Hai

I in no way, shape, or form promised that I would be a consistent blogger. None the less, I feel terrible for not being more consistent. I often feel that there is nothing going on in my life that anyone else would care about. By my life, I mean my life--- not styling or fashion related.

I thought this would be a great point in time to pick up, or check in at least.

Let's start with today. I went out with my good friends Askia Abdull (http://askiaabdull.blogspot.com) and Rashad Benton (http://malecritique.com) to the Mary Boone gallery in SOHO to check out the KAWS exhibit. I'm really glad they got me out of the house. I've been in my head a lot evaluating my talent, creativity and where I am in life. One result of my day is that I wrote a few poems. I'm not the best, but tapping into any creativity that I can is important to me. Check out these images from today followed by the poem that they inspired.

541 W 24th St

Foreboding

Commanding silence

In an open and warm space

Grandeur,

The like of which we haven't experienced

But we have

We are New Yorkers

Awe---inspires, inspired?

Like the pavement gum

It sticks, to our minds

Art is us, We love it

Art is life

Envelop me.

---

Don't judge me, I'm working on it. =)

Prior to today I've really been working at reflecting and objectively viewing my work as a stylist. I often hear that I'm too hard on myself. However, with no formal education, I feel that I have to push myself harder. But, as of late, I don't feel that I've met my own expectations.

If you follow me on twitter, which is quite possibly true, you'll have seen that I have a crush on a guy at my part time job. The worst thing happened today! He forgot my name. In my 21 years of life, no one has forgotten Raymond Gee. To be fair, no one who has had a conversation with me and learned my last name, which I realize he doesn't know. He's also straight, which sucks a lot. Of course I can't be with him, let alone try, but it was great receiving his attention. Now, I don't know how I'll feel. I'm trying to look past this. He apologized somewhat profusely. As profusely as possible as he could be, but still keep the tone and discretion of our conversation intact. Irregardless, I was offended and a little hurt seeing that he forgot my name. I'll work on choosing better.

Looking at the length of those two paragraphs I know where my interests lie right now and it's difficult for me to accept that it isn't fashion. I have this urge to meet someone, but I'm not searching. I know people say not to search. I just don't  know how I'll find someone or be found. Someone advise me.

If you do read this,please leave a comment. I'd love to hear your feedback on the poem.

Wishing you all the best, happy holidays, safe travels, peace and prosperity. Oh, and fashion.

This is my new work for Vox Populi Magazine. I'm incredibly proud of this picture. My team did an amazing job creating this. xo

Something's Missing

Oftentimes I look at things and I wonder what can fill the space, it's like seeing a hole in a brick wall and knowing the exact pattern that the missing bricks would follow. I'm good at that. I'm good at filling the unknown with the expected. I am well versed in mathematics, logic and sense are two things that are no stranger to me.

As I continue to move forward and continue on my path as a stylist there are many things that haunt me. I wonder often if they haunt others. As of late I am often booked for jobs that I honestly am not excited about... And then I remember that as a freelancer I have the opportunity to decide what I do and do not do. I cannot be forced, but I can agree to do something and the outcome not be what I desire most. That determines the jobs that I am able to get and the ones that in some way or another I must take.

I am attempting to take myself in the direction of art, of free spirited, non constricting, but  FOCUSED work. Did I mention that I have a difficult time focusing. How can I love stories but be completely incapable of telling one that has continuity. Every time I do a shoot I'm more and more afraid of my lack of ability to both tell a story and to fill the blank spaces in my styling artistically instead of methodically. I find that having been so good at math, at least for me, isn't working out so well for being what I desire to be in the field of fashion.

I look at my work that other people seem to love so much and I can scarcely stand to look at it. It haunts me how good that it isn't. It destroys me to see myself not live up not only to my own standards but to those of people whom I want to work with. I don't want to be the Hedi Slimane of styling. Expensive with poor execution. I want to be the Grace Coddington, the Edward Enninful, Patti Wilson, Lori Goldstein, Karl Templer, so on and so forth. I want to be good at what I do.

