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Darlene C. Deever Editor-in-Chief & Publisher Roy Bheer Executive Editor Emilie Flory Creative Director Tony Newton Editor-at-large Christopher Zisi Editor-at-large Kelly B Editor-at-large Lorenza Florida Editor / Translator Jessy Chen Correspondent / Translator Omar “HorrO� Usman Correspondent / Partner Jane Rafin Community Manager Marion FM Legal Director Eleanor Fawcett Visual Artist Translator / Transidioethnograph Biscuit C Correspondent Special thanks to: Christopher Bourez S MAGAZINE & ATELIER CHARDON SAVARD
Ben Price Viktoria Modesta Management Chantal Handley Painter Maki Yin Photographer Ruyi Lin Photographer Christophe Murdock Songwriter Metal Coffee PR PR Specialist Azzura Nox Writer Elizabeth Wright Digital Artist Dustin Siegwarth Illustrator Kent Steine Writer / Illustrator Justin Fears SFX Make-up Artist Nicci Fears Photographer AStyanaX Graphic Designer Dub Meter Graphic Designer
For General and Advertising Inquiries CONTACT US
Culture - Art - Horror
EDITOR’S LETTER
D-NG-TR-N-QU-C-345523-UNSPLASH
Dear reader(s), We start the new year with a 7$ unique version of this exclusive issue dedicated to the fashion world. As always, you will find other in-depth topics covered by our team: censorship, dematerialization, aesthetics, recycling, etc. All this, through new and groundbreaking creations that tell us all about the only subject that binds us: the human experience. This “new world” we're creating is simply killing it. This is what the artists and creators, featured in these pages, tell us through their brilliant works that we present to you here. They also tell us, by the way in which they create against all odds, that we should understand what is at stake, what we are losing: the essence of who we are. This special issue called The Fashion Issue, deals with fashion but from another angle: the superficial has no place in our pages and you may be surprised. Whether through the careers of Karine Yijing Gao (a rising star in the fashion industry), singer and musician Christophe Murdock, director and author Tony Newton, visual artists Eleanor Fawcett and Elizabeth Wright, amazing makeup artist Justin Fears (winner of the 2nd annual Promote Horror SFX Horror Makeup and of the AHCA) or through the work of extraordinary performer Viktoria Modesta, you will see that every time, it is the human element, behind the creations, that expresses itself and gives strength and greatness to the works of all these artists. For those of our readers who would like to participate in the conception of the magazine, support our artists, and receive our publications for free, know that we open the association ILAB to all who want to join us. All you need to do is contact us on our FB or Patreon page. Our team will help you through the formalities. I wish you all a fabulous new year!
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CREATORS UNITE SHOP ADVERT
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TABLE OF CONTENTS
P. 002 P. 003 P. 006 P. 020
Masthead Editor’s Letter The Studio: Interview with Red Dirt Macabre artist Christophe Murdock by Metal Coffee PR Exclusive: out now on DVD and video on demand ! Tony Newton takes a look at the cult video nasties and unearths censorship! P. 034 Highlight: Extended Cut by Jora Frantzis & Viktoria Modesta P. 039 MASTERS AT WORK: STARTER | WEBTALK | TECH SECRETS | CATWALK 106 [ ENGLISH & CHINESE] EXTRAS: SHOWROOM | VANITY CASE | METHODS OF THE MASTERS
Special Feature dedicated to Karine Yijing Gao’s work by Azzura Nox, Jessy Chen, Eleanor Fawcett Lorenza Florida, Biscuit C, Roy Bheer. Extras by Christopher Zisi, Emilie Flory, Omar “HorrO” Usman, Chantal Handley, Elizabeth Wright, Dustin Siegwarth, Kent Steine and Justin Fears.
▪ STARTER / WEBTALK: Interview with Karine Yijing Gao P40 ▪ TECH SECRETS: THIRFT SHOP - FROM CONCEPT TO COLLECTION | KARINE’S ATELIER P57 ▪ CATWALK 106: THIRFT SHOP - FASHION SHOW | LOOK BOOK P106 SHOWROOM: Review/Essay by Emilie Flory | Painting by Chantal Handley | Artwork by Elizabeth Wright P126 Review and Essay on THE SENSUALITY OF GUNS by Christopher Zisi | Artwork by Dustin Siegwarth P134 VANITY CASE: Horror Makeup Exhibition and Interview with Justin Fears [winner of The AHCA and of Promote Horror SFX Horror Makeup Contest] by Omar “HorrO” Usman P152 METHODS OF THE MASTERS: Special Tribute to VOGUE’s illustrator Carl Erickson by Kent Steine P174 P. 190 Focus: Spotlight on Eleanor Fawcett & Elizagothart’s work by Roy Bheer P. 210 Supertreat: Chic & Glam Shock: Helmi | Sarah Chatfield nd | Yoonha Park | Lluis Panades Julia | Monica Menez [LJFFF Most Creative Concept] | Conceptual Photography: Short Presentation of Marisa Howenstine’s work | Hard Digital Aesthetics: Defasten’s + . P. 236 Shocker: by Marcus Kreiss Creators Unite 08 SP Fashion
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THE STUDIO
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THE STUDIO
Red Dirt Macabre Artist Christophe Murdock talks about his work!
PRAY TO THE SAW ! Interview by Metal Coffee PR | Review by Christopher Zisi
Interview by Metal Coffee PR | Review by Christopher Zisi | Visual Conception: Dub Meter & Emilie Flory | Images Courtesy of Christophe Murdock. Special Thanks to: Tunnelmotions, OpenClipart -Vectors, Matthias Wewering, Alexas_Fotos, UX Troubletrace, Michal Jarmoluk , Ryan McGuire, Adrian Olichon, Pixabay & Unsplash. What is your name? What is the name of your band and how did you come up with it?... What do you do for the band? My name is Christophe Murdock. I am a singer/songwriter. I mostly perform solo, but also occasionally as a duo or band. Usually under my own name or when a band name it's “Christophe and the” so people still know it's me. Example: for the First Jason concert, I had a punk band back me up and we were “Christophe and the Kids from Crystal Lake”! Tell us where you are based and describe the scene. How do you think where you are located influences your sound? I am based out of Oklahoma. I'm not sure how to describe the scene... I am kind of all over. At the metal shows, punk shows, country shows... just any live music. I don't feel my location influences my sound.
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THE STUDIO
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THE STUDIO Who influences your sound that would surprise people? I pull my influences from all over. Anything and everything I hear can become an influence. Metal, Punk, Pop, Country, Jazz, the list goes on. I guess one of my biggest influences was my cousin Merle Kilgore, a songwriter and ex-performer that was still in the business. While growing up he really encouraged me in all that I did. I was mostly playing bass in punk and metal bands at the time and he would talk to me and build me up. Growing up his sound also became an influence on my style. Are you endorsed by musical companies? If so who? And if not who would you like to be endorsed by? I am endorsed with COFFIN CASE and DEAN MARKLEY STRINGS. I would like to also be endorsed by IBANEZ, PEAVEY, FRIGHT-RAGS and JIM BEAM. When you started what was your ultimate goal? And how close to the goal are you now? My ultimate goal was never to be a “Rock Star�, I just wanted to make a living and travel. I am not quite where I want to be, but definitely am on my way. I am at the point where music is my main focus, while working at clubs on the side. I hope to increase the amount of touring I do in the coming year. In today's digital environment it takes creative strategy to keep things moving. What creative ideas do you have to keep your band relevant over time? To be honest I am kind of a dinosaur when it comes to this. I am the guy that collects vinyl and VHS. So, I tend to focus on my physical product more so than my digital. I know there are other collectors out there who still want things to hold in their hand. I try to give my physical releases something unique.
