PATTERN magazine Issue 16 Fall 2019 by PATTERN Magazine

VOLUME NO. 16_15 dollars

FASHIONING A COMMUNITY.

y t i T n e d i + FEATURING JONATHAN MANNION, BOBBY HUNDREDS, YEMISI SANNI, SHAMIRA WILSON, JOE YOUNG AND MORE

CCCIC CC CCIIC IC Indy-Made

Photos by Cliff Ritchey

Circle City Industrial Complex. Who Knew?

We’ll be the first to admit it: our building is ugly. We’ve gotten used to hearing, “Who knew all this was here?” But behind our half mile of blue walls, we have more than 100 artists, some of Indy’s best galleries, makers, nonprofits, small businesses, and more. Not to mention 8th Day Distillery, Lick Ice Cream, and the the award-winning Centerpoint Brewing. Like our parents always told us: it’s what’s inside that counts. Visit the CCIC to discover your own hidden gem. Art studios and galleries open on the First Friday of every month.

1125 Brookside Avenue, Indianapolis, In | MOre info at circlecityind.com

EDITOR’S LETTER

MORE THAN A MAGAZINE CONVERSATIONS ABOUT IDENTITY ARE EVERYWHERE. IT’S A TIMELY TOPIC— one our team can use to tell the world about Indianapolis, and also about PATTERN. WE’RE MUCH MORE THAN A MAGAZINE. THAT’S MY LEADING MESSAGE WHEN I DESCRIBE PATTERN. WHY? BECAUSE THE publication you’re holding in your hands has been executed so well for so long that many people assume it is our only mission. They also assume that PATTERN is well funded. Neither assumption is correct. OUR MAGAZINE IS JUST THE TIP OF THE ICEBERG. A TOOL. AN ARTIFACT THAT REPRESENTS WHAT WE DO AS AN organization—mostly on a volunteer basis. While it’s true that we initially focused on fashion in print, eventually PATTERN expanded its purpose, embracing anyone who dares to claim creativity as part of their identity AND wants to make a living from it. PATTERN EXISTS TO BUILD CONNECTIONS AND CREATE OPPORTUNITIES FOR THE CREATIVE CLASS. WE’RE intentional about how these opportunities and connections look and feel, and how we can continue to build an inclusive ecosystem for young entrepreneurs in Central Indiana and beyond. WE ARE EXPLICIT ABOUT COMMUNICATING THE VALUE OF OUR EFFORTS TO POTENTIAL FUNDERS AND THE community as a whole. Over the past year, our nine-year-old organization has: •

Launched two more issues of PATTERN magazine. (We’ve claimed a few more awards too!)

•

Hosted two launch parties. (Each event was attended by about 400 people.)

•

Planned and cohosted (with Indy Chamber) the second season of St’ArtUp317, a retail pop-up initiative that paired landlords of empty storefronts with small brands and artists. We successfully placed thirty artists and businesses in the downtown area for thirty days in May. These installations resulted in collective exposure of the participating artists to over 100,000 citizens and visitors.

•

Hosted five meetups, bringing together 200+ people for education and networking.

•

Promoted and brought attention to over 250 distinct cultural events and Central Indiana creative entrepreneurs through our digital magazine and social media channels.

•

Mentored twenty-plus interns from across the state and beyond.

•

Launched our Creative Fellowship Program and on-boarded four part-time fellows for extended, paid work experiences.

•

Hosted SUPPLY, our fourth-annual apparel tradeshow for local lifestyle and streetwear brands.

THAT’S A SUBSTANTIAL CONTRIBUTION OVER A SHORT PERIOD OF TIME—AND IT ISN’T FOR NAUGHT. PATTERN HAS A direct economic impact of $1 million each year. Here’s the kicker: we’re making that impact with a modest annual budget of $150,000. Let that sink in. I FIND VERY FEW CYNICS WHEN IT COMES TO RECOGNIZING THE VALUE OF A ROBUST CREATIVE ECONOMY OR THE STICKINESS it creates for young people, with their boundless optimism and energy, to stay put and to invest in their community. THIS SEGMENT OF OUR ECONOMY BOOSTS EMPLOYMENT, ENHANCES TOURISM, HELPS REVITALIZE neighborhoods, and drives partnerships with other industries. But so far, financial support for entities doing development work in this sector is still slim. IF YOU APPRECIATE HOW IMPORTANT THE CREATIVE CLASS IS TO OUR CITY’S IDENTITY AND FUTURE SUCCESS, then I challenge you to help it flourish. If you are in a policymaking role, do your part to support changes that strengthen this aspect of our city’s brand. If you’re a business owner, form alliances that capitalize on the community’s creative resources. And finally, donate to local organizations like PATTERN, where your financial support helps us engage with other nonprofits and businesses to weave creative assets into the fabric of our community. POLINA OSHEROV_EDITOR-IN-CHIEF

2 PATTERN ISSUE NO. 16

KITCHENS BY DESIGN | KBD HOME | CUSTOM DRAPERY 1001 EAST 86TH STREET INDIANAPOLIS, IN 46240 | 317.815.8880

FASHIONING A COMMUNITY

BRAND PARTNERSHIPS info@patternindy.com

DISTRIBUTION

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

DIGITAL

Online Content Manager Sam Ripperger

BOARD OF DIRECTORS Michael Ault Teresa Bennett Julie Heath Freddie Lockett Lindsey Macyauski Sherron Rogers Sara Savu Lily Smith Adam Thies Barry Wormser Tamara Zahn

SUBSCRIPTION

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

EDITORIAL

Editor & Creative Director Polina Osherov Design Director Emeritus Kathy Davis Design Director Lindsay Hadley Junior Designers Claire Bowles Julie Valentine Graphic Design Fellow Megan Gray Managing Editor Samantha Ripperger Editor-at-Large Eric Rees New York Editor Janette Beckman Copy Editor Crystal Hammon Jami Stall Staff Photographer Esther Boston

DESIGNERS

John Ilang-Ilang Katie Snider

PHOTOGRAPHERS

Stacy Able Gregory Alders Mike Andre Willyum Baulkey Jerica Bean Faith Blackwell Esther Boston Steven Brokaw Aliza Brown Savannah Calhoun Michael Cottone Paul D’Andrea Max Denari Colin Dullaghan Loreal Elder Wil Foster Hadley ‘Tad’ Fruits Kate Gregg Charles Letbetter Dauss Miller Jamar Mitchell Jon Moore Jacob Moran Bethany Quinn Jaytel Provence Vanessa Van Rouge Chantal Sallade Maddie Scarpone Brooke Taylor Alyssa Trinko Linda Vang Lenny White Christopher Whonsetler

RETOUCHER Wendy Towle

WRITERS

Khaila King Colin Dullaghan

PATTERN VOLUME NO. 16

THE COLLECTION SUITES NEVER JUST STAY. STAY INSPIRED.

CONTENTS PATTERN ISSUE NO. 16 patternindy.com

WORDS

EDITORâ&#x20AC;&#x2122;S LETTER, 2 CONTRIBUTORS, 8 SHINE A LIGHT, 36 JOE YOUNG, 48 COMPLEXITIES IN COMPLEXION, 50 AMERICAN GOTHIC, 59 PATTERN ON THE ROAD, 80 A GOOD HAIR DAY, 81 OLD HAUNTS, 86 STAERK & CHRISTIANSEN, 94 HE'S THE MANNION, 100 SOHOMME, 110 BOBBY HUNDREDS, 118 VOL. 15 LANUCH PARTY, 152 OP-ED, 160

IMAGES 24 HOURS OF INDY, 10 HIGH FASHION, 38 BIG LITTLE BLOW DRIES, 68 AGAINST THE GRAIN, 76 LIKE TOTALLY, 122 DARKROOM, 130 BOARD MEETING, 136 THROWING SHADE, 144

ON THE COVER Kali, LModelz Management & RED Models NYC Photography & Style by Willyum Baulkey Makeup by Danelle French Hair by Sebastian DeJong Wardrobe: Black studded dress, Michael Kors ON THIS PAGE Sara, LModelz Model Management Photography by Dauss Miller Style by Raemia Higgins Makeup by Danelle French Hair by Christina Lockett Wardrobe: Gown, Stylenspire Accessories, Desert Flower Accessories

PATTERN VOLUME NO. 16

BUSINESS REAL ESTATE PRIVATE SECURITIES

Wormser Legal is a boutique law firm, working with clients on a variety of business and real estate matters, including entrepreneurial and venture capital services, buying, selling and leasing real estate, and drafting and negotiating contracts.

6219 Guilford Avenue, Indianapolis, Indiana 46220 (317) 643-9910 More information at www.wormserlegal.com

CONTRIBUTORS @trinkettrinko

ALYSSA TRINKO

"I ADMIRE STEVE LACY’S PERSONAL BRAND. IT’S RETRO WITH A 21ST-CENTURY COOLNESS. HE WEARS A LOT OF BRIGHT COLORS AND PASTELS -- COMPLEMENTED BY A GOLD NECKLACE, A BIG PAIR OF GLASSES, AND HIS UNIQUE TATTOOS. HIS STYLE IS FASHIONABLE BUT SIMPLE, AND HE'S VERY RELATABLE. I’M A BIG FAN."

Raemia Higgins is a Kentucky-born fashion “jill of all trades." During the day, she is an Apparel Buyer at Finish Line HQ. Outside of her full-time job, she is a freelance wardrobe stylist, designer, and served as the lead stylist for Indiana Fashion Week. She is also part of F.A.M.E. (Fashion Art Music Experience) in which she is the fashion show coordinator. You can also watch Raemia doing fashion segments on Wish-TV's Indy Style lifestyle show.

RAEMIA HIGGINS @raemiastyle

"KAHLANA BARFIELD BROWN IS COMPLETELY MY STYLE ICON. SHE WORKED HER WAY FROM AN OUT-OF-COLLEGE INTERN AT INSTYLE MAGAZINE, ALL THE WAY TO THE MAGAZINE'S FASHION & BEAUTY EDITOR. WHAT I LOVE MOST ABOUT HER IS HER VERSATILITY. ONE MINUTE SHE IS POSING IN FEAR OF GOD SNEAKERS WITH BASKETBALL SHORTS AND A FULL FACE OF MAKEUP, WITH HER SIGNATURE SMIRK. THE NEXT MINUTE, SHE'S IN A VERSACE GOWN WITH TOM FORD PUMPS. AS AN UPCOMING FASHION CREATIVE, HER STYLE PAIRED WITH HER RELATIONSHIPS WITH DIFFERENT BRANDS IS SOMETHING I ASPIRE TO. HER WORKING HER WAY UP THE CORPORATE LADDER, WHILE SERVING #BGM, INSPIRES ME AS I CONTINUE TO CLIMB THE LADDER MYSELF. HER WORK SHOWS THAT THERE'S NO LIMIT WHEN YOU WORK HARD AND BUILD SOLID RELATIONSHIPS WITH PEOPLE, AND I LOVE THAT."

raemiahiggins.com

Whose personal brand do you admire and why?

Alyssa Trinko is a senior History major at Valparaiso University. She has a French minor and will complete her final semester in Paris beginning in January of 2020. This past summer, Alyssa was a Creative Placemaking Fellow at the Harrison Center in Indianapolis, where she had her first art show. She is passionate about photography and social justice, and she looks forward to pursuing the arts after graduation.

