EDGE OF NOW by Papercut Magazine

EDGE OF NOW 1

CONTENT LIQUID ART HOUSE

CREATIVE MINDS

DAYDREAMERS

POP IT UP

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HIDE Y OUR FACE BUT SHOW YOURSELF

TAKE THE PLUNGE

ARTISTIC AVIATION

CONSTRUCTIVISM

TAKE THE PLUNGE

STAY FLY

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FASHION FRAGMENTS

NEW SCHOOL

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THE FALLEN

FUTURE TENSE 3

WELCOME TO THE EDGE OF NOW ISSUE!

From The Editor

Hey Papercutters,

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Most of us toe the line that lies between the future and the past, often tipping over too easily to one side. The past is nostalgic memories, while the future brings new hope and excitement for the possibility of what can be. Critically contemplating both the past and future drives us to be innovative which leads us to create in the present--what we’re calling the Edge Of Now. Often we’re so wrapped up in what was and what can be, that we forget the present is the bridge that brings our past ideas and future ambitions together for the moment in which new things are born. We chose the theme Edge Of Now because that is what Papercut is ultimately about. Promoting the creatives, innovators and thinkers as they are in the present moment, as they are birthing their futures. No matter how fast we run toward the future, it’s always one step ahead of us and there it always will be. So, here’s to celebrating the achievements of right now, where creativity lives. Cheers,

Hayley Maybury

THE TEAM EDITOR-IN-CHIEF Hayley Maybury COPY EDITOR & FASHION EDITOR Jessica Young CHIEF OPERATING OFFICER Jamall Oluokun GRAPHIC DESIGNER Margaret Walsh MARKETING DIRECTOR Shomari Miller WEB DEVELOPER Jason DePeaux EDITORIAL INTERN Jennifer Ortakales CONTRIBUTING WRITERS Chelsea Deakin Jessica Young Liz Hall Jenny Ortakales

ON THE COVER Photographed by JUNSEOB YOON Styling by HOPE MISTEREK Makeup and Hair by SHAY HALALY ZIV Model IDA DYBERG Assistants KRISTINE KIM, PHILIP PARK, JUNGMIN KIM, & DONGHUI SIN Production by ERIN MCDONALD Clothing by AKRIS DRESS, HOUSE OF CACH MASK & RING, WOLFORD TIGHTS 5

DAYDREAMERS Photography by DAWN MARIE JONES @ stoyanovandjones.com Makeup by KAREN BOWEN @ karenbowenmakeupartist.com Hair by HAYLEIGH DAVIDSON & DION MOFFAT AT COPPERFELDS @ copperfields-perth.co.uk Model LAURIE DUFFY @ model team & MELANIE PYNE @ superior elect Assistant STANISLAV STOYANOV & ROGER MCDOUGALL

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POP IT UP Photography by STEFANIE FINK @ stefanie-fink.de Styling by ISABELLE BARSCH Hair and Makeup by STEF ELDIA @ eldia-makeup.com Model CATHRIN SELUGA @ m4models management Assistant KAYLA MEYER

OPPOSITE Blouse by SLY 010

THIS PAGE Shoes by ZARA OPPOSITE Skirt by MAJE Blouse by SLY 010 Clutch by NEW LOOK

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OPPOSITE Coat by STUDIO 4 LONDON Clutch by NEW LOOK THIS PAGE top by SANDRO

THIS PAGE Coat by STUDIO 4 LONDON Clutch by NEW LOOK

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ADDICTION Photography by OMI TANAKA Styling by SAYURI MURAKAMI Makeup by AYA KUDO Hair by SHU YAMAGA Nails by ERI NARITA Model IVORY ROSE @ major model Lighting Assistant KUO-HENG HUANG Clothing by CHIKIMIKI @ chikimiki.com

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THIS SPREAD Photography by KATERYNA ODYNTSOVA

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LIQUID ART HOUSE WHERE FOOD, ART, AND CULTURE COLLIDE. Written by LIZ HALL

Boston is a small town, comparatively. It ranks 24th in population among US cities, and although it leads the country in healthcare and education, nobody would describe it as a hub of arts or culture compared to New York City, which is why nobody really understands why Ruta Laukien decided to open Liquid Art House here. Boston food critic Devra First describes it as a, “Decadent, experimental, expensive, ambitious, odd — a cross between Boston, underground Berlin, and the capital of The Hunger Games." Opened in May of 2014, Liquid Art House is a restaurant, gallery and function space smashed together into one sexy establishment. The space boasts rotating themed exhibitions, guided tours packaged in with your dinner reservation, and last month there was even a pop-up jewelry shop. LAH is the brainchild of entrepreneur Ruta Laukien, formerly a Wall Street investment banker. Laukien considers herself a Bostonian, but found that the city lacked a place for people to relax and enjoy food, in the company of their friends, while surrounded by artwork. Hence, the idea for Liquid Art House was born.

The Executive Chef at LAH is Rachel Klein, formerly of the Mandarin Oriental. She grew up in an artistic household, her father was a painter who would make art when he wasn’t working as an engineer, so her fit at LAH is a natural one. Klein isn’t interested in making haute cuisine, but rather delicious, high-quality food that appeals to a wide audience. One of Klein’s signature dishes involves a special breed of chicken which are fed only on the scraps of food made by celebrity chefs such as Thomas Keller, David Burke, and Jean-Georges Vongerichten. These extraordinarily well-fed chickens could be a performance art piece themselves. The art of LAH is curated by Silvi Nanci, who is an artist and designer in her own right. The last two exhibitions at LAH were Fluxus and Ready To Bare. Fluxus featured the work of six artists, including painted mannequin heads by Nineta, prints by Dan McCarthy and the dramatic horizons of Dana Woulfe. Ranging in medium from jewelry to spray-paint abstract expressionist work, Fluxus’ subject matter evokes the volatility of nature, and it’s constant changeability. Ready To Bare was a fashion-themed show complete with an homage to late fashion designer Gianni Versace. The show included the photographs of 77-year-old Lithuanian photographer 39

