i-D Magazine

insi-De the speak up issue
Cultural issues juxtaposed against current trends
Features + Fashion
MOTHER EARTH A message from our mother
CAN YOU DIG IT? Get cozy at home with Tenielle and
Jordan
BABY GOT BACKHAND Love means nothing in tennis
BAD TRIP DON’T TRIP! only good vibes here
CONGLOMERATE a look at progressive artist, weston
doty’s work
OFF WITH MY HEAD the story of insanity
DESIGNER TO WATCH Anna Gusselnikova
TALKING TRASH G-Star collaborates with powerhouse
jack-of-all-trades, Pharrell Williams
GREY MATTER Adam Models’ fresh face, Ryan James
Smith, shows us how to be 50 shades of cool
MAMA MIA, ZIA! The elegance of jewelry designs by Zia
are showcased through monochromatic stylings
TALKING MIRRORS follow a ballerina through the looking
glass
DONT MENTION THE GARMENT WORKERS protests for garment
workers rights
13 BRICKS Sit down and get personal as business owner
Vann paves a new outlook on the fashion industry
CONTRIBUTORS GETTING LOUD Q&a with models & designers
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editor-in-chief brynn mckinstry
creative director taylor ruparel
fashion director elizabeth rose
fashion editor brooke benson
production manager brynn mckinstry…
producer elizabeth rose
advertising director taylor ruparel
features editor brooke benson
contributors
mallory prevatt
tenielle adderley
jordan rich
grayson davis
sawyer greenberg
jessica daly
nathan hoyle
chandler ellis
zia sachedina
maiya-simone plather
weston doty
anna gusselnikova
angel muktan
devin osorio
ryan james smith
tianyi wang
malaka sams
matthew slade
vann-ellison seales
13 bricks
markie stroud
lydia holman
kendall jackson
allison renee
savannah hughes
ashton neibel
kharlybia roane
ethan guice
eden cintron
rachel scaffe
blair wagner
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BROOKE BENSON is currently
a senior at Savannah College of
Art & Design and will be graduating
with a Fashion Design BFA
this May 2015. She has already
accepted a Fashion Design position
in Macy’s Executive Development
Program in the New York
beginning in June 2015. Brooke
is passionate about sewing and
womenswear design, as well as studying market and
consumer trends within the industry. Her aesthetic
is classic with feminine elements. She is currently
producing her senior collection, which mixes
elements inspired by traditional men’s wear and
more feminine elements such as a dreamy hand-dyed
print on both organza and silk taffeta.
BRYNN MCKINSTRY is an aspiring
fashion director and
editor currently studying at
the Savannah College of Art and
Design. During this time she
interned with Stylist, Tammara
Kohler, where she realized her
love of the industry behind the
scenes, cementing her career
path. From her upbringing down
in the peninsula state of Florida
to her current residence in Savannah, Georgia
her aesthetic merges contemporary ideals with
those of antiquity. Her inspiration is drawn
from her father through engineering ingenuity,
architectural influences, and structural soundness.
ELIZABETH ROSE has defined her wardrobe a
personal archive from the day
her closet kicked out her shoes,
concluding to shoe decorations
embroidering her room. Evolving
into an aware soul, arguing
to learn, teach, and act on
what she believes in. Paired
with a Fashion Marketing education,
transforms this innovative
thinker into the most fashionable
activist in the industry.
For TAYLOR RUPAREL, fashion is a collaboration;
a mix of viewpoints, expertise
and textures to create
a final result. With collaboration,
the final outcome has
the ability to reach a higher
potential when removed from the
parameters set by tunnel vision.
Having being raised in Colorado
and attended college in the
costal Deep South, Taylor’s aesthetic
blurs the lines between
east and west while interpreting cultural zeitgeists.

get loud!
The world we live in today is wrought with controversy and drastic changes due to our
ever-evolving lifestyle. The Internet and social media have had a revolutionary impact on
the way we interact, socialize, and even think about the world around us. Even though
this technologically induced society we live in is thriving with a plethora of knowledge,
society has become even more self-centered. The Speak Up Issue of i-D strives to bring
awareness to social, ethical, political, and caring causes. We strive to gain knowledge
about the world around us, form opinions, and share these global issues with others.
The first step to making a difference is being aware of the issue at hand. Within this issue
we welcome a hand-picked selection of talented contributors who we believe will
shape the future of fashion in a positive manner, and do so with a passionate presence
in the community. Local print shop 13 Bricks emerged out of a necessity to achieve
positive social change, promote environmental awareness and provide a sustainable
alternative to traditional clothing companies. While menswear designer Anna Gusselnikova
stays aware of current issues from back in her homeland of Kazakhstan. We
also discuss the negative side of “rave culture” so prominent amongst Generation Y.
Love,
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Just like anyone does, I’ve been yearning for my childhood.
The Lost Gardens of Heligan
mother earth
a narrative story
TEXT Eden Renata Cintron
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Back when I was still learning about my tides and
depths and how tall I could grow. At the very beginning
of it all, my father, The Universe (who goes by many
names), placed me just close enough to my brother, Sol,
who you all call The Sun, to make sure I stayed warm.
He placed me near my sister, Luna, who you all call The
Moon, so that she could help me control my tides. It
took us ages to get everything right, but after a while
we figured it out.
