FLAUNT Magazine

FLAUNT 

U.S. & CANADA - $15.95 

THE 

GENERATION 

ISSUE

134 

SPRING 2014 Fashion Preview 

FLAUNT FLAUNT FLAUNT 

PAT BOMBARD PHOTOGRAPHS “ANARCHY LOOKS BEST IN SPRINGTIME,” 

BREANNA EDWARDS PHOTOGRAPHS “LIFE’S A GLITCH AND THEN YOU DIE” 

KELIANNE PHOTOGRAPHS “IN THE FUTURE WE’LL ISSUE TAXES FOR OUR 

GOOD LOOKS” 

BROOKE 

ATWOOD 

collection

CONTENTS 

Clockwise from left: 

44 GALLERY GIRL Clothing takes a Fine Art Spin 

48 MARILYN MONROE An American Icon 

60 IF YOU WANT SOMETHING DONE RIGHT, DO IT YOURSELF A 

Conversation with Joshua McLeold 

66 THE GREATEST JOY AND THE PROFOUNDIST PAIN 

Behind the Scenes from 

“WIPE THAT SMILE OFF YOUR FACE” 




“LIFE’S A GLITCH AND THEN YOU DIE” 

86 ANARCHY IS BEST IN THE SPRINGTIME RIH-TRANSLATE 

104 WIPE THAT SMILE OFF YOUR FACE A Spotlight on Designer, 

Brooke Atwood 

122 IN THE FUTURE WE’LL ISSUE TAXES FOR OUR GOOD LOOKS 

136 GENERATION Y: In the Midst of a Youthquake 

140 LIFE’S A GLITCH AND THEN YOU DIE 

162 TRANSCENDENCE Going Beyond the Limits of Ordinary 

Experience 

168 ANDY WARHOL Digital Art Pioneer 

174 ALL SIGNS LEAD TO HERE Lawrence Murray of Genius Aesthetics 

184 THE FUTURE OF FASHION How 3D Printing is Revolutionizing the 

Fashion Industry 

190 THAT A’INT BAD, BBUT I CAN DO IT BETTER. 

192 DJ MEGABAT PDK Sounds

CONTENTS 

Clockwise from left: 






“ANARCHY IS BEST IN THE SPRINGTIME” 


“LIFE’S A GLITCH”

FLAUNT THE GENERATION ISSUE 134 

EDITORS 

ASSISTANT EDITOR 

BUSINESS DIRECTOR 

DIGITAL 

MORGAN MCCARTY 

ELENI SOLOMOU 

JILL CARVAJAL 

FLAUNT.COM 

LILY MARSHALL 

TENISHA CLARKE 

SKYE SIENKIEWICZ 

CREATIVE DIRECTOR 

LILY MARSHALL 

WRITERS 




LILY MARSHALL 

JILL@FLAUNT.COM 

BUSINESS STRATEGIST 

MAURIZIO MARCHIORI 

+1 917 826 6979 

MAURIZIO@FLAUNT.COM 

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LUIS BARAJAS, SR. 

HEADQUARTERS 

STYLE DIRECTOR 


CULTURAL DIRECTOR 


FASHION DIRECTOR 

MUI-HAI CHU 

PHOTGRAPHERS 

PAT BOMBARD 

KELIA ANNE MACCLUSKY 

BREANNA EDWARDS 

LAWRENCE MURRAY 

KB ANSARI 

WEB DEVELOPER + 

STRATEGIST 

FRANCISCO SALVADO 

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MANAGING EDITOR 

ANTHONY MILLER 

ASSOCIATE EDITORS 

SWAY BENNS 

E. RYAN ELLIS 

ASSOCIATE FASHION 

EDITOR 

ZAQUAN CHAMP 

DESIGNERS 

BROOKE ATWOOD 

RENATA DABDOUB, LEAH 

MICHELLE SMITH 

JOSHUA MCLEOD 

LAWRENCE MURRAY 

MADISON TAYLOR 

MAKEUP ARTISTS 

 

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INFO@FLAUNT.COM

CONTRIBUTORS 

(FROM LEFT) 

ANTHONY MILLER 


KELIA ANNE MACCLUSKY 

PAT BOMBARD 

LILY MARSHALL 

BREANNA EDWARDS 

HANA HYMAN 


MOSI MCKIE 

ASHLEY LO 


34

EDITOR’S LETTER 

We link. We share. We like. We poke. We text. 

We reply. We tweet. We follow. We unfollow. 

We foreward. We double-tap. We friend. We 

defriend. We block. We update. We hashtag. 

We message. We post. We tag. We untag. 

We download. We endorse. We favorite. We 

swipe left. We swipe right. We snap. We blog. 

We reblog. We pin. We repin. We comment. 

We tumbl. We scroll. We explore. We plug-in. 

We connect. 

THE EDITORS 

38

ART 

“One should either be a work of art, or wear 

a work of art,” are great words from the late Oscar 

Wilde that have truly come to fruition in a number of 

collections that have come down the runway in recent 

seasons. The merging of art and fashion has definitely 

progressed from an early history where fashion was only 

depicted in art, especially during the Renaissance when 

fashion as a medium played an extremely significant role. 

Art and fashion began intermixing during this period 

as artists used fashion a great deal in paintings, and 

eventually used their skills to create and design textiles 

and embroideries, like in the case of artist Antonio 

Pisanello. Today people are highly influenced by artistic 

garments themselves, but by the cultural aspects of the 

art pop movement as adopted by icons such as Jeremy 

Scott and even singer/songwriter Lady Gaga. 

The spirit of collaboration between artists and fashion 

designers can be seen as early as the late 30s, when 

Elsa Schiaparelli and many of her Surrealist artistfriends 

worked to produce a number of designs for her 

collections. Elsa went on to work with artists like Salvador 

Dalí on the shoe hat. She also created the Lobster dress 

and the Tear Illusion dress with appliqués provided by 

Jean Cocteau. 

. 

Garments as canvases, the true merging of traditional art 

and the fashion industry, date back as far as 1965. Yves 

Saint Laurent produced his autumn/winter collection of 

A-line shifts that year in collaboration with Piet Modrian. 

Since then, art and fashion have continued to have a 

long-term, close, working relationship with one another 

– almost to the point where its hard to differentiate 

between the two at times. 

PRADA SS14 

style.com 

GALLERY 

GIRL 

Clothing takes a fine-art spin with 

painterly prints & bold brushstrokes 

WRITTEN BY TENISHA CLARKE 

ISA ARFEN 

style.com 

Recently, we’ve seen a tremendous collision in art 

and fashion where artists and fashion designers have 

come together in a number of ways to merge the 

characteristics of each respective category through their 

collaborations. In 2008, artist Damien Hurst designed for 

Levi’s, and Fabrizio Plessi and Louis Vuitton created the 

limited edition Molten bag that sold for nearly $50,000. 

From 2010-2012 we saw Rosson Crow and Zac Posen, 

Meret Probst for Fendi, Matt Groeninh and Comme des 

Garcons, illustrator Keith Haring few Nicholas Kirkwood, 

and the Jimmy Choo capsule collection with Rob Pruitt 

just to name a few. 

The emerging “gallery girl” trend was prevalent in Resort 

2014 shows by designers such as Milly, Nicole Miller, 

Cynthia Rowley, Rachel Comey and Cédric Charlier, 

which then trickled down into Spring 2014 shows. Large 

portraits appeared in a number of artistic styles. Some 

were painted or inked, while others were hand-drawn 

or enlarged photo prints and classical paintings. Design 

houses such as Chanel, Prada, Céline, Louis Vuitton, 

Dior, Jil Sander, Christopher Kane, Versace, Calvin Klein 

Collection, Isa Arfen, Giles, Andrew Gn, Giorgio Armani, 

Saint Laurent, Vivienne Westwood, Jean-Charles de 

Castelbajac, Aquilano.Rimondi, Paule Ka, and Antonio 

Marras incorporated cubist portraits, street murals, 

freehanded painterly pantones, daring brush strokes and 

a fine art spin inspired by artists like Picasso, Jeff Koons 

and Stephen Sprouse into their collections. 

43 

CELINE SS14 

style.com

“When you speak 

of the American 

way of life, 

everybody thinks 

of chewing gum, 

Coca-Cola and 

Marilyn Monroe.” 

-Nedvela Magazine 

Ed Feingersh 

Marilyn with Chanel No.5, 1955/2003 

Silver gelatin print

ART 

MARILYN: 

An American Icon 

WRITTEN BY MORGAN MCCARTY 

Marilyn Monroe was an American star, but her charm has 

captured the world’s fascination with magnetic appeal. 

