PROCESS (spring 2016) by iNKBLOT

EDITORS-IN-CHIEF

Micaela Rosen

Jack Davis

CREATIVE TEAM

Gabby Axner

Claire Doyle

Cat Cobb

D Shaan Buttar

Deming Haines

EDITORS FASHION EDITORS

Jack Davis Shaan Buttar

ART EDITORS

Jack Davis Micaela Rosen

PHOTOGRAPHY Deming Haines EDITORS Claire Doyle FACULTY Cayce Lee CONSULTANT

PROCESS “Any system that…makes mincemeat of the creative process will, in the long run, diminish not only the product but the maker as well.” –Paul Rand Process is inevitable. Without it no project could ever come to fruition, no idea could ever graduate beyond conception. Yet in a culture that commodifies victory and success it is process that outsiders constantly overlook. In too many films, the protagonist makes a life-changing decision, followed by a music sequence that cuts between a few plasticized vignettes of the character “working.” He flops on his bed, spent, and the focus shifts away. In fashion, the same stereotype often holds true. When asked about the conceptualization of a collection, the designer often names an inspiration followed by some silhouette and fabric justifications. Then the writer invokes Edison’s one-percent/ninety-nine percent adage and moves on. Why the penchant for romantic oversimplification of processs? Process is more than the hard work separating an idea and its product, it is a tortuous journey that challenges the idea, the maker, and the medium. It is a discontinuous internal dialogue. And it is the way by which we discover ourselves. Our community, upheld by the virtues of discovery, innovation, collaboration, and excellence, thrives on process—the first three pillars define the path to achieving the fourth. From experimentally deriving a spring constant in physics to crafting a rhetorical analysis essay in English, we all undertake countless processes throughout our time at Cary Academy. And it is crucial to value them as more than intermediary steps towards reaching a goal because they define who we are and how we differ from one another. PROCESS illustrates and celebrates this artistic diversity, representing many different forms of creative expression. Pauline Pauwels reveals her compelling new photographic series exploring how Betty Friedan’s cult of domesticity endures in the twenty-first century. Vera Wei opens up about her paper-folding predilections in her origami feature. Anna Go explains her Twilight-esque take on the beauty standard in an audaciously unusual “What is Beauty?” essay. And the central “Process to Product” feature recognizes the processes specific to various student works.

Additionally, PROCESS recognizes many process-oriented designers in the professional realm, like Phoebe Philo and her epic Phantom bag (for which Jack declares his infatuation in “An Ode to Céline”) to the eco-savvy Faustine Steinmetz. We are excited to introduce streetwear coverage in this issue, courtesy of new fashion editor Shaan Buttar. Without process we cannot create and when we cannot create the world cannot change. With this sentiment in mind, this is PROCESS.

CONTENTS FASHION 6 / Runway Report // Jack Davis 16 / Featured Collaboration: J.W. Anderson x Net-a-Porter // Jack Davis 18 / Featured Designer: Faustine Steinmetz // Jack Davis 20 / The Met Gala 2016—Manus x Machina // Jack Davis, Micaela Rosen 26 / Streetwear Report // Shaan Buttar 34 / A Reign Supreme? // Shaan Buttar, Jack Davis 38 / The Diversity Problem // Sophia Fischbein 40 / An Ode to Céline // Jack Davis

ART 42 / Process to Product // various contributors 74 / How to Build an Art Portfolio // Jack Davis 76 / Creating the Cover // Jack Davis, Deming Haines, Calvin Ma

PHOTOGRAPHY 56 / Process in Action: Product Shots // Deming Haines 68 / Faces // Claire Doyle 78 / Cult of Domesticity // Pauline Pauwels

BEAUTY 49 / What is Beauty? // Anna Go (Jack Davis)

DEDICATED TO PALMER SEELEY Mr. Seeley, You have highly influenced our development as writers, thinkers, and individuals. Challenging us to construct and defend thoughtful opinions about the world around us, you made us more profound artists with more nuanced points of view. Through projects in your class such as the Social Issues unit, in which we examined various social issues and formed collaborative panels on broader topics, we found deeper clarity as to who we are and what we believe. Moreover, your class informed the direction we wish to take in our future. Thank you.

http://www.vogue.com/slideshow/13360870/best-spring-2016-runway-trends/#68

FASHION

REPORT SPRING SUMMER

2016

IN REVIEW From the congressional battle over Planned Parenthood to Hillary Clinton’s presidential campaign, the term “gender politics” has amassed a new meaning thus far this year: issues of women’s rights are clearly at the forefront of political discussion. At the same time, the notion of our society as a postfeminist one has never been so largely digested—many Bernie Sanders supporters, for example, feel that it would be sexist to vote for Hillary Clinton solely because of her gender. This ideological disparity engenders much confusion: what does it mean to be a woman in 2016? Designers provided their own viewpoints on the issue for Spring/ Summer 2016: Numerous highprofile houses espoused a delicate sexuality, femininity almost as a fetish. Calvin Klein, Givenchy, Balenciaga, Marc Jacobs, and Céline revived the 2012 slip dress trend, for example. Unlike references to the Twenties or Fifties, these Seventiesflavored offerings felt like a collective commendation of female passivity. As if their espresso-pure, cleanly grunge aesthetic had been whipped into a sartorial cappuccino, Marques ’ Almeida adorned their typical array of streetwear basics with endless frothy layers of frills and ruffles; the collection seemed to portray feminine expression as a tacked-on

