Fabricated Habit Magazine (FHM) believes that it’s the external beauty offered by

the world that truly affects fashion design. Every phase of fashion is art. Like a skilled

street artist the eye for fashion is a talent, distinguishable is the detailed attention illus-

trated through imagery. It’s a world where visuals are the voice. FHM adheres to a styl-

ish audience that sees the art form in fashion and details in the smallest of embellish-

ments. To our readers each garment tells a story. And with careful attention just as a

designer they decorate their blank canvas into a stylized construction. Disheveled or

tidy; individually subject to their categories. Yet a convergence between all is met with

an admiration for custom beauty.

This issue shows a collaboration of fashion themed around fashion news and fashion

alternatives. Preview runway snaps from designers Resort 2013 lines. A brief study of

the heel is constructed. Tasteful options for that tasteless piece of jewelry are discussed.

Trends influenced from the viral world of uploading and sharing are highlighted. Read

about fashions new frontier and technological influences. In a Q&A interview casting

director James Scully shares his in-site about the modeling world. And the beauty of

the fashion illustration is praised.

We hope that this issue presents to you a glimpse of distinct mediums used throughout

an exclusive business. And for a brief moment in a constantly changing cycle, detail can

be perceived.

Editor’s Letter Caitlin Scully describes Fabricated Habit’s

culture and this issues highlights

A sneak peak at this season’s Resort 2013 lines are previewed. We selected six designers to glance

at but this is merely a peep. Main colors noticed throughout various designers consisted of mustard

yellow hues, pops of blue from the entire spectrum, and crosses between reddish or pink

statement pieces that tied the colorful ensemble's together. Other spins were yellow or blues by

themselves. These primary colors seemed to be the primary go-to’s for pigment inspiration.

Last Resort

BCBG Max Azria: 70’s inspired,

textual fabrics, exotic prints

Etro: Ethnic prints and bright

colors

Erdem: Eclectic embellishments,

hand embroidery

Derek Lam :Used oversized

sillhouttes and technical

fabrics

Rachel Zoe: Used floral printed

blouses, 60’s mod dresses, and

feminine suiting

Boy by Band of Outsiders:

Geometric patterns featured

prominently on silk separates

The construction of the pump has taken on a life of its own in the past 5 years. Heels

come in all shapes, sizes, widths, prints, and maybe an ornament too. The classic

pump will always stay alive but lets see which designers are getting the most creative

their spin on the standard high heel template.

Such Great Heights

Daniel Michetti’s calf, python, suede

and metal pump

Miu, Miu’s lizard, suede,

satin bootie

Dolce & Gabanna’s lambskin,

goat skin, silk, and rayon

platform

Charlotte Olympia’s crepe

de chile and silk satin shoe Rodarte’s leather and canvas

bootie with resin and sand heel

Body modification isn’t so strange anymore so why wouldn’t jewelers tap into

this consistently growing market. Eventually all the boys and girls with 1/2 holes

in their ears will reach adult hood and so will their income. Body piercings grow

with us these days so why not treat the ring you know that wont come off with

some respect!

Fine Body Jewelry?

Maria Francesca Pepe Piercing Rings ,$388 wolfandbadger.com

Genuine Diamond 3 Stone Nostril Screw,

$180.99 thechaingang.com

Diamond Chandelier Belly Ring, 14k white

gold, $650 mybellyring.com Emerald White Gold Nose Stone, 14k white

gold, $56.99 body-jewelry-shop.com

CZ Teardrop Plugs, CZ and titanium, $330

laughingbuddah.com

Lookbook.nu offers street style from around the globe. Voluntarily uploaded by the style

conscious youth, individuality can be expressed. The site offers ideas and inspiration along

with store and brand names incase you want to purchase a coordinating piece. Fabricated

Habit chose 4 lovely fashionistas that stood out to us this month.

