BRASS TACKS. SPRING / SUMMER 17
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Issue 1
B R A S S TaCkS BRASS TACKS. 2
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noun, Informal. 1.
the most fundamental considerations; essentials; realities (usu-
ally used in the phrase get down to brass tacks).
2.
hitting the nail on the head; coming to the point, what might
be the real meaning, and does it have more than one?
cockney rhyming, slang. 1.
“brass tacks� [ facts ]
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BRASS TACKS.
A RAW COLLECTIONOF ARTISTICALLY DELIVERED CONTENT FOR THE STEADFAST YOUTH
Contributing Photographers Dayne Watai Gabriel Isak Aleesha Woodson Shan Lee Assistant Photogapher Roberto Gaxiola Duarte Contributing Stylists Sasha Leon Andrea Valdez-Morley Shan’nice Storey Sherelle Williams Models Jae Won GloTaylorr Logan Guler Jason Davis Olivia Addis Publisher & Editor-in-Chief Faye Harris Editorial 415 774 6536 fayeharris@me.com Website www.brasstacksmag.com
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Editor’s Letter
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JVL x SAW
CONTENTS
14 Tokyo Fashion Week Nehanne Mihara Yasuhiro Murral Bedsidedrama 19 Trends Runway / Beauty 22
Paris Fashion Week OFF-WHITE
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Havet
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All That Glitters
London Fashion Week Mimi Wade
44 Milan Fashion Week Wunderkind 50 CALA 56
Paris Fashion Week Neith Nyer
62 WHICHKIM? 68 Op-Ed: The Future of Mass Bespoke Clothing 72
Beauty In Wonderland: Whytt Magazine’s Digital Art Exhibition That Shines a Light on Sustainability and Education
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Marilyn Minter: Pretty/Dirty
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Broken Bones & Happy Accidents; Building a Brand in San Francisco Prisma Guitars
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You Can’t Always Get What You Want Lost Rockers: Broken Dreams & Crashed Careers, The Review
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Stay Tuned
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EDITOR’S Letter A strong disposition and an innate love for disruptive and emerging talent is the mindset that moved me to create this magazine. This is a publication that contains a kaleidoscope of fashion, art and culture to stimulate and shape impressionable modern minds, as the creatives featured within have shaped mine. Using the runway to express their inspiration and deep rooted heritage, every designer that I’ve chosen to interview or review has progressed to the forefront of consumer desire, significance, recognizing a need for the consumer to brand connection, while maintaining and delivering their personal aesthetic. Artists and personalities that reflect on cultural ideals, societal issues, sustainability, and technology, bring these themes to our attention, creating great curiosity and intrigue.
Faye Harris Editor-in-Chief 7
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JVL x SAW PHOTOGRAPHY @daynewatai Styling @relleawilliams 13 designer @joshuav anleader models @glotaylorr & @juhhwon
It’s well known that the Japanese just have a way with deconstructing, reconstructing, and just making things work in fashion that you think just wouldn’t. The country has earned its reputation for it’s out of the box, avant-garde street style, Tokyo being the epicenter of these micro-trends. It’s not surprising then, that many high end designers turn to the capital and its youth for inspiration. The Japanese street fashion scene is famous around the world for its ever-changing and daring, not-afraid-of-trying-anything nature. Czech designers Anna Tušková and Radka Sirková of brand CHATTY, referenced the Japanese Bōsōzoku in their SS16 collection, which is a socially excluded subculture associated with customized motorcycles. A modern perspective on the rebel movement. Harajuku, known as the “youth capital,” is considered the heart of it all. It’s home to the well-known brands Comme Des Garcons, BAPE, and Undercover. One of the most recent subculture trends to come out of Harajuku, is the genderless, “Kawaii Boys” or “Genderless Kei” who dress in the traditional cutesy clothes of Japanese girls. The city is undeniably experimental, and that’s why it’s also one of the most exciting fashion weeks in the world to watch, encountering both the emerging and celebrated talent. Here are three designers at Tokyo Fashion Week 2016 who are disrupting the industry with their fresh and venturesome creativity. 14
Nehanne Mihara Yasuhiro Yasuhiro works with a factory in Kyoto to make the hemp textiles he uses in his designs, which are a modern take on traditional Japanese wear. It can be difficult for these customary elements not to look costumey, but Yasuhiro’s designs are contemporary, chic, and elegant. The entire SS17 collection was monochrome only, yet full of edge. 15
Nehanne Mihara Yasuhiro
16 Images: wwd.com
MURRAL For designers Yusuke Muramatsu and Ayumi Sekiguchi, it was their debut showing at Tokyo Fashion Week this year. The title of their collection, “Melancholic Garden� included an abundance of ruffles, bows, and tassels. If mentioned without looking at the collection, one may assume girlie. This was not that.
17 Images: Amazonfashionweektokyo.com
bedsidedrama Designers Hiroshi Tanida and Emi Nishimoto makes clothes “so as to not to distract [their] eyes from small hints.� The collection features a siamese shirt dress, a scarf made from your childhood furry animals (faux fur at its best,) and a onesie complete with a dreamily lightweight ball and chain...After all, you do spend a third of your life asleep.
Images: bedsidedrama.com
RUNWAY
TRENDS See Now, Buy Now
Ralph Lauren
Michael kors
TOPSHOP UNIQUE
The future of fashion in this world that is so heavily driven by instant gratification and a constant desire for more, more, more, is a “see now, shop now” model that is now being adopted all over the runway. Digitally forward-thinking brand, Burberry was the first to operationalize this concept, creating a much closer connection between the brand and the consumer. British Fashion Council chairman Natalie Massenet said in her address at a British Fashion Industry reception, “Burberry is … a perfect example of how our fashion industry has pioneered new ways to engage with customers.”
PREEN
Alexander wang
The concept serves as a solution to problems with the traditional fashion calendar. Due to social media’s ability to grant access, more consumer markets are “attending” runway shows, meaning that brands can no longer maintain the buzz for items that aren’t being produced for another six months. This way, brands are able to convert social media into sales more easily, by offering items for purchase right then and there.
19 Images: nowfashion
TRends Sizable sleeves
Ann Demeulemeester Simone Rocha
Michael kors
Marcelo burlon county of milan
DKNY
BEAR the bralette
kenzo
altuzarra
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giambattista vallli
prada
victoria beckham Images: nowfashion
Images: glamour
roberto cavalli
fendi
alexander mcqueen
mini braids
glitter lips
gelled sides
prada
roksanda
Saint LaurENT
no makeup, makeup
red lip + wet hair
Phillip lim 3.1
anna sui
maison margiela
super side-part
smokey pink eyes
space age glamour
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80s chic
OFFWHITE
Virgil Abloh’s “Business Woman” is the modern cool girl who self-promotes through social media, and doesn’t follow suit. “Defining the grey area between black and white” the designer takes business casual to a whole new level by delving into the minds of contemporary females, to see how they might wear the label, “Business Woman.” The OFF-WHITE take on the yellow industrial belt accented a few of the looks, suggesting the female’s strong disposition.
