Kith & Kin by Javier Asturias

KITH & KIN

M I N I M A L I S M

Finding the significance and beauty in simple and unassuming places.

I N T E R V I E W S Story behind the talent

FA S H I O N

B E A U T Y

Merging simplicity and movement

A R C H I T E C T U R E

Diving into the Heart of Savannah

KITH & KIN

Creative Director Daniella Castro Editor-In-Chief Leigh Anne Greenberg Editor Carmen Maria Ponce Art Director Andrea Sciré Design Director Javier Asturias Copy Editor Carmen Maria Ponce Javier Asturias Communications Director Carmen Maria Ponce

Producer Daniella Castro Andrea Sciré Project Manager Leigh Anne Greenberg Casting Director Andrea Sciré

Styling, Hair and Makeup Daniella Castro Leigh Anne Greenberg Carmen Maria Ponce Andrea Scire Photography Joshua Stoker Peter Ferrin Patrick Maynard Sabrina Lonsdale Alejandro Fasquelle David Dong Eduardo Holguin Models Katia Monge Corina Durrego Cristina Londono Vittoria Zavatti Gabby Gardner Reed Watkins Andres Pestana Maximilian Di Fillipo Emily Mcraex Celeste Miller Danyah Al-Natour Maya Ashes Contributors Valentina Angulo Lucia Marti Meloney Moore Ana Samayoa Ashley Sanchez

ISSUE 1 All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, including photocopying or other electronic or mechanical methods, without prior written permission of editor, except in the case of brief quotations embodied in critical reviews and certain other nanocommercial uses permitted by copyright law. For permission requests, write to the editor, addressed “Attention: Kith and Kin Permissions,” at the address below. Subscribe Kith&Kith is published four times a year. To subscribe, visit kith&kin. com/subscribe or email us to info@ kith&kin.com Contact Us If you have any questions or comments, please write to us at info@kithandkin.com. For advertising inquires, get in touch at advertising@kithandkin.com

PART ONE

Fashion Beauty

18 UNA

108 Kinesics

40 Unusual Perspectives

130 U.MA

52 Multiple Personalities 72 Neutral Beauty

PART TWO

Interviews

28 Valentina Angulo

102 Ana Samayoa

60 Lucia Marti

120 Kyle Millsap

82 Meloney Moore

“Passion is the urge to create .”

Lucia Marti

PART THREE

Architecture Travel

Heart of Savannah

90 Mirabelle Cafe

94 Husk Savannah

92 Paris Market

96 Collins Quarter

98 Foxy Loxy Cafe

“Sometimes you can get over-influenced to where you are not really thinking creatively, you are just sort of repeating what you see.” Kyle Millsap

F E M M E F A T A L E Photographed by Peter Ferrin Styled by Leigh Anne Greenberg Model Gabby Gardner

A softer look at the alluring and often ill-fated â&#x20AC;&#x2DC;femme fatale.â&#x20AC;&#x2122;

U N A Photographed by Alejandro Fasquelle Styled by Valentina Angulo Set Design by Javier Asturias

Expresses the designerâ&#x20AC;&#x2122;s personal heritage from Colombia and the strength that comes with being a woman in this world.

V A L E N T I N A A N G U L O

SCAD senior Jewelry Designer shows her passion through her handmade pieces. Photographed by David Dong, Words by Valentina Angulo & Interviewed by Daniella Castro

What led you to pursue jewelry? Jewelry has always been part of my family as a highly symbolic, valuable, and personal possession. But what made me choose it as my career path was the fact that jewelry is, by itself, a sculpture in a smaller scale. Jewelry is an art expression that requires design choices and technical skill in order to be conceived. Why did you choose to focus on face jewelry? I focused on face jewelry because it is a subcategory that I fell hasnâ&#x20AC;&#x2122;t been explored much. Historically, jewelry and eyewear have been divided into two categories. I just felt the urge to create a new concept surrounding body adornment. My concept is not eyewear neither traditional jewelry, it is face jewelry. Can you tell us the story behind this collection? Coming from a place rich in culture, traditions and symbolisms, I decided to dedicate my work to the country that gave me everything -My Colombia-. This is my personal commitment towards my country and my gender. Through real testimonies, I intended to reconstruct the lost identities of real women affected by the ongoing war in my country. How much time did each piece take to make? It took me almost three months to do the initial research, the sketching and the rendering of the pieces. It took an additional four months to hand-fabricate each component of my collection. By this I mean, soldering, wax sculpting, casting, 3D Modeling, filing, polishing, metal forming, gold plating, etcâ&#x20AC;Ś

