MAMi Magazine Fall 2013

FALL 2013

THE GATE O UAK NI NE BUGATTIGALIBIER 16C 2015 DONATE

LARRYWEISS

RHINESTONE

FASHION&ART PETITE POISE Collection 2013

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MAMiMagazine CONTENT

10-11 Larry Weiss

90 The Gate

16 Back To School Tips

104 Feline Tendencies

24 Glass - LA vs Marie

120 Fanny Liautard

32 Rhythm of Life Restored

122 2015 Bugatti Galibier 16C Concept 128 Astonish

Rhine stone Cowboy

Don’t leave home without them.

JoGa Glass Editorial

Anne Heyman Story

38 Disco Fever

Eric Ouaknine on the Lens

Eric O

Stephen Hudgins

Mihaela Nicoleta Micula

54 Aquarius

Viktorija Pashuta.

70 The Way To The River

Music

84 Al Camp

PhilyFashionExpo

Natasha Kertes

EO Productions Mellow Drama

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142 ReverbNation Top10 96 Ron Welch

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Algie deWitt IV

Editors

Asia Nicholas Mihaela Nicoleta Micula Eric Ouaknine Vee Vera Ochia Sunil Narayan

Content Dev. Bobby Paulino

Graphic Designers

PhillyStyleHD/MAMi Media

FALL

HARVEST

Ok everybody.. you know the drill. leaves are changing and we are stockpiling nuts for the winter months. check out our fall issue.. and keep it on your coffee table.

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all content copyright 2013 MAMi Media may not be used without written permission.

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LARRY WEISS

Rhinestone Cowboy

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WRITER CREATING HIS FINEST “From Glen Campbell’s massive hit “Rhinestone Cowboy” to

Barry Manilow’s “Lay Me Down, Roll Me Out To Sea,”Larry has helped write the soundtrack for millions of lives.”

NASHVILLE – You may not know the name Larry Weiss, but you know his songs by heart.

From Glen Campbell’s massive hit “Rhinestone Cowboy” to the American Breed’s “Bend Me, Shape Me,” Barry Manilow’s “Lay Me Down, Roll Me Out To Sea,” Jeff Beck’s “Hi Ho Silver Lining,” Nat King Cole’s “Mr. Wishing Well” and dozens more Weiss compositions recorded by Dionne Warwick, Three Dog Night, and other superstars, Larry has helped write the soundtrack for millions of lives.

Now, in an era when many of his creative contemporaries are either resting on their laurels or quitting an ever more complex and frustrating music business, Larry Weiss is doing the exact opposite, crafting much of his finest music in decades and relentlessly creating small and large works which are poised to thrill and delight radio, fans, Broadway, and several genres of the music industry.

On a grand scale, Weiss’s Rhinestone Cowboy: The Musical, a show including more than two dozen Larry songs from several decades of his storybook career and life, may well head into rehearsals later this year with its eventual destination the identical setting of “Rhinestone Cowboy,” New York’s Broadway.

He also continues to write, pitch, and record singles and albums of remarkable quality, such as his 2008 CD cuts and scratches, a joyous return to recording after a hiatus of over 30 years.

In a conversation at Larry’s apartment near Nashville, Weiss begins by reading from one of his huge inspirations, Ernest Hemingway, the 1936 story “The Short Happy Life Of Francis Macomber.” Hemingway’s spare prose, and his ability to grab the reader at the very start, became a model for his own writing.

Larry began playing piano seriously in high school, and he was surrounded by music. His Dad loved show tunes as well as jazz, so naturally the younger Weiss became a huge fan of the jazz and pop pianists of the day, such as Thelonious Monk, George Shearing, and Nat`King’ Cole.

He was hearing the Great American Songbook, sung by Tony Bennett and Frank Sinatra, and at the same time falling in love with rock’n’roll and R&B, after his family had moved from Jersey to Queens and next to a poor black neighborhood.

Dad wanted to Larry to join the family textile business, which Larry tried but couldn’t stand. His heart was in his songs and the booming early-Sixties New York songwriting scene.

Music publisher and composer Wes Farrell, who later struck platinum writing hits for the Partridge Family, heard some of Larry’s early demo recordings and signed him to a publishing deal at 1650 Broadway, near the famed Brill Building.

In 1963 one of Larry’s heroes, Nat Cole, recorded Weiss’s “Mr. Wishing Well” as the B-side for “That Sunday, That Summer.”

The A-side reached No. 12 on Billboard. Sharp DJs found “Mr. Wishing Well” too, which marked Larry’s chart debut when it reached No. 92 on Billboard that September.

“I didn’t really understand how important that was at that time, that a legend like Nat Cole would record my song,” he says. “I realize it now. Nat was the best singer ever.”

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RHINESTONE CWBY CREATING HIS FINEST “Many Nashville songwriters and artists have walls lined with Gold records. Larry keeps his in closets. Instead”

ASCAP recently recognized “Rhinestone Cowboy” as one of the 10 Most Played Country Songs of the 20th Century.

“When it was a hit, I was not really prepared for the success,” Larry says. “I didn’t grow up feeling successful. It took me a couple years to figure out that although I had great musicians playing on the album, they were also playing great music.”

The song became such a cultural phenomenon that in 1984, Sylvester Stallone and Dolly Parton starred in a movie version, which neither Larry nor anyone else particularly loved.

After Larry dealt with the disappointment of losing his record deal, a chance meeting in front of the Brill Building with a fellow songwriter was another turning point.

The man shook Larry’s hand and wouldn’t let it go, and said: “I’m so proud of you for writing `Rhinestone Cowboy,’ and I know why you wrote it. You wrote it for all of us on Broadway who had a dream of making it.”

That gave Weiss the genesis of an idea. He would eventually turn Rhinestone Cowboy into a musical, capturing the magic of that early-1960s period in New York he knew and loved so well, and populated by the fascinating, bizarre, and brilliant personalities who populated the music business in those days.

20th Century sadly gave Black & Blue Suite far less financial support than it deserved, so Larry did little touring or radio promotion on an album that stands up nicely with debut albums of that period by singer/songwriters including Billy Joel and Elton John. In those days, Larry’s few club dates found him battling Depression and stage fright, which beset many top artists.

“Singing is an emotional thing, it’s not just singing,” he says.

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Many Nashville songwriters and artists have walls lined with Gold records. Larry keeps his in closets. Instead, the walls of his beautifully designed Feng Shui-styled flat are decorated with colorful, Modernistic, original Larry Weiss paintings, another of the outlets for his restless creativity.

