FLAUNT - The Generation Issue

FLAUNT
U.S. & CANADA - $15.95
THE
GENERATION
ISSUE

134
SPRING 2014 Fashion Preview
FLAUNT
FLAUNT FLAUNT
PHOTOGRAPHED BY:
PAT BOMBARD “ANARCHY LOOKS BEST IN SPRINGTIME,”
BREANNA EDWARDS “LIFE’S A GLITCH AND THEN YOU DIE”
KELIANNE “IN THE FUTURE WE’LL ISSUE TAXES FOR OUR GOOD LOOKS”

BROOKE
ATWOOD
collection

CONTENTS
Clockwise from left:
Behind the Scenes from
“WIPE THAT SMILE OFF YOUR FACE”
43 GALLERY GIRL Clothing Takes a Fine Art Spin
47 MARILYN MONROE An American Icon
59 IF YOU WANT SOMETHING DONE RIGHT, DO IT YOURSELF
A Conversation with Joshua McLeold
Behind the Scenes from
“WIPE THAT SMILE OFF YOUR FACE”
Behind the Scenes from
“LIFE’S A GLITCH AND THEN YOU DIE”
65 THE GREATEST JOY AND THE PROFOUNDIST PAIN
85 ANARCHY IS BEST IN THE SPRINGTIME RIH-TRANSLATE
103 WIPE THAT SMILE OFF YOUR FACE
A Spotlight on Designer, Brooke Atwood
121 IN THE FUTURE WE’LL ISSUE TAXES FOR OUR GOOD LOOKS
135 GENERATION Y: In the Midst of a Youthquake
139 LIFE’S A GLITCH AND THEN YOU DIE
161 TRANCENDENCE Going Beyond the Limits of Ordinary Experience
167 ANDY WARHOL Digital Art Pioneer
173 ALL SIGNS LEAD TO HERE Lawrence Murray of Genius Aesthetics
183 THE FUTURE OF FASHION
How 3D Printing is Revolutionizing the Fashion Industry
189 PHOTOGRAPHY IN THE DIGITAL AGE...A’INT BAD
191 PHONG DANG PDK Sounds

CONTENTS
Clockwise from left:
Behind the Scenes from
“WIPE THAT SMILE OFF YOUR FACE”
Behind the Scenes from
“WIPE THAT SMILE OFF YOUR FACE”
Behind the Scenes from
“ANARCHY IS BEST IN THE SPRINGTIME”
Behind the Scenes from
“LIFE’S A GLITCH”

FLAUNT THE GENERATION ISSUE 134
EDITOR IN CHIEF
WRITERS
SKYE SIENKIEWICZ
MORGAN MCCARTY
BUSINESS DIRECTOR
DIGITAL
CREATIVE DIRECTOR
LILY MARSHALL
TENISHA CLARKE
SKYE SIENKIEWICZ
LILY MARSHALL
JILL CARVAJAL
JILL@FLAUNT.COM
FLAUNT.COM
CONTROLLER
STYLE DIRECTOR
BUSINESS STRATEGIST
LUIS BARAJAS, SR.
TENISHA CLARKE
PHOTGRAPHERS
MAURIZIO MARCHIORI
CULTURAL DIRECTOR
MORGAN MCCARTY
PAT BOMBARD
KELIA ANNE MACCLUSKY
BREANNA EDWARDS
+1 917 826 6979
MAURIZIO@FLAUNT.COM
HEADQUARTERS
LOS ANGELES
FASHION DIRECTOR
LAWRENCE MURRAY
WEB DEVELOPER +
1422 N. HIGHLAND AVE.
MUI-HAI CHU
KB ANSARI
STRATEGIST
LOS ANGELES, CA 90028
ART DIRECTOR
NIGEL ZEFF
ARTISTS & ILLUSTRATORS
MADISON TAYLOR
FRANCISCO SALVADO
DIGITAL APPLICATIONS
+1 323 836 7053
INFO@FLAUNT.COM
MANAGING EDITOR
WAYLON PEELE
NEW YORK
ANTHONY MILLER
DESIGNERS
365 W. 20TH ST, 17-B
ASSOCIATE EDITORS
SWAY BENNS
E. RYAN ELLIS
BROOKE ATWOOD
RENATA DABDOUB
LEAH MICHELLE SMITH
JOSHUA MCLEOD FOR
COMMUNICATIONS
DAN BARTON
+1 323 836 1946
NEW YORK, NY 10011
+1 212 645 9950
FAX: +1 212 675 3551
ASSOCIATE FASHION
EDITOR
ZAQUAN CHAMP
VICTOR ALEXANDER
LAWRENCE MURRAY
MADISON TAYLOR
NATIONAL +
INTERNATIONAL
DISTRIBUTION
FOUNDERS
LUIS BARAJAS
JIM TURNER
LONG NGUYEN
EDITOR AT LARGE
MAKEUP ARTISTS
CURTIS CIRCULATION
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COMPANY
FOLLOW US
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ELENI SOLOMOU
MOSI MCKIE
HANA HYMAN
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CIRCULATION INQUIRIES
INFO@FLAUNT.COM
@FLAUNTMAGAZINE

CONTRIBUTORS
(FROM LEFT)
ANTHONY MILLER
SKYE SIENKIEWICZ
KELIANNE
PAT BOMBARD
LILY MARSHALL
BREANNA EDWARDS
HANA HYMAN
TENISHA CLARKE
MOSI MCKIE
ASHLEY LO
MORGAN MCCARTY
33

EDITOR’S LETTER
I am a pioneer with nothing to lose,
in search of opportunities.
We all are.
We Connect.
Love,
Skye Ashley
Skye Ashley
37

ART
GALLERY
GIRL
Clothing takes a fine-art spin with
painterly prints & bold brushstrokes
WRITTEN BY TENISHA CLARKE
ISA ARFEN
style.com

“One should either be a work of art, or
wear a work of art,” are great words from the late
Oscar Wilde that have truly come to fruition in a number
of collections that have come down the runway in recent
seasons. The merging of art and fashion has definitely
progressed from an early history where fashion was only
depicted in art, especially during the Renaissance when
fashion as a medium played an extremely significant role. Art
and fashion began intermixing during this period as artists
used fashion a great deal in paintings, and eventually used
their skills to create and design textiles and embroideries,
like in the case of artist Antonio Pisanello. Today people are
highly influenced by artistic garments themselves, but by
the cultural aspects of the art pop movement as adopted
by icons such as Jeremy Scott and even singer/singwriter
Lady Gaga.
The spirit of collaboration between artists and fashion
designers can be seen as early as the late 30s, when
Elsa Schiaparelli and many of her Surrealist artist-friends
worked to produce a number of designs for her collections.
Elsa went on to work with artists like Salvador Dalí on the
shoe hat. She also created the Lobster dress and the Tear
Illusion dress with appliques provided by Jean Cocteau.
.
Garments as canvases, the true merging of traditional art
and the fashion industry, date back as far as 1965. Yves
Saint Laurent produced his autumn/winter collection of
A-line shifts that year in collaboration with Piet Modrian.
Since then, art and fashion have continued to have a longterm,
close, working relationship with one another – almost
to the point where its hard to differentiate between the
two at times.
PRADA SS14
style.com
Recently, we’ve seen a tremendous collision in art and
fashion where artists and fashion designers have come
together in a number of ways to merge the characteristics
of each respective category through their collaborations. In
2008, artist Damien Hurst designed for Levi’s, and Fabrizio
Plessi and Louis Vuitton created the limited edition Molten
bag that sold for nearly $50,000. From 2010-2012 we saw
Rosson Crow and Zac Posen, Meret Probst for Fendi, Matt
Groeninh and Comme des Garcons, illustrator Keith Haring
few Nicholas Kirkwood, and the Jimmy Choo capsule
collection with Rob Pruitt just to name a few.
The emerging “gallery girl” trend was prevalent in Resort
2014 shows by designers such as Milly, Nicole Miller,
Cynthia Rowley, Rachel Comey and Cédric Charlier, which
then trickled down into Spring 2014 shows. Large portraits
appeared in a number of artistic styles. Some were painted
or inked, while others were hand-drawn or enlarged
photo prints and classical paintings. Design houses such
as Chanel, Prada, Céline, Louis Vuitton, Dior, Jil Sander,
Christopher Kane, Versace, Calvin Klein Collection, Isa
Arfen, Giles, Andrew Gn, Giorgio Armani, Saint Laurent,
Vivienne Westwood, Jean-Charles de Castelbajac, Aquilano.
Rimondi, Paule Ka, and Antonio Marras incorporated cubist
portraits, street murals, freehanded painterly pantones,
daring brushstrokes and a fine art spin inspired by artists
like Picasso, Jeff Koons and Stephen Sprouse into their
collections.
CELINE SS14
style.com
44

