SWATCH Magazine SS16

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Vol. 5 Issue No. 10

Editors–in–Chief

ENARA NAZAROVA and GIOVANNA ALVAREZManaging Editor, Bookings Director

KAILIE WENDT

CREATIVE

MULTIMEDIA

Menswear Director JOURDAN PORTER Womenswear Director ERICKA DIAZ Womenswear Assistant KELLY SLATTERY, JOURDAN PORTER, ANNALISE BEEBE

Menswear Assistants AMBER T PHILLIPS and GRACE GREEN, International Fashion Coordinator CATALINA JIMENEZ

Lead Art Director NICK KIELBASA Art Directors NICOLE MORAR, ENARA NAZAROVA, GIOVANNA ALVAREZ

Media Director NICOLE ZELAYA Videographer KUAN NI

Photographers NICK KIELBASA, MIA GRANADE, AUSTIN TOLCHIN

MARKETING

Digital Director NICOLE MORARTreasurer AUSTIN TOLCHIN

WRITING

Executive Editor LEXI PUSHKIN Executive Editor Assistant NICOLE MORAR

Staff Writer GRACE GREEN, CATALINA JIMENEZ, KELLY SLATTERY, NICOLE ZELAYA, ANNALISE BEEBE, ANNA BOMMEL

THANK YOU TO OUR CONTRIBUTORS and SPONSORS

VANESSA HATSUIKER

101 Cantina, Avant Garb, Banana Republic, Cancun’s, Curio, Dillards, Fab’rik, Francesca’s, Goodwood Museum and Gardens, Haute Headz on Gaines, Henri Girl, Hotel Duval, Liberty Bar, Matt Burke Photography, Narcissus, Olde Fields, Planet Beach, Powberry, Reef Boutique, Stadium Center, Student Housing Solutions, Sweet Shop, The Edison, The Other Side Vintage, The Wine Loft, Total Qality

Roofing, Vocelles Bridal, Walter Green, Wonsaponatime

EDITORIAL

COVERGIRL

31Buttermint Haze

16Spring _

Summer20

Health & BeautyBITE ME

COFFEE + CHARCOAL

MOVING STILL

FashionOREL BRONDT

BUTTERMINT HAZE

CultureYOUNG ARTISTS

RAW

THE BIRTH OF DECAY

IMMACULATA

HYBYCOZO

ELEVEN ELEVEN

TravelKEENAN REILLY

NEW YORK, I LOVE YOU

FASHION AROUND

THE WORLD

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SWATCH /letter from the editors

Spring is a season of transformation, which means it’s time to say hello to summer and goodbye to our last issue as Editors. Taking this opportunity, we wanted to share with you the world of our dreams. Still in our youth, we have not yet been jaded by the vices of adulthood; though some might think it is naïve to not loose hope, the need to stay true and advocate for what we think is deeply important is pressing. While higher education is still a privilege for most, one limitation of being in a university setting is that classroom environments leave little room for experiential knowledge.

We believe the key to improving our emotional, physical and spiritual wellbeing is found in creativity by fostering deeper levels of intelligence through design, music, dance, and other art forms that increase the human capacity to adapt to emotional stress. As targeted advertisements strategically construct a misrepresented reality we are being lied to thorough art which used to be man’s most sincere reaction to the world. Has greed distorted the fundamental pillars of authenticity and creativity?

Feeling uninspired by what we were seeing in the mainstream media we began to dream of a different future embarking on a grandiose search for meaning. Instead of looking for the next product to buy or a new piece to wear we sought honesty by averting fear and expectations, emulating artists who built meaningful lives and careers creating meaningful art.

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Spring doesn’t always look floral and summers don’t always look like a sunny poolside and even in Tallahassee you can feel the bite of the cold. Instead of engineering content in pursuit of perfection we set out to cook without a recipe, training our senses and just learning to love the process. Everyone’s given a different set of ingredients, what you make is up to you.

This season’s theme MOSAIC focuses on elements that make up the fabric of our reality, the common forces that act upon our lives: our rich inner world of emotions and dreams, the external physical environment, and the spiritual realm that’s left in between. In this issue we explore traditional and recognizable symbols, bending and shifting the essence of the related visual concepts experimenting with how they can be perceived.

We seek clarity in nature, forsaking the familiar for the unknown. There’s stillness that you can’t find anywhere else, the listening silence in which we found comfort amidst the constant churning of our mechanical world. We seek simple forms - the silky peach tones, the easy and light - drawing inspiration from organic forms, geomet-ric silhouettes and boundless breathable spaces, physically transporting ourselves off the paved streets into the wild dreaming.

When nature begins to reawaken and the winter’s shift and shuffle turns into a beautiful dance, we drink up the warmth of the golden light and thaw out from the stiffness of our past. As we continue to fight for the light, enduring life’s growing pains, springtime reassures us that we will bloom again.

Our hope is that you will feel inspired and continue to create meaningful art. Let your vision be lean and lasting, always moving towards the reality of life and not its appearance.

Yours truly,

G+E

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B I T E M E Found on the corner of 174 Prince St. NY

lays a fun and useful beauty boutique there to solve all lipstick related issues.

The Toronto based company, Bite Beauty REDIFINES the way you can choose your lipstick. The mixing and matching of the

thirty-four signature SHADES ranging from white to black will offer the hydration that your lips are CRAVING.

C a t a l i n a J i m e n e z G o m e z

SWATCH /health & beauty

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Playing with colors and scents in a small house kitchen is how the creator of this brand came up with the idea of the lip lab, which offers the same creative opportunity to customers. Now, three years after what started as a pop-up store, SoHo’s Bite Beauty Lab is the only store of its kind, with the exception of one in Toronto, which opened just recently. Endless possibilities can result from the mixing and matching the thirty-four brightly pigment-ed shade varieties that Bite Beauty Lab offers; ranging from white to black. Every mixture created can be tried on with a small applicator in Sephora locations. The process of creating your own hand crafted artisanal lipstick begins by applying Bite’s special remover, which erases every shade of lipstick from nudes to dark purples. Followed by their house exfoliator, making your lips feel as soft as the sweet, lingering notes of cherry, and lastly applying an agave lip mask, which hydrates the lips to ensure a smooth, clean look and feeling. The lipstick can either have a matte finish or a glossy look and after picking a

desired shade you are given the option to choose up to two of eight available scents: citrus mango, violet, mint, vanilla, cherry, mango and wild berry. Mixing wild berry with vanilla, for instance, creates a scent simlar to that of a blueberry muffin. After choosing the color, scent and packaging the mixture is melted down, spends about seven minutes in a centrifuge and is poured into a mold left on top of a freezing surface to cool until solid. Upon leaving, every customer is handed a small red box holding their custom lipstick with a red card attached including the lipstick specifications, serving as guide for using Bite Beauty’s online re-order option. For forty-five dollars, a custom lipstick made of all natural beeswax makes its way into a satisfied customer’s makeup bag. Stepping out of the store with a foot already on the street, a thought comes to mind: no one can ever get enough of New York

