Eide Magazine Summer 2013

GINA TORRES TALKS SUITS

THE RECLAIMED ISSUE SUMMER 2013 EIDEMAGAZINE.COM

BEHIND THE NEWSROOM WITH THOMAS SADOSKI

RETURN TO THE

HOMESTEAD

Tova Gelfond

Editor-in-Chief / Creative Director Craig Rosenberg CFO

Jaime Lin Weinstein Senior Editor

Avi Gelfond Art Director

Tian Justman Fashion Director

Jimmy Johnston Staff Photographer

Victoria Knight Assitant Editor

Austin Holt Contributing Writer / Photographer

Colby Blount Contributing Photographer

Tim Redmond Contributing Photographer

Courtney Rosen Assistant Photography and Event Coordinator

Ashley Brechtel Contributing Writer

Bonnie Herring Contributing Writer

Emily L. Foley Contributing Writer

Rebecca Batterman Contributing Writer

Lauren Ladov Editorial Intern

Jessica Beazer Fashion Intern

Jonathan Nesbitt Web Consultant

LETTER FROM THE

Reclaim It

O

I love college students.

They are fearless, creative and sometimes, cocky.

What’s not to love?

ver the past month, I have had the luxury of speaking to these aspiring worldchangers at different universities. Each time I walk into a classroom, it’s like walking through a door into the past. There I am, sitting in the front row with a fresh notebook and a stack of noted index cards.

The students I see today — their eager eyes peering at me with excitement and hope – are no different than the student I once was. Those who raise their hands are longing to share their unique life experiences. They are terrified of what the world has to offer and yet hopelessly optimistic. Universities in general are a constant source of belief that there is more to do and farther to go than we could have imagined.

When I stand in front of them and discuss my long journey to starting Eidé Magazine, I somehow reclaim the unwavering faith I once carried with me alongside my textbooks. Before I learned that not everyone is as trustworthy as I would like, and prior to developing an amusingly cynical sense of humor, I knew that anything was possible. It was more than a mere belief or credo, but a resolute confidence that the world was good, and I, a critical part of it.

I don’t think it would be accurate to say I have lost that part of myself. Rather, it can sometimes get trapped under pressing matters such as bills, familial responsibilities and business opportunities. I haven’t met a person above the age of 25 who hasn’t misplaced that certain sense of magic in their life from time to time. But just because that innocent, energetic self has been discarded, it doesn’t mean it has vanished. It can be reclaimed.

This issue is devoted to precisely that — reclaiming whatever relics have been left behind.

Whether it’s a vintage use of fashion, a feeling of endless play, an old-world remedy, a timeless style or an ageless sense of vigor, this summer challenges you to reclaim who you want to be and revive your spirit.

Perhaps that means hitting the beach in a retro swimsuit, writing down your thoughts in an old journal, or tapping into ancient medicines. For me, it’s all of the above and everything in between, cause that’s what a college kid would do. And this summer I’m reclaiming what it’s like to be fearless, creative and yes, sometimes, cocky.

Tova Gelfond

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14

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WHAT'S IN THIS ISSUE 60

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86

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CANDONI PROSECCO “ T O A S T W O R T H Y

B U B B LY ”

Candoni Prosecco is produced in the flourishing vineyards nestled in the midst of the hilly Prosecco district close to the historic city of Conegliano in the Veneto Region of Northern Italy. Candoni Prosecco is Delicate and Fruity with a hint of honey. Candoni Prosecco is crisp and clean in the mouth with a pleasant acidity that leaves behind a delicious and persistent freshness with a dry, well balanced taste. This wine is truly suitable for every occasion. Seafood, Sushi, Sashimi, but even tender white meats compliment it perfectly and many fun and easy cocktails such as Rossini or Bellini can be made to top off a great evening. Enjoy!

C A N D O N I Candoni Prosecco is made by the Candoni Family Winery located in Northern Italy. The family has been producing wines for over 150 years and has combined tradition and innovation in making excellent quality products.

The entire family is deeply involved in the arts and the Candoni Packaging reflects the artwork of the Italian Etruscan Fresco’s on the labels,

FA M I LY making it a real Art Collection. The widely respected and international acclaimed "Candoni Award," is named after Elviana's father and prolific playwright, Luigi Candoni (1921-1974). Together with their parents, both daughters Caterina and Barbara, are instrumental in continuing their family's winemaking traditions and making Candoni wines a success.

SOUL SPIRITS STORY

BY

BONNIE

HERRING

|

PHOTOGRAPHY

BY

THEARY

MEAK

A NEW CRAFT IS COMING OF AGE.

COCKTAILS

BY

OMAR

FERRER

|

PRODUCED

BY

SOFIA

XIV

M

icrobreweries have seen their popularity grow substantially over the years as consumers embrace the unique flavors and quality found in craft beer (and support the idea of using local ingredients and spending to benefit their local economy). The past decade, however, has given rise to a new type of boutique alcohol production center — microdistilleries. In 2005 there were only 50 such distilleries registered in the United States and today there are more than 250 in 45 states. And the “craft� alcohol they produce has quickly become the drink of choice for artisan-enthusiasts and the masses.

Microdistilleries, or craft distilleries as they are also referred to, produce high-end spirits (think bourbon, rye whiskey, gin and even seasonally-flavored vodkas) in relatively small quantities, at least when compared to megadistilleries. Microdistilleries are typically considered to be those that produce less than 100,000 gallons of spirits in a year. Compare that number to Jim Beam, who can produce more than 100,000 gallons in a day. Jim Beam sells approximately 4 million cases of spirits in a year. A case of 12 x 750ml bottles equals about 2.377 gallons. (You do the math for an annual comparison.) Legal distinctions between the sizes of distilleries enacted in many states have helped small, private distilleries survive, and are owed at least partial credit for the recent surge of these brands. In New York, for example, a new class of distillers license was created allowing distillers to produce up to 35,000 gallons annually for a fee of $1,450. The only other class allowed is for unlimited production, but for the high cost of $50,800.

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It’s ironic that many of the other alcohol production laws in place prohibiting the widespread growth and success of microdistilleries are those held over from the Prohibition era, an era to which some craft

distilleries trace their roots. Many of the current brands were born from the moonshining tradition and family formulas have been passed down through generations of so-called moonshiners.

THOUGH THEY MAY BE TIED TO THE PAST, MICRODISTILLERS ARE OFTEN MORE APT TO EXPERIMENT WITH INGREDIENTS AND DISTILLING TECHNIQUES.

Spirits are typically made by an extensive aging process where they locked away in 53-gallon oak-charred barrels at varying temperatures for anywhere from three to 20 years, or more, infusing the alcohol with the flavors of the wood. Some microbreweries are blending their newly made alcohol with older purchased ones in barrels, resulting in eccentric flavor combinations that convey the best of both. Devices like rotovaps — vacuums that lower the boiling point of liquids — are also be-

ing used, which allow for distillation at much lower temperatures, preserving flavors that may have otherwise disappeared due to high heat.

Due to the lengthy aging process and small-batch manufacturing, distribution from microbreweries is limited and many times remains close to the area it is produced, increasing consumer demand and anticipation for new releases. But it is worth the wait for a spirit that has been carefully crafted and delicately aged.

S O M E O F T H E C R A F T B R A N D S TO K E E P A LO O K O U T F O R O N T H E M A R K E T A R E: WHISTLE PIG THIRTEEN COLONY PA P P Y VA N W I N K L E

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EDITOR’S PICKS Put away the diamonds and the pearls and update your jewelry wardrobe with these unique earrings that will add a delicate edge to your summer wear — day or night.

1. GiantLION Sterling Silver Shark Tooth Studs, $84.

2. GiantLION Smokey Quartz Studs, $42.

3. Alexandra Beth Druzy Stud Earrings, $118.

4. Upper Metal Class Rewind Forward Bronze Stud Earrings, $40.

1.

2.

3.

4.

5. Upper Metal Class Kylee Bronze Stud Earrings, $50.

5.

Thank you, Coco Tardiff, for expanding your Velvet Owl design services beyond gig posters and album covers, and giving us your beautiful iPhone cases.

Inspired by Coastal California, these hard cases feature a slim profile, unique soft matte finish, and amazing aesthetics.

Decker Canyon iPhone Case and Soft Chevron iPhone Case, $35 each.

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MAMAZOO Necklace, $64.

We are currently obsessed with Mamazoo’s silk covered necklaces featuring decorative brass rings that look like something that might have come out of ancient Egyptian civilizations. Fitting, considering designer Maria Ana Moura seeks inspiration in cultural diversity, the exotic and the tropical.

Sally B's Skin Yummies

If you don’t yet know about Sally B’s Skin Yummies, you’re welcome. Launched in 2005, the line blends organic, natural ingredients into luxurious skincare and cosmetic products that are both people and planet friendly (aka non-toxic and Paraben-free).

Pim Rose B Glossy Lip Gloss and Copper Penny B Glossy Lip Gloss, $18 each.

B Pinched Cream Blush, $18.

The

Furkids

Mission

TO PROVIDE A CAGE-FREE, NO-KILL SHELTER FOR OUR RESCUED ANIMALS WHERE THEY CAN EXPERIENCE THE BEST CARE IN A LOVING ENVIRONMENT UNTIL THEY ARE ADOPTED.

TO FIND PERMANENT, LOVING, HOMES FOR ALL OUR RESCUED ANIMALS.

FIND OUT MORE AT: WWW.FURKIDS.ORG

OmbrĂŠ Wood Veneer Lolita Sunglasses, $85 each.

What happens when a skateboarder and a pastry chef from Tennessee decide to venture into the world of small business ownership? Tumbleweeds Handcraft happens - handmade wood veneer sunglasses.

Poppy Picnic Bag, $56.

The Yield picnic bag is our outdoor summertime staple. This bright, chic bag unzips and unfolds to reveal a clean surface for a picnic in the park, a day at the beach or a weekend at a music festival. Water-resistant and made of camping-grade nylon fabric, we use it to take our lunch to work, too.

