Мо­ре ВОЗ­МОЖ­НО­ГО

Удив­ле­ние – глав­ная эмо­ция, ко­то­рую да­рит от­дых в оте­ле MAXX ROYAL KEMER RESORT. О сво­их необык­но­вен­ных ту­рец­ких ка­ни­ку­лах рас­ска­за­ла По­ли­на Кер­бут

VOGUE UA - - LIVING -

ОТ АЭРО­ПОР­ТА до ОТЕ­ЛЯ МОЖ­НО ДО­БРАТЬ­СЯ за 20 МИ­НУТ на ВЕР­ТО­ЛЕ­ТЕ

Я все­гда гор­ди­лась тем, что ни ра­зу не от­ды­ха­ла в Тур­ции. По­пу­ляр­ность это­го на­прав­ле­ния сыг­ра­ла со мной злую шут­ку. Ле­ни­вый пляж­ный all inclusive и на­до­ед­ли­вая ани­ма­ция у бас­сей­на – имен­но та­ким я пред­став­ля­ла се­бе от­дых в Ке­ме­ре, со­би­ра­ясь на де­вич­ник к луч­шей по­дру­ге, ко­то­рый дол­жен был со­сто­ять­ся в Maxx Royal Kemer Resort. От мо­их пред­взя­тых суж­де­ний уже в аэро­пор­ту не оста­лось и сле­да.

От аэро­пор­та до оте­ля – час на ма­шине, но мож­но до­брать­ся и за 20 ми­нут – на вер­то­ле­те, ко­то­рый предо­став­ля­ет Maxx Royal Kemer Resort. Ра­зу­ме­ет­ся, я вы­бра­ла вер­то­лет –и с это­го мо­мен­та окры­ля­ю­щее чув­ство, буд­то я – глав­ная го­стья оте­ля, не по­ки­да­ло ме­ня ни на ми­ну­ту.

На­ша боль­шая де­ви­чья ком­па­ния за­ня­ла двух­этаж­ную пре­зи­дент­скую вил­лу: част­ный от­кры­тый бас­сейн, го­ри­зонт ко­то­ро­го слов­но сли­ва­ет­ся с мо­рем, зе­ле­ный сад, про­стор­ная тер­ра­са с джа­ку­зи и си­сте­ма «Ум­ный дом». При всей тех­ни­че­ской на­во­ро­чен­но­сти ди­зайн вил­лы, да и все­го оте­ля, мак­си­маль­но гар­мо­нич­но впи­сы­ва­ет­ся в окру­жа­ю­щую сре­ду: во­круг сос­но­вые ле­са и брон­зо­вые Тавр­ские го­ры с пры­га­ю­щи­ми по ним при­чуд­ли­вы­ми ко­за­ми – иде­аль­ная кар­тин­ка для «Ин­с­та­гра­ма». Ухо­жен­ная тер­ри­то­рия, две бух­точ­ки с пля­жа­ми – 400-мет­ро­вый га­леч­ный и мой лю­би­мый пес­ча­ный Tangerine, ко­то­рый от­ме­чен «Го­лу­бым фла­гом», то есть име­ет вы­со­чай­шую оцен­ку ка­че­ства.

Ни­ка­ких на­вяз­чи­вых ани­ма­то­ров, но и без них ску­чать не при­шлось: насто­я­щий взрос­лый – экс­тре­маль­ный – ак­ва­парк, уро­ки виндсер­фин­га и бок­са, а на за­ка­те – ве­че­рин­ки и жи­вая му­зы­ка.

В спа-цен­тре Aven Royal Spa мож­но за­ря­дить­ся жиз­нен­ной энер­ги­ей во вре­мя то­ни­зи­ру­ю­ще­го мас­са­жа, а еще по­ве­се­лить­ся на де­вич­ни­ке, ор­га­ни­зо­вать ко­то­рый мне по­мог лич­ный ас­си­стент Ев­ге­ний (по­мощ­ни­ки за­креп­ля­ют­ся за каж­дым го­стем оте­ля и мгно­вен­но ре­ша­ют лю­бые во­про­сы по Whatsapp).

