A R T ISSUE

P O P

A Z E A L I A B A N K S

Editor In ChiefAlexander Ermolin

Deputy EditorMaria Leonenko

Graphic DesignerAnastasia Trenina

Publisher Karolin Kabakuala

info@tossmag.comAll contents © Toss Magazine

tossmag.com

issue #1

18+

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T H EB R AV E

PhotoGr aPhy SAShA SAMSonovA StylInG KiriLL AKiMovMakE-UP & haIr TiMA LEo

Model Sansa at Point ManagementSpecial thanks to naked StudioDress Philipp Plein

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Earrings and star bracelet rodrigo otazu \ Coat Boss Green top Anastasia Zadorina \ necklace as bracelet Akira

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# 1 Earrings and star bracelet rodrigo new York

Dress ESCADA \ Clutch Marciano Guess

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necklace Kenneth Jay Lane \ Shirt ESCADA Bracelet rodrigo otazu

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Coat hugo Boss \ Earrings otazu

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# 1 Dress von vonni \ ring AUrÉLiE BiDErMAnn

Shoes Stuart Weitzman

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Earrings and metal bracelet rodrigo otazu \ Vest Alexander Wang Skirt Joseph \ Heel shoe and leather Manolo Blahnik \ Boot Stuart Weitzman

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Art Pop

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PoplEt'S IMaGInE rIhanna walkInG a rUnway CovErED wIth FrEnCh FrIES. lEt'S alSo aSSUME that ShE IS wEarInG a rICCarDo tISCI'S haUtE CoUtUrE CrEatIon For GIvEnChy, EMBroIDErED wIth thE FEathErS oF ExotIC BIrDS. hEr FUll lIPS ShInE wIth SCarlEt GloSS, FInGErS Cov-ErED wIth BarBaDoS tan EnD In ExtravaGant naIl art DEPICtInG SPonGEBoB FIGhtInG wIth JESUS. "wE'rE BEaUtIFUl lIkE DIaMonDS In thE Sky, wE ShInE BrIGht lIkE a DIaMonD, wE ShInE BrIGht lIkE a DIaMonD...", ShE'S SInGInG. wEll, thIS IS FaShIon, anD thIS IS Cool.

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it hasn't been long since fashion was the privilege of white aristocrats. in about a century the world has turned upside down, dust seems to have settled, and not a single piece of clothes remained, which Zara for

some reason didn't copy from Chanel. But as soon as women all over the world from Zim-babwe to reykjavik dressed up in fashionable outfits that they desired, something strange happened in the fashion-capitals. Critics, de-signers, buyers, bloggers and owners of Fash-ion houses clashed in a fight which they actu-ally started and which obviously brought them huge moral satisfaction. Why did this happen and what are they fighting for? The questions almost worth Shakespearean novels. in a very short period of time, fashion design reached such a high level that it began to compete with museum art, which drives the artists crazy.

This period also witnessed the growth of pop-ular magazines' circulation and internet boom, which rapidly increased previous unique cre-ations of couturiers into millions of copies, and this enrages the designers. Such dissonance between “low” and “high” broke the fashion world into two global camps where everyone has something to say about the fashion-indus-try and its place in the modern society. The art or craft? Exclusive or mass-market? The jour-nalist or the blogger? — looks as if the fashion Mephistopheles drove us into the corner and demands that we decide, whether he is an angel or a demon. My acquaintance calls this "a syndrome of search of deep sense", and in some way he is right. Because, let's be serious,

all this whoop-de-do is about dresses, shoes and skirts. But we live in a very conscious era when even a toilet paper in your bathroom can become a political statement. So may-be we should try to understand who is being “cooked” in this fashionable “pan” and why? Long time ago fashion helped to define, what social class the person belongs to, how friv-olously he or she behaves and what plans do they have for the future. Therefore the art of dressing up was considered a concept of court etiquette and one couldn't afford to make a mistake. And even after the head of Louis Xvi rolled off of an executioner's block, and two world wars were over, nothing changed too radically. Even “Those-Who-Must-not-Be-named” — Coco Chanel, Christian Dior, Yves Saint Laurent and others — never worried much about what the girls who didn’t have money to buy their dresses would wear. A very elite group of buyers, clients and editors were invited to their shows, the clothes were sold by piece, and others somehow had to manage with the off-the-rack clothing or cheap knock-offs.