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THE STUDIO
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THE STUDIO For digital, I just let my music speak for itself and try my best to push it and share the word.
We've all seen a terrible live band that is awesome on CD. Is that cool with you or do you lose respect for bands that cannot pull it off live? I prefer the bands that sound different live. If they sound just like the CD, I get bored. Tell us your “core”: are you Metal, Rock, Punk, Pop etc. because people just have to categorize these days you know? Yes. Haha. I have influences from all. I guess my main biggest influences are a mix of Punk and Country. The local press took to calling what I do “Red Dirt Macabre”! This is a tough question but a very real reality: is your band actually talented or just popular? Many bands make it with a cliché or publicity stunts etc. Would you accept fame even if it was just because of being the “in” thing or is it actually important to you that you gain favor with talent? I believe I have talent and write good songs. Although, I do see that how good your songs are does not always decide whether your band is popular or not. I would accept fame however it comes and work with it. You can try to steer your own path, but can't always choose what is thrown at you. I've learned to make do with what comes my way and will continue to do so. Tell us what to expect from you live. Nothing is more boring than watching bands stare at the floor and bob their heads to music nobody but the band knows. What can your band offer in a live setting that people will remember? I just try to offer something real. Whether I'm playing something deep or just some of my “fun” songs I put myself into it. As I often play solo, I don't always have someone to play off of. So, I make it real. I put myself into what I'm performing…
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THE STUDIO
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THE STUDIO I think that goes a long way. I won't always win over the whole crowd, but I always win over someone in the crowd. What releases have you put out? When will we see something new? I've had a ton of releases in the past. I keep in print my Crossroads EP from 2010 and my MMXIII EP from 2013 as well as my new single Pray to the Saw that was just released. I have a Nine Inch Nails cover I recorded a few years back that may be my next release. I plan on putting it out as digital and a limited lathe cut. Probably sometime next year as I am still focusing on Pray to the Saw at the moment. If you have videos where can we see them? My videos are on YouTube. Everybody has Bandcamp, ReverbNation, Soundcloud, etc. Why do you think this is so important? Doesn't it seem like everyone is giving everything out for free? There is an overflow here. I feel like I'm drowning in music and it's hard to find what I want because there is so much to go through, but I still feel it's important to have music at these places because that may be how someone finds it. I haven't quite figured out how to stand out in the digital world, especially when there is so much. Best moment of your career so far? For me, it was the film Son of the Saw. All I ever really wanted to do was cameo in horror films and write songs for the soundtracks. So here I got to be the titular star and the song I wrote played over the closing credits. It's the best recording I've done to date. The film looks great. I've been very happy with it.
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THE STUDIO
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THE STUDIO Your message to the fans? For just a five-dollar love donation, you too can own your own copy of Pray to the Saw. Just send your check or money order to me today! Remember to Pray or be Prey! Bonus question: who do you bring back? Dime, Cliff, Dio, Lemmy, Randy‌ Lemmy. Always Lemmy.
-Metal Coffee PR
SON OF THE SAW, THE LEGACY OF LEATHERFACE
Directed by Mike Ransburg, Eric Xton Written by Mike Ransburg, Eric Xton Starring Christophe Murdock, Charles Walker, Eric Xton, Sara Moore, Catcher Stair, Kristen Melling‌
In 1974 we were shocked. Who can forget... as John Larroquette narrates, we are in a wooden coffin with a decomposing corpse. If that were unsettling enough, some creep is prying it open. Each time light penetrates the long-darkened inside of the coffin we see more of the decomposing corpse. This macabre opening will serve as the opening scene to The Texas Chainsaw Massacre. Sequels, a remake, and sequels of the remake... even a 3D effort would ensue. But wait! There is a suggestion that this family, Leatherface and his kinfolk, may have been real. What is the history, myth and fact, of Leatherface and his family? Did they exist?... We look at a 2018 horror short (26 minutes) called Son of the Saw. A TV show host (Charles Walker) and his crew have the same questions I posed above. Being the competent investigative reporter that he is, he and his young crew end up at an east Texas home that Leatherface hailed from. No big deal...
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THE STUDIO
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THE STUDIO Leatherface is long gone... or is he? The crew isn't immediately welcome... as a weird guy armed with a shotgun (Eric Xton) has no use for city folk. The reporter then does what he does best... get people who don't want to talk... to talk. Our redneck with a shotgun invites them all in to hear the real story of Leatherface. Some stories are best left untold, unfortunately TV reporters never can grasp that logic. The small house on a Texas plain is packed with... well... it's weird. They are presumably family members and probably kinfolk of the famous Leatherface and his cannibalistic family. The ensuing story is creepy and the setting is ominous and claustrophobic. We see the impending peril before the TV crew. Then he shows up... or should I say, He shows up. The account we have heard suggests Leatherface is some sort of a deity and what's going on, on this property, is cult-ish. The He, 'Son of the Saw', that shows up is armed with a chainsaw. The chase is on and what happens next may not be too unpredictable... but what is incredibly frightening is the synergy that inspires the whole clan. Not to give too much away, but the horrific and grotesque will be joined with the taboo and forbidden, so be prepared for an incredibly awkward and uncomfortable viewing experience. Eric Xton and Mike Ransburg directed this horrific short film with the intention of giving us a 100% horror film. No feel-good moments... no rests from the scares... no humorous interludes... just graphic horror in what is on the screen and what goes on in your mind as you view it. Christophe Murdock is terrifying and menacing as the Leatherface incarnate, so be warned. For a frightening half hour, find Son of the Saw, and be warned... it indeed captures the horror and taboo setting of the 1974 shots from inside the coffin that originally gave us The Texas Chainsaw Massacre.
-Christopher Zisi
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HORROR MOVIE POETRY ADVERTORIAL
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HORROR MOVIE POETRY ADVERTORIAL
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EXCLUSIVE
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EXCLUSIVE
Takes a look at the cult video nasties and unearths censorship! By Tony Newton Visual Conception: Roy Bheer & Emilie Flory | Images Courtesy of Vestra Pictures, BodyBag Films, Schlock Films and World Wide Multimedia | VHS Nasty Cover and O’ The Horror Cover by Mancat Design. VHS Nasty is out now on DVD and video on demand! The documentary which is part three in the VHS Lives Schlockumentary series takes a look at the defining era of moral panic that swept the country like a tidal wave! Does censorship really work? Find out! In the early 1980’s VCR players were the popular medium of choice for home cinema but there was something sinister about to awaken direct from your very own VCR: The Video Nasty! Video stores were popping up left, right and center to capitalize on the VHS boom. With no regulation in place, video shops were flooded with an array exploitation and horror films, with over ninety percent of them featuring blood, gore, nudity and the odd zombie eating brains or cannibal feasting on live bait. The packaging on the VHS sleeves were also unregulated at the time so, walking into the video shop, browsing through the horror section, you would find an onslaught of explicit horror VHS sleeves, all competing for your attention -such as a drill going into someone’s head. That's if you were one of the lucky few who got to watch these unregulated horror and gore films before they were banned in the UK and the hysteria started to spread across the globe!
