Au Jour Le Jour (Q3786)
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Au Jour Le Jour is a fashion house from FMD.
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Au Jour Le Jour |
Au Jour Le Jour is a fashion house from FMD. |
Statements
It’s no secret that independent labels struggle to find backers and efficient production facilities to help them build consistent collections and a sustainable business model. Au Jour Le Jour’s creative path has had ups and downs, but now it seems to have found a more structured way forward. The Pre-Fall collection the brand presented is produced and distributed by a different company than before; the outcome was a more streamlined and coherently articulated lineup.The label’s fashion proposition isn’t that complicated: a youthful urban style updated with au courant street and sporty elements with lively whimsical accents to spice the mix up. Nothing revolutionary or fashion-forward here, really, but the vision has a certain grace and sense of humor that, when well-executed, feels fresh.The offer revolved around easy daywear pieces that could be individually mixed and matched, as is customary in every wardrobe-oriented collection today. The best pieces were when the designers’ imaginative flair was let free, like in trompe l’oeil miniskirts that replicated the shape of a masculine shirt or that had a fake fleece sweatshirt attached and belted at the front. The oversize eco-furry hooded coats in bright electric blue and emerald green had a playful vibe, while a white ’80s-inspired wrapped minidress looked cool. It’d be nice to see the designers, now that their collection’s execution has been clearly upgraded, hit the fast-forward button on their imaginative approach in a more confident, assertive way.
20 January 2019
Swapping out a show format for a presentation can be a sign a label is in trouble, but Mirko Fontana and Diego Marquez convincingly pitched that the change here was solely in order to better communicate the collection. The venue was the bar and club in the basement of the excellent Brazilian-Japanese fusion restaurant Temakinho. Onstage, a band called Orchestra Casadei was belting out traditionallisciobelters while a tightly dressed couple threw enthusiastically twirly dance moves. Next door, there was a busy bar heaped with fruity drinks overseen by a stern parrot named Paco, who briefly sat on my shoulder.As the designers explained, this was all context for a collection that was a fusion of ’80s influences (the power shoulders especially), tropical color stories, and prints (including one of a parrot on nylon poplin pajamas). It emphasized evening (notably in the fanned-sequin dresses and one V-neck minidress in micro-sequin fabric with reefs of white ruffle at each shoulder). Fake dyed feathers—no parrots harmed here—were used as decoration on a sheer blouse, a shirt, and pants. There was a lot going on at the shoulder—many of the looks featured hybrid T-shirt-dress detailing or funny little shoulder-strap sashes. As a vivacious collection of ironically touched dress-up-and-dancewear, this definitely convinced.
22 September 2018
Au Jour Le Jour’s Resort collection was a mash-up of late-’80s and early-’90s references; nothing original, really. Those years have already been drained by hordes of designers. It’s become a litany. The same old story told in slightly different variations. Note to up-and-comers: Get deeper, less stereotyped references. Better no reference at all than a lame, trite one.Diego Marquez and Mirko Fontana, the duo behind the label, built Resort as a daywear wardrobe of separates, citing as a starting point “old television series, likeBeverly Hills, 90210.” They proceeded to endow blazers with the requisite big power shoulders and trousers with the equally mandatory high waist. Like in a game of table tennis between elements taken from those decades, leggings printed in pink animalier motifs switched with puff-shoulder minidresses, while oversize, structured outerwear lived side by side with simple day dresses—too simple. Elsewhere, tartan, patent leather, and animalier prints gave a lively spin to coed blazers, dusters, and light sundresses.References alone don’t make a collection worthy of editorial attention, nor commercial viability. Here, consistency was definitely lacking; Marquez and Fontana are talented, yet to be relevant they need to find a stylistic focus and a stronger, more personal point of view.
26 June 2018
Mirko Fontana and Diego Marquez started with a fun idea. They took the staple garments of what they termed “granny” fashion in Milan and then subjected them to ironic twists and zhooshification to suit their 25- to 35-year-old customer base.Thus, the models all wore gray pantyhose—but over their shoes. There were Ballantyne-style knits over preppy flannels heaped with teardrop pearl brooches, Chanel-lite bouclé suits with collegiate patches and more pearls, Dolce & Gabbana herringbone tailoring with more patches and pearls, et cetera. The problem was that the designers’ punchlines were neither funny nor subversive enough to elevate their remixes above or beyond the originals. Instead, they ended up looking like pale imitations.More fruitful was the notion of making outfits that looked like separates as single pieces—as in Look 2—and an end-of-show swerve away from pinafore-suspended denim and plaid. But it was a shame Fontana and Marquez squandered such a promising notion so half-heartedly. Come on, guys!
