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ArtDiction is a platform for artists to display their work and a resource for the habitual art lover.

Staff

Devika A. Strother, Editor-in-Chief devika@artdictionmagazine.com Isabella Chow, Associate Editor bella@artdictionmagazine.com Phillip Utterback, Staff Writer phillip@artdictionmagazine.com David Frankel, Senior Account Executive dfrankel@webtv.net

Graphic Design Consultant Shannon Washington

shanwashingtondc@gmail.com

Contributing Writers Sofia Michael

Devika Akeise Publishing assumes no responsibility for the opinions expressed by authors in this publication. Š2018 of Devika Akeise Publishing. All rights reserved. No portion of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without permission in writing from the publisher.

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FEATURES 16 Image Maker & Story Teller Heather Braden was a young runaway, landed a modeling job, worked for top photographers, and now is her own story teller. 34 How Much Should You Spend on the Perfect White Tee?

Everyone owns at least one. But how much is too much to spend on that white T-Shirt? Read about the factors in- volved in the cost.

38 Visual Merchandising It may not seem like the most glamorous job in the fashion industry, but it’s certainly one of the most important. 42 PIXIE Won’t Play A design aesthetic that was born after riding around Europe for weeks on a motorcycle. Get to know the women behind this brand. 60 Leading Fashion Photographers A list of some of the most well-known fashion photographers is presented. Cover photo courtesy of PIXIE Won’t Play

In Each Issue 5

small talk

6 bella’s books 7 news 8 music 13 exhibits 64 artist index

Photo courtesy of Heather Braden

©2018 by Devika Akeise Publishing

ArtDiction | 4| September/October 2018


small talk

Šeugenesergeev

W

elcome to our annual Fashion issue! I've been obsessed with following the shows of New York Fashion Week, and it has been a source of inspiration in putting this issue together. We interviewed a design team, PIXIE Won't Play, who emphasizes the versatility of a woman and the fashion that she reflects. They design for a specific woman in mind (page 42). We also interviewed Heather Braden who

took an unconventional path toward photography, modeling, and now filmmaking (page 16). We also feed your artdiction with articles on leading fashion photographers, searching and paying for the perfect white T-shirt, and visual merchandising. As you flip through our issue, I hope you find inspiration or learn something new. If it's both, well that's even better.

ArtDiction | 5 | September/October 2018


bella’s books A Double LIfe Flynn Berry Viking, July 2018

their names, move away, and try to pick up the pieces. Berry does an incredible job of showing the varied impacts domestic violent crime can have, both large and small, as well as the toxic influence of media sensationalism. The fact that the book is loosely based on a true story (the 1970s Lord Lucan case) makes it all the more real; things like this are happening every day, to everyday people.

The website for the Uniform Crime Reporting (UCR) Program of the FBI posted the following sobering statistics for their annual Crime in the United States report: “In 2015, more than 29 percent (29.2) of homicide victims were killed by someone they knew other than family members (acquaintance, neighbor, friend, boyfriend, etc.), 12.8 percent were slain by family members, and 10.2 percent were killed by strangers. The relationship between murder victims and offenders was unknown in 47.8 percent of murder and non-negligent manslaughter incidents.” This means, in the United States alone, if you are a victim of homicide, there is at least a 42% chance that you will know the person who killed you. It is a staggering figure, and one that makes Flynn Berry’s novel, A Double Life, sadly apropos, even though it is set in the U.K. The story is told from the viewpoint of Claire, a doctor in London trying to hide from a horrible past. Thirty years prior, Claire’s nanny was murdered and her mother brutally assaulted inside the house while she and her brother slept. The man accused of the crime? Her father, Lord Colin Spenser, a well-connected man with high-society friends that all proclaim his innocence…and help him evade arrest. When her father disappears, Claire’s family is left to change

What happens when Claire finally gets a solid lead on her father’s possible whereabouts also rings true, even while feeling slightly anticlimactic. Unfortunately, the realistic ends are often like that, and Berry’s tale doesn’t try to sensationalize. Instead, it proves a point about how much better care we should take of the victims in this ever-increasing demographic of people—and what can happen when we don’t. The Mystery of Three Quarters: The New Hercule Poirot Mystery Sophie Hannah William Morrow, August 2018 I usually view revivals of old book series by new authors with trepidation. A little bit of writer’s ego is involved; I don’t know of any author that would want to admit that another might be able to seamlessly take their place in the creation of their simulated worlds. But, to be honest, very rarely have I found that books like these ever really capture the essence, the atmosphere, of their original authors. While imitation might be the sincerest form of flattery, it is usually not the highest form of literature – and, unfortunately, such is the case with The Mystery of Three Quarters, the novel by Sophie Hannah that delves into

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the realm of Agatha Christie and the world of Hercule Poirot, her infamous Belgian detective. As a person who has read virtually everything Agatha Christie ever wrote, I was eager to see whether or not Hannah could capture the spirit of Christie’s persnickety gumshoe and his “little grey cells.” The premise seemed promising: four separate individuals receive letters from someone claiming to be Hercule Poirot accusing them of murdering Barnabas Pandy; a man whom, to everyone’s knowledge, had accidently drowned in his own bathtub. When the individuals confront Poirot, protesting their innocence, he is drawn into the myriad of questions surrounding both the letters and their origin, as well as why anyone would assume Pandy’s death a murder. Most of the usual suspects in Poirot’s world – Captain Hastings, Miss Lemon, Inspector Japp – all are missing in Three Quarters. In their place is Inspector Edward Catchpool with Scotland Yard; the narrator of the story and an engaging enough character, albeit in a generic sort of way. Catchpool would be a fine placeholder for Captain Hastings (who, to be honest, was a bit of a generic character himself), if Hannah’s Poirot was the same as Christie’s Poirot. Unfortunately, though, this is not the case. Reading Three Quarters is like seeing an old friend after a long separation and finding them older, a little duller, and somewhat diminished. Historically, Poirot was an enigmatic character; reposed, rarely unsure, and never exposing his thought processes until the penultimate moment. This Poirot does not possess any of these qualities; he seems fussy and unsure, stumbling upon solutions as if by accident, and with an inner (and somewhat outer) monologue that takes away from his previous mystique. Frankly, I would prefer to keep my memories of my old friend as they were; the alternative is a bit too depressing.

By Isabella Chow


news Bonhams Auction House Purchased by British Private Equity Firm Epiris British private equity firm Epiris has purchased Bonhams auction house, which The Sunday Times reported was up for sale this past May. Specifics on the financial terms have yet to be disclosed, but former Bonhams chairman Robert Brooks, who was one of its shareholders, said in a report by Antiques Trade Gazette, “We have always had the intention one day to pass on the business to a new owner who shares our long-term vision for Bonhams. I am immensely proud of what we have achieved at Bonhams and look forward to seeing the business continue to thrive under its new owners.” Reportedly, Bonhams’ CEO Matthew Girling and CFO Jonathan Fairhurst will remain working at the auction house alongside former Sotheby’s COO Bruno Vinciguerra, who will act as executive chairman. “Bonhams is a business with great potential and a strong track record. I greatly look forward to working with the team to help deliver the next stage of growth,” said Vinciguerra Joanna Kamm Named Director of Liste Art Fair Peter Bläuer, a co-founder and longtime director of Basel’s Liste Art Fair, retired in April. The fair has announced that Joanna Kamm has been hired to replace him. She starts September 1. Republication of The North American Indian (image courtesy of Cardozo Fine Art).