Meet the founder, Susanne Langmuir

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• half cup of coffee grounds• half cup of brown sugar • quarter cup of either olive or coconut oil

Mix together into a medium sized bowl until a good consistency. Use the scrub during a hot bath or shower, and enjoy. For best

results, massage the coffee scrub onto damp skin, leave for three to six minutes, and then wash it off.

Create Your Own Scrub

The Benefits. Did you know that your morning cup of joe is also a great natural exfoliator? Coffee grounds buff away dead skin cells which encourages the skin to feel soft and supple. When caffeine is applied to the skin, it stimulates blood-flow which helps to reduce the appearance of cellulite, stretch marks, eczema, psoriasis, and other skin conditions. The way the caffeine increases circulation can also aid hair growth. When massaged directly onto the scalp, caffeine

stimulates hair follicles speeding up their growth process. If you’d like to try this at home, grind up or crush coffee beans, massage the grounds onto the scalp and throughout the length of your hair in the shower and then rinse with cool water. (this may darken lighter colored hair). Coffee’s properties also increase hair sheen by breaking down any product residue, which causes dullness. Coffee has an anti-inflammatory agent, meaning it can reduce acne trouble. Using the grounds as a scrub to brighten the skin reduces redness, tightens the skin, and calms under eye circles when applied topically. To prepare a mixture that will help reduce acne and blemishes, mix coffee grounds with milk and raw organic honey until a thick paste forms. Apply the coffee paste mixture to a freshly washed face allowing it to sit for about fifteen to twenty minutes. Then simply rinse the mask off with cool water and pat skin dry.

CoffeeK e l l y S l a t t e r y


Activate. Purify. Repeat. Activated charcoal is one of the Earth’s many natural blessings containing cleansing, purifying, and healing properties. This element is a form of processed carbon which has small pores that increases its surface area for absorption. Like a sponge, charcoal absorbs toxic organic matter, and removes these impurities from the air, and even within our bodies. From teeth whitening, skin clearing, to purifying water the uses for this naturally occurring miracle are unlimited. Its’ natural adhesive qualities let it bind with tannins, the surface-staining compounds found in coffee, tea, tobacco, berries, wine and other foods that stain teeth; however, it does not lock on to minerals such as calcium found in our teeth, which may harm enamel if used regularly. Using activated charcoal as a teeth whitener is far safer and cost effective than those found in drug stores. Activated charcoal works wonders on the skin when applied topically: it keeps skin clear by acting as a magnet to draw dirt out of pores and improves the overall complexion by smoothing dry patches.

To remove dirt and toxins from your pores try using a blackhead busting charcoal facemask. To make your own mask at home, break open two activated charcoal capsules, add half a teaspoon of bentonite clay and one and one half teaspoons of water into a small bowl until a paste is formed. Apply the mask evenly to clean, damp skin (avoid contact with eyes). Let the mask sit for about seven to ten minutes or until dry. Wash the paste off, pat face gently with a clean towel, and apply a non-comedogenic facial moisturizer.

Coffee Charcoal+

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MOVING STILL

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p h o t o g r a p h e r / N i c h o l a s K i e l b a s a w r i t e r / A l e x a n d r a P u s h k i n

Long garments DRAPE themselves around the body in this dance inspired shoot. Using the body as their guide, these LOOSE

fabrics permit dramatic yet delicate MOVEMENTS. Earth tones such as cream, beige, and stone, combined with soft inclusions of red

and blue creates an all over relaxed FEEL.

MOVING STILL

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People often live their lives day to day with some sort of a routine: keep the house clean, get groceries, prepare food, work, and any number of other aspects of the typical daily procedures fulfilled for the purpose of satisfying the physical needs modern day life presents one with. Many times this will leave one’s emotional and spiritual fulfillment—one’s art—to the creeping night sky and bright moon in the wee hours of the morning, more often than not, when a person decides he or she is too tired.

In today’s society, the idea of putting subjects such as math, science, engineering, and technology first proves both common and functional. The modern world has developed greatly in just the past ten years, and as it continues to evolve quickly with help from these fields, the technically minded have become highly valued. In response to this, basic education has established a set of skills that provide students with the tools needed to excel in any modern field; science, math, history, literature, and, now, computer fluency, for example, make up the typical college liberal arts require-ments. The essential skills students receive from these classes—basic arithmetic, knowledge of notable events, reading, writing, and basic computer application functions—do not, however, encompass the critical skills and means of expression.

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In a physically growing world, schools often find it easier to push the arts aside in favor of these studies. However having a means of expression, or an outlet, is not only practical in today’s world, but indispens-able. The ability to have a method or medium in which to exert one’s ideas, emotions, or processes not only serves the person who utilizes this space, but also improves the person’s space around them.

The Maggie Allesee National Center for Choreography (MANCC) at Florida State University takes on this challenge by providing a unique space for visiting artists to research and explore their work and themselves within the privacy and convenience of a research institution. Due to its location, MANCC is the only one of its kind in the United States. Its newest director, Carla Peterson, has adopted this project from its founding director, Jennifer Calienes. Having an established base, MANCC, through Peterson’s orchestration, can continue to grow and be a safe place for artists.