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EXCLUSIVE
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EXCLUSIVE
Long gone were the days when you would have to connect up a projector and reel to reel to watch a film from an old off-white screen! There was no more hassle getting everything down from the loft and having to re arrange the furniture! It was easy and available to anyone with a TV and with the money to buy a bright new and shiny VCR player. The unregulated market caught the attention of both the press and members of parliament following the link between recent violent crimes and video nasties hit the media. The term video nasty was everywhere. The Director of Public Prosecution created (along with the BBFC) a list of films which were deemed to depraved and corrupt the public, with fears growing of the unregulated rating system in place that children would have access to these VHS titles. Following the release of the list, the leader against the video nasties was the head of NVALA, the National Viewers and Listeners Association, Mary Whitehouse (obviously not a lover of exploitation and schlock horror). Mary Whitehouse and her contacts in the government caused such a fuss that, not only were the videos banned but, in 1984, the video recordings act was passed, meaning every VHS video title had to be inspected and given a rating by the BBFC. Any video shop in the early 1980’s which was renting or selling a video that was on the video nasty list was not only subject to raids but also prosecution. It was crazy, video store owners removed most of their horror VHS stock because this led to confusion as to what films were actually on the list. A lot of the bigger companies like WARNER BROTHERS held back their titles for the reason that VHS and home video was actually competing with cinema. You had small distributers capitalizing the market and their low budget indie films next to big named Hollywood features on the shelves in video stores.
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EXCLUSIVE
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EXCLUSIVE
After a meeting with Graham Bright, who later introduced a private members bill which in turn led to all VHS videos requiring classification, Mary Whitehouse and the NVALA launched a petition and started campaigns around Britain against the video nasties, stating that children were at risk from the violent and obscene videos. The Driller Killer cover with a drill going into a victim's head… I Spit on Your Grave depicting a scantily clad woman who was seeking revenge after being raped… and the Cannibal Holocaust cover with a cannibal munching on human flesh… The VHS cover art sparked controversy, and even a bill to regulate VHS covers came into place. The video nasties caused controversy all over the UK. A witch hunt which targeted all titles on the DPP list. These VHS tapes were seized and destroyed! UK horror fans were on a hunt of their very own to watch and own all of the video nasties on VHS. Many of the titles were bootlegged and traded at collectors fairs in the UK.
The video nasty scandal didn’t just last for a few years, I know people that had films seized and were taken in for questioning as late as 1999 and onwards. Video nasties were a part of my youth, I was on a quest to own and watch all of the videos nasties. As a young lad, the top of my wardrobe was the place where I kept all my VHS tapes; I used to hide the films in different covers so, I had Cannibal Holocaust in a Fawlty Towers VHS sleeve! It was a worrying time. I remember returning from a video collectors fair with video nasty tapes mostly bootlegs… 90% of the titles were purchased from under the counter… even films like I Spit on your Grave and a double feature homemade VHS of Cannibal Holocaust and Cannibal Ferox !… You would pay upwards of £30 just for a bootleg! It felt like you were going to get caught or stopped by the police or even have your home raided. It was really scary. You were made to feel like a drug dealer.
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EXCLUSIVE
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EXCLUSIVE
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EXCLUSIVE
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EXCLUSIVE
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EXCLUSIVE
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EXCLUSIVE I find it crazy now walking around a shop and seeing films like Cannibal Holocaust and even films like Nekromantik feely available. I look on the shelves, I see other customers purchasing these titles, and the ease of doing so compared to the battle we had to go through to even watch a 5th generation VHS copy in the 1980’s and 90’s… It’s crazy! I can’t turn down purchasing a VHS nasty on any format. I do think we are going to see harsher censorship in Britain over the coming years with regard to the internet and new laws to be enforced policing availability to us Brits, but for now let’s just bask in the glory that is a more relaxed view on censorship in Britain. Long live the video nasties!
-Tony Newton ABOUT TONY NEWTON Tony Newton is a British based writer, poet, screenwriter, film director, film producer and an avid VHS collector and film historian. He is the owner of VESTRA PICTURES, SCHLOCK FILMS and BODY BAG FILMS, the author of Horror Movie Poetry, Terror Rhymes, The Zombie Rule book: A Zombie Apocalypse Survival Guide, #I'm Zombie: A Zombie Mosaic Novel and the producer of the films VHS Lives: A Schlockumentary, VHS Lives 2: Undead Format, VHS Nasty documentary, Virus of the Dead, 60 Seconds to Die, Creepypasta and TROMA's Grindsploitation film series. Tony has a collection of over 2,000 VHS Tapes, mostly horror, exploitation, Monster Movies and science fiction. He is obsessed with horror films to the point where basically everything in his life revolves around horror and the macabre: "I watch Horror films every chance that I get, I listen to horror soundtracks and have an obsession with the band Goblin! The Suspiria soundtrack is the most played album in my house!"
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THE GHOSTS OF BRISBANE Digital Version ADVERTORIAL
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THE GHOSTS OF BRISBANE Print Copy / Soft Cover Version ADVERTORIAL
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HIGHLIGHT
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HIGHLIGHT
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MEDIA KIT ADVERT
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ADVERTISE WITH US ADVERT
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ADVERT SHOP
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MASTERS AT WORK
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MASTERS AT WORK STARTER
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MASTERS AT WORK STARTER
by Azzurra Nox Images Courtesy of Eleanor Fawcett and Karine Yijing Gao From the early Romans and Egyptians, fashion has always made a statement. Whether it was to demonstrate your social status or occupation, fashion was used in a way to make you stand out from the regular plebeians. For centuries, the only people who could afford to dabble in fashion were the aristocrats as they were the only ones who had money to spend on something so frivolous as clothes. Most people wore the same clothes for years and only had about three outfits at the most. What sparked a huge shift in fashion was when it started to become more accessible even to those who didn't have money to throw away like the rich. With the rise of the industrial revolution and clothes becoming more and more mass produced, it was easier for middle class folks to buy more and more clothes. Soon, fashion was no longer used merely to show one's social status or occupation, but rather to express one's personality or beliefs. When women began to gain independence, their skirts began to get shorter and shorter. They refused to wear corsets, seeing them as constraints of a patriarchy that wanted to keep them meek and above all quiet. In fact, during the peak of the Suffragette movement, they began to use red lipstick as a fashion accessory to stand for their courage to speak out against the inequality of the genders.
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MASTERS AT WORK STARTER
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MASTERS AT WORK STARTER Nowadays, fashion is used in so many ways. Yes, to express your personality, but now more than ever it's been used as a way to make a statement about one's own beliefs when it comes to politics, ethics, and religion. For those of us who use fashion as a way to broadcast our beliefs are more likely to shy away from any clothes that consist of animal products (such as leather or wool), or if we're trying to be more conscious of the environment, we're more prone to shop at thrift stores or use clothes made from sustainable materials (usually recyclables that have been given a second or third life as clothes or accessories). Fashion has always been used as a way to communicate a movement (take the hot pink shirts and beanies seen during the Women's March or the red MAGA hats). Fashion today has morphed from a shallow industry, to a lifestyle choice. What you choose to wear not merely represents your personality but what you stand for. So, choose wisely the next time you're in a store to buy a pair of jeans or a new T-shirt, because sometimes your attire speaks louder than words.
-Azzura Nox
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MASTERS AT WORK WEBTALK
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MASTERS AT WORK WEBTALK
INTERVIEW WITH KARINE YIJING GAO 高一景 Exclusive Interview | Masters at Work organized in close collaboration with Karine Yijing Gao herself | Correspondent: Jessy Chen | Translators: Jessy Chen, Eleanor Fawcett & Biscuit C | Editors: Lorenza Florida & Roy Bheer | Visual Conception: Emilie Flory & Roy Bheer | Title Image: Cartoon Little Star from Pngtree | SPECIAL THANKS TO: Marie Monene and Atelier Chardon Savard | Photos Courtesy of Maki Yin & Ruyi Lin. Hello Karine. We are delighted to get a chance to talk to you about your creations which harness a beautiful and rare aesthetics of simplicity. Tell us about your career and your passion for Fashion. I have been studying Fashion Design at the DALIAN UNIVERSITY OF TECHNOLOGY for four years. I dreamt of being a painter since I was young, so I was already studying art before I went to college. I found Design to be a fascinating subject. It can simplify complicated problems and express them in innovative ways, bringing about new aesthetic joy and pleasure. This is what Fashion Design means to me. After constantly questioning and challenging myself, ideas are innovated. Seeing others enjoy my Design works is a very fulfilling thing. The main reason that I like Fashion Design is that through it, I have been able to evolve, constantly make progress, see the expanding world, which makes me full of hope and excitement for the future. That is the vitality that Design brings to me.
