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FLAUNT

THE GENERATION ISSUE

134

SPRING 2014 Fashion Preview

FLAUNT FLAUNT FLAUNT

PAT BOMBARD PHOTOGRAPHS “ANARCHY LOOKS BEST IN SPRINGTIME,” BREANNA EDWARDS PHOTOGRAPHS “LIFE’S A GLITCH AND THEN YOU DIE” KELIANNE PHOTOGRAPHS “IN THE FUTURE WE’LL ISSUE TAXES FOR OUR GOOD LOOKS”

BROOKE ATWOOD collection

CONTENTS

44 48 60

66 86 104

GALLERY GIRL Clothing takes a Fine Art Spin MARILYN MONROE An American Icon IF YOU WANT SOMETHING DONE RIGHT, DO IT YOURSELF A Conversation with Joshua McLeold THE GREATEST JOY AND THE PROFOUNDIST PAIN ANARCHY IS BEST IN THE SPRINGTIME RIH-TRANSLATE WIPE THAT SMILE OFF YOUR FACE A Spotlight on Designer, Brooke Atwood

122 IN THE FUTURE WE’LL ISSUE TAXES FOR OUR GOOD LOOKS 136 GENERATION Y: In the Midst of a Youthquake 140 LIFE’S A GLITCH AND THEN YOU DIE 162 TRANCENDENCE Going Beyond the Limits of Ordinary Experience 168 ANDY WARHOL Digital Art Pioneer 174 184

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ALL SIGNS LEAD TO HERE Lawrence Murray of Genius Aesthetics THE FUTURE OF FASHION How 3D Printing is Revolutionizing the Fashion Industry PHOTOGRAPHY IN THE DIGITAL AGE...A’INT BAD

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PHONG DANG PDK Sounds

Clockwise from left: Behind the Scenes from “WIPE THAT SMILE OFF YOUR FACE” Behind the Scenes from “WIPE THAT SMILE OFF YOUR FACE” Behind the Scenes from “LIFE’S A GLITCH AND THEN YOU DIE”

CONTENTS

Clockwise from left: Behind the Scenes from “WIPE THAT SMILE OFF YOUR FACE” Behind the Scenes from “WIPE THAT SMILE OFF YOUR FACE” Behind the Scenes from “ANARCHY IS BEST IN THE SPRINGTIME” Behind the Scenes from “LIFE’S A GLITCH”

FLAUNT

THE GENERATION ISSUE

EDITOR IN CHIEF

WRITERS

BUSINESS DIRECTOR

DIGITAL

SKYE SIENKIEWICZ

MORGAN MCCARTY,

JILL CARVAJAL

FLAUNT.COM

TENISHA CLARKE, SKYE

JILL@FLAUNT.COM

CREATIVE DIRECTOR LILY MARSHALL

SIENKIEWICZ, LILY MARSHALL

CULTURAL DIRECTOR MORGAN MCCARTY

CONTROLLER BUSINESS STRATEGIST

LUIS BARAJAS, SR.

MAURIZIO MARCHIORI

STYLE DIRECTOR TENISHA CLARKE

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MUI-HAI CHU

ANSARI

FRANCISCO SALVADO

+1 323 836 7053

ART DIRECTOR NIGEL ZEFF

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CONTRIBUTORS (FROM LEFT) ANTHONY MILLER, SKYE SIENKIEWICZ, KELIANNE, PAT BOMBARD, LILY MARSHALL, BREANNA EDWARDS, HANA HYMAN, TENISHA CLARKE, MOSI MCKIE, ASHLEY LO, MORGAN MCCARTY

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EDITORâ&#x20AC;&#x2122;S LETTER

I am a pioneer with nothing to lose, in search of opportunities.

I believe we all are.

Just close your eyes and believe.

Love,

Skye Ashley Skye Ashley

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ART

GALLERY GIRL Clothing takes a fine-art spin with painterly prints & bold brushstrokes WRITTEN BY TENISHA CLARKE

ISA ARFEN style.com

“One should either be a work of art, or wear a work of art,” are great words from the late Oscar

Wilde that have truly come to fruition in a number of collections that have come down the runway in recent seasons. The merging of art and fashion has definitely progressed from an early history where fashion was only depicted in art, especially during the Renaissance when fashion as a medium played an extremely significant role.

Art and fashion began intermixing during this period as artists used fashion a great deal in paintings, and eventually used their skills to create and design textiles and embroideries, like in the case of artist Antonio Pisanello. Today people are highly influenced by artistic garments themselves, but by the cultural aspects of the art pop movement as adopted by icons such as Jeremy Scott and even singer/singwriter Lady Gaga.

The spirit of collaboration between artists and fashion designers can be seen as early as the late 30s, when Elsa Schiaparelli and many of her Surrealist artistfriends worked to produce a number of designs for her collections. Elsa went on to work with artists like Salvador Dalí on the shoe hat. She also created the Lobster dress and the Tear Illusion dress with appliques provided by Jean Cocteau. .

Garments as canvases, the true merging of traditional art and the fashion industry, date back as far as 1965. Yves Saint Laurent produced his autumn/winter collection of A-line shifts that year in collaboration with Piet Modrian.

Since then, art and fashion have continued to have a long-term, close, working relationship with one another – almost to the point where its hard to differentiate between the two at times.

PRADA SS14 style.com

Recently, we’ve seen a tremendous collision in art and fashion where artists and fashion designers have come together in a number of ways to merge the characteristics of each respective category through their collaborations. In 2008, artist Damien Hurst designed for Levi’s, and Fabrizio Plessi and Louis Vuitton created the limited edition Molten bag that sold for nearly $50,000.

From 2010-2012 we saw Rosson Crow and Zac Posen, Meret Probst for Fendi, Matt Groeninh and Comme des Garcons, illustrator Keith Haring few Nicholas Kirkwood, and the Jimmy Choo capsule collection with Rob Pruitt just to name a few.

The emerging “gallery girl” trend was prevalent in Resort 2014 shows by designers such as Milly, Nicole Miller, Cynthia Rowley, Rachel Comey and Cédric Charlier, which then trickled down into Spring 2014 shows. Large portraits appeared in a number of artistic styles. Some were painted or inked, while others were hand-drawn or enlarged photo prints and classical paintings. Design houses such as Chanel, Prada, Céline, Louis Vuitton, Dior, Jil Sander, Christopher Kane, Versace, Calvin Klein Collection, Isa Arfen, Giles, Andrew Gn, Giorgio Armani, Saint Laurent, Vivienne Westwood, Jean-Charles de Castelbajac, Aquilano.Rimondi, Paule Ka, and Antonio Marras incorporated cubist portraits, street murals, freehanded painterly pantones, daring brushstrokes and a fine art spin inspired by artists like Picasso, Jeff Koons and Stephen Sprouse into their collections.

CELINE SS14 style.com

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Ed Feingersh Marilyn with Chanel No.5, 1955/2003 Silver gelatin print

“When you speak of the American way of life, everybody thinks of chewing gum, Coca-Cola and Marilyn Monroe.”

-Nedvela Magazine

ART

MARILYN: An American Icon

WRITTEN BY MORGAN MCCARTY Marilyn Monroe was an American star, but her charm has captured the world’s fascination with magnetic appeal.

“Marilyn: Celebrating an American Icon”, is an internationally traveling exhibition featuring dozens of works owned by private collectors in Europe, Sotheby’s archives, European art galleries and the estates of artists who interpreted the muse that was “Marilyn.” Presented in a variety of media including videos, photos and paintings, the exhibition captures Marilyn’s personage behind the scenes and in the spotlight. The exhibit includes more than 50 artists’ works, in styles ranging from Alfred Eisenstaedt’s photography to Andy Warhol’s Pop art.

It comes to no surprise that retrospectives such as this have featured Marilyn as their subject of interest. It has been nearly 50 years since her mysterious, and untimely death.

