Unlike any other haute couture publication of the
America with an international
collaborative approach to fashion, an attitude, a movement that inspires sociocultural and ecological presence, the KW|report is a
transformation and justice with those whom it comes in contact. It
collaborates all aspects of fashion, from its team of fashion
consultants, models, photographers, other and business partners in light of its
A Collaborative Approach To Fashion
Letter From The Editor|
A deﬁning structure of visibility of a Total Solar Eclipse (TSE), speciﬁc regions and locations of the Earth track our experience of a TSE. 2 to 5 eclipses of the Sun occur annually on the Gregorian calendar. According to the Space Flight Center of the National Aeronautics and Space Administration (NASA),
Each of these events is only visible within the 7,000 kilometer wide track of the Moon's penumbral shadow as it sweeps across a portion of the Earth. If the dark core of the Moon's shadow (umbra) also crosses the Earth, then either an annular or total eclipse will be seen within its very narrow path. The umbral path is typically about 100 to 200 kilometers wide. For any given location, a partial eclipse occurs about once every two or three years. In comparison, annular and total eclipses are far rarer events.
Issue 05, volume 1 of KW|report hopes to illumine some universal properties of consciousness that transforms boundaries of science, technology, and the arts. Though painting with broad strokes, to use an analogy lodged in our visual and aural experience of the visual arts, I have found it fascinating to search for and to be cognizant of the similarities of expression within the Earth and Space sciences and various art forms. The art of fashion, the dominant note of interest of KWreport, unites with language of music. This issue focuses on the intersection of perceptions of a TSE and the ways in which artists featured in this issue, many of whom were also part of our collaborative team in issue 05 released a couple of months ago, imagine music informing their work and experience in the industry and art of fashion and beauty. A dominant ﬁgure of this issue, Shawn ‘Erock’ Sutton, who graced the universal cover with Dominique Hollington, whom he met a few years ago while working on a Givenchy ad, signiﬁes beauty of mind and spirit in his collaborative approach to circumstances and events of life. Ego aside, even if conscious of its power to reinvent and recreate itself, mobilizing and advancing toward some perceived object of war, Shawn Sutton humbly helped the KWreport create a moment of magic in an altruistic expression of love that brought 2 black male competitors within the fashion industry together in a beautiful collaboration of haute couture in the Power editorial.
With this issue, KWreport revisits those artists and their work in the shadow (umbra) of the Moon, so to speak, to create a more balanced aesthetic proportion of justice and transformation. Each work in a phenomenological sense has various parts of unity that factor into its beauty. I guess you could say that this issue hopes to reﬂect a broader range of this beauty, recognizing that in its effort to account for narratives, images, and experiences lost in translation or eclipsed, that in the natural rotation of the movement of all of the planetary objects of the Milky Way Galaxy and those dimensions of reality not yet quantiﬁed, something is always missing, lost, not yet recognized. This issue imagines its work within the rhythmic, forward-fashion movement of rhythm and blues and hip-hop stylized music. These two genres of music were dominate creative forces in the experiences of fashion designers, stylists, and even my own sense of picking up a beat or two from the power of suggestion, I found myself listening to, more closely, more appreciatively, in new and exciting ways, a genre of music—hip hop speciﬁcally— that I had little interest in, at least those tracks of songs and artists whose lyrical content eclipse my rather traditional and stable view of language to transmit essential and normative patterns of dominant Eurocentric and essentialist arrangements of inherent meaning located in language. A closer examination of the beauty of hip hop and the multiplicity of ways that it disrupts, dislocates, and transgresses established rhythms and movements of power ﬁnds expression in the movement and energy of TSE. Within a narrow window of visibility, identiﬁed and located at a speciﬁc region and hemisphere of the Earth, the visibility of the Sun being eclipsed by the Moon, something that we experience in material form, is more of an illusion than fact. The beauty of media technologies, not to mention the fact that something as enormous as the Sun within our Solar System is incapable of being eclipsed by something of minimal proportion as the Moon. I ﬁnd this beautiful and fascinating, and have attempted to demonstrate the power of language, and at the same time its inadequacy, to express ideas at the intersection of fashion and hip-hop music. In a collaborative approach to fashion, the text of this issue has been impacted by their vision, experience, suggestions, an unﬁnished course, a project by the spotlight shone on Dominique Hollington, Shawn Sutton, Cavier Coleman, and all others who have collaborated with us in a rotational spin of beauty and elegance, power and, indeed, a rhythmic ﬂow of creating music.
SELF MADE is a project born from a Designer who graduated this June from the Polimoda Fashion Institute of Florence. The brand is built as an Unkown brand, for marketing strategies and intellectual concepts. The founder and designer has been chosen as one of the new “Vogue Talents” for 2013 and had a past as the assistant of Erik Bjerkesjo. “Self Made “ joined into the NOT JUST A LABEL online store in august 2013, when the Owner Stefan Siegel sent him the official request. “SELF MADE” is a menswear brand that tries to offer something different, something strong, rude but at the same time always classical and elegant. The designer mixes technical, unusual materials with very pure and luxury materials like silk or wool. He pays lots of attention to handmaded finishes, and luxury and elegant details. The Brand’s concepts and image are very autobiographical, thats why for his latest and first collection the Designer was inspired from his own life, his own struggle, his origins. He tried to mix the Italian elegance with the very strong, aggressive sportsstreet/hip hop style of the poor ghetto of the Philippines. This is why, He carefully selected materials like silk, silk-wool as well as technical materialsusually seen in sportswear - are vivid in this collection. You can also see silk with pineapple fibers, a material considered as very rare with origin from the island of The Philippines. Classical suits, jackets and shirts worn with basketball shorts, flip flops, and basketball tank-tops or bombers. Particular prints have also been used for some of his clothes, featuring collages of many images, resembling the poor people of his home country. First garments will be available soon on the NJAL store. 10
An expression of menswear of a rare, masculine register of classical elegance and beauty, the SELF MADE brand reﬂects the KWreport’s vision of collaborative rhythmic force. The designer of this exclusive and diverse brand graduated in June 2013 from Polimoda Fashion Institute of Florence, Italy. Since 1986 the institute has envisioned itself as a joint project co-ﬁnanced by the provinces of Florence and Prato, “along with entrepreneurial associations and the collaboration of FIT, the Fashion Institute of Technology from the State University of New York.”[Footnote] The institute continues to work closely with the Tuscan Region. On course with its marketing strategy, which shares a forward moving path of rotation like a TSE in its elusive continuity, SELF MADE imagines itself as an unknown brand, a fashion forward movement of transformative power and justice.
Chosen as a new Vogue Talent for 2013, the founder and designer Gianfranco Villegas has worked as Erik Bjerkesjo’s assistant, honing his craft in rotation with high-end fashion designers accustomed to using highly selective and rare materials in their designs. His “Self Made” collection makes for a ﬁne introduction to the dominant focus of socioeconomic inequities imaged in his clothes.