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OPPOSITE TOP & BOTTOM LEFT Photography by YUNA ASRIYAN OPPOSITE TOP RIGHT Photography by DEBBIE GRUBSTEIN OPPOSITE BOTTOM RIGHT Photography by JASON WALLACE THIS PAGE Photography by DAINIUS MACIKENAS

Rimantas Dichavičius, whose once-banned nudes were considered a breakthrough in the Soviet era, as well as the sartorially themed artwork of numerous other artists. All of the artwork on view at LAH is for sale, and can also be purchased through their website. The art buying, moneyed elite of Boston are not casually cultural. The have blood lines and want provenance papers for their artwork, because they’re going to pass it onto their kids or lend it to a museum. However, that doesn’t mean there aren’t other people in Boston with money to spend on art and dinner. The tech scene in Boston is bumping, and more and more startups are moving into the Leather District and the Seaport area everyday. That means there are plenty of software developers with money to burn and empty apartment walls, looking for cool places to take their newest Tinder date. Unlike some entrepreneurs, Ruta Laukien saw Boston’s paucity of relaxed cultural and social spaces as a reason to move forward with building one. She isn’t targeting any one demographic specifically, rather she seeks to give everybody a space to sit, dine and enjoy culture without having to deal with any pretension or snobbery. While many would assume that the Boston market wouldn’t support such an establishment, Laukien just assumed the right person hasn’t yet tried.

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OPPOSITE TOP Photography by YUNA ASRIYAN OPPOSITE BOTTOM Photography by DEBBIE GRUBSTEIN THIS PAGE Photography by KATERYNA ODYNTSOVA

CREATIVE MINDS Photography by MARIUS KNIELING @ mariusknieling.com Illustration & Styling by SERE RIVERS @ sererivers.blogspot.de Makeup & Hair by SONIA TAMBURO @ soniatamburo.com Model SOFIA TSAKIRIDU

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HIDE YOUR FACE BUT SHOW YOURSELF Artist ANJA SLIBAR

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TAKE THE PLUNGE

PANGEA’S FOUNDER NICK BRADLEY EXPLAINS HOW TO MAKE A SUPERCONTINENT-SIZED LEAP FROM CORPORATE LIFE TO CULTIVATING A FASHION-FORWARD SWIMWEAR BRAND. Written by JENNIFER ORTAKALES

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Nick Bradley is an ambitious Los Angeles transplant and the creative lead behind startup and men’s swimwear brand, Pangea. “Any designer has to be a dreamer,” said Bradley, as he sat in front of a wall covered with ideas on colorful Post-It notes. For Bradley, his dreams have led him from the corporate world to the fashion industry, two very different realms that have proven successful when intertwined. Pangea launched its first collection of swim shorts for Fall 2014 and sold out before summer’s end, a response to be expected from a seasoned designer. But Bradley had no previous experience designing clothes, nor has he studied fashion in a classroom. He left his previous job in marketing to fill the void he felt in his career, as well as in the men’s swimwear market. “I never felt like I had something that was my own,” said Bradley, “I wanted to be a part of more than just this one puzzle piece. I wanted to be a part of the entire puzzle.” One year after conceiving the initial idea, he built a brand upon his unceasing passion for quality and is determined to be involved in every process along the way. Bradley was a small-town boy who left the South for the West Coast. He grew up in Rock Hill, South Carolina and moved out of his family’s house at the age of 17. He pursued a Wall Street career path but fell in love with marketing and worked for a company that represented major brands such as Pinkberry and Revolve Clothing. Fellow Southerner LeDoux Vanveckhoven, a music event producer and digital marketer from Louisiana, met Bradley at a party in Los Angeles. The two bonded over their dissatisfaction with men’s swimwear options. “You can find your favorite pair of fitting jeans. There’s not a lot of swimsuits out there with a great fit,” said Vanveckhoven. Their casual conversation sparked a few emails. “Emails turned into phone conversations, phone conversations turned into coffees. Next thing you know we had a business plan,” said Bradley. They agreed that their swimwear would need a tailored fit and unique prints. “It was very coincidental,” said Vanveckhoven, who suggested Moroccan rugs as the inspiration for one of their first prints, sparking the brand’s essence of internationally themed, original designs. “On my travels, I had the wonderful opportunity to visit many of the exotic locations that would eventually inspire some of [Pangea’s] prints,” he said. Their premier collection recreated Ndebele tribal wall paintings in South Africa, honored the symbol of the elephant in Thailand and acknowledged the role of constellations in ancient navigation. This year’s collection is inspired by the Middle Ages. “I loved the attention to detail in all textiles and art of that time period and wanted to create new prints that could remain colorful, but still be extremely refined,” said Bradley. He envisioned a new print the moment he saw the stained 61

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glass windows of the Chartres Cathedral in France. “I love the brightness and vibrance of all the colors in stained glass, but even more so, how beautiful they look together, regardless of the many colors.” He and his textile designer were determined to capture the vision of light shining perfectly through stained glass at sunset. Bradley and Vanveckhoven had a vision, but with no previous fashion design experience, learned everything about the industry and building a label hands-on. “Half our day was split between doing and then reading,” said Bradley. They taught themselves the basics through books and online sources, but learned the most from making mistakes. “Being new to the fashion industry has been so much of a learning curve,” he said. However, they wouldn’t have it any other way. “[We] didn’t want to just go and hand it off to someone and then they hand [us] a finished product.” Bradley had great support from past work connections, like Paige Adams-Geller of PAIGE Denim, an Alaskan native who moved to Los Angeles to start a fashion label without any design instruction. She inspired him to leave his job when he felt something was missing, encouraging him to follow his passion. He also has a friend in retail who answered his questions about manufacturing, sample making and sourcing. “I want to learn this business inside out because we can’t just sit back and be creative directors and expect the brand to really live and survive. We have to understand every step of this process. And not only did we have to, we wanted