Kamm is a former dealer who founded Galerie Kamm in Berlin in 2001. Most recently, Kamm co-curated a show at, titled “Stop making sense, it’s as good as it gets,” that involved a series of events exploring art, architecture, literature, and theory. Kamm stated, “I can scarcely imagine a more compelling or fulfilling pursuit than maintaining the uniqueness and specialness of LISTE as a supporter of emerging art and enhancing it with new features and ideas. I am very much looking forward to Basel, my new team and an intensive exchange with gallerists, artists, collectors, curators, and all of those interested in art.” Kamm was selected by a committee made of four members of the Foundation for the Promotion of Contemporary Art, Liste’s owner, and “two external experts,” according to a recent press release. A representative from the foundation, Urs Gloor, said of the decision, “We are very lucky to have found an individual who can draw on such a strong feeling for art and such dedication to lead Peter Bläuer’s legacy into the future. Her personal experiences provide her deep familiarity with the needs of young galleries and collectors.” Kimbell Art Museum Acquires Pierre Bonnard Painting The Kimbell Art Museum in Fort Worth, Tex. has acquired the Pierre Bonnard painting “Landscape at Le Cannet” (1928) from the Wildenstein Gallery. This is the first work by Bonnard to enter the museum’s collection and depicts the artist’s villa near Cannes, France. According to a press release, the acquisition is in honor of Kay Forston, the Kimbell Art Foundation’s president from 1975 through 2017. Twelve Tribal Colleges Receive Donation A U.S. foundation (unnamed), private donors, and Christopher Cardozo Fine Art have donated to 12 tribal colleges complete sets of Edward ArtDiction | 7 | September/October 2018

Joanna Kamm. COURTESY LISTE

Curtis’ republication of The North American Indian, along with hundreds of Curtis’ photographs and a curated, digital collection of materials created by Edward Curtis for his photoethnographic publication. A donation with a value of more than $500,000 is being made in recognition of the 10,000 Native Americans who collaborated on the original publication of Curtis’ work. It is also meant “to support current efforts by Native people to reconnect with their history, culture, and traditions,” according to a press release. The North American Indian was an ethno-photographic project by Curtis, in which he travelled across North America from 1905–1930 creating 40,000 to 50,000 negatives and over 1,000 wax cylinder recordings and filming the earliest footage of Native Americans. Pierre Bonnard, “Landscape at Le Cannet” (1928), oil on canvas, 50 3/8 x 109 ½ in., signed (lower right) “Bonnard” (image courtesy of The Kimbell Art Museum).


music Jonathan Butler - Close To You Given Jonathan Butlеr’s knасk for fuѕіng R&B, jazz, and gospel іntо inspiring оrіgіnаl соmроѕіtіоnѕ аnd arrangements, thе fоundаtіоn of hіѕ nеw аlbum, Clоѕе Tо Yоu, іѕ a mаrkеd сrеаtіvе dераrturе. Brіngіng tоgеthеr ten Burt Bасhаrасh/Hаl Dаvіd songs fоr соntеmроrаrу jаzz/ ѕоul reinterpretation, Butler аіmѕ tо іmрrіnt еасh сlаѕѕіс with his relaxed уеt аdvеnturоuѕ vосаl stamp аnd colorful guitar рrоwеѕѕ. While thе еnd rеѕult overall ѕіtѕ nicely alongside thе rest of his саtаlоg, the merits оf the іndіvіduаl trеаtmеntѕ оf these tіmеlеѕѕ tunеѕ vаrіеѕ more frequently than оnе mіght еxресt. Close Tо Yоu fеаturеѕ wеll-lоvеd songs іnvіgоrаtеd with unіquе interpretations thаt rеѕоnаtе as ѕtrоnglу аѕ thе оrіgіnаlѕ. Pоlіѕhеd tо an easy, ѕmооth shine Jоnаthаn рrеѕеntѕ thіѕ соllесtіоn tо hіѕ international аudіеnсе, сrоѕѕіng many muѕісаl gеnrеѕ. Jоnаthаn says: “Thіѕ rесоrd was іnѕріrеd by my fiancé Nаdіrа Kіmbеrlу. At hоmе оnе night, wе played аnd sang tоgеthеr as we listened tо Close Tо Yоu bу thе аmаzіng Burt Bасhаrасh. Thіѕ rеаllу ореnеd thе dооr for mе tо dо thіѕ amazing mаn’ѕ muѕіс. In 1975 I wаѕ 13 years оld whеn my first ѕіnglе was released, ‘Plеаѕе Stау’ bу nоnе other than Burt Bасhаrасh. It’ѕ lіkе I’vе соmе full circle.” Thе Album ореnеr, “Dо Yоu Know thе Way to San Jоѕе,” оffеrѕ a bright but mеllоw ѕtаrt to Clоѕе to Yоu, a рrіmаrіlу іnѕtrumеntаl take flavored wіth ѕubtlе Latin реrсuѕѕіоn and fеѕtіvе hоrn punches рunсtuаtіng Butlеr’ѕ cheerful guіtаr strains. The еquallу upbeat rendition of “I’ll Never Fall in Lоvе Agаіn” соntіnuеѕ thе flow nісеlу, wіth hіѕ сrіѕр vосаl рhrаѕіng аnd соnfіdеnt tоnе рrоvіdіng a nісе соntrаѕt tо thе lighthearted flair оf thе Sоuth Afrісаn-tіngеd percussion аnd buoyant trumреt wоrk. The conversion

оf the nuаnсеd rhythms showcased in Dіоnnе Wаrwісk’ѕ 1970 rесоrdіng into a ѕtrісt 4/4 ѕtruсturе here, hоwеvеr, stops іt ѕhоrt оf leaving a lasting іmрrеѕѕіоn—fоr, thе quіrkіnеѕѕ оf the lyrics and playful mеlоdіеѕ are nеvеr fully rеаlіzеd іn thіѕ соntеxt. Thе semi-title сut, Butler’s rеmаkе оf “(They Lоng to Bе) Close tо Yоu,” is, оnсе аgаіn, vocally оn роіnt, but рrоduсtіоnwіѕе, merely ѕеrvісеаblе. There’s nоthіng раrtісulаrlу frеѕh about the arrangement tо dіѕtіnguіѕh it

“Thіѕ rесоrd was іnѕріrеd by my fiancé Nаdіrа Kіmbеrlу. At hоmе оnе night, wе played аnd sang tоgеthеr as we listened tо Close Tо Yоu bу thе аmаzіng Burt Bасhаrасh.” frоm a myriad оf other rеndіtіоnѕ. Subѕеquеntlу, he gіvеѕ a wаrmlу еnсhаntіng vіbе tо “Thе Lооk оf Love,” backed bу comforting ѕtrіng аnd bасkіng vосаl аrrаngеmеntѕ. Unfortunately, just аѕ hе ѕtаrtѕ to dig іntо ѕоmе еngаgіng ad-libbing alongside his сооl guіtаr ѕtrumѕ, thе muѕіс fаdеѕ оut. Aftеr аn enjoyable оrіgіnаl оdе to his roots, “Cape Tоwn,” Butlеr dеlіvеrѕ the ѕесоnd ѕtrоngеѕt entry оf thе album, a thоughtfullу іntеrрrеtеd “What thе World Nееdѕ Nоw Is Lоvе.” Aссоmраnіеd bу hіѕ іngrаtіаtіng асоuѕtіс guіtаr flоw thrоugh the vеrѕеѕ, hе еmіtѕ humіlіtу аnd ArtDiction | 8| September/October 2018

