Volta Magazine F/W '11

VOLTA Fashion and Lifestyle Society

The sole responsibility for the content of this publication lies with the authors. Its contents do not reflect the opinion of the University Students’ Council of the University of Western Ontario (“USC”). The USC assumes no responsibility or liability for any error, inaccuracy, omission or comment contained in this publication or for any use that may be made of such information by the reader.

table of contents

photograph by Daphne Wu 04 CONTRIBUTORS

this issue’s Volta team

14 THE REALITIES OF A FAKE

by Stephanie Grella

05 EDITORS LETTER

Kasia Knap & Nicole Lippay

16 CULTURE SECTION

ft. London’s highlights of fall 2011

06 MAJOR CONTRIBUTORS

notable magazine members

18 DECONSTRUCTION

Mc’Queen inspired editorial welcom

ing back Daniel Canavan as model

07 COVER PAGE & SPONSOR

the production team behind the cover

image 08 COUNTER CULTURE

by Alex Meyers 10 SEPTEMBER

a different take on fall fashion

VOLTA MAGAZINE

26 THE MAKING OF FILM AND MILLIONS OF DOLLARS

by Mario Stephen Lattavo 28 THE KING OF SOCIALS 8

by Mica Lemiski

30 CHORLIS & FLORA

beauty editorial shot by Jennifer Barrett 36 THE PUBLIC IDENTITY CONSTRUCTED

by Kasia Knap 38 PLASTIC

showcasing of garments with a

newsprint aesthetic, our own version of eco-friendly fashion 52 LET IT SNOW: A MAN’S GUIDE TO

by Andrew Pel

The sole responsibility for the content of this publication lies with the authors. Its contents do not reflect the opinion of the University Students’ Council of the University of Western Ontario (“USC”). The USC assumes no responsibility or liability for any error, inaccuracy, omission or comment contained in this publication or for any use that may be made of such information by the reader.

table of contents

photograph by Daphne Wu 04 CONTRIBUTORS

this issue’s Volta team

14 THE REALITIES OF A FAKE

by Stephanie Grella

05 EDITORS LETTER

Kasia Knap & Nicole Lippay

16 CULTURE SECTION

ft. London’s highlights of fall 2011

06 MAJOR CONTRIBUTORS

notable magazine members

18 DECONSTRUCTION

Mc’Queen inspired editorial welcom

ing back Daniel Canavan as model

07 COVER PAGE & SPONSOR

the production team behind the cover

image 08 COUNTER CULTURE

by Alex Meyers 10 SEPTEMBER

a different take on fall fashion

VOLTA MAGAZINE

26 THE MAKING OF FILM AND MILLIONS OF DOLLARS

by Mario Stephen Lattavo 28 THE KING OF SOCIALS 8

by Mica Lemiski

30 CHORLIS & FLORA

beauty editorial shot by Jennifer Barrett 36 THE PUBLIC IDENTITY CONSTRUCTED

by Kasia Knap 38 PLASTIC

showcasing of garments with a

newsprint aesthetic, our own version of eco-friendly fashion 52 LET IT SNOW: A MAN’S GUIDE TO

by Andrew Pel

CO-EDITORS IN CHIEF Kasia Knap and Nicole Lippay

Letter from the Editors

CREATIVE DIRECTOR AT LARGE Emma Barrett

WOMEN’S FASHION DIRECTOR Trisha Paguyo

CREATIVE ADVISOR AT LARGE Shaista Kitabi

LAYOUT DIRECTOR Kasia Knap

MEN’S FASHION DIRECTOR Daniel Canavan

CREATIVE ADVISOR Catherine Bolduc

WOMEN’S STYLISTS: Patricia Omoruwa Alyssa Owens Stephanie Wood Dipti Kewalramani Shivani Patel Faustina Setiawan Tiffany Tubi Tse

PHOTOGRAPHERS Shaista Kitabi Caileigh Kyle Siona Stenhouse Jennifer Barrett

CONTRIBUTING LAYOUT EDITORS Jacqueline Mok Mary Wong Kerstin Maciuk Joyce Yu Syliva Gurczak, Isabel McCalden

MEN’S HEAD STYLIST Rel Ollivirrie MEN’S STYLISTS: Aaron Gray Armin Hossni Merrick Chan ASSISTANT MEN’S STYLIST: Kevin Hurren

CONTRIBUTING PHOTOGRAPHERS Daphne Wu Stephanie Grella WRITERS Jacqueline Mok Erin Collett Misha Gajewski Kasia Knap Andrew Pel Alex Myers Mica Lemiski Steph Grella Mario Stephen Lattavo FASHION ILLUSTRATOR Carolyn Chen MAKEUP ARTIST Jasneet Nijjar MODELS Katilin Ariss Erica Rivietz Daniel Canavan Emma Barrett Katie Shim Jan Kuzan Elsa Fridriksson Brodie Lawson Lara Gomez

PHOTO EDITOR Jan Kuzan LITERARY EDITORS Andrew Pel, Emily Smibert TEXT EDITOR Emily Johnpulle FASHION BLOG Kennedy Ryan Erin Riley Dipti Kewalramani WEB DESIGN Dipti Kewalramani Kasia Knap

Welcome to the Fall 2011 edition of Volta magazine! Volta is formerly known as The Style Review, and we are very excited about our progress made so far this year. For this issue we concentrated on the beauty of our environment, and drew our inspiration from our surroundings. We incorporated rich neutral tones found in the leaves outside, contrasted with dark bold colours. We collaborated with many boutiques in downtown London to create the looks we were striving for.

The main editorial focuses on recycled material, specifically newsprint. Our team of stylists worked very hard to create the garments. Using bold geometric shapes inspired by Italian designer Paco Rabanne, we created clothing with an architectural feel. Surrounded by the machinery used to generate green energy, the garments were used to channel the element of reinvention.

The articles contributed give this publication a new depth, as they cover a vast range of topics from film production to the unknown realities of counterfeit merchandise. We hope that the articles will not only appeal to the reader’s senses, but also inspire change and reflection in both the university and global communities.

As always, we are incredibly thankful for the hard work and dedication put forth by the talented group of students we work with. As the magazine continues to grow, we remain dedicated to producing a publication that reflects the diversity, ingenuity and passion of our fellow UWO students. Enjoy the issue!

Your Editors, Kasia Knap

04

VOLTA MAGAZINE

Nicole Lippay

FASHION & LIFESTYLE SOCIETY

05

CO-EDITORS IN CHIEF Kasia Knap and Nicole Lippay

Letter from the Editors

CREATIVE DIRECTOR AT LARGE Emma Barrett

WOMEN’S FASHION DIRECTOR Trisha Paguyo

CREATIVE ADVISOR AT LARGE Shaista Kitabi

LAYOUT DIRECTOR Kasia Knap

MEN’S FASHION DIRECTOR Daniel Canavan

CREATIVE ADVISOR Catherine Bolduc

WOMEN’S STYLISTS: Patricia Omoruwa Alyssa Owens Stephanie Wood Dipti Kewalramani Shivani Patel Faustina Setiawan Tiffany Tubi Tse

PHOTOGRAPHERS Shaista Kitabi Caileigh Kyle Siona Stenhouse Jennifer Barrett

CONTRIBUTING LAYOUT EDITORS Jacqueline Mok Mary Wong Kerstin Maciuk Joyce Yu Syliva Gurczak, Isabel McCalden

MEN’S HEAD STYLIST Rel Ollivirrie MEN’S STYLISTS: Aaron Gray Armin Hossni Merrick Chan ASSISTANT MEN’S STYLIST: Kevin Hurren

CONTRIBUTING PHOTOGRAPHERS Daphne Wu Stephanie Grella WRITERS Jacqueline Mok Erin Collett Misha Gajewski Kasia Knap Andrew Pel Alex Myers Mica Lemiski Steph Grella Mario Stephen Lattavo FASHION ILLUSTRATOR Carolyn Chen MAKEUP ARTIST Jasneet Nijjar MODELS Katilin Ariss Erica Rivietz Daniel Canavan Emma Barrett Katie Shim Jan Kuzan Elsa Fridriksson Brodie Lawson Lara Gomez

PHOTO EDITOR Jan Kuzan LITERARY EDITORS Andrew Pel, Emily Smibert TEXT EDITOR Emily Johnpulle FASHION BLOG Kennedy Ryan Erin Riley Dipti Kewalramani WEB DESIGN Dipti Kewalramani Kasia Knap

Welcome to the Fall 2011 edition of Volta magazine! Volta is formerly known as The Style Review, and we are very excited about our progress made so far this year. For this issue we concentrated on the beauty of our environment, and drew our inspiration from our surroundings. We incorporated rich neutral tones found in the leaves outside, contrasted with dark bold colours. We collaborated with many boutiques in downtown London to create the looks we were striving for.

The main editorial focuses on recycled material, specifically newsprint. Our team of stylists worked very hard to create the garments. Using bold geometric shapes inspired by Italian designer Paco Rabanne, we created clothing with an architectural feel. Surrounded by the machinery used to generate green energy, the garments were used to channel the element of reinvention.

The articles contributed give this publication a new depth, as they cover a vast range of topics from film production to the unknown realities of counterfeit merchandise. We hope that the articles will not only appeal to the reader’s senses, but also inspire change and reflection in both the university and global communities.

As always, we are incredibly thankful for the hard work and dedication put forth by the talented group of students we work with. As the magazine continues to grow, we remain dedicated to producing a publication that reflects the diversity, ingenuity and passion of our fellow UWO students. Enjoy the issue!

Your Editors, Kasia Knap

04

VOLTA MAGAZINE

Nicole Lippay

FASHION & LIFESTYLE SOCIETY

05

MAJOR CONTRIBUTORS

Emma Barrett: Creative Director

As a second year kinesiology student, Emma Barrett is a force to be reckoned with as she takes on the role of Creative Director this year. Emma has been hugely helpful in every photo shoot to date, and always makes time to assist in any aspect of the magazine when asked. Her quick wit and stunning personality make her an asset to our team.

Jennifer Barrett: Photographer

Jennifer Barrett is an artist and curator working with photography and anything else she can get her hands on. Now having completed a BFA in Photography Studies from Ryerson Unversity, she spends her time clicking shutters and sipping tea. Jennifer lives and works in Toronto.

ANN'S

Tailoring&Design Anna and her staff can make you feel great in whatever you are wearing!

Katie Shim: Model

Katie, a first year MIT student, was very bright and energetic for our Beauty Editorial. Her enthusiasm was contagious, and she was extremely patient while we covered her hair in a bouquet of flowers. She carried herself very gracefully, a tell-tale sign of her 10 years of ballet experience. Katie was a delight to work with, and we wish her well with her Starbucks addiction.

We do all kinds of alterations and custom made clothing for men and women including all kinds of bridal wear.

Our location is at 717 Richmond St. Unit #3.

Just on the south-west corner of Richmond & Piccadilly.

TEL: (519) 433-9499 20 minute FREE parking & 30 minute parking validation.

06

VOLTA MAGAZINE

Proudly serving our customers on Richmond row for over 20 years!

COVER

photographer: JENNIFER BARRETT, creative director: JENNIFER BARRETT; models: EMMA BARRETT, KATIE SHIM

www.jbarrettphotography.net

What Fits Well, Feels Great!

MAJOR CONTRIBUTORS

Emma Barrett: Creative Director

As a second year kinesiology student, Emma Barrett is a force to be reckoned with as she takes on the role of Creative Director this year. Emma has been hugely helpful in every photo shoot to date, and always makes time to assist in any aspect of the magazine when asked. Her quick wit and stunning personality make her an asset to our team.

Jennifer Barrett: Photographer

Jennifer Barrett is an artist and curator working with photography and anything else she can get her hands on. Now having completed a BFA in Photography Studies from Ryerson Unversity, she spends her time clicking shutters and sipping tea. Jennifer lives and works in Toronto.

ANN'S

Tailoring&Design Anna and her staff can make you feel great in whatever you are wearing!

Katie Shim: Model

Katie, a first year MIT student, was very bright and energetic for our Beauty Editorial. Her enthusiasm was contagious, and she was extremely patient while we covered her hair in a bouquet of flowers. She carried herself very gracefully, a tell-tale sign of her 10 years of ballet experience. Katie was a delight to work with, and we wish her well with her Starbucks addiction.

We do all kinds of alterations and custom made clothing for men and women including all kinds of bridal wear.

Our location is at 717 Richmond St. Unit #3.

Just on the south-west corner of Richmond & Piccadilly.

TEL: (519) 433-9499 20 minute FREE parking & 30 minute parking validation.

06

VOLTA MAGAZINE

Proudly serving our customers on Richmond row for over 20 years!

COVER

photographer: JENNIFER BARRETT, creative director: JENNIFER BARRETT; models: EMMA BARRETT, KATIE SHIM

www.jbarrettphotography.net

What Fits Well, Feels Great!

COUNTER I

f you were to ask someone who grew up during the eighties what they remember most about popular culture at that time, they would most likely remember the so-called “fitness trend” or Madonna. If you were to ask the same question to someone who grew up in the nineties, you might hear about brightly-coloured fashion or the Spice Girls. These trends were specific to their cultural period, and yet today, popular culture seems to be aesthetically doubling-back, focusing primarily on the sixties and seventies, decades that considerably influenced contemporary culture.

freedom of thought in universities, free love in our personal lives and equality of rights in society without bias based on race or gender.

The youth generation of that time challenged convention, and in so doing granted us the independence to choose what we do and where we go in life. It is therefore no surprise that a nostalgia for that period is suddenly overwhelming our society.

This is something that many parents who grew up in the sixties and seventies find amusing: many of us probably go shopping with our mothers only to hear that the pair of shoes

Without the sixties and seventies, we we want are “identical” to the ones they owned would experience a diminished standard of the when they were 21. Perhaps you have driven in civil liberties we obliviously enjoy today, such as a car with your father, turned up the volume to

CULTURE

Bob Marley’s “Don’t Worry, Be Happy”, just to hear him claim that he used to groove to it when he was younger. As much as these similarities can be irritating, there is value in being able to connect culturally to our parents, whose generation helped shape the world we live in today.

their own social status. They were rebelling against conformity, and dressing the way they did differentiated them from the Ivey league prepsters who were bound for Wall Street.

Today, we dress like the hippies in the hope of trying to emulate the easygoing, “I don’t care attitude” they managed to perfect.

The influences of the sixties and seventies can be spotted in many areas of current popular culture. First, there is the fashion: the bell bottom jeans, long wavy hair, natural make up, and exposed midriff all oringinated in the era of “free love”. Back then, such fashion was considered rebellious and sexual. It was the epitome of a lifestyle only a few could maintain. These “hippies” determined

The second influence, which has never really waned, is music. The lyrically freewheeling folk and rock that defined its generation also resounds with many of today’s youth. Bob Dylan, Jimi Hendrix, The Rolling Stones, Joni Mitchell, the Grateful Dead and The Who are just a few of the great musicians with a permanent place in our cultural consciousness.

Many are beginning to identify with such countercultural music; the music that inspired many to fight for their personal freedoms and enabled many cultures, nationalities, genders and classes to come together to battle the status quo. Although today’s youth generation cannot directly relate to such an experience, there is nonetheless a feeling of nostalgia for this “freedom” in pop culture today. Many of us want something more.

It can be said that this is due to the fact that most music today is “disposable”: once the next big song enters the Top 40, we forget last week’s hit. This leads to many yearning for music that has lasting expressive and cultural significance.

People today are not inherently willing to simplify their lifestyle. The idealists of counterculture rebelled against conformity, trying to escape the conservatism of their modern mass-culture. Living in a decade of social turmoil, their days were occupied by a sense of irrevocable change.

The difference today is that people are immersed in a culture that endorses a certain kind of ignorance. Popular culture now tends to distract us from the real problems of the world, celebrating materialism and self-interest, and nobody questions this. Rather than looking forward, some are turning back for an ideal or set of principles to combat this indifference.

Some return to counterculture. Perhaps that nostalgia will take root, and continue to influence our lives for years to come. One can only hope.

-ALEX MEYERS

08

VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

09

COUNTER I

f you were to ask someone who grew up during the eighties what they remember most about popular culture at that time, they would most likely remember the so-called “fitness trend” or Madonna. If you were to ask the same question to someone who grew up in the nineties, you might hear about brightly-coloured fashion or the Spice Girls. These trends were specific to their cultural period, and yet today, popular culture seems to be aesthetically doubling-back, focusing primarily on the sixties and seventies, decades that considerably influenced contemporary culture.

freedom of thought in universities, free love in our personal lives and equality of rights in society without bias based on race or gender.

The youth generation of that time challenged convention, and in so doing granted us the independence to choose what we do and where we go in life. It is therefore no surprise that a nostalgia for that period is suddenly overwhelming our society.

This is something that many parents who grew up in the sixties and seventies find amusing: many of us probably go shopping with our mothers only to hear that the pair of shoes

Without the sixties and seventies, we we want are “identical” to the ones they owned would experience a diminished standard of the when they were 21. Perhaps you have driven in civil liberties we obliviously enjoy today, such as a car with your father, turned up the volume to

CULTURE

Bob Marley’s “Don’t Worry, Be Happy”, just to hear him claim that he used to groove to it when he was younger. As much as these similarities can be irritating, there is value in being able to connect culturally to our parents, whose generation helped shape the world we live in today.

their own social status. They were rebelling against conformity, and dressing the way they did differentiated them from the Ivey league prepsters who were bound for Wall Street.

Today, we dress like the hippies in the hope of trying to emulate the easygoing, “I don’t care attitude” they managed to perfect.

The influences of the sixties and seventies can be spotted in many areas of current popular culture. First, there is the fashion: the bell bottom jeans, long wavy hair, natural make up, and exposed midriff all oringinated in the era of “free love”. Back then, such fashion was considered rebellious and sexual. It was the epitome of a lifestyle only a few could maintain. These “hippies” determined

The second influence, which has never really waned, is music. The lyrically freewheeling folk and rock that defined its generation also resounds with many of today’s youth. Bob Dylan, Jimi Hendrix, The Rolling Stones, Joni Mitchell, the Grateful Dead and The Who are just a few of the great musicians with a permanent place in our cultural consciousness.

Many are beginning to identify with such countercultural music; the music that inspired many to fight for their personal freedoms and enabled many cultures, nationalities, genders and classes to come together to battle the status quo. Although today’s youth generation cannot directly relate to such an experience, there is nonetheless a feeling of nostalgia for this “freedom” in pop culture today. Many of us want something more.

It can be said that this is due to the fact that most music today is “disposable”: once the next big song enters the Top 40, we forget last week’s hit. This leads to many yearning for music that has lasting expressive and cultural significance.

People today are not inherently willing to simplify their lifestyle. The idealists of counterculture rebelled against conformity, trying to escape the conservatism of their modern mass-culture. Living in a decade of social turmoil, their days were occupied by a sense of irrevocable change.

The difference today is that people are immersed in a culture that endorses a certain kind of ignorance. Popular culture now tends to distract us from the real problems of the world, celebrating materialism and self-interest, and nobody questions this. Rather than looking forward, some are turning back for an ideal or set of principles to combat this indifference.

Some return to counterculture. Perhaps that nostalgia will take root, and continue to influence our lives for years to come. One can only hope.

-ALEX MEYERS

08

VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

09

S eptember

photographer: Shaista Kitabi; creative director: Shaista Kitabi; fashion director: Trisha Paguyo; stylist: Emma Barrett; models: Erica Rivetz, Kaitlin Ariss

10

vintage garments we pulled from our own closets to create atypical looks for fall

S eptember

photographer: Shaista Kitabi; creative director: Shaista Kitabi; fashion director: Trisha Paguyo; stylist: Emma Barrett; models: Erica Rivetz, Kaitlin Ariss

10

vintage garments we pulled from our own closets to create atypical looks for fall

In New York, one of the most fashion-

oriented cities in the world, there are two words that always to come to mind: Canal Street. Some terrific bargains can be found on this infamous thoroughfare: you can buy a “Burberry” scarf worth $200 for only $15.

