V Magazine UVA Spring 2015 by V Magazine UVA

V Magazine Spring 2015 Volume 12 Issue 1

V Magazine Spring 2015

PART ONE

STAFF

Letter from the Editor 04

Editors-in-Chief

Symbiosis 06 Environmental Art Activism 08 Kendall Street Company 10 Tenets and Trials of the Tasteful 12 Cage is the New Black 14 Behind the Lens: Jamie Sisley 18

PART TWO Elise Sokolowski 24 Phyllis Pinqing Li 26 Randy Reynolds 28

PART THREE Fashion Shoot 30

Brendan Rijke & Gloria Roh

Features Editors

Amy Miller; Assistant, Eric Leimkuhler

Creative Director Lauren Jackson

Fashion Director Linda Meliani

Student Artists

Elise Sokolowski, Phyllis Pinqing Li & Randy Reynolds

Writers

Sandy Hoang, Vanessa Owens, Brittany Snyder, Paula Anne Omiyi, Eric Leimkuhler & Brendan Rijke

Graphic Designers

Lauren Jackson, Sandy Hoang, Ellen McAlexander, Lauren Barnhorst, Caitlin Fischer & Gloria Roh

Fashion Designers

Ismaelia Dejoie & Cindy Zhang

I A Letter from the

Editor We have continued our recent tradi-

This has been my eighth and final is-

tion in this spring issue of dividing the

sue of V Magazine at the University.

magazine into three parts: editorials,

Since being a photographer in the fall

student artwork, and a fashion spread.

of 2011, I’ve seen the magazine go

This is not intended to create a frac-

through some pretty radical changes in

tured publication, but rather to organize

both content and design. I look forward

it into more easily digestible chapters. It

to watching V further transform and

is our sincere hope that you enjoy this

evolve in the hands of Gloria Roh and

structure and can therefrom enjoy and

her creative team next year. Working

reflect upon this season’s V Magazine.

at this publication has been such an incredible experience and I am exception-

For our fashion spread, we are excited

ally grateful to all the writers, graphic

to feature two student pieces, designed

designers, photographers, and models

by Ismaelia Dejoie and Cindy Zhang

that I have had the privilege of collabo-

from the Fashion Design Club (FDC).

rating with over these past four years.

We have always valued showcasing student achievement in the arts and we

Happy reading!

are honored to have collaborated with these two young and promising designers. This season, we were inspired by Kanye West’s recent collaboration with Adidas. The University’s Biology Greenhouse was the perfect backdrop for this aesthetic. The lush vegetation compliments and juxtaposes with the black and nude-colored ensembles from this season’s shoot.

PART ONE features & editorials

YMBIOSIS 6

Art and science can work symbiotically to better dissect our environment and experience. written by Sandy Hoang

ALEXANDER CALDER; ELEPHANT, 1936

ith today’s emphasis on specialization, the idea that science and art is linked seems strange, if not wrong. Science, a strictly factual and objective field, is markedly different from the personal and subjective culture of art. When we disconnect the two disciplines, however, we mistakenly create a gap in our knowledge. Although science is, in fact, rooted in its methodical approach and art is largely creative, both fields ask the same question: how can we most accurately investigate human experience and the world around us? Blending the two cultures together offers a powerful and all-encompassing way to dissect our environment and experience. Both art and science are means of investigation; they seek the unknown, continually searching for the best interpretation of life. On one hand, science investigates the physical world through the reductionist method, that is, from the bottom up. In the lab, scientists analyze the movement of energy, properties of atoms, and cellular

functions to make greater conclusions of the world. They formulate a hypothesis, collect data, then write a report to communicate ideas. This logical method guarantees the experiment’s reliability and objectivity. On the other hand, art dissects life from the outside to within. Artists experiment with sensory mediums to display or question inexplicable experiences. Dan Flavin’s fluorescent sculptures, for instance, investigate the perception of light by capturing ‘wordless thought,’ or the moment of perception before it can be put into language. Whereas science’s logical approach allows scholars to effectively diagnose the world’s condition, art bridges the gap between scientific facts and the immediate day-to-day experience. While science is invested in the world’s objective details, art is concerned w ith the blended effects of these details. Because both fields pursue a greater understanding of life, the intertwining of art and science is not uncommon. When Einstein’s theory of relativity rejected Newton’s view

