magazine Fall 2013
INDUCE INDUCE INDUCE INDUCE INDUCE INDUCE INDUCE INDUCE INDUCE
CONTENTS
Dear INDUCE Readers, Welcome to the first issue of INDUCE Magazine. Through influence, an alternative perspective to local culture in Philadelphia is celebrated via independent fashion designers, cutting edge photography, rising musicians and underground art. I hope you find what you came for.
EDITOR-IN-CHIEF FOUNDER
Scott Persuhn inducemag@gmail.com
DESIGNER
xox Scott
CONTRIBUTORS
Stylist.
Maureen McCloskey. Hair/Makeup. Juaquin Cameron, Joe Carr, Christina Giannone, Julianne Ulrich.
Shavon Worrell Diaries by DJs Factory Girls
Fall 2013
Photo Credit: Marcus Branch. Shirt: Dior Homme.
Nino Brand Bela Shehu
Robin Kolber
7
22
34
Minimal Decadence Joseph Balestra
Skltn-m Magazine Marcus Branch
Will Kelly
15
CONTRIBUTORS Photographers. Joseph
27
41
Balestra, Marcus Branch, Henry Gaudier-Greene, Davis Peer, Alexa Quinn, Marie Alyse Rodriguez. Art. Will Kelly, Robin Kolber. Designers. Sam Ciccone, Kara Maria Naklicki, Omen Brand, Mariel Rojo, Bela Shehu, LeLe Tran, John Wind/Maximal Art. Models. Melanie Blankenship, Marcus Branch, Rena Doofnoggle, Brent and Ross Ericsson, Ariel Leon-coeur, Maureen McCloskey, K|Rex, Suga Shay.
Š 2013 INDUCE Magazine. All rights of this publication are reserved by INDUCE Magazine. All artwork is copyright of the contributing artists and may not be reproduced without their explicit permission in any form, format or media.
CONTACT Website: inducemag.com email: inducemag@gmail.com ISSUE 1 | INDUCE | 5
Joseph Balestra Photography
Marcus Branch Photography
Marie Alyse Rodriguez Photography
Sam Ciccone Fashion Designer
ISSUE 1 | INDUCE | 6
Joseph Balestra: Henry Gaudier-Greene. Marcus Branch: Marcus Branch. Marie Alyse Rodriguez: Marie Alyse Rodriguez. Sam Ciccone: Davis Peer.
MAGAZINE
INDUCE MAG TEAM
CONTENTS
Dear INDUCE Readers, Welcome to the first issue of INDUCE Magazine. Through influence, an alternative perspective to local culture in Philadelphia is celebrated via independent fashion designers, cutting edge photography, rising musicians and underground art. I hope you find what you came for.
EDITOR-IN-CHIEF FOUNDER
Scott Persuhn inducemag@gmail.com
DESIGNER
xox Scott
CONTRIBUTORS
Stylist.
Maureen McCloskey. Hair/Makeup. Juaquin Cameron, Joe Carr, Christina Giannone, Julianne Ulrich.
Shavon Worrell Diaries by DJs Factory Girls
Fall 2013
Photo Credit: Marcus Branch. Shirt: Dior Homme.
Nino Brand Bela Shehu
Robin Kolber
7
22
34
Minimal Decadence Joseph Balestra
Skltn-m Magazine Marcus Branch
Will Kelly
15
CONTRIBUTORS Photographers. Joseph
27
41
Balestra, Marcus Branch, Henry Gaudier-Greene, Davis Peer, Alexa Quinn, Marie Alyse Rodriguez. Art. Will Kelly, Robin Kolber. Designers. Sam Ciccone, Kara Maria Naklicki, Omen Brand, Mariel Rojo, Bela Shehu, LeLe Tran, John Wind/Maximal Art. Models. Melanie Blankenship, Marcus Branch, Rena Doofnoggle, Brent and Ross Ericsson, Ariel Leon-coeur, Maureen McCloskey, K|Rex, Suga Shay.
Š 2013 INDUCE Magazine. All rights of this publication are reserved by INDUCE Magazine. All artwork is copyright of the contributing artists and may not be reproduced without their explicit permission in any form, format or media.
CONTACT Website: inducemag.com email: inducemag@gmail.com ISSUE 1 | INDUCE | 5
Joseph Balestra Photography
Marcus Branch Photography
Marie Alyse Rodriguez Photography
Sam Ciccone Fashion Designer
ISSUE 1 | INDUCE | 6
Joseph Balestra: Henry Gaudier-Greene. Marcus Branch: Marcus Branch. Marie Alyse Rodriguez: Marie Alyse Rodriguez. Sam Ciccone: Davis Peer.
MAGAZINE
INDUCE MAG TEAM
CONTENTS
Dear INDUCE Readers, Welcome to the first issue of INDUCE Magazine. Through influence, an alternative perspective to local culture in Philadelphia is celebrated via independent fashion designers, cutting edge photography, rising musicians and underground art. I hope you find what you came for.
EDITOR-IN-CHIEF FOUNDER
Scott Persuhn inducemag@gmail.com
DESIGNER
xox Scott
CONTRIBUTORS
Stylist.
Maureen McCloskey. Hair/Makeup. Juaquin Cameron, Joe Carr, Christina Giannone, Julianne Ulrich.
Shavon Worrell Diaries by DJs Factory Girls
Fall 2013
Photo Credit: Marcus Branch. Shirt: Dior Homme.
Nino Brand Bela Shehu
Robin Kolber
7
22
34
Minimal Decadence Joseph Balestra
Skltn-m Magazine Marcus Branch
Will Kelly
15
CONTRIBUTORS Photographers. Joseph
27
41
Balestra, Marcus Branch, Henry Gaudier-Greene, Davis Peer, Alexa Quinn, Marie Alyse Rodriguez. Art. Will Kelly, Robin Kolber. Designers. Sam Ciccone, Kara Maria Naklicki, Omen Brand, Mariel Rojo, Bela Shehu, LeLe Tran, John Wind/Maximal Art. Models. Melanie Blankenship, Marcus Branch, Rena Doofnoggle, Brent and Ross Ericsson, Ariel Leon-coeur, Maureen McCloskey, K|Rex, Suga Shay.
Š 2013 INDUCE Magazine. All rights of this publication are reserved by INDUCE Magazine. All artwork is copyright of the contributing artists and may not be reproduced without their explicit permission in any form, format or media.
CONTACT Website: inducemag.com email: inducemag@gmail.com ISSUE 1 | INDUCE | 5
Joseph Balestra Photography
Marcus Branch Photography
Marie Alyse Rodriguez Photography
Sam Ciccone Fashion Designer
ISSUE 1 | INDUCE | 6
Joseph Balestra: Henry Gaudier-Greene. Marcus Branch: Marcus Branch. Marie Alyse Rodriguez: Marie Alyse Rodriguez. Sam Ciccone: Davis Peer.
MAGAZINE
INDUCE MAG TEAM
CONTENTS
Dear INDUCE Readers, Welcome to the first issue of INDUCE Magazine. Through influence, an alternative perspective to local culture in Philadelphia is celebrated via independent fashion designers, cutting edge photography, rising musicians and underground art. I hope you find what you came for.
EDITOR-IN-CHIEF FOUNDER
Scott Persuhn inducemag@gmail.com
DESIGNER
xox Scott
CONTRIBUTORS
Stylist.
Maureen McCloskey. Hair/Makeup. Juaquin Cameron, Joe Carr, Christina Giannone, Julianne Ulrich.
Shavon Worrell Diaries by DJs Factory Girls
Fall 2013
Photo Credit: Marcus Branch. Shirt: Dior Homme.
Nino Brand Bela Shehu
Robin Kolber
7
22
34
Minimal Decadence Joseph Balestra
Skltn-m Magazine Marcus Branch
Will Kelly
15
CONTRIBUTORS Photographers. Joseph
27
41
Balestra, Marcus Branch, Henry Gaudier-Greene, Davis Peer, Alexa Quinn, Marie Alyse Rodriguez. Art. Will Kelly, Robin Kolber. Designers. Sam Ciccone, Kara Maria Naklicki, Omen Brand, Mariel Rojo, Bela Shehu, LeLe Tran, John Wind/Maximal Art. Models. Melanie Blankenship, Marcus Branch, Rena Doofnoggle, Brent and Ross Ericsson, Ariel Leon-coeur, Maureen McCloskey, K|Rex, Suga Shay.
Š 2013 INDUCE Magazine. All rights of this publication are reserved by INDUCE Magazine. All artwork is copyright of the contributing artists and may not be reproduced without their explicit permission in any form, format or media.
CONTACT Website: inducemag.com email: inducemag@gmail.com ISSUE 1 | INDUCE | 5
Joseph Balestra Photography
Marcus Branch Photography
Marie Alyse Rodriguez Photography
Sam Ciccone Fashion Designer
ISSUE 1 | INDUCE | 6
Joseph Balestra: Henry Gaudier-Greene. Marcus Branch: Marcus Branch. Marie Alyse Rodriguez: Marie Alyse Rodriguez. Sam Ciccone: Davis Peer.
MAGAZINE
INDUCE MAG TEAM
K|Rex: Planet poncho. Rena: Double Zero top. Available at Kiki Hughes. Jewelry: John Wind/Maximal Art.
PERFORMANCE
FACTORY GIRLS
Hosts Maureen & Ariel
Diaries by DJs
Photography Photo Assistant Hair Makeup Stylist Interior
Ariel. Top: Akris Punto. Skirt: LeLe Tran. Shay. Jacket: Mariel Rojo. Pants: Christian Lacroix. Katie. Dress: Nino Brand. Fur: Vintage Fox. Rena. Dress and Cardigan: Nino Brand. Maureen. Top and Skirt: Chanel. All Jewelry: John Wind/Maximal Art. For full details, see pg. 49.
Marie Alyse Rodriguez N. Miles Jauquin Cameron Christina Giannone Maureen McCloskey Vintique Moderne
ISSUE 1 | INDUCE | 7
Performance Artist Rena
DJs Suga Shay K|Rex
K|Rex: Planet poncho. Rena: Double Zero top. Available at Kiki Hughes. Jewelry: John Wind/Maximal Art.
PERFORMANCE
FACTORY GIRLS
Hosts Maureen & Ariel
Diaries by DJs
Photography Photo Assistant Hair Makeup Stylist Interior
Ariel. Top: Akris Punto. Skirt: LeLe Tran. Shay. Jacket: Mariel Rojo. Pants: Christian Lacroix. Katie. Dress: Nino Brand. Fur: Vintage Fox. Rena. Dress and Cardigan: Nino Brand. Maureen. Top and Skirt: Chanel. All Jewelry: John Wind/Maximal Art. For full details, see pg. 49.
Marie Alyse Rodriguez N. Miles Jauquin Cameron Christina Giannone Maureen McCloskey Vintique Moderne
ISSUE 1 | INDUCE | 13
Performance Artist Rena
DJs Suga Shay K|Rex
K|Rex: Planet poncho. Rena: Double Zero top. Available at Kiki Hughes. Jewelry: John Wind/Maximal Art.
PERFORMANCE
FACTORY GIRLS
Hosts Maureen & Ariel
Diaries by DJs
Photography Photo Assistant Hair Makeup Stylist Interior
Ariel. Top: Akris Punto. Skirt: LeLe Tran. Shay. Jacket: Mariel Rojo. Pants: Christian Lacroix. Katie. Dress: Nino Brand. Fur: Vintage Fox. Rena. Dress and Cardigan: Nino Brand. Maureen. Top and Skirt: Chanel. All Jewelry: John Wind/Maximal Art. For full details, see pg. 49.
Marie Alyse Rodriguez N. Miles Jauquin Cameron Christina Giannone Maureen McCloskey Vintique Moderne
ISSUE 1 | INDUCE | 7
Performance Artist Rena
DJs Suga Shay K|Rex
K|Rex: Planet poncho. Rena: Double Zero top. Available at Kiki Hughes. Jewelry: John Wind/Maximal Art.
PERFORMANCE
FACTORY GIRLS
Hosts Maureen & Ariel
Diaries by DJs
Photography Photo Assistant Hair Makeup Stylist Interior
Ariel. Top: Akris Punto. Skirt: LeLe Tran. Shay. Jacket: Mariel Rojo. Pants: Christian Lacroix. Katie. Dress: Nino Brand. Fur: Vintage Fox. Rena. Dress and Cardigan: Nino Brand. Maureen. Top and Skirt: Chanel. All Jewelry: John Wind/Maximal Art. For full details, see pg. 49.
Marie Alyse Rodriguez N. Miles Jauquin Cameron Christina Giannone Maureen McCloskey Vintique Moderne
ISSUE 1 | INDUCE | 13
Performance Artist Rena
DJs Suga Shay K|Rex
K|Rex: Planet poncho. Rena: Double Zero top. Available at Kiki Hughes. Jewelry: John Wind/Maximal Art.
PERFORMANCE
FACTORY GIRLS
Hosts Maureen & Ariel
Diaries by DJs
Photography Photo Assistant Hair Makeup Stylist Interior
Ariel. Top: Akris Punto. Skirt: LeLe Tran. Shay. Jacket: Mariel Rojo. Pants: Christian Lacroix. Katie. Dress: Nino Brand. Fur: Vintage Fox. Rena. Dress and Cardigan: Nino Brand. Maureen. Top and Skirt: Chanel. All Jewelry: John Wind/Maximal Art. For full details, see pg. 49.
Marie Alyse Rodriguez N. Miles Jauquin Cameron Christina Giannone Maureen McCloskey Vintique Moderne
ISSUE 1 | INDUCE | 13
Performance Artist Rena
DJs Suga Shay K|Rex
K|Rex: Planet poncho. Rena: Double Zero top. Available at Kiki Hughes. Jewelry: John Wind/Maximal Art.
PERFORMANCE
FACTORY GIRLS
Hosts Maureen & Ariel
Diaries by DJs
Photography Photo Assistant Hair Makeup Stylist Interior
Ariel. Top: Akris Punto. Skirt: LeLe Tran. Shay. Jacket: Mariel Rojo. Pants: Christian Lacroix. Katie. Dress: Nino Brand. Fur: Vintage Fox. Rena. Dress and Cardigan: Nino Brand. Maureen. Top and Skirt: Chanel. All Jewelry: John Wind/Maximal Art. For full details, see pg. 49.
Marie Alyse Rodriguez N. Miles Jauquin Cameron Christina Giannone Maureen McCloskey Vintique Moderne
ISSUE 1 | INDUCE | 7
Performance Artist Rena
DJs Suga Shay K|Rex
FASHION Ross. Shirt: Omen Brand. Pants: Nino Brand. Brent. Jacket and Pants: Sam Ciccone. Sweater: Rag & Bone. Ring: Maison Martin Margiela.
Minimal Decadence
Photography Photo Assistant Models Makeup Stylist
Ross. Jinnah Hat: Vintage. Sweater: Raf Simons. Pants: OAK. Brent. Jacket: Kara Maria Naklicki. Shirt: Nino Brand. Pants: BDG. Lighting. Bulb.
Brent. Pants: Nino Brand. Shoes: Opening Ceremony. Ross. Harness: Sam Ciccone. Jacket: Asos. Pants: Kara Maria Naklicki. For full details, see p. 49.