to,” said Bradley. While fashion design was new to him, Bradley used his experience from the corporate world to his advantage. “We went from having a very secular job where we were focused on a certain function of the company, and now we’re running an actual business.” The companies he worked for gave him an overview of problem-solving and customer base. “Every single one gave me some intuition into how to run a business and building a brand that resonates and means something to a consumer versus just a product.” Vanveckhoven’s entrepreneurial ventures prepared him for his investor role at Pangea. When he joined a startup in Austin, Texas, there were no sales, branding or marketing strategies. “I was given the responsibility to build a side of the business no one knew anything about...only the technology and idea,” he said. He advises to always raise more money than is needed when working with pre-production teams. “Take the budget you think you need and multiply it by two. If you can't afford to work with an established partner with a great track record in your space, then go raise more money so you can afford to do so.” Previously accustomed to a marketing timetable, Bradley expressed the difference in fashion. “Everything takes longer than what you expect in this industry,” he said. Most importantly, he’s learned to stick with his intuition when making decisions, regardless of hesitation that stems from his inexperience. “Most of the time if I had just followed 63

my gut as a designer it would have been a lot easier and a lot quicker,” said Bradley. He is now more comfortable in making bold choices and staying true to himself. “It’s always good to take advice from other people, but you shouldn’t be persuaded from your vision. I wish someone had told me that...not knowing much about the industry, I was questioning a lot of the things I was doing.” Pangea won’t be slowing down. With the 2015 collection due online February 1st, they are focusing on eCommerce and offering free shipping and returns. Bradley remains passionate about his brand and getting their swim shorts in boutiques this year, with hopes of reaching other countries like Australia. “Since the brand is for the worldly gentleman, [we’re] seeing how far it can really go.” www.pangeaswim.com

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CONSTRUCTIVISM Photography by MATEUSZ BRAL Model MICHAEL ANGELO @ as management

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STAY FLY

Photography by MARCO BERTANI @ marcobertani.it Stylist by CARLOTTA BORGOGNA @ carlottaborgogna.it Hair and Makeup by ANNELIE STRETER Models LANCE & RASMUS @ independent, IVAN @ i love models, & SIDNEY @ 2morrow model

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THIS PAGE Clothing by TRUSSARDI Bow tie by TOM REBL

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THIS PAGE Clothing by STUDIO PRETZEL

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THIS PAGE Clothing by TOM REBL

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THIS PAGE Clothing by TOM REBL

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THIS PAGE Clothing by PORT 1961

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THIS PAGE Clothing by PORT 1961

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THIS PAGE Clothing by PORT 1961

ARTISTIC AVIATION

ARTIST JOHN HAVERTY’S IMAGINATION TAKES FLIGHT IN A CREATIVE POINT OF VIEW THAT COMBINES BOTH HIS PASSIONS FOR ART AND WORKING FOR AN AIRLINE. Written by CHELSEA DEAKIN

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It all started with a ballpoint pen for John Haverty. As far back as he can remember, when a teacher placed a pen in his hand, he began doodling. Not taking art seriously until his sophomore year of college at UMass Amherst, he then declared his passion for art and began working towards a Bachelor of Fine Arts. During his studies, he tried everything from sculpture, to printmaking and painting, but drawing always stuck out as his strong suit. “I developed a love for creating an environment throughout a vast space on a canvas. The large area allowed me to move freely amongst the negative space allowing my creatures and their narratives to grow.” John describes himself as a horror vacui in regards to drawings, which in visual art, is the filling of an entire surface or an artwork with detail. John explains that, “I love busy and hectic spaces. It provides a kind of energy that I carry throughout my life. I go through periods of extreme anxiety, where I eat fast, talk fast and move fast. My thoughts are rushed and a lot of these tendencies transcend into my artwork. John took an independent study course and began experimenting with larger scale drawings. John explains, “At the time, a 24" x 36" sheet of paper was considered to be a large space. Eventually, I moved to 4' x 5' which seemed unbearable.” But, he powered through it and quickly found he could develop those drawings within two weeks. Over the years, John began experimenting even larger scales, as big at 9’x20’. Working on such large scales, proved problematic in a number of ways. Paper of this size would endure a lot of damage around the edges from being tacked to the walls, other times the artwork would fall off the wall and rip beyond repair. “When I would finally find a place where I could hang the final product up for a photograph, it was like seeing the work for the first time. The final presentations lacked a professional polish without frames and had a casual look of being thumb tacked or velcroed against the walls. But, in its defense, it did exhibit character. The viewer was able to see how the work was created in its natural habitat of being tacked against the wall. The evidence of the hand with all its bends and rips was left exposed.” It was accidental how John scaled the size of his artwork down, but was still able to create fairly large drawings. When he entered graduate school at the Savannah College of Art and Design, John was determined to learn how to paint. He had little experience with color and mediums, and quickly learned that acrylic and oil painting might not be the best mediums for him personally. However, he fell in love with watercolors. “They were much harder to control then oil and acrylic. They were messy, loose and irreversible, they were thin and vibrant. I loved how easy it was to draw on top of the layers of paint.” It wasn't long before painting and then drawing on top of those colors that became his sole form of working. John was finally able to allow the strength of drawing come more alive and electric with the use of colors underneath them. John had a very hard time finding sturdy watercolor paper on the scales that he was used to. So, he settled for a 4.5' roll of cold-press watercolor paper. He began creating drawings that were 4.5' x 5-6'. “I began experimenting with collage, and started cutting out every single drawing. I would then trace their outline against large rolls of vinyl and then mount the silhouette vinyl to the cut out drawings.” He roughly has 20 drawings that range in a variety of size. His goal is to convert a space into an offbeat hinterland, a type of wonderland that radiates energy. “I want the room to feel 101

