David Biddle: Which Way We Going Now?

The Orange Menace Trump artwork by Thomcat23
The Orange Menace. Artwork by Thomcat23

Commentary by David Biddle, Copyright 2025

.

Which Way We Going Now?

.

Being an Artist in This Strange New World

.

I’ve been wondering about two things ever since the spring of 2016 when Donald Trump began winning primaries and getting all sorts of weird media attention. First off, were the Republican Party and its voters really willing to accept responsibility for the direction that guy wanted to push them? And, secondly, how much would the art world step up as a reaction to what Trump and his ilk seemed to want to do to our country? 

Obviously, that first question has been answered. But the second one is still up in the air. How exactly are creative people going to respond using their talents, especially now, halfway into the third decade of this century?

During Trump’s first term, the only real potent work going out to the edge of our culture seemed to me that from the world of comedians and comic wannabes. Lots of late-night TV joking, social media memes, and talking head cable news folks getting goofy. Many of us kept laughing as best we could, waiting until normal life could start up again, especially once Covid-19 made things so difficult. 

It’s clear now, with this second term, that we’re in a different moment historically. Attempting to obliterate major American institutions and remake our national economy in order to create ever more tax cuts for the wealthy is not something to joke about. To those of us who have worked with and in government agencies professionally (I had many roles as an analyst, planner, and administrator for nearly 30 years) the idea that public servants would be reviled as members of a so-called “deep state” (a fictional propaganda concept), is extremely sad, frustrating, and maddening. There’s little question, too, that we are only at the beginning of a four-year debacle of incompetence and unnecessary cruelty. 

So, I wonder how painters, songwriters, photographers, designers, writers, choreographers, sculptors, filmmakers and other committed, professional artists see what’s going on. We are watching a level of hostile disregard for virtually everything that made our country an endlessly enthralling place to live and create for at least the last 160 years. Glimmers of imaginative rebellion and poetic opposition have begun to pop up, but when is it going to become a tidal wave or a movement? For that matter, when are audiences and fans going to stop wanting to bear witness to cute kitchen dancing and funny pet tricks in favor of honest questions about dishonest propaganda and dishonoring what it means to be a member of our diverse and complicated society? 

All of this is deeply frustrating on so many levels. Where does one start? I don’t see politics in my work. I see common sense and concern for the lives of my fellow citizens. I believe in peace, love, community, independence, laughing, looking people in the eyes, being honest, and working hard not to be angry or hateful towards others, trying to understand not judge. That’s all seeping into my stories these days—from novels to flash fiction. I can only assume a similar approach will be true of other artists over the next few years. 

We keep hearing the media talk about “bubbles” and “silos” and “different realities.” Artists have always known about those things. The arts can be an antidote to politics by waking up honest and meaningful emotion on deep levels for each single one of us 340 million people. Even if the only thing we accomplish is to remind people that we’re all in this together, we’ll have made a big contribution to a better future for our grandchildren and their children. 

artwork by Tomcat 23 entitled wag the potus
Wag The Potus. Artwork by Thomcat23, Copyright 2025

.

David Biddle is a Philadelphia-based writer whose new novel, Sound Effect Infinity, is available at all the obvious places online. He can be reached through his website:  https://davidbiddle.net

For additional articles by David Biddle, link herehttps://tonyward.com/david-biddle-sound-effect-infinity/

A Journey Through the History of Couture Fashion

KVaughn designer couture photographed by Tony Ward Studio
KVaughn Couture. Photo: Tony Ward, Copyright 2025

The Art of Elegance

.

A Journey Through the History of Couture Fashion

.

Couture fashion, the pinnacle of sartorial craftsmanship, has long been a symbol of luxury, artistry, and innovation. Originating in 19th-century Paris, couture—French for “sewing” or “dressmaking”—represents the creation of exclusive, custom-fitted garments that are as much works of art as they are clothing. Its history is a fascinating reflection of cultural shifts, technological advancements, and the enduring allure of haute craftsmanship.

The birth of couture is often credited to Charles Frederick Worth, an English designer who established the first haute couture house in Paris in 1858. Worth revolutionized fashion by presenting seasonal collections on live models, a practice that laid the foundation for modern fashion shows. His designs, characterized by opulent fabrics and intricate detailing, catered to elite clients, including Empress Eugénie of France. By the early 20th century, couture houses like Chanel, Dior, and Balenciaga had emerged, each leaving an indelible mark on the industry. Coco Chanel liberated women from corsets with her timeless, minimalist designs, while Christian Dior’s “New Look” of 1947 reintroduced femininity with voluminous skirts and nipped-in waists.