In a fashion of unity, autobiographical of the designer’s cross-cultural and transcontinental movement in different regions of the world, from Milan, Italy to the Philippines and back again, SELF MADE designs eclipse material objects not readily seen together; in some magical way unites socioeconomic considerations of class inequities of the world. Elongated, draped, sartorial looks with a sexy, baggy, high-street and hip hop style unify textile and fabric arrangements of select Italian and Philippine markets. Imaged with a sartorial eye of precision, photographs of children living in some of the worst conditions of poverty in the Philippines, scenes of them frolicking in water, smiling near water wells and dilapidated shanty homes, challenges notions of beauty separate from social ills and political statements of dissention. Images of these children call to mind forms of beauty that are not easily parsed from squalor and ecological forces that forge the items not seen in their natural environment but simply in their ﬁnal phase of consumerism. This collection rehearses dominant forms of political injustice in the images of these children, bringing to mind the tension between the things we want and the social ills and ramiﬁcations of our desires.
Tension of this sort, a type of an eclipse moment, locates itself between the bodies of male runway models who sport the images of these children who we see detached from their families, homes, and the material on whose images they are impressed upon.
Autobiographical, the brand’s image emphasizes the ways in which Gianfranco has made a name for himself, through the power of harmony and unity of different cultures. Rather than shunning social inequities of power, he uniﬁes texture, pattern of line, and silk into beautiful art inspired by his own life, his own struggle, and his origins. He mixes the sartorial image of Italian chic elegance with strong, aggressive, sports street/hip hop style of poor ghetto communities in the Philippine islands. He carefully selected materials like silk, silk-wool as well as technical materials usually seen in sportswear as visible reminders of the continuity of fashions and peoples from around the world. Silk with pineapple ﬁbers, a material rare with origins in the island of The Philippines demonstrates the rare forms of beauty of this location on the globe. Classical suit jackets and shirts worn with basketball shorts, ﬂip ﬂops, and basketball tank-tops or bomber jackets eclipses what we see worn in combination at one and the same time.
Fashion Fights Poverty osp-cp.uchicago.edu/page/giving 28
Editorial Director Tadhi Coulter 29
Hyde Park| 938 N Damen Ave, Chicago, IL 60622
Cyprien Richardi Fashion Icon
Cyprien Richiardi, Ivory Coast-Milan, Italy Living in the Rhythm of Fashion:
We’ll compel the foot and the tune to follow the speech . . . rather than the speech following the foot and the tune. Plotinus In a John Ruskin poetic sense of seeing our expressions of fashion as works of art, we believe that statements of fashion have the power to unite individual, groups, communities, and people of diverse backgrounds. In the rhythm of social responsibility of a 1960s Civil Rights, one of the largest but not sole expressions of unity within the spirit of the human condition, Cyprien Richiardi evokes fashionable expressions of social justice and transformation, eclipsing our minds to discover within ourselves a new life and habitus that approximates his.
When I take a look at Cyprien, I see representations of how I want my high achieving high school students from low-income households to live and the ways that I imagine them working together in the rhythm of technology and international signiﬁcations. This does not mean that we sit back and wait until we perceive that something good and beautiful will fall miraculously out of the sky like manna from heaven that fed the children of Israel for forty years as they wandered in the wilderness. Unlike accounts of this biblical story (Exodus 16), we do not imagine our work as a test of our faith or loyalty to God or prescribing to certain laws and principles with the hope of being rewarded for doing so. We imagine being bound by a set of rules based solely upon lending ourselves to the rhythm of goodness, justice, mercy, and transformation that is always fueled by a composure of expectation in the fashion industry and being open to the various ways that beauty ﬁnds us. As fate would have it, the expression from which we envision a better world of justice and transformation is through the art of fashion. Like a beautiful musical composition of potentiality, with the hope of transforming the consciousness of people to see and imagine the beauty that lies within themselves, the KWreport collaborates bodies of knowledge in the expectancy of a TSE mindset. Our approach is one of expectancy, which governs the world of fashion and beauty.
Our rhythm ﬂows through our creativity and openness to the Spiritual forces of the universe that materialize as we approach, connect, and give shape and ascribe meaning to the things of the world. Before, during, and after steps have been taken to ensure our success within articulated goals and objectives of the report, we remain challenged by and hopeful in the various orchestrations of the Spirit, those that reshape, reconstitute, reorganize, and rearrange what we have deemed immovable or irreproachable. Living in a waiting period of expectancy, likened to a TSE, as the umbra of the Moon passes that region of the Earth whereby we encounter a forward-driving force of a TSE, with the anticipatory hope that even this phenomenon will certainly pass in its rotational force of beauty and awe, Cyprien Richiardi comes into audible-view with his sentiments on fashion and music, not in the material effects of iPod, MacBook, or other technological device that expresses some movement in the music and fashion industries, but as a ray of light from which a permeable and accessible vehicle of the Moon coming into contact with the Sun, shadowing the Earth and its inhabitants, moves in a rhythm of expectation that allows us to imagine the beauty in ourselves while forging concrete and immeasurable relationships. A bold, daring, loving, gem of opportunity closes in on and articulates a fashionable posture that expresses the rotational force of the Spirit, as if with each new turn, he expresses himself within the rhythm of the industry. As he imagines not yet contributing to matters of social justice or transformation, either in the fashion or music scene, I beg to differ. He embodies a transcendence of radiance and energy not bound by the terms of this world. Recently, his rhythm of life embraces beauty wherever it appears, not guided by bourgeoisie tendencies to police the boundaries of acceptable forms of fashion and beauty. This spiritual and cosmic quality expresses his fashion sensibility as an approach to life, not limited or relegated to one domain of power, but as something transposed into other forms and spatial arrangements. When asked “Do you see your work lending itself to causes of social, economic, and/or ecological justice?” he replied, “Not for the moment... we'll see.” His words are signiﬁcant because like many of us, he does not necessarily see himself rotating to the beat of a particular cause or program. Simply, he imagines himself sharing the best of himself with the universe, and this is the special nature of KWreport as it charts the various phases of artists with whom we are blessed to work with. Here’s a snapshot of his interview.
1. National Origin 1. Ivory Coast, West Africa
2. Birthplace 1. Ivory Coast, West Africa
3. Place(s) of residence or virtual locations that have shaped your sense of fashion and music. How? I've lived in Turin (Italy) since age 19 until I moved to Milan. I've always had a great interest and taste in fashion since I was a child, and moving to Milan further shaped it. I've gathered more information, met many interesting people, broadened my views.
4. Class and economic circumstances instrumental to your i. fashion taste ii. music taste iii. how have these two things worked together for you
Coming from a middle class family, Iâ€™ve never had the opportunity to buy very expensive clothes and other material objects, but I see this more as an opportunity for creative expression rather than a limitation. Working with a limited budget can lead to greater avenues of experimentation. I have discovered new, unknown, and tasteful things, mixing them according to my personal taste.