Often times I think that it comes down to access, but continuity... is that access or is it imagination? Am I pulling all the wrong things? Or all the right things and putting them together the wrong way. I'm afraid that all of these people who say that they love my work and that I'm great are lying. I can look at my work and know that this isn't good, this isn't continuous and in all honesty...I don't like it.

Does that mean that I give up and that it isn't for me? Or does that mean that I dig in, do better, and move forward? Practice makes perfect...so maybe it's just that I have a lack of practice. Who knows? But something is missing.

xx,
Raymond

Rick Owens SS14

I just took the time to look at the Rick Owens SS14 video in its entirety and if you haven't seen it, you should. Some people say that Owens, in an attempt to say F U to the fashion industry, did just the opposite. They've said he has enforced the stereotype of an angry black woman and exploited these step teams. I however, completely disagree with Owens' critics. When I began to look at the show, the first thing I did was try to look at the clothing. But it was difficult to see the clothing outside of the context in which I normally view them. On the coat hangers that we refer to as models. 

What I thought Owens did that was genius was putting these clothes not only in a performance, but on real women--these dancers are women, no? Our minds have been accustomed to seeing models wearing clothing and then having women of not so slight measurements translate these pieces. Owens completely skipped that step for us and took it there, past manufacturing and the sales rack and onto the body of women who aren't models. He challenged our ability to see, not only beauty (these pieces are beautifully constructed) but to see clothing on a woman that isn't a model without judging her. That is what a fashion show is for. Not to judge the model, but to judge the clothing. Looking at the clothing, there were a plethora of details that one didn't notice, not because you weren't looking at them, but because he/she was too busy passing judgement on the way in which they were presented. 

Just my thoughts though.

subMISSION Magazine

I'm so excited to be able to share these images with you guys, in full that is. It's from a test shoot I styled when I first moved to New York City with photographer, Becky Siegel and makeup artist Marika Aoki. It was during a time when I hadn't been working  for such a long time that I felt weird about asking for favors... but I've learned my lesson about resourcefulness since then.

Our model is the beautiful Flaviana from Wilhelmina. Our inspiration came from images that played with shadows and bright colors. There was some indecisiveness during the shoot, definitely on my part...because well, after not styling for 7 months, I wasn't as confident in my decisions. Thank goodness that's over. That being said---let's get to the important part, the story.

I absolutely love what the team at subMISSION magazine did with the story! It was for their kaleidoscope issue, so I'm glad that we played with colors, which made for a most interesting outcome. Take a look at the pictures below.

Inner Projection

This is my first post about an entire editorial. I shot it months ago, but not long after my arrival to New York City as a permanent resident.

If you've followed me on other forms of social media since April or May, you have seen my complaints about not working, not shooting, feeling as though I had wasted my time moving. I had assisted, my now good friend, and amazingly talented stylist, Ani on a few shoots. I also worked on and assisted shoots with my good friend, Lisbeth, another amazingly talented stylist. However, when you're used to being top dog and working on big projects, that's what you do and nothing less. After a while, a photographer I have worked with before, Tak (HT Pixels) contacted me to shoot two editorials. When he presented the concepts, I immediately dismissed one, it was a little boring for my taste. I love finery, beauty, glamour, and drama. One of the stories was quite the opposite.

Both stories were for Z!NK Magazine, I acquired the information through working with another photographer (another story for another day, but most likely in person).

The idea behind this particular story was inspired by an old Gucci campaign where they projected different vanities around the models in the scene. The story started off as just very simple wardrobe, by which I mean, flirty minimalist designed dresses, with maximalist ideas. For that inspiration, Tak sent over Dolce and Gabbana inspiration. However, one thing I'm know for is taking a look at a mood board, saying screw it, and doing what I want. I don't know if that's always the best thing, but that's been me all my life. Again, another story, but most likely we should talk about that in person.