The catch? All of the merchandise sold5454 is an imitation of the original item. Although these counterfeit goods are easier on your bank account, their illegal distribution has a detrimental effect on our economy.

image source: http://www.lvbaghot.com

the realities of a fake

It can be argued that most high-end designer merchandise is overpriced – especially in the midst of a recession. Opting for an imitation, however, is a much more serious matter than many people realize. Most merchandise replicas that are being made and sold come from illegal warehouses that force people, many of them children, to sew, stitch, and produce these items under poor working conditions and for minimal pay. Dana Thomas, an advocate for anti-counterfeiting, wrote a book about the downsides of supporting counterfeit merchandise entitled Deluxe: How Luxury Lost Its Luster. Thomas writes: “[an investigator told me] ‘I remember walking into an assembly plant in Thailand a couple of years ago and seeing six or seven little children, all under 10 years old, sitting on the floor assembling counterfeit leather handbags. The owners had broken the children’s legs and tied the lower leg to the thigh so the bones wouldn’t mend. [They] did it because the children said they wanted to go outside and play.’”

This is a glimpse of how counterfeiting companies produce and distribute their merchandise without any regard for labour laws. Children are forced to make these items illegally in dismal sanitary conditions. Nevertheless, this industry will flourish as people continue to purchase from, and thereby support, these counterfeit businesses.

ranges from time in jail to a fine of up to €360,000. More recently, New York City councilwoman Margaret S. Chin advocated for civic intervention; she proposed a bill that, if passed, will make it illegal to purchase an imitation item in New York City. The perpetrator would be charged with a misdemeanor and could be charged up to $1000 and/or spend one year in jail.

From one street in New York City to numerous Internet sites at our fingertips, it is even easier for counterfeit trade companies to advertise and sell imitations today. It is, however, still risky for businesses, especially large ones such as EBay, to get away with selling fake merchandise. Because EBay is one of the most popular shopping sites, it is not surprising that it has had its run-ins with the law regarding counterfeit merchandise. In 2008, Moët Hennessey Louis Vuitton (LVMH) challenged EBay in a French court, claiming that 90 percent of LVMH merchandise on the site was fake. In consequence, EBay was forced to pay $60.8 million in damages. For counterfeit companies, however, the Internet is just the latest way to expand their thriving illegal business.

[...] six or seven little children, all under 10 years old, sitting on the floor assembling counterfeit leather handbags. The owners had broken the children’s legs and tied the lower leg to the thigh

Our economy is also significantly harmed by this illegal industry. Bob Barchiesi, the President of the International Anti-Counterfeiting Coalition (IACC), says: “For every dollar you spend, that’s one less going towards a legitimate business, and towards our nation’s economy.” IACC is a non-profit organization that combats counterfeiting and piracy worldwide. According to IACC data, global counterfeit trade rose from $5.5 billion in 1982 to approximately $600 billion in 2007. In 2008, American seizures were made of merchandise worth over $272 million. A specifically large seizure was made in 2007, when authorities found 160,000 pairs of counterfeited Nike shoes that totaled $7.1 million. In New York City alone, the counterfeit trade industry costs the city $1 billion per year in tax revenue.

For many people, most high-end designer products are not worth the price. Before buying a counterfeit bag, purse, pair of shoes, or even perfume, however, think twice about the people who were forced to make it, what kinds of conditions it was made under, and how these illegal and immoral companies will continue thanks to your purchase.

From destroying the lives of Third World children to crippling North America’s economic status, imitation merchandise keeps your wallet light, but drops a heavier burden on so many others.

Check it out: In support of combating this issue, Harper’s Bazaar created a website called fakesareneverinfashion.com. The site features interviews and recent news on the issue and of counterfeiting and provides tips on how to distinguish between an original design and the imitation.

Although the production of counterfeit merchandise is obviously illegal, much confusion surrounds the presumed “innocence” of the consumer. Knowingly purchasing replicas is not illegal in North America. In France, however, due to issues with counterfeit items, a law was enacted that prohibits people from wearing them: the punishment

14

VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

- STEPHANIE GRELLA

15

In New York, one of the most fashion-

oriented cities in the world, there are two words that always to come to mind: Canal Street. Some terrific bargains can be found on this infamous thoroughfare: you can buy a “Burberry” scarf worth $200 for only $15.

The catch? All of the merchandise sold5454 is an imitation of the original item. Although these counterfeit goods are easier on your bank account, their illegal distribution has a detrimental effect on our economy.

image source: http://www.lvbaghot.com

the realities of a fake

It can be argued that most high-end designer merchandise is overpriced – especially in the midst of a recession. Opting for an imitation, however, is a much more serious matter than many people realize. Most merchandise replicas that are being made and sold come from illegal warehouses that force people, many of them children, to sew, stitch, and produce these items under poor working conditions and for minimal pay. Dana Thomas, an advocate for anti-counterfeiting, wrote a book about the downsides of supporting counterfeit merchandise entitled Deluxe: How Luxury Lost Its Luster. Thomas writes: “[an investigator told me] ‘I remember walking into an assembly plant in Thailand a couple of years ago and seeing six or seven little children, all under 10 years old, sitting on the floor assembling counterfeit leather handbags. The owners had broken the children’s legs and tied the lower leg to the thigh so the bones wouldn’t mend. [They] did it because the children said they wanted to go outside and play.’”

This is a glimpse of how counterfeiting companies produce and distribute their merchandise without any regard for labour laws. Children are forced to make these items illegally in dismal sanitary conditions. Nevertheless, this industry will flourish as people continue to purchase from, and thereby support, these counterfeit businesses.

ranges from time in jail to a fine of up to €360,000. More recently, New York City councilwoman Margaret S. Chin advocated for civic intervention; she proposed a bill that, if passed, will make it illegal to purchase an imitation item in New York City. The perpetrator would be charged with a misdemeanor and could be charged up to $1000 and/or spend one year in jail.

From one street in New York City to numerous Internet sites at our fingertips, it is even easier for counterfeit trade companies to advertise and sell imitations today. It is, however, still risky for businesses, especially large ones such as EBay, to get away with selling fake merchandise. Because EBay is one of the most popular shopping sites, it is not surprising that it has had its run-ins with the law regarding counterfeit merchandise. In 2008, Moët Hennessey Louis Vuitton (LVMH) challenged EBay in a French court, claiming that 90 percent of LVMH merchandise on the site was fake. In consequence, EBay was forced to pay $60.8 million in damages. For counterfeit companies, however, the Internet is just the latest way to expand their thriving illegal business.

[...] six or seven little children, all under 10 years old, sitting on the floor assembling counterfeit leather handbags. The owners had broken the children’s legs and tied the lower leg to the thigh

Our economy is also significantly harmed by this illegal industry. Bob Barchiesi, the President of the International Anti-Counterfeiting Coalition (IACC), says: “For every dollar you spend, that’s one less going towards a legitimate business, and towards our nation’s economy.” IACC is a non-profit organization that combats counterfeiting and piracy worldwide. According to IACC data, global counterfeit trade rose from $5.5 billion in 1982 to approximately $600 billion in 2007. In 2008, American seizures were made of merchandise worth over $272 million. A specifically large seizure was made in 2007, when authorities found 160,000 pairs of counterfeited Nike shoes that totaled $7.1 million. In New York City alone, the counterfeit trade industry costs the city $1 billion per year in tax revenue.

For many people, most high-end designer products are not worth the price. Before buying a counterfeit bag, purse, pair of shoes, or even perfume, however, think twice about the people who were forced to make it, what kinds of conditions it was made under, and how these illegal and immoral companies will continue thanks to your purchase.

From destroying the lives of Third World children to crippling North America’s economic status, imitation merchandise keeps your wallet light, but drops a heavier burden on so many others.

Check it out: In support of combating this issue, Harper’s Bazaar created a website called fakesareneverinfashion.com. The site features interviews and recent news on the issue and of counterfeiting and provides tips on how to distinguish between an original design and the imitation.

Although the production of counterfeit merchandise is obviously illegal, much confusion surrounds the presumed “innocence” of the consumer. Knowingly purchasing replicas is not illegal in North America. In France, however, due to issues with counterfeit items, a law was enacted that prohibits people from wearing them: the punishment

14

VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

- STEPHANIE GRELLA

15

the king of pop Prince, the notorious singer, musical genius, and sex symbol is coming to London, Ontario this December.

With more than 20 records to his name, Prince is undoubtedly a musical icon.

From refusing to sell his music to online retailers such as iTunes or Amazon, to changing his name several times, once to a symbol, Prince remains one of the strangest and most mysterious characters in the music industry.

He has created some of the most memorable hits such as “Purple Rain,” “Let’s Go Crazy,” and “Raspberry Beret,” among many others. Prince’s creative genius shaped the dance music

of the 80’s and 90’s with his sex-saturated songs and eclectic combination of funk, rock, and pop.

His fashion sense is also to be admired. Whether he is pioneering 80’s glam by wearing heels or donning a pair of revealing cheetah print chaps on MTV, Prince always finds new ways to stay fresh.

His controversial music, style and prolific creativity have won him the adoration of music lovers of all ages. Like all great performers, Prince’s concert at the John Labatt Centre on December 5th should be nothing less than spectacular.

-MISHA GAJEWSKI

be a rainbow in someone else’s cloud

southwestern gothic Growing up in a small town, Victor Romão is interested in revealing the untold stories that are kept between the locals. His current exhibition, Southwestern Gothic, imparts an intriguing perspective on southwestern Ontario through uncanny, surreal situations. With a collection of ink drawings, multilayer woodcut prints, and polychrome wood sculptures, the elaborate works investigate topics surrounding male violence and a villain-victim complex through disturbing hybrid figures.

Dressed in plaid shirts and jeans, the figures have recurring motifs of bat faces, bagpipes, and masks in place of human heads. Concealing the identity of the individuals, anonymity is increased and the images float without adhering to a specific time or person, allowing the works to live vicariously in the viewer’s mind. The ink drawings often provide a suggestion of space that ground the figures to a certain reality. Crosshatching is so fine that at a distance, the drawings may be mistaken for intaglio prints. The woodcut prints with bold outlines and colours serve as

portraits, or mug shots. On display in glass boxes are wood sculptures, manifesting the character images done on paper. Fashioned and painted by hand, these sculptures bring life to the exhibition as the artist displays his expertise in the medium.

