Beacon No. 03 — Fancy Pants

FA N C Y PA N T S The Textile Issue

No. 03 F A N C Y P A N T S

The Textile Issue

A CONTEMPORARY GUIDE FOR THE CREATIVE LIFESTYLE

BEACON, No. 03 : FANCY PANTS

SOUNDS / Fancy Pants / A Playlist Iggy Azalea ft. Charli XCX // FANCY A$AP Rocky // FASHION KILLA Jay Z ft. Pharrell // CHANGE CLOTHES Schoolboy Q // GANGSTA IN DESIGNER Justin Timberlake ft. Jay Z // SUIT & TIE Ginuwine // IN THOSE JEANS Big Tymers // STILL FLY Kreayshawn // GUCCI GUCCI Lecrae // CHURCH CLOTHES RZA ft. Method Man and Cappadonna // WUWEAR: THE GARMENT RENAISSANCE

BEACON MAGAZINE table of contents

CONTENTS

FEATURES

SOUNDS A Playlist //

by Chaha Sands

KILIM Wild Shaman // by Yesim and Emre Taskin

SUBURBANCORE Editorial // by Christine Taylor & Willyum Beck

BOOND BOOND SE SAGAR BANE Interview with Meeta Mastani // written by Chacha Sands

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YOUR SHIRT Poetry // by Jen Dwyer

COMMENTARY with model Nina Val of Deadbots

BADLAND Collection //

by Mattia Giadorno

BYE TO SUMMER

by Happyplayground // in collaboration with JD White and Willyum Beck

CREDITS contributers & contacts

DRESS CODE Experiences //

by Stephanie Coren 3

GRADIENT // Shelly Sazdanoff

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SUBURBANCORE // Outtake & Styling by WIllyum Beck

It is humorous and clever and ultimately extends what is normal. It's not about beauty, nor is it about glamour. It reminds me of Normcore - “characterized by unpretentious, average-looking clothing.” - only more suburban.

- Christine Taylor, Creative Director 5

DANISH GIRL // Evie McShane & Willyum Beck

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UNTITLED // Dela Lampacher

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KILIM [Wild Shaman // by Yesim and Emre Taskin]

Hello

from Yesim and Emre. We are a couple from Istanbul, Turkey and the owners of Wild Shaman. We moved to Portland, Oregon four years ago and launched our label, Wild Shaman, in April 2016.

Our goal is to sell knowledge, arts, and culture. All of our products are rooted in history and we are more than happy to share each story with our admirers. We respect what we sell and we sell what we know.

As native Istanbulians—born, raised and lived there for 32 years—we feel blessed that we have been able to open up a business representing our homeland's more than 9000 years of tradition. We are importers, retailers, and wholesalers specializing in

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vintage and semi-antique, between 40 to 85 years of age, Turkish kilim rugs and kilim accessories. All of the kilim rugs are naturally dyed and hand woven and knotted with natural fibers such as wool, cotton and hemp. We also provide kilim accessories by recycling damaged kilim rugs and turning them into bags, shoes, pillows, coasters, journals, key chains and more.

Having our private stock in Kayseri, Turkey handled by professional custom’s brokers and exclusive freight companies allows us to deliver our rugs directly to your door. We guarantee that your rug will not only be of the highest quality but also an investment that will last for generations, as you can rest assured that we'll work tirelessly to find the rug of your dreams!

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Wild Shaman is the brainchild of Istanbul Natives, Yesim & Emre. Their mission is to bring the hidden gems of historic places in Turkey to the world stage.

931 A SE 6th Ave. Portland, OR 97214

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ROYAL FAMILY // Cristian Fernandez Ocampo

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UNTITLED // Christine Taylor

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[Meeta Mastani // Textile Designer]

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Meeta

Mastani is an internationally known textile artist whose work has been appreciated across the globe. She works with communities in rural India to create one-ofkind textiles using traditional practices that have been passed on for generations and says that "the streets are her gallery.” As a native to India, her practice combines both cultural and historical traditions while integrating modern perspectives. “I am an artist, an entrepreneur and work in the community; all three are inextricably linked—it’s culture and community together with art.” She contemporizes her work and sees it as both craft and art. “As long as there’s awareness

when you do it, then that is art—awareness can be in both the eyes of the maker and of the viewer."

