Plastik Wrap
Altar Ego Design
Gloomth
Wells and Verne
Advertise In Auxiliary

Posts Tagged ‘fashion designer’

Auxiliary Magazine 2012 Calendar submission contest

Tuesday, August 30th, 2011

Auxiliary Magazine will be releasing a 2012 Calendar with the goal of generating excitement and support for, and to help promote, the best alternative artists, creatives, photographers, models, celebrities, bands, musicians, and fashion designers out there!  The Auxiliary Magazine 2012 Calendar will be compiled of 12 photographs chosen from submissions.  The calendar will then be available for purchase in select boutiques/stores and online.

If you are a photographer or an artist, creative, model, celebrity, band, musician, or fashion designer that wants to be featured in the calendar submit your images to us!

HOW TO SUBMIT

1 : Download the Auxiliary Magazine 2012 Calendar Submission Guidelines.  You must read, agree to, and complete the forms in the Guidelines PDF.
DOWNLOAD HERE : www.auxiliarymagazine.com/downloads/Aux_2012CalendarGuidelines.pdf

2 : Email your submission to us by the deadline.  Only complete submissions that include all required documents and information will be considered.

DEADLINE FOR SUBMISSIONS : September 30th, 2011

EMAIL SUBMISSIONS TO : 2012calendar@auxiliarymagazine.com

(more…)






exhibition review : Alexander McQueen: Savage Beauty

Friday, August 19th, 2011

McQueen at The Met : The Alexander McQueen: Savage Beauty exhibition, a retrospective on the late fashion designer, ran from May 4–August 7, 2011 at The Metropolitan Museum of Art’s Costume Institute in New York City.


When prompted to impart a final message on his deathbed, Karl Marx said, “Last words are for fools who haven’t said enough.” This story has come to mind many times in the past few years, whenever anyone did an Alexander McQueen retrospective, and if you’ve been paying attention, that was fairly often. Every magazine and blog that has ever run the words “goth”, “haute couture”, or “Lady Gaga” has run long, in-depth pieces on McQueen since the designers untimely death over a year ago. I suppose I was bothered by the fact that, in my opinion, McQueen was a genius, not just for the message of his art, but for the eloquence with which that message was given. What seemed perfectly clear in the works themselves has been endlessly reinterpreted, rehashed, and reiterated. McQueen was no fool, and he had certainly said plenty, even in his tragically shortened career; why do we all feel the need to put last words into his mouth?

So there is certainly something refreshing about a McQueen retrospective that is allowed to speak for itself. The Metropolitan Museum’s Costume Institute put together a powerful collection of McQueen’s best pieces for this summer’s exhibit, and his enduring popularity delivered. Even on off days, the lines for Alexander McQueen: Savage Beauty, which closed last week, were often an hour long, for the entirety of its three month run. The Costume Institute often utilized a labyrinthine layout for its exhibits. In contrast to the Metropolitan’s airy white galleries, its thin corridors, sharp angles, and dark walls were never more appropriate than for this show. McQueen’s designs were separated into themed rooms, including “gothic”, “naturalism”, exoticism”, and “primitivism”. The curators emphasized the “romantic” in each of these themes, printing quotes from McQueen, as well as rather sappy blurbs on their part, on the walls to introduce each room. Certainly, all of these motifs were present in McQueen’s body of work, but separating them each into rooms felt a little artificial and affected. While there was evolution in the designs throughout McQueen’s career, his thematic palette actually remained remarkably stable and unified. The Angel and Demon heels of his final collection to not disagree with his historically-anchored dresses from the 90s, even his favorite shade of red could be found in almost every room of this exhibit. These curators seemed to need to impose some kind of personal statement on the collection of a designer whose works were always their own statement.

(more…)






interview : Amy Doan of Shrinkle and Sugarpill

Thursday, July 22nd, 2010

The world is not enough for Amy Doan, she successfully conquered the DIY fashion scene with her signature brand of neon-colored, naughty-yet-nice apparel, known as Shrinkle, that a girl can party harder than Paris or Britney in, only to go home to cuddle with her Hello Kitty doll. Doan has spent the past few years concocting the perfect accompaniment to her not so secret stash of sequined tube tops and pink leopard print hot pants. Also known as Sugarpill Cosmetics, your newest, most spectacularly packaged antidote to the droll and predictable world of soft taupes, muted corals, pale peaches and anything else one wouldn’t catch a drag queen dead in. Rescuing natural beauty eschewing, pigment-starved club kids two eyelids at a time.

photographer : Kevin Marburg
hair and makeup : Tess Kim
model : Amy Doan
interview by Vanity Kills

Has the successful launch of Sugarpill inspired you to follow other dreams that you once felt were out of reach?

Amy Doan : I definitely feel a lot more confident about taking risks and embarking on new adventures. Before launch, there was always that tiny nagging insecurity that people might not share my love of this project that I poured my heart and soul into. But everyone’s reaction has been so sweet and supportive, I feel even more motivated to continue creating things that I hope people will love!

Many women (and fashion-forward males) secretly want to experiment with vivid high-pigmented hues, but shy away from color out of the fear of looking like a circus clown or a trailer park hooker. What advice would you give to Auxiliary Magazine readers who are novices to the wonderful world of in-your-face color? How would one wear an ostentatiously bright shade without it wearing them?

AD : Well first, I would tell them that there’s nothing wrong with looking like a circus clown or trailer park hooker. One of my very first inspirations for wearing bright makeup was when I was in my teens and saw a TV documentary about a tranny hooker. He had neon blue eyeshadow up to his eyebrows! I thought that was pretty sweet. I think you just have to remember that bright colors aren’t supposed to enhance your “natural beauty”, they’re more about having fun and just going for it. So don’t worry if you look like a crazy person! If you love it, then you will own it.

read the full interview in the June/July 2010 Issue






interview : Ellen Allien

Wednesday, July 7th, 2010

interview by Mike Kieffer and Jennifer Link

Ellen Allien, owner of the label BPitch Control and fairy queen of Berlin’s rave music scene takes a different approach to techno music by releasing albums that are made to stand the test of time, each the condensed result of a completely different creative phase. Her newest album, Dust, follows with this tradition and is about the balance between nocturnal excesses and the packed diary of a Berlin lady who is manager of one of the world’s most illustrious electronic record labels, a fashion designer, producer, and DJ.

What is the concept behind your new album Dust?

Ellen Allien : Dust tells about my life, about both my day and night life. There are songs that talk about falling down and coming up again, “Sun the Rain”, or about how I feel after a long night on the way to the next gig, “You”, or about how I get to know someone special looking through the flashing disco lights at Panorama Bar, “Flashy Flashy”.

It’s been two years since your previous album Sool, I sense a change of direction, what would you say are the main differences between Sool and Dust? What influences have caused these differences?

EA : I produced Sool together with AGF and the main idea was to make it sound minimal. Whereas Dust has been produced together with Tobias Freund. We tried to find the right classical instruments in order to make it sound more homogeneous. The guitars are by Tom Krimi, the clarinet by Andreas Ernst, and percussions by Miguel Toro. The voice is mine and I wanted to make it sound very bright and clear.

read the rest of the interview in the June/July 2010 Issue