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ISSUE SIX APRIL 2011
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HUBEN HUBENOV
EDITOR IN CHIEF /
FASHION DIRECTOR
[email protected]
SLAV
EDITOR IN CHIEF /
CREATIVE DIRECTOR
[email protected]
DEPUTY EDITORS
KRASSIMIR DIMITROV
[email protected]
VASIL SHTEREV
[email protected]
the views expressed in gia
magazine are those of the
respective contributors and
are not necessarily shared by
the magazine or its staff.
EDITORS
ANNA WARD
[email protected]
SVETOSLAV PETROV
[email protected]
YANA GEROVA
[email protected]
contributors
aleko osenski
argir kovatliev
asya filipova
bozhidara popova
calvin nymon
daria slusarczyk
gala mendes
julien cozzolino
kiril kovachev
lazar goushev
ruben marmol
sebastian troncoso
vasil germanov
yuhei nerome
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uni·form – noun \ˈyü-nə-ˌfȯrm\
for everything else
[email protected]
1. dress of a distinctive design or fashion worn by members of a particular
group and serving as a means of identification;
broadly: distinctive or characteristic clothing
4 NEWSCAST
6 COMMENTARY: PREPSTER MANIFESTO
8 EDITORIAL:
20 FEATURE: FLYING FASHION
24 EDITORIAL: WORKING CLASS
34 COMMENTARY: CLOTHING AND IDENTITY
36 EDITORIAL: PURITY
48 COMMENTARY: OFFICIOUS INDUSTRY
50 TRENDS: FOREVER IN TREND
64 FEATURE: HAIL TO THE SUN
66 EDITORIAL: FEMALE LIBERATION FRONT
82 EDITORIAL: DECLARE INDEPENDENCE
96 EDITORIAL: PROUD OF MYSELF
*
isabel de bruijn at fleming
models is photographed by
sebastian troncoso and is
wearing shirt sandro, jacket
sfera, trousers max mara,
belt roberto bellido
and hat stetson
styling by gala mendes
hair / makeup by ruben marmol
5
4
ALL IMAGES © LA MAISON BY KOTO BOLOFO
PUBLISHED BY STEIDL / WWW.STEIDLVILLE.COM
It will be fair enough to look at Cristóbal Balenciaga
through the words of some of his contemporaries
and fellow designers. Christian Dior called him ‘the
master of us all’ while Diana Vreeland said that
Balenciaga ‘brought the style of Spain into the lives of
everyone who wore his designs,’ and that he ‘was the
true son of a strong country filled with style, vibrant
color, and fine history.’
Balenciaga and Spain by Hamish Bowles (European
editor-at-large for Vogue, who has written many
books, including Jacqueline Kennedy: The White
House Years, Carolina Herrera: Portrait of a Fashion
Icon and Yves Saint Laurent Style) accompanies an
exhibition, which considers the impact of Spain’s
culture, history, and art on one of the greatest
designers of the twentieth century. From the opening
of his Paris fashion house in 1937 until his retirement
in 1968, Cristóbal Balenciaga created a cutting-edge
oeuvre that transformed the way women dressed,
and his impeccable standards seduced generations
of some of the best-dressed women around the
world. The book also investigates the impact of
Spain’s religious dress and ceremony, royal history,
regional costume, dance traditions, and splendor of
the bullfight as they relate to Balenciaga’s diverse and
innovative designs.
The Fine Arts Museum of San Francisco hosts the
expanded retrospective of Cristóbal Balenciaga’s
designs from March 26 through July 4, 2011.
The book is available at www.rizzoliusa.com
Obviously photographer Koto Bolofo has used his
unlimited access to the workshops of Hermès in the
best possible way. La Maison is an elaborate object
comprising eleven 11 hardcover books, housed in a
slipcase, which showcase Bolofo's painstaking seven
years' documentation of the Hermès universe. You
can expect an individual look onto craftsmanship,
from the manufacturing of saddles, silk scarves and
the famous Kelly Bag, to ready-to-wear, shoes and
perfume. Even the private Hermès museum on the
Rue du Faubourg Saint-Honoré is revealed. But at a
certain hefty price tag. £149, $238 or €175.
La Maison by Koto Bolofo is published this May
by Steidl. More at www.steidlville.com
7
6
WORDS KRASSIMIR DIMITROV, PHOTOGRAPHY STREETFSN.COM
I'm tired of seeing hipsters who pretend to be
hipsters, but I'm also tired of hearing all of this crap
against these poor skinny girls and boys.
Let's face it: there is a new breed of urban hipsters.
They are not (I repeat - they are not) like the hipsters
from the 40s listening to bebop with relaxed attitude,
dark humor and self-imposed poverty.
