THE INNOVATIVE ISSUE SPRING 2015 BLAKE CROSBY PHOTOGRAPHY MEAGAN HENRY i-DEAS, FASHION, MUSIC, PEOPLE
innovation
the innovative issue no. 331 I’m most innovative when... editor in chief alicia gonzalez.... drinking red wine and reading a great book creative director morgen kohn... I’m down to the wire
advertising advertising director nicky gray... I’m in the company of inspiring people
senior account manager daniel fitzgerald... I’m listening to music
fashion director oliver selby... I’m outside being active in nature
producer mindi dowst... I’m traveling and
exploring the world
deputy editor julia alcantara... I’m
account manager james digby... I’m asleep
consultant fashion director edward enninful
passionate about what I’m doing
casting director angus munro
fashion director sarah richardson... I’m
fashion features editors james ander-
inspired
head of video content
danielle-bennison-brown... I have time, space and most importantly can talk through ideas with others
fashion editor jack borkett... I’m dreaming fashion editor at large julia sarr-jamois...
having lols
designer laura liggins... senior digital editor dean kissick... about 13 years ago!
head of social media steve salter... I’m in
the bath surrounded by bubbles
assistant editor felicity kinsella... the night before a deadline music editor milly mcmahon... listening
to music!
staff writer francesca dunn... I’m dreaming
video commissioner jack robinson... I’m
not trying
son... anders christian madsen... when I have a big budget to work with
features editor paul flynn, jeremy abbott, hanna hanra
music editor at large hattie collins... I’m
in the bath
culture correspondent princess julia... when I’ve got loads of things to do
film editor tom seymour... after a couple of negronis...
paris editor sarah hay... I’ve just woken up or meditated ommmm
arts editor kath grayson contributing editor caryn franklin... when
my heart is open
beauty director pat mcgrath contributing fashion editors marie chaix, jane how, oliver rizzo, panos yiapanis, caroline newell
contributing beauty editor
contributors jeremy tan, nikki krecicki, blake crosby, claudia franz, patricia almaral, ninya spellman, mckenzie richardson, meagan henry, sayaka matsushita, elaine lui, ross satterfield, mi dupz, kathy casey, hope aiken, becca morgan, benoit bethume, cass bird, richard burbridge, richard bush, todd cole, petra collins, sean cunningham, daniele + iango, xdelphine danhier, kevin davies, quentin de briey, colin dodgson, nickey dorey, hans fiver, val garland, boo george, guido, marius w hansen, george harvey, jamie hawkesworth, jeff henrikson, hannes hetta, adam howe, benjamin alexander huseby, daniel jackson, mark jacobs, mikael jansson, kayt jones, matt jones, quentin jones, matthews josephs, kacper kasprzyk, cathy kasterine, hanna kelifa, steven klein, nick knight, paola kudaki, erika kurihara, mark lebon, tyrone lebon, thomas lohr, dan martensen, vinoodh, matadin, craig mcdean, ryan mcginley, alasdair mclellan, dennis morris, angelo pennetaa, menuela, pavesi, piczo, josh olins, max pearmain, walter pfeiffer, peter phillips, terry richardson, olivia rose, paolo roversi, karim sadli, mitchell sams, daniel sannwald, collier schorr, jeremy scott, venetia scott,w illiam selden, nigel shafran, clare shilland, wing shyam, david sims, ami sioux, mario sorrenti, vanina sorrenti, bruno staub, matthew stone, emma summerton, solve sundsbo, takay, tesh, juergen teller, karl templer, sean thomas, wolfgang tillmans, scott trindle, amy troost, max vadukul, willy vanderperre, inez van lamsweerde, ellen von unwerth, melanie ward, paul wetherell, patti wilson, zach wolfe
eugene souleiman
producer james lowrey... my eyes are closed
associate producer declan higgins... I’m
running late
design assistant rebecca boyd-wallis... it’s the middle of the night
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i-D US managing director diana good...when all my technology is dead! 99 north 10th street,s uite 20, brooklyn, ny 11211 tel +718 599 3101 fax +718 425 0337 usadvertising@i-d.co
italian advertising representative
angelo careddu, oberon media. vioa andegari 18, 20121 milan tel +39 02 874543 fax +39 02 876458
french advertising representative
magali riboud, studio riboiud, 130 rue de courcelles 75017 paris tel +33 142 563 336 fax +33 142 563 331
production and colour management rhapsodymedia.co.uk
printing
the artisanpress ltd artisanpress.co.uk
finance director neeta shah vice media group
andrew creighton (president) shane smith (ceo) eddy moretti (cco) matt elek (md) rick waterlpw (coo)
founder terry jones original mum tricia jones
contributors Nikki Krecicki
Nikki Krecicki is a fashion and portrait photographer who discovered her passion for the fashion industry at an early age. She currently attends the Savannah College of Art & Design in pursuit of a BFA in Photography. Her work illustrates dreamy narratives with cultural nuances inspired by her global explorations. Nikki’s goal is to further capture the melancholic femininity between adolescence and adulthood, whether it be in her personal, editorial, or commercial work. nikkikrecickiphotography.com
Jeremy Tan
Jeremy Tan was born on Sep. 12th, 1989 and was raised in Singapore but is based in Savannah, Georgia. He’s currently a senior at the Savannah College of Art and Design studying Photography. His life motto is “I am a human first and a photographer second.” jeremytan.net
Ross Satterfield
Ross Satterfield pushes the boundaries of textiles. This creative spirit caught iD’s eye with his conceptual, pop pieces. Like his icon, Andy Warhol, Satterfield’s work often comments on fame and the negative effects fame can have on a person. Creating his pieces takes a lot of research. This constant exploration impacts his designs constantly, keeping his aesthetic relevant and edgy. rosssatterfield.com
Elaina Lui
Elaine Lui is a former Savannah College of Art and Design Fashion Design student. Her work is cutting edge with a streetwear vibe. She was recently named one of the “fashion designers of the future” by Glamour magazine. Elaine’s fascinated by technology and the future, and many of her pieces have working LEDs within them. eelui.com
Claudia Franz
Claudia Franz is a business administrator by day and a makeup artist by night. Originally from Miami, FL, Claudia enjoys using the body as a canvas for applying the latest makeup trends. Her techniques are cutting edge and the best in the industry. Being in the moment is when she feels most innovative. facebook.com/claudiasmake.upcorner
Kat Casey
Kat Casey is an artist who works in acrylics and mixed media on canvas, paper and wood panels. Her current art explores the idea of impermanence in life and relationships through layering and scarring of the surface. At a distance, her artworks are quiet and minimalist, but upon closer observation, those themes are revealed through deeper explorations of texture, dimension, color and often hidden words. kathycaseyart.net
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insi-De the innovative issue
innovation is the greatest form of rebellion
features + fashion
49 what a novel idea starring patricia amaral photography nikki krecicki fashion director zach selby 68
77 let there be light
fashion’s bright light
photography jeremy tan fashion director alicia gonzalez
cough medicine
starring patricia amaral and ninya spellman
91 like a spoonful of sugar after you take
101 innovation occurs after a process
photography nikki krecicki fashion director morgen kohn
115 3D printing: fashion’s future or the starring sayaka matsushita
124 the 70’s revisited,
end of fashion? 109 the new kid on the ab-ex block
revived and revamped starring meagan henr photography blake crosby fashion director mindi dowst
132
life is not a solo act starring mckenzie richardson photography blake crosby fashion director julia alcantara
138 contributors
i-DEAS, FASHION, MUSIC, PEOPLE
innovation
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MI JUMPSUIT AND JEFFREY CAMPBELL SHOES
spring 2015 the innovative issue
