Nu-Mode´Magazine Issue 5

NU-MODE´ FASHION ART & LIFESTYLE MAGAZINE S/S 2012 ISSUE 5

VAGABONDSutan“Raja”Amrull

ANDREA BOEHLKE NUTE NICHOLSON CLAIRE LAMPERT BRIAN PARILLO RICHARD MOON MUSTAFA MALUKA YUMIKO KAYUKAWA VICTOR CRISOSTOMO GOMEZ SARA NAIM

CHRIS BIRKMEIER CARTY SEWILL YVETTE JONES ANN CT BRAUNSTEINER

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M Welcome ToIssue 5

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N U - M O D E´EDITOR IN CHIEF & CREATIVE DIRECTOR

LATOYA [email protected]

FASHION EDITOR

RENESSTA OLDS [email protected]

MARKET EDITOR

KAI-LEE PARKER [email protected]

FASHION FEATURES & MUSIC EDITOR

[email protected]

CONTRIBUTING PHOTOGRAPHERS

TRAVER RAINS . JULIE DICKINSON . GAVIN THOMAS . DANIEL RAMPULLA . LPHANNE HØJLUND NICOLAJSEN . JEFF ORGINA . MARGARET NOWAK . MICHAEL CLEMENT

SVENJA PITZ . TONI SMAILAGIC . VAN SARKI . MERJA YEUNG . CARLOS TEIXEIRACLARENS TYSON . ANDREW AKIMOV . MARTA ZGIERSKA & MACIEJ RUKASZ . ROBERT KENNY

SUBMISSIONS & WEB ENQURIES

[email protected]

PUBLISHED BY

NU-MODE´ MAGAZINE BROOKLYN, NY 11238 T. 7 1 8 . 8 1 2 . 5 8 1 5

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N U - M O D E ´ T E A M

Renessta has a lifelong love of fashion and style. A native New Yorker and current resident of Brooklyn, she has established a vast network of insider contacts within the garment district and multiple showrooms. Additionally, as a former FIT stu-dent, Renessta has also cultivated relationships with up-and-coming designers and established industry professionals.

www.reneeostylelab.com

J.M. is a dance choreographer, journalist, creative director, and producer. When not working, he enjoys kissing, sushi, and Star Wars.

www.houseofjohnmark.com

Kai-Lee is a 29 year old fashion, food and vintage enthusiast living in Brooklyn. Since arriving in NYC 2 years ago, she has worked on shoots for Marie Claire Spain, Lee Jeans, USA networks, music videos, commercials as well as numerous editorials. When she’s not on set styling a shoot she enjoys cooking, brunching, thrifting and discovering different parts of NYC... one borough at a time.

kaileeparker.carbonmade.com

Fashion EditorRenessta Olds

Fashion Features & Music EditorJohn-Mark

Market EditorKai-Lee Parker

Founder & Editor In ChiefLatoya P. Henry

Latoya Henry is a fashion stylist & photographer who enjoys eatting ice cream in the dark....

www.l-ph.com

C O N T R I B U T O R S

Traver is a designer and photographer… Raised by horses and trained by NYC.

www.TraverRains.com

Irina Romashevskaya is a Brooklyn based artist, writer and photogra-pher amongst other things. A frequent traveler, Irina likes to explore

new opportunities and is always on the lookout for an adventure. www.irinaromashevskaya.com

Carlos Teixeira a 28 year old Fashion Photographer was born in Arouca, Portugal.He first became interested in photography around 2002, while attending a course in

communication, marketing and publication. He has been published in several national magazines and organizations such as Umbigo mag, Edit mag, Slave mag, Votive mag

Teixeira has Collaborated with various agencies featuring Portuguese models. He Likes to have contact with all the details of production in order to be surprised with

the final result.www.brownansel.com

Drew Krason is a 22 year old fashion photographer from Minneapolis. He is inspired by shapes, textures, urban landscape, and motion. After first picking

up a camera in a high school photo class, he knew there was something special about photography. Once he later graduated college with a degree in mechani-cal design, he heard the photography world calling his name louder than ever. He is now a freelance photographer doing what he loves. In his spare time, he

also enjoys traveling, house music, and freshly baked croissants. www.drewkrason.com

Traver Rains

Irina Romashevskaya

Carlos Teixeira

Drew Krason

CASH IN HAND REDUX 1988PHOTOGRAPHY MATT WEBBER

WWW.WEBER-STREET-PHOTOGRAPHY.COM

EDITOR’S LETTER

he inspiration behind issue is the connection to my home-town New York City. Some people come here and extend themselves in hopes of the big apple dream, sometimes certain cases lead to people be-coming drifters and fading way from their dream when moving to New York.

Often times, you find very young people sitting in the streets or lost on the corners of Union Square begging for change for the next meal or to go to their next destination.

I’m inspired by consistent travellers who in some cases don’t have specific dreams to travel to other places and are everyday hard working people who have had their livelihood taken away from them and they have no choice but to become consistent drifters, feeling lost without a place to go, they rebel against society and follow their own way of survival hence “Vagabond”

This issue examines Vagabond through the eyes of the Artist, whether they are photographers or fashion stylist. Selecting this theme shows how each artist expresses Vagabond.

LATOYA P. HENRY EDITOR IN CHIEF

T

Latoya

C O N T E N T STHINGS WE LOVE PG.10

A PERSONAL LOOK AT THINGS THE NU-MODE´ ENJOYS

YUMIKO KAYUKAWA PG.13

CHRIS BIRKMEIER PG.21

LUNACY PG.26PHOTOGRAPHY ANDREW AKIMOV

BARCELONA PG.45PHOTOGRAPHY CARLOS TEIXEIRA

CUT ME SOME BANGS PG.54PHOTOGRAPHY &STYLING

CLARENS TYSON

BRIAN PARILLO PG.62

CARTY SEWILL PG.73

YOUNG BRITISH GRADUATES PG.81PHOTOGRAPHY JEFF ORGINA

ANDROIDS DREAM PG.97PHOTOGRAPHY CARLOS TEIXEIRA

STYLING JORDANN SANTOS

HELMET HAIR PG.104PHOTOGRAPHY ROBERT KENNEY

STYLING JOANNA KULPA

SUTAN RAJA AMRULLA PG.114PHOTOGRAPHY TRAVER RAINS

INTERVIEW JOHN MARK

THE EMERGENCE OF NEW DESIGNERS TAKING ON INNOVATIVE DESIGN PG.126

EMERGING DESIGNERS CHANGINGTHE FASHION SCENE

WAITING FOR THE POSSESSION PG.138PHOTOGRAPHY MARGARET NOWAK

STYLING KEVIN DENOUAL, MARGARET NOWAK

THE SKIN I LIVE IN PG.153PHOTOGRAPHY TONI SMAILAGIC

STYLING ELEANA KANELLOU

DON’T LEAVE ANY TRACE PG.162PHOTOGRAPHY MICHAEL CLEMENT

RICHARD MOON PG.173

SARA NAIM PG.182

A BERBER BEAUTY TALE PG.192PHOTOGRAPHY ANNE HØJLUND NICOLAJSEN

STYLING LOUISE MAS

DISAPPOINTED PG.198PHOTOGRAPHY MARTA ZGIERSKA &

MACIEJ RUKASZ

CHEMINEAU D’ÂGE PG. 206PHOTOGRAPHY MERJA YEUNG

STYLING KATARIINA KAATRASALO

NUTE NICHOLSON PG.214

VICTOR CRISOSTOMO GOMEZ PG.225

SCARLETT ROSE PG.234PHOTOGRAPHY JULIE DICKINSON

STYLING KAILEE PARKER

GILDED REPLACEMENTS PG.245PHOTOGRAPHY VAN SARKI

STYLING KEATING SHERWIN

A DESTINATION TO REMEMBER PG.254PHOTOGRAPHY GAVIN THOMAS

STYLING RENESSTA OLDS

ANDREA BOEHLKE PG.264PHOTOGRAPHY DANIEL RAMPULLA

INTERVIEW JOHN MARK

ANN CT BRAUNSTEINER PG.278

MUSTAFA MALUKA PG.288

PLEASE TOUCH THE GLASS PG.296PHOTOGRAPHY SVENJA PITZ

THE CITY THAT CHANGED ME PG.318PHOTOGRAPHY LPH

STYLING LATOYA P. HENRY

CALIRE LAMPERT PG.336

YVETTE JONES PG.348

BLAISE KAVANAGH PG.352A PERSONALGLIMPSE AT

THE DESIGNER’S SPRING/SUMMERCOLLECTION

FASHION REVIVAL PG.356THE LASTEST STYLE TIPS

& TRENDS FOR SPRING / SUMMER 2012

MEN TRENDS PG.358PREVIEW THE LASTEST TRENDS FOR FALL 2012

WOMEN TRENDS PG.362A PREVIEW ON THE HOTTEST

TRENDS FOR FALL 2012

NU-MODE´ VAGABOND SPRING/SUMMER ISSUE 5 ..9

PHOTOGRAPHY TRAVER RAINSSTYLING SUTAN AMRULL

T H I N G S W E L O V E

NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .10

YUNA

ACRIMONY

MISS TRISH

Yuna is a Malaysian born songwriter who be-gan writing her own songs at 14. She has per-formed in many acoustic shows and events and sings in both English an Malay. Recently releas-ing a video for her hit single live your life an being nominated for Nickelodeon Kids Choice awards Yuna continues to keep us hypnotized with her sultry sound.

WWW.YUNAMUSIC.COM

Considered to be a progressive designer boutique Acrimony carries a range of unique international designers. We specifically love Acrimony awesome blog that features a be-hind the scenes look of the boutique’s photo-shoots, plans and of course the edgy pieces their boutique carries.

BLOG.SHOPACRIMONY.COM

A fabulous mix of sexy affordable shoes for any fashionista. One item in paticular from Miss Trish spring/summer collection is The Lipgloss Shoe.

WWW.MISSTRISHSHOES.COM

WILLIAM YAN

JUST KIDS BY PATTI SMITH

GARY CLARK JRAmerican guitarist & actor musician Gary Clark Jr brings a thrilling sound to the music scene. Compared to Jimi Hendrix and is con-sidered to be a leader in Austin Texas, Texas Rock. Gary Clark Jr has us tuning in to his vivacious sound.

WWW. GARYCLARKJR.COM

This beautiful memoir is both insightful and entertaining. Smith shares her experiences in the nyc arts scene, par-ticularly surrounding the chelsea hotel community from the 1970s through the 1980s. Smith and her friends were the definition of starving artist and their stories are beyond in-spiring. Just kids is my favorite piece of non-fiction litera-ture to date.

WWW.PATTISMITH.NET

William yen features some of the most fasci-nating and inspiring individual’s in his daily travel. Unlike your conventional blog he pro-vides his audience with variety of captivating street style, designer reviews, interviews and lifestyle..

WWW.WILLIAMYAN.COM

PHOTOGRAPHY BEN CLYMER

YUMIKO KAYUKAWA

INTERVIEW LATOYA HENRY

Drawing and painting was a hobby that Yumiko developed as a child. She was a published manga artist just only in her teen thus this inspired her passion for painting. Combining American pop art with her native Japanese influences Kayukawa produces some astonishing results with

her choice of colors, themes and composition.

The inspiration for Kayukawa comes from all directions from her expe-riences to her personal fantasies. Although Yumiko is living in the US she has become passionate for her home country and hope to introduce

the beauty of Japan’s secret culture to the world.

FRUIT OF HAPPINESS

NU-MODE´ VAGABOND SPRING/SUMMER ISSUE 5 .13

STARS


When did you first discover you wanted to become an artist?

Drawing and painting were always my favorite hobbies since I was a child. I was a published Manga artist in my teens, but I never thought I could make a living be-ing an artist. Luckily I had an opportunity to show at the Roq La Rue gallery in Seat-tle when I was 31. It was just like an ac-cident for me. I really enjoy the freedom I have for my art. Especially when compared with Manga. It’s a joy to show my work in public. I think my “artist spirit” grew after I started my career.

Would you consider yourself a fine artist?

I’ve never thought about it before. I’m just a painter who loves painting. I think people who see my work can tell.

Tell us what is the most difficult process of bringing your idea to life?

I feel frustrated at times with the painting process. It takes a long time to create a sin-gle piece. I have so many ideas, but I will never be able to paint them all.

How long does it take to construct a paint-ing?

It depends on a size and details, but usually it takes about 50 hours for 10x10 inches and 300 hours for 30x40 inches piece.

What are some challenges you have experienced as an artist and how were you able to overcome those obstacles?

The first year after I quit my daytime job was a challenge. Earlier, I had a full time job and would work on art in the evenings. I was nervous to sur-vive with only sales from my artwork. I booked as many shows as I could and became a “paint-ing machine”. Fortunately painting is my blood and it’s a joy to paint all day. I missed things, like hanging out with friends, and other hobbies. But I have this passion. I can’t resist living life as a painter. Today I’m trying to balance my life more. It’s still difficult to manage.

Do you remember your first experience showcas-ing your work? What was it like and how did you feel?

Yes I do remember. It was big for me. It was very different from what I knew before. In Japan art openings are a very formal affair. In the US it’s just like a rock concert. People are very casual, and there are so many of them. I’m 5”3, and I felt like I was drawn in to a Tsunami of people. I’ve never seen a big crowd at an art show opening be-fore. I could tell that art here is for anyone. Any-one can enjoy and buy art. I think it’s a wonderful thing.

“Sakura No Kuni” is a remarkable painting. What was the inspiration behind this painting and is there a particular emotion you wanted to express through your painting?

The theme of the piece is my vision of Japan from a foreign country. As I live in the US now, I can see the shape of Japan clearly from the outside. It’s small, old and fragile, but also it’s breathing, and alive, like a cherry blossom.

“As I live in the US now, I can see the shape of Japan clearly from the outside. It’s small, old and fragile, but also it’s breathing, and alive,

like a cherry blossom.”