.daussmiller.com

@daussmiller

DAUSS MILLER

8 PATTERN ISSUE NO. 16

IT'S HARD NOT TO BE IMPRESSED BY THE FRESH MOVES OF NAMES LIKE JORDAN NAZARIO, GARY VAYNERCHUK, OR JEFF BEZOS... I’M ONLY ABLE TO SEE THE HIGH PEAKS IN THIS MOMENT. MY INABILITY TO ANSWER CONCISELY IS A PART OF WHAT’S PUSHED ME DEEPER INTO AD PHOTOGRAPHY AND CREATING BRANDING CONTENT AS A BUSINESS. IN GENERAL, THE MARKET FEELS SUPERSATURATED, SAME-SAME, AND UNINSPIRED. THERE’S ALWAYS A WILD SEA OF CLUTTER TO SIFT THROUGH, SO I FEEL CALLED TO DECONSTRUCT WHAT’S EXCITING ABOUT PEOPLE AND BRANDS IN THE FIRST PLACE. HELPING BUSINESSES AND INDIVIDUALS IDENTIFY THEIR OWN UNIQUE ‘MAGIQUE’ TO BRING THEIR BRAND IMAGE TO LIFE THROUGH PHOTOGRAPHY AND VIDEO IS CURRENTLY ONE OF MY MOST ENERGIZING AND ONGOING PASSION PROJECTS. IT’S TRULY A DYNAMIC PROCESS — SO, WE CAN ALL FIND INSPIRATION AGAIN SEEING BRANDS THROUGH THE NOISE... Dauss Miller is a father, an ice cream addict, and a timepiece collector. He's a nerd, an artist, drummer, and a world-traveling dreamer. He's a results-driven professional with close to 30 years of visual arts, design, and photography experience, skilled in producing and directing scroll-stopping content with a proven track record of delivering high-impact imagery and happy clients. Dauss has been a die-hard artist and creative his entire life. He says 'When you do what you love, people love what you do, and I truly love what I do!'

I REALLY ADMIRE MUSICAL ARTIST JUNGLEPUSSY. HER ENTIRE BRAND IS BUILT ON BEING UNAPOLOGETIC AND AUTHENTIC. THE WAY THAT SHE EXPRESSES HERSELF THROUGH HER MUSIC, FASHION, AND EVEN HER SOCIAL NETWORKS HAS INSPIRED ME AND HELPED ME GROW IN SO MANY DIFFERENT WAYS. SHE HELPED ME GET TO KNOW MYSELF, FIND MY VOICE, AND USE IT. SHE HAS A PRESENCE SO POWERFUL THAT EVEN HEARING HER NAME BRINGS SOME PEOPLE DISCOMFORT. IT’S INTERESTING HOW SHE EXERCISES HER FEMININITY AND HER BLACKNESS IN WAYS THAT DON’T FIT INSIDE THE NORM. SHE IS TRULY AN ARTIST, BEING ONE MYSELF, I FIND HER UNIQUENESS ADMIRABLE AS WELL AS A CHALLENGE TO BE MY MOST AUTHENTIC SELF IN HOPES TO INSPIRE OTHERS IN THE SAME WAY SHE HAS INSPIRED ME.

megangraydesign.com

"SOMEONE WHO I ASPIRE TO BE (IN EVERY SENSE) IS MELANIE JOHNSSON. SHE'S A DESIGNER, ILLUSTRATOR, AND PAINTER BASED IN ENGLAND. ALL OF HER WORK IS SO POSITIVE AND BRIGHT; IT'S JUST INSPIRING TO LOOK AT. WHAT MAKES HER EVEN MORE ADMIRABLE IS HER INVOLVEMENT WITH IMPORTANT ISSUES. SHE TAKES ON PROJECTS THAT DEAL WITH SUSTAINABILITY, MENTAL HEALTH, BODY POSITIVITY, AND FEMALE EMPOWERMENT. SHE'S A PERFECT ARTISTIC ROLE MODEL FOR AN ASPIRING DESIGNER LIKE MYSELF." Megan Gray is a graphic designer, artist, traveler, and dad-joke enthusiast. Her favorite thing in the world (besides visiting sunflower fields) is editorial design. Making layouts is like a dream to her; creating a bound piece of consistent layouts its like composing music. She is so grateful to be able to design for PATTERN magazine. Long live print!

@megangray00 Michelle Steele is an Indianapolis-based fashion stylist and creative consultant, who brings a timeless yet, fashion-forward take on styling. As a former editorial model represented by Ford models and the Helen Wells Agency, Michelle has experience both in front and behind the camera. Known for her creativity and broad use of color, her versatility allows for a diverse range of editorial, advertising and personal styling.

@steelestyling

"I'D HAVE TO SAY CELEBRITY AND FASHION PHOTOGRAPHER, MIKE RUIZ. FIRST OFF, I RELATE TO HIS EARLY LIFE AND APPRECIATE HOW HE CARRIES HIMSELF IN THE BUSINESS. HE DEFINITELY HAS CREATED HIS OWN BRAND AND A SIGNATURE LOOK TO HIS WORK. HE HAS A HANDS-ON APPROACH TO HIS SHOOTS, AND A FRIENDSHIP AND RAPPORT WITH HIS MODELS." Willyum Baukley is a fashion photographer based in Indianapolis. His focus is primarily on people and concept-driven shoots. Willyum has worked with various fashion-related outlets, which has created a wide mix of understanding with the fashion and photography worlds. He has been published both locally and nationally. Photography and design are his passions, and he hopes that shows through his work.

steele.style.com

"THE LATE VOGUE ITALIA EDITOR AND CHIEF (1988-2016), FRANCA SOZANNI’S PERSONAL STYLE WILL RESONATE WITH ME ALWAYS. HER PERSONAL STYLE AND BRAND WAS THE FIRST TRUE OUTLIER IN THE FASHION INDUSTRY. THROUGH THE PAGES OF VOGUE ITALIA FRANCA SMASHED THE FRAMEWORK OF IDYLLIC PRETTY BRANDING TO CREATE A STYLE FULL OF LIFE AND PURPOSE. "

MICHELLE STEELE

WILLYUM BAUKLEY @willyumphoto

KHAILA KING

MEGAN GRAY

Khaila King is a senior majoring in Journalism and minoring in French and African American Diaspora Studies at Indiana University. She describes herself as a journalist and a creative. These two components of her identity feed into things that she is most passionate about, specifically issues pertaining to marginalized, oppressed communities. She expresses her creativity through various art forms. Khaila has been building an art platform called TheKreatiff, in hopes to one day start a business. She allows her artistry and writing to act as a representative of who she is. In her free time, you might find her creating, listening to female rap, or doing some crystal meditation.

willyumphotography.com

khailaking.com

@thekkreatiff @_khailaaaa

24 HOURS of INDY If you live in Indianapolis, you know that “Indy-no-place” is an outdated moniker. It doesn’t suit Indiana’s capital city anymore—if it ever did.

We’ve changed a lot in 20 years, but we often wonder if the outside world remembers us a sleepy town, a bastion of socially-conservative values, a cornfield with a famous racetrack. PATTERN invites you to glimpse Indianapolis as it is today—a dynamic city that can’t be narrowly pigeonholed. Take a 24-hour tour of Indianapolis through the viewfinders of 24 local photographers and walk away with a manifold sense of place that defies cliché descriptions. 10

PATTERN VOLUME NO. 16

Be thany Quinn

@jxytel

bbquinnphotography.com

Jay tel Provence

@bbquinnportrait

INDIANAPOLIS Population: ~869,012 39.7684° N, 86.1581° W

Paul D'Andrea @pdandrea

pdaphotography.com

m a 8 0 : 12 @lennywhite_pridephotography pridephotographyinc.com

L enny Whi t e

PATTERN VOLUME NO. 16

“I’m asked how I feel about Indy compared to Chicago where I’m from. My response is, ‘Indy is slower, but I’m slower now too!’ Indy isn’t slower, just smaller.”

Fai th Blackwell

@fbphotogllc faithblackwellphotography.com

"You Are Beautiful sign. This never gets old. Simple reminders are the best!"

Fountain Square

m a 0 2 1: 13

@alizalyn Alizalyn.com 14

m a 5 2:1 Aliza Brown

PATTERN VOLUME NO. 16

3:40am Capturing sleep through long exposure

@kategreggphotography kategreggphotography.com

Ka te G regg 15

"First pot of coffee. And cats. That's Fred Fredburger in back, Solaris in front. It took 30 minutes to get to this shot because I wanted it without cats in the frame. I finally gave up. We have cats."

@charlesletbetter charlesiletbetter.com

tt er e b t e L . I s e Charl

4:37am

PATTERN VOLUME NO. 16

m a 5 5 5: @pdandrea

pdaphotography.com

Paul D'Andrea

6:44am LorealMade.com @LorealMade

er d l E l a e r o L 18

PATTERN VOLUME NO. 16

Jerica Bean @jericabean

Mamaw & Papaw's House

7:15am

Savannah Calhoun Savannah-calhoun.com

@sav.calhoun

m a 0 2 : 8

PATTERN VOLUME NO. 16

Chris Whonsetler Photography: @WhonPhoto Hunting/Gardening: @FromFieldToTable

â&#x20AC;&#x153;The best part of Indianapolis, for me, is the accessibility. Indy is the perfect size, not too big not too small.... Give me 30 minutes and I can be in the heart of the city, back to my garden, hiking at a State Park, or out hunting.â&#x20AC;?

9:00am 21

m a 5 1 : 10 @MikeAndrePhoto shotbytheegoat.com

Long's Bakery

“The best donuts in the world and the different type of people that love to enjoy them. Long’s bakery is an Indianapolis staple and close to my hear as I grew up on the same street.” 22

PATTERN VOLUME NO. 16

Mike Andre

Esther Bos ton

@ebostonphoto estherboston.com

m a 1 11:1

The Canal Walk

Steve Brokaw

Indiana Statehouse

m p 8 1 12: 24

PATTERN VOLUME NO. 16

m p 3 1:3 â&#x20AC;&#x153;With film photography, I feel that it makes the photographer think more and limits you in ways to make you more creative. In my opinion, film captures the picture exactly how I would want to see it.â&#x20AC;?

jamarmitchell.com

@justcallmejamar

Jamar Mitchell

Maddie Scarpone

@maddiiee88

Milktooth

maddiescarpone.com

m p 0 3 2: 26

PATTERN VOLUME NO. 16

3:06pm r& e ll i M i re oo M Kad n o J

Indiana War Memorial

@thejmoore

@kadimiller

“Our first couple of dates were something we like to call “photo walks.” With our film cameras in-hand, we would explore our city, take photos, and get to know each other.... We’ve been photo-walking around Indianapolis for a couple years now, and we still love seeing the world through each other’s photos.”

@jakewiththefilm

4:26pm

PATTERN VOLUME NO. 16

Jacob Moran

@jakewiththeshot

100 Acres at Newfields, Freebasket art piece

5:45pm hadleyfruitsphotography.com @hadleyfruits

“There is no other expression of life that brings me more joy than being with family, especially with my children. Our youngest son Walker (17) is an autistic teenager and Special Olympics basketball player, so we spent our time together shooting hoops at the most imaginative basketball court in Indianapolis, Freebasket at 100 Acres. It was precious time well spent in the fading light of the day, the waning weeks of summer, and an unfathomable three months before an eighteenth birthday.”

Hadley ‘Tad’ Fruits 29

stacyable.com

@stacyablephotography

m p 0 1 : 6

Backyard, Meridian Kessler

PATTERN VOLUME NO. 16

StacY Able

www.ipernity.com/doc/292973

@notsemicolin

Broad Ripple

7:34pm

“The area around Bluff Road, on Indianapolis’s south side, was originally settled by German immigrant farmers who built the nation’s largest concentration of greenhouses. Several family farms remain to this day. I’ve always loved seeing the open fields here.”

Bluff Road; South side of Indianapolis

Warsaw, Indiana

Colin Dullaghan 31

lvlovephotography.com @lvlove

8: 50pm

PATTERN VOLUME NO. 16

Linda Vang

m p 0 9:1

“...sometimes shooting something you see everyday in a different way or different format can create a different atmosphere in the photograph.”

r Brooke Taylo

Salesforce Tower, Downtown Indianapolis

brooketaylor.xyz

@justanothervirgo 33

Michael Cottone themichaelcottone.com @cott0ne iPhone

"A big part of living in Indianapolis for me includes supporting the local music scene. There is an immense amount of talent in the vicinity that frankly doesnâ&#x20AC;&#x2122;t get the attention it deserves. This photo is a portrait of Alex Beckman, an Indianapolis native who is a big part of the local music scene." 34

PATTERN VOLUME NO. 16

m p 2 1 : 0 1

@denariphotos maxwelldenari.com

m p 11: 55 Maxwell R. Denari

"Punk is woven into the cloth that is the culture of the Midwest â&#x20AC;&#x2019; and Indiana is stitching its very own identity within underground Rock and Roll."

