FUTURISM NOW! Fall/Winter 20/21 Issue

FW20/21 | ISSUE #003

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PHOTOGRAPHED BY STEVEN KOHLSTOCK

FUTURISTS BELIEVE THAT A SIMPLE ONE-DIMENSIONAL OR SINGLEDISCIPLINE ORIENTATION IS NOT SATISFACTORY. TRANSDISCIPLINARY APPROACHES THAT TAKE COMPLEXITY SERIOUSLY ARE NECESSARY. SYSTEMS THINKING, PARTICULARLY IN ITS EVOLUTIONARY DIMENSION, IS ALSO CRUCIAL. FUTURISTS ARE MOTIVATED BY CHANGE.

CONTENTS FUTURISM NOW! BY STEVEN KOHLSTOCK COVER NO. 1

LADIES COLORS editorial

CULTURE IS DEAD Letter from Eliz

– by KIM GARDUNO

– by Luca Condorelli

"WE DON'T NEED NEW THINGS. WE NEED IMAGINATION"

A NEW WORLD COVER 3.0

– by tHERAPY Recycle + Exorcise

A NEW CIVILIZATION - cover 2.0 - by ZHENZHEN CAO

– by Alina Vlasova

ASCENDANT IN AQUARIUS editorial – by David Hendrick

PHANTASMAGORIA - beauty cover VOR MAKEUP

ARC LUO STUDIO, SPECIAL COVER #33TALKS

– by ALBERTO PELAYO

-- by Mira Postolache

LUNEATMIDNIGHT editorial

BE GENTLE BUT WILD A lockdown story

– by PAVEL RADULESCU

-by Whilemann

CONTENTS FUTURISM NOW! 2.0 BY OLGA JADAN - COVER NO. 4

BORDERLESS + YOUNG editorial – by PAVEL RADULESCU

DZHUS AW20 - MISCONCEPT BACK COVER

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FUTURISM NOW! FUTURISM NOW! FUTURISM NOW! FUTURISM NOW! FUTURISM NOW! FUTURISM NOW!

FW20/21 | ISSUE #003

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FUTURISM NOW! FUTURISM NOW! FUTURISM NOW! FUTURISM NOW! FUTURISM NOW! FUTURISM NOW!

KIM GARDUNO PRESENTS

LI LO MI N, LA TE AS OC AR ,C NO TA YE CA IO OR EG GR A, ER RR CA S, LO VA NA IVA O, HIN SC MO

S OE SH

PHOTOGRAP

H Y & H A IR : K IM G A R D U N O S T Y L IN G : T IN M A K E U P : D A O P O R T IL L O VO STHEBAN E MODELS: CA M IL A S O N A T H A L IA , Y IA R A , H A N N AL O R Z A N O , - QUETA ROJAS

TBYTINO

TBYTINO

Erick Molina, Gregorio Cayetano, Guess, tbytino

TBYTINO

AGATHA RUIZ DE LA PRADA

Givenchy, Desigual, Studio Scappino, Rhoea

MOSC H I N O , IVAN AVAL OS , C A R RERA, GREG O R I O CAYE TANO, C A R O CASTE LAN , M I L OLI SH OES

Photo: Mariรกngeles Aguirre Edition: Paula Aguirre + Mariรกngeles Aguirre Model: Marcos Mangani Styling + MUA: Mariรกngeles Aguirre & Marcos Mangani Looks by Therapy Recycle and Exorcise / @therapy_berlin /

, , e v ve i l e lo . w n e e c w w a o l e l e p p e w o h e s T e p ing th e th th

We have become aware of ourselves and what and who surrounds us.

We made space in our homes and schedules.

Are we going back to fill the blank spaces with stuff?

The empty, the silent does not necessarily need to be filled.

It surely needs to be reinterpreted.

We made space, but maybe not for new.

It can be a space for a new view on who we already are, and who we can become.