alive and to be a real experience for the viewer.” Holding a full time job with an airline company, John is able to follow his passion of traveling and visits many places. “My experience while traveling provides inspiration to create pieces of art. Experiencing new cultures, geographical landscapes, architectures, wild life and people can be seen throughout my visuals.” The airline world and the art world present a lot of pros and cons. I've been told you spend your 20s finding yourself, and I'm doing just that. Right now, it is hard for me to dedicate 100% of my time to both career paths, because I treat both positions as part time. Ultimately, I would like to move towards making art a full time path. However, while I'm still young with very little commitments, it makes sense to capitalize on the travel benefits, the steady pay checks, and the exciting rush one gets from working in such a fast-pace and demanding industry. Art, for the most part, is slow and quiet. When I'm in the zone, I'm isolated and lonely. But, I can be very prolific in this mindset. I'm running with the advice I heard early on in life, of taking what you love and making it your life. I have not worked a day in my life since being at the airlines. I wake up excited, and I'm always willing to stay late. There is no countdown for 5 PM when I'm in an airport. And I do create a lot of art in my downtime. I love aviation and can name almost every aircraft that taxis by. I love drawing them and I love watching them. Aviation is an interesting topic. As an agent, I interact with so many people. Though I love it, it’s also dehumanizing. It is almost like the human being is turned into a processed product. We have strict time frames, and have to move everyone quickly. There is little time to hear how somebody's day is going. My work is very busy, and it sheds light on over consumerism and over-populated environments. The airplanes are getting more and more seats squeezed into them, and more and more frills subtracted to keep up with the market. Airfare, for the most part, has not risen much over the decades so a lot of people can still afford to fly. Our country's airports were designed for a time since passed, so it can be hard to accommodate the thousands of passengers that walk through on a daily basis. Busy, jammed packed, and energetic. That's how I view airports, and that kind of energy transcends into my work. I draw really fast. You can see the rushed markings if you study the work. Very rarely is something created delicate. To me, the work projects a kind of synthetic paranoia. When I walk into my studio, and all the work is done, I feel anxiety. I see so many creatures just staring at me. These are my babies. I created them from scratch and now they are my company. I develop relationships with all my drawings. When a flight is delayed or cancelled, I'm confronted by a herd of people. When flights continue to cancel or delay the group just keeps growing. There is very little time to keep your cool. Everyone wants something from you, and they want it now. And I totally understand where each and every person is coming from, and I do my best to assist them in their scenario within the policy guidelines. These stressful and anxious feelings that develop in me as a gate agent come out in my art. I'm stressed when I'm painting. I always want to move quickly and onto the next one as if I'm processing a passenger. In this case, I'm processing an idea. Some days, usually while traveling, my head is bombarded with ideas. I just have a strong desire to create them all. 102

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Every drawing begins with an accumulation of ideas, always drawing up images from thoughts. “I've not gotten to a point where I write down every idea, but I'm pretty good at remembering most ideas. I'm inspired by almost everything I see. In my mind, I can turn a chair, a plane, or a blade of grass into some pretty wild stuff. But, it’s more than just a creation, within my thoughts, it’s an animation. Usually, the finished drawing is nothing more than a clip or a depiction of the films playing in my head.” “Very rarely do I have a plan for a drawing. I have a bundle of characters and scenarios in mind, and from there the challenge is how to get them to all exist in the same space. I find that every time I come back to the drawing, whether it is an hour, a day, or a month later, my ideas change drastically towards the intended path.” For John, this way of creating is very motivating. His main struggle with creating is having guidelines for his work. Having to work within the confinements of a specific storyline or theme often leaves him frustrated and unmotivated. Ambiguous narratives keep him interested, and ultimately, that results in staying motivated to see the drawing through to the end. “When I create I feel like I'm in a different world. At times, I'm vacationing in the worlds I'm drawing up. They are dream-like, and with that they are surreal. Everything is familiar yet very different from reality. And sometimes I question maybe what isn't reality might not be that far off from what is reality. When I look at my work as a whole, it seems to often represent the kind of insane circus that we comfortably refer to as normal life.” “I'm often questioned what my drawings are about. At times there is so much visual information that the work could depict a number of possible storylines. Boiled down, the work is based off of my subconscious thoughts. The drawings are a projection of constant streamed thoughts. There is little rhyme or reason to them. Though informed, at times I feel like I create like a six year old. I substitute Crayola crayons with ballpoint pens and finger paint with watercolors. I'm drawing in the moment. To me they are just more advanced creations than what’s placed on the family fridge. As the work builds up, an environment is created. When you enter my studio, or look deep into a large-scale drawing, you are in my world. And I bring all my thoughts into it. Just reinvented. For the future, I would like to further explore what it is like to be an airline agent and an artist. I would like to be more selective in my work and begin taking a more critical look at transportation in this county and tie that into art. Traveling, whether by air, road, or sea, is something that comes natural to humans. We are natural nomads with a desire to move and progress. It’s how we move that is very inspiring to me, and it’s the future direction of where I see my art going.

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FASHION FRAGMENTS Art by DAVID WOODDELL

THIS SPREAD Nestled. 14 x 20 inches. Tempera on canvas

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OPPOSITE Clipped strut. 14 x 20 inches. Tempera on canvas THIS PAGE Chorus line. 32 x 40 inches. Tempera on canvas

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THIS PAGE Miss Direction. 24 x 40 inches. Tempera on canvas OPPOSITE A walk through dystopian park. 32 x 40 inches Tempera on canvas

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NEW SCHOOL WHETHER IT’S ONE, TWO OR THREE FORCES BEHIND A BRAND, PILOTING A FASHION LABEL IN OUR COMPETITIVE INDUSTRY IS A STUDY IN STAYING TRUE TO A DISTINCT CREATIVE POINT OF VIEW. THE DESIGNERS BEHIND NICHOLAS K, KATIE GALLAGHER AND TIMO WEILAND EDUCATE US ABOUT HOW THEY EVOLVE THEIR VISION IN THE NEW YORK CONTEMPORARY MARKET. Interviewed by JESSICA YOUNG

