Art Meets Fashion Spring Publication 2015

WELCOME TO A R T M E E T S FA S H I O N 2 0 1 5

Art Meet Fashion FOUNDATION

Founded by Heidi M. Gress, the Art Meets Fashion Foundation is committed to creating a sustainable artistic industry locally and documenting stories from across the globe from other organizations that are impacting their community through art and fashion. Through documentary work—photography, film making, narrative writing, visual art, dance and music, AMFF aims to raise not only awareness and financial support for these organizations but also to secure Utah’s place in an ever growing global landscape.

Locally, AMF Foundation helps launch emerging designers and fine artists.

AMFF’s an annual program will feature a rotation of debut collections and exhibitions where 2 to 3 emerging talent are selected each year.

The talent will be guided through the process of developing their collections or exhibition through an entrepreneurial mentorship program, as well as promoting their work through communication, marketing, branding and press relations. These collections will then be presented at Art Meets Fashion in the Fall Art and Spring Fashion Showcases.

THE PROGRAM INCLUDES: • Logo • Website (with e-commerce capabilities) • PR • Social Media Training • Contract and Rate Mentoring • Business Formation Guidance • Quarterly Business Workshops • Direct Relationships with AMF Art and Fashion Partners •Artist Grant to help Fund Exhibition or Collection • Participate in Design Related Workshops and Collaborations • Professional Photography • Article in AMF Publication and in Partner Publications We are excited for this next chapter for AMF and for the growing creative community of Utah! www.artmeetsfashion.net FB ArtMeetsFashionAMF IG ArtMeetsFashionSLC 1

LETTER FROM THE EDITOR

I’m not sure if my upbringing was typical or atypical for an American. A daughter of a Danish immigrant mother, I was raised with a traditional German grandmother and a quiet strong Danish Grandfather. When most kids were playing video games I was learning to play backgammon, making wienerbrød, and learning about WWII. My Oma escaped Germany with her four children leaving her three ranches and everything she knew behind. Her first husband died in a prisoner of war camp, her daughter passed from illness on the journey and her son was separated and sent to a camp in Russia. The stories resonate in my mind even today, stories of a strong woman pushing through to make it to Denmark, finally landing in a refugee camp with the remaining two children. My grandfather was part of the Red Cross efforts who brought food to the refugees. They fell in love amidst the chaos of war and it was he who found her son in Russia and returned him to her, as a proof of love.

Now, why am I revisiting this family history as we introduce this year’s Art Meets Fashion? To me, it stands as a constant reminder that we are all part of a global history and global future. That beauty and love can shine through war and chaos. As a local community what we choose to buy and how we eat directly affects the world. With the increased use of technology, we have become somewhat of sidelined activists, pointing fingers across glowing screens. Yet when people stand up against tyranny, as a society we shy away from or get drawn into what the media portrays for us. Racism, war, violence, sexism, discrimination, and lack of education are not just chapters in a book from past generations. These are alive and well in our everyday life. Libya, Ukraine, Congo, Burma, Palestine, Nigeria, Sudan, Syria, and even the United States are just a few countries with ongoing civil injustices around the world.

The fashion industry is not immune to these injustices. With the use of sweatshops and child labor in Bangladesh, China and Cambodia, these are quickly becoming topics that many companies are addressing.

We are proud to not only include designers and companies that focus on ethical and safe working conditions, but also go beyond and create jobs and a sense of pride in their artistic craftsmanship.

In this issue AMF magazine, we will be celebrating all those who are making strides in their community to break to down barriers to social, economic and political equality. We urge you to get involved, whether creating a beautiful piece of art that starts conversation, donating time or money to a nonprofit or spreading the knowledge beyond what is simply presented to us. We have the opportunity to write new chapters in global history, those of strength, perseverance and intolerance to ignorance. I hope we embrace what makes us unique as individuals, because that is what makes us powerful as a society.

Heidi M. Gress Photo/Hair & M ake up : CAMI TALBOT D esigne r : NEPHI GARCIA 2

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CONTRIBUTORS CAROL ROSS - ART DIRECTOR, ART MEETS FASHION MAGAZINE Carol is a designer originally from Puerto Rico. She’s been designing print for over 15 years. She admires all types of design from print, to interiors, to film and fashion. Her interests and hobbies have always revolved around art, design, history, research, historical architecture, travel, themes, and mystery genre films. She has always been able to mesh these interests into her projects. She is drawn to abstract, expressionism, minimalism, and bauhaus style of art and her undergraduate history thesis was about early 20th century German Expressionism.

MAXIME COUÉ - ASSOCIATE CREATIVE DIRECTOR, ART MEETS FASHION FOUNDATION Maxime came to Utah to explore more of the US and started working with Art Meets Fashion as a photographer. He studied graphic design in Paris, so assisting in the creative direction of the magazine came naturally. He has always been drawn to documentary arts, and in his photographic narrative jeune homme he wanted to explore American youth in their own spaces. He aims to continue to create a cultural exchange through art development.

ALASDAIR EKPENYONG - PROGRAM DIRECTOR, ART MEETS FASHION He has been on the staff for about one year. He curated the art for the AMF gallery, “Liminality,” and he is the primary liaison for our global artists who live overseas. Born and raised in Baltimore, Maryland, Alasdair came to Utah for college as a student at Brigham Young University. He graduated from BYU in April 2015 with degree in art history and business He begins graduate school in the fall at Parsons The New School for Design in New York City, where he’ll be working on a master’s degree in fashion studies. He is proud of the all the artists, designers, and producers at AMF and is excited for a great spring show.

RICHARD GRESS - AUTHOR & FINE ARTIST Having recently retired from a career in human genetics research, Richard says he feels liberated to pursue some of his original passions of art and writing, and being a child of the sixties, to use both to express feeling and thought about contemporary social issues.

He sees many challenges around us as he enters his seventh decade, of identity, equity and unparalleled technological change which he hopes in some small way to address.

ED KIM - VICE PRESIDENT OF INDUSTRY ANALYSIS, AUTOPACIFIC, INC. Ed is a veteran automotive industry expert who leads AutoPacific’s Industry Analysis operations. Well known in the industry, he serves as one of AutoPacific’s primary experts on current automotive issues, regularly quoted in the press and frequently appearing on national news programs. Ed has also worked as an automotive journalist writing for several major automotive publications. PC: DOMINIC BONVISSUTO

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CONTENTS 20 ART 22

Artist Profiles

48 CULTURE 50

People Features

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Jeune Homme

62 80 82 88

Millenial Men

Mechanics of Style Driving by Design Shop Local

92 FASHION 94

Kinabuti: New Business of Fashion

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Venus Envie

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Heart Warrior

Form + Function

128 70s

138 Chromatism 146

Davis Hong

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DAVIS HONG

For the inaugural year of the new artist program, AMF selected emerging designer Davis Hong to premiere a collection at Art Meets Fashion 2015 runway event. A glance at the collection of Davis Hong and the word geometric comes to mind. With precise lines, clean silhouettes and sharp details, he stood out with a kind of aesthetic likely appreciated by the same set that yearns for the clean vibe of Calvin Klein and Jil Sander. Hong will be premiering 20 looks with a combination of his spring and fall collections.

TELL US A BIT ABOUT YOU Throughout my life I’ve always done visual arts. Naturally, having a background in art it was an easy transition to designing fashion.

I try to incorporate elements of art into my designs, whether it be sculpting, texture, or creating a custom print. I’d like to be known for my jackets. Jackets are underrated and very versatile.

It’s something that I want to bring to the industry.

SHARE SOME INFORMATION ON YOUR SPRING 2015 COLLECTION I will actually be showing my Spring/Summer 2015 and Fall/ Winter 2015 collection, no titles. The spring collection explores the concept of cracks. Cracks are usually associated with objects, which are broken. Although broken, the object still remains intact, while creating a beautiful design. The fall collection is much more focused on visual and physical textures. While the spring collection explores the concept of cracks, the fall collection is the view of a missing piece that has fallen from the cracks, the void.

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WHAT ARE YOU GOALS AS A DESIGNER? The goal of my work is to enlighten people that fashion is not just something that is cosmetic or pretty. It’s much more than clothing or even an extension of one’s personality. It’s art. It’s art that you live in everyday and people don’t often see that.

ARE THERE ANY ARTISTIC THEMES IN YOUR WORK? I design with the words, “minimal” and “luxury” in mind. I take very classic pieces and make them into something a little more easy and interesting by exaggerations. My clothing is very simplistic in style and shape. It’s straightforward, you don’t really have to think about what to wear, you just put it on and you’ll look great.

ANYTHING ELSE YOU LIKE TO MENTION? Half of what I do is research. There are always new sciences, technology, and methods of things to offer to my work. In doing research I may find an inspiration, concept, or technique. For me, my research is just as important as the execution. Because it is art, there’s always a story behind it. The backstory doesn’t always matter, but it’s a depth that can be identified without explanation.

THOUGHTS ON THE MAGAZINE ISSUE THEME, “LIMINALITY” The inspirations behind both collections describe this exactly, when applied to people. Perhaps after an unfortunate event, one may feel broken and “cracked”, however is still whole. Overtime, pieces may fall out leaving an empty space, leaving you with a “void”. These emotions are only transitions to something new, presumably positive.

MARK SEELEY

For the inaugural year of the new artist program, AMF selected emerging fine artist Mark Seely to premiere a collection at Art Meets Fashion 2015 exhibition event in the fall. Seely’s work is abstract layered pieces that hit an emotional core. With collage, paint and resin on metal, Seely plays with light and texture to create work that is as intense in its process as the subjects he approaches.

TELL US A BIT ABOUT YOUR PLANS FOR FALL The fall exhibition will be 18 pieces; 9 large scale{40x96ish} and 9 smaller{32x32ish}mixed media paintings on aluminum over nude photography. The idea behind the show was initially a study on androgyny, furthermore sex{gender} and sexuality as irrelevant concepts that can be rearranged and regurgitated in infinite ways to fit any one{s} perspective. Some models, will draped or wrapped in plastic, delving more deeply into notions of life, physical structure, and kink. The theme is always transcendence. Via catharsis, or breaking down of materials, or washing parts aways and replacing them with others... all have a consistent feeling of release. What I WILL gain from the AMF program is expansion of media {both scale and materials}, and a exponentially larger audience in which to share my lovingly broken bastard children {paintings}.

