Download - September issue Part 1
TABLE OF CONTENTS
Letter from the Editor
101 Reasons Why We Love Austin
A Hair Affair
Couture Fall 2010
Style Icon: Hedi Slimane
Wilhelmina Brown: An Interview with Justin Brown
101 Reasons Cont.
Hello My Name Is…
I Am Man
101 Reasons Cont.
Kilty Pleasure
Designer of the Month: Vivienne Westwood
101 Reasons Cont.
Talking Fantasy
Credits and Special Thanks
Ian Milan
When I first moved to Austin, I found myself unsure of how to absorb this city. I was a city slicker
from Houston finding myself tiring of the Keep Austin Weird memorabilia, vintage clothes that smelled like my
grandma, and Austin’s glorification of small businesses. I must admit, I just didn’t get it. Where were the
big leagues? The huge corporations? The national brands I had been raised to enjoy?
Since then, I came to really know Austin, and as if by some miraculous revelation the skies parted,
the doves descended, and my eyes were opened. I found myself addicted to local businesses. I realized that
here anything is truly possible. In the course of falling in love with Austin, I decided to play the anything’s
possible card for myself. A friend and I decided we wanted to create a community of writers, photographers,
designers, models, and hair and makeup artists who were passionate about becoming part of a local fashion
community, and that’s exactly what we’ve done.
A lot of people have asked us, What makes Spark different? What’s new about Spark? As tough as it
is to admit, I had been asking myself that same question. However, this magazine has pushed my staff and I
closer to Austin, and it was in this bond that I found my response: In no other city, could Spark become
more than a dream. There’s such a beautiful community in Austin that you won’t find anywhere else.
Everyone wants to help each other. Everyone is genuinely interested in each other, somehow bonded by the
fact that we are all in this together. I realized there’s no way we could do what we’ve done in a larger
city. There would have been forms to fill out, letters sent to far-away corporate offices, and jungles of red
tape. Through this realization came a feeling of gratitude for a city I once misunderstood.
To answer the question, Spark was an idea that is now becoming part of a larger Austin community.
It is fashion dissected on an Austin level. You can pick up a national fashion magazine and see the big
international brands and the famous models that you will probably never meet, and there’s nothing wrong
with that. In contrast, after reading Spark, you can bump into a model from our editorials on your way to a
featured store or salon. With this idea in mind, our editorial took us on an adventure through Austin as we
followed a girl in search of herself. We also decided to feature Austin’s finest, from restaurants and festivals
to public figures and local landmarks. At the core, Spark is fashion the way Austin would have it: local,
unpretentious, and most importantly, accessible to all.
As an idea that sparked in the brains of a few ambitious people, we hope our September issue, and
every other issue; will be a platform with which to spark your own fashion adventure.
Letter from the Editor
A HAIR AFFAIR
“Is that a ship on her head?” Cameras flashed
rapidly, struggling to capture the moment. A
model in a large, ship crowned, pink wig strutted
cautiously to the end of the runway. Undoubtedly
this was the highlight of the evening at the
Phoenix. However, the remainder of the fashion
show was anything but supplementary.
The theatrics of A Hair Affair were intoxicating.
Each model was garbed in her corresponding
class attire, from aristocracy to the petit
bourgeoisie. Aristocratic models wore elaborate
wigs and garments contrary to the “lower class”
who donned simple wigs and revealing frocks.
The most astonishing looks of the evening aside
from the pink wig, topped with a ship, were
an elegant red dress, an elaborate bird cage
wig and a few tops that were literally painted
on the body of the model. The red dress was
the show stopper. Ruffles gently framed an
open neckline, cascaded down the full skirt and
circled the hem of the dress. Black tights as
intricate and delicate as a spider’s web were
harmoniously paired with the red dress.
On the opposite end of the spectrum was a
black dress, or rather skirt. It appeared to be a
dress but as the model stepped into the light it
became apparent that her top was completely
painted onto her body. This was naturally
shocking to some but it was done so
tastefully that it became a crowd favorite.
