“Dark Shadows” BUST Magazine Oct./Nov. ’07 Issue

This shoot was inspired by “Dark Shadows”, (http://en.wikipedia.org/wiki/Dark_Shadows)
a gothic soap opera and cult classic in the 1960s based on romance novels.

Lead character Victoria Winters takes on a position a governess at an estate, unbeknown to her that its haunted by Barnabas Collins, a lovelorn vampire devastated with an untimely fate met by his true love long ago.














In the first and second shots of the BUST photo shoot, “Dark Shadows”, the character of Angelique Bouchard waits in a cemetery, distinctly aware of some unknown presence in her midst. Angelique and a character based on that of Barnabas Collins pose by a window in the following shot.

The fourth shot shows Victoria Winters wandering the halls of an antiquated estate. After that, Angelique Bouchard and Victoria Winters are posed with gothic romance novels from the 1960s. In the sixth shot, the character based on Angelique descends a staircase.
















The seventh and eighth pages of the shoot insinuate a love affair between that of Barnabas Collins and Victoria Winters.

The inspiration for the “Dark Shadows” shoot was based on the premise of the gothic soap opera, incorporating ‘60s mod, dark make-up and bright colors. I think this shoot was successful in inspiring a notion of camp or fantasy
and that its publication’s readership would find appealing. As far as everyday wear, the retro vintage pieces mixed in with the designer styles strike an eclectic chord.



BIOS
PHOTOGRAPHY: Danielle St. Laurent http://www.daniellestlaurent.com/
STYLING: Jennilee
MAKEUP: Candice Forness http://www.candiceforness.com/
HAIR: Vassilis Kokkinidis

Note: I’m assuming that it was shot at this location from the listing on the first photo:
ArtWing NY
http://www.artwingny.com
611 Broadway, Suite 718, NYC, NY 10012
info@artwingny.com
t : 212 / 655 5779 f : 646 / 485 7271

DESIGNERS
Hayden-Harnett http://www.haydenharnett.com/
Dominique Cohen for Target http://www.notcot.com/archives/2007/09/dominique_cohen.php
Urban Outfitters
Isaac Mizrahi for Target
H & M
John Fluevog www.fluevog.com
Naughty Secretary Club http://www.naughtysecretaryclub.com/shop/
Screaming Mimi’s http://www.screamingmimis.com
Sparkle and Fade
Bronx Bison www.bronx-diba.com
Arms and Armory www.armsandarmory.com
MarieMarie www.shopbebop.com
Vintage brooch, stylist’s own
Hue

Holly Brubach column in NYT Style Mag. on Warhol

http://www.nytimes.com/indexes/2007/12/02/style/t/index.html#totalPages=8&pagewanted=0&pageName=02brubach&

Suzy Menkes's column in the 2007 NYT Style Mag.

http://www.nytimes.com/indexes/2007/12/02/style/t/index.html#totalPages=5&pagewanted=0&pageName=02menkes&

Fashion Writer Bios

Suzy Menkes
Fashion Editor, International Herald Tribune

As a fashion journalist, Suzy Menkes interweaves topics such as culture, arts, business and economics with the same keen observation in which she reviews fashion shows.

Menkes was born on December 24, 1943 in Britain. As a teenager, she studied dressmaking in Paris and her first couture show, Nina Ricci, turned her interests towards high fashion. Upon her return from Paris, she attended Cambridge University, studying history and English literature. Subsequently, she attained a position as a fashion reporter for the International Herald Tribune and since then, currently been a Fashion Editor. In addition to her journalism, she has written several books, particularly on British royal style.

Among Menkes's trademarks is her signature pompadour, which has inspired others to call her "Samurai Suzy". She lives in Paris and widowed with three sons, holding the Legion d'Honneur in France and a British OBE.

In a quote attributed by the International Herald Tribune:

"Suzy Menkes, the fashion editor of the International Herald Tribune, has been named an officer of the Order of the British Empire for her services to journalism. In January, Menkes was named a chevalier of the Legion of Honor by President Jacques Chirac of France…"

As a Fashion Editor at the Tribune, Menkes has covered every set of collections, attending some six hundred shows a year.

According to an excerpt of a past profile by writer John Seabrook, as a fashion writer, Menkes says, she lives "for those moments when there is a sense that nothing after this show will ever be the same".

Information attributed by:
Wikipedia
http://en.wikipedia.org/wiki/Suzy_Menkes

John Seabrook
http://www.booknoise.net/johnseabrook/stories/design/menkes/index.html

Also:
Here’s a link to another recent profile and some video interviews by Suzy Menkes for the IHT on a recent global conference:
http://www.iht.com/articles/2007/11/20/properties/web-1120-luxsuzy.php

Holly Brubach
Brubach grew up in the 1960s outside of Pittsburgh, PA. Brubach began her career as a dancer, switching to writing after she was sidelined by an injury. Her first job was at Vogue, writing fashion blurbs and, eventually, profiles of opera singers and artists. From there, she moved on as a Staff Writer at the Atlantic Monthly and the New Yorker, as a well as a Style Editor for The New York Times, covering fashion, architecture and design.