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“MANCC does something that is quite unique in the country in terms of offering residences to artists. The combination of offering time and space coupled with something that tends not to happen as much, which is give artists fees for their residency costs, which MANCC does. In other words, we support their coming here,” Peterson explains. MANCC pays for these fees because artists’ coming here, in a way, requires them to leave their jobs for a period of time. The unique aspect of paying artists’ fees, although seemingly small, helps tremendously with their creative processes, but MANCC still goes beyond that by giving them a space. Visiting artists have access to the studios at all times, having provided the reason for their residencies as well as experience within the field. “Most of the artists that come here are artists that have been working for a while,” says Peterson. “It’s not so much something—although I’m changing this with a new initiative—for artists who are just coming out of the starting gate because I really think the ability to manage your time and your focus with what you want to accomplish within a certain time frame is something that takes experience, for an artist that has already developed a voice and has a direction they’re going in.” This draws artists to MANCC: its location within a research institution. The access to Florida State’s resources allows for a more engaging visit for not only the school, but the artist. Within MANCC, a research associate learns about the artist’s work six months prior to the artist’s visit, and uses that time to build connections for that artist while at the university if need be. It is the balance of space and helpful colleagues that MANCC provides that stimulates and nurtures creativity, especially when artists are in the early stages of their work. Artists such as David Neumann, according to Peterson, find this access invaluable. Neumann began work on a piece where he copes and understands two substantial events in his life: enduring the storm Hurricane Sandy while living in New York and the passing of his father. While in residence at MANCC, Neumann met with a hospice nurse at Florida State to gain insight into the profession of taking care of ill loved ones. This meeting, along with others Neumann had, had profound effects on his work.

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Behind such a distinctive program stands Peterson with past work that proves just as unique as the program itself. Peterson herself began as an artist; working during the day as an arts administrator and in the evening in her studio, she decided to begin dedicating her time to helping artists. “I knew about MANCC because I was an artistic director at Dance Theatre Workshop in New York. The dance and performance world is not that huge, and if you’re talking about progressive experimental work, you don’t know everybody, but you kind of know who’s running venues [and] who is going to be interested in this kind of work,” Peterson says. She has also worked with the previous director of MANCC, providing the technical residencies for artists while MANCC provided the creative. She began visiting MANCC to see how it functioned, and what it contributed to those who have had residencies. “I saw what an impact it made on the finished product.”

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Peterson continues to excitedly explore possibilities with her colleagues about how to better the organization. “Dance in this country really needs these kinds of things,” Peterson describes. Art electives cannot suffice the human need for expression. Peterson describes art not as an option, but a necessity: “Art has something to do with fundamental needs of expression that we as human beings have while on this Earth. It’s governed by where and when we find ourselves and what the situation is in terms of economics, class, culture, geography, politics, but there’s a fundamental need in human beings that courses through every cultural group in history, and that’s very easy to make the case because you can look at what was going on in cave paintings. There’s been art of some form or another in every single culture. It operates somewhat differently, but it has a unifying structure; it has something to do with bringing social groups together.”

Art serves as a tool for communication, and just as technology, science, and math play pertinent roles in the modern world, art provides critical methods for communicating this information. Writing, graphic design, social media, and other art-related skills and fields support every person’s daily routine, and to set aside time for this is to help cultivate it, and dance is just one of the many ways to do so. “Dance is an art form for those artists who want to fundamentally use their body as the primary site of investigation,” Peterson explains. “Their body is the thing. Some dancers will go into studying what the cannon is, and they’re very interested in the modern and postmodern forms, and that is what they study and train in.” These artists come to MANCC with that training, not tied to it. “That training becomes a tool for them as opposed to a limitation.”

24OOrel Brodt’s INTIMATE relationship with nature and social

environments characterizes the designer’s various works. One does not simply wear her garments but EASILY slip into the tailored cuts. Brodt’s pieces and ideas explore the

human FORM establishing a thoughtful connection between the

tailor and the client.

Loose garments line the curves, ripples, and crevices of the

human form

SWATCH /fashion

25O Orel Brodt grew up with a love for fashion, a love that has moved and shaped her brand as the body does within her garments. “I’ve almost always been interested in fashion. I have sketchbooks filled with drawings of clothing from around ages six to seven,” says Brodt. She then went on to attend a high school that allowed Brodt to major in fashion. “Since then I knew that I love transforming people through clothing.” Orel Brodt Designs grew when it began to take root in other countries. Brodt’s travels have helped to guide her inspiration for her projects as well as expand her views on art, fashion, and the act of traveling itself. “Travel is experiencing a culture and a people. For me it’s three things: people, food and art. I like to get to know the locals, try different cuisines and explore the culture through their visual history,” says Brodt. “I lived in Israel for my last two years of high school and it completely changed me as a person and as a designer. The colors, the textures, the food and the people are all so colorful and so inspiring, along with the way they see life.”

Orel Brodt

A l e x a n d r a P u s h k i n

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“ It’s about believing you are going to make it and pushing through .”

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“For me it’s about details,” says Brodt. “If I see seams or colors or

pockets I like while traveling I sketch it or snap it and find a way to incorporate them later.” The bits and pieces Brodt collects from her

environment have helped to build the projects in her portfolio, many

of which come from human relationships as well as people she

has come across.

Within an industry that relies on fast-paced shaping and reshaping,

fashion designers, Brodt believes, should possess intrinsic motivation.

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Rather than thinking about trends, Brodt uses her environ-ment to incorporate into her art. “I used to work for Viktor and Rolf for a short while and I really appreciate their perspective on fashion. They believe fashion is art and refuse to go commercial; they recently stepped their ready to wear line to focus on couture,” says Brodt of her past work, which lends insight into what she hopes to see in herself as a designer. From looking at Brodt’s art, one can see the delicate attention given to each and every piece. Her projects such as “Opera-tion Protective Scottee” focused on a muse, a performance artist named Scottee, whose articles inspired her to focus on a war between Israel and Palestine called Operation Protective Edge by finding a unifying symbol between Islam and Judaism. “Travel is very evident in my design, but I don’t think about trend,” Brodt says of her work.

For a fashion designer, Brodt has seen many sides of the industry; for someone who is just beginning her career, she sees and understands the tenacity it takes to make it. “I think it’s all about drive and ambi-tion. So much about design is time consuming and difficult. A lot of hours, little money, many free internships. But it’s about believing your going to make it and pushing through,” says Brodt. “It’s an industry full of people who tell you that you can’t do what you want; you have to be the kind of person to

prove them wrong.” In a world driven by passion and at a stage where compensation is rare, Brodt still is driven by the love of her art, as are many others: “It’s also important to meet people. Collaboration will change a designer’s life, especially when you learn to let go and share responsibility and just focus on the aspects that you’re talented in.”