How did you decide on your materials? Since I decided to take a somewhat unconventional approach in terms of the overall looks and uses of my pieces, I decided to make them as delicate and jewelrylike as I could. I picked glass and sterling silver as my main materials mainly because the sterling is a highly reflective metal when polished. It is delicate because once you lay it over with a hollow glass ball it literally shines. What was your process to create the specific shapes? Concept wise, I was inspired by five real testimonies of women victims of the internal conflict in Colombia. I constructed five overlapping profiles that represent different facets of a women’s strength, vulnerability, and inner dwellings. Some women emanate and share their light, some others have fire in their eyes while some represent the poetic powers of water. There’s also women who fight to claim their territory and also women who rise just like air. These women dictated my final designs. Technically, I decided to use common symbolisms like water, snakes, feathers, in order to convey a rather abstract concept. What is your favorite piece out of the collection? “A spark of light from within” because I only wish these stories might spark light on somebody else’s heart. What are you trying to convey to other people with your collection? Reassure the power and strength of a multi-faceted woman.

"Through real testimonies, I intended to reconstruct the lost identities of real women affected by the ongoing war in my country."

Was it challenging to blend the history behind your pieces with current trends? Personally, as a consumer I do follow trends, but as a designer I tend to make up my own. Sometimes I feel that trends can limit my designs. And since I was dealing with such a symbolic concept, I just allowed the concept to guide me to the correct shape. Do you think Colombia has a global effect in terms of jewelry or is more localized? For sure, the current jewelry scene is booming, and many Colombian jewelry designers are sharing the message with the world about cultural awareness and detailed craftsmanship. How do you see your work evolving in the next years? My cousin has an online magazine called Mindful Feminism about (and I quote her) “women who want to feel centered and connected to their inner power.” One of her latest post really inspired me in a way I never thought possible. It was about this New York best-selling author Elizabeth Gilbert who argued that she followed her passion but says that she no longer recommends people to do the same. Instead she prompts people to follow their curiosity since the word “passion” can trigger feelings of stress and pressure. In this context, my work will evolve alongside my curiosity.

Photographed by David Dong Styled by Caroline Wyld Models: Emily Mcraex Danyah Al-Natour Celeste Miller

U N U S U A L PERSPECTIVES

Photographed by Joshua Stoker Styled by Daniella Castro Models: Cristina Londono & Vittoria Zavatti

Often the most unusual viewpoints and angles are the most compelling.

M U LT I P L E PERSONALITIES

Photographed by Alejandro Fasquelle Styled by Leigh Anne Greenberg

Shoes have the capacity to portray

many different personalities within one person

LUCIA MARTI SCAD senior Jewelry Designer shows her passion through her handmade pieces. Photographed by Javier Asturias, Words by Lucia Marti & Interviewed by Daniella Castro

What led you to jewelry design? When I was a little girl, I would go window shopping with my mother. As a lover of jewelry herself, she taught me all she knew. Eventually, as I became older my curiosity grew and became as fond of jewelry as she was. Well, even more, turning it into my carrier. Where do you find your biggest inspirations? I find my biggest inspirations through fashion and architecture. More specifically, female artists such as Iris Van Herpen and Zaha Hadid. Which have always been an inspiration, breaking the barriers of technology and design. Tell us about the process of designing a collection Personally, I like to start with a theme. For this collection, my inspiration was passion. What is passion? Where does it come from? How does one represent it? As I ask myself all these questions, my creativity sparks. For me, passion is the urge to create. As a jeweler, I want to communicate that urge through jewelry. Passion, which comes from within, I myself associate it with the heart. It’s amazing how such a small organ in the body can transport blood to our entire body. Through veins, I created these pieces that work as a representation of “passion”.