Then, things started to grow on me. It took me a while
to realize that they weren’t just growing on me, the were
growing from me; we were connected. Before I knew
it, these things were starting to have an effect on me.
Sure, they were using parts of me, my water and my
fruits. But they were also my children, so it didn’t bother
me to give parts of myself to them. I was their nourishment
and they were my babies. We lived in harmony.
My air was clean and so were my oceans. My grounds
were being trampled and eroded, but I was growing
and changing and learning to live with the differences.
My babies started getting bigger and bigger. People
call my babies Dinosaurs, but its been so long since I’ve
seen them. I can’t feel their essence on me anymore.
After they started dying, other creatures started to take
their place.
Birds, reptiles, mammals, and eventually even humans.
Just like the Dinosaurs, these new inhabitants used me
as well. During these times, we were all living in harmony.
Everyone would take from me, but they would
also give back to me. They planted crops, they returned
their dead to my lands and from them, more grew. If
they chopped down my trees, they would only take a
few and leave me with plenty more to help me breathe.
Things were a little uncomfortable, but I didn’t want my
new babies to be without all they needed to survive.
Before I knew it, times started to change again.
More and more humans were growing out of me and
out of their mothers and things began to get kind of
crowded. People from all parts of me were meeting, but
they weren’t getting along. Thousands upon thousands
of my babies were dying and there was nothing I could
do about it. Humans were killing my babies who had no
weapons to defend themselves. My cows and buffalos
were being slaughtered. My fish were being gathered
by the pound. My babies were killing each other and no
one could hear me begging them to stop. I cried and
cried. For days, my tears covered my land and even my
seas. When no one paid attention to my tears, I started
to shudder. Parts of my land cracked and fell into my
oceans.
Things were changing again; I was changing again. My
land split into many pieces, I couldn’t get them all back.
I got used to myself being spread apart but I wasn’t
dealing with it well. Not only had I split myself, I had
also split up my babies. I became cold, extremely cold
and it took a long, long while until I warmed up again.
But then, I started to get extremely hot. All the changes
were starting to take their toll on me, but I had to
stay strong for my children. The weaker I became, the
stronger my children became. More and more changes,
fewer trees for me to breathe, fewer fish in my seas,
fewer animals on my lands, more and more humans
everywhere. More crying, more cracking. More change.
Now things are out of control. There are more humans
than I ever thought there could be. There are fewer
trees than I could imagine and it feels like I’m suffocating.
My sister looks on us from afar, and feels so bad for
us that she hides herself. Sometimes, no one can see
her. My brother hates what my children have done to
me. He lets out his aggressions by making things so hot
and unbearable, he doesn’t realize that not only does
that hurt my children it also hurts me. I can’t stand the
heat. All parts of me are getting warmer and warmer
and even when I try, I can’t cool down.
My oceans are almost bare. Where there were once crevasses
and under water valleys teaming with life, there
are now pieces of plastic, a material my human children
created. There are pieces of aluminum. There are too
many things to deal with and I pray to my father all the
time that he will make them all go away.
I fear what will happen if he doesn’t answer my prayers.
The last time I lost control, I broke myself into pieces.
I’ve cried over and over, flooding myself. I’ve screamed
and shook, cracking more and more pieces of myself.
I’ve whistled tornadoes into existence. I made huge
waves that obliterated parts of my land. It doesn’t matter
what I do, no one listens and no one helps. They just
keep taking me away, piece by piece. My babies, my
trees, my land. It doesn’t matter what I do, it’s never as
bad as what is done to me.
My father told me long ago that if I ever feel like I’ve
lost all control, I could always flood everything and start
all over. Starting over sounds far easier than trying to
gain back my respect and dignity from my children. I
am a gracious mother, giving all that I have away for
their sake but, as of late, it has gone unappreciated. A
flood does sound like it would cool me off. I just worry
how I will feel after I’ve made my decision. Will I miss
my children? Will things grow on me the way they once
did? Will my first babies come back to treat me well like
they once did? Will my children thrive through the flood
as they have in the past? What I really wonder is, will I
survive long enough to see my own wrath or will I wilt
away before I ever get the chance to show everyone
how righteous and powerful I truly am?
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CAN
YOU
JORDAN RICH and TENIELLE ADDERLEY
shot by MALLORY PREVATT
DIG
IT ?
Styled by Brooke Benson Brynn McKinstry
Elizabeth Rose & Taylor Ruparel
Hair & Makeup by Mallory Prevatt
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Jordan waers Baiting suit Micheal Kors, Watch Marc by Marc Jacobs, Shorts Stylist’s own, Sunglasses Model’s own
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Jordan wears Vest Ralph Lauren, Pants Tommy Hilfiger, Shoe’s and Sunglasses Stylist’s own
Tenielle wears Pants Miizono, Shirt, Sunglasses, Earings Stylist’s own
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Tenielle wears Shorts Banana Republic, Shirt Foxcroft, all jewelry Stylist’s own
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aby
got
back
hand
PHOTOGRAPHY MATT SLADE STYLING ELIZABETH ROSE
Creative Director Taylor Ruparel Producer Brynn McKinstry Hair/Makeup Allison Renee Model Tianyi Wang
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Tianyi wears sports bra from Under Armour, pants from The Future and stylist’s own shoes
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Tianyi wears top and shorts from The Future and shoes from Aldo
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Tianyi wears sportsbra and shorts by Under Armour with Adidas socks, stylist’s own skirt and shoes

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Tianyi wears a Champion sportsbra with Hugo
Boss underwear, stylist’s shorts and Jeffrey
Campbell shoes
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i-D trend
grids & gradients
DIGITAL PRINTING lends precision to grids and ombre effects, which are then composed
in planes that play with perspective. Hand-painted detail, brush strokes
and airbrushed graduated tones lend a more textured, spontaneous direction to
the trend. Crisp geometric forms are overlaid to reveal unusual overlaps of
semi-translucent color and form.
