TABLE OF CONTENTS

Letter from the Editor

101 Reasons Why We Love Austin

A Hair Affair

Couture Fall 2010

Style Icon: Hedi Slimane

Wilhelmina Brown: An Interview with Justin Brown

101 Reasons Cont.

Hello My Name Is…

I Am Man

101 Reasons Cont.

Kilty Pleasure

Designer of the Month: Vivienne Westwood

101 Reasons Cont.

Talking Fantasy

Credits and Special Thanks

Ian Milan

When I first moved to Austin, I found myself unsure of how to absorb this city. I was a city slicker

from Houston finding myself tiring of the Keep Austin Weird memorabilia, vintage clothes that smelled like my

grandma, and Austin’s glorification of small businesses. I must admit, I just didn’t get it. Where were the

big leagues? The huge corporations? The national brands I had been raised to enjoy?

Since then, I came to really know Austin, and as if by some miraculous revelation the skies parted,

the doves descended, and my eyes were opened. I found myself addicted to local businesses. I realized that

here anything is truly possible. In the course of falling in love with Austin, I decided to play the anything’s

possible card for myself. A friend and I decided we wanted to create a community of writers, photographers,

designers, models, and hair and makeup artists who were passionate about becoming part of a local fashion

community, and that’s exactly what we’ve done.

A lot of people have asked us, What makes Spark different? What’s new about Spark? As tough as it

is to admit, I had been asking myself that same question. However, this magazine has pushed my staff and I

closer to Austin, and it was in this bond that I found my response: In no other city, could Spark become

more than a dream. There’s such a beautiful community in Austin that you won’t find anywhere else.

Everyone wants to help each other. Everyone is genuinely interested in each other, somehow bonded by the

fact that we are all in this together. I realized there’s no way we could do what we’ve done in a larger

city. There would have been forms to fill out, letters sent to far-away corporate offices, and jungles of red

tape. Through this realization came a feeling of gratitude for a city I once misunderstood.

To answer the question, Spark was an idea that is now becoming part of a larger Austin community.

It is fashion dissected on an Austin level. You can pick up a national fashion magazine and see the big

international brands and the famous models that you will probably never meet, and there’s nothing wrong

with that. In contrast, after reading Spark, you can bump into a model from our editorials on your way to a

featured store or salon. With this idea in mind, our editorial took us on an adventure through Austin as we

followed a girl in search of herself. We also decided to feature Austin’s finest, from restaurants and festivals

to public figures and local landmarks. At the core, Spark is fashion the way Austin would have it: local,

unpretentious, and most importantly, accessible to all.

As an idea that sparked in the brains of a few ambitious people, we hope our September issue, and

every other issue; will be a platform with which to spark your own fashion adventure.

Letter from the Editor

A HAIR AFFAIR

“Is that a ship on her head?” Cameras flashed

rapidly, struggling to capture the moment. A

model in a large, ship crowned, pink wig strutted

cautiously to the end of the runway. Undoubtedly

this was the highlight of the evening at the

Phoenix. However, the remainder of the fashion

show was anything but supplementary.

The theatrics of A Hair Affair were intoxicating.

Each model was garbed in her corresponding

class attire, from aristocracy to the petit

bourgeoisie. Aristocratic models wore elaborate

wigs and garments contrary to the “lower class”

who donned simple wigs and revealing frocks.

The most astonishing looks of the evening aside

from the pink wig, topped with a ship, were

an elegant red dress, an elaborate bird cage

wig and a few tops that were literally painted

on the body of the model. The red dress was

the show stopper. Ruffles gently framed an

open neckline, cascaded down the full skirt and

circled the hem of the dress. Black tights as

intricate and delicate as a spider’s web were

harmoniously paired with the red dress.

On the opposite end of the spectrum was a

black dress, or rather skirt. It appeared to be a

dress but as the model stepped into the light it

became apparent that her top was completely

painted onto her body. This was naturally

shocking to some but it was done so

tastefully that it became a crowd favorite.

Her seamless top was black-gold was so

artfully executed the paint appeared to be

lace.

