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  1. 1. Spr i ng / Su m m er 2014 pat i ence s / s 14 In collaboration with WAX Magazine
  2. 2. On Patience When Levi’s® Made and Crafted™ first approached us to collaborate on a publication that would tell the story of their Spring / Summer 2014 collection, we were thrilled to envision how the experience of urban surfing and creative practice (the topics of our own magazine) might intersect with finely made clothing. We looked to the clothes for inspiration and were struck by the attention to detail and craftsmanship found there. These things, which take both time and care to develop, ultimately led us to the theme of this publication. After all, aren’t details simply a physical manifestation of the word patience? We, at WAX Magazine, know a few things about patience. As New York surfers, we practice it regularly. We wait for trains. We wait for elevators. We wait for swell. But all that practice doesn’t make it easy. Everyone struggles with the idea of patience (even those of us reluctant to admit this out loud). Waiting, going slow, taking your time, doing things right — these can all be extremely difficult. But, like all challenges, there is a payoff in the end, if only you have the persistence to let it come to you. Come it does, in many forms: a hard-earned solo session, the crafting of a beautiful object, the construction of a well-made garment. What you have in your hands is the result of our collaboration: a lookbook (with an editorial voice); a magazine (inspired by an iconic brand). It is equal parts WAX Magazine and Levi’s® Made and Crafted™, designed to celebrate the clothing, the people who wear it, the pursuits they enjoy and the time it takes to reach a place of excellence. After all, as the saying goes, good things take time. Sincerely, Aeriel, David, Zak (Founders, WAX Magazine) Creative Directors Contributors Levi’s ® Art directors Aeriel Brown David Yun Zak Klauck Andy Byers Abbye Churchill Jeff DiNunzio Rob Kulisek Jeremy Liebman John Luke Pavla Nešverová Jason Walker Carmen Winant Matt Wright Parul Sharma Contributing editor Abbye Churchill About the patterns in this publication Pavla Nešverová is a former organist-turned artist. A Czech native, her work has appeared at numerous galleries throughout Europe. To create the patterns, Nešverová took scenes from two classic surf films —The Fantastic Plastic Machine (1969) and Sea of Joy (1971) — and manipulated them in the program Max (a visual programming language for sound and video). WAX Magazine is a bi-annual print publication exploring the intersection of art, culture and surfing in and around New York City. Each issue shares the stories of area surfers, artists, designers, authors and auteurs — all organized around a unique theme. www.readwax.com One hundred and forty years ago, Levi Strauss invented a simple blue jean that would forever change the way America, and the rest of the world, dressed. Levi’s® Made and Crafted™ builds on this legacy by designing tomorrow’s classics using today’s best materials and construction techniques. www.levismadeandcrafted.com
  3. 3. Introduction From Sky to Sea WAX Magazine spoke with two of Levi’s ® Made and Crafted ™ designers, MILES JOHNSON and AYLIN BEYCE, about their process and inspiration for the Spring / Summer 2014 collection. WAX The inspiration for the collection came from the word surf and the phrase, “where the sky and the ocean meet.” How did the design team arrive on this concept? Aylin Surf is such a wonderful jumping off point, isn’t it? It’s a word that immediately creates an impression, yet it’s still loose and lends itself to interpretation — there are so few words like that. You can go in so many directions. We were all very interested in things like the hypnotic pull of the moon on the earth or the tides or the texture of sand. Interpreting surf this way felt very fresh. This is how the phrase came about. WAX How do the designers, as a team, follow through on a concept like this from idea to final product? Aylin We start by collecting images that define the phrase in our minds. In this instance, we pulled images of the horizon, moon charts, tide charts… MILES Then, we started thinking about how to incorporate our impressions into the clothes. For instance, we started thinking about techniques like salt-washing or wind-drying or incorporating reflective or iridescent patterns. Aylin For the fabrics, we looked to light, playful colors one might see at the beach — corals, aquas or ‘sun’ yellow. We balanced those more vibrant Contents colors with a pallete of silver grey, white and shades of indigo. daydreaming about the beach while running around the city. WAX Are there specific pieces that stand out for you as being particularly representative of sand, surf or sky? MILES The clothes are fun and sophisticated. The clothes are just as easy to wear off the sand as on it. I 6 ikey L isa M by Abbye Churchill 18 n T h e sky I by Jeremy Liebman 24 i r s t Wav e F by John Luke II 36 n t e r lu de I by Rob Kulisek 38 Walking Rockaway by Rob Kulisek with Jason Walker 52 Sand S hor es by Jeremy Liebman 62 econd wav e S by John Luke III 82 T u r ning Tides by Carmen Winant WAX When you design, who do you see in these clothes? 