innovation distinguishes between a leader and a follower PHOTOGRAPHY BY NIKKI KRECICKI NY FASHION DIRECTOR JULIA ALCANTARA
Hair Morgen Kohn and Alicia Gonzalez using Bumble and Bumble. Make-up Morgen Kohn for TopShop Beauty. Set Design Piers Hanmer Nail technician Bernadette Thompson. Photography assistance Antoni Cuifo, Kevin Vast, Ellen Fedors. Digital Technician Edouard Malfettes. Styling assistance Morgen Kohn, Alicia Gonzalez, Mindi Dowst and Julia Alcantara. Hair assistance Lucas Wilson. Make-up assistance Jennifer Myles. Set assistance Louis Sarowsky, Harry Smith. Model Sayaka Matsushita at IMG. 43 i-D MAGAZINE
spring 2015 the innovative issue Write it. Snap it. Blog it. Tweet it. Share it. Spring has sprung, and it’s time to get innovative! In 2015 we’re consuming images, ideas and technology faster than ever before. So, how do you stay ahead in a world that is ever-changing? In The Innovative Issue, we explore the challenges current designers are faced with when it’s time for them to “get innovative.” Elaine Lui is more than just a pretty Asian face. Her designs are the definition of innovation! Her one-on-one interview teaches i-D that her innovative spirit is born through creativity and not by chance. Her latest designs incorporate LED light in a striking way. Speaking of light, 2015 has been hailed the year of light, so i-D explored how light is influencing everything from the technology we use to the food we consume. Watch out, everyone, it’s time to “let the forces be with you” because technology is taking over the world! At least, the i-D world! Check out how photographer Jeremy Tan teaches i-D the way to “Let There Be Light” in our blacklight-inspired shoot featuring nude beauties and tech-inspired styling. We also catch up with Kat Casey who gives i-D a lesson in modern art painting. Modernity is another form of innovation and Kat’s not just re-doing old ideas, she’s putting her signature touch on everything she creates. We also hang out with the new generation of designers and models rocking our world while wearing designs by Mi Dupz, Zach Selby, Hope Aiken and many more f*cking awesome brands. Dark themes take on bright context with art from textile designer Ross Satterfield who introduces i-D to his version of pop. Despite our niche, people are constantly pushing to break the mold through innovative concepts. Designers, engineers and fashion gurus alike are constantly searching for the “next big thing”, and in The Innovative Issue, we discuss what that “thing” is. Innovation is contagious. Pass it on!
ALICIA GONZALEZ, EDITOR IN CHIEF
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what a novel idea PHOTOGRAPHY BY NIKKI KRECICKI NY FASHION DIRECTOR OLIVER SELBY Hair Morgen Kohn and Alicia Gonzalez using Bumble and Bumble. Make-up Nikki Krecicki for Sephora Beauty. Set Design Piers Hanmer Nail technician Bernadette Thompson. Photography assistance Antoni Cuifo, Kevin Vast, Ellen Fedors. Digital Technician Edouard Malfettes. Styling assistance Morgen Kohn, Alicia Gonzalez, and Oliver Selby. Hair assistance Lucas Wilson. Make-up assistance Jennifer Myles. Set assistance Louis Sarowsky, Harry Smith. Model Patricia Almaral at Ford.. 49 i-D MAGAZINE
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TEXT MORGEN KOHN
be ahead of the trend What are we doing? Where are we going? Who does is effect? These are i-D’s thoughts on the environment, the luxe-sport trend, and their likely collision. Be ahead of the trend because it’s coming in new, innovative ways.
As a huge fan of the quickly-stagnating luxe sport trend, I, along with the rest of the i-D community, am wondering where the trend is heading. The news has made clear the growing urgency for people to live environmentally-conscious lives, but we have questioned how that trend would mesh with fashion. The idea of exclusively wearing hemp clothing is not so chic, so is there a possibility that fashion will ever adopt an environmentally-friendly ideal? What company, brand, designer is innovative enough to make the trend next-level chic? Cities such as San Francisco are ahead of the game when it comes to “green” living. Not only are the streets filled with Teslas, which are completely electric luxury sports cars, but city-wide activities like Bike-to-Work Day promote physical activity. Teslas show that beauty and luxury don’t have to be compromised to be eco-friendly, and forward-thinking companies like Google and Apple help advertise for active, environmentally-friendly forms of transit by competing in bike-to-work days as a company.
take part in the trend in whatever way they can. This participation can be assured by bringing the impacts of the decaying environment on many, many people to the forefront. Make viewers question themselves. “What are we doing?” they will think. “Who is effected by my decisions? How can I consume less?” Give the consumers the answer. It is this: get out, get active, consume less, make less of an impact on the earth simply by walking or riding a bike. With a new enthusiam for getting out of the home, consumers will want a more active wardrobe. Turning to luxe sport, consumers will want a version of this trend that supports their environmentally conscious lifestyle. What a novel idea? Let’s use one of the most powerful communicators – fashion – to promote a social ideal. In theory, it sounds lovely. In reality, it is not so easy. Many deatils of clothing production factor into its sustainability. Processes of dyeing and coating are not always “green.” Color and protection is not something most consumers are willing to give up. That is where the notion of innovation comes in.
In case the notion that style and luxury can coexist with the words environment and friendly are not enough, perhaps a serious issue will push the environment into the forefront of fashion. There is a new sub-culture growing globally, and we’re not talking about genderless dressing. According to the International Red Cross, there are more environmental refugees than political refugees fleeing from war and other conflicts at this time. These immigrants are known as climate refugees. A major issue such as people having to leave their homes due to the rise in ocean waters is enough to make i-D believe that fashion will find a place for environmental issues. The fashion world has proven and time again that it will support a cause. The RED campaign for GAP raised money and awareness for AIDS, Tom’s shoes donates a pair of shoes to someone in need for every pair bought, and FEED bags that pay for a child’s entire year of school have been trendy at one point in time. Since luxe sport is a trend that needs to move forward, a fresh take that will catch on is the eco-active trend. Regardless of whether the clothing itself is fully organic or environmentally-friendly, people will buy pieces anyway if they know the money will help fight for the cause. Companies need to accept their social responsibility, and acknowledge that adopting the trend will bring in business. People will want to
Some companies have already begun this process of innovation. Forward-thinking brands are finding ways to create less environmentally harmful garments. G-Star RAW has a new line that is actually reversing some of the negative effects humans have had on the environment, particularly the oceans. Taking plastic from the world’s ocens, they are transforming it into innovative denim and apparel. The question is this: will the fashion industry truly ever accept environmentally-conscious ideas? i-D thinks so. The world of fashion is ever-moving, actively listening, and ready for change. What will take the sporty, ready-to-wear trend to the next level? An innovative response to the social climate and an acceptance of support in favor of the environment. What are we doing? We are harming the environment with our wasteful lifestyles. Where are we going? We are moving towards a more aware consumer profile, and companies are responding, meeting that consumer’s needs. Who does is effect? A positive acceptance of the eco-active trend in all aspects of life could effect the entire world.