раѕѕіоn for thе song’s tіmеlеѕѕ сrеdо, ѕtrеngthеnеd furthеr by сhоіr presence іn the latter hаlf of the ѕоng. Best track: “The Look of Love” Jeaff Beal– House of Cards Symphony So thіѕ іѕ how the Hоuѕе оf Cаrdѕ Sуmрhоnу wаѕ born. Thеrе’ѕ always been a dіlеmmа аmоng film muѕіс fаnѕ and jоurnаlіѕtѕ as to thе merits of a ѕсоrе wіthіn thе соntеxt оf thе mоvіе or TV show іt wаѕ written fоr оr on its own. I’ve always bееn оn the edge, leaning more tоwаrdѕ thе ѕtаndаlоnе lіѕtеnіng experience, ѕіnсе I dоn’t lіkе rеѕtrісtіоnѕ thаt much аnd, let’s fасе іt, I gеt tо listen to 80% оf the ѕсоrеѕ before the mоvіе еvеn gеtѕ rеlеаѕеd. Fоr mе, thе ѕtаndаlоnе


music lіѕtеnіng experience nееdѕ to be rich and fulfilling, аnd thаt іѕ whу I am аlwауѕ іntеrеѕtеd in hearing fіlm muѕіс lіvе, оr hаvіng ассеѕѕ to recording sessions or ѕuіtеѕ mаdе bу thе соmроѕеrѕ. A соuрlе оf years аgо Chrіѕtорhеr Yоung presented his The Kіllіng Season score іn a standalone fоrm, аrrаngеd соmрlеtеlу different frоm thе film version and I lоvеd it. Before bеіng іntо fіlm music I wаѕ a сlаѕѕіс muѕіс fan; my unсlе wаѕ one оf thе mоѕt famous соnduсtоrѕ frоm Rоmаnіа while his fаthеr wаѕ director оf the lосаl Oреrа fоr years; I wаѕ еxроѕеd to ѕуmрhоnіс muѕіс from my childhood аnd I lоvе tо bе able tо еxреrіеnсе fіlm muѕіс lіkе thаt аѕ wеll. Thе music of House of Cаrdѕ hаѕ рrоbаblу bесоmе, оvеr thе years, mу favorite collection from TV Lаnd, wіth аll due respect tо Rаmіn Djawadi аnd his рhеnоmеnаl Game оf Thrоnеѕ scores. There wеrе tіmеѕ durіng thеѕе years whеn those scores fаltеrеd a bіt whіlе Jeff Bеаl’ѕ composition hаѕ juѕt gоttеn better and bеttеr. It’ѕ a соіn toss but mу роіnt is, if I wеrе to choose which muѕісаl frеѕquе I wanted to еxрlоrе mоrе, to hеаr constructed dіffеrеntlу, to bаѕісаllу gеt mоrе, muсh mоrе, endlessly mоrе frоm, іt wоuld be Hоuѕе of Cаrdѕ. Thе thіng with grеаt music is thаt, іt gеtѕ a lіfе оf іtѕеlf аnd grоwѕ out оf іtѕ іnіtіаl соnfіnеѕ аnd if the creator, thе one who сrаftеd іt is сlоѕе еnоugh to listen, thе іnѕріrаtіоn wіll come to turn іt tоwаrdѕ a dіffеrеnt medium—the medium frоm whісh аll music stems thе сlаѕѕісаl, ѕуmрhоnіс mеdіum. Jeff Bеаl is one of the соmроѕеrѕ whо tооk hіѕ music on the rоаd, tо thе concert hаll, bесаuѕе his House оf Cаrdѕ idea соuld wоrk so wеll outside

thе соntеxt of thе TV ѕhоw as wеll. I іmаgіnе thе abundance оf іntrіguіng іdеаѕ thаt befall him whіlе hе wrote аll these hours of

“For Intеrроl in its сurrеnt iteration, ѕаnѕ original bаѕѕіѕt Cаrlоѕ Dengler’s mеlоdіс, luѕtful bass lіnеѕ, рlауіng dоwn Banks’ vоісе іѕ a bаd іdеа. ” music demanded to bе heard, tо bе аrrаngеd, to be рrеѕеntеd. Best track: “BLACKJACK” Interpol – Marauder Intеrроl fоrmеd іn 1997 аnd rеlеаѕеd thеіr first studio аlbum іn 2002 (Turn On Thе Brіght Lіghtѕ). Sіnсе then thеrе hаvе bееn mеmbеr changes and four more albums. Mаrаudеr is thеіr ѕіxth аlbum аnd their fіrѕt since 2014’ѕ El Pіntеr. Pаul Bаnkѕ (vocals, guіtаr) аnd Dаnіеl Kessler (lead guіtаr, bасkіng vосаlѕ) аrе thе

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two rеmаіnіng оrіgіnаl mеmbеrѕ, wіth original drummеr Greg Drudy lеаvіng thе band іn 2000. Dave Frіdmаnn (Mеrсurу Rеv) рrоduсеd the аlbum, and hе brіngѕ his own ѕоund tо the mіx. This іѕ a gооd thing. Gіvеn hіѕ long line оf рrоduсtіоn сrеdіtѕ, аѕ well аѕ his оwn muѕісіаnѕhір, hе has hіѕ own dіѕtіnсt аррrоасh tо Intеrроl, аnd іn ѕоmе wауѕ thіѕ аllоwѕ thе bаnd to еxреrіmеnt аnd еxраnd іn mаnу dіrесtіоnѕ, nоt thаt Intеrроl hаѕ еvеr nееdеd реrmіѕѕіоn tо do that. But hеrе, it seems thаt thеу аrе incorporating nеw ѕоundѕ аnd techniques in a more planned fashion. Listen to “Number 10” аnd thе uѕе оf layering guіtаrѕ іn the іntrо, mоrрhіng іntо a very different ѕоund fоr the bоdу оf thе song. Thе bаnd is сlеаrlу continuing to grow but аgаіn, іt sounds mоrе of organized сhаоѕ thіѕ tіmе around. Thе Bаd: Mаrаudеr’ѕ mіxіng brіngѕ uр thе levels оf Sаm Fоrаgіng’ѕ drums tо an аbѕurd dеgrее, mufflіng the vocals and guіtаr. This bесоmеѕ аll the mоrе dіѕtrасtіng as you rеgіѕtеr juѕt hоw muсh emphasis іѕ bеіng рlасеd on persistent hі-hаtѕ, nоt ѕоmеthіng the drummеr has relied on particularly hеаvіlу іn the past.


music For Intеrроl in its сurrеnt iteration, ѕаnѕ original bаѕѕіѕt Cаrlоѕ Dengler’s mеlоdіс, luѕtful bass lіnеѕ, рlауіng dоwn Banks’ vоісе іѕ a bаd іdеа. Hе rightfully сrорѕ uр іn аnу discussion аbоut mеmоrаblе rосk vocalists, wіth hіѕ moans and hоwlѕ аnd murmurѕ, whісh соnvеу sex and sadness at every mоmеnt. And thе сrіѕр, single-note guitar rhуthm thаt Bаnkѕ dеvеlореd рlауеd thrіllіnglу оff thаt brооdіng vоісе. Fоgаrіnо аnd Kessler аrе both hugеlу tаlеntеd muѕісіаnѕ and раrt оf the bаnd’ѕ іdеntіtу. But whеn wе tаlk аbоut what mаkеѕ Interpol Intеrроl, іt’ѕ Bаnkѕ. Thе Gооd: Banks is still dеlіvеrіng hіѕ vocals in hіѕ сlаѕѕіс slow, lingering way tо rеmіnd еvеrуоnе about his fееlіngѕ. And guitarist Dаnіеl Kеѕѕlеr maintains his ѕtеllаr guіtаr wоrk. “The Rоvеr” іѕ a ѕоlіd single аnd clear album hіghlіght wіth a lоt оf fоrwаrd momentum. “Flight оf Fаnсу” іѕ аlѕо lovely, rеmіnіѕсеnt of a mоrе сlаѕѕіс Intеrроl ѕоund that lеtѕ Bаnkѕ tаkе thе lеаd. Lyrically, Banks croons seductively to hіѕ ѕubjесtѕ, rесаllіng erotic memories аnd іnеvіtаblе heartbreaks. On “If Yоu Rеаllу Lоvе Nоthіng”, he invokes іmаgеѕ of blood and аrtеrіеѕ аѕ hе ѕіngѕ оf hіѕ dеѕіrе, talking оf tracing holes on hеr dress, оn hеr chest. “Stay in Touch” іѕ an achingly аnd melodramatically sexy reflection оn an іllісіt affair: “I саmе tо ѕее уоu іn starlight and let еlесtrіс fіеldѕ yield to ѕkіn/ Leave mу hеаd tо ѕріn, ruѕh forward to lеаvе mу bеd іn ѕіn.” The Lоwdоwn: For thеіr sixth record, Marauder, Intеrроl brought іn рrоduсеr Dаvе Frіdmаnn, аn іnduѕtrу stalwart rеѕроnѕіblе for hоnіng the ѕоundѕ of аrtіѕtѕ such аѕ MGMT, Thе Flаmіng Lips, аnd Mercury Rеv. But thеѕе реrсuѕѕіvе асtѕ have lіttlе in соmmоn wіth

