PATTERN Magazine Vol. 13 Spring 2018

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FASHIONING A COMMUNITY.

QUANTUM LEAP + FEATURING DALE BERNSTEIN, ADRIAN MATEJKA, IRIS VAN HERPEN, JONATHAN BROOKS, AND OTHERS

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EDITOR’S LETTER

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What happens when we combine the humanities with the science, technology, engineering and math (STEM) fields?

We question. We tinker. We invent. We imagine.

Discover our legacy of Hoosier ingenuity and how we can make it part of our future through conversations with visionaries, field trips to places of scientific discovery, podcast episodes about Indiana inventions and innovations, a statewide read of the book Frankenstein, and more.

Experiment with Indiana Humanities at IndianaHumanities.org/QuantumLeap.

@INHumanities Artwork by Kipp Normand

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by Publishers Distribution Group, Inc. pdgmags.com Printed by Fineline Printing, Indianapolis, IN USA PATTERN Magazine ISSN 2326-6449 is published by PATTERN

EVENTS

Event Coordinator Courtney Xavier Volunteer Coordinator Esther Boston Community Outreach Director Julia Rutland

DIGITAL

Online Content Manager Julie Valentine

BOARD OF DIRECTORS Michael Ault Crystal Grave Freddie Lockett Aaron Reitz Sherron Rogers Sara Savu Adam Thies Barry Wormser Tamara Zahn

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SUBSCRIPTION

Visit patternindy.com/subscribe Back issues, permissions, reprints info@patternindy.com

EDITORIAL

Editor & Creative Director Polina Osherov Design Director Emeritus Kathy Davis Guest Creative & Design Direction Cosette: Emmit Jones, Josh Jacob, Sara Hussein Managing Editor Eric Rees Copy Editor Jami Stall Staff Photographer Esther Boston

DESIGNERS

Lindsay Hadley John Ilang-Ilang Amy McAdams-Gonzales Aubrey Smith

PHOTOGRAPHERS

Elese Bales Steve Brokaw Vince Chase Wil Foster Hadley ‘Tad’ Fruits Jay Goldz Eric Lubrick Annette Navarro Brooke Shanesy Christopher Whonsetler

ILLUSTRATORS SIVAVIS Jeremy Steiner

WRITERS

Michael Altman Uzuri Asad Kevin Berkopes Mia Caruthers Ebony Chappel Jennifer Delgadillo Abby Gardner Crystal Hammon John Helling Amanda Holden Sara Hussain Charles Letbetter Shauta Marsh Fiona McDonald Ryan Millbern Theresa Procopio Monica Sallay Elise Schrock Jami Stall Sam Stall Megan Trischler Chris Uihlein Shelby Quinn Walton Connie Ziegler

RETOUCHER

Wendy Towle

A SPECIAL THANKS TO

Claire Mauschbaugh, Kristen Wells, Leah Nahmias, and Megan Telligman of Indiana Humanities. Matinee Creative. Aubrey Smith Creative. Lindsay Hadley.

And Cosette for their talents, time, and hard work on the Cincinnati section of this issue.

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The North Side’s Only Luxury Boutique Hotel

IRONWORKS HOTEL INDY 2721 E. 86th Street, Indianapolis | 463.221.2200 | IronworksHotel.com

CONTENTS PATTERN ISSUE NO. 13 patternindy.com

WORDS EDITOR’S LETTER, 4 CONTRIBUTORS, 10 STUFF YOUR EYES WITH WONDER, 14 ROBERT MOORE, 26 HOT WHEELS, 36 NORMAN NORELL, 44 UNDER THE MICROSCOPE, 49 Dr. Benjamin Anthony Dr. Gregory Smith Dr. Krishna Moody Dr. Christopher Stuart Dr. Jing Liu Dr. Kimberly Steward Dr. David Samson Dr. Yaw Aning Dr. Mel Fox BEYOND THE POEM, 58 DALE BERSTEIN’S CHEMICAL ATTRACTION, 64 AFROFUTURISM, 68 PEER TO PEER, 72 FOOD FORWARD, 82 A MANSION FOR EVERYONE, 90 WEAVING WONDER, 95 INDXCINCI, 110 Working Girls, 113 Tether, 114 First Batch, 115 Eli Meiners, 116 Brush Factory, 117 Daughters of Style, 118 NOMAD 3176, 119 Mortar, 120 Team B, 121 Alice Pixley Young, 122 TRANSFORMING FASHION, 138 OP-ED, 162

IMAGES POLYAMOROUS, 14 FUTURE SHOCK, 30 HAT TRICK, 40 READY TO WHERE, 76 GOOD FELLAS, 94 PARALLEL VISIONS, 123 OBJECTS D’ART, 130 MASTERS & MORTALS, 142 WAY OF THE GUNN, 152

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ON THE COVER + ON THIS PAGE Photography by Brooke Shanesy Creative Direction by COSETTE Style by Jessie Cundiff Hair + Makeup by Shannon Yoho Photo Assistant Aubrey Krekeler Model Sabina Hordinski (Independent) Vintage Garments provided by Reunion Clothers Jewelry Provided by Continuum Otr

GUEST CREATIVE & DESIGN DIRECTION BY

‡ C O S E T T E C R E AT I V E D I R ECT I O N • A R T D I R ECT I O N • B R A N D I N G • I D E N T I T Y • M OT I O N • D ES I G N 513-449-0422 | OUICOSETTE.COM

DO IS A ST’ W N AR IN NT INIT TUP W PA OWN IAT 31 IT RT 7 H N IN IVE PA ER DY O TT SH , IN F ER IP C , N.

A W FO IN R DO A 31 RT W O 7S AN F O TA D PP RT CO OR UP M M T U .C ER NI OM C TY E

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CONTRIBUTORS WORDSMITHS, DOCUMENTARIANS, AND STYLE NINJAS

WHAT CRAZY FUTURE TECHNOLOGY ARE YOU LOOKING FORWARD TO?

BROOKE shanesy

EBONY chappel

FIONA mcdonald

JAY goldz

P H OTO G R A P H E R

WRITER

ST Y L I ST

P H OTO G R A P H E R

BROOKESHANESY.COM

@EBONYTHEWRITER

FIONA-P-MCDONALD.COM

IAMJAYGOLDZ.COM

@BROOKESHANESY_STUDIO

@EBONYTHEWRITER

@FIONAPMCDONALD

@JAYGOLDZ

Brooke Shanesy is a photographer who believes in the power of photography in today’s culture. She stays motivated by visiting national parks and keeping up with contemporary art. When she’s not in her studio, she likes to be on the road or at a friend’s rock show.

-I’m looking forward to any technology that makes traveling to faraway places faster and easier.

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Ebony Marie Chappel is an award-winning multimedia journalist, public speaker, radio host and former newspaper editor.

-Some sort of contraption that irons and folds my clothes.

Dr. Fiona P. McDonald (PhD, Anthropology, University College London, UK) is currently a postdoctoral researcher at the IUPUI Arts and Humanities Institute. Her research interests are: water rights and ethnography.

Fiona is the cofounder of Ethnographic Terminalia Collective, an international curatorial collective that curates exhibitions at the intersections of arts and anthropology.

In summer of 2018 she will join the faculty at the University of British Columbia—Okanagan Campus in Canada as an assistant professor in visual and media anthropology.

-Sadly, my response is terrible contradictory! I would love a piece of technology that encourages those of us that lack willpower to detached from smart phones, computers, and all forms of technology at the end of a work day so that we can run out and smell the roses and connect with other humans!

Self-taught photographer, re-toucher and teacher, Jay Goldz has been passionate about photography since 2014, but his media background stretches back more than a decade to his days in graphic and Web design. He’s currently working on a newly acquired school to offer outreach to youth at risk--teaching them how to turn their talents into a business.

-I am looking forward to Hyperloop! (an idea by Elon Musk of a tube that transfers people at speeds up to 750mph). I see it being another major means for transportation nationwide in the next twenty to forty years. Just the thought of being able to cut the time of uncomfortable flight travel excites me. On the other hand, I wonder how they will keep the tubes secure from threats, be it people, or natural disaster.

JESSIE cundiff

VINCE chase

UZURI asad

THERESA procopio

ST Y L I ST

P H OTO G R A P H E R

WRITER

WRITER

JESSIECUNDIFF.COM

CHASEMODELS.COM

MAYASADESIGNHOUSE.COM

@JESSCCBELL

@_CMNY_

@ZURI_MAYASA

Jessie Cundiff is a Cincy native, stylist, and craftsperson. Her style is described as clean modernism with a strong sense of color.

When she’s not mood-boarding, designing sets, and prop-styling, she’s traveling the states, obsessively re-organizing her home, and hunting for the next dance party.

-Bullet Trains everywhere so I can stop driving!

Founder of Chase Management model agency and photographer, Vince Chase launched his company in 2006 to focus on the reconstruction of the black male image, and to inspire young men of color to strive for greatness.

-The advancement of social awareness and digital empathy. A time where humanity uses technology to promote self-esteem and confidence from within. We are more alike than we seem, and even so it is still okay to be different. Though things may not be as great as they should today, there is hope for change in the eyes of tomorrow’s youth. I hope that as technology continues to advance, the minds of the individuals behind the screen evolves as well.

Striving to fill a space where the empowerment of women takes the form of adornments, movement, and and experiences curated to nourish the total being, Uzuri Asad is Chief Style Liberation Artist of Mayasa Design House, as well as Visionary Alchemist of Ijo Movement Collective. Dedicated to the honor, education, and utilization of various materials and techniques spanning the African Diaspora, Uzuri aspires to decorate the world with love, and aid in shifting the experiences of life to encompass a sense of strength and possibility through her many gifts.

@TERRIDACTILE

Terri Procopio works as a website and data analyst in the healthcare industry. When she’s not creating tags in Google or building out pivot table slicers in Excel, she enjoys reading and writing fiction with a good glass of wine. She lives in historic Irvington with her cat Marvin Harrison.

-Having a Rosie from the Jetsons in my home.

-I wanna teleport. Or I need a hyperspeed vehicle of some sort that gets me where I want to be NOW. All my future fantasy wishes surround traveling to various points across the globe as fast as I can get there. My family would be nomadic, for sure.

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TURTLENECK, ALPHA 60 | DREAMER WIDE-LEG TURTLENECK, PANT, HILDUR ALPHA YEOMAN 60 | DREAMER | PERSIAN WIDE-LEG PRINT VEST, PANT, HILDUR HILDUR YEOMAN YEOMAN | PER GOLD LOAFER HEEL, BIANCA DI | GOLD/ROSEGOLD GOLDLOAFER RINGS,HEEL, MONICA BIANCA VARELAÂ DI | |GOLD/ROSE CORAL RING, GOLD BERGSOE RINGS, MONICA V

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LO O KS T O LOV E .

PHOTOGRAPHY BY ESTHER BOSTON | ASSISTED BY POLINA OSHEROV

STYLE BY TAMARA RAQUEL JONES

MAKEUP BY YUMI KAIZUKA USING MAC COSMETICS

HAIR BY KOKAYI N’NAMDI | MODEL SHIMA SAFA (FENTON MODELS)

DESIGNED BY AMY MCADAMS-GONZALES

RSIAN PRINT VEST, HILDUR YEOMAN VARELA | CORAL RING, BERGSOE

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DRESS, CALVIN LUO | TOP, STYLIST'S OWN | PINK TASSEL NECKLACE, MIMILORE RINGS, MONICA VARELA | PEEP TOE SLING BACK PUMPS, ZARA

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WORDS BY TERESA PROCOPIO + PHOTOGRAPH BY ELESE BALES BELOVED ALL OVER THE WORLD FOR HIS SCIENCE FICTION WRITING AND devotion to space exploration, Ray Bradbury’s legacy continues to reach his followers through the efforts of a dedicated staff at Indiana University’s IUPUI campus. Initially established in 2007, The Center for Ray Bradbury Studies relocated to a larger space in June of 2016, where it houses a collection of pulp fiction, the author’s personal library, and memorabilia ranging from an Emmy Award to gifts he received from NASA. The center serves as a research hub for undergraduate- and graduate-level students, but it is also open to the general public.

“Ray Bradbury believed everyone should have access to literature,” says Jonathan Eller, chancellor’s professor at IUPUI and director of the Bradbury Center. “He always wanted his work to be accessible to people. Although we do get a lot of students in here for research purposes, as we continue to grow our footprint, we want to bring in more high school and junior high students, as well as establish library events about Bradbury and his work across Central Indiana.”

Born in Waukegan, Illinois, in 1920, Bradbury never attended college because of the high cost during the Great Depression. Instead, he considered himself to be a graduate of the public library system. He was a lifelong dedicated patron of libraries, and his own personal collection is now housed at the center.

It includes multiple editions, with translations of his work from across the globe. There’s even a Danish first edition titled “233 Celsius,” which circulated before the Danish publishers changed it to the now-famous American title, “Fahrenheit 451.”

A Curated Collection of Memories At ten years old, Jonathan Eller read Bradbury’s anthology of short stories titled “The Golden Apples of the Sun,” never dreaming he would one day have the chance to meet the author. During a career in the military that included earning a PhD in English literature, Eller met Bradbury in 1989. Eller and his wife, Debi, hosted him during a U.S. Air Force-sponsored science fiction conference. This sparked a twenty-three-year friendship between the two.

As a result, Eller published three books on Bradbury and will be finishing the final volume of a biography series sometime this year.

“We miss him,” says Eller. “But his spirit continues to live anywhere he left memories, in Los Angeles where he lived for so long; in Waukegan, Illinois, where he grew up; and now we’ve brought him home to his Midwestern roots.”

Part of the Center for Ray Bradbury Studies was reconstructed to replicate the sci-fi author’s actual basement, and it features original furniture, bookcases, and three of his typewriters. Bradbury’s daughters and Donn Albright, a longtime friend and bibliographer of the author, donated so many of the author’s personal belongings that it now encompasses the largest collection housed in a single location. There are two Retro Hugo Awards, a National Medal of Arts, a Pulitzer Prize citation, and a Russian Academy of Science Award. Visitors can view “The Jar” from an Alfred Hitchcock episode and see Bradbury’s copy of “The Empire Strikes Back” script.

The author’s devotion to space exploration can be seen throughout the room, from the various gifts NASA presented to him, along with inscribed photographs and letters from U.S. astronauts.

Bradbury was an important cultural figure who strongly advocated for space exploration and helped promote the space program. NASA honored him by placing a digitized copy of “The Martian Chronicles” on the Mars Phoenix Lander, making his work available on another planet.

“Whenever we launch a rocket and as we get ready to send more unmanned and eventually manned missions to Mars, that’s Ray Bradbury’s territory,” says Eller. “Those were Ray’s dreams, and as we continue to move out into space, he will be an enduring figure in American culture.”

To teach others more about the author, Eller presents a memorial lecture each summer, around Bradbury’s August 22 birthday. And every October, in the large cultural arts gallery on IUPUI’s campus, there is a monthlong exhibit, displaying items from The Bradbury Center. Its staff will also arrange special group tours of the center.

For more information, visit http://bradbury.iupui.edu, or email Bradbury@iupui. edu, follow on Facebook or on Twitter using the handle bradbury.iupui.edu. ✂

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STUFF YOUR EYES WITH WONDER CENTER DEDICATED TO LATE SCI-FI AUTHOR OF DYSTOPIAN NOVELS

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ROBERT MOORE, THE HOLLYWOOD TAILOR

Dressing silver screen stars has lead him across the county, but now Robert Moore III is proud to call the Circle City his home.

WORDS BY CHARLES LETBETTER, PHOTOGRAPHY BY ESTHER BOSTON

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“ We need to come up with some kind of an organization where we can help each other, where everybody can get exposure.

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Fashion designer, stylist, and tailor, Robert Moore III has enjoyed seeing his work in nearly 100 movies and television shows, such as Ramblin Rose and the Lindsay Lohan remake of Disney’s Parent Trap. After crisscrossing the country for his craft for the past 30 years, Moore happily has made Indianapolis his home and the home base for his continued creations. He recently chatted with PATTERN about his trajectory.

Charles Letbetter: Tell us a bit about your background.

What brought you here?

Robert Moore: I was born in Washington, D.C., in 1948.

Mama was a music major at Howard University; she sang opera. Father didn’t make the cut, because he was a spoiled only child. We moved to Oklahoma City to take care of my [paternal] grandfather, who later died. My mother was separated by 25, but singing in a church

choir there, she met Rev. Thomas Griffin. The next thing we knew, we were moving back to Delaware to take care of my Mama’s mother. And he came to get us. I still have their love letters. We moved back to Oklahoma City, and then to Indianapolis, and next, on to Houston. My career really was launched there. I took a class in mechanical drawing, and in high school I took architecture drafting.

That got me started.

CL: Who along the way helped shape your career path?

RM: I’ve always said the three entities in my life would be my parents, God, and then Ethan King. Ethan King was from Barbados. He was a master tailor. The conversation went like this: I was working at a daycare center [in Washington, D. C.] and I see him coming and going. I asked, “Who’s that guy?” This particular day, he had on a white leather coat, and I was like, “Man, that’s a nice leather coat. Where’d you get it?” He said, “I made it.” I said, “You made it? Man, I’d sure like to learn how to do that!” He said, “Come over to my house next week, and buy an L square and a veri-curve.” We started with him teaching me, and I apprenticed under him from 1970 to ’75, and by then I’m hooked.

CL: How did you break into fashion design for the movie industry—and so quickly?

RM: I had been accepted to Pratt University in New York for fashion design, but in June of ’86 and my father was diagnosed with colon cancer and was only given six months to live. My mother wanted me to come back to Indianapolis and help with him, so I did. The first job I got, Walt Disney came through Indianapolis and did the Pan Am Games. So, I was a tailor there. Then I had my little shop and was making my clothes until ’88, when I moved to Richmond, Virginia, and was a tailor in a shop there.