My thought process after I saw the shoot, immediately shifted because I had seen The Great Gatsby. I had read the book prior to, but it had been a while. The movie reinvigorated my inspiration for the shoot because I was drawing a complete blank. I was immediately researching the glamour of Gatsby. I wanted to recreate the luxury and nonchalance of those society women, but mix it with a noir edge. I'm completely obsessed with all things sexy, maybe one of the reasons I count prostitutes as a source of inspiration. 

When I began pulling I constructed a list of about 50 showrooms that I wanted to pull from, but only ended up pulling from 27, and ended up with around 34 different brands on my shoot. That was a world away from my last serious shooting, where I had pulled from maybe 5 or 6 designers and my racks weren't even full. 

The outcome was a 6 page spread for the Fall Fashion Issue of Zink Magazine featuring brands that I've long admired. Here are a few of the images, you can always go to my website, http://raymondgee.com, and let me know what you think.

(Amanda in Helen Yarmak, Houghton Brandon Sun, and Emm Kuo)

[Clara(L) in Mathieu Mirano, Helen Yarmak, and Charlotte Olympia; Amanda (R) in Helen Yarmak, Brandon Sun, and United Nude]

I want to take a moment to thank my team. They were amazing, every last one of them, seeing that we did two shoots that day, and this was the latter shoot. They all worked extremely hard during this shoot and I feel that we had an amazing product, one that I'm quite proud to include in my portfolio.

Photography: HT Pixels

Hair: Kia Sterling

Makeup: Maria Ortega

Styling Assistants: Rachel Addison and Angelina Scantlebury

Models: Amanda @ Major & Clara @ Fenton Moon

Post Hiatus Post

Many apologies for being MIA, however, duty was calling. I have been working almost every day since my last post. Two jobs sounded easy until one of them involved carrying full suitcases and garment bags to your night job and then home afterwards.

In other news, I thought I'd discuss some work!

The two images above are out takes from a beauty story that was featured in Culture Magazine (Australia)

I'm absolutely obsessed with our model, Flaviana. She was amazing! She was very kind, but focused on work! She came in and immediately started shooting. The shoot was with photographer, Becky Siegel and MUA, Marika Aoki. Becky and I had a slew of inspiration, but the main idea was to have fun with colorful makeup on a beautiful model, we were elated to have Flaviana because normally African or Asian models are always booked. This was a test shoot and I had to use my resources to pull together looks that were fun, but still in touch with what we wanted to do.......all without a LOR. I'd actually critique my own styling, but I'd prefer to share the entire story before that.

I'll be posting more regularly in the coming weeks. I'm actually considering posting in response to a conversation that my friends and I had about Blacks in the fashion industry. I know that it's a topic that has been mulled over time and time again, but every individual has their own opinion on the topic and I think I'd be able to bring a great perspective to the conversation.

Bon Appetit, xx.

21 and Professional

21 is an age in America where one is considered an adult. As a 21 year old, I know that you’re just grasping that concept of what an adult is. Since 19, I have been building and rebuilding myself to work in a business full of creative professionals. There are a great deal of responsibilities associated with being a stylist that I didn’t anticipate; even more there are so many responsibilities associated with being an independent adult that I knew of, thought I was prepared for, and wasn’t.

Call times: I was late in high school more than anyone I know, and not late, 5 minutes late, late like, fourth period showing up and late to the class following late. I was the king of tardy. As a professional I have stripped myself of that title, I am, if not 15 minutes early, on time which is considered late.

Accountability: I can no longer hold my mom, or brothers or sisters, not even assistants who may have shortcomings accountable for anything that goes wrong. I am at all times the one accountable for anything that goes wrong in my business. Be it, a misreturned article of clothing, a miscredit, lack of communication in pre production. And of course, adhering to call times. I am accountable for my business and its success

Professionalism: This is a big one. I’m always working at this one. I want to be the most professional person I can be, especially because of my age, being seen as a professional and respected as one is always a number one priority for me. I don’t always succeed 100%, but working at it is better than being lax in professionalism.

