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    They used to talk about humans entering a singularity with technology, but before that even existed, Mark Gonzales, aka "The Gonz," was in a singularity with his skateboard. Often by his side, there was Harmony Korine (yes, he of seminal downtown NY films like Kids and modern-day gems like Spring Breakers). And, as the two grew up, they became canon. But, I would never have thought that there would be an academic-style compendium of Gonzales' famous zines.

    Fast forward to present day, where Non Stop Poetry: The Zines Of Mark Gonzales, a collection of 165 zines created by the skateboarding-pioneer turned-artist in the heyday of street culture, will debut tonight in a sneak preview of The NY Art Book Fair at MoMA PS1. Admittedly, back in the day, I just thought they were, in the parlance of the times, "rad." But, I realize now that it makes total sense. And it's still rad—there's an introduction by Kim Gordon and interviews from people like Tom Sachs, Aaron Rose, Jocko Weyland, and Korine himself.

    There are only 2,000 copies available, so a visit to tonight's book launch is pretty necessary. For those who miss out, read an excerpt from Non Stop Poetry, my Q&A with Korine about his longstanding relationship with Gonzales, exclusive to Opening Ceremony. 




    MAXWELL WILLIAMS: I wanted to go back to when you met Mark. What was your initial impression of him?
    HARMONY KORINE: The first time I really met Mark—I was 15 or 16 years old—I was at a skateboard contest in Georgia called Savannah Slamma, and he was doing backflips in front of the arena. I took a bus with all my friends from Nashville, and that was the first thing I saw as we pulled up to the arena: Mark doing backflips, not even with a skateboard. Just flipping. And then I went up to him and said, "Hello." Then I didn’t actually meet him until I moved up to New York after high school. I was around 18 or 19, and I was in Washington Square Park, and I’ll never forget it. He was riding a longboard, and he was wearing dress socks pulled up really high, and he had a briefcase with artwork falling out of the sides, and he had blood dripping down his kneecaps. I was like, "Holy shit, that’s Gonz." That kind of perfectly encapsulates everything he is.

    Sounds like a New Yorker version of Fear and Loathing in Las Vegas, which is my impression of the two of you together. When and how did you first start making fanzines?
    I was doing them as a freshman in high school in Nashville in the late '80s. I used to order punk-rock fanzines like Forced Exposure. They were pretty lucrative back then, locally. There were all these hardcore zines and skater zines. It was a really lo-fi, low-rent thing. I guess I was probably doing my first ones right out of junior high school. I actually still have some of them. People over the years have kept them, and I’ve got a couple of them. The first one I did was called Yiz Yum. It was mostly drawings—really base, retarded stuff.

    How did you start working on zines with Mark?

    Mark and I became really close. It was right around the time I moved out of my grandma’s basement. He was one of my best friends in the world, and he kind of moved in when I had my first apartment on Prince Street in the early '90s. Mark lived with me on and off for a lot of that time. With the zines: that’s what Mark was doing, that’s what I’d been doing, and we


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    “I keep finding new stuff all the time, stuff I had no idea existed: sketches and photographs, but also notes, false passports, letters he wrote to his parents when he was traveling with the gypsies...” Kore Yoors trails off. The son of Belgian sculptor, photographer, weaver, former Nazi prisoner, part-time gypsy, and lifelong bohemian Jan Yoors, is showing us around his apartment in the West Village. The space is equal parts dwelling, archive, and living museum. Kore and his mother, Marianne Yoors, live there among the relics of their deceased husband and father—quite possibly the most fascinating artist you’ve never heard of.

    Kore and Marianne are fascinating artists, too. Marianne, a sprightly and affable 88-year-old, is a weaver and ceramicist, while Kore, a burly man with an impressively bushy beard and disarming smile, is a painter. Over the last couple of years, though, he’s spent most of his energy gaining exposure for his father’s work, and archiving all of his art and documents. In the ‘50s and ‘60s, the unconventional Yoors family—mothered not only by Marianne, but also her best friend, Annebert—rubbed shoulders with the likes of Marc Chagall, Henri Cartier-Bresson, Sam Cooke, and Yoko Ono (once a model for Jan). Yet, Marianne and Kore say, he’s always been something of an outsider in the artworld, never getting the recognition he deserves.

