ANNUAL issue ISSUE three NO. 4
A Universal Language A
UNIVERSAL LANGUAGE
Photographer: Marco Oggian Model: Paolo Rossi Location: Laveno, Italy
Phsics Magazine Issue No. 4 Special thanks to: Soraya Zaman Marco Oggian Jared Soule Andreas von der Heide Mathias Jensen RxDIO Maddy McFly Mish Khalil Kal Mokhtar Paolo Rossi Vidur AAKS Handcrafted Font references: Bebas Neue ©Svetoslav Simov Baron Neue ©Svetoslav Simov High Tide ©Svetoslav Simov Kabel ©Svetoslav Simov (Simov, 2013) Other image references: Jamie James Medina, True Panther Records, Press Photos Kwabs Official/Facebook Clara Natoli, 2008 Michelangelo Pistoletto - Venus of the Rags, 1967 Written, designed, compiled and edited by Tebogo Mohlahlana in Cape Town, SA ©PhsicsMedia 2015 Creative Director for PhsicsMedia Tebogo Mohlahlana would like to thank you for your support Contact details: soulphsics07@gmail.com soulphsics.blogspot.com Digitaltimeless on Youtube Facebook Twitter This version is for promotional use only // not for resale
What’s Inside?
AUL
fashion
Supplements
VIDUR
branding
perpetual rags
self-verification
Ethical Buying
namedrop
Democratization
feature
LES Deux lookstory rxdio’s story maddy’s story
music is our voice
A Universal Language n n n n n n
editor’s note
Working on this fourth annual issue made me be that person who forced their way into very uncomfortable situations. As people we are afraid to get uncomfortable. I found myself having to convince people who have never heard of what I do that they could work with me to produce something as remarkable as this publication. I’ve also introduced film to be an extended medium of this magazine. Waking up knowing that your film is in its second day of production, and everything is up in the air will have you asking yourself “what did I get myself into?” and frankly speaking, there’s nothing glamorous about feeling that way. You actually find yourself in a very uncomfortable position, and the only thing you can do is to put your life jacket on and hurry along. In the end, the greatest feeling comes when your product comes out exactly the way you had envisioned it to be. Even if only two people share it among themselves, knowing that you pushed through that very difficult storm to be where you are is the best feeling in the world. The creative process is similar to sailing through an endless ocean. There are moments of calmness, and there are moments of “we’re about to sink!”, but nowhere can you give in. The escape is just too perfect. A friend of mine challenged me. She’s about to launch her resort bag collection which was assembled in Ghana and Burkina Faso. She left her air-conditioned London home to be out there under the sun, on the grind, far from the glamour! If you had to ask me what other fashion people are doing right now? Probably picking outfits for Instagram or browsing the web for “inspiration”. My problem with glamour is that it’s very short sighted. During my recent trip to Milan I caught up with a friend who knows all about the fashion industry. He told me of how the back-end of the fashion business over there treats and nurtures its talent. On the surface it looks very glamorous, but what actually goes on is unbelievable. In this publication’s fourth edition, A Universal Language, I wanted to broaden my scope. I’m not a music reviewer and I never was. I knew that writing about music would challenge me. I wanted to do a music issue. I wanted to be uncomfortable. From where I’m sitting right now, this issue is more than a music review. It’s personal and it carries a lot of intricacies. I wanted to achieve exactly that be it with the publication, the documentary film, and the Private Life collection; each of these elements of my brand speak A Universal Language. Stay blessed
music k yle hall The Boat Party label: Wild Oats Music production: Kyle Hall MI
the x x Coexist label: Young Turks/ XL production: Jamie xx UK
sza S label: Top Dawg Entertainment production: Patrick Lukens, Felix Snow NJ
king kr ule 6 Feet Beneath the Moon label: True Panther Sounds/ XL production: Rodaidh McDonald, Archy Marshall UK
mor uf Shades of Moo label: Love.Over.Everything/ LOE Recordings production: Iman Omari, Madlib, MeLo-X NJ
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blogs
Yat zer Tomi Mito Think Contra One Minute Wonder Medium
film The Best Of fer
[dir. Giuseppe Tornatore]
Her [dir. Spike Jonze] Berea [dir. Vincent Moloi] Middle of Nowhere [dir. Ava DuVernay] Upstream Color [dir. Shane Carruth]
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n amed r o p
King Krule
A
rchy Marshall has done more for the emancipation of the urban youth than most indie or punk singers in recent years. This pale looking, 19 year old London native started his underground adventures under the moniker of Zoo Kid. Today, he goes by King Krule (insipred by King Croele), and his debut LP 6 Feet Beneath the Moon, a brilliant body of work in my view, taps into the mind of a teenager caught up in the daily struggles of urban life. His use of aquatic symbolism, Norse Folklore analogy, acid jazz construction with old school hip hop influences make 6 Feet one of my top albums for 2013, and certainly one of the best albums by an artist from his generation. King Krule to me is a blues singer; I know many might disagree with this view, but to be able to characterize his narrative through the guise of indie, punk, or even dubstep, is somewhat off track. Many of his critics miss this because to them it’s hard to imagine a raunchy looking, cigarette smoking, paisley shirt wearing singer with a lot of soul. 6 Feet is an incredible project. I view its intoxicating visualism and ‘noir romance’ like adaptation to be very bold coming from a 19 year old. I don’t see other artists putting themselves out there in this way.
