‘Superb. Reminiscent of Michael Jackson’s Remember The Time!’ – Vaughn Lowery, 360 Magazine
By Mina Tocalini
Beyoncé’s new film “Black is King,” a celebration of the “breadth and beauty of Black ancestry”, released on Disney+ today. Similar to Beyoncé’s 2016 film, “Lemonade,” “Black is King” acts as a visual album to her soundtrack, “The Lion King: The Gift.” Black Is King” explores the “timeless lessons” from Lion King in a visually rich modern journey of Black empowerment and resilience.
Beyoncé announced her excitement for the film’s release via Instagram, while further acknowledging the impact of its release and message: “The events of 2020 have made the film’s vision and message even more relevant, as people across the world embark on a historic journey… I believe that when Black people tell our own stories, we can shift the axis of the world and tell our REAL history.”
Beyoncé’s prideful film explores the Black experience and history through a young king’s story of “betrayal, love and self-identity.” Additionally, given the timing of its release, the film presents the necessity of honoring and telling stories from the Black perspective and that of any underrepresented community.
Simply put, the film is a celebratory visual journey of the Black experience. Initially the flow of the story seems interrupted and fast paced, but further on, it becomes clear that instead of following a linear narrative, it challenges the audience to find the connections within the short moments that frame each message.
Reiterating the same story we know and love is unnecessary, so rather, “Black is King” reinvents the Lion King through thematic experimentation intended to ignite pride in the Black identity. In a stunning collage of Afro-Soul music, narrative driven reflections and strikingly beautiful imagery, the film successfully expresses inspirational messages of hope, growth, love and community.
Some have critiqued the lavish presentation of Blackness via art, dance and fashion to be excessive and fast paced. Yet, this film’s message is focused on individuality and self love derived from the appreciation of Black culture. A culture of an entire continent and of Black communities around the world, it is anything but simple.
The immense detail in this film celebrates the complexity of Black beauty and the fast paced editing can not only be considered a reference to music video styles. It may originate from there, but can we not interpret it as being part of the overwhelming journey of defining your identity while struggling with the racial tensions in society.
Beyoncé did not create this to simply further enhance her image in a display of wealth, popular culture already associates her persona this way, we expect it and should not disregard the artistry for embracing it. She is simply using her power as a superstar to lead the unifying celebration, as should be done by those who can.
What is your main source of passion that led to creating custom-designed artistic scooters?
I’ve always had a creative spirit that most likely stems from my mom, who was an event and party decorator. In my late teens, I worked for the costume shop at the Gaslight Theatre in Tucson, AZ. Around that same time, my dad gifted me with his 1977 El Camino Classic. I loved TV shows like Overhaulin’ and Pimp My Ride. Naturally, I started spending time customizing my El Camino with my Dad, creating custom upholstery at the costume shop. I rocked blue-tinted glasses all the time and wore my hair all funky. It was cool that I had parents who let me figure myself out in that way. I never felt impeded. But then I went to college and life changed from muscle cars to academia. While in college, my design eye flourished. My frat room was a pretty ridiculous sight to see. The room and loft resembled all the colors featured on a Buzz Lightyear. My room was Star Command, complete with black and white checkered tile, cosmic blue walls, bright orange curtains, red trimming, clouds on the roof, and of course, glow-in-the-dark stars. It was just cool.
I was always out there with the things I wanted to do, and it was cool that I found a way to do them.
What motivated you to focus on scooter products rather than another form of transportation?
The reason for the electric scooter is a direct result of my experience at camping festivals. At the first-ever Good Vibe Getdown (the company name is a forever homage to this festival), I set up my camp way too far from everybody else. Although it was the most beautiful spot onsite (right on the banks of Apache Lake) it took FOREVER to walk back and forth. A bicycle wouldn’t work because you still have to exert energy and I was not about that life. So, I thought of the most effective form of transportation at a camping festival: an electric scooter. I bought an e-scooter and decorated it entirely in jewels. When we got to Good Vibe 2 that next year, I didn’t even get to ride it. It was a smashing success. I remember seeing grown men fight over the chance to ride it next. That’s when I realized, “Wow, people are loving this. No one has ever really seen anything like this before.” My Gliders are fun, exaggerated, over-the-top, extra in every way, shape, & form, and instantaneously make you the center of attention. That’s crazy. You honestly can’t help but be the center of attention when a scooter looks like that. Put a Good Vibe Glider next to a regular scooter, and the answer is simple.