TEXT BRYNN MCKINSTRY
Israeli fashion designer Noa Raviv has integrated
3D-printed elements into ruffled garments influenced
by distorted digital drawings. Noa Raviv printed and
stitched lines and grids onto fabrics to evoke images
of corrupted 3D drawings made using computer modelling
software. “While working on a 3D software I was
fascinated by the grid shown on the 2D screen and by
the way black repetitive lines defines voluminous objects,”
Raviv says. Tulle and silk organza fabrics in black,
white and sheer tones are layered, ruffled and pleated
into voluminous shapes. These embellishments snake
over the shoulders and cover the chests of the dresses.
“I chose the materials that had the most innovative look and the ones that I thought would best fit,” Raviv explained.
Grid-like patterns are warped and stretched across parts of the garments to create optical illusions across the body.
Two 3D-printed pieces, formed from ribbed layers of polymer, were created on a Stratasys Objet Connex multi-material
machine. Raviv used the shapes of broken Greek and Roman marble sculptures to inform the asymmetric silhouettes.
The silhouettes were influenced by classical sculptures, which were the point of departure for creating the
collection. This creates a juxtaposition between the technological grid and classic silhouettes.
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FRANCIS BITONTI, who designed the 3D printed dress for Dita Von Teese, has
3D-printed a capsule collection of pixellated footwear.
TEXT BRYNN MCKINSTRY
Each platform shoe has a slightly different
form. To create the shoes, Bitonti used a
mathematical model that generates cellular
structures called Game of Life, devised
by British mathematician John Conway.
“The shoes are all procedurally generated,”
Bitonti told Dezeen. “Conway’s Game
of Life is used as a foundation for our
algorithm. This is what lets us get so many
different configurations and is what we
used to ‘grow’ our collection.” The shoes
were designed using software developed
with digital technology company Adobe,
which generates variations from the algorithm.
Once the form is created, the shoes
are built pixel by pixel
on a Stratasys 3D printer that gradually
blends different colours of filament as the
pieces are built up in layers. The soles are
a dark purple, moving up through blue
and green tones to yellow and orange
at the top. Each of the women’s shoes
features a wedge heel and an upper that
hugs the top of the foot, leaving an open
toe. The pixellated formation of the stalactite-like
footwear differs from pair to pair –
one set features a separate sole and heels,
while the bottom and top of the heel are
disconnected at the back of another pair.
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The ELECTRIC DAISY CARNIVAL attracted more than 130,000 people to dance in the
desert while watching their favorite EDM DJs lay some sick beats. These large
events have reached a level of iconography due to the celebrities that attend
and the fashion trends that are inspired by the festival go-ers. However, large
music festivals dedicated to electronic music are not a new concept.
TEXT TAYLOR RUPAREL
In the 1950s, a rave was described as a wild
bohemian party. The word “rave” was then commonly
used in reference to the 1960’s garage
rock and psychedelic bands. With a rapid shift
away from mod era into the hippie era of the
70’s, the word rave fell out of relevance; that is
until the late 80’s a new waves of electric music,
acid house and techno began to flourish in Manchester,
England. With the recent end of the U.K’s
textile industry in the north, large mills and warehouses
were left vacant begging for the counter
culture to find some use for them. Parties in the
abandoned lots were advertised as all night video
shoots; people would buy tickets for £5. On
each ticket was taped 1p (penny), the party goers
acting fee for the “video shoot”. By doing so,
forces of the law did not affect the parties. House
music began to gain popularity, so much so that
it invaded London where Acid Music Parties took
shape in public arenas. The parties attracted up
to 25,000 people per party. With such a large
attendance, local authorities started fining for unauthorized
parties, ultimately forcing rave back to
take place in the countryside. The term rave was
once again relevant, being used to describe the
subculture surrounding the Acid Music Parties.
American DJs traveled to the U.K and Europe to
play at the parties, which lead to them returning
to America and facilitating their own parties or
raves. D.J Frankie Bones is credited to creating
one of the first raves in the U.S called “Storm
Rave”, which traveled state to state. After this,
numerous smaller promotional groups started to
form they’re own raves including Caffeine and
Ultra Music Festival. Once rave culture reached
the West Coast, parties such as OPIUM and NAR-
NIA reached 60,000 people in size. These raves
were named “The Woodstock of Generation X”.
The classic rave fairy girl motif came into existence
based off of the first promotional poster
for NARNIA, which featured fairy imagery. West
Coast raves took place on Indian reservations or
ski resorts during the summer, maintaining the
British tradition of hiding the events away from
the public. Many raves in the U.S were completely
legal and had the approval from local authorities.