They are a new kind of hipsters – you know them very
well – listening to music, reading books and watching
movies that nobody has ever heard of.
They are skinny (and if they're not, they still wear
those skinny jeans, even if the fabric cannot take
the pressure from their bodies) and they are always
critical against the mainstream; till the moment when
the hipster movement itself became mainstream...
Then maybe the preps? Yes, they're spoiled rich kids,
but now that the hipsters can afford better lifestyle,
and the Royal Tenenbaums are so cool (if you haven't
heard about them then please at least pretend that
you know them, that's what a real hipster would do),
this could work out. But what will happen with all
those slim fit trousers, wayfarers, t-shirts with clever
slogans, and the Converse sneakers?
What about being unique? Well, why not make
something like the best of the both worlds?
And having money, full-time job and taking a shower
daily – it's not very hipster. It's sad, I know, but we
need to move on… and in the same time remain hip.
Hell, yeah.
Now, let the transformation begin.
Looking for a solution it would be a very good idea to
borrow something from other subcultures, wouldn't
it?
Probably the bohemians? They're so cool and have
nice clothes, but on a second thought – no, hipsters
are much cooler than them.
And here comes the equation:
Hipsters + Preps = Prepsters
FASHION RULES
You know that the hipsters have so many important
things to care about – like the environment, the
problems of the minorities, the poverty and the
hunger in the world – but in the same time they
cannot go out without having a conceptual outfit.
It's not that simple and the best fashion statement is
no fashion statement at all. So, let's keep the skinny
jeans, but this boat shoes are really comfortable, and
the blazers are so elegant (though, please, do not tell
this to anybody). And the black-rimmed glasses are
the best final touch ever. So, we got this issue solved.
exclusivity but with a classy touch – it could be just a
bow tie or a tote bag, but knowing the basic rules of
etiquette will not hurt and it's priceless.
MUSIC, MOVIES, BOOKS
So the party is set. The food…if you're fed up with
sushi, tasteless vegan meals or the secretly eaten
junk food, now a new world will be available to you.
Even if Martha Stuart and Julia Child are a little over
the top, a little gastronomic experiments will not be
so bad after all – and the unpronouncable for the
ordinary folks names are a huge plus.
Everybody knows about the hipsters' sophisticated
taste in arts.
But I also know (don't ask how) that some of them
have on their iPods music that they're ashamed
to admit that they listen to. So now the prepster
shouldn't hide this anymore.
But nothing mainstream – the prepsters are the
new intellectuals, right? So we can keep some of
the unlistenable music but then this could be an
opportunity to expand the horizon - classical music
could be an option.
Regarding the movies and the books - probably
something which is not indie and depressing could
also be interesting to watch.
PART YING, FOOD, DRINKS
The weirder the party, the better, the less people
know about it, the cooler it'll be – that's the leitmotif
behind every event that a hipster will attend.
Hosting/attending a prepster party equals again
Concerning the drinks, why not follow the advice
of the preppy New Testament – 'True Prep' (the Old
Testament is 'The Official Preppy Handbook' which
has been printed 41 times since 1980) of trying
Limoncello – a traditional Italian digestive, that seems
to be the secret new trend.
It seems that being a prepster could turn to be
something really hip. But please do not share this
with too many people because they could find out
that there are so subtle differences between these
two subcultures and probably between hippies and
hipsters, and the other subcultures...And in the end
of the day there's nothing new or original anymore.
Everything seems to be a meaningless meme, even
being a hipster.
8
photography vasil germanov / thinktanklab
styling huben hubenov
hair and makeup slav for max factor
model atanas at ivet fashion
this page: sweater 5+1 annapurna, poloshirt love moschino, necklace natalia brilli
next page: sweater alexander wang, trousers jean paul gaultier, sandals ann demeulemeester
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top paul smith, leggings ann demeulemeester
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man dress damir doma
13
jacket yves saint laurent, shirt junya watanabe, shorts vivienne westwood, accessory raf simons
14
shirt junya watanabe, shorts vivienne westwood, necklace natalia brilli
15
man dress damir doma, leggings ann demeulemeester
16
sweater alexander wang
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t-shirt valentino, poloshirt paul smith, shorts yves saint laurent
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cardigan damir doma, t-shirt 08sircus, trousers jean paul gaultier
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WORDS HUBEN HUBENOV
'Think of her as your mother. She only wants what's
best for you. A cool drink. A good dinner. A soft
pillow and a warm blanket.'
This slogan from a vintage advertisement of
American Airlines sums very well one of the reasons
why flight attendants will always have a certain
appeal, a certain kind of authority, a certain kind
of allure. After all, traveling by plane is kind of
intimate experience.
