HYPEBEAST YOUTH ISSUE 26 (reduced file size)

Page 1

26






YOUTH

ISSUE 26

EDITOR IN CHIEF

VERONICA GERMANO

DESIGN DIRECTORS JENNA VISAGE MARIS LABELLA

OPERATIONS MANAGER EMILY ECKHOFF

FASHION DIRECTOR JESSICA JOR

CONTRIBUTING EDITORS

CONTACT

MAGAZINE@HYPEBEAST.COM 10TH FLOOR 100 KWAI CHEONG ROAD KWAI CHUNG HONG KONG +852 3536 9035

PRINTING

ASIA ONE PRINT LIMITED IN HONG KONG

VERONICA GERMANO

ALL RIGHTS RESERVED ISSN 977-230420569-0

DESIGN DIRECTORS

13TH FLOOR, ASIA ONE TOWER

EMILY ECKHOFF

+852 2889 2320

JENNA VISAGE MARIS LABELLA JESSICA JOR

SPECIAL THANKS TAYLER AYERS NICK THOMSEN

8 FUNG YIP STREET CHAI WAN, HONG KONG ENQUIRY@ASIAONE.COM.HK

HYPEBEAST.COM PUBLISHER

PAIGE PALAZZI

101 MEDIA LAB LIMITED

JAXSON VARNI

2019 MAY

KENNEDY CASTELLI EMMA HOLZER DOMINIQUE DIMICELLI GENTRY JEFFERSON CHELSEA GROSS ROSIE YAN

*THIS IS A MOCK PUBLICATION, ALL VIEWS EXPRESSED ARE THOSE OF THE CONTRIBUTOR(S) AND ARE IN NO WAY ASSOCIATED WITH HYPEBEAST

NICOLAS ORREGO LUQUE TYLER DURHAM TRISTAN NGUYEN TRAN YUKUN ZHANG ANDRE HASKETT WILL GARLEN MOLLY STOTTS CHLOE MAGPAYO OLIVER RICHARDS JULIA BLANDFORD HOUSE OF STRUT JUSTIN FERNANDES MARIANA DA ROCHA TIMOTHY JOSEPH ARMSTRONG JULIA D’ANTONIO

002


full PAGE HBX AD

HTTPS://WWW.HBX.COM


YOUTH

ISSUE 26

EDITOR’S LETTER

006

HIGHLIGHTS

008

TAYLER AYERS

014

JELLY

030

KENNEDY CASTELLI

040

SICK G*RL

054

ISSUE 26

004


TABLE OF CONTENTS

CHELSEA GROSS

076

GET WELL SOON

084

GOTH VAQUERO

098

MARIANA DA ROCHA

108

JULIA DANTONIO

112

GUIDE

116

Youth

005


YOUTH

HYPEBEAST 26

ISSUE 26

While exploring the theme of Youth for this issue, it became undeniable that the intersection of age with the Internet and creative careers is undeniable. Today’s youth is seeking to maintain a competitive edge through a diverse knowledge base. And the best part about this eclectic approach is that creative kids are acting on their own terms. It’s hard not to ask how much of this behavior is as a result of today’s uncertain social, economic, and political climates. Social justice fighters these days seem younger and younger, protesting issues ranging from student loan debt to gun control in schools. And despite their age, there is no question of their passion. These kids are some of the most active sub-groups in their community, using resources and the friends around them to help realize a mutual vision.

006


TABLE OF CONTENTS

BACKGROUND - 26 GRAPHIC FULL SPREAD ART

It’s worth it to note that we explored the concept of youth and the energy that comes with being in that life stage and having those opportunities. The creatives featured aren’t successful because they are young, but because they are taking advantage of their current place in the community as a disruptive and innovative force. The issue starts strong with multimedia creative Tayler Ayer’s poignant views on communication and the search for community. Dominique Dimicelli describes how the online music community she networked into has played an instumental part in her success. Designers Kennedy Castelli and Will Garlen use their formal training in Industrial Design and User Experience to inform personal projects of emotional and monetary value. And the energy of Chelsea

Gross’s streetwear collection shows a youth unafraid of change and imminent disaster. The collaborative nature of this issue highlights the very theme of utilizing connections and community to create something greater than oneself. This is the kind of energy and drive that will continue to disrupt today’s current creative landscape as more young artists continue to build their communities.

VERONICA GERMANO EDITOR-IN-CHIEF

007


Bape x UGG

YOUTH

ISSUE 26

Lil Wayne models the upcoming streetwear BAPE and UGG collaboration back in September 2018. This announcement

came shortly after “BAPE XXV” which was its 25thanniversary of streetwear fashions. The shoes finally dropped April 27 the

collaboration only includes five different types of shoes from a

slide, slippers, sneakers, boots and a pair of winter slippers. The BAPE shoes are tied in with the cozy UGG suede and sheep fur-lined coat. Unique to each piece is they feature a simple

color palate of brown and white while still incorporating BAPE’s signature camo pattern and STA motif.

008



Comme de Garçons x New Balance

YOUTH

ISSUE 26

Earlier this year we saw the COMME des GARÇONS x New Balcance collaboration that was their MS997 collaboration

which came in two colors, black and brown. This collaboration takes a lifestyle sneaker in CDG Homme’s signature to a new style. The upper of the shoe is leather/ suede with a mesh

underlay. They also elevated the shoe to provide great stability with traction focused rubber outsoles that have the ENCAP

REVEAL and ABZORB technology. Designer Junya Watanabe shares that it is the perfect example of function and fashion.

BRAND IMAGE

010



Dior x KAWS

YOUTH

ISSUE 26

Kim Jones presents to us his first collection in collaboration

with KAWS for Dior Men’s Spring/Summer 2019 campaign,

which includes a variety of sportswear staples and accessories, all featuring KAWs’ motifs and Dior’s bee logo, reinterpreted and stylized with KAWs’ signature “XX” eyes. One of the

many stand out items is the black nylon DIOR x KAWS pouch.

Designed with an adjustable shoulder strap in black jacquard, the pouch Incorporates the pale blue Dior logo and the reimaged bee motif. The black nylon DIOR x KAWS pouch is now available at Dior Men boutiques for $870 USD.

012


Moschino x SIMS

HIGHLIGHTS

Premiered during a Coachella desert party is Moschino’s latest Sims-inspired capsule collection, which consists of clothing

and accessories that feature signature Moschino elements and

motifs like the plumbob and the Freezer Bunny from The Sims. that bring elements of the life simulation game to real fashion.

Spotlighting the lycra dress pixel capsule, the piece has a slim fit and incorporates Moschino’s signature motorcycle jacket motif and gold chains, and renders them with a playful, pixel effect. The dress is now available at Moschino boutiques for $795

USD. What’s more, the virtual Freezer Bunny hoodie, available in multiple colors, is also available now in the game for players to dress up their avatars.

013


YOUTH

ISSUE 26

WORDS

VERONICA GERMANO PHOTOGRAPHY

NICK THOMSEN

014


FEATURE

015


YOUTH

ISSUE 26

016


FEATURE

Ayers draws on personal experience and observation to express his ideas and opinions on society as a whole. He doesn’t really

see himself as an artist most of the time, instead acknowledging that his work can transcend him. The work continues to push

itself each time Ayers posts, constantly find the most clever way to phrase something or track the lettering.

Using just the colors black and white as his medium, Tayler Ayers is leaving an enduring mark on the community. Whether it’s a divisive statement or a quick sketch the main goal is always to start a conversation, no matter how uncomfortable.

No matter what, Ayers is constantly trying to maintain

perspective. Over the time Ayers has been sharing his work,

numerous people have opened up to him about their personal

struggles, finding an honest and empathetic ear in an Instagram

direct message. Holding his girlfriend’s dog, Winston, he opens up about how his writing has saved lives of relative strangers. And also about how some of his sales have gone toward the tattoos his mom wishes he didn’t have.

Ayers doesn’t waste time with elitist art collectives,

instead seeking the company of honest people. He values

communication above all else, which is part of the reason Ayers is constantly pushing himself to make each message posted as effective and efficient as possible.

Now at his third college, Ayers is about to graduate after six

years of learning and solidifying his vision. His sights are set on presentation and scale, working to get his messages to as wide an audience as possible.