Acquiring her technical skills did not come without its obstacles. In a village of Rajasthan 20 years ago, Mastani worked closely with fifth generation artisans to learn everything from natural dying to hand block printing. “The community was definitely uneasy because they felt that they were giving me their skills, which did not belong to just that family, but to the community as a whole and these were not theirs to give away." She explains that there was little concern about protecting the patterns and

designs, although these were specific to each community and are ways of story telling and identifying families. Not long ago, "These prints were social markers...and there was an informal copyright [in which] other villages would not reproduce the same designs."

Designs were inspired by nature and each village had three to four prints that belonged to them. Today, Mastani understands the lineage she follows and has consciously and respectfully deviated from it to contemporize her current practice.

Each piece is worked on by hand and undergoes 15-25 processes before it is completed. Mastani has worked with tens of thousands of meters of fabric and says that she enjoys the "opportunity to make new things...[and has] been lucky to make something beautiful that people are happy to buy.” While she has intentionally steered clear of the fashion industry, she collaborates with designers and artist alike to continue growing a diverse body of work. She says that being fashion driven would affect the longevity of her pieces since trends come and go. Moreover, the industry is changing at large as India continues to modernize and the affects of globalization take hold in rural and urban areas alike. There is a sadness felt from the older generations and as Mastani puts it, "a reducing [of the craft]," as the younger generations respond positively to industrialization. It could be argued that this transition is a way for "kids to do something new and for women to be whoever they want to be.” Mastani explains that in a different context, women aren't expected to follow the same pressures such as "covering their hair or speaking respectfully to the elder man.”

Every person has their role and there is an obvious division of labor among genders. She breaks through these traditional boundaries

of gender roles simply by her existence and practice saying, "Even the way I work is a political statement". As a single woman living in India, she has managed to maintain autonomy and foster respect within the communities she works. She explains, “I don’t want to be a woman following the rules in rural India, I want to be the person I am, I want to be mobile, I want to live my life the way I choose to live it…I want to be able to pick and choose [from these traditions] and for that I need to be able to connect with [these communities]; my work has been a way to do that.”

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Equally important to her practice is cultural and economic sustainability saying, "I want to be able to create employment for people in their own space." Mastani is passionate about these specific methods of creating textiles and says she sees it as “incredible hand skills that are vanishing in most parts of the world.”

Her mission is in part to keep this tradition alive. Her recent residency at the University of Wisconsin, in which she lectured and led workshops teaching about traditional Indian textile printing, underscores this intent.

When asked about cultural appropriation and her contribution to it by teaching in the Western World to Americans, Mastani explained that "we all learn from each other.”

It’s a loaded question with complex and contradicting answers. Ultimately, Mastani's personal experience has been welcoming outsiders who attempt to speak her native language and an overall sense of happiness when people, not of Indian descent, wear the Sari. She says it's as if the overall tone is like Indians are saying, "Oh look, they're trying, its such a wonderful thing that they're trying to learn our language!" She further explains her own relationship with appropriation and raises questions of where the lines end and

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begin—“My traditional dress is not a pair of pants or a dress. So are we then doomed to just stay within our traditions? Do we not step out? This is putting us in our own boxes!

How do we evolve if we term all of this as appropriation? Were do we go from there?

Do we just follow our ancestors? No, I don’t want to be there. I want to be able to pick and choose. I take things from the West that I find I enjoy...Is it cultural appropriation when I do it, or no, because I come from a place that has been colonized? Because I am a so-called victim, is it okay for me to do it? How long is it okay for me to do it? When do I stop being a victim? When do I become part of the problem? We all need to be sensitive when we step into another culture. I don’t think it's easy enough to draw boundaries [or] lay down rules, it's so contextual...[and] case to case."