Her seamless top was black-gold was so
artfully executed the paint appeared to be
lace.
The bird-cage was more art than hair. Cast
in bronze, the whimsical cage was etched
with flowers and leaves. It was attached
with a goldenrod ribbon about the model’s
neck. The cage was balanced by a simple
combination of a powder pink corset, a gold
belt, and a ruffled white skirt layered on
top of soft white tights.
What followed the cotton-candied wigs was positively tantalizing. Lights
dimmed on the dance floor and colorful spotlights revealed a belly dancer on
a pedestal. Her body imitated the mysterious beauty of a snake as she
swayed lethargically and struck with her hands, hips and feet.
As if the exotic belly dancer was not enough, an aerialist performed tricks
from a cerceaux, suspended from the ceiling. The aerialist spun and displayed
her mind-blowing elasticity as she swung and flipped in and around the hoop.
LegitArt Entertainment spared no amusement for A Hair Affair to raise money
for Locks of Love. Among the open bar, unbelievable fashion show, belly
dancer, and aerialist, the event was truly one of Austin Fashion Week’s best.
~ Autumn Ashley
Managing Executive Editor
FOOD!!!
[10] Polvo’s Mexican food so good even your abuela would approve
[11] “How Do You Roll” Sushi
[2] Tomo
This sushi bar is Austin’s best kept secret. With saucy names and explosive tastes, Tomo will give Uchi a run for its money!
[12] Sno Beach
[4] Farmer's Markets
[9] Magnolia café
[8] Sweet Leaf Tea
[5] Mandola’s Located in the Triangle, Mandola’s serves up some of the most addicting Italian food you’ll ever find in Austin.
[7] Antonelli’s Cheese Shop Boasting a wide selection of delightfully aromatic cheeses, Antonelli’s is sure to become an Austinite institution.
101 REASONS WHY WE LOVE AUSTIN
[3] Uchi
[1] BIG Top
[6] Chuy’s
[21] Joe’s *not the crab shack
[15] Teuscher Chocolates
[14] Juan in a Million This local taqueria has caught the attention of musicians, politicians, celebrities, and even Martha Stewart. The “Don Juan” is a house favorite, and you can expect Juan himself to give you a hearty handshake and a sincere farewell on your way out.
[22] Epoch coffee
[24] Halcyon Café This warm, inviting lounge is the perfect place to unwind at the end of the week or to roast s’mores with friends.
[18] Progress Coffee
[19] Mozart’s This lakeside coffee shop has a relaxing aura perfect for dates and studying alike.
[23] Kerby Queso Kerby Lane’s infamous Kerby Queso is the stuff of late night legend, and for good reason!
[16] Whole Foods
[17] Cupcake Shops Austin has a slew of cupcake shops, some admittedly better than others, but one thing is for sure: Austin has a passion for these little confections.
[20] Bennu
[13] Dolce Vita
With a ceiling made of wine bottles, this café serves up Austin’s finest gelato, espresso, panini, and desserts.
During Austin summers, a cold treat is a must, and there is no better place than GoodPop, the innovative popsicle trailer offering unique flavors like Pineapple Basil and Mango Chile.
[27] Bananarchy
[33] Holy Cacao
[31] La Condessa
[32] Madam Mam’s Best Thai in Austin. Anything on the menu will become your new favorite. Try the pad thai or the green curry. No matter what you order, you will crave it again, if you don’t already.
[26] The Steeping Room This tearoom at the Domain mall boasts an extensive tea list, including unique flavors like crème brûlée and chocolate, as well as a full menu of light and delicious fare.
[35] Café Crepe The delicate smell of butter and flour is instant when you walk into this casual, no-frills restaurant; it’s a ticket to Paris wrapped in a delicious, freshly made crepe.
[28]North This Italian restaurant nestled inside The Domain proves itself a master of both modern and classic cuisine.
