Volume Two Issue Six
contributors Travis Seale (Cover) • 4-9 Axelle Manfrini • 10-17 Christina Hasenauer • 18-25 Roneil Chavez • 26-31 Luca Pozzaglio • 32-37 Guido Di Salle • 38-45 Kate Romero • 46-51 Q&A with Darren Stein by John Higgins • 52-57 Kelsey Fugere • 58-65 Jesús Villanueva Varela • 66-71 Jim Hesterman • 72-79 Tina Kaupert • 80-85 Roberto Chena • 86-91 Ramón Arana • 92-97 Shafiga Aliyeva • 98-102
Photographs by Travis Seale Model: Kat McCreadie of FORD RBA Makeup by Morgan Teresa Styling by Hajleigh Nebeker & Travis Seale Wardrobe Provided by TBC Luxury Consignment
Jacket: Bill Blass Dress: The Row Pumps: Model’s Own Sandals: Chanel Loafers: Gucci Purse: Coach
5
Jacket: Chanel Top: AlaĂŻa Skirt: Maje Booties: Esquivel
6
7
Jacket: Chanel Skirt: ATM Collection Wedges: Chanel
8
9
All That Glitters
10
Photographs by Axelle Manfrini Model: Inga Grigor Makeup by Eden Tonda Hair Styling by AnaĂŻs Visnelda
11
12
13
14
15
16
17
Moonwalk Away
Photographs by Christina Hasenauer at GoldenAge-ncy Model: Anica at M4 Models Management Makeup & Hair Styling by Ana Buvinic
18
Blouse (left): Mape Design Top: Zoe Ropella Pants: Mape Design
19
Jacket: Zoe Ropella Pants: Mape Design Jacket (right): Zoe Ropella
20
21
Top: Zoe Ropella Backpack: Mape Design
22
23
Dress: Mape Design Shoes: Zoe Ropella Dress (right): Mape Design
25
METAL POPBABY
Photographs by Roneil Chavez Models: Connie Haah & Lyena Chan Makeup & Hair Styling by Francie Tomalonis Wigs & False Eyelashes Provided by Rockstar Wigs Skin Care Provided by Shamanuti
26
Hair: GOTHIC LOLITA WIGS® LOLIBOB™ - BURGUNDY Lips: Mac Cosmetics lipstick in “Cyber” Lit cosmetics glitter in “I Feel Love” Eyes: Urban Decay eyeliner in “Legend” Maybelline Studio Color Tattoo Eyeshadow in “Bad to the Bronze” Milk Makeup Face Gloss Necklace: Five and Two
27
Hair: ROCKSTAR WIGS HOLOGRAM 12”BLACK JADE Lips: Makeup forever lipstick “#50” Ben Nye Glitter “Black Diamond” Eyes: Urban Decay Eyeliner “Legend” Maybelline Studio Color Tattoo Eyeshadow “Dramatic Black” + “Tough as Taupe” Milk Makeup Face Gloss (RIGHT) ROCKSTAR WIGSHOLOGRAM 12” - DARK MINT MIX ROCKSTAR WIGS HOLOGRAM 12” - TURQUOISE MIX Lips: Milani “Double Expresso” Mac Cosmetics Lipglass “Desire” Mac Cosmetics Lipglass in “Desire” + Lipstick “Diva” Eyes: Urban Decay Eyeliner in “legend” Maybelline Studio Color Tattoo Eyeshadow “Dramatic Black” Milk Makeup Face Gloss Ben Nye Glitter “Black Diamond” Lit Cosmetic Glitter in “Marilin Monroe” Eyelashes: Rock-A-Lash #18 - Tokyo, Rock-A-Lash #12 Brussels
29
Lips: Milani “Double Expresso” Mac Cosmetics Lipglass “Desire” Eyes: Rock-A-Lash #12 Brussels Urban Decay Eyeliner in “legend” Maybelline Studio Color Tattoo Eyeshadow “Dramatic Black” Milk Makeup Face Gloss, Ben Nye Glitter “Black Diamond” Lit Cosmetic Glitter in “Marilin Monroe”
30
Lips: Mac Cosmetics Lipglass In “Desire” + Lipstick “Diva Eyes: Urban Decay Eyeliner in “legend” Maybelline Studio Color Tattoo Eyeshadow “Dramatic Black” Milk Makeup Face Gloss Ben Nye Glitter “Black Diamond” Lit Cosmetic Glitter in “Marilin Monroe” Eyelash: Rock-A-Lash #18 - Tokyo
31
shimmer
32
