Man Up by Papercut Magazine

MAN UP MENSWEAR RISES TO THE FASHION FOREFRONT

CONTENT 04

LETTER FROM THE EDITOR Welcome to the Man Up Issue!

ABOUT A BOY Photography by Kevin Osmond

MIN NEW YORK: AN URBANE MAN-CAVE PERFUMERY, APOTHECARY & ATELIER Curator Chad Murawczyk's top picks for men's grooming

READY, GO Isaora is the urban utility brand that moves menswear forward

ISAORA SS 2014 Photography by Robert Hamada

LONDON BOYS Photography by Darren Brade

64 WHAT DO CALICO, CATS & BURT REYNOLDS HAVE IN COMMON? Artist Scott Chasse explains his social commentary as both a creative & curator

Photo by KATYA TSYGANOVA

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ALEXANDER Photography by Ivan Genasi

THE STORY TELLER Blacktie Underground empowers fashion through social media

BARE MINIMUM Photography by Jeff Sales

ON THE VERGE: DENT DE MAN The British brand explores new-traditionalism through its design philosophy

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ON THE VERGE: DONALD GJOKA A shapshot into rising photographer Donald Gjoka's career

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BLEND Music creation knows no digital boundaries with this new platform

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TRANSISTOR Photography by Alvin Nguyen

In This Issue 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 UX/UI DESIGNER Nicole Sullivan GRAPHIC DESIGN INTERN Amber Cunningham EDITORIAL INTERNS Jennifer Ortakales Jing Qu Haylee Barsky CONTRIBUTING WRITERS Jessica Young Haylee Barsky Jenny Ortakales Jamall Oluokun Liz Hall Lee Hershey CONTRIBUTING PHOTOGRAPHERS Kevin Osmond Robert Hamada Darren Brade Ivan Genasi Jeff Sales Mark Hibbert Donald Gjoka Alvin Nguyen

ON THE COVER Photographed by ALVIN NGUYEN Styling by ALVIN STILLWELL Hair by JUANITA LYONS Model PETER @ PHOTOGENICS Python Jacket by MARCELO PEQUENO

WELCOME TO THE MAN UP ISSUE!

From The Editor

Hey Papercutters,

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For a long time, men's fashion had the reputation of being mostly boring and uniform. It’s shaped up over the past few years with forward trends, more prints and better fits. However, I still tend to run into that sea of blue shirts walking down the street which makes me want to scream and run the other way! What's so wrong with adding a little color?! My favorite part about this issue is how it proves that all of the above could not be more outdated. Men’s fashion is currently anything but boring! Be prepared to be introduced to cutting-edge brands that can be a game changer for your closet and lifestyle. So gentlemen, it’s time to put an end to a misconceived fashion reputation. When it comes to your wardrobe, I dare you to take some chances, add color, be unique and for goodness sake MAN UP! Enjoy! xx

Hayley Maybury

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ABOUT A BOY Photography by KEVIN OSMOND @ osmondstudio.com Styling by RENATA GAR @ renatagar.com Makeup and Hair by REGARD TANG @ regardingmakeup.com Model JAMES MITCHELL @ two management

OPPOSITE Shirt by ENFANTS RICHES DEPRIMES Jacket by SKINGRAFT Shorts by BARQUE Shoes by CONVERSE

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OPPOSITE Shirt by BARQUE Leather Shorts by ENFANTS RICHES DEPRIMES Shoes by CONVERSE THIS PAGE Shirt by ENFANTS RICHES DEPRIMES Jacket by SKINGRAFT Shorts by BARQUE Shoes by CONVERSE

THIS PAGE Shirt by EIGHT TO FOUR Denim Vest by SKINGRAFT Shorts by UNDER TWO FLAGS Shoes by TESTOSTERONE OPPOSITE T-Shirt by CONTROL SECTOR Sweater by EIGHT TO FOUR Jeans by NEUW Sunglasses by SUNDAY SOMEWHERE

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THIS SPREAD Shirt by EIGHT TO FOUR Denim Vest by SKINGRAFT Shorts by UNDER TWO FLAGS Shoes by TESTOSTERONE

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OPPOSITE Jacket by ENFANTS RICHES DEPRIMES Shirt by BLMR Jeans by SKINGRAFT Shoes by CONVERSE THIS PAGE Tank by LOVE IS EARTH Jackets by STYLIST'S OWN Shorts by EIGHT TO FOUR Sunglasses by SUNDAY SOMEWHERE Shoes by TESTOSTERONE

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MIN NEW YORK: AN URBANE MAN-CAVE PERFUMERY, APOTHECARY & ATELIER CURATOR CHAD MURAWCZYK’S TOP PICKS FOR MEN’S GROOMING. Interviewed by JESSICA YOUNG

Interviewed by JESSICA YOUNG

Starting out in his parent’s basement, MiN New York’s founder and curator Chad Murawczyk built his company into a destination for niche, art-of-living products of superb quality from around the world. A haven for globally minded individuals and savvy style hunters, one can discover rare luxury in a New York minute through their bespoke shopping service, grooming and lifestyle products, events and vintage treasures. When describing the company’s philosophy and incidentally his curation technique, Chad explains that, “The products [MiN New York carries] need to have a true reason for being, while produced in a unique and compelling manner. We are all bored as consumers as there are more products than ideas out there. Also, it is extremely important

that I respect and share a similar value system with the management of the brand. I don’t see us simply carrying a product. I see these brands as small partnerships.” With long-term vision driving every step of MiN New York’s operations, Chad creates an immersive experience with both his Soho store and website through multi-sensory branding and products that all harbor unique back stories. Chad goes back to MiN’s roots of providing the finest array of men’s grooming products with a selection of his top picks for the discerning man. Visit: 117 Crosby Street, New York NY 10012 Shop Online: minnewyork.com

PRODUCT MiN New York Absinthe Man Soap PURPOSE The coolest and sexiest vegan soap on the market, it’s made of coconut oil, shea butter and cocoa butter to keep skin moisturized and soft. However, the scent of absinthe surrounded by notes of anise, wormwood and fresh herbs are a fun way to incorporate the magic green fairy into your daily routine—minus the hallucinations. PASSION We want to produce a purely hand-made high-grade soap with a pleasant natural scent. Our Man Soap is proudly made in Alaska and people love it.

