danielle Korman

059“KITTY MAE MILLINERY “BY Stefania Pruscino

066“COP. COPINE US “BY Stefania Pruscino

071“VAMP “BY Edward McGowan

077“DESCENT “BY Emilia Gaston

085“THE GENTLEMEN LAMENTS HISDEATH “BY Emily Sandifer

093“NEVERMORE”BY Evelyn Murphy

101“WHAT THE WATER GAVE ME”

BY Ewa Kepys

107“THE LOCKET”BY Atomic Stitches

115“SORCERY”

BY Frederic Monceau

127“THE COVER:WICCA”BY Salim Berrada

133“IS FINE FEATHER”BY Grayson Hoffman

141“TEDEKA: I AM HERE”BY Stefania Pruscino

147“ANDREW KALASHNIKOV”BY Yinsey Wang

157“FRANKIE’S EX”BY Jeramie Campbell

163“THE PUNK WITHIN”BY Liz Besanson

177“NOT YET”BY Ludo Hanton

179“MISSING HOPE IN A TOWN OF STRANGERS”BY Marek Wojciak

185“MIASMA”BY Miu Vermillion

195“LOST LOVE”BY Rikke Hass Christensen

201“THE SKIN I LOVE”BY Sarah Blake

209“BITCHCRAFT”BY Tony Webster

223“FEMME FATALE”BY Vincent Gotti

233“THE LAST”BY Amy Nelson-Blain

P. 115

ON THE COVER: Gabrielle @ Oui Photographed by Salim Berrada, Styled by Marie Revelut, Photo Assistants: Victor Gautier & Justine Romuald, Hair: Vladimir Vreba, Make up : Sylvie Mainville, Make up assistant : Sarah Da Silva, Studio : 5 Monkeys Studio - Paris


- L E T T E R F R O M T H E E D I T O R

Hal loween is r ight around the corner, and Volume XIV br ings some darker fashion inspira-t ion for those of you st i l l looking for a costume. You know who are: that indiv idual who always has grand plans of e laborate costumes who always waits unt i l last minute and always has high hopes for next year. Wel l , i t ’s October 1st and you st i l l have plenty of t ime to get in the Hal loween spir i t . This year i t ’s t ime to drop the costume-in-a-box and embrace some creat iv i ty. Maybe the haunt ing imagery of Volume XIV can spark your imaginat ion and br ing that fashion element to th is year ’s costume. Volume XIV showcases designers f rom around the globe with a f la i r for the dramat ic. Den-ver-based designer Susan Di l lon graces our pages with her elaborate hats. Check out her feature and Ki t ty Mae Mi l l inery for a cos-tume starter k i t . Creat ing a costume from the head down has never been so easy, and her head-pieces are to die for. Photographer Amy Nelson-Blain showcases a myr iad of amazing gowns in her edi tor ia l . From Bei Na Wei (www.beinawei.com) to Br i -g i t te May (www.br ig i t temay.com), you can f ind some of the most breathtaking evening wear that easi ly t ranslates into Hal loween apparel . Jute Magazine chal lenges you to th ink outside of the box this Hal loween season. Send us your creat ive and fashionable Hal loween cos-tumes this season for a chance to be featured on our Facebook page. Send photos of you in your costume direct ly to me! [email protected] costume hunt ing!

XOXO, LynziEditor-in-Chief


c o nt r ib uto r seditor-in-chief Lynzi Judish

copy editor Chloe Bundt

features editor Stefania Pruscino marketing director Nicole Schaap

designer Randy Tran

webitorial designer Matthew Vita

faces designer Maya McComas

web developer Dave Brown

editor’s assistant Brien Excell Hollowell

contributing photgraphersAaron McPol inAmy NelsonAnnie Glen BuadoChair i t PrapalDaniel le ChauEdward McGowanEmil ia GatsonEmily Sandi ferEvelyn MurphyEwa KepysFrance WeaverFreder ic MonceauGrayson HoffmanJeramie Campbel lKayl in Amabi leLiz BesansonLudo HantonLynzi JudishPaul ina Solski Marek Wojciak Miu Vermi l l ion Rikke Hass ChristensenSal im Berrada Sarah BlakeTony WebsterVincent Gott i

contributing photgraphersStefania PruscinoYinsey Wang

featured artistsAndrew KalashnikovCop. Copine USAJoe Freyta Ki t ty Mae Mi l l inery

JUTE MAGAZINE | PAGE 9 JUTE MAGAZINE | PAGE 10

MONSTERS ARE A GIRL’S

BESTFRIENDPHOTOGRAPHED&ILLUSTRATED BY

KAYLIN AMABILE

MODEL | DAKOTA ZORDANSTYLIST | CHRISTINA FLANNERY

HAIR & MAKE UP | LAURA BARONE OF BLEND TRUE

Shirt and Skirt Vintage from The Revival, Trench Jacket Burb-erry


Leather crop top with cross by Amanda DeLeon, Long sleeved undershirt by Vintage from The Revival Out-post, Red vinyl dress by Hi/Lo