Responsibility: Another HUGE ONE. I am responsible for myself, my health, for my assistants, for the wardrobe I pull and their safe and timely return, for credits, and updates on images. Imagine shooting 3 projects for publication in per week for a month, pulling from 20 showrooms for each shoot and then returning the clothes correctly and keeping them updated on the publication status of your shoot. ALL while worrying that your story may be pulled and then you have to figure where to get it published before the clothes go out of season.

Being your own boss: We wait most of our teen years to make our own decisions, to not have to defer to our parents for what we want to do and then at 21 we faithfully rely on advice from our parents in certain matters. Life works out that way; you try to not do something so bad and you end up in need of it. Being your own boss finally makes you the decision maker and no matter what advice you take the decision you make is solely yours, as are the consequences.

These are just a few of the things that I have encountered at the age of 21, the age where most people are partying in college or smoking marijuana in a basement. I, on the other hand, am scheduling meetings and shoots, trying to keep up with emails, clients, and deadlines. Whether or not this is something you’re ready for once you thrust yourself into the bedazzled womb that is the fashion industry be prepared to suffer, to have to learn a lot in a little amount of time, and to work ten times harder than the people older than you just to be given a little respect.

Being a professional, let alone one in the fashion industry at 21 is no walk in the park. It’s more like a pump in Christian Louboutin’s on the cobbled streets of the meatpacking district pulling a suitcase full of designer clothes from showrooms….for an editorial that isn’t paying you.  That being said I’d advise you to be prepared to face challenges that you would never fathom you’d have to because fashion isn’t easy, especially when you want it to pay your bills.

Pick Me Up Written On The Ride To My Annoying Part Time Job

Fashion is arguably one of the most mentally detrimental fields to work in.

Working in fashion you will doubt yourself a billion times before you “make it” and a million times once you have. Many people in the fashion industry turn to drug, alcohol, or a combination of the both to numb themselves from the detriments that this industry will inevitably impose on every person who enters its embrace.

I myself could be at the highest of highs and am always one cancellation, or one email with bad images from literally becoming depressed and doubtful.

Oftentimes I am not the biggest fan of my own work. I work at it and work at it and look at these amazing inspiration images, gather a talented team, and I can NEVER create the type of imagery that I feel equates to where I want to be as a stylist. See this quote below:

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. BUT THERE IS THIS GAP. For the first couple years you make stuff it’s just not that good. It’s trying to be good. BUT IT’S NOT. It has potential. But your taste,  the thing that got you into the game, is still killer. AND YOUR TASTE IS WHY YOUR WORK DISAPPOINTS YOU.  A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn't have this SPECIAL THING that we want it to have. You gotta know it’s normal and the most important thing you can do is a LOT OF WORK. Put yourself on a deadline so that every week you will finish one story, it is only by going through a volume of work that you will close that gap. And your work will be as good as your ambitions” – Ira Glass

I don’t know Ira, but thank you very much for that quote. I’m glad to have that to refer to on days like this when compared to another stylist I feel incompetent and untalented.  When you see someone who is doing what you want to do and they are accessible to you it’s difficult to humble yourself to understand that it’s okay, everything takes time. I have only been in New York for 3 months and I have worked on some incredible projects so more than anything I should be grateful. And I am, but I have been styling for 3 years…. But not consistently and not in New York. I just want to be AMAZING and I’m not yet. Not to me….not where I feel I am equal in talent to someone I meet on the street. I need to work harder at this, do more research, invest more time in learning collections and networking in person versus networking online. One day I’ll reach that point. Today isn't that day.

Curated images from my inspiration folder.

