september issue 8 en mode

E N M O D ESept 2012

The Jewel Issue

Cover

Tanya Titova

Contents September Issue

Composite -Pg 10

Editor’s Letter -Pg 17

Shopping -Pg 20

September Trends

SAFW 12 International -Pg 29

NYFW SS13

Carine Roitfeld

En Mode: Hommes -Pg 39

Portrait -Pg 45

Dark Jewels -Pg 57

Beauty -Pg 64

En Mode: Shopping

En Mode: Beauty

Mode International

En Mode Magazine September 2012 06

BRIAN DEANEDITOR

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PHOTO EDITOR Sarah Seneque--------------------------

FASHION FEATURES EDITORS Ivica Mamedy, Audrey AlbertJUNIOR FASHION FEATURES EDITOR Alexandra Webber Isaacs

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PUBLIC RELATION EXECUTIVE Khatleen Minerve------------------------

MARKETING EXECUTIVE Stephane Lam Vo Hee------------------------

MANAGING DIRECTOR Brian Dean

Fashion Platform LtdImpasse Froberville, Allee Brillant Floreal, 00230 Mauritius

[email protected]


C O M

P O S

I T E

z

n a m e : MARIANE PINHEIRO

h e i g h t : 1 m 79

b u s t : 31.5

w a i s t : 24

h i p s : 34.5

e y e s : brown

h a i r : brown

z

c o n t r i b u t o r sEkaterina Berlinskaya

Photographer

Antje Egbert

Photographer


Cedric Lanappe

Make Up Artist

Khatleen Minerve

Writer

EDITOR’S LETTER

Cred

it: E

kate

rina

Belin

skay

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Brian Dean

September is the new start for the Fashion Industry. I wanted to illustrate this new edition of En Mode Maga-zine, by a Jewel Issue. Jewelleries are the product that attracts others to our personality. It is also a way to express luxury and beauty.

Jewels are mostly made from precious stones, and another perception of jewels is that they are come from earth, from soil they came and as humans’ porter we will also return to soil. Precious, is a word that can define a lot of things, loved ones, memories, people, places and jewels. What is precious to us depends on the person and even if it may be different for everyone, we all understand its meaning.

For this September 12, The Jewel issue beauty and the new trends will be our focus.

17 En Mode Magazine September 2012

ShoppingE N M O D E

Colorful Camo

Camo usually feels heavy-duty, but spring’s versions are more ladylike thanks to soft, pretty pastels. How to pull it off in the urban jungle? Treat it like it goes with everything by styling it up with other patterns and colors and suddenly your friends will be calling on you to

merchandise their closets and approve their spring splurges. Keep it stealth—they don’t have to know that your cool new camo did the heavy lifting.

Pastel Shades

If wild, look-at-me hues aren’t your thing, worry not: New York Fashion Week’s most esteemed designers have got your back.(And your front. And your legs. You get the picture). Spring’s sweet sorbet shades and pastel hues give off a low-key, ladylike vibe.

Cheerful Color-Blocking.

Spring runways were more colorful than the crowd at a Lady Gaga concert. Bold, solid-color pieces—like a cardi and skirt, wrap dress or demure one-piece suit—make simple dressing look glam. Our style tip: Stick to three colors max to avoid the girly, Rainbow Brite look.

Oranges and Tangerines

Just before New York Fashion Week kicked off, Pantone Institute shared its prediction for the most popular colors of spring 2012, and it was spot-on: The pick for spring’s numero uno shade, Tangerine Tango, was

all over the runways. And if tangerine isn’t your citrus of choice, there are plenty more orange hues to choose from. Wear one color and look chic? How easy is that!

Futuristic Prints

With so many pix-ilated prints and swirl-ing graphics, it’s clear someone’s been having fun with Photoshop. If you’re feeling tired of classic patterns like plaids, stripes and polka dots, then spring 2012’s futuristic-print trend is for you. To keep things in this day and age

(and not, say, full-on Jetsons era), pair a techno-print piece with something simple like a won’t-go-out-of-style-for-light-years t-shirt.

September Trends


En Mode: Shopping

South Africa Fashion Week 2012

46664 Collection

Mantsho Collection

Under a white pitched marquee on what was then Sandton Square and with just ten collections on the ramp, SA Fashion Week (SAFW) 1997 overnight became the premier and most talked about fashion event in this country; and this without the benefit of social media. For the first time South African fashion had been pre-sented under one roof, impacting the country’s entire fashion industry by bringing together designers and consumers. As showcased, it also led the way in which local fashion was to be presented. Paul Pamboukian has designed the set and lighting for all 21 SAFW Collections


Asked about the lighting of SAFW, Director Lucilla Booyzen said: “Light-ing is fundamental to creating beauty and making the audience feel safe and comfortable so that viewers see what you want them to see.” However, while lighting fashion in a studio is a task on its own; lighting fashion on a ramp is a story of constraints. Fashion on the ramp wants to be lit as in a fashion shoot; in essence, it is all about achiev-ing the ‘perfect image.’ The ideal space for viewing fashion is in a black box, like a photographer’s studio, that permits full control of applied light in order to achieve the ‘perfect image.’ In planning the lighting of a fashion presentation, therefore, three factors have to be considered:

• First and foremost, lighting on the ramp has to be camera-friendly to guarantee a photographic,

video or film image that is of excep-tional quality for transmission to top class publications and TV studios worldwide.

