7Hues Hommes - Equinox - September 2018 by 7Hues Magazine

September ’18 N° 10

THE

EQUINOX

pa i d a dv e rt i s e m e nt

DREAM, CREATE, & PAINT Pigmented Creme Colors

Infused with Macadamia Oil

Great fragrance and consistency

www.influancehaircare.com

7HUES AUGUST 2018

10 INTRODUCING

VIBRANT

SHADES

Many Textures, One Solution! For Professionals Only... Not Sold In Stores

r! N o l IO r Co T C you E l L ea OL tect p Ap K C Pro l L s& I ra u M url t a T N U ur C W N NE CO e yo c O n C ha En

Some facts about our Coconut Milk Line •

Sulfate-free. Instantly softens, strenthens, and detangles

•

Anti color fade system for color retention

•

Humidity Resistant formula, lightweight, with no build up

•

Formulated to harness the moisturizing and nourishing poroperties of pure natural coconut milk.

•

Fortifies hair fibers with proteins, iron and oils.

•

Adds shine while preventing split ends.

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Many Textures, One Solution! For Professionals Only... Not Sold In Stores

NEW

NATURAL PRODUCTS

COCONUT MILK

AVAILABLE AT

INFLUANCE HAIR CARE

1-888-455-8989

www.influancehaircare.com

P R O M OT I O N

+1 678 744 7775

info@7huesmagazine.com

www.7huesmag.com

Editor in Chief / Creative Director

William Mydell III Layout & Design

William Mydell III Fashion Director / Contributing Writer

Theo Hanson

EDITORIAL CONTRIBUTORS Lauren Marsh, Gabriele Loda, Pierre Louis, Harold Daniels, Lester Villarama, Elsa Dillon, Mateusz Szczepaniak, & Yana Karpushova PRINT & PRODUCTION www.magcloud.com www.blurb.com

SUBMISSIONS We are looking for new work and our submissions for print and on-line publications are always open.

If you would like to be considered as a contributor to our magazine please send your best material to 7huesmag@gmail.com

ADVERTISING & SPONSORSHIP For all inquiries for ad space and all interest in sponsorship you can contact us at: info@7huesmagazine.com

LETâ&#x20AC;&#x2122;S GET SOCIAL EMAIL: 7huesmag@gmail.com TWITTER: twitter.com/7huesmag INSTAGRAM: instagram.com/7huesommes PINTEREST: pinterest.com/7huesmag TUMBLR: 7huesmag.tumblr.com VIMEO: vimeo.com/7huesmag YOUTUBE: youtube.com/7huesmag

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MODE IN AN INSTA. Follow @7hueshommes on Instagram for style inspiration and creative enlightenment to fuel

your artistic vision and imagination.

NEW For Professionals Only... Not Sold In Stores

ITS NATURAL SHAMPOO WITH COCONUT MILK REDUCES BREAKAGE

MANY TEXTURES, ONE SOLUTION!

SULFATE-FREE INSTANTLY SOFTENS STRENGTHENS AND DETANGLES. ANTI-FADE SYSTEM FOR COLOR RETENTION REPLENISHES HAIR FIBERS AND PROMOTES HAIR GROWTH.

www.influancehaircare.com

THE COVER PHOTOGRAPHED BY Lester Villarama MODEL: CHARLIE MATTHEWS

"VELECTA PARAMOUNT " 16 Angelo Seminara

all is upon us and winter is coming We are excited for this month's issue for a lot

model: Shade

"WINTER FLOWER" 42 Pierre Louis

models: Alex G, Ben F, and Daniel Cruz

"MASTER & COMMANDER" 28 Gabriele Loda model: Aleksi Rein

"ANGEL OF ANYWHERE" 54 Harold Daniels model: Axel Roldos

Letter from the Editor

"NAKED TRUTH" 20 Lauren Marsh

of reasons. For one, this is Fashion Week, and it's a pleasure to release our issues the starting day of New York Fashion Week. While

every fashion house and brand are up late getting their looks, models, accessories, makeup, hair, and runway together for a stellar show, we are up alongside them preparing our fans and followers with our September issue, so in a way we feel just as part of the ongoing fashion madness that's going on in New York at the moment. We are ecstatic to see what new trends and threads that will be presented at this Fall's Fashion Week in New York. We are also pumped for London's Fashion Week which will be following New York. I think it's safe to say that we will be pretty busy covering as many runways as we can cover and networking with as many brands as possible for future collaborations. Once again, we just want to take time out to thank everyone who has contributed to our creative community and to everyone who has supported us on our journey. We will be working on our 2019 themes this month so be sure to subscribe to our site, go check them out, and download them once you get a chance. We will post an announcement on our site and on social media once we've completed our

"CURATE" 78 Elsa Dillon

model: Josh Calder

"90's POLAND" 88 Mateusz Szczepaniak model: Brad Wasikowski

themes for next year. We encourage anyone who wants to submit too shoot and submit early. We are pushing real hard to have these issues on stands by next year. So moving forward there will be more celebrity features, interviews, inside content, and on-line features. Thanks for being apart of what we have established. Enjoy the issue.