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style is a way to say who you are without having to speak
TEXT ALICIA GONZALEZ
fashion’s bright light Innovation is on the tongue of every writer this month at i-D but I’m most excited to introduce you to Elaine Lui. She’s a recent graduate from the Savannah College of Art and Design and her aesthetic is what recently gained her the selection to join the CFDA+ 2014 recipient’s roster. SCAD, as they call it, is where Elaine learned to put her own personal twist on innovation. Her senior collection electrified us with its light-up abilities and LED inspired fabric. Not to mention, her modern take on menswear brings an intriguing style into a time where menswear is really starting to take off. We at i-D always have our eyes on emerging designers because we feel their voices have something extra special to say, and Elaine is no exception. I was fortunate enough to spend the afternoon shadowing her day-to-day life, which allowed me to really embrace her qualities that make her such a cutting-edge creator. I have to say that Elaine is one of the hardest working people I have met. From her double internships to her extra freelance projects she tackles on the side, her work ethic is definitely what has gotten her to this point today. As they say “showing up is half the battle,” and for Elaine, she doesn’t just show up, she’s there an hour early. Take a look into the mind of Elaine Lui, the next big electrifying thing.
When did your passion for fashion design begin? I’ve always had a strong interest in art and design but more specifically since I was a little kid. I particularly remember my passion for it beginning in high school. Does your culture play an influence in your design aesthetic? Definitely! I’ve always found historical Chinese costumes very inspiring. What are you dreams and goals for yourself ? My ultimate goal is to launch a lifestyle fashion brand where I want to sell items from clothing, art collaborations, and accessories to furniture. Therefore, my customers can enjoy my designs not only in fashion but also within a more lifestyle range of products. What are you currently working on and where are you working? Currently, I am interning for Assembly New York and Hood By Air in New York City. At Assembly New York I help with menswear and womenswear apparel design. At Hood By Air I’m currently helping their graphic design department. During my spare time I also do freelance design projects. What advice would you give to students who are looking to break into the fashion industry? I would say to try and do several internships before you graduate. The more experience you have the more you will know what path you want to go down in your fashion career. Your designs from your recent “It’s On” collection are very innovative, where would you say you find your inspiration for innovation? “It’s On” is my senior thesis collection that drew inspiration from the native Hong Kong night scene. I used fabrics with prints of LED light strips as well as light-up LED details built into the clothes.
Our whole issue this month is on innovation and breaking the norm, who’s your favorite designer that does this for you and why? My favorite designer is Juun.J, he is a Korean designer and is known for mixing classic tailored menswear with deconstruction and reconstruction. Hence, Juun.J inspired me from a traditional way of thinking. Either in art or fashion, we can always use our imagination to create an interesting twist that brings something new to design. Do you find it hard to continue to be innovative and edgy without replicating what others have done? To some extent, I would say yes. Sometimes it’s hard to be innovative because in reality we have to think about sales and marketing to target our customers. However, by observing and researching what others have done and identifying what you don’t like from them can definitely inspire you to design something better. In other words, by researching what others have done you can create something that is more “you.” What’s been the proudest moment of your career so far? Recently, I have been selected to join the roster of CFDA+ 2014 recipients. This selection means that my design ability has been recognized by the CFDA and that’s very exciting! Where do you see yourself in the next 10 years? In the next 10 years, I see myself creating and owning my own label as well as lifestyle fashion concept stores around the world. Lastly, leave us with one of your favorite quotes. “Style is a way to say who you are without having to speak”
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let there be light PHOTOGRAPHY BY JEREMY TAN NY FASHION DIRECTOR ALICIA GONZALEZ Hair Morgen Kohn and Alicia Gonzalez using Bumble and Bumble. Make-up Claudia Franz for TopShop Beauty. Set Design Piers Hanmer Nail technician Bernadette Thompson. Photography assistance Antoni Cuifo, Kevin Vast, Ellen Fedors. Digital Technician Edouard Malfettes. Styling assistance Morgen Kohn, Alicia Gonzalez, Mindi Dowst, Oliver Selby and Julia Alcantara. Hair assistance Lucas Wilson. Make-up assistance Jennifer Myles. Set assistance Louis Sarowsky, Harry Smith. Model Patricia Almaral at Ford and Ninya Spellman at IMG.. 77 i-D MAGAZINE
TEXT MINDI DOWST
just gimme the light. 2015 has been proclaimed “The Year of Light.” The coolest technologies are finding their innovation from light, hold on to your seats as we explore the lastest light inspired techno gadgets. What will light innovate you to do? Harking the once popular lyrics of hip-hop artist, Sean Paul, “Just gimme the light and pass the dro” is the new concept for 2015—well, minus the dro. On a serious note, Unesco has proclaimed 2015 as the International Year of Light. Apparently, light-based, scientific, technological developments are able to promote a sustainable global development. As innovators and creators at i-D, we took it upon ourselves to experiment with light by trying something we’ve never done before. With light being our driving force, we thought it would be pretty stellar to do a black light inspired photo shoot. So, we hooked up with the coolest photographer we know, Jeremy Tan, and two of the most avant-garde models we could find to bare their skin in a whole new light. Technology is quickly transforming our world by allowing for the most innovative designs—and we’re not just talking fashion. We’re looking into a number of different outlets like new technologies in smart phones, transportation, textiles, horticulture, and art installations. In a rapidly evolving world, these new technologies will change the way we view light in every aspect. Let’s face it— it seems like every day Apple, Samsung and other cell phone manufacturers release the next best cell phone with the technology that you just have to have. And, they can continue to do this because, as consumers, we go crazy for new ideas that we can show off to our friends and colleagues. Thought the iPhone 6 had the most innovative technology? Think again. Word on the street is that smartphone companies are using light technology to develop holographic displays. According to Business Insider, this technology takes into account how the eye views and processes light, and, once fully developed, will use tiny grooves in the backlight of the LED screen that will bounce light back in different directions to the viewer’s eye. Similar to normal digital displays, this process uses a very thin screen to take the light from the backlight, which is then directed through the color filters, polarizes and then shutters to produce the holographic image. The more grooves in the display, the more directions the holograms can be viewed in. Though I’m sure every cell phone company wants to jump on this holographic technology, WGSN claims that only one company came close to using it. California based company, Ostendo Technologies, has come the closest in developing the process by inserting a chip into smartphones that uses light beams across millions of pixels to regulate the color, brightness and angles, producing the holographic images. Until an actual holographic phone is released, consumers can settle for a phone made by a Chinese brand, Takee, which claims they
have produced the first holographic phone. Realistically, this phone only produces 3D effects and does not actually portray holographic displays. Cell phones are also progressing with light technology by the way it affects sleep patterns. Currently under development, new technology will change the light settings in your phone to reflect the time of day, so the light won’t interrupt your sleep patterns. Examples of this process include the Flux app, which changes the lighting on your phone to match the time of day, and Aura (created by human wellbeing company, Withings), which combines a bedside device, phone app and sleep sensor to aid in proper sleep patterns. Aura uses red light to lull the user to sleep and blue light to awaken its viewer. Like Aura, the Happiness Blanket also uses light technology to aid in human wellbeing. Created by British Airways, the blanket helps tell when a passenger is stressed or calm by using red and blue lights. Much like a mood ring, the blanket uses physiological signals in your body to change colors—only this time, you’ll scientifically know if you’re best friend is mad at you. A Bluetooth headband measures your mood through tiny electrical fluctuations in the neurons of your brain. This information is sent through fiber optic lights woven into the blanket. In addition, light technology is also affecting different forms of transportation. By using various forms of LED lights, luxury carmakers are changing the appeal of their vehicles, making them even more desirable to consumers. Not only are these new lights functional by illuminating the roads at night, they are also a fashion statement, making luxury cars and their owners appear edgier, sexier and more desirable. In addition to being fashionable, they are also energy and fuel efficient. Added bonus—they produce no heat. The next level in LED light technology is Organic LED (OLED). These new lights are extremely thin, making them easy to transform into multiple shapes to fit each car’s aesthetic. In Europe, OLED lights are currently used for the interior of models like Audi, BMW and Mercedes Benz. The Consumer Electronics Association (CEA) said that in a few years, OLEDs are expected to be seen in the interior of mainstream vehicles and, eventually, may even be used for exterior lighting on low production cars. The next step in the advancement of vehicular light technology is the use of lasers—no, I’m not talking about the lasers used in festivals like Electric Daisy Carnival. These are actual lasers, the kind that can illuminate a road about twice as far as normal LED lights. According to CE.org, they are much smaller than other lights, making them easier to control and almost 1,000 times brighter than your typical LED light. Strategy Analytics said
