Papercut

JULY/AUGUST 2010

MAKE WAVES
SUMMER STYLE

THE BEST OF ETSY:

DRUMROLL, PLEASE

ZACK LO:
FASHION AT
THE EDGE
02 >

0 37542 98437 4

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 IN THIS ISSUE
08 FROM THE EDITOR
Hello and welcome back!

THE LIFE
10 Happily Ever After: Life after Design School A real-life fairy tale

12 The Best of Etsy We dug deep to bring you the best of the best

17 Fashionably Learned The timeless fashions of An Education

18 Gone Swimming NY-based designer Anne Pachan’s swimsuits make waves

BUZZWORTHY

30 “People Say Fashion is Frivolous...” Fashion’s moves to target developing countries

33 On the Verge Three new artists to add to your “watch list”

48 Is Innovation Dead? A money-hungry fashion industry is a major obstacle for innovation

50 Dream State Three easy-to-do looks to try out this summer

60 Summer Beauty: Go Bold Products that sizzle

FASHION FORWARD

62 Zack Lo: Fashion on the Edge Interview and editorial feature

76 The New York Chronicles Summer in the City

Papercut
JUNE/JULY 2010

ON THE COVER MAKE WAVES

SUMMER STYLE

Photographed by GREG BROWN THE BEST OF ETSY:

Concept MATT CHARLAN of DIA STUDIOS
DRUMROLL, PLEASE

Artwork (projection) JULIAN GUZMAN ZACK LO:

FASHION AT
Hair/Makeup JANEEN JONES THE EDGE
Styling TERRY WHEATON 02 >

Model CLAUDIA SNOW 0 37542 98437 4

www.papercutmag.com

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 EDITOR-IN-CHIEF
Hayley Maybury

CREATIVE DIRECTOR
Nicole Bechard

MARKETING AND TECHNICAL DIRECTOR

Jamall Oluokun

FASHION EDITOR
Nicole Herzog

CONTRIBUTING WRITERS
Erin Berry
Brittnee Cann
Fallon Coster
Nora S. Gilligan
Christine Mastrangelo
Billie D. McGhee

CONTRIBUTING ARTISTS/PHOTOGRAPHERS
Nicole Bechard
Greg Brown
Bianca Cortinas
Julian Guzman
Sara Lyn
Julia Potts
Nathan Tia
Helen Tran
Nick Ward

www.papercutmag.com
7
 FROM THE EDITOR
WE’RE BACK AND EVEN BIGGER AND BETTER THAN BEFORE!

The great thing about summer is that even when we are swamped
with work—or just day to day life—we still make time to enjoy a
little summer fun. Whether that means hanging at the pool, lying
on the beach or traveling with your friends, summer memories
always seem to be the ones that we remember the most.
I can tell you that this summer has definitely been a memo-
rable one for me. It started with a wonderful trip to the fashion
capital of the world: Paris! Being able to experience all of the
remarkable fashion, art and Parisian culture was such a great
experience and was so creatively motivating that I couldn’t wait
to get back home and finish up working on this issue!
From shooting our first swimsuit editorial, to trying on
the world’s most comfortable stilettos, to playing dress up
with hundreds of vintage pieces at my wonderful new friend,
Everett Hoag’s studio, this issue has been a blast to put to-
gether. Not only that, but it has also served one of my all-
time favorite summer activities: summer reading! With all
the great articles this month, I am sure you will have to peel
yourself away from your computer screen. Or, if you need
something to read while on the beach you can always order
a printed copy of Papercut through Magcloud.com and take it
with you while you bask in the summer sun!

See you in September!

xoxo
Hayley

TOP-BOTTOM: Editor-in-Chief Hayley Maybury in front of a ZACK LO

shoe display at a local fashion event in Boston; Hayley, model Kayla
Mayhew, and Creative Director Nicole Bechard on location at our
CALA OSSIDIANA swimsuit editorial; Hayley thrifting in Paris; Hayley
and Nicole at a fashion event (Photo: Octavian Boca Photography).

8 MAY/JUNE 2010 www.papercutmag.com

9
 HAPPILY EVER AFTER:
LIFE AFTER DESIGN SCHOOL
A REAL-LIFE FAIRY TALE.
Written by BILLIE D. MCGHEE
There are millions of people out there who are
born with the right-brain bug. At a young age we
discover that things like drawing, singing, writing,
cooking and painting are appealing to us, and soon
a passion is formed. Choosing to commit to our cre-
ative outlets when college rolls around is a true sign
of our dedication, and—I know that for a lot of us, de-
claring ourselves a fashion design major or a dance
major can be scary at times. We understand that in
a way it can be just as difficult as the choice to be
a pharmacist, mechanical engineer or lawyer. Why?
Because with the large amount of competition and
the smaller amount of desired work opportunities,
the question of, “Will I make it in the real world?”
is always looming. Well I’m here to prove that there
can be a silver lining to every cloud. Sometimes
there are too many stories of those who fail and not
enough of those who succeed.
Let me introduce Natalie Couture. Natalie is an
FIT graduate who majored in Interior Design and is
now working in New York City. Her success is proof
that staying true to your creative dreams can lead
to a successful career. I had the chance to speak to
Natalie and in turn share with you parts of her sto-
ry that may help inspire your own.
Childhood fantasies can become real-life careers.
Just a small town girl from West Springfield, Mas-
sachusetts, who grew up knowing she wanted to cre-
ate something of her own: “I can remember being
10 years old and working so hard on these amaz-
ing dresses for a ‘paper doll’ fashion show. I'd use
huge rolls of paper, cut out patterns, and paint de-
signs onto the ‘dresses’ and then staple the seams
together.” Her younger sister, a future fashion de-
signer, would walk down her make-believe runway
as her family and neighbors would watch. Creativity
is clearly a family trait. Her father, a high-end house
painter and decorative artist, would take Natalie to
work with him and soon her interest in interior de-
sign grew. “I used to watch my father and his team
transform an empty shell into a beautiful home; I
was instantly smitten.”
10 MAY/JUNE 2010 www.papercutmag.com
An education is hard work, but the payoff is
so worth it.
Natalie looked at schools—Pratt and Parsons were
big contenders—but it was New York’s Fashion In-
stitute of Technology that eventually won her over.
It took a lot of research, tours and deliberation but
it was FIT’s professors, location and reputation that
helped her to make the final decision. The summer
after she turned 18 Natalie transitioned from small
town girl to big city dweller. Things weren’t always
easy; FIT classes were tough and demanding. “In the
end, I’m so glad I stuck it out,” says Natalie, “Today
I am one of two head designers/project managers at
a high-end residential firm in Manhattan. Though
stressful and demanding, I am one of the few lucky
people who can honestly say ‘I love my job!’”
The stops along the way are what really make
the journey.
Natalie was lucky enough to have her family help
her with tuition and living costs in the city while at-
tending FIT, but that doesn’t mean she had it easy.
Her parents taught her responsibility by leaving her
in charge of food and buying the materials needed
for her expensive design projects. This lead to the
need to find work, and the jobs she found were some-
times fun and sometimes challenging. Her first gig
was modeling for FIT’s photography and fashion de-
partment. “I had a blast dressing up in these crazy
costumes while students sketched me. I also got to
travel to amazing locations all around New York
City to do photo shoots. The whole experience really
helped boost my confidence.” But sometimes there
are less desirable jobs that you have to take to get
to where you’re going: “While modeling was fun, my
other job I didn't have such a great experience with.
I was a nanny for two of the brattiest kids in NYC. I
can remember walking down Fifth Avenue carrying
two huge cellos and backpacks while the children I
watched after kicked the back of my knees the whole
way to their play date in the park! They were hor-
rible to deal with, especially since I was carrying a
full course load at the time.”
Dreams jobs can be real.
After graduating from FIT, Natalie was lucky enough to
be hired as assistant designer at Laura Day Design stu-
dio, where she interned her senior year. “My first job re-
ally was a dream come true. The environment was very
creative, and I was given a lot of responsibility right off
the bat.” Working in the heart of New York you’d think
that Natalie would only be catering to the most wealthy
of clients, but surprisingly that wasn’t the case. “A really
cool part of my job is that the firm’s principal was one of
the designers on Trading Spaces, so we got to work with
lots of different kinds of clients. I became a whiz at scop-
ing out great deals and making trash into treasures. It’s
a trait I’m thankful to have to this day!”

Always come up with new ways to stay creative.