Thank you. -Editor

"FOCUS ON ME" 100 Yana Karpushova model: Stanislav Baranov

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September ’18 N° 10

THE

E Q U I N OX

7HUESMAG.COM

7Hues Magazine is a Fashion, Beauty, Hair and Artistic Editorial, Conceptual art magazine that is published monthly at 7Hues Mag.com 7Hues Magazine gives the opportunity to individuals who are looking to expose not only themselves but their work as well. Work from the type of creative people who like to get published and show the world what they’ve got as an artist. We here at 7Hues constantly publish work from talented individuals from around the world. We are the magazine for the creative and artistic mind. If you would like to submit editorials, art, music, fashion lines, upcoming events, for future publications or online exposure, please email us at 7HuesMag@gmail.com

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NOTE: All pdf documents sent to us must contain the submitters e mail address attached. Please Allow up to 8 Days for an approval or rejection letter. If more days have passed please try submitting again as the email may have not gone through. Please ensure you read all of the information on this page PRIOR to sending a submission into 7Hues Magazine. Sending a submission confirms your agreement with the following guidelines. Upon reviewing/receiving submissions, 7Hues Magazine reserves the rights to Accept or Deny any submission we receive. Submissions are reviewed based on its content, quality, relevance and the availability of space in the issue it’s being submitted to. For creative editorial, we look for originality and a high level of creativity. 7Hues Magazine enforces a strict editing / quality control policy and due to the high amount of fashion, editorial and beauty submissions we receive on a daily basis we are not always able to offer feedback unless the submission is of interest to us. SUBMISSION GUIDELINES ALL WORK MUST BE EXCLUSIVE AND UNPUBLISHED. 7Hues Magazine only takes exclusive fashion editorial, beauty stories, and fashion videos. A release is required to be signed by the photographer once the editorial/fashion video is approved. If your editorial or fashion video has been published in another publication it will not be accepted. IMPORTANT Images that have been posted on social media (Instagram, Facebook, Snapchat, etc.) will not be published. We like to keep images exclusive to the magazine. Once published if accepted, you can post your work online. We accept Fashion, Beauty, Hair & Conceptual Art. FASHION: In order to be considered, all editorials require 68 photos, with minimal repeats. BEAUTY: In order to be considered, all editorials require 46 photos, with minimal repeats. HAIR: In order to be considered, all editorials require 24 photos, with minimal repeats. ART: In order to be considered, all editorials require 1 6 photos, with minimal repeats.

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When submitting for consideration, always submit your editorials in low resolution, include the photographers name and a title for the story. If you are submitting the editorial and u are not the photographer, please confirm and present to us permission from the photographer that owns the copyright to the images. NOTE: As images are approved for publication, you give us the right to edit/retouch pictures if need be. Team credits are essential for all submissions, if we have accepted your submissions and you provide the high resolution images without team credits, your submission will not be published. We won’t be held accountable for any missing or miss spelled credits. Be sure to double check that all persons involved in the submission is included in the credits and their names are spelled correctly. If for any reason a submission is published and a individual/s credit is missing, the person who submitted the feature will be held responsible. Along with model’s name be sure to list the agency name if Applicable. For fashion submissions, wardrobe credits are required. For Beauty submissions, makeup credits are required. Once an image is accepted to be published, it grants us the permission

to use your work in any of our publications, websites, videos, marketing pieces, advertisements, and any other mediums or formats used in the creation, dissemination, and monetization of 7Hues Magazine. NOTE TO STYLISTS: Please note vintage items are allowed but should be kept to a minimum, if used at all. 7Hues Magazine loves high end designer brands just as much as we

love up and coming designers and unknown designers, we love to find that diamond in the rough, so mix it up!

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we got you covered

SUBMISSION GUIDELINES Contributing Writer / Blogger Submissions: We are always looking for guest writers and bloggers who would like to conContributing Writer and / Blogger Submissions: tribute to the magazine website. If you are interested in writing or blogging We are always looking and bloggers who would like towith contribute to the forforus,guest pleasewriters send an email 7HuesMag@gmail.com the headline “Writer magazine and website. If you areorinterested writing or blogging forwriting us, please send anlinks to Submission” “Blogger in Submission” and include samples and email 7HuesMag@gmail.com with portfolio. the headline “Writer or “Blogger Sub- culture, your work, blog Some of theSubmission” topics we cover include music, mission” and includeart, writing and interviews, links to your work, blog portfolio. Some the digital artistsamples and designer D.I.Y fashion, and creative art of based topics we cover include music, culture, andwho designer interviews, D.I.Ydifferently. fashion, technology. Weart, loveartist people are creative and think and creative art based digital technology. We love people who are creative and think differently. Video Submissions:

Fashion Videos and Short Films Video Submissions: In order to be considered, videos and films must be 720p or 1080p and under 4 and will Short Films the 7Hues MAGAZINE Logo in the minutes Fashion in length.Videos All videos require In order to be considered, videos films mustmusic be 720p or 1080p and beginning fulland team credits, credits, etc. must beunder listed 4atminutes the end of the in length. All videos will require 7Hues in the beginning full team video.the Videos andMAGAZINE films must Logo be exclusive to 7Hues Magazine. credits, music credits, etc. must be listed at the end of the video. Videos and films must beHere exclusive to 7Hues Magazine. is the information and specifications we will require if

APPROVED:

