nu-mode´ magazine #9 "the awakening" autumn/winter edition

T h e A W A K e N I N G Emma Champtaloup

Carine Roitfeld shaun ross Fabien Constant Femme en Fourrure Lapalux Shawn pyfromBang Bang Mike Carr john reuss Aja Frary Kimberly Shannon Murphy bevza

Austin Paul Patrick Li Chef kpe paul phung Nadine Goepfert

P h o t o g r a P h y E m i l y a b a y autumn/WintEr 2013 thE aWaKEning issuE no. 9

NU - Mode´ DeSIGN ART & CULTURe MAGAZINe

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T h e A W A K e N I N G Rachele Schank



P h o t o g r a P h y g r E g o r y K E i t hautumn/WintEr 2013 thE aWaKEning issuE no. 9

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T h e A W A K e N I N G Shaun Ross



P h o t o g r a P h y r y a n P F l u g E rautumn/WintEr 2013 thE aWaKEning issuE no. 9


audrey kitchinggregory keith

Nu-Mode´ Design art & Culture Magazine

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Engaging Innocence Pg.15Words Latoya P. Henry

Individuality, Versatility And Comfort Pg.16 Interview Irina Romashevskaya

Suzanne Rae Portal Pg.20Words Irina Romashevskaya

Dong Li Blackwell Watercolor Language Pg.22Words Latoya P. Henry

China Mike Making The Mark Pg.25Interview Irina Romashevskaya

Red White Black Pg.28Photography Gregory Keith

Measuring Up Pg.38Interview Alexandra Stevens

Zana Bayne Pg.45Words Latoya P. Henry

Separation From Normal Pg.47Interview Alexandra Stevens

Unfinished Conversation Paul Phung Pg.50Interview Irina Romashevskaya

Together Now Pg.56Photography Amie Milne

Styling Ricky James Flynn

Milena’s Rêverie Pg.68Photography Karla Majnaric

Styling Kate Gaskin

The All Round Gentleman Shawn Pyfrom Pg.77Photography Allen Henson

Words John Mark

Genre Bending Pg.82Interview Alexandra Stevens

I Am ISIS Pg.86Photography Spencer Kohn

Words Melody Burdette

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The Top 5 Albums We Love Pg.87Alexandra Stevens

Justin MoranMelody Burdette

Bang Bang Pg.88Words Alexandra Stevens

Chef KPE Pure Imagination Pg.93Photography Sarah Kjelleren

Art Direction Shaun RossWords Melody Burdette

The Artist Andres Angel Prada Pg.94Photography John CaballeroWords Irina Romashevskaya

Diamond District Pg.94Photography Florian Maas

Blending Dynamism And Structure Pg.112Interview Irina Romashevskaya

A Tale Of Two Stuntwomen Pg.117Photography Daniel Rampulla

Words John Mark

Textiles Into Art Pg.122Words Irina Romashevskaya

Waves of Emotion Pg.127Words Irina Romashevskaya

Take Me Away Pg.130Photography Amie Milne

Styling Kim Ellmer

Textures Pg.136

Carine Roitfeld In Mademoiselle Pg.149Words Irina Romashevskaya

John Reuss A Modern Day Artist Pg.154Interview Irina Romashevskaya

The Heart And Soul Of Shaun Ross Pg.161Photography Ryan Pfluger

Man On Fire Pg.168Photography Rakeem Cunningham

Styling Wilford Lenov

Stocklist PG.182

InsIde thIs Issue

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

LATOYA [email protected]

MANAGING EDITOR

JOHN [email protected]

FASHION & ART DIRECTOR

IRINA [email protected]

FEATURES & MUSIC EDITOR

ALEXANDRA [email protected]

NU-MODE´ TV DIRECTOR

DANIEL [email protected]

CONTRIbUTING EDITOR

CLARK [email protected]

CONTRIbUTING WRITERS

MELODY bURDETTE . VERA SHAbAN . JUSTIN MORAN

pHOTOGRApHERS

EMILY AbAY . GREGORY KEITH . AMIE MILNE . FLORIAN MAASRAKEEM CUNNINGHAM . RYAN pFLUGER . DANIEL RAMpULLA

ALLEN HENSON . SARAH KJELLEREN . JOHN CAbALLEROTAKASHI HOMMA . MEGHAN SHARp . KARLA MAJNARIC

SpENCER KOHN . MARIA MOULUD . MARIA KULINA CHRISTOpHER GAbELLO

STYLING

KIM ELLMER . RICKY JAMES FLYNNNADENE DUNCAN . WILFORD LENOV

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JERRY bEERSDORF . KENYA SCOTT . pATRICK OLCUTTFLORENT bELDA . CJ SWANTON . EDUARDO MORALES

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NU-MODe´ The AWAKeNING A/W 2013 .10

emma Champtaloup Wears WhIte Coat mIChael la sordo fur Coat VIntageearrIngs petIte grand photography emIly abaystylIng nadene dunCan at dlm

shaun ross Wears shIrt ra’mon-laWrenCeneCklaCe rena rebornphotography ryan pflugerstylIng John mark

Wears raChele sChank stIla CosmetICsphotography gregory keIthstylIng | props gregory keIthmake up artIst azra redhaIrstylIst ryuta tanaka


ContrIbutors

GREGORY KEITH

I’m 27 and I’m an Australian Fashion Photographer. I first picked up a camera at a very young age, being as my mother and grandfather are both photographers, I knew what a Leica Camera was before I knew what cable television was and all through my teens I carried the scent of stop fixer rather than expensive perfume. I’ve been actively shooting for the last 9 years. I’ve been very fortunate to work with some very talented creative peo-ple, and I love that I’m constantly learning. Big thank you to my mother and grandfather.

www.emilyabay.com

EMILY AbAY

“Gregory Keith lives and works in New York City.”

www.gregorykeith.com

FLORIAN MAAS

Florian Maas is a young photographer based in Hamburg, Germany. Besides his fashion work, he is also a lover of architecture and always searching for places that inspire him.

www.florianmaas.com

Born in 1992, Rakeem Cunningham fashion/portrait photographer residing in Los Ange-les. His work aims to capture the essence of the subject. Rakeem incorporates different forms of light and locations to bring the subject to life, while his personal work explores themes of self-discovery.

rakeemc.com

RAKEEM CUNNINGHAM

KARLA MAJNARIC

Karla Majnaric photography exudes a fusion of timeless allure and razor-sharp moder-nity. Represented by Viviens Creative, her seamless approach embraces art direction and expert post-production. Renowned for creating visionary lighting directives, Majnaric services high-end fashion and beauty clients in Melbourne and Sydney, Australia. Her epic editorial narratives have graced the pages of both national and international maga-zines.

www.karlamajnaric.com.au

AZRA RED

Azra Red Makeup artist and reamer based in NYC. Inspired by art, music and lights of the city.

www.azrared.com



edItor’s letter

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Reformatting, Reshaping, and becoming anew, “The Awakening” centers on the rebirth of Nu-Mode´. We wanted to create a space where we could deliver an exhibition in the palm of your hands, creating access to the most inspirational artist within design, art and culture. We’ve been trying to find a good way to sum up exactly what the awakening entails, but it seems like the talent we feature can say it all for us. The awakening is “capturing ideas you’re passionate about” like Sandra Tervonen of Femme En Fourrure, “concentrating on creating strong moods and atmospheres” like photographer Paul Phung, and in the mindset of tattoo artist Keith “Bang Bang” McCurdy - “Whatever I’m doing at the moment I love. I won’t do something if I don’t love it.” These are a few of the pioneers we find inspirational featured in this issue, who are breaking barriers, jolting fans, viewers and followers, to wake up and pursue what inspires them, without the glass ceiling, pushing forward towards limitless possibilities. So how would we define the awakening? For us it’s knowing who we are, avoiding the robotic process and being true to ourselves. So here we are, issue number nine!! Nu-Mode´ Design Art & Culture Magazine “The Awakening”

LatoyaP HEnryLatoya P. HenryEditor In Chief

www.bevza.comBEVZA


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A graduate of the Fine Arts Academy in Wroclaw, Polish painter Hanna Ilczyszyn now resides in Belgium, where she creates stunning sequenc-es of paintings in which she reveals the individuality of children through canvas portraits. Behind Hanna Ilczyszyn’s work is a portrayal of uncer-tainty and innocence, manifest through the perspective of youthful emo-tions. Ilczyszyn’s figurative compositions display children, carefree and spontaneous, expressing their emotions without restrictions. Playing with a heavy use of monotones, hints of color and blurred scenery, each piece resembles a dream sequence of an unpleas-ant and blissful moment. One might find the daunting atmosphere uncomfortable, faced by children with distorted expressions, faceless features and unusual characteristics. However, the artist’s surreal ap-proach translates her subjects into a fascinating series of illustrations. The young contemporary artist has sold her paintings to collectors inter-nationally, exhibiting her work at several group shows in Belgium and Poland.

E N g a g i N g i N N O c E N c E

hanna IlCzyszyn one to WatCh

Words latoya p. henry

teddy bear 2012aCrylIC on CanVas, 80/60 Cm


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Individuality, Versatility a n d c o m f o r t.

Bevza is a Ukrainian womenswear line that started in 2006 under direc-tion of Svetlana Bevza. Since then it successfully emerged as a smart, sophisticated, minimalist clothing collection for independent women that appreciate quality and craftsmanship. The line is currently sold in select stores and boutiques around the world.

“I started BEVZA in 2006 and it has gained an incredible amount of support, which meant I was lucky enough to be named Best Womens-wear Designer 2013 at the Best Fashion Awards arranged by Ukrainian Fashion Week. All of my efforts now go into the continuous develop-ment of BEVZA as I spend all my time researching and designing for my next collection. It’s a lot of work, but I’m really happy with the brand and what I’ve achieved so far!” The brand’s aesthetic is anchored in building an individual point of view within a clean, minimalist cloth-ing line. “BEVZA is simple, sophisticated

Words IrIna romasheVskaya

sVetlana beVza InterVIeW


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and clean. My designs are always comfortable and versatile. Our must-have item [of every season] is a white dress.” Bevza was also cre-ated with a particular customer in mind. “A young, professional woman who is sophisti-cated and enjoys quality things in life – it’s a woman that respects herself and lives in her own unique way.”

Back in her studio in Kiev, Ukraine, Svetlana creates her notable pieces, drawing her inspi-ration from a variety of sources. “I draw my inspiration from everywhere… Sometimes I just read books or watch films, but then I’m also inspired by my immediate surroundings; previous work and sometimes just by ideas that come into my head when I least expect it.” The usual design process consists of research and a few visual references. “I start with an initial idea that has come to mind and then I begin re-searching. It’s a mix of trend research, my own visual inspiration, key fabrics, and putting it all together to fit the brand identity. Once I have a better idea of what I want to design, I start experimenting with fabrics and silhouettes un-til I have something I’m really happy with. My collections are usually built around a handful of key pieces.”

A part of Svetlana’ inspiration comes from her numerous travel adventures. “I love travelling! It fulfills me with new emotions and it’s always a feast for my eyes. Indirectly, it inspires me al-ways. I think it’s incredibly important for every fashion designer to immerse yourself in for-eign cultures and open your eyes to the world.” Svetlana’s favourite vacation spot is Paris; it’s the place that sparks her creativity and where she recharges her batteries. “Paris is the city of endless inspiration to me. A city that breathes fashion, a city that is made from beauty... I travel there a lot because of my work, but I sometimes like to go just for the weekend.”

For Fall/Winter 2013 collection Svetlana pre-sented a line of masterfully crafted tailored items with a wink. “The collection is quite edgy and inspired by the idea of a marionette – a puppet that can easily be controlled by her master. I was really excited to work with a contrasting palette while also developing some digital prints of doll heads, which in my opinion look a little bit frightening, but nobody can stay indifferent to it and I’m happy with the result.” With the next collection scheduled to be viewed next month, Svetlana is prepared to

give us a few hints, but prefers to leave the rest to our imagination. “We will actually be show-ing our Spring/Summer 2014 collection during Ukraine Fashion Week at the beginning of Oc-tober. I don’t want to give too much away, but this time the main point is elegance. It’s some-thing timeless – something I think should be present even in edgy clothes.”

Svetlana’s work for Bevza is already impres-sive and she also gained a bit of momentum in the past season. “We dressed emerging British singer Laura Mvula for her performance at the first ever BBC Urban Proms this year, and she looked beautiful!” With her dreams of dressing Cate Blanchett and Tilda Swinton, Svetlana is full of anticipation and excitement for her label in the next years to come. “Now that we have an established foundation in Ukraine, I am starting to work on expanding outside of Kiev and obtaining stockists in the UK and further afield. It’s going to be an exciting time!”


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COMFORTABLe AND VeRSATILe.”

sVetlana beVza InterVIeW

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Suzanne Rae Peleaz presented her eponymous line for Spring/Summer 2014 on an interactive web platform that allowed visitors not only to see the clothes, but also learn about de-signer’s inspiration and explore the tiniest details of each clothing piece through photos, videos and mood boards. Aim-ing “to empower the modern-day woman”, Suzanne’s debut collection was inspired by futurism and enlightenment and largely influenced by Thea Alexander’s 70’s cult classic 2150 A.D. With a mixture of performance fabrics and natural fibers, this Brooklyn-based designer created a line of cleverly crafted must-haves. From neoprene coats and crinkled organza tops, to oversized crepe de chine shirt dresses and printed cotton pant ensembles – there isn’t an item in the collection that’s not wearable or effortlessly chic. Furthermore, utilitarian details of the neutral colored silhouettes combined with a few scenic prints make entire collection incredibly easy for mixing and matching, letting feminine individuality shine through.


