GENESIS
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G E N E S I S the
inception
of
creativit y
each issue genesis explores the intersection of a select team of creatives collaborating together for a single shoot . by dissecting their creative journeys
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capturing the creation of an editorial from various
perspectives , we discover the deeper motives behind each decision
&
the profound origins that inspire some
of the most compelling images . within these pages you will find behind the scene captures , exclusive sketches , personals writings , and interviews with each of the creative individuals .
F rom
the conceptualization to
the final production , we are curating an unparalleled experience into the minds of contemporary artists , designers , stylists , and muses .
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TIM E LI NE IN TE RV I EWS VIS ION AI R E Photographer E X PE C T I N G T H E U NEX P E C TE D Fashion Designer S C U LP T I N G LI G H T Lighting Designer B E H IN D T H E BEAU T Y Hair & Makeup M E E TI N G MY MU SE Model RE VER I E Editorial RE F L E CT I ON C RE DI TS
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concept
con c e p t
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li ght i ng
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be au t y
m ode l
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creative
director
photographer
DJI U N
WA N G
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creative
director
photogrpher
VISIO N AIRE
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concept
con c e p t
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s t y li ng
li ght i ng
be au t y
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interview
m ode l
mind of the visionaire
WHERE DO YOU FIND YOUR INSPIRATION?
The inspiration for the first issue’s editorial Reverie was manifested deep from within my dreams. I often lucid dream which gives me the experience to have a clear awareness of my dream world. Many of the elements in the shoot surfaced from my subconscious such as my vision for the dramatic lighting to the passionately vibrant colors. Within my dreams lie beautiful fantasies, but also dark fears. Reverie explores the fine line between both. Even though I had a clear vision for the concept, finding images and creating accurate sketches to communicate these ideas was the difficult part. I referenced some of my favorite photographers such as Nick Knight, Steven Klein, and
Michal Pudelka for the lighting and compositions and designers Alexander McQueen, Riccardo Tisci, and Leonid Gurevich for styling. HOW DO YOU CONTINUE TO PUSH YOURSELF AS AN ARTIST?
I tend to push myself to explore the things I hate. I force myself to face the discomfort and find out why I hate it, why it makes me feel a certain way, and how I can transform that energy into something I can identify with and love. It challenges me to analyze things from different perspectives the same way I challenge my viewers as well. A true artist grows and evolves through their work.
WH AT SPARKE D YO U R J O URN E Y I N TO TH E CRE ATI V E I N D US TRY ?
I learned how to draw before I could even speak. The journey started with a flicker that developed into a passionate flame, which eventually defined my path in the world. I begged my parents for the opportunity to attend an arts academy early in grade school; with formal training for over 12 years in fine arts, my hand and eye began translating those skills into the world photography, design, and fashion. A quote that stuck with me when I was applying for my dream school at Parsons The New School for Design was “We Live in a Designed World, Now Design It Better.” From the moment I read that quote, it validated my desire to top: salvador dali, james jean for prada
bottom: salvador dali, tim walker
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creative
director
photogrpher
transform the world for the better through design, whether it was through fashion, graphics, motion, architecture, or product design, I wanted to learn everything and share my vision. “Seeing comes before words. The child looks and recognizes before it can speak. But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.” John Berger, Ways of Seeing HOW DO YOU HANDLE STRESSFUL SITUATIONS?
When it comes to stress I rarely show it, but I have also recently found myself meditating more to have a clearer focus. When I begin to feel overwhelmed on a design team or when I’m directing shoot, I take a moment to center myself before I proceed. Often the real challenge for me is finding ways to keep my surroundings sane. With a thousand gears moving during production on a team, there is always something that’s bound to go wrong. As the day of the shoot arrived, my team carried the plethora of gowns, props, and lighting equipment to the studio space at Parsons. As I opened the door to the studio I was shocked to find that tables and chairs were aligned for a presentation. I was confused to who reserved the space? While my team waited patiently, I powerwalked throughout all six floors
and soon found out that the school had nearly every single classroom and studio space booked for an Open House program. Panicking quietly inside, I managed to convince a few students let me borrow their small classroom. I transformed that space into the studio space for the shoot. While I dodged that embarrassing bullet, I suddenly got word from my designer that one of the featured gowns had still not arrived followed by assistant telling me my second model is still nowhere to be seen for hours. I always expect something to go wrong no matter what, so within a few moments I reorganized the plans for the shoot. Stay clear headed, stay flexible, but also stay spontaneous. HOW DO YOU EXPLAIN TO SOMEONE THE IMPORTANCE OF WHAT YOU DO IN THE CREATIVE INDUSTRY?