• Secondly, the show needs to be an optimal vehicle for live viewing of the collection.

• Thirdly, the production and operation of the lighting need to be well rehearsed and seamless in execution.

The palette is white light and shades of white. With light, the atmosphere of the venue is determined. The different moods result in a unique type of thea-tre, from the preamble before the show to when the music strikes and the lights fade up on the sparkling models in their designer garments. The front row audi-ence is granted optimal viewing. They are separated from the models on the ramp only by the cut-off of the light. This is theatre, not only for the fashion press and buyers. The emphasis is on the clothes, where every detail in cut and stitch should be easily visible and the colours, crisp and clear. Indi-vidual designer ranges may require the application of colour, projection, gobo effect, and differing lighting angles to emphasise the drama of the particular Collection. When the models reach the end of the ramp they switch to a pose or gesture for the benefit of the photog-raphers and videographers clustered on a rostrum at the end of the ramp, jos-tling for the perfect shot that will find its way into the local and international fashion media. This, in essence is what is going to give the Collection exposure and commercial value. It is the singular opportunity to capture the show in the ‘right light’ and launch it into the new season.

For each season, SAFW provides designers with a different back-drop setting, with a particular atmosphere brought to life through light. Backdrops need to be neutral but at the same time appealing and impressive to establish the manner in which models enter and exit the ramp. The camera does not want to pick up too much visual activ-ity behind the model which may conflict with particular garments. However, for the live aspect of the show, the set needs to provide interest and variety. Back-drops are sometimes black to absorb bounce light or define distinction or the whole set and ramp is white, to provide brightness and diffusion.

The entrance onto the ramp has its own proportions to establish a sense of space and depthof-field. The ramp is the major element of the composition and it may be raised or flush with the floor, purposely covered in a light absorbing, deliberately reflective or coloured ma-terial. It contrasts, highlights or softens the model to create illusion, sparkle or a graphic statement. Light picks out the message. The set is conceived to be modified so that each consecutive day has its own specific feel and character. Critical to the ‘look’ is the control of shadow –shadow has to be avoided under the noses and chins of the models. This is controlled by the position and angle of the spotlights over the ramp. The lights are focused to illuminate the models, as close to a 45 degree angle as possible. Different venues with different heights create unique challenges in this regard.

The first two seasons on the Square were lit by PAR 64 1000W parabolic canister (parcan) reflector lamps with differing beam angles placed in selected positions in the marquee. The first shows were lit with 24 of these lumi-naires with their warm colourtempera-ture; colour-corrected by means of col-our correction filters to ‘daylight.’ For the next season, a ground-support-system, single truss and a row of parcans over the axis of the ramp were installed. Moving to Sandton Convention Centre (2000-2008), to accommodate the increasing number of designer collections and growing crowds, came the opportunity to blackout the space entirely, creating virtually ideal condi-tions. With sufficient height, the trusses were suspended from the concrete ceiling and a second row of lights introduced. ETC Source 4 and Philips Selecon theatre profile spotlights were also used which allowed the ramp to be framed accurately and to control definition and light spill. Doubling the number of fittings gave more intensity which allowed for a clearer and precise definition of subject


En Mode: Shopping

Naked Ape Collection

En Mode: Shopping

Vesselina Collection

Naked Ape is an Italian brand that designs a natural clothing range made in eco-sustainable fabrics such as bamboo and cotton chosen by a team of fashion stylists, which add to the extra com-fort and softness of the brand’s clothes. All clothes from their processing to their manufacturing follow ethical and environment standards, meaning no pesticides or fertilizers. Furthermore, the typical label on clothes disappears at Naked Ape to provide customers with a no logo product with a clean design.

Today, Vesselina Pentcheva has opened her design studio in Johannes-burg where she designs and creates with her team, luxurious wedding dresses, elegant and sophisticated evening wear as well as couture-like quality ready-to-wear collections. With a particular flair for details, Vesselina favours simplicity as well as the use of colour, textures and dif-ferent combinations of lavish fabrics in her creations. She has shown great ability to create pieces for women, who want to look sexy and trendy. Her core motive remains designing clothes to help women grow, de-velop, thrive and be successful. And through it all, Vesselina Pentcheva has been expressing all the complexity of being a woman with all its emotions and power, as she puts it so well.


En Mode: Shopping

The Prints are

back!

TUCKER Printed silk-georgette shirt €352

DAY BIRGER ET MIKKELSEN Day Fleur printed cotton and silk-

blend top €150

ALICE +OLIVIA Ani sunflower-print silk-

chiffon top €322

ANTIK BATIK Printed stretch-silk

twill top €265

SONIA BY SONIA RYKIEL Printed

cotton blouse €250

MATTHEW WILLIAMSON Printed silk-chiffon top €630

EQUIPMENT Signature sleeve-less washed-silk shirt €322

TUCKER Abstract-print silk crepe de chine top €315

Tops


CHINTI AND PARKER Star-print

cotton-twill mini skirt €188

AUBIN & WILLS Bransty cotton mini

skirt €105

DIANE VON FURSTENBERG Kiki boucle wool-

blend wrap mini skirt €400

MIU MIU Dott silk and wool-blend mini

skirt €637

FAITH CONNEXION Annabelle Dexter-Jones stretch-cotton corduroy

skirt €292

En Mode: Shopping

DKNY Ramie-blend circle mini skirt €368

MILLY Printed cot-ton-blend broadcloth

mini skirt €285

MCQ ALEXAN-DER MCQUEEN

Tartan pleated wool mini skirt €766

Skirts


En Mode: Shopping

Shoes

J.CREW Viv patent-leather ballet flats

€285

GIUSEPPE ZANOTTI Suede peep-toe platform

ankle boots €781REPETTO BB patent-leather ballet

flats €248

MULBERRY Patent-leather pumps €397

DIANE VON FURSTENBERG Jodi

color-block suede sandals €383

CHARLOTTE OLYMPIA Anastasia suede and wooden

sandals €1675

CHRISTIAN LOUBOUTIN Decollete 100 patent-leather

pumps €593

NICHOLAS KIRK-WOOD Leather and watersnake platform

pumps €983


En Mode: Shopping

Bags

CHLOE Jade Medium color-blocked leather shoulder bag

€2290

CHLOE Paraty Medium leather shoulder bag €1786

CHLOE Sally textured-leather shoulder bag €1576

JIL SANDER Malavoglia leather tote €1990

MARNI Buckled patent-leather clutch €938

MICHAEL KORS Gia Saddle color-block leather

shoulder bag €1066

GUCCI Woven-paneled leather tote €5405


I N T E R N A T I O N A L

M O D E

According to Jeffrey Costello and Robert Tagliapietra, the collection they showed this afternoon was all about love. But it was also—and this seems a strange thing to say about a show that emphasized beige dresses—very much about color. The strongest single idea offered here was to treat abstract prints as blocks of mottled color, and play the tones against each other. That idea was employed in several winning looks, in particular a body-skimming jumpsuit and an insouciantly sexy draped halter dress. Elsewhere, Costello and Tagliapi-etra continued to explore the possibili-ties of the AirDye technology they’ve taken to heart; the process spreads a super-thin coat of dye on one side of a fabric, and Costello and Tagliapietra use it to mimic the effect of contrast double-facing. A Botticelli-inspired halter dress showed off the trick best, with a dense drape of neon coral at the collar perk-ing up the pale lavender below.

And then, on the other hand, there was non-color: those beige dresses. Perhaps the riskiest move a designer can make is to risk being boring, and here Costello and Tagliapietra faced the challenge with aplomb. There’s not much to say about these dresses, except that they were expertly draped—which pretty much goes without saying when it comes to these designers—and that the color achieved what may well be the Platonic ideal of “neutral.” They were also very good—discreet, yet a little sugges-tive in the way they hugged the body; kimono belted or sweetly tied with a bow—and will be catnip for the woman with a yen for feminine simplicity.

New York Fashion Week

Costello Tagliapietra


En Mode: International

Jenni Kayne carried over her Resort collection’s loosely surf-inspired vibe into Spring. Prints, color-blocking, and a strong palette were the key messages here. A blue and rust ethnic pattern, developed in house, was shown neck to knee on a snug cropped top and slim pencil skirt. You could wear the pieces apart, but the prints looked chic pulled together. Kayne also made a statement with her signature four-ply suiting, done this season in hard-to-ignore pops of fuchsia and daffodil yellow. Despite being highlighter bright, a short yellow suit paired with a worn-in, painted baseball tee—a casual first for Kayne—had the refined ease the designer has cultivated over the years. Also easy: a dark, oversize poncho and matching flat-front pants. Part of the collection’s first delivery, they’ll make smart transi-tion pieces when winter thaws into spring.

Jenni Kayne


What a difference a runway makes. The formality of a proper show af-ter several seasons of presentations seems to have focused Shane Gabier and Chris Peters, the designers behind Creatures of the Wind. “Cleaned up” isn’t the term for their Spring collection—their arty sensibility is too well developed for that—but there was something almost orderly about the eclecticism on display today. Credit their newfound twin fas-cinations with the sculptural yet crisp shapes of 1960s couture and traditional men’s workwear for that. A green and blue brocade dress had a ballooning shape, and jackets, a highlight here, also came in boxy, away-from-the-body cuts.

Even as the duo’s interest in silhouette becomes better defined, what makes their work compelling is their obses-sion with fabric. Their fearless way of mixing color, pattern, and texture situates them as eager apprentices in the same school as Marni’s Consuelo Cas-tiglioni or maybe Miuccia Prada. Take the first jacket, which authoritatively combined humble ecru canvas with silvery python-print laméand lemon leather sleeve detailing, or consider the sweetly romantic evening separates like a tulle-covered hot pink jacquard bustier top with a double-skirted bot-tom in that same pink jacquard and a purple and yellow brocade. Many of the textiles demand up-close inspection: What looked like a red and blue tweed was made from micro-thin plastic, while brocades were woven with holographic stars that caught the runway lights.

