Behind the scenes of our issue 16 photoshoot with jes sachse
“Growing up, I felt like I had to pick between something stylish and something I could actually wear. It would be nice to realize a future where retailers and the fashion industry stop forcing people to make that choice.” – jes sachse
How can fashion engage with disability? While we’ve recently seen a fair bit of progress regarding companies that accommodate wardrobes of folks of varying bodies and abilities, it’s not exactly a one-size-fits-all solution. Clothing is an incredibly personal and political choice, and no two sets of needs are exactly alike.
In our most recent issue, we had an in-depth chat with artist and activist jes sachse about how identifying as disabled and genderqueer collides with their love of fashion. We had a great conversation full of new ideas, the re-telling of experiences, and hard laughs. Beautiful photos were taken, and feet were tap-tapping away during the whole shoot.
It was a damn good time.
text // Jenna Danchuk video // Daniel Reis end animation // Barry Potter
We were a little worried when the rain wouldn’t stop during our 90-minute drive to Sunderland, Ontario. We caught a break when we arrived at the home of Judith and Viktor Tinkl, who hosted us for our issue 16 photoshoot “Magnetic Field”. The rain had stopped but thank goodness the clouds didn’t part, because we got to take advantage of perfect lighting conditions for such a shoot.
Captured by photographer Chelsee Ivan and styled by Eliza-Trent-Rennick (along with Casie Brown and Zoe Vos), model Jenna Danchuk is never upstaged by the towering, spellbinding sculptures inhabiting the Tinkl property.
The rain returned as we left the location, almost like a curtain closing on a strange, beautiful fable.
video and text // Daniel Reis end animation // Barry Potter
A style supercut of the freshest early-'90s fashion
In the 14th episode of The Fresh Prince of Bel-Air our hero Will Smith finds himself bored with his new private school uniform. He discovers that the lining of his blazer is far more interesting and, in my earliest childhood memory of watching the show, flips it inside out. Throughout the entire run of the show, Will never shies away from flamboyant clothing. It compliments his personality perfectly: his candor, his confidence, and his insistence on never entirely fitting into his new surroundings.
This supercut celebrates the vibrant colours and vivid patterns of the wardrobes seen in films and TV shows between 1989 and 1992: Do the Right Thing, White Men Can’t Jump, The Fresh Prince of Bel-Air, and In Living Color. The influence of grunge had not yet taken hold of popular culture, and I’m sad that we couldn’t have staved it off for a little longer. I prefer Wesley Snipes’s low tanks and cycling hats in White Men Can’t Jump to muddy flannels and ripped jeans any day of the week.
Another reason to savour this era was the abundance of Rosie Perez. In White Men Can’t Jump she made hoop earrings work for any occasion, be it rollerblading in Venice Beach or fulfilling her dream of appearing on Jeopardy! She introduced boxing gloves as a fashion accessory in the opening credits of Do the Right Thing. Her style influence no doubt extended to the Fly Girls of In Living Color, where she was the choreographer for the first four seasons. It’s a Herculean task to pick just one favourite look, but the lime green scarf with the floral print dress holds a special place in my heart.
So travel back with me to a fresher, more fly era. A time of scrunchies, spandex, and suspenders. When people wore their personalities not just on their sleeves, but on their knuckle rings as well.
video and text // Daniel Reis title design // Jackie Hudson
Readers, I must confess that the Wornettes made a groundbreaking scientific breakthrough during the shoot for the Issue 15 editorial, Geometress. Our art director Casie Brown was so adamant that we achieve period authenticity for this mod-inspired shoot that we literally traveled back in time to 1960s London. I won’t bore you with the technical details, but needless to say I think we nailed it. How else can you explain the pitch-perfect outfits modelled by our assistant publisher Sofia Luu and our graphic designer Natalie Papanikolov, or the era-evoking photography of Lisa Kannakko?
The simplest answer is usually the correct one, readers. Time travel.
video and text // Daniel Reis titles design // Alexandra Niit end animation // Barry Potter