86 T ry, T ry, T ry Ag ain by Jeff DiNunzio 94 ky M ee t s S ea S by Jeremy Liebman Aylin The collection is versatile. It can be worn to the beach or, when just 102 h i r d wav e t by John Luke MILES Almost all of the pieces have a strong link back to the story, but I particularly like the sun fade effects we’ve done and the dry-textured, handmade feel to some of the fabrics. Aylin The theme naturally lends itself to a lot of visual expressions. You’ll notice that all of the graphics in the collection reflect waves or the gradients of the horizon. The denim trucker jackets, for example, were constructed with different shades of blue to create an indigo tidal gradient. We also spent a lot of time thinking about about how the various fabrics might react to the elements found at the beach. We asked ourselves, ‘What happens to denim in the sun, sand and saltwater? What elements does fabric let in, what elements does it protect us from?’ We let these questions guide both our washes and how we constructed the clothing. WAX It’s funny you should mention the gradated patterns and lines. They are some of our favorite details in the collection. Can you talk about how they came about? What inspired them? MILES The gradated pattern and line graphics really summarize the collection. They are — quite literally — our visual interpretation of where the sea meets the sky. 2 Listening Watching Waiting 3
  4. 4. I Listening 4 5
  5. 5. Patience Mikey Lisa Mikey Lisa talking style, surf and the art of filmmaking while waiting for swell in Montauk. Photography by Rob Kulisek / Interview by Abbye Churchill 6 7
  6. 6. Patience Mikey Lisa Mikey DeTemple wasn’t always so enamored with surfing. Growing up on Long Island, and raised by a surfing family, the sport was always in DeTemple’s consciousness, it just wasn’t something he participated in. But that all changed when he turned twelve. Today, he’s a pro surfer with numerous titles and the owner of a film production company, High Seas Films, which explores the luscious imagery and exotic locales of the sport. DeTemple has, very firmly, made surfing his way of life. DeTemple proudly calls New York his home. Well, his two homes, to be exact. To satisfy his waterfront habit, DeTemple and his girlfriend, Lisa Myers share a cozy place in Montauk, right in the heart of the Long Island surfing community. And, to satiate Myers’s lifelong passion for fashion (she is currently at Stella McCartney; previously at Lanvin), the dynamic couple share a second home in Brooklyn. It is a balancing act to be certain — between city and country life, between fashion, film and the surfing lifestyle — but one which both have embraced with open arms. Abbye: How do you negotiate those two worlds? Abbye Churchill: With homes in Brooklyn and Montauk, how do you divide your time? Lisa: It’s difficult because I want to be out there so much. I’m constantly thinking about being out being there, looking at the surf report. When I have my days off out there, I have Mikey waking me up at six in the morning. I can’t wait one second. Mikey DeTemple: Lisa’s always out here [in Montauk] on her days off. During the warmer months, I’m pretty much in Montauk full time. In the wintertime, the waves dictate when I’m out here because it’s pretty boring if there aren’t waves. Abbye: Mikey, going back in time, how did you first discover surfing? I read that when you were little, you preferred going to the beach but you didn’t want to get in the water. What was the “ah ha” moment for you when it all came together? Abbye: It must be nice to have a sense of the city life and then this bucolic escape. Mikey: Oh, it’s the best. Doing what I do would be pretty difficult if I wasn’t able to mix the two. Mikey: The beach has always been a part of my life. My parents met surfing in New York in the ’70s. I grew up going to the beach but I hated the water. It was always a terrifying thing to me. I used to spend a lot of time with my mom at the beach. She got me to let go of the fear and go out on my own. I would boogie board every day, all day long; my dad would Lisa Myers: I love going out to Montauk. It lets me do what I want to do in life. Before, I was actually thinking of leaving New York in general because I just wasn’t happy. I lost my purpose. Having surfing and Montauk in my life is so much healthier. 8 9