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P h o t o g r a p h e r HEIDI M. GRESS S t y l i n g LACY DRESSES VINTAGE CO. / WHYNAUGHT SHOP VINTAGE H a i r / M U A HEGGY GONZALEZ • S e t S t y l i n g MELANIE MCLAWS M o d e l s LEVEA, KYLEE AND CAMILLA WITH NIYA MODEL C r e a t i v e D i r e c t i o n MAXIME COUÉ • P r o d u c t i o n LEXCIE BENNETT 8

COLLAR: Antique chinese embroidered metallic BLOUSE: 1940’s Asian inspired blouse BELT: Made in india metallic embroidered belt SKIRT: 1960 Asian inspired skirt 9

HEADPIECE: Antique feather collar w/silk tassles NECKLACE: 1930’s vintage necklace DRESS: 1970’s Stanley Platos/Martin Ross floral silk dress MUFF: Black fox fur muff

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COLLAR: Antique chinese embroidered metallic BLOUSE: 1940’s Asian inspired blouse BELT: Made in india metallic embroidered belt SKIRT: 1960’s Asian inspired skirt PROP: Umbrella 1940’s hand-painted paper and bamboo 11

FROM LEFT TO RIGHT EARRINGS: Joseph of Hollywood COLLAR: Victorian woven chenille collar (antique 1900’s) SHAWL: Gold silk chantilly lace shawl DRESS: 1920’s glass-beaded w/prong-set stones, silk net authentic flapper dress SLIP: 1950s nude chiffon slip HEAD PIECE: handmade metallic lace with turquoise tiara DRESS: 1920’s silk and metallic thread godess gown BELT: Embroidered ethnic belt

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DRESS: Edwardian silk net and metallic lace wedding dress CAPE: Edwardian embroidered silk cape

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HEADPIECE: 1920’s w/silk satin flowers VAIL: Black chantilly lace mantilla DRESS: 1930’s lingerie w/ beaded shoulders BELT: Metallic embroidered (made in india belt)

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FROM LEFT TO RIGHT DRESS: 1960’s Victoria Royale beaded maxi dress COLLAR: Woven metallic jewel encrusted collar DRESS: Scenic Moroccan kaftan 17

HEADPIECE: Purple amethist w/gold filigree drop necklace NECKLACE: 1930’s thief of bagdad DRESS: 1960’s prong-set stone embellished kaftan

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In this year’s Art Meets Fashion exhibit, we’ve curated art from around the world to highlight the new, globalized character of the creative industry. We called our exhibit Liminality: The Spaces Between Spaces. We’re looking at the new cities and cultures that are taking their place as important voices in the world of innovation and creativity. We’ve included a number of artists from global cities in Russia, the United Kingdom, and various points throughout the US. You’ll see art from Europe, you’ll see Asian art, and you’ll even see Salt Lake City take its place on the global scale. The gallery theme, Liminality, puts the spotlight on the artist’s mind and the process of creative innovation. When an artist, designer, or another creative professional is at work, he or she exists in a “liminal” state of mind. We leave the statics of the status quo and we walk forward to the edges of creativity, like a model walking forward on the runway. There, at the forefront of the human mind, in the space between the past and the future, between individual and society, between question and answer, the artist can produce great works of creativity that inspire us and lead us forward to the future. The works in Liminality: The Space Between Spaces will inspire you to realize how much creativity and innovation thrive in new spaces all over the world. The four traditional fashion cities continue to be as important as global centers of innovation. But a number of new cities worldwide are also taking their rightful place on the stage.

Cities like Tokyo, Berlin, São Paolo, and Salt Lake City, are new cities on the rise: changing the conversation in art and fashion.

Alasdair Ekpenyong Art Curator

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TREVOR CHRISTENSEN I am a 25 year old photojournalist and portrait photographer.

I recently left my job as a staff photographer at The Spectrum & Daily News in St. George, Utah to pursue freelance work and independent journalism. I have had photojournalism work published in outlets such as The Salt Lake Tribune, USA Today, the BBC and The Washington Post. Nude Portraits has been covered by outlets such as Mashable, BuzzFeed and NPR. I started taking pictures because I wanted to impress a girl I had a crush on in high school.

The feel photographer/subject paradigm is one of inequality.

When I guide subjects through the portrait process I seek to create a calm, comfortable environment where they can be at ease in front of the camera. Despite my best efforts, subjects often feel a sense of vulnerability that I do not experience, as the attention is not on me. Nude Portraits seeks to level the playing field, bringing me, the photographer to a place where I am forced to confront my own vulnerability. This vulnerability is achieved by making portraits without clothing. These are nude portraits in the sense that I, the photographer, am nude, while the subject is not.

In my portraiture I have always sought to show the viewer an intimate, nuanced and compassionate view of my subjects.

There is a certain vulnerability that is inescapable when being photographed. My art seeks to explore vulnerability.

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AZAMAT AKHMADBAEV I was born in a small town Karachaevsk, but I work and live in Saint Petersburg, Russia, I’m a self-taught visual artist and my artworks across many disciplines including painting, photography and digital art. I operate in the gap between glitch art, abstraction, minimalism and graphic art. In digital art the main theme is a rethinking of visible world, but in painting and photography main theme is my life: my lover, moments in our life…

“Colorchromie III” is a part of my ongoing glitch/scanning series Colorchromie.

The concept of this series is a transformation of iconic fashion or design elements into a glitch or distorted images. In “Colorchromie III” I’ve used a small part of ad in magazine – a tablecloth with “neon” ornament. This artwork is reminded me “Starry Night” by Van Gogh – brushes and expressive starry sky are the same with my scanning image.

In my glitch experiments I try to “open” a new world of ordinary images and usual things, a new edge of our world. I think there are many hidden elements which exist near us: in photos, in cinema, in simple things… And in various images or series by me someone could see something from classical paintings or modern artworks. I love to combine digital and reality in my glitch experiments, because it is funny to cheat a digital devices – scanner, camera or another device, and show a “new” image to viewer. I use simple tools to paint or to make a glitch image. But a final result for every artist is an unusual and unique experience because artist (famous or infamous) tries to express his passion in art and this fact is a main for viewer and artist, I think.

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ANDREW RICE I was born and raised in Colorado and moved to Utah after college at the University of Colorado.

I received an MFA from the University of Utah and I currently maintain an active studio practice out the Poor Yorick studios and SaltGrass Printmakers. My works are larger scale works on paper bridging the gap between drawing and painting. Using oil sticks, I approach the pieces as a printmaker, working in multiple layers over each other until I am satisfied. The end result is thick, heavy and dimensional on the paper. I aim to engage the viewer and resonate the familiarity of the banal space. Visually, I want the viewer to feel as if he can walk into space. I want the viewer to feel as if they are in the space.

This body of work investigates our collective need for the spaces we construct, inhabit, interact with and define ourselves by. We are all interconnected and a part of a larger collective, or as John Donne describes in his enduring poem, No Man Is an Island, ‘a piece of the continent.’ We have created spaces and safe havens from the harsh world around us that encourage this reciprocal community. From personal spaces to larger, family and community spaces, it is paramount to our survival both individually and as a larger group. In the 21st century we have now gone digital in the spaces we create. These spaces provide protection, but also isolation, inhibiting access, but also providing guidance within the world around.

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JACOB VAN LOON Jacob van Loon is a visual artist living and working in the Chicago area. My background was established in graphic design and photography before graduating from the Illustration program at Northern Illinois University in 2011. I am currently attending the Graduate Drawing program at Northern Illinois University, and serve as the Assistant Designer for Ellwood House Museum in DeKalb, Illinois.

My work introduces organic, fluid elements to linear, geometric forms, with an aesthetic influenced by architecture, cartography, scientific illustration, and early 20th century design. I often work in short series, creating multiple pieces with a unified aesthetic to explore a singular idea. Alternatively I create single assemblages or paintings that act as a merger between two unrelated experiences, manifesting a new visual vocabulary.

I create pieces with immediate graphic impact, which acts as the attracting force by which the viewer can closer investigate the tactility and nuance of the work.

The contrast in my approach – treatment of a single idea through a series of work, or the merger of two separate concepts as a stand-alone piece, should challenge my handling of the creative process, but ultimately achieve a strong aesthetic relationship between pieces.

The layering and erasure in my paintings and drawings results from a process of careful deliberation, itself informed by the labyrinthine experience of urban perpetuation. Cities are built atop cities and people are built atop themselves, to unknowable depths. Outside of Schaeffer, the majority of my work is architectural.

Pieces in the Schaeffer series combine collage and painting. Influenced by Pierre Schaeffer’s early sound experimentation and the ethos of electroacoustic composition, static figures are removed from photos and placed into a blank, dimensionless frame, then propelled to dynamic resonance with the introduction of wet media. The Schaeffer series address the human form in terms of its musicality, without an assigned identity or narrative. Architecture resounds the human form and through ornamentation is an extension of human character. These associations generate endless conceptual opportunity, which subtly express humanistic quality. My approach to the direct portrayal of the human figure in art is markedly critical in comparison. Historically, use of the figure in art functions as the illumination of consumable narrative.

Overarching storylines portrayed by the rendering of a face or body anchored to grandiose moral opinions of the artist or client make the majority of figurative work function less as art and more as a cosmetic mirror.

My treatment of the figure in the Schaeffer series is an open-ended confrontation of that inherent narcissism.

Liminal is an accurate descriptor of works in the Schaeffer series. From both a formal and conceptual standpoint, assemblage as a method of creation would stand at the shore of a confluence between object and abstraction, rather than drift in the river of one or the other.

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JARED KNIGHT I am a Utah native born in Ogden. I have been studying painting since the age of 13 when my parents discovered I was no good at sports. Though I have received some basic training I have to say a large part of my training and education has come from other artists. I have worked with art professors in a tutor type of environment I also have spent the night with squatter graffiti artists and let them teach me various styles in exchange for pizza and beer. I seek advice and training from those I respect, not by setting or prestige. However, noted professionals I have worked with are, Steve Stones (Weber state university) Alan Jackson (Eccles art center) Mark Woodfield (Ogden, Utah).

The themes I use in my work are the themes that thread each one of us together as a species I simultaneously like to point out the items that make us unique and similar at the same time. All people experience varied forms of the same thing throughout their lives, my objective is to identify what those “things� are and strip them down and create an icon that all people can relate to even if they are not sure why. Much like when you listen to a song you make the lyrics relative to your life I want you to see the work as if it was created for you. I create work ambiguous enough that the viewer can create their own personal relationship with it and completely redesign the intent for its creation.

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ALEX MCADOO I’m unhealthily obsessed with art. With all the creative motion on the internet these days fashion trends have become beautifully disposable. Those who keep moving and don’t stay married to one trend will remain the most progressive. I guess my goal with every piece is to be inspirational or something.

Everything is changing because of the internet.