Vintage Silverware Garden Markers, $20 for set of 5.

Give your herb pots a little timeless beauty with repurposed silverplated flatware handles turned garden markers from The Fysh Store, each stamped with rosemary, thyme, basil, oregano and sage.

Summer Stationary

Summer is the season for traveling. Write down your adventures and send love from afar.

Fanciful Chaos Love Heart in a Jar Handmade Stationary Cards, $5.99 for set of 4.

SOFIA XIV The Young Never Sleep Diary, $50.

summer 2013

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MAKING NEWS

BY TOVA GELFOND

|

PHOTOGRAPHY BY RIKER BROTHERS/CPLA PHOTO.

FROM STAGE TO SET, THOMAS SADOSKI’S TURNING HEADS ON HBO'S THE NEWSROOM.

There are certain characteristics you expect from the typical actor. Confidence, for one. Then there’s emotional range and some sort of feigned humility. The rare occasion happens when a celebrity can surprise you with a paradox of attributes, the most refreshing being sincerity. So imagine my excitement to have a real heart-to-heart with Thomas Sadoski, stage-actor and resident smart-ass on the new and celebrated HBO show The Newsroom.

Acting, much like journalism, is part craft and part skill. It takes years of practice to hone one's talent, and even then is subject to the natural abilities of the artist. When these two prized (and often misunderstood) professions collide in The Newsroom, a bit of magic happens. Magic that took Thomas Sadoski from the live Broadway stage into the limelight.

Born in New Haven, Sadoski moved to College Station, Texas when he was 6, where he spent the remainder of his childhood (until he decided to embark upon the bright lights of New York). “It was a fantastic place to grow up. It was kinda idyllic. We were out in the country — deep country,” he says.

But the quaint Texas city offered him a few lessons in standing out from the crowd. “I was a punk rocker,” Sadoski explains, laughing. “I wore combat boots and purple tights. In 1994, someone handed me an Operation Ivy CD, and it changed my life. It had a big impact on me. It’s a little bit difficult growing up in a town where Garth Brooks is king.” summer 2013

eidemagazine.com | 15

and kids who have an overactive or over developed imagination.” So from the time he could understand words, his dad was reading him the “Iliad” and the “Odyssey” and other such impactful works of literature with graphic imagery and parlayed that creative power into theatre. Stage theatre to be precise.

It was against-the-grain interests like these that led to a case of the acting bug in high school. “I fell in love,” he recounts. “I don’t know if there is ever a specific moment. Texas is a storytelling culture.

There’s nothing impacting the view when you are in the country. It lends itself to this mythical mindset

Sadoski, with

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16 | eidemagazine.com

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chemistry. “Alison and I have known each other for a long time, we have this trust working with each other,” Sadoski says. “There is this ease working together. We did the table read and the other guy who was supposed to be Maggie’s boyfriend couldn’t make it. So we sat next to each other and were laughing the whole time ... I woke up Monday morning with a call from Aaron saying he had combined that into two parts.” A noticeable factor in Sorkin’s creative process is that he’s incredibly collaborative, which allows the roles he conjures to be molded and shaped by the actors who play them.

But Don seems nothing like the gentle Sadoski. Cool and complex, Sadoski oozes charm — the opposite of his character, Don, in the hit drama series. Don is cocky, obviously brilliant and a tad power hungry. A certain opposite to Sadosk's grounded, eager-boy-wonder qualities.

Where they overlap is an innate sense of ethics, and a tenderness that most may not see. The Sorkin character is brash, rude, selfish and driven, although led by a moral compass. He’s even seen by The Newsroom fans to be hopelessly self-involved since viewers have rallied around onscreen girlfriend Maggie and detest his behavior toward her. But yet, we love Don, and we don’t fully understand why. Perhaps that’s the actor shining through the character, giving it dimension and layers of beauty. Or maybe it’s because we all love those clever one-liners.

and other theatrical greats that brought life and joy to crowds through the art of performance — and logged 15 years of impressive and unforgettable stage roles acting alongside notables such as Mary Louise Parker, Ben Stiller, Mark Ruffalo, Edie Falco, Michael O'Keefe, Steven Pasquale, Piper Perabo and many others.

While acting in a Broadway show with Alison Pill, Ben Stiller and Edie Falco, Sadoski got a call saying that Aaron Sorkin had written a new show for HBO and wanted him to audition. “I was drawn to the script because Aaron is, well, Aaron,” he explains. “If you are going to work in words, in storytelling, Aaron is absolutely at the top of the class. [The way] he works with words, information, story and character; it’s so inspiring. It’s overwhelmingly what you want to do as an actor.”

In he went to audition, (co-star Alison Pill was auditioning for the role of Maggie the same day) not expecting that he would actually secure the role. “I didn’t think that people paid much attention to little Off-Broadway theatre news,” he says with sweet diffidence. Pill and Sadoski found out they got the part the same night Originally reading for Don, the version of this character was solely an executive producer who quit with no on-screen love interest. But when Sadoski and longtime buddy, Pill, showed up for the first table read, enjoying Sorkin and the creative team noticed their effortless

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”

summer 2013

“I fell in love. I don’t know if there is ever a specific moment. Texas is a storytelling culture. There’s nothing impacting the view when you are in the country. it lends itself to this mythical mindset and kids who have an overactive or over developed imagination.”

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eidemagazine.com | 17

(404) 815-8859 (404) 815-8859 www.chocolatesouth.com www.chocolatesouth.com

There was a lot of criticism circulating about The Newsroom’s focus on journalism reporting of stories without verification last season. And with the Boston bombing and other current stories that seem to follow suit, it seems that Sorkin's predictions have played out in real life.

This summer, viewers are set to discover more about this dynamic character, and the man who plays him. Last season, the through storyline was based on relationships. This season’s format finds the cast chasing one news story almost the entirety of the episodes. “A lot of stuff that it’s about is coming up in the news cycle now,” Sadoski says.

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Sadoski explains. “All of us are very curious about what’s going to happen next.” So are we Thomas, so are we. summer 2013

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NO TWO ARE ALIKE C H E F S

I N

O F

C H A R L E S T O N , G I V I N G

N E W

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B R E C H T E L

THERE ARE SEVERAL THINGS YOU’RE SURE TO RUN INTO DURING A VISIT TO CHARLESTON, S.C.; FRIENDLY CONVERSATION WITH STRANGERS, SPOOKY TALES OF HAUNTED PLACES AND SHRIMP & GRITS.

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The third should be no surprise as grits were declared the official state food of South Carolina in 1976. But the history of this delicacy dates much further back — back to around 1584 when when Native Americans introduced it to settlers that came into Jamestown, Virginia. This dish of ground up corn has been a staple of the south ever since. In fact, the region stretching from the Carolina’s to Louisiana is commonly referred to as “America’s Grit Belt.”

Many years ago, South Carolina shrimpers added new life to this common food by adding shrimp and bacon grease. This dish, referred to as “breakfast shrimp,” was a simple and easy break-

fast using ingredients readily available. Shrimp and grits was the lowcountry’s best kept secret until New York Times food editor Craig Claiborne introduced the nation to the delicacy in 1985. The culinary world hasn’t been the same since.

Today, there are thousands of variations of this recipe, but you’re sure to find the best creations in the place where it all began. Any restaurant in Charleston, S.C. worth its salt is sure to feature some type of shrimp and grits dish on their menu.

But much like a snowflake, no two are ever the same, yet all are surprisingly delicious.

EXECUTIVE CHEF DON DRAKE AT THE POPULAR RESTAURANT, MAGNOLIAS, (185 E. BAY ST.) SAYS HIS SEAFOOD OVER GRITS DISH ACTUALLY BEGAN AS AN ACCIDENT.

The original recipe was “Spinach Wrapped Scallops with Lobster” but that proved to be a pain to prepare, so he decided to cook the seafood together and pour it over grits, something they had plenty of in the kitchen. Topped with fried spinach, they had an undeniable hit says Drake, “Since we put the seafood and grits on the menu, it has become a bestseller. People come to the Lowcountry and want to eat shrimp and grits; this dish is our more luxurious, uptown version of the classic dish.”

The people at Lowcountry Bistro (49 S. Market St.) have found a way to incorporate another popular southern dish into their shrimp and grits by adding fried green tomatoes. Nestled atop parmesan and chive grits with grilled shrimp and a smoked tomato and bacon sauce, this particular version gives plenty of bang your buck.

Right around the corner is Poogan’s Porch, (72 Queen St.) and if you can get past the fact that it’s been voted as the “Third Most Haunted Place in America” by the Travel Channel then you’ll enjoy

summer 2013

their shrimp and grits with sausage, tasso ham and blue crab gravy. Just keep in mind that their food may not be the only out-of-body experience you enjoy during your visit.

A walk on King Street is a shopper’s dream with both high-end shops and cozy boutiques, but don’t spend all your cash before arriving to Virginia’s (412 King Street). While this restaurant features a more classic shrimp and grits dish with smoked sausage and tasso ham gravy, you can also try something completely out of the ordinary with their “Shrimp & Grits Benedict.” This spin on the traditional puts a poached egg, Cajun shrimp and creole sauce on top of a fried grit cake. While the dish takes a whole new form, it still has that taste of the original.

During a trip to the lowcountry of Charleston, S.C. you’ll learn that the options are endless when it comes to adding new life to an old classic. No matter where you choose to dine, you can be sure that shrimp and grits will be a safe bet every time.

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TROPIC FEVER Photography by Colby Blount Fashion and Direction by Tian Justman Models: Epiphany (CLICK ATLANTA) and Samaria Regalado Makeup by Erica Bogart Hair Styling by Jaiden Smithson Story by Tova Gelfond Production Assistance by Jaime Lin Weinstein, Avi Gelfond, Courtney Rosen and Jessica Beazer

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Alexandra Beth Designs Druzy Stud Earrings, $118; Mamazoo Black Fabric Multi-Ring Necklace, $68; Mamie Ruth Sage Open Back Shirt, $76; Bangle Wallah Metal Bangles, $28; Young Frankk Halfmoon Hammered Brass Cuff, $76; GiantLION Stone and Brass Bar Ring, $64; One OAKS White Harem Pants, $49.