"Through veins, I created these pieces that work as a representation of passion."

What jewelry designer do you look up to the most? I love seeing other jewelers work but one Iâ&#x20AC;&#x2122;ve looked up to for a long time has been Monica Sordoâ&#x20AC;&#x2122;s. Not only for her jewelry, but as a LatinAmerican jeweler! I had the privilege of working with her this past summer and she is truly an inspiration. Setting the bar high for the future of jewelry and Latin-American talent. What are you career goals and aspirations? As a soon to be Alumni from SCAD, right out of college I want to find a job where I could work as a translator of design. Truly learning how the industry works. Eventually though, I would love to create my own line of jewelry. Only time will tell! What advice would you have for prospective jewelry designers students? From what I have learned throughout my years at SCAD, I would encourage prospective jewelers to really experiment with all types of materials and techniques. I got to do this through collaborations. Also encouraged, I worked with many fashion designers that really pushed me to really step out of the box.

O R G A N I C

SHAPES 64

An examination at how organic shapes can be implemented in unexpected ways.

Photographed by Julia Llaguano Styled by Lucia Marti Set Design by Javier Asturias

NEUTRAL BEAUTY Photographed by Sabrina Lonsdale Make up by Carmen M. Ponce Models: Katia Monge & Corina Durrego

Beauty often lies within the natural and bare, as opposed to the ostentatious and outlandish.

MELONEY MOORE

Before she was a Beauty and Fashion Professor at SCAD, Meloney Moore worked for the renowned beauty company EstĂŠe Lauder. Photographed by Javier Asturias, Words by Meloney Moore & Interviewed by Carmen Maria Ponce

"We see smaller companies entering the market to address consumer needs in terms of cleaner/greener products and products that speak to a diverse consumer group."

What led you to the beauty industry? First and foremost I love marketing. As I developed my career in marketing, I realized that I enjoyed working on global brands and fast moving consumer goods (FMCG). Beauty was a perfect fit. I was able to develop products and global marketing campaigns. What are some of the biggest challenges that you see in the industry today? The beauty industry is very dynamic. I also think it is agile, inclusive, and responsive to the consumer. The beauty industry has a lower barrier to entry. As such, we see smaller companies entering the market to address consumer needs in terms of cleaner/greener products and products that speak to a diverse consumer group. I think the largest challenges will be around transitioning talent to meet this new digitally minded/global consumer. Continuing to speak to consumers that address recent social issues in an authentic way. Promoting leadership that is more representative of the consumer. What are your favorite experiences while working in the beauty industry? My favorite experiences are the moments of great mentorship by various executives in the industry. Traveling to Asia for focus groups and store visits. Experiencing those first few months when my products launch in store after 2 years of planning and development. Teaching at SCAD

What emerging beauty trend are you more excited about? I am most excited about mens beauty and the growing popularity of masks. The mask category was one of the first categories I managed. Now that it is so popular, I love to see the new innovation. I love how menâ&#x20AC;&#x2122;s beauty is challenging gender norms. I canâ&#x20AC;&#x2122;t wait to see how this evolves. How has the transition been from working in a corporate office to teaching in a classroom? I absolutely love teaching. SCAD has been a dream. I have the best of both worlds. I am shaping the future talent of an industry I love. I also get to meet executives and experts from the entire industry. How do you see the new beauty major at SCAD evolving in the next couple of years? I think SCAD will become the global destination for luxury and beauty studies. This program is truly unique. Students are working with company founders, executives, and beauty editors. They have real-life global projects. Classes are interactive with various hands-on workshops, guest speakers from marketing, creative, product development, and package design. Digital marketing, consumer engagement, sustainability and global strategies are at the core of our teachings. What advice would you give to prospective individuals wanting to enter the beauty industry? This is a dynamic industry with many career opportunities. Stay open to and explore the many roles in the industry. Research and learn as much as you can about the consumer.

