‘The End’ ft. Asya Rosh by Andrew Kuykendall

As the sun sets on “The End” this summer, bi-coastal photographer Andrew Kuydendall (The Brooks Agency) and Russian beauty, Asya Rosh (Supreme Management) take us a spirited adventure to Montauk in our latest editorial. Photographed on location at Gurney’s Montauk Resort & Seawater Spa, bask in the feeling of eternal sunshine alongside the refreshing waters of the Atlantic Ocean.

 


 

CREDITS
Producer/Stylist: Amanda Ho (Electrify Mag)
Photographer: Andrew Kuykendall (The Brooks Agency)
Talent: Asya Rosh (Supreme Management)
Makeup/Hair: Jillian Halouska (Starworks Artists)
Production Coordinator: Jen Batchelor (Wellthily)

 

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Special thanks to our supporters
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Sharleen Ernster on The Birth of Hot-As-Hell

Are you ready to be Hot-As-Hell? The body positive California-based lingerie brand is one to watch in 2016. Founded in 2014 by Sharleen Ernster, the brand prides itself on quality products made using conscientious processes. From lace bras to cheetah print body suits, trend setting and versatility is what continuously inspires Ernster to create new designs. Hot-As-Hell has been seen on ‘it-girl’ models Natasha Oakley, Devin Brugmanto and Cailin Russo, who was featured in the brand’s debut campaign. For their second year anniversary HAH debuted their 2017 collection at Miami Swim Week starring Caroline Vreeland, Sam Blacky, Natalie Boras and more!

Photographer Jorden Keith captures models Isabella Farrell and Stephanie Yonkovich wearing HAH attire around New York City in an exclusive editorial below the break.


 

HAH seems to be a body positive brand, what would be your best advice for women who are not comfortable with their bodies? 

The things that you are not comfortable with tend to be the very things that make you uniquely beautiful… ‘Perfection’ does not equal ‘beauty;’ what’s really beautiful is how you become who you are, how you learn to live with, and love, what made you uncomfortable. It’s HAH to be yourself, to set an example to yourself, the world, and the next generation of women. And all those negative perceptions of your body are limiting your potential.

Women want to feel sensual when wearing lingerie, what motivates and inspires the HAH brand?

Simplicity, comfort, ease, longevity… this is what inspires HAH everyday. The idea that we can deliver product that is always sexy and sensual, but also easy to care for, easy to wear and fit into, and that lasts a long time… It’s HAH to be simple and easy… Sexy should be fluid and simple for your everyday life; sensual is being able to live in your lingerie and swimwear all the time. And above all, it should be conscientiously made and easy on the environment too.

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Describe HAH in three words?

Authentic, Timeless, Conscientious

What makes HAH different from other competitors?

HAH is the only sexy brand of intimate womenswear that offers superior, quality products made using conscientious processes (sustainable, eco friendly fabrics and techniques). Our product is easy to wear and easy to care for, natural (no padding, hardware or embellishments) and attainable. We are simplifying sexy – simple to buy, wear, take care of, pack, and live your life in… everywhere, everyday.

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How do you most connect with your consumers and people who love the HAH brand? 

For HAH the best connections HAHppen when our customers interact with the product. Once a woman puts on HAH, she just gets it. We also connect strongly through our imagery on all platforms.

What are the top key requirements for starting a successful lingerie brand?

Fit & quality – these are a non-negotiable. Plus it’s important to know your market… you can’t be all things to everybody – pick a niche, be great at something, and don’t spread yourself too thin. It’s easy to get distracted and/or do tons of things that, in total, don’t mean anything.  Be the best at your core… the rest will come.

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What has been the brand’s biggest accomplishment to date?

Just being alive for 11 months. We came, we conquered, we shipped, we_are_hah…

How important is customer feedback?

This is everything – there’s nothing more important than customer feedback!  HAH wouldn’t exist without our customers purchasing again and again and spreading the word.


 

Get a sneak peak of Hot-As-Hell’s latest 2017 Collection at SwimMiami below!

