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POPP
ARTIST STATEMENT I am a graphic designer. I have always preferred working in the digital realm to creating art by hand. However, that which I do create often hearkens back to an earlier era. I often design with soft, muted tones and fuzzy, old photography as a way of achieving the look I desire. Although this is a visual direction I am currently exploring, I am not limited to it by any means and enjoy pushing myself into new, uncharted design territory. Though I have designed websites, I also share a passion for print design, a medium I sincerely hope will not end up dying. While interning at CondĂŠ Nast I fell in love with editorial design and also have a serious interest in book cover and poster design. Designing brings me happiness. I enjoy the feeling of creating something meaningful and beautifully relevant out of nothing. Ordering chaos into a thought-provoking kaleidoscope of images and words is the result of my creative process.
« label machine in Interscope. Some love her because her music is awesome. Some hate her because they feel she’s manufactured, Trojan Horse-ing her way into the scene.
Ever since her passionate singles “Video Games”
If you ask Lana to describe herself, or her purpose, she’s
and “Blue Jeans” got Lana Del Rey buzzing this past
not much help either. “I don’t even have that much to say!” she proclaims over the phone, while stepping off
summer, music journalists have gone to great
the subway in New York. For a girl with an image that
lengths to try and figure her out—with inconclusive results. Lana popped up with a DIY aesthetic, then surprised everyone when it was revealed that she has the support of a major
appears so deftly calculated, it’s hard to tell if she’s being sincere, or whether her coyness is all part of the act. And really it’s this act, her penchant for Old Hollywood cinematics, killer fashion, and dramatic tales of heartbreak, that has us mesmorized. We care about her, just as much, if not more, than her records. Where did this girl come from and why is it so fun to watch her? Ernest Baker interviews Ms. Del Rey asking about everything from backlash and plastic surgery to her upcoming album.
Lana Del Rey« All the good stuff is real but isn’t, myself included. Whatever you choose to be your reality is your reality. in a way it’s just as real as anything else. I let my imagination be my reality. Fantasy is my reality.
« «
I’m drawn to the quality of old recordings just as I’m drawn to the quality of the way movies were filmed in the 50s. I suppose what mostly draws me to that musical era is that there were good singers.
Yeah, there’s a lot of speculation about your lips.
You really came out of nowhere. Did you have a relationship with anyone at Interscope before your rise in popularity this summer? You moved from Lake Placid to New York City seven years ago in search of a career in music. Now you have one. How did that happen? Just going to open-mic nights and things like that. It was mostly in Brooklyn. It was a folk scene. When I was 19, I signed to an independent record label. I was the only act on their roster, and then that record was shelved. After that, I still wanted to sing, but I started focusing on being an active member of my community. It’s only in the last three months that I’ve had any attention.
Lana Del Rey, magazine spread layout
No, I had never met anyone in that capacity. I had gone to record labels in London a year and a half ago and showed them my songs, but no one was interested. I hadn’t met any of the people that I’m signed to now. I know lots of people are wondering about the deal. [Laughs.]
Yeah, when I first heard “Video Games” in July, your record label was mentioned. Well, I wrote that a few months ago with a composer called Justin Parker. I got a publicist a few weeks ago. I signed my deal a few weeks ago. I’ve had a very diligent manager for the last two years. In terms of assistance, I haven’t had a thing, which is OK. It’s nicer to have help.
No help with your videos? The editing is great. No, I found and edited all of those clips myself. In the last four weeks, I’ve had to hire copyright specialists to reach out to people to ask for approval for those clips, but I found them ten months ago by searching keywords on YouTube. It’s not like the videos are that good. I’d rather them not be up, but whatever. They’re fucking weird. It’s not like I wanted the videos to look that way; it’s just what I was working with at the time.
I can tell that’s going to be a fucking problem. I didn’t sign up to be famous, I just wanted to sing. It’s so annoying, but what am I going to do?
Anytime I talk to someone who’s facing backlash, it’s always “Whatever” or “Haters are going to hate.” I don’t feel that way. I’m not that cool. I feel like I want to fucking kill myself. It’s miserable.
Are your lips real? I haven’t had anything done at all. Anyone who’s known me will tell you that. I’m sorry, but I was living in a trailer park for a few years. I didn’t even have enough money to buy Cocoa Puffs. It’s not like I crawled from under the bridge and got surgery. I’m quite pouty. [Laughs.] That’s just how I look when I sing.
How else has your life changed since your music took off? What bothers you about the criticism? I’m just not interested. Music is secondary to me. I wish I could go back to normal. I’m a really quiet person. I always have been. It’s hard when you see a lot of things written about you. It’s not what I had in mind.
It’s just been a lot of moving around, working with a lot of different producers trying to get the sound of the record right. I have like four songs that I think, sonically, are really good. The record’s written, but it’s not produced. I haven’t gotten to fix anything up yet. I’m still living between a million different places. But it’s nice not to be trying to survive on the street. [Laughs.] That’s good. I’m glad that I’m safe and not in any dangerous regions.
Where are these million different places? I’ve been living in London off-and-on for the last year and a half. I started going over there to work with different producers. I go to Glasgow in Scotland and I go see my friends. That’s really fun!
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My paris T h e f i r s T T i m e I saw Paris I didn’t get it. It was the summer of 1961 and I was on my way from New York City to Leopoldville to cover the Congo. I had but one day in Paris, and the New York Times, for which I was working, had booked me into a dinky and quite charmless hotel, and no one bothered to take me around or explain the city to me. Not that I would have had much time for it: I was too caught up in the heat of my ambition, my first foreign assignment, and a war zone to boot. If anything, so recently removed from covering events in Nashville, Tennessee, I was most stunned by the sight of the city’s ladies of the night, whores walking the streets just like normal citizens—what kind of country was this? I was too ambitious, too driven by work to have any interest in a city which seemed to reflect the past; rather, I was obsessed with the present, with stories from dangerous places that would make the front page. But then, over the next year and a half when taking a break from the Congo, I would fly to Paris and begin to sense the richness of it all. My pleasure in Paris was tentative, almost embryonic at first, for I was just beginning to appreciate its contours and almost hidden pleasures, and why it was so different from the world.
In THE nEw woRLD TIME wAS of THE ESSEncE; BuT In PARIS LIfE wAS of THE ESSEncE—onE SHouLD RuSH THRougH ABSoLuTELy noTHIng, MoST PARTIcuLARLy LuncH. My pleasure in Paris was tentative, almost embryonic at first, for I was just beginning to appreciate its contours and almost hidden pleasures, and why it was so different from the world—and the cities—that I knew best. In America new was always better than old; in Paris old was always better than new. In the New World big was always better than small; in Paris there was a quiet celebration of all things small. In the New World time was of the essence; but in Paris life was of the essence—one should rush through absolutely nothing, most particularly lunch. In 1966, on my own for six months in France, I took a small apartment on the rue de Bourgogne in the Invