Phosphenes 0: The Inaugural Issue

PHOSPHENES (n): the stars and colors you see when you rub your eyes

All styling, text, and photos by Scott Shapiro unless noted otherwise

CONTRIBUTIONs DESIGN Nicholas Griggs-Drane | Allie Whitehead PHOTO Jackie Robertson FASHION Mariana Cantú | Siena Argimon BEAUTY Rachel Vazquez MODELS Pierce Abernathy | Elizabeth Asongwed | Madeline Bach Jamie Balder | Madeline Brisbane | Mimi Chang Claire Conway | David Lowe | Luiza Ottoni | Bryce Rackham

It goes without saying that doing this all independently is a lot of hard work, but I couldn’t have done any of this without the support of those around me. I couldn’t have come up with any of these crazy ideas – nor could I find the motivation to bring all of this to fruition – if it wasn’t for you. I’ve still got a vlong way to go, but thank you for helping me get this far, even if only slightly. To my family, friends, employers, educators, and everyone else who has touched my life in some way,

Thanks,

Scott Shapiro

CONTENTS 4: THE ART OF MEANING 5: DE-CODE Dissecting and dismantling binary gender codes 8: SKIN ME ALIVE Meet The Skins, the Brooklyn-based band worth hearing.

11: HYPERSEX Sex is virtually everywhere; have we been pornified?

12: LET’S TALK ABOUT DIVERSITY Why diversity in fashion really matters 15: FÉROCE Clad in streetwear gone Goth, she’s virtually vicious.

23: THRILL ME Your greatest fears are coming to life.

45: BLACK MAGIC Something wicked this way comes.

53: CRUSH Take the heat and go where the wind blows.

When summer is upon us, it’s bound to be endless.

69: JEKYLL & HYDE Sleek and clean, she’s almost clinical. But given the right opportunity, the madness is unleashed.

81: CLARIFY Timeless minimalism reimagined 89: VISION Sharp and bold, say hello to the modern man.

107: SÉDUIRE Glamor never goes out of style; allure is always in. Luxury is twisted, sexuality enhanced. Are you seduced yet?

117: ÉPANOUISSEMENT Vibrance is vital; effervescence is essential.

Why be a wallflower when one can fully blossom?

124: THE GARDEN An entirely hand-painted story, explore a fantasy of the spring 2015 collections.

131: CITY OF DREAMS Take a trip downtown, where dreams never die.

141: BOLD A salute to the women who dare to go there 149: FASHION CREDITS

THE ART OF MEANING I like to think of fashion as an art form.Yes, designs and aesthetics often inspire and draw inspiration from art, but putting together a garment or an outfit is more than just what looks good or what will gain attention or sales. Take away the heavy emphasis on business and the social media hype that almost overshadow the industry today, and you would be left with a world teeming with creativity and imagination. That’s what drew me to fashion, after all. And just as art does, fashion has a way of telling a story, sending a message, or even igniting social commentary. We should never forget about how this niche – often seen as solely superficial – can present a unique view of the world in which we live.

So, what am I getting at? Or better yet, what am I even doing here?

Fashion started as a hobby for me, yet over time, my consumption of fashion imagery culminated in an immense knowledge and – excuse the cliché – a fervent passion. At the same time, I started expanding my knowledge in other spheres, from history to culture to communications and yes, even art. My mind would always relate everything to fashion, and somewhere along the lines I realized that all of these things could somehow work together in a much larger way than I’d ever thought.

To many, fashion is the most polarizing of art forms, often criticized for presenting and perpetuating rigid standards of beauty and status.Yet this beacon of creativity and experimentation has conceived some of the most innovative and inspiring ideas, many of which have started deep discussions beyond separate spheres. We’re in the business of creating and distributing beautiful things; who says beautiful things can’t translate into something more profound with a much stronger impact?

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DE-CODE We often tend to misinterpret the differences between gender and biological sex; gender is not intrinsic, but something acquired and learned, something we do and perform. And in our culture, gender is constructed as a binary, where masculinity and femininity are placed as polar opposites. So how does fashion fit into this?

