Issue 2: Blanc

63
ADONE MAGAZINE

description

Winter Whites dominate this issue featuring the Ice Mermaids and White Goth fashion editorials, designer spotlight on Yvonne Lin and much more.

Transcript of Issue 2: Blanc

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ADoNEMAGAZINE

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ADoNEMAGAZINE

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Table of Contents

Blanc Babies 8

Serene Dreams 14

Still White 24

Exploring the White Cube Ideology 30

White Winter Sweater 34

Designer Spotlight: Yvonne Lin 38

Ice Mermaids 44

White Goth 54

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photo by Cléo Sallis

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MastheadCurator

Fashion Editor

Designer

Gilda Furgiuele

Bianca Wahab

Sean Rioux

Contributors

Cléo SallisDee Dee ButtersFrances Ireson

Kirsten BarkvedRebecca Perrone

Tina PicardKatharina Ullrich

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Editor’s Note

The beauty and fun of our second issue . . . Blanc! After releasing Futura and getting amazing feedback and a mini following, we could not wait to begin the second issue you have before you now themed, Blanc. The opportunity to create a new, bigger, better, and more beautiful issue will never cease to fulfill us. It goes hand in hand with our name, ADONE (Italian for Adonis), and creating the most beautiful magazine we can, in the most unique way of course.

This month, in classic ADONE style, we aimed to give you more with Blanc, in as many ways as we could push the theme. We wanted to transcend what ‘blanc’ normally represents, or how it would normally be interpreted as a theme. From art to fashion to giving contributors some ‘carte blanche’, we have played around with what blanc or white can evoke and have given it a new representation. What it means to us.

To everyone who takes time to look at ADONE, we thank you greatly. Being able to create something purely from creativity and a love for what we do, and have people enjoy it, means the world to us. Every issue is carte blanche for us, but to be able to give other artists that op-portunity in our magazine was such a reward.

Until the next issue.

xox

Bianca & GildaADONE Magazine

Photo by Cléo Sallis

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Blanc Babies

Photographed by Lindsay RalphStyling by Gilda FurgiueleModels Xavia and Martina of Angie’s Models and Talent

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Sheer finishes and an ethereal glow, accented with the latest fashion accessories

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Serene DreamsPhotographed by Cléo Sallis

Styled by Julia Lurie

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A focus on white landscape and scene as an integrated fashion accessory

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www.iamrina.de

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Still WhitePhotographic series by Katharina Ullrich

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Based on the original still life painting, overloaded tables with fruit, jewelry and dead animals - Ullrich dealt with the question of how a still life in the 21st century might look like.

Minimalist instead of overload, fast food instead of hunting. Reduced to essentials, form defines the picture.

This series embodies the change of time.

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Photo by Rain Ashford

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Exploring the White Cube Ideologyby Rebecca Perrone

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“The history of modernism is intimately framed by [the gallery] space; or rather the history of modern art can be correlated with changes in that space and in the way we see it. We have now reached a point where we see not the art but the space first. (...) An image comes to mind of a white, ideal space that, more than any single picture, may be the archetypal image of twentieth century art; it clarifies itself through a process of historical inevitability usually attached to the art it contains.

- Brian O’Doherty (1976) Inside the White Cube

When does an artist’s creation become a work of art, and where? Does it occur in the confines of an artist’s studio, or does it require the context of an art gallery’s white cube? These are some of the question Brian O’Doherty sought to answer in his 1970’s essay Inside the White Cube.

Much has changed in the art world since Brian O’Doherty’s essay Inside the White Cube in Art Forum in 1976. Since then, artists have gone beyond the conventions of displaying their work in a gallery, and have instead, explored alternatives such as landscape, and site-specific art. Nonethe-less, to art critics and historians, O’Doherty’s efforts still resonate as a turning point in art history; a means by which to understand how the “white cube” gallery convention has since redefined the meaning of a work of art. As an artist, theorist, and critic nestled within the era of 1970’s post-min-imalism and conceptual art, O’Doherty’s essays can now be seen as a cornerstone connecting two points in art history. His ideas can be understood as a bridge from modernism to contemporary institutional critique. The white cube was, and still is, the conventional means by which to display a work of art. Mod-ernism has taught us that an artist’s production becomes art once it is placed in a gallery. Take, for example, Marcel Duchamp’s Fountain of 1917, a readymade porcelain urinal which was placed up-side-down on a pedestal. While it sparked tremendous outrage at its conception, Duchamp’s Foun-tain has since been regarded as one of the most influential pieces of 20th century art. Not only has it challenged conventions of traditional art making, it has also shown us the effects that a gallery institution has on defining what is considered art.

While Duchamp’s success story shows us the ben-efits of the white cube, notably, the ability to give prestige to an everyday object, O’Doherty’s essay, in contrast, highlights the shortcomings of the white cube.