Lastly, there’s an element of luck to which I give credit. It turned out to be perfect timing to start decorating scooters because no more than a year later, rideshare scooters started popping up all over my city. I didn’t start GVG because of the scooter trend. I started GVG because it helped direct my creative energy in a positive way, and soon I had a fleet and started helping my friends run their festivals more efficiently.
What was the first festival where you chose to implement the gliders and why did you choose that specific one?
Good Vibe 2 is where I had my ah-ha moment, but Good Vibe 3 was full-on intentional. I designed and created one Glider for the festival coordinator and made two more Gliders for the festival attendees to glide around on. I even built a charging station in the middle of the desert so that when the batteries got low, riders would pull up and plug in their scooters. It was very cool to see my vision come to life: homies helping homies hold it down, faster, stronger, and more efficiently.
How did your past design experience help you succeed in producing these Good Vibe Gliders?
As you know, I’ve always had it in me. My early work at the Gaslight Costume Shop, helping produce costumes and props was pivotal. I had great direction and instruction from two of the best designers in the business, MaryAnne and Renee. Most of my designer confidence came out of working with them.
How have Festival Event staff and Coordinators reacted to their use of gliders?
Simple: they lose their freakin‘ minds. They can’t get enough of it. If they didn’t understand it before they definitely understood it after. It’s cool being the guy with the electric scooters because there are so many instances at a festival where you need to get somewhere quickly. So many situations – medical assistance, needing to find somebody or lost equipment. Other times, equipment needs to be transported long distances without access to a truck. I’ve been able to directly help those folks just by having a scooter present. There was this one stagehand at Juniper Jam who said, “Seriously, I don’t ever want to do another festival without one of these things. Can you go talk with my boss please?”
Do you have any plans to expand your market for these scooters? And if so, how will you do so?
If you’d asked me this about five months ago, my answer would have been much more different. Because of the virus, the hospitality industry took a huge hit and people are definitely not riding electric scooters like they used to. These days GVG has naturally expanded into accessories. Not long after I made my first Glider did people start asking me to bedazzle and theme other stuff, as well. By no means are we leaving the bedazzled PEV market, that’s our bread and butter. However, I also consider us lucky to have an alternative direction to pivot. I’ve been pleasantly surprised at how well-received my Good Vibe Shine Goggles have been. Grammy Lifetime Achievement Award Winner George Clinton even rocks a pair.
Do you work with or have any plans to work with any non-profit, community service, or charity organizations?
More than ever, we are willing to work with community and charity organizations to help make an impact on the lives of others. Last month, we sponsored a 24-hour Virtual Festival fundraiser featuring 24 DJs, 8 live artists, and 4 workshops. Our fundraiser achieved over $1,500.00.
Earlier this year, Sprinkles (the 360 Glider made by Good Vibe Gliders) lent a helping hand at the AIDS Walk Arizona 2020. My neighbor Nancy is one of the event coordinators and was amazed by Sprinkles! Right before the event, Nancy sprained her knee and was scheduled to undergo surgery the following week. She was depressed about the situation and bummed to think she wouldn’t be of much use at the event. However, once we offered her the Glider, her frown turned upside down and she killed it. She still thanks me to this day.
What would you say is the greater purpose of selling these glider products?
Generating pure happiness. What’s most amazing to me is that we have a product that genuinely creates happiness in the minds of the rider. It’s something I see every time, whether the scooter belongs to you or not. The first time you sit on a Glider, the next 15 seconds of your life is bliss. You forget about absolutely everything. The rider smiles uncontrollably, scootin’ and zippin’ around, like, “oh my gosh, I totally forgot how awesome scooters are!” They are childlike once again, if only for a few moments, and that’s unbelievable to me. In every project, our goal is to produce something the customer won’t just like, but something they will love.
How did you assemble your team of glider creators together?