Anna Wintour once said in the well-known "September issue" that fashion for some rea-son makes people nervous. it is true now, but back then, some 70-80 years ago, there were less reasons for nervous breakdowns. haute couture was for high social class. if people got angry about Christian Dior spending 70 me-ters of silk for one evening dress in the severe post-war years, it wasn't at at all because they couldn’t afford to buy it. it was simply consid

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ered to be inappropriate, even impudent. And as for the dress, well, where can one wear it if she is a rare visitor of social events? Balenciaga suits were completely associated with a way of life of those women who could afford to buy them. And everything in the world was fine

Till sixties. “Grease” housewives in checkered "new looks" and prudish English gentlemen and the bourgeoisie in their mahogany offic-es somehow felt that they had problems. The post-war baby-boomer had done its part - lit-tle boys and girls grew up, and it turned out that there were too many of them. These chil-dren didn't want to live the way their parents did. They wanted to dance to rock'n'roll with skirts flying high above the head, listen to Elvis and wear their hair like his hair. They wanted to break rigid social boundaries, which they considered to be a survival of times past and to make the whole world merge into the ocean of friendliness. Then, hippies appeared and the 60’s changed everything again. People made love and took acid and it became something more than just quarrels with parents. Armies of young, free and empowered arranged pub-lic protest, wore wide trousers with a fringe, drew peace signs on their jackets, protested against the war in vietnam and listened to Serge Gainsbourg. oh, what times these were! it seems as if the whole planet danced at one huge party with a very special dress code. Forget about women in Chanel trousers, who were not allowed to enter good restaurants in the forties. The youths' experiments were far more radical. Jane Birkin in a transparent dress showing her naked body certainly confirmed that. And although Fashion houses tried hard not to fall behind, it was no longer them who set the fashion rules. At least, not only them any longer.

But according to the saying – as the days grow longer, the storms are stronger. While Andy Warhol drew his soup cans in new York, in Wash-ington the fair-haired kid Kurt Cobain was born. These two guys turned fashion in such a way that dear old Chanel would have definitely had her hair stand on end. one drew dubious pictures which were sold for hun-dreds thousands of dollars. The other, dressed up like the tipsy street tramp, led a million strong army of fans in black Converse and plaid shirts. But the essence was that former unique phenomena — fashion and art — now belonged to anyone and anything, except for the Fash-ion houses and museums. in the times when people wanted love, free-dom, fun and maybe a little sense of destruction, everything traditional seemed to be too boring. And let the top models dance in Studio 54 in beautiful YSL outfits. Why would a huge crowds of young people with absolutely different interests and ideals care about that? it was then when the iron Lady with a blunt bob appeared. in 1988 Anna Wintour puts a picture of a girl in cheap jeans and Christian Lacroix sweater on the vogue cover. it was strange that the sky didn't fall. Clothes of poor working class on the cover of the Fashion Bible - shocking, scandalous. in essence, a shot heard round the world. But in the case of American vogue this step was justified.

now people became nervous. it is, of course, nice to have a narrow group of rather rich clients. But just imagine, what profit can thousands of customers afford compared to a few hundred. And if there are a hun-dred thousand, one million, or tens of millions of them? The thought of such figures was indeed mind blowing to enterprising businessmen. For the first time in corridors of big Fashion houses the expression "pret-a-porter" ("ready-to-wear") appeared. Even haute couture designers had to produce those off-the-rack clothing which for a long time was con-sidered to be ignoble. it was the time requirement, a fashionable trend at the end of the century, and it was absolutely clear that fashion itself can't be out of fashion. Designers had to obey and were not very pleased with the whole situation. Starting with Paul Poiret, those who dressed the aristocracy turned from service staff into artists. Since the begin-ning of the twentieth century, clothing wasn't a way to join royal society any more, it had an idea and a story behind it, and a fashion designer became a story-teller. Coco Chanel didn't ask the clients, whether they want to wear black dresses, she simply caught the time spirit and put the whole world “in mourning”. Christian Dior didn't seek to make con-venient clothes, he sang and women liked it. For long centuries fashion designers were simple handicrafts men. They tried to satisfy their cli-ents, and now these clients had to match the designers, which the latter absolutely enjoyed. But suddenly it turns out that they must create four collections per year, two of which will be produced in industrial-scale volumes and sold in department stores. it was almost insulting. Yves Saint Laurent failed to make up his mind to this - in 1998 he decided to stick to haute couture. how could the couturier who transferred Mon-driaan's works to his dresses sew for thousands of people unfamiliar to him?

