1
SUMMER ISSUE 2013
GUESS.COM
2
THE NEW FRAGANCE FOR WOMEN FEATURING AMBER HEARD
3
SUMMER COLLECTION
MASTHEAD Editor in Chief
Hugo Lindgren
Design Director
Arem Duplessis
Director of Photography
Kathy Ryan
Art Director
Gail Bichler
Managing Editor Story Editors
John Haskins Sheila Glaser, Jon Kelly, Dean Robinson, Ilena Silverman, Adam Sternbergh
4
Online Editor Designer Design Assistant Deputy Photo Editor Photo Editors
Photo Assistant Copy Editors
Head of Research
Samantha Henig Raul Aquila Ben Grandgenett Joanna Milter Stacey Baker, Clinton Cargill, Amy Kellner Gabrielle Plucknette Harvey Dickson, Wm. Ferguson, David Vecsey Nandi Rodrigo
Research Editors
Renee Michael, Lia Miller, Mark Van de Walle
Production Chief
Anick Pleven
Production Editors
Patty Rush, Hilary Shanahan
Editorial Assistants
Liz Gerecitano, Maya Lau
artwork made by Hernan Bas
US.ALLSAINTS.COM
5
6
COCA-COLA.COM
CONTENT NICOPANDA IN TOKYO
08
38 HIRARI IKEDA
12 18 24
INTERVIEW
STOKER MOVIE REVIEW
42 THE MISCONCEPTIONS OF YOU
MIAMI WYNWOOD EVENTS
EAT YOU KIMCHI
48 53
HERNAN BAS
28
FLORENCE AND THE MACHINE
INTERVIEW
62
INTERVIEW
MINJAE LEE ART
NEW INDIE MUSIC LIST
7
Nicola Formichetti is one of the most well-known and influential creatives in the fashion world today – and a very, very busy man.
8
His countless projects range from styling global superstars like Lady Gaga to fashion directing Vogue Homme Japan to acting as head creative at Mugler and working with Japanese juggernaut Uniqlo. Formichetti launched his own brand Nicopanda in 2011. Nicopanda’s quirky-kawaii designs quickly gained a worldwide following. At the beginning of March, a bright pink Nicopanda popup shop appeared on the front of LaForet Harajuku – complete with a giant panda, a UFO catcher, and an amazing Hello Kitty panda dress. This week, the head panda himself has been hanging out in his Harajuku shop, to the delight of his Japanese friends and fans. Nicola Formichetti’s resume may be a who’s-who of international brands, but
NICOPA IN
9
NDA TOKYO
10
he was born in Japan and has always had a strong connection to Japan’s street fashion scene. Nicopanda is a labor of love for Formichetti. The quirky-kawaii pieces he creates for the brand resonate strongly on the streets of Tokyo. In addition to his own work, Formichetti is admired for his ongoing discovery and nurturing of young creatives. For example, popular Harajuku models Hirari Ikeda and Juria Nakagawa began working with Nicopanda before their names were known by many people outside of Japan. Both Hirari and Juria – along with a number of other Tokyo street fashion personalities who have been involved in Formichetti’s previous projects – are working at the Nicopanda
Harajuku popup shop. We covered the Nicopanda Shinjuku popup shop last year, but we knew that Nicopanda Harajuku would be much bigger and even more fun. Thus, we were excited when Nicola’s brother Andrea invited us to photograph the shop and shop staff. We were even more excited to catch Nicola Formichetti at Nicopanda Harajuku – and to watch him interacting with his fans, drawing pandas, and just generally having a fun time. If you’re going to be in Tokyo before March 31st, we highly recommend that you check out the Nicopanda Harajuku Popup shop at LaForet Harajuku! In the meantime, enjoy all of our pictures! Big thanks to both Nicola Formichetti and Andrea!
11
12
HIRARI IKEDA
The new generation of Japanese fashion daredevils are not particularly into drugs, sex or clubs. Driven purely by their visual voracity they create awe inspiring looks by clashing seemingly polar styles on the go.