Mastani has come to articulate her practice by knowing what she did not want—“I knew I did not want be that woman in the kitchen who is cooking for her kids. I knew I wanted to see other worlds and other kinds of people and I wanted to travel and meet people who were not from an urban middle class background like me....My work is a combination of a people, a culture and aesthetics.” She sees herself and others most clearly while traveling and it is during this time, she explains, in which “we reach something physically but not yet emotionally and are out of context.

That feeling of ‘I'm neither here nor there’.”

Ultimately, "I am doing what I can do", says Mastani, “We have a saying in India, ‘boond boond se sagar bane’ which means every drop together makes the ocean—I am the drop and I am the ocean, but I have to know when I am the drop and when I am the ocean."

- Interview and Text by Chacha Sands

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[Your Shirt // Jen Dwyer]

I’M WRITING TO ERASE ALL THE OLD VERSIONS OF US, THE PEOPLE WE WERE NEVER MEANT TO BE. WE WERE THE KIDS OUT EVERY NIGHT. YOU IN YOUR JEAN JACKET AND ME IN MY SHORT SKIRT, WE WERE SHADES OF NOTHING BUT FELT EVERYTHING. DEADBEAT ANGELS IN THE DARKEST ROOM OF EVERY BAR. I DON’T REGRET LETTING YOU WALK ME HOME FROM THAT PARTY BUT I REGRET HOLDING TOO LONG. ALWAYS CONVINCING OURSELVES WE WERE RIGHT WHEN WE WERE WRONG ALL ALONG. YOUR GHOST STILL HAUNTS ME, EVEN THOUGH I RETURNED YOUR FAVORITE SHIRT. I KEEP TRYING TO REMEMBER TO FORGET YOU. 23

APRON // Dela Lampacher

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DANISH GIRL // Evie McShane & Willyum Beck

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COMM ENTA RY Editorials

[with model Nina Val of Deadbots]

This image reminds me of movies like Legend, Labyrinth, Dark Crystal or basically anything

Jim Henson— Reminiscent of a darker, moodier Princess Moon Child from Never Ending Story.

I had so much fun on this shoot working with leading Irish fashion and wedding photographer, David Frain. We shot on the top floor of a New York loft style building in Dublin called The Mill.

It's a 150 years old linen building located next to the Grand Canal in Harold’s Cross. It has the most spectacular views of Dublin city and all its many quirky rooftops. There has been so many hours worked in this historical building that there are impressions of footprints from the past imprinted on the stone steps connecting its floors. Stylist, Lucy Cinderella, paired a simple pair of black pumps with this fantastically stunning Donna Karan Barbara Streisand 1994 Concert Series Gown—a mouthful, I know, but so worth it. The gown had a velvet upper-bodied turtleneck and sleeves and its skirt was a collection of flowing chiffon layers with a built in bodysuit. I felt amazing in it!

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When you have vintage Chanel pumps on, you

can't help but kick up your heels. More than likely, I had Deee–Lite’s, 'Groove is in the Heart’, playing in my head, which is a common theme when I model. I also thought for a moment, what would Twiggy do here, so up the heels went!

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BEACON • Gold Digger

In this shoot, I was lucky enough to be working again with the wonderful Irish make-up artist, Niamh Connolly, and photographer, Liz Stowe.

Niamh trained at Dublin's hottest make-up school run by the talented Zoe Clark and her work is top class. She always keeps my looks light, fresh and natural. If I could keep her in my pocket I would, but it just wouldn't be fair to Niamh. The gold belt was a vintage market score from Dublin's Camden Street, which is home to a slew of second hand vintage shops. The look was finished off with leather sling back, blue and black vintage Chanel pumps.

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This look was put together by popular Florence based Irish stylist and fashion blogger, Amelia Eclectique. And shot by photographer, Aidan Guerra, who came all the way from Canada to shoot.

Total Kelly Kapowski from Saved By The Bell vibes! We spent the day shooting this 90's themed shoot in Saint Anne's park on the North side of Dublin city. It's known for its old broken ruins, rose garden labyrinth, secret garden, magical swan filled pond and an ivy covered ticking clock tower that stands in its center. It feels like walking around in a fairy tale novel—common theme around Ireland. I loved buckling into these vintage Tommy Hilfiger denim dungaroos— perfect park playing attire. They’re from a popular Dublin vintage shop called 2nd Space by Om Diva. They stock heaps of hot vintage and they also have an ethos of supporting up and coming Irish designers by selling their collections straight from the shop.