The piece shown at the global art exhibition Liminality was made with spray paint, photography, digital printing, and collage. The background is a combination of a piece I made with spray paint and a photograph I took of a computer part digitally printed on canvas. The garbage can was digitally printed on metallic paper. The piece was inspired by teenagers on the internet, trap music, and Duchamp.

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JOSH BOWE My work, although primarily figurative, nonetheless represents an on-going investigation into the fundamentals of representation and abstraction. At once complex and intuitive, my paintings combine form, color and texture to create a strong sense of vigor and dynamism, the contrasting figurative and abstract pictorial elements stimulating the viewer to see familiar subjects in fresh and challenging ways. Moreover, by staying faithful to well-established aesthetic principles, my image-making pulls off that all too elusive balancing act between innovation and accessibility.

Recently my work has been monopolized by the figure, in some guise or another, and very recently through portraits. I do find the psychological intimacy of portraiture very enticing as a subject, and I hope to convey a very robust response/intention in nearly all my portraits, but my initial approach to nearly all painting is to consider it an abstract first and foremost. I think this gives me the opportunity to make any study mine, rather than that of a specific personality.

I will say that struggling with a piece is very a integral part of my approach to any of my work, as there always tends to be a point where I have to get “honest” with the piece, generally when things are getting to fiddly, and I have not been bold for sometime in my approach, the cathartic moment proceeds, which makes me go back to basics. Hopefully all my figurative work has a large component of existential dialogue within them, as they are perpetually in a state of flux before they get to a finished state, which can occur very rapidly, so my awareness, and readiness for that finished state needs to be constantly alerted to the final brush stroke being the next one I make.

Gelid was a mid range piece in a series of enlarge portraits that I decided to tackle with Oil Bar medium. The whole series was painted with a view to enlarging how I paint portraits in oils. By working in Oil Bar medium I had no choice but to work boldly, and loosely as possible, Gelid itself had a more polished feel to a number of the other paintings in the series, and so in context to the other portraits in the series, it has a more evocative element to it. I suppose idiosyncrasy is highest on the list to me. I’d like someone to know what they’re looking at is something that has a “signature” approach that stands out, this is why I like to work as loosely as possible on my figurative work, and then build in details later. That way hopefully I overcome a number of mistakes/struggles that give the image the idiosyncrasy I desire them all to have.

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HEATH WEST Even though I currently live in Houston, Texas, and even though I was born there, I still consider myself a Californian, where I grew up from age 4 on, in Santa Barbara. Throughout my childhood and adolescence, the only two consistent forces of energy in my life have been art, and skateboarding. Nothing has really changed in that department, while I may not ride as much as like to today, art has consistently had the highest priority to my being, work, and research. One year while I was a student at the University of Houston, I was fortunate enough to be a visiting student at the University of Applied Arts, Vienna, Austria, for an entire academic year. Living in Europe was a transformative experience. Having the ability to travel easily to so many incredible destinations was one of the best experiences of my education. Upon returning to the States, I finished my graduate studies in New York City, which was another radical life experience in itself. It is through experiencing various cultures from around the world, whose influences have brought about a continual evolution into my work, which has made it what it is today.

From high school on, I’ve studied art and art history, but my degrees are in architecture. There was a day when I had to decide if I was going to get an MFA or an M.ARCH. I chose architecture, and I loved architecture school, but I finished graduate school in 2009 in the middle of the recession, an absolutely terrible time to be an architect, it was so bad that I thought many times, maybe I should’ve gone for the MFA. But over time I focused my ideas, all of which were developed while in architecture school.

Had I gone for the MFA, I most likely would have studied painting, which would’ve made my work radically different than it is. It’s as if I had to go to architecture school to make my art what it is today.

I hope the viewer sees something that goes beyond what language can communicate—a sense, an emotion, something metaphysical. I hope the viewer reads the material properties of the whole piece, and not just what it look likes on first glance, but how the different and contrasting layers of material each have their own unique properties, whether they’re reflective or matte, organic or striated, these properties give a philosophical analogy to the work.

Screens are everywhere--computer screens, mobile phone screens, tablet screens, kiosk screens, screens in a car, screens in an airplane--it never ends. We see our

world through our individual screens, where meaning is filtered (screened) content. Screens display information, color, and have socio-spatial relationships with time and light. There are degrees of opacity due to the density of the warp and weft of folds within the system. Some screens absorb light, others reflect it. Transparency is literal and phenomenal, as in between spaces illuminate intersecting layers of exposed material, multiplying edges, spaces, qualities.

“It is not the elements or the sets which define the multiplicity. What defines it is the AND, as something which has its place between the elements or between the sets. AND, AND, AND - stammering.”

— Claire Parnet in conversation with Gilles Deleuze, Dialogues Lucretius elaborated on the swerve—the flow of atoms and their inevitable collisions which produce the richness of our genetic makeup—that is an atomic fold. Pour dye into water and the liquids swirl together, producing fluid folds.

Highway interchanges are the folds of infrastructural trajectories. The esoteric field of quantum physics traces the invisible, infinite folds of the universe. The clothes on our bodies are the result of folding the warp and weft of textile threads. From microscopic chemical reactions to the collision of tectonic plates, folding makes life possible.

If it is either a tactile material, or a pixel on a screen, both fields of composition are fields in wait to form a picture.

The picture is the result of folding, where folding, in the end, is a metaphor for an action that transfers energy from materials and directions. Materials and colors combine, rupture, and striate, they become smooth, rough, and textured. The picture is a point of transfer, where the process of making has folded into the process of reading.

It was Gilles Deleuze who determined “Either it is the fold of the infinite, or the constant folds [replis] of finitude which curve the outside and constitute the inside.” A liminal space is a transitional space, both visual and philosophical. Folding is an action of transition, an evening-out of inside and outside into a singular form.

Reading the process of artworks is also a reading of the spaces the work creates, either optical or metaphysical.

And the transitional nature between the two is operative to my working process.

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SHELLEY ROTHENBURGER I was born and raised in Thunder Bay, Ontario and now I’m in Vancouver B.C. I began formal studies in art in 1989 at Lakehead University in Thunder Bay and graduated with an Honours Bachelor of Fine Art in 1995 majoring in painting.

I continued my art education in 1997 upon entering Graduate School at the University of Alberta in Edmonton and completed my formal studies with a Master of Fine Art degree in painting in 2000.

I have had multiple solo, juried and group exhibitions nation wide, most noted being a juried exhibition at the Art Gallery of Ontario in Toronto in 1996 and a solo exhibition at the Nickel Museum in Calgary in 2000. My work is represented in the University of Alberta Master of Fine Art Collection and The Alberta Foundation for the Arts Collection. And also, in private regional, national and international collections.

When someone sees my work I often hope they will go beyond the physicality and see the “soul” behind the work as they perceive it. I hope they will connect this way. The

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one steady theme that seems to persist in my work no matter what series or genre or subject I’m looking at, is rawness, the primal is always there somewhere in the work.

I’m always being told that my work is unique. There is a lot of unique art and concepts out there so I have a hard time understanding in what way, exactly my work is unique. I suspect it has to do with the edgy quality that is not always pleasant in the work but I like talking about subjects in art that are mostly avoided, such as, transients, men wearing nasty T-Shirts, hockey fights, protests and Walmart. No matter what the subject matter is, the working process begins with an abstract expressionist process of intuitive mark making. I then pull ideas out of this foundation of loose subjective expression which often include photo images and collage and develop the idea from there.

RICHARD GRESS Over the past half century, art has assumed a parallel path to my career, minor but not totally insignificant. My father had already introduced me to photography, and my grandfather had been a set designer and decorator for the studios, and his alchemist’s workshop of paints fascinated me. I took a few classes while at UCLA, where my emphasis was studying German literary expressionism, and I worked briefly for a small studio, but a career in computers and science, and further studies at UCSB dominated my time. All of my prior work was representational, and much of it was the sea and its battle with the land--the sea in its fluidity always winning.

Now, nearing the end of my primary career, I feel sufficiently liberated to be more expressive, and more abstract.

With some exceptions of work that is purely a scene, I am always aware of the struggle, and hopefully balance, between the rational and irrational, the Apollonian and Dyonisian.

Because the work is not representational, the viewer and the freedom to see what the viewer feels--at least that is my intent. I do hope the sense of dialectic tension is communicated, though. In my abstract work, images are literally trapped beneath each subsequent layer, and are therefore literally in the spaces between them--liminality. Layers were impasto, then scraped and torn. It represents a struggle, not unlike the sea and land, of the rational and the emotional. In the end, the emotional seems to have won out. We are all in an in-between state of ambiguity and indeterminacy, aren’t we? We are somewhere between birth and death, in a brief state of being conscious of our own individual existence. Therefore, the concept of liminality is a definition of life.

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ANDRE ELLIOT My name is Andre Elliott and I am a 19 year old photographer from Sacramento, California. I started taking photos in 2009. Photography, for me, is a way to explore the world and people around me. My work tends to be very introspective, each piece is tied to a moment of my life. My goal as an artist is to wake up the passionate and creative drive that, I believe, resides in everyone. I mainly use photography as a way of expressing myself when words cannot. When starting a project I don’t have a set theme, I take photos of what I feel. All of my photos have a deep connection with how I feel the moment I am capturing them. My artistic process usually involves me wandering around cities or hiking until something catches my eye.

The theme for this year’s exhibit, Liminality, resounded strongly with my artistic process and the work I produce. Many of my photos are very open, minimalistic to the point of abstraction while at the same time being intimate. Both my work and myself are constantly changing, redefining boundaries, altering perspectives and ideas.

Acoluthic Redux is actually a revision of my earlier project Acoluthic. I used 3 different colored lights with various filters and a lit background to achieve the bold colors. After setting up the color schemes and positioning the lights, I would set the timer on my camera and position the hand. Each photo in this series conveys a different state of mind as well as a mixture of emotions which I believe is unique to each viewer. My inspiration for Acoluthic Redux was noticing how the neon lights in a city at night splashed across people.

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MATT MONSON Everyone has a creative outlet of some sort. Mine mostly comes out visually. I’m still a student of this world of art and life, and loving it. I never want to stop learning. I just express. Because it feels good, and tells stories I can’t explain with words. I am essentially an expressionist - not in the pure art form, but in the philosophy that art is about expressing how something feels or felt rather than ‘how it is’. I hope when someone sees my work, they feel something beyond just the imagery - if they do, then I feel I’ve succeeded. I like to work with fluid lines to attempt to flow with the overall composition, the grain of the wood I’m working on, or just to express something in a way that emotes a feeling.