The bird-cage was more art than hair. Cast

in bronze, the whimsical cage was etched

with flowers and leaves. It was attached

with a goldenrod ribbon about the model’s

neck. The cage was balanced by a simple

combination of a powder pink corset, a gold

belt, and a ruffled white skirt layered on

top of soft white tights.

What followed the cotton-candied wigs was positively tantalizing. Lights

dimmed on the dance floor and colorful spotlights revealed a belly dancer on

a pedestal. Her body imitated the mysterious beauty of a snake as she

swayed lethargically and struck with her hands, hips and feet.

As if the exotic belly dancer was not enough, an aerialist performed tricks

from a cerceaux, suspended from the ceiling. The aerialist spun and displayed

her mind-blowing elasticity as she swung and flipped in and around the hoop.

LegitArt Entertainment spared no amusement for A Hair Affair to raise money

for Locks of Love. Among the open bar, unbelievable fashion show, belly

dancer, and aerialist, the event was truly one of Austin Fashion Week’s best.

~ Autumn Ashley

Managing Executive Editor

FOOD!!!

[10] Polvo’s Mexican food so good even your abuela would approve

[11] “How Do You Roll” Sushi

[2] Tomo

This sushi bar is Austin’s best kept secret. With saucy names and explosive tastes, Tomo will give Uchi a run for its money!

[12] Sno Beach

[4] Farmer's Markets

[9] Magnolia café

[8] Sweet Leaf Tea

[5] Mandola’s Located in the Triangle, Mandola’s serves up some of the most addicting Italian food you’ll ever find in Austin.

[7] Antonelli’s Cheese Shop Boasting a wide selection of delightfully aromatic cheeses, Antonelli’s is sure to become an Austinite institution.

101 REASONS WHY WE LOVE AUSTIN

[3] Uchi

[1] BIG Top

[6] Chuy’s

[21] Joe’s *not the crab shack

[15] Teuscher Chocolates

[14] Juan in a Million This local taqueria has caught the attention of musicians, politicians, celebrities, and even Martha Stewart. The “Don Juan” is a house favorite, and you can expect Juan himself to give you a hearty handshake and a sincere farewell on your way out.

[22] Epoch coffee

[24] Halcyon Café This warm, inviting lounge is the perfect place to unwind at the end of the week or to roast s’mores with friends.

[18] Progress Coffee

[19] Mozart’s This lakeside coffee shop has a relaxing aura perfect for dates and studying alike.

[23] Kerby Queso Kerby Lane’s infamous Kerby Queso is the stuff of late night legend, and for good reason!

[16] Whole Foods

[17] Cupcake Shops Austin has a slew of cupcake shops, some admittedly better than others, but one thing is for sure: Austin has a passion for these little confections.

[20] Bennu

[13] Dolce Vita

With a ceiling made of wine bottles, this café serves up Austin’s finest gelato, espresso, panini, and desserts.

During Austin summers, a cold treat is a must, and there is no better place than GoodPop, the innovative popsicle trailer offering unique flavors like Pineapple Basil and Mango Chile.

[27] Bananarchy

[33] Holy Cacao

[31] La Condessa

[32] Madam Mam’s Best Thai in Austin. Anything on the menu will become your new favorite. Try the pad thai or the green curry. No matter what you order, you will crave it again, if you don’t already.

[26] The Steeping Room This tearoom at the Domain mall boasts an extensive tea list, including unique flavors like crème brûlée and chocolate, as well as a full menu of light and delicious fare.

[35] Café Crepe The delicate smell of butter and flour is instant when you walk into this casual, no-frills restaurant; it’s a ticket to Paris wrapped in a delicious, freshly made crepe.

[28]North This Italian restaurant nestled inside The Domain proves itself a master of both modern and classic cuisine.