“I don’t want to live in the past. I don’t mind talking about the past, but I don’t live in it,” he says.

In 2009, there was another milestone. That was when Weiss released cuts and scratches, his first album since Black & Blue Suite and a collection of a dozen Larry originals which show an artist and producer of incredible range and skill.

The album and its packaging showcase Weiss’s remarkable range of skills, as a singer, songwriter, arranger, and producer, and even as a painter.

The cuts and bruises album opens with the upbeat, confident “I Am Somebody,” with its complex rhythms and syncopations straight from the New York hustle and bustle, then changes pace entirely with “My Forefathers,” Larry’s tribute to his Jewish ancestors that proclaims how proud he is to carry on their tradition.

“I Remember Dempsey’s” is a magical memory of the longtime New York hangout for athletes and music biz types owned by the former heavyweight champion, Jack Dempsey.

Dempsey’s played a major role in Larry’s musical development in his New York days, and the song is now a signature piece in Rhinestone Cowboy: The Musical.

“Real Kind Of People” has an LA jazz feel, while “Help Me Girl” is classic Larry piano-based rock and soul. “My Road Leads To You” is a gorgeous spiritual surrender, with an almost Gospel feel and a heavenly vocal chorus led by the Contemporary Christian music icon Andrae Crouch.

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LARRY WEISS CREATING HIS FINEST

BUY CUTS AND SCRATCHES NOW FROM LARRY WEISS cdbaby.com/cd/larryweiss rhinestonecowboy.com/ MAMi Magazine 14

In 2011, the international organization 100 Thousand Poets For Change, an educational group focusing on the arts, adopted “(Ain’t I Supposed To Be) Better By Now” as its anthem.

“Can’t We Start Over Again” closes cuts and scratches, and its wistful jazz beauty reminds us a great deal of Nat King Cole. The love song in the lyric is classic Larry Weiss.

Many of these vital and exciting songs now play vital roles in Rhinestone Cowboy: The Musical. So do earlier compositions, including an irresistibly hooky, 4 Seasons-styled song Larry cowrote called “Going, Going, Gone” which was released on MGM Records in the early 1960s but did not chart.

It’s wonderful to hear some of the key players from 1974’s Black & Blue Suite return in fine form for 2008’s cuts and scratches.

Hugh McCracken adds his guitar magic once again, while Tom Hensley does likewise on electric piano.

That is especially touching because McCracken, one of Larry’s best friends and true musical heroes, died in March of this year.

Fast-forward to the present. Larry’s been living, painting, and writing here in Music City since 1991, and he is on a major creative roll. Rhinestone Cowboy: The Musical, the massive piece which captures and combines so many diverse periods and influences of his career, is nearly finished.

Larry is not just writing all the music, but co-writing the book – the script – for Rhinestone Cowboy: The Musical.

“It really has been a terrific outlet for me. Actually, it has made me a better writer because I had to really lean in and create something for a particular moment, to move a story forward,” Weiss says. “And that’s craft.”

Think how unique that makes this man. He’s had huge hits and could recycle them and keep writing variations on these tried-and-true success stories, as so many veteran tunesmiths frankly do.

Instead, Larry is relentlessly pushing forward, constantly exploring brand-new areas of creativity and honing others he’s touched in the past. He’s loving the ride, and fans all over the world who see and hear Rhinestone Cowboy: The Musical shortly will too.

“The musical has made me a better writer, so I’m very grateful for the opportunity to do this,” he says. “Very grateful for it. It’s improved my writing for my popular stuff as well as my Broadway stuff.”

This is one of the most productive periods of a career full of ups and downs, of triumphs, Black & Blue periods, cuts and scratches, of Rhinestone Cowboys, New York hustlers, LA honeys, and Nashville cats. For Larry Weiss and fans of great music, the best news of all is that the best is yet to come.

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“The musical has made me a better writer, so I’m very grateful for the opportunity to do this,”

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G TIPS FOR

8 BACK TO 1 SCHOOL

oing back to school can be quite stressful. Here are ten tips that teens can use to incorporate mindfulness and minimize back to school stress.

Preparation

Sometimes the fear of the unknown might be stressful and knowing as much as you can can only help, not hurt you.

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fter being on summer break it might be hard to get back to the old routine of school. Perhaps start going to bed the same time you would when you are back in school and getting up earlier in the morning. It might make getting back to school a little easier.

Also, eating healthy foods will help you feel good. When you eat, see if you can actually taste your food, and notice your food, paying attention to what you are eating while you are eating it. Sometimes teens can be really rushed to eat at school; pausing and taking the time to enjoy your lunch and/or snacks might reduce your stress -- you’d be surprised.

here, right now, in the present moment, and you aren’t in your head thinking about things that might be causing you stress. You don’t have to change your breathing, just be with it as it is all the time. When you find yourself getting stressed, just notice your breathing.

DON’T WORRY

ometimes you might worry about things that haven’t happened because you have the idea that it will change something in some way; unfortunately this is not the case. Therefore, when you start worrying about the new school year, just notice that it is a thought and worrying about it will not change the outcome.

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1 THING AT A TIME When you do one thing at a time, you are able to

decrease feeling overwhelmed by needing to do so many things all at once. If you have a large to-do list, break it down, doing one thing at a time. After you have accomplished each and every thing, acknowledge what you have done.

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ENJOY Think about things in your life that you

can do that bring you happiness or that feel pleasant to you. Even the littlest thing that brings a smile to your face could turn a bad day into a good day.

REDUCE PRESSURE

Parents, teachers and friends can put a lot of pressure on you or expect you to do a certain thing or be a certain way. Try being who you are and realize that who you are is good enough. Notice when you start to put a lot of pressure on yourself.

TRAIN OF THOUGHTS

As a human being you are going to think and think a lot, noticing when you are stuck up in your head and thinking about judgments about yourself or others can really be helpful to reduce your stress.

APPRECIATE YOU

If you can appreciate who you are and what gifts you have to offer you will likely feel more confident and a lot happier. If you don’t think you have any talents, gifts or are special -- go talk to someone in your life you can trust and ask them about how they see you and what your special gifts are.

SEARCHING FOR THE PERFECT INTERNSHIP? MINDFULNESS Always choose experience over money. As you read this, you are probably shaking your head “How can I takeand/or an unpaid andattention still have to When you feelthinking, overwhelmed, pressure thatinternship you can’t pay spending thefirst pay,notice the purpose of the internship is even to prohomeworkmoney?” or tests Regardless you can try of this: your breathing.