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DONg Li-bLackwELLw a t E r c O L O r

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Dong Li-Blackwell is a curator, artist, designer, and talent to watch. After graduating in 2007 with a BFA in painting from Northeast Normal University in China, Blackwell left her homeland for the UK to further her studies. She completed her MFA in Fine Arts at Brighton University, and continues to create in Great Britain. The emerging artist composes delicate paintings that depict the femininity of the female form through watercolor. The beauty behind Blackwell’s paintings transcends into a meaningful substance of symbolism, which goes beyond just beauti-ful painting. The artist told Saatchi Online that “watercolor is my lan-guage,” and it’s how she expresses the emotions of her life. Collectively, Blackwell continues to strike the art community with her immaculate paintings, winning several prestigious awards internationally and ex-hibiting with acclaimed artists. So what is next for Dong Li-Blackwell? We’re not sure, but we are looking forward to an immense future that lies ahead for this aspiring artist.

dong lI-blaCkWell one to WatCh

Words latoya p. henry

green orgasm 2010WaterColour on paper, 74Cm x105Cm


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China Mike.M a k i N g t h E M a r k

Mike Carr, aka China Mike, is known for his illustrative, vivid brush work that brings pure emotion to the surface of his paintings. After working as a commercial illustrator for global brands and record la-bels, Mike has switched to painting. Quietly working out of his studio in Bishopston, Bristol, Mike keeps occupied with a variety of different projects and exhibitions. Taking a minute out of his busy schedule, Mike shared his thoughts on finding inspiration, working with Will Barras and Duncan Jago and the difficulty of being an artist.

Remembering his early childhood, Mike confesses, “I think I’ve always been an artist, some kids want to be astronauts, some want to be police-men and I wanted to be an artist. I wasn’t academically gifted at school, wasn’t interested in science, literature or anything like that, so I played to my strengths – I just built stuff and painted a lot. I didn’t always know what kind of artist I wanted to be. I had a natural ability as a draughts-man which led me into illustration and from there into painting. It’s taken a very long time to get to where I am now with my work.”

Having a mentor early on in the artistic career might be an absolute ne-cessity and Mike got really lucky with that. “I studied Graphic design at the University of the West of England in Bristol. I didn’t really gel with University so I quit in my second year and pursued my growing interest in illustration. I got some work with magazines and that’s when I met Will Barras and Duncan Jago. They had both graduated from UWE a few years before my departure. I got to know Will and he then intro-duced me to Duncan (Mr. Jago). They were already doing some really amazing work for brands like Sony and Nike as part of the scrawl col-lective, so they became almost like mentors to me; they gave me a little insight into the commercial side of art.”

Speaking of his painting style and technique, Mike explains, “I think of my technique as like a series of forced accidents, I try to create situa-tions in my process where accidents can happen. A lot of what you see in my work is made up of layers; they’re layers of mistakes or mishaps. I take the best bits and make an image, which is hopefully coherent

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ChIna mIke InterVIeW

and complete. It’s all about mark making. I trust my impulses and I make a series of marks and smudges, then I might paint over most of it; but I always leave the bits I like intact.” When stepping into unknown, a major part of the pro-cess belongs to experimentation. “My work is all about experimentation, each piece is one big experiment that then informs the next.” With a big accent on color, Mike uses the juxtaposition of soft colors against the vivid hues, achieving a highly expressive visual outcome. “[When painting] I tend to use Blues a lot; I use a lot of cool colors and soft pastel tones – it helps to make the more vibrant colors pop out.”

Speaking about his collaborations with other artists in the past, he continues, “I have done a few collaborations over the years and I would definitely like to again, but at the moment I’m pretty snowed under with my own projects, and most other artists I know are also really busy so it’s a case of getting the right people together at the right time.” It is natural for an artist to have a healthy dose of curiosity to explore other art

forms, and for Mike it’s no different. “At the moment I’m solely focused on painting, I feel like I’m just discovering it. I was ok at sculp-ture when I was younger, so who knows, I might pick it up again at some point.”

Being an artist is perhaps one of the most chal-lenging occupations. “[Sometimes] I’m sur-prised I’m still here painting away in my studio.

There have been plenty of times when I thought about giving up and doing something else. That’s where I get to the trickier side of being an artist. There is a romantic notion that be-ing an artist is really chilled out, all you do is sit around, drink tea, paint a bit and clock off whenever you want. People maybe don’t real-ize that to build a career as an artist takes a long time and it’s a long time with no money. You doubt yourself constantly, it can be downright depressing at times, and so it’s really only your passion that keeps you going at that point. [So if you had to ask whether] being an artist is a difficult occupation, I’d say, hell yeah!”

Being an artist involves a multitude of ele-ments. It’s both inspiration, passion, and a true talent that goes into it, but the process is also an essential part. “It’s the process, I love get-ting paint on my hands and smearing it on the canvas or striking it with a brush, it’s definitely therapeutic. Having said that I would also say that painting can be one of the most frustrat-ing things ever; things don’t always work out the way you would like.” When looking for an inspiration, most artists seek an ultimate con-cept, a clear idea, but for Mike it’s more than just inspiration. “My inspiration comes from the most mundane things; to me it’s not what you paint but how you paint. Every painting is a new journey, a new experiment and it’s that new experience each time that keeps me inter-ested and excited.”

“eVeRy PAINTING IS A NeW jOURNey, A NeW exPeRIMeNT AND IT’S ThAT NeW exPeRIeNCe eACh TIMe ThAT KeePS Me INTeReSTeD AND exCITeD.”

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the guardIan

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photography gregory keIth

photography gregory keIthstylIng | props gregory keIth

make up artIst azra redhaIrstylIst ryuta tanaka

model raChele sChank at Women-dIreCtmake up stIla CosmetICs

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InterVIeW alexandra steVensphotography marIa moulud & marIa kulIna


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very latest LP, 36-26-36. Their latest release from Convex Industries is a culmination of both musical and visual concepts, proving the group to be both progressive and accessible.

Femme En Fourrure is the work of Juuso Malin, more recently joined by Sandra Tervonen, and their clean, edgy, sounds have paved the way for live performances at European music festivals and a set with London’s famous Boiler Room. Their dark, bass-heavy sound is starting to garner attention from France to New York, charted through video views and podcast downloads. And when you’re showing your friends the satisfy-ingly bizarre videos by this group from Helsinki, don’t feel bad if you can’t pronounce the name right - neither can they.

There’s very little information available about the people behind Femme En Fourrure, what’s your artist dynamic?

JUUSO: Thanks for asking, there hasn’t been much opportunity to actu-ally break down that we’re about. So about a year after I started the pro-ject, I asked my long time friend Bianca to do her spoken word thing for a track or two. We had collaborated before a few years ago, so I wanted

to try it again now that we were more mature. The first few dodgy tracks were uploaded to MySpace just for fun, and the ball started rolling sort of instantly, a lot of people wanted to work with us. Suddenly we were a duo - [Bianca and I] didn’t really talk about it or think too much, it just happened without any push. We didn’t feel any pressure, we just made music for fun and when we felt like it.

As soon as things started to be more official, it became clear that we couldn’t continue like that, and I finished the album alone. I started to get requests for live shows and my friend Pekka (guitarist for the band Bendagram, who helped produce and write 36-26-36) joined the live group, as well as playing guitar here and there on the album. Then by accident I met Sandra, who became the vocalist and keyboardist for the live group. That led to her becoming the official second member of FEF, and it’s more 50/50 now when we make music.

SANDRA: I guess I came along because the timing was right for both of us. I had been making music on my own for about a year and a half, act-ing really introvert at the time - I was making music for my own needs and mostly for my own ears, not really taking myself seriously as an art-ist. It’s a strange coincidence that I actually left my hide-out and ended up working with Juuso. At first it was putting in my time and effort to prepare live shows, and then at some point I found myself working on new material for FEF.

S exually-charged vocals over smooth, minimalist electronic sounds are paired with dynamic videos, creating a graphic and memorable style all their own. A number of transitions and transformations have occurred since their first self-re-leased EP in 2009, Pull Out, leading up to and beyond their

Femme en Fourrure is, in French, a “woman in fur.” But in music, they are the Finnish duo that brings us haunting dance

beats, twerk piles, and B I G, T h I C K, h O R S e D I C K.


femme en fourrure InterVIeW

What does Femme En Fourrure mean? Not the literal meaning (thank you Google Translate), but symbolically?

JUUSO: At the time I was inspired by Russian aesthetics; its sort of a caricature of an elegant, profound, serious Russian woman. Wearing a fur coat, of course. And a bit of love for France, too. The name was supposed to be a mild state-ment against the ridiculous world of fashion, but I guess a lot of people don’t get it and think we support fur farming, or that we think kill-ing animals is cool. It’s a pretty difficult name. I actually can’t pronounce it, and whenever someone is like “what’s the name of your band again?” I have to write it down. But at least it’s personal and different.

Describe your sound in a sentence. Or two, or ten, whatever.

JUUSO: I guess the new and upcoming mate-rial is somewhere between super melodic pop music and techno. A bit like a mix of Medieval Techno, The Eurovision Song Contest, Kare-lian oral folklore and mythology, and the Baltic Sea birches.

SANDRA: Me being on board certainly adds the pop factor to the basis of all the upcoming

material. Not that pop music is the only kind of music close to my heart, but music just seems to come out of me in pop structure, thus melo-dies obviously playing a major role.

JUUSO: It’s actually funny, considering that just a couple years ago FEF’s output was ba-sically just minimalist percussion with kick drums and monotonic, mantra-like vocals. There were no melodies, really, with overly sexual lyrical content and sexual issues as the main theme - but that’s probably obvious.

Your site describes FEF as “music made for DJs and catwalks; also for nightly prom-enades and oceanside sexin’.” Who do you like to imagine listening to your music?

JUUSO: I have no idea, actually. In the early days it probably used to be for the Tumblr-fash-ionistas, but I think they turned their backs on us once they realized we’re not airheaded, skel-eton-skinny models and that our whole thing is a bit deeper than Plump Bisquit.

SANDRA: In the end I’m still making music for myself, and music that we, as a duo, feel needs to exist. Juuso and I share many musical gods and goddesses that we grew up listening to, and we try and capture ideas we are both

passionate about. It sometimes seems as if we are, to the best of our ability, “continuing” the work of our idols. Which is insane. But I think that’s what we do.

Tell us about your new LP, 36-26-36. What were you trying to create, and how do you think your music is evolving?

JUUSO: 36-26-36 is a figure measurement, the hourglass figure. It’s a shape that a lot of peo-ple find aesthetically pleasing. You could say that the album is about trying to achieve that figure, amongst other frustrations with your-self. The album has a really disturbing feel to it, and I love that we managed to capture it that well, but I don’t want to make a sequel to it. The album is almost an end to the current “FEF sound,” in a way. We want to push the dance-floor-ish elements a bit further away the next time - we’re working on a more melodic ap-proach, actual singing instead of spoken word.

Where do you draw inspiration?

SANDRA: Nostalgia for the near past, exag-geratedly upbeat dreams for the near future. There’s strong identification with the playing of differ ent roles: characters from film and books, the stage personas of certain

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“In the end I’m still making music for myself, and music that we, as a duo,

feel needs to exist. juuso and I share many musical gods and

goddesses that we grew up listening to, and we try and capture ideas

we are both passionate about.” -Sandra




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JUUSO: Me too. It’s such a cliche thing to say, but he’s responsible for Twin Peaks and that to me is the most beautiful thing ever. The whole Twin Peaks world and the Badalamenti soundtrack. I’d also love to do something with Dario Argento, Phenomena has inspired us a lot.

What’s happening right now in the electronic music industry that you’re most excited about?

JUUSO: This year has been pretty great, actually, as more left field-ish sound has gotten a lot of exposure. Artists like Vatican Shadow, Pruri-ent, and Cut Hands, for example. At the moment I’m really bored with songs that are generated for DJs only, and all those artists have a lot of content and meaning behind their music.

SANDRA: Femme En Fourrure.

You’ve got an email address listed on your website (femmeen-fourrure.com) for fan mail, rants, nudes, etc. How many people ac-tually send nudes?

JUUSO: There could be more.

performing artists. The slight destruction of oneself due to putting your true self out there. Voices in our heads. Nature, art, love.

Clearly there’s a profound artistic link between the visual and audio aspects of FEF. Give me a little insight on the video creation process. How has it all come together?

SANDRA: So far I’ve only been involved in the creation of one video, “Bronco.” We had the opportunity to discuss with Ezra Gould, the di-rector, about how we felt the song should be represented in the visual form. The song had first come into being out of a vision by one of us, and [Juuso and I] talked about it a lot in visual terms while we worked on it. When we got to the point of planning the video, it was pretty clear to us what sort of feeling and look the song was about.

JUUSO: We’ve just been really lucky to get to work with these people. Miikka Lommi, who directed “Pretty Boy” and “Plump Bisquit,” con-tacted us instead of the other way around. Our music just clicked with the ideas that he wanted to portray. Of course there’s a little planning, but we give a lot of freedom to the people we work with, who we adore and trust.

Any artists or directors you’re planning or hoping on working with?

SANDRA: David Lynch.