[34] P.Terry’s

[22]

[30] Mighty Cone

[36] Austin Street Food

[29] Viva Chocolato

[25]

there is ever a moment when fashion seems

to be more about the art than the profit, it is couture

week in Paris. This season there were only nine

designers who met the rigorous requirements of

France’s Chambre Syndicale de la Haute Couture. This

select few pulled out all the stops, selecting lush fabrics

and seeking to inspire with garments that may never

be put into production. The fall 2010 season was no

exception to the luxury, expert workmanship, and

decadence that the title, “couture,” evokes. Armani

Privé is one of the few brands, which, because its

founder continues to design the label, retains a clear

vision that rarely wavers. There will be no Gareth

Pugh-esque melodrama or Alexander McQueen theatrics,

because Giorgio Armani consistently sends nothing but

elegance and sophistication down his runways. His fall

2010 collection, entitled “A Play on Amber,” began

with a new take on his trademark suit. The slightly

pleated skirt moved well and complimented a blouse

with an asymmetrical neckline, but the true standout in

the ensemble was the dramatic coat thrown

nonchalantly over Carmen Kass’ shoulders like a chic,

nude-colored cape, showcasing Armani’s celebrated

draping. The muted elegance of this first look set the

tone for the rest of the collection, which included

memorable pieces such as a beige A-line coat with a

paradoxically structured cowl neck. Even the more

casual looks, such as a grey tailored pant and off-white

cardigan, were unmistakably elegant, reminding us that

it is possible to be stylish on any occasion.

If

ARMANI

However, Armani reserved his coup de thêâtre for the final

look, when Karlie Kloss presented – in her signature

melancholy glide– an evening gown drenched in amber sequins

that glittered salmon in the light. The ruching at the shoulders,

the gentle folds of the fabric, and the tailoring of the sleeves

all attested to Armani’s place among Paris’ couturiers.

No less iconic was Karl Lagerfeld’s collection for Chanel this fall.

Nevertheless, when the show first opened with suits and tweed,

members of the audience may have wondered if they were to

be merely shown a rerun of past collections. However, Lagerfeld

was sure to distinguish himself with a new tone and concept

for the brand. The very lines of this collection differed

markedly from its predecessors, as evident in a deconstructed

military jacket with sleeves cuffed at the forearm over what

appeared to be an asymmetrical waistcoat. The aesthetic at

first was darker and more masculine, a bit more Karl Lagerfeld

than Coco Chanel: cuffed, voluminous sleeves abounded, along

with cropped jackets and bow ties.

As a playful nod to the Chanel 2.55, Lagerfeld

created a handful of dresses sporting the unmistakable

quilted pattern. From there, the collection took an unusual

turn, with decadence in jewelry and ornamentation. There

was a heavy presence of brocade and lace, and a mystifying

dress in the typical Chanel silhouette – slim, topped with a

cropped jacket – but with the color of red lacquer and

festooned with red flowers at the collar and hip. Other

dresses seemed to take their cues from origami, while one

featured a satin, scalloped skirt that inevitably recalls the

mermaids of fairy tales. The collection concluded with a series

of regal dresses and Baptiste Giabiconi, Karl Lagerfeld’s male

model du jour, carrying a lion’s head tucked under his arm.

This season, Chanel offered not only a presentation of

clothing but also a fantasy.

Some designers, on the other hand, are less concerned with

fantasy and more fascinated by the prospect of glamor, pure

and simple. Elie Saab is one of those designers, as his

couture collection demonstrated this fall. This season for Saab

was quite literally theatrical; inspired by Il Fenice, the storied

opera house of Venice that joins London’s Covent Garden and

Paris’ Opera Garnier as a colossus of the art world.

This meant velvet, sequins, and copious amounts of red.

From the very first gown Saab sent down the runway –

a floor-length, carefully draped gown in a deep scarlet

velvet – the audience knew that fall 2010 was going to

revel in the drama of evening wear. The collection was

composed almost entirely of dresses, each one

threatening to outdo the last in luxury. A particularly

decadent creation was a knee-length, sea-foam number,

sheer but for a slip and dripping with sequins. Saab also

included a chilling trilogy of three gowns to represent

the three occasions upon which Il Fenice burned to the

ground; the fabric, aptly chosen, moved easily and

billowed like the fiery story it was fashioned to tell.