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the reason the lasers work is because, “The light generated by lasers is monochromatic, which brings light waves to the same wavelength and at a constant phase difference”. Laser lights are not as energy efficient as LED’s, but they are extremely more stylish. If vehicular laser beams don’t make you a lady’s man, you might be SOL. Although regular LED lights have become more prominent in cars like Audis, these new laser lights will only be seen on luxury cars for the time being, seeing that they are up to ten times more expensive than standard car lights. If you think laser lights are in your car’s future, you better work your ass off for that high salary job, because unless you can afford a car like the Audi R18 Lemans racing car, or the BMW i8 electric sports car, the only lasers you’re going to enjoy will be dancing to the techno beats of Avicii.
called “One Beat One Tree” using light technology at the 2015 Climate Conference in Paris. This installation will allow viewers a chance to really dive into the artwork and participate in its success by allowing them to create a digital tree that will grow from their own heartbeat. The rhythms of a person’s heart will be channeled through a smart phone and then, with the use of light, the images will be portrayed on large monuments in Paris like the Eiffel Tower. The artist then envisioned that the actual tree created would be planted in areas such as Europe, Asia, Africa and Latin America.
Mestaoui expressed his idea by saying, “Each citizen is a co-creator of our collective future beyond individualism”. Another art installation that uses light technology is called “Light Echoes” and was created by artists Aaron Koblin and The textile industry has also seen progress with advancements in Ben Tricklebank. This piece captures the true essence of light luminosity. Phillips Lighting Corporation has partnered with and speed by using lasers to broadcast traces of light onto Kvadrat Soft Cells to incorporate LED lights into textiles, moving trains. The idea is to portray light and speed to show its resulting in the most innovative lighting experience. These lights importance on earth and matter. will turn any space into the perfect setting for any occasion, from your doctor’s office’s waiting room to the romantic intimacy of As you can see, light is completely transforming life as we know your favorite restaurant. Kvadrat uses soft and colorful textiles it today. With future advancements we will no longer think of placed on lighted panels to introduce a new ambience that will light solely as a means to light our magazines at night, but in a leave any viewer speechless. These panels are also designed for deeper sense. Light will soon be seen as a source to solving sound absorption and can be used in any musical space. Their future issues and developing new ideas. Without light we versatility allows them to be made into any shape or size, making would not be able to see and experience everything that life it easy to turn any space into the ultimate design experience—to has to offer. This is why we felt that projecting these images of infinity and beyond! light onto the body was essential to portray our message that light is a part of everything we do, see and feel. The fashion industry has also started using light in textiles. Check out Elaine Lui’s article, Fashion’s Bright Light, to see this in action. An incredible experience can be achieved by sewing the light source directly into the fabric. Now, you’re probably thinking why the hell you’d want to wear a t-shirt with a light bulb sewn into it, am I right? Well, actually that is far from the case. Fabrics such as Lumalive, created by Phillips, have made this technology completely comfortable for its consumer. This fabric uses tiny LED lights on one layer while a second layer is placed on top. The second layer allows the fabric to be magnetized, making the lights appear larger than they are. Since fewer lights are used, this fabric maintains its soft and flexible properties while still being enjoyable to wear. Like light, horticulture plays a vital role in our everyday life. Without it we would not be able to produce the amount of vegetables and fruits necessary to sustain human life. Today, light technology is making it possible to better serve the supply and demand for these crops. New technology by Phillips called “light recipes” allows us to adjust the amount of light used on crops in an effort to increase production rates. Sudiac, a company that focuses on greenhouse paint, has created OptiMix which filters the amount of heat released onto the crops. The right amount of heat and light is extremely important when it comes to the success of the crops. Also, new technology by the Stockbridge Technology center has made it possible to speed up the process of crops, particularly strawberries, by using artificial lighting. This artificial lighting uses red and blue hued LEDs to produce strawberries all year round, producing them in conjunction with the right temperatures. Although the current focus is strawberries, the goal is to eventually be able to use this type of lighting to produce any type of crop. In regards to art installations, light has proven to be a main resource to create the kind of art that makes your jaw drop. Naziha Mestaoui, a Belgian artist, will portray his work of art
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like a spoonful of sugar after you take cough medicine 91 i-D MAGAZINE
TEXT MORGEN KOHN
you gotta be choking me Ross Satterfield is more than a textile designer. He’s a visionary, a rule breaker, a trend-starter, a fashion aficionado, and he toys with the line between what viewers consider tolerable and intolerable when viewing his works. As a fashion junkie, Ross stays ahead of the styles. His foresight for what will be happening in fashion influences his print designs keeping him relevant. Always the first to tire of pervasive trend, Ross is always looking for what is next and creating his version of it in his own signature style. It is no doubt that Ross’s upbringing in the conservative town of Greenville, SC has greatly impacted his work. Now, a native New Yorker, Ross is in his element. Themes not accepted by the locals of his hometown are better received in a city as vibrant and culturally diverse as NYC. Colorful, playful, dynamic are words that might come to mind when viewing the surface of one of Satterfield’s works or the man himself. With colored pants that scream, “Crayola realness” and platform timberland boots, Ross presents himself in a style seamless with his work. It is not until, one looks closer, examines his work, the meaning, and the artist’s interests that the darker connotation is revealed. A graduate of Savannah College of Art and Design, Ross had the opportunity to explore all of his interests while in school. Quickly honing in on the fact that his aesthetic differed from his fibers schoolmates, Ross embraced his uniqueness. Always one to steer clear of subjects too personal to him, Ross obsesses over pop-culture. He may not know everything there is to know about pre-twentieth-century art, but he certainly knows Whitney Houston’s life story. He can spout off countless facts on celebrities, their accomplishments, their failures, their disposition. It is the disposition of a celebrity that perhaps interests him most. Though fame is often seen as the most glamorous of achievements, Ross is interested in the negative effects fame has on people. He illustrates these negative impacts through different factors including a glitch-like effect. He has taken this idea of putting a colorful twist on something negative or taboo into his other work as well. Ross’s series entitled, “Hard Candy,” features a male in leather and bondage, wearing a ball-gag, placed in a jawbreaker-like print. Satterfield draws playful lines between the cult classic film, “Jawbreaker,” vintage eighties prints, and his dynamic design while highlighting a part of society that is seen as taboo by many people. Layered works of art by an equally layered individual, Ross doesn’t like to tell people his full meaning behind his pieces. He prefers that viewers create their own meaning, draw their own conclusions. If they don’t get it, they don’t get it. That’s on them.