Most of my co-creators stem from the amazing group of artists I met during the Good Vibe Getdown years. These guys & gals are creative juggernauts, powerhouses at their trade, and a driving force that can’t be stopped. I quickly realized the more I worked with other artists, the better my final product would be. Soon, other artists started taking interest. I would bring a Glider with me almost everywhere I went. Artists saw what I was doing and often would say, “Oh – you’re weird and unique; Here’s what I do, I bet we can collaborate together.” And just like that, I create friends. My products are generating work for local artists with tangible, green-in-their-pocket work. So as sales began to pick up and people started trusting the GVG brand, I could keep my artists happy based on the rate I charge my clients. Collaboration is now baked right into our business model. More so, I really like showcasing other artists. I want to show people what they can do – and if you like their work, you can work with them specifically to design yourself a custom Glider.
Are these scooters just meant for festivals or are any other parties interested in buying them?
Our Gliders are made for any reason at all. We cater to large events because of our festival roots, but your Glider can be absolutely anything you want it to be. We love getting wild, so go wild! Scooters are no longer fringe transportation; people use them all the time so it’s much easier to pitch a decorated scooter to just about any industry and event. Gliders are perfect for expos, conventions, street fairs, tailgates, food trucks, personal use, business marketing, festivals & production, sports & teams, schools & clubs, weddings & gifts, restaurant & service industry, festivals & production, fairgrounds, business retreats, birthdays, schools & church, parties, etc.
On a personal note, back in November, I was married to my best friend, Addie. Our wedding was three days long, hosted at the base of the Bulldog Buttes at Saguaro Lake Guest Ranch. That place is gorgeous, and sprawling. Hands down, the most incredible weekend of my life! But I can tell you this: without a doubt, if we didn’t have the Gliders there, many things would not have worked out. The unexpected need to get from one side of the property to the other was anticipated, but little did I know these Gliders would play such a major role in getting us out of some tight situations.
Gabe Majalca caught on our custom ebike during his wedding reception in Arizona.
JOSE ANDRES WINS AMERICAN EXPRESS ICON AWARD 2019 AS PART OF THE WORLD’S 50 BEST RESTAURANTS PROGRAM
US-based Spanish chef and humanitarian José Andrés has been awarded the American Express Icon Award 2019. This prestigious honor is part of The World’s 50 Best Restaurants and celebrates an individual who has made an outstanding contribution to the restaurant industry worthy of international recognition and who has used the platform that his profile as a chef provides to raise awareness and drive change.
Chef Andrés will officially receive his award at The World’s 50 Best Restaurants 2019 ceremony, heldat Sands Theatre within the iconic Marina Bay Sands in Singapore on the evening of Tuesday 25th June. The award reflects his overall career as a pioneering chef and restaurateur as well as his more recent humanitarian work, both of which have brought him to the status of a global culinary icon.
“José Andrés is more than just a superb chef and restaurateur,” says William Drew, Director of Content for The World’s 50 Best Restaurants. “Not only has he brought fantastic, authentic, forward-thinking Spanish food to the US, but through his World Central Kitchen project he has helped feed millions of people denied access to nutritious food as a result of natural disasters. Chef Andrés embodies a character that has used his talent in the kitchen and subsequent position of power and access for a wider good, which makes him the perfect winner of the first global American Express Icon Award.”
Jose Andrés says: “I’m very humbled to receive this award, to make sure that I will give voice tothose who are voiceless. I will try to make sure that we bring hope, one plate of food at a time.”
Born in Asturias, northern Spain, Chef Andrés is the man credited with bringing both authentic tapas and innovative contemporary Spanish cuisine to the US. After spending two years with Ferran Adrià at legendary modernist restaurant El Bulli, in 1991 he packed his bags for the States with just $50 in his pocket.
Today, his ThinkFoodGroup includes more than 30 restaurants, including the two Michelin-starred minibar by José Andrés in Washington, DC, which serves some of the most avant-garde cuisine in the world. His array of restaurants ranges from experimental tasting-menu-only counter dining experiences to authentic regional cuisines and fast-casual concepts, which are focused on impeccably sourced ingredients served simply, often in a small-plate or tapas style.
“We are thrilled to recognize the incredible culinary and humanitarian work of our American ExpressGlobal Dining Collection partner and overall visionary, José Andrés, with the American Express IconAward,” said Chris Cracchiolo, Senior Vice President, Global Loyalty and Benefits, American Express.“Chef Andrés truly embodies what this award stands for, as his work both in the kitchen and outsidehave shown the power and impact that food can have in bringing individuals and communities together and helping them thrive and grow together.”
