“Anybody can get in and sleep, shop, have sex, play,” says editor-in-chief of SSENSE, Joerg Koch, describing the architectural concept of Fun Palace, conceived by architect Cedric Price in 1964. Though it was never erected, Fun Palace was designed as a flexible leisure space where individuals could come to do whatever they pleased, be it “starting a riot or beginning a painting.” Fun Palace seems to have little in common with a traditional retail store, built for the express purpose of facilitating the sale of goods, but perhaps that’s the point.

While it’s highly unlikely to be hosting any public sex, the philosophy of Fun Palace heavily informs the design of SSENSE’s new Montreal location, which opens its doors May 3rd. Located on rue Saint-Sulpice in old Montreal, a fusty historic façade encases an entirely new brutalist concrete structure designed by architect David Chipperfield. The building serves as a perfect metaphor for the brand. As founder Rami Atallah says, “SSENSE is a lot about the tensions.”

Atallah founded SSENSE in 2003 when he was still an engineering student at Polytechnique Montreal, and turned in the code for an e-commerce site as one of his grad school projects. At the time, Attallah was a burgeoning hypebeast. “I was one of those kids who gets obsessed when there’s a drop, and then they flip,” he says. The entrepreneurial instinct has served him well, as SSENSE has emerged as one of the most prominent luxury e-retailers of the decade.

Atallah describes SSENSE’s mission as “moving culture forward,” which is demonstrated by the brand’s sometimes challenging edit of items from luxury and emerging brands. The DNA of SSENSE is hard to parse – Koch says it’s about celebrating creativity and resisting orthodoxy – but their offerings seem tailor-made to appeal to a small-but-dedicated cult of individuals with deep pockets and a vested interest in esoteric street fashion. Case in point, SSENSE was one of the early champions of Demna Gvasalia and Virgil Abloh, whose almost-satirical approach to fashion was once considered outré but have now been fully embraced by the establishment; Gvasalia as the creative director of Balenciaga and Abloh as the head of men’s design at Louis Vuitton.

Spanning five floors, the retail behemoth includes four floors of change rooms and rotating art installations, as well as a lifestyle café that serves nougat topped with silver foil and a printed matter bookstore filled with crass coffee table books (one example: “Eat Ass, Pray, Love”). Between the mannequins wearing Prada’s S/S 2018 collection and an installation comprised of a pile of discarded electrical cords, the concept of SSENSE Montreal is basically the closest thing Canada has to a Dover Street Market North.

But one crucial feature sets it apart from any other concept store: the utter lack of clothes in the store to peruse. Instead, SSENSE Montreal functions as a glorified fitting room. Customers select the clothing they’d like to try on from the 20,000 items available on the SSENSE website and within an hour, the clothing will be delivered from their warehouse in Montreal’s old garment district to the flagship store with the aid of an industrial vertical lift module. They’ve essentially combined the best parts of online shopping – not having to interact with human beings – with the best part of shopping in-store – trying on an item for size – to create a completely unprecedented shopping experience.

Speaking of unprecedented, the performance artist Arca inaugurated the grand opening of the store with a piece called “Tormenta” that involved him wearing an S&M latex outfit replete with tail, while he writhed against a wire bed frame, locked himself in a cage, and nearly electrocuted himself while tussling around an aquarium filled with pond scum. “That was scary, but I had a lot of fun,” the artist breathed into the mic once the performance was complete.

The next morning, I returned in daylight to find a profound serenity had settled onto the space: no longer a decadent sex bunker, but a calming, minimalist space with Insta-worthy lighting in which I’d be perfectly happy to whittle away an afternoon.

Photography via SSENSE

Visit SSENSE Montreal at 418 rue Saint-Sulpice, Montreal.

The post SSENSE’s New Montreal Flagship Store is the Future of Retail appeared first on FASHION Magazine.

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All who wander are not lost, but if El Hub is at the helm, and we’re in our Mazda, chances are… 🙂 Haha! Kidding, babe! Sort of…

That man… OK, he was was born and raised on an island, so when he gets lost while driving, he instinctively seeks out the ocean and then hugs the coast. Now, if you do that on a small island, you’ll eventually get closer to where you need to go. (Granted, this technique works better on a small island like Oahu than it does when you’re driving in the middle of a huge state like California.)

And will he ever pull over and ask for directions? NOPE. Thank goodness for smart phones… Apple Maps has saved our marriage more than once!