Q&A: Reaching New Heights with Adventure Photographer Jimmy Chin

This story appears in “Global Generation” Volume 01

Hailing from Mankato City, Minnesota, Jimmy Chin has soared into the spotlight from humble upbringings to be recognized as one of the world’s most proficient adventure photographer-filmmakers. His most familiar tale has become one of a harrowing climb up Mount Meru, a 21,850-foot climb located in India’s Gharwal Himalayas. Believed by Hindus to be the center of the universe, The Shark’s Fin is renown among the climbing community to be one of the hardest climbs in the world. The trio composed of Conrad Anker, Jimmy Chin and Renan Ozturk defy all odds to scale the jagged peak without a sherpa team or base camp for support, all while Jimmy is capturing the climb behind the lens. Jimmy and his wife, Elizabeth Chai Vasarhelyi, co-direct the thrilling story of the trek and events that led each man to the slopes in a documentary. Premiering at Sundance Film Festival in 2015, “Meru” is a summation their experience that has brought high alpine mountaineering to the forefront. Inspired by his story, he takes a moment in between a bi-coastal schedule in preparation to promote his “Meru” Academy Award nomination for best documentary to chat with me about his philosophy on life, raising his daughter and building his career.

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Did you travel much when you were younger?

I did quite a bit. We drove around the States in the summertime, visiting National Parks probably when I was twenty. 1999 was my very first major expedition that I put together to the Karakoram Mountains in Pakistan.

What advice would you give an emerging climber that is passionate about climbing, but may not necessarily have the funds for an expedition?

Well, I didn’t have funds either. I lived in a car and I sold t-shirts to fund my first trips. If you commit and want to do it, then you make it happen. There’s no easy trick to doing it. It’s hard work and taking risks. And committing; saying you’re going to go do it and doing it. I get asked all the time, “how do you do it?” like there’s some easy way. Nothing great is accomplished without a lot of hard work. Crowdfunding has changed [the game] by providing more opportunities to raise money to do a trip but, the best trips are the shoestring budget, you know, slim trim expeditions where it’s tight.

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What’s the one big pull that drives your work as a cinematographer, producer, director, and athlete?

Stories about heart and passion. Stories about incredible characters, landscapes, and people who are tied to the wild places… ultimately it’s stories and telling people’s stories. Hopefully it will inspire people to get outside and be connected with the wilderness. The greatest first step towards conservation and protecting our environment is to actually appreciate it. ‘Meru’ was about friendship and loyalty and characteristics that I find important in in human relationships. It’s what elevates us from just being monkeys I guess.

What is your philosophy on raising your daughter, Marina, with a worldview in this day and age?

I think it’s important for her to have a broad perspective on the world and a broad understanding of all the different ways to live. I want to share a lot of opportunities with her so she has a chance to find what she’s passionate about. I think I want her to be grounded, because I feel like so much of what I see now is kids growing up with a certain sense of entitlement. I want her to know that not everything is given to you, and that it takes work, passion and vision to achieve something that’s meaningful.

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During the avalanche in the Tetons, you mention in a diary entry on your blog that you felt moments of clarity during the experience. Did this last for you?  

It’s certainly enforced things that you that I already knew in a way, and that everyday counts. You never know when your time is up. You know what is important in life. That clarity is hard to achieve, as there’s a lot of clutter in life. Climbing to the top of a mountain isn’t necessarily about standing on the top of the summit. It’s about life as a process and climbing as a process. The process is actually living. Standing on top of the mountain is fine, but it’s the journey, ultimately.

How is technology paving the way emerging photographers and creators for better or worse?

I built my career without social media. I put all my exhibitions together and got sponsored. It took a lot of work before Facebook and Instagram and I think that my career was a good foundation for building my current social media platform. I think that Instagram has been great for photography, because it’s kind of democratized it in a way. Everybody has an opportunity to shine, share their work, and show their creativity. It’s pushed people to be more creative and you know, some people complain like “oh, everybody can be a professional photographer,” which is probably true, but it pushes people to elevate their work. It continually pushes the standards. You can’t just sit on your ass and expect things to come to you. You have to get out there and push the boundaries a bit, get noticed, and also be really creative in how you build your business as a photographer. I think it makes people access a lot of different parts of being creative, not just in the work, but how they present it, and how they talk about it, how they share it, and how they connect the dots. There’s all these different ways to do it now. And if you’re creative in that way, you can build a career for yourself.