Joseph Balestra Pete Murray Brent & Ross Ericsson Joe Carr Scott Persuhn
ISSUE 1 | INDUCE | 15
ISSUE 1 | INDUCE | 19
FASHION Ross. Shirt: Omen Brand. Pants: Nino Brand. Brent. Jacket and Pants: Sam Ciccone. Sweater: Rag & Bone. Ring: Maison Martin Margiela.
Minimal Decadence
Photography Photo Assistant Models Makeup Stylist
Ross. Jinnah Hat: Vintage. Sweater: Raf Simons. Pants: OAK. Brent. Jacket: Kara Maria Naklicki. Shirt: Nino Brand. Pants: BDG. Lighting. Bulb.
Brent. Pants: Nino Brand. Shoes: Opening Ceremony. Ross. Harness: Sam Ciccone. Jacket: Asos. Pants: Kara Maria Naklicki. For full details, see p. 49.
Joseph Balestra Pete Murray Brent & Ross Ericsson Joe Carr Scott Persuhn
ISSUE 1 | INDUCE | 15
ISSUE 1 | INDUCE | 19
FASHION Ross. Shirt: Omen Brand. Pants: Nino Brand. Brent. Jacket and Pants: Sam Ciccone. Sweater: Rag & Bone. Ring: Maison Martin Margiela.
Minimal Decadence
Photography Photo Assistant Models Makeup Stylist
Ross. Jinnah Hat: Vintage. Sweater: Raf Simons. Pants: OAK. Brent. Jacket: Kara Maria Naklicki. Shirt: Nino Brand. Pants: BDG. Lighting. Bulb.
Brent. Pants: Nino Brand. Shoes: Opening Ceremony. Ross. Harness: Sam Ciccone. Jacket: Asos. Pants: Kara Maria Naklicki. For full details, see p. 49.
Joseph Balestra Pete Murray Brent & Ross Ericsson Joe Carr Scott Persuhn
ISSUE 1 | INDUCE | 15
ISSUE 1 | INDUCE | 19
FASHION Ross. Shirt: Omen Brand. Pants: Nino Brand. Brent. Jacket and Pants: Sam Ciccone. Sweater: Rag & Bone. Ring: Maison Martin Margiela.
Minimal Decadence
Photography Photo Assistant Models Makeup Stylist
Ross. Jinnah Hat: Vintage. Sweater: Raf Simons. Pants: OAK. Brent. Jacket: Kara Maria Naklicki. Shirt: Nino Brand. Pants: BDG. Lighting. Bulb.
Brent. Pants: Nino Brand. Shoes: Opening Ceremony. Ross. Harness: Sam Ciccone. Jacket: Asos. Pants: Kara Maria Naklicki. For full details, see p. 49.
Joseph Balestra Pete Murray Brent & Ross Ericsson Joe Carr Scott Persuhn
ISSUE 1 | INDUCE | 15
ISSUE 1 | INDUCE | 19
FASHION Ross. Shirt: Omen Brand. Pants: Nino Brand. Brent. Jacket and Pants: Sam Ciccone. Sweater: Rag & Bone. Ring: Maison Martin Margiela.
Minimal Decadence
Photography Photo Assistant Models Makeup Stylist
Ross. Jinnah Hat: Vintage. Sweater: Raf Simons. Pants: OAK. Brent. Jacket: Kara Maria Naklicki. Shirt: Nino Brand. Pants: BDG. Lighting. Bulb.
Brent. Pants: Nino Brand. Shoes: Opening Ceremony. Ross. Harness: Sam Ciccone. Jacket: Asos. Pants: Kara Maria Naklicki. For full details, see p. 49.
Joseph Balestra Pete Murray Brent & Ross Ericsson Joe Carr Scott Persuhn
ISSUE 1 | INDUCE | 15
ISSUE 1 | INDUCE | 19
FASHION Ross. Shirt: Omen Brand. Pants: Nino Brand. Brent. Jacket and Pants: Sam Ciccone. Sweater: Rag & Bone. Ring: Maison Martin Margiela.
Minimal Decadence
Photography Photo Assistant Models Makeup Stylist
Ross. Jinnah Hat: Vintage. Sweater: Raf Simons. Pants: OAK. Brent. Jacket: Kara Maria Naklicki. Shirt: Nino Brand. Pants: BDG. Lighting. Bulb.
Brent. Pants: Nino Brand. Shoes: Opening Ceremony. Ross. Harness: Sam Ciccone. Jacket: Asos. Pants: Kara Maria Naklicki. For full details, see p. 49.
Joseph Balestra Pete Murray Brent & Ross Ericsson Joe Carr Scott Persuhn
ISSUE 1 | INDUCE | 15
ISSUE 1 | INDUCE | 19
FASHION Ross. Shirt: Omen Brand. Pants: Nino Brand. Brent. Jacket and Pants: Sam Ciccone. Sweater: Rag & Bone. Ring: Maison Martin Margiela.
Minimal Decadence
Photography Photo Assistant Models Makeup Stylist
Ross. Jinnah Hat: Vintage. Sweater: Raf Simons. Pants: OAK. Brent. Jacket: Kara Maria Naklicki. Shirt: Nino Brand. Pants: BDG. Lighting. Bulb.
Brent. Pants: Nino Brand. Shoes: Opening Ceremony. Ross. Harness: Sam Ciccone. Jacket: Asos. Pants: Kara Maria Naklicki. For full details, see p. 49.
Joseph Balestra Pete Murray Brent & Ross Ericsson Joe Carr Scott Persuhn
ISSUE 1 | INDUCE | 15
ISSUE 1 | INDUCE | 19
FASHION
BELA SHEHU myself with will have something to do with food; healthy, wholesome food products that can make one live forever.
NINO BRAND
Three words to describe your aesthetic. Intelligent. Clean. Timeless. What major designers have inspired your work? Rei Kawakubo, Karl Lagerfeld, Issey Miyake, Jil Sander. How do other mediums of art, other than fashion, influence you as a designer and creative person? Music effects a great portion of my life. The frequency of the notes often dictates the way I feel and produce. It's present now as I'm listening to Wild Beasts. Why did you choose the name NINObrand for your collection? I liked the sound of it. Ni-no. I thought it sounded pleasant and memorable. The word brand was attached to it as part of an experiment, then I started liking the way it looked and sounded. Voila!
How did you get your start in fashion? In 2002, I started taking some design classes at Moore at which time I designed a small contemporary collection that got picked up by a few boutiques. The experience was incredibly exciting; I was hooked. Shortly after, I opened bSHEHU flagship in Midtown Village, where I got the real taste of the business. To what extent are you involved in your work? I'm involved in every aspect of the business; concept, design, sourcing, placement, all of it. Photography Designer Model Hair & Makeup
ISSUE 1 | INDUCE | 22
Joseph Balestra Bela Shehu Melanie Blankenship Julianne Ulrich
Had you had never pursued a career in fashion, what would you most likely be doing professionally? I'm not sure if I can answer this question exactly, but I can say that the next non-fashion venture I involve ISSUE 1 | INDUCE | 26
Do you have any unusual rituals while creating designs? Nothing crazy. I like to be in a floaty, fantasy-like mood. Designing is like writing a continuous character driven novel. When I design, I try to explore and develop all my amazing characters deeper and brighter. What was your motive behind your genderless collection? I couldn't keep the boys away from wanting to play dress up. They teach me to design differently, boys do. I adore them for it.
connect/NINO BRAND www.ninobrand.com NINObrand.tumblr.com
BELA SHEHU
FASHION
myself with will have something to do with food; healthy, wholesome food products that can make one live forever.
NINO BRAND
Three words to describe your aesthetic. Intelligent. Clean. Timeless. What major designers have inspired your work? Rei Kawakubo, Karl Lagerfeld, Issey Miyake, Jil Sander. How do other mediums of art, other than fashion, influence you as a designer and creative person? Music effects a great portion of my life. The frequency of the notes often dictates the way I feel and produce. It's present now as I'm answering these questions. Listening to Wild Beasts. Why did you choose the name NINObrand for your collection? I liked the sound of it. Ni-no. I thought it sounded pleasant and memorable. The word brand was attached to it as part of an experiment, then I started liking the way it looked and sounded. Voila!
How did you get your start in fashion? In 2002, I started taking some design classes at Moore at which time I designed a small contemporary collection that got picked up by a few boutiques. The experience was incredibly exciting; I was hooked. Shortly after, I opened bSHEHU flagship in Midtown Village, where I got the real taste of the business. To what extent are you involved in your work? I'm involved in every aspect of the business; concept, design, sourcing, placement, all of it. Photography Designer Model Hair & Makeup
ISSUE 1 | INDUCE | 22
Joseph Balestra Bela Shehu Melanie Blankenship Julianne Ulrich
Had you had never pursued a career in fashion, what would you most likely be doing professionally? I'm not sure if I can answer this question exactly, but I can say that the next non-fashion venture I involve ISSUE 1 | INDUCE | 26
Do you have any unusual rituals while creating designs? Nothing crazy. I like to be in a floaty, fantasy-like mood. Designing is like writing a continuous character driven novel. When I design, I try to explore and develop all my amazing characters deeper and brighter. What was your motive behind your genderless collection? I couldn't keep the boys away from wanting to play dress up. They teach me to design differently, boys do. I adore them for it.
connect/NINO BRAND www.ninobrand.com NINObrand.tumblr.com
BELA SHEHU
FASHION
myself with will have something to do with food; healthy, wholesome food products that can make one live forever.
NINO BRAND
Three words to describe your aesthetic. Intelligent. Clean. Timeless. What major designers have inspired your work? Rei Kawakubo, Karl Lagerfeld, Issey Miyake, Jil Sander. How do other mediums of art, other than fashion, influence you as a designer and creative person? Music effects a great portion of my life. The frequency of the notes often dictates the way I feel and produce. It's present now as I'm answering these questions. Listening to Wild Beasts. Why did you choose the name NINObrand for your collection? I liked the sound of it. Ni-no. I thought it sounded pleasant and memorable. The word brand was attached to it as part of an experiment, then I started liking the way it looked and sounded. Voila!
How did you get your start in fashion? In 2002, I started taking some design classes at Moore at which time I designed a small contemporary collection that got picked up by a few boutiques. The experience was incredibly exciting; I was hooked. Shortly after, I opened bSHEHU flagship in Midtown Village, where I got the real taste of the business. To what extent are you involved in your work? I'm involved in every aspect of the business; concept, design, sourcing, placement, all of it. Photography Designer Model Hair & Makeup
ISSUE 1 | INDUCE | 22
Joseph Balestra Bela Shehu Melanie Blankenship Julianne Ulrich
Had you had never pursued a career in fashion, what would you most likely be doing professionally? I'm not sure if I can answer this question exactly, but I can say that the next non-fashion venture I involve ISSUE 1 | INDUCE | 26
Do you have any unusual rituals while creating designs? Nothing crazy. I like to be in a floaty, fantasy-like mood. Designing is like writing a continuous character driven novel. When I design, I try to explore and develop all my amazing characters deeper and brighter. What was your motive behind your genderless collection? I couldn't keep the boys away from wanting to play dress up. They teach me to design differently, boys do. I adore them for it.
connect/NINO BRAND www.ninobrand.com NINObrand.tumblr.com
BELA SHEHU
FASHION
myself with will have something to do with food; healthy, wholesome food products that can make one live forever.
NINO BRAND
Three words to describe your aesthetic. Intelligent. Clean. Timeless. What major designers have inspired your work? Rei Kawakubo, Karl Lagerfeld, Issey Miyake, Jil Sander. How do other mediums of art, other than fashion, influence you as a designer and creative person? Music effects a great portion of my life. The frequency of the notes often dictates the way I feel and produce. It's present now as I'm answering these questions. Listening to Wild Beasts. Why did you choose the name NINObrand for your collection? I liked the sound of it. Ni-no. I thought it sounded pleasant and memorable. The word brand was attached to it as part of an experiment, then I started liking the way it looked and sounded. Voila!
How did you get your start in fashion? In 2002, I started taking some design classes at Moore at which time I designed a small contemporary collection that got picked up by a few boutiques. The experience was incredibly exciting; I was hooked. Shortly after, I opened bSHEHU flagship in Midtown Village, where I got the real taste of the business. To what extent are you involved in your work? I'm involved in every aspect of the business; concept, design, sourcing, placement, all of it. Photography Designer Model Hair & Makeup
ISSUE 1 | INDUCE | 22
Joseph Balestra Bela Shehu Melanie Blankenship Julianne Ulrich
Had you had never pursued a career in fashion, what would you most likely be doing professionally? I'm not sure if I can answer this question exactly, but I can say that the next non-fashion venture I involve ISSUE 1 | INDUCE | 26
Do you have any unusual rituals while creating designs? Nothing crazy. I like to be in a floaty, fantasy-like mood. Designing is like writing a continuous character driven novel. When I design, I try to explore and develop all my amazing characters deeper and brighter. What was your motive behind your genderless collection? I couldn't keep the boys away from wanting to play dress up. They teach me to design differently, boys do. I adore them for it.
connect/NINO BRAND www.ninobrand.com NINObrand.tumblr.com
FASHION
BELA SHEHU myself with will have something to do with food; healthy, wholesome food products that can make one live forever.
NINO BRAND
Three words to describe your aesthetic. Intelligent. Clean. Timeless. What major designers have inspired your work? Rei Kawakubo, Karl Lagerfeld, Issey Miyake, Jil Sander. How do other mediums of art, other than fashion, influence you as a designer and creative person? Music effects a great portion of my life. The frequency of the notes often dictates the way I feel and produce. It's present now as I'm listening to Wild Beasts. Why did you choose the name NINObrand for your collection? I liked the sound of it. Ni-no. I thought it sounded pleasant and memorable. The word brand was attached to it as part of an experiment, then I started liking the way it looked and sounded. Voila!
How did you get your start in fashion? In 2002, I started taking some design classes at Moore at which time I designed a small contemporary collection that got picked up by a few boutiques. The experience was incredibly exciting; I was hooked. Shortly after, I opened bSHEHU flagship in Midtown Village, where I got the real taste of the business. To what extent are you involved in your work? I'm involved in every aspect of the business; concept, design, sourcing, placement, all of it. Photography Designer Model Hair & Makeup
ISSUE 1 | INDUCE | 22
Joseph Balestra Bela Shehu Melanie Blankenship Julianne Ulrich
Had you had never pursued a career in fashion, what would you most likely be doing professionally? I'm not sure if I can answer this question exactly, but I can say that the next non-fashion venture I involve ISSUE 1 | INDUCE | 26
Do you have any unusual rituals while creating designs? Nothing crazy. I like to be in a floaty, fantasy-like mood. Designing is like writing a continuous character driven novel. When I design, I try to explore and develop all my amazing characters deeper and brighter. What was your motive behind your genderless collection? I couldn't keep the boys away from wanting to play dress up. They teach me to design differently, boys do. I adore them for it.
connect/NINO BRAND www.ninobrand.com NINObrand.tumblr.com
MARCUS
PHOTOGRAPHY
MARCUS BRANCH Editor-in-Chief: Skltn-m Magazine/Photographer
BRANCH What is Skltn-m and how did it come about? Ah, how can I summarize this so I'm not reciting a novel length answer. My senior year in high school (2010) I dreamt of the idea to create my own magazine as an outlet for my photography. From that, I built the concept of basing it around style opposed to fashion and expressive individuals opposed to models; that idea grew as the publication did. My blog birthed out of it as a platform for the publication and also became another outlet for my work. The two became the object of my devotion and evolved as I did, bringing it to what it is today and hopefully beyond that as time progresses. How has your education in the arts impacted you as an artist and creative person? It has introduced me to quite a bit, including works from photographers I haven't heard of prior, techniques that I now often use, and a much more refined eye. It helped me to be more concise about my work, whether it's through concept building or execution. It also opened a huge door of inspiration as well as opportunity and I'm sure it will impact my bank account come graduation. Do you sense a feeling of freedom in fashion in Philadelphia? I honestly do sense a feeling of freedom in fashion in Philadelphia, but I don't sense that many people are taking advantage of that freedom. It just seems to be the preference for people here to kind of follow a given mold than to break it. With that said, Philadelphia does have it's moments and that's how breakthroughs happen and new molds are introduced and encouraged. How is your intention of “exceeding the exterior and unveiling the core” actualized? What I mean, is, how does one surpass the exterior while capturing just that? The intention is actualized through interaction between myself and the individual at hand. I try to get the subject to be open, vulnerable, revealing, honest. That can happen through the imagery as well as verbally. As of late, the work I'm photographing is
Photo Credit: Alexa Quinn.