BOATING


Do you base your work off of personal experience or dreams and sequences?

My inspiration comes from many directions. Sometimes it’s from my experience, cultural themes, or just my fantasy.

Do you think your work has transitioned over the years and how do you manage to keep a beautiful balance between American pop culture and traditional Japanese motifs?

I can tell that newer pieces have more details and stories in them. Year by year, I can see more about Japan from overseas, and I have more passion for my home country. At the same time I’m learning about the real America, not just from Hollywood films. Both American and Japanese cultures are giving me inspiration.

What are something’s we should expect from some of your future pieces?

My recent works are fantasy story based on Japanese myth or custom, I would like to introduce Japans hidden culture to the world.

RAINFROG

WWW.SWEETYUMIKO.COM NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .18

FERRY BOAT

CHRIS BIRKMEIER

INTERVIEW JOHN-MARKPHOTOGRAPHY JESSICA ZERBY

The trailer for the Chicago-based independent feature, In Bloom, sent chills down my spine. The film, which began years ago in Birkmeier’s mind as an undergraduate screenwriting project, has blossomed into a masterful work of art. The story highlights queer youth culture in present-day Chicago. It is very real and very personal for Birkmeier.

Though the story is fictional, Birkmeier admitted that many chunks of dialogue were derived from actual conversations had between him and

his previous partner during the most tumultuous parts of their rela-tionship. Personal touches like this one are what have helped bring

independent cinema’s mise en scène to life in a beautiful symbiosis of authentic emotions and rich entertainment. Due to his high-quality

body of work and refreshing enthusiasm, we at Nu-Mode´ are commit-ted to supporting CM Birkmeier as he sets out on the road to join the

ranks of great American filmmakers.


“ IN BLOOM ”


Are you the first of your family to work in film? I am the first in my family to work in the ‘indus-try.’ I was raised watching Star Wars, Indiana Jones, Jaws, and Alien. My dad was always a big fan of movies as a kid and would show me these films... and I was just obsessed. I don’t really know where the drive to be a filmmaker came from... I think those films just spoke to me as a kid and I really, really wanted not only to watch them over and over again, but to make other people feel the way I felt watching them. And I figured the only way to do that was to make mov-ies. I thank my extremely supportive parents for letting me go wild with it at a young age, and I guess the fascination with film never faded.

What was the greatest challenge that came up during the production of In Bloom? The greatest challenge was probably... knowing when to compromise. That’s a really hard thing for a filmmaker to do - especially a ‘writer/direc-tor’ who has this very specific idea of how some-thing should look or be said. But honestly, I think the compromises absolutely made the film won-derful. I couldn’t be happier. I think the biggest challenge was also the greatest thing I took away from the process - that you have to absolutely be open to mistakes and fuck ups and the little pieces of ‘realism’ that you can’t get on the page. And more than that, it’s about realizing ‘fuck, we don’t have enough time to do this shot, what else can we do?’. The best example, and one of my favorite shots in the movie, was when we were shooting during the sunrise. I had this elaborate, 4-minute shot, all in one slow dolly, and I had absolutely wanted that shot for two years. It was THE MOVIE in my head. THE SHOT. But we got there, and it was absolutely impossible. We didn’t have any of the right equipment. So we had to just lock down the camera, and shoot

static. But the result was the sun came through the actors at the perfect moment, and we have a perfect lens flare, and perfect framing, and it never would have happened if we would have tried the dolly. The shot would’ve been useless and we would have missed that perfect moment.

Tanner Rittenhouse has played the princi-pal role in a great majority of your work. What factors have influenced your decision to cast Tanner time and time again? I met Tanner my freshman year at Columbia and we just hit it off. In high school, I never had any friends who wanted to be actors. It was always just casting my friends who were available, and although I loved them, they weren’t ‘actors’ haha. So I cast Tanner in a short film called ‘Terminus’ about a breakup at the end of the world... maybe a precursor to In Bloom? - And he was absolutely amaz-ing. I realized I had to keep working with him. We have a really great relationship, there’s a great friendship and a deep trust between us. I know that I can rely on him to tell me when something is bullshit, and how he can make it better, and on the other hand he knows when to trust me. It’s a great bal-ance that makes for a really incredible per-formance. Plus he’s just a really fun guy. It’s not all movies with us. We’ve been through a lot together.

In Bloom tackles a lot of serious issues. When working with the actors on set, how do you navigate the sensitivities of the sub-ject matter? In Bloom was my first time working with several actors that WEREN’T Tanner, so

honestly, as a director, I was incredibly nervous about the whole thing. But it went very smoothly. As for navigating sensitive issues... there just had to be complete openness about things. If there was something in the script that the actors didn’t under-stand, I would usually have a real life experience to back it up and say ‘this is why this character is doing this’ or ‘this is how it felt when this hap-pened to ME’. And I think there was a lot of re-spect because they knew, everyone knew, that we were dealing with some stuff that was very close to my heart, so everyone really went about it very respectfully. There was never any ‘don’t go there, don’t ask these questions’ because I wanted eve-rything to be laid out on the table. The only thing that I honestly felt uncomfortable doing was shoot-ing the two sex scenes. That’s never not going to be strange, with a camera in their faces, a big crew standing around, and I’m giving explicit descrip-tions to straight men about the... workings haha. But they did masterfully and it worked out per-fectly.

How has your residence in Chicago influenced your filmmaking? My residence in Chicago has absolutely influenced my filmmaking. I applied to USC, UCLA, NYU, all the major film schools. Got rejected by all of them. And was bitter about it. But now I couldn’t be happier because this city is so amazing and unique and the Midwest mentality is just something you don’t get in NY or LA. I’m glad I have my roots here, because I think this city is definitely up and coming, especially because you don’t need to be in NY or LA to make films anymore - not with the way video is taking off and not with the way the Internet is changing the way we work. Chicago will always have a special place in my heart.

“There was never any ‘don’t go there, don’t ask these ques-tions’ because I wanted everything to be laid out on the table.”

Be sure to check out the Liberum Pictures vimeo for the In Bloom trailer and a fascinating archive of behind the scenes shorts.


PHOTOGRAPHY ANDREW AKIMOV

LUNACY


ALL GARMENTS ELNURA BADALOVA









PHOTOGRAPHY ANDREW AKIMOVMAKE UP ARTIST & HAIRSTYLIST OLA KOMI

MODEL TOMA BARKOVA

BARCELONAPHOTOGRAPHY CARLOS TEIXEIRA

VEIL DANIELA BARROS


BODYSUIT HUGO E FERNANDOCAPE HUGO E FERNANDOANKLE BOOTS NUNO BALTAZAR


BODYSUIT HUGO E FERNANDO


DRESS HUGO E FERNANDOCAPE HUGO E FERNANDO

ANKLE BOOT NUNO BALTAZAR


SWEATER DANIELA BARROSPANT DANIELA BARROS

ANKLE BOOT NUNO BALTAZAR

BODYSUIT ANDREIA OLIVEIRASAIA LUIS BUCHINHO

PHOTOGRAPHY CARLOS TEIXEIRAMAKE UP ARTIST MARIA ANGELES

MODEL MARTA MALANOWSKA AT ICONMODELS BARCELONA



PHOTOGRAPHY CLARENS T YSONSTYLING CLARENS T YSON

CUT MESOMEBANGS

DRESS RACHEL ZOENECKLACE ORIGAMI NECKLACE BY L’ATELIER

BRACELETS L’ATELIER

DRESS RACHEL ZOENECKLACE ORIGAMI NECKLACE BY L’ATELIERBRACELETS L’ATELIER


JUMP SUIT GUCCIRED BELT GUCCI

NECKLACE ST YLIST OWNBAG ZARA

FUR VEST GUESS BY MARCIANO


SUIT ZARAPANTS ZARANECKLACE ST YLIST OWN

FUR LEATHER JACKET GUESS BY MARCIANO


FUR VEST BCBGDRESS H&M

NECKLACES BIJOUX OUI EHFARBRACELET AND RING ST YLIST OWN

PHOTOGRAPHY CLARENS T YSONST YLING CLARENS T YSON

MAKE UP ARTIST & HAIR ST YLIST MEGAN BEDYNSKI MODEL EMI AT SPECS MODELS

BRIAN PARILLO


A sense of space that’s the most important thing former Connecticut born fine art photographer Brian Parillo looks for in

his photographs. He draws inspiration for his work from music, Pop art and archi-tecture. The now California based artist

specializes in fine art mixed media with a focus on natural lighting and shadow.

He captures impeccable imagery at an abstract angle of iconic structures in LA and Conveys a sense of drama through a cinematic approach. Parillo has a fasci-nation for architecture and the materials used which includes wood, steel or con-

crete because they create a mood. He is a big follower of the California mid century movement and thinks that one of the most interesting aspects of shooting architec-ture is building drama from one angle to

the next. NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .62

ENGAGED

Did you always imagine that you wanted to become a fine art photographer?

No I didn’t...In the beginning more than anything I just wanted to try to figure out a way I could make a living with photography. Only after realizing that when you extract the pressures of solely concentrating on finance and begin to just enjoy and play, I was then able to put my atten-tion towards more creative outlets of photography. From that point on it developed into what I feel is a healthy obsession. No matter what was happening in my life I found out quickly that I was able to silence out static thoughts and just get lost for the duration of a shoot. I then starting thinking in terms of series and shooting with that intention, I began developing different galler-ies of work. I was very lucky early on getting shows, being published, and interviewed.

Who has been a major influence on you and your work?

My family and friends inspire me. I don’t have any hero’s of photography. I also think that there’s somewhat of a danger in giving to much reverence to anyone who’s in the same field as you. I never wanted to be like any other photographer and I never studied other photographer’s work, so I think when you come from that place there’s a bit more of a purity in your approach to your process. If anything I was probably more indirectly influenced by certain film directors. I watched a lot of old films growing up and I can remember always being a bit nerdy when chat-ting about specific shots in certain films. I was impressed by how a shot was lit or the angle it was shot from.

ROOSEVELT


I also wasn’t a student of photography, so I never followed a formula. I think that if you’re not careful to much formula or technique can be stifling. In any creative expression I think there’s a balance between the analytical and the natural feeling you bring to something. I rely more on the ladder. I’m aware of the importance of understanding technique but for the most part I just learned how to achieve what it was I wanted to say by practicing.

What do you think is the biggest misconcep-tion about photographers?

I have no idea...

When shooting still imagery what has been your biggest task?

In general I don’t shoot random images so keeping shots in line with the current series I have can be a bit challenging. At the same time, I enjoy being able to jump from one se-ries to another depending on my mood. The black and white series primarily relies on weather and light. Los Angeles typically has sunny flat skies and I gravitate more towards moodier overcast days so during our rainy sea-son or a random cloudy day I can usually get shots that have a good amount of contrast. I also have a mixed media gallery of work that deals with photographing flowers in poured paint. I mention that it’s poured only because poured paint creates an entirely different ef-fect then dried brushed paint and can be very difficult to work with because of the minimal amount of control you have dealing with it. The biggest task with working in this series is having the paint react in the way you envi-sioned it to or in an interesting way that

surprised you. Often it just turns out to look like a big mess or the flower didn’t take to the paint well. Because of all the factors involved I’d say I have about a 30 percent success ratio with them. They’ve been a good exercise in patience.

Hollywood & Architecture are phenomenal series, how were you inspired to photograph from various angles and what would you say was your biggest challenge when photograph-ing?

The Hollywood and Architecture galleries are very similar to one another and I treated them as such for quite a while. I eventually separated them into two different series when a writer mentioned that my black and white work was reminiscent of the silver screen era of film. I liked that. So around that time I started shoot-ing as many iconic structures in Hollywood that defined that period of time from a vintage perspective. So the main difference is the Ar-chitecture shots to me feel more contemporary looking and the Hollywood shots have more of a throw back look to me.

The angles I shoot from are just to inspire me while I’m shooting. The attempt is to give a building a feeling of movement. It’s probably what I try to achieve the most. The challenge is to not repeat the same idea over and over again. It’s easy to get stuck working in the same direc-tion so I push myself to go in other directions or I’ll step away from one series of work I have and I’ll jump into an entirely different series. That helps keep things somewhat fresh. In general what I try to achieve and what I gravitate towards in most art forms is a clean separation of the elements while there are still relationships happening within. There’s some-thing harmonious I feel when that occurs.


FLEXIBLE

Which do you prefer film, digital or both and why?

Film is a more pure medium. It has far great-er depth and its visibly more contrasting by nature. It’s softer and because of its dimen-sion it holds up as the winner of the two I would say. However, high definition digital files see everything with pristine clarity. It sees more than the naked eyes sees, for my purposes that works. I want to see the details and lines of a structure. To me it creates a sort of wow effect.So, I shoot digitally but I do have a few great film cameras and one of which I’m sure I’ll revisit at some point but in the meantime I’m a slave to the speed of the turnaround that the digital world allows.

Do you rely on natural & artificial lighting or do you prefer computer manipulation?

I work mainly with natural light but occa-sionally I’ll shoot an interior with a tripod using long exposures and in accord with whatever exists as the ambient light of the room. I’m looking forward to experimenting with setup shots and artificial light but for the time being I rely on naturally lit settings. I also adjust light in my post process as well. However there’s a point where you try not to cross where the work can look too manipu-lated or just distasteful to me. I think what the risk is that you can get into territory in an editing process where the image doesn’t feel organic and it looses its human quality. My general rule for software editing is use restraint unless you are goingfor the sur-real where the image is suppose to feel like something beyond the human experience.

THE DREAM


“My general rule for software editing is use restraint unless you are goingfor the surreal where the image is suppose to

feel like something beyond the human experience.”


WHIPPED

WWW.BRIANPARILLOPHOTOGRAPHY.COM

How do you usually decide on a location to shoot?

I don’t have a formula. I tend to just chase light and watch the weather. I work from both home and a studio and when things look appealing to me light wise I’m pretty quick out the door.