5. Has traveling to different places either physically or imaginatively through various forms of media (e.g. magazines, television, movies, etcâ€Ś) shaped your vision of fashion and music sensibility? 2
I've nearly always travelled virtually, since I wasn't rich. Thanks to people like FerrĂ¨ and other visionary stylists, I've explored the world and enriched myself with new passions and discoveries. Recently, I moved to Paris, an opportunity to escape from the known and to compare my fashion sense with others here.
6. What genre or style of music and/or music artist inspires your work?
I've always been fond of R & B, Hip Hop, and eclectic artists such as Björk, Erykah Badu, Missy Elliot, and Timberland.
7. Do you perceive your work as art? If so, how, and is this view a consistent one no matter the kind of project you are working on? Of which of your productions tests to this?
My work is an art form. I'm now working on myself by mixing contemporary art, fashion, and music, using many different means and channels. I always focus on the artistic side of my personality when I give birth to new projects.
8. Of which are you the most proud, and why? 3. Of which are you the least proud?
I am proud of myself, and there is not a project of mine that I am not proud of. “Mistakes” I've made have led me to this current phase of my life. Therefore I do not consider these judgments or errors as something I should not be proud of.
9. Did this attitude lend itself to your artistic process or development as a model? If so, how?
My development as a model has been instrumental to my vision of fashion. It has been wonderful for me to mix sensations, atmospheres, locations, and clothes, in order to express what I perceive to be my authentic myself.
10. Have you donated or do you plan on donating your time, energy, ﬁnances, or other resources to any musical project or production? What did or does this look like? I've contributed to several musical projects, including a recent videoclip (La La La Song), and I hope to do many more things in the future. I would also like to produce some musical projects.
11. Has your work been featured in media of music such as music videos, album covers, or underground types of venues?
Apart from the video clip, I've participated in other projects, some movies (The International,The Other Man) and some music videos and TV spots.
6. Do you see your work lending itself to causes of social, economic, and/or ecological justice?
Not for the moment... we'll see.
7. The KW report has as its charitable goal this year a higher education focus to improve the quality of education and perception of impoverished high schools students. Have your images been a source of inspiration for youth? If so, how?
I'm persuaded that the most important thing is to believe in ourselves and in our strengths and capabilities, never forgetting who we are, where we’ve come from and what and who we want to be. This is the message I would like to express with my work.
Do you desire to style an artist or artists at a major fashion venue or event in Milan, Paris, New York, London, etc…If so, who would you want to style your wardrobe and why?
! ! ! !
As for my wardrobe, I care for it on my own terms. But I would like to work with artists such as David La Chapelle, Terry Richardson, Vanessa Beecroft, Marina Abramovic. They have inﬂuenced my work quite a bite, and hopefully one day soon I will get the opportunity to work with one or all of them.
8. What technologies (e.g. internet, iPad, iPhone, etc… or software) supports your work in fashion AND music (inclusive)? 1. Have these devices “eclipsed” your work as an artist or helped it out in some way?
I believe in the great power of technology. Nowadays, almost everything depends and is affected by it. A measure of economic justice, it allows those of us without the resources to interface with other artists and business ventures via telephone or the Internet; we can connect with likeminded investors and people looking for talents that we offer. I support media technology in this sense because it has helped to open doors for me.
9. Do you ever feel like your work in fashion takes a back seat to the work that you do in music? Are you ever aware of the various ways that music supports or hinders your work in fashion?
Fashion and music are interrelated and support each other mutually. There is no competition among them. For me, they're like two arms working together.
10. Metaphorically, have you ever “eclipsed” the degree of light that typically or more often than not shines on another object (person, place, or thing)?
! ! ! ! ! !
I do not want to eclipse anything or anyone, I stay strong on my feet and walk my way, trying to maintain my personality no matter what is happening around me. I'm the same person I was years ago, valuing the most important aspects of my personality such as humility, authenticity, and self-consciousness.
2. How have you been transformed by any of these events or circumstances? [A paraphrase] Greed and rage are things that move some people to try to eclipse somebody else's light.
I have been transformed, of course, by some episodes that occurred in my life, but none of them have consumed or overwhelmed me. I've been strong and I kept going. Each of us has an inner light, and it shines no matter what happens. We should always keep in mind that this is the only, real light, and it shines on our path to guide us, every moment, every day.
Pete Dominkovits www.dominkovits.ch
Exclusive Interview With
TSE: Zürich Switzerland 280 kilometers = 174 miles 3 hours 5 min to Milan, Italy
Screamin’ Jay Hawkins ﬁrst recorded "I Put a Spell on You" (http:// vimeo.com/64885015, Hair & Make Up by Dario Dos Santos, Song “I Put A Spell On You,” Nina Simone) during his stint with Grand Records in late 1955. Selected as one of Rock and Roll Hall of Fame’s 500 Songs that shaped Rock and Roll as well as other forms of music, Nina Simone’s recording of this classic echoes expectancy of continuity. Aesthetics of taste culture are not necessarily indicative of structural or formational qualities of the music or style of music but are moved by memories fueled by different aspects of culture and life in general. The rhythm and pulse of an America governmental leaders move, breathe, and have their being expresses sentiments of conﬂict and tension not absent of energy and force but dependent upon it. Hawkins’ vocal inﬂections and Voodoo conjuring intonations mirror migratory patterns of black people faced with the challenge of customs of land, church, and society, at the expense of survival mechanism and cultural difference that precipitated such movement of expectancy. Moving forward to meet the challenge of family and to fulﬁll one’s dreams are beset with oppositional forces within the continuity of life. Feelings of loneliness and the idea of moving backward intone the force of continuity, of having to move through and face the haunting effects of emotion that persist in conﬂict, reminders that we can never not be the person whom we left behind. This forward pulling motion orchestrated in part by a changing U.S. and world economy of allies implies a spell of ambivalence.
Economic opportunities in Mid-west and Northeastern states, like Chicago, Illinois and Detroit, Michigan, U.S. regions of the globe, sound notes of rhythm & blues in their evocation of the paradoxical relationships of both internal and external forms of strife, tension, and war. Expressive of these movements of conﬂict we ﬁnd people torn between options of attachment. A Fashionable because of its notation of difference within continuity remark made in 1953 of then President of General Motors, Charles Erwin Wilson during the hearing by the Senate Armed Services Committee, if he could make an adverse decision to General Motors.
His political commentary implies the various phases of our lives and just how interconnected they are. The irony of this statement signiﬁes matters of security and the ways in which the signiﬁer of the weaponry that fueled the WWII economy to create the moving parts of war machines and artillery illustrates the diachronic sounds and rhythmic expressions of our lives moving in a state of global continuity. Rock and Roll music ads have been used to sale cars, household products, hair and body products, to tickets for major concerts and world-class stages such as the Super Bowl, Olympics, to professional soccer. An attempt to wrest one type of experience from another proves impossible. Hip-hop fueled by Rock & Roll in the 1950s and 1960s, reverberate with hip familiar notes and issues prevalent in cultures believed to be removed from “spellbound” types of inﬂuences. In this case, the spell has to do with being put in or having to face compromising positions of power that could either leave us feeling or being bankrupt on a number of levels of expectancy.
