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Grimes music video

Wonderland Staff — Thu, 02 Apr 2020 15:46:14 +0000

Grimes wants you to create her brand new video “You’ll Miss Me When I’m Not Around”.

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New Noise: Chelcee Grimes

Wonderland Staff — Fri, 08 Jun 2018 16:00:47 +0000

On finally taking her place in the spotlight.

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New Look Men × Rollacoaster × BoomBox

Wonderland Staff — Wed, 01 Feb 2017 15:21:35 +0000

New Look Men team up with Rollacoaster Magazine to celebrate the formidable BoomBox ten years on.

BoomBox is a name synonymous with the fashion elite. Undeniably one of the most prestigious cult nights of the noughties, the seminal fashion party attracted industry powerhouses, including designers, photographers and creative directors as they took their first steps into the huge and unpredictable world of fashion.

Adored by the likes of Henry Holland, Giles Deacon and Gareth Pugh, the event was curated by Richard Mortimer, editor of the fashion week must-read Rollacoaster Magazine. As part of the AW17 show schedule, New Look Men teamed up with Rollacoaster for a one-off BoomBox event to celebrate the party ten years on – and we were lucky to enough to get hold of the hottest ticket in town.

Held at London’s edgy Hoxton Square Bar & Kitchen, which has previously held major musical events for the likes of Grimes, Foals and Florence & The Machine, the party included delightful drinks served up by Jack Daniels and a guest list containing many of the names at the forefront of the British fashion industry, including designers Henry Holland and Bobby Abley and Chief Exec of the British Fashion Council Caroline Rush CBE.

Catering to the eclectic crowd, which also included major names from non-fashion industries such as olympian Tom Daley, Arsenal footballer Hector Bellerin and musician Connor Maynard, the three different rooms that make up Hoxton Square Bar & Kitchen ensured that there was something for everyone. The main bar & kitchen areas enabled attendees to relax and sip on Smirnoff and Warsteiner while discussing this season’s hottest shows and must-have pieces. The event space was a little more electrifying. Within the smokey, blue-hued room, party-goers grooved to a plethora of bouncy beats provided by designers and photographers such as Henry Holland, Matthew Stone as well as Bobby Abley and Charles Jeffrey who both presented their AW17 collections at this season’s LFWM – they were to die for FYI.

The lively event and amazing atmosphere highlighted that despite the 10 year absence, BoomBox has maintained its relevancy and would be more than capable of making a full-time comeback. The demand is always incredibly high for fashion events that accommodate every corner of fashion, and New Look Men x Rollacoaster x BoomBox won over the hearts of the fashion gang.

The high-fashion event was made possible with the help of high-street super-power New Look Men, who continue to build on their reputation for ensuring that the British man is styled to perfection. With over 850 stores, including 266 across the world, it’s clear that the New Look brand is ever on the up. With new lines added weekly, much like BoomBox, New Look embrace the ever-changing face of fashion and ensure that each and every fashion-lover is kitted out in the most up-to-date threads.

We’ve heard on the grapevine that the cult fashion party will have an open-to-all event lined up in the not too distant future, and if the New Look Men x Rollacoaster offering was anything to go by, you don’t want to miss it.

Words: Ryan Cahill

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Stars Aligned: Grimes

Wonderland Staff — Wed, 01 Jun 2016 12:14:31 +0000

After the success of her self-produced, self-penned and self- illustrated fifth album Art Angels, Grimes is enjoying the biggest high of her life.

Taken from the Summer Issue of Wonderland

“Once, a girl was so wasted she fell into my equipment, and knocked everything over, and started puking onstage.” Claire Boucher, AKA Grimes, is reminiscing, via Skype, about touring on a shoestring budget. In the gap that followed her fourth full-length Visions, released in 2012, there was no money to fly in the professional dancers she now tours with, so “we’d hire dancers in each city, it was insane. Some people would be stripping, or whatever, and it all went downhill very quickly sometimes.” An ever-shifting roster of dancers wasn’t her only problem. Boucher found the very act of performing live highly traumatising. “When Visions came out, I literally wouldn’t leave this 4×4 [ft] area where my samplers were. It took me two years just to walk to the front of the stage, I was so petrified. So yeah, things have probably changed a lot.”