Here 1.Images is the information and specifications we and will 17(w)x11 require if inches(h) (Landscape) must be 8.5x11 inches (portraits) APPROVED: 2.Images must be in 300 dpi 3.Credit for all clothing and everyone involved. 1.Images must be4.No 8.5x11 inches (portraits) andphotos. 17(w)x11 inches(h) (Landscape) logos are allowed on the (everyone involved will be credited) 2.Images must be in 300 dpi 5.Files 3.Credit forbe allJPEG clothing and everyone involved. must 6. Signed Model Release 4.No logos are allowed on the photos. (everyone involved will be credited) 5.Files must be JPEG 6. Signed Model Release

Rejection Reasons: *Your work is either unsuitable or does not fit with the flow of the issue. Rejection Reasons: *There is little or no space left for placement. *Your work is either unsuitable or does not fit with the flow of the issue. *Your work was sent to us PAST the required deadline, automatically forfeiting *There is little or no space left for placement. your work or, you did not follow our submission instructions *Your work was sent to us PAST the required deadline, automatically forfeiting your work *The quality of work is not high enough. or, you did not follow our submission instructions *wardrobe is repeated throughout the editorial. *The quality of work is not high enough. *You have not supplied enough images to create a full story. *wardrobe is repeated throughout the editorial. *Although your rejection could be due to any of these reasons, we will not have *You have not supplied enough images to create a full story. the time to detail which one exactly. *Although your rejection could be due to any of these reasons, we will not have the time NOTE: All submissions will NOT be replied to, you do not need to send multiple to detail which one exactly. emails requesting a reply. You will be contacted if your work is accepted. NOTE: All submissions will NOT be replied to, you do not need to send multiple emails requesting a reply. You will be contacted if your work is accepted.

Deadline: All submissions must be sent before the stated deadline of an issue. If a submisDeadline: sion is being accepted and the final pieces are not sent before the deadline, that All submissions must be sent before the stated deadline of an issue. If a submission is submission will not be published in the issue for which it was accepted. The being accepted and the final pieces are not sent before the deadline, that submission deadline for each issue is the 29th of the month, if for any reason the deadline is will not be published in the issue for which it was accepted. The deadline for each issue changed, it will be posted on our Facebook page and website. is the 29th of the month, if for any reason the deadline is changed, it will be posted on our Facebook page and website.

WEBITORIAL SUBMISSIONS Submissions for Webitorial stories are always open, so keep them sending them! WEBITORIAL SUBMISSIONS 7Hues Webitorials will run twice with pending selections our Editor Submissions for Webitorial stories are always open,a week, so keep them sending them! from 7Hues in Chief. There are no deadlines and no themes for our Webitorials, so Webitorials will run twice a week, with pending selections from our Editor in Chief. Theresubmit you’d like!Webitorials, If we decided wantwhenever to publish you’d the webitorial we will are no deadlines and whenever no themes for our so we submit like! If we contact youcontact with further decided we want to publish the webitorial we will you details. with further details.

Digital

VERSION 7huesmag.com

Purchase: Purchase: Magazine is an international magazine we have aimed to to make it 7Hues Magazine is an7Hues international magazine and we have aimedand to make it available available everyoneisworldwide. 7Hues Magazine is currentlyononly to everyone worldwide. 7Hues to Magazine currently only available to purchase lineavailable by purchase on line by clickingPage. the link onthere, our web site, Facebook Page. From clicking the link on our web site, or Facebook From you willorhave the option there, have the option a digital copy of 7Hues Magazine or to purchase a digital copyyou of will 7Hues Magazine orto a purchase print copy. The purchase link will be a printpage copy.on The purchase link will and be posted our Facebook page on the day posted on our Facebook the day of release, will beonposted on our website of release, and will posted on our websiteplease also. To getour immediate updates and also. To get immediate updates andbe purchase information like Facebook purchase information pleaseWe likepride our Facebook page. www.facebook.com/7huesmagazine. ourselvespage. as a www.facebook.com/7huescollectable pubpride ourselves a collectable proud grace the finlication, proud tomagazine. grace theWe finest coffee tableasand bookshelf.publication, If your work has to been est coffee andand bookshelf. If your work has been published in our print issue, published in our print issue,table ask us we will provide you with a high resolution PDF asksheets, us and which we willyou provide you with high resolution PDF tear sheets, which you tear can print out afor your portfolio. can print out for your portfolio.

IMPORTANT Not all information and updates can’t be sentIMPORTANT to everyone that is or has been NotMagazine all information anddon’t updates can’t be sent to email. everyone that isWe or do has been associated with 7Hues as we have everyone’s NOTE: associated with 7Hues Magazine as we don’t have everyone’s email. NOTE: We not provide free print copy’s. 7Hues Magazine is a Print on demand Magazine do not provide free print copy’s. 7Hues Magazine is a Print on demand Magazine that is sold through magcloud.com. We do send out PDF Tares for free (please that is sold through magcloud.com. We do send out PDF Tares for free (please Contact us forContact tares).us for tares).

7 HUES VIELUXE

TOOLS

PHILLIPS NORELCO ONEBLADE: by Theo Hanson

This chic new device for men by Phillips Norelco has changed the way men shave. With this devices new cutting edge technology that has been specifically designed for men who are into growing their beards and rocking facial styles. With the "Oneblade" you are able to successfully and safely trim your edges and shave any length and texture of hair. The Oneblade not only safely Â removes hair from you face, you can also use this device on you body including sensitive areas.