Romão’s work mimics an attractionrepulsion relationship that he sensed while viewing European art that date back to the Renaissance period, particularly within Spain and Portugal. He states that at times he is attracted to something without understanding why, and is careful not to categorize the sensation as he takes pleasure in the unknowing.

Each piece is crafted with precision and detail serving as vignettes to personal experiences encountered during his youth. Though the complete narrative may not be readily available within the imagery, personal interpretations are welcomed by the artist.

To say that Dr. Maya Angelou graced Western with her presence would be an understatement. As one of the greatest voices in contemporary literature, she received a standing ovation from the audience in a sold-out Alumni Hall upon her entrance. As the curtains opened I overheard the person behind me say, “I am humbled just being in her presence.” Her reputation clearly preceded her.

Considering she is 83 years old, no longer flies, and took a 15-hour bus ride from North Carolina to London, Angelou’s appearance at Western on November 3rd was not one to be missed. Despite her age and the hardships she has endured, she is tremendously witty and spirited, sharing astonishing anecdotes from her past.

It is highly unlikely to find someone

who hasn’t heard the words of Maya Angelou.

As a poet, educator, historian, best-selling author, actress, playwright, civil-rights activist, producer and director, she has an equally long list of accomplishments, achieving many firsts for both her gender and her race. She has had the privilege of working alongside both Martin Luther King Jr. and Malcolm X, in addition to reciting her poetry at the inauguration of former U.S. President, Bill Clinton.

Angelou focused on the importance of poetry in our everyday lives. After convincing herself that her voice caused the death of the man who raped her, Angelou became voluntarily mute for six years. What eventually made her break her vow of silence was being told that she would never fully experience poetry until she had spoken the words herself.

Hearing her recite Edgar Allan Poe’s “The Raven,” showed us just how poets like Poe and William Shakespeare have been an influenced to her.

All those present were poised on the edge of their seats for Angelou’s entire lecture, hanging on to every word she spoke. She inspired students to go out and achieve greatness, regardless of their chosen pathways. She eloquently encouraged students to “be a rainbow in someone else’s cloud.” Dr. Maya Angelou’s words and actions continue to stir our souls, energize our bodies, liberate our minds, and heal our hearts. The entire lecture was profoundly moving, and it was an honour to hear her speak.

-ERIN COLLETT

Southwestern Gothic will be on display at Museum London until January. Victor Romão is a Canadian artist living and working in Windsor, Ontario.

-JACQUELINE MOK

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VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

17

the king of pop Prince, the notorious singer, musical genius, and sex symbol is coming to London, Ontario this December.

With more than 20 records to his name, Prince is undoubtedly a musical icon.

From refusing to sell his music to online retailers such as iTunes or Amazon, to changing his name several times, once to a symbol, Prince remains one of the strangest and most mysterious characters in the music industry.

He has created some of the most memorable hits such as “Purple Rain,” “Let’s Go Crazy,” and “Raspberry Beret,” among many others. Prince’s creative genius shaped the dance music

of the 80’s and 90’s with his sex-saturated songs and eclectic combination of funk, rock, and pop.

His fashion sense is also to be admired. Whether he is pioneering 80’s glam by wearing heels or donning a pair of revealing cheetah print chaps on MTV, Prince always finds new ways to stay fresh.

His controversial music, style and prolific creativity have won him the adoration of music lovers of all ages. Like all great performers, Prince’s concert at the John Labatt Centre on December 5th should be nothing less than spectacular.

-MISHA GAJEWSKI

be a rainbow in someone else’s cloud

southwestern gothic Growing up in a small town, Victor Romão is interested in revealing the untold stories that are kept between the locals. His current exhibition, Southwestern Gothic, imparts an intriguing perspective on southwestern Ontario through uncanny, surreal situations. With a collection of ink drawings, multilayer woodcut prints, and polychrome wood sculptures, the elaborate works investigate topics surrounding male violence and a villain-victim complex through disturbing hybrid figures.

Dressed in plaid shirts and jeans, the figures have recurring motifs of bat faces, bagpipes, and masks in place of human heads. Concealing the identity of the individuals, anonymity is increased and the images float without adhering to a specific time or person, allowing the works to live vicariously in the viewer’s mind. The ink drawings often provide a suggestion of space that ground the figures to a certain reality. Crosshatching is so fine that at a distance, the drawings may be mistaken for intaglio prints. The woodcut prints with bold outlines and colours serve as

portraits, or mug shots. On display in glass boxes are wood sculptures, manifesting the character images done on paper. Fashioned and painted by hand, these sculptures bring life to the exhibition as the artist displays his expertise in the medium.

Romão’s work mimics an attractionrepulsion relationship that he sensed while viewing European art that date back to the Renaissance period, particularly within Spain and Portugal. He states that at times he is attracted to something without understanding why, and is careful not to categorize the sensation as he takes pleasure in the unknowing.

Each piece is crafted with precision and detail serving as vignettes to personal experiences encountered during his youth. Though the complete narrative may not be readily available within the imagery, personal interpretations are welcomed by the artist.

To say that Dr. Maya Angelou graced Western with her presence would be an understatement. As one of the greatest voices in contemporary literature, she received a standing ovation from the audience in a sold-out Alumni Hall upon her entrance. As the curtains opened I overheard the person behind me say, “I am humbled just being in her presence.” Her reputation clearly preceded her.

Considering she is 83 years old, no longer flies, and took a 15-hour bus ride from North Carolina to London, Angelou’s appearance at Western on November 3rd was not one to be missed. Despite her age and the hardships she has endured, she is tremendously witty and spirited, sharing astonishing anecdotes from her past.

It is highly unlikely to find someone

who hasn’t heard the words of Maya Angelou.

As a poet, educator, historian, best-selling author, actress, playwright, civil-rights activist, producer and director, she has an equally long list of accomplishments, achieving many firsts for both her gender and her race. She has had the privilege of working alongside both Martin Luther King Jr. and Malcolm X, in addition to reciting her poetry at the inauguration of former U.S. President, Bill Clinton.

Angelou focused on the importance of poetry in our everyday lives. After convincing herself that her voice caused the death of the man who raped her, Angelou became voluntarily mute for six years. What eventually made her break her vow of silence was being told that she would never fully experience poetry until she had spoken the words herself.

Hearing her recite Edgar Allan Poe’s “The Raven,” showed us just how poets like Poe and William Shakespeare have been an influenced to her.

All those present were poised on the edge of their seats for Angelou’s entire lecture, hanging on to every word she spoke. She inspired students to go out and achieve greatness, regardless of their chosen pathways. She eloquently encouraged students to “be a rainbow in someone else’s cloud.” Dr. Maya Angelou’s words and actions continue to stir our souls, energize our bodies, liberate our minds, and heal our hearts. The entire lecture was profoundly moving, and it was an honour to hear her speak.

-ERIN COLLETT

Southwestern Gothic will be on display at Museum London until January. Victor Romão is a Canadian artist living and working in Windsor, Ontario.

-JACQUELINE MOK

16

VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

17

deconstruction

photographer: Siona Stenhouse; creative director: Emily Law; fashion director: Trisha Paguyo; model: Daniel Canavan

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VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

19

deconstruction

photographer: Siona Stenhouse; creative director: Emily Law; fashion director: Trisha Paguyo; model: Daniel Canavan

18

VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

19

FASHION & LIFESTYLE SOCIETY

23

FASHION & LIFESTYLE SOCIETY

23

24

24

Without A Box is a subsidiary of the Internet Movie Database (IMDB.com) geared towards independent filmmakers. The site has free membership, and can send any filmmaker’s work to festivals around the world, including the Glasgow Film Festival, San Francisco Documentary Festival, Philadelphia Film Festival, and hundreds more.

The short film and festival circuit will ideally become a learning experience for Mantini as he meets with fellow filmmakers, witnesses reactions from his audience, encounters constructive criticism, and finds exposure for his work. He hopes that in the future, he may see one of his own movies competing with mainstream Hollywood blockbusters.

Tim Blackmore, who has been teaching for sixteen years as an Information and Media Technologies professor, finds the motivation of Hollywood film directors and producers as primarily commercial:

writen by MARIO STEPHEN LATTAVO

n the crowded set of Discovery Channel’s upcoming television show Canada’s Greatest Know It All, recent film school graduate Sam Mantini works as a production assistant along with cameramen, lighting and sound technicians, writers, directors, producers, and other film professionals, acquiring experience in the world of film production. “It is without a doubt a team effort. Without one person, something would go wrong,” Mantini acknowledges of the hundreds involved in production work.

But Mantini’s aspirations are for the world of feature film. As a filmmaker, there are no easy paths to success, but nonetheless he hopes to one day be a professional director of featurelength movies. Mantini graduated this year from the Film Production program at Confederation College in Thunder Bay, Ontario, shortly before his 20th birthday. He now lives in his hometown of Bolton, Ontario as he tries to acquire experience and connections in the world of film through the Apprentice Program of the Director’s Guild of Canada.

Mantini is slowly starting production on a low budget short film that he will produce, write, and direct with his peers and fellow filmmakers. He will use all that he has learned from his education to create a film that will hopefully do well on the festival circuit.

Along with his friends and fellow students, the aspiring filmmaker has embraced the help of the Internet and technology in creating and exposing his work to the world. For the production of his short film, he will be using a digital single-lens reflex camera (DSLR), which “are cheap and easy to find, and you can get great quality,” especially when compared to professional Red film cameras used for most Hollywood films, which are worth upwards of $30,000. In addition, Mantini will use the website called withoutabox.com, “where you can submit your work to film festivals just by uploading your film to the Internet!”

26

VOLTA MAGAZINE

“when it comes to Hollywood film, there are very few people who are making film for film’s sake...the most important thing is to have a big-money weekend.”

As a fan of Hollywood film, Mantini considers blockbusters released in his local Empire Theater as an inspiration to fulfill his dream of eventually presenting his own films on the big screen. At the same time, he also enjoys how technology has made films more accessible at home. Services like Netflix, Rogers Digital Cable Video-On-Demand, and YouTube have “definitely changed my perspective because I’ve seen a lot more films than I used to.” Video-On-Demand services offer not only Hollywood films, but also independent films and lower budget films made by up-and-coming directors that may have only been played in festivals. These films are on channels like HBO Canada. YouTube began streaming feature-length films and full-length TV Shows in April, 2009, including independent films from the Sundance Film Festival.

