speaking at Apple Soho in New York on January 30

drawing,events,illustration,invitations,New York — Danielle on January 28, 2014 at 3:00 pm

yigal azrouel 1

Apple Lecture Description


Very excited to announce I’m going to be speaking at Apple SoHo in Manhattan on January 30, 2014 at 7pm. I’ll be demonstrating how to use Paper and Pencil by FiftyThree for quick figure and beauty sketches, narrating the history of artists at fashion shows, and getting trend theoretical about why live runway sketching is having its fashion moment now.

If you’re in NYC on Thursday I’d love to see you! Register to try fashion sketching on the iPad for yourself and learn everything I’ve discovered about this type of fashion illustration.

Danielle Meder by Georg Petschnigg

Photo by Georg Petschnigg for FiftyThree

click click – 08-01-14

click click — Danielle on January 8, 2014 at 12:29 pm

Welcome to click click, the sporadic review of what I find worth clicking on the internet.

From the series Mum

Photographer Nancy Newberry’s portraits of Texas teenagers and their ‘mums’ celebrate a form of modern folk art unique to American youth culture. Via Paige.

From the series Mum

Karma mums to pin on you…

  • Why did you wear that?“social commentary on love, life, fashion, and all things obnoxious.”
  • Paper Doll School“I spend as much time as I can creating art of all kinds, including my life-long hobby: paper dolls.”

2013 redux

redux — Danielle on December 30, 2013 at 11:32 am

Compared to the last couple years in Europe, I felt like maybe I had slacked in 2013, perhaps because everything seemed to come a bit easier than before. Being back in Toronto meant I was living more comfortably, and was placing more emphasis on spending time with my family and friends than working. Then I went back through the archive and was surprised to be reminded of how much I did accomplish this year.

drafting in the studio

On January 1st, 2013, I moved into a new studio. Taking all my equipment out of storage and re-installing it was a wonderful feeling. I love having a shared studio – it’s a place of constant activity, and I’m always meeting new friends working in different disciplines. It is good company and good energy. Above all, I’ve returned to drafting and sewing, and while those efforts aren’t yet focused towards any coherent goal, it feels immensely satisfying to work with my hands again.

made with paper on wwd

Being back in North America meant returning to New York Fashion Week for the first time since 2008. Times have changed a lot since then! My Fall 2013 season was a dream come true – I had access to sketch major shows on the iPad for FiftyThree, and the best results are here in the WWD on Paper portfolio. In addition to seeing my drawings in WWD, I had my picture on The New York Times website!

Screen shot 2013-02-07 at 7.25.22 PM

Back in Toronto in March, I sketched another iPad portfolio for FLARE. Here are a couple of great shots of me working on the iPad.

Danielle Meder by Raymund Galsim

The future of illustration is undoubtedly all about touchscreens – it’s a great privilege to be able to adapt my work to new media while that new media is being developed. Once again, I worked the touchscreen on Microsoft’s Fresh Paint for HP.

HP days 4

I’ve been doing live runway sketching for six years now, and it’s been a fascinating journey. This was the first year I found many clients were interested in this work, and the first year I noticed many other artists conspicuously sketching at fashion shows. It has become a bonafide trend, which means I have to raise my own bar higher. This must be how it felt for the street style photographers, although so far this is a bit more of a fool’s gold rush than an actual gold rush. It will be interesting to see how this practice develops – in the era of ubiquitous photography, people seem genuinely fascinated with more unique, skill-intensive ways of recording events.  Since not much has been written about the subject, I wrote a brief history of live runway sketching, more for my own interest than anyone else’s it seems.

jeremy laing 2

My live sketching highlights this year were many. I went backstage at NYFW for the first time at BCBGMAXAZRIA. Live sketched at Jeremy Laing, Nicole Miller, Lucian Matis, Jean-Pierre Braganza for FW13, and Ralph Rucci, J. Crew and many others for SS14. In October, I was proud to be the official sketch artist at the shOws in Toronto. Above, is my favourite sketch of the year, from Jeremy Laing FW13.

streetstyle banner

I did less trend theory writing this year than I would have liked, but there were two pieces in particular that I think are well done: the metaculture spiral and fear of fashion – the eternal moral panic. In my imagination, there is a more interesting and accessible way to write about fashion than what is available to read, but it seems like I have to write it for myself.