  7. 7. Patience Mikey Lisa 10 11
  8. 8. Patience Mikey Lisa haze me for it. “I can’t believe you’re boogie boarding. Why don’t you just stand up?” Then I found his first surfboard in our garage. I thought, ‘I would feel pretty cool bringing this thing to the beach.’ I never touched the boogie board again after that. about what I did alone, but about the trips that I went on and who I went on them with and what we did together. And, that was how my first film, Picaresque, was made. Abbye: You shot your first film, Picaresque, on 16mm film and then your follow up, Sight Sound on a combination of film and digital. How do you like working with both formats? Abbye: Were there any pieces of advice that your parents, as veteran surfers, passed along to you? Mikey: My dad always instilled in me how important style was with surfing. There was a point where I was trying to win everything I could win and he was like, “Whatever you do, don’t lose your style.” That was something that really stayed with me throughout my entire surfing career and beyond: the importance of style. That’s translated to everything, I think. Mikey: Visually, I love the feeling that film gives. But now I’m a fan of digital, too. There’s no way I’d be able to make these shorts [I’ve been doing] if I were shooting them on film unless I was getting thousands of dollars every time. Digital lets me actually do stuff, while keeping the cost low and still making beautiful images. Abbye: Lisa, has Mikey given you any nuggets of wisdom to help with your surfing? Abbye: Lisa, have you gotten the bug? Have you gotten any desire to begin making films from watching Mikey work? Lisa: In the beginning, he would try and push me to go out when the waves were a little bigger than I was comfortable with. He was like, ‘This is how you learn.’ The waves weren’t big for him, but big by my standards. I prefer to go out when it’s my baby waves because I can pay more attention to my technique. Now, I’m selective about when I go out, what the day’s like. Every time I go out I feel like I’m learning. But, I want to learn more. I want to get pushed more. It’s also just fun to be out there with Mikey because he loves it so much and I want to be a part of that. Mikey: That’s such a good question. I like that question. Lisa: Yeah, for sure. When Mikey is making a film, I stay with him late into the morning. I have become attached to the process. When we went to Costa Rica together, he let me shoot some footage. We keep talking about doing it more, but when the waves are good, it’s hard to be anywhere else. I would definitely love to get into it more. Abbye: Mikey, how did you transition from your love of surfing to making films? When did High Sea Films start? She’s a natural at it. Abbye: I can’t wait to see the first collaboration. Mikey: It all came together on a trip to the Maldives in 2006. I was there with a couple guys from Australia and a photographer. It was one of the most amazing trips I’ve been on. And, no one was recording. I thought, ‘This would be such a crazy trip to shoot on film.’ I had a video camera with me; I shot video the whole time. And, I just thought, ‘I’ve got to go on trips and start shooting video of all these places.’ The next year, every trip that I did, I brought a video guy with me. I wanted to make a film not necessarily 12 Mikey: On Mikey: Parka / Peacoat. Crew Fleece / White Multicheck. One Pocket Shirt / Brilliant White Oxford. Tack / Lagoon.  —  On Lisa: Turnout Blazer Jacket / Blue Sapphire. Endless Shirt / Blue Sapphire Ditsy Waves. Marker / Spirit. 13
  9. 9. Patience Mikey Lisa 14 15
  10. 10. Patience Mikey Lisa 16 17
  11. 11. Patience Delivery One: November – December Parka / Peacoat. Crew Fleece / White Multicheck. In the Sky Photography by Jeremy Liebman 18 19
  12. 12. Parka / Peacoat. Breaker Tunic / Blue Red Waves. Beau Boyfriend / Blue Swell. Patience 20 21 Bomber Jacket / Imperial Blue Suede. Bow Tie / Blue Stripe Oxford. One Pocket Shirt / Blue Stripe Oxford. Tack / Sea Breeze. In the Sky
  13. 13. Parka / Peacoat. Crew Fleece / White Multicheck. Tack / Sea Breeze. Patience 22 23 Turnout Blazer Jacket / Blue Sapphire. Endless Shirt / Blue Sapphire Ditsy Waves. Empire / Motion. In the Sky