Ed Feingersh
Marilyn with Chanel No.5, 1955/2003
Silver gelatin print

“When you speak
of the American
way of life,
everybody thinks
of chewing gum,
Coca-Cola and
Marilyn Monroe.”
- Nedvela Magazine

ART
MARILYN:
An American Icon
WRITTEN BY MORGAN MCCARTY
Marilyn Monroe was an American star, but her charm
has captured the world’s fascination with magnetic
appeal. “Marilyn: Celebrating an American Icon”, is an
internationally traveling exhibition featuring dozens of
works owned by private collectors in Europe, Sotheby’s
archives, European art galleries and the estates of artists
who interpreted the muse that was “Marilyn.” Presented in
a variety of media including videos, photos and paintings,
the exhibition captures Marilyn’s personage behind the
scenes and in the spotlight. The exhibit includes more
than 50 artists’ works, in styles ranging from Alfred
Eisenstaedt’s photography to Andy Warhol’s Pop art.
It comes to no surprise that retrospectives such as this have
featured Marilyn as their subject of interest. It has been
nearly 50 years since her mysterious, and untimely death.
But look around: Her legend lives on, and more dazzlingly
than ever. The 1950’s bombshell has developed into a 21stcentury
pop culture phenomenon, and in such a fashion
that Marilyn certainly would have appreciated. Helen of
Troy may have been the face that launched a thousand
ships, however when it comes to moving merchandise,
nobody can equate to the face of Marilyn Monroe. Those
platinum locks, the bright red lips, and that enviable
curvy figure have become a recognizable brand image
Dolce & Gabbana has captured Scarlett Johansson as
the cultural icon within their advertising campaigns.
and powerful marketing tool for artists and advertisers.
Marilyn via CGI within Dior ads. Magazine spreads have
continuously featured celebrities such as Lindsay Lohan,
Nicole Kidman, and even Rihanna having a “Marilyn
moment,” on their covers. Commercial ventures for Marilyn
inspired product lines within Mac Cosmetics, Nova Wines
Inc., Betsey Johnson, Salvatore Ferragamo, and Dolce &
Gabbana have also been in the works ranging from tote
bags, and Monroe-motif dresses to Monroe themed wines
and postage stamps. Musicians such as Elton John have also
paid their homage to the icon through songs like “Candle
in the Wind.” Contemporary artist, Seward Johnson, has
even immortalized Marilyn through a 26-foot-tall sculpture
depicting Monroe’s iconic subway grate pose from “The
Seven Year Itch” located in Palm Springs, California.
Marilyn’s infamy was amplified posthumously. But before
she became an established icon, she played the role
of “the muse.” At the height of her acting career, she
captured the world’s fascination through her noteworthy
roles on the big screen. Her comedic charm stood out as
the gold digging Lorelei Lee who sang “Diamonds Are
a Girl’s Best Friend,” in “Gentlemen Prefer Blondes.” She
played the sultry but senseless blonde in “The Seven
Year Itch.” In “Some Like it Hot,” she displayed her vocal
talents as the sexy band singer. Her luminosity transcended
off the big screen into the hearts of the world’s most
famous artists, musicians, and members of high society.
CONTINUED ON PG. 61
We have also seen Charlize Theron meeting up with
49

Peter Beard
Dead Elephant Book Diary, Marilyn
Monroe, 1971-2001
Photography/Mixed media on silver
gelatin print
Andy Warhol
Marilyn Diptych
1962
Acrylic paint on canvas

Marilyn Monroe
Cecil Beaton
Photographed in 1956
Marilyn Monroe
Being photographed by
Cecil Beaton

arilyn as the actress appears to have been lost in the minds
M
of the younger generation. She is enamored as something
completely different, as an image and an icon. Marilyn
has continually been misunderstood in this way and has
struggled fiercely with society’s perception. She has been an innocent
victim of the Hollywood machine. The image we see of Marilyn was
a beautifully constructed façade from the dyed hair to her famous
“wiggle walk.” Marilyn herself worked very hard to invent this image,
one that she later struggled deeply to escape. While she represents
everything that is glamorous about Hollywood, the disturbing story
of her private life represents the darkest side of fame. Born as the
plain-Jane Norma Jeane Mortenson, moving from foster home to
foster home, her childhood has been a tragic story of victimization
and sexual abuse. Her life behind the silver screen is consumed with
scars of abuse; the pain of psychotherapy; the betrayal by her third
husband, Arthur Miller; and the fierce determination to master her
art. Her shimmering blonde aura has merely been a glamorous
disguise for the abused, and lonely Marilyn, unseen by the world.
With her premature death at the age of 36, Marilyn has been
captured immortally as a personification of femininity, naïveté,
and sexuality. Decade after decade, Monroe continues to appear
in popular culture in different guises. In the 1960s she was Andy
Warhol’s silk-screened muse; in the ‘80s she was the inspiration
behind Madonna’s career-defining “Material Girl” video. More
recently, she is reimagined in the Golden Globe winning drama “My
Week With Marilyn” through the face of actress Michelle Williams,
the glamorous star of a Broadway musical in the NBC series “Smash”
and the alter ego of pop singer Nicki Minaj in the single “Marilyn
Monroe.” While a myriad of celebrities including Christina Aguilera,
Gwen Stefani, and Lady Gaga have given a decent effort in capturing
the “MM” persona; there will never be another Marilyn Monroe.

PEOPLE
IF YOU
WANT SOMETHING
DONE RIGHT,
DO IT YOURSELF
A conversation with, Joshua McLeod of Victor + Alexander
PHOTOGRAPHED BY: BREANNA EDWARDS
WRITTEN BY TENISHA CLARKE
59

“Seriously, who wants to pay $150 for a
t-shirt?” While we all know there is quite
a percentage of people who don’t mind
it, I’m sure those who prefer not to pay
that amount (or simply can’t afford to)
are far greater. Joshua McLeod, founder
of the blog and online storefront Victor
+ Alexander, made it very clear that he
believes in living a life of high fashion
and glamour. But who says it has to be at
the expense of owning pricey designer
labels?
Labels are great and most certainly
have their place in the industry, but
with companies like H&M, Forever 21,
Zara and ASOS on the rise it’s almost
impossible to differentiate between high
and fast fashion labels.
Even more so, there are tons of
individuals who have taken to the
art of DIY (Do It Yourself) fashion. In
conversing with Joshua and viewing his
blog and past and upcoming handbag
collections, I couldn’t help but admire
the craftsmanship and dedication that
he puts into it all.
“Basically it all started with a Jack
Spade bag that I really needed in my
life,” he says. “But the problem, like
so many other things I want, was that
it was too expensive. For all of my life
I’ve lived by my motto, “If I can’t afford
it, then I can figure out how to make it.
And that’s what I did.” And there are so
many others doing it as well. The first
major project for Victor + Alexander, a
collection of vegan leather handbags,
launched in March of this year. Other
projects featured on the blog cover
a wide range of lifestyle categories
including style, home, art and travel.
Beyond the workroom of Victor +
Alexander, there are tons of other
project inspirations available from a
number of individuals who have blogs
and vlogs. Joshua mentioned some of
his personal favorites, which include Mr.
Kate, P.S. I Made This, Flax & Twine, and
Martha Stewart.
So the major question or concern I
think would be whether or not the DIY
craze poses a threat of some sort to the
fashion industry? Potentially. It most
certainly affects it, but not necessarily
in a negative way. If we’re honest, a
majority of people are far too lazy to
go about making things on their own,
especially not an accessory or an entire
wardrobe.
Joshua and I proceeded to discuss the
matter and he believes that the projects
done by major DIYers will simply open
followers’ eyes to big name designers
that they draw inspiration from. He puts it
in a rather relatable ontext. “If Alexander
Wang makes a pair of gold metallic harem
pants and I absolutely have to have
them, I make them. Then my followers
are directed towards the original, and
they look at his entire collection […] so
they simply buy it themselves. In the
long run, for me at least, its the high
fashion labels that inspire my DIYs.” I
drifted off momentarily at this moment
just Imagining the amazing creation
that would be golden pants by Wang.
Um, yes please? Then we laughed off
the thought of DIYers mass-producing
designer quality clothing. That’ll be the
day…
While I may never develop the skills
necessary to make half of the amazing
things that Joshua does, there is
something fascinating I think to us
all, young and old, about being selfsufficient
in any capacity.
Find out more about Joshua,
and Victor + Alexander at
www.victoralexanderco.com.