Photographs by Luca Pozzaglio Model: Luana Caroline Fernandes of Wave Management Makeup by Giulia Carini Hair Styling by Adriano Cattide for Toni&Guy Italia
Skin: Becca Aqua Luminous Perfector Foundation in Light Bobby Brown Foundation and Concealer Pro Palette Becca Shimmering Skin Perfector Liquid in Moonstone Eyes/Lips/Body: Make Up For Ever Glitters in Pink Multicolored (LEFT) Skin: Becca Aqua Luminous Perfector Foundation in Light Bobby Brown Foundation and Concealer Pro Palette Becca Shimmering Skin Perfector Liquid in Moonstone Face/Body: Make Up For Ever Diamond Powder in White Gold Make Up For Ever Large Size Glitters in Gold
33
Skin: Becca Aqua Luminous Perfector Foundation in Light Bobby Brown Foundation and Concealer Pro Palette Becca Shimmering Skin Perfector Liquid in Moonstone Lips: Make Up For Ever Rouge Artist Intense n. 49 Hands: Make Up For Ever Large Size Glitters in Silver Multicolored (RIGHT) Skin: Becca Aqua Luminous Perfector Foundation in Light Bobby Brown Foundation and Concealer Pro Palette Becca Shimmering Skin Perfector Liquid in Moonstone Lips: Mac Cosmetics Matte Lipstick in Ruby Woo Make Up For Ever Glitters in Red
34
35
Skin: Becca Aqua Luminous Perfector Foundation in Light Bobby Brown Foundation and Concealer Pro Palette Becca Shimmering Skin Perfector Liquid in Moonstone Eyes: Mac Cosmetics Glitters in Fuchsia (RIGHT) Skin: Becca Aqua Luminous Perfector Foundation in Light Bobby Brown Foundation and Concealer Pro Palette Becca Shimmering Skin Perfector Liquid in Moonstone Eyes: Make Up For Ever Flash Color Case Make Up For Ever Glitters in Blue and Green
37
38
Photographs & Hair Styling by Guido Di Salle Model: Anica Neiman of Elite Models Toronto Makeup by Monica Delacasas Rosati Wardrobe Styling by Thea Acierno
39
40
41
42
43
44
45
Vertigo Vertigo Vertigo Vertigo Vertigo Photographs by Kate Romero Model: Cassie Collins of Nous Model Managment Wardrobe Designers: Jake & Blake Morris Accessories Provided by The Style List LA Makeup by Marlu Soria for MAC Cosmetics Hair Styling by Marina Migliaccio
46
Dress: JAKE Belt: LANVIN
47
Jumpsuit: Blake Morris Necklace: LANVIN (RIGHT) Dress: Blake Morris Lambskin Shorts: Blake Morris Lambskin Belt: Blake Morris Bra: La Perla
48
49
50
(LEFT/CURRENT) Jacket: JAKE Button Down: JAKE Pony Hair Shorts: JAKE Belt: JAKE Hat: Vintage Python Purse: Thale Blanc Cuff: Vintage Bra: La Perla Sandals: JIMMY CHOO
51
52
BREAKING MOLDS BY BREAKING JAWS: A BRIEF LOOK AT FILMMAKER, Darren Stein ___________________________________________________________________________
Interview by JOHN HIGGINS Photographs by Travis Seale
E
verybody has heard the film term “cult classic”. Alien, Fight Club, The Rocky Horror Picture Show, The Evil Dead, and A Clockwork Orange are a few notable titles that have been dubbed as cult films which were expertly crafted through painstaking hard work by passionate – or obsessive – filmmakers. Each of these films changed the game for their respective genres, influencing film after film, writer after writer, director after director. One of the most influential films in pop culture was released in 1999. It’s called Jawbreaker, and it was written and directed by Darren Stein.