13
14
One of the brightest stars of this emerging elite is Hirari Ikeda whose out-ofthis-world looks and a taste for dramatic makeup have already caught the eye of scene veterans Jeremy Scott and Nicola Formichetti. Keeping with the low-key, why not approach we stopped by Daiso, grabbed ¥1,995 worth of goods and while the sun was setting improvised a few “looks” of our own. She is the Tokyo based Harajuku icon who dresses like a punk, works at a shop called Dog and looks like she’s fallen down the rabbit hole, landed in Nicola Formichetti’s dressing up box and emerged with multi-coloured eyes, studs growing out of her skin (throat and cheek piercings) and pink PVC platforms up to her knees. You wouldn’t miss this girl walking down the street in London, but in Japan, Hirari is a street style star; the girls wanna be her, the boys wanna be her! She’s 20 years old, a member of the shop staff at Tokyo’s answer to Camden’s Cyberdog and has modelled for the Diesel Art Director’s side-project, Nicopanda. When asked where she gets her style inspiration from she replies ‘Tumblr and Instagram.’ She’s a true child of the internet and living, dancing proof that it’s the future. Her own Instagram is a crazy clash of colours, cartoons and cute selfies taken with her pretty pals, Juria Nakagawa and Si Oux, looking like a gang of gypsy princesses from the underground Japanese metropolis.
15
THE FIRST EVER BLACK EAU DE PARFUM
16
17
18
THE MISCONCE OF YOU
SHINee is scheduled to make a comeback this month with their highly-anticipated third album, “Dream Girl”. Their third studio album will be split into two chapters.
The first chapter titled “Dream Girl - The Misconceptions of You” will be released digitally on the 18th and physically on the 20th; the second chapter titled “Dream Girl - The Misconceptions of Me” will be released sometime in April. Both chapters contain 9 songs each, for a total of 18 songs combined. Introduction to hype up the release of their comeback after 11 months, Melon created the “SHINee Music Spoiler” event at Olympus Hall on the 14th. A music critic, composer, music program PD, fashion editor, members of the press, and more were present at the event and expressed their interest in SHINee’s new album. The 100 fans in attendance were able to listen
PTIONS
19
to six of the nine new tracks on “Dream Girl” prior to the official release, as well as a song and a medley of three songs from Chapter 2. SHINee put on fantastic live performances and held a brief Q&A session at the event. Two of the directors for the album also made an appearance to give a basic explanation about the concepts and meanings behind the project. Director Lee Sungsoo from SM Entertainment’s producing department shared information about the songs and their meanings, while Director Min Heejin from SM Entertainment’s visual and art directing department introduced SHINee’s visual concept.
20
At 5PM, the lights dimmed in the venue and the first song “Spoiler” began to play. It is the first track of the album and Jonghyun participated in writing the lyrics. Key hinted, “The first track ‘Spoiler’, which Jonghyun hyung wrote the lyrics to, introduces a lot of the concepts in our album.” It includes all the names of the 18 songs off the two albums. Director Lee shared that the introduction from the hybrid track “Sherlock” can be found in “Spoiler”, which had been planned since the beginning. He explained, “We created ‘Sherlock’ by merging ‘Clue’ and ‘Note’ into one song. This time, we experimented with combining two albums of different personalities into one. So you can say this album is an extension of Sherlock.” Director Lee said that this album was able to be created because SHINee’s previous albums exist. He has worked with SHINee since their debut album and shared his perspective on how all of the staff and SHINee did their best while preparing the first album. For the “Romeo” album, it was Jonghyun’s idea to create a storyline with the order of the songs. He wants fans to see this as an extension of “Sherlock”. He revealed that “Sherlock” wasn’t originally planned to be a hybrid of “Clue” and “Note”. They tried around 20 combinations with different songs until they got the final product.
“We included a fun point where you can search for keywords and put them together to create several interpretations.”