Street Smart

Pastel Cruisin: by Chesley T, 23 year old Fashion

Stylist from San Diego, CA

The Calling: by Ashley J., 20 year old artist-fashion

photographer, shirt at asos.com

Tricia G, 23 year old from Manila Pants; pinkaholic.com,

Heels; comfitshoe, Top; monkeebusinessinmanila

Green Jeans: by Estephiana from Barcelona, Blouse;

SFERA, Jeans; Zara, Shoes; Fericell, Bag; OSAP

Personal opinion on how technologies influences have changed the industry and affected

our perceptions on fashion and personal style.

Fashions New Frontier

Fashion has become a widely shared element thanks to the internet. Technolo-gy has offered a new artistic perspective to the way we view and interact with fash-ion or any art for that matter. The new world of fashion has no doubt moved onto the world of technology as most mediums. How have elements like these changed the industry and perception of style? Instant gratification is possible within sec-onds; the internet has provided us with a fashion flood.

Through media sharing sites like tumblr.com, polyvore.com, pinterest.com, online shopping, look books, and interactive experiences have caused the world of fashion to shift. Not just 5 main styles exist, instead there are thousands of catego-ries to follow and inspiration is at the click of our fingertips. It wasn’t that long ago that we can remember waiting in the mail for our monthly subscriptions to Vogue. For one month the images and words would provide an influence and style guide until new imagery arrived. Today an image of a garment, a fashion photo or de-signer gossip can be virally spread to the masses in seconds. And in minutes the whole world is inspired, immediately wanting more.

This type of mass media sharing exists in other areas like online shopping and look books. These are beginning to provide a whole new virtual experience for the consumer. A more personalized one and perhaps even more personalized than in-store. How have new elements like these changed the world of fashion?

The elimination and creation of jobs is one way we have seen a change. New style categories and new ways to tap into markets have changed how we advertise. And most importantly the public’s perception of “fashion” has transformed. Now everyone can be a critic, a stylist or a photographer. Everyone is welcomed to share. The public ultimately decides what gets passed around. And in a sense it fol-lows the old school model of fashion. Trends are predicted but ultimately it’s the audience who has a say in what’s hot and what’s not.

Being able to share photos and ideas so easily has helped people adapt their own sense of creativity and personal style. The world keeps borrowing; it will be up to the trendsetters to keep the flow fresh. But with more room for creativity availa-ble online maybe we will see more innovation in the time to come.

Caitlin Scully: Who are your current clients, and what

do you do for them?

James Scully: My current list of clients is Tom Ford,

Stella McCartney, Lanvin, Nina Ricci, Oscar de La

Renta, Jason Wu, Carolina Herrera, Derek Lam, and

most recently JCrew. Clients use me for all sorts of

things:-producing, advertising, and casting. I am widely

known for my casting though.

Q: How did your positions as bookings editor for

Harper’s Bazaar differ from freelancing?

A: Shows are more exciting; things happen at a faster

pace like at Tom Fords shows. And then you get to create

look books like the one I did for Ted Graham. When

working for a magazine, you work all year round and it’s

low paying and the work is just as hard. It was definitely

a good position for starting out; I had access to so many

agencies that eventually asked me to work outside of the

magazine and that’s how I started freelancing.

Q: What constitutes a good model, or is it completely

dependent on what the designer wants?

A: It depends on the designer. Nina Ricci has a type

which is a frail girl with lady like features, dainty, big

eyed, and French. Stella McCartney’s type is a woman

who knows she’s a female, she knows that she has been

laid, and takes full command when walking down the

runway. Carolina Herrera prefers a poised girl, who has

old-fashioned elements, and elegance.

Q: How large of a role does personality play when pick-

ing a model?

A: It’s about character confidence. I personally try to

pick people who have different personalities so I can cre-

ate a character for the designers. When I’m looking at a

new girl I would like to see some sort of star quality, a

girl who is going to grow into being a great model. A

client will have a theme for the show. Like Jason Wu

took one of his casts and created a surreal, gothic theme.

I look for girls that can be a character in any show. And

some girls are just so strange looking that they are ele-

gant. I definitely have my favorites though and I enjoy

using them because there is a large amount of trust level

there.

