Have you ever inspected, fondled or wore a garment that was priced at over $25,000.00? If I narrow the parameters and eliminate fur pieces from your options, you may find it difficult to think of the last time (if ever) that you’ve come across something with such a considerable price tag. Recently, I had the privilege of getting a very close look at a Fall 2013 Balmain Ready-to-wear jacket that was by all accounts...divine. The craftsmanship that goes into a piece like this is overwhelming and all too obvious within the first glance. That every inch is encrusted in jewels and glass beads raises the jacket from common to Fabergé in about 5000 hours. And even though its mass resembles a bag of stones you’d never complain while wearing it? Not when you put it on and every eye is affixed to you like a blogger to a front row seat at fashion week. The thrill of wearing a piece like this is incomprehensible until you’ve worn something quite like it which... as I’ve mentioned above, is quite rare. Taking into account all the intricate handwork and dumbfounding exquisiteness that makes up a piece like this, is it worth it? When you consider a Kazimir Malevich painting such as the Suprematist Composition (blue rectangle over the red beam) which sold for just over 65 million or Mark Rothko’s No 1 (Royal Red and Blue) painting that recently sold for a staggering 75 million; dishing out $25,000 on a jacket seems like pocket change. Especially since the item you’re owning is a sanctioned piece of art and a piece of history created by Head Designer Olivier Rousteing of Balmain. You might even call it an investment seeing how resale on premium designer clothing is becoming more and more profitable. The mention of Malevich and Rothko is not to, in any way demean their works but rather draw a parallel between the art that these great artists produce and their relative prices. Haute Couture has always had its hands wrapped around the leash of the fashion world and dominating the runways, and rightfully so. With every centimeter designed by hand, each piece measured and cut precisely, each bead sewn on one-by-one not to mention the personalized fittings that go along with the sale of each look on the runway - shouldn’t the couturiers get to turn the head of the fashion industry in whichever direction they please? I used to think so. But since Haute Couture has decreased measurably as a subsidiary industry within fashion, Ready-to-wear brands have stepped up there game and are filling in the gap. So... who has the power now? Thankfully the “power” still resides with the buyer. They get to choose how fashion creates, what pieces are magnificent and if fashion truly is an art form. The Balmain piece I was lucky enough to try on is owned by a good friend of mine who, when asked whether they would rather spend the money on a similar piece from a Ready-to-wear brand or start shopping Couture, said “Isn’t this Couture?” And aside from countless fittings, isn’t it?

London-based architect Zaha Hadid and property developer Related Companies have unveiled plans for an 11-storey building that will be built beside the High Line at 520 West 28th Street in New York City. The residential building, which will be Hadid’s first project in the city, will comprise approximately 37 luxury apartments and will include a double-height lobby, a large roof terrace, an indoor pool and a spa. Images courtesy of Related Companies and Zaha Hadid Architects

- Photographs by Tracy Grabowski - Styled by Sandra Sing Fernandes - Hair by Alexander Daniel, Chantal Girard, James Abu-Ulba for Davines - Makeup by Sylvie Desroches for Jane Iredale - Sofia / Wylie at Next Models Paris