Gender is illustrated by several codes of dress, arguably introduced almost immediately from birth. With separate spheres for menswear and womenswear, the gender divide in fashion is even further enforced by retail markets and media imagery, much of which perpetuates what is seen as being “masculine” and “feminine.”

Whereas masculinity is implied by certain constants, femininity is often delineated as everything that masculinity is not. This usually translates in specific fabrics, silhouettes, styles, and countless other elements introduced for males and females. But despite the fashion world’s tendency to perpetuate some of the codes to which we’ve grown accustomed, it’s also the perfect place to see the dismantling and subversion of these guidelines; breaking rules and rejecting social norms are more than welcome here.

Gender-bending fashion isn’t brand new, though it started out subtly. Structured, “masculine” tailoring for women was the first step, with new styles of trousers and outerwear shortly following. And despite the perceived difficulty to get men on board for a bit of role reversal, designers have even started injecting typically 5

“feminine” elements into their collections.Yet gender fluidity is more than simply putting a woman in a suit or a man in a skirt. It’s a good start, and it certainly helps to shift our traditional views of masculinity and femininity, but this doesn’t do much in the larger sense of erasing the divide.

Today’s world is opening up much more than ever before. From the rise of the trans fashion model to a resurgence of second-wave feminist ideals, our consciousness is growing, our scope less limited than it once was.

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But why should the dismantling of gender binaries be seen as a “movement,” just a fleeting trend?

Imagine a world in which show seasons are undivided, where fashion collections are unisex, not limited by the standards that we know. Maybe it’s a somewhat idealistic notion. However, designers like Rick Owens and Shayne Oliver at Hood By Air are going there, blurring lines and refreshing our framework.

The future of fashion is always an exciting thing to explore. Could we see a day without gender binaries? And if so, how would we get there?

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Say hello to your new favorite band

LEFT TO RIGHT: Daisy (guitar) | Bayli (vocals) | Reef (drums) | Russell (guitar) | Kaya (bass) Sometimes it feels like we’re drowning in the sea of today’s music, and we could really use a breath of fresh air. Cue The Skins, the Brooklyn-based rock band that’s giving us some tunes to get hyped about.

When you come across The Skins, there’s no doubt that you’d be captivated right off the bat. Ranging in ages from 15 to 21, the members are just as multifaceted and dynamic as their infectious music. Each one is teeming with personality and one-of-akind style from their sounds to their aesthetics, meshing aspects from various genres via punchy guitar riffs, catchy beats, viral rhythm, and sharp lyrics. And although you wouldn’t necessarily think to throw all of The Skins’ elements and influences together, there’s no denying that the result is instant harmony. Maybe you wouldn’t expect the members to all hang out, either. But whether they’re slaying on stage at The Knitting Factory in Williamsburg or prepping for a photo shoot at their Bed Stuy rehearsal space, the group is like a true family, with good vibes all around.

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Siblings Bayli, Kaya, and Reef Mckeithan linked up with friends and dueling guitarists, Daisy Spencer and Russell Chell back in 2012 after getting to know each other at New York’s School of Rock. They instantly caught the attention of actor Adrian Grenier, and “Surf,” their first in-studio music video recorded by Grenier’s Wreckroom Records got over 10,000 views within its first week on Youtube. Still need convincing? How about the fact that The Skins have already done two sold-out tours with the UK band, The Heavy, and captured audiences’ attention at festivals like Afro Punk, CMJ, and SXSW? Oh, and they’ve also gotten their track, “Dead Hands” licensed to be used for an eight-week ad campaign for the Australian World Open on ESPN and Cinemax. Not too shabby for a bunch of kids from Brooklyn.