These days Natalie keeps busy with her current job at
Shawn Henderson Interior Design, but has other ways
to further her creativity. She has actually created The
Dress XChange, a website where you can rent and do-
nate special occasion dresses. “It started when all my
friends began getting married and I kept buying new
dresses because I always wanted to wear something
new. By the end of the summer of 2008 I had about four
dresses sitting in my closet that had cost me about $300
to $500 each. I hate being wasteful so I knew I needed
to come up with a solution.” Natalie began lending these
dresses to family and friends, which lead her to think
about all the other girls out there who had dresses of
their own that have gone unworn in their closets. “I
drew up the business plan that September, and ever
since then I’ve been working on a way to have afford-
able dress rentals available for every girl.” Natalie
used all of her free time creating the website, finding
dresses and creating her brand. “I hope that The Dress
XChange can be a one-stop shop for formal events, kind
of like how Mr. Tux is for guys, while also giving girls a
way to recycle fashion. Our inventory is growing all the
time and one day we hope to have designer styles in all
sizes, along with accessories and even matching shoes.”
Natalie’s story serves as a nice reminder that with a
lot of hard work and a little luck anyone can live out
his/her dream career.

11
 THE BEST OF ETSY.COM
WE DUG DEEP TO BRING YOU THE BEST OF THE BEST
FROM THIS CREATIVE MECCA.

Written and Interviewed by CHRISTINE MASTRANGELO

12 MAY/JUNE 2010 www.papercutmag.com

 Querying for handmade clothing on Etsy.com is like tap-
ping into some magnificent creative force that one always knew,
but never thought, existed—at least in one place at one time.
The query for a handmade dress, for instance, in its most gen-
eral form (handmade/dresses/women) results in more than
18,000 dresses for the surveyor’s perusal. On page 650, the
Aziza dress by VintageConoisseur, electric blue, with a flared-
like-the-50s skirt can be found. On page 801, the Snake Dress
by newyorkcouture features tiered ruffles and is advertised, “as
seen on Katy Perry.” Anyone looking to buy a dress as unique as
the sellers that design them will feel as if she’s unearthing the
city of Troy, the click of her mouse like the scrape of an archeolo-
gist’s trowel. Featuring over 200,000 items of handmade cloth-
ing, Etsy.com has become the conglomerate of artisanal, inde-
pendent fashion. For emerging designers, the site revolutionizes
their work, allowing a few with the perseverance, dedication,
and sheer luck of recognition to operate their shops on a full-
time, at profit level. For those who are well known, Leanne Mar-
shall or Carol Hannah Whitfield—both well-received alumni of
the reality television show Project Runway—Etsy.com allows
them to sell directly to their existing fan-base while developing
brand awareness.
So what is the one caveat to this pioneering, beautiful mish-
mash of creativity, blood, sweat, and tears? It unfortunately ex-
ists for the buyer, the customer, the member of Etsy.com – the one
who, not unlike Anna or Isabella, is on the lookout for a designer
who can translate an aesthetic in clothing that explodes off the
body. The act, though, of having to search through thousands of
items is more than just daunting, it can be plainly tedious and
when that find finally occurs—the little black dress with the
poplin flared pockets—the pressure for it to be perfect may
be exaggerated due to the means of discovery.
What Etsy.com does not do, is allow searches by seller
profiles based on a personality-matching basis—catering to
the customer’s exact desires. Net-a-porter.com, the number
one online luxury fashion retailer, bases searches on their
customer’s lifestyle: work wear, vacation and lounge wear.
Perhaps if Etsy.com is listening, management may take cue
to create a more personalized search experience. But for
now, others are doing it for them. Dozens of blogs dedicated
to the search for the best of Etsy.com have surfaced over the
years, with taglines like “Finding the Very Best of Etsy (So
You Don’t Have To!), and including trails of readers’ com-
ments, such as “after a year on Etsy it’s wonderful to discov-
er a heap of new favorites.” Like all consumer experiences,
the most promising come from those that are recommended.
But for now, there is little more for the consumer on Etsy.
com to do in her search for the best dress than to run the
query and scan through each and every posted item.
Which is exactly what I decided to do. I would not rec-
ommend this to anyone who dislikes a “scouring through
the racks” type of shopping experience. Yet I am happy to
say that finding the best did not disappoint. Like Anna and
Rodarte, or Isabella and McQueen, I felt that exhilaration of
finding something amazing. The scouring, the digging, and
the scraping of my trowel was worth it. So, with all of that,
I am pleased to announce my findings for the best woman’s
wear designers on Etsy.com (in no particular order).
Continued on the following pages
CHRISTINE MASTRANGELO is a freelance fashion writer and curates the blog
www.un-stitched.com focusing on emerging designers, artists and start-up so-
cial networking fashion websites. She is currently finishing her first novel on
18th century French Fashion, Costume.
13
REDDOLL
BY TATYANA MERENYUK
http://www.etsy.com/shop/reddoll
Tatyana Merenyuk describes the uniform she wore as a child
growing up in Kiev, Ukraine as “a black dress, white apron, socks
up to the knee and sandals.” What made something so simple very
special were the details her mother sewed on the dress, “white
trim and lace around the neckline and wrists.” Each girl could
either buy or sew her uniform, the options allowing creativity to
spark out of the conformity, as “everyone had it differently.”
The clothes Tatyana makes today share that same duality
of constraint and fluidity in highly constructed tailoring bal-
anced with fluid, feminine lines. Her Etsy.com store features a
wool military-style coat that flares and falls long at the back,
as well as a sweet ruffled white dress with a backline that
plunges just enough to reveal and elongate.
I love your clothes because they are highly constructed,
but not overwrought. I see a perfection in your tailor-
ing that is offset with soft feminine lines. Is this a bal-
ance you seek in your designs?
Yes, I love classy, feminine things. I love when it’s just right and
not too much. Elegance and uniqueness, and a little something,
something! I always try to make some magic happen.
How did it all begin for you as a designer?
Here on Etsy! And this old Singer industrial sewing machine
and patterns from Jo-Ann Fabrics; just trying to learn any-
thing! And then it took over my life. After taking a pattern
making class, I went on my own and did nothing but sew. Then
everything just grew like crazy.
What is happening right now for Reddoll?
Many exciting things! I have truly been blessed! I have many
orders and some wholesale orders I am working on for stores.
14 MAY/JUNE 2010 www.papercutmag.com
A lot of work. I will also be relocating to New York this August
to pursue my career and start production; that is a dream. I
was also picked by Mario Tricoci Salon and Smart Water as one
of five designers to be sponsored for Chicago Fashion Week in
Millennium Park in October. So that is very exciting and I am
working on some very special pieces for the show.
What has surprised you most about being a designer?
How people treat you differently, or are ready to judge you,
love you or hate you. I guess that's just the way it is when you
put yourself out there. Just be strong!
Is inspiration something that is close to home, or do you
ever feel it is something that you must seek?
It's close to home. But, I do research too: my boyfriend’s paint-
ings, beautiful movies, actresses, music and travel. My favorite
is flipping through very old photographs of my mom. She was
so pretty and classy and was also a seamstress.
What’s more important, inspiration or hard work?
They go hand and hand. Hard work is a must! You will not get
anywhere without it. But inspiration makes you work hard,
and that's the whole reason why you're doing this! Devoting
all your time and sacrificing "normal" daily life. But if you're
in love with it, that is the only thing that really matters and
turns you “on” inside. It does to me.
What kind of advice would you give a young designer
looking to pursue this dream?
You must be honestly in love with your work, only this will keep
you going....and nothing else. Do it because you are a creator and
you strive to do it on your own and design and create for yourself.
PRETTY BIRDIE
BY STEPHANIE TEAGUE
http://www.etsy.com/shop/stephanieteague

Stephanie has called Greensboro, North Carolina home for

the past eight years. She is eight months into running Pret-
ty Birdie full time, feeling that things have turned “bigger
than me” and is one of the few designers on Etsy.com to offer
more than twenty pieces for sale. Stephanie takes the neces-
sities every woman needs in her closet—a blazer, a pencil
skirt, a casual pair of pants, leggings, a tank and a sexy
dress, and puts her own methodologies and techniques into
each piece. She uses organic and sustainable fabrics and
employs a low-impact dying technique, where “if the water
is not hot enough” or “if there is too much soda ash” the right
color cannot be obtained. There is a beautiful ease to her
clothes that is truly thoughtful.

How did it all begin for you as a designer?