All available at eidemagazine.com. summer 2013

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Alexandra Beth Designs Jill Earrings in Python, $88; Young Frankk Points Hammered Brass Layered Necklace, $62; GiantLION Double Quartz Necklace, $64; One OAKS Emerald Silk Tank, $39; Mamie Ruth African Stripe Shorts, $76; Young Frankk Tower Hammered Brass Cuff, $72.; Tian Justman for One OAKS Handmade Red Resin and Beaded Bracelet, $69; Mint Dirty Shirley Nail Polish, $10. All available at eidemagazine.com.

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Alexandra Beth Designs Jill Earrings in Python, $88; One OAKS Traditional Indian Necklace, $325; Mamie Ruth Ikat Racerback Top, $64; Mamie Ruth African Wax Print Skirt, $64.

All available at eidemagazine.com. summer 2013

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Tian Justman for One OAKS Delicate Tribal Printed Dress, $375; COLYE Vintage Handmade Embossed Leather Lion Belt, $210; GiantLION Bronze Shark Tooth Cuff, $110; GiantLION Bronze Crystal Cuff, $110.

All available at eidemagazine.com.

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One OAKS Green and Gold Rectangle Earrings, $25; Mamazoo Green Leopard Fabric Necklace, $64; One OAKS Vintage Peacock Print Top, $45; Mamie Ruth Ikat Orange Retro Shorts, $76; Mint Dirty Shirley Nail Polish, $10. All available at eidemagazine.com.

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SOFIA XIV Vintage Moroccan Choker, $375; One OAKS Vintage Peach Silk Slip Dress, $120; Bangle Wallah Metal Bangles, $28.

All available at eidemagazine.com.

Tian Justman for One OAKS 18 Carat Gold Plated Driftwood Necklace, $360; GiantLION Double Brass Hoop Necklace, $64; One OAKS Embroidered Silk Scarf, $79; Mint Sweet Liberty Nail Polish, $10.

All available at eidemagazine.com.

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Alexandra Beth Designs Jill Earrings in Python, $88; One OAKS Traditional Indian Necklace, $325; Mamie Ruth African Wax Print Skirt, $64.

All available at eidemagazine.com.

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Tian Justman for One OAKS Handmade Red Acrylic and Wood Necklace, $150; Tian Justman for One OAKS Red High-Low Tube Dress, $265; One OAKS Gold Metal Belt, $55; Young Frankk Double Band Brass Cuff, $68. One OAKS Green and Gold Rectangle Earrings, $25; Mamazoo Green Leopard Fabric Necklace, $64; One OAKS Vintage Peacock Print Top, $45; Mamie Ruth Ikat Orange Retro Shorts, $76.

All available at eidemagazine.com.

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One OAKS Embroidered Silk Scarf, $79; Tian Justman for One OAKS Saffron Silk Dupioni Pencil Skirt, $110. All available at eidemagazine.com.

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Tian Justman for One OAKS Handmade Red Acrylic and Wood Necklace, $150; Tian Justman for One OAKS Red High-Low Tube Dress, $265; One OAKS Gold Metal Belt, $55.

All available at eidemagazine.com. eidemagazine.com | 37

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Becca Belz Jewelry Crystal Chunky Neon Necklace, $225; One OAKS Vintage Purple Sequin Crop Top, $42; One OAKS Vintage Blue and Orange Printed Denim Shorts, $65.

All available at eidemagazine.com.

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Alexandra Beth Druzy Stud Earrings, $118; Mamazoo Black Fabric Multi-Ring Necklace, $68; Mamie Ruth Sage Open Back Shirt, $76; Bangle Wallah Metal Bangles, $28; Young Frankk Halfmoon Hammered Brass Cuff, $76.

All available at eidemagazine.com.

Becca Belz Aquamarine and Grey Agate Necklace, $225; Tian Justman for One OAKS White Silk Organza and Sequin Dress, $325; $120; Bangle Wallah Metal Bangles, $28; GiantLION Simple Sterling Silver Cat Ring, $54.

All available at eidemagazine.com. summer 2013

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JUICE WORTH THE SQUEEZE

P H O T O B Y P L A S T I C R E V O LV E R

B Y R E B E C C A B AT T E R M A N

THE TIME HAS COME. NATURE IS IN BLOOM, THE COLORS ARE VIBRANT AND YOU’RE READY TO OFFICIALLY TRADE IN SLEEVES FOR SKIN AND BOOTS FOR BIKINIS.

But does your energy level match the season? Maybe those extra hibernation pounds that kept you so cozy during the colder months have gotten in the way of your post-winter wardrobe. There are many beliefs on how to look good and be healthy for the summer but the trend on the forefront of health fads is juicing.

To get down to the pulp of it, I caught up with New York based juicing master Deborah Smith, owner of Green Pirate Juice Truck.

Smith started Green Pirate seven years ago, prior to the rise in popularity of both juicing and food trucks. The first juicing truck of its kind, Smith and Green Pirate aimed to bring health awareness and nutrients to the busy, overworked people of New York City. With a degree in integrative nutrition, Smith has a modern take on the “to juice or not to juice” debate.

Right from the start, Smith addresses the juicing naysay-

ers by recommending that juicing should be a lifestyle, a daily way to get tons of nutrients. “It doesn’t replace getting fiber out of whole, solid, raw foods,” she says, they are equally important for optimal health. Juicing infuses your body with nutrients, which can jumpstart a healthy lifestyle , she explains, by helping your mind and body observe existing eating habits and break free from them; such as “putting down the coffee and picking up the juice.”

While you can juice any water-rich produce, consuming “green juice” (juice primarily from green vegetables) is the type of juicing Smith stresses will attribute to an array of health benefits including stimulating a healthy cell wall, strengthening the integrity of muscle tissue and increased energy. She describes how sunshine and the process of photosynthesis is captured within leafy greens, such as spinach and kale, and that when we juice these veggies that energy is transferred into our body, reviving it.

LEAFY GREENS ARE AMONG THOSE FOODS CLASSIFIED AS “SUPER FOODS” BECAUSE OF THEIR NUTRIENT CONTENT. 42 | eidemagazine.com

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Leafy greens are among those foods classified as “super foods” because of their nutrient content.

Some might be dissuaded by the prospect of a green colored drink but Smith says a large part of incorporating juicing into your lifestyle is psychological

and to first “try it before you decide you don’t like it.” With that you can cater juicing to your taste buds, incorporating different fruits and vegetables to your personal palate (pineapple, apple and orange are great fruits to add as natural sweeteners).

YOU’LL ALSO WANT TO CONSUME YOUR JUICE DURING THE DAY, IN BETWEEN BREAKFAST AND LUNCH WHILE BEING COGNIZANT OF HOW YOUR BODY RESPONDS TO IT, ASKING YOURSELF: ARE YOU LESS HUNGRY FOR LUNCH? DO YOU FEEL MORE ENERGIZED?

TO H E L P K I C K S TA RT Y O U R S U M M E R J U I C I N G C A M PA I G N , S M I T H S H A R E D W I T H M E H E R P E R S O N A L F AV O R I T E J U I C I N G R E C I P E T H AT Y I E L D S 1 6 O U N C E S O F J U I C I N G P OW E R :

GREEN PIRATE

1 CUP OF FRESH SPINACH (OR KALE) 2 STALKS OF CELERY 1/4-1/2 CUCUMBER 1/4 LEMON SIZEABLE CHUNK OF GINGER

1 GREEN APPLE (FOR A SWEETER FLAVOR, ADD A FIJI APPLE)

Whereas an apple a day may keep the doctor away, Smith says, “a green juice a day will elongate your life.”

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P H O T O G R A P H Y

B Y

T I M

R E D M A N

ALL DAY AND ALL NIGHT S T O R Y

B Y

B O N N I E

H E R R I N G

SUMMER USHERS IN A FEAST OF FESTS. Libations, good vibrations and even sun salutations take over the party scene as spring and summer usher in the outdoor music festival season. Music festivals have long been part of American music history dating back to the early 1930s. In 1969 the world watched as three days of peace and music converged in New York to create Woodstock and the 70s saw New Orleans give birth to the Jazz and Heritage Festival brining about a long standing tradition of music and 44 | eidemagazine.com

cultural celebration. The festival scene has since gained extreme popularity over the years. The demand for high quality music from a vast lineup of musicians, locally inspired food offerings and overall experience has encouraged organizers to incorporate unique locations and innovative themes to entice audiences. Today, there are countless music festivals all over the world focusing on virtually all genres of music, some of the most renowned take place right here in the USA. summer 2013

If you are looking for the perfect weekend getaway or fun filled vacation all crafted around music, there is no better way to explore a new city and discover new musicians than an outdoor party, enjoying great music while dining on local cuisine in a carefree festive atmosphere. As broad and diverse as music is today, there is an equal number of festival options on the calendar all the way through to

October. There is a correlation between the popularity of the festival, the headliners scheduled to play and the prices for individual festival tickets which range anywhere from $30 to more than $800 for VIP tickets. Some festivals put tickets on sale before the official lineup is made public, but others wait to announce the headliners at the same time tickets are released.

CONSIDERING ATTENDING A FESTIVAL? SIGN UP TO RECEIVE EMAILS AND FOLLOW THE FACEBOOK PAGE TO BE IN-THE-KNOW FOR ON SALE DATES AND EARLY BIRD TICKET SPECIALS. summer 2013

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SOCIAL MEDIA IS ALSO A GREAT WAY TO RESEARCH FESTIVALS.