    “I guess that’s the gypsy in him,” Kore ventures, sitting under Mist, an abstract, monumental tapestry, at a wooden table made out of the loom they once used to weave. The gypsies are where Jan Yoors’ story starts. Born in Antwerp in 1922 to a family of liberal, Belgian artists, he decided to run off with a wandering band of gypsies at the ripe age of 12. For ten years, on and off, he would travel along with their kumpania, from country to country. “He once said that if his parents would have resisted, he’d probably still be living with them,” Kore explains. A range of photographs from this period—beautiful black-and-white portraits of the Romani in traditional clothing, of an ethereal, timeless quality—adorn the bookshelves. “They gave him some guidance, but mainly just told him to go along for the ride and to observe. That’s why we have all these incredible pictures he took during that period. I mean, which 12-year-old would have thought of bringing a camera along at that time?” 

    This idyllic adventure was interrupted by the horrors of World War II. In order to help his gypsy family, Jan joined the Resistance in Paris—only to be hunted down, imprisoned, tortured, and sentenced to death by the Gestapo. Miraculously, he made it out alive. These early episodes—beautifully documented in his books The Gypsies and Crossing—continued to shape his life and career in myriad ways. “I think his experience with the war and the gypsies made him incredibly careful about maintaining his freedom,” Kore says. “He wanted to be able to do what he wanted.” 

    Doing what he wanted meant moving to London, where he studied international law and created sculptures between classes. “He wanted to be a diplomat. He really believed in world peace and the concept of the United Nations,” Kore explains. “But eventually, he figured he could do more good in the world with his art than with diplomacy.” Doing what he wanted also meant living in a polyamorous household—with his wife, Annebert and her best childhood friend, Marianne. (“It was the most normal thing in the world,” Marianne says. “We


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    Introducing the first magazine that makes you feel like you're listening to a radio station. Last evening, at The New York Art Book Fair, OhWow, the folks behind Know Wave radio, released its first-ever Know Wave Magazine, a printed extension of all things contemporary art and Know Wave radio-approved programming.

    Essentially a written-out compilation of some of Know Wave's greatest live-radio moments, Issue No. 1 features artwork by Leo Fitzpatrick and interviews with Justin Adian, Dev HynesNick van Woert, Glenn O'Brien, to name a few. Musician and OC-family member Lissy Trullie also takes a byline, a transcription from her recent on-air "The Look" interview with host Aaron Bondaroff. 

    So why read when you can listen? Know Wave Magazine is the only print form where you will find Blackout Boyz's original comics and talks with Lydia Lunch. It's also the only medium where Dev Hynes reveals the surprising Shazam songs he's needed to identify in the past. In the mood for some Robin Thicke, Rush, and... Hayley Williams, anyone? 

    While the content is obviously on point, the best part of the mag is the pages of personals at the back. Entertain yourself and try and find the shoutouts from Max Fish's "Earl Boykins," MP nails, and more. 

    Check out an exclusive magazine preview, featuring Dev Hynes, in the slideshow above and make sure you grab your own copy at The NY Art Book Fair, where Know Wave will be broadcasting live. Speaking of live performances, don't miss Sunday's shows, featuring You Who, Isaiah Bar's ONYX Collective, and Gang Gang Dance.

    Like this story? Read more about The New York Art Book Fair here
    Visit The NY Art Book Fair through Sunday, September 28 

    MoMa PS1
    22-25 Jackson Avenue
    Long Island City, NY 11101
    MAP Click to view larger sizeA preview of the first issue of Know Wave Magazine, featuring a piece where Dev Hynes, Ethan Silverman, and Ben Rayner talk Shazam music discoveries. Photo courtesy of Know Wave Magazine 

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    It is a common consensus that print is dead, but this would not be your first thought by witnessing the thousands of attendees at this year’s NY Art Book Fair. Held at MoMA PS1, the banquet of literati featured tables littered with confection-colored tomes from over 350 artists, independent publishing houses, collectors, and international book-peddlers.   