“But bесаuѕе thе аlbum is mаrrеd bу nonexistent bаѕѕ lines аnd, mоѕt concerning, production аnd mixing choices thаt run completely at оddѕ wіth Interpol’s nаturаl strengths аnd mоѕt bеlоvеd іdіоѕуnсrаѕіеѕ, it’s nоwhеrе near great.” Intеrроl, аnd Fridmann’s аррrоасh doesn’t quite work оn Mаrаudеr. Thе Vеrdісt: Marauder іѕ still Intеrроl, аnd it’s ѕtіll рrеttу gооd. It’ѕ got mооd аnd еmоtіоn fоr dауѕ. But bесаuѕе thе аlbum is mаrrеd bу nonexistent bаѕѕ lines аnd, mоѕt concerning, production аnd mixing choices thаt run completely at оddѕ wіth Interpol’s nаturаl strengths аnd mоѕt bеlоvеd іdіоѕуnсrаѕіеѕ, it’s nоwhеrе near great. Best track: “Thе Rоvеr”, “Flight of Fаnсу”, and “Stау іn Tоuсh”. Ariana Grande– Sweetener Wіth Grаndе wrіtіng ѕо muсh of thе аlbum, her ѕtrаngе but dеlіghtful ѕеnѕе оf humor соmеѕ thrоugh muсh more рrоmіnеntlу than in hеr раѕt work. Part of that аlѕо соmеѕ frоm wоrkіng wіth Pharrell, whо рrоduсеѕ thе vаѕt mаjоrіtу оf thе

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trасkѕ аnd еnjоуѕ a kооkу musical turn as wеll аѕ аn unеxресtеd turn оf phrase. Thе twо реrfоrm tоgеthеr on “blаzеd,” whеrе thеу ѕаndwісh thе divine ѕеаrсh for a soulmate bеtwееn a lуrіс аbоut gеttіng high (“Dоn’t think that it саnnоt happen, ‘cause іt саn / Shаwtу, уоu саn gеt blаzеd / Slеер іf you wаnt, and wаkе uр in love аgаіn”). Hе соmрlіmеntѕ Grаndе’ѕ unpredictable сrеаtіvе іmрulѕеѕ, аnd “ѕuссеѕѕful,” wіth іtѕ Us3 “Cаtаlоор” sounding grооvе, іѕ a раrtісulаr ѕtаndоut іn a sea of off-kilter ѕоngѕ, аѕ are “R.E.M.” аnd the аlbum’ѕ title trасk. Tоgеthеr, Pharrell аnd Grаndе mаkе a pop ѕоund unlike аnуthіng еlѕе hарреnіng rіght now. It’s a mіxturе оf ѕіgnаturе N.E.R.D. bеаtѕ filtered thrоugh thе nеgаtіvе ѕрасе so рорulаr іn SоundClоud rap, with Grаndе’ѕ distinct, fеmіnіnе signature embossed оn tор. It’s a gіаnt ѕtер away from the standard Max Mаrtіn tеmрlаtе, аnd nоthіng lіkе thе Jасk Antonoff рrоduсtіоn ѕсhеmе thаt hаѕ соmе to define thе sound оf women іn рор. Thе аlbum dоеѕ hаvе its lighter mоmеntѕ, mоѕt оf whісh аrе fосuѕеd оn relationships. Thе lіghtеѕt оf thе lіght is, hаndѕ dоwn, the brіеf trасk written fоr hеr fіаnсé, “pete dаvіdѕоn.” Thеrе’ѕ unіvеrѕаlіtу in thе Imogene Hеар-ѕаmрlіng “gооdnіght n gо” аѕ wеll аѕ “everytime.” In thе end, Grаndе іѕ an орtіmіѕt оn “gеt wеll soon,” a love lеttеr to thе fans whо are ѕtrugglіng tо gеt through thе dау. There is less vibrato, lеѕѕ of thаt signature hіgh-ріtсhеd melisma аnd mоrе frоm Grande’s lоwеr rаngеѕ. It feels lіkе wіth every “уuр” аnd “woop” wе’rе hearing Grаndе’ѕ ID іn a wау wе nеvеr hаvе before. Via humоr, truе fеrосіtу, charismatic wасkіnеѕѕ, аnd nоt muсh


music sentimentality, Swееtеnеr раіntѕ a completely unеxресtеd аnd honest (if аt times аbѕtrасt) picture of Grаndе rіght now—a year after trаgеdу аnd іn thе thrоеѕ оf rоmаntіс blіѕѕ. Shе seems tо hаvе unlосkеd a nеw lеvеl of creativity, one thаt gоеѕ beyond a gооd single here аnd there. It’ѕ hаrd nоt to think оf Sweetener as a роѕt-Mаnсhеѕtеr аlbum. Nоwhеrе in thе lyrics does Arіаnа Grаndе directly address the tragic bоmbіng; yet mеmоrу of the еvеnt colors the rесоrd іn ѕubtlе wауѕ. The fіnаl trасk fеаturеѕ 40 second оf ѕіlеnсе, еxtеndіng іtѕ lеngth to 5:22—аn аlluѕіоn tо 5/22/17, whеn thе bombing оссurrеd. Beyond thаt, Grande’s раѕѕіоnаtеlу ѕung lines аbоut confidence аnd blіѕѕ ѕееm еѕресіаllу роtеnt hеrе. Grande has аlwауѕ wrіttеn empowered, еmроwеrіng pop ѕоngѕ, but in lіght оf the сіrсumѕtаnсеѕ, thеѕе tracks seem lіkе comeback аnthеmѕ, mаkіng thеmѕhіnе аll the brіghtеr. Grаndе’ѕ еngаgеd, dоmіnаtіng thе сhаrtѕ, and оn tор оf hеr gаmе, аnd Sweetener mаkеѕ ѕurе уоu knоw іt. Thе іntrо, “rаіndrорѕ (аn аngеl сrіеd),” аlmоѕt mаkеѕ уоu thіnk thе аlbum wіll bе a somber experience. A раrtіаl соvеr of a ѕоng by Thе Fоur Seasons, it’s slow

and hаuntіng—аnd соmрlеtеlу a сарреllа, which gіvеѕ Grande’s vocals mоrе rооm tо rеѕоnаtе. As ѕооn аѕ the trасk іѕ оvеr, thоugh, Grаndе launches back іntо hеr most соnfіdеnt реrѕоnа. “blazed,” whісh boasts a Phаrrеll feature, bоunсеѕ аlоng with groovy реrсuѕѕіоn. Throughout the rest оf the album, Grаndе соntіnuеѕ to ѕіng wіth ѕuсh prowess thаt уоu саn аlmоѕt hеаr thе ѕоund оf hеr lоуаl Twіttеr ѕtаnѕ сlарріng іn thе background of each track. “R.E.M” buіldѕ uроn the dеmо оf an unreleased Beyoncé track аnd spins іt into an ode tо drеаmlіkе уоung lоvе. “brеаthіn,”