detail to masculinity. The trend endured through Michael Kors, Balmain, and even minimalistic J.W. Anderson. Alessandro Michele’s debut spring collection for Gucci projected a light, intellectually flirtatious brand of femininity, marrying the storied brand’s signature motifs with soft tailoring and pussy-bow details. Miu Miu and Oscar de la Renta followed suit, the former channeling doll elements like crisp gingham and grosgrain ribbons. Most allusions to history of women in society were directed towards the Elizabethan look, particularly by way of sleeves: Fendi, Dior, and Simone Rocha along with the aforementioned Céline and J.W. Anderson showcased leg-of-mutton sleeves. Others, like Proenza Schouler, featured off-the-shoulder shirts and dresses that brought all attention to the sleeve. While these inclusions evoked a time of feminine subordination, designers brought a humor that suggested the historical reference be perceived as one of irony. While Autumn/Winter 2015 brashly advocated for genderless fashion, it appears that designers sought to remind the public— critically or not—of gender roles’ extensive history. In general, most collections were more a back-step into the shelter of convention than a bold foray into marrying feminism with femininity. This easy beauty is disappointing. ◙

RETRO

FEMININITY

TREND

BLOTS

GLITTER

DENIM

OTHER TRENDS 1.Voluminous Sleeves

2.Off-the-Shoulder Tops 3.Flamenco Frocks 4.Bodysuits

5.Wrap-around Skirts 6.Embroidery 7.Purist Accessories 8.Above-the-Knee Boots 9.Chokers 10.White Sneakers

FEATURED COLLABORATION

J.W. ANDERSON

X NET-A-PORTER

Design unites form with function, endowing aesthetic work with palpable utility. In the heyday of crafting luxe, exciting looks, the very purpose of garments often gets lost in the process of creation. J.W. Anderson’s Spring 2016 collaboration with Net-a-Porter did not lose this insight. In teaming up with the world’s premier luxury online retailer, Jonathon Anderson (founder and creative director of the brand) built a capsule collection of six workwear pieces, each imbued with the trademark J.W. Anderson crisp unconventionality. A bias-cut kimono, an obi-turneddress, an off-the-shoulder demi-bustier top: the collection’s elegant fusion of various references necessitates a much-hyphenated lexicon to properly explain. Each piece, constructed from shirt-grade poplin, amalgamates the intentionality of Japanese design with the laissez-faire of the French aesthetic and the quirky minimalism of current Manhattan street fashion. The product: a fully realized, unexpected point of view on contemporary workwear. Perhaps this collection was designed in effort to combat the omnipotence of unbalanced masculinity in the workplace; said Anderson to Vogue, “Shirting is where the man and the woman meet.”

FEATURED DESIGNER

FAUSTINE

STEINMETZ

Faustine Steinmetz epitomizes coolâ&#x20AC;&#x201D;no, she defines it herself. Recently graduated from Central Saint Martinsâ&#x20AC;&#x2122; MFA fashion design program, Steinmetz has quickly found he niche: she deconstructs discarded garments and textiles to her liking before reconstituting them as unconventional fabric. She anachronizes fibers by hand-looming innovative cloth: under her hands denim becomes fur; cotton, fringe. Moreover, she grounds the deconstructivist fabrics by contextualizing them in simple, subverted silhouettes that challenge the legitimacy of the purist normcore movement. Steinmetz unites sustainability, haute couture, streetwear, and an intelligent point of view to create some of 2016â&#x20AC;&#x2122;s most exciting pieces.

MET GALA

2016

manus x machina

Call it Fashion’s Greatest Night, Nerd Prom, or simply the

either way, no one can deny the event’s incomparable sartorial signi

fundraiser for the Metropolitan Museum of Art Costume Institute, the Gala rais

afford the public access to some of the greatest designs in fashion history—each ticket costs $30,000. But the value of the the monetary: at the behest of event chair and dictatress of style Anna Wintour, guests must dress in respect to the theme o current exhibit. This year’s theme, Manus X Machina, yielded looks ranging from the subdued to the sublime. The iconic steps of the Met disappeared under a bevy of silver dresses, as many actresses conservatively interpreted the the technological color palette. Kanye West and Kim Kardashian took this easy direction, elevating glittery Balmain with icy gr lenses. Others chose to incorporate the machina element more literally, such as Claire Danes, who wore a fantastical, light-u ball gown, and Lady Gaga with her circuit board-print Versace jacket. Perhaps Zayn Malik most skillfully sported a futurist impeccably tailored Versace suit possessed almost-robotic metal sleeves, an unconventional but fashionable nonetheless jux technology onto humanity. Still others wore garments produced from forward-thinking processes. For example, Karolina K Marchesa gown was designed with help from IBM’s Watson robot, which organized trend data to aid in creating a color dress and illuminated LED lights embedded within the garment to reflect real-time feedback from Twitter. Emm envisioned a sustainable future for the industry, as her Calvin Klein look was constructed from reproc And then there were the rebels: those who simply went for strange. Alicia Vikander’s asymmetrical, multi-material Louis Vuitton dress was thought-provoking, and Solange Knowles stunned in pleated egg yolk-yellow though overshadowed by her sister, Beyoncé, who indeed rocked a (latex, pearl-studded, skintight) Givenchy dress reminiscent of her pick last year. And who could forget Madonna, quite possibly the least elegant of all, swathed grotesquely in black lace, who revealed more skin than most others would dare. All in all, an exciting evening for fashion, though fewer risks were taken than at Galas past. Next year awaits! ◙