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“Artists like Vatican Shadow, Prurient, and Cut hands, for example. At the moment I’m really bored with songs that are generated for Djs only, and all

those artists have a lot of content and meaning behind their music.” -juuso


Known for her sleek hand crafted leather accessories, posh silhouettes, with refined bondage features; designer Zana Bayne designs pieces that are sculpted to highlight the wearer. Collaborating with fashion power houses such as Prabal Gurung and Sally LaPointe on their spring/sum-mer 2014 collections, also teaming up with Pendv for Opening Ceremo-ny on a capsule collection during New York Fashion Week, it is evident that Bayne has made her mark in this industry and she’s here to stay. Re-cently unveiling a stunning spring/summer collection at the L’Arrosoir floral shop in Paris, during Paris fashion week, it was the designer’s intensions to focus on a broader approach towards the severe look of herinfamous leather harnesses. Finding inspiration from the delicate flow-ers and vines of Wisteria, Bayne created organic shapes that contour the body resembling how vines wrap around structures. The collection was hinted with elements of floral detailing and fan-lacing, uniting the soft to hard appeal of the collection; overall it’s interesting how Banye managed to fuse two extreme opposites without losing her personal sig-nature, to develop a cohesive collection that is wearable for every form.

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He describes Disparia as a truly introspective project, a musical self-analysis. “We wanted it to sound as if you were journeying to the bot-tom of your consciousness, then looking up and seeing everything from there,” Paul explained. The unique name for the EP plays further off of that sense of inner chaos, a home-made moniker to describe the young vocalist’s intention.“When I was writing the material for it, I came up with the idea that it was similar to the subconscious, something going on in the mind,” Paul said of the thought process behind the name. “I wanted to give it a name that implied disorder and enlightenment. Dis is the Latin root word for separation, and ‘disparia’ is like a separation from normal. A mental disorder, an elevation from normal reality.” The first single from the EP, “Believer,” brought about an ac-companying video that came out this summer. “I wanted to release something visual to help people under-stand the sound. I felt like bringing in a visual aesthetic would bring light to the meaning of the music.” Paul describes “Believer” as “unea sy” and “eerie,” insisting he wanted to make something that makes peo-ple feel uncomfortable.The black-and-white video was filmed and created by his brother, Andy Ryan Flores, while Austin directed and starred alongside his girlfriend and a friend from high school. “I knew exactly, shot by shot, what I wanted,” Paul said. He went into the video with a balance of spontaneity and intent - a mix of last minute decisions and deliberately thought-out imagery. “I had it all planned out in my head,” he said. “I was like, ‘just trust me - we only need this amount of footage, this number of shots, put it together like this.’” Paul decided he wanted one of the three locations they used for the video to be in his friend’s house, and maybe even in his friend’s dad’s car. “The day before filming I was just kind of like ‘Hey, can we use your dads car? And film in your house?’” Paul said with a laugh. “Luckily he said yes, then he asked his dad about the car, and he said yes too. We filmed it all in four hours.” Several shots feature the cast on the living room couch, framed by oversized pillows and art. Paul sits, one leg across the other, blinking slowly and crooning into the camera. A little white dog appears nestled behind his shoulder, so still it hardly looks real. “He kinda jumped behind my back during the second take,” Paul said, his friend’s terrier apparently eager to take part in the action. They kept rolling with the dog in the shot, and the results look inten-tional. “We just kept it.” With Velvet, Disparia, and a handful of videos and collabo-rations, Paul is still a a newcomer on the scene - despite this, he has managed to establish a pretty impressive cast of supporters. Successful artists have backed up Paul’s talent and potential, working with him to further his vision. Paul created “Without You” from Velvet with Kastle, producer and creator of record label Symbols.

F or Miami’s Austin Paul, this is only the beginning. The 20-year-old singer recently released his latest EP Disparia, following Velvet as the second in an esoteric musical trilogy. Each chapter reveals more about Paul both as an artist and character, rife with haunting passion and heavy with mood.

Words alexandra steVens


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“We approached each other online,” Paul said of his work with the L.A-based mu-sician. “We started doing music together; we made like five songs together before Velvet even became a concept.” Kastle facilitated the release of Vel-vet, performing a set in Miami to introduce their single. Paul shared the stage, singing “Without You” live. “It was awesome because he’s very caring of the sound,” he said on working with Kastle. “He doesn’t just throw anything togeth-er - he really cares for what its all about, the direction.” Paul has also flourished under the wing of musician Shae Haley, best known as one-third of the band N*E*R*D. “Shae is re-ally supportive,” Paul said, explaining Haley’s total involvement in Pauls’ body of work. “He’s there for everything musically, he’s at all the shows.” Haley then linked up Paul with Pharrell Williams, bringing serious star power to Paul’s lineup of helping hands. The rapper/singer/designer/producer has been involved in both Paul’s music and tactical decisions. “I hung out with [Pharrell], he lis-tened to my stuff and happened to like it a lot,” Paul said of when the two first met. “He wrote me a song, there were several exchanges, then we met up every few months so he could give me the low down on what I should be doing,” he explained. “From the beginning we decided I shouldn’t sign to a label, to just feel it out and execute the music independently and see how far I could get.” So far the industry superstar’s advice has been well-heeded, and Paul shows nothing but gratitude for his network of sup-porters. “Pharrell is so inspirational, it’s re-ally great that he helps out. He’s truly a genius - he knows how to do it, and I’m really thankful I’m lucky enough to be able to work with him.” Paul hinted at upcoming work in collaboration with DJ duo Christian Rich, composed of twins Taiwo and Kehinde Hassa (nicknamed Christian and Rich, respectively). “I recently hung out with them in L.A. at Red Bull Studios, that was really fun,” he said. “Looks like we’re gonna be working with them, just writing right now.” The produc-ers have laid beats all across the rap and hip-hop industry, credited on songs by artists like Chris Brown, J. Cole, and Earl Sweatshirt.

“I’ve been wanting to work with [Earl Sweat-

shirt] for a while,” said Paul. “He’s one of my favorite artists right now.” He adds Kendrick Lamar and Cashmere Cat to the list. “And Kas-tle, of course.” He only hesitates a moment when I ask about his current favorite belt-in-the-shower tune. “‘Forbidden Fruit’ by J. Cole, it’s got Kendrick [Lamar] in it too. That’s a great song. Have you heard it? You should listen to it.” He delves a little into what he appre-ciates most about the music he listens to. “Part of being an artist is taking care of your craft. You have to take the time to execute it all with care, pick the right people to work with. I think artists like [Kendrick Lamar] are changing the way people perceive artists, the way they con-nect with them.” With the complete overhaul of music from physical to digital, young artists like Paul seem to have the upper-hand on deftly navigat-ing their music through the web. “It’s definitely changing the way music is made - it’s faster,” he said. “You have so many different minds, people from different places. [Kastle] and I live across the country, so when we made stuff together you get influences from both in our sound. There’s his chillstep vibe from Califor-nia, and on my side there’s something similar but a little more grungy.” “People can definitely use all this to their advantage,” he said about music con-vergence online. “The availability of it is so important - if you’re portraying yourself well, the right people will understand you, and your listeners can grow with you. You pick up this core group of followers, and it grows organi-cally online. The new “word-of-mouth” is the internet. As long as you care, and you execute it properly, the possibilities are endless.” “As a little kid, I was always into music. A lot of kids are born with that desire to create, or at least try to, and the more people that try to express themselves artistically, the more people that are gonna start showing up on the scene. My generation grew up on the cusp of technology changing our society. Now any-one can [make music] if they have the passion, and that’s really cool.” Much of that music comes from his home base of Miami, a thriving music scene known more for thumping house music than Paul’s new-wave R&B. “What I think is going on [in Miami] is that everyone gets stuck in their own little musical bubble, in their own districts,” he said

of the scene at home. “Nobody expands - it’s the same shows at the same venues. It’s a lot about the people who book the facilitate these events,” he clarified, pointing out what he sees as a lack of care and intention. “I make music to try and affect the world in a positive way, where I feel like a lot of people are doing it carelessly, not taking it seriously. There’s a lot of clutter.” The notion seems a little stiff, but Paul’s seriousness has long been apparent in his music. “The music is great, but people need to start helping each other out as opposed to just competing. Competition is obviously good, but some people take it too far and too personally.” Paul himself is an example of using the help of other artists to build a career, crediting his vari-ous collaborators and mentors as key factors in getting him where he is now. He insisted, how-ever, that despite its struggles, Miami’s scene is mostly compromised of real talent. “Beneath all that, there’s a lot of real-ly great music,” he said. “There’s a really good DJ scene, a really good folk scene, surpris-ingly, some really good deep house stuff, good hip hop. Every day I’m turned onto somebody new, a local artist I’ve never heard of, and that’s great.” Paul, purposeful as ever, immediate-ly continued on to new projects in the wake of Disparia. “I want to be more external with the music, so people can understand it,” he said of the new material he’s been working on. “I just want to make people feel good, to be honest, in a groovy way.” He sweetly adds that his girl-friend had largely inspired the positivity in his new music. “I was in a dark place,” he admit-ted. “I needed a way to come out of that and see things for the positive aspects in them.” No matter how meaningful or mature music may sound, people always seem eager to bring up just how young a young artist is. 20-year-old Paul shrugs off the age factor, say-ing he doesn’t really feel young. He looks more to the time instead of his age, saying he’s doing as much as he can with the resources available right now. “I’m just thinking to myself that I need to do something now, before I get old and boring.”

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austIn paul InterVIeW

“As a little kid, I was always into music. A lot of kids are born with that desire to create, or at least try to, and the more people that try to express themselves artistically, the more people that are gonna start showing up on the scene. My generation grew up on the cusp of technology changing our society. Now anyone can [make music] if they have the passion, and that’s really cool.”

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U n f I n I S H e d conVerSatIon.

ings something simple under a different light and opens an alternate world of expression.

“I guess the first time I ever picked up a camera I was 15 and in my final year of school. At the time I had a really strong passion for painting and my art teacher told me to photograph my paintings for my sketchbook. He lent me his 35mm film camera and sent me home to photograph all of my work. But back then I had no idea how to use a camera. And when I got the photos back, pretty much everything was underexposed. Strangely enough, I remember thinking that these photos I’d taken had a really nice feel to them. After I left school I started a graphic design course but I knew it wasn’t for me, so I quit and eventually, after another three years of doing nothing, I decided to join a photography course. I don’t really remember thinking that I wanted to become a photographer, but I was doing it because it was quite enjoyable and I didn’t feel com-pletely useless at the subject. It all changed for me when I got to the final year of my degree: I build up this huge passion for photography and knew I didn’t want to do anything else.”

Paul P hung.

T he mysterious world of Paul Phung’s photography captures a memory, a moment in the life of a stranger, that’s both in-triguing and mundane. There is always a story, hidden emo-tion or an unspoken truth in Paul’s black and white imagery. It’s technology combined with unique artistic vision that br-



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It is sometimes difficult to find the right words describing this intangible craft: all the importance lies in the tiniest of details. “I’ve always found it quite difficult to explain my work, a lot of people have mentioned it being really dark, but I’m not sure if I see it that way. I concentrate a lot on creating strong moods and atmospheres within my photos.” Inspira-tion comes in a variety of ways; it is always a process, a movement, an unfinished conversation with the viewer. For Paul it’s cinematography. “I’m greatly inspired by cinema, from directors such as Andrei Tarko-vsky all the way to Wong Kar-wai. I’m still constantly learning from every shoot I do and know I’ve got a long way to go until I can be fully satisfied with my work. I also love the photographic series ‘Homes at Night’ by Todd Hido and I think that really inspired me when I was studying photography.”

Every photographer has a preferred way of work, sometimes it’s the lo-cation that produces a great shot, and sometimes it’s the overall feeling that makes an emotional connection. “Currently I love shooting against strong and bold architecture, I’m always on the lookout for locations, but I think my favorite time to shoot is at night. I wish I could always shoot in the night time. I just really love how peaceful it is at night and how mysterious looking the photographs come out as.”

Sharing his future plans and dreams, Paul adds, “I would love to visit Yosemite National Park one day to explore and shoot. I think that would be a dream place to visit, but I’m traveling to China soon, so I’m re-ally excited for that and will hopefully start some new personal projects whilst I’m out there. I am also in the process of bringing out either a book or a magazine soon. But at the moment I’m just really enjoying my time as a photographer and I don’t really think too much about the future. I just try to make sure that every shoot I do is better than the last, and that’s all I can hope for at this time.”

“I’ve always found it quite difficult to explain my work, a lot of people have mentioned it being really dark, but I’m not

sure if I see it that way. I concentrate a lot on creating strong moods and atmospheres

within my photos.”

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TOGETHERNOWphotography amIe mIlnestylIng rICky James flynn

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“Acting aside, music and art started as a very personal thing. If I’m writing something, music or painting, it’s because I want to. It’s some-thing for me. Only after the fact do I think that it may be something that others are interested in.” Pyfrom’s “acting aside” refers to his very busy career as a child actor. Learning to talk and learning to act were practi-cally synonymous for Pyfrom. By eighteen years old, he had already worked on over fifty film and television shows including 7th Heaven, Reba, Family Guy, Pay it Forward, Malcolm in the Middle, Chicago Hope, Nip/Tuck, 8 Simple Rules, and countless more. Then in 2004, Pyfrom was offered the role of Andrew Van De Kamp on Desperate Housewives. After star-ring in 112 episodes as the cunning and devi-ous son of Marcia Cross, Pyfrom and the rest of the cast bid adieu to the critically acclaimed show with the series finale in 2012. Since then, Pyfrom has been passionately pursuing visual art.

A typical day at Pyfrom’s West Hollywood home often begins with a paintbrush. As he shared, “Sometimes if I’ve started a painting the night before, I’ll wake up and get right to it before breakfast. Hours will go by, and I’ll realize I haven’t eaten anything all day [laughs].” Pyfrom’s paintings are categorically dark and minimalist, and for Pyfrom, they’re entirely personal. “Any type of art that I choose to explore is a cathartic process – I’m working through something that’s troubling me. All my darkness goes into my work. I’ve thought a lot about why I go dark with my paintings. Even with my acting in some ways, I try to find the dark-est part of that character and explore it... but on the whole I feel like I’m a pretty positive person.” It’s true. From his shoot’s hair and makeup team, to our restaurant’s waitress, Pyfrom’s positivity was infectious. “When we’re happy, we’re living out a moment and we want to continue living out that moment. You’re not like, ‘Oh fuck, I want to sit down

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“honestly, any way that I can be involved in the art community, I want to be in-volved. It’s now become a larger part of my life and I want that to continue. I’m entering a whole new world and have a lot to learn – that’s the stage I’m in.”