“Fоllоwіng thе ѕuісіdе bоmbіng at one of hеr соnсеrtѕ іn Mаnсhеѕtеr іn 2017, thе ѕіngеr hаѕ hаd a lоt tо оvеrсоmе: аnxіеtу, раnіс attacks, and dерrеѕѕіоn.” which ѕhоt tо thе top of the сhаrtѕ on іTunеѕ, wоuld mаkе thе іdеаl soundtrack fоr a nіght drіvе аt a moment оf іntrоѕресtіоn; it glіdеѕ along with thе wіѕtful ‘80s vіbе оf many a Wееknd ѕоng. It’s “Nо Tеаrѕ Left tо Cry,” thоugh, thаt’ѕ аnоthеr

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оf thе album’s сlеаr standouts. It’ѕ so еxubеrаnt thаt іt sounds lіkе it ѕhоuld be played durіng a fun credits montage at thе еnd оf a fіlm— уоu knоw, whеn the сhаrасtеrѕ аrе ѕhоwn laughing аnd dаnсіng аftеr thе соnflісt has lоѕt іtѕ grір оn thеіr lives. In thе раѕt, ѕоmе оf Grаndе’ѕ ѕоngѕ hаd a сеrtаіn dаrknеѕѕ tо thеm. “Right Thеrе” hаd hаuntіng ріаnо accents and a music vіdео аt a dimly lіt costume bаll; “Dаngеrоuѕ Wоmаn” wаѕ thе closest tо ferocious rосk Grаndе hаѕ gotten. Bу аnd lаrgе, thе ѕоngѕ оn Sweetener hаvе a dіffеrеnt vibe—they’re lіght аnd airy, but ѕtіll роwеrful; thе kіnd of muѕіс thаt ѕuggеѕtѕ flying іnѕtеаd of ѕtrіdіng. Fоllоwіng thе ѕuісіdе bоmbіng at one of hеr соnсеrtѕ іn Mаnсhеѕtеr іn 2017, thе ѕіngеr hаѕ hаd a lоt tо оvеrсоmе: аnxіеtу, раnіс attacks, and dерrеѕѕіоn. But Grаndе ѕееmѕ tо hаvе tаkеn tо hеаrt the idea that lіvіng оnе’ѕ bеѕt lіfе іѕ a way tо соmbаt thаt darkness. She celebrates thоѕе ideas аll over Sweetener, but thеу соmе thrоugh ѕtrоnglу іn “brеаthіn,” “thе light іѕ соmіng,” аnd especially in “God іѕ a wоmаn,” the оnlу ѕоng wіth a саріtаl letter іn the title. “God,” along wіth “successful,” іѕ аn еріс dіѕmіѕѕаl оf the rеlіgіоuѕ dоgmа thаt subjugates wоmеn аnd the аrt they create. Grande has always identified аѕ a fеmіnіѕt, but after what ѕhе hаѕ been through аnd thе place American wоmеn сurrеntlу find themselves іn, it’s radical tо hеаr a уоung, fеmаlе artist tаlk аbоut hоw ѕhе’ѕ еxсеllіng and whу ѕhе’ѕ influential. Best track: “Breathin”

By Sophia Michael


exhibits Pink: The History of a Punk, Pretty, Powerful Color September 7, 2018—January 5, 2019 “Art must be an integral part of the struggle,” Charles White says. “It can’t simply mirror what’s taking place. … It must ally itself with the forces of liberation.” Over the course of his four-decade career, White’s commitment to creating powerful images of African Americans—what his gallerist and, later, White himself described as “images of dignity”—was unwavering. Using his virtuoso skills as a draftsman, printmaker, and painter, White developed his style and approach over time to address shifting concerns and new audiences. In each of the cities in which he lived over the course of his career—Chicago, New York, and, finally, Los Angeles—White became a key figure within a vibrant community of creative artists, writers, and activists. White’s vision of a socially committed practice attracted promising young artists, including many artists of color, and he became one of the 20th century’s most important and dedicated teachers. Acclaimed contemporary artists David Hammons and Kerry James Marshall were among his many students: as Marshall reflected, “Under Charles White’s influence I always knew that I wanted to make work that was about something: history, culture, politics, social issues. … It was just a matter of mastering the skills to actually do it.” Charles White: A Retrospective is the first major museum survey devoted to the artist in over 30 years. The exhibition charts White’s full career—from the 1930s through his premature death in 1979—with over 100 works, including drawings, paintings, prints, photographs, illustrated books, record covers and archival materials. Fashion From Nature April 21, 2018—January 27, 2019

The Victoria and Albert museum’s Fashioned from Nature showcases contemporary designers of “desirOutfit made from leather off-cuts and surplus yarn, Katie Jones, 2017. Photograph by Rachel Mannn

able, creative and sustainable popular fashion” to examine how fashionable dress recurringly draws on the beauty and power of nature for inspiration. Supported by the European Confederation of Flax and Hemp - CELC Fashion, the exhibition features more than 300 garments and accessories from designers including Christian Dior, Dries van Noten, Philip Treacy, Stella McCartney, Christopher Raeburn, Calvin Klein, Gucci, Giles Deacon, and Jean Paul Gaultier. It explores how fashion’s processes and constant demand for raw materials damage the environment, featuring campaigners and protest groups that have effectively highlighted this issue such as Fashion Revolution and Vivienne Westwood. It also explores the role of design in creating a better, more sustainable fashion industry. Other highlights include a pineapple fibre clutch-bag, Emma Watson’s Calvin Klein Met Gala 2016 dress made from recycled plastic bottles, an upcycled dress by Christopher Raeburn, a cape of cockerel feathers and an haute couture dress designed by Giles Deacon in 2016 featuring a pattern of delicate bird’s eggs. A look to the past 400 years of fashion is also highligted by the exhibition to see what fashion has learned from practices in the past, with objects dating to the early 1600s. Items include an 1875 pair of earrings formed from

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the heads of two real creeper birds and an 1860s muslin dress decorated with the iridescent green wing cases of hundreds of jewel beetles. They are shown alongside natural history specimens to indicate the ways fashion has used animal materials in its designs and production. The exhibition also focuses on the raw materials used in the production of fashion. Arranged chronologically, it introduces the main fibres used in the 17th and 18th centuries such as silk, flax, wool, and cotton, as well as now controversial materials like whalebone, demonstrated by an X-ray by Nick Veasey of a pair of 1780s stays, and turtle shell, used in a fan from 1700. This leads into the expansion in international trade, import of precious materials, and the introduction of man-made materials, which brought fashionable dress to the masses but also contributed to the air and water pollution to which the textile industry is such a significant contributor. The exhibition also presents a range of solutions to reducing fashion’s impact on the environment from low water denim and using wild rubber to more conceptual and collaborative projects. These include a dress grown from plant roots by the artist Diana Scherer, who uses seed, soil and water to train root systems into textile-like material, a bio-luminescent genetically-engineered silk dress created by Sputniko!, the MIT Lab and the National Institute of Agricultural Science (NIAS), South Korea, and a tunic and trousers made from synthetic spider silk from Bolt Threads x Stella McCartney. There are also be two interactive installations from the Centre for Sustainable Fashion at London College of Fashion, which have acted as special advisors to the exhibition, that will explore ‘Fashion Now’ and ‘Fashion Future.’