These items are as usual unique pieces, season free, gender free and trends free. Aesthetically, the pieces are meant to enhance the uniqueness of the wearers, to empower them.

Garments have history, there is so much behind. The people who designed it, the people who made it, its users. In the current fashion system we are all part of a losing game.

Let's make it a win-win for people and planetOne of our premises is that a clothing piece should be a playground, a possibility to question its given form and function. A jacket can be a backpack, or a dress. A pant can be a top.

Sleeves on, or off, etc. We include this element in the pieces we rework in the form of multiple functionalities or many possible ways to wear.

It is our invitation to get hands on and be part of the creative process, which does not end in our studio.In these looks, the public will rediscover their favorite tHERAPY styles mixed and melted with new ideas and techniques.

Through tutorials and workshops we encourage people to be more creative with the clothes they already own.

To support our project, we sell the items we make on our online shop and via stockists in Berlin, Buenos Aires, Cordoba and Amsterdam. We are working to become a participative and non-formal educational project through art and fashion.

Selling upcycled products is not enough to have an impact towards changing a failed system. If everything goes well, in 2021 we will have our own space and we will turn into a physical space to work for and with our community.

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A NEW CIVILIZATION A NEW CIVILIZATION A NEW CIVILIZATION A NEW CIVILIZATION A NEW CIVILIZATION

PHOTOGRAPHY + 3D: ZHENZHEN CAO STYLING + MAKEUP: LU SIQI MODEL: NOGOFLANI FOFANA

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PHOTOGRAPHED BY ALBERTO PELAYO

VOR MAKEUP www.VORMAKEUP.com

LUNE ATMI DNIG HT

PHOTOGRAPHED BY PAVEL RADULESCU STYLING ELI VANGHELICI & RALUCA GHEORGHE MODEL ALEXANDRA CIOBANU AGENCY URBANIK MODELS

HAT + DRESS _ MONALIZABETH

HAT + DRESS _ MONALIZABETH

HAT + DRESS _ MONALIZABETH

My name is Eliz and I am a ballerina at Teatro alla Scala of Milan. In the world we are all living a terrible situation that brought us all together. As many other young artists, my collaboration with my theatre is made of seasonal/to production contracts under “freelancer� terms. So... Putting aside the obvious consequences of locking down the theaters to the artists like me which means no contract and also no assurance of any kind. Not for the present time and not even for the future , i found myself wondering why, our governments locked down as first thing the theaters and cinemas. We all agreed on the fact that we have to learn to live with the virus.

After a hard work done, we managed to open the theaters again in perfect safety and with all the rules for it. Theaters and cinemas are home of art, they make opera, film, music, dance.

They feed the population. They feed feelings, they teach empathy, sympathy, appreciation, respect and many othes values. I think we should do anything we can to leave them open or at least think twice before locking them down. I don’t want to bore you with the usual perspective of the finances and tell you the issues the theaters or the artists have cause of Covid19. But just ask a different question: Why the governments sacrifice the values so easily?

www.33magazine.com

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A NEW WORLD A NEW WORLD A NEW WORLD A NEW WORLD A NEW WORLD A NEW WORLD

33 MAGAZINE

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Ascen dant in Aquar ius www.33magazine.com

KATIE BY DAVID HENDRICK

33 MAGAZINE

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DETAILS

DON'T

DEFINE

A

PERSON

#33TA LKS

33 MAGAZINE

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#33TALKS WITH ARC LUO STUDIO

Describe yourself as a designer and how did you start?

I like to use a variety of media, such as music, videos, body and various experiments, not only use fashion language to express idea. My initial interest in clothing came from a Japanese cartoon called Sailor Moon. When I was young, I liked to play dress-up games on the computer. As I grew up, I discovered that the costumes of the characters were all inspired by big-name brand couture.

How do you manage the creativity process exactly?

There are many ways to design. Most of the time, the inspiration may come from a picture, a sentence, a story, and I will make secondary creations based on it, such as collages, videos, and then transformed into clothing design language. Sometimes I will start from a piece of fabric to find the most suitable garment structure and drape method based on it.