The piece is an expression of a very distinct feeling I had one night falling asleep with a troubled heart. Overwhelmed and in too deep, I had this sensation of my hand grasping the string of a giant balloon that carried me and my lover away from the troubles we were going through at the time.

In this piece, the negative space is where the real dialogue is happening - the subtext of something that would otherwise take thousands of words to explain. This captured a moment of my own life where I was very much at a crossroads in career, love-life, and otherwise. As I laid down to sleep I was caught in half-sleep between waking and dreaming life and had this sensation of being lifted by a giant balloon, as expressed in my piece.

It was a vague but beautiful answer and reassurance at a time where perhaps liminality was the best place to figure life out.

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MARK SEELY Passion > Commonplace.

“Suddenly, none of it mattered I saw my life in its entirety The beginning The end Perfectly lop-sided Balanced at the edge, teetering, and returning Spiraling Orbiting the purpose Beautifully meaningless Circling the drain Fixed without fear A falling leaf rising toward the sun”

I am a cathartic abstractionist. My art is my therapy.

Continuing to progress, reinvent, and reevaluate my work is of the upmost importance to me. My art is perpetually changing depending on timing and circumstance. One thing always remains: Truth, or at least my perceived truth. Painting is my attempt to convey purity through adversity and torment of both mind and material. Via ever changing media sources I try to create control and beauty out of otherwise chaotic methods.{Burning, scraping, cutting, repositioning} I suppose that based on this process, the theme or feeling that in consistent in my work is a feeling of transition, violence, and hopefully balance; though many times in an unexpected fashion.

In viewing my art, my main goal is to change the viewer’s mindset. To affect them.

Presenting the terrible and beautiful as one inseparable concept, and in doing so creating a sense of calm. Not easy, medicated, calm. Peace of mind like coming to terms with ones own inevitable demise. Living with a smile on your face every day knowing that it’s already over.

I have always been an artist, and have been drawn to anything involving aesthetic throughout my life. I have worked in design, and fashion, along with currently being a Realtor with cityhomeCOLLECTIVE {design firm/Real estate brokerage concentrating on architecture/community/space}. I think these are all facets of a whole; the pursuit of beauty as a lifestyle, even at times as a compulsion.

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MELINDA MATYAS I was born in Transylvania, but currently I am living and working in London. A painter of the hidden, I create expressionistic works using the human psyche as a reference. Through the transgression of ease, I undermine certain absolutes and the institutions that reinforce them. For me the human body is a concretization or a function of that unknown thing which produces the psyche as well as the body, which in my vision is one and the same thing.

My figures often blur the boundaries between traditional and contemporary modes of representation. Psychologically charged expressions of the hidden and its contemplation from an exterior perspective. The “latent” and the “hidden” which are just mere words defining something within, which can’t be seen, but felt.

In my work the title is also very important, I’m using it as an aid describing my thoughts for the viewer. The work and the title together tell something about me and the viewer as well, as I do believe the viewer finds a relation between him/her and the message of the artwork. And obviously I hope they can enjoy this universal connection. My painting process might be a bit unusual, I used to start painting using a model then after a while I abandon it and let my senses lead the brush, therefore many times the original figure disintegrates transforming into a completely different figure. Creation starts for me in that very moment when I’m no longer following the model.

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CHRISTIAN MICHAEL I was born in Taunton, Massachusetts. Most of my works are paintings, but I am proficient in a variety of other mediums as well, including sculpture, printmaking, music, and film. I am also currently a member of the collaborative art collective founded in San Francisco infamously known as The Oyster Pirates, one half of Salt Lake City duo The Wild Boys, and also the founder of Vermillionaires Art Club.

When someone sees my work i hope they can grasp the feeling, or something close to the feeling I had when making my work. I want the collector to draw a balancing power from living with the piece and meditating on it. The themes in my art are varied mostly, I address what I have to and move on generally, but there are motifs that pop back up from time to time. When I do a series, I am exploring that feeling. My painting style is nothing special, it just teeters between high realism and beautiful markmaking. I basically just go with my gut instinct and let the painting make itself. My take on the liminality in my work is that this is the imagery that is between the spaces of reality and dreams. It seems like the perfect place to be, and i enjoy it immensely.

The piece titled River Goddess, is about a feeling of serenity and calmness one feels standing next to a body of water.

It is a glorification of nature and beauty and a meditation on the restorative properties of being out in the wilderness, and being healed and refreshed by magical places such as mountains or rivers.

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RACHEL DOMINGO I am a fashion designer, stylist and visual artist. I do not care for portraiture for the sake of pleasure or mere remembrance, rather I am fascinated with the face as it serves as a mortal force. Holding the eyes, “the windows to the soul” the face exposes it’s own state of being and has the ability to expose and influence it’s subject of focus. From the mouth words are spoken, capable of building empires and tearing them down. Through our ears sound and tone take form stirring and causing reformation on a cellular level, shaping choices and destiny. It is also believed by many that the hair on one’s head and face is a matrix of environmental receptors which suggests it carries significance beyond mere aesthetics.

The portrait is a powerhouse of intricate portals, each with it’s own unique filter through which endless emissions of consciousness must pass and emerge.

Verb is about urgency. This woman’s beseeching gaze moves her subject to wake from apathy. Her demeanor provokes the viewer action; to harness the wind of change and resist the death trap of perceived comfort and mediocracy. Verb reminds us of the continuum of transition and the importance of embracing this vital rhythm that beacons us to trust that there is more beyond each horizon.

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www.unhingedslc.com

Sugarhouse Provo 16 W. Center St. 2165 S. Highland Dr. REWIND-EXCHANGE Salt Lake City, UT 84106 26 W Center St, Provo, Utah 84601 Provo, UT 84601 385-312-1268 801-467-6588 385) 375-2973

With more than forty years of experience as a familyowned business, Goldsmith is the longest-running manufacturing jeweler in Utah County. The values of loyalty, integrity, and community-service at this company shine just as brightly as the jewelry the company provides to its customers.

Goldsmith has been a warm part of Utahn’s lives through several generations, “helping over 100,000 men to get her to say, ‘yes!’” Beyond the conventional engagement-ring services, the company also provides watches, necklaces, and earrings of quality, character, and distinction.

Goldsmith has generously donated some of its products for the benefit of the Art Meets Fashion audience. Please take a look at the [Insert Location Here] to see some of the fine taste and beautiful distinction available to you at Goldsmith.

Goldsmith is located on 120 North University Avenue in historic Provo, right at the heart of the city’s downtown.

Call ahead at (801) 375-5220 to arrange an appointment.

Walk-in customers are also welcome.

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Culture

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CODY Derrick Tell us a bit about yourself, your interior design and your professional background. And how is your background reflected in your current work?

I am a Salt Lake native, the youngest of four siblings, and born of goodly parents. I have been a realtor for upwards of 15 years and created cityhomeCOLLECTIVE about 6 years ago. I am a self taught interior designer, architecture lover, marketing fanatic, and entrepreneur. I am obsessed with creating community, space, and change in Utah. I have always been an entrepreneur... In elementary school I started a business selling juice to clients at my parent’s barber shop. In junior high I developed an exotic bird breeding aviary complete with school release and a detailed profit and loss report. I have also always loved creating spaces and being around beautiful architecture. When other kids asked for toys, I asked for cans of paint, art and new carpet for my bedroom. I worked hard and saved my money. I bought my first house when I was 21 and still in college (I graduated from the University of Utah with a degrees in Art History and Interpersonal Communication). My dad taught me to work hard, be honest, and treat people fairly. Integrity was being taught to me on the daily with lessons left and right. Coming out was a big thing for me - there’s something to be said for having to fight to be yourself.

Once you do, you defend that right to the grave. I believe in working hard, changing the world for the better, and living a good and purposeful life.

And I expect the same from those working around me.

How does being a multidisciplinary artist influence and relate your other professional endeavors?

Its the opposite in some ways. Even though I started studying art history and photography at a young age- it has always been the real estate, i.e spaces and design and homes and structures that have been my influence.

Real Estate is the beginning of everything for me.

How do you keep each project unique while staying within current trends?

Fuck current trends. Designers should all be creating unique projects because we are all pulling from our own experiences and imagination.

Our travels. Our friends. Our memories. Our hopes for the future. If you are copying someone else’s design or doing something because it’s “on trend”, you are doing yourself and the world a disservice. We are always striving for the next thing, that’s what keeps us excited about our jobs and pushes us to be better than we ever thought possible.

You have built a reputation as an innovator in Salt Lake, what do you feel has made you successful and continuously relevant as a business professional and a designer?

I crave knowledge. My advice is to make your big dream more about making everyone around you successful than making yourself successful (that part will follow). And commit with an unwavering ferocity to the people you love, the vision you have, the things you believe, and the good life you want.

Anything you would like to promote or mention?

Salt. Lake. City.

PHOTO BY: JESS DOWNER & RENATA STONE

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JJ OLOMUNYAK J Sayagie

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Tell us a bit about yourself, your organization and your background.

My name is JJ Olomunyak J Sayagie. I am the son of a chief in a local village in the Maasai Mara. I grew up in an area where there is no opportunity or privilege to go to school and be educated. So currently I , myself am a graduated from college with a diploma in tour guiding and administration. I have worked at Siana Springs as a cultural ambassador and social anthropologist, and guide for 10 years.

I am also on the front lines of the voice to stop FGM (female genital mutilation) or female circumcisin, which was a highly practiced tradition in our culture.

I have been a life coach with Ideal LifeVision Kenya, and I am currently self employed. I have helped my communicty understand the importance of education. I took the opportunity to sponsor less fortunate and disadvantaged children in the village.

I am currently sponsoring 7 children, howver many more still need help.

Anything else you would like to mention?

It is my greatest desire to help my younger brother and other children go to school this year. I am raising funds to make that happen. Any amount will help.

You can donate here: http://bit.ly/MassaiTuition

What brought you to Utah?

I came to Utah to raise awareness and educate people about the traditions of the Maasai tribe in Kenya, Africa. I really love being an ambassador for my people and would love to welcome everyone to come and visit.

GARYVlasic Tell us a bit about yourself, your art and your background. And how is your background reflected in your current work.

I would say that my work is enmeshed in the process of honoring the ephemeral nature of this life we lead in this world that we inhabit. My artwork , my business, my projects, my events and my performances are all linked with the absolute thread of letting the process reveal through the mystery of the fleeting moment, the fleeting performance and the fleeting magic that can reveal itself if we are truly in the moment and the process. My primary background and studies was in dance - theater/ modern dance where I had co-directed a dance company for 11 years called CO4 / Company of four. I have had no real schooling or training in art but my life is filled with art and art process. I am self taught and find hat my process allows me to expand and explore many ways to create.