Го­во­рят, для то­го, что­бы по­бе­дить, необ­хо­ди­мо чем-то жерт­во­вать. На­при­мер, ко­го-то – вро­де ме­ня – из­лиш­няя по­пу­ляр­ность мо­жет от­толк­нуть. Но еще го­во­рят, что нуж­но один раз по­про­бо­вать. Не знаю, что бо­лее вер­но, но я, впер­вые по­бы­вав в Тур­ции, в Maxx Royal Kemer Resort, го­то­ва при­знать пол­ную ка­пи­ту­ля­цию.

EDITORS LETTER

As we were working on the March issue, Ukraine’s two major Fashion Weeks – Ukrainian Fashion Week and Mercedes-benz Kiev Fashion Days – for the first and, I really hope, only time took place simultaneously. On every day of this marathon of shows of some hundred designers, I would promise myself not to break down, trying to remember that fashion was about business. And this business is expected to be profitable, and that is where we, the media, come into play. Both designers and organizers are interested in me seeing their collections and, what’s more, liking them. I kept saying that to myself on an hourly basis, literally before every show.

And that is not to mention the scheduling. Being an hour late is the most normal thing. So every time I have to waste yet another hour waiting for a show, I tell myself, ok, that’s it, I am leaving. To never come back, ever. Maybe even quit my job. But I never do, because the wait is finally over, followed by what we all came for. DJ Philipp Markovich’s set opens Anna October’s show in a half-empty Dom Odezhdy, while Nikita Potapchuk’s tracks accompany the Litkovskaya show at the Dom Phizkultury basketball court; a lot of people find themselves for the first time inside the legendary Dom Aktiora, where Sasha Kanevski’s show was held; or at the Ivan Honchar Museum picked for the Bevza presentation. I like it when the fun-loving Artem Klimchuk runs out to the runway to take a bow, Lilia Poustovit makes her shy final appearance, and the misty-eyed Ivan Frolov bows to the audience. Even the most cold-hearted of us would be moved.

Ukrainian fashion scene is rapidly developing, gradually coming into focus of the western audience. This season, Julie Paskal is returning to Paris Fashion Week with Anton Belinskiy making his debut there. The European fashion houses are experiencing quite a different reality though, undergoing massive personnel changes (see “Designers and Directors”, p. …), in the hopes of finding the right person for a creative director (as did Balenciaga), capable of capturing the Zeitgeist.

We are living in the times of breaking rules and nofashion, which have eliminated any hierarchy in the fashion industry and made all the trends equally available, there for the taking. And I believe it is this freedom that is the trend of the day. We have tried to convey it – through the locations (ranging from an Israeli kibbutz to NYC lofts), clothing (from the bold 1980s style to quiet minimalism), and people featured in the issue (from Ivan Dorn to Anna Cleveland).

ONLY FASHIONISTAS WILL SURVIVE

Ritual Projects is a Paris-based advertising agency boasting Vetements and Y-project among its clients. Polina Nagornova meets its founder Robin Meason

The Paris-based Ritual Projects agency is the place where a specific fashion story is created around every new brand. The stories are never simple and obvious: a show can be held in the outskirts with half of Conde Nast editors failing to arrive due to the distance or just because they have not been invited in the first place. The invitations are handed out according to the inner Ritual Project guest list and only to those who are really welcome. Robin Meason is the one in charge of maintaining the rational balance and the right dose of inconsistency. She is the owner of the agency located in the quiet Rue Léon Jouhaux in the 10th arrondissement of Paris.

Robin Meason was born in Texas into a family of an elementary school teacher and an oil company engineer. In the early 1990s, she left the States to travel around Europe and never looked back. She settled down in Paris. “I started my agency after I met Demna and Guram Gvasalia in Paris. It’s my start-up if you want. Once, my friends invited me over to their place to have a look at the first collection of Vetements. There was no clothing in their living room that night – it had been taken for shooting, but there was a mood board and Demna there. We talked, then got in touch again a couple of days later and decided to work together. They are my first client – and I am their first and so far only PR agent”, says Meason.

We are standing in the Ritual Projects show room looking like a closet of a very nice, educated person, not without some irony and a sense of humour. We are moving past the wall with Reinhard Plank hats, a table with dozens of Andy Wolf glasses (both brands being the agency’s clients), replaced with rail upon rail of the clothes by the Chinese brand Mashama and Hong Kong-based Jourden, Chinese Sankuanz, Nehera, a popular in 1930s Czech brand revived by the agency, Y-project of the Belgian designer Glenn Martens, Christian Dada by Japanese Masanori Morikawa and end up at the rail with Vetements designs. Just like on the day of her meeting the Gvasalia brothers, the rail is practically bare, most of the clothing taken for a photo shoot with I-D. Robin insists every collection should have a couple of crazy, unconventional, unwearable pieces, which would look cool in a magazine.