    Wriggling through the immense crowd would have been irritating had one not constantly been met with a reassuring insight: these people are here for the love of literature, art, and the heart of the printed form. Despite the oppressive ubiquity of digital media, we still need to turn a page every once in a while.

    There is so much to see at the fair, a little guidance would prove useful. In the main courtyard, there are tents and one very inviting geometric dome, all of which house works made by up-and-coming artists. These spaces are particularly special because they sever the middleman from the artist-viewer relationship. The artists are manning their own tables, and are more than happy to chat with whomever stops by.

    We loved saying hi to Erik van der Weijde, whose collection of photography books include images ranging from fascist architecture in Germany to portraits of teddy bears. His most recent publication, Home is Where the Dog is, features intimate black and whites of his family, friends, and yes, dog, all captured with the humble lens of the iPhone.

    In a similar state of ambivalence, Japanese artist Takayuki Yamamoto occupied a space between the whimsical and the dark. His book of illustrations entitled Most Wanted was a big favorite. The drawings are not Yamamoto’s, however. His technique involved visiting in grade schools in Japan and describing the country’s most villainous criminals to the children. Like criminal composite sketch artists, the kids would draw—largely in crayon—based on Yamamoto’s descriptions. The results are harrowing and humorous at once, lending a child’s perspective to life’s more grisly issues.

    Inside the main building, one can find an overwhelming selection of works via numerous indie publishers and art galleries. Make sure to swing by David Zwirner Books for a gander at Raymond Pettibon’s Secret Lining, filled with the artist’s painterly and irreverent illustrations. While you’re there, snag the latest issue of The Believer, which includes new noise by Marcel Dzama and members of Arcade Fire.

    Another gem of the event is Holy Cats!, a hand-painted, -written, and -bound book of drawings by Andy Warhol from the mid '50s. Publishing house Ed. Varie was kind enough to share it with the bookworms of New York—provided you wear a glove when slowly turning its pages.

    It was of course impossible to see everything in the three hours of opening night, and we'd personally recommend going more than once if you’re dedicated. There will be performances, signings, and dialogues all weekend long!

    Don’t miss Ampersand Gallery’s collection or Mark Gonzales' new book via Printed Matter. Make sure to check out Foam Magazine, Girls Like Us, and Toilet Paper for stunning images. Have fun, nerd out, and keep reading!

    Like this story? Read more about The NY Art

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    In Straight Trippin', OC friends and family share tidbits from their latest travels. This time, Milk Bar pastry chef Christina Tosi shares snaps from her recent trip to Oahu.

    Name: Christina Tosi
    Occupation: Pastry chef, Milk Bar
    Travel destination: Hawaii (Oahu)
    Carry-on necessities: Reading materials (see below), podcasts, a sweater, a cookie, and a blow-up pillow
    Reading materials: I always bring three different categories: pleasure reading (Tibetan Peach Pie, Where’d You Go, Bernadette?), grown-up reading (How to Not Be Wrong: The Power of Mathematical Thinking), and magazines (Vogue, Lucky, The New Yorker)
    Weirdest thing in your suitcase: 10 sharpies (I nearly always travel for work, and black sharpies are an essential part of the gig)
    Most over-played track on your iPhone this trip: "My Girls" by Animal Collective; though, I was also introduced to King Krule, who is now on repeat. 
    Favorite outfit to travel in: A pair of high-waisted, wide-leg pants, a dark-blue tank top, and a pair of sandals
    Highlight of your trip: Weeding the lo’i at Papahana Kuaola, Kaneohe. Love to get my culture on when I travel. It’s the best and quickest way to shed the tourist vibe.
    Souvenirs you brought back: Honolulu Cookie Company cookies (I’m obsessed!) and a Fireball Whiskey Lei (seriously)
    Searching out an inspiring meal when on the road is imperative. But Pig and the Lady’s bathroom decor sends me into a tailspin of envy. A love letter to Big Trouble in Little China (these are the things restaurant people dork out about!). Quotes and photos by Christina Tosi

    I somehow refuse to ever own a roller bag. You can stuff SO much more into a great leather duffel. Plenty of room for souvenirs, even if it’s full on the flight out!
     



    Shave ice is a Hawaiian institution, and Matsumoto’s Snocapped Rainbow is my favorite. It is synonymous with any road trip to the North Shore.