7HUES AUGUST 2018

7H O UE U S T H N A O IR W N !!! "4

pa i d a dv e rt i s e m e nt

7 HUES STYLELIFE

TOOLS

VELECTA PARAMOUNT

PARIS Angelo Seminara â&#x20AC;&#x201C; A New International Ambassador

ounded in 1936, Velecta Paramount Paris is the only French manufacturer of highend hair dryers and is one of the three largest companies in the sector worldwide. More than 80 years of innovation, patented technology and award-winning ergonomic designs. 2018 sees the brand launch i-flex, the first smart hair dryer in the world, which received the Innovation Award at the Mondial Coiffure BeautĂŠ show. The 100% Made in France brand chose the prestigious hairdresser, Angelo Seminara, for the launch of this first smart hair dryer. Known the world over for his creative spirit and his unique expertise, the Artistic Director of the Italian company Davines was immediately seduced by the visionary nature of this project.

7HUES AUGUST 2018

"A pioneering vision and a desire to bring out the natural beauty of women are values that we share with Angeloâ&#x20AC;?, explained Michel Guillosson, CEO of Velecta Paramount Paris. 7HUESMAG.COM

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TOOLS

AN INTERNATIONALLY ACCLAIMED MAVERICK ARTIST A passionate hair stylist, Angelo Seminara collaborates with the biggest names in fashion – Chanel, Valentino, Hermès and others – and in the art world, having been involved in various exhibitions including Chloe Attitudes at the Palais de Tokyo, and Les Robes de Frida Kahlo in Mexico. His many achievements have earned him numerous international awards including the prestigious "British Hair Dresser of the Year" title in 2007, 2010, 2012 and 2016, and the famous "Grand Trophy AIPP Award" in 2012 and 2016. “I was immediately seduced by the visionary approach shown by Velecta Paramount Paris. i-flex is a revolutionary and totally innovative tool. It marks the beginning of a new era of smart hairdressing” - Angelo Seminara. 18

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Available from €449 at velecta-paramount.com

A TECHNOLOGICAL GEM AND THE CULMINATION OF FIVE YEARS OF RESEARCH AND DEVELOPMENT i-flex is controlled by a smartphone application designed so that each user can establish their own hair profile based on three parameters: hair type, sensitivity, and styling mode (by selecting the hair care products used from a large database). Once these three criteria have been met, the hair dryer is automatically configured to offer the best temperatures and motor speed, thereby providing the most suitable drying mode.

Press Contact: Agence Grenadine RP. Lydie Palmieri: lydie@ grenadine-rp.com – +33 (0)6 29 86 38 54

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LAUREN MARSH

Photographer: IG: @laurenmarshphotography

Stylist: Aesthetic Candy - Karine Jones IG: @aestheticcandy HMUA: Athena Efstathiou IG: @goddessbeauty_xo Models: Artem Vorobiev IG: @artvor and Tara Edwards IG: @taraedwardsjones

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Left

Dress:

Joohye Emma Park Lingerie: Edge O'Beyond Right:

Shorts:

Polo Ralph Lauren

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Leather Jacket: Joohye Emma Park Shorts: Polo Ralph Lauren Jeans: H&M

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Joohye Emma Park Polo Ralph Lauren Jeans: H&M

Leather Jacket: Shorts:

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Left:

Jacket: Joohye Emma Park Lingerie: Edge O'Beyond Socks: H&M Right:

Jacket: Joohye Emma Park Jeans: H&M

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Left:

Jacket:

Joohye Emma Park Lingerie: Edge O'Beyond Socks: H&M

Jacket:

Joohye Emma Park Jeans: H&M

Right:

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Left: Coat: Dress:

Park

Ka Wa Key Joohye Emma

Right:

Ka Wa Key Indigo Calvin Klein Coat:

Kings of Jeans: Underpants:

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Shirt: Jeans:

H&M H&M

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MASTER & COMMANDER by

GABRIELE LODA Photographer: IG: @gabryphoto1976

Stylist: Montse Ramos IG: @marameo1978 Model: Aleksi Rein IG: @aleksireini

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WIN TER FLO WER by

PIERRE LOUIS Photographer: IG: @prlphotos

Model: Alex G at State Management IG: @alexgorshkov_ Ben F at State Management IG: @benfronckowiak Daniel Cruz at Q Model Management IG: @iamdanielcruz Stylist: James R. Sanders IG: @JamesRSanders Groomer: Samara Powder IG: @mspowder MUAH: Bong Buan IG: @bong2buan

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ANGEL of ANYWHERE Director James Kicklighter and actor Axel Roldos sat down for a conversation about working in the film business, and how our personal lives impact the art we create.

James Kicklighter -Axel, why did you decide to become an actor? Axel Roldos -Oh boy, that’s a complicated question. You mean

overall?

James Kicklighter -Absolutely. One doesn’t just stumble into the

business.