Dress by Vintage from Frolic Exchange


Gold dress by Amanda DeLeon


Two piece pant suit by Amanda DeLeon


Gown by Michael Cin-co, Ring by Tebazile, Bracelet by Kuumba, Ears by AGABUB


Jacket by Phuong My, Pants by Reiss, Shoes

by Alexander Mc-Queen, Body jewelry

by The Ruby Vintage, Ears by JDP Studios


Gown by Michelle Hebert, Shoes by Alex-ander McQueen, Ring by Coronet Diamonds


Gown by Phuong My, Shoes by Jimmy Choo, Ring by Coronet


Gown by Vvigoure, Ring by Kuumba

DEVIL’S WHISPER PHOTOGRAPHED BY

AARON MCPOLIN

DESIGNER | ZHIVAGO AT LOST SOULSSTYLIST | VITALY NIGHTROAD

MODELS | VITALY NIGHTROAD, ALEECIA JAE DAWSON, AND MLEE BLASPHEMY

HAIR & MAKEUP | ARTISTIC VISIONS


ADORNED IN

DREAM PHOTOGRAPHED BY

CHAIRIT PRAPAI

STYLISTS | ALEXA CHEN & HAEUN BAEMAKEUP | CARMEL PEREIRA

HAIR | YUMI NOHMODELS | BROOKE AND CLAIRE JONES @ LENI’S MODEL MANAGEMENT

PHOTO ASSISTANTS | MIBUCHI HISASHI & KEI TERAYAMA


Bustier by Agent by Agent Provocateur


Top and Short by Na-talie Bouloux


Dress by La Perla, Har-ness by Zana Bayne, Shoes by Kurt Geiger


Claire wears: Chain Jumpsuit by Manuel Diaz

Brooke wears: Top by Natalie Bouloux, Belt by Zana Bayne, Shoes by Office


Brooke wears: Bustier by Zana Bayne, Shoes by Kurt Geiger

Claire wears: Harness by Zana Bayne, Shoes by Kurt Geiger


Dresses by Manuel Diaz

PRISPHOTOGRAPHED BY

DANIELLE CHAU

STYLIST | JURGA CELIKIENEHAIR & MAKEUP | JURGA CELIKIENE

MODEL | GEORGIA KNIPE @ SCENE MODEL MANAGEMENT


Leather Jacket by Izzi, Necklace & Ring by Lovisa


Top by NGTulle, Shoes by Rubi Shoes, Necklace by Lovisa


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Clio


Strapless Dress (worn backwards) by Supré,


Skirt by ICE, Shoes by London Rebel, Jacket by Tripp NYC


Bustier by Maestro, Boots by Blowfish,

Bracelet by Dior, Head-piece by Clegs.

SAND TOMBPHOTOGRAPHED BY DANIELLE KORMAN

MODEL | NATALIA SELEVANOVAHAIR STYLIST | LAURYN TYZBIR MAKEUP ARTIST | NICOLE LIND


Top by Blacklickorish, Earrings by nin3, Bikini Bottoms by Xhilaration


Bodysuit by Black-lickorish, Earrings by nin3, Shoes by Jeffrey Campbell


Pantsuit by Blacklick-orish


Black Mini Cocktail Dress by Blacklick-orish

[ JUTE MAGAZINE | PAGE 50

Vest by Beautiful Addiction

[ JUTE MAGAZINE | PAGE 50

S U S A N D I L L O N O F

Kitty Mae Millinery & Accessories

WRITTEN BY STEFANIA PRUSCINO

FOR THIS FEATURE:CHLOE BUNDT PHOTOGRAPHED BY LYNZI JUDISH, HAIR AND MAKE-UP: RACHEL SCHIENLIE


Susan Dillon, the designer behind the cult favorite brand Kitty Mae Millinery, sat down with Features Edi-tor, Stefania Pruscino, for an intimate look into her life, brand, and what inspires her to create amazing one-of-a-kind headpieces and accessories for her international clientele.

Through the use exotic fabrics and a penchant for detail, each piece is exquisitely handcrafted by Mrs. Dillon herself. And in accordance with her self-taught background, she continues to spend her free time further perfecting her artistry.


“Creating a perfect balanceIS what I like andlove to do ”


I read that you made your first mini top hat for a burlesque performance. Do you still have this piece, and how did you come up with your stage name and eventual company name: Miss Kitty Mae Cupcake? I am a bigger woman and wanted a stage name that was sweet, but also had a southern feel to it--since I am from Mississippi. The name came along right within my need of creating a perfect bal-ance between what I like and love to do. The hat that is mentioned on my online biography was actually my second mini hat I ever made. The first one was horrif-ic! However, yes, I still do have the hat and still wear it from time to time.