Met Gala;

ificance. A

ses millions to

e evening transcends of the

eme as a ey contact up Zac Posen tic reference; his xtaposition of Kurkovaâ&#x20AC;&#x2122;s scheme for the ma Watson cessed trash.

INSIDE THE EXHIBIT

STREET

WEAR

TOP

Streetwear, while taking pride in its underground roots, has exponentially become one of the most successfully marketed areas of fashion. Brands such as Supreme, Palace, or A Bathing Ape have been white washing the media, being popularized by celebrities that range a wide variety of household names from Travis Scott to Kylie Jenner. It is to no surprise that streetwear has been so successful in popularized media, so you might as well start taking a look at it; hereâ&#x20AC;&#x2122;s our list of the top five items/brands for spring.

FIVE

ADIDAS NMD

Adidas NMD is a new illustrious sneaker model that combines old Adidas design concepts with new technology (Primeknit and Boost cushioning first seen in Ultra Boosts). They first launched in December 2015 but have only recently begun to make a significant mark in sales. Adidas also having the Yeezy Boosts, Ultra Boosts, Adidas Originals, and all other successful lines of footwear released, they have safely attained most successful quota in its history.

If you are looking for a forward, colorful approach to outfits this spring, the new Supreme and Leviâ&#x20AC;&#x2122;s collaboration is worth discussing. This time around, the high power duo has presented us a with a vivid design of all-floral denim Trucker Jackets and 505 Jeans in two different color hues (first being a light blue base with pink and green blossoms, the other a black base with purple and green blossoms).

SUPREME X LEVIâ&#x20AC;&#x2122;S

STONE ISLAND

Stone Island is an Italian premium men's apparel brand, most known for its compass patch that is embroidered on the upper sleeve of the left arm. Being one of the most sought out brands in the England area, most famous rappers/grime artists are more often than not wearing some Stone Island. Artists such as Skepta and Section Boyz have been particular artists that are openly acclaimed to this brand. One Canadian artist has been a known affiliate of these British artists, and has consequently taken suit in their fashion sense. This Canadian artist goes simply by the name of Drake. Take Stone Island seriously people, because itâ&#x20AC;&#x2122;s going to be big.

The David Letterman’s are a specially released silhouette of the coveted Air Jordan 1, inspired by Michael Jordan’s famous David Letterman guest appearance. His interview was following his special 63 point performance facing the Boston Celtics in a crucial playoff game. The most remembered moment of this special interview was both David and Michael calling the design of the Air Jordan 1 “ugly”, this specific detail of the interview inspiring this colorway of the shoe. This shoe release will make its debut as a part of Nike Brand’s Spring/Summer 2016 releases.

AIR JORDAN 1 LETTERMAN

BLACK SCALE

Only recently being a small organization producing small amounts of t-shirts and snapbacks, Black Scale has excelled at illustrious speeds to become a great presence in the streetwear scene as a lifestyle brand. While it has maintained itâ&#x20AC;&#x2122;s dark aesthetic that has been popularized by the likes of A$AP Rocky for seasons, they are always offering something new. This spring we should expect more basic designs that have become vogue in its recent releases.

A RE

Shaan Buttar and J

EIGN

Jack Davis discuss.

Yes

Nike X Supreme (2015)

What separates Supreme from its streetwear peers has been its continuous usage of 1990s street/skate style, pop-culture photography, and the brand’s somewhat rebellious nonconventional spirit. This spirit is fairly respected in the industry as it is very rare to see a successful brand that happily disregards any conformity of what a brand can or cannot release. In the Fall/Winter 2014 season release, Supreme incorporated shirts with graphics of ballet dancers, graphic illustrations of the police, artwork from the film Alien, and technical jackets that ended up at $1,200 retail. Even though the artistic oddities of the brand can be seen through this specific release, the fans have stuck through with each and every creative move of Supreme and there does not seem to be any notion of its sales slowing down.

Neil Simon X Supreme

Supreme’s SoHo store location is something that can no longer be the best kept secret of New York. Not too far in the past, the only people who were blessed with the knowledge of the iconic red box logo were skate fanatics, streetwear connoisseurs, and overall creative minds. However, its sanctity of solitude in the fashion community has thus been thrust into the mainstream as the Internet has been buzzing about the now universally acclaimed brand. Known to be notoriously press-shy, Supreme has singlehandedly capitalized on all of this attention with collaborations with big names such as Levi’s, Timberland, Vans, and even Nike. These collaborations along with its mysterious subcultural roots have resulted in the mass appeal for the brand and anything it is affiliated with.