Agreements were set in place that allowed
for the
raves to continue through out the morning until
6am as long as no alcohol was served. The no
alcohol rule, in turn, promoted the use of ecstasy.
Raves were now known as drug supermarkets and
received negative press attention due to the hospitalizations
caused by drug over doses as well
as from deaths. The American population stop
caring about techno, house music and started
listening to nu-rock groups such as The Strokes
and The White Stripes. Some American DJs even
moved to Europe where there was a larger market
for Dance music
Today, almost 25 years after raves first hit America,
rave culture has once again manifested itself
within Generation Y. It was critical for party promoters
to shed the notion of drugged up kids
dancing to electric music. In order to do so, they
abandoned the word “rave” and replaced it with
“Music Festival.” Techno music is now known as
EDM (electric dance music). Part of the rebranding
intuitive was to pull raves out of remote
locations and place them in highly public areas.
Electric Daisy Carnival, one of the U.S’s largest
EDM music festivals, takes place at Las Vegas’s
motor racetrack attracting over 130,000 people.
With such high attendance at festivals, safety can
be a major concern. However many situations
can be avoided by being smart. Attending music
festivals with a group of people you trust is very
important. Set up a home base or meet up point
incase you loose someone or the group breaks
up. Make sure to keep your phone charged and
have a backup battery just incase. If you are you
to participate in drug use, make sure you know
what your taking and how it will affect you. It
is also suggested to bring a drug testing kit in
order to test your d.o.c. Never leave your drink
unattended. With over 130,000 people around
you, never assume that it won’t happen to you,
whatever it may be. Listen to your instinct.
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ad trip
PHOTOGRAPHY GRAYSON DAVIS
STYLING BRYNN MCKINSTRY
Creative Director Brooke Benson
Hair Elizabeth Rose
Make-up Brooke Benson
Talent Sawyer Greenberg & Jessica Daly
Sawyer wears handmade crocheted halter top by Nathan Hoyle
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Sawyer wears handmade crocheted halter top by Nathan Hoyle and stylist’s own shorts
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Jessica wears crocheted top by Nathan Hoyle and an American Apparel skirt
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Sawyer and Jessica are wearing Free People crocheted tops and stylist’s shoes
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Sawyer wears a beanie from Civvies and stylist’s mask
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i-D Artist To Watch
conglomerate
photographer weston doty/styling weston doty
WESTON DOTY IS A 21-YEAR-OLD GRAPHIC DESIGN AND PHOTOGRAPHY STUDENT AT THE
SAVANNAH COLLEGE OF ART AND DESIGN FROM SANTA MONICA, CALIFORNIA. HE’S INTER-
ESTED IN COMBINING, PHOTOGRAPHY, DRAWING, PAINTING, AND MUCH MORE IN HIS WORK.
He is influenced through a balanced mixture
of many ideas and concepts, and explains how
he is always evolving the more he learns, explores,
and experiments. A major inspiration for
Weston comes from ideas behind the supremacist
movement: how art is a pure expression
of feeling. Nevertheless always giving a minimalism
aspect. Constantly impressed by someone’s
ability to capture simplicity in such a busy
world. Finding himself reducing as much clutter
on the page as possible to create visually compelling
imagery. This way of working gives him
a therapeutic energy, which makes him feel in
control and consistency with his work. He creates
a strong reaction from music, art, and color.
The collection that we are showing is called
Conglomerate, which was an exploration in
color combinations and distorting imagery. Exploring
different shapes and colors inspired by
80’s and 90’s fashion and design. He captures
a sort of iconic imagery while subtracting from
them and blending them with color in order
to form these arrangements of deconstructed
models, clothes, and pure hues.
TEXT ELIZABETH ROSE
As far as his dream job goes, he aspires to work
in art direction, being able to utilize both his
design and photography skills. Surrounded by a
work field that’s artistic yet practical.
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off with my head
PHOTOGRAPHY ETHAN GUICE STYLING ELIZABETH ROSE
Make-up and hair Malaka Sams
Photography assistance Phoebe Beachner
Styling assistance Brynn McKinstry
Model Kharlybia Roane
Collar by Savannah Hughes
Choker Stylist’s own
Necklace by Devin Orosio
Bracelet and Shirt Stylist’s own
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off with my head
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All Jewelry by Ashton Neibel
Dress Stylist’s own
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Necklace Ashton Neibel
Skirt and Bracelet Stylist’s own
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Necklace and head piece by Devin Orosio
Bracelet Verameat
Vintage Kimono
Belt and Underwear Stylist’s own
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Necklace by Devin Orsoio
Slip Stylist’s own
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Dress by Morgan Marzulli
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i-D Up & Coming Designer
ANNA GUSSELNIKOVA,21
FASHION DESIGNER
BORN IN KAZAKHSTAN
What issue(s) in the world do you pay attention to?
I like to stay informed on anything that is going on in
the world. Right now, my main focus is on the political
situation in Ukraine and Russia because it is part
of my culture.
What do you do to help the issue(s) you are passionate
about?
I try to volunteer as much as possible when time permits.
If I can’t I try to stay as informed as I can. Understanding
the issues is a first step to solving them.