Twice awarded Time Magazine’s 100 Most Influencial People in the World, Andrés’ humanitarian workhas received widespread recognition. In 2016 he was awarded a National Humanities Medal at the White House by President Obama, and in 2018 he was named Humanitarian of the Year by the James Beard Foundation for the role of his non-profit organization, World Central Kitchen, in providing nearly 4 million meals to the people of Puerto Rico in the aftermath of Hurricane Maria. His book recounting his experience in Puerto Rico, We Fed An Island, is a New York Times bestseller.
He has recently broadened his restaurant reach with a new location of Jaleo, his first restaurant, at Disney Springs at the Walt Disney World Resort in Florida, as well as the 35,000-square foot MercadoLittle Spain in New York’s Hudson Yards development, which combines a variety of Spanishrestaurants, bars and food and retail kiosks under one roof. Described as “a veritable love letter to Spain”, the project, inspired by the mercados central to social life in Spain, was developed withcreative collaboration from brothers Ferran and Albert Adrià, with whom he worked at El Bulli at the start of his career.
A photographic tale of the aspirations of four women and their determination to achieve their goals, each one pursuing her own dreams and passions. This is “Dreaming”, the 2019 Pirelli Calendar, now in its forty-sixth edition, shot by Albert Watson in April in Miami and New York and unveiled today at Pirelli HangarBicocca in Milan.
A sequence of forty shots tells the stories of characters portrayed by Gigi Hadid with Alexander Wang, Julia Garner, Misty Copeland with Calvin Royal III and Laetitia Casta with Sergei Polunin. The photographs, in colour and black and white, are in the cinematic 16:9 format, inspired by Albert Watson’s passion for the art of film.
“When I approached this project,” says Watson, “I wanted to do it in a way that was different from other photographers, and I wondered what the best way would be. In the end, I looked for pictures that were of beautiful quality, with depth to them, and that had some kind of narrative. I wanted to create something that was more than just a portrait of somebody – I wanted it to look like a film still. I wanted people looking at the Calendar to see that my aim was photography in its purest form, exploring the women I was photographing and creating a situation that would convey a positive vision of women today.”
Telling the story of how he came to make the Calendar (see the interview below), the photographer talks of his own dreams, and of the efforts and sacrifices that they entailed.
“To make a dream come true, you have to work hard. I’ve always taken it step by step, reaching one goal at a time, without wanting to get immediately to the top of the ladder. Even though I sometimes think this ladder could go on up forever, with the top rung ever-further away, I think it’s always worth giving yourself increasingly ambitious goals and dreams.”
He said that each of the four women focuses on the future and “has her own individuality, her own particular purpose in life, and her own way of doing things. So the underlying theme is that of ‘dreams’, but the basic idea behind the whole project is that of telling a story in four ‘little movies’. What I wanted to convey were the protagonists’ hopes and their way of thinking about the future, in a way that would bring with it the aspect of dreaming.”
An example of this is the character played by Gigi Hadid, he explained. She has recently separated from her partner, lives alone in a glass tower and has Alexander Wang as her only friend and confidant: “I think there’s a degree of angst in these images. With Hadid’s character, I wanted to convey the sense of a woman thinking about her future, but also showing her in a situation of loneliness. We see her thinking about where she is going to go in life, what she will be doing tomorrow. I wanted it to be much more minimalistic than the other women and settings I photographed.”
Julia Garner plays the part of a young photographer who loves nature and solitude. Of her, Watson says; “Julia’s a very, very accomplished actress and she got straight into the character. She played a botanical photographer who dreams of putting on successful exhibitions. We were in a beautiful tropical garden in Miami, which turned out to be the perfect place for us to work.
Misty Copeland, whose partner in the Calendar is Calvin Royal III, also looks to the future, fantasising about making a name for herself in the world of dance. “Trying to be successful is her driving force,” said Watson. “Copeland’s character earns her living by dancing in a club, but at the same time she has also put up a little stage in her garden, where she practices dancing in order to become a star, sometimes with her boyfriend, played by Calvin Royal III.”
Lastly, Laetitia Casta is a painter who lives in a studio apartment with her partner, played by Sergei Polunin. They both dream of success: she as an artist, he as a dancer. “What’s interesting”, says Watson, “is that, in real life, Laetitia really does do a lot of sculpting and creates artwork in her spare time. This worked out very well and helped her get into character. We decided to shoot outside, to give the scenes some added natural brightness. The tropical atmosphere of Miami is a key component in this picture.”