You might vide you with experience.

If you shy from unpaid or lower wageout internships say, “breathing in one breathing out away one, breathing in two breathing two.” you could be missing out on an opportunity that could help you grow profesWhen you feel ready, pay attention to your body. Imagine letting go of any stress, sionally and personally. thehave. connections and resources youcompleting have available. tension or tightness youUse might Next envision doing and your Your professors, family friends wantthen to help succeed.

Reach out to your homework or test with and peace and ease, giveyou that homework assignment or network inquire openings or evenagain if youwhile can use them as a test a try.and If you beginabout to feelinternship pressure or get distracted doing your reference attest your work Also, take speak with your career work, starttoback at to noticing yourethic. breathing, yourtime bodytoand visualize peace and services department.

Not only can they help you tailor your resume, but they can ease. Repeat as often as you would like. direct you to your school’s online job resources and possibly introduce you to recruiters from companies you are interested in interning with.

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2 3S

BREATHING If you are focused on your breathing you are right

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LORDALGIE

T

his journey called MAMi Magazine has taken me to some extraordinary places.. places in the mind of the creative. This has been my springboard for new and exciting ideas in the realm of photography, music and other things of interest.

Born to a Jazz legend and the daughter of a DooWop Superstar.. i guess the writing was on the wall. Music was my first love and still continues in the area of Production and Artist Management.. look for Deanna Richmond on MAMi Muzik this Fall.

But back to the lesson at hand. MAMi Magazine strives to bring you very very hot and selective work from throughout the Art Photography / Music and Trend scenes.. feel free to contact us via submissions@mamimagazine.com

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“So Much Content: So Little Space.�

So.. here i am stuffing the magazine with as much content as i can and still wanting more.. more.. more.

Oy. ok we will need to stop this crazy thing and load up for the Holdiay issue. come check out our music at www.reverbnation.com/label/mamimagazine www.reverbnation.com/lordalgie

and day in day out thats where you will find me. � ~ lord algie

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“Creativity is what drives me,

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DRINKIN? Do us all a favor (including yourself ) and party smart. Be responsible. Pace yourself if you choose to drink, and avoid hard alcohol or other drinks that are powerful and have fast effects. (And remember that drunks = easy targets.) Also be aware of alcohol poisoning. According to a University of Wisconsin study, 75 percent of college males and 43 percent of females reported being intoxicated on a daily basis during spring break. If you do decide to drink, know the liquor laws of wherever you’ll be vacationing. Drinking & driving is always a dangerous situation, so avoid this by having your safe mode of transportation home planned before you go out.

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Photo: Jvdas Berra Model: Marie Woods MUA: FabFace Artistry Photography: Lord Algie

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glass.

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The work of Anne Heyman

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Restoring the Rhythm of LIFE

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RESTORING RHYTHM

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n Rwanda, there is hope in the form of a Youth Village – a Village that offers a holistic approach to healing the trauma of vulnerable children, providing them with a warm and loving environment - an environment in which they live, learn, heal, and dream. Nestled in the rolling hills, roughly 36 miles outside the capital city of Kigali sits the Agahozo-Shalom Youth Village (ASYV). Its 144 acres of leafy banana trees and red-roofed houses, strategically set atop one of Rwanda’s thousand hills, possess panoramic views that can’t help but make the onlooker think big thoughts. Agahozo-Shalom is an extraordinary example of progressive, social innovation in Rwanda.

It is nothing short of amazing that through the efforts of Anne Heyman partnering with Yosi Abramovitz that the first solar power field in sub-Saharan Africa has been built at the Village. This will provide electricity not only to the Village but also a significant percentage of current electric power to Rwanda. by, Rena Sinakin MAMi Magazine 34

IT TAKES A VILLAGE: An Answer for the Most Vulnerable Youth and a Country’s Future Anne Heyman is the visionary behind the Agahozo-Shalom Youth Village.

The consequences of the 1994 Rwandan Genocide were horrific and widespread, with nearly 1 million lives lost in 100 days. Today Rwanda has the highest proportion of orphans to the total population of under-18 year old children in the world. The 2.8 million orphans and vulnerable youth living in Rwanda today constitute nearly a third of the country’s total population. Many live on the streets, in child-headed households, or are living with extended family or community members in subservient or abusive situations. The majority of these youth can’t think beyond their next meal, let alone dream about their future. They fight to survive each and every day.

Agahozo-Shalom has become a place of great hope and joy for these youth. ” In 2005, Heyman and her husband attended a lecture about the Rwandan Genocide.

Upon learning that the biggest challenge facing the future of Rwanda was the vast number of orphans and no systemic solution in place to support their well-being and development, Heyman connected the challenge of the Rwandan orphan population to the similar challenge that Israel faced after the Second World War. When there was a large influx of orphans from the Holocaust, Israel built residential living communities called youth villages. Heyman was inspired to bring this model to Rwanda.

Since 2005, Heyman has been working tirelessly to research, design, build and scale a youth village in Rwanda (a first for sub-Saharan Africa). She brought a tried and proven solution to the Land of a Thousand Hills, and has made a profound and positive impact on the people of Rwanda – those inside the gates of Agahozo-Shalom, and far beyond. Today the Agahozo-Shalom Youth Village is fully scaled, locally managed, and a model for nations around the world who have orphans and vulnerable youth. Heyman is proof that individuals are capable of taking an idea, spreading it, and making a meaningful and significant impact on this world.

Notwithstanding that Agahozo-Shalom is modeled after the Yemin Orde Youth Village in Israel, the ASYV is deeply rooted in Rwandan culture and tradition in its implementation. This blending of cultures is illustrated in the Village name meaning, “a place where tears are dried” (from the Kinyarwanda word agahozo) and where vulnerable youth can “live in peace” (from the Hebrew word shalom). The Village incorporates international innovation with rich local cultures and traditions – building and enriching a proud history, while challenging it and pushing it further – its commitment is not only to raising future innovators, but to Rwanda.

The Agahozo-Shalom philosophy, based on the idea that, “It takes a village to raise a child,” combines essential elements to encourage intellectual and emotional growth: structured education, enriching extracurricular programs, and maybe most importantly, the loving support of a family. The Village’s unique family structure is, in fact, key to its youths’ healing and essential to reinforcing the community’s seven core values. Upon arrival, the Village places each student, by gender, into residential families of 16. In every home, a Rwandan ‘Mama’ holds the primary responsibility for each child’s physical and emotional well-being.