HEART OF

SAVANNAH A GUIDE TO L O C A Lâ&#x20AC;&#x2122; S F A V O R I T E S Written by Leigh Anne Greenberg

MIRABELLE CAFE Situated in the heart of Savannah’s downtown Historic district, sits the charming Mirabelle Cafe & Suites, originally built in the 1860s. The establishment boasts a European style cafe on the first floor and two vacation rental suites upstairs with a stunning view of the historical Cathedral of Saint John the Baptist. Owners Brett and Kim Turner were inspired by their travels to Italy and France and wanted to bring a sense of Savannah’s charm and history, mixed with the old world elegance and style of Europe to their cafe and suites. The cafe offers Belgian liege waffles, sandwiches, and coffee drinks. Come stay at one of Mirabelle’s elegant suites or visit the cafe and sip your vanilla latte outside soaking in the history that Savannah has to offer.

PA R I S MARKET Located on bustling Broughton St, the Paris Market and Brocante is a must-stop shop for locals and tourists. The Paris Market is like a well-curated Parisian flea market housed in an 1847 Victorian building, originally a grocery store. So, there is not a lack of space with a surprisingly big downstairs area filled with furniture, various luxurious homegoods, and knick knacks. Upstairs offers a wide variety of items for purchase; handcrafted jewelry, artisanal candies, French-milled soaps, candles, fragrances, and an expansive selection of coffee-table books. Of much memorable mention is their small, but aesthetically-pleasing, counter and bakery where you can order an authentic French macaron and Italian soda. The Paris Market is a mustsee destination for anyone, but be careful because it is an easy place to spend your entire paycheck.

HUSK SAVANNAH A true Southern-inspired restaurant created by the talented Sean Brock and centrally located in historic downtown Savannah in a building from the 19th century. Husk originally opened in Charleston and there now exist four locations. Still relatively new in Savannah, Husk is not about reinventing Southern food, but focusing on the reality of it. If an ingredient does not come from the South, it will not be on your plate. Husk prides itself in sourcing its ingredients from local farms and indigenous Coastal Georgia areas. Often, the fish on the menu is fresh caught that same day. Every last detail is well thought-out and executed to perfection. The aesthetic and decor is chic, yet casual - perfectly encompassing the air of Coastal Georgia. This restaurant should not be missed, it is the perfect gathering space for groups and travelers wanting to experience good-ol-Southern food, but with a more elevated and elegant touch.

COLLINS QUARTER Just around the corner from Husk, sits the Collins Quarter. The restaurant, cafe, and bar is a local favorite for brunch and dinner. The owners are from Australia and created the restaurant around historical Collins Street in Melbourne. The inside includes luscious red leather booths contrasted against an earth-toned stone wall. In the back there is a private room that can be rented out for larger parties. Not to mention, they offer expansive outside seating with beautiful views of the moss covered oak trees in downtown historic Savannah. And the menu includes typical Australian dishes like smashed avocado toast, lamb shank, and pan roasted barramundi. This establishment is perfect for a night out with friends before hitting the town for bar hopping.

FOXY LOXY CAFE A favorite of students and locals alike, Foxy Loxy Cafe operates as a coffee shop, bakery, and Tex-Mex Cantina. Foxy (as most locals call it) offers a wide array of baked goods, with many vegan options as well. They are also known for their Tex-Mex tacos and Matcha latte. Although it is often busy with students, finding a seat shouldnâ&#x20AC;&#x2122;t be too much of an issue with their many seating options; various rooms on the first floor, an upstairs, courtyard, and tables outfront. Foxy is a hotspot for events, with their many weekly and monthly events. Their Fire & Wine Saturdays include smore-making and wine drinking, what better way to spend a Saturday night? Come by Foxy and enjoy a seat in the courtyard, eating a cookie dough brownie under the twinkly lights and feel like a Savannah local.