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UNTITLED // Chacha Sands

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BADLAND [Mattia Gi0rdano]

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BYE TO SUMMER [by Happyplayground // in collaboration with JD White and Willyum Beck]

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Bright colors are not only for summer! We decided to recruit

color master photographer, JD White, to have some fun pairing statement shoes by designer Barbara Seipp with kaleidoscopic apparel designs styled by Willyum Beck to see out the summer sun and welcome in color year round.

If there has ever been a time in fashion since the early 90s to show your experimental side, it’s right now. On top of that, there hasn’t been so much glitter since the days of disco. It’s a very fun time for clothing nerds to get the green light on making style choices that give insight into your confidence and imagination. Funky femininity is again flowering all over fashion, apparel and sportswear, for both women and menswear. In fact, taking their cue from sportswear, designers all over the United States are breaking free of the past years of conservative ideals around style and fabrics.

Personal expression is more than popular for the fearless and since we know you’re both curious and nervous about it, we produced this project for you to safely peek at wildly wonderful pieces that you can match up with your regular wears to break all the right rules. Enjoy it while it lasts!

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Experiences

[Dress Code // Stephanie Coren] SINCE I WAS A LITTLE GIRL, I HATED DRESSING UP IN GIRL’S CLOTHES. I WOULD HAVE FIGHTS WITH MY MOM ABOUT WEARING THE DRESS SHE HAD PICKED OUT FOR EASTER OR CHRISTMAS. I REMEMBER SHE WOULD INSIST AND SPANK ME OR HOLD ME BY THE ARM WITH A GRIP THAT REALLY HURT—A GRIP THAT I DIDN'T WANT TO BE REPEATED. I COULDN'T BEAR WEARING DRESSES—SO UNCOMFORTABLE, SO CONFINING. I WOULD PLAY HARD WITH MY FRIENDS OR COUSINS AND I DIDN'T UNDERSTAND WHY I COULDN'T WEAR PLAY CLOTHES. I WANTED TO PLAY EPIC GAMES OF KEEPAWAY AND DO BANANA BIKE JUMPS. THE POINT, TIGHTS AND FAKE VELVET DRESSES WERE A NIGHTMARE FOR ME. EVENTUALLY I CAPITULATED. WHAT FOLLOWED WAS A LITANY OF HORRIFYING OUTFITS THROUGHOUT THE YEARS. I MEAN REALLY BAD. BUT I DIDN'T KNOW WHAT ELSE TO DO. SOON, I STARTED TO REALLY NAIL THE GIRL THING. AND BY MY SENIOR YEAR, I HAD A PROM DRESS THAT I'M STILL NOT ASHAMED OF TO THIS DAY. IN MY FIRST YEAR OF COLLEGE I CAME OUT AS A LESBIAN. SLOWLY, I GRASPED THAT ONE OF THE WAYS THAT LESBIANS HAD TRADITIONALLY EXPRESSED THEMSELVES WAS BY WEARING MEN'S CLOTHING OR BEING ANDROGYNOUS. THUS, I STARTED TO INCORPORATE VESTS, TIES AND JACKETS INTO MY WARDROBE. AS THE YEARS WENT ON AND I GOT MARRIED, MY OWN SENSE OF TRADITION BEGAN BREAKING DOWN. WHEN I BECAME A MOM, I FELT VERY AWARE OF HOW FIRST IMPRESSIONS COULD COME ACROSS AND GREW CONCERNED WITH HOW I’D BE PERCEIVED. I WAS INSECURE THAT LOOKING TOO BUTCH WOULD INSTIGATE DISCRIMINATION—AS IF I WAS WAITING FOR SOMEONE TO TELL US WE COULDN'T BE PARENTS NO MATTER THE LENGTHS WE WENT FOR LEGAL RIGHTS. I CARRIED AN UNDERLYING FEAR THAT PEOPLE WOULD OSTRACIZE US FOR BEING TWO MOMS RAISING CHILDREN. MY WARDROBE BEGAN TO REFLECT THESE NEW CONCERNS AND I REVERTED BACK TO DRESSING MORE FEMININE FOR THE NEXT CHAPTER OF MY LIFE. 43