What prompted you to make your first mini hat and when did you know that you wanted to become a milliner? I learned to sew at a very young age and I do enjoy making things myself, so that and the fact that I couldn’t find anything I liked online is how I de-cided to make my own hat. I did a search online on how to make costume millinery and then by trial and error was able to create my own. During this time I feel in love with the process and it’s what I enjoy more than anything. After I made my first hat in 2008, I then began my bridal collection in 2010. And then, I began learning how to make traditional block hats in 2012.

What is your design process? My design process varies. I first get inspired by materials or by another designer’s collection, or even an outfit. Other times, a random idea will pop in my head and I’ll go from there. As far as constructing the hats, it depends on what I am creating. Right now, I’m making more block hats--which is forming the materials around a wooden form. The different shape you want comes with its own wooden form and you can combine it with different brims and crowns. I’ll add different pieces to the brim too, either to stretch it out or make the brim flip up. Anything the client wants or that I believe would make the design stand out.

What is the difference between tra-ditional block hats and fascinators? Block hat making is when the blocker gives the hat their shape by forming it on a wooden block that is specific to the hat. The wooden block can be made in all shapes and sizes, depending on what the client wants. Fascinators are different because they need to be pinned to the head, whereas, block hats are made to fit around the circumference of your head.

Which designers, past or present do you look up to for inspiration? I know it’s not politically correct, but John Galliano is a brilliant designer. Losing Alexander McQueen was a huge loss to the creative world of fashion; I very much admire his work. I also like Tom Ford and Vivienne Westwood. I gravitate towards designers with an edge, who knows how to make things beautifully but also know how to make things creatively. Anything from clean lines to extreme excess is also an inspiration. Really, anything out of the ordinary I will find some sort of inspiration from it. I am also equally inspired by vintage and historical eras such as: the Victorian and Edwardian era, as well as the 1920’s and 1940’s.

It seems that in the 1920’s and 1940’s American women were more inclined to wear hats. After this time, the trend dissipated in the US but still continued to flourish abroad. Why do you think American women stopped wearing hats? I read an interesting article that said that initially women did not want to ruin their bouffant hairstyle, made popular by Jacqueline Kennedy. Later, when the Women’s Liberation Act was initiated women shunned anything that seemed too feminine. At the time it was perceived as weak and that image is what American woman wanted to fight. In Europe this sentiment wasn’t felt as strongly as it was in the US, hence the disappearance of the hat as an accessory.

I have noticed that after the Royal wedding of Prince William and Duch-ess Catherine in 2011, there has been an increase in media coverage sur-rounding hats and fascinators. Have you seen an increase in popularity in the US as well? Oh, absolutely! It has probably been one of the best things to happen for women in the US as far as learning how to wear hats for events. Af-ter the royal wedding women were able to see real people wearing hats to places. It wasn’t in a movie, or a costume, but real women wearing amazing hats and how they managed to pull the outfits together. I think that that let American women see the possibilities and lead to an increase in demand. As a result I have definitely seen an increase in my business. Right now, I have had a lot of people request hats for weddings to upgrade their outfits since they now know how to make it work with their look.

You are internationally known for your hats, especially in the UK and Austra-lia. What other countries have com-missioned your work? At this point, I have had hats that have been bought or have traveled to all continents except for Africa and Antarctica. I also get a lot of orders from people who are traveling abroad and want one of a kind headpiece for weddings or other events so that they feel they fit in culturally. Also, when anything is costume made for you, there is a certain amount of prestige in that. Every piece is hand made and I make sure every detail is perfect. Each hat takes about 4-10 hours of actual labor.

And finally, who would you love to see wearing one of your designs and why? I would love to see someone like Jennifer Lawrence wearing one of my pieces be-cause she is a woman with a good head on her shoulders. I love confident women who don’t feel like they need to compromise their principles in order to do what they want to do. Any woman like that, I would love to see in one of my designs.



Cop. Copine &Dr. Lillie Mosaddegh

Q U E S T I O N S W I T H

B Y S T E F A N I A P R U S C I N O


What first drew you towards the brand? It all started during my early vacations to Europe. I was always drawn to the uniqueness of the brand, the cut, the style and affordability. Every time I vis-ited Paris, I found myself buying at least 60-80 pieces from Cop.Copine. Even when I had another store to shop at, something would always draw me back to Cop.Copine. It’s the same reason that our customers love our collection.

Which charitable causes will Cop. Copine US be supporting? Cop. Copine is not just another fashion brand; it has a social responsibility. We have al-ways believed and are working towards a plan:1. To save sight 2. To help kids realize their potential3. To empower women all over the world to live up to their potential and do more in life

What first drew you to Cop Copine and what influenced you to buy the exclusive rights for the US? I always loved the brand and made yearly vaca-

tions to Europe in part to gussy up my wardrobe. After much soul-searching, I finally snatched up the U.S rights for the bou-tique and opened our first one in the Union Square neighborhood of San Francisco, followed by one in Chicago and later in Pasadena, CA.