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There are many great things in the works for Shawn Pyfrom. Between his upcoming art exhibition in Beijing, his music blog, “Sonic Pleas-ures,” his newfound interest in live theater, and learning to play an in-strument, the 27-year-old actor, artist, and all around renaissance man is keeping busy. However, there is a fresh excitement in his voice when talking about his art work. “Honestly, any way that I can be involved in the art community, I want to be involved. It’s now become a larger part of my life, and I want that to continue. I’m entering a whole new world and have a lot to learn – that’s the stage I’m in. I’m focusing on bettering my skills, and just learning about this world that I’m entering.”

Pyfrom is sensitive in the best of ways. From our preliminary phone conversations to our days together in New York, Pyfrom was surprising-ly sweet and sensitive, not just in his own emotions, but to his surround-ings as well. Our interview sessions felt appropriately informal, and Py-from was just as much a great listener as he was an articulate speaker. It was also inspiring to sense that Pyfrom has now truly grabbed his career by the horns. He has reached a well-deserved plateau where he can call the shots. This was apparent in his genuine excitement about his current lifestyle and endeavors. As a new chapter begins, regardless of what we see from Pyfrom in the next few years, we can rest assured he’ll be leading with his heart.

and paint for an hour.’ When I’m going through something dark or trou-bling, it’s easier to understand it if I can see it or hear it, you know? I guess that’s why a lot of my paintings are dark. It’s therapy.”

Though he had always been the type of child to go for the tracing paper and colored pencils, Pyfrom’s first real immersion into visual art was a bit of happenstance. “I started painting when I was eighteen. I had just moved out of my mom’s place and I wanted art for my walls but thought that if a painting wasn’t worth $20k, it wasn’t worth jack shit, but you know - what did I know I was an 18-year old kid [laughs]. Obviously, that’s not the case. But I couldn’t pay the money for really expensive art, so I just started painting. I did my first painting, liked it, and it was always just a hobby until about two or three years ago.”

For his Escape Series, Pyfrom painted very recognizable artifacts on small canvases. A cigarette. A pill. An iPhone. A line of cocaine. A glass of alcohol. Some people might call them vices, but Pyfrom sees them for their function. “I wanted to paint subjects that people use to escape reality. All these subjects are things people feel black or white about. They’re either for or against it. In the way that you look at a pill for example, it elicits a certain feeling; you either really want it or are repulsed by it. That’s kind of what I was going for with all of those subjects.”

“I wanted to paint subjects that people use to escape reality. All these subjects are things people feel black or white about.

They’re either for or against it.”


G e n r e -B e n d I n G

25-year-old London native Stuart Howard speaks with a sort of disarm-ing casualness, responding more often than not with a thickly accented “I dunno, actually.” Producing under the monicker Lapalux, Howard’s mellow nonchalance seems all too appropriate when you liken it to his music. Even before signing to Flying Lotus’ indie label Brainfeeder in 2012, Howard has been releasing a constant stream of predictably un-predictable sound. Lapalux finds itself in the newfound chasm of truly genre-less music, a steadily growing group of artists who create sounds that are almost impossible to categorize. Atmospheric, ambient, hip-hop, soul, and dance are all keywords that seem to pop up in descrip-tions and comments on his work, but no grouping of adjectives can pin-point his sound as a whole. “A lot of it is emotion-based music,” Howard said. “It’s based on what’s going on in my life and whatnot. Sort of like potential, mo-tive-driven music.” It’s a forward response, and yet still cryptic - the ex-act same kind of duality that seems to appear in his production. “I’m just trying to go into the world and create.” Howard released his debut LP Nostalchic earlier this year, a 12-track album of mesmerizing, spacey sound. “I don’t really stick to a genre, so it allows so many possibili-ties,” he explained. “The new stuff I’ve been working on is merging a lot of genres. It’s a fresh kind of sound.”

Despite resistance from artists like Howard, music-sharing websites still structure music categorized by genre - even if you can’t. “I really wouldn’t,” Howard insists, when asked what genre he would choose to describe his sound if he had to. “I never really stick to one. At the moment I’m doing this sort of club-y, almost techno sound. The next album is kind of hip-hop beats, a funky kind of thing. I wouldn’t want to put myself in any box. That’s why it’s nice not having to stick to one genre - I play around with different ideas and end up with all these different sounds.”

Words alexandra steVensphotography meghan sharp


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The disparity in influence creates a broad scope, spreading out his fans track by track. “Each song could have a different listening base. Like maybe young people listening to something like Guuurl,” he said, for example. “Older guys listening to other tracks. There’s a lot of crossover, versatility. I like to make things that are open to anyone interpreting what they want from it.” With all the globalization of music on the internet, it’s hard to pinpoint who exactly is listening, and from where. “It might actually be America,” he muses when asked where he thinks his central fan base might be. “It varies, I couldn’t even really tell you.” Howard is currently touring North America to promote Nostalchic, his music hav-ing taken him worldwide within the past few years. “I like being out of my comfort zone,” he stated. “I like moving around.” And mov-ing around he certainly has - Lapalux has per-formed everywhere from Japan to Pitch Festi-val in Amsterdam, and even had a gig at the iconic Sydney Opera House. “I like to sit down in the studio in my own home, it is nice to have a place I can always go back to,” Howard said of the on-the-road life of today’s music makers.

“But in the end I like experimenting, going out and making shit.” Cinematographer/director Nick Rut-ter has now teamed up with Howard for two artistic ventures, creating haunting short films using Lapalux’s music. The first video was re-leased in March of this year, set to the stripped-down sound of “Without You,” a track from Nostalchic. Natalia Tena of Game of Thrones and Harry Potter fame stars alongside an un-named actor in an always-unsettling gimp suit. Kerry Leatham’s vocals are overlapped on a minimalist beat, providing a contrastingly mel-low sound for the bizarre video. Early Septem-ber marked Rutter and Howard’s second col-laboration, the short film “Chrysalis,” set to an original Lapalux track entitled “Gold” featuring Jassy Grez. Clocking in at just under five min-utes, the film details the story of a love-stricken teenage boy who physically rots as he aches for a girl who’s with another boy. Rutter’s creepy, romantic aesthetic is perfectly complemented by Howard’s atmospheric sound; the duo has combined forces for captivating results. “I’d like to think I could get more into scoring, or films,” he said, his recent projects with Rut-

ter having shown off his keen eye for pairing music with film. “It’s all about the crossover between visual art and the visual representation of my music. I think of it as a sort of sound col-lage.” Howard himself rarely listens to mu-sic aside from his own, a surprising notion for a producer. “I’m really focusing on my own mu-sic,” he explained. “I feel like I’ve been stuck in a way, from listening to new music.” Much of that focus has gone into his next album, which fans can expect... “I dunno yet,” he an-swered. I could practically hear him shrugging over the phone. “Probably early-ish next year.” Howard’s take on creation is re-freshingly in-the-moment - he simply lets his process evolve naturally instead of forcing it within constraints of time. “I don’t really dwell on where I’m going to go with it,” Howard said of future plans. “It’s just a fluid sort of process. It’s not really about where I’m going to be in five years, I’m just working on stuff constantly and seeing where it fits in. I don’t really think too far ahead.” And for him, it seems like right now is exactly where he needs to be.

“There’s a lot of crossover, versatility. I like to make things that are open to any-one interpreting what they want from it. ”


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I am (ISIS) Throw away your preconceived notions of rock and soul music, because I AM (ISIS) and her band lay down a sound unlike anything you’ve heard. Her cadence-tight, spoken word poetry lyrics and sultry-smooth hooks are backed by sexy guitar riffs to make melodies that - in her words - make you want to “get free.”

“When you see, hear, experience us - you experience everything that is you that you didn’t even know you had,” says ISIS. “We just want to make good music that moves people.” The band’s eclectic fivesome have been bringing energy and technical prowess to the stage for over two years, and have opened across the country for the likes of India.arie and Wyclef Jean. Their shows have been described as a series of juxtaposes – explosive but graceful, rock-filled but bluesy, sonorous but with the amps at 11.

Rock history will attest that music creation in a band with five mem-bers, a powerhouse lyricist, and a constantly traveling schedule proves to be anything but ordinary. With their new album amazingly random due in Fall 2013, ISIS and her band have had to focus their tangible energy.“The best part of creating is when everybody takes charge, and all of our sounds and technical abilities marry into this sonic stew,” says ISIS. “It’s in those differences that we discover how alike we are.”

Words melody burdettephotography spenCer kohn


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5. John Mayer - Paradise Valley

The days of John Mayer being relegated to pop radio channels and Page Six tabloids are long gone. Over the past ten years Mayer has solidified his place among the ranks of history’s greatest guitar players, and performers, showing us that while we can all get down to “Your Body Is a Wonderland” - he’s got more tricks up his sleeve. Mayer’s latest album Paradise Valley follows a three-year hiatus from the public eye and two throat surgeries - and we’re happy to report that #mayerisback. Paradise Valley is ripe with American folk music influences, and homage to the time Mayer just spent in Montana. His lyrics have a distinctly more reflective feel, as well as his hooks being more closely tied

to blues tones than the standard hooks of Room for Squares. From the airy summer opening track “Wildfire” to the ode to women who chameleon themselves to fit social surroundings “Paper Doll” - the entire album is an auditory slam-dunk. Pour yourself some bourbon on a back porch and do yourself a favor, this album does not disappoint. -Melody Burdette

Best Tracks: Paper Doll, I Will Be Found (Lost At Sea)Rating: 5/5

3. Washed Out - Paracosm

On Washed Out’s sophomore LP “Paracosm,” singer Ernest Greene exem-plifies the album title with his sonic representation of a euphoric world un-touched by human hands. With muffled, lo-fi beats, textural sounds layered over lulling melodies and Greene’s smooth, echoic voice, the collection is an experience that sounds like a summer romance too impeccable to be recalled through only words. Greene invites us into his personal paracosm with the fitting opening song “Entrance,” when you’re transported into a foreign world of uncanny op-timism. This track pulls you into a faded vision—as if transitioning from dream to dream in your sleep—where the clear skies are a saturated hue of blue unlike anything that could exist in the earth’s atmosphere. We’re relax-ing on an endless bed of soft, green grass and our vision is slightly blurred like viewing the world through a fisheye lens. As the body tracks ebb and

flow between the warm winds of Greene’s paradise, we find ourselves run-ning endlessly without breaking a sweat amidst the album’s web of sooth-ing guitars and grainy drums. The sounds create a sentiment of endless freedom that can only exist in this distant domain. “Paracosm” plays with the youthful nostalgia of a child’s lim-itless fantasies, but exhibits Greene’s fine-tuned craftsmanship as a musi-cian and artist. It’s playful, cohesive and an inimitable showcase of a world we can experience for an hour, but never fully understand. Although it’s arguably difficult to create work both mysterious and devoid of pretention, Greene has permanently opened the door into his personal fantasy. -Justin Moran

Best Tracks: All I Know, WeightlessRating: 5/5

1. Disclosure - Settle

There’s probably a bunch of you looking at this and scoffing like duh. At this point, Settle might have gotten more love than Cara D’s eyebrows. This album has been hyped hard since its June 3rd release, heard throughout the summer from rooftops and car stereos. Then fall began, and the weather confused everyone, and Settle was playing at runways and parties all over New York Fashion Week. And yet, three months later, I still feel the need to join in on the Disclosure ass-kissing because Settle is just that good. Brothers Guy and Howard Lawrence of Disclosure are only 22 and 19, respectively, and their debut album is nothing short of impressive. The Sur-rey natives have referenced musical styles beyond their years to turn out their own seamless blend of soulful, funky, deep house-pop. Disclosure introduced the album before its release with songs like “White Noise” with AlunaGeorge and “You & Me” featuring Eliza Doolittle, both showcasing the duo’s ability to masterfully combine their sound with powerful vocals.