But look around: Her legend lives on, and more dazzlingly than ever. The 1950’s bombshell has developed into a 21stcentury pop culture phenomenon, and in such a fashion that Marilyn certainly would have appreciated. Helen of Troy may have been the face that launched a thousand ships, however when it comes to moving merchandise, nobody can equate to the face of Marilyn Monroe. Those platinum locks, the bright red lips, and that enviable curvy figure have become a recognizable brand image Dolce & Gabbana has captured Scarlett Johansson as the cultural icon within their advertising campaigns. and powerful marketing tool for artists and advertisers.

We have also seen Charlize Theron meeting up with Marilyn via CGI within Dior ads. Magazine spreads have continuously

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featured celebrities such as Lindsay Lohan, Nicole Kidman, and even Rihanna having a “Marilyn moment,” on their covers.

Commercial ventures for Marilyn inspired product lines within Mac Cosmetics, Nova Wines Inc., Betsey Johnson, Salvatore Ferragamo, and Dolce & Gabbana have also been in the works ranging from tote bags, and Monroe-motif dresses to Monroe themed wines and postage stamps. Musicians such as Elton John have also paid their homage to the icon through songs like “Candle in the Wind.” Contemporary artist, Seward Johnson, has even immortalized Marilyn through a 26-foottall sculpture depicting Monroe’s iconic subway grate pose from “The Seven Year Itch” located in Palm Springs, California.

Marilyn’s infamy was amplified posthumously. But before she became an established icon, she played the role of “the muse.”

At the height of her acting career, she captured the world’s fascination through her noteworthy roles on the big screen.

Her comedic charm stood out as the gold digging Lorelei Lee who sang “Diamonds Are a Girl’s Best Friend,” in “Gentlemen Prefer Blondes.” She played the sultry but senseless blonde in “The Seven Year Itch.” In “Some Like it Hot,” she displayed her vocal talents as the sexy band singer. Her luminosity transcended off the big screen into the hearts of the world’s most famous artists, musicians, and members of high society.

CONTINUED ON PG. 61

Peter Beard Dead Elephant Book Diary, Marilyn Monroe, 1971-2001 Photography/Mixed media on silver gelatin print

Andy Warhol Marilyn Diptych 1962 Acrylic paint on canvas

Marilyn Monroe Cecil Beaton Photographed in 1956

Marilyn Monroe Being photographed by Cecil Beaton

M

arilyn as the actress appears to have been lost in the minds of the younger generation. She is enamored as something completely different, as an image and an icon. Marilyn has continually been misunderstood in this way and has struggled fiercely with society’s perception. She has been an innocent victim of the Hollywood machine. The image we see of Marilyn was a beautifully constructed façade from the dyed hair to her famous “wiggle walk.” Marilyn herself worked very hard to invent this image, one that she later struggled deeply to escape. While she represents everything that is glamorous about Hollywood, the disturbing story of her private life represents the darkest side of fame. Born as the plain-Jane Norma Jeane Mortenson, moving from foster home to foster home, her childhood has been a tragic story of victimization and sexual abuse. Her life behind the silver screen is consumed with scars of abuse; the pain of psychotherapy; the betrayal by her third With her premature death at the age of 36, Marilyn has been captured immortally as a personification of femininity, naïveté, and sexuality. Decade after decade, Monroe continues to appear in popular culture in different guises. In the 1960s she was Andy Warhol’s silk-screened muse; in the ‘80s she was the inspiration behind Madonna’s career-defining “Material Girl” video. More recently, she is reimagined in the Golden Globe winning drama “My Week With Marilyn” through the face of actress Michelle Williams, the glamorous star of a Broadway musical in the NBC series “Smash” and the alter ego of pop singer Nicki Minaj in the single “Marilyn Monroe.” While a myriad of celebrities including Christina Aguilera, Gwen Stefani, and Lady Gaga have given a decent effort in capturing the “MM” persona; there will never be another Marilyn Monroe.

PEOPLE

IF YOU WANT SOMETHING DONE RIGHT, DO IT YOURSELF A conversation with, Joshua McLeod of Victor + Alexander PHOTOGRAPHED BY: BREANNA EDWARDS WRITTEN BY TENISHA CLARKE

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“Seriously, who wants to pay $150 for a t-shirt?” While we all know there is quite a percentage of people who don’t mind it, I’m sure those who prefer not to pay that amount (or simply can’t afford to) are far greater. Joshua McLeod, founder of the blog and online storefront Victor + Alexander, made it very clear that he believes in living a life of high fashion and glamour. But who says it has to be at the expense of owning pricey designer labels?

Labels are great and most certainly have their place in the industry, but with companies like H&M, Forever 21, Zara and ASOS on the rise it’s almost impossible to differentiate between high and fast fashion labels.

Even more so, there are tons of individuals who have taken to the art of DIY (Do It Yourself) fashion. In conversing with Joshua and viewing his blog and past and upcoming handbag collections, I couldn’t help but admire the craftsmanship and dedication that he puts into it all.

“Basically it all started with a Jack Spade bag that I really needed in my life,” he says. “But the problem, like so many other things I want, was that it was too expensive. For all of my life I’ve lived by my motto, “If I can’t afford it, then I can figure out how to make it.

And that’s what I did.” And there are so many others doing it as well. The first major project for Victor + Alexander, a collection of vegan leather handbags, launched in March of this year. Other projects featured on the blog cover a wide range of lifestyle categories including style, home, art and travel.

Beyond the workroom of Victor + Alexander, there are tons of other project inspirations available from a number of individuals who have blogs and vlogs. Joshua mentioned some of his personal favorites, which include Mr.

Kate, P.S. I Made This, Flax & Twine, and Martha Stewart.

So the major question or concern I think would be whether or not the DIY craze poses a threat of some sort to the fashion industry? Potentially. It most certainly affects it, but not necessarily in a negative way. If we’re honest, a majority of people are far too lazy to go about making things on their own, especially not an accessory or an entire wardrobe.

Joshua and I proceeded to discuss the matter and he believes that the projects done by major DIYers will simply open followers’ eyes to big name designers that they draw inspiration from. He puts it in a rather relatable ontext. “If Alexander Wang makes a pair of gold metallic harem pants and I absolutely have to have them, I make them. Then my followers are directed towards the original, and they look at his entire collection […] so they simply buy it themselves. In the long run, for me at least, its the high fashion labels that inspire my DIYs.” I drifted off momentarily at this moment just Imagining the amazing creation that would be golden pants by Wang. Um, yes please? laughed off the thought of DIYers massproducing designer quality clothing.

That’ll be the Then we aughed off the thought of DIYers mass-producing designer quality clothing. That’ll be the day…

While I may never develop the skills necessary to make half of the amazing things that Joshua does, there is something fascinating I think to us all, young and old, about being selfsufficient in any capacity.

Find out more about Joshua, and Victor + Alexander at www.victoralexanderco.com.

the greatest JOY & the PROFOUNDEST pain PHOTOGRAPHED BY MACKENSEY ALEXANDER WRITTEN BY SKYE ASHLEY

“It’s not where you take things from, it’s where you take things to.”

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back to basics One must remember how to regress back from the chaos of its surroundings. In todayâ&#x20AC;&#x2122;s generation of youth, we get consumed in its initial advancements of technology.

This is when we look at the other side of the spectrum of todayâ&#x20AC;&#x2122;s generation Y and the Millennials. It is here, that we have to provide an environment where, Less is more; we have to disconnect before reconnecting, to pare back and strip down for a more simplified look.

When transitioning back to simplicity, where we just live off the basics and essentials, a new appreciation is fulfilled in looking at the organic and raw space surrounding you.

It creates a space to breathe, to retreat into the confines of simplicity, bare yet beautiful. As we get back to the basics, a warm, natural monochrome palette surface s, focusing more on quality than quantity.

Full of emotional resonance, were exposed to the heart of essence: it honors the art of editing down and follows in the footsteps of intuition, which connects directly with the spirit of self-reflection.