Axel Roldos -Growing up, I didn’t have the happiest of

circumstances. I’m from Trenton, New Jersey. I grew up with my mom and stepdad, who really became my dad. He committed to a lot of duties that a real father should do, and we wouldn’t have made it without him. But even when he was around — they split up and got back together constantly — times were challenging. In a town famous for its crime, the resources weren’t great. I went to a public school that didn’t have money for things like textbooks. There wasn’t a performing arts center, so how would I even know about being an actor? We never had health insurance, so I never had things like glasses, even though I desperately needed them. So through it all, film and television has always been an effective form of escapism for me. James Kicklighter -That really has an impact on people. My dad died when I was twelve, and film provided me with the same sort of escape. Axel Roldos -Yeah. We’ve talked about that before. When you experience hardship, escape takes many forms. I was desperate to not be stuck in the cycle of poverty. James Kicklighter -Then how did you start to find a way out? I think you’re like me in the sense that we didn’t have a rich uncle. Axel Roldos -Well, even though Trenton wasn’t a good neighborhood, it is also the capital of New Jersey. Since we couldn’t afford a car, I started taking the commuter rail to New York. James Kicklighter -While you were in high school? Axel Roldos -I started skipping classes — over fifty days my senior

year — and while I was doing well academically, the school was so shitty that they didn’t even care. Visiting New York City opened my mind to lots of possibilities. Once you got off that train and step into it, anything is possible. That energy is there. James Kicklighter -But you had to graduate from high school first. Axel Roldos -Just to illustrate how ill-equipped our school was, I was told our printer broke the day of graduation, and we wouldn’t get our certificates. I never actually got my high school diploma, so who knows if I really graduated? I moved to New York and got a job at Starbucks. James Kicklighter -Wait a second, so you’re a poor kid from Trenton, with no money or resources, and you up and move to New York? How could you afford it? Axel Roldos -That’s only true if you’re trying to live in Gramercy Park. In my experience, I found New York to be cheap to live in. You don’t need a car, the Metro was an unlimited swipe at the time for ninety bucks a month. I got a room in Jersey City and could afford it. Not a desirable one, but it was by the subway. Besides, I’m from the inner city, so living there, I never felt unsafe. Working at Starbucks, I ate a lot of their food. They had markouts, damaged foods that couldn’t be sold or had expired a few days past their shelf life. But you could eat them, so I ate those. James Kicklighter -I think we all pull from life experiences to a certain extent, can you tell me a little bit about your story and how those experiences have helped you as an actor? Axel Roldos -I floundered a bit. After I left Starbucks, I started working the coat check at a bar, making decent money in tips. But after a dispute with the management, I had to quit. Soon after, I got sick. Running out of unemployment with no heath insurance or 7HUESMAG.COM

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job prospects, I had a choice. It was either paying the rent or using that money to get a suit so I could interview to get jobs. I made the choice to go down to Zara in SoHo, where I got a suit that didn’t fit me that great, and it meant I had no money for rent. So, I started living on the subway. James Kicklighter -Did anyone know? Your friends, family? Axel Roldos - I’m a very private person, no I didn’t tell anyone in my life what was going on. I couch surfed for a bit and when I couldn’t find a place, I would take the E train and just sleep on that. I had no money, no credit card, I had nothing. I went in person and applied everywhere to work at all of these hotels and it was totally demoralizing. They all stuck their nose up and said you have to apply online, but I didn’t have internet. Probably the 200th hotel I wandered into, the Yotel Times Square, I didn’t think they would give me the time of day. But on the eighth interview, they hired me and it changed my life. I did that for a year and a half, but I wasn’t happy, because I wanted to be an actor. So one night, on my shift, I was watching an episode of “The Walking Dead,” and it clicked for me — I’m wasting my time. I found out they were doing a lot of production in Georgia, and they filmed the show there. My instinct was just to leave New York, to bang on doors and get to Atlanta and be on that show. James Kicklighter -This time, though, you set a course for yourself. How did you start moving towards acting? Axel Roldos -I started working at another hotel and took some acting classes. But I didn’t think I was learning anything useful. Then, just by luck, I made a friend who was the assistant to a very well known actor who was on a show in Atlanta. James Kicklighter -Everyone needs a little luck in the film business. Axel Roldos -It worked out, because my friend introduced me to the actor and her manager. I told him that I wanted to be an actor, and he was the first person I ever told. He was also the first person to tell me that I could be an actor, but he couldn't help me here. I had to be in Los Angeles. So, I picked up and moved to L.A. James Kicklighter -You seem to do that a lot. Axel Roldos -I was just excited to pursue it, though again, in hindsight, I didn’t know what I was doing. It’s easy in this ethereal industry to waste time on things that you don’t know how to do. James Kicklighter -Once you got there, did he actually help? Axel Roldos -We had a hard time getting along for a variety of different reasons. In retrospect, he was right about a lot of things. For instance, he told me I was not ready to go out and be seen by casting directors. I didn’t appreciate it then, but I appreciate it now. If you can’t act and you go read for casting director, they’ll remember and never let you into the room again. At the time, I resented him for giving me that assessment because I thought I was ready. I was not. He eventually dropped me, and don’t blame him. So I was stuck in LA with no prospects for advancement. James Kicklighter -And no money. Axel Roldos -And now I had a car note, credit card debt and needed acting classes. So, being that I had been homeless before, I decided to live in my car, take classes and keep my expenses as low as possible. James Kicklighter -Was that worse than living on the subway? Axel Roldos -To be honest, it wasn’t that bad. I made it work. I had a passport membership at 24 Hour Fitness. There, I had access to gyms