State Street Pub

PATTERN VOLUME NO. 16

WE GATHER HERE TO

CELEBRATE HONOR SPEAK OUT SOCIALIZE REMEMBER DREAM CO LO R PA L E T T E

WITH A REVERENCE TO INDY’S PAST AND AN EYE TOWARDS THE CITY’S FUTURE, THE SHINING A LIGHT ON INDIANAPOLIS INITIATIVE ILLUMINATES THE HEART OF OUR CITY AND THE CROSSROADS OF AMERICA CALLING FOR COMMUNITY ENGAGEMENT AND THE GLOBAL RECOGNITION OF MONUMENT CIRCLE AS A ONE-OF-A-KIND HISTORIC, CULTURAL AND CIVIC GATHERING SPACE. COME JOIN US.

PREMIERING NOVEMBER 9, 2019

T HI S P RO JECT I S M A D E P O S S I B L E BY:

WAR MEM

A N

ALS RI O

INDI A

THIS PRO J E C T I S M A N AGED & OW N ED BY:

M ISSI

fashion

PHOTOGRAHY BY ESTHER BOSTON STYLE BY LAURA WALTERS ART DIRECTION BY LINDSAY HADLEY MODEL JOE GOLC (INDEPENDENT)

PATTERN VOLUME NO. 16

ABSTRACT TOP, NINA TIARI TURTLENECK, VINCE CAMUTO WOOL SHORTS, GUCCI WOOL BERMUDA SHORTS SOCKS, ZARA SUNGLASSES, JAMES DANT SHOES, ZARA 39

SUIT, TOPMAN BANBURRY SLIMFIT SHIRT, TOPMAN WHITE MUSCLE FIT OXFORD SHOES + SOCKS, ZARA HAT, URBAN OUTFITTERS POCKET SQUARE, J BENZAL 40

PATTERN VOLUME NO. 16

LEFT: SUIT, ZARA PLAID TOP, ZARA STRIPED TEE TIE, J BENZAL SHOES, SAKS FIFTH AVENUE COAT, J BENZAL RIGHT: FLORAL TOP, TOPMAN FLORAL PRINT SPORT V NECK SWEATER, VINCE 42

PATTERN VOLUME NO. 16

HIGHER FASHION THAT RAISES THE TEMPERATURE, THAT RAISES A GLASS, THAT RAISES HELL.

LEATHER JACKET, JAMES DANT TOP, TOPMAN MUSCLE TEE PANTS, DRIES VAN NOTEN PETRICK CUFFED PANT TIE, J BENZAL SHOES, ZARA RIGHT: NECK SCARF, JAMES DANT HAT, URBAN OUTFITTERS STRIPED TEE, ZARA PANTS, ZARA BELTED TROUSERS COAT, ZARA STUDDED COAT SHOES, SAKS FIFTH AVENUE RINGS, JAMES DANT 44

PATTERN VOLUME NO. 16

fashion

FALL FASHION TRENDS FROM THE RUNWAY TO THE HIGH STREET RAISE THE BAR, RAISE YOUR GAME, AND RAISE A FEW EYEBROWS.

PATTERN VOLUME NO. 16

BLAZER, ZARA POCKET SQUARE, J BENZAL SWEATER, JAMES DANT JEANS, MODEL'S OWN SHOES ZARA 47

Swing your head from left to right in half a second. What if that momentary sweep could take in an entire moment in history? What if, even more ambitiously, you could swiftly behold the arc of half a century? On the left you’d see John F. Kennedy’s visit to Indianapolis in the Spring of 1960, where he spoke to a huge crowd at the Fairgrounds Coliseum and smoothed his path to becoming the youngest person ever elected president of the United States. The person who successfully prevented a nuclear war during the Cuban Missile Crisis and established the Peace Corps. On the right you’d see right now, this very moment, with this current president. WHAT IF IT ALL FLASHED PAST IN HALF A SECOND? On March 21, 1960 Indianapolis News photographer Joe Young set up his Panon Wide Angle Camera, a novel device with a lens that swings to provide a 140-degree field of view, behind the curtain on the stage at the Coliseum. Only that pivoting lens and one tripod tip protruded. No Secret Service agents supervised. Joe couldn’t even find a policeman or firefighter to help him mount the stage and steady the camera. “Well, that was one of the most difficult pictures I've ever taken in my life. And, of course, I was relatively a new staffer. I'd only been working for a couple of years at The News, which was just about the biggest paper in the state,” Young recalls. “I made six exposures, I bracketed them, and came out with a winner. But boy, I sweated it all the way.” He didn’t even get to stay for the majority of the speech. “I made my picture and got out of there like pronto, because I knew I had to get it printed and so on.” As was common at the time, Young had to do his own darkroom work — which meant that taking the photo was only the beginning. “That picture took a lot of dodging and burning too, because when you shoot interior light like that, you have to deal with the spotlights and the dark areas and everything.” Young notes, in retrospect, that he really wasn’t trying to capture the identity of the presidential candidate in the image: “You know what, in those days you didn't even think about that,” he admits. “I did have a slight concern, though: Would he be recognizable from a back view?”

PATTERN VOLUME NO. 16

MORE T H A N H A L F A LIFE T IME AGO b y

Col in Dulla gh an PHOTO BY INDIANAPOLIS NEWS PHOTOGRAPHER JOE YOUNG / STAR

1/2

a secon d

And indeed, he is. The highlights around JFK frame his stance in such a way, tracing a brilliant outline around the characteristic cantilevering of his body, that it’s impossible to mistake him for anyone else. It makes you wonder how long Young must’ve worked in the darkroom — or how speedily and skillfully — to achieve this effect. It also makes you wonder about the impact events may have on the places in which they transpire. Kennedy packed the house in the Coliseum that day — despite what some 1960s-era media bias would have had you believe. (He tells me the Indianapolis Star, which competed with the News in those days, downplayed the event’s turnout because the paper’s owner, staunch conservative Eugene C. Pulliam, detested Kennedy. John F. Kennedy, for his part, was disappointed by the Star’s coverage, but thrilled to see Young’s rendition — which is why Young now has an autographed print from the 35th president.) But take a moment to think about how events shape a place’s identity. About three years after Young captured his image, a catastrophic propane explosion at a Holiday on Ice show killed 74 people in that Coliseum. The following year, The Beatles played their only Indiana concert ever, right there. Today you can go ice-skating there in the winter, or see livestock shows during the Indiana State Fair. But as you do, I think it’s wise to reflect for a moment on all the other occurrences that have taken place where you’re standing. See if you can feel even a glimmer of the light they may have left behind. And remember, in particular, what Joe Young saw through his viewfinder before scampering off to get his film developed in time for the presses that night. Even fifty-nine years later, that iconic scene just might gleam in memory still. Even if it only lasted half a second.

nt me n g i ss A jfk i n d i a n a

s t a t e

f a i r g r o u n d s

m a rch 20

"I MADE SIX EXPOSURES, I BRACKETED THEM, AND CAME OUT WITH A WINNER. BUT BOY, I SWEATED IT ALL THE WAY.”

19 6 0 JOE YOUNG PHOTOGRAHED THE EVENT FOR THE INDIANAPOLIS NEWS WITH A PANON WIDE ANGLE CAMERA. 49

WORDS BY KHAILA KING

PHOTOGRAPHY BY DAUSS MILLER

Complexities I N

Complexion THESE ARE THE VOICES, THE UNFILTERED REALITIES, AND THE MULTIFACETED IDENTITIES OF BLACK WOMEN THROUGHOUT THE DIASPORA. Where there is authenticity and resilience, there exists intellectual beings with many different cultural, ethnic, and national backgrounds. All stand in their uniqueness, yet face adversity and make sacrifices in their daily lives. They are artists, mothers, companions, scholars, entrepreneurs, and much more. While they all share the commonality of being both Black and women, and often stand together as one, their social experiences are not synonymous.

PATTERN VOLUME NO. 16

PROFESSOR

Una

How does your identity as a Black woman affect your professional life?

I think it gives me a greater understanding of my own place, my own role, and also my own responsibility. I always think about the need to make sure you leave doors open for others. Being an economist, there are not many people of color and there are very few women [in this field]. How do you feel the “angry Black woman” stereotype and other tropes alter the way you and other women who look like you navigate society? I think it can be tough for women, period. There is this risk that if you are strong, then you are bossy. A man can be seen as confident, while a woman is seen as overbearing. Black women have an even more challenging path, because someone might be uncomfortable with the fact that you are a woman in a leadership position and that you’re a person of color. You’re dealing with both at the same time. What part of your identity are you most proud of? All of it really. Growing up in Nigeria where I had a lot of Black role models; the president is Black, the governor is Black. I didn’t think about race as a limiting factor. I also come from a family where women were encouraged to dream. My mother is a historian, and she helped me learn about a lot of women who have broken barriers, whether that be in sports or entertainment. We read a lot of biographies growing up, and that gave me a sense of understanding of what people of African descent have endured and overcome. I’m proud of who I am! What’s one thing that you wish your parents had told you about being a woman of color?

UNA OSILI

Having parents that taught me the sky was the limit, I don't think they talked as much about the challenges. I remember my father saying life isn't fair, but [my] not really understanding it. I think sometimes parents need to help kids understand. My mother sent me this article called “Roots and Wings,” and every parent should give their children roots so they know who they are, but also wings so they can fly and dream about a world that's better than what they had seen. That is a great framework for parenting,

but I wonder, too, if parents need to teach kids a lot more about resilience and grit, and dealing with challenges. I think my parents probably had challenges. It's only now that we ask my father what it was like, because he was Black at Cornell, an Ivy League school back in the ’60s. I think that parents need to share some of those struggles and lessons. You want your kids to dream, you want them to believe that anything is possible, but you also want to teach them that you need to learn how to overcome, resist, and speak up. I learned that through my own experiences. Describe a defining moment when you realized that social constructs weren’t designed in your favor and how the realization shaped you. When I was in college I worked as a camp counselor and camp director for a summer program in inner-city Boston. I started as a freshman volunteering in Roxbury, one of Boston’s toughest neighborhoods. I lived in the housing projects for two summers, and I learned very quickly just how ZIP Code and identity defined people’s outcome in America. It gave me such an understanding of systemic racism. The taxicabs did not go there, you couldn't order pizza delivery. Whenever I took our kids on a field trip and people asked, 'Where are you guys coming from?' and we told them, I saw a kind of fear, especially in White faces. So that was a defining experience for me as a young person. It helped me understand how important it was that no matter what you do in life, you make sure you are investing in the lives of others, especially young people, and make sure they are expanding their own dreams and not limiting themselves. The gender thing came later to me on my journey. Undergrad was like 50/50; women were well represented. In grad school there were so few women. You'd be not just the only Black person, [but also the only woman] out of maybe 40, 50 people. I had a good role model in my father. He was someone that really believed in gender equality. My husband is also somebody who comes from a family of sisters, so he also believes in investing in women. He's also been a strong champion and advocate.

“”

You want your kids to dream, you want them to believe that anything is possible, but you also want to teach them that you need to learn how to overcome, and resist, and speak up. I learned that through my own experiences. P R O B L E M - S O LV E R , F A M I LY & F A I T H , C H A N G E A G E N T . 52

PATTERN VOLUME NO. 16

ENTREPRENEUR, PROFESSOR

Idalia

How does your identity as a Black woman affect your identity as a professor and entrepreneur?

It affects it tremendously. I guess most people see me as just a Black woman and not understanding my cultural identity, which is really something that I kind of streamline between being a professor for Africana studies and Black studies, but also in consciousness for my business, Pretty Authenticated. It is a type of business that helps women discover their personal development through fashion. Is there any part of your identity you tend to suppress? Nope. I am completely 100 percent authentic. As a professor, yep, I code-switch and there are many times when my students be like: ‘What did she just say,’ and I’m like ‘Okay this is what I meant by this.' There's a lot of island terms that I use, but the way I dress is the same way I dress outside in public, walking around, going to Starbucks. The same way that I show up in a professional way is the same way I show up in a non-professional way. I may put a suit jacket on, but I’m putting some type of element of my ethnicity and myself and my identity into that. I don't suppress anything. I am who I am. Have you ever felt you had to suppress your voice to avoid the “angry Black woman” stereotype? No, because I'm so into Black studies and Black consciousness, I believe that the angry Black woman is something that has been demonized for so long, and I just refuse. We have a voice, we have an expression, we have a way of speaking that is authentic to our heritage and to our traditions. I've never had to suppress that. I speak in the same tone. If you think I'm an angry Black woman, yeah, I have a right to be angry, especially when it comes down to particular issues, especially societal issues, injustice issues, equity issues. I'm going to speak up just as someone else speaking up and saying ‘Hey, I have a voice too.’