How do you stay socially aware?
Besides the usual media outlets we have to inform us,
I like to travel and talk to the people who have been
exposed to certain social situations and issues that
are going on today.
How do you make the world a better place?
I try to stay as open minded as I can. Kindness and
understanding go a long way.
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g-star raw for the oceans
TEXT BRYNN MCKINSTRY
On September 1st, 2014 denim pioneer since
1989 G-Star launched its eco initiative RAW for
the Oceans, a collaborative project, with Bionic
Yarn, which takes plastic from the world’s oceans
and transforms it into innovative denim and apparel.
The story of our world is both natural and manmade
– and as we come to terms with the effect
we’re having on our planet, we are taking a more
active role in finding solutions. The depletion of
natural resources is becoming evident, and these
problems are bringing about changes on a planetary
scale. Isolating ourselves from the industrial
world and bringing us closer to the physicality
of our natural environment is vital to Earth’s
longevity. The global community is gathering to
help avoid the loss of Earth as we know it. As our
survival instincts kick in we explore alternative
design solutions to basic needs. We take a more
active role in preserving natural resources, raw
materials and the Earth itself, and actively create
solutions that rely on a less destructive relationship
between mankind and nature. Sustainability
is both the greatest marketing opportunity of
our time and the biggest design challenge of
our time because it will require the efforts of the
entire supply chain to work in conjunction.
Pharrell Williams, who serves as creative director
of Bionic Yarn, said, “Working with G-Star was
an obvious choice because they have a legacy
of pushing the boundaries of fashion and denim
forward. Bionic Yarn is a company built around
performance, and denim is the perfect category
to show the world what Bionic Yarn can do. Everyone
has jeans in their closet.” Together they
have created the world’s first high performance
bionic eco-yarn, which can provide the answer
to the 700 million tons of plastic ocean pollution.
The RAW for the Oceans collection is the
forefront of sustainable fashion. Environmental
organizations such as the Sea Shepard Conservation
Society USA and Plastic Pollution Coalition,
amongst others, have highlighted the seriousness
of plastic in our oceans. The issue of ocean plastic
grows – each year alone, three times as much
rubbish is dumped into the ocean as the weight
of fish caught – so does the need for a solution.
According to Sea Shepherd Conservation Society
our oceans alone contain six times more plastic
than sea life.
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G-Star has joined forces with its partners, using
groundbreaking technology to not only retrieve
plastic from the oceans, but also transform it into a
new generation of denim. To accompany the online
release, the Dutch denim giant showcased the collection
through a digital campaign of quirky gifs and
illustrations. The price point for these recycled denim
pieces range from about $200-$300.
RAW for the Oceans is a long-term creative exploration,
where Bionic Yarn and G-Star RAW have joined
forces to innovate denim while making a serious impact
on the plastic pollution in our oceans. If one of
the key roles of our industry is to beautify the world,
we have no greater responsibility than to do so ethically
and sustainably. With corporate sustainability a
constantly evolving issue it can be difficult to know
where the next pressure point will emerge, but one
thing that’s clear is that the depth of supply chain
knowledge required is getting deeper. Manufacturers
should know that retailers will want more information
from further down the supply chain and brands are
realizing that just going to that top tier garment manufacturer
is not enough. Ultimately it’s up to brands
to position sustainable products in a way that makes
consumers want to buy them.
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grey matter
RYAN JAMES SMITH BY WESTON DOTY
Hair Elizabeth Rose Stylist Brynn McKinstry Styling Assistant Taylor Ruparel Hair Assistant Brooke Benson
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Dress by Angel Muktan
Shoes model’s own
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Top and shorts by Angel Muktan
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Hoodie by Anna Gusselnikova
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Shirt by Anna Gusselnikova
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Pants by Angel Muktan
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Shirt by Angel Muktan
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Pants by Anna Gusselnikova
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Pants by Devin Osorio
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Stylist’s own blazer. BDG Jeans. Necklace by Zia.
PHOTOGRAPHY GRAYSON DAVIS
MODEL MAIYA-SIMONE PLATHER
STYLING BROOKE BENSON
Creative Director Brynn Mckinstry
Hair/Make up Malaka Sams
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B: What made you decide to establish Zia
in Savannah rather than another city?
Z: I realized that there was a niche in the market
place that needed to be filled. I saw an opportunity.
No other store in Savannah offers a product selection
close to what we offer at Zia. After I graduated
from SCAD I actually moved to New York for two
years to find business opportunities. I later came
back to visit Savannah and realized that there was a
strong business opportunity here in Savannah.
B: What inspires your jewelry designs?
Z: I am very inspired by nature. You can see the
theme throughout multiple collections in the store,
particuarly the “Sticks & Stones” collection. It’s very
abstracted, but there are pieces inspired by waterfalls,
sticks, stones, leaves, etc.
B: How would you describe your aesthetic?
Z: Global chic. I like to describe my pieces as ‘global
inspired, western designed.’
mama mia, zia!
TEXT/INTERVIEW BROOKE BENSON
ZIA SACHEDINA is charming, attractive and
talented...what more could one ask for? He has
amazing taste and business savvy as the owner of
Zia Boutique in Savannah, GA. Walking into Zia Boutique
is always a lovely experience. The vast array
of gorgeous jewelry designed by both Zia himself
and an array of other talented designers will keep
you looking for far longer than you originally intended.