Obviously it’s an understatement. Despite being recorded in Grimes’ apartment over three weeks using Garageband, Visions won Grimes fame and critical acclaim in the form of places near the top of “Album of the Year” lists from The Guardian to Pitchfork to NME. With the success of Visions came three years of intense press scrutiny whilst Boucher worked on the album’s follow-up. “That whole thing with the ditched album, it’s not even true,” she tells me. “It was like: ‘She has an album, now she doesn’t, it’s a huge problem.’” In reality, Boucher was touring constantly, honing her stagecraft both as support act for Lana Del Rey and on her own terms. It took a year to make Art Angels. “A year of like, every day. I took a break in between to do the tour opening with Lana, which really helped. There was like pre and post [Lana]. I also took a break to do the ‘REALiTi’ video.Those two things really helped. It just became, I think, so much of that album was about how stressed I was making that album!”

Whilst the lyrics on Visions had been almost inaudible, on Art Angels, Boucher’s words are more obvious, easier to hear over the swooning musical backdrop. It’s something she’s clearly conflicted about. “There’s things individually in the songs that I wanted to say – I wanted the songs to be about stuff. Like all the songs are about something explicitly or obtusely. Some of the stuff I hated about my earlier music, retroactively, was there was just stuff that was just sound design, no lyrics. Which is cool in its own way, but I dunno – I was just tired of people being like ‘What’s this song about’. And me being like, ‘nothing.’”

So, her songs are now about something. What that something is though, she’s not so keen on sharing. “Like everyone thinks ‘Flesh Without Blood’ is about the media, or a boyfriend, but what people think things are about is insane sometimes!” She’d prefer if people attached something of their own to her songs.“I do think a great pop song, you can ascribe your own meaning to. Any great pop song could be said to be about love even if it’s not. This is so dumb, but there was a song last year which I thought was a love song but was about someone dying. I mean!” Art Angels contains that same looseness: songs which, for the most part, could equally be about love or dying. Art Angels wasn’t always meant to be a pop record though.“Basically, I made a bunch of stuff, then the last couple of months was refining – like a lot of these songs used to be seven minutes long. But you kind of make these soundscapes, and fuck around with them, and then at the very end I came in and ruthlessly took out everything.”

That sense of ruthlessness explodes into her music videos. In “Flesh Without Blood”, Grimes is filmed wreaking havoc at California’s iconic Madonna Inn, dressed in a cowboy hat, a Marie Antoinette outfit, and fallen angel garb. “Kill V. Maim” meanwhile serves a kind of post- apocalyptic street fighter fantasy in the subway. When we talk, she’s just finished filming another video, this time for “California”, perhaps the most upbeat track on Art Angels. “California” she sighs. “It’s kind of a nightmare… I guess for me, it’s just not a song that needs a video. It’s a self-contained song, I have no visual inspiration from it whatsoever. It’s not very vibey! I’m not hating on the song, it’s just hard to make a music video with something, that’s not – you would never have a song like ‘California’ in a movie.” She’s wrong – “California” could definitely soundtrack a movie — just probably not the kind of twisted fashion fantasy that Claire Boucher would want to direct.

The day after we talk, Grimes is set to go on tour again. This time however, there’re no strippers dancing on stage with her. Not that her dancers don’t have a sharp edge. “The girls I auditioned, I asked to improvise. And the girls I chose did the craziest, weirdest improvisations.” Surrounding herself with the frenzy of physical activity makes her feel safe. “I always liked having dancers because it’s straight-up more entertaining. I used to have this band that were unplugged, because my [male] booking agent at the time insisted ‘You need a band onstage’. And I was like, ‘If I’m paying people to perform, let’s get actual fucking dancers!’ Everyone prefers dancers to watching some guy with a bass that’s not plugged in!”

Grimes is a self-produced, self-written, self-directed, self-every- thing-ed project. Art Angels is an album which pays testament to that, a homage to her growing confidence. “I felt like there were a couple of years where I’d become so much better technically as a musician than where I was with Visions, but Visions was the thing standing in culture, dictating how people saw me. But it’s nice to get all that out, because now I feel more relaxed.” Here Grimes stands, at the very front of the stage.

All clothing and accessories by LOUIS VUITTON SS16

Photography: Joyce NG

Fashion: Danielle Emerson

Hair: Rick Gradone using R+CO at Atelier Management

Makeup: Kelsey Deenihan mark. Celebrity Makeup Artist at The Wall Group

Fashion Assistant: Abigail Hazard

Words: Jack Sunnucks

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Hana

Wonderland Staff — Wed, 01 Jun 2016 10:35:14 +0000

Meet Hana, the synth wondergirl turning heartbreak into harmonies.