My head is filled with visions and fantasies, but also innovations and solutions to problems I find in society. Through my work I strive to create an emotional connection and inspire a different perspective from my viewers. If I had chosen a career path other than in the creative industry, my lust for life and passion to inspire would cease to exist. WHAT SETS YOU APART AS AN ARTIST?
The images I create yearn to tell a story. With my narrative tongue, I strive to express my unique experiences through photographs powered by my passion to bring fantasies to life.
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behind
WHAT WAS YOUR EXPERIENCE LIKE ON THE SHOOT?
As I was creating a surreal world for the photo shoot, the shoot itself felt like a dream. Three years ago when I left everything behind to move to New York City, I couldn’t even image the scale of imagery that I would be creating and the loving team that I would have to support me. Reverie is a deeply personal shoot, making a milestone in my artistic evolution. WHAT WAS YOUR MINDSET DURING THE SHOOT?
“Is this really happening?” Over three months of conceptualizing, planning, and forming the perfect team, the stars finally aligned under almost perfect conditions for this shoot. WHAT ADVICE WOULD YOU GIVE ASPIRING CREATIVES?
Define your boundaries and learn how to push them.
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the
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fashion
designer
T I MOT H Y after spending
3
K
years developing the concept for his
new collection opus
III
designer timothy k gave us an
exclusive experience inside his studio
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a look into the
design of his dress for our editorial .
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fashion
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E X PECTEI N G t h e U N E X PECTED It’s quite funny how the universe works in circles. A stylist presented me with Timothy K’s creations over a year and a half ago when I photographed them for an editorial. From the form, detail, and craftsmanship, I knew this designer possessed a magnificently raw talent, but I didn’t get a chance to put a face with the name until recently. I was recommended my friend Faustina Rose, a fashion editor, blogger, and former stylist, to get in touch with Timothy K. I sent him an email and received a quick response within an hour. We corresponded back and forth discussing the editorial concept and which pieces to feature, then he gave me an exclusive look into his newest collection. I waited by my computer as he sent me an image of the gown, which had never before been photographed for an editorial. He had been developing the collection concept for the past 3 years and had spent an entire year hand embroidering this gown. The intricate details, sublime color, and weightless form were to the utmost perfection. At that moment, I knew this would be the shining cornerstone of the editorial.
The day of the shoot arrived and he brought the gown on set for the shoot, the gown was inconspicuously tucked away in the bottom of a tote bag. We were also waiting on the delivery of an enormous 10 feet long black ball gown from another stylist. A small corner space in the studio was set up for a model fitting before the shoot. As he revealed the gown from the bag, the room went silent. Gazing at the piece felt like a spiritual experience. The hand embroidered detail and delicate nature yearned to come alive on a model. Timothy K is more than a fashion designer, but an architect constructing masterpieces for the body.