Q: You’ve been in this industry for 23 years and you have seen

it all. One of the most significant things I continue to read

about is your opinion on young models and girls with un-

healthy weight sizes being casted and demanded for shows.

What makes you so passionate about changing this or creating

standards?

A: Before celebrities it was all about models. Celebs really

ruined models and now girls are just disposable. Now its 300

girls a season and 90 percent are gone within a year. When I

started out in the business it models wouldn’t start until they

were 18 and their careers wouldn’t peak until age 25. A mod-

els career use to be 35 years but now it is all screwed up. What

really started to bother me was when they were using Europe-

an girls who were 12 and 13. That’s far too young to do a man

or a woman’s work. Give a 16 year old the life of a 35 year old

and it messes with their head. Once the girls go through puber-

ty they start getting called fat in the industry. So they resort to

extremes and start stunting their growth with Adderall and Red

Bull and begin taping their breasts. I will occasionally work

with young girls, but mostly 18 is the youngest age. There is

always an element of fashion that equals sex appeal. How do I

tell a 15 year old girl to do that if she’s never even held hands

with a boy? So I suppose that is a depressing aspect and it does

affect my job.

Q: Would you say a majority of the models are uneducated

about the business?

A: Yes. Uneducated and not enough life experience. The aver-

age 16 year old should be in school going to Kate Perry con-

certs. Not in a strapless gown.

Q: How has your involvement with organizations such as the

CFDA influenced changes with casting age and weight re-

strictions?

A: We were making a big change until a few years ago when

Michael Khors set the age limit at 16. Now the market is

flooded with 16 year old girls.

Q: How much longer do you see yourself in the industry?

A: I see myself in this industry for the rest of my career, may-

be not this job in particular. The industry is run by youth,

when I first started I was 18. Now I am working with people

who are a lot younger than me. I don’t see what I am currently

doing stopping anytime soon though. But there is a point

where I feel like I will have to move one. I’m not worried just

curious.

Interview With a Casting Director

Sarcastic, charismatic, and chic New York casting director

James Scully discusses his business personal viewpoints on

the modeling industry with fashion marketing student Caitlin

Scully.

James Scully is a 23 year industry veteran. He owns

his own company in New York freelancing show pro-

duction and casting. He worked full time as a fashion

show producer and broke off on his own in 96 to

work with Tom Ford during his Gucci and Saint Lau-

rent years casting and advertising the shows. In be-

tween he was Booking Director for Harper’s Bazaar

producing all the covers and fashion shoots.

Recognition and praise is given to the fashion illustration.

For the Love of Art

Technicality and focus is awarded to the true artist, the one that can draw the figure by hand and smudge the details with his fingertips. These are awards as they are talents that only few are born with. Before the computer and before the programs it starts as an idea and the idea is always sketched.

Here is where the original piece lies before thousands of renditions are created online. This is the spark. The embryonic stage if you will. That is formed and fashioned from sudden inspirations that abrupt in the night. And suddenly the plain looking Croqui has character. The details come more clearly and direction starts to form. At this point a beautiful piece of artwork is born.

Here it may stop or the idea may keep on grow-ing. A theme, inspiration, and a color story derive. Now the sketch has turned into a line. Corre-sponding garments and coordinating pieces be-come the outline. The details within the sketches start to become finalized. Your Croqui adopts its chosen character and features the design most prominently as you envisioned.

This month Fabricated Habit would like to recognize the true art form of design. The fashion illustration represents the true language and style of the designer. It’s an art form and process that should be respected and adorned. Sites like tum-blr.com allow people to share their personal art work online. With a special focus this month on fashion illustrations we wanted to share with you a sample of uploaded designs. They come from all over the world and from various individuals. In-cluding aspiring fashion designers, students and graphic de-signers, just to name a few. So admire the images. Respect the sense of time, thought and detail that went into their creation. They project a sense of creativity that can only be seen in clas-sical art forms. So here’s a big thanks to the fashion illustration for you continually provide us with inspiration.

Illustration by David

Downton

Illustration by Daphne

Groeneveld

Illustration by Ira Mariano

Illustration by Hayden

Williams