of time and space, Salvador Dali painted melting clocks. When M.C. Escher drew geometric renderings of space, a graduate student at Caltech designed a synthetic retina with hexagons as its design element. These intersections between scientific and artistic experiments at a moment in time are far from coincidental. Both art and science contribute to and are influenced by worldly concerns. Rather than existing in isolated spheres, the two disciplines naturally function in the context of the greater world, continually shaped by present day matters. It is not surprising, then, to find both art and science studying the same themes, albeit through different methods. Once we combine these two distinct, yet indispensable, approaches, we can fill in gaps inherent in both strategies and thus more holistically understand present day concerns. A prominent discovery in quantum mechanics illustrates this promising potential. In the early 1900s, Niels Bohr revolutionized the way the world perceived space through his model of the atom. In his model, Bohr proposed that electrons could “jump” between distinct orbitals around the nucleus. Although corrected and improved over time, his model transformed the way we thought about space beyond the realm of quantum mechanics—the common man could no longer perceive matter as static. To produce his worldshattering model, though, Bohr actually turned to the art world. While the concept of space and matter was contested in physics, Cubist artists around the world were also examining the perception of form in space, particularly how objects can be seen from different angles at the same time. The sculptor Alexander Calder was specifically interested in bringing linear drawings into real space. Through his well-known kinetic structures, Calder suspended lines and colors in space and allowed them to move freely, cleverly challenging the thought that objects existed in just one dimension. After observing Cubist artworks like those of Calder, Bohr conspired that electrons, too, could take on different properties (particle or a wave) at the same time. Essentially, Cubism’s analysis of visual space inspired Bohr to produce his Nobel prize-winning atomic model. If the benefit of integrating art and science together is so great, then why has it not been so heavily enforced? The answer perhaps lies in the act of partitioning increasingly complex knowledge in a more organized society. As time progressed, scientific knowledge expanded with the rapid development of the scientific method, while interconnected cultures significantly extended artistic vocabulary. Rather than

maintaining total knowledge, it became more practical to encourage specialization. Creative individuals were encouraged to specialize in artistic production and criticism, whereas technical individuals were ushered to the field of sciences. The disparities in the two fields continued to grow as subjects became even more specialized. Contemporary art tends to respond to other art, using a precise artistic vocabulary that may not be fully understood or appreciated by society as a whole. Unless an individual was deemed creative, investment in creative writing, art, and music declined. Science, on the other hand, has earned a reputation of being abstract and incomprehensible due to its foreign vocabulary. A common “non-science” man will accept the basic patterns of science, but will not be interested in its details. As science and art grew in seemingly opposing directions, the two fields became isolated in the minds of society. This isolation is seen here on grounds as well—the Arts Grounds, tucked behind Rugby Road, is over half a mile away from the Chemistry or Physics building. The physical “university divide” reflects, and perpetuates, the intellectual distance we place between art and science. The separation of art and science within and outside of UVA is a product of specialization, and it limits our potential to fully understand the contemporary world. Luckily, despite the divide, there continues to be excellent examples of scientists who draw from art for research and artists who integrate science into their field, many of whom have already been discussed. More schools are emphasizing the importance of multidisciplinary courses. UVA’s area requirements require that students take courses in the humanities, of which literature and fine arts are included. Medical schools are also interested in students who take courses in the humanities in addition to rigorous science courses. With the advent of the internet, which provides vast and accessible storage of knowledge, we might be able to regain total knowledge previously lost by specialization. If the next generation continues to encourage multidisciplinary studies, we may find the answers to academia’s toughest problems, like human behavior, consciousness, and emotions. To Niels Bohr, the allure of cubism was that it explored perception of an object from different angles at the same time. Perhaps we can also take in the wisdom of Cubist artists and reconcile different angles of thinking, as well. If we can fluidly blend art and science together, we will have the key to innovatively expand our way of thinking and holistically understand our environment. Art and science, then, can become the double-edged sword that can penetrate even the toughest skin of our most elusive problems.