25 February 2018
New venue, new season, new time slot, and new direction—kinda—for Au Jour Le Jour. As Diego Marquez stressed preshow, this is still a tricksy collection with irony stitched throughout. But instead of focusing on theme or decoration as the vehicle for that playful instinct, Marquez and Mirko Fontana dug down into the essentials of their offer—the structure of their garments—to provide their punch lines.Everything was inside out and upside down. Shirtdresses had collared hems and shoulder straps hanging down to the knee. One look featured a specially cut pair of jeans worn as a throw, while another a shirt transformed into a bustier. Another pair of jeans (and a sister pair of pants in black cotton) came with a kicked hem that ended with a waistband and a fly button at each angle. T-shirts were worn inside out with washing labels on show and stitching on display, but mirroredIRREVERSIBLEgraphics were printed where you’d expect. Backpacks were attached to garments to provide hands-free, off-the-shoulder totage. Shoes featured backpack plastic buckles. A blue sweatshirt dress came with two necklines—one north, one south—with sleeves that emerged at the hip. Gabardine shirts and skirts were hemmed in lace and had inverted pocket details outlined in crystal. A closing sequinned top featured a scalloped double-breasted jacket in black pinstripe sequin worn as a skirt.The whole wear-one-garment-as-another schtick has been tried many, many times, but here it was explored with focus, verve, and wit. Au Jour Le Jour’s bread and butter is clothes for women who want you to look twice. These clothes would most definitely compel you to do that—so even if you did conclude, upon second inspection, that she’d gotten dressed in the dark, this collection was mission accomplished.
24 September 2017
Once upon a time, there was a fashion editor (who admittedly doesn’t look like one) who showed up on time and full of the joys of Fall 2017 to review the Au Jour Le Jour show for Vogue Runway. But oh! The big, badly-briefed wolves at the door wouldn’t let him in, however much he huffed and puffed (which admittedly wasn’t much). Eventually—even though he looked like a photographer and was treated with disdain (which is very poor manners, because if you think about it, fashion kind of needs photographers)—he managed to ooze in, along with a few models who were also stranded outside.Once he walked up the grand flight of stairs and into the fancy room full of excited people, he found that everyone was waving around smartphones and tripping over the runway set. It was covered in sticks and wood chips. The confused fashion editor, who didn’t have his invitation because sometimes these things happen, politely asked a staff member with a list if she wouldn’t mind checking his seating allocation. “Talk to her,” commanded this important person, pointing at a colleague before walking off with impressive purpose. The confused fashion editor, silly fellow, repeated his polite plea yet again (careful to say please and thank you, as his mother once taught him). But oh! Again it fell on deaf ears. “I only deal with bloggers and celebrities,” he was informed.Oh, woe! Whatever could he do? How would he be able to review this show without a spot to sit? Luckily the blogger-wrangler saw the sad non-blogging, non-celebrity, camera-carrying nobody’s jaw drop: The funny fellow in banal clothing without a domain name to call his own needed to be dealt with somehow.Once backstage, the slightly less-joyful-than-before fashion editor listened to the young and dynamic designers behind Au Jour Le Jour, Mirko Fontana and Diego Marquez, explain that they had been inspired by Aesop’s fables. Their collection mixed felt and crochet decoration, which symbolized educational parables such asThe Fox and The GrapesandThe Wolf and The Lamb. It was also, putatively, about clothes you’d wear to go to sleep—perhaps because the fables were, for so many centuries, the international go-to for bedtime stories—so there were some pajama suits and plenty of super-sheer buttock-skimming lingerie minidresses. Also, there was a embroidered bathrobe dress and plenty of colorful coats and whatnot in teddy bear fluffy stuff. It was absolutely fine and frothy. The menswear was quite a laugh too.
There is no moral to this story—but it quite was fun to tell. The end.