ISSUE 1 | INDUCE | 27
ISSUE 1 | INDUCE | 29
much more about highlighting the quiet moments that actually speak volumes. By that, I mean, the transitional periods, unrehearsed and raw. In photographs I try to capture the subject when their guard is down because it's much more tangible and beautiful to me than a practiced photo-ready expression. These moments reflect the travel from one stage in life to the next and instead of glorifying the achieved destination. I want to study the journey because there lies the true interest, in my opinion. You are often your own subject. How is it to see your own personal sense of fashion evolve? It's quite interesting indeed. There are times I reflect and I am just baffled. I'd see images of me in outfits that just scream "trying too hard" and I can't help but to laugh. There are also images I look back on and feel was a great era for my sense of fashion because it sort of paved the way for my style as it is today. I remember experimenting a lot with finding ways to make things work through flipping it upside down or cutting an arm hole. The results may not have always been successful, but the trait of transforming and reviving stuck with me. If your photos could be the love child of famous photographers, who would be the parents? Wolfgang Tillmans and Robert Mapplethorpe. In terms of famous photographers that is, otherwise I'd switch out Robert for Coco Capitán. Do you ever get criticized for how you dress? I used to get criticized by my parents and a few coworkers in the past, but, as of late, I haven't so much. I don't know if it's because my style has changed a bit or if they realized I don't give a damn and have finally accepted it. I tend not to really pay any mind to negativity thrown my way because when it comes to my style, there are very, very few people whose opinions I validate because I don't get dressed for anyone but myself and if I feel grand, then I'm set. What is your favorite thing to wear? Damn, that's like asking me to name my favorite song
ISSUE 1 | INDUCE | 32
and only one song. Yeah, that's impossible because it's a very dependent answer. It depends on the occasion, the weather, my hair cut, but if I must, I'll have to say my suede pleated shoulder John Roberts paisley printed blazer. In writing it sounds horrifying, but for a piece with so many attributes that can date it, it is so transformable and feels like a piece that will remain in my wardrobe for a very long time.
If Skltn-m had a playlist, what would be some must-have tracks? Now we're talking. The skltn-m 2013 playlist would include, but not limited to: KING “In The Meantime,” Duke Ellington and John Coltrane “In a Sentimental Mood,” James Blake “Life Round Here,” Inc. “The Place,” Outkast “Hollywood Divorce,” Beyonce “Grown Woman,” and that's just a pinch of the must-haves. Three words to describe your personal style? Cultural, majestic, unpolished.
Connect/MARCUS BRANCH skltn-m.com instagram.com/skltn_
MARCUS
PHOTOGRAPHY
MARCUS BRANCH Editor-in-Chief: Skltn-m Magazine/Photographer
BRANCH What is Skltn-m and how did it come about? Ah, how can I summarize this so I'm not reciting a novel length answer. My senior year in high school (2010) I dreamt of the idea to create my own magazine as an outlet for my photography. From that, I built the concept of basing it around style opposed to fashion and expressive individuals opposed to models; that idea grew as the publication did. My blog birthed out of it as a platform for the publication and also became another outlet for my work. The two became the object of my devotion and evolved as I did, bringing it to what it is today and hopefully beyond that as time progresses. How has your education in the arts impacted you as an artist and creative person? It has introduced me to quite a bit, including works from photographers I haven't heard of prior, techniques that I now often use, and a much more refined eye. It helped me to be more concise about my work, whether it's through concept building or execution. It also opened a huge door of inspiration as well as opportunity and I'm sure it will impact my bank account come graduation. Do you sense a feeling of freedom in fashion in Philadelphia? I honestly do sense a feeling of freedom in fashion in Philadelphia, but I don't sense that many people are taking advantage of that freedom. It just seems to be the preference for people here to kind of follow a given mold than to break it. With that said, Philadelphia does have it's moments and that's how breakthroughs happen and new molds are introduced and encouraged. How is your intention of “exceeding the exterior and unveiling the core” actualized? What I mean, is, how does one surpass the exterior while capturing just that? The intention is actualized through interaction between myself and the individual at hand. I try to get the subject to be open, vulnerable, revealing, honest. That can happen through the imagery as well as verbally. As of late, the work I'm photographing is
Photo Credit: Alexa Quinn.
ISSUE 1 | INDUCE | 27
ISSUE 1 | INDUCE | 29
much more about highlighting the quiet moments that actually speak volumes. By that, I mean, the transitional periods, unrehearsed and raw. In photographs I try to capture the subject when their guard is down because it's much more tangible and beautiful to me than a practiced photo-ready expression. These moments reflect the travel from one stage in life to the next and instead of glorifying the achieved destination. I want to study the journey because there lies the true interest, in my opinion. You are often your own subject. How is it to see your own personal sense of fashion evolve? It's quite interesting indeed. There are times I reflect and I am just baffled. I'd see images of me in outfits that just scream "trying too hard" and I can't help but to laugh. There are also images I look back on and feel was a great era for my sense of fashion because it sort of paved the way for my style as it is today. I remember experimenting a lot with finding ways to make things work through flipping it upside down or cutting an arm hole. The results may not have always been successful, but the trait of transforming and reviving stuck with me. If your photos could be the lovechild of famous photographers, who would be the parents? Wolfgang Tillmans and Robert Mapplethorpe. In terms of famous photographers that is, otherwise I'd switch out Robert for Coco Capitan. Do you ever get criticized for how you dress? I used to get criticized by my parents and a few coworkers in the past, but, as of late, I haven't so much. I don't know if it's because my style has changed a bit or if they realized I don't give a damn and have finally accepted it. I tend not to really pay any mind to negativity thrown my way because when it comes to my style there are very, very few people whose opinions I validate because I don't get dressed for anyone but myself and if I feel grand, then I'm set. What is your favorite thing to wear? Damn, that's like asking me to name my favorite song
ISSUE 1 | INDUCE | 32
and only one song. Yeah, that's impossible because it's a very dependent answer. It depends on the occasion, the weather, my hair cut, but if I must. I'll have to say my suede pleated shoulder John Roberts paisley printed blazer. In writing it sounds horrifying, but for a piece with so many attributes that can date it, it is so transformable and feels like a piece that will remain in my wardrobe for a very long time.
If Skltn-m had a playlist, what would be must-have tracks? Now we're talking. The skltn-m 2013 playlist would include, but not limited to: KING “In The Meantime,” Duke Ellington and John Coltrane “In a Sentimental Mood,” James Blake “Life Round Here,” Inc. “The Place,” Outkast “Hollywood Divorce,” Beyonce “Grown Woman,” and that's just a pinch of the must-haves. Three words to describe your personal style? Cultural, majestic, unpolished.
Connect/MARCUS BRANCH skltn-m.com instagram.com/skltn_
MARCUS
PHOTOGRAPHY
MARCUS BRANCH Editor-in-Chief: Skltn-m Magazine/Photographer
BRANCH What is Skltn-m and how did it come about? Ah, how can I summarize this so I'm not reciting a novel length answer. My senior year in high school (2010) I dreamt of the idea to create my own magazine as an outlet for my photography. From that, I built the concept of basing it around style opposed to fashion and expressive individuals opposed to models; that idea grew as the publication did. My blog birthed out of it as a platform for the publication and also became another outlet for my work. The two became the object of my devotion and evolved as I did, bringing it to what it is today and hopefully beyond that as time progresses. How has your education in the arts impacted you as an artist and creative person? It has introduced me to quite a bit, including works from photographers I haven't heard of prior, techniques that I now often use, and a much more refined eye. It helped me to be more concise about my work, whether it's through concept building or execution. It also opened a huge door of inspiration as well as opportunity and I'm sure it will impact my bank account come graduation. Do you sense a feeling of freedom in fashion in Philadelphia? I honestly do sense a feeling of freedom in fashion in Philadelphia, but I don't sense that many people are taking advantage of that freedom. It just seems to be the preference for people here to kind of follow a given mold than to break it. With that said, Philadelphia does have it's moments and that's how breakthroughs happen and new molds are introduced and encouraged. How is your intention of “exceeding the exterior and unveiling the core” actualized? What I mean, is, how does one surpass the exterior while capturing just that? The intention is actualized through interaction between myself and the individual at hand. I try to get the subject to be open, vulnerable, revealing, honest. That can happen through the imagery as well as verbally. As of late, the work I'm photographing is
Photo Credit: Alexa Quinn.
ISSUE 1 | INDUCE | 27
ISSUE 1 | INDUCE | 29
much more about highlighting the quiet moments that actually speak volumes. By that, I mean, the transitional periods, unrehearsed and raw. In photographs I try to capture the subject when their guard is down because it's much more tangible and beautiful to me than a practiced photo-ready expression. These moments reflect the travel from one stage in life to the next and instead of glorifying the achieved destination. I want to study the journey because there lies the true interest, in my opinion. You are often your own subject. How is it to see your own personal sense of fashion evolve? It's quite interesting indeed. There are times I reflect and I am just baffled. I'd see images of me in outfits that just scream "trying too hard" and I can't help but to laugh. There are also images I look back on and feel was a great era for my sense of fashion because it sort of paved the way for my style as it is today. I remember experimenting a lot with finding ways to make things work through flipping it upside down or cutting an arm hole. The results may not have always been successful, but the trait of transforming and reviving stuck with me. If your photos could be the lovechild of famous photographers, who would be the parents? Wolfgang Tillmans and Robert Mapplethorpe. In terms of famous photographers that is, otherwise I'd switch out Robert for Coco Capitan. Do you ever get criticized for how you dress? I used to get criticized by my parents and a few coworkers in the past, but, as of late, I haven't so much. I don't know if it's because my style has changed a bit or if they realized I don't give a damn and have finally accepted it. I tend not to really pay any mind to negativity thrown my way because when it comes to my style there are very, very few people whose opinions I validate because I don't get dressed for anyone but myself and if I feel grand, then I'm set. What is your favorite thing to wear? Damn, that's like asking me to name my favorite song
ISSUE 1 | INDUCE | 32
and only one song. Yeah, that's impossible because it's a very dependent answer. It depends on the occasion, the weather, my hair cut, but if I must. I'll have to say my suede pleated shoulder John Roberts paisley printed blazer. In writing it sounds horrifying, but for a piece with so many attributes that can date it, it is so transformable and feels like a piece that will remain in my wardrobe for a very long time.
If Skltn-m had a playlist, what would be must-have tracks? Now we're talking. The skltn-m 2013 playlist would include, but not limited to: KING “In The Meantime,” Duke Ellington and John Coltrane “In a Sentimental Mood,” James Blake “Life Round Here,” Inc. “The Place,” Outkast “Hollywood Divorce,” Beyonce “Grown Woman,” and that's just a pinch of the must-haves. Three words to describe your personal style? Cultural, majestic, unpolished.
Connect/MARCUS BRANCH skltn-m.com instagram.com/skltn_
MARCUS
PHOTOGRAPHY
MARCUS BRANCH Editor-in-Chief: Skltn-m Magazine/Photographer
BRANCH What is Skltn-m and how did it come about? Ah, how can I summarize this so I'm not reciting a novel length answer. My senior year in high school (2010) I dreamt of the idea to create my own magazine as an outlet for my photography. From that, I built the concept of basing it around style opposed to fashion and expressive individuals opposed to models; that idea grew as the publication did. My blog birthed out of it as a platform for the publication and also became another outlet for my work. The two became the object of my devotion and evolved as I did, bringing it to what it is today and hopefully beyond that as time progresses. How has your education in the arts impacted you as an artist and creative person? It has introduced me to quite a bit, including works from photographers I haven't heard of prior, techniques that I now often use, and a much more refined eye. It helped me to be more concise about my work, whether it's through concept building or execution. It also opened a huge door of inspiration as well as opportunity and I'm sure it will impact my bank account come graduation. Do you sense a feeling of freedom in fashion in Philadelphia? I honestly do sense a feeling of freedom in fashion in Philadelphia, but I don't sense that many people are taking advantage of that freedom. It just seems to be the preference for people here to kind of follow a given mold than to break it. With that said, Philadelphia does have it's moments and that's how breakthroughs happen and new molds are introduced and encouraged. How is your intention of “exceeding the exterior and unveiling the core” actualized? What I mean, is, how does one surpass the exterior while capturing just that? The intention is actualized through interaction between myself and the individual at hand. I try to get the subject to be open, vulnerable, revealing, honest. That can happen through the imagery as well as verbally. As of late, the work I'm photographing is
Photo Credit: Alexa Quinn.
ISSUE 1 | INDUCE | 27
ISSUE 1 | INDUCE | 29
much more about highlighting the quiet moments that actually speak volumes. By that, I mean, the transitional periods, unrehearsed and raw. In photographs I try to capture the subject when their guard is down because it's much more tangible and beautiful to me than a practiced photo-ready expression. These moments reflect the travel from one stage in life to the next and instead of glorifying the achieved destination. I want to study the journey because there lies the true interest, in my opinion. You are often your own subject. How is it to see your own personal sense of fashion evolve? It's quite interesting indeed. There are times I reflect and I am just baffled. I'd see images of me in outfits that just scream "trying too hard" and I can't help but to laugh. There are also images I look back on and feel was a great era for my sense of fashion because it sort of paved the way for my style as it is today. I remember experimenting a lot with finding ways to make things work through flipping it upside down or cutting an arm hole. The results may not have always been successful, but the trait of transforming and reviving stuck with me. If your photos could be the love child of famous photographers, who would be the parents? Wolfgang Tillmans and Robert Mapplethorpe. In terms of famous photographers that is, otherwise I'd switch out Robert for Coco Capitán. Do you ever get criticized for how you dress? I used to get criticized by my parents and a few coworkers in the past, but, as of late, I haven't so much. I don't know if it's because my style has changed a bit or if they realized I don't give a damn and have finally accepted it. I tend not to really pay any mind to negativity thrown my way because when it comes to my style, there are very, very few people whose opinions I validate because I don't get dressed for anyone but myself and if I feel grand, then I'm set. What is your favorite thing to wear? Damn, that's like asking me to name my favorite song
ISSUE 1 | INDUCE | 32
and only one song. Yeah, that's impossible because it's a very dependent answer. It depends on the occasion, the weather, my hair cut, but if I must, I'll have to say my suede pleated shoulder John Roberts paisley printed blazer. In writing it sounds horrifying, but for a piece with so many attributes that can date it, it is so transformable and feels like a piece that will remain in my wardrobe for a very long time.