EvEryonE is too tirEd of bEing sEri -ous and wEaring complicatEd out-fits crEatEd by l aborious hands in thE cEntEr of paris

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it didn't stop at four collections: there were pre-collections, cruise collections and count-less others. Designers now have to fight against such huge opponents as Zara and h&M. it is even awkward to speak about art in fashion today. McQueen did create things which can hardly be called "clothes", but he committed suicide in his own cloakroom. he couldn't bear this because he tried to fight the time stream. The same stream washed away John Galliano who followed his own way when customers needed ideological haute couture fast food. no one needs beautiful things in which a couturier speaks for you. People want to speak for themselves. And it is much easier for them to put on ten Topshop rags with rough Prada boots thus creating their own message, than to put on one Galliano hoop-skirt that speaks louder than needed.

Everyone is too tired of being serious and wear-ing complicated outfits created by laborious hands in the center of Paris. Look at Moschino runway shows — there is a chips-woman (lit-erally) instead of a beautiful flower-girl. Chris-tian Dior changed the creative director and now raf Simons makes clothes for Japanese cyborgs who read about new look in Wikipe-dia, under the name of the most feminine Fash-ion house. Chanel shows collections in a huge supermarket among the cans of peas and that gorgeous YSL became simple Saint Laurent. What is now sold for big money, many peo-ple call "haute couture Topshop". Well, there is nothing offensive in that. The best thing to make now is to mask Balmain jeans shorts for Zara shorts because Lana Del ray will definite-ly put them on, and it is a much cooler adver-tising than a tuxedo on the duchess of Monaco. At least because Lana has a bigger audience. now she is art, and Mozart could be printed on the undershirts from Marc Jacobs.

now the income of h&M outweighs the total income of the whole LvMh group of compa-nies which include Louis vuitton, Marc Jacobs, Celine, Fendi, Givenchy and others. People “buy the right to choose” instead of a ready “statement”. That's why if you want to pro-duce clothes about art, make sweatshirts with Gustav Klimt's pictures prints. Then the public will decide how to wear them. Miuccia Prada is, perhaps, the only commercially successful exception. Miuccia-artist shines through ar-chitectural designs of shoes. one can see her essence in socially up-to-date presentation, in search of new materials and faultless esthetic taste. her shoes look cool even with a cheap

polyester skirt and her dresses are so cute and funny that people want to wear them despite anything. Maybe this is because she doesn't praise her dresses and shoes too much?

Certainly, there is successful Maison Martin Margiella and Takashi Murakami's super-suc-cessful collaboration with Louis vuitton. no-body says that faceless mass-market is our new “God”. But we don't want to tolerate dic-tatorship of any kind anymore, neither politi-cal, nor fashionable. And we will also drop the sacramental question - should fashion be fast or slow? Because fashion has to be like sex – it's better when there is a combination.

Pajamas Juicy Couture \ Sandals Stuart Weitzman

H O M ES W E E TH O M E

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Headdress KUTE \ Dress Prtrendtights Topshop

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EnErgEtic , advEnturous and yEt swEEt and naivE, azEalia Banks is onE of thE most promising hip-hop stars . azEalia makEs pEoplE wow, But not only with thE tunE of hEr songs . shE r aps in “hEllo kit-ty” hairBrush in thE harlEm shakE rEmix music vid-Eo, activEly “at tacks” potEntial compEtitors and BusinEss rivals on twit tEr , and airily distEnds a pink condom on a dazEd & confusEd magazinE covEr . for hEr , imagE is EvEry thing and shE has a stylE to match. thE rElationship BEtwEEn thE r ap star and thE fashion world is on thE agEnda .