017


YOUTH

ISSUE 26

Do you consider yourself an artist? Or more of a designer or creator? My closest friend back in Atlanta is always telling me that I’m an artist and that I need to say that. I wouldn’t necessarily say there’s a lot that’s artistic about me as much as I am just like super creative and super curious. Sure, it’s easy for someone to say “Tayler’s an artist.” And that’s cool, that doesn’t really bother me. I’m just personally not crazy about calling myself an artist. I don’t know. Sure, I’m just a creative person and that’s kind of as far as I look into it, really. I’m intentionally very distant from a lot of the art communities, even though I go to art school. I don’t really like this whole idea of everyone’s an artist and we’re all doing super super abstract stuff where they only hang out with each other. I think there’s a trend it’s like cool to be weird now. That attitude is really exhausting. On the flip side of that, there’s this category of the boujee, fine art crowd here at SCAD, also. I just don’t operate in either of those. Like, I just make stuff. And if it’s in the context of a product, you know, maybe I’m a designer for a week. If it’s in the context of a painting, maybe I’m a painter, you know what i mean? Overall, I’m just creative.

How have your personal experiences informed your work and overall style? Uhm, so I’m adopted. Both my parents are, like, white as hell. And I love that, I always joke about damn you’re so white, it’s crazy. That being said, I’m from a really southern part of Georgia. I always grew up being too black for the white kids and too white for the black kids. I only really had a few homies that I could really relate to. And the whole black and white thing in my work — putting black on white or white on black is just really contrasting. You can get the point across and it’s no bullshit. It’s like the protein of art, just straight-up meat. You know what I mean? There’s no side items with black and white art. What you see is what you get. I’m also a really honest person and that has such an impact on my work. I’m just really honest. And in terms of the whole minimal thing, my room is pretty minimal and I wear the same thing every day. I think that I have this deep-rooted fear of being abandoned. That definitely plays into me not having any attachment to stuff. It’s like if I can just force myself to get rid of it, then I can accept change better.

How would you describe your approach in regards to choosing what medium you want to work in for a piece and throughout the rest of your process? I do a lot of graffiti work and I definitely try to think about something positive. Or like a cool skull or something that can be easily documented or photographed. Because we do kind of operate in this day and age on sharing through social media.

018


FEATURE

019


YOUTH

ISSUE 26

I got to see all different types of college students, college families, high school students, high school families, you know? Like, I taught a kid how to drive. We were both seniors in high school and he didn’t have a mom. Where I’m from, it’s very real for a lot of these kids. Especially, not solely this, but especially black or minority communities. A lot of their parents are incarcerated. That’s real. And once you get into these really private institutions, no one really deals with that shit. And no one really talks about it. I also went to a really nice private school, a small liberal arts school, a state school, and then SCAD. Basically my point is that I’m pulling content from all of those environments. I’m able to slow my mind down and synthesize it into a sentence or a phrase or something like that. I’m not just operating from the mindset that SCAD or art or design is the most important thing in the world. Because it’s not. It’s cool, but I only want to talk about issues that are real. And that are actually valid. I think there’s a desire for that in today’s society we’re living in. There is this very intense form of underlying desire for truth and for an honesty that we’re searching for. And that’s what I try to provide in my work.

Generally a lot of the content you create touches on various social issues and divisive topics. How do you decide what you want to say and how you communicate it? I mean most of the time I’m just posting on social media. Also social issues are just something that you can’t ignore. It’s a hot topic. You’re going in deep water doing that. But that’s a result of this whole “cancel” culture that we live in right now. And I just keep shit 1000. If someone asks what I think of something, cool,

That’s vital to my business. I get a lot of my clients and sales out

I’m going to give my honest opinion. I think we operate in this

of DMs and whatnot. And honestly, there’s not this super rigid or

culture where, if there’s an unpopular opinion about a hot topic in

textbook approach to what I do when I’m creating. Sometimes I’m

the current place and time, then people search for ways to cancel

in the mood for drawing, sometimes i’m in the mood for writing.

that person. They’re mainly written off as non-progressive or non-

It kind of just depends. But as for stuff that sells, that’s a different

inclusive. When in reality, like I’ve heard a lot of these comments

story. I think something’s that’s interesting about mein comparison

that have been made, and okay some are just fucking wrong like

to other artists is if you come to my house, like you’re here now,

that’s just a fact, but some I can’t really disagree with them. I’m a

you don’t see paintings around. I only work on commission, I don’t

progressive person myself, so that’s something I’m always trying

keep anything here. If someone comes to me for a commission,

to navigate and whatnot. I never want to come off as anti-anyone

that’s when I go and buy stuff. I don’t really like to just buy 10

or anything like that, regardless of my opinions. Regardless

canvasses and then paint them and then I can’t sell them. It’s also

of if someone lives life their way, my opinion on that that shit’s

a means for me to keep my costs low, since I am running this very

irrelevant. The type of person that I am is, like, I’m going to

much so like a business. But media-wise it kind of just depends

treat that person the way I treat my mom. I’m going to love you

on what mood I’m in.

regardless. Like, I don’t wear dresses, but guys who wear dresses it’s like, alright, run it. Just because it’s not my thing doesn’t mean

How has your non-linear college journey affected your

I’m going to look at you in a different way. I’ll still defend you and

current perspective?

i’ll be a homie to you. I’ll still be kind to you, I’ll still love on you.

Yeah, I’ve been in college 6 years. Man, I was talking about this

Like that’s just on some human to human stuff. But on the social

in class yesterday. I’ve been to 4 high schools and 3 colleges.

media side of that when I’m posting stuff, there’s this influx of

Switched every single year since 8th grade. And the cool part

content and data and stimuli that’s present. That’s always been

about that, that I’m able to appreciate now, is I was able to see a

present, but it’s in a more concentrated form. It’s all up in our

lot of walks of life.

020


FEATURE

021


YOUTH

ISSUE 26

022


FEATURE

023


YOUTH

ISSUE 26

faces with our phones and Twitter and Snapchat and Instagram.

have to be careful. If I get too angsty, it just looks like I’m trying

It’s all this content. The reality is that a lot of people don’t really

to take a shot at someone. Which to an extent, like I don’t realize

have the patience to kind of sift through the nonsense. And I think

it, but a lot of my work does take shots and stuff. I just want to

that’s something very strong that I can do pretty well. I think about

provide digestible content, which you can kind of take as a pill,

the topic I want to talk about and how can i produce it and serve

and then it can grow into what could be a good conversation.

it in a really digestible manner. Instead of making some clickbait thing, you know what I mean? I had this great conversation with

At least right now, do you see the purpose of your work as

my first girlfriend here. We always talked about how when you talk

conversation-starter?

about any topic, it’s not what you talk about it’s how you discuss

That’s the most important thing to me. I know my work’s known

it. You know, it’s the conversation around sexual assault, around

throughout the school. I know there’s people who like know of

racism, around the topics of obesity, around this and that. I think

me or know me, like I know that. I don’t say it in an arrogant

the topic is irrelevant, but it’s the way in which you go about

way, it’s just a fact. With that being said, it’s like you can have

discussing a topic is what unites or divides groups. That’s where I

all these followers, all these people who are like “hey, cool, i really like your work”, and i’m like damn. Sometimes it’s hard. Sometimes I really struggle to have those homies at the end of the day. That I can hang out with. Like I know all these people, but where’s my community? You know? And what I’ve found is the way I’ve found community that I do have is through conversations. Through having those hard conversations and that was at one point internalized. I want to put that out. I feel that if we can communicate, we can understand each other. If we can understand each other, that can build a relationship, and a relationship turns into a community. I think that’s a huge desire right now for young people. This feeling of belonging. We all have this desire for it. And it doesn’t even have to be a group of artists, it can be a receptionist, an artist, a doctor, stay-at-home dad, stay-at-home mom. But it’s people who you can just talk to and rely on. That’s enough for me. I’m content with that.