21
The third album is split into two chapters with Chapter 1 titled “The Misconceptions of You” and Chapter 2 titled “The Misconceptions of Me”. Chapter 1 is about “my misconception of you”, “the misconception of the world wrapped around me”, and “the misconception of reality”. The lyrics can be interpreted as the dreams, ideals, and visions of the world through SHINee’s eyes. It showcases the original SHINeeesque side which everyone is familiar with. Chapter 2 is about “the misconception of me (SHINee)”, “the dreams I slowly wanted for myself ”, and “the misconception of ideals”. It evokes the gap between SHINee’s reality and dreams and has an
overall deep and dark sound, completely opposite of Chapter 1. It was revealed that there are hidden keywords that connect Chapters 1 and 2. Director Lee said, “We included a fun point where you can search for keywords and put them together to create several interpretations.” Director Min had a vision for SHINee to escape from the typical concepts done by SME. She wanted to develop a fun image for SHINee and aimed to have them break away from the basic idol image. An artist’s visuals do not solely depend on their stage outfits. Establishing an identity was crucial, so the Director stressed a creative spin on a natural and free approach. Nothing was ever
22
done or created without a reason and she enjoys it when fans interpret those points. In order to not give off the vibes of an SM artist, they usually ask underground photographers, assistants, and even students who are passionate about their work. It’s now common for the artist’s label to collaborate with fashion designers for stage outfits but SHINee was actually the first artist in Korea to go that road when they started working with Ha Sangbaek. They even borrowed Ring Ding Dong stage outfits from Hongdae bands and filmed the Lucifer MV in a Hongdae studio. When talking about “Sherlock”, Director Min went straight to the topic of exposure. She said they didn’t expose SHINee just for the sake of exposing them. Like she mentioned before, they simply wanted to show SHINee’s natural side, having them be just as they are. The artwork within the album itself isn’t meaningless. Director Min drew them based on the conversations she shared with the members or the thoughts she had about the members she sees on a regular basis. “All the members are now adults so I wanted to give them a more serious look,” Director Min shared. Their album jacket picture represents the members’ fantasies. It encompasses the dream girl they’re searching for as well as their inner selves. She did her best to help the members be able to use artwork to express what they couldn’t describe through words. The ‘Dream Girl’ is not simply just a girl. Director Min described the dream girl as a projection of SHINee. “When we look for ideal types, we usually find someone who is similar to us or completely different from us. So when we search for our dream person, we are actually searching for another side of us.” To put it another way, it’d be, “Who is the me that I am looking for?”
23
FOREVER21.COM
Alone Together December 5th - 12:00AM through August 2nd - 12:00AM Alone Together will feature 31 artists exhibited individually in 29 rooms. These galleries will often contain multiple artworks by a single artist, many of which are recent acquisitions. Rubell Family Collection/Contemporary Arts 95 NW 29th St Miami, FL33127 305-573-6090 http://www.rfc.museum
24
MIAMI WYNW EVENTS
Oscar Murillo: work December 5th - 12:00AM through August 2nd - 12:00AM Oscar Murillo: work is the artist’s first solo exhibition in the United States. It is comprised of paintings made by the artist in the summer of 2012 during a five-week residency at the Rubell Family Collection. During these five weeks he lived and worked at the Foundation using a 60-by-60-ft gallery and the sculpture garden as his studio. Rubell Family Collection/Contemporary Arts 95 NW 29th St Miami, FL 33127 305-573-6090 http://www.rfc.museum
COAST Shows June 2nd - 10:30AM through June 3rd - 10:30AM COAST Show will host their trade show at Soho Studios between June 2nd and 3rd. COAST Show boasts over 250 collections and showrooms from across the country including Milly, Tibi, robbi & nikki, Citizen of Humanity, Twelfth Street by Cynthia Vincent, James Jeans, and Genetic Denim. For a full list of fashion labels click here. COAST Show features different showrooms consisting of L’Atelier Group, Hotline Showroom, Simon Showroom, Joey Showroom, Lily Kate Showroom, Community Service, The Globe Showroom, Point A Showroom, and Blend Showroom. For further information please visit http://bit.ly/coastshow Soho Studios 2136 NW 1st Ave Miami, FL 33127 305.600.4785 http://www.sohostudiosmiami.com
OOD
25
Patrick Jacobs - Telescopic Vistas
26