When I’m in the middle of a project I feel like I’m totally inside my dreams, but when a project ends I can never help but feel like I still have a long way to go. How did you start? I started working when I was 16 years old in a store where I made fashion accessories. I worked there for two years and then took a contemporary jewelry course at an art school. Fashion Designer Ana Salazar invited me to create fashion accessories while I was still studying. Because I began my career working with Ana, my creative process has always been very connected to the parameters of fashion. What was your original mission with your work? To be able to live of my creativity and to share my visions with others. Do you ever create things that no one sees? Sometimes I develop work that does not get presented but it is part of my creative process. I call these works “Work in Progress” because that’s literally what it is. They’re four very distinct elements inside a machine that continue to give me ideas for other projects and exploration. How do you like to work? I have to admit that my creative universe works best in chaos; I don’t like to have every thing very organized because it affects the creative flow. I like to look around and see what’s available. I need to experiment with materials. Is experimentation crucial for you? Without a doubt. I’ve tried many different techniques and inspirations, from baroque to tribal, inserting them in different creative processes to see how it would work. I like to turn an ordinary material into something exquisite. At first glance a press-stud seems to only serve the function for which it was created, there’s nothing beautiful about it, but by applying them to a piece, I’m creating a beautiful and luxurious dimension, caused by the texture and achieved by the use of repetition of the same element. I now feel the need to get a little more experimental, even with materials. I don’t have as much time as I’d like to explore them. How do you choose the materials you’re going to work? In the beginning I would have an idea and then look for the appropriate materials to execute it. There came a time when I realized I could do the reverse as there are materials that give me ideas and bring relevant concepts. Now, the creative process happens both ways. It’s an enormous challenge to pick up an object and try to imagine how else it could work. It brings me great joy, when the original object becomes unrecognizable. During the creative process, do you make the distinction between your fashion pieces and art pieces? I know that many people look at my work and wonder if it’s wearable as some pieces can go from a fashion collection and can then be displayed in a gallery. The work process is the same but it makes sense to separate these two aspects of creation. Do you always keep in mind the commercial and marketable aspect of a piece? I don’t allow myself to be dictated by that. When I create a piece that’s not as commercial, I try to refine it in order to make it more wearable, which doesn’t make it any easier or less creative. It doesn’t lose its worth, but I know my customer and know what works. In my case I can’t oversimplify, otherwise it doesn’t capture the attention of those who like my work. You’ve always collaborated with other artists from different fields. Do you enjoy the creative exchange? I really enjoy it. I’m always touched when I conceive a piece that is then transported to the universe of a photographer. Its exciting and working this way can learn a lot. All my life I’ve worked in open studios shared with other artists and I find it far more constructive than working in isolation. Does the fact that every six months you have to present a new collection keep the creative juices flowing? Absolutely. And many ideas not fully explored in one collection can be put to use in another, it’s an ongoing process. There are techniques I discovered 2 years ago that are still to be applied, and I will return to them, the process is never just six months. Your 20 year career was celebrated with a retrospective exhibition in 2010. How did it feel looking back at your work? It was complex when it came to collecting all the pieces. Much has happened in 20 years and it was good to look back... The pieces enabled me to visualize who I once was; it’s interesting to see the evolution of my work. At the end, the pieces had to interact with each other and I must admit it was an interesting dialogue. What are hardships you experienced being an artist? The biggest difficulty is to work without financial support. Particularly at the beginning of a career You really do have to learn from your mistakes. In school, you learn to draw, work with materials, and develop a project, but no one teaches you how to sustain a creativity-based business. It’s very hard to focus on your work when you have to do all the equally crucial things like contacting clients and collectors, promote your work, etc. All without which success is rather impossible. What is you ultimate mission? To show people my creative world within. Are you closer to realizing your dream? When I’m in the middle of a project I feel like I’m totally inside my dreams, but when a project ends I can never help but feel like I still have a long way to go.

  - Photographs by Roberto Magliozzi - Styled by Sandra Sing Fernandes - Hair by Chantal Girard for Davines - Makeup by Valentina Lordanova for MUD Studio Milano, Olga Bordoni - Loredana Next Models Milan

- Photographs by Tracy Grabowski - Styled by Sandra Sing Fernandes - Hair by Sarah Cameron for Davines - Makeup by Sylvie Desroches for Jane Iredale - Natasha at Next Models Paris

Uruguayan (and New York-based) architect Rafael Viñoly has designed what will become the tallest residential building in the western hemisphere when it is completed in 2015. Since it was launched in March 2013, the 96-storey 432 Park Avenue condominium has achieved over 1 billion USD in sales of apartments priced between 7 million USD and 95 million USD. The homes in the concrete and glass building will command views of Central Park, as well as of the Hudson and East rivers through 10 by 10 foot apertures that evoke Mies van der Rohe’s architectural compositions.

Women's Footwear Trends The trend for fall/winter 2013 women’s footwear is all about nostalgia and time capsules. The 90’s continue to inspire this season’s hottest looks. Grunge returns, this time mixed with a twist of 70’s punk. The boot continues as a staple of the season, from ankle to over the knee. Chunky heels, heavy metal hardware, exotic animal prints and fur embel lishments giving them varying looks. A resurgence of 40’s style mary janes and T- strap pumps decorated embossed with fur porn poms. Modern touches, such as exposed zips, pointed toes, chunky heels, straps and buckles. Colours ran the gamut from classic black and brown, the surprise of white to a range of this season ‘s hottest hues such as teal, forest green, and oxblood. Men's Footwear Trends Mens footwear continued its evolution Classic shapes such as the lace up dress shoes the casual high top sneak and the workboot are updated with novel fabrics and colours. Metal hardware and patent finish embossed leathers added interest. Even the classic evening slipper was brought forward with animal print finishes and vivid hue, usually paired up with evening attire or a favorite smoking jacket, the modern fashion avatar will mate them his fave denim. Metal hardware and patent finish embossed leathers added interest.