Surrounded by people who keep others from their work, fashion designers who show confidence in knowing what they want move beyond these hindrances. “I motivate myself. I come from a middle class family and could have easily chosen to work for the family

business or study something less time consuming,” she says. “But I’ve always known what I’ve wanted, and at the end of the day you have to motivate yourself.” Having made it to the final stage in a competition where thirty out of over seven hundred design students are chosen to present their work at an event known as the press show, Brodt presses ahead with her passions in mind. Following graduation, she plans to move to Miami, Florida where she will work on an exhibition for Lilienthal Art Studios Art Basel with her mother.

Her work, it seems, already gives off an air of timelessness: Brodt’s close study of the body’s interaction with fabric calls back to classical and Baroque artwork demon-strating the dramatic movements of the body underneath long, flowing fabrics. Although her ultimate goal remains uncertain at the moment, Brodt’s concepts, passion and work reveals a wealth of creativity and knowledge capable of making its mark in fashion’s history.

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“Collaboration will change a

designer’s life, especially

when you learn to let go.”

SWATCH /fashion

N i c h o l a s K i e l b a s a + M i a G r a n a d e

BUTTERMINT

H _ A Z _ E

SMOOTH fabrics and unexpected necklines help to emphasize this season’s trend of ELEGANT and sensual. Dainty morning light speaks to the garment’s fragility, while the GENTLE reflections of the ocean pair nicely with the light shine of the silks.

_

46YMorales is drawn to the idea of painting her REALITY and hopes viewers of her pieces can see what

she sees through each brush STROKE. In addition to providing tranquility, the act of creating art

can also bring about feelings of self-AWARENESS.

The city’s profound respect for the arts can be attributed to the many youthful artists who live there.

SWATCH /culture

47YYoung Artists

me to people to collaborate and work with on different art events,” said Morales. Morales enjoys creating art not only for viewers, but also for the happiness it brings her. “Creating art and expressing your emotions is a huge stress reliever,” said Morales. She also believes that her art has the ability to portray her own emotions through the expressions of the faces she paints. In addition to providing tranquility, the act of creating art can also bring about feelings of self-awareness. Morales has dreams of making her passion for art into a career. She sees herself working in the most famous art museums around the world such as Museum of Modern Art, the Metropolitan Museum of Art, and various art museums in London. Currently a high school senior, Morales is working efficiently in order to make her dreams a reality. “I just want my art to take me around the world, but of course I have to work hard for it now,” said Morales.

K e l l y S l a t t e r y

One noteable young artist from West Palm, Lexy Morales, age 17, said she is very excited about South Florida’s growing respect for the arts. “The past few years I have only looked to the Northeast for my future because of how prominent they are in the art. But now that I’m meeting more people in the art field getting degrees, it gives me a sense of relief knowing that I could have a future in my hometown, too,” said Morales. Working with mediums such as watercolor, acrylic, and oil paints, Morales enjoys painting portraits of her friends and people she comes across in her community. “I’m so drawn to people and their features; I catch myself staring at people and realizing I didn’t hear a word they said because I’m looking so deep into their features,” said Morales. According to Morales, artist Terry Rodgers inspires the West Palm artist because of his depiction of hyper realistic images in his work. As far as gaining support from the community, Morales has been involved in many art events held in South Florida including street painting festivals and art shows such as Broken Promises, in which she created her first on-the-spot portrait. Morales gains support and motivation from her friends and teachers. “My teachers like to see young students know what they want out of life and be passionate about it. They introduce

SWATCH /culture

RAWTa y l o r B r u m f i e l d

LIGHT, ethereal fabrics and FLORAL prints bring the most notable style of the season to the forefront. Juxtaposing the

RUSTICITY of the tones along with a bold staple jewelry this look creates a BALANCE between old and new.

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On the first Friday evening of each month, galleries and

vintage shops in Railroad Square Art Park open to the

public. Food trucks, live music, and lively ART exhibits put on by LOCAL Tallahassee artists line the streets. It’s a go-to event for those itching for some CULTURE

within a small college town.

The birth of decay

N i c o l e Z e l a y a

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Artist Adrienne Helene Tabet’s work was featured in Railroad Square’s largest gallery, 621. The inspiration behind her captivating sculptures arose from an investigation of decay and rebirth, ultimately demonstrating how the unhealthy and suffering are left to decay in the shadows after continuously being dismissed by society.

Out of fear, people tend to turn a blind eye to anything that appears unhealthy, morbid or shocking. Tabet embraces these concepts in her work, rousing discom-fort and provoking strong emotional responses to her sculptures. Her work features a decomposing body giving birth to a new baby, a pure and fragile life, with an umbilical cord connect-ing the two figures, demonstrating how the process of decay and rebirth come full circle. “This new baby is going to grow with understanding, acceptance, and love for those that have suffered and decayed, and glorify them both,” explains Tabet.

B Major Apparel, a local print shop also appeared at Railroad Square for First

Friday. They featured live printing of shirts with popular phrases such as “Netflix & Chill,” in honor of Valentine’s Day and showcased live music by DJ Ashe. Juan Severini, co-owner of B Major Apparel, shared their story: “We’ve been doing this for about a year now. We started out in our garage and it was just for ourselves. We bought this small printing press off of eBay, for about five hundred dollars and now have a whole setup. We print for companies and have a steady business going always trying to throw an event for First Friday and make the best with what we have and our business just grows the more we focus on it.”

These two influential artists were just a few amongst a street full of creative talent featured at this February’s First Friday. Tabet’s artwork is a beautiful representation of society’s constant difficulty with recognizing the uncomfortable. While her work may be hard to look at, it will leave an impression on the minds of its spectators. Severini’s story demonstrates the amount of tenacity and work required to build a business up from nothing but a printing press.

BRNO

I M _ M A C _ UL A _ T A

Sharp necklines, DARING cutouts, and asymmetrical lines adorn the MORPHING creatures. Neutral blush, white, and black tones compliment the feminine STATELY figures, while the masculine simple silver, patterned, bold blues and reds play the ANTI, in contrast of the Amazonian giants.

p h o t o g ra p h e r N i c h o l a s K e i l b a s ai l l u s t r a t i o n E n a r a N a z a r o v a + G i o v a n n a A l v a r e z

BRNO

BRNO

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OLOMOUC

OLOMOUC

OLOMOUC

KUTNA

KUTNA

DECIN

TELC

TELC

DECIN

DECIN

TELC

SWATCH /culture

Starting out as a spontaneous project, HYBYCOZO inspired by mathematics, particle phys-ics and ancient architecture now illuminate Black Rock dessert annually with their other-worldly installations.