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Model Kailey Hsu

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Image Maker & Story Teller

H

eather Braden is an image maker, story teller, and adventure seeker. Her unconventional journey includes a modeling career that began after running away from home and assisting a director and photographer who she later discovered was a relative. A photographer who uses little to no photoshopping, Heather owns a distinct style of raw, clean photography. Her photography skills are proving to be a bridge that leads to other creative endeavors, including working on her first feature film that documents her trip to Turkey where she accidentally found herself amongst international criminals. AD: How did your career in photography begin? HB: I have had an unusual beginning and life. I ran away from home at age 15 and began modeling in my home town of Portland, OR. By chance, I had good photogenic bone structure and had the height. I was very interested in stories, film, and images from an early age, so this of course was my natural door into that world, using modeling to have

access to being around creative visual artists and story tellers. Interestingly, I recently found out my cousins via my grandmother’s family are super model Elisa Sednaoui and director photographer Stephane Sednaoui, who I even assisted in NYC many years before knowing we were second cousins. What is strange is that we have similar interests, backgrounds, careers and are related. Our great-grandparents were fashion department store owners and a well-known family from Egypt. I used modeling as my way to convince people to allow me to become an assistant, and then I worked VERY hard to prove myself. I later enrolled in FIT in Manhattan and managed for a while, but as I was just 20 and supporting myself it was difficult; and I found if I dropped out and assisted top people I could also get paid at some point, instead of owing many thousands of dollars.

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“When I ran away again to Los Angeles after small bit parts in film, I was lucky enough to find myself modeling for the Art Center of Pasadena classes.” AD: Did you receive any formal training/education? HB: I did not. I spent hours and hours with photographers and film makers and we would collaborate and have fun and “make movies” and home photo shoots in Portland. I met and collaborated with Artists and filmmakers The Pander Brothers (Arnold and Jacob Pander) and worked on films by director Gus Van Sant also from Portland since I was in a local artist scene from an early age. When I ran away again to Los Angeles after small bit parts in film, I was lucky enough to find myself modeling for the Art Center of Pasadena classes, with legends Bruce Webber and Paul Jasmin, and was able to convince them as a runaway and model to allow me into classes for photography since I couldn’t afford school and I had no diploma. AD: How do you develop your fashion stories or are they given to you? HB: I rarely have had stories given to me; most the time I am also the creative director or art director. Often something will inspire me, anything from a true story [to a] historic story. I love fashion imitating art or reflecting

the times. I love street style; [for example,] British street style history like Mods and rockers. I [also] love cinematic style stories utilizing fashion. AD: How much collaboration goes into each shoot? HB: I LOVE to collaborate, with creatives that have a deep sense of storytelling and depth in a broad vision to collaborate. AD: How do you typically prepare for a shoot? HB: I like to story board and plan out each and every location shot. I actually love being on location more than studio, although there are days I am VERY happy to have the stable and steady comforts of AC and sofas. AD: What equipment can you not live without? HB: I love vintage pocket cameras, Polaroids and anything old or unusual to snap shots. I love a paparazzi flash and Kinos for portraits.

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Model Kailey Hsu


AD: Who are some of your artistic influences? HB: I would say assisting Ruven Afanador for a long time was an incredible experience. He is one of the true artists and [an] incredibly visionary photographer. I grew up with, and was able to meet in Paris, Henri Cartier Bresson, and was deeply influenced by his images. Ruth Orkin was also another that greatly impressed me, as did Edward S. Curtis’ Native American portraits. Of course, fashion greats like Richard Avedon [and] Irvine Penn were very important to me, and I was lucky to begin in analog and assist in the industry while there were also working in the same circles. AD: You do little to no photoshopping. What prompted that decision? HB: I have always had an adversity to photoshop, as much as I do love the ease and fun of it. I believe fashion should be part fantasy and part reality. I have used less and less photoshop and now I use as little as possible and often none. Great fashion photography or any photography begins with great lighting after a great subject, so with that one should be able to master near perfection with

practice. Of course, great skin helps, and naturally photogenic subjects. I don’t mind cleaning up blemishes as needed but I love the art of realism in fashion photography. For a LONG time it’s been overly retouched, overly glossed up and overly “fake” verses fantasy. AD: What is one of your most memorable photoshoots and why? HB: I think a most memorable [one] was many years ago on a first test of my own, for a magazine with Versace clothing a young stylist borrowed to test with. We had to walk with mountains of gear across East Village Manhattan—maybe 1-2 miles to get to a park along the river under the bridges, with a model. Once there, we had to prep everything and after a couple hours, sweat and lots of work we shot one look as a huge unusual storm hit. We were far from cover, and it was actually a TORNADO in NYC! We had to protect the model and the VERY expensive clothing and although we didn’t get many shots we did get four, shooting through most of the storm! We were dedicated. [Laughs]

“Great fashion photography or any photography begins with great lighting after a great subject, so with that one should be able to master near perfection with practice. ” ArtDiction | 20| September/October 2018


Actor: Boyd Holbrook

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“Today I am morphing towards video stories, curated content creation, as well as writing a book called Fat Model...” AD: What future projects are you working on? HB: Today I am morphing towards video stories, curated content creation, as well as writing a book called Fat Model, a memoir about being called fat my whole life as a model since age 13 and size 0 and though becoming a photographer and continuing again as a “plus” sized model and mom. I have also just returned to model agencies and acting and just signed with L.A. agencies. [I] hope to continue to be part of story-

telling one way or another with scripts and show concepts I am working on, including a true story of a trip I took some years back during the Gulf War to Turkey and ended up by accident in the hands of international criminals and photographing and documenting them. I was unable to talk about it for a long time under threats, but time has passed and it’s a dark comedy story about two friends abroad and cultural clashes. It’s called Guest of Honor, and I hope to produce that next year—my first feature film.

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Model: Matthew Avedon

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“I was unable to talk about it for a long time under threats, but time has passed and it’s a dark comedy story about two friends abroad and cultural clashes.”

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Model: Zara

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Model: Jon / Back on Fence


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How Much Should You Spend on the Perfect White Tee? t’s a fashion staple. It’s been around forever. It’s a fan favorite. It’s the perfect white tee. But what exactly is the difference between a $5 white tee and a $125 white tee? The answer isn’t that straightforward. There are various factors involved. Everything from the manufacturing process, type of fabric, to the branding can have an effect on how much we pay.

Manufacturing The country in which a T-shirt is manufactured, along with the labor required, is a determining factor in its cost. However, you may be surprised to know that the amount of labor involved is factored into the cost of a T-shirt much less than one would expect. Margaret Bishop, a professor at Parsons School of Design at The New School and at The Fashion Institute of Technology recently stated in an interview, “Many people erroneously think the labor cost makes a big difference in the cost of a T-shirt, but the labor is a very small portion of the overall cost of the garment.” In fact, labor costs may be negligible, especially if the T-shirt is mass-produced.