How do you manage being a leader in the field of ophthalmology and the owner of Cop. Copine US? What do you enjoy about each business? I look at my profession as a doctor and I see art in what I do; I look at my profession as an entrepreneur in fashion and I see art there as well. I think it’s the art that gets me. I am also very detailed orient-ed; I observe every single detail in any-thing that I come across. Just like there’s a lot of detail in an ensemble that’s well put-together, there’s also very delicate detail in operating on the eyes and I see both. My professions blend so well to-gether.

What are your three favorite looks from each collection for A/W?Top: PRINCIPEThis complete outfit: blouse GALLIENI, top LEPANTO, skirt TIBURTINA This complete look: foulard BANDANA, pullover JAURES, skirt GRACIA

If you had to sum up Cop Copine US A/W collection in three words, what would they be? High quality, Versatile, & Chic

What are your personal favorites from the fall collection? Which pieces do you think every woman should own?There are several, but here’s a few: KLEBER cape, SULLY pullover, RIVAS tunic, LAVISTA dress, PILICO vest.

Instead of mass production, Cop. Copine US is made in limited quan-tities. What are the benefits of this?

Uniformity can limit the creativity in any product and we don’t want to do that. For us, every little detail counts: the cut, the color, the zips, the snaps and but-tons. We focus on quality vs. quantity, and for this reason each piece is made in limited quantity every season.

What is the demography of the Cop. Copine US woman?Our brand appeals to a great demo-graphic not only socioeconomic-wise, also age-wise. Let’s not forget that we provide great quality at a great price. For this reason, we have 16 year olds shopping with their mothers and we also have 80 year olds visiting our boutique. It’s often that we see an entire family – daughter, mother, and grandmother - shop with us at the same time, and this is a great testament to the versatility of Cop. Copine.

Where was the US Cop. Copine bou-tique opened first? And where do you see the brand expanding in the future?Our US flagship store opened in 2009 at the prestigious Union Square in San Francisco, CA. Our second store opened in Chicago, IL and now our third in Pasadena, CA. We have big plans to expand in the near future, online and in-stores so every woman has access to our collection.

How has the design aesthetic of Cop. Copine changed over the years? We all know that fashion evolves with time. Although our basic philosophy and designs have always been chic and versatile, we have always been a fash-ion-forward company. We forecast the colors and designs that will appeal in the coming seasons and stay ahead of all competition.


JUTE MAGAZINE | PAGE 69 JUTE MAGAZINE | PAGE 70chic*


DESCENTPHOTOGRAPHED BY

EMILIA GASTON

DESIGNER | CHARLES SMITH IISTYLIST | CHELCIE GUIDRY

HAIR & MAKEUP | ASHLEY WHITBYMODEL | STEVI DAUGHERTY

Shoes by Audrey Brooke



Shoes by Steve Mad-den

The Gentlemen Laments

HIS DEATHPHOTOGRAPHED BY

EMILY SANDIFER

DESIGNER | CHARLES SMITH IIHAIR | ALEX @ VINNY’S BARBER

MODEL | TJ DALRYMPLE @ CLEAR TALENT GROUP LOS ANGELES



Eyepatch and corset Monstruosite by Dolly Donshey


NEVERMORE

PHOTOGRAPHED BY EVELYN MURPHY

MODEL | SCARLETT WILDEMAKE-UP | TIINIA AULER


Feather collar by Alex London


Gas Mask by Trudi Bell, Mannequin heads supplied by Reindeer Manor


Hat by Dolly Donshey


Gloves by Neiman Marcus


Black dress by Tramp,Earrings by Atomic Stitches


THE LOCKET

PHOTOGRAPHED BY ATOMIC STITCHES

MODEL | SCARLET KILGANNONMAKE-UP | ASHLEY COMBS WITH A

VINTAGE AFFAIR WITH BEAUTYLOCATION | OHMEGA SALVAGE BERKELEY, CA


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SORCERY PHOTOGRAPHED BY

FREDERIC MONCEAU

ART DIRECTOR | RAPHAEL TOUREILLESTYLIST | TATIANA TERRINE

MAKEUP | DELPHINE PERROTMODELS | ERIC SAKAI & LUCIE CLEMENT


Mantle by Agnes B.,Top by Tilde Bay Krist-offersen - Muuse, Skirt

by Courreges



Hat byAgnes B., Jack-et by Agnes B., Shirt by Agnes B., Trousers by Hannibal from Springsioux Paris


Mantle by Agnes B.