“Marilyn: Celebrating an American Icon”, is an internationally 

traveling exhibition featuring dozens of works owned by 

private collectors in Europe, Sotheby’s archives, European 

art galleries and the estates of artists who interpreted the 

muse that was “Marilyn.” Presented in a variety of media 

including videos, photos and paintings, the exhibition 

captures Marilyn’s personage behind the scenes and in the 

spotlight. The exhibit includes more than 50 artists’ works, 

in styles ranging from Alfred Eisenstaedt’s photography to 

Andy Warhol’s Pop art. 

It comes to no surprise that retrospectives such as this have 

featured Marilyn as their subject of interest. It has been 

nearly 50 years since her mysterious, and untimely death. 

But look around: Her legend lives on, and more dazzlingly 

than ever. The 1950’s bombshell has developed into a 21stcentury 

pop culture phenomenon, and in such a fashion that 

Marilyn certainly would have appreciated. Helen of Troy may 

have been the face that launched a thousand ships, however 

when it comes to moving merchandise, nobody can equate 

to the face of Marilyn Monroe. Those platinum locks, the 

bright red lips, and that enviable curvy figure have become 

a recognizable brand image 

Dolce & Gabbana has captured Scarlett Johansson as 

the cultural icon within their advertising campaigns. and 

powerful marketing tool for artists and advertisers. 

We have also seen Charlize Theron meeting up with Marilyn 

50 

via CGI within Dior ads. Magazine spreads have continuously 

featured celebrities such as Lindsay Lohan, Nicole Kidman, 

and even Rihanna having a “Marilyn moment,” on their covers. 

Commercial ventures for Marilyn inspired product lines within 

Mac Cosmetics, Nova Wines Inc., Betsey Johnson, Salvatore 

Ferragamo, and Dolce & Gabbana have also been in the 

works ranging from tote bags, and Monroe-motif dresses 

to Monroe themed wines and postage stamps. Musicians 

such as Elton John have also paid their homage to the icon 

through songs like “Candle in the Wind.” Contemporary 

artist, Seward Johnson, has even immortalized Marilyn 

through a 26-foot-tall sculpture depicting Monroe’s iconic 

subway grate pose from “The Seven Year Itch” located in 

Palm Springs, California. 

Marilyn’s infamy was amplified posthumously. But before 

she became an established icon, she played the role of “the 

muse.” At the height of her acting career, she captured the 

world’s fascination through her noteworthy roles on the big 

screen. Her comedic charm stood out as the gold digging 

Lorelei Lee who sang “Diamonds Are a Girl’s Best Friend,” 

in “Gentlemen Prefer Blondes.” She played the sultry but 

senseless blonde in “The Seven Year Itch.” In “Some Like it 

Hot,” she displayed her vocal talents as the sexy band singer. 

Her luminosity transcended off the big screen into the hearts 

of the world’s most famous artists, musicians, and members 

of high society. 

CONTINUED ON PG. 61 

Peter Beard 

Dead Elephant Book Diary, Marilyn 

Monroe, 1971-2001 

Photography/Mixed media on silver 

gelatin print 

Andy Warhol 

Marilyn Diptych 

1962 

Acrylic paint on canvas

Marilyn Monroe 

Cecil Beaton 

Photographed in 1956 

M 

arilyn as the actress appears to have been lost in the minds 

of the younger generation. She is enamored as something 

completely different, as an image and an icon. Marilyn 

has continually been misunderstood in this way and has struggled 

fiercely with society’s perception. She has been an innocent victim 

of the Hollywood machine. The image we see of Marilyn was a 

beautifully constructed facade from the dyed hair to her famous 

“wiggle walk.” Marilyn herself worked very hard to invent this image, 

one that she later struggled deeply to escape. While she represents 

everything that is glamorous about Hollywood, the disturbing story 

of her private life represents the darkest side of fame. Born as the 

plain-Jane Norma Jeane Mortenson, moving from foster home to 

foster home, her childhood has been a tragic story of victimization 

and sexual abuse. Her life behind the silver screen is consumed with 

scars of abuse; the pain of psychotherapy; the betrayal by her third 

husband, Arthur Miller; and the fierce determination to master her 

art. Her shimmering blonde aura has merely been a glamorous 

disguise for the abused, and lonely Marilyn, unseen by the world. 

With her premature death at the age of 36, Marilyn has been 

captured immortally as a personification of femininity, naiveté, 

and sexuality. Decade after decade, Monroe continues to appear 

in popular culture in different guises. In the 1960s she was Andy 

Warhol’s silk-screened muse; in the ‘80s she was the inspiration 

behind Madonna’s career-defining “Material Girl” video. More 

recently, she is re-imagined in the Golden Globe winning drama “My 

Week With Marilyn” through the face of actress Michelle Williams, 

the glamorous star of a Broadway musical in the NBC series “Smash” 

and the alter ego of pop singer Nicki Minaj in the single “Marilyn 

Monroe.” While a myriad of celebrities including Christina Aguilera, 

Gwen Stefani, and Lady Gaga have given a decent effort in capturing 

the “MM” persona; there will never be another Marilyn Monroe. 

Marilyn Monroe 

Being photographed by 

Cecil Beaton

PEOPLE 

IF YOU 

WANT SOMETHING 

DONE RIGHT, 

DO IT YOURSELF 

A conversation with, Joshua McLeod of Victor + Alexander 

PHOTOGRAPHED BY: BREANNA EDWARDS 

WRITTEN BY TENISHA CLARKE 

“Seriously, who wants to pay $150 for a 

t-shirt?” While we all know there is quite 

a percentage of people who don’t mind 

it, I’m sure those who prefer not to pay 

that amount (or simply can’t afford to) 

are far greater. Joshua McLeod, founder 

of the blog and online storefront Victor 

+ Alexander, made it very clear that he 

believes in living a life of high fashion 

and glamour. But who says it has to be at 

the expense of owning pricey designer 

labels? 

Labels are great and most certainly 

have their place in the industry, but 

with companies like H&M, Forever 21, 

Zara and ASOS on the rise it’s almost 

impossible to differentiate between high 

and fast fashion labels. 

Even more so, there are tons of 

individuals who have taken to the 

art of DIY (Do It Yourself) fashion. In 

conversing with Joshua and viewing his 

blog and past and upcoming handbag 

collections, I couldn’t help but admire 

the craftsmanship and dedication that 

he puts into it all. 

“Basically it all started with a Jack 

Spade bag that I really needed in my 

life,” he says. “But the problem, like 

so many other things I want, was that 

it was too expensive. For all of my life 

I’ve lived by my motto, “If I can’t afford 

it, then I can figure out how to make it. 

And that’s what I did.” And there are so 

many others doing it as well. The first 

major project for Victor + Alexander, a 

collection of vegan leather handbags, 

launched in March of this year. Other 

projects featured on the blog cover 

a wide range of lifestyle categories 

including style, home, art and travel. 

Beyond the workroom of Victor + 

Alexander, there are tons of other 

project inspirations available from a 

number of individuals who have blogs 

and vlogs. Joshua mentioned some of 

his personal favorites, which include Mr. 

Kate, P.S. I Made This, Flax & Twine, and 

Martha Stewart. 

So the major question or concern I 

think would be whether or not the DIY 

craze poses a threat of some sort to the 

fashion industry? Potentially. It most 

certainly affects it, but not necessarily 

in a negative way. If we’re honest, a 

majority of people are far too lazy to 

go about making things on their own, 

especially not an accessory or an entire 

wardrobe. 

Joshua and I proceeded to discuss the 

matter and he believes that the projects 

done by major DIYers will simply open 

followers’ eyes to big name designers 

that they draw inspiration from. He 

puts it in a rather relatable context. “If 

Alexander Wang makes a pair of gold 

metallic harem pants and I absolutely 

have to have them, I make them. Then 

my followers are directed towards the 

original, and they look at his entire 

collection […] so they simply buy it 

themselves. In the long run, for me at 

least, its the high fashion labels that 

inspire my DIYs.” I drifted off momentarily 

at this moment just Imagining the 

amazing creation that would be golden 

pants by Wang. Um, yes please? Then we 

laughed off the thought of DIYers massproducing 

designer quality clothing. 

That’ll be the day… 

While I may never develop the skills 

necessary to make half of the amazing 

things that Joshua does, there is 

something fascinating I think to us 

all, young and old, about being selfsufficient 

in any capacity. 

Find out more about Joshua, 

and Victor + Alexander at 

www.victoralexanderco.com. 

60

the greatest JOY 

& the PROFOUNDEST pain 

PHOTOGRAPHED BY MACKENSEY ALEXANDER 

WRITTEN BY SKYE ASHLEY

“It’s not where you 

take things from, 

it’s where you take 

things to.” 

69

ack 

to basics 

One must remember how to 

regress back from the chaos of its 

surroundings. In today’s generation 

of youth, we get consumed in its 

initial advancements of technology. 