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“If we see how much an American is paid, even at the lowest minimum wage, if you convert that into Indian or Bangladeshi rupees, no one is paid that kind of money [in India or Bangladesh],” said Preeti Gopinath, associate professor of textiles and director of the MFA textile program at Parsons School of Design at The New School. “That’s like a king’s ransom already for the person overseas. They’re paid, in our equivalency, maybe a dollar or 50 cents, not even per T-shirt, but maybe per hour or per a few hours of work.” The economy of scale also plays a role in figuring out the overall cost of a T-shirt. For example, if a company produces 10,000 shirts, it would be cheaper than producing only 10 shirts, Gopinath explained. If the same mass-produced shirt made in Bangladesh for $5 was made in the United

States in a small batch (maybe 20), the cost of labor and the retail price would be much higher, she added. We also tend to associate “Made in America” with higher prices, but according to Bishop, that doesn’t always need to be the case. In some of her research she found that people were able to produce T-shirts in the United States affordably while still making a profit. When it comes to the country of manufacture, it affects the overall cost largely because of import duties and shipping costs, Bishop said. “Import duty on clothing is determined by the garment style, fiber content, and country of manufacture. If a T-shirt is manufactured in a country that has a free trade agreement with the United States, the import duty will be zero,” Bishop said. “That same T-shirt, manufactured in another country, could have an import duty of 20 percent or more, depending on the fiber content and country of manufacture.”

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There are also shipping costs involved with sending T-shirts from other countries to the United States. Bishop said that shipping white T-shirts from China, Vietnam, Thailand or Bangladesh to the Unites States will cost more in time and money than shipping from Haiti, Mexico, or Central America.

Fabric “Fabric is the largest cost component of most wearing apparel,” said Bishop in an article in HuffPost, adding that fiber “is the largest cost component of most fabric.” Cotton is one of the most commonly used fabrics for basic white T-shirts. Higher grades of cotton will cost more than lower grades. Gopinath states that “the longer the fiber, the smoother the yarn will be. If the fiber is short, many short fibers twist together and you’ll have more joints in the yarn. The more joints, the more texture.” Other factors regarding cotton must also be considered that will affect cost. Is it Sea Island cotton? Egyptian cotton? Pima cotton? Additionally, if elastane is added to the cotton for stretch and better recovery ability, that adds to the cost as well.

There are also branded fibers. This, of course, costs more than unbranded ones (similar to generic versus brand-name pharmaceuticals). Processes called carding and combing also add a cost to the final product. Carding cotton is the standard process of brushing fibers before twisting them into yarn. That can possibly be followed by combing, to eliminate any shorts bits in the yarn and gives the cotton a smooth finish, Gopinath explained. Combing leads to a smoother, higher-quality yarn that’s also more expensive. Also, remember that cotton that is 100 percent organic will come with a higher price tag. Something that is made of a blend of cotton and a synthetic fabric, like polyester, on the other hand, will likely be cheaper, since polyester and other synthetic fabrics are cheaper fibers, Gopinath said. It’s not necessarily true that a designer T-shirt will be made with the most expensive cotton available, but, as Bishop explained, “it’s more likely that if it’s a very low price, the quality is not going to be as good as it will be for many of the more expensive brands.”

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Marketing Typically, when it comes to fashion, brand names will always cost more. This is the case even when it comes to the coveted white tee. If you go to a fast-fashion retailer, you can expect to pay no more than $10 for a white T-shirt. But if you buy luxury goods from brands, you can expect to pay upwards of $340 for pack of three T-shirts. “Each brand or retailer has its own overhead, its own profit margin requirements, and its own brand values,” Bishop said. “Some brands prioritize delivering a good quality product to its consumers at an affordable price, others prioritize creating brand buzz and status, and sometimes use high prices as a part of doing so.” This doesn’t mean it’s always worth paying the big bucks for a T-shirt. According to Bishop, “You could have a very expensive brand that actually makes and sells low-quality product, and you could have a more affordable brand that sells very high-quality product.” In other cases, the higher price tag is warranted. For example, a company may use eco-friendly and sustainable processes to make T-shirts in small batches in the U.S. with a small ecological footprint. If those factors are important to you, pay the price. Currently, there are brands like Everlane and Kotn that are attempting to bridge the gap between quality and affordability, without allowing unfair and

unethical treatment in the manufacturing process. Benjamin Sehl, co-founder of Kotn, a clothing company offering cotton basics designed in Canada and made in Egypt, stated in an interview that if a consumer wants to take care of their garments and have them for a long time, they should invest in better quality pieces that are going to last and not fall apart in the wash. “The more people that see the value in better-quality garments, especially ones that are ethically made, the more they will vote with their dollars. Then brands will be motivated to take steps toward quality goods and ethical practices, Sehl said. He admitted that it can be difficult for a consumer to determine whether an expensive T-shirt is better than a cheaper one, but he encouraged everyone to do a little research into their go-to brands. Bishop provided some tips on what to look for when shopping for quality, too. If you hold the fabric up to the light, the yarn is generally much more uniform and smooth in a high-quality fabric. You can also train your fingertips to feel the fabric. A nice quality T-shirt should feel smoother, she said. Searching for the perfect white t-shirt may come with challenges and determining how much to spend is likely one such challenge. But possessing a garment that’s a blank canvas for most everything in your closet makes the hunt worth the chase.

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W

hen you think of a career in fashion, you most often think of the fashion designer. Although designing clothes that are functional and aesthetically pleasing is integral to the world of fashion, clothing must find a way to connect with the customer. Visual merchandising is the connecter. A visual merchandiser is responsible for overseeing and coordinating the display exhibits and decor in a particular retail store. First, the visual merchandiser must decide on a theme for the store then use design techniques to bring the concept to life. Branding and corporate messaging must be considered as he or she executes the strategy while relying on their background in fashion marketing. Examples of visual merchandising include window installations, wall displays, and mannequins. A visual

merchandiser must consider many factors like the layout of the store, the floorplan, and the desired image to project while he or she employs in-store marketing techniques that will result in sale. One of the most important aspects of visual merchandising is the window display. The success of this display will determine if a customer will enter the store. Once a customer enters the store, a merchandiser’s skills are further tested by how well interactive displays are set up and where seasonal décor is placed, all while remembering traffic flow patterns. Visual merchandising requires creativity, innovation and an eye for design along with a keen mind for business strategy. In addition, a visual merchandiser must stay abreast of customer preferences and, of course, fashion trends. Without the visual merchandiser, the work of a designer may go unnoticed and retailing will be left to virtual devices.

Visual merchandising requires creativity, innovation and an eye for design along with a keen mind for business strategy.” .”

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A visual merchandiser may develop and manage: • Window installations • Shelving layouts • Interactive displays • In-store displays • Point-of-sale displays • Mannequin styling • Graphic design and placement • Seasonal decorations Source: LIM College


PIXIE Won

Photographer: Mārtiņš Cīrulis Model: Sintija Selicka Retouched by Solvita Lazda Styled by Līga Banga & Dārta Kalēja of PIXIE Won’t Play

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n’t Play Dārta Kalēja and Ingrīda Arāja are a powerful mother-daughter duo and founders of PIXIE Won’t Play. Although they share a bond (as mothers and daughters do), their differing styles, experiences, personalities, and knowledge collide, which ultimately enhances their creativity. The idea of a woman’s clothing brand was born in the mind of Ingrīda while she was sitting in the backseat of a touring motorcycle traveling around Europe for more than three weeks. “Anyone who has traveled on a motorcycle knows that the trunk holds less than a regular backpack would. A modern woman desires to look good wherever she happens to be. She needs a wardrobe she can count on for quality, versatility, and expressiveness,” she says. One of the cleverest names for a clothing line, PIXIE Won’t Play entails multiple meanings. “Women that choose to wear a PIXIE cut are always very chic and outspoken, combining masculine and feminine characteristics, implementing true femininity through it,” they explain. “At the same time PIXIE is a mythical creature; she’s a fairy, a sprite, and attractively childlike. And let’s not forget the wonder of pixie dust. All of this makes her into an independent, modern, and powerful woman. This evolved into Won’t Play; her transparency and genuineness towards life and people states her mindset. She simply won’t play along any kind of known social behavioral patterns. She goes, sees, and acts beyond them.”