26 February 2017
Mirko Fontana and Diego Marquez presented their take on fashion’s current fixation with the ruffle-heavy simper of nu-Victoriana today put through anAu Jour Le Jourzhuzh-er. That was the main takeaway from a collection that gently riffed on the idea of sororities, membership of which was signified by Greek lettering plus emblems and florals stamped with giraffes, lions, ladybugs, and dolphins.The ruffle stuff was prettily executed, as either long shirt dresses slit high or halter neck aprons in gingham or animal retro-florals. Any hint ofLittle House on the Prairie–ness was roundly confounded by the insertion of one-shouldered sequined sashes or varsity-Harrington hybrids in nylon micro checks with those for-the-hell-of-it crests, sometimes cinched at the waist with Japanese-influenced belts. These designers are also very keen on two-thirds skirts that allow one leg to flash forward.There were three menswear looks (two longer-at-the-back hoodies worn with shorts and a pink-fades-to-gold sequined sweatshirt with shirt cuff). Cuffs became a signature detail in the womenswear with a closing series of sequined dresses and sweats, sometimes worn under aprons, with unraveled extra-long french cuffs in contrasting colors or florals. You wouldn't wear any of this to a job interview—unless youreallydidn’t want the job—but for a scatty night of partying hard, this collection did very nicely.
24 September 2016
Au Jour Le Jourdesigners Diego Marquez and Mirko Fontana have gone fishing. In reconsidering what they stand for and keeping things tight, the duo wisely dialed back (all things being relative) and came up with a Resort collection studded with Hawaiian-inspired but wearable clothes. While experimenting with prints and whimsical embroidery—koi fish on bleached-out denim, sequined posies on a sheer baseball jacket, beaded daisies—they kept things on an even keel with simple shapes. Here’s betting that the romantic vintage florals, which in some other decade would have been perfectly at home on granny’s bedroom wall, will find their audience.“We tried to pair a strong identity with a more transversal wardrobe,” offered Marquez. “We were going for sophistication, but mixed with sporty detail.” Which is how unexpected fabrics moved in on sportswear classics, think duchesse satin primrose or printed crepe with nylon or a chiffon with a utility zip closure. Daisies and sports signatures: hardly an obvious coupling, but well handled on jumpsuits and flared dresses. The brand’s logo cropped up as a racing patch on boxing shorts and windbreakers—one red one ran to the floor—while a blue plaid shirt mixed it up with giant silver eyelets strung with AJLJ-printed ribbons as a back closure. Is the margarita (daisy) and vintage rose jumpsuit a little OTT? Yes, but it’s all in good fun. In fact, it somehow comes out making perfect sense. “Growing up is always a challenge,” allows Marquez. “But that’s what we want.”
30 June 2016
For Pre-Fall, Au Jour Le Jour’s Diego Marquez and Mirko Fontana were inspired by travelers, nomads, and gypsies. “We come from everything,” they said, probably referring to the mash-up aesthetic that permeates every aspect of current fashion. And so mix and match they did; the collection was a dense melting pot, a whirlwind of fabrics, textures, prints, graphics, volumes, and shapes. There were no specific references to a particular culture or place; it was more about celebrating a generic spirit of freedom.Following the trend of personal interpretation, the collection was built around individual pieces to better suit the self-expression of the wearer. Today, everybody is a stylist. The designers provided their own version of the wardrobe concept, which has become a new mantra; they called it an “organized accumulation of items.”Layering was, of course, at the base of the look, as well as patchwork techniques and assemblages. Denim pants boasted tartan patches or paillette inserts; corduroy Bermuda shorts had detachable apron panels; and sweaters were printed with rubberized appliqués inspired by details from Caravaggio’s paintings. Elsewhere, a tweed dress was decorated with long ribbons. A masculine coat with wide lapels was made out of eco-mink, eco-shearling, and tartan; a micro-checked asymmetric dress was worn over a striped miniskirt and an animalier-print leotard. You cannot get more mashed up than that.