Anyway, I’ve learned a thing or two about putting on makeup in cars, because, girl, I’m always putting on makeup in the car. (If I had a nickel for every time I nearly poked my eye out with a mascara brush on 880…)

Over the years and years and miles and miles, I’ve figured out a few helpful tricks that make the process easier and more efficient, and those tricks came in handy last weekend on our three-hour drive up to Redding.

Continue reading "10-Minute Travel Makeup: Berry Cheeks and Lips, and Glowing Skin on the Go" on Makeup and Beauty Blog.

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In pop culture, charm bracelets have long been the province of spoiled rich girls like Gretchen Wieners in Mean Girls and evil stepmom Meredith Blake in The Parent Trap. But this season, Thomas Sabo is razing the prissy reputation of these bracelets with the relaunch of its Charm Club. The new Generation Charm Club hearkens back to the original purpose of charm bracelets as amulets meant to supposedly ward against bad luck. The collection has a decidedly spiritual bent, including vintage-inspired astrological medallions and evil eyes, as well as celestial motifs like slivered crescent moons and mother-of-pearl starbursts. The charms aren’t limited to bracelets. They can be added to long chains to create a jangly rock ’n’ roll pendant, to chokers for more of a gothic vibe or even to hoop earrings. The collection also includes single earrings that can be mixed and matched to create a unique set or worn individually as a bold accent. 

Photography via Thomas Sabo

The post Charm Bracelets Lose Their Prissy Reputation with the Relaunch of Thomas Sabo’s Generation Charm Club appeared first on FASHION Magazine.

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The trend for wearing big logos loud and proud isn’t going anywhere. Here are four stylish ways to do it, along with the brands that do it best

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Freeway Rick Ross music group Distribution artist Edgar Dickey will be dropping his first major video for his single (Addicted) shot by Franticimage. We are really excited for it to be released! He’s a independent artist that is on fire and we see him Grinding his way to the top! He has already landed a single on Nielson BDS charts and it landed last we checked at #46! You also can find his music on all the major digital platforms by typing in Edgar Dickey!

Behind the scenes from his video shoot (Addicted)

Freeway Rick Ross music group
Freeway Rick Ross music group


FACEBOOK:—-> EdgarDickey

Instagram:—> williamedgardickey

Spotify:—-> EdgarDickey


Marie-Ève Lecavalier’s trippy childhood dreams became a reality last night at the 33rd edition of the Hyères International Festival of Fashion and Photography. The Montreal-born designer won the Chloé Prize as well as a special mention from the jury.

Backstage after the show, a teary Lecavalier said that she was “really, really touched,” adding that the experience at the festival, including her interactions with jurors like Haider Ackermann and Tilda Swinton, has inspired her to work even harder on her designs.

Her collection, which is entitled “Come Get Trippy With Us,” is influenced by her childhood memories of listening to Frank Zappa with her dad. “My father was a musician; we listened to psychedelic music, and I became fond of that movement—all the waves and distortions found in this music really touched me,” she explains.

Growing up in the suburbs of Montreal, Lecavalier says she had a lot of time on her hands and a lot of imagination, so to amuse herself she was always deforming reality and living in an altered world. “When I went to bed at night, I would make myself hallucinate looking at the patterns in my polka dot wallpaper,” she laughs. “That was the basis for my obsession with deforming reality or everyday life.”

Lecavalier—who is currently interning with Raf Simons in Antwerp—brings that love of distortion to her designs. “I like to work with shapes that everyone can recognize—like tank tops, vests and jackets—but I like to push it to the limit of what is recognizable,” she explains. “I have this obsession with taking ordinary things and making them extraordinary.”

You see that aesthetic expressed in her leather-trimmed denim skirt and the woven leather dress she designed for the Chloé competition. “I wanted to work with leather, but I wanted it to look knitted,” she says. “I designed the curvy abstract pattern for the leather; I had it cut, and then I wove the pieces together. It was very time consuming!”

She also designed the wavy printed patterns used on the cotton shirts. To add another layer of distortion, she worked with glass artist Simon Muller to create buttons, buckles, bracelets and necklaces. “When you see the prints underneath the glass, it adds another twist to the design.” The colours she uses for her prints are watery and faded but echo the ’70s vibe that has shaped her design sensibility.

Lecavalier—who looks like a young Janis Joplin—says that she wishes she had lived through that experimental decade as she’s drawn to the feeling of freedom it inspires in her. “I don’t know if this was the case, but I feel like there was something very intuitive about the way people lived then that I like,” she says. Zappa once said, “Without deviation from the norm, progress is not possible.” It’s a point of view that this young, free-spirited designer takes to heart.


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