[34] P.Terry’s
[22]
[30] Mighty Cone
[36] Austin Street Food
[29] Viva Chocolato
[25]
there is ever a moment when fashion seems
to be more about the art than the profit, it is couture
week in Paris. This season there were only nine
designers who met the rigorous requirements of
France’s Chambre Syndicale de la Haute Couture. This
select few pulled out all the stops, selecting lush fabrics
and seeking to inspire with garments that may never
be put into production. The fall 2010 season was no
exception to the luxury, expert workmanship, and
decadence that the title, “couture,” evokes. Armani
Privé is one of the few brands, which, because its
founder continues to design the label, retains a clear
vision that rarely wavers. There will be no Gareth
Pugh-esque melodrama or Alexander McQueen theatrics,
because Giorgio Armani consistently sends nothing but
elegance and sophistication down his runways. His fall
2010 collection, entitled “A Play on Amber,” began
with a new take on his trademark suit. The slightly
pleated skirt moved well and complimented a blouse
with an asymmetrical neckline, but the true standout in
the ensemble was the dramatic coat thrown
nonchalantly over Carmen Kass’ shoulders like a chic,
nude-colored cape, showcasing Armani’s celebrated
draping. The muted elegance of this first look set the
tone for the rest of the collection, which included
memorable pieces such as a beige A-line coat with a
paradoxically structured cowl neck. Even the more
casual looks, such as a grey tailored pant and off-white
cardigan, were unmistakably elegant, reminding us that
it is possible to be stylish on any occasion.
If
ARMANI
However, Armani reserved his coup de thêâtre for the final
look, when Karlie Kloss presented – in her signature
melancholy glide– an evening gown drenched in amber sequins
that glittered salmon in the light. The ruching at the shoulders,
the gentle folds of the fabric, and the tailoring of the sleeves
all attested to Armani’s place among Paris’ couturiers.
No less iconic was Karl Lagerfeld’s collection for Chanel this fall.
Nevertheless, when the show first opened with suits and tweed,
members of the audience may have wondered if they were to
be merely shown a rerun of past collections. However, Lagerfeld
was sure to distinguish himself with a new tone and concept
for the brand. The very lines of this collection differed
markedly from its predecessors, as evident in a deconstructed
military jacket with sleeves cuffed at the forearm over what
appeared to be an asymmetrical waistcoat. The aesthetic at
first was darker and more masculine, a bit more Karl Lagerfeld
than Coco Chanel: cuffed, voluminous sleeves abounded, along
with cropped jackets and bow ties.
As a playful nod to the Chanel 2.55, Lagerfeld
created a handful of dresses sporting the unmistakable
quilted pattern. From there, the collection took an unusual
turn, with decadence in jewelry and ornamentation. There
was a heavy presence of brocade and lace, and a mystifying
dress in the typical Chanel silhouette – slim, topped with a
cropped jacket – but with the color of red lacquer and
festooned with red flowers at the collar and hip. Other
dresses seemed to take their cues from origami, while one
featured a satin, scalloped skirt that inevitably recalls the
mermaids of fairy tales. The collection concluded with a series
of regal dresses and Baptiste Giabiconi, Karl Lagerfeld’s male
model du jour, carrying a lion’s head tucked under his arm.
This season, Chanel offered not only a presentation of
clothing but also a fantasy.
Some designers, on the other hand, are less concerned with
fantasy and more fascinated by the prospect of glamor, pure
and simple. Elie Saab is one of those designers, as his
couture collection demonstrated this fall. This season for Saab
was quite literally theatrical; inspired by Il Fenice, the storied
opera house of Venice that joins London’s Covent Garden and
Paris’ Opera Garnier as a colossus of the art world.
This meant velvet, sequins, and copious amounts of red.
From the very first gown Saab sent down the runway –
a floor-length, carefully draped gown in a deep scarlet
velvet – the audience knew that fall 2010 was going to
revel in the drama of evening wear. The collection was
composed almost entirely of dresses, each one
threatening to outdo the last in luxury. A particularly
decadent creation was a knee-length, sea-foam number,
sheer but for a slip and dripping with sequins. Saab also
included a chilling trilogy of three gowns to represent
the three occasions upon which Il Fenice burned to the
ground; the fabric, aptly chosen, moved easily and
billowed like the fiery story it was fashioned to tell.