These were followed by another selection of three

dresses, this time in a deep carmine. Easily some of the

most striking in the collection, the gowns flowed like

water, moving with lightness and grace – no doubt

strong contenders for the red carpet.

Chanel

Valentino

Gaultier

The collection finished off with opulence at its best: silky

and shimmering, many of the dresses sported slim pleats

that outlined and complemented the shape of the women

who wore them. Complete with startling thigh-high slits,

flowing fabrics, and impeccable draping, Elie Saab’s

collection is sure to win over starlets with a taste for

decadence.

Equally a master of opulence is Ricardo Tisci for Givenchy.

Famed for his gothic aesthetic, Tisci surprised the fashion

world this season by forgoing his darker look for an

almost entirely white color scheme. At the same time,

couture provided a perfect stage to display the dramatic

design techniques he is best known for, notably lace and

fringes. In fact, the first dress foreshadowed the look of

the entire collection, as Natasha Poly posed regally in a

skeletal-patterned lace gown that culminated in a forest of

fringe at the ankles. The piece shifted the focus onto the

body and heralded the extravagant ornamentation to

follow. The next few looks are variations upon this theme,

sometimes with the bewildering addition of a shaggy fur

or leather jacket. One of the most stunning pieces this

season for Ricardo Tisci resembled the deconstructed dress

of a Grecian goddess. A creation of mixed fabrics,

alternately sheer and opaque, the dress also boasted a

flowing, twenties-esque fringe hem. Had any another

designer attempted such a medley of techniques; the

result would have been more in the vein of Frankenstein’s

Creature. However under the careful hand of Ricardo Tisci,

the dress became both elegant and edgy. Interestingly,

Givenchy’s couture collection this season was, in many

ways, reminiscent of Alexander McQueen’s work – that is,

never dull, but always majestic. The late McQueen and

Tisci shared a penchant for the gothic, yet neither forsook

painstaking workmanship or elegance for his forward-

looking creations. Unlike the heady cocktail of influences,

textures, and techniques at Givenchy, Jean Paul Gaultier

referred to a very distinctly Parisian haute couture style.

His aesthetic was at play from the moment Karlie Kloss

strode down the runway in a beautifully proportioned

military trench, slim as a pencil skirt at the bottom, but

voluminous at the top, the perfect emblem of Parisian

sophistication. There was an abundance of expertly worked

leather – perhaps a vestige of Gaultier’s creations for

Hermes – generous amounts of fur, including a silver fox

wrap and the puzzling mink bra, and plenty of volume.

Despite these bold choices, one couldn’t help but sense

that they were merely adaptations of the same

experiments seen on other runways. There were the

exaggerated, rounded shoulders and hips à la Nicholas

Ghesquière for Balenciaga, sharp shoulders in the Balmain

style, and Dolce & Gabbana’s peculiar mutton leg-shaped

sleeves. Gaultier nevertheless produced some eye-catching

pieces when he seemed least self-conscious about

experimentalism. A fabulous sheer top paired with a slim,

yet flowing knee-length skirt belted high at the waist

made for pure elegance in the true Parisian fashion.

Similarly, the most beautiful pieces in the collection were

the simple black dresses that placed the spotlight on

draping and craftsmanship rather than unhelpful attempts

at futurism. Though it is difficult to forgive the designer

for some of the downright hideous pieces, such as a

bright green, satin dress with a matching wrap, the last

selection of dresses were deliciously slinky and luxurious,

guaranteed to make any woman feel like a movie star of

the early twentieth century. At the opposite end of the

spectrum, Maria Grazia Chiuri and Pier Paolo Piccioli

celebrated a different kind of femininity for Valentino’s

couture collection. In place of the dramatic, floor-

Givenchy

Saab

sweeping gowns at Gaultier and Elie Saab, Chiuri and Piccioli opted for a more girlish, youthful

look with A-line, baby doll dresses. Sporting considerably raised hemlines, the pieces were among

the most wearable of those presented during this couture season. The first was an easy, navy blue