REGRESSION ri-gresh-uhn
the act of returning to a former, less
developed state
PHOTOGRAPHED BY MACKENSEY ALEXANDER
WRITTEN BY SKYE ASHLEY
65

“It’s not where you
take things from,
it’s where you take
things to.”
68

ack
to basics
One must remember how to
regress back from the chaos of its
surroundings. In today’s generation
of youth, we get consumed in its
initial advancements of technology.
This is when we look at the other
side of the spectrum of today’s
generation Y and the Millennials. It
is here, that we have to provide an
environment where, Less is more;
we have to disconnect before
reconnecting, to pare back and strip
down for a more simplified look.
When transitioning back to
simplicity, where we just live off
the basics and essentials, a new
appreciation is fulfilled in looking
at the organic and raw space
surrounding you. It creates a
space to breathe, to retreat into
the confines of simplicity, bare yet
beautiful. As we get back to the
basics, a warm, natural monochrome
palette surface s, focusing more
on quality than quantity. Full
of emotional resonance, were
exposed to the heart of essence:
it honors the art of editing down
and follows in the footsteps of
intuition, which connects directly
with the spirit of self-reflection.
t

O
nce we begin to regress back, there is an emphasis on the importance of inner observation. We
no longer feel the media pressuring us on what to feel or think, our ‘gut’ feeling is back. As we
stem away from the other side of the spectrum of technology advancements, the transition to
day-to-day life occurs in finding happiness, compared to the everyday pressure of what needs to happen
next in order to get ‘this,’ done. Although it seems to be an organic and more ‘raw’ way of thinking
and living compared to others, were still learning and maintaining the priorities necessary to survive.
Money and time is what we collect to save up for meaningful content and experiences. Consumers are taking
this, to reward themselves with premium experiences and products. The increasing interest in the power of
the mundane, which is the cause of coexisting in harmony, and behavior are becoming the driving force for
innovation. Thus, the desire to reconcile a need to be alone, with a desire to find intimacy increases more
rapidly. As we relish in a redefined world of ‘luxury,’ powerful connections begin to resonate in the simplest
forms and create humble routines. It is this state that we as people, begin to feel like an individual again.
71

Our new found, or should I say, resurfaced priorities still lie in offering an emotional connection and an
opportunity allow them to reduce stress. The overall culture of the millennials and Generation Y, show strong
drives towards intimacy, however they tend to be so consumed in the digital age that they make no time for that
reaction to occur. Instead they resort to using technology to fulfill those needs, cutting out the initial human
interaction. Yes, regressing back to a more organic and simplistic nature of living does give us the need for
isolation and the reclaiming of space to be alone, however we still need and want interaction and someone to
share the experience with. Interacting with people in a natural environment also tends to come more naturally,
crazy concept right. We’re so quick to jump to some type of electronic resource in order to communicate.
Designing around the basic actions and routines that we perform naturally, every day, is becoming an important
starting point for product development and consumer needs. Exploring mundanity in this environment is done
by seeing past the gloss to the truths behind your work. In doing so, consumers will respond to products that they
relate to their day-to-day experience. They respond to products that tap into daily routines and enhance the dayto-day
experience. This season, it explores the relationship between man and earth, becoming rooted as one,
once again. Giving homage to the Earth, ‘mindfulness of the natural well-being is explored. Having lost ourselves
in the new generation and its advancements we must restore the sensitive balance of the primitive connections
to who and what, we are. It is there that we will find our individual identity and embrace natural interaction.
76

ANARCHY
IS BEST
IN THE
SPRINGTIME
PHOTOGRAPHED BY PAT BOMBARD WRITTEN BY SKYE ASHLEY
STYLED BY TENISHA CLARKE
85

“MITRA” BODY CHAIN
MELANIE MCPHERSON
TURBAN, HOOP EARRINGS,
AND SHORTS
STYLIST’S OWN

“MITRA” BODY CHAIN
MELANIE MC PHERSON
SHOES ZARA
TURBAN, EARRINGS,
SHORTS

“MITRA” BODY CHAIN
MELANIE MCPHERSON
TURBAN, EARRINGS, SHORTS
STYLIST’S

RIHtranslate
An influence to young women, fashion, music, and her
fans, Rihanna continues to translate what a strong,
powerful, unique and sexy, women is. The Barbadian
artist, success and confidence does not seem to cease.
On June 2, she will receive the Fashion Icon Award at the
2014 CFDA Fashion Awards at Lincoln Center.
Following incredible past recipients, such as Kate Moss
and Lady Gaga, the award will be a well-deserved honor,
underwritten by Swarovski. A presence well paid off,
Rihanna couldn’t escape the front rows of Paris Fashion
week from Chanel to Gaultier, Dior, Givenchy, and of
course Balmain. The multi-talented artist is the new face
of high-end fashion label, Balmain, for Spring/ Summer
2014. The creative director himself, Olivier Rousteing,
described RiRi as an “icon.”
She’s done nothing except, prove that she is an icon.
Upon receiving the announcement, RiRi stated, “People
want to know who you are. Fashion is a clear indication,
a way to express your attitude, your mood.” Although
the artist started her career in music, she’s made such
a strong impact in the fashion world, not to mention
for all young women. This will follow after her cover of
Vogue this month, which is her third time on the cover.
It was the 10th anniversary of Vogue’s shape edition in
2011, that Rihanna was first featured on the cover as the,
youngest black woman to appear on American Vogue.
Continued on pg. 94
89

“INDRA ARMOR RING,”
“STASIS” EARRINGS,
MELANIE MCPHERSON
SUNNIES & BANGLES
STYLIST’S OWN
CROCHET DRESS
FOREVER 21

“MARROW EARRINGS”
“INDRA ARMOR” RING
MELANIE MCCPHERSON
“PANDORA” BAG,
GIVENCHY
CUSTOMIZED JACKET,
BATHING SUIT BOTTOMS,
BODY CHAIN, STYLIST’S

HOOP EARRINGS, BODY CHAIN,
BANDEAU, & SKIRT,
STYLIST’S
“AEON CUFFS,”
“INDRA ARMOR”RING
MELANIE MCCPHERSON

SUNNIES & BANGLES,
STYLIST’S OWN
CROCHET DRESS,
FOREVER 21
“INDRA ARMOR RING,”
“STASIS” EARRINGS
MELANIE MCCPHERSON

C
ontinuing her journey to becoming a Fashion
Icon, she was featured in the 2012 ‘100 Most
Influential’ that year. She then started designing
her collection with River Island, which is going on
to her 4th season. I consider this her formal influence in
fashion, it was in 2004 when she emerged as the R&B
pop princess that she began evolving fashion for young
women both black and white. She’s one of the first artist
that represented and influenced the mainstream, street
culture of youth. As she evolved, street wear and ready
to wear evolved, even for men’s fashion too.
It was in 2007, with the release of Umbrella, when
Rihanna began to find herself in fashion and style and
not just her ‘Rihanna Navy’ of fans. She allowed young
women to find what made them like a sexy powerhouse.
From here fashion, in both teenagers and young women
began to evolved into a refined edge, just as Rihanna
did. By 2008, she sported the chainmail corsets at
black tie events, with power-shouldered jumpsuits,
which quickly started trending along with the leather
hot pants on stage. Women were dressing sexier and
with confidence, which only continued to progress into
accepting racier dressed women as an icon.
RiRi was dominating that media and social scene in 2011,
as her onstage outfits also took the streets. We saw
leather straps, studs, fishnets, and heels, Rihanna was
showcasing her female sexuality as visual performance
for everyone. Shouldn’t every woman feel strong and
confident enough to do the same. This wasn’t about
sex or to flaunt it. It was something to idolize, to relish
in and see that those boundaries could be broken down.
94

Shortly after, we gained yet another respect for this
fashion icon, when she was the first mainstream
artist to show case the aesethetic, of the current
festival-attending teens. She mixed prints and colors
and metals, with oversized items and statement
jewelry. Today she still embodies the edgy style
but makes it into an ensemble by wearing Gucci,
Cavalli and Armani, while adding hipster high street.
A successful music career with number one hits,
multiplatinum albums, countless awards and loyal fans,
is the back bone to Rihanna’s initial success. However,
as her fashion evolved, as well as influenced, so did her
tactics in the entertainment industry. She is a powerhouse,
“the HBIC.”
From where she started ten years ago with her first lable,
to where is now, taking on several titles, is impressive
and empowering. Every young and grown women can
find an inspiring icon with Rihanna, even her reactions
to the media and how she handled her in past tangles.
Nothing held her back. I wouldn’t say that roles are
reversing, however they are enhancing. Women have
always had that fire, confidence, and determination,
they just need someone to show them how to utilize it.
95