The exponential growth of Supreme has been met with the support of many celebrities and those involved in pop culture. Some examples include Justin Bieber, Drake, Travis Scott, Tyler the Creator, and even Kylie Jenner. Even though the brand is appraised by these celebrities for its many streetwear based releases, Supreme is equally as likely to drop luxurious fur coats as they are to drop their most famous box logo TShirts. The simple fact that Supreme still boasts its independent ownership and have been consistently selling out any piece of clothing that adorns the brand name on it is something to admire. These drops are so important to the fans that police are required to be on the scene during new releases to assure there are no fights in the line. All of this success has been in lieu of any advertising which is truly something no other brand has accomplished. It is no secret that Supreme has been thrown into the ether as the grail of all streetwear brands. It is also no secret that there are some people who will live and die for the red box logo. However, this brand has consistently been able to use different culture influences in each one of its releases that always break ‘the rules’ even 20 years after its birth.

—Shaan Buttar

The Mupplets X Supreme

Barbara Kruger

Everything about Supreme represents misappropriation on some level, including its iconic logo. A red box filled with white, italicized Futura Heavy Oblique lettering—this exceptionallyeffective aesthetic showcases the savvy of not Supreme founder James Jebbia but rather legendary artist and graphic designer Barbara Kruger. Kruger did not approve of or receive compensation from this blatant imitation of her work: in fact, when Supreme had the audacity to sue a parody t-shirt manufacturer for millions, she ironically commented to Complex magazine, “I’m waiting for all of them to sue me for copyright infringement,” calling Supreme a “ridiculous clusterf■■■ of totally uncool jokers.” Past garments by the brand have explicitly copied entities such as Coca-Cola, Kate Moss, and Michael Jackson without permission. While admittedly Supreme is renowned for its countless collaborations with various creatives, its nonconsenting inspirations border dangerously on intellectual property violations. How can such a brand truly be iconic or visionary if its primary aesthetic is “borrowed” imagery?

Lady Gaga X Terry Richardson for Supreme

While streetwear as a fashion concept has rapidly accelerated to the forefront of consumer interest, Supreme has consistently espoused this selfaesthetic since its establishment in 1994. Amalgamating the brash graphics of Nineties skateboard culture and the structural ease of the normcore movement, Supreme has attracted what challenges the hyperbole of the term “cult acclaim.” Though its apparel is more sought-after than ever, in actuality the storied brand embodies neither the progressiveness of today’s sartorial innovators nor the commitment to democratizing the industry. In essence, Supreme is the Trump of streetwear: despite the quasi-regal name and self-inflated reputation of grandeur, it lacks the vision, intellectuality, and social interest that characterizes genuinely “supreme” brands.

Alongside these outside references, Supreme additionally has found acclaim through hypersexuality. Since its inception, the brand has expressed a penchant for the pornographic exhibited through collaborations with Playboy and even manufacturing its own “calendars.” Moreover, Supreme continuously hires photographers for such projects who bear reputations of sexual misconduct. Long-time brand collaborator Terry Richardson, who has faced numerous sexual harassment allegations from models with whom he has worked, allegedly stated that his artistic intent for Supreme “was to put together a calendar that you could jerk off to.” This statement is troubling in many senses: beyond the blatantly chauvinistic overtones, Richardson describes his work as one of assembly, of “put[ting] together” images, instead of creating something unique and interesting. Given this exploitative, patriarchal, childish viewpoint, it is clear that Supreme sells sex instead of originality. Not even consumers are spared from the brand’s abuse: it punishes consumers by artificially limiting supply to manufacture an aura of exclusivity. Typically Supreme releases new stock twice a week in very small quantities, prompting devoted New Yorkers to camp outside the Lafayette Street flagship in hopes of scoring a red boxbranded t-shirt or hat. Some “drops”—often those with top artist collaborations—accrue unprecedented hype, making the already undersized stock even more inadequate. Thus, their product line is only exclusive because Supreme makes it appear so. All things considered, the brand has gained a cult following through systemic copyright infringement, exploitation, and overpricing. Clearly Supreme does not merit its name.

—Jack Davis

THE

DIVERSITY PROBLEM

Excerpting her senior capstone project, Sophia Fischbein explores fashion’s persisting racial inequality. After years of watching runway shows every season, there has always been something that has never crossed my mind: a staggering proportion of the models are white. But once I came to this realization, I couldn’t un-see this huge disparity in the casting of models. All of the most well-known models today are white: Gigi Hadid, Karlie Kloss, Gisele, and Doutzen Kroes. Not only that, but Forbes list of The World’s Highest-Paid Models 2015 was full of light skinned women and featured little to no variety. So why are women of color being excluded from high paying and high exposure modeling jobs?

thing companies and runway shows should be addressing more and more. It should also be considered how much of the world is aware of the consumer market and active participants in buying and selling in the fashion industry. A breakdown of the top 50% and 25% of wealth in the world would probably be the most accurate representation of what the fashion industry should be trying to see on the runway.

In the Fall/Winter 2014 Season of New York Fashion Week, 78.69% of models were white. The remaining percentages being made up by 9.75% Black Models, 7.67% Asian models, 2.12% Latina Models and 0.45% by models of another racial background. While it’s clear this breakdown is insulting and not what it should be, what kind of breakdown should society and the fashion industry really being shooting for? One potential solution is aiming to match the racial breakdown in America or the world.

