PHOSPHENES(n): the stars and colors you see when you rub your eyes

All styling, text, and photos by Scott Shapiro unless noted otherwise

CONTRIBUTIONsDESIGN

Nicholas Griggs-Drane | Allie Whitehead

PHOTOJackie Robertson

FASHIONMariana Cant | Siena Argimon

BEAUTYRachel Vazquez

MODELSPierce Abernathy | Elizabeth Asongwed | Madeline Bach

Jamie Balder | Madeline Brisbane | Mimi ChangClaire Conway | David Lowe | Luiza Ottoni | Bryce Rackham

It goes without saying that doing this all independently is a lot of hard work, but I couldnt have done any of this without the support of those around me. I couldnt have come up with any of these crazy ideas nor could I find the motivation to bring all of this to fruition if it wasnt for you. Ive still got a vlong way to go, but thank you for helping me get this far, even if only slightly. To my family, friends, employers, ed-ucators, and everyone else who has touched my life in some way,

Thanks,

Scott Shapiro

4: THE ART OF MEANING

5: DE-CODEDissecting and dismantling binary gender codes

8: SKIN ME ALIVEMeet The Skins, the Brooklyn-based band worth hearing.

11: HYPERSEXSex is virtually everywhere; have we been pornified?

12: LETS TALK ABOUT DIVERSITYWhy diversity in fashion really matters

15: FROCEClad in streetwear gone Goth, shes virtually vicious.

23: THRILL MEYour greatest fears are coming to life.

45: BLACK MAGICSomething wicked this way comes.

53: CRUSHTake the heat and go where the wind blows. When summer is upon us, its bound to be endless.

69: JEKYLL & HYDESleek and clean, shes almost clinical. But given the right opportunity, the madness is unleashed.

81: CLARIFYTimeless minimalism reimagined

89: VISIONSharp and bold, say hello to the modern man.

107: SDUIREGlamor never goes out of style; allure is always in. Luxury is twisted, sexuality enhanced. Are you seduced yet?

117: PANOUISSEMENTVibrance is vital; effervescence is essential. Why be a wallflower when one can fully blossom?

124: THE GARDENAn entirely hand-painted story, explore a fantasy of the spring 2015 collections.

131: CITY OF DREAMSTake a trip downtown, where dreams never die.

141: BOLDA salute to the women who dare to go there

149: FASHION CREDITS

CONTENTS

THE ART OF MEANING

I like to think of fashion as an art form. Yes, designs and aesthetics often inspire and draw inspiration from art, but putting together a garment or an outfit is more than just what looks good or what will gain attention or sales. Take away the heavy empha-sis on business and the social media hype that almost overshadow the industry today, and you would be left with a world teeming with creativity and imagination. Thats what drew me to fashion, after all. And just as art does, fashion has a way of telling a story, sending a message, or even igniting social commentary. We should never forget about how this niche often seen as solely superficial can present a unique view of the world in which we live.

So, what am I getting at? Or better yet, what am I even doing here? Fashion started as a hobby for me, yet over time, my consumption of fashion imagery culminated in an immense knowledge and excuse the clich a fervent passion. At the same time, I started expanding my knowledge in other spheres, from history to culture to communications and yes, even art. My mind would always relate everything to fashion, and somewhere along the lines I realized that all of these things could somehow work together in a much larger way than Id ever thought.

To many, fashion is the most polarizing of art forms, often criticized for presenting and perpetuating rigid standards of beauty and status. Yet this beacon of creativity and experimentation has conceived some of the most innovative and inspiring ideas, many of which have started deep discussions beyond separate spheres. Were in the business of creating and distributing beautiful things; who says beautiful things cant translate into something more profound with a much stronger impact?

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We often tend to misinterpret the differences between gender and biological sex; gender is not intrinsic, but something acquired and learned, something we do and perform. And in our culture, gender is constructed as a binary, where masculinity and femininity are placed as polar opposites. So how does fashion fit into this?