This is when we look at the other 

side of the spectrum of today’s 

generation Y and the Millennials. It 

is here, that we have to provide an 

environment where, Less is more; 

we have to disconnect before 

reconnecting, to pare back and strip 

down for a more simplified look. 

71 

When transitioning back to 

simplicity, where we just live off 

the basics and essentials, a new 

appreciation is fulfilled in looking 

at the organic and raw space 

surrounding you. It creates a 

space to breathe, to retreat into 

the confines of simplicity, bare yet 

beautiful. As we get back to the 

basics, a warm, natural monochrome 

palette surface s, focusing more 

on quality than quantity. Full of 

emotional resonance, were exposed 

to the heart of essence: it honors 

the art of editing down and follows 

in the footsteps of intuition, which 

connects directly with the spirit of 

self-reflection. 

t

O 

nce we begin to regress back, there is an emphasis on the importance of inner observation. We no longer feel the 

media pressuring us on what to feel or think, our ‘gut’ feeling is back. As we stem away from the other side of the 

spectrum of technology advancements, the transition to day-to-day life occurs in finding happiness, compared 

to the everyday pressure of what needs to happen next in order to get ‘this,’ done. Although it seems to be an 

organic and more ‘raw’ way of thinking and living compared to others, were still learning and maintaining the priorities 

necessary to survive. 

Money and time is what we collect to save up for meaningful content and experiences. Consumers are taking this, to 

reward themselves with premium experiences and products. The increasing interest in the power of the mundane, which 

is the cause of coexisting in harmony, and behavior are becoming the driving force for innovation. Thus, the desire to 

reconcile a need to be alone, with a desire to find intimacy increases more rapidly. As we relish in a redefined world of 

‘luxury,’ powerful connections begin to resonate in the simplest forms and create humble routines. It is this state that we 

as people, begin to feel like an individual again.

Our new found, or should I say, resurfaced priorities still lie in offering an emotional connection and an opportunity allow 

them to reduce stress. The overall culture of the millennials and Generation Y, show strong drives towards intimacy, 

however they tend to be so consumed in the digital age that they make no time for that reaction to occur. Instead they 

resort to using technology to fulfill those needs, cutting out the initial human interaction. Yes, regressing back to a more 

organic and simplistic nature of living does give us the need for isolation and the reclaiming of space to be alone, however 

we still need and want interaction and someone to share the experience with. Interacting with people in a natural 

environment also tends to come more naturally, crazy concept right. We’re so quick to jump to some type of electronic 

resource in order to communicate. 

Designing around the basic actions and routines that we perform naturally, every day, is becoming an important starting 

point for product development and consumer needs. Exploring mundanity in this environment is done by seeing past the 

gloss to the truths behind your work. In doing so, consumers will respond to products that they relate to their day-to-day 

experience. They respond to products that tap into daily routines and enhance the day-to-day experience. This season, 

it explores the relationship between man and earth, becoming rooted as one, once again. Giving homage to the Earth, 

‘mindfulness of the natural well-being is explored. Having lost ourselves in the new generation and its advancements we 

must restore the sensitive balance of the primitive connections to who and what, we are. It is there that we will find our 

individual identity and embrace natural interaction.

“MITRA” BODY CHAIN 

MELANIE MCPHERSON 

TURBAN, HOOP EARRINGS, 

AND SHORTS 

STYLIST’S OWN 

ANARCHY 

IS BEST 

IN THE 

SPRINGTIME 

PHOTOGRAPHED BY PAT BOMBARD 

WRITTEN BY SKYE ASHLEY 

86


MELANIE MC PHERSON 

SHOES 

ZARA 


AND SHORTS 





AND SHORTS 

STYLIST’S OWN

RIHtranslate 

An influence to young women, fashion, music, and her 

fans, Rihanna continues to translate what a strong, 

powerful, unique and sexy, women is. The Barbadian 

artist, success and confidence does not seem to cease. 

On June 2, she will receive the Fashion Icon Award at the 

2014 CFDA Fashion Awards at Lincoln Center. 

Following incredible past recipients, such as Kate Moss 

and Lady Gaga, the award will be a well-deserved honor, 

underwritten by Swarovski. A presence well paid off, 

Rihanna couldn’t escape the front rows of Paris Fashion 

week from Chanel to Gaultier, Dior, Givenchy, and of 

course Balmain. The multi-talented artist is the new face 

of high-end fashion label, Balmain, for Spring/ Summer 

2014. The creative director himself, Olivier Rousteing, 

described RiRi as an “icon.” 

She’s done nothing except, prove that she is one. 

Upon receiving the announcement, RiRi stated, “People 

want to know who you are. Fashion is a clear indication, 

a way to express your attitude, your mood.” Although 

the artist started her career in music, she’s made such 

a strong impact in the fashion world, not to mention 

for all young women. This will follow after her cover of 

Vogue this month, which is her third time on the cover. 

It was the 10th anniversary of Vogue’s shape edition in 

2011, that Rihanna was first featured on the cover as the, 

youngest black woman to appear on American Vogue. 

Continued on pg. 91 

“INDRA ARMOR RING,” 

“STASIS” EARRINGS, 


SUNNIES & BANGLES 


CROCHET DRESS 

FOREVER 21

“MARROW EARRINGS” 

“INDRA ARMOR” RING 

MELANIE MCCPHERSON 

“PANDORA” BAG, 

GIVENCHY 

CUSTOMIZED JACKET, 

BATHING SUIT BOTTOMS, 

BODY CHAIN, 


HOOP EARRINGS, BODY CHAIN, 

BANDEAU, & SKIRT, 


“AEON CUFFS,” 

“INDRA ARMOR”RING 

MELANIE MCCPHERSON

SUNNIES & BANGLES, 


CROCHET DRESS, 

FOREVER 21 

“INDRA ARMOR RING,” 

“STASIS” EARRINGS 


C 

ontinuing her journey to becoming a Fashion 

Icon, she was featured in the 2012 ‘100 Most 

Influential’ that year. She then started designing 

her collection with River Island, which is going on 

to her 4th season. I consider this her formal influence in 

fashion, it was in 2004 when she emerged as the R&B 

pop princess that she began evolving fashion for young 

women both black and white. She’s one of the first artist 

that represented and influenced the mainstream, street 

culture of youth. As she evolved, street wear and ready 

to wear evolved, even for men’s fashion too. 

It was in 2007, with the release of Umbrella, when 

Rihanna began to find herself in fashion and style and 

not just her ‘Rihanna Navy’ of fans. She allowed young 

women to find what made them like a sexy powerhouse. 

From here fashion, in both teenagers and young women 

began to evolved into a refined edge, just as Rihanna 

did. By 2008, she sported the chain-mail corsets at 

black tie events, with power-shouldered jumpsuits, 

which quickly started trending along with the leather 

hot pants on stage. Women were dressing sexier and 

with confidence, which only continued to progress into 

accepting racier dressed women as an icon. 

RiRi was dominating that media and social scene in 2011, 

as her onstage outfits also took the streets. We saw 

leather straps, studs, fishnets, and heels, Rihanna was 

showcasing her female sexuality as visual performance 

for everyone. Shouldn’t every woman feel strong and 

confident enough to do the same. This wasn’t about 

sex or to flaunt it. It was something to idolize, to relish 

in and see that those boundaries could be broken down. 

95

Shortly after, we gained yet another respect for this 

fashion icon, when she was the first mainstream artist to 

show case the aesthetic, of the current festival-attending 

teens. She mixed prints and colors and metals, with 

oversized items and statement jewelry. Today she still 

embodies the edgy style but makes it into an ensemble 

by wearing Gucci, Cavalli and Armani, while adding 

hipster high street. 

A successful music career with number one hits, multiplatinum 

albums, countless awards and loyal fans, is 

the back bone to Rihanna’s initial success. However, as 

her fashion evolved, as well as influenced, so did her 

tactics in the 

entertainment 

industry. She is 

a powerhouse, 

“the HBIC” 

The HBIC. From where 

she started ten years ago with her first able to where 

is now, taking on several titles, is impressive and 

empowering. Everyone young and grown women can 

find an inspiring icon with Rihanna, even her reactions 

to the media and how she handled her in past tangles. 

Nothing held her back. I wouldn’t say that roles are 

reversing, however they are enhancing. Women have 

always had that fire, confidence, and determination, 

they just need someone to show them how to utilize it. 


“EZRA” RING 




96 

STYLIST: 

TENISHA CLARKE

WIPE THAT 

smile OFF 

YOUR FACE 

A SPOTLIGHT ON DESIGNER, BROOKE ATWOOD 

PHOTOGRAPHED BY PAT BOMBARD 


LEATHER PATCHWORK TOP 

& TULLE SKIRT, 

BROOKE ATWOOD 

SHOES, 

MODEL’S OWN

LEATHER CUT OUT TOP, 

LEATHER SHORTS. 