I have sewn since I was a little girl and that really started
out of necessity. I always loved to express myself through
clothing and growing up we didn’t have a lot of money so I
would rummage through my parents’ and even my brother’s
closets, finding clothes and altering them to create new looks.
I fell in love with thrifting at an early age, I was addicted to
the hunt and thrill of finding something old and making it All photographs by Sara Lyn
into something new. Altering vintage clothes expanded into (www.saralynphoto.com).

just using the fabric and completely recycling it and making

something brand new...and then I found antique linens and
quilt squares and feed and flour sacks and curtains and so
on, and started making clothes from those materials. I just
made them for friends at first and then was encouraged to
start an Etsy shop and the rest is history. I have expanded
to using mainly organic fabrics and still use a little recycled
antique fabric every now and then—my first love!

What is happening right now for Pretty Birdie?

Right now I am very busy filling Etsy orders and working on
expanding my business. I am showing in Charlotte NC, my
hometown, in September and I’m hoping to get the word out
locally about Pretty Birdie. Since I sell online and work out
of my home, not a lot of people know I’m here.
What's more important, inspiration or hard work?
For me it's inspiration. I need to be inspired to work hard.
It's the inspiration that keeps me going and gives me the
energy I need to do the hard work required.
I love how you take basics that every woman needs
and apply your own spin on all levels—a flattering
cut, sustainable materials and beautiful colors. It is a
theoretical layering that translates so cleanly in your
work. Are you thinking about these things when you
design, and how does it all come together?
Yes, I am definitely thinking about classic staples in a wom-
an’s wardrobe that can be dressed up or down and worn
in a variety of situations. Comfort is a huge factor in my
clothing. I think about putting that comfort into business
and evening clothes. In the end, I am honestly just making
clothes that I really want to wear. I am not super flashy, I
like to look classic yet very unique and urban...it's definitely
my personality that you see in my pieces.
Is inspiration something that you find close to home,
or is it something you must seek?
I am literally inspired by everything around me. I realized
the other day that my house is full of things that I have
found along my way and have been drawn to; I seem to
have surrounded myself with inspiration. And I am greatly
inspired by nature, everything in nature is so beautiful to
me, so full of energy, and just taking a walk with my dogs
through the park will give me tons of new ideas.
What kind of advice would you give a young designer
looking to pursue this dream?
Just go for it! Etsy is such a great place to start; you don’t
have to have an entire line to have a shop, it can be a work in
progress. Along the way you’ll fine-tune it all. It’s just impor-
tant to take the first step and believe in yourself and do it.

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NADINOO
BY NADIA IZRUNA
http://www.etsy.com/shop/nadinoo
Nadia Izruna’s clothing is the kind one would wear to remedy
a rainy day. Using silks and cottons from Liberty of London,
Nadia is able to create a whimsical allure that is happy, flirty
and fun. Nadia studied Fashion Design and Technology at the
Manchester Metropolitan University and is currently based
in London. She launched her first collection last year and gar-
ners inspiration from the three fictional characters she cre-
ated that embody Nadinoo: “Pixie is quirky, playful and spon-
taneous, Lula is more bold, sexy and a little cheeky, whereas
Fleur is a delicate flower and a dreamer.”

How did it all begin for you as a designer?

I interned for a few small independent designers while study-
ing [at MMU]. I was lucky enough to be offered a job by Puma
before graduating and worked there for a total of 3 years after
completing my degree. Working for a brand gave me a great
insight into the clothing industry and designing for a commer-
cial market. I got opportunities to travel for research and visit
factories in the Far East to further understand processes. All
this has been invaluable to me when starting up Nadinoo.

I see a harmony between the prints you use and the cut
of the clothes. Is this something you are conscious of?
I usually design each piece for the fabric, considering the
drape and color of the print to achieve a well balanced gar-
ment. Sometimes I can pick up a print and imagine it as a per-
fectly finished garment. I love working with Liberty of London
prints as they are so beautiful and inspiring, they give such a
playful feel to my collections.

What has surprised you most about being a designer?

I think it’s the short time you actually spend designing in a
season, this was also the case when I worked in industry.

What’s more important—inspiration or hard work?

At the moment I feel like my time is divided 5% inspiration and
95% hard work, so I would have to say the latter. I think the hard
work comes when realizing these inspiring ideas, as there are so
many important processes that go into the making of a garment.

Are you finding that inspiration is something that is

close to home, or is it something that you must seek?
I’m a very visual person so I always need fresh ideas and inspi-
ration to keep me fueled. When designing, ideas can be triggered
by visiting an exhibition or scouring through vintage stalls.

What kind of advice would you give a young designer

looking to pursue this dream?
I would advise to get involved with clothing in any way you can
from as early as possible, whether it’s courses, internships or sim-
ply working in a clothing store. Always challenge your skills and
creativity. Try to craft and design your own wardrobe tailoring it
to your own needs and taste level, it will give you a hands on way
of exploring clothing. I always design clothing that I will wear my-
self, it’s important not to remain detached from the end purpose.

16 MAY/JUNE 2010 www.papercutmag.com

FASHIONABLY LEARNED
THE TIMELESS FASHION OF AN EDUCATION

Written by ERIN BERRY

Although Lone Scherfig’s An Education may have been lost in the

debris of the more action-packed box office hits this year, there is an as-
pect of the movie that shines through, even in Iron Man’s wake—I’m talk-
ing, of course, about the fashion. The film, based on the memoir of Lynn
Barber, follows Jenny (Carey Mulligan) as a young Oxford-bound British
schoolgirl embarking on a romantic journey into adulthood behind the
coattails of a mature gentleman caller named David (Peter Sarsgaard).
Jenny is swept from her quiet and studious environment into a fast-
paced and glamorous lifestyle that she is eager to swallow while still
bound by her 16 year-old innocence. Just as she is evolving into a young
woman, the viewer can’t help but notice the subtle blossoming of her
style. In the beginning, the drab wool school uniforms and plain straight
hair mirrors her boredom as she commits her life to being accepted into
Oxford. She is initially timid to open herself up to her new suitor, and
her plaid turtleneck dress suggests her conservative disposition without
losing its forbidden-fruit appeal. David eventually works his cunning
conversational skills on her parents, enchanting them and her into his
dangerous escapades of liquor, sex and thievery. As she dives further
into her affair, Jenny’s style becomes bolder with a sexy white chiffon
dress, a splash of blaring orange to accentuate her bare shoulder, over-
shadowing her premature lunge into the grown-up world.
We can relate not only to Jenny’s desire to live like a grown-up but
to her style as well. Certain garments that were fashionable during the
1960’s, such as pea coats with toggle buttons, colorful embroidered car-
digans and classic trench coats have been revived every decade, proving
that some things never go out of style, they are only updated. The idea
also harks back to every girl’s childhood days when she would dress
up in her mother’s clothes. In fact, Jenny later realizes that her adven-
tures are a farce and that she was simply playing her own “dress-up”
game. Her character embodies the age-old, culture-implanted desire to
be swept off one’s feet by a strapping lad, even after the female sexual
revolution. This traditional attitude is reinterpreted in the more con-
servative fashion trends hitting the market today, which in turn gives
the movie a timeless appeal—as if it could have been documenting the
current time period.
Jenny reaches a point of euphoria when David takes her to Paris
for the weekend. There, she not-so-reluctantly gives herself to him in
a final move that she believes will seal her into maturity. She wears a
stunning Impressionist print dress to emphasize her playful breakaway
from her once drab life as a young schoolgirl. When she returns, she
feels brazen and mature, smoking cigarettes and skipping class to visit
fancy jazz clubs. She criticizes her teacher when she is warned against
failing for “selling out” and entering the boring world as a plain teacher.
Jenny’s new world soon crumbles, however, upon hearing that David
is in fact married and she is just one of many young girls taken by his
charms. She begs the headmistress to give her another chance to study
at Oxford and her modest style returns as she becomes more subdued
in her struggle to win back the trust of her teachers. She admits to be-
ing duped by David and romanticized by the glamour of a more colorful
world when she maturely exclaims “I feel old, but not very wise.” Jenny
did not only get “an education” about art, literature, fashion, and Paris,
she learned how thin the line is between child and adult.

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18 MAY/JUNE 2010 www.papercutmag.com
19
 CALA OSSIDIANA
IS A MODERN LUXURY SWIMWEAR COLLECTION, INSPIRED BY THE
EXTREME NATURAL BEAUTY OF LIPARI ISLAND, OFF THE COAST
OF SICILY. USING BEAUTIFUL ITALIAN FABRICS, DESIGNER
ANNE PACHAN CREATES STYLISH AND SEXY SUITS
WITH AN AMAZING FIT.