But the character of the stewardess itself is also
one of the most brightest popcultural symbols of
our time. And why is that? Isn't it just a service
personnel, in elegant uniforms?
Well, yes and no.
The answer is quite simple – the relationship
between fashion and stewardesses is one of the
strongest and of the most lasting in the modern
corporate world.
In the times after World War II, the public aviation
begins to take new dimensions. More and more
people start traveling by plane, and the idea of flying
begins to associate with the glamor and romantic
of the new modern society. Modernity manifests
itself through fashion and air travel. Precisely these
are the two main areas that offer the best career
opportunities for young women in the Fifties and
the Sixties. The cabin crew job becomes an idealized
dream of liberating, limitless and dynamic life, which
more and more women are seeking and longing.
Proportionally with this the stewardess figure begins
to transform into a sexual symbol, desired by more
and more men. Perfectly logical, the female flight
attendants evolve into something more than just a
staff – from the point of view of airline companies
they turn into the perfect marketing instrument.
Dior, Nina Ricci, Hermes, Pierre Cardin, Andres
Coureges, Christian Lacroix and Christobal Balenciaga.
But the real fashion revolution in the air space comes
around the same time with another revolution – the
sexual. In 1965, in the midst of hippie and mod
movements and the cult to the psychedelic prints
and bright colors, Mary Wells Lawrence, advertising
executive of the now defunct American airline
company Braniff International Airways, famous for
her brave marketing decisions, hires Emilio Pucci, to
breath new life into the dull uniforms of the company.
And he revives them well – with a shock therapy.
He dresses the Braniff stewardesses in A-line mini
dresses in psychedelic swirls, circles, spirals, and what
not, in turquoise, fuchsia, orange, bright green... He
even dresses the girls flying to Iceland and Greenland
in long fur coats! The final touch to the uniformical
euphoria of Braniff is the transparent spherical
helmet, which the flight attendants wear on the
runway, so that the wind doesn't mess up with their
perfect hairstyles.
That's why gradually more and more companies
realize how important is the appearance of their
in-flight crew, headed by the most 'fashionable'
brand – Air France, whose relationship with Parisian
couturiers dates from 1946, and by today the list of
names, who have worked on designing their uniforms, The philosophy behind the seemingly extravagant
includes designers and fashion houses like Christian
solution of Braniff and Pucci is actually quite
22
simple – the well-dressed personnel is happier and
respectively – flying turns into a more enjoyably
experience. Especially for the male passengers. The
concept is obviously working, because soon after
that many airline companies follow the example set
by Braniff – the once strict, kind of military uniforms
begin to show more legs, and more breasts, and the
muted corporate tones are replaced by brighter and
joyful colors. In 1968, United Airlines introduced
short A-line dresses, made in bright orange as their
new uniform and Allegheny Airline – white mini
dresses, with the company name splashed all over
them in all kinds of different typefaces. Even more
extreme example is the Southwest Airlines, who
dress their girls in hot pants and go-go knee-high
boots made of white leather, accept the motto 'Sex
sells seats', start serving cocktails with names like
Passion Punch and Love Potion, and experience a
dramatic raise in ticket sales...
Even the traditionally more conservative air
companies go with the flow of the new fashion. SAS
Scandinavian Airlines, don't reveal more of their
crew's bodies, but they change the corporate color
of the uniform to parrot green, and KLM Royal Dutch
Airlines freshen up theirs with different kinds of
accessories like belts and pillbox hats. In the early
1970s even Pakistani Airlines join the fashionable
competition and hire Pierre Cardin, who creates for
them the classic yet contemporary combination of a
tunic and trousers.
But like most fashion trends and fads, this too has
its end. In the late Seventies the change in flight
crew's clothing comes again from Braniff, when Roy
Halston is hired to design the new uniforms, and he
takes things in a more elegant and tailored direction,
typical for his fashion. Soon after that in names
like Bill Blass and Ralph Lauren enter the field of
air fashion, and the stewardess begin to step away
from the image of sex dolls. With the coming of the
1980s the cabin crews begin to rely more and more
on union alliances and the female flight-attendants
embrace the image of carreer women, thanks in part
of their new power dress uniforms, created for them
by the new wave of fashion design.
And this trend is remaining strong till today. Despite
the long and diverse list of names of designers and
brands collaborating with airline companies, which
includes Giorgio Armani, Julien Macdonald, Kate
Spade, Yves Saint Laurent, Coco Chanel and so
23
much more, more brave design solutions in the
contemporary uniforms are rare. Even the most
recent of such collaborations – that of Air France
and Christian Lacroix, otherwise known for his
flamboyant design – produced extremely classical,
tailored, minimal and even a little retro uniforms. But
we shouldn't neglect the fact that the job of a flightattendant is not what it used to be.