To that end, I mused about reinventing fashion criticism, and then I tried backing up my theory with practice  for The New Inquiry. Fashion writing for a larger, more academic and politically inclined audience was an awesome way to connect with clever minds worldwide. It made me realize that publishing on Final Fashion is a bit of a backwater, and perhaps future essays might be better placed outside the fashion blogosphere.

cat eyes

I’m also a bit obsessed with the idea of creating more satirical, visually enhanced fashion writing – I made a stab in that direction with liquid liner in this piece about eyeliner signalling.

malefigure 6male figure colour

I love that my site has become a hub for aspiring fashion illustrators, so by popular request I produced a tutorial on how to draw a male fashion figure.

video game females

One of the most interesting assignments of the year came from Jaime Woo of Gamercamp – a chance to combine trend theory and illustration in one epic post - double flawless – five female video game characters go to fashion week

holly godarkly doll web

I didn’t have the time to produce any personal paper doll projects this year but I did several for clients or as gifts – for Style Sequel, a magnet doll for my neice, Mrs. Carter for Stylist, and Holly Godarkly for Shorts that are not Pants.

Danielle Meder by Scott Schuman

Now that I’m in my thirties, I find myself more deliberately addressing my own physical appearance. Besides taking on physical exercise in a serious way for the first time in my life, I gave myself a makeover for New York Fashion Week, and it was validated when I was photographed by The Sartorialist.

chromatherapy 5

Last but far from least, I participated in two performance art projects.

In September I assisted and styled my dear friend Rachel Rabbit White for her performance for gURLfriends at Transfer Gallery in Brooklyn.

Then in October came my first ever durational performance, Chromatherapy at Nuit Blanche in Toronto. I costumed and collaborated with my dear friend Rea McNamara.

Performance art is intense, but it was also incredibly liberating to work on large projects that were wholly non-commercial endeavours, which meant that all the creative work was a genuine expression of our ideas, and what we found interesting, for its own sake. Both experiences created powerful, intense bonds of female friendship too, for which I am profoundly grateful. Offering your total commitment and energy to another artist is truly worthwhile.

lucian matis fw13


In art, as in life, there is no sense in reserving anything – just give it all you’ve got. This is the theme from 2013 that I’m taking with me into 2014. Whole-hearted thanks to everyone who has given me attention, support, and encouragement this year. See you on the other side.

click click – 09-12-13

click click — Danielle on December 9, 2013 at 1:39 pm

Welcome to click click, the sporadic review of what I find worth clicking on the internet.


A cautionary tale about profligacy, Hogarth’s engravings are an ever-incisive exposition of the dangers of fashion for fools.


Karma giftie…

  • A Creative Reality“I am just a positive chic slightly obsessed with the creativity expressed in everyday life.”

closet patchwork

what I wear — Danielle on December 6, 2013 at 11:17 am

closet patchwork

Last weekend I moved to a new apartment. Since 2010, my wardrobe has become quite minimal. Over the course of various moves, all that remains are garments I wear frequently and/or have affection for and the result is a pleasing visual harmony. While I was organizing my closet for the move, it occurred to me it would be interesting to juxtapose the garments together in a single image. This combination of colours and patterns maybe reveals something of my character as well as my fashion sense. I enjoy the idea that you could read a closet like a psychic reads a palm. A self-portrait in textiles.

These are just my skirts, dresses, blouses and jackets – but my tank tops, sweaters, leggings, jeans and shoes all fit within the same spectrum. Blue is the dominant colour, especially indigo in denim or chambray, followed by true reds and warm pinks. Neutrals are either creamy whites, cool greys, pale tans or black. Green only appears as an accent. There are no yellows, purples, or oranges, or browns. My go-to pattern is plaid but I also like certain large-scale florals, lace effects, and navy and white stripes. Almost all of my clothing is in natural fabrics, especially cotton and wool.

I would love to see other people’s closet patchworks! If you feel inspired to do one, please link in the comments.

click click – 18-11-13

click click — Danielle on November 19, 2013 at 7:22 pm

Welcome to click click, the sporadic review of what I find worth clicking on the internet.

custom bombers 2

Personalized leather bomber jackets, via DPopTart.