Thoughts on Art

Many people write off fashion as an art form. They dismiss most of the fashion industry as a group of blonde zombies, with air bubble heads and ill conceived notions on what is actually happening in the world. That, in fact, would make anyone who works in the fashion industry, myself included, incapable of being artistic, writing, creating, or anything useful, most of which we do with ease.

Our most championed ‘art form’, fashion design, has been married with the art form in which we as an industry have achieved very high recognition, fashion photography. As a stylist I commonly work with photographers on editorial projects (I consider this my niche in styling). In these editorial shootings what we hope to do is sell an idea, whether realistic, or a complete fallacy, there is always an idea and clothing is needed to tell the story. Yes, there are entire images that are not ad campaigns composed solely for the purpose of telling a story using clothing. I’d like to think my position in these projects are the most important, but that is far from true, and completely unfair to all of the talented hair stylists, makeup artist, manicurists, creative directors, photographers, magazine editors, and most importantly, the true artists, the fashion designers.  Everything that any of us brings to that final image in any fashion is of the utmost importance.  Details matter.

As a young child, I used to write poetry, something I plan to do again. I used poetry as an outlet for my emotions at the time;. I was struggling with my sexuality, accepting myself, and my desire to be accepted by others. I reference that because any time I go into a project now as a stylist, if I send out a mood board for a concept I have created, every section is accompanied by words. I don’t consider myself to be the most talented writer. I am not as critical as Cathy Horyn or with the nonchalant air of intelligence similar to that of style.com staffers,  but I have always turned to the written word as my favorite form of communication. I am nostalgic for hand written love letters that I might never receive and I can write Spanish much better than I can speak it. Writing itself is possibly the most respected art form in the world (thank the Bible). I remember reading books and plays by Ralph Ellison, Chinua Achebe, George Orwell, William Shakespeare, and Charles Dickens amongst others in high school and these writers are some of the most revered humans who have ever lived. What I want you to realize is that books, poems, little scraps I found on the street all have shaped my perspective in life and through that I convey my take on fashion as a stylist. I am an avid reader of science fiction and fantasy novels. I read anything from Harry Potter to Goosebumps, one of my favorite series, Diadem, is out of print. These books shaped my imagination and my approach to fashion. I always try to include a sense of fantasy or ethereality in my projects.

This type of conceptual work is what I consider to be my strong suit because these stories, while challenging to source clothing for are the types of work I most enjoy doing and where I feel the most comfortable.

In fashion, designers often reference great artists or artworks in their pieces. Andy Warhol, is a common reference, Dolce and Gabbana referenced mosaics in their recent FW 2013 showing, John Galliano constantly created collections that were inspired by the world, art and theater.

"Part of his research involved studying real flowers, spending an hour watching the light change on a parrot tulip, for instance. That partly explained the collection's wonderful colors, especially the vibrancy of the dégradé effects. You could attribute the rest to Galliano's contemplation of images by the two great flower photographers de nos jours, Irving Penn and Nick Knight. Dior himself obliged with the silhouette, a tulip shape that Galliano seemed to feel Mr. Christian had never really made the most of. He certainly sorted that out." - Tim Blanks on John Galliano's Christian Dior FW 2010 Couture collection.


Some designers create pieces that are worth of being pieces of art itself.

Christian Dior Couture, Dolce and Gabbana, Iris Van Herpen Couture, Alexander McQueen, Christian Lacroix, Viktor and Rolf, Zac Posen.

Through imagery and countless articles the fashion industry creates testaments to the art, or art inspired pieces that designer create. As an industry we champion not only designers, but musicians, painters, photographers, cinematographers, child prodigies, and the singularly talented individuals who make this billion dollar industry run. That being said, all of you who dismiss us as legally blonde imbeciles think on The Devil Wears Prada, everything that you will ever buy has been selected by the editors in the office of a fashion magazine, the buyers in a department store, stylists that you will never hear of, and designers who have underwent many years of schooling to create that organic tee shirt that you feel makes you environmentally conscious and still excludes you from the decisions we air heads make.