Today the stewardess figure has lost its lustrous
popcultural glamor, the profession is considered risky
and insecure, and not quite that elite, especially after
the events in September 2001. Nevertheless, the flirt
of aviators with fashion continues and there are no
indications of a change. Uniforms of different airline
companies are still an object of interest for the public,
and for the annual charts for the best dressed cabin
crew. And even though today traveling by plane is
taken quite serious and with a certain amount of
fear by most people, who knows what the future
hold, who knows if we won't become witnesses of a
Renaissance in the pleasure of flying, and with it – in
the appearance and fashion of those sweet people,
who are doing their best for us to be comforted in the
stressful situation that is a flight?
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photography sebastian troncoso
styling gala mendez
hair and makeup ruben marmol
model isabel de bruijn at fleming models
production www.plato24.com
vintage shirt chloe, jacket antik batik, trousers max mara, hat philippe model, vintage belt
26
dress louis feraud, belt mango
27
shirt sandro, jacket sfera, trousers max mara, belt roberto bellido, hat stetson
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vintage dress louis vuitton, skirt estefania borras, shirt essentiel
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shirt hanae mori, poncho sandro, skirt zara
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dress sandro, dress stefania borras, jacket guess by marciano
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shirt dacdac, trousers ann demeulemeester, vest guess by marciano
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accessories? And why we voluntarily accept to wear
some kind of uniforms?
WORDS KRASSIMIR DIMITROV
Have we defeated the conformity to wear
a uniform? Is it just a thing of the past?
I don't think so.
The main idea of the uniform is to distinguish certain
group of people from another. Just walk around in
modern cities and you will notice similarly dressed
people, people wearing identical clothes in London
and Beijing. But the more important question is
whether the modern uniform means only lack of
creativity, or is it the only way to be accepted
in the society?
Before tackling these issues this let's start by asking
a simple but crucial question: Who are you?
The existential question of inventing ourselves is
always on the agenda - human beings are in search
of their identity from the very start of their lives.
It begins with seeing that being a boy is different
than being a girl and continues with exploration
of different school of thoughts, subcultures and
hopefully one's own interpretation of 'I'.
This journey of self-discovery is one of the most
frustrating processes, but the curiosity and the
energy, that comes as a result, only make us ask for
more. This is a strictly individual search but in most
cases it ends up with a person associating to a certain
group. After all, man is by nature a 'social animal'
that looks for acceptance, feeling of belonging
and companionship. Obviously, nobody can be an
island. And for better or worse everybody is part of a
subcultural group, meaning that they do whatever it
takes to differentiate themselves from another group,
or from the larger culture they belong to.
All of these groups have their unique worldview and
symbols – music, movies, books, philosophy and
clothing. They choose how to see the world and how
they want the world to see them. The appearance is
the easiest way to demonstrate that you belong to a
certain group and the clothing is a powerful tool for
building identity. Choosing whether this is right or
wrong should be up to everybody.
The question that inevitably comes is why we
choose to express our identity through clothes and
Part of the answer is very obvious due to the fact
that we usually only look, and rarely watch and hear.
The clothes, the accessories, the hair and makeup
become the most distinguishing parts for a certain
group. You see a person dressed in black with long
hair and you have a metal, you see skinny jeans and a
plaid shirt and you have a hipster, the list goes on...
Dressing in a sort of armor to go out in the world
helps us demonstrate that we are members of certain
exclusive club. Just think of the white-collar workers.
In order to show to the society that they're successful
they dress to impress – the tie, the suit and the white
shirt – if you want to make business with them either
you should look like them or they will not take you
seriously.
I can't stop wondering whether we reached the point
when even the nerds should work on their wardrobe
awareness – take Mark Zuckerberg for example, how
he upgraded from the flip-flops.
Every different group has similar clothes and either
you choose to wear them or you will not get an entry
ticket. Nowadays most of the events, and the venues
that host them, have a strict dress code – you need
to wear this and you mustn't wear that. It's up to you,
but in the end you obey the rules. Isn't this kind of
uniform that we choose to wear willingly?
Yes, definitely.
These are the rules of the modern society.
On the surface we're pretending that we're fighting
against the conformity, but honestly, how often
you've judged a person for wearing the wrong
clothes? And I'm not talking only about the
dresscode at work - it's the same case everywhere.
Unfortunately there's no solution to this, but a good
way to fight it is to wear something that expresses
your own style – God is in the details.
Human beings will always prefer to live in a world
defined by rules - it makes it more bearable.
And yes, it's necessary for the modern society to be
governed by rule of law, but clothes, which could be
the only way a person to touch some kind of art,
let us break the conformity. Putting certain clothes
can transform you in whoever you want to be.