When did you land your first internship and what was the most valuable thing you learned from this experience?

My first internship was at 3.1philliplim.

Standardized production is the most valuable thing I learned from there.

What was your first job out of college, and how did you land that position?

I worked as an assistant designer at 3.1 philliplim, which was recommended by my classmate. At the very beginning, I still studied at school. I can only go there for one or two days each other, as I had to work on my graduation project. I am glad that I made it, so I have a job to do after the graduation, especially, considering how difficult it is to find one during the pandemic.

What was the biggest rookie mistake you made when just starting out?

I guess it would be the opportunity I have missed to work with others.

What’s the main impact of social media in fashion industry in both ways, fashion buying and brand marketing?

More opinions about clothing brand from various groups have been acquired through the social media.

Social media accelerates the bond among designers, brands, buyers and consumers.

What is your favorite and NON-favorite part about being part of the fashion industry?

I make the design that I like and get other’s recognition.

Waste of resources and no pay for interns.

Can you tell us how your brand makes a difference in fashion industry?

I don't want to deliberately make a distinctive brand. I hope that at certain moments I can make choices that don't follow the trend.

I always make choices between art and business.

What do you think is the biggest challenge for a fashion designer?

Keep the sustainable output with vigor.

Define sustainable concept nowadays in fashion industry in five words .

Inevitable

Anti-desire

Expensive

Beautiful

Popular

How do you think sustainable can play an important role in fashion industry?

Fashion is not necessity, clothes are.

They key of the Environmental protection is about the thoughts of consumers, while, the concept of environmental protection itself is conflicted with the promotion of consumption.

The essence of the sustainability is to lower people’s desire to buy.

There are many options for manufacturers to change, the application of the environment-friendly material, the energy saving of production and the adjustment of design version (for instance, zerowaste). They have to change, as the consumers change. What really need to adjust is what and how to advertise.

As a designer, I hope that my work is either a work of art, expressing a certain idea, or a classic item that can be kept in the closet for a long time.

How do you think sustainable can play an important role in fashion industry?

Fashion is not necessity, clothes are.

They key of the Environmental protection is about the thoughts of consumers, while, the concept of environmental protection itself is conflicted with the promotion of consumption.

The essence of the sustainability is to lower people’s desire to buy.

There are many options for manufacturers to change, the application of the environment-friendly material, the energy saving of production and the adjustment of design version (for instance, zerowaste). They have to change, as the consumers change. What really need to adjust is what and how to advertise.

As a designer, I hope that my work is either a work of art, expressing a certain idea, or a classic item that can be kept in the closet for a long time.

What do you think about the opportunity of selling your collections online nowadays?

People all get equitable opportunity and they can be seen by more people. Except for the vision, I would like to see more other feelings can be delivered by the internet, such as, how is the feeling to touch the clothes, the smell and temperature.

Imagine that you must write a letter yo your FUTURE SELF. What would you write?

The one who used to be simple will not disappear, remember to give him a call to hang out together.

Photography and styling by Whilemann, designer jewelry by Pilar Orenes, modeling by Marianna Di Palma

33 MAGAZINE

PRODUCTI ON: 3RDEYE SHOWROOM + KREEP AGENCY MODEL: CAROLE LHEUREUX FULL LOOK: SI MON CRACKER

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PHOTOGRAPHED BY OLGA JADAN

PHOTOGRAPHY AND ART DIRECTION: OLGA JADAN STYLE: HELGA DRESCHER MAKE UP & HAIR: NATASHA YONG MODEL: NYATONA MODELS AGENCY: LOOKMODELS