Photography by HEATH GROUT Styling by CINDY JO TAYLOR Makeup by DAVISHA DADONE Hair by JOSEPH DIMAGGIO Model NATALIA BIEGANSKA @ one management Lighting Director PJ SPANIOL Photography & Lighting Equipment ROOT STUDIOS NYC Creative Direction JESSICA YOUNG, HEATH GROUT & CINDY JO TAYLOR Designers NICHOLAS K, KATIE GALLAGHER & TIMO WEILAND

THIS SPREAD Coat & Pants by NICHOLAS K Boots by CHIARA FERRAGNI Necklaces by SISTERWOLVES Ear Cuff by CHRISHABANA FOR ZANA BAYNE Rings by GILLIAN STEINHARDT

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OPPOSITE Jacket & Shirt by TIMO WEILAND Pants by NICHOLAS K Boots by CHIARA FERRAGNI Necklace & Rings by CHRISHABANA FOR ZANA BAYNE Backpack by KIKANY

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TIMO WEILAND

The brand’s head designer Donna Kang gives her take of being part of a three-person show that’s stealing the contemporary fashion spotlight.

inspirations. We reference what we see around us more than anything else. Everything we design is with the thought that it has to be worn in real time, real life.

REFERENCING THE MEDIA, ONE CAN SAY THAT IT’S BEEN NOTHING BUT A ROCKET TO THE TOP FOR THE TIMO WEILAND BRAND SINCE THE LABEL BEGAN IN 2009. ARE THERE ANY INSIGHTS INTO THE REALITY OF STARTING A FASHION LABEL AND GROWING IT? TRIUMPHS AS WELL AS NOTABLE TRIALS AND TRIBULATIONS? You have to remember that it is a business and that you are not only designing clothes but the infrastructure that goes behind it. The business side is as important as the design side. Start small, ask a lot of questions and listen to criticism.

IT’S NOT OFTEN YOU SEE THREE PEOPLE DRIVING THE BRAND VISION. BESIDES THE OBVIOUS ROLE TITLES, HOW DO YOU GUYS ALL FIT INTO EACH OTHER TO MAKE A COMPLETE TEAM? IS IT A STRUCTURE YOU RECOMMEND TO OTHERS SEEKING TO START A FASHION LABEL? We three started in fashion together at the same time, so frankly, this feels completely natural to me and I think to the boys too. It is a give and take and there is a lot of, "Can you do this?" and, "Who can do that?” The design process has to filter between the three of us. If we all like it, then it is a winner. Would this work for others? That is a very personal choice.

WHAT’S YOUR WORK PROCESS LIKE? YOU GUYS DEFINITELY SEEM LIKE THREE PEAS IN A POD. IS IT A CONSTANT EVOLUTION LIKE SOMEONE TEXTS THE OTHER WITH AN IDEA AT 3 AM? OR, IS IT MORE STRUCTURED? That is actually a good description. There is a constant flow of ideas between us three and also our stylist, Haley Loewenthal. We are on this constant group email where we snap pictures and send inspirations to each other. Mostly they are things we see on the street.

WHAT’S YOUR BEST ADVICE FOR THOSE STARTING OUT IN FASHION, ESPECIALLY IF THEY DON’T NECESSARILY HAVE A FASHION EDUCATION? Definitely get an internship in a fashion house, the smaller the better. If you cannot do that, then make sure you surround yourself with people that can constantly teach you. The last part is a life motto.

IN MY MIND, WHEN I THINK OF NEW YORK CONTEMPORARY BRANDS TIMO WEILAND IS DEFINITELY ON THAT LIST. DOES THE CITY AND THE PEOPLE CREATIVELY INSPIRE THE BRAND OR IS THAT SOMETHING NEW YORKERS (LIKE MYSELF) ATTRIBUTE TO IT? New York and the people we are surrounded by are direct

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THIS SPREAD Jacket, Shirt, & Shorts by NICHOLAS K Sweater by TIMO WEILAND Shoes by CHIARA FERRAGNI Earrings & Ring by CHRISHABANA FOR ZANA BAYNE Necklace & Ring by LADY GREY

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KATIE GALLAGHER

objects inspire me. DO YOU DESIGN FOR ANY PARTICULAR WOMAN IN MIND? DOES THAT IDEA EVER CHANGE OR IS IT A CONSTANT TENET? I never like to think of one kind of person. She's refined, forward and polished. She could be anyone.

An emerging New York designer, Katie Gallagher explains why fashion is neither the beginning nor the end of her design process. FROM WHEN YOU ARRIVED IN NYC AS A RISD POSTGRAD IN 2009 TO WHERE YOU ARE NOW, HOW WOULD YOU DESCRIBE THE JOURNEY? Some days it’s like a dream and others have been absolute nightmares. IT’S NO SECRET THAT NYC CAN BE A TOUGH PLACE TO ESTABLISH ONESELF AND IT’S NO SECRET THAT SUCCESS IN THE FASHION INDUSTRY CAN BE EVEN TOUGHER. WHAT’S YOUR BEST ADVICE TO POST GRADS AND EMERGING FASHION DESIGNERS TRYING TO “MAKE IT?” Well, I can't say that I've "made it,” that's for sure. Not yet anyway. My best advice to post grads and emerging fashion designers is to be passionate and disciplined about what you do or try to do. However, I think these are personality traits that are developed in us rather than predetermined. ALTHOUGH IT SEEMS LIKE YOUR AESTHETICS ARE ACUTELY ESTABLISHED, HOW HAS THE BRAND EVOLVED CREATIVELY SINCE ITS INCEPTION? ANY FORWARD-THINKING IDEAS YOU CAN DIVULGE? I've tried to let the label develop pretty organically over the years. With every season, I think there is some sort of evolution. With every collection there is a different theme, a new concept, a new story to tell. LET US IN ON YOUR CREATIVE PROCESS. HOW DO YOU START EVERY NEW COLLECTION? DO YOU TEND TO SEEK INSPIRATION IN SIMILAR PLACES OR IS IT TOTALLY RANDOM? With the start of every season/collection, I paint and draw. I like to allow this to dictate the direction for the season. Mostly colors, stories and feelings rather than tangible 118