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His SS17 Women’s collection that showed at Paris Fashion Week revealed his deep rooted passion for current culture and societal revolution. It alluded to his knowledge of the past and its evolutionary cycles, with the comparison of the upheavals in today’s world. Referencing Sigourney Weaver in Mike Nichols’ 1988 cult classic, Working Girl, the collection had many characteristics of the 80s, with sharp shoulders, velour tracksuits (updated with flared sleeves), and oversized blazers. While there were a few elements that may be considered inappropriate for the workplace - think sheer skirts and dresses, oversized baggy sweaters, hoodies, and denim shorts - the modern business woman does not have to be refined to a dress code. She can be both boss lady, and cool girl with impeccable street style. A new stance on suit dressing, means asymmetrical pinstriped blazer dresses, half black, half white worn slung over your new favorite t-shirt. Blouses are striped, ruffled, and tied at the neck, and classic high-flying strappy heels are given a funky edge worn with all-over sequin crew socks.
Theophilus London’s “Revenge See How They Run,” and Kate Bush’s famous “Running Up That Hill,” which had a true meaning of a man and a woman swapping roles for a moment, in order to lead to a greater understanding; An underlying gesture to equality in the workplace maybe.
It was no surprise that the runway was held inside the historic and prestigious, L’Université Paris Descartes, given Abloh’s admiration for the innovation of masters such as Leonardo da Vinci, and his background studies in structural engineering and architecture. Models walked down the runway to a mashup of Lauryn Hill “dropping truth to the youth”, 23
The asymmetrical, deep-v blazer dress hangs off the shoulder of a “Don’t Move” slogan t-shirt, held together with a fanny pack waistband. Crimson red crew socks morph into sneakers of the same shade, with the signature OFF-WHITE diagonal stripe. Long label tag earrings are stamped with the brand’s copyright and trademark.
Covered up, yet certainly not conservative, this A-line harlequin print skirt adds personality to a monochrome outfit. Oversized black leather shirt with large pockets is masculine while the white knee high boots keep it feminine, and 80s.
Danger! “Business Woman” walking through! An all-red look is daring and cool girl; A bomber jacket with hooped zips, a button down midi-skirt that’s unbuttoned almost dangerously high, sports socks with strappy shoes, and a caution-yellow industrial belt-strapped handbag. “The youth will always win.” 24
25 IMAGES: NOWFASHION.COM
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logan: red blazer, stylist’s own red pleated skirt stylist’s own Red tights, h&M opposite: jason: grey turtle neck sweater, stylist’s own grey pleated skirt, stylist’s own grey wool slacks (worn underneath skirt), stylist’s own
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HAVET
PHOTOGRAPHY gabriel isak + shan lee Styling Shan’nice storey + sherelle williams models logan guler + jason davis for stars management grooming sibyllegarnier phototography assistant roberto gaxiola duarte 29
logan: camel peacoat, perry ellis white t-shirt, khaki chino pant, h&m tan chukka boots, dr. martens opposite: jason: camel peacoat, neiman marcus white t-shirt, khaki chino pant, h&m tan chukka boots, dr. martens
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opposite: logan: tan long-sleeve shirt, stylist’s own khaki pleated skirt, gap tan tube socks, ralph lauren tan chukka boots, dr. martens jason: red turtle neck sweater, stylist’s own red chino shorts, gap red tube socks, uniqlo tan chukka boots, dr. martens
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Mimi Wade Suggested for a mature audience, SS17
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She’s anti-modeling agency, already had her slip dresses worn by Lana Del Rey, and bringing the attitude of the vintage screen goddess to life.
Mimi Wade’s film noir and Japanese sci-fi inspired collection has been killing it at London Fashion Week. It was cited “the best in show” by Harriet Verneyand, editor of LOVE magazine, and the young eccentric designer has already been named one of ELLE UK’s “Favourite Young Female Designers” of the season. It’s the second time the grad who studied under Lulu Kennedy at Central Saint Martins has showcased with nonprofit initiative, Fashion East; a supporter of emerging talent. This time she revealed her collection on September 17th, at Topshop’s Showspace in the iconic trade market, Old Spitalfield’s of East London. One could pass under the historic arches, to enter Wade’s very own “MimiMount” film set, a spoof of Paramount Pictures film production company.
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The mise en scène was fitting for the collection that was influenced entirely by her famous grandmother Pamela Curran, a cult Hollywood movie heroine from the 1960s, and poked fun at the allure and mystique of old Hollywood glam. Comical, flirty, and tongue in cheek, we see painted leather skirts mixed with vibrant colored lace, panda and cherry print organza dresses with quirky slogans that read things like “Suggested for a Mature Audience” and “Peachy Keen.” Mismatched lingerie is leopard print silk pajamas, paired with a dyed corset. It screams wacky.
Even the female leads just looked a bit…dazed. Their makeup was mild and glossed-over, while the outfits clashed with red and pink mules or mary janes that look like they could be her grandmother’s slippers…from present day. The overall daring, mismatched and deconstructed look is what British girls do best. “I always ask myself if I would wear the clothes I am designing and if I wouldn’t, I don’t pursue the idea any further,” says the designer. It’s a London girl revolution; i-D magazine, who named Wade one of “London’s Female Designers Shaping the Industry” asked how they would be described; She responded, “Brave, bold, and effortlessly cool.”
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mariya stAngl
saint laurent
fendi
backstage at saint laurent
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julien macdonald
giamba
Spring 17’s going to drop a glitter bomb. Forehead, lips, hair, nipples, that sparkle is getting, everywhere. Seen on the runway at Preen, DKNY, Julien Macdonald, Giamba, and Saint Laurent. backstage at victoria beckham
All that glitters
DKNY
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giamba
preen
WUNDERKIND Wunderkind defies sartorial conventions
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Wolfgang Joop reinterprets the atmosphere of a sophisticated and arty Berlin by meshing his well-known background in illustration and painting with his experimental designs for Wunderkind.