BROOKE ATWOOD 

LEATHER ANKLE 

BOOTS, 

ALEXANDER WANG 

LEATHER PERFORATED 

TOP, LEATHER SKIRT, 

BROOKE ATWOOD 

JEWELRY, 

STYLIST’S OWN

“there’s 

really 

not 

an option 

to stop 

and take 

LEATHER DRESS, 

BROOKE ATWOOD 

RINGS, 

MODEL’S OWN 

a breather,” 

109

CHIFFON DRESS WITH 

VELOUR SLEEVES, 

BROOKE ATWOOD 

NECKLACE, 


JEWELRY, 


A 

candid response from the designer, 

Brooke Atwood, regarding what’s 

next with the growing demand of 

her self-named label. She launched 

Brooke Atwood two years ago in 2012, with the 

intention to embrace her love affair with leather 

and make an income doing it. The effortless, 

yet edgy womens wear collection has been a 

success and so has the ongoing journey to get 

there. 

Originally from Mississippi, Brooke 

grew up being taught to sew various clothing 

patterns by her grandmother. Although her 

interest in fashion continued, she went on to 

receive a Business Degree at the University of 

Mississippi. It was at the age of 24, that the young 

entrepreneur opened a clothing boutique in 

Oxford. As a single woman and mother, with no 

significant other to be a ‘bread winner,’ Brooke 

saw no other option but to be her “own boss.” 

When asked about women’s roles in modern 

society, she believes that although women are 

more empowered than before, both men and 

women are equaling out and finally reaching the 

same page, at home and in the business world. 

Setting high goals, the designer’s 

personal determination and success 

department never ceased. After three years of 

retail, it was time for Brooke Atwood to follow 

her true infatuation: Design. This brought her 

to the city of Savannah, where she received an 

MFA in Fashion Design at Savannah College of 

Art and Design. Now moving onto her fourth 

season, her collections are produced and sold 

in showrooms in New York, as well as various 

boutiques in the U.S. Upon her success, Brooke 

continues to reside in Savannah, where she is 

one of the first working fashion stylists in the 

area, and designs at her in-home studio. 

Since sketching is not her forte, she 

typically creates two to three pieces that she 

envisions and from there, builds off of those 

to create the rest of her collection. Inspired 

by traveling, music, live shows, and a fearless 

attitude, her own effortless, rocker chic style is 

evident in her designs. Being that trends isn’t 

something Brooke looks for when designing, 

she likes to create pieces of longevity that can 

be worn season after season. 

Who needs a muse when your success 

stems from designing for what defines you? It 

seems that confidence and dedication are key 

in the design world. In Brooke’s perspective, it 

never ends in fashion, as an emerging designer, 

or any designer for that matter; there is never a 

break during the design process. Currently, the 

Brooke Atwood collection has hit runways at 

the 2014 Capsule Trade Fair in New York, along 

with Nashville Fashion week, and Savannah 

Fashion week. Each show featured her 2014 

Fall/Winter collection of 24 pieces, which the 

designer related back to her roots in Mississippi 

and where she is now, with western details of a 

1975 rodeo prom Queen, meets New York.

“Fashion is 

becoming 

more progressive” 

As more designers begin to emerge at a younger 

age, fashion is becoming more progressive. 

Looking into the future of the self-named label, 

Brooke is working towards adding a smaller 

capsule collection that is more sustainable, using 

eco-friendly leathers and with lower price points. 

Being a new label on the scene, the hardest part 

tends to be honing in on who your customer is 

and who you want to be. There is always a need 

to perfect and refine one’s work, according 

to Brooke; Of course there is, leather does so 

naturally. 

112 

CHIFFON DRESS WITH 

VELOUR SLEEVES, 

BROOKE ATWOOD 

JEWELRY, 

STYLISTS OWN

PERFORATED LEATHER 

TOP, LEATHER SKIRT, 

BROOKE ATWOOD 

JEWELRY, 


WOOL COAT, 

BROOKE ATWOOD 

SUEDE ANKLE BOOTS, 

GIUSEPPE ZANOTTI 

SHEER TURBAN, DRESS JEWELRY,, 

WITH STYLIST’S VELOUR SLEEVES, OWN 

BROOKE ATWOOD 

JEWELRY, 

STYLIST’S STYLIST: OWN 

SHOES, TENISHA CLARKE 

STYLIST’S MAKEUP OWN & HAIR: 

ASHLEY LO

in the FUTURE we’ll 

ISSUE TAXES FOR 

our GOOD LOOKS 

PHOTOGRAPHED BY KELIANNE 


DRESS BY 

LEAH MICHELLE SMITH

PREVIOUS PAGE: 

NEOPRENE DRESS, 

THIS PAGE: 

NEOPRENE TOP AND 

PANTS BY 

RENATA DABDOUB 

NEXT PAGE: 

NEOPRENE DRESS, 

RENATA DABDOUB

STREET 

style 

Current trends in Women’s Street Style are continuing to evolve 

throughout the season, consisting of different techniques 

and styles that play with, graffiti and hyper-real bright prints. 

Playing with various bright colors to layer and piece together, 

creating a pop of art, as well as graphic details. 

The graphic prints have a fruitful play that are inspired by 

contemporary photography and the trend for Modernist 

editorial design. Fashion is given a Pop Art style, with highly 

saturated colors for an alternative update. Hyper-real is 

from the postmodern philosophy, where what appears real 

and what appears fiction are seamlessly blended together. 

Allowing physical reality and virtual reality to mix and blend. 

Graffiti paint gives abstract and conventional prints a 

contemporary street-art feel. Arthouse techniques are 

emerging from the runways, as a new graphic style that has 

wide commercial appeal that can’t be used for contemporary 

patterns. Designers have embraced experimenting with spray 

paint, mark-making, expressive strokes and abstract patterns, 

along with the layered colors, to create a fun piece. This creates 

a playful twist in the graphics and shapes seen in Street-Art. 

STYLIST & HAIR: 


MAKEUP: 

MOSI MCKIE 

129

CULTURE 

GENERATION Y: 

In the midst of a youthquake 


We are living in the new digital age, of a fast growing, technology revolution. What was once seen as a fantasy can now 

be a reality. Where is this trend taking our future? Looking back at the 60’s Youth Quake, there was a lot of political 

change occurring that set off a chain reaction for the people, and the entire culture to change, from the way they dressed 

to they way they thought. It brought a new perspective. The Civil Rights Act brought an end to segregation and a fight 

against the progressives. While this occurred, the youth responded by embracing new fashion and new sounds music, 

which continues to shape fashion today. We are now in the midst of youth quake due to the significant changes we’ve 

experienced again in our politics, as well as our increased knowledge. Since there is an established gay identity in our 

society, most people have come to respect and accept them, which has led our government to legalize gay marriage, 

and taxes. The legalization of marijuana and its health benefits has also contributed to the culture change, as well as our 

found knowledge of the environment and how we must become more sustainable. Due to this generations acceptance 

and optimism many aspects of our lives have improved and advanced, including technology.

T 

oday there are approximately 9 billion people in 

the world, out of the population there is the largest 

generation of youth in history. An actual “youth 

quake,” of 4.3 billion people between the ages of 10 

and 25. Instantaneous modes of communication is what 

drives the population, Cisco’s 2012 Generation report found 

that 60% of Generation Y compulsively check their smart 

phones for messaging, social media, and information. 

The Millenials are such a well informed generation since 

information is accessible at anytime. 

Designers have struggled and progressed with the 

advancements in technology, as well as the demand of the 

new consumer. Luxury names such as, Gucci and YSL, had 

to transition to more commercial visions to capture a new 

audience and compete with fast fashion companies like, 

Zara and Forever21 replicating their collections from the 

runway. Advancements in technology have also brought 

our attention to the environment and the kind of effect 

we’re causing. Companies have lowered energy and water 

consumption as well as, carbon emission, to be more 

sustainable and maintain transparent with consumers. 

Textiles have also advanced to modern technology to 

create 3D woven natural fabrics and new treatments. 

Alexander McQueen was an early adopter of 

technology: in spring 1999 No. 13, a model wearing a 

dress was spray painted by two robots, and later in 2010, 

McQueen adopted digital printing from photography in 

Plato’s Atlantis collection. Lady Gaga was influenced by 

his collections and emerged digital technology into the 

public. Another Gaga influencer, Iris Van Herpen, was the 

first to use 3D printing in haute couture; “fusing fashion, 

science, and technology.” The trend of materials becoming 

media is continuing to progress. 

In the 2014 Fall collections, Alexander Wang 

revealed a developing form of technology in fashion that 

was futuristic, yet functional for the survivorlist. Heatsensitive 

leather changed in front of metals vents to colors 

of black to blue, to yellow, or purple and slowly faded. This 

advanced material has been ten years in the making by 

Lauren Bowker, an alchemist, that is using her designs to 

sync certain colors with seasonal cues in the environment. 