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scale model of the featured optical illusion gown
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concept
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mind of the fashion designer
WHERE DO YOU FIND YO U R INS P IRATION ? In our lives we are constantly growing, learning, morphing, and evolving- a story that continues to write itself. I like to feel that a painters painting, a sculptor’s sculpture, or a designers collection is a punctuation in this story. I like to approach my collections as an investigation into elements of this story. Finding an inspiring passage and diving deeper. I used to catalog my collections as Opus numbers due to the amount of research and work that went into them, but moving forward I might just call them “Investigations,” HOW DO YOU CONTINUE TO PUSH YOUR LIMITS AS AN ARTIST? With a penchant to never stop learning. The further you can push the limits of your knowledge the further you can push the limits of your creativity. WHAT SPARKED YOUR JOURNEY INTO THE CREATIVE INDUSTRY? It’s the age-old story. Having forever found my pencils doodling on the borders of my homework I was naturally attracted to exploring a creative path professionally. With a
good aptitude for math, my parents pushed me toward architecture and industrial design early on. But I fell in love with the human form in AP studio art. Not only painting and drawing the nude but also the relation of it with other objects and material. HOW HAVE YOUR EVOLVED THROUGH YOUR CREATIVE JOURNEY? As I explored that dialogue more, my passion for showmanship, culture, and fashion mixed into my creative work, this new recipe directed me towards looking into fashion as a major. To begin building a fashion portfolio, I downloaded my first croqui, falling in love instantly in my first drawing. I took the plunge. After a long application and decision process I attended Pratt. Unsure, yet open minded to the direction fashion would take me. In my freshman year, after seeing my first Ralph Rucci retrospective and receiving my first book on Charles James, the path was set, I wanted… no, had to… push the envelope as a couture designer. Long story short after years later I emerged on the other side an award winning eveningwear designer.
WHAT OBSTACLES DID YOU CONQUER TO GET TO WHERE YOU ARE TODAY? There are surface obstacles like money. Growing up I was surrounded by love and unconditional support of my dreams. To this day, I still attribute my successes to the continued support and belief from my parents, they are incredible people. Although I would never trade it, we didn’t have the sort of money to self find a fashion company right out of school. But I’m glad I didn’t go that route because through struggle and a slow build I find myself more grounded and making better decisions as a designer, artist, and businessman. But I have faith that strong art and tenacity will bring along benefactors/ investors that are willing invest in my vision. I’m not trying to will them out of the woodwork, rather I know that govern enough time producing work that I believe is honest will bring investors that share the same values. But something I have never discussed in an interview before but one of the most real obstacles is fear. Fear of failure. Failure not to anyone but myself. To hold creative dreams on such a high precipice that to reach for, miss left to right: givenchy, jade chiu, leonid gurevich alexander mcqueen, creepyyeha
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fashion
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and fall would surely be too much of an altitude to fall from and survive. I used to calm this anxiety with work, burying myself in my studio to produce work. This worked for a while, feeling as though each garment was a brick in the tower toward my dreams. But when taking a step back I realized that this might be actually a means to an end, by burying yourself completely in producing gowns I was stunting my growth. The realization didn’t come overnight but I began to find balance. As a creative person your wheels are always turning, so I was technically still always “working” like I spoke about before, but my work now also involved painting, cooking, loving, meditating, traveling, reading, music. Working on them, creating growth and understanding of the world has mirrored itself on my creative output. HOW DO YOU HANDLE STRESSFUL SITUATIONS? Everyone has a different baseline and I have been lucky enough to have been given one with a pretty high tipping point into panic. But I have found the best solution to a stressful situation is teamwork. To renegotiate tasks, deliverable, deadlines, risks when at your wits end is best tackled with the power of multiple brains. So as long as your prep work of surrounding yourself with great people is done, huddle up for five minutes and figure out how to get it done. If alone, put those headphones on, eyebrows down and work. A break down never got anything done.
HOW DO YOU EXPLAIN TO SOMEONE THE IMPORTANCE OF WHAT YOU DO IN FASHION? “Important”... I think can be a bit of a narcissistic claim from an artist or designer. But in fashion we have the potential to inspire and make people smile through our creations. So I think in fashion the more people that are pushing the boundaries the further we can advance the craft and push this potential. WHAT SETS YOU APART AS AN ARTIST? Currently I feel it might be my approach. I have been approaching my work from a different angle than the traditional designer. I’m not saying that my method is any better, but it produces work for me that comes the most from with me. For example, the collection I am working on, one of the visual inspirations comes from one of my favorite artists and their relation with their subject matter. Rather than finding ways to incorporate their work into my designs directly, I started by pouring over tomes of their work and history, then taking this new knowledge and spending over a year doing just fine art to investigate my relationship to their concepts and work. I feel like I have found my voice within it, I will begin my designs and see what is produced. I’ve only been
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timothy
working on my present concept for four months and I am already finding such an incredible development in my handling of the media and subject matter. I’m am very excited to continue to watch it’s evolution. HOW YOUR EXPERIENCE ON THE SHOOT? Such incredibly nice people. Everyone was humble and hardworking. Comradery produces the best results. We had designers using fog machines and photographers steaming dresses and dressing models. WHAT WAS STREAMING THROUGH YOUR MIND DURING THE SHOOT? Where the hell is my other dress… we were patiently waiting on a delivery driver to drop off a gown from another stylist. Five hours later it still didn’t even show up. WHAT ADVICE WOULD YOU GIVE ASPIRING CREATIVES? It might sound cliché, but be yourself. Of course, get inspired from everywhere but after you digest it and produce creative work from it. Do it from a honest place from within, not because someone said it’s trending or is what other are selling. And with plenty of perseverance and a dash of talent, if you keep producing work, the right person will eventually notice and open up the avenues for you, and open them the best way, with authenticity.