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Photography © Jimmy Chin | www.jimmychin.com

Dive in with Surf Photographer Ray Collins

This story appears in “Global Generation” Volume 01

Water. It is one of the most powerful and relatable elements on our planet. It’s changeability from soothing, reflective glass to waves that roar and crash – loud and angry – mirror our own range of human emotions. Celebrated ocean photographer Ray Collins recognized this early on in his life and now devotes his time to capturing the ever-changing face of this emblematic element. His work has been featured in National Geographic and in brand campaigns, including Nikon, Apple and Patagonia. Having recently published a coffee-table book of his astounding seascapes, Ray Collins is quickly gathering a large following.

Collins leads his life with poetic contrast, alternating work as a coal miner deep under the Earth’s surface, to floating in expansive saltwater with his camera professionally. He is also colorblind, adding another layer of interest to his impressive work. Photography found Ray Collins by way of a serious knee injury in the mines. Having been recommended by a doctor to swim as a form of rehabilitation, Collins ended up spending much of his time cohabitating with the ocean; their alliance in the form of art developed organically from there. Here, Ray Collins discusses the important lessons he’s learned from working with the ocean, in contrast to life as a miner, and his technique as a colorblind photographer.

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There’s such an incredible juxtaposition between working in a mine and photographing the ocean. What is it about the contrast you enjoy? What have you learned from it?

They are so far removed from each other; it’s like I lead a double life. As far as environmental contrasts go, in a coal mine you’re almost a mile under the earth, then you’re 10 miles in a tunnel as a part of your commute. It can be claustrophobic; it’s hot, dark, dirty and dangerous. The ocean is at a polar opposite – fresh air, freedom and open space as far as you can see, bathing in natural light. It’s black and white.

From a coal mine to massive ocean waves, you seem to work in fairly dangerous conditions. Do you have a fancy for danger?

In calculated measures I think danger is healthy, and what one person considers dangerous, someone else may not. Hazards are assessed and practices are modified in mining until the danger is an “acceptable” risk. In saying that though, sometimes it is out of your control. I’ve seen some crazy things, people buried under cave-ins and serious injuries from mobile machinery. Just like the ocean, you can’t ever really turn your back, or relax, as the danger (great or small) is always constant.

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Some of your images, like “Oil,” capture moments of unparalleled fear. Are you fearful out there in the moment caught in these waves trying to shoot them?

Certainly! Although, I try and turn fear into excitement; that way, it’s not crippling and overwhelming. I think visualization of possible situations and scenarios certainly helps. Prepare for the worst; expect the best. Going there mentally before you’re in the moment is a good way to acclimatize to the fearful situations before they actually happen. One thing you have to ask yourself when it’s a large and angry sea is, “Am I prepared for one of these waves to land directly on me?” Because that does happen.

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What lessons has fear taught you?

It has taught me respect, courage and patience. It has shown me my own limits – how to weigh risk versus reward and how to incrementally inch my personal levels of comfort further.

Art is often used as a form of self-expression and self-reflection. Do you see reflections of yourself in the images you take?

I see a lot of nature imitating nature in my images, like faces, or birds or animals. Also mountains. I like to freeze the liquid ephemeral moments to resemble the peak of a mountain.  I think art should be engaging and that people should take away something personal from viewing it. It should provoke emotion, and because we are all individuals, we should all have our own interpretations.

I cannot believe you’re colorblind! Color is such a powerful part of the images you capture. How does it affect your work? Has it changed your approach to photography at all?

It’s hard to say, as there was no before and after with colorblindness. I can’t compare what you see to what I see. I think it has helped more than anything, though, as I shoot and process as to what I feel is right. I’m just stoked it resonates with others. I mainly concentrate on composures, textures and contrasts. Color is often secondary.

Where are some of your favorite locations to shoot?

The most memorable places I’ve shot have been ones that test me and help my consciousness expand.  The freezing waters of Iceland were such a place. Swimming to surf breaks while it’s snowing around you with no visible sight of anything man-made is a sure way to make lifelong memories.  The tranquil and lush waters of Tahiti and Hawaii – you are surrounded by another kind of beauty, but it is as dangerous as it is beautiful.