What are your thoughts on this millennial trend of isolationism and loneliness? Don’t even get me started on that, it’s such a trend. I’ve only ever really seen it at art school, but it’s this huge trend around idea that well, i don’t want to. It’s like apathy has become something to strive for. Well, I’m just not going to fucking talk to you. Especially here at art school, people just trying to be as alternative and different as they can. And they’re not going to talk to you only to show that they’re really brooding and going through shit. And I get that, but apathy and being cold has become a trend in this generation that I think is like a cancer. Honestly. And, yeah, social media does hurt that, but also people have a lot of fear for looking stupid. I mean, I’m a really confident person, but the amount of times where I think someone’s waving to me and they’re not. I’ve gotten so good at “hiding” the wave. I’m so good at that now. Like if someone’s waving and they’re not looking at me, I’ll kind of bring my hand to my head and just keep walking. But I own that shit. I’m only good at that because it’s happened to me like a hundred times. I think that people act out of fear a lot. The fear

024


FEATURE

of not being accepted. And that’s so cliche, but the fear that they

curse, that I already push super hard what I do. There’s not a

might say the wrong thing, something stupid. I honestly feel like

question of my passion, there’s not a question of my work ethic.

if we extended 2-3 more seconds of kindness to each other, the

And as a result of that, I’m always like “Okay, cool that was clever

domino effect of that would be unparalleled to anything we’ve

but how can it be ten times more clever?” How can I be ten

seen. Just saying that it’s okay and introducing yourself. Not just

times more clever with word play, with spacing, with type, with

staring at each other in person and then following each other on

subject matter. And that’s something super important to me. Just

Instagram. I’m like dude, I fucking know you, I’m not going to bite.

the process of how can I get my point across even clearer than before. It’s improvement. Everything’s related to communication.

It’s almost like an aversion to seeing people in different channels, online versus in real life.

So you’re already taking that step toward thinking about how

Man, that is a weird thing for us right now. It’s also a very

your work affects others?

interesting standpoint from where I am, because I’m 25. I actually

I mean, I’m into my work, like that’s just a fucking fact. But I also,

remember a time before Instagram, and I sound like a fucking

and this kind of goes back to being observant, know that what I

dinosaur. But I remember the year it came out. It’s not like I was

share affects others. I don’t really even post about this, I’m not

7, I was 13 or 14. I knew a time before Instagram was really a

even trying to, but I mention it in stuff like this, but some of the

thing, I mean there was Facebook of course, but I remember the

DMs I’ve gotten from people are stories that can make people

pre-Instagram. It was a less complicated time. I sound so old right

fucking cry. I was talking to this one girl who really opened up to

now. There’s such a language that goes on with the Internet. Even

me about being abused and completely just told all. And we didn’t

someone like me, I can use it to my advantage. But there’s shit

really even know each other. I think that’s just a result of me just

on there that just like, damn, you all really operate on this. The

really being honest and true on social media. Another example is

idea that we have to document our food before we eat it. It’s such

when I was in this digital class, it was textile design for fibers like

a funny thing to me, this concept of “influencer.” What do you

2 years ago or like a year ago or whatever, and I needed a wacom

influence, though? Like what do you do? Also this whole follow,

pen. And I wasn’t really trying to go buy one for like $80 so I made

follow back culture. Just shit I deal with all the time. People saying

a post and this dude responded to my story. He had asked me

“you fucking unfollowed me.” I’m like, it’s a fucking app. That

for my address because he wanted to send me one, like for free.

shit plays nothing into our friendship. If you think it does, you’re

And you know that shit’s not cheap. I thanked him and asked if I

probably just mad insecure. And I’m probably the only person

owed him anything, and he was like “You know man, I was going

that’s going to say it to you like that. I don’t say it in a mean way,

through a really hard time last year and almost committed suicide.

you can unfollow me, too. I’m not going to get mad. This social

Your words and your writing was like the only thing that got me

media shit is weird as fuck sometimes. Gives me a headache.

through. This is the least I can do for you.” You can’t put a number on that. And I don’t post about shit like that. But I got 20 more

How do you see your work progressing, especially post-

stories like that, but I also I don’t feel the need to share that with

graduation?

the world. It’s between that person and I. And that was a turning

The past six months I’ve been working on having a better

point, mentally, where I realized people very much so respond to

direction with the stuff I create. Being a lot more intentional up

what I do. I need to own that shit and amplify it even more. And all

front, instead of just creating for the sake of creating. It’s what I

this is cool, like this gives me money to go get a new tattoo or get

was doing and it worked, but it wasn’t what I needed to continue

ramen 3 nights a week, but it’s ten times bigger than me. That’s

to do. I know my aesthetic, I don’t really search for shit like that.

always something I want to keep in mind. Like I’m doing it, but it’s

I’ve kind of surpassed the whole “What’s my brand?” It just comes

not about me. It’s always been about other people.

out of me naturally. At this point, I want to work on more proper presentation in the future. I want to move on to a lot bigger client work. For sure. Selling one or two t-shirts, that’s cool I’ve done that. But, like, you know what Coco Capitan did with GUCCI? I feel like that shit was crazy, it was super cool. That’s something that’sd definitely be an interest of mine. I mean I’m putting in the groundwork on my end, but I want it to be for a broader audience. Still keeping with my brand identity, but I don’t know, a continuation of what I’m doing. It’s a blessing, but also kind of a

025


YOUTH

ISSUE 26

026


FEATURE

027


YOUTH

ISSUE 26

028


FEATURE

029


YOUTH

ISSUE 26

JE L L Y 030


TOP: PAIGE PALAZZI

035

031


YOUTH

ISSUE 26

036


037

033


YOUTH

ISSUE 26

038


TOP: OBEY PANTS: PAIGE PALAZZI

039

035


YOUTH

ISSUE 26

TOP: PAIGE PALAZZI PANTS: PAIGE PALAZZI


037


YOUTH

ISSUE 26

TOP: OBEY PANTS: PAIGE PALAZZI

042


VERONICA GERMANO JESSICA JOR STYLING VERONICA GERMANO PHOTOGRAPHY JENNA VISAGE ASSISTANT JAXSON VARNI MODEL

039


YOUTH

ISSUE 26

Kennedy Castelli synthesis

WORDS

JENNA VISAGE PHOTOGRAPHY

EMMA HOLZER 040


FEATURE

041


YOUTH

ISSUE 26

042


FEATURE

Focusing on connection with the user experience, Castelli uses a variety of physical and digital mediums to her advantage

conveying her emotions to viewers. Her work has developed

with a combination of her growing eclectic knowledge base and personal details from previous work to build and create a base

Kennedy Castelli’s designs centralize on innovation and intuitive design, carrying her skills from painting over to her industrial design work.

with well rounded vision and aesthetic design motivation.

Castelli comes from a background of doing fine art in high

school. She eventually put down the paint brush and decided

to focus on her makor upon arriving at the Savannah College

of Art and Design and committing to industrial design. After a while, she revisited the idea of double exposure and remixing portraiture and natural phenomena. She hopes to follow her

career into industrial, following graduation from SCAD next

year, through sustainable and innovative design within an aspect of the industry.

043


YOUTH

ISSUE 26

044


FEATURE

release and an outlet for my personal well being and not so much like I’m doing this to demonstrate something. It’s more of a hobby to me, so I don’t feel pressured to create for school. It’s more personal to me. For my subjects, I use random references I like and kind of try to incorporate aspects of my own views on spirituality, astrology, and different emotions and feelings I’m having.

So where would you find a crossover between industrial design and your paintings? I just took an advanced photoshop rendering class, and it was all about digitally painting products in photoshop. I also

Q&A

started exploring commissions and doing prints, so it was What made you choose industrial design as a major instead

kind of taking the physical painting world and drawing world

of painting?

of industrial and digitizing it making it easier to mesh the two.

I like industrial because it’s so broad. I can kind of do anything

I see a lot of people coming into industrial with the one track

world of design with it. I can go into furniture, or sustainability, or

mind of being a designer and never being an artist, and I think

lighting and interior. Painting also helps alot with industrial design

having a background as an artist has helped me render and

from the whole drawing and rendering aspect of it. I thought it was

communicate my designs in a more painterly way seeing how

a good balance, but different enough from the things I’ve been

light and shadows interact with each other.

doing. Do you kind of have in mind a specific audience before you What’s you process for creating a new painting and how is it

start designing or do you kind of go with a broad audience

different from when you design for industrial?

and work through it as you’re going?

My process, I usually think my inspiration comes from myself.