he discourse on sustainability initiatives at U.Va are gaining some fresh perspective with the work of Natalie Jerimejnko, the Visual Arts Board’s Artist in Residency for the year. Jerimejenko creates large-scale public and participatory art to inspire environmental engagement. Environmental activism is nothing new at the University. With over 30 student sustainability groups, a student run CSA, and the new interdisciplinary Global Sustainability major, it is evident that students are taking the global environmental crisis seriously. However, artists on grounds are reimagining environmentalism as Jerimijenko’s presence brings a new approach to the discourse of sustainability. Jerimijenko’s work in environmental art activism is rooted in public art, in which the artist becomes a sort of conduit for social experience. Jerimejenko uses this approach to create interfaces that engage the public with the environment. One of her urban installations was the ”Amphibious Architecture” in the East River, where tall floating buoys monitored the water quality and had LEDs that flashed when fish swam underneath. Observers on the land could receive texts “from the fish”,

in which the fish chatted about themselves and their surrounding water quality. This technology-intensive approach to nature is a mark of Jerimijenko, who holds degrees in biochemistry and physics and a Ph.D. in electrical engineering. She embraces technology and yet is very playful with it, operating as a sort of mad-scientist of environmental activism. Her technological knowledge and intense creativity has made her one of the most innovative figures working in environmentalism. The central purpose behind much of Jeremijenko’s work is to bring awareness of the subtle presence of natural processes occurring in urban spaces, so that one can feel as connected to nature when walking in New York City as they do walking the Appalachian trail. In a recent New York Times interview, Jeremijenko says, “A lot of my work concerns a crisis of agency — what can we do?” An interdisciplinary group of students have spent the semester approaching this very crisis. In conjunction with Jeremijenko’s residency, Professor Dean Daas organized a research seminar of students to think about the intersections of art and environmentalism. Professor Daas saw that his undergraduate students had a real stake in sustainability issues on grounds, as he observed art students working in gardens and undergraduates getting excited about composting. In describing his inspiration for the course, Professor Daas says: “It’s a real idealistic moment

and I feel like I’m here to facilitate what the undergraduates are already trying to do”. He is facilitating this by inviting sustainability-focused students to participate in his Environmental Art Activism seminar. It is important to note that Daas did not limit this seminar to his art students. Environmental Art Activism occurs at the intersection of art with other disciplines, and this interaction must be studied from both sides of the spectrum. Artists lose claim to credibility in environmentalism due to the common perception of the artist as making work that is misunderstood and not easily acceptable. During a visiting lecture, Natalie Jeremijenko commented on the difficulty of artist credibility with other disciplines and joked that we will never see the headline: “CNN Reports: Artist Confirms Global Warming”. The question of where an artist stands in the environmental discussion is crucial to organizing meaningful activism. Professor Daas’s seminar tried to address this question, at the root of which is the issue: What is science and what is art? The students’ work in the seminar went towards organizing an Environmental Art Activism festival on Carr’s hill. The festival coincided with both Jeremijenko’s returning visit to UVA and Final Fridays at the Fralin Museum. The fourhour event included a solar hot air balloon launch, solar oven baking, musical performances, and environmental CIO tabling. The Fine Arts patio was adorned with an assortment of plants for the

Environmental Art Activism by vanessa owens Natalie Jeremijenko, the Visual Arts Board’s artist in residency for the year, inspires environmental engagement

event, and guests were invited to take “seed balls”, small patches containing a mix of clay, compost, and seeds, to plant in urban spaces. The most noteworthy portion of the festival was the inauguration of the expected Moth Cinema on the Arts Lawn. A brainchild of Jeremijenko, the Moth Cinema is a silver screen that is illuminated each night over a garden, attracting moths and casting dramatic shadows as they flutter around. The cinema is presented as a reactionary alternative to light-polluted urban environments. Light is used to highlight the beauty and value of moths as pollinators, rather

than to lure them to their demise. Upon introducing the Cinema, Jeremijenko thanked members of the faculty and Arts Board by gifting them each with a Luna moth cocoon. She then invited students and colleagues to stand up and share “moth love stories”. Students shared little parables about moths having love affairs with different flowers, Urdu poetry full of moth-imagery was read, Chemistry Professor Cassandra Fraser passed around the body of a giant leopard moth that surprised her in her Chemistry lab, and the eco-acoustic music group moths. This absurdity of a crowd of academics and artists partici-

pating in an ode to moths contained a poignant mix of playfulness and sincerity that is so unique to Jerimijenko’s work. These few moments of sharing contained a powerful aura of optimism, and this is where the ‘art’ comes into Environmental Art Activism. We may know that moths are pollinators, that they are important to biodiversity in urban ecosystems, and that our light pollution is harmful. However, Art is what gets us from these facts on a page to real emotional engagement.