Taken from the Summer Issue of Wonderland.

White cotton hoodie by TOPSHOP, perspex jewelled choker by VIVIENNE WESTWOOD

Hana Pestle, with her purple plaited mane, looks like a pixie version of Lara Croft. Pestle has been intermittently touring with our cover star Grimes for the best part of a year, but despite the sudden worldwide attention which is part and parcel of touring with an alt-pop superstar, the 26-year-old singer is still an open book — both on the record and off it.

“I’ve just been really lucky with how it’s all turned out,” Pestle grins when I commend her for securing tour slots alongside Purity Ring, Shamir and Lana Del Rey. “I was a complete emotional mess at the end of Purity Ring because that had been such a great experience and then I’m announcing all these dates for places all over.” In a previous incarnation, HANA was just Hana, a 17-year-old girl arrived in LA from Montana “where there is literally more cows than people” playing bluesy-rock songs and Leonard Cohen covers, to mild success.

“I just felt really stagnant for a while,” she sighs. “I had gotten into a routine. I got into the college market, so I was playing around tonnes of campuses around the country. It was amazing and I felt really lucky because I was able to pay my bills doing what I love, which is playing music, but I didn’t feel artistically fulfilled.” The end of a five year relationship pushed Pestle towards a fresh start and in 2013, she dropped her last name, capitalised all four letters of her first, and swapped acoustic guitars for synths and switchboards.

Pestle moulded heartbreak into harmonies, unpicking her experiences to create what would become material for her first EP under her new title. “‘Chimera’ is one of the oldest ones I wrote when I broke up with my boyfriend,” I tell her it’s my favourite of the five tracks her publicist has shared with me on the sly. “He was treating me like I was the devil, so I thought: ‘Ok well, if I was some evil woman, what would I say?’… I took some of the lyrics from emails I got from this guy where he’s like: ‘You’re a vampire woman!’ And I was like: ‘Well I’m not, but if I was…’” She raises an eyebrow and erupts with a crazy fairy cackle.

As is seemingly the norm in this digital age, Pestle’s return first surfaced quietly online but despite this new, understated façade, it wasn’t her intention to be so enigmatic. “HANA to me is a completely new project. That was the only thing I was prioritising, I wasn’t trying to be super-mysterious or anything. It went better than I could have hoped. It was really exciting that first day when we posted ‘Clay’ and a couple of my friends posted about it, and then the whole day I was like: ‘Wait, who else posted about it?’” Turns out Lorde and Grimes had both tweeted out the innocuous Soundcloud link and that was that. No pomp, no ceremony, just talent admiring talent.

12 months later, “Clay” has been joined by “Underwater” and “Avalanche”. Muted thuds of pulsing beats slide down her cascading calls, always softly harmonised and somewhat digitally-enhanced, but only ever enough to still sound like magic, rather than the binary noise of technology. In the year since that first day, HANA’s fans have found comfort in the artist’s honest lyrics and willingness to share. “It’s nice to remind myself what I went through and what I learned,” Pestle concludes. “It was crazy on these tours getting letters from young girls who say that’s helped them get out of bad relationships. Things like that are why I restarted and put a new focus on me being in control, that’s the basis of what this whole project is about.”

White cotton hoodie by TOPSHOP, white mesh ruffle dress and white trainers both by NICOPANDA

Photography: Nuria Rius

Fashion: Toni-Blaze Ibekwe

Hair: Scott Jordan using BUMBLE AND BUMBLE

Makeup: Jolanda Coetzer at LHA represents using URBAN DECAY COSMETICS

Fashion Assistant: Umar Sarwar

Words: Lily Walker

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The Summer Issue

Wonderland Staff — Tue, 31 May 2016 12:27:51 +0000

Sweet Summer Sixteen. The Summer Issue is here! Featuring Grimes, Zendaya, Winnie Harlow, Sasha lane and more.

Across our summer issue, the stars align and whether they’re established or emerging, they all have something to say — and more importantly — something worth listening to.

In the aftermath of her fifth album, we dressed up pop music’s most avant-garde asset, Grimes AKA Claire Boucher for a Louis Vuitton feature, shot by Joyce NG. The artist talks about the evolution of Art Angels with Jack Sunnucks via strippers, surrealist music video sets and learning how to tour alongside Lana Del Rey.