Eric wears:Shirt by Agnes B.,

Trousers by Hannibal from Springsoux Paris, Waistcoat

by Hannibal from Springsoux Paris, Boots by Agnes B.,

Sunglasses by Stella McCa-rtney

Lucie wears:Stole by Cacharel, Leath-

er Jacket by Guess Jeans, Sunglasses by Ralph Lauren, Shoes by Suecomma Bonnie


Vest by Courreges, Sunglasses by Ralph Lauren


Vest by Courreges, Trousers by Agnes B., Sunglasses by Stella McCartney


Eric wears:Sweater by Phillip Plein, Sweater by 5PREVIEW

Lucie wears:Coat by Agnes B., Top by 5PREVIEW, Leg-gings by 5PREVIEW


Eric wears:Jacket by Hannibal from Springsioux Par-is, Shirt by Agnes B., Trousers by Agnes B.

Lucie wears:Sweater by Phillip Plein, Skirt by Agnes B.


Dress by Heidi Paula - MUUSE, Gloves by

Agnes B.

WICCA PHOTOGRAPHED BY

SALIM BERRADA

STYLIST | MARIE REVELUTHAIR | VLADIMIR VREBA

MAKEUP | SYLVIE MAINVILLEMAKEUP ASSISTANT | SARAH DA SILVA

MODEL | GABRIELLE @ OUIPHOTOGRAPHER ASSISTANT |VICTOR GAUTIER & JUSTINE ROMUALD

STUDIO | 5 MONKEYS STUDIO - PARIS


Necklaces by Thier-ry Mugler, Dress by Chanel Vintage, Ring by And I, Shoes by Vincent Botessi


Top by Didit, Skirt by Stella Cadante


Jacket by Didit, Hat & Scarf by DONIA ALLEGUE, Boots by Mexicana, Bracelet by Thierry Muggler Vintage


Necklaces by Thierry Muggler Vintage,

Dress by Corrie Nielsen


Dress by Defined Moment


Hat by Defined Moment, Dress by Clarisse Hieraix

IN FINE

FEATHERPHOTOGRAPHED BY GRAYSON HOFFMAN

DESIGNER | METAMORPHDKSTYLIST | JAMIE HOFFMANHAIR & MAKEUP | A. DEEMODEL | AZURE SANTOS

SPIDER PROVIDED BY UNDERGROUND REPTILES



Team Credits:Natalie Wolt @ nxtlMODEL Pho-tographed by Paulina Solski, Designer/Stylist: Joseph Freyta Hair and Makeup: Becca BE


Tekeda: I am Here

INTERVIEW BY STEFANIA PRUSCINO

Joseph Freyta’s is an emerging and talented fashion de-signer from Colorado. His senior showcase entitled, I am Te-keda, is a capsule collection of different mental stages. From exploring feelings of confinement to discovering absolute freedom, Freyta’s counterbalance to life’s tumultuous emo-tions are not made clear within his designs, but also reflect the dichotomy of his personal aesthetic.

I was fortunate to be able to interview Mr. Freyta about his collection, his journey in becoming a designer, and what he wishes for in the future.

Joseph, you’re originally from Colorado and now reside in Denver. Has living here influenced you as a designer?

It has and it also has not. It has influenced me in a way that made me want to reach out; to see more and know more.

Interesting. Did you always know you wanted to be-come a designer?

Throughout my life there were times when I thought that’s what I wanted to do (become a designer), but then I always told myself ‘never mind’ and did something else. I went to CSU (Colorado State University) for a while and felt really out of place there.


I see. So was there a pivotal moment while at-tending CSU that made you realize design was your calling?

My “Aha!” moment came when I was walking around alone in the middle of the night and went to the library and picked up an issue of WWD magazine. I was flipping through the pages and I came across this editorial for Lanvin. The model was wearing this beautiful wind swept dress and it was the weirdest moment because I remem-ber getting chills just looking at it. It was just the most beautiful dress I had ever seen. That was the catalyst for me - and after a series of odd events - I found myself signing up for it (design), a year or two later. It was defi-nitely destiny.

That’s brilliant! If you had not decided to become a designer, what would you be doing instead?

Man, I don’t know! If I weren’t designing I don’t know

what else I would be doing. I probably wouldn’t be in school. I would probably be in retail and not working [to-wards] anything. I always think of that Lupe Fiasco song where he says, “hip-hop saved my life,” and I think that fashion saved mine.

It would seem that you have found your calling. Speaking of calling, what does Tekeda mean?

It’s an acronym for my name. Well, actually, it’s more than just that. A long time ago I used the Wu Tang Name Generator and the name given was Eurythmic King of Nowhere. I wanted to expand on that name and I changed it to Eurythmic King of Design and Art which eventually turned into Tekeda. Tekeda itself doesn’t mean anything, which is what I wanted. I wanted it to sound broad--in that it doesn’t have an origin, or a time stamp. It’s a name you can expand upon and go wherever you want with it.