The power is so strong that you can use them as a
tool for re-invention, social climbing or for being an
outcast. But the only way to put this into practice
is to experiment even at a price of making mistakes,
because usually the mistakes are the reason
something new to be born. It asks for courage but
in the other case we will continue being ignorant
persons afraid of finding new versions of us; we're
just existing but not living.
36
photography vasil germanov / thinktanklab
styling huben hubenov
hair and makeup slav for max factor
model iva at ivet fashion
dress simone rocha, bracelets natalia brilli, rings and earrings ugo cacciatori
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dress simone rocha, bracelets natalia brilli, rings and earrings ugo cacciatori
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shirt and shoes ann demeulemeester, bracelets natalia brilli, rings and earrings ugo cacciatori
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dress max&co, earrings ugo cacciatori
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shirt armani collezioni, bracelets natalia brilli, rings and earrings ugo cacciatori
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dress simone rocha, shoes ann demeulemeester, bracelets natalia brilli, rings and earrings ugo cacciatori
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jacket jean paul gaultier, shoes ann demeulemeester, bracelets natalia brilli, rings and earrings ugo cacciatori
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t-shirt tao, earrings ugo cacciatori
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I must, however, confess that while researching Anna,
somehow I found myself liking her better.
I began to respect her perceptions of how to maintain
the image of an Internet fashion icon and how
serious she is about it, even though it seems
so superficial.
Speaking of superficial, who else to trash?
Oh, I know – Bryanboy!
WORDS VASIL SHTEREV
There is something ironic about the fashion
community. By 'ironic' I mean both sad and ridiculous.
The word 'stylish' seems to have lost its true meaning
lately, and it somehow turned into 'the means to
stand out in the fashion crowd'.
So, who are the biggest stand-outs?
Well, Anna Dello Russo for starters.
Honestly I don't really get what that buzz around her
is all about. Anna lives for fashion and fashion lives
for Anna. True. But every other post on the web is
about her, her apartments in Milan, the 4 000 shoes
collection. But everybody loving her just seems fake.
Why pretending?
Anna Dello Russo is like an overused media product.
It is always a good strategy to get her to wear your
designs because she is the million-impressions
billboard for no fee. On the other hand she seems
to try too hard to get noticed, like she is trying to be
the next Isabela Blow or something.
But can she?
At the moment he has no plans to do anything
else than blogging, and according to The Cut he is
blogging excellent - making more than $100 000 per
year. All that for just appearing here and there and
then publishing posts. And the ads of course.
But how did he do it?
Bryanboy is the other person whose appearance
I do not really appreciate despite following his blog
for a few years now.
Marc Jacobs loved him and now everybody does.
The power of popular minds, I guess.
But seriously, can you really like somebody, who calls
himself a 'boy' and then storms the streets with a
fur coat and Kenzo heels?
The lick-ass hierarchy in the fashion industry has
recently changed, and the reasons are so easy to
understand.
If Bryanboy attracts 100,000 visitors a day and you
give him an expensive garment as a present and win
his respect, he will expose it on the web and for a
week it will have reached nearly a million people.
And Anna will also have a lots of fun with it.
For just the price of a garment and the self-esteem
sacrifice. But all those reached will be the brands'
targeted audience.
Do you see the difference with the other promotion
channels?
What I appreciate, however, is that she confesses
her efforts.
I read an interview where she says that she is jealous
of Lady Gaga for having more followers on Twitter.
Maybe that is the reason why Dello Russo is about to
produce her very own single soon.
I don't quite understand what people are crazy about
in Bryan and Anna's appearance and behavior.
I have never been a fan of 'I can do it all' people and
that actually makes me follow this project of hers.
There are two possible outcomes - it will appear to be
a surprisingly successful step or it will be a ridiculous
try that will embarrass her, just like that Baptiste
Giabiconi video few months back.
The uniformity in people's behavior is something that
I will never truly understand. It is an odd lifestyle
choice.
Better be the cold and sophisticatedly-respectful
Anna Wintour than the theatrical and attentionseeking Anna Dello Russo. I don't judge.
Perhaps it's just because 'the community' is so falsely
obsessed with them, that most people are just afraid
to be demode.
But it would be great to see Bryanboy dressed like a
man for once, wouldn't it?
Recently, fashion is getting over exaggerated and
boring. Part of the problem are the people who
try too hard to get noticed, to get spread around
the web and become fashion-celebrities in spite of
sacrificing that sophistication and appeal the fashion
used to have.
And garments turn into raped monuments.
Raping isn't right, is it?