My Company is now called V. PROJECT. v-project.co.

The framework of this company is that I am a creative studio that collaborates with other creatives on projects that focus primarily on the designing of environments, installation, objects, performances, experiences, art and events. I currently share space and collaborate with the design collective 7d8.

You have built a reputation as an innovator in Salt Lake, what do you feel has made you successful and continuously relevant as a professional artist?

You ask about being an innovator in this city. I suspect that the one thing that I know about my presence here in Zion and wherever work takes me is that I push the projects as far as I can. I think I am best at creating moments and somehow that is the impression I leave with my audiences, clients and fellow collaborators. I am moved by and inspired by the talent that surrounds me and I am truly thrilled that I get to work with so many amazing people and organizations. The only thing I understand is that we only take our experiences with us when we leave this planet, nothing else is real.

Anything you would like to mention?

I am currently working with my wonderful team a 7d8.

We are staging our second installation of MALL / FOOD COURT experience in the galleries of UMOCA this August 14- September 12. This will be an incredible curation of retail concepts and products with the eye of merging art and commerce, fashion and design. We will be bringing in a team from San Francisco called PROEF to co-curate and explore product design, graphic design, art, and experience making. Music and environment design will be the core of this installation. PROEF is a trend forecasting and product design company from SF, under the direction of Mareike Vanderpoole.

FOOD COURT will be a kick off event for the MALL installation and will be a dinner experience and culinary exploration with Scott Evans and Evan Lewandowski wines of PAGO / FINCA. Also, we are preparing events in San Francisco with the same exploration and event FOCUS, gatherings at the Museum of Craft and Design in San Francisco next year, April.

Art making and Performance is scheduled for 2016 / 17 with a dance theater extravaganza called ‘My life in the Bush of Ghosts’. It will be a multi -media performance driven event. Including a soundscape by Brian Eno and David Byrne. It will include a large scale installation that back drops the performance. It too is slated and proposed for UMOCA in 2016 in the main gallery in the fall of 2016.

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JIMMI Toro Tell us a bit about yourself, your art and your background.

I grew up in a remote area in the Sierra Nevada mountains in California with no TV, computers, etc. I was by nature shy, and I spent a lot of time creating things with little resources relative to what I have today. I have no formal art and music education, but instead I do have an obsession with exploring creative expressions that do not exist. Creating in a way that both builds on the existing pool of content, and that ads to that pool in a unique way. I get easily bored with the same thing over and over. It would be creative torture for me to paint the same style of painting of the same subject year after year, for instance.

As a multidisciplinary artists, how do you keep each project unique even if the topic is the same across the various platforms?

This is the biggest challenge and the biggest victory.

What works for me is to start. Start with almost nothing.

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Let the idea begin in a simple form without any concern for what may follow. After this idea has been acted upon you will know when it ends intuitively, and as soon as this happens a new door will open revealing the next idea or step in the process. Some projects have hundreds of doors to go through, and others far less.

Either way, this method has taken a lot of practice and experience to refine, and now it flows quite naturally, with the occasional struggle. Yet the struggle, (an open door with nothing there) invites you to do more than look into it. You have to leap into the the darkness and fall until something appears. What was once fearful is now exciting. Love what those doors reveal.

Anything you would like to mention?

My Faces project. My first public offering where I have created a collaboration of art, music, and film; a musical, visual and artistic journey of symbolism, created to inspire, uplift and promote the very best in people. www.jimmitoro.com

NICK James Tell us a bit about yourself, your art and your background.

Art is an interesting notion. I’ve never thought of myself an artist, but when you quantify it as “a human activity involving imagination and technicality” (according to Wikipedia), I suppose I spend most of my time “doing art.” I’ve been a hairdresser since I was 19 (now 34) and I guess I’m really good at it. It’s funny, because I never set out to do hair, but just hangout with my friends, who ended up going to hair school. Then I went to college for Philosophy, which cursed me, because now I spend most of my downtime reading people like Slavoj Zizek.

My friends think I’m crackpot some days, because if you get me talking long enough, I usually go into a rant about Lacanian metaphysics. But, my “passion,” per se, has always been music. I was the youngest person (at 19) to have a radio show on KRCL and have been DJing since I was twenty. Jesse Walker and I were featured in SPIN Magazine as the hottest DJs in the Mountain West and were voted best DJs of Utah for our famed Just Wanna Dance house parties at the now defunked W Lounge.

As a multidisciplinary artist how does each type of medium influence the other?

Honestly, I think one’s medium says more about an artist than he or she can say about the medium. As far as being interdisciplinary, it’s easy if one commits to living fully. My love of good soul and disco is why I choose to be a DJ, and doing hair gave me an opportunity to learn about the world through others. The coffee shop allows me to share philosophy (via books and photos) with my community and ultimately, what gets me up in the morning is connecting with good people and sharing something happy, whether that’s a cup of coffee with customers, a great hair color with a client or a rare disco track on the dance floor. Really, I think most of us crave connection and good times, the trick is to remember to re-commit when life gets in the way, because it will.

Anything you would like to promote or mention?

Nothing. Just THANK YOU to everyone!

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ALLISON DeBona Tell us a bit about yourself, your dance career and your background.

My name is Allison DeBona and I am a First Soloist with Ballet West. I started dancing at the age of three back in Pennsylvania where I grew up. I’ve been with Ballet West for eight seasons and before that graduated from Indiana University with a B.S. in Ballet.

You have chosen to involve yourself in multiple projects. How do you keep them unique and how do you feel they influence the other?

I’m not sure if it’s because I went to college and have a broader perspective of my work, and by that I mean I know that there is more out there than just ballet and that I can’t dance forever, but I’m always looking to the future. How I can improve myself and what career I’d like to pursue next. I’m currently working on two major projects. First, a summer intensive for ballet students in Cleveland, OH called ‘artÉmotion’ and a benefit performance that I’m co-producing with Rex Tilton called ‘I Am Your Friend’ to benefit the non-profit Fahodie for Friends. I spent two years on a reality tv series called ‘Breaking Pointe’ and the show followed my life as a ballerina. From the show I gained a good amount of exposure and a following on social media. I felt the opportunity gave me the stepping stones to pursue other things. I’ve had the opportunity to travel around the country to teach and nothing has been more inspiring to work with and hear from young aspiring dancers. I didn’t realize, truly, how much my story made a difference in people’s lives. That is is why set out to design my own summer intensive. It’s been a challenge but I can’t wait to spend two weeks helping the kids grow as Artists!

‘I Am Your Friend’ is actually a lifelong passion coming to fruition. I’ve always wanted to be part of a non-profit and help a cause in some way. I just didn’t know where to start. When Rex and I realized that our voices as professional dancers were stronger than we thought, we decided that using our talents to support Fahodie for Friends would be best. Fahodie helps fight human trafficking and sex slavery, in Ghana, Africa, where Lillian was adopted from. All proceeds from the show will go towards Fahodie for Friend’s efforts to build a safe house for victims they save. The show is June 19th at the Rail Events Center, SLC and you can buy tickets here. http://bit.ly/iamyourfriend Anything you would like to mention?

You can see me perform with Ballet West all season and can get info at www. balletwest.org. I also spend my free time traveling to teach. You can follow what I’m up to on my social media. Follow @allidebona on Twitter and Instagram and search Allison DeBona on Facebook! I also write a blog and it can be found at allisonspointeofview.blogspot.com 56

VIET Pham Viet Pham is the award-winning chef and owner of Forage Restaurant in Salt Lake City, Utah. He recently opened the casual spot Beer Bar in downtown Salt Lake City to acclaim in Food & Wine Magazine. In Spring of 2015, Viet will open the fine dining restaurant Ember & Ash, also in SLC. Although your chosen medium is culinary arts, is your work influenced by any other types of art?

Although I surround myself around food everyday and eat out when I can, I don’t always rely my inspiration on food alone.

There are many mediums that inspire me such as nature. I spend a lot of time in the outdoors foraging, backpacking, camping or just wandering. Being immersed in nature I’m often inspired by what grows around me, what certain plants and animals are in a specific area or the look and feel of certain meadow. These little things can inspire me on how I plate certain dishes or even the flavor combinations that I use.

You have built a reputation as an innovator in the culinary scene in Salt Lake and beyond, what do you feel has made

you successful and continuously relevant as a business professional and an artisan?

As a cook, I constantly have to reinvent myself everyday. I ask myself “what is good? What is relevant? What am I doing today that is bringing me closer to my goals and to be able to offer a better experience to my guests?” I think that when you ask yourself these questions, you start working towards your goals.

Last but not least is helping build a better sense of community with other restaurateurs, chefs, cooks, artisans, producers, farmers, artists etc. If we are going to make our city a better food city or even a dining destination city up amongst other great cities, we have to work together.

Anything you like to mention?

I’m currently working on a new project in Downtown SLC called ember + ash. Look for it hopefully towards the end of summer/ early fall. It’s a restaurant that’s casual, set menu under $50 with the attentiveness of a fine dining restaurant. Oh, and did I mention 80’s music?

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GERALYN Dreyfous Tell us a bit about yourself, your filmmaking both directing and producing, and your background. And how is your background reflected in your current work.

I was raised by two teachers and my father was a football coach.

They instilled in me a love for learning and self-reliance and the lessons learned by losing and team building. In filmmaking — you need a good team and the recognition that no story beyond a memoir can be made alone. Even memoirs need good editors— or friends that can can keep you honest. Producing is not a science it is a collaborative effort that requires partners and teammates and investors that believe in a collaborative process.

You have built a reputation as an innovator in Salt Lake, what do you feel has made you successful and continuously relevant as a professional creative?

As fars as being an innovator, I believe Salt Lake City is a community committed to instilling values that love the land, history and hard earned trust of each other. Sundance made an indelible mark on filmmaking and our community because three generations of leadership have taught audiences to trust good curating and stories that connect us to each other. Our secret sauce at the Utah Film Center has been partnership with local untold heroes or organizations working to nrrate a future that invites others to be part of it. By reaching out, listening and inviting others to respond to stories that are local or global we continue to learn and be inspired by the things we do not know around us. Showcasing good storytelling as a marker versus a truth has alud us to build new audiences for our films and the 58

promise of improbable magic of like-mindedness finding each other and inventing ways to respond to common ground. I have found hope in what we hold to be true as indivisible — and that we all are more alike in our desired outcome than different and know no more powerful way to convey that likeness than a story that unites our hearts rather than separates out beliefs.

If this is professional creativity let it be said that stories give us room to breathe, hit the pause button and recalibrate.