TODAY’S TECHNOLOGY MAKES IT EASY FOR PEOPLE TO

POST THEIR THOUGHTS AND REVIEWS ON ANYTHING AND EVERYTHING AND MUSIC FESTIVALS ARE NO EXCEPTION.

Some valuable information can be found from experienced festival goers. It is also important to research the helpful hints and FAQ’s on the festival's website in the planning process. It is never fun to trek back to the car and drop off that lawn chair or cooler that was not allowed inside the gates. (Some allow chairs and coolers and others have much stricter policies.) No matter what

the rules are or the price of a ticket, there is something for everyone. People looking to dance in their bikini under the hot summer sun flock to Hangout Fest, celebrity types and those wanting to-be-on-the-scene flaunt their inner hippie motif at Coachella and if inner peace and harmony are more your tune, discover your inner yogi at Wanderlust.

EIDÉ’S PICKS FOR GREAT US MUSIC FESTIVALS: B O N N A R O O — M A N C H E S T E R, T E N N E S S E E

L O L L A P A L O O Z A — C H I C A G O, I L L I N O I S

Ready to spend the weekend camping on a rural farm in Tennessee, this music/comedy festival is for you. Bring your best camping gear; you won’t want to be driving back from this event.

A once traveling festival, Lollapalooza has now found a permanent home in Chicago featuring indie, rock, punk and electronica acts.

COACHELLA — INDIO, CALIFORNIA

Milwaukee is no stranger to showcasing live music with more than 700 bands and hundreds of thousands of spectators visiting downtown Milwaukee over the course of the two week event.

This see-and-be-seen event in the Coachella Valley of southeast LA is a as much a party LA style as a red carpet affair complete with celebrities. Half of the festival is dedicated to music and the many artists who take the stages, the other half is dedicated to the visual arts; don’t forget to take a spin on the Ferris wheel after all those adult beverages.

JAZZFEST — NEW ORLEANS, LOUISIANA

Major acts from the jazz, gospel and blues genres as well as many of the biggest names in music have graced the stages in NOLA. The daily festivities end around 8 p.m. leaving plenty of time to experience the big easy. summer 2013

S U M M E R F E S T — M I L W A U K E E, W I S C O N S I N

SXSW — AUSTIN, TEXAS

One of the more unique and totally Indie experiences is South by Southwest known for indie musical acts, film screenings, tech panels and various conferences.

WANDERLUST — OAHU, HAWAII

Music, self discovery and yoga set with a back drop of Hawaii beauty is simply paradise found. eidemagazine.com | 47

In a departure from the Belgium location, internationally renowned music festival TomorrowWorld has landed in the United States at Bouckaert Farm, just south of Atlanta, Ga. Boasting unparalleled production with a line-up of the biggest electronic acts in the world such as David Guetta, Calvin Harris, Tiesto, Sebastian Ingrosso, Alesso, Axwell, Steve

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Aoki, Afrojack, and A-Track, just to name a few, this event will gather hundreds of thousands of fans from hundreds of countries for a unified and unbelievable experience. One of the festival's many attractions includes city-sized structures built especially for the three-day extravaganza. September 27 - 29. TomorrowWorld.com.

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PHOTO COURTESY OF TOMORROWLAND

This list includes a very small sampling of music festivals that happen across the United States every year. Just about all metropolitan cities host some type of music festi val, so

whatever your preference there is a good time somewhere in the states waiting for you. "Stay calm and fest on," as they say in NOLA. See you at the next one!

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summer 2013

IF THE SUIT FITS

BY TOVA GELFOND PHOTOGRAPHY

BY GISELA TORRES

ON AND OFF SCREEN, GINA TORRES EMBODIES THE WO M A N W E A L L WA N T TO B E .

I

have to admit I was anxious about speaking to Gina Torres. I had butterflies, the way one does when they meet a role model or lifelong heroine.

Because as much as she’s the wife of Laurence Fishburne as well as Brenda Cooper in “I Think I Love My Wife,” Anna Espinosa in Alias, Nebula in Hercules, and Helen Carter in Cleopatra 2525 — she’s also undoubtedly Jessica Pearson on USA’s successful law drama Suits. A fearless female role, Jessica embodies power and intelligence as the managing partner of the show’s law firm “Pearson Hardman,” and Torres’ portrayal of this complex hard-headed woman is turning heads.

At 5’11, with covet-worthy curves to match her stature, Torres is all woman and it shows. When I first

heard her voice filled with a sophisticated vocal inflection and rich tonality, it was hard not to call her Jessica, a character so defined by her powerful speech and articulate command of vocabulary — a feature Torres naturally has in scores. But her genuine kindness and gentle spirit instantly made me understand that Torres is not like any of her characters, but rather her roles are intrinsically a part of her.

Like most great women with life experience, she has an unspoken gratitude that presents itself through her storytelling as she recounts her life and her resulting insights. But above all, she’s wise in a way that we all wish to comprehend. She has a unique ability to see the world and the sum of its parts as a decipherable roadmap to the journey of her life. It’s the kind of cognizance that puts you at ease, and makes you secretly pray she’ll act as your own private sherpa.

EIDÉ MAGAZINE: You’re a talented mezzo soprano.

When did you start to explore acting? Did you initially want to go into singing as a career?

GINA TORRES: No, not at all. Singing has always been something I enjoyed doing, (but) my passion was always acting. Singing came into play with musical theatre. I fell in love with musicals. Fred Estaire and Ginger Rogers — I fell in love with that technicolor world. I wanted to crawl into the television and become a part of that. Growing up in NYC, I would see the commercials for the musicals on Broadway. I just wanted to be on the musical stage; I never wanted to do one without the other.

of me. I have been so blessed [to] play so many characters. My first film role, “Bed of Roses,” that got my feet wet. [From there] the roles, have become iconic — dare I say it — in how people associate with me. Zoë on Firefly, Hercules, Alias — the cult aspect of these women have stayed with me all this time. I love them, that they are such a part of so many peoples’ characters. It’s overwhelming for me that I am here talking about all these characters with you. I was absolutely a lucky girl and had no idea how all of this would happen, going from Cleopatra 2525 to Jessica Pearson.

EM: Growing up in New York City; that’s a very unique experience.

GT: In retrospect it was an incredible advantage and blessing. At the time, I didn’t realize this was not how the rest of the world is. I appreciate how potentially diverse [that was].

EM: You have an incredible body of work — you spent years working on so many films and TV shows.

Is there anything that stands out to you as a favorite role you played?

GT: They are all my children. They are all different parts

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EM: Your husband is acclaimed actor Laurence Fishburne. Do you get to work with him often? What is that like?

GT: Most recently, I got play with my husband in Hannibal. We support one another; we love what we do. We are both passionate, respectful and hardworking.

[We are] excitable people when it comes to what we do ... regardless of the fact that we are married. But when we go home, we are Laurence and Gina, Delilah’s mom and dad. We leave it in the workplace. We talk about work in the extent of saying, “That was really good, I like that.” We are supportive in that way, but no, we don’t run lines.

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EM: Your husband is acclaimed actor Laurence Fishburne.

Do you get to work with him often? What is that like?

GT: Most recently, I got play with my husband in “Hannibal.” We support one another; we love what we do. We are both passionate, respectful and hardworking.

[We are] excitable people when it comes to what we do ... regardless of the fact that we are married. But when we go home, we are Laurence and Gina, Delilah’s mom and dad. We leave it in the workplace. We talk about work in the extent of saying, “That was really good, I like that.” We are supportive in that way, but no, we don’t run lines.

EM: Let’s talk about Suits: How did this script come to you, and what was your initial reaction?

GT: I had a little bit of history with the network. I had tested for another role on another show just a few months prior and I didn’t get that part. And then a few months later, this (Suits) script came, and they thought, “Well she’s a lot of fun.” Agents called, based on the test that didn’t go through, [they said] “USA thinks you are perfect for this!” And the creator just wanted to meet.

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Let that be a lesson to people ... you never know how the job is going to come about. All you can do is put your best foot forward and trust that someone is watching.

EM: Jessica Pearson is such an incredible character. She’s a strong, independent woman of color, with so much personality at the top of this company. How did you prepare for this role?

GT: I read the script and I put on her clothes and her shoes, which is a huge part of her character and a huge clue in who she is. I always joke that we wear the same shoe size. This is the character I have been preparing for my whole life. I wouldn’t have had the life experience or swagger 20 years ago. She’s a woman. I could not have played her as a girl, as a 25-year-old pretending to be grown up. We think we know everything and we are just trying to figure things out. I have been the architect of some pretty extraordinary things and that’s who Jessica Pearson is, and it’s my joy bringing that person to screen.

What I love about Jessica [is] she has a sense of humor and she is completely unapologetic about power, and her womanhood and her sexuality.

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ONE OF A KIND STYLE | ONE OAKS MEDIA | WWW.ONE-OAKS.COM

EM: In Suits, your character Jessica Pearson has a tremendous sense of style — especially in the workplace — how close is your personal style to your character?

GT: I (just) watched the last three episodes of Season Two thinking that every costume change is an event.

The wardrobe for all of us matched the stakes, the tone and the drama of the moment. Every time I walked on screen it was a wardrobe event. Our wardrobe designer understands it’s a heightened reality. When we

first started with the show, we see the revolution of her wardrobe until now. They started off with her being what you expect, wearing this “power suit.” Our costume designer came in halfway through the first season, and I remember having a very frank conversation with the creators early on saying, “She is the top of the pyramid. If she mentored Harvey, then she taught him to dress. It all begins and ends with her, and she can wear whatever the fuck she wants.”

“SHE IS THE TOP OF THE PYRAMID. IF SHE MENTORED HARVEY, THEN SHE TAUGHT HIM TO DRESS. IT ALL BEGINS AND ENDS WITH HER, AND SHE CAN WEAR WHATEVER THE FUCK SHE WANTS.”

EM: On Suits, it seems like the seasons are not that far apart. How does that make the shooting schedule for you?