  • The Logic of Stupid Poor People – I was so excited to read this article, because this topic is rarely spoken of with the empathy it deserves. Fashion is a tool – a trick even – available to the disenfranchised to allow them to transcend the adversity they deal with. The most flamboyant and the most rigorous style cultures often come from where you’d least expect them, and there’s good reasons for it.
  • An Interview With Richard Gray – I love reading a fashion illustrator interview a fashion illustrator, because I know they will ask the questions I want to know answers to. This is a great example.
  • The Beautiful Faces of Makeup Artist Pat McGrath – excellent profile documenting the career and working style of this incredible, influential makeup artist.
  • Interview: Philip Treacy – wonderful, emotional interview with the celebrated milliner on his dream client, Isabella Blow.
  • Clayton Cubitt – stumbled across this photographer and admire both his work and the way he thinks.
  • Fashion and Sewing Pattern History – terrific four part series on the history – both ancient and recent – of home sewing patterns, which is tied very closely to the emergence of both fashion illustrations and fashion magazines as well.

custom bombers 1

Karma because you make me =)

getting shot by The Sartorialist

live drawing,media,what I wear — Danielle on November 15, 2013 at 5:59 pm

The Sartorialist 14-11-13

It was New York Fashion Week, and I was writing an essay for The New Inquiry. I don’t usually sketch street style, but my editor Sarah Nicole thought it would be a good idea to sketch some of the characters outside the shows to complement the piece.

The must-attend, offsite shows have the most hectic street style scenes so I decided to hit up the Proenza Schouler show. It was a hot day. I only had a few outfits, and that morning I went with two plaids of similar scale – a little boy’s button-down shirt, tied at the waist, over a striped American Apparel tank, with a skirt I had made myself. And of course my plain old flat sandals. My only accessory was my purpose-built sketching bag.

When I got to the venue, it was crazy. A busy, narrow midtown street in between a thicket of high-rise buildings. They had blocked off a large section outside the venue – at first it looked like for construction, but then you realized the barriers were just so people would have room to photograph and be photographed safely. All around, security guards and police had to survey the wacky urban scene just to keep people from having accidents as they exited cars, clustered and mobbed about, teetering absurdly in impossible shoes.

I need a place with a good view to sit down to sketch at and the only decent looking thing was the traffic barrier. So I hiked myself up onto it. Cars went by within a foot of the other side. People would lean out of taxis in traffic and ask what the hell was going on. “Fashion” I replied.

This actually happened. There was a nice reflected beam of sunlight that bounced off a building on to me. I set my paper on my lap and picked up my brush. Before any of the other photographers noticed me, I glanced out of the corner of my eye and saw Scott Schuman shooting me. So quick! After that I was photographed by many others.

Once all the invitees had entered the venue, a lovely young photographer – I think her name was Elise? I’ve lost it – came up to me. She explained she was Schuman’s assistant and would I like to be in a documentary? She handed me a waiver – which hopefully I’m not violating now, I didn’t get a copy. She asked if I knew who Steve McCurry was, and I didn’t. Did I know the famous “Afghan girl” image? Of course I did! I had that issue of National Geographic when I was a kid, and looked at it often.

Well of course I said yes! I felt this wonderful uptick of validation… I had very carefully considered my appearance this season so I could “walk among” the fashion crowd and this was the ultimate indication that it had worked! I had seen The Sartorialist outside many shows for several seasons, sometimes while I was sketching, but he had never clocked me before.

After the show Schuman and McCurry came out and we all walked around the block, followed by a documentary crew. McCurry was polite and reserved. Scott has that really confident, assertive New York manner, firm handshake. Schuman introduced himself and I awkwardly mentioned I had met him before but when I had a much more ridiculous haircut (this is true), he said he didn’t recall. (It was at his book launch in Toronto which some remember better than others.)

He asked me what I was up to and I described The New Inquiry piece. “Kind of a refutation of the fashion-is-doomed narrative the elite critics like to go on about.”

“Good, we need more of that!” The Sartorialist replied.

Schuman and McCurry were scouting around for a place to position me, chatting with each other as they do in the mini-documentary for AOL. (You can see me at 4:30.) I was about to get art-directed.

A block away from the scrum outside Proenza, Schuman pointed to a scooter. “Go and sit on that for me, and sketch like you were before.”

I balked. “This is New York and that’s not my scooter – I’ll get beat up!” I protested.

Scott laughed “I’ll take care of it… or if the guy’s bigger than me, he will” – pointing to the tall, handsome documentary filmmaker, who nodded.