The promise of democracy, echoed and improvised in such an archaic statement that tests the faith and loyalty of individuals and their attachments to things, propels the lines of the song forward, as each of us searches for a way to escape the absurdity of life, having to be placed in positions that test our faith and commitments to objects internal and external.
“I put a spell on you” connotes meaningful and deep psychological ways our lives move in ﬂux, how the rhythm of our lives appear to be going in one direction on the outside but are forever changing in the rotational spin of life. Kelmendi’s state of existence as the camera closes in on the slow, drawback movement of his right and then left hand, each pulling back touching the soft leather of the expensive leather chair. These shots imply a fetish desire that will become more apparent as he reclines in the chair, cigarette in hand, pouring a small glass of on the leather the beat of a person we ﬁnd ourselves enamored by or in love with plays on the idea of what it might mean “to have a spell put on you.” Here continuity of life while giving off one impression can be a sign that the rotation of our lives are pulling us in the same direction but with a different degree and level of force and veering us, like a TSE, on another location then the one we have experienced in times past.
The music video of Edison Kelmendi illumines the beauty of a white male, suited in luxury items, amiss the hustle and bustle of life, unwinding, slowing down from the rush, portrayed in a state of thoughtfulness, thinking about what his next move is going to be, to secure the love that he has either screwed up in some way of inﬁdelity or to the person who has quite literally got him under a spell.
Time slows down or speeds up with each puff and inhalation of the cigarette. Placed in motion with a “rare,” exotic, and exquisite liquor, Kelmendi’s image emphasizes a leisure form of fashion in its disarray of white-long sleeve, cuffed, button-down shirt, trousers, and a tie worn during a March on Washington event on August 28, 1963, when more than 200,000 Americans gathered in this region of the world to protest the lack of fair and equal rights and treatment for all Americans based upon the spirit and ethos of the Declaration of Independence and a wider spirit of Democracy around the world.
Exclusive Interview With
Erock on ‘KD’
In 3 millennia (0001 CE to 3000 CE), 5 Total Solar Eclipses (TSE) are visible from Kevin Durant’s hometown--the Washington D.C./Maryland area--in 664, 1079, 1451 and 1478, and 2444 CE. Roughly 535 years have passed since a TSE occurred here. This rare phenomenon illustrates an aesthetic of uniformity; one of the things that we as humans look forward to in our observations of empirical data that demonstrate rare beautiful forms in Nature. In this instance of uniformity, we anticipate a sports’ great like Kevin Durant to make history within the sport or uniform culture of the NBA, one of the highest sites of beauty within sports culture. A member of the 2010 Men’s USA basketball team, KD experienced several eclipse-like moments, including scoring 38 points in the semi-ﬁnal game against Lithuania, ﬁnishing the tournament with 22.8 points, a FIBA world record that shadows the limelight for a similar experience of uniformity achieved by Luther Burden in 1974. The third teenager within the history of professional basketball to average 20 points per game, with a career high of 42 points and 13 rebounds on 16 April 2008, KD personiﬁes the beauty of a TSE, which presupposes a change of order within continuity as we experience the rhythm of the sport in time.
The art of fashion and music does not presuppose direct interaction with or knowledge of the fetishized object, as something concrete or tangible, like touching a soft piece of pineapple silk pair of shorts or jersey in Gianfranco’s SelfMade collection. No, there is no lyrical reference to actually having made contact with KD. Instead, the scenario here has more to do with a virtual similitude of association. Coming into contact with an idea of beauty engages the experience of physical beauty of the object that in the experience of knowing presupposes a passage into the next phase of events of cosmic proportion. Currently, in seeing the success of KD, one also is faced on the West coast with the challenge of reconciling the injuries of Laker’s star player Kobe Bryant, who has been out of the season for 20 games, and it does not look like he will return this season. A more practical expectation of his return lies in rotation toward the 2014-15 season, with similar hopes for younger star players Derrick Rose and potentially Oklahoma Thunder’s Kevin Westbrook, expected to return by the Rose and potentially Oklahoma Thunder’s Kevin Westbrook, expected to return by the All-Star break on February 16th Stats of 2 and 3 point shots, rebounds, free throws and ﬁeld goals
made and attempted, illumines the fetish of expectancy in the sign of basketball. Measuring up to the numbers of qualitative arrangements and order has deﬁned the art of life. KD represents a heroic ﬁgure in the sphere of sports culture that signals our anxieties of not measuring up to expectations of others, not being able “to measure up” to ideas about how we are to perform for ourselves and others. Moving toward an idea of unity, something dependable that we can worship and place our trust, emphasizes the rhythm of sexual intercourse, a longing to experience euphoria and to transcend the limitations placed on creative expression. Could this be the experience of the Moon and the Earth in its rotation around the Sun? Could these be sentient objects looking for a sexual experience of desire, that longing to feel close to and connected with the other?
Iconic ﬁgures like KD articulate the idea of worship and engagement in the Spirit of unity and loyalty to something greater than ourselves. He eclipses ideas of limitations imposed upon the human spirit, through the rhythm of the sport of professional basketball, a sign of what it means to experience moments of euphoria in the achievement, ambition, and dreams that empower each of us to realize articulate our dreams and desires through fashion, for example. Possessing elite skills of KD kens our expectancy of phenomena in the universe, like that of the spectacles of sports, fashion, and music, that give us a reason to live.
Erock, too, embodies this spirit of fashion and music, which helps us to imagine ourselves greater than we started out believing. For Erock, like most of us, living through the art of expectancy within uniformity helps us imagine ourselves bold, empowered, and free to realize our dreams and to breath, live, and hope for something to embrace. Erock’s ‘KD’ track celebrates noteworthy human achievements that play on the idea of expectancy within continuity of NBA sports culture. Demonstrating a theme of “bling” in hip-hop for sure but he also eludes prosaic and scripted formulations of the genre known as hip-hop on the East Coast. As I reﬂect on terms Erock used during our initial interviews last year, I understand how his life in fashion invokes the rhythm of hip hop in the improvisational and mimetic ways that he creates meaning out of uniform expressions. Similar to the way the Moon casts a shadow across a narrow section of the Earth, Erock casts a shadow on what we have thought we have come to know in hip hop. Stopping us in our tracks, Erock changes the rhythm and syncopation of words and even the tone of sexual innuendos that we have come
to know. To reposition the term “magical” that sought-after fashion stylist Anthony Pedraza used to describe (Shawn) Erock, Erock eclipses rehearsed and trite signs of identities of beauty labeled black, male, tall, and talented. His lyrical genius and the spirit behind his word choice and rhyme approximates our desires to transcend boundaries of space and time. Uniform expressions of an eclipse presupposes motion. That is to say, that one reason we imagine an eclipse beautiful is in the next beat of its passage. We love it because we hope that it will not remain permanently in the position where it appears to block out the life force of the Sun, on which all life on Earth depends. Erock’s “magical” smile, for example, in his hometown of Brownsville, would catch you off-guard. To smile another dude or female, saying “hello” in an upbeat tempo of voice, and to rock the latest fashions of Paris, Milan, London, and elite styles of fashion, are not readily embraceable signs within a community used to having its guards up for war, attack, and mistrust. The perception of how men ought to behave plays a role in our recognition of TSEs. This way of carrying one’s self suggests the commonality likened to the general culture of poverty and a hustle deﬁned by an aesthetic of loose ﬁtted attire, from the baggy and sagging pants, to oversized TShirts, and the latest $250.00 pair of sneakers.