GT: No, we shoot it all at once, we go straight through and shoot 16. The first season, we only shot 10. And then the network realized it was a long time to be away from of our fans. Then we do 10 through the summer and then the back (the writers pack it in).

We are on cliffhangers every week! We get the script, which gets sent to us every 10 days. [There are times when] I have done 18-hour shoot days, but I am not in every scene. It’s much harder for Gabriel (Macht) and Patrick (J. Adams).

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EM: There is a very important episode where Jessica’s lack of children is addressed. How was that for you?

GT: I refer to that as the “bitter barren” episode, and I don’t believe that she is either. We don’t know a whole lot about Jessica and her personal life, but she has made choices. For any woman, you have to have the strength and the courage to make those choices.

You also have the right to change your mind. We have more choices, and we want a bigger piece of the pie.

There is more of you that needs to be expressed and fulfilled and then you play catch-up. Our lives are intricate fascinating things and you can’t control it.

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BY LAUREN LADOV

HERBAL AWAKENING HEALTH, ACCORDING TO THE MEDICAL DICTIONARY, IS A FREEDOM. A “FREEDOM FROM PHYSICAL PAIN AND DISEASE.”

But this freedom seemingly comes at a price — a high one. One tacked to insurance companies, corporate industries, and chemicals. It works, for many, but how free can we be in such a system?

In the Land of the Free, the most widely prescribed drugs in the U.S. are not for pain management, cholesterol or hypertension, but for depression. In 2007, over 30 million patients spent 12 billion dollars on antidepressants. In 2010, American doctors wrote over 254 million prescriptions to turn our frowns upside down.

As of last month, I too joined this statistic. It took a mere 30-minute meeting with a thin-lipped psychiatrist to receive a prescription for Citalopram. It took longer to find a space in the clinic’s 12-deck labyrinth of a parking lot.

I hesitated for years in pursuing antidepressants. I told my therapist I’d hate myself every time I swallowed the pill (need I say, “ironic?”). Though I realized I would have to go through the process of weaning myself off the drug dependency, I wanted the instant gratification.

I, LIKE MANY, CHOSE EFFECTIVENESS OVER TRUE HEALING.

I told my therapist and psychiatrist I would prefer something along the lines of an herbal treatment in conjunction with the pharmaceutical medication (a solution I thought more favorable

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for the long-term, adverse to the thought of a lifetime tied to prescription drugs). Shrugging, neither of them had any direction or suggestions, but agreed this route seemed appropriate.

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PHOTO BY LADY DRAGONFLY CC

Herbal medicinal knowledge dates back to the beginnings of civilization, literally since the Sumerians, continuing across continents and cultures. The Ancient Eygptians possessed the “Ebers Papyrus,” containing information of over 850 plant medicines.

The Grecian physician Pedanius Dioscorides wrote “De Materia Medica" around 50 A.D., a compilation of more than 600 plants and ninety minerals. Persia’s Avicenna created “The Canon of Medicine,” a compendium of 800 tested drugs, and gives a devoted discussion to the healing properties of herbs, including nutmeg, cinnamon, and rosewater. Chaucer even mentioned the healing properties of herbs in “The Canterbury Tales.”

And yet, in spite of this extensive history and tradition, few physicians nowadays are even literate in the field.

Because somewhere down the road, within the past century actually, this ancient knowledge faded fast in the face of an increasingly mechanized culture. As the chemical industry got chugging, the economical potential of non-herbal products proved quite advantageous. Single-ingredient pharmaceutical

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medicines facilitated patent-publication, which could generate much more money than any herbalist ever dreamed of.

But in the spirit of counter-culture, the herbal tradition resurfaced in the 60s. Ever since, the wisemen and women fluent in the wildcrafting customs not only still exist in some communities, but are on the rise, working to facilitate, legitimize and promote the growth of Herbalism and to reinstate our right to health.

“I think the recession of the last decade has reawakened America to the need to reclaim control over their health,” states Lorna Mauney-Brodek, a traveling herbalist, currently residing in Atlanta, GA. “I believe in the value of earth-based care, not just for our bodies, but for society as a whole — when people feel good, they do good,” she adds.

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PHOTO BY DAN BACKMAN

S

ince current insurance programs will not cover herbal remedies, pioneers like Mauney-Brodek find other ways to make herbal treatment and education as accessible as possible. In 2012, MauneyBrodek established the Herbalista Free Clinic which travels atwill via the HerbBus, a mobile clinic stocked with tinctures, salves and solutions, to provide both first aid and earth-based care to underserved populations, offering herbal education to both patients and the volunteers who crew the bus, too.

Mauney-Brodek regards Herbalism of the traditional do-it-yourself attitude still ripe in many American minds; justifying herbal medicine as something mostly anyone can practice merely by utilizing what’s in their own backyards or even kitchen supplies.

After all, the use of herbs in cooking arose precisely because of their healing properties. Regardless of ailments, the introduction of more herbs into our bodies on a regular basis will work as a preventative measure, improving the strength of our bodily functions to lessen the threat of pain and disease. Take cayenne pepper, or capsicum: traditionally used for overcoming fatigue and restoring stamina and

vigor, it is clinically tested to improve circulation and cardiovascular functions. Almost any herb and spice possesses a specific beneficial quality that we disregard simply because we are not aware of it. Medicine may not be food, but we ingest it just the same. Thus requiring the same kind of attention, care and discretion when choosing what we put into our bodies.

Many herbalists like Mauney-Brodek prefer to use as many local ingredients as possible. If a plant thrives in a particular region it is because it has built certain defenses to handle such properties like air, soil quality, climate conditions, etc. “By ingesting those herbs, we can benefit from these defenses and thrive as well,” she asserts. Such a practice reintroduces and reinforces a connection and trust for the local ecology, both human and plant.

However, what makes this practice ideal is precisely what hinders it from mass appeal. Herbalism lacks consistency.

The rainfall, the soil, the harvest, the preparation of the herbs themselves will vary from place to place, and person to person, “All of these variables discredit herbs in the face of a system used to standardization,” Mauney-Brodek admits.

“BUT ULTIMATELY, PEOPLE THEMSELVES AREN’T STANDARDIZED.”

Herbal treatment works according to a person-based assessment stemming from the Eastern medical philosophies.

Identifying patterns according to individuals, one asks: “What kind of person has this disease?” As opposed to the Western conventional way of asking: “What kind of disease does this person have?” Combining both questions ensures a most holistic approach to assess the patient in providing 58 | eidemagazine.com

all that they may need.

I was only asked the latter, but I know I am the kind of person that deserves both, all of us do. But until that happens, we can ask the questions ourselves, reclaiming the knowledge of centuries past. We can exercise our right to seek out our neighbors, the plants within our respective environments and begin the path towards true healing. summer 2013

THIS SUMMER, IF YOU’RE FEELING A LITTLE BLUE, CHECK OUT REMEDIES MADE FROM THE MIMOSA TREE, OR ALBIZIA JULIBRISSIN, KNOWN AS THE "COLLECTIVE HAPPINESS TREE."

COURTESY OF LORNA MAUNEY-BRODEK

MIMOSA SYRUP Weigh out 2 ounces of fresh, fluffy, Mimosa duster blossoms and pour one pint (16oz) of hot water over them.

Cap and steep overnight.

Strain out flowers and compost.

Mix with 1/2 part honey or sugar.

Stir until completely dissolved.

Pour into a beautiful bottle and keep refrigerated.

Add a splash to sparkling water, champagne, or a mixed drink for a lovely lift.

HOW TO IDENTIFY MIMOSA:

The tree has very distinctive leaves and flowers. The leaves are bi-pinnate, which means each leaf has been divided several times, so it more resembles a feather or a fern. The flowers are pink and resemble little fairy dusters and grow in clusters.

PARTS USED: FLOWERS & BARK

Flowers start blooming in early May and can bloom through July. You can go back and repeatedly harvest the same tree every few days as new flowers are constantly emerging from the flower clusters. I harvest the flower with the stem, and include it in my medicine. To harvest the bark, prune the tree, taking small branches and stripping them. NEVER gird a tree (meaning stripping bark around the trunk, like a belt. That will kill a tree. Give thanks for the medicine.

USES:

Nourishes the blood and heart Unites the heart and the mind Resolves depression Indicated for heart induced insomnia (blends well with chamomile) Quiets the spirit Calms the mind Flowers uplift the spirit and bark anchors the spirit Resolves long standing grief

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W R I T T E N B Y

A N D

P H O T O G R A P H E D

A U S T I N

H O L T

C O N V E R S A T I O N S M O R O C C O ' S P E R F E C T

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I N

L A S T

B E A C H

T O W N

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GLIMPSING THE CRACKED TILES, SUN-BLEACHED CHARACTER AND ALMOST TOTAL LACK OF COMMERCE, A CYNICAL EYE MAY SAY THAT SIDI IFNI IS A TOWN THAT HAS NOT ONLY SEEN ITS SALAD, BUT HAS BLASTED THROUGH THE MAIN COURSE AND THE DESSERT, ONLY TO REALIZE THAT IT DOESN’T HAVE ENOUGH MONEY TO COVER THE TAB. THE ROMANTIC MIND, ON THE OTHER HAND, SEES THE POUNDING BREAK OF THE ATLANTIC ON CARAMEL SANDS, OBSERVED BY THE MOSTLY VACANT SPANISH PLAZAS THAT OVERLOOK THE MIGHTY SEA FROM ROCKY CLIFFS FAR OVERHEAD, AND WILL SPOT A SIMPLER WAY OF LIFE, FREE FROM THE CONFINES OF THE CHAOTIC, STEADY PACE OF MOROCCO’S LARGER CITIES. IT’S SOMEWHERE IN THE MIDDLE WHERE THE MAGIC LIC LIES.