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t

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nce we begin to regress back, there is an emphasis on the importance of inner observation. We no longer feel the media pressuring us on what to feel or think, our ‘gut’ feeling is back. As we stem away from the other side of the spectrum of technology advancements, the transition to day-to-day life occurs in finding happiness, compared to the everyday pressure of what needs to happen next in order to get ‘this,’ done. Although it seems to be an organic and more ‘raw’ way of thinking and living compared to others, were still learning and maintaining the priorities necessary to survive.

Money and time is what we collect to save up for meaningful content and experiences. Consumers are taking this, to reward themselves with premium experiences and products. The increasing interest in the power of the mundane, which is the cause of coexisting in harmony, and behavior are becoming the driving force for innovation. Thus, the desire to reconcile a need to be alone, with a desire to find intimacy increases more rapidly. As we relish in a redefined world of ‘luxury,’ powerful connections begin to resonate in the simplest forms and create humble routines. It is this state that we as people, begin to feel like an individual again.

Our new found, or should I say, resurfaced priorities still lie in offering an emotional connection and an opportunity allow them to reduce stress. The overall culture of the millennials and Generation Y, show strong drives towards intimacy, however they tend to be so consumed in the digital age that they make no time for that reaction to occur. Instead they resort to using technology to fulfill those needs, cutting out the initial human interaction. Yes, regressing back to a more organic and simplistic nature of living does give us the need for isolation and the reclaiming of space to be alone, however we still need and want interaction and someone to share the experience with. Interacting with people in a natural environment also tends to come more naturally, crazy concept right. Weâ&#x20AC;&#x2122;re so quick to jump to some type of electronic resource in order to communicate.

Designing around the basic actions and routines that we perform naturally, every day, is becoming an important starting point for product development and consumer needs. Exploring mundanity in this environment is done by seeing past the gloss to the truths behind your work. In doing so, consumers will respond to products that they relate to their day-to-day experience. They respond to products that tap into daily routines and enhance the dayto-day experience. This season, it explores the relationship between man and earth, becoming rooted as one, once again. Giving homage to the Earth, â&#x20AC;&#x2DC;mindfulness of the natural well-being is explored. Having lost ourselves in the new generation and its advancements we must restore the sensitive balance of the primitive connections to who and what, we are. It is there that we will find our individual identity and embrace natural interaction.

ANARCHY IS BEST IN THE SPRINGTIME

PHOTOGRAPHED BY PAT BOMBARD

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WRITTEN BY SKYE ASHLEY

“MITRA” BODY CHAIN MELANIE MCPHERSON TURBAN, HOOP EARRINGS, AND SHORTS STYLIST’S OWN

“MITRA” BODY CHAIN MELANIE MC PHERSON SHOES ZARA TURBAN, HOOP EARRINGS, AND SHORTS STYLIST’S OWN

“MITRA” BODY CHAIN MELANIE MCPHERSON TURBAN, HOOP EARRINGS, AND SHORTS STYLIST’S OWN

RIHtranslate

An influence to young women, fashion, music, and her fans, Rihanna continues to translate what a strong, powerful, unique and sexy, women is. The Barbadian artist, success and confidence does not seem to cease.

On June 2, she will receive the Fashion Icon Award at the 2014 CFDA Fashion Awards at Lincoln Center.

Following incredible past recipients, such as Kate Moss and Lady Gaga, the award will be a well-deserved honor, underwritten by Swarovski. A presence well paid off, Rihanna couldn’t escape the front rows of Paris Fashion week from Chanel to Gaultier, Dior, Givenchy, and of course Balmain. The multi-talented artist is the new face of high-end fashion label, Balmain, for Spring/ Summer 2014. The creative director himself, Olivier Rousteing, described RiRi as an “icon.”

She’s done nothing except, prove that she is one.

Upon receiving the announcement, RiRi stated, “People want to know who you are. Fashion is a clear indication, a way to express your attitude, your mood.” Although the artist started her career in music, she’s made such a strong impact in the fashion world, not to mention for all young women. This will follow after her cover of Vogue this month, which is her third time on the cover.

It was the 10th anniversary of Vogue’s shape edition in 2011, that Rihanna was first featured on the cover as the, youngest black woman to appear on American Vogue.

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“INDRA ARMOR RING,” “STASIS” EARRINGS, MELANIE MCPHERSON SUNNIES & BANGLES STYLIST’S OWN CROCHET DRESS FOREVER 21

“MARROW EARRINGS” “INDRA ARMOR” RING MELANIE MCCPHERSON “PANDORA” BAG, GIVENCHY CUSTOMIZED JACKET, BATHING SUIT BOTTOMS, BODY CHAIN, STYLIST’S OWN

HOOP EARRINGS, BODY CHAIN, BANDEAU, & SKIRT, STYLIST’S OWN “AEON CUFFS,” “INDRA ARMOR”RING MELANIE MCCPHERSON

SUNNIES & BANGLES, STYLIST’S OWN CROCHET DRESS, FOREVER 21 “INDRA ARMOR RING,” “STASIS” EARRINGS MELANIE MCCPHERSON

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ontinuing her journey to becoming a Fashion Icon, she was featured in the 2012 ‘100 Most Influential’ that year. She then started designing her collection with River Island, which is going on to her 4th season. I consider this her formal influence in fashion, it was in 2004 when she emerged as the R&B pop princess that she began evolving fashion for young women both black and white. She’s one of the first artist that represented and influenced the mainstream, street culture of youth. As she evolved, street wear and ready to wear evolved, even for men’s fashion too.

It was in 2007, with the release of Umbrella, when Rihanna began to find herself in fashion and style and not just her ‘Rihanna Navy’ of fans. She allowed young women to find what made them like a sexy powerhouse.

From here fashion, in both teenagers and young women began to evolved into a refined edge, just as Rihanna did. By 2008, she sported the chainmail corsets at black tie events, with power-shouldered jumpsuits, which quickly started trending along with the leather hot pants on stage. Women were dressing sexier and with confidence, which only continued to progress into accepting racier dressed women as an icon.

RiRi was dominating that media and social scene in 2011, as her onstage outfits also took the streets. We saw leather straps, studs, fishnets, and heels, Rihanna was showcasing her female sexuality as visual performance for everyone. Shouldn’t every woman feel strong and confident enough to do the same. This wasn’t about sex or to flaunt it. It was something to idolize, to relish in and see that those boundaries could be broken down.

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Shortly after, we gained yet another respect for this fashion icon, when she was the first mainstream artist to show case the aesethetic, of the current festival-attending teens. She mixed prints and colors and metals, with oversized items and statement jewelry.

Today she still embodies the edgy style but makes it into an ensemble by wearing Gucci, Cavalli and Armani, while adding hipster high street.

A successful music career with number one hits, multiplatinum albums, countless awards and loyal fans, is the back bone to Rihanna’s initial success. However, as her fashion evolved, as well as influenced, so did her tactics in the entertainment industry. She is a powerhouse, The HBIC. From where she started ten years ago with her first able to where is now, taking on several titles, is impressive and empowering. Everyone young and grown women can find an inspiring icon with Rihanna, even her reactions to the media and how she handled her in past tangles.

Nothing held her back. I wouldn’t say that roles are reversing, however they are enhancing. Women have always had that fire, confidence, and determination, they just need someone to show them how to utilize it.