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MASTERS AT WORK WEBTALK
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MASTERS AT WORK WEBTALK When did you decide to become a Fashion Designer? I started to study Fashion design at college because it is closely related to art; I decided to become a Fashion Designer at College. How was your Thirft Shop Collection born? Because I am very interested in fabrics, I try to arrange and juxtapose them with different materials, and to innovate new fabric design styles. In addition, I also like to deconstruct the structure of garments, such as adding and subtracting other different design methods to create a new design. My great inspiration for this collection comes from the work of Regis Mayot. He takes empty bottles, garbage from his everyday life consumption and turns them into works of art, that is both environmentally friendly and beautiful, so I tried to apply the same design concept to my clothing series. I went to second-hand shops to buy a lot of different fabrics, knitting, denim, etc. Next, I would first cut according to the structure of the clothing, and then use different fabrics combined, and continue to create new designs within this cycle of cutting and combining. Although the final product is not pretty, I think it is a very interesting design. Each time the effect is different, each finished product will hold different details and unique surprises. Tell us about your work: from the inspiration phase, to the fashion show, how does the process of creating a collection work for you? This experience is a challenge for me. My courage has been increasing, whereas initial I did lack selfconfidence. I think that the encouragement from Patrick Teypaz has been fundamental.
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MASTERS AT WORK WEBTALK
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MASTERS AT WORK WEBTALK
I like to constantly challenge myself in the design process, seeking different solutions, innovating and combining new design concepts. I like the extraordinary in the ordinary. Putting things that are not noticed or even discarded, better expressed in the language of design, and bringing visual enjoyment in their new context. Of course, I also encountered a lot of difficulties, but I really enjoyed the newfound courage and life enrichment that I felt after I overcame all the difficulties, each time, constantly reaffirming my ideas for the future. Which creators have influenced you the most? Who is your favorite designer? John Galliano, Walter Van Beirendonck, Thom Browne, Viktor & Rolf. John Galliano is my favorite designer, because without fail, every time I watch his show, he surprises me and I love that. Are you working on new projects? Can you tell us about that? I want to create my own designer brand in China in the future. The theme of the brand is MIX. My design philosophy is to innovate the structural characteristics of fabrics and garments. I will continue to combine new fabric innovation style to launch my own clothing product line. My idea is to choose a theme in each season, describe the story line of the clothing series, make a series of products with the emotion as the theme, by continuing to use innovative fabrics, deconstructing and rearranging the garments into new product designs.
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MASTERS AT WORK WEBTALK
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MASTERS AT WORK WEBTALK
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MASTERS AT WORK WEBTALK
想请你谈谈对成为服装设计师的经历以及你对时尚的热情和酷爱。 我是从⼤学开始学习服装设计, 在⼤连⼯业⼤学读四年的服装设计专业, 在次之前我 ⼀直在学习美术, 从⼩的梦想是当⼀名画家。 我发现服装设计是⼀件很有意思的事情,他会把复杂的问题简单化, 再用创新的方式表 达, 给⼈⼀种新的视觉享受，服装设计对我来说亦是如此, 不断的否定自己创新出新 的想法, 看到别⼈喜欢我的设计作品, 是⼀件很有成就感的事情。 我对服装设计的热情是⼀直在追求变化, 不断的进步，感受丰富的世界，对未来也充 满希望和憧憬，是设计带给我的生命⼒。
你是从什么时候开始决定从事服装设计生涯的？ 真正开始学习从⼤学开始，因为他与美术息息相关。 Thirft Shop 系列是如何诞生的？
因为我对材料⾮常感兴趣，我会用不同的服装⾯料去尝试排列和混合，创新出新的 ⾯料设计风格，另外我还喜欢解构重组服装的结构，通过做加减法等不同的设计手 法创新出新的设计方式。 我的灵感来源是Régis Mayot艺术家的设计作品, 他对生活中的垃圾空瓶⼦做裁剪成 为艺术品，即环保⼜美观，于是我尝试把同样的设计理念应用于我的服装系列中， 我去⼆手店买了很多不同⾯料的服装，针织，皮革，⽜仔等，先按照服装的款式结 构去裁剪，用不同的⾯料结合再裁剪,反复环…..虽然最后的成品不美观, 但我觉得这 是⼀种很有趣的设计方式，每⼀次得到的效果都不同，每次成品都会有不同的惊喜。
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MASTERS AT WORK WEBTALK 从你对这套服装系列的设计灵感开始到服装秀的成功结束，你所经历的过程是如何 的？可以和我们谈谈吗？ 这次经历对于我来说是⼀项挑战，我由最初的不自信到现在不断增加勇气，我认为 Patrick Teypaz⽼师对我的⿎励是⾮常重要的，在设计过程中我喜欢不断的去否定自 己,寻求不同的解决方式，去创新结合出新的设计概念，我喜欢平凡中的与众不同， 把那些不被⼈关注的甚⾄丢弃的东⻄，用设计语⾔更好的表达, 给⼈以视觉享受，当 然也遇到了很多困难，但是我很享受自己⼀次次战胜困难后的勇气和充实，不断明确 对未来的⽬标。 是哪些时装设计师对你在设计灵感上起到很大的影响和帮助？你最欣赏的时装设计 师是哪一位？ John Galliano ，Walter van Beirendonck， Thom Browne， Viktor & Rolf。 我最喜欢的是John Galliano，因为每次看他的秀都会让我感到惊喜。 未来是不是在这方面有新的计划？可以和我谈谈吗？ 我将来想在中国创⽴自己的设计师品牌，品牌的主题就是MIX，我的设计理念就是创 新⾯料和服装解构性特点. 不断结合新的⾯料创新出新的服装款式推出自己的服装产 品系列。 我的想法是在每⼀季都选择⼀个主题，叙述服装系列的故事线，以情感为主题做服装 系列产品，使用⾯料结合，把服装解构再重新排列组合成新产品的设计。 ⽬前还是想在⽹络线上销售，中国市场很⼤，同样竞争也很激烈，我希望能保持品牌 的独立性，真正的去做设计，压缩成本，创造提升品牌形象，增加品牌影响力和竞争 力。 我非常感谢你的友善接待Karine！希望Creators unite杂志的发表将对你在未来的工作上 有所帮助，希望你在服装设计领域上有更多的创新和辉煌的成就。
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1 强调服装风格与流⾏元素保持⼀致性, 增加实用性特点 2 怎样去裁剪服装结构, 选择服装款式能更好的展现⾯料结合的创新理念以及达到美学 标准 3 怎样减少⾯料成本以及缩短生产流程 4 不断的尝试新的⾯料进⾏色彩的搭配和对比性 5 确定自己的服装风格, 选择合适的⾯料和针织品
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Showroom By Emilie Flory & Christopher Zisi
Painting: Chantal Handley | Artworks: Elizabeth Wright & Dustin Siegwarth | Photos Courtesy of: Space Rocket Nation, Vendian Entertainment & Navaron Films | Guns Posters: AStyanaX | Images: 4304553, Khusen Rustamov & Viktor Hanacek from Pixabay
Directed by Nicolas Winding Refn Written by Nicolas Winding Refn, Mary Laws & Polly Stenham Starring Elle Fanning, Christina Hendricks, Keanu Reeves, Karl Glusman, Jena Malone, Abbey Lee‌ Music by Cliff Martinez Cinematography by Natasha Braier Produced by Space Rocket Nation,Vendian Entertainment, Bold Films, Danish Broadcsting Corporation PLOT: Jesse (Elle Fanning) moves to Los Angeles just after her 16th birthday to launch a career as a model. The head of her agency tells the innocent teen that she has the qualities to become a top star. Jesse soon faces the wrath of ruthless vixens who despise her fresh-faced beauty. On top of that, she must contend with a seedy motel manager and a creepy photographer. As Jesse starts to take the fashion world by storm, her personality changes in ways that could help her against her cutthroat rivals. Creators Unite 08 SP Fashion
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Cinema is an art, first and foremost. Our economic system tends to forget that, but still some movie makers manage to set out their vision of the world and bring us back to our deepest selves to open our minds a little more to what’s human. Like Gaspar Noé and Jérémy Saulnier, whose works rely on the feeling of abandonment of their protagonists to bring us an artistic proposal and introduce a reflection on art, Nicolas Winding Refn's The Neon Demon delivers a deep human experience with superior artistic content. With Only God Forgives, Refn already guided us to a more abstract and less conventional form of cinema. The door left ajar by David Lynch with Lost Highway has now become accessible thanks to The Neon Demon. This route offers another space of expression to the seventh art, a space more specialized than virtual reality for it is more artistic. The Neon Demon is more than a movie. It's a true work of art. Refn uses all the tools cinema provides, then transforms them. The narrative builds up and evolves as much through the dialogue, as by the use of symbols and colors, images and sound, matter and light. This all juxtaposes to finally reveal the true purpose of the movie. This film is not so much about telling the story of the rise of a supermodel as it is about immersing us in the sick universe of a world in perfect harmony with our time. With his movie, Refn himself says he wanted to talk about obsession with beauty. He succeeds masterfully thanks to his staggering artistic direction, the stunning work of chief operator Natasha Braier and the exceptional score of Cliff Martinez. The form also perfectly serves its purpose. While aesthetically, The Neon Demon is a work of rare beauty, Refn reveals the almost unreal character of this plastic beauty and the subjectivity it leads into.
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MASTERS AT WORK SHOWROOM A photographer who excels in his art but doesn’t cultivate snobbery is not considered a star in the world of fashion; the splendor of his photos has no impact on those who count (models, agencies, designers etc.). The success of the photographer is not related to the beauty of his work but to his attitude. Everything is about attitude; the attitude one has cultivated and the image one reflects. Shakespeare’s weird sisters in Macbeth said “Fair is foul, and foul is fair” (translated by Victor Hugo: “beauty is ugly and ugliness is beautiful”) … This all-consuming obsession with beauty reveals bloodless cannibals who fade completely behind their obsession. The main character herself possesses this rare beauty that all seek, but has no real importance. Refn makes Jesse disappear in the middle of the third act; stating that what counts is what she represents, not her carnal envelope. In The Neon Demon, Refn exposes the hidden face of absolute narcissism and the morbid despair felt when self-esteem collapses or does not exist. In this polished universe where discussions only revolve around the need to be desired, to be emotionally and sexually available and the one who will be chosen, there can be no cheerful conclusion. Only the evaporation, the absorption, the integration of the flesh can lead to elevation, absolution, and finally to bliss. Brilliantly, Refn announced from the very beginning, the true nature of The Neon Demon with one of the most fascinating scenes of his entire oeuvre. In the style Dario Argento adopted for Tenebrae when making us crawl along the roof of a villa to inform us of the approach of evil, Nicolas Winding Refn plunges us beneath the black lights of a nightclub pulsating with the beats of Julian Winding’s mighty Demon Dance, warning us of the entrance of his threatening Demon.
-Emilie Flory
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Directed by Abel Ferrara Written by Nicholas St. John (as N.G. St. John) Starring ZoĂŤ Lund (as ZoĂŤ Tamerlis), Peter Yellen, Jack Thibeau, Music by Joe Delia Cinematography by James Lemmo (as James Momel) Produced by Richard Howorth, Mary Kane, Arthur Weisberg (Rochelle Weisberg) PLOT: In Manhattan, Thana, a timid and mute woman who works as a seamstress in the fashion industry goes insane after being attacked and raped twice in one day. She uses a .45 caliber pistol to shoot men on the streets of New York. She dresses suggestively and roams the dark streets alone, wreaking vengeance upon anyone who tries to take advantage of her. Eventually, her secret life overflows into her regular life in the fashion industry.
Ms .45, All Men are Evil! by Christopher Zisi The late 1970s and early 1980s were a weird time in New York City. The Son of Sam was spreading his carnage, and George Steinbrenner turned the New York Yankees into a soap opera as he kept firing Billy Martin. The movie Death Wish starring Charles Bronson gave people hope about tackling crime. Also, during this time, I Spit on Your Grave began the rape/revenge genre in film. This brings us to 1981's Ms.45, an incredibly violent film starring Zoe Lund (1962-1999). When not acting, Lund served as an advocate for the use of heroine... ironically, she died of drug related causes in Paris at the age of 37.
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MASTERS AT WORK SHOWROOM The plot: Lund portrays Thana, a timid and mute seamstress in New York's garment district. On her stroll home one evening, a thug pulls her into an alley and rapes her. Without the ability to call for help, she scampers back home only to walk in on a burglar who rapes her at gunpoint. As she endures the second rape, she reaches for a crystal apple (perhaps symbolic of Eve's fall from grace), conks the thug in the head and finishes him off with an iron. She now has a gun (.45 caliber) and a new attitude. No longer meek, she cuts up her 2nd rapist and places him in garbage bags in her refrigerator. She disposes a piece of him each day on her way to work, finding different trash cans on her walk. Armed with a .45, Thana is slightly more confident. One day, a creep follows her, chases her into an alley and she deposits a round between his eyes. Easy... and slightly enjoyable to our newly created homicidal maniac. Each killing brings her more and more out of her shell. She, one night, dolls herself up with make-up and a risqué wardrobe and hits Central Park. She mows down five “would be” rapists in just a few seconds. This movie turns into an orgy of carnage as she also offs a Saudi Arabian prince and his driver on her way home. The New York Post starts reporting on these mass killings beside the news of the latest Billy Martin firing as Yankee manager. As she finishes disposing of the remains of her second rapist, she feeds the last few pieces of him to a neighbor's dog. An incredibly violent conclusion approaches which see a now sexed up Thana heading to a Halloween party as the date of her boss who constantly sexually harasses her (can you guess his fate?). Oh yes, her costume? A nun. This movie is violent and drips of symbolism. The final scenes have her dressed as a nun, and her intended final victim, dressed as Dracula. In all, she kills 18 times, all captured in these reels. This film reminds us more of Death Wish than I Spit on Your Grave but both influenced this work. Director Abel Ferrara keeps this a stylish work, and masterfully creates a character that starts out as a victim in waiting, to a horrific predator. See Ms.45 but be warned... your weekly quota for motion picture violence will be filled in these 80 minutes.
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And the Allure of Guns by Christopher Zisi
“You’ll get a badge, a car, and a gun.” That was told to me in October of 1989. I was a subpar law student at Tulane Law School in New Orleans, Louisiana. The recruiter from the Federal Bureau of Investigation (FBI) had come to campus to recruit future lawyers into the FBI. I was hooked… badge… gun… car… could babes be far behind? He might as well have said, “… chocolate covered strawberry, champagne in a long-stemmed glass, and raw oysters.” We can talk about cars and badges some other time, but are we ready to admit the allure of that killing device… the gun? A brief history. I was an FBI agent for 25 years. I came on in 1990 and was issued a SMITH AND WESSON 357. Let us not confuse it with the .44 Magnum, “the most powerful handgun on Earth,” as stated by Clint Eastwood’s Dirty Harry. We all remember that scene, Dirty Harry, sleek, calm, and powerful, holding that Magnum by his side. His Magnum is long, shiny, dark, and ready to kill. In a moment he will ask the punk, “do you feel lucky?” Audiences in the early 1970s cheered and memorized Clint Eastwood’s lines infinitely easier than words on a spelling test. Long, sleek, and controlling… a Magnum or Catherine Deneuve in a revealing, black evening gown? Back to Earth!… My new .357 Magnum was shorter, but just as powerful. By the way, two years after I got my gun, I got a beautiful and elegant wife… coincidence?
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From a law enforcement point of view, the six-shooter revolvers were our world. Then a horrific tragedy in 1986, two evil beings murdered two FBI agents, and wounded a few others, in what is known as “The Miami Shootout.” The FBI was outgunned. The six shooters didn’t do the job. One of the bad guys was shot above the heart by a .357 revolver and should have died immediately. The bad guy lived to fight for a couple more minutes and killed two agents in that time. The firearms and ballistics experts at the FBI studied this shootout and determined a new gun was needed. Over the next 10 years (it’s the government… nothing is quick!) FBI agents were issued semiautomatic pistols. The bad guys had these pistols long before law enforcement. As far as the FBI was concerned, “… no more Miami’s.” Now revolvers, such as the one Dirty Harry carried, were fast becoming dinosaurs. Semi-automatic pistols were the new deadly aphrodisiac. Still sleek and shiny, and always inviting to be caressed. Even better, a slide could be pulled and manipulated to ready it to fire. In a sense, some foreplay was introduced to the act of shooting. A semi-automatic pistol was the perfect weapon for a woman seeking to turn the tables on male aggressors. A rapist or any kind of misogynist could now be disposed of with a metaphor for their own evil intentions. The new semi-automatic, BERETTA or GLOCK (choose your poison), has a slide which needs to be caressed and pulled to chamber a round. The more deviant among us will compare this to a seductress stroking a man’s tally-whacker in order to get it ready for passion and explosion. Once a round is chambered, it’s ready to kill when the round penetrates into a torso or head. After all, the penetration is what kills… through the skin, crashing through bone, and into a vital organ.
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Ms.45 will show us this reversal as Zoe Lund (Thana) begins the film being violated repeatedly by
rapists. Her quiet and shy life is invaded when a cascade of vicious sex crimes transforms her into a gun toting vigilante. Unlike Charles Bronson in Death Wish, Zoe Lund’s character will be met by audiences with shock and discomfort. In a sense, Ms.45 is what Death Wish was supposed to be. The original story of Death Wish intended audiences to view the vigilante as a monster, created before their eyes. Audiences loved Charles Bronson’s character and cheered for him. Zoe Lund’s ‘Thana’ inspired a reaction of horror and uneasiness. The sexy babe’s quest to change how New Yorkers’ view sexual conquest was perhaps an avenue most moviegoers may not want to have gone down. Stroke the weapon, pull the slide, chamber a round, shoot it… penetrate the torso. Say that in a French accent and you might have a nice line for some deviant foreplay. Thana will inflict this punishment 18 times in this film. Actually, only 17 times as the first of her killings was done with an iron. The iron was probably used by director Abel Ferrara as a way to show us this meek woman was entering the realm of power and vengeance by saying good-bye to the tools of domestication and subservience (hence the iron). Killings two through 18 will utilize that sexy semi-automatic pistol… and a penetrating bullet… or bullets!
Death Wish was supposed to show that the vigilante’s idea of justice kept expanding until by the end
of the film Charles Bronson would be blowing people away who hardly deserved it. The movie differed from the original story and we are cheering for Charles Bronson with every killing. Ms.45 takes the original idea of the Death Wish story, and by the end of the film Zoe Lund is blowing away every male… after all, they all have penis’, thus they can all be rapists.
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Even the women in this film are repulsed and horrified… Zoe Lund has become a monster. She doesn’t have a penis to rape, but she does have a gun that will send a round into you, that will penetrate. Each and every time Zoe Lund’s ‘Thana’ guns down a rapist… or would be rapist… or someone who might be a future rapist… the shots are from the front. Male and female face each other in a final tirade of passion. Shooting from the front requires the bullet to have four or five inches of penetration. This is the ironic part of Ms.45. Four or five inches will get any man laughed out of any respected brothel. When the Miami shootout saw the death of some heroic FBI agents, the FBI sent out a call for a… no, not gun, round of ammunition that could penetrate 12-18 inches. A study of humans killed with guns found that rarely did these blokes face their killers. Usually a victim would turn to the side in an attempt to flee, or hold out their own arms to ward off the oncoming bullet, or wear winter coats. This, if a bullet’s penetration is only four or five inches, not only will working girls in brothels giggle, but the round won’t get past the arms and shoulders that will be in its way on the way to a vital organ. If the would be rapist turns to his side, a round would be needed to penetrate an arm and/or shoulder, through a jacket, and into a lung or heart…12 inches. Penetration is key, but Thana didn’t need it. Her men faced her… and in the world of Ms.45, this fact gave her killings some honor, and a metaphor for fairness. A small consolation to her victims, nonetheless, given what made her into a gun-toting maniac, at least a mitigating factor. Thana knew she was bait… hence her initial attackers, or would be attackers, saw her allure and demeanor as a victim… and swam in to eat. As schmuck #18 fell, Thana was seeing men through a different lens, a lens that would only allow men to be seen as rapists.
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Then finally, clad as a nun, we see that this killing spree was merely a holy crusade to avenge the misogyny and perversion that has taken such a foot hold in western culture. True… most men are not rapists, nor do they desire to be rapists. Here’s a question to ponder as you finish this modest and deviant essay: are any of us (male or female) desirous of eliminating all forms of male domination in our culture? I know, some of you will blurt out “Yes!” Perhaps, but think about it. The true answer may be very convicting. So, there you have it. Coupled with my review of Ms.45, let this vicious essay give you some perspective of a bloody and malicious metaphor. The sexiness of the gun… the penetration of a good bullet… may someday replace the sex-organs of demented males, and rape and disfigurement may go both ways.
-Christopher Zisi
About Christopher Zisi
Christopher Zisi is an American horror writer from Fredericksburg, Virginia. In 2013 he created the blog “Zisi Emporium for B Movies” which showcases his thoughts and witticisms of horror, exploitation, and science fiction films. Before writing about horror full time, Christopher Zisi was a Special Agent for the Federal Bureau of Investigation. Pursuing his interests, he has become certified in paranormal, cryptozoological, and UFO investigations. Since retiring in 2015 he has become a fulltime writer and traveler. Chris is almost done visiting all 50 states and after that’s completion, will embark on visiting all of the Canadian provinces. Christopher Zisi is married to a musician and has two children in college. In 2020 he will publish The Bondage of Suyin Wong, a sequel to his successful novel The Himalayan Devil Woman.