We are clearly moving in the right direction, but the transition is slow and stills faces lots of set-backs. Following the classic, “one step forward, two steps back,” saying, even when diversity goes up over one year, it seems to fall the next. For example, women of color in modeling were almost exactly equally represented in fall 2009 and fall 2014.

Race breakdown in the United States  White- 62%  Black- 12%  Hispanic- 18%  Asian- 6%  American Indian/ Alaska Native- 1%  Two or more races- 2%

Race breakdown in the world  White- 16%  Black- 15%  Middle Eastern- 8%  Southeast Asian- 9%  East Asian- 25%  South Asian- 21%  Central/South American- 8% It would be next to impossible to match the breakdown of either America or the world, but it certainly be helpful in representing all races and cultures. Although it isn’t a viable go, it certainly is some-

Although there is lots of room for improvement in the future of modeling diversity, how much better are we today than say one, four, or ten years ago?

Despite some slightly discouraging statistical data, there are groups pushing for progress in the right direction. The diversity coalition, led by fashion activist Bethanm Hardison, had been working to increase the diversity on runways especially for women of African descent. Their work has been instrumental in pushing brands who have never included black women in the past to cast black women for their upcoming shows. A perfect example is a show like Tocca, who used zero models of color in their past runway show. The diversity coalition is able to step in provide Tocca with models and information to provide them with more diversity resources for future shows. Another example is Calvin Kline, who in the past was known for having diverse models, but in had a large decrease in diversity in their last show. The diversity coalition can step in here as well, but more than anything, the public needs to use their power in the market by choosing to condemn this brand for moving backwards. The public can voice their opinion by first, simply voicing their opinion and secondly by buying from brands that they know support diverse fashion. ◙

AN ODE TO CELINE

I first happened upon the Céline Phantom Luggage Bag (more frequently referred to as simply the Phan-

tom) in sartorial nirvana: the accessories floor at Barney’s. Entering the store to seek respite from the Fifth Avenue masses, I nonetheless encounter many fellow tourists agape at the sheer volume of logo, the dizzying array of Vuitton and Goyard. But my fancy is less cheaply swindled—both figuratively and literally; as I reverently meander the floor, my fingers graze only the glossiest leather and the most silken calfskin. Suddenly, my halflidded eyes open in shock, in wonder, in worship at the exquisite creation upon a lighted pedestal.

I step closer against my own volition. Were it to be classified, it would likely be branded a “tote,” though that title and its generic, proletariat connotations immensely disservice it. The bag is crafted of the softest, most luxurious calfskin I have ever touched. Structured from a square front -piece on each side that yields into two swooping, convex side-pieces, it embodies an elegant juxtaposition of the regimented onto the unbounded. The frontward details hold equal, if not greater, curiosity: precise hand-stitched seams, a braided zipper, two divinely crafted handles, and the ethereal curve of symmetrical boning. Discreetly embossed right below the edge lays the name, CÉLINE. Deceptively simple, the bag’s hauntingly beautiful quality possessed me, lingering in the deepest eddies of my psyche long after I returned home. Even today, my stomach turns when I spot it in person, as if I were in love with it. Though its mystical appeal transcends the logical parameters of the world, the Phantom also represents design at its best. From its construction to its philosophical ramifications, this accessory exemplifies the potential of innovation. The Phantom exists as both object and objet; while in one sense it holds immense aesthetic appeal, it provides tremendous utility. The designer tote market—dominated by flimsy, logoed, laminated canvas sacs—favors print over

structure, and this bag’s enduring success quietly resists the status quo. As many seasoned city dwellers (including Lena Dunham) attest, the larger-sized Phantoms can carry a laptop, some books, a wallet, and a phone with some room to accompany the various ephemera of urban existence. Moreover, this architectural bag is structurally built to withstand use. The signature boning reinforces it, supplementing its carrying capacity, and the protruding flaps of leather permit the inevitable notebook, iPad, umbrella tossed in by the door. The Phantom unites beauty and pragmatism like no bag before it. Symbolically, the Phantom expresses the equal opportunity-ethos of the Céline brand. Unlike pretentious rival bags, namely the Hermès Birkin and Kelly, the tote’s production isn’t artificially limited to create scarcity and therefore a waiting list. On the contrary, many department stores carry the Phantom, though in the interest of preserving the sanctity of shopping, Céline doesn’t offer it online. No matter your occupation or socioeconomic status, if you can pay the price, the Phantom can be yours—no priority for celebrities. In fact, dissimilar to other “it” bags like the Chanel 2.5 or the Fendi Baguette, it suits the needs of a working individual more so than a soirée-going socialite. In the upper echelon of the industry, which moves glacially compared to the street market, this notion actually borders on progressivism. In the next decade or so, when I begin to consider acquiring investment pieces, the Phantom will strongly contend all other offerings. Even if I never succeed at designing a better accessory, I can content myself merely by possessing one. ◙