! I’m balling on ‘em like I’m KD !
A collaboration of fashion and music, nearly 1500 YouTube viewers and listeners have tuned-in to GBM producers Erock’s “KD,” a title track that plays on the sign of professional basketball as a fetish of worship through the ﬁgure of Kevin Durant. Prior to this publication of the hit track, it was featured as 1 of 6 tracks on Terms of Freudian psychoanalysis allude to a normal path of desire within the human psyche that does not necessarily envision “sex” as an expression of physical desire or as a goal, that once achieved, has lost its object of affection and iconic import. Like an approaching TSE that captures our gaze in its anticipatory glory, the rhythm of expectation portends faith, loyalty, and hope in its expectation of continuity within the sphere of sports culture. With about 1 minute remaining in the over 4 minute track, the voice of KD in an interview chimes in, in rhythmic fashion,
As a kid you want to see quick results…Going to the gym to work on something, the next day you want to be great at it. It taught me patience and how to always… stay on course and have faith, and it was rough, for about 2-3 years, where I always worked and I was never getting any better. My friends who never worked were growing as players, and I stayed the same but after a while it kind of just clicked for me…I started to just take off from there (repeated line).
If a sexualized object is any indication of our deepest and quintessential longings, a moment of being transﬁxed by an object in the build-up and excitation evinced not out of necessarily achieving or possessing the goal or promise of the object, as the rhythm and content of expectation in the voice of KD alludes to, but in the persistence of the goal, a moving forward, like a TSE, without knowing for sure the location or cite of its rare totality. The momentum and exhilaration can thus be imagined in the cosmic, social, political and environmental motion and proportion, as a whirlwind of events all working together, to bring about an equilibrium of forces that I conceive in terms of justice that accounts for the universe as a whole in the ways in which forces move in operation, tugging and pulling at our souls in an interplay of movement. In that brief, awe-inspiring expectation of a TSE we are reminded of the collaborative energy at work in our lives, and how each instance of an event, no matter how small, brings us closer to hopefulness and longing. Continuity is not absent of particular events within our own histories but inﬂects a rhythm that moves us forward into other narratives and cultures different from our own, not absent of tension, conﬂict, chaos, or misunderstanding but propelled by an aesthetics of remembrance of being attached to something greater than ourselves. Erock’s anthem to ‘KD’ draws us closer to this realization that our lives are bodies in motion that exist with the help of other objects in the universe. KD--the subject and object of Erock’s lyrical ﬂow-chimes into the song through the collaboration of media technology in the form of an interview that occurred prior to the recording of the anthem. Erock’s voice, the voice and thunderous roar of announcers shedding light on this ball player in motion builds upon the expectation of a fashionable artist who can be seen fulﬁlling a dual role as a fashion model and hip hop artist among the artist, who rocks fashion apparel and accessories on a regular basis demonstrate an empirical, positivist search for truth in the “lack” and “paradoxical” search for a beauty deﬁned in sexual terms that is unrealistic for most young men, black, white, Asian, etc…, who see sports culture as an end-all-be-all for their aspirations and
dreams. The beauty of KD is in its Spiritual import of a longing that innervates and moves black and brown young men to see a way out of poverty and struggle often deﬁned exclusively in economic terms.
Erock’s statement “I’m ballin on these nigga$$ like I’m KD” shadows the rhythm of this iconic ball player with his own articulations of hip-hop and street culture. These fashionable words ﬁnd representation in the words and articulation in the rhythmic ﬂow of Erock. Likened to an interdependent and coterminous relationship, Erock’s and KD’s relationship is emblematic of what goes into “Creating the Magic” of triumph and defeat wrapped into a single universal narrative that charts the path of the human Spirit. What is made fashionable in this instance is not so much in the materialization of textiles or materials made from them that we see models sporting on fashion runways of the world or on in our favorite motion picture or music video but in the idea of expectation—something that the visualization of the rhythm and movement leading up to a TSE renders possible.
2:29 Mick Jaggar opens “The Runner”; it’s just doing the best you can and hoping that people will like it. Built upon the hope that people will not only like one song produced but all others created. It sets the tone and movement of Shawn’s ﬂow. An implied smile signals a playful sexual tone as political commentary, that this body is being contextualized within other cultural movements and phenomena. You can hear a smile and laugher in the open tones of his voice. “I’m coming, yeah, I’m coming,” implies one of the qualities that make up the runner. A sense of futurity within continuity is something special about Erock’s lyrical genius. He understands the importance of locating himself within other groundbreaking narratives, including those of Mick Jaggar and the history of the Rolling Stones. Words that articulate how success happens and its repetition, “the hope that someone will like it [the music],” underscore the rhythmic component of expectation. Not only does Erock generate movement in his lyrical ﬂow of end rhyme and elongated meter but in his capacity to recognize and appreciate signs of popular culture that inﬂuence his sense of self and the music and stories he imagines himself a part. Building upon moments of expectancy, the success of Mick Jaggar and the Rolling Stones frames the idea of expectancy that Erock develops.
While Erock’s lyrical style implies a banter of misogynistic tendencies of urban, hip-hop, one feels that he picks up these experiences only to recreate them into something different than how they have been “ﬁxed” in our minds. The rhythm of Erock’s comedic and playful tone and timing demonstrates the sexual nature and playfulness of one’s object of affection. Jagger’s line “Knowing that you exist” sets the stage of Erock’s vibe, as a force that creates the energy for all other pieces of the song arranged in uniform expression. His innuendo of sexual licentiousness, “I hope that she take pipe,” stresses active sexualized bodies in the form of a penetrator and the one being penetrated. Reference to celebrity culture could be made with the name “Kelly,” in reference to Kelly Rowland who legitimates the artist’s ability to win the affection of other girls who imagine their future within the context of the Kelly Rowland music video Ice, in which Erock bear-chested cameo appearance.