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summer 2013

I ARRIVED IN THE MIDDLE OF THE NIGHT, WELL ON THE MEND FROM A SAHARA-INDUCED CASE OF DESERT FLU, TO A TOWN THAT TUGS ON THE SENSES.

Growing up on the Gulf Coast, I was drawn back to childhood by the first hotel I stayed in — a lovingly maintained but rundown little inn called “Suerte Loca,” or “Crazy Luck.” My small room, surrounded on four sides by concrete walls (save one door to a communal terrace where a lone wetsuit had been laid out in the sun by some surfer to dry) was barely large enough to contain its double bed and sink, and smelt of cinder block that had taken decades to absorb the scent of the ocean, a stone’s throw away. Downstairs, the proprietor and his wife, a pair of Spanophilic Moroccans, wore the uniform of the content

– the loose jeans and baggy sweaters of those who had given up hope of ever working in an office again, regardless of capability. Though their kitchen required one order at least two hours in advance, I didn’t have the luxury of time, given my late arrival. Regardless, there were a few menu items at the ready — in the shadow of a small juke box (stocked with Bob Dylan and Ella Fitzgerald, the soundtrack of this town) and a smoke-stained pool table, I noshed on a lightly fried whole fish, and a smoked octopus salad (I got the impression that seafood is one thing this town does very well).

After the eight-hour bus ride out of Marrakech, sleep was welcome. Upon waking, my gameplan was set: breakfast and a trip to the other side of town (a 10-minute walk) to visit the Hotel Bellevue. I had heard that this was the place to stay in Ifni, but despite repeated attempts, their phones seemed to be down. Not knowing whether they were even still open for business (their last review on TripAdvisor dated back more than six months) I ventured out.

Seeing the town in daylight for the first time gave me a unique perspective. Walking out the door, one is immediately drawn to the architecture — very deco, (built by the Spanish, who settled in the area decades ago, when deco was the zeitgeist, ) very white, and very blue. Almost every building in the city shares this color scheme, to some varying degree, from a time when urban planning was not a consideration, but unified aesthetics were. A heavy mist hung in the air, held in place between the heaving sea and the mountain range that borders the town. Suerte Loca is at sea level, but it rests at the base of a series of ornate, weather-worn, terraced plazas — walking spaces that overlook the ocean, and rise with the bluffs to the city’s center

square. Even from my distant vantage point, a squinted gaze up the slope revealed a view of my destination: an uncharacteristically yellow outcropping, suspended over the edge of the bluff, 100 meters above the crashing sea.

Walking up the promenades, I noticed a few things: a) this place is absolutely, tear-jerkingly, why-can’t-thewhole-world-be-like-this gorgeous. b) I can’t quite tell what color of blue all of this used to be painted – it’s faded to a pleasant periwinkle. c) everything — from the streets, to the tiles, to the staircases, to the buildings, to the people, to the tables in front of the cafés — is cracked, uneven, faded and misaligned, and everyone’s kind of worked around it, and d) nobody really gives a damn. It’s their quiet little town, thank you very much, and if you don’t like it, that’s okay, but you can go somewhere else.

I’ve seldom encountered a locale so content with its place in the universe. Sidi Ifni is the hideout where the protagonist lays low in spy novels. It’s the romantic getaway where the rich girl and the poor fisherman's son fall in love. It's where the world's most entertaining drunks gather for high-faluted conversation in myriad languages, drawn in by some kind of strange radar.

HEMINGWAY WOULD HAVE SHAT HIMSELF.

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I WALKED INTO THE HOTEL, INTO THE WOOD- AND TILE-LINED LOBBY.

I looked scraggly, admittedly. I hadn’t bathed since the morning before, and I was down to my last shirt. I asked the proprietor if he had a room available — the only criteria we had in mind was an ocean view in a place that wasn’t a total shithole. He eyed me carefully. Even in a town accustomed to backpackers and surfers, there are still occasional outposts of snobbery. He told me to look at room 44, that the door was open. A lovely room, with a double bed, a toilet, a shower, very clean, and a partial view of the sea. I stepped back out into the hallway and eyed up the last door in the corridor, one that looked like it butted up against the edge of the building. '46.' I went back downstairs.

“Looks nice. I’ll take it... But is 46 available?”

“Yes,” he said, “But it’s more expensive.”

“OK…” I said. “How much is room 44?”

“200 dirham.”

“OK. How much is room 46?”

“300 dirham.” There was a bit of emphasis on the “three.”

“OK. 300 a night for room 46?”

“Yes. But it’s very big. And more expensive.”

“Can I see it?”

After some barked words in Arabic to the bellhop, he took me upstairs. Apparently, it’s the best room in the whole hotel — a full, 180-degree view of the Atlantic Ocean. To the south, a lighthouse and an old sea-bound, Spanish garrison that needed exploring. To the north, a cliff-lined rocky coast that I heard offered good beach hiking. To the west, a sun that sets every night, and to the east, a sun that rises, piercing the haze. The bedsheets didn’t match, and the shower was a bit of a deathtrap, but I did the math and took another look at the view. $36 a night? Sold. A few minutes later, I returned to the reception.

“Perfect. I’ll take it.”

“Hmm. Room 46? Tonight?”

“Can I book seven nights?” I pulled out a wad of 200 dirham notes.

“Hmm! Yes! We can do seven nights! But it is not clean – come back in one hour?” He seemed very chipper all of a sudden.

“OK.”

WALKING BACK, I WAS SMIRKING SOMETHING FIERCE AS A CALL TO PRAYER BOOMED FROM THE PEAK OF A NEARBY MOSQUE. WHAT AN ODD PLACE TO SPEND A WEEK. WHAT A WONDERFULLY ODD PLACE.

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summer 2013

WHEN MOLMOT (ONE OF THE FIRST PEOPLE I MET IN SIDI IFNY) WAS A KID, ABOUT 16 OR 17, HE MADE FRIENDS WITH AN AMERICAN FAMILY.

They were from Alaska, and when they returned home, they sent him a letter. The address he provided them was that of his father’s store. When his father came home one day, he said, “Molmot, you have a letter — from Alaska.”

Even with his weather-worn face, a façade that had been beaten and evaporated by decades of salt and sun (because this guy loves the hell out of some surfing), and with the salt-and-pepper in his hair; even with the time spent in Saudi Arabia on business, and the year spent in Paris, fin-

ishing off university, I saw the glint of the child who was so excited, still, to get a letter from some far-flung corner of the world. This is a fella, after all, who has spent the majority of his life in Mayberry. He has a nice little house on the water, a good job, and (as I observed upon running into him again, as he delivered a freshly killed rooster to the local poulterer) a couple of hobbies. He speaks good English, enough so to be a causal ambassador to those who pass through town.

Molmot was the one who told me where I could get a hold of a bottle of Chinese knockoff scotch; he was the one who recommended Café Nomad, a Bohemian hole-inthe-wall that may actually be the single best restaurant in the world; he’s the one who got us a good deal on a rental car, introduced us to a whole cast of eccentrics, pointed us in the direction of the only (working) ATM in the city, and in all, told us the secrets Ifni keeps close to its chest.

When I was at a loss, he would magically appear on his scooter and invariably, we would drink ourselves stupid in the sand until the wee hours. He wanted nothing in return, just company and conversation.

On my last night in town, after a week of doing practically nothing, we were on our fifth beer, a cheap but decent brew from a country that isn’t big on drinking, and had gotten around to comparing notes again.

“Where is your family from?” he asked.

“Well, from Ireland, England, Scotland, Germany.”

“So you immigrated there, too?” He had just come off a few minutes of kindly asking why my young country is so weird about immigration since, as he put it, everyone there came from somewhere else.

“Yeah. A long time ago. We called it the land of opportunity.”

We shared some similarities about our countries. He said that Morocco is similar to America — that if you want to work hard, you can determine the extent of your own success — freedom is a bit more far reaching, I’ve found, than we commonly give it credit for. We made fun of Europe for a couple of minutes, and shared a few more laughs.

Before we parted ways, we talked about Sidi Ifni one

last time. He said that Ifni is getting bigger — that there are new buildings, and that everywhere you turn, the sound of cranes and jackhammers can be heard — that houses are getting built, and that despite appearances, a lot of tourists are attaching this place to their radar. In 10 years, Molmot predicts, Sidi Ifni will be different — bigger, more polished, more friendly to the cautious visitor.

The periwinkle of the cement stantions will be returned to an original naval blue and the chipped tiles of the promenades will be restored to a semblance of originality and spit-sheen. This made me sad.

I remember my own home as a town where the lackadaisical came to play. It was a place where cinderblock shacks dominated the beachfront, and where the tallest manmade structure was a dumb, ritzy, sort-of-luxury hotel, content to live under its own definition of grandeur until the outside world came along and showed it what-for. I see Sidi Ifni as a reflection of that old place and I ache, deep inside, at the thought of it trodding down the same, easy path. I could see the honeymoon suite quintupling in value; the seafood shack becoming commercialized; the surf shop going corporate; the pizzeria becoming, God forbid, a Papa John’s. Why does everything have to progress? Why does everything have to become more than what it is? I asked Molmot, and he couldn’t say.

“You can come back for a swim,” Molmot said consolingly and out of context. He knew that our bus was leaving first thing in the morning.

“I’d like that,” I said, as I downed the last of my beer.

“Next time.”

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FULL CIRCLE BY: EMILY L. FOLEY

We’ve all heard of the circle of life, well this is the circle of trends–it all comes back around again! And never has what’s old become new again quite as much as this Summer. Check out these vintage-inspired beauty trends that are all the rage right now.

THE 1950S TREND: A BOLD LIP While in the 50s, it was va-va-voom red, for 2013, update that bold lip color to the shade of the season — coral.

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COSMETICS THROWBACK: Inspired by an incredible group of modern athletes bringing back the art of synchronized swimming, tarte’s Aqualillies collection boasts gorgeous retro packaging.