They guide the youth through the daily challenges of their new lives, providing untiring support, comfort, and maternal wisdom.

Agahozo-Shalom offers an alternative to the most vulnerable youth, the poorest of the poor throughout Rwanda.

The Village bases its recruitment and intake solely on need and vulnerability, welcoming a new class of 128 students each year. There are neither school fees nor entrance exam requirements. The student body is comprised of over 50 percent girls, reflecting the actual population of Rwanda and recognizing the uphill battle many young women still fight – the battle for an education. Agahozo-Shalom understands that each student has not only a present and future, but also a past. The youth are at the ASYV because there was a break between their past and present — some traumatic event that they need to repair in order for them to live in the present and dream about having a future.

In order to mend that break, the Village employs a dual model of healing: one that focuses on the students themselves, Tikkun Ha’Lev (from the Hebrew meaning “repair the heart”) and their obligation to heal the world, Tikkun Olam (from the Hebrew meaning “repair the world”). The Tikkun Ha’Lev programs focus on creating a home, giving the children life skills and building self-confidence. The Tikkun Olam program has students going into the neighboring communities and ensuring basic human needs for the community members. The ASYV students become a voice for the powerless, advocating for the rights of the elderly, widows and orphans. It is by looking outward, to their friends, families, and communities, that they can find inner peace — pursuing a future that is inextricably linked to a sense of service.

Students who come to Agahozo-Shalom are greeted at its gates with the mantra, “If you see far, you will go far.” From that moment on, they are, for the first time in many of their lives, encouraged to dream, to figure out what they are truly passionate about, and to set goals — goals that just months earlier seemed like impossibilities. They are taught that with a clear vision and hard work they stand a real chance of achieving the future they deserve. Each afternoon, students engage in a broad range of activities including sports, traditional and modern art, hands-on science exploration, music, dance and professional training in areas of hospitality, computer programming, and agriculture.

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“Born as a response to great tragedy,

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Horst P. Horst Lisa on Silk

RESTORING RHYTHM continued.

They produce newspapers and magazines, film weekly news broadcasts, perform original music and poetry, record songs, learn HTML, create websites, sew bags and slippers, make jewelry, learn basic business practices through their clubs, engage in debate, compete in national athletic competitions and more. In the span of four years, ASYV students are transformed. Just this past January, Agahozo-Shalom’s first graduates left, emerging as adjusted young adults who are healthy, self-sufficient, and engaged in rebuilding their nation.

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Anne Heyman is a change-maker who, in the span of 7 years took the seed of an idea and launched a fully-scaled systemic solution for orphaned and vulnerable youth in Rwanda. She has created a cycle whereby 500 youth each year are provided with a living, learning, and healing environment, and those students have a profound and positive ripple effect on their communities, their country, and undoubtedly the world. Heyman took an Israeli model, adapted it to make it culturally and geographically relevant, introduced modern technologies to help shape the lives of those involved, and is in the process of ensuring that it is sustainable.

A native of South Africa, Anne Heyman graduated from the University of Pennsylvania and from the George Washington School of Law. After two years in private practice, Anne went to work for the Manhattan District Attorney’s Office, where she worked until the advent of her third child. Since leaving the District Attorney’s office Anne has been actively engaged in philanthropic work both in and outside of the United States. Her role as former President of the Board of Directors of Dorot reflects her ongoing commitment to the many needs of the homebound and homeless elderly. Her dedication to and work with the Abraham Joshua Heschel School in New York, Young Judaea, Tufts University Hillel, University of Pennsylvania Hillel and the Jewish Community Centers of America show how important Jewish youth and continuity are to her and her family’s foundation, of which she is the director.

It is with respect to the notion of Tikkun Olam, the Jewish obligation to repair the world, that Anne is most passionate. From active engagement in genocide prevention to educational programs in Israel to the establishment of “Moral Voices,” a program designed to inspire college youth to action, to Rwanda, where she has spear-headed the creation of the Agahozo-Shalom Youth Village, Anne’s commitment to improving the lives of others is unwaverTo learn more about the ASYV, visit our website: www.asyv. ing. Anne’s inspiring story has appeared in numerous org like us on facebook https://www.facebook.com/Agapublications including two recent books, “The Art of Doing hozoShalom follow us on twitter https://twitter.com/asyv Good” by Charles Bronfman and Jeffrey Solomon and “Act and watch our videos on YouTube http://www.youtube.

Three” by Julie Shifman. com/user/theasyv Anne is an avid equestrian and competitive show jumper. She currently lives in Manhattan, New York, with her husband and their three children.

The Agahozo-Shalom Youth Village is a community where youth can prepare for a hopeful future. The result is a whole and healthy individual who, with the help of a new family, believes in themselves and learns to make contributions to their community and the world. The Village is a place where the rhythm of life is restored, and some of the most challenging problems facing Rwanda (and the world) are addressed by a dedicated team of faculty and staff members. The holistic approach promotes emotional and intellectual growth, practical skills, and a commitment to give back. The ASYV graduates emerge from AgahozoShalom as balanced young adults who are not only able to care for themselves and their families, but who are committed to making their community, their country, and their world a better place. With ongoing help from our friends, fans, and supporters, the Agahozo-Shalom Youth Village will continue to flourish. The youth of the world have the right to a future with enormous potential – a future that is looking brighter because of the transformational work being done at places like Agahozo-Shalom. If you would like to join Anne in cultivating a brighter future, please visit: www.asyv.org/donate

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“The Agahozo-Shalom Youth Village is a community where youth can prepare for a hopeful future.”

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SUZY PARKER

A GLIMPSE by Sunil M Narayan

Before Suzy Parker took the world by storm in the 1950’s, editorial spreads of corseted stoic mannequins in sumptuous garb did not serve as a positive influence in the lives of female readers. From the late 19th century to the end of the 1940’s, mannequins were robotic! There was nothing of value to gain from the experience other than refinement and personal style. From the start of her career in 1946 till her official retirement in 1965, Suzy was anything but the silent artist: vivacious, highly opinionated, daring, youthful and VERY talkative. She brought an unprecedented dynamic force to fashion photography which surpassed that of her conventional, older sister Dorian Leigh.

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Post-WWII constituted the American dream. The end of the war meant the rebirth of society in which people cared more about prospering and leisure than remaining affected by the hardships and hysteria endured during the absence of a male-driven workforce. Teenagers listened to Elvis Presley, had milkshakes with their burgers at diners, watched Sci-Fi/Horror movies, rollerskated and partook in heavy petting. They were having a good time.