Duchamp at his 1963 Pasadena Art Museum show

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The gallery space functions and is defined in terms of strict guidelines. It is characterized by white walls and artificial lighting, eliminating any connection to the outside world. Where it was believed that the white cube sought to isolate the experience of art from context, time, and social implications, O’Doherty argued that the white cube, itself, is a context that immerses itself into the art. He likens the gallery design to that of a Medieval church, untouched by time, and containing the most precious objects, illustrating the ways in which a gallery gives prestige to its contents, economically and politically. O’Doherty’s argument is simple, yet meaningful; the white gallery space is more than just a container for artwork, it is a historical and social construct. Moreover, his work illustrates that the white cube that modernism constructed, is just as important, and is connected to the objects placed inside. O’Doherty concludes, that the spatial implications of the gallery, consumes the work that is placed within them, to the extent that “context becomes content”.

Since O’Doherty, artists have challenged the boundaries of the institutional white cube. We have seen Robert Morris’ landscape art, Michael Asher’s site-specific pieces, and Hans Haacke’s institutional critiques. These artists have commented on the assumed normalities of the aes-thetics of art, and have redefined the socially constructed boundaries of public and private space. Despite these advances in artistic practice, and of the changes in the restructuring of the white cube, their efforts have shown that a continuous debate still persists. After all, many galleries, museums, and art collections around the world still employ the white cube paradigm.

Retis

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White Winter Sweaterby Kirsten Barkvedphotography by Kelsi Barkved

The supposition revolving around winter and fashion is that one cannot be chic unless they want to be freezing. Certainly one can’t

traipse out into the snow and below 0 temperatures in nothing but a sundress and light cardigan (unless first slathering oneself with whale blubber). But I maintain that there is a plethora of ways to be stylish

during winter without risking losing a limb to frostbite.

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I don’t think there is anything quite like fashion during the winter time. For some, it’s just another season they desperately seek the end of, like they’re a prisoner in a cell block making tally’s out of chalk. And I get it, winter can be dull and lifeless at times, all the cold and slush and muck. But that doesn’t mean your style should reflect winter’s de-pressive angst! If fashion is a sweater, style is what you do with it. And if sad lamps are for seasonal de-pression, the white winter sweater is your style’s key to breaking out of winter’s sad, muck and slush rut. Winter is no excuse to shun away from your style, but we all get the seasonal blues. You can’t hide behind your coat, but you’re running out of options (and patience) to outsmart winter. We’re mid season and if your brain is like mine, you’re low on creative ways to play up your winter attire. Solution? Enter: white winter sweater. Simple? Yes. Effective? You know it. That’s what the white winter sweater is all about: easy elegance, trying without really trying at all. The white winter sweater is a fashion staple in every ladies wardrobe, and it’s an instant outfit maker. On a cold day, nothing beats sitting inside a toasty log cabin post (insert your extracurricular activity of choice here) and donning something cozy, thick and warm, and the white winter sweater is a classic choice for such relaxation sensation. It evokes the season, instantly creating a look that says “I just stepped off the ski hill, aren’t I fabulous?” Simply put: it’s a look that has no shelf life. These two sweaters were thrifted from a local Value Village, and all together cost about as much as your favored Grande Latte with all the fancy five-pump-fixings. The cream coloured Espirit turtleneck paired with black jeans creates a simple yet chic look, perfect for sitting by firesides whilst skimming your favorite novel on a wintry evening. It doesn’t need any of the fancy fixings like your Starbucks latte—it just is inherently fancy with its warmth and softness. It’s the beautiful girl at the party whom you’re jealous of because while you spent hours putting together an outfit, she looks like she threw on any old thing and still looks flawless, effortless, chic, and comfortable. The large, cable knit sweater is 100% cotton and 100% from your Grandpa’s closet. The oversized look is perfect for (quick) tumbles in the snow before running back inside to join the fireplace party. I confess, I have about ten Grandpa sized sweaters hanging in my closet—they are my go-to for winter outfits. I like pairing these thrifted finds with leg-gings and knee-highs, but it’s fun to play these guys up with a printed legging or pleather for a mixture of texture and an element of daring.

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My favorite thing about the white winter sweater? It’s entirely okay to extend its wear into other seasons. I love mixing and matching seasonal garments. When the snow begins to melt and the baby greens are slowly peaking through the ground, try the white winter sweat-er with a pair of denim cut offs or overtop a floral springtime dress. It’s so unexpected, but so chic, and you’re insuring the value of your five-dollar investment in a wardrobe staple. Conclusion! Winter can be icky. But your style doesn’t have to be. The white winter sweat-er is a must have, a classic. It’s the no fail outfit, the safeguard for your winter blues, and an easy way to pull together an instant, effortlessly chic look, minus the sad lamps and frost-bite.

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Designer SpotlightYvonne Lin

Photography by Michelle KuanModel: Christine MacGibbonMakeup: Amanda Blair

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Tell us a little bit about yourself. What inspired you to become a fashion designer?I am a Chinese-borned Canadian, a Ryerson recent graduate. I have al-ways been interested in drawing and sketching since I was little, but nev-er dreamed I would be doing fashion until I saw my high school fashion show. I felt a sense of pride for my friend when I saw her wearing her own made dress down the runway. Then I started taking sewing class in Grade 11, and fell in love with it, and sure that I want to do fashion design.