Describe a defining moment when you realized that social constructs weren’t designed in your favor and how it changed you as a Black woman. Working at predominantly White institutions, I had already been consciously aware of White spaces, but institutionalwise, especially working at IUPUI, shaped my identity in ways that made me become the critical thinker that I am today. My whole goal is let’s say there's some other Black young girl just like me who went through college and needs me to be that [person], to say: ‘I got your back.’ I didn't have that when I was going through college, going through this predominantly White institution. I went through a lot of heartache and pain of trying to figure out, there was nobody that looked like me, and having to navigate through a space that really didn't want me there, but only to fulfill their diversity pool. They didn't really want me there. It was difficult, but what I can say is that it allowed me to kind of think about myself in ways that made me become this critical Black scholar — in ways that I'm like, ‘wow, these things that are going on are deeply rooted and largely embedded in the larger project of White supremacy, and there's nothing that I can do about it.’ But also thinking about the ways in which I can start using myself as a way of resistance, a voice, and to help Black students, to be a voice to say, ‘Hey, you got a space here.’ How do you think being both a woman and a racial minority impacts how you perceive yourself and how the world perceives you? Having to balance, what I call the double Black, plus the cultural LatinX and Caribbean experience, I think that it's this kind of tone that people don't accept, and it's like, do you not understand that Black people have cultural identities behind themselves? I have a hard time with that. I had a long time growing up with that, because when they say, ‘'You're Afro LatinX — what does that actually look like?’ — I'm like, well, it's like eating cornbread, callaloo, roast, beans and rice, and pupusas. It’s normal to me, but when people try to compartmentalize the identities, because they don't understand, it is tough.

IDALIA WILMOTH

“”

When they say, ‘you’re Afro LatinX—what does that actually look like?’... Well, it's like eating cornbread, callaloo, roast, beans and rice, and pupusas. It’s normal to me, but when people try to compartmentalize the identities...it is tough. ECLECTIC . DISRUPTIVE. PEACEFUL. 53

VISUAL ARTIST

Shamira

How does your identity as a Black/Brown woman affect your identity as a visual artist?

As a visual artist, I use repeat patterns and textile motifs inspired by the African Diaspora. My work has the frame of reference of Black and African traditions and spiritual practices, voices, symbols, and artistic forms that are sometimes marginalized. The main focus of my most recent work revolves around using textiles and objects to promote wellness, and to tell the story of maternal experiences. I also have an educational background in Psychology and am investigating a future in the field around Black/Brown wellness and art therapy. What is one thing that you wish your parents taught you about being a woman of color? Over time I’ve learned that our parents can’t protect us from everything. Self-knowledge is important when navigating through life, and everything they taught me strengthened my self-compassion and awareness. How do you think being both a woman and a racial minority impacts how you perceive yourself and how the world perceives you? Historically, I largely find that the world perceives us as needing to be regulated in some way. For example, policies in states, schools, and organizations that dictate what hairstyles are acceptable. I also think that we are expected to code-switch. Ultimately though, it’s my responsibility to myself to replace the world’s negative perceptions with my own positive frame of reference. Who is a positive role model to you—your hero?

SHAMIRA WILSON

I try to be careful about putting people on pedestals, because that can be shaky, but there are people in my life that inspire me and are there for me like my parents, my husband, and my in-laws. They are my heroes, because they are human and face adversity and keep going. It’s important to be my own hero as well.

Describe a defining moment when you realized that social constructs weren’t designed in your favor and how it changed you. The overall experience of learning about power structures and policies like the Black Codes, Article XIII of the Indiana Constitution of 1851, and Redlining have given me historical context for the social and institutional constructs that we face today. In my lived experience, I learned of racism very young. When I was born, a nurse made a racist comment and was fortunately removed from the delivery room. More so than shaping my identity this knowledge gave me awareness about the realities of the world. What is your hope for the future of Black American women? To be able to exist in all of our brilliance, nuance, and complexity. How do you feel the “angry Black woman” stereotype alters the way you and women who look like you navigate through certain spaces. The most common stereotype threat I’ve encountered has been in settings where I’m culturally isolated, with people I’m meeting for the first time or don’t know on a personal level. This has happened while traveling and in professional and educational spaces where Black women are underrepresented. I’ve met people that have tried to provoke a response from me to support their agenda. I express myself when necessary, and have spoken up, which essentially resulted in being labeled with the ‘angry Black woman’ stereotype. Stereotype threat is a valid risk and can take work not to internalize. Through gaining an understanding of cultural constructs, hearing the stories of other women, and from my own experiences, I am aware of what can happen if I express certain emotions in spaces where I’m culturally isolated. When navigating those spaces, it's important that I know my rights, while also being aware of my surroundings. I think as a whole, the women I know navigate in a way that feels safest.

“”

Through gaining an understanding of cultural constructs, hearing the stories of other women, and from my own experiences, I am aware of what can happen if I express certain emotions in spaces where I’m culturally isolated. SELF-POSSESSED, BL ACK , HUMAN. 54

PATTERN VOLUME NO. 16

Arneetrice

How does your identity as a Black woman affect your identity as a DJ?

Specifically in the way that I DJ, I do a lot of different things. I only DJ for companies and I do weddings, so my performances are usually really clean cross-genre, cross-nationality, and a lot of people see me as a Black woman and a DJ and expect that I’m a club DJ, and I DJ hardcore hip-hop, but I really don't, ever. So they just always assume that my performance is going to be a certain type of thing, but I end up playing different genres of music, like Latin music., I do a lot of Latin music, house music, pop, so most of my performances really aren't inside of my racial group. What part of your identity do you tend to suppress? Well, it's tough because we’re in Indiana, and I identify as what I like to call the triple threat. I’m a lesbian Black woman, so it’s like I have that queer aspect, I have that AfricanAmerican aspect, and then I’m a woman performer. Women DJs are just now really getting more popular, but sometimes in Indiana it's pretty tough. I never suppress the queer part. I just would say sometimes I don't disclose it, depending on what area I'm going to be in or that, honestly, for personal safety reasons at this point in 2019. Can you describe a time that you ever felt you had to suppress your voice to avoid the “angry Black woman” stereotype? Yes, girl! And it's not that I have to suppress it, I have to strategically communicate. I've been in the corporate world for a really long time. Before I was a full-time DJ, I was parttime deejaying, and then I was working in sales for a lot of different companies. I worked in insurance, I worked for AT&T, and I think that in a corporate sense you have to be strategic. You can't be as emotional or as passionate as I am when I DJ. My voice is a lot deeper; I talk really loud. I'm really expressive in nature; it's just who I am. And that can really always be taken as aggressive when honestly, it’s passion. What part of your identity do you feel most comfortable expressing? It's both the Blackness and the queerness. My wife made a T-shirt that says, ‘My Black is Gay Too,’ and I think that’s just so perfect, because being Black is one of the most lit experiences I’ve ever had. I feel like our people are more

creative, our sense of community is what gets me the most. I could walk down the street, and if I see somebody grandma sitting on the porch, I can speak, I can sit down, come on in. It’s always that warm and inviting thing, and then I think it’s also important to advocate for the queer experience while being Black, because in our community it’s just now become a thing where we’re expressing more comfortably in society. I think that in our culture, our Blackness, queer has been, ‘hey, don’t tell anybody your business.’ My mom’s a pastor, and I talk about this avidly, and she wasn't on board with the lifestyle. But even then it's like, ‘hey don't tell them, y’all don’t have to hold hands, you can just live your life behind closed doors.’ In the Black community, gay women aren’t taken seriously, and that really fires me up. What is one thing that you wish your parents taught you about being a Black woman? I wish they told me the amount of sacrifice you would have to make. I think Black women all around are sacrificers. We’re sacrificing our emotional experience, we’re sacrificing our compensation, because we’re not paid what we need to be paid. We’re sacrificing in our everyday life, because of the looks, because of the things that are said to us, and a lot of the times you can’t even get what you need to get done. People look at us as nurturers of society. Truthfully enough, I've been in White spaces where they expect for me to put a plan together and they expect you to have it all together and you have to stay emotionally calm and communicate effectively or you're a ‘ghetto Black mess.’ You have to make a certain amount or you're a ‘welfare queen.’ What is your hope for the future of Black American women? For Black American women I really want us to band together. I love the fact that it's now ‘sis’ and ‘sis,’ because we can really help each other in a life-changing way. Because our experience in the world sometimes is rough, and you need someone who can relate to you emotionally. ‘Do your thing sis, you can do it. You don't need a man,’ because right now we’re also trying to get out of this oppressive patriarchy that we’re experiencing. I love the fact that as Black women we are banding together to say: say, 'No, you can own your space."

ARNEETRICE RIAS-THOMPSON

“”

I think Black women all around are sacrificers... We’re sacrificing in our everyday life, because of the looks, because of the things that are said to us, and a lot of the times you can’t even get what you need to get done. RELENTLESS. OPTIMISTIC. INSPIRING. 55

ENTREPRENEUR

Victoria What part of your identity do you tend to suppress? As I’ve gotten older, the way I pronounce my words has gotten very different. I didn't notice it at first, but a friend from home noticed it. If I were to compare how I speak now to how I spoke in high school, it’s not dramatically different, but when you know better you do better. It's not even an, ‘oh you're speaking white.’ I've had someone say, 'You’re the blackest White person I've ever met,' meaning I speak correctly. I’m like: ‘there are Black people that speak professionally, this isn't foreign.’ It's not a Black or White thing; it's about being professional. What part of your identity are you most proud of? On the surface I'm like, ‘oh yeah, my hair,’ because I really had this deep transition with my hair over the past ten years. But really I want to say it’s my skin tone. Growing up, my family said, ‘Aw, you look pretty; you look beautiful,’ if I had dressed up to go to prom or whatever. My family always made an effort to say how smart my brother and I were, because they wanted to put it in you that, especially for girls, that your beauty isn't always the big factor; your brain and the decisions you make are important. Part of that kind of hinders you when you are a dark-skin little girl. Because you need that reinforcement constantly, because you have people who may look at you differently than they do your cousin who might have lighter skin. I didn't always have this loving relationship with my skin tone. I didn't hate it, but I just never loved it. It was just there. But as I've gotten older, I love it so much. Even today I got this yellow shirt on, I would never, never wear this color when I was younger. Now I buy everything in yellow. You're robbed of certain things like that, even wearing certain colors, because you’re like, I’m too dark. It's always a negative connotation that you have with it, but really it's been enhancing you, and you've been missing out.

VICTORIA DAVIS

Describe a defining moment when you realized that social constructs/institutions weren’t designed in your favor and how it changed/shaped you as a Black woman. I used to work at a TV station, and I remember there was this story about this Black guy who was shot and killed by the police. It was a local story here. They were going through this whole, ‘did he provoke the police officer,’ and revisiting the tape. One of the reasons I'm not in news anymore, I was the person who had to write about that story, and kind of the angle that they wanted me to approach was not one that I necessarily enjoyed. It was talking about a Black man who may or may not have done anything at the time, but the evidence that they had didn't seem like it should have been his fault. But then they were digging for things to see if it was, and I didn’t like that. You have that personal bias anyway, because you're Black and you see so many of these stories pop up. Then me being one of the only Black people on my digital team writing about this, I was kind of like, ‘Y’all don't have to live this story everyday.’ That was one of those times where I was like, this news environment is not set up for me. What is your hope for the future of Black American women? I just hope that we can have a seat at the table. We can build our own tables. People come from nothing and build up these empires, and I'm just like, this is so beautiful. It’s awesome, despite all the odds, all the things against us, there are people that are given certain things and aren't able to pull that off, and we’re given nothing and we still create this magic. We have so much power that it scares so many people. If they just scoot on to the side, let us all in, we’ll be running things. And that's the thing: We are running things behind closed doors a lot of the times. We’re the person who’s behind the guy who’s the CEO, giving him the talks and telling him what decision to make. That's not good enough, we need to be able to say, “Hey, alright CEO, your time is up, I'll be that, because I've been that forever, my face just hasn't been connected to it.”