Though modernistic, the silhouette exaggerates femininity and the fitted form more so than in previous seasons; Spring 17 exposes the historic sensuality of Spanish Baroque with fluid dresses, contrasting colors, and puffed sleeves. Rebellious women with messy top-knots resembling a mohawk are dressed in a variation of luxurious fabrics. Girly dresses are emblazoned with dotted flowers, skirts are handkerchief hemmed, and leather bras are worn under sheer peplum dresses for a show that celebrates a sense of freedom and creative attention to detail. Even though the designer uses a couture approach to experimental production, he decided to swap Paris Fashion Week for his debut at Milan’s Via Savona this year; “They need a little bit of roughness here and I can bring that from Berlin,” says Joop.
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The German brand that is currently headquartered in Villa Rumpf in Potsdam was founded in 2003 with partner Edwin Lemberg as a way to defy sartorial conventions and offer an interesting and unique take on modern elegance, with references to the past of Prussia.
1. Unfollowing convention; a metallic cold-shoulder shirt gives an edge to a sugar cookie colored skirt grounded in cowboy boots. A picador mixed with a prairie cowgirl. 2. A dotted handkerchief top ties at the neck like an artist’s overall, whereas a cropped periwinkle linen suit is creased like it’s been worn for 3 days. A dynamic irreverence for the tailored suit, paired with a funky snakeskin boot.
The youth-driven brand is sold in boutiques in Munich, Sylt, Berlin, and Potsdam, and can be found online on websites such as FarFetch, ShopStyle and Avenue 32.
3. A diaphanous trench coat with leather lapels lined in cobalt, is thrown over a high neck embroidered blouse and a gingham ruffled mini. Girly meets practical and a contrast of seasons.
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IMAGES: COURTESY OF DESIGNER
CALA
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Fast Fashion Meets Made To Measure; CALA Breaks ‘One Size Fits All’ CALA is the brand new ecommerce platform that’s breaking the mold in the fashion industry, becoming both the designer’s, and the consumer’s dream. Bridging the gap between fast fashion and high end, they pride themselves on bringing you unique, high-quality, made to order pieces in just 10 days - even Zara takes 14 days from concept to store - while designers and influencers are able to bring their collections to life, minus any of the overhead. These made-to-measure garments that are manufactured and distributed out of LA are produced as a result of a body scanning software from Germany, that custom fits clothing to within two millimetres of your entire body. Less than two seconds in the scanning booth and you have your profile saved on the site, ready to shop any perfectly-fitting item from anywhere, at any time. The sizing booths will soon be popping up in various cities across the U.S. and later, Europe; If your city isn’t on the calendar, they’re taking requests for where to go next. CALA’s San Francisco-based Founder, Andrew Wyatt saw an opportunity to leverage his tech and operations background to create a brand that provides double value; high-quality, great-fitting garments in a short time-frame for consumers, while taking care of the back end for the designers so they can have free reign to focus on conceptualising the collection. What you get out of it is one of a kind pieces, made only for your body, for a fraction of the cost of haute couture or custom clothing. Each month a new collection is curated by top designers and tastemakers enabling them to respond quickly to new trends while whetting the consumer’s appetite in this “see nowbuy-now” world. The debut C-1 collection that was inspired by the rich Icelandic landscape, ranges from $395-$1095 for tailored silk shirts and satin bombers in deep jewel tones, a seasonless black dress, and cigarette pants. Simple yet luxurious and sophisticated, there’s something for everyone even in the smallest of collections. Designer Anthony Cucculelli’s C-2 ‘ODYSSEY’
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collection was inspired by his tri-coastal living, which shows up in an East-West leather jacket, slouchy pajama dressing, sharp smoking trousers, and a slinky slip dress. The nomadic designer has also worked with Diane von Furstenberg, Yigal Azrouel, and Roberto Cavalli among others. “The clothes are designed with the ability to fit well in mind” says Wyatt. No more buying multiple sizes when shopping online to find a somewhat good match. The 3D technology removes any room for sizing inconsistencies while also eliminating inventory waste. A cropped biker jacket for example, “is meant to fit the body at a certain height, which leaves little room for consumer’s preference on size and fit.” This makes it very difficult for the consumer to be unimpressed with the fit or look of the piece.
DESIGNER, ANTHONY CUCCULELLI 52
3D BODY SCANNING TECHNOLOGY
designer fashion, custom fit
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IMAGES:COURTESY OF CALA
NEITH NYER “The First Rule of Fight Club Is…You Do Not Talk About Fight Club”
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“The 2000s gave fashion a ‘dirty,’ scruffy aspect, somewhat vulgar and ‘bling’ with high G-strings,” a judgement resulting in a grungy rebellious collection that blurs genders and recognizes an expression of freedom.
Aspects of the 2000s including the avatar culture of the Internet guided the idea for Neith Nyer’s Spring 17 collection, which showed at Paris Fashion Week. He also referred back to his teenage years that he saw somewhat represented in the cult movie, Fight Club by David Fincher. He’s selling not only the clothing, but the personality and defiant attitude to go with it. Pink velvet skirts are cinched with leather waist fastenings, pinch-sleeved blouses are worn with gothic platform boots, and floral skirt suits are deconstructed and sexualized. Models wear face piercings that resemble both punk culture and tribal customs.
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Inspired by artists like Ben Elliot and Markus Schinwald, Nyer also references various subcultures in his designs, and gave appreciation to his model friends, those he works with, and those that he respects. “Japanese inscriptions were designed by Hizgi, an illustrator who worked with me for all the embroidery and writing,” he says. “I like to take inspiration from my own neighborhood and travels to create my collections.“ 1. An asymmetric quilted leather skirt with metallic pleating is worn high up on the waist with a cyborg silver body. Knee-high gothic combat boots to accessorize with earmuffs that “are inspired by the hair accessories of the afro hairdressers in Château Rouge, Paris,” says Nyer.
2. A futuristic ruffled high neck is cinched in at the waist with scarlet red leather that looks like a cutoff biker jacket. One leg rivals the other in jeans that oppose in color and fit. Face piercings, a disgruntled attitude and peekaboo panties suggest, no fucks given. 3. Atypical and asymmetric, this scarlet biker ensemble worn over a white tee combines feminine ruffles, woven leather, and black lace. Platform boots in the angelic form of goth complete the outfit.
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61 IMAGES: NOWFASHION
WHICHKIM? Menswear designer, Dahae Kim opens up about creative mental breakdowns, how growing up on a Korean Air Force base has influenced her work, and what it’s really like to run a small business.