December 6th - 12:00AM through December 18th - 12:00AM Patrick Jacobs produces miniature, circular dioramas of exterior and interior environments that blur distinctions between natural and unnatural worlds, while challenging notions of artistic invention. Ranging in size from 2 to 9 inches in diameter, the concave lensecovered spheres are lit from behind and must be gazed into through holes in the walls. Each oculus rewards that intimate experience with a hyperrealist, dimensional scene that confounds, dazzles, and provokes.Jacobs is best known for telescopic vistas of idyllic pasture and forests, which evoke a pleasurable sense of calm and harmony are in stark contrast to his slices of interiors, replete with fire escapes, window panes, and paneled walls, which when, peeped at through virtual keyholes, provoke urban unease and stir voyeuristic sensibilities. He painstakingly constructs and assembles the tiny worlds by hand with tweezers and brushes, from a dizzying array of incongruent materials that include paint, plaster, hair, wire, polyurethane, ash, wax, aluminum foil, and archival paper. Relying on sculptural foreshortening and spatial distortions, Jacobs arranges tableaus while peering through the lens that ultimately seals each surface. Inspired by both natural phenomena and the human condition, the artist delights in the transformative nature of his work, which defies classification. ZAG Zadok Art Gallery 2534 N Miami Ave Miami, FL 33127
Ruby on Rails Bootcamp April 1st - 7:00PM through June 14th 7:00PM April 1 – June 15. In this 10-week course, designed for non-programmers, you will go from zero to building your own apps. This is an intensive bootcamp led by local experts. Payment plans are available. You can sign up through the first week of class here : http://labrubybootcamp.eventbrite. com/ The LAB Miami 400 NW 26th St Miami, FL 33127 305-496-4448 http://www.thelabmiami.com
27
28
FLORENCE THE
There is no question the American audience is now all ears for Florence and her Machine. We chatted with the fiery-haired Brit about the success of Lungs, her first impression of our fair city and her undeniable sense of style.
AND MACHINE Your album, Lungs, has been so well received. What was the inspiration behind it?
The album is really a progression of my different phases and influences. Each song stands on its own [and is about] something I was interested in on a particular day or week. “Kiss with a Fist” was written when I was 18 and hanging out with punk bands and falling in love for the first time—it’s more raw and rock ’n’ roll. It took me so long to get this album together that by the time I made the last songs, I was 22, in a new relationship and not an art student anymore.
How has your life changed since the success of Lungs? It’s really the touring that’s changed my life. I’m not a natural traveler. I’m a total homebody and a bit of a hermit. I’m so grateful though because I wouldn’t have traveled much if it weren’t for touring.
29
Who are some of your musical influences and current musicians you’re into? I’ve always been inspired by Stevie Nicks and Fleetwood Mac—I love her voice and the emotion in her performances. And right now I’m really into my friends The XX. I’m also a huge hip-hop fan: I love Lil Wayne, Drake and Nicki Minaj.
You have such an amazing and unique fashion sense. How would you describe your personal style? A little frightening but also romantic—I get to float around in flowy gowns singing and twirling, which is what I always did in my bedroom growing up. Now people come and watch me do it, which is funny. In some ways I’m always trying to go back to that childhood fantasy of getting lost in my imagination, which is sort of what performing is. 30
You’re playing at The Wiltern in LA in November. Where was the first place you ever played here? The Troubadour last year on Halloween. We were all dressed up. I had on loads of scary black makeup and crimped hair, and the band was all dressed as skeletons.
Growing up in London, what was your impression of LA? I’ve read a lot of Bret Easton Ellis, so I think it was kind of dark, but when I got here it was more beautiful and eclectic than I thought it would be. It actually really surprised me.
31
NASTYGAL.COM
32
33
VOL
C
M O C . OM
34
HERNA The dandies in the underground that the celebrated Miami-based artist Hernan Bas has painted in the course of his young career have had an air of dark, fantastical flights
of fancy—larger-than-life swans carried lone dreamers away, the former Dior Homme
designer Hedi Slimane was given exalted status in a work titled “Floating in the Dead Sea with Ghost Ship Pirated by Hedi Slimane.”
These pieces, currently on view at a retrospective at the Brooklyn Museum, have given rise to brighter, bolder colors, and a new cast of characters making their way in the fertile landscapes of uncharted territories. A newfound interest in Futurism can be seen in his new body of work, “The Dance of the Machine Gun and other forms of unpopular expression,” on view at Lehmann Maupin Gallery, all of which was produced on the heels of the election of President Obama.