Above: Jeremijenko’s work from the “Connected Environments” exhibit in UVA’s Ruffin Gallery.

Kendall Street Company By Brittany Snyder

eaning over the guitar messing with amps and wires stands a blonde boy with a mess of curly hair and square glasses. At first glance, you’re not sure whether or not this Jonah Hill look-a-like can deliver the moving sound so many rave about. The drums kick in; the bass starts strumming; the saxophone blares, and then he sings. His mature voice bordered with a raspy edge resonates through the microphone. Suddenly he doesn’t seem like Jonah Hill anymore. The presence of Kendall Street Company in the Charlottesville music scene has grown exponentially in the last couple of years. In 2012, lead singer and guitarist Louis Smith and saxophonist Andrew Dreyfus, both current third years, arrived at UVA from Virginia Beach, VA ready to play some music. After a few stints at Durty Nellie’s off of JPA, the two felt an itch that needed to be scratched. They met bassist Brian Roy and drummer Ryan Wood and formed a foursome that would become Kendall Street Company; later welcoming the talents of Price Gillock and Bucky Henry. Although the band had a couple small gigs throughout 2013, their win in Theta Chi’s Battle of the Bands at Boylan Heights that year projected them onto the music scene. Suddenly a hot commodity among fraternities, Kendall Street Company began jamming at day parties, philanthropies, and nighttime events that kept the student audience begging for more. Brian Roy recalls the biggest turning point for them as a party at the Pi Kappa Alpha fraternity where “we were supposed to play until 1:30 or 2:00am and we didn’t stop until almost 5:00am.”

Since this late night jam session, the band has been playing nearly every weekend. While they have hit many bars in and around Charlottesville, they’re next big debut will be at The Southern Café & Music Hall on April 23rd. Charlottesville is flooded with bands. So why is everyone up in arms about another small-town group of musicians? Because these are the guys you see in the library and walking to class. They have the same school pressures as you and I. But when these students leave Grounds and get on stage, their love of music transforms them into talented musicians. As opposed to playing music for us, they enjoy the melodies with us. The heart and soul behind the instruments makes you sway with the beat and bob your head. The saxophone and bass collide with the guitar and drums to keep you mellow but entirely content. Authenticity is back, and it reminds you what real music is and keeps you wanting more. As for future plans, although Louis retorts, “we want to own our own ski resort someday,” the band plans to write songs during the summer and remain in Charlottesville next year to keep doing what they love. For Ryan, “It’s fun to watch people have fun watching us have fun.” After all, they are just a bunch of 20-something year olds trying to have a fun Friday night with their friends. Only they happen to be on stage with instruments. And they’re damn good at it.

What makes a tastemaker? These days this question seems to have a varied answer. Women refer to YouTube vloggers before they seek their hairstylistâ&#x20AC;&#x2122;s advice, and girls flip through Instagram more than they do print magazines looking for style tips. The focal point for who influences people has broadened in this globalised age.

“...the ability to become a tastemaker in a field that was once just a simple hobby, or perhaps a lifelong dream, is now much more attainable.” Top influencers in certain fields are emerging from quiet desktops in London and the busy streets of Panama City at the same time. This is not to assert that merely anyone can become a tastemaker, but the options today are multifaceted and no longer solely occupational. That is, being a tastemaker does not mean you have to be a wine connoisseur or trained nutritionist to start your lifestyle blog and gain a following. Neither do you have to be a musician or actor with huge celebrity status like the forerunners of the new music streaming app Tidal. Any individual can reach considerable levels of example-setting, and, to quote Jay-Z, “make the Yankee cap more famous than a Yankee can”. Likeability combined with presentation skills can enable one to force their way to relevance through the power of numbers. Non-professionals in certain fields, such as photographer Brandon from Humans of New York and Michelle Phan of YouTube fame, YouTube fame, become household names as a result of their affability and their personal branding. Consultations with fashion bloggers, lifestyle gurus or slashers (women who are DJs/fitness gurus/celebutantes) can take place at all times through Instagram and, more recently, Snapchat, making their lives accessible and attainable for those that look up to them. Authenticity is also a key instrument when assessing how tastemakers attain their influential status. In an age of catfishing and internet fraud, one of the key tenets that tastemakers must abide by is making their lifestyles believable. Your knowledge of what is on trend and what is classic must be communicated in a convincing and organic fashion. Organic is a key word here, the instruction of a tastemaker must sprout through their blogs, online editorials and social media accounts with the concerted yet