What has been the biggest hurdle you’ve had to overcome to achieve your goal?

I think the biggest hurdle in anything creative is just taking a risk by actually making the choice to try something. Most of us judge our ideas and think there probably not good. I had so much fun shooting my flower series and to think now that if I had ever talked myself out of going to a park one day literally with a big salad bowl filled with paint and then stuck a flower in that paint to photograph it; I would have missed out on a whole period of my life that truly brought me a lot of joy. I’m not using salad bowls anymore and that series has developed into a different process but it had to start from somewhere and I’m grateful I followed my instincts on it. The truth is I’ve worked on several series that don’t speak to me at all now but the experience of shooting them led me to other more valuable experiences. I’m an extremely picky person, which makes the judging hurdle difficult for me to get over. I know what I like immediately. I can’t be talked into or out of anything but more importantly I’ve learned to get out of my own way and just try.

Are there any new project or exhibitions that we should look forward to in the near future from Brian Parillo?

I’m working with a very talented director out of New York that splits his time between there and here in LA. He shoots short films about artists and their creative process and I’m the sub-ject of his next project. His style is unique because his cover is more cinematic looking then traditional documentary style. He has an incredible eye and what seems to be a very natural and strong sense of composition. I’m looking forward to it.

CARTY SEWILL


Contemporary Californian artist Carty Sewill uses acrylic ink, mole-skine notebooks and psychedelic colors to create a dramatic appeal.

Although his pictures are created entirely by hand it’s amazing how the artist manages to develop paintings with a three dimensional aspect.

All of his work is based around things that he finds the most intriguing, stating that it’s boring to view the same consistent palette and how the

world should explore a different array of colors. Though the artist does not have a specific theme for his work Sewill continues to captivate his

audience with immaculate paintings.


WARHOL


MLK

When did you discover your talent for art?

I honestly don’t remember. I was a huge fan of comics and cartoons as a kid and my earliest memories of drawing involved how to guides in Wizard magazine and duplicat-ing Calvin and Hobbes. I guess it just took off from there.

What is a typical day like for Carty Sewill? Get up, smoke a cigarette, do a bit of social-izing, take care of a couple responsibilities/work, get some food, smoke, smoke another cigarette, and then paint until an irresponsi-ble hour.

Tell us which piece of your work represents you the most and why?

In all sincerity I couldn’t pin it down. I don’t really know what I’m doing. I just like to paint. I guess you could say it’s a bit sar-castic and overly sentimental, which seems about right.

Some of your images contain a vibrant use of colors. Do these colors represent a mes-sage you are trying to relay through your work?

Again I don’t really know if there’s all that much of a message. Painting with an aver-age palette gets a tad boring eventually. The world needs more teal, magenta, and purple.

What do you think is the biggest misconcep-tion about artist?

They’re easily generalized.

At what hours do you usually feel the most creative and do you compose your best ideas during those time periods?

I would say probably around 11pm to 6am. That’s usually around the time I end up sitting down and concentrating on my work. I guess it’s merely because I know I won’t be bothered during those hours. As for ideas, those seem to just pop into my head whenever they please and leave seconds later. I usually keep an idea book handy in case of any awesome breaks out in my head unannounced.

“Painting with an average palette gets a tad boring eventu-ally. The world needs more teal, magenta,

and purple.”

DAY COPY

NU-MODE´ VAGABOND SPRING/SUMMER ISSUE 5 .77GUIT COPY

CARTYIS.ME NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .78

Do you have an artistic outlook on life?

I hope so.

If there was one artist you could have a discussion with from the past or present, who would it be and what would you talk about?

It’s definitely a toss up. I’d love to talk to the young Andy Warhol, which seems like such a cli-ché answer, but nonetheless I’m sure I’d enjoy the conversation. Though I’m not sure we’d have much to talk about. I would, however, much rather watch Matisse paint.

Where would you like to see your work in the near future?

In Galleries.

ABBIE

YOUNGBRITISHGRADUATES

PHOTOGRAPHY JEFF orGINA


CHARLOTTE WATERSS


RIONA TREACY

KATRINA FERRARI

NANO AOSHIMA


SMWALKER


UNA BURKE


KORLEKIE


MINKY MOUSE


LIANNA SHEPPARD

PHOTOGRAPHY JEFF orGINAMAKE UP ARTIST & HAIRSTYLIST ENZO VOLPE AT MODELS 1MODEL VICTORIA DOYLE


ANDROIDSDREAM

PHOTOGRAPHY CALOS TEIXEIRASTYLING JORDANN SANTOS


VEST AUTOPSYPANTS AUTOPSYSINGLET PATRIK MOHR


SMOKING BLAZER ROBERTO VERINOBLOUSE AUTOPSY

PANT AUTOPSY

SINGLET PATRIK MOHRLEGGINGS AUTOPSYMITAINE AUTOPSY

DRESS MAX MARA


COAT AUTOPSYSKIRT AUTOPSY


DRESS PH

PHOTOGRAPHY CALOS TEIXEIRASTYLING JORDANN SANTOS

MAKE UP ARTIST XANA LOPESHAIRSTYLIST RUI ROCHA

MODEL FRANCISCA PEREZ AT BEST MODELS PORTUGAL

HELMET HAIR

PHOTOGRAPHY ROBERT KENNEYSTYLING JOANNA KULPA

VEST MANDULAPLEATED SKIRT BCBG MAX AZRIA

SEQUIN SKIRT FRENCH CONNECTIONBRACELET THE HUDSON BAY COMPANY


JACKET OBAKKIRING BCBG MAX AZRIA


DRESS RAG & BONE, GRAVIT Y POPE TAILORED GOODS

CAPE & LEATHER GLOVES VINTAGE, VPCBUSTIER BCBG MAX AZRIASHORTS OBAKKIBOOTS FLUEVOG SHOES

CAPE & LEATHER GLOVES VINTAGE, VPCBUSTIER BCBG MAX AZRIA

SHORTS OBAKKIBOOTS FLUEVOG SHOES

NECKLACE THE HUDSON BAY COMPANY


SUEDE TOP DANIER LEATHERLEATHER VEST RUDSAKSKIRT ACNE, GRAVIT Y POPE TAILORED GOODSBELT BCBG MAX AZRIA


SEQUIN DRESS VINTAGE, VPC

BUSTIER & SHORTS OBAKKISUEDE NECKLACE AS BRACELET THE HUDSON BAY COMPANYBOOTS FLUEVOG SHOES

BUSTIER & SHORTS OBAKKISUEDE NECKLACE AS BRACELET THE HUDSON BAY COMPANY

BOOTS FLUEVOG SHOES

PHOTOGRAPHY ROBERT KENNEYSTYLING JOANNA KULPA

ART DIRECTION MAKE UP ARTIST & HAIRSTYLIST LIZ DUNGATE

MODEL LUCY BORN AT LIZ BELLA AGENCY


SUTAN


AMRULL

SUTAN“RAJA”

INTERVIEW JOHN MARKPHOTOGRAPHY TRAVER RAINSSTYLING SUTAN AMRULL

The winner of last season’s RuPaul’s Drag Race, Sutan Amrull or “Raja” is a man of great charisma, nerve, and talent. With his artistic edge, intellectual dexterity, and knowledge of fashion, Sutan’s “Raja” has broadened the horizons of drag. In June of 2011 Sutan even re-leased a single, “Diamond Crowned Queen,” a dance track infused

with Sutan’s hot rocker style. In addition to mastering all things crea-tive, Sutan carries himself with the power and grace of a super model.

With booking requests from practically every gay club in the United

States, nailing Sutan down for an interview was no easy task. “Raja” is in great demand, but for his feature in Nu-Mode Magazine I wanted to focus on capturing Sutan beyond his drag personality. While “Raja”

is certainly something to be adored, she is founded in Sutan Amrull’s hard work and resilience. He has been hustling the entertainment in-dustry since the 1990’s. Aside from traveling the world as a makeup

artist for seven seasons of America’s next Top Model, Sutan worked as a makeup artist for Pamela Anderson, Adam Lambert, Dita Von Teese,

and countless other celebrities.

What would you say has been the highlight of your career thus far? I am the type of person who is starved to travel. I remember when I worked for MAC cosmetics for ten years they definitely opened my eyes to so many different things… Trave-ling to me is the most important and the most gratifying thing. Especially while I worked on America’s Next Top Model, I also did a photo shoot on the Great Wall of China. Not even some of the most accomplished makeup artists can add that to their resume. Working on Top Model was a great highlight. You have done a lot of work with your edito-rial’s photographer, Traver Rains. How did the two of you come to be such strong col-laborators? Traver, I first learned about when him and Richie [Rich] were doing Heatherette. I never realized that we would be so close as friends and that we would ever collaborate as artists. It’s been a really cool experience. Traver’s a great guy who is very patient and easy going. It’s easy to collaborate with someone like him. I love Traver with all my heart. He’s very tal-ented, and another reason I love him is because he has his own way and he’s uncompromising about it. That’s what I probably admire about him the most. He doesn’t necessarily follow trends. He just goes with what Traver does. To me that’s what a true artist does.

It is so nice when you find those collaborators that you connect with on all levels. Yeah, and I think in L.A. especially, I don’t

“Traveling to me is the most important and the most gratifying thing.

Especially while I worked on America’s Next Top

Model, I also did a photo shoot on the Great Wall

of China.”

think people really realize that there is that type of community or that group of people. I’ve been here most of my life and I’m so proud of the friends that I have here, because you immediately as-sociate the arts and creativity with being a New York thing or fashion with being a New York thing, but there’s a great group of people here that have awesome ideas. We just kind of go about it in a different way. We’re a lot more leisurely about it. It’s less frantic. I love it. I think people would be surprised if they got to dig into the culture here in South-ern California. It’s sunnier so our ideas come out differently. [laughs]

When’s the last time you were in New York? The last time I was in New York was for a club opening only a few months ago


Having explored so many roles in the enter-tainment industry from makeup, to drag, to music, and acting, what creative frontiers have you yet to conquer that currently peak your interest? I am an illustrator and I really love fine arts. I’m actually thinking about writing a chil-dren’s book. It’s always been a big dream of mine and now I have an audience that would be interested in it. So I’m thinking about do-ing that. I’ve always loved fashion so I’m thinking about doing an accessories line and since I’m a makeup artist as well, I’m think-ing about doing some beauty products. Why not try it all? It seems to be the trend lately of reality stars branding what they do. Now is the time to do it. There’s no better time that the present to actually do that. Strike it while the iron is hot.

While the iron is hot now, I admire that you’ve been navigating and working the in-dustry for many years. I’m just taking the knowledge that I’ve had over the past years and putting it to use, but the great thing is that now there are people paying attention. The hardest part of the job is keeping that momentum going and keeping people interested, without it feeling temporary or flighty. I want [my work] to be lasting and something that people will remember. Life is fragile and temporary.

If you’re going to live a life, you should try to leave a legacy.

I’ve made a lot of good friendships there. I try to go as often as I can. When I go there to stay and I have my own routine that I like to get into when I’m in the city.

I’m pretty sure the first time I ever saw you was late one night you were getting Halal from a cart outside the Standard Hotel. [laugh] That was probably me... any-time I’m at the Standard for Lebain, it’s definitely a time for lots of intoxi-cation.

It’s quite the party. I’ve always loved New York’s night-life. It always has that electric feeling. That’s what I love about New York. It’s too bad it is so damn expensive to live there. I remember while I was living there, I was kind of in transition [after] Top Model. I had just finished my little stint with them. I was with them for, you know, seven seasons and it was kind of at the end. I was like, “God, what am I doing here?” I realized that I was broke and it was winter. I was like, “Wait a minute, I’m broke AND cold? I got to get out of here.” I’ll be broke and warm. I can go lay out. I can go on a hike for free. I can go do yoga for free. I’d rather be broke and warm.


“I’ve always loved fashion so I’m think-ing about doing an accessories line and since I’m a makeup artist as well, I’m

thinking about doing some beauty products.

Why not try it all?”



There is a great beauty in Sutan’s reaction to his fame. While many new tel-evision personalities might bask in the adoration and attention of millions of fans, Sutan seems more focused on his newly developed abil-ity to make an impact.

A true artist, Sutan’s excite-ment lies in the privilege to give his work a platform, to be recognized but more so to share. Celebrities may speak in a humble tone, but the truth is in their actions.

While Sutan is undoubtedly enjoying the fruits of his fame, when speaking about his work and his art, his tone is genuine and endear-ing. A creative man with limitless possibilities, Sutan Amrull is the most fabulous of innovators. JM

WWW.SUTANAMRULL.NET

PHOTOGRAPHY TRAVER RAINS . MONIKER MGMTPRODUCTION MONIKER MGMT

GROOMING & STYLING SUTAN AMRULLLOCATION HOME OF JOHN CUNNINGHAM & LIZZIE O’GRADY

A VERY SPECIAL THANKS TO HSMPR & REGGIE CAMERON


In the world of fashion that is ruled by critics demanding creativity and fueled by buyers vying for commercial value, a designer’s job is

not an easy one.

What does it take for someone to become a successful designer and stay true to one’s own original aesthetic in the sea of copycats and cookie cutter designs? What does it take to stand your ground and bend the rules? Let’s meet a few designers that seem to have both

successfully combined art and fashion and are well on their way to a commercial success.