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PEOPLE ATTRIBUTE KATIE GALLAGHER VERY MUCH TO THE DOWNTOWN NEW YORK FASHION SCENE. DO YOU AGREE? DOES LIVING IN NEW YORK AND THE CITY ITSELF INFLUENCE YOUR DESIGN INTENT AND ULTIMATELY THE BRAND? I was never really too sure of what that meant. I get it, but I don't. I don't really think there are scenes in NYC. I think there used to be way before my time here. I’m sure that living in the city influences the label and I, because I live here, but never specifically. I do love that production is all here. Everything is produced right in NYC. The factories in the garment district and myself make the show samples. A few of my sewers are in Chinatown as well. CONFESSION. I WENT ON YOUR WIKIPEDIA PAGE AND THE LAST LINE STRUCK ME. IT READS, “CLOTHES AREN’T REALLY AT THE CENTER OF MY INTERESTS; THE PEOPLE THAT WEAR THEM AND THEIR IDEALS ARE.” THAT’S SO INTERESTING. CAN YOU EXPLAIN WHY PEOPLE AND THEIR IDEALS ARE MORE FASCINATING TO YOU AS A FASHION DESIGNER? For me, inspiration to make something doesn't come from clothes or textiles themselves. My clothes are physical products of an idea, mood or an attitude. WHAT’S NEW AND WHAT’S NEXT FOR KATIE GALLAGHER THAT WE HAVE TO KNOW ABOUT? Right now, everything is about SS 15. A little bit about the collection; I've titled it Fantasm (it’s the original spelling of the modern-day word phantasm, which describes something that exists in perception only). The themes of color and colorlessness and the inconstant or impermanent nature of things are central to this collection.

THIS PAGE Tunic & Sweater by KATIE GALLAGHER Shoes by AGL ATTILIO GIUSTI LEOMBRUNI Eat Cuff by CHRISHABANA FOR ZANA BAYNE Rings & Necklace by LADY GREY Bangles by DINNY HALL Tights by ERICA M Backpack by KIKANY

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THIS SPREAD Sweater & Pullover by TIMO WEILAND Shoes by CHIARA FERRAGNI Earrings & Ring by CHRISHABANA FOR ZANA BAYNE

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THIS PAGE Coat by NICHOLAS K

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NICHOLAS K

Nicholas and Christopher Kunz, the sister and brother duo behind Nicholas K, reveal the design inspirations behind their enigmatic, urban-nomadic identity. TO ME, AN AIR OF MYSTERY HAS ALWAYS SHROUDED THE NICHOLAS K BRAND. IS THAT SOMETHING YOU GUYS INFUSE INTO THE DNA OF THE BRAND OR IS IT JUST MY PERCEPTION? Nicholas: We lead a very private life; our brand is a reflection of ourselves, so I guess it is by default. Christopher: Our brand is the blueprint of our lifestyle. We challenge ourselves not only in our work but also in the way we live. While we embrace the urban life, many of our adventures & hobbies lead us away. We love our work and the people in our industry but we don’t always make it the center of our life. I think this contributes to some of the mystery. We are also not big on self-promotion, as we prefer to let our collection speak. AS A FAN OF YOUR BRAND, I WOULD LOVE TO KNOW A LITTLE BIT MORE ABOUT YOU GUYS. HOW DID YOU GET YOUR START IN FASHION? WHEN AND WHY DID THE BOTH OF YOU DECIDE TO TEAM UP AND CREATE YOUR OWN BRAND? Nicholas: I had my first fashion job when I was 19 working for DKNY, then I went on to design for Coach, Polo, Nautica, Tommy Hilfiger, and Calvin Klein. After years working for large corporate companies, I felt I wanted to do something that allowed me more creative freedom. Christopher and I had talked about launching a company together for years, it just took time to build up the courage. Christopher: I have always been a designer at heart although not always in fashion. For as long as I can remember I have modified, built and fabricated. I’ve built cars, RVs, camping equipment, motorcycles and clothing among other things. I have a perpetual desire bordering on obsession to make everything better. HOW DO YOU INCORPORATE BOTH OF YOURSELVES INTO THE BRAND? DO YOU REFERENCE ANY PERSONAL IDENTITIES OR INFLUENCES? Our brand DNA is an accumulation of our interests, hobbies, life philosophies and pursuits. The intensity of the urban landscape

is balanced with our overwhelming love of nature and the outdoors. On weekends we escape to upstate New York where we have a home nestled adjacent to a fresh spring, running creek and miles from the nearest town. Chris is a pragmatist and definitely introduces a lot of thought into movement, function and wear ability. ALTHOUGH ALWAYS EVOLVING FROM SEASON TO SEASON, EVERY COLLECTION IS STILL UNMISTAKABLY NICHOLAS K. TELL ME A LITTLE BIT ABOUT THE DESIGN TENETS AND

YOUR CREATIVE PROCESS. We believe each new season should be a building block to our breadth of work that we have already created. Every season we draw inspiration from different sources, but recently it has been about pioneers or trailblazers that have reached new heights. While there is always an emphasis on seasonality in our industry we try to instill a sense of timeless design. We want our clients to be able to wear our collection for years to come and still get noticed. It’s also part of our Urban Nomad DNA. People today should realize we need fewer but better things. We try and couple these tenets with a soft shroud of mystery. WHO IS THE WOMAN AND THE MAN YOU DESIGN FOR? ARE THEY CARBON COPIES OF THEMSELVES, OR DO YOU HAVE A DIFFERENT POINT OF VIEW FOR EACH? We would say they are like-minded. They appreciate ease, function, and diversity in design. CONGRATULATIONS ON BEING ACCEPTED TO THE DHL EXPORTED PROGRAM! WHY DID YOU CHOOSE TO SHOW IN MILAN VERSUS LONDON OR TOKYO? We actually show in New York and Milan. We have both had past lives in Milan. Christopher modeled there many years ago and I attended design school in Florence. Milan has so much history and the design heritage is so inspiring. HOW DOES THIS DHL EXPORTED PROGRAM FIT INTO YOUR LONG TERM-STRATEGY? ARE YOU TRYING TO EXPAND YOUR MARKET, HAVE ACCESS TO NEW RESOURCES…? The DHL program is the ideal program for building a global brand. You are given all the resources necessary to succeed. We feel the DHL Exported is one of the most well thought out programs of its kind. We would like to use it to not only expand throughout Europe but also in Asia and the Middle East. LASTLY, BEYOND WHAT WE’VE TALKED ABOUT, IS THERE ANYTHING NEW OR NEXT FROM NICHOLAS K THAT WE HAVE TO KNOW ABOUT? We will be offering a larger accessories collection as well as focusing on direct retail and expanding our ecommerce offerings.