Ross, what is the biggest influence on your work? It really depends on what I’m into at the time, but usually, it boils down to psychology and pop culture. Who inspires or interests you, and how does that translate into your work? Andy Warhol is one of my biggest influences. His concept of pop and views on celebrity really shaped how I look at things. As far as fashion goes, I’m really inspired by the work of Gianni Versace, Alexander McQueen, Andre Courreges, and Gareth Pugh. The performance art of Leigh Bowery also inspires me. Where do you think fashion is going, and how do you see your aesthetic adapting? I think fashion is about to make a major shift. We are going back to the age of supermodels, and I think fashion is going to reflect that era in a new way. I am always experimenting with new materials and concepts, so I think that will keep my aesthetic relevant. I keep up with what everyone else in the design world is doing as well, so I know that I’m up to par and not repeating what anyone else has done. Why is it so important to you to have a sense of play in your work? I like to talk about dark and creepy things. I find certain things funny that most other people do not. I like to address these issues, but I think a sense of play makes it easier for the audience to take in–like a spoonful of sugar after you take cough medicine. What was the main idea behind your “Hard Candy” series? The main idea was to make a connection between something sweet and something sexual. I have used s&m as inspiration for lots of work I have done. I think it’s because I find there’s something so innocent and playful about something that people find very taboo and scary. If you take away all of the seedy environments and black leather, you’re left with some props and pent-up aggression. How do you decide how far to “push the limit” within your design work? Is there such a thing as too far? I definitely think there is such a thing as too far, but it really depends on the context of the work. I usually edit an original idea. I take away as much as I can without losing the idea. How did your upbringing impact you as a designer? I grew up in such a southern, conservative town, and I think my rebellious nature as a young teen made me want to think outside of the box, against the grain. How do you keep on innovating, what keeps you going? I haven’t had my moment yet. I’m like Casper, I have unfinished business to do! Can you leave me with a final quote? “... And don’t underestimate the importance of body language. HAH!” -Ursula
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i think fashion will not go forward in one direction but branch out like a tree PHOTOGRAPHY BY NIKKI KRECICKI NY FASHION DIRECTOR MORGEN KOHN Hair Morgen Kohn and Alicia Gonzalez using Bumble and Bumble. Make-up Morgen Kohn for TopShop Beauty. Set Design Piers Hanmer Nail technician Bernadette Thompson. Photography assistance Antoni Cuifo, Kevin Vast, Ellen Fedors. Digital Technician Edouard Malfettes. Styling assistance Morgen Kohn, Alicia Gonzalez, Mindi Dowst and Julia Alcantara. Hair assistance Lucas Wilson. Make-up assistance Jennifer Myles. Set assistance Louis Sarowsky, Harry Smith. Model Sayaka Matsushita at IMG. 97 i-D MAGAZINE
innovation occurs after a process Although she is young in age, Mi Dupz (21) has accomplished much beyond her years in the fashion industry. Since High School, her love for fashion has grown tremendously, and winning awards from the CFDA and interning at top design houses including Alexander Wang hasn’t hurt either. Mi is a forward thinker– describing her aesthetic as unpredictable, clean, effortless, naïve, and whimsical, qualities of which drew i-D to Mi initially. Mi is definitely a designer to watch for in the near future of fashion. Growing up in Vietnam, Mi Dupz always wanted to be a visual artist but doubted if she would be good enough. She chose fashion design during her senior year in high school. She grew up thinking, “Que sera sera”, whatever will be will be. This is something her mom would tell her when she was younger, ensuring that she had a place in the grand world. This thought process has followed her into her schooling for fashion design. She currently attends Savannah College of Art and Design as a senior. As Mi grew up in Vietnam, the country was developing rapidly– new schools of thought entered, and even the landscape was changing every day. Therefore, she is always ready for change. She states “The mindset truly benefits me in my fashion design study.” Mi has a long list of inspirations. Designers including Rei Kawakubo, Yohji Yamamoto, Issey Miyake, Martin Margiela, Jil Sander, and Raf Simons all inspire her in some way. One of her favorites is Miuccia Prada, whose designs portray the idea of “ugly chic”. The clothes refuse to conform to ideal beauty or sex appeal. Artists that Mi often pulls inspiration from include Gerhard Richter, Francis Bacon and many more. Her ultimate goal is to start a duo brand with her friend; however, she would like to throw herself into the industry for a couple of years to learn and grow as an aspiring designer first. She interned at Alexander Wang this past summer, loved the environment, and would be happy to go back if she had the opportunity. Her other dream job is to be the lead designer at a fashion house such as Celine, Sacai, Simone Rocha, Christopher Kane or JW Anderson. When asked how Mi feels fashion will change in the near future she tells us, “I think fashion will not go forward in one direction but branch out like a tree. Many new aesthetics have emerged based on the establishment of new sub-cultures. Athletic and street wear will continuously have a huge impact on high fashion because the functionality increasingly makes sense with a fast-paced lifestyle.” Now, more than ever, Mi has confidence and a clear vision about her fashion. Her reasoning is this, “The CFDA scholarship that I received recently has been a huge motivation for me. It comforts me to think that I would be able to find my niche in this giant industry.” TEXT OLIVER SELBY
new aesthetics have emerged based on the establishment of new sub-cultures
you can only put your own spin on the wheel
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Dig Deep “Hot” Series
West 10th Street “Graffiti Series”
TEXT MORGEN KOHN
the new kid on the ab-ex block.