dress boasting a slightly exaggerated shoulder and a bow at the waist. The collection’s color palette

first wavered between navy and white and finally settled upon a range of nude tones for its

frothiest creations toward the end of the show. Ruffles, bows, tulle, and roses reminded the

audience of Valentino’s simple, yet admirable aim. The house has not been preoccupied with

challenging the frontier of fashion, but instead is quite content to produce lovely, feminine pieces

that will both uphold the name of Valentino and reap a profit. This is not, however, to the

detriment of the brand, because it is impossible to resist the classic beauty of its dresses. Despite a

few bold choices, such as the cream-colored cage encircling one model’s torso or the tongue-in-

cheek Valentino rosette magnified and placed on a sheer blouse, the brand creates a youthful

fantasy that offers customers what they seek in fashion: a thing of beauty. With Valentino, it comes

down to a knee-jerk reaction along the lines of, “It’s lovely. I want it.”

Fall 2010 couture demonstrated a wide variety of styles and aesthetics, spanning the creative

distance between Givenchy’s haunting majesty and Valentino’s breezy femininity. Among these

couturiers, these giants of fashion, it is clear that John Galliano for Dior nevertheless surpassed his

peers. This season, Galliano literally made a study of Christian Dior’s tulip skirt by putting forth a

show bursting with floral patterns, shapes, and colors, as if the runway were one, colossal garden

of fantastical proportions. The ubiquitous Karlie Kloss opened the show with an explosion of violet,

a coat with – of course – a tulip skirt, cinched at the waist by a belt resembling blades of grass.

The collar was a parade of exaggerated ruffles in the shape of roses, and the look was finished off

with a pair of bright orange gloves. And yet, in true Galliano fashion, the ensemble was exquisite

despite its seeming outlandishness. While it would certainly be difficult to find a woman capable of

pulling off such a look in the street, the outrageous purple coat managed to be elegant, as it

pitted a classic shape against cheeky colors and playful styling. The rest of the collection was no

less stunning and highlighted Galliano’s peerless craftsmanship: a bold top with a plunging neckline

highlighted by a fiery fringe toughened up a baby blue tulle skirt, while a voluminous black dress

featured a slit along the center of the skirt to reveal, like a flower blossoming, layers of yellow

tulle splashed with magenta petals. Each piece unfolded a new fantasy, employing classic silhouettes

and transforming them entirely into delectable creations. Galliano created a true garden of earthly

delights, the very embodiment of couture.

Dior

All Photos Style.com

STYLE ICON: HEDI SLIMANE Edited by Autumn Ashley

Dior homme, Karl lagerfelD’s

infamous diet, and Lady Gaga have one

thing in common…the genius

of Hedi Slimane.

HEDI SLIMANE

Fashion’s Renaissance man, Slimane launched

his career when he helped to revive Yves Saint

Laurent’s menswear collection in 1997. After stepping in

as creative director of Dior Homme, Slimane pioneered

his trademark suits with clean, tailored silhouettes;

compelling even Karl Lagerfeld to adopt the infamous

cube of cheese diet. Today, the silhouette remains a

sartorial canon in the world of menswear, resisting

fashion’s overwhelming thirst for the next new look. “I

never wanted to please,” Slimane announces in an

interview with Style.com. “I always and only thought

about my own time and the birth of an entire

generation”, and he has. Despite his work for couture

heavyweights, Slimane defies authority and precedent,

preferring instead to blaze his own path. As a

photographer, Slimane has developed a striking,

minimalist aesthetic that parallels his designs, while as

a music enthusiast; he has established symbiotic

relationship with the London rock scene. He has

discovered and launched the careers of many models,

and, more recently, shot Lady Gaga for the cover of

The Fame Monster. It is almost impossible to consider

the state of photography, menswear, or music today

without noticing the influence of Hedi Slimane: from

minimalism to slim ties, sharp lines and stark photos to

skinny jeans, the designer has left his mark on the art

world with style.

