CIRCUS F/W/2020 Circus 001
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fall/winter 2020 edition 001 included F/W/202o Contents CIRCUS 5 F/W/2020
8-9. 13. This season’s features 17-33. Letter from the Editor 35-38. Into The Wild 39-48. Conscious Consumption S 53-63. 49-52.Hilltop Changing Our Ways 25 Sustainable Textiles Circus 001 And More... 6
Featured Page #17: Take a look into Page #53: Includes 25 unique, sustainable the Patagonian wilderness textile alternatives. in an all new interview with photographer and From polyester to climber, Laine Pickell. cashmere, theres al- Reflecting on how gar- ways a less impactful way to go, and now is ments interact with one’s the time to start uti- environment, the future of lizing these materials. fashion, and living in the true outdoors. Page #78: Paints a dys- topian picture of a post- COVID-19 world and the story of a young man grappling with the world around him. Ded- icated to the Editor’s late friend Noah Malik Nettles, it’s during times like these that we must think about those we’ve lost. And So Much More... 7 F/W/2020
CIRCUS, fall/winter, issue #001 Dystopian Picture Page #72: Exploring Page #94: An exclusive Page #49: Includes the systemic flock to an exclusive look escapism as a response interview with NYC-based at what Brendon fashion designer Corey Babenzien is doing to turmoil in the to change the fash- United States. As Wilson. Wilson currently ion industry, and its well as understand- works with Nicole Miller ing the fashion in- footprint. dustry’s role as both Studios and underlines a business and means sustainability and craft- of artistic expres- manship within his work. sion. Circus 001 8
CIRCUS F/W/2020 Executive Creative Director Editor in Cheif Managing Editor Sam Liebling Sam Liebling Sam Liebling Fashion Director Executive Editor Digital Executive Editor Sam Liebling Sam Liebling Sam Liebling Senior Features Editor Stylist Director Home & Design Director Sam Liebling Sam Liebling Sam Liebling Photo Director Travel Director Copy & Research Chief Sam Liebling Laine Pickell Sam Liebling Art Director Sam Liebling Associate Editor Elizabeth Hambleton Editorial Operations Manager Sam Liebling Design Director Sam Liebling Production Manager Sam Liebling Deputy Photo Editor Laine Pickell Senior Designer Sam Liebling Printed in the U.S.A. Contributors For customer service regarding your CIRCUS subscription, including 9 F/W/2020 replacement copies, change of address, or to opt out of receiving the magazine entirely, please contact Sam Liebling, at 508.246.7475 or samliebling@gmail. com. Change of address requests must be made via phone or by logging into your account at www.circusmagazine.com, selecting the Account Services tab, and editng your billing address. Requests cannot be accepted via mail or email. Circus 001
CIRCUS F/W/2020 Additonal Contributors Photographer Photographer Photographer Dylan Anderson Jordan Martinez Laine Pickell Photographer Photographer Charles Young Elizabeth Hambleton Designer Corey Wilson Model Model Oliver Tabibzadeh Sam Liebling Model Fashion Illustrator Jack-Henry Hung Sam Liebling Model Jon Liebling Dedicated to Noah Malik Nettles 1999-2019 CIRCUS is a sustainably sourced and ethically produced magazine. 11 F/W/2020 Contributors Circus 001
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EFdrittohomer Dear Reader, How exactly this change may look is yet to be determined, but what has been determined, is that the way in which the Throughout history, fashion has adapted to the world fashion and luxury industries operate now is untenable, surrounding it, and with the current COVID-19 pan- and without a paradigm shift in how we treat our planet, demic, we can only wonder where the industry will we could see these industries fade away. The first volume be led from here. Even before all of this, brands are of Circus is here to inspire change, to show the planet for beginning to shift their focus towards the “Conscious its true beauty, and to cross pollinate fashion and nature Consumer” (see pg.#), sustainability in manufactur- as one coexisting entity. Keeping up with the latest trends ing and other ways to reduce the global fashion indus- is important, but throughout this volume you will find that try’s environmental footprint. After all is said and the trend Circus is setting is one in which sustainability, done, when the streets of New York open back up, fashion, and luxury coexist as one. I hope you enjoy the when the Llouve is as bustling as ever, and when the first-ever volume of Circus, and look forward to showcas- people can go outside for the annual cherry blossom ing the fashion and luxury industries in a new light.