Couture-quality fabrics like these will demand high prices. Still, for every shirtdress embellished with Swarovski crystals by their collaborator, the aptly named artist Kristina Sparks, there was something along the lines of a pair of hardworking wide-leg chambray trou-sers. Gabier and Peters have grasped that they can’t graduate from upstart to arrived without the commerce part of the art and commerce equation. All in all, this was a significant step forward for the Chicago double act.

Creatures of the Wind


En Mode: International

CR Fashion Book’s two debut covers.

When Roitfeld announced her split from CondéNast at the end of 2010, many speculated that it was a direct re-sult of a controversial collaboration she did with Tom Ford for the magazine’s December 2010 issue, which featured a lascivious editorial titled “Pussy West” and a spread starring 6-year-olds dressed in diamonds, lipstick, and satin. Roitfeld later admitted that higher-ups at the company almost “killed” her over that content, but wouldn’t elaborate on her reasons for leaving except to say, “it’s the time to do something else.” And indeed she is. CR Fashion Book experiments with format in a number of innovative ways. Instead of having a front-of-book section, for example, timely content like new beauty, home, or fashion products will all be put on her new website, which officially launched last week. (This is particularly interest-ing given Roitfeld’s anti-technology standpoint in years past —in a 2008 profile, she revealed that she didn’t know how to use a computer and didn’t even have one in her office.) The magazine will instead be wholly made up of more evergreen stories ranging from editorial spreads to written pieces to interviews by an eclectic mix of contributors, or, as Roitfeld calls them, “special guests.” It also has two covers so that you can flip over the issue and start reading from either side, with the pages switching direction in the middle.

A spread from inside the magazine.

Ad-page-wise, CR Fashion Book has been very successful so far, particularly considering Roitfeld’s done something unprecedented: The brands are ordered alphabetically, every ad is a full two-page spread. Roitfeld explained that after handling the tricky politics of ad space at Vogue, she wanted to simplify the process. “When you work ten years at a magazine, you know all the prob-lems. It’s very picky where advertising is in a magazine, so we decided, Okay, let’s do alphabetical.” But it won’t always be A to Z: “Maybe next issue we start with another letter,” she suggests. Miracu-lously, no brands complained about this arrangement. “I was surprised, but we had no problems,” she said.The 340-page debut issue contains a lot of big names. There are fashion stories by Lady Amanda Harlech and, of course, frequent Roitfeld collabora-tors Karl Lagerfeld and Tom Ford, the latter of whom also penned a fairy tale for the book. “When you talk about rebirth, it is a bit like a fairy tale, no?” explained Roitfeld. “So I asked Kirsten Dunst to write a fairy tale for us, too.” Photographers include Sebastian Faena, Bruce Weber, and Michael Avedon, the college-age grandson of Richard Avedon, who shot a couture story. “I wanted to open my magazine to differ-ent people. It’s not the same people that you usually see in all of the magazines,” Roitfeld told us.

Carine Roitfeld is constantly coming up with new “obsessions.” Her latest is espresso “on the rocks,” which she orders to her hotel room at the Mark on the Upper East Side. She takes hers black, poured over two cubes of ice nestled at the bottom of the glass; it looks more like a sexy cocktail than a humble bev-erage available on every street corner in New York. “It is so delicious,” she says in her thick French accent, as though she is describing a particularly furry stole or an extra-sharp stiletto. “Sometimes it makes me go like —” she flutters one hand, to simulate the jitters —“but I am obsessed!”Roitfeld’s obsessive tendencies provide the framework for her new magazine, CR Fashion Book, which hits news-stands on September 13. Each biannual issue will revolve around a particular theme that an ever-changing cast of contributors will interpret in their own ways; fittingly, the debut issue’s focus is “rebirth.” This topic has been at the forefront of Roitfeld’s mind in a very literal sense —she became a grandmother for the first time in May when her daughter, Julia Restoin-Roitfeld, gave birth to a baby girl, Romy. But the word is also loaded with significance, as CR will mark her first major solo act since her abrupt departure from French Vogue at the beginning of 2011. “It’s like a new baby for us,” she says, endearingly pronouncing the word like “behbee.”


Streetwear, a more casual alternative to menswear, fascinates me in a way no other trend-led topic does. Streetwear’s best feature is how it encourages personal style –there is, after all, no better style than one created by one’s self. Streetwear’s roots can be traced back to the 1960s here in Britain and as far as the West Coast of America in the 1980s, but these days it is still a relevant style in its own right.Streetwear has no pretences about what it is not, in fact that absence of something is exactly what it is. Shawn Stussy, considered the pioneer of streetwear for many, said in a 1992 in-terview with The New York Times, “Me and my friends don’t put much money into clothes. We don’t want to look like we’re trying too hard, you know, to be garish and trendy.”

Men’s Streetwear.

The focus of this article is the evolu-tion of a new type of streetwear. Some might even say a new type of mens-wear, as this is a style and ethos that is making waves across the oceans as it announces its arrival with a splash of foppishness, and a breeze of coolness.Streetwear is different to street style in the simple sense that street style repre-sents what style we see on the streets. Streetwear is not influenced by high fashion –its nature is an amalgama-tion of popular art, music and politics. For example, in the infamous 60s, the evolution of ‘Mod’, ‘Rocker’ and ‘Hippie’ were reactions to these components of society which developed all in one decade.