As TECHNOLOGY is increasingly becoming an extention of ones self, this ARTIST DUO is at the

forefront of these developments, utilizing new digital media to REIMAGINE the possibilties for creating and percieving art and pushing artists and viewers

alike to THINK creatively.

Black Rock Desert, located in Nevada, is the site of a prehistoric lakebed, elevated at around four thousand feet. Those who have traveled here know the unforgiving landscape of its summer months: during the day temperatures reach a dry heat of over one hundred degrees, and when night falls, temperatures drop to just about half that. Other harsh weather conditions include rainstorms and white outs, or dust storms, which can blind those in its path. However, from this desolate land, a wild and inhospitable desert has birthed a culture all its own.

This culture emerges from the annual festival known as Burning Man, a festival wherein a makeshift metropolis is built in the middle of Black Rock Desert, referred to by its temporary inhabitants as Black Rock City. There are citizens, neighbors, law enforcement, medical assistance, and other amenities one would imagine an actual city to have. Yet, perhaps the most notable scene to emerge from this culture is it’s art. Artists and designers trek from all corners of the earth to call this city home for the next nine days, and they bring with them new media that pushes artists and viewers alike to think creatively. With technology slowly becoming an extension of one’s mind, creativity, and self, there seems to be an emerging community of new media artists who focus on creating multi-faceted, immersive environments with their audience. Black Rock City’s open desert air acts as nourishment for these environments. For two artists standing at the crossroads of science, design, and technology, Serge

Beaulieu and Yelena Filipchuk immersed themselves into this community with the plan to only install their work once. However one festival has taken them from six months of deep interest, research, and design to owning their own business. HYBYCOZO is a project that display’s the artists’ passion for design, math, science, and technology through striking installation art. The pieces can be seen as massive structures with beautifully intricate designs during the day, and illuminated features at night. As unique as the pieces, the name, according to Beaulieu, is an acronym for the Hyperspace Bypass Construction Zone, a reference to him and Filipchuk’s favorite book, The Hitchhiker’s Guide to the Galaxy.

Beaulieu and Filipchuk met shortly after Burning Man after both had attended many different festivals. Neither were artists before HYBYCO-

ZO. “I was an industrial designer. I still am an industrial designer, but I was working at a pre-established studio at the time, and she was working at Google,” says Beaulieu. “We had been going to Burning Man for a while. We went together for two years, and then the third year I was like ‘We need to do something different, we need a different experience.’ Yelena really wanted to do a big sculpture, and I also wanted to do a big sculpture.” From that point, Beaulieu and Filipchuk spent the next six months diving into geometry and particle physics as well as the math, science, and the historical aspects of the two.When it came time for Burning Man, Beaulieu and Filipchuk decided to put together one piece that would encompass everything they had seen and studied. The piece took the festival community by storm, so from that moment on Beaulieu and Filipchuk decided to create art together.

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A l e x a n d r a P u s h k i n

HYBYCOZO

With the birth of HYBYCOZO came the integration of both Beaulieu’s and Filipchuk’s talents and backgrounds. Making large installments came naturally to an industrial designer, while creating the patterns proved to be fun for former researcher. “Industrial design is basically sculpture on a much smaller scale and for mass production. This is basically the same skill set, so [the transition] was quite natural. Yelena does more of the research and the stories behind the patterns. As our company has grown we’ve added a business aspect to it, and I think her experience working at Google and with large companies and lawyers has really helped us grow as a company,” Beaulieu says of the team. “It’s a perfect balance. We vision everything together, and have different roles with helping what we do become real and grow.” A method behind their success as artists is to avoid being overly critical of their own work, ultimately their goal is not to reach perfection with every finished piece, but to share their work, learn from the process and move on to the next project. Beaulieu also advises young artists pursuing a creative career to say yes to every opportunity, “We say yes as much as possible and the people you meet and the things you learn are so worth while.”

As their company grows, so do the structures them-selves. Rapidly accelerating digital developments like 3D printers and laser cutters, have made it much easier for artists like Hybycozo to produce in high quantities, speeding up the process and creative development of their work. The team does not want to waste materials, as they buy five by ten foot steel panels, perfectly fit for the laser cutter. “We want to size everything to optimize material use,” Beaulieu says. The biggest physical obstacle the team has overcome is being able to flatten the structures for easy travel. The structures they create now nearly dwarf their original structures, which could measure no more than

“We’re stewards

of geometry.”

“It’s a blank canvas,” Beaulieu says. “No art gallery in the world is that big and has that much space around. The sunsets, the way people interact and come to see your art with an open mind and are actually seeking it out is something very very special.” Like Burning Man itself, HYBYCOZO’s structures are thought of as timeless, according to Beaulieu. A distinct aspect to the new media emerging from these festival communities and culture is the lack of repetition; each structure’s unique-ness cannot be copied.

forty-eight inches. As for the designs themselves, Beaulieu and Filipchuk search constantly for new inspiration in the environment around them, however they both have taken an interest in particle physics, which, according to Beaulieu, translates into patterns found in nature. “Geometry is this universal shared discovery,” says Beaulieu of a significant inspiration of his and Filipchuk’s. HYBY-COZO aims to take shapes found in nature and project them with the right media.

The right media needs the right space, and Burning Man is undoubtedly Beaulieu’s and Filipchuk’s favorite. “It’s a blank canvas,” Beaulieu says. “No art gallery in the world is that big and has that much space around. The sunsets, the way people interact and come to see your art with an open mind and are actually seeking it out is something very very special.” Like Burning Man itself, HYBYCO-ZO’s structures are thought of as timeless, according to Beaulieu. A distinct aspect to the new media emerging from these festival communities and culture is the lack of repetition; each structure’s uniqueness cannot be copied. In fact, Beaulieu and Filipchuk like to imagine these structures fell from space as if another alien civiliza-tion had dropped them onto Earth as a kind of construction cone, a nod to HYBYCOZO’s name. The idea of other civilizations impacts the team’s structures; their trip to Dubai certainly affected their visions: “The patterns on the fences, the window coverings, the mosques…you see such a rich heritage in geometry. It was really special to be surrounded by all that.”