Excerpt from The Devil Wears Prada:

"This... 'stuff'? Oh... ok. I see, you think this has nothing to do with you. You go to your closet and you select out, oh I don't know, that lumpy blue sweater, for instance, because you're trying to tell the world that you take yourself too seriously to care about what you put on your back. But what you don't know is that that sweater is not just blue, it's not turquoise, it's not lapis, it's actually cerulean. You're also blindly unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns. And then I think it was Yves St Laurent, wasn't it, who showed cerulean military jackets? And then cerulean quickly showed up in the collections of eight different designers. Then it filtered down through the department stores and then trickled on down into some tragic "casual corner" where you, no doubt, fished it out of some clearance bin. However, that blue represents millions of dollars and countless jobs and so it's sort of comical how you think that you've made a choice that exempts you from the fashion industry when, in fact, you're wearing the sweater that was selected for you by the people in this room. From a pile of "stuff."

Conversations

Conversations seem to be the most important thing, and possibly one of my greatest challenges and triumphs as a New Yorker.

Conversations not related to fashion, with people who aren't my friends seem to be as impossible as those of Schiaparelli and Prada, thank you curators at the Metropolitan Museum. In New York (where I have been a resident for just over three months now) conversations are integral to survival, especially for an up and comer. These past few mornings while taking a shower I used the time to reflect on the importance of conversations in my work, as well as my life. In fashion, the best work, the most inspiring clothing, the most creative editorial stories, or most provoking articles all start conversations more quickly than the juiciest celebrity gossip. They create an intellectual buzz and we all want to give our opinion and have our voice heard, no matter how silent they are in our internet times.

Personally, I find it very difficult to relate to people in everyday life. I can carry an extensive conversation in a showroom or with fashion friends and designers. Recently I met a guy who I find to be very attractive but I found it difficult to relate to him via text message after meeting him. I wondered if I had lost touch with anything not related to fashion. What if I would never be able to relate to the person on the street who is extremely nice and just wants to take part in small talk? Then again, this is New York; who in this city has the time to stop for small talk?

In the fashion realm, Christian Lacroix has taken the helm of the revived House of Schiaparelli, a conversation piece for sure. For me, Lacroix is everything that a true couturier should be (#1 is alive to create beautiful work). I also count Lacroix as one of my favorite designers--I found him alongside John Galliano for Christian Dior in my first foray into the pages of Vogue. His collection spoke to his own and Schiaparelli's past with nods to his past couture collections.

In the words of André Leon Talley there is a famine of beauty and Lacroix has been called in to restore our famished industry. 
This has been inspirational for me in my own work. I've been focusing on working at a higher caliber than I was before and to strive to create pieces that will be the center of a conversation. Hopefully someone will discover a new designer, be inspired by the story for their own work, or just talk about the concept and what it means to our times. I remember in the documentary, In Vogue: The Editor's Eye, the editors spoke on how important Vogue was to the changing times, how every piece was a discussion, even incited backlash from the readers. Everything that those editors did changed the way women thought about dress and inevitably the style of women within that culture. Much like Coco Chanel making women's pants, as an aspiring fashion editor, I want to create work that will challenge the thinking of the people around me. I don't think I've accomplished that just yet, but I am steadily working towards it.
What exactly do Coco Chanel making women's pants, Christian Lacroix returning to fashion, and my incapability to ask a guy out for a drink have to do with one another one might ask? Through conversations with myself I was able to look into each of these subjects and find insight into what many young people of our time struggle with, simply having a meaningful conversation. 
Curated Conversational Pieces:
From Identity Politics by Grace Coddington and Craig McDean (Joan Smalls) Vogue July 2013

From Destination Detox by Phyllis Posnick and Mario Testino (Karlie Kloss) Vogue July 2013

From Beyonce Knowles x FLAUNT Magazine by Tony Duran FLAUNT July 2013

Dovima with Elephants Richard Avedon