WRITTEN BY IRINA ROMASHEVSKAYA

THE EMERGENCE OF NEW DESIGNERS TAKING ON

INNOVATIVE DESIGN


DRESSEDUNDRESSEDMENS SPRING . SUMMER 2012

PHOTOGRAPHY BUNGO TSUCHIYA

A graduate of Central Saint Mar-tins, Masha Ma has made her early mark in fashion by partici-pating in various design competi-tions and winning CCDC “Best International Innovation” design award in 2009. Masha’s designs have already caught the eye of fashion magazines such as Vogue, Elle, Harper’s Bazaar, L’Officiel, Marie Claire and many more. Her collections have been viewed during London and Paris fashion weeks and last year she was short-listed for 2 awards consecutively: WGSN “Breakthrough Design-er” of the year and Lycra Style “Emerging Talent”. What sepa-rates Masha Ma’s designs apart from others is that her designs are unmistakably feminine yet tai-lored. And her SS12 collection is a clear example of that. Pure and sophisticated, conceived of neu-tral colors and clean shapes, her clothes just seem to have a life of their own. Transparent fabrics mixed in with solids convey both femininity and structure. Ruffles and crisp collars, exposed zip-pers and pleats, minimalist cuts and rich embroidery, the clothes are deconstructed yet beautifully draped with a lot of movement: the yin and yang perfectly bal-anced. Undoubtedly, this British designer has a great future ahead of her.

MASHA MA

WWW.MASHAMASTUDIO.COM NU-MODE´ VAGABOND SPRING/SUMMER ISSUE 5 .129

WWW.AOIKOTSUHIROI.COM NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .130

Aoi Kotsuhiroi is an accesso-ries designer based in Paris. Her collections are both designed and produced in France. Rings, bracelets and chokers, or as she calls them –“body objects”, are all hand-made and one of a kind sculptural jewelry pieces. I found myself strangely drawn to the unusual use of materials and unique shapes. Gothic inspired yet sophisticated and modern, each piece is a work of art. The materi-als Aoi uses to create her stand-out jewelry line include: vintage fabric, wood, antique beads, stone and crystals, horn, exotic leath-ers of crocodile and buffalo, silk thread, horse and sometimes even human hair. The pieces represent-ed by Aoi are uniquely beautiful. I couldn’t help but notice the re-semblance of her work to the late Alexander McQueen’s heritage. The well-deserved comparison is best explained by achieving that hard to come balance of com-bining art and fashion in a way that pleases the eye but makes you wonder. Or perhaps it’s the warmth that comes from the use of natural materials and artifacts and the age-long history that be-longs to them.

AOI KOTSHUHIROI

Ann Sofie Madsen hails from Denmark, where she studied at the Royal Danish Academy of Fine Arts, School of Design. Along with her notable career as a designer, Anne Sofie is renown for her work as an illustrator hav-ing numerous works published in the magazines and 2 books to be going to print later this year. With a few shows under her belt and some stellar experience at both McQueen and Galliano she’s the one Danish designer to watch. Using some of the best of materi-als and couture sewing techniques she creates note-worthy garments that are both artistic and wearable, made to measure and ready-to-wear. With ever so subtle details and effervescent prints her SS12 capsule collection is a dream within a dream. Conceptual but feminine enough to attract at-tention of a wider audience, the collection is about a modern woman-worrier on her way to win the world with her charm. And she has some hefty techniques for that. Lacings and appliques, prints and quilted leather, pleats and spaghetti straps - these are some of her favorite weapons. The col-lection leaves you satisfied but makes you wish for more, which is perfect because Anne Sofie’s webshop is scheduled to open this spring. I definitely can’t wait.

ANNE SOFIE MADSEN

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WWW.DRESSEDUNDRESSED.COM NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .134

The creative Tokyo duo of Take-shi Kitazawa and Emiko Sato is responsible for both men’s and women’s clothing and accesso-ries collections. The collections are meant to compliment each other by way of their androgynous quality, which makes the process of bor-rowing your boyfriend’s clothes a whole lot easier. Both collec-tions are cut close to the body, minimal, graphic and with an attitude. Unparalleled Japanese craftsmanship and thought after textiles make every piece highly desirable. No wonder this de-signer team has gotten positive reviews and is already com-mercially successful selling at a numerous stores in Japan and now expanding towards Europe. This duo appears to be on the right track to success.

DRESSEDUNDRESSED

Joseph Turvey is another Brit-ish designer in this group, who recently finished his studies at London College of Fashion. Hav-ing originally studied womens-wear design, Joseph’s interest in traditional cutting techniques and unconventional use of fabric laid ground for his first menswear col-lection. His constant exploration of traditional menswear tailoring techniques and textile surface de-sign led to some unexpected and intriguing results.

One can describe his SS12 col-lection as clean cut and highly creative with just enough of Brit-ish sensibility to it. Neon pinks, corals and yellows paired with touches of black, gingham plaid and see-through mesh, Joseph Turvey designs are neither timid nor safe. Each outfit is complete with colorful wide-strap sandals. Among the collection’s highlights are graphic T’s with artist’s own silk-screened illustrations.

JOSEPH TURVEY

WWW. JOSEPHTURVEY.BIGCARTEL.COM

FLASHESPAST.BLOGSPOT.COMDESIGNER’S ILLUSTRATIONS ARE AVAILABLE FOR PURCHASE AT HIS E-STORE


waiting forthep o s s e s s i o n

PHOTOGRAPHY MARGARET NOWAKSTYLING KEVIN DENOUAL & MARGARET NOWAK


ALL GARMENTS TOP SHOP & H&M






PHOTOGRAPHY MARGARET NOWAKSTYLING KEVIN DENOUAL & MARGARET NOWAKMAKE UP ARTIST & HAIR STYLIST MELISSA WONGMODEL BROOKE AT OXYGEN MODELS LONDON


THE SKIN I LIVE INPHOTOGRAPHY TONI SMAILAGIC

STYLING ELEANA KANELLOU

ALL GARMENTSVALENTINA KOVA’S

VINTAGE COLLECTION





PHOTOGRAPHY TONI SMAILAGICSTYLING ELEANA KANELLOU

MAKE UP ARTIST & MODEL SAMANTHA JARAMILLO AT JMA MODELS


DON’T LEAVEANY TRACEPHOTOGRAPHY MICHAEL CLEMENT


ALL GARMENTS RETRO CLOTHING BY ACADEMY LONDON




PHOTOGRAPHY MICHAEL CLEMENTPHOTO ASSISTANT VIBEKE PEDERSENRETOUCHING FLORIAN HESSMODEL JAMES. M & P LONDON


RICHARD MOON


Made his start as an artist creating collages of various found images.The material he uses in his paintings are from the earliest days to the

20th century. Slightly transitioning his work by diversifying his content Moon has developed a new direction for his paintings creating etchings

that he felt suited his style of work.

Richard Moon loves to influence what the viewer might think by intro-ducing elements into works with a familiar feel to them. He has a way of manipulating what is familiar with the unusual or bizarre. This way he hopes to jolt the viewer’s memory to drawing associations from what they are looking at. As an artist he has a diverse approach and intends

to remain true to himself and his vision.

HIPSTER 2008


THE WINDMILL 2005


change the scale and also to work with alter-native mediums, such as etching. Etching is a relatively new venture for me and one that I felt suited my working methods perfectly. I currently have a show on etchings in the Royal Academy Cafe Gallery until April 18th.

Your paintings have a fascinating mix of vintage characters, tell us what exactly rep-resents you best in your paintings and do you try to make a statement towards your audi-ence with your work?

The use of vintage photographic source ma-terial has always been a characteristic of my work. I think the reason for this stems from my interest in time. I am an obsessive diary writer, which is a way of ‘capturing’ time. I think the idea behind this also feeds into my work, es-pecially when one considers that my source material generally comes from vintage pho-tography, such as Daguerreotypes. I’ve always found Daguerreotypes fascinating for the same reason: they are a glimpse of time; a snapshot of an instant, though in some cases these in-stants are almost 200 years old. So I suppose something of my interest in time comes out in these paintings.

There is no particular statement or message that I am trying to put out to my audience with this work. But it’s always important for there to be an implied message, or narrative. In that way the viewers can bring some of their own imagination to the work.

Do you think there is a slight dark side to your work?

Yes there is but it’s always on the cusp of flip-ping over into humour. That’s the thing with

What was the title of the first painting you sold and how was that experience?

To be honest I can’t quite remember what the first painting I sold was, but the first one I sold that meant anything to me was a copy of a De-gas painting: The Orchestra at the Opera House (1870). When I was very young I taught myself to draw and paint in the traditional manner, by copying from old masters. The sale was impor-tant to me because it was the first time that I’d sold through a gallery. I’d taken the painting to a local gallery and they sold it, which seemed like a step forward, since before that sales had only been to friends.

What motivates you most in life, whether it’s to inspire you or disappoint you?

I am motivated most by my inquisitive nature. If I weren’t always asking myself questions about everything around me, life would become incredibly dull. I suppose that’s what drives me on as an artist. It’s not only an attempt to un-derstand my own nature better but also a way to communicate some of that inquisitiveness to others.

How has your style of work transition over time?

There have always been certain constants in my work, such as the old fashioned look, or a par-ticular ‘absurd’ aspect to them (some of them more than others). But more recently I have both been trying to diversify the content of the work and the medium in which they are made. This has led to me changing my supports from canvas to wood, which allows for sanding down and other alternative methods of application, to

THE PROTEGE 2008

THE PERFORMANCE 2011


X

“Picasso regarded himself as the last in the long line of great masters, and I think he was right in the sense that contemporary

life doesn’t allow for that kind of person any more.”


‘darkness’ in painting. It’s always a bit corny, so there has to be that aspect of humour about it too to stop it from becoming too wrapped up in the Romanticism of that darkness.

As an artist what is the most important thing to focus on, your technique or the content?

Both are equally important. However It’s im-portant to understand and perfect technique just as long as one doesn’t get bogged down in it. The mistake that many artists make is to con-tinue improving the technical aspect of their work to such an extent that there is nothing else there to appreciate. It is technical skill, and that is all. I would find an artist that painted in a clumsy manner but had something ambiguously intriguing about the work far more interesting than a very highly technically skilled painting with uninteresting content.

Your work touches base with a combination of historical elements. Do you consider yourself a surrealist or an idealist?

I suppose in certain paintings there are elements that one could consider as having surrealist sen-sibilities, but that has less to do with wanting to become part of that historic genre than the fact that contemporary life is showing signs of losing meaning, or some kind of grounding. As technology is creating a smaller world, cultural diversity is beginning to disintegrate. This lack of cultural identity creates a situation in which meaning and truth has become elusive. This lack of meaning produces a certain absurdity in art, which I believe is apparent in my work. The surrealists had that too. In that sense I’m not an idealist but a realist, or perhaps a nihilist.

Do you think most viewers interpret your work in a different sense than you portray it to be?

I encourage the plurality of interpretations. Painting shouldn’t have a specific ‘mean-ing’ as such, but it should suggest ideas that the viewers can form for themselves. That’s what keeps art interesting. If it were just like a statement or a fact, the viewer would soon be-come bored. So ambiguity is one of arts most important qualities.

If you were not an artist what else would you consider?

I think my first choices would all be crea-tive, such as being a musician or a writer, but I guess that’s still being an artist. So perhaps a historian? I have a great interest in history, which is shown in the use of old photos as source material for my work.

Do you think the future of art is progressing and is there an outlet for the new generation of artists to make a shift in the art world?

Picasso regarded himself as the last in the long line of great masters, and I think he was right in the sense that contemporary life doesn’t allow for that kind of person any more. But it doesn’t necessarily mean that the art of today is inferior. There’s much more competition now and no dominant style, so this leads to a much richer diversity. The downside to this is that too much diversity drains meaning. I think that’s why there are no ‘isms’ left around now and the reason why no one writes mani-festos. One way that artists can deal with that is to make work which itself is concerned with that very prospect. There is much cynicism in contemporary art, but that cynicism can ironi-cally be used in a positive manner.

SLEEPWALKER 2006

WWW. RICHARD-MOON.CO.UK


SARA NAIM


Born in Damascus, brought up in Dubai. Photographer Sara Naim captures cap-tivating imagery of sound, vibration and landscapes. Considering her style of pho-tography formless the photographer ex-

presses her love for capturing awkward yet interesting moments.

Known for her exquisite series entitled Beethoven- Moonlight Sonata, which the

photographer translates sound into image. Sara Naim’s work has been displayed in several galleries in London, Dubai, Ger-

many and New York.

Now preparing for her very first solo exhi-bition in July at The Pavilion Downtown Dubai Gallery, Naim shares with us her challenges and accomplishments while

establishing herself as a esteem photogra-pher reaching out to a vast audience.


UNTITLED 2010

BEETHOVEN 2010

As a child growing up did you always want to become a photographer?

No. In my late teens I was interested in photog-raphy so I went onto an art foundation at Chel-sea College of Art and Design, it wasn’t until five minutes before BA acceptances were due I decided photography was the one.

How would you describe your form of photog-raphy?

Most of it is actually about the formless. Per-haps visualizing the intangible from corneas and sound vibrations to skin cells and light rays. I also have my more everyday work that’s less conceptual, and more about these awkward, interesting moments between people and land-scapes.

Are there any photographers that inspire you and how have they made an impact on you and your work?

There are many to name a few, Paul Graham, Ryan McGinley, Mark Borthwick, David Benja-min Sherry, Logan White, Frankie Nazardo, So-phie Van Der Perre, Gier Moseid, Guy Archard, Oleg Tolstoy, Peter Funch, Lydnsy Welgos. The more photographers you look at, the more you know. I’m not sure how exactly they’ve im-pacted my work but I’ve created images based on what I’ve seen, understood and experienced. These artists make a difference to me and my work in some way.

What would you say sets you apart from other photographers?

I’m 24 and I’ve been to about 40 countries.

I think it’s opened up my experiences to be less subjective and more objective. That ap-plies to my photography too, which helps a wider audience to relate.

Beethoven – Moonlight Sonata is a fascinat-ing piece. What inspired you to photograph the translation of sound into an image?

I love music and I love photography, so I wanted to see how I could almost complicate the two senses of hearing and sight. I also knew of Beethoven’s story of composing ‘Moonlight Sonata’ for his blind lover Guc-ciardi, who asked to see the moonlight. He then composed a piece about the moonlight’s reflection off Lake Lucerne. I wanted to mim-ic what Beethoven had done giving vision through sound.