Then, they did the movie Love Field and shot some of the scenes in front of our shop. A guy said, “I’m coming back in about a month to do a movie, you ought to apply.

I see you doing leather and this, that, and the other.” So, he came back, I let him stay there, and that was my first movie job—on Iron Clads, a TNT movie. After that, I found out there’s a studio in Wilmington, North Carolina, and I called down there trying to get on Teenage Mutant Ninja Turtles. They re-routed me for the movie Ramblin’ Rose.

I stayed on there working with everything that came through that studio until ’95, and then I moved out to Hollywood.

CL: You’ve worked with a lot of different styles and fashion eras. What do you think about the current trend in athleisure wear?

RM: Basically, all it is, the world of sports and the world of exercise, and the world of leisure, is such a comfortable world when it comes to wearing clothes that they’ve added that. It started with Run DMC and all those guys with their loose-fitting jogging suits, and then people started going to the gym, so they’re wearing tight athletic wear. It’s comfortable, but it’s part of the industry based on youth and inexpensive, comfortable clothing that is not a suit or slacks.

CL: What are your thoughts on some of the new high-tech fabrics, like the lightweight chainmail French fashion designer Olivier Rousteing is using at Balmain? Like or dislike?

RM: I love it. I love it. With all the innovations they have in fabrics, it’s going to be interesting, because some of these fabrics have enhancing attributes. They’re resistant to the sun or contain antiperspirant so you don’t have sweat stains. I still like natural fabrics, though; their attributes are easier on the body.

CL: What’s next? Where do you see yourself going from here?

RM: It’s time to recalibrate and set new horizons. I’ve accumulated a real nice group of fabrics and materials and have a large library, and I’m at the point where, “Okay, what do you want to do?” I’m looking for a team—a team of dedicated creators, people who either know and what to know more, or who don’t know but are willing to put in the time. I’m looking for interns and people who already know how to sew. I’m trying to come up with a community of designers, because the industry here is kind of fragmented. We need to come up with some kind of an organization where we can help each other, where everybody can get exposure. What I’m trying to do now is get this group of creators where we can do ready-towear that can be custom-fitted. ✂

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FUT URE SH OCK

Reaching Otherworldy Realms with Pa i n t s a n d Pizzazz

P h o t o g r a p h y b y W i l Fo s t e r / C r e a t i v e D i r e c t i o n b y Au b r e y Smith / Hair by Anthony Perez / Makeup by Kelly Oswalt / S t y l e b y L a n i e Yo r g e n / A s s i s t e d b y A l l i e C o p p e d g e , S i d n e y Ho e r t e r a n d Mi l l e r Ke r n / M o d e l s Ma k e n z i e S , K a t h e r i n e S a n d S a m a n t h a K ( H e l e n We l l s A g e n c y ) R e t o u c h b y We n d y To w l e

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y d In r a C

A sleek new design awaits fans at this year’s Indy500.

WORDS BY SAM STALL | ILLUSTRATION BY JEREMY STEINER

When IndyCar test driver Oriol Servia describes the Indianapolis-based racing league’s new 2018 car design, he likes to use the word “sexy.”

A lot.

“When you look at it, the car looks sexy,” says Servia, one of the first drivers to try the new machine when he tested it at the Indianapolis Motor Speedway last summer. “It reminds me of what open-wheel cars used to look like. It should be a rocket ship on wheels.”

He’s not alone in his praise. Everyone from motorsports journalists to random fans has lauded the 2018 vehicle. That’s music to the ears of the IndyCar folks. They wanted something that made for better racing, cost less, and, last but definitely not least, looked cool.

“One of the biggest things was aesthetics,” says Jay Frye, IndyCar's president of competition and operations.

Looking cool is almost a prerequisite for an openwheel racer (a car whose wheels sit outside the vehicle’s main body). Unlike NASCAR vehicles, which superficially resemble street cars, the designs of open-wheel racers are dictated mostly by aerodynamics, cost, and technology.

This tends to produce eye-catching rides that look like sharks on wheels.

But something went awry when the last IndyCar iteration was released a few years ago. It ran quite well, and it produced lots of exciting races, but something about its appearance seemed a bit … off.

To put it simply, the car had too much junk in its trunk.

“If you look at the 2017 version of the car, it has rear wheel guards,” Frye says. “If you look at it from behind, it actually looks like it has fenders.”

Those big, clunky-looking boxes were a huge turnoff to open-wheel racing purists. It also annoyed drivers, who felt the extra rear weight messed with the handling. So when it came time for a design refresh in spring of 2016, creating something easier on the eyes was top of mind.

To get the right look, the league’s brain trust spitballed in Italy with Italian racing chassis manufacturer Dallara Automobili.

“We had maybe 500 drawings of cars all over the place,” Frye says.

The product of all that blue-sky thinking was a radical departure from the previous model. Frye wanted to “reverse engineer” the car by first coming up with a badass design, then building a test model to see how all that badassery performed in the real world. For inspiration they reached back to the IndyCars of the early 1990s, which pretty much set the standard for low and lean.

“They’ve gone to a classic-looking IndyCar,” says Curt Cavin, IndyCar’s vice president of communications. “It’s kind of like an early ’90s car, but it has a very futuristic look to it. It’s classic rather than retro.”

First and foremost, the machine lost those unsightly rear wheel guards, leaving the tires mostly naked and distributing the car’s weight more efficiently. The front and rear wings are also made smaller and simpler, meaning there are fewer things to fall off or to damage during races. There’s also two “side pods” that both aid aerodynamics and, in the event of a crash, offer protection to the driver.

But perhaps the most telling change is to the car’s aerodynamics. IndyCars must carefully control the way air passes over them, because the machines really, really want to fly. Jet

fighters typically take off at only 150 to 180 mph, while IndyCars usually climb past 250 mph on straightaways.

They don’t lift off because they’re built to generate downforce—aerodynamic pressure that pushes down instead of up. The old design accomplished this by using big front and rear wings. The new car instead creates suction using the car’s underside, allowing for smaller wings.

This system also vastly decreases the turbulence cars leave in their wakes, allowing for closer bunching during races, easier passing, and, it’s hoped, exciting driver duels.

Interestingly, the car accomplishes all of this using exactly the same internal workings as the old car. The new equipment, called an aero kit, is like a suit of clothes that clamps onto a car’s chassis. The pieces are manufactured at the Dallara IndyCar Factory in downtown Speedway.

Actually, there are two kits—one optimized for gigantic “super speedways” like the IMS, and another for smaller ovals, road courses, and street races.

Servia says the new machine, which doesn’t generate quite as much downforce, is “looser” and more demanding to drive. But that’s okay with him, as it is with other drivers. They’ve been asking for a car that’s more of a handful—the better to show off their skills.

“Because of less downforce you’re going to see tire marks on the track, cars moving around, and drivers having to watch out for the rear of the car all the time,” he says. “You’re definitely going to see the driver working a lot more than in the last few years.” ✂

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MILLINERY IN THE MODERN AGE

WORDS BY MONICA SALLAY PHOTOGRAPHY BY ELESE BALES DESIGN BY AMY MCADAMS-GONZALES

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There was once a time in the early 1900s when the prospect of becoming a milliner was a dream for many people. Some would say the profession has become a lost art. However, in Michigan City, Indiana, Amanda Joyner of Chef Bizzaro Millinery keeps the profession alive and thriving, providing particular attention to quality while infusing a bit of whimsy into each piece.

The native Texan grew up watching musicals like Easter Parade, starring Fred Astaire. “The first part of the movie he sees all these models in hats, and they tell them how the hat makes them feel… That's what really got me into fashion,” Joyner explains.

Talent in arts and crafts runs in her family, so it seemed only natural for Joyner to take up sewing with the help of her maternal grandmother.

Joyner first tested her creative mettle designing decadent cakes. But even while in culinary school, studying to become a pastry chef, she still admired hats on the market. With the encouragement of her husband, she realized she could make some of the pieces she wanted to purchase.

“I started just playing with feathers to make tiny headpieces and making flowers from pieces of felt,” she says. Then she began scouring the Internet for instructions and eventually signed up for classes with Chicago-based milliner and instructor, Joy Scott.

“She gave me a crash course in millinery. She looked me in the eye and told me I had something -- that I had a unique style, and that I should never use a glue gun again ‘because then, it’s couture,’” Joyner says.

The idea of developing her own brand came about as the demand for her hats (via her Facebook audience) increased and the need to replenish the costly supplies to make them became a priority. Today Joyner sells them through her online Etsy shop, Chef Bizzaro Millinery, and from her studio space, which she shares with her best friend and business partner, Julia Nielsen.

bolster Joyner’s business. “They really pushed me into doing art shows and having my stuff in shops,” she says. ”Even better, they are also my greatest customers.”

A visit to Chef Bizzaro Millinery’s Etsy page provides a colorful scroll through fantastical pieces of pop culture candy for any Whovian, Trekkie, or Potterhead.

Her inspirations for the hat designs stem from the aesthetics of Tim Burton, Lady Gaga, Jim Henson, and iconic ’80s movies.

Though her avant-garde creations enjoy a popular following, she sees a fair share of hat-wary shoppers yet to be swayed. They insist that they simply don’t look good in hats.

“Not everyone that sees my hats understands,” Joyner says. “I always tell them it’s all about the right hat, at the right angle, with the right attitude. Some people think it’s a joke and a selfie opportunity, but for the most part, I’ve brought out lots of hat lovers that didn’t even know they loved hats.”

Joyner stresses the importance of supporting small businesses like her own. She emphasizes that the quality of a handmade headpiece justifies its cost.

“When you buy a hat from me, you’re getting a piece of my soul, as silly as it sounds. Every stitch is a stitch of love, frustration, anger, self-doubt, and 100 percent me,” she says. To this day, her profits made from each hat sold goes toward the supplies expense for the next one or two she’ll create.

Joyner offers the following pointer for others embarking on a makers venture: “Don’t be afraid to reach out to people you admire for advice. I could have been so much further along if I would have just asked for a little help,” she says. “Now I’m lucky enough to know amazing milliners all over the world.”

Check out Joyner’s creations at 717 Franklin St., Suite A, in Michigan City, Indiana, or browse her Etsy store, Chef Bizzaro Millinery. ✂

In addition to support from her husband and Nielson, the arts community in the Michigan City Uptown Arts District and the Lubeznik Center for the Arts also

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PATTERN VOLUME NO. 13

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INDY’S NORMAN NORELL IN 1941 NORMAN NORELL PROPELLED AMERICAN FASHION FORWARD

BY A QUANTUM LEAP. ALMOST SINGLE-HANDEDLY THE DESIGNER TURNED NEW YORK CITY INTO AN INTERNATIONAL FASHION CAPITAL, WITH HIS FIRST SHOW UNDER A LABEL OF HIS OWN.

WORDS BY CONNIE ZEIGLER DESIGN BY LINDSAY HADLEY ILLUSTRATION BY SIVAVIS

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PATTERN VOLUME NO. 13

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BORN IN 1900 AS NORMAN LEVINSON, HE WAS THE SECOND SON OF HARRY AND NETTIE LEVINSON OF NOBLESVILLE, INDIANA. HE WAS EXPOSED TO FASHION AT A VERY EARLY AGE, BECAUSE HIS MOTHER WAS KNOWN IN THE SMALL URBAN COMMUNITY FOR HER (SOMETIMES OUTLANDISH) FASHION STATEMENTS. HE SAID PARIS FASHION MAGAZINES LITTERED THE TABLES OF THE LEVINSON HOME. HE LEARNED FROM HER AND THOSE PUBLICATIONS. AND HIS FATHER INFLUENCED HIS PENCHANT FOR STYLE AS WELL, BECAUSE HE HAPPENED TO BE IN THE MEN’S ACCESSORIES BUSINESS. In 1905 the family moved to Indianapolis where his father opened Harry Levinson’s men’s hat store, where every hat cost two dollars. (That store would eventually extend into men’s fashion in general, and the business expanded with stores in all of Indianapolis’ early shopping malls, The business lasted well into the 1980s.)

At 19 he moved to the Big Apple to attend the New York School of Fine and Applied Art (now Parsons School of Design) and re-created himself as Norman “Norell.” He chose his new last name to represent “Nor for Norman, L for Levinson and the second L for looks.”

He studied at Parsons for a year, but found the typical art school classes uninteresting. A year later he enrolled at Pratt Institute, where he blossomed. He won his first design award of $100 for a blouse design and took on costume design classes. The wiry, dark-haired young man with the remarkably bushy eyebrows emerged from Pratt set on a path in fashion.

After a few years working in costume design for stage and film, in 1924, when he was 24, Norell joined the firm of Charles Armour, a dress manufacturer who produced goods for the wholesale dress market. Working for this upscale firm proved an important step in Norell’s career and gave him the chance to develop a style of his own.

Norell’s early designs often featured simple Peter Pan collars, or no collars at all, just a round opening that removed “the fussiness” around women’s faces, he said. This elimination of the “fussy” would become a Norell hallmark. He believed the “no-neckline dress” in the 1920s was his major contribution to fashion. He explained the motivation for the style as: “No crap on it, [because] it looked neater, cleaner, younger.”

Norell moved to the design studio of Hattie Carnegie in 1928. His work there was high-end ready-to-wear with a dash of custom work for particularly wealthy or famous clients. The best-dressed women in the nation wore his Carnegie-era designs. Although he was working under another designer’s name, he was well compensated, earning about $500 a week in the midst of the Great Depression. Meanwhile his reputation grew as a designer to watch.

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PATTERN VOLUME NO. 13

In 1941 Norell and Carnegie argued over a dress that he had designed for Gertrude Lawrence in the musical, “Lady in the Dark.” Carnegie wanted him to knock off his own design so she could reproduce it as ready-to-wear. The easygoing Norell stood up for himself and walked out.

Norell was a hot commodity in the design world, and wholesaler Anthony Traina offered him a partnership. Traina’s proposition was a choice for Norell. He could earn a higher salary or give up some of his pay to have his name on the label.

Norell chose the label, or at least half of it. TrainaNorell was born.

The year 1941 seemed like an inauspicious one to begin a fashion practice. America entered World War II in December. Paris, the fashion capital, was cut off from the rest of the world. But the war didn’t close the curtain on fashion. Instead, New York took center stage for the first time, and Norell earned the starring role.

In the war years he was the first American fashion designer to produce a full collection, rather than the assortment of separates produced by other design houses. He would sketch, write a descriptive phrase or two about the design, and sometimes attach a swatch of fabric, and then pass it to his sewers. The team rarely used muslin patterns, cutting directly into the fabrics instead.

George Olivier sewed the jersey dresses, a new staple of Norell’s line. Carmello Cordello sewed coats and suits. Hildegarde Dargatz sewed the gowns—and later the pants.

Norell’s years of experience gave him an artist’s eye for details and, according to one reporter, “women treasured their Norells as if they were emeralds or Renoirs.” In 1943, two years after putting out the first work carrying his name, Norell won the nation’s highest fashion award, the brand-new Coty.

Norell introduced the most famous design of his lifetime during the Traina-Norell period, the “mermaid dress.” The slinky skin-tight sequined sheaths hugged the body and made a major sexy statement while revealing virtually no flesh.

By the 1950s, he was holding twice-yearly blacktie shows at the Traina-Norell showroom at 550 7th Avenue. He won his second Coty Award in 1951. In 1956 he was the first-ever winner of the Coty Hall of Fame Award.

Back then Christian Dior’s wasp-waisted, wide-skirted “New Look” dresses inspired Norell, who put his own spin on the hour-glass shapes. He also continued to riff on his skin-tight sequined mermaid gowns. The shapes were simple; the look was opulent.

IN 1960, NORELL’S BUSINESS PARTNER RETIRED. WITH THE FINANCIAL HELP OF A FEW SILENT PARTNERS, THE DESIGN BUSINESS WAS FINALLY OPERATING UNDER NORELL’S NAME ALONE. “NORELL” BECAME THE LABEL OF CHOICE FOR THE FASHIONABLE AND THE FAMOUS. THEY SPORTED BOTH CUSTOM-DESIGNED AND READY-TO-WEAR NORELLS. THE LESS WEALTHY COULD BUY A READY-TO-WEAR NORELL BACK IN HIS HOMETOWN OF INDIANAPOLIS AT L. S. AYRES. Norell introduced culotte pants for women “climbing in and out of taxis” in the 1960s. Then he offered the pattern to any manufacturer who wanted it “to prevent inferior version[s]” being produced. He enjoyed pushing the edge of fashion, but in 1960 he pushed into the avant-garde with his show styling. Inspired by his favorite fashion decade of the 1920s, he had his models blacken their eyes up to the brow, paint their lips a pouty bright red, and cut their hair in a straightedged pixie. He put them in culotte suits and marched them down the catwalk.

The show received a standing ovation. The pantsuit was born. A few years later, in 1968, he introduced skirts so low on the hip that his models wore gems in their navels, and his bodice top was so tiny that one article claimed it was not much more than a collar.

By 1972, Norell had been a fashion designer for almost 50 years. That year Ann Reagy, the Chair of Parsons School of Design’s fashion department, planned a major retrospective of Norell’s work, inviting his models and his customers to wear his clothes on the catwalk. But on the day of the show, Norell suffered a stroke. The show went on in his honor without him. Never regaining consciousness, he died quietly in the hospital ten days later. ✂

THIS ELIMINATION OF THE “FUSSY” WOULD BECOME A NORELL HALLMARK. HE BELIEVED THE “NO-NECKLINE DRESS” IN THE 1920S WAS HIS MAJOR CONTRIBUTION TO FASHION. HE EXPLAINED THE MOTIVATION FOR THE STYLE AS: “NO CRAP ON IT, [BECAUSE] IT LOOKED NEATER, CLEANER, YOUNGER.”

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I am a 6th Generation Hoosier and proud Indy resident.