Image credits: Jamie James Medina, True Panther Records - Press Photos
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Namedrop
Kwabs
P
Last Stand and Wrong or Right, with the third being Spirit Fade. All these songs are powerful and moving. Last Stand tops my preferences with its references to fear, pain, struggle and distant emptiness. It’s as if he’s having a conversation with his Maker asking to be set free. People close to me have mentioned the name of James Blake after listening to Kwabs’ music. I can understand why because he’s so intense in that regard. But here’s an artist from London who was raised in foster homes having only recently made peace with his past. He has since studied music at the Royal School of Music and I believe that he has all the makings to be one of his generation’s greatest singers. I’m inspired by his grace.
ower isn’t always about dominance. What’s evident with Kwabena Adjepong’s powerful voice is his ability to draw in the hearts of strangers; a more gentle take on power. Kwabs is able to hold you captive through his innocence while setting you free through his substance. These occurrences don’t necessarily predate each other, but the rawness is consistent. Kwabs reminds me of the power of the human voice. This guy can sing, and beyond that, what he writes resonates so much with what I can relate to. He has so far graced us with a three track EP called Wrong or Right. Production on the EP features two songs produced by the ballad mastermind SOHN,
Image credits: Kwabs Official/Facebook
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FA S HI O N
VIDUR CONTEMPORARY MENSWEAR RETHINK
M
nessing a period of experimentation in the menswear design scene. My reading of the situation is that dressing down is central to this experimentation. Athletic silhouettes are not new to contemporary menswear. In my very short life, I recall an era in the late 90s and early 2000s when dressing down blue denims with Nike Airmaxes was very popular. This grew to be normalized through brands such as Common Projects who designed and made sneakers that didn’t feel ‘sporty’ at all. In 2015, I still like to wear my Adidas sneakers to the office either with raw denims or chinos. This is because of how functional it feels. Vidur have made this element of “functionality” to be at the core of their design philosophy, and this is refreshing and relevant.
enswear can be courageous. A lot of details that didn’t previously exist are making their way into “contemporary menswear”. There are a lot of layers, fluidity, structural minimalism, and bright natural colours. My assessment would be that these clothes are ‘constructed’ piece by piece. Vidur is a contemporary menswear brand headed by RCA graduate Raj Mistry. Founded in 2012, the brand’s other co-founder has a background in music, and I think that aesthetically, Vidur has succeeded in carvingout a distinctive awareness around who they are and what they stand for. I would like to discuss two of Vidur’s distinguishing characteristics which I feel bring light to their design philosophy; the integration of athleticism and functionality, and the use of natural materials. We are currently wit-
photography by Harry Sleightholme modelling by Suren @ AMCK
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Vidur also use natural materials in their garment making. This is important, particularly the use of natural colour. Indigo dyeing is one of the oldest traditions in the world. It’s nearly impossible for large-scale clothing manufacturers to use natural indigo partly because of its scarcity, but mainly because it’s a lengthy process. So these manufacturers use artificial indigo dyes. Major problem with that is once the artificial indigo dye is used, the water can’t be reused (because it’s contaminated). This may seem like a minor issue if you’re dying small amounts, but if we’re talking about millions of tons of clothes dyed in artificial indigo each year, how much of that water goes to waste? Vidur are clear about how they are constantly engaging with their manufacturers and mills to keep the natural composition of their clothes at an optimum. The use of natural materials is becoming just as critical as a brands other unique selling points. I believe that this brand will continue to cause global headwinds. In 2013, they were selected by Vogue Italia as “one of the menswear talents to watch”, and after discovering them at last month’s Copenhagen Fashion Week, I agree fully with Vogue Italia’s endorsement. I spoke with Vidur’s co-founder Richard. Here’s our conversation below. phsicsmag (p): What first intrigued me about Vidur was how each piece resembled a rethink of the ‘common capsule’. Are you trying to achieve anything through your conceptual approach? Richard (R): I wouldn’t say we’re necessarily trying to re-imagine the way collections are usually put together, but we try to make sure that what makes it into the collection forms part of a tight edit with every piece having a reason to be there.