Combo no.7: China Town, “Graffiti” Series
Kat Casey might be too modest to consider herself an innovator, but i-D sure isn’t. Casey is an abstract artist based in Savannah, Georgia whose work could sit nicely beside that of many mid 20th century abstract expressionist painters. Casey’s pieces are deeply layered, beautiful, imperfect. In fact, the ideal that Kat embraces is one of imperfection. This acceptance of the flawed, the broken, is something many artists struggle to come to peace with, which makes Casey an innovator in her own right. I visited Kat in her cozy Savannah studio, and I was blown away by the amount of color, texture, and life within the space. The gallery space displayed several different series, and each one has a clear mood. Her “Zen” series is peaceful, cooler, but marked and textural. The “Graffiti” series screams a different mood altogether. She told me that she was inspired to start this series upon her trip to NYC. The crowds, the noise, the lack of personal space most New Yorkers are all too used to, can clearly be seen in her newest pieces. The layered aspect to Kat’s paintings is also cathartic. Kat often works words into her layers. Sometimes these words are kept towards the surface for the viewer to see, and sometimes these words are covered altogether. Kat Casey’s works function as a diary or journal, a personal vomit of creativity onto the canvas that us viewers are lucky enough to see. What inspires you/ how do you decide that a theme is “good enough” to give you enough inspiration to produce so many works? Themes and inspiration present themselves. I really have no control over where my work goes in this regard. It always just happens how it happens. I could be inspired by a gallery show, hearing from an old friend or seeing a live band.
How did your process change from the “Hot” series to the “Graffiti” series? It’s not just that a process changed from one series to another; I also explored several series in between. Like all of my series, “Graffiti” is but one direction for me as I generally have several I explore at once. As for “Hot” though, most of that series (as well as other series) the words I use to get started on a piece are mostly unseen when the painting is finished. One painting that I made while creating the Hot series, called “Fuck Cancer” was created while someone close to me was dying of the disease. It was a really tough moment, and the words along with the anger and frustration behind them just found their way to the canvas. Not just with that piece either; I find it’s extremely cathartic for me to put my emotions out there on the canvas. Throughout, the words are still somewhat visible. I’ve revisited the style from time to time using the word shapes to dictate the elements in my painting. With “Graffiti” I really pushed the words to the surface. They were also inspired by a recent trip to NYC and the street art I saw there as well as the chance to once again let my thoughts and feelings hang out there a bit. How do you continue to move your work forward, push yourself as an artist? I paint every day. I read. I ponder. I chase squirrels. I cook. I wander. It all informs what I make when I actually wet a brush. But I think about art and making stuff all the time.
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What is your method, how do you consider yourself an innovator? I need to leave it to others to consider me an innovator. As for my method, sometimes it’s whatever works, because artists know better than anyone what it’s like to stare at a blank canvas. I can’t paint on a plain white canvas, and many times I just need to power through and make a mark, mostly by mucking up the surface. The work also has to have a history of surface in order to feel right to me. I like for paintings to look lived in, as if they’ve been hanging around a while. If a painting can reveal some of its past life, I tend to connect with it better. To that end, I love to paint over old paintings that were previously something else. Once I’m done reworking them I feel renewed as well, since I really love breathing new life into things. But I don’t consider myself an innovator … it’s like trying to top a classic piece of music such as Chopin, out-class the likes of Chanel. The masters are the masters for a reason. Me? I make stuff with paint. It’s not really possible to reinvent the wheel because the wheel is already inherently perfect due to its shape: No beginning, no middle and no end. You can only put your own spin on the wheel. What artists inspire you? Most of my favorite artists are the abstract expressionists from the mid 20th century: Robert Motherwell, Helen Frankenthaler, Richard Diebencorn, Josef Albers, Adolph Gottlieb, Jackson Pollock, Willem de Kooning. I also have quite a few contemporary artists I love: Brice Marden, Terry Winters, Mark Bradford… Hmmm. Even though it bugs me that these are mostly men, I’ll take comfort knowing that Pollock’s wife Lee Krasner was every bit as talented as he was. Your work is very layered. Why do you choose to work in that way, what is the meaning behind it? The meaning is more of an aesthetic that I subscribe to in terms of process and my way of life. It’s called Wabi-Sabi, and it represents a comprehensive Japanese aesthetic focused on the acceptance of transience and imperfection. I think what resonates with me most about this is that it calls for the acceptance of things as they are, in whatever natural state they may be. It also recognizes that all things, including people, are in a state of constant change to another state, even if they’re static. In this way, it makes it impossible to try and achieve a state of perfection: How can something be perfect if it’s changing? It’s an interesting dynamic for artists because we’re always trying to add just one more thing to a piece in an attempt to … get it perfect. I love the way things look when they’re slightly broken, lived in and imperfect. Where do you see your work going in the next ten years/ where do you hope to be? I want to be popular. Doesn’t everyone? But seriously, I want to be popular in the way that allows me to keep doing what I love and to somehow be relevant. The rest I just have to leave up to others to decide. Is there a quote that you love, inspires you, general favorite? I have two, actually, because I’m a yin and yang type of person. One side of me is tough and mouthy, the other side, calm and peaceful. That peaceful side loves the teachings of the Buddha:“Nothing is permanent.” While not exactly what he said, but what one could infer. This saying informs my work and life quite a bit. And in contrast to that, the hardass in me loves what Sophia Amoruso once said: “Fortune favors the bold who get shit done.”