In 1998 Brubach assumed the role as director of development in regards to Prada’s home and sports collections. Two years later, she formed StudioHollyBrubac, a consulting firm, advising the Ford Motor Company, Banana Republic, Nike Europe, YOOX, and other companies on various aspects of brand identity. Since 2003, Brubach has served as Creative Director for Birks, a Canadian jeweler, a post from which she recently resigned without announcing future plans. She has also written for television, including the documentary “Balanchine” and contributed book reviews to The New York Times Book Review and articles to Vanity Fair.

She has also written "A Dedicated Follower of Fashion,” a collection of her writings from the 1980s and 1990s, taking on subjects like feminism and fashion. "Choura: The Memoirs of Alexandra Danilova," was her profile of the famous Russian ballerina, and "Girlfriend: Men, Women, and Drag," an examination of cross-dressing.

According to a past profile on salon.com, Brubach said, "Fashion is one of the means by which we dream collectively," she writes in her collection of essays, "A Dedicated Follower of Fashion."

Information sourced from:
The National Post
http://www.nationalpost.com/life/story.html?id=110113

salon.com
http://www.salon.com/people/feature/1999/11/11/brubach

Fashion History/Designer

DESIGNER/SPRING COLLECTION – Luella Bartley

I like Luella Bartley’s 2008 Spring Ready-to-Wear collection because of its relaxed yet vibrant sensibility in both simplicity and streetwear. The inspiration for her show this season was Thora Birch in indie art house film Ghost World. Bartley’s unabashed intellectual is clearly at the head of the class in “geek chic” this season, with Liberty-style floral prints, a Batwoman cape, military epaulets, and the handbag accessories for which she’s especially known, including a navy patent tote.

Bartley often incorporates American Western, rock n’ roll, and English street motifs into her collections, the likes of which include short plaid trenches, pink cowboy boots, and quilted bags charmed with guns and records. In previous collections, her street-chic style has alternated with a preppy sophistication evident in elegant touches reminiscent of Chanel, like triple-strand pearls and full-leg, slouching trousers in country club neutrals. Regardless, Bartley's eclectic combinations aren't as unique without shades of the occasional avant-garde jumper, geometric printed miniskirt, or black-and-white alphabet suit.

A contemporary of designers Matthew Williamson and Stella McCartney, Bartley’s inspiration is influenced by her English upbringing, notably the British music scene and private school prep. After having lived in New York for six years, Bartley moved back to England for her first show on native turf, coinciding with the opening of a London store.






FASHION HISTORY/FASHION ICON

Avant-Garde Clothing: the Russian Constructivists and the Italian Futurists
Icons of Fashion: The 20th Century, Gertrude Bauxbaum

Retro elements and symbols of prewar fashion were an aspect of an era in fashion from 1915-1921 known for crinolines and masculine clothing: Chanel’s appearance amongst the fashion elite with sporty, unisex jersey dresses, tweed, and faux jewelry, as well as of course, Chanel No. 5; Avant-Garde clothing; and Erte, a designer and illustrator known for his Art Deco style, influencing Harper’s Bazaar and costume for a 1913 stage performances by Mati Hari.

Prior to World War I and during the 1920s, Avant-Garde artists, Russian Constructivists and Italian Futurists, attempted to bridge the gap between art and life in abstaining from the division between fine and applied arts.

Filippo Tommaso Marinetti (1876-1944) was the impetus for an European avant-garde with his Futurist manifesto of 1909. In reinventing clothing, Italian Futurists dressed as though for a theatrical performance. Giacoma Balla (1871-1958)’s 1914 manifesto Il Vestito antineutrale (Anti-Neutral Clothing) advocated simple, practical and reusable clothing, which exhibited asymmetrical cuts, bright “muscular” colors, and shirts made out of metal.

In 1919, Futurist Ernesto Michahelles (1893-1959), or Thayaht, developed a unisex “uniform garment” similar to overalls. Comfortable and inexpensive, it consisted of a one-or two-piece T-shaped suit that he called a tuta (jumper). Counter-designs to the Futurists were developed in the 1920s by Russian artists Varvara Stepanova (1894-1958), Alexander Rodchenko (1891-1954) and Vladimir Tatlin (1885-1953).

In 1925, the Italian artists encountered avant-garde movements from other European countries at the Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris, the Russian Constructivists and Suprematists accompanying them with their textile creations.