Joe Shoemaker photographed above Mass Ave., overlooking his beloved

I am an Architecture and Design enthusiast.

city. From the urban core to the suburbs, and from historic cottages to

I am an avid supporter of our local restaurant scene.

Mid-Century Modern masterpieces, Joe knows Indianapolis.

I am a Dedicated Real Estate Professional.

I am Encore Sotheby’s International Realty.

Each Office is Independently Owned and Operated. • Photo by Esther Boston Photography

joe.shoemaker@encoresir.com | 317.413.8501

UNDER THE MICRO SCOPE

PHOTOGRAPHY BY JAY GOLDZ DESIGN BY AMY MCADAMS-GONZALES 49

DR. BENJAMIN ANTHONY Dr. Benjamin Anthony will be out of the office April 13th, but he’ll still be working. One of only three laryngologists in the entire state, Anthony will take his medical skills and personal passion for music on the road. He’ll accompany the Indianapolis Symphony Chorus in Washington, D.C., when he and its other members perform Krzysztof Penderecki’s Credo.

The challenging composition is known for pushing instruments— including voices—to their limits. The work is musically daunting and, at nearly 50 minutes long to perform, Credo is rather exhausting on the vocal cords as well. Which is where Anthony’s expertise comes in handy, if fellow chorus members experience vocal strain.

As a laryngologist and head and neck surgeon at IU Health in Indianapolis, Anthony runs the Voice Center at the IU Health Neuroscience Center. He grew up in Albuquerque, New Mexico, amid a family of others in the medical field, but Anthony wanted take a different career path. His led to opera, and he studied the vocal art form at Northwestern University.

He even spent a brief time in the chorus of the Santa Fe Opera. And though his own opera career never

quite took off, hearing the range of his wife’s vocal cords convinced him that laryngology would be a good way to combine his love of music with a career that could help musicians and others who uses their voice a lot.

In addition to working with musicians, he spends a great deal of time with teachers, members of the clergy, and attorneys, all of whom depend heavily on their voices on a daily basis. He also treats manufacturing managers whose voices give out from yelling over the raucous of loud machinery.

Anthony’s early operatic education and trained ear come into play regularly in his current practice with patients. “Listening to their voice and the way they speak helps diagnose what their particular problem is,” he says, explaining that his background gives him a greater appreciation for the nuances of sound.

Indiana has the nation’s third-highest rate of cigarette smokers, for example, and, in addition to causing lung cancer, smoking also contributes to throat cancers.

Local oncologists are just now beginning to discover how much Anthony can help patients recover use

of their voice after radical cancer treatments. Reflux disease resulting from obesity, another persistent problem in the state, is also an area where his expertise can prove helpful.

Despite the challenges, or perhaps because of them, Anthony feels hopeful for the future of laryngology in Indiana. New diagnostic technology allows much, much smaller (and more comfortable) scopes to produce images with significantly higher definition.

Rarely does he see a case so severe as to require surgery. Anthony thinks the field remains ripe for additional research and that much of it could take place here in Indiana. He beams with excitement just talking about the possibilities.

Music was one of the reasons Anthony established his practice in Indy and it continues being a reason he enjoys living here. His ability to participate both as a physician and a musician perfectly illustrates how Indiana’s arts and sciences blend well to make this a better place to live for everyone.

WORDS BY CHARLES LETBETTER 50

PATTERN VOLUME NO. 13

D R . G R E G O RY S M I T H Vincent van Gogh is one of the best-known artists of the Western world. He’s considered a master of color and light. His Undergrowth with Two Figures, for example, which hangs in the Cincinnati Art Museum, shows a couple strolling through a wooded area thick with white flowers. Yet, when van Gogh wrote to his brother about the painting, he described using a pigment called geranium lake for at least some of the flowers. Geranium lake is a vibrant pink—like that of perhaps a pair of fuzzy dice. So what gives?

Surely van Gogh knew the difference between pink and white.

“If he had lived just a little longer, van Gogh would have seen these flowers turn white,” says Senior Conservation Scientist Dr. Gregory Smith at the Indianapolis Museum of Art at Newfields. “Van Gogh knew all the colors of the Impressionists were fugitive.” It turns out geranium lake fades to white extremely quickly—within a few years. Some of van Gogh’s flowers were supposed to be bright pink, but some were also intended to be white. To the

naked eye, they are now almost identical. But Smith knows exactly which ones were intended to be pink, because he and his team tested all 387 of them.

This kind of scientific analysis may seem more likely to take place at the Met or the Getty than in humble Indianapolis. But in 2010, the IMA spent nearly $3 million to construct a lab and endow Smith’s position.

He led the team that built the lab from the ground up.

It’s now a regional resource that not only deepens our understanding of the IMA’s collections, but it builds relationships with other museums and brings their collections here.

Smith’s work bridges the perceived gap between fine art and hard science. He points out that he can’t do what he does without knowledge of both fields. As an undergrad, he turned down MIT to attend Centre College in Kentucky, a small liberal arts school that offered exposure to a wider variety of subjects.

That decision paid off when he was dropped into a cultural anthropology course and discovered a

keen interest in archeology, which he pursued at the same time he pursued chemistry. He combines these passions in his current role. It doesn’t do much good to be able to identify the chemical signature of a certain pigment unless one also knows how artists used that pigment, when it first appeared, and why. As he puts these clues together, Smith increases museumgoers’ understanding of not only the artwork itself, but also the methods and the motivations of the artists he studies.

Eventually all artwork will show signs of age, even if it’s not as rapid as van Gogh’s pink flowers. “Every photon of light has the chance to do chemistry; if you put something on the wall to show it, you are, in essence, destroying it,” Smith points out. Thanks to his work though, there’s a better understanding of how that art is constructed on a chemical level so that future generations can enjoy it.

WORDS BY JOHN HELLING 51

Doctors couldn’t figure out what was wrong with Krishna Laroche Moody. It was his freshman year of college and he was running a high fever and suffering excruciating pain in the lower quadrants of his abdomen.

After administering several tests, doctors discovered his liver was enlarged. “They ended up doing exploratory surgery, and that’s when they found granulomas in the liver—indicators of an infection,” he says. “They were eventually able to diagnose cat scratch fever, but that was after a two-week hospital stay.”

The debilitating experience with the infectious disease sparked a lifelong interest in microbes and the immune system for Moody. He became fascinated with the why and how something like cat scratch fever could happen to him.

“When you are process driven, you are presented with a problem and turn it around in your head, [thinking] how am I going to solve this?” he says.

Now a research scientist at Eli Lilly and Company, Dr. Moody specializes in immunology. It’s the branch of biomedicine concerned with the function and structure of the body’s immune system, its acquired and innate immunity, and the lab techniques regarding the interaction of antigens with antibodies.

A recent transplant from Philadelphia, Moody is originally from the East Coast. He spent his early years in Washington, D.C., and Prince George’s County, Maryland. Thereafter a string of academic years led him through Vermont to New Hampshire, Massachusetts, and Pennsylvania. After accepting a postdoctoral fellowship at Lilly, he made Indianapolis his home, along with his wife, who’s an artist, and their threeyear-old son. “All I really knew before I moved here was Indianapolis Colts and Indianapolis Pacers; Reggie Miller and Peyton Manning,” says the self-proclaimed sports fan. “But there’s a lot going on here. I’ve been pleasantly surprised.” He also enjoys exploring Indy’s museums with his family.

DR. K R I S H NA M O O DY 52

PATTERN VOLUME NO. 13

Even before Moody’s earlier experience with cat scratch fever microbes, his life is peppered with clues as to how his formative years led to a career of questions, curiosity, and research.

“Growing up, it was the weekly diet to go to museums in Washington, D.C., primarily the Natural History Museum, the National Air and Space Museum, and the zoo,” says Moody. He still recalls the impact of seeing Lindbergh’s famous Spirit of St. Louis. “That lingered and meant a challenge for me.”

Always a good student, Moody excelled in biology.

Perhaps that is why nature remains a consistent theme in his life. His summers were spent in France, where his grandmother cooked oeuf à la coque for breakfast and tended her farm away from the big city, in a house with no running water. In high school he spent a lot of time outdoors running track and crosscountry, becoming familiar with the topography of his surroundings. He volunteered at the US National Arboretum. Then he did an internship working in the different collections, where he developed a joy for gardening that continues to this day.

He likens growing plants in a garden somewhat to growing cells in a lab. Moody sees a certain connection between them. “You don’t have the same requirements for sterility, but they both have nutritional and other care requirements,” he says.

And for a research scientist, helping cultivate solutions in a growing field of curiosity is about as good as it gets.

WORDS BY JENNIFER DELGADILLO

DR. JING LIU Dr. Jing Liu knew he was going to devote his life to science from a very young age. “I was asked about what kind of career I would like to have in thirty years.

At the time I was completely fascinated by a scientist in a television drama. I thought he was so cool,” Liu says.

Now at thirty-two, he is a member of the Physics Department at IUPUI. He moved to Indiana from his native China in 2010 to complete his PhD studies, and he has called Indiana home ever since. Liu has even caught the basketball bug and become a huge fan of the Indiana Pacers, attending games on the weekends.

As for his groundbreaking work, Liu focuses on the areas of biophysics and bio-imaging. “My research is about developing the cutting-edge imaging methods and biophysical techniques necessary to study the fundamental biological questions that can facilitate the diagnosis, treatment, and prevention of cancers,”

says Liu. “We are developing a super-resolution microscope that can measure the PicoNewton (10 12N) forces in live cells, such a system can directly visualize the force dynamics during the cell migration and adhesion, and it will help us to understand the mechanism of cancer migration and invasion in human bodies. He’s also looking at how damage in the DNA relates to cancer.

The science may not make sense to a layperson, but Liu believes the work will. “We’re striving for a better and healthier world and community and that the fundamental work implemented in our lab will facilitate the understanding of the cancer, and the method developed in our lab could be widely utilized in many areas of disease presentation.”

Helping expand the world of STEM remains another long-term goal of his. “We are always trying to integrate our research with educational plans for

the community. We highly encourage students to participate in their science fairs, and we offer accessible research projects for them to stimulate their interests in STEM.” So what’s a typical day for this humble man working to help eradicate cancer? It starts early with a cup of coffee and a to-do list. He spends his mornings working with students and collaborators before diving into the latest research and papers that might affect his work. Afternoons are usually meant for the work in the lab. But there’s always time for a run, family dinner, and playtime in the evening before diving back into papers and proposals well into the night.

“I hope my work can have a broad impact on the general public, by either providing tools that can assist for better health and disease prevention or by changing people’s understanding about fundamental biology,” says Liu.

WORDS BY ABBY GARDNER 53

According to the U.S. Department of Commerce, only 24 percent of those in the STEM workforce are women. Only 2 percent of those are African-American women. Kimberly Steward, Ph.D. works to help change that statistic.

As Discovery Chemistry Group Leader in the Agriculture Division of DowDuPont, Steward spends most days working on cool ways to help the world feed its 7 billion people. This includes projects such as finding a better herbicide for rice that “may be able to offer farmers a new way to protect this important crop from weed pressure.”

Though one of her most significant contributions toward the science world could be solving a perception problem. Steward knows from personal experience one that needs work. She tells the story of speaking to a group of African-American junior and senior high school students. To break the ice, she played a game of “Two Truths and a Lie.” Her truths were that she is originally from Cincinnati, Ohio, and that she was, at the time, “working as a synthetic chemist doing drug discovery.” She had just decided to pursue her Ph.D. Her lie was that she is one of eight

children. She’s not, but the students found that the easier story to believe.

“When it came time to guess my lie, every single student was adamant that the lie I told was that I was a synthetic chemist wanting to pursue my Ph.D.,” she says. “I persisted in telling them I was a chemist and planned to get my Ph.D., but they kept insisting I was lying.”

That moment was life-changing for her. “I realized that if this group of students didn’t believe that I, someone who looked like them, was currently a scientist wanting to pursue the highest degree in my field, there was no way they could ever picture themselves as a scientist, let alone [with] a Ph.D.,” she says. “It was that interaction that catalyzed my passion for STEM outreach, specifically to underrepresented minorities.”

So, in addition to her work at the Agriculture Division of DowDuPont, Steward gives a significant amount of her time to STEM outreach and education programs.

As a member of the Indianapolis chapter of National Organization of Black Chemists and Chemical Engineers (NOBCChe), Kim helped establish the

NOBCChe chapter at Pike High School. She also spends a lot of time in classrooms, working directly with students and teachers in hands-on projects.

Steward also works with the company’s Science Ambassadors, an employee-led program that looks for ways to support the community.

Steward is interested in more than merely, “giving back,” though. For her, the commitment runs deeper.

“I hope that students I meet see someone like them doing chemistry and feel empowered to do chemistry too,” she says. “As a minority woman, I know that I can make a significant impact as a role model, to show students that someone who looks like them is working in STEM.” Considering the social media attention about genetically modified organisms, Steward encourages people to “visit a farm that hosts tours, and learn about what tactics farmers are using to help produce our food.”

She and her colleagues welcome discussions about their work. “We appreciate when consumers come talk to us about our passion, because we are excited to talk about how we’re helping feed the growing world,” Steward says.

WORDS BY CHARLES LETBETTER

DR. K I M B E R LY ST E WA R D

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PATTERN VOLUME NO. 13

DR. DAV I D SAMSON Dr. David Samson is diving into the deep end of sleep science and its ability to chart the course of human development and advancement.

Born in New Brunswick, Canada, but raised in Indiana, Samson identifies through and through as a Hoosier.

While his research on human evolution and sleep have taken him all over the world, something about this state keeps bringing him back.

Most recently he has focused a large part of his studies at the Indianapolis Zoo. There, he has studied more than two thousand hours of sleep at the Simon Skjodt International Orangutan Center, home to one of the largest groups of orangutans in any American zoo.

If Samson’s there, you’ll notice him. Sharply dressed and gregarious, he has integrated the scientific method into every component of his daily life, including his personal style.

Jokingly self-described as having multiple identities, Samson appears meticulous and polished in his professional attire.

“Once I was a grad student, I realized that I was clueless on the universal laws of style,” admitted Samson. “Through time, experience, and study you realize people treat you different [based] on your

physical appearance. It was purely scientific.”

have,” he continued.

As for his other identity, think metal concerts, martial arts, and drinking out of a horn.

Samson is on the verge of discovering so much more than just waking up refreshed. He is on a path to figuring out how sleep plays into the formula of human advancement.

Part professor with the spirit of a viking, it’s clear when speaking to Samson that of all the primates he’s studied, humans are still the most fascinating.

And when it comes to human creativity, whether applying it to personal style or innovating the next tech application, Samson is learning sleep has a profound impact.

And because he remains so dedicated to investigating the evolution of sleep, Samson has subjected himself to numerous slumber situations, some of which are extreme. At one point during his research, he even became nocturnal for seven full months.

In the primate world, humans tend to sleep the least, but the shut-eye they get rates top-notch. Rapid Eye Movement Sleep, better known as REM, represents the deepest cycle of sleep when the human brain is most active.

“It took one week after getting back to a normal schedule to feel normal again,” said Samson. “I really empathize with people who work third shift. And a lot of the science is showing that third-shift work is brutal to long-term health outcomes.”

And according to Samson, REM sleep is one of the major components associated with creativity.

Once someone enters REM sleep, there is a series of complex phenomena that occur. The brain’s executive functions are effectively dead, leaving only visual stimuli to govern the brain.

It is these intersectional moments that make Samson feel as though he is right on the cusp of unlocking the ultimate evolutionary life hack.

“People are significantly more prone to have an ‘Ah-ha!’ moment either when they wake up or in the middle of the night, based on the amount of REM they

“If you had asked me five years ago what I’d specialize in, it wouldn’t be sleep,” said Samson. “Then I realized that no one had looked at the role of sleep in human evolution. And I think it was the best decision I could have made.”

WORDS BY ELISE SCHROCK

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DR. YAW A N I N G Could Indianapolis be the next Silicon Valley? Quite possibly yes, according to Yaw Aning, co-founder and CEO of Sticksnleaves, a Fishers-based digital product development agency intent on helping other companies successfully use the best forms of technology to propel their business forward.

“We may not have the financial backing from the state that they have in California, but our grassroots efforts are strong, and that’s what it will take to position Indy as a contender in the tech industry,” Aning explains.

“Grassroots efforts bring awareness and ultimately have a much larger impact than state investments.”

Indianapolis didn’t become the new frontier of tech overnight. It was the culmination of hardworking people and their aforementioned bottom-up efforts to raise funding to attract and support technology businesses that have paved the way for an exciting future for the city. Aning is one of those diligent people who took all the right chances, despite initially lacking the right credentials.

“I graduated from Rose-Hulman with a degree in civil engineering,” says Aning. So how did he make

the transition to the tech world? He explains, “After school I started applying for jobs, and I came across a position at City Securities that was sponsored by the Orr Fellowship.” He applied and was accepted as one of just 13 Orr Fellows that year.

City Securities is not a tech firm, but an investment bank that specializes in helping early stage businesses garner starter capital, a common need for those wishing to start technology-based businesses.

This is where Aning was first introduced to the community he would one day help shape, but not without a few fits and starts. After his Orr Fellowship, Aning and another fellow started Pocket Tales, an online game designed to make reading fun for children who struggle with the subject, but the program was, perhaps, before its time.

“This was a few years before the Kindle came out,” said Aning, “We showed the prototype to parents, and while they were receptive to the program, they weren’t too enthusiastic about handing a kid a $600 device to play with.” While this reluctance is almost laughable now, it was a setback for Aning and his partner, and the project folded. Aning found himself

back to the drawing board, eventually creating his current company Sticksnleaves.

At Sticksandleaves, Aning is hyper-focused on problem solving. “Any company is created as a solution to a problem,” he expounds. “At Sticksnleaves, we don’t necessarily start with technology recommendations, but with the pain point.”