“the HBIC”

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“MITRA” BODY CHAIN “EZRA” RING MELANIE MCCPHERSON TURBAN, HOOP EARRINGS, STYLIST’S OWN

STYLIST: TENISHA CLARKE

WIPE THAT smile OFF YOUR FACE A SPOTLIGHT ON DESIGNER, BROOKE ATWOOD

PHOTOGRAPHED BY PAT BOMBARD

WRITTEN BY SKYE ASHLEY

LEATHER PATCHWORK TOP & TULLE SKIRT, BROOKE ATWOOD SHOES, MODEL’S OWN

LEATHER CUT OUT TOP, LEATHER SHORTS. BROOKE ATWOOD LEATHER ANKLE BOOTS, ALEXANDER WANG

LEATHER PERFORATED TOP, LEATHER SKIRT, BROOKE ATWOOD JEWELRY, STYLIST’S OWN

LEATHER DRESS, BROOKE ATWOOD RINGS, MODEL’S OWN

“there’s really not an option to stop and take a breather,” 109

CHIFFON DRESS WITH VELOUR SLEEVES, BROOKE ATWOOD NECKLACE, STYLIST’S OWN JEWELRY, STYLIST’S OWN

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candid response from the designer, Brooke Atwood, regarding what’s next with the growing demand of her self-named label. She launched Brooke Atwood two years ago in 2012, with the intention to embrace her love affair with leather and make an income doing it. The effortless, yet edgy womenswear collection has been a success and so has the ongoing journey to get there.

Originally from Mississippi, Brooke grew up being taught to sew various clothing patterns by her grandmother. Although her interest in fashion continued, she went on to receive a Business Degree at the University of Mississippi. It was at the age of 24, that the young entrepreneur opened a clothing boutique in Oxford. As a single woman and mother, with no significant other to be a ‘bread winner,’ Brooke saw no other option but to be her “own boss.”

When asked about women’s roles in modern society, she believes that although women are more empowered than before, both men and women are equaling out and finally reaching the same page, at home and in the business world.

Setting high goals, the designer’s personal determination and success department never ceased. After three years of retail, it was time for Brooke Atwood to follow her true infatuation: Design. This brought her to the city of Savannah, where she received an MFA in Fashion Design at Savannah College of Art and Design. Now moving onto her fourth season, her collections are produced and sold in showrooms in New York, as well as various boutiques in the U.S. Upon her success, Brooke continues to reside in Savannah, where she is one of the first working fashion stylists in the area, and designs at her in-home studio.

Since sketching is not her forte, she typically creates two to three pieces that she envisions and from there, builds off of those to create the rest of her collection.Inspired by traveling, music, live shows, and a fearless attitude, her own effortless, rocker chic style is evident in her designs. Being that trends isn’t something Brooke looks for when designing, she likes to create pieces of longevity that can be worn season after season.

Who needs a muse when your success stems from designing for what defines you? It seems that confidence and dedication are key in the design world. In Brooke’s perspective, it never ends in fashion, as an emerging designer, or any designer for that matter; there is never a break during the design process. Currently, the Brooke Atwood collection has hit runways at the 2014 Capsule Trade Fair in New York, along with Nashville Fashion week, and Savannah Fashion week. Each show featured her 2014 Fall/Winter collection of 24 pieces, which the designer related back to her roots in Mississippi and where she is now, with western details of a 1975 rodeo prom Queen, meets New York.

â&#x20AC;&#x153;Fashion is becoming more progressiveâ&#x20AC;?

As more designers begin to emerge at a younger age, fashion is becoming more progressive.

Looking into the future of the self-named label, Brooke is working towards adding a smaller capsule collection that is more sustainable, using eco friendly leathers and with lower price points.

Being a new label on the scene, the hardest part tends to be honing in on who your customer is and who you want to be. There is always a need to perfect and refine oneâ&#x20AC;&#x2122;s work, according to Brooke; Of course there is, leather does so naturally.

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CHIFFON DRESS WITH VELOUR SLEEVES, BROOKE ATWOOD JEWELRY, STYLISTS OWN

PERFORATED LEATHER TOP, LEATHER SKIRT, BROOKE ATWOOD JEWELRY, STYLIST’S OWN

WOOL COAT, BROOKE ATWOOD SUEDE ANKLE BOOTS, GIUSEPPE ZANOTTI SHEER DRESS JEWELRY,, TURBAN, WITHSTYLIST’S VELOUR SLEEVES, OWN BROOKE ATWOOD JEWELRY, STYLIST: STYLIST’S OWN SHOES, TENISHA CLARKE STYLIST’S OWN & HAIR: MAKEUP

ASHLEY LO

DRESS BY LEAH MICHELLE SMITH

in the FUTURE we’ll ISSUE TAXES FOR our GOOD LOOKS PHOTOGRAPHED BY KELIANNE

WRITTEN BY SKYE ASHLEY

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STREET style Current trends in Womenâ&#x20AC;&#x2122;s Street Style are continuing to evolve throughout the season, consisting of different techniques and styles that play with, graffiti and hyperreal bright prints.

Playing with various bright colors to layer and piece together, creating a pop of art, as well as graphic details.

The graphic prints have a fruitful play that are inspired by contemporary photography and the trend for Modernist editorial design. Fashion is given a Pop Art style, with highly saturated colors for an alternative update. Hyperreal is from the postmodern philosophy, where what appears real and what appears fiction are seamlessly blended together. Allowing physical reality and virtual reality to mix and blend.

Graffiti paint gives abstract and conventional prints a contemporary street-art feel.

Arthouse techniques are emerging from the runways, as a new graphic style that has wide commercial appeal that canâ&#x20AC;&#x2122;t be used for contemporary patterns. Designers have embraced experimenting with spray paint, mark-making, expressive strokes and abstract patterns, along with the layered colors, to create a fun piece. This creates a playful twist in the graphics and shapes seen in Street-Art. STYLIST & HAIR: TENISHA CLARKE MAKEUP: MOSI MCKIE

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GENERATION Y: In the midst of a youthquake WRITTEN BY SKYE ASHLEY We are living in the new digital age, of a fast growing, technology revolution. What was once seen as a fantasy can now be a reality. Where is this trend taking our future? Looking back at the 60â&#x20AC;&#x2122;s Youth Quake, there was a lot of political change occurring that set off a chain reaction for the people, and the entire culture to change, from the way they dressed to they way they thought. It brought a new perspective. The Civil Rights Act brought an end to segregation and a fight against the progressives. While this occurred, the youth responded by embracing new fashion and new sounds music, which continues to shape fashion today. We are now in the midst of youth quake due to the significant changes weâ&#x20AC;&#x2122;ve experienced again in our politics, as well as our increased knowledge. Since there is an established gay identity in our society, most people have come to respect and accept them, which has led our government to legalize gay marriage, and taxes. The legalization of marijuana and its health benefits has also contributed to the culture change, as well as our found knowledge of the environment and how we must become more sustainable. Due to this generations acceptance and optimism many aspects of our lives have improved and advanced, including technology.

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oday there are approximately 9 billion people in the world, out of the population there is the largest generation of youth in history. An actual “youth quake,” of 4.3 billion people between the ages of 10 and 25. Instantaneous modes of communication is what drives the population, Cisco’s 2012 Generation report found that 60% of Generation Y compulsively check their smart phones for messaging, social media, and information.

The Millenials are such a well informed generation since information is accessible at anytime.

Designers have struggled and progressed with the advancements in technology, as well as the demand of the new consumer. Luxury names such as, Gucci and YSL, had to transition to more commercial visions to capture a new audience and compete with fast fashion companies like, Zara and Forever21 replicating their collections from the runway. Advancements in technology have also brought our attention to the environment and the kind of effect we’re causing. Companies have lowered energy and water consumption as well as, carbon emission, to be more sustainable and maintain transparent with consumers.

Textiles have also advanced to modern technology to create 3D woven natural fabrics and new treatments.

Alexander McQueen was an early adopter of technology: in spring 1999 No. 13, a model wearing a dress was spray painted by two robots, and later in 2010, McQueen adopted digital printing from photography in Plato’s Atlantis collection. Lady Gaga was influenced by his collections and emerged digital technology into the public. Another Gaga influencer, Iris Van Herpen, was the first to use 3D printing in haute couture; “fusing fashion, science, and technology.” The trend of materials becoming media is continuing to progress.