S I MMI L O N DO N

BL O U S E N AA N AA BRA AG E N T PRO VO C ATE U R

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PHOTOGRAPHED BY OLGA JADAN

AS O S

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PHOTOGRAPHED BY OLGA JADAN

SUIT UNIQUE 21 G L AS S E S J AS PE E R RI N G S H AN DMADE BE L T I S AW I T F I RS T

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BORDE RLESS + YOUNG PHOTOGRAPHED BY PAVEL RADULESCU MAKEUP: INA GROSU STYLING: ANGIEE JORJ MODEL: MARIA DAMIAN AGENCY: ATTITUDE MODELS SHOES: INSPIRING LUX

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MISC ONC EPT

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THE AW20 COLLECTION IS AN IRONY ABOUT CLASSIC, STEREOTYPICAL AND 'MUST-HAVE' CLOTHING STYLES, WHICH DZHUS HAVE INTERPRETED IN A MOST UNEXPECTED WAY, OFFERING RADICAL YET WEARABLE TRANSFORMATIONS OF THE GARMENTS. REFLECTING ON THE SHALLOW AND TRANSIENT NATURE OF TODAY’S FASHION, IRINA DZHUS AIMS TO DRAW ATTENTION TO THE LOWDOWN OF THE INDUSTRY AND COMES UP WITH STYLING STUNTS AS ALTERNATIVE SOLUTIONS AGAINST OVERCONSUMPTION. THE DESIGNER LOOKS LITERALLY BETWEEN THE LINES OF THE TRENDY SILHOUETTES, DECIPHERING THEIR STRUCTURE AND SUGGESTING MULTI-PURPOSE UPGRADES. THE COLLECTION INCLUDES A RECOGNISABLE OVERSIZED SHOPPER BAG WHICH CAN NOW BE WORN AS A SKIRT; A DOUBLE-SIDED ARCHITECTONIC PUFFER THAT FITS AS PERFECTLY UPSIDE DOWN AND FEATURES MULTIPLE MODIFICATIONS; AND SUSPENDER SHORTS TURNING INTO A SQUARE TOTE - TO NAME A FEW.

DZHUS IS A CONCEPTUAL WOMENSWEAR BRAND FOUNDED IN 2010 BY UKRAINIAN DESIGNER AND STYLIST IRINA DZHUS. AVANT-GARDE YET UTILITARIAN, DZHUS CLOTHING IS INTERNATIONALLY RECOGNISED BY ITS INNOVATIVE CUT AND MULTI-PURPOSE TRANSFORMATIONS. THE BRAND’S IDEOLOGY STANDS FOR CONSCIOUSNESS AND HUMANITY. ETHICALLY MANUFACTURED USING CRUELTY-FREE MATERIALS, ALL DZHUS PRODUCTS ARE VEGETARIAN- FRIENDLY. IN 2019, DZHUS HAS WON THE CRUELTY-FREE FASHION PRIZE AT BEST FASHION AWARDS THE MOST PRESTIGIOUS FASHION RATING IN UKRAINE. DZHUS’ CUSTOMER IS A NONCONFORMIST INTELLECTUAL IN SEARCH OF THE PERFECT SHELL FOR HER DISTINCTIVE INNER WORLD. SHORT-LISTED FOR THE INTERNATIONAL WOOLMARK PRIZE IN 2015, DZHUS PRESENT THEIR COLLECTIONS DURING UKRAINIAN AND PARIS FASHION WEEKS. DZHUS CLOTHING IS STOCKED AT CONCEPT STORES IN THE USA, JAPAN, UAE, SAUDI ARABIA, AUSTRALIA, AND SOLD ONLINE WORLDWIDE. THE BRAND HAS BEEN FEATURED IN THE TOP INTERNATIONAL PRESS: VOGUE, DAZED&CONFUSED, HARPER'S BAZAAR, MARIE CLAIRE, ELLE, ELLE DECORATION, COSMOPOLITAN, L’OFFICIEL, KALTBLUT, DEZEEN.COM AND MANY MORE.

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MISCONCEPT MISCONCEPT MISCONCEPT MISCONCEPT MISCONCEPT MISCONCEPT MISCONCEPT MISCONCEPT MISCONCEPT