If Skltn-m had a playlist, what would be some must-have tracks? Now we're talking. The skltn-m 2013 playlist would include, but not limited to: KING “In The Meantime,” Duke Ellington and John Coltrane “In a Sentimental Mood,” James Blake “Life Round Here,” Inc. “The Place,” Outkast “Hollywood Divorce,” Beyonce “Grown Woman,” and that's just a pinch of the must-haves. Three words to describe your personal style? Cultural, majestic, unpolished.
Connect/MARCUS BRANCH skltn-m.com instagram.com/skltn_
MARCUS
PHOTOGRAPHY
MARCUS BRANCH Editor-in-Chief: Skltn-m Magazine/Photographer
BRANCH What is Skltn-m and how did it come about? Ah, how can I summarize this so I'm not reciting a novel length answer. My senior year in high school (2010) I dreamt of the idea to create my own magazine as an outlet for my photography. From that, I built the concept of basing it around style opposed to fashion and expressive individuals opposed to models; that idea grew as the publication did. My blog birthed out of it as a platform for the publication and also became another outlet for my work. The two became the object of my devotion and evolved as I did, bringing it to what it is today and hopefully beyond that as time progresses. How has your education in the arts impacted you as an artist and creative person? It has introduced me to quite a bit, including works from photographers I haven't heard of prior, techniques that I now often use, and a much more refined eye. It helped me to be more concise about my work, whether it's through concept building or execution. It also opened a huge door of inspiration as well as opportunity and I'm sure it will impact my bank account come graduation. Do you sense a feeling of freedom in fashion in Philadelphia? I honestly do sense a feeling of freedom in fashion in Philadelphia, but I don't sense that many people are taking advantage of that freedom. It just seems to be the preference for people here to kind of follow a given mold than to break it. With that said, Philadelphia does have it's moments and that's how breakthroughs happen and new molds are introduced and encouraged. How is your intention of “exceeding the exterior and unveiling the core” actualized? What I mean, is, how does one surpass the exterior while capturing just that? The intention is actualized through interaction between myself and the individual at hand. I try to get the subject to be open, vulnerable, revealing, honest. That can happen through the imagery as well as verbally. As of late, the work I'm photographing is
Photo Credit: Alexa Quinn.
ISSUE 1 | INDUCE | 27
ISSUE 1 | INDUCE | 29
much more about highlighting the quiet moments that actually speak volumes. By that, I mean, the transitional periods, unrehearsed and raw. In photographs I try to capture the subject when their guard is down because it's much more tangible and beautiful to me than a practiced photo-ready expression. These moments reflect the travel from one stage in life to the next and instead of glorifying the achieved destination. I want to study the journey because there lies the true interest, in my opinion. You are often your own subject. How is it to see your own personal sense of fashion evolve? It's quite interesting indeed. There are times I reflect and I am just baffled. I'd see images of me in outfits that just scream "trying too hard" and I can't help but to laugh. There are also images I look back on and feel was a great era for my sense of fashion because it sort of paved the way for my style as it is today. I remember experimenting a lot with finding ways to make things work through flipping it upside down or cutting an arm hole. The results may not have always been successful, but the trait of transforming and reviving stuck with me. If your photos could be the love child of famous photographers, who would be the parents? Wolfgang Tillmans and Robert Mapplethorpe. In terms of famous photographers that is, otherwise I'd switch out Robert for Coco Capitán. Do you ever get criticized for how you dress? I used to get criticized by my parents and a few coworkers in the past, but, as of late, I haven't so much. I don't know if it's because my style has changed a bit or if they realized I don't give a damn and have finally accepted it. I tend not to really pay any mind to negativity thrown my way because when it comes to my style, there are very, very few people whose opinions I validate because I don't get dressed for anyone but myself and if I feel grand, then I'm set. What is your favorite thing to wear? Damn, that's like asking me to name my favorite song
ISSUE 1 | INDUCE | 32
and only one song. Yeah, that's impossible because it's a very dependent answer. It depends on the occasion, the weather, my hair cut, but if I must, I'll have to say my suede pleated shoulder John Roberts paisley printed blazer. In writing it sounds horrifying, but for a piece with so many attributes that can date it, it is so transformable and feels like a piece that will remain in my wardrobe for a very long time.
If Skltn-m had a playlist, what would be some must-have tracks? Now we're talking. The skltn-m 2013 playlist would include, but not limited to: KING “In The Meantime,” Duke Ellington and John Coltrane “In a Sentimental Mood,” James Blake “Life Round Here,” Inc. “The Place,” Outkast “Hollywood Divorce,” Beyonce “Grown Woman,” and that's just a pinch of the must-haves. Three words to describe your personal style? Cultural, majestic, unpolished.
Connect/MARCUS BRANCH skltn-m.com instagram.com/skltn_
MARCUS
PHOTOGRAPHY
MARCUS BRANCH Editor-in-Chief: Skltn-m Magazine/Photographer
BRANCH What is Skltn-m and how did it come about? Ah, how can I summarize this so I'm not reciting a novel length answer. My senior year in high school (2010) I dreamt of the idea to create my own magazine as an outlet for my photography. From that, I built the concept of basing it around style opposed to fashion and expressive individuals opposed to models; that idea grew as the publication did. My blog birthed out of it as a platform for the publication and also became another outlet for my work. The two became the object of my devotion and evolved as I did, bringing it to what it is today and hopefully beyond that as time progresses. How has your education in the arts impacted you as an artist and creative person? It has introduced me to quite a bit, including works from photographers I haven't heard of prior, techniques that I now often use, and a much more refined eye. It helped me to be more concise about my work, whether it's through concept building or execution. It also opened a huge door of inspiration as well as opportunity and I'm sure it will impact my bank account come graduation. Do you sense a feeling of freedom in fashion in Philadelphia? I honestly do sense a feeling of freedom in fashion in Philadelphia, but I don't sense that many people are taking advantage of that freedom. It just seems to be the preference for people here to kind of follow a given mold than to break it. With that said, Philadelphia does have it's moments and that's how breakthroughs happen and new molds are introduced and encouraged. How is your intention of “exceeding the exterior and unveiling the core” actualized? What I mean, is, how does one surpass the exterior while capturing just that? The intention is actualized through interaction between myself and the individual at hand. I try to get the subject to be open, vulnerable, revealing, honest. That can happen through the imagery as well as verbally. As of late, the work I'm photographing is
Photo Credit: Alexa Quinn.
ISSUE 1 | INDUCE | 27
ISSUE 1 | INDUCE | 29
much more about highlighting the quiet moments that actually speak volumes. By that, I mean, the transitional periods, unrehearsed and raw. In photographs I try to capture the subject when their guard is down because it's much more tangible and beautiful to me than a practiced photo-ready expression. These moments reflect the travel from one stage in life to the next and instead of glorifying the achieved destination. I want to study the journey because there lies the true interest, in my opinion. You are often your own subject. How is it to see your own personal sense of fashion evolve? It's quite interesting indeed. There are times I reflect and I am just baffled. I'd see images of me in outfits that just scream "trying too hard" and I can't help but to laugh. There are also images I look back on and feel was a great era for my sense of fashion because it sort of paved the way for my style as it is today. I remember experimenting a lot with finding ways to make things work through flipping it upside down or cutting an arm hole. The results may not have always been successful, but the trait of transforming and reviving stuck with me. If your photos could be the love child of famous photographers, who would be the parents? Wolfgang Tillmans and Robert Mapplethorpe. In terms of famous photographers that is, otherwise I'd switch out Robert for Coco Capitán. Do you ever get criticized for how you dress? I used to get criticized by my parents and a few coworkers in the past, but, as of late, I haven't so much. I don't know if it's because my style has changed a bit or if they realized I don't give a damn and have finally accepted it. I tend not to really pay any mind to negativity thrown my way because when it comes to my style, there are very, very few people whose opinions I validate because I don't get dressed for anyone but myself and if I feel grand, then I'm set. What is your favorite thing to wear? Damn, that's like asking me to name my favorite song
ISSUE 1 | INDUCE | 32
and only one song. Yeah, that's impossible because it's a very dependent answer. It depends on the occasion, the weather, my hair cut, but if I must, I'll have to say my suede pleated shoulder John Roberts paisley printed blazer. In writing it sounds horrifying, but for a piece with so many attributes that can date it, it is so transformable and feels like a piece that will remain in my wardrobe for a very long time.
If Skltn-m had a playlist, what would be some must-have tracks? Now we're talking. The skltn-m 2013 playlist would include, but not limited to: KING “In The Meantime,” Duke Ellington and John Coltrane “In a Sentimental Mood,” James Blake “Life Round Here,” Inc. “The Place,” Outkast “Hollywood Divorce,” Beyonce “Grown Woman,” and that's just a pinch of the must-haves. Three words to describe your personal style? Cultural, majestic, unpolished.
Connect/MARCUS BRANCH skltn-m.com instagram.com/skltn_
MARCUS
PHOTOGRAPHY
MARCUS BRANCH Editor-in-Chief: Skltn-m Magazine/Photographer
BRANCH What is Skltn-m and how did it come about? Ah, how can I summarize this so I'm not reciting a novel length answer. My senior year in high school (2010) I dreamt of the idea to create my own magazine as an outlet for my photography. From that, I built the concept of basing it around style opposed to fashion and expressive individuals opposed to models; that idea grew as the publication did. My blog birthed out of it as a platform for the publication and also became another outlet for my work. The two became the object of my devotion and evolved as I did, bringing it to what it is today and hopefully beyond that as time progresses. How has your education in the arts impacted you as an artist and creative person? It has introduced me to quite a bit, including works from photographers I haven't heard of prior, techniques that I now often use, and a much more refined eye. It helped me to be more concise about my work, whether it's through concept building or execution. It also opened a huge door of inspiration as well as opportunity and I'm sure it will impact my bank account come graduation. Do you sense a feeling of freedom in fashion in Philadelphia? I honestly do sense a feeling of freedom in fashion in Philadelphia, but I don't sense that many people are taking advantage of that freedom. It just seems to be the preference for people here to kind of follow a given mold than to break it. With that said, Philadelphia does have it's moments and that's how breakthroughs happen and new molds are introduced and encouraged. How is your intention of “exceeding the exterior and unveiling the core” actualized? What I mean, is, how does one surpass the exterior while capturing just that? The intention is actualized through interaction between myself and the individual at hand. I try to get the subject to be open, vulnerable, revealing, honest. That can happen through the imagery as well as verbally. As of late, the work I'm photographing is
Photo Credit: Alexa Quinn.
ISSUE 1 | INDUCE | 27
ISSUE 1 | INDUCE | 29
much more about highlighting the quiet moments that actually speak volumes. By that, I mean, the transitional periods, unrehearsed and raw. In photographs I try to capture the subject when their guard is down because it's much more tangible and beautiful to me than a practiced photo-ready expression. These moments reflect the travel from one stage in life to the next and instead of glorifying the achieved destination. I want to study the journey because there lies the true interest, in my opinion. You are often your own subject. How is it to see your own personal sense of fashion evolve? It's quite interesting indeed. There are times I reflect and I am just baffled. I'd see images of me in outfits that just scream "trying too hard" and I can't help but to laugh. There are also images I look back on and feel was a great era for my sense of fashion because it sort of paved the way for my style as it is today. I remember experimenting a lot with finding ways to make things work through flipping it upside down or cutting an arm hole. The results may not have always been successful, but the trait of transforming and reviving stuck with me. If your photos could be the lovechild of famous photographers, who would be the parents? Wolfgang Tillmans and Robert Mapplethorpe. In terms of famous photographers that is, otherwise I'd switch out Robert for Coco Capitan. Do you ever get criticized for how you dress? I used to get criticized by my parents and a few coworkers in the past, but, as of late, I haven't so much. I don't know if it's because my style has changed a bit or if they realized I don't give a damn and have finally accepted it. I tend not to really pay any mind to negativity thrown my way because when it comes to my style there are very, very few people whose opinions I validate because I don't get dressed for anyone but myself and if I feel grand, then I'm set. What is your favorite thing to wear? Damn, that's like asking me to name my favorite song
ISSUE 1 | INDUCE | 32
and only one song. Yeah, that's impossible because it's a very dependent answer. It depends on the occasion, the weather, my hair cut, but if I must. I'll have to say my suede pleated shoulder John Roberts paisley printed blazer. In writing it sounds horrifying, but for a piece with so many attributes that can date it, it is so transformable and feels like a piece that will remain in my wardrobe for a very long time.
If Skltn-m had a playlist, what would be must-have tracks? Now we're talking. The skltn-m 2013 playlist would include, but not limited to: KING “In The Meantime,” Duke Ellington and John Coltrane “In a Sentimental Mood,” James Blake “Life Round Here,” Inc. “The Place,” Outkast “Hollywood Divorce,” Beyonce “Grown Woman,” and that's just a pinch of the must-haves. Three words to describe your personal style? Cultural, majestic, unpolished.
Connect/MARCUS BRANCH skltn-m.com instagram.com/skltn_
ART
ROBIN KOLBER
Tell me about your collaboration with Anthropologie. I worked there for an internship. I did mostly window displays and in-store display setups. They do a lot of different materials and it’s interesting that they focus their displays being handmade; I think that’s kind of original. Even though they are a more mainstream brand, it’s different than what you see other mainstream brands doing. They have people on the visual team that hand make all of it. It really works; any woman that walks in becomes enchanted. That whole idea is interesting to me. I also collaborated with them for the Leifsdottir brand on their runway show for fall season. They had soft sculpture terrariums that I helped make all the plants for. I didn’t get to go to the show, sadly, but the pictures turned out really cool. What other artists have influenced your aesthetic? A lot, actually and I feel like my style in terms of art has changed a lot since school. I was first interested in illustration and 2D work and I’ve moved into more sculptural and performance based kind of work. I thought performance art was pretentious, but I grew to love it. I really like Marina Abramović’s work. I saw her at the MOMA [Museum of Modern Art] in New York, which was cool. I like a lot of minimal kind of art. On Kawara makes really nice work. I like Tara Donovan; she does a lot of interesting material studies. I guess conceptually, she’s not my favorite, but visually, she makes interesting things. How does a job in the creative field measure up to your time at University of the Arts, where you devoted your undergraduate education to creating art? I miss having the freedom to make whatever I want. When I was working making visual displays for Club Monaco, it’s a very corporate idea. It’s interesting I can still use all the material experimentations and processes that I learned in school. Different techniques, like building and sewing, that I can apply to that. I do miss having that creative freedom.