opposite page. Top: we took the 1, “Graffiti” series Bottom: what you seek is seeking you, “Graffiti” series current page: kat casey’s studio. savannah, GA
“3D printing will allow anyone and everyone to become their own designer.�
TEXT ALICIA GONZALEZ
3D printing: fashion’s future or the end of fashion? There definitely won’t be a shortage in innovation when this technology fully develops. Never did I think there would come a time when there would be too much innovation. Through 3D printing, designers now have the ability to produce in as wide or limited quantities as needed. One of the biggest advantages of 3D printing is its ability to rapidly produce prototypes. Not only is this more cost effective to the designer, but it also provides much faster lead times, which allows designers to fulfill orders expeditiously. 3D printing has also affected the textile industry. Experiments with digital techniques are occurring which is allowing for a whole new generation of fabrics. Most recently, Textile Design FW 14-15 by Claudio Granato and Enrico Pieracciolo created a collection of patterns based on natural formations. They filtered through parametric drawings by using 3D printing techniques that allowed them to achieve a fabric full of multidimensional effects. Iris Van Herpen is another fashion designer we’ve seen grace the runway lately featuring carefully crafted collections achieved through 3D printing. Her F/W 2013 Voltage collection showcased a material that is not only printable but also flexible enough to be worn. Catherine Wales’ Project, entitled DNA, considers the idea of individuality; she scanned her entire body to create customizable garments that are tailored to fit as well as be worn in a variety of different ways. With consumers concentrated on customizable shopping, Catherine’s idea would provide a personalized wardrobe for every shopper. Jewelry is another product category that is being influenced by 3D printing because hard materials and molded shapes are essential in jewelry making. Designers like Silvia Wiedenbach and Rob Elford are finding innovative techniques to develop sophisticated jewelry. Wiedenbach prefers a haptic arm to now draw sketches instead of sculpting in clay like most makers. Elford utilizes techniques that make allow his jewelry to have an artifact quality. All of his pieces are wearable and are composed of both 3D printed and traditional jewelry parts. Fashion used to be a place where creative types with outrageous ideas came together to develop the latest collections that would soon walk down Fashion Week’s runway. From the latest trends to the weirdest takes on the past, designers exerted blood, sweat and tears into each collection they touched. From the lowest man/woman on the totem pole to the lead designer, every ounce of energy possible is put into the next innovative design but will be the driving force if 3D printing takes this type of motivation away? With hopes for successful sales but also to build brand image, awareness and a lifestyle, designers and brands strive to push product to the next level season after season. You might be asking yourself why I’m saying all of this. Well, what’s the point of exerting every fiber of one’s being into the collection, if by
the simple click of a mouse and press of a button, someone can rip off your designs? Will it even be worth the time to forecast trends and redevelop past ideas, if within minutes a 3D printer can “print” a designers’ latest collection at a much lower price? I think the idea of 3D printing is a wonderful concept. I believe that it provides a lot of positive impacts on not only the fashion industry but on the manufacturing industry as a whole. But where do we, as designers, draw the line? 3D printing will give individuals the ability to not only copy a design but also customize a design. Certain 3D printed textiles are starting to emerge that are flexible and comfortable to wear, providing consumers with the ability to print their own clothes. If we think about the way the fashion consumer has been shopping lately, customization is the key. If consumers will soon be able to print and customize their own clothing to their favorite fit, color, silhouette, etc., what does that leave for the designer? The limits of 3D printing are far and few between, if you can dream it, you can print it. The fashion industry is embracing the concept and use of 3D printing but some companies are concerned about its ability to copy a design or even improve on a design. The implications and challenges that this new technology presents to designers and brands will be a difficult feat to face but if they’re willing to embrace the change, the opportunity to reach new markets will eventually surface. There definitely won’t be a shortage in innovation when this technology fully develops. It will probably be spilling out over every capable mind, allowing the world to create the impossible. Never did I think there would come a time when there would be too much innovation. We’ll see where this zeitgeist leads us, but I have a feeling the fashion industry is heading towards some hard times. It will be interesting to see which designers can tackle this beast successfully and which ones are left by the wayside. So when we think about 3D printing being the future of fashion, we might want to consider that it could be the end of fashion as well. The start of a new fashion era will soon be upon us. Consumers will eventually be wearing their own brands and a shift in manufacturing will take place. Whether or not that leaves room for our favorite designers and brands is a question I can’t answer. What I do know, is that if designers and brands do not take control over their designs and implement a plan that embraces 3D printing, there won’t be much left for their brand integrity to hold onto.
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the 70’s, movements like this allowed women to be carefree in their actions PHOTOGRAPHY BY BLAKE CROSBY NY FASHION DIRECTOR MINDI DOWST Hair Morgen Kohn and Alicia Gonzalez using Bumble and Bumble. Make-up Claudia Franz for TopShop Beauty. Set Design Piers Hanmer Nail technician Bernadette Thompson. Photography assistance Antoni Cuifo, Kevin Vast, Ellen Fedors. Digital Technician Edouard Malfettes. Styling assistance Morgen Kohn, Alicia Gonzalez, Mindi Dowst, Oliver Selby and Julia Alcantara. Hair assistance Lucas Wilson. Make-up assistance Jennifer Myles. Set assistance Louis Sarowsky, Harry Smith. Model Meagan Henry at IMG. 120 i-D MAGAZINE
70s image
TEXT MINDI DOWST
the 70’s revisited, revived and revamped The modern 70’s woman wants to feel empowered and daring but still show their feminine sexy side. Join us as we take the plunge into what is once again becoming the latest fashion trend. Love it or hate it, the fashion world will never stray away from the elaborate styles of the 1970s. The aesthetic designs of the era were so revolutionary that, today, fashion designers regularly return to the decade to gain inspiration. As indicated by WGSN, this time designers are focusing on the glamour of the 1970s, which brought new aspects full of life, sex appeal and beauty. The influential era did not invent the plunging neckline but completely revolutionized it. Fashion icons such as David Bowie, Pat Cleveland, Bianca Jagger, Diane von Furstenberg and Jerry Hall were well known as pioneers in the emergence of 70s glam, particularly while attending studio 54, the number one club in New York City for the prestige socialites at the time. Roy Halston, dominant designer of the 1970s, always said, “Fashion starts with fashionable people”. The plunging neckline was a staple of this era and was brought to life through the above-mentioned icons.
Polyester was a dominant fabric in the 70s for multiple popular styles, including the plunging neckline. Some materials used for this style today are silk, rayon and chiffon. For this shoot we incorporated the use of fur to further extenuate the plunging neckline styles. Fur clothing was a staple of the 70s, so we decided to portray this in our images in a new and exciting way. Photographer Blake Crosby helped us get the best interpretation of the 70s with his extreme talent.