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Horror Makeup Exhibition & Interview with
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Winner of the 2nd Annual PROMOTE HORROR SFX HORROR MAKEUP CONTEST AND of THE ART AND HORROR CREATION AWARD
Interview by Omar “HorrO” Usman | Photos by Nicci Fears This winter, in our Vanity Case Feature for the Fashion Issue, we decided to offer you a very special Make-up Exhibition and an Interview with Justin Fears, the winner of the 2nd Annual Promote Horror SFX Horror Makeup Contest and of the Art and Horror Creation Award 2020! Here is for you an exclusive exchange between two horror lovers: Justin Fears and, our friend and partner from Promote Horror, Omar “HorrO” Usman. Enjoy! Let’s start at the beginning. When did you start practicing special effects makeup? I developed an interest in makeup and costuming not long after my wife and I met, around 2009. It was something fun that we could do together and we both enjoyed dressing up and attending various events. At that time, it was very basic grease paint makeups. It would be a stretch to call those early makeups special effects. The real magic didn't start happening until we were introduced to the haunted house industry around 2012 when I bought my first airbrush. Even then I was only doing airbrush tattoos and later one-dimensional airbrush haunt makeups. My first real special effects makeup was in November of 2015... I only remember the date because I did the makeup on a friend of mine, Lucas Turner, for the release of Fallout 4!
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How did you go about learning your craft? Self-taught, formal teaching, or both? That first makeup turned out so well that we thought, hey, this might be something we could do more often! Lucas lived close so we decided to meet up occasionally to try our hand at other looks. I had a fair amount of supplies in my basement and we had no lack of imagination. At the same time, I decided I would take a big step and start taking special effects classes in Chicago with Anthony Kosar (from Faceoff, Ed) on the weekends. I soaked up as much information in those weekend workshops as I could! In all, I think I took about a dozen different courses from Anthony and learned a ton! It was the application of those skills and practicing with Lucas that really solidified many of my techniques and abilities. You've worked as a lead artist in haunted houses. What was a typical night like for you? As the haunted house grew in popularity and staff, the demands on my time grew as well. Conceptually I had created the characters in the haunt and had a pretty specific way I felt they should look (so I was a little particular about the makeup). Ultimately what this meant for me is that I would end up doing 90% of the makeups myself. Not advisable for anyone... I had helpers who could do basic looks or spatter blood but for the intense looks I felt like I needed to be the one taking care of business. Needless to say, this made for long nights. I would start makeups as soon as I got there, usually around 3:30 pm and would finish the last makeup usually as the first bus load of people was being dropped at the door (approximately 7 pm). Three and a half hours is really not that bad to get fifty to sixty actors in makeup and out on the floor! Oh, and I lead the pre-show warm-up so there was no time to waste! The rest of the night, I managed the main house of the haunt... much less stressful than the makeup room, lol!
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MASTERS AT WORK VANITY CASE Speaking of haunted houses, you've been able to open several businesses under Fearsome Entertainment, LLC., including the haunted house. Please tell us a little about these businesses, and the role of SFX in them. So, my wife and I opened our first business called FEARSOME INK prior to the opening of the haunted house. This was a temporary tattoo business where we would travel to events and festivals and do airbrush tattoos. It really got me comfortable working with people and applying makeup. Next, we opened the haunt PHOBIUS HAUNTED HOUSE and obviously I took on the role of lead makeup artist, builder, actor manager, facilities manager, etc., etc. While running the haunt we started another business called FEARSOME DECAY where I made various distressed props for haunts. These companies are great because they grant me a lot of creative freedom but the one that is most relevant today is PHOBIUS FX STUDIOS. This is a company that we have started to allow me do special effects makeup on public forums, conventions, trade shows, private courses and our favorite, Total Terror TV on FACEBOOK. You've traveled to some of the largest conventions in order to do demos and seminars. What do you like to tell those crowds about SFX? When I'm in front of the crowds (which I love) people are very kind and compliment me and my work but really, I don't feel like I am any more talented than anyone else. I feel like I have a unique opportunity to practice often and with practice comes mastery. So, my message to the masses is always to practice, practice, practice! Also, communicate! Talk to people... vendors, artists, hobbyist, admirers, people you admire... get out there and meet people, learn, listen, share! In return, what's the question most people learning SFX makeup ask you, and what do you tell them? Two questions I get ALL the time... Is that your real last name? (Yes, it is!)
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MASTERS AT WORK VANITY CASE Why aren't you in Hollywood? This one is not as easy to answer... Well, I have two school age kids and we're here in the Midwest. Truth is, I'd love to be in LA working on films! What is favorite technique, or style? What's your go-to special effect? I love foam latex or silicone appliances and alcohol-based paints are where it's at for me! I also enjoy the sculptural side of the process. After reading about all your special effects work, it was amazing to learn that you're a high school principal. You might be the coolest principal I know. Do your students feel the same way? Because I'm the principal of an alternative high school, there is a little extra chill to my demeanor and I think my students recognize that but by and large they still see me as Dr. Fears the principal. At the haunt or on social media they have an opportunity to interact with me on a different level. I think the kids appreciate me for who I am because they know I appreciate them for who they are. Finally, why horror? When did you become a horror fan? Funny story, as a youngster I was terrified of the horror genre. As I got older, my draw to horror was as much in defiance of my own fear as it was out of entertainment. It allowed me to look deeper into the how and explore areas of my own creativity that had been stymied earlier on. I loved the practical effects from the greats in the business like Jack Pierce, Lon Chaney, Rick Baker, Dick Smith, Stan Winston, Ve Neill, and Rob Bottin. The more I watched, the more I love it! The special effects industry has some of the most amazing people I've ever met working in it and the same can be said for the haunted house industry and even the horror con industry. I'm so happy to have found an outlet where I can do something I love with amazing individuals working collaboratively to produce amazing products!
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by Kent Steine Editor: Roy Bheer | Visual Conception: Dub Meter | Images Courtesy of VOGUE & CONDÉ NAST Fashion illustration has always been a specialized endeavor for a select few universally successful artists. For example, J.C. Leyendecker and René Bouché, typically come to mind when discussing the subject of this select group. Noted illustrator, Bob Peak, was greatly influenced by Bouché, and cited a commission that he won in direct competition with Bouché as his first meaningful assignment. The advertisement was for OLD HICKORY WHISKEY, and Peak went on to certain fame creating numerous images for various clothiers within the garment industry during the 1950's and 1960's. However, preceding and eclipsing Bouché and Peak, and many other illustrators who gained recognition creating art for the fashion industry, was an artist who simply signed his work, Eric. Carl Oscar August Erickson, was born in Joliet, Illinois, nine years before the turn of the twentieth century. Poster Presentation On the Left Unknown fashion advertising illustration, possibly for BALENCIAGA or GIVENCHY [charcoal and gouache] On the Right (Top) Party with stylish attendees. Advertisement for COTY COSMETICS. 1944. [Ink and transparent watercolor on paper] On the Right (Bottom) Advertisement for COTY COSMETICS.1945. [Produced with brush inked line, transparent watercolor and gouache]
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MASTERS AT WORK METHODS OF THE MASTERS Erickson, was an exhaustively hard-working illustrator who had attended the Fine Art Academy of Chicago for two years before venturing out on his own within the busy advertising atmosphere of Chicago. He was in his early 20's when he began working for MARSHALL FIELD and LORD & THOMAS, as well as any other assignments he was able to secure. It was perhaps, a bit of fortuitous timing that the kid from Joliet, a small city just north of Chicago with no particular element of sophistication, would produce an artist who for more than 35 years dominated the field of fashion illustration. However, more than likely it was in fact Erickson's steadfast dedication to excellence and keen eye that lead him to this level of elegance and popularity of his art. By 1914 at the age of 23, he had exhausted his scope of clientele in Chicago and moved to New York City. He continued producing advertising art with his direct, simple approach to making pictures. Erickson's official entry in to the world of fashion illustration arrived with a series of drawings for the DRY GOODS ECONOMIST. The somewhat misleading title of this magazine, had been published by J. Mackey of New York, and was printed by TEXTILE PUBLISHING COMPANY, under the aforementioned title until updated to the Department Store Economist. On the Left Charcoal drawing with live model On the Right (Top) Conceptual study for advertisement produced as a color illustration which ultimately appeared in VOGUE. [Black & white en grisaille wash produced with ink and thinned with water] On the Right (Bottom) Conceptual study for advertisement. 1949. [Black & white en grisaille. Ink and gouache.]