Q U E E N O F

PhotoGr aPhy nATALi ArEFiEvA tExt iAnA PoDoSiELniKtr anSlatIon MAriA LEonEnKo ProDUCtIon MonSTArS oF CrEATivESPECIal thankS to MArTini ArT LovE

H A RL E M

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AzEALiA'S STyLE,

NO MATTER HOW

SpARkLy iT iS,

iS ESTABLiSHEd

ANd REcOgNizEd

By MiLLiONS OF

AdMiRERS

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Hip-Hop princess and fasHion life

in one of her interviews Banks admitted that fashion is not her passion but nev-ertheless, the diva does attend many fashion shows. in fact, she goes as far as to criticize the outfits. one may remember those snide remarks towards the so called “Black Mamas” prints in the Dolce & Gabbana collection. obscenities, boycott, accusations of racism — these all show the singer's straightforwardness and ad-herence to her own principles. however, Azealia does not only write harsh things on twitter; she also works for the good of the fashion industry. once Alexander Wang invited her to become the face of the youth line T by Alexander Wang, and Karl Lagerfeld — to sing at the closed party. Lady Gaga's ex-stylist nicola Formichetti, holding the post of creative director of the Fashion house of MUGLEr, invited Banks to participate in a men's fashion show of Thierry Mugler, and the show was accompanied by Azealia's track called "Bambi". By the way, young rap singer's favorite designer is Tom Ford.

MaKe Up foreVer

Azealia is the embodiment of boundless epatage — go, undress her, and she will remain herself. The most important thing for her is ideal “tuning” — the appear-ance has to be faultless. The manicure of the hip-hop princess is far from classic: Azealia favors acrylic nails, nail polishes of acid colors, and crystals. And why not?

A Z E A L I AShe is young and beautiful. The brighter the make-up is, the better: Azealia loves lipstick of deep shades of red and plum and of course black. The well-known cosmetic brand M.A.C supported the rapper's preferences and produced the lipstick of a shade of rich plum called “Yung rapunxel”. Azealia's curls are gor-geous, but not only by nature: the star keeps dying them over and over again. She either falls into acid-pink madness, or gets sea sick and turns into the beautiful mermaid with blue-green locks.

froM pioneer of genre to style icons

A hooligan in a sweatshirt, a sexy thing in a gem-incrusted bra or a woman of fashion in a cocktail dress — the queen of harlem is always different, but defi-nitely original. The main element of the rap singer's clothes is a short top. Sex-uality is the weapon, and in case of Azealia, her shots always reach their target. Mini-shorts with high waistline, massive jewellery and sometimes fur, footwear on a platform and headdresses, most commonly caps and hats perfectly com-plete the singer's image.

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A Z E A L I A

Banks doesn't see a big difference between designer clothes and modest purchases from online stores — the main thing is whether she likes it or not. Azealia's style, no matter how sparkly it is, is established and recognized by millions of admirers. While the media, although not yet very confidently, calls the young per-former a style icon, she thinks that her image is only a reflection of how she sees the world. The star thinks that people most of all like her character. And even if it is so, we know that it is the character that determines success. And our honored pioneer of genre Azealia Banks is undoubtedly successful.

azEalia is thE EmbodimEnt of boundlEss EpatagE — go, undrEss hEr , and shE will rEmain hErsElf

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Silver leather dress Dsquared2necklace Lanvin \ woolen coat with metal detail Givenchy

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Dress Lanvin leather Bracelet Celine

white shirt Stylist’s own Black shiny faux leather top Celine

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PhotoGr aPhy nATALi DoStylInG MAShA rohD MakE-UP & haIr ZhEnYA BAZhEnovA MoDEl vAiorA CoB AT PoinT MAnAGMEnTSPECIal thankS To FrAME SPACE STUDio & FEELoSoPhY

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