See the stories and stars of the 2019 Pirelli Calendar, and the history of over 50 years of The Cal™, at www.pirellicalendar.com .
PHOTOGRAPHER: ALBERT WATSON
ARTISTIC DIRECTION: BARON & BARON
PRODUCTION DESIGNER: STEVE KIMMEL
CALVIN ROYAL III
Q&A WITH ALBERT WATSON
How did you approach the Pirelli Calendar project?
The Pirelli Calendar is a unique project for any photographer. When I first took it on, I wanted to do it in a way that would be different from that of other photographers, and I wondered what the best way would be. In the end, I looked for pictures that were of beautiful quality, with depth to them, and that had some kind of narrative. I wanted to create something that was more than just a portrait of somebody – I wanted it to look just like a film still. I wanted people looking at the Calendar to see that my aim was photography in its purest form, exploring the women I was photographing and creating a situation that would convey a positive vision of women today.
How did you formulate the project?
I wanted to ensure there would be a strong narrative, so I thought: “Let’s try and make the shots look like film stills.” Quite a lot of it was shot in widescreen format. And that was quite challenging. Each of the four women has her own individuality, her own particular purpose in life, and her own way of doing things. And they are all focused on their future. So the underlying theme is that of “dreams”, but the basic idea behind the whole project is that of telling a story in four ‘little movies’.
Could you tell us about the stories that bring your Calendar to life?
Each character has a part to play in the 2019 Pirelli Calendar. In some cases, the role was close to what the actress does for a living, but here they were certainly all acting a part. Not themselves. And that’s what I wanted.
The woman played by Gigi Hadid has just split up with her companion. She has a confidant, not a boyfriend, played by the designer Alexander Wang. He is helping her get over this difficult time. I think there’s a degree of angst in these images. With Gigi Hadid’s character, I wanted to convey the sense of a woman thinking about her future, but also showing her in a situation of loneliness. We see her thinking about where she’s going to go in life, what she’ll be doing tomorrow. I wanted her to be much more minimalistic than the other women I photographed, and I wanted her to be reflected in the settings I portrayed her in. The settings of the other protagonists are pretty crowded, and there’s action in almost all of them.”
Julia Garner’s character is a botanical photographer who dreams of putting on successful exhibitions. Julia’s a very, very accomplished actress and she got straight into the character. We were in a beautiful tropical garden in Miami, which turned out to be the perfect place for us to work.
Misty Copeland and Calvin Royal III, on the other hand, play the part of two dancers who want to become famous and live in an Art Deco house. She’s dreaming of dancing in Paris. She is looking to the future and has ambitions. Trying to be successful is her driving force. Copeland’s character earns her living by dancing in a club, but at the same time she has also put up a little stage in her garden, where she practices dancing in order to become a star, sometimes with her boyfriend, played by Calvin Royal III.
The artist played by Laetitia Casta lives in a studio apartment, which she shares with her partner, played by Sergei Polunin. They are both dreaming of success: she as an artist, he as a dancer. We decided to shoot outside, to give the scenes some added natural brightness. The tropical atmosphere of Miami is a key component in this picture. What’s interesting is that Laetitia told me that, in her spare time, she really does do a lot of sculpting and creates artwork. This worked out very well and helped her get into character.
What was the role played by light in this project?
When I was young, the first famous person I photographed was Alfred Hitchcock. He said: “My dear boy, once you’ve finished the storyboard, the movie is finished – all I have to do is shoot it.” There’s a certain amount of his message that has stayed with me. The 2019 Calendar is like a cinematic storyboard. I was very lucky because I trained as a graphic designer for four years and then I went to The Royal College of Art Film School for three years and I came out as a director. I never trained as a photographer and, from that point on, I had to learn to be a photographer and know about lighting. As a photographer, the technical things for me were very difficult, it wasn’t natural. Intuitively, a cinematic aesthetic was quite natural for me to follow. A lot of my work is based on graphics and film or sometimes on a combination of the two. It was quite easy for me to drop into this for the Calendar and produce images like film stills. It was a matter of making all these different elements come together and make a strong narrative. The common denominator is that these people are all active: they’re thinking of their future and they’re dreaming of where they might be in five, ten, twenty years…
Did you like working on the set?