31 January 2018
Diego Marquez and Mirko Fontana have been streamlining their vision lately. Moonlighting for the Italian brand Dondup has something to do with it but that doesn’t mean the designers have lost their sense of fun. And, as it happens, reining it in (relatively speaking) is making their clothes stronger.For Resort, Au Jour Le Jour takes a spin down Mexico way, gleefully embellishing tops, skirts, and jackets with cacti, fronds, and red hot chilis, not to mention tassels, rhinestones, raffia, and paillettes, plus the odd margarita glass.“We tried to keep the ideas that everyone has of Mexican colors and folklore but interpret in a more modern, clean, urban way,” noted Marquez. That entailed a lot of fabric research, working fil coupé into a 3-D cactus motif on a jacket, for example. Elsewhere, chili peppers cascade down a shift with a flounced neck. A wide flounced skirt is slightly literal, but cute nonetheless. And then the party really gathers steam with embroidered dresses and blouses that bring all the tropes—cocktails, sombreros, guitars, cacti, maracas, et cetera—together in one place, with sequins, velvet, and embroidery. A fringed pantsuit pushed the theme overboard, but for the gal who parties until dawn, the fully sequined, striped, low-back dress should do the trick.For denim, AJLJ looked to workwear but switched up the proportions on overalls, hitching a jeans’ waist up to the bust and edging the pockets with tassels. Not everyone can pull off a look like that—just the cool crowd.
1 July 2017
Lookread the lettering running vertically down the model’s right side. A yellow arrow pointed directly down and left toMe. Solution?Look at me. The joke (were it meant to be one or not) was that you were probably already checking out who was wearing this puzzle, since she was dressed in a sheer tulle T-shirt minidress. Mirko Fontana and Diego Marquez hit upon the promising idea of taking up the pictogram puzzle, or rebus, for their new collection. Sadly, their hieroglyphic hypothesis failed to hit the heights it could have. Unless this contestant was having a serious senior moment—not unlikely—only the firstLook at Merebus seemed to make symbolic sense.But hey, maybe that’s nitpicking, because there were some fun pieces in the lineup. Hyper-colored fake furs dripping with oversize teardrop paillettes were worn over sheer organza dresses opaquely printed with the five sensual solutions toAu Jour Le Jour’s “puzzles”:Touch Me, Look at Me, Smell Me, Taste Me, Hear Me. Certain symbols corresponded to each solution, like a bird—in Twitter blue or canary yellow—that went along withHear Me. One real puzzle was how a perfectly fine but somehow incongruous gray Prince of Wales topcoat with three high buttons and no graphic twist fit in with the other looks.Perhaps the not totally developed theme was really just a vehicle for the ’90s logomania flagged by the press release and heralded by the mega-mix soundtrack (featuring “Ride on Time,” “Groove Is in the Heart,” et al). Those lettered organza dresses prefaced washed-denim truckers (a touch oversize) and jeans (a smidgen mom), stitched with brand initial ribbons. A closing trio of hot double-zipped, rib-knit dresses came similarly embellished. It was a pity the puzzles were so arbitrary, yet even sans brainteasers there were some eye-pleasers here. Just an added bit of thought, though, could have led somewhere far more interesting.
28 February 2016
Au Jour Le Jourdesigners Diego Marquez and Mirko Fontana started their fledgling business with womenswear just over five years ago. Today, it looks like they found a groove.For one thing, the animal theme that was also the baseline for their men’s Fall collection lends itself more easily to womenswear. Tassels, too, work better on women’s clothing, although it takes a strong personality to pull embellishments like that off. Their faux fur coats, such as a leopard with blue shearling, a shaggy caramel number, and a black bomber with faux shearling, were much more covetable for being nearly tassel-free. The designers also duly ticked the boxes on a few of the season’s major currents: lace (sweatshirts, for example), embroidered fauna, and lingerie dressing—at times combining all of these on a single piece.Clearly, the Au Jour Le Jour woman is unafraid of mixing things up. She’s likely well under 40, almost certainly in a creative field, and sticks with what she loves, whether the rest of the world gets it or not. And the world could probably use a much larger helping of that kind of attitude.
29 January 2016
Since launching in 2010,Au Jour Le Jourdesigners Diego Marquez and Mirko Fontana have staked out their turf in the quirky-cute men’s fashion space without slipping into cutesy—and that is a feat in itself.For Fall, the duo has expanded their signature bestiary to include favorites from the Chinese calendar, such as the Monkey (2016 being that animal’s year), the Snake, and, most winningly, the Tiger, while also exploring a first foray into an “urban folk” theme. “We wanted to pick up on some of our signatures [from womenswear] but keep it effortless,” explained Marquez.Effortless, perhaps. Whimsical, definitely. Options included a plaid shirt with a large printed tiger, or a denim bomber decorated with several animal patches at once. The urban folk vibe popped up in a cropped tapestry jacket the duo called “Gobelins.” For the truly iconoclastic, there were army coats festooned with tassels or day coats with faux shearling collars and pom-pom trim, and even faux-fur Birkenstocks (ideal homewear for the so inclined). Interspersed among these, the more conservative coats and long sweatshirts in maxi-tartan quietly conveyed crossover appeal.With this collection Marquez and Fontana have demonstrated their eye for color, fabric, and cut. They also have a very focused idea of what they want their clothes to say. But if they left the knee patches to the under-10 set and treaded more lightly with the bells and whistles, that voice would be stronger.