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k
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lighting
RAC H E L
designer
GI B BONS
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lighting
designer
SC U LPTI N G LIGHT
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mind of the lighting designer
WHERE DO YOU FIND YOUR INSPIRATION? My surroundings as well as my culture often lead me to be inspired in different ways. HOW DO YOU CONTINUE TO PUSH YOUR LIMITS AS AN ARTIST? Endurance and challenging myself. When trying a new technique or medium, I find that going the extra mile, despite the difficulties I likely will face, will help me in expressing work with a fresh perspective. WHAT SPARKED YOUR JOURNEY INTO THE CREATIVE INDUSTRY? I was once told by a former photography teacher that, “you have an eye for this.” From then on, these few words have helped me stay the course and to truly fall in love with photography. I’ve grown to have a greater technical, conceptual, cultural, and historical understanding of what I create.
WHAT OBSTACLES DID YOU CONQUER TO GET TO WHERE YOU ARE TODAY? Of course, it hasn’t been easy funding being a photographer and making sure I do what it takes to be successful. Overcoming any obstacles that come along and keeping a positive outlook have always made the difference.
me, but also lets whomever I’m speaking to know how seriously I take my craft.
HOW DO YOU HANDLE STRESSFUL SITUATIONS WHEN WORKING ON A CREATIVE PROJECT? Making sure to take breaks or watching shows to take my mind off the project is always helpful. Also, taking the project seriously but not taking myself too seriously helps allow my creative ideas to keep flowing.
HOW YOUR EXPERIENCE ON THE SHOOT? It was a great vibe shared by the team throughout the entire shoot. Lighting the shoot was really exciting and I definitely learned a ton from doing it.
HOW DO YOU EXPLAIN TO SOMEONE THE IMPORTANCE OF WHAT YOU DO IN THE CREATIVE INDUSTRY? Always noting the importance of blazing a trail for black female photographers in the making drives
WHAT SETS YOU APART AS AN ARTIST? My work ethic, my love for glitter, and having the ability to see art differently and letting that reflect in my work.
WHAT WAS STREAMING THROUGH YOUR MIND DURING THE SHOOT? Mostly, it was to have fun and get the job done well. WHAT ADVICE WOULD YOU GIVE ASPIRING CREATIVES? Create what you want to create. Take critique with a grain of salt and never take yourself so seriously that you suffocate your conceptual ideas.
