KNOX
Issue One AW / 14
KNOX ISSUE ONE |LINES AW/14
This Autumn we launched KNOX, a biannual fashion magazine exploring contemporary culture. We showcase promising creatives in fashion, photography, art and much more through produced editorials, interviews and talent pages. The magazine pays homage to well-known names, as well as new and emerging talents. We aim to inspire and enthuse creative design enthusiasts and work as a visual database exploring set themes each issue. This issue: Lines The notion of line or straight line was introduced by ancient mathematicians to represent straight objects with negligible width and depth. Lines are an idealisation of such objects and makeup for every shape and outline. In this issue we explore how lines can be used from drawn lines, patterns, shadows and expressionism.
Sign on the dotted line:
Emi Jean Prescott Editor
KNOX | Line ~ Page 2
KNOX | Line ~ Page 3
MastHead Editor / Art Director Emi Jean Prescott
Contributing Fashion Editors Joshua Stocker Sophie Walters
Contributing Photographers Emi Jean Prescott Cover photography Emi Jean Prescott, Fashion editor Emi Jean Prescott. Makeup Chanel lift lumier, lipstick Yves Saint Laurent. Photography assistant Joshua Stocker, Ben Vulliamy & Ryan Woods. Silk shirt Zara. Model Connie Ferniaux from M+P models.
Joshua Stocker Lynton Pepper Aimee Glen
Assistants Joshua stocker Ryan woods James coffey Ben Vulliamy Sophie Walters
KNOX | Line ~ Page 4
KNOX | Line ~ Page 5
Contents 3. Editors note 5. Masthead 6. Contents page
64. Amie Dicke 70. The designers 74. Bertjan Pot
8. Head Read Reed Reer 16. Alana Dee Haynes 24.He braved like the perfect gentleman.
78. With her dreaming spires 86. A hundred lesser faces 92. Give up the ghost
34. Melanie Willhide 38. Passed from hand to hand 46. Who says you can’t play with your food? 54. Anne Lindburg 58. Touch your theighs im the lonely one 64. Amie Dicke
KNOX | Line ~ Page 6
KNOX MAGAZINE
KNOX MAGAZINE
ISSUE NO1 : LINES
ISSUE NO1 : LINES
AW/14
AW/14 KNOX | Line ~ Page 7
H
E
A
D
R
E
A
D
R
E
E
D
R
E
E
R
Stylist: EMI PRESCOT T Photography: JOSHUA STOCKER Model: JASMINE WOODS Hair & Make up: EMI PRESCOT T KNOX | Line ~ Page 8
KNOX | Line ~ Page 9
KNOX | Line ~ Page 10
KNOX | Line ~ Page 11
KNOX | Line ~ Page 12
KNOX | Line ~ Page 13
KNOX | Line ~ Page 14
KNOX | Line ~ Page 15
ALANA DEE HAYNES Drawing has always been a meditation for Alana Dee Haynes. Seeing patterns and faces everywhere and illustrating them onto photographs allows her to share her experience with the world. At first glance her mixed-media work seems like blithe doodles on photographs from magazines. As soon as you take a closer look, you realise how strong the harmonious and powerful connection between the original image and her hand-added elements actually are.
How did it all start for you? I was always interested in art. I carried around a moleskin sketchbook everywhere. I was always drawing faces, and animals, made up of dots and patterns. When I took my first photography class at the age of 15, I ended up with so much extra paper, and messed up prints. I had never experienced an art form with so much waste before. I was pretty broke, and it calculated out to be over a dollar per piece of paper. I started turning my extra photos into art. I was making collages, and drawing on them. It was really satisfying to bring these things that I loved so much together. It felt like I was making the photos better, and showing my vision of life to the world.
I really love the detail that all of your pieces have, how long does it usually take you to finish a project? Some take longer than others, but I usually work on a piece for a few straight hours at a time. Drawing is a very concentrated meditation for me; if I am feeling especially connected with imagery one day, I can produce a few pieces a day.