Experiencing a collective sigh or laughter at ourselves reminds us that we are human and capable or reconsidering a possibility.

Allowing the contributions of others not only makes us relevant but makes us rethink and reconsider what we hold to be true.

Anything you would like to promote or mention?

If I could promote one idea it would be to have confidence in what makes Utah so special. Humility. Hard work and a devotion to place. Utah often apologizes for what we are not versus celebrating who we have become. We have the greatest snow on earth but must protect the air so it can breathe — we have a devotion to testimony — which requires being a witness to our life experiences and sharing them authentically. We have a love the arts and the role they play in shaping our cultural landscape and moral imagination. Film is the lingua franc of our time — it transcends geography and even language. It is time to honor the contributions this state has made in nourishing independent thinking and creating by embracing the power of film to help us understand and navigate a world that is compressed and yet enhanced by a shared experience.

SHELLEY Huynh Tell us a bit about yourself, your art and your background.

I have been a floral designer for the last 20 years. At one time way back when- I thought I was going to be a fashion designer, I studied at FIDM in LA but because of the high cost of everything I dropped out, I studied at the the U of U Art Department but later dropped out to pursue my floral business -Orchid Dynasty, which celebrates our 15 year in business. My floral art tends to be more sculptural.

Although your chosen medium is floral is your work influenced by any other types of art? If yes, explain how?

I have always loved conceptual art and anything that is unexpected.

I love a piece when you can see the artist’s pain, struggles and everything in between.

Working with a medium that is not permanent, how do you think that effects the way your work and the overall objective?

I love the fact that it isn’t permanent. It can change overnight, it can be changed instantly by heat, cold, the sun, rain, gravity etc.. The amazing but challenging thing about floral art is that you can try to plan months in advance but if the fresh product doesn’t arrive as you expected than you have to be flexible and by force change your composition. Some of my best work is based on that. The idea is when you are no longer in charge, something magical happens and takes over. True art lies in that space.

Anything you would like to mention?

I am constantly inspired by all art forms and would love to collaborate in any field. If you are out there and would like to work together call me and let’s be friends. In the meantime, I am working on a solo exhibition in the near future and would love to have an exhibition show in Japan and Korea.

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Earl Junior Gress WWII

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Millenial men Richard Earl Gress

Ever since I graduated from college in the late 1960’s, I’ve heard that men don’t know what they are anymore, or that they don’t know what they are supposed to be.

Men blame the liberation of women, or the decline of physical labor in the workplace, as if the male of the species is no more than a dominant animal or a machine acting with muscle alone.

Perhaps the question itself, that is, what it means to be a man, is a question that doesn’t even need to be asked. Men are. Women are. Children are. Then, what are we, we men?

what are we, we men?

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1956 Carl Peder Rønn Købmand

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I am no longer young. I recall bits and pieces of my first decade of life, and with clarity the remaining seven. I spent much time with men, and women too, who were around, as adults, during the War to End All Wars, the Great Depression, the unparalleled destruction of the Second World War, rampant peacetime expansion and prosperity, social revolution, decades of greed and the development of technologies that could not even be dreamed of by earlier generations. And here we still are, men and women, trying to understand what we are supposed to do with ourselves.

Those first men in my life included a father, grandfathers, uncles and friends. In the 1920’s my predecessors came from the middle of the country to enjoy the perceived economic boom of Southern California which rode on the tails of the movie industry. One grandfather worked for Universal Studios, and the other, along with his cousins, built the mansions for those who capitalized on the new entertainment medium. Some were conservative, from a culture of Southern reconstruction, some were liberal, waiting for a New Deal messiah. They all worked with their hands as well as their minds.

They all shared the ethic of providers and protectors expected of their gender. And I was further fortunate as an adult to have two fathers-in-law who were examples of hard work and goodness.

One great uncle managed a production line building Fords. He drank and womanized in the Hemingway mode.

Another was a plasterer by day and raised orchids when he came home in the evening. My own father worked with metal things, machines, nuts, bolts, grinders and welders, and often returned dirty and smelling of legitimate sweat, but would shower, put on his silver-gray suit and tie, slick down his hair, douse himself with Aqua Velva and take my mother dancing, or to a cocktail party where he and other men would talk about English luxury sports cars and hi-fi and yet would also help with washing the dinner dishes with hands that as easily could have torn a phone book in half or bent a metal rod into a pretzel.

On Saturday morning my dad would be in the kitchen in his bathrobe making breakfast, then build rock walls in the backyard or go racing with his buddies and the car he had built. All of these images became my personal movie of maleness.

In many ways my own children, who are now fully-formed adults, had to glean these narratives of male and female from my parents’ generation rather than mine. As in many families, I was the first to attend college and work with my head as much as my hands. Whereas I could go see where my dad fabricated cement mixers, my children would have had difficulty understanding my more abstract job duties. Now that I am recently retired, even I have trouble recognizing what I have done for decades as being real, so it is not surprising that a gender whose major identity had been physical work for millennia may be in need of adapting to a more technological world.

Going to the gym and bulking up is not quite the same as plowing fields with a horse as my father-in-law had done in the 1930’s.

What about the darker side of maleness? Certainly my own extended family was not immune to violence and emotionally abusive behavior. Only the uncle from Moab, Utah, had guns, but he preferred insults to injuries as weapons of his destruction. True to their generation, many of the men measured their manliness in cans, bottles and shots. That image is still with us, and thankfully more tongue in cheek, such as the Most Interesting Man in the World. Regardless, blaming substance abuse and domestic violence on the liberation of women, or the loss of male identity, or a misguided “herding” instinct is specious at best and must never be central to the definition of male.

"All of these images became my personal movie of maleness."

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I think the biggest loss to contemporary adults is the concept of a man as an integrated being. With no small help from a massive advertising industry, we are bombarded with pieces of male: male as bull elk, driving trucks built of heavy steel plates, rivets and bolts; male as sensitive, feminized, artistic but with carefully crafted beard stubble that my dad would have seen as a curse.

espousing his prowess in communication networks. Male who can drive a restored muscle car, but needs medications for his physical functions so that he can be a real man. And as is so prevalent in our culture, these images become more and more polarized, as if there is a massive social anode and cathode which pulls our fibers and souls apart and disallows us to be unified beings.

But this polarization is not imperative. In fact, the erosion of barriers between the sexes in the workplace can actually be liberating for both men and women, and men can, perhaps, be free of stereotype and unmerited expectation.

1952 Factory Workers

Let us imagine this new male: capable, caring. Willing to get his hands dirty, yet well-dressed when the occasion requires.

If a parent, a solid role model, protector, and teacher. If a partner, respectful and understanding. Willing to open a door for either a women or another man. Willing to help where his skills and abilities are useful. You see, the differences between the sexes—and there are differences to be 66

sure—are small areas compared with the much larger overlap of a common human character of goodness, not fretting over one’s image fitting a preconceived type or look. Rather than bemoan the loss of male identity, we should be optimistic that this new male can sculpt his own mold, and both genders can evolve into superior humans.

Want to be a real man? Turn off the TV and the X-box. Whip up a classic omelette or change someone’s spark plugs or flat tire. And don’t forget to do the dishes.

I was the first to attend college and work with my head as much as my hands.

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JJeeuunnee HHOOMMMMEE In our boyhood, world-making is truly an act of survival. While we are bombarded with cultural influences, media, and others buttressing a social order, we are doing our best to make sense of the swirling world meanwhile trying to establish our inner identities and outer borders in spaces—physical and emotional, public and private—where we are most at ease, most authentic in personal expression, and even where we can escape.

Whether you had your own bedroom, the bottom bunk, or a hiding spot, I’d wager that it was a place where doing what you liked was top consideration, rhyme and reason: posters of favorite celebrities or athletes on the wall, watching earthworms while no one watched you, long bike rides, or your nose in book after book. World-making, of course, doesn’t end in our youth; however, it is perhaps during our boyhood where we could do so least encumbered by what is “expected” of us.

This series of photographs by Maxime Coué renders this process and grants a certain sovereignty to its subjects, saying “We see you and trust you to make it your own.” “It” is the world, their world, this life, our future. Thus when we look at these images, we should not think that we have intruded, but rather have been granted access to these boys’ claimed spaces. Through Coué’s lens: here, they are; here they become. Nothing more, nothing less.

-Daniel W.K. Lee

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KENNETH STYLES I

n the 1950’s the composer John Cage walked out on stage at the Maverick Concert Hall and performed one his most famous and controversial compositions to date entitled 4’33”.

“Four thirty-three” references the duration of the performance; it was four minutes, thirty-three seconds of silence. Not an instrument was played. The idea was, that everything is music.

The sounds and environment that surround us are a part of the artistic experience. Everything that happened in that concert hall was music. We as humans live in a radically changing sphere of evolution, moments of silence between verses. The beauty of it all that we are all individuals, learning to create our own version, break the rules and alter perspectives in our own style. Every one of us has the ability to see and create art, and what better way to show this than how we clothe ourselves?

Why must we conform? Break away from the norm. Be loud.

Be silent. Be different. Be yourself. No doubt we are heavily influenced by our surroundings, our environment and the humans we choose to associate with and aspire to be like. The only thing I fear is by mimicking or adopting the looks or styles of others we will lose our sense of individuality.

Let’s get a couple things straight. Don’t purchase an article of clothing because it’s expensive. Expensive doesn’t mean stylish.

Don’t purchase an article of clothing because it’s a certain brand. Brand names don’t automatically mean the article of

clothing is going to fit your individualistic style. And above all, don’t purchase an article of clothing to fit in.

You’ve seen it. Humans you can spot a mile away. They are wearing rad ass clothes but something is off. They don’t look comfortable in what they are wearing. Don’t be that guy.

When you put it on you won’t have to question it. You should absolutely love it.

With so many styles out there it’s easy to get stuck in the same routine of wearing the same 10 outfits you have in your closet over and over again. I get it. It’s comfortable. It’s easy. Yet how attractive is it when you see someone who actually cares and puts effort into the way they look? You know when someone tries very little and comes across as effortlessly perfect. Guess what? They bought what was right for them and what they felt perfect wearing it right off.

Lumbersexual, preppy, goth, punk, street, there is a label for almost every style out there. Fuck labeling anything. Who says you have to be labeled? You don’t have to choose a style and stick to it. Be eclectic. We live in the time where you have the freedom to create your own style rather than imitate one. Put in a little effort and get what you feel fly as fuck wearing, anything less isn’t worth it.