The process of film distribution has changed a lot in the last 10 years because of technology. Professor Blackmore stresses that what has changed in recent years is the majority of the audience accepts the lower quality of television and computer screens compared to the spectacular set-up of theaters. Because of the increasing convenience of film, Hollywood directors use new technology in their filmmaking, like a

new 3D-film camera created by James Cameron for his movie Avatar, to persuade the audience to watch their films in the highest quality. This type of technology is obviously not available to independent and student filmmakers like Sam Mantini.

According to the Motion Picture Association of America in their 2010 theatrical market statistics report, “the fastest growing sector of digital screens is 3D.” Moreover, the amount of Hollywood films associated with the MPAA is going down each year, while films with budgets of less than 1 million dollars (which is considered very low budget) is on the rise each year.

However, it is the Hollywood blockbuster films (usually in 3D these days) that take up the majority of screens in theaters. That means that most lower budget films are being seen exclusively in the home.

“The audience expects to be knocked over and have that immersive Avatar or Harry Potter experience. Avatar is a good example where when the big blockbuster rolls into town, it pushes other films out of 9 of the 20 screens. There’s no way an independent film could shoulder its way into that,” says Professor Blackmore, who doesn’t appreciate the overexposure of Hollywood blockbusters for the sake of making money, as opposed to teaching or intriguing the audience intellectually.

“If what we were looking for was a smart film concentrating on an aspect of our lives, you’re not going to find that.

They want to make half a billion dollars on every film if they can, but they can’t. So, (blockbusters) is where the money is going.”

Even though two recent films, The Dark Knight (2008) and Avatar (2009) have broken the all-time worldwide box office records for ticket sales, Hollywood is still protective of its theaters, especially when threatened by services like DirecTV and Netflix, who are making films available at home.

A creative community of Hollywood directors including James Cameron (Avatar), Michael Bay (Transformers), Peter Jackson (The Lord of the Rings Trilogy), and twenty other directors and producers, have made a statement against DirecTV’s Home Premier Video-On-Demand service in support of the National Association of Theater Owners.

DirecTV’s service provides new Hollywood films at home, after they’ve only been in theaters for two months. The standard theatrical run that a film can have before being digitally distributed to homes is four months, meaning DirecTV has shortened the theatrical run by half. These directors are not happy, and want their films seen in their best form: “in stateof-the-art theaters bolstered by the latest in digital projection, digital sound, and stadium seating.”

FASHION & LIFESTYLE SOCIETY

27

Without A Box is a subsidiary of the Internet Movie Database (IMDB.com) geared towards independent filmmakers. The site has free membership, and can send any filmmaker’s work to festivals around the world, including the Glasgow Film Festival, San Francisco Documentary Festival, Philadelphia Film Festival, and hundreds more.

The short film and festival circuit will ideally become a learning experience for Mantini as he meets with fellow filmmakers, witnesses reactions from his audience, encounters constructive criticism, and finds exposure for his work. He hopes that in the future, he may see one of his own movies competing with mainstream Hollywood blockbusters.

Tim Blackmore, who has been teaching for sixteen years as an Information and Media Technologies professor, finds the motivation of Hollywood film directors and producers as primarily commercial:

writen by MARIO STEPHEN LATTAVO

n the crowded set of Discovery Channel’s upcoming television show Canada’s Greatest Know It All, recent film school graduate Sam Mantini works as a production assistant along with cameramen, lighting and sound technicians, writers, directors, producers, and other film professionals, acquiring experience in the world of film production. “It is without a doubt a team effort. Without one person, something would go wrong,” Mantini acknowledges of the hundreds involved in production work.

But Mantini’s aspirations are for the world of feature film. As a filmmaker, there are no easy paths to success, but nonetheless he hopes to one day be a professional director of featurelength movies. Mantini graduated this year from the Film Production program at Confederation College in Thunder Bay, Ontario, shortly before his 20th birthday. He now lives in his hometown of Bolton, Ontario as he tries to acquire experience and connections in the world of film through the Apprentice Program of the Director’s Guild of Canada.

Mantini is slowly starting production on a low budget short film that he will produce, write, and direct with his peers and fellow filmmakers. He will use all that he has learned from his education to create a film that will hopefully do well on the festival circuit.

Along with his friends and fellow students, the aspiring filmmaker has embraced the help of the Internet and technology in creating and exposing his work to the world. For the production of his short film, he will be using a digital single-lens reflex camera (DSLR), which “are cheap and easy to find, and you can get great quality,” especially when compared to professional Red film cameras used for most Hollywood films, which are worth upwards of $30,000. In addition, Mantini will use the website called withoutabox.com, “where you can submit your work to film festivals just by uploading your film to the Internet!”

26

VOLTA MAGAZINE

“when it comes to Hollywood film, there are very few people who are making film for film’s sake...the most important thing is to have a big-money weekend.”

As a fan of Hollywood film, Mantini considers blockbusters released in his local Empire Theater as an inspiration to fulfill his dream of eventually presenting his own films on the big screen. At the same time, he also enjoys how technology has made films more accessible at home. Services like Netflix, Rogers Digital Cable Video-On-Demand, and YouTube have “definitely changed my perspective because I’ve seen a lot more films than I used to.” Video-On-Demand services offer not only Hollywood films, but also independent films and lower budget films made by up-and-coming directors that may have only been played in festivals. These films are on channels like HBO Canada. YouTube began streaming feature-length films and full-length TV Shows in April, 2009, including independent films from the Sundance Film Festival.

The process of film distribution has changed a lot in the last 10 years because of technology. Professor Blackmore stresses that what has changed in recent years is the majority of the audience accepts the lower quality of television and computer screens compared to the spectacular set-up of theaters. Because of the increasing convenience of film, Hollywood directors use new technology in their filmmaking, like a

new 3D-film camera created by James Cameron for his movie Avatar, to persuade the audience to watch their films in the highest quality. This type of technology is obviously not available to independent and student filmmakers like Sam Mantini.

According to the Motion Picture Association of America in their 2010 theatrical market statistics report, “the fastest growing sector of digital screens is 3D.” Moreover, the amount of Hollywood films associated with the MPAA is going down each year, while films with budgets of less than 1 million dollars (which is considered very low budget) is on the rise each year.

However, it is the Hollywood blockbuster films (usually in 3D these days) that take up the majority of screens in theaters. That means that most lower budget films are being seen exclusively in the home.

“The audience expects to be knocked over and have that immersive Avatar or Harry Potter experience. Avatar is a good example where when the big blockbuster rolls into town, it pushes other films out of 9 of the 20 screens. There’s no way an independent film could shoulder its way into that,” says Professor Blackmore, who doesn’t appreciate the overexposure of Hollywood blockbusters for the sake of making money, as opposed to teaching or intriguing the audience intellectually.

“If what we were looking for was a smart film concentrating on an aspect of our lives, you’re not going to find that.

They want to make half a billion dollars on every film if they can, but they can’t. So, (blockbusters) is where the money is going.”

Even though two recent films, The Dark Knight (2008) and Avatar (2009) have broken the all-time worldwide box office records for ticket sales, Hollywood is still protective of its theaters, especially when threatened by services like DirecTV and Netflix, who are making films available at home.

A creative community of Hollywood directors including James Cameron (Avatar), Michael Bay (Transformers), Peter Jackson (The Lord of the Rings Trilogy), and twenty other directors and producers, have made a statement against DirecTV’s Home Premier Video-On-Demand service in support of the National Association of Theater Owners.

DirecTV’s service provides new Hollywood films at home, after they’ve only been in theaters for two months. The standard theatrical run that a film can have before being digitally distributed to homes is four months, meaning DirecTV has shortened the theatrical run by half. These directors are not happy, and want their films seen in their best form: “in stateof-the-art theaters bolstered by the latest in digital projection, digital sound, and stadium seating.”

FASHION & LIFESTYLE SOCIETY

27

The King of Socials 8 It is an understatement to say that society today is quick to judge. I include myself in this pool of evaluators - not proudly, but I do. There is, in fact, a psychological explanation for the prevalence of this attitude, although I can’t say that I know this explanation, or if I really want to. What I do know is that this type of judgment is generally wrong, especially when it comes to judging other people’s social merit. I realize this statement isn’t groundbreaking. In fact, I consider it highly overused. When I look over some of my past experiences, however, I feel the need to reiterate this sentiment, especially when I think about my dear friend, Adam.

Adam and I first met in high school in my hometown of Vernon, B.C. We were in a Grade 8 social studies class together. Our teacher was Mr. Fraher, a man with sparse but wild grey hair and a British accent, which made him very popular among the students of small-town Vernon. Midway through the term, Mr. Fraher assigned a research project on the Black Death, the terrible plague that swept through Europe in the 14th century. We were to research the plague and present this research in any format we saw fit. Popular choices for projects included journal entries, skits, posters, and comics. Being my overachieving self, I decided to go all-out with both style and content. Upon its completion, I thought my project was (in eighth grade lingo) “The Bomb”.

But as impressive as I thought my Socials 8 research project was, it was nothing compared to Adam’s. I couldn’t have competed if I tried. If our projects were movies, Adam’s was an original art film, generating Oscar buzz among top critics of the industry, while mine went direct to DVD.

Adam presented his project in three parts. Part one was a cake he made from scratch. Part two was an interpretive dance.

Part three was, in fact, a movie starring, directed, filmed, and produced by Adam himself.

The cake was the first part of Adam’s masterpiece I no

ticed that day. He breezed into class a few minutes late, calm and composed, carrying a white bag with grey lettering. I did a double take. I had seen that bag before. It couldn’t be! Oh, but it was. I, and probably ninety percent of the girls in that class, had received a bag just like that after purchasing our first bras. It was a La Senza bag. La Senza is, of course, a ladies lingerie shop, and on top of that, about the only lingerie shop in all of Vernon. I wondered what he was carrying in that bag, and how on earth he had the guts, or the naivety, to bring whatever it was to high school in that bag - an underwear bag.