I approached the scooter and turned around and said “but it’s so sartorialisty!”

Scott just did a big old shrug, arms wide.

So I shrugged too and perched, ever so lightly, on the edge of the scooter.

Since I couldn’t set my paper on my lap, sketching was a bit difficult, but I managed to produce this sketch of Elise as she hovered around, while Schuman and McCurry shot me.

After a few minutes, it seemed like they were done so I went over and showed them the result:


sartorialists assistant

McCurry praised my speed and spontaneity which was unbelievably gratifying coming from the master of so many iconic moments. Scott said something about how his girlfriend Garance Doré had developed her style to be quick because drawing slowly wasn’t profitable.

We all shook hands, and the whole crew hopped in a car and disappeared, and I was standing alone on the sidewalk with my paintbox in my hands as if nothing had happened.

I wondered if the pictures ever turned out as they didn’t appear right away. I don’t have a lot of photogenic confidence, so I thought maybe I had blinked or was too scruffy to be Sartorialized. Then, yesterday it appeared, and it’s stunning. Schuman has the skills to back up his business. Such a great shot, thank you Scott. I am not at all consciously posing here – the feet, the hands, everything is a natural gesture. You can even see my manicure. I’m delighted he selected the one where I am totally unaware of what is about to happen to me.

winter coats I have worn and hated

what I wear — Danielle on November 11, 2013 at 4:04 pm

coat 1

I am five years old. I am playing in the snow with my brother. We go out into the snow almost every day under vivid blue skies, surrounded by pine trees on every side, by the house of pine logs. The snow changes every day, and so does our play. Fluffy snow for snow angels. Packy snow for forts and snowball fights. A crust on top is good for sledding. My snowsuit is light blue, his is red. There is often snow stuck in my ankles and wrists, I am always feeling cold. I am indifferent to the snowsuit, it is just a fact of life. My world is so tiny, I don’t even know that other, better snowsuits might exist.

It’s the last time I remember being content in a winter coat.


When you live in Canada you are covered in a winter coat for at least 3 months of the year. For ordinary people, in darkest winter, your options are reduced to one: the warmest coat you own. That coat has to stand up to heavy, constant wear, whether it’s an appropriate social situation for that coat or not. It quickly becomes worn out, especially if it is of low quality to begin with.

A significant purchase for people of modest means, making do with a less than ideal winter coat is an ordinary problem. In my life, the days I have been unsatisfied with the coat I must wear far exceed the days I have felt satisfied. I often dread the winter, not because I hate the weather, but because I hate my coat.

A winter coat is the most visible marker of your status in life, especially if you wear the same one every day. An unwelcome daily reminder of what you can’t afford.

The story of the winter coats I have worn is the story of my own alienation from fashion. When I think of winter coats, the feelings I have are of shame, frustration and envy, being bested by the circumstances of money and weather into a series of unstylish, unsatisfying, and often impractical garments. I’ve never yet owned a winter coat which I felt really represented my own sense of self and style and kept me comfortable at the same time.


coat 2

At age ten, I have the loudest ski coat. It is 1992, the height of the fluorescent craze. I must have chosen it for myself, from the kid’s clothes section of Canadian Tire no doubt, however almost instantly after I got it I began to feel like it had been a curse imposed upon me. Especially as with much play and wear it became dingy and faded. I think of this as the first time (not the last) I experienced fashion victimhood.


coat 3

At the age of fourteen, I am fascinated with period costume of all kinds, also The Lord of the Rings trilogy, and contemporary looks do not appeal to me. I dive into the depths of my parent’s closet to unearth an unlikely calf-length wool princess coat with horn toggles, a hood and a flared hem. It looked, I thought, very elvish. It was a cumbersome, heavy and not-warm coat, in a warm brown which has never been my best colour. Worn with crude home-made raver phat-pants, thrifted Dr. Martens that were a size too big, and a floppy leather hat that concealed my face, I must have looked far more hobbit-like than elfin.


Once I had a little bit of my own money from working at McDonalds and other part-time jobs, I bought two coats from the Quinte Mall in Belleville Ontario, which at the time was the most cosmopolitan place in my tiny universe. To my friends and I, this sleazy small-city mall was the source of all fashion.