For additional information and where to buy, visit

www.calaossidiana.com

PREVIOUS PAGE AND THIS PAGE: Swimsuit: CALA OSSIDIANA knot-back maillot in fuschia ($295); sunglasses: model’s own.
20 MAY/JUNE 2010 www.papercutmag.com
21
 Swimsuit: CALA OSSIDIANA sheer inset bikini top ($125) and bottom ($125) in lapis (bright blue) with obsidian (black) mesh; sunglasses: model’s own.

22 MAY/JUNE 2010 www.papercutmag.com

Swimsuit: CALA OSSIDIANA double-layer tank ($255) in lapis (bright blue) on deep sea (navy).

23
24 MAY/JUNE 2010 www.papercutmag.com
Swimsuit: CALA OSSIDIANA double-layer tank ($255) in
obsidian mesh on obsidian (black); Hat: stylist’s own;
sunglasses: stylist’s own.

25
 Swimsuit: CALA OSSIDIANA bandeau bikini top ($135) and bottom ($135) in obsidian (black); necklace: stylist’s own; sunglasses: stylist’s own.

26 MAY/JUNE 2010 www.papercutmag.com

27
Swimsuit: CALA OSSIDIANA knot-back maillot ($295) in iona.

28 MAY/JUNE 2010 www.papercutmag.com

Swimsuit: CALA OSSIDIANA knot-back bikini top ($125) and bottom ($110) in obsidian (black).

29
 “PEOPLE SAY
FASHION IS FRIVOLOUS...”
A GLANCE AT FASHION’S MOVE TO TARGET DEVELOPING ECONOMIES.
Written by NORA S. GILLIGAN
During the Fall 2005 semester of my
time as an undergrad at Georgetown Uni-
versity, I had the opportunity to study in
Ghana, West Africa. Although abroad for a
research practicum, the majority of items
on my to-do list comprised somewhat of a
travel-tour of fashion: I had to check out the
intricate, colorful patterns of Kente cloth
in the markets of Accra, choose gorgeous
hammered gold and slick wood jewelry
pieces from local artisans in Bolgatanga,
and have a purse, dress, pants—something!
—custom-designed and sewn by a friend in
my rural home village of Navrongo. I even
came this close to getting a gold tooth cap in
Kumasi, like all the most beautiful women
did to show off their smiles in the sun.
For better or worse, I returned to the
U.S. at the end of my five months without
a gold tooth. I did, however, bring back an
appreciation and love for the artists who
worked doggedly to reflect their culture
through creating, with promise of little
return other than some small cash to put
dinner on the table. This theme ties in
well to that of the January 2010 United
Nations Conference on Trade and Devel-
opment (UNCTAD), which promoted the
viability of the fashion industry as a po-
30 MAY/JUNE 2010 www.papercutmag.com
tential source of economic growth for the
world’s least-developed countries (LDCs).
What if there was a more structured, col-
lective way of giving back to such talented
individuals and their communities?
UNCTAD Creative Economy and
Industries Programme official Carolina
Quintana imparts the need to “articulate
the concept of ‘creative economy’ to sensi-
tize government, private sector and civil
society about the economic, social and de-
velopment impact of these industries in
terms of job creation, social inclusion, in-
come generation for exports, etc.” Pending
this first step, government policies might
do well to support small business owners
and incentivise investors, as increased lo-
cal business representation will generate
revenue to play back into national econo-
mies. Moreover, the private fashion sec-
tor’s involvement with LDCs might make
or break the impact of a creative economy.
The industry holds the power to spotlight
emerging designers and give young tal-
ent an international stage outside of their
home countries. On a larger scale, labels
might consider a move to mass produc-
tion in the countries or continents where
textiles and other materials originate.
 The manufacturing partnership ideas
promoted by UNCTAD are not necessar-
ily new. For example, American Topshop
fans have been looking forward to the
stateside launch of the U.K.-based online
shop ASOS, and now perhaps even more
so given its collaboration with SOKO
Kenya. A clothing production group that
aims to provide sustainable solutions to
Kenya’s economic crisis, SOKO works
towards creating eco-friendly clothing,
fair employment, and training opportu-
nities for craftspeople and seamstresses
in Kenya’s poorest areas. With the “Asos
Africa” S/S 2010 line of Khanga fabric,
high-waisted shorts and headbands aim-
ing to support local and national trade, it
looks like the budget-conscious retailer
also has a social conscious.
Kenya is deemed a relatively stable
country in the developing world, despite
its ethnic tensions and rampant corrup-
tion. A program like SOKO has obvious
economic implications, but such initia-
tives can have a major impact politically
and culturally, too. Miami-based designer
Hassan Pierre produces a portion of his
green collection, Way It Should Be, in
Port-au-Prince, Haiti, providing jobs for
FROM L-R: Myself at a marketplace in Navrongo, Ghana; a young artisan in Bolgatanga, Ghana.
local seamstresses and giving back to
earthquake relief efforts. A feature in Elle
magazine’s July 2010 issue highlights
Edun’s Conservation Cotton Initiative’s
(CCI) “grow-to-sew” program in Uganda.
Author Alexandra Marshall travels to the
northern city of Gulu, recovering from a
violent, 20-plus-year civil war, to meet
with a local farming collective. Today,
community members of all ages harvest
100 percent organic cotton to produce
blank T-shirts for wholesale to bands
(for concert Ts) and clothing companies
(Guess is a recent partner). As recently
as 2006, however, many of these workers
were released from refugee camps meant
to “protect” them from guerilla group the
Lord’s Resistance Army (LRA). In the
camps, “LRA kidnappings continued, and
rape, malnutrition, and disease were ram-
pant.” On the outside, child soldiers were
addicted to “a mixture of cocaine, heroin,
and gunpowder…and forced to kill, rape,
and mutilate their friends and families.”
The Ethical Fashion Forum, a non-
profit that aims to transform social and
environmental standards in the fashion
industry, estimates that approximately
30,000 people are employed in the ap-
parel sector in Kenya, each job generating
five additional jobs. In Swaziland, 28,000
jobs created in the fashion sector benefit
100,000 people. In Lesotho, $234 million
in textiles and apparel products were ex-
ported in 2001, equating to 94 percent of
merchandise exports. The humanistic re-
sults of fashion aid, however, are more dif-
ficult to quantify.
In our last issue, I explored the fash-
ion world’s (potential) impact on eco-con-
sciousness and the green economy. This
article opens discussion to how the cre-
ative industries, and fashion in particu-
lar, can target economic development in
the nations that need it most. In this era
of increasing globalization, it is a sign of
the times that fashion is becoming a major
player in social movements and height-
ened global consciousness. I tried my hard-
est to avoid using Marshall’s closing line
in Elle, but I think Edun’s Ali Hewson re-
ally did say it best: “It’s only the beginning.
People say fashion is frivolous, but in its
own way, it can change people’s lives.”
31
32 MAY/JUNE 2010 www.papercutmag.com
ON THE
VERGE

EACH ISSUE WE SET OUT

ON A SEARCH FOR THE
HOTTEST NEW TALENT
AROUND. WHETHER IT
IS EMERGING FASHION
DESIGNERS, ARTISTS, OR
MUSICIANS, YOU CAN
BE SURE IT WILL BE THE
LATEST AND GREATEST.

33
34 MAY/JUNE 2010 www.papercutmag.com
KITTENS
PUPPIES
AND
BEARS!
OH MY.
LONDON-BASED ARTIST JULIA POTTS IS TAKING
THE ART WORLD BY STORM ONE CUTE LITTLE
ANIMAL AT A TIME.