Do you reference any artists from the past or present? When I’m making art, I’m not intentionally referencing anyone. It’s something that is really just about the process for me, because it’s meditative. I try not to bring outside references into it. There are definitely things getting in, but its subconscious. It’s like a dream. Anything you see in a dream is what you have seen before, and your mind melds them together. also become very special to me when other
people like it. There will be one or two pieces that I’m not crazy about – that people go nuts over! And it will make me re-examine it.
What is your art process? When I find an image that I can look at and already see a pattern on, I immediately start to draw. It is as if I am tracing lines that are already there. I usually use a small tip micron pen. It is usually is a very immediate process. I hardly use pencils or sketch out where things will go. The entire image has a purpose and direction before I even know what it is.
Are there any particular pieces of work that are personal to you at all? Do you reference any artists from the past or present? All of my work is hand drawn. I like to get very close to the paper when I draw, and there is something about being an inch away from a nude model or portrait that makes me feel very intimate with them. They become personal. Some pieces that I have spent days with feel like old friends. I know the shapes of them so well.
Illustration has influenced fashion a lot lately, what do you think about this? Illustrators have always been around in the fashion industry, usually helping designers sketch their thoughts for garments. I love that the roles are reversed now, and if not totally reversed, just more symbiotic. It’s great to see fashion soaking up so many different art forms.
Interview by Emily Jean Prescott for KNOX Magazine. 20 th January
KNOX | Line ~ Page 16
KNOX | Line ~ Page 17
KNOX | Line ~ Page 18
KNOX | Line ~ Page 19
“Sometimes I dread the truth of the lines I say. But the dread must never show.� Vivien Leigh
KNOX | Line ~ Page 20
KNOX | Line ~ Page 21
KNOX | Line ~ Page 22 KNOX | Line ~ Page 23
Gilbert K. Chesterton
“Art, like morality, consists in drawing the line somewhere. “
He bra the ved pe l i k gen rfe e tle ct ma n.
EMI PRESCOT T Model: RYAN WOODS & JAMES COFFEY Style, Photography, Makeup:
KNOX | Line ~ Page 24
KNOX | Line ~ Page 25
KNOX | Line ~ Page 26
KNOX | Line ~ Page 27
KNOX | Line ~ Page 28
KNOX | Line ~ Page 29
KNOX | Line ~ Page 30
KNOX | Line ~ Page 31
KNOX | Line ~ Page 32
KNOX | Line ~ Page 33
Melanie Willhide ‘To Adrian Rodriguez with Love’ Would you mind ring the story of how you first got into photography? Ie your education, what inspired you, your relationship with the medium.
It was by accident. I had trained for many years to be a ballet dancer and an injury took me out of the game. In a bit of a dazed depression I was encouraged to take a photography class at a local community college. It was there that I met Dorothy Imagire. She was the teacher that changed my life. Honestly, my relationship with the medium has been fickle at best. Photography and I have a dynamic of classic demand withdrawal: I ignore it and it wants me – I give it attention and it ignores me. But every once and a while we are able to make it work. This was apparent back in my earliest attempt to commit to the medium. I applied to RISD with photographs, but instead of enrolling in the photo department I initially enrolled as a fashion major. While at RISD I tended to mix the two mediums (fashion/fabric arts and photo) in my work. I made photographs to convert into fabric – or used fabric to create objects to photograph. I created patterns for my photographs based on traditional pattern-making techniques, and made wounds out of fabric and photographed them. In these early years I exhibited primarily in an installation format. Eventually I moved over to the photography department. Later in my graduate program at Yale I felt there was little room for anything but the practice of straight photography. So in a way graduate school forced me to really engage with my photography. I used the time to learn the technical craft of lighting and large format. This was the only time I thought of myself as a straight photographer. This period radically focused my work, and since then two concerns have dominated my work: a dedication to making the image disappear in the photograph, and the desire to challenge perceptions of the photograph through digital manipulation.