The emergence of festivals has proven to be more than late nights and loud music. Festivals like Burning Man have provided quite literally the ground for artists working with new media to express their visions and indulge their passions. For Beaulieu and Filipchuk, Burning Man provided an opportunity for non-artists to

engage with the creative process. This engagement turned them into messengers. “We consider our artifacts from the future, or from another place,” says Beaulieu. They not only communicate the beauty and significance of these alien objects with their fellow festivalgoers, but also inspire and establish the same connection with the creative process as Burning Man and other festivals did for them. In a way, according to Beaulieu, the finish, material, setting, and size puts these shapes and patterns on a pedestal. “We will never pretend we invented these shapes or patterns,” says Beaulieu. “We’re stewards of geometry.”

As for their viewers, Beaulieu hopes that each and every viewer see their work as one man did: “I had this guy walk out of the sculpture and he said ‘I never considered geometry, but I do now.”

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VENELEVENELE

L a u r e n A l s i n a

Embodying both CLEAN and casual, these looks experiment with a basic color palette. With its focus on layers and COMFORT,

these pieces still appear analogous and TACTFUL.

SWATCH / fashion

SWATCH /fashion SWATCH / fashion

86KBeing a DIGITAL NOMAD is a must in the 21st century. One such man with a knack for

story telling applied his VISIONARY entrepreneurial skills, reinventing what it

means to be CREATIVE. Keenan Reilly is a tough act to follow but we’ve retraced his

footsteps to reveal the genius behind the veil.

New emerging media changed art in a near limitless direction for the creatives.

87K A l e x a n d r a P u s h k i n

Generating a successful career in a digital space is a common modern accomplishment. Today, young professionals find themselves among entrepreneurial-minded people constantly marketing their skillsets, past experiences, and themselves as brands for new and promising opportunities. As various advance-ments in technology call for developments, understanding and engaging with digital presence of all careers is not only possible but necessary. A company’s ability to successfully communicate ideas within itself and to its audiences secures them as a frontrun-ner in their field. Jobs that once never existed, such as social media analyst and graphic designer, now stand out on a résumé as the ability to adapt to and master evolving business models.

Keenan Reilly is a digital polymath and a 21st century renaissance man. After graduating from Hamilton College, Reilly was hired to work for Electronic Arts. His talents have led him to a job at R/GA, a digital agency, where as a creative director he launched product campaigns such as streaming service HBO Go and a running application Nike Plus. From there, Reilly began working for Noise, collaborating with clients from Vitamin Water, GE, and Ralph Lauren. Reilly eventually launched his own compa-ny, Warpaint Agency, enabling luxury startup companies to tell their story. And if you’re not convinced of the man’s digital genius,

Reilly also DJ and a professional photographer shooting fashion events, landscapes, festival goers and more for GQ, New York Magazine, Cosmopolitan, Vogue and several other publications. All this began with Reilly’s varying interests in college: “The big key for me was learning how to communicate. I was an English major. I had a few minors, but really to me the key was being able to communicate and really being able to allow my ideas to be put on paper so they can be understood by others,” Reilly says. “That became hyper valuable when coming up with crazy digital campaigns for different bands or even coming up with movie ideas. Now, if you can’t figure out how to distill a two-hour movie into one page and be able to describe it in three minutes you’re never going to get to sell that movie. So it’s really that brevity and that understanding of communication that got me to where I am.” With a command of the English language as well as a variety of interests, Reilly made the decision to get his Master’s in Business Administration, which, according to Reilly, was one of the best decisions he has ever made. After completing his undergraduate career in the United States he felt the need to continue to grow, and much to his delight, decided to acquire his MBA abroad.

Keenan Rei l ly

88

“Was I unsure sometimes? Absolutely.”

89

As a story teller, Reilly’s experiences coming in touch with foreign cultures and festival communities inspired him to document events and places, capturing the people that attend them. In the recent decade the seemingly explosive emergence of festivals is undoubtedly shaping our cultural landscape. “I have been attending festivals since I was 10 or 1, particularly music festivals. The ability to see so many bands in one place and take in counter cultural elements of society has no doubt led me down the creative path and ultimately lead to my success in multiple fields”, says Reilly. Enjoying music is effortless, and the festival phenomena of globally sprouting musical hubs with versatile acts peppering the lineup attract large audiences. “With the rise of social media I’m finding these events being overly hyped and thus an influx of attendees are no longer there for the intended purpose. On the upside there is an emergence of boutique festivals that is countering this effect, Further Future for example was my favorite festival experiences I have ever had... Festivals are incredible and can be eye opening to many, but we are past the days where pleasure is the only goal. It is shameful for thousands of people to come together simply to leave a massive trash pile, because to be honest festivals are the perfect place to grow philanthropic movements.”

Keenan is planning on launching a festival in Kenya near the Maasaii Mara introducing sustainable safaris in the mornings coupled with musical acts in the evening, all proceeds benefitting the environmental preserva-tion and education of local youth. Thinking like an entrepreneur, Reilly continuously utilizes the development of new media and modern technology to push creative boundaries and aiding others.

With a rewarding graduate experience and the start of his own company Reilly took on a new form of leadership different from his previous roles at R/GA and Noise. “I think the key was, and this is going to sound

strange, but in college I took on leadership roles on either sports teams or clubs and things of that nature,” says Reilly of his days at Hamilton College. “I always had this understanding of how to lead and very early on at EA they gave me a leadership role right out of college. Was I unsure sometimes? Absolutely. I think the key was that I had the confidence…Be very decisive in what you do and make sure that your decisions are the ones that stay…When you do make a decision that’s going to affect a lot of people’s timelines and a lot of people’s lives, be very decisive about it.” And though exuding confidence proved to be invaluable, “there were moments when I definitely questioned what I was doing, but I knew in the end my gut feeling was usually right, and in order to get something creative you have to move forward. There’s no creativity by community, there’s only creativity by a leader”, Reilly admits.