• festival in Tokyo, fashion will still be alongside us, pushing boundaries as to what we know and see as art Sam Liebling - Editor in Chief on a daily basis. It’s a scary time, and thinking about where fashion and luxury may go after the current “It’s a scary time, and thinking pandemic is a thing of the past can be concerning, but about where fashion and luxury may it can also be looked at as an opportunity for growth go after the current pandemic is a and change, for a paradigm shift in which our industry thing of the past can be concerning, is one that does more good than harm to our planet. but it can also be looked at as an The first volume of Circus, is a cross between an art- opportunity for growth and change, book and fashion magazine, highlighting the appar- for a paradigm shift in which our ent convergence of the fashion and luxury industries industry is one that does more good delve into sustainability. This is not a shift of choice, than harm to our planet.” but of necessity. With consumers beginning to think about the roots of the product they are purchasing Circus 001 and its impact on our planet, designers and fashion houses must adapt to adhere to the growing demand for sustainable practice. COVID-19 won’t be the end of fashion, it will be the beginning of a new era. An era in which the simple guidelines of marketing, fashion shows, and manufacturing change, and for the better. 13 F/W/2020
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Photographs by LAINE PICKELL and CHARLES YOUNG
Delving into the Patagonian Wildnerness for six months, climber and photographer Laine Pickell reflects on his experience living and INTO breathing in an enviornment where function- WtIhe LDalitytrulytrumpsfashion. Interview and Editing by SAM LIEBLING
“ T wo years he walks the Earth. No phone, no pool, no pets, no cigarettes. Ultimate freedom. An extremist. An aes- thetic voyager whose home is the road... Thou shalt not re- turn, ‘cause “the West is the best.” And now after two ram- bling years comes the final and greatest adventure. The climactic battle to kill the false being within and victorious- ly conclude the spiritual revolution... No longer to be poi- soned by civilization he flees, and walks alone upon the land to become lost in the wild.” Christopher McCandless qtd. in John Krakauer’s Into the Wild Photographer CHARLES YOUNG Location PATAGONIA
How does getting dressed in an eviron- As outdoorswear seems to be becoming a ment such as Patagonia differ from get- mainstream trend within menswear, with ting dressed back home? How would you brands like Arc’teryx beginning to be fea- describe the key differences in garments tured in more fashion-focused platforms, between outdoor-wear and casual through do you see a decline in the credibility of high fashion garments? quality brands such as Arc’teryx? Could you see the brand losing some of the histor- “Getting dressed is pretty basic due to the sheer ic and steadfast credibility they now hold? lack of options. Since you have to carry all your possessions on your back there’s an emphasis on “I don’t think the popularity of Arc’teryx will packing light in terms of clothings. An obvious lead to a downgrade in quality. The reason their difference between outdoor-wear and other cat- brand has become so popular in fashion is because egories of garments is the simple fact that the of the quality and sheer usefulness. As a result of clothing I’d be wearing in Patagonia is designed the new attention of the fashion industry Arc’ter- stricktly for utilitarian purpose, whereas the opp- yx has released some more “city focused” items but posite is true for normal clothing, as it is much the main priority of the brand is to make the best more emphasized on style.” outdoor garments posible. The company has been a staple of outerwear and mountaineering gear After spending months exploring Chile/ since the late 80s, they’ve got a stellar reputation Patagonia, what is your current outlook and a crazy loyal customer base of climbers and on where the fashion industry is headed outdoor enthusiasts, that’s who the company is versus where it should be headed? focused on.” “I definitely saw a change in my values when it Explain how your clothing and comes to clothes after being absent from the outwear interacted with the en- industry for six months. I’d really love to see an vironment you were living in? emphasis on people buying items they intend to keep for life. The kind of stuff that gains charac- “The clothing you bring is the only real barrier ter