53
First off, which filmmakers and artists influenced you early on in your career? My earliest influences were the band KISS and The Rocky Horror Picture Show. I was drawn to the collision of horror and glamour, the forbidden. I was raised in Encino and we had this early cable station called the Z Channel, so I was able to watch all these obscure European and independent films when I was a kid. I was always drawn to the darker, more surreal stuff - All That Jazz, Tommy, Christiane F, Breaking Glass, Alien. When did you first realize that you had made a cult classic with Jawbreaker? About a decade had passed and people were still watching the film and discovering it for the first time. Seeing people make their own jawbreaker t-shirts and pins was cool. Also when people started getting tattoos with images of Courtney Shayne saying “I killed the teen dream” or “Obliterated by perversion.” Once I joined twitter and instagram a couple years back, I was able to see how influential it had become. One of the icons of Jawbreaker is the fashion. How did you choose its aesthetic? I’ve always loved films where you feel immersed in a world – like Bladerunner or The Hunger – and I wanted this to feel like an alternate reality of a high school world. I liked the idea that this character and this death could happen in any town, anywhere, and in any time period. It also goes back to being a 9 or 10 year old kid when I’d look up to the high school juniors and seniors and think they were so larger-than-life and such looming full-blooded adults. I wanted to take that idea a step further with literal women playing high school girls. I’ve always been influenced by music – especially glam, rock and punk. And the more atmospheric melancholy stuff like the Cocteau Twins and This Mortal Coil. So I wanted to bring in a bit of that edge. I wanted the girls’ power to be signaled through their fashion. Their clothes are meant to be intimidating but also aspirational. So the costume designer, Vicky Barrett (who’s a big fan of punk herself ), drew a lot from the 70s and 80s, and the fetish scene. We agreed Courtney needed to have strong BDSM undertones. It was really about taking the high school bad bitch to a new level where her stockings have seams that match her dress and her bedroom is a 50s meets 80s style boudoir. 54
From a photography standpoint, the color palette is bright and colorful. What were you trying to communicate with your angles, composition, etc.? I wanted the world to look hyper saturated, colorful and bright – much like the surface of a jawbreaker. The idea was for the film to have this lush, inviting but somewhat fantastical surface while being darker and more dangerous underneath. We used the colors of the jawbreaker itself to inform the aesthetic. And also the hardness, the inherent violence in the name of the candy. It’s really about girls indulging their darkest impulses and the disconnect between their sweet and feminine exterior and their more subterranean desires. How do you feel about having influenced so many artists across different media platforms? And which have surprised you the most? It was nice to hear that Alexander Wang was a fan of the film. I loved when I saw that Charli XCX had cast Rose McGowan in her Break the Rules music video. I was doing an homage to Brian DePalma’s CARRIE with the prom scene so it’s nice to see Jawbreaker being homaged now itself. Aside from Jawbreaker, you have more great works to your name. What is Put the Camera On Me? And what does it mean to you? Put the Camera on Me is a personal documentary I made about the many films I made as a child growing up in Encino. I was an outsider in junior high and high school and didn’t have much of a social life, so I spent many hours making films with my neighborhood kids on the cul-de-sac. I had all this footage I had accumulated and my dear friend who I grew up with suggested we do something with it and that’s where the idea of a documentary was born. I was a pretty gay kid so it was nice to be able to own that about myself. As a teenager, I remember being ashamed of how overtly gay I was as a kid and even went so far as to hide the tapes that were proof of my gayness. So making the film was cathartic to say the least. A friend saw an early cut and sent it to Ira Glass and the next thing I knew, I was on This American Life. I remember listening to that growing up and enjoying how it was like this modern day Americana and wondering how Ira Glass found these people. Little did I know I was destined to become one of those strange people – which I love.
In 2014, the movie G.B.F. came out. How did the script find you, and what made you want to direct this film? George Northy, the writer had entered the script in the Outfest Screenwriting Lab. I was paired with the script as a director for a staged reading and immediately fell in love with it. I’ve always had a special place in my heart for teen films and he had found a new way into the genre. There were also girl clique slo-mo walks taken to the next level, which I thought was an interesting through-line with Jawbreaker. Only this time a gay kid was part of the clique. It was an important evolution. Although three of your most acclaimed films feature teenage or child subjects, each has dark tones. Do you think treating these stories as adult stories has anything to do with how well received your films are? Why? I think the best humor comes from a place of truth or pain. I’m interested in making films that create conversation and operate on multiple levels. Making a film takes several years of your life, so you have to be invested.