DIAMONDS AND ADMIRERS

With Cartier’s 170th anniversary fast approaching, Vogue UA looks back at the iconic jewelry the House created and the legendary women that owned it.

In 1927, American Vogue published an article titled “The Beautiful New Jewels of the Smartest Women in Paris”. The selection of the jewelry featured in the article was notable not only due to the cumulative carat weight or fine workmanship of sertissage artisans (specializing in stone setting). Through the latest fashion and jewelry trends, Vogue depicted the spirit of the time, which was all about those smart women. The women who embraced the idea of emancipation and discovered an alternative world of careers, where a woman could be so much more than merely a wife - a skilled professional or a pretty idler, one of those whom Fitzgerald would describe in his novel “Tender is the Night” with the timeless “Nicole was the product of much ingenuity and toil.”

Cartier sensed the zeitgeist. As Francois Chaille wrote in his book “Cartier: The Odyssey of a Style”, they were one of the first in Paris to revise their approach to creating jewelry: from male-influenced – when jewelry was bought by men as a gift for their wives or daughters – to female-defined with the style and design discussed with the ladies in question. The high-profile status of a piece, significant for men, was enhanced by emotional involvement of the wearer of some sparkling parure.

THE ORDER OF THE THEATRE

As the international artistic community is preparing to celebrate World Theatre Day on March 27, Darya Slobodyanik visits Ukraine’s most unconventional theatre company – the Lvovbased Les Kurbas Theatre.

Lvov. It’s early afternoon. And it is snowing outside. With our photographer Vasilina Vrublevskaya rushing around the theatre looking for the best places to shoot, assistant director Oles Koval takes me on a tour. “The theatre begins with a basement”, says Oles cryptically, taking my hand and pulling me downstairs. We are going down a marble staircase into a cold hall. “This is where our props are stored, that’s why this place has its rules. For instance, the props need time to “rest”: disturbing them in-between the shows is a “bad sign.” The theatre is brimming with rare things. The edifice, built in the early 1900s, was meant to become a variety theatre

and a casino: we are stumbling across pieces of antique furniture – Austro-hungarian stands, an original silver glass mirror in a heavy frame.

The actors call the theatre their home and its art director and founder Vladimir Kuchinsky a guru. You can hear them talking about “energy”, “vertical”, “practice”. They have always been interested in the Eastern culture, read Buddhist parables, practiced meditation and yoga. “The Kurbas Theatre was born in the postmodernist 1980s”, explains Kuchinsky. “Our shows were based on improvisation and drive. We were young maximalists.”

One of the theatre’s first productions was The Garden of Unmelting Sculptures based on the Lina Kostenko poetry. In the late 1980s, it was shown at the Dominican Cathedral – today, it is known as the site-specific theater, one of the most prominent current theatrical trends. The older generation of the Kurbas actors mastered their special body and voice techniques at the Workcenter of Jerzy Grotowski in Italy.

One could write a book about these actors: each has a rich life story to tell. The hugeeyed, delicate Tamara Gorgisheli spent several years playing in a rock band, juggling her theatre productions with tours, but Kuchinsky was jealous and at some point she realized she had to make a choice. Tamara chose the theatre. Before the Kurbas Theatre, the actor/theatre director Nikolai Bereza used to be a priest and then a DJ at the iconic Picasso Club in Lvov. At 30, Yaroslav Fedorchuk has two technical degrees and even worked at a ceramic factory at some point. “No random people end up here. This territory accepts only those who can find their place here”, says Tamara Gorgisheli.

AT A PIVOTAL MOMENT

Kenzo’s Humberto Leon and Carol Lim share with Tatyana Solovey the reason and the way to watch the brand’s shows “You are going to miss it all”, Humberto Leon and Carol Lim’s New-york based colleagues complained. So the designer duo sent a bus full of the Kenzo team to walk in the protest march which took place in January in NYC. The designers themselves stayed to prepare the Kenzo menswear fall/ winter 2017 show, the one with the backstage moved to the front to show the inner workings of a fashion show.