“”

People come from nothing and build up these empires, and I'm just like, this is so beautiful. It’s awesome, despite all the odds, all the things against us... we still create this magic. D OW N -TO - E A R T H , C A R I N G , C R E AT I V E . 56

PATTERN VOLUME NO. 16

FA S H I O N D E S I G N E R

Yemisi How does your identity as a Black woman affect your identity as a designer? I know this can be so cliché, but I feel like being a Black woman, specifically from Africa, is magic. It’s the essence of who I am. What I do as a fashion design artist, the African culture is an empowering thing that spurs me on. Really, being a Black woman defines what I do as an artist. What part of your identity do you tend to suppress? I don't think that there is any part of me that I try to suppress, but I feel like navigation is a natural thing. When you're in certain spheres you have to adapt; you have to be flexible, especially to be successful and to be able to grow beyond just the norm. You have to challenge yourself in ways that make you flexible. Maybe as a Black woman, maybe as an African, especially as a Nigerian. If you think about it in that aspect, you know you bring something different to the table, not everyone will be able to embrace your difference, but you understand your differences. I understand my difference, and I accept and embrace my difference so when I get the opportunity to be in a certain sphere, I have to be flexible in the way that I introduce myself to become apart of that environment. I like to be apart of something that is bigger than myself, because I believe that's part of who I am and why I’m here. Once I started pushing myself farther out of my comfort zone, I started understanding that I have to be flexible and adaptable to each sphere and each current of power that I go into, not necessarily because I'm trying to change or that I'm being a chameleon. What is one thing that you wish your parents had told you about being a woman of color? I wish that as a female child, especially as a Black female child, that somewhere along the way someone would have actually told me that it's okay when the picture doesn't add up. When you put all the puzzle pieces all together and you're still missing a few pieces — and it's not a few pieces down the line, it’s a few pieces that leave gaping holes in the puzzle — that it’s still okay.

Who is a positive role model to you, your hero? My sister. I struggle with perfection, even as an artist. I thought I had to be perfect to be able to express my art, that if it is not perfect, the audience is not going to accept it. Growing up with her, seeing how she is as a person, how she's grown as a daughter, as a sister to me, and to others how she has such a big heart and is able to embrace everybody even in the face of adversity. She is very accepting, and she just keeps going. She challenges me to be better. How do you feel the “angry Black woman” stereotype and other tropes alter the way you and women who look like you navigate through certain spaces? The bias of stereotype is an opportunity. I understand that it’s a setback and that it's a challenge, but the way that I look at setbacks is that you can use them as an opportunity. I believe that women are already so powerful. We’re life carriers and life givers. It’s a form of empowerment. So just being you, if you already understand who you are and you accept who you are, when you go forth and you're facing those challenges, they are not challenges, they are opportunities. Being a transplant from Nigeria, I could keep going out there and keep engaging with people, thinking that I have three strikes against me. Or I can look at it like I have three incredible, powerful strikes that are for me. If I come to any environment, I’m bringing that energy, I’m bringing that magic of who I am. If we can look at challenges, subjugations, oppression, or limitations and look at it as a place of power and a place of opportunity, we’ll tend to thrive. What is your hope for the future of Nigerian women? I hope that we keep thriving, bringing our best, keep changing the narrative, and, above all else, keep sharing our message by telling our own stories. Tell the story of where you're from, tell the story of who you are, but also share the story of what visions you have and missions you wish to accomplish and just thrive in whatever it is you chose to do, and be your best in wherever you find yourself.

YEMISI SANNI

“”

If we can look at challenges, subjugations, oppression, or limitations and look at it as a place of power and a place of opportunity, we’ll tend to thrive.

I AM LOVE. I AM P OWER . I AM C H A N G E. 57

MARKETER

Leanna How does your identity as a Black woman affect your identity as a marketer? I consider my race and ethnicity as one part of my identity. It did influence my desire to pursue a career in marketing. I wanted to help craft the stories and imagery that are part of our society. What part of your identity do you tend to suppress and why? Rather than suppress parts of who I am, I often seek out similarities with those around me, then find ways to integrate what makes me different. Those differences or parts of my identity could range from texture and pop culture references to life experiences. What part of your identity are you most proud of? I love that I come from a loving, supportive family where our mom and dad taught us to strive for excellence and be proud of how God made us. That includes skin complexion, our heritage, and what our ancestors accomplished before us. Strong belief in God, family, education, and service to others are core parts of who I am. Part of that may come from the tight-knit nature of black communities, whether it's through historical black Greek letter organizations or churches. Who is a positive role model to you? My mother is my number-one role model. She navigates the world with grace, poise, and tenacity. She taught me the importance of not just intelligence, but the ability to understand others. She shows, through her actions, the importance of knowing your history and your culture and being proud of what makes me unique. Describe a defining moment when you realized that social constructs/institutions weren’t designed in your favor and how it changed/shaped you as a Black woman. When I was about ten years old, my favorite clothing store often sold T-shirts with fun phrases. There often was a picture of a girl on them too. One day, I noticed that there were dozens of shirts with girls on them, but only one shirt with a girl that looked like me. I shared this with my mom and dad. I mentioned they should have more shirts with girls like me on them. My dad responded, "Why don't you write the store a letter and share your idea?" I did just that. I wrote a letter and mailed it in. I learned two lessons: One, I deserve to be seen and heard. Two, I have the confidence to share my ideas. What is your hope for the future of Black American women like yourself? My hope is that we continue to uncover the stories that illustrate how multifaceted we are as Black women. Our backgrounds, points of view, and preferences vary. The more we can uncover and share stories, the more young Black girls will be able to identify with and say, ‘She's like me. Someone will understand me.’

“”

Rather than suppress parts of who I am, I often seek out similarities with those around me, then find ways to integrate what makes me different.

D R IVEN. WIFE. M OTH ER . 58

PATTERN VOLUME NO. 16

American Gothic

WORDS + PHOTOGRAPHY BY WIL FOSTER

strange & unusual HOW DO YOU DEFINE YOUR IDENTITY?

PATTERN VOLUME NO. 16

Ulorin Vex Occupation Artist

What does “Goth/Dark Wave” mean to you? A predilection for a darker aesthetic? I guess I think of “goth” as more of an entire subculture and dark wave as a music genre, like a combination of gothic rock and new wave. But honestly, I’m not really big on labels, I could be totally wrong. How does fashion play into identity for you? I think it’s an important part of my identity. It’s a very visible expression that I don’t conform or have any desire to “fit in," I just adorn myself in a way that makes me feel happy and don’t care too much if it seems odd to a lot of people. There are times when it almost feels like putting on armor, but it also signals to other like-minded souls: Hey we probably have stuff in common! Who are your favorite fashion designers and brands? Most of my favorite designers are smaller independent brands that I’ve had the privilege of modeling for. The first that comes to mind would be Mother of London, who I’ve been collaborating with for over a decade. Mildred has always been an innovator, and her influence in the world of alternative/avant-garde and gothic fashion in undeniable. When do you feel most powerful? So this is a funny question for me. I started lifting weights a couple of years ago after a lifetime of never having been in a gym, and that’s totally changed my idea on what it means to feel powerful. Obviously I feel powerful and confident in a good outfit with my makeup and hair looking awesome, but it doesn’t compare to the feeling of physical strength and knowing I can deadlift double my bodyweight and counting. When do you feel most content? Probably when I’m in hermit mode in my art studio with my cat Audrey curled up in my lap. @ulorin_vex

Kelsey Hine Occupation Designer What does “Goth/Dark Wave” mean to you? For me Goth is about capturing a sense of the past, but not in a literal way. Bringing in fantastic elements and creating a vision of history that is more inclusive and more in line with what I’d want to see in the future. I want to be able to drag that romantic vision into the modern day. How do you define your Identity? I’m a gay woman inexplicably living in the Midwest as a dark-romantic, but also as a giant nerd who loves diving into superfluous details. How does fashion play into identity for you? Growing up queer, I’ve always been painfully shy, so I’ve always looked to clothing to act as a sort fo armor against the outside world. Clothing can make me feel very powerful. My fascination with people in history is reflected in what I wear. Specifically incorporating and reclaiming femme elements from historical dress. People think of things like ruffles and lace as an indicator of fragility, but that’s a mischaracterization of things that represent hundreds of hours of work by nameless women across time. That’s why I like to pair femme aspects with things that would be traditionally masculine. High colloar and frills, lace and armor, shirt collars and full skirts. @ixdoxdeclare

PATTERN VOLUME NO. 16

Josie

Nina Kate

Occupation Designer What does “Goth/Dark Wave” mean to you? I remember when I was a kid, I used to see the goth kids and just fell in love with them, even asking my mum when I was five if I could grow up to be like that (she said yes, of course!) How does fashion play into identity for you? It’s a big thing for me. I’ve always loved dressing up, even as a small child, and that hasn’t changed. As a designer, I get to make my own dreams come true, and hopefully other people’s too. Who are your favorite fashion designers and brands? I have many! I love Viktor & Rolf, Alexander McQueen, but also my favorites are often indie brands like I do Declare, Nuit, Noctex, and Church of Sanctus. I rarely spend money on new clothes; pretty much everything I have is thrifted — but when I do its with small brands like those. @nina_kate @janedoelatex 63

Jessica Lynn

Josie Place Occupation Musician What does “Goth/Dark Wave” mean to you? Goth/Dark Wave, to me, means I get to express my emotions and to connect with so many people around the world. It gives me a beautiful platform to reach people through art and music. How do you define your Identity? I would describe my identity as a powerful woman not afraid to be myself and to show emotion through my music and style. When do you feel most powerful? I feel most powerful when I’m on stage performing my songs. There’s something euphoric about singing your guts out and running around like a mad woman, telling people how you feel. When the crowd gets into it, it’s just unreal how electirfying it is. When do you feel most content? I feel most content after a long day of writing, performing, recording, touring, shooting video or photos. Laying in my bed and thinking about all the things I’m able to do and create and the people I get to reach with my art is the best feeling in the world to me. @josiepacemusic

PATTERN VOLUME NO. 16

WHAT DOES “GOTH/DARK WAVE” MEAN TO YOU?

Raylin Joy Occupation Recording Artist & Actress How do you define your Identity? I try not to define anything. I simply always try to be true to myself in the moment. How does fashion play into identity for you? My fashion greatly depends on my mood. I like mixing different styles, because as a person I like to mix it up and try different things. It’s fun to be creative with it, and fashion is just another creative medium for me. Who are your favorite fashion designers and brands? Thierry Mugler, Prada, random shit I find online. When do you feel most powerful? When creating something that can be shared with other people! And music is such a profound tool to connect with others.