According to Aning, good technology relies upon thoughtful design. “Design is one of the most important parts of tech because it helps solve the pain, ideally in a pleasurable manner.” He continues, “Fashion and tech are similar in process. In the early stages, there is a ton of prototyping, because the customer doesn’t know what they want until they touch it and see it. Then it’s all revising and redesigning from there until the need is met.”

It’s clear that the future of tech in the city is in thoughtful hands, especially if Aning has anything to say about it, “We have a deep bench of universities to pull talent from, we are creating a good environment for businesses to launch. We have the expertise, we just need to keep expanding our horizons.”

WORDS BY SHELBY QUINN WALTON 56

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Science excites Dr. Mel Fox. And she wants everyone to share her enthusiasm.

Fox founded Central Indiana Science Outreach three years ago as a monthly forum for local scientists to share their work and knowledge with science fans, eager to geek out over cocktails, book discussions, and cool conversations. At the time, Fox was completing her doctorate at Indiana University. The more she learned about cool science projects in the works in and around Indy, the more she wanted to spread the word to others.

Being raised in a small town East of Richmond, just over the Indiana/Ohio border, Fox knew the narrow view of science that’s often seen by those who don’t work directly in the scientific field.

that were open to hosting events such as CINSO’s Books, Booze & Brains. The monthly program which kicked off in January covers specific topics in ways that are appealing and informative, but far from traditional science classes.

Book discussions included: Maggots, Murder, and Men: Memories and Reflections from a Forensic Entomologist with Dr. Christine Picard. She is from the Forensic and Investigative Sciences department at IUPUI. Another book discussion scheduled for May includes that of Mary Shelley’s Frankenstein, moderated by Dr. Robert Pascuzzi from the Department of Neurology at the IU School of Medicine.

Directing CINSO is now her full-time job with the Indiana State Museum, which keeps Fox in the thick of all things science-related in the state. One of her immediate goals is establishing science programs at the state’s historic sites, in addition to those at the State Museum.

The National Science Foundation now requires grant recipients to communicate their research and findings to the community. CINSO is well positioned to help Indiana scientists meet that obligation in ways that are informative and exciting.

For more information on sciencey gatherings, check out the CINSO calendar on the Indiana State Museum’s website, www.indianamuseum.org/CINSO.

As a bright high school student looking at career possibilities, Fox was told she needed to be a doctor.

So, she enrolled in a premed program, but she quickly discovered that being a physician wasn’t what she really wanted to do. Instead, there was a host of other biosciences that piqued her interests, ones that she wasn’t even aware existed—and certainly not in Indiana.

In looking for a science career that fit her skills and interest, Fox realized there needed to be a better way to communicate all the interesting science-related events and opportunities—especially for adults— that are going on in Indiana. So she founded CINSO. “A lot of people think CINSO is just for kids,” Fox says.

“But there are already great programs like STEM for kids. We focus on communicating with adults, because many of them don’t know all that is going on all over Indiana.”

Fox knew her approach needed to be different to accommodate adult lifestyles and work schedules.

So, for example, she reached out to local breweries

WORDS BY CHARLES LETBETTER

DR. M E L F OX 57

WHITE QUILTED TOP, SEAN JOHN WHITE JEANS, RING OF FIRE BOOTS, UNLISTED BY KENNETH COLE

ADRIAN MATEJKA

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IN FOCUS

A CONVERSATION BETWEEN FIONA P. MCDONALD (ANTHROPOLOGIST) AND ADRIAN MATEJKA (POET)

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WORDS BY FIONA P. MCDONALD PHOTOGRAPHY BY POLINA OSHEROV STYLE BY DANIELLE SMITH (FRESH FETTLE) ASSISTED BY JULIE VALENTINE CLOTHING PROVIDED BY MACY’S ACCESSORIES PROVIDED BY JAMES DANT SPECIAL THANK YOU TO TWG DEVELOPMENT AND AXIS ARCHITECTURE

ADRIAN MATEJKA HAS STYLE. PERIOD. NOT ONLY IS HE THE POET LAUREATE OF INDIANA AND A PULITZER PRIZE FINALIST, A FATHER, HUSBAND, SON, BROTHER, IU PROFESSOR, AND FRIEND—BUT HE HAS IMPECCABLE STYLE. LIKE HIS METICULOUS WORDS ON THE PAGE, HIS STYLE IS ALWAYS ON POINT. HIS STORY ABOUT LEARNING FASHION IS A POIGNANT JOURNEY THAT IS AS ENJOYABLE AS MOVING THROUGH THE PAGES OF HIS MOST RECENT BOOK OF POETRY, MAP TO THE STARS (2017).

As we started our discussion, we decided not to talk about his favorite colors to wear (or those not to wear), instead he said: “I think there’s an interesting conversation to be had about the ways we present ourselves to the world through jackets and rings and boots.” And pointing to his perfectly tailored suit, he added: “The choice to wear this isn’t an accident.”

During an overcast day in late-January, we made our way through a building in Indianapolis that only bears faint material traces of its past lives (first as an automotive factory, then as a storage facility). Inside, Adrian playfully modeled various ensembles—from suits to street wear, with textures and patterns— for the PATTERN photo shoot. Since he is one of the keenest observers of the finer details of life, culture, and identity, as we know from his poems, the history of Adrian’s style became visible with each new look he wore.

Speaking to early memories about clothing and life growing up in Indianapolis, Adrian said, “We were very poor when I was a kid, and my mother taught me how to sew while she mended and patched our clothes to make them last a little longer. Later on, I would buy clothes from the Value Village or Goodwill and tailor them myself. Mostly simple stuff—hemming pants, mending holes, that kind of thing. But, unlike now when bold patterns make me nervous, I used to love big prints, and the best prints were on those old, polyester disco shirts with the horribly large flyaway collars. So, I figured out a way to tailor the collars so the collar size was in keeping with the thin styles of the time. I would rock those old, polyester print shirts to school and elsewhere. I guess I’ve never thought—or think, really—much about clothing materials, but I have thought about the pliability of the fabric and how easy it would be to repair or alter.” He later continued, “I still think about fabrics. And I think about them even though I have not sewn anything more than a button on in years.”

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Beyond this knowledge of mending and the value of taking care of what he has, his style came more into focus as a teen. “My best friend Richard and I exchanged clothes when we went to have our senior pictures taken. He went to North Central High and I went to Pike High. He had a couple of cheap suits, and I had a couple of cheap suits. And between us, we had a couple of bright-patterned sweaters—we used to call them Cosby Sweaters. We mixed and matched so that our senior pictures made us look like we had tremendous wardrobes. The best part of it was probably Rich getting his picture taken in one of my suits, [holding] a copy of GQ magazine under his arm. That was the way we operated back then. We read GQ and Details magazines nonstop and learned fashion basics from them: You don’t mix black and brown; You match your pocket square to your tie, not your shirt. It was a style tutorial from GQ when we were 15 or 16 years old, but couldn’t afford to do any of the accessorizing we learned about. And so, if there is this narrative about style, it’s a question of garments and how we inhabit them. What it means to pick the right gear for us so that we are seen in the right way in the space and place.”

Styles, like words, are fabulous. They are malleable, mendable, commendable, and they say something about who we are, where we come from, and what we stand for. Adrian also sets a specific piece of clothing at the center in Map to the Stars.

Adrian shared the genesis of this poetry project by noting that, “The title poem from Map to the Stars is about one of those disco shirts he altered in his youth. He says, “That shirt was printed onto fabric with constellations and all kinds of things.”

In the poem, he writes: I BOUGHT THE STAR MAP SHIRT FOR 15¢ AT THE VALUE VILLAGE NEXT TO THE PICCADILLY. THE SHIRT WAS POLYESTER WITH FLYAWAY COLLARS, OUTLINED IN THE FORGOTTEN ASTRONOMIES OF DISCO. THE SHIRT’S WASHED-OUT POINTS OF LIGHT: ARRANGED IN HORSE & HERO SHAPES & I ROCKED IT IN PLACES NEITHER HORSE NOR HERO HUNG OUT. POLYESTER IS MADE FROM POLYETHYLENE & CATCHES FIRE EASILY LIKE WINGS NEAR A THRIFT-STORE SUN. — MAP TO THE STARS, ADRIAN MATEJKA

Fashion and style for Adrian are not disposable, but rather are investments in identity rooted in ethical values that he has maintained steadfast for years. Whatever he wears or whatever his personal style might be, the core of Adrian’s values rises up from “the crass powerlessness of not having” to tell the story of scarcity and strength, both of which appear at the edges of his poems. ✂

BLACK HERRINGBONE TRACK JACKET + BLACK/WHITE SPLATTER SHIRT + BLACK JEANS, I.N.C. BOOTS, UNLISTED BY KENNETH COLE

SOLID NAVY SUIT, BAR III FLORAL SHIRT, BAR III PINK BURNOUT TIE, PENGUIN SHOES, JOHNSTON MURPHY

STYLES, LIKE WORDS, ARE FABULOUS. THEY ARE MALLEABLE, MENDABLE, COMMENDABLE, AND THEY SAY SOMETHING ABOUT WHO WE ARE, WHERE WE COME FROM, AND WHAT WE STAND FOR.

NAVY/WHITE SUIT, BAR III SHIRT, MICHAEL KORS SHOES, COLE HAAN

GRAY VEST, CALVIN KLEIN L/S BLACK SHIRT, CALVIN KLEIN PINSTRIPE JOGGER, REACTION KENNETH COLE

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DALE BERNSTEIN’S CHEMICAL ATTRACTION For the love of making Wet-Plate Collodion Portraits WORDS BY JAMI STALL + PHOTOGRAPHY BY DALE BERNSTEIN DALE BERNSTEIN UNCORKED A BOTTLE CONTAINING A SOLUTION OF PUNGENT ETHER, alcohol, and collodion (pronounced ke-lo-de-en, as in “nickelodeon”). The mixture includes trace amounts of cadmium bromide, ammonium bromide, potassium iodide, and a bit of water. (He says he barely notices the smell.) “I’ve never passed out from it, but I am more laid-back,” he says with a wry smile.

Slowly he pours a liquid ribbon of the concoction onto a 6.5 -by-8.5-inch blackened aluminum sheet. Steadying the thin metal plate by holding only its edges, he gently tilts it side-to-side until its top surface wears an even coat of the solution.

Off to one side of his third-floor studio in the Stutz Building, Bernstein’s workspace could be a scene from Breaking Bad. On top of and beneath folding tables sit hand-labeled glass and plastic jugs and bottles of potions, along with funnels, tongs, trays, and thick rubber gloves.

Unlike Walter White, Bernstein is neither a meth-cooking drug lord, nor a promising chemist. A well-known commercial photographer in Indy since the early’90s, Bernstein started out in New York, working for some of the most renowned contemporary photographers,

including Irving Penn, Richard Avedon, Horst P. Horst, and Robert Mapplethorpe. Yet, it was Carleton Watkins’ photos taken in 1867 along the Columbia River that ignited his wet-plate passion. “Seeing those photographs changed the direction of my photographic pursuits,” he says.

“I’m fascinated by the science of this; it amazes me that someone was able to come up with formulas for this and work out all the problems by bringing together these disparate elements to make a photograph,” Bernstein says. “As far as chemistry goes, I was a miserable failure at that in school, but I’m able to follow recipes.”

It helps, too, that he’s been at this turn-of-the-century-style photography for 20 years. He uses the same chemicals the photographers did in 1851, when the technique was invented. Wet-plate collodion is any process that uses collodion while it’s wet. “The technique is ‘wet-plate collodion,’ and I make tin types using it,” he clarifies. “If the same process is done on glass, it’s an ambrotype; if a photographer makes a negative on glass and then makes prints from that, those are wet-plate collodion glass negatives.”

Continuing his demonstration, Bernstein places the treated metal plate in a tray and 63

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lowers it into a narrow vertical box, containing a bath of silver nitrate solution. “When the collodion I flowed on the plate comes in contact with this, it creates a light-sensitive emulsion,” he explains. “Taking the picture exposes the plate.”

To do that, he inserts the plate into the back of his large-format view camera, perched atop a tripod like those seen in silent movies. It comes complete with black bellows and a draping dark cloth that Bernstein hunkers beneath while taking shots.

After composing the picture, he releases the shutter and a loud POP! accompanies a brilliant blast of white light from the powerful flash unit, stationed a few feet off to the side of his subject. Bernstein then removes the plate from the camera and carries it to the freestanding portable darkroom by the folding tables. There he quickly pours about

an ounce of developer onto it. And after no more than 15 seconds, he lightly rinses it with water.

Then comes the Aha moment. “I still think putting it in the fixer and watching it change from a negative to a positive is pretty magical,” he says. “Seeing the instant feedback—it’s just so thrilling. There’s something tangible that you’re holding in your hands that you’ve created from scratch.”

Poison Do Not Touch!! his handwritten sign above the vertical fixing bath reads. “I’m careful almost to the point of paranoia, especially when dealing with this potassium cyanide,” he says, never taking his eyes off the face that’s materializing within the toxic wetness.

“The reason I got into this as a hobby was not so much to pursue my interest in 65

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science, but to create something from scratch,” he says. “I wanted to create something with a bit more texture. It often yields unpredictable surprises due to the multitude of variables that affect the outcome.”

Bernstein says the results with traditional film were very smooth and almost slick.

But wet-plate’s chemical process fascinated him, as did the incredible resolution that it’s capable of—“a practically grainless process.”

Bernstein created his first landscape with this process back in 2000 after driving 2,500 miles out near the Columbia River, between Oregon and Washington State. “You can see absolutely every rock in there,” he says pointing to his stunning landscape portrait that appears in his book, Collodion Travelogue (Blurb.com, 2009).

Bernstein says he didn’t go into this with nostalgia in mind. His idea was to always do contemporary work. “It’s just that the aesthetic of this process is so 19th-century-looking, it’s hard to make a contemporary image without it having a nod to the past.”

Bernstein has hosted “Tin Type Portrait Sessions” for the past two years and plans to continue the all-day events. And he still maintains a thriving commercial photography business as well. His tin type portraits hang in homes and appear as Facebook profile pics for most people who have had theirs taken. Bernstein has also instructed wet-plate photography workshops for the past 18 years. A former student of his began the Facebook group called Collodion Bastards, which now has more than 5,000 members. To see more of his work or schedule a portrait session or other photography, visit DaleBernstein.com. ✂ 67

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FUTURISM TELLING THE STORIES OF BLACK FUTURES PHOTOGRAPHY BY POLINA OSHEROV ASSISTED BY REAGAN ALLEN STYLE BY SARAH JENÉ ASSISTED BY UZURI ASAD MAKEUP BY KATHY MOBERLY HAIR BY ALIZABETH TOLLES MODELS DANICIA MONÉT, BASHIRI ASAD, IKE STOVALL (INDEPENDENT), & MICHELLE BESSIAKE (LMODELZ) CLOTHING PROVIDED BY WITTI BY CODI, COLLECTUNWUN, PITAYA, AND GAUDYVINTAGE

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AFROFUTURISM

EXPLORING DILEMMAS FACED

BY BLACK PEOPLE THROUGH ART AND CULTURE

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WORDS BY UZURI ASAD WE HAVE A RESPONSIBILITY TO OURSELVES TO TELL OUR OWN STORIES. THIS IS STRIKINGLY TRUE WITH BLACK PEOPLE, AS WE ARE CONSTANTLY DEFINING OUR VOICE TO DEFY PRECONCEIVED VIEWPOINTS. CURRENT FICTIONAL EXPLORATIONS OF POSSIBLE REALITIES ARE PREDOMINATELY DEVOID OF MELANATED FACES.

Afrofuturism bridges the gap between exclusion and visibility. This cultural aesthetic and philosophy—and way of life—creates an independent perspective of a different future. It stretches to encompass ancient history, extraterrestrial and galactic interactions, political presence and development, as well as spiritual elevation and empowerment.

Blackness, as both a term and a state of being, comes wired with an implied sense of resilience by way of innovation. The construct of Afrofuturism lays out a platform that dedicates itself to the irrevocable relevance of our global presence both now and later. Through all aspects of art and culture, as well as political activity and social justice, a narrative breathes life into the current reality for this community and casts a captivating spell over the possibilities that lie ahead.

Otherworldly melodies married with futuristic lyrics push the boundaries of sound, crediting Sun Ra as the father of the musical direction, and his influence catapulting artists like Parliament, Janelle Monae, and Erykah Badu as vanguards of the genre. Visual expression from Basquiat to JahSun elevate the imagery of our pain and our power to a place of elegance and timelessness. Fashion defies definition through intentional disregard for style rules, blending ancient skin markings with space age footwear, regal headgear and unconventional textiles. An urge to deepen the connection of the self with the soul permeates the actions of those who desire a more grounded and centered sense of being.

The discovery and utilization of ancient practices and intuitively created rituals comes in the form of healing events and exclusive spaces cultivated for the particular purpose of supporting the care and keeping of us by us.

Multifaceted in its definition, Afrofuturism delineates a solid point of reference for what the world we are living toward can become through our ideas and deeds.

Existence beyond a colonized and linear point of view that does not seek to eradicate that which is not black, but instead is focused on harmonious existence overall. It is not arrogant, but it is very unapologetic. It is art as a protest against injustice. It celebrates our grandeur and makes room for us to grieve our losses without judgment. We can BE within this concept, and personify it all at once; living and breathing and thriving and claiming spaces we create to move beyond shallow viewpoints. It is who we are and have always been.

Essentially: “We ain’t goin’ nowhere.” ✂

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PEER t o peer KEVIN BERKOPES, DIRECTOR OF MATHEMATICS

ASSISTANCE CENTER @IUPUI AND A TEAM OF STUDENT

TUTORS AND PEER MENTORS, ARE CHANGING THE WAY

STUDENTS LEARN MATH. BERKOPES IS ALSO THE FOUNDER & CEO OF CROSSROADS EDUCATION, A COMPANY THAT ENDEAVORS TO CREATE INNOVATIVE, COLLABORATIVE SPACES AND THE TECHNOLOGY TO SUPPORT THEM.