FORMATION is clearly not designed with the intention of ready-to-wear, yet is very beautiful. Can you describe what inspired or influenced that decision?FORMATION is an art-to-wear collection. It is my 4th year capstone col-lection at Ryerson University. It was mainly inspired by the delicate paper columns of Michael Hansmeyer. “ The columns are about nine feet tall, weight about 2000 pounds, and are made out of 27000 mm-thin slices of cardboard stacked on top of wooden cores, containing between 8 and 16 million polygonal facets”. Both architectural details and design meth-od provided inspiration. The columns were viewed as emblematic of the complexity of life. FORMATION adopted the production idea of the col-umns by using plain white fabrics and transforming them into three-di-mensional forms. Traditional hand techniques and innovative pattern drafting were combined. The garments were structured yet soft without over sexualizing the female form. The collection was designed for con-temporary women with a balance of femininity and toughness. Each piece stands alone as an art form itself.

My capstone collection had very close collection with my own personal experience living in countryside of China to metropolitan of Canada. I’m not a verbally expressive person, so I always use art/design as a way of telling stories and expressing my feelings. I interpreted the columns as a representation of life. We start life as a single blank piece of paper and with more experiences, reunions and separations, ups and downs that we go through in our lives; the columns become more complex and stronger. To me, the shadows on the columns represent how life isn’t always black and white. This collection focused more on the concept of the design than the wearability. The pieces would most likely to be made-to-order be-cause majority of techniques would have to done by hand.

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Can you elaborate on your designing process? How did Formation come to-gether?FORMATION was the first collection that I have ever developed. Researching, finding inspiration took up a lot of time. For the FORMATION collection, I used a very different design approach than before. I started with just sketch-ing something abstract and then figured out how to reach the idea. Before, I though very technically than creatively, I would only design what I think I could construction. It kind of limited me in my design. The new design process was much more interesting and more challenging, since it involved taking some-thing abstract and making it into something concrete while still conveying its meaning to an audience.

For this collection, I tested with 3 dimensional pattern drafting. It is quiet an experiment to me. It was interesting process to developing the patterns. A lot hand work were involved in this collection, such as the leather slashing, and smocking. There are hundred of dots in the smocking knit top on the patterns. I loved doing handwork. I love focusing on one thing for a long time, it makes me feel calm and peaceful, something that I found hard living in big city.

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The pieces are very architectural in design. Did your fabric choice influence that structure? Or is the heavy influence of architecture and form part of your M.O.?First of all, I have to say a big thanks to Danier Leather, for sponsoring the precious Italian Lamb Skin used in this collection. The leather was being hand slashed, and sewn to the base of the garment to create the 3 D forms. Archi-tecture has been a big influence on me in designing. I have always interested in building and interior design. In fact I think I will be doing interior design if I was not in fashion industry.

White is clearly part of the foundation of the collection. Why did you choose this lack of colour?I got to say white is a hard colour to work with. I choose white for two main purposes. First of all, it ties in with my theme. As I mentioned earlier, this collection is a concept about like, and I see the starting of life as a blank sheet of paper or fabric in this case. Yet, by employing 3D techniques in the fabric, it create depth and grey shadows. Just like in our life, the more and more you go through, you will realize that life is not just black and white, a lot time it is grey. Another point of using white is an aesthetic thing. I realized that I tend to work with white and pastel colours. I guess maybe because my pieces are architec-tural, to balance, I choose my soft and so call feminine colours.

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Ice Mermaids

Photographed by Tina PicardStyled by Bianca WahabModels: Tiffany & Missy Angie’s Models and Talent

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Milk

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Renée Levesque

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Milk

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Lighter, Softer tONEs AND lOts

of texture on MODErN DAy

MErMAIDs

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Milk

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sweater Young Janesnecklace Renée Levesque

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Left to right:Black Chiffon Dress - Vintage White Blazer - Vintage‘Leather’ Leggings - Ardene

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Photographed by Gilda FurgiueleStyled by Frances IresonMake-up by Dee Dee ButtersModels Tristen & AshleyModels International Management

WhITE GoTh

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Red Lace dress - H&MRed & Fushia Chiffon heel - AldoWhite Chiffon Petal Purse - Clare’s AccessoriesWhite leather gloves - Stylist’s ownOpposite page:Choker - Photographer’s ownCorset - Photograpehr’s ownSkirt - Vintage lace

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A play on the light-er side of goth,

and the edginess white can evoke.

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Baroque sequin dress - DynamiteLace and Gold Bag - AldoVelvet Emblem Loafers - ZaraOpposite page:Midnight blue velvet dress - Vintage Jacob White Leather Belt - VintageBracelet - Photographer’s own.

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Cape - VintageBaroque gold and black Scarf - DynamiteGilded Baroque miniskirt - ZaraFloral lace tights - Clare’s AccessoriesSchool Girl Heels - Pegabo Opposite page:Ornate Floral Necklace &Earrings - Forever 21

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iSSue 3 sprINg

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