and bathrooms. I was a good neighbor, never littering in the street. I had tinted windows so no one knew what I was doing. In many ways, it was freeing because I wasn’t beholden to anyone. If I had to be in Santa Monica, I could drive overnight, find a parking spot and go straight into the meeting. In my Google Maps, to this day, I have a bunch of stars all over L.A. They represent parking spots where I could park and not worry about restrictions or getting towed. That was the easy part. The hardest part was the people, because everyone was looking for ways and reasons to tell me no, why I would never make it. So, I went back to Atlanta, because I had a network. James Kicklighter -Where things started to change for you? Axel Roldos -Almost immediately on my return, I met a woman at a pizza shop and she asked if I was an actor — I lied and told her I was. She asked questions about myself and who I was studying with. I said I just moved from L.A. and wasn’t studying with anyone yet. She said, “Well, I’m Jackie Burch, and I’m a casting director who is good friends with Nan Dutton. She’s a casting director and I think you should take her class.” And I did with that introduction. Most of these classes are full of shit, but Nan’s class was different. One, she was a casting director for a long time, discovering real talent. Two, she’s very unfiltered; she tells you exactly what she thinks, and I needed that. If I have any semblance of talent now, it’s because she fucking beat it out of me. She has the single biggest contribution to my career because I learned a lot from her. Recently, I’ve signed with a new, more prestigious agency, and I was only able to get that referral because of her. James Kicklighter -But how are you making money to pay for her services? Axel Roldos -I started working at a bar in Atlanta. Just ask anyone who works nightlife, like I learned in New York, you can make good money in tips. And I’m still doing that, and I’ll keep doing that until I leave Atlanta to go back to Los Angeles. Because I work at night, it frees up my days to work on my craft, taking classes, taking meetings, and there aren’t work conflicts. James Kicklighter -Which comes around to how we met. I met you at the 2017 Atlanta Film Festival’s Opening Night party, where I had a film screening. One of my favorite working director’s, Ava DuVernay, has talked about wearing the “cloak of desperation.” I felt that from you, as you know, and it was probably why I didn’t take you seriously as an actor at first. Why did you choose this venue to meet people like me? Axel Roldos -Some feedback I had gotten from people in the industry was that I needed to have a reel. But if you haven’t worked, how do you have a reel? No one wants to read you or have you in the room, because there are jobs on the line. How can I advance or move ahead? I spent almost a year trying to find people that could help me make a short film, to show, “Hey, this is me acting!” People didn’t take me seriously, even independent filmmakers! I exhausted every resource, even offering to pay for it. But then I thought, what if I went to the Atlanta Film Festival, these are indie filmmakers who have experience making things on a budget. They know how to make it watchable, and they obviously were chosen to be here.

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I invested in the VIP pass. Once I got there, I felt I was infiltrating this inner circle of professionals and didn’t feel like I belonged. I went to this opening night party and said I’m gonna find me an indie filmmaker to collaborate with. Then I met you. At first, you weren’t very impressed with me either. James Kicklighter -I was definitely skeptical. I’ve been doing this a long time, and you meet a lot of aspiring professionals on the film festival circuit. It’s hard to filter who is serious and who isn’t. Axel Roldos -But I pestered you for twenty minutes trying to get your attention, trying to get some conversation going. You pulled out your phone and said make a film on a phone. James Kicklighter -It was cost effective for a newcomer! Axel Roldos -I said no, I want to do this for real, I’ll put it all on a credit card. And you said no, don’t do that. James Kicklighter -Because I know personally about the struggle of independent filmmaking and credit card debt! Axel Roldos -So I told you everything about my life, and eventually, you heard me. James Kicklighter -I saw a little bit of my younger self in you, that relentless passion, desire to escape and aspire to something greater. The fact that you put it all on the line every time impressed me. That’s how we ended up making Angel of Anywhere together, now streaming on Amazon Prime and screening at festivals around the world. Axel Roldos -Pretty cool, huh? James Kicklighter -I think so. Tell me about the experience, no pressure. You can be honest, it won’t hurt my feelings either way. Axel Roldos -Making a film is a lot of work because it’s a very collaborative effort. It was really exciting in general because, finally, I was going to move towards making a thing. I felt confident that you knew what was at stake for me personally and I felt like you knew how to do it right with your experience and body of work. James Kicklighter -But to do that, it was going to cost a lot of money. Axel Roldos -It was expensive, so I didn’t super love that. I had a really nice Audi that I just bought myself. I really liked it. But to make the film, I ended up selling my Audi to pay for it. On top of that, every penny I got for months I saved towards making this movie. I even borrowed money from a friend, whom I have already paid back. It was a lot of pressure. James Kicklighter -And believe me, I felt that responsibility. I told my collaborators that repeatedly, Axel sold his car to do this, we have to get it right. Axel Roldos -In turn, I was very adamant that everyone was going to be paid properly. Having struggled in my life, I didn’t want to start developing that kind of mentality where I expected things to be done for me that I wouldn’t do myself. It makes a difference in your work when you want to be there and you’re being compensated for it. That shows in the work too. James Kicklighter -I know you learned a lot, because Angel of Anywhere was your first real set. What made a lasting impression on you? Axel Roldos -I learned a ton about what it takes to make a thing, writing a script. There were some creative differences at first, especially regarding the script, and that was interesting. I don’t know how to write, and I couldn’t have done that. But I learned in the process. We set a date, and I was like, “Oh my God, this is really happening!” James Kicklighter -It’s never real until the shooting date. I’ve had things 60

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fall apart and come back together many times.

