PaperCity Magazine

March 2017 - Dallas

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Page 19 of 95

letter editor STEVEN VISNEAU, SISTERBROTHER MGMT. W hile organizing a jam-packed bed- room bookshelf, I rediscovered several sketchbooks I've held onto from my high school years. I was reminded of a time when my mind was wild with creativity: Each page is covered in fashion sketches (for many years, I swore I would only attend art school for college), rambling stream-of-consciousness notes, and pasted-in pages from fashion magazines. After one good trip down memory lane, I made an- other. This time, I revisited the growing collection of magazines stacked atop every coffee table and shelf, and along nearly every wall of my apartment. It was a refreshing reminder of a time when fashion had little to do with Instagram and influencers, bloggers and e-commerce — and we all anxiously awaited the arrival of our March issues to see what kind of wondrous worlds the editors, creative directors, and fashion designers had created for the new season. And, while the aforementioned qualities of today's fashion world certainly have made things faster, more accessible, and at times more artistically charged, I still find charm in the past. As is tradition, this issue is dedicated to spring fashion — but in a way that all at once looks to the past, present, and the future. The beautifully eccentric Texas artist Salle Vaughn's mercurial paintings and fantastical compound of early 20th century bungalows, inspired creative director Michelle Aviña's fashion editorial. To celebrate the opening of Fendi's beautiful — and spacious — new boutique in Highland Park Village, we dug into the Italian fashion house's archives to spotlight its 90- year history. While researching, I had quite the chuckle when learning this Fendi fact: When creative director Karl Lagerfeld designed the interlocking F print, it was not to represent the F in Fendi. No, that clever Lagerfeld intended the double-Fs to mean, "Fun Furs" — because if anyone does fun furs, it's Fendi. I was delighted when a friend, Dallas-based photographer and filmmaker Richard Krall, agreed to answer a few interview questions about the 2 1/2 years he spent as an apprentice to French fashion photographer Guy Bourdin. What I didn't expect was his remarkable response — two dozen pages of beautifully written first-person anecdotes and vivid memories. I read his narrative at least four times before taking a stab at editing. Still, I take long pause at these words: "What Guy taught me is that there is more to this existence than what meets the eye. He was tuned into something. I'm not sure what or how. The only thing I can think to call it is maybe the rhythm of the planets or of the stars … He told me to never interfere with happenstance. I can still hear him saying: 'No selection. No rejection,' and 'No problems, only solutions.'" Krall's story is one that depicts what is perhaps a long-gone era in fashion, but one that has had enduring influence, no less. Christina Geyer Dallas Editor in Chief 18

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