  14. 14. Women’s Turnout Blazer Jacket / Blue Sapphire. Reversible fabric. Women’s Turnout Blazer Jacket / Blue Sapphire. Patience 24 Delivery One: November – December First Wave Photography by John Luke 25
  15. 15. Women’s Beau Boyfriend / Blue Swell. Hand scraped and sponged finish. Women’s Beau Boyfriend / Blue Swell. Patience 26 27 Men’s Needle / Splintered. First Wave
  16. 16. Women’s Breaker Tunic / Blue Red Waves. Ditsy waves pattern. Patience 28 29 Women’s Endless Shirt / Blue Sapphire Ditsy Waves. 100% silk fabric. First Wave
  17. 17. Men’s Bomber Jacket / Imperial Blue Suede. Patience 30 31 Men’s Bomber Jacket / Imperial Blue Suede. 100% goat suede. First Wave
  18. 18. Men’s Outerwear: Parka / Peacoat. Mac Coat / London Fog. Bomber Jacket / Imperial Blue Suede. Leather Biker Jacket / Blue Black. Patience 32 33 Men’s Parka / Peacoat. Leather interior placket. First Wave
  19. 19. II Watching 34 35
  20. 20. Patience Interlude 6:00 6:30 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 Photography by Rob Kulisek 36 37
  21. 21. Patience Walking Rockaway the distance from Brooklyn is so close, it’s walkable, but getting there takes stamina and a little bit of tenacity. Photo by Rob Kulisek. Walking Rockaway Photography by Rob Kulisek and Jason Walker 38 39
  22. 22. 40 Photo by Jason Walker. Photo by Rob Kulisek. Patience Walking Rockaway 41
  23. 23. 42 Photo by Rob Kulisek. Photo by Jason Walker. Patience Walking Rockaway 43
  24. 24. 44 Photo by Rob Kulisek. Photo by Rob Kulisek. Patience Walking Rockaway 45
  25. 25. 46 Photo by Rob Kulisek. Photo by Jason Walker. Patience Walking Rockaway 47
  26. 26. 48 Photo by Jason Walker. Photo by Rob Kulisek. Patience Walking Rockaway 49
  27. 27. Patience Walking Rockaway 50 Photo by Rob Kulisek. Photo by Jason Walker. On Jason: Trucker Jacket / Stonebleach. Regular Tee / Blue Dash. Needle / Splintered. 32oz Denim Bag / Selvedge Denim. 51
  28. 28. Patience Delivery Two: January – February Angels Short Sleeve Shirt / Storytime Blue. Sand Shores Photography by Jeremy Liebman 52 53
  29. 29. Hawaiian Shirt / Multi Waves. LMC Tee / Star White. Drop Out Pant / Denim. Patience 54 55 Trucker Jacket / Mid Wash. Women’s Far Out Tank / Corn Silk Ditsy. Poolside Skirt / Storytime Blue. Sand Shores
  30. 30. Knit Cardigan / Blue Sapphire. Regular Tee / Red White Blue. Spoke / Lagoon. Patience 56 57 Bay Dress / Bright Aqua Ditsy. Sand Shores
  31. 31. Angels Short Sleeve Shirt / Storytime Blue. Pins Cropped / Cloudy White Bleach. Patience 58 59 Hawaiian Shirt / Multi Waves. LMC Tee / Star White. Sand Shores
  32. 32. Blazer / Boating Stripe. Button Down Shirt / Blue Checkboard. Thumb Tack Cropped / Rigid. Patience 60 61 Luxe Shirt / White. Roller Tank / Star White. Marker / Blowout. Sand Shores
  33. 33. Men’s Drop Out Pant / Denim. Drawstring waistband. Women’s Trucker Jacket / Mid Wash. Contrast shades of denim. Patience 62 Delivery Two: January – February Second Wave Photography by John Luke 63
  34. 34. Women’s Poolside Skirt / Storytime Blue. Blue Moon all over print. Patience 64 65 Women’s Angels Short Sleeve Shirt / Storytime Blue. Second Wave
  35. 35. Men’s Hawaiian Shirt / Multi Waves. Multiwave gradient print Patience 66 67 Men’s Hawaiian Shirt / Multi Waves. Second Wave
  36. 36. Women’s Luxe Shirt / White. Soft cotton voile. Patience 68 69 Luxurious Silks for Women: Far Out Tank / Sugar Coral. Beach Jacket / Bright Aqua. Far Out Tank / Corn Silk Ditsy. Endless Shirt / Bright White. Second Wave
  37. 37. Men’s Thumb Tack / Rigid. Patience 70 71 Men’s Thumb Tack / Rigid. Copper rivets. Second Wave
  38. 38. Women’s Marker / Blowout. Patience 72 73 Women’s Marker / Blowout. Ripped and repaired. Second Wave
  39. 39. Men’s Blazer / Boating Stripe. Interior pocket. Patience 74 75 Men’s Gradient Patterns: Breton Tee / Blue Sapphire Stripe. Button Down Shirt / American Beauty Waves. Short Sleeve Shirt / Blue Checkboard. Button Down Shirt / Blue moon Gradation. Button Down Shirt / Blue Checkboard. Second Wave
  40. 40. Patience Interlude 12:00 12:30 13:00 13:30 14:00 14:30 15:00 15:30 16:00 16:30 17:00 17:30 Photography by Rob Kulisek 76 77
  41. 41. Patience 78 Interlude 79
  42. 42. III Waiting 80 81