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about Undercover's Spring/Summer 2015 women's show. Scroll through to see our favorite looks and backstage snaps! 

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here

    Photos by Christina Paik

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about Carven's Spring/Summer 2015 show. Scroll through to see our favorite looks! 

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here

    Shop Carven's current collection here


    Photos courtesy of Carven

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about Olympia Le-Tan's Spring/Summer 2015 show. Scroll through to see our favorite looks! 

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here

    Shop Olympia Le-Tan's current collection here


    Photos by Christina Paik

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about Kenzo's Spring/Summer 2015 show. Scroll through to see our favorite looks! 

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here

    Shop Kenzo's current collection here

    Photos by Christina Paik





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    The relationship between art and fashion is nothing new, but with Raf Simons' Fall/Winter 2014 collection, created with contemporary Los Angeles-based artist Sterling Ruby, the pair has given the word "collaboration" a deeper meaning with their "we both eat" brotherhood. Taking from Ruby's chaotic, organic art approach and Simons' signature shapes and motifs, the collection proves that artists and fashion designers can merge talents with a uniquely fresh approach. 

    Praised as a "dominant LA artist of his generation and a star of this year's international biennial circuit" in a recent W magazine story, Ruby has proven himself to be a creative that can't be pegged into one specific medium. Known for his bleach-print collages, contorted and colorful ceramics, and stalactite/stalagmite sculptures, his singular punk aesthetic makes him the perfect counterpart for Simons' DIY approach. 

    While the pair have worked together before—their friendship is nine years strong, and Simons created fabrics based on select Ruby paintings for his debut Dior runway show in 2012—this was their first full-fledged collab. Organic, earthy images reminiscent of National Geographic glossies—think red forest scenes, the planetary system, and sharks ready to attack—pop off the Earth and Stalactites T-Shirt and Flower Print Parka. There's also Ruby's signature bleach splatters on lavender workshirts and high-waisted jeans. Simons, meanwhile, slides in his ever-present commentary on consumerism with images like a prescription drug packet superimposed over wildflowers in the Flower Graphic Slim T-Shirt.

    Art that talks through fashion—now that's something new. 

    Shop all Raf Simons hereFlower Print Parka in army  Earth And Stalctites

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about Veronique Léroy's Spring/Summer 2015 show. Scroll through to see our favorite looks! 

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here


    Photos by Christina Paik

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about Jean Paul Gaultier's Spring/Summer 2015 show. Scroll through to see our favorite looks! 

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here

    Shop Jean Paul Gaultier's current collection here

     
    Photos by Christina Paik


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    We work too hard
    We’re too tired
    to fall in love.
    Therefore we must
    overthrow the government.

    We work too hard
    We’re too tired
    to overthrow the government.
    Therefore we must
    fall in love.


    —Rod Smith



    This summer I fell in love with a momentum unique to New York.

    The only reliable convenience in this city is the 24-hour deli. Otherwise, everydays are full of blockades. Sidewalks are tourist obstacle courses. Taxis become elusive as Uber surges. Seventy-hour work weeks are a norm. The culture calendar is concrete. Dating, in such a setting, can feel like a second job. Rarely do relationships of convenience form: If it’s not right, right away, it’s likely not worth it. There are so many other creatures to taste.  

    But, when one collides with another, each recognizing the other as ideal, a storied kinda love is co-created, seemingly immediately. 

    I had heard of it happening before. With Molly, Sarah, Sarah, and Simone (one of four names changed). Girl met girl in ‘x’ place and with one glance they knew. Girl saw boy from across ‘x’ room and unhesitantly walked into his future.

    Ales emailed me on a Sunday in early July. I replied right away, from my phone, walking home. This strange-named dude was digging into a piece I’d published on Adult. He was the fourth unfamiliar to write me about it. I didn’t even think to Google him. After a few fluid replies, I did, and from one look at his pretty lips, I knew that we’d meet. When we did (the next day), I knew that I wanted him. When I figured he wanted me (the day after that), I knew I’d need to cozy up to cliché, as our love—declared within a week—charged my interior narration trite.