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summer 2013

THE 1960S TREND: WHITE MANI Totally mod, but oh-so-fresh, a white manicure is white hot this spring. The models at Kate Spade New York’s Spring 2013 NYFW show boasted the look on long nails for a fierce, fun effect.

COSMETICS THROWBACK: Inspired by the gorgeous ladies who work and live beside the men of Sterling Cooper Draper Pryce, Estée Lauder’s Mad Men Collection is equal parts nostalgic and fresh.

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THE 1970S TREND: AU NATURAL The gorgeous and sexually liberated women of the 70s were all about embracing what their mama gave them. And that beautiful natural look is a huge trend this spring and summer.

COSMETICS THROWBACK: Disco reigned supreme in the 70s, and these fun beauty sets are an ode to what happened after the lights when down and the disco ball went up.

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BENEFIT COSMETICS DO THE BRIGHT THING, $32. SEPHORA.COM

THE 1980S TREND: BLUE EYESHADOW It wasn’t that long ago that every girl and guy’s teenage dream had big hair and bright blue eyeshadow. Guess what–the hairstyle might not be the same, but that blue shadow is making a big comeback.

COSMETICS THROWBACK: If you ever listened to your New Kids on the Block You Got It (The Right Stuff) cassette until it wouldn’t play any more, than you’re a true child of the 80s. This eyeshadow palette is the perfect reminder of a time when if you wanted to hear your favorite song again, first you had to push ‘rewind.’

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summer 2013

MANIC PANIC PRETTY IN PUNK EYESHADOW COMPACT, $12. MANICPANICCOLLECTION.COM eidemagazine.com | 67

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summer 2013

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THAT SHOW US HOW IT ALL BEGAN

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summer 2013

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S

SURVIVAL REVIVAL

BY LAUREN LADOV

W E ’ R E N OT S I C K O F Z O M B I E S Y E T.

This media trend of apocalyptic proportions has invaded our homes, our country and our lives, generating over $5 billion worth of sales. And yet such a figure is by no means a novelty, reemerging throughout entertainment history to serve as a representation of a certain monotonous existence in times of economical strife.

As pressures of the recession couple with our struggles to comprehend the battles and effects of the Iraq War, while equally befuddled in digesting the consequences of climate change, the American population grows unsettled under the stresses of such possibly imminent threats we often prefer to deny. Like the

alien movies of the 50s reflected on the Red Scare, the prevalence in zombie narratives since September 11th acts similarly, reflecting upon a collective anxiety of a nearing doomsday. Whether stemming from human or environmental horrors, an era of desolation is upon us.

So we perpetually tell ourselves.

The Center for Disease Control even jumped onto the zombie bandwagon using the apocalypse to campaign for public health awareness and preparedness in times of inclement weather and pandemics.

BUT IN THIS WAITING ROOM OF LIFE, AS

FOLKS LAZE ABOUT WATCHING HOT ZOMBIES EAT HOT BRAINS, SOME FOLKS ARE GETTING BUSY RE-LEARNING HOW TO SURVIVE.

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summer 2013

Around the corners of the country, from the likes of Portland, Atlanta and New England, communities emerge in order to facilitate and partake in the spread of self-reliance and sustainable living education, while attendance at skillsharing festivals, like Asheville’s Firefly Gathering, see some of their highest attendance rates to date. Whether such education concerns looming zombies or not, the arts of food preservation, firemaking, and archery could surely come in handy as such skills revolve around a competence crucial to our existence.

It’s a skill set so crucial because it breathes the history of humanity. Passed down and adapted between generations and cultures for literally over 3000 years, such education provides a link to the past in the name of a possible future. With the titles of “Homesteading,” “Rewilding,” and “Earthskills,” such new-age schools do not try to reinvent the wheel, but honor it with a philosophy that broadcasts a return to the land simply as stewards instead of spoilers.

Motives behind such lifestyles should not be assumed as simply granola-crunchy half-baked desires, but as action for a different kind of political, social and economic system. For example, Rewild Portland, a non-profit organization based in Oregon’s liberal center, strives to set in motion lifestyles of resilience by relying on local production instead of the global economy. According to their mission, understanding how the natural world works provides a guide to live in a manner that is regenerative rather than extractive, ensuring a surplus of resources for years to come.

Within a generation or two, such a mindset and relative skills practically disappeared from common practice and even vernacular; hand-spinning, foraging, blacksmithing regarded as an anomaly during the rise in consumerism. After World War II, as veterans returned en masse, Americans started families and households at an unprecedented rate. Suburbia arose, televisions sprung like daisies into every living room, and as women fought for equality and integration in the workplace, the home quickly evolved into a lonely sphere of pure leisure.

But now, like fermenting jars, a rebellion bubbles inside the home.

Evolving from the trends in DIY ethics and a taste for working class attitude (however ironically spawned by the Hipster generation), the Homesteading mentality realizes the potential and reward in transforming the domestic space into one of production. Caring for chickens, cultivating mushrooms, making cheeses and yogurts can all happen within 100 feet of where we sleep.

“We created an infrastructure within which we can live an entire life quite comfortably without ever cooking a meal or getting our hands dirty,” remarks Kimberly Coburn, founder of The Homestead Atlanta, a pilot project which brings self-reliance skills to the southern city.

“HISTORICALLY, ONE'S SURVIVAL DEPENDED ON ACTS OF CREATION — GROWING AND PRESERVING FOOD, KNITTING CLOTHES, BUILDING SHELTER, ETC. BY EXTENSION, THESE EFFORTS PROVIDED A SENSE OF ACCOMPLISHMENT AND WHOLENESS,” SHE ADDS.

A creative at heart, trained in theater from Northwestern University, Coburn felt a certain lack within her community, and moreover unfulfilled by her typical nine-five job. Finding inspiration from the long-established John C. Campbell Folk School in North Carolina, Coburn leads weekend workshops concerning the likes of home dairy production and the fiber arts.

She hopes that as people choose to learn out of desire rather than of sheer necessity, “We will realize we have the time and resources to create with aesthetic integrity, ensuring both the art of survival and the survival of art.”

Where homesteading has roots to a life of isolation, the current revival relishes in communal energy.

The concepts based on regenerative properties are only as durable as the community itself as building fluid and open communication and teaching the next generation guarantees such sustainability.

In its inception, The Homestead ATL has already garnered a local following as attendees from across the state of Georgia and Alabama register for classes early and register often.

The American psyche yearns for the next frontier.

That’s how America happened in the first place. We have no undiscovered West anymore and the recent cuts to the space program make faraway galaxies seem

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further away than ever. We must look elsewhere for the pursuit of a new life. And striving to live off the grid provides a viable option in taking the path less traveled to explore the unknown.

Cultivating a curiosity in the brave and the lost just the same, a life a part from industrial assistance seems as foreign to us as life on Mars. We can imagine it, but is it possible?

Aura Morris, an educator at Athen’s Institute for Wild Intelligence and an organizer for the Firefly Gathering, began her education of survival skills only over the past few years. Graduating with a degree in computer science, Morris found herself completely amiss working a desk job for the government in New Mexico. After joining a community supported agriculture program, an interest in sustainable food grew into a holistic philosophy regarding a healthful life. She left her desk job, moved to the south, went to a skillshare gathering and, amazed by the community she stumbled into, Morris didn’t look back. She can make her own clothes, grow her own food, and has a stockpile of fermenting goods that could last over a year. “In the beginning I was surprised by how easy it all was, but moreover it’s empowering to be able to produce something for yourself, and reclaim this knowledge,” Morris says.

summer 2013

OVER THE PAST 50 YEARS WE CHOSE TO FORGET SUCH KNOWLEDGE BECAUSE OUR TECHNOLOGICAL FUTURE LOOKED BRIGHT, SHINY AND A WHOLE LOT EASIER.

BUT SOMETHING SHIFTED IN THE IMAGE OF

TOMORROW, AND WE WANT TO LOOK BACK, TO REMEMBER AND RECLAIM THE KNOWLEDGE AND THE SKILLS OF THOSE WHO WALKED BEFORE US.

SO W H E N T H E ZO M B I E S AT TAC K , P E R H A P S W E ’ L L STA N D A C H A N C E .

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GOING ROGUE STORY BY JAIME LIN WEINSTEIN

PHOTOGRAPHY BY JIMMY JOHNSTON

STYLING BY TIAN JUSTMAN

DIRECTV JOINS THE NEW BREED OF NON-NETWORK TELEVISION WITH ITS FIRST SCRIPTED SERIES, STARRING LEAH GIBSON AND JOSHUA SASSE.

Freed from the constraints of traditional advertising revenue models, subscription television continues to ride the wave of original, scripted dramas from outlets like HBO and Netflix

— pushing the boundaries of creativity, and sometimes decency, with darker, gutsier stories that earn praise from audiences and critics alike. DirecTV joined the ranks of these other non-cable networks with its first scripted series, Rogue, which premiered in April on the satellite’s Audience Network. (The Network’s initial foray into the scripted series realm included its notable acquisitions of NBC’s Friday Night Lights in 2008 and FX’s Damages in 2010.)

A modern-day mob story, Rogue stars Thandie Newton (“Mission: Impossible II,” “The Pursuit of Happyness”) as Grace Travis, an undercover detective working to nab

the Laszlo crime family — including son Alec (Joshua Sasse) and his wife Cathy (Leah Gibson) — and solve the mystery of the death of her son in a drive-by shooting, while balancing life as a neglectful wife and mother to a rebellious teenage daughter. Gangster stories may not be new on American cable (read HBO’s The Soprano’s and Boardwalk Empire), nor is the surplus of adult content (graphic violence and nudity have become commonplace on non-network television and Rogue is no exception), yet Rogue is still standing out among this season’s crime dramas —

and Joshua Sasse and Leah Gibson tell us exactly why.

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Eidé Magazine: What drew you to the Rogue script?