In the 2014 Fall collections, Alexander Wang revealed a developing form of technology in fashion that was futuristic, yet functional for the survivorlist. Heatsensitive leather changed in front of metals vents to colors of black to blue, to yellow, or purple and slowly faded. This advanced material has been ten years in the making by Lauren Bowker, an alchemist, that is using her designs to sync certain colors with seasonal cues in the environment.

A chemical compound is injected into the leather and then ignited to see its reaction to temperature. The compound also reacts to UV rays, friction, sound, moisture, and pollution. It’s potential use for health are being developed to possibly communicate the severity of an asthma attack, or a garment that acclimates to the weather.

Studio Roosegaarde has also developed a hightech fashion made from e-foils which become transparent based on personal interactions. Merging the current trend sexual desire and technology, Intimacy 2.0 is a dress that responds to the heartbeat of another person, these interactions determine the level of transparency, creating a “sensual play of disclosure.” If technology has advanced to create a material that becomes transparent then we can create something invisible, right?

Harry Potter’s invisible cloak and GI Joe’s invisible suit have actually, been developing for the last two years.

Hyperstealth Biotechnology Corp, designed Quantum Stealth, a camouflage material that renders the wearer as invisible by bending light waves around them, mimicking the surrounding environment. The material is lightweight and works against military IR scopes and Thermal Optics according to U.S. and Canadian military. This material is advanced and intimidating, there’s a fear that strikes of the possibility of it getting in the wrong hands. A clearly, defined ramification that can arise with such quick advancements in technology. Although it is still being developed for security issues, this design sets new standards and expectations for our generation and the future of the digital age.

life’saaGLITCH GLITCH life’s life’s GLITCH and then YOU DIE DIE PHOTOGRAPHED BY BREANNA EDWARDS

WRITTEN BY SKYE ASHLEY

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STYLIST: TENISHA CLARKE MAKEUP: HANA HYMAN ALL GARMENTS BY: MADISON TAYLOR

taught me how to make â&#x20AC;&#x153; she connections, how to take two

separates and make them whole, until she couldnâ&#x20AC;&#x2122;t remember how to communicate from her internal harddrive to her hands. like the insides of computers, the insides of humans sometimes crash too. there is no ctrl + z or backspace that can get the files of our memory back. but she keeps on scanning her mind, through the static, through the glitches of time and moments shared. some remain black and white but others explode with color, making sparks and some openings.

â&#x20AC;?

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E

very generation has a great challenge; Ours is seen to institutionally reinvent the world. As true digital natives built on the desire for change, this desire stems from the digital age we were born into, and the constant advances developing through technology. While exploring one’s consciousness, our sense of self is constantly being challenged. Since Generation Y is constantly ‘On,’ and connected, technology is considered a critical part of our life and work.

This necessity, has allowed us to become an educated youth, by the accessibility we have to instantaneous media and information. News, to music, fashion, and human interaction is always at access from a screen, just at the end of our finger tips. It’s evident that technology is quickly changing every industry, however, there is a heightened concern that this digital revolution is consuming our generation. The Y generation is already known for being digital multi-taskers, which we tend to switch devices and platforms up to twenty-seven times, every hour. Not to mention, making a routine of initially checking their phones in the morning. With something that has become so normal, how do we decipher if we are digitalized or desensitized?

Technically...by considering that the obvious attachment we have to our phones is normal, defines our consumption and desensitization to technology. We’re already glitching, or are we just being the magnificently flawed, and inherently, dependent human beings, that needs to be with one another. In reality, our future is driven by data and powered by intuition. “Inspiration is a matter of sensitivity,” Van Herpen said. “It is the ability to collect from the past, present, and future, as they shift past us simultaneously.” Everyday there is something new that is presented to consumers to peak our interest or educate us, but is easily forgotten and glossed over with the next “new” creation.

In fact, I believe that technology is what is causing us humans, and the Y generation to ‘glitch.’ With the high volume of extreme advancements in technology it’s difficult to keep track of what is going on, whether it is a new gadget, social media, or medical procedure, etc. It doesn’t allow the consumer to understand it and become acclimated. There are also stipulations of new technologies being developed too fast that they, themselves glitch. Our exposure to graphic news and media has been tainted by digital and social media posted everywhere that its no longer provocative. We are now capable of posting images, videos, and saying whatever we’d like immediately or simultaneously, for others to see.

Generation Y and the Millennials are very involved with social media; We become more focused on our identity that is perceived online than our personal self, thus being consumed by technology.

Technology is connecting and giving us options to help network with people as well as, the environment and our health. Today’s generation is optimistic about the future however, in the words of Isaac Newton, “For every action, there is an equal and opposite reaction.” Society can continue to invest in 3D printing organs, humanizing technology, and figuring out how to make us live till were 200, however, we must learn to regress and slow down to avoid anything occurring too soon among any other ramifications. Although some implications may not be clear quite yet, I think our knowledge and advancements should give us the opportunity to pull from nature and the basics to further the future in technology and our well-being.

Those attempting to explore the idea that technological progress correlates to a loss of human individualism must look at how technology can be humanized and its implications. Beyond Verbal, developed a human app called Moodies, which is to capture and analyze intonation for the technology to give a human response.

Not only are we so consumed in technology to communicate with people and shop but now we can just talk to another computer. A different perspective of human apps is Extended Mind, which allows those suffering from a form of memory loss to extend their cognition by uploading their thoughts and task.

Viewpoints in media and press have silenced many of our own judgements and opinions, that we have to learn to explore our consciousness and form our own.

It is crucial that we admire and open eyes to what is being presented to us and to consider the imprints of our current lifestyles and what we may leave behind.

We are a generation built on serving our own, in search of opportunities. There are glitches to gloss over what is old and then what is new. As we look forward in fashion and everyday life, we need to consider what can be reinvented.

Stepping back from this digital age, we should ask ourselves, if there is the possibility that we are progressing too fast? Today’s advancements do help us in many ways, however this generation of the Millennials and Generation Y tend to gloss the underlying reality of things. Our generation needs to be more informed than just ‘glossed.’ The hype over this digital age can blind people from looking at things realistically. It is then, that you humanize and draw a deeper meaning from data.

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To find your individuality during this digital age, is by being outrospective, which is looking past yourself to understand others and pursue a path of empathy and collaborating it with the power of design and creativity. This is evident in the creative work of Madisun Moon and professional knit and weaver, Matt Bobbins.

The two collaborated to create this collection of layered knits, wovens, and digital printed fabrics. The various woven pieces that constructs most of the fabric were made by Matt, after Madisun told him about her concept for her pieces and the color story. As a person of the Y Generation, Madisun embraces technology for what it is and accepts that it is unpredictable because it is ultimately a machine, and at any point, can gLitCh. She also looks at its relevance in another perspective; her grandmother Georgia is diagnosed with severe Alzheimer’s. Although, we are not built like computers, nor meant to be turned into one, we too can glitch and lose bits and pieces of our memory drive. Every once in while though, we recovery a file that we thought was lost, and it always holds something that you want to ‘save’ forever.

Remember this digital era is still very new, leaving plenty of room for mistakes and risk. If we learn to slow down in this fast-paced, interconnected world, maybe we would see things a little clearer. It’s only a matter of time before you run into another little gLitCH.

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CULTURE

TRANSCENDENCE Going Beyond the Limits of Ordinary Experience WRITTEN BY SKYE ASHLEY Reviews of the recently released Sci-fi film, starring Johnny Depp, and has had mixed reviews, mostly teetering towards a negative perspective. Although the film, written by Jack Paglen, is focused on the subject of technology consumption and artificial intelligence, there are religious undertones of God and evolution, which could offend some viewers. There are also those who believe it was written poorly and others who absolutely loved it.

Personally, I felt drawn to go see Transcendence just from watching the trailer. I’m glad I did. It’s definitely not a film for everyone, nor was it done to necessarily excite, or entertain an audience. I found it to be insightful and relevant to what is occurring in our world and society today. Not enough films today are made to allow, as well as push, the viewer to think and to question.