A Philadelphia based visual artist whose work transcends conventional notions of femininity, Robin studied Fibers at the University of the Arts and has collaborated with such names as Anthropologie and Leifsdottir. ISSUE 1 | INDUCE | 34
What is it like to be a young female artist? It’s very hard because, sometimes, I feel like people don’t take you as seriously. When I was in school, I ISSUE 1 | INDUCE | 35
ISSUE 1 | INDUCE | 36
ROBIN
KOLBER
performance art, it goes into her personal life. She’s interested in fashion as well, so I’d love to talk to her about all that. I would be really nervous though. I love dichotomy and opposition in a look, and, you manage hard and edgy with soft and feminine. How do you balance both? I do that by mixing hair and makeup, bleached hair, but a lot of my clothes are black, a lot of silver... I pretty much only wear silver, I never wear gold. I’m into vintage Americana kind of look, motorcycle, punk influence. What makes you feel sexy? Wearing black, black lace, and wearing a nice fragrance too. Day-to-day I don’t actually wear fragrance, but I feel like wearing a really nice fragrance. Nice fragrance and nice lingerie.
was in the crafts department and fibers, which is predominantly female. We maybe had one male in our class. It’s interesting looking at different mediums, like how gender plays into that. I’ve noticed the sculpture department is predominantly male. It’s kind of a strange competition. Who can make a stranger kind of work, or whatever. It makes it more difficult, but I focus on being a female artist. I’m interested in traditional techniques. That’s why I went into fibers and textiles.
from school or in the areas where I’ve worked. It would be cool to meet people from different areas. I haven’t been yet, but the 3rd Ward in Philadelphia, I’ve kind of been meaning to go there because I feel like that’s a good way to meet people in the creative field.
Top three fashion designers. [Maison Martin] Margiela. I guess Rick Owens; on and off with Rick Owens. Jil Sander.
How would you describe your installations? I focused a lot on the concept of time and nostalgia is something that’s interesting to me. With the tick marks on the wall, I was interested in the idea of time passing and how to portray that in a simple action. When I first started, I went into a trance doing it; it’s very meditative to me. I like to focus on installation work.
Do you sense a feeling of community in terms of other creatives in Philadelphia? I think it could be stronger. I feel like you get to know a certain group and I’ve stayed within that group, mostly
If you could have dinner with any artist (living or dead), who would it be and why? Marina Abramović. I feel like she’s such an interesting woman. Not only does she focus on visual art and
Do you have a favorite quote? A quote that has to do with feminist ideas from Sylvia Plath, "Yes, my consuming desire is to mingle with road crews, sailors and soldiers, barroom regulars—to be a part of a scene, anonymous, listening, recording—all this is spoiled by the fact that I am a girl, a female always supposedly in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yes, God, I want to talk to everybody as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...” If you had an unlimited budget, what would be your masterpiece? Probably an installation or performance based work. Something probably larger scale since I would have the money and space to supply that. I don’t know. I would have to work out the details, but something open that takes up some space.
Connect/ROBIN KOLBER robinkolber.carbonmade.com robinkolber.tumblr.com
ISSUE 1 | INDUCE | 37
ISSUE 1 | INDUCE | 38
ISSUE 1 | INDUCE | 40
ART
ROBIN KOLBER
Tell me about your collaboration with Anthropologie. I worked there for an internship. I did mostly window displays and in-store display setups. They do a lot of different materials and it’s interesting that they focus their displays being handmade; I think that’s kind of original. Even though they are a more mainstream brand, it’s different than what you see other mainstream brands doing. They have people on the visual team that hand make all of it. It really works; any woman that walks in becomes enchanted. That whole idea is interesting to me. I also collaborated with them for the Leifsdottir brand on their runway show for fall season. They had soft sculpture terrariums that I helped make all the plants for. I didn’t get to go to the show, sadly, but the pictures turned out really cool. What other artists have influenced your aesthetic? A lot, actually and I feel like my style in terms of art has changed a lot since school. I was first interested in illustration and 2D work and I’ve moved into more sculptural and performance based kind of work. I thought performance art was pretentious, but I grew to love it. I really like Marina Abramović’s work. I saw her at the MOMA [Museum of Modern Art] in New York, which was cool. I like a lot of minimal kind of art. On Kawara makes really nice work. I like Tara Donovan; she does a lot of interesting material studies. I guess conceptually, she’s not my favorite, but visually, she makes interesting things. How does a job in the creative field measure up to your time at University of the Arts, where you devoted your undergraduate education to creating art? I miss having the freedom to make whatever I want. When I was working making visual displays for Club Monaco, it’s a very corporate idea. It’s interesting I can still use all the material experimentations and processes that I learned in school. Different techniques, like building and sewing, that I can apply to that. I do miss having that creative freedom.
A Philadelphia based visual artist whose work transcends conventional notions of femininity, Robin studied Fibers at the University of the Arts and has collaborated with such names as Anthropologie and Leifsdottir. ISSUE 1 | INDUCE | 34
What is it like to be a young female artist? It’s very hard because, sometimes, I feel like people don’t take you as seriously. When I was in school, I ISSUE 1 | INDUCE | 35
ISSUE 1 | INDUCE | 36
ROBIN
KOLBER
performance art, it goes into her personal life. She’s interested in fashion as well, so I’d love to talk to her about all that. I would be really nervous though. I love dichotomy and opposition in a look, and, you manage hard and edgy with soft and feminine. How do you balance both? I do that by mixing hair and makeup, bleached hair, but a lot of my clothes are black, a lot of silver... I pretty much only wear silver, I never wear gold. I’m into vintage Americana kind of look, motorcycle, punk influence. What makes you feel sexy? Wearing black, black lace, and wearing a nice fragrance too. Day-to-day I don’t actually wear fragrance, but I feel like wearing a really nice fragrance. Nice fragrance and nice lingerie.
was in the crafts department and fibers, which is predominantly female. We maybe had one male in our class. It’s interesting looking at different mediums, like how gender plays into that. I’ve noticed the sculpture department is predominantly male. It’s kind of a strange competition. Who can make a stranger kind of work, or whatever. It makes it more difficult, but I focus on being a female artist. I’m interested in traditional techniques. That’s why I went into fibers and textiles.
from school or in the areas where I’ve worked. It would be cool to meet people from different areas. I haven’t been yet, but the 3rd Ward in Philadelphia, I’ve kind of been meaning to go there because I feel like that’s a good way to meet people in the creative field.
Top three fashion designers. [Maison Martin] Margiela. I guess Rick Owens; on and off with Rick Owens. Jil Sander.
How would you describe your installations? I focused a lot on the concept of time and nostalgia is something that’s interesting to me. With the tick marks on the wall, I was interested in the idea of time passing and how to portray that in a simple action. When I first started, I went into a trance doing it; it’s very meditative to me. I like to focus on installation work.
Do you sense a feeling of community in terms of other creatives in Philadelphia? I think it could be stronger. I feel like you get to know a certain group and I’ve stayed within that group, mostly
If you could have dinner with any artist (living or dead), who would it be and why? Marina Abramović. I feel like she’s such an interesting woman. Not only does she focus on visual art and
Do you have a favorite quote? A quote that has to do with feminist ideas from Sylvia Plath, "Yes, my consuming desire is to mingle with road crews, sailors and soldiers, barroom regulars—to be a part of a scene, anonymous, listening, recording—all this is spoiled by the fact that I am a girl, a female always supposedly in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yes, God, I want to talk to everybody as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...” If you had an unlimited budget, what would be your masterpiece? Probably an installation or performance based work. Something probably larger scale since I would have the money and space to supply that. I don’t know. I would have to work out the details, but something open that takes up some space.
Connect/ROBIN KOLBER robinkolber.carbonmade.com robinkolber.tumblr.com
ISSUE 1 | INDUCE | 37
ISSUE 1 | INDUCE | 38
ISSUE 1 | INDUCE | 40
ROBIN KOLBER
Tell me about your collaboration with Anthropologie. I worked there for an internship. I did mostly window displays and in-store display setups. They do a lot of different materials and it’s interesting that they focus their displays being handmade; I think that’s kind of original. Even though they are a more mainstream brand, it’s different than what you see other mainstream brands doing. They have people on the visual team that hand make all of it. It really works; any woman that walks in becomes enchanted. That whole idea is interesting to me. I also collaborated with them with the Leifsdottir brand with their runway show for fall season. They had soft sculpture terrariums that I helped make all the plants for that. I didn’t get to go to the show, sadly, but the pictures turned out really cool. What artists influence your aesthetic? A lot, actually and I feel like my style in terms of art has changed a lot since school. I was first interested in illustration and 2D work and I’ve moved into more sculptural and performance based kind of work. I thought performance art was pretentious, but I grew to love it. I really like Marina Abramović’s work. I saw her at the MOMA [Museum of Modern Art] in New York, which was cool. I like a lot of minimal kind of art. Ann Kourara makes really nice work. I like Tara Donovan; she does a lot of interesting material studies. I guess conceptually, she’s not my favorite, but visually, she makes interesting things. How does a job in the creative field measure up to your time at University of the Arts, where you devoted your undergraduate education to creating art? I miss having the freedom to make whatever I want. When I was working making visual displays for Club Monaco, it’s a very corporate idea. It’s interesting I can still use all the material experimentations and processes that I learned in school. Different techniques, like building and sewing, that I can apply to that. I do miss having that creative freedom.
A Philadelphia based visual artist whose work transcends conventional notions of femininity, Robin studied Fibers at the University of the Arts and has collaborated with such names as Anthropologie and Leifsdottir. ISSUE 1 | INDUCE | 34
What is it like to be a young female artist? It’s very hard because, sometimes, I feel like people don’t take you as seriously. When I was in school, I ISSUE 1 | INDUCE | 35
ISSUE 1 | INDUCE | 36
ROBIN
KOLBER
performance art, it goes into her personal life. She’s interested in fashion as well, so I’d love to talk to her about all that. I would be really nervous though. I love dichotomy and opposition in a look, and, you manage hard and edgy with soft and feminine. How do you balance both? I do that by mixing hair and makeup, bleached hair, but a lot of my clothes are black, a lot of silver... I pretty much only wear silver, I never wear gold. I’m into vintage Americana kind of look, motorcycle, punk influence. What makes you feel sexy? Wearing black, black lace, and wearing a nice fragrance too. Day-to-day I don’t actually wear fragrance, but I feel like wearing a really nice fragrance. Nice fragrance and nice lingerie.
was in the crafts department and fibers, which is predominantly female. We maybe had one male in our class. It’s interesting looking at different mediums, like how gender plays into that. I’ve noticed the sculpture department is predominantly male. It’s kind of a strange competition. Who can make a stranger kind of work, or whatever. It makes it more difficult, but I focus on being a female artist. I’m interested in traditional techniques. That’s why I went into fibers and textiles.
from school or in the areas where I’ve worked. It would be cool to meet people from different areas. I haven’t been yet, but the 3rd Ward in Philadelphia, I’ve kind of been meaning to go there because I feel like that’s a good way to meet people in the creative field.
Top three fashion designers. [Maison Martin] Margiela. I guess Rick Owens; on and off with Rick Owens. Jil Sander.
How would you describe your installations? I focused a lot on the concept of time and nostalgia is something that’s interesting to me. With the tick marks on the wall, I was interested in the idea of time passing and how to portray that in a simple action. When I first started, I went into a trance doing it; it’s very meditative to me. I like to focus on installation work.
Do you sense a feeling of community in terms of other creatives in Philadelphia? I think it could be stronger. I feel like you get to know a certain group and I’ve stayed within that group, mostly
If you could have dinner with any artist (living or dead), who would it be and why? Marina Abramović. I feel like she’s such an interesting woman. Not only does she focus on visual art and
Do you have a favorite quote? A quote that has to do with feminist ideas from Sylvia Plath, "Yes, my consuming desire is to mingle with road crews, sailors and soldiers, barroom regulars—to be a part of a scene, anonymous, listening, recording—all this is spoiled by the fact that I am a girl, a female always supposedly in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yes, God, I want to talk to everybody as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...” If you had an unlimited budget, what would be your masterpiece? Probably an installation or performance based work. Something probably larger scale since I would have the money and space to supply that. I don’t know. I would have to work out the details, but something open that takes up some space.
Connect/ROBIN KOLBER robinkolber.carbonmade.com robinkolber.tumblr.com
ISSUE 1 | INDUCE | 37
ISSUE 1 | INDUCE | 38
ISSUE 1 | INDUCE | 40
ROBIN KOLBER
Tell me about your collaboration with Anthropologie. I worked there for an internship. I did mostly window displays and in-store display setups. They do a lot of different materials and it’s interesting that they focus their displays being handmade; I think that’s kind of original. Even though they are a more mainstream brand, it’s different than what you see other mainstream brands doing. They have people on the visual team that hand make all of it. It really works; any woman that walks in becomes enchanted. That whole idea is interesting to me. I also collaborated with them with the Leifsdottir brand with their runway show for fall season. They had soft sculpture terrariums that I helped make all the plants for that. I didn’t get to go to the show, sadly, but the pictures turned out really cool. What artists influence your aesthetic? A lot, actually and I feel like my style in terms of art has changed a lot since school. I was first interested in illustration and 2D work and I’ve moved into more sculptural and performance based kind of work. I thought performance art was pretentious, but I grew to love it. I really like Marina Abramović’s work. I saw her at the MOMA [Museum of Modern Art] in New York, which was cool. I like a lot of minimal kind of art. Ann Kourara makes really nice work. I like Tara Donovan; she does a lot of interesting material studies. I guess conceptually, she’s not my favorite, but visually, she makes interesting things. How does a job in the creative field measure up to your time at University of the Arts, where you devoted your undergraduate education to creating art? I miss having the freedom to make whatever I want. When I was working making visual displays for Club Monaco, it’s a very corporate idea. It’s interesting I can still use all the material experimentations and processes that I learned in school. Different techniques, like building and sewing, that I can apply to that. I do miss having that creative freedom.
A Philadelphia based visual artist whose work transcends conventional notions of femininity, Robin studied Fibers at the University of the Arts and has collaborated with such names as Anthropologie and Leifsdottir. ISSUE 1 | INDUCE | 34
What is it like to be a young female artist? It’s very hard because, sometimes, I feel like people don’t take you as seriously. When I was in school, I ISSUE 1 | INDUCE | 35
ISSUE 1 | INDUCE | 36
ROBIN
KOLBER
performance art, it goes into her personal life. She’s interested in fashion as well, so I’d love to talk to her about all that. I would be really nervous though. I love dichotomy and opposition in a look, and, you manage hard and edgy with soft and feminine. How do you balance both? I do that by mixing hair and makeup, bleached hair, but a lot of my clothes are black, a lot of silver... I pretty much only wear silver, I never wear gold. I’m into vintage Americana kind of look, motorcycle, punk influence. What makes you feel sexy? Wearing black, black lace, and wearing a nice fragrance too. Day-to-day I don’t actually wear fragrance, but I feel like wearing a really nice fragrance. Nice fragrance and nice lingerie.
was in the crafts department and fibers, which is predominantly female. We maybe had one male in our class. It’s interesting looking at different mediums, like how gender plays into that. I’ve noticed the sculpture department is predominantly male. It’s kind of a strange competition. Who can make a stranger kind of work, or whatever. It makes it more difficult, but I focus on being a female artist. I’m interested in traditional techniques. That’s why I went into fibers and textiles.
from school or in the areas where I’ve worked. It would be cool to meet people from different areas. I haven’t been yet, but the 3rd Ward in Philadelphia, I’ve kind of been meaning to go there because I feel like that’s a good way to meet people in the creative field.
Top three fashion designers. [Maison Martin] Margiela. I guess Rick Owens; on and off with Rick Owens. Jil Sander.
How would you describe your installations? I focused a lot on the concept of time and nostalgia is something that’s interesting to me. With the tick marks on the wall, I was interested in the idea of time passing and how to portray that in a simple action. When I first started, I went into a trance doing it; it’s very meditative to me. I like to focus on installation work.