Joshua Sasse: Basically scripts like this come around once in a blue moon, so it was something that I don’t think anyone really wanted to turn down. You know mafia has got such a huge, massive following, but a lot of the stuff that has come before has been like nostalgia shows, stuff that was stuck and rooted in the 70s or in the 30s and Prohibition, or going even further back, so it was kind of a massive thing for us to be part of something so cutting edge.

And the writing is just so fantastic. I think that’s why TV is getting so good these days is because people are really spending money on these productions and the writers are following the money and the actors are following the writers, and so it's sort of a domino effect.

Leah Gibson: I’m Canadian, I’m from the west coast of Canada so I’ve been living out of Vancouver and working in film and TV for the last six or seven years and when this script came my way it was just another audition. And of course I was familiar with Thandie Newton’s work and I knew she was attached to the project already and I was really curious about her choice to do a TV show. And after reading the script for the pilot episode it was very clear that this script is just very, very good writing. And even though it’s a cop show in a sense, it’s so much more than that because of how it profiles the characters.

EM: Tell me about your characters on Rogue.

JS: Alec is the older son, he’s basically sort of the hotheaded troublemaker so I just go on set and just have a blast everyday and it’s brilliant. Alec does whatever he wants to do, so as an actor it’s incredibly liberating. But also he’s got a 4-year-old daughter in the show and so we’ll come on set and I’ll be able to play hide and seek with her all day and draw and just muck around. And I spend most of my days doing that, those are my happiest days on set is with my show daughter.

LG: I play Cathy Laszlo, so I play Joshua’s wife in the show, and for me it’s a joy to play such a strong female character like this. She needs to be able to hold her own in this strange family dynamic and the Laszlo crime family is not something that she was born into, but it’s something she married into, so I have to think what are her choices along the way for her to find herself in this position. And she has to have a hard edge to her and know her place and know her boundaries. It was a joy to play such a strong character that way and explore the complexities of it.

EM: While television is changing in terms of artistic quality and creative freedom, have you noticed any differences between acting for television versus movies or even acting on camera versus on stage, both having come from a strong theatre background?

JS: I think, as an actor, any way that you approach the role you give it as much time and effort no matter the venue, but with television there’s a different sense to your trajectory.

With theater it’s more like running a marathon. You’re doing the same thing every single day as well so you’re exploring the same journey in a different way. With TV like this, an episodic, you don’t know where it’s going to go, so you have to develop your character at the beginning and put an awful lot of time doing that, yet become very adaptable. If you make too many firm decisions you’re only going to set yourself up for failure. We’ll be filming one episode and reading the next one while we're filming, so you need to prepare yourself for any eventuality or it’s going to make your life very difficult whereas in film you know where you’re going. With this we have no idea what our story arc is so we have to try and understand as fully as we can who these people are and sort of live with them. We bring a lot of ourselves to the table so we can grow with them.

LG: For me, the show is a very different experience. Being

the medium of cable TV, we don’t have the boundaries and limitations on storytelling that you would in network television. So for me, even beginning with the casting process, to working out who my character was, all of those definitions for me and my character approach felt like a collaborative effort. The writing would even adjust to what I was bringing to the character. I think all of us experienced that as the show carried on. And it just felt like a very collaborative, very supportive atmosphere in creating the show.

EM: What has been the biggest challenge in your career so far?

LG: The greatest challenge in my career was sustaining in the beginning. I was waitressing for five years in between jobs.

I got lucky with a few small roles in huge films, like “Twilight” for example, which is something that I garnered a lot of recognition for, in some sense. But my role in the film was small, yet the “Twilight” world is so expansive that they would be travelling me all over the world to be a part of promotions and meeting fans and this and that and then I would go home to my waitressing job the next day. It was just about sustaining yourself on the in between and keeping going.

JS: Yeah, I think one of the hardest things for me is not being near family. I almost never ever see my family. I’ve seen my sister once in two years, my mother twice in the same amount. And that makes having relationships very difficult.

Even seeing your friends, it’s very hard just to have some friend network or to have girlfriends, anything like that. It’s really very tricky. So you have to sort of try and hold yourself together as best you can and that’s more of a challenge than anything else because we’ve chosen this lifestyle, too. We do our art and love what we do but the sacrifice we make for that is great and people don’t often know about it. That loneliness is difficult sometimes.

EM: Are you in relationships?

LG: Yes. My boyfriend’s also an actor, he’s been at it for twenty years, so I have a wonderful support network in him because he knows the ins and outs and what everything is all about. He knows about the romantic relationships on camera, but I know he’s never done what Josh and I had to do on the show as far as the sex scenes go, cause it’s quite different from regular TV. But yeah, those are the challenges in a sense.

JS: I actually just fell in love five days ago. In New York. We

use fake names, I call her Cay Camelot. It was crazy. Me EM: You should do a one-man show! and Jesse, my hairstylist, walked into a café, completely by chance. And we were a bit hung over, we got up later LG: Every day he does a one-man show. Hang out with than we were going to in New York. We took this taxi, us for an afternoon. and the driver was like “Where do you wanna go?” (narrates Sasse in a strong, Brooklyn accent). Just SOHO, anywhere, we say. “Well do you wanna see the galleries, or you wanna see the shopping or whaddya want?” We just said “Just SOHO” — so he dropped us off in the middle of nowhere and we didn’t know where to go so we just went to the nearest trendy café and we walked in and she was there and I was just like “OMG, Jesse look.” And then we got talking and I said do you want to meet up later. So we met up and we stayed up until 7 o’clock in the morning talking all through the night. And we just completely fell in love with each other. It was kind of magical, actually.

LG: I’ve never seen Joshua like this so I’m just enjoying this Joshua.

EM: I was going to ask how it was having to maintain an American accent for Rogue but I see you go in and out of different kinds of American accents quite often and easily.

JS: You put in a lot of groundwork when you’re doing an accent. Personally, I think it’s a lot easier for a Brit to do the bastardization of an accent like South African or Australian or something because that tweak is what has naturally already happened whereas for an American to go back to English it's an unnatural direction. We only just have to change it a little bit to sound like you guys (Sasse explains as he smoothly transitions into an American accent).

LG: I think Josh just has an impeccable ear. The best musical ear and is a singer, and with voices. Honestly. He goes in and out of it like it's nothing. He says it’s easy, it's not.

JS: Did you ever see, um — what’s that cartoon? The Disney movie. “Beauty and the Beast.” Did you ever see that as a kid? You know Gaston? I’ll do my Gaston: “She’s the prettiest girl in town LeFou, and that makes her the best. Don’t I deserve the best?” (he dramatizes in a strong, boisterous, ‘Gaston’-esque tone of voice, followed by the tone of LeFou’s diminutive, high-pitched accent.) “Oh yes, Gaston!”

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CUT OUT OF CON

TROL THE PEEKABOO TREND REVEALS A NEW PICTURE OF WOMEN’S SEXUALITY. 94 | eidemagazine.com

summer 2013

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Showing some skin may not be a novel notion in the world of fashion, but this season one of the predominant trends is not just about exposing a little epidermis, but doing so in more of an unobvious, discreetly provocative, subtly seductive way. What we’re seeing is called “cutout” clothing, and with it, designers have seemed to master the art of sartorial peekaboo with dresses baring mere glimpses of skin at the chest, waist, shoulders and everywhere else, proving that thigh-high slits and plunging necklines aren’t the only way to assert one’s sex appeal.

“I don't think you need to show a lot of skin to be sexy,” remarked Lubov Azria, referencing BCBG Max Azria’s Spring 2013 Ready-to-Wear collection, which featured dresses of relatively long lengths with cutout details across the chest and collarbone. summer 2013

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CENTURY, HOWEVER, IT BE-

CLOTHES ENCOUNTERS

COMES OBVIOUS THAT REVEAL-

How and when we dared to bare more.

IF YOU STUDY WOMEN’S FASHION THROUGHOUT THE LAST

ING SKIN HAS LONG REPRESENTED SEXUAL PROVOCATION, AND THE STATE OF WOMEN’S RIGHT TO BARE IT IN SOCIETY.

Consider the 1920s, for example, when newfound societal liberation (women earned the right to vote in 1920 and began entering the workforce in record numbers) brought a liberation of clothing; hemlines were raised, exposing women’s legs above the ankle for the first time, as both a trend and a social statement.

And while women’s fashion over the last 100 years has seen a plethora of apparel innovations, statements and styles of either fleeting or recurring endurance, one trend has seemed to persist — the tendency

toward less fabric. But the dominating fabric-less trend seen on the runway for this season — think Michael Kors’ black crepe dresses with cutout bodices, Versace’s strategically slashed slip dresses and Carven’s blazers with heart-shaped cutouts at the midriff — involves hardly suggestive skin exposure.

What this may indicate, in a world in which today’s young women were already born with a notion of sexual freedom and the right to vote and pursue a career, is that women no longer feel the need to assert our sexuality.

WE ALREADY OWN IT. AND WE HAVE CONTROL OVER IT — THROUGH OUR FASHION CHOICES

1900s At the start of the 20th century skirts were long and full and often included a small train.

1920s “Flapper” style emerged, behaviorally defined by independent young women who disobeyed social and sexual norms of the time. By 1927 skirts rose to just below the knee, and flashed even more leg when worn dancing the “Charleston,” and other defiant dance styles of that age.

1940s Limited materials due to World War II-era fabric rations resulted in even shorter skirts than before, and women were often encouraged to make due with bare legs over nylon stockings.

1960s The 1960s saw another revolutionary change in the female societal role and female fashion — hot pants and short shift dresses became commonplace thanks to youth rebellion against traditional values, demands for the freedom of individual expression and growing awareness of feminism. It has been argued that the introduction of the birth control pill evoked a change in the image of women from mother to carefree girl that was sartorially expressed through the ubiquitous “miniskirt.”

1980s An everlasting fashion influence, Madonna propelled the trend of underwear as outerwear. Young women were seen wearing bra tops, bustiers and lacy slips as an assertion of sexual freedom.

AND OTHERWISE.

summer 2013

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