WORDS BY KEVIN BERKOPES PHOTOGRAPHY BY POLINA OSHEROV PICTURED: CROSSROADS STAFF + STUDENT TUTORS AT THE MATHEMATIC ASSISTANCE CENTER @IUPUI 73

AHMAD BARHOUMI, 24 WHAT ARE SOME MISCONCEPTIONS THAT PEOPLE HAVE ABOUT PEOPLE WHO LOVE MATH?

THAT MATHEMATICIANS HAVE A ONE-TRACK MIND AND DO NOTHING BUT MATH. MERANNDA BEST, 20 WHAT’S YOUR FAVORITE THING ABOUT BEING A PART OF MAC?

I DO WHAT I LOVE EVERY DAY. THOMAS YAHL, 22 WHAT ARE SOME MISCONCEPTIONS THAT PEOPLE HAVE ABOUT PEOPLE WHO LOVE MATH?

WE’RE NOT ALL PENCIL PUSHERS WITH TAPE ON OUR GLASSES. I GO ROCK CLIMBING A FEW TIMES A WEEK, JOEL HAS A SLEEVE OF TATTOOS ON HIS ARM, AND AHMAD HAS ABS SCULPTED BY THE GODS. BREANNE FOX, 20 WHAT’S YOUR FAVORITE THING ABOUT BEING A PART OF MAC?

I LOVE SEEING STUDENTS MAKE PROGRESS AND HAVE THAT AH-HA MOMENT. THAT MAKES WORKING AT THE MAC VERY FULFILLING.

IN THE WORLD OF BUSINESS, COLLABORATION IS A MOVEMENT. ORGANIZATIONS, FROM SMALL START-UPS TO CORPORATE GIANTS, CONTINUE TO INNOVATE AROUND THE USER EXPERIENCE OF THEIR WORKING SPACES. WHY? BECAUSE IT GETS RESULTS. IN FACT, COUNTLESS RESEARCH STUDIES CONFIRM THE INTUITIVE NOTION THAT WORKPLACES THAT FOCUS ON EMPLOYEE EFFICACY AND TEAM BUILDING HAVE LOWER TURNOVER RATES, HIGHER PERSISTENCE TOWARD SOLVING DIFFICULT PROBLEMS, AND BETTER OVERALL EMPLOYEE PERFORMANCE. The researchers from a 2014 piece out of Stanford put it put it succinctly as, “simply feeling like you are part of a team of people working on a task makes people more motivated as they take on challenges.”

But, it’s not just in business that we see these benefits. We celebrate when artists we love team up in unexpected ways. We hear it from officials touting the benefits of public-private partnerships to bring economic opportunity to a community. The advantages do not discriminate by context.

So, why is there so little focus on improving the working spaces of our education system to foster more collaboration?

It is time to acknowledge the shortfalls in our archaic education system, and work together to create a model that better serves the way we learn and, later, the way we work. We must recognize the role peers play in our lives, and evolve the culture of traditional learning systems to recognize the power of peer-to-peer engagement.

Recent advances in neuro- and cognitive sciences prove that the ancient craft of lecture has more logistical purpose than benefit to a quality learning experience.

While teachers and professors remain important in this paradigm shift, the role they play must evolve. The new standard must make way for mechanisms of collaboration—around content that is supported by the use of technology—as a vital part of reimagining the education model.

If you Google peer-to-peer learning, you find models driven by peer interaction promote active learning, reinforce education through mentoring, provide for greater understanding, and differentiate to the needs of the individual student.

We see this scenario play out daily in the Crossroads Education’s Learning Commons (LC). While scaling this model nationally, we’ve seen firsthand the benefits of engaging teachers, students, and community stakeholders to create a culture of collaboration—where everyone involved feels empowered to learn and develop.

In our LCs, like the two at IUPUI, we have researched outcomes for the past five years. We know that when students choose to engage in the LCs, they do a letter grade and a half better in their courses. Mimicking results from the business world, students are more successful, feel more connected to campus, have better experiences in mathematics courses, and overcome the inherent challenges in education with higher rates of success. Students normally displaced by our current system visit the LCs at rates five times higher than what you see in relevant education research. For example, while engaged with courses considered more challenging in the undergrad experience, African-American students use the space at a rate of 90 percent, while Latino students visit at a rate of 87 percent.

Of equal importance, is that the LC model does not parse the workspace from the education space. Students go to school and go to work at the same time. At the LC in Crispus Attucks High School, the first of its kind in the K-12 space, students get paid during the school day to teach their peers. Through a carefully designed training and development program, we ensure that these students are highly skilled educators—effectively quadrupling the number of teachers in the school for a very low cost.

These efforts are producing real benefits and impacting real students in our community—K-12 to higher education. Through peer-to-peer education, we are challenging the system and finding great momentum for a shift to a more collaborative model.

It is time to move away from the absurd belief that education must take place outside of our real life. Let’s evolve together to be better.

Will you join us? ✂

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ARCHITECTURE

+ INTERIORS

AXISARCH.COM

CREATING SPACES THAT INSPIRE

V I N TAG E .com

FORM . - 8/15*

PRINTED IN U.S. AMERICA

FOOD F O RW -AR D PHOTOGRAPHY BY POLINA OSHEROV & JANE KIM DESIGN BY AMY MCADAMS-GONZALES 84

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D W D

Milktooth’s

Jonathan Brooks. talks food,

philosophy, and the restaurant biz with Oreo Jones.

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Brooks is the owner and chef of Milktooth, a fine diner that has garnered nationwide praise. This year he and his business partner, friend, and the eatery’s co-owner, Josh Mazanowski, will open Beholder, a winecentric restaurant. pushes the better chef to keep improving and reacting. I’m just one cog in the machine, trying to have fun, make delicious food, and maybe show people a few things they haven’t seen before.

OJ: Unflattering situations?

JB: I had just gone through my first divorce….was broke, partying way too hard, and got evicted from my apartment for throwing a huge party… it ended with a food fight and shooting off roman candles inside. I deserved it.

Oreo Jones: It seems like especially in the Midwest folks are expanding their palates and are more conscious about what they eat. Where do you find your place in the history of all this?

Jonathan Brooks: I was born and raised in Indy, but I never thought I’d live here again after leaving upon high school graduation. I’m very thankful that a few unflattering situations brought me back. When I travel these days, I’m constantly saying to myself, “Man, we just do it better back home.” People are friendly and honest and down-to-earth here. And they can eat! I couldn’t have been luckier the way Indianapolis has embraced Milktooth, and I’m hoping to please people with Beholder as well.

People seem to not only be more conscious about what they consume, but also more excited about what they eat. Despite the annoyances of Instagram and food blogging and that sort of thing, this consciousness and excitement

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OJ: Expand on Beholder. Where did the concept come from and what will it all be about?

JB: One of the major elements of Beholder is going to be Josh Mazanowski’s wine program and service. Wine can be so intimidating, yet more than beer and cocktails, it’s absolutely what I long to cook for and what I want to drink when I’m eating. We wanted to build a restaurant that would appeal to young people and break down the intimidation factor. So we’re building an intimate, casual restaurant space with great art and rad music, and hopefully interesting, delicious food. Hopefully that will lead to young people having a more fun wine experience and being more comfortable to ask questions and learn.

OJ: What will it look like inside?

JB: Benny Sanders is doing a huge mural on one of the dining room walls. I don’t have to tell you how dope his shit is. When he started painting he was doing these far-out images and layouts that reminded me of Chagall, which was a favorite of my mom’s growing up, but darker. I asked him to do something in that style for us. We aren’t working with a formal designer for the inside…

I like the organic approach: Get in the space and throw some paint on the walls, steal some furniture from family and friends, thrift some nicknacks, and see what happens. I hate it when independent restaurants look too polished and perfect. I want to walk in somewhere and be able to tell something about the people that own it and work there by how it looks. We’re working with Flatland Kitchen again on our logo and signage, and they came up with some bohemian-influenced imagery that fits our vibe.

OJ: I know that you’ve said you have no formal training in culinary arts. Would you say that has or hasn’t worked to your advantage as a chef and business owner?

JB: I never went to culinary school, but I’ve had almost two decades of “training” from my mentors, coworkers, and fellow chefs. Every meal is a f*cking education! I think it’s definitely pushed me to form my own path and follow my heart, and only do the shit that I’m interested in.

I’m thankful for that.

I still have a ton to learn as a business owner.

I have chosen to run Milktooth as a learning ground for everyone involved. I never cherrypicked the best in the business. Instead, I’ve tried to give young people new opportunities, tried to put people in positions above where they’d been before, and give them the freedom to try their own thing, make mistakes, and make a good living for themselves while doing that.

It’s not run like a soulless financial machine like so many other restaurants. Not having rigid training or schooling has certainly influenced me to break some rules and go my own way.

OJ: Restaurants have come and gone here at a fever pitch, almost like the city hasn’t really embraced the thought of its artisanal desires.

As you’re about to open a new chapter with Beholder, does this scare you? Why is it pivotal to have a strong food community? And why do we need yet another restaurant?

JB: With a few exceptions, have any of these restaurant closings really surprised you? Sorry, but most of them just weren’t that good, or that fun or interesting, to experience. I mean I’m scared shitless to open Beholder. To say it’s a risky business is an understatement, but f*ck it! We’re going to try our best and try to give Indianapolis something that it hasn’t seen before. My major critique of the scene here is that people play it way too safe. It’s only a meatand-potatoes town if you keep making f*cking

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meat and potatoes. I’d rather fail big trying to do something that I think is beautiful and interesting, than play to people’s expectations. In the end I think that’s insulting to the guests. We need more restaurants that are actual expressions of the chefs and people who work there, not brick-and-mortar catering companies. That’s what will make our city an exciting destination. I want to cook emotionally driven food that speaks about me and my experience and my pleasures and pains… I’m still figuring out how to do that obviously, but in the end I think that’s what will keep people excited about eating at Beholder.

OJ: You employed me for a couple years at Milktooth, and I feel like it was a significant point in my life where I learned a lot. Artists and musicians are such crucial figures in our city—literally the heartbeat of what makes Indy unique. A lot of them are your local baristas, servers, and bartenders. Why do they make such good and such shitty employees?

And why is it still important to have them on the payroll?

JB: Ummm, it makes me feel cool…I think there’s an important creative energy that musicians and artists of all types bring to the table that I’m inspired by. I want to be supportive of people that are chasing their dreams, just like I had so much support while chasing mine. You and our friends and people like us are all so different, yet we’re connected by this need to share our stories and our view of the world. I’ve been lucky to have amazing employees like you, who are hungry and driven enough to work almost any position in the restaurant. Look at Benny again... started out as a sanitizer-drinking dish dog and worked his way up to running the coffee program for a year. That hunger, that drive is what makes a great employee. That said, we’ve definitely dealt with our share of very sensitive and unreliable creative types as well.

OJ: Can you fill people in on what a knife-chaser is?

JB: Haha! That’s a person that fetishizes chefs—someone with at least a little self-loathing, I’d have to imagine.

OJ: Working in the service industry, I learned firsthand how much of a party it can be when you’re off the clock. I feel like it’s well-known that drugs and alcohol are a taboo topic behind the scenes, which no line cook or bartender likes to address publicly. Do you think it’s a problem here?

JB: There are obviously a lot of pleasure- and thrill-seekers in our industry. It’s a high-energy environment, and I think a lot of people chase that rush after the clock’s been punched. Finding balance in your life is important. I personally don’t find anything wrong with cutting loose and celebrating our lives here on earth together once in a while. You have to be responsible; we have to look out for one another. Certainly making addiction a taboo or a shameful thing doesn’t do anyone any good. We have some amazing sober role models in our community as well. I don’t believe there’s any good or bad, just finding a lifestyle that makes you personally happy and allows you to achieve your goals. Life is short, do what the f*ck you want. Take care of your kids, though!

OJ: In no particular order, what are some specific food memories that have inspired you or influenced your cooking?

JB: Frying fish with my mom, the burnt sides of her casseroles.

Watching my brother eat huge chile verde burritos in college.

Catching and eating raw calico scallops in Oaxaca, Mexico.

The memory of a last meal with someone.

Tacos and salsa after a fight.

A horrible meal at a Michelin restaurant in Paris.

A life-altering meal in the jungle.

It’s the little details that touch my heart and leave a lasting impression on me. Little surprises or nostalgic moments. Little hidden jokes. Even memories of bad food or failing. All those lessons are part of you and should be expressed. ✂

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Ebony Marie Chappel

Haunted. Macabre. Eyesore. Those are just a few of the words used to describe the former Central State Mental Hospital on the west side of Indianapolis.

Growing up not far from the historic facility and its weedy, disused property that remained, I often overheard adults talk about the dark storied past of what once was the largest “asylum” for mentally ill patients in the state. And a couple of photographers I know used to trespass there to sneak shots of the abandoned landmark.

Founded in 1896, “Central State Hospital for the Insane,” as it was called, was widely known for its mistreatment and abuse of patients. The most lurid accounts told of those locked in dark closets or in the “dungeon-like” basement, restrained to beds for extended periods, and confined by straitjackets as a matter of course. Though reforms and improvements occurred over time, its poor reputation remained until the hospital was shut down in 1994.

The land eventually went the way of the people who had inhabited it -- largely neglected, mistreated, and forgotten.

It wasn’t until early 2016 when I stepped foot on the property. I was headed to a party at what once served as Central State’s recreation hall. It’s now an event space called 1899, and though the occasion was a festive one, I wondered if the people noshing gourmet appetizers and sipping cocktails that evening knew where we were and what this space used to be.

I had the same feeling sitting on a coral sofa in an art-deco-inspired parlor inside Central State Mansion. More recently, I revisited the property but this time to speak with Christopher Piazza, president of Reverie Estates. Piazza recalled coming here in 2012, looking at things not as they were, but as they could be. He and his team had been renovating historic properties in urban areas throughout Indianapolis since 2006. Central State, as he remarked, was a whole other ball game.

photography by

Hadley ‘Tad’ Fruits

“Someone with the city invited me to come and take a look, I didn’t know about it until then. I was inspired by it, these beautiful buildings, as you can imagine they needed a lot of love -- they were abandoned, unsecured and open to the elements -- they were endangered,” he said, as we toured the Mansion. His pup, Dude, galumphed along behind us.

“When I came, you couldn’t even see between some of the buildings there was so much overgrowth. It looked like a post-apocalyptic movie scene,” he said. “I just couldn’t stop seeing the potential, regardless of the recent history.

Yeah, a lot of people get scared… I just didn’t really pay too much mind to that.”

Today the 150-acre campus is home to a charter school and new homes. The ten or so acres owned by Reverie Estates includes the Mansion, 1899 (Event Space), and several makerspaces. Adjacent to Reverie’s campus is Indiana Medical History Museum and a running track and field.

Ignition Arts LLC, a firm that constructs large-scale art pieces for a variety of clients, was the first maker to find a home in Reverie’s “Central State Village,” in the former laundry building. Brian McCutcheon, Ignition’s founder, said he was thrilled to set up shop on the campus.

“We’re excited about being a part of what’s going on,” he said.

Reverie’s property sits across from what was originally called the “Grove”, a six-acre walkable expanse of historic wooded growth that will be preserved in perpetuity. Piazza agreed with Mike Higbee, the entire site’s original master developer, who like Piazza, envisioned Central State having an amenity that was 100 percent accessible to the public. With Reverie’s purchase, public access and protection for this historic outdoor space was formalized.

The Mansion, which is home to coworking and living spaces is particularly

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“I feel like i t ’s a g a m e c h a n g e r. I f e e l l i k e i t ’s something the community d e s e r v e s.” impressive. As we walked throughout, he showed me the yoga studio and a room across the hall where Reverie is building a sauna. Soon they intend to have Airbnb options, and there’s even a pool with cabanas out back. Piazza wants the Mansion to be for everyone. On another floor we pass two young women studying in a lounge. Not far from there an older gentlemen watched a film in the Mansion’s small theater. With the mention of each detail, in every room we entered, it was apparent that this work is personal to him.

Piazza drew inspiration from the historic structures and their surroundings.

“Most people see the buildings as they are; I see them as what they could be, and then I just work until they’re done,” he said. “We’ve been working out here for four years, just doing that. I imagine the experience from the client perspective, from even the experience within a single room, every room.”

Walking out of the mansion and into the brisk evening air, Piazza and I went out onto the grounds and into one of the other buildings. It housed a woodworking shop and was currently undergoing renovation. Without disclosing too much about its future, he said the Village may host more events, in addition to the weekly complimentary and by-donation yoga classes now available. Wellknown local artist Oreo Jones is the Mansion’s current resident artist and a concert event will be held on Saturday, June 9 in 1899 to celebrate his creations.

A coffee shop - Café Mansión (Spanish for Mansion Coffee) will open this year in the Mansion’s lobby. (The latter of which seemed to be Piazza’s most favorite.

Fittingly so, as he is part owner of Thirsty Scholar.) He hopes this new place has similar success.

“I’m really stoked about this coffee house, I feel like it’s a game changer. I feel like it’s something the community deserves,” he says.

We talked about the third space and the magic of what happens in coffee shops when people from different backgrounds commune in one place under the captivating spell of caffeine.

He also reflected on how things have changed from the beginning of his work with Central State until now.

“I have seen a shift in the perception of the west side, at least to some degree, slowly over time. Older people are being more open to the west side, younger people are noticing the west side.”

Ultimately Piazza wants the community to understand his level of commitment to what his organization is doing with the property.

“Reverie is a westsider, which means I’m a westsider. As far as our commitment, we just do our thing with soul and love as best as we can, and I’m excited to share that with people,” says Piazza. “To be even a small part of growing or ‘blooming’ our city not just for us but for the kids who will inherit what we build is a humbling privilege.” ✂ 92

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WEAVING WONDER t h e

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TEXTILES SIGNIFICANTLY PREDATE SCIENCE. In fact, they have inspired, challenged, and led to the development of numerous branches of science. The earliest textiles were the simplest.