The story of how ‘To Adrian Rodriguez with Love’ came about is an unbelievable misfortune that at the time I imagine you couldn’t envisage it becoming the inspiration of your next series. Would you mind sharing how you came to discover the corrupted files? My husband and I bought our first house in Altadena, California—a small town at the base of a state forest, above Pasadena—where cowboys and Cal tech professors live. I left for the day to manage the production of a commissioned piece for another artist in Los Angeles. When I returned to the house, it had been broken into. Items taken: two computers (including mine from my studio), a gold locket, a flat screen TV, and (to the haters) my backup airport. KNOX | Line ~ Page 35
I spent the next month dealing with a specific set of noteworthy characters at the Altadena Sherriff’s Department: one with a cast painted green with a black happy face drawn boldly on it, as well as some who appeared busy with things like whether or not to take a sweatshirt with them outside. All of them seemed to be eating sandwiches on Wonder bread. In other words, I was met with a host of roadblocks, beginning with the “book” where the details of my robbery had been “written” down having been lost. This continued for close to two months, until the day I stopped at the Sherriff’s station and the green cast-wearing woman told me the Pasadena Police Department had recovered my computer. When I plugged the computer in I did not have a keyboard, so I was forced to look at the culprit and his girlfriend as a screensaver for a few days, until I could get another keyboard. Once I was able to access the computer I quickly found that my hard drive had been wiped, so I ran recovery software. This process took about 48 hours. When it was completed, my business partner and dear friend Betsy happened to be over. When we opened the files we found that many had been corrupted – family images of my nieces and nephews, wedding photographs, and all of the images I had been working on in two separate series. The first series was based on life saving manuals from the 1950s. These were created with a housing my husband designed so I could take my 4 x 5 camera underwater. They were romantic and played with perception through distortion. The other a series of images, which I loosely called “Suburban Circus,” featured the talents that come out in the last hours of a great party. The work would not edit into exhibition. I had been struggling for some time to edit this work. But as Betsy and I moved the mouse over the recovered images it became clear that the corruption of the files unified the work. It made the work better. So inspired by the effects of the corruption I began to recreate in other photos using Photoshop. Adrian changed my practice – not only in the appearance of my photos, but also in the very way I thought about images and how they were made. Ultimately, the experience helped me to more clearly identify continued themes in my work over the years and freed me to detach from my work, remain open and ultimately make it better.
It is refreshing to see Photoshop manipulation used in ‘wrong ways’ to result in something right. is this visual aesthetic your signature as a photographer now, or will it remain primarily for the series To Adrian Rodriguez with Love? Utilizing the language of the corrupted files has a lot of potential. There’s something really powerful about seeing the delicacy of the digital file. By revealing the optical illusion that is created in my photographs, I am attempting to champion
KNOX | Line ~ Page 36
the art form of digital photography as it embraces programs like Photoshop in a non-traditional sense. It requires me to think of Photoshop in terms of how it shouldn’t be used. Shifting concern from the authenticity of an image’s subject to the image as a whole gives photographers an opportunity to come out against the real—a sentiment suggesting parallels to surrealist movements across other mediums. This language does appear in my newest series but it is used in a very different manner.
Even though the images have been corrupted or manipulated, what is the story behind the images themselves, I noticed a distinct ‘film like’ element, somewhat like film stills? I have fallen in love with the body culture here in Los Angeles. It has feed my work since my move here from New York in 2004. At first I found the body culture to be both narrow and extreme in comparison to my east coast roots. Narrow in terms of what is acceptable and desirable (women have expiration dates, and men, who here in sunny southern CA are the new women – have them as well). Extreme in what people do to maintain the illusion (suddenly I had students whose fathers bought them nose and boob jobs as graduation gifts, I found myself at dinners with people who work on their minds with meditation while filling their faces with chemicals to stave off aging, a woman in a bagel shop gave me the stink eye for eating a bagel). It took me 3 weeks to find a model with full-grown pubic hair when I started the box under the bed series. In addition to spray tans, bleaching teeth and the anus, cars with tinted windows, bodies with no hair – I also found my life intersecting with the entertainment industry in odd ways – I had Anna Nicole Smith’s baby daddy in a course I taught and a Back Street boy relaying a message to me that he loved work of mine he had seen in Palm Springs. I thought I was floating around in outer space. I have just gone with it and loved every moment. Perhaps I was very attracted to this culture because of my years dancing – which had its own extreme set of rules regarding how the body should be. And the photographs that have resulted since moving here are like collecting spectacles – specimens – In the way an anthropologist might to study and understand.