process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process process

PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT PRODUCT

process

INDIVIDUAL Maggie Hayes

PRODUCT

There is incredible depth behind any posed photograph. Stories, memories, personalities, everything hanging in the air at the time a photo was snapped is just as important as the photo itself- it colors the story with emotion, and this piece attempts to capture that multitude of layers and meaning behind a simple photograph. The image in the middle is of a group of people, posed and smiling for the camera, in greyscale (graphite). Surrounding this central image is a portrait of each person in the picture; each character is featured twice, the posed image and the portrait representative of their deeper persona. Their expressions, poses, line of eyesight and position are all factors affecting the overall message behind the tensions and ambience present at the time of the official photograph. However, I will not go into a deeper description of exactly what is implied by these factors- the most important aspect of this piece is that there are thousands of different deductions to be made to exactly what is meant to be suggested. This holds parallel to real life- nobody interprets emotions or scenarios the same way, itâ&#x20AC;&#x2122;s up to each individual to decide whatâ&#x20AC;&#x2122;s going on. After the final photo was taken of the piece, colorful arrows with various twists and turns were added between each personâ&#x20AC;&#x2122;s personality portrait and their position in the photo (a different color per person). A hint of a yellow backdrop was added as well to make the emotions a little more clear.

process

THE RAVEN Sasha Kostenko

PRODUCT

process

EQUAL DIGNITY Jack Davis

PRODUCT

This alternative wedding dress was inspired by the New York Times headline following the June 26, 2015 same-sex marriage decision. I combined a romantic silhouette with a modern flair to reflect that while gay couples truly share the same bonds as their heterosexual counterparts, the historical significance of such unions introduces a contemporary element. To create it, I drafted a bodice using cardstock and masking tape. I added a wrap-around cardboard skirt that cinched in at the waist. After insuring the fit of the dress to the model, I developed a custom newspaper print from found material and covered the under-dress. Then, using a multitude of techniques including origami, crumpling, and conventional draping methods, I embellished the back of the garment. Finally, I lined it with white paper and added some glass beads for sheen.

process

NATIONAL FINALS Ceren Iz

PRODUCT

This piece was actually done as an entry for an equestrian national finals art contest. For the piece, I decided to incorporate two horses, one of western discipline and the other of hunt seat. I also wanted to incorporate silhouettes of both western and hunt seat riders at the bottom of the piece and an image of the US in the background, as this contest was for the national finals of an equestrian program. The task was a bit intimidating at first because I had never tried a full-fledged colored pencil drawing. I was trying a new process and style in my drawing and I was concerned about how it would turn out, although I think it did work out in the end.

process

PAPER CUTS Vera Wei

PRODUCT

Vera

Wei

R I G A M I

55 How old were you when you started creating origami? What is the first piece you recall making? I was around seven years old when I was first exposed to origami. My art teacher in elementary school taught us how to fold fortune tellers. One of my fortunes, as I’ve come to acknowledge over time, is my pair of tiny hands that haven’t grown since I first folded paper. Forgoing the ability to reach an octave on the piano, they pride instead in maneuvering paper, a medium suited for small, gentle paws like mine. Did your time in China influence your origami interest/ability? Certainly! Ironically, the experience in China that most influenced my knack for handson crafting was a program founded in the United States: Odyssey of the Mind. The competition put creative skills to the test with handson problems that provided limited materials (paper, toothpicks, straws, etc.) and expected complete, free-standing sculptures by the end of the four-minute time limit. How long do your pieces usually take to create? Pieces that I’ve never folded before always take the longest; there is ample opportunity for mistakes, which necessitate remakes. It’s hard at first to understand how one crease gone wrong can devalue an entire piece, but after folding time and time again, I realized that most creases in each construct are interdependent; at times, one feeble fold can spoil the entire structure. Approaching a new piece takes about 1-2 hours to learn and become familiar with. However, easy pieces can still be time-consuming, especially when it involves the assembly of individual origami components. Modular origami almost always involves tens or hundreds of small pieces that take hours upon hours to assemble. The origami torus, which I took upon making during Discovery Term, comprised 555 pieces. From selecting the pattern of the paper, to measuring, marking, and cutting the paper, to folding all 555 pieces of paper, to weaving each flap of a piece into another’s “pocket,” the torus took around twenty hours to complete.

What’s your favorite origami object to construct? At this moment, I don’t have one particular object I enjoy folding the most. Nonetheless, I’d say that modular origami is the type of origami I most enjoy and am most experienced with. The making of modular origami, put simply, produces geometrical abstracts that often exhibit symmetry and repetitive patterns. What is your most impressive creation? The “Buckyball” is the informal name of the structures I sent pictures of. I believe they are dodecahedral. Each small buckyball pictured is made of 30 PHiZZ units. PHiZZ units were gifted by Thomas Hull’s genius. How often do you make mistakes? I can’t recall any story-worthy ones, because I so frequently make mistakes! In origami, mistakes are relatively easier, though certainly still challenging, to remedy. For instance, when I’m not in perfectionist mode, and I accidentally make a mountain fold to the left, I can always reverse the fumble with a valley fold to the right. Mistakes in origami are more impactful when you don’t realize their presence immediately. How do you insure sharp creases? Sharp creases can be achieved with anything that can exert pressure on the paper without ripping it. I usually use the tip of my nails and glide over the crease. That being said, sharp creases are not wanted at all times. Some projects or steps require smooth curving of the paper rather than the acute, defined folding. What advice do you have for amateur origamimakers? I consider myself amateur. The true origami gurus need no YouTube tutorials or Japanese guidebooks; they dictate the transformation of paper without reference to an established procedure. Amateurs should not aim to match that level of skill without first gauging the basic techniques often introduced by tutorials on the internet. ◙

PROCESS IN ACTION

PRODUCT

SHOTS

Deming Haines takes us through the convoluted process of creating a professional product shot.