~ Lisa Siva

www.style.com

www.thefashionspot.com

www.hedislimane.com

http://www.runway2reality.com/2007/09/50-most-stylish-men-of-past-50-years-by.html

FESTIVALS!!!

[38] Runway to Heaven A fashionable benefit gala, Runway to Heaven features new and established designers for an unforgettable evening of style, food, and entertainment.

[39] Restaurant Week During a week of reasonable prix-fixe menus at the city’s top restaurants, Austin proves itself a force to be reckoned with in the culinary world.

[40] Austin Fashion Week

[43] Zilker Kite Festival

[42] South by southwest (a.k.a sxsw)

[41] Trail of Lights

[45] Art City Austin More than just a festival in a city of festivals, Art City is a celebration of Austin’s vibrant creative community.

[44] Old Pecan Street Festival

[46] Le Garage Sale This biannual event is like dozens of sales from independent boutiques in Austin under one roof. Enjoy clearance prices on unique items while benefiting local businesses.

101 REASONS WHY WE LOVE AUSTIN

[37] Umlauf Garden Party One of Austin’s most elegant events, the Garden Party at the legendary Umlauf Sculpture gardens is not to be missed and will feature live music and food from some of the city’s best restaurants.

[47] Austin City Limits (a.k.a. ACL)

Edited By Ian Milan, Autumn Ashley

An interview with Justin Brown

BROW

WILHELMINa

SPARK: What was it about Austin that drew Wilhelmina to open a branch here over Houston or Dallas?

Brown: Nothing against Houston or

Dallas, I just knew them already

and there’s the closeness and

proximity; we can cater to

Houston, Dallas and San Antonio.

SPARK: How was the transition in becoming Wilhelmina Brown? What did this transition entail and would you say it was easy or difficult for you?

Brown: It was really easy transitioning

into Wilhelmina Brown. I’ve been to New

York and California. I had to meet with

the heads out there and learn what they

were looking for, observe what kind of

marketing materials they use to find

models and how they do a booking, take

that and combine it with what we were

already doing.

SPARK: What are some general restrictions for models on a contract? Have you ever had a model completely violate a contract by cutting off their hair or dying it neon orange or anything like that?

Wilhelmina has become a sacred name in the fashion industry. Young models mention her name with fervor in their voices. Eyes light up with anticipation as she walks into a room. We have all heard of her through one medium or another, whether it was flipping through Vogue or hearing Tyra Banks drop her name every fifteen minutes on America’s Next Top Model. But what you may not know is that Wilhelmina chose Austin, TX, as one of the most promising places for fresh new talent.

A few weeks ago I had the honor of sitting with Justin Brown, the former owner of Texas Acting and Modeling Academy who became the next proud member of the Wilhelmina family. Within seconds of speaking with him, the six foot tall, blond hair, blue-eyed man had managed to capture my attention through an easy sense of humor rarely found in the fashion industry.

Brown: No… In general you must keep your sizes and look consistent. Even a mild change requires an update in marketing material. It’s like you change a recipe in a soda pop, you have to change the marketing. You are a product and the product must match the marketing. If you’re expecting to eat chocolate and you open the package and find vanilla, you’re mad.

SPARK: Where is Wilhelmina Brown heading right now, in terms of talent? Is the focus on men or women, modeling (commercial or runway) or acting?

Brown: We do all aspects of modeling, and acting, but we want to be a small agency. We decreased our roster and want to increase quality. We want to fill the right jobs, and the right rolls. We’re not looking for character actors. We’re looking for good-looking talent. Not tons of people are looking for the star type of people. Everyone we work with must be able to fill out rolls. Models must be actors. Some good-looking people don’t want to work hard. But we want to focus on even outside of Texas. Those who aren’t right for Austin could do something national or even international.

SPARK: What things do you look for in a model, in terms of casting an individual?

Brown: Depends on what you’re marketing for, are you the friendly commercial type, the fashion type with a great body for swimwear? How old are you?

It’s only been six months since their launch, but it would be impossible to imagine Austin’s fashion community without Wilhelmina Brown.

AutumnAshley

ManagingExecutiveEditor

[50]

[48]