I think I just kind of go with it and do me. I think about I would

When I came to SCAD I kind of stopped painting to focus on

want and go from there.

industrial, but I found myself missing it after a while. After so long, I didn’t really know where to start, so I went back to things I did

You mentioned briefly your interest in industrial design and

in high school when I did a lot of double exposure style things. I

what you wanna go into. What’s your favorite kind of things

would start the painting in photoshop and then paint them. As I

to design and problem solve?

came back to painting, I started to reopen that idea and re-explore

I really like designing furniture, but I’ve been getting into a lot of

that and it led to a lot of different things and expansions in my

design for sustainability. I’ve been trying to get into packaging

process.

design, researching new materials to use replacing plastic and styrofoam in packaging design, but overall, I like having a broad

I’ve seen both your landscape work and portraiture, do you

variety in what I design.

prefer doing more nature related paintings or portraits? I think I prefer portraiture. Not necessarily that the portraits I’ve

Where do you see sustainability going in the industrial

done have extremely exaggerated facial expressions, but I feel

industry?

like my emotions are more easily put into a portrait rather than a

I think it’s coming into a lot of electric vehicles. I took a few car

landscape.

design classes, not that I really want to go into cars, but there’s this whole sort of autonomous world being explored. Personally,

You said you insert yourself in a lot of inspiration for

I don’t entirely understand the point of that [autonomous

your paintings. How would you say you go about working

vehicles] and think people should be focusing more on

through that? Do you incorporated personal experience, or

electric vehicles using innovative, sustainable materials. In

reflections of yourself?

my innovation and sustainable materials class right now, were

I think I do a lot of personal experience kind of the whole

doing a lot of research into bio materials. So, researching stuff

emotional artist trying to translate my emotions into paintings. I

using mushrooms and fungus to grow different fabrics out of

use paintings as an outlet to be more of a product of myself. A

those weird bacterias and plants. It’s really interesting to me.

045


YOUTH

ISSUE 26

046


FEATURE

047


YOUTH

ISSUE 26

I think industrial is heading into a more sustainable way of life.

Does your industrial work in any way influence your painting as you get more into your coursework? I think it does within the drawing and rendering side but not so much the subject. Seeing different techniques of shadows and highlights and merging the two, and different types of brushes and what they’re good for. Just learning different techniques has helped me take the industrial side of drawing and apply that to painting and vice versa. They kind of feed into each other.

Would you say now your painting style as you grow a little more self taught as you get an eclectic knowledge base? I think so. The last time I painted in a class environment was color theory, and we didn’t really do anything it of substance was mostly weird landscapes. I think it’s definitely all a personal growth and personally accumulating.

Do you find a benefit to working digitally versus physically or using more physical mediums versus digitally? Or do you like to cross them over more? For painting, I definitely like physically better because then I can really get into it. I’ll use my whole living room and there be stuff everywhere. It’s just kind of a mess, but the whole walking around, moving back and forth, and having music and dancing around; I’m really putting my energy and emotions into it. If I’m just doing it digitally, I’m sitting in front of a computer I kind of just

“ I R E A L LY L I K E E M PAT H E T I C DESIGN AND HOW IT USES YOUR FEELINGS WHEN INTERACTING WITH OBJECTS. I D E S I G N F O R T H AT EXPERIENCE AND FOR THE SENSES E N C O M PA S S I N G T O U C H , TA S T E , SOUND, AND SMELL”

feel bogged down like I’m not really getting my emotions into it.

How did you get the idea to do the double exposures and how do you communicate that versus taking pictures first and editing them and painting them? In high school, I went to a small high school and my art classes were not great, but my teacher required us to have 200 photos printed out that we accumulated over the summer. I wanted them to be more interesting, so I started taking them and manipulating them in photoshop and painting them. I kind of abandoned that idea and came back to it a while later when I started getting into more of the digital work. Seeing how you can artistically manipulate things in industrial, I started to do that with painting again.

048


FEATURE

049


YOUTH

ISSUE 26

050


FEATURE

051


YOUTH

ISSUE 26

052


FEATURE

How do you describe yourself as a designer for industrial versus as a painter with your personal artwork?

I think they both are very emotional. I really like empathic design and how it uses your feelings when interacting with objects. I want to design for that experience and design for the senses encompassing touch, taste, sound, and smell. I want to create and experience. And I think with painting you can kind of manipulate and communicate how the audience should feel and I think it’s the same thing with products. What you design, how you design it, and using the design language in it kind of decides how the user experiences it and how they feel while using it. They go hand in hand when people feel things.

Going into the more emotional side of your process, do you think that if you were to pursue painting professionally rather than industrial design that would’ve changed the perspective for you?

I think it definitely would’ve because i would feel more pressure to create and it wouldn’t come as naturally. I think I would start to hate it [painting] a little bit because when I feel creatively blocked I don’t paint or force myself to do anything because I don’t feel the need to. But when the inspiration strikes and I feel the inspirations and emotions again, I’ll let it out and paint it out. So, I don’t feel the same level of responsibility than if painting was a career path.

052


YOUTH

ISSUE 26

SICK G*RL DOMINIQUE DIMICELLI

WORDS

VERONICA GERMANO PHOTOGRAPHY

G E N T RY J E F F E R S O N ILLUSTRATIONS

DOMINIQUE DIMICELLI 054


FEATURE

055


YOUTH

ISSUE 26

Dominique Dimicelli is an authentic voice in the current Internet rap community. From posting videos of her singing in her bedroom,to releasing a full-length album on multiple streaming sites, Sick G*rl’s DIY journey has been one of growth. At the end of the day, her songs are the by-product of creatively produced candor and emotional rawness. 056


FEATURE

Q&A What made you decide to focus on your music at this point in

wanted to write as much as I could. And then I was like Ok, I’m

your career?

going to start recording these into Photobooth as, like, poems.

I’ve always jumped a lot. I started writing when I was really young.

Then people started asking me for my soundcloud, and if they

I actually just found out that I had started writing in the first grade

could send me beats, and even some offers from producers. I

and I had thought I started writing in the fifth grade. It was always

was like What the fu-? I wasn’t trying to do music, but I guess

story-based. But then in November of 2017, I started writing

my poems could be raps. It was just the best way for me to get

poems again after I had stopped writing for like 2 years in 2015.

all of my emotions out. When I was going through a lot it was

That’s when I rhymed in my poems for the first time. I never used

the easiest way to get everything off my chest. And it made it

to rhyme ever — it was too hard. I couldn’t figure it out. I just

easier to cope with, because if you’re going through all this shit

057


YOUTH

ISSUE 26

in life and then can turn it into art that you enjoy, it’s almost like it’s

know a bunch of people that have been doing music — whether

not as bad. You make something beautiful out of something really

it’s rapping or producing — and they would see my posts and

ugly. So that’s why.

reach out to me. That definitely helped me go in this direction, because if other people who were in the industry didn’t push

Do you see your method of broadcasting your poems and

me, I wouldn’t have went this route. For example, one of the

raps on social media affecting how you create?

people that’s produced a lot of my songs I found through

Massively. I would start by recording in Photobooth and then

a filmmaker. He had done films for like a bunch of different

I would post it on Instagram. Sometimes Twitter, but mostly

people, including SCAD kids, so i followed him. He made a

Instagram because that’s where I saw a bigger audience. I also

music video for one of my soon-to-be producers the Black

058


FEATURE

Toilet, but he produces under Kwanza. Through that social media

was because of someone else who other people knew. I didn’t

connection, he found my art page where I had a bunch of my

even know that kid.