An undying love affair

@rayjoycat

Jessica Lynn Spencer

Occupation Hair stylist. Musician. What does “Goth/Dark Wave” mean to you? Everything! Creepy, eerie, strange goodness. It kinda describes my heart, and I like that. How do you define your Identity? I can’t really be defined; I don't think I fall into one genre really. I’m kinda dark yet light, mysterious yet open, space alien from the future. I’ve never fit in, but that’s what makes me, ME. How does fashion play into identity for you? I either dress like I’m going to twelve funerals or I dress like an electric babe from the eighties. There is no in-between. Ha! Who are your favorite fashion designers and brands? Honestly, I couldn’t tell you! I do 90 percent of my shopping at the Goodwill Outlet. It’s all second hand, I call it Trashion. @saturn_m00n

PATTERN VOLUME NO. 16

Ariel Levitan Occupation Singer

What does “Goth/Dark Wave” mean to you? It’s a state of mind; expressionism en noir. A dark movement of both the past and the future. It’s music, its culture, its art; all in shades of grey. How do you define your Identity? I’m a complex, artistic, unorthodox, freespirited, nihilistic weirdo expressing myself through art and trying to stay afloat in this wild world. I’m an over thinker, overachiever. I’m a fish out of water, a square peg in a round hole; and I’m ok with that. How does fashion play into identity for you? Fashion allows me to be whoever I want to be at any given moment. I believe that where words and music stop, fashion and art take the reins and fill in the gaps as a means of expressing our deepest emotions. As someone that strongly identifies and affiliates with the color black on a multitude of levels, fashion has allowed me to wear this feeling and mood, right on my very sleeve. When do you feel most content? I feel most content and aligned when I am creating music. This is where I feel centered, whole and like I’m exactly where I need to be. @arielleetienne @mxmsisdead

M A K E U P BY K AT H Y M O B E R LY H A I R BY P H I L I P SA L M O N

ST Y L E BY M I C H E L L E ST E E L E D ES I G N BY J O H N I L A N G - I L A N G R E TO U C H BY W E N D Y TOW L E

AG E N CY ) ; H A N N A H B . ( S E E N M O D E L S )

S U N G L AS S ES , J C R E WÂ

AS S I ST E D BY SA M A N T H A R I P P E R G E R

M O D E L S J U L I A R , TAY L O R M . I N D E R P R E E T S . ( H E L E N W E L L S

EARRINGS, J CREW

ST Y L I N G AS S I STA N T SA R I A H B O R O M

N AV Y PA N TS U I T, J C R E W

P H OTO G R A P H Y BY P O L I N A O S H E R OV

PUMPS, JIMMY CHOO

F R I N G E H A N D B AG , B C B G

PATTERN VOLUME NO. 16 O B I W R A P B E LT, T H EO RY

B E LT L I N E A , P E L L E

R E D PA N TS , A N N TAY L O R

R E D B L O U S E , A N N TAY L O R B L AC K H A N D B AG , B C B G

FA U X F U R A N I M A L P R I N T L OA F E R , J C R E W

L EO PA R D FA U X F U R C H O K E R ( B E LT ) , J C R E W

C OAT J . C R E W

N EC K S CA R F ST Y L I ST ’ S OW N

00 69

PATTERN VOLUME NO. 16

H A N D B AG , P OVA

PUMPS, PHILOSOPHY

B L U E D R ES S , T E D B A K E R

S K I N N Y B E LT, Â J C R E W

E M B R O I D E R E D G O L D TO P, J C R E W

B L AC K PA N TS U I T, B C B G STAC K A B L E B R AC E L E TS , J C R E W

EARRINGS, J CREW

A B A L O N E H A N D B AG , B C B G

PATTERN VOLUME NO. 16 N EC K L AC E , J C R E W

B E LT, B C B G

HEELS, BCBG MAXÂ AZRIA

EARRINGS, J CREW

B L AC K B L A Z E R , J C R E W

N EC K L AC E , B A U B L E B A R

C O R S E T B E LT, B C B G M A X A Z R I A

JAC K E T PA N T S U I T I N G , J C R E W S I LV E R H A N D B AG , B C B G M A X A Z R I A

E A R R I N G S , B R I G H TO N

B R AC E L E TS , J C R E W

PATTERN VOLUME NO. 16

S U N G L AS S ES , Â J C R E W EARRINGS, J CREW C R E A M R O S E T T E M I N I C L U TC H , B R I G H TO N

N AV Y PA N TS U I T, J C R E W

PUMPS, JIMMY CHOO

O B I W R A P B E LT, T H EO RY

H A N D B AG , B C B G M A X A Z R I A

K I T T E N H E E L “ FA N CY, ” B R I G H TO N

FO R EST V EST / JAC K E T, B C B G M A X A Z R I A O B I W R A P B E LT, T H EO RY

B E A D E D H A N D B AG , B R I G H TO N

ST U D D E D C H O K E R ( B E LT ) , J C R E W

AGAINS

PATTERN VOLUME NO. 16

ST the

GRAIN PHOTOGRAPHY BY ALYSSA TRINKO @trinkettrinko

PATTERN VOLUME NO. 16

“”

Technology — the thing that is supposed to connect us — is blocking, and even destroying, our connection to ourselves and each other. I wanted to express the dismal irony of this through this series.

“”

These photos illustrate the odd nature of students’ interpersonal relationships, our common search for identity, and our constant struggle for connection with one another in a technological world. 80

PATTERN VOLUME NO. 16

N R E T T A P

R OA D ON THE

LD. OR W E TH G IN RT PO IM . IS OL AP AN DI IN EX PORTING

s e e d s

b o o s t i n g

o f

h e l p

i d e n t i t y

A broad

PATTERN VOLUME NO. 16

s e e d s

o f

h e l p

PHILIP SALMON

G U A T E M A L A p h o t o g r a p h y

b y

S ta cy A ble 83

SEEDS OF HELP IS A NONPROFIT, NON-GOVERNMENTAL, NON-RELIGIOUS ORGANIZATION THAT PROVIDES AND PROMOTES EDUCATION AND RESOURCES FOR WOMEN AND CHILDREN IN THE HIGHLANDS OF HUEHUETENANGO, GUATEMALA.

THIS PROGRAM HAS BEEN WORKING ON GIVING INDIVIDUAL YOUTH UNIQUE SKILLS TO ADD VALUE TO THEIR COMMUNITIES. THEY TRANSITION FROM BEING ONE OF MANY UNTRAINED LOW-WAGE WORKERS, TO SOMEONE WITH A SKILL AND TRADE THAT HELPS THEM CREATE THEIR OWN IDENTITY. WHEN YOU ARE STRUGGLING TO PUT FOOD ON YOUR FAMILY'S TABLE, YOUR IDENTITY, CREATIVITY, AND SENSE OF SELF ARE OFTEN OVERLOOKED. 84

PATTERN VOLUME NO. 16

s e e d s

o f

h e l p

H u e h u e t e n a n g o PHILIP SALMON HAS BEEN STYLING HAIR IN INDIANAPOLIS FOR MORE THAN TWENTY YEARS. WANTING TO GIVE BACK, PHILIP TAUGHT AND EMPOWERED THE STUDENTS TO CUT EACH OTHERS' HAIR.

Gu at am ala

DESPITE THE ALTITUDE, LANGUAGE BARRIER, AND TEACHING FOR THE FIRST TIME, PHILIP LOVED IT AND IS WORKING ON A FUTURE TRIP.

THE STUDENTS INCLUDED NINE YOUNG ADULTS FROM EIGHT DIFFERENT VILLAGES, AGES RANGING FROM SEVENTEEN TO TWENTY-FOUR. SEVERAL WALKED FOR MORE THAN AN HOUR ON ROCKY TERRAIN TO ATTEND. OTHERS GOT UP EARLY AT 4 A.M. TO WORK, THEN ATTENDED CLASS AFTERWARD. THE CLASS WAS COMPOSED OF SEEDS OF HELP YOUTH GROUPS, SINCE THEY WERE IN GRADE SCHOOL. MOST HAVE GRADUATED FROM THE SIXTH GRADE, AND WITHOUT SEEDS' INVOLVEMENT WOULD HAVE GONE NO FURTHER. 85

Available in hardcover, ebook, and audiobook. Brought to you by

PATTERN VOLUME NO. 16

. Learn more at

Old Haunts

PHOTOGRAPHY BY WIL FOSTER

STYLE BY ALYSSA WARLAND

MAKEUP BY KAYLA FERGUSON

HAIR BY HAYLEY ANDERSON

MODEL CASEY S (INDEPENDENT)87

SWEATER, FASHION NOVA 88

PATTERN VOLUME NO. 16

LEATHER JACKET, VIXEN DRESS, WITCHERY HEELS, BETTS

DRESS, VIXEN BY MICHELINE PITT SHEER TOP, DAVID JONES LONG GLOVES, LA FEMME EN NOIRE SHOES, BETTS

PATTERN VOLUME NO. 16

SUNGLASSES, PRISONER, VALLEY EYEWEAR LEATHER JACKET, VIXEN 93

S T A E R K

C H R I S T I A N S E N

t h e

CRE ATIVE DUO CAMILL A STAERK AND HELENA CHRISTIANSEN, REFLECT ON THEIR FIRST

d a n i s h

COLL ABOR ATIVE PROJECT, AND THE CRE ATIVE MAGIC THE Yâ&#x20AC;&#x2122; VE WROUGHT SINCE THEN.

g i r l s

PATTERN VOLUME NO. 16

LOOKBOOK PHOTOGRAPHY BY HELENA CHRISTIANSEN ASSISTED BY SIGNE VILSTRUP MODELS: TERESA, KATARINA & ESTHER CASTING HAIR AND MAKEUP BY HELENA CHRISTIANSEN AND CAMILLA STAERK

PATTERN VOLUME NO. 16

WORDS BY POLINA OSHEROV

CAMILLA STAERK HELENA CHRISTIANSEN MET IN LONDON IN THE SUMMER OF 2000. OTHER THAN THEIR SHARED DANISH HERITAGE, THERE WAS NOTHING PARTICULARLY UNIQUE ABOUT THEIR CROSSING PATHS — STAERK, A RECENT GRADUATE OF RAVENSBOURNE COLLEGE IN LONDON, WAS TO BE FEATURED IN NYLON MAGAZINE, WHICH CHRISTIANSEN HELPED COFOUND. CHRISTIANSEN, A WORLD-FAMOUS SUPERMODEL, WAS THE PUBLICATION’S CREATIVE DIRECTOR. SHE PHOTOGRAPHED STAERK FOR THE STORY.

The two immediately clicked. A few months later they connected in Prague to shoot Staerk’s first lookbook consisting of her graduate collection and additional pieces, inspired by Milan Kundera’s book "The Unbearable Lightness of Being." Then, as now, their ideas merged seamlessly, bound together by an unspoken understanding. Today, almost twenty years later, talking about their time in Prague, Staerk’s eyes light up, “It really sums up our collaborative language,” she smiles. Indeed. Since that first project, the two have forged a creative partnership that has seen dozens of collaborations with brands and artists around the globe. From jewelry and eyewear, to architecture and now filmmaking, the creative duo, are in constant demand. While their personal styles are wildly different (Christiansen loves bright colors and patterns, Staerk is committed to stark minimalism and black attire year-round) their common childhood memories of time spent growing up in the Danish countryside has provided them a shared aesthetic for bringing together their complementary talents

in an organic way. Staerk says in all their time working together they’ve never disagreed. I tell her that’s weird. She laughs and agrees. Then she tells me how grateful she is to have the opportunities she and Christiansen have gotten over the years, and how important it is for them to invite other artists into their creative circle to share their joy of collaboration. She is especially excited about their latest project — a short film and sound concept titled "In My Dream Last Night." True to their gothic aesthetic, each black and white vignette is a surreal exploration of darkness and light. Almost twenty years into their partnership, it seems fitting to go back to where it all started.

THE DELICATE TWENTY-FIVE PAGE, HAND-BOUND TOME IS ONE OF A KIND. SHOT ON POLAROID FILM, THE IMAGES ARE MOODY AND STRANGE, TAPPING INTO THE DUO’S SHARED MELANCHOLY. IT IS A PRECIOUS RELIC TO REMIND THE WOMEN OF WHERE IT ALL BEGAN, AND AN ODE TO THE MAGIC OF COLLABORATION

PATTERN VOLUME NO. 16

â&#x20AC;&#x153;

[Staerk] tells me how grateful she is to have the opportunities she and Christiansen have gotten... and how important it is for them to invite other artists into their creative circle to share their joy of collaboration. 99

HE´S THE

M A N N ION JONATHAN MANNION // JERSEY CITY, NJ // 10/23/18

If you’re a consumer of rap music, then you’ve seen Jonathan Mannion’s work. Many times. Mannion, who is originally from Cleveland, has more than 300 albums to his name. Responsible for such iconic album covers as Nelly’s "Country Grammar" (2000), Ja Rule’s "The Last Temptation" (2002), DJ Khaled’s "Major" (2016), Bust Rhymes’ "Big Bang" (2006), DMX’s "Flesh Of My Flesh, Blood Of My Blood" (1998), Aaliyah’s "I Care 4 U" (2002), and Eminem’s "The Marshall Mathers LP" (2000), among many others. Mannion is likely the most prolific and storied rap photographer you’ve never heard of. Moving to NYC in 1993, Mannion was fortunate to assist photographers like Richard Avedon and Steven Klein, which helped lay the foundation for his technical skills. His easygoing demeanor, creativity, passion, and drive took him the rest of the way. In 1996, at twenty-five years old, he shot the cover of Jay-Z’s "Reasonable Doubt," and the rest, as they say, is history.