But that’s the thing: this isn’t just another group of friends jamming out. The Skins’ music ranges from every area on the rock ‘n’ roll spectrum and beyond, while the group still manages to maintain a strong identity comparable to many seasoned pros. Their self-titled EP contains seemingly endless layers and dimensions. Meanwhile, their additional tracks take things even further, experimenting with everything from hard rock to hip-hop. On one hand, you’ve got “Kiss Me,” which combines passionate lyrics with heavy, grungier chords. But on the opposite end of the spectrum lies the super-upbeat “Pump Up the Speed.” Somehow, the songs still make sense when put alongside “Rude Girl,” the insanely catchy, rap-infused banger (where the singer threatens to “go Solange on a bitch”). Of course, this cohesive dabbling in different styles wouldn’t be possible without each band member’s unique role. With a hybrid of Gwen Stefani’s spunk and Amy Winehouse’s soul, Bayli’s vocals heighten powerful lyrics with fortitude

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beyond her years. And while Reef could easily bang out hip-hop-friendly beats, his skills go perfectly with Russell’s solid rock guitar licks. Daisy adapts her multifaceted style accordingly, while Kaya acts as the glue, holding these different elements together. It just goes to show that differences – no matter how vast – can produce the best results imaginable.

Music should be fun, and there’s no denying the good time Bayli, Kaya, Reef, Daisy, and Russell are having. But you can’t argue their passion, either, which is what’s really shooting them above and beyond. After signing to American Recordings, the band is currently working on new releases, giving listeners a lot to look forward to. Keep The Skins on your radar; you’re sure to be blown away while they’re blowing up.

THE SKINS

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HYPERSEX

Sex is everywhere around us, presented as an essential aspect of life. In a way, the prevalence of sexuality in our society makes us view sexuality as something of a performance, orchestrated by how we present ourselves, how we identify ourselves, and how we engage in sex. But how are we expected to perform, and to what standards?

The vast pornification of our culture has become so ubiquitous that it’s barely even noticeable. We could argue that this leads to a substantial amount of sexual freedom.

But there’s the problem: how do we distinguish sexual freedom from sexual exploitation?

Society has somewhat skewed our perception and reaction to sex, giving us a structured set of guidelines that infringes on our relationships, personalities, and everyday behaviors. Meanwhile, sex is often presented as a symbol of power, and sexual agency is indicative of a new sort of leadership. These days, it’s hard to draw the line between reality and hyper-sexualized reality; it may be past the point of avoidance, and we might not even think about it anymore. Have we been pornified?

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LET’S TALK ABOUT

DIVERSITY It’s important for major figures to understand that the virtual exclusion of models of color is an act of racism. However you look at it, modeling is a profession, and not hiring someone because he or she is not white – or does not appear “white enough” – is racism. Casting one or two models of color in a show does not substantially represent the diversity of the world in which we live, nor does the idea that including a single Asian model will completely expunge any potential accusations of racism. True, fashion is almost entirely image-based, but an “aesthetic” does not excuse prejudice, especially when it becomes representative of a brand’s message.

But it’s more than just seasonal statistics from or who is and isn’t being racially inclusive during Fashion Month. It’s even more than editorials, advertisements, and the modeling industry overall. The lack of diversity among models is a reflection of the power structure in the fashion industry – and society – as a whole.

There’s a common sentiment these days that we live in a post-racist world; to many, racism is a thing of the past, something that we’ve completely moved away from. Unfortunately, that couldn’t be farther from the truth, especially in the context of fashion. It’s something that often goes unnoticed in the midst of the industry’s fast pace, something that seems brushed aside and undermined.

And although it’s been brought up before, we’re not done talking.

In recent years, the topic has garnered more attention with each season. Bethann Hardison brought the Diversity Coalition to full force, prompting the industry to take things more seriously. Meanwhile, specific designers, stylists, and casting directors have been called out for assembling casts of almost entirely white models in their runway shows. And while there have been some steps forward since this problem had been initially thrust in the industry’s face, these are often followed by disproportionate digression; simply pointing fingers hasn’t done much to educate people in terms of why this matters, and we’ve still got a long way to go.

Just like in politics, medicine, and countless other fields, whites hold much of the power in fashion. And while the climate is becoming increasingly corporate, this parallel of prejudice is

Minor improvements do not equate to change.

If not consistently considered, the issue of diversity faces the risk of being forgotten after just a couple of seasons.