51
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words huben hubenov, photography aleko osenski, styling h&s, hair and makeup slav, model alexandrina at ivet fashion
While making this issue we wondered which is the
most appropriate trend to present? Which is the
uniform of the season? Is it the floral print?
Is it the stripe? Is it the bright colors? Nothing would
be conclusive, because in the ocean of different
interpretations on a subject, in the end of the day
there is nothing, that we can declare as a uniform.
We wondered a little more and reached the
conclusion that the only fashion uniform is that
which doesn’t change with time, that which we can
wear yesterday, today, tomorrow.
That which is not influenced by fleeing trends and
fads – a uniform, consisting of timeless clothes, that
every woman should have in her wardrobe.
WHITE SHIRT
The history of the shirt is taking us back in year
3000 BC. That’s why we won’t try to retell it, even
though its way to the everyday wear is tough. Until
the end of the 19th century, the white shirt is
considered underwear, and exposing it without other
clothes on top, was considered as erotic as we today
consider a man in his speedos, for instance. Despite
that, the shirt reached its status as a mandatory part
of the women’s and men’s wardrobe, especially after
WWII, and today its white variation is one of the most
interpreted types of clothing, varying in cuts, lengths,
collars, details – the list goes on.
shirt maison martin margiela, trousers and belt sportmax
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TRENCHCOAT
Even today, Burberry and Aquascutum are arguing
over who created the first trenchcoat. This fact alone
is sufficient to completely illustrate the influence this
garment has over our time. The classic trenchcoat is
made of waterproof and windproof material, called
gabardine, it is double-breasted with ten buttons,
and comes in beige, tan or black. And even though
we constantly see variatons on the subject, so far
there is no better alternative.
trenchcoat max mara
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STILETTO HEEL
The stiletto heel is long and thin high heel, whose
appearance is documented first in the beginning of
the XX century. It came out of fashion, for a brief
period, in the end of the Sixties and beginning of the
Seventies (but not out of the streets, where women
refused to let it go), up until the moment Manolo
Blahnik brought it back in 1974.
The popularity of the stiletto heel is rooted so deep in
our modern idea of fashion, that it’s hard for anyone
to visualize a beautiful, well-dressed woman
wearing something else.
shoes casadei
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BLAZER
The blazer is a type of jacket, more casual than the
suit jacket, but more formal than the regular sports
jacket. Actually, one of the main differences between
the blazer and the sports jacket is that the first is
made only in solid colored textiles, in black, beige,
khaki or navy blue. Of course, in contemporary
fashion is hard to point out the ultimate blazer for
women, but one thing is certain – this type
of clothing is essential to any wardrobe.
blazer and top max mara, jeans max&co
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JEANS
Just like a significant part of the modern wardrobe,
jeans began their history as a workers wear, in 1849,
in the United States. Originally created for gold
miners, jeans quickly spread across the workwear
uniform in different professions, and even became
part of the clothing of American soldiers in WWII. The
true popularization of the jeans, however, came in
1980s, when the fashion designers began to create
the so-called ‘designer jeans’, and declared openly
that wearing jeans is something normal.
jeans max&co
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RED LIPSTICK
The lipstick has such a rich history, that even if we try,
we could hardly be completely detailed.
Used primarily by women, even in Ancient Egypt
and Mesopotamia, today the red lipstick itself is a
popcultural symbol, as well as one of the main pillars
of the beauty industry.
lipstick mac red by m-a-c
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LITTLE BLACK DRESS
The little black dress made its debut on the pages
of Vogue, in May 1926, thanks to an ink drawing by
Gabriel Chanel. Due to its simplicity, the slim-fitting
minimalistic dress is accepted very well. So well,
that we doubt that there is a designer today, who
hadn’t done at least one little black dress in his or
hers career. In her book The Little Black Dress, Amy
Holman Edelman says that it it ‘emblematic of a
woman’s freedom of choice, her equal participating
in the world and her declaration that, this time, she is
dressing for herself.’
dress valentino
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One of the most important
differences in the new uniforms
compared to the Weimar-era ones
was that the tailoring was more
form-fitting due to Germany's
adoption of mechanized warfare:
soldiers had to spent much time
in the confined space of a vehicle
and a shorter jacket was less likely
to pick up dirt from the seats, for
example. The SS field uniforms
were of similar appearance
externally but had a wider collar.
WORDS SVETOSLAV PETROV
The uniforms of the German army and the upper
echelons of politicians and administration at the
Third Reich has remained in history as an evidence
of the great tailoring and impossibly subtle design
of a doomed regime. And beside the horrible acts
the Nazis left in history, they made a big impact in
another field – the field of fashion.
using more functional dress codes and muted colors,
which tried to eliminate individuality, the Nazi party
was keen on expressive styles for every different
position in the military. Uniform were designed to
look neat, smart, and make ordinary citizens feel
proud and an important part of the Third Reich and
its plans for a superior race.