“I’m 24 and I’ve been to about 40 countries.I think it’s opened up my experiences to be less subjective and more objective.”



A MORNING FIGHT 2011

GIDA 2011

In your personal opinion, what would you say makes photography an art?

There is nothing about it that makes photography not an art.

What type of emotions were you going for when you shot “Land Scapes” and how was that entire experience?

‘Land Scapes’ is a collection of images, mostly from New Zealand. I really connected to that place, and my self when I was there. I think greenery gives you that. The motive of the series is to visually create that connection.

Are there any challenges with landscape photography?

Sometimes you’re on a mountain looking at something so interesting, but the photograph would be so much better if you were on the mountain opposite to you. So I guess being at the wrong place at the right time.


One place in the world you would love to photograph and why?

Syria. It’s my country and I’m not there during what is hopefully going to become a revolution. I would love to photograph it but at the moment you cannot enter the country with a large camera. It’s a time in Syria’s history that needs to be documented as evi-dence of people’s resistance, determi-nation and hopefully glory.

Are you looking forward to any new projects?

I have my first solo show coming up this July at The Pavilion Downtown Dubai’s Gallery 1. I’m preparing for that, as well as applying for my MA.

A final word of advice to aspiring photographers?

Always look at other artists work, constantly disseminate your work to publications/blogs/artists that you like. Get yourself a website/blog, and work for a photographer that you respect! That’s all I did in New York for 6 months and I learnt more than I did during 2 years of university!

Happy Photography x

WWW.SARA-NAIM.COM NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .190

WHEN THE LIGHTS 2011

A Berber Beauty TalePHOTOGRAPHY ANNE HØJLUND NICOLAJSEN

STYLING LOUISE MAS

Berber is a term for a poplulation originating in North Africa from about 1.500 BC.Since then they have migrated from the Atlantic Sea to the Siwa Oasis in Egypt and from the

Mediterranean to the Niger River, without belonging to any country. They where/are nomads.Their name is derived from the Arab word “barbari” which means “foreign” or “uncivilized”. Today

this population ranges between 55 and 75 million people.These people take their clothes and decorating very seriously. Their colorful scarves and jangling

jewelry have also become a symbol for nomads we know from Europe – “Gypsies”.In “A Berber Beauty Tale” makeup artist and stylist, Louise Mas, uses elements from the “Berber”

culture.



PHOTOGRAPHY ANNE HØJLUND NICOLAJSEN STYLING & MAKE UP ARTIST LOUISE MAS AT DIVA MODELS

MODELS REBECCA BIRKHOLM AT DIVA MODELSMALENE ANTHONI AT DIVA MODELS

LOUISE JULIE AT DIVA MODELS


DISAPPOINTED.PHOTOGRAPHY MARTA ZGIERSKA & MACIEJ RUKASZ


COSTUME ZWIERZĄTKA, MAŁE ZWIERZENIA



PHOTOGRAPHY MARTA ZGIERSKA & MACIEJ RUKASZCOSTUME ZWIERZĄTKA MAŁE ZWIERZENIA

PERFORMANCE BY PAWEŁ PASSINIMODEL SEAN PALMER . ACTOR


CHEMINEAU D’ÂGEPHOTOGRAPHY MERJA YEUNG

STYLING KATARIINA KAATRASALO


DRAPEDTOP GUESS

WHITE PLAIT DRESS KAMILLA MIKAMASHIRT TIIA VANHATAPIONECKLACE TED BAKER

WHITE DRESS PHILOSOPHY BLUES ORIGINAL


WHITE PLAIT DRESS KAMILLA MIKAMANECKLACE TED BAKER


VEST H&M HAT H&M

SHIRT DESIQUALTROUSERS H&MSHOES MINNA PARIKKA

BLACK DRESS ANNA GAVBRACELET ANNA GAV

PHOTOGRAPHY MERJA YEUNGSTYLING KATARIINA KAATRASALO

MAKE UP ARTIST & HAIRSTYLIST TIMO KARVINEN MODEL MARITA RUISHALME


NUTE NICHOLSON

INTERVIEW DREW KRASON

Nute Nicholson has turned his attention from fashion photography to pouring his passion and energy into

large-scale mixed media abstract painting.

The Virginia bred photographer known for his clean graphic style of fashion and commercial photography found his true visual voice while living and working for a number of years

throughout Europe with some of the most prominent fashion houses and magazines.


Nute started working for a paper in his sophomore year in college as a staff photogra-pher. After graduating he worked for a public relations firm for two years but eventually headed to Miami to start shooting fashion. He stayed in Miami for two and a half years and what successful.

While in Miami he made a connection with and English agency and thought it was a good time to be a photographer because the pay was good for catalog work. While working with the Mod-els and Photographers Nicholson got to know them quite well and most of them were going to Europe so he decided to pack a bag try it for six months. Nicholson knew that if he wanted to be published Greece was the place to go although he had been lucky to have an editorial published in Miami.

Living in Greece was a learning experience it all started the moment he stepped off the plane where he would have a taste of culture shock because of the pollution and congestion.

Nicholson’s original play to stay six months became two years and within that time he started working on a more editorial feel for his work. Eventually he came back to New York but returned to Greece where he booked some work in Milano, which he thought was a good experience.

He also got the opportunity for a one-month contract with Harpers’s Bazaar in Istanbul that turned into three months. After this he returned to Greece, then went to Hamburg, Germany and while there he worked on a couple catalog jobs and did testing with some agencies.

These experiences placed him in a new level and


he ended up working in Spain dividing his time between Barcelona and Madrid for one year which lead Nicholson to start finding what he wanted to do as a photographer and developing a style which was very graphic, detail oriented, and immaculately designed. He put a lot of time and energy into every-thing; the next step was going back to Milan since he was now considered an “A” Market. (A Market being New York, Paris & London) Basically there were no breaks you were there to work.

At this time Nicholson has definitely moved out of the fashion world. After returning to New York he started painting because he had trained in painting and did some part time work while in college doing sign making. Nicholson has always been connected with art his whole life because both of his parents were involved in art.

About three years ago he did a piece in Brooklyn and truly enjoying the processed and so did the people that viewed it.

MIXED MEDIA ON CERRMIC9 X 23 INCHES


MIXED MEDIA ON CANVAS 23 X 73 INCHES

You’ve mentioned that you love to view different paintings from various arists. Who are some artists that grab your attention when viewing their work and how has this affected your transition from fashion photography into art? Right now I have somehow fallen under the spell of this “ group “ from South Africa, Die Antwoord, if you look at the cosplay around the music it is an amazing production of very talented Artist, True Contemporary Art. Fashion gave me a key to lots of doors and lots of places, some of those places were the best Museums and galleries in the world, for me I don’t like to name specific paintings or artist.

You are currently working on a series of paintings entitled “El Capatino” could you share with me a few of the details and the inspiration behind the series.

The series has a working title of “ Run” El Capatino is 8 x 22 foot mixed media painting that was worked up in Yosemite National Park. The whole run aspect is based off finding a line, and pushing this line into different scenarios and composi-tions. Basically creating something (an art work) based on a single Unimportant theme.

Art for the sake of art no other reason. El Capatino was chose by Elizabeth Dunbar, who was a curator at the Whitney Museum and The Kemper Museum of Contempo-rary to be in VAST National Exhibition, which was really an honor to be selected, unfortunately the piece is too damn big to fit in the gallery.

What are you trying to portray through your work and is there a particular message you are sending to the audience through your photographs as well as your paintings. With my fashion work, I smeared the lines a bit; I was interested in the “Avant designers “ Things that people looked at, originals. With the Painting right now they are simply created to be seen and I like it.

Have you ever considered combining both your photography and paintings together?

YES, in the mix

Nicholson’s transition from photography to abstract artist is almost complete and I said almost because he still takes time to go out and shoot images once or so a month he said he does this because “I just shoot what interest me, there will be a time when I come back to these images to do something with them”. However, at this time he is solely commit-ted to painting and Right Now working on his series entitled “Run”, producing one or two pieces of his paintings a month and is shopping for a space to exhibit his work in the near future. While shaking hands and kissing babies type thing.

“The whole run aspect is based off finding a

line, and pushing this line into different

scenarios and compositions.”


NUTE NICHOLSON “EL CAPATINO”YOSEMITE NATIONAL PARK


WWW.NUTENICHOLSON.COM

VICTOR CRISOSTOMO GOMEZ


Based in Lima, Peru Victor Crisostomo Gomez is an internationally known self-taught fine art painter whose style of painting has a

contemporary edge. His work features the people and cultures of his native country, which he brings to life through intense color.

The way he renders his portraits gives them a dream like quality, explores symbolism and draws a sense of harmony. His work has been compared with a treasure chest that is full of mysteries and surprises. Ultimately in his paintings victor seeks to combine the strength and

richness of the Indian Heritage with the challenges of the urban world.

AMERICAN HORSE


ALONE TOGETHER


How did you discover painting was your pas-sion and how did you decide focus on the mysteries of Indian culture? Our wonderful existence, the freedom of choos-ing the infinite ways like the universe, full of roads to follow. Some have had a very special touch with Moth-er Earth, who is valued and respected for a long time by those who love it and somehow have been in contact with her, for example the native Indians who respects and values their culture, as well as many songs and dances that seek to acknowledge the value and life on earth. My heart and my mind is filled with joy, to see so much of the good on the earth comes from the powerful and positive energy of those who love life, protect and know how to live with it in peace.I am so sad that arrogance, selfishness and hu-man ambitions have decimated the presence of wisdom on Earth, to expropriate their land and culture, however I know that the hearts of many vibrate with excitement and hope with it’s music and dances. Some people have the belief that a better life on the planet is in the respect-ful combination of technology and the love of life. This is the type of love you can feel and sense in my work.

How would you define your style of work? My work arises from the life that is around me. The life/picture happens like an inevitable determination. My intention when I imagine a work is what happens in an unavoidable and fluid relation between bottom and shape what I mean is between how and what? It’s a unique act without sequence to think about the feeling and feel the thought. My work is fluctuating

reason and emotion on the other hand the source, where the inspiration proceeds, starts with the creative impulse. It can be the most amazing and unexpected thing sometimes you recognize it at first sight, but on other occa-sions it stays hidden and it belongs to life’s mystery. In certain cases even the author doesn’t know or he’s only aware of this when the work is done, I’m a painter, I’m dedicated to study different languages of the sensitive relations, the colors, the shapes and sizes, etc.Creativity comes when there are new mean-ings in shapes, colors one and others have own life they are related and create new worlds, they vibrate and get us, make us feel that truth that shake us, this is what Art makes.

Your paintings have such powerful emotions. What is the most difficult task to capture the true essence of the Natives? The simplicity of life is a life philosophy that I have been following and keeping in my mind. Far from the great complexity of words and thoughts, the world is really simple, just do it man looks complex. In this era we have all fallen more than once. Sometimes all it takes for spontaneous happiness is a word ... The culture of the native Indians, living in union with Mother Nature are Masters. They know how to live like no one from the humil-ity, simplicity and wisdom that give us the Trees, the Sun, Sea, Stars, the Moon, Animals and any living being on our planet. Compared to these people who are so wise yet do not know anything, I feel like a small drop in the ocean.

What draws you towards Indian heritage? The mysticism of the Indians who taught that everything within the wheel of the universe, ex-cept man, know about its harmony with all other things. Man is born with only a fragmentary perspective of the world. To achieve harmony you must try to understand his own reflection in the four powers of the medicine wheel.The Indians were taught at birth that every per-son is endowed with at least one of the four great powers: wisdom, innocence, enlightenment or insight. The purpose of spiritual existence of man is to get the remaining gifts and become a whole person.

How do you feel when the audience interprets your work differently? The greatest satisfaction for me is in the process of doing. If I connect to one person who looks at a picture, and receive opinions or praise, it is very gratifying because it finishes closing the cycle that begins when confronted with a blank canvas, but again, what moves me to have cho-sen this way is the act of painting. I feel that I’m getting to paint something from me, I am com-municating with those who go to see my finished work.

Have you ever considered working on other as-pects of art besides painting? If so what exactly and why? I like to make gemstone jewelry and utilitarian objects with some very sober and sharp designs. Although I also work combinations of metals, eg silver with fine woods, malachite, tagua and colorful stones such as topaz, garnet and rare varieties of quartz, The truth is that each piece

represents an interesting challenge, because you have to find the right proportions and har-mony among the various parts that make up an object. It is not simply to make jewelry for the customer’s satisfaction, because the require perfection. Sometimes you put so much heart to a work that you do not want to discard it.

In your opinion, what is the biggest challenge for most artists today and do you think the attitude towards art is much stronger present than it was in the past? In this globalize world nothing seems to be difficult beside there are new challenges. I be-lieve in the fact that I can come in the market that is more competitive, not only in Art but in all sense to share and show our work. I hope one-day Latin America and the world realize the great artistic inheritance that our ancestors left us.

CLOUDE FOREST AMAZONICA

SUNRISE

“If I connect to one person who looks at a picture, and receive opinions

or praise, it is very gratifying”


PORTRAIT OF A WARRIOR


CRADLE OF LOVE

HOLDING UP THE SKY

What was the largest painting you have ever created and how long did it take to construct? I like the difficulty and challenge. It is a competition between you and the canvas to say what I want. And I like the fact that in the great works, it feels like you can walk in to them.

The largest painting created is called “Holding up the Sky” and it took me a year to finish

Do you have any projects and exhibi-tions you are looking forward to in the near future? My work is displayed on my website and various virtual galleries Today however you can find some of my recent works exhibited in “Exposures International Gallery of Fine Art” in Sedona, Arizona

A word of advice for aspiring artist? The most important and valuable thing is vocation, patience, dedication, and not give up because of obstacles. The recognition comes along and don’t forget that in every work you send mes-sages of faith, expectation, never stop dreaming, don’t be influenced by what publicity orders, think about positive ideas that you can achieve what you want. One-day people will appreciate you like an artist and your work will be in Art Galleries.