Interview by BRITTNEE CANN

35
 Name:
Julia Pott
Age:
24
Where you're from:
London, UK
Where you live now:
London as I write this, but I'll actually be spending the next 3
months in New York.
What you do (besides be awesome everyday):
Honestly, it's difficult to fit anything else in, but on my off
days I try and do a little illustration and animation.
Education credentials: (did you go to school?)
I did, fully schooled! I did my BA at Kingston in Animation and Il-
lustration and now I'm doing my MA at the Royal College of Art.
First and foremost: how and when did you first
start illustrating?
I think I've been drawing ever since I can remember. My mom
and I illustrated a story about an undercover scuba detective
when I was very little (which is probably the best thing I've done
to date) and I used to tell people I wanted to work for Disney.
And when did you start to dabble with animation?
In my second year at Kingston I made a shockingly bad walk
cycle. The characters legs were all over the place and she sort
of shook around a bit by accident. But apparently that didn't
dissuade me from going back for more!
We are going to try not to get too nerdy here but can
you tell us what kinds of mediums you use to draw and
then what programs you use for animation?
It's all hand drawn and then scanned into Photoshop, colored
and then composited in after effects. I need to get a bit more
computer savvy though...I'm a little afraid of it.
Animals are a huge theme of your work and seem to
be your primary inspiration. Where else do you find
inspiration?
I love big landscape photographs, especially mountains, suburban
houses, lakes etc. I also like to scout around and see what other art-
ists are up to, and the subject matter of my work is taken a lot from
what's going on in my life at the time. Like really cheap therapy.
Your “My First Crush” animation is super cute and a
huge hit on YouTube. Have you found that it has been
your most successful project?
It's certainly the most widely known and I have gotten a lot of
work from that one short film but I wouldn't like to say it was
my most successful project because I did it three years ago.
Maybe the public sees it as my most successful work because
it deals with a subject that everyone is familiar with, but I am
happier with work I have done since then.
What are some other projects that you are most proud of?
I definitely loved working on the visuals for The December-
ists, it was the best brief I've ever been involved in because we
had pretty much total creative freedom to create 16 minutes of
animation (and we got flown out to a mega-ace hotel in L.A. for
the screening....which wasn't bad either I suppose). My collab-
36 MAY/JUNE 2010 www.papercutmag.com
oration with Bat for Lashes was also a great project because it
was a new experience for me working with live action footage.
Wow, you worked with The Decemberists and Bat for
Lashes? How did that come to be?
Flux got in touch with me about being one of four directors to cre-
ate 15 minutes of visuals for The Decemberists album Hazards
of Love after seeing my video on Spike Jonze’s blog “We Love You
So”. Their only specifications were not to directly animate the sto-
ryline of the songs and just take inspiration from the mood of the
album. My 16 minute segment is a nonstop camera move through
this illustrated world with forests, animals and sky constellations
with the camera occasionally zooming through the molecular
make-up of the characters and landscapes. The final results were
screened with a live performance by the band at Royce Hall in
L.A., which we were all flown out to. It was totally rad; one of
the best projects I’ve worked on. After seeing that work, Natasha
[from Bat for Lashes] got in touch with me about doing visuals
for a one off show. It was based on the illustration work from The
Decemberists, but it developed into a live action and animation
combo, shooting at night in forests and then integrating anima-
tions of glowing crystals and yetis in on after effects. It was a
great project because Natasha was so inspiring to work with and
it was much more of a collaboration with her as she fed in so
many of her own ideas. I co-directed it with Robin Bushell.
Your illustration blog is pretty popular. When did you
decide to start that up and were you surprised at how
much attention you gained from it?
I’m always a bit surprised that people like my work! It still feels
very weird to me that I have managed to make a career out of
the thing I love the most. I started up the blog around October
2007 after I graduated from Kingston. If you go back far enough
you stumble across some pretty embarrassing work!
Are you an avid reader of any other blogs?
Ooh yes, I have a few illustrator friends that I check in with
on a weekly basis, like Amy Brown, Lizzy Stewart and Stuart
Kolakovic, and I also like to hit up Motionographer, Cartoon
Brew, Jon Klassen, Kirsten Lepore and sometimes I sneak a
peak at my favorite fashion blog Liebemarlene.
You have an upcoming fashion collaboration...can you
tell us about that? Are you excited to see your work
extend into the realm of fashion?
I am so stoked about this collaboration! I can't really men-
tion who it's with but I loved working with them, they were
so encouraging. I have always wanted to get into T-shirts and
clothes in general so this was the perfect commission. I also
have some screen printed T-shirts coming out in October with
a different company.
Ain’t no shame in a little self-promotion... give us the
links to your website, blog, and Etsy account.
Sounds good to me! My website is: www.juliapott.com my blog
is: http://juliapott.blogspot.com and my Etsy is:
http://www.etsy.com/shop/Juliapott
WANT TO SEE JULIA’S VIDEOS SHE
DID FOR THE DECEMBERISTS AND
BAT FOR LASHES? THEN HEAD ON
OVER TO THE PHOTO/VIDEO PAGE
ON OUR WEBSITE & CHECK IT OUT!
WWW.PAPERCUTMAG.COM
37
38 MAY/JUNE 2010 www.papercutmag.com
“ I'M ALWAYS A BIT SURPRISED THAT PEOPLE LIKE MY WORK! IT
STILL FEELS VERY WEIRD TO ME THAT I HAVE MANAGED TO MAKE A
CAREER OUT OF THE THING I LOVE THE MOST.
”

39
 ABOUT FACE
FROM CHILDHOOD “CAVE PAINTINGS” TO MODERN MASTERPIECES,
NICK WARD IS CHANGING THE FACE OF THE BOSTON ART SCENE.
Interview by NICOLE BECHARD

Name:
Nick Ward

Age:
29

Where you're from:

Battle Ground Washington

Where you live now:

Boston

What you do:

Paint pictures, graphic design, work with musicians or help
people save energy, depends on the day of the week.

Education credentials: (did you go to school?):

…

Alright then, let's start at the beginning: How did you

first become interested in painting (or art in general)?
Well, when you are a kid you are overflowing with imagina-
tion and creative energy. You come up with stories and color
with your crayons on the walls or whatever. I always remem-
ber drawing on the walls of big storm drainpipes with wild
blackberries that grew at the entrance.

Drainpipes with blackberries? Where did that come from?

The pipes were fun to climb in, the blackberries grew right
there and the juice made a nice stain on whatever it touched,
so…I mean, I was a kid, I would have found a way to turn
anything into an interesting game. This perfect “cave paint-
ing” setup just happened to be nearby. In any case, eventually
you grow up and the world beats that out of you. Fortunately
for me, I never quite got around to that last part and just kept
creating, except now I have a few more years of experience to
pull from so the drawings get more advanced.

What gets you "in the mood" (to paint that is)?
That is a tough question because it really changes day to day
and minute to minute. Really, I have found that I have to stop
waiting to be in the mood and just start painting. It is always
tough to get started, but once I get a little momentum and
start enjoying what is happening on the canvas I won’t want to
stop working. So I guess painting puts me in the mood to paint,
it also puts me “in the mood”…for some reason.

Ahh I see. And what was the mood like today?

Today was full of distractions and low energy. Bad day for paint-
ing so I have been working on some design projects instead.
Continued on the following page