29 January 2016
It was extra-unfortunate that the branding of Dash—the Italian detergent that Au Jour Le Jour signed a deal with to sponsor this show, and whose logos were incorporated into the collection—was so deeply reminiscent of Fresh, the new fragrance launched atMoschinoon Thursday. Moschino has long been the don of ironic, Pop Art appropriation of mass-branding into high fashion, and although the AJLJ efforts to service its sponsors (logoed boots, a finely produced knit miniskirt and shirt, and some spangly slip dresses) were cute, the advertorial nature of the exercise undermined it. The point of Moschino, for house founder Franco and current designer Jeremy Scott, presumably was and is designing clothes to say something, not just get paid.Still, the collection was lively. The schtick, consistent with the sponsor (Dash!) was stains. So sequined jeans, vests, and black suede boots appeared splattered by scarlet ketchup. An opening section of sixties-eque mock croc color-blocked tartan suits and shifts worn over organza shirts were prettily polluted by more sequin stains of coffee and blood. Splodges were turned into camouflage, oozing contra-colored gloop ran down in panels on more colored faux croc and enamel stains were dripped onto paillette minis. As street style fare this was good fun, but the biggest stain in a collection full of them was that overly articulated commercial transaction.
27 September 2015
Credit Au Jour Le Jour for casting Mae Lapres to model the Resort collection. For someone wearing clothes so extroverted, she comes across as strikingly indifferent. Expressive design is nothing new to this young brand; indeed, its signature motif features floating mouths suspended in some state of communication or seduction. All the fringe and flowers this time around made an unmistakably hippie statement, with some pieces less kitsch than others. The navy fringed jacket and skirt combo in sandy suede represented the brand's potential beyond splashy prints. And depending on your personality type, the mix-and-match of rainbow daisies, concentric circles, and optical waves may prove the necessary antidote to the cult of normcore. Certainly, if you're the type to smile at the hotel amenity imagery—including hair dryer, iron, minibar, key fob, and telephone—then the sequin patches and allover micro patterning will feel like welcome additions to your wardrobe come December. But against a backdrop of sheer bohemian dresses with laced plackets, folksy frilled blouses, and hip-hugging flares, the total message gets muddled in too-muchness. Unless, of course, designers Diego Marquez and Mirko Fontana are being ironic about the whole undertaking—with Au Jour Le Jour, it's always tough to tell. Count on good retailers to cherry-pick judiciously; the crisp, extra-long white shirt with the hotel imagery, for instance, registered as a happy medium. And ultimately, it seems futile to fault the happy maximum.
14 July 2015
It's tough to conjure up the Au Jour Le Jour guy. On the one hand, he likes classic clothes and straightforward silhouettes—no progressive shapes, drapes, skirts, or flashes of skin. On the other, he will happily wear a shirt covered in cartoony hair dryers or a double-breasted tux completely adorned in pop flowers. With the Italian brand's founders, Mirko Fontana and Diego Marquez, both absent from a walk-through of their men's collection, the press release substitute suggested jet-setters who dress for Vegas one day and St. Barts the next. By that measure, mission accomplished: You can't be a wallflower if you're wearing a citron and seafoam floral jacquard pullover.Included in the mix were some entirely versatile jackets, Western-inflected in varying degrees of denim, suede, and fringe. Khakis—shorts, trousers, a trench with mahogany piping—helped offset the Crayola hues, as did a few other polished outerwear pieces. They offered a windbreaker fronted with an iPad-sized pocket in both a basic micro plaid and the aforementioned hair dryer print, suggesting they understand the brand cannot hitch its future on goofy motifs—especially not when patched across a pair of jeans. Still, AJLJ's raison d'être remains a bit puzzling. So let's just conclude the look is eccentrically preppy—well suited for types who trade in bon mots and rarely aspire to be taken seriously.
