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 

14 i-D THE SPEAK UP ISSUE

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 

20 i-D THE SPEAK UP ISSUE 

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, 


i-D THE SPEAK UP ISSUE 29

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 


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? 



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 


Jordan waers Baiting suit Micheal Kors, Watch Marc by Marc Jacobs, Shorts Stylist’s own, Sunglasses Model’s own 


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 


Tenielle wears Shorts Banana Republic, Shirt Foxcroft, all jewelry Stylist’s own 



aby 

got 

back 

hand 

PHOTOGRAPHY MATT SLADE STYLING ELIZABETH ROSE 

Creative Director Taylor Ruparel Producer Brynn McKinstry Hair/Makeup Allison Renee Model Tianyi Wang 


i-D THE SPEAK UP ISSUE 43 



Tianyi wears sports bra from Under Armour, pants from The Future and stylist’s own shoes 


Tianyi wears top and shorts from The Future and shoes from Aldo 


i-D i-D THE THE SPEAK UP UP ISSUE 47 47


Tianyi wears sportsbra and shorts by Under Armour with Adidas socks, stylist’s own skirt and shoes


Tianyi wears a Champion sportsbra with Hugo 

Boss underwear, stylist’s shorts and Jeffrey 

Campbell shoes 


i-D THE S PEAK UP ISSUE 51


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. 



FRANCIS BITONTI, who designed the 3D printed dress for Dita Von Teese, has 

3D-printed a capsule collection of pixellated footwear. 


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. 


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. 


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 

i-D THE SPEAK UP UP ISSUE 63 63


Sawyer wears handmade crocheted halter top by Nathan Hoyle and stylist’s own shorts 

i-D i-D THE THE SPEAK UP UP ISSUE 65 65

Jessica wears crocheted top by Nathan Hoyle and an American Apparel skirt 


i-D i-D THE THE SPEAK SPEAK UP ISSUE UP ISSUE 67 67

Sawyer and Jessica are wearing Free People crocheted tops and stylist’s shoes 


i-D THE SPEAK UP ISSUE 69 



Sawyer wears a beanie from Civvies and stylist’s mask 

i-D THE i-D SPEAK THE SPEAK UP ISSUE UP ISSUE 71 71

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. 



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 


off with my head 



All Jewelry by Ashton Neibel 

Dress Stylist’s own 


Necklace Ashton Neibel 

Skirt and Bracelet Stylist’s own 


Necklace and head piece by Devin Orosio 

Bracelet Verameat 

Vintage Kimono 

Belt and Underwear Stylist’s own 


Necklace by Devin Orsoio 

Slip Stylist’s own 


Dress by Morgan Marzulli 



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. 


g-star raw for the oceans 


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. 


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. 


grey matter 

RYAN JAMES SMITH BY WESTON DOTY 

Hair Elizabeth Rose Stylist Brynn McKinstry Styling Assistant Taylor Ruparel Hair Assistant Brooke Benson 


Dress by Angel Muktan 

Shoes model’s own 



Top and shorts by Angel Muktan 



Hoodie by Anna Gusselnikova 


Shirt by Anna Gusselnikova 


Pants by Angel Muktan 


Shirt by Angel Muktan 


Pants by Anna Gusselnikova 



Pants by Devin Osorio 



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 


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. 


Stylist’s own top and pants. 


Stylist’s own dress. Necklace by Zia. 



Stylist’s own top and shorts.

Stylist’s own top and shorts. 


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- 


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. 


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 


Protesters gathered outside London Fashion 

Week shows to bring garment manufacturing, the 

often-forgotten and corrupt wing of the fashion 

industry, into the spotlight. 


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. 


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 


T-Shirts provided by 13 Bricks 


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. 


T-Shirts provided by 13 Bricks 


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.” 


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.”

i-D Magazine

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?