Photobooth poems. He was like yo we have to work and let me send you beats let, me send you beats. Honestly without him

You recently self-released an album, and based off of some

specifically, I probably would not have made a bunch of my first

of your prior tweets you weren’t sure whether you released

songs. And then I wouldn’t have really continued with it. Social

at the right time. What kind of challenges did you face with

media has been extremely helpful with networking, just making

that process?

those connections. Like I had no idea who Kwanza was at the

Well, firstly, I’m extremely vulnerable in almost all of my songs. I

time. He lives in Jacksonville and the only reason I knew of him

mean some of my songs, which can be fun, I’ll write about

059


YOUTH

ISSUE 26

bullshit and haha weed, haha partying. But, for the most part, I feel like I’m writing about my traumas. So the idea of putting out

“WHEN I PUT OUT A SONG WHERE I’M TA L K I N G A B O U T A C E R TA I N TOPIC, PEOPLE WILL HIT ME UP A N D S AY T H AT I MADE THEM FEEL LESS ALONE AND THANK ME FOR T H AT. ”

a whole album where I present everything that happened to me and how i feel about myself and how i feel about the world, that was scary. Also, I used GarageBand for basically everything and mixing my own vocals. There’s only one song on the album that someone else professionally mixed, but otherwise I mix my own vocals. And I just started making music. But I watched some YouTube videos and I think that I’ve gotten way better. If you listen to the first song on my SoundCloud compared to the album, I think you can tell the mixing has improved. But mostly dealing with vulnerability and general self-doubt. Whether it’s about the technical aspects of the song, or the lyrics in general. Thinking “Oh is this actually a good lyric? Am i even good at this?” Overall, I have a lot of self-doubt, so I just go back and forth between this egoism like yeah fuck yeah i’m so good at this this is gonna work and you’re actually crap and no one’s gonna listen. But I just try and quiet that second voice as much as I can. But those were mostly the issues with me releasing it.

What motivates you to remain so authentic? Especially since you’re releasing this content online where anyone has a voice and it can stay there indefinitely. I don’t know how to be anything other than myself, I guess. But that’s not entirely true because i have all my alter egos within myself, but that is still myself. So I think it’s back to this being the easiest way to get my emotions out. It’s terrifying showing that to people. It’s funny because all throughout high school, and even before that, I used to not tell a soul about any struggle that I ever had. Making music has helped me realize that that’s not healthy. I don’t know if showing it to the entire world is any better. It’s a massive flip, compared to not even telling my friends or family before this. But also I know so many people struggle similar issues to mine. When I put out a song where I’m talking about a certain topic, whether it’s mental illness or drug use or whatever, people will hit me up and say that I made them feel less alone and thank me for that. That makes me want to keep doing it. I also want to make it clear that whenever I do talk about drug use, it’s never endorsement. It’s always just my perspective from my experiences. I’d never try to make it seem like doing drugs will make you cool because it fucking doesn’t. But some people do interpret it that way, which stresses me out. I have thought about whether or not to censor myself. A lot of my followers are younger, like Lil Peep younger, kids really. It makes me nervous. That they might interpret it the wrong way. But then I remind myself that there’s no censorship in art. I’m not going to censor myself, I’m going to be who i am. I’m going to say what I want to say.

060


FEATURE

How do you decide when you feel a track or album is ready

down, that I don’t have to drop it that second. Just because I

to be released?

“finished” it doesn’t mean it’s ready. Now that I’m thinking more

Before I started this album, I would get home from work at like

about the technical mixing and mastering process, I want things

10pm and sit at my computer. I’d either have written lyrics that

to be clean when they’re released. Not just that it has a beat

work or something I’d written earlier that day or I’d look back in an

and a complete recording. I’m excited, you know? I don’t know

old notebook to go off. I’d have a beat someone sent me and I’d

what makes a song finished, because I do still love some of my

put it in GarageBand. I’d record it like 600 times until I liked the

songs that I dropped before they probably were finished. There

way it sounded. By the time I was done, it would be like 6AM and

are a lot of my songs that are not mixed well whatsoever. If I

I’d be so excited I’d drop it the. But now I tell myself to come

reapproached them and remixed them, they’d probably sound

061


YOUTH

ISSUE 26

062


FEATURE

063


YOUTH

ISSUE 26

more professional. But I still like them and I like watching

Do you think you’ll ever consider going a professional

my progress. It’s gone from oh this really sounds like it was

route if the opportunity presented itself and professionally

recorded on GarageBand to ok this sounds closer to studio.

mix your songs?

But not fully studio yet, so I don’t know. I drop things whenever

I would love to. I really just want to learn everything. Which is

I feel comfortable. With Divine Collide, I wanted to drop back in

hard to do in one life, but I just want to learn as much as I can.

January. I just sat there with the album. And I just went back and

And I have made some nice connections that I think could help

forth, saying it’s good or it’s not good, until I finally shut up the

me learn how to better my music whether it’s mixing, mastering,

bad side of my brain. I decided it was time. So I don’t think there’s

or learning how to actually produce my own songs.The beat

really a set answer. Just whenever I feel confident enough.

itself is something i really, really want to do. So that something is fully mine. I mean, I love all of my producers, they’re fucking awesome and so nice. They always help me, whether it’s

074


FEATURE

boosting my confidence or critiquing something, but still I would

never in SCAD, or have dropped out, or are currently enrolled

love to learn how to be more professional. But I don’t want that

but want to leave. I don’t think college is necessarily something

to ever turn into being inauthentic to myself. Because a lot of

you need to do in order to succeed in life. I think if you have

people sign to labels and then their music is not them anymore.

a plan, in whatever direction you want to go, I think you can

I never want that to happen. That’s terrifying. Because then

get there, you know? If you push yourself hard enough. I think

what’s the point of making music? Like, I’m making it, in my

having a foundation is important. It’s like when I took one oil

bedroom, after crying, to get my emotions out. If i were to sign

painting class and now I feel confident enough teach myself the

to a label and they told me to rap about blah blah blah blah

rest, at least with oil. But having a little bit of exposure to the

blah, that’s not me. Why would I do that?

college experience was awesome. Also I wouldn’t have met any of these people that help me now. I wouldn’t have gone through

Has your experience with going to college and then having

a lot of the traumas that I did. So coming here for school was

to drop out informed you as an artist? Do you think you

very important to me, but not being in school now doesn’t

would have pursued music if you were able to stay in

bother me anymore. And to the people who are contemplating

school?

dropping out, I would say to pursue something greater than

I’ve thought about this so much, because it wasn’t my choice to

what they think they’re doing now at school. I would say go for

drop out. It was the institution and then finances. The situation

it. Also, my mom has been extremely supportive. My entire life

was where I couldn’t go back. Still, all I wanted to do was go

she would tell me and my brother that it was okay to wait to go

back. I wanted to be in my painting classes. I had thought about

to college if you’re not ready right after high school. Now that

not even finishing with a degree, finishing by taking a bunch

I’m not in school, she supports that I’m doing this right now

of classes— take this painting class, this music class, this film

because she sees it’s working. As long as you’re working

class, this this and this, just so that I can learn as much as I can. And I won’t get an official degree, I’d just drop out after I

toward something. College isn’t everything, a degree isn’t

gained enough information. But that option was taken off the

everything. What am I going to do with a Painting degree

table and I went back home. I had a job, but otherwise I had

anyway? I could just tell someone I went to SCAD and it sounds

nothing to do. So I started this music stuff. Then it picked up,

nice. I don’t need the degree.

nicely, and I made connections. I didn’t feel as bad about not being in school. Now, after coming back to Savannah, I’ve

Do you think the pressure surrounding going to college

talked to a lot of people who aren’t in school. They were either

has allowed for the trend of normalizing dropping out or taking gap years? I think as the Internet grows, people can do way more without any degree. I know people that didn’t even finish high school that are continuing with a career in the way that they’ve built for themselves. I definitely would recommend that people finish high school, or get a GED. But going to college I don’t think is absolutely necessary. Finances play a massive part in that. I am aware that I chose to go to a private school, it would have been cheaper and a different story if i went to a community college, but it also would have been a different experience altogether. I think with how expensive getting a degree is and with the massive amount of stress that comes with a college experience and education, I don’t think it’s worth it. I just think a plan is necessary. That doesn’t even mean you need to have your plan now. I just turned 20. I don’t have a plan plan. I’m just doing what I’m doing and hoping that it works. But I’m building the plan as I go. And I think that’s what everyone is trying to do.

075


YOUTH

ISSUE 26

070


FEATURE

E M I LY E C K H O F F PHOTOGRAPHY

R O S I E YA N

077

CHELSEA gROSS

danger days

WORDS


YOUTH

ISSUE 26

078


FEATURE

He is someone who is looking for pieces that show his

individuality, but are wearable at the same time. Streetwear becomes the focus in her studio space, trying to create new colorful ideas.

Chelsea Gross is an aspiring menswear designer at The Savannah College of Art and Design. This 21 year old prizes herself on her ability to create innovative streetwear for the trend forward mainstream male.

When going into her studio, at first thought, a humble bystander

would be overwhelmed by the amount of color and material that covers her work space. At second glance, you can understand her thought process from the spools of threads covering the windows to the mannequins covered in her muslin trials.