These were followed by another selection of three
dresses, this time in a deep carmine. Easily some of the
most striking in the collection, the gowns flowed like
water, moving with lightness and grace – no doubt
strong contenders for the red carpet.
Chanel
Valentino
Gaultier
The collection finished off with opulence at its best: silky
and shimmering, many of the dresses sported slim pleats
that outlined and complemented the shape of the women
who wore them. Complete with startling thigh-high slits,
flowing fabrics, and impeccable draping, Elie Saab’s
collection is sure to win over starlets with a taste for
decadence.
Equally a master of opulence is Ricardo Tisci for Givenchy.
Famed for his gothic aesthetic, Tisci surprised the fashion
world this season by forgoing his darker look for an
almost entirely white color scheme. At the same time,
couture provided a perfect stage to display the dramatic
design techniques he is best known for, notably lace and
fringes. In fact, the first dress foreshadowed the look of
the entire collection, as Natasha Poly posed regally in a
skeletal-patterned lace gown that culminated in a forest of
fringe at the ankles. The piece shifted the focus onto the
body and heralded the extravagant ornamentation to
follow. The next few looks are variations upon this theme,
sometimes with the bewildering addition of a shaggy fur
or leather jacket. One of the most stunning pieces this
season for Ricardo Tisci resembled the deconstructed dress
of a Grecian goddess. A creation of mixed fabrics,
alternately sheer and opaque, the dress also boasted a
flowing, twenties-esque fringe hem. Had any another
designer attempted such a medley of techniques; the
result would have been more in the vein of Frankenstein’s
Creature. However under the careful hand of Ricardo Tisci,
the dress became both elegant and edgy. Interestingly,
Givenchy’s couture collection this season was, in many
ways, reminiscent of Alexander McQueen’s work – that is,
never dull, but always majestic. The late McQueen and
Tisci shared a penchant for the gothic, yet neither forsook
painstaking workmanship or elegance for his forward-
looking creations. Unlike the heady cocktail of influences,
textures, and techniques at Givenchy, Jean Paul Gaultier
referred to a very distinctly Parisian haute couture style.
His aesthetic was at play from the moment Karlie Kloss
strode down the runway in a beautifully proportioned
military trench, slim as a pencil skirt at the bottom, but
voluminous at the top, the perfect emblem of Parisian
sophistication. There was an abundance of expertly worked
leather – perhaps a vestige of Gaultier’s creations for
Hermes – generous amounts of fur, including a silver fox
wrap and the puzzling mink bra, and plenty of volume.
Despite these bold choices, one couldn’t help but sense
that they were merely adaptations of the same
experiments seen on other runways. There were the
exaggerated, rounded shoulders and hips à la Nicholas
Ghesquière for Balenciaga, sharp shoulders in the Balmain
style, and Dolce & Gabbana’s peculiar mutton leg-shaped
sleeves. Gaultier nevertheless produced some eye-catching
pieces when he seemed least self-conscious about
experimentalism. A fabulous sheer top paired with a slim,
yet flowing knee-length skirt belted high at the waist
made for pure elegance in the true Parisian fashion.