Do you sense a feeling of community in terms of other creatives in Philadelphia? I think it could be stronger. I feel like you get to know a certain group and I’ve stayed within that group, mostly
If you could have dinner with any artist (living or dead), who would it be and why? Marina Abramović. I feel like she’s such an interesting woman. Not only does she focus on visual art and
Do you have a favorite quote? A quote that has to do with feminist ideas from Sylvia Plath, "Yes, my consuming desire is to mingle with road crews, sailors and soldiers, barroom regulars—to be a part of a scene, anonymous, listening, recording—all this is spoiled by the fact that I am a girl, a female always supposedly in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yes, God, I want to talk to everybody as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...” If you had an unlimited budget, what would be your masterpiece? Probably an installation or performance based work. Something probably larger scale since I would have the money and space to supply that. I don’t know. I would have to work out the details, but something open that takes up some space.
Connect/ROBIN KOLBER robinkolber.carbonmade.com robinkolber.tumblr.com
ISSUE 1 | INDUCE | 37
ISSUE 1 | INDUCE | 38
ISSUE 1 | INDUCE | 40
ART
ROBIN KOLBER
Tell me about your collaboration with Anthropologie. I worked there for an internship. I did mostly window displays and in-store display setups. They do a lot of different materials and it’s interesting that they focus their displays being handmade; I think that’s kind of original. Even though they are a more mainstream brand, it’s different than what you see other mainstream brands doing. They have people on the visual team that hand make all of it. It really works; any woman that walks in becomes enchanted. That whole idea is interesting to me. I also collaborated with them for the Leifsdottir brand on their runway show for fall season. They had soft sculpture terrariums that I helped make all the plants for. I didn’t get to go to the show, sadly, but the pictures turned out really cool. What other artists have influenced your aesthetic? A lot, actually and I feel like my style in terms of art has changed a lot since school. I was first interested in illustration and 2D work and I’ve moved into more sculptural and performance based kind of work. I thought performance art was pretentious, but I grew to love it. I really like Marina Abramović’s work. I saw her at the MOMA [Museum of Modern Art] in New York, which was cool. I like a lot of minimal kind of art. On Kawara makes really nice work. I like Tara Donovan; she does a lot of interesting material studies. I guess conceptually, she’s not my favorite, but visually, she makes interesting things. How does a job in the creative field measure up to your time at University of the Arts, where you devoted your undergraduate education to creating art? I miss having the freedom to make whatever I want. When I was working making visual displays for Club Monaco, it’s a very corporate idea. It’s interesting I can still use all the material experimentations and processes that I learned in school. Different techniques, like building and sewing, that I can apply to that. I do miss having that creative freedom.
A Philadelphia based visual artist whose work transcends conventional notions of femininity, Robin studied Fibers at the University of the Arts and has collaborated with such names as Anthropologie and Leifsdottir. ISSUE 1 | INDUCE | 34
What is it like to be a young female artist? It’s very hard because, sometimes, I feel like people don’t take you as seriously. When I was in school, I ISSUE 1 | INDUCE | 35
ISSUE 1 | INDUCE | 36
ROBIN
KOLBER
performance art, it goes into her personal life. She’s interested in fashion as well, so I’d love to talk to her about all that. I would be really nervous though. I love dichotomy and opposition in a look, and, you manage hard and edgy with soft and feminine. How do you balance both? I do that by mixing hair and makeup, bleached hair, but a lot of my clothes are black, a lot of silver... I pretty much only wear silver, I never wear gold. I’m into vintage Americana kind of look, motorcycle, punk influence. What makes you feel sexy? Wearing black, black lace, and wearing a nice fragrance too. Day-to-day I don’t actually wear fragrance, but I feel like wearing a really nice fragrance. Nice fragrance and nice lingerie.
was in the crafts department and fibers, which is predominantly female. We maybe had one male in our class. It’s interesting looking at different mediums, like how gender plays into that. I’ve noticed the sculpture department is predominantly male. It’s kind of a strange competition. Who can make a stranger kind of work, or whatever. It makes it more difficult, but I focus on being a female artist. I’m interested in traditional techniques. That’s why I went into fibers and textiles.
from school or in the areas where I’ve worked. It would be cool to meet people from different areas. I haven’t been yet, but the 3rd Ward in Philadelphia, I’ve kind of been meaning to go there because I feel like that’s a good way to meet people in the creative field.
Top three fashion designers. [Maison Martin] Margiela. I guess Rick Owens; on and off with Rick Owens. Jil Sander.
How would you describe your installations? I focused a lot on the concept of time and nostalgia is something that’s interesting to me. With the tick marks on the wall, I was interested in the idea of time passing and how to portray that in a simple action. When I first started, I went into a trance doing it; it’s very meditative to me. I like to focus on installation work.
Do you sense a feeling of community in terms of other creatives in Philadelphia? I think it could be stronger. I feel like you get to know a certain group and I’ve stayed within that group, mostly
If you could have dinner with any artist (living or dead), who would it be and why? Marina Abramović. I feel like she’s such an interesting woman. Not only does she focus on visual art and
Do you have a favorite quote? A quote that has to do with feminist ideas from Sylvia Plath, "Yes, my consuming desire is to mingle with road crews, sailors and soldiers, barroom regulars—to be a part of a scene, anonymous, listening, recording—all this is spoiled by the fact that I am a girl, a female always supposedly in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yes, God, I want to talk to everybody as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...” If you had an unlimited budget, what would be your masterpiece? Probably an installation or performance based work. Something probably larger scale since I would have the money and space to supply that. I don’t know. I would have to work out the details, but something open that takes up some space.
Connect/ROBIN KOLBER robinkolber.carbonmade.com robinkolber.tumblr.com
ISSUE 1 | INDUCE | 37
ISSUE 1 | INDUCE | 38
ISSUE 1 | INDUCE | 40
ART
ROBIN KOLBER
Tell me about your collaboration with Anthropologie. I worked there for an internship. I did mostly window displays and in-store display setups. They do a lot of different materials and it’s interesting that they focus their displays being handmade; I think that’s kind of original. Even though they are a more mainstream brand, it’s different than what you see other mainstream brands doing. They have people on the visual team that hand make all of it. It really works; any woman that walks in becomes enchanted. That whole idea is interesting to me. I also collaborated with them for the Leifsdottir brand on their runway show for fall season. They had soft sculpture terrariums that I helped make all the plants for. I didn’t get to go to the show, sadly, but the pictures turned out really cool. What other artists have influenced your aesthetic? A lot, actually and I feel like my style in terms of art has changed a lot since school. I was first interested in illustration and 2D work and I’ve moved into more sculptural and performance based kind of work. I thought performance art was pretentious, but I grew to love it. I really like Marina Abramović’s work. I saw her at the MOMA [Museum of Modern Art] in New York, which was cool. I like a lot of minimal kind of art. On Kawara makes really nice work. I like Tara Donovan; she does a lot of interesting material studies. I guess conceptually, she’s not my favorite, but visually, she makes interesting things. How does a job in the creative field measure up to your time at University of the Arts, where you devoted your undergraduate education to creating art? I miss having the freedom to make whatever I want. When I was working making visual displays for Club Monaco, it’s a very corporate idea. It’s interesting I can still use all the material experimentations and processes that I learned in school. Different techniques, like building and sewing, that I can apply to that. I do miss having that creative freedom.
A Philadelphia based visual artist whose work transcends conventional notions of femininity, Robin studied Fibers at the University of the Arts and has collaborated with such names as Anthropologie and Leifsdottir. ISSUE 1 | INDUCE | 34
What is it like to be a young female artist? It’s very hard because, sometimes, I feel like people don’t take you as seriously. When I was in school, I ISSUE 1 | INDUCE | 35
ISSUE 1 | INDUCE | 36
ROBIN
KOLBER
performance art, it goes into her personal life. She’s interested in fashion as well, so I’d love to talk to her about all that. I would be really nervous though. I love dichotomy and opposition in a look, and, you manage hard and edgy with soft and feminine. How do you balance both? I do that by mixing hair and makeup, bleached hair, but a lot of my clothes are black, a lot of silver... I pretty much only wear silver, I never wear gold. I’m into vintage Americana kind of look, motorcycle, punk influence. What makes you feel sexy? Wearing black, black lace, and wearing a nice fragrance too. Day-to-day I don’t actually wear fragrance, but I feel like wearing a really nice fragrance. Nice fragrance and nice lingerie.
was in the crafts department and fibers, which is predominantly female. We maybe had one male in our class. It’s interesting looking at different mediums, like how gender plays into that. I’ve noticed the sculpture department is predominantly male. It’s kind of a strange competition. Who can make a stranger kind of work, or whatever. It makes it more difficult, but I focus on being a female artist. I’m interested in traditional techniques. That’s why I went into fibers and textiles.
from school or in the areas where I’ve worked. It would be cool to meet people from different areas. I haven’t been yet, but the 3rd Ward in Philadelphia, I’ve kind of been meaning to go there because I feel like that’s a good way to meet people in the creative field.
Top three fashion designers. [Maison Martin] Margiela. I guess Rick Owens; on and off with Rick Owens. Jil Sander.
How would you describe your installations? I focused a lot on the concept of time and nostalgia is something that’s interesting to me. With the tick marks on the wall, I was interested in the idea of time passing and how to portray that in a simple action. When I first started, I went into a trance doing it; it’s very meditative to me. I like to focus on installation work.
Do you sense a feeling of community in terms of other creatives in Philadelphia? I think it could be stronger. I feel like you get to know a certain group and I’ve stayed within that group, mostly
If you could have dinner with any artist (living or dead), who would it be and why? Marina Abramović. I feel like she’s such an interesting woman. Not only does she focus on visual art and
Do you have a favorite quote? A quote that has to do with feminist ideas from Sylvia Plath, "Yes, my consuming desire is to mingle with road crews, sailors and soldiers, barroom regulars—to be a part of a scene, anonymous, listening, recording—all this is spoiled by the fact that I am a girl, a female always supposedly in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yes, God, I want to talk to everybody as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...” If you had an unlimited budget, what would be your masterpiece? Probably an installation or performance based work. Something probably larger scale since I would have the money and space to supply that. I don’t know. I would have to work out the details, but something open that takes up some space.
Connect/ROBIN KOLBER robinkolber.carbonmade.com robinkolber.tumblr.com
ISSUE 1 | INDUCE | 37
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ISSUE 1 | INDUCE | 40
ART
ROBIN KOLBER
Tell me about your collaboration with Anthropologie. I worked there for an internship. I did mostly window displays and in-store display setups. They do a lot of different materials and it’s interesting that they focus their displays being handmade; I think that’s kind of original. Even though they are a more mainstream brand, it’s different than what you see other mainstream brands doing. They have people on the visual team that hand make all of it. It really works; any woman that walks in becomes enchanted. That whole idea is interesting to me. I also collaborated with them for the Leifsdottir brand on their runway show for fall season. They had soft sculpture terrariums that I helped make all the plants for. I didn’t get to go to the show, sadly, but the pictures turned out really cool. What other artists have influenced your aesthetic? A lot, actually and I feel like my style in terms of art has changed a lot since school. I was first interested in illustration and 2D work and I’ve moved into more sculptural and performance based kind of work. I thought performance art was pretentious, but I grew to love it. I really like Marina Abramović’s work. I saw her at the MOMA [Museum of Modern Art] in New York, which was cool. I like a lot of minimal kind of art. On Kawara makes really nice work. I like Tara Donovan; she does a lot of interesting material studies. I guess conceptually, she’s not my favorite, but visually, she makes interesting things. How does a job in the creative field measure up to your time at University of the Arts, where you devoted your undergraduate education to creating art? I miss having the freedom to make whatever I want. When I was working making visual displays for Club Monaco, it’s a very corporate idea. It’s interesting I can still use all the material experimentations and processes that I learned in school. Different techniques, like building and sewing, that I can apply to that. I do miss having that creative freedom.
A Philadelphia based visual artist whose work transcends conventional notions of femininity, Robin studied Fibers at the University of the Arts and has collaborated with such names as Anthropologie and Leifsdottir. ISSUE 1 | INDUCE | 34
What is it like to be a young female artist? It’s very hard because, sometimes, I feel like people don’t take you as seriously. When I was in school, I ISSUE 1 | INDUCE | 35
ISSUE 1 | INDUCE | 36
ROBIN
KOLBER
performance art, it goes into her personal life. She’s interested in fashion as well, so I’d love to talk to her about all that. I would be really nervous though. I love dichotomy and opposition in a look, and, you manage hard and edgy with soft and feminine. How do you balance both? I do that by mixing hair and makeup, bleached hair, but a lot of my clothes are black, a lot of silver... I pretty much only wear silver, I never wear gold. I’m into vintage Americana kind of look, motorcycle, punk influence. What makes you feel sexy? Wearing black, black lace, and wearing a nice fragrance too. Day-to-day I don’t actually wear fragrance, but I feel like wearing a really nice fragrance. Nice fragrance and nice lingerie.
was in the crafts department and fibers, which is predominantly female. We maybe had one male in our class. It’s interesting looking at different mediums, like how gender plays into that. I’ve noticed the sculpture department is predominantly male. It’s kind of a strange competition. Who can make a stranger kind of work, or whatever. It makes it more difficult, but I focus on being a female artist. I’m interested in traditional techniques. That’s why I went into fibers and textiles.
from school or in the areas where I’ve worked. It would be cool to meet people from different areas. I haven’t been yet, but the 3rd Ward in Philadelphia, I’ve kind of been meaning to go there because I feel like that’s a good way to meet people in the creative field.
Top three fashion designers. [Maison Martin] Margiela. I guess Rick Owens; on and off with Rick Owens. Jil Sander.
How would you describe your installations? I focused a lot on the concept of time and nostalgia is something that’s interesting to me. With the tick marks on the wall, I was interested in the idea of time passing and how to portray that in a simple action. When I first started, I went into a trance doing it; it’s very meditative to me. I like to focus on installation work.
Do you sense a feeling of community in terms of other creatives in Philadelphia? I think it could be stronger. I feel like you get to know a certain group and I’ve stayed within that group, mostly
If you could have dinner with any artist (living or dead), who would it be and why? Marina Abramović. I feel like she’s such an interesting woman. Not only does she focus on visual art and
Do you have a favorite quote? A quote that has to do with feminist ideas from Sylvia Plath, "Yes, my consuming desire is to mingle with road crews, sailors and soldiers, barroom regulars—to be a part of a scene, anonymous, listening, recording—all this is spoiled by the fact that I am a girl, a female always supposedly in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yes, God, I want to talk to everybody as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night...” If you had an unlimited budget, what would be your masterpiece? Probably an installation or performance based work. Something probably larger scale since I would have the money and space to supply that. I don’t know. I would have to work out the details, but something open that takes up some space.
Connect/ROBIN KOLBER robinkolber.carbonmade.com robinkolber.tumblr.com
ISSUE 1 | INDUCE | 37
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ISSUE 1 | INDUCE | 40
ART
How long have you been making art? Since I was 5. My mom is an artist and she always had this stuff. Crayons, colored pencils, watercolors.
WILL KELLY
Your nudes are great. It seems to be a central theme in your work. Yea, I think I do that a lot because it feels like something that can never really get old, you know? It’s something that’s always there, but it’s a little different, more concrete.