Only materials close at hand, such as animal hides or long plant stems that could be twined into nets, could be cultivated for use. Thousands of years passed before the conversion of raw materials into woven fabrics appeared.

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AFTER A DECADE OF DEVELOPMENT AND RESEARCH, NIKE INTRODUCED ITS FLYKNIT TECHNOLOGY IN FEBRUARY 2012.

UNLIKE MOST SHOE CONSTRUCTION WHICH REQUIRES CUTTING, PIECING AND SEWING FABRIC TOGETHER TO FOLLOW THE CONTOUR OF A FOOT, FLYKNIT ALLOWS NIKE TO ENGINEER EVERY STITCH RESULTING IN SEAMLESS AND LIGHTWEIGHT UPPERS. THIS CONSTRUCTION, COUPLED WITH THE RECYCLED POLYESTER USED IN THE SHOES, HAS SIGNIFICANTLY REDUCED WASTE IN AN INDUSTRY OFTEN CRITICIZED FOR ITS EXCESS.

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ANCIENT EGYPTIANS TRANSFORMED FLAX INTO LINEN. IN SOUTH ASIA AND IN THE AMERICAS COTTON WAS SPUN INTO THREAD BEGINNING ABOUT 7000 YEARS AGO. MORE RECENTLY, DATING TO NEARLY 2000 YEARS AGO, WILD CATERPILLAR COCOONS WERE TEDIOUSLY UNRAVELED, RESULTING IN SILK THREAD. MILLENNIA WOULD CONTINUE TO PASS BEFORE THE ESTABLISHMENT OF MODERN SCIENCE WOULD OCCUR. During the Industrial Revolution, technological innovations resulted in drastic increases in affordable fabric—no longer were threads processed, spun, and woven by hand. At first natural fibers were enhanced with colors derived from insects, roots, berries, leaves, and elements of the earth, all requiring something akin to medieval alchemy to succeed.

Modern chemistry emerged from the desire to meet the color demands of these newly mass-produced textiles. The first laboratory dye, Mauveine, was created in 1856, ushering in the age of synthetic organic chemistry.

The desire to develop new and improved dyes, bleaches, and detergents resulted in a period of intense research and discovery, which ultimately led to the establishment of the pharmaceutical industry.

Once scientists mastered the chemistry of synthetic dyes, attention was turned to the actual fibers. Silk has always been an expensive material, and the desire to imitate its luster resulted in the development of artificial silk made from wood pulp, one of the earliest synthetic fiber materials.

During World War II, shortages of natural materials saw the replacement of silk stockings with nylons. Materials fabricated in laboratories found their place in fashion as buttons, sequins, and water-resistant coatings.

It did not take long before these materials became the fabric itself with incredible properties, such as resistance to abrasion, shrinkage, and even wrinkling— all of which proved convenient for consumers’ busy lifestyles.

The growth of the petroleum industry brought about feedstock chemicals that resulted in myriad new synthetic fabrics.

Today not even the sky is the limit; space-age textiles have allowed astronauts to walk on the moon. Firefighters can withstand 500° F flames when wearing their bunker gear. Medical textiles extend life, and some actually become the fabric of life, as aortic heart valves and surgical mesh. Textiles and science have had a symbiotic relationship that has strengthened each field and profoundly influenced all aspects of life.

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THIS SILVER LEATHER MOTORCYCLE JACKET IS FROM STEPHEN SPROUSE’S 1984 COLLECTION, AND IT IS UNIQUE BECAUSE THE BACK WAS PAINTED BY THE CONTROVERSIAL NEW YORK CITY MURALIST, STEFANO CASTRONOVO. SPROUSE WAS KNOWN FOR HIS USE OF NEON GRAFFITI, AND HE DESIGNED CLOTHES FOR DEBBIE HARRY, THE LEAD SINGER OF BLONDIE. STEPHANO CASTRONOVO WAS KNOWN FOR HIS ATTENTION-GRABBING MURALS INCLUDING A RED-EYED MONA LISA IN THE EAST VILLAGE. HE OFTEN PAINTED THE BACKS OF JACKETS WITH CELEBRITY PORTRAITS, FOR WHICH HE OFTEN RECEIVED COMMISSIONS, INCLUDING SEVERAL FROM ANDY WARHOL. THE DETAIL FEATURED HERE SHOWS CASTRONOVO’S PAINTING OF MONA LISA ON THE BACK OF A SPROUSE JACKET. THE PAINTING IS CREATED USING DAYLIGHT FLUORESCENT PIGMENTS, WHICH PRODUCE COLORS THAT ARE VISIBLY BRIGHTER THAN THEIR NON-FLUORESCENT EQUIVALENTS, ESPECIALLY UNDER THE BLACKLIGHTS USED IN MANY CLUBS OF THE 1980S. STEPHEN SPROUSE (AMERICAN, 1953–2004), DESIGNER, STEFANO CASTRONOVO (ITALIAN, B. CIRCA 1951), ARTIST, JACKET, FALL/WINTER 1984, LEATHER, PAINT, METAL ZIPPERS AND SNAPS, INDIANAPOLIS MUSEUM OF ART AT NEWFIELDS, CAROLINE MARMON FESLER FUND, 2012.39 © STEPHEN SPROUSE.

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DATING BETWEEN 1550-1370 B.C.E. THIS MUMMIFIED HAWK HAS BEEN WRAPPED IN STRIPS OF RESIN-COATED LINEN. MUMMIFIED ANIMALS SERVED AS OFFERINGS TO THE EGYPTIAN GODS, AND WITH THEIR ASSOCIATION TO THE SKY GOD HORUS, HAWKS WERE OFTEN MUMMIFIED AND PLACED IN TOMBS THROUGHOUT THE LAND. AS A PLAIN WEAVE FABRIC WITH NO DYE AND NO EMBELLISHMENTS, THESE STRIPS APPEARS QUITE BASIC, BUT 3500 YEARS AGO PROCESSING THE FLAX FIBER AND WEAVING THIS LINEN FABRIC WOULD HAVE BEEN UNBELIEVABLY LABOR-INTENSIVE. WHILE THIS FABRIC MAY HAVE BEEN REPURPOSED FROM A PIECE OF CLOTHING OR HOME GOOD, IT HAS SPENT THE MAJORITY OF ITS EXISTENCE AS A UTILITARIAN FABRIC DEEP IN AN EGYPTIAN TOMB. EGYPTIAN, MUMMIFIED HAWK, 1550–1370 B.C.E., MUMMIFIED HAWK, OIL, RESIN, LINEN, PIGMENT, INDIANAPOLIS MUSEUM OF ART AT NEWFIELDS, THE EMMA HARTER SWEETSER FUND, 28.255.

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IN THE EARLY 1940S EVERY INCH OF NORMAN NORELL’S SLEEK EVENING GOWNS WAS PERFECTLY COVERED WITH THOUSANDS OF SEQUINS, AND THESE GLAMOROUS GOWNS WERE FAMOUSLY KNOWN AS MERMAID DRESSES. TODAY THE DESCRIPTION OF “MERMAID DRESS” IS MOST OFTEN ASSOCIATED WITH A SILHOUETTE WHERE A TIGHTLY FITTING DRESS DRAMATICALLY FLARES OUT AT THE KNEES; HOWEVER, THE TERM MERMAID DRESS IS STILL USED TODAY IN MUSEUMS AND VINTAGE STORES TO DESCRIBE AN ELEGANT FABRIC TREATMENT. SEEN HERE IS ONE OF HALSTON’S SIGNATURE LOOKS OF THE 1970S, WHICH WAS THE SEQUINED MERMAID DRESS. IN THIS EXAMPLE HE HAS TAKEN THE TERM QUITE LITERALLY, PRINTING LARGE SCALES ON AN OMBRÉ FABRIC THAT MOVES FROM A PALE YELLOW, TO GREEN, TO BLUE AND TO PURPLE. THIS PRINTED AND DYED FABRIC IS ENTIRELY COVERED IN CELLULOSE ACETATE IRIDESCENT SEQUINS CREATING A CASCADE OF LIGHT AND COLOR, MUCH LIKE A LEGENDARY MERMAID. HALSTON (AMERICAN, 1932–1990), DESIGNER, EVENING DRESS, 1973, SILK CHIFFON, IRIDESCENT CLEAR SEQUINS, INDIANAPOLIS MUSEUM OF ART AT NEWFIELDS, PURCHASED WITH FUNDS PROVIDED

BY HATS OFF OF THE FASHION ARTS SOCIETY, AND PARTIAL GIFT FROM THE WAY WE WORE, 2017.72 © HALSTON.

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INTRODUCTION by Megan Trischle

PHOTOGRAPHY by Polina Oshero

Sallay / TETHER by Shelby Walton Quin / MORTAR

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ELI MEINERS Marsh / BRUSH FACTORY of STYLE by Chris Uihlein

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/ FIRST BATCH by Theresa Procopio

by Ryan Millbern

Michael

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hauta Marsh / TEAM B by Chris Uihlein

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I spend a lot of time thinking about creativity: Where does it come from? How do we develop it? Can we learn it? Why do some people get labeled “creative” while others do not? I’m starting to understand (no surprise) that the capacity to be creative is in all of us. It’s part of being human. How that capacity has been nurtured, sharpened, and brought to life in the world, however, is perhaps a differentiating factor among individuals.

Talent doesn’t develop in a vacuum. Education helps, as does practice and experience. (Good family genes don’t hurt either.) But we’d be remiss to suggest that only those who attend the “right” school, have the most exposure to opportunity, and/or those who have a grandfather who could emulate Bach with masterful ease are capable of amplifying their creative potential. What I see as a critical factor in the cultivation of human ingenuity is the support of an accepting and encouraging community made up of people who cheer for, go to bat for, and/or call bullshit for its creative individuals when necessary.

When I consider the work of the bright minds featured in this issue, I’m struck by how many of them seem to be wrapped up in this giant bear-hug of a supportive community. While doing the important work of connecting and elevating the image-makers in Cincinnati, Tamia Stinson herself is strengthened by a People’s Liberty Fellowship, enabling her to spend a focused year bringing her vision to life. While Derrick Braziel and his team at Mortar develop new pathways for urban entrepreneurs. They themselves are urged ahead by a widening circle of public and private donors that believe in their mission and put forth the funds to show it.

Even practiced creatives like the Brush Factory — a contemporary home and solid-wood furniture brand that’s nearly a decade in the making — are spurred on by the ever-expanding bolstering from a community that says, “Yes, we want you and your business to succeed.”

This is what Cincinnati has to boast. Our creative talent isn’t more skilled than any other city, but the ecosystem of support — the platforms that encourage individuals to dream big, be bold, and fall lightly — seem to be growing a strong foothold.

And that feels special.

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WORKING GIRLS Words by Monica Sallay

Under a palette of neutrals and pastels, plus simple line work printed, etched, and embroidered throughout the collection, Cincinnati-based brand, Working Girls, defines what it means to step away from the norm and smash the patriarchy. Behind the empowering garb and goodies, some of which reads, “Stand by Your Woman,” is the badass #girlboss herself, Shailah Maynard.

Maynard, a Cincinnati native, was first introduced to the retail industry through her grandmother, an owner and operator of a women’s specialty shop for twenty years. After receiving a degree in fine arts, it was only natural for Maynard to start walking the path toward her future success in fashion. She worked for Marc Jacobs in Boston and then at NYC. There she learned the fashion ropes, holding positions from retail management to buying.

Closing out her eight years at Marc Jacobs, Maynard returned home to Cincinnati in 2015.

Maynard explains that she never had any intention to start her own brand. The inspiration behind the idea came out of something very unexpected. “I had to make these ridiculous pool floats, and if I was going to hit the very high order minimums, I was going to have to sell a ton of them. So I built the brand. Once I started rolling, I was having fun with it and received a positive response…” Thus, Working Girls was born.

There’s no denying Working Girls’ satirical and feminist vibes. The short, impactful, and refreshing messages across tees, pins, and the like come at a time when it’s more important than ever to stay positively empowered as a woman. Some of Maynard’s favorite pieces from her collection are the thoughtfully designed, Femme Film Socks. “They’re crew socks with the names of female-fronted movies from the ’80s and ’90s.” Think Sister Act II, Fatal Attraction, and Basic Instinct. While she originally made these for herself, the critical acclaim around town made way for producing the product to sell. It speaks to the stylish movie buff and feminist in all of us.

On starting the brand in Cincy, Maynard credits its low-cost lifestyle as the golden ticket for beginning her business. “I would never have been able to start Working Girls in NYC. Never had any time, money, or space to do so.” But the cost benefits aren’t the only thing backing The Queen City. Maynard thrives on the creative energy around town. Her collaborators include photographer, Brooke Shanesy, and stylist, Jessie Cundiff. She also works with galleries to show art installations under the Working Girls guise at places like the Wave Pool Gallery in Camp Washington and HVW8 in Berlin, Germany.

But what sets Cincinnati apart? “There is integrity here,” she says. There are so many creative people doing cool stuff here, and they’re doing it because they actually want to be doing it, not to one-up their buddy, which is how it feels in other cities I’ve lived in.”

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Tamia Stinson is on a mission to make the Midwest a fashion stronghold in its own right. Her work begins in her hometown of Cincinnati, Ohio. A born and raised Buckeye—a title cemented by receiving dual degrees in Business Marketing and Fashion Merchandising from The Ohio State University—brand stylist Stinson has a flair for fashion that has always set her apart from her Midwestern counterparts.

“My prized possession is the 1993 September issue of Vogue with Linda Evangelista on the cover,” Stinson says.

This early enthrallment with the fashion world and all it encompasses—from the garments to their makers, from the models to their photographers—has led Stinson down a path that is nothing short of enviable. “After completing my undergraduate studies, I further studied styling and merchandising at Central St. Martins College in London,” Stinson says. “At the same time, I had a co-op at Pride

“There was this catalogue called Le Book; it was like this sacred text,” Stinson explains. “It housed the names of all the stylists, makeup artists, and photographers who had ever worked with the magazine.”

from New York City bemoan the fact that she was having trouble finding a styling assistant. I’ve found that it’s not that way in the Midwest,” Stinson says. “There’s an almost fairytale-like work ethic here.”

The value of such a resource was not lost on her. In the coming years, she would undertake a similar effort in Cincinnati as part of her endeavor to strengthen the city’s fashion scene. In the summer of 2017, Stinson became the recipient of a grant from the Haile Fellowship, via an offshoot of the foundation called The People’s Liberty.

With this backing, Stinson heads her aptly named initiative, Tether. The main goal of her project is to create an unshakeable network of Cincy’s image makers, and the talent pool is deep.

It is this lack of pretension that inspired Stinson to ensure Cincinnati had a resource that makes collaboration as easy as possible for the city’s stylists, makeup artists, models, designers, and photographers.

Not only is the city teeming with talented creators and makers, it is worth noting there is a vein of hard work that pulses through town. “I remember hearing an associate

And though the Midwest fashion industry may not be able to compete with New York and London, Stinson is adamant that it doesn’t need to. “We can hold our own by focusing on what we do best and not shying away from the hard work,” she says.

magazine in Brixton.”

“The Freudian explanation is that I am an only child who has always been in search of company,” Stinson explains. “At the end of the day, I can call Tether a success if it can connect people face to face, beyond shallow social media connections.”

This immersion provided her not only with knowledge and experience, but also with regular access to a resource that she would later emulate back home in Cincinnati.

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Words By Shelby Walton Quinn

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Startup accelerators bring together entrepreneurs and provide education and mentoring to help grow small businesses. In 2014, Cincinnati-based First Batch became the nation’s first business accelerator that specifically focuses on connecting makers of physical products with local manufacturers.

“Manufacturing, design engineering, marketing, sales, and distribution are all necessary when doing physical products,” says Spencer. “Take any of that out, and you’re going to struggle.”

Prospective participants first submit prototypes of their product to an annual competition, where the class is picked through juried selection. Those chosen to participate spend five months in classroom training, which includes weekly speakers and meeting with manufacturing mentors for at least twenty hours each week. Financial assistance is provided to help take products through the development phase into actual production.

“We have enormous resources here,” says John Spencer, a First Batch board member. “Per capita, Cincinnati has the most design people in the U.S. Combined with companies such as Procter & Gamble and GE Innovation being located in Cincinnati, the benefit of having this program here is the availability of mentors within these manufacturing companies.”

Matt Anthony, Director at First Batch, began assisting makers after graduating from the University of Cincinnati with a degree in industrial design. Along with a partner, he served as a consultant, working with startup companies.

“We wanted to work with entrepreneurs and new companies and found a fit with lean startups and local manufactures,” Anthony says. “Focusing on how to get test products into people’s hands and the ability to access manufacturers who can readily develop 100 test products, instead of one prototype, we worked with companies interested in matching entrepreneurs and manufacturers who could accelerate the process.”

First Batch initially selected two students for the program and provided financial assistance to scale production of their products. The program has since expanded to also include more robust training to help makers succeed in real-world situations.

First Batch graduate success stories include the startup Bailout Systems, which reduced the weight of lifesaving firefighter escape kits from 60-80 pounds down to 3½ pounds. Ohio Valley Beard is another. This maker of beard oil, mustache wax, and a combination shampoo and conditioner specifically for facial hair is now the largest men’s personal care line carried by the grocery store chain Fresh Thyme.

“In order for the region to grow in the future, we can’t walk away from physical products,” says Spencer. “Making things is essential for the heartland.”

Anthony agrees: “Now more than ever people want to know where their products are made—both ethically and by what makers. How we combine the product and manufacturing core strengths in the local region and look at it through a lens is very exciting.