  43. 43. Patience Turning Tides Waves Take Time “The tides, when the Moon swung closer, rose so high nobody could hold them back. There were nights when the Moon was full and very, very low, and the tide was so high that the Moon missed a dunking in the sea by a hair’s-breadth.” —Italo Calvino, “The Distance of the Moon” Text by Carmen Winant We turn the tide, are tided over, drift with the tide. These linguistic metaphors for the continual rise and fall of the ocean have been harnessed by writers the world over to describe romance, life force (or respiration), renewal, temperament, the steadiness of life and also its inevitable disappointments. The Oxford dictionary defines the tide as a powerful surge of feeling, which is perhaps the most astute understanding of the phenomenon I’ve ever heard. Most non-experts are aware of the relationship between the moon and the tide, and they usually agree that it seems almost metaphysical. It’s easy to figure that gravity, proximity, lunar phases, atmosphere, solar system, eclipses, magnetism, relativity, mass, the earth’s axis and its distance to the sun play a part in how the sea rises and falls, but the physics are more uncertain. How do the sea and the sky communicate and transmute energy? Like any dependent relationship, symbiosis is complicated and uneven; they both need one another, but in very different ways. The story is complicated so I’ll make it simple: the moon orbits around earth and together they rotate around the sun. As it rotates, the moon pulls at the earth—like a magnet in search of a reverse charge— trying to draw it ever closer. But the dense satellite is no match for our planet, which is three times larger and exerts ten million times the gravity. We hold on. What the moon can do, the only thing it can muster with its limited gravitational force, is attract the water. Water is harder to hold onto than land (perhaps you’ve noticed that you can’t catch it?) since it’s not rooted and is always moving. Oceans appear to bulge at the horizon line not only because the earth is round, but in fact because they are reaching away from the ground and towards the moon. Another slightly more subdued bulge, called a ‘sympathetic bulge,’ occurs on the side of the earth not facing the moon. And throughout this routine choreography, the earth never ceases to rotate on its axis, 82 83 unraveling the relationship between the moon and our maritime experiences.
  44. 44. Patience Waves Take Time 84 Photo by Rob Kulisek causing inconsistencies in the sea level as it reaches shore. These are tides, as we know them: every twelve hours and twenty-five minutes (as the moon is also rotating along with the earth), oceans on both sides of the globe rise and fall, rise and fall as whole oceans are stretched and released, stretched and released. I’ll return to the sun here, which is often left out of the story as it has less gravity than the moon and is also a little less sexy, a little too brassy. When the moon is big and ripe—a full moon, for instance—it’s because it has aligned with the sun relative to the earth and formed a single, straight line in outer space. As a result of level positioning, the moon’s magnetism is combined with that of the sun, which also pulls at the earth with distant gravitational force. On those nights—called ‘spring tides’—high tides are very high and low tides are very low. The sea is wild and bridled all at once. It’s an invisible lure, a pitch frequency, a siren song. Four times a year the sun and the moon stand at a right angle to one another; they are perpendicular to one another with regard to the earth. These are quarter moons and they cause ‘neap tides.’ During these episodes, the “bulges” in the ocean cancel one another out, and the high and low tides are very, very weak. Perhaps you’ve noticed. Here’s a story about the spring tide and the neap tide: In the twenty-nine year history of Alcatraz, the water-bound penitentiary, thirty-six prisoners attempted to escape from the island and cross the mile and half of water to shore. Of them, only five men remain unaccounted for, all of whom fled at night. Unlike the others who relied on tricks and diversions, it is reported that these men studied the San Francisco Bay. They understood, somehow, that the moon (it’s shape, it’s size, it’s relative closeness to the earth) profoundly affected the water’s swell, and the tides were their only real chance of absconding to freedom. They patiently observed from their cell windows, these old and young men—many of them feared gangsters, though a few petty criminals—that when the moon was full, the Bay was at its most wild. After waiting until the just right evening, the prisoners took their leave of that place only when they could be carried out. The water that held the prisoners captive on that rock was the only agent that could set them free of it. How did they know the time was right? A powerful surge of feelings. An innate sense. A strong attraction. It’s metaphysical that way. 85