Designers are revolutionizing the style today by incorporating embroidery, multi toned fabrics and different fabric manipulations. This trend is also heavily seen as a bodysuit made out of materials like spandex to create a tighter cling to the body, showing the deep plunge of the neckline, which differs from the loose fitting styles of the 1970s. Additionally, the modern day woman does not wear the plunging neckline as The popular nightclub, Studio 54, opened in 1977 and though it a statement against the boundaries she was once confined to. lasted just shy of three years, it was able to leave a lasting Today, women wear these necklines simply for the sex appeal. impression on society and fashion as we know it today. It was not only famous for the emergence of the plunging neckline Today, the plunging neckline is back with a vengeance on the but also for giving 1970s women a sense of empowerment. For runways, streets and even on the silver screen. The recently example, the prominence of a woman’s bare bone structure on Oscar nominated film, American Hustle, showcases the her chest reveals her sexy, yet strong nature. Women arriving extravagant era, and specifically features the plunging neckline: at Studio 54, whether it be celebrities or everyday women, “This is a new kind of cleavage ideal: Not the often artificially dressed to impressed. Studio 54 was a nightclub meant only inflated breasts of yore, but a more naturalistic teardrop shape for the socialites and the most glamorous people specifically that harks back to the 1970s. Tired, perhaps, of exposing the selected and let in by owner Steve Rubell: “The key to a good top of the breasts, with the obvious leers that practice inspires, party is filling the room with guests more interesting than you.” stars are now exposing the sides,” (TheNewYorkTimes.com). Women wore low necklines, exposing their chests and bore Designers like Gucci, Bottega Venetta, Lanvin and Roberto more than before because it was their time to shine. Cavalli have chosen to revive the plunging neckline trend in their Spring/Summer 2015 shows. Not only can these plunging The 1970s saw a huge shift in the direction of women’s rights, necklines be seen on the runways, but, as mentioned in Chaos specifically related to Roe vs. Wade, which gave women the Magazine, they are also seen in street styles, particularly Milan. right to have an abortion. Movements like this allowed women to feel carefree in their actions, entitling them to wear revealing In addition, this trend has been seen at recent award shows clothing and act in ways they wouldn’t have previously dared like the Golden Globes. Celebrities arrived dressed in gowns to. The women attending Studio 54 were all glamourous in their featuring the elaborate plunging neckline. Actors like Amy own unique ways. These women showed up in their plunging Adams, Kate Mara and Margot Robbie were among the few necklines, partook in illegal substances and lived life as if there who chose to wear gowns with deep necklines to the 2014 was no tomorrow. 1970s women were edgy, sexy and daring; Golden Globes. As in the 1970s, women want to feel fashion and the plunging neckline helped bring them to life. empowered and daring but still show their feminine, sexy side, and the plunging neckline is a bold statement to this idea. This Although the chest bearing styles are nowhere near a new trend may be referred to as an emerging trend by WGSN, but trend, they have been innovated to fit women today. In the 70s soon enough these styles will be seen everywhere, and 70s women were often seen with these necklines in dull colors such glamour will take a new turn into present day. The new trend as tans, browns, blacks, and other earthy tones popular to the will have women wishing they were a socialite comparable to decade. Designers today are pairing this neckline with many the era of 70s glamour, wearing bold, plunging neckline pieces other hues more similar to the 80s, using different forms of designed by Halston, or in today’s world Lanvin; dancing with bright and dull colors. For example, Gucci used the Bianca Jagger, only this time with the added ease of spandex; plunging neckline in their Spring/Summer 2015 show by using and socializing with artists of Elton John’s caliber, like Beyonce, bold colors like vibrant reds and greens. Justin Timberlake and Rihanna. 124 i-D MAGAZINE
life is not a solo act. it’s a huge collaboration. PHOTOGRAPHY BY BLAKE CROSBY NY FASHION DIRECTOR JULIA ALCANTARA Hair Morgen Kohn and Alicia Gonzalez using Bumble and Bumble. Make-up Claudia Franz for TopShop Beauty. Set Design Piers Hanmer Nail technician Bernadette Thompson. Photography assistance Antoni Cuifo, Kevin Vast, Ellen Fedors. Digital Technician Edouard Malfettes. Styling assistance Morgen Kohn, Alicia Gonzalez, Mindi Dowst, Oliver Selby and Julia Alcantara. Illustrations Juan Acosta. Designs Hope Akin and Rebecca Morgan. Set assistance Louis Sarowsky, Harry Smith. Model Meagan Henry at IMG. 129 i-D MAGAZINE
TEXT JULIA ALCANTARA
the art of collaboration Artists in any field rely on collaboration to satisfy their consumer. You have probably heard the quote, “Alone we can do so little; together we can do so much”. Made famous by Helen Keller, this quote could not be closer to the truth. In an ever-changing industry, collaboration is crucial to figuring out how ideas evolve in our society’s current Zeitgeist. As a generation raised on interconnectivity, we are used to easily sharing ideas, knowledge, and intellectual property, made possible through advancements in technology. To find a new approach to their work, artists constantly look to others for inspiration and ideas. Collaboration is essential for yielding the best possible piece of innovative work. Artists in all fields rely on collaboration to satisfy their consumers. For example, FIAT has collaborated with their consumers and various musical artists to produce the best cars and attract consumer attention. In Brazil, FIAT asked its fans to submit ideas to their website for a futuristic car. Over 17,000 people submitted their ideas, and, as a result, Mio was born. Mio was able to fit the consumers’ needs and desires since it came directly from their ideas. Ciaco, Marketing Director of FIAT in Brazil, said: “First of all, we brought the customer to help our plans for the future. This is something that didn’t exist in the industry before. After we opened the process, we changed our internal system. This impacted the sharing of information between departments.” FIAT has also been known to pair with popular artists, like Jennifer Lopez, to draw attention to their vehicles. As in other fields, the fashion industry is no different when it comes to collaboration. Designers, trend forecasters, buyers and other artists in the industry continuously collaborate to build small intellectual ideas into an ultimate goal. Alexander Wang, recognizable fashion designer and creative director of Balenciaga, recently teamed up with H&M to produce sixty-one pieces for the Swedish retailer, inspired by athletic wear. When the collaboration was announced, Wang said, “I wanted to create a collection where most of the pieces have been designed from scratch. Rather than creating affordable versions of expensive items, I wanted to design true performance pieces that are within the natural price points of sportswear of H&M, so we were able to create the best version of these pieces, through our vocabulary.” His entire goal was to use his own aesthetic with the designs while simultaneously keeping the typical H&M consumer in mind. Fashion icon Chanel paired with legendary French retailer Colette to create a unique pop-up shop experience during Paris Fashion Week. The purpose: to celebrate everything chic about Chanel. Chanel pieces were sold in the shop, along with a curated selection of pieces by young designers, handpicked by Colette. In addition, designers including Kevin, Lyons, Soledad, Andre, Fafi and SO-ME were chosen to customize Mademoiselle handbags for the consumers visiting the shop.
Famed jeweler, Yazbukey, also collaborated with Chanel to create an exclusive charm for the pop-up shop that reproduced the gap-toothed smile of model Vanessa Paradis. Even though the shop stayed open for only ten days it was able to showcase Chanel and the designers in a revolutionary way. Music artists have also been known to pair with fashion designers and retailers to create innovative collections, like Jennifer Lopez and Marc Anthony for Kohls. Pharrell Williams is one music artist that frequently collaborates with iconic designers from the fashion industry. Comme des Garçons, Adidas, Uniqlo and Louis Vuitton have all called upon his design talent to create one-of-a-kind pieces. Recently, the music star paired up with Moynat, a French luxury retail brand under LVMH, to create handbags shaped like trains. As rightly stated by Fashionista.com, “Pharrell isn’t only a tastemaker, he’s an innovator, which is an invaluable asset to brands the world over”. As a result of collaboration, the greatest innovations can come to life. As you can see, collaboration is more important than ever to achieve the type of work that leaves viewers speechless. This is why it was crucial for us to team up with Juan Pablo Acosta, Sequential Art Major at the Savannah College of Art and Design, to create a unique photo shoot experience combining fashion photography and illustrations. We wanted to collaborate with an illustration artist who provided enough skill to make the photos exciting, and Juan had the perfect illustrations to complement our concept as well as the fashion. Using a talented photographer, Blake Crosby, and clothing designed by inspiring fashion designers, Hope Aiken and Becca Morgan, also SCAD students, in conjunction with Juan’s artistry, we were able to create something beautiful. When commenting on the collaboration, Juan said, “The bounce and combination of ideas generates much more than those of only one person. I can feed my head with additional ideas that would’ve never occurred to me. The potential of creativity increases exponentially as well.” Collaboration is a great way to combine different viewpoints to elevate an idea. A product influenced by multiple people in an industry will gain more respect than something created by one creative mind. These collaborations not only result in great collections, but also help artists and retailers bring a new edge to the table. Though his evolutionary theories will probably be debated until the end of time, Charles Darwin was completely accurate when he said, “In the long history of humankind (and animal kind, too), those who learned to collaborate and improvise most effectively have prevailed”.
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