Of Puerto Rican and Panamanian descent, raised in a middle class household in Park Slope Brooklyn, NY where he and his family “couldn’t afford the nicest clothing but always made inexpensive clothes work,” Lorenzo Holder descries a simple fashion aesthetic informed by the vibrant, at times eclectic, and diverse culture of Brooklyn, New York. Hip-hop, Rhythm & Blues and freestyle club music audible to listeners familiar with “basement” and alternative grooves and mixes of the late 80s into the 90s. These trends in music impact in centripetal force the evolutionary effects of his fashion aesthetic and style. The power and rotational rhythm of internet technologies and radio waves of the 50s and 60s enliven the imagination in his way of capturing motion of bodies fashioned in classic and trendy pieces. Without having traveled to locations of fashion repute such as Paris, Milan, or London, Lorenzo has experienced these places in his visions and dreams. “I’ve never traveled anywhere physically but mentally, imaginatively, I’ve been everywhere,” he states, paying tribute to inﬂuences of classic movies and popular culture in his art of photography. His work of art transports the viewer beyond mere spectatorship and into synergies of unity that build on the object of expectancy in ways social, ecological, and cosmic.
In his King’s County editorial, Holder pays close attention to details that lend themselves to a late 1950s to early to mid-1960s aesthetic of U.S. culture, in its movement of Democratic principles deﬁned in opposition to ideations of the Cold War and Communist regimes of power. The prevalence of Rhythm and Blues that lend themselves to the genre of Rock ‘n’ Roll within dominant African, Caribbean, and South American inﬂuences suggest a rhythm of dissension and rebellion prevalent in a culture of American youth who ﬁnd creative expression in the rising inﬂuences of rock stars and rhythm & blues artists. Echoes of racial tension and a culture of feeling isolated amongst larger than life objects of desire present themselves in the absence of black bodies in his King County’s editorial.
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A rhythmic synergy of music and fashion in the spirit of bee bop brings into focus an instrumental process of what art is designed to do. Creating tensions between the landscape and the white male body we see juxtaposed with images of barbwire and grafﬁti build upon the project of expectancy as the body is thrown into a futuristic world of difference. Instability and tension between urban space and location is in stark contrast to the suburban lifestyle imagined as a safe haven within a larger context of war, disease, and threat against middle-and-upper class persons. Not only is the exclusion of other body types foregrounded within our conscious desire but the implied movement of spiral patterns indicative of a world that has the potential of growing out of control. Either a nation improved or weakened by “King’s County” forces of cultural and political tension move us closer to who and what we have become or remind us of paths we’ve taken, as we rotate and become uniﬁed through the power of a TSE.
App Coming Soon
From East New York, Brooklyn, Raytell operates out of a universal language of music, that pattern of movement that impels bodies of different types, from the hustle and ﬂow vibe of urban streets and housing projects of Brooklyn, New York. Making the most of what you have orchestrates this movement of bodies in various ways. His aesthetic which permeates his fashion sense is shaped by the whimsy and fantasy of nonﬁction. Loosely based on reality, Raytell’s arrangement and ordering of fashions and accessories, not to mention the backdrop of any particular location in New York, is a work of art. “Never obvious or expected,” he states.
Inspired by the rhythm and pulse of R&B, his style hopes to evoke emotion of the soul. “It allows me to go back to a time or place in my memory, perhaps a fond memory in my childhood, or a hard lesson that has shaped me into the man I am today…it evokes emotion, it is memorable, it is fantastical, but at the same time relatable,” he fancies.
The beauty of his work is its far-reaching subjective nature that permeates the inner-consciousness and heart of those who experience it. “Art is subjective, and that is the beauty of it. Addressing its potency to effect a manifold of emotion, Raytell says, “There is no conﬁnes to where you can go with it, or what is right, or wrong. It is able to scare us, and at the same time coddle us like a newborn child. Art is thought provoking, controversial, and ultimately, beautiful.”
Redefining| The Art Of Conversation canvas-social.com 98
FASHION | FORWARD MEN
RUDY REED Fashion wasn’t even a thought in Rudy Reed’s mind when he ﬁrst moved to New York in the early
90’s. In fact, his goals were to continue his studies in Broadcast Journalism. Having to ﬁnd work in order to survive, Rudy began working in retail. Seen as an individual with cool personal style, customers gravitated towards him asking his (strongly valued) opinion on their potential purchases. After being recruited to work in the boutique of a well known Hollywood stylist/designer, it was there Rudy realized that the “job” he performed day in and day out was an actual talent. Joining a group of friends with varying talents (photographer, hair and makeup artist, designer), Rudy
came on board as stylist and set designer for the bunch. Shooting fresh faced and fast rising
models, the styling team showcased their work in short ﬁlms, and held exhibits at galleries in the heart of city. Split between fashion and his ﬁrst love, writing, Rudy decided to infuse his two passions creating menswear blog FASHION FORWARD MEN (www.fashionforwardmen.com).
Now comfortable with his path, Rudy has written articles for various publications, styled several runway shows, including ones at New York Fashion Week, and has worked with a number of hiend clients and celebrities.
His editorial works can currently be seen in both national and
international magazines such as Exalt, See7, Kenton, Tantalum, Paper cut, and several others .
Caleb Dobie In Slow Motion
Well, people like Kanye West & Rihanna are big trend setters they are very stylish and people follow what they do that's a way music and fashion has come together other than that I can't relate to it I don't think of music and fashion as the same thing the only way they come together is if a big music artist wears something and people follow trend setting – Caleb on Fashion & Music
The black and white images of Caleb shot by photographer Arron Dunworth (http:www.arrondunworth.com/), in light of the phenomena of a TSE, stress the various phases and looks of the body exposed to certain elements of nature. In his “Between Friends” interview with the KWreport in October 2012, we catch a glimpse of expectancy in understanding an important motivational social force driving his vision of self and the work he does in the fashion industry. When conceived together, the black and white images and the storyline that fuels his go-get-it-ness implies a resilience and rhythm of natural forces of water, centrifugal force as he positions himself at the “center” of gravity to shake off the water on his body. The part of the narrative that makes this precious is not told or visible based upon the objects of his body as the dominant force of being or the pellets of water that appear to ﬂy off his face. An affective rhythm in the photographs shows the close afﬁnity between the water being shaken off and his face and body and that which makes up about 75% of the human body weight. One might say that he makes visible the water located inside his body and that which we see propelled from the surface of his body. When asked by his friend Lauren, “What makes you keep going?” Caleb inﬂects one important beat in the rhythm of life, something empowered by the object of expectancy,
At 13 a friend I grew up with, whom I shared the same name with, passed away and as cliché as it sounds I knew that I had to make it to the top for him, to kind of get our name out there. And that is the reason why I go by my ﬁrst name Caleb instead of Caleb Dobie; its less personal for just me as it’s more for both of us. Self-satisfaction also motivates me; I want to know that I have been able to achieve something for myself.2
The rhythm of pain and suffering is something that keeps him going, a motivational force that has the power to inspire creativity. Similar to Friedrich Nietzsche’s burning desire not to simply focus on a “woman’s” aesthetic of art--art based upon the experiences and emotive effects ascribed to women as a virtue of female embodiment--prompts us to create beautiful images and artistic things. Art, for Nietzsche, something of rhythmic ﬂow in Dobie’s words gives us a reason to live and to keep moving when the absurdity of life raises its ugly head. That is not to say that the Dionysian spirit is the only motivational force. Rather it is one of two natures of humanity, according to Nietzsche in his theory of art. In the images of Dobie, if we pay close attention, we can see the idea of shaking off the pains and worries of the world in material form. However, the pains and worries are a part of the vital substance (like the water in the body) that moves us to do something, that moves us toward the creation of beautiful things. His body in t h e s e s e r i e s o f i m a g e s t a ke n b y A r ro n D u n w o r t h ( v i s i t h t t p : / / www.arrondunworth.com/), known for his collaborative scheme of classic and contemporary expressions of modern art, accentuate the D1 collective images of models, slowing down the movement just a bite, so that we can experience a 4/4 adagio rhythm evoked by the images.