What Is Streetwear?

So what is streetwear and who came up with the term? Well you are not going to find a one-line dictionary definition if that is what you are expecting. There are those of the opinion that streetwear is simply a by-word for ‘one of the gang’, those who finally felt they could channel their inner fashionisto but away from the girly world of fashion, com-plete with a more macho label.Conversely, those who are a part of the streetwear culture dismiss such a notion and believe it was just a blanket term applied to an already existing ‘thing’. An attempt for society to classify in order to put themselves at ease –as the unknown is far more terrifying.

The Difference Between Streetwear & Menswear

With the term ‘streetwear’ being so hard to define, it is imperative to distinguish the differences between streetwear and menswear. Menswear, according to Jian DeLeon, “is driven by trends disguised as authenticity and classicism…its marketing disguised as realness”.

Here, DeLeon drives at a very real point that many catwalk shows are directed towards editorials and represent another form of art that is to be held in awe at their ethereal beauty. This ties into DeLeon’s first descriptive about trends lacking realism, as it has become public knowledge that a number of menswear fashion houses reuse each other’s patterns (and sometimes even designs) like crazy.

It would be a sweeping statement to say that menswear is becoming more and more predictable, but as the menswear game habitually looks to the past, it is the men on the street that could be the future of the industry.Now I am not belittling the international shows, as I look forward to them as much as the next sartorial gent, but I am referencing the almost ignorant influ-ence streetwear has at its disposal on men’s fashion. Its organic nature gives it the opportunity to flourish into a domi-nant power, not dissimilar to the control media has over menswear, but without the obvious restrictions.And that is the beauty of something so outside the usual spheres of influence: it is constantly exposed to introspec-tion. There is so much opinion visually apparent on the street; its restless nature means that it is constantly evolving but in a totally disordered manner that can only be controlled by ones personal style.This self-awareness keeps streetwear culture far more accessible than the grandeur and theatrics of menswear, and it is for this reason that many of us are fascinated with it. Its impulsive na-ture means that personal taste dictates one’s uniform, and we are eager to see what each other comes up with next.

Photographed by Antje Egbert


En Mode: Hommes


As the impressive and unprecedentedly successful 2012 Olympics ties its last rib-bon, a battle for gold took place behind the scenes. Stella McCartney, Ralph Lauren and Giorgio Armani show-cased their creations on a new type of catwalk. Just like the best professionals in sport, fashion too is always prepar-ing ahead of time with a goal in mind, but never before has sportswear been dissolved and revived in such a fusion of performance and style.Traditionally, and somewhat under-standably, sportswear is associated with leisure and a casual approach to dressing. However, this Olympics and last summer’s SS12 catwalks have made a conscious effort to reverse this preconceived and archaic assumption. In fact, Dirk Bikkemberg even presented his couture collection based wholly on sport outfits whilst other designers, such as Christopher Shannon and Calvin Klein, interlaced their collections with their own interpretations of luxury sportswear.


En Mode: Hommes


At the various global Fashion Weeks for AW12, designers such as DKNY, Acne and Woolrich Woolen Mills all featured baseball caps in their catwalk collec-tions. My absolute favourite show that featured the baseball cap as an anchor accessory was by Dior Homme in Paris. Kris Van Assche’s collection clearly had a strong military influence, complete with a tinge of streetwear and a nuance of sportswear –which is where the baseball caps played their role.

Alexander Wang was another sup-porter of the baseball cap and used it to give his collection a more casual look than at Dior. The influences for the col-lection were clearly from urban street culture and in fact, Wang’s lookbook model is a genuine skater who was cast from the street, which gives the collec-tion a touch of urban authenticity.The baseball caps presented came in colours of black, grey and camel, with several of the caps utilising dual fabrics in different tones, offering a stylish contrast. Paired with relaxed trousers, sports jackets and backpacks in sombre, dark colours and hard-wearing fabrics such as leather and neoprene

One other designer collection which deserves a mention is Lanvin. They took the premise of the baseball cap a step further by featuring a much more rounded shape –almost reminiscent of a jockey’s cap –that added an interest-ing twist on the traditional baseball cap silhouette.Lanvin also featured caps with embel-lishments, such as a faux fur effect on the cap’s peak, and rather than sticking to block colours, some of their caps featured use of pattern. I think the caps by Dior and Wang would have more of a mass appeal to the public, but credit to Lanvin for reinventing the typical baseball cap and giving it an artistic and eye-catching twist.


- How did you start as artist? What gave you that passion?

I have always been surrounded by art since I was a child. Books of artist, po-ems and an avid interest in architecture have been a part of my upbringing. But when do you really become an artist? Are you always one or is it when you professionally decide to take it as a career. For me personally, the process of creating and living my imagination has been my greatest challenge. I have followed my intuition with passion and not surrendered my identity in my toughest moment. I think this when you know you are an artist…..it is no mat-ter what the will to persist and create. The breathing force to any creation is passion. I cannot compute an existence without it.

FACT(for readers in Mauritius): For the first ten years of my life I painted like Malcolm de Chazal. My father intro-duced me to him and I remember as a family we used to sit together and paint like Chazal. I believe I owe my color sensibility to him.

- What are your preferred mate-rials and techniques?