40 MAY/JUNE 2010 www.papercutmag.com

41

That’s right, you also do graphic design. Do you feel
you have more of a background as a traditional artist
or graphic artist?
I suppose, technically, my background is in design because
that is what I went to school for. Really, in my mind there is not
much difference between the two. For instance, I paint a lot of
people but that doesn’t mean I couldn’t paint a landscape. The
boundaries between fine art and design and craft are getting
more blurred every day. The root of it all is a person’s creativ-
ity, the rest is just learning the technical skills, which, like
anything else, just takes a little practice. Art definitely came
easier, though. I have always been naturally fairly good at ren-
dering (drawing) things. Design on the other hand is really
based on a whole set of rules and ideas that have to be learned.
You primarily use images of people in your paintings.
What about this subject inspires you?
I always think the most interesting works of art are based on
real experiences. Growing up, my family was not wealthy but
we were never ‘where is the next meal coming from’ poor either.
Beyond that, we were pretty close and generally everyone got
along well. I mean, honestly, I never really had any massive ob-
stacles to overcome that would have given me that life-changing
experience to base my imagery on. However, I have met a lot of
interesting people along the way. Like most people, the relation-
ships I have had have really shaped who I am today. Really, I
have always been interested in what motivates people to do the
things they do. It is just so fascinating, the way people will try to
look and act differently based on who they are interacting with.
It’s such a fundamental part of human behavior, so hopefully
that means the art is easy to relate too.
Are you trying to convey any particular message in
your pieces (whether it be subliminal or obvious)?
I am not trying to convey any particular message as much as I
am just reflecting what is happening around me. I mean, there
is no moral to these stories; the people in the paintings are not
right or wrong or anything like that. I am just trying to exam-
ine our culture and how it affects peoples behavior.
What "effects" have you found so far? Anything of note?
Well, I mean, you didn’t just wake up this morning, see some
pigments and come up with the concept of makeup. You didn’t
just decide one day that you should paint your face to feel your
best. Obviously it’s all cultural influences that have been de-
veloping over time.
How did the “makeup girls” series come about?
I was dating a girl who just spent a lot of time and energy
doing her makeup every day. Obviously I appreciate that she
42 MAY/JUNE 2010 www.papercutmag.com
wanted to look her best and I enjoyed the results of all that
hard work, but at the same time, from my perspective, it was
all so unnecessary. I mean, she was already an attractive girl
without it, so why waste so much time and energy? I often
found it frustrating and developed such a love-hate relation-
ship with this process. It always sounds so strange when I say
it out loud, but that was really the case. So it just got me think-
ing about why she was compelled to do this. I started photo-
graphing the process of all these girls applying their makeup
and I was always catching them making the most awkward
faces. I just took that idea and ran with it, painting these ugly
moments that are all in the name of beauty. Hopefully people
aren’t taking the paintings too seriously, I want them to be
lighthearted and it’s not really my intention to have a laugh
at these girls’ expense or to say makeup is bad or something.
Generally, these girls are all my friends and doing this is mak-
ing them feel better about themselves. Clearly, if something is
making people happier about themselves I am for it, but, at
the same time, I still want to ask why.
What are your thoughts on the Boston art scene?
This question could be a whole new interview by itself! Boston
is packed full of good schools and there is more than enough
money floating around to support the arts, but unfortunately
it is living in New York’s shadow. We really have the potential
to become a great city for the arts, but quite frankly the art
scene is currently pretty weak. Beyond that, pickings are so
slim around here that people seem to have given up on trying
to work together to build the community as a whole.
You should start a movement.
You are totally right, I should. Unfortunately I am relatively
alone in Boston when it comes to this style of work, so at the
moment, it would be a pretty small movement.
What are some other projects that you are most proud of?
I don’t know, the project I am most proud of is always the one
I just finished. Whenever I look back at older projects I just
think of how much better I could do it now. Really though,
when it comes to creative work, the faults are just as impor-
tant as the strengths. Right? I mean, often the mistakes are
what end up making something work in the end, so I guess I
need to change my attitude on this.
Self-promotion: Links to your site, blog, etc?
You can find me online at www.nickwardonline.com
“
I STARTED PHOTOGRAPH-
ING THE PROCESS OF ALL THESE
GIRLS APPLYING THEIR MAKEUP
AND I WAS ALWAYS CATCHING
THEM MAKING THE MOST AWK-
WARD FACES. I JUST TOOK THAT
IDEA AND RAN WITH IT, PAINTING
THESE UGLY MOMENTS THAT ARE
”
ALL IN THE NAME OF BEAUTY.
43
 THINK
OUTSIDE
THE
CANVAS.
ARTIST. ILLUSTRATOR. DESIGNER. JULIAN GUZMAN
HAS GOT IT ALL COVERED...LITERALLY.

Interview by HAYLEY MAYBURY

44 MAY/JUNE 2010 www.papercutmag.com

45
46 MAY/JUNE 2010 www.papercutmag.com
Name: you to the starting point, but it is your journey and adventure
Julian Guzman for you to discover.

Age: What are your thoughts on the Boston art scene?

24 The Boston art scene packs some serious talent. It is a small
city where you run into a lot of the same people. You can usu-
Where you're from: ally find some sort of art event or party every weekend to fill
A super small town in central Massachusetts called Southbridge. that void of creativity that might be lacking.

Where you live now:
I currently live on Mission Hill in Boston.
What you do:
I am a freelance graphic designer and artist.
Education credentials:
I studied architecture at Wentworth Institute of Technology.
Let's start at the beginning: How did you first become
interested in creating art?
I became interested in creating art as a kid. I have an older
brother who constantly won awards and was a naturally gifted
artist. So this, in turn, sparked my competitive edge to become
just as good and to develop everything that much further. Also
what helped is the encouragement of my teachers to explore
many avenues of art.
What gets you in the mood to create?
What gets me in the mood to create is the creative people that I
am surrounded by. If you surround yourself with talented people,
it pushes you that much further to progress your work and brings
out something that you might have not noticed before. They act
as a great springboard and a well of information/source of inspi-
ration. That and any form of caffeine, i.e. Red Bull and coffee.
What are some projects that you are most proud of?
Some of the projects that I am most proud about are my show
in my hometown and a solo show I had in Somerville. The
show I had in my hometown was very humbling and was a
chance to give back to my old community that nurtured me
through my young life. My "Future Complex" show at Chorus
Gallery in Somerville (really rad dudes: www.openbicycle.com
and also www.chorusgallery.com ) was a solo show where I put
months upon months of time and effort into every piece. It felt
rewarding to visualize all my hard work and have it received
very well by the public.
Self-promotion: Links to your site, blog, etc?
I have links galore. My website is www.skriptboston.com
Flickr: http://www.flickr.com/photos/skriptboston/
Coming soon: www.theyellowgum.com (a visual inspiration
blog to refresh your brain) and of course, a shout out to my boys
www.thatsthehookup.com

You primarily do print and stencil work. What about

this inspires you?
For my print and stencil work, what inspires me most are pho-
tographs. It always starts with a concept, then you do some
image research, find a photo to capture things from, illustrate,
and either print/cut or screen print or produce an inkjet ar-
chival print. For me a big part of the fulfillment of stenciling
comes from the process. From illustration, to paper print outs,

“
to weeks of cutting the stencil with an X-Acto blade, to the cal-
lused fingers, to spraying the layers, I enjoy its tedious and de- FOR ME A BIG PART OF THE
manding course because it produces exactly what I envision.
FULFILLMENT OF STENCILING
How did you get into designing snowboard/skateboard
decks and sneakers? COMES FROM THE PROCESS.
For me a canvas is a canvas no matter what material it may
be. I take from what I know and go from there. I snowboard FROM ILLUSTRATION, TO PAPER
and skateboard, so it is a natural decision to try and create
your own board. I mean, who doesn't want to ride their own PRINT OUTS, TO WEEKS OF
board? As for sneakers, it’s always been an obsession of mine.
From buying absurd amounts, to painting customs to modify- CUTTING THE STENCIL WITH AN
ing materials, sneakers were always a great source of expres-
sion. I have always thought you can tell so much about a per-
X-ACTO BLADE, TO THE CALLUSED
son by what kind of shoes they are wearing.
FINGERS, TO SPRAYING THE
Are you trying to convey any particular message in
your pieces?
LAYERS, I ENJOY ITS TEDIOUS AND
Each piece I do has some sort of message/meaning. Some DEMANDING COURSE BECAUSE
might be as plain as day and some are buried deep inside the
canvas. I like to let the viewer make up their own ideas as to IT PRODUCES EXACTLY WHAT I

”
what each painting means. I don't like to impose my views on
what someone might interpret my paintings to be. I can lead ENVISION.
47
 The opening reception for the ISABEL TOLEDO retrospective at the F.I.T. Museum in June 2009. All photographs by Bianca Cortinas.

48 MAY/JUNE 2010 www.papercutmag.com

IS INNOVATION DEAD?
A MONEY-HUNGRY FASHION INDUSTRY IS A MAJOR OBSTACLE
FOR CREATIVITY AND INNOVATION.
Written by FALLON COSTER
The title ‘fashion designer’ encompasses all of
the people that create clothing in the billion dollar
fashion industry. In such a broad category of crafts-
men, fashion innovators are the small percentage of
those who view design in scientific and mathemati-
cal terms; they work towards invention. The chal-
lenge for these designers is finding appreciation in
a business that thrives on the mass market.
Today, fashion garments have become increas-
ingly simple and disposable. These characteristics
work to satisfy the needs of fast and inexpensive
manufacturing. Due to the industry’s immense
hunger for revenue, designers that create the most
profitable garments are celebrated and assisted,
while the overall value for artful designs has shift-
ed on the spectrum of importance. In turn, this has
caused talented innovators to stray away from run-
way lights, avoiding scrutiny.
Isabel Toledo of New York City is one innova-
tor that has stuck to her pioneering fashion phi-
losophy. She is an experimentalist and producer of
complex patterns, draping and tailoring work. De-
sign is all about invention to Toledo. She sees de-
sign as a science, using her knowledge of different
fundamentals to advance her work. Unfortunately,
after Toledo emerged into the fashion limelight,
she too received poor reviews from journalists at
WWD and Vogue. She was criticized for her uncon-
ventional design concepts and lack of connection
with current trends. Meanwhile, her impeccable
attention to detail and experimentation were ig-
nored by fashion professionals. After such dismiss-
al she has chosen to regress from the limelight so
she can continue to create fashion in her own style.
Toledo’s experience with the fashion industry is a
prime example of the precedence put on making
money rather than making history.
So many fashion innovators suffer in this
money hungry industry because they are trying to
construct garments that have the ability to dictate
the future of fashion. The irony is that the current
designs and trends mimic history, staying within
the current norms. These very collections are the
ones seen in the public eye and highlighted in
fashion magazines.
The fashion industry is focusing on broadcast-
ing the most wearable designs that will inspire cus-
tomers to make purchases. These garments have to
be something that the average woman will want in
her closet, which unfortunately doesn’t pertain to
the most monumental designs. These pieces show-
case simplicity with a few eye catching details, leav-
ing the latter in the dust.
Unfortunately, the battle to make history in
fashion and create garments that are truly mod-
ern is an extreme task. Such innovators are seen
as extremists, unable to reach out to the general
public. However, years from now, these designers
will be seen in history as the ones that kept fashion
as an art form alive and growing. Just as Gabrielle
Chanel was viewed as an outrageous designer in
the beginning of her career, she is now seen as a
pivotal designer in fashion history. Since the indus-
try has downplayed the designers who are creating
truly new designs we have to wonder, who will be
the designer to bring fashion into the 21st century?
49
 REAM STATE
Photographed by HELEN TRAN
Hair/Makeup by SHELLI COHEN
Styled by CHRISTOPHER MASSARDO