SKIP AHEAD 20 OR SO YEARS OF ME DRESSING LIKE YOUR TYPICAL ‘MOM’ TO THE RESULTING IMPACT OF LOSING BOTH BREASTS AFTER AN INTENSE BATTLE WITH CANCER. I WAS 51 AND WITH A FLAT CHEST ALL OVER AGAIN. I CHOSE TO OPT OUT OF ANY RECONSTRUCTIVE SURGERY, ALTHOUGH IT WAS TRULY DEVASTATING TO LOSE BOTH BREASTS. LITTLE DID I UNDERSTAND THE IMPACT THIS WOULD HAVE IN YEARS TO COME. A COUPLE OF YEARS LATER, AND A BIT MORE USED TO MY NEW CHEST, I WAS GETTING READY FOR MY NIECE’S WEDDING. THIS WAS MY FIRST FORMAL EVENT IN MANY YEARS AND FIRST SINCE LOSING MY BREASTS. MY INITIAL REACTION WAS TO REACH IN THE BACK OF CLOSET AND THROW ON A DECADE-OLD DRESS THAT WAS FROM A THRIFT STORE. BUT THEN I PAUSED. I BEGAN TO CONSIDER EVERYTHING I HAD BEEN THROUGH LEADING UP TO THIS POINT. UNLIKE WHEN I WAS CHILD, WHEN FAMILY FUNCTIONS WERE MY MOM’S CHANCE TO SHOW ME OFF IN PRETTY DRESSES, I WAS A GROWN WOMAN, AND FRANKLY, EITHER NOBODY CARED ANYMORE OR I WASN’T GOING TO LET THEM. MY KIDS WERE OLDER TOO AND IF I’M HONEST, I WASN’T EXACTLY COMFORTABLE WEARING THAT DRESS. THE DECISION THAT FOLLOWED TURNED OUT TO BE MORE LIBERATING THAN I COULD HAVE IMAGINED. WITH THE HELP OF STYLIST FRIEND OF MINE, WE SET OUT TO THE NEAREST DEPARTMENT STORE. SHE WAS UP TO SPEED ON THE DETAILS AND EMOTIONAL BAGGAGE AROUND MY STYLE SENSIBILITIES. AFTER A BIT OF PROCESS, I DECIDED TO REVISIT THE MEN’S DEPARTMENT. I STARTED WITH PULLING ITEMS IN MY FAVORITE COLORS AND PULLING A RANGE OF SIZES SINCE I WASN’T SURE YET HOW THE CLOTHES WOULD FIT. AS I WAS FINDING MY WAY THROUGH THE FITTING ROOM, I WAS FINDING MY WAY THROUGH MY IDENTITY. SOMETHING OLD AND YOUNG AND NEW THAT WAS ALL BEING ADDRESSED AT THE SAME TIME AND I WAS BEGINNING TO FEEL MORE AND MORE LIKE MY TRUE SELF WITH EVERY OUTFIT CHANGE. THE DAY OF THE WEDDING, I WAS SO EXCITED TO SHOW OFF MY NEW OUTFIT. I FELT COMFORTABLE AND CONFIDENT AND EVEN GOT COMPLIMENTS. THE WEDDING WAS BEAUTIFUL AND I DIDN’T WASTE ANY TIME BEING INSECURE ABOUT HOW MY OUTFIT WAS BEING PERCEIVED. I CAME OUT AGAIN THAT DAY, BUT THIS TIME AS MYSELF.

SEEKING GOD // Cristian Fernandez Ocampo

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AZUL // Cristian Fernandez Ocampo

CREDITS CRIB DESIGN HOUSE

CHACHA SANDS

Publisher

Editor-in-Chief

Crib Design House is a multi-division style house and full service interior design firm based in Portland, Oregon.