She likes to keep her sketchbook filled with renderings and inspiration from her favorite brands by her at all times for

technical detail and direction. Her attention to technical detail is

extremely important in her design aesthetic. The more technical, the better.

As a senior, she is required to create a senior capsule collection

that highlights her personal design aesthetic and the skills she’s

learned over the past four years at Savannah College of Art and Design. In this Q & A, we are highlighting the success of her collection and what inspires her the most.

Graduating from The Savannah College of Art and Design,

Chelsea is off to be a Men’s Knit Wear designer for Abercrombie & Fitch. She is excited to move forward and experience new challenges in a different environment.

079


YOUTH

ISSUE 26

080


FEATURE

081


YOUTH

ISSUE 26

Q&A What is the inspiration behind your latest collection? It’s based on my favorite comic book, “The True Lives of the Fabulous Killjoys”. When I began to design everything, I was looking at a lot of video game depictions because I liked the way they thought about clothing rather than looking at what already existed within runway. I wanted to build up an actual world, and make my clothing for the characters in my world. I started thinking about my collection as characters, and not just as individual looks. It came a long way, but a lot of the inspiration came from the comic book itself and then from rock and roll music. It definitely became about conveying this attitude and feeling within the clothing.

Tell me about the narrative / world you have created for your collection. Essentially, the world ends in 2012 and from the destruction of the world, they build these black and white cities that are sterile. This is a place where they are free from emotions and decisions. People are fed pills for feelings and this environment

082


FEATURE

becomes part of the worse dystopian society you could ever think

I began to approach everything with a sad outlook on life.

of. On the outside of these cities in the deserts, there are places

Everything was depressing. I came across this comic book,

called the “zones”. They are wastelands that are full of motor oil,

and began to think ... “How interesting is it to view the end

dirt, unimaginable things, and that’s where the rebels live. These

of the world as not a sad thing?”. The whole premise of the

rebels are children born of violence and rock and roll. They live

collection is about these rebels that meet the end of the world

life in color, feel emotion, and feel loudly. They are a little bit dirty

as a party and live life in color. Yes, they are angry and willing

and hate the government and what society has become. They

to do something about it. That’s exactly what I found really

are willing to do anything it takes to get back the world they once

inspiring. It’s not about backing down, it’s about standing up to

knew and loved.

the occasion.

What does the topic of the collection mean to you

Why do you feel it’s important for you to highlight the topic

personally?

of government issues? This collection wasn’t about government issues, it was more of a plot point in my actual story. But, with that said, the world is a scary place. If anything, I wanted this collection to highlight the feeling of not to be afraid to back down. We don’t have to accept what the world as come to. We can fight back.

Why are you pushed towards the streetwear market? I think it’s just fun. It’s what actual guys are wearing in today’s market. Your not going to go out and see a 20 year old guy in a three piece suit or some avant-garde pieces. Your going to see a guy walking around with a t-shirt, joggers, and sneakers on. I think it sometimes gets a bad reputation with people who just buy things for the brand, but I think there is some street wear that is thought provoking that men can actually wear. That’s what I want to do, I want to make clothing that guys can actually wear on the streets. I don’t want to make clothing that’s for the 1% population.

Why are you interested in menswear? I think menswear isn’t pushed enough. Everyone thinks that menswear is about khakis and polo shirts. I think it can more than that. Womenswear has been pushed a lot, where if you see something crazy, you’ve probably seen it before. If you push something in menswear, everyone is very intrigued. I just connect with menswear more. I have always been kind of a tom-boy and I just felt like it was so much easier to think like a guy at some points. Technically, it was easier for me to create. In womenswear you can have these crazy silhouettes, but in menswear, you have to think about where are the pockets are going, what’s this pocket going to be, where is the collar going to be, etc. You allows have to think technically and that’s something I really enjoy.

083


YOUTH

ISSUE 26

084


FEATURE

WORDS

VERONICA GERMANO PHOTOGRAPHY

M O L LY S T O T T S 085


YOUTH

ISSUE 26

086


FEATURE

Get Well Soon was born out of a need to stay busy but to also build a community. To take advantage of the power of the

Internet to connect consumers through curated product. Drops

are limited with all garments created by hand, giving a romantic quality to the pieces.

The rise of the online streetwear brand is no coincidence. Apps like Instagram and Depop offer amateur sellers and entrepreneurs e-commerce options to sell directly to their audiences.

Garlen uses his formal background in product design and user experience to further innovate his line and how he manages

consumer interactions with the brand. Despite still having to finish a Bachelor’s degree, Will Garlen’s sights have never waivered from growing the Get Well Soon brand.

As the direct-to-consumer market continues to be saturated with

small start-up brands, having a factor of differentiation is crucial for long-term success. In order to stand out and build loyalty,

brands like Get Well Soon are launching based more on concept than strictly product. The concept can grow and expand to the online consumer’s ever-changing needs.

Even though Get Well Soon’s focus is on building community, Garlen makes it a point to note that the brand owes part of

its success to the community of friends and creatives it was

built upon. He has been able to utilize the talent he is actively

learning alongside in school. Garlen takes an eclectic approach to learning — from watching friends, to YouTube videos, to

just trying to figure it out himself. Through trial and error Will Garlen has been able to take what initially started as a hobby into a viable business venture and brand community.

This current landscape has allowed for Will Garlen to launch and develop his brand while still in college. 087


YOUTH

ISSUE 26

break. I was interested in just picking something up, a trade. I like to work with my hands. When I’m away from that for too long I really need to pick it back up just to stay in the best mindset.

Describe your design process from concept to product. At the start I was really focused more on curated images as my graphics, but due to copyright issues I wasn’t able to keep that going for too long. I just needed to be really careful about using images that weren’t actually mine. Even though I was editing them and everything. But I really based it off of what’s called “cursed images”— images that have weird energy and just don’t make any sense. I was really interested in those at the time and from that it kind of evolved into just like weird sayings. I brought in some basics as well on the site for people to buy just if they didn’t want to go the crazy route.

Did that initial start with weird content inspire the brand in any way? The name Get Well Soon started as just a vessel for me to use pretty much. It was more just my creative thoughts in general. I wanted to use that term in a different way than how it’s used. You can think of get well soon as actually feeling better, or it’s about your health. But in another way, you can say something

Q&A

needs to get well soon or that you need to get well soon about a

What made you turn your attention toward fashion while

certain situation, so it’s very situational.

pursuing your education in User Experience design? Overall, my school focus is definitely oriented toward product

What made you decide to start selling your emotional

design still, after I started out with Industrial Design. That’s why

output?

I came here back in 2014 and SCAD was my first choice after

So, I saw a little gap in the market in general where people

coming here for the rising star program. Through that process I

were starting to be really sad on the Internet and really pushing

learned a lot about the production of physical products, as well as

their feelings. I wanted to tap into those emotions with my work

the research, which really got me into User Experience more. The

and I wanted people to use that as a way to reach out to others.

research behind how people interact with products and services

So if someone was wearing a GWS shirt, they’d kind of know

really caught my interest. And through that, I really wanted to

that they’re maybe going through something, or it’s just like this

explore the ways that can really be utilized. I focused that on

unspoken situation. But really being able to talk about negative

my hobby of fashion — I had just been into like sneakers and

emotions in general, it’s invaluable.

collecting some pieces every so often — I had kind of evolved that into producing something of my own.

Would you see your brand developing more into a community?

Did those research skills inform how you decided to produce

I mean I’ve had some ideas on maybe some forums to start. Or

your garments?

maybe just a separate page for people to talk to each other on

I actually do everything myself. I sew, I screenprint, I make the

just about anything get well soon really. But GWS can be about

graphics. I do all the graphic design and marketing, as well as

news as well. I mean, the environmental issues that are going

all of the production in general. I’m lucky I have been able to

on right now— if I wasn’t so busy I would have done something

utilize my friends’ skillsets as well. They are very supportive. And

for Earth Day. I really had the idea of having a GWS shirt saying

I uh really appreciate all the help that they’ve given me. I mean,

that you could either help the Earth get well soon or they could

screenprinting started as just something to do over a winter

leave. They could just go to space.