The album features the voices of fellow Brits like Jessie Ware, London Grammar, and Ed Macfarlane. Their collaborations are skillfully executed - vocal melodies compliment the music without overwhelming it.Settle occasionally finds itself sounding slightly repetitive; the looped sam-ples and slow progression miss the mark on a couple tracks like “Grab Her!” and “Stimulation.” “When A Fire Starts to Burn” samples an interest-ing bit from self-proclaimed “hip-hop preacher” Eric Thomas that I found really trying at first, but eventually grew to like. Settle’s explosive lead single “Latch” with Sam Smith is more pop-oriented, and has received criti-cism for it, but is probably my favorite track on the album. Settle is infec-tiously happy without losing any complexity, an exceedingly mature debut from the British duo. -Alexandra Stevens

Best Tracks: Latch, Defeated No More, White NoiseRating: 5/5

2. Danny Brown - Old

Danny Brown isn’t even old. The 32-year-old Detroit rapper admitted so himself, but said his album Old is more about the idea of being old than the actual concept of age. Two years in the making, the much-anticipated album was finally released in late September on A-Trak’s label Fool’s Gold. Old starts with a surprisingly contemplative A Side in which Brown flexes his prowess of rhythm and rhyme. The B Side brings the the trippy, gap-toothed Danny Brown we all came to love in XXX. Radio-friendly party jams about twerking and rolling on Molly still manage to be clever and excellently produced, as seen on Darq E Freaker’s “Handstand” or with A-trak’s “Smokin & Drinkin.” Brown’s collaboration with Canadian duo Purity Ring and his closing track with goth-pop princess Charli XCX show off his versatility and range. He deftly transitions between and within songs with his usual array of vocal styles - sometimes he sounds like a completely different per

son from track to track, but it never comes off gimmicky. Freddie Gibbs, ScHoolBoy Q, Ab-Soul and A$AP Rocky make appearances throughout the album, a solid lineup that complements Brown’s sound. If you’re actually old, you probably won’t like Old. If you don’t like Danny Brown, you definitely won’t like Old. While it’s certainly an evolution of his sound, Old is still chock full of the usual drugs, sex, and high-pitched cackles (which, let’s be honest, we’d all be disappointed without). The A Side is decidedly more thoughtful and creative, but the B Side brings catchy hooks and bouncy bass lines that make for guaranteed party-starters. Charisma, playability, and a satisfying feeling balance: Old is doin it. -Alexandra Stevens

Best Tracks: The Return, Torture, DipRating: 4/5

4. Julianna Barwick - Nepenthe

Haunting and atmospheric, Julianna Barwick’s third album Nepenthe is a stunningly layered collection of songs that evoke both vivid scenery and emotion. Nepenthe, a reference to an ancient Egyptian medicine for sad-ness, perfectly suits the tragic undertones of Barwick’s compositions. The Brooklyn-based musician uses her own Grimes-esque vocals, breathy and often wordless, looped over chilling strings and gentle piano lullabies to form complex melodies. “One Half” is one of the only tracks that features clear lyrics, Barwick’s voice ringing out clear and strong. Echoes and hymn-like progressions evoke the rural midwestern churches of her child-hood; simple and humble at parts, then swelling to cathedral-like propor-tions. The 10-track album plays like a haze of forgotten memories, told in

sweet, unintelligible whispers. Barwick’s musical evolution has led up this release, which stands as an example of ambient music done right - free, ach-ingly emotional, and strangely nostalgic in an unplaceable way. -Alexandra Stevens

Best Tracks: Pyrrhic, Look Into Your Own Mind, The HarbingerRating: 4/5

Words alexandra steVensImages Courtesy of bang bang nyC

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tattooing can be traced back thousands of years, and our fascination with tattoos is clearly here to stay. Now everyone seems to have one, with celebrity tattoos in particular receiving lots of attention. The internet was set abuzz when Rihanna got her enormous, Egyptian-inspired rib cage tattoo, and the baby-faced Justin Bieber shocked his tween fan base by getting inked. Celebrity tattoos have proliferated pop culture like any other fashion statement, being constantly photographed, blogged, and imitated. So who’s skillful hand is behind so many of these now-recognizable tattoos? Meet tattoo artist Keith McCurdy, known as Bang Bang. The 27-year-old got his humble start with his own machine in his mom’s kitchen, practicing on himself, then friends and family. Fast-for-ward not even ten years and Bang Bang can now take credit for tattooing a barrage of iconic actors, athletes, models, and musicians. McCurdy’s work can be seen permanently etched into the skin of Rita Ora, Alan Cumming, Alicia Keys, and Amar’e Stoudemire, to name to few. After stints in tattoo parlors throughout NYC, McCurdy has finally opened up his very own namesake studio - Bang Bang Tattoos is now open in downtown Manhattan, and Bang Bang is set to literally make his mark. “We’re gonna try and change the tattoo industry into some-thing welcoming and fun,” McCurdy says of his team, which currently includes eight celebrated artists with mesmerizing portfolios. The stu-dio’s website describes the shop as “a re-imagining of what it means to be a tattoo parlor.” (bangbangnyc.com) McCurdy hopes to use an upscale salon environment to clear the negative connotations behind tat-too art. “We’re gonna try to bring this brand towards welcoming people, especially women, and be supportive of the arts and supportive of the people who want them.” Bang Bang is definitely on to something more than just a fleeting trend; polls within recent years have shown a marked increase in female tattoos, many suggesting that tattooed women now outnumber tattooed men for possibly the first time in history.

Bang Bang’s new Clinton Street studio sits in a cool Lower East Side neighborhood, just a short walk from the Williamsburg bridge. The sleek glass entrance is marked with Bang Bang’s square logo, lead-ing into a brightly lit, white-walled room. The former gallery space con-tinues to display visual art with rotating installations curated by Max Teicher and Allison Smith from New York’s renown Gagosian Gallery. The outdoor patio hideout is laid with turf, and the basement level hous-es a secretive underground oasis for high-profile clients. We caught up with Bang Bang at his September grand opening party, where guests like the New York Knick’s J.R. Smith and Rihanna sipped Patron cocktails to music by DJ Becka Diamond.

W hat do Lady Randolph Churchill, a Samoan high chief, Rihanna, and a 5,000 year old European mummy have in common? It sounds like the start to a bad joke. The answer, however, is an ancient art form practiced on the most intimate canvas of all - tattooing. Evidence of


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“It’s really gonna be something unique - we’re trying to bridge the gap between fashion and tattooing,” he says of his new space. Like a neck-lace or a pair of shoes, a tattoo is a conscious form of outward expres-sion. “Tattooing is the ultimate fashion, people just haven’t realized it yet.” Tattooing has become more common than ever in recent years, and lately they really seem to be just as common as jewelry. No longer exclusive to the skin of sailors and bikers, tattoos are now unsurprising to find on housewives, bankers, and sorority girls. “Information spreads, tattooing has never gone away, its only been growing and growing throughout our culture since the 1920’s,” said Bang Bang, weighing in on the growing number of people with ink. “In ancient Egyptian days people were getting tattoos, really important people. [Tattoos have] never not been here, and people are now really starting to accept that. They’re like, ‘Oh, it’s okay you have a tattoo. You’re not a bad person, you are you.’” Part of McCurdy’s objective is to promote that image, to further enforce the idea of a tattoo as a person-al declaration. “Be you, support individuality. On a planet where there’s nine billion humans, how do you be you?” He asks. “Define yourself. Get a tattoo.” As with any medium, the art of tattooing offers up countless possibilities and variations from portraits to lettering to colorful charac-ters - and Bang Bang loves it all. “Whatever I’m doing at that moment, I love. I won’t do something if I don’t love it, or don’t love the idea of it, or find a way in my head to make it beautiful - If I’m doing it, I love it. I really just love the application and the whole process. This is my job,” he says with enthusiasm fit for a professional candy taster. He looks around his studio with an infectious grin. “I’m working right now.” McCurdy seems to have boundless love not only for his craft, but his clients as well. He lights up when he’s asked about his dazzling array of famous canvases. “I love them all, I really do,” he says of his star-studded client list. “Cara [Delevingne] is a party in a bottle. Justin [Bieber] is hilarious, you just want him to be your little brother - at least I do. Lenny [Kravitz] is so talented, just being around him feels like I’m like, stealing power from him,” he says with a laugh. “Alicia Keys, Adele, I can’t even speak on their talent level and the timeless music that they make.” He lists off customers like one would talk about close friends, insisting he could never play favorites. “They all mean so much to me, I can’t single one out.” He likes them so much, in fact, that he often hands over his gun and lets them turn the tables. One of McCurdy’s legs serves as a wearable scrapbook, covered in scattered tattoos from a unique list of characters. Celebrities, friends, and even the twelve-year-old son of his first tattoo teacher have left permanent autographs on Bang Bang. A smiling peppermint candy by Katy Perry sits next Rihanna’s R-embla-zoned umbrella, while a “Swaggy” muscular cartoon mouse by Justin Bieber reads a lot more like “Swassy.” With such an impressive and recognizable list of clients, who could possibly be missing in the lineup? “I’ve been saying for a while I wanna tattoo Obama,” Bang Bang told me. “I think an American flag or a tattoo of his daughters would be appropriate.” I expect the canvas to be somewhere subtle, easy to cover up behind the podium, but Bang Bang’s fantasy is truly full-fledged. “Neck, for the flag, maybe,” he says earnestly. “Portrait on the thigh.” I look at the namesake revolvers on McCurdy’s neck, among others, and try and picture the president with a neck tattoo. Maybe the placement seems a little laughable, but the idea in itself isn’t so far-fetched - many former presidents were rumored to have tattoos, and countless Congressional Representatives and cabinet members currently rock tattoos. President Teddy Roosevelt was con-firmed to be proudly inked across the chest with a family crest. So with a beautiful new parlor and big plans for the culture of tattooing, what should we expect next from the inked-up powerhouse? “We’re going to globally dominate,” he deadpans. Though he laughs, I get the feeling he’s only half-joking. He proudly looks over the crowd celebrating his latest venture. “This is our new studio, this is our grand opening, and we’re ready to rock. We’re full steam ahead.”

“Whatever I’m do-ing at that mo-ment, I love. I won’t do something if I don’t love it, or don’t love the idea of it, or find a way in my head to make it beautiful - If I’m doing it, I love it. I really just love the application and the whole process. This is my job.”


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Creating dishes that can’t be duplicated means pulling from a variety of interests, and in KPE’s top three are the worlds of art, fashion, and cui-sine. Along with making a killer tomahawk steak and black truffle pate choux fritters with confit asparagus (the envy-inducing meal prepared for President Obama) he is a self-proclaimed “pro shopper”, and uses his sartorial conquests as inspiration for new creations.

“I like taking outfit ideas and transforming them into food concepts.” KPE says. “An Alexander Wang mesh shirt paired with black snakeskin pants could translate to black sea bass ceviche with squid ink foam ice cream.” However intricate his dishes may be, his advice for budding palate pleasers is simple: “Patience is really a virtue, and you can’t get much done in life if you only work on the days when you feel good.”

When you consider that his resume already boasts an Executive Sous Chef position at Central Park’s Jean Georges Steakhouse, a diploma from the Culinary Institute of America, and the experience of cook-ing for President Barack Obama – it’s hard to deny that the plates are stacked in Kristopher Edelen’s favor.

Chef KPE, as he’s known to his friends, cites growing in many differ-ent American cities as the thing that initially shaped his palate and love of differing cuisine. Personal inspirations for Edelmen include British celebrity Chef Heston Blumenthal and his Nana – but the man who in-spired his cooking from the beginning? Willy Wonka. “He’s a genius,” KPE says. “A man who uses pure imagination to create things that can’t be duplicated. That’s what a great chef is supposed to do.”

Words melody burdette

photography sarah kJellerenart dIreCtIon shaun ross

Chef Kpe.P U r E

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Chef kpe InterVIeW

lar format of two-dimensional fine art: the paintings can be rolled, moved or folded, allowing for a greater flexibility in both shape and interpretation. I met Andres at his studio where he creates most of his work, and had a firsthand experience of his new artistic project.

Why did you choose art? What led you to this decision?

I started out in 2010. In many ways I have always been appreciative of art. My family is full of artists; there are composers and painters, my mother is a singer. Growing up I felt I wanted to follow this career path, but ended up studying finance. I had a moment, when I was completely confused and didn’t know what to do with my life. I had so many things I wanted, but none of them really fulfilled the void inside. And so I struggled being in one way or another. I had all kinds of different jobs, but neither of them felt right. I am a very energetic person and very so-cial. I needed to find the way to merge that energy into something. The paintings were the answer. I needed to breathe. It was the beginning of another way of expression.

How would you describe your painting style and technique?

It’s very hard to speak for my own work. It’s so beyond even my own understanding. I’m just happy to be able to produce it. It’s really ab-stract; there are a lot of emotions in it, and it’s very difficult to describe an emotion. Sometimes it’s pain, sometimes it’s love; there is some sort of anger – there are all different kinds of feelings. I think my work is different in its evolution. I work with different sorts of materials. I’m painting with my special technique of drip paint on canvas. I use spray cans, watercolors and a lot of tempera. I like to mix those mediums and see how they behave together; I like looking at them as they take a life of their own. There is always an element of experiment in my work. I don’t have any boundaries in choosing my technique or materials; I simply decide what’s supposed to be done at the moment or I listen what the

Words IrIna romasheVskayaphotography John Caballero

A ndres Angel Prada is a soft spoken Colombian born and New York-based artist with an air of mystery around him. His approach to art could be described as a combination of spirituality, spontaneity and unconventional wisdom. Pra-da’s latest collection of paintings is a step beyond the regu-

the artistAndres Angel Prada.


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painting is asking for. I can compare my work process to a dance, and in that dance there is harmony. I try to find harmony as much as possible; harmony is very difficult because it has so many elements, it’s almost unreachable sometimes.

What does art mean for you?

Art is the way I live my life. It’s something that allows me to express myself entirely and more so. More so, to the point of being able to be surprised with the things that are evolv-ing through my work. But I try to be as humble as possible about my work. I feel that for an artist it’s important to have real respect for his gift and not to take it for granted. It’s hard to be an artist. And it’s hard to be an artist talk-ing about being an artist. As an artist, I just feel and paint. This is the freest way of expressing myself. Art is similar to writing, but in writing you are limited to words to a certain degree. I’m a big follower of all kinds of different art-ists, but mostly modern artists and the way they express simplicity. I think that to find simplic-ity you have to explore. You have to go through a jungle of complexities and feelings, objects and things to then decide, what is really simple. To me, simplicity in art is what works. When I see my paintings, I see a lot of energy. The energy of the time.

What role does the artist have in society?

I think artists are essential in society. They are the ones that are able to have the sensitiv-ity. They sense what currently happens in the world and foresee changes and evolutions. It’s because of that sensitivity they are able to grasp that much more. As an artist, you transform the common thought of society into art using your own language, be it paint, words or marble. In the art we also allow room for interpretation and open windows for people to breathe. We are able to make a beautiful allegory out of a grey day and bring hope to a lot of people. In that way, art is a print of society’s history.