Chacha is the owner of Crib Design House and creator of Beacon magazine. She is passionate about pushing boundaries in the world of art and design while making spaces uniquely beautiful and dedicated to sharing creativity with other talented people from all over the world.

cribdesignhouse.com @cribdesignhouse

BEACON Magazine

Beacon is a creative platform that fosters inspired ideas by writers, artists and makers from around the world. For more information or to submit your work go to cribdesignhouse.com. @beaconquarterly

SHORT RUN PRINTING Printer

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@chachasands

ZACH WESTERMAN Creative Director

Zach is a multi-faceted graphic designer by day, and mad scientist @sixsides by night.

Dedicated to making mundane everyday life more interesting, he augments reality using an array of tools ranging from 3D design, motion graphics and audio production. zachwesterman.com @holy_macro_ @sixsides

3128 West Thomas Road #201 Phoenix, AZ 85017 shortrunprintingltd.com Crib Design House 1975 NW Everett St. #403 Portland, OR 97209 / Short Run Printing, LTD. 3128 W Thomas Rd. #201 Phoenix, AZ 85017 Copyright 2017 Beacon Magazine. All rights reserved. Reproduction in whole or in part without written permission is prohibited.

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COVERS FRONT // SUBURBANCORE Photography & Creative Director Christine Taylor @christinetaylorcreative Styling Willyum Beck @willyumbeck Model Heffner Management / Callie Goese Wardrobe Red Top with Iron-on Lettering - Stylist’s Own Denim Wide Leg Linen Wrap Trouser - Bryce Black BACK // WINTER TRAPPINGS Photography Christine Taylor @christinetaylorcreative Styling Willyum Beck @willyumbeck MUA Lena Walsh @_lenawalsh Model Option Model and Media / Maile Kam @mailekam Wardrobe Navy Blazer, Wine Button Down Shirt, Tan Button Down Shirt, Navy Pont Legging, Green Leather Oxfords with Gold Detail - Macy’s

CONTENTS SOUNDS / 2 A Playlist by Chacha Sands SUBURBANCORE / 5 Creative Director Christine Taylor @christinetaylorcreative Outtake Photo & Styling Willyum Beck Model Heffner Management / Callie Goese Wardrobe White Top with Iron-on Lettering - Stylist’s Own Embellished Belt - B. B. Simon YOUR SHIRT / 23 Artist Jen Dwyer @jen_dwyer_ Text Your Shirt, 2016 Image My Face, Ceramic and Glaze, 6”, 2016 BADLAND / 34-37 Photographer Mattia Giordano @mattiagiordano MUA Erika Truffelli Model Ludovica Arnaldi Wardrobe COS, Maison Margiela, Valentino Location Torino, Italy Artist Bio Mattia Giordano is a young photographer. A sort of young androgynous Cobain that plays memo game with the colours of the world. He loves sad faces and pizza.

FEATURES KILIM / 8-11 Text & Images Yesim & Emre Taskin Wild Shaman 931 A SE 6th Avenue Portland, Oregon 97214 @wildshamanpdx BOOND BOOND SE SAGAR BANE / 18-22 Interview & Text Chacha Sands Website bindaasunlimited.com Retail itokri.com [18] Pictured: Kalu Maali

[20] Pictured: Arun Kumar Photographer Meeta Mastani [22] Pictured from left to right: Mamta Chhipa, Charu and Meeta Mastani Photographer Praveen Dosaya COMMENTARY / 28-32 Text & Model Nina Val of Deadbots @ninastheme [28] Photography David Frain @frainphoto Styling & MUA Lucy Cinderella Location The Mill Studio - Dublin, Ireland Wardrobe Donna Karan Barbara Streisand Concert Series Gown [30-31] Photography Liz Stowe @eliza_dolally Styling Lucy Cinderella & Samantha Cauvin MUA Niamh Connolly @niamhconnollymua Location Foam Cafe - Dublin, Ireland Wardrobe Dress - Zara Belt - Vintage Shoes - Vintage Chanel [32] Photography Aidan Guerra [Post Edit Imprint Design] Styling Amelia Eclectique MUA Kellie Doyle Location Saint Anne’s Park - Dublin, Ireland Wardrobe Demin Dungaroos Vintage Tommy Hifiger from 2nd Space Dublin