  45. 45. Patience Try, Try, Try Again Try, Try, Try Again in a Brooklyn warehouse, surfboard shaper David Murphy proves that perseverance (and unconventiality) pays off. Photography by Rob Kulisek / Text by Jeff DiNunzio 86 87
  46. 46. Patience Try, Try, Try Again David Murphy is pacing behind a curtain. Throughout his fourth-floor workshop, air constantly swirls in unseen patterns, carrying with it a din of white noise — occasional exhales of a paint sprayer and the hum of the AC in the back corner window that peers south over the rest of Williamsburg, Brooklyn. The trim, six-foot-two Murphy applies even coats of clear resin to protect the smoky navy blue deck of a nine-foot longboard. He strides and sprays in equal measure. Another few layers and an hour later, he’ll flip the board over and repeat the same steps on the bottom. Meanwhile, there’s always something to be done. While each clear coat dries, he continues mixing resins. Much like the ocean, where for the last six years his custom, handmade and often atypically shaped surfboards have carved the waves of south shore Long Island, David Murphy is always in motion. That Murphy grew up skateboarding in dried out pools in backyards in land-locked Texas is about the only detail of his life that may have suggested a career making surfboards was unlikely. He’s been working with his hands for most of his life. He learned to sculpt in grade school and continued as a student at Hampshire College in Massachusetts, worked as a carpenter building frames for homes, and made films and arranged theatrical lighting. Utilitarianism is a living doctrine in his life. And Murphy is, most certainly, useful. In 1997, after hopping freight trains across the country to capture scenes for his final college documentary film thesis, Murphy arrived in New York City. “I moved into a warehouse space in DUMBO for a hundred-fifty a month, splitting it with three guys, no heat,” Murphy remembers of his first primitive home in the city. He then squatted across the East River in Lower Manhattan before returning to Brooklyn, always keeping his hands active — once in a minor fit of protest, building transmitters for community pirate radio stations. Murphy’s functional cunning, however, is not limited to inanimate objects. Nearly fifteen years ago, he blew out his back skateboarding. He tried everything other than surgery and drugs; nothing helped. He limped on. Murphy visited a guy who practices what he does now, “and after one session I wasn’t limping anymore,” a healed Murphy recalls. “I walked 88 out of his office, got halfway down the block, and sort of rearranged my life. Said, ‘That’s going to be my next career.’” It’s called Rolfing, named for Ida Rolf, the Columbia University Ph.D. who discovered the therapy method more than fifty years ago. She understood the body as a network of integrated tissue rather than simply a collection of individual components — and that gravitywill eventually exacerbate imbalances in the body, leading to pain and decreased flexibility. According to the Rolf Institute of Structural Integration in Colorado, Rolfing essentially links chiropractic adjustments — which focus on the skeleton — and massage therapy that targets muscles by incorporating 89
  47. 47. Patience Try, Try, Try Again elements of both. Athletes, dancers and children are just some of the estimated one million people who have benefitted from Rolfing therapy. And including Murphy, whose back troubles have long inhibited his physical activity, surfers too. Rolfing, Murphy told me, also seeks to foster a perceptual change in the way patients observe their bodies in the space they occupy — connecting mind and body. From that, Rolfing may ease chronic pain and improve freedom of movement. It saved Murphy’s life. So much so that a decade ago, he traveled to remote north central Washington, slightly east of the Cascades at a bend in the Methow River, to train at the Institute of Structural Medicine. If the few Yelp reviews are any indication, Murphy provides five-star handiwork. He rehabs clients three days a week, “and the rest of the time I’m in my shop.” As in Rolfing, Murphy seeks balance, and for him that comes in the form of building surfboards for repaired bodies to ride. Back at the shop, the faint grays streaking through his burly beard are easier to spot in the bright light, and in the soft shade of a MacBook scroll bar, the cool blue of his eyes is magnetic. The shop noticeably lacks the pungent stench of chemicals — of the polyester often used to glass surfboards. That’s because Murphy uses the least harmful materials possible to construct his vehicles: recycled EPS foam, repurposed wood, water-based resins. Spray paint is about the worst product in