088


FEATURE

089


YOUTH

ISSUE 26

090


FEATURE

091


YOUTH

ISSUE 26

092


FEATURE

Has your background in User Experience informed any of your decisions with your brand? Absolutely. I also have a minor in Business, so that core, combined with the research abilities that I have, really gives me a more rounded background. I’m constantly learning about how people adopt certain ideas, as well as how they really gain interest in these products in general.

How do you see UX affecting retail and the fashion industry in the future? Well, up until now since everything has been centered through ecommerce, and UX has a big influence on fashion through their websites or social media. The way that they’re able to get information out quickly to consumers, as well as efficient new product development. That’s why fast fashion works so well, they’re able to do research so fast that people don’t even know what’s happening. But in the future, I really see that User Experience can go more into the physical realm. I think that brickand-mortar is nowhere even close to dead and that it might even have a comeback stronger than before. People are really looking for these experiences. To actually go into stores and it be more than just a retail experience. So it’s more than just the fashion, it’s more than just the clothes. Maybe it’s that community that we were talking about. Maybe it’s just visuals, art. A business partner and I are actually working on a retail space to kind of explore this, but I can’t talk too much about that right now.

How do you see yourself managing running a business alongside your school courseload? Well, I mean, it’s not easy in any way. Especially since I’ve been doing this brand by myself. But, my suggestion is to really utilize all your friends— you really should work together, in any way you can. If you’re in the same physical location it’s even better because you can just get together, sit down, and just work. But right now, school has been my priority just because I want to finish it. Once I finish it, who knows where I can go with this. Especially once I have the time and the resources to push this even further. I’m excited to see how that turns out.

Do you think the traditional path into fashion is dead? I tend to support all of the people that are starting to make something of their own. I really support that in any way that I can. I’ve seen a lot of young kids out here really starting to create their own brands and test that field. Some of them are coming out of that hype realm, where they’ve been collecting Supreme and reselling that. Whatever they can to make a quick buck. But now they’re starting to see that there’s more value in owning something. I think that’s really good and I think that’s a sign that

093


YOUTH

ISSUE 26

094


FEATURE

095


YOUTH

ISSUE 26

096


FEATURE

“IT’S A LOT OF BEHIND-THESCENES AND PEOPLE LIKE TO SEE THINGS HAPPENING R E A L LY Q U I C K LY. SO IF IT’S NOT G O I N G FA S T ENOUGH FOR THEM, THEY’LL DROP OFF AND L O S E I N T E R E S T. BUT I DON’T T H I N K T H AT ’ S A BAD THING.”

we will be going in the right path. But for those different methods to get up there I think it’s still evolving and there’s still growth that needs to happen to make these non-traditional brands more relevant. There’s a line where I feel they get up to and it’s hard for them to get any further right now.

How big of a learning curve was it for your product creation process from sewing to finishing? Well, I have slight experience from my childhood. My mom used to sew costumes for the drama department, so I grew up watching her do that. I never did it myself. But eventually, I’d say about 2 years ago, I was just at home and I wanted to pick some skill up. I wanted to learn something. So, I took her old sewing machine, it’s like a Singer from the 90s, and I just started to sew some scrap fabric that I had. I made a long-sleeve shirt out of a rayon material, so it wasn’t the easiest material to start with. I think just having the mindset of doing it and trying it first before you even get into it is really important. But, I’d say more so do it today, don’t do it tomorrow.

What keeps you pushing forward with this brand? Really for me it’s the concept. It’s hard to prove your concept in today’s market. It’s a lot of behind-the-scenes, and people like to see things happening really quickly. So if it’s not going fast enough for them, usually they’ll drop off and lose interest. But, I don’t think that’s a bad thing. Maybe those weren’t your target customers anyway, if they were just looking for something quick to move through. Really pushing the concept even further is what draws my interest. I really want to know how I can do better with that. How I can get well soon in the fashion industry in general. And how can I make this amateur solution, at least right now, into a very professional setting or a business. Which I kind of have, but now I’m waiting for more time so that I can put more into it.

097


YOUTH

ISSUE 26

goth vaquero 098


FULL LOOK: HOUSE OF STRUT SHOES: DOC MARTENS

035

099


YOUTH

ISSUE 26


101


YOUTH

ISSUE 26

FULL LOOK: HOUSE OF STRUT


GARMENT: CREDIT GARMENT: CREDIT

103


YOUTH

ISSUE 26


POSING

GARMENT: CREDIT GARMENT: CREDIT

FULL LOOK: HOUSE OF STRUT


YOUTH

ISSUE 26

FULL LOOK: HOUSE OF STRUT

042


JESSICA JOR VERONICA GERMANO STYLING JULIA BLANDFORD PHOTOGRAPHY JENNA VISAGE ASSISTANT JESSICA JOR HAIR JUSTIN FERNANDES MODEL

107


YOUTH

ISSUE 26

With a push for sustainability and reconstruction of existing materials, Mariana Da Rocha is coming in on the cutting edge in her fashion design education at the Savannah College of Art and Design. Da Rocha has been reimaging already made garments, taking them apart, and rearranging them to express her creative concepts rooted in fine art and culture throughout history. Mariana da Rocha Q&A PHOTOGRAPHY: TIMOTHY ARMSTRONG

108


Q&A

Where do you find most of your inspiration when designing for fashion? It can be from anywhere, usually Pinterest is the tool I use because it has more curated pictures than Google or other engines, but sites like Vogue and WGSN also have really good collection content if I’m trying to look at seasons or trends. Also, other forms of art inspire me too: music, poetry, paintings (like this particular piece) and others.

Who or what brand is your biggest design aspiration and why (fashion or other)? I definitely have a ton of designer inspiration, some are Vivetta Ponti from Vivetta; Vesace (Donatella); Reem Acra; Filles à Papa; Dior; and others as well as other artists outside of fashion.

What aspect of deconstructive and sustainably sourced

What was the inspiration for these pieces?

fashion inspires you?

A piece by Joan Mitchell, abstract painter, called “Hudson River

I like hands on fashion. So stuff you can do it yourself, reinvent

Day Line” in 1955, oil on canvas.

clothes to fit your will because that’s what fashion is supposed to be about: Fun. So I like the deconstructive style because I

Who do you design for (i.e. age, demographic, type of

can make my own tulles about what is beautiful, I can cut at

person, characteristics, values, etc.)?

will and not follow any patterns! And it’s easy to be original and

I definitely design more for me which isn’t something I should do,

unique when your creating your own form of art that answers to

quite honestly, as a designer! I have designs and ideas that aren’t

no one but you.

my personal style, of course, or could be designed for people different that me, that’s what I strive for! But for right now, my goal

If you could design a look for anyone or any event, who or

is women in their 20s, with a hippie and grunge mix!

what would it be for? Why? That’s a cool question. Well, if I could design for anyone it

How do you go about the design process? Where do you

would be for a big movie production, of some futuristic world

start?

where all the costume design was completely innovative and

Well, it depends, if it’s a personal project then I’ll find inspiration

outside nowadays society’s standards. Because I like to create

sources online, in magazines or wherever and from there create

something unexpected and also because working for a movie

mood boards and start sketching. If it’s for a class then I follow the

as a costume designer is definitely an aspiration of mine.

classes assignment, along the same lines, but keeping with the project because in this case I can’t just let my imagination go wild.

How do you hope to impact the fashion and design

This particular project was for a class so my starting point was the

industry in the future?

abstract painting I had to work with - which immediately made me

Definitely hope to make some kind of mark, to make people

think of “denim” and this just flow after that.

remember me, maybe not by name but by a piece or a collection - or something exciting. I just want to make a change

What’s the most important design element to you when going

even if it’s small, to impact someone’s confidence, or the

to create a new piece/pieces (i.e. proportion, texture, color,

way they look at themselves, just to make people feel more

movement, etc.)?

accepted, I guess.

Probably the 3D concept part, it’s very important for a piece to be full round, not just for class but for it to be a good ‘sculpture’. If the back isn’t interesting like the front then the whole thing loses its appeal. Of course that color is important but that’s something to decide way before hand, just like texture and proportion.