IDEATION/RESEARCH I wanted to do a product shot of something that I had never done before. In order to practice lighting, the product needed to be what I call workable. It needs to have form and reflect light in unique ways. I decided to combine my photography with my other passion, climbing. I was going to photograph a climbing shoe. I started my endeavor with research. I simply looked at existing climbing shoe photographs in order to get an idea of what was already out there. I found that the majority of the photographs to be the shoe in isolation with a white background. There are a number of things I did not like with these images. The lighting was flat causing the shoeâ&#x20AC;&#x2122;s form to disappear, and the white background felt cheap like an amazon photo. I wanted the photograph to sell the product by outlining its unique features and make it seem higher end by adding an interesting background. I brainstormed on what aspects of the climbing shoe I wanted to focus on.

SKETCHING I made a first sketch. As I began to pursue the setup, I ran into many issues getting the materials I needed. I never found the perfect rock for the shoe to hover above and realized I did not have any mountainous background photographs.

I made another sketch with a more realistic setup. This time, the shoe will be on a reflective black surface and the background will be black foam board with a spot light. I also approached a climbing shoe company who agreed to lend me new shoes for the shoot. I met with the director of marketing where I discussed my ideas and made sure the intended photograph agreed with the companyâ&#x20AC;&#x2122;s views.

There were three features of the shoe that stood out to me: The aggressive downturned toe, the tight fitting heel, and the rubber on the top of the toe. I decided to capture three photographs, one for each feature.

59 I set up a small studio space in the video production room. I positioned the lights corresponding to the sketch I had made. As usual, my predicted placement of the lights was way off. I would stare at the shoe, move a light an inch, and then stare at the shoe again. I did this repeatedly until I felt it was necessary to take a test shot. The process was almost entirely trial and error as I moved the shoe, took a shot, and then compared shots side by side to see which one I liked better. Here are some of my first shots of the shoe.

DEVELOPMENT

The studio process took about four weeks. This includes setting up the space, lighting, and shooting the shoe. This does not include the time I spent doing my research, communicating with the shoe company, going on location for other shoe shots and editing the photos. A great deal of planning was done in order to achieve these photographs but the most important aspect was the experimenting of shoe positions and lighting then knowing which ones to keep.

REFINEMENT I was unhappy with my results so I decided to reshoot everything. This time, by trial and error, I found better shoe positions and improved light positions. I also finally found a way to clean the shiny black surface underneath the shoe. Here are my next shots.

I was more satisfied but I continued to experiment with the positions of the shoe sometimes by centimeters and kept moving the lights. After hundreds of shots, I picked my favorite positions and polished them through minor color correction and removal of dust in postproduction. I also removed the fishing wire that the shoe was hanging on in the first position. Here they are.

WHAT

IS BEAUTY

Anna Go has a mystical theory.

Americans, particularly teenagers,

are obsessed with vampires. From the plethora of young adult vampire books and the analysis of a Versace advertisement, I concluded that American standards of beauty are quite vampiric in nature. Most beauty advertisements in America feature models with pale skin, sharp bone structures, piercing eyes, all hallmarks of a vampire. The problem with these beauty standards is that, much like vampires, they suck the life out of those who do not already possess the aforementioned traits. In America, people strive towards a vampiric standard of beauty and in doing so, sacrifice parts of their identity.

Light skin is one standard of American beauty that actually forces people to change their behavior in order to obtain. Some of my friends who are of Indian descent will avoid standing in the sun because they don’t want to get darker. Why is being “brown” bad? Why should my friends have to avoid lounging pool-side in order to be more white? Pale skin is an arbitrary standard of beauty that makes people of darker skinned ethnicities feel the need to whiten themselves. As a result, skin tones that could be considered beautiful in their own right are forced to be one color: white. Another vampiric feature Americans strive for is a sharp bone structure and a lithe figure. The most common method employed to achieve that lean physique is cosmetic, or “plastic,” surgery. The innocuous names for the procedures disguise the harshness of the methods. Ryan Murphy, an accomplished tel-

evision producer, likens cosmetic surgery to going through a car windshield at 70 miles per hour. Cosmetic surgery is not a delicate procedure and is quite costly and potentially dangerous. People spend thousands of dollars and risk their health and safety for the sake of a flatter stomach or higher cheekbones. Because Americans feel that they have to fix their “Jewish” nose or “Asian” cheeks, they give up some of their cultural identifiers in an effort to look more beautiful. Piercing, large eyes are another vampiric facet of American beauty that people try to attain. Millions of cosmetic products are marketed towards people who want bigger, brighter eyes. Beyond that, though, are products marketed towards Asian women so they can have more Western eyes. Such products include special tape that can change the location of the eye crease to look less hooded. Asian American women want to look less Asian, and that attitude suggests that American standards of beauty and by extension, American culture, is superior. Rather than embracing ethnic features, Americans feel the need to subscribe to this vampiric standard of beauty. Pale skin, long limbs, and large eyes are all prevalent in American beauty advertisements which promote the idea that those features exclusively are beautiful. People feel ashamed of the way they look because it doesn’t fit into that narrow standard and go to great lengths to change their appearance. The resulting homogeneity wipes out cultural and ethnic richness all in the name of beauty. American standards of beauty have acted like vampires and sucked the life and identity out of Americans. ◙