“MITRA” BODY CHAIN
“EZRA” RING
MELANIE MCCPHERSON
TURBAN, EARRINGS,
STYLIST’S

WIPE THAT
smile OFF
YOUR FACE
A SPOTLIGHT ON DESIGNER, BROOKE ATWOOD
PHOTOGRAPHED BY PAT BOMBARD
WRITTEN BY SKYE ASHLEY
103

LEATHER PATCHWORK TOP
& TULLE SKIRT,
BROOKE ATWOOD
SHOES, MODEL’S

LEATHER CUT OUT TOP,
LEATHER SHORTS.
BROOKE ATWOOD
LEATHER ANKLE
BOOTS,
ALEXANDER WANG

LEATHER PERFORATED
TOP, LEATHER SKIRT,
BROOKE ATWOOD
JEWELRY, STYLIST’S

LEATHER DRESS,
BROOKE ATWOOD
RINGS, MODEL’S

“there’s
really
not
an option
to stop
and take
a breather,”
108

CHIFFON DRESS WITH
VELOUR SLEEVES,
BROOKE ATWOOD
JEWELRY, STYLIST’S

A
candid response from the designer,
Brooke Atwood, regarding what’s
next with the growing demand of
her self-named label. She launched
Brooke Atwood two years ago in 2012, with the
intention to embrace her love affair with leather
and make an income doing it. The effortless,
yet edgy womenswear collection has been a
success and so has the ongoing journey to get
there.
Originally from Mississippi, Brooke
grew up being taught to sew various clothing
patterns by her grandmother. Although her
interest in fashion continued, she went on to
receive a Business Degree at the University of
Mississippi. It was at the age of 24, that the young
entrepreneur opened a clothing boutique in
Oxford. As a single woman and mother, with no
significant other to be a ‘bread winner,’ Brooke
saw no other option but to be her “own boss.”
When asked about women’s roles in modern
society, she believes that although women are
more empowered than before, both men and
women are equaling out and finally reaching the
same page, at home and in the business world.
Setting high goals, the designer’s
personal determination and success
department never ceased. After three years of
retail, it was time for Brooke Atwood to follow
her true infatuation: Design. This brought her
to the city of Savannah, where she received an
MFA in Fashion Design at Savannah College of
Art and Design. Now moving onto her fourth
season, her collections are produced and sold
in showrooms in New York, as well as various
boutiques in the U.S. Upon her success, Brooke
continues to reside in Savannah, where she is
one of the first working fashion stylists in the
area, and designs at her in-home studio.
Since sketching is not her forte, she
typically creates two to three pieces that she
envisions and from there, builds off of those
to create the rest of her collection.Inspired
by traveling, music, live shows, and a fearless
attitude, her own effortless, rocker chic style is
evident in her designs. Being that trends isn’t
something Brooke looks for when designing,
she likes to create pieces of longevity that can
be worn season after season.
Who needs a muse when your success
stems from designing for what defines you? It
seems that confidence and dedication are key
in the design world. In Brooke’s perspective, it
never ends in fashion, as an emerging designer,
or any designer for that matter; there is never a
break during the design process. Currently, the
Brooke Atwood collection has hit runways at
the 2014 Capsule Trade Fair in New York, along
with Nashville Fashion week, and Savannah
Fashion week. Each show featured her 2014
Fall/Winter collection of 24 pieces, which the
designer related back to her roots in Mississippi
and where she is now, with western details of a
1975 rodeo prom Queen, meets New York.

“FASHION is
becoming
more PROGRESSIVE”
As more designers begin to emerge at a younger
age, fashion is becoming more progressive.
Looking into the future of the self-named label,
Brooke is working towards adding a smaller
capsule collection that is more sustainable, using
eco friendly leathers and with lower price points.
Being a new label on the scene, the hardest part
tends to be honing in on who your customer is
and who you want to be. There is always a need
to perfect and refine one’s work, according to
Brooke; Of course there is, leather does so naturally.
111

CHIFFON DRESS WITH
VELOUR SLEEVES,
BROOKE ATWOOD
JEWELRY, STYLISTS

PERFORATED LEATHER
TOP, LEATHER SKIRT,
BROOKE ATWOOD
JEWELRY,
STYLIST’S OWN
WOOL COAT,
BROOKE ATWOOD
SUEDE ANKLE BOOTS,
GIUSEPPE ZANOTTI
TURBAN, JEWELRY,
SHEER STYLIST’S DRESS
WITH VELOUR SLEEVES,
BROOKE ATWOOD
STYLIST:
JEWELRY,
STYLIST’S TENISHA OWN CLARKE
SHOES, MAKEUP & HAIR:
STYLIST’S ASHLEY OWN LO

DRESS BY
LEAH MICHELLE SMITH

in the FUTURE we’ll
ISSUE TAXES FOR
our GOOD LOOKS
PHOTOGRAPHED BY KELIANNE
WRITTEN BY SKYE ASHLEY
122

PREVIOUS PAGE:
NEOPRENE DRESS,
THIS PAGE:
NEOPRENE TOP AND
PANTS BY
RENATA DABDOUB
NEXT PAGE:
NEOPRENE DRESS,
RENATA DABDOUB

STREET
style
Current trends in Women’s Street Style are continuing to evolve
throughout the season, consisting of different techniques
and styles that play with, graffiti and hyperreal bright prints.
Playing with various bright colors to layer and piece together,
creating a pop of art, as well as graphic details.
The graphic prints have a fruitful play that are inspired by
contemporary photography and the trend for Modernist
editorial design. Fashion is given a Pop Art style, with highly
saturated colors for an alternative update. Hyperreal is from
the postmodern philosophy, where what appears real and what
appears fiction are seamlessly blended together. Allowing
physical reality and virtual reality to mix and blend.
Graffiti paint gives abstract and conventional prints a
contemporary street-art feel. Arthouse techniques are
emerging from the runways, as a new graphic style that has
wide commercial appeal that can’t be used for contemporary
patterns. Designers have embraced experimenting with spray
paint, mark-making, expressive strokes and abstract patterns,
along with the layered colors, to create a fun piece. This creates
a playful twist in the graphics and shapes seen in Street-Art.
STYLIST & HAIR:
TENISHA CLARKE
MAKEUP:
MOSI MCKIE
127

CULTURE

GENERATION Y:
In the midst of a youthquake
WRITTEN BY SKYE ASHLEY
We are living in the new digital age, of a fast growing, technology revolution. What was once seen as a fantasy can now
be a reality. Where is this trend taking our future? Looking back at the 60’s Youth Quake, there was a lot of political
change occurring that set off a chain reaction for the people, and the entire culture to change, from the way they
dressed to they way they thought. It brought a new perspective. The Civil Rights Act brought an end to segregation
and a fight against the progressives. While this occurred, the youth responded by embracing new fashion and new
sounds music, which continues to shape fashion today. We are now in the midst of youth quake due to the significant
changes we’ve experienced again in our politics, as well as our increased knowledge. Since there is an established gay
identity in our society, most people have come to respect and accept them, which has led our government to legalize
gay marriage, and taxes. The legalization of marijuana and its health benefits has also contributed to the culture
change, as well as our found knowledge of the environment and how we must become more sustainable. Due to this
generations acceptance and optimism many aspects of our lives have improved and advanced, including technology.
136

