Photo app and creative channel, VSCO, is celebrating the spaces in between creative ideation and final execution. Reflecting how the app inspires creatives around the globe, VSCO has called on two stylists from each side of the Atlantic, delving into their story and unique process. Discover two cityscape series created with VSCO.
Coming from the New York borough of Brooklyn, stylist Jorge Gitoo Wright has made a name for himself by breaking the rules. His unorthodox style, visuals, and approach to fashion have a distinctive DIY feel that’s won him a rep as one of the city’s most exciting emerging creatives.
Your aesthetic feels like it's pushing the boundaries of fashion, as your career evolves, where do you want to take it, and what do you hope to achieve?
I love pushing boundaries; I love that people see me and expect one thing from me, yet I give them the total opposite. I try to do that in every aspect of my life, not just in fashion. I hope that other young black boys can see what I'm doing and realize that they don't have to stick to any social construct, let's find this box, and step the fuck
out of it.
New York
Jorge Gitoo Wright
New York plays a huge role in my approach to fashion, I believe New York City is the epicenter of style, and Brooklyn has always been my most significant fashion influence. Knowing where I'm from and what I have to live up to is a prominent driving force for me. Brooklyn has a reputation that needs to be upheld! I consider being from here as a badge of honour; I wear it with pride.
What role does New York play in your approach to fashion? How has coming from the same neighbourhood as distinguished creatives impacted or inspired you?
I never really felt like I was a "part of" any fashion scene. However, as I started partying in downtown NYC, meeting new people and being more active on social media, I did notice more opportunities arising. My advice is always to stay true to your aesthetic, well first find your aesthetic, then embrace who you are and what you do. Once that happens, things will fall into place, also, understand that
a “no” doesn't mean give up. If that were the case, I would have given up years ago.
How did you begin your fashion career? What advice would you give to someone who wants to get into fashion, but feels like the barrier to entry is too high?
I would describe my creative process as kind of all over the place, and I blame my cell phone for that. If you ever looked at my notes, you'd see I have scripts mixed in with treatments, mixed in with little footnotes about gender. Then I have thousands of screenshots for inspiration, mixed in with screenshots of possible crushes. I have a tough time just focusing on one job or only one thing at one time. That kind of translates into my styling and creative direction, I have a million things going on, but they all live in the same place. It's like I have a house with ten kids, but they each have their own bedroom, so it works.
How would you describe your creative process?
Whenever I feel like I'm pressuring myself to do anything, I always make sure to take it back to
my group chat, I think the opinions of your
core team or close friends are very important. Luckily for me, my core team are all my closest friends, so they keep me grounded and make sure that I'm not focusing on anyone's influence but my own.
How do you deal with external influences when styling a shoot? Given the fast pace of social media, do you ever feel pressure to follow current style trends?
Visuals are of utmost importance to me. That is why I am continually adding more data to my MacBook and cell phone. I'm always screen grabbing and downloading attachments, my phone and laptop are regularly overloaded with all kinds of images and inspiration that I use for my boards. This is very important to me because saying something is one thing; we all need to see it to believe it.
How important are visuals when mood boarding and conceptualizing an idea?
Most of my style inspiration doesn't come from magazines or runways; it comes from corner stores and train stations. It comes from black mothers who are going out on a Sunday afternoon; it comes from West Indian uncles who hang out on their stoops when it's beautiful outside.
Your style feels like it draws inspiration from a wide variety of places. What is something that inspires you that people might be surprised by?
I want people to know that black boy joy is a real thing, and I try to portray that with every styling job I get.
What messages do you want people to take away from your styling?
I think the common factor with all creatives is that we want to tell a story, we are all storytellers. Stylists do that through more than just clothes, it's through the thought and the emotions behind the garments.
How is the creative process of a stylist different from that of other fashion creatives?
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Photography mobile app, VSCO, is championing the process of creativity and challenging how the industry disregards the spaces in between ideation and final execution. To showcase how the VSCO app inspires creatives around the globe, VSCO has enlisted two exciting stylists from each side of the Atlantic — and delved into their story and visual approach, celebrating their unique process.
Choose
a stylist
Jorge
Gitoo Wright
New York
Yi Ng
London
Jorge
Gitoo Wright
New York
Merging architectural disciplines with fashion, structural form with the manipulation of fabrics, A-COLD-WALL*'s Yi Ng is rapidly rising to prominence. Embracing a wide variety of subjects with her perceptive and mesmerising aesthetic, she’s leading the way for the increasing enthusiasm surging around the new wave of young creatives, redefining the industry for 2019.
I love pushing boundaries; I love that people see me and expect one thing from me, yet I give them the total opposite. I try to do that in every aspect of my life, not just in fashion. I hope that other young black boys can see what I'm doing and realize that they don't have to stick to any social construct, let's find this box, and step the fuck out of it.
Your aesthetic feels like it's pushing the boundaries of fashion, as your career evolves, where do you want to take it, and what do you hope to achieve?