109


YOUTH

ISSUE 26

110


Q&A

111


YOUTH

ISSUE 26

Whether inspired by a Renaissaince painting or vintage piece in a store, Julia D’Antonio does not regret taking a leap of faith and switching majors to pursue what she loved. Her designs and materials are romantic yet utilitarian in a contemporary approach. She attributes a lot of her personal success and growth to the strong community around her that has supported her journey into jewelry design Julia D’Antonio Q&A PHOTOGRAPHY: VERONICA GERMANO

112


Q&A

fall of my junior year, so I have to take an extra year, I had signed up for three fashion classes and the names just turned me off. I told myself I couldn’t sit in those classes, I didn’t want to do any of it. I just love the jewelry department. It’s really small, around 95 of us. A really tight community. We’re called “Fahmily”, off of our building, Fahm Hall. The head of the department has helped me plan out my next two years, so I know every class I’m going to take up until graduation. It’s very welcoming. Like, we’re a weird group of kids where no else one really knows about jewelry the way we do. I love it. And I didn’t feel that when I was in the fashion building. I felt really uncomfortable. I felt like it was a cop-out for me to just get stuff done and I wasn’t enjoying it at all. I felt really out of place but when I finally came to the jewelry building it felt like it was Can you tell me about your ideation and design process?

home. I finally connected.

I have this big book of Italian Renaissance artwork at my house and that’s where I like to start with my initial visual ideation. There

Do you find that the community you surround yourself with

are so many jewelry references in many of the portraits. From

is important to your personal success?

that, I like to analyze how the mechanisms work, like different

Yeah, I actually don’t dread doing my work anymore. I want to

types of rings that connect to bracelets and just these weird, big

produce something good and impress the people around me.

pieces. In the department we get around 3 weeks to do a project,

I never feel like I’m competing against anyone here. Everyone

so I like to start the first week with sketching and prototyping. Just

in this building is so helpful and willing because all our styles

figuring out what I’m going to do. The last two weeks is when I’m

are drastically different. It’s a really nice environment where

really working through any of the techniques I’m using. During

everyone is willing to help. And it’s so crazy to me because I

each of the studios I’ve taken (1, 2, and 3), you learn different

feel like I don’t hear a lot of that in other buildings, especially

types of techniques each quarter. It ultimately depended on what

design buildings. I’ve heard horror stories and I couldn’t even

I had include in a project, whether it was fabrication, carving, or

imagine that happening here.

casting. That would inform the rest of my process. Then I usually take the last few days to clean up and really finalize the piece.

Do you ever see yourself selling your pieces independently?

What factored into your decision to switch majors halfway

I definitely want to do that, I just think I might want to start

into your initial coursework?

working with a brand first. I’m not sure exactly what field I

Originally I was Fashion Marketing and Management with a

want to go in with jewelry since I can’t pick a concentration

minor in Jewelry. I always wanted to explore jewelry as a major,

here. Whether it’s strictly design work or being a benchworker

I just didn’t think I had it in myself to do it. I was scared. I had

or if I want to do prototyping. Once I’m done doing the gritty,

never actually done anything except for beadwork, like friendship

making money work in my 20s, I want to be able to settle down

bracelets. When I was little I would make jewelry for my mom.

somewhere comfortable, do my work, sell it in a store, and be

It was simple. I started collecting beads and my grandma would

happy with that. But I definitely don’t think I’d be able to do that

even give me these Italian ceramic ones. But I didn’t know how

right out of college. I wish I could, but I feel like I won’t be able

to work with metal fabrication, so that was something I was

to right away. It’s definitely a dream for me, to start my own

nervous to do. I took the intro class and had a great relationship

business.

with my professor who talked to me about my fears. She told me she thought I had it in me, that I was just being way too hard on myself. I needed that kind of push. And I went literally three quarters without taking a fashion class. Before I switched in the

113


YOUTH

ISSUE 26

114


Q&A

115


GUIDE

YOUTH

ISSUE 26

FEATURED:

HITCH ZUNZI’S B U L L S T R E E T TA C O CONGRESS STREET SOCIAL CLUB BARRELHOUSE SOUTH A L L E Y C AT L O U N G E CLOCKWORK shopSCAD

116


GUIDE

From the Starland district to downtown Savannah, you can find multiple unique spaces in the charming urban town. Some are more off the beaten path, but offer an unique atmosphere with a little southern charm. You are sure to find something you would enjoy along in this guide to Savannah. So be sure to grab a to-go cup when exploring the city of Savannah.

113


Hitch

300 Drayton Street

Savannah, GA

USA

108 E York Street

Savannah, GA

USA

ISSUE 26

Zunzi’s

YOUTH

A great mix of seasonal cocktails, craft beers, and local fare Hitch focuses on “Quality over

Quantity”. Offering all of that in an eclectic and cozy atmosphere, hitch is the perfect place to grab a bite and a drink while in Savannah.

Zunzi’s is the best sandwich joint in

town, started by a couple with a cultural background that influence the menu.

Featured on many food network channels Zunzi’s lives up to its awards in the

historic district of savannah. Shit Yeah!

Bull Street Taco

1608 Bull Street

Savannah, GA

USA

In the Starland district Bull Street Taco will be your favorite Taco Tuesday

place with the simple joy of a great taco. With an outdoor patio, funky colors

and music, and a relaxed atmosphere.

Every month they select a neighborhood nonprofit charity to support and give back to the community.

118


GUIDE

food, great drinks, and the place to see live music in the heart of downtown city market. The atmosphere is comfortable with plenty of places to sit and

Congress St Social CLub

411 W Congress Street

Savannah, GA

USA Social club is an indoor outdoor space with great

USA

Savannah, GA

2017 W Broughton Lane

Barrelhouse South

socialize.

This bar with a great upstairs and downstairs set up has live energy and great drinks. With lots of

space to dance and socialize, Barrelhouse South, is

downstairs create a friendly atmosphere to hangout with friends and enjoy a night on the town.

a favorite spot for locals to enjoy the night with a variety of live music and DJs. Pool tables

Alley Cat Lounge

2017 W Broughton

Savannah, GA

USA

This bar is a little off the beat and path with a

speakeasy vibe entering through a back alley. It

has great, traditional drinks with a modern twist and an energy of Roaring 20’s sophistication to

taking noting a historic time in Savannah’s rich history. They have a wide selection of beer and liquor to fit anyone’s whims and tastes. 119


USA

Savannah, GA

ISSUE 26

321 W Broughton Street

Clockwork Skate Shop

YOUTH

This store has a great variety of marketing and clean

visual aesthetic to flow with the bold vibes of street and

skatewear. This store carries Nike, Adidas, Vans and classic skate brands like Polar and Quasi for all your torque and board needs.

120


GUIDE

shopSCAD the Rat on Bull

121

1612 Bull Street

soul being a platform for artists and creators.

Savannah, GA

country to provide an original flavour for the mind, body, and

340 Bull Street

shop carefully selects its brands and products from around the

Savannah, GA

to bring a unique and original vision to Savannah, GA. The

USA

elevated style. It is SCAD alumni and army veteran owned

USA

This curated shop has apparel, apothecary, and atelier for an


YOUTH

ISSUE 26

Directory

TAYLER AYERS @tayler.ayers NICK THOMSEN @nickthomsen PAIGE PALAZZI @paigepalazzi JAXSON VARNI @jaxsonvarni KENNEDY CASTELLI @ken.castelli

ROSIE YAN @rosie.yan NICOLAS ORREGO LUQUE @nicolas.oclv TYLER DURHAM @modernsaintt TRISTAN NGUYEN TRAN @tristan_nguyentran YUKUN ZHANG @quinn_zhang985

EMMA HOLZER @emma_holzer

WILL GARLEN @cactus fractal @get_well_soon

DOMINIQUE DIMICELLI @babybhoul

MOLLY STOTTS @mollystotts

GENTRY JEFFERSON @gentryjefferson CHELSEA GROSS @chelsea_gross

CHLOE MAGPAYO @chloemagpayo OLIVER RICHARDS @oliverrichards98

122

JULIA BLANDFORD @julia.blandford JUSTIN FERNANDES @yungfern_ MARIANA DA ROCHA @marianadarochaart TIMOTHY JOSEPH ARMSTRONG @timstagram1o5 JULIA D’ANTONIO @juliiagulia VERONICA GERMANO @veronicamgermano JENNA VISAGE @jennajmv MARIS LABELLA @starofsea EMILY ECKHOFF @emilykateeckhoff JESSICA JOR




Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.