We catch up with Disney’s most clued-up kid, Zendaya Coleman, the teenage actor turned activist who’s schooling the world wide web on the media’s mistreatment and misrepresentation of women and teaching us all general good manners. GQ Style’s resident Fashion Editor Gary Armstrong sent the young role model clambering up a tree in Ashish all in the name of style.

Also stateside, we turned to photography icon Deanna Templeton to help us introduce actor Sasha Lane to the world for her first ever feature, ahead of her debut on screen appearance as Star, in Andrea Arnold’s American Honey.

Our Fashion Editor Matthew Josephs and his Sovereign collaborator Phoebe Collings-James get information and get in #formation, taking inspiration from pop’s newly politicised powerhouse Beyoncé and presenting a portfolio of talents and beauty from people of colour. Expect enlightening opinions from the likes of spiritual and political activist Jay Kirton, photographer Ronan McKenzie, poet James Massiah and musician Gaika who warns, “We’re celebrating the destruction of ourselves.”

Inside, Winnie Harlow unshackles herself from the “spokesperson” tag she’s been labelled with and explains her involvement in Lemonade that almost didn’t come to be. We delve deep into Hedi Slimane’s final fantasy, tracing back over four years at the top and talk to his clan of cool kids about their most treasured Saint Laurent moments. The designers breathing a new lease of life into New York’s fashion landscape have their say and we analyse how Vaquera NYC, Gypsy Sport and Ottolinger are stirring up the US style capital’s stagnant scene. Finally, the Famous Five, Fifth Harmony relive X Factor drama and tell us about their trip to the White House.

Wonderland Summer ’16 is on shelves this Thursday.

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INDIE50 Awards

Wonderland Staff — Thu, 26 May 2016 09:40:19 +0000

As we discover the INDIE50 awards, one of its judges shows us the new artists you need to know about.

It’s a given that we all love live music, but do you ever spare a thought to everyone that makes it happen around, below, and behind the scenes? Enter INDIE50: a new grassroots music award from online ticketing brand WeGotTickets that looks to champion the individuals propping up the UK’s live music circuit. Whether it’s celebrating promoters, zine writers, venue owners, sound engineers or photographers, the award was created to shine a light on some of the characters that may be lurking in the shadows of the live circuit (not in a creepy way, obviously).

Nominations for the award are open to the public until 31st May, before an expert panel whittles it down to the final 50. The panel boasts industry heavyweights and insiders, including 6 Music presenter Tom Ravenscroft, Stephen Bass – owner of Moshi Moshi Records, Kevin Moore the GM at the Great Escape, and Jason Edwards – agent at Coda to the likes of Grimes, Years & Years.

Indie50 judge and co-founder of trail blazing UK indie label Moshi Moshi Records, Stephen Bass has overseen the release of early singles by the likes of Florence & The Machine, Disclosure, Hot Chip, Bloc Party, and Kate Nash, making his label one of UK music’s most active tastemakers of the last 15 years. On top of this he’s somehow found time to manage Metronomy’s career, who have a new LP due this summer – the appropriately named Summer 08. Oh, and he’s done Wonderland the honour of compiling us a list of artists that we should be looking out for this year: guys with great records out (or on the way) as well as careers just beginning to develop. So, tune in and get voting for your live music hero!

Moses Boyd

Moses Boyd is a London based drummer who is coming up from the jazzier side of the world but spreading his sound to a much more psychedelic and spiritual place. His recent Rye Lane Shuffle is one of my favourite pieces of music this year. Someone that I think will surprise people as he continues to progress.

Meilyr Jones

If you have the chance to catch Meilyr Jones live over the summer then do it. A genuinely thrilling performer with a collection of unique songs strong on emotion and a gentle powerhouse. Ex-Racehorses frontman Meilyr takes his Royal Academy of Music drop-out’s musical sophistication to a celebratory pop world all of his own.

Anna Meredith

Composer Anna Meredith’s first foray into recording with her album Varmints has been a critical success and she has started to draw real crowds to her shows – to huge effect at the Great Escape in Brighton this year. Coming out as close to Aphex Twin and Goat as anything else the album is a challenge worth taking up.

Kiran Leonard

A musician so ambitious with his writing that one song often has more ideas that most albums, yet never sounds forced or contrived, always just brave and exciting. This year’s Grapefruit is one of the releases we are proudest of.

Nimmo

Newly signed to Columbia records, Nimmo have a fresh take on pop music that satisfies whilst being a lot of fun. Having worked with Oli Bayston from Boxed In their live show is a full on rave with a definite character of its own.