The name of your latest collection is called I am Tekeda, which is a very powerful title. Can you expand on the meaning and source of inspiration?

Thank you. The I am Tekeda collec-tion was sort of like a big stamp of I am here. The inspiration was of duality and playing with different mental states, like the juxtaposition of chaos and clarity, confined and free, hard yet soft. So, a lot of my pieces are made to counterbalance themselves.

Very intriguing, so what kind of woman is the Tekeda woman?

The woman I want to design for is very strong in my mind. Someone who doesn’t apologize for being who she wants to be, someone who takes charge, someone who isn’t afraid to stand out.

So, when you’re creating a collec-tion do you have her in mind? What is your design process?

I definitely have her in mind. My pro-cess is very mindful. I’ll have a second of inspiration and then spend weeks plan-ning on how I will accomplish it, and then I begin making it. I like to use natural fabrics such as leather, denim, and knit mixed with spandex because it has more structure but still stretches. Using these materials require me to be very metic-ulous about every detail and that’s why planning is so important in my process. Another important part of my process is the naming of the collection and gar-ments. I name these through folklore and history. I use a lot of different mythologies or languages. In my senior collection the names of the garments were in Latin, in other collections it was a mixture of Egyptian and Greek goddesses.

You design for both men and wom-en. Moving forward, which will be your main focus?

JDefinitely womenswear will be my main focus, because it is at the point where anything sort of goes. You can basically be as creative and innovative as you want. Menswear is getting there, but it’s not at that level. I do love to create menswear, and I love making things that I can wear, but with women it’s almost expected to make [something] crazier because women can pull it off better.

You said previously that the Lan-

vin editorial inspired you to become a designer. What other designers or brands do you look up to?

A lot, but some of my favorites are: KTZ, Stella McCartney, Balmain, Mary Katrantzou, and definitely Alexander Wang.

Oh, yes. Alexander Wang is one of my favorite designers too!

His collections and shows are beau-tiful. I just love how clean his designs are. He’s definitely someone I look up to. I’m a big fashion nerd--if you will, and a lot of the shows I watch blow me away because of the creativity level. Also, knowing the process that must go into making something that beautiful makes me appreciate it so much more because I know all the work and time that was put into it.

When you’re not working or design-ing your next collection what do you like to do?

JI rarely have any free time, but I do like to travel. I would say that traveling is my second passion. I was just in New York and it was great! So whenever I get the chance I’d like to go to Morocco or St. Tropez or anywhere in Europe for that matter. Europe is so rich in culture and history and I definitely want to experience that atmosphere.

*Joseph Freyta is a senior at the Art Institute of Colorado.

*You can find him on instagram @josephtekeda


Andrew Kalashnikov

INTERVIEW BY YINSEY WANG


Saint Petersburg-based Andrew Kalashnikov te l ls stor ies through his pieces. As a photographer wi th a strong love of c inema, his composi t ions are f i l led wi th mystery and elements of darkness. Of part icular interest is his use of color and l ight ing to create str ik ing images. Discovered by Dazed Digi ta l , Kalashnikov has displayed his works in Rick Owens’ corner in Pr in -temps, Par is and the Diesel Reboot ex-hibi t ion in Les Galer ies Lafayette. He has been publ ished in var ious maga-zines including Rol l ing Stone, Wom-en’s Heal th, and The Pr inted Blog.

A graduate of the Universi ty of Cin-

ema, Kalashnikov supports his v is ion-ary ta lents through hard work, ded-icat ion and ambit ion. He shares his thoughts wi th Yinsey Wang on his suc-cess so far, as wel l as his ref lect ions on his past achievements and work.

Your images have elements of darkness in them. Why do you think this underlying feel is present in your images?

I intended to make my work c ine-

mat ic and dark. From the beginning of a piece’s concept ion, I would have planned in my mind what I wanted from the piece. I would not have pursued photography as a career just for the money; i t is the creat ive element that is key to me.

What has been the greatest influ-

ence on your work? L i fe, my interest in dark, moody

things, and cinema. I graduated from the Universi ty of Cinema, watching a lot of movies l ike crazy dur ing my stud-ies. They have def in i te ly inf luenced my work as a resul t .

You’ve only been doing photography since 2011. How have you managed to im-prove so quickly?

When you devote your f ree t ime to learn,

make mistakes, and grow as an art ist , forces tend to help you reach your goals. Al l that I have achieved was not by chance. Frankly, at f i rst i t seemed di ff icul t to convince anyone that I could make i t wi th my dark work and shoot for b ig magazines. Regardless of hav-ing been publ ished in magazines, I am st i l l an independent art ist .

What is the most crucial element to en-

sure success on a photo shoot? Organizat ion is crucial . Good communica -

t ion between members of a creat ive team on set is important. A bi t of creat ive spontanei ty also helps.