Similarly, the most beautiful pieces in the collection were
the simple black dresses that placed the spotlight on
draping and craftsmanship rather than unhelpful attempts
at futurism. Though it is difficult to forgive the designer
for some of the downright hideous pieces, such as a
bright green, satin dress with a matching wrap, the last
selection of dresses were deliciously slinky and luxurious,
guaranteed to make any woman feel like a movie star of
the early twentieth century. At the opposite end of the
spectrum, Maria Grazia Chiuri and Pier Paolo Piccioli
celebrated a different kind of femininity for Valentino’s
couture collection. In place of the dramatic, floor-
Givenchy
Saab
sweeping gowns at Gaultier and Elie Saab, Chiuri and Piccioli opted for a more girlish, youthful
look with A-line, baby doll dresses. Sporting considerably raised hemlines, the pieces were among
the most wearable of those presented during this couture season. The first was an easy, navy blue
dress boasting a slightly exaggerated shoulder and a bow at the waist. The collection’s color palette
first wavered between navy and white and finally settled upon a range of nude tones for its
frothiest creations toward the end of the show. Ruffles, bows, tulle, and roses reminded the
audience of Valentino’s simple, yet admirable aim. The house has not been preoccupied with
challenging the frontier of fashion, but instead is quite content to produce lovely, feminine pieces
that will both uphold the name of Valentino and reap a profit. This is not, however, to the
detriment of the brand, because it is impossible to resist the classic beauty of its dresses. Despite a
few bold choices, such as the cream-colored cage encircling one model’s torso or the tongue-in-
cheek Valentino rosette magnified and placed on a sheer blouse, the brand creates a youthful
fantasy that offers customers what they seek in fashion: a thing of beauty. With Valentino, it comes
down to a knee-jerk reaction along the lines of, “It’s lovely. I want it.”
Fall 2010 couture demonstrated a wide variety of styles and aesthetics, spanning the creative
distance between Givenchy’s haunting majesty and Valentino’s breezy femininity. Among these
couturiers, these giants of fashion, it is clear that John Galliano for Dior nevertheless surpassed his
peers. This season, Galliano literally made a study of Christian Dior’s tulip skirt by putting forth a
show bursting with floral patterns, shapes, and colors, as if the runway were one, colossal garden
of fantastical proportions. The ubiquitous Karlie Kloss opened the show with an explosion of violet,
a coat with – of course – a tulip skirt, cinched at the waist by a belt resembling blades of grass.
The collar was a parade of exaggerated ruffles in the shape of roses, and the look was finished off
with a pair of bright orange gloves. And yet, in true Galliano fashion, the ensemble was exquisite
despite its seeming outlandishness. While it would certainly be difficult to find a woman capable of
pulling off such a look in the street, the outrageous purple coat managed to be elegant, as it
pitted a classic shape against cheeky colors and playful styling. The rest of the collection was no
less stunning and highlighted Galliano’s peerless craftsmanship: a bold top with a plunging neckline
highlighted by a fiery fringe toughened up a baby blue tulle skirt, while a voluminous black dress
featured a slit along the center of the skirt to reveal, like a flower blossoming, layers of yellow
tulle splashed with magenta petals. Each piece unfolded a new fantasy, employing classic silhouettes
and transforming them entirely into delectable creations. Galliano created a true garden of earthly
delights, the very embodiment of couture.
Dior
All Photos Style.com
STYLE ICON: HEDI SLIMANE Edited by Autumn Ashley
Dior homme, Karl lagerfelD’s
infamous diet, and Lady Gaga have one
thing in common…the genius
of Hedi Slimane.
HEDI SLIMANE
Fashion’s Renaissance man, Slimane launched
his career when he helped to revive Yves Saint
Laurent’s menswear collection in 1997. After stepping in
as creative director of Dior Homme, Slimane pioneered
his trademark suits with clean, tailored silhouettes;
compelling even Karl Lagerfeld to adopt the infamous
cube of cheese diet. Today, the silhouette remains a
sartorial canon in the world of menswear, resisting
fashion’s overwhelming thirst for the next new look. “I
never wanted to please,” Slimane announces in an
interview with Style.com. “I always and only thought
about my own time and the birth of an entire
generation”, and he has. Despite his work for couture
heavyweights, Slimane defies authority and precedent,
preferring instead to blaze his own path. As a
photographer, Slimane has developed a striking,
minimalist aesthetic that parallels his designs, while as
a music enthusiast; he has established symbiotic
relationship with the London rock scene. He has
discovered and launched the careers of many models,
and, more recently, shot Lady Gaga for the cover of
The Fame Monster. It is almost impossible to consider
the state of photography, menswear, or music today
without noticing the influence of Hedi Slimane: from
minimalism to slim ties, sharp lines and stark photos to
skinny jeans, the designer has left his mark on the art
world with style.