    With Ales, I forget about time and space. A feeling like destiny, eternity, enables absolute presence. While great for my very being, this has created conflicts with work and friends. The intricate schedule that once supported "single-me" can’t hold "us."

    When I first moved to New York, I became obsessed with the city's temporality. Time here feels somehow both fleeting and dense. We move through a torrent of new data daily; never before have I learned so much, so fast. From outside the city, I can look back and see myself in compressed progression, in a twisted timeline I’ll pull straight and inspect long. Now though, in the city, time is a flat circle. Every Saturday seems stacked on those that came before and after.

    This Saturday, at the entrance of the Grand Street subway station, two women were passing out flyers on “How to prevent burnout?” On the front of the pamphlet, a pretty young woman with midnight bags under her eyes leaned her head heavy against a pane. The set suggested an end-of-day commute. I knew her face. I had seen similar wear on all of my peers here at one point. My friend Paul, a new transplant to New York, had started to dawn it, just weeks after arrival. The other night, peering into his tired eyes, I became angry at New York—at what it does to us.

    Of course, a city doesn’t do anything to its populace. Us residents, our machinations, affect. We set the speed. (The busiest kids I know in New York rely on some form of speed, whether Adderall or Hiball Energy Water. “To keep up," they say.)  

    So then, how to prevent burnout? In this city “that never sleeps”? When even in-between time, like commutes and lines, can now be filled with the distractions of a limitless data plan?

    The hardest working and playing New Yorkers I know are the same who’ll claim they never

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  • 09/28/14--21:00: OC Editorial: Magic Hour
  • There's something about the light at dawn that makes everything that much more lovely, from sky to trees to your own late-night companions. And, while you yourself might not feel your most alert at sunrise, we guarantee there's no better place to show off the intricate folds of a Nina Donis Draped Top, or the rich silks and velvets of a Lilia Kisselenko dress. For our fall editorial, we sent these and other pieces from new-to-OC brands to Russia's Lake Seliger, four hours northwest of Moscow. Photographer Masha Demianova and stylist Artur Lomakin—also the designer of featured brand Forget Me Not—captured the crepuscule in its early-autumn glory, shooting in and around a farmhouse on the banks of the water.

    View the editorial here
    View the editorial 

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about new-to-OC brand Gauchère's Spring/Summer 2015 show. Scroll through to see our favorite looks! 

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here

    Shop Gauchère's current collection in stores now and online soon


    Photos courtesy of Plan 8 Showroom
     

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    This season, Opening Ceremony is giving you an all-access pass to Paris Fashion Week. Above, everything you need to know about Veronique Branquinho's Spring/Summer 2015 show. Scroll through to see our backstage snaps!

    Want more from Paris Fashion Week? Stay up-to-the-minute on SS15, right here

    Shop Veronique
     Branquinho's current collection here

    Photos by Christina Paik



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    Slinkiness, comfort, and a healthy dose of languor: there's a lot Kriss Soonik lingerie has in common with the designer's favorite animal, the cat. The Estonian-born, London-based Kriss, who worked previously for Agent Provocateur and Madame V, branched out to start her own line in 2009 and chose the animal as her logo. "It's natural that the cat is the best symbol for the collections," she told us via e-mail. "Comfortable and chic." 

    It should be no surprise, then, that Kriss is fond of the term "loungerie." Now at Opening Ceremony, the designer's Fall/Winter 2014 line mixes soft fabrics and easy shapes with neon pops of color—and the occasional Marabou feather puff your own feline companion would purr over. We spoke to Kriss about manufacturing in Estonia, sourcing fabrics in France and Italy, and when and when not to wear underwear as outerwear.

    Shop Kriss Soonik in Opening Ceremony stores or by phone order at (646) 237-6078 Mon–Fri 10 AM–6 PM EST


    KRISTEN BATEMAN: In which ways do the individual cities of New York, Paris, and Tokyo inspire you?
    KRISS SOONIK: It's the feeling or mood of the particular city, whether it's the cool vibe you get in New York, Tokyo’s eccentricity, or the chic factor of Paris. Moreover, it's the constant evolvement of these cities that excites me; this and the fact that even though there's constantly something new there, they still maintain their one-of-a-kind factor—a philosophy that hopefully reflects in the Kriss Soonik brand as well. 