Gender is illustrated by several codes of dress, arguably intro-duced almost immediately from birth. With separate spheres for menswear and womenswear, the gender divide in fashion is even further enforced by retail mar-kets and media imagery, much of which perpetuates what is seen as being masculine and feminine. Whereas masculinity is implied by certain constants, femininity is often delineated as everything that masculinity is not. This usu-ally translates in specific fabrics, silhouettes, styles, and countless other elements introduced for males and females. But despite the fashion worlds tendency to perpetuate some of the codes to which weve grown accustomed, its also the perfect place to see

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DE-CODE

the dismantling and subversion of these guidelines; breaking rules and rejecting social norms are more than welcome here.

Gender-bending fashion isnt brand new, though it started out subtly. Structured, masculine tailoring for women was the first step, with new styles of trousers and outerwear shortly following. And despite the per-ceived difficulty to get men on board for a bit of role reversal, designers have even started injecting typically

6feminine elements into their collections. Yet gender fluidity is more than simply putting a woman in a suit or a man in a skirt. Its a good start, and it certainly helps to shift our traditional views of masculinity and femi-ninity, but this doesnt do much in the larger sense of erasing the divide.

Todays world is opening up much more than ever before. From the rise of the trans fashion model to a resur-gence of second-wave feminist ideals, our consciousness is growing, our scope less limited than it once was.

7But why should the dismantling of gender binaries be seen as a movement, just a

fleeting trend?

Imagine a world in which show seasons are undivided, where fashion collections are unisex, not limited by the standards that we know. May-be its a somewhat idealistic notion. However, designers like Rick Owens and Shayne Oliver at Hood By Air are go-ing there, blurring lines and refreshing our framework.The future of fashion isalways an exciting thing to explore. Could we see a day without gender binaries? And if so, how would we get there?

8Say hello to your new favorite band

LEFT TO RIGHT:Daisy (guitar) | Bayli (vocals) | Reef (drums) | Russell (guitar) | Kaya (bass)

Sometimes it feels like were drowning in the sea of todays music, and we could really use a breath of fresh air. Cue The Skins, the Brooklyn-based rock band thats giving us some tunes to get hyped about.

When you come across The Skins, theres no doubt that youd be captivated right off the bat. Ranging in ages from 15 to 21, the members are just as multifaceted and dynamic as their infectious music. Each one is teeming with personality and one-of-a-kind style from their sounds to their aesthetics, meshing aspects from various genres via punchy guitar riffs, catchy beats, viral rhythm, and sharp lyrics. And although you wouldnt necessarily think to throw all of The Skins elements and influences togeth-er, theres no denying that the result is instant harmony. Maybe you wouldnt expect the members to all hang out, either. But whether theyre slaying on stage at The Knit-ting Factory in Williamsburg or prepping for a photo shoot at their Bed Stuy rehearsal space, the group is like a true family, with good vibes all around.

9Siblings Bayli, Kaya, and Reef Mckeithan linked up with friends and dueling guitarists, Daisy Spencer and Russell Chell back in 2012 after getting to know each other at New Yorks School of Rock. They instantly caught the attention of actor Adrian Grenier, and Surf, their first in-studio music video recorded by Greniers Wreckroom Records got over 10,000 views within its first week on Youtube. Still need convincing? How about the fact that The Skins have already done two sold-out tours with the UK band, The Heavy, and captured audiences attention at festivals like Afro Punk, CMJ, and SXSW? Oh, and theyve also gotten their track, Dead Hands licensed to be used for an eight-week ad campaign for the Australian World Open on ESPN and Cinemax. Not too shabby for a bunch of kids from Brooklyn.