As the suburban culture evolved to the point comfortable living became a natural part of life, social conventions for girls changed too. Fashion publications such as Vogue, Harper’s Bazaar and Elle picked up on it. It was the right timing for Suzy to take center stage, becoming a popular role model for female readers across America.

in the 1940’s, the vision of a squeaky clean, fragile and innocent doll shielded from all the dangers of life may come to mind. Suzy wasn’t afraid of anything! “

Cecilia Ann Renee Parker was born on October 28, 1932 to George Parker (a chemist and inventor) and Elizabeth Kirkpatrick (housewife) in Jackson Heights, New York. She was the youngest of the Parker sisters: Dorian (d. 1917), Florian (d. 1918) and Georgibell (d. 1919). Elizabeth and George hailed from San Antonio, Texas. He was 18 and she 17 when they got married.

Both were Southern Baptist so the family lived an orthodox lifestyle. Taboos such as drinking, swearing and smoking never took place in the Parker household. And the girls could not wear make-up otherwise they would have been looked upon as whores.

Before Suzy’s birth, Mr. Parker had just retired from selling bottles of his highly valued formula in the printing industry: etching-erasure acid. The acid made ink bolder and permanent. Her arrival came as a shock to Mrs. Parker but he treated Suzy as his little girl. Both were redheaded with milky skin whereas the rest of the family was pale and black-haired. Dorian wanted the initials of her name to be “CRAP.” Of course, her mother knew what “crap” meant so Suzy’s initials ended up being “CARP.” The Kirkpatrick women were known for their sophistication and beauty. None were pure redheads, hence Suzy inherited a balance of unique features from both parents. Intimately, she belonged to her father, inheriting his reservation, contemplation, intellect and ambition. Naturally, Dorian was everything a high society woman needed to be though Suzy was too humble and rebellious to take after her oldest sister. She was a tomboy, preferring boys over girls for friendship. Her untamable nature sometimes led to accidents… Suzy jumped off the roof of her house; slid on the patio in her socks, resulting in her arms crashing through a window; rode her bicycle under a truck; rollerskated into a plate-glass window.

When one thinks about girls in the 1940’s, the vision of a squeaky clean, fragile and innocent doll shielded from all the dangers of life may come to mind. Suzy wasn’t afraid of anything! Even in Ballet class she distracted everyone with her playful humor despite warnings from the instructor. Her carefree character subsequently led to getting kicked out of class. From the beginning of puberty till her discovery at age fourteen, she cried herself to sleep everyday. Girls alienated her all through middleschool and highschool because of her distinct look.

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“When one thinks about girls

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SUZY PARKER

continued.

Dorian wanted to improve her sister’s self-esteem by taking on the role of mentor. It was different from her previous approach to the baby of the family. When she started modeling, she was twenty-seven and already had two kids of her own. She didn’t treat her sister very well in the past, partly because their mother didn’t provide Suzy any emotional support. Dorian was her mother’s special pearl and Suzy was her father’s pet. He reserved his time, energy and love for her only. By 1946, two years had passed since Dorian landed her first go-see and cover of Harper’s Bazaar (d. September 1944).

She was still new but had obtained top mannequin status quickly. Every summer Dorian brought her sister to New York to live with her on Lexington Ave. Persistent in persuading her photographer friends to give Suzy a chance; she bullied them all till they said “Yes.”

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There were only a few agencies in New York at the time and all were constantly on the lookout for unique-looking girls. The typical mannequin didn’t matter because she fit the definition of ideal beauty in our culture. Their goal was to produce original gems that could not be found anywhere else, as in, mannequins with a feminine combination of unorthodox features. There were and still are many girls who model temporarily. They have the right look for either low fashion or high fashion. If one is groomed to be a low fashion clotheshanger, it means the viewer is conditioned to find her type of face comforting.

It is almost expected, really. But the ones whom agents don’t expect to see in catalogues tend to garner the most attention in mainstream culture.

was a highly lucrative source of income due to industry’s constant demand for her services and widespread acceptance among fashion publication readers.”

Up till the arrival of Suzy Parker, girls who were signed with an agency were interested in either getting married to a millionaire or becoming superstars. Many were captivated by the glamorous depiction of the profession, believing they too will one day get to get to “play.” The truth is one was treated purely as a clotheshanger; there was no room for “opinions” or “feelings.” Photographers pulled the strings of their puppets in order to meet a publication’s objective for a spread or advertisement. If they received suggestions from a mannequin about how to achieve it, such conduct would have caused great offense. Mannequins were required to be silent actors suppressing their inclinations. However, the ones who played their cards tacitly eventually moved up the fashion industry chain, enjoyed their retirement (saved earnings) or worked in a completely different field.

Fortunately for Suzy, modeling was a highly lucrative source of income due to industry’s constant demand for her services and widespread acceptance among fashion publication readers. When the US Internal Revenue Service came knocking on her door in the mid 1950’s, she was ordered to pay back income taxes for which she didn’t actually have the skill to handle. A practical lady, Suzy chose to start using the mannequin’s profession as a way to take care of financial matters. At the height of her career she retained $120 hourly wage and a net salary worth $100,000+. She treated the profession as a business as opposed to a pleasure.

The industry has always been a very competitive institution. The mannequins who saw things clearly didn’t create art for the sake of it.

People had to pay bills, buy food and clothes and go to work everyday. Suzy knew this which is why her name is synonymous with the 1950’s. She had ruthless ambition coupled with sharp business skills in order to get to the top then stay there. Historians comment on other mannequins as being the first to achieve an extraordinary hourly rate but one can only reach that level if they were concerned with just business matters.

Dorian Leigh had an eye for potential so took young girls under her wing to nurture them. During the 1940’s, women commonly did not have the luxury of obtaining a college education or career that men were afforded without a second doubt. Since modeling was deemed prostitution by mainstream society, there was an inclination to financially take care of girls who yearned for independence. She mothered both Suzy and Carmen Dell’Orefice, a mannequin of Hungarian and Italian extract. Her two chicklets became bestfriends sharing a thirst for excitement during their early modeling years. On occasion, Suzy convinced Carmen to use the taxi cab fare provided by Dorian to go see a movie instead of meeting a client. In 1954, these two rascals travelled with photographer Roger Prigent to Miami for the grand opening of the Fontainebleau Hotel. They poured bubble soap into the lobby fountain! In the evening, he and his mannequins dined at a seafood restaurant. Still feeling mischievous, they persuaded Prigent to purchase a shark from the display tank so they could make the fountain its new home.