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ANA SAMAYOA

Fibers Master's student with a personal philosophy on design. Ana Samayoa connects her Guatemalan roots through her work. Photographed by Javier Asturias, words by Ana Samayoa and Interviewed by Carmen Maria Ponce

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Ana is a designer from Guatemala city with a Licenciatura en Diseño Industrial del Vestuario from Universidad del Istmo in Guatemala. Prior to graduate school, Ana worked 2 years in the fashion industry as a freelance designer and 2 years as Head of Design at Lia Cohen, a woman´s wear brand based in Guatemala. Her responsibilities included designing the garment, sourcing all the materials and developing prints, wovens, and knits for each collection. It was then that she became deeply interested in textiles and with the help of a Fundación Guatefuturo Scholarship, is now pursuing her MA in Fibers from the Savannah College of Art and Design; scheduled to graduate June 2019. The landscape and people from Guatemala as well as her travels around the world deeply influence her design work. In her studio practice the process of designing and creating is a connector; a link between worlds, a link between people. Ana is currently collaborating with artists and artisans to explore and learn new ways to work together and merge traditional techniques with contemporary practices. Digital printing, embroidery, laser cutting and weaving (in jacquard loom, dobby loom and backstrap loom) are among the many techniques utilized in Ana´s studio practice. Her illustrations and paintings are always the starting point in her process.

I believe that what I´m able to create with my hands is part of something bigger I believe in finding connections and bringing people together I believe we can act as links between worlds I believe that our strength is in our culture and identity I believe culture and tradition is not static I believe in honoring the past and embracing the present I believe in spaces for social awareness and change I believe in mountains and the force that shapes the landscapes I believe that the outside inspires and that we should bring it in I believe that playful and happy environments bring change I believe that by working together with the community bigger change can occur

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KINESICS Photographed by Patrick Meynard Styled by Andrea ScirĂŠ Models: Reed Watkins , Andres Pestana Maximilian Di Fillipo

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The study of the way certain body movements and gestures can serve as a form of nonverbal communication.

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KYLE MILLSAP Local Savannah Muralist Artist, & SCAD Alumni

Words by Kyle Millsap & Interviewed by Leigh Anne Greenberg

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All images provided by Kyle Millsap

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What about illustration drew you to pursue it as a career? “It was not a conscious decision. I loved painting and drawing as a kid and it seemed to make the most sense to me when I came to SCAD. I didn’t know how I wanted to apply it {illustration}, but I just figured I would be happy in life as long as I was drawing” How much is your job illustration vs. painting? “The painting takes longer than the illustrations, just because of the size and scale of the work. I can usually put a design together in just a day and sometimes it takes 2 or 3 days. Also it depends on the edits. In the early stages of the design I’ll put a quick digital collage together to show where things are going to go before I really start designing and going through everything. Once we know we’ve got a good direction, it doesn’t take much time. But it usually takes about 2-3 times as long to install, as it does to design and draw it out.”

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How did your experience at SCAD help when starting your own business? “My experience at SCAD helped in every way. My experience was unique because I started working for the college while I was in school and so my education was kind of on two different fronts. I would of course get an education in class and then working at ShopSCAD I got the education of what the market wants and what it can bear, in terms of pricing. I got a lot of instant feedback because I was selling my work there as well. So I could sort of see what people liked and what resonated. That was really crucial. I recommend to anybody who’s getting into selling their own work, to actually get in a gallery or a retail situation where their things are sold. Find out what people want and what they are comfortable with buying." "When it came to illustration, what I learned and honed the most was the thought process. I think that everybody brings their own set of skills and your skills always get better. I don’t know that my skills wouldn’t have developed necessarily the same way anywhere else if i had just kept drawing. But, the way I thought about how I approached my work was really important. Thinking about my development of thinking and conceptual ideas is huge. Not just accepting the first idea that I have, but develop 20 ideas. Keep going, keep pushing that thought. In illustration, some of the best works are the ones that are not so literal, but have some symbolism in them and make you think a little more about the topic that they are supposed to be referencing. So, I got a lot from my professors about thinking outside the box and not just illustrating what anybody else would, but developing my own visual language and style.”