A chemical compound is injected into the leather and then 

ignited to see its reaction to temperature. The compound 

also reacts to UV rays, friction, sound, moisture, and 

pollution. It’s potential use for health are being developed 

to possibly communicate the severity of an asthma attack, 

or a garment that acclimates to the weather. 

Studio Roosegaarde has also developed a hightech 

fashion made from e-foils which become transparent 

based on personal interactions. Merging the current trend 

sexual desire and technology, Intimacy 2.0 is a dress 

that responds to the heartbeat of another person, these 

interactions determine the level of transparency, creating 

a “sensual play of disclosure.” If technology has advanced 

to create a material that becomes transparent then we can 

create something invisible, right? 

Harry Potter’s invisible cloak and GI Joe’s invisible 

suit have actually, been developing for the last two years. 

Hyperstealth Biotechnology Corp, designed Quantum 

Stealth, a camouflage material that renders the wearer as 

invisible by bending light waves around them, mimicking 

the surrounding environment. The material is lightweight 

and works against military IR scopes and Thermal Optics 

according to U.S. and Canadian military. This material is 

advanced and intimidating, there’s a fear that strikes 

of the possibility of it getting in the wrong hands. A 

clearly, defined ramification that can arise with such 

quick advancements in technology. Although it is still 

being developed for security issues, this design sets new 

standards and expectations for our generation and the 

future of the digital age.

life’s a GLITCH 

and then YOU DIE 

PHOTOGRAPHED BY BREANNA EDWARDS 


140

STYLIST: TENISHA CLARKE 

MAKEUP: HANA HYMAN 

ALL GARMENTS BY: 

MADISON TAYLOR

“ 

she taught me how to make 

connections, how to take two 

separates and make them 

whole, until she couldn’t remember 

how to communicate from 

her internal hard-drive to 

her hands. like the insides 

of computers, the insides of 

humans sometimes crash 

too. there is no ctrl + z or 

backspace that can get the 

files of our memory back. 

but she keeps on scanning 

her mind, through the static, 

through the glitches of time 

and moments shared. 

some remain black and 

white but others explode 

with color, making sparks 

and some openings. 

” 

151

Technology is connecting and giving us options to help network with people as 

well as, the environment and our health. Today’s generation is optimistic about 

the future however, in the words of Isaac Newton, “For every action, there is 

an equal and opposite reaction.” Society can continue to invest in 3D printing 

organs, humanizing technology, and figuring out how to make us live till were 200, 

however, we must learn to regress and slow down to avoid anything occurring 

too soon among any other ramifications. Although some implications may not 

be clear quite yet, I think our knowledge and advancements should give us the 

opportunity to pull from nature and the basics to further the future in technology 

and our well-being. 

Those attempting to explore the idea that technological progress correlates to a 

loss of human individualism must look at how technology can be humanized and 

its implications. Beyond Verbal, developed a human app called Moodies, which is 

to capture and analyze intonation for the technology to give a human response. 

Not only are we so consumed in technology to communicate with people and 

shop but now we can just talk to another computer. A different perspective 

of human apps is Extended Mind, which allows those suffering from a form of 

memory loss to extend their cognition by uploading their thoughts and task. 

Viewpoints in media and press have silenced many of our own judgments and 

opinions, that we have to learn to explore our consciousness and form our own. 

It is crucial that we admire and open eyes to what is being presented to us and 

to consider the imprints of our current lifestyles and what we may leave behind. 

We are a generation built on serving our own, in search of opportunities. There 

are glitches to gloss over what is old and then what is new. As we look forward in 

fashion and everyday life, we need to consider what can be reinvented. 

E 

very generation has a great challenge; Ours is seen to institutionally reinvent 

the world. As true digital natives built on the desire for change, this desire 

stems from the digital age we were born into, and the constant advances 

developing through technology. While exploring one’s consciousness, our 

sense of self is constantly being challenged. Since Generation Y is constantly 

‘On,’ and connected, technology is considered a critical part of our life and work. 

This necessity, has allowed us to become an educated youth, by the accessibility 

we have to instantaneous media and information. News, to music, fashion, and 

human interaction is always at access from a screen, just at the end of our finger 

tips. It’s evident that technology is quickly changing every industry, however, 

there is a heightened concern that this digital revolution is consuming our 

generation. The Y generation is already known for being digital multi-taskers, 

which we tend to switch devices and platforms up to twenty-seven times, every 

hour. Not to mention, making a routine of initially checking their phones in the 

morning. With something that has become so normal, how do we decipher if we 

are digitalized or desensitized? 

Technically...by considering that the obvious attachment we have to our phones 

is normal, defines our consumption and desensitization to technology. We’re 

already glitching, or are we just being the magnificently flawed, and inherently, 

dependent human beings, that needs to be with one another. In reality, our future 

is driven by data and powered by intuition. “Inspiration is a matter of sensitivity,” 

Van Herpen said. “It is the ability to collect from the past, present, and future, 

as they shift past us simultaneously.” Everyday there is something new that is 

presented to consumers to peak our interest or educate us, but is easily forgotten 

and glossed over with the next “new” creation. 

In fact, I believe that technology is what is causing us humans, and the Y generation 

to ‘glitch.’ With the high volume of extreme advancements in technology it’s 

difficult to keep track of what is going on, whether it is a new gadget, social 

media, or medical procedure, etc. It doesn’t allow the consumer to understand 

it and become acclimated. There are also stipulations of new technologies being 

developed too fast that they, themselves glitch. Our exposure to graphic news 

and media has been tainted by digital and social media posted everywhere 

that its no longer provocative. We are now capable of posting images, videos, 

and saying whatever we’d like immediately or simultaneously, for others to see. 

Generation Y and the Millennials are very involved with social media; We become 

more focused on our identity that is perceived online than our personal self, thus 

being consumed by technology. 

Stepping back from this digital age, we should ask ourselves, if there is the 

possibility that we are progressing too fast? Today’s advancements do help us in 

many ways, however this generation of the Millennials and Generation Y tend to 

gloss the underlying reality of things. Our generation needs to be more informed 

than just ‘glossed.’ The hype over this digital age can blind people from looking 

at things realistically. It is then, that you humanize and draw a deeper meaning 

from data. 

153

To find your individuality during this digital age, is by being outrospective, which 

is looking past yourself to understand others and pursue a path of empathy and 

collaborating it with the power of design and creativity. This is evident in the 

creative work of Madisun Moon and professional knit and weaver, Matt Bobbins. 

The two collaborated to create this collection of layered knits, wovens, and digital 

printed fabrics. The various woven pieces that constructs most of the fabric were 

made by Matt, after Madisun told him about her concept for her pieces and the 

color story. As a person of the Y Generation, Madisun embraces technology for 

what it is and accepts that it is unpredictable because it is ultimately a machine, 

and at any point, can gLitCh. 

She also looks at its relevance in another perspective; her grandmother Georgia 

is diagnosed with severe Alzheimer’s. Although, we are not built like computers, 

nor meant to be turned into one, we too can glitch and lose bits and pieces of our 

memory drive. Every once in while though, we recovery a file that we thought 

was lost, and it always holds something that you want to ‘save’ forever. 

Remember this digital era is still very new, leaving plenty of room for mistakes 

and risk. If we learn to slow down in this fast-paced, interconnected world, maybe 

we would see things a little clearer. It’s only a matter of time before you run 

into another little gLitCH. 

154

CULTURE 

TRANSCENDENCE 

Going Beyond the Limits of Ordinary Experience 


Reviews of the recently released Sci-fi film, starring Johnny 

Depp, and has had mixed reviews, mostly teetering towards 

a negative perspective. Although the film, written by Jack 

Paglen, is focused on the subject of technology consumption 

and artificial intelligence, there are religious undertones of 

God and evolution, which could offend some viewers. There 

are also those who believe it was written poorly and others 

who absolutely loved it. 

Personally, I felt drawn to go see Transcendence just from 

watching the trailer. I’m glad I did. It’s definitely not a film for 

everyone, nor was it done to necessarily excite, or entertain 

an audience. I found it to be insightful and relevant to what 

is occurring in our world and society today. Not enough films 

today are made to allow, as well as push, the viewer to think 

and to question. 

With our current advancements in technology and its 

integration into our health, communication, appearance, way 

of life, and society; we have to ask ourselves if where is it 

going and what are the repercussions. Dr. Will Caster, played 

by Johnny Depp, is a scientist who is designing a sentient 

computer, or AI, that will ultimately create a technological 

singularity among people and cause Transcendence. The 

idea behind this is to have human-like intelligence exhibited 

by machines or software that will progress to a greater than 

human intelligence, changing civilization and human nature. 