PRODUCT MEMBERS ONLY Casa Blanca Candle PURPOSE The exclusive MEMBERS ONLY collection features limited-edition, collectable candles inspired by famous New York hotspots of the past. The scent of oak, labdanum, tobacco, moss, amber and leather are garnished with an aromatic opening of bergamot and fresh herbs, spiked with just a dash of cloves. Casa Blanca’s vessel is cloaked in platinum and is the scent of dark, aged spirits evaporated on wood. MEMBERS ONLY is also the first range of eco-luxe candles in the world with refills available. PASSION I hold this particular MEMBERS ONLY candle dear to my heart. The scent is extraordinary and I cannot tell you how many hours I spent fretting over the design on the lid. The Casa Blanca was one of the most popular prohibition speakeasies in New York. A place where only the best of the bad could attend, the fragrance is inspired by the free flowing–and illegal–cocktails being served.

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PRODUCT MiN New York Active Hair Care System PURPOSE This innovative dual-function Active Hair Care System strengthens hair and inhibits DHT (a hormone found in both men and women that is scientifically proven to cause hair loss). The revolutionary, signature system delivers deep, potent power to rebalance the physical properties of the hair and scalp and is proven to effectively add thickness and texture to hair without weighing it down. Exclusively formulated for all hair types, enjoy thicker, healthier hair in just three easy steps: detox, wash and fortify! PASSION My background is in hair care manufacturing and I continue to spend time pushing the performance envelope on our Active Hair Care products. They perform great and I believe in bundled benefits for a healthy hair and scalp environment. It works and at this point we have many, many loyal customers who have used this product for years.

PRODUCT MiN New York Stainless Steel Shaving Set PURPOSE The ultimate shaving set for the man on the go! It includes a hand-made stainless steel double-edge razor, pure silver tip badger brush and a convenient stand. PASSION Every man should have a proper, classic shaving set. It looks good and works effortlessly. What I didn't like about most of the existing shaving sets on the market were that they are either unnecessarily expensive and/or of mediocre quality. Iâ&#x20AC;&#x2122;m particularly proud of the price relative to the quality of our set.

PRODUCT Les Nombres Dâ&#x20AC;&#x2122;Or Oud Intense by Mona Di Orio

PURPOSE Opening with notes of citrus and precious spices of elemi, petitgrain and green mandarin in a seductive encounter. The enigmatic and much-prized essential oil of real Oudh from Laos radiates from the center of this love potion casting a mystical spell on the other notes and highlighting their beauty. Since the dawn of time and due to its scarcity and cost, the precious Oudh is a resin traditionally reserved for Gods and Majesties. It is a mystery that goes well beyond a fragrance enrobing you in its luxurious aura. PASSION I'm a bit fatigued on Oud in perfumery and feel that it has had its "parachute pants" moment in the market. However, I do really appreciate the work that the late Mona di Orio did with their Oud. This was the last fragrance that Mona created and it shows what happens when a true artist works with such fine raw materials.

READY, GO

ISAORA IS THE URBAN UTILITY BRAND THAT MOVES MENSWEAR FORWARD. Interviewed by JENNY ORTAKALES

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In today’s world, men don’t have time at their expense. This means their clothes must be easy to wear, comfortable to live in, and most importantly, functional from morning workouts to late-night business meetings. “It’s just me and the way I deal with being busy. If I stop, I die. It’s like a sharks (sic) mentality,” says Justin Passmore (left) on men’s sportswear label ISAORA’s website. An NYC-based model and creative multitasker, Passmore is a brand ambassador for ISAORA representing the thousands of stylish guys who depend on reliable menswear to fit their lifestyle. They need the ease of a quick change, but don’t want to give up their style to another lifeless, winter coat. Creative Directors, Marc Daniels and Ricky Hendry, created a brand that marries function and style for a “Ready, Go” lifestyle, a phrase they use to describe their target consumers. They carefully consider every fabric before they incorporate it. They design every garment for purpose over fashion, yet with progressive aesthetics in mind. In 2012, they were chosen to be a part of the CFDA Fashion Incubator, a two-year program that nurtures rising designers. We interviewed Hendry about the brand’s framework and their next steps toward becoming a household name. HOW AND WHEN DID THE ISAORA BRAND BEGIN? A mutual friend who I was working with at the time introduced Marc to me. We ended up discussing our ideas for a brand that combined the performance characteristics of technical apparel with a more progressive aesthetic in a way that addressed our own lifestyles. From there the idea for ISAORA started to take shape. We launched our first collection in 2009. YOU CALL YOUR PRODUCTS “PURPOSE DRIVEN.” EXPLAIN THE IMPORTANCE OF FUNCTIONALITY IN YOUR DESIGNS. The way we look at it, clothing serves two purposes— expressive or emotional and practical or functional. Fashion deals with the expressive and emotional side of things, and performance apparel with the practical and functional side. Both are equally important to us. The products we make are purposeful in that they are designed with these considerations in mind. Where and when these products will be used and how they integrate with a certain lifestyle are questions we are constantly asking ourselves. WHAT FABRICS DO YOU USE AND HOW DO THEY CONTRIBUTE TO THE PERFORMANCE OF YOUR PIECES? We source most of our fabrics from Italy and Japan. We aim to use the most advanced and appropriate materials for any given style. That doesn't always mean they are technical. For example, we have a merino wool knitwear program, which is a completely natural fiber but has superior performance compared to any man-made or synthetic fiber 21