My imaginative induced mind keeps me involved in varied art practices. I start-ed out as a fine-artist but soon started seeing my painting moving, melting and becoming the next canvas. The only logical direction for me was experimen-tal animation/filmmaking. In animation you create your own universe and this lead my interest into creating experi-ential environments. Since then I have ventured out and explored installation, community art projects and my recent exploration is art-technology. I believe a concept with the right medium reinforces the thought you are trying express. Each material you work with comes with their own set of challenges and learning. A single work of mine will display multiple techniques and material usage but the main thing is how you bring it into one cohesive dis-play. I have worked with a mélange of material such as ink, acrylic, oil paints, enamel, house plumbing, food (rice, dal etc), roots, clay, kites, threads, wires, ball bearings, pcb boards, sensors and others.

Your future projects?

The underlying theme for all my exploration is an avid interest in creat-ing spaces where the viewer is im-mersed in a sensory/narrative experi-ence. I want to create spaces that we can touch, feel and interact leading to-wards an intuitive level of understand-ing. My newest piece explores ecologi-cal awareness/sustainability through art & technology. eLEMenT: EARTH is a vision in a bottle which resonates with the idea of Biomimicry and uses tech-nology to explore a new relationship between nature- technology. The bottle plays sound that interacts or is powered with sunlight. I envision large-scale installation of my bottle in different cities of the world. I want to inspire the human race to think collectively and collaboratively in order to create waves of change in urban ecologies towards a sustainable future.

When will us be able to see one of your expositions in Mauri-

tius?

I would love to come and exhibit in Mauritius. When am I going to be invited.

EN MODE

portraitMauritians From Abroad

Cre

dit:

KA

RTIK

EY S

HIV

A


ELEMENT: EARTH

ELEMENT: EARTH (Details)

Installation @ Bombay Electric


Hermes Installationby Nandita Kumar


EN MODE

portraitMauritians From Abroad

- Where did you get the idea of Kreative?

Kreativite is a project that we had in mind 2 years ago. As a portrait pho-tographer, the best is to photograph interesting people and what is more interesting than to portray writers and poets, singers and musicians, painters and sculptors, dancers and choreog-raphers, in short, all people who are in the art field and cultural landscape of Mauritius. The spirit behind Kreativite is to capture the essence of these people and to immortalize them in the form of black and white portrait.Sham Jolimie, my partner has assited me for the concept and logistics of this project.Kreativite is a celebration of creativity. The project pays tribute to the Mau-ritian talents through elegant portraits. We hope that other Mauritians, espe-cially young ones will be inspired by these positive role models. Creative talent is an asset, not a distraction. Mauritius has a lot of talent of all ages and all cultures and so many different creative fields.

- Why Fashion Mauritian those?

As previously stated, Kreativite is a collection of photographic portraits of talented Mauritians and “fashion people” are people who have the creativity and strong personalitees.

I had the chance to photograph some of the major actors of the Mauritian fashion industry, namely fashion design-ers, jewelry designers, make up artists, models and photographers. Unfortunate-ly due to lack of time with my return to Malaysia, “Kreativite “ portrait col-lection is not complete but it is ongoing and I intend to complete this project when i come back.

- What is your view on the Mauritian Fashion Industry?

Mauritian Fashion Industry, I do not know if you can say Mauritian Fashion Industry. It actually works like waves. It comes and goes with the trend setters and others who follow. The country is teeming with talent whatsoever in fash-ion designing, photography, makeup and other fashion designers but I personally find that these skills are not sufficiently recognized in Mauritius.

Nothing is done to encourage people or to give them a background. If you are not courageous enough, you finish in a hole, so you have to reinvent oneself eternally.

It's an advantage of being Mauritian, we are exposed to Western and Eastern culture. It is an asset to showcase our creativity and I think for the time being a minority of the Mauritian Fashion World strikes, the names that come to my head are Annabelle Fleurie, I am always in amazed of the touch of minimalism in her designs. Sweetie Ramlagun is also an impressive figure, it really stands out and reflects her personality with style. Karen Pang, photographer with talent who has and always aims high and just to say that there is so much talent thats difficult to mention everyone in a paragraph.


- You translate your passion for art by photography, have you

tried other media or did you get it directly?

Basically I started drawing very young, I was rather pencil and pastel. The pas-sion for photography came a bit later. I was under the tutelage of Christyna Smith, painter and I must say that it was her who showed me the way. So here’s a big thanks.

My parents also always supports and encourages me in my passion and now I am finishing my last year in interior design. I think Interior Design and my passion for Photography complete me. Sham Jolie, my partner also plays a big role in my photographic career, she is the brain behind the photo projects. It is a beautiful mix, her concepts along with my technical background.

- What are your future projects?

Future project? There are plenty. I am already prepared for my last two months of studies and if everything goes well, I could start practicing interi-or design along with photography. I also planned to set up a photo exhibition for Kreativite and also for my surrealistic landscape photos. If all this get on, the year 2013 should be a great year.

- What is the place you prefer in the world?