N BAS The end of the Bush years is informing artists across the board. The shining optimism in Shepard Fairey’s graphic “Hope” is already an icon of the era, but it is just one example of how the political and social climate is affecting artists today. Bas’s languid, largescale paintings also offer hope and optimism—as well as confusion, questions, and dreams of what’s to come. We caught up with the toast of the Miami art world the day after his show opened. A faint whiff of the previous night’s libations on him, Bas, sporting a slightly oversize top with skinny jeans and Dior sneakers—“I call it ‘ballet-dancer-going-to-rehearsal chic’”— took us on a tour through his new works.
35
While there is definitely a throughline, the new body of work has a different feel from what’s on view across the bridge at the Brooklyn Museum. The whole show is based on a newfound interest that I had in Futurism and 1920s Absurdist performance. The title of the show is Unpopular Forms of Expression. I feel that after the last eight years, a lot of things have been suppressed. As silly of a reference as it is, I was watching RuPaul on The View and she was talking about how she disappeared for a couple of years. She said that during the Bush Administration, she felt that the climate was such that she couldn’t be out there doing her thing. I thought it was really interesting that she made that comment. In talking about unpopular forms of expression, drag queens may be one of the top ones. I thought it felt timely to look back at that time period and relate it to the future. It’s also, coincidentally, the 100th anniversary of Futurism. I swear I didn’t know that when I started doing the work. 36
What led you to this fascination? I was sent a book on the history of absinthe and artists. People always talk about the hallucinogenic properties of absinthe, and it’s really that Gauguin and many other artists just drank so much of it. I learned about Alfred Jarry who is an Absurdist playwright who wrote the Ubu Roi. One of the paintings is based on the Absurdist play by the same title, which was the first absurdist play in documented history. That led me into the whole realm of Absurdist Theater and weird accents, and that led to Futurism and early Dadaist performances. I overlooked so much of this work myself, because the Dadaists and Surrealists were so popularized through high school and art school in the same way that college kid posters rape Gustave Klimt. I found out, to my detriment, that it was important for a reason. Just because it can be a little tacky, doesn’t mean that it should be overlooked.
And what does the show’s title refer to? The title of the show is The Dance of the Machine Gun, and in 1914, people were doing performances that you wouldn’t see as radical today, but they were in 1914. There was a performance called “The Dancing Machine Gun.” The only instructions were that you were to walk on stage as the performer, get on all fours, lift your hands up, put them together like a machine gun and pretend to shoot the audience for 30 seconds. Overall, for this show, I wanted to turn Absurdist Theater, performances and plays into something akin to historical paintings. Like Napoleon crossing the Alps, or the king leading his troops to war with Poland.
When were these paintings made? They’re all 2009. I’m a workaholic. I basically work like 14 hours a day, every day of the week.
37
Loners have played a significant role in your works. I wasn’t quite expecting to see a bagpipe player, though. I was thinking that I couldn’t paint a mime yet, as an example of unpopular forms of expression in performance. A bagpipe player also falls into this thinking. Unless you’re in Scotland or you’re at a wedding where someone Scottish is getting married, it’s not a very popular form of expression. It’s sort of obnoxious. I call it “The Bagpipe Player in Exile (or, the sad wind).” I thought of him in South America, maybe the most unpopular place for a bagpipe player to be. This one also has a little less to do with the character. It was painted at the beginning of these works when I was figuring out how to handle large paintings and I was figuring out a lot about painting itself and dealing with the hard edge. I love the sky more than anything else in this painting.
Do you feel like creative types were sort of in exile during the last eight years? To an extent. My career came of age during those eight years, but at the same time, I feel that much of the crazier work at FIT or the New Museum was literally in hiding for those eight years. Someone like Ryan Trecartin was in exile. I think my work survived that period in the safety of painting. Painting can be a little controversial, but if it looks classical or looks like if your grandmother walked in, she wouldn’t immediately think, “Oh this is a gay artist,” you can slide under the curve. The same way Félix González-Torres got away with the mentality that you can’t complain about an artist who’s talking about AIDS if all you see when you walk into a gallery is two clocks on the wall and a stack of white paper with a word on it. You can’t bitch and moan. He did that in the ’90s when Helms was raising all this fury and Mapplethorpe was showing cocks. I feel like my work managed to [avoid that controversy] because it’s still romantic painting.
38
It can be a little more subversive in that way, too. I think it’s a fun way to do it. I always call it the “Madonna Record in the AC/DC Sleeve.” I think there’s a sort of charm in closeting it.