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As he sits down in the booth at Metropole, the restaurant inside the 21c Museum Hotel Cincinnati, the Director of Museum Operations, Eli Meiners, begins to dig into his breakfast. “Have you had Goetta?” he asks. “It’s one of the things Cincinnati is known for.” With the hotel for the past five years, Meiners seems as familiar with the 21c’s dining offerings as he is with its art.

A hybrid between a contemporary art museum and a 4.5-star hotel, the 21c museum hotels have changed the cultural landscape of the Midwest. “We’re a new model entirely,” Meiners says. “We are scholarly; We are preservationists. And while we don’t sell artwork, we do sell food and space. He says the museum informs every aspect of what the hotel does, and it is made clear to all teammates from the outset that 21c is first and foremost, a museum. “Conversely, the hospitality side of things very much informs us as a museum,” he adds. “We aren’t subject to many of the rules or impediments associated with the traditional models, and there’s a frenetic pace to our operations that I haven’t felt or seen.”

the ‘art world,’ and our visitors. As such, 21c is uniquely positioned to act as a pedestal and patron for artists working in local, national, and international arenas to all segments of that community.” As a bonus, he says the museum offers civic pride and exposure with its contemporary art and the artists it represents.

at the University of Cincinnati. After graduating, he spent a few years working in the design and architecture field.

“It’s way more important for me to be happy at work than it is to get paid,” he says. “I want to work in places where I feel like what’s going on is good, where I feel like it makes the place we live a little bit better.”

A lifelong resident of Cincinnati, Meiners has long been interested in the arts. In fact, early in his career, Meiners began working at the Cincinnati Art Museum as a guard.

Throughout his seven years there, he held five different positions, and during his stint as an art handler there, he met a mentor.

This is part of the reason Meiners wanted to join the 21c staff. Being there also enables him to support Cincinnati-based artists by providing them new access to the coast-focused art world. “Our collection and our context positions us to provide access to something new— whether that be from one of our seven hometowns or beyond,” he says. “In those circumstances, the work of local artists is integrated and shown alongside those by nationally or internationally renowned artists.”

“Our department head at the time was Michael Brechner, and I credit him with introducing me to design,” Meiners says. Several years later, he followed in Brechner’s footsteps and worked as exhibition designer at the museum.

It inspired Meiners to pursue a degree in interior design

He’s quick to point out the two are not mutually exclusive and that the museum doesn’t necessarily seek balance between these artists, but simply selects excellent work.

The upscale hotel chain chose Cincinnati as a location for several reasons. Among them are ArtWorks’ public art program and the Contemporary Arts Center (CAC), which is a neighbor to 21c. “We have an embarrassment of arts riches in Cincinnati,” says Meiners. “Some of which attracts interest beyond our region, but all play a large part in maintaining it. It’s akin to the Eames’s film ‘Powers of 10’. The longer you look, the more you see. To say it is a robust scene would be an understatement. A vibrant city needs a vibrant arts scene.”

In the past, to see works by artists like Yinka Shonibare M.B.E., Dinh Q Le, Nandipha Mntambo, Judy Fox, Vibha Galhotra, or Valerie Belin, Meiners says people would have to be in New York or Los Angeles. In addition, he praises the hotel museum’s unpretentiousness that doesn’t make the visitors feel awkward if they don’t know who those artists are.

Meiners points to community engagement as one of 21c’s central objectives. “Because of the unique nature of our model, our community reaches beyond the traditional geographic concept,” he says. “It’s Cincinnati,

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Words by Shauta Marsh

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BRUSH FACTORY Words by Ryan Millbern

If you spend any time in Cincinnati, chances are you’ve encountered Brush Factory’s custom furniture and case goods—perhaps at the Cincinnati Art Museum, at the Continuum Boutique on Vine Street, or at Salazar or Cintrifuse in the historic Over-the-Rhine neighborhood.

Kovacs is proud to be a part of the thriving local creative community. “One of the biggest perks about being in Cincinnati is the positivity the community exudes,” she says. “There’s not really a competitive nature here like in NYC or LA. It’s been a nice place to incubate and organically grow.”

Launched in 2009 by Rosie Kovacs and Hayes Shanesy, Brush Factory took its name from the space in which it initially inhabited—an old paint brush factory. Kovacs and Shanesy later moved Brush Factory headquarters to the Camp Washington neighborhood, where you can still find Shanesy hard at work in his woodshop.

This year promises to be another one marked by growth for the young company. In addition to expanding the BFF product line and extending the company’s reach beyond Cincinnati retailers, Brush Factory plans to build on its newest venture: Sew Valley, a nonprofit dedicated to providing resources and support to emerging fashion designers.

In the early years, Brush Factory focused primarily on creating custom furniture for commercial clients, with Shanesy handling the woodworking and Kovacs carrying out the marketing and management of the business. After winning a grant from U.S. Bank in 2015’s ArtWorks Big Pitch competition, the company was able to launch Brush Factory Furniture— or BFF—a product line comprised of elegantly crafted pieces made from locally sourced and sustainably harvested hardwood.

Then 2016 saw another evolution in the Brush Factory brand: the opening of a retail space in Over-the-Rhine. “Although it’s a struggle to compete with the big box stores, each time we sell a BFF piece, it’s like we won a little,” Kovacs says. “It proves there are still people that care about where, how, and with what their belongings are made of.”

“Through Sew Valley, we offer space to work and contract services such as research and product development,” Kovacs says. “We’ve already accepted two members and hope to gain at least six more by the end of the year.”

Kovacs downplays the role that Brush Factory has played in contributing to Cincinnati’s creative community—something that, if the business continues to grow as it has over its first nine years, she won’t be able to do for much longer. “We just do what we love and hope that it inspires people along the way,” Kovacs says. “When we can inspire customers and make them something they’re ultimately very proud to own, it’s a big compliment.”

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Growing up on her father’s farm in rural Michigan, Jenifer Sult, the founder of Daughters of Style, says she loved two things: climbing trees and the Sears catalog.

“Every year we would get the Sears catalog,” she says.

“They were these big bricks, and I would be so excited when they came out. It was the eighties, so there were these big puffy sleeves. Oh, I just loved it so much! And nowhere in my everyday life did I get to see those things.

Those catalogs were my first exposure to fashion.”

Flash forward to 2017 and Sult has created a design pattern brand of her own—Daughters of Style . The fashion-forward brand sells original, modern clothing patterns for those who respect craftsmanship and are looking to expand their wardrobe in a conscious, deliberate way.

Patterns are designed for beginners and experts alike to make at home (or take to their local sewist) with their favorite fabric.

terns for broader appeal.

The following year Sult released her own fashions in a concentrated portfolio of eight designs, available as high-quality printed paper patterns and downloadable PDFs. The result is an aesthetic as modern as it is trend-averse, toeing that edge between the two seamlessly. Influences certainly come from grunge and punk culture, but the overarching feel is simplified: modern but approachable, professional yet comfortable, a polished look with a little edge.

Sult’s classic Oxford shirt gets a smart twist by exaggerating its collar, elongating its shirttails, and dropping its patch pocket to the midsection. Her classic knit dress exemplifies drapery with its voluminous neck and cowl front, and her interpretation of the popover dress fea-

Sult created Daughters of Style in Cincinnati, where she works from the studio of her Northside home as a corporate fashion consultant. Both self-taught and formally trained through the University of Cincinnati’s College of Design, Architecture, Art, and Planning, Sult found herself either bored or unimpressed by mass-market sewing patterns. In 2016, after years of making clothing for herself and her children, she started developing those pat-

tures drop shoulders and box pleats that are both effortless and chic.

“The catch phrase I use when I’m designing is ‘clothes to climb trees in,’” says Sult. “So I like to design dresses that make me feel very feminine, but also strong and powerful.”

This “in-between place,” as she calls it, allows DoS patterns to be remarkably versatile. In a time when people want and need clothing that transitions from home to office to dinner, Daughters of Style confidently finds this middle ground without compromising substance.

Artists and designers, and all those who value craftsmanship, are invited to create a personal relationship with their wardrobe. This may be somewhat antithetical to modern fast-fashion norms, but as Sult’s hero and inspiration, Vivienne Westwood said of fashion in 2013: “Buy less. Choose well. Make it last. Quality, not quantity.”

“I’m asking them to make this investment, but people are ready for that,” says Sult, who plans to release eighteen more designs this year. “These are the kinds of clothes you can build a relationship with.”

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NOMAD 3176 Words by Sara Hussain

Eighteen years ago Da’Mon Butler abruptly left his cushy job at an upscale department store, downsized his worldly possessions, and bought a one-way bus ticket to Cincinnati (a city to which he had no ties and held no viable prospects).

he loved but could not afford. Ingenuity intervened again, as Butler began deconstructing jewelry from thrift stores and turning them into prized originals.

While he intended to make pieces for his personal use only, Butler loaned items to friends, compliments rolled in, and requests for commissions promptly followed. More inquiries led to trunk shows, and Butler developed a presence at Final Fridays and Second Sundays on Main, where he has been a staple for the past decade.

“I had a dream that I lived here. It was very vivid,” says Butler of the impetus for uprooting his entire existence.

Nearly two decades later, Butler’s life is, indeed, very vivid. Joy and positivity radiate from the colorful studio on the first floor of Pendleton Art Center that he shares with Michael Dillingham, a prolific painter who was born with cerebral palsy. Dillingham’s cheerful canvases line the walls, juxtaposed with the oversized cuffs, expansive beaded collars, and heavily fringed necklaces and flowing garments with Butler’s label—Nomad 3176.

inner tubes, otherwise bound for the scrap heap.

Butler’s jewelry, or “icing,” as he calls it, is frequently spotted at cultural events and galas in and around Cincinnati. His signature leviathan pieces convey elegance, defiance, and bravery. Avid collectors have dozens of his items, which are sustainably made from found items and unconventional materials, such as bicycle and Segway

Butler’s foray into jewelry was predicated on self-expression and necessity. While working for Ralph Lauren, he would bend the strict dress code with one-of-a-kind brooches made from found objects, garnering attention from customers and coworkers. After moving to Cincinnati, he worked at a jewelry store, selling pieces that

Consumed by his craft, some days Butler wakes up, driven to construct a new piece to accentuate his mood that day. Aware that his pieces are considered “event” jewelry, he says he would like to see that change. “My favorite thing is to be surprised by what people are drawn to, and what their selection says about them,” Butler says. “I love seeing the way that my jewelry makes people feel. Why save that for a special occasion?

I want them to feel that way every day.”

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It has been all but accepted as improbable that a small business owner working from his or her kitchen table in a low-income neighborhood will one day have ownership in said business owner’s own community. And it is all but impossible if that neighborhood achieves economic revitalization, a trend that has had a disproportionate impact, according to urban developer John Blatchford.

her own cakeshop, Jazzy Sweets.

“A long-standing black community that has lived in revitalized areas for 50-plus years is being pushed out directly, or, at least, seeing a change that does not include them.”

Urban development expert and Adjunct Associate Professor in the School of Planning at the University of Cincinnati, Terry Grundy says that stories like Simpson’s are akin to heroism, while underscoring the importance of Mortar’s program. Simpson grew up on the less-fortunate end of an OTR community that was ranked first in economic inequality among 61,000 national communities as recently as 2009.

But since 2014, one Cincinnati business incubator—the Mortar program—has shown 175 of these mostly minority-owned lifestyle, tech, and food businesses, a previously illusive set of wrenches to throw into the seemingly unstoppable mechanism.

Mortar founder Allen Woods says that while gentrification (the term for refining, renovating, or improving a community to suite a more middle class taste) has its negative connotations, the Mortar program insists on focusing on its definition in an inclusive light.

“Redevelopment we love, but not at the expense of displacement,” he says. “We think there is a way to have the best of both worlds, where people are not getting displaced, but we are getting these revitalized corridors.”

“In my mom’s time or my grandmother’s time, you didn’t know about black-owned business.

None of my friends have businesses, so it was hard to find people who had the same goals, and with Mortar I was surrounded with those people,” she says.

“For those that this is the appropriate move, somebody has to help them make it, or it’s probably not going to happen,” he says. “You can’t be that heroic alone.”

As Mortar nears its fourth year, 75 percent of its graduates are pursuing entrepreneurship in one way or another, and at least half are now making substantial money.

But this is only a beginning.

“In a perfect world people in these communities could start a business, profit, and become owners,” Woods says. “We want to get them to a place where they...have a bigger say, then use that platform on owning their store front, owning their building, owning their home, and then having a larger stake in their community.”

Boiled down, Mortar is a family for entrepreneurs, many orphaned by generations of low cultural business acumen. While it is not a requirement to be a minority or woman, its alumni are 90 percent African-American and 75 percent female.

Located in OTR, just one of the Cincinnati communities where it is making its mark, it consists of a 12-week program that teaches branding, legal services, accounting, marketing, public speaking, business basics, and mentorship.

It also provides a space where entrepreneurs can meet with customers and get real-time feedback for ideas in their testing phase, and then eventually a network of support.

From an urban developer’s perspective, Blatchford says, “I definitely think the wrong perspective is that development is bad, white people are bad, investment is bad.”

He says this mindset isn’t productive. “ I think we should be entirely focused on the question of: ‘There is money and development coming to our neighborhood. How do we make sure it involves a diverse group of people?’” Wood says.

“Mortar seeks to accomplish this beautifully by making sure minority-owned businesses are a part of the recent investment in Cincinnati.”

Twenty-five-year-old Mortar alum, Jasmine Simpson, started baking cakes a few years ago, but when demand spiked to twenty cakes per day, she says she didn’t even know how or where to look for structure to run a business.

Fast-forward to 2017, when after going through Mortar’s program, Simpson was able to open

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TEAM B Words by Chris Uihlein

Sitting in their historic Italianate building in Cincinnati’s revitalized Over-the-Rhine neighborhood, the architects of Team B—John Stoughton, Anna Kerr, David Corns, and Quinn Kummer—welcome the conversation between old and new.

“By being a small firm, we’re approached by [clients] who are more open to innovative design,” says Kerr.

“What it comes down to is that we believe that architecture is something that’s expressive and can communicate,” says Stoughton.

“Whether it’s the end user of a building, or the visitors passing by, at the end of the day we think architecture is no different than any other media that communicates to an audience.”

The tension between past and present comes up often in Cincinnati’s artistically conservative environment, so it’s no surprise these designers are versed on the topic.

“What I think is really interesting is when we’re confronted with new ideas of how people want to live today, and how communities are popping up that are in dialogue with historic city centers,” says Stoughton.

You can see this dialogue in action through a project in Cincinnati’s historic Walnut Hills, a neighborhood long depressed by high crime and disingenuous traffic patterns. Five Points Alley is named for the convergence of the five streets that create a natural urban pathway.

With residences to the East and businesses to the west, Five Points, as locals call it, has recently been reimagined as a lush, urban public space, complete with vibrant murals framing it on all sides.

To improve the space and make it economically viable for the next phase of the neighborhood’s history, Team B has designed a series of multipurpose buildings for the alley. The concepts for two new modernist buildings integrate business incubators, artist studios, and permanent residences. A combination of brick, aluminum, steel, and concrete pays homage to the roots of its industrial western side and blends seamlessly into the longstanding neighborhood of its eastern side.

Team B’s conversations with space and the audiences that inhabit it include an impressive breadth of interdisciplinary expertise. Not only is the team creating beautiful residential and industrial design, it’s also making art installations and furniture, as well as stationery and mix tapes.

This overflow of creativity follows a long tradition in the field of architecture. Philippe Starck, most famous for his hotels, also designs watches and handbags. George Nelson, a founder of American modernism, made benches, sofas, and chairs. Iranian-born architect of Cincinnati’s Contemporary Arts Center, Zaha Hadid, is equally famous for her form-forward apparel and home decor.

Like these icons before them, Team B designers create all that they do with a sense of duty and purpose, particularly to their fellow midwestern makers and creatives.

“We all care about this area and we feel if someone’s going to do something about this area, why not us?” says Kummer. “Why not be the people to instigate that?”

TEAM-B.CO

This flux between past and present simultaneously feeds the creativity of the small but mighty team, and attracts a bevy of business opportunities.

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With titles like “Bone Secrets,” “Nightfall,” and “You Can’t Go Home,” the works of Cincy-based artist, Alice Pixley Young, sound more like episodes of The Twilight Zone than art exhibits.

It all depends on interpretation; one person’s dream is another’s nightmare.

“When I think of the idea of isolation and the idea of our age-old confrontation of nature, there is a real deep-seated, almost primal fear of it,” she says. “It’s in a lot of psychology; it’s in a lot of philosophy. That’s something I definitely am very interested in trying to convey.”

Young specializes in installations that are much like exploring a waking dream. But whether it’s a bad dream or a pleasant one has to do with the viewer’s personal experience and reaction to the art.

Young didn’t start her career creating installations. She began as a realistic figurative painter and drawer, and that earlier work was a bit unpopular at the University of Maryland, where she received her MFA. The medium caused her to feel confined, so she began experimenting.

Her “Transmissions” piece (which was a multimedia installation shown at the Governors Island Art Fair in New York), invited visitors into a dimly lit room. Inside, lights were aimed at jars filled with miniature electrical towers and a water tower. This created shadows on three different projections, one of birds flying, another of pink plastic-looking cubes that appeared to float on the water, and another a reflection of trees in the water.

“The figure is a tricky thing. I found it getting in the way,” she says. “I often found that I was trying to layer on a veil—trying to add more to the work. And it was becoming more and more layered, but more and more multi-media. I think what was happening was I was really interested in space.”

She says she thinks of pieces like these as ultimately dark experiences, but that’s not always the takeaway from viewers of her exhibits. And that fascinates her.

Young says the difference in her work now is that she wants the installations to create an evocative environment where viewers become the activating force. To do so, it meant she had to stop being a 2-D artist, and instead think more about space and how she could layer in the space—whether it was with shadow, light, projection, material, or media.