From 1946 to 1948, Suzy Parker did countless of test shoots for the “American Mafia” (the leading photographers of the fashion industry).

They were the gods of their profession, i.e. John Rawlings, Irving Penn, Ferdinand Fonssagrives (first husband of Lisa Fonssagrives-Penn) Louise Dahl-Wolfe, Erwin Blumenfeld, Martin Munkacsi, Horst P. Horst. Penn and Rawlings and up-and-coming high fashion photographer Karen Radkai loved her after the first photoshoot, yet she still felt very alone in an industry that spent decades entrenched in xenophobia towards the types of beauty that deviated from the illusion of an American woman.

Mannequins up till the end of the 1940’s were expected to be at least 5’9 or above, weigh 110 lbs., have 33-24-34 measurement for bustwaist-hips as well as blonde hair. The Balanchine Aesthetic applied to mannequins who were required to evoke the image of a graceful swan floating during sittings. Suzy could not fit into the provided garments so seamstresses had to refit the pieces according to her proportions. Her body was naturally pear-shaped which disappointed them.

Suzy was signed to the Walter Thornton agency for an hourly wage of $15.00 (a much better circumstance than the typical wage of $5.00 per hour) while her sister was under contract at the Harry Conover agency for $25.00 per hour. Many people associate Suzy’s career with greatness though initially she struggled to gain notice. Assignments did not include Harper’s Bazaar, Elle, Vogue or Marie Claire. She did low-cost advertisements for cheap clothes before meeting with the CEOs of an upstart modeling agency....

When Suzy turned fifteen, Dorian took her to meet Eileen and Gerard Ford at Mario’s Villa d’Este (an Italian restaurant). Ford, Inc. was created in 1946 by the Fords. It was not only very new but caught in a war for supremacy in the fashion world. The power agencies were John Powers, Harry Conover (the CEO was formerly represented by John Powers) and Walter Thornton. Each had their signature mannequins but none were ready for what the Fords were about to bring to the table.

The meeting was the work of the Fates! Eileen and Gerard were astonished by the combination of contrasting yet exalted beauty. With Dorian, her aristocratic features and fashion style exuded heavenly elegance. With Suzy, they had never met a girl who looked so wholesome, healthy, personable and surging with fire. Her natural charm and exceptional manners made her easily appreciable. It was only logical that both Suzy and her rising star sister were to be groomed to become the signature faces of Ford, Inc. for the rest of their careers.

They were the reason why the young agency quickly became the supreme powerhouse of the twentieth century.

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“Fortunately for Suzy, modeling

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DRESS OZCAR G COUTURE ART GREEN/WHITE NECKLACES LUCINDA LINDERMAN

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AQUARIUS Photography by NATASHA KERTES Model ANAI EKALINO Makeup PAMELA SANDERSON GARCIA

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JEWELED CAP ZULA STUDIO

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MAMiMagazine Aquarius is a constellation of zodiac, is Latin for “watercarrier”. Aquarius was associated with the destructive floods in Babylon. In Ancient Egypt, flood of the Nile; the banks were said to flood when Aquarius put his jar into the river, beginning spring. Aquarius is also identified with beautiful Ganymede, a youth Greek mythology, who was taken to Mount Olympus by Zeus to be a cup-carrier to the Gods in heaven, transforming himself into an eagle and kidnapping Ganymede from the Goddess of the dawn.

Another myth of ancient Greece was the hatred between twin brothers Danaus and Aegyptus, who agreed to marry Danaus’ 50 daughters to Aegytpus’ 50 sons. Danaus instructed his daughters to stab their husbands in the chest on their wedding night with daggers. One of them fell in love with her husband and chose not to kill him.

The other 49 who did kill their spouses, were sentenced in Tartarus by Haides as punishment for murdering their husbands, and forever condemned to carry water in a jug to fill a bath to wash off their sins, but the jugs were actually sieves, so the water always leaked out.

In my story Aquarius is punished by jealous Gods for her beauty to carry water for the rest of her life.

Natasha Kertes

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JUMPSUIT ANGELINA ZUBRILINA EARRING SHIROIY D.CAMA

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MAMiMagazine JEWELED CAP ZULA STUDIO SEQUINS TOP C’MADELEINE’S SHOES SAKS FIFTH AVENUE RED PLASTIC NECKLACE WORN AS A TAIL LUCINDA LINDERMAN

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MAMiMagazine VINTAGE DRESS C’MADELEINE’S ART NECKLACES LUCINDA LINDERMAN JEWELED CAP ZULA STUDIO

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DRESS OCAR G COUTURE JEWELED CAP ZULA STUDIO

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DRESS C’MADELEINE’S JEWELED CAP ZULA STUDIO SHOES SAKS FIFTH AVENUE

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DRESS C’MADELEINE’S BLACK ART NECKLACES LUCINDA LINDERMAN JEWELED CAP ZULA STUDIO

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MAMiMagazine COPPER LAME PANTS ETRO AQUA TOP WITH TAILS C’MADELEINE’S JEWELED TOP ZULA STUDIO EARRINGS SHIROIY D.CAMA

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AL CAMP MUSIC/DRAMA I

t was a hot day when i met Al Camp.. visiting Tony Camillos Studio for a photoshoot.. i was ready to do some magic.. but Magic is what i witnessed.

Al and his wife Susan are great people.. a long history and a string of success and heartache.. which make for a dam interesting story. Look for Al Camp in music and film this year. visit him at www.alcamp.biz MAMi Magazine

“Al Camp is a winner, with over 30 yrs entertainment experience.. and definite swag.. this Actor/Musician has the chops!�

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DOWNLOAD AL CAMP MUSIC NOW! www.facebook.com/AlCampMusic/app_470868196288052

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Model: Zahnay Make-up : Nicole Dupree Hair : Carla Clarkson Stylist : Crystal Nicola Photographer : Stephen Hudgins

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by Mihaela Nicoleta Micula: European Fashion Editor MAMi Magazine

“What about fashion? Haha, it’s an interesting question.”

How would you like to describe the name of Fanny Liautard in the world of fashion?

Fanny Liautard is a fashion house more than a brand. My dresses are unique. The luxury is to make custom’s dresses haute couture fashion. Each dress is created for one custom. It is not possible to find two similar dresses in the same evening.

I guarantee discretion to my clients. The real luxury it is not about wearing a brand. It is unique and sublime, being the ultimate elegance.

