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gig poster project

New Order Power, Corruption, and Lies

Age Of Consent | We All Stand | The Village | 586 | Your Silent Face | Ultraviolence | Ecstasy | Leave Me Alone

New Order Produced by New Order A Factory Record

Engineered by Michael Johnson | Assisted by Barry Sage and Mark Boyne

Factory Records

Gillian Gilbert — synthesizers and programming, guitars Bernard Sumner — vocals, guitars, melodica, synthesizers and programming Peter Hook — 4 and 6-stringed bass, electronic percussion Stephen Morris — drums, synthesizers and programming

Po w e r, C o r r u p t i o n , a n d L i e s

record sleeve project

L’Occitane Lavender Home Perfume 3.4 fl. oz

Sprayed in all rooms, this indoor Calming and Soothing Home Perfume will give your home a Provencal Ambiance. This fragrance combines the aromatic freshness of lavender essential oil, the sweetness of vanilla and the intensity of cedar and vetyver.

magazine advertisement project

New York Times Style Magazine

New York Times Style Magazine




Why do we yearn to be thin? Daphne Merkin explains our consuming fear of flesh. Fashion, which has always been as much a narrative about the body as it is about clothes, has rarely taken kindly to the idea of flesh. Much as we may wax nostagic about the Rubenesque ideal or the buxom, wide-hipped wenches of Restoration comedies, in its modern iteration fashion has steadily downsized the human scale,

privileging the indiscipline of life over the fiercer control of art, the unaerobicized body spilling over the contours of an artificial silhouette, be it Christian Dior’s New Look in 1947 or Marc Jacobs’s New Look for Louis Vuitton this fall, Flesh also suggests the threateningly female, moistness and blood, the hothouse clutches

called “Huge.” Over the past three decades That Women Carry.” “because the brief period in which I live does not; since a clutch of more radically conceived I was born, even the voluptuous calendar phenomena has also emerged, including girl has gone. Today’s models, the Indeed, well before the concept of a size 0 fat studies and fat activists (“body or 2 became ensconced in the clothing liberationists”) who engage in fat politics, women whose pictures I see constantly, unavoidably, grow more minimal by racks of Barney’s (where you will be hard which attempts to fight the anti-fat the day.” For confirmation, one need look put to find a size 12) or Bergdork Goodstigma head-on by positioning the big no futher than the example of Filippa man (which designs to include a few 14s), body in all its perceived abjection as an Audrey Hepburn was a designers option to be accepted and even celebrated. Hamilton, the Ralph Lauren model who, at 5 feet 10 inches and 120 pounds, dream—Hurbert de Givenchy’s dream, to “I’ll take my naked body to the streets be specific—in large part because she in protest,” writes one such defiant revolu- was pink-slipped last year and claims it was because she was regarded as overweight. laced all curves. Her swan like neck and tionary named Mariko Tamaki. “I’ll wondrous face undoubtedly helped pummel the public with what it insists on Or to the non-model extras that Miuccia Prada reportedly fired last Decemeber endear here, but from a fashion point of denying and avoiding: tons of mountainwhile she was designing the costumes for view, she might as well have been an Metropolitan Opera’s recent animated hanger. Watching her recently in “You’ve got fat mothers the production of Verdi’s “Attila,” deeming them “Paris When It Sizzles,” it is impossible with their bags of chips impossible to dress. “I need models!” to take your eyes off her razor-thin presthis reputedly open-minded, deep-thinkence as she sliced through some of the sitting in front of the ing fashion star is supposed to have said. film’s sillier moments with aplomb. Nothing television and saying disturbs the surface of the pastel wardthin models are ugly.” All the same, it is hard to imagine that robe of suits and tailored dresses Givenchy flesh in all its ungainly specificity will ever has created for her to wear (although how a typist-for-hire would get within ous, sexy flesh. I’ll bare my bare boobs, and be given its due so long as beautiful equals thin. Harder yet to imagine that gazing distance of clothes that are clearly squish my sweaty bum at strangers. . . . young girls who are over weight or a couturier’s vision is conveniently I’ll gather an army of fat angry naked who deviate from the cultural norm of ignored), no sign of breasts or hips strain soldiers and we’ll take to the streets.” Into extreme thinness will ever fill signifat the enclosure of fabric. the fray, Beth Ditto! icantly better about themselves—the efforts Still, our current phobia about flesh—not This season’s fashion narrative, ever mind- of fat activists not withstanding—than Judith Moore, the author of the haunting when it comes to showing a sexy ful of populist sentiment, has tipped memoir “Fat Girl: A True Story,” felt glimpse of skin but rather when it comes its hat in the direction of size diversity by about herself: “I hate myself. I have always to revealing wobbly or lumpy parts of featuring somecurvier styles replete hated myself. . . I do not hate myself the body that have not been toned to a with circle skirts and cantilevered breasts for betrayals, for going behind the back of fare-thee-well—is at an all-time high. Our among the usual array of pared-down someone who trusted me, I hate myself collective fear of fat and idealization of ones, clothes for “real women” instead of because I am not beautiful. I hate myself thinness has resulted in a seriously starved models. Clothes, that is, made askew notion of the physical self that has for the amply endowed Christina Hendricks because I am fat.” There is something in us that doesn’t like fat. Something deeply produced an epidemic of body-dysmorof “Mad Men” instead of for the bevy phic illness like anorexia and bulimia, of skinny loveli cably gone. Accordingly to ingrained in us that draws us to thin. Female consumers of all sizes, according to which increasingly have included young a new biography of the actress by a recent study, seem to prefer looking men as well as young women among Robert Gottlieb, jokes about Bernhardt’s at ads with thin rather than plus-size models. their victims.“In a modern capitalist ostensibly skeletal physique once The origins of this preference are patriarchy such as the United States.” obabounded: “She’s so thin that when she complex, having to do with tangled notions serves Kathleen Lebesco, author of swallows a pill, she looks pregnant.” about purity versus contamination, self“Revolting Bodies? The Struggle to Rede“When she takes a bath, the level of water indulgence versus self-control, and fine Fat Identity,” “fat is seen as repulsive, goes down.” the ambivalence with which we regard our funny, ugly, unclean, obscene and own appetites. In some sense fashion above all, as something to loose.” One In their place is a perspective that looks designers are merely messengers, delivering would be hard put to disagree with this upon Marliyn Monroe as suspicup to us our own grotesque parody of assessment, no matter that this unforgiving iously full-figured instead of pleasingly religious grace, in which food substitutes reality inevitably stirs a cultural zaftig and insists on an undeviatingly response that attempts to rectify the balance lean aesthetic as the beauty ideal. “It doesn’t for sex and the sinful pleasures of the flesh lead only to the purgatory of a size 14. by embracing, on one end of the specmatter that whole human epochs have trum, the fleshly figurative in art and, on celebrated big men and women.” Sallie the other, a TV show about fat camp Tisdale writes in her essay “A Weight with their bagsof chips sitting in front of the television and saying thin models are ugly.”)

of a heavy-breasted mother—offputting images for male fashion designers, who are more often than not gay, (Think of Karl Lagerfeld’s withering disdain on hearing that a German magazine would now be using only regular-sized women in its fashion spreads:“No one wants to see curvy women. . . . You’ve got fat mothers

magazine spread project

bookcover project






W E L C O M E SCOTT I. BAUER Managing Partner

charcoal on paper


Portfolio of UIUC graphic design student Will Ryan

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