The staff is always charismatic and helpful when
looking for something in particular. We sat down
with Zia to ask him a few questions about himself
and his thriving business.
B: Where are you from originally?
Z: Kenya
B: How did you end up in Savannah?
Z: SCAD came to my high-school to recruit international
students, so that’s how I first heard of the
school. I came to Savannah soon after, fell in love
and decided to study jewelry design at SCAD.
B: How long have you owned your boutique?
Z: Since 2005, so 9 years. I opened the store when I
was 24 years old.
B: Where do you source materials for your
designs?
Z: Kenya, Brazil, India... I typically travel to source
unique materials that you won’t see in other stores.
We use a lot of coconut shells and bamboo in making
the pieces.
B: What is your current favorite piece in
the store?
Z: This multi-strand sapphire statement necklace
with a jaguar head clasp. The jaguar head is made of
sterling silver with white topaz stones and emerald
eyes. It’s quite unique. (Retails for $795)
B: What is your favorite thing to do here
in Savannah?
Z: I live downtown, so I enjoy walking the beautiful
parks with my two miniature dachshunds. ‘Rails
& Trails’ is also a great way to spend the day. It’s a
beautiful miles long bike trail close to Tybee Island.
B: Any political or social issues that you
feel passionate about?
Z: Absolutely. Save the elephants all the way! I am
passionate about preserving African wildlife as well
as working with other animal-driven charities. The
Daphene Wildlife Foundation, ASPCA and Savannah
Humane Society are all charities that we work with.
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Stylist’s own top and pants.
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Stylist’s own dress. Necklace by Zia.
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Stylist’s own top and shorts.

Stylist’s own top and shorts.
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talking mirrors
TEXT BROOKE BENSON
Standing before a wall of mirrors, I gaze at myself
objectively. My body is simply a collection of lines,
a form in which I reside. There is no criticism, disapproval
or condemnation. Looking through my nineyear-old
eyes, I see only a child. Judgement does
not yet blur my vision, does not play cruel tricks on
my eyes.
By the age of nine I had been dancing at Miller
Marley for nearly five years. My instructors were
adults I looked up to as models of poise and control.
Peering through the glass windows of Studio
One, I imagined how one day I might be one of
those graceful angels, performing a balancing act
on wooden shoes.
5:30pm. The tights, the leotard, the bag...
the hair! Don’t forget the hair.
6:00pm. File in...on with the shoes. “Pile, releve,
lower...” a recorded voice would drone. The teacher
came around and inspected our posture, our form,
our point...and our bodies.
“Pull that stomach in! Concentrate. Stop think about
that McDonalds you had for dinner,” was Ms. Joan’s
normal greeting. She was the first woman who ever
taught me I had any reason to be dissatisfied with
my body.
A stiff, severe woman, Ms. Joan had all the warmth
of a mannequin. With never a flaw in sight, she mesmerized
me in a strange way. Her perfect blonde
hair was most certainly a wig and I often got the
inkling that she was not in fact human, but perhaps
a robot sent to discern the human race, searching
for those who reached her expectations.
“There is a certain ‘dancer’ body type you must
have if you want to succeed. Ballerinas are thin. The
only way for you not to be fat is to stop eating all
that junk you guys love,” she would preach, slipping
shaming looks to any girl who had matured a bit
faster than others, who had any trace of hips. She
would conclude, “If you want to be thin, then no
more candy bars for you.” Her words would echo in
my mind...
A couple of years ago, I ran into my old dance
teacher. I had been struggling with anorexia for
about a year at the time and needed desperately to
gain weight. When Ms. Joan saw me, she practically
gasped with delight. “Oh Brooke! You look fan-
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DANNY ROBERTS
tastic. So tall and thin!” Mustering a meek smile, I
mumbled something incomprehensible and walked
away, my head spinning.
There I was, receiving acceptance from Ms. Joan
that I had always sought but never obtained as a
child. I was finally good enough for her, had finally
cracked the code to her perception of “beauty.” So
how did it feel? Joyous, bursting, as though I had
finally won a great battle? This would have been
foolish of me, seeing as how the battle had only
begun. I must admit I felt a certain satisfaction in
winning Ms. Joan’s approval, but I now realize that
her perception was just as distorted as mine had
been. I went on to struggle with my eating disorder
for many years, and even now I fight everyday to
keep myself happy, healthy and strong. My amazing
family, especially my mother, has helped me do this.
It has not been an easy journey, but it has made me
so much stronger for having had the experience
Despondency overwhelms me when I think of the
countless girls who have been through Ms. Joan’s
classes, all receiving the same negative message.
They have grown up thinking that all of this was
normal, with an innate belief that they will never be
good enough...and nothing was ever done about it.
Today, being well on my way in the process of
recovery, I see that having gone through my eating
disorder has ultimately given me a much healthier
body image than most people will ever experience.
Hopefully, drawing from my own experiences, I can
help everyone in my life (the girls, boys, women
and men) to establish a healthy body image. But I
can only hope that all the other children who went
through Ms. Joan’s class, many of them now adults,
will have someone to love and support them as well.
If I could be a healthy role model for just one person
struggling with negative or distorted body image,
my struggles will have not been in vain.