PHOTO BY GREGORY ALDERS 100

PATTERN VOLUME NO. 16

Now, twenty-five years since he stepped onto the scene, Mannion is plotting to publish a retrospective of his work, and PATTERN wanted to share just a tiny sample of the hundreds of thousands of images that he’ll have to wade through to get there. We’re rooting for you, Mannion, and we will be the first in line to get the book when it comes out!!

BIGGIE SMALLS // NEW YORK, NY // 6-30-95

WORDS BY P0LINA OSHEROV

101

JAY-Z // NEW YORK, NY // 6-01-96

“”

I SHOT THIS 665 POLAROID FROM ‘REASONABLE DOUBT’ AT THE END OF THE PORTRAIT SESSION IN A SOLARIUM ON THE TOP FLOOR OF MY APARTMENT BUILDING ON 72ND STREET AND RIVERSIDE DRIVE IN NEW YORK CITY. AS JAY-Z WAS HEADING OUTSIDE FOR THE LAST SET UP BY THE HUDSON RIVER, I ASKED HIM TO STOP FOR A QUICK SECOND BECAUSE HIS POSITIONING WAS STRONG AND I THOUGHT IT COULD BE A GOOD ‘BACK COVER’ FOR THE CD. IT FELT LIKE A MOVIE POSTER.

102

PATTERN VOLUME NO. 16

JAY-Z // NEW YORK, NY // 6-01-96 103

EMINEM // DETROIT, MI // 4-03-00 104

PATTERN VOLUME NO. 16

EMINEM // DETROIT, MI // 12-18-03

“”

THIS IMAGE ALWAYS MAKES ME THINK OF RUSSELL CROWE’S FILM A BEAUTIFUL MIND. EMINEM IS A GENIUS AND HIS HANDWRITING IS ABSOLUTELY FASCINATING. I FELT THAT AT THIS PARTICULAR MOMENT IN HIS CAREER EMINEM HAD FIGURED OUT HIS PROCESS AND COULD MASTERFULLY CREATE WORDPLAY THAT MESMERIZED AUDIENCES WORLDWIDE. THESE HANDWRITTEN LYRICS BEHIND HIM ALLOWED US A QUICK GLIMPSE INTO HOW HIS MIND WORKED.

105

“”

BEING IN THE PRESENCE OF A MUSICAL GENIUS AND NATIONAL TREASURE WAS ONE OF THOSE GIFTS THAT AS A PHOTOGRAPHER I GET FROM TIME TO TIME. QUINCY JONES HAS LEFT AN INDELIBLE MARK ON MUSIC AND HAVING THE OPPORTUNITY TO PHOTOGRAPH THIS TRUE LEGEND IS A MOMENT THAT I WILL NEVER FORGET. THE SESSION TOOK PLACE AT THE BEVERLY HILTON ON THE BALCONY OF ONE OF THE SUITES.

106

PATTERN VOLUME NO. 16

QUINCY JONES // LOS ANGELES, CA // 5-28-08

107

108

PATTERN VOLUME NO. 16

MOS DEF // BROOKLYN, NY // 9-03-04

OUTKAST // ATLANTA, GA // 9-08-98

AALIYAH // NEW YORK, NY // 5-14-01

ANDRE 3000 // ATLANTA, GA // 9-08-98

OUTKAST // ATLANTA, GA // 9-08-98

N //

14 5

DMX // YONKERS, NY // 11-21-97

ANDRE 3000 // ATLANTA, GA // 9-08-98

OUTKAST // ATLANTA, GA // 9-08-98

109

PHOTOGRAPHY BY POLINA OSHEROV STYLE BY DAVE WILSON STYLE ASSISTANT JULIE VALENTINE GROOMING BY PHILIP SALMON MODELS MYLES CAMPBELL (STATE ARTIST MANAGEMENT) + MILOS DRAGO (Q MANAGEMENT)

JACKET + SWEATER, EFFACE NEW YORK PANTS, NANAMICA SHOES, KOIO

110

PATTERN VOLUME NO. 16

111

JACKET, MITCHELL EVAN SHIRT + PANTS, KRAMMER & STOUDT SHOES, HEIRLOOM

112

PATTERN VOLUME NO. 16

SWEATER, EFFACE NEW YORK PANTS, NECESSITY SENSE SHOES, PS821

113

TRENCH, EFFACE NEW YORK JACKET + PANTS, FILLING PIECES SHOES, PS821

114

PATTERN VOLUME NO. 16

JACKET, EFFACE NEW YORK SHIRT, NECESSITY SENSE PANTS, EFFACE NEW YORK SHOES, PS821

115

SHIRT, DAVID HART PANTS, EFFACE NEW YORK SHOES, GOLA

116

PATTERN VOLUME NO. 16

JACKET, SHIRT + PANTS EFFACE NEW YORK SHOES, PS821

117

118

PATTERN VOLUME NO. 16

LOVERS OF FASHION WILL ENJOY BOBBY HUNDREDS’ NEW BOOK, THIS IS NOT A T-SHIRT. PART MEMOIR, PART HOW-TO GUIDE, PART HISTORY LESSON THE BOOK SHEDS LIGHT ON ONE OF THE MOST INFLUENTIAL POP CULTURE MOVEMENTS IN THE WORLD.

For fans of streetwear, The Hundreds brand needs no introduction. Launched in 2003, by Bobby Kim (a.k.a. Bobby Hundreds) and his business partner Ben Shenassafar (a.k.a. Ben Hundreds), The Hundreds is famous among streetwear lovers worldwide. The story of how The Hundreds brand was born, and its sixteen year history is beautifully recounted in a highly readable and entertaining manner in Kim’s new book This is not a T-shirt. (If you’re a puzzled by the book’s title, the point that Kim wants to make abundantly clear is that his clothing brand is less about the clothes and more about other things, like community and social activism.)

deeply committed to his brand’s followers, taking the time to respond to as many messages sent to him via social media as he possibly can, and being very approachable in person. There is no downplaying the disruptive impact that streetwear has had on the world of fashion, branding, collaborations and personal expression. No one knows this better than Bobby Kim, the co-founder of The Hundreds, one of the most influential and enduring streetwear brands in the world. PATTERN met the charismatic designer and author on his recent book tour, and we’re happy to share an excerpt from his book with our readers.

Kim is not just an expert in pop culture, fashion, branding and human psychology, he’s also ridiculously down-to-earth, and

119

EXCERPT FROM THIS IS NOT A T-SHIRT: C HAPT E R

Streetwear: A Brief History

o matter where we begin the streetwear story, we start in the middle.

Ben and I would look at each other. He, of Iranian Jewish descent. Me, a Korean American kid who grew up thinking I was Latino. “Neither,” we’d respond.

Defining streetwear is like fencing in a mirage. Streetwear’s just one of those phenomena—the tighter you crop in, the less focused the picture becomes. Like the way memories slip through your fingers the harder you hold on to them. Most people see T-shirts and ball caps and think streetwear is hip-hop clothes or skater style (that’s typically how I explain it to anyone over the age of forty). Streetwear, however, is simply the merchandise associated with an attitude. Teenage rebellion, youth culture, and fashion snobbery have long been parts of American life. Whether it’s called “beach counterculture” or “urban,” young people have long adopted T-shirt labels as identifiers and differentiators.

It’s as if, subconsciously or by design,· we’d created a streetwear brand just so we could exist. There’s no contesting the white male majority’s contributions to youth fashion through the decades, but as a person of color I felt excluded from the lifestyle. There were few role models who looked like me in clothing, rap, and skateboarding. I pinned Thrasher ads of Daewon Song, Gideon Choi, and Spencer Fujimoto to my wall, but the industry itself never called to me as a potential career. If you look up and down the halls of menswear history, you’ll see white faces everywhere. The surf industry was founded on board shorts, sewn by the hands of white Aussies and Americans. In the 1950s, the American couple Nancy and Walter Katin cut boat cover canvas to make the first-ever surf shorts. Decades later, in Australia, Gordon Merchant would triple stitch his Billabong shorts. In the seventies, Bob McKnight discovered Quiksilver board shorts down under and introduced them stateside. Today, the surf industry is still dominated by or-ange County-based Caucasian men with the exception of pat Tenore of RVCA. Bob Hurley helms Hurley, Volcom was founded by Richard Woolcott and Tucker Hall, and Vans by the Van Dorens.

Today, we call it streetwear, but we didn’t always.* “Streetwear” came into widespread use in the mid-2000s as a handy media catchall for the startups in our class—the designers standing up to department store labels and corporate sportswear. Without cut-and-sew capabilities and capital, we centered on graphic T-shirts and collaborations. Our brands were inspired by designers who sold exclusively through their retail stores like Bape and Supreme, but we wanted to open up wholesale doors on an indie level. We also wanted to open up streetwear via the internet. So we blogged. Some of the most notable websites included mine (thehundreds. com), Honeyee, Beinghunted, SlamXHype, The Brilliance, Highsnobiety, A Silent Flute, and Hypebeast. The web also gifted us with the online shop, wherein brands could cut the middleman altogether. Despite e-commerce, streetwear boutiques boomed. Suddenly there were more than a handful of stores in the world that catered to our kind. Skaters became disenfranchised by organized action sports and wanted something more grounded, rootsy, and fashionable to wear. The burgeoning retro sneaker culture needed to be dressed from the ankles up. All of these factors converged on an industry, a movement, that required a catchphrase. Moreover, this new customer— young, mostly male, and preoccupied with fashion-sought a flag to brandish. “Streetwear” fit just right. When we started The Hundreds, brands in our category were classified as independent, underground, or hipster. Stores and trade shows didn’t know what to make of our catering to such a diverse demographic. In the mid-2000s, the stores and trade shows compartmentalized young men’s fashion in two silos “skate” and “urban.” As brands like LRG and Ice Cream started to outgrow this binary portrait, the industry concocted the embarrassing portmanteau “skurban” to explain the black kids on their skateboarding teams. I recall standing outside our trade-show booths and getting asked by buyers and journalists, “Are you hip-hop or action sports?” Translation: “Are you for black kids or white kids?”

* Exceptions: Visions Street Wear and Tribal Streetwear.

120

PATTERN VOLUME NO. 16

The same can be said for skateboarding. Although its participant base has opened up and diversified with time, the majority of the companies remain owned and operated by white men. Meanwhile, the urban clothing sector of the late 1990s — although fronted by black rappers and designers—was also controlled by white men and Jewish garmentos. That’s why streetwear was important, necessary, and inevitable for an era of kids who looked unlike any generation prior. Although the men’s marketplace lazily spun a tale of two narratives—teenagers tidily divided into white and black culture—the youth broke the levees. What about the black kids who skateboarded and the white kids who listened to rap-not to mention all the shades of brown in between? Finally, it was time to hear from—and speak to—Latinos, Asians, Native Americans, those of mixed backgrounds, the LGBTQ community, and women! All peoples left out of the traditionally binary dialogue. These kids found residence in streetwear, and today’s brand founders are more reflective of their multifarious followers. Did hip-hop music originate in the late 1970s with Kool Herc’s playground parties in the Bronx? Or do we follow rap’s bread crumbs to Muhammad Ali’s ringside insults or to the dozens or to West African griot? Likewise, does streetwear commence with the Orange County designer Shawn Stussy’s namesake T-shirts in the 1980s? He was the first to popularize the hip-hop-meets-surf aesthetic within street chic, pairing luxury logo mashups on drop-shouldered tees with baggy trousers. Powered by the surfboard shaper’s graffiti-like signature, Stüssy caught on globally and continues to drive streetwear trends to this day.

Excerpted from THIS IS NOT A T-SHIRT: A Brand, a Culture, a Community—a Life in Streetwear by Bobby Hundreds. Published by MCD, an imprint of Farrar, Straus and Giroux. Copyright © 2019 by Bobby Kim. All rights reserved.