I started to get nervous just thinking about the comments he would face after this display. Simply put, eighth grade boys do not bring bags that have carried women’s underwear to school. What was he thinking? What would happen next?! I sat nervously at my desk, trying to avoid directly looking at the bag.

As I fretted over the situation of the underwear bag, Adam casually set it down and announced to the class that his project must be formally presented to us all. Formally presented? Could this get any worse? Does this kid realize what he is doing?

Seemingly amused, and likely intrigued by Adam’s mystery bag, Mr. Fraher obliged.

“I’d like to start with the cake”, declared Adam. Confused (but most likely hungry) teens exchanged looks around the room. Bringing a cake was definitely a good start if Adam planned on recovering from the mistake of the underwear bag. I began to feel hope for him. However, next thing I knew, Adam was reaching into his bag. From it, he produced a cake.

‘This is a cake I baked from scratch”, continued Adam, “I apologize for its slightly messy appearance. It’s hot outside, and I should have known that the piped butter cream wouldn’t hold up in the heat.”

If he hadn’t before, Adam had the room’s full attention. “Unlike the times of the horrible and tragic Black Plague, we are fortunate

enough to have an abundance of food. This is why I have baked this cake for you all - as a celebration of escaping troubled times like the ones we studied. Please feel free to have a piece at the end of my presentation! ”

Adam then went on to describe the cake in full. I wasn’t a Food Network addict back then, so I had a bit of trouble following his detailed account. But it didn’t matter to me. No matter how delicious and complicated his cake sounded, I did not want anything to do with spoils from an underwear bag. In hindsight, it was a mistake not to try that cake. I have since learned that Adam is an amazing baker.

For the second part of his project, Adam hooked up some cables and cords to the TV at the front of the room. He said he had a video presentation for us. He pressed play.

The next few minutes could only be described as entirely unexpected. In his video, Adam acted out a range of characters, each of which had experienced various degrees of trauma as a result of the plague. For me, Adam’s most memorable personification was of a woman in a frilly pink dress. This particular look was complete with black pumps and a platinum blond wig. I’ll admit I was a slightly sheltered child, thus I had never seen anyone put on this kind of display before. I couldn’t decide whether I found Adam’s portrayal funny, horrifying, charming, shocking, or just plain weird. I looked around the room, trying to gauge the reactions of the other students.

Some laughed, some stared wide-eyed, and others like me looked around shiftily, trying to deduce the appropriate reaction. I continued to feel uneasy until the video ended. Tentative applause rippled through the room.

“And now, ladies and gentlemen, with the help of my backup dancers, I present the finale”. Several girls got up from various positions around the room to stand in a line behind Adam. Adam struck a dramatic pose, commanding immediate attention.

All of a sudden, Adam broke his pose and burst into song.

The girls behind him began ooh-la-la-ing, but none could detract from the star himself. Adam’s colourful vocals were accompanied by flamboyant yet graceful dance moves. It was clear Adam had been formally trained, and well. Extended limbs and pointed toes fluttered their way across the front of the classroom, all as Adam sang about European hardships. Both my mouth and eyes remained wide open for the duration of his dance. When the song came to its conclusion, one of Adam’s chorus girls reached behind her, bringing out a plastic silver tiara. Adam took the tiara from her, and placed the crown on his head, declaring he was the “King of Socials 8”. The chorus girls responded by repeating the line “he’s the King of Socials 8” in outof-tune harmony several times. Adam waved his hand for the girls to stop singing. He took a bow.

For a moment, the class was silent. But soon I, and the rest of my classmates, found we could no longer hold ourselves back.

Applause filled the room. Some people stood. This was clearly the most original and entertaining piece of scholastic work any of us had been witness to.

Adam smiled brightly, the kind of smile that only made everyone cheer louder. He was basking in all his “King of Socials 8” glory.

I looked over at Mr. Fraher, who sat at his desk, an unreadable expression on his face. As the applause began to subside, he cleared his throat aggressively, as if to announce he was still the man in charge. I saw Adam look, perhaps nervously, in his teacher’s direction. What would a nearly retired Englishman think of Adam’s very avant-garde assignment/dance performance/baking exhibition/ feature film? Mr. Fraher cleared his throat again.

“That was beautiful. A+.”

I couldn’t have agreed more.

-MICA LEMISKI

28

VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

29

The King of Socials 8 It is an understatement to say that society today is quick to judge. I include myself in this pool of evaluators - not proudly, but I do. There is, in fact, a psychological explanation for the prevalence of this attitude, although I can’t say that I know this explanation, or if I really want to. What I do know is that this type of judgment is generally wrong, especially when it comes to judging other people’s social merit. I realize this statement isn’t groundbreaking. In fact, I consider it highly overused. When I look over some of my past experiences, however, I feel the need to reiterate this sentiment, especially when I think about my dear friend, Adam.

Adam and I first met in high school in my hometown of Vernon, B.C. We were in a Grade 8 social studies class together. Our teacher was Mr. Fraher, a man with sparse but wild grey hair and a British accent, which made him very popular among the students of small-town Vernon. Midway through the term, Mr. Fraher assigned a research project on the Black Death, the terrible plague that swept through Europe in the 14th century. We were to research the plague and present this research in any format we saw fit. Popular choices for projects included journal entries, skits, posters, and comics. Being my overachieving self, I decided to go all-out with both style and content. Upon its completion, I thought my project was (in eighth grade lingo) “The Bomb”.

But as impressive as I thought my Socials 8 research project was, it was nothing compared to Adam’s. I couldn’t have competed if I tried. If our projects were movies, Adam’s was an original art film, generating Oscar buzz among top critics of the industry, while mine went direct to DVD.

Adam presented his project in three parts. Part one was a cake he made from scratch. Part two was an interpretive dance.

Part three was, in fact, a movie starring, directed, filmed, and produced by Adam himself.

The cake was the first part of Adam’s masterpiece I no

ticed that day. He breezed into class a few minutes late, calm and composed, carrying a white bag with grey lettering. I did a double take. I had seen that bag before. It couldn’t be! Oh, but it was. I, and probably ninety percent of the girls in that class, had received a bag just like that after purchasing our first bras. It was a La Senza bag. La Senza is, of course, a ladies lingerie shop, and on top of that, about the only lingerie shop in all of Vernon. I wondered what he was carrying in that bag, and how on earth he had the guts, or the naivety, to bring whatever it was to high school in that bag - an underwear bag.

I started to get nervous just thinking about the comments he would face after this display. Simply put, eighth grade boys do not bring bags that have carried women’s underwear to school. What was he thinking? What would happen next?! I sat nervously at my desk, trying to avoid directly looking at the bag.

As I fretted over the situation of the underwear bag, Adam casually set it down and announced to the class that his project must be formally presented to us all. Formally presented? Could this get any worse? Does this kid realize what he is doing?

Seemingly amused, and likely intrigued by Adam’s mystery bag, Mr. Fraher obliged.

“I’d like to start with the cake”, declared Adam. Confused (but most likely hungry) teens exchanged looks around the room. Bringing a cake was definitely a good start if Adam planned on recovering from the mistake of the underwear bag. I began to feel hope for him. However, next thing I knew, Adam was reaching into his bag. From it, he produced a cake.

‘This is a cake I baked from scratch”, continued Adam, “I apologize for its slightly messy appearance. It’s hot outside, and I should have known that the piped butter cream wouldn’t hold up in the heat.”

If he hadn’t before, Adam had the room’s full attention. “Unlike the times of the horrible and tragic Black Plague, we are fortunate

enough to have an abundance of food. This is why I have baked this cake for you all - as a celebration of escaping troubled times like the ones we studied. Please feel free to have a piece at the end of my presentation! ”

Adam then went on to describe the cake in full. I wasn’t a Food Network addict back then, so I had a bit of trouble following his detailed account. But it didn’t matter to me. No matter how delicious and complicated his cake sounded, I did not want anything to do with spoils from an underwear bag. In hindsight, it was a mistake not to try that cake. I have since learned that Adam is an amazing baker.

For the second part of his project, Adam hooked up some cables and cords to the TV at the front of the room. He said he had a video presentation for us. He pressed play.

The next few minutes could only be described as entirely unexpected. In his video, Adam acted out a range of characters, each of which had experienced various degrees of trauma as a result of the plague. For me, Adam’s most memorable personification was of a woman in a frilly pink dress. This particular look was complete with black pumps and a platinum blond wig. I’ll admit I was a slightly sheltered child, thus I had never seen anyone put on this kind of display before. I couldn’t decide whether I found Adam’s portrayal funny, horrifying, charming, shocking, or just plain weird. I looked around the room, trying to gauge the reactions of the other students.

Some laughed, some stared wide-eyed, and others like me looked around shiftily, trying to deduce the appropriate reaction. I continued to feel uneasy until the video ended. Tentative applause rippled through the room.

“And now, ladies and gentlemen, with the help of my backup dancers, I present the finale”. Several girls got up from various positions around the room to stand in a line behind Adam. Adam struck a dramatic pose, commanding immediate attention.

All of a sudden, Adam broke his pose and burst into song.

The girls behind him began ooh-la-la-ing, but none could detract from the star himself. Adam’s colourful vocals were accompanied by flamboyant yet graceful dance moves. It was clear Adam had been formally trained, and well. Extended limbs and pointed toes fluttered their way across the front of the classroom, all as Adam sang about European hardships. Both my mouth and eyes remained wide open for the duration of his dance. When the song came to its conclusion, one of Adam’s chorus girls reached behind her, bringing out a plastic silver tiara. Adam took the tiara from her, and placed the crown on his head, declaring he was the “King of Socials 8”. The chorus girls responded by repeating the line “he’s the King of Socials 8” in outof-tune harmony several times. Adam waved his hand for the girls to stop singing. He took a bow.

For a moment, the class was silent. But soon I, and the rest of my classmates, found we could no longer hold ourselves back.

Applause filled the room. Some people stood. This was clearly the most original and entertaining piece of scholastic work any of us had been witness to.

Adam smiled brightly, the kind of smile that only made everyone cheer louder. He was basking in all his “King of Socials 8” glory.

I looked over at Mr. Fraher, who sat at his desk, an unreadable expression on his face. As the applause began to subside, he cleared his throat aggressively, as if to announce he was still the man in charge. I saw Adam look, perhaps nervously, in his teacher’s direction. What would a nearly retired Englishman think of Adam’s very avant-garde assignment/dance performance/baking exhibition/ feature film? Mr. Fraher cleared his throat again.