Axel Roldos -So I have also learned. But the real fun began when

you told me about the actors you wanted to approach to play these parts. The first person we were really fortunate to get was Ser’Darius Blain, who was recently in Jumanji: Welcome to the Jungle.

To see him work, it was like the tuition I never paid for acting school. I also really like the way that he thinks, because now after years of work, he’s doing the things that I would like to do eventually. Then you got Briana Evigan. I remember her from Sorority Row, which was a horror film that I loved. It came back to the reason I wanted to be an actor to begin with — here is the life that’s impossible for me to reach, and now, I was getting it. I was living it. James Kicklighter -But with every dream comes some reality, and I know that was scary for you at first. Axel Roldos -It was intimidating. I had never really acted before. And I was concerned when I looked at the resumes of all these actors, I was the least experienced one there and also the lead of the film. I thought to myself, “Am I going to be the weakest link? I don’t know what the fuck I’m doing!” James Kicklighter -You did express that to me several times, which is why we flew you out a week in advance for rehearsals and one on one sessions just to get comfortable with everything and everyone. Axel Roldos -That helped a lot. Of course, acting opposite of them and observing them, I slowly became less concerned. When you work with another actor, you see how something feels natural, and since I got to know them off screen and see how they worked on screen, it was a fabulous experience. But I was still so concerned about how my performance would be on screen. You can take classes, but you never feel like you’re good enough. James Kicklighter -And how do you feel now? Axel Roldos -Obviously having watched the final cut of Angel, you know there are moments that I wish I could done things better. James Kicklighter -But you got rave reviews from all over the world. You’re not alone though, I feel that way on everything I make. That insecurity never goes away, we could tinker forever if left to our own devices. Axel Roldos -But experiencing that on my own thing instead of someone else’s project, for a first experience, I’m glad I did that. When the director calls action, you actually have to perform. And with Angel, there were a lot of people on set, so it didn’t feel like bullshit. James Kicklighter -Since Angel, and I hope because of it, you’ve gone on to book roles in SyFy’s “Superstition” and a few other things we can’t talk about yet. How did a smaller experience help prepare you for a bigger, network television gig? Axel Roldos -On the set of “Superstition,” I was still intimidated. But I was a lot less intimidated than if I had not done Angel. My role was a multi-episode, significant guest star, and it has some demanding theatrical moments. But the pace on “Superstition” was a lot faster than Angel. James Kicklighter -Of course it was, it’s a TV show! They churn ‘em

out. It helps when you’re working with professionals like Mario Van Peebles, who’s a legend. What was that like for you?

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Axel Roldos -Let me tell you about Mario. He was one of the people who said yes to hire me. He liked my tape out of all the actors that he watched. He was the star, producer and director of the show. The fact that he plucked me was a big deal, so there was a lot of pressure to perform.

These people are giving me a chance here, and this is his show, so I felt responsible and scared that I wouldn’t produce or be good. James Kicklighter -You rose to the occasion, doing things you had never done before, like stunt work! Tell me about coupling stunt choreography with acting. Axel Roldos -Before I even got hired I had to meet with the stunt coordinator, who had to approve me. I had never done stunts before, but I’m a fairly active guy, I lift weights, do Krav Maga. Two weeks prior, someone had died on the set of “The Walking Dead.” There was a lot of heaviness; even the smallest of gags could have big implications. James Kicklighter -Safety should always come first. Axel Roldos -No stunt is without a risk. But I told him no worries, I could take it. So in our first shot, I accidentally hurt Mario Van Peebles. James Kicklighter -What happened? Axel Roldos -My character was dead, so I was confronting his character after I became reanimated. Doing my own stunt, the way we rehearsed it, my eyes were closed with my hand in front of me. He was supposed to duck down and throw me across the room, landing on a mat. Mind you, I’m naked in this sequence. James Kicklighter -Like totally naked? Axel Roldos - I’m wearing a thong, totally awkward. He had to throw me over his shoulder. But then when went to shoot it, I fully committed like a method actor, he didn't duck. I accidentally hit him in the face with my hand hard. As if that wasn’t bad enough, I left a mark. Makeup fixed it, production didn’t shut down, and he was very nice about it. The guy is really an Angel. James Kicklighter -Of anywhere? I’m hilarious. You’re obviously very handsome naked, because you put in the work, but there’s a sharp intellect underneath. That has interested me from the time I met you, because people wouldn’t necessarily make that assumption on first glance. You care about people and are well versed in many issues, people would know that from your social media accounts @ AxelRoldos. Axel Roldos -You’re making me blush. My entire life I’ve been empathetic.