The world of street style has been growing at an exponential rate ever since Fashion Photographer Bill Cunningham published his candid shots of Greta Garbo in the New York Times back in 1978. What made those images different from a million other paparazzi shots, was that Bill had no idea it was Greta Garbo; he took the photo because of his appreciation of her style and was genuinely interested in the way her coat draped handsomely on her body. Bill Cunningham is not only a very successful columnist at the New York Times but his career was also made into a film in 2010. Richard Press decided to produce “Bill Cunningham New York” to showcase Bill as the founding father of the “street style” genre. Now, a photo of a woman in Mexico with a multi coloured poncho can go viral in hours and drive millions of hits a day across the internet. The smallest detail can be seen as beautiful or bizarre but the choice is in the eye of the photographer whether a look is interpreted as fashion or faux pas. Everyone is a graduate of the police academy of fashion when it comes to street style because, it’s encouraged. The only difference between watching people on the street and scrolling through piles of jpegs is that screaming out “That’s Nasty!” is really only acceptable in the comments of a blog. It is through street style that people can enhance their style diction and increase their appetite for new inventive ways to tie a turban or wrap a sarong. But aside from expressing your inner voyeuristic tendencies why are people so obsessed with street style? When a photo is taken of a model on the runway, you get to see a slice of what the designer feels is stylish for a particular season. From the hair, make-up, clothes, accessories, nail polish, runway, backdrop, and model, the image that is finally taken of the collection is so contrived that nothing is outside of what the designer had in mind when electing what you should see. Street style is a culmination of everything that is happening in the world at that moment (because the backdrop is the street in all its spontaneity) and the model is 100% untouched by another stylist or fashion enthusiast. This means that every person on the street is dressed the way they are because they chose to dress that way. And when a look really comes together and shines, the credit can go to that individual because they artfully crafted their look and knowingly or unknowingly inducted themselves into a world where the flick of a scarf in the wind or the properly placed glossy neon belt inspires someone thousands of kilometres away. Of course street style wouldn’t be what it is today without some of the front-liners who championed their DSLR’s and took advantage of the www. platform. Scott Schuman from The Sartorialist and Tommy Ton from Jak and Jill hit the scene with an eye for style and a passion for exposure. Not through traditional means but by means of their blogs which reach thousands of people a day and do their part to enhance the mainframe of personal style. When a street style photographer asks to take a quick shot of you, it’s flattering and exciting. You may be a little self conscious due to your lack of modelling experience or ever-so-slightly dusty patent leather wingtips; but at the end of the day the photog (Photography Blogger) chose you to be a page in their book titled people watching. Once upon a time people would sit on a patio and soak in the tragic and tremendous looks that happened across their paths, at times, the pickings would be slim while others there’d be more eye candy than a machine twirling glistening pulled taffy. Why take the gamble of waiting for gold to walk by when you can see the best of the best from Paris, New York, and London at the click of a button? This is what street style is, a compendium of where fashion has come from, where it’s going, and who’s wearing what.

that Sunday on a corner in la Bastille Max roller-skating leader of the pack leading us leading me across the bridge across the Seine but pas sufi for Max and me it is not enough so we continue to Sacre-Coeur and there is no film needed no flash required to capture our journey this camera is internal every second a portrait imprinted as we move through light through dark sans wheels into the night the day the week our dance spilling onto the balcony spinning atop the roof twirling high above the boulevard together we dance nearly naked in body so naked in spirit we continue over then under le Pont-Neuf across le Pont-des Arts up, up, up among the very lights of la Tour Eiffel we continue to continue the dance our dance the beat our beat and this picture of Max and me framed internally can be carried from here to there to any of my imprinted anywheres.     - Photograph by Fani Kanawati