I know some people work well with a lot of tension on set, and part of their creativity comes from this, but I’m actually the opposite of that. If I’m having fun with people, if I’m enjoying being with them and playing around, I get a lot more out of them. I sometimes say to young photographers that it’s ‘location, location, location’. But in a case like this, it’s more ‘preparation, preparation, preparation’. The more you prep for the job, the more creative it will be. It’s thinking and planning, planning, planning. That’s what’s really important.
I had a tremendous amount of support when creating the vision for the Calendar. Steve Kimmel was the art director, along with Arnold Barros and Belinda Scott, and they did a brilliant job. Thanks to their dedication, it all went perfectly. James Kaliardos did our make-up. He did a fantastic job, beautiful, invisible, but yet there. The hair, by Kerry Warne, was always natural for each of the women. He’s had a lot of experience in film work, so he was perfect for this project.
Julia Von Boehm did the styling and fashion editing. On top of that, I had my own team of assistants and digital editors, Taro Hashimura and Emi Robinson, as well as Adrian Potter. All these people contributed in a great way, so this was definitely much more like a film project than a photography one.
Have you fulfilled your dreams?
To make a dream come true, you need to work hard. I’ve always taken it step by step, reaching one goal at a time, without wanting to get immediately to the top of the ladder. Even though I sometimes think this ladder could go on up forever, with the top rung ever-further away, I think it’s always worth giving yourself increasingly ambitious goals and dreams.
AYITI Gallery is pleased to present the works of seven talented Haitian artists carefully selected for their ingenuity, their originality, their narrative and their artistic potential. Our artists represent the new wave of International Inspirational artists that is currently flowing the market. They respond to the rising demand of new art that inspires and educates. They invite the viewer to think deeply and explore a new visionary realm. Our artists are messengers and healers. They express a state of consciousness that transcends a reality. Intuitive, they speak with their soul and push the boundaries commonly known of the art world. Their creative imagination rooted in their identity has preserved the authenticity of their art and freed them from the western norms. Fresh, elegant, avant-garde, colourful and mindful, their art has a unique voice. The quality and originality of their work reminds us Picasso, Dali, Basquiat, Bosch, Breton, or Bruegel the Elder. All are dedicated to an established and mature style and create masterpieces after masterpieces. All have the potential to be the art masters of tomorrow. They are permanently exhibiting in the UK.
AYITI Gallery is a brand name of THE smARTest PROJECT LTD, a certified social art enterprise founded in 2015 that initially supports (isolated) genius artists from Haiti to exhibit and sell their work to a global audience, live and thrive from their art. Over the years, we have pioneered with success the introduction of Haitian art in London. We have increased the visibility of our artists and the value of their art. We have revealed up-and-coming masters and highlighted the emergence of a new trend. We have shown that other form of creativity exist beyond the mainstreamed art. We have created a precedent that revealed a huge niche market for our artists, and furthermore for International Inspirational artists. The potential is significant and the supply of rare and fascinating art is endless. We are present in two thriving markets (African art and its diaspora; and Outsider art) which are triggering a breakthrough in the global art market encouraging collectors to invest now in our artists. We have a long-term vision that goes beyond Haiti, aiming to change the life of thousands through arts, and exploring new collaboration in and beyond the art world to further the vision of our artists and diffuse more Inspirational art in our daily life.
Despite their undeniable talent and their unique sense of creativity, an infinite number of International Artists have limited access to the International Art scene. Their geographic location, their economic situation, their anonymity, the absence of art education background, the nonconformity of their art and their disconnection with the art world isolate these artists from the main international art hubs. The art market has become somehow elitist and conservative. It favours artists who have sufficient financial means to show their work, artists who are able or are enough proactive to market themselves online and offline, artists who have pursued art studies, artists who follow trends and respond to the commercial demand of the market, or artists who live in western countries. It brings artists to compete with one another on an economic basis and rejects a vast majority of talented artists worldwide. It limits the endless variety and originality that International Artists could show to the world, it distorts the true meaning that originates from the creation of art, it narrows the notion of art itself influencing the regard, the taste and the decisions of the general public, and it promotes the duplication of art and artists. The art market has created a replicable business model that runs out of steam and seeks new inspiration. Art is more than a product. It’s a vision, the introspection of a soul, a universal language connecting cultures and individuals together. Art is an invitation to travel. We are meant to bring change and explore alternatives to nurture the infinite potential of International Art and the creative vision of Inspirational Artists.