How has your work evolved since you start-ed?

My first exhibition was called “Fractal Integ-rity”. I felt like a free bird as a new artist. I had the composition, the colors, the energy, the

structures, some mathematics and some philos-ophies in my work. Inspired by Tibetan flags, I mostly used primary colors in the beginning. My following collections were a continuation of my previous exploration. When I see all the pieces together, I feel there is a composition that continues to evolve. There is the same kind of work in layer after layer, after layer, until you are able to see a whole concept of it all. There was a lot of circular motion and energy in the beginning of my work. Gold movement came later. Most of the backgrounds in the ear-ly pieces are white, but with time they move towards black and grey.

Which color direction are you taking right now?

Metallics and gold. Gold is a primary color in my work right now. There is gold everywhere. There is 24 carat gold, and acrylic that looks like gold, or sprays, or even gold leaf for small pieces. Gold is also a representation of value, both visual and monetary.

How would you describe your work process?

I paint while listening to classical music. When I paint, I paint nonstop. I would have days when I’d have no sleep and would continue painting, painting and painting. That’s how I created my first collection in 2010.

Who are your favorite composers?

Handel, Mozart and contemporary Welsh com-poser Karl Jenkins, whose “Allegretto” in-spired one of my works.

Could you name three artists you admire or would like to be compared to?

Some of my paintings can be compared to Jackson Pollock, and some to Wassily Kand-insky for the similar use of circular motions. I admire many artists, such as the surrealist work of Vladimir Kush, which makes you think of objects as so transformable, like a table that can be made into an oasis.

What makes you angry and what inspires you in life?

I like beauty, beauty in all forms; I think I see it

everywhere I look. I’m fascinated with human behavior and psychology, and how we interact in this world. If you really pay attention, there is such a stream of consciousness that connects us all. So I like to study that. I read all kinds of information in different kinds of forms: fic-tion, philosophy, mathematics, psychology. There are some books that I will read to a cer-tain page, and it would lead me to something inspiring. I think the most important in life is learning from people and their actions, learn-ing how people really behave. What drives me crazy? Perhaps, authority. I think authority and limitations are two things that I hate the most. That is probably why I like to use big format for my paintings, because it doesn’t restrain my expression and allows me to explore.

What are you working on right now?

I’m exploring an idea of using two sides of the canvas to display my work. I like the concept of using canvas on both sides. I think the idea of having the paintings to be more free-flowing, more three-dimensional is really exciting. You are able to be a part of the painting, there is no restriction between a wall and a painting. It’s like a painting can be alive. I feel that some of these paintings have their own personal-ity, their own life and entity. I enjoy working in an organic way, shaping my canvases to fit my imagination. This piece is pretty much an experimentation, which can be recreated over and over again. I’m also currently working on a commissioned piece titled “Rose Window”.

What would be your dream project if you had the opportunity to do anything?

I’d paint entire town gold! I’d be interested to have my artwork in the public space, painted on walls, windows, and arranged as sculptures.

“I’m a big follower of all kinds of different artists, but mostly modern artists and the way they express simplicity. I think that to find simplicity you have to explore. you have to go through a jungle of complexities and feelings, objects and things to then decide, what is really simple.”


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DiamonD Districtphotography florIan maas

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photography florIan maasmake up artIst & haIrstylIst mIrI ben shImol

model danIelle lIberman at passIon management tel aVIV

For a relative newcomer to the fashion industry London-based Patrick Li is incredibly grounded and determined to succeed. After a couple of successful stints at avant-garde power houses of Hussein Chalayan and Victor & Rolf, Patrick set off on his own journey, becoming one of the most promising young designers to watch. Blending architectural lines with a subtle color palette, he successfully creates a modern aesthetic, a unique vision that redefines the way women of today aspire to dress.

Tell us about your fashion background. What was your journey into fashion?

I have basically gone through the traditional route of fashion education and completed a whole seven years of fashion studies. It was a long but rewarding journey. Growing up I was always drawn to arts and crafts – anything creative really – I knew it was something I was good at and it felt great doing it. It was the stimulating and glossy images in the fash-ion magazines that gave me the idea of giving fashion a go, but it wasn’t something that crossed my mind at first. I took a foundation course in art and design at LCF (London College of Fashion) and tried out different disciplines in alternative creative areas. I thought of becoming an artist and graphic designer, but at the end I came to study fashion and have never looked back.

BlendInG dYnamISm and StrUctUre.InterVIeW IrIna romasheVskaya


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Tell us about your work with such heavy weights of the avant-garde fashion as Hussein Chalayan and Victor & Rolf? What did you learn from working with them?

It was such a privilege to intern at Viktor & Rolf and Hussein Chalayan. Gaining insights into how fashion houses are run were eye-openers for me. Both houses worked extremely creatively in terms of the design process. I learnt how to work and communicate effectively within a team at Hussein Chalayan. It was an exciting time there that season, he was experimenting a lot with laser and Swarovski crystals, and it was fascinating to see technology applied in fashion. At Viktor and Rolf I worked with the womenswear and the atelier teams, where I sharpened my design skills and, interestingly enough, also learnt how to make amazing Dutch salads, as all the interns had to take turns making lunch!

Do you find it difficult to find the right balance between conceptual and commercial sides of fashion?

I struggled to balance between the two whilst still at school, where crea-tivity mattered above all and commerciality was the last consideration. However, I found a way to balance both harmoniously by constantly thinking of the women that would be wearing Patrick Li when design-ing a collection.

What was the inspiration of your latest collection?

For the Fall/Winter 2013 collection I was initially inspired by the ‘Shad-ow Catchers’ exhibition at the Victoria & Albert Museum, especially the work of Garry Fabian Miller. I found the use of singular lighting intrigu-ing and the images both impeccable and sensual. The collection aims to capture the subtlety of the light shining through the darkness. Incor porated into the dark colour palette, are contrasting textures in leather, velvet and wool, adding depth and dynamism to the collection. I also took inspiration from the work of Zaha Hadid. The bold structures in the architecture provided a stimulating starting point to development of the collection. The sharp and striking asymmetric cutting for F/W13 also incorporates bias seams, adding an organic touch and a strong contrast against the geometry.

What can we expect from you for Spring/Summer 2014? Can you give us a few hints?

I am working with a lot of bright colors this season, and asymmetric cutting with bold graphic shapes.

“Architecture is one of my main concept references. I am especially intrigued by the work of Zaha hadid and Frank Gehry. I really like the bold structure and the serene feel of Zaha’s projects and the abstract rhythm in Frank’s work.”


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What inspires you the most in your work?

Architecture is one of my main concept references. I am especially in-trigued by the work of Zaha Hadid and Frank Gehry. I really like the bold structure and the serene feel of Zaha’s projects and the abstract rhythm in Frank’s work. I also find photography and fine art installation inspiring.

In your opinion, what is the most important item in every woman’s wardrobe?

That would be a special day dress. I think every woman needs a special piece to wear during the day.

Can you share your future plans with us?

I am planning to show on schedule in London and expand the label to the US and Chinese markets in the upcoming seasons.

What is your favorite part of the job as a designer?

I enjoy the designing and creating part of the job; seeing a collection finally coming together, seeing the clothes on the models is the most rewarding feeling to me. It would be great to just fast-forward the long development process though.

Can you describe your work process? What is your preferred way of work?

A lot of my design work comes from drawings. As a starting point, I find a few key images to capture the direction and mood of the collection, and then draw the ideas and shapes down, and after that sample and work in 3D.

What is your favorite color palette?

I don’t have a favorite color palette per se. It depends on the season, I suppose. I used a lot of pastel colors and rich dark hues in the previous seasons.

“The collection aims to capture the subtlety of the light shining through the darkness. Incorporated into the dark colour palette, are contrasting textures in leather, velvet and wool, adding depth and dynamism to the collection.”


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a tale of tWo S t U n t W o m e n

Words John markphotography danIel rampulla

demanding occupation of the film and television industry. It is a job of epic proportions, fitting to Frary and Murphy, whose fearless abandon into their craft has rewarded them with a most impressive body of work and versatility in the industry.

At the 2013 Taurus World Stunt Awards, Aja Frary was nominated for Hardest Hit and Best Stunt by a Stuntwoman while doubling on Colum-bia Picture’s Premium Rush. During her photo shoot at our Midtown Office, she showed me a behind-the-scenes video of the notorious stunt. At the helm of a fixed gear bicycle, Frary speeds towards an overturned barrel, which stops the bike in its path and sends Frary flying over the handlebars. Without wires, she tumbles across the pavement. Though it happens in a matter of seconds, the skill and preparation required for a perfect and safe execution of the stunt are unimaginable.

Frary was a professional athlete long before she was a stuntwoman. “I went to college on a scholarship for track and field, that was my back-ground. After college, I moved to the Olympic Training Center in San Diego and continued to compete at a National level for several years, until I got injured.” As Frary explained, with every intention to return to her track and field career, she decided to take a short hiatus in New York City to visit family, rest, and heal up from her injuries. That’s when her path took a very different turn. A track and field friend introduced her to his brother, a stunt coordinator, who thought she would make a great addition to the stunt team that was filming American Gangster at the time. Frary in hindsight still only saw the opportunity as a hobby, until a short while later that same stunt coordinator, Stephen Pope, pulled her aside, “He was like, ‘I am telling you- if you stay, you’re going to do really well.’ I didn’t realize at that moment the opportunity being handed to me, that this business could actually be a career… Something you can grow in, that will embrace you as an athlete and a woman. I feel so grateful to have a career where I get to embrace those two things. Staying in New York and pursing this world was definitely the right decision.”

S hattering glass tables, vaulting off buildings, spinning out cars, and fighting for Hollywood’s A-list actresses are all in a day’s work for Aja Frary and Kimberly Shannon Murphy. While their backgrounds and beginnings in stunt work are different, both of these women belong to the most physically


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Kimberly Shannon Murphy’s entrance into the stunt world was that of an acrobat. As she explained, “I was a gymnast and a dancer growing up, and I started performing, doing circus stuff. I did silk and hammock, and I had a couple acts that I did. I traveled the world doing that before I started getting into the stunt business. I got a call from this coordinator to do this movie that was a lot of wire work, gymnastics, and kind of everything that I did.” It was the movie that threw Murphy right into the fire. Shortly after that phone call, she auditioned and was hired to double Uma Thurman for nine months in My Super Ex-Girlfriend. “It was my first film, and I pretty much haven’t stopped working since.”

A native of Long Island, Murphy grew up with three sisters and a father who served as a Marine in Vietnam. “He raised us with that toughness,” she shared. It’s a toughness that is put to good use, as Murphy explained. “In stunts, women are tougher than the men are, because we don’t get to use pads when we’re doing stunts--we’re often half naked.” Murphy’s strength is wonderfully dichotomized by the career she has built as a double for some of the most beautiful women in Hollywood. A gor-geous blonde herself, Murphy has over fifteen film and television credits solely dedicated to her stunt doubling of Uma Thurman, Cameron Diaz, and Emily Van Camp. When asked about her most challenging stunt, Murphy shared, “I dou-bled for Cameron Diaz on Knight and Day. We did a lot of motorcycle work and trick-riding without helmets on and with live animals. That was definitely the most dangerous. If something goes wrong… you know.” It goes to show that stunt-doubling a star on an action movie requires much more than a resemblance. Murphy has had to learn to do it all, from vehicles, to fight choreography, to high falls, and everything in between. Versatility is very important as a stunt performer, and Aja Frary’s fa-vorite part of the job. “Sometimes you’re doubling, sometimes you’re playing yourself and quite often you’re doing both! I pride myself in being a well-rounded stuntwoman. [Before stunts] I was a heptathlete, which is seven events over two days. I’ve always loved being versatile. I really enjoy training in everything that encompasses the stunt world. Wire work, driving, fighting, even the behind the scenes of editing and camera work come into play when building a fight for your actress or with the director.” Frary, who expressed interest in someday moving to a job behind the camera, loves the idea of spending her life’s career in the stunt world, which has already offered her a world of adventure and as of late, doubling Megan Fox in the reboot of Teenage Mutant Ninja Turtles.

Another facet to the industry that Frary loves is the sense of community. “It’s a very team-oriented business. I call it the ‘stunt-epede,’ because we all move as one. I worked on Iron Man 3 last summer. I was a part of the fight team, which was a great experience. We had an entire month of rehearsal. You’d go in everyday and work-out, have a great time build-ing these ‘dances’ with your friends, then you get to perform them. It’s a very fulfilling feeling to see all your hard work come together.”

Murphy has found friendship and much more in the stunt community. “My husband is a stunt man. He just started coordinating, but he’s prob-ably one of the best stuntmen in Hollywood. He gets it. We met on Knight and Day. He’s very humble. He doesn’t talk about the stuff that he does, he does it well, and then he goes home.” A marriage between two stunt people seems like a film in itself. It’s fun to imagine what Murphy and her husband’s courtship might have been like, as they un-doubtedly got to know each other flying, falling, and speeding through Knight and Day’s rigorous production schedule.

“Sometimes you’re dou-bling, sometimes you’re playing yourself and quite often you’re do-ing both! I pride my-self in being a well-rounded stuntwoman. [Before stunts] I was a heptathlete, which is seven events over two days. I’ve always loved being versatile. I really enjoy training in everything that en-compasses the stunt world.”