But thats the thing: this isnt just another group of friends jam-ming out. The Skins music ranges from every area on the rock n roll spectrum and beyond, while the group still manages to maintain a strong identity comparable to many seasoned pros. Their self-titled EP contains seemingly endless layers and dimensions. Meanwhile, their additional tracks take things even further, experimenting with everything from hard rock to hip-hop. On one hand, youve got Kiss Me, which combines passionate lyrics with heavy, grungier chords. But on the opposite end of the spectrum lies the super-upbeat Pump Up the Speed. Somehow, the songs still make sense when put alongside Rude Girl, the insanely catchy, rap-infused banger (where the singer threatens to go Solange on a bitch). Of course, this cohesive dab-bling in different styles wouldnt be possible without each band members unique role. With a hybrid of Gwen Stefanis spunk and Amy Winehouses soul, Baylis vocals heighten powerful lyrics with fortitude

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beyond her years. And while Reef could easily bang out hip-hop-friendly beats, his skills go perfectly with Russells solid rock guitar licks. Daisy adapts her multifaceted style accordingly, while Kaya acts as the glue, holding these different elements together. It just goes to show that differences no matter how vast can produce the best results imaginable.

Music should be fun, and theres no denying the good time Bayli, Kaya, Reef, Daisy, and Russell are hav-ing. But you cant argue their passion, either, which is whats really shooting them above and beyond. After signing to American Recordings, the band is currently working on new releases, giving listeners a lot to look forward to. Keep The Skins on your radar; youre sure to be blown away while theyre blowing up.

THE SKINS

Sex is everywhere around us, presented as an essential aspect of life. In a way, the prevalence of sexuality in our society makes us view sexuality as something of a per-formance, orchestrated by how we present ourselves, how we identify ourselves, and how we engage in sex. But how are we expected to perform, and to what standards? The vast pornification of our culture has become so ubiquitous that its barely even noticeable. We could argue that this leads to a substantial amount of sexual freedom. But theres the problem: how do we distinguish sexual freedom from sexual exploita-tion?

Society has somewhat skewed our perception and reaction to sex, giving us a struc-tured set of guidelines that infringes on our relationships, personalities,

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HYPERSEXand everyday behaviors. Meanwhile, sex is often presented as a symbol of power, and sexual agen-cy is indicative of a new sort of leadership. These days, its hard to draw the line between reality and hyper-sexualized reality; it may be past the point of avoidance, and we might not even think about it anymore. Have we been pornified?

Theres a common sentiment these days that we live in a post-racist world; to many, racism is a thing of the past, something that weve com-pletely moved away from. Unfortunately, that couldnt be farther from the truth, especially in the context of fashion. Its something that often goes unnoticed in the midst of the industrys fast pace, something that seems brushed aside and undermined.

And although its been brought up before, were not done talking.

In recent years, the topic has garnered more attention with each season. Bethann Hardison brought the Diversity Coalition to full force, prompting the industry to take things more seriously. Meanwhile, specific designers, stylists, and casting directors have been called out for assembling casts of almost entirely white mod-els in their runway shows. And while there have been some steps forward since this problem had been initially thrust in the industrys face, these are often followed by disproportionate digres-sion; simply pointing fingers hasnt done much to educate people in terms of why this matters, and weve still got a long way to go.

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DIVERSITYLETS TALK ABOUT

Its important for major figures to understand that the virtual exclusion of models of color is an act of racism. However you look at it, mod-eling is a profession, and not hiring someone because he or she is not white or does not appear white enough is racism. Casting one or two models of color in a show does not sub-stantially represent the diversity of the world in which we live, nor does the idea that including a single Asian model will completely expunge any potential accusations of racism. True, fashion is almost entirely image-based, but an aesthetic does not excuse prejudice, especially when it becomes representative of a brands message. But its more than just seasonal statistics from or who is and isnt being racially inclusive during Fashion Month. Its even more than editorials, advertisements, and the modeling industry overall. The lack of diversi-ty among models is a reflection of the power structure in the fashion industry and society as a whole.

Just like in politics, medicine, and countless other fields, whites hold much of the power in fashion. And while the climate is becoming in-creasingly corporate, this parallel of prejudice is

Minor improvements do not equate to change. If not consistently considered, the issue of diversity faces the risk of being forgotten after just a couple of seasons.