T
oday there are approximately 9 billion people in
the world, out of the population there is the largest
generation of youth in history. An actual “youth quake,” of 4.3
billion people between the ages of 10 and 25. Instantaneous
modes of communication is what drives the population,
Cisco’s 2012 Generation report found that 60% of Generation
Y compulsively check their smart phones for messaging, social
media, and information. The Millenials are such a well informed
generation since information is accessible at anytime.
Designers have struggled and progressed with the
advancements in technology, as well as the demand of the
new consumer. Luxury names such as, Gucci and YSL, had
to transition to more commercial visions to capture a new
audience and compete with fast fashion companies like, Zara
and Forever21 replicating their collections from the runway.
Advancements in technology have also brought our attention
to the environment and the kind of effect we’re causing.
Companies have lowered energy and water consumption as
well as, carbon emission, to be more sustainable and maintain
transparent with consumers. Textiles have also advanced to
modern technology to create 3D woven natural fabrics and
new treatments.
Alexander McQueen was an early adopter of
technology: in spring 1999 No. 13, a model wearing a dress
was spray painted by two robots, and later in 2010, McQueen
adopted digital printing from photography in Plato’s Atlantis
collection. Lady Gaga was influenced by his collections and
emerged digital technology into the public. Another Gaga
influencer, Iris Van Herpen, was the first to use 3D printing in
haute couture; “fusing fashion, science, and technology.” The
trend of materials becoming media is continuing to progress.
In the 2014 Fall collections, Alexander Wang revealed
a developing form of technology in fashion that was futuristic,
yet functional for the survivorlist. Heat-sensitive leather
changed in front of metals vents to colors of black to blue, to
yellow, or purple and slowly faded. This advanced material has
been ten years in the making by Lauren Bowker, an alchemist,
that is using her designs to sync certain colors with seasonal
cues in the environment. A chemical compound is injected into
the leather and then ignited to see its reaction to temperature.
The compound also reacts to UV rays, friction, sound, moisture,
and pollution. It’s potential use for health are being developed
to possibly communicate the severity of an asthma attack, or
a garment that acclimates to the weather.
Studio Roosegaarde has also developed a high-tech
fashion made from e-foils which become transparent based on
personal interactions. Merging the current trend sexual desire
and technology, Intimacy 2.0 is a dress that responds to the
heartbeat of another person, these interactions determine the
level of transparency, creating a “sensual play of disclosure.”
If technology has advanced to create a material that becomes
transparent then we can create something invisible, right?
Harry Potter’s invisible cloak and GI Joe’s invisible
suit have actually, been developing for the last two years.
Hyperstealth Biotechnology Corp, designed Quantum Stealth,
a camouflage material that renders the wearer as invisible by
bending light waves around them, mimicking the surrounding
environment. The material is lightweight and works against
military IR scopes and Thermal Optics according to U.S. and
Canadian military. This material is advanced and intimidating,
there’s a fear that strikes of the possibility of it getting in the
wrong hands. A clearly, defined ramification that can arise
with such quick advancements in technology. Although it is
still being developed for security issues, this design sets new
standards and expectations for our generation and the future
of the digital age.

life’s a GLITCH
and then YOU DIE
PHOTOGRAPHED BY BREANNA EDWARDS
WRITTEN BY SKYE ASHLEY
140 139

STYLIST: TENISHA CLARKE
MAKEUP: HANA HYMAN
ALL GARMENTS BY:
MADISON TAYLOR

“
She taught me how to make
connections, how to take two
separates and make them
whole, until she couldn’t remember
how to communicate from
her internal harddrive to
her hands. like the insides
of computers, the insides of
humans sometimes crash
too. there is no ctrl + z or
backspace that can get the
files of our memory back.
but she keeps on scanning
her mind, through the static,
through the glitches of time
and moments shared.
some remain black and
white but others explode
with color, making sparks
and some openings.
”
150

E
very generation has a great challenge; Ours is seen to institutionally reinvent
the world. As true digital natives built on the desire for change, this desire
stems from the digital age we were born into, and the constant advances
developing through technology. While exploring one’s consciousness, our
sense of self is constantly being challenged. Since Generation Y is constantly
‘On,’ and connected, technology is considered a critical part of our life and work.
This necessity, has allowed us to become an educated youth, by the accessibility
we have to instantaneous media and information. News, to music, fashion, and
human interaction is always at access from a screen, just at the end of our finger
tips. It’s evident that technology is quickly changing every industry, however,
there is a heightened concern that this digital revolution is consuming our
generation. The Y generation is already known for being digital multi-taskers,
which we tend to switch devices and platforms up to twenty-seven times, every
hour. Not to mention, making a routine of initially checking their phones in the
morning. With something that has become so normal, how do we decipher if we
are digitalized or desensitized?
Technically...by considering that the obvious attachment we have to our phones
is normal, defines our consumption and desensitization to technology. We’re
already glitching, or are we just being the magnificently flawed, and inherently,
dependent human beings, that needs to be with one another. In reality, our future
is driven by data and powered by intuition. “Inspiration is a matter of sensitivity,”
Van Herpen said. “It is the ability to collect from the past, present, and future,
as they shift past us simultaneously.” Everyday there is something new that is
presented to consumers to peak our interest or educate us, but is easily forgotten
and glossed over with the next “new” creation.
In fact, I believe that technology is what is causing us humans, and the Y generation
to ‘glitch.’ With the high volume of extreme advancements in technology it’s
difficult to keep track of what is going on, whether it is a new gadget, social
media, or medical procedure, etc. It doesn’t allow the consumer to understand
it and become acclimated. There are also stipulations of new technologies being
developed too fast that they, themselves glitch. Our exposure to graphic news
and media has been tainted by digital and social media posted everywhere
that its no longer provocative. We are now capable of posting images, videos,
and saying whatever we’d like immediately or simultaneously, for others to see.
Generation Y and the Millennials are very involved with social media; We become
more focused on our identity that is perceived online than our personal self, thus
being consumed by technology.

Technology is connecting and giving us options to help network with people as
well as, the environment and our health. Today’s generation is optimistic about
the future however, in the words of Isaac Newton, “For every action, there is
an equal and opposite reaction.” Society can continue to invest in 3D printing
organs, humanizing technology, and figuring out how to make us live till were 200,
however, we must learn to regress and slow down to avoid anything occurring
too soon among any other ramifications. Although some implications may not
be clear quite yet, I think our knowledge and advancements should give us the
opportunity to pull from nature and the basics to further the future in technology
and our well-being.
Those attempting to explore the idea that technological progress correlates to a
loss of human individualism must look at how technology can be humanized and
its implications. Beyond Verbal, developed a human app called Moodies, which is
to capture and analyze intonation for the technology to give a human response.
Not only are we so consumed in technology to communicate with people and
shop but now we can just talk to another computer. A different perspective
of human apps is Extended Mind, which allows those suffering from a form of
memory loss to extend their cognition by uploading their thoughts and task.
Viewpoints in media and press have silenced many of our own judgements and
opinions, that we have to learn to explore our consciousness and form our own.
It is crucial that we admire and open eyes to what is being presented to us and
to consider the imprints of our current lifestyles and what we may leave behind.
We are a generation built on serving our own, in search of opportunities. There
are glitches to gloss over what is old and then what is new. As we look forward in
fashion and everyday life, we need to consider what can be reinvented.
Stepping back from this digital age, we should ask ourselves, if there is the
possibility that we are progressing too fast? Today’s advancements do help us in
many ways, however this generation of the Millennials and Generation Y tend to
gloss the underlying reality of things. Our generation needs to be more informed
than just ‘glossed.’ The hype over this digital age can blind people from looking
at things realistically. It is then, that you humanize and draw a deeper meaning
from data.
152

To find your individuality during this digital age, is by being outrospective, which
is looking past yourself to understand others and pursue a path of empathy and
collaborating it with the power of design and creativity. This is evident in the
creative work of Madisun Moon and professional knit and weaver, Matt Bobbins.
The two collaborated to create this collection of layered knits, wovens, and digital
printed fabrics. The various woven pieces that constructs most of the fabric were
made by Matt, after Madisun told him about her concept for her pieces and the
color story. As a person of the Y Generation, Madisun embraces technology for
what it is and accepts that it is unpredictable because it is ultimately a machine,
and at any point, can gLitCh.
She also looks at its relevance in another perspective; her grandmother Georgia
is diagnosed with severe Alzheimer’s. Although, we are not built like computers,
nor meant to be turned into one, we too can glitch and lose bits and pieces of our
memory drive. Every once in while though, we recovery a file that we thought
was lost, and it always holds something that you want to ‘save’ forever.
Remember this digital era is still very new, leaving plenty of room for mistakes
and risk. If we learn to slow down in this fast-paced, interconnected world, maybe
we would see things a little clearer. It’s only a matter of time before you run into
another little gLitCH.
153