natural effort of a kale plant. However, to achieve this level of authenticity, experience is not necessarily required. Angelica Cheung, Editor-in-Chief of Vogue China, studied Law and English Literature at Peking University; Tamu Macpherson, a street style photographer and former EIC of Grazia Italia received a JD/MBA from Fordham Law School. One’s background could be as far away from the field of expertise in taste-making as possible, but if some form of authenticity is conveyed then attention will be paid. The question then becomes, once this level of influence has been reached, how can it be sustained? What ensures longevity for those who have become tastemakers for today’s youth? One could argue that stability and consistency are important; that is to continue to provide the same information and content that this influencer has been providing and to change very little. This seems to be the road less taken. More people tend to expand and evolve with their personal brand, causing their reach for influence to broaden past their starting point. We see fashion bloggers becoming lifestyle bloggers and everyday fashion designers, or beauty editors becoming health gurus. Sometimes the expansion is drastic and changes mediums, such as Joe Zee’s big move from being creative director of Elle to Editorin-Chief and Executive Creative Officer of Yahoo! Fashion. Some people make this transition smoothly. For others, it is more of an uphill battle. But like in any sector, the maintenance of one’s position is a primary concern as it ensures the success of future ventures and “job” security. One quandary of recent times is the lack of attention that more diverse tastemakers, lifestyle influencers, it-girls and guys

receive in terms of collaborations with and acknowledgement from big name brands and fashion houses. We’ve seen already a lack of representation on high fashion runways but a concurrent yet less hearkened struggle is a stark lack of attention that influencers who are people of colour receive in comparison to their white contemporaries at the forefront of new-age marketing. The absence of certain publications such as Vogue for any African country—or for the entire continent—is an example of a wider underrepresentation which indicates a certain assumption by these industries that consumers of colour are not as powerful or responsive as white consumers. This can be linked back to the tastemaker argument—particularly in the beauty-vlogging field where women of colour (particularly black women) with YouTube clout team up with big brands at a much lower rate than others. Ultimately, it’s of major concern. In a field of which success is increasingly attainable due to technology and accessibility, there is still a reproduction of the glass ceiling we see in other fields for black and brown influencers and tastemakers. In these changing times, the ability to become a tastemaker in a field that was once just a simple hobby, or perhaps a lifelong dream, is now much more attainable. Presentation, an affable personality, and authenticity seem to be key in promoting some individuals above others in this new and unchartered territory for the rat race. While there are still some troubling disparities that persist, the changing shape of the field is sure to be an interesting phenomenon to keep one’s eyes on as technology advances and as cultures converge in the future.

is the new

[BLACK] 14

EXPLORING STRUCTURAL CONCEPTS, QUEER FASHION & BODY POSITIVITY WITH CHROMAT FOUNDER AND UVA ALUMNA

BECCA MCCHAREN

t is safe to assume that few stories in the fashion industry begin with a case of Dengue fever – but then again, Becca McCharen is hardly one to follow precedent. As a Peace Corps volunteer serving in El Salvador after graduation, McCharen contracted a severe case of the illness, and was forced to find respite at her family home in Lynchburg. Her body needed the rest, but her mind – sharpened by a degree from the UVA School of Architecture – was undoubtedly restless. She did a short stint as an urban planner for the city, but in her free time she began to draw. Few could predict that McCharen’s homebound circumstances would completely pivot her career: just three years later she landed on a Forbes “30 under 30” list, cementing her growing stardom in the indie fashion alcove of New York City. Her hometown musings during the feverish recovery became the inspiration for Chromat, a brand of architecturally inspired undergarments, swimwear, and apparel on a meteoric rise to national acclaim. Indeed, whether you know it or not, you probably saw a McCharen masterpiece before knowing her name; Nicki Minaj, Madonna, and Beyonce are just a sampling of the glitzy figures who have paraded these “structural experiments for the human body” into the limelight.