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“I think the most beautiful moment of life is when you break down mentally. That’s when you let your guard down on yourself and feel all the emotions flowing in, and that is when the most amount of creativity kicks in,” says founder and designer of California menswear label, WHICHKIM. The receiver of the CFDA portfolio scholarship, and winner of the 2012 San Francisco Fashion Award for Best Emerging Menswear Designer of the Year, believes that “people try so hard to fight [emotions] and to move forward with great amount of stress, and in some cases it brings depression.”
Comparing herself to an artist learning to draw for the first time, she says “I viewed fashion as just the art. Now that I have been working with so many different people, my view on fashion is more than just art. It is a necessary portion in people’s life, their confidence, and presentation of themselves. I take pride in what I do for people.” Dahae Kim’s inspiration for the conceptual, tailored, and detailed line comes from an intriguing blend of emotional uncovering; “capturing that dark but special side of life in my designs,” with a love for industrial architecture, contemporary music, and the human psyche.
Instead of getting too wrapped up in her head, the designer uses these life moments to conceptualize her collections. “I always had a pencil and paper with me to let my feelings out. That was only between my feelings and me. I could be free as I want. I just drew out whatever comes into my head.” 63
“I personally think we haven’t had our moment just yet.” Though Kim experienced quite a few situations growing up where she wasn’t able to show her pain to anyone, her interest in menswear and fashion design came very naturally from a young age; born and raised in a Republic of Korea Air Force base to a fighter pilot father, she grew up seeing the beauty of sharply tailored Air Force uniforms. Worlds away from her current life working in a design studio out of Berkeley, she now pulls inspiration from other people’s unexpected life stories. “What’s so great about it, is the fact that we can look into ourselves and accept what’s going on and bring it all together in order to find structure and make that change happen. That’s what keeps us strong. That’s why it’s so inspiring,” she says.
fashion and style icons in menswear, and it is consistently growing. “I personally think we haven’t had our moment just yet.” The brand is currently working on a new capsule collection launching in December. “We’re also super excited to introduce a few bags into our accessory assortment very soon!” The name - though obviously incorporating the designer’s surname - was the witty result of a humorous conversation with legendary branding expert, John Casado. “There was always the question – why not just go with your full name Dahae Kim? But I mentioned there are so many Kims in Korea that you would never know which Kim is my Kim,” she laughs. “When we said it out loud, that phrase got stuck in my head and that’s how we came up with it!”
After receiving a BFA from the Academy of Art University where she studied Menswear Fashion Design in San Francisco in 2009, Kim launched her own brand in 2013, looking at the East Bay’s desire for comfort and function dressing as a challenge.
Kim’s signature embossing technique used on the neck of the ‘Mari Sweater’ was derived from a personal dislike for giant prints, particularly on menswear garments. Think of it as the anti-trend to logowear. “I try to give men effortless style for many occasions, but include lots of interesting details so they can feel special with the garment. That’s why I went for embossing instead of screen print.”
WHICHKIM really focuses on the feel of the garments; “I make sure that even the lining for our tailored pieces has the smoothest feel for men. Our current bomber jackets have crease resistant cotton twills, condensed cotton jersey, and moisture/ wind resistant neoprene for a comforting feel on all sides,” she says. Designing for men who are stylish, driven, and confident, no matter their age or vocation, Kim believes that there are many 64
Designer, Dahae Kim
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Many of the designs including the ‘W Bomber’ and parachute-style ‘Ashton’ jacket are also reversible, catering for the man that cares about function. A quick changeable, double-styled garment Kim thinks will be beneficial for men, though she’s already had several female customers ordering in small sizes. The company itself has a philanthropic mindset, with each purchase contributing to helping children’s art programs. The hope for WHICHKIM is to eventually be worn on a global scale, maintain its company positivity, and “to help many more people through the business, because philanthropy is so important to us.” Kim is in great support of local and emerging designers, and expresses her sadness regarding Black V, San Francisco’s conceptual fashion show that is no longer running due to funding issues. “The director of the show, Owen Buenaventura, had faith in me as a designer and persuaded me to participate” [in the 2011 show.] she says. “I decided to buy $200 worth of low cost fabric and created 6 outfits with it and painted on it. It was the most memorable time in my fashion career. Local fashion designers need a fashion show like Black V.” Running small businesses always have financial challenges, and Kim personally understands and relates to those who launch with very little capital, but with great passion. “It has been three years with lots of ups and downs, and I feel WHICHKIM
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can jump higher with more funding. However, we don’t believe in giving up, and we will move forward even if it takes a little longer time than others,” she says. She leans on the brand’s PR and Communications director, Jessy Ortiz as one of her friends, and great motivations in life. “His loyalty, passion for WHICHKIM, gives me more strength to keep on going,” she says. “I realized that life is all about togetherness – Helping each other to be better and keeping each other strong. This greatness in people motivates me always.” 67
IMAGES: COURTESY OF DESIGNER
OP-ED:
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The Future of Mass-Bespoke Clothing What does bespoke tailoring actually mean today? ‘Bespoke’ indicates speaking for something, to literally “bespeak” something by giving an order on how it should be done or made. In terms of fashion, bespoke has always been associated with haute couture, the French word for “high dressmaking;” cut from a pattern which is drafted from scratch entirely unique to each client. This is where the high skill, and the high price comes in.
collection per year, and many have experienced designer burnout along the way. Raf Simons, previous Creative Director of Christian Dior famously spoke out regarding his thoughts on the speed of fashion, and the ever-increasing demand for more, more, more.
He interviewed with Cathy Horyn for a Business of Fashion exclusive where he talks about lack of time for the incubation process when there are hard In fact, it’s the complete opposite to what is readily deadlines. “You have no incubation time for ideas, available to us to purchase in store; ready-to-wear, and incubation time is very important. When you or factory made clothing that we see so much of try an idea, you look at it and think, Hmm, let’s put today. We see it on the runway twice a year, we see it away for a week and think about it later. But that’s it in stores shifting around as often as every 14 days never possible when you have only one team workin what are known as fast-fashion retailers, or high- ing on all the collections,“ he says. Designing street stores, Zara, Topshop, H&M, for example. without room for thinking, is exactly why he chose to step down last year, preferring to put his focus The thing is, there are advantages and disadvan- and energy instead on his eponymous line. tages to both. Bespoke gives you a garment that is unique to you, it fits you and only you perfectly, In August of this year however, Simons took on the and it’s likely that no-one else will have something role of Creative Director for Calvin Klein, meaning like it. As for the designer, bespoke allows for more he would be overseeing the entire category load of freedom of creativity; everything is done by hand the brand, with the ability to re-think its entire busiand therefore there is ample room for ness structure and approach. Due to Calvin Klein complex stitching, intricate design ideas, and the Collection not really being a business, but more of use of awkward and finicky materials, ultimately a marketing expense, there would actually be room resulting in one-off masterpieces. The issue here is for Simons’ desire for creative time and space. So time and money. Materials aren’t bought at basically, what we miss out on with short turnwholesale prices - they’re expensive, the cost of around time is creativity and therefore interesting, labor is mammoth - especially for a well-known progressive, and proficient design. designer, and this ends up extremely pricey for the consumer. As for timing, it depends on the design, For fast fashion giants, they are able to make dirtbut making detailed garments takes up so much cheap copycat versions of the ready-to-wear time and skill that it’s the reason why most collections that show at fashion week, and go from designers prefer to only make one haute couture runway or factory to retail within as little as 14 days.