KW|report Designer Spotlight 117
A graduate of Esmod Germany/Berlin International University of Art for Fashion, Michael Klammsteiner has already had an amazing fashion year, adding a degree of anticipation for his next collection. His taste in fashion and music blends various elements and ideas of national borders of Berlin, Germany and London, England. His “Euphoria” collection was featured in the Pre-Fashion Week Show this month, a deﬁnite eclipse of taste culture that marks an approaching phase of the New Moon as it comes into alignment with energy from the Sun. His metallic, heavy, solid placement of fabric and brass metal emphasizes a body governed by the rules of technological advance and a nuclear age that does not require the agility of bodies in direct, up-close contact. His collection builds upon a German aesthetic of style and conservation, with a precision for detail; the earth and black tones of his collection stress a reserved and austere demeanor. However, the power of this collection is in the brass meta fasteners and decorative pieces that hold it together.
Multi-dimensional, his collection has several points of inspiration that challenge the ways in which we make sense of the universe in terms of breaking it up into spheres of knowledge and impermeable structures. This collection attempts to bridge an historical gap between the knowledge of Egypt that informs much of the history of the West and its sense of acceptable forms of knowledge. Our dependency on a world bigger than ourselves as humans illumines a Star Trek vibe of justice. A realization that whatever differences we have as a state or nation must be overcome to deal with greater challenges facing the survival of species of the Earth.
The intergalactic feel of Miclee Euphoria is not so distant that we have not imagined and felt it approach. A transmutation of energy ﬁelds and rhythmic energy sources in its design collaborates with social forces that demonstrate through the forging of disparate materials of leather, cotton, and brass, for instance, how to be free and unite as a race of people, as a rhythmic movement of bodies. An emblem of the corona effect of a TSE unites at the chest of the wearer of one of the vests in the collection. As one of the jackets is fastened at the chest, an emblem of the Moon appears to eclipse the Sun. While this collection has been identiﬁed as male, its beauty lies in its range of beauty that engages the
idea of warmth, smoothness, and unity suggestive of feminine virtues in the spirit of a Joan of Arc character type.
! In the Words of Michael Klammsteiner !
In order to explain my collection “Euphoria”, the idea to combine metal brass with fabric and leather derived from my 3-year metalworker apprenticeship I completed before studying fashion design. I have strived to create a unique collection that cannot be compared with other designs and creative approaches. I would like to emphasize my love for experimenting with various materials and thereby creating an individual and different style. In particular, I have been able to illustrate my unique style through the designs I created with a laser cutting technique on brass plates.
Furthermore, I have tried to establish a harmonious symbiosis between fabric and metal; thereby creating an overall mystic mood. New locking techniques and custom designed buckles emphasize my approach and it was relevant for me to design details and accessories in the Miclee style in order to create a harmonious concept. The theme of my collection is euphoria.
I named my collection “euphoria”, as I intend to transmit an exaggerated feeling of physical and emotional well-being to the people wearing the outﬁts. I have tried to translate that arcane feeling into clothing, but not in the happy colorful way, in more a mystical and profound manner. On the intricate pattern of lining and chemistry of somber hues impress upon his hearers and viewers to tap into their affective selves. Every person has profound and mystic aspects to their personality that are not always visible and with my collection I have tried to express these emotions and make them visible to others. My collection transmits a unique feeling to the person wearing pieces of the collection and should give them the opportunity to express their individuality.
The euphoric feelings decorate the body through the metallic forms and mystic patterns. The collection emphasizes the masculinity with the volume and metallic and brass colors. Simultaneously the clothes should also convey conﬁdence and security. My inspiration was on the one hand the sculptor Horst Egon who also deals with the combination of materials like leather plastic and metals, and, on the
other hand, the tattoo artist Thomas Hooper who inﬂuenced my modiﬁcations of patterns and shapes. I was particularly impressed by the work of the ﬂower of life that shows the symbolism of euphoria which inﬂuenced the choice of the theme for my collection. ways in which our minds pull energy and inspiration from various spheres of knowledge without distinguishing between them. that signiﬁes what it might look like to be one with the universe, Michael Klammsteiner’s Euphoria collection With this collection, something that I think is something that will continue to personify his work, he hopes to encourage an affective sensibility; that is, he anticipates that the clothes will encourage a shift in mood that anticipates the continuity of collections we have come to know. an affective state of the clothes and Symbols of Egypt that demonstrate a Featured in the Porto Fashion Show, Portugal, Spain Fashion, menswear of Michael Klammsteiner’s collection represents the inter-galactic and ominous feel of a TSE.
The pattern of his designs signal a business culture not yet arrived. Futuristic, his menswear blends brass, leather, and fabric in tripartite splendor. His objects connote a dark, mysterious mood of professionalism, with its sharp, clean lines, with each visual item suggesting completeness in its rectangular/box square pattern, as if he is familiar with fables pointing to the idea that the number 4 correlates with the 4 corners of the world. His garments suggest unity that, although marketed to men, could easily be seen on women as well, not making them appear either masculine or feminine but representing the best of the good life and a share cosmos of business transactions collaborated with other parts of the universe.
Showcased by Rocket magazine, as part of the 2014 Summer/Spring collection, Klammsteiner’s collection articulates the expectancy of a TSE. Until now we look up, wait, and see what the movement of objects has in store for us. How will these things speak and be spoken to by Klammsteiner’s attention to detail, rhythm, boldness, and shades of grey, beige, brown, and somber hues to remind us of the workings of ﬁnitude within the space of inﬁnite proportions.
GIANFRANCOFAI made in italy
| MILAN ITALY STREET STYLE
Berlin, Germany Time Zone: 1.0 h Latitude: 52°30.0'N Longitude: 013°22.0'E
! Space and Place: “Black Is the New Black” !