Of course, Chromat does its fair share of eye-catching on its own. The work, like McCharen herself, is bold, brazen, and defiant, while remaining grounded in elements of structure and principle. On a dress form, down the runway, or in a halftime show, the pieces are meticulously geometric, symmetrical, and balanced, lending an almost bionic sensation to crisp forms. Some have

& with

hoops skirts, or the woven straps of triangular bodices. Chromat becomes an innovative social magnifier through its fundamental truths and curious contradictions. Still, there is a persistent humility to the operation, especially on the part of McCharen herself. Though she burns the midnight oil in her New York studio, drafting designs, crafting pieces, and managing the bulk of the press for her line, I was pleased to find her thorough reply in my inbox just a few days after contacting her. It would seem that, regardless of her laurels to rest on, the herculean work ethic of an “A-Schooler” is still to be found in this successful young designer and entrepreneur. In fact, our chat with Becca McCharen happened to fall in the middle of a typically hectic day. Eric Leimkuhler: Thanks again for agreeing to interview with VMag at UVA - from what I’ve seen and heard, you are still very involved in every facet of your brand, so you must be busy! I wanted to start by asking what you were doing right before you sat down to answer these.

ERIC LEIMKUHLER flippantly characterized the collections as “sexy cages” (which is probably not an inapt description), yet there is more depth to McCharen’s designs than simple scaffolding would betray. Within the theoretical guidelines of an architect and urban planner, McCharen questions conceptions of body and gender through the taught rings of skeletal

Becca McCharen: Finishing sewing a custom dress for an online customer, testing print designs on the body, revising flats for submittal, approving a seam on a bra sample, and lots of emails. EL: Next question has been a burning

one for me - I’m curious about the name “Chromat.” Where did it come from? BM: I’m obsessed with organizing things by color - all the books in my home and garments in my closet are rainbow organized. “Chroma” is the Greek derivative for color. It’s ironic: most of what we design now is only made in black. EL: That was my next question! Your models and concepts are hardly monochromatic, but you tend to stick to stark black and white in your designs. Why? Any plans for color? BM: We’ll see! EL: Can you tell us a little about the process of developing your themes and creating the pieces within them? Where do you begin? Where does the architect in you step in? BM: The architect in me is always there. To me, fashion and architecture are very similar, just on different scales. For fashion, the scale is the body; in architecture it’s the building site. The process of fashion and architecture are also very similar - in architecture it begins with a building site, and in fashion it begins with the body site. Instead of looking for physical context lines such as other buildings, urban design lines, you’re looking at joints on the body, connections between appendages and parts. The process then goes into mood and concept. The Chromat Team and I work together to pool our current inspirations, things we want to learn

more about. Once we’ve created our mood board, we do rounds of sketches and review. Then, material investigations and sampling. Then final samples for runway! EL: You told Architectural Digest that this season’s collection was based on competitive math team uniforms... a pretty geeky theme for such edgy clothing, no? What are some other cultural inspirations that you have found in the past? BM: Geeky is edgy. I’m inspired by innovators in all realms. Our most recent collection for Autumn/Winter 2015 was inspired by the inventor and entrepreneur Martine Rothblatt. EL: You have been identified as queer yourself, and you’ve made a point to integrate a sense - or at least, an appreciation - for queerness into your designs, model casting, show planning... why is this important to you and how does queerness manifest itself in your fashion? BM: Chromat is very interested in questioning gender norms and defying traditional notions of gender through fashion. We celebrate models from every place on the gender spectrum in our runway shows. As far as me personally, it’s rare to find lesbians working in fashion and I’m not sure why. EL: You’ve also made a point to include models of varying body types in your shows, and you’ve developed something called “The Chromat Curve” ... what is that, exactly? What kind of statement are you trying to make, if any?

BM: Casting our runway shows and photo shoots to celebrate diversity and inclusivity is important to the Chromat team. We don’t think of the Chromat woman in a narrow way- we’re inspired by strong, powerful women from all backgrounds, races, genders, body types. As one of our favorite Chromat CURVE models, Denise Bidot, says, “There is no wrong way to be a woman.” EL: I know you’re an architect, but I am still always struck by the rigidity and structure of some of your pieces - the cages, the tight, geometric bodices, the hoop skirts and dresses. What do these motifs mean, especially in the context of female empowerment? BM: Female empowerment means that women have the choice to express themselves any way they choose. Female empowerment also means that women deserve respect and equal treatment. A lot of people say the first time they put on Chromat that they feel powerful and strong - it makes them stand up straight and feels like armor. EL: You wear a lot of Chromat yourself, of course. Do you envision this brand becoming something wearable that we see on the streets everyday, or would you rather it occupy a more niche space, like it does now among pop artists, etc.? BM: Chromat is lucky enough to straddle two points of view. We create conceptual pieces that focus on investigation and experimentation: this is our foundation. And we have

built on that conceptual foundation to create swimwear, lingerie, footwear and garments that function as clothing to wear everyday. EL: Just a few keystrokes into a search engine show that you are widely revered for your designs; a lot of industry insiders are awestruck at the influence you’ve had as such a young entrepreneur. Have you received any negative feedback surrounding your brand - the designs, the models, the show concepts?

there for 4 years [laughs]. EL: What was the most useful or important thing that you learned in the A-School at UVA, if you could summarize it?