[FACES] Claire Doyle

HOW TO

BUILD AN ART PORTFOLIO

1. Experiment. A strong portfolio reflects artistic curiosity, so ensure that your work spans multiple mediums. However, if you are interested in fashion design for example, you can balance out garments with sketches, flats/floats, concept collages, etc. 2. Sketchbook. Not only is sketchbooking a fundamental component of most successful artists’ design processes, sketchbook pages make great portfolio pieces. Portfolio reviewers like to see how students can conceptualize a project, iterate it, and realize the idea—your process is the best way for them to understand you and how you work. However, try to only include one or two slide’s worth. 3. Unity. What defines a stellar portfolio is a common theme, something that links a multitude of different pieces. Your theme could deal with subject matter, such as identity, society, or family. Alternatively, a type of process could be the connection, such as deeply conceptual work or a meticulous eye for detail. It could even be an element or principle of design, such as exceptional color work, repetition, or rhythm. A diverse but well-unified portfolio makes for a very competitive application. 4. Descriptions. Accompanying each piece, you should include a succinct, two-to-four sentence statement that contextualizes your work as part of a varied portfolio. If the inspiration relates to you deeply, if you employed a unique process to create it, if your work benefited the community: include such factors in your descriptions. While admittedly the descriptions are not nearly as important as the pieces themselves, they can help communicate your artistic identity while further unifying your portfolio. 5. Dimensions. Wherever possible, include the dimensions of your work, especially if a piece has an unusually large scale. For physical work, provide measurements in inches or centimeters, and for digital work, use pixels (you can find image size in pixels using Photoshop). 6. Medium. While this component goes without saying, it’s important that you address it with some level of specificity. For example, if the piece is mixed media, is it digital mixed media? Wet mixed media? Found paper? Hand-felted? These details speak to your investment in the process and commitment to craftsmanship. 7. Photographs. High-quality photos of your work are essential. Use the best quality camera you have at your disposal—not an iPhone if at all possible—and capture your work carefully, taking a multitude of angles for three-dimensional pieces. Try to maintain consistency in your lighting; while warm and cool light can both positively showcase your work, it increases the unity of the portfolio if the light mood is held constant. 8. Quantity. While most portfolio requirements provide a range for the number of pieces to include, do not feel that you have to fulfill the upper value of the spectrum. Reviewers see many, many pieces, and will likely be more impressed by a cogent, unified portfolio than an unrefined, overstuffed one. 9. Order. Strive to arrange your pieces in a manner that supports your overarching theme. For example, if you have chosen to focus on value, than progressing from darker pieces to more exposed ones would offer a strong visual appeal. That said, you will most likely never find a perfect order, so try not to torture yourself for hours on end. 10. Authenticity. Ultimately, your portfolio is a reflection of you. (This is a necessary cliché.) You may feel discouraged by viewing “rival” work from fellow students, but remember that you have something unique to share with the world. Don’t stoop to imitation—your work will suffer in the process.

CREATING THE

COVER

CULTOF

DOMESTICITY Pauline Pauwels

2015/16

CONTRIBUTORS JACK DAVIS MICAELA ROSEN GABBY COOPER DEMING HAINES PAULINE PAUWELS LAUREN MILLER HENNA JUDGE CAT COBB CLAIRE DOYLE

SHAAN BUTTAR SOPHIA FISCHBEIN MAGGIE HAYES SASHA KOSTENKO CEREN IZ VERA WEI ANNA GO CALVIN MA

FASHION CREDITS Page 6 Dress // Marques ‘ Almeida Corner // MM6 Margiela Page 7 Dress // Proenza Schouler Page 8 Dress (left) // Gucci Dress (right) // Balmain Page 9 Bag // Louis Vuitton Page 10 Earrings // Eva Fehren Page 11 Background // Lanvin

Cardigan // Saint Laurent Clutch // Anya Hindmarch (Barney’s) Dress // Vetements Shoes // Maison Margiela Page 12 Background // Saint Laurent Center // Marques ‘ Almeida Frockcoat // Alexander McQueen Espadrilles // Miu Miu Stilettoes // Gianvito Rossi Bag // 3.1 Phillip Lim Page 13 Coat // Céline Skirt // Stella McCartney Shirt+skirt // J.W. Anderson (Net-a-Porter) Shirt // Givenchy (Barney’s) Jacket // Hood by Air

Bag // Anya Hindmarch Shoes // Lanvin Page 14 Center // Givenchy Slip // Céline Slip Dress // Dolce & Gabbana Silver Dress // Galvan (W) Page 18-19 Images from Faustine Steinmetz and Vogue.com Pages 20-23 Images from Vogue.com Page 38 Dress // Chanel

Thank you. â&#x2122;ĽJ&M