~ Lisa Siva
www.style.com
www.thefashionspot.com
www.hedislimane.com
http://www.runway2reality.com/2007/09/50-most-stylish-men-of-past-50-years-by.html
FESTIVALS!!!
[38] Runway to Heaven A fashionable benefit gala, Runway to Heaven features new and established designers for an unforgettable evening of style, food, and entertainment.
[39] Restaurant Week During a week of reasonable prix-fixe menus at the city’s top restaurants, Austin proves itself a force to be reckoned with in the culinary world.
[40] Austin Fashion Week
[43] Zilker Kite Festival
[42] South by southwest (a.k.a sxsw)
[41] Trail of Lights
[45] Art City Austin More than just a festival in a city of festivals, Art City is a celebration of Austin’s vibrant creative community.
[44] Old Pecan Street Festival
[46] Le Garage Sale This biannual event is like dozens of sales from independent boutiques in Austin under one roof. Enjoy clearance prices on unique items while benefiting local businesses.
101 REASONS WHY WE LOVE AUSTIN
[37] Umlauf Garden Party One of Austin’s most elegant events, the Garden Party at the legendary Umlauf Sculpture gardens is not to be missed and will feature live music and food from some of the city’s best restaurants.
[47] Austin City Limits (a.k.a. ACL)
Edited By Ian Milan, Autumn Ashley
An interview with Justin Brown
BROW
WILHELMINa
SPARK: What was it about Austin that drew Wilhelmina to open a branch here over Houston or Dallas?
Brown: Nothing against Houston or
Dallas, I just knew them already
and there’s the closeness and
proximity; we can cater to
Houston, Dallas and San Antonio.
SPARK: How was the transition in becoming Wilhelmina Brown? What did this transition entail and would you say it was easy or difficult for you?
Brown: It was really easy transitioning
into Wilhelmina Brown. I’ve been to New
York and California. I had to meet with
the heads out there and learn what they
were looking for, observe what kind of
marketing materials they use to find
models and how they do a booking, take
that and combine it with what we were
already doing.
SPARK: What are some general restrictions for models on a contract? Have you ever had a model completely violate a contract by cutting off their hair or dying it neon orange or anything like that?
Wilhelmina has become a sacred name in the fashion industry. Young models mention her name with fervor in their voices. Eyes light up with anticipation as she walks into a room. We have all heard of her through one medium or another, whether it was flipping through Vogue or hearing Tyra Banks drop her name every fifteen minutes on America’s Next Top Model. But what you may not know is that Wilhelmina chose Austin, TX, as one of the most promising places for fresh new talent.
A few weeks ago I had the honor of sitting with Justin Brown, the former owner of Texas Acting and Modeling Academy who became the next proud member of the Wilhelmina family. Within seconds of speaking with him, the six foot tall, blond hair, blue-eyed man had managed to capture my attention through an easy sense of humor rarely found in the fashion industry.
Brown: No… In general you must keep your sizes and look consistent. Even a mild change requires an update in marketing material. It’s like you change a recipe in a soda pop, you have to change the marketing. You are a product and the product must match the marketing. If you’re expecting to eat chocolate and you open the package and find vanilla, you’re mad.
SPARK: Where is Wilhelmina Brown heading right now, in terms of talent? Is the focus on men or women, modeling (commercial or runway) or acting?
Brown: We do all aspects of modeling, and acting, but we want to be a small agency. We decreased our roster and want to increase quality. We want to fill the right jobs, and the right rolls. We’re not looking for character actors. We’re looking for good-looking talent. Not tons of people are looking for the star type of people. Everyone we work with must be able to fill out rolls. Models must be actors. Some good-looking people don’t want to work hard. But we want to focus on even outside of Texas. Those who aren’t right for Austin could do something national or even international.
SPARK: What things do you look for in a model, in terms of casting an individual?
Brown: Depends on what you’re marketing for, are you the friendly commercial type, the fashion type with a great body for swimwear? How old are you?
It’s only been six months since their launch, but it would be impossible to imagine Austin’s fashion community without Wilhelmina Brown.
AutumnAshley
ManagingExecutiveEditor
[50]
[48]