BM: We do tend to shock some people. I take it as a compliment.

BM: I loved the Architecture 1020 class with Sanda Illescu - she taught me a whole new way of seeing through the eyes of an artist and designer. And studios with architecture professor, Lucia Phinney who inspired by love of scaffolding and film classes with Kevin Everson who took students to NYC to visit Chelsea art galleries and exposed me to so much weird film and art.

EL: You said once that, while growing up, you were “turned off by stereotypes about ‘fashion people.’” Have you changed your mind now, or do you still feel this way being a part of the industry?

EL: What advice would you have for a student who looks up to you at an institution like UVA? I should say, an institution that does not always necessarily encourage spontaneity and non-conformity?

BM: I’m still turned off by “Fashion people” who are concerned with exclusivity and status symbols. However, there’s more to fashion than that. Once I dug a little deeper into the industry, I found that the people behind the brands that are designing and making the clothing are more like craftsmen and artisans.

BM: I would definitely encourage students to take classes in the arts UVA might not be an art school, but they have a great, inspiring staff of amazing professors in art, architecture, drama… And also just not to worry about conforming - that’s probably the worst thing you could do. It’s a waste of time when they’re so much way cooler stuff going on outside of frats.

EL: To shift gears, what was your experience like at UVA? Did you enjoy it, or derive any inspiration from it? BM: UVA was very preppy, which is not my scene. Luckily I was able to find artist friends in the art, drama and architecture departments and we hid

BEHIND THE LENS

Jamie Sisley

BRENDAN RIJKE

Brothers, a mother, songs from the 70’s, Xanax, and a woman named Vicki.

“Stay Awake,” a new short film written and directed by UVA alum Jamie Sisley (McIntire ‘05), follows two teenage brothers through the weekly routine of taking their mother to the hospital to detox her from a prescription drug addiction. The film premiered at this year’s Berlin International Film Festival, and went on to win the Jury Award for Best Narrative Short Film at Slamdance. After spending six years on the management side of the music industry, Jamie shifted direction and pursued an MFA in Directing/Screenwriting at Columbia University. He now lives in New York City and is currently in development for a narrative feature film based on a murder in the country music world. His films have an identifiable naturalism and intimacy that come from a unique, imaginative, and budding directorial voice. Brendan Rijke: This question’s a little broad, but what’s your creative process like? Jamie Sisley: I generally like to think about some kind of theme or topic I’m struggling to understand, or hung up about, and then try to figure it out through the process of making a film. I think it’s easier to approach these issues through the context of making stories, and I love the challenge of trying to make something that’s compelling for others to sit through. If it’s not compelling, then it just becomes a really expensive therapy for myself. BR: Music is a huge part of your life. You’ve worked at Red Light Management in Charlottesville and your next film – a narrative feature length – is based on a murder in the country music world. Do you conceive of the soundtrack alongside the story?

JS: Oh man, I have too many to list in terms of a dream soundtrack. I’ve been thinking about it a lot though. In terms of artists I’ve been listening to while revising the script, it’s been a bunch of Neko Case, Gillian Welch, Glen Campbell, Ryan Adams, Steve Martin / Steep Canyon Rangers, Whiskeytown, and Cash. BR: How formative was your time at UVA and, more specifically, the Commerce School in terms of the your journey as an artist? JS: The Comm School was wonderful for learning tools that could help get my projects funded, which is a huge part of filmmaking. Making grant proposals, successfully marketing crowd-sourcing campaigns, and pitching producers are all necessary skills. They’re not the part of the filmmaking process I love the most, but filmmakers have to wear multiple hats these days, and having the ability to assist in producing your own films can go such a long way in getting work off the ground, instead of waiting on others to do it for you. BR: You mention that your short film “Stay Awake” is semi-autobiographical, what of your childhood and upbringing influence the writing and, ultimately, the directing of this film? JS: I have family members who were addicted to prescription drugs, and I felt that no one ever looked at drugs like Xanax as being harmful. I wanted to explore how these drugs can, and really have destroyed families, and I wanted to do this through the context of two brothers having to figure out how to help their mom with her abuse issues. But I didn’t want to make a sad “after-school special”