for this type of product. It's anti-bacterial, quick drying, warm when wet, etc. We're not interested in technology for the sake of it, it's got to work and improve the product. Some of the more advanced materials we use for outerwear incorporate nano technology and plasma treatments, as well as phase change characteristics to improve functionality. At the same time, if we're making a shirt or sweatpants, sometimes all you need is the addition of a little stretch to make it perform better. Being advanced is only relevant when it’s appropriate and performance requirements are different for each product category. WHICH FABRICS ARE YOUR FAVORITES TO USE AND WHY? It's always evolving and really depends on the product, the end use and the aesthetic we want. I've always liked working with leather, so at the moment we're looking at how we could incorporate that while improving the functionality and performance. IN WHAT WAYS ARE YOUR DESIGNS PROGRESSIVE AND FORWARD? We embrace the advances in material technology and garment construction because we believe we can improve in some way on what came before. Our aesthetic is informed by a feeling for what is new, modern and relevant at any given time. FROM WHERE DO YOU DRAW INSPIRATION FOR THE ARTISTIC PRINTS ON YOUR CLOTHES? We're not that big on print but it’s something we've been exploring more recently as a way to introduce a graphic element to the collection. Inspiration can come from anywhere but the end result is usually an expression of the themes we keep coming back to: geometry and structure, 22

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natural and man-made, and precision and imperfection. WHAT TYPE OF MEN ARE YOUR TARGET CONSUMERS IN THE MENSWEAR MARKET? We design for an active, urban consumer with a taste for adventure. We aim to address the demands of a fastpaced, on-the-move lifestyle. The ISAORA man refuses to compromise style for performance. YOU HAVE FOUR AMBASSADORS PROMOTING YOUR BRAND. WHO ARE THEY AND HOW DO THEY REPRESENT ISAORA? This is something we just started and plan to be an ongoing feature highlighting people we respect and we feel represent what ISAORA is all about. The four initial ambassadors are Justin Passmore, Phil Chang, Rasmus Billebahnke and Mikkel Hess. They are our friends and peers, and each in their own way live busy, active lifestyles, and are constantly on the move. They are passionately creative individuals with great style, who are involved in culturally relevant projects and inspire us. YOUR FALL/WINTER COLLECTION WAS INSPIRED BY “THE FIELD OF MODAL PHENOMENA KNOWN AS CYMATICS.” FOR THOSE OF US SCIENTIFICALLY CHALLENGED, WHAT DOES THAT MEAN AND HOW DID YOU TRANSLATE A SCIENTIFIC TERM INTO A FEASIBLE COLLECTION AESTHETIC? Errr, yeah...that is a bit abstract isn't it? Lets just say we were interested in the idea of underlying patterns in nature and translated that through a mix of geometric construction, graphic elements and material treatments. WHAT IDEAS ARE YOU EXPLORING FOR YOUR NEXT COLLECTION?

SNOW & RAIN

TEXTILE FACE

MEMBRANE

WIND

PROTECTIVE BACKING

PERSPIRATION

The 3-layer fabric technology: By bonding a membrane laminate to the reverse of a fabric it can be rendered waterproof and 3L SYSTEM breathable. A third layer allows the material to be worn directly against the skin providing a lightweight barrier against the elements.

Our waterproof, windproof and breathable system provides superior, durable protection from the elements while allowing perspiration vapor to freely move We're going back to the basics, looking at the essential launching a project with the streetwear gurus at Kith and we away we from base andmake midlayers, keeping your body dry and happy. nature of the products makeyour and how we can them continue to collaborate withwarm, the supremely talented Thomas better.

Meyerhoffer on the SURFORWRD line.

YOU’VE HAD A FEW COLLABORATIONS, INCLUDING ONE WITH QUICKSILVER. EXPLAIN YOUR LATEST ONE AND WHAT INTRIGUES YOU ABOUT WORKING WITH THESE OTHER BRANDS. We just launched the Quiksilver collaboration with Louri Podladtchkov at an event in Zurich. As a gold medal hopeful for the upcoming Sochi Olympics, he is also a talented photographer and shot the collection for us. It's a capsule collection offering the complete solution for the discerning rider and is comprised of base layer, mid layer, jacket and pants, as well as board, goggle and pack. Our good friend Aerosyn-lex Meštrović designed the graphics. With any collaboration the criteria is: Do we share the same values? Is this an opportunity to do something that excites us? Can we introduce ISAORA to a new audience? Is it in some way culturally relevant? Quiksilver ticked all the right boxes.

WHAT WAS YOUR EXPERIENCE LIKE BEING IN THE CFDA INCUBATOR AND HOW HAS IT AFFECTED YOUR WORK? It's been great and I think it’s safe to say it exceeded our expectations. Through the CFDA we've been able to work with some fantastic people from the industry who we would not otherwise have access to. The advice and input we received definitely helped shape our approach to the business.