with time. Something in the outdoor indus- between you and the elements. Hypothermia is a try that I love are the repair services that most constant factor when moving in alpine conditions. companies offer, this not only limits waste but Your clothing has to strike a balance between it saves the consumer money. In my eyes, having insulation, wind and water resistance all the while patches and sewn up rips, similar to the Japanese being light as possible. This helped me create a practice of Boro, patching garments together new undestanding of clothing as a concept as well until they’re almost unrecognizable and passed as what its true roots are: to protect against the down through generations. These are the kind of elements. While living in a climate such as the one things that gives the garment more character and in Patagonia, style comes near the bottom of the more of a story, and that's what I value.” list when it comes to clothing.” 21 F/W/2020
Photographer LAINE PICKELL As climate change and environmental Location PATAGONIA degradation become increasingly press- ing issues, how do you see the next gen- eration of designers (us) playing a role in mitigating these damages? I would hope that this new generation of designers will be focused on quality over quantity, and the idea of buying items for life and to pass them down through generations. I think that it is imperative we begin to use sustainably sourced materials, because at the end of the day we will only have what nature can provide us, and depleting that aimlesslely will only bring an end to the fashion industry. It is now, more than ever, my generations re- sponsiblity to focus on protecting our planet, while also having the opportunity to further our societal arts. While travelling, did you see any clear signs of climate related changes to the environment? “I saw a lot more than I expected, especially when closer to sea level. The factory farming of salmon is a massive industry in Chile and the amount of trash these farms dump into the ocean is absurd. Not only do these farms produce lots of trash but they’ve introduced several non native fish species into the coastal waters of South America. These companies provide employment for people in incredibly remote areas and provide food for the conti- nent, but their negative effect on the environ- ment is undoubtable. It’s so bad that if you dig down on the shore near one of these farms you will find styrofoam and other types of plastic granules embedded in the soil.” Circus 001 22
Photographer LAINE PICKELL Location PATAGONIA 23 F/W/2020
In what ways can the high fashion/mens- How important do you think it is that wear industry begin to incorporate ma- outdoor wear companies (and all fashion terials commonly used in outdoorswear? brands in general) switch to sustainable Should it? business models? I’ve seen materials from the outdoor industry “It is imperative that we make the switch. A lot trickle into streetwear for a while now. It’s fairly of out outdoor brands already have this mindset, common to see these brands source their materi- at least to a certain degree, being that their whole als from companies like Gore-tex and Polartec. I business is set around being able to enjoy the think this makes complete sense and I wouldn’t be outdoors, so it is really about getting the rest of surprised if the high fashion industry started to the fashion industry and world in general to fall in use these materials in their collections because let’s line. We have a growing responsiblity to take care face it Gore-tex kicks ass.” of the planet, and this is something that we will be working on for generations and generations to come. Mainly, the fast fashion industry needs to be revamped into a sustainable and affordable busi- ness model, but starting small and working to buy secondhand clothes or clothes made with sustain- able materials is a great place to start.”• Photographer CHARLES YOUNG 24 Location PATAGONIA Circus 001
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Photographer LAINE PICKELL Location PATAGONIA
Photographer LAINE PICKELL Location PATAGONIA
Photographer LAINE PICKELL Location PATAGONIA
Photographer LAINE PICKELL Location PATAGONIA
Photographer LAINE PICKELL Location PATAGONIA
Photographer LAINE PICKELL Location PATAGONIA
Laine Pickell is a Seattle-native, who recently em- barked on a six-month journey through Patagonia and southern Chile. Him, along with a team of six, spent months kayaking, climbing, and living in the Patago- nian wildnerness. Pickell plans on entering the fashion world, reinventing and bridging the gap between sus- tainable apparel, utilitarian garments, and couture. LAINE PICKELL in ARCTERYX Photographed by CHARLES YOUNG 33 F/W/2020 Circus 001