“That was beautiful. A+.”

I couldn’t have agreed more.

-MICA LEMISKI

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VOLTA MAGAZINE

FASHION & LIFESTYLE SOCIETY

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Chloris & Flora photographer: Jennifer Barrett creative director: Jennifer Barrett models: Emma Barrett, Katie Shui Shim

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VOLTA MAGAZINE

Chloris & Flora photographer: Jennifer Barrett creative director: Jennifer Barrett models: Emma Barrett, Katie Shui Shim

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VOLTA MAGAZINE

The piece is a reflection of a generation of children and young adolescents whom are impossibly steeped in and over-stimulated by image production. As a consequence of this, young people feel the need to create completely fabricated facades for themselves, achieve some kind of false perfection, and make sure the whole world is watching. Boris Groys, media theorist, art critic, and current professor at NYU, discusses this at length in his recent book “Going Public“ when he writes of everyone aesthetically producing themselves. Everyone engages in some form of self-performance when creating their public identity; everyone today participates in the practice autopoetics. Groys argues that since Kant’s idea of beauty, we live in a world where objects are meant to possess something formally perfect about them, and everyone else sits back and judges. In terms of autopoetics, this object becomes the constructed self.

Video Still from Ryan Trecartin, Re’Search Wait’S, 2009

The Public Identity Constructed written by

KASIA KNAP

A disordered, nauseating whirlwind spectacle of attention-starved prepubescent children, Ryan Trecartin’s “Re’Search Wait’S” is an exhausting 40-minute video piece to wade through. The persistently sped up overlap of voices are barely intelligible, causing the viewer to persistently work at making sense of the endless ramblings of the cast, mostly consisting of child actors. Inflated teenage egos and hyper-stylized personas shaped directly by the media and pop culture inhabit the plotless video, constantly performing for the camera ever present in front of their clownish faces. Presented in a non-linear narrative format, it’s especially difficult to discern any logical flow of ideas or stake out any rationality in the video. The viewer is left to soak in the barrage of carnival coloured madness of the characters and the onslaught of their incoherent speech for the full length of the video, while desperately hoping there be a message to be extractedand there is. The video leaves you feeling as if you just wasted two-thirds of an hour watching a trashy reality show, however, that is likely the type of reaction Trecartin was attempting to elicit from the viewer.

Trecartin is a video, sculpture, and installation artist based in Los Angeles whose works are reknown internationally. His “Re’Search Wait’S” is a comment on youth culture in general, but perhaps girl culture in particular. It is a dramatization of early modern teenage life that in fact doesn’t seem far detached from reality at all. All of the action takes place in the domestic sphere, primarily in the bedroom. The adolescents, mostly female, all embody clichés. They are self-entitled, bored, angry, and extremely materialistic. They are always conscious of the camera’s attention on them, never failing to snap pictures of themselves with their digital cameras, text furiously on their Blackberries, or viciously gossip about each other while all of it is recorded. They possess negative dispositions to their peers and surroundings, becoming increasingly more manic and self-destructive as the video progresses. Imagery of knives and blood frequents the work, as well as the destruction of mirrors and walls with hammers. They try in vain to imitate celebrities through the way they haphazardly create their outfits, and sing pop songs while fluttering their eyelashes at the camera. Through the warbled dialogues the viewer can discern there is talk of diets and calories, and issues pertaining to gender. It is more than evident they are all having an identity crisis, are all confused about how to emulate what they see portrayed in the media.

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VOLTA MAGAZINE

source image: http://arttattler.com

The pixelated, grainy footage of the “Re’search Wait’S” paired with the split screens and superimposed text over moving frames create a Youtube aesthetic; the presentation of the video very much akin to how teenagers edit their own Youtube videos and present themselves to the virtual world in reality. The video, though also exhibited in gallery-settings, is readily available on the internet, meaning anyone who has access to this platform can view the work. While his work instigates a discussion about people’s interaction with the internet, Trecartin is also depending on the internet himself. He reproduces the very thing he is critiquing; he, as the artist, is as much a by-product of consumer culture as the characters in his video.

In today’s technologically advanced world, the old understanding of what constitutes aesthetics no longer appears to apply. There has been a monumental, though quiet and unprecedented, shift in perspective and the ways that people see, from aesthetics to that of autopoetics. Traditionally, aesthetics was strictly reserved for the visual arts, which were considered to belong to high culture. Art was a form of mimesis, the artist’s attempt to imitate the natural world. Aesthetics as a discourse would deem which works were beautiful and which weren’t based on the facultative interplay in the viewer’s mind triggered by certain formal arrangements of a piece. Aesthetics then transcended out of the art world and seemingly came to apply to any object. Therefore with this shift, the traditional concept of aesthetics no longer applies. We see everything poetically now, meaning from a technical standpoint, the practices and devices that bring something into existence.

According to Groys, since anything and everything in the tangible universe can now serve as a source of aesthetic experience, consequently art has no privileged position. As a result of the ease of access to technology, everyone today is aesthetically producing themselves; everyone making a performance out of the construction of their identities and simultaneously placing it on display for the viewing pleasure of the world.

There is an almost infernal drive to sell one’s image, to project this stylized persona that will be subject to evaluation. Now anyone can be an artist in the sense that they themselves are the artworks. When someone becomes an artwork, this creates a dual and opposing release of feeling. The idea of being put on display produces pleasure for such an act feeds the ego. However this form of exhibition will also inevitably cultivate fear and anxiety of being subjected to the gaze of others, which is more often than not rather merciless, especially when coming from an anonymous source as will frequently be the case with situations involving the internet.

Children and adolescents are the perfect example of individuals whose primary interests lie in identity construction since they are in the most naïve stage of their human development. Trecartin’s “Re’Search Wait’S” clearly illustrates this observation of Groys’. They are constantly undergoing the process of physical and mental growth while simultaneously feeling the pressure to adapt to what they interpret the world, by means of the media, demands them to be. Such a perceived demand results in the child trying to attain some deluded form of perfection that the media feeds to him/her, subsequently resulting in the habitual construction of a contrived identity. The teenagers in the video revel in their freedom and rebellion while it’s being documented on camera, yet they also give the viewer a sense that they are entrapped and confined.

What Groys urges is a revival of poiesis and techne, a return to stage one aesthetics, and a departure from the customary understandings of aesthetics. He suggests viewing art not from the traditional standpoint of the consumer/spectator, but rather from that of the producer, the artist, the manufacturer of aesthetic experience. There are more images being produced now than there are those who contemplate those images. With internet culture and the trend of producing and uploading self-created videos, the individual becomes both the producer of images and the object to be viewed.

Self-construction has now become a widespread cultural practice. At the conclusion of Trecartin’s “Re’Search Wait’S”, the feeling you experience of having wasted your time is valid. That feeling is what will force you to reflect on what makes up much of today’s media, and what that translates to the consumers of that media.

FASHION & LIFESTYLE SOCIETY

37

The piece is a reflection of a generation of children and young adolescents whom are impossibly steeped in and over-stimulated by image production. As a consequence of this, young people feel the need to create completely fabricated facades for themselves, achieve some kind of false perfection, and make sure the whole world is watching. Boris Groys, media theorist, art critic, and current professor at NYU, discusses this at length in his recent book “Going Public“ when he writes of everyone aesthetically producing themselves. Everyone engages in some form of self-performance when creating their public identity; everyone today participates in the practice autopoetics. Groys argues that since Kant’s idea of beauty, we live in a world where objects are meant to possess something formally perfect about them, and everyone else sits back and judges. In terms of autopoetics, this object becomes the constructed self.

Video Still from Ryan Trecartin, Re’Search Wait’S, 2009

The Public Identity Constructed written by

KASIA KNAP

A disordered, nauseating whirlwind spectacle of attention-starved prepubescent children, Ryan Trecartin’s “Re’Search Wait’S” is an exhausting 40-minute video piece to wade through. The persistently sped up overlap of voices are barely intelligible, causing the viewer to persistently work at making sense of the endless ramblings of the cast, mostly consisting of child actors. Inflated teenage egos and hyper-stylized personas shaped directly by the media and pop culture inhabit the plotless video, constantly performing for the camera ever present in front of their clownish faces. Presented in a non-linear narrative format, it’s especially difficult to discern any logical flow of ideas or stake out any rationality in the video. The viewer is left to soak in the barrage of carnival coloured madness of the characters and the onslaught of their incoherent speech for the full length of the video, while desperately hoping there be a message to be extractedand there is. The video leaves you feeling as if you just wasted two-thirds of an hour watching a trashy reality show, however, that is likely the type of reaction Trecartin was attempting to elicit from the viewer.

Trecartin is a video, sculpture, and installation artist based in Los Angeles whose works are reknown internationally. His “Re’Search Wait’S” is a comment on youth culture in general, but perhaps girl culture in particular. It is a dramatization of early modern teenage life that in fact doesn’t seem far detached from reality at all. All of the action takes place in the domestic sphere, primarily in the bedroom. The adolescents, mostly female, all embody clichés. They are self-entitled, bored, angry, and extremely materialistic. They are always conscious of the camera’s attention on them, never failing to snap pictures of themselves with their digital cameras, text furiously on their Blackberries, or viciously gossip about each other while all of it is recorded. They possess negative dispositions to their peers and surroundings, becoming increasingly more manic and self-destructive as the video progresses. Imagery of knives and blood frequents the work, as well as the destruction of mirrors and walls with hammers. They try in vain to imitate celebrities through the way they haphazardly create their outfits, and sing pop songs while fluttering their eyelashes at the camera. Through the warbled dialogues the viewer can discern there is talk of diets and calories, and issues pertaining to gender. It is more than evident they are all having an identity crisis, are all confused about how to emulate what they see portrayed in the media.

36

VOLTA MAGAZINE

source image: http://arttattler.com

The pixelated, grainy footage of the “Re’search Wait’S” paired with the split screens and superimposed text over moving frames create a Youtube aesthetic; the presentation of the video very much akin to how teenagers edit their own Youtube videos and present themselves to the virtual world in reality. The video, though also exhibited in gallery-settings, is readily available on the internet, meaning anyone who has access to this platform can view the work. While his work instigates a discussion about people’s interaction with the internet, Trecartin is also depending on the internet himself. He reproduces the very thing he is critiquing; he, as the artist, is as much a by-product of consumer culture as the characters in his video.

