Forty Five Ten launches Fall, focusing on the movement, color, and wit of the season
For its Fall 2019 campaign, Forty Five Ten enlisted seasoned model Laura Morgan, whom we’ve admired for years the runways and in iconic CELINE ads. An artist and activist in her forties, she brought the looks to life, transforming them through graceful movements and power poses.
But it’s not as if the fashion needed a boost. Featured designers—Molly Goddard, Lemaire, Balenciaga, Rodarte, Sandy Liang, and Area among others—brought a offered an abundance of volume, texture, sheerness, ruffles, quilting… And everything from suiting to standout accessories has arrived in super-saturated hues.
“The fall collections presented fashion so strong and so directional, we let it take the lead,” says Forty Five Ten President and Chief Creative Officer, Kristen Cole. Pulling inspiration from everywhere—including the florescent art of Dan Flavin, ’80s punk, and Andy Warhol’s 1966 film, Outer and Inner Space—Cole worked with artist Jhordan Dahl. “I love her abstract, constructed images and felt the season’s moods could only be enhanced by her hyperpigmented, surrealist touch,” she says.
We got a moment to chat with Dahl, who lives and works in Los Angeles.
Muse, artist, or both?
I can be either/or, I suppose, when/if I’m in the mood to be.
I have a lot of favorite artists—different artists at different times in my life. The artists who are always inspiring me and definitely connect to this collaboration with Forty Five Ten would be Maya Deren, Sylvie Fleury, Robert Heinecken, and Wallace Berman.
You’ve worked in art curation and production. What projects do you most enjoy taking on?
My favorite kinds of projects are creative collaborations especially when they have a historical element connected to them. A good example would be working on the recreation of Rodney Bingenheimer’s English Disco in a Hollywood gallery that once housed the actual Disco back in the ‘70s.
And of course collaborating with my favorite dudes, Jonah Freeman and Justin Lowe. One of my favorite projects with them was the transformation of modernist architect Rudolph Schindler’s 1934 Buck House into an imaginedhome of a fictitious doctor who abandoned his LSD safehouse of sortsand left behind a beautiful psychedelic mess from 1960sHollywood to present day.
Sometimes I’m working months on end, with very little sleep or nourishment because mytotal focus and commitment to aproject isall consuming. When the project finally comes to fruition, there’ s an overwhelming feeling of euphoria, coupled with a slight sense of sadness when an era comes to an end.
One of your favorite artists you’ve worked with?
Although most people think of her simply as Rudi Gernreich’s model and muse, Peggy Moffitt is a true artist in every sense of the word. She’s a huge inspiration in everything I do in life.
We think your work is very glamorous, but with an edge. How do you describe the aesthetic of your work?
The first impression may project a glamorous aesthetic, however the glamour beneath the surface is what fascinates me. The incorporation of a darker side of a façade/public persona and the psychology accompanying that is what I strive to capture. The mirror reflection beneath the image is a way of expressing the deeper layers and connections to façade and vanity while looking into yourself and allowing yourself to look back into you, seeing your own reflection therein.
Who would be your ideal subject?
Let’s talk fashion. What designers do you hunt for in vintage?
After all these years, I’m still looking for that magical Bárbara Hulanicki for Biba dress. Plus, Ossie Clark + Celia Birtwell, Fiorucci for Wrangler, ‘90s Bill Blass, Escada, ‘80s Gianni Versace
Any vintage style icons you look to for inspiration?
Candy Darling, Diana Vreeland, and my grandmother always inspire me.
The Details: See (and shop!) the full campaign here and at Forty Five Ten, 1615 Main Street.