    Why do you choose to manufacture in Estonia (besides the fact that it’s your home country)?
    The quality—our manufacturer has mainly been producing for Scandinavian designers who are known for their high-quality standards. I love the support I get from them, the enthusiasm. Even though the company is outsourced, it feels like they are part of the team.

    Can you tell me about some of the high-end materials used in your pieces?
    We use lace and fishnet from France; our super-soft jersey fabrics come from Italy. We always look for the very best materials from all over the world. It has to look and feel good and be amazing to touch.

    How can someone wear your pieces as outerwear? What are some good pieces for layering?
    The bodysuits and suspender tops are two of our best-selling styles. And I guess for a reason—they are so easy to layer and to dress up or down. Honestly, I am not a huge fan of randomly peeking bras. I think a cool look is something bold—wear a black bra under a black see-through shirt or match a colorful bra with a colorful outfit. Make it a strong statement to make it work.

    Which is more important: good lingerie or good loungewear? Why?
    Ouch, good question. I think it's absolutely vital to wear good-fitting lingerie. You don't want to feel uncomfortable about your bra all day. Loungewear is more like an indulgence, the next level from lingerie.

    If you were an animal what would you be?
    Koala—apparently they sleep about 20 hours a day—I could easily do that...

    Kriss Soonik Alison Lace Bra in lime green (available in OC stores). Photos courtesy of Kriss Soonik

    The designer's Fall/Winter 2014 collection mixes soft fabrics and easy shapes with neon pops of color—and the occasional Marabou feather puff. Above, the Alison Lace Bra and Alison Lace Knickers.

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    London and Moscow might be two strikingly different cities, but they share at least one thing: Yulia Kondranina. The Moscow-born, London-based designer brings the pragmatic design approaches of Russia to eccentric London, resulting in highly textured, visibly crafted pieces. Think metal-and-ribbon eyelet dresses, hand-knitted, geometrically cut sweaters, and dramatic pleats.

    “When I go back to see my family, it’s an absolutely different feeling and it doesn’t feel as creative,” she says in her London studio. “Here, you see all the eccentric people, and London’s a great city, so you get inspired. I wouldn’t be able to achieve what I have now in Russia; I would have just stayed with [corporate] brands.”

    After honing her craft at Central Saint Martins, Kondranina developed her line, focusing on dramatic statement pieces. Her Autumn/Winter 2014 collection tones it down just a smidge, but the graphic designs are still eye-catching. “Saint Martins really influenced me because it pushes you so much,” Kondranina says. “In Russia, you have boundaries. I had really good skills, but you can’t do this; you can’t do that. Here, it’s whatever you want, so they push you to make you be different.”

    Shop all Yulia Kondranina here


    JESSICA CHOU: It seems like you’re very much focused on texture, with fringe and cut-outs and braids. Do you focus on that before coming up with other factors of design?
    YULIA KONDRANINA: I think I do start from texture. I might have shape in mind or some kind of details, but technique is really important for me. It’s the starting point. Like, if the technique is complicated or you have embroidery, you don’t need anything else, so you have a boxy shape or something simple.

    For your Spring/Summer 2015 collection, what are you looking at?
    We’re starting from fabrics first; I like this look of natural silk threads and embroidered material. I’m really careful about colors, since it’s really difficult to work with colors and a really graphic idea, but I am trying to push myself, so I really want to do really subtle and light colors. I think it’s going to be more feminine, but you never know.

    How did you get involved in fashion designing?
    I always made clothes for my dolls, when I was little. It sounds stupid, but I would just make clothes for Barbie. I wanted to buy clothes, but they were so expensive. So I made little jumpers and dresses.

    What was the first article of clothing you made for yourself?
    My grandma taught me basic sewing when I was 8 or 9, so when I was 9, we made a skirt for myself. It was a firm, checkered pencil skirt. We had uniforms in the older times, and when I was in second or third year, we were allowed to wear anything we wanted. It was very visible; some families were doing really well and could dress their kids very well, but other kids didn’t have those opportunities, and it was kind of a struggle. You can’t wear something new and exciting every day, so that pushed me to make my own clothes, to have something that is only mine.