Artist/Stylist Patrick Mason grew up to the bad-ass beats and electrifying rhythms of Michael Jackson. “I remember,” he recalls, “sitting in front of the TV with my hands before my eyes, leaving just enough room between my ﬁngers to watch THRILLER—of course!” MJ personiﬁes a rare, pineapple silk of “self-made” proportions. The approach of a TSE reveals its beauty, with each new prospect of its visibility within the 30 century interval (period 0001 CE to 3000 CE) in which 16 annular eclipses are visible from Berlin (0134, 0596, 0852, 1153, 1191, 1207, 1290*, 1409, 1502, 1547, 1748*, 2093, 2466, 2912), of which 12 are TSEs. In a style of worship, unity, and ﬁdelity, Mason locates the nightclub Berghain as a source of inspiration for his fashion aesthetic. Known for its strict door policy and amazing lineup of DJs whose beats can be heard hundreds of meters away, the architecture embodies the force of rhythm and creativity. Contextualized in this open space bodies move in and out of close proximity to one another, draped in black garments of unity but reﬂective of individual personalities. Says Patrick, “And the usual dress code is - of course BLACK! But black in black often leaves you plain and unnoticed, therefore I add some spice to my outﬁt to make it my own, and deﬁnitely ﬁerce! A hand wrapped Indian turban, a cropped long-sleeve top, and a [self-made]"Givenchy - like" Noseseptum always catches attention.”
“Since I moved roughly two years ago to Berlin--the Capital of Electro and Techno Music in Europe--I would even go so as to say in the World--I began exploring new fashion techniques, recalls Patrick, “My obsession with brands such as Givenchy, Rick Owens, Raf Simons, and Butterﬂysoulﬁre started to grow, and so I began wearing ‘boy skirts’ - kilts and lots of layers of clothes. As I say, “black is the new black.” As an instance of an approaching TSE, Berghain signiﬁes a space of potentiality, a place of creativity that moves bodies closer in distance, as notes of music, united in a color-code of unity. Patrick in his discussion of the nightclub approximates exposes the visual ﬁeld of bodies coming closer in time, in play on our affective states of desire. Unique patterns of black garb make visible the Spirit
of continuity in dress. Coming alive in a synergy of motion on the dance ﬂoor, catapulted in the rhythm of the music but not deﬁned by the frequency of air waves on the dance ﬂoor, bodies take on the character and become one with each other and the pulse and beat of the music.
A source of inspiration, Berghain symbolizes a space and place of continuity, similar to the football ﬁelds of expectancy during Super Bowl halftime shows. In rotation, each new event at Berghain suggests a continuity of fashion in the black attire worn by its bodies in motion. The difference of pattern, shape, and color black symbolizes the unity and harmony of the human spirit, and our attempts to express ourselves as the limitless and powerful beings we were created to be.
Contributors Giafranco Villegas/Self Made Fall/Winter 2014 Antwerp, Belgium Fashion Photographer/Art Director Szilvester Mako' Model Cristian Gribl Independent Men Milano/www.independentmen.it MUA: Shayna Rochelle Goldberg Gianfranco Villegas/Self Made Marketing Spring Summer 2014 Antwerp, Belgium Fashion Photographer Marcello Arena/www.maphotographer.tumblr.com MUA/Hair Alice Pozza Models Noemi Erolani/Joy Model Management Milano/www.joymodels.com Pabblo Ferrari/2morrow Models/www.2morrowmodel.it Renab Jacoby 2morrow Models/www.2morrowmodel.it
Cyprien Richardi www.cyprienthatsall.com Ivory Coast,Milan Italy Fashion Photographers Mario Gramegna www.mariogramegna.com Stefano Coletti www.thestreetfashion5xpo.com Giacomo Rebecchi www.the2waystreet.tumblr.com Designers Gianfrancofai www.gianfrancofai.blogspot.com
Edison Kelmendi Zurich, Switzerland Modeling Agencies Scout Modeling Agency/Major Model Management NYC www.scout-model.com/www.majormodel.com Fashion Photographer Pete Dominkovitz www.dominkovits.ch Fashion Stylist Michael Stallings NYC
Shawn Sutton/EROK Modeling Agencies www.adammodels.com/www.rednyc.com Fashion Photographer Randy Bince/ www.krop.com/randolphbincephotography Fashion Stylist/Editor Anthony Pedraza www.Anthony-Pedraza.com Hair Groomer Vanessa Cartagena
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Contributors Caleb Dobie www.calebdobietumblr.com London UK Modeling Agencies Nev London www.nevsmodels.co.uk.com Fashion Photographer Arron Dunworth www.arrondunworth.com Assistant Jade Chanel Intro Image of Caleb Dobie courtesy of Tanausu Herrera/tanausuherrera.com
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Michael Klammsteiner London UK Fashion Photographer Andreas Huber www.andihuber.net Models Jean Cederic Victor Clear
Lorenzo Holder/www.stepstonestudios.com NYC Image of Lorenzo Holder Courtesy of Andrew Hernandez Editorials King County/ Model Peter J Clarkson/Fashion Stylist Lauren Temple/MUA Paige Campbell/Hair Roby Powers Night/India Irvin/Designer BrianWood Collection Major Model Management NYC www.majormodel.com Red Model Management NYC www.rednyc.com
Raytell Bridges/www.raytellbridges.com Fashion Stylist/NYC Power Editorial Fashion Photographer/Cavier Coleman/www.cvlcphotographyartiste.com Models Shawn Sutton/Adam NYC/www.adammodels.com/Red Models Management/www.rednyc.com Dominique Hollington/DNA/www.dnamodels.com/Red Model Management/www.rednyc.com Designers Gentlemen Instinct/wwwmarquisefoster.com Faded NYC/www.fadednyc.bigcartel.com
Scott Jung NYC Street Style/Fashion Photographer Scott Jung/www.imsoulgrapherscott.tumblr.com
Contributors Rudy Reed Fashion Stylist/NYC Fashion Forward Men/www.fashionforwardmen.com
Patrick Mason Berlin, Germany/Creative Genius Fashion Photographer Sophie Stobbe Anny Ck/www.annyck.com
Ernie Passwaters/www.erniepasswaters.com Nashville,Tn Fashion Photographer/Femme 2014 Model/Marissa Hernandez MUA/Hair/Sherita Leslie
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Video Giafranco Villegas Self Made Video by Tora Cellini and Giorgio Calace Model Cristian Grib Independentmen Milano/www.independentmen.it MUA Elena Barosi
Cyprien Richiardi Video by Brian George/www.brian-george.com
Michael Klammsteiner/Euporite Patrick Mason Video by Joey Elgersma/www.joyelgersma.com/Sometimes Slower Is Better
KW|report Staff Kerry Woodard/Editor In Chief/Artistic Director Letter From The Editor Image Courtesy of Bralyn Stokes Tadhi Coulter/Editorial Director Editorial Director Image Courtesy of Jami Huisjen Scott Joesph Mcfall/Software and Layout Designer
Charity Fashion Fights Poverty/University Of Chicago/http://osp-cp.uchicago.edu/page/giving