50 MAY/JUNE 2010 www.papercutmag.com

THIS LOOK:
Lipstick: NATURE'S OWN in Hot Chocolate
and Classic Clay; Lipliner: LORD & BERRY
in Natural; Blush: NATURE'S OWN in
Tawny Rose and Pink Shell.

51
52 MAY/JUNE 2010 www.papercutmag.com
53
54 MAY/JUNE 2010 www.papercutmag.com
THIS LOOK:
Eyebrow: L'OREAL Wear Infinite Soft
Powder Eyeliner in Brown Suede;
Eyeshadow: L’OREAL Wear Infinite Star
Secrets Eyeshadow Quad Andie’s Neutrals;
Eyeliner: INGLOT FREEDOM Shadow in
Black; Blush: NATURE'S OWN in CInnamon
Toast; Lipliner: PRESTIGE Lipliner in
Tomango; Lipstick: L’OREAL Colour Riche in
British Red; Mascara: MAYBELLINE Great
Lengths Mascara in Black.

55
56 MAY/JUNE 2010 www.papercutmag.com
THIS LOOK:
Eyeshadow: INGLOT FREEDOM Shadow
in Royal Blue and Gold; Blush:
NATURE'S OWN in Pink Shell; Lipliner:
RIMMEL in Natural; Lipstick: REVLON
Super Lustrous in Nude.

57
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59
 SUMMER BEAUTY: GO BOLD
PRODUCTS THAT WILL KEEP YOU SIZZLING ALL SUMMER LONG.
Written by BILLIE D. MCGHEE

60 MAY/JUNE 2010 www.papercutmag.com

SEPHORA PERFECTING TINTED MOISTURIZER WITH SPF 20 IN
“TAN 35 BRONZE”
When your full makeup routine is too much for the
summer heat, skip the foundation and just use a tinted
moisturizer. It moisturizes and gives your face a little color.
It even comes in SPF 20!
$21, Sephora.com

GARNIER FRUCTIS STYLE BRILLIANTINE SHINE GLOSSING SPRAY

When the sun hits your hair you don’t want it to look flat.
Keep your mane looking shiny and new with a spritz of this
spray. Just don’t over do it! Nobody wants greasy hair.
$5, Drugstore.com

ESSIE NAIL POLISH IN “TART DECO” AND OPI NAIL POLISH IN

“ELEPHANTASTIC PINK”
Pink and orange are great summer go-to’s for nail polish
and these hues add warmth to any skin tone.
$8 EssieShop.com, $8 Drugstore.com

MAKE UP FOREVER HD LIQUID MICROFINISH BLUSH IN “#8 PDA”

The heat can easily melt your makeup. If you can’t stay in
the A/C, stick to liquid or cream-based products to make
your look last all day.
$25, Sephora.com

PETER THOMAS ROTH INSTANT MINERAL SPF 30

If you’re not into slathering sunscreen on your face, then
this is a perfect alternative. Brush the mineral SPF 30
over your face to protect your skin from the sun, and keep
the convenient applicator in your car or beach bag for
quick touch-ups throughout the day.
$30, PeterThomasRoth.com

URBAN DECAY EYESHADOW IN “SIN”

Summertime calls for a little shimmer. This sparkly eye-
shadow brightens your eyes without being too overbearing.
$17, UrbanDecay.com

NARS LIPSTICK IN “NIAGRA”

A satin pinkish-coral that goes great with all skin tones.
Perfect for day or night.
$24, Sephora.com

COVERGIRL OUTLAST LIP STAIN

The perfect way to give your lips a little tint that will last
all day. No popsicle needed!
$8 Drugstore.com

LAURA MERCIER SMOOTH FOCUS PRESSED POWDER

WITH SHINE CONTROL
You may want shiny lips and nails, but your face never
wants to fall into that category. Keep this stashed in your
purse at all times to fix any shine spots throughout the day.
$32, Sephora.com

OJON HAIR REVITALIZING MIST

The sun can take its toll on even the healthiest of hair. Use
this after washing to seal moisture back into your locks.
$26, Ojon.com