Oliver Coates

Sinfini – Oliver Coates from Greg Grzegorz Krzeszowiec on Vimeo.

Cellist Oliver Coates’ second release for PRAH Recordings is the sound of a man experimenting with his instrument to take it as far as he can. With 90% of the sounds on the record made entirely from recording or manipulating his cello this ranges from Four Tet/Floating Points friendly house and almost two-step inspired “drum” patterns to intense beauty across 8 tracks.

Girl Ray

Sounding as much like the Go Go’s as Electrelane this London three piece have a subtle pop sensibility to their songs and are charming people everywhere they play. I think its going to be fun to watch their development over the next year or two.

Rozi Plain

Rozi Plain’s latest album Friend for Lost Map has recently been augmented by an accompanying disc cutely named Friend of a Friend. The original set of songs is turning into something of a sleeper record and every time she plays I am amazed by how she gets such beauty out of a revolving cast of musicians.

Tom Demac

Tom Demac is working on an artist album which we have heard a few tracks of. His production shows a real understanding of the dancefloor and this married to his ear for melody makes for something that I think will cross him out of the DJ underground to a wider audience in the same way that Todd Terje has done in recent years.

The results of the INDIE50 will be announced in August, with the final INDIE50 honoured in a photographic exhibition.

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New Noise: Sundara Karma

Wonderland Staff — Tue, 01 Mar 2016 13:08:33 +0000

We get to know the new Indie standard bearers, Sundara Karma, a little better.

Sundara Karma are the indie four-piece from Reading who first came to our attention thanks to a BBC Introducing stage at Reading Festival back in 2013. Since then there’s been plenty of label back-and-forthing and a couple of excellent mixtapes, but now the boys are settled on Chess Club and have an album release set for the summer: you’re bound to be hearing it all over the place come July.

They’ve just dropped the first single from their debut,”A Young Understanding”, which perfectly encapsulates their youthful brand of panoramic but intelligent Indie – and has an excellent video by Oscar Hudson to boot. What better time could there be, then, to chat to the boys about their influences, crazy groupies and why the modern rock show is a sham?

What kind of atmosphere are you guys trying to get across with your music?

One of love and community but also the dreaded fear of not being able to feel your lungs. I mean, we don’t really go out and try to create any real certain type of atmosphere. The whole idea of the modern day ‘rock show’ is so fraudulent and unnatural that it’s best to be as aware of this as possible and keep things authentically fake. Sure, performing can have a ritualistic aspect to it… But I mean, it’s not like we’re the fucking Doors.

Do you think there is a big link between sound and visuals – you guys have a pretty strong style?

Someone told me that people tend to ‘listen with their eyes nowadays’ – I guess there is some truth in this… especially with the rise of social media, people seem to ingest images in the manner of how an addict would consume heroin. The link between sound and vision is undeniable I think.

What kind of music/art/culture did you consume whilst you were growing up/or even now, that you think had an influence on your sound and imagery today – and why?

I grew up in Asia and the first memory I have of music was hearing the dragon dance, it used to terrify me. They would play these loud tribal drums and whenever I heard them I would run to my mum crying. I have since then always been intrigued by the more ritualistic, spiritual, or at the very least meaningful significance of music.

What is the meaning of Sundara Karma?

The name derives from an ancient language called Pali and it means ‘beautiful karma’ or ‘beautiful action’. We’re really interested in Eastern philosophy and definitely believe in the whole idea that you are free to choose but you are not free from the consequence of your choice.

What was the best gig you ever played/best city you ever played in?

We played our very first sold out home town show in Reading at the end of last year and it was like we were dreaming. There was crowdsurfing, stage invasions and lots of kissing. We have been doing this for a while now and would fantasise about moments like that when we were younger.

What was the weirdest event/saga that ever happened in the history of you guys playing together?

When we played in Birmingham a few years back this girl managed to get on stage and offered us all blow jobs there and then on the spot. Security escorted her off stage before we got a chance to respond but we didn’t see Dom for quite some time after the show…

Who would your dream-team collaboration be?

Die Antwoord because I haven’t fallen more in love or obsessed with a group since I’ve come across them. Game changers.

What can we expect for the future from you guys? What kind of path do you see yourselves going down?

I think we have always just tried to be honest with our music and it has always reflected where we are at at that certain point in our lives. I couldn’t tell you exactly where we are heading though and I don’t think I’d like to know otherwise the magic would be lost.