You’ve only been doing photography since 2011. How have you managed to im-prove so quickly?

When you devote your f ree t ime to learn,

make mistakes, and grow as an art ist , forces tend to help you reach your goals. Al l that I have achieved was not by chance. Frankly, at f i rst i t seemed di ff icul t to convince anyone that I could make i t wi th my dark work and shoot for b ig magazines. Regardless of hav-ing been publ ished in magazines, I am st i l l an independent art ist .

What is the most crucial element to en-

sure success on a photo shoot? Organizat ion is crucial . Good communica -

t ion between members of a creat ive team on set is important. A bi t of creat ive spontanei ty also helps.


Tell us about living in Saint Petersburg. Does being in this culture-rich city influence your creativity and passion for creat-ing art? Saint Petersburg has a fabulous scene. It is full of museums, culture and castles. Considering the fact that the most of my works were created here, the city has undoubtedly influenced me. For the past years, I undertook out-door photo shoots at all the loca-tions I wanted. At least, it seems so. Otherwise, creativity depends on an artist’s current state of mind and motivation instead of his location. Sometimes you are so focused on something that you completely forget where you are. I should say my inspiration comes spontaneously (and goes, too).

Tell us how and why you started photography. Was it something you picked up gradually or something you just found your-self becoming quickly addicted to? I planned to do three projects just

for fun and then quit. The rest is history. Briefly, before photog-raphy, I was involved in many creative projects: helped with postproduction, video design, and writing, etc. Then, I was motivated to do my own stuff. People said I was good at it, so I took more and more pictures. When you have ac-complished most of your creative goals before reaching 25 years of age, it gets harder to challenge yourself! Frankly, it’s difficult to say what keeps me going now. Can you tell us about which piece of photography means the most to you and why. I guess that my personal projects mean the most — in the ‘projects’ section on my website. It’s great to photograph with no deadlines or other limitations. You can find fine art, narratives, and land-scapes here. They mean the most to me and through them, I recall particular memories. Enigma (an outdoor fashion campaign) is very striking and haunting. The best piece I’ve ever done in a commer-cial genre is a campaign with a

mysterious model by the waterfall with long white hair. Tell us your most memorable experience doing photography. On my waterfall shoot, where I fell in before the shoot started (it was quite ‘refreshing!’), or on the shoot where I was at a ceme-tery in Milan--we couldn’t find the way out (as it’s huge), or shooting Tricky who was totally dazed! I have a lot of memories from my experiences in photography.

If you had the chance to photo-graph anyone, living or dead, who would it be? Any music bands. I’ll be proud to shoot stunning photos for record covers and booklets. I’d ideally like to work for Garbage and The War on Drugs.


FRANKIE’S EX PHOTOGRAPHED BY JERAMIE CAMPBELL

HAIR | SARAH ECHELLE MAKEUP | ALLYSSA MUSZYNSKI

MODEL | DOROTHY RENA


THE

PUNK WITHIN PHOTOGRAPHED BY

LIZ BESANSON

STYLIST | ELAINE FIORAVANTIMAKEUP | PATRICIA SOLIS

MODEL | ALIX MCCABE


Earrings by Sorrelli, Cuffs by Sorrelli, Coin

Bracelet is Vintage


Faux Fur by Ann Taylor, Earrings by Sorrelli


Skirt by Topshop, Jeans by H&M, Boots by Tommy Hilfiger, Earrings by Charm-ing Charles, Rings and Cuffs by Mimi by Sorrelli


Blouse by Central Park West, Jeans by MIA & MOSS, Faux Fur by Wendy Hill, Necklace by Sorrelli, Earrings by Givenchy, Bracelets by Alex & Ani


Faux Fur by Skaist & Taylor, Skirt by BEBE, Boots by Tommy Hil-figer, Hat by Kangol, Earrings by Sorrelli


Gown by Dave & Johnny, Top by Kensie, Harness by American Apparel, Hat by Kangol, Earrings by Givenchy, Necklace and Cuff by Sorrelli


Faux Leater Dress by Ivy & Blu, Faux Fur by

Ann Taylor, Boots by Aldo


NOT YETPHOTOGRAPHED BY

LUDO HANTON

STYLIST | MAAME NSIAHHAIR | CHRISTOPHE LAMBENNE

MAKEUP | CRYSTAL DIEMODEL | LAURENCE @ FLAG MODELS AGENCY


Dress by Dries Van Noten


Dress by The Row

MISSING HOPE IN A TOWN

OF STRANGERS PHOTOGRAPHED BY

MAREK WÓJCIAK

DESIGNER | MAŁGORZATA MOTASMODEL | DOMINIKA KOCHANECKA



Dress by VENEXIANA, Coat by PARADOX DE-SIGNS, Necklace and round ring by CLARA KASAVINA, Purple ring by MIRANDA HOPE, Bracelets by GBGH Jewelry