p: Is your approach consistent with the direction that you see contemporary menswear going? R: Maybe unconsciously, but we try not to predict the future and the direction in which menswear is going. That being said, there are so many different sections and subsections of menswear that there may not be one sole direction and instead be multiple conversations going on. p: Take us through the history of Vidur. Who are its founders and what inspired its formation? R: Vidur is formed of 2 people – one who’s background is menswear design, the other music. Although the musical element doesn’t play a role, balancing out each other makes us the unit work. Our aim was to create menswear that was functional and durable, but still modern without distancing a wearer (i.e. something timeless they could wear). p: The use of colour is also a unique aspect which I picked up. Is there a reason why you chose to use natural colour? R: We will always use black and white as a base to a collection and then balance with a contrast colour depending on the season. This approach is minimal but provides us with the results we are after. p: Lastly, since Vidur is still such a young brand, what is your preferred retail model? R: At this stage in our development, wholesaling to select stores is the way in which we are growing. This way we control the amount we make and are able to keep a close eye on quality. We work with great stockists and look forward to moving forward and growing with them.
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fas h i o n
Where does fashion’s democratization leave you?
T
he democratization of fashion has done little to remove the homogeneity that encompasses runways shows, and the groupthink within the industry’s conveyor-belt of recruits. Instead, the fact that fashion is more accessible today than ever before has reduced events like fashion week to media spectacles. Democratization can be very empowering, but in a stadium full of voices, does your voice actually contribute to any value?
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Democratization of Fashion
Fashion can be very self-serving. I have no problem with that, and if you’ve been exposed to the industry you’d know that when events that shook the world took place, such as the 2009 financial meltdown, fashion remained in its self-serving corner. My concern has more to do with the craze that sweeps across cities during fashion season. Fashion weeks were initially established to allow for the seasonal buying business model to take form. This was back when fashion buyers would buy items from the runway 6 months before they were in season. Then came the globalization of fashion. Stores opened up everywhere from Shanghai to Hong Kong. In trying to remain as exclusive as possible, retailers persuaded fashion houses to add more collections to their calendar years, such as resort, pre-fall, and cruise collections etc. This move allowed for a store in Hong Kong, for example, to have in their inventory an item which had just been revealed, while garnering the store enough time to order new items within season. These pre-collections have also contributed to the democratization of fashion because of the way they generate spin and publicity. Add an increasingly aggressive fast fashion business environment, diffusion lines, collaborative execution models and you have what we have today, a reveaingly disjointed structure which is failing to capture what or who is truly influential in the present fashion times.
Democratization begins at an individual level. Being able to write a product review or a blog on something is truly empowering. Being able to fly to Paris to take a snapshot of something that won’t be out for another 6 months is an even more exciting spectacle. But if 50 000 people show up to do the exact same thing as you, and another million more online watching from their desktops, it’s no longer an event that truly depicts the essence of the craft, it’s a marketing drive! Let’s just rather watch Manchester United vs Arsenal; same idea in terms of ratings, just more unpredictable with regards to the outcome! In closing, I would like to say that the social web is new to all of us. We have seen how a simple Tweet can start an uprising, and how a Facebook post can spark outrage. Fashion is not isolated from these occurrences and it can’t view itself as being any special. In democratizing its presence, fashion has to let go of its homogeneity. Same faces, same designs, same view points. Where does fashion’s democratization leave you? It has left me rather isolated.