With this mindset, Reilly founded the Warpaint Agency, aiding young entrepreneurs to build their brands whilst simultaneously building his own. “Warpaint is a collective of different creatives to really help young luxury brands set themselves up,” says Reilly. His method for innovation ignoring the current trends starting with a clean slate and a focused untainted mind: “I would urge people not to spend so many hours on Snapchat and Instagram and think about what’s next. Question everything…Always, always believe in optimization and believe that things can be better. I personally don’t even drive in L.A. and only take Ubers. Why? Because if I did I’d be loosing hours a day of work time. So that is the old way of thinking: that you have to drive to different places. You don’t.” In a fast-paced, modern society, Reilly encourages individuals to think beyond the current space, and try to be around the bend.

This job, his dream job, Reilly had ultimately gained from turning down a job as an investment banker. Despite the temptation of a banker’s salary, Reilly pressed on in his pursuit of the creative field, with, as he notes, confi-dence. In that case, he chose to work on video games. Today, Reilly’s experiences teach young professionals that to succeed in the digital age, one must be a modern Renaissance man, a master of communi-cation and the creative process both on and off line.

“I would urge people not to spend so many hours on Snapchat and Instagram and think about what’s next. Question every-

thing…Always, always believe in optimization and believe that things

can be better.”

90

New York, I Love You

I think I believe in love at first sight now.

People here live in their OWN little WORLDS in which they seem

completely ABSORBED by their job, their relationships… their ART.


91

New York changes you; it makes you more alert, bolder, and in a way more confident. People here walk about their lives as if it was art. I have always been one to think of life as an art form in general, finding the little things very meaningful and paying attention to the smallest gestures. One of the things people told me before coming to the Big Apple, “it’s not just Times Square.” I arrived at the busiest area of the city, where the hotel was located. People from all around the world pass you by walking so fast you don’t even get a chance to see their faces before they are already on the next block. Ironically, I liked the vibe this place gave me. There is no day or night here, just a kind of wakeful craziness that somehow made me calm.

Walking by Fifth Avenue on my way to Saks was like seeing an art expo in a museum: each piece more impressive than the next. The architecture was beautiful, the stores aesthetically appealing, and every step I took led me to many of the spots where Gossip Girl and countless other shows and movies have been filmed. Fifteen minutes on the subway later, I arrived at SoHo, the fashion district. Having a bit of a Carrie Bradshaw moment, I walked thorough as many shops as possible. The attention to detail in every storefront display amazed me. As the sky turned dark, I slid the metro card once again on my way to Broadway this time.

After a slice (or two) of pizza and a fist-sized muffin it was time for a musical; The Phantom of the Opera awaited on Broadway. The show started at 8pm sharp, and I found myself singing along to my favorite musical of all time for two and a half hours straight. When it ended, my stomach called for more food again, and Bare-

burger did not disappoint. The organic burger restaurant had a cozy but cool atmosphere to hang out with friends while enjoying one of their blood orange margarita slushies.The nightlife spotlight definitely goes to Webster Hall though. A club that serves pizza for three dollars? That’s a no brainer for me. This four-floor venue is the biggest in all of New York City, and serves as a concert hall for acts of Charlie Puth, Red Jumpsuit Apparatus, and countless others year long. In my case, Goldfish was the artist of the night and we got to explore all four different environments of the place.

On my way to the airport in the cab I must admit that before coming to New York I was scared I wasn’t going to like it as much as I liked the idea of it. I ended up loving it; the vibes, the people, the places, the food. There is always something to do in this city, always something to appreciate. Although I didn’t get to go to the famous Halal food truck, I’m consciously saving it for my next trip to the Big Apple

92

More often than not, similar trends can be found in locations THOUSANDS of miles apart; fashion, it seems, is a language

EVERYONE can understand. Several INTERNATIONAL designers not only demonstrates how trends can be SHARED but how each

of them incorporates INSPIRATION from other cultures.

The creative process and science behind the art of fashion design has

no barriers.

FASHIONaround the WORLD


93

JAPAN/Yoshio KuboYoshio Kubo’s designs redefine streetwear. After working in New York, the Japanese designer chose to return to his home country and open his eponymous menswear brand. Kubo’s Spring/Summer 16 collection reveals brightly colored floral prints on a dark backdrop, along with simple pieces to pair these with. The collection displays an abundance of khaki and navy in garments that—while thinking of street style—give an eccentric touch to the often repetitive trend. The juxtaposition of prints characterizes a collection where the word boring ceases to exist. Kubo’s designs cater to both relaxed and refined consumers.

CANADA/Sid NeigumCanadian fashion designer Sid Neigum has a signature style that is not easily overlooked. Since his womenswear line debuted in 2011, Neigum has been recognized worldwide, proving the po-tential of his intricate yet minimalist designs. The choice of tex-tiles reinforces the designer’s style with its plain and simple tex-ture; the fabrics appear elegant and sleek, much like Neigum’s art. The asymmetric and oversized shapes he creates make his clothes very appealing to any contemporary buyer. His work gives a hint of Viktor&Rolf style, however Neigum manages to offer a more versatile collection that can be worn by day or night. Despite its current short lifespan, this label proves worthy of longevity.

94

AUSTRALIA/Ellery

Australian designers are on the rise, making their work avail-able in boutiques around the world and gaining recognition for their clean looks and swimsuits. The emerging brand’s designer, Kym Ellery, demonstrates her creative vision and architectural take on clothing. The simple and modern looks presented in the brand’s Spring/Summer 2016 collection include pieces that make statements on their own. The ruffles and flare so heavily used in this collection characterize the brand’s fresh and effortless appeal. Some notable pieces include tops with exaggerated ruffles on the sleeves. With minimal colored pieces in black, white, light blue and pink, Ellery stays uncomplicated, relevant, and chic.

ENGLAND/Teatum JonesCatherine Teatum and Rob Jones founded this London based womenswear brand that is known for its excep-tional textiles and modern looks. Dominated by black and white ensembles, the Teatum Jones Spring/Summer 2016 collection exhibits A-line skirts varying in length, as well as subtle ruffles. Geometric and abstract prints play together creating an overall polished look. The designers bring back the peplum trend to display their intricately created textiles that resemble lace. For the bot-tom pieces, the designers use light, sheer fabrics for skirts, and heavier, coarser fabric for pants and jackets.