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uCsionsco We are living in an era of potential and awareness where our con- writing sumers are millennial leaders with desire for purpose and mission. The E rise of technology gives people a choice of where, how, and why they L work; thus, it is an era of custom mindsets and high in spiritualism and I self manifestation. This also sparks an idea that everything can be cus- Z tomised, pressing aspirations to be unique and different. Issues such as A inequality, poverty, climate change, and mass immigration are highly B considered among today’s consumers. E T The idea of “Conscience Consumption” references the ongoing trend H of sustainability and search for transparency. Young consumers in H particular are very much aware of the problems we face in regards to the A benefit of our environment. Being conscious about our consumption M simply means being mindful of our human impact to the planet. Replac- B ing one time use products with reusable alternatives, recycling, choos- L ing to purchase from sustainable companies, even as little as opting for E paper over plastic in the grocery store are all ways people of this trend T are putting their compassion towards this problem into action. O N How and why has this concept become piv- otal in shaping the fashion industry? And what does it mean for high fashion, luxury brands? Basic Needs The idea of conscious consumption addresses the consumer need to Typography align their shopping with their values; focused primarily on sustain- Graphics ability, ethics and individuality. Due to exposure to more information primarily from the internet, individuals have begun to recognize the S “crucial role [they have] to play because their purchasing decisions A impact companies and the products they manufacture. Even the small- M est gestures...can cause major change” (“Conscious Consumption”). Documentaries, YouTube videos, articles, social media pages, influ- L encers and more have taught society about new issues and ideas as I well as inspiring a desire and search for individuality. Consumers have E become more inclined to “vote with their dollar” by buying into brands B that align with their values including sustainability, ethical labor, wom- L en’s and LBGTQ+ rights. I N G 35 F/W/2020
At its core, conscious con- The fashion industry alone has a massive sumption is the act of being impact on the degradation of the environ- thoughtful and mindful of ment that only seems to get worse. The one’s purchases and what goes industry produces 20% of global waste- into a product and/or the com- water, 10% of global carbon emissions, pany carrying it. This relates to contributes to water pollution (textile anything from sustainability dyeing is the second largest water pollut- and environmental impact, er) and more (“Putting the Breaks…”). ethics and labor conditions, If fashion continues in this current path, and the mission statement or it will use up a quarter of the world’s values of a company. Ccarbon budget by 2050 (“Putting the Drivers of Change Breaks...”). The idea of conscious consumption, par- oThe major short-term triggers that have ticularly sustainability, has grown into a major movement of today’s zeitgeist. This brought this trend to the forefront of has come about in part from the drastic environmental changes that our planet nthe zeitgeist have to do primarily with has undergone in recent years as well as increased awareness and information society’s increased access to information about these issues that has predominantly brought on by the internet and tech- come out of access to technology and the nology. The internet has created a very internet. usconnected and informed society; today The long-term and widespread macro changes that are bringing the idea of anyone can gain access to any informa- conscious consumption into the zeitgeist tion imaginable, allowing them to easily have to do with today’s environment and educate themselves. “Digital commu- the growing issue of climate change. nication technologies have significantly According to the United Nations, “cli- reduced the barriers for collective action” mate change is the defining issue of our time and we are at a defining moment” m(Hestres); making it easier for compa- (“Climate Change”). Our planet is ex- pnies, organizations and social movements periencing shifting weather patterns, rising sea levels and global warming (the to spread their messages quicker and average