I never really felt like I was a "part of" any fashion scene. However, as I started partying in downtown NYC, meeting new people and being more active on social media, I did notice more opportunities arising. My advice is always to stay true to your aesthetic, well first find your aesthetic, then embrace who you are and what you do. Once that happens, things will fall into place. Also, understand that a “no” doesn't mean give up. If that were the case, I would have given up years ago.
How did you begin your fashion career? What advice would you give to someone who wants to get into fashion, but feels like the barrier
to entry is too high?
I would describe my creative process as kind of all over the place, and I blame my cell phone for that. If you ever looked at my notes, you'd see I have scripts mixed in with treatments, mixed in with little footnotes about gender. Then I have thousands of screenshots for inspiration, mixed in with screenshots of possible crushes. I have a tough time just focusing on one job or only one thing at one time. That kind of translates into my styling and creative direction, I have a million things going on, but they all live in the same place. It's like I have a house with ten kids, but they each have their own bedroom, so it works.
How would you describe your creative process, and why do you think it's important to do things differently?
Whenever I feel like I'm pressuring myself to do anything, I always make sure to take it back to my group chat, I think the opinions of your core team or close friends are very important. Luckily for me, my core team are all my closest friends, so they keep me grounded and make sure that I'm not focusing on anyone's influence but my own.
How do you deal with external influences when styling a shoot?
Given the fast pace of social media, do you ever feel pressure to follow current style trends?
Visuals are of utmost importance to me. That is why I am continually adding more data to my MacBook and cell phone. I'm always screen grabbing and downloading attachments, my phone and laptop are regularly overloaded with all kinds of images and inspiration that I use for my boards. This is very important to me because saying something is one thing; we all need to see it to believe it.
How important are visuals when mood boarding and conceptualizing an idea?
Most of my style inspiration doesn't come from magazines or runways; it comes from corner stores and train stations. It comes from black mothers who are going out on a Sunday afternoon; it comes from West Indian uncles who hang out on their stoops when it's beautiful outside.
Your style feels like it draws inspiration from a wide variety of places. What is something that people might be surprised to find inspires you?
I want people to know that black boy joy is a real thing, and I try to portray that with every styling job I get. I also want to challenge everything you know about being a cisgender straight black man in America; I want to show that straight doesn't mean you have to abide by any rules in fashion or life.
What messages do you want people to take away from your styling?
Jorge Gitoo Wright
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Explore the
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VSCO Explores the
Jorge Gitoo Wright and Yi Ng.
Creative Process of Stylists
VSCO Explores the Creative Process of Stylists
Jorge Gitoo Wright and Yi Ng.
Photo app and creative channel, VSCO, is celebrating the spaces in between creative ideation and final execution. Reflecting how the app inspires creatives around the globe, VSCO has called on two stylists from each side of the Atlantic, delving into their story and unique process. Discover two cityscape series created with VSCO.
VSCO Explore the Creative Journeys of Stylists Jorge Gitoo Wright and Yi Ng.
Yi Ng
London
Explore the
creative process of
Jorge Gitoo Wright
Merging architectural disciplines with fashion and structural form with the manipulation of fabrics, Yi Ng currently works with A-COLD-WALL* as both an in-house stylist and the brand’s senior commercial and creative strategist. Embracing a wide variety of subjects with her perceptive and mesmerizing aesthetic, she’s leading the way amongst a new wave of young creatives, redefining the industry for 2019.
I look to architecture and sculptures as a leading source of inspiration. My work is focused on the manipulation of form. Whether that be through layering or mixing of textures, manipulating form and structure has always been the key focus. My father has a deep appreciation for architecture and furniture – he’s collected Bauhaus furniture and lights since I was very young – so this appreciation of design disciplines have come to influence my work. My aesthetic is focused on the streamlining of shapes, creating curvatures, with a muted colour palette.
Your styling feels timeless and artistic; how did you develop your unique aesthetic?
Moving across different countries during my childhood I was able to understand various design styles. I come from a family that has a deep appreciation for architecture and furniture, so creativity was always a leading topic of conversation. My father has a substantial collection of furniture and lights by the likes of Marc Newson and Marcel Breuer.
Growing up in Singapore, Hong Kong and Australia, how did travel impact your creative process? And how do you get inspired?
Up until a few years ago, I was studying Law at university. It was then that I started to explore my creative pursuits, which led me to fashion styling.
Yes, there have been challenges working in fashion but nothing that hard work and passion cannot counter. My work with A-COLD-WALL* started through social media, which led me to my current role. Entering the industry from a different industry was challenging, but keeping an open mind and clear focus is vital. Social media interaction with Samuel [Ross] led to pausing my Law degree and moving to London to work for the company. I’ve been fortunate to work for people I respect both in their work and leadership style.
Do you come from a traditional fashion background? What challenges did you face starting a career in fashion?