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What is your favorite part of your job? “The flexibility- I do whatever I want. The fact that I am my own boss, my own employee and I’m the one I’m relying on. Definitely my favorite part. I don’t like to be micromanaged, I like a long leash. I also like to travel and work really hard for two weeks so I can then take a week off and not do anything. I also love the fact that I get to make beautiful things and I get to hopefully add joy to other people’s lives. When I see people getting engaged in front of one of my murals, I bliss out on that.” How much is your job illustration vs. painting? “The painting takes longer than the illustrations, just because of the size and scale of the work. I can usually put a design together in just a day and sometimes it takes 2 or 3 days. Also it depends on the edits. In the early stages of the design I’ll put a quick digital collage together to show where things are going to go before I really start designing and going through everything. Once we know we’ve got a good direction, it doesn’t take much time. But it usually takes about 2-3 times as long to install, as it does to design and draw it out.”

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U . M A Designer Ashley Sanchez Photographed by Eduardo Holguin Styled by Nicole Marie Betances Models: Emily Mcraex and Maya Ashes

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My collection is inspired by my mother’s illegal migration with a two year old, my brother. It is named U. MA because in a certain area of Cuba, Cubans call Miami YUMA, I did a play on words and related it to my mother. Cubans travel illegally to the United States in very critical conditions, in my mother’s case she was on a small floating device swimming in the dark ocean for 500 meters with a two year old. It is important for others to realize that immigration issues aren’t anything new. This collection is not only for the strongest woman I know, it’s for everyone who has had to struggle for freedom and opportunity, for the unwelcome. For U. MA.

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Aâ&#x20AC;&#x201D;Z

Stockists

&TRADITION andtradition.com

G E N E VA eu.gebevalab.com

3.1 PHILLIP LIM 31philliplim.com

GIVENCHY givenchy.com

A D E TA C H E R adetacher.com

GUBI gubi.com

ACNE STUDIOS acnestudios.com

H A R L O W H E N RY harlowhenry.com

APUNTO B apuntob.com

HERMES hermes.com

ARJOWIGGINS arjowiggins.com

HOUSE OF FINN JUHL finnjuhl.com

ARMADILLLO armadillo-co.com

J. M. WESTON jmweston.com

BANG & OLUFSEN bang-olufsen.com

JACQUEMUS jaquemus.com

BEHOMM behomm.com CAUSSE causse.com CHANEL chanel.com CHARVET charvet.com COS cosstores.com DE FURSAC defursac.fr DESIGN HOTELS deisgnhotels.com DIOR dior.com E D I E PA R K E R edie-parker.com ERIK JORGENSER erik-jorgensen.com ERMENEGILDO ZENGA

zenga.com FA L K E falke.com

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ISSUE 1

Credits

Cover Photographer Joshua Stoker Stylist Daniella Castro Model Cristina Londono Casting Andrea Scire P. 32 - 33 Photographer: David Dong P. 32 - 33 Katia Monge Corina Durrego Cristina Londono Vittoria Zavatti Gabby Gardner Reed Watkins Andres Pestana Maximilian Di Fillipo Emily Mcraex Celeste Miller Danyah Al-Natour Maya Ashes P. 32 - 33 Valentina Angulo Lucia Marti Meloney Moore Ana Samayoa Ashley Sanchez

P. 32 - 33 All rights reserved. No part of this publication may be reproduced, distributed or transmitted in any form or by any means, including photocopying or other electronic or mechanical methods, without prior written permission of editor, except in the case of brief quotations embodied in critical reviews and certain other nanocommercial uses permitted by copyright law. For permission requests, write to the editor, addressed â&#x20AC;&#x153;Attention: Kith and Kin Permissions,â&#x20AC;? at the address below. P. 32 - 33 Kith&Kith is published four times a year. To subscribe, visit kith&kin.com/subscribe or email us to info@kith&kin.com P. 32 - 33 If you have any questions or comments, please write to us at info@kithandkin.com. For advertising inquires, get in touch at advertising@ kithandkin.com

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