One was a very ordinary Colombia ski coat in blue, a size too big on me. It drowned me but had a lot of pockets, inside and out, and a detachable fleece lining which of course ended up pilling almost instantly. It was probably the biggest spend in my life at that point, and the fact that it failed to make me look cool left me with lingering cognitive dissonance whenever I wore it.

coat 4

The other was a silver and blue ravey vinyl thing from Le Chateau, our favourite shop in the mall, where we bought our halter tops and plastic shoes. It was a pullover, and not that warm, which made it inconvenient, but I thought it looked good, so I tolerated the poor design.


My mother and I are both smaller ladies, but it seemed like she was often wearing hand-me-down coats from larger people. Always, the coats had some flaw which of course was why they were discarded; worn cuffs, loaded velcro, awful colours, a broken zipper which meant the coat had to be stepped into. Mom never seemed to spend too much energy worrying about what her coat looks like – like most of the women I knew in the rural area where I grew up, fashion was a low priority. Often she has to carry firewood, or take care of the animals. Her “bad” coats got more wear than her “good” coats.


coat 5

It was my first year in University and my first few weeks living in Toronto. I was so excited to have escaped my small town forever. For the first time, I attended The Clothing Show with my boyfriend at the time. He bought me, on my request, the very-trendy-in-2002 Afghan coat with a dingy shearling collar for $70. It was light blue suede. I wore it once, and then tore it apart with the intention of re-assembling it, which never happened. It lived in a box, crumpled. Another failed fashion choice. Having shopped so little in my life, I demonstrated no real skill at it once I had the opportunity, and those scraps of suede were a symbol of my own foolish profligacy.


coat 6

After I graduated from fashion school in 2006, I struggled to find something to do. I had very little career acumen. Some people occasionally sent me very random freelance jobs which I did. Technical specs, graphic design, pattern making, print design, sample making – all things I really had no experience in and delivered with wildly varying degrees of competence, but took on readily as a way to stave off full-time employment. One of my referrers had connections at a factory that made down parkas. I went to the factory, watched the machine that blows down into a coat, and bought at discount my first ever real parka. It is a very simple coat, and had fake fur trim, detachable, lined with a knock-off Burberry plaid. (“Yeah we got a cease and desist letter for that one.”) At the time it pleased me  because it was the first coat I ever felt truly warm in, and it didn’t call much attention to itself.

Over six years later, I have to admit this is still my main winter coat. It is shiny and worn on the arms, one of the pocket zippers is broken, and the fake fur had to be discarded because it got melted on one side by an errant steam iron. It is still the warmest coat I own, so often I have to wear it, but it makes me feel so shabby. It’s a non-entity of a coat, and makes me feel like a non-entity.


In London, I was finally released from the tyranny of truly cold weather. I bought a trim little Made in England wool duffle coat and it was perfectly serviceable for even the coldest bits of British winter. I got to wear medium-weight coats most of the year – my favourites – and I had several, so I never felt bored of any of them.

Now that I’m back in Toronto, and winter is blowing in, I am determined to buy a winter coat wisely for the first time in my life. This time, when I’m thinking of spending, I’m thinking – one month’s rent or two? It seems a low price to pay considering how much time I’ll end up living in it. Also, I want a coat that makes me feel abundant and sophisticated, that helps me look my best in the worst kind of weather, in almost any situation. Once again, a winter coat will probably be the biggest spend on clothes I’ve made in my life yet. I desperately want more than one such magical coat, to be honest. I must be patient with such grand ambitions.

I’m not a rich girl, so I won’t look like one. I can only hope to look like I have achieved some level of taste after thirty years of trial and error. I want a coat that reveals my most confident aspirations rather than my actual precarious status. A well off person has multiple coats for every occasion and every weather – a savings bank in their wardrobe. Relying on one coat at a time is for those of us from the class that lives from check to check, though I still believe it is possible to be sophisticated, if a coat is selected with taste and care. That is what I’m aiming for, this time. Real down, real fur. For the first time in my life I am determined to feel winter-coat confident, whatever the weather.

click click – 28-10-13

click click — Danielle on October 29, 2013 at 2:38 pm

Welcome to click click, the sporadic review of what I find worth clicking on the internet.


Film stills of the ever-enchanting Marlene Dietrich in “Morocco” (1931) – via GlamAmor.