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THIS SPREAD Sweater by NICHOLAS K Skirt by KATIE GALLAGHER Shoes by AGL ATTILIO GIUSTI LEOMBRUNI Rings & Bangle by LUCY FOLK Hat by NICHOLAS K

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THIS SPREAD Dress & Jacket by NICHOLAS K Shoes by AGL ATTILIO GIUSTI LEOMBRUNI Necklace & Ring by GILLIAN STEINHARDT Earrings & Necklaces by LADY GREY

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OPPOSITE Sweater by NICHOLAS K Skirt by KATIE GALLAGHER Shoes by AGL ATTILIO GIUSTI LEOMBRUNI Rings & Bangle by LUCY FOLK Hat by NICHOLAS K THIS PAGE Dress by NICHOLAS K Boots by CHIARA FERRAGNI Earrings by LAURA LOMBARDI Necklace by GILLIAN STEINHARDT Necklace by CHRISHABANA FOR ZANA BAYNE Rings by LADY GREY Rings by ZANA BAYNE

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JUNSEOB YOON

KOREA’S TOP FASHION PHOTOGRAPHER EXPLAINS WHY HIS FUTURE LIES WITHIN TAKING ON NEW YORK CITY BY STORM, ALBEIT A STORM OF MODERATION. Interviewed by JESSICA YOUNG

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WHAT SPARKED YOUR INTEREST IN FASHION PHOTOGRAPHY? WAS IT SOMETHING YOU PURSUED AS A CHILD THAT TURNED INTO A PROFESSION? OR, DID YOU FALL INTO IT LATER IN LIFE? As a child, I was always interested in freedom and creativity. When I see people wearing the same suit and tie in the general population, I always thought their lives would turn out to be miserable. That idea coupled with the excitement I felt when recognizing a unique dress, I made a bold choice to become a fashion photographer. DID YOU GO TO A PHOTOGRAPHY SCHOOL? OR ARE YOU SELF-TAUGHT? HOW WOULD YOU DESCRIBE YOUR JOURNEY FROM WHEN YOU STARTED TO WHERE YOU ARE NOW? I was born in Seoul, Korea. I grew up in a very conservative family with a strict educational system; however, as an adolescent I spent life dreaming of liberty and thinking outside of the box. Therefore, I decided to attend Chung-Ang University which is the most prestigious photography school in Korea. I began my rise to become the most renowned fashion photographer in Korea by working incredible hours, balancing heavy work loads and travel schedules across the world. This continued for over 20 years. Today, I’m working to continue my dream by starting over to become a recognized force in the New York fashion industry. YOUR BIO MENTIONS THAT YOU COME FROM A CONSERVATIVE FAMILY AND “UNDER THE INFLUENCE OF [YOUR] STUBBORN-MINDED FATHER, [YOU] YEARNED FOR A LIFE OF FREEDOM.” HOW DID FASHION PHOTOGRAPHY SATISFY THIS? DID IT GIVE YOU THE SENSE OF FREEDOM YOU ALWAYS DESIRED? My father was a war veteran but also a high school principal and always telling me to follow his career path. Of course, he didn’t force me in every aspects of my life, but he always wanted me to be a scholarly person rather than exploring art and music, which he felt negative towards. Also, it was obvious that my father wouldn’t appreciate my decision of going into photography school. He didn’t outright reject my decision but he didn’t fully welcome it because he knew that an artist’s life is simply not easy and very unpredictable. After I graduated, I worked hard to succeed quicker than the others. I made a name for myself while being paid quite well. My father applauded me on this achievement and I became a son he’s most proud of. HOW DO YOU DESCRIBE YOUR PHOTOGRAPHY PHILOSOPHY AND AESTHETIC? HAS IT EVOLVED OVER THE YEARS? AND HOW? DO YOU HAVE A SIGNATURE THAT’S ALWAYS INHERENT IN YOUR WORK? My photography philosophy and aesthetic began with the importance of freedom and love. The act of forgiving other’s faults exemplifies love and this idea eventually evolved into what I refer to today as the conflict between freedom and self-control. My work portrays this with the juxtaposition between beauty and the unexpected, balance and counter-balance. It also never strays too far from classic photography and composition while mitigating the average with the avant-garde. I feel it’s easy to stay within a box and it’s also easy to wander uncontrollably outside of the box. In my style, I straddle a graceful dynamic between these two places, the tension of these two places. I’m also always inspired by the good and the bad, what I imagine and what is happening in my life and the world around me. WHAT INSPIRES AND INFLUENCES YOUR PHOTOGRAPHY? IS IT DIFFERENT EVERY TIME? OR, DO YOU HAVE CERTAIN THINGS OR ELEMENTS YOU ALWAYS