‘Adrian changed my practice – not only in the appearance of my
Interview by Emily Jean Prescott for KNOX Magazine. 20 th Janury
photos, but also in the very way I thought about images’ Issue | Line ~ Page 37
passed from hand to hand
Stylist: EMI PRESCOT T Photography: RUTH OVERTON Nails: IN BEES KNEED TOPSHOP
KNOX | Line ~ Page 38
KNOX | Line ~ Page 39
KNOX | Line ~ Page 40
KNOX | Line ~ Page 41
KNOX | Line ~ Page 42
KNOX | Line ~ Page 43
First page: Lauren by Ralph Lauren Newbury black zip tote bag
Second page: Swatch watch - Rose Rebel
Third page: Gucci stiletto shoes
Fourth page: Zara Black White & Beige bag.
Fith page: Accessorize White box bag
Sixth page: Agent Provocateur white slippers
KNOX | Line ~ Page 44
KNOX | Line ~ Page 45
WHO SAYS YOU CAN’T PLAY WITH YOUR FOOD?
Photographer Aimee Glen and image stylist Emi Jean Prescott’s ironic series of partnered fruit images embody a graphic, postmodern aesthetic achieved through their use of static positioning and playful colour combinations. The use of the unnatural colour schemes of the fruit makes them appear solid and fake. Juxtaposing with their partnered images that reveal precise slices through the fruit, showcasing its vibrant, natural state. These accurate removed panels allow the viewer to really appreciate the natural lines, textures and colours of fruit and the appeal of fresh produce in comparison to genetically modified, artificial food. KNOX | Line ~ Page 46
KNOX | Line ~ Page 47
KNOX | Line ~ Page 48
KNOX | Line ~ Page 49
KNOX | Line ~ Page 50
KNOX | Line ~ Page 51
KNOX | Line ~ Page 52 KNOX | Line ~ Page 53
Winston Churchill
“The English never draw a line without blurring it.”
ANNE LINDBURG
KNOX | Line ~ Page 54
‘Fine delicate lines have always been a formal element in my work, starting with early work in printmaking. ‘
KNOX | Line ~ Page 55
“I make sculpture and drawings that tap a non-verbal physiological landscape of body and space, provoking emotional, visceral and perceptual responses. I work with an expanded definition of drawing languages, and am influencing the resurgence of drawing in contemporary art.”
KNOX | Line ~ Page 56
Your thread installations are visually interesting whilst remaining beautifully simplistic. For what reasons did you choose the use of lines as your main visual aesthetic/ is there a certain relationship between the message you are sending and the use of lines? Fine delicate lines have always been a formal element in my work, starting with early work in printmaking. The tactile physicality of woodcuts, the stitching of thread, the casting of a line in space – all of these ways of making marks on a surface or in space lead to an interest in the notion of matrix. I can build the work from a single gesture forward, deepening the density and slowly, very slowly creating form. It just makes
sense, and it’s related to notions of the body (neurological systems, muscle tissue, sequences of time and motion).
Would you mind explaining the creative process? The thread drawings in space always begin with a careful study of the space, the architectural and lighting conditions present. I make small 1/4inch scale physical models, often many of them, in order to arrive at a gesture and scale. The work itself can’t be made beforehand in my studio, so the installation is a kind of performance The work is made once for the space, and cut down at the end of the exhibition. I like that temporality, it’s much like life itself. I work
with templates that keep each person who is working on the installation in conversation with others, keeping the thread taut and relatively level. I tend to plan ahead the density changes, but come to the work with a palette. The specific colour for each line is decided in the space while the work is being made. Moment by moment decisions allow the work to shift and change in the environmental conditions.
Are there reasons for the specific colour choices for your installations and drawings? Incorporating colour into my work has been evolutionary. For years I worked almost
exclusively with graphite and it’s many subtle tones by using the full spectrum of leads. While at a residency in upstate New York in 2009, I was taken with the cool white/blue daylight in my studio, and was propelled to cast yellow thread between two walls of the space to see how it responded to the cool daylight. From that point, intense yellow passages become a vehicle for the work. Now, the work was evolved into spatial drawings with thread (hazes of color) and the drawings incorporate many differently colors. Color has symbolic and optical power, and captures responses in one’s body and physiology. As well, colour has the potential to alter one’s perception of depth and space. The choice of chroma for the installations
comes from studying the space, it’s energy and character. Every space has its’ own sensibility and therefore leads to a choice of colour.