But if we point to Stüssy, then we’d have to rope in his peers and predecessors in surf like Peter Schroff and Jimmy Ganzer of Jimmy’z. Theirs were the wildstyled surfboards and neon-patterned pants that derived from aerosol paint and graffiti art. We can’t neglect the Zephyr freestyle skate team of 1970s West Los Angeles and their fusion of Venice gang culture with local surf politics. Craig Stecyk documented this synthesis of shaggy blond hair and cholo style—embodied in radical figures like the late Jay Adams—and broadcast it to global youth. Streetwear can dig deeper still, pulling on inspiration from the street gangs of 1970s New York, with their crews’ names and iconography branded across denim vests, to Angeleno pachucos (rioting in billowing zoot suits). Whatever and however you call it, streetwear is rooted in diversity and an exchange of cultures. Not solely skateboarding. Not just hip-hop or runway fashion or the avant-garde. Streetwear incorporates all of these effects, and the nineties street labels understood this well. This chapter bestowed a new breed of underground T-shirt iconoclasts: Freshjive, X-Large, and Tribal on the West. Triple Five Soul, PNB Nation, and Pervert on the East. L.A. influenced New York, which set off London and Tokyo. Streetwear had already gone global, courtesy of the International Stüssy Tribe’s presence in London and the aforementioned cities. But Stüssy’s disciples would eventually step out of their shadow. The best example of this was a Japanese DJ and designer named Nigo who appropriated what he admired from American street brands and created A Bathing Ape, otherwise known as Bape. Nigo’s $300 sweatshirts and upscale gallery boutiques set the benchmark for how streetwear would come to be considered—as art piece, as obnoxious Bentley driver’s uniform, as status symbol. Supreme, James Jebbia’s skate company out of New York, also offered its perspective on high exclusive streetwear. Its trademark retail a-hole attitude, cross-grain fleece, and premium collaborations captured the imagination of streetwear connoisseurs from here to Harajuku. In the early 2000s, I was a big fan of Alife, a four-person New York City design collective that produced small runs of thoughtful streetwear pieces and co-branded sneakers. Their original shop on Orchard Street featured a vast mural for guest artists, a curated selection of product from obscure makers, and, overlooking it all, a second-story studio on a mezzanine. As a customer, you could look up to the office window and see the tops of Jest’s and Tony’s heads, bowed over their desks, working on something important and cool. I loved how connected the designers were with the product and boutique.* Sure, the T-shirts were woven with the same cotton as those of a mainstream label, but the clothing felt personal and special because of the experience. I appreciated the independent, artistic spirit that drove the Alife name, and I’d leave the shop feeling inspired and even a bit envious. I could design and print T-shirts too. I wanted to play. I wasn’t the only one.

The next streetwear progeny was forged in the shadows of desktop publishing and garage screen printing, far from the spotlight that showered major designers. Streetwear’s raw and seditious spirit made a lot of sense during this period when Old Navy commercials governed the fashion landscape. Fashion is funny because as unique as they strive to be, consumers ultimately want to swing in the same direction, but there are always the black sheep running toward the other end of the Pendulum’s arc, in defiance of the establishment, championing independent thought. People like me, Ben and The Hundreds, Ray and Denis of Mighty Healthy, Greg and Mike of Mishka — we followed in the steps of the OGs. But we also learned from their mistakes. Like all arrogant youth, we were drunk off ego and believed we knew better, could fix the broken scene, and design cooler clothing. The new era of streetwear was open to wholesaling, anchored by heavy plastisol-ink graphics on Alstyle blank T-shirts, and communicated with the customer through blogs. The internet brought us together, and we joined forces at trade shows with other American brands in our class like Crooks & Castles, Hellz Bellz, Reason, Married to the Mob, and Huf. Although streetwear’s roots sprouted decades earlier, the mid-2000s apparel companies and retailers gave the genre a name, erected an industry, and transformed a wishful subculture into big business. The sneaker blogs and hip-hop magazines sank their teeth into this hot new trend. Some argue that streetwear as we know it today started here. Taking cues from Nike, Supreme, and Japanese lines that .applied a luxury-goods philosophy to casual street clothes, we retooled and remastered streetwear. We honed the art of limitededition distribution , produced collaborations that were low on profit and high on noise, and refined the science of branding. Depending on how you slice and dice it, streetwear today is pumping hundreds of billions of dollars into the economy. It’s been elevated from niche fashion to mainstream uniform and can be seen on the backs of the coolest and trendiest, whether you’re a sixth grader or a sixty-year-old. Streetwear has gotten so big that it’s overtaken all other sectors, from high fashion to athleisure. Any designer with a hoodie in their collection is now deemed “streetwear.” The term is practically devoid of meaning. Sometimes, it feels like we’re the last standing streetwear brand. At other times, it feels like we’re not streetwear at all. Streetwear, like hip-hop music, has gone pop. And as with rap, that doesn’t mean there isn’t an underground. There are just multiple strains now. Nuanced customers. Today, we’re faced with a multitude of voices and languages, a veritable streetwear Tower of Babel. We may not sound alike, or even understand one another, but we all share a cool attitude that radiates from our respective cultures and a love of rare product and meticulous design. It’s that love that most readily defines what “streetwear” has become.

* Alfie’s transparency influenced how I spoke and shared with The Hundreds’ customers own the line. 121

DENIM JACKET, TOMORROWâ&#x20AC;&#x2122;S GENERATION DRESS, CALVIN KLEIN RED FANNY PACK, GUESS TIGHTS, HOT TOPIC UMBRELLA, KATE SPADE NEW YORK 122

PATTERN VOLUME NO. 16

123

PHOTOGRAPHY BY VANESSA VONROUGE STYLE BY CENA TAMER HAIR AND MAKEUP BY VANESSA VONROUGE MODELS MARGARET & ELIZABETH (LMODELZ MODEL MANAGEMENT)

C L U T C H 124

PATTERN VOLUME NO. 16

RED BLAZER, BURBERRY NIRVANA T-SHIRT, FOREVER 21 DENIM, VINTAGE JORDACHE 1994 SNEAKERS, PUMA GOLD EARRINGS, CITY TRENDS

GRAPHIC SWEATSHIRT, VINTAGE GILDAN TWEED FANNY PACK, JUICY COUTURE SKIRT, ANN TAYLOR SHOES, CONVERSE

GRAPHIC T-SHIRT, L.O.G.G BY H&M BELT, VINTAGE PANTS, USA OFFICIAL EARRINGS, RAINBOW SHOPS SHOES, MODELâ&#x20AC;&#x2122;S OWN

125

126

PATTERN VOLUME NO. 16

NEON GREEN TURTLE TANK, DRESS BARN CHEETAH PENCIL SKIRT, CHESLEY BLUE & WHITE FANNY PACK, MICHAEL KORS RED EARRINGS, RAINBOW SHOPS RED PUMPS, MODELâ&#x20AC;&#x2122;S OWN

TUBU

LAR

127

128

PATTERN VOLUME NO. 16

GRAPHIC TEE, FOREVER 21 BELT, VINTAGE DENIM, DKNY EARRINGS, RAINBOW SHOPS SHOES, MODELâ&#x20AC;&#x2122;S OWN 129

d 130

PATTERN VOLUME NO. 16

m oo r k r a d PHOTOGRAPHY + STYLE BY WILLYUM BAULKEY MAKEUP BY DANELLE FRENCH

HAIR BY SEBASTIAN DEJONG

MODELS KALI P. (LMODELZ MODEL MANAGEMENT & RED MODELS NYC) TORI S. (LMODELZ MODEL MANAGEMENT & BMG MODELS CHICAGO) SARA E. (INDEPENDENT)

131

132

PATTERN VOLUME NO. 16

BLACK STUDDED DRESS, MICHAEL KORS

BLACK TIE BLOUSE, H&M BLACK LEATHER BELT, HELL BUNNY VINYL GLOVES, STYLIST’S OWN

BLACK TOP, BANANA REPUBLIC RED VINYL DRESS SHIRT, STYLIST’S OWN

BLACK AND WHITE PEASANT DRESS, MOONGOR

133

134

PATTERN VOLUME NO. 16

135

BOARD M PHOTOGRAPHY BY CHANTAL DOMINIQUE STYLE BY BREANA COWAN MAKEUP BY JULIE A. POWERS HAIR BY CHIE SHARP

136

PATTERN VOLUME NO. 16

MEETING

MODELS CARLEE & ANGELIQUE (LMODELZ MODEL MANAGEMENT)

LOCATION MAJOR TAYLOR VELODROME PARK

137

PATTERNED TIE TOP, STYLIST'S OWN GREEN SWEATER VEST, NINE WEST WHITE SKIRT, LAURA SCOTT SKATES, STYLIST'S OWN

138

PATTERN VOLUME NO. 16

BLUE SUNGLASSES, STYLIST'S OWN TRANSPARENT LINE BUTTON-DOWN SHIRT, STYLIST'S OWN BLUE BRALETTE, NOBO

GREEN SKIRT, LOFT GREEN SNEAKERS, VANS SKATEBOARD, STYLIST'S OWN

139

140

PATTERN VOLUME NO. 16

BLUE BRALETTE, NOBO PATTERN BLAZER, PATRICK CHRISTOPHER WHITE PANTS, DENIM & COMPANY BLUE HEELS, L. LORRAINE BRIDAL

GREEN TEXTURED TOP, F.C GREEN BLAZER, REQUIREMENTS GREEN PANTS, 89TH+MADISON WHITE HEELS, DE BLOSSOM COLLECTION

141

THIS PAGE BLACK SUNGLASSES, STYLIST'S OWN BLUE DRESS, D.C.I BY CORTNEY YELLOW PLAID SEE-THROUGH CARDIGAN, CHICOâ&#x20AC;&#x2122;S BLACK CIRCLE BELT, STYLIST'S OWN BLACK HEELS, STYLIST'S OWN

OPPOSITE PAGE YELLOW BLAZER, ALFRED DUNNER YELLOW TOP, CACHE WHITE PANTS, DENIM & COMPANY YELLOW HEELS, DAILY SHOES SKATEBOARD, STYLIST'S OWN

142

PATTERN VOLUME NO. 16

143

throwing

SHADE SHADE

PHOTOGRAPHY BY DAUSS MILLER STYLE BY RAEMIA HIGGINS

144

PATTERN VOLUME NO. 16

MAKEUP BY DANELLE FRENCH HAIR BY CHRISTINA LOCKETT

MODELS SARA (LMODELZ MODEL MANAGEMENT) + EMILY (SEEN MODELS)

DRESS, BOND GIRL NO. 9

145

TOP, TOKYO TWIGGY SHORTS, TOKYO TWIGGY SHOES, STEVE MADDEN

146

PATTERN VOLUME NO. 16

FAUX FUR COAT, BOND GIRL NO. 9

147

TOP, WITTY BY CODI SHORTS, WITTY BY CODI

148

PATTERN VOLUME NO. 16

GOWN, STYLENSPIRE ACCESSORIES, DESERT FLOWER ACCESSORIES

149

CAPE DUSTERS, ASMAX PANTS, REKUCCI JEWELERY, DESERT FLOWER ACCESSORIES

150

PATTERN VOLUME NO. 16

151

152

PATTERN VOLUME NO. 16

VOLUME NO. 15 LAUNCH PARTY More than 350 PATTERN lovers celebrated the launch of our second Music Issue inside a funky, empty office space overlooking the corner of Washington and Meridian in the heart of downtown Indianapolis. Special features included a display of vintage music posters, an interactive digital runway created by Blockhouse Studios, and groovy tunes courtesy of LARI PATIâ&#x20AC;&#x2122;s Ferris Booler and Brooke Billions. Thank you to Char Blu for the beautiful spread of food, and our fabulous bartenders for slinging SunKIng and Cardinal Spirits all night long!

PHOTOGRAPHY BY JAMAR MITCHELL

UPTOWN REALTY INVESTORS

153

Â Â? Â?Â?Â?Â

Firebird: Remix | Response Thursday, September 12

Brahms V. Radiohead Wednesday, October 2 Hilbert Circle Theatre â&#x20AC;˘ 5PM Happy Hour â&#x20AC;˘ 6:30PM Performance

Tickets available now! Call 317.639.4300 or visit IndianapolisSymphony.org

154

PATTERN VOLUME NO. 16

Title Sponsor:

Premier Sponsor:

I AM MORE

than a lingering cough. I am Osceana.

I needed to see a doctor. But I wanted more than thatâ&#x20AC;&#x201D;I wanted someone who actually had enough compassion to see me as a person. And thatâ&#x20AC;&#x2122;s what I got. At Eskenazi Health Primary Care, doctors from the IU School of Medicine work with some of the best nurses in Central Indiana. They were just what I was looking for. For more information, please visit EskenaziHealth.edu.

H E R E FO R YO U > > >

155