When did you come out? I was 19. It’s progressed so quickly. Now I have friends in Miami who are the age that I came out, but they were out at 11. I want to shake them and say, “Do you realize that if you were in Kansas, you’d be dead right now?” They’re so over-the-top, and that’s not a bad thing, but I ask them if they realize how lucky they are. They’re all cute, little Twinkie kids.
What are your favorite places in Miami? I like to go to Pop Life and there’s a bar where artists hang called Kiss 14 near downtown. It’s as close to a dive bar you can get on the mainland, and not have to pay $30 a drink.
What’s the vibe like there? It’s a lot of off-the-wall local bands, like Schematic records and all these kids who play bongos and weird ass shit. It’s a local old haunt. On the beach, the Deuce Bar is the classic dive bar. In the last couple of years at Basel, it gets flooded, and I can’t go because it’s the hipster capital of the world. Because of that, we go to the Deuce and Kate Moss is across the bar.
What was Basel like for you this year? It was pretty laid back. Everyone was so freaked out about how the economy was going to destroy the world, and the art world in particular, and everyone was on their best behavior in a weird way. As much as you can never be ostentatious in Miami, people were trying not to be. The over-overover-the-top parties were just over-the-top. That was the big difference this year. It’s always weird for me, because I’ve become the unofficial dignitary of the town. Basel
39
turns into a lot of interviews and all my friends thinking I can get them every drug in the planet. I’m always like, “I’m not a drug dealer, by the way.” I may want to skip Basel this year and go skiing, even though I’ve never been skiing in my life.
The art world and the pop world really commingle at gatherings like Basel. Any good recent celebrity encounters?
40
I’m not a big celebrity gawker, but I went to the Waverly Inn a few nights ago. I knew it was a celebrity hotspot, but I expected to see David Schwimmer at a table. Diane Von Furstenberg was there, and Russell Simmons was there. And as we were getting up to leave, I bent down to pick up my boyfriend’s sweater from the floor, and I bumped into someone directly in my ass. I turned around, and it was fucking Madonna. I bumped into Madonna’s ass— of all people to back into. That’s pretty high up on the tier of celebrity sightings. I love that she’s dating someone named Jesus. Jesus, Madonna.
Does your interest in fashion filter into the work? I like to pay attention to the level of how fashion works and how it makes you look at an image. I feel like the bagpipe player is kind of sexy in a fashion way. And I like the way that you can be someone like Juergen Teller and make weird ass fashion photos, but there’s something about them that makes them marketable, even though it’s off and weird.
Well, your bagpipe player is a fashionable, beautiful loner. Especially wearing an Issey Miyake scarf. I put styling into my characters.
Maybe you can get some sort of co-branding deal! Maybe I’ll make more money then—I’ll dress them all in Marc Jacobs.
Did your nod to Hedi Slimane in an early work lead to a friendship? I met Hedi a couple of times, and he’s asked me to collaborate with him on a couple of magazine projects. He’s adorable, and I hate Dior now that he’s gone (aside from the sneakers). He just asked me if he could use my images. Fashion-wise, I don’t really care about Dior anymore. Lanvin styled me for the Brooklyn Museum opening. That was very nice. I like feeling pampered.
To me, much of your work has a romantic, sometimes Goth quality to it. It makes me wonder what music you are into. I’m across the board right now. My favorite band of all time is the Magnetic Fields. Now I’m having an affair with Antony and the Johnsons. The new album is so good. I think he falls in that lineage of Divine. And Santigold. I’ve been pumping that in the studio. That’s my “I don’t want to be depressed” music.
How does being in Miami affect your work? I think Miami helps me because I don’t find it distracting at all. Economically, it makes more sense. The studio I have in Miami is 4,000 square feet, it’s massive and what I pay in rent would get me a closet in New York. I like looking out the window and seeing pelicans. There’s something magical about that. The façade of the building next to my studio is built like a castle, with pyres and everything. So I look out my window and there’s a castle and a sunset. I’m like, “Where the fuck am I?” It’s also not the best neighborhood in the world so it’s like: pelican, castle, crack-head. Miami is weird because you can walk 10 blocks and be in the heroin pit—like the Lower East Side, circa 1980. Then you go five blocks the other way and you’re staying at the Fontainebleau
41
42
43
44