Q + A (cont.) kind of film either. I wanted to show how when things get really bad, the remedy that most people turn to is comedy. Situations become irreverent. That certainly helped my brother and I when we had to deal with a similar issue. Sometimes the best thing to do is just laugh at how awful the situation’s become. BR: Do you have any advice for up-andcoming directors at UVA? JS: For directors, I’d say go out and shoot a lot in the beginning without spending much money. Any camera will do. Lights don’t mean a ton in the very beginning. Just use the time to find who you collaborate well with, how you want to tell stories, and most importantly, what you want to say with your story. I really believe in the idea that directing is nothing more than making choices that serve a story in the best possible way. Figuring out what you want to say, and how

to say that in a way where audiences remain engaged, is a great starting point as you also learn film grammar stuff (blocking, staging, working with actors) and watch movies. You can also make a doc. That’s what I did when I lived in Charlottesville, and it was an incredible way to learn the technical elements of filmmaking while exploring what kinds of topics you want to explore as a filmmaker. There are so many incredible subjects and characters out there. BR: What’re some of your favorite films? JS: “Little Children” by Todd Field, “A Woman Under the Influence,” by Cassavetes, “L’Enfant,” by The Dardennes, “MASH” by Altman, “A Face In The Crowd,” by Kazan, “Network” by Lumet, “All The President’s Men,” by Pakula, and “Rules of The Game” by Renoir.

René Magritte The Banquet The collection of Part II was inspired by Magritte’s motif of shedding light on the unseen in contempoary life — a fusion of the imagined and the real.

PART TWO

Elise Sokolowski Not Dark Yet Fifth Year Fellow, Studio Art

My father’s been in a funk. He was catapulted into a deep space of grief and isolation after the diagnosis, blinded to the positivity of his recovery. With all reason and logic, he should be happy and relieved. Yet, he’s lost standing still. I photographed his mourning phase. His world was shaken; life didn’t go as expected, and now he’s left to pick up the pieces.

Phyllis Pinqing Li Xing Se ĺ&#x17E;&#x2039;.č&#x2030;˛ Fourth Year, Studio Art

I am always interested in macro-structure of a painting - using simple and economic shapes to capture the essence of a person or object. Instead of using brushes to blend colors to create very realistic surface and smooth color transition, I used palette knifes to apply thick layers of paint with hard edges. This process of simplification positions my paintings between the realistic and the abstract.

Randy Reynolds Fourth Year, Studio Art

Randy's photo series has a strong relationship with the everyday - the smallest details. By abstracting mundane objects, she has found a kind of beauty in the ordinary.

tropica

Part Three Photographer Brendan Rijke

Fashion Director Linda Meliani

Creative Directors Amy Miller & Gloria Roh

Makeup Artist Morgan Toliver

Models

Jasleen Bawa, Lane Rylander & O'Shea Woodhouse

This page: Jasleen wears pleather dress from Target and boots by Doc Marten, Lane wears dress designed by Ismaelia Dejoie and tan shoes Mossino for target, Oâ&#x20AC;&#x2122;Shea wears black overalls and polo shirt from American Apparel and black Air Jordan 1

Opposite page: Oâ&#x20AC;&#x2122;Shea wears sweater from American Apparel and grey stonewashed jeans by BDG This page: Jasleen wears black crop top from Forever 21, Lane wears black jumpsuit from Laundry by Shelli Segal

Opposite page: Lane wears black jumpsuit from Laundry by Shelli Segal and black shoes Kork-Ease, Oâ&#x20AC;&#x2122;Shea wears black overalls and polo shirt from American apparel and black Air Jordan 1, Jasleen wears pleather dress from Target and boots by Doc Marten This page: Lane wears black jumpsuit from Laundry by Shelli Segal

Opposite page: Jasleen wears black crop top from Forever 21 and black shorts from Asos, Lane wears black jumpsuit from Laundry by Shelli Segal This page: Jasleen wears pleather dress from Target

Opposite page: Jasleen wears dress designed by Cindy Zhang This page: Lane wears dress designed by Ismaelia Dejoie

Va 40

Spring 2015