WHAT UPCOMING COLLABORATIONS DO YOU HAVE PLANNED? We just launched a collaboration with music label and creative collective, Ghostly International. In January, we are

WHAT ARE YOUR NEXT STEPS AFTER THE CFDA INCUBATOR? First thing, find a new space! After that, the next item on the agenda is world domination...although there are probably a few steps in between! Check them out: www.isaora.com www.cfda.com/designer/isaora

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ISAORA SS 2014

Photography by ROBERT HAMADA @ roberthamada.com Art Direction NR2154 @ nr2154.com

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LONDON BOYS Photography by DARREN BRADE @ darrenbrade.com Makeup by SIMONE ABEYA & ARIA HUSSAIN Hair by ANDREY ANDREEV Models LUKE, ABDUL, GARRY, HASAN, HARVEY, NICK, MICHAEL Wardrobe by HELEN ANTHONY @ helenanthony.co.uk

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THIS SPREAD Briefs by PERRY ELLIS

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WHAT DO CALICO, CATS & BURT REYNOLDS HAVE IN COMMON? ARTIST SCOTT CHASSE EXPLAINS HIS SOCIAL COMMENTARY AS BOTH A CREATIVE & CURATOR. Written by LIZ HALL

Scott Chasse is an artist and curator from Brooklyn, New York. Formerly the Director of The Distillery Gallery in Boston, several years ago Chasse relocated and opened Calico, his own gallery space in Greenpoint. The name of the gallery is a nod to his affiliation with all things feline. Chasse is currently creating a body of work called OMG Webcats, a series of drawings hell bent on becoming an Internet meme. Scott is deeply preoccupied with the worldwide web, and he himself will tell you that, “If the Internet is working, I’m on it.” Scott’s real-world presence includes the ownership of Calico. We talked with Scott about how his new role as a Brooklyn gallerist is going and why he’s so obsessed with cats, among other things. CAN YOU TALK A BIT ABOUT YOUR PERSONAL ART PRACTICE? WHAT IS THE SIGNIFICANCE OF BURT REYNOLDS, WILLIAM SHATNER AND WEBCATS? My art practice at the moment consists more of digital drawings than anything else…hence the Webcats series. I still paint, but not nearly as often now that I’m running a gallery. I’m okay with that, though. The gallery is another means of staying creative and collaborating with other artists, which is what I really enjoy doing. I’ve made art as long as I can remember, but I didn’t go to art school or have any formal training outside of highschool art class. I was taught how to screen print, and at some point decided I wanted to make paintings that looked like screen prints. Some experimentation with that eventually led to the Burt Reynolds series. Other celebs and a few animals have had minor rotation, but Burt became the main focus of my paintings for several years. DO YOU SEEK TO ADDRESS GENDER IN YOUR WORK? WITH THE EXCEPTION OF WINONA RYDER, YOUR SUBJECTS TEND TO BE MEN, OR AT LEAST VERY MANLY BIRDS. HOW DOES GENDER IMPACT YOUR ART? I don’t intentionally seek to address gender. There was a moment when I realized that the Burt Reynolds thing was more than just a funny retro moustache tribute, though. There’s a certain machismo that he represents, and once you start thinking about that, the conversation can lead in all sorts of directions, including gender roles and how they’re evolving. I think I’m more interested in the idea of “celebrity” and what that even means these days. With Burt Reynolds, we have an icon that is both recognizable and irrelevant at the same time. In Burt’s heyday, celebrities were mainly seen onscreen and read about in tabloids—seemingly unreachable. Today we can Tweet a drawing of a cat to Busy Phillips and get a response from her. I’ve done that. ARE CATS MORE MASCULINE OR FEMININE? DO YOU 64

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HATE DOGS, OR DO YOU JUST REALLY LIKE CATS? DO YOU HAVE AN OPINION ON DOGS AT ALL? I HATE DOGS. Just kidding. I grew up with both cats and dogs, they’re both okay in my book. As a matter of fact, I like all animals unless it’s a worm in my Brussels sprout or something invasive like that. My Webcats series is actually more about the Internet and our relationship with it and less about cats. Cats are just an easy representational figure for the Internet, or so I’ve heard… First, I started a spoof cat blog on Tumblr called Webcats where I just posted found cat pictures from Google searches. No user-generated content, but it was curated by me. It was an experiment in the mundane. The blog developed a good following and helped solidify the hashtag #webcats, which was part of the experiment. That eventually led to the digital drawings which have been ongoing for two years now as a continuation of the #webcats brand. I think it’s all very ridiculous, but it has been a fun experimentation with using the Internet as an element in my art production, both in form and in content.

WHAT'S THE DIFFERENCE BETWEEN BEING AN ARTIST AND BEING A CURATOR? WHAT'S CHALLENGING ABOUT WORKING WITH ARTISTS AS OPPOSED TO WORKING AS AN ARTIST? NOW THAT YOU RUN YOUR OWN GALLERY, DO YOU STILL HAVE TIME FOR MAKING ART? For me, the two share many similarities. In my own artwork, I spend a lot of time on balance, composition, and theme. The same can be said about how I approach assembling an exhibit. I think being an artist helps me be a better curator. For me, one challenge as a curator is how to balance diplomacy and consideration of others’ views while maintaining and executing an idea. As an artist, I’m able to relate to other artists on their level and be sympathetic to their concerns, open to their ideas, and respectful of their opinions—or at least I try to be. Now that I run a gallery, my own art practice has definitely changed. I don’t have the same time and energy for painting as I did before. This is how the digital drawings came into play. I can work on my laptop making drawings of cats almost anytime, anywhere. It’s a way to still maintain a personal creative outlet even if I need to get out of the studio and head home. HOW HAVE YOU FOUND THE MOVE FROM BOSTON TO NYC? WHAT IS THE DIFFERENCE BETWEEN THE TWO ART SCENES? WHAT ARE THE STRENGTHS AND WEAKNESSES OF EACH? It took a little while to figure out NYC, and I’m still working on it. It’s a big pond. As far as comparing the art scenes of Boston and New York, I won’t touch that…hah. I had successes in Boston as an artist and gallery director at Distillery Gallery that I had never planned on, and I’m happy to still feel connected via The Distillery and the many friends I have up there. Common advice I was given about New York when I first moved here was “to find a corner” and work outward from there. When I found studio space in Greenpoint, that’s exactly what I did. After a few years here I feel very connected with the art scene and I think Greenpoint 65