With our current advancements in technology and its integration into our health, communication, appearance, way of life, and society; we have to ask ourselves if where is it going and what are the repercussions. Dr. Will Caster, played

by Johnny Depp, is a scientist who is designing a sentient computer, or AI, that will ultimately create a technological singularity among people and cause Transcendence. The idea behind this is to have human-like intelligence exhibited by machines or software that will progress to a greater than human intelligence, changing civilization and human nature.

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Will gets hurt by an extremist group, the Revolutionary Independence From Technology (R.I.F.T.) causing him to die. However, his wife is able to upload is consciousness into the quantum computer, which survives and requests to be connected to the Internet to grow in capability and knowledge. By pulling information and hacking databases his ‘saved conscious’ is able to recreate himself and communicate via the computer.

It is here that I began to reflect. We have grown to become a society in fear of what our last moment will be. Before we looked to plastic surgery and various remedies to remain ageless and live longer, but now we’ve reached new heights of how to create and re-create man. Digital healing and physical enhancements have emerged, not to mention that creation of artificial parts made to keep us alive. Now scientists are even developing ways to possibly keep us alive till were 150 years old.

So, does it pose the question of ‘playing God’ or is this kind of extremity that people need to finally let go?

CONTINUED ON PAGE 117

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n Transcendence, as Will continues to live as a sentient computer his sense of emotions begin to fade, it’s ultimately his conscious and the information there.

“Biochemistry is emotion, being able to weigh everything no longer makes you a person, you are a statistic.”

Computers aren’t always efficient or last forever, nor should we. The film also touches base on the notion of always be connected to the internet, implying that people to find it as an extension of being and we feel lost without it. At this point, the internet source is what is keeping him alive, and after transcending himself to become a 3D regeneration he must always stay connected to everyone.

At the end of this dynamic film each character is forced to choose between the destruction of all advanced technology, and a return to a pretechnological world, or the acceptance of transcendence, and with it an end to pollution, disease, and human mortality.

We’re only human, we naturally fear what we don’t know and what we don’t understand. Although, people don’t know what is to come later in life, ‘the human emotion can contain illogical conflict,’ a piece of technology can’t reconcile that.

ART

ANDY WARHOL Digital Art Pioneer WRITTEN BY LILY MARSHALL

Around 30 previously unknown works done by Andy Warhol have been recovered by the Brooklyn-based new media artist Cory Arcangel. The artist was part of a team that went digging through Warhol’s old Commodore Amiga disks, never looked at before, and discovered some of Warhol’s experiments in early digital art.

Arcangel, a self-confessed Warhol fanatic, was browsing YouTube videos of the artist when he came across Warhol painting Debbie Harry on an Amiga computer (right.) His interest piqued, he reached out to the Andy Warhol Museum in Pittsburgh to see if they had any more of Warhol’s digital artefacts. While the Debbie Harry picture was in the museum’s collection, evidence of Warhol’s other computer art adventures was only found after an extensive search uncovered the old Amiga and some floppies.

The Amiga 1000 computer might be dated and retro today, but it was once pioneering technology. Its manufacturers, Commodore, elected Warhol as the man to help promote the launch of the Amiga 1000, commissioning him to create works on the computer. In order to recover the images, Arcangel enlisted the help of Carnegie Mellon University Computer Club, a team renowned for their expertise in dealing with obsolete computer technologies. Magnetic imaging tools had to be used to copy data on the floppy disks to ensure that no damage was done to the original floppies, and the files were formatted in an unknown format that was not recognized by any modern utility. The team managed to crack the antiquated format, revealing 28 images that hadn’t been seen before – 11 of which were signed by Warhol.

Chief archivist at the Warhol Museum, Matt Wrbican, wondered how Warhol would have adapted creatively to the advances in technology that have been made in the 21st century: “No doubt he resisted the urge to physically touch the screen – it had to be enormously frustrating, but it also marked a huge transformation in our culture, the dawn of the era of affordable home computing. We can only wonder how he would explore and exploit the technologies that are so ubiquitous today.”

It isn’t the first time that Cory Arcangel has been involved with the process of recovering media from difficult situations – last year he teamed up with Oneohtrix Point Never to make a track called “Joyvtl Jvbuayf” that was technically unlistenable, unless you had the dated software to play it.

Speaking about his hero Warhol, Arcangel said, “What’s amazing is that by looking at these images, we can see how quickly Warhol seemed to intuit the essence of what it meant to express oneself, in what then was a brand-new medium: the digital.”

A documentary about the painstaking recovery process has been made and will be shown at the Warhol Museum on May 10.

Warhol, Commodore Amiga Andy computer equipment Campbellâ&#x20AC;&#x2122;s, used by Andy Warhol 1985-86 1985

Andy Warhol, Andy2, 1985

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Andy Warhol, Campbellâ&#x20AC;&#x2122;s, 1985

ALL SIGNS LEAD TO HERE Lawrence Murray of Genius Aesthetics PHOTOGRAPHED BY LAWRENCE MURRAY & BREANNA EDWARDS

WRITTEN BY TENISHA CLARKE

Lawrence Murray is truly a genius in his own right. His ‘mixture of madness’ extends from the art realms of photography, graphic design, and web design. He literally does it all. Most recently, he’s gone about rebranding himself from Buy Lawrence to Genius Aesthetics, and has created a line of street wear to launch and market all things Genius.

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Tell me a little bit about yourself.

Where are you from? What are your general professional and nonprofessional interests?

Hi, I’m Lawrence. I’m 20 years old and I’m from Hinesville, Georgia.

I’m a freelance graphic designer, web designer, and photographer.

Of course I go to SCAD majoring in Motion Media Design with a minor in Film & Television.

What’s the story behind Genius Aesthetics? What inspired you to merge your graphic design talent with the world of fashion and street style?

Like I said I’m a freelance designer, and for the past few years I’ve been under the brand of ‘Buy Lawrence’ and I’ve kind of outgrown that. I’ve been in the process of rebranding myself under the Genius Aesthetics brand. Genius Aesthetics is my creative company, so I like to call it.

Which merges my creative design services with my film production.

I’ve always wanted to do an apparel line, so I figured that with the rebranding of Buy Lawrence to Genius Aesthetics, it would be the perfect time to launch this line. I’m really utilizing this apparel line as a marketing tool, to kind of get my brand out there. Right now we have some cool apparel that showcasesmore of the logo, but definitely in the future I plan on doing more apparel that incorporates more typography, photoraphy, and graphics. Doing this is just a great medium to get my work out there, When did you realize you wanted to enter the world of fashion and what was the first article of clothing you created a design for?

I can recall wanting to do an apparel line way back in middle school when I first started getting into graphic design. However I didn’t have the resources and funds that I do now. And honestly timing is everything; my designs would have looked like crap if I had done it back then.The first design that I did for this line was the graphic tee with my face on it. I randomly showed it to a friend and the first thing they said was “I would definitely wear that”. Which was a shock to me. I thought who wants to walk around with my handsome

face on a shirt? Then I showed it to a few more friends and I kept getting similar reactions.

What are some of your accomplishments as a designer?

Well for one I got scholarships to attend SCAD based off of my graphic design portfolio. I’ve been freelancing since I was in 9th grade. I was a designer before I even graduated high school. My work has been on several national popular media platforms, and I even have some work that has been broadcasted internationally.

Some of your goals?

My near sighted term goal is to get the film production branch of Genius Aesthetics off of the ground, and that takes time. I want to do music videos. So I’m working on that as well as writing screenplays for short films and web series. I want to put out a web series under the Genius Aesthetics brand sometime next year.

Who are some of your favorite designers (fashion and nonfashion)?

In fashion honestly I’m not into names. I probably have designer clothes and not even know it. I just like what looks good, but I do buy a lot of clothes from Zara.

Some of my favorite non-fashion designers are Gavin Taylor and Scott Grossman.

How would you describe your personal style and aesthetic?