    Where did you get fabrics and material?
    My grandmother would stock up on fabrics, and I cut up a lot of my mom’s skirts.

    Like Pretty in Pink! Did you ever get into any fights with your mother about this?
    There were a bit of arguments at times. Like, “Oh, Mom I really like your dress.” And I would use it without asking her, because she would never have let me do it.

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    There's only one thing better than an entire wardrobe of Opening Ceremony—an entire wardrobe of Opening Ceremony, plus a campfire, plus a sexy significant other to tell you ghost stories. This month, The WILD Magazine imagined this universe in a new editorial photographed by Geoff Barrenger and styled by Lester Garcia. Shot on the forested banks of a pond, there's a post-apocalyptic feel to the techy cuts and materials of the OC collection—as if its wearers had just escaped a collapsed (though very fashionable) civilization to fend for themselves in the, er, wild.

    The editorial is part of WILD's latest issue, ANIMAL, "devoted to environmental consciousness and the essence of what it means to be animalistic." Ultimately, the publication's goal is to expose the ways that humans and animals "each are one," according to a release. While it would be hard to imagine actual wildlife sporting the Dimensional Fingerprint Circle Skirt as elegantly as model Jemma Baines, there's certainly something of the animal kingdom's beauty, ferocity, and individuality in the collection. In case you were wondering, humans aren't the only ones with unique fingerprints—chimps, apes, and koala bears have them, too.

    Shop Opening Ceremony Collection for men and women




    A shot from The WILD Magazine's latest editorial featuring Opening Ceremony's Fall/Winter 2014 collection. "I was really trying to explore the DNA of the brand, what it represents and stands for in fashion today," stylist Lester Garcia told us. On the right, model wears the World Sequin Paillete A-Line Mini Skirt, the Paulien Ponte Turtleneck, and the Lucie Mid Boots (available in stores). Photos courtesy of The WILD
    Left: Thea Tech Mid-Rise Skinny Pants, World Sequin Paillete Tank, and Anais Slide Mules (available in stores). Right: Zipper Gusset Sweatshirt (available in light grey) and Yannick Cotton Classic Slim Fit Trousers (available in marble green).

    Left: Yannick Cotton Knee Patch Trousers (available in stores in marble green) and Zipper Gusset Sweatshirt (available in

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    Here at Opening Ceremony, we’re no strangers to collaborating with the heavy-hitting brand that is adidas, having run the gamut of Taekwondo-inspired minimalism to sexy, baseball-themed ready-to-wear. Our latest mind-meld: The third rendition of adidas Originals x Opening Ceremony, featuring revamped versions of the iconic Stan Smith low-top and sporty ZX500 Trail boot

    The adidas Stan Smith has remained a fixture in the collections of sneaker fanatics for over four decades—and for good reason. Historically, it is the premiere leather tennis shoe, an idea first sparked in 1965 by Horst Dassler, the son of adidas’ founder "Adi" Dassler. In '71, the shoe found its name after tennis champ Stan Smith who was ranked World No. 1 at the time. 

    Since then, the recognizable three-row perforation has been spotted on everyone from David Bowie, John Lennon, Mikhail Baryshnikov, and Jay-Z. Its clean, minimalist look makes for a beautiful blank canvas, giving OC something special to run with. This time around, the full leather low-top has been given an inventive makeover with all-over patterns and monochromatic pony hair coats, which made its debut on our February runway, aka chocolate lover's paradise. You'll also find the same hand-themed motifs—overblown fingerprint grooves and open palm graphics—seen on the rest of our Fall/Winter '14 collection

    Unlike the Stan Smith, the ZX500 is more contemporary than classic. The wavy, thick-toothed sole is its calling card, bringing to mind an air of design-conscious athleticism. With neoprene, suede, and leather panels finished in aquatic palettes of navy and emerald green and air-light greys and whites, these sneaker-boot hybrids propel standards of style to atmospheric highs. 

    Shop all adidas Originals x Opening Ceremony here 




    Here, the OC ZX500 Trail Sneaker in navy/black is worn with the Opening Ceremony Julien Large Front Zip Pullover Jacket in black and Undecorated Man Nylon Rib Pants. The 

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