global temperature rose 0.85 reach a larger audience than ever before. °C from 1880 to 2012) all in part due to “Digital communication technologies rising greenhouse gas production (today, record levels exceed anything in the past ithave simply made the collective action 3 million years) (“Climate Change”). process faster and more cost-effective for organizations” (Hestres). In recent years a number of different documentaries such as Cowspiracy and The True Cost have obecome popularized, spreading knowl- edge and interest on the environment. nAdditionally, social media has given every individual a platform to share their in- terests and passions, making it easier to spread information and learn from others. Circus 001 36
Emerging Consumer Expectations Becoming more educated on issues regarding the environ- Thrift shopping has greatly increased in popularity, espe- ment and ethical standards has made today’s consumers cially among younger generations. Additionally, clothing re- much more conscious. According to Forbes, 88% of con- sale websites including Depop, Ebay, Poshmark and much sumers want to shop from brands that help them become more have become favored by younger consumers that want more environmentally friendly and ethical (Townsend). unique and sustainable items. Naturevibe Botanicals CEO, Rishabh Chokhani states that “Today’s consumers don’t want to Inspiration buy a product, they want to buy a life- style. People want to feel that what- The trend of conscious consumption is driven by sustain- ever they are buying aligns with their ability and ethics which are major influencers on retail personal values. That’s why we’re see- today. Because of this, many brands have tried to apply this ing a shift towards sustainab[ility]” trend to their business model by taking on a more sustain- able and thoughtful approach. This can come in the form (Curtin). The zeitgeist has created a new expectation of anything from donating proceeds to good causes to high among consumers, particularly those from younger gen- fashion companies switching to only faux-fur. Two brands erations - they “want the companies they buy from to that have become a great example of conscious consump- practice business sustainably and ethically” and “to get tion due to their environmental impacts and labor practices serious about marketing in a socially responsible way” are Patagonia and Reformation. According to their web- (Landrum). Consumers are looking for transparency; they site, Patagonia’s mission statement is: “We’re in business want to know the true values and practices of a company to save the planet”. Their core values reflect the ideals of before making purchases so that they can make educated minimalism and “a bias for simplicity and utility” as well as decisions. Businesses in entirely all industries have begun promising to cause no unnecessary harm while building the catering to consumers’ desires to move in a more sustain- best product possible (“Patagonia’s Mission Statement”). able and ethical direction. The fashion industry is one of Patagonia has gotten involved in a number of different the most polluting and harmful industries to our planet, movements apart from sustainability such as fighting for forcing a quick response to evolving consumer needs ad- public lands. As seen below, Patagonia’s 2011 Black dressing sustainability and transparency. Friday campaign “Don’t Buy This Jacket” outlines the principles of reducing, repairing, reusing, and recycling. Companies including Patagonia and Reformation have Reformation is another company that has proven itself to emerged as industry leaders when it comes through their be an industry leader when it comes to sustainability and sustainable manufacturing, materials, and more. High fash- ethics. According to the sustainable practices page on their ion companies have begun making steps towards becoming website, they “put sustainability at the core of everything more sustainable and ethical. For example, brands includ- we do” by investing in “green building infrastructure to ing Gucci, Michael Kors and Coach have stopped using minimize our waste, water, and energy footprint” as well as real fur (Penrose) while Stella McCartney’s entire company “people who make this revolution possible” (“Other Sus- is vegan and uses only recycled and organic materials. tainable Practices”). 37 F/W/2020
