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
We look under the brim to get inside the head of Stanley Kubrick's period masterpiece
When WORN held its redesign Indiegogo fundraiser last fall, the top perk for support was a style supercut of the bidder’s choosing. One of the supercuts was snapped up by Robert Everett-Green, writer at The Globe and Mail. His choice was a supercut of every hat from Stanley Kubrick’s Barry Lyndon. Here, he explains why.
I was a bit disappointed with Barry Lyndon the first time I saw it. I couldn’t understand why Stanley Kubrick would busy himself with such a slow and stately period drama. But when I saw it again a few years later, I was amazed by its depth and beauty. Somehow I had overlooked every important thing about it the first time around.
Looking at the film on DVD, I kept playing and replaying scenes, trying to figure out what made them feel so saturated with life, sentiment, and meaning. Certain lines became magically evocative, haunting me later at odd moments. I would hear a voice in my mind saying, “Chevalier, though I cannot say how, I believe you have cheated me,” and the yellow light in the Chevalier’s sparse drawing room would come back to me, along with the sardonic tone of his royal victim, and the cheater’s puffed-up indignation. Or I would hear, “Mr. Lyndon, are you ready to receive Lord Bullingdon’s fire?”, and the brutal formality of the final dueling scene would return, and with it, the questioner’s flat civility, and the fluttering of birds under the roof of the out-building where the shooting took place.
I was also fascinated by long scenes in which faces engaged in silent dialogue at a gaming table, or troops waited in mute rows for the enemy to approach at walking pace. So much is said in this film without words, so much speaks that has no voice—which brings me to the costuming.
“Clothes called to clothes, cutting out words and greetings.” This wonderful line, from a memoir by the English historian Richard Cobb, could be an epigraph for Barry Lyndon. “Costume drama” is often a put-down, but in this film, the costumes do tell the story, and in an important sense are the drama. Barry Lyndon spends the entire film trying to push his way up through a society in which clothes transmitted everyone’s status at a glance. His story is that of a man struggling to assemble and maintain the right appearances. The aristocratic widow he manages to marry is so perfectly projected by her clothing that she hardly needs to do or say anything. What Lyndon doesn’t realize is that her inertia is proof she belongs, while his pushing creates an appearance that dooms all his efforts.
Daniel Reis’s supercut of the hats of Barry Lyndon charts the hero’s career through a single article of clothing, and for the most part, a single type: the tricorne, which was the dominant headgear for men for much of the eighteenth century. Lyndon’s rough country tricorne is succeeded by dashing military models (first English, then Prussian), then more aristocratic types with rich brocade. But the apex of his pretension is a baby’s bonnet, wide and flat and heaped with ribbons and plumes, worn by an infant son who is more aristocratic than he is. Barry’s round straw hat, worn at the boy’s lavish birthday party years later, shows that he has “made it” sufficiently to be able to play at dressing in rustic style. The women’s hats range from Mrs. Barry’s kerchief-like nightcap, to the almost crownless straws worn by the country women, to the plumed Gainsborough hats of Lady Lyndon, steeply perched on masses of curled hair.
Kubrick’s costume designers for Barry Lyndon were Milena Canonero and Ulla-Britt Söderlund, who won an Oscar for their work. (Amusingly, Canonero reused one of Lady Lyndon’s hats for Marie Antoinette (2006), for which she also won an Oscar.) But Kubrick told the French film critic Michel Ciment: “The costumes were all copied from paintings. None of the costumes were ‘designed.’” For him, apparently, churlishness in the defence of documentary realism was no vice. But the hats and costumes of Barry Lyndon are powerful not because they can be found in a museum, but because they’re in this film.
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
Alyssa Wornette gets mascara dabbed on her armpit hair by a complete stranger
Arriving at the Belljar Cafe in Toronto’s west end on a warm summer evening, I felt wretchedly nervous. Don’t get me wrong, I was proud of my armpit hair: so proud in fact I was worried the photos wouldn’t do them justice. I wanted to look sexy, sophisticated, and not at all ashamed like I would’ve been in the past. I was terrified my confidence just wouldn’t come through.
But as my body slid into ’50s party dresses in pastel shades, and my perfectly curled hair was coated with hairspray, the nerves turned to excitement. Somewhere between fresh brewed coffee, dabbing mascara on my armpit hair, and cuddling an ADORABLE puppy, we snapped the perfect photos to accompany Hot Fuzz, issue 15‘s article on learning to love my pit hair. I’ve never felt so pretty and proud.
text // Alyssa Garrison video // Daniel Reis end animation // Barry Potter