“Fashion is a dirty industry” They cannot however, recreate the haute couture designs, nor cater to unique and custom sizing. It’s a one size fits all mold, or at least categories - Small, Medium, Large - in other words very few options that are meant to fit every varying shaped and sized body. What we miss out on here is the design, quality, and the fit.
Not to mention that fashion is a dirty industry; it’s the number two cause of pollution in the world, second only to oil. Ethically-driven companies like Appalatch received over $50,000 in Kickstarter funding to produce American-made sweaters that use a 3D-printing machine method. The customer only needs to give their basic waist, chest, arm, and torso measurements, and they have a custom knit sweatWhat if there were a happy middle ground, er in under an hour with no waste. “We are going something that fused together the two, allowing for to be the first company in the world to make cuscustom fit, creative design, and fast turn around…at tom-fit sweaters on a mass scale,” says co-founder the lowest price possible? Affordable made-to-mea- Mariano DeGuzman. sure clothes may seem impossible, but with new technology and kickstarter programs, this is exactly MyOwnShirts allows customers to create their own what is going into effect; bespoke clothing for the collared shirts, choosing any type of feature that masses. they want, such as fabric, type of collar, cuff, pockets, etc. The machine they’re using is able to It all began with problem solving for the men’s suit, pattern cut to the client’s precise measurements, sites like Indochino, and Black Lapel making it easy and sew it individually. and simple for you to input your measurements on their website, choose alternative collars and cuffs, But if these made-to-measure garments are still and spend less than $450 for a custom(ish) suit that being produced in a factory, the fabric and the would be ready for you within less than a month. design must still be basic though, right? If so, why wouldn’t I just settle for something that’s cheap, disNow this is being tailored to a much wider demo- posable, and fits me…pretty good? Is it really any graphic, targeting the masses also with the sustain- different to something I could purchase at Zara? ability factor, made-to-measure means less waste; a big problem that the fast-fashion world is 70 struggling to deal with.
Well maybe not. But the space is progressing. It seems that each new company jumping on board the idea of mass bespoke or fast made-to-measure clothing is adopting and learning something better. Online custom detailing is not a new option (remember custom designing your Chuck Taylor’s way back when?) but online custom sizing is. The best part? Those companies are choosing not to mass produce the rest of their product line with one extra item that has a custom-design option. They’re custom-producing every, single, piece. This eliminates waste on a huge scale. When you factor in that “84 percent of unwanted clothes in the United States in 2012 went into either a landfill or an incinerator,” - according to the Environmental Protection Agency (EPA) - and “15.1 million tons of textile waste was generated in 2013,” we have a huge over-production, over-consumption problem.
What’s missing here though, is that the clothes are still factory-made and therefore even though the waste issue has been addressed, there is still a machine-limit to the complexity of the design, as well as the inconvenience of having to find a location where you can get fitted by the body scanner. Once you have been fitted though, it is possible to repeat purchase as your information is stored on your own profile on their website.
However, it means that while such companies are desperately trying to meet in the middle, fusing the best parts of bespoke tailoring - fit, quality, design, and waste management - with the best parts of mass production - time, accessibility, and price there is yet to be a brand that has figured it all out. It’s an extremely difficult market and mindset to tap into and alter as well. The bespoke mindset is different to that of the fast-fashion consumer. Companies like CALA, are making custom fit They want to try clothes on before they clothing that fits within two millimetres of your purchase, to purchase items at dirt cheap pricentire body by using a 3D body-scanning system es making it possible to try all the new trends - it which then allows for a ten day turnaround for your doesn’t matter that they only wear the same item custom-fit item. The fabric is only purchased upon once, they want instant gratification. We know all orders, therefore there is no inventory waste. This this because the fast fashion market is growing brand is also using a more exclusive type business exponentially. According to financial holding commodel; benefiting from the mastermind of top pany CIT, the top fast fashion retailers grew 9.7 fashion designers who are creating a limited edition percent per year over the last five years, topping 6.8 collection of items to purchase from, using their percent of traditional apparel brands. own hand-selected high quality fabrics. This keeps the premier and personal factor of bespoke tailoring At least the gap is beginning to narrow. Fast fashthere for the consumer, feeling like they’ve had an ion shoppers may want to think about the waste item made just for them by a top designer, such as that comes from disposable shopping, and purchase the brand’s current collaborator, Anthony Cuccule- items that fit better and last a little longer. They have lli who has worked for Diane von Furstenburg and that option now. Those that appreciate bespoke Yigal Azrouel among others. tailoring will now benefit from having more design and high-end designer choices (other than their own While the price for one of their custom fit cropped selections) when ordering online, and have those leather jackets may set you back $1,000 - not bad pieces produced and shipped out faster. They have considering - it’s still far dearer than one of H&M’s that option now. What they will have to give up is “Premium Quality Leather Biker Jackets” at $249. Is the complexity and complete uniqueness of the the additional $750 or so worth the name and the design. Maybe one day in the near future there will precise fit? It is if you struggle to find clothes to fit be a machine that can 3-D print sustainable and soft you how they should, want the feel good factor of garments into any shape or size at a price that you having a designer piece in your closet, and you care are willing to pay for the fabric that’s being used. about the environment and the toll of fast fashion’s Limited edition pattern cuts will be programmed waste. into the machines by top fashion designers. Until then, you make the choice. 71
Beauty In Wonderland; Whytt Magazine’s Digital Art Exhibition That Shines a Light on Sustainability and Education Originating from an innate obsession for the ocean and fluidity in art, comes to the world the second online art exhibition from the UK’s Whytt magazine, ‘Beauty In Wonderland.’ Shining “a spectrum of light on the core values of sustainability and education, flourished by illustration, design, and sculpture,” the curators and collaborators worked hard to advocate raising awareness and create a huge social impact for the preservation of marine species. The showcase themed “21 Wonders of the World” that runs online from October 1st, features the works of 10 artists of varying mediums:
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Nikoline Liv Andersen, Danish artist who plung-
Sarah Tompkins,
es into the realm of prismatic reflections with 3D sculptural installations sparked by engineering and interaction experience.
whose works disclose her feelings of displacement in a series of oil paintings, developed as a means of confronting a prolonged period of severe illness and loss in her personal history.