▪ We believe in artists first
▪ We believe in art as an act of self-expression, with no rules, intuitive, expressive, initiatory, meaningful, and the inner soul as the main driving source of inspiration
▪ We believe in an art that inspires, instructs and provides emotions to people, that opens minds and mentalities, that influences practices and policies, that expresses a message, a feeling, a state of consciousness, that transcends a reality
▪ We believe in equal opportunities for all talented, creative and inspiring artists to show their work worldwide no matter their origin, their background, their status, their renown or their connection to the art world
▪ We believe that the renown of an artist be based on his/her talent, originality, creativity, the aesthetic of his/her work, the deepness and pureness of his/her inspiration
▪ We believe in new technologies to bring the vision of Inspirational Artists to life
▪ We believe in collaboration instead of competition, bringing in diversity into unity, encouraging the collective rather than the individual
▪ We believe in more Inspirational Art in our daily life to stimulate collective consciousness, taking art out of the traditional art premises.
FashionBar, LLC is pleased to announce Chicago’s Fashion Week taking place this October. The Chicago’s Fashion Week events will occur on October 20, 21, 22, 24, 27, and 29, 2017. Chicago’s Fashion Week events will benefit the American Cancer Society of Illinois in a celebration of fashion, beauty and wellness.
FashionBar would like to highlight the Fashion Finale event, on Sunday, October 29, which will include a fashion showcase and an Avant Garde competition. Fashion Finale is the show to close out Chicago’s Fashion Week. Four designers: Rodnell Jones II, V.J.G. Clothing, Mario Puga, and La Moda Munze, will be challenged to create a custom garment inspired by Chicago’s cityscape.
Stylist, model, and Russia’s Next Top Model judge Leroy Dawkins, will be traveling from London for the Avant Garde competition.
As the CEO of FashionBar, Tony D. Long, states: “The importance of this year’s fashion week initiative is to bring awareness to wellness, as wellness is the foundation of fashion and beauty.”
To learn more about FashionBar and Chicago Fashion Week, visit FashionBar’s website HERE
Today, AnOther Magazine’s Autumn/Winter cover story with songwriter, recording artist, and visual art luminary Solange is available on stands, with additional photos from the provocative shoot appearing online now.
“Magazine making is all about creating surprises and world firsts. Solange wearing Rick Owens on the beach lensed by Peter Lindbergh is fashion and cultural history. I am honored that Solange chose to work with AnOther Magazine for our Autumn/Winter cover. She represents a new feminine beauty that is confident, defiant and fearless. A perfect fashion cover for our time.” – Jefferson Hack, Group Editorial Director of Dazed Media
“Solange Knowles is a woman whose ability to connect with people and her own heritage is unprecedented. She is among the strongest creative voices of her generation: fiercely independent and uncompromising. We are very proud to have her on the cover of this issue, photographed by the Peter Lindbergh, styled by Robbie Spencer, and wearing clothes designed by equally independent and uncompromising fashion designers.” – Susannah Frankel, Editor-in-chief of AnOther Magazine
The print edition of the story is on stands Wednesday in London and everywhere else Thursday, September 14th.
Find quotes from Lynette Nylander’s AnOther Magazine article about Solange below:
“If ever proof were needed that Knowles is a symbol of her times it is here. Because whether through her digital platform, her live shows or her intimate albums, she offers many a sense of belonging they have never felt before, a feeling that they are not alone.”
“With cultural conflicts and intergenerational racism prevalent in American headlines, she chose to embrace the pain expressed in the media.”
“She set up shop on an old sugar plantation and used the experience to spiritually connect with her ancestry, which is rooted in the Southern state, embarking on what she called “a pursuit of truth and beauty”. The results are generational anthems that cut through in a similar way to Billie Holliday’s Strange Fruit and Nina Simone’s Young, Gifted and Black.”
“I sense that she has become a conduit for a previously unspoken message: the tiredness thatblack people feel every day about the lack of progress there has been since the stories told by their parents’ parents, and in these admissions she’s appealing to a black audience without alienating a white one.”
“She has compounded a personal narrative and has taken it public, creating a dialogue with [people of color] all over the world – those who not only just get it, they live it. Knowles empowers them through any indignity suffered, imbuing them with the confidence to be unapologetically black.”