LOOK TO FOR REFERENCE? I always thought that my mind is full of flying around the world with free imagination. And that free imagination is a peaceful and lovable beauty. I ultimately believe that there is an angel who guides us through a clear and transparent world full of wonders, while there is a devil figure who prevents us from fully escaping into that world. I always experience the energy from both of these influences in my choices and hopes for life. So, I can always picture an angel and devil fighting each other in my head. DOES YOUR CULTURAL BACKGROUND INFLUENCE YOUR WORK? I have to say that I clearly live under the mental domination of Asian culture. A representative word that I’m constantly impacted by is moderation. Whether it’s freedom, joy, or sorrow, I always live my life under control with my own moderation and compromise. The true way of being myself as an Asian is by clearing away my temptation. WHAT ARE A FEW CAREER HIGHLIGHTS YOU’RE PARTICULARLY PROUD OF AND WHY? Inside the course of my career in Asia, I’ve shot for Vogue, Harper’s Bazaar and Elle. I photographed many high-end shoots for a multitude of Asian fashion brands as it was my responsibility to keep the relations going for good brand advertising. Also, I traveled around the world to the most wonderful places with the most beautiful and wonderful cultures. I was able to work with beautiful women as well. But one of the most memorable people I ever met in my life was Karl Lagerfeld. I had the exclusive chance to talk with him for more than four hours, take photos with him and he invited me into his studio. This made me decide to go to New York City with strong confidence. WHY NEW YORK CITY AND WHY NOW? WHAT MADE YOU DECIDE TO MOVE TO THE BIG APPLE? I can answer this question without any hesitation. New York to me is a huge mountain that I must climb over. It is a goal I’ve had since the start of my fashion photography career. Of course, if I was born in New York City in the first place, I would have started my career here but instead I was born in Korea. So, after I already climbed up the mountain in Asia, I’m now trying the bigger mountain of New York City. Otherwise, I might as well be considered dead. HOW ARE YOU PLANNING TO MOVE YOUR CAREER FORWARD IN YOUR NEW CITY? I will not rush or hurry myself. I consider these aspects the greatest enemies against me in New York. I already have had a small fortune in Asia. From that experience, I learned a great valuable lesson that once one rushes life, one will eventually lose more valuable things. Therefore, it’s important to be a true artist with a fruitful life full of excitement. I will continue living in this metropolitan city as a loving person and value people, friends and most importantly, my family. YOU CREATED A PHENOMENAL, FUTURISTIC EDITORIAL FOR US. CAN YOU EXPLAIN SOME OF YOUR INSPIRATIONS FOR THE SHOOT? My imagination is always full of complex time continuums that relate to mixed visuals. In my imagination, the past and present co-exist in the future and that is represented as unpredictable time within certain objects. In addition, good and evil also coexist within the boundaries of compromise and moderation. My editorial shoot embodies all the inspirations I mentioned before in order to create beautiful visuals. And I believe that chaos and vagueness will be the future of their own. 131

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FUTURE TENSE

Photography by JUNSEOB YOON represented by ajentse Styling by HOPE MISTEREK Makeup and Hair by SHAY HALALY ZIV Models IDA @ one management & SIGRUN @ wilhelmina Stylist Assistant KRISTINE KIM Photography Assistants PHILIP PARK, JUNGMIN KIM, & DONGHUI SIN Production ERIN MCDONALD for ajentse Art Direction by ASSAF ZIV represented by ajentse

THIS SPREAD Gown by CHRISTOS COSTARELLOS Jewelry by ERICKSON BEAMON

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THIS SPREAD Jacket & Skirt by VALERY KOVALSKA Corset by LIE SANG BONG Collar & Necklace by KATHERINE LINCOLN Motorcycle Gloves by VINTAGE

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OPPOSITE Dress by MOSCHINO Necklace by ERICKSON BEAMON Sandals by LIE SANG BONG Gloves by VINTAGE THIS PAGE Dress by PAT BO Cage Top by HOUSE OF CACH Pumps by ISA TAPIA FURTRIM Necklace by ERICKSON BEAMON

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THIS SPREAD Dress by MOSCHINO Necklace by ERICKSON BEAMON Gloves by VINTAGE MOTO Sandals by LIE SANG BONG

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THIS PAGE Dress by AKRIS Mask & Ring by HOUSE OF CACH Tights by WOLFORD OPPOSITE Dress by PROENZA SCHOULER Jacket & Shoes by LIE SANG BONG Gown by CHENG Necklace by ERICKSON BEAMON Top by HOLOGRAPHIC UNIVERSE Clutch by ELLA MCHUGH Ring by HOUSE OF CACH

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THIS SPREAD Gown by LIE SANG BONG Collar & Chest Plate by HOUSE OF CACH Cuffs & Hand Cuff by KATHERINE LINCOLN

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THIS PAGE Unitard & Lace Cape by EVAN MICHAEL Cuff by ERICKSON BEAMON OPPOSITE Dress by BOTTEGA VENETA Headpiece worn as Collar by ERICKSON BEAMON Cuffs & Collar by ERICKSON BEAMON

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THIS SPREAD Gown by GUCCI Glass flowers worn as Collar by VINTAGE Bag by TECA HELO ROCHA White Dress by ROKSANDA Headpiece worn as Collar by GLORIA YU

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THE FALLEN Photography by JOSE MONTEMAYOR Styling by SOPHIA DRAKOU Hair and Makeup by LEO DEVALENTINO Model LUCINDA

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THIS PAGE Blouse by JOHN EARNSHAW Skirt by MELISSANTHI SPEI Headpiece by CHIARA PAVAN Bracelet by CHENG AMY

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THIS PAGE Blouse by JOHN EARNSHAW Skirt by MELISSANTHI SPEI Headpiece by CHIARA PAVAN Bracelet by CHENG AMY OPPOSITE Jumpsuit by MANUEL DIAZ

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OPPOSITE Headpiece & Chest piece by MELISSANTHI SPEI THIS PAGE Dress by MANUEL DIAZ Headpiece by CHIARA PAVAN

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OPPOSITE Dress by MANUEL DIAZ Headpiece by CHIARA PAVAN THIS PAGE Corset by MANUEL DIAZ Headpiece by LOUIZE MCKAY Bracelets by VIVIAN NG

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