Jason deCaires Taylor, qualified underwater
Studio Job,
naturalist who founded and created the world’s first underwater sculpture park, situated off the west coast of Grenada in the West Indies - it is now listed as one of the Top 25 Wonders of the World.
Job Smeets and Nynke Tynagel founded Studio Job in 2000. The studio was established in the true essence of the Renaissance spirit – where traditional and modern techniques are combined to produce once-in-a-lifetime objects. Images: whyttmagazine
Differing from a physical gallery exhibition, the digital collective means that the artists have a platform to express their works and views for all of the world to see without traveling across the globe. Creative Director and Editor, Florence Bailey, talks about the collaborative efforts of the large team that came together to build what is a creative exposition of diligently selected works, from artists on a global scale.
Interview: What kind of a social impact are you hoping to engender?
It’s exciting to see online exhibitions, as the world is moving more and more digital. What are the advantages and disadvantages of online only? do you think the reactions will be/are very different?
Our exhibitors take a realistic and serious approach in how we can create more sustainable fashion and art, many of our exhibitors are committed to either causes that also promote and educate individuals on these issues or are advocates themselves. Particularly surrounding sustainability and using recycled materials to create dynamic pieces; Nikoline Liv Andersen is a great example of this. As an exhibit, if it is able to inspire just one mind to become more environmentally conscious and act on that, then there is opportunity to impact upon other minds.
I think that it is exciting times for both digital art and contemporary art. Technological developments I believe only add to this. Digital is fantastic for exhibitions such as this, allowing for a very young magazine as ourselves to produce projects such as this, which would usually take a lot more by way of budget and manpower to get up and running in the time frame that we had; it really tests our creativity. It also permits to reach a larger international audience through a few clicks. Although its pitfalls for a young company is that digital exhibits can appear 1D and you are dealing with social media concentration spans, which are very different from avid gallery visitors, so of course there will be significant disparity in social reactions and interactions as they differ in terms of audience experience. 74
Zoe Bradley,
whose paper dress grew organically from hand pleating large pieces of paper. This started her on a progressive and continuing journey of creating intriguing sculptures in unexpected materials.
Hari & Deepti,
Tristan Eaton,
Natalie Shau,
pursued street art as a teenager, painting everything from billboards to dumpsters in the urban landscapes of the cities where he lived, be it London, Detroit, or New York. A pioneer in the field of graffiti and designer toys, he has worked with toy-production Kidrobot designer, Paul Budnitz, Game of Thrones and the PangeaSeed Foundation.
graphic designer Hari Panicker & trained artist and interaction designer Deepti Nair begun experimenting with their unique approach to illustration and crafts in 2010. Hari & Deepti’s key implemented factors in design are Paper Paint & Pixel, believing ‘Paper is alive’ using cut out paper, light boxes and LED strip lights.
the mixed media artist and photographer, who transports you to a hybrid of fairy-tales imbued by digital drawing and photography, screened internationally. Images: whyttmagazine
PangeaSeed,
forges a synthesis between creative expression, nature, and society to (re)connect individuals and communities with our planet’s most important ecosystem by following our core values of sustainability, education, ecology, and design.
Danny roberts, award winning illustrator whose twilight space of concept art and graphics convey a global renaissance.
How did the theme ‘21 Wonders of the World’ arise? Both the curator [Rocio Fraustro] and I, have what seems to be an innate obsession for the ocean and fluidity/lucidity in art. The only element that significantly differs between us is that digital and new technology is always at the forefront of my thoughts. I remember stating to Rocio “for our follow-up how can we implement this adoration for the waters in our next exhibit?” At the time it just so happened that she had been following PangeaSeed Sea Walls and how passionately they advocate raising awareness for the preservation of the marine species. And there was a complete synergy where creative thinking was involved during this period, as I had become completely engrossed in Jason deCaires Taylors underwater sculptures from Mexico and Grenada. And so came about the planning for the Beauty In Wonderland exhibition. How are you promoting the exhibition? We decided to stick with digital. As an online magazine and an online exhibition we wanted to continue with this theme and remain with online marketing. Social media has been an integral element, whilst implementing other forms of digital cross-promotional marketing to support this. 76 Images: whyttmagazine
art accessible. In an age where we are so interconnected, why not show these amazing artists, illustrator’s designers and so forth, to those that may not necessarily be looking for them and expand Rocio Fraustro is the curator of the Beauty In Won- their minds further? derland exhibit as I mentioned. She is currently based in Chicago and we are based in the UK. We You mentioned this being a highly collaborative already have a network base of artists and contrib- effort, can you tell me about The involvement? utors that we work with internationally. After we what role did each person play in piecing this had selected the artists, the pieces to be exhibited together? and Rocio had completed the final shortlist we then went about working with artists directly and When you are representing artist’s such as these having them involved as a collaborative project. it is not enough to just represent them they need to be involved in the creative process particularly From artists to media partners we worked together when it is a collaborative project. Thus there was as an immense body of collaborative work and for creative input from exhibitors as well as from us. those that could not always be involved directly For example for the Studio Jobs exhibit Maarten due to their schedules they were always available Statius Muller ensured that stylistically the images to provide feedback. When you are representand layout was represented in a way that best fit ing artists that have taken years to produce their Studio Jobs brand and provided support on how works it is important to not only represent them other artists could be better profiled as a digital in the best way possible but to also have them exhibit and Sarah Tompkins who is the youngest of involved. So although each artists was diligently the exhibitors curated her exhibit alongside Rocio selected by the curator, it is a collaborative project. and I. Our web developer Ben Wallis, worked nonstop to re-design the site alongside myself and the Is this a part of a series? will you be doing more rest of the team – Usually with me sending floods online exhibitions in the future? of crazy screaming emails ending in “is this ready yet?” or “I’m creative not tech, right now your Each exhibition is independent to that theme/ speaking tech-hebrew can you send me a visuproject. We will definitely keep producing many al?” or something of the like and this was how we more online exhibits and not just online. We are worked through these building stages. also planning to have our next exhibit in a physical space, integrating online features to this exhibit, Our Media partners are Elizabeth James Art, Erbut I can not go in to detail about this at present. mana Skincare, Design Exchange Canada, Be As long as there is a market for it then there is a Artist Be Art, ScaleUp Business and David Simon place for online exhibitions. Contemporary art. They provided not only support but aided in much of the marketing as well. Is it exclusive in the sense that the content will Not to mention Jon Richards from Jane Richards only live online for a short period of timE...like a who from the back end has worked to help push gallery exhibition? the exhibition and who we hope to work with for future projects. But this is still just a condensed For the Beauty In Wonderland exhibition there is snapshot of the work behind to enable us to get a level of exclusivity, one of which is that there this off the ground. Having said that, without all will be two high-profile artists selling their work these involvements and this form of team effort it exclusively to WHYTT for a short period of time. would be impossible to produce let alone sustain It is not your traditional gallery, therefore, in that and that is why it is able to be showcased online in respect, we have not made it so exclusive that if the way that it is because a collaborative effort and you miss it you miss out. The objective is to make dedication enabled it to. It seems like you have artists’ works from all over the world, London, New Zealand. How was this exhibition curated?