Will gets hurt by an extremist group, the 

Revolutionary Independence From Technology 

(R.I.F.T.) causing him to die. However, his 

wife is able to upload is consciousness into 

the quantum computer, which survives and 

requests to be connected to the Internet to 

grow in capability and knowledge. By pulling 

information and hacking databases his ‘saved 

conscious’ is able to recreate himself and 

communicate via the computer. 

It is here that I began to reflect. We have 

grown to become a society in fear of what 

our last moment will be. Before we looked 

to plastic surgery and various remedies to 

remain ageless and live longer, but now we’ve 

reached new heights of how to create and 

re-create man. Digital healing and physical 

enhancements have emerged, not to mention 

that creation of artificial parts made to keep us 

alive. Now scientists are even developing ways 

to possibly keep us alive till were 150 years old. 

So, does it pose the question of ‘playing God’ 

or is this kind of extremity that people need to 

finally let go? 

CONTINUED ON PAGE 117 

162

I 

n Transcendence, as Will continues 

to live as a sentient computer his 

sense of emotions begin to fade, 

it’s ultimately his conscious and the 

information there. 

“Biochemistry is emotion, being able to 

weigh everything no longer makes you 

a person, you are a statistic.” 

Computers aren’t always 

efficient or last forever, nor should 

we. The film also touches base on the 

notion of always be connected to the 

Internet, implying that people to find it 

as an extension of being and we feel lost 

without it. At this point, the Internet 

source is what is keeping him alive, and 

after transcending himself to become 

a 3D regeneration he must always stay 

connected to everyone. 

At the end of this dynamic film 

each character is forced to choose 

between the destruction of all advanced 

technology, and a return to a pretechnological 

world, or the acceptance 

of transcendence, and with it an end to 

pollution, disease, and human mortality. 

We’re only human, we naturally fear 

what we don’t know and what we don’t 

understand. Although, people don’t 

know what is to come later in life, ‘the 

human emotion can contain illogical 

conflict,’ a piece of technology can’t 

reconcile that.

ART 

ANDY WARHOL 

Digital Art Pioneer 

Commodore Amiga Andy computer Warhol, equipment 

used by Andy Warhol Campbell’s, 1985-86 1985 

WRITTEN BY LILY MARSHALL 

Around 30 previously unknown works done by Andy Warhol 

have been recovered by the Brooklyn-based new media artist 

Cory Arcangel. The artist was part of a team that went digging 

through Warhol’s old Commodore Amiga disks, never looked 

at before, and discovered some of Warhol’s experiments in 

early digital art. 

Arcangel, a self-confessed Warhol fanatic, was browsing 

YouTube videos of the artist when he came across Warhol 

painting Debbie Harry on an Amiga computer (right.) His 

interest piqued, he reached out to the Andy Warhol Museum 

in Pittsburgh to see if they had any more of Warhol’s digital 

artifacts. While the Debbie Harry picture was in the museum’s 

collection, evidence of Warhol’s other computer art adventures 

was only found after an extensive search uncovered the old 

Amiga and some floppies. 

The Amiga 1000 computer might be dated and retro today, 

but it was once pioneering technology. Its manufacturers, 

Commodore, elected Warhol as the man to help promote the 

launch of the Amiga 1000, commissioning him to create works 

on the computer. In order to recover the images, Arcangel 

enlisted the help of Carnegie Mellon University Computer 

Club, a team renowned for their expertise in dealing with 

obsolete computer technologies. Magnetic imaging tools had 

to be used to copy data on the floppy disks to ensure that no 

damage was done to the original floppies, and the files were 

formatted in an unknown format that was not recognized by 

any modern utility. The team managed to crack the antiquated 

format, revealing 28 images that hadn’t been seen before – 11 

of which were signed by Warhol. 

Chief archivist at the Warhol Museum, Matt 

Wrbican, wondered how Warhol would have 

adapted creatively to the advances in technology 

that have been made in the 21st century: “No 

doubt he resisted the urge to physically touch 

the screen – it had to be enormously frustrating, 

but it also marked a huge transformation in our 

culture, the dawn of the era of affordable home 

computing. We can only wonder how he would 

explore and exploit the technologies that are so 

ubiquitous today.” 

It isn’t the first time that Cory Arcangel has been 

involved with the process of recovering media 

from difficult situations – last year he teamed 

up with Oneohtrix Point Never to make a track 

called “Joyvtl Jvbuayf” that was technically unlistenable, 

unless you had the dated software to 

play it. 

Speaking about his hero Warhol, Arcangel said, 

“What’s amazing is that by looking at these 

images, we can see how quickly Warhol seemed 

to intuit the essence of what it meant to express 

oneself, in what then was a brand-new medium: 

the digital.” 

A documentary about the painstaking recovery 

process has been made and will be shown at the 

Warhol Museum on May 10. 

169 

Andy Warhol, Andy2, 1985

Andy Warhol, Campbell’s, 1985

ALL SIGNS 

LEAD TO HERE 

Lawrence Murray of Genius Aesthetics 

PHOTOGRAPHED BY LAWRENCE MURRAY & BREANNA EDWARDS 

WRITTEN BY TENISHA CLARKE

Lawrence Murray is truly a genius in his own right. His 

‘mixture of madness’ extends from the art realms of 

photography, graphic design, and web design. He literally 

does it all. Most recently, he’s gone about re-branding himself 

from Buy Lawrence to Genius Aesthetics, and has created a 

line of street wear to launch and market all things Genius. 

177

Tell me a little bit about yourself. 

Where are you from? What are 

your general professional and 

non-professional interests? 

Hi, I’m Lawrence. I’m 20 years old 

and I’m from Hinesville, Georgia. 

I’m a freelance graphic designer, 

web designer, and photographer. 

Of course I go to SCAD majoring 

in Motion Media Design with a 

minor in Film & Television. 

What’s the story behind Genius 

Aesthetics? What inspired you to 

merge your graphic design talent 

with the world of fashion and 

street style? 

Like I said I’m a freelance designer, 

and for the past few years I’ve been 

under the brand of ‘Buy Lawrence’ 

and I’ve kind of outgrown that. I’ve 

been in the process of re-branding 

myself under the Genius Aesthetics 

brand. Genius Aesthetics is my 

creative company, so I like to call it. 

Which merges my creative design 

services with my film production. 

I’ve always wanted to do an 

apparel line, so I figured that with 

the re-branding of Buy Lawrence 

to Genius Aesthetics, it would be 

the perfect time to launch this line. 

I’m really utilizing this apparel line 

as a marketing tool, to kind of get 

my brand out there. Right now 

we have some cool apparel that 

showcases more of the logo, 

but definitely in the future I plan 

on doing more apparel that 

incorporates more typography, 

photography, and graphics. Doing 

this is just a great medium to get 

my work out there, 

When did you realize you wanted 

to enter the world of fashion 

and what was the first article of 

clothing you created a design for? 

I can recall wanting to do an 

apparel line way back in middle 

school when I first started getting 

into graphic design. However I 

didn’t have the resources and funds 

that I do now. And honestly timing 

is everything; my designs would 

have looked like crap if I had done 

it back then. The first design that 

I did for this line was the graphic 

tee with my face on it. I randomly 

showed it to a friend and the 

first thing they said was “I would 

definitely wear that”. Which was a 

shock to me. I thought who wants 

to walk around with my handsome 

face on a shirt? Then I showed it 

to a few more friends and I kept 

getting similar reactions. 

What are some of your 

accomplishments as a designer? 

Well for one I got scholarships 

to attend SCAD based off of my 

graphic design portfolio. I’ve been 

freelancing since I was in 9th 

grade. I was a designer before I 

even graduated high school. My 

work has been on several national 

popular media platforms, and I 

even have some work that has 

been broadcasted internationally. 

Some of your goals? 

My near sighted term goal is to 

get the film production branch 

of Genius Aesthetics off of the 

ground, and that takes time. I 

want to do music videos. So I’m 

working on that as well as writing 

screenplays for short films and 

web series. I want to put out a web 

series under the Genius Aesthetics 

brand sometime next year. 

Who are some of your favorite 

designers (fashion and nonfashion) 

? 

In fashion honestly I’m not into 

names. I probably have designer 

clothes and not even know it. I 

just like what looks good, but I 

do buy a lot of clothes from Zara. 

Some of my favorite non-fashion 

designers are Gavin Taylor and 

Scott Grossman. 

How would you describe your 

personal style and aesthetic? 

In regards to fashion, I have 

repetitive phases. I go back and 

forth through urban street wear, 

to the daily semi-casual, to more 

of a modern 90s west coast look. 

It really all depends on how I am 

feeling. 

Tell me about your design process. 

I usually start off with a 

brainstorming session. Then with 

all of the ideas and junk in my 

head I try and narrow it down 

to one general idea or direction 

by crossing off the unnecessary 

things I’ve written down during 

the brainstorming session. Then 

the execution process starts. 