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The periodical had a long history beginning in 1846, and ended its publication run in 1937. It was in effect, a sophisticated mail-order catalogue for various makers, distributors and retailers of clothing, accessories and other dry goods, with issues presenting everything from shoes, belts and fabrics, to the latest linoleum tile designs. It was lavishly illustrated with art and photography, in addition to extensive copy extolling the virtues of the products displayed. In 1920, Erickson packed his bags and moved to France. In Paris, he immediately felt a sense of belonging and appreciation for his work that hadn't escaped him in the states, yet had not taken him to the heights he would soon experience. It was as though Erickson was Parisian born and bred so effortlessly was his acclimation to his new surroundings, which he believed was his second home. He continued working for various French publications creating advertising art which had an appeal that was overwhelmingly accepted. Erickson also began to engage in commissions producing portraits for members of notable Parisian society. His work had already been discovered and admired throughout Europe dating back to his days in Chicago, and this had aided him during his first years in Paris. He was soon recognized by VOGUE, and in 1923, Erickson's long association with CONDE NAST began. Initially working as a staff artist, he soon became VOGUE's principle fashion illustrator.
Erickson's style or technique was a clean, direct, linear approach, often with limited elements of color. Working with brush, ink, watercolor, and occasionally charcoal pencil, his art seemed to be produced extemporaneously and without effort. There was literally no struggle, niggling or overworking of technique. The final versions of his illustrations most definitely were completed in this manner.
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However, Erickson produced countless studies and renderings before undertaking the intended final art. Even then, his studio floor was often filled with cast-off examples that had missed this mark of excellence. He never returned to a piece to repair or correct an error or line that hadn't achieved its visual aesthetic with the initial stroke of his brush. The simplicity of his line was able to accurately relate information in a direct stylized manner. His materials were that of tradition and familiarity. Throughout his career, he used Wolff pencil and charcoal, Chinese ink, in addition to both transparent and opaque watercolor. The ink would be purchased in cakes or sticks and then ground by hand in a mortar with water to create the opacity and viscosity he desired. Erickson was able to produce a jet black, or various values of gray depending on his mixture. This process, and the materials he used was perfectly suited for his approach, and also reacted well when adding color over the en grisaille mixtures and applications. He worked at a slightly tilted board, utilizing various brushes including sable, bristle and Oriental with bamboo ferrules and handles. The bristle type was reserved for the opaque watercolor, principally using gouache for that purpose. Following initial studies and conceptual pieces, he would always paint with a live model to create the final art. Erickson worked in Paris for VOGUE for the majority of his career without interruption until 1940, when the Nazis began to occupy France. Within mere weeks of this occurring, Erickson, his wife and daughter, along with a few belongings crammed into a couple of suitcases, fled Paris returning to the United States.
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MASTERS AT WORK METHODS OF THE MASTERS Erickson, a man of personal taste and sophistication, always wore a bowler and carried a walking stick. He attended various societal functions and mingled with the international set of New York City of the 1940's. He was well aware of the aesthetic and lifestyle of many of his clients, and along with his elegant figures and compositions he knew exactly how and what to express within the work he produced. After his arrival in the states, he was literally on the doorstep of CONDE NAST once again, and continued his work for VOGUE, and other periodicals. His advertising work was now being utilized by various American companies with the same enthusiasm he had experienced in France. Erickson continued working within the worlds of fashion publishing and advertising, and even endeavored to teach during the remaining years of his life, passing away in 1958 at the young age of 67. By the 1950's, his loose yet precise gestures were being imitated by nearly every fashion illustrator in the world, and to this day, literally inspired the look of all style related advertisements and designer's representations of their garments.
-Kent Steine
Author’s Note “From 1999 through 2002, I was the contributing writer to STEP-BY-STEP GRAPHICS MAGAZINE's, Methods of the Masters, feature articles. Following my last pages written for STEP-BY-STEP, the magazine decided that they wanted to update the format, discontinuing the long-running and popular Masters features. Unfortunately, the magazine itself was ultimately discontinued. Since everything that is old, is new again, I hope to resurrect The Methods of the Masters as a regular feature with new stories such as this feature about Carl "Eric" Erickson, and perhaps a few favorite updated repeats.”
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Elizabeth Wright is a self-taught digital artist based in the London area in the UK, specializing in portrait design. Her current projects explore different Goth culture and horror icons, ranging from some of the well-loved classics to modern day. Her inspiration to create her art includes music, movies and true crime. Although the main focus of Elizabeth’s work is the portrait itself, she enjoys exploring different ways to frame her work, whilst incorporating an element of text. Elizabeth has many projects planned for the future, exploring different themes, such as literature, TV and gaming.
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« 프퓸 Perfum is an adaptation of the Perfume (KBS2 Korea 2019) with a twist: I changed the leading lady. I just felt given the narrative, she deserved to be there, but the creatives went with the more conventional option (the actress who plays her younger, slimmer and 20 years younger). I have seen Ha Jae Suk in so many dramas and she deserves some credit for her grace, thick skin and endurance in a high-pressure appearance orientated industry for among a range of roles playing the heroine before surgery (birth of a beauty) or before the weight loss etc. And Shin Sung Rok is a great charismatic actor on screen and on stage. They have made us both laugh and cry in numerous dramas so here is a small tribute to beauty in all its forms. The irony and kitsch visual nature of this body of work is not lost on me, whilst passionate about and very well versed in contemporary art aesthetics, I believe that there is a certain rebellion in figurative painting when the art market prizes parodies of yester-year's modernism and abstraction, I continue to enjoy the post-modern era's playful bombastic aesthetics that boomed in the 1980s-1990s. » 프퓸 PERFUM
프퓸 PERFUM Eau de/ ode to Ha Jae Suk and Shin Sung Rok [Min Jae Hee and Seo Yi-do] Body of work / Adaptation of the Perfume (KBS2 Korea 2019) Acrylic on canvas 150x100cm 2019 by Eleanor Fawcett Creators Unite 08 SP Fashion
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Masters Art & Science Central St. Martins, Born Eleanor Angele Flory Fawcett 1986, raised in Thornham Magna, Suffolk. After several years studying and living in London, Eleanor currently lives and works in Mumbai. As a multimedia artist, Fawcett works with video, drawing, painting, photography, ready-mades, woodwork, textiles, sound and installation. The subject always determines the media and not the other way around. With strong ethnographic concerns, Fawcett’s work has always observed, documented and archived of sorts, customs of different social groups, collectives, subcultures and individuals. The work is engaged in an ongoing dialogue about the spurious boundaries between the practices of ethnography and fine art. Working as a kind of auto-cultural archeologist and a folk ethnographer, Fawcett employs the concept of auto/ethnography rooting out unsung heroes within her own cultural milieu and documenting people that successfully forge a life for themselves outside the conventional parameters of society. Fawcett sees these people as necessary paradigms in an age of homogenized culture.
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