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is similar in many ways to South Boston (where I spent almost 10 years before moving to New York). So, I’m comfortable being in this neighborhood with all of its personality conflicts, firmly rooted natives and gentrification woes. CAN YOU TELL ME A BIT ABOUT THE PROGRAM AT CALICO? DO YOU HAVE ANY INTENTIONS AS FAR AS TO HOW THE OVERALL PROGRAM SHOULD LOOK? IS THERE A THEME, FOCUS, OR GOAL? Calico aims to make a positive contribution to the overall art scene of North Brooklyn and help bring more attention to what’s happening right here in Greenpoint. I’m a believer of strength in community and hope to foster that however I can. I think the programming reflects my own taste, but isn’t limited by it. Unlike the more traditional “white cube” galleries, I’m not as concerned about resumes, CV’s, and a bottom line as I am about how unique and creative an exhibit can be. Taking more risks with the gallery is one of the nice things about maintaining an artist-run space that isn’t solely reliant on commercial sales. Of course, I welcome sales and I’m always happy to hand a check to an artist when their work sells—I just prefer to operate in a way where sales happen organically (I’m no art dealer). I think in the art world grand scheme of things, spaces like Calico play a small but important role and I just do my best to treat other artists the way I would want to be treated by a gallery. With the exhibits at Calico, I try to balance a mix of what I personally like to see in a gallery and what I think is interesting regardless of my own aesthetic taste. I guess some of the main goals are to keep things fresh, original and unpretentious. Aesthetics are so subjective. Things can be arguably good or arguably bad but that depends on who’s doing the arguing. I’d rather focus on keeping a diverse exhibition schedule that relies on unique and interesting ideas. I’m a big fan of nontraditional exhibition venues, so I try to combine elements of that with elements of the familiar, more conventional means of displaying artwork. I was always an artist, but I entered the art world in my late 20s, and I felt like an outsider trying to play catch-up with everyone around me. It was intimidating and I had no idea what I was doing. Luckily, I ended up (totally by chance) at The Distillery artists’ building in South Boston and was able to connect with the community of working artists there. I tried to be a sponge and just absorb whatever I could from all

of the talented people around me with such interesting and diverse careers in art. These were the people I wanted to be around, and I wouldn’t be running a gallery in Brooklyn today if I hadn’t first shared a not-so-legal live/work studio at The Distillery in 2001 for $935 a month split three ways. When I first started exhibiting my own artwork it was mainly through open studio events and restaurant exhibits. When that finally led to my first proper gallery show I had no idea what I was doing. The gallery was very kind and that experience gave me the confidence to work harder and exhibit my work more. I hope that Calico can serve that purpose for some artists and possibly be a stepping-stone to bigger things. That doesn’t mean the shows I’m doing are amateur night, it’s just more of a level playing field where an illustrator from New Hampshire with no art school training can exhibit in the same forum as someone with their MFA from Boston University or something. It’s sort of like YouTube’s Keyboard Cat and Ke$ha getting the same treatment. WHAT ARE YOUR FUTURE PLANS? CALICO GOT INVITED TO FOUNTAIN ART FAIR, YES? WHAT ARTIST ARE YOU TAKING? DO YOU HAVE ANY PLANS FOR FUTURE PROJECTS? IS BURT REYNOLDS STILL IN THE PICTURE? WHAT ABOUT A SERIES WITH DAVID HASSLEHOFF OR STEVEN SEGAL? Future plans…I’m just taking it year-by-year. I’m happy to be where I am and I’m always working to improve the gallery and its role here. Meanwhile, I am happy to be participating in my second year at Fountain in 2014 where I’ll be showing work from some of Calico’s smaller, more focused exhibits of 2013/2014. As far as Burt goes, I might be done painting that famous moustache for now. I still show paintings from that series and I’m really proud of that body of work, but I spend a lot more time with digital drawings of cats these days. As far as future projects in general, I’m always excited to see where things may lead. If someone told me five years ago that I’d be running a gallery in Greenpoint and participating in art fairs, I would have asked them, “Where’s Greenpoint?”

ALEXANDER Photography by IVAN GENASI @ ivangenasi.com Styling by STEFANO GUERRINI Stylist Assistants MARTINA FRASCARI & GIACOMO TAGLIATI Set Assistant by FREDERICK WATSON Hair and Makeup by MATTEO BARTOLINI Model ALEXANDER @ ilove models management

OPPOSITE Jacket by CARUSO Shirt and Bow Tie by MASSIMO REBECCHI Trousers by PENCE

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THIS PAGE Sweater by DAKS Jacket & Trousers by DONDUP Glasses by KENZO OPPOSITE Shirt by INDIVIDUALS Broche by VINTAGE ARCHIVIO GUERRINI

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OPPOSITE Shirt by ANTONY MORATO Scarf by DONDUP THIS PAGE Waistcoat by GABRIELE PASINI T-Shirt by PRPS

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OPPOSITE Jacket by DONDUP Creased Shirt by GAS JEANS Glasses by KENZO Pochette by NANOT THIS PAGE Camo Polo-Shirt by GABRIELE PASINI Hat by STETSON

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THE STORY TELLER BLACKTIE UNDERGROUND EMPOWERS FASHION THROUGH SOCIAL MEDIA. Written by LEE HERSHEY