Military uniforms and general clothing since the
beginning of the 20th century have an immense
influence on modern menswear. But as we constantly
reference any links and inspiration from the American
navy (khaki, aviator shades, and tail coats) or the
British armed forces (the trench coat), people mostly
omit commenting on Nazi uniforms and regalia due
to the sensitive nature of their past and place in
history. And while people like Motorhead’s Lemmy
Kilmister has been openly building a collection of
Nazi memorabilia, the world has decided to comment
under the line and reference it in collection and
clothes without the due acknowledgement.
The Wehrmacht was having its own renaissance
during the 30's as the Nazi party came to power and
went onto a quest to make it bigger, better and ready
for another war. As history shows, the German army
was severely crippled after World War I. The uniforms
of the new army have also been hard to overview, as
there were so many specialist uniforms and variations
for each unit of the Wehrmacht (camouflage,
Luftwaffe, tropical, extreme winter, parade dress,
etc.). In addition, SS uniforms deserved their place in
history along the standard uniforms of the Luftwaffe.
The most dramatic uniforms during World War II
were worn by the Nazi troops. They loved uniforms.
Every part of the army had its own uniform, complete
with accompanying regalia. Uniforms demonstrated
status and power — the dominant elements in Nazi
propaganda. Totalitarian societies have always been
known for regarding the uniforms in their various
ways as a norm not only for the military and sate
administration but also for the civilian population.
But while totalitarian and communist countries were
Nazis had a penchant for exquisite black leather,
brass buttons, armbands and various regalia, that
were believed to be a modern take on the ancient
German knights in medieval Europe. Instead of armor
made of interlinking metal rings, the Nazis used
black leather. The secret police Gestapo was not that
clandestine as expected with their slouch hats and
anklelength black coats, while the air forces and S.S.
Panzer military divisions sported visors of roughly
cut pieces of leather, jump boots and black leather
jackets. On the whole the Nazi Party adopted the
black-white-red color scheme.
The somber and authoritative
black SS uniforms were the norm
in the 30's. They were tailored
exquisitely to and foster respect,
and were designed by Karl
Diebitsch and graphic designer
Walter Heck. During the war
SS uniform suppliers could not
keep up with wartime demand
and, as a result, the different
units frequently wore uniforms
drawn from Army stocks, with
the addition of SS insignia. Many
of the uniforms were produced
by Hugo Boss years before the
company became synonymous
for classic men's suits. At the
time this looked like the most
natural thing, as Hugo Boss in the
1930's was a family-run business
that manufactured police and
postal uniforms. Before Germany
was defeated in World War II,
the whole industry worked for
the Nazi party, which awarded
contracts to numerous companies
to produce the black uniforms,
worn by SS units, the brown shirts
worn by SA storm troopers and
the black-and-brown uniforms of
the Hitler Youth.
As we have already mentioned
Nazis were really keen on regalia
and theatrics. Army uniforms and
ranks were distinguished from one
another by the national emblem
worn above the right breast
pocket, and the collar tabs bearing
a pair of Litzen, a device inherited
from the old Prussian Guard which
resembled a Roman numeral II
on its side. Both symbols were
embroidered or woven in white
or grey while worn on shoulderstraps. The last were piped or
underlaid in a color code, which
identified the branch of service
and belonging of the unit: white
for infantry, red for artillery, rosepink for Panzer troops and so on.
Most of the soldiers wore belt
buckles with the inscription 'Gott
mit uns' (God with us).
The Wehrmacht boot was little
different from the one of World
War I: made of brown pebbled
leather (blackened with polish),
with hobnailed leather soles and
heel-irons. Trousers were worn
tucked inside (as seen today on
most catwalks with or without
success) and the boots were
shortened to 32-35 cm in order
to save leather. Officers' boots
were knee-high, more form-fitting,
and often of superior quality as
they were ordered by the officers
themselves.
Another important iconic piece is
the military coat: one of the main
influences on outerwear apparel
for autumn and winter menswear
nowadays. Its Wehrmacht version
was a formfitting thigh-length
eight-button tunic of fine wool
without external pockets. The
Luftwaffe wore beige jumpsuits,
leather flying helmets and thick
fur-lined boots along with black
leather jackets with epaulettes,
insignia and medal ribbons.