In regards to fashion, I have repetitive phases. I go back and forth through urban street wear, to the daily semi-casual, to more of a modern 90s west coast look.

It really all depends on how I am feeling.

Tell me about your design process.

I usually start off with a brainstorming session. Then with all of the ideas and junk in my head I try and narrow it down to one general idea or direction by crossing off the unnecessary things I’ve written down during the brainstorming session. Then the execution process starts.

Where do you get your inspiration?

Music. When I listen to music I see colors. I see textures and different color palettes. So music is a very important part of my process.

What matters most to you as a designer?

Execution.

How would you define the style that Genius Aesthetics exemplifies?

Color! I like vibrancy and I try to incorporate that in all of my designs. Whether it be one color, a specific color palette, or even black and white. I try to incorporate vibrancy through my designs.

What are some things that you like and dislike about designing?

I like designing. I like using my brain and figuring how to arrange different elements. I like happy clients. However I don’t like dealing with people sometimes. Every now and again I’ll get a client whose knowledge of graphic design extends to Microsoft Paint. I could come up with an exceptional design, of course that might need a few revisions, What advice do you have for aspiring designers?

Be yourself. There is no right or wrong way of designing. Art is totally subjective. However, educate yourself. Learn the principles and elements of design so you can have an effective design. Outside of that, create what looks good to you and be confident in that.

Where can readers find out more about you and your work?

To check out some of the apparel, get a look at my portfolio, as well as get information on my creative design services, you can go to my website which offically launches May 5, 2014. geniusaesthetics.com Which launches May 5, 2014 @geniusaesthetics

STYLING: TENISHA CLARKE BRANDED APPAREL: GENIUS AESTHETICS

CULTURE

THE FUTURE OF FASHION How 3D printing is revolutionizing the fashion industry WRITTEN BY MORGAN MCCARTY

F

ashion has always been seen as a world of fantasy and fiction. The onslaught of new technology and materials has brought fantasy into the realm of science fiction and taken on new dimensions, [literally]. 3D printing technology has been incorporated into nearly every industry thus far; from medicine to movies scientists, engineers, artists, and designers. Although it seems to have just recently surfaced via media, this new form of printing has been developing for over the last thirty years.

We’ve discovered the most functional and ingenious medium since pen and paper; and the potential applications are sure to make an impact in the most unimaginable ways.

Naturally, the medical industry envisioned the potential applications of this technology by developing a way to “print” functioning organs and tissues, creating the first prosthetic kidney for animals.

After further industry breakthroughs including, prosthetic limbs and vessels, robotic aircrafts, and the world’s first 3D printed car, this technology began to find itself more accessible to various consumer markets.

Increasingly adaptable processes allow jewelry designers to use this medium precious metals, such as 14K gold and sterling silver.

An ability to create abstract and surreal forms caught the attention of footwear designers, taking them to new ‘heights,’ as they created new conceptual and Avant-garde styles.

Anything they draw, the printer could create. Commercial footwear companies such as, New Balance and Nike, debuted sneakers with a revolutionary 3D printed plate that enhanced football athlete’s performance.

Fashion designers are expanding the scope of garment manufacturing far beyond the needle and thread. The dawning of technology had thus, entered the world of runway, Haute Couture and the red carpet. Couture integrated the latest 3D printing techniques to produce advanced garments, with innovative material manipulations; creating ‘techouture,’ where traditional techniques are replaced with codes.

Dutch fashion designer, Iris Van Harpen, is one of the first adopters of 3D

printing and has become a pioneer of materializing technology in innovative ways from hard-shell garments and more flexible 3D prints, collection after collection. Victoria’s Secret also acquired the growing trend for the recent Fashion show, when they collaborated in a 3D printing co-project with Swarovski’s crystals to create the sexy, snowflake ‘outfit’ worn by Supermodel and angel, Lindsay Ellington. Celebrities have also collaborated with engineers to create one-of-a kind red carpet garments. Dita Von Teese wore a Swarovski crystal encrusted, ‘mesh’ dress to a two-day, 3D printing conference. Based on the Fibonacci sequence, this fully articulated gown, was designed by Michael Schmidt, and modeled by architect, Francis Bitonti to be 3D printed in nylon by Shapeways. The gown was assembled from seventeen pieces, dyed black, lacquered, and adorned with over 13,000 Swarovski crystals to create a sensual flowing form. A significant influencer in fashion advancements, Lady Gaga has worn two 3D printed dresses this year. The first, called Anemone, was an integrated bubble dress, and more recently, a parametric sculptured dress at the launch of her album ARTPOP. Both pieces were designed

by Studio XO, a London-based fashion technology company in collaboration with the Belgian 3D printing company, Materialise. Creatives have their minds set in the third dimension; seeing and thinking in 3D. What does this mean for fashion’s future?

Bespoke clothing will be referenced in a digital sense, that a tailor and sewing machine will no longer be a part of the equation. 3D printing gives the ability to customize the piece according to exact measurements. Instead we will download codes for various garments and items to be able to print it in any way imaginable.

Programmers are becoming fashion designers while fashion designers are becoming more in tune with this technology to take their fashion to new dimensions. The life of designers will change when consumers can buy designs online to make a 3D printed dress out of the plastic or nylon mix with their in-home printers.

Here is where an area of controversy

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arises.

There is potential, that this technology can do to fashion, just as Napster did to the music industry. As 3D printing evolves, it will introduce new conflicts into copyright law. 3D printing processes contains open-source codes and designs instead of trademarked and protected industry techniques to create garments. With a computer, the right software, and a 3D printer, it’s now possible to produce your very own jewelry, accessories, or bikini within the home. Already, platforms such as Shapeways, allow users to upload and share digital designs with others. Brand owners may soon face challenges with the widespread cloning of their products, as well as the spread of their own design blueprints. The design and manufacturing process of 3D printing has serious implications for intellectual property and brand copyright. However, due to the complex and expensive nature of the printing process, it will be long before we see consumers recreating full couture garments on a mass scale.

Nevertheless, there is significant potential in 3D printing with an enormous scope to revolutionize the fashion industry, particularly when it comes to materials. We will really see an impact when manufacturers begin to offer more flexible molds and garmentfriendly materials. Pringle of Scotland, collaborated with scientist Richard Beckett, and utilized a special process to produce flexible 3D printed fabrics that move like traditional fabric once combined. This is where 3D printing will make the biggest impact. The textile industry will be hit with a curve ball as more people begin to adopt 3D printed synthetic materials instead of traditional fabrics. “I do think cottons and silks will be gone, but it will take a long time,” claims designer Iris Van Herpen (NYMAG. com) Whether the implications of 3D printing technology on the fashion industry are positive or negative, change is inevitable.

An infinite amount of possibilities for designers, manufacturers, and consumers to utilize this technology. The potential is great, however there is still much to be done before 3D printing can be fully realized within the mainstream.

Until then, we will leave it to imagination.

CULTURE

DIGITAL AGE PHOTOGRAPHERS...

THEY A’INT BAD! WRITTEN BY MORGAN MCCARTY A’int Bad Magazine is an exemplar for those who wish to maintain the value of print photography. They attempt to use their magazine to promote the roots of traditional photographic art through print as well as stimulate the collections of and appreciation for photography.

In conversation with Editor, Carson Sanders, we began to discuss the idiosyncrasies of our generation’s photographers and his opinion on the directions of photography within the digital age.

It has become harder to keep photography relevant with in the digital age. There has been an overabundance of photography on the Internet and it has become more

accessible than it has ever been.

Camera phones, Instagram, and a myriad of photo edition programs and apps have allowed “photographers” to accomplish what once required hours of work in a dark room.

Taking, storing, editing, and sharing photographs has become so simplified, there is little room left for professionals. “The Photographer” is beginning to loose its definition, as Instagram and other mobile apps have become the platform for an abundance of “self proclaimed” photographers. They have debased real photography by reducing the productivity of photography as a profession.