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don’t mention the
garment workers
London-Friday September 12, 2014 began with the dropping
of a vast banner reaching 30m on Waterloo Bridge, exposing,
“Don’t Mention The Garment Workers.” As www.waronwant.
com defined as,
‘Activists are highlighting an event which, they
say, promotes the creativity of the UK’s fashion
industry, but is silent over the millions of workers
who produce clothes for high street chains, often
working long hours on poverty pay in unsafe
conditions.’
While Chanel’s closing attempt at a protest highlighted
many issues in our culture right now (one of the
main being feminism and women’s rights), fashion has
had a long history with activism. Clothing has played
a huge role in movements like women’s liberation and
the anti-war efforts in the 60s and 70s, and continues
to be important to brands like Vivienne Westwood and
House of Riot. On the other hand, fashion has, until
the past decade, been an industry relatively free from
activist criticism. However, as this year’s London “Don’t
Mention the Garment Workers” protest proves, it has
been spotlighted as an industry full of corruption itself.
This season, we saw the adoption of fashion activism
commercially with Chanel’s end-of-show protest march.
Because Chanel seems to always predict and describe
the zeitgeist, we can expect a huge commercial explosion
of fashion activism. The trick here is to adopt activism
through other trends, such as logomania and prints,
and to tread lightly as merchants, because activism can
be a very polarizing issue. Customers, however, are
starting to expect a message from their clothing, whether
it is empowering, eco-friendly, political, or statement
making. Consumers today seek an emotional bond with
their clothing, rather than just an aesthetic one, and one
of the best ways to connect a customer to a product is
through shared ideas and statements.
So next time you want to take part in activism, ask yourself
if you’re going to wear it or act on it?
TEXT RACHEL SCAFFE
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Protesters gathered outside London Fashion
Week shows to bring garment manufacturing, the
often-forgotten and corrupt wing of the fashion
industry, into the spotlight.
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i-D FEATURED BUSINESS
about 13 bricks
13 Bricks Clothing Company, LLC, began as a plan
to unify the culture of Savannah, Georgia. A breeding
ground for young artists, Savannah offers a
plethora of talent that the company felt was underexposed
and lacked necessary publicity. Vann-Ellison
and Emily Quintero met in the winter of 2010
in the midst of their college experience; the two
were working on a collaborative project with their
colleagues, when they realized they shared a vision.
Emily, known for her appreciation of aesthetics revered
amongst peers for her personal style, presented
a prototype for apparel designs. Vann-Ellison,
having been born and raised Savannah, was frustrated
with the limited access to cultural exposure in the
city. They agreed to manifest their dream of establishing
Savannah’s top artistic platform.
TEXT BRYNN MCKINSTRY
PHOTOGRAPHY MALLORY PREVATT
MODELS MARKIE STROUD, KENDALL JACKSON
& LYDIA HOLMAN
STYLING BROOKE BENSON, BRYNN MCK-
INSTRY & TAYLOR RUPAREL
HAIR&MAKEUP MALLORY PREVATT
about vann-ellison seales
Vann-Ellison Seales was a precocious child
whose eagerness to learn and curiosity were
equally unquenchable. Vann was named after
his uncle, Franklyn Vincent Ellison Seales, a
blooming actor in the late 80s whose career
was cut short with his untimely death. Vann inherited
his eccentric mannerisms and personality
traits although his uncle died months before
his birth. Franklyn was known as a “total artist,”
or Renaissance man, displaying many aptitudes
for artistic crafts including but not limited to
performing arts, and painting. In similar ways
Vann innately had an unruly imagination and
appreciation for story telling and art-making.
Having been raised by a psychologist, Vann felt
he was different than most other kids his age.
Enthusiastic about games and puzzles, he fell
in love with patterns and couldn’t resist analyzing
and attempting to figure out life’s complexities.
Taken from 13bricksclothing.com
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T-Shirts provided by 13 Bricks
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BM: What would you say was the biggest influence
your parents had on you?
VS: My parents consistently encouraged me to pursue
art as a hobby and be expressive throughout my life. My
mother had a background in education and my father,
a psychologist, taught me to think critically and solve
problems. I’ve always had a fascination with puzzles and
games, which has been advantageous in envisioning 13
Bricks and its future.
BM: Whether its music, art, culture, or specific individuals
what inspires you to create?
VS: Surrounding myself with like-minded individuals
(free-thinkers) has gone a long way to inspire and push
me to overcome perceived limitations and venture
outside my personal comfort zone and into uncharted
territory. One of our primary objectives as a socially conscious
company is to change the way humanity perceives
the world. We
demonstrate this change by continuing to adapt to circumstances
and reinforcing a positive outlook along the
way. We propagate our identity, aesthetic and ideals and
the surrounding community resonates with it because
they see the sincerity behind what we’re doing. The
community fuels us to keep going, and offers us feedback.
Our team is
always trying new things as we continue to design our
lifestyle and define our culture. Through this lens, I view
my team members as courageous pioneers in the campaign
for social change.
BM: Being a Savannah local, what was the ultimate
factor in deciding you wanted to attend SCAD?
VS: I grew up thinking about it almost my entire life, it
was always in the back of my mind. It wasn’t until I attended
SCAD that I witnessed how few Savannah natives
actually attend the school, or pursue art as a profession.