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becoming even more noticeable. Socioeconomic factors, educational differences, and rapid glo-balization are often linked to this dramatic racial imbalance, which appears in every sphere of the industry. This could potentially explain though it shouldnt excuse why theres only a handful of designers of color, while major nonwhite styl-ists, editors, or other image-makers are extreme-ly rare. Meanwhile, the problems with cultural appropriation and misrepresentation in high fashion imagery prevail, taking concepts from specific groups and redistributing and manipu-lating them for white audiences. And with few people in the industry to speak on behalf of these groups, these scenarios are too often accepted or disregarded.

Why is the scope of black models so limit-ed to fixed archetypes: either light-skinned with Eurocentric features, or the darker, sub-Saharan African appearance? Even further, why are blacks in fashion primarily given roles as specific, stereotypical charac-ters? This isnt just a black and white issue, though. People have often referenced the Asian presence as a trend, discrediting the legitimate and pivotal role that these individuals play in the industry. Meanwhile, South Asian, Middle Eastern, Native, and Hispanic or Latin American people are virtually absent in fashion, pro-viding an unrealistic representation of the

Real progress is hard to achieve when many feel that the issue doesnt directly affect them.

real world. And while many claim that fashion is a fantasy, who says fantasies have to be all-white?

How would it feel to be a person of color with a desire to enter the fashion world and have no one to look up to? Or what about being force-fed imagery that suggests that you arent beautiful unless youre white, or unless you possess certain features? Fashion at its core is a beacon of creativity, typically accepting of an expansive spectrum of different ideas. And as exclusive and austere as fashion can be, it is an extension of society, and society is not milk; our world is neither homoge-nized nor all-white.

Beauty is not a concept only applicable to one group of humanity.

On a journey from darkness to lightfashion

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FROCE

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BLACKMAGIC

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BLACKMAGIC

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CRUSH

CRUSH

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JEKYLLX

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HYDEX

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photos by Jackie Robertson

CLARIFY

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VISIONphotos by Jackie Robertson

photos by Jackie Robertson

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SDUIRE

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PANOUISSEMENT

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THE GARDEN124

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city of dreams

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BOLD

photos by Jackie Robertson

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FASHION CREDITSDE-CODEp. 5: [left to right] wool-blend jacket and trousers BALENCIAGA; wool jacket and trousers VINTAGE YVES SAINT LAURENT.p. 7: [bottom] both wool-blend tops LANVIN.

HYPERSEXp. 11: leather trousers KENNETH COLE COLLECTION.

FROCEp. 15: leather boots RICK OWENS. p. 17: linen jacket RICK OWENS. silver chain DAVID YURMAN. leather trousers ACNE STUDIOS. leather sneakers MAISON MARGIELA.

THRILL MEp. 25: felt snapback STAMPD LA. wool jacket GIVENCHY.p. 27: printed cotton t-shirt SANDRO PARIS.p. 29: leather jacket RICK OWENS. p. 33: mesh sweatshirt ALEXANDER WANG. leather trousers ACNE STUDIOS.p. 36: silk shirt VINTAGE YVES SAINT LAURENT. silk scarf LANVIN.p. 43: rubber raincoat TERRA NEW YORK. denim shirt DIESEL.

BLACK MAGICp. 49: t-shirt JIL SANDER.p. 50: shirt DRIES VAN NOTEN.

CRUSHp. 54: neoprene t-shirt KENZO.p. 55: tie-dye print sweatshirt ALEXANDER WANG. bottoms TRIANGL.p. 58: leather jacket (worn throughout) TOPMAN DESIGN. silver chain (worn throughout) DAVID YURMAN. mesh sweatshirt ALEXANDER WANG. suede boots GIUSEPPE ZANOTTI DESIGN.p. 61: striped shirt SAINT LAURENT. denim shirt (worn as skirt) DIESEL. p. 64: neoprene sweatshirt JUUN J.p. 65: sleeveless sweatshirt HELMUT LANG. lace-up sandals GIVENCHY.

