nought age

Contributors

Antek Walczak

Ariel Blair Patterson

Tony Long
Courtney Dransfield
Simone Laube
John Ericson
Sam Sharpe
India Modonna
Samantha Wetton
Huy Tran
Lauren Valenti
Ayesha Grant
Merve Ayse
Michele Ross
Chelsea Smith
 Miss actual photos?

Your childhood is calling.

-Kodak Disposable Camera

 Pass over

Photographed by: Josh Bartky

Modeled by: Mielle Gerard

The Williamsburg Bridge extends from

the contemporary designer wear of Lower
Manhattan and into the minimalist, static attire
of Brooklyn’s Hasidic neighborhoods. Here,
a timeless sense of style flows beneath the
austere beams, high above the atlantic runoff.
Mazurbate 2010
Matthew Mazur
Mazurbate 2010
Matthew Mazur
Mazurbate 2010
Matthew Mazur
 What is Fashion?
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 Climbing
today and
tomorrow:

Higher Places

Photographed By: Ian Markell

Location: Vasquez Rocks
Model: Amanny Ahmad
Ian Markell, a current freshman at Parsons, took a
day adventure to the Vasquez Rocks on the outskirts
of Los Angeles to photograph a purple-haired beauty.
 Miss actual photos?

Your childhood is calling.

-Kodak Disposable Camera

 The Secret
dairies of a
Lanvin INtern
Merve Ayse
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Dust to Dust
Fashion by
ariel blair
arielblair.com

Photographed by: BENJAMIN STONE

Models: NICOLE LICHTENBERG

CHRISTIAN SANTIAGO
The Drained Fashion


As artistry must negotiate the transience of the world with constant reinvention and innovation, fashion
cannot – despite its timeless purpose – become static. Disconnecting it from its utilitarian aspect, we
can trace the countless changes “fashion as art” has been subject to over the last century. In doing
so, it instantly becomes discernible that the silhouette has become the designer’s favorite element to
destroy, exaggerate, reduce and toy with. Ranging from 18th century dresses to the minimalism intro-
duced by the dandy and Coco Chanel, it is obvious that the idea of fashion is as pliable as its textiles.
Inherent becomes the struggle between art and utility; the modern designer has to either wed the two
in his or her creations or, if irreconcilable, pick one. This is what constitutes the pastiche of contempo-
rary design: fashion is grounded in postmodernism, and is no longer required to adhere to any generic
standards.
“I used to be interested in expanding the silhouette; to make ‘cool’ shapes rather than classic ones.
Yet despite the importance of exploring the fabric, one has to keep in mind that fashion remains an
industry, and more or less demands garments wearable on a daily basis.” says Andrea Di, a student at
Parsons: The New School for Design. It appears that fashion, having reached a point where innova-
tion is rare and in some ways unachievable, has to reevaluate its own artistry; modern design has to
blur the distinction of “artistic” and “artisanal.” But when the paradigms are already cemented, in a
day and age where everything has already been “created,” what happens to creativity? How does fash-
ion manage to stay off of the walls of galleries and on the figures of actual people, without completely
losing its artistic quality?

When a brand reaches the level of mass production, the idea of creativity seems to become even more
bleak; there is a point in a company’s growth at which the verbs “create” and “produce” conflate and
suddenly spell “make.” The act of designing a garment is no longer in focus, as the whole concept has
to be distilled down in order to narrow the range of opinions, removing the love/hate idea, and focusing
on satisfying the customer.

The allure in purchasing small scale garments of controversial and innovative design is always exclusiv-
ity, something that a large scale fashion house cannot maintain – what a company gains upon reach-
ing mass production is rather the idea of creating something that is recognized, as a symbol of wealth/
sense of style/superiority.
Perhaps designers simply have to stop catering to competing houses and the consumers; perhaps cre-
ativity and innovation are not synonymous. “The business right now is all about lifestyle,” says Andrea,
“in order to avoid falling into the limiting homogeneity, one has to remain as anonymous as possible.
You have to remain subjective in a subjective business – making the garments myself is always the
main focus.” Once again we return to the postmodernity of contemporary fashion: the designer has to
reevaluate and redefine the notion of what a “business” is. Prosperity can no longer be inferred from
revenue and growth; a business becomes but a vehicle for the designer’s creativity.

Essentially, the silhouette as well as the other parts of a creation will always find themselves tied to
standards already set – yet the designer should realize that where the means of artistry tend to be
finite, the ends are infinite; creativity does not stipulate revolution. The minutia is just as important,
and creativity is not measured in size. “It’s hard, but fun. Everything is always a surprise. I never
sketch; it just happens” says Andrea.

By John Ericson and Samuel Sharpe

 Beast Make Bomb

Beast Make Bomb is a four piece rock band from New York City. Their loud and
irreverent pop songs are incredibly catchy and will have you dancing in under
thirty seconds to their punk infused distorted guitar riffs and melodic tunes. Their
energetic live shows will only be matched by the release of their first EP, entitled
Skinny Legs, which will be out this summer on iTunes, Amazon, and more. Come
out to their show on May 8th at Cameo Gallery with Static Jacks, Total Slacker,
and Milo & The Fuzz!
Photos By: Rin Johnson
Cover Art by: Monica Ramos
http://monicatramos.tumblr.com

Magazine illustrations by: Nancy

Brown
www.NancyNatalia.com
piss off!!