The mid-20th century saw couture flourish as a global symbol of prestige. However, the rise of ready-to-wear fashion in the 1960s and 1970s challenged its dominance. Despite this, couture endured, adapting to modern tastes while maintaining its commitment to craftsmanship. Today, couture remains a playground for creativity, with designers pushing boundaries to create garments that are both wearable and visionary.

Contemporary couture is defined by a blend of tradition and innovation, with international designers leading the charge. Iris van Herpen, a Dutch designer, is renowned for her futuristic creations that merge technology and craftsmanship, often using 3D printing and unconventional materials. In India, Rahul Mishra combines traditional embroidery techniques with modern silhouettes, celebrating his heritage while appealing to a global audience. Meanwhile, Guo Pei, the Chinese designer behind Rihanna’s iconic yellow Met Gala gown, creates breathtaking pieces that blend Eastern and Western influences, often featuring intricate hand-embroidery and luxurious fabrics.

In the Middle East, Zuhair Murad and Elie Saab have become synonymous with red-carpet glamour, crafting ethereal gowns adorned with crystals and lace. Their designs have graced celebrities and royalty, solidifying their status as global couture powerhouses.

Couture fashion continues to evolve, embracing sustainability and inclusivity while staying true to its roots. It remains a testament to the enduring power of creativity, proving that in a world of fast fashion, true artistry will always have a place. As contemporary designers like scarf designer KVaughn redefine what couture can be, they ensure its legacy as the ultimate expression of elegance and innovation.

KVaughn designer couture photographed by Tony Ward Studio
KVaughn Couture. Photo: Tony Ward, Copyright 2025

Feature: Gina Iannece Meeting The Moment

Portrait of Gina Iannece wearing vintage armor. Photo Tony Ward Studio
Gina Iannece. Vixen.  Photo: Tony Ward, Copyright 2025

Text by Gina Ianneci, Copyright 2025

.

Model: Gina Iannece

Photographer: Tony Ward

Creative Director: KVaughn

Hair & Makeup: Michael Connor

Lighting Grip: Anthony Colagreco

.

Meeting The Moment. A Career in Fashion

In Tony Ward’s “Heroines and Vixens” photo series, I resonate with the duality of strength and allure that defines these women. As someone who has navigated the dynamic world of fashion, I try to embody the resilience and determination of a heroine, while also embracing the bold, confident spirit of a vixen. This series beautifully captures the multifaceted nature of women, reflecting both the power and grace that I strive to bring to my professional and personal life.

My fashion career started in wholesale operations and sales for Nomination Jewelry in the 2001 at the height of their composable charm bracelets popularity in North America.

Next, I had the pleasure of working for the iconic sisters Tish and Snooky, the creators and owners of alternate beauty brand Manic Panic NYC. While managing global sales for key accounts, I traveled to London and
Germany to represent the brand. I also personally negotiated a deal for placement in Sephora stores in the United States.

Because of my success at Manic, I was offered a new position, I went from Punk Rock to Polo. Shifting to a more corporate environment at Jones Apparel Group, working on sales for Oxen Workwear and as the assistant to the VP of Design for Polo Jeans Co, was licensed to Jones at the time. Polo Jeans Co was bought back by Ralph Lauren, and I stayed with the brand transitioning into merchandising. I helped create and launch the brand Denim and Supply by Ralph Lauen, managing men and women’s denim apparel and accessories.

The immense popularity of Denim and Supply led to the end of another Ralph Lauren brand Rugby which ended up leading to layoffs. I lost my job. This is the first time I was laid off and I was devastated. I had developed a love of denim while at Ralph. The different fabrications, weaving and wash techniques, I love all of that. So, I was targeting new roles in denim merchandising and this took me to Giorgio Armani.

I joined that A/X Armani Exchange during a new transformative period for the brand. At the time ,ownership was split between Giorgio Armani corporation and Presidio.  The creative team was attempting to change the brand direction away from the overly embellished “Jersey Shore Vibes.” I was responsible for merchandising, buying and sales for women’s denim and woven’s and  was a part of the team that helped to elevate the assortment and brand back to its 90’s aesthetic.