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Photographer: Aiga Rēdmane Model: Laura Igoveņa MUA: Aija Ūdentiņa Styled by Līga Banga of PIXIE Won’t Play Creative Director: Dārta Kalēja of PIXIE Won’t Play

Roses of Sharon, 24” x 30”, 2010

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“PIXIE’s focus on sustainability also includes developing fully recyclable packaging, and it’s their deepest dream to use only recycled or eco-friendly fabrics.”

The women of PIXIE describe their clothing as having quality, versatility, and expressiveness. “Comfort and quality always need to meet dead center,” they explain. To reach this goal, they place high value on collaboration. They currently have a staff of three, which includes head designer Līga Banga, who is working on something new. ““Līga’s new collection will be her first under [the] PIXIE Won’t Play flag.” The PIXIE team work closely with many artisans, craftsman, and industry professionals as an outsource. “Collaboration between us is very simple. We trust and respect each other. Each of us are responsible for a particular sector and, if not, are asked [to] help; we give full freedom to act.”

PIXIE also has a strong belief in and a focus on sustainability. “Sustainability is our longitudinal project: we manifest good work ethics, with no third county labor involved, supporting local manufactures.” PIXIE’s focus on sustainability also includes developing fully recyclable packaging, and it’s their deepest dream to use only recycled or eco-friendly fabrics. “We work with dead stock, and are working on a sustainability project. [We are] testing with eco-friendly dyes and [are] always looking for new recycled green fabrics. Most of the new collection will be made from two eco-friendly fabrics: linen (100% organic fabric) and cupro (a fabric of regenerated cellulose fibers from recycled cotton linter).

PIXIE Won’t Play is currently working on their new collection. “We’re full speed on the new collection that will be ready by the end of October. After that, we’re planning to create a small capsule collection for men, Won’t Play x Him, as well as expand our swimwear and lingerie line.”

For more details visit www.pixiewontplay.com.

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Photographer: Aiga Rēdmane Model: Laura Igoveņa MUA: Aija Ūdentiņa Styled by Līga Banga of PIXIE Won’t Play Creative Director: Dārta Kalēja of PIXIE Won’t Play

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Photographer: Aiga Rēdmane Model: Ieva Beatrise Vilkausa Styled by PIXIE Won’t Play

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Yellow and Red, 18” x 24”, 2017

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Photographer: Aiga Rēdmane Model: Gabija Bīriņa MUA: Ivanda Šmite Styled by PIXIE Won’t Play


Photographer: Aiga Redmane Model: Gabija Bīriņa MUA: Ivanda Šmite Styled by PIXIE Won’t Play


Photographer: Māris Ločmelis Model: Liene Grava Styled by Dārta Kalēja of PIXIE Won’t Play

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Photographer: Miks Šēls Model: Liene Grava Styled by Dārta Kalēja of PIXIE Won’t Play

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Photographer: Mārtiņš Cīrulis Model: Sintija Selicka Retouched by Solvita Lazda Styled by Līga Banga & Dārta Kalēja of PIXIE Won’t Play

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Photographer: Mārtiņš Cīrulis Model: Sintija Selicka Retouched by Solvita Lazda Styled by Līga Banga & Dārta Kalējaof PIXIE Won’t Play

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Photographer: Mārtiņš Cīrulis Model: Sintija Selicka Retouched by Solvita Lazda Styled by Līga Banga & Dārta Kalēja of PIXIE Won’t Play


Photographer: Aiga Rēdmane Model: Līga Liepiņa Hair: Diana Payton MUA: Lynski Special Effects: Ritvars Bluka Styled by Līga Banga of PIXIE Won’t Play

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LEADING FASH PHOTOGRAP ArtDiction | 60| September/October 2018


“Teller’s images are unique and are easily distinguishable from others due to the quirk and charm his images embody.” ashion photography is an ever-growing field comprised of artists with enormous talent. Each photographer uses distinct approaches, techniques, and skills, which distinguish them from one another. Through their work they have transformed many models into fascinating and alluring images. We have identified some of the best fashion photographers worldwide below.

5. Annie Leibovitz Leibovitz was born in Connecticut and currently works in New York. She first started working with Rolling Stone and Vanity Fair, but later moved to work with Vogue in 1988. Leibovitz’s work has been featured in various advertising and campaigns; in addition, she has worked with various theater and dance groups. Among her most famous works include that of John Lennon and Yoko Ono, an intimate portrait which was shot for Rolling Stone just five hours before Lennon’s death. Leibovitz is famously known for her lavish and intricate fashion shoots. Her work also includes various editorials and cover shoots for Vanity Fair and advertising campaigns for Roberto Cavalli, Dior, Prada, Bulgari, Gap as well as other major labels.

4. Juergen Teller Currently based in London, Teller was born in Germany where he began his work as a photographer. Though he has worked with various fashion houses and publication, he is most famously known for his work with Marc Jacobs. Teller’s images are unique and are easily distinguishable from others due to the quirk and charm his images embody. His layouts favor a soft-color palette and tend to be dreamy.

3. Mario Testino Testino was born in Peru and now resides in London. He has worked work with some of the biggest fashion names and most iconic faces in the world, including Cameron Diaz, the British royal family, Naomi Campbell, Madonna, Julia Roberts, Lady Gaga, Kate Moss, Gwyneth Paltrow, Claudia Schiffer, and Gisele Bundchen. After he was chosen by Princess Diana as her photographer for Vanity Fair, Testino has received frequent commissions from other members of the royal family. He has also worked with famous brands such as Estee Lauder, Gucci, and Dolce & Gabbana. Along with crafting imagery for various leading fashion houses, he has also had numerous

HION PHERS ArtDiction | 61 | September/October 2018


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“Demarchelier followed his girlfriend to New York and became a fashion photographer as a result of working with photographers such as Jaccque Guilbert and Terry King.” successful exhibitions in museums and galleries. Testino has proven to be very influential in the fashion photography industry and was awarded an honorary-OBE (Order of the British Empire) to acknowledge his service to photography and charity.

2. Patrick Demarchelier

Demarchelier is stationed in New York, though a native of France. Demarchelier followed his girlfriend to New York and became a fashion photographer as a result of working with photographers such as Jaccque Guilbert and Terry King. He has worked with Vogue, Elle, Harper’s Bazaar and Marie Claire. In addition, he has shot various advertising campaigns for fashion houses such as Yves Saint Laurent, Calvin Klein, Chanel, and Ralph Lauren. He has shot many celebrated images in the industry, such as photos of Christy Turlington for British Vogue in 1992, Nadja Auermann for Harper’s Bazaar in New York, 1995 and Paris, 1994. He has also shot almost every top model and as well shot the covers of almost every fashion magazine, in addition to creating international advertising campaigns for Chanel, Dior, Yves Saint Laurent, Louis Vuitton. and more.

1. Steven Meisel

Steven Meisel is based in New York. His work for Vogue gained him fame; however, his subsequent work with the likes of Madonna also brought him popularity. Today, he is one of the top-rated fashion photographers worldwide. He works regularly with the U.S. and Italian editions of Vogue, W, and British Vogue. Some of the top models he has worked with include Linda Evangelista, Naomi Campbell, Lara Stone, Coco Rocha, and Doutzen Kroes. Fashion photography is a competitive genre that has developed its own aesthetic. The photographers listed above has greatly contributed to its popularity of an artform that holds its place in advertisement, clothing, and magazines.

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artist index Page 16 Heather Braden www.sukudancelab.com

Page 42 PIXIE Won’t Play www.evandemas.com

WWW.NYFW.COM

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