In today’s technologically advanced world, the old understanding of what constitutes aesthetics no longer appears to apply. There has been a monumental, though quiet and unprecedented, shift in perspective and the ways that people see, from aesthetics to that of autopoetics. Traditionally, aesthetics was strictly reserved for the visual arts, which were considered to belong to high culture. Art was a form of mimesis, the artist’s attempt to imitate the natural world. Aesthetics as a discourse would deem which works were beautiful and which weren’t based on the facultative interplay in the viewer’s mind triggered by certain formal arrangements of a piece. Aesthetics then transcended out of the art world and seemingly came to apply to any object. Therefore with this shift, the traditional concept of aesthetics no longer applies. We see everything poetically now, meaning from a technical standpoint, the practices and devices that bring something into existence.

According to Groys, since anything and everything in the tangible universe can now serve as a source of aesthetic experience, consequently art has no privileged position. As a result of the ease of access to technology, everyone today is aesthetically producing themselves; everyone making a performance out of the construction of their identities and simultaneously placing it on display for the viewing pleasure of the world.

There is an almost infernal drive to sell one’s image, to project this stylized persona that will be subject to evaluation. Now anyone can be an artist in the sense that they themselves are the artworks. When someone becomes an artwork, this creates a dual and opposing release of feeling. The idea of being put on display produces pleasure for such an act feeds the ego. However this form of exhibition will also inevitably cultivate fear and anxiety of being subjected to the gaze of others, which is more often than not rather merciless, especially when coming from an anonymous source as will frequently be the case with situations involving the internet.

Children and adolescents are the perfect example of individuals whose primary interests lie in identity construction since they are in the most naïve stage of their human development. Trecartin’s “Re’Search Wait’S” clearly illustrates this observation of Groys’. They are constantly undergoing the process of physical and mental growth while simultaneously feeling the pressure to adapt to what they interpret the world, by means of the media, demands them to be. Such a perceived demand results in the child trying to attain some deluded form of perfection that the media feeds to him/her, subsequently resulting in the habitual construction of a contrived identity. The teenagers in the video revel in their freedom and rebellion while it’s being documented on camera, yet they also give the viewer a sense that they are entrapped and confined.

What Groys urges is a revival of poiesis and techne, a return to stage one aesthetics, and a departure from the customary understandings of aesthetics. He suggests viewing art not from the traditional standpoint of the consumer/spectator, but rather from that of the producer, the artist, the manufacturer of aesthetic experience. There are more images being produced now than there are those who contemplate those images. With internet culture and the trend of producing and uploading self-created videos, the individual becomes both the producer of images and the object to be viewed.

Self-construction has now become a widespread cultural practice. At the conclusion of Trecartin’s “Re’Search Wait’S”, the feeling you experience of having wasted your time is valid. That feeling is what will force you to reflect on what makes up much of today’s media, and what that translates to the consumers of that media.

FASHION & LIFESTYLE SOCIETY

37

Plastic

Lara wears custom newsprint braid dress made for editorial

photographer: Caileigh Kyle; creative director: Emma Barrett; women’s fashion director: Trisha Paguyo; men’s fashion director: Daniel Canavan; creative advisors: Shaista Kitabi, Catherine Bolduc; women’s stylists: Patricia Omoruwa, Alyssa Owens, Stephanie Wood, Dipti Kewalramani, Shivani Patel, Faustina Setiawan, Tiffany Tubi Tse; men’s head stylist: Rel Ollivirrie; men’s stylists: Aaron Gray, Armin Hossini, Merrick Chan; men’s assistant stylist: Kevin Hurren; make-up artist: Jasneet Nijjar fashion sketch illustrator: Carolyn Chen; design collaborators: Alexandria Petropoulakis, Candra Staffen, Julide Cakiroglu; models: Elsa Fridriksson, Brodie Lawson, Lara Gomez, Jan Kuzan contributing photographer: Daphne Wu

Plastic

Lara wears custom newsprint braid dress made for editorial

photographer: Caileigh Kyle; creative director: Emma Barrett; women’s fashion director: Trisha Paguyo; men’s fashion director: Daniel Canavan; creative advisors: Shaista Kitabi, Catherine Bolduc; women’s stylists: Patricia Omoruwa, Alyssa Owens, Stephanie Wood, Dipti Kewalramani, Shivani Patel, Faustina Setiawan, Tiffany Tubi Tse; men’s head stylist: Rel Ollivirrie; men’s stylists: Aaron Gray, Armin Hossini, Merrick Chan; men’s assistant stylist: Kevin Hurren; make-up artist: Jasneet Nijjar fashion sketch illustrator: Carolyn Chen; design collaborators: Alexandria Petropoulakis, Candra Staffen, Julide Cakiroglu; models: Elsa Fridriksson, Brodie Lawson, Lara Gomez, Jan Kuzan contributing photographer: Daphne Wu

Elsa wear’s dress stylist’s own, custom newsprint bracelet made for editorial; Jan wear’s tuxedo stylist’s own, custom newsprint lapell and bow tie made for editorial

40

Elsa wear’s dress stylist’s own, custom newsprint bracelet made for editorial; Jan wear’s tuxedo stylist’s own, custom newsprint lapell and bow tie made for editorial

40

Brodie wears a black liquid dress, $120 from Lolita, London, ON, and custom over the knee newsprint boots made for editorial

Brodie wears a black liquid dress, $120 from Lolita, London, ON, and custom over the knee newsprint boots made for editorial

Elsa wears black bandeau, editor’s own, and custom newprint cootie catcher skirt made for editorial; Jan wears a white shirt, stylist’s own, black poly-viscose welt pocket pants, $67 from American Apparel, and custom newsprint vest made for editorial

Elsa wears black bandeau, editor’s own, and custom newprint cootie catcher skirt made for editorial; Jan wears a white shirt, stylist’s own, black poly-viscose welt pocket pants, $67 from American Apparel, and custom newsprint vest made for editorial

Brodie wears white fitted blazer, stylist’s own, custom newsprint fan shoulder piece made for editorial, black cottom spandex tube bra with ruched front, $17 from American Apparel, Pasha high-waisted buffalo shorts, $69 from D’Lane’s, London, ON; Jan wears black tuxedo pants and white shirt, stylist’s own, custom blazer lined with newsprint and newsprint lapel flower made for editorial

Brodie wears white fitted blazer, stylist’s own, custom newsprint fan shoulder piece made for editorial, black cottom spandex tube bra with ruched front, $17 from American Apparel, Pasha high-waisted buffalo shorts, $69 from D’Lane’s, London, ON; Jan wears black tuxedo pants and white shirt, stylist’s own, custom blazer lined with newsprint and newsprint lapel flower made for editorial

48

Brodie wears black Motel Adelina dress with sweetheart neckline on a mesh scoop neck, $110 from Lolita, London, ON; Lara wears custom newsprint bodice piece with black bandeau, editor’s own; Elsa wears black satin ruffle shirt, black disco pants, $92 from American Apparel

48

Brodie wears black Motel Adelina dress with sweetheart neckline on a mesh scoop neck, $110 from Lolita, London, ON; Lara wears custom newsprint bodice piece with black bandeau, editor’s own; Elsa wears black satin ruffle shirt, black disco pants, $92 from American Apparel

Lara wears custom newsprint braid dress made for editorial; Jan wears white shirt and tuxedo, stylist’s own, with custom newsprint bow tie and lapel flower made for editorial; Elsa wear’s black backless dress $120 from Lolita, London, ON

Lara wears custom newsprint braid dress made for editorial; Jan wears white shirt and tuxedo, stylist’s own, with custom newsprint bow tie and lapel flower made for editorial; Elsa wear’s black backless dress $120 from Lolita, London, ON

Let it Snow:

A Man’s Guide to Enduring the Elements written by ANDREW PEL

Put On Some Weight: Invest in a double-breasted topcoat, tweed, wool, or grey flannel jackets or trousers, a colourful down vest, heavyweight ties, boots with suits, corduroys, knit caps and layers. You’ll stay warm, and look cool.

patterned version of these holiday favorites. The trick is not looking like chalet upholstery: find those classic geometric designs anchored by simple colours like cream and navy blue, and punch up your game for the après-ski.

Bold Socks: Be fearless. Try on some deep scarlet, ul-

tramarine and Chartreuse. Consider argyle. Horizontal neon stripes. Thunderbolts. Thicker, textured solids or mixed-texture grays are warmer and have an appropriately winterized style.

Pair them with some fitted dark jeans, grey trousers, or khakis if you’re feeling dandy, and have fun experimenting.

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VOLTA MAGAZINE

source image: http://www.casperbangs.com

The Fair Isle Sweater: Throw on a trim, audaciously

VOLTA: [vohl-tuh, vol-; It. vawl-tah] In literature, the volta, also referred to as the turn, is the shift or point of dramatic change.

Let it Snow:

A Man’s Guide to Enduring the Elements written by ANDREW PEL

Put On Some Weight: Invest in a double-breasted topcoat, tweed, wool, or grey flannel jackets or trousers, a colourful down vest, heavyweight ties, boots with suits, corduroys, knit caps and layers. You’ll stay warm, and look cool.

patterned version of these holiday favorites. The trick is not looking like chalet upholstery: find those classic geometric designs anchored by simple colours like cream and navy blue, and punch up your game for the après-ski.

Bold Socks: Be fearless. Try on some deep scarlet, ul-

tramarine and Chartreuse. Consider argyle. Horizontal neon stripes. Thunderbolts. Thicker, textured solids or mixed-texture grays are warmer and have an appropriately winterized style.

Pair them with some fitted dark jeans, grey trousers, or khakis if you’re feeling dandy, and have fun experimenting.

52

VOLTA MAGAZINE

source image: http://www.casperbangs.com

The Fair Isle Sweater: Throw on a trim, audaciously

VOLTA: [vohl-tuh, vol-; It. vawl-tah] In literature, the volta, also referred to as the turn, is the shift or point of dramatic change.