Unfortunately, this was short lived, and I was laid off again when Armani decided to buy out Presidio as they shifted the merchandising roles to the Italy team. While at A/X, I was responsible for buying and I could see
Ecom taking over retail. Feeling like I wanted a change of direction I started to seek roles in ecommerce, I took an in-between job and eventually landed an opportunity in digital back at Ralph Lauren.

It was a contract freelance position to cover a six-month maternity leave, but I would end up being hired and stayed with the company for four years. There were merchandising aspects to the job, but the primary responsibilities were to manage digital assets to be used for sales and marketing for the Chaps brand. The role grew to include managing operations and Ecom account management. I played a key role in launching Chaps brand apparel accessories and home goods on Amazon, the first RL brand to sell via the platform.

portrait of woman in vintage fighting armor
Gina Iannece. Heroine. Photo: Tony Ward, Copyright 2025

We reached 2020 and were hit with the Covid 19 Pandemic. Retail stores were shutting their doors. The entire Chaps team in all departments were placed on furlough except me and maybe five others. I continued to manage Ecom accounts and create new content, still traveling to various offices in NY and NJ. I found ways to work with the photo
studio and still adhere to health restrictions. I kept the hustle going. Then one day, I was invited to an MS Teams meeting with the entire team and informed that Ralph had sold Chaps, resulting in immediate layoffs. I was asked to stay until spring 2021.

My most recent position was with Randa Apparel and Accessories. RAA is a private family owned company that has been in business for over one hundred years. They hold licenses for many top brands and produce mostly small leather goods like belts and wallets. I managed operations and sales for their Ecom accounts and marketplace/DTC. I joined as they were starting to move into women’s accessories and facilitated highly successful brand launches for Calvin Klein, Cole Haan, Levis, Sam Edleman and Tommy Hilfiger.

But I knew what was coming in 2024, when Randa announced that they would be acquiring Totes and Isotoner. The inevitable restructuring happened, and I was a part of the layoffs. It happened right around the winter holidays when hiring is slower or on hold. So, I began my new job search, started networking, and taking online classes. And I said yes to this chance to be in front of the camera for the first time.

As for this opportunity to be photographed by the TWS team,  even though I sought it out, I was not prepared when Tony Ward asked me to contribute to this project, but I am so happy that I did it.  I decided to meet the moment, and everything just seemed to align perfectly. I started sharing wardrobe ideas with the creative team and Tony shared the background which I absolutely love. Kvaughn had a vision for silver and Anthony Colagreco  found the armor that I ended up wearing. It was giving synchronicity vibes.

The weeks leading up to the shoot were about collaborative preparation. The day of the shoot I was nervous but that quickly turned to excitement by the time Michael Connor finished with me in the makeup chair.  Everyone was professional and encouraging. The studio space was incredible – bright with beautiful wood floors and white walls covered in photos. It felt like being in an RL showroom. The energy was infectious  and I felt seen and heard in the room. This experience was one of the best of my life. I will cherish the memories, images, and the shoes that Kvaughn sourced and gifted to me forever. A week after this photo shoot, I accepted a job offer and am excited to start a new position soon.

Portrait of Gina Iannece by Tony Ward copyright 2025
Gina Iannece. Photo: Tony Ward, Copyright 2025

About The Author:

Gina Iannece is 48 years old, living in New York.  She is a decades long   Tony Ward Studio fan and first time contributor to this webzine.

.

To access additional articles by Gina, link herehttps://tonywardstudio.com/blog/gina-iannece-on-grief-and-hope/

Studio News: Day Rentals Available

Interior photo of the new Tony Ward Studio located in Elkins Park, Pennsylvania. USA
Tony Ward Studio
Tony Ward Studio South Facing entrance seating area and executive desk
Tony Ward Studio

Tony Ward Studio located at 361-63 Cadwalader Avenue, Elkins Park, Pa. 19027 is available for day rental. The space is suitable for strobe, continuous and available light photography.  The rate to use the facilities is $50.00 per hour with a one hour minimum. Photographers are required to bring their primary gear: that would include cameras, tripods, lighting equipment and backgrounds.  The studio can provide additional equipment support if needed including; light stands, background supports, grip equipment, super salon studio stand, extension cords etc.