left to right: chen man for mac, david sims for alexander mcqueen, nick knight
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LI G H TI N G N OTE S Lighting will be soft and etheral creating a dreamlike scene with dramatic highlights: 2 2 2 4 1
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soft boxes for overall even tones spotlights for dramatic effects or hightlighting reflectors (silver/ gold) foamboards for bounce lighting fog machine for a cloud effect
behind
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lighting
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designer
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makeup
MI C HAE L
artist
A NT H ONY
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be au t y
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behind
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makeup
artist
hair
RA NDY
stylist
DA R D E N
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concept
co n c e p t
i n s p i ra t i o n
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be au ty
m ode l
behind
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model
PI YA
WA N
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model
MEETI N G MY M U SE All the elements were coming together. My team consisted of an incredible fashion designer, lighting designer, beauty team, and several trustworthy assistants. Everything was ready, expect the muse. I had a vision for an innocent looking girl with soft, sublime features and a stare as deep as a sapphire ocean. I reached out to model friends and some of New York’s biggest modeling agencies to find the perfect face, but the results only disappointed me. As the deadline for the shoot began drawing closer and closer, I felt the pressure crushing on my shoulders. With less than a week left, my hunt for my muse came close to a discouraging failure until I received an email from Major Models. My eyes glistened and heart raced. Piya Wan, standing five foot eleven with sharp brows, high cheek bones, and a piercing gaze. I couldn’t believe it, I have found her and she
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was beyond my expectations. She was my first and ultimately only choice, so when I received confirmation the stars began aligning in place for the shoot. It was the day of the shoot; as soon as we met I felt her energy radiating. An elongated arm with graceful fingers stretched towards me with a confidant voice, “Hi, I’m Piya.” I guided her up the elevators to the 6th floor of the studio space. Making conversation I realized we had mutual friends and that she was also a photographer. We entered the studio and as soon as she sat down the hair and makeup team surrounded her, working their magic. Once again my expectations were surpassed. My vision of my muse immediately changed when I met her. Her body slipped effortlessly into the custom atelier gown, we all took a moment to appreciate the beauty. As soon as the house lights were off, I pounded the bass with Chambry’s “Untitled (Len Faki Untitled Mix) and masked the room with a could of fog, transporting the entire team to my dream world. Piya moved like poetry, each gesture spoke with such immense beauty. It was in that moment I knew I was capturing something unlike anything I have ever created.
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mind of the model
WHERE DO YOU FIND YOUR INSPIRATION? I am inspired by people who do their work for themselves, and not to be recognized. I like to see people preforming in the street and the subway. I think this is a good way to approach my work.
HOW DO YOU EXPLAIN TO SOMEONE THE IMPORTANCE OF WHAT YOU DO IN THE CREATIVE INDUSTRY? The job of a model is to present someone else’s work, not as much my own. I think that some people think this makes models less important, but a model that knows this is a very good model.
HOW DO YOU CONTINUE TO PUSH YOUR LIMITS AS A MODEL? I dont think that I push my limits as an model, as much as my environment and projects give me the push that I need to keep getting better and better. WHAT SPARKED YOUR JOURNEY INTO THE MODELING INDUSTRY? I didn’t think I would be a model in the US. I had done some modeling in Thailand but I moved here to study film. Someone at a restaurant found me and asked me to be a model. I thought it would be a good opportunity to work so I took it!
WHAT SETS YOU APART AS A MODEL? I have ambition, if you have that, you can do anything.
WHAT OBSTACLES DID YOU HAVE TO CONQUER GETTING TO WHERE YOU ARE TODAY? Being from another country has made coming to the US challenging. I had to work very hard to get a visa, and the language and culture was something that has taken me a while to get used to.
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WHAT WAS STREAMING THROUGH YOUR MIND DURING THE SHOOT? I was thinking about the inspiration that Djiun had, that this was to look like a dream. I tried to imagine that I was inside of a dream. The team was very talented and fun to work with! WHAT ADVICE WOULD YOU GIVE ASPIRING MODELS? Work hard and stay true to yourself.
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behind
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editorial
RE V E R I E
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reflection
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credits
team
details
DJ IUN WAN G creative director photographer djiun.com
@djiun
TIMOTH Y K
P I YA WAN
fashion designer
model
timothyk.net
major model management
R AC H EL GIBBONS
MI C H AE L AN TH O N Y
lighting designer
makeup artist
@rcssndra
@michaelanthonya
@gift_fil
@houseoftimothyk
rconthego.com
michaelanthonyartistry.com
C AM L IND F OR S
RAN DY DARD E N
photography assistant
hair stylist
@randynyhair_makeup
camlindfors.com
@camlindfors
designer
details
LEONID GU REVI C H leonidgurevich.com @leonidgurevich
JAD E C H I U jadechiu.com @jadechiudesign
CR EEPY YEH A creepyyeha.com @creepyyeha
BO N D H ARDWARE bond-hardware.com @bondhardware
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SISENEG