6 July 2015
The original Fiorucci store in Milan's Galleria Passarella was not far from Palazzo Reale, where the Au Jour Le Jour show took place today. In the late '70s, when photographer Oliviero Toscani created a series of memorably sexy ads for Elio Fiorucci, the designer became an advocate of glitz, glitter, disco escapism, and bright pink zebra-print tights. All of that was in Au Jour Le Jour's Fall collection, at times too literally, together with an abundance of minidresses, flares, and long pencil coats in garishly hypnotic microprints. This was nightclubbing as a state of mind, complete with record-shaped bags.No more a girl barely out of adolescence, not yet an adult, the Au Jour Le Jour woman is clearly growing up—or whatever playing the disco queen means. "It is a natural process," said designers Mirko Fontana and Diego Marquez backstage. "As we are growing up ourselves, we want the collection to evolve. This season, for instance, we avoided our trademark overblown prints and went for a personal take on glamour."The move away from the hyper-pop worked. Clothes looked fresh and fast, shapes were easy, and the overall look was amusing—AJLJ is about positive feelings, that's for sure. This collection, however, lacked depth. It looked like it was put together after some quick image research on Tumblr, with no further elaboration. Then again, youth is all about superficiality. Or is it not?
1 March 2015
Mirko Fontana and Diego Marquez borrowed from Monopoly imagery for Au Jour Le Jour's Pre-Fall collection. Although the game's origins date back earlier, it was first sold by Parker Brothers in 1935, which makes this year its 80th anniversary. And if the familiar lightbulb, automobile, locomotive, diamond ring, and question mark patterned across sequined minidresses were any indication, the designers felt there was much to celebrate. But they didn't stop there; in fact, the onslaught of these symbols—on "eco" faux fur and jacquard lamé; as miniaturized and enlarged motifs; atop pink and blue neoprene—quickly turned from cute to compulsive. At this point, leopard spots and coupled lips (a label signature) didn't stand a chance. And when gingham becomes the palate cleanser, you know you've reached peak pattern. Another storyline, circular quilting, felt more mattress than modern, although as far as puffy layering fabrics go, it offered a point of difference. All around, however, quality was high—an important measure of a brand's longevity.Still, if the designers adhere to a basic-equals-boring mantra, there's something equally unsatisfying about their cornucopia of kitsch. The irony, too, is that they hardly have a monopoly on a niche strongly upheld by Jeremy Scott. Yet perhaps there's room for everyone; comments on Au Jour Le Jour's Instagram photos are largely in the language of emoji. To its fans, many too young to have played board games, symbols are the preferred lingua franca.
29 January 2015
Anna Dello Russo was sitting front-row wearing a white satin dress with an allover smattering of oversize red lips at the Au Jour Le Jour Spring show. The print has become a trademark for this up-and-coming label run by Mirko Fontana and Diego Marquez, whose style is a cross between the energy of pop and an almost childish spontaneity. Dello Russo paired her couture-inflected number with a pair of bright high-tops, and her sporty look was not dissimilar to what Marquez and Fontana showed on the runway. Working around a manga inspiration, the designers took clues from hyper-visual contemporary Japanese culture, throwing references to a cult '80s volleyball cartoon into the mix. This meant there were shorts aplenty in the collection, and multi-strap sneakers throughout in various heights. There were stripes, too, in sheer glitter and sequins—even on distressed jeans, because at AJLJ, shine is mandatory.Irony was another key word: Sushi jacquards and bento box clutches made for a fun take on the Japanese theme. Prints included the aforementioned lips, this time in a bad-girl-smoking-a-cigarette version. Which brings us back to Dello Russo. The street-style favorite is a supporter of Au Jour Le Jour, as are many bloggers and global style pundits. In the beginning, the label got its first bit of exposure by making deals with influential Italian fashion people and dressing them during fashion week—it was an effective business/media plan. For Spring, it seemed that Marquez and Fontana were sticking with blogger culture. Most of the looks they showed had a notable similarity to the way attention seekers are already dressing themselves outside show venues. Fontana and Marquez have great energy and a knack for the sellable: Their growing success is proof. At this point, they just need to challenge themselves more. Or opt for other approaches to styling.
21 September 2014