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ZACK
LO
Interview by

FASHION
:
HAYLEY MAYBURY & NICOLE BECHARD

AT
THE
EDGE 63

Papercut Magazine: First things first! How did you get
started as a designer?
Zack Lo: I have been creating designs since I was a teenager,
and it was really my first love, but I did not have the courage
to pursue this passion immediately. In London, just before I
started my Masters program at Kingston University, I met a
fellow Taiwanese native. He was in London studying shoe de-
sign, and his family owned a shoe manufacturing business in
Taiwan. We started to design together—a collaboration. That
was fun. But soon I was designing on my own, and got encour-
agement from some industry people in London to create my
own first collection. That is ‘The Voodoo Circus.’
PM: Have you experimented in designing any clothing or
other accessories?
ZL: I am currently experimenting with handbags and small
leather goods. The response to the first collection has been so over-
whelming, which is exciting. And we have had many requests from
women and retailers about accompanying accessories that comple-
ment the shoes. We hope to have a small line available in 2011.
PM: How about apparel design? Is that something you
would like to get into as well?
ZL: I have concepts for apparel. Particularly a line of party
dresses inspired by the shoes, but at present I am most focused
on the shoe collections.
PM: Where do you manufacture your shoes?
ZL: The Voodoo Circus collection is hand crafted in Taiwan.
The fine leathers and exotic fabrics come from all over, though.
I design in London, and then go to work with the manufacturer
to get all the details in my designs just right. It is a long pro-
cess, but a rewarding one. Although the crafting of the shoes
64 MAY/JUNE 2010 www.papercutmag.com
is overseen by me, many of the embellishments and fine fabric
details continue to be created by me. It is a nice balance, and
I try to maintain creative process in the manufacturing. Also,
I get a lot of inspiration at this time—seeing what works and
what needs adjustment, and that is always exciting. Like al-
chemy taking place.
PM: I [Hayley] had the opportunity to try on one of your
designs, and I must say, they are so comfortable! You
somehow manage to unite both beauty and comfort into
fabulous footwear. How do you do it?
ZL: I think it is very important to listen to what women want
and the endless ways they think about fashion. I never want
to compromise comfort for style or luxury. This is my personal
mantra of sorts. When developing the structure of the shoes,
we sampled them on many different women—both those who
wear heels all day, and those that almost never wear them.
This feedback—about what was comfortable and what was
not—greatly influenced the final product.
PM: What types of vendors do you plan on selling to?
ZL: We would like to see Zack Lo Shoes in several major US cities
by the end of this year; we will announce on our website where
and when they will be available. Women can also purchase the
shoes direct from www.zacklo.com. And we plan to host several
private buying events throughout the summer and upcoming fall
months—where women can come, experience the entire collection,
learn about what is available now and what styles will be coming
out in the months ahead and of course to try ON the shoes.
PM: Who would be your ideal retailer?
ZL: I think we would like to see our shoes in retail outlets
that offer women fashion choices. I think that fashion should
always be personal—a deep reflection on how we see ourselves
and how we present ourselves to the world. I believe in having
choices that express how we feel, and that these choices often
mean difference. I always say that what we choose to wear tells
the story of who we are, but at the same time a sexy pair of
high heels can lift a woman’s mood sky high! Some fresh and
fun accessories can make her instantly feel vibrant. The per-
fect little dress can feel like a treasure. I believe when we link
what we feel on the inside to what we wear on the outside, we
feel most connected to [the] world around us and everything in
it. This is fashion at its best! So, ideally I see my collections be-
ing featured in boutiques and stores where shopping can really
be a creative and artistic act of a woman expressing who she is.
PM: Right now you are based in Boston. Is this where
you would like to continue to grow your brand, or do
you have other plans for expansion?
ZL: We are looking toward European and Asian markets too,
but for the time being Zack Lo Shoes is focusing on America.
PM: What would you say is your biggest challenge as
an emerging designer in this area?
ZL: To be quite honest, I have found more advantages than
challenges. The close proximity to NYC helps tremendously
since there are so many more resources in the Big Apple for
materials, etc., and I think when you are working in a smaller
city, like Boston, that you can have many of the same advan-
tages and offerings of bigger cities, like London or NYC. It is so
nice to come back home to the Boston area to design. Flights
to London are not what they are in terms of time flying from
west to east. And because Boston and its fashion community
are intimate, it is possible to really get to know everyone and
what they are doing. I feel like this fosters great relationships,
and people reach out to me with projects and events that are
personal to them, and I am pleased to collaborate because of
our connection. Feels like family.
PM: Your new collection is called ‘Voodoo Circus’. What
is the inspiration behind this name and how do you feel
this collection exemplifies the idea?
ZL: The Voodoo Circus is partly a collaboration with my cre-
ative team. We had many discussions about the nature and
character of the shoes, which I often describe like characters
in a play. This is why all the styles in the collection were given
names that express what the shoe is about design-wise, like
Lipstick Zombie, Bumble Zoo and Popcorn Diva.
I knew I wanted to use the concept of Voodoo—to express
mystery and dark beauty, rich and with lots of feeling; that
elusive sentiment and romance you see in the current vampire
craze in popular culture. You know, like the experience you get
after going to the fortune teller or getting a Tarot reading—ex-
“““““““““““““
I BELIEVE WHEN WE LINK
WHAT WE FEEL ON THE
INSIDE TO WHAT WE WEAR
ON THE OUTSIDE, WE FEEL
MOST CONNECTED TO THE
WORLD AROUND US AND
EVERYTHING IN IT. THIS IS
FASHION AT ITS BEST!
”””””””””””””
cited by the unknown and all the possibilities. I think fashion
should contain this feeling and excitement too.
Then Circus—to reflect the fun and youthful feeling that
is the shoes too. The “let’s party” aspect of being young, beau-
tiful, and vibrant; carrousel rides, first kisses, and long sum-
mer nights in the city. But for me circus is also about Picca-
dilly Circus and Oxford Circus as high street shopping places
in London. This was where I really got to discover everything
“vintage”, and to see the steady fashion parade of what women
were wearing and how they were expressing what they felt
about themselves. It is like a perpetual fashion show in the
street. I love this idea and it has influenced me greatly.
PM: Do you have any plans for men’s footwear?
ZL: I am considering a line of high heeled boots and shoes for
men. This is very challenging, however, since my personal design
aesthetic trends toward the extroverted. I think that men often
take less risk in terms of fashion, or they make statements that
are not as outwardly bold as women. I would like to change this
a bit in the future—at least in terms of men’s fashion footwear.
PM: Where do you see yourself going next? Any big plans
or future fashion collaborations?
ZL: I am currently working on a new mixed media collection. This
collection is inspired by multiple sources—a little bit costume fan-
tasy and really about Baroque and Rococo. I love the rich textures
and play of elements in these periods, as well as the elegant shapes
of the fashions. I have done a bit of historical research into heeled
shoes in this period, and keep coming back to get inspiration.
Zack Lo Shoes is working on doing some fashion videos
that will be quite dramatic and theatrical, so I am greatly en-
joying this process. We are also preparing for upcoming fash-
ion weeks in the fall and planning appearances in other cities.
But we will surely be here for Boston’s Fashion Week this au-
tumn. We have met so many wonderful apparel designers over
the course of the last year that have become interested in the
shoes in my collection, so me and my creative team are looking
forward to being a part of so many exciting events and exhibi-
tions in the very near future.
65
 PRETTY LITTLE
PLAYTHING Photographed by NATHAN TIA
Hair/Makeup and Styling by EVERETT HOAG
Wardrobe RI FASHION
Models MICHELLE STRUSSA & GUSTAVO LONDONO, SAFARI MODELS

For additional information and where to buy, visit

www.zacklo.com

66 MAY/JUNE 2010 www.papercutmag.com

 67
ZACK LO “Bumble Zoo” heels ($295)
68 MAY/JUNE 2010 www.papercutmag.com
69
70
ZACK LOMAY/JUNE 2010 www.papercutmag.com
“Black Magic” heels ($293)
71
72 MAY/JUNE 2010 www.papercutmag.com
 73
ZACK LO “Belladonna Boudoir” heels ($288)
74 MAY/JUNE 2010 www.papercutmag.com
 75
ZACK LO “La Stregha” heels ($283)
 THE NEW YORK CHRONICLES
SUMMER STYLE HITS THE STREETS.
Written by BRITTNEE CANN

H
ere in New York, spring only lasted about a week.
The weather jumped right from 50 and raining to
95 and humid. Being more partial to cold weather
dressing than I am to dressing for the heat, I have been com-
pletely dreading the daily make-up meltdowns, frizzy hair
and the ever so graceful trying-to-wear-the-least-amount-
of-clothing-possible-without-being-naked feat. So what is
the good news? Hot weather brings out some seriously hot
street fashion. Popular—almost ubiquitous—trends for this
year’s sun season that can be seen sprinkled around differ-
ent areas of the city are wild-style mixed prints, monochrome
outfits, feminine florals and nautical accents. But just as a
trained bird watcher knows where to look for different spe-
cies, the trends you see are entirely dependent upon which
New York neighborhood you are traipsing through.
I live in Brooklyn, close by the very trendy Williamsburg
area where fashion is an interesting item to watch. It is a spot
where kids are willing to wear just about anything and every-
thing without caring about your opinion on their style (which
is consequently why some of the best thrift shopping is there
as well). Over the last month I’ve seen some unexpected out-

76 MAY/JUNE 2010 www.papercutmag.com

fits during the weekends in McCarren Park, including mixed
prints, neon and the aforementioned almost-naked-but-not-
quite dressing illusion. Hey, in an area full of Gen Y liberals,
these sorts of things have come to be expected.
Across the bridge, in the East Village is where a suit-
ably more grungy summer is happening. It seems that the
punk kids just can’t give up their plaids and black jeans,
but they’re holding down the scene with pride, so I can
respect that. Retro shades, denim vests and studded ac-
cessories seem to be the approved way to maintain a rebel-
lious self-expression without melting into a puddle while
walking down St. Mark’s Place.
A little bit more westerly into SoHo and you’ll see all
the best of flowing sundresses and of-the-moment summer
sandals parading up and down Broadway. In the popular
shopping district where many of the city’s summer tour-
ists come to experience New York’s fashion scene, it is a
safe mix of trendy city dwellers and out-of-towners politely
asking, “Which way to Top Shop, please?”
All the way down the West Side Highway, from Chel-
sea into Tribeca, it is Manhattan’s beach season, where
New Yorkers lay out in their two-pieces on the city version
of a beach. That is, a patch of grass just in front of the
Hudson River. And even though that might sound a bit pa-
thetic with sailboats and jet skis cruising up and down the
coast, it really can feel like a mini aquatic vacation. Hence
why it is the place where not only the best swimwear is
seen, but also lots of nautical accessories like canvas boat
totes, braided rope belts and patriotic red, white and blue.
Uptown, around Central Park, is one area where even
when the weather is fluctuating a lot, the fashions are
not. Classic New York is chic and tailored, which is exact-
ly what you see walking the blocks around the East 60s.
Simple and elegant, yet simultaneously eclectic, lady-like
shapes and accessories are always in vogue here.
But no matter which borough or neighborhood you’re
in, you can bet that most New Yorkers are carrying around
a few of the same summer essentials: sunglasses, sunscreen
and a bottle of water. As for making the best of the blazing
sun, those of us lucky enough to have roof decks can at
least lie out to get a tan or host a BBQ with friends.
BRITTNEE CANN is a freelance fashion journalist for NY-based Fashionista.com
and also writes about fashion, music, art and other cultural musings on her
personal blog at www.brittneecann.com.
77
Papercut

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