would go shopping. When she wasn’t, I knew not to ask for money or anything at all. James Kicklighter -That’s interesting, because your life today isn’t like that. Axel Roldos -I have a very complicated relationship with that because nothing is forever or guaranteed. I wholly recognize that the reason my life is comfortable now is because I worked. But I understand that this isn’t forever. I try to not get to used to this, because when I move back to L.A., I’ll be right back on the struggle bus. James Kicklighter -As an artist, I believe we have a responsibility for what we put on screen. Do your life experiences lead you to feel the same way? Axel Roldos -Absolutely. Being an effective storyteller, you give perspective to people on things they otherwise might not. I think it’s important that we tell stories that above all are truthful, that contribute to a positive narrative. Consider Black Panther. That’s a big deal for a lot of people. Black people have never seen themselves that way. That sort of representation is important for young black kids, for the elderly who have waited their entire lives to see it. Everyone who watches it can walk away from it, not thinking about the fact that its primarily with a cast of black people, but it’s a great movie that happens to have black actors in it. We can make more movies with underrepresented people and normalize that so there’s more representation on screen. James Kicklighter -Do you think that would have made a difference for a kid growing up in Trenton, New Jersey all those years ago and still today? Axel Roldos -Most people throughout my life have assumed that I was white. But that could be because of all the Italians in Jersey. All the ethnic neighborhoods I lived in, they’d speak to me in broken English, not assuming that I spoke fluent Spanish. It never occurred to me that most people were white on screen, though it occurred to a lot of people, maybe I’m an idiot. And so it was a little disappointing to hear that if you’re black, instantly, you’re going to be cast as a gangbanger. If you watched TV or movies, that was true. As liberal as Hollywood is, that’s just not an accurate portrayal of society. You see these fabulous high schoolers, like I did growing up, these beautiful skinny supermodels. Most people don't look like that.

I didn't understand what happened in 2008 with the crisis, Obama got elected, things got better, he got reelected, and things got even better. When Bush was in office, we made a bunch of mistakes, so how could we go backwards?

When I was really young, I couldn’t wait for high school, because they throw parties, jump into the pool, drink kegs and shit. That wasn’t my high school experience. That wasn’t my life experience, and I don’t think it’s most people’s.

Being someone who has benefited a lot from social programs, food stamps, section eight, I’ve used public transportation and I know how important it is that people have access to things. They help kids like me from inner city neighborhoods— James Kicklighter -To become the person you always dreamed of being. Do you think you’d be here today without those programs? Axel Roldos -Sometimes people resort to crime and things they don’t wanna do; it’s difficult to say that I wouldn’t be, but government aid really helped me. When my mom had a hard time making ends meet, one of the things she did for me was leave the EBT card at home, so when I got home from school, I could get some food.

I never understood that. So yeah, it would have made a difference James Kicklighter -Then perhaps, that’s why you became an actor — to make a difference in kids who wanted something bigger. Keep telling your story, Axel. It’s important to tell. Credits -@hdanielsatl, @

JamesKick and @AxelRoldos

I knew that money was tight because when things were good, mom 7HUESMAG.COM

Vivienne Westwood Rozaliya Jewelry Shoes: Woolie Turtle Neck: Menagerie Eyewear: Baas 2 Eyewear Suit:

Accessories:

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DESERTE D by

LESTER VILLARAMA Photographer: IG: @shotbylester

Model: Charlie Matthews IG: @charliem015 Agency: DT Model Management IG: @dtmodelmgmt Fashion Stylist: Winnie StackzÂ IG: @stackzofstyleproductionz MUAH: Bong Buan IG: @bong2buan BTS Videographer: Jordan Pamintuan IG: @reel8scenes Photo Assistant: Erika De Leon IG: @wildheartshot

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Vivienne Westwood Accessories: Rozaliya Jewelry Shoes: Woolie Turtle Neck: Menagerie Eyewear: Baas 2 Eyewear

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Menagier Men's Menagier Men's Shoes: Woolier Necklace: Rozaliya Jewelry Suit: Top:

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Menagerie Woolier Rozaliya Jewelry

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Menagerie Michael Ferrara Shoes: Givenchy

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Look:

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Calvin Klein

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CURATE by

ELSA DILLON

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Polo Neck:

Calvin Klein

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he whole session is in the climate of the 90’s which I remember from childhood. The session action takes place in Poland in the city of Torun in cafe called Pers. You can meet there interesting personalities mainly connected with art. The place itself has enormous charm . It is furnished in a great way that perfectly reflects the 90’s. The model is Bard Wasikowski from SD Models Warsaw Agency. Making a session that dates back to the '90s I am going to show how quickly the trends in fashion and social mood have been changed in our country . The photos showing five stylizations that change in very dynamic way. First two of them showing a diffident, overwhelmed boy who cant not find himself in times when everything around him change , where you can clearly see rebelliousness in his behavior and anxiety about those changes. In next pictures we can see a hero who get used to and begins to accept a new environment that’s drawing on. He starts experiments with the style and changes his attitude to the world . In last two stylizations we see a model who feels now totally perfect in this what world offer to him . He is more comfortable and fresh in new oversize clothes , that’s also reflecting in his self confidence . We can observe a maturity which we could not see from begging.

MATEUSZ SZCZEPANIAK Photographer: IG: @mszczepaniakofficial

MUA: Franka Ziółkowska Model: Brad Wasikowski IG: @bradleywasikowski/ Agency: SD Models IG: @sd.models Stylist: Aleksandra Wszola IG: @wakeupbeauty_ Video: Agnieszka Jarek

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FOCUS

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ON ME by

YANA KARPUSHOVA

Photographer: IG: @yana_karpushova_photo

Model: STANISLAV BARANOV IG: @neon_heartbreaker Style: STANISLAV BARANOV IG: @neon_heartbreaker

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HM STUDIO HM Studio STRADIVARIUS Accessories: Zara Shoes: Zara T-Shirt: Shorts: Hat:

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