Can you give us your top 5 tracks, however weird and wonderful they may be?

This kind of thing changes on a daily bases so maybe it would be easier to say the top 5 tracks of today are…

“Easier Said” – Sunflower Bean: it’s a beautiful track. I’ve got it on repeat at the moment and don’t think I’m gunna be getting sick of it anytime soon. Julia Cumming’s voice is like a slice of heaven.

“Girlfriend in a Coma” – The Smiths: possibly my favourite Smiths song. Morrissey was the first song writer I heard who juxtaposed dark and disturbing lyrics with an upbeat pop melody

“Baby Missiles” – The War On Drugs: Lost in the Dream is one of my favourite contemporary albums. I then checked out all his other albums and Slave Ambient is also fucking incredible! This is one of my favourite songs from that album.

“Realiti” – Grimes: Art Angels is probably the record we have played the most in the tour van so far. Seems to be an all round pleaser and to be honest, we will never stop loving Grimes. She’s never been afraid to be herself.

“Love Is” – Max Normal: Ninja pre Die Antwoord. The lyrics in this song perfectly sum up the struggle of someone who creates. It’s like a fucking mantra.

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60 Seconds With Fyodor Golan

Wonderland Staff — Thu, 18 Feb 2016 21:48:33 +0000

Italian art meets Kurt Cobain… get a sneak preview of the duos AW16 collection.

What was the starting point for the collection? You always have such fun references!

In a way we were searching for the modern venus. We travelled to Florence after our Resort collection and we loved all the reproductions we saw of the ‘Birth of Venus’ on every corner and wanted to incorporate this into our collection. Slashing and cropping to create unsettling effects.

This took us to Kurt Cobain who was another inspiration for us this season, bringing to the collection a grungy, more industrial look with a hint of romanticism. For us he is the most modern romantic reference today.

The ‘Pin Up’ was another layer to the collection exploring sexuality and iconiclasisism through iconic 50’s advertising. Alexander Liberman’s red play ground sculptures, Nicole Wermers’ fur chairs and Oliver Michael’s gold sculptures all reflected our search for materials and our mood for fabrications and cuts for AW16.

What three tracks do you have on the most in the studio making the collection?

Arca, Sade, Grimes & Kreayshawn

Who is your ultimate pin up for AW16?

Someone who is ‘Kurt Cobainian’. This person can be anyone.

How does this collection compare to your last?

It was about moving forward this season. Building from SS16 into AW16 and becoming more refined as a brand. There will be distinct stories within the collection and we would say that this collection has much more creative wearability to it.

What sort of details can we expect?

Large scale against small scale, that is the fundamental contrast we explore in AW16. Mixing various textures in one look. Distressed fabrications with crystal embroideries, layering laser cut fabrics in contrast colours and feminising hard wear.

Give us a sneak preview in three words…

Fizzy, Spongy and Pierced…

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NYFW: Altuzarra AW16

Wonderland Staff — Tue, 16 Feb 2016 12:17:31 +0000

Vampirish and dramatic, Altuzarra’s folky tastes got a luxe twist.

Inspired by the Ecclectic Immortal

This season Joseph Altuzarra took inspiration from Jim Jarmusch’s “Only Lovers Left Alive”, a vampire love story in which Tilda Swinton and Tom Hiddlesmith share a romance over several centuries against a cool rock-and-roll backdrop. Knowing this, one would picture a collection in the vein of Saint Laurent, yet Altuzarra’s FW16 collection drew less from the film’s moody musician characters than from its eclectic global aesthetic.

Collision Course

In a patchwork pastiche of global references, Indian paisleys collided with Venetian pearls, amidst patterns and shapes from Moroccan and Turkish folkloric tradition. Standards included micropatterns on micropatterns: for instance, Jamie Bouchert in a blazer with black and white flowers, paired with a pencil skirt with navy and white paisley flourishes, offset by black knee-high boots.

Boho Redux Standouts

Set to the soundtrack of Grimes x Janelle Monae’s thumping dance track “Venus Fly”, the standout silhouette was a belted knee-flapping dress with four-cornered hem made to look like an oversized patterned handkerchief worn as a dress. Accessories included waist-defining belts throughout, and bags from the designer’s Ghianda collection, like hobos and saddles in calfskin and jacquard. The finale was apt: three handkerchief gowns, embellished top to bottom with shiny medallions, clinking down the runway like the sound of a gypsy far from home.

Photographer: Gabriela Celeste

Words: R.J. Hernández

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