Dress by ANGELOU LAMBROU, Necklaces, bracelets, and rings by GBGH JEWELRY


Dress by LEONID GUREVICH, Necklace

by CLARA KASAVINA, Bracelets and rings by

GBGH JEWELRY


Dress by Felipe TONETTE, Necklace by GBGH JEWELRY, Earrings, bracelet, rings by CLARA KASAVINA


Corset by PARADOX DESIGNS, Dress

by MIMI PROBER, Necklaces by CLARA

KASAVINA, Brace-lets & rings by GBGH JEWELRY, Shoes by

ZACK LO


Dress by LEONID GUREVICH, Necklace by CLARA KASAVINA, Bracelets and rings by GBGH JEWELRY


Dress by ANGELOU LAMBROU, Necklac-

es, bracelets, rings by GBGH JEWELRY


Dress by KRISTIN COSTA, Necklace by SHOP 3NY, Bracelet by CLARA KASAVI-NA, Rings by GBGH JEWELRY


LOST LOVEPHOTOGRAPHED BY

RIKKE HASS CHRISTENSEN

CLOTHES | BEYOUND RETRO, LONDONHAIR & MAKEUP | ELLIE BLACKWELL

MODEL | CARLA @ HEARTBREAK MANAGEMENT


THE SKIN I

LIVE IN PHOTOGRAPHED BY

SARAH BLAKE

CLOTHING & ACCESSORIES | ATILEA MAKEUP | DEANNA GLADYS BISNAR

MODEL | ALISSA POLANSKI @ MODEL UNION


BITCHCRAFT PHOTOGRAPHED BY

TONY WEBSTER

STYLIST | KELSEY SIMPSONHAIR | KELSEY SIMPSON

MAKEUP | MELANIE LYTTLEMODEL | LAURA IRVINE, CHARLOTTE ROSE GORDON & GEMMA FAULKNER

Charlotte weaars: Shoes by Jeffrey Campbell, Belt by Jimmu Choo

Gemma is wears: Dress by Topshop, Necklace by Butler & Wilson, Boots by Jeffrey Campbell

Laura is wears:Bodysuit by Topshop, Kimono by Missguided


Top Hat by Stephen Jones, Peter Pan Shirt

by ASOS


Blouse by Allsaints Spitalfields, Tartan Skirt by The Ark, Boots by Jeffery Campbell


Dress by American Apparel, Cardigan

by Topshop, Shoes by Jeffrey Campbell,

Necklace by New look


Laura wears : Crop Jumper by American Apparel, Leather coat by River Island, Red Tartan Skirt by The Ark

Gemma wears: Top Hat by Stephen Jones, Black Lace Bralet by Asos, Shirt by ASOS, Pink Tartan Skirt by American Apparel

Charlotte wears: Blouse by Allsaints Spitalfields, Green Tartan Skirt by The Ark, Necklace by Topshop


Laura wears: Coat by Riverisland

Charlotte wears : Blouse by Allsaints Spitalfields, Necklace by Topshop


Dress by Topshop, Lita Boots by Jeffrey Campbell, Fedora by

Topshop


Charlotte wears: Shoes by Jeffrey Campbell, Belt by Jim-mu Choo for H&MGemma wears: Dress by Topshop, Necklace by Butler & Wilson, Boots by Jeffrey Campbell

Laura wears: Bodysuit by Topshop, Kimono by Missguided


THE LASTPHOTOGRAPHED BY AMY NELSON-BLAIN

STYLIST | JESSIE MCNAUGHT HAIR & MAKEUP | AMBER ADAMS

MODEL | ZINNIA JANIFPHOTOGRAPHER’S ASSISTANT | NATALIE NGUYEN

STYLIST’S ASSISTANT | BRONSON ATKIN

Dress by Yousef Akbar, Jacket by Ying Yuan, Necklace and Rings by Nomiki Glynatsis


Dress by Bei Na Wei, Ring by Angle

Diamond Dot, Ring by Nomiki Glynatsis,

Head Piece by Miss G Designs


Dress by Julia Logvin,Earrings and Bangle by Angle Diamond Dot, Head Piece by Miss G Designs


Dress by Boman Leung, Jacket by Yousef Akbar, Earrings by Angle Diamond Dot, Necklace and Ring by Nomiki Glynatsis


Dress by Jennifer Cai, Shoulder Piece by Grace Bijoux, Necklace and Ring by Nomiki Glynatsis


Dress by Chantelle Saghabi,

Skirt by Age of Inti-macy, Earrings and Necklace by Angle

Diamond Dot,Boots by Siren


Dress by Brigitte May, Head and Shoulder

Pieces by Grace Bijouxs

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Prepared by MagCloud for Elaine Fioravanti. Get more at jutemagazine.magcloud.com.

Jute magazine jute magazine vol xiv

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