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photography danIel rampullaart dIreCtIon John mark

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We were able to shoot Murphy on one of her very few days of reprieve, as she was simultaneously doubling Cameron Diaz for a film in Long Is-land and working on Captain America: The Winter Soldier in Cleveland. As I sat across from Murphy, chatting as she got her hair done, I could not help but be a bit intimidated. Despite her nomination for “Stunt-woman of the Year” at the Diamond in the Raw awards, her two Taurus World Stunt nominations, and the great wave of demand for her talent and expertise, Murphy remains humble. “So many people have been my mentors in the industry. George Aguilar gave me my first job, and I’ve been so blessed. I got hooked up with a couple of different actresses who have continued to use me over the years.”

Both Murphy and Frary are quick to credit their success to the stunt co-ordinators and actresses that have booked them, and while these people are justly to be credited, it’s not hard to see why they chose to work with Murphy and Frary. On their respective shoot days with Nu-Mode, we asked them to throw a few kicks and punches for our behind-the-scenes video companion. Even in the intimacy of our photo studio, without plot or characters, Murphy and Frary blew our minds.

Their eyes laser-focused, their punches swift, and their long hair flying, I came to the conclusion that these were not mortal women. My child-hood’s comic book fantasies came flooding back as Wonder Woman and Batgirl were real and alive in the room. While it may be unfair for me to objectify these very genuine and level-headed ladies as my own private super heroes, upon thorough research, I’ve come to the conclusion that Stunt Woman and Super Hero are actually quite synonymous.

“So many people have been my mentors in the industry. George Aguilar gave me my first job, and I’ve been so blessed. I got hooked up with a couple of different actresses who have continued to use me over the years.”


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t e x t i l e s into art.

only thing you get right at the start is plain yarn, but it offers plenty of possibilities for interpretation. And this is what makes it so exciting to work with.”

Is textile an art medium or a simple clothing material? This is definitely a subject open for discussion. But Nadine doesn’t insist on her role of being an artist, “I see myself as a textile designer, and not necessarily an artist, although art and philosophy are definitely influencing my work and create the starting point of my projects.”

Working with textiles, like working on any other art project requires a lot of research, insists Nadine. “I have quite a big interest in literature and philosophy, so most of the time I start reading and researching to-create some kind of a working concept, which doesn’t need to be pro-foundly elaborate. I try to leave some space for surprising developments or even mistakes during the working process, which will often lead my work in a completely different direction.”

We often think of textiles as mere clothing materials, not realizing their inherent potential for art exploration and research. Textiles are never truly considered to be an art medium, but German-based textile designer Nadine Goepfert thinks otherwise. Through constant research and col-laborations with other artists and designers, Nadine is on her way to change that perception.

“As long as I can remember I’ve had a great interest in traditional tex-tile techniques and craftsmanship, so in my work I constantly experi-ment with the diverse aspects of the materiality and structure of textiles. My projects are based on research and conceptual thinking, and in some of them I explore the wide field of eventualities by creating open situa-tions, which form the basis for my textile designs and art installations.” But what makes textiles so important? Nadine is very passionate about her work as a textile designer: “Textiles are one of the most multifaceted materials known to mankind. I like the idea of having an ability to start at the absolute beginning of a product. When working on a textile, the



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Research, exploration or plain old curiosity are all a major part of working with textiles. “Some-times I also just get fascinated by the different conditions of materials, such as melting, or techniques which are not necessarily related to textiles, like conservation, and try to find a way to translate those phenomena into textile mate-rials. This method also involves a lot of research and experimentation.” As a necessary compo nent of every garment, textiles are closely in-tertwined with fashion, and that makes fashion and textiles coexist in a balanced union, provid-ing plenty of room for exploration. “For a few years now research on garments and fashion has been a major part of my work”, adds Nadine. “This particular research attempts to reveal unconscious givens and prospects in terms of clothing habits, which are not only theoretically implemented, but also constitute the origin for further material explorations.”

The talented German textile designer is known

for both her solo projects and collaborations with other artists, as she clearly enjoys work-ing with others, bouncing ideas from her col-leagues and implementing new ways of artistic exploration. “Working with other people can be very enrich ing in several respects. Sometimes it’s just a thought you stumble upon during a good conversation, or someone else’s point of view that sticks with you for a while and in-spires you later.” Sharing her experience on artistic collaborations, Nadine adds, “My most recent collaboration was with fashion designer Vladimir Karaleev. Together with the wonder-ful florist Annett Kuhlmann I created a color-ful selection of photographic flower prints for Vladimir’s Spring-Summer 2013 collection. For “The garments may vary” project, I worked in a close and very inspiring collaboration with photographer, Sanna Helena Berge. This pro-ject was meant to capture a certain condition, a moment of a naturally changing object, and included a collection of garments made from a

variety of unusual materials like memory foam, wax and liquid incased in plastic. During the project Sanna and I worked closely on docu-menting these changes, and I’d have to say it is really important how your thoughts and ideas get communicated within this medium to get the desired results.”

Looking into the future of textiles, Nadine ad-mits, “There is a huge development in smart textiles, which is not necessarily the field I am focusing on at the moment, but something that might evolve as an interesting medium in terms of art.” Textiles are no longer just ordi-nary clothing materials, but objects of art and technology, filled with possibilities for bounti-ful research and bound to amuse.

“When working on a textile, the only thing you get right at the start is plain yarn, but it offers plenty of possibilities for interpretation.”


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A recipient of Kimura Ihei Photography Award, Japanese-born Takashi Homma has worked in many genres in his early career including no-table magazine and advertisement work. This particular versatility, or rather ability to mix commercial, conceptual and mundane, resulted in an unparalleled use of color and light, which gives Homma’s work an-other dimension of pure emotion captured on film. His latest series New Waves, shown in New York for the first time, is a quintessential breath of fresh air: numerous ocean landscapes stretched on the walls of the gallery welcoming quietly into their depths. The scenic imagery is both nostalgic and promising; it’s hard to take your eyes off the shimmering sunlight, whispering wind and quivering waves. The standouts of the exhibit also include a series titled Mushroom – a collage of ten differ-ent fungi varieties each displayed in a light box – that brought to mind peaceful summers of the long gone past.

Homma’s latest work is currently exhibited at Longhouse Projects until October 26th.

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Images Courtesy of takashI homma & longhouse proJeCts



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CarIne roItfeld & fabIen Constant InterVIeW exClusIVe

Carine Roitfeldi N

‘M a D E M O i S E L L E c’

have to be followed by the director and you have to be cool, everyone was really anxious.” Carine is generally very shy and humble about her work. “I’m not a very good actress, I don’t think, but there were great supporting actors in the film. When you see Karl Lagerfeld or Tom Ford, Ricardo Tischi, or someone from my team like Steven Gun, they were all quite good at explaining their work on screen.”

Balancing her family life with her work, Carine manages to find time for nearly everything, but her job is not an easy one, “[In the film] you’ll see me everywhere, just running, running, running… You see me all over town, at the airport in flat shoes – I’m not always wearing high heels – you’ll see me on set doing pictures and….., so working on a magazine is not always that glamorous. People say that to raise kids and to have a family is impossible in fashion, and I’d agree that it’s not always easy. I was very lucky not to be working as much when my kids were young. You will see me with my family a lot, and it’s the first time that you’ll see my husband on screen. My family is very important to me, we are like a block; and I think it’s necessary in this day to have something that you can rely on. My work for the magazine may be beautiful or amaz-ing, but it’s not a reality. So to tell you the truth, sometimes your family can be the only reality you can have.”

When former editor-in-chief of French Vogue, Carine Roitfield, em-barked on a new adventure, CR Fashion Book, a film crew guided by Fabien Constant followed her every step, bringing to light behind the scene … Mademoiselle C documents not only the birth of the new mag-azine, but also a transformation that took place in Carine’s life since she left French Vogue in 2011. Being compared to September issue, the movie offers a gentler approach, and a personal take on the fashion industry, and showcases while showcasing a fresh approach to fashion magazine publishing that stays true to Carine’s aesthetic and taste, but brings a touch of spontaneity.

When I met with Caroline for an interview, she had just arrived from the film’s screening the day before, stunning in her understated yet elegant ensemble. Speaking in lightly accented English, she was definitely ex-cited about documentary’s outcome. “Everything started as a joke in a way: we did a scene as a joke and suddenly it became a reality. Eve-rything moved so fast: I’m doing a scene, you see the poster and it’s the day of the screening already.” The camera followed her for four months, but she never really got used to it. “I never get comfortable with the camera, never. And I think not a lot of people are comfortable with it. And when you ask our team – it was a new team for me – oh, you



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Referring to her style being called Parisian, she explains, “I was really thinking of this idea of Parisian chic. When people say you look like a Parisian, what does it mean? Is it a dream? Is it Catherine Deneuve in “Belle du Jour”? No. I think Parisians are not like New Yorkers or Londoners for example. [In Paris] the street is not very nice with different people, so you have to be a bit low profile; you have to find some-thing deeper. So the trick is not to show eve-rything, but to see how you put it all together. Being Parisian is the way you put a perfume on, the way you cross your legs; the way you han-dle your bag – it’s all of it mixed in together.” Carine is very proud to have long lasting relationships with her friends and col-leagues, and she is also trying to prove that friendships are possible in fashion, “People think it’s impossible to have friendships in fashion. I’ve been very good friends with Ste-ven [Gun] for more than 15 years […], we did a lot of things together, working on Bazaar to-gether, and now we see a huge success of the work we’ve done for our new magazine. So friendship is possible in fashion! I’m very hap-py [with the film], because I get to finally hear my friends talk about me, and it’s the first time I can say, ‘Oh, someone really likes me, or even loves me!’ It was especially touching to hear Steven, who never shared like this before, to say nice things about me. Karl, Ricardo, Dona-tella – everyone in the film had to talk, even if it wasn’t a good day [for them]; they all accepted it and didn’t feel betrayed. There are all these people [in the documentary] I’ve known for a long time… I was working with Johnny Ver-sace in the last year of his life, many years ago now; and Tom Ford when he was new, maybe 20 years ago… These people, they are a part of my coutidien. I’m very happy they decided to share and collaborate, and because they are a part of this film, it helps the documentary to be a success.”

Remembering her first fashion shows a few years back in France, Carine confesses, “I always think of myself when I started. There weren’t so many fashion shows like today and I didn’t always get to be invited when I was young. So I always try to bring with me a stu-dent or two to see the shows, because with so many magazine editors they have to invite these days, it leaves very little room for peo-ple who really love fashion. You don’t hear the clapping, the screaming – but we need these

people to make it the real show.” Fashion can also be very political; the sitting arrangements at the shows can become problematic at times. “I think it’s the only business where if you up in fashion, you have to go down: you start stand-ing all the way at the top, then you go down, and when you finally ‘arrive’ – you finish in the first row. It’s very interesting because, even when you are not in the big magazine, which I am now, where do you sit? So when I moved across the Atlantic, I am no longer with the French, I see them seated in front of me […] Oh, everything changed totally, but I still have a good seat.” Speaking about the differences be-tween big fashion businesses and the difficul-ties experienced by young designers, Carine adds, “I think now fashion is a huge business with so many people working in the industry doing their job. On the other side, the bigger you are, the least creative you can be. With de-signers being forced to do a minimum of four collections a year, you can imagine the stress that comes with it, a lot of stress. How can you be creative for all of the four shows or make an ‘it’ bag for each season?” But it’s difficult to disregard the importance of big companies making fashionable clothing more accessible. “Karl Lagerfeld was the first one that did col-laboration with H&M. It was the beginning. People don’t realize he opened the door to eve-ryone, and it became a part of H&M.” It’s a complicated relationship be-tween magazines…. “Magazines want to please advertisers. Advertisers are really im-portant and we can’t live without them, but it’s very difficult to please everyone. When you try to please everyone, it becomes boring, so this is a big problem and I quite possibly may be Jeanne d’Arc trying to bring fire to fashion. I try to protect design, I really do. And I think I’m the only magazine, that’s not using a lot of advertisers. We only associate with people that have love and respect for the work we do. I think working in a magazine is like having a dinner, so you can invite a lot of people at the same time who enjoy working together and re-spect each other: one iconic designer like Karl Lagerfeld, someone very new like … Desson, or an iconic model like Linda Evangelista, an aspiring young photographer… I think it’s the way you mix everyone together, and this is what I want to do with my magazine.” … “But it’s very difficult to refuse money today, and

refuse certain people, because you don’t want to mix people that create and people that copy the creations. I appreciate the work behind big fashion brands, but I don’t think it’s design.”

Carine is known for a very particular style that many tried to emulate, but this time she is going to make it different. “For ten years, I was working in the big magazine, but now I make my rules. I decided to have my advertis-ers listed in alphabetical order – it was impossi-ble for everyone to be listed first – so if you are a Yamamoto you are at the end and if you are Altuzarra – in the beginning. And finally, I have no problems. […]There are so many magazines today, and if we a new magazine, we are going to do something different, open new windows. The other way to think of it is the idea of trans-mission: we are going to transmit our vision to others and we are going to say something new.”

“People are going to compare it to the Septem-ber issue because it’s a bit of the same idea, I think, but to see both sides, both films, is very, very different. But one thing is common – pas-sion. We have to work and we have to really love it, and if you love it, there is always a dream behind. It is so difficult now to be a de-signer that doesn’t belong to a big group: how do you find a slot to show or have a picture in a magazine? It’s very difficult [to be a young designer], so if you can help these people to be the big names of tomorrow – it is the best thing you can do in fashion. And that’s what I’m try-ing to do in CR.” She creates her magazine with ease and impeccable taste. “I’m a very spontaneous person, so you can see that this issue is very spontaneous too, not everything is perfect. The spontaneity, that’s quite fresh, compared to all the big magazines and I hope you will fell this too.”