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fas h i o n
Ethical buying and its significance
fashion's global ecosystem h
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h
he Ranza Plaza factory collapse, which claimed more than 1000 lives in early 2013, seems to be more of an international law problem than a textile, clothing and garment-making industry one. Bangladesh’s USD20 billion garment sector faces structural problems which, in my view, overlap to the broader supply chain. International condemnation of the 24 April 2013 factory tragedy has failed to question the roles of
h
some very important players. The role of the milling owner, for example, and how transparent his or her prices are, is one issue. There is also no mention of the buyer’s price taking position. Buyers agree to contractual terms with their suppliers. Such contracts can cover anything from factory health and safety standards to the types of machines to be utilized, at what time of day, and the level of skilled labour to be employed on the floor.
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ethical buying Fast fashion retail in its raw format cannot coexist alongside transparency and ethics. Please don’t get me wrong, an entire website page dedicated to explaining codes of conduct and ethical mandates is not transparency. The fact that fast fashion’s core objective is to sell us cheap, ‘assembly line’ clothes, means that these retailers would go out of their way to reduce costs to as low as they can, even if it means sourcing from a factory that employs 3500 who work from 8am to 10pm. But fast fashion retail’s position has and will always be about low prices. What about those premium brands which source from the same factories in Bangladesh only to add enormous margins on their final products? How transparent and ethical is their conduct?
like Bangladesh. I’m not saying they should pull out of the country all together, because the jobs and means-of-income will go away, but they need to do more to improve worker health, safety and wages than just signing accords. In closing, let’s not forget that for discount and fast fashion retail, volumes are an important driver of profit generation, whereas for premium and luxury retail it’s the wide margins.. These retailers may have brought affordable fashion closer to us, but the world of fashion itself is still very detached from the real life challenges facing many sourcing countries in South East Asia (Bangladesh, Vietnam, and Cambodia). In the end, the onus is on us, the final consumer. Along with living within our means of consumption, let’s make decisions which impact positively into the lives of others. Ethical buying is about understanding fashion’s universal ecosystem and its humanity. And I do believe that there are some businesses which go out of their way to ethically source clothing that is affordable and of good quality.
I wasn’t surprised to hear that Philip Van Heusen (PVH), the holding company that owns Calvin Klein and Tommy Hilfiger, was one of the first to issue a statement after the Ranza Plaza tragedy stating their support for the victims. I’m not in a position to say whether this was a crisis management exercise or not, but what I can say is that companies like PVH, UCB, and GAP need to review their sourcing positions on countries
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“retailers may have brought affordable fashion closer to us, but the world of fashion itself is still very detached from the real life challenges facing many sourcing countries in South East Asia” 15
Sustain a b i l i t y
Venus of the Rags
Much
of the commentary around the secondhand clothing market seems to be content with continuing on with the current secondhand clothing business model provided clothes in Western countries don’t pile up at landfills.
I would like to respond to some critical questions on this topic which aren’t being answered. Do we need a secondhand clothing market? Yes, I believe people should be given the right to choose to buy secondhand goods or otherwise. Should we regulate it? Yes, especially in countries where domestic industries are hurt by it. Does it add value? Sadly not; even though affordability is certain, the economic considerations for producing brand new clothes through stimulating local economies are far much greater. Even the people employed by the secondhand clothing market would be better off benefitting from established, transparent, regulated industries where things such as retirement plans and social benefits actually exist. What should retailers do to prevent stockpiles of unwanted clothes? Perhaps fast fashion’s next drive should be to recycle clothes. You return an old unwanted item to a Zara or H&M and they top up your purchasing credit with it or something similar. This will be more aboveboard and less stringent on resources. The secondhand clothing market is a present day reality.
Perpetual Rags Fashion is increasingly becoming disposable because of the way conventional retail has diminished what used to be considered as one’s ‘basic capsule’; a pair of jeans, a coat, a few dress shirts, and so on. Fast fashion retail isn’t the sole contributor to the issue of unwanted clothes. In the secondhand market, charities collect clothes from donors and sell them to secondhand dealers at a profit. The dealers determine among themselves, the market prices for the clothes without any economic references. When you factor all that in, along with the imported clothes from low income sourcing destinations which drive up the demand for secondhand items by contributing to contractions in domestic textile industries, the secondhand issue is enormous.
Image credits: Michelangelo Pistoletto - Venus of the Rags, 1967
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we speak camo.