The place that I prefer the world, wow, this is hard, I am an explorer and I’m al-ways up for a road trip. A new discov-ery and a trip, I had the chance to made was Egypt several years ago and I’ve promissed to return. Egypt is a fascinat-ing country, it still preserve a great au-thenticity. I always remember the sandy alleys, it is difficult to describe, but it is just amazing and most importantly, this country offers extra ordinary oppor-tunites for pictures. And moreover it’s hard to resist the call of Egypt.

Kitty Phillipsby Kreative

Gael Frogetby Kreative


Karen Pangby Kreative

Ravi Jetshanby Kreative


Sanjeet Boolellby Kreative

Sweetie Ramlagunby Kreative


Dark JewelsPhotographed by Ekaterina Belinskaya

Model - Tanya TitovaStyled by Olga Berg


EN MODEBeauty

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En Mode: Beauty


Carine Roitfeld for MAC Eyebrow pencil in Brunette

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Carine Roitfeld for MAC Studio Fix BoldBlack Lash

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Carine Roitfeld for MAC UnderFire Red Nail

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Carine Roitfeld for MAC Mineralize Concealer in

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Carine Roitfeld for MAC Tropical Mist Lipstick

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JewelsEn Mode: Beauty

There is nothing more admirable in this lower world than Precious Stones, feeling they are the stars of the earth, and Shine in competition with those of the firmament.

Nature produce nothing more rich and beautiful, laying them up and hiding them in her private Cabinets in the inner parts of the Earth, so that they are not safe to become by, but their value worth the searching for.

Even in antiquity as men gazed at the shapes of crystals, whose origins they could not begin to understand or explain, it is not surprising that it was thought that these fascinating formations held supernatural powers. Fantastic origins have been suggested over the years for stones.


Arts & crafts jewellery

Developing in the last years of the 19th century, the Arts and Crafts movement was based on a profound unease with the industri-alized world. Its jewelers rejected the machine-led factory system - by now the source of most afford-able pieces - and instead focused on handcrafting individual jewels. This process, they believed, would improve the soul of the workman as well as the end design.

Ancient world jewellery

Jewellery is a universal form of adornment. Jewellery made from shells, stone and bones survives from prehistoric times. It is likely that from an early date it was worn as a protection from the dangers of life or as a mark of status or rank.

In the ancient world the discovery of how to work metals was an important stage in the development of the art of jewellery. Over time, metalworking techniques became more sophisticated and decoration more intricate.

Gold, a rare and highly valued material was buried with the dead so as to accompany its owner into the afterlife. Much archaeological jewellery comes from tombs and hoards. Sometimes, as with the gold collars from Celtic Ireland which have been found folded in half, it appears people may have followed a ritual for the disposal of jewellery.

Arts and Crafts jewelers avoided large, faceted stones, relying instead on the natural beauty of cabochon gems. They replaced the repetition and regularity of mainstream settings with curving or figurative designs, often with a symbolic meaning.


En Mode: Beauty

Amrapali

During the time of Lord Buddha, lived a legendary courtesan. She is believed to be the most beautiful woman in the history of the world. She was called Amrapali.

In the 1970’s, two history students had a common vision. Deeply imbued by the rich heritage and culture of their country,they wanted to capture it in time through exquisite jewels and precious objects.

Rajesh Ajmera & Rajiv Arora, travelled extensively to the remotest interiors of India, in search of unique and magnificent pieces of jewellery, immersing themselves in the cultural delights, which contributes today to their vast expertise in the field.

In 1978, Amrapali was founded, which today is a renowned luxury jewellery brand. Amrapali collections are majestically infused with the finest in Indian culture, yet of the moment and relevant today, attracting royalty, tycoons, industrialists and celebrities world over.


Ravior

Ravior offers a whole range of creations based on evolving trends. These include unique creationsbased on client specifications, itemsproduced in limited quantity, jewels with a personal touch as well as works of art. Down memory lane, a spur of emotion, the eloquence of words…all represent precioussources of inspiration. Creations from Ravior are often unexpectedcombinations of precious materialsand non-precious materials like wood, stones and leather giving an exclusive touch beyond traditional jewellery. Over time, Ravior has consolidated its reputation, inland and abroad, through participationin several events and has obtainedrecognition for its work through numerous awards. Some of its creations are today exhibitedin galleries abroad.


En Mode: Beauty


The bustling energy from fashion weeks around the world has affected each one of us. Be it a wardrobe cleanse or a shopping expedition, everyone is inspired. But it’s not just about what we’re seeing on the runway.

The real magic happens away from both the catwalk and the harsh lights of the press pit, and is certainly one of the key assets in making the clothes (and models) look magnificent. Yes indeed, we’re bantering about backstage beauty.

The spring 2012 runway shows saw an avalanche of looks inspired from vari-ous eras, historic muses and street style looks. But adhering to Fashionising.com’s motto, we’ve filtered out the best of the trends for 2012 so you don’t have to go to the trouble of hunting through the hundred-gazillion styles.

When you attach your name to a global cosmetic brand, you’re expected to be eccentrically passionate about your job. And Napoleon Perdis certainly doesn’t disappoint with his zealous commentary and tongue-in-cheek humour.

This man is a live wire when it comes to make-up trends. For someone who shuffles between Los Angeles and Sydney faster than a dubstep dancer, Napoleon is well established as a can-didate to interpret runway looks into achievable everyday trends that possess the longevity factor.