Photographed by KATLYN O'HARA

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Social media provides enormous marketing power and leverage: it’s free and the audience can drive the brand or product. With fashion so easily and readily available to people, it makes sense that brands—from big to small operations—are turning to social media and tuning into their audience. People use fashion to tell stories and they use social media to share their stories. As Jeandre Vermaak, creative director of Blacktie Underground says, he simply provides the “framework…for fashion to take on a life of its own.” While platforms like Instagram, Twitter and Pinterest aren’t new, 2013 witnessed an explosion of digital and social activity to live stream, campaign and most importantly, for fans to come together to discuss, engage and reinvent fashion. New designers and fashion houses are nurturing their social media engagement as an essential marketing resource to reach their consumers. This advent of the digital age democratized fashion. Through social media, streetwear fashion is more widely considered, informing high fashion just as much as it is inspired by high fashion. All of Blacktie Underground’s marketing is social mediadriven and word-of-mouth. Vermaak once reconstructed a BiJ Lincs hat and tagged the musician on Instagram. Lincs found BTU through the platform and requested a bowtie, one of BTU’s primary products. Social media’s viral nature is attributed to BTU’s success. Nowadays, small businesses can easily reach out to celebrities to carry greater influence of the brand. From blog posts and Instagram photos, Libra Leather also reached out to BTU. The New York brand is a wholesale manufacturer that serves companies like Halston, Bill Blass and Geoffrey Beane. Vermaak says, “They contacted me and said, ‘We love your stuff.’ Just from seeing my work on social media.” It was an instance of social media not only driving the brand, but also

website. Upon launching the brand, BTU sold solely in the United States; however, now sells internationally. London designers picked up BTU and the brand was featured in London Fashion Week last year during womenswear designer Gary Wilson’s show. Outside of the U.S., Vermaak noted that 40% of sales were from the UK and 25% from Italy. BTU largely sells bowties, but they also do jewelry like bracelets and other accessories to subtly accent an outfit. The bowties tell a story, they describe who the person is and who they want to be. BTU is interested in providing the fashion context for wearers to play with and inform others of their personality. The collection ranges from neutral ties for everyday work to extravagant pieces, like the Leo Tie. “The bowties bridge a gap,” Vermaak says, “Because they are traditionally old school like classic menswear,” yet are now redone in all sorts of creative ways. One of their stylish accessories for the daring is the Leo Tie: “Everyone wants it [and] wears it differently. It’s always in top demand. It’s taken a life of its own.” One example of the Leo Tie’s voraciousness for life is its gender-crossing. Both women and men are commonly attracted to the blackand-gold striped lambskin bowtie with a leopard face in the middle. As fashion is marketed and shared through social media platforms, “It’s a chance for people to publish a piece of their life,” Vermaak says, “To share their story and to engage with others.” Social media lets people reveal themselves and their confidence, often giving the everyday wallflower a voice through Instagram photos. BTU’s presence on Instagram and other social media platforms emphasizes fan engagement. Vermaak is fascinated by cultures and combining those that are

connecting the brand to manufacturers who were interested in improving the product. BTU sells directly to customers online through social media and word-of-mouth advertising. Vermaak is working towards getting his merchandise in stores, but the immediacy is countered by how well he sells through the

diametrically opposed. “I like taking something out of its context and flipping it on its head,” Vermaak says, “Creating a new story…it’s constantly inspiring.” BTU takes mainstream punk 79

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and transitions it into classic menswear, applying culture appropriation. Vermaak says, “It’s about creating a story not dominated by one particular voice. It’s grungy underground seen through a classical lens so that it tells a different story.” This cultural context and clash of inspirations are why fans are drawn to BTU; it depicts the dualities and complexities of people’s personalities. Vermaak sites punk as a major inspiration because it’s so unique and specific to one set of people that has since exploded into being mainstream and acceptable. Vermaak likes the "do-it-yourself" spirit of punk, the safety pins and zippers, the instant and direct customization. "I like the 'let’s do something' punk attitude," Vermaak says, “But BTU refines and polishes it. I like how polar opposite these two worlds are, classic menswear and punk.” This is the same attitude Vermaak approaches his social media strategy with. He threw himself into it, snapping photos of the bowties from each collection as they are revealed to the public. When Vermaak slacked in social media engagement, he found that the excitement from BTU fans also puttered out. “Social media is very underrated as a marketing tool,” Vermaak remarks, “It’s about creating a conversation, creating a community. There should be trust between the brand and the consumer and it takes a lot of time to do that with social media. Once a standard of consistency is established, fans will carry the brand.” BTU has 26,339 followers at the time of this publication. “When we are so isolated from the world, we want to engage,” Vermaak says, and that level of trust is needed. “You can’t bullshit the consumer. You have to be honest with them. That’s what Blacktie Underground is about: empowering yourself…giving the little guy a voice.” BTU invites consumers to send images wearing the brand. In the coming year, Vermaak hopes to put together a style guidebook online that will be interactive and styledto-you. It will include Instagram photos, blog posts and will culminate into a free downloadable e-book. It will also offer DIY instructions and tips. Vermaak’s an advocate of free learning and inspired by MIT’s edX, MIT’s online educational consortium program. He would like to provide tutorials and sewing 101’s to his consumers. Just as Vermaak is inspired by the consumers posting how they wear BTU on Instagram, he hopes that the tutorials and DIY’s will spur further consumer participation with the brand. Social media allows BTU to engage its community, but also to see how their followers

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reimagine BTU into their everyday work and streetwear. BTU is also working on a section of the website called “The Modern Tastemakers.” It will be a place for fans and dedicated BTU wearers to influence the brand. Gleaned from Twitter and Facebook, they can express what they think of the brand, what influences them, how they formulate their style and incorporate BTU. These “Modern Tastemakers” will be invited into the BTU studio for a photo shoot displaying how they wear the bowties, which will then be published on “The Modern Tastemakers” section. Because of social media, everyone has more access to the fashion they love and to inspire or be inspired. But BTU isn’t interested in imposing fashion on their fans; instead, they invite fans to reimagine fashion and take it to the next level. Who’s to say a bowtie is just a bowtie? BTU’s Instagram asks their followers these questions: How do you wear BTU?