JEKYLL & HYDEp. 69: top ROBERT RODRIGUEZ.p. 70: beanie ISABEL MARANT. bra AGENT PROVOCATEUR. silk trousers ALEXANDER WANG.p. 71: leather top and cardigan MAJESTIC. trousers J BRAND. leather boots CLINE.p. 72: wool and leather jacket SANDRO PARIS. studded bra and panties STELLA MCCARTNEY. sneakers NIKE.p. 74: neoprene top JOES JEANS.p. 75: leather backpack RICK OWENS. leather boots CHANEL.

CLARIFYp. 81: wool-blend jacket DIOR HOMME. trousers (worn throughout) JIL SANDER.p. 82: cashmere turtleneck VINTAGE YVES SAINT LAURENTp. 83: wool-blend top LANVIN. p. 84: cotton turtleneck JIL SANDER. leather jacket SANDRO PARIS.p. 85: denim shirt and jeans DIESEL.p. 86: neoprene t-shirt KENZO.

VISIONp. 90: neoprene t-shirt NEIL BARRETT.p. 91: jacket and trousers CALVIN KLEIN COLLECTION.p. 93: cotton turtleneck (worn throughout) JIL SANDER. knit sweater SANDRO PARIS. p. 95: neoprene sweatshirt JUUN J.p. 96: printed shirt SANDRO PARIS. leather trousers ACNE STUDIOS.p. 99: wool-blend coat SANDRO PARIS.p. 104: jacket and silk scarf LANVIN.p. 105: wool-blend jacket DIOR HOMME.

SDUIREp. 109: cotton-jersey dress with pearl detail CUSHNIE ET OCHS.p. 110: sunglasses (worn throughout) KAREN WALKER. printed top HONOR.p. 112: silk dress VINTAGE PRADA. leather and silver shoes NICHOLAS KIRKWOOD.p. 115: ceramic floral necklace J. CREW. silk-jersey dress AQUA BY AQUA. patent leather shoes ALEXANDER WANG.

PANOUISSEMENTp. 118: printed t-shirt JIL SANDER. jacket (worn around waist) and trousers CALVIN KLEIN COLLECTION. leather gloves SALVATORE FERRAGAMO.p. 119: metallic knit cardigan MISSONI.p. 120: knit top VERSACE. silver chain DAVID YURMAN. p. 123: printed silk scarf (worn as top) CHRISTIAN DIOR.

THE GARDENp. 124: dress YOHJI YAMAMOTO. gloves GASPAR GLOVES.p. 125: dress KENZO.p. 126: top GIAMBATTISTA VALLI.p. 127: earring DELFINA DELETTREZ. top ICEBERG. vest CHRISTIAN DIOR. cuff AURLIE BIDERMANN. p. 128: dress BURBERRY PRORSUM.p. 130: coat ISSEY MIYAKE. top and skirt MARQUESALMEIDA. sneakers BURBERRY PRORSUM.

CITY OF DREAMSp. 132: jacket and shorts BALENCIAGA. top HOUSE OF HOLLAND. rings EDDIE BORGO.p. 133: cotton dress ALEXANDER WANG. flannel shirt with sequin detail FILLES A PAPA. p. 134: top CAMEO. pants custom design by Mariana Cant. ponyhair and fur clutch PROENZA SCHOULER.p. 136: sunglasses KAREN WALKER. silk top and trousers LES CHIFFONIERS. printed coat MIU MIU. patent leather clutch MAISON MARGIELA.p. 137: metallic gold jacket and skirt KENZO.p. 138: embellished jacket with silk coattails SASS & BIDE. silk shorts WAYNE.p. 140: silk crepe shirt MICHAEL VAN DER HAM. silk dress JIL SANDER. fur clutch 3.1 PHILLIP LIM. fur monster keychain FENDI.

BOLDp. 141: leather jacket (worn throughout) IRO.p. 143: satin silk gown VINTAGE LANVIN. p. 144: silk scarf LANVIN. leather trousers GIVENCHY.p. 146: jacket and trousers CALVIN KLEIN COLLECTION.p. 147: trousers CHLO

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