Where do you get your inspiration? 

Music. When I listen to music I see 

colors. I see textures and different 

color palettes. So music is a very 

important part of my process. 

What matters most to you as a 

designer? 

Execution. 

How would you define the 

style that Genius Aesthetics 

exemplifies? 

Color! I like vibrancy and I try 

to incorporate that in all of my 

designs. Whether it be one color, 

a specific color palette, or even 

black and white. I try to incorporate 

vibrancy through my designs. 

What are some things that you 

like and dislike about designing? 

I like designing. I like using my 

brain and figuring how to arrange 

different elements. I like happy 

clients. However I don’t like dealing 

with people sometimes. Every now 

and again I’ll get a client whose 

knowledge of graphic design 

extends to Microsoft Paint. I could 

come up with an exceptional 

design, of course that might need 

a few revisions, 

What advice do you have for 

aspiring designers? 

Be yourself. There is no right 

or wrong way of designing. Art 

is totally subjective. However, 

educate yourself. Learn the 

principles and elements of design 

so you can have an effective 

design. Outside of that, create 

what looks good to you and 

be confident in that. 

Where can readers find out more 

about you and your work? 

To check out some of the apparel, 

get a look at my portfolio, as well 

as get information on my creative 

design services, you can go to my 

website which officially launches 

May 5, 2014. 

geniusaesthetics.com 

@geniusaesthetics 

STYLING: 


BRANDED APPAREL: 

GENIUS AESTHETICS

CULTURE 

THE FUTURE 

OF FASHION 

How 3D printing is revolutionizing 

the fashion industry 


F 

ashion has always been seen as a 

world of fantasy and fiction. The 

onslaught of new technology and 

materials has brought fantasy into the 

realm of science fiction and taken on 

new dimensions, [literally]. 3D printing 

technology has been incorporated into 

nearly every industry thus far; from 

medicine to movies scientists, engineers, 

artists, and designers. Although it seems 

to have just recently surfaced via media, 

this new form of printing has been 

developing for over the last thirty years. 

We’ve discovered the most functional 

and ingenious medium since pen and 

paper; and the potential applications 

are sure to make an impact in the 

most unimaginable ways. Naturally, 

the medical industry envisioned the 

potential applications of this technology 

by developing a way to “print” 

functioning organs and tissues, creating 

the first prosthetic kidney for animals. 

After further industry breakthroughs 

including, prosthetic limbs and vessels, 

robotic aircrafts, and the world’s first 

3D printed car, this technology began 

to find itself more accessible to various 

consumer markets. 

Increasingly adaptable processes allow 

jewelry designers to use this medium 

precious metals, such as 14K gold and 

sterling silver. An ability to create 

abstract and surreal forms caught the 

attention of footwear designers, taking 

them to new ‘heights,’ as they created 

new conceptual and Avant-garde styles. 

Anything they draw, the printer could 

create. Commercial footwear companies 

such as, New Balance and Nike, debuted 

sneakers with a revolutionary 3D printed 

plate that enhanced football athlete’s 

performance. 

Fashion designers are expanding the 

scope of garment manufacturing far 

beyond the needle and thread. The 

dawning of technology had thus, entered 

the world of runway, Haute Couture 

and the red carpet. Couture integrated 

the latest 3D printing techniques to 

produce advanced garments, with 

innovative material manipulations; 

creating ‘techouture,’ where traditional 

techniques are replaced with codes. 

Dutch fashion designer, Iris Van Harpen, 

is one of the first adopters of 3D 

printing and has become a pioneer of 

materializing technology in innovative 

ways from hard-shell garments and 

more flexible 3D prints, collection after 

collection. Victoria’s Secret also acquired 

the growing trend for the recent Fashion 

show, when they collaborated in a 3D 

printing co-project with Swarovski’s 

crystals to create the sexy, snowflake 

‘outfit’ worn by Supermodel and angel, 

Lindsay Ellington. Celebrities have also 

collaborated with engineers to create 

one-of-a kind red carpet garments. Dita 

Von Teese wore a Swarovski crystal 

encrusted, ‘mesh’ dress to a two-day, 

3D printing conference. Based on the 

Fibonacci sequence, this fully articulated 

gown, was designed by Michael Schmidt, 

and modeled by architect, Francis 

Bitonti to be 3D printed in nylon by 

Shapeways. The gown was assembled 

from seventeen pieces, dyed black, 

lacquered, and adorned with over 13,000 

Swarovski crystals to create a sensual 

flowing form. A significant influencer 

in fashion advancements, Lady Gaga 

has worn two 3D printed dresses this 

year. The first, called Anemone, was 

an integrated bubble dress, and more 

recently, a parametric sculptured 

dress at the launch of her album 

ARTPOP. Both pieces were designed 

by Studio XO, a London-based fashion 

technology company in collaboration 

with the Belgian 3D printing company, 

Materialise. Creatives have their minds 

set in the third dimension; seeing and 

thinking in 3D. 

What does this mean for fashion’s future? 

Bespoke clothing will be referenced in 

a digital sense, that a tailor and sewing 

machine will no longer be a part of the 

equation. 3D printing gives the ability 

to customize the piece according to 

exact measurements. Instead we will 

download codes for various garments 

and items to be able to print it in any 

way imaginable. Programmers are 

becoming fashion designers while 

fashion designers are becoming more in 

tune with this technology to take their 

fashion to new dimensions. The life of 

designers will change when consumers 

can buy designs online to make a 3D 

printed dress out of the plastic or nylon 

mix with their in-home printers. 

Here is where an area of controversy 

arises. There is potential, that this 

technology can do to fashion, just as 

Napster did to the music industry. As 

3D printing evolves, it will introduce new 

conflicts into copyright law. 3D printing 

processes contains open-source codes 

and designs instead of trademarked 

and protected industry techniques to 

create garments. With a computer, the 

right software, and a 3D printer, it’s 

now possible to produce your very own 

jewelry, accessories, or bikini within the 

home. Already, platforms such as 

Shapeways, allow users to upload and 

share digital designs with others. Brand 

owners may soon face challenges 

with the widespread cloning of their 

products, as well as the spread of their 

own design blueprints. The design and 

manufacturing process of 3D printing 

has serious implications for intellectual 

property and brand copyright. However, 

due to the complex and expensive nature 

of the printing process, it will be long 

before we see consumers recreating full 

couture garments on a mass scale. 

Nevertheless, there is significant 

potential in 3D printing with an 

enormous scope to revolutionize the 

fashion industry, particularly when it 

comes to materials. We will really see 

an impact when manufacturers begin to 

offer more flexible molds and garmentfriendly 

materials. Pringle of Scotland, 

collaborated with scientist Richard 

Beckett, and utilized a special process 

to produce flexible 3D printed fabrics 

that move like traditional fabric once 

combined. This is where 3D printing 

will make the biggest impact. The textile 

industry will be hit with a curve ball as 

more people begin to adopt 3D printed 

synthetic materials instead of traditional 

fabrics. “I do think cottons and silks will 

be gone, but it will take a long time,” 

claims designer Iris Van Herpen (NYMAG. 

com) 

Whether the implications of 3D printing 

technology on the fashion industry are 

positive or negative, change is inevitable. 

An infinite amount of possibilities 

for designers, manufacturers, and 

consumers to utilize this technology. The 

potential is great, however there is still 

much to be done before 3D printing can 

be fully realized within the mainstream. 

Until then, we will leave it to imagination. 

to envision the future of fashion. 

185

CULTURE 

THAT A’INT BAD, 

BUT I CAN DO IT 

BETTER. 


A’int Bad Magazine is an exemplar for 

those who wish to maintain the value 

of print photography. They attempt 

to use their magazine to promote the 

roots of traditional photographic art 

through print as well as stimulate the 

collections of and appreciation for 

photography. 

In conversation with Editor, Carson 

Sanders, we began to discuss the 

idiosyncrasies of our generation’s 

photographers and his opinion on the 

directions of photography within the 

digital age. 

It has become harder to keep 

photography relevant with in the 

digital age. There has been an 

overabundance of photography on 

the Internet and it has become more 

accessible than it has ever been. 

Camera phones, Instagram, and a 

myriad of photo editing programs and 

apps have allowed “photographers” 

to accomplish what once required 

hours of work in a dark room. 

Taking, storing, editing, and sharing 

photographs has become incredibly 

simplified, making it more accessible 

to the masses. This has left is little 

need for highly skilled professionals. 

“The Photographer” is beginning to 

loose its definition, as Instagram and 

other mobile apps have become the 

platform for an abundance of “self 

proclaimed” photographers. They 

have debased real photography 

by reducing the productivity of 

photography as a profession. 