CULTURE
TRANSCENDENCE
Going Beyond the Limits of Ordinary Experience and Knowledge
WRITTEN BY SKYE ASHLEY
Reviews of the recently released Sci-fi film, starring
Johnny Depp, and has had mixed reviews, mostly
teetering towards a negative perspective. Although the
film, written by Jack Paglen, is focused on the subject
of technology consumption and artificial intelligence,
there are religious undertones of God and evolution,
which could offend some viewers. There are also those
who believe it was written poorly and others who
absolutely loved it.
Personally, I felt drawn to go see Transcendence just
from watching the trailer. I’m glad I did. It’s definitely
not a film for everyone, nor was it done to necessarily
excite, or entertain an audience. I found it to be
insightful and relevant to what is occurring in our world
and society today. Not enough films today are made
to allow, as well as push, the viewer to think and to
question.
With our current advancements in technology and its
integration into our health, communication, appearance,
way of life, and society; we have to ask ourselves if
where is it going and what are the repercussions. Dr.
Will Caster, played by Johnny Depp, is a scientist who is
designing a sentient computer, or AI, that will ultimately
create a technological singularity among people and
cause Transcendence.
The idea behind this is to have human-like intelligence
exhibited by machines or software that will progress to
a greater than human intelligence, changing civilization
and human nature.
Will gets hurt by an extremist group, the Revolutionary
Independence From Technology (R.I.F.T.) causing him to
die. However, his wife is able to upload is consciousness
into the quantum computer, which survives and
requests to be connected to the Internet to grow in
capability and knowledge. By pulling information
and hacking databases his ‘saved conscious’ is able to
recreate himself and communicate via the computer.
It is here that I began to reflect. We have grown to
become a society in fear of what our last moment will
be. Before we looked to plastic surgery and various
remedies to remain ageless and live longer, but now
we’ve reached new heights of how to create and recreate
man. Digital healing and physical enhancements
have emerged, not to mention that creation of artificial
parts made to keep us alive. Now scientists are even
developing ways to possibly keep us alive till were 150
years old. So, does it pose the question of ‘playing
God’ or is this kind of extremity that people need to
finally let go?
CONTINUED ON PAGE 164
161

I
n Transcendence, as Will continues
to live as a sentient computer his
sense of emotions begin to fade,
it’s ultimately his conscious and the
information there.
“Biochemistry is emotion, being
able to weigh everything no longer
makes you a person, you are a statistic.”
Computers aren’t always
efficient or last forever, nor should
we. The film also touches base on the
notion of always be connected to the
internet, implying that people to find it
as an extension of being and we feel lost
without it. At this point, the internet
source is what is keeping him alive, and
after transcending himself to become
a 3D regeneration he must always stay
connected to everyone.
At the end of this dynamic film
each character is forced to choose
between the destruction of all advanced
technology, and a return to a pretechnological
world, or the acceptance
of transcendence, and with it an end to
pollution, disease, and human mortality.
We’re only human, we naturally fear
what we don’t know and what we don’t
understand. Although, people don’t
know what is to come later in life, ‘the
human emotion can contain illogical
conflict, a piece of technology can’t
reconcile that.

ART
ANDY WARHOL
Digital Art Pioneer
WRITTEN BY LILY MARSHALL
Around 30 previously unknown works done by Andy
Warhol have been recovered by the Brooklyn-based
new media artist Cory Arcangel. The artist was part
of a team that went digging through Warhol’s old
Commodore Amiga disks, never looked at before,
and discovered some of Warhol’s experiments in early
digital art.
Arcangel, a self-confessed Warhol fanatic, was
browsing YouTube videos of the artist when he came
across Warhol painting Debbie Harry on an Amiga
computer (right.) His interest piqued, he reached out
to the Andy Warhol Museum in Pittsburgh to see if they
had any more of Warhol’s digital artefacts. While the
Debbie Harry picture was in the museum’s collection,
evidence of Warhol’s other computer art adventures
was only found after an extensive search uncovered the
old Amiga and some floppies.
The Amiga 1000 computer might be dated and retro
today, but it was once pioneering technology. Its
manufacturers, Commodore, elected Warhol as the
man to help promote the launch of the Amiga 1000,
commissioning him to create works on the computer. In
order to recover the images, Arcangel enlisted the help
of Carnegie Mellon University Computer Club, a team
renowned for their expertise in dealing with obsolete
computer technologies. Magnetic imaging tools had to
be used to copy data on the floppy disks to ensure that
no damage was done to the original floppies, and the
files were formatted in an unknown format that was not
recognized by any modern utility.
The team managed to crack the antiquated format,
revealing 28 images that hadn’t been seen before – 11
of which were signed by Warhol.
Chief archivist at the Warhol Museum, Matt Wrbican,
wondered how Warhol would have adapted creatively
to the advances in technology that have been made
in the 21st century: “No doubt he resisted the urge to
physically touch the screen – it had to be enormously
frustrating, but it also marked a huge transformation
in our culture, the dawn of the era of affordable home
computing. We can only wonder how he would explore
and exploit the technologies that are so ubiquitous
today.”
It isn’t the first time that Cory Arcangel has been
involved with the process of recovering media from
difficult situations – last year he teamed up with
Oneohtrix Point Never to make a track called “Joyvtl
Jvbuayf” that was technically unlistenable, unless you
had the dated software to play it.
Speaking about his hero Warhol, Arcangel said, “What’s
amazing is that by looking at these images, we can see
how quickly Warhol seemed to intuit the essence of
what it meant to express oneself, in what then was a
brand-new medium: the digital.”
A documentary about the painstaking recovery process
has been made and will be shown at the
Warhol Museum on May 10, 2014.

Commodore Amiga computer equipment
used by Andy Warhol 1985-86
Andy Warhol, Andy2, 1985
168

Andy Warhol, Campbell’s, 1985

ALL SIGNS
LEAD TO HERE
Lawrence Murray of Genius Aesthetics
PHOTOGRAPHED BY LAWRENCE MURRAY & BREANNA EDWARDS
Q&A WITH TENISHA CLARKE

Lawrence Murray is truly a genius in his own right.
His ‘mixture of madness’ extends from the art
realms of photography, graphic design, and web
design. He literally does it all. Most recently, he’s
gone about rebranding himself from Buy Lawrence
to Genius Aesthetics, and has created a line of street
wear to launch and market all things Genius.
176

Tell me a little bit about yourself.
Where are you from? What are
your general professional and nonprofessional
interests?
Hi, I’m Lawrence. I’m 20 years old
and I’m from Hinesville, Georgia.
I’m a freelance graphic designer,
web designer, and photographer.
Of course I go to SCAD majoring in
Motion Media Design with a minor
in Film & Television.
What’s the story behind Genius
Aesthetics? What inspired you to
merge your graphic design talent
with the world of fashion and street
style?
Like I said I’m a freelance designer,
and for the past few years I’ve been
under the brand of ‘Buy Lawrence’
and I’ve kind of outgrown that. I’ve
been in the process of rebranding
myself under the Genius Aesthetics
brand. Genius Aesthetics is my
creative company, so I like to call it.
Which merges my creative design
services with my film production.
I’ve always wanted to do an apparel
line, so I figured that with the
rebranding of Buy Lawrence to
Genius Aesthetics, it would be the
perfect time to launch this line. I’m
really utilizing this apparel line as a
marketing tool, to kind of get
my brand out there. Right now
we have some cool apparel that
showcasesmore of the logo, but
definitely in the future I plan on doing
more apparel that incorporates
more typography, photoraphy, and
graphics. Doing this is just a great
medium to get my work out there,
When did you realize you wanted
to enter the world of fashion and
what was the first article of clothing
you created a design for?
I can recall wanting to do an apparel
line way back in middle school when
I first started getting into graphic
design. However I didn’t have the
resources and funds that I do now.
And honestly timing is everything;
my designs would have looked like
crap if I had done it back then.The
first design that I did for this line
was the graphic tee with my face
on it. I randomly showed it to a
friend and the first thing they said
was “I would definitely wear that”.
Which was a shock to me. I thought
who wants to walk around with my
handsome face on a shirt? Then I
showed it to a few more friends and
I kept getting similar reactions.
What are some of your
accomplishments as a designer?
Well for one I got scholarships
to attend SCAD based off of my
graphic design portfolio. I’ve been
freelancing since I was in 9th
grade. I was a designer before I
even graduated high school. My
work has been on several national
popular media platforms, and I
even have some work that has been
broadcasted internationally.
Some of your goals?
My near sighted term goal is to
get the film production branch of
Genius Aesthetics off of the ground,
and that takes time. I want to do
music videos. So I’m working on
that as well as writing screenplays
for short films and web series. I want
to put out a web series under the
Genius Aesthetics brand sometime
next year.
Who are some of your favorite
designers (fashion and nonfashion)?
In fashion honestly I’m not into
names. I probably have designer
clothes and not even know it. I just
like what looks good, but I do buy a
lot of clothes from Zara. Some of my
favorite non-fashion designers are
Gavin Taylor and Scott Grossman.
How would you describe your
personal style and aesthetic?
In regards to fashion, I have
repetitive phases. I go back and
forth through urban street wear,
to the daily semi-casual, to more
of a modern 90s west coast look.
It really all depends on how I am
feeling.
Tell me about your design process.
I usually start off with a
brainstorming session. Then with all
of the ideas and junk in my head I try
and narrow it down to one general
idea or direction by crossing off
the unnecessary things I’ve written
down during the brainstorming
session. Then the execution process
starts.
Where do you get your inspiration?
Music. When I listen to music I see
colors. I see textures and different
color palettes. So music is a very
important part of my process.
What matters most to you as a
designer?
Execution.
How would you define the style
that Genius Aesthetics exemplifies?
Color! I like vibrancy and I try to
incorporate that in all of my designs.
Whether it be one color, a specific
color palette, or even black and
white. I try to incorporate vibrancy
through my designs.
What are some things that you like
and dislike about designing?
I like designing. I like using my
brain and figuring how to arrange
different elements. I like happy
clients. However I don’t like dealing
with people sometimes. Every now
and again I’ll get a client whose
knowledge of graphic design
extends to Microsoft Paint. I could
come up with an exceptional
design, of course that might need a
few revisions,
What advice do you have for
aspiring designers?
Be yourself. There is no right or
wrong way of designing. Art is
totally subjective. However, educate
yourself. Learn the principles and
elements of design so you can have
an effective design. Outside of that,
create what looks good to you and
be confident in that.
Where can readers find out more
about you and your work?
To check out some of the apparel,
get a look at my portfolio, as well
as get information on my creative
design services, you can go to my
website which offically launches
May 5, 2014.
geniusaesthetics.com
@geniusaesthetics