Where do you BTU? When you wear BTU, who do you become? The bowties are a choice in how the wearers present themselves to the world: dualities of lambskin and zippers or fur in blazing blues and rampant reds. BTU gives them the colors, the textures and all the fashionable intonations. BTU wearers take pride in what they wear. The brand is designed for those who want to appear on the outside who they are on the inside. Those who wear BTU declare: We’re here. We’re in control. Other brands try to define who a person is by plastering their label on the product, but BTU offers another option. BTU provides the context and the platforms for their consumers to say: “This is who I am. I am ballsy enough to stand out. I’m telling my story.” And BTU just provides the details to accent that styled life. Shop: blacktieunderground.com 83

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BARE MIMIMUM Photography by JEFF SALES @ jeffreygalvezosales.com Grooming by ALAN MILROY @ alanmilroy.com Styling by MARIE REVELUT @ marierevelut.tumblr.com Models AXEL, JULIO & YANNICK @ city models pairs

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ON THE VERGE: DENT DE MAN

THE BRITISH BRAND EXPLORES NEW-TRADITIONALISM THROUGH ITS DESIGN PHILOSOPHY. Written by JESSICA YOUNG While the fashion world embraces digital prints as the future of printmaking, the emerging British brand Dent de Man is doing quite the opposite. Hailing from the creative hub that is East London since 2012, Dent de Man offers an intriguing take on menswear by reworking sourced traditional Javanese Batik fabrics and classic tailoring for collections that are colorfully polished and forward thinking. Dent de Man’s aesthetic aims to take the designer’s reverence for ancient printing techniques and adapt them into the contemporary world for a renewed relevance. The brand harkens back to Javanese Batik printing’s storied history steeped in Indonesian Dutch Colonialism. Exposed to the 19th century ideas of liberty and selfdeterminism, Indonesians sought independence and freedom through which wearing Batik became symbolic of. To this day, Batik represents a sense of celebration, personal memoir and embracing change. Dent de Man seeks to dress a distinct lifestyle defined by freedom and quality through empowering individuals to dress for themselves. The decadent prints combined with simple tailoring and a contemporary edge balances both a vintage sensibility with directional concept for unique garments that infuse personality into an individual’s look. Dent de Man encourages effortless, playful styling for the open-minded gentleman. Check it out: www.dentdeman.com Team Credits Photography by MARK HIBBERT Styling by TOMAS TOTH Set design by THOMAS BIRD Hair by FUMIHITO MAEHARA Makeup by MAI Model SUREN @ amck models

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ON THE VERGE: DONALD GJOKA A SNAPSHOT INTO RISING PHOTOGRAPHER DONALD GJOKA’S CAREER. Written by HAYLEE BARSKY Donald Gjoka, a fashion and portrait photographer based in Milan and Paris, began working just five years ago. Since his very first commissioned editorial for Next Model Management, Gjoka creates his own unconventional sense of image and style that’s already attracted an impressive list of clients including Harper’s Bazaar, Esquire, Gucci, Vogue India, Revs Magazine and menswear line Neil Barrett. “I followed my instincts and where my inspiration leads me. Through experimenting during that time, I just followed my way to capture emotions through fashion portraits,” he stated. Besides Gjoka’s interesting take on the traditional approach to fashion photography, many of his works are known to maintain a minimalistic, elegant aesthetic that’s very much influenced by his Italian atmosphere. His favorite part of photography is having the opportunity to travel to different parts of the world to shoot and meet new, interesting and creative people on a daily basis—and having the chance to collaborate with each of them gives him the most motivation for success. Gjoka most recently collaborated with artist Bernhard Handick, who produces a more graphic and surreal combination. Their goal was to create an interactive concept of mixed-media design, compositing a collage of artwork by Handick within his photographs to craft union and common vision between the two. “The most important thing is to see how much synergy there is in teamwork to get the highest result,” Gjoka said. And in regards to succeeding in the industry, “[his] words of advice: persist and believe.” Check it out: www.donald-j.com Team Credits Photography by DONALD J Artwork by BERNHARD HANDICK Styling by ERICA HAJUNG LEE Makeup by SID YAHAO SUN Model ROMEO CAMINOS @ nathalie models paris

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BLEND

MUSIC CREATION KNOWS NO DIGITAL BOUNDARIES WITH THIS NEW PLATFORM. Interviewed by JAMALL OLUOKUN

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Technology always has a funny way of taking sharing to a new level. First, we were sharing status updates on Facebook, then we were sharing photos on Instagram, followed by videos on Vimeo and music on Soundcloud. But the days of just sharing your favorite song are over. With the rise and proliferation of digital music production and storing files in the cloud, you can now share an entire music project with the process becoming just as important as the final product. Enter Blend (Blend.io), a new music platform hailing from Betaworks (owners of DIGG, Bitly, and Bloglovin), that allows music producers to share their actual project files with all the sounds, settings, automation, notes and chords so fans and other creators can get the ultimate behind-the-scenes look. With Blend, one is no longer sharing the final product but also every step along the way. The audio file is only the beginning. And best of all, other producers and creators can pull the projects, play around with them, collaborate and make whole new tracks, starting an exploratory musical dialogue. To learn more about this new musical platform, we got in touch with Alex Kolundzija, Blendâ&#x20AC;&#x2122;s founder and a fellow music producer himself. WHY BLEND? WHY FOCUS ON THE CREATORS AND THEIR PROCESS INSTEAD OF JUST WHAT THEY CREATE? Having produced music using software for over a decade, I've often wished for a product that would help me manage, preview and archive my projects better, make collaborations simple and fun, and in the process help me get better at production while gaining exposure for my music. Blend is that product. Itâ&#x20AC;&#x2122;s made for music producers by music producers. YOU FIRST STARTED WITH ABLETON LIVE AND MASCHINE, BUT NOW YOU PLAY NICE WITH LOGIC AND PRO TOOLS. WHY LOGIC AND PRO TOOLS NOW? Our intention from the start was to progressively add support for other DAWs. A few factors influenced the timing and order such as user demand and feature opportunities. The artists we've featured on Blend recently, including Moby and +/- {plus/minus}, have used Pro Tools and Logic respectively and we wanted to offer those projects in their source format so the timing worked out that way. ARE THERE ANY STATS ON THE AMOUNT OF WOULD-BE PRODUCERS OUT THERE? That's not an easy number to calculate accurately. Getting access to real numbers from DAW makers, online communities and forums helps. However, I think we're in a unique position to collect some interesting stats about the global musician and producer community, and also about how their fan bases grow on Blend and beyond. 121