Interview by Emily Jean Prescott for KNOX Magazine. 6 th March 2014
KNOX | Line ~ Page 57
Touch your thighs, I’m the lonely one.
Stylist: EMI PRESCOT T Photography: LYNTON PEPPER Model: PAULA M+P MODELS Hair & Make up: EMI PRESCOT T
KNOX | Line ~ Page 58
KNOX | Line ~ Page 59
KNOX | Line ~ Page 60
KNOX | Line ~ Page 61
KNOX | Line ~ Page 62
KNOX | Line ~ Page 63
AIME DICKE Amie Dicke is an Amsterdam-based artist who creates and alters images and objects in a way that makes you think twice. Exploring themes of frustration and contradiction, Dicke’s work invites the viewer to reconsider the idea of “mistakes” as understood by the fashion industry. Dicke talks about violence in her art, creating by accident, and whether mistakes exist.
Your work suggests A quiet violence. Does the fashion world anger you? I had a show at Galerie Diana Stigter that was called The Violent Contradiction. The title is a reference to George Bataille who said, “Truth has only one face: That of a violent contradiction.”) This violent contradiction is something that’s in my work. It is a part of being annoyed and irritated and frustrated with myself but also with images that I see. Fashion magazines were the first objects in which I understood my frustration. This frustration was necessary to be able to create. It’s creating by destroying. But my work is personal and not an attack on fashion industry. I believe fashion is something innate in us—our notion of what is beautiful or attractive. So I don’t see why I should blame the way the industry uses female models. I don’t see that as something bad. What I’m asking is, “Why do I even buy the magazine?” Even as a child, I didn’t see fashion magazines as precious things. They were always there, and they were there to use. I used them to wrap presents, to draw, to make collages. I really prefer the existing image to the blank canvas or paper. I always used fashion to project my feelings. I like to work in layers—adding and removing. I’m trying to create new space to be able to have more reflection and put more of my personality behind these images.
KNOX | Line ~ Page 64
What is the beauty of removing something from its context? The funny thing is when you remove a page from a magazine, it’s still a fashion magazine. The context is still there (if there is a context). I think that it’s all very superficial, though. I have this rule that I like to work within one image. I don’t really see my work as collages because it’s always just one image. It’s more about materials. I think when taking things out of their context, it’s good to be aware of the original source material. I think it can be very interesting to see how far you can take something. With the cut-outs, just by using what you’ve got, you still have the fashion image. By removing parts, the story becomes different.
Do you create other rules that you try to stay within or are you free to do whatever you like? I think that secretly I love rules [laughs]. I like directness and using existing materials. I like to work with what’s given. I started to understand that I could work with the given space. Until now, I have been working a lot with galleries which are blank spaces. I now understand that the white space for me is not such a natural area to reflect or work in. Not that I don’t like white [laughs]. I think that there is so much in our world already that we could work with, so I don’t see the necessity to create a totally new
KNOX | Line ~ Page 65
KNOX | Line ~ Page 66
KNOX | Line ~ Page 67
existing materials. I like to work with what’s given. I started to understand that I could work with the given space. Until now, I have been working a lot with galleries which are blank spaces. I now understand that the white space for me is not such a natural area to reflect or work in. Not that I don’t like white [laughs]. I think that there is so much in our world already that we could work with, so I don’t see the necessity to create a totally new image when there are already so many images out there. I really like to be conscious of what’s there, and not invent or create mystique. Of course, you do put a little extra in. It’s not all pure intuition. You emphasize certain parts.
What is the worst mistake you have made? Most artists can think of certain embarrassing missteps, but I can’t think of any. For me, there is no “worst mistake.”
SO there are no mistakes? If I say that there are no mistakes then I imply that I’ve never had a guilty feeling or that I go through life not caring. That’s not true, there’s a lot of shame and guilt, and it plays a very big role in my work. Being afraid of making mistakes plays a big role, being aware of your position, where you stand, where you are. So I don’t want to say that I don’t care - I definitely care.