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COLOMBIA/Esteban CortazarEsteban Cortazar started his womenswear read-to-wear label in 2002 at the age of eighteen, after being immersed into the fashion world as a child. In his Spring/Summer 2016 collection, the Colombian designer displayed loose and free-flowing pieces, combining the informal touch of crop tops with the elegance of dark, gossamer pieces. Using leather and hanging chains, Cortazar offers a collection that integrates edginess with re-finement. The blend of transparent fabrics with irregular cutout designs helps to create this balance. Light, earthy colors make up the scheme chosen for the collection: oranges, creams, golds, and even snake prints are included. The simple yet striking looks Cortazar offers shows how street style trends and sparkles coexist.

Dancepp. 13-14: HEAD OVER HEELS, nude unitard, $45pp. 13-14: URBAN OUTFITTERS, white henley shirt, $34pp. 15: DICK’S, green joggers, $70pp. 16: URBAN OUTFTTERS, black bralette, $46pp. 16: HEAD OVER HEELS, black windswept love skirt, $55pp. 17-22: HEAD OVER HEELS, blush windswept love skirt, $55pp. 17-24: URBAN OUTFTTERS, white bralette, $46

Buttermint Hazepp. 31-34: MACY’S, mesh sleeve jacket, $79pp. 31-40: H&M, slim fit slacks, $15pp. 35-36: MACY’S, gold blazer, $129pp. 37-40: MACY’S, white silk blouse, $49pp. 41-46: H&M, tassle necklace, $15pp. 41-46: H&M, trench coat, $80pp. 41-46: MACY’S, silk slip, $27

Mission San Luispp. 49-52: URBAN OUTFITTERS, panama hat, $40pp. 49-52: QUARTER MOON, Leaf printed dress, $44pp. 49-52: QUARTER MOON, horn necklace, $18pp. 49-60: URBAN OUTFITTERS, snake gladiator sandals, $85pp. 53-54: QUARTER MOON, statement necklace, $46pp. 53-54: QUARTER MOON, Open weave scarf, $24pp. 53-54: QUARTER MOON, wide leg pants, $44pp. 53-54: QUARTER MOON, kimono, $38pp. 53-54: QUARTER MOON, printed bell bottoms, $28pp. 55-56: WONSAPONATIME, southwestern print gathered waist dress, $36pp. 55-56: WONSAPONATIME, brown leather belt, $20pp. 55-56: WONSAPONATIME, bronze and burnt orange choker, $38pp. 53-58: MODEL’S OWN, black gladiator sandals $85pp. 57-60: QUARTER MOON, White dress, $36pp. 57-60: QUARTER MOON, Printed off the shoulder dress, $36pp. 57-60: QUARTER MOON, Leather pearl choker, $19pp. 57-60: OLDE FIELDS, Yellow statement earrings, $18pp. 57-60: QUARTER MOON, printed wool bag, $80pp. 57-60: OLDE FIELDS, Ring bracelet, $24

Saintspp. 64: ELIZABETH & JAMES, blush pink chiffon sleeve top, $255pp. 64: ALDO, beaded necklace, $40pp. 65: STYLIST’S OWN, gold chainpp. 65: ASOS, Crystal Occasion Choker Necklace, $21pp. 65: WALTER GREEN, strapless black and gold dress, $55pp. 65: ALDO, leather choker, $12pp. 66-68: STYLIST’S OWN, silver necklacepp. 66: DILLARDS, red and gold floral top, $198pp. 69: DILLARDS, white lace maternity dress, $159pp. 69: ASOS, Western Hair Crown - Burnished silver, $17pp. 70-72: WALTER GREEN, beige multi-texture weave dress, $63pp. 70-72: ASOS, leaf crown headband, $26pp. 71: DILLARDS, blue and white floral long struc-tured jacket, $149

Eleven Elevenpp. 80-84: DILLARD’S, off white sneakers, $145pp. 80-84: H&M, cream long sleeve shirt, $13pp. 80-84: H&M, khaki jacket, $50pp. 80-84: MODEL’S OWN, khaki shortspp. 80-84: H&M, rainbow socks, $6pp. 80-84: H&M, beige hoodie, $25pp. 81: H&M, white v-neck tshirt, $10pp. 81: ALDO, black sneakers, $75pp. 81: H&M, olive hat, $10pp. 81: H&M, olive/black jacket, $50pp. 81: H&M, gray tank, $6pp. 81: H&M, khaki jeans, $30pp. 85: H&M, navy/gray socks, $6pp. 85: H&M, Navy/white button down jersey, $30pp. 85: H&M, white skinny ripped jeans, $40pp. 85: ALDO, brown leather mid rise sneakers, $90pp. 87: H&M, gray long sleeve thermal, $13pp. 87: H&M, navy trench coat, $60pp. 87: H&M, navy shorts, $25

Orel Brodthttp://www.orelbrodt.com/pp. 29: photographer / Angela Mazurpp. 30: photographer / Fitrija Tjandrapp. 33: photographer / Fitrija Tjandrapp. 33: photographer / Hannah Barnes

Hybocozohttp://www.hybycozo.com/Sculptures by Yelena Filipchuk & Serge Beaulieu

Bitehttp://bitebeauty.com/© 2016 Kendo Holdings. All Rights Reserved

Keenan Reillyhttp://www.keenanreilly.com/photographyphotos by Keenan Reilly

Buttermint Hazephotographer / Nicholas Kielbasaphotographer / Mia Granademodel / Gaby Gonzalezmodel / Sara Zengmodel / Giovanna Alvarez

Eleven Elevenphotographer / Lauren Alsinamodel / David Whitemodel / Anthony Samper

Raw photographer / Taylor Brumfieldphotographer / Nicholas Kielbasamodel / Karribeanmodel / Vanessa Hartsuiker

Moving Stillphotographer / Nicholas Kielbasamodel / Gaby Gonzalezmodel / Graham Mortiermodel / Logan Mortier

Immaculataphotographer / Nicholas Kielbasaadditonal editing / Michaela Petrone model / Jordan Phelanmodel / Giovanna Alvarezmodel / Alexa Cartermodel / Anthony Sampermodel / Hunter Anger

Vol. 5 Issue No. 10 | Printed with LoveSWATCH is published twice per year with combinedmonths in the Fall (September/October/November/December) and in the Spring

(January/February/March/April) by SWATCH Magazine. This magazine is not for sale, all content serves as an outlet for student expression and

creativity. For any requests to be featured / work with us on staff please contact us via email at [email protected].

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