LES DEUX presents
A Universal Language
A UNIVERSAL LANGUAGE LOOKSTORY
presented by
phsicsmag x Les Deux
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aul lookstory
Style is a convergence of details. Each detail carries a moment of ourselves. Les Deux is one of those details. RxDIO wears a grey Les Deux classic crewneck along with a burgundy Les Deux snapback. This look allows for an authentic connection of all its intertwined details. To connect these details is a distinctive ability. Two minds are greater than one – Les Deux
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deux cervaux font mieux OOOOO
A universal langauge film now showing
#AULFILM
photography by Mish Khalil
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feat u r e
A Universal Language
RxDIo's sTOrY photography by Jared Soule
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xDIO was brought into the AUL project at the very last minute. After months of planning and running back-and-forth, AUL was surrounded by great uncertainty as the disappointments persisted. After it had emerged that we had to change our whole narrative to better accommodate the new subjects of our story, RxDIO came in and contributed to what is probably one of the most intricate stories I’ve ever worked on. He welcomed us into his home and introduced us to his world. RxDIO released his Live A Little EP in August 2013. In my view, Live A Little will be those ‘always-on-repeat’ type albums. Songs like Toberman St, Slave To The Truth, Merrier, and a song which had me reflecting a lot, Liars, are one of the many musical gems in a body of work that is both personal and graceful. What blew me away about him was his ‘unfilter-able’ and ‘unedit-able’ personality. In my opinion, his Live A Little EP embodies great substance.
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AUL rxdio's Story
“We are all unique individuals who have unique reactions to the unique moments of our unique lives” - RxDIO
His responses to my questions bring a new dimension to the AUL story, revealing moments of reflection and wisdom. It’s important for artists to understand the source of their inspiration, not to only know it, but to understand it. Artistry occupies an intricate place in those who shape it. The AUL story is about those intricacies. What I’ve observed from RxDIO in the few months I’ve worked with him is that the source of our strength is in our inspiration. The degree to which we remain anchored to who we’re truly are depends on the significance we place in that which we draw our strength from. This is exactly what we wanted to achieve through AUL.
phsicsmag (p): Based on your understanding, what would you say constitutes to the idea of “a universal language”? RxDIO (R): The same way some would say there is beauty in everything, or that God is in everything, I believe all of those statements and others similar to those are true. I think when looking for the beauty in something, or God, there is certain understanding to be attained and a way of perceiving things around us to be utilized. I think the revelation of an idea and ideas such as this and applied to our daily lives is when “a universal language” is spoken.
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AUL rxdio's story p: Do you feel music is still the “universal language” it once was, or are artists better off creating musical niches for themselves? R: Music will always be the “universal language” it once was...to me, artists “creating musical niches for themselves” is what helps music to be the “universal language” it is. We are all unique individuals who have unique reactions to the unique moments of our unique lives so of course sometimes things in our lives aren’t representative of how we may feel, like music, but that would be a bias opinion of my own if I felt that way. I’m not the only one this planet. So what I do is create music that speaks for how I feel. The same as the person miles away from me with a totally different life, lifestyle, way of thinking, and musical preference. How I see it, it’s not what type of music we do, or what we say, or if we agree or have totally different views or how we do it. It’s simply us doing it that allows someone to “speak the language”. To feel attracted to something as much as it is attracted to you.
A UNIVERSAL LANGUAGE FILM NOW SHOWING
Digital Timeless Youtube Channel 24
feat u r e
A Universal Language
MADDY'S STORY photography by Jared Soule
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ollowing their successful debut EP in 2011, Sound Fx grew to become one of hip hop’s hidden treasures. The duo would go on to release 2 EPs and 3 mixtapes. It was in 2013 that Sound Fx would bid farewell to their fans through the release of Empathy, a powerful and thought provoking body of work. Upon initial contact with the guys, I managed to get through to Sound Fx member Maddy McFly. Our first exchange was short and thorough. He was excited about my invite to be part of the AUL feature story. Maddy would later confirm with me that Empathy was it; Sound Fx would be no more.