Murphy’s shop. A dozen boards stand in varying degrees of completion along the racks against the wall. The cork-boards catch my eye — as they do many of New York’s surfboard geeks. Not long ago, Murphy’s curiosity drew him to investigate cork as a viable surfboard building material. He noticed northern California shaper Danny Hess incorporating cork in his designs, and found a guy in Florida doing the same thing. So Murphy tried himself, binding cork decks to the bodies of his foam boards and sealing them under layers of fiberglass. Now he’s experimenting with exposed cork decks; the resin beneath the cork 90 seals it to the board, but the top is not laminated. No wax required. “Cork is the ultimate composite material,” explains Murphy. “It’s lighter, it’s cheaper, it’s more impact resistant, it’s easier to work with, it gives a really nice flex pattern.” The boards look like nothing I’d ever seen — much to the delight of his customers. Murphy never set out to make a business of building surfboards. He was dissatisfied by an alaia (a thin wooden board with no fins) made by California’s Jon Wegener. The handyman naturally asked himself the obvious question: why not just make my own? Friends who rode Murphy’s personal boards soon wanted their own, which Murphy sold under the label Inner Circle. As his renown grew, so too did the perceived pretension of his brand name. “New York feels like this weird backwater, where I’m picking it up as I go along,” Murphy, who never worked as an apprentice like other shapers, says of learning the craft. From that attitude came a suggestion from a friend for a more compelling, inclusive label: Imaginary Surf Company. Murphy’s approach landed him a small retail deal in downtown Manhattan. He had been shaping wooden handplanes for bodysurfing at the time he met Josh Rosen — one of the three owners of the boutique Saturdays Surf shop in the city. Murphy stopped by, got talking to Rosen. Rosen remembers seeing Murphy later surfing at Rockaway Beach, riding one of his cork-boards. “We chatted about it for a bit and that’s when I learned that he shaped boards, as well as handplanes,” says Rosen. Shortly after, Murphy’s handplanes arrived on Saturdays’ shelves. Murphy’s boards, however, are harder to find. He makes almost all of them to order, although a few exist at a shop in the Hamptons and a Patagonia store in Japan. Murphy meets many of his clients like he did Rosen. Corey Smith, a lithe, tattooed 22-year old transient who grew up surfing in Florida and moved to New York a year ago, met Murphy at a party in February. The pair hit it off, and surfed together a week later when the next 91 frigid winter swell arrived. “I surfed one his boards, this egg-shaped quad,” Smith recalls. “It worked really well, but it was a little big for me.” Murphy built a board made of paulownia wood for the shorter, lighter Smith. “I’ve ridden it three times. It’s going to be a great summertime board, really strong,” Smith says, anticipating New York’s small wave season. Murphy plans to halt his handplane production after the summer to focus on making stock board shapes and to continue experimenting with designs. “I’m hoping to come out with a series of templates based on NACA foils,” Murphy reveals. The National Advisory Committee for Aeronautics — a precursor to NASA — was formed in 1915 to help the U.S. compete with Europe’s burgeoning aviation industry. NASA absorbed the agency in 1958, but not before NACA produced a series of airfoil designs to apply to airplane wing construction in the 1930s. Murphy believes he can translate those calculations into surfboards that perform as well as any. It’s that mentality, an unrelenting curiosity, the ability to assemble success from failure and elbow grease, that carries Murphy. Be it sculpting, hardwiring radio transmitters, or healing bodies, Murphy knows his most effective tools are his hands, which can only be powered by his mind. Who knows if in the future surfboards will exhaust him? If they do, there’s little doubt he’ll tackle his next venture with the same precision. When I head for the door, Murphy pulls his mask back over his bristly beard, and returns his attention to the longboard, only a few laps from the finish. The spray gun fires again as I walk down the hall. I make a note to pay attention to the man behind the curtain. On David: Classic Shirt / Indigo Flowers. Drop Out Shorts / Indigo Big Weave. — On Chris: Big Shirt / Star White. Spoke / Khaki.
  48. 48. Patience Try, Try, Try Again 92 93
  49. 49. Patience Angels Short Sleeve Shirt / Bright White. Indigo Mesh Scarf / Indigo Dye. Sky Meets Sea Delivery Three: February – March Photography by Jeremy Liebman 94 95