You come from a motion picture family. In what capacity was your family involved in film? My grandparents came to LA from Boston and started a small 16mm motion picture film lab in Hollywood in the 60s. They worked on independent films and student films from AFI, USC and UCLA. In the late 70s the company got into video with telecine as well as duplicating VHS’s for the airlines. Then in the 90s they got into DVD and CD manufacturing and authoring. But then everything went digital and the company –which was called Crest Digital - went under. I was lucky to be around film and video technology all my life and learn about filmmaking from that technical perspective If your family had not been part of the film industry, do you think you would have still become a director? I would have tried! Story telling is something you feel compelled to do and I’ve been doing it since I was a kid. I was just fortunate to have a family who had access to some equipment that made it easier for me to make my films. 55
What motivates you to continue creating film and television? Paying your bills definitely keeps you hungry. It’s such a challenging business that you really have to love it and know the extreme amount of work and dedication it takes. Sometimes I’ll stop and mull around the idea of doing something else for a living and nothing ever satisfies me. I’ve been writing and directing for so long, I feel like it’s in my blood. There’s no other profession I could bring that knowledge to. You did a fashion film for Alexander Wang in which a mob of Wang’s fans is given free, unlimited pieces of the designer’s clothes in a warehouse. Everybody loses their shit, and a riot breaks out. How did this project come about? He had an idea to make a film where a bunch of his fans are brought to an undisclosed location for a surprise event – and when they find out it’s free clothes, they go crazy grabbing what they can. His tonal inspiration was the prom scene from Jawbreaker where Rose has her meltdown – that visceral slow motion public undoing. He specifically wanted to apply that style to a fashion film version of his live event. We shot part of it with extras to get the special slo-mo moments and the rest was captured with multiple cameras live. It was his dark but tongue-in-cheek take on consumerism. The MySpace sensation, Jeffree Star, has a very successful cosmetics company. He even has a liquid lipstick called Jawbreaker which was inspired by your movie and is frequently sold out. Do you think a new generation has found Jawbreaker? The movie seems to get discovered by a new batch of teenagers every year. It’s also hopeful when someone like Jeffree Star names his cosmetics after the film. Also, since the film is not as well known as Mean Girls or as revered as Heathers, it’s something for kids to discover. It’s a peek into 90s culture, but also a dark world that angsty teens can appreciate. Fashion photography is mostly a collaborative effort. How important is collaboration to you as a director and a writer? Collaboration is essential to directing and my favorite part of the process. It’s gratifying to find like-minds to help fulfill your vision and also expand upon it I take so much inspiration from other people – illustrators, designers, photographers, painters, actors – It’s an incredible thing to be able to create something that draws from all those disciplines.
Writing is much more of a solitary pursuit than directing, which can be even more difficult. But it’s also like dreaming or meditation in that it’s you communing with your imagination or muse – some days it flows better than others. That’s why it can be helpful to have a writing partner so you can bounce ideas and have more of a dialogue. But mostly writing is a pretty solitary process. From one writer to another, I can say that the process of screenwriting can be lonely. I, myself, have to do certain things to offset the long spans of time alone. What do you do to break away from the work? I like to work out – I find that can be meditative and really get the blood flowing. It’s also a good way of focusing on something else and turning your mind off. Especially since writing is so still and sedentary. It can’t be healthy to sit in a chair staring a glowing screen for hours on end. I also like kundalini yoga for meditation. Lunch, movies, reading a book, TV, social media, walking the dogs. So many things to break up your day but also so many potential distractions. What are some of the things that currently influence you? I’m very influenced by my TUMBLR feed – all the imagery that comes through feeds my brain. The Amazon show Transparent is so beautifully made and sensitive and really captures the essence of a Jewish family and it’s such a fascinating exploration of trans identity. I’m really influenced by the way gender seems to be becoming more and more blurred and malleable. Drag has always been an inspiration too, going all the way back to Divine and Frankenfurter. The glamour of it but also the deconstruction and celebration of femininity and androgyny. What projects can we anticipate from you next? I recently finished a Spice Girls Biopic for Lifetime and a music video for the band Deap Vally. I’m putting together my next feature called THE INVISIBLE BOY, which is about a 12-year old girl who thinks she may have gotten pregnant by her imaginary friend. It has a more muted, mysterious tone and it’s unlike anything I’ve ever done, but still in the wheelhouse. Go to DazedDigital.com/music to check out Darren Stein’s new music video featuring drag legend Trixie Mattel, and ALIEN star, Veronica Cartwright for Deap Vally’s song, “Little Baby Beauty Queen”.