However, we come bearing good news. You don’t have to wait for many of 2012’s months to have passed until you can dust your face with a fresh touch of spring, because Napoleon has short-listed the top spring 2012 beauty trends that can be worn right now. What’s better than having bite-sized happiness of next year well before it arrives?

Tips from Napoleon Perdis:

Sweep bronzer under the jaw line from the ear to the chin, it has a slimming effect and will make the face look more angular.Make a fish-face and apply the bronzer under the cheekbones. Always stroke in an inward motion –from the ear towards the center of the face.To perfect the sun-kissed guise, dab cream blush on the apples of your cheeks and take it out all the way till your ears. Always smile when apply-ing blush and work in circular, dabby motion.Add some highlighter powder on the top of your cheeks to create a halo effect.

Bare eyed mascara

Ditch every other eye tool in your make-up drawer, as to master this trend, all you need is an eyelash curler and mascara. This 60s-Twiggy-inspired, bare-eyed mascara look has taken the celebrity-filled red carpet by its horns and it’s only fair that you include that in your daily ritual too. This trend is all about the lashes, but the secret is to keep them natural; let the eyeliner or eye shadow go on a much-deserved break.

Matte complexion

These foolproof trends have a lifeline of over 12 months so, without further ado, it’s time to beautify. The irony of this trend is that to create a timeless look, you need to step away from the trends. This balanced-out skin tone is an inspiration from the 80s and 90s, where a shiny or glossy face was nowhere to be seen. Napoleon suggests opting for muted colours, be it for eye shadow or nail lacquer.


First rule is to always apply primer. You want your skin to be as close to perfect as it can get before applying foundation.When picking foundation, go for a powder-based variety.Steer clear of applying illuminator or highlighter in your t-zone.Leave your forehead bare, as the foundation isn’t a mask. Apply it only in the center of your face and then blend outward for a natural look.

Contoured cheeks

During damp wintery days, a minimal-ist beauty look is usually the fastest way to look crowd-friendly. The secret be-hind this no-makeup drama is inspired by spring’s take on a sun-kissed look. Napoleon’s secret –“The wonder of con-touring is complexion perfection at its best!” He says nude and muted tones are coming back for spring 2012, but that’ll also work for fall due to its versatility.

“A high cheek bone with a kiss of peachy pink blush is an epitome of Hollywood glamour. And why wouldn’t you want to look like you’ve just got dressed for the red carpet?” he says.

En Mode: Beauty


6 Spring ’12 Makeup trends you can wear right now

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Always apply mascara first, even before foundation. It opens up the eyes and creates a road map for your face. You might find that you don’t need as much makeup as you thought you did, post-application.Curl your lashes and whack on an eyelash primer to create a base.Avoid lumps by brushing lashes with a lash comb after wriggling on the mascara.Beef up the fringing on the corner of the lashes with some individual false eyelashes.Black and dark browns are colour picks for fall.

Metallic colours

To update your look from summer to fall, include accents of warmer hues in your everyday make-up routine. If plums, violets and olive scare you, then opt for metallic shades. A little dust of silver under the eye or a sparkly topcoat of nail lacquer will not make you look like a teenager. Napoleon suggests, “Don’t be scared to add sparkle during the day. If it makes you feel on-trend and fashionable, brave against the boring and dull crowd on the street”.


Use loose sparkle powder for fall, as opposed to creamy-based gels. They tend to stick-on and create high shine.Two spots for metallic sparkle for the eyes –under the eye and on inner and outer corner.Metallic nail polish is a subtle way of approaching this trend. You can stick with a natural flawless face, but make a statement with the nails. A smoky eye is always a winner, be it any season. Opt for metallic eyeshadow shades of charcoal and grey to fit the trend.

Brows are bold but feminine

Not sleeky thin or roughly thick, for the next couple of seasons, brows are strict but groomed. This involves a lot of filling, perhaps even growing them out to get optimum results for next year. For now, stay clear from pointed or bushy looks. Napoleon takes runway inspiration for this season from Oscar de la Renta and Donna Karan for this trend.


Observe the directions towards which the hair is growing. When filling the brows, follow the path and colour in that direction.A brow pencil always needs to be a shade or two lighter than the hair colour.Keep it sophisticated but strong. Brows are the map of the face, let them make a statement.

Nude vs classic red

This cold war between nude and red lips is a never-ending saga. The bright stained lips have had enough publicity, and Napoleon says this fall, the pout needs a warm nude shade. “Pop of colour on a dreary winter day is classic, but we can change things around. Everyone will be making a statement with their eyes while toning down the lips,” says Napoleon. But if you’re a bold lip enthusiast, then read over our spring lipstick colours guide.

Steps by Napoleon Perdis:

Dab the lips with a cream-based concealer. Stay on the outer edges to form an outline around the lip.To pick a shade best suited for your skin tone, compare the colour of the nude lipstick to the inside of your lips. The lipstick should be one or tones darker.Use a lip brush to paint the lips, starting from the centre.To finish off, dab some loose powder over the lips for extra effect.If all else fails, simply pick a nude gloss. It’ll conceal the natural pinkish hues of the skin.

En Mode: Beauty


september issue 8 en mode

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