Interview by Katrina Cervoni for Issue Magazine. 1st February 2014 2014
KNOX | Line ~ Page 68
KNOX | Line ~ Page 69
KNOX | Line ~ Page 70
Hart
Ok. Let’s not freak out. Let’s take it easy… just slowly.. OH MY GOD. Are you kidding me? These installations were made with a permanent marker?! Impossible. Well, not really. Cologne-based artist Heike Weber was able to pull it off, and as you can see in the images below, she is quite good at it. These labour intensive installations transform an otherwise plain room into a series of flowing rivers of energy. The walls, the floor, everything seems to come to life with the magic of her marker. If you stare long enough you can almost see the room breathing. A mix of optical illusion, illustration, and zen-like gardens. I find this type of work to be very meditative, if you think about each stroke, each pattern, you really get transported to a whole ‘other world. A beautiful one. Heike Weber has pushed the boundaries of creativity by taking a disposable everyday object like a permanent marker, and has turned it into a powerful tool of renewal. Isn’t her work incredibly serene and hypnotic? ‘I am interested in floating states, the breakup of solidly conjoined structures. I try to physcically integrate the viewer into my “pictures”. For example, my walk-over floor and space drawings are meant to make the visitor aware of his existence and conscious of his own person by means of how insecure he feels when walking across them. The picture becomes a metaphor. In my floordrawings which relates to the floorplan of the exhibitions space or the architectual elements in the space. It is a very concentrated and meditative work and i think the energy of the drawings attacks and attracts the contemplator. it concerns with the “tme”, the “here” and the “now.” I explore the medium of drawings with different things. I like to use homely materials or everyday commodities which change it’s appearence and it’s attraction with the formal way i use it.’
Elvira ‘T
Favorite and devoutly-followed Japanese creative collective Nendo is about to stage its first solo UK exhibit during next week’s London Design Festival, presented in two parts: at the Saatchi Gallery and by Phillips de Pury & Company’s London Headquarters. True to form, Nendo’s new series, called Thin Black Lines, turns everyday objects upside-down, with a line of 29 minimal furnishings made from steel and inspired by Japanese calligraphy. Each piece forms the bare, yet striking, outline that remain after simplifying paintings of plants and animals. There are so many small ” ! ” moments hidden in our everyday. But we don’t recognize them and even when we do recognize them,we tend to unconsciously reset our minds and forget what we’ve seen. But we believe these small ” ! ” moments are what make our days so interesting, so rich. We’d like the people who’ve encountered Nendo’s designs to feel these small ” ! ” moments intuitively. That’s Nendo’s job.
Heike Weber
Born in Bulgaria, Vasilev moved to Israel and later to Milan where he studied. Years later, he still hasn’t left the city. He is an architect who established his own firm taking commissions in architecture, interior and industrial design. He has produced collaborations with the like of Boffi and is clearly dedicated to his craft and the discipline of minimalism. His studies in Scandinavia have also added to an extension of this dedication. The Kub system is one that challenges convention and is incredibly beautiful.
Nendo
Kub
Milan-based architect Victor Vasilev produced the Kub basin in 2010. Its styling, lines and considered designed elements stand classic three years on. Made from carrara marble and glass, this piece challenges the traditional solid styling of bathroom vanity systems. I like this.
Elvira ‘T Hart is a recent fashion graduate whose lastest collection aims to translate 2D sketches to 3D garments. This is an obvious aim of most fashion designers. However instead of filling in where the pen stops, Hart actually makes her sketches the pattern. Using laser cuts, one can see how lines abruptly stop, outlines are inconsistent much like that of hand generated sketches, spaces are empty, and one automatically fills in this space with their imagination. The use of the imagination is the primary goal of Hart, as she explains, “An image is reduced to lines, planes and areas which do not have to be fully formed or finished in order to portray their ultimate meaning: it stimulates the imagination.” “The inspiration behind my collection were my own drawings, the process of drawing and how we interpret them. I wanted to give garments the shape of drawings, like they were directly drawn on the body. The clothes are literately drawn, these are digitalized and these patterns are cut out by laser in leather. Cutting the patterns with a laser is so precisely that every line I have drawn is kept exactly the same in the final garment. Line drawings are the most simplistic looking, you can give a suggestion of something and you don’t have to make a finished drawing to give an idea of that what is depicted. Which makes Which makes it really interesting, intriguing I think to look at. Interviews by Emily Jean Prescott for KNOX Magazine. 20 th January 2014
KNOX | Line ~ Page 71
KNOX | Line ~ Page 72 KNOX | Line ~ Page 73
Edouard Manet
“There are no lines in nature, only areas of colour, one against another.”