‘Even if it’s a male or female,it’s always got that sort of sameness.’
ISSUE 1 | INDUCE | 44
What role does music play in your creative process? Because of my brother, I started playing guitar and I always looked up to him, so it’s always been there as something that I’ve physically done. Aside from that, in high school, I started to come home from school and listen to music while I was making art to help me to forget about the world. In what direction do you see your art going? That’s a good question. I have interest, especially speaking with you, when we first met about making textiles for clothing. I’m not so interested in designing the shapes of the clothes, but I like the idea of making prints. That’s not everything, but it’s something I am very interested in doing. Aside from that, keep making music and art.
What is your most highly valued work? It’s a piece called HHH. It sold for over $5,000. Aside from that, the most expensive piece I’ve sold was like $1100. I won second place in a ‘plein air’ painting contest in Maryland 2 years ago.
How has living in Philly impacted you as an artist? Coming from a small town in Maryland and gradually moving from a smaller city to a bigger city, it sort of acclimated me to a bigger social awareness of the world, which has been a positive thing. Sometimes it feels like a negative thing, but not overall. Philly is a city of smaller towns that has more commerce, more interests, more open-mindedness. To have a community of people to bounce ideas off of and to see what you’re doing, that’s sort of the most exciting thing about art to me. I’m not one of those artists who likes to sit in the cave and don’t care what people think about it. I really like to interact with people.
What about playing music, in regards to coming into that space of being creative? The reason I’ve been able to continue to make music is because I make something visual and then I come home frustrated with that and to make music is a way to switch gears, you know? They bounce off each other, but not necessarily in a cohesive way. More like,
What piece of art changed your life? Van Gogh’s self portrait at the National Gallery. I can remember, it was on the left side when you walk in. There was also a self portrait of Paul Gauguin. There was a doorway between the two and I remember being really attracted to both of them, but more attracted to Van Gogh. Gauguin made me feel a little uncomfort-
How would you describe your art? I like a quote that Frank Zappa said, “You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe with whipped cream.” I always think about that when I try to think of something to say when someone asks me about art.
ISSUE 1 | INDUCE | 41
they don’t seem to connect consciously. As corny as that sounds, maybe there’s a connection there, but I wouldn’t necessarily be able to connect it, but I think there is a connection between the two.
ISSUE 1 | INDUCE | 45
ISSUE 1 | INDUCE | 46
able because it was more avant-garde or a little more symbolic. Also, Jackson Pollock’s big pieces. I mean, when I think about that question, I really do go back to my first experience at the National Gallery. Rothko, Pollock, Gauguin and Van Gogh. It made the biggest impression on me.
Jacket: Dries Van Noten
WILL KELLY What other artists inspire you? When I was really young, I was exposed to Matisse, Picasso; when I got older, Rothko, Clyfford Still, H.C. Westermann. I don’t know, it’s vast, there’s a lot. What is your creative process like? I like the feeling that I’m on to something and that someone might come in and see what I’m doing. I guess that comes from my dad, he’s a carpenter and people always stop by his shop to see what he’s working on. He worked in the 17th century style. It wasn’t like he was creating new things, but I like the idea of having that same sort of shop where people would come in to see what I’m working on. Favorite thing to do while making art? Right now, probably smoking a joint and drinking a little beer and listening to some kind of music. But that changes, sometimes, I don’t want to do anything like that, you know, for months. What’s next for Will Kelly? Probably pool, I like to play pool and then, maybe, what’s next? Maybe I’ll move to Hawaii.
Connect/WILL KELLY growphins.com tumblr.com ISSUE 1 | INDUCE | 47
ART
How long have you been making art? Since I was 5. My mom is an artist and she always had this stuff. Crayons, colored pencils, watercolors.
WILL KELLY
Your nudes are great. It seems to be a central theme in your work. Yea, I think I do that a lot because it feels like something that can never really get old, you know? It’s something that’s always there, but it’s a little different, more concrete.
‘Even if it’s a male or female,it’s always got that sort of sameness.’
ISSUE 1 | INDUCE | 44
What role does music play in your creative process? Because of my brother, I started playing guitar and I always looked up to him, so it’s always been there as something that I’ve physically done. Aside from that, in high school, I started to come home from school and listen to music while I was making art to help me to forget about the world. In what direction do you see your art going? That’s a good question. I have interest, especially speaking with you, when we first met about making textiles for clothing. I’m not so interested in designing the shapes of the clothes, but I like the idea of making prints. That’s not everything, but it’s something I am very interested in doing. Aside from that, keep making music and art.
What is your most highly valued work? It’s a piece called HHH. It sold for over $5,000. Aside from that, the most expensive piece I’ve sold was like $1100. I won second place in a ‘plein air’ painting contest in Maryland 2 years ago.
How has living in Philly impacted you as an artist? Coming from a small town in Maryland and gradually moving from a smaller city to a bigger city, it sort of acclimated me to a bigger social awareness of the world, which has been a positive thing. Sometimes it feels like a negative thing, but not overall. Philly is a city of smaller towns that has more commerce, more interests, more open-mindedness. To have a community of people to bounce ideas off of and to see what you’re doing, that’s sort of the most exciting thing about art to me. I’m not one of those artists who likes to sit in the cave and don’t care what people think about it. I really like to interact with people.
What about playing music, in regards to coming into that space of being creative? The reason I’ve been able to continue to make music is because I make something visual and then I come home frustrated with that and to make music is a way to switch gears, you know? They bounce off each other, but not necessarily in a cohesive way. More like,
What piece of art changed your life? Van Gogh’s self portrait at the National Gallery. I can remember, it was on the left side when you walk in. There was also a self portrait of Paul Gauguin. There was a doorway between the two and I remember being really attracted to both of them, but more attracted to Van Gogh. Gauguin made me feel a little uncomfort-
How would you describe your art? I like a quote that Frank Zappa said, “You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe with whipped cream.” I always think about that when I try to think of something to say when someone asks me about art.
ISSUE 1 | INDUCE | 41
they don’t seem to connect consciously. As corny as that sounds, maybe there’s a connection there, but I wouldn’t necessarily be able to connect it, but I think there is a connection between the two.
ISSUE 1 | INDUCE | 45
ISSUE 1 | INDUCE | 46
able because it was more avant-garde or a little more symbolic. Also, Jackson Pollock’s big pieces. I mean, when I think about that question, I really do go back to my first experience at the National Gallery. Rothko, Pollock, Gauguin and Van Gogh. It made the biggest impression on me.
Jacket: Dries Van Noten
WILL KELLY What other artists inspire you? When I was really young, I was exposed to Matisse, Picasso; when I got older, Rothko, Clyfford Still, H.C. Westermann. I don’t know, it’s vast, there’s a lot. What is your creative process like? I like the feeling that I’m on to something and that someone might come in and see what I’m doing. I guess that comes from my dad, he’s a carpenter and people always stop by his shop to see what he’s working on. He worked in the 17th century style. It wasn’t like he was creating new things, but I like the idea of having that same sort of shop where people would come in to see what I’m working on. Favorite thing to do while making art? Right now, probably smoking a joint and drinking a little beer and listening to some kind of music. But that changes, sometimes, I don’t want to do anything like that, you know, for months. What’s next for Will Kelly? Probably pool, I like to play pool and then, maybe, what’s next? Maybe I’ll move to Hawaii.
Connect/WILL KELLY growphins.com tumblr.com ISSUE 1 | INDUCE | 47
ART
How long have you been making art? Since I was 5. My mom is an artist and she always had this stuff. Crayons, colored pencils, watercolors.
WILL KELLY
Your nudes are great. It seems to be a central theme in your work. Yea, I think I do that a lot because it feels like something that can never really get old, you know? It’s something that’s always there, but it’s a little different, more concrete.
‘Even if it’s a male or female,it’s always got that sort of sameness.’
ISSUE 1 | INDUCE | 44
What role does music play in your creative process? Because of my brother, I started playing guitar and I always looked up to him, so it’s always been there as something that I’ve physically done. Aside from that, in high school, I started to come home from school and listen to music while I was making art to help me to forget about the world. In what direction do you see your art going? That’s a good question. I have interest, especially speaking with you, when we first met about making textiles for clothing. I’m not so interested in designing the shapes of the clothes, but I like the idea of making prints. That’s not everything, but it’s something I am very interested in doing. Aside from that, keep making music and art.
What is your most highly valued work? It’s a piece called HHH. It sold for over $5,000. Aside from that, the most expensive piece I’ve sold was like $1100. I won second place in a ‘plein air’ painting contest in Maryland 2 years ago.
How has living in Philly impacted you as an artist? Coming from a small town in Maryland and gradually moving from a smaller city to a bigger city, it sort of acclimated me to a bigger social awareness of the world, which has been a positive thing. Sometimes it feels like a negative thing, but not overall. Philly is a city of smaller towns that has more commerce, more interests, more open-mindedness. To have a community of people to bounce ideas off of and to see what you’re doing, that’s sort of the most exciting thing about art to me. I’m not one of those artists who likes to sit in the cave and don’t care what people think about it. I really like to interact with people.
What about playing music, in regards to coming into that space of being creative? The reason I’ve been able to continue to make music is because I make something visual and then I come home frustrated with that and to make music is a way to switch gears, you know? They bounce off each other, but not necessarily in a cohesive way. More like,
What piece of art changed your life? Van Gogh’s self portrait at the National Gallery. I can remember, it was on the left side when you walk in. There was also a self portrait of Paul Gauguin. There was a doorway between the two and I remember being really attracted to both of them, but more attracted to Van Gogh. Gauguin made me feel a little uncomfort-
How would you describe your art? I like a quote that Frank Zappa said, “You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe with whipped cream.” I always think about that when I try to think of something to say when someone asks me about art.
ISSUE 1 | INDUCE | 41
they don’t seem to connect consciously. As corny as that sounds, maybe there’s a connection there, but I wouldn’t necessarily be able to connect it, but I think there is a connection between the two.
ISSUE 1 | INDUCE | 45
ISSUE 1 | INDUCE | 46
able because it was more avant-garde or a little more symbolic. Also, Jackson Pollock’s big pieces. I mean, when I think about that question, I really do go back to my first experience at the National Gallery. Rothko, Pollock, Gauguin and Van Gogh. It made the biggest impression on me.
Jacket: Dries Van Noten
WILL KELLY What other artists inspire you? When I was really young, I was exposed to Matisse, Picasso; when I got older, Rothko, Clyfford Still, H.C. Westermann. I don’t know, it’s vast, there’s a lot. What is your creative process like? I like the feeling that I’m on to something and that someone might come in and see what I’m doing. I guess that comes from my dad, he’s a carpenter and people always stop by his shop to see what he’s working on. He worked in the 17th century style. It wasn’t like he was creating new things, but I like the idea of having that same sort of shop where people would come in to see what I’m working on. Favorite thing to do while making art? Right now, probably smoking a joint and drinking a little beer and listening to some kind of music. But that changes, sometimes, I don’t want to do anything like that, you know, for months. What’s next for Will Kelly? Probably pool, I like to play pool and then, maybe, what’s next? Maybe I’ll move to Hawaii.
Connect/WILL KELLY growphins.com tumblr.com ISSUE 1 | INDUCE | 47
ART
How long have you been making art? Since I was 5. My mom is an artist and she always had this stuff. Crayons, colored pencils, watercolors.
WILL KELLY
Your nudes are great. It seems to be a central theme in your work. Yea, I think I do that a lot because it feels like something that can never really get old, you know? It’s something that’s always there, but it’s a little different, more concrete.
‘Even if it’s a male or female,it’s always got that sort of sameness.’
ISSUE 1 | INDUCE | 44
What role does music play in your creative process? Because of my brother, I started playing guitar and I always looked up to him, so it’s always been there as something that I’ve physically done. Aside from that, in high school, I started to come home from school and listen to music while I was making art to help me to forget about the world. In what direction do you see your art going? That’s a good question. I have interest, especially speaking with you, when we first met about making textiles for clothing. I’m not so interested in designing the shapes of the clothes, but I like the idea of making prints. That’s not everything, but it’s something I am very interested in doing. Aside from that, keep making music and art.
What is your most highly valued work? It’s a piece called HHH. It sold for over $5,000. Aside from that, the most expensive piece I’ve sold was like $1100. I won second place in a ‘plein air’ painting contest in Maryland 2 years ago.
How has living in Philly impacted you as an artist? Coming from a small town in Maryland and gradually moving from a smaller city to a bigger city, it sort of acclimated me to a bigger social awareness of the world, which has been a positive thing. Sometimes it feels like a negative thing, but not overall. Philly is a city of smaller towns that has more commerce, more interests, more open-mindedness. To have a community of people to bounce ideas off of and to see what you’re doing, that’s sort of the most exciting thing about art to me. I’m not one of those artists who likes to sit in the cave and don’t care what people think about it. I really like to interact with people.
What about playing music, in regards to coming into that space of being creative? The reason I’ve been able to continue to make music is because I make something visual and then I come home frustrated with that and to make music is a way to switch gears, you know? They bounce off each other, but not necessarily in a cohesive way. More like,
What piece of art changed your life? Van Gogh’s self portrait at the National Gallery. I can remember, it was on the left side when you walk in. There was also a self portrait of Paul Gauguin. There was a doorway between the two and I remember being really attracted to both of them, but more attracted to Van Gogh. Gauguin made me feel a little uncomfort-
How would you describe your art? I like a quote that Frank Zappa said, “You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe with whipped cream.” I always think about that when I try to think of something to say when someone asks me about art.
ISSUE 1 | INDUCE | 41
they don’t seem to connect consciously. As corny as that sounds, maybe there’s a connection there, but I wouldn’t necessarily be able to connect it, but I think there is a connection between the two.
ISSUE 1 | INDUCE | 45
ISSUE 1 | INDUCE | 46
able because it was more avant-garde or a little more symbolic. Also, Jackson Pollock’s big pieces. I mean, when I think about that question, I really do go back to my first experience at the National Gallery. Rothko, Pollock, Gauguin and Van Gogh. It made the biggest impression on me.
Jacket: Dries Van Noten
WILL KELLY What other artists inspire you? When I was really young, I was exposed to Matisse, Picasso; when I got older, Rothko, Clyfford Still, H.C. Westermann. I don’t know, it’s vast, there’s a lot. What is your creative process like? I like the feeling that I’m on to something and that someone might come in and see what I’m doing. I guess that comes from my dad, he’s a carpenter and people always stop by his shop to see what he’s working on. He worked in the 17th century style. It wasn’t like he was creating new things, but I like the idea of having that same sort of shop where people would come in to see what I’m working on. Favorite thing to do while making art? Right now, probably smoking a joint and drinking a little beer and listening to some kind of music. But that changes, sometimes, I don’t want to do anything like that, you know, for months. What’s next for Will Kelly? Probably pool, I like to play pool and then, maybe, what’s next? Maybe I’ll move to Hawaii.
Connect/WILL KELLY growphins.com tumblr.com ISSUE 1 | INDUCE | 47
ART
How long have you been making art? Since I was 5. My mom is an artist and she always had this stuff. Crayons, colored pencils, watercolors.
WILL KELLY
Your nudes are great. It seems to be a central theme in your work. Yea, I think I do that a lot because it feels like something that can never really get old, you know? It’s something that’s always there, but it’s a little different, more concrete.