  • Yes Logo: On the Revival of Logomania – logos are back, but this time around we’re into subverting the emphasis on authentication.
  • Real Life Ukrainian Barbie – VICE’s documentaries are at their best when they allow the subjects to speak for themselves, without any commentary or mockery.
  • Follow For More: Screen Shots of Soft Culture – online visual subcultures offer a glimpse into how fashion functions in a post-material world.
  • Lanvin in the library: Why and how fashion schools maintain archives of clothing – I spent many hours alone in the Ryerson costume archives when it was just a dark closet that no one knew about – that’s the kind of fashion student I was. Now it’s been brought into the light for all to enjoy!
  • Sebastian Horseley – the late dandy records his experience walking for Comme des Garcons. If languid depravity amuses you, the rest of the archives are worth digging through.
  • Mysteries and Scandals – Clara Bow – this is a pretty cheesy show, but when I was sick in bed it was the perfect distraction, there’s loads of them on Youtube. It’s fascinating to see from a distance which old scandals are remembered and which were successfully concealed, and many shows were a disheartening reminder of how so many famous female stars were exploited and tolerated abusive relationships despite their money and fame. Of course, it’s also striking to discover what happens to people after they’re young and famous, as they grow old and leave their notoriety behind them.


Karma tracker…

if eyeliner could talk

beauty,illustration — Danielle on October 23, 2013 at 1:41 pm

eyeliner infographic-1

While I was in New York, my friend Rachel Rabbit White was working on a story about eyeliner, and over the weeks we came up with lots of weird ideas that were, well, totally unusable for a straight beauty story. So here’s one of them: which eyeliner animal are you?


cat eyes


You are… mature, sexy, sophisticated, powerful, independent and yet deceptively domesticated. Your style is classic, albeit high-maintenance, as befits your queenly presence. You are passionate yet inaccessible, and believe you are entitled to the very best.

Your celebrity animal spirits: Ava Gardner, Lana Turner, Elizabeth Taylor

How to get the look: Lean over your dressing table, thickly lipsticked mouth slightly open, using a steady hand and a frightening, hyper-focused gaze. Occasionally lean back, purse your lips, and survey your precision with burning intensity. When you are finished, lift your chin in silent satisfaction and take a sip of hard liquor.

Avoid: smudging, crying.

Wear with: real diamonds, real fur, garter belt, uncomfortable shoes.

kitten eyes


You are… immature, precious and spoiled and yet you are nevertheless quite alert and curious. Your style is twee, and slightly younger than you are. You are sensitive, but mostly when it comes to your own feelings. You have a sense of humour, or a tumblr account, but not both.

Your celebrity animal spirits: Taylor Swift, Zooey Deschanel, Various Emmas

How to get the look: stick your tongue out slightly as you lean over the dirty sink in the shared bathroom with the awful overhead lighting. Apply with the patented “kitten flick”, which ought to be a quick but very certain gesture. Get it wrong. Remove. Repeat over and over again until each flick is almost identical, or whatever.

Avoid: being photographed from low angles.

Wear with: kitten heels, pussy bows.

panda eyes


You are… so unsexy that your kind is virtually an endangered species. The obsessively penciled black halo around your eyes sets you apart from the ordinary, and it takes an equally unique individual to recognize your beauty. Your care-bear stare has a tendency to make others stare back.

Your celebrity animal spirits: Tai Shan, Ming, Chi Chi , An An, and Mei Mei

How to get the look: slowly rotate your pencil around your eye in a gradual outward spiral, while meditatively chewing a stalk of bamboo.

Avoid: any other makeup.

Wear with: Burberry. Just kidding! Comme des Garcons.

raccoon eyes


You are… on an endless walk of shamelessness. Utterly undomesticated, you are nocturnal and feral. You will take whatever you can get, without offering anything useful in return. Though you are undeniably attractive, you are antisocial and vicious when cornered. People hate you, and somehow their hate sustains you.

Your celebrity animal spirits: Lindsay Lohan, Courtney Love

How to get the look: wake and bake. Apply your makeup. Take a drink. Go to work late. Make a scene. Get in a fight with your boss. Cry in the bathroom. Re-apply your makeup over your old makeup. Go out partying. Get in a fight at the club. Get arrested. Get bailed out. Go home. Take a drink. Pass out. Repeat until rehab.

Avoid: washing your face. Raccoon eyes take days, if not weeks, of gradual build-up.

Wear with: sunglasses, leggings, leather boots.


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