Young says by creating installations, it frees her to make the work she’s most interested in sharing. But because collectors don’t usually purchase installations, it can present financial obstacles. Usually only museums and institutions are interested in commissioning or purchasing installations. According to Young, collectors mostly tend to buy 2-D pieces. So to support her passion for creating 3-D installations, she also teaches at the Center for Creative and Performing Arts, writes grants, and organizes a Cincinnati women artists studio group. She also continues to research new concepts and methods of creating work, such as with 3D printing and casting metal sculptures.

“I hustle every day. I don’t know that hustling will ever stop,” Young says. “But things have started moving, especially in the past two years, moving more towards people approaching me for things, which is wonderful.”

Inspired by abandoned and active industrial landscapes that dot the Midwest, Young plays with light, shadow, and blending mediums to reflect ideas she’s exploring. Isolation and how people relate to the world outside themselves tend to be recurring subject matter for her creative inspiration.

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PARALLEL

VISIONS

Photography by BROOKE SHANESY Assisted by AUBREY KREKELER Creative Direction by COSETTE ‡ Styled by JESSIE CUNDIFF Hair & Makeup by SHANNON YOHO Models SABINA HORDINSKI, MADDIE HORDINSKI Vintage Garments provided by REUNION CLOTHIERS Jewelry Provided by CONTINUUM OTR Additional Garment Support by SLOANE BOUTIQUE

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T R A N S F O R M I N G Cincinnati Art Museum brings avant-garde fashion designer to the Midwest

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words by Crystal Hammon

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Image: Hybrid Holism Dress, Iris van Herpen (b. 1984), The Netherlands, Hybrid Holism, Dress, July 2012, 3-D printed UV-curable polymer, in collaboration with Julia Koerner and Materialise, High Museum of Art, Supported by the Friends of Iris van Herpen, 2015.170. Photo by Bart Oomes, No 6 Studios Image: Voltage Dress, Iris van Herpen (b. 1984), The Netherlands, Voltage, Dress, January 2013, laser-cut 3-D polyester film lace and microfiber, in collaboration with Philip Beesley, Groninger Museum, 2017.0008, Photo by Bart Oomes, No 6 Studios // Image: Biopiracy Dress, Iris van Herpen (b. 1984), The Netherlands, Biopiracy, Dress, March 2014, 3-D printed thermoplastic polyurethane 92A-1 with silicon coating, in collaboration with Julia Koerner and Materialise, Collection of Phoenix Museum of Art, Gift of Arizona Costume Institute. Photo by Bart Oomes, No 6 Studios // Image: Capriole Ensemble, Iris van Herpen (b. 1984), The Netherlands, Capriole, Ensemble, July 2011, 3-D printed polyamide, in collaboration with Isaie Bloch and Materialise, Groninger Museum, 2012.0209. Photo by Bart Oomes, No 6 Studios // Image: Hybrid Holism Dress, Iris van Herpen (b. 1984), The Netherlands, Hybrid Holism, Dress, July 2012, 3-D printed UV-curable polymer, in collaboration with Julia Koerner and Materialise, High Museum of Art, Supported by the Friends of Iris van Herpen, 2015.170. Photo by Bart Oomes, No 6 Studios // Image: Radiation Invasion Dress, Iris van Herpen (b. 1984), The Netherlands, Radiation Invasion, Dress, September 2009, faux leather, gold foil, cotton and tulle, Groninger Museum, 2012.0201. Photo by Bart Oomes, No 6 Studios // Image: Chemical Crows Dress, Iris van Herpen (b. 1984), The Netherlands, Chemical Crows, Dress, Collar, January 2008, ribs of children’s umbrellas and cow leather, Groninger Museum, 2012.0192.a-b. Photo by Bart Oomes, No 6 Studios // Image: Refinery Smoke Dress, Iris van Herpen (b. 1984), The Netherlands, Refinery Smoke, Dress, July 2008, untreated woven metal gauze and cow leather, Groninger Museum, 2012.0196. Photo by Bart Oomes, No 6 Studios // Image: Hybrid Holism, Iris van Herpen (b. 1984), The Netherlands, Hybrid Holism, Dress, July 2012, metallic coated stripes, tulle and cotton, Collection of the designer. Photo

by Bart Oomes, No 6 Studios

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When Lady Gaga unveiled her namesake fragrance, Fame, in 2012, she stepped out of a

Chemical Crows collection, where she is very controlling about every stitch that’s taken on a

horse-drawn carriage in front of Macy’s New York City flagship store. She was clothed in

piece, to the 2010 Crystallization collection, which began with an idea she didn’t know how to

wearable art—an Iris van Herpen dress made of laser-cut strips of black acrylic.

make,” Amnéus says.

The rich and famous aren’t the only ones reaching for van Herpen’s haute couture. Her

That collection seems to signal a turning point in van Herpen’s career. Early van Her-

designs are also sought by museums such as the Metropolitan Museum of Art in New

pen collections are mostly handmade, but by 2009, she imagined clothes that couldn’t

York, the Museum of Fine Arts in Boston, and the High Museum of Art in Atlanta.

be made with conventional techniques or materials. Inspired by nature, science, music,

That explains why Cynthia Amnéus, the Cincinnati Art Museum’s chief curator and cura-

dance, art, and architecture, she began casting a wide net in search of expertise to bring

tor of fashion arts and textiles, has spent nearly a decade tracking the 34-year-old fashion

her ideas to fruition.

designer. Amnéus acquired a pair of the Dutch artist’s shoes for the museum’s collection in 2012. By then the world was on watch for van Herpen’s next elevation of haute couture.

Just a year after her 2006 graduation from the ArtEZ Institute of Arts, where she studied fashion design, art, and sculpture, van Herpen started creating women’s wear under her own label. Her annual collections of groundbreaking craftsmanship and materials quickly marked her as one of the world’s most influential fashion designers. By 2011 van Herpen, then 27, was the youngest person ever to exhibit at Paris Haute Couture Fashion Week. She went on to win the prestigious ANDAM Award in 2014, France’s national award for the development of fashion.

FUSING TECHNOLOGY WITH FASHION Relieved of commercial concerns that plague many fashion designers, van Herpen has access to a rare commodity among the creative class: complete artistic freedom. She uses that liberty to conduct interdisciplinary research and to plot elaborate experiments with innovative materials such as silicon, metal umbrella ribs, and transparent acrylic.

Van Herpen is credited with being the first fashion designer to use 3-D printing to create a dress.

The Ice Dress, done in collaboration with 3D Systems, was included in her 2015 Magnetic Motion. Made of thin ribbons of transparent resin, the dress simu-

THE EVOLUTION OF A SAVANT

lates an ice sculpture.

When Amnéus heard that Atlanta’s High Museum of Art was

Stumped by creative ideas she was unable to execute on her

organizing a 2015-2016 exhibit of van Herpen’s work, she im-

own, van Herpen forged relationships with engineers, scien-

mediately reached out, hoping to bring the exhibition to the

tists, designers, and architects. Those collaborations were un-

Cincinnati Art Museum (CAM).

comfortable at first. She now views them as essential for open-

Aptly named Iris Van Herpen: Transforming Fashion, the

ing her mind to alternative thinking.

exhibit visited the CAM from October 2017 through January

One of her favorite collaborators is Philip Beesley, a Canadi-

2018, following appearances at Atlanta’s High Museum of Art,

an architect known for designing responsive sculptures. This

the Carnegie Museum of Art in Pittsburgh and the Dallas Mu-

spring a Beesley installation will grace the four-story atrium

seum of Art, as well as the Groninger Museum in The Nether-

of Luddy Hall, the new home for the School of Informatics and

lands, where it originated.

Computing, opening on Indiana University’s Bloomington

Haute couture has always had its skeptics—people who dis-

campus. Their first joint project came in 2013 with van Her-

count its usefulness or criticize its lack of accessibility. Judging

pen’s Voltage collection.

from the initial reaction to the Cincinnati exhibition, van Her-

“I found a very happy conversation with Iris,” Beesley says. “We

pen’s work is no exception. But as museums hustle to reinvent

come, arguably, from very different generations, from com-

themselves for the next generation of museumgoers, they are

pletely different parts of the world and different disciplines,

not always perturbed by controversy.

and yet somehow, we have discovered common ground.”

Amnéus was buoyed by conversations the exhibit stimulated in

Their creative process, he says, is profoundly practical and

the CAM’s social media feeds. “You might look at Iris’s work and say, ‘This is unwearable. This

deeply felt. Beesley often brings a highly technical point of view to their work, such as evaluating

is crazy stuff. How could this possibly become something that I would wear?’” she says. “Iris is

how a particular polymer performs under certain conditions.

pushing the edge in terms of the aesthetic of dress and the technology she is using.”

“Iris might respond by draping a prototype of that material around her arm or around a

In fairness to the dubious viewer, one can only glimpse a sliver of Iris van Herpen’s evolu-

model and both of us looking together, either in person or by Skype, at how this material

tionary ideas about fashion by looking at photographs of her designs or walking around

might move and how it amplifies the way we might present ourselves or be sheltered by

them at a museum. Either experience subtracts from their ability to communicate.

a piece of fabric,” Beesley says.

Van Herpen grew up in a creative home where play and imagination were encouraged.

Beesley describes their frequent collaborations as delicious exchanges that look at

Away from the influence of televisions, computers, and magazines, she crafted art, made

technology precisely and translate it into a dream state, infused with possibility. “Iris

her own clothes, and danced. Her otherworldly garments are meant to adorn a mov-

has quite an extraordinary precision coming from her long practice as a dancer and her

ing human body. Ideally, they are experienced in a three-dimensional world where they

stunning intelligence,” he says.

shimmer and breathe almost like living organisms.

Van Herpen fans are fascinated by her use of technology, but it’s just another tool to the design-

A museum is no competition for a runway presentation drenched in music and sound, as van

er—never the source of inspiration. “I combine craftsmanship and technology within the same

Herpen’s work often is. Even without the multisensory experience, museum visitors of all ages

garment,” she says in an interview with Sarah Schleuning, curator of decorative arts and design

were gobsmacked by van Herpen’s imaginative use of materials, technology, and old-world cou-

at the High Museum of Art. “Today, I like that when people look at my collections, they cannot

ture techniques, according to Amnéus.

see the difference anymore. People may think that something is 3-D printed when it’s actually

“One of the things that’s interesting about Iris is the way she has progressed over time—from her

handmade, and the other way around.” ✂

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MASTERS & MORTALS

Photography by ANNETTE NAVARRO Assisted by LOGAN DELAPE Creative Direction by COSETTE Collection and Style by TONY TIEMEYER of EVOLUTIONFASHIONSTUDIO.COM Set and Prop Style by HOT GLUE Hair and Makeup by PHILLIP NATHANIEL SAUNDERS 142

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Model Ashley Marie Bowman wears YVES SAINT LAURENT Rive Gauche Skirt Suit, Circa 1970’s, PRADA Suede Sandals with Jewel Embellishments, S/S 2014, MOSCHINO Milk Carton Handbag, Circa 1990’s

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PREVIOUS PAGE— Iyonna Fairbanks of NV Models & Talent wears; YOHJI YAMAMOTO Silk Strapless Dress; S/S 1997, NICOLAS GHESQUIÈRE for BALENCIAGA Platform Sandals; A/W 2007, TOM FORD for YVES SAINT LAURENT Rive Gauche Enameled Cuff, S/S 2004 TOM FORD for YVES SAINT LAURENT Rive Gauche Enameled Cigarette Case, S/S 2004 THIS PAGE— Nephi Kisor wears JEAN PAUL GAULTIER Surreal Pinstripe Suit, CRYSTAL TIARA, Circa 1960s

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THIS PAGE—Jamie Gaither- Sigal Models & Talent NINA RICCI Silk Taffeta Gown, Circa 1980s, Art Nouveau Necklace, ALBER ELBAZ for LANVIN Fringe & Leather Gloves, MOSCHINO Patisserie Handbag, Circa 2001, Christopher London of Sigal Models & Talent wears YOHJI YAMAMOTO Men’s Navy Wool Coat with Patches, A/W 2012 / OPPOSITE PAGE— Model D’Benjamin Sanders wears WALTER VAN BEIRENDONCK Leather Monster Jacket, S/S 2016

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THIS PAGE—Model Ashley Marie Bowman wears YVES SAINT LAURENT Rive Gauche Skirt Suit, Circa 1970s, MOSCHINO Milk Carton Handbag, Circa 1990s / OPPOSITE PAGE— Emma Karle of NV Models & Talent wears JEAN PAUL GAULTIER Silk Charmeuse Dress Coat, A/W 2010, JOHN GALLIANO for CHRISTIAN DIOR Gambler Handbag, A/W 2004

Prada Hat, A/W 2011 Raf Simons for Christian Dior Runway Sneaker Pumps, A/W 2014 148

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Ali Garey of NV Models & Talent wears TOM FORD for GUCCI Velvet Pantsuit, A/W 1996, RAF SIMONS for CHRISTIAN DIOR Runway Embroidered Boots, A/W 2013, MOSCHINO Iron Handbag, Circa 1995, NICOLAS GHESQUIÈRE for BALENCIAGA Rings, S/S 2003

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CODY GUNNINGHAM x ROCHAMBEAU photography and creative direction COSETTE, styling and set HOT GLUE, art and set properties by CODY GUNNINGHAM, hair and makeup SARA HUSSAIN, set properties MATT JOY, model MAX WILLIAMS

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shoes BUSCEMI 100mm high top sneaker, coat vintage CHRISTIAN DIOR HERMÈS silk bandana, shirt ROCHAMBEAU x CODY GUNNINGHAM cigarette tee

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ROCHAMBEAU haze caftan white, BUSCEMI 100mm high top sneaker, pant stylists own

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jacket ROCHAMBEAU setting sun stones unisex bomber jacket , shirt ROCHAMBEAU x CODY GUNNINGHAM grim reaper tee, painted denim pant by cody gunningham

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opposite page—ROCHAMBEAU open-knit long cardigan, shorts ROCHAMBEAU psych swimmers in black camel print this page— left: shirt ROCHAMBEAU x CODY GUNNINGHAM flower vase tee, pants ARTIST’S OWN right: vintage tuxedo jacket, ROCHAMBEAU x CODY GUNNINGHAM rose tee

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ROCHAMBEAU black rising moon stones bomber jacket, ROCHAMBEAU vase print pant shoe BUSCEMI 50mm low top sneaker

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WANDERERS WELCOME

Gilles Cenazandotti (French) Baboon, 2015 Structure in polyurethane cover with objects lost and found from the sea

609 Walnut Street, Cincinnati 21cCincinnati.com Museum. Hotel. Restaurant.

OPEN AND FREE 24/7/365

#thisis21c

OP — ED LEAP YEAR: SARA J. HUSSAIN

With signs held high and voices unified, over one million scientists and science supporters took to the streets last April in Washington, D.C., and around the globe in the first ever March for Science. There were 600 tandem rallies held throughout San Francisco, Tokyo, London, Berlin, Indianapolis, and Cincinnati. The march was unprecedented in its breadth and the scale of involvement from within the science community — a field that conducts itself without much fanfare, and typically without making national headlines.

Spurred by the Trump administration’s controversial appointments to oversee science-based agencies (Scott Pruitt, fossil fuel insider named as head of EPA; Rick Perry, replacing a nuclear scientist as the Secretary of Energy), dismantling of science-based policy (rescinding the Paris Agreement, rolling back protections of federal land to permit drilling and fracking), and slashed funding for science education and research, organizers of the march avowed that science was under attack. The march galvanized a movement to hold leaders — both in science and in politics — accountable to the highest standards of honesty, fairness, and integrity.

Echoing the solidarity, compassion, inclusivity, and equality demonstrated during the equally impactful Women’s March in January 2017, supporters of the March for Science affirmed that open, inclusive, and publicly accessible science is a democratic value, and they marched to preserve and defend something essential to our existence and our future: Truth.

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When our studio, Cosette, was approached to do guest creative direction for this issue of PATTERN, we welcomed it as an opportunity to flex our skills with editorial design, photography, art direction, and graphic design. Cosette is a cross-disciplinary creative studio that shapes brands through substance, style, and insight. As we delved into the theme of “Quantum Leap,” it was our goal to impart these elements and present an insider’s view of Cincinnati that is being shaped by a multitude of progressive creative forces. Come visit us in Over-the-Rhine and you’ll find a city that has embraced urban living, invested in public transportation (the Streetcar), played a part in a landmark gay rights case (Obergefell v.

Hodges), and we make a mean bowl of chili.

The metaphorical definition of quantum leap is an abrupt, extreme change. Like our cover model, we are being thrust into an unknown future. Many of us feel as if we are existing in a new reality, forced to defend notions that we never thought would need defending, and questioning things we thought were long settled. This spring you’ll find marchers taking to the streets once again in defense of truth. Whether or not you are among them, I hope we can all commit to harnessing positive energy for the journey ahead, and that our next leap will be the leap home. ‡

I am Michael.

CARMEL CITY CENTER SHOP.

DINE.

E N J O Y.

LIVE!

Located in Carmel, Indiana For a complete listing of the shops, restaurants & services, visit CarmelCityCenter.com.

Discover Your

#LOVEINDY Moment

MOMENT #2243

Strolling Mass Ave under the watchful eyes of poet Mari Evans

As an influential resident, you are a top ambassador. Invite friends and family to our city. Share the love, because a thriving city benefits us all.

164

For what to see, do, and eat, go to VisitIndy.com

PATTERN VOLUME NO. 13

VisitIndy_Pattern_3.2.18.pdf

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3/2/18

4:23 PM

Discover Your

#LOVEINDY Moment

C

M

Y

CM

MY

CY

CMY

K

MOMENT #2243

Strolling Mass Ave under the watchful eyes of poet Mari Evans

As an influential resident, you are a top ambassador. Invite friends and family to our city. Share the love, because a thriving city benefits us all.

For what to see, do, and eat, go to VisitIndy.com