Marilyn minter, ‘Blue Poles’2007, enamel on metaL, Source: marilynminter.net
Marilyn Minter: Pretty/Dirty Soft pornography, politically charged, with the clichés of fashion photography at its core, Marilyn Minter: Pretty/Dirty opened at the Brooklyn Museum on November 4th as a part of the space’s “project that recognizes feminism as a driving force for progressive change.”
Widely known for her 2009 Orange Crush painting that has a sickening, yet mesmerizing image of a girl fiercly licking candy on a pane of glass, brought to life with glossy enamels, Minter consistenly contradicts and explores the complex emotions around beauty and the feminine body in American culture. Marilyn Minter born in 1948, is an American artist currently living and working in New York City who particularly focuses her work on “questioning the fashion industry’s commercialization of sex and the body.’
Though the retrospective has been touring for over two years (Contemporary Arts Museum Houston, Museum of Contemporary Art Denver, Orange County Museum of Art), it is new to the East Coast in a much bigger space that has meant Minter has been painting up to two years ahead to keep up with the exhibition’s demand.
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Marilyn Minter. “Orange Crush,” 2009. Enamel on metal. Source: marilynminter.net
The show extends over four decades of Minter’s artworks, beginning with her earliest paintings, photographs, and photorealist pieces from 1969 to 1986, continuing through the 80s and 90s, which reveals her compulsive fascination with food and sex. The exhibit runs until April 2nd 2017.
Marilyn Minter. “Soiled,” 2000. Chromogenic print. Source: brooklynmuseum.org
Stay Tuned
Photography by : Aleesha Woodson Wardrobe by : Sasha Leon & Andrea Valdez-Morlet Talent : Olivia Addis at Stars Management 80
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Broken Bones & Happy Accidents; Building a Brand in San Francisco
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Founder, nick pourfard
“Working in SF is insane,” says 24-year-old, self-taught woodworker, Nick Pourfard, the industrial design grad behind idiosyncratic guitar brand, Prisma Guitars. “I think there are just so many people doing big things here, it’s only natural that you start connecting with them all. It’s important to me to involve the community that has supported me since the beginning,” explains Pourfard. This passion for supporting local San Francisco artists has meant that Pourfard has worked hard to incorporate the community into Prisma, from working with Bay Area artist Muzae Sesay to create graphics for a line of Prisma skateboards, to collaborating with cult amp builder Milkman Amps. “I really feel more attached to this city every day. I think if I lived anywhere else the company’s growth would slow down.”
documentaries sponsored by Coors Light, and the city’s local Anchor Brewing company that have helped them create a new video series, Shop Sessions. “We basically bring bands into our garage woodshop to play our guitars alongside the tools that made them. It is as real and raw as it can get, no gimmicks,” says Pourfard. He’s got even more video projects in the works – teaming up with big brands that he’s keeping hush-hush…for now.
“The biggest thing I attribute that to is that this is who we are. There is no larger corporate headquarters complicating everything. We do this everyday and love it.” Pourfard produces these 100 percent handmade guitars right out of his garage in the SunIt’s not often you hear that from artists based in San set district; the direct result of broken bones and Francisco, the city that’s become dominated by the happy accidents. “I broke my ankle skating and I tech boom. Luckily for Pourfard, it’s engendered occupied all my time learning woodworking until I some stellar connections, including Free People’s could recover completely,” he says. What once took “for him” section, for whom he makes accessories, him six months to make while starting out, now Uproxx.com’s second season of “Human”, the takes about a week.
Not only are they beautifully crafted, almost 70s psychedelic-looking pieces of art – intense, vivid colors, swirling abstract patterns – they can never be copied. Each and every one is entirely unique; Prisma’s guitars are built from reclaimed and recycled skateboards, most of which are kindly donated. Pourfard even made a limited collection of guitars known as ‘The Burnout Series’, a distinct charred effect from the black, unrideable boards caused by a 2013 fire in the studio that housed Lurkville’s skateboards. Pourfard founded Prisma in 2015, during his last year of college. “I remember taking finals and trying to finish orders at the same time,” he says. “In my off time I build and design furniture. I think it’s important to build different things as often as you can, to develop skills and have a better understanding of tools and material.”
Pourfard cares about every single detail; He shares his entire method through a newly launched promo video starring iconic skateboarder and musicianTommy Guerrero, and local skater, Tory Hereford; the lifecycle of a board, the abuse they take before Pourfard receives them, and the transformation from start to finished piece. “I wanted to create something that visually told our process and represented our brand,” he says. “In my head Tory was the guy who had it all…he was good, had style, is a recognizable skateboarder from the Bay Area. It just felt right to film him cruising through the Embarcadero.” Gaining broad interest – Prisma guitars have even been listed in Vogue magazine for a Father’s Day gift idea – means that Pourfard can push the brand to extend beyond the city, California even.
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He’s selling all over the world, from skaters, to people who are learning guitar, to collectors of hundreds of boutique instruments. “It is really amazing how many people are excited about what we do. I get emails from all over the world just saying that they love it, ‘keep it up!’, or even that I inspired them to start woodworking,” he says. “That is the craziest thing to me. That I can personally inspire someone I have never met on the other side of the planet to do something.” Pourfard’s work buddies and guitar tech, Justin have been building out a basement art gallery in the city for the last six months, naming it Mizu Aqua.