‘Even if it’s a male or female,it’s always got that sort of sameness.’
ISSUE 1 | INDUCE | 44
What role does music play in your creative process? Because of my brother, I started playing guitar and I always looked up to him, so it’s always been there as something that I’ve physically done. Aside from that, in high school, I started to come home from school and listen to music while I was making art to help me to forget about the world. In what direction do you see your art going? That’s a good question. I have interest, especially speaking with you, when we first met about making textiles for clothing. I’m not so interested in designing the shapes of the clothes, but I like the idea of making prints. That’s not everything, but it’s something I am very interested in doing. Aside from that, keep making music and art.
What is your most highly valued work? It’s a piece called HHH. It sold for over $5,000. Aside from that, the most expensive piece I’ve sold was like $1100. I won second place in a ‘plein air’ painting contest in Maryland 2 years ago.
How has living in Philly impacted you as an artist? Coming from a small town in Maryland and gradually moving from a smaller city to a bigger city, it sort of acclimated me to a bigger social awareness of the world, which has been a positive thing. Sometimes it feels like a negative thing, but not overall. Philly is a city of smaller towns that has more commerce, more interests, more open-mindedness. To have a community of people to bounce ideas off of and to see what you’re doing, that’s sort of the most exciting thing about art to me. I’m not one of those artists who likes to sit in the cave and don’t care what people think about it. I really like to interact with people.
What about playing music, in regards to coming into that space of being creative? The reason I’ve been able to continue to make music is because I make something visual and then I come home frustrated with that and to make music is a way to switch gears, you know? They bounce off each other, but not necessarily in a cohesive way. More like,
What piece of art changed your life? Van Gogh’s self portrait at the National Gallery. I can remember, it was on the left side when you walk in. There was also a self portrait of Paul Gauguin. There was a doorway between the two and I remember being really attracted to both of them, but more attracted to Van Gogh. Gauguin made me feel a little uncomfort-
How would you describe your art? I like a quote that Frank Zappa said, “You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe with whipped cream.” I always think about that when I try to think of something to say when someone asks me about art.
ISSUE 1 | INDUCE | 41
they don’t seem to connect consciously. As corny as that sounds, maybe there’s a connection there, but I wouldn’t necessarily be able to connect it, but I think there is a connection between the two.
ISSUE 1 | INDUCE | 45
ISSUE 1 | INDUCE | 46
able because it was more avant-garde or a little more symbolic. Also, Jackson Pollock’s big pieces. I mean, when I think about that question, I really do go back to my first experience at the National Gallery. Rothko, Pollock, Gauguin and Van Gogh. It made the biggest impression on me.
Jacket: Dries Van Noten
WILL KELLY What other artists inspire you? When I was really young, I was exposed to Matisse, Picasso; when I got older, Rothko, Clyfford Still, H.C. Westermann. I don’t know, it’s vast, there’s a lot. What is your creative process like? I like the feeling that I’m on to something and that someone might come in and see what I’m doing. I guess that comes from my dad, he’s a carpenter and people always stop by his shop to see what he’s working on. He worked in the 17th century style. It wasn’t like he was creating new things, but I like the idea of having that same sort of shop where people would come in to see what I’m working on. Favorite thing to do while making art? Right now, probably smoking a joint and drinking a little beer and listening to some kind of music. But that changes, sometimes, I don’t want to do anything like that, you know, for months. What’s next for Will Kelly? Probably pool, I like to play pool and then, maybe, what’s next? Maybe I’ll move to Hawaii.
Connect/WILL KELLY growphins.com tumblr.com ISSUE 1 | INDUCE | 47
ART
How long have you been making art? Since I was 5. My mom is an artist and she always had this stuff. Crayons, colored pencils, watercolors.
WILL KELLY
Your nudes are great. It seems to be a central theme in your work. Yea, I think I do that a lot because it feels like something that can never really get old, you know? It’s something that’s always there, but it’s a little different, more concrete.
‘Even if it’s a male or female,it’s always got that sort of sameness.’
ISSUE 1 | INDUCE | 44
What role does music play in your creative process? Because of my brother, I started playing guitar and I always looked up to him, so it’s always been there as something that I’ve physically done. Aside from that, in high school, I started to come home from school and listen to music while I was making art to help me to forget about the world. In what direction do you see your art going? That’s a good question. I have interest, especially speaking with you, when we first met about making textiles for clothing. I’m not so interested in designing the shapes of the clothes, but I like the idea of making prints. That’s not everything, but it’s something I am very interested in doing. Aside from that, keep making music and art.
What is your most highly valued work? It’s a piece called HHH. It sold for over $5,000. Aside from that, the most expensive piece I’ve sold was like $1100. I won second place in a ‘plein air’ painting contest in Maryland 2 years ago.
How has living in Philly impacted you as an artist? Coming from a small town in Maryland and gradually moving from a smaller city to a bigger city, it sort of acclimated me to a bigger social awareness of the world, which has been a positive thing. Sometimes it feels like a negative thing, but not overall. Philly is a city of smaller towns that has more commerce, more interests, more open-mindedness. To have a community of people to bounce ideas off of and to see what you’re doing, that’s sort of the most exciting thing about art to me. I’m not one of those artists who likes to sit in the cave and don’t care what people think about it. I really like to interact with people.
What about playing music, in regards to coming into that space of being creative? The reason I’ve been able to continue to make music is because I make something visual and then I come home frustrated with that and to make music is a way to switch gears, you know? They bounce off each other, but not necessarily in a cohesive way. More like,
What piece of art changed your life? Van Gogh’s self portrait at the National Gallery. I can remember, it was on the left side when you walk in. There was also a self portrait of Paul Gauguin. There was a doorway between the two and I remember being really attracted to both of them, but more attracted to Van Gogh. Gauguin made me feel a little uncomfort-
How would you describe your art? I like a quote that Frank Zappa said, “You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe with whipped cream.” I always think about that when I try to think of something to say when someone asks me about art.
ISSUE 1 | INDUCE | 41
they don’t seem to connect consciously. As corny as that sounds, maybe there’s a connection there, but I wouldn’t necessarily be able to connect it, but I think there is a connection between the two.
ISSUE 1 | INDUCE | 45
ISSUE 1 | INDUCE | 46
able because it was more avant-garde or a little more symbolic. Also, Jackson Pollock’s big pieces. I mean, when I think about that question, I really do go back to my first experience at the National Gallery. Rothko, Pollock, Gauguin and Van Gogh. It made the biggest impression on me.
Jacket: Dries Van Noten
WILL KELLY What other artists inspire you? When I was really young, I was exposed to Matisse, Picasso; when I got older, Rothko, Clyfford Still, H.C. Westermann. I don’t know, it’s vast, there’s a lot. What is your creative process like? I like the feeling that I’m on to something and that someone might come in and see what I’m doing. I guess that comes from my dad, he’s a carpenter and people always stop by his shop to see what he’s working on. He worked in the 17th century style. It wasn’t like he was creating new things, but I like the idea of having that same sort of shop where people would come in to see what I’m working on. Favorite thing to do while making art? Right now, probably smoking a joint and drinking a little beer and listening to some kind of music. But that changes, sometimes, I don’t want to do anything like that, you know, for months. What’s next for Will Kelly? Probably pool, I like to play pool and then, maybe, what’s next? Maybe I’ll move to Hawaii.
Connect/WILL KELLY growphins.com tumblr.com ISSUE 1 | INDUCE | 47
ART
How long have you been making art? Since I was 5. My mom’s is an artist and she always had this stuff. Crayons, colored pencils, watercolors.
WILL KELLY
Your nudes are great. It seems to be a central theme in your work. Yea, I think I do that a lot because it feels like something that can never really get old, you know? It’s something that’s always there, but it’s a little different, more concrete.
‘Even if it’s a male or female,it’s always got that sort of sameness.’
ISSUE 1 | INDUCE | 44
What role does music play in your creative process? Because of my brother, I started playing guitar and I always looked up to him, so it’s always been there as something that I’ve physically done, aside from that, in high school, started to come home from school and listen to music while I was making art to help me to forget about the world. In what direction do you see your art going? That’s a good question. I have interest, especially speaking with you, when we first met about making textiles for clothing. I’m not so interested in designing the shapes of the clothes, but I like the idea of making prints. That’s not everything, but it’s something I am very interested in doing. Aside from that, keep making music and art.
What is your most highly valued work? It’s a piece called HHH. It sold for over $5,000. Aside from that, the most expensive piece I’ve sold was like $1100. I won second place in a ‘plein air’ painting contest in Maryland 2 years ago.
How has living in Philly impacted you as an artist? Coming from a small town in Maryland and gradually moving from a smaller city to a bigger city, it sort of acclimated me to a bigger social awareness of the world, which has been a positive thing. Sometimes it feels like a negative thing, but not overall. Philly is a city of smaller towns that has more commerce, more interests, more open-mindedness. To have a community of people to bounce ideas off of and to see what you’re doing, that’s sort of the most exciting thing about art to me. I’m not one of those artists who likes to sit in the cave and don’t care what people think about it. I really like to interact with people.
What about playing music, in regards to coming into that space of being creative? The reason I’ve been able to continue to make music is because I make something visual and then I come home frustrated with that and to make music is a way to switch gears, you know? They bounce off each other, but not necessarily in a cohesive way. More like,
What piece of art changed your life? Van Gogh’s self portrait at the National Gallery. I can remember, it was on the left side when you walk in. There was also a self portrait of Paul Gogan. There was a doorway between the two and I remember being really attracted to both of them, but more attracted to Van Gogh. Gogan made me feel a little uncomfortable
How would you describe your art? I like a quote that Frank Zappa said, “You can’t always write a chord ugly enough to say what you want to say, so sometimes you have to rely on a giraffe with whipped cream.” I always think about that when I try to think of something to say when someone asks me about art.
ISSUE 1 | INDUCE | 41
More like, they don’t seem to connect consciously. As corny as that sounds, maybe there’s a connection there, but I wouldn’t necessarily be able to connect it, but I think there is a connection between the two.
ISSUE 1 | INDUCE | 45
ISSUE 1 | INDUCE | 46
because it was more avant garde or a little more symbolic. Also, Jackson Pollack’s big pieces. I mean, when I think about that question, I really do go back to my first experience at the National Gallery. Rothko, Pollack, Gogan and Van Gogh. It made the biggest impression on me.
Jacket: Dries Van Noten
WILL KELLY What other artists inspire you? When I was really young, I was exposed to Matisse, Picasso; when I got older, Rothko, Clyfford Still, H.C. Westermann. I don’t know, it’s vast, there’s a lot. What is your creative process like? I like the feeling that I’m on to something and that someone might come in and see what I’m doing. I guess that comes from my dad, he’s a carpenter and people always stop by his shop to see what he’s working on. He worked in the 17th century style. It wasn’t like he was creating new things, but I like the idea of having that same sort of shop where people would come in to see what I’m working on. Favorite thing to do while making art? Right now, probably smoking a joint and drinking a little beer and listening to some kind of music. But that changes, sometimes, I don’t want to do anything like that, you know, for months. What’s next for Will Kelly? Probably pool, I like to play pool and then, maybe, what’s next? Maybe I’ll move to Hawaii.
Connect/WILL KELLY growphins.com tumblr.com ISSUE 1 | INDUCE | 47
ACKNOWLEDGEMENTS Joseph Balestra josephbalestra.com Marcus Branch skltn-m.com Juaquin Cameron Services at: Richard Nicholas 1716 Sansom St. 215.567.4790 richardnicholas.com Joe Carr joecarrmakeup.com Christina Giannone christinahelene.tumblr. com
Kiki Hughes 259 S. 21st St. 215.546.1534 kikihughes.com LeLe Tran leletrancollection.com Available at: US*U.S. 323 Arch St. 215.469.1835 Mariel Rojo marielrojo.com Available at: US*U.S. 323 Arch St. 215.469.1835 Nino Brand 333 S. 20th St. 267.761.9388 ninobrand.com
Omen Brand omenbrand.storenvy. com Marie Alyse Rodriguez mariealyse.com Julianne Ulrich julianneulrich.com Vintique Moderne vintiquemoderne.com
My Family Ricky Cantando
Joseph Balestra Kristina Jenkins
Mary Kelly Kazan
Bela Shehu
Spratt
John Wind
Shavon Worrell Andrew
Huck
Nina Simpkins &
Brian
Thiel
John Wind/ Maximal Art maximalart.com Available at: Joan Shepp joanshepp.com
Photo Credit: Joseph Balestra
Bulb Lighting 2056 Locust St. 215.732.2224 bulblighting.net
SPECIAL THANKS
ISSUE 1 | INDUCE | 49
ACKNOWLEDGEMENTS Joseph Balestra josephbalestra.com Marcus Branch skltn-m.com Juaquin Cameron Services at: Richard Nicholas 1716 Sansom St. 215.567.4790 richardnicholas.com Joe Carr joecarrmakeup.com Christina Giannone christinahelene.tumblr. com
Kiki Hughes 259 S. 21st St. 215.546.1534 kikihughes.com LeLe Tran leletrancollection.com Available at: US*U.S. 323 Arch St. 215.469.1835 Mariel Rojo marielrojo.com Available at: US*U.S. 323 Arch St. 215.469.1835 Nino Brand 333 S. 20th St. 267.761.9388 ninobrand.com
Omen Brand omenbrand.storenvy. com Marie Alyse Rodriguez mariealyse.com Julianne Ulrich julianneulrich.com Vintique Moderne vintiquemoderne.com
My Family Ricky Cantando
Joseph Balestra Kristina Jenkins
Mary Kelly Kazan
Bela Shehu
Spratt
John Wind
Shavon Worrell Andrew
Huck
Nina Simpkins &
Brian
Thiel
John Wind/ Maximal Art maximalart.com Available at: Joan Shepp joanshepp.com
Photo Credit: Joseph Balestra
Bulb Lighting 2056 Locust St. 215.732.2224 bulblighting.net
SPECIAL THANKS
ISSUE 1 | INDUCE | 49
ACKNOWLEDGEMENTS Joseph Balestra josephbalestra.com Marcus Branch skltn-m.com Juaquin Cameron Services at: Richard Nicholas 1716 Sansom St. 215.567.4790 richardnicholas.com Joe Carr joecarrmakeup.com Christina Giannone christinahelene.tumblr. com
Kiki Hughes 259 S. 21st St. 215.546.1534 kikihughes.com LeLe Tran leletrancollection.com Available at: US*U.S. 323 Arch St. 215.469.1835 Mariel Rojo marielrojo.com Available at: US*U.S. 323 Arch St. 215.469.1835 Nino Brand 333 S. 20th St. 267.761.9388 ninobrand.com
Omen Brand omenbrand.storenvy. com Marie Alyse Rodriguez mariealyse.com Julianne Ulrich julianneulrich.com Vintique Moderne vintiquemoderne.com
My Family Ricky Cantando
Joseph Balestra Kristina Jenkins
Mary Kelly Kazan
Bela Shehu
Spratt
John Wind
Shavon Worrell Andrew
Huck
Nina Simpkins &
Brian
Thiel
John Wind/ Maximal Art maximalart.com Available at: Joan Shepp joanshepp.com
Photo Credit: Joseph Balestra
Bulb Lighting 2056 Locust St. 215.732.2224 bulblighting.net
SPECIAL THANKS
ISSUE 1 | INDUCE | 49
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