Potential for Luxury Fashion In order to cater to more luxury-fashion oriented cus- tomers, high end designers need to adopt the idea of The trend of conscious consumption is popular among a conscious consumption into their business and manu- variety of demographics, especially younger generations. facturing models. People who tend to buy into the conscious consumption trend are looking for transparent companies that speak One step that luxury labels could take is “using more openly about their efforts and practices regarding sustain- sustainable materials, as well as reducing waste in the ability and social issues. The younger generations that are production process and increasing the number of recy- more connected to the conscious consumption movement cled items” (Godart). Stella McCartney is a great exam- “generally spend more carefully than previous genera- ple of a company that has proven itself to be an industry tions” and “prefer to spend their money on brands that leader when it comes to sustainable, luxury fashion - par- preach pro-social messages, apply sustainable manufac- ticularly through her material selection. Her use of or- turing practices and exercise ethical business standards” ganic and recycled materials and vegan leather/skin/fur (Lein). just scratch the surface at this company’s efforts when it comes to the concept of conscious consumption (“Sus- However there is a major group of consumers that seem tainability”). Taking notes from Stella McCartney’s to be less interested in conscious consumption in terms of efforts, today, there is a growing number of high-fashion values including ethics and sustainability. These consum- brands that have transitioned to only faux-fur including ers are individuals that are into high-end fashion and luxury Coach, DVF, Gucci, Michael Kors, Donatella Versace, designers. Although labor for luxury fashion labels tends Maison Margiela and much more (Penrose). The transi- to be much more ethical than fast-fashion brands, there tion to faux-fur is just one step that companies can take have been other increasing concerns over their practices in becoming more ethical and sustainable and given the such as their use of leather, furs, and exotic animal skins success of these businesses following this change, it or even Burberry’s clothes burning scandal where they shows that there truly is an emerging demand for con- burned 36.5 million dollars worth of merchandise in 2017 scious, sustainable, and ethical merchandise within the in order to maintain their brand image and exclusivity by luxury fashion market. • keeping their label out of the discount sector (Cox). “Climate Change.” United Nations, Luxury brands should adapt to “Conscious Consumption.” Global Influences, 17 Nov. 2016. “using more sustainable mate- Cox, James. “Burberry Burned $36.5M of Unsold Clothes Last Year.” New York Post, July 2018. rials, as well as reducing waste Godart, Frederic. “Three Ways Luxury Fashion Can Be Sustainable.” INSEAD, 2019. in the production process and Hestres, Luis E., and Jill E. Hopke. “Internet-Enabled Activism and Climate Change: Summary & increasing the number of re- Keywords.” Oxford Research Encyclopedias, May 16 2018. Landrum, Sarah. “Millennials Driving Brands To Practice Socially Responsible Marketing.” Forbes, cycled items”(Godart)while Forbes Magazine, 17 Mar. 2018. maintaining their quality and Lein, Simonetta. “Why Sustainable Branding Matters.” Forbes, Forbes Magazine, 20 Aug. 2018. “Other Sustainable Practices.” Reformation, 2019. brand image. “Patagonia’s Mission Statement.” Patagonia. Penrose, Nerisha. “A List of Fur-Free Luxury Fashion Designers to Shop From.” ELLE, 12 Feb. 2019. “Putting the Brakes on Fast Fashion.” UN Environment, 12 Nov. 2018. “Sustainability.” Stella McCartney, 2019. Townsend, Solitaire. “88% Of Consumers Want You To Help Them Make A Difference.” Forbes, Forbes Magazine, 21 Nov. 2018. Circus 001 38
Photographs by LAINE PICKELL. Modeled by JACK-HENRY HUNG
HIllTOP Styled and edited by SAM LIEBLING
Photographer LAINE PICKELL Acne Studios Denim Jack- Location BAINBRIDGE ISLAND et / Acne Studios Denim Model JACK-HENRY HUNG Jeans / Jean Paul Gaultier 41 Shirt / Visvim Grizzly Boots / Celine Glasses / Ralph Lauren Belt F/W/2020
Photographer LAINE PICKELL Location BAINBRIDGE ISLAND Model JACK-HENRY HUNG Circus 001 42
Photographer LAINE PICKELL Location BAINBRIDGE ISLAND Model JACK-HENRY HUNG
Photographer LAINE PICKELL Location BAINBRIDGE ISLAND Model JACK-HENRY HUNG
Photographer LAINE PICKELL F/W/2020 Location BAINBRIDGE ISLAND Model JACK-HENRY HUNG 45
Photographer LAINE PICKELL Sam Liebling Jack- Location BAINBRIDGE ISLAND et and Trousers / Model JACK-HENRY HUNG Yves Saint Laurant Circus 001 Boots / 46
Sam Liebling Jack- et and Trousers / Yves Saint Laurant Boots /$
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