Berjan Pot Dutch designer Bertjan Pot accidentally stumbled upon the concept of these rope masks when he was trying to sew a carpet out of standard rope. When the carpet started to get curvy, instead of throwing out the colourful material, he switched to making these beautiful masks that would put your raggedy Halloween mask to shame. In order to make these masks, Pot uses different varieties and colour of ropes and sews them together using a sewing machine. The masks, he says, are new faces he meets every day. Some have happy faces, others more animalisitic, some a bit creepy, and the rest a little abstract. by Inigo Del Castillo 26th Feburary 2014
“Although seemingly these masks tell stories, this again started out as a material experiment. I wanted to find out if by stitching a rope together I could make a large flat carpet. Instead of flat, the samples got curvy. When I was about to give up on the carpet, Vladi came up with the idea of shaping the rope into masks. The possibilities are endless, I’m meeting new faces every day.” -Bertjan Pot
KNOX | Line ~ Page 74
KNOX | Line ~ Page 75
KNOX | Line ~ Page 76
KNOX | Line ~ Page 77
with with dreaming herher spires. EMI PRESCOT T Photographer: ANAIT GRIGORYAN Model: JULIANNA MFWW Stylist:
KNOX | Line ~ Page 78
Stylist: EMI PRESCOT T Photography: ANAIT GRIGORYAN Model: JULINANNA MF Hair & Make up: EMI PRESCOT T
KNOX | Line ~ Page 79
KNOX | Line ~ Page 80
KNOX | Line ~ Page 81
KNOX | Line ~ Page 82
KNOX | Line ~ Page 83
KNOX | Line ~ Page 84
KNOX | Line ~ Page 85
A hundred lesser faces: Distortions of the past
A hundred lesser faces: Distortions of the past
A
FACES
HUNDRED LESSER
KNOX | Line ~ Page 86
KNOX | Line ~ Page 87
DISTORTIONS OF THE PAST KNOX | Line ~ Page 88
KNOX | Line ~ Page 89
KNOX | Line ~ Page 90
individual personalities.
The techniques used for erasing the details of the faces in the images give the viewer an incite into Emi Jean Prescott’s feelings towards each person and their
‘A hundred lesser faces: Distortions of the past’ is Emi Jean Prescott’s latest image series that depicts the memory of one hundred people who have been in her life. The methods used for distorting and defacing these people in the images reflect the hazy, undetailed memories we store,“often memories can be vague and undetailed, but you never forget the way people make you feel.”
“Often memories can be vague and undetailed, but you never forget the way people make you feel.”
KNOX | Line ~ Page 91
Give up the Ghost
Stylist: EMI PRESCOT T Photography: JOSHUA STOCKER Model: CONNIE M+P MODELS Hair & Make up: EMI PRESCOT T
KNOX | Line ~ Page 92
KNOX | Line ~ Page 93
KNOX | Line ~ Page 94
KNOX | Line ~ Page 95
KNOX | Line ~ Page 96
KNOX | Line ~ Page 97
KNOX | Line ~ Page 98
KNOX | Line ~ Page 99
KNOX | Line ~ Page 100
KNOX | Line ~ Page 101
KNOX | Line ~ Page 102
KNOX | Line ~ Page 103
First page: Zara tropical print shirt
Second page: Yellow COS dress
Third page: Zara jacket and skirt, COS top
Nineth page: Asos green embellished jacket
KNOX | Line ~ Page 104
KNOX | Line ~ Page 105
Issue One AW / 14