ANY NOTEWORTHY STATS THAT YOU’RE ABLE TO SHARE ABOUT BLEND: NUMBER OF USERS, NUMBER OF BLENDS, HOURS OF MUSIC, ETC? We haven't publicized those numbers yet partly because we're growing fast and they quickly become outdated. But we're working on ways to surface some stats in a meaningful way within the product itself; for example for projects with most collaborators, most plays, etc. One number I'm particularly excited about this week is six, which is the number of Blends that have just been released on the Berlinbased EUN Records label and are available via various digital outlets including Beatport. DO YOU FORESEE SEPARATE COMMUNITIES RALLYING AROUND THEIR PREFERRED DAW? OR, DO YOU THINK THERE MIGHT BE CROSS COLLABORATION? I'd like to see both, sub-communities of DAW users that also overlap. Some producers use different DAWs at different stages of composition and production. Some music producers are total hackers—they'll Pull a Pro Tools session, dig in to find samples and create a new Blend using software of their choice. I think that cross-pollination can lead to interesting results. I'd hate to see tools inhibiting creation and innovation; they should do the exact opposite. YOU RECENTLY LAUNCHED BLEND EMBEDS. HOW WAS THIS FEATURE RECEIVED BY THE COMMUNITY? AND IS THIS YOUR SOUNDCLOUD PLAY? Yes, we recently rolled out our first embeddable player, which allows previewing of the project and easily pulling it to get the source files. A version of the same embed is available for Facebook. We're planning to add different, more unique embeds soon for distribution of not just projects, but templates, tutorials, packs, etc. The early versions were received well. Recent press coverage included them and we're getting lots of new traffic, as well as generating more exposure for Blenders and their music. WHAT ARE SOME FEATURES PEOPLE ARE REQUESTING FOR BLEND? Support for additional DAWs often comes up. Users are also interested in the ability to collaborate on projects privately. Those requests and other user feedback are our strategic compass and we're evolving quickly. Support for private projects (and groups) is in the final stages of testing. YOU ARE ALSO A PRODUCER YOURSELF, WHAT’S THE MOST INTERESTING MUSICAL PRODUCTION YOU’VE RELEASED? Honestly, I consider my productions way less interesting that those of artists I like to listen to. As a DJ, I would rarely play my own tracks. But I did a remix for Adam Jay years ago, which was picked up by Carl Cox and included on his Global Underground CD compilation. He was interviewed about the release and discussed each track, which was a great read. Another track that comes to mind is "Anathema" which came out on NYC's Gotham Grooves label in 2005 and is a weird crossover jam that captures the vibe of some of my other productions from that period. WHAT ARE YOUR THOUGHTS ABOUT THE MUSIC LANDSCAPE FOR PRODUCERS AND CREATORS AT THE MOMENT AND MUSIC IN GENERAL? I love the impact that technology has on music. There is so much experimentation and innovation. Tools are becoming more powerful, recordings are more accessible 122

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than ever before and new artists from every corner of the world are able to shine on a global stage. I used to spend months waiting for my favorite artist's next record to come out and now I regularly discover awesome music from artists I previously never heard of. WHAT DOES A BLEND SUCCESS STORY LOOK LIKE? IS IT AN ARTIST’S BLEND BECOMING AN OFFICIAL REMIX OR IS IT A NEW BEGINNER LEARNING SOMETHING THEY DIDN’T KNOW BEFORE? Success for Blend means success for producers and musicians on our platform. It’s that simple. If we help them make more music, get even better at it, gain exposure and generate income by creating music, so they can spend even more time doing it, then we've succeeded. While Blend is great for remixes, we actually think that Blends are a parallel concept. They're new music productions which were previously impossible because collaborators are often strangers living on other sides of the planet, or because they include a combination of aspiring and well-established artists. Blend is less than a year old and we've already enabled producers to create new music from album-quality sessions by legendary artists, and in the case of +/- {plus/minus}, with the material from the record before it even comes out. We're interested in these new music explorations and continue to be inspired by our community and their music creations. WHAT HAVE YOU LEARNED SO FAR WITH INTERACTING WITH PEOPLE ON THE PLATFORM AND SEEING HOW PEOPLE USE IT? The biggest thing is the excitement and enthusiasm around the product. The challenge for emerging artists continues to be getting exposure and modern producers are seeing the benefits of publishing their music in an interactive format that generates buzz around it, not just from other producers but also from music fans. WHERE DOES BLEND GO FROM HERE? Our roadmap is very exciting and well informed by user feedback and behavior. We're hitting 2014 in high gear with a few big product updates around the corner and a lot of exciting features in the queue. We're going to open the platform a bit more to music fans in addition to producers by introducing Blend radio. We’re also hearing a lot of projects we'd like to release so this might be the year the official Blend label is launched.

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TRANSISTOR Photography by ALVIN NGUYEN Styling by ALVIN STILLWELL Hair by JUANITA LYONS Model PETER @ photogenics

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