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The

MECHANICS of STYLE

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n advertisement for Rolex long ago claimed that it takes about a year to make a single Rolex watch. As suspicious as that sounds, it is true even today. The construction of a watch is a ridiculously meticulous process. Bulova, Rolex, Patek Phillippe, Bovet, produces millions of watches a year, but surprisingly, no shortcuts are taken in the manufacturing process. With the rise of digital watches that can tell you the weather, your weight, and the time, why is traditional craftsmanship still so important? First, lets point out the fact that in 20 years most of these digital readers will become obsolete where as companies such as Vacheron Constantin has been producing luxury watches since 1775 and has many pieces still working perfectly since 1819.

Patek Philippe has created watches for many members of various royal families, including Queen Victoria and Prince Albert, as well as the king of queen of Denmark. To celebrate is 150th anniversary, Patek Philippe created one of the most complicated watches ever made, the Calibre 89. This watch houses 39 complications, including the time of sunrise, the date of Easter, and can account for leap years and all mechanically. The is the watch not only a staple fashion piece, but a necessary showpiece of sophistication and style. It shows the value of craftsmanship, and the acknowledgement of time honored tradition.

What makes a luxury watch worth the hefty price tag? First, not all materials are created equal. Lets discuss Rolex, for example. Rolex uses a type of steel that no one else uses. Stainless steel is not all the same. Steel comes in various types and grades... and most steel watches are made from a type of stainless steel called 316L. Today, all the steel in Rolex watches is made from 904L steel. 904L steel is more rust and corrosion resistant, and is somewhat harder than other steels. Most important to Rolex, is that 904L steel, when worked properly, is able to take (and hold) polishes incredibly well. If you’ve ever noticed that steel on a Rolex watch looks different than other watches, it is because of 904L steel, and how Rolex has learned to work with it. Rolex also makes their own gold. While they have a small handful of suppliers that send them steel (Rolex still works the steel in-house to make all

the parts), all the gold and platinum is made in-house. 24k gold comes into Rolex and it is turned into 18k yellow, white, or Rolex’s Everose gold (their non-fading version of 18k rose gold). They have a massive gemological department whose goal it is to buy, test, arrange, and set diamonds and other precious stones in a range of Rolex models. This should also have an illustrative effect on the diamonds they use, which happen to only be IF in clarity, and D-G in color (the four grades closest to white).

The name of the luxury watch game is having the best possible mechanical movement. There are very few quartz movement pieces over $1,000 unless it something like Breitling’s thermoline quartz movement that is accurate to 5 seconds per year. Mechanical watch movement are made up of intricate gears and springs assembled by skilled watchmakers and never need a battery, represents the classic way of making watches, and offers a certain emotional value that the “tick, tick, ticking” of a quartz watch simply cannot offer.

Watch movements are not only expensive to dream up, but it is also expensive to get movements to work and be durable. This requires even more testing. Millions can go into the development of a new “calibre.”

And that is just the movement. If you think it’s easy to make a split-minute mechanical chronograph starting with a blank sheet of paper, think again. It takes a team of watchmakers years to design the movement, create working prototypes and build custom machinery to make specific parts before ramping up into production. Designing a watch case and bracelet might be easier because it is not a machine, but it is tough - especially when you are working with tolerances that are often non existent.

The tradition of creating fine watches in Switzerland dates back centuries. Through the years they have developed expertise in micro mechanics and have honed very specialized processes. Also, the Swiss have developed a reputation throughout the world for their attention to detail. This last element in essential for fine watchmaking. In the past timepieces were more intertwined with European culture. Watches were items that were passed down from generation to generation in Europe, which was not as prevalent a tradition in the US. We feel like that is changing.

While flashy cars and over-priced champagne might scream a recent payday, luxury timepieces have come to epitomize wealth with an understated confidence that has nothing to prove.

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Driving

Design AUTOMOTIVE TECHNOLOGY IS CHANGING CAR DESIGN

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Written By Ed Kim Automobiles have long served as objects of desire. Since the advent of the automobile, people have looked on the best of them with admiration and even lust. There is no doubt that automobiles have been a major presence and influence in the art and design worlds for well over a century now.

Nonetheless, automobiles have generally followed a fairly constant design template for these past 100 or so years, dictated by the presence of a bulky internal combustion powertrain to provide the automobile with propulsion, and the presence of a driver to guide the vehicle along the user’s intended path. This means that automobiles, whether built in 2015 or in 1915, tend to have a sizable engine up front, and a passenger cabin situated behind the engine with the driver positioned where he or she can maintain constant control at all times.

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Thus, no matter how wild or fanciful an automotive designer’s visions are, he or she must adhere to a fairly fixed set of proportions, applying as much visual beauty as possible to a predetermined and inflexible mechanical layout.

There are current developments, however, that are going to have a major impact on vehicle proportions – and thus vehicle design – in the very near future. These are developments that could very well lead to what former BMW design boss Chris Bangle once described as a necessary “paradigm shift” in automotive design. What if automobiles in the near future didn’t have bulky engines and transmissions? What if the vehicle didn’t need a driver to get from Point A to Point B? This may sound like science fiction, but it’s a lot closer than you think. And these developments are going to provide automotive designers with a lot of creative opportunities.

Let’s start with the elimination of bulky powertrains. Fossil fuel powered engines and the transmissions that are attached to them take up a lot of space.

That’s why most vehicles over the last 100 years have sizable front ends in front of the passenger cabins. Already today, we are seeing electric powertrains coming into the marketplace in sizable numbers. Electric motors are very compact, especially compared to a fossil fuel powered engine, and because of their wide power band and strong torque they are usually paired to very compact single speed transmissions.

Electric vehicles can be powered by batteries (already increasingly common today) or by hydrogen fuel cells (not common yet, but arriving in significant numbers soon). Technology improvements have made both batteries and

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a necessary “paradigm shift” in automotive design.

imagine a car that can literally drive itself.

hydrogen fuel cells more and more compact through the years, meaning they take up relatively little space in a vehicle.

With these electrified powertrains taking up less space, this means that less of the vehicle needs to be dedicated to housing the bits that make the car go. To that end, the vehicle’s cabin can potentially be stretched out (and the vehicle’s hood area drastically shortened), making for a much roomier interior and opening up new ways in which the interior can be configured and used. This brings us to another big development in automotive technology today that will have a profound impact on vehicle design.

In automotive circles, autonomous driving technology is the talk of the town right now. It’s a lot closer than you think. For several years, we’ve already had cars that use radar and cameras to automatically maintain a safe distance from the car in front (and even apply emergency panic braking if necessary), and technology that keeps cars from drifting out of their lanes is increasingly commonplace. It’s not much of a leap, then, to imagine a car that can literally drive itself.

Autonomous drive technology is, in fact, already here in rudimentary form.

Right now, both the Mercedes-Benz C-Class and S-Class offer a feature called Traffic Jam Assist that automatically drives the car in stop and go traffic up to about 37 mph, operating the throttle, brakes, and steering without any driver intervention. By 2020 (that’s just five years from now!), several major automakers will offer fully autonomous drive technology that will allow the 85

This may sound like science fiction, but it’s a lot closer than you think.

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driver to simply punch in a destination into the navigation system, with the car subsequently driving itself there.

Ultimately, as vehicle owners become more and more comfortable with letting their vehicles do the driving, the interior layouts of vehicles will inevitably change. Couple this with interiors likely getting much larger as future electrified powertrains will take up less space.

With these changes in mind, could the vehicle’s interior evolve into a more social space, with occupants facing each other? What opportunities are there for entertainment for the vehicle’s occupants if they are not all facing forward? With the driver being less engaged – or not engaged at all – with driving (as scary as it may sound today), does the driver necessarily need to face forward? In what ways can the fundamental layout of a vehicle interior evolve as the act of driving is increasingly handed off to a computer?

Clearly, big changes are in store in the world of automotive design.

Arguably, automotive design could see the biggest fundamental changes in decades due to these advances. With the basic proportions of automobiles and the role of the driver about to undergo some fundamental shifts, the automobile of the very near future offers big opportunities for the design community to apply their talents. Thinking out of the box will be critical and at the same time challenging because the basic proportions of the automobile haven’t changed in a very long time. Still, that challenge is what makes the near future a very exciting time for the design community.

The future of the automobile is upon us, and it is an exciting time indeed.

Punch in a destination into the navigation system, with the car subsequently driving itself there.

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S H OP L OCA LLY

WHY DO YOU FEEL IT IS IMPORTANT TO SHOP LOCALLY? ow, more than ever, your most important vote is the one you give every day with your dollar. If we recognize that our country and communities are increasingly influenced, if not run by the businesses and corporations within it - then you realize how important those dollars are.

So when we shop locally, it casts a vote, more or less, for that business to stay in your neighborhood.

Locally owned, independent businesses enhance our neighborhoods and SLC by offering unique shopping, dining and services, a sense of local culture, personal service, and far greater economic, charitable and social contributions back to the community on average than even the best of the national chains.

In a nutshell - when you visit other cities across the country and globe - you’re there to see what makes that place unique.

Local businesses really anchor the personality and feel of a city - and SLC wouldn’t be home without them.

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Locally-owned, independent SLC businesses return on average 52% of money spent at their business back in to the local economy vs. just 13.6% at a national chain retailer. That’s almost 4x more money back into our community!! 4x!!! This means a huge impact for schools, parks, roads, and community needs in terms of sales taxes and social improvements.

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By Matt Monson

HOW DOES SHOPPING LOCALLY AFFECT OUR ECONOMY? This is a killer question - and a backbone to the logic of supporting locally-owned, independent businesses.

Our flirtation with stucco littered parking lots and big boxes really only goes back about 20 years since we made the last transition in Utah’s retail development. Now trends are showing a reverse to that growth. Mall growth nationwide has slowed to a halt - and new retail development has been going back to - surprise! - the streets. Real places where people walk and ride bikes. There is a lot of statistical data and research to back the logic of the trend back to local and street-style shopping. We’ll just cover the basics.

There’s a lot of geeking out for those who are interested in a study conducted by Local First Utah in 2012 through an independent firm called Civic Economics - based in Austin Texas. The study looked at local businesses specifically across the Salt Lake area, and highlights included :

Local SLC restaurants by comparison recirculate 83.3% of their revenue back in to the local economy - as opposed to just 30.4% by chain restaurants. This recirculation is due in effect to the fact that local businesses and restaurants will hire local accountants, PR and ad firms, and have their HR and staff jobs all here in Utah. These businesses also buy local produce, cheeses, supplies, ingredients, and products from other local producers in a way that only further stimulates that recirculation of revenue.

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Your thoughts on how to create awareness and how to get more people to shop locally.