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AUL Maddy's Story Empathy taps into the soul of its listener. Apart from igniting passion, this album is also able to almost imprison you, causing feelings to fluctuate stochastically throughout its flow. Accompanying its solemn storyline is a musical album with melodic cords, imaginative basslines, samples which were appropriately selected and impeccably chopped, and an almost ‘sequential harmony’. Empathy speaks the universal language; whether it’s the universal language of love, pain, or frustration. To put a full stop on Sound Fx is perhaps premature at this stage. I’m waiting for the day these two will be back in studio working together again. Maddy McFly is more than an artpiece figure on the wall of music. His passionate discourse in the AUL documentary film reflects on his hunger and drive.
phsicsmag (p): Based on your understanding, what would you say constitutes to the idea of “a universal language”? Maddy McFly (MM): I believe a universal language is a language that transcends the barriers of race, culture, politics, and religion. It is a language that is understood by all regardless of background. A universal language is felt and not spoken, it is relatable by pure emotion because that is the greatest and deepest level of connection we can have with one another as humans. p: Do you feel music is still the “universal language” it once was, or are artists better off creating musical niches for themselves? MM: I do believe music is and will always be a universal language because rhythm is felt and not spoken. With the growth of technology we see more and more people turning to music as a form of communication so i do believe music is still a universal outlet. We don’t all speak the same languages but we all feel the same emotions and good music is emotional. It connects us all whether we are aware of it or not.
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AUL maddy's story
A UNIVERSAL LANGUAGE FILM NOW SHOWING
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B r an di n g
How do we brand tradition?
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don’t want to approach this subject from a creative process standpoint. A lot of marketers tend to place tradition at the forefront of their brand communication. A certain French champagne brand has been around since the 1950s, but brands itself around 17th century ideals. There are many brands which do exactly that, and we’ve come to accept them. My understanding of what tradition is, is that it is ‘the way in which things are done’, or ‘a certain way of doing things’. A grape cultivator has the objective to cultivate his crop in a manner which best suits his business. The grape
cultivator can either choose to stick to an existing method, one which has existed for centuries, or he could ‘innovate’ and begin a new method which he’ll be credited for starting. To my understanding, the former case would be following a particular tradition, and the latter case would be beginning one’s own tradition. Both these scenarios are important to be able to distinguish because of the luxury industry’s present state; be it wines, chocolatiers, hotels, fashion, publishing, any sub-domain of the luxury industry hasn’t succeeded yet at effectively defining what tradition is to them.
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Branding
Closely positioned with tradition is the notion of heritage. This is when a certain tradition is passed on from generation to generation. In this case, the grape cultivator has inherited all of his knowledge and skills application from his ancestry. Heritage is interesting because it’s a broad subject matter. I’ve encountered brands which define themselves as having an “African heritage”. To be fair, that’s completely acceptable provided that their heritage is in line with what their ideals stand for. Heritage can be overused, or understated. It can also be effectively communicated. But the one thing I’ve realized with setting heritage as a unique selling point is that its appeal tends to narrow the potentials of a brand. It’s more of a ‘core clientele’ prerequisite. There are brands which balance these two centers very well. But not all brands have a unique attribute to their heritage, and not all brands view tradition as their core differentiator.
Perhaps we need a broader scope of assessing a brand’s legitimacy. We cannot only use tradition and heritage to validate the way a brand prices its products. We should also observe other dimensions of that brand. Critical aspects such as the provenance, the product quality, the technical application, material, methodology, design, refinement, and the brand’s core ideals, are just some of the differentiators which could be applicable, along with looking at its tradition. Luxury branding has never been this accessible to so many people. There’s a 2.5 billion middle-to- upper income population globally that’s just waiting to hop onto all things ‘luxury’. They possess the buying power, the tools, and the knowledge. But can they identify with what they’re consuming? Branding ‘tradition’ is like slapping a gold encrusted label onto an empty cardboard box. It’s really easy to be grabbed by the detailing of its packaging, but it’s still empty!
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“Branding ‘tradition’ is like slapping a gold encrusted label onto an empty cardboard box. It’s really easy to be grabbed by the detailing of its packaging, but it’s still empty!”
Image credits: The Watch Quote
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timeless is forever.
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phsics media track record
number of publications released by us through phsics magazine: •
Owning the title - 2011
•
Global Minded Issue - 2012
•
The Private ISSUE - 2013
•
A Universal Language - 2014
clothing collections released by us through phsics private: •
Alumni Collection - 2012
•
Private Life Collection - 2014
•
Priogressive art Collection - 2015
films produced and released by us through phsics media films: •
A Universal language film - 2014
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fashion is a progressive art. the SS16 collection by Phsics.Private
in stores September 2015
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