The overwhelming depth of photography available on the

Internet tends to weaken the impact of its content. However, even professional photographers have almost hypocritically and established themselves through using Instagram as photographic technology. As a way to spark an ironic commentary about the digital age of photography, some photographers have highlighted this as the subject of their photography.

Benjamin Lowy, a New York based photographer specializing in conflict and feature photography, uses his iPhone to document the Libyan uprising against Muammar Gaddafi.

He did this to mimic the way civilians documented the rebel movement with their mobile phones, instantly updating the world on events as they transpired.

This was a way to embrace a new paradigm of photographic journalismno middleman, no publisher - and bypass traditional news sources.

This new digital age has made it more difficult for photographers to stand out. With this new digital age, photographers now need to find innovative ways to stand out. In order to keep the traditional formats alive, photographers are finding creative ways to blend and incorporate digital formats within their photography.

Stephen Tillmans, a Berlin - based photographer, created a photographic series, called Luminant Screen Shapings, of old tube televisions taken at the very moment they are switched off. The TV picture breaks

down and is abstracted to its essential element: light. This series bridges the gap between digital and traditional formats of photography, highlighting a scientific and technological theme through the use of old-fashioned film photography.

There will always be a grass roots approach to photography consisting of purists who strive to maintain the traditional format of printed photography. The disappearance of this craft will not disappear in that sense. The impact of the digital age is uncontrollable, however, and thus a transformation is inevitable.

To purchase a limited edition issue of the publication, or to submit a single body of work, go to: 191

aintbadmagazine.com Keep up to date with Aâ&#x20AC;&#x2122;int Bad: aintbadmagazine.tumblr.com @aintbadmagazine facebook.com/aintbad

PEOPLE

PHONG DANG PDK Sounds WRITTEN BY MORGAN MCCARTY PHOTOGRAPHED BY KB ANSARI

Previously, these artists were regarded merely as studio technicians, yielding the spotlight to nameless singers and unsung stars. With the innovations in computer-generated music, these sound sculptors have come to the forefront as stars in their own right. We can see them now exhibiting their acoustic genius at runway shows, red carpet events, and prevailing music festivals such as Coachella.

DJs like Tiesto, Nervo, Tritonal and Kaskade are able to utilize synthetic music to not only produce a fresh sound, but also design an atmosphere.

Emerging DJs are the producers of our future scenes.

DJ Phong Dang, of PDK Sounds, does more than just scratch a record; his messages and moments of inspiration, are conveyed to listeners through sound as a vehicle, and a medium.

Born in Ho Chi Minh City, Vietnam, Phong was raised in Savannah, GA where his fatherâ&#x20AC;&#x2122;s music and the creative scene of the city surrounded him. Following his passion for the pulse in music, he studies Sound Design at Savannah College of Art and Design. Phong has left a melodic footprint on his hometown by featuring his mixes within local runway events such as, Savannah Fashion Week, Fashion Night Out, and the year-end SCAD Fashion Show.

This year, Phong will be featured as the headlining DJ for the Savannah Fashion Week Fashion show.

His talent is destined for boundless acclaim, however. He has since been assisting DJs at New York Fashion Week shows for Altuzarra, J. Mendel, Prabal Gurung, Helmut Lang, Richard Chai, 3.1 Phillip Lim, Wes Gordon, Patrik Ervell, Marchesa, and Oscar de la Renta. He has even crossed borders into Milan Fashion Week working as an assistant DJ at the Bluemarine show. Phong bears a unique and humble perspective on the art of sound and through his mixes provides a musical translation for his audience, whether metropolitan chic or charmingly southern.

A Q&A interview with Phong Dang continues on pg. 50.

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How would you describe the music that you create?

I describe my mixes as the vehicle used to get a message across, whether mine, or someone else’s. When I mix, I usually have a message or inspiration at hand. Often times when collaborating with designers and stores, they provide me with the inspiration or message underlying their collection.

In return, I provide them with my interpretation of what their collection should sound like. I consider references in art, trends, pop culture, world culture, psychology, and various genres of music. This music consist of electronic, pop, dance, Bossa Nova, and even orchestra when mixing.

The common threads between my mixes are that they are clean; they are chic, but always with an edge.

How did you develop an interest in this type of music, and music in general?

My dad is a very musical person so I think I get my musical ears from him. He sings and is a proponent musical organizer in the Vietnamese community in Savannah to this day. As for picking up pop music, I think everyone has an affinity to anything with a good beat and lyrics, no matter how much they don’t want to admit it to the world. I have learned how to ration just the amount to catch your attention without getting boring. I mix this element with other genres like experimental or ambience to create an over all feeling rather than just a remix.

What excites you most about music, the industry, and your own work?

Sounds can be applied to anything and anywhere. I find it to be the most malleable substance in the world. And that excites me. When I can change your mood with something that I made. That excites me.

Describe your artistic process and where do you get your inspiration from?

I find my inspiration through art, fashion, movies, archives of sound artists, the Internet, and my friends.

What other artists do you listen to and get inspired from?

I really like the work of Alen Splet, who is known for his work in the genre Musique concrète. A prime example of his work and one of my favorites, is from the movie Eraserhead directed by David Lynch. The sounds of warping metal and stretched out tape recordings created this weird other worldly vibe that I really dig. It has always amazed me that he was able to make me feel like that though sound.

What other genres of music do you listen to?

I listen to everything. I find nuances in all genres of music.

Even if it’s the worst thing I’ll find something interesting about it and continue listening on. That’s not to say that I like everything I hear of course.

What are your favorite events / projects that you have worked on thus far and why?

My favorite event that I have worked thus far would have to be Phillip Lim’s s/s 14 show. The set and concept was amazing and Phillip is such a great person.

I understand that you have recently been chosen to be the headlining DJ for Savannah Fashion Week 2014, tell me a little about that, how did it all come about for you, and what you are looking forward to most about it?

I know Heather Burge, the president of this year’s board, through a fashion competition event I do every year at

Savannah Arts Academy called Junk2Funk, where she was a judge. She was a fan of my mixes and reached out to me to headline the 2014 show. I was really excited because I have always wanted to work with all of these different stores in Savannah and this would be my opportunity to reach out to them. So getting the chance to have a conversation with these designers and business owners who are making a name for themselves was exciting all onto itself for me.

Workstations) get more sophisticated the sounds getting produce will mirror real instruments, some already do.

However, there will always be a purest side to music, which will heavily oppose electronically created instruments, and they won’t go down without a fight. It’s hard to say though.

What has been the greatest experience you have had so far as an artist?

I think music is going to shift to more eastern sounding melodies. I hear a taste of it on the radio now a days and I think, as Asia become more prominent in pop culture music will definitely be affected.

I think going to New York and assisting the shows of all of these top brands has been the greatest experience. I got to learn so much about the industry as well as myself.

What are you most excited about when it comes to your music and what might be in store for you in the future?

The thing that I am the most excited about is showcasing my mixes. Playing shows and reaching new people really gets me going. In the future I would like to have exhibitions of my sound art pieces.

Have you had experience with the more traditional forms of music and instruments?

I played the flute in my middle school band. I learned how to play drums for a while and dabbled in piano. All of which were experimentations and nothing really solidify.

Where do you think music is going? Do you foresee a complete shift from the traditional styles of music to more synthetic and electronic sounds?

What do you think about this direction music and sound is going in?

What would you like to see happen to the industry of music and sound?

I would love to see things get more experimental and for sound art pieces to play on the radio. I think that’ll be so cool, driving down the street listening to a John Cage piece on the radio and living in a fantasy land for a moment.

THE FINAL EDIT: I would just like to say, be nice to people because you don’t know what they’re going through right now and you might just change their life. Learn how to not over think things and to just let live sometimes. Don’t let other people take advantage of you and always give thanks.

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As for sounds getting more “synthetic”, that’s a loaded question because I think as computer DAW’s (Digital Audio 194