“Of course, if we had been in New York, we would have marched with everybody”, says Carol. “In the last two years, we have been quite open about our position. We support human rights, sexual minorities and democracy as we know it. We are not trying to be detached, saying we are creatives, it has nothing to do with us. Every voice matters”, Humberto echoes her sentiment. “Some have the resource of power, but our platform is fashion. Everybody has a ground to express themselves – be it a librarian or a dog nanny.”

This openness in the brand’s communication with its audience has become the point of revival for Kenzo. The creative couple has been working on it since 2012. LVMH bought the brand in 1993, and six years later Kenzo Takada left the business. In the following six years, Antonio Marras designed the brand’s collections, and in 2011 the hype NYC duet was invited to shake up the image of the brand. This years, they are going to mark the sixth anniversary of working on the Kenzo collections.

The new creative directors have never leant on the ethnic component or Europeanpackaged Asia in their collections. They have always admired the “energy of discovering the world”, which the revolutionary Kenzo Takada brought to Paris before the Internet and globalization. Takada introduced the feeling of ethnic and stylistic diversity to French fashion when he opened his first Jungle Jap boutique in 1970. Kenzo’s new creative directors have unveiled the revised version of the brand, which looks at the world with its eyes wide open. Their method of inspiring people to look at the5world in a different way is by creating a “moment” at a show which will become an emotional catch for the audience.

THE PRINCE AND BEL-AIR

Ukraine’s most popular singer Ivan Dorn will release his first English-language album this spring. To mark the occasion, Vogue UA decided to take a fresh look at the singer, in a way no journalist ever could – through the eyes of his neighbor and friend Natalia Zhuravleva It’s 11 p.m. A cottage community on the shores of the Kiev Sea, safely hidden from the prying eyes by the pine forest. Tennis courts. A crowd of men from 15 to 40 are playing football with an inflatable kids’ ball. Ivan Dorn is threading his way through the players, filming the game with his phone, all the while giving a running commentary like some sports announcer on TV, “The kids’ ball is in the tennis court! Igor has the kids’ ball, Igor is dribbling the ball like a pro – you can tell he’s been with the kids’ ball since he was a kid. Igor, why don’t you use some grown-up methods, pick up a belt and spank them…”

Dorn lives in this community near the Kiev Sea. Half of the players in the tennis court are his guests. The other half are the locals, whom Ivan has dragged out of their homes and talked into an impromptu game of ball in the moonlight. In real life, Dorn is quite the same as his stage persona – a bubbly happy-go-lucky. He catches random words, gestures or objects, instantly coming up with an epigram upon epigram. Somebody mentions an SMS message, and here he is, rapping: “We are making SMM with SMS, our name is MMM.” Over dinner, Ivan will shower you with a dozen of more or less rhymed improvisations. In the time we have known each other Ivan won YUNA’S Best Artist in 2013, 2014 and 2015, was named the winner in the Alternative category of the M1 Music Awards, released his second record, joined the judges of the X-factor and Golos Krayiny shows, launched his own label Masterskaya, yet hasn’t changed at all. He is just as down-to-earth as he was when he came to our place for the first time to get warm. He still does it, coming around the house to the porch through the kitchen door, rapping on the window “Can I come it?” to borrow some sour-cream or something.

This last year, we have seen each other less: Dorn has hardly ever been at home. Last spring, he decided to record an album in English, so he didn’t waste any time and took his musicians to LA in July. This Englishlanguage record is more than an experiment – Dorn hopes to make his way into the international music scene.

The English album is a test for Dorn’s talent. His tracks stand out among other Russian-language music because they have a feeling of serious poetry about them, capable of capturing the zeitgeist. Dorn’s English record is slated for a release early in5the spring, so the wait is almost over. Ivan says one of the tracks is about a drunkard, another one about prostitutes, the third one about the wild dream of becoming wild – “about the stuff you can see in life”. The ultimate Dorn.

Ди­зайн оте­ля гар­мо­нич­но впи­сы­ва­ет­ся в окру­жа­ю­щую сре­ду: во­круг – сос­но­вые ле­са и брон­зо­вые Тавр­ские го­ры

Ре­сто­ран Tangerine Asia рас­по­ло­жен в жи­во­пис­ной бух­те и пред­ла­га­ет эк­зо­ти­че­ские даль­не­во­сточ­ные блю­да

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