After graduating from the prestigious school of the Chambre Syndicale de la Couture Parisienne, I started at GIVENCHY, then I worked for Japan, Nino Cerruti and other brands ... I could create my collections and distribute them to “Barney” in New York, “Bags”, “Bergdorff Goodman”, the “Victoria’s Secret” lingerie ...

I opened two boutiques in Paris.

When the Economy Mode decided to produce cheaper in Asia, I didn’t sell the amount. My choice was to make even more luxurious my work pieces in my studio from Paris for unique customers. I am influenced by the cinema, mostly by Hollywood. My muses are often beautiful actresses. I create and reinvent their wardrobe with the zeitgeist. I like contemporary actresses. Art Deco also inspires me. I want to reinterpret the spirit of beautiful materials, purity and quality.

Why bridal collections?

The clients asked me to make wedding dresses. They found interesting do not wear dresses too “disguised”. My style and spirit reflect the contemporary and refined woman of our time.

I like to dress every woman similar to a princess or a fairy. I like to develop according to each personality the poetry, refinement, nobility or magic, depending on the woman and the moment. For a wedding, the emotion and romance of love must be ressanti.

What about Paris? What does actually means for your style?

Paris is the capital of fashion. Yes, Mihaela I think I met the art of fashion because I live in Paris. Born artist, I could choose writing, painting and sculpture.

I chose to live more fashionable intancément. I learned everything in Paris of my childhood and my debut at the Haute Couture near Monsieur de Givenchy .

I like traveling but I like to return to Paris as well. I love the refinement, sophisticated elegance. My creations are this condition.

What kind of textiles do you use the most for your creations?

The silk is my favorite, chiffons, voiles, satins, all the pancakes.

The Calais lace and the Chantilly lace ... cashmere, feathers, transparent crystal, glass beads for embroidery.

I love the spirit of Haute Couture, the technique of “bias and fuzzy”. We are working in the same techniques as Madeleine Vionnet and Coco Chanel.

FAIRY PORTRAIT

FANNY LIAUTARD

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MAMiMagazine One of your creations was last year the cover of Mami Magazine. What about accessories?

The accessory for the Mami Magazine is signed by Suna Moya.

“One of your

creations was last year the cover of Mami Magazine.

What about accessories?

The accessory for the Mami Magazine is signed by Suna Moya. “

You created princess dresses.

I had the opportunity to make dresses for the princesses of Europe( Norway ), Asia, First Lady and princesses of the Middle East. And I did it also for great actresses, stars from the United States and France. They weared my creations on the occasion of large receptions, parties or weddings.

Let me do not name them. My customers want choice, plus I do not like to brag. I love to create beauty and make it unique. The clients know they can trust in me.

You created an evening dress for the White House as well.

It was the same for this beautiful lady. She came to me and said: “I have two receptions at the White House, can you give me two dresses, one worn with emerald jewelry offered by my husband?”

We chose a chiffon, satin and silk spangled with gold. The result was a gorgeous dress with a neckline in the back side.

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What about the 2013 Collection?

Regarding the 2013 Collection, I liked to accentuate the Art Deco style of my dresses in a spirit of “Gatsby”. I did it for short or long dresses, semi-precious stones or precious embroidery buttons. More fluidity and dresses to achieve the finest fabrics in the world. Each movement, each air passage is inflight, they are surreal, fairy or angel, delicate poetry, sensual thrill of sweetness…

Legend Absolute fluiditée, chiffon dresses, large marabou stoles.Jewelry Suna Moya. Photo by: Eric Ouaknine. Press Release: MAMI Magazine of International Fashion & Music Art Robe de satin de soie rouge. Cover of the MAMI International Magazine 2012. Photo by Eric Ouaknine

FAIRY PORTRAIT

FANNY LIAUTARD

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“Paris is the capital of fashion. Yes, Mihaela I think I met the art of fashion because I live in Paris. ”

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2015 BUGATTI GALIBIER

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16C CONCEPT

he Bugatti 16C Galibier is a luxury 5-door fastback concept car. Bugatti Automobiles S.A.S. debuted the 16C Galibier at an invitation-only show held at the Molsheim, France assembly salon on September 12, 2009. The 16C Galibier uses a front-mounted, 8.0 L twin-supercharged W16 engine that delivers power via permanent all-wheel drive. A production version of the 16C Galibier concept, named the Royale, is expected to reach the market in 2014- 2015.

The 16C Galibier name is a reference to the Bugatti Type 57 Galibier. Bugatti traditionally gave Type 57 variants names that referred to mountain passes. Galibier refers to France’s Col du Galibier.[1] The “16C” refers to the engine’s 16 cylinders.

The 16C Galibier features a hood which opens in two parts along a central hinge. The 16C Galibier features the longitudinal rib also seen on the previous EB118 and EB218 concepts that references the longitudinal body seam of the Type 57SC Atlantic. The Gabilier will be most likely one of if not the most luxurious cars in the world, with interior features such as an analog timepiece which can be mounted in the dash as a clock or on a wristband as a watch

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MAMiMagazine Bugatti Automobiles S.A.S. debuted the Bugatti 16C Galibier 5-door fastback concept at an invitation-only show held at the Molsheim, France assembly salon on September 12, 2009.

The 16C Galibier was first shown to the general public at the 2009 Frankfurt Auto Show.

The 16C Galibier uses a front-mounted, 8.0 L twin-supercharged W16 engine that delivers power via permanent four-wheel drive. The engine is derived from the quad-turbocharged unit used in the Bugatti Veyron.[2] It will also incorporate an option for a hybrid powertrain, primarily to reduce pollution in urbanised environments.[5] Performance figures have not been specified, but it has a power output in excess of 1,000 bhp (750 kW) while surpassing speeds of 235 mph (378 km/h).

A production version of the 16C Galibier concept, expected to be named the Royale, was originally scheduled to reach the market in 2013.[4] In 2011, Bugatti postponed the release of the Royale to 2015 or later to refine the vehicle’s design. Bugatti expects to produce 3000 units of the Galibier compared to 300 of the Veyron, and is expanding its factory in Molsheim to cope with the production volume. It is also expected to cost more than £1 million.

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Astonish Photographer Viktorija Pashuta www.pashutaphotography.com Wardrobe Stylist James the Beloved Make Up Ashley Gomila Hair Bethy Mireles Model Clancy Manicurist Ashley Van Photographer’s Assistant Mariusz Jeglinski

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Peach dress -- Olena Dats.