No matter Nazi regime was
destroyed after World War II,
its style began a new life on its
own and proved to be a string
reference point in modern pop
culture, music, cinema, fetishism
and all aspects of culture and
entertainment. One of its staples,
the black leather jacket, became
a popular symbol of rebellion
that was worn by rock ‘n’ rollers
in the 1950s likse James Dean
in Rebel without a cause. The
heavy black Dr. Martens boots
look closely familiar to Nazi jump
boots. Fashion used only the main
staples of Nazi aesthetics and got
rid of regalia and flamboyance,
recognizing the valuable practical
nature of the uniforms and Nazi
clothes and putting the stress
once again on functionality and
simple design. Good for it.
67
photography lazar
styling h&s
hair and makeup slav for max factor
models elizabeth, rayna and vanya at ivet fashion
jacket burberry prorsum
68
jacket red valentino, shirt sportmax, trousers paul smith, shoes gio diev, sunglasses cutler and gross, scarf mcq
69
coats astella
70
jacket jean paul gaultier
71
blouse jean paul gaultier, skirt astella, belt muse shop
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73
vanya: dress anelia peschev, earrings and clutch patrizia pepe; rayna: dress astella;
elizabeth: dress red valentino, purse muse shop
74
jacket burberry prorsum, trousers richard nicoll, shoes zara
75
jacket john rocha, leggings burberry prorsum, belt muse shop
76
t-shirt and trousers paul smith
77
dress anelia peschev, shoes gio diev
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elizabeth: jacket francesco scognamiglio, corset and skirt john rocha;
vanya: jacket jean paul gaultier
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shirt modis
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vanya: jacket jean paul gaultier, trousers modis
rayna: jacket ann demeulemeester, trousers paul smith, boots gio diev
elizabeth: shirt maison martin margiela, skirt gustavolins
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photography aleko osenski
styling bozhidara popova
makeup argir kovatliev
assistant-photography asya filipova, kiril kovachev
models ani at ivet fashion, nadin, tsveta at visages,
christina, gabriela, amada
dress sassa bjorg
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dress sassa bjorg
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dress sassa bjorg
cardigan sassa bjorg
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dress gloria ivanova for farenah concept
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94
cardigan sassa bjorg
jacket carevitsa
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photography julien cozzolino
styling calvin nymon
hair yuhei nerome
makeup daria slusarczyk
model ines loan rau at angels and demons agency
dress next episode, jewelery kmo jewels
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vintage jacket, t-shirt petit bateau, pants soleil sucre, vintage shoes yves saint laurent
100
jacket next episode, t-shirt a fault, vintage shoes yves saint laurent
101
dress next episode, jewelery kmo jewel, shoes pring
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103
jacket jitrois, t-shirt a fault, skirt stella jeans, shoes pring, jewelery kmo jewel
104
total look jitrois, jewelery kmo jewel
106
5+1 annapurna www.annapurna-aidabarni.com
08sircus www.kiminorimorishita.jp
anelia peschev www.aneliapeschev.com
burberry prorsum www.burberry.com
damir doma www.damirdoma.com
francesco scognamiglio www.francescoscognamiglio.it
natalia brilli www.nataliabrilli.fr
raf simons www.rafsimons.com
richard nicoll www.richardnicoll.com
simone rocha www.simonerocha.com
ugo cacciatori www.ugocacciatori.it
vivienne westwood www.viviennewestwood.co.uk
are available at farenah concept, 1a saborna street, www.farenah.com
alexander wang www.alexanderwang.com
ann demeulemeester www.anndemeulemeester.be
cutler and gross www.cutlerandgross.com
jean paul gaultier www.jeanpaulgaultier.com
junya watanabe
maison martin margiela www.maisonmartinmargiela.com
tao
are available at all u re, 9 saborna street.
armani collezioni www.armani.com
love moschino www.moschino.it
paul smith www.paulsmith.co.uk
red valentino www.redvalentino.com
are available at trend box, 4 sveta nedelya square
astella is at www.astellaatelier.com and 68 vitosha boulevard
antik batik is at www.antikbatik.fr
casadei is at www.casadei.com and 147 rakovski street
essentiel is at is at www.essentiel.be
gio diev is at www.giodiev.com and 84 vitosha boulevard
john rocha is at www.johnrocha.ie and at love/labels, tzum second floor
louis feraud is at www.feraud.com
max mara is at www.maxmara.com and 74 vitosha boulevard
max&co is at www.maxandco.com and 56 vitosha boulevard
philippe model is at www.philippemodel.com
sandro is at www.sandro-paris.com
sportmax is at www.sportmax.it and 74 vitosha boulevard
stefania borras is at www.stefaniaborras.com
stetson is at www.stetson.com
valentino is at www.valentino.com and 4 saborna street
yves saint laurent is at www.ysl.com and at garde robe, 4 saborna street
GIA MAGAZINE WILL BE BACK SOON.
THE FAKE ISSUE IS OUT
ON THE FIFTH OF MAY.