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becoming even more noticeable. Socioeconomic factors, educational differences, and rapid globalization are often linked to this dramatic racial imbalance, which appears in every sphere of the industry. This could potentially explain – though it shouldn’t excuse – why there’s only a handful of designers of color, while major nonwhite stylists, editors, or other image-makers are extremely rare. Meanwhile, the problems with cultural appropriation and misrepresentation in high fashion imagery prevail, taking concepts from specific groups and redistributing and manipulating them for white audiences. And with few people in the industry to speak on behalf of these groups, these scenarios are too often accepted or disregarded.

Real progress is hard to achieve when many feel that the issue doesn’t directly affect them.

Why is the scope of black models so limited to fixed archetypes: either light-skinned with “Eurocentric” features, or the darker, sub-Saharan African appearance? Even further, why are blacks in fashion primarily given roles as specific, stereotypical characters? This isn’t just a black and white issue, though. People have often referenced the Asian presence as a “trend,” discrediting the legitimate and pivotal role that these individuals play in the industry.

Meanwhile, South Asian, Middle Eastern, Native, and Hispanic or Latin American people are virtually absent in fashion, providing an unrealistic representation of the

real world. And while many claim that “fashion is a fantasy,” who says fantasies have to be all-white?

How would it feel to be a person of color with a desire to enter the fashion world and have no one to look up to? Or what about being force-fed imagery that suggests that you aren’t beautiful unless you’re white, or unless you possess certain features? Fashion at its core is a beacon of creativity, typically accepting of an expansive spectrum of different ideas.

And as exclusive and austere as fashion can be, it is an extension of society, and society is not milk; our world is neither homogenized nor all-white.

Beauty is not a concept only applicable to one group of humanity.

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fashion

On a journey from darkness to light

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FÉROCE

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thrillme

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BLACK MAGIC 44

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CRUSH 53

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JEKYLL

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HYDE

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CLARIFY photos by Jackie Robertson 81

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VISION photos by Jackie Robertson

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SÉDUIRE

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ÉPANOUISSEMENT

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THE GARDEN 124

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city of dreams

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BOLD photos by Jackie Robertson