Shopping locally is what we’ve always done. As a society, we just developed some bad shopping habits in the last few generations that are proving themselves unsustainable and ultimately, less desirable to the modern shopper. What used to be a radical concept - ‘Local First’ is now a concept being embraced all across the state and country because it makes common sense and fiscal sense too - so it appeals to progressives and conservatives alike.

National Chains Versus Independent Restaurants SALT LAKE CITY, UTAH - 15TH & 15TH

National Chains

Independents

National Chains Versus Independent Retailers SALT LAKE CITY, UTAH

National Chains

Independents Profit and Labor, 27.1%

Charitable Giving, 2.8%

Profit and Labor, 41.8%

Procurement for Internal Use, 4.4%

Procurement for Resale, 25.5%

Procurement for Internal Use, 13.3%

Local Recirculation of Revenue: 30.4%

Local Recirculation of Revenue: 83.3%

Source: Civic Economics Survey of Independent Businesses: 10K Annual Reports for Darden, McDonald’s, and P.F. Chang’s

Also important to keep in mind is that the ‘Local First’ mentality is just a guideline. There’s a place for big boxes and national chains in society (I want to insert the punchline ‘Orem’ or ‘Phoenix AZ’ here but I won’t) - so the idea is to think local first, but not to guilt yourself for a trip to the Home Depot for that piece you couldn’t find elsewhere.

Charitable Giving, 3.1%

Local Recirculation of Revenue: 13.6%

Procurement for Resale, 17.4%

Local Recirculation of Revenue: 52.0%

Source: Civic Economics Survey of Independent Businesses: 10K Annual Reports for Office Max, Home Depot, Target, and Barnes and Noble

We’re voting with our dollars, and SLC local businesses, with all their benefits and returns - are worth the investment.

Matt Monson is an instructor at SLCC Fashion Institute, and a former director at Local First Utah - a 501c3 non-profit organization: www.localfirst.org 89

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FASHION Ph o to g raph e r : HEIDI M GRESS Fa sh i o n De si g n : CHARLES & RON Hai r a n d M a ke u p : HEGGY GONZALEZ Mod el: CHANELLE MUSCAT WITH M MODELS Sho t o n L oc at i o n i n NAXXAR, MALTA 92

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THE NEW BUSINESS OF FASHION “SUSTAINABLE AND ETHICAL DEVELOPMENT” HAS BECOME BUZZWORDS IN THE PRESENT TIMES DUE TO THE EMERGENCE OF VARIOUS SOCIAL & ENVIRONMENTAL CONCERNS. THE TERMS “SUSTAINABLE” OR “SOCIALLY RESPONSIBLE” HAVE BEEN DISCUSSED FOR ALMOST A DECADE NOW BUT ITS EXPLICIT AND ALL-ROUND INTERVENTION IN THE FIELD OF FASHION IS A RECENT ONE. ITS RELEVANCE IN THE FASHION INDUSTRY IS BECAUSE OF THE HIGHLY UNSUSTAINABLE NATURE OF THIS INDUSTRY. TRENDS LIKE GLOBAL OPERATIONS, FAST FASHION, INCREASING DISPOSABLE INCOMES, INCREASING CONSUMERISM ARE INTENSIFYING THE SOCIAL & ENVIRONMENTAL CONCERNS WITH RESPECT TO THE FASHION INDUSTRY.

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hile you probably know about Stella McCartney’s commitment to totally green fashion, and Clare Vivier’s environmentally friendly accessories. What you might not know are some fashion companies are taking their commitment to sustainability and ethical practices a step further.

We discovered one unique brand in Nigeria, Kinabuti. Kinabuti strives to make changes within the community employing women in the area and focusing on locally made garments, offering a tailoring school, and the company even plans to start an orphanage in addition to already existing outreach programs that are in place.

Kinabuti was birthed by a deep passion for fashion. Inspired by a long-term vision for the fashion Industry in Nigeria and Africa at Large, the fashion house combines the creativity of exquisite African Inspired designs and eclectic look, with an ethical approach to business, achieving this blend through utilizing all the available resources from its operating environment. Kinabuti was birthed in 2010. The Kinabuti initiative, the non profit arm of the Kinabuti label, creates platforms using fashion as a vehicle to launch various social and creative projects that inspire, empower and contribute to improving living conditions amongst Nigerian communities through vocational training and new job opportunities. We sat down with the Creative Director and Founder Caterina Bortolussi to discuss the fashion label and the goals for the future.

WHAT INSPIRED YOU TO START KINABUTI? It was a quote from Ghandi “Be the change you want to see in the word”. My biggest dream was to design clothes, during the realization of the 1st collection Ladi Oscar in September 2010, a friend made me watch “Wasteland” an amazing documentary following renowned artist Vik Muniz as he journeys from his home base in Brooklyn to his native Brazil and the world’s largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he photographs an eclectic band of “catadores”—self-designated pickers of recyclable materials.

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“MAKE PEOPLE BELIEVE THAT THEY CAN BECOME THEIR DREAM NO MATTER WHERE THEY COME FROM”

By watching the documentary we were inspired to use fashion as a platform to work in unprivileged communities. The first project by Kinabuti came about in Dec 2010 in the waterfront of PH which was under the risk of being demolished, declared highly insecure and believed to be inhabited by militants and arm robbers. The project was named “IN OUR GHETTO” with the objective of celebrating beauty in all conditions and to make people believe that they can become their dream no matter where they come from (Akon the Senegalese musician who poor backgrounds became a superstar in America and named one of his albums IN MY GHETTO) EXPLAIN ABOUT THE COMPANY COMMITMENT TO ETHICAL BUSINESS PRACTICES. Having identified the high level of poverty and missed opportunities abound in Nigeria, Kinabuti LTD set out to establish a platform with the mandate to contribute to the development of the Nigerian Fashion Industry that can create means of employment for indigenes and simultaneously bring a positive contribution to society, hence the creation of the Kinabuti Fashion Initiative (KFI). A registered non profit organization and the socially driven arm of the brand, focused on empowering and developing communities through fashion projects, vocational education and training programs. The initiative seeks to combat poverty and inequality in underdeveloped communities by inspiring and empowering women and youths to believe in their dream. KFI as thus far embarked on a number of such projects, realised in cooperation with the local communities with the goal of being instigators of change by encouraging youths to redefine their aspirations and give shape to their potential.

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“WE ARE FOCUSED ON EMPOWERING AND DEVELOPING COMMUNITIES THROUGH FASHION”

DISCUSS THE DESIGN AESTHETIC Kinabuti designs are a bridge from where we are from (Italy) and inspired by where we resigned. We are a fusion of two worlds and believe this, together with our socially conscious approach, is our distinctive element.

WHAT ARE THE FUTURE GOALS OF THE COMPANY? We are planning to move to Badagry, move our production and houses of all staff (including ourselves). This will enable us to make our clothes in a beautiful set up, build utilizing compressed earth techniques and be able to carry along the surrounding communities through vocational trainings in tailoring, printing, silkscreening.

We also plan to create in Badagry a Fashion vocational school, together with orphanage + primary and secondary school. We dare2dream to do more and more and to foster economic development by empowering SMEs. To purchase from the collection or to learn more about Kinabuti visit www.kinabuti.com

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Model: Blake Fox with NIYA Model Management Hair/MUA: Heggy Gonzalez Stylists: Kat Federova and Melanie McLaws 101

Bra by Marlies Dekkers Architectural Skirt by Sterling Bitsue Pants by Juma Black Rings and Black Bracelet by Vitaly

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Dress by JUST FEMALE Black Ring by Vitaly Shoes created by Melanie McLaws

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Dress by Funktional Shoulder Piece created by Melanie McLaws Earrings by Sarah Safavi Ring by The Stockist

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Bralette by Sterling Bitsue Necklace by Sarah Safavi Earrings by Michelle Starbuck Designs Headpiece created by Melanie McLaws Fringe Belt by H&M

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Dress by Mary Rino with Lilybride Designs Coat by Just Female Kimono by Insight Black Ring by Vitaly

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Coat by JUST FEMALE Robe w/sheer panels by Sterling Bitsue Bra by Marlies Dekkers Pants by See You Monday Black Rings by Vitaly Earrings by Ker-ij Long Necklace by The Stockist Headpiece by Melanie McLaws

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Venus Envie The symbol of Venus embodies sex, love, beauty, enticement, seduction, and persuasive female charm among the community of immortal gods.

Photographer Z u z a n n a Audette has been exploring this concept through her images for over a decade and will be releasing a retrospective, titled “Venus Envie� later this year. The series will feature work from her MFA examination of women in kitchens to her high fashion representations of strong, liberated and sensual women.

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FORM + FUNCTION PHOTOGRAPHS BY MAXWELL POTH

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MODEL: DANIEL THOMAS JONES WITH: AMCK MODELS LONDON JUMPER: COS JEANS:TOPMAN JACKET: SELECTED HOMME BAG: ZARA SHOES: TOPMAN MODEL 121

MODEL: OLA MORAFA WITH MAJOR MODEL MANAGEMENT NYC SHIRT: SIMON MILLER DENIM 122

MODEL: STAFFORD THOMAS WITH NIYA MODEL MANAGEMENT JACKET: H&M SHIRT: JIBERISH 123

MODEL: STOCKTON SHARP SHIRT: H&M STYLIST: KIYAN IRANI 124

MODELS: COLLIN RUSSELL & STAFFORD THOMAS WITH NIYA MODEL MANAGEMENT (LEFT TO RIGHT) SWEATER: JCREW, PANTS: H&M, WATCH : SKAGEN, SHOES: ANDREW MARCK SHIRT: JIBERISH, WATCH: TIMEX, PANTS: PACSUN, SHOES: GORDON RUSH

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MODEL: DANIEL THOMAS JONES AGENCY: AMCK MODELS LONDON OUTFIT: JUMPER: COS PANTS: TOPMAN

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MODEL: DAVID SMALE WITH FRAME MODELS NYC AND FIRST MODEL MANAGEMENT LONDON SHIRT: TOPMAN SELECTED HOMME STYLIST: MCLAYNE YCMAT

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70s Photographs by MANICPROJECT Model: MARINA LASWICK Makeup: JILLYN LEONE Hair: CHAD SEALE Styling: JESS BOUDAH/MANICPROJECT Assistance: ERIC SCOTT RUSSELL Male Model: BRYSON THOMSON

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PHOTOGRAPHS BY DADI STYLING PHILIPPE DE GAGOUE LOCATION ABIDJAN, IVORY COAST

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DAVIS HONG PHOTOGRAPHS BY HEIDI M. GRESS WARDROBE: DAVIS HONG MODELS: DOSHA SEMINA & JIA JING NIYA MODEL MANAGEMENT

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