Prisma guitars, bass head
“The idea may sound weird, but we have a lot of help coming from people affiliated with the Jewish Museum, SFMOMA, and other places,” says Pourfard. This is the real deal. It’s a clean, well-built space. I’m excited to see the events that happen.” His favorite part of the whole process though, is watching someone else use the guitar after it’s finished. No doubt it’s mesmerizing watching anyone play with a Prisma. “I spend hours and hours in a garage building these guitars, and when I’m done with one I feel like that’s the point I start to become proud,” he says. “I think to myself all the time “I cannot believe I made that,” I really don’t think there is a better feeling than that.” 89
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“You Can’t Always Get What You Want”
92 LOST ROCKERS: BROKEN DREAMS AND CRASHED CAREERS. Cover. powerHouse Books.
LOST ROCKERS: Broken Dreams & Crashed Careers - The Review
The coffee table book of broken dreams and crashed careers; encloses the eloquent, yet candid trappings of success of 20 “talented musicians on the verge of stardom who never really made it,” says author, music journalist, and avid record collector, Steven Blush.
Gargoni (“Brown Eyed Girl”), as well as being named Dusty Springfield’s favorite singer. She had a record deal in 1966 from Cameo-Parkway, sold out of the first 10,000 copies but the label went bankrupt a week after the release. The Hollies had a hit with her song “I Can’t Let Go,” and even Elvis was working on one of her songs before he died.
Though society may cruelly enjoy, and often revel in high profile defeats, this book is “no shadenfreude, no laughing at their failure.” Part of the admission process is also a function of age; The person can’t still be aspiring for success, it had to be retrospective.
Basically nothing worked in her favor, and many of the reasons are inexplicable. Call it bad timing, bad luck. ‘To have all of these business things, one after the other, always mess it up was like never truly having a chance at bat, so to speak.’ But did she stop creating, playing music? No. It never marred her passion for a creative outlet. Sands’ story may be extremely unfortunate, ill-fated even, but ‘she’s still totally living and breathing this stuff,’ she’s still playing and producing in Hollywood, she just never made worldwide fame.
Every lost rocker profiled and interviewed by Blush, Paul Rachman, and Tony Mann, worked with iconic musicians - think David Bowie, The Beatles, T-Rex to name a few and were heavily involved in a menacing industry; Some you won’t believe you’ve heard their music, knowing the material under the name of a different artist.
While these musicians have since dealt with their strokes of bad luck, I can’t help but feel a sense of melancholy oozing from the narrated pages of this book; their hard-wearing efforts were never commended. It brings to mind the consequential thought, is ill-fate predestined for some? Is there a life that some of us strive much harder than others for, yet never comes to fruition? How do we deal with the damage?
The wildly famous 1967 Chip Taylor song, “Angel of the Morning” for example - which has been recorded many times since - was originally written for Evie Sands, gritty soul singer born in the late 40s who was beaten to the punch when pre-releases got into the hands of dishonest reps...on multiple occasions. “It’s hard not to identify with Evie Sands,” says Blush. She had everything it took to be famous: beautiful, young, resilient, a talented writer, pianist and guitarist, working with famous writers including Al
The book’s initial intent may have been to explore the wild life-stories of awe-inspiring musicians who fell through the cracks of history, but “as I got deeper into it, the book be93
Evie Sands, The Johnny Cash Show, June 1969.
came a psychological look at that fine line between stardom and oblivion, and how a lack of success can scar one’s life,” says Blush. What he’s realized since publication, is that he’s written a subversive, “untold history of the rock business, essentially becoming a champion of the underdog.” It’s captured a palpable response from a myriad of people who can personally relate to the characters, “whether they themselves dreamed of becoming a painter, a dancer, an architect or a death-metal vocalist.” A broader theme that the book explores is the path to financial and artistic success. “Through the 60s and 70s, there was only the major label route,” says Blush. Yet today’s world is less and less a regular 9-5, “so most smart musicians today understand that the corporate stardom route is not the only path.”
Evie Sands, “I Can’t Let Go,” Blue Cat, 1965. Later a hit for the Hollies.
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Artistic career choices may be more celebrated over a typical work path, but as an entirely new generation there is still a lot to learn and take away from these stories; “Not just the pearls of wisdom that come from the artists’ decades of personal reflection, but also as a roadmap of wrong turns on the road to fame and fortune,” says Blush. Despite that ethics in music may stand stronger today, especially “when it comes to indie attitude, DIY recording, and non-commercial songwriting,” we’re still seeing similar copyright and infringement issues going on, though maybe there’s more of a fight for investigation.
Surprisingly, though many of the musicians were ‘denied the opportunity to say “I changed the world,”’ they never gave up on music, and for many, success is relative. “It takes a lifetime to make sense of one’s own successes and failures,” says Blush. “And arriving at such realizations can be a brutally painful process. What I see in these Lost Rockers is they still embrace making music like they did when they started out.” But it leaves behind the question, is the pain and sycophantic projection of fame, the objectification worth the emotional scar? According to Blush, there are two routes to success in the music business today: “one, get a day job, stick by your artistic principles and play uncompromising music, or two, work to get on American Idol or The Voice or attract some deep-pocketed entity looking for the next Taylor Swift soundalike.” “One thing I love today,” though he says, “is that kids are more cynical and they understand the importance of fulfilling one’s dream,” yet the reasons why people make it these days are as hard to fathom as they were back then. ‘In a way, there’s a bit of a lost rocker in all of us,’ and one can identify with the artists in this book that leaves you feeling a sense of heartache for them, yet uncovers the self-motivation to chase one’s dreams, regardless of life’s misfortunes.
Just last month Led Zeppelin won a copyright lawsuit over a claim that the intro to their renowned song “Stairway to Heaven” was plagiarized from Spirit’s 1968 instrumental recording of “Taurus.” Spirit never received royalties. It’s also widely known that pop artist Kesha lost a legal battle earlier this year to break her record contract with Dr. Luke on Kemosabe Records. Jake Holmes - another artist profiled in the book - had his song “Dazed and Confused” brazenly stolen by Jimmy Page for the first Led Zeppelin album. For Blush, the most heart-wrenching story in the book, is that of the late Bobby Jameson, the notorious LA hippie-counterculture musician who turned to substance abuse since making solo records with the likes of a young Rolling Stones, Frank Zappa and Crazy Horse, and got nothing to show for it. Jameson now lives in a trailer park home outside of San Luis Obispo, where he works as a day laborer. ‘I don’t have a nice home or a comfortable life. There’s no happiness in my life.’
“The musicians understand that their careers have finally been validated, they’re getting their biggest press, and new generations of fans embrace them,” says Blush. “The book’s in-store appearances include these musicians, and they are loving it.”
95 Bobby Jameson, home in San Luis Obispo, CA, 2009.
LOST ROCKERS: BROKEN DREAMS AND CRASHED CAREERS. Cover. powerHouse Books.