by Om Diva BYE TO SUMMER / 38-41 Photography JD White @jdwhitephoto Photo Assistant Perrin Jones @perrinelijah Creative Director Christine Taylor at Happyplayground @christinetaylorcreative @happyplayground Styling Willyum Beck @willyumbeck Model Savage Talent / Hailee Levias @hxilee Wardrobe Shoes [not pictured] - Barbara Seipp Printed jacket - Coachella Collection for H&M Pink t-shirt, tank dress, sequin scrunchy - H&M Sequin turtleneck and leggings - Discount Universe Net top - Gypsy Sport Underwear - Calvin Klein Eyewear - Holes Eyewear Watches - Wildfang DRESSCODE / 43 Written by Stephanie Coren

CONTRIBUTORS ADIDAS SAMBA / 1 Photography & Creative Director Christine Taylor @christinetaylorcreative Styling Willyum Beck @willyumbeck Model Savage / Hailee Levias @hxilee Wardrobe Samba Shoes - Adidas Lucifer Jacket - Stylists own Studded Cuff - Models own Leather Skirt - Topshop GRADIENT / 4 Fiber Artist Shelly Sazdanoff

@shellysazdanoff shellysazdanoff.com DANISH GIRL / 6, 27 Photography Evie McShane @evie_mc Styling Willyum Beck @willyumbeck MUA Lena Walsh @lion_boots Model Option Model & Media / Adam Williams @adammrhappy Wardrobe Assistant Noah Jodoin Wardrobe [6] Studded Leather Chest Plate Harness - August Getty / augustgetty.com Embroidered Pants - Noah Jodoin / cargocollective.com/noahjodoin Sheer Slipshort - Jockey / macys.com Wardrobe [17] Lace Mock Neck Jumpsuit - Kim Shui / vfiles.com Sweater with Broadtail Fur Sleeves - Noah Jodoin / cargocollective.com/noahjodoin UNTITLED / 7 Artist Dela Lampacher @delaorwho Image Untitled, Photograph, 2015 UNTITLED / 12-13, 17 Stills from The Protagonist Photography & Creative Director Christine Taylor @christinetaylorcreative Styling Willyum Beck @willyumbeck Model Dana Franklin @danapdx Wardrobe Shredded Latex Jacket - Fecal Matter Crimson Swimsuit - REIFhaus Nude Heels - Calvin Klein Beaded Dress - Vintage ROYAL FAMILY / 14-15 Artist Cristian Fernandez Ocampo @cfernandezocampo Image Royal Family, Oil on canvas, Diptych 141.7x165.4”, 2013 BLUE APRON / 24 Artist Dela Lampacher @delaorwho Image Blue Apron, Mixed Media, 2016 TWO / 25 Artist Tegan Price @tegan.price Image Digital Illustration UNTITLED / 33 Artist Chacha Sands @chachasands Image Untitled, Ink on paper, 24x36", 2014 JANE / 42 Artist Christina Gontzes @sick_pickle Image Jane, Digital collage, 7x9”, 2017 SEEKING GOD / 45 Artist Cristian Fernandez Ocampo @cfernandezocampo Image Seeking God, Colored pencil and collage on paper, 2014 AZUL / 46 Artist Cristian Fernandez Ocampo @cfernandezocampo Image Azul, Colored pencil and collage on paper, 2014 PHOTOBOOTH / 49 Artist Sean Abplanalp @seanabplanalp Image Photo Booth, Photograph, 5x5”, 2016

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WE SO OFTEN WEAR OUR DAILY UNIFORMS TO FIT INTO THE CROWD. THIS PIECE EXPLORES THE FREEDOM WE HAVE WHEN GIVEN THE PRIVACY OF A SECLUDED PHOTO BOOTH. TAKING OFF THE PRESCRIBED UNIFORM AND DONNING THE COSTUME AND ATTITUDE WE FEEL SUITS US BETTER. –Sean Abplanalp

WINTER TRAPPINGS // Christine Taylor & Willyum Beck