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FASHION CREDITS DE-CODE p. 5: [left to right] wool-blend jacket and trousers BALENCIAGA; wool jacket and trousers VINTAGE YVES SAINT LAURENT. p. 7: [bottom] both wool-blend tops LANVIN. HYPERSEX p. 11: leather trousers KENNETH COLE COLLECTION. FÉROCE p. 15: leather boots RICK OWENS. p. 17: linen jacket RICK OWENS. silver chain DAVID YURMAN. leather trousers ACNE STUDIOS. leather sneakers MAISON MARGIELA. THRILL ME p. 25: felt snapback STAMPD LA. wool jacket GIVENCHY. p. 27: printed cotton t-shirt SANDRO PARIS. p. 29: leather jacket RICK OWENS. p. 33: mesh sweatshirt ALEXANDER WANG. leather trousers ACNE STUDIOS. p. 36: silk shirt VINTAGE YVES SAINT LAURENT. silk scarf LANVIN. p. 43: rubber raincoat TERRA NEW YORK. denim shirt DIESEL. BLACK MAGIC p. 49: t-shirt JIL SANDER. p. 50: shirt DRIES VAN NOTEN. CRUSH p. 54: neoprene t-shirt KENZO. p. 55: tie-dye print sweatshirt ALEXANDER WANG. bottoms TRIANGL. p. 58: leather jacket (worn throughout) TOPMAN DESIGN. silver chain (worn throughout) DAVID YURMAN. mesh sweatshirt ALEXANDER WANG. suede boots GIUSEPPE ZANOTTI DESIGN. p. 61: striped shirt SAINT LAURENT. denim shirt (worn as skirt) DIESEL. p. 64: neoprene sweatshirt JUUN J. p. 65: sleeveless sweatshirt HELMUT LANG. lace-up sandals GIVENCHY. JEKYLL & HYDE p. 69: top ROBERT RODRIGUEZ. p. 70: beanie ISABEL MARANT. bra AGENT PROVOCATEUR. silk trousers ALEXANDER WANG. p. 71: leather top and cardigan MAJESTIC. trousers J BRAND. leather boots CÉLINE. p. 72: wool and leather jacket SANDRO PARIS. studded bra and panties STELLA MCCARTNEY. sneakers NIKE. p. 74: neoprene top JOE’S JEANS. p. 75: leather backpack RICK OWENS. leather boots CHANEL. CLARIFY p. 81: wool-blend jacket DIOR HOMME. trousers (worn throughout) JIL SANDER. p. 82: cashmere turtleneck VINTAGE YVES SAINT LAURENT p. 83: wool-blend top LANVIN. p. 84: cotton turtleneck JIL SANDER. leather jacket SANDRO PARIS. p. 85: denim shirt and jeans DIESEL. p. 86: neoprene t-shirt KENZO. VISION p. 90: neoprene t-shirt NEIL BARRETT. p. 91: jacket and trousers CALVIN KLEIN COLLECTION. p. 93: cotton turtleneck (worn throughout) JIL SANDER. knit sweater SANDRO PARIS. p. 95: neoprene sweatshirt JUUN J. p. 96: printed shirt SANDRO PARIS. leather trousers ACNE STUDIOS. p. 99: wool-blend coat SANDRO PARIS. p. 104: jacket and silk scarf LANVIN. p. 105: wool-blend jacket DIOR HOMME. SÉDUIRE p. 109: cotton-jersey dress with pearl detail CUSHNIE ET OCHS. p. 110: sunglasses (worn throughout) KAREN WALKER. printed top HONOR. p. 112: silk dress VINTAGE PRADA. leather and silver shoes NICHOLAS KIRKWOOD. p. 115: ceramic floral necklace J. CREW. silk-jersey dress AQUA BY AQUA. patent leather shoes ALEXANDER WANG. ÉPANOUISSEMENT p. 118: printed t-shirt JIL SANDER. jacket (worn around waist) and trousers CALVIN KLEIN COLLECTION. leather gloves SALVATORE FERRAGAMO. p. 119: metallic knit cardigan MISSONI. p. 120: knit top VERSACE. silver chain DAVID YURMAN. p. 123: printed silk scarf (worn as top) CHRISTIAN DIOR. THE GARDEN p. 124: dress YOHJI YAMAMOTO. gloves GASPAR GLOVES. p. 125: dress KENZO. p. 126: top GIAMBATTISTA VALLI. p. 127: earring DELFINA DELETTREZ. top ICEBERG. vest CHRISTIAN DIOR. cuff AURÉLIE BIDERMANN. p. 128: dress BURBERRY PRORSUM. p. 130: coat ISSEY MIYAKE. top and skirt MARQUES’ALMEIDA. sneakers BURBERRY PRORSUM. CITY OF DREAMS p. 132: jacket and shorts BALENCIAGA. top HOUSE OF HOLLAND. rings EDDIE BORGO. p. 133: cotton dress ALEXANDER WANG. flannel shirt with sequin detail FILLES A PAPA. p. 134: top CAMEO. pants custom design by Mariana Cantú. ponyhair and fur clutch PROENZA SCHOULER. p. 136: sunglasses KAREN WALKER. silk top and trousers LES CHIFFONIERS. printed coat MIU MIU. patent leather clutch MAISON MARGIELA. p. 137: metallic gold jacket and skirt KENZO. p. 138: embellished jacket with silk coattails SASS & BIDE. silk shorts WAYNE. p. 140: silk crepe shirt MICHAEL VAN DER HAM. silk dress JIL SANDER. fur clutch 3.1 PHILLIP LIM. fur “monster” keychain FENDI. BOLD p. 141: leather jacket (worn throughout) IRO. p. 143: satin silk gown VINTAGE LANVIN. p. 144: silk scarf LANVIN. leather trousers GIVENCHY. p. 146: jacket and trousers CALVIN KLEIN COLLECTION. p. 147: trousers CHLOÉ

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