  50. 50. Big Shirt / Light Blue. Patience 96 97 Angels Short Sleeve Shirt / Bright White. Empire Shorts / Afternoon Whispers. Sky Meets Sea
  51. 51. Angels Short Sleeve Shirt / Bright White. Empire Shorts / Afternoon Whispers. Indigo Mesh Scarf / Indigo Dye. Patience 98 99 Classic Shirt / Indigo Flowers. Spoke / Indigo Waffle. Indigo Hat / Indigo Dye. Sky Meets Sea
  52. 52. Big Shirt / Light Blue. Drop Out Shorts / Indigo Big Weave. Patience 100 101 Endless Shirt / Blue Double Cloth. Beau Boyfriend / Rogue. Sky Meets Sea
  53. 53. Men’s Big Shirt / Light Blue. Women’s Beau Boyfriend / Rogue. Hand sanded, stonewashed and bleached. Patience 102 Delivery Three: February – March Third Wave Photography by John Luke 103
  54. 54. Men’s Drop Out Short / Indigo Big Weave. All natural indigo woven fabric. Patience 105 Men’s Drop Out Short / Indigo Big Weave. 104 Women’s Empire Shorts / Afternoon Whispers. Third Wave
  55. 55. Men’s Classic Shirt / Indigo Flowers. Interior printed fabric. Tye Dye Accessories: Indigo Canvas Bag / Indigo Dye. Indigo Tie / Indigo Dye. Patience 106 107 Men’s All Natural Indigo Dyes: Blazer / Indigo Waffle. Classic Shirt / Indigo Flowers. Men’s Drop Out Pant / Denim. Classic Shirt / Indigo Waffle. Drill Shorts / Indigo Waffle. Tack / Indigo Waves. Drill Chino / Indigo Big Weave. Third Wave
  56. 56. Indigo Hat / Indigo Dye. All natural indigo tye dye. Indigo Hat / Indigo Dye. Patience 108 109 Indigo Canvas Bag / Indigo Dye. Tye dye moon. Third Wave
  57. 57. Women’s Empire Short / Afternoon Whispers. Men’s Drill Shorts / Indigo Waffle. Patience 110 111 Women’s Bleached Finishes: Empire Cropped / Coastline. Empire / Cloud Beach. Beau Boyfriend / Rogue. Empire Cropped / Afternoon Whispers. Pins Cropped / Cloudy White Beach. Third Wave
  58. 58. Men’s Big Shirt / Light Blue. Patience 112 Fit Guide
  59. 59. Back 01090 01090 Front Pins  Skinny fit, low rise, skinny leg 114 Pins  Zipper fly opening, 7 1/2” front rise, 13 3/4” knee, 10 1/4” leg opening 115
  60. 60. Empire Cropped Empire Pins Cropped Tender Skinny fit, low rise, cropped leg Slim fit, low rise, bootcut leg 116 Empire Cropped Zipper fly opening, 9” front rise, 13 3/4” knee, 10 1/2” leg opening Zipper fly opening, 9” front rise, 13 3/4” knee, 10 1/2” leg opening 13003 01092 13003 Skinny fit, mid rise, skinny leg 01092 Empire Skinny fit, mid rise, skinny leg 11 492 011 40 Back 11 492 011 40 Front Pins Cropped Tender Zipper fly opening, 7 1/2” front rise, 13 3/4” knee, 10 1/4” leg opening Zipper fly opening, 7 1⁄5” front rise, 14 3/4” knee, 18 1/2” leg opening 117
  61. 61. Slim Chino Marker Flute Beau Boyfriend Slim fit, mid rise, straight leg Boyfriend fit, high rise, tapered leg 118 Slim Chino Zipper fly opening, 9” front rise, 15 1⁄5” knee, 12 3/4” leg opening Zipper fly opening, 10” front rise, 15 1/2” knee, 12 1/2” leg opening 11200 11200 13090 Slim fit, low rise, tapered leg 13090 Marker Boyfriend fit, mid rise, tapered leg 11190 01810 Back 11190 01810 Front Flute Beau Boyfriend Zipper fly opening, 9” front rise, 14 3/4” knee, 14 1/2” leg opening Zipper fly opening, 10 1⁄5” front rise, 16” knee, 13 1/4” leg opening 119
  62. 62. Back 05081 05081 Front Tack Slim fit, regular rise, slim leg 120 Tack Zipper fly opening, 10 ⅝” front rise, 16 ¼” knee, 14 ½” leg opening 121
  63. 63. 59109 Shuttle Ruler Needle Cutter Narrow fit, regular rise, skinny leg Relaxed fit, mid-waist, straight leg 122 Shuttle Zipper fly opening, 11 1/2” front rise, 16 ⅞” knee, 13 ⅞” leg opening Button fly opening, 10 3/4” front rise, 18” knee, 15 ¾” leg opening 59090 59118 59090 Slim fit, mid rise, tapered leg 59118 59109 Ruler Straight fit, regular rise, straight leg 0505 5 Back 0505 5 Front Needle Cutter Zipper fly opening, 10 1⁄5” front rise, 16 1⁄5” knee, 13 3/4” leg opening Zipper fly opening, 10 3/4” front rise, 19” knee, 16 1/2” leg opening 123
  64. 64. Drop Out Pant Thumb Tack Spoke Chino Drill Chino Slim fit, regular rise, slim leg Straight fit, regular rise, tapered leg 124 Drop Out Pant Button fly opening, 10 3/4” front rise, 16 1/4” knee, 14 1/2” leg opening Zipper fly opening, 13 3/8” front rise, 17 5/8” knee, 14 1/4” leg opening 05131 05131 05136 Loose fit, regular rise, dropped crotch, tapered leg 05136 Thumb Tack Slim fit, regular rise, slim leg 59121 590 7 3 Back 59121 590 7 3 Front Spoke Chino Drill Chino Zipper fly opening, 10 1/8” front rise, 17” knee, 14 1/2” leg opening Button fly opening, 11 3/8” front rise, 18 3/4” knee, 15” leg opening 125
  65. 65. Men’s Women’s Accessories 126 127
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