WWW.GCRISOSTOMO.COM NU-MODE´ VAGABOND SPRING/SUMMER ISSUE 5 .233

SCARLETT ROSE

PHOTOGRAPHY JULIE DICKINSONSTYLING KAILEE PARKER


DRESS WINKEARRINGS ESHE CRYSTAL GLASS BY CRUX

TOP WINKFLORAL PANTS WINKBRACELET GOLD CHARM BRACELET

TOP WINK


SHEER DRESS WINKFRINGE TOP WINK


SHEER DRESS WINKFRINGE TOP WINK

LEOPARD HEELS NINAS

SILVER LIGHT WEIGHT EARRINGS SUGAR SCOUT COUTUREBLOUSE JOSE DURAN

SKIRT WITH FLOUNCE JOSE DURAN



FEATHER NECKLACE CRUXSKIRT WITH FLOUNCE JOSE DURAN

PHOTOGRAPHY JULIE DICKINSONFASHION EDITOR & STYLING KAILEE PARKER

MAKE UP ARTIST SHUHEI UCHIDA HAIRSTYLIST AMY GIFFORD

MODEL SARA E. AT MUSE MODELS

PHOTOGRAPHY VAN SARKISTYLING THE SHERWIN ASSOCIATES

GILDED REPLACEMENTS

GREY PIN STRIPE SUIT BESPOKETATTERED LED ZEPPELIN TEE VINTAGE

CAMPUS BOOT MAISON MARTIN MARGIELA

ALL JEWELRY HEIDI GARDNER DESIGNS


ON CHRIS: BRONZE SPANDEX BOTTOMS MEMBERS ONLYSUEDE VEST VINTAGEON MARISSA:VELVET OPERA CAPE WITH DOLMAN SLEEVES VINTAGE HELENE SIDEL CUTOFF JEANS LEVIS 501SHELL PINK & IVORY DEMI BRA LA PERLA


WHITE FRINGE HALTER TOP DANCE COSTUME ST YLISTS OWNBLUEBIRD PUSH UP BRA LA PERLA

CHECKED SHIRT PENDLETON VINTAGE DENIM RAG & BONE

ON MARISSA: QUARTER LENGTH OCELOT COAT WITH ORANGE FOX TRIM VINTAGE ON CHRIS: SILVER FOX PATCHWORK COAT VINTAGE


ON MARISSA:WHITE ON WHITE FLORAL TEDDY LA PERLA TROPICANA FLORAL SILK KIMONO ST YLISTS OWN ON CHRIS:GEOMETRIC HEART CHAMBER PRINT SILK GENTLEMAN’S ROBE VINTAGE


ON CHRIS:GREY PIN STRIPE SUIT BESPOKE

TATTERED LED ZEPPELIN TEE VINTAGECAMPUS BOOT MAISON MARTIN MARGIELA

ON MARISSA:RED SATIN DRESS KAREN MILLEN

PAINT SPLATTERED LACE UP BOOTS VINTAGEHOSIERY WOLFORD

RED SATIN DRESS KAREN MILLEN

PHOTOGRAPHY VAN SARKISTYLING THE SHERWIN ASSOCIATES

MAKE UP ARTIST & HAIRSTYLIST JOHN OLAVARRIAMODELS CHRIS LUSK AT Q MODELS & MARISSA IRWIN AT WILHELMINA


PHOTOGRAPHY GAVIN THOMASSTYLING RENESSTA OLDS

A DESTINATION TO NOWHERE


ON KAYLEY: FUSCHIA EARRINGS CRUX

DRESS CANDELAON AUBREY:

NECKLACE FOREVER 21DRESS CODY SAI

PURSE ST YLIST OWN

TO NOWHERE

DRESS WOOD WOODBELT MJÖLK

BRACELET SABRINA DEHOFF

DRESS WOOD WOOD NECKLACE SABRINA DEHOFF

SHOES MINIMARKET


BLOUSE WINTER KATEPANT L’AUTRE CHOSEBOOTS ST YLIST OWN


BLOUSE CANDELASKIRT CHARLES HENRY

BLACK BEADED NECKLACE CIRCA SIXT Y THREERING DELPHINE CHARLOTTE PARMENTIER

BRACELET DELPHINE CHARLOTTE PARMENTIER

DRESS CHARLES HENRYEARRINGS CRUX NY


NECKLACE FOREVER 21DRESS CODY SAI

PURSE ST YLIST OWN


TOP GRAEME ARMOURPANTS JOSE DURAN

BROOCH DELPHINE CHARLOTTE PARMENTIERSHOES CARLOS SANTANA

PHOTOGRAPHY GAVIN THOMAS FASHION EDITOR & STYLING RENESSTA OLDS

MAKEUP ARTIST & HAIRSTYLIST MEAGAN HESTER MODELS KAYLEY PRECHEL & AUBREY WILDER AT MAJOR MODELS

While she may have been a finalist on Survivor: Redemption Island, she is not your run of the mill reality TV star.

This Wisconsin farm girl is well equipped with a captivating presence, grounded personality, and a fearless determination.

The qualities will undoubtedly contribute positively to her pursuit of an acting career in New York City

Interviewing her felt like talking to an old friend and her nat-ural beauty was a breeze to shoot. Along with being easy to

work with, she brings a wealth of experience to the table. She is quick, witty, and lovable Nu-Mode´ Magazine is proud to

present Andrea Boehlke.

ANDREA BOEHLKE

INTERVIEW JOHN-MARKPHOTOGRAPHY DANIEL RAMPULLA

ANDREA BOEHLKE


To kick things off, how about a bit of the Andrea Boehlke origin story?

I grew up on a farm where there were pigs and horses in a small town in Wisconsin of about 1500 people. It was in High School that I was introduced to Community Theater. After graduat-ing I decided to go to the University of Wisconsin and I received a BFA in Acting there and I’m really glad that I did. I love the theater and it just kind of worked out that I got to move to New York after Survivor. It’s kinda crazy to me that I moved from a farm, you know, where all my neighbors are my relatives and now I’m in New York. Even just that move is pretty intense, it’s really exciting, too.

Do you think that your dad being a comedian had an influence on your personality?

Definitely, my dad is such a jokester. We don’t take things super serious where I’m from, be-cause he’s always pranking people. So, we learned to deal with a lot of humor and not take life so seriously… My dad is so outgoing that wherever we go, he’d talk to strangers and meet new people and that’s how I am. Every time I ride the subway, I make a new friend! So his qualities definitely have an effect on me.

How long have you lived in New York?

I moved out here in July … I’d been to New York two other times. Originally, I thought I was going to go to LA or Chicago because it’s closer, but once I came out here for the Survivor fi-nale and again for a showcase class, I just fell in love with this city. I’m really happy that I’m


wanted you to send in certain stuff. Like, I knew they wanted me to play the farm girl. So, they asked me to “send in plaid stuff.” You wear your own clothes, but they tell you what to bring. I’d never wear cowboy boots on an island, was I in cowboy boots? Yeah! [laugh] You can pretty much tell how it goes down.

Is it weird to go on YouTube and find montage tribute videos of yourself underscored by Evanes-cence?

It’s weird. It’s flattering, but there’s some crazy stuff

here and I think I’m going to be here for a while. It’s so amazing and there’s so much to do here. I love that you can get on the subway and go wherever.

How did you come to try out for Survi-vor?

Everybody in my family is a big Survivor fan. My mom and dad both sent in tapes. I didn’t know that they watched the tapes! I was bored two years ago and they had the cameras set up… It was all really silly to me. I made a crazy tape! I was in a bikini in the snow riding my horse and I did a somersault off my horse and I [even] ended up catching pigs. I was playing the farm girl aspect. I did this thing in my swimsuit in the snow where I was like, “I need to get out of here, I hate the cold!” After the tape was sent in I received call a week later to go to LA. I did interviews there for a week. Months went by and I found out in June that I was going in August to do the show. So, it was a long process, but exciting.

How long did the show tape for?

The island itself if you make it to the end, you’re only there for 39 days. I say only, but a day feels like a week out there! I ended up staying 37, but there was the travel time there and back, which added a few days.

Did you have some say in the outfits that you wore on the show?

You send in your own clothes, but theyALL GARMENTS VINTAGE

RENA REBORN

“strangely, a lot of casting directors watch Survivor. They’ll be like, “Oh my

gosh, you’re the Survivor girl!” It’s good because you

can have a relationship”


It’s weird to Google yourself and see a collage of your face. On Facebook, there are people pre-tending to be me! You get weirdo’s, but also fans that really love the show and are supporters.

Do you like interacting with fans?

I do, there are a lot of great people. When I meet people on the street and they’re like, “Oh my God! You’re from Survivor!” I’m a people per-son and I don’t mind talking for hours if they’re interested.

What kind of work do you see yourself in when it comes to acting?

I’d like to do stage, off Broadway and Broadway.

It’s why I came to New York. I was trained in theater however I would not pass up TV or film.

As far as being a reality personality and try-ing to do legit acting work have you had to fight a stigma at all?

It’s there, but strangely, a lot of casting direc-tors watch Survivor. They’ll be like, “Oh my gosh, you’re the Survivor girl!” It’s good be-cause you can have a relationship, but then I’m like, “Oh, but I can actually act, too!” It feels like I have to work a little harder because I have to get rid of the stigma, but it helps. I can’t say that it hurts because I got my agent through Survivor. I’m in this theater company because I met Vinny from the Sopranos at a Survivor charity event and I met this director,


because I met Vinny. Survivor has opened a lot of doors for me, but now I have to work harder to prove that I can act as well.

What has been your greatest memory in New York?

I worked as a hostess at the Standard but I’m not there anymore. Being from Wisconsin, I never saw celebrities, so Justin Bartha from The Hangover comes in but I didn’t recognize him, I’m a huge flirt so I’m just flirting with this hot guy and when he leaves, everybody’s like, “That was Justin Bartha from The Hangover!” I felt so stupid cause he probably thinks I’m like, “Ooooooh, the guy from The Hangover!” and actually I’m just a huge flirt!

Do you think you would’ve flirted less if you knew it was Justin Bartha from ‘Hangover’?

Oh yeah, I wouldn’t have flirted with him! But, so far the most exciting thing with my acting is I just got called back for a motion picture. It’s a Brooke Shields movie. I love auditions, so it’s nice to get a call back and start building relation-ships with the casting directors.

That’s fantastic. What’s something that you think a lot of people don’t know about you?

People in the city, surprisingly, don’t know I’m from a small farm town. People back home think it’s strange that I live in New York. They’re re-ally on opposite sides of the spectrum. I love it. I don’t think I’d be happy going back and taking over the farm. I can always go back there and ride horses all day long and catch pigs, then I can be here and get fancy, go out to events and premieres.

Are you the first in your family to live in New York?

I’m the first in my family to move. I have a huge family and everyone is pretty much in the same location.

Survivor is a very athletic experience. Are you a hard-core dieter?

I’m always watching what I eat. I eat pretty healthy. I was on the Survivor diet too!

Was that hard for your body to adjust too?

Yeah. I mean it’s been over a year, but right after I wanted to eat everything I saw.

Did you get homesick while on the island?

I tried not to think about my family because I knew I would be. 37 Days is like a vacation, it’s not that bad. So, I tried not to think about my family too much, but when I did, yeah, I would. It gets really stressful out there and emotionally you’re just in a whole different world! You can cry in a second because you hate all these people you’re with.

“It gets really stress-ful out there and emo-tionally you’re just in a whole different world!”

It must be exhausting?

Yeah, it’s exhausting physically and mentally.

What was the biggest personal challenge be-ing on Survivor?

I think that the biggest personal challenge was adjusting to the elements, not eating, and men-tally being so alone out there. You’re with all these people, but people are really mean, and everything’s so competitive and your mind feels like it’s in this crazy funk and you almost forget who you are. You know you’ll get over it and once it was done I felt like I grew as a person. I felt like, “Well, if I can do that, I can do anything, really.”

What was the greatest physical challenge?

There was a challenge I actually won and I was hanging upside down by my legs. I think I was hanging for almost 50 minutes. I couldn’t feel my legs. My face was turning blue. I couldn’t wiggle my toes. I was afraid I was going to be permanently damaged because of this chal-lenge. I knew I could win because it was about being stubborn and I’m pretty stubborn. It was hard not to cry. There was another challenge where I was really close but I didn’t win.

It was a stair challenge. It was a huge staircase and you were taking these boards and turning them in to pegs and memorizing this pattern. It was 110 degrees; I was 3rd; I was winning and I messed up and fell behind.



Have you ever been in love?

Not really. I dated a guy for a year and a half, so I thought I was. You know how you’re dat-ing somebody and at the time you think you are in love. I’m pretty independent, that’s the long-est relationship I’ve ever had.

What’s your greatest fear?

My greatest fear is losing people that I’m close to, but I think that’s everyone. When I was younger, I lost my sister in an accident and it took me years to get close to people again. For years in high school, I wouldn’t let my friends get closer than arms length. Now I have really close relationships with friends and family and I’m always scared I’m gonna lose someone.

Are you afraid of failure?

I’m not afraid of failure. I know I’m going to fail a lot before I get where I want to be. Each chapter in my life seems to be falling in place.

You definitely have a lot of drive and resil-ience. I’m wondering if you’ve always been this way or if it’s more of a recent develop-ment?

I think recently its picked up a lot! I think since Survivor happened and once I made the move to New York I think I’m in a good position to take opportunities and seek more adventures. I’m hungry for more, I’m more driven than I would’ve been if I’d stayed in Wisconsin. I’m still figuring everything out, but I feel a lot of power because I’m in this big city, taking eve-rything that comes at me.

“I’m not afraid of failure. I know I’m going to fail a lot

before I get where I want to be.”