57
Deal With It Photographs by Kelsey Fugere Model: Connar Franklin Styling by: Levi Sawyer Makeup & Hair Styling by Anna Milhouse
58
Shirt: Cobra shop Skirt: Waxed Choker + Earrings: Dady bones
Top: Man candy Sweater: Gap Skirt: Pink Sheep Heiress Shoes: FENDI Earrings: Dady bones
61
Dress: UNIF Choker: COBRA SHOP
62
Fur: MadeMe Pants: Silver gate Earrings: Top shop Choker: Dady bones
63
Top: ASOS Skirt: SINGLE
64
65
Photographs by Jesús Villanueva Varela Creative Direction by Alex Favela Model: Ariel Gama of Hard Model Management Makeup by Sasha Vanille Hair Styling by Adrián Galvez Production by HARD International
Vest/Skirt: Abel Lรณpez
67
Coat: Defactori
68
69
70
Coat: Yvanov
71
The Underground
72
Photographs by Jim Hesterman Model: Jessica Zindel of The Agency AZ Wardrobe Styling by Michelle “Mitch” Phillips Hair Styling by Jessica Parker Makeup by Heather Wilson
73
74
75
76
77
78
79
BLACKOUT Photographs by Tina Kaupert Model: Indila of PS Model Management Munich Makeup & Hair Styling by Ilaria Paulos Post Production by Irene Velweiss
80
Dress: & other Stories Shoes: Zara (LEFT) Top: Zara Skirt: Hallhuber
81
Dress/Gloves: & Other Stories
82
Top: Claudie Pierlot Trousers: Zara
83
Neck Scarf: Hallhuber Dress: Opening Ceremony Belt: Topshop Shoes: Giorgio Armani
84
Jacket: Pinko Top: Dolce & Gabbana Belt: Topshop Shoes: Zara
85
ALL WRAPPED UP Photographs by Roberto Chena Model: Alexis Montalvo of Queta Rojas México Wardrobe: Arturo Tlaque Styling & Creative Direction by Orlando Av Makeup by Aracely Zárate Hair Styling by Claudette St
86
87
88
89
90
91
BLANK LINES Photographs by Ramรณn Arana Model: Kiia Waden of Paragon Mexico Makeup & Hair Styling by Kiia & Ramรณn
92
Tank: Zara Jeans: Mango
93
94
Top: Forever 21 Blouse: ThousandPonies Jeans: H&M (LEFT) Tank: Zara
95
Button Down: MANGO
96
97
KNIT
98
Photographs by Shafiga Aliyeva Model: Diana Art Editing & Wardrobe Styling by Leyli Ahmadova Makeup by Nargiz Kuliyeva
Denim Shirt: pull&bear Pants: Hokuma Hajiyeva Skirt: Hokuma Hajiyeva Coat: Zara Shoes: Public Desire Socks: h&m Accessories: Leyli Ahmadova (LEFT) Jacket: h&m Dress: Hokuma Hajiyeva Accessories: Leyli Ahmadova
99
100
Jacket: h&m Dress: Hokuma Hajiyeva Cardigan: Hokuma Hajiyeva Accessories: Leyli Ahmadova Shoes: Public Desire Socks: h&m (LEFT) Top: Hokuma Hajiyeva Cardigan: Hokuma Hajiyeva Pants: Zara Shoes: Public Desire Socks: h&m Accessories: Leyli Ahmadova
101
Top: Hokuma Hajiyeva Pants: Zara Shoes: Public Desire Socks: h&m Accessories: Leyli Ahmadova
102
Whether you take the jacket off to please them, or keep it on just to spite them, you've already lost; because you're doing it for them. - Community