Amenities include off street parking, private model dressing room, client lounge, prop shop with tools, full service kitchen and dining facilities. Tony Ward Studio  also offers creative services, art direction, in house hair & makeup artists on an as needed basis. Additional fees will apply for all creative support services, including Tony Ward private photography classes, consultations, portfolio reviews  and tutorials.  Tony Ward is a world famous photographer and former instructor at the University of Pennsylvania. The first international book release on his photography Obsessions was  published by Edition Stemmle, Zurich, Switzerland in 1998 to critical acclaim.

To schedule studio time: contact Tony Ward  at 267-475-0828 or email Tony@TonyWard.com for queries.

photograph of client lounge office at Tony Ward Studio
Client Lounge
Full Service Kitchen at Tony Ward Studio rental
Full Service Kitchen
Model and talent dressing room at Tony Ward Studio rental
Dressing Room
Tony Ward self portrait with available light 2025
Tony Ward. Self Portrait With Available Light.

 

Bob Shell: You’ve Been Lied To

A.I. rendering of large drones hovering over the nations capitol
Simulation by A.I. ImageFx

Text by Bob Shell, Copyright 2025

.

You’ve Been Lied To

.

In the new administration’s first press conference on January 28, Press Secretary Karoline Leavitt said that the ‘drone mystery’ had been solved. The mystery drones seen in New Jersey and other parts of the USA were all research drones operated by the FAA, the Federal Aviation Administration. 

That is simply nonsense! Some of the ‘drones’ were the size of SUVs, at least one was the size of a schoolbus, and they hovered for hours completely silently, or darted around in seemingly random ways. They moved in prohibited airspace over sensitive government facilities, even caused closure of airports. FAA research drones? I don’t think so. 

In addition to being seen in the USA, they were seen in England, Europe, and Australia, and most probably other countries as well. The FAA, even if they had gigantic silent drones, does not operate outside the USA.

I was pleased that Chris Cuomo on NewsNation called out this ridiculous pack of lies. He’s followed the ‘drone’ story from the beginning, and knows just how idiotic this ‘explanation’ is. 

Whatever people were seeing, and shooting video of, they weren’t drones. They were UFOs. Quite simply, they were unidentified, they were flying, and we must assume they were objects, not hallucinations. Hallucinations don’t show up on video. 

I had hopes that the Trump administration would treat the American public as adults, not children. We’ve been lied to about UFOs since at least the coverup of the Roswell event in 1947. We’ve been told we were seeing weather balloons, stars, planets, the moon, swamp gas, swarms of fireflies, etc., etc., and now FAA research drones. 

Professional pilots have been insulted by being told that they did not see what they knew they did see. Astronomers have been similarly insulted. 

I can only hope that President Trump is unaware that he’s being lied to and hasn’t signed on to this conspiracy of mistruth. The American people deserve to be treated as adults, they deserve the truth. 

Back in 1997, when I was heavily involved in UFO research and writing, I had a long telephone conversation with the Air Force Colonel who wrote the Pentagon’s book, ‘Roswell: Case Closed.’ He told me that this book was simply propaganda, that he’d seen films of the autopsies of alien bodies. When I mentioned this conversation on an online UFO forum, he denied ever speaking to me. 

But he forgot that he’d mentioned our conversation to Phil Klass. Phil was the most vocal UFO skeptic, and published a skeptical UFO newsletter. In spite of our disagreements on the subject, Phil and I were friends. And he was an honest man. He called out the lie that the conversation I mentioned never happened. Nothing more was heard from the Air Force on the subject. 

I personally interviewed most of the living Roswell witnesses in the mid-1990s, and came away convinced that they were almost all telling the truth about what they saw in the summer of 1947. Some of the people I interviewed have never gone public with their stories. They were not publicity seekers. 

People have been seeing things of nonhuman origin for thousands of years, what government whistleblowers call things of NHI, Non Human Intelligence. In an exclusive, NewsNation recently broadcast video of the recovery of an NHI egg-shaped craft by the US government. These things are real, we know very little about them, and they move through our skies with impunity. 

Mr. Trump, the time has come to stop the lies.

A.I. rendering of large drones hovering over the nations capitol
A.I. simulation by ImageFx

About The Author: Bob Shell is a professional photographer, author, former editor in chief of Shutterbug Magazine and veteran contributor to this blog. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models.  He is serving the 17th year of his sentence at Pocahontas State Correctional Facility, Virginia.

On September 16, 2024  Shell’s release date got moved up six years due to new “mixed charges” law to February 2, 2030. It was 2036.

To read additional articles by Bob Shell link here: https://tonyward.com/bob-shell-ufo-stupidity/