My work with A-COLD-WALL* started a few years ago when it was a much smaller operation, a team of four. My work with Samuel is dynamic; I work across commercial and creative strategy, which allows for lengthy and sometimes heated debates, which is the best part. We’re both Geminis.
When did you start working at A-COLD-WALL*? What is your relationship with Samuel Ross like?
My favourite project at A-COLD-WALL* has been how the business has grown over the past few years and having a role in the scaling of the company. Our last SS20 show is definitely a standout as it marks the next step for the brand – a more holistic one. With my independent work, I like to start with reading across disciplines before translating this visually.
What has been your favourite project to work on at A-COLD-WALL*? And how do you visualise your creative concepts when ideating?
Working full time means that I have less time for personal projects. I have to be selective, diving in-depth into the concepts of the project has to be the leading overall sentiment. I’m all for ‘less is more’ with the contradiction of being ‘the hardest working person in the room.’ For me, the ideas to pursue are the ones where there is an excellent team to work with and where I know the direction will not be compromised.
Have you ever started a project and not finished it? How do you decide what ideas to actually pursue and which ones to let go?
My work allows me to have a balance between being creative and having an analytical mind. Microsoft Excel can sometimes act as a calmer, but for the most part, I have a list of people I look up to and will revisit this during moments of a creative block, and they range across disciplines.
Working in a fast-paced environment, how do you deal with the pressure of always being creative? What motivates you to keep going when you have a creative block?
I hope my work pushes the audience to be more inquisitive.
How do you hope to impact people with your work?
I think that the current state of fashion is liberating; it feels that we are on the cusp of a change, where new guards are taking form and independent modes of working are being explored.
How do you feel about the current state of fashion?
I’m gravitating towards incorporating design and venture capitalism, alongside inducing a social narrative across my work.
What can we expect from you in the foreseeable future? What do you hope to achieve?
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New York
Jorge Gitoo Wright
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VSCO Explore the Creative Journeys of Stylists
Jorge Gitoo Wright
and Yi Ng
Yi Ng
London
Jorge
Gitoo Wright
New York
Yi Ng
Moving across different countries during my childhood I was able to understand various design styles. I come from a family that has a deep appreciation for architecture and furniture, so creativity was always a leading topic of conversation. My father has a substantial collection of furniture and lights by the likes of Marc Newson and Marcel Breuer.
Growing up in Singapore, Hong Kong and Australia, how did travel impact your creative process? And how do you get inspired?
Up until a few years ago, I was studying Law at university. It was then that I started to explore my creative pursuits, which led me to fashion styling.
Yes, there have been challenges working in fashion but nothing that hard work and passion cannot counter. My work with A-COLD-WALL* started through social media, which led me to my current role. Entering the industry from a different industry was challenging, but keeping an open mind and clear focus is vital. Social media interaction with Samuel [Ross] led to pausing my Law degree and moving to London to work for the company. I’ve been fortunate to work for people I respect both in their work and leadership style.
Do you come from a traditional fashion background? What challenges did you face starting a career in fashion?
My work with A-COLD-WALL* started a few years ago when it was a much smaller operation, a team of four. My work with Samuel is dynamic; I work across commercial and creative strategy, which allows for lengthy and sometimes heated debates, which is the best part. We’re both Geminis.
When did you start working at A-COLD-WALL*? How does your relationship with Samuel Ross work?
My favourite project at A-COLD-WALL* has been how the business has grown over the past few years and having a role in the scaling of the company. Our last SS20 show is definitely a standout as it marks the next step for the brand – a more holistic one. With my independent work, I like to start with reading across disciplines before translating this visually.
What has been your favourite project to work on at A-COLD-WALL*? And how do you visualise your creative concepts when ideating?
Working full time means that I have less time for personal projects. I have to be selective, diving in-depth into the concepts of the project has to be the leading overall sentiment. I’m all for ‘less is more’ with the contradiction of being ‘the hardest working person in the room’. For me, the ideas to pursue are the ones where there is an excellent team to work with and where I know the direction will not be compromised.
Have you ever started a project and not finished it? How do you decide what ideas to actually pursue and which ones to let go?
My work allows me to have a balance between being creative and having an analytical mind. Microsoft Excel can sometimes act as a calmer, but for the most, I have a list of people I look up to and will revisit this during moments of a creative block, and they range across disciplines.
Working in a fast-paced environment, how do you deal with the pressure of always being creative? What motivates you to keep going when you have a creative block?
I hope my work pushes the audience to be more inquisitive.
How do you hope to impact people with your work?
I think that the current state of fashion is liberating; it feels that we are on the cusp of a change. Where new guards are taking form within the industry, and independent modes of working are being explored and responsive too.
How do you feel about the current state of fashion? How do you navigate influence from the industry, but stay authentic to your creative vision?
I’m gravitating towards incorporating design and venture capitalism- alongside inducing a social narrative across my work.
Yi Ng
VSCO Explores the
Jorge Gitoo Wright and Yi Ng.
Creative Process of Stylists