I realized at some point that I had chosen the road less
traveled for better or worse.
BM: Graduating with a degree in sound design, how
exactly did you make your way into the business
after school?
VS: I picked up screen-printing as a hobby, I saw clothing
as a vehicle for the movement I sought to create. I was
friends with illustrators, screen-printers, graphic designers,
fashion students, photographers, film-makers-- as
a local I found an opportunity to connect the dots and
create a platform. I look at 13 Bricks as a multi-media
platform as opposed to just a screen-printing company. I
envision the company as a network that offers designers
the opportunity to employ each other’s crafts and showcase
one another’s skills in a professional setting.
BM: What turned you away from pursuing a career in
your area of expertise?
VS: I would mainly say I made a lifestyle choice. I chose
to invest energy in creating a community hub because I
felt the potential and the need for improving the place
I grew up in. I would say I’ve delayed my ambitions as a
sound designer versus given up on them.
BM: How exactly did the name 13 Bricks come
about?
VS: The choice in our name is an essential part of ourstrategy
to stimulate our audience subconscious, leaving
behind breadcrumbs for them to remember certain
truths. Since antiquity humanity has utilized sets of 12 to
order systems of measurement, time, astrology, mythology,
and more. 13 is the first number in the next set, in
this manner, 13 embodies change, or evolution. I believe
13 is a key to unlocking hidden mysteries concealed from
history and what we’ve been led to believe by educational
institutions. We are the bricks; we are the components
rebuilding a new world. The bricks are representative
of us creating our own reality and working together
to form structure.
BM: What was your strategy for building a team of
artists?
VS: There is a natural ebb and flow of members, some
peripheral and others more permanent, people either
stick around or they don’t. We find that everyone’s position
on the team has occurred naturally and continues to
develop in an organic way.
BM: What is the creative process for generating ideas
or designs for a new t-shirt design?
VS: Creative collaboration. Our process is fluid and constantly
evolving.
BM: Are you aware of where your materials/products
used during the production stage are sourced?
VS: American made organic cotton, sweatshop free and
locally printed. Organic cotton and bamboo are both
sustainable options, which we believe will become the
standard in the clothing industry.
BM: With the fashion industry shining light on sustainable
practices, do you see printing companies also
latching onto this trend?
VS: Absolutely. Ultimately, the decision is in the hands
of the consumer. Producers follow consumer spending
trends almost always.
BM: What do you think sets 13 Bricks apart from other
local print shops?
VS: We specialize in assisting artists achieve their goals
and ensure quality control with unparalleled customer
satisfaction when it comes to digital and screen printing.
We are willing to collaborate and work with clients that
want to experiment or try things new things. Rather than
telling customers “No, we can’t do that,” we offer creative
solutions for our customers.
BM: At the rate technology is at where do you foresee
the industry going?
VS: Hard to say, we don’t have a crystal ball, but we are
always willing to adapt to stay on top.
BM: What steps are you or do you plan to take to get
your business to the next level?
VS: Constant feedback and self-evaluation helps keep us
honest and maintains our integrity as leaders in Savannah’s
artistic community.
BM: Do you see 13 Bricks expanding in the foreseeable
future?
VS: Yes, our plans include fashion assembly and an
introduction of more garment types, accessories and
additional apparel. We are continuing to research large
format textile printing and embroidery.
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T-Shirts provided by 13 Bricks
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ANGEL MUKTAN
Fashion Designer
What do you do to help the issue(s) you are
passionate about? “Speaking in the context of
fashion I would like to see the craft not be based
on gender ; to not consider garments male or
female but instead be just clothes and yes I would
definitely want to empower the factory workers
in third world countries since I myself come from
one.”
SAWYER GREENBERG
Performing Arts & Model
What issue(s) in the world do you pay attention
to? “I would say every one I can. I really like to
stay up to date but also I pay attention to issues
that are affecting youth in any way. Also issues that
have to do with what I want to do so issues of body
image in the acting and modeling world etc.”
KHARLYBIA ROANE
Performing Arts & Model
How do make the world a better place? “I try to
make the world a better place by sharing a smile to
people. Doesn’t matter if I know them or not.”
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JESSICA DALY
Fashion Designer & Model
How do you stay socially aware? “I stay socially
aware mostly with social media. I have an app for
almost anything. I have apps for world news, celebrity
news, and of course my very own social news.
I look at each app at least once a day so I usually
know what is going on around me. If I don’t it makes
me feel lost and not updated so I’m always sure to
keep up!”
TIANYI WANG
Fashion Designer & Model
What issue(s) in the world do you pay attention
to? “I wasn’t interested in any of the news before,
but I make sure I pay attention to the news back
home in China. Because when you are so far away,
sometimes it feels like what happens in your own
country is none of your business, since it won’t affect
you directly, and I don’t like that. After I came
to the United States, I started to read Chinese
news more often. So when I go back home to China,
I don’t have the “Oh, wait, this is so different
when I left, I never knew it happened” moment.”
KENDALL JACKSON
Fashion Marketing & Management
How do you make the world a better place?
“To attempt to make the world a better place I just
try to always keep a positive attitude and outlook
towards everything in life and share that same positivity
with others.”
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