STYLING:
TENISHA CLARKE
BRANDED APPAREL:
GENIUS AESTHETICS

CULTURE
THE FUTURE
OF FASHION
How 3D printing is revolutionizing
the fashion industry
WRITTEN BY MORGAN MCCARTY

F
ashion has always been seen as
a world of fantasy and fiction.
The onslaught of new technology and
materials has brought fantasy into the
realm of science fiction and taken on
new dimensions, [literally]. 3D printing
technology has been incorporated
into nearly every industry thus far;
from medicine to movies scientists,
engineers, artists, and designers.
Although it seems to have just recently
surfaced via media, this new form of
printing has been developing for over
the last thirty years.
We’ve discovered the most functional
and ingenious medium since pen and
paper; and the potential applications
are sure to make an impact in the
most unimaginable ways. Naturally,
the medical industry envisioned
the potential applications of this
technology by developing a way to
“print” functioning organs and tissues,
creating the first prosthetic kidney
for animals. After further industry
breakthroughs including, prosthetic
limbs and vessels, robotic aircrafts,
and the world’s first 3D printed car,
this technology began to find itself
more accessible to various consumer
markets.
Increasingly adaptable processes allow
jewelry designers to use this medium
precious metals, such as 14K gold
and sterling silver. An ability to create
abstract and surreal forms caught
the attention of footwear designers,
taking them to new ‘heights,’ as they
created new conceptual and Avantgarde
styles. Anything they draw,
the printer could create. Commercial
footwear companies such as, New
Balance and Nike, debuted sneakers
with a revolutionary 3D printed plate
that enhanced football athlete’s
performance.
Fashion designers are expanding the
scope of garment manufacturing far
beyond the needle and thread. The
dawning of technology had thus,
entered the world of runway, Haute
Couture and the red carpet. Couture
integrated the latest 3D printing
techniques to produce advanced
garments, with innovative material
manipulations; creating ‘techouture,’
where traditional techniques are
replaced with codes.
Dutch fashion designer, Iris Van
Harpen, is one of the first adopters
of 3D printing and has become a
pioneer of materializing technology
in innovative ways from hard-shell
garments and more flexible 3D prints,
collection after collection. Victoria’s
Secret also acquired the growing trend
for the recent Fashion show, when
they collaborated in a 3D printing coproject
with Swarovski’s crystals to
create the sexy, snowflake ‘outfit’ worn
by Supermodel and angel, Lindsay
Ellington.
Celebrities have also collaborated
with engineers to create one-of-a kind
red carpet garments. Dita Von Teese
wore a Swarovski crystal encrusted,
‘mesh’ dress to a two-day, 3D printing
conference. Based on the Fibonacci
sequence, this fully articulated gown,
was designed by Michael Schmidt,
and modeled by architect, Francis
Bitonti to be 3D printed in nylon by
Shapeways. The gown was assembled
from seventeen pieces, dyed black,
lacquered, and adorned with over
13,000 Swarovski crystals to create
a sensual flowing form. A significant
influencer in fashion advancements,
Lady Gaga has worn two 3D printed
dresses this year. The first, called
Anemone, was an integrated bubble
dress, and more recently, a parametric
sculptured dress at the launch of her
album ARTPOP. Both pieces were
designed by Studio XO, a Londonbased
fashion technology company
in collaboration with the Belgian
3D printing company, Materialise.
Creatives have their minds set in the
third dimension; seeing and thinking in
3D.
What does this mean for fashion’s
future? Bespoke clothing will be
referenced in a digital sense, that a
tailor and sewing machine will no longer
be a part of the equation. 3D printing
gives the ability to customize the piece
according to exact measurements.
Instead we will download codes for
various garments and items to be
able to print it in any way imaginable.
Programmers are becoming fashion
designers while fashion designers
are becoming more in tune with this
technology to take their fashion to
new dimensions. The life of designers
will change when consumers can buy
designs online to make a 3D printed
dress out of the plastic or nylon mix
with their in-home printers.
Here is where an area of controversy
arises. There is potential, that this
technology can do to fashion, just as
Napster did to the music industry. As
3D printing evolves, it will introduce
new conflicts into copyright law. 3D
printing processes contains opensource
codes and designs instead of
trademarked and protected industry
techniques to create garments. With a
computer, the right software, and a 3D
printer, it’s now possible to produce
your very own jewelry, accessories, or
bikini within the home.
Already, platforms such as Shapeways,
allow users to upload and share digital
designs with others. Brand owners
may soon face challenges with the
widespread cloning of their products,
as well as the spread of their own
design blueprints. The design and
manufacturing process of 3D printing
has serious implications for intellectual
property and brand copyright.
However, due to the complex and
expensive nature of the printing
process, it will be long before we see
consumers recreating full couture
garments on a mass scale.
Nevertheless, there is significant
potential in 3D printing with an
enormous scope to revolutionize the
fashion industry, particularly when
it comes to materials. We will really
see an impact when manufacturers
begin to offer more flexible molds and
garment-friendly materials. Pringle, of
Scotland, collaborated with scientist
Richard Beckett, and utilized a special
process to produce flexible 3D printed
fabrics that move like traditional
fabric once combined. This is where
3D printing will make the biggest
impact. The textile industry will be
hit with a curve ball as more people
begin to adopt 3D printed synthetic
materials instead of traditional fabrics.
“I do think cottons and silks
will be gone, but it will take a
long time,” claims designer Iris Van
Herpen. (NYMAG.com)
Whether the implications of 3D
printing technology on the fashion
industry are positive or negative,
change is inevitable. An infinite
amount of possibilities for designers,
manufacturers, and consumers to
utilize this technology. The potential is
great, however there is still much to be
done before 3D printing can be fully
realized within the mainstream. Until
then, we will leave it to imagination. to
envision the future of fashion.
184

CULTURE
DIGITAL AGE
PHOTOGRAPHERS...
A’INT BAD!
WRITTEN BY MORGAN MCCARTY
A’int Bad Magazine is an exemplar for
those who wish to maintain the value
of print photography. They attempt
to use their magazine to promote the
roots of traditional photographic art
through print as well as stimulate the
collections of and appreciation for
photography.
In conversation with Editor, Carson
Sanders, we began to discuss the
idiosyncrasies of our generation’s
photographers and his opinion on the
directions of photography within the
digital age.
It has become harder to keep
photography relevant with in the
digital age. There has been an
overabundance of photography on
the Internet and it has become more
accessible than it has ever been.
Camera phones, Instagram, and a
myriad of photo edition programs and
apps have allowed “photographers”
to accomplish what once required
hours of work in a dark room.
Taking, storing, editing, and sharing
photographs has become so
simplified, there is little room left for
professionals. “The Photographer”
is beginning to loose its definition,
as Instagram and other mobile apps
have become the platform for an
abundance of “self proclaimed”
photographers. They have debased
real photography by reducing the
productivity of photography as a
profession.
The overwhelming depth of
photography available on the
Internet tends to weaken the
impact of its content. However, even
professional photographers have
almost hypocritically and established
themselves through using Instagram
as photographic technology. As a way
to spark an ironic commentary about
the digital age of photography, some
photographers have highlighted this
as the subject of their photography.
Benjamin Lowy, a New York based
photographer specializing in conflict
and feature photography, uses his
iPhone to document the Libyan
uprising against Muammar Gaddafi.
He did this to mimic the way civilians
documented the rebel movement
with their mobile phones, instantly
updating the world on events as they
transpired.