Flower Cap-- Miss G Designs

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Vintage one-piece bathing suit, vintage sequin jacket, and shoes - stylist own

Feather Hat --Gladys Tamez Dress - Olena Dats

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Turquoise hat --Gladys Tamez White Vest --Skingraft Peach Dress--Olena Dats

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Peach dress -- Olena Dats.

Flower Cap-- Miss G Designs

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MAMiMagazine Herve Leger one-piece bathing suit

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MAMiMagazine Missoni bathing suit

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Blue blouse - Olena Dats White Shorts--Skingraft Hat--Gladys Tamez

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Red dress--GAURAV GUPTA Gold Headdress--Miss G Designs White feather

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TOPTEN

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THE LIFE

Every season MAMi Magazine will review outstanding artists on ReverbNation and give you a breakdown of what we find. please submit to www.reverbnation.com/label/mamimagazine

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TERAE DeWITT: BEAUTIFUL Being in Atlanta you will find talented and creative people. Not all of them will stand out. However Terae DeWitt has become one to be recognized for her talents in the beauty industry. Although she began her journey as a nail technician, she soon thereafter found a passion for hair. Today she is known for her hair and makeup application. One may even consider her a triple threat in the beauty game.

Living in Atlanta, Terae has had the privilege to work with some very talented people. As a freelance artist, she is sought after for her creative styling. She has had an opportunity to work with commercial advertisements, film, and television networks. Her latest work has been shown on Season 2 Love and Hip Hop Atlanta.

Terae is also the proud owner of Salon DeWitt where she is really in the business of taking care of her client’s hair. “One of my favorite conditioners is The Multiplex Conditioner by Influence. It adds much needed moisture back into the hair.” It is in Salon DeWitt that she gives each client a personalized salon experience with highly noted quality services.

She provides her clients with the best in healthy

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hair care and trend setting hair styles. Plus she accommodates her client’s lashes, brow services, and makeup applications.

“Not every client likes to feel made up. Sometimes they want their natural beauty to be the exuding canvas of the day. For those clients I may suggest a lash application with Maybelline’s The Colossal Mascara and Obsessive Compulsive Cosmetics Lip Tars. This combination, along with translucent powder to keep down your skins natural shine, will add just enough color for the natural feel and look.

Working in the beauty field is a platform and a way of life for Terae DeWitt. ”It is very rewarding to have a position of encouraging women. Having the ability to transform a person is not only a career craft, it is truly a blessing. It’s like my gift.”

For more updates follow Terae at www.facebook. com/salondewitt www.twitter.com/teraedewitt www.instagram.com/teraedewitt www.teraedewitt.com www.salondewitt.com

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O

ne of Philadelphia’s fashion elite is Mr. Ron Wilch.. a mens designer who’s clothing has taken the regional market by storm.

Currently planning the Philly Fashion Expo as a trade event in the heart of Philadelphia, Mr Wilch has his hands full with planning and execution.

Also, Mr Wilch is planning an organization called Boys to Bosses which mentors youth in sucessful entreprenuerial practices.

We all owe it to ourselves and future generations in supporting the efforts of men like Ron Wilch! for more information please visit www.phillyfashionexpo.com

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WATCH THE THRONE

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cGuire Furniture has collaborated with artist Jordan Betten of Lost Art to create a one of a kind works of art. Taking five of McGuire’s most iconic chairs, he re- envisioned them with a rock and roll vibe – as he does for his fashion clients. They will be on display at McGuire San Francisco for the month of February and Baker Knapp & Tubbs’ Los Angeles showroom in March. ince 1948, McGuire has been internationally known for creating timeless furniture of natural materials. Each piece of furniture is crafted by trained artisans who bend, weave and form every chair, table or accessory by hand. Says McGuire President Kendra Reichenau, “Jordan’s work is incredibly creative, and he has envisioned some of our classic chairs in an entirely new way.

He uses only the finest materials and fine tuned hand-craftsmanship – two qualities we very much admire.” ordan Betten is a New York City based artist and the founder of Lost Art. Lost Art, a luxury leather brand, began in 1997 with the creation of a bag called “The Road”. Since the beginning of Lost Art, all pieces have been made entirely by hand, in the tradition of the finest craftsmanship and attention to detail.

S J

Algie deWitt

Marketing&Advertising Expert MAMi Magazine 156

One Of A Kind Works: McGuire/John Betten The Lost Art collection includes clothing, accessories, motorcycles, instruments and guitar cases. Collectors include Lenny Kravitz, Steven Tyler, Sean Lennon, Sheryl Crow and many others. Betten’s collection can be viewed at the Lost Art gallery in West Chelsea, Manhattan, and his murals are easily recognizable on walls around the world. http://lostartnyc. com

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“Knowing that McGuire continues to produce handcrafted furniture was the best reason to collaborate.

Our company’s aesthetics may be very different, but our shared sensibilities of paying attention to detail and the respect for the materials created an organic connection,” says Betten

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The Butterfly Chair, originally designed by Edward Tuttle, has been a McGuire icon for nearly 40 years. Just as much a work of art as it is functional; the Butterfly chair takes on a new personality. Betten imposed his own rock-star interpretation with the use of a cobra skin seat, arms and back laced with leather fringe. As in his figural art, Betten followed the existing curves of the back and arms to create a sense of movement around the frame.

The Target Dining Chair, designed in 1984 by Elinor McGuire has been a best seller for over 30 years. Betten re-interpreted with a brown calfskin hide on the seat and frame. Leather crossstitching adds an additional element of handcraftsmanship, as does the intricately hand-braided leather fringe that hangs dramatically from the back of the frame.

The Laura Kirar Dining Arm Chair, already one of the most dramatic pieces of McGuire’s collection, became even more of a statement in the artistic hands of Betten. Playing off of the pop-art inspired pattern of rattan circles, Betten doubled the affect, tying in additional brass rings in the back and arms of the chair. The python skin wraps the entire frame, as though it were constricting the rattan beneath.

Crystals and feathers adorn the newly-fashioned Barbara Barry Script Side Chair. Reminiscent of a dream catcher, Betten uses the negative space within the calligraphic back to incorporate more detail. Hand-tied feathers frame the outside of the chair, adding a note of whimsical charm. Betten’s work often depicts a sense of gathering or connectedness, physically manifested here via tightly woven leather bands that create one large network of details.

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DEKOR FOR YOUR HOME

The McGuire Furniture Company (415) 626-1414 or kendra.frisbie@kohler.com www.mcguirefurniture.com MAMi Magazine 157

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