The overwhelming depth of 

photography available on the 

Internet tends to weaken the 

impact of its content. However, even 

professional photographers have 

almost hypocritically established 

themselves through using Instagram 

as photographic technology. As a way 

to spark an ironic commentary about 

the digital age of photography, some 

photographers have highlighted this 

as the subject of their photography. 

Benjamin Lowy, a New York based 

photographer specializing in conflict 

and feature photography, uses his 

iPhone to document the Libyan 

uprising against Muammar Gaddafi. 

He did this to mimic the way civilians 

documented the rebel movement 

with their mobile phones, instantly 

updating the world on events as they 

transpired. 

This was a way to embrace a new 

paradigm of photographic journalismno 

middleman, no publisher - and 

bypass traditional news sources. 

The digital age has made it more 

difficult for photographers to stand 

out. With this new digital age, 

photographers now need to find 

innovative ways to stand out. In order 

to keep the traditional formats alive, 

photographers are finding creative 

ways to blend and incorporate digital 

formats within their photography. 

Stephen Tillmans, a Berlin - based 

photographer, created a photographic 

series, called Luminant Screen 

Shapings, of old tube televisions 

taken at the very moment they are 

switched off. The TV picture breaks 

down and is abstracted to its essential 

element: light. This series bridges the 

gap between digital and traditional 

formats of photography, highlighting 

a scientific and technological theme 

through the use of old-fashioned film 

photography. 

There will always be a grass roots 

approach to photography consisting 

of purists who strive to maintain 

the traditional format of printed 

photography. The disappearance of 

this craft will not disappear in that 

sense. The impact of the digital age 

is uncontrollable, however, and thus a 

transformation is inevitable. 

191 

To purchase a limited edition issue of 

the publication, or to submit a single 

body of work, go to: 

aintbadmagazine.com 

Keep up to date with A’int Bad: 

aintbadmagazine.tumblr.com 

@aintbadmagazine 

facebook.com/aintbad

PEOPLE 

DJ 

MEGABAT 

PDK Sounds 


PHOTOGRAPHED BY KB ANSARI 

Previously, these artists were regarded merely as studio 

technicians, yielding the spotlight to nameless singers and 

unsung stars. With the innovations in computer-generated 

music, these sound sculptors have come to the forefront 

as stars in their own right. We can see them now exhibiting 

their acoustic genius at runway shows, red carpet events, and 

prevailing music festivals such as Coachella. 

DJs like Tiesto, Nervo, Tritonal and Kaskade are able to utilize 

synthetic music to not only produce a fresh sound, but also 

design an atmosphere. 

Emerging DJs are the producers of our future scenes. 

DJ MegaBat, of PDK Sounds, does more than just scratch a 

record; his messages and moments of inspiration, are conveyed 

to listeners through sound as a vehicle, and a medium. 

Born in Ho Chi Minh City, Vietnam, Phong Dang was raised in 

Savannah, GA where his father’s music and the creative scene 

of the city surrounded him. Following his passion for the pulse 

in music, he studies Sound Design at Savannah College of Art 

and Design. Establishing himself as DJ MegaBat Phong has left 

a melodic footprint on his hometown by featuring his mixes 

within local runway events such as, Savannah Fashion Week, 

Fashion Night Out, and the year-end SCAD Fashion Show. 

This year, MegaBat will be featured as the 

headlining DJ for the Savannah Fashion Week 

Fashion show. His talent is destined for boundless 

acclaim, however. He has since been assisting DJs 

at New York Fashion Week shows for Altuzarra, 

J. Mendel, Prabal Gurung, Helmut Lang, Richard 

Chai, 3.1 Phillip Lim, Wes Gordon, Patrik Ervell, 

Marchesa, and Oscar de la Renta. He has even 

crossed borders into Milan Fashion Week working 

as an assistant DJ at the Bluemarine show. 

MegaBat bears a unique and humble perspective 

on the art of sound and through his mixes provides 

a musical translation for his audience, whether 

metropolitan chic or charmingly southern. 

A Q&A interview with DJ MegaBat continues on 

pg. 50. 

193 

T SHIRT BY ZARA 

HEADPHONES BY SENHEISER

How would you describe the music that you create? 

I describe my mixes as the vehicle used to get a message 

across, whether mine, or someone else’s. When I mix, I usually 

have a message or inspiration at hand. Often times when 

collaborating with designers and stores, they provide me 

with the inspiration or message underlying their collection. 

In return, I provide them with my interpretation of what 

their collection should sound like. I consider references 

in art, trends, pop culture, world culture, psychology, and 

various genres of music. This music consist of electronic, 

pop, dance, Bossa Nova, and even orchestra when mixing. 

The common threads between my mixes are that they are 

clean; they are chic, but always with an edge. 

How did you develop an interest in this type of music, and 

music in general? 

My dad is a very musical person so I think I get my musical 

ears from him. He sings and is a proponent musical organizer 

in the Vietnamese community in Savannah to this day. As 

for picking up pop music, I think everyone has an affinity to 

anything with a good beat and lyrics, no matter how much 

they don’t want to admit it to the world. I have learned how 

to ration just the amount to catch your attention without 

getting boring. I mix this element with other genres like 

experimental or ambience to create an over all feeling rather 

than just a remix. 

What excites you most about music, the industry, and your 

own work? 

Sounds can be applied to anything and anywhere. I find it 

to be the most malleable substance in the world. And that 

excites me. When I can change your mood with something 

that I made. That excites me. 

Describe your artistic process and where do you get your 

inspiration from? 

I find my inspiration through art, fashion, movies, archives of 

sound artists, the Internet, and my friends. 

What other artists do you listen to and get inspired from? 

I really like the work of Alen Splet, who is known for his 

work in the genre Musique concrète. A prime example of his 

work and one of my favorites, is from the movie Eraserhead 

directed by David Lynch. The sounds of warping metal 

and stretched out tape recordings created this weird other 

worldly vibe that I really dig. It has always amazed me that 

he was able to make me feel like that though sound. 

What other genres of music do you listen to? 

I listen to everything. I find nuances in all genres of music. 

Even if it’s the worst thing I’ll find something interesting 

about it and continue listening on. That’s not to say that I 

like everything I hear of course. 

What are your favorite events / projects that you have 

worked on thus far and why? 

My favorite event that I have worked thus far would have 

to be Phillip Lim’s s/s 14 show. The set and concept was 

amazing and Phillip is such a great person. 

I understand that you have recently been chosen to be the 

headlining DJ for Savannah Fashion Week 2014, tell me a 

little about that, how did it all come about for you, and 

what you are looking forward to most about it? 

I know Heather Burge, the president of this year’s board, 

through a fashion competition event I do every year at 

Savannah Arts Academy called Junk2Funk, where she was a 

judge. She was a fan of my mixes and reached out to me to 

headline the 2014 show. I was really excited because I have 

always wanted to work with all of these different stores in 

Savannah and this would be my opportunity to reach out 

to them. So getting the chance to have a conversation with 

these designers and business owners who are making a 

name for themselves was exciting all onto itself for me. 

What has been the greatest experience you have had so far 

as an artist? 

I think going to New York and assisting the shows of all of 

these top brands has been the greatest experience. I got to 

learn so much about the industry as well as myself. 

What are you most excited about when it comes to your 

music and what might be in store for you in the future? 

The thing that I am the most excited about is showcasing 

my mixes. Playing shows and reaching new people really 

gets me going. In the future I would like to have exhibitions 

of my sound art pieces. 

Have you had experience with the more traditional forms of 

music and instruments? 

I played the flute in my middle school band. I learned how 

to play drums for a while and dabbled in piano. All of which 

were experimentations and nothing really solidify. 

Where do you think music is going? Do you foresee a 

complete shift from the traditional styles of music to more 

synthetic and electronic sounds? 

As for sounds getting more “synthetic”, that’s a loaded 

question because I think as computer DAW’s (Digital Audio 

194 

Workstations) get more sophisticated the sounds getting 

produce will mirror real instruments, some already do. 

However, there will always be a purest side to music, which 

will heavily oppose electronically created instruments, and 

they won’t go down without a fight. It’s hard to say though. 

What do you think about this direction music and sound is 

going in? 

I think music is going to shift to more eastern sounding 

melodies. I hear a taste of it on the radio now a days and I 

think, as Asia become more prominent in pop culture music 

will definitely be affected. 

What would you like to see happen to the industry of music 

and sound? 

I would love to see things get more experimental and for 

sound art pieces to play on the radio. I think that’ll be so 

cool, driving down the street listening to a John Cage piece 

on the radio and living in a fantasy land for a moment. 

DROPPING THE BEAT: 

I would just like to say, be nice to people because you don’t 

know what they’re going through right now and you might 

just change their life. Learn how to not over think things 

and to just let live sometimes. Don’t let other people take 

advantage of you and always give thanks. 

FACEBOOK.COM/PDKSOUNDS

FLAUNT Magazine

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