PHOTOGRAPHY DANIEL RAMPULLAINTERVIEW & ART DIRECTION JOHN MARKSTYLING YANI LOPEZMAKE UP ARTIST SEEVON CHAUHAIRSTYLIST NATASHA CHAMBERSPRODUCTION ASSISTANT TAYLOR BORMAN

A VERY SPECIAL THANKS RENA REBORN

ANDREA BOEHLKE . @ANDREABOEHLKE . ON TWITTER


ANN CT BRAUNSTEINER


Ann Ct Braunsteiner was born in Austria and grew up around photog-raphy. Her first creative work was a book published in 2008. Originally

a Biochemist and Biotechnologist Braunsteiner decided to start new chapter in her life by moving to New Zeland in 2009 to start over as a

serious artist in photography and painting.

Over the last two years she has build up a body of work that has in-creased her exposure. Ann CT Braunsteiner’s greatest ambition as an

artist is to have her own exhibition and excel as an abstract artist.


FACE NO.4 2011ACRYLIC & CHARCOAL ON PAPER

NEVER 2012ACRYLIC & CHARCOAL ON NZ VINTAGE MAP

What was your first attempt to be creative and what did you gain from your first experience?

My book ‘Das Lachen der Schmetterlinge’ [The laugh of butterflies], I published late 2008 and as a result being represented at the world’s most prestige and largest book fair in Frankfurt am Main/Germany.

What is your greatest ambition as an artist?

I find it is important to myself not ruling out any-thing as an artist. Success or failure either way I keep a realistic outlook on this.

Over the last 2 years I built up a body of work, in-creased my exposure locally here in Nelson [New Zealand], run my website and 3 different blogs on tumblr, a mostly image based social network.

For 2012, my greatest ambition is to receive an artist in residence and having my own show.I need to have my own milestones, realistic but still ambitious as well as seeing and taking chanc-es which come often unexpectedly, like for exam-ple your inquiry for an interview in your maga-zine. Again I have the chance for exposure to a new audience. This is amazing for me as a rather young artist.

You transition from a Biochemist & Biotechnol-ogist into a full time artist is a major transition. Why did you decide to become an artist fulltime and was it a difficult decision?

I like the word transition, you using here. I don’t think it was a certain decision or just one decision to become a full time artist. There were so many little decisions on the way and still are, but look-ing backward on it, moving from Austria to New Zealand in 2008 most certainly was a major

decision and changed everything. I can’t really say it was a difficult one, nonetheless a decision with lots of consequences, lots of management. And sometimes it felt re-ally scary, moving pretty much to the other side of the world, a different language, no friends. But I had the opportunity to start a completely new chapter in my life.

I even worked for a while as a Biochemist and Biotechnologist, mostly to understand the new country, the culture and the econ-omy. From there on it developed, I started with different ideas most of them already more and more into the creative direction and in the early 2010 it turned out to be a fulltime artist. Publishing a book and com-ing to New Zealand strengthened my ‘I can do this’ attitude. It is an amazing journey that has just begun.

Is there something or someone who moti-vates you?

Definitely the strongest motivation is that I don’t want to go back to an 8 to 5 job. I do enjoy the freedom of working according to my personal preferences.

Furthermore I get a great part of motivation from my partner. Who is currently studying in Wellington and majoring in design with philosophy as a minor, he is also an artist. So there is a constant academic, visual and open input forum for discussion, a healthy balance to my otherwise rather solitary life. During the academic year we live in differ-ent cities, I live by myself and work from home. This is a challenge, but we both do what we want to at this point, so we really can encourage and push each other.



ROOMS TO LET 2010MIXED MEDIA/COLLAGE ON CANVAS

Your work has an intriguing mix of energetic expression. Where do you usually find your inspiration?

I think the inspiration comes to a major extent from memories, but something in your sur-roundings triggers it. Over the last 2 years, there are 3 inspiring artists that shape my curi-osity. Robert Irwin [American Artist, mostly known for his dot & line paintings and instal-lation work] Rudolf Arnheim [German born author, art and film theorist and perceptual psy-chologist] Haruki Murakami [Japanese writer and translator] All of them working on the idea of ‘perception’, one way or another.

Do you have a difficult time expressing your-self on the canvas?

Indeed it can be. I have done paintings within a minute while others are taking their time. I still paint over works I did in 2010.

Would you consider your work abstract?

Yes, I do. Mostly abstract expressionism.

What is your medium of choice?

At the moment: acrylics, charcoal, soft pastels, black pen, fountain ink pen and fixation spray

Do you experiment with different materials or do you prefer to work within certain limits?

No limits, I explore different materials and me-diums, however, I have limits on how I want to express a certain theme and what I want to do.

Do you tie together both your artwork along with your photography or do you prefer to keep them separate?

They are tied together, because I consider my photography as artwork. They both run through a similar process. Sometimes an image is done within minutes or sometimes I have to do the reprocess again and again. Still very different media have very different results. So yes, I like to keep them separate that way they can always add to each other and develop their own specific signature.

Your past pieces have similar themes to your newer ones. Did you decide at some point to be a little more specific with the details of your work or did your ideas just evolve?

Personally I think, your question is a great feedback on my work I’ve done over these two

SEBASTIAN CHARCOAL &ACRYLIC ON PAPER 2012

MY TIME THIS TIME 2012ACRYLIC & CHARCOAL ON NZ VINTAGE MAP


A FAMILY PORTRAIT AUGUST 2011ACRYLIC & CHARCOAL ON PAPER

years. Showing my unique way, making you think if there are similar themes or an evolvement within the technique. I would say it is both. One of my main themes is the human mind is ex-pressed through feelings, memories and language. Stories behind form what we perceive in the first place by looking at someone’s layers. I hope I learn with every piece how to deepen this experience and how to make it more intimate. I think you could consider that as an evolvement.

What is one memorable response you have from your work?

Certainly my ‘anon’s’ & The triptych ‘family portrait august 2011’ I got so much feedback on these particular paintings and I still do. It felt like a breakthrough, being recognized as an artist. NU-MODE´ VAGABOND SPRING/SUMMER.ISSUE 5 .286

WWW. ANNCTBRAUNSTEINER.COM

“The human mind is expressed through feelings, mem-ories and language. Stories behind form what we per-

ceive in the first place by looking at someone’s layers.”

MUSTAFA MALUKA


Renowned artist Mustafa Maluka was born in Cape Town, South Africa but currently resides and works in New York and Helsinki. Maluka cre-ates an eclectic mix of men and women in pop art portrait paintings with

a combination of dense and vibrant color schemes.

Maluka’s paintings touches base with culture, geography, Sexual orien-tation, race and his own personal experiences. The artist focuses his in-spiration on current events such as politics and global issues that play a

major role in society today.

EXODUS OF PAIN 2009 OIL ON CANVAS 61 X 45,5 CM


IT’S NOT A FAILURE IF YOU NEVER EVEN TRIED 2011ACRYLIC & OIL ON CANVAS, 183 X 133 CM


Who or what inspired you to paint?

I fell in love with art through studying art his-tory, I thought being a Painter was the coolest thing in the world.

Is there a specific style you identify most with?

Not really. The world of visual culture is so broad and rich, I’m inspired by images and ideas from everywhere. Being aware of my mixed African, Asian, Polynesian and European ancestry probably opened my mind to various influences very early on. I leave it to others to put me in a “style” box.

In your opinion, what makes a strong paint-ing?

The thing about painting is that it’s highly sub-jective. Different people like different things.

How do you decide on a subject for your paintings and are the people in your paintings based off of imagination, or are they actual subjects you worked with?

My works analyze the different experiences of those who, like myself, through external factors like accent, culture, geography, sexual orienta-tion or race among other things, find themselves contextually dissonant. Some of my characters are immigrants, refugees, others are rebels, freaks and the luckier ones are citizens of the world whose home is not a specific place. My characters are seemingly on an endless quest for home, yet at home everywhere and nowhere. My works are informed firstly by my own expe-rience being born as a 2nd class citizen “outsid-er” in the country I was born in and later about

my experiences in other countries I’ve lived in and called home. Through these experi-ences, I’ve developed a critical and some-times subversive strategy that is character-istic of my artistic practice. You’ll find an almost sarcastic view of the world through some of my images and in the titles of my works.

I avoid painting celebrities or people I know personally. These kinds of people come with their own baggage that would interfere with the narratives and issues I’m trying to un-pack through my paintings.

Are you constructing pieces to mold a spe-cific kind of audience and capture a certain kind of reaction?

If the viewer gets any kind of emotional re-sponse from a piece, then I’ve succeeded.

INSIDE THE TRUTH MACHINE 2009 OIL ON CANVAS 61X46CM

DANTE 2001 ACRYLIC & OIL ON CANVAS, 183 X 133 CM

WHY DO YOU TEAR ME FROM MYSELF 2009OIL ON CANVAS, 61 X 64 CM


I REMEMBER THE LAST TIME MULTICULTURALISM FAILED IN EUROPE 2011ACRYLIC & OIL ON CANVAS 183 X 133CM


Who are some contemporary artists you think are doing excellent pieces today?

I avoid all art websites and magazines entirely, so I’m not actually a good person to ask this question. The last paintings I bought for my personal collection were by the painter Andre Ethier. I would say he’s doing interesting work.

Would your life change if you would no longer able to express your emotions through your work?

I would have to be in jail or dead for that to happen. I grew up in a country that had an op-pressive, militaristic government and we re-sisted using every means available. If I’m ever placed in a similar position again, art will be my weapon.

Do you plan on branching of into another direction with your work?

In the late 90’s, I was known more for my large photographic prints and video art, in the early 2000’s I did quite a bit of online interactive artwork that incorporated many elements of my paintings. Through this entire journey wherein I’ve lived in 6 different countries, I’ve always painted. Painting is the only constant in my life.

What’s next for Mustafa Maluka?

I’m always busy working towards my next solo exhibition.

Words of encouragement to aspiring artist ?

Do the Work. Actions speak louder than words. WWW.MUSTAFAMALUKA.COM

“I would have to be in jail or dead for that to happen. I grew up in a country that had an oppressive, milita-ristic government and we

resisted using every means available.”

HOME AGAIN, HOME AGAIN. 2009OIL & ACRYLIC ON CANVAS 182.9 X 133.1CM

P L E A S ET O U C H

T H E

Glass!PHOTOGRAPHY SVENJA PITZ

STYLING RAWFITTING

DRESS HELMUT LANGE


DRESS LORIS AZZARO VINTAGE


DRESS BCBG MAXAZRIA

DRESS LORIS AZZARO VINTAGE


DRESS BCBG MAXAZRIASHOES MODEL’S OWN


DRESS HALSTON VINTAGE

DRESS HALSTON VINTAGE


DRESS BCBG MAXAZRIA


DRESS HALSTON VINTAGESHOES MODEL’S OWN

DRESS VERO MODA

DRESS HELMUT LANGESHOES MODEL’S OWN


DRESS MANGO MOMENTSSHOES MODEL’S OWN


DRESS MANGO MOMENTS

DRESS LORIS AZZARO


DRESS VERO MODA


DRESS MANGO MOMENTS

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PHOTOGRAPHY SVENJA PITZ MAKE UP ARTIST & HAIRSTYLIST ANIKA RESS

MODEL PIA AT MODEL WERK



THE CITY THAT CHANGED ME

PHOTOGRAPHY LPHSTYLING LATOYA P. HENRY

FLORAL METAL CUFF NECKLACE MARTINE ALI CROP KNIT FRINGE SLEEVE TOP AMY CLAIRE

HIGH WAIST PANT AUGUSTIN TEBOUL

THE CITY THAT

PONY HAIR NECKLACE WORN AS HAT BJORGEMBROIDERED SHOULDER JACKET AUGUSTIN TEBOULDRESS FACTORY BY ERIK HART

PONY HAIR NECKLACE WORN AS HAT BJORGEMBROIDERED SHOULDER JACKET AUGUSTIN TEBOUL

DRESS FACTORY BY ERIK HARTPATENT SHOES WALTER STEIGER NU-MODE´ VAGABOND SPRING/SUMMER ISSUE 5 .321

NECKLACES EBONY FLEURCROPPED SHIRT WILLIAM OKPO

PANEL LEATHER SKIRT DSTMANKLE LACE BOOT UNITED NUDE


NECKLACE DLC BROOKLYNSHEER DRESS LINDSAY JONES CHINA BONES

STONE CUFF BRACELET MARTINE ALI

SILK KIMONO BLOUSE VEDANECKLACE DLC BROOKLYNLINEN PANT LINDSAY JONES CHINA BONESSTONE CUFF BRACELET MARTINE ALI


PONY HAIR NECKLACE BJORGCABLE PRINT TOP CODY SAISILK SKIRT CODY SAISPINE CUFF BRACELET BJORG


PRINT PLUNGING V JUMPER FACTORY BY ERIK HARTSTONE NECKLACE WITH HORNS WANDERLUSTER

SPINE CUFF BRACELET BJORG

NECKLACE EBONY FLEURMALOU JUMPSUIT HENRIK VIBSKOV

PATENT SHOES WALTER STEIGER


KNIT DRESS DRESS AMY CLAIREBELT WORN AS HEADBAND AMY CLAIREPATENT SHOES MARC BY MARC JACOBS


SUNGLASSES VINTAGEGOLD CAGE FINGER RING CHRISHABANA

FRACTAL SKULL RING CHRISHABANASTUDDED LEATHER JACKET AUGUSTIN TEBOUL

FLORAL SHEER DRESS LINDSAY JONES CHINA BONESBOOTS DR MARTENS

SUNGLASSES VINTAGECHILDREN OF GOD NECKLACE CHRISHABANA

GOLD CAGE FINGER RING CHRISHABANAFRACTAL SKULL RING CHRISHABANA

STUDDED LEATHER JACKET AUGUSTIN TEBOULFLORAL SHEER DRESS LINDSAY JONES CHINA BONES



I LOVE TO BONE NECKLACE CHRISHABANAGOLD CAGE FINGER RING CHRISHABANA

MATISSE LEATHER JACKET VEDASKIRT WITH CHIFFON NOMIA

ANKLE LACE BOOTS UNITED NUDE

PHOTOGRAPHY LPHSTYLING LATOYA P. HENRY

MAKE UP ARTIST AND HAIR STYLIST NICOLE NVCBMODEL KATYA TOLSTOVA AT MUSE MODELS

CLAIRE LAMPERT


Fashion designer and online vintage boutique owner Claire Lampert draws a lot of inspiration from menswear and also childrenswear be-

cause of their functionality and less fussy detailing.

Lampert is a New York based designer who originally started her career as a designer committed to exploring sustainability. She has

worked for the award winning sustainable fashion label Bodkin and she recently collaborated with designer & New York boutique owner Greg

Armas for Assembly NY in which they recently presented their first col-lection together this past Fashion Week.

An important process in her design is the use of textiles and color. At this time Claire is keeping an amazing balance between designing at Assembly NY with Greg Armas and running her on-line boutique

Where I Was From with photographer Darroch Putnam.


When did you decide fashion was something you wanted to be a part of? I come from a design family, my father is an architect, and grandfather was a furniture designer, and they always encouraged me to be creative. I knew I wanted to do something in a design field. In high school when I first travelled to Europe I started to be curious about fashion. I didn’t really know what was possible, so I went on to study architecture in college, and started traveling overseas more, which reignited my ideas of fashion. At that point I moved to NYC to attend FIT

How would you describe your style of design and what has been one way you have stayed true to your creative concepts?

I try to be sustainable in my design. I value making things that people will want to own for a long time. I am very inspired by vintage pieces that are still relevant, and I love utilitarian de-tailing. I don’t typically follow trends, but stay in tune with myself and what I like. I draw a lot of inspiration from menswear and also childrenswear as it tends to be more about the function-ality of a garment and less about fussy detailing. I love to start my design process with textiles-color and textures are very important to me.


What is one trait you think that most designers have in common?

Hmm, I not sure about this one.

You and Darroch Putnam recently started an online vintage boutique named “Where I Was From”. Tell us how did that idea come into play and what is the difference with your online boutique compare to many others?

Well Darroch and I met a while back when were both working at La Garconne. He is a very talented photographer, and we wanted to collaborate on something where we had complete creative control. A lot of different ideas came into play, but the vintage boutique really stuck because we both find vintage very important and influential in our work, so this was an opportu-nity to take another step with the pieces we were already using to inspire us elsewhere.

How do you keep a balance between designing and running a boutique and is it difficult working on two things that are very time consuming?

I love what I do, so it is not difficult to keep the balance generally speaking. I love being at my

studio working on both things, and also spend-ing time roaming through vintage stores and also traveling for vintage. The work I do for the boutique doubles up as design research, so the lines cross quite a bit. This was the only way I could start this… Design is still my number one, but it made perfect sense to do both at the same time.

When do you usually feel the most creative and what sparks an idea for your designs?

I feel the most creative when I have just re-turned from a trip, and also if I have had a few days with nature. I am surrounded by extremely inspiring people most the time, so when I am able to leave my environment and put things in perspective this is when I find myself most creative.

You and boutique owner of Assembly New York Greg Armas recently collaborated on As-sembly Fall 2012 collection. How were you ap-proached to begin working with Greg Armas?

Well I had just finished doing the fall line for La Garconne Moderne, and I had heard Assem-bly was considering doing a women’s line, so I put it out there that I was interested in design-ing with him, and he contacted me and the rest is history!

How would you describe Assembly’s latest fall 2012 collection?

It’s simple and slightly androgynous. It was all about classic pieces with interesting detailing, and emphasis on various fit options. We did several pant silhouettes each offering a comp-

letely different cut. We incorporated classic fabrications-thick black wool, vegetable dyed denim twill, ivory suiting wools, wintery rib knits and softer draped fabrics for tops and dresses. It’s a nicely rounded collection, com-plete with hand-knit sweaters from Peru.

Do you consider yourself to be an environ-mentalist?

I wouldn’t label myself that, but I am environ-mentally minded in pretty much all things I do.

Who is your favorite fashion icon and does this person inspire some of your ideas?

I love Japanese design so much-Yohji Yam-mamotto, Issey Miyake, Kenzo, Comme Des Garcons. I recently read My Dear Bomb by Yohji Yamamotto, and was very inspired by

“I am surrounded by ex-tremely inspiring people most the time, so when I am able to leave my envi-ronment and put things

in perspective”

ASSEMBLY FALL . WINTER 2012


WHERE I WAS FROMPHOTOGRAPHY DARROCH PUTNAM


WWW.WHEREIWASFROM.COM

his values and how personal life and work meet. In addition, I am surrounded by so many amaz-ing people that I have met over the years, and am inspired daily by their work.

What is a typical day like for Claire Lampert?

I spend a lot of time at my studio in Brooklyn, I’m there almost every day of the week. I use this space for design and for the boutique. We shoot all of our stills there. It is such an incredible space with tons of natural light and plants lining the windowsills. I moved into this studio back when I was working on Bodkin, and can’t really imagine leaving anytime soon as it is such a crea-tive haven and surrounded by my favorite vin-tage stores Horizons, Malin Landaeus and Stella Dallas. I also go to Assembly a few times a week to meet with Greg and discuss our ideas.

What are some things you love to do most dur-ing your relaxation time?

I love to be in nature so much. I also have quite a collection of plants, so I am always on the look out for more of those. I’m sort of obsessed with interior design, so I’m usually commission-ing my boyfriend to build us new things for our apartment, and going to the Brooklyn flea to find treasures. I’m also fortunate to live within blocks of my closest friends, so we spend a lot of time together cooking and sitting outside (one of them has an amazing outdoor space, which I am con-tinually spoiled by).

How would you describe your personal style?

I am pretty much my own customer, so the things I design or style on the site you will also see me wearing. I like clean lines, mostly solids and


beautiful textiles. I also typically have some sort of utilitarian piece on mixed with weird art mom vintage Robert Clergerie shoes.

One statement piece everyone should have in his or her closets?

A really great pair of shoes. For me, that would be my Martin Maison Margiela Kitten-heel boot...

Are there any new projects you are looking forward to in the near future?

Yes! Always starting new projects...

One of the many things that defines a suc-cessful designer?

Love what you do, and make sure you are happy with it…that goes for all things.

“Love what you do, and make sure you are happy with it…”


WWW.CLAIRELAMPERT.COM

YVETTE JONES

Nu-Mode´ Magazine talked to Yvette Jones about her latest collection for Chic Designs by Yvette and this is what she had to say...

I incorporate a lot of my art background in many of my jewelry de-signs as well as trends and fashion. My design inspiration for these

particular pieces was from an art and design technique known as Mixed Medias; by definition its where one uses two artistic medias

such as my chose of sterling silver and ultra suede and transforming its shape and color into a collage that are combined in a single com-

position. I find the necklace from my Mixed Metias Collection to be a collage in a sculptural sense as well as being a unique versatile piece where it can be worn on either side due to different colors appearing

on the opposite side and being bold in color.

WRITTEN BY RENESSTA OLDS

FRESHWATER PEARL COPPER NECKLACE


“My Classic Copper & Freshwater Pearl Collection: Luminous pearls yet bold in color; adds a sophisticated look in a different way with

antique copper”

SILVER & YELLOW SWAROVSKI CRYSTAL PENDANT NECKLACE ON STERLING SILVER CHAIN


WWW. YVETTE-JONES.COM

BLAISE KAVANAGHWRITTEN BY IRINA ROMASHEVSKAYA

t’s fair to say that Blaise Kavanagh’s Spring/Summer 2012 collection is well bal-anced and smart. Full of day to night looks and ranging from tailored wovens to easy to wear knits, it gives any woman plenty of options to choose from. Pants and skirts in a variety of lengths and silhouettes, silk and cotton blouses, linen sweaters and hand tailored jackets - these are some of the choices for Spring/Summer 2012. Each piece is complemented by subtle details of either hand crochet neck trims or contrast piping added for freshness, with beads, sequins and gold tassels thrown in the mix. Always sophisticated, polished and lady-like, Blaise Kavanagh’s collection couldn’t be complete without an impeccable dress selection. From straight to A-line, floor to knee length or just above the knee, this year his dresses come in neutral and bright colors alike, in materials of stretch cotton, linen or silk blend knits and rayon jerseys. Each dress is a standout piece whether it’s fitted at the waist with sunburst seaming, or cut at the waist and pleated, worn alone or accompanied by a belt in white or gold.

Subtlety and elegance, not to mention the use of quality European fabrics of natu-ral origin such as cotton, linen and silk, make this collection a perfect choice for a vacation anywhere from the Hamptons to St.Tropez. I.R

I



“My inspiration every season is really the women I seek to dress...to be able to give them functional versatile wardrobe

options that they can wear every day with ease”

Kavanagh

If you are anything like me, a girly girl who waxes poetic and dreams of the days re-turning when women wore beautiful dresses and gloves every day, then you should be in fashion heaven this spring!

The runways were a washed in gorgeous 20’s and 50’s silhouettes with hand em-bellishments in the softest, palest ecru’s, lilacs and mint greens and the most delicate silks, chiffons and laces. From Louis Vuitton, Milly, Tracy Reese and Carolina Herrera I was at the edge of my seat watching as one confection after the other sashayed down the catwalk.

A FASHION REVIVAL. THE 20’S AND 50’SWRITTEN BY RENESSTA OLDS

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If you also are like me, who now has to figure out how to satisfy my longing for these dresses or at least dresses that looks simi-lar I have provided some style tips.

1. Raid your mother, grand-mother, aunt or any of the other fab women in your life that may have held on to theses pieces. You may find some gems there that may only require a hem, a stitch or a good cleaning.

2. Raid your favorite thrift/goodwill shop, consignment, and vintage shop. With so many in every major city and quaint town you are bound to find a great piece!

3. Check out H&M and Forever 21. They are sure to have pieces inspired by the originals and the revival of these trends that won’t break your pocket. If you have a little bit more to splurge, check out 50 Dresses by Tess Vigil. Her “Pretty Blue Flow-ers Dress” retailing at $85 and available at www.chouchou-nette.com, is shaping up to be a spring hit!

Whatever avenue you use to take it from the catwalk to the sidewalk stay fashionable while doing it! R.O

STYLE TIPS.

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Fall/Winter 2012 Fashion Week this February was the craziest of times for the Nu-Mode´ magazine staff. All in all, the Nu-Mode´ staff attended near-ly 60 shows and events. Features Editor, John-Mark, had a particular eye for the men’s trends that stuck out most. From the runway to the street, these are the motifs he’s thrilled to see.

FALL 2012 PREVIEWMEN TRENDSWRITTEN BY JOHN MARK

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Whether it rested upon their shoulders or as a lapel on their chest, this season’s models braved the PETA protesters with a hearty touch of fur. Synthetic or real, the timeless aesthetic remains the same.

Fur is here to stay. J.M.

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THE HAT BRIMEyes were kept well under cover from pa-

parazzi flashes are direct sunlight with this seasons brimmed hats. The highly-stylized

head wear gave homage to policemen, cowboys, and classic English gardeners.

Whether your intention is for occupational function or a dress up fetish, dark shady

hats are the way go. J.M.

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THE MAN CLUTCHSome call it a purse. Some call it a man-bag. I like to call it a man-clutch. The FW 2012

runway put a masculine swing on this classic woman’s accessory. While most men may find the man-clutch to be unrequited, I welcome it as a solution to the unfavorable appearance

of bulky pockets on a well tailored dress pant.. J.M.

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For this fall 2012 the key element that grasped my attention was the use of wintery whites, lacquered leathers and intricate prints highlighted with extreme exaggerated sil-houettes. While most of the time we get lost in translation, when the fall season arrives by draping ourselves in only black. The key element is to ex-plore other foundations by adding some pizazz to your fall look. Here are a few trends we just can’t get enough of.

FALL 2012 PREVIEWWOMEN TRENDSWRITTEN BY LATOYA P. HENRY

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SLEEK LEATHERSAdding some shine to your fall look goes

a long way. It’s a great way of dressing up with out actually dressing up. Pair your

glossy leather pant or skirt with an embel-lished collared shirt and you’re ready for

business. LH

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PUMP UP THE VOLUMEWith an oversized silhouette this fall sea-son. While the slouchy coat may not be an

essential trend that everyone favors. One of the key elements that is perfect about this

trend is the ability to maintain a chic appeal during seriously freezing temperatures. LH

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SNOW WHITESWho says you can’t wear white after Labor

Day. Wanting to keep your look minimal and sharp, play it up this season with win-tery whites from head to toe and make a

statement with out question. LH

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SPECIAL THANKS

Gloria Li Chen, CJ Swanton & Eduardo Morales, Ebony Fleur, Brittany Casper, Martine Ali, Meghan Folsom, Cody Sai, Matthew Scheier, Samantha Kallen, Felicia Kwong, Sofia Sarabia

PHOTOGRAPHY ROBERT KENNY WWW.ROBERTKENNEYSTUDIO.COM

GUESS BY MARCIANO

BCBG MAX AZRIA

BIJOUX OUI EHFAR

MANDULA

FRENCH CONNECTION

THE HUDSON BAY COMPANY

FLUEVOG

RUDSAK

CHARLOTTE WATERS

RIONA TREACY

KATRINA FERRARI

NANO AOSHIMA

SMWALKER

UNA BURKE

KORLEKIE

MINKY MOUSE

LIANNA SHEPPARD

CRUX

WINK

NINA

JOSE DURAN

SUGAR SCOUT COUTURE

TOP SHOP

H&M

ANNA GAY

DESIQUAL

MINNA PARIKKA

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Nu-Mode´Magazine Issue 5