This was a way to embrace a new
paradigm of photographic journalismno
middleman, no publisher - and
bypass traditional news sources.
This new digital age has made it
more difficult for photographers to
stand out. With this new digital age,
photographers now need to find
innovative ways to stand out. In order
to keep the traditional formats alive,
photographers are finding creative
ways to blend and incorporate digital
formats within their photography.
Stephen Tillmans, a Berlin - based
photographer, created a photographic
series, called Luminant Screen
Shapings, of old tube televisions
taken at the very moment they are
switched off. The TV picture breaks
down and is abstracted to its essential
element: light. This series bridges the
gap between digital and traditional
formats of photography, highlighting
a scientific and technological theme
through the use of old-fashioned film
photography.
There will always be a grass roots
approach to photography consisting
of purists who strive to maintain
the traditional format of printed
photography. The disappearance of
this craft will not disappear in that
sense. The impact of the digital age
is uncontrollable, however, and thus a
transformation is inevitable.
190
To purchase a limited edition issue of
the publication, or to submit a single
body of work, go to:
aintbadmagazine.com
Keep up to date with A’int Bad:
aintbadmagazine.tumblr.com
@aintbadmagazine
facebook.com/aintbad

PEOPLE
PHONG
DANG
PDK Sounds
WRITTEN AND Q&A WITH MORGAN MCCARTY
PHOTOGRAPHED BY KB ANSARI
Previously, these artists were regarded merely as studio
technicians, yielding the spotlight to nameless singers
and unsung stars. With the innovations in computergenerated
music, these sound sculptors have come to
the forefront as stars in their own right. We can see
them now exhibiting their acoustic genius at runway
shows, red carpet events, and prevailing music festivals
such as Coachella.
DJs like Tiesto, Nervo, Tritonal and Kaskade are able
to utilize synthetic music to not only produce a fresh
sound, but also design an atmosphere.
Emerging DJs are the producers of our future scenes.
DJ Phong Dang, of PDK Sounds, does more than
just scratch a record; his messages and moments of
inspiration, are conveyed to listeners through sound as
a vehicle, and a medium.
Born in Ho Chi Minh City, Vietnam, Phong was raised
in Savannah, GA where his father’s music and the
creative scene of the city surrounded him. Following
his passion for the pulse in music, he studies Sound
Design at Savannah College of Art and Design.
Phong has left a melodic footprint on his hometown by
featuring his mixes within local runway events such as,
Savannah Fashion Week, Fashion Night Out, and the
year-end SCAD Fashion Show.
This year, Phong will be featured as the headlining
DJ for the Savannah Fashion Week Fashion show. His
talent is destined for boundless acclaim, however. He
has since been assisting DJs at New York Fashion Week
shows for Altuzarra, J. Mendel, Prabal Gurung, Helmut
Lang, Richard Chai, 3.1 Phillip Lim, Wes Gordon, Patrik
Ervell, Marchesa, and Oscar de la Renta. He has even
crossed borders into Milan Fashion Week working as
an assistant DJ at the Bluemarine show. Phong bares a
unique and humble perspective on the art of sound and
through his mixes provides a musical translation for his
audience, whether metropolitan chic or charmingly
southern.
A Q&A interview with Phong Dang continues on
pg. 50.

192
T SHIRT BY GIVENCHY
HEADPHONES BY BOSE

How would you describe the music that you create?
I describe my mixes as the vehicle used to get a message
across, whether mine, or someone else’s. When I mix, I usually
have a message or inspiration at hand. Often times when
collaborating with designers and stores, they provide me
with the inspiration or message underlying their collection.
In return, I provide them with my interpretation of what
their collection should sound like. I consider references
in art, trends, pop culture, world culture, psychology, and
various genres of music. This music consist of electronic,
pop, dance, Bossa Nova, and even orchestra when mixing.
The common threads between my mixes are that they are
clean; they are chic, but always with an edge.
How did you develop an interest in this type of music, and
music in general?
My dad is a very musical person so I think I get my musical
ears from him. He sings and is a proponent musical organizer
in the Vietnamese community in Savannah to this day. As
for picking up pop music, I think everyone has an affinity to
anything with a good beat and lyrics, no matter how much
they don’t want to admit it to the world. I have learned how
to ration just the amount to catch your attention without
getting boring. I mix this element with other genres like
experimental or ambience to create an over all feeling rather
than just a remix.
What excites you most about music, the industry, and your
own work?
Sounds can be applied to anything and anywhere. I find it
to be the most malleable substance in the world. And that
excites me. When I can change your mood with something
that I made. That excites me.
Describe your artistic process and where do you get your
inspiration from?
I find my inspiration through art, fashion, movies, archives of
sound artists, the Internet, and my friends.
What other artists do you listen to and get inspired from?
I really like the work of Alen Splet, who is known for his
work in the genre Musique concrète. A prime example of his
work and one of my favorites, is from the movie Eraserhead
directed by David Lynch. The sounds of warping metal
and stretched out tape recordings created this weird other
worldly vibe that I really dig. It has always amazed me that
he was able to make me feel like that though sound.
What other genres of music do you listen to?
I listen to everything. I find nuances in all genres of music.
Even if it’s the worst thing I’ll find something interesting
about it and continue listening on. That’s not to say that I
like everything I hear of course.
What are your favorite events / projects that you have
worked on thus far and why?
My favorite event that I have worked thus far would have
to be Phillip Lim’s s/s 14 show. The set and concept was
amazing and Phillip is such a great person.
I understand that you have recently been chosen to be the
headlining DJ for Savannah Fashion Week 2014, tell me a
little about that, how did it all come about for you, and what
you are looking forward to most about it?
I know Heather Burge, the president of this year’s board,
through a fashion competition event I do every year at

Savannah Arts Academy called Junk2Funk, where she was a
judge. She was a fan of my mixes and reached out to me to
headline the 2014 show. I was really excited because I have
always wanted to work with all of these different stores in
Savannah and this would be my opportunity to reach out
to them. So getting the chance to have a conversation with
these designers and business owners who are making a
name for themselves was exciting all onto itself for me.
What has been the greatest experience you have had so far
as an artist?
I think going to New York and assisting the shows of all of
these top brands has been the greatest experience. I got to
learn so much about the industry as well as myself.
What are you most excited about when it comes to your
music and what might be in store for you in the future?
The thing that I am the most excited about is showcasing
my mixes. Playing shows and reaching new people really
gets me going. In the future I would like to have exhibitions
of my sound art pieces.
Have you had experience with the more traditional forms of
music and instruments?
I played the flute in my middle school band. I learned how
to play drums for a while and dabbled in piano. All of which
were experimentations and nothing really solidify.
Where do you think music is going? Do you foresee a
complete shift from the traditional styles of music to more
synthetic and electronic sounds?
Workstations) get more sophisticated the sounds getting
produce will mirror real instruments, some already do.
However, there will always be a purest side to music, which
will heavily oppose electronically created instruments, and
they won’t go down without a fight. It’s hard to say though.
What do you think about this direction music and sound is
going in?
I think music is going to shift to more eastern sounding
melodies. I hear a taste of it on the radio now a days and I
think, as Asia become more prominent in pop culture music
will definitely be affected.
What would you like to see happen to the industry of music
and sound?
I would love to see things get more experimental and for
sound art pieces to play on the radio. I think that’ll be so
cool, driving down the street listening to a John Cage piece
on the radio and living in a fantasy land for a moment.
THE FINAL EDIT:
I would just like to say, be nice to people because you don’t
know what they’re going through right now and you might
just change their life. Learn how to not over think things
and to just let live sometimes. Don’t let other people take
advantage of you and always give thanks.
FACEBOOK.COM/PDKSOUNDS
As for sounds getting more “synthetic”, that’s a loaded
question because I think as computer DAW’s (Digital Audio
194