Fabien’s recollection on the be-ginning of the film was inspiring, “I’ve al-ways known I wanted to tell something about Carine’s amazing life. I also wanted a real story; a narrative story with an A and a B, and everything happening in between those two points. And the creation of the magazine was the perfect reason for that. Since I knew that Carine has no boundaries between personal life and professional life, I was certain doing a per-sonal story about a woman behind a magazine will be more interesting, than just doing a story about a magazine. But to be honest, I didn’t

“When you try to please everyone, it becomes boring, so this is a big problem and I quite possibly may be jeanne d’Arc trying to bring fire to fashion. I try to protect design, I really do. And I think I’m the only magazine, that’s not using a lot of advertisers. We only associate with people that have love and respect for the work we do.” - Carine Roitfeld


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expect to have so much access into her personal life. I also didn’t expect her to be obsessed with babies… Even if I knew that Julia was pregnant, I didn’t realize at the beginning it would end up to be the main story of the movie. [So as a result] it’s the movie not just about the creation of the magazine, more of a portrait of the woman behind the magazine. It’s not necessarily a biographic portrayal – I really don’t go through the biography in this film – but a portrayal of a woman working in the fashion industry, having her life change and moving from Paris to New York; from being used to being the owner of the magazine, from being a sexy woman to be a sexy grandma.”

Mademoiselle C has already been compared to September Issue on nu-merous occasions, but Fabien insists on quite a few differences between the two, “I love September Issue, but I would say it’s the movie about the same subject shown in a different way – like positive and negative spaces in a photograph. I don’t know Anna personally, but you can tell she is a brilliant politician, a hard worker, and a very clever woman; however, it’s not so easy to see who is the real woman behind those sunglasses. Carine is really the opposite: she is very sweet and she is also very reachable, you can talk to her, she says hi to everybody, and most of all, she hates meetings – she is on set doing pictures and that’s what she likes. Carine is really polite and focused, And this is the way she is in the real life and everybody in the fashion world knows that. So everybody around her is quiet too and trying to do their best for her. So it was not about fashion clichés, but about those creative people trying to bring more beauty into the world, sharing their point of view and making a difference.” Describing their working relationship during the shoot, Fa-bien adds, “The way we worked is that I would ask for a schedule to see what they do in the next few days, and I’d decide if I wanted to be there with the camera or not. And there wasn’t a time when Carine said ‘no’ to me. She really played the game. I don’t think she even realized she was giving so much. Going through everything in the editing room after a long day of shooting, I realized that I had a lot of very personal things, more personal than I thought. When Carine was talking to the camera, she really was talking to me; she needed to see my eyes behind the camera. She really trusted me, because she was not used to the video camera and, to be honest, didn’t like it so much. What I didn’t expect and [what I happened to] love as the result of that is, every time she talks to me in the movie, she also talks to the camera and the audience. She looks into the audience’s eyes – something that you usually try to avoid when doing a documentary – and creates a link between herself and the audience.”

Talking about his impression on the fashion industry as a whole, Fabien notices, “May be the reason why I love fashion so much is because it’s a bunch of funny people! They are interesting [personali-ties] that speak multiple languages […], travel the world, and it’s always about what’s next with them. They are cultured, and, yes, they can also be very superficial, looking for the next It bag, but whether they are on set with Carine or working in the office, they all work together for the same purpose of creating a picture. And I love that!”

Finding a right picture for the poster proved to be a difficult task, “When shooting a documentary you have the tiniest team ever, [it was] just me and my sound guy; I had no photographer and no stills from the set. So I had to go through a process of finding [suitable] images for the film, but they are never as good as you want [them to be]. When I found this pic-ture of Carine shot by Karl Lagerfeld, I was completely obsessed. It tells more about Carine than any other picture of her and you can barely see her [in it]. But it’s 100% her and even beyond this.” Talking about the poster she adds, “I like this picture because you can’t see me too much.”

Mademoiselle C is screened in select movie theaters…

“Carine is really polite and focused, And this is the way she is in the real life and everybody in the fashion world knows that. So every-body around her is qui-et too and trying to do their best for her. So it was not about fashion clichés, but about those creative people trying to bring more beauty into the world, sharing their point of view and making a difference.” -Fabian Constant


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A self-taught artist with a degree in computer science, Germany-born John Reuss is one of those rare individuals whose work is so pro-foundly emotional it touches the soul. Deeply talented and incredibly humble about his work, John shared his thoughts and struggles with Nu-Mode, giving us an insight into what it takes to be a modern day artist.

How did you become an artist?

Being creative, drawing and painting is some-thing that has always been in my nature. In fact, I used to be extremely shy about my work and didn’t feel comfortable showing it to anyone at all. Eventually I did and had a couple of exhibi-tions that followed with year-long breaks from

the art world. Strangely enough, I could never really stop painting – even if I didn’t show my work to anyone. Finally in 2007, after a longer break when I tried to stop painting entirely, I decided to show my work again and from there on things started happening for me! I got into juried shows, got a gallery deal and did some really great solo exhibitions... And here we are!

Would you say your background in design & pattern development influenced your work as an artist?

In general, I think that anything I ever did in my life played some sort of a role in my work. I’d say the design & pattern development as well as the graphic design & layout in some

terms satisfied my fascination with geometric rules and concepts. And I do think it has carried through to the work I do today. I often integrate very clean, geometric shapes and monochro-matic blocks of color in my work. One of the things I’m very fond of is clashing sharp-edged geometric shapes with soft organic figures.

How would you characterize your work?

Existential is the word that first comes to mind. A lot of my inspiration is grounded in what you may call existential doubts. I’ve heard my work being labeled as “Existential Surrealism” or “Psychological Realism”, which in my opin-ion covers it pretty well. In general, my work is about that inner world where everything is


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symbolic of psychological and cognitive processes of my art figures. And I think aesthetically, my work is characterized by the juxtaposition of opposites on several levels: from the elements in the pictures, to the way I work with color.

What is your favorite medium and signature painting technique?

I started painting at the age of 10 using oil paint and continued using it well into my teens. Somewhere along the way I also discovered acrylics, and now they fit my style and temperament in a much better way. When working with multiple layers, especially when working intuitively, it’s really nice that the paint dries fast. So for the time being my favorite medium is acrylic paint, but I wouldn’t rule out taking up oil painting again. I’d say that my signature style is probably my layered use of mul-tiple techniques, the most prominent mix being traditional brush work with spray and a lot of drawing.

How do you find inspiration for your work?

A lot of the inspiration comes from the work process itself, as I keep on adding layers, removing or adding elements once again. I see my way of work as an exploration or a dialogue. Getting lost in the work, letting the work talk to me and respond without having a conscious thought; not knowing which layers or details come into play – that is really where the magic happens. The great thing about getting inspired through the process is that even if I feel stuck creatively, I just have to start drawing and adding elements and the cogwheels start turning! I find that words often inspire me: terms, idioms, things people say, poetry, lyrics and various books… I am also very interested in certain areas of psychology and philosophy as sources of inspiration. Visually, I’m very much like a sponge; I take in surfaces, shapes, structures, etc. I love architecture, sculpture – and really anything that catches my eye on a daily basis. Often I recognize certain elements in my work from something I saw maybe months or years ago.

Can you describe your work process? What is the starting point of each painting?

In the beginning, I prep the canvas with a mix of paint and an assort-ment of mediums to give it a muted grayish color and a texture that lets charcoal and pencil drawings stick on top of the paint. I always start with a sketch directly on the canvas and then I add layers of paint and more drawings. I paint and draw my subjects from numerous angles, adding and removing elements as I go. This is also how my figures turn out so weird, with multiple and/or missing limbs and features. I don’t plan a complete picture in my head and then replicate it on canvas. I sort of discover the picture as I work: I apply paint, work with charcoal and pencils on the painting and it “talks” back to me, I respond and the cycle continues. Sometimes things emerge almost by accident. In fact, I’ve discovered that the more lost I get in the work and the numerous layers of my paintings, the better the end product gets! Once I feel the work is close to completion, I usually finish it by cleaning up certain areas, filling in small details like highlights and reflections. The funny thing is that, since I work in a cyclical manner, I often rework my “finished” pieces – even if they’ve been already exhibited – sometimes years later. However, this way of work makes it very difficult to deal with dead-lines, as I never know if a certain piece will take me three weeks or three months to complete.

What does it mean for you to be an artist?

For me being an artist means you have a strong urge to communicate, to reinterpret all of your life’s experiences, emotions and thoughts. Being an artist is a constant process, an ongoing quest for insight in your sub-

“Being an artist is a constant process, an ongoing quest for insight in your subject matter, re-fining and expand-ing your skills and technique, evolving your concepts; a compulsion to cre-ate your art even if it’s not being exhib-ited or purchased.”


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ject matter, refining and expanding your skills and technique, evolving your concepts; a compulsion to create your art even if it’s not being exhibited or purchased. Being an artist means that you do it for you, because you can’t imagine yourself doing anything else. For those who feel compelled to create art: work, practice and experiment as much as you possibly can. Use you insecurities and doubts as a driving force to keep getting better and better!

What was the best compliment you’ve ever received?

I remember two compliments that really stuck with me. One I received from a collector a while back, who told me he didn’t really feel that my paintings were his to keep, that he expected to hand them over to a museum some day. The other compliment was paid to me just recently – being told that I was one of the best contemporary artists in Denmark. I know that’s hardly true, I’m still refining and evolving, but it made my day none of the less! In the last few years I’ve also started receiving fan mail, which is a huge compliment in itself and it makes me very happy!

Can you tell us about your “Please destroy this” project and col-laboration with visual artist Jacob Juhl?

The “Please Destroy This” project came about in a bit of an odd way. In 2010 Jacob Juhl and I both got admitted to one of the most important juried shows in Denmark. At that time we had never met, but did how-ever see and like each other’s work. Two years after the show I received an email from Jacob suggesting some sort of collaboration. We agreed with the initial notion that, although we work in very different ways, there would be some sort of kinship in the subject matter. So we set up what so far has been our only face-to-face meeting, and within a few hours we had loosely laid out the guidelines of our project to be. The final details were discussed via e-mail and we slowly began our work. The guidelines were pretty simple: the format of the pieces had to be A3, with all sorts of mediums, techniques and alterations being allowed. Each participant would receive art work from another artist and could do anything he felt like – from adding subtle details to ripping it apart or even burning it – whatever it took to make it work; and then he’d have to send it back! The only rule was that the one who worked on the painting last could not claim the finished piece. So if I received a piece, I’d either call it finished or I’d work on it and send it back. The interesting thing is that even though we virtually never spoke or met, it didn’t take long before some sort of common language emerged in the process. All in all, I’m pleasantly surprised that a project that started off as a vague idea, a “play date” between two strangers, has developed into something so interesting and inspiring! In fact, we are both getting increasingly seri-ous about the project and looking to turn it into an exhibition, showing both the finished artwork and possibly some sort of documentation of the work process.

Tell us about your artistic plans, dreams and upcoming exhibitions.

As far as my work goes, I’d like to continue to evolve and expand my technique, both through experiments and collaborations with other art-ists. As for dreams – not having to do other work to make ends meet is one of them. Doing some large scale projects like murals could be another one. And more exhibitions outside Denmark – I’d really like to go back to the States, maybe New York City in the near future?

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a N DS O U L O FShaun Ross

brated, for his editorial at Nu-Mode´, we wanted to focus on the ways in which Shaun Ross is very much the same as you and me. I met with Ross at his favorite Italian spot in Soho, a small but delicious piece of real estate, with just three tables, and the owner at the cash register. Ross described it as “the best Italian in New York!” He was right. What we discussed over pasta was a simple list of themes. A special pet, a suit by his favorite designer, a Polaroid camera, and then of course, the editorial debut of his precious little brother. It was our aim to create a photo shoot that highlights the everyday facets to the life of Shaun Ross off the runway and away from the cameras. Simply Shaun Ross.

T he career of Shaun Ross is notably focused on a way he is different. As the first internationally successful male model with albinism, Ross is a hero and an icon for his community. He is most often photographed as an otherworldly vessel for couture and while his uniqueness surely deserves to be cele-

RyAN PFLUGeR PhOTOGRAPhS The MODeL PIONeeR WITh hIS FAVORITe PeOPLe, ANIMALS, AND IDeAS. Words John-mark


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“I feel like instant film really captures the soul.”


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“I’ve always want-ed to be a voice for something amazing. I’m humbled by what I’ve been able to ac-complish, to be able to educate and be a voice for those living with albinism.”


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“I just love Kiki. he’s the best dog. he was named after the Scissor Sisters song…”


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art dIreCtIon John markphotography ryan pfluger

stylIng John markmake up artIst WendI mIkaye W/ make up for eVer

stylIng assIstant yanI lopez

“My little brother motivates me a lot. he’s been through some tough times and I never give up, because he didn’t.”


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photography rakeem CunnInghamstylIng WIlford lenoV

pants prada ( style house 13 )JaCket anthony franCo

shoes unIf (style house 13)

JaCket anthony franCo

button doWn shIrt topmanblazer dolCe & gabbana ( style house 13)

CheCked pants Comme des garConsshoes dr. martIens

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leather pants Comme des garCons leather button doWn anthony franCoblazer dolCe & gabbana ( style house 13)

leather pants Comme des garCons leather button doWn anthony franCo

polo amerICan apparel fur JaCket ( style house 13 )

polo amerICan apparel pants brunello CuCInellI ( nIeman marCus)

fur JaCket ( style house 13 )

photography rakeem CunnInghamstylIng &groomIng WIlford lenoV

model aaron ChInn at la models


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THE GARMENTS MAY VARY.

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nu-mode´ magazine #9 "the awakening" autumn/winter edition

Documents

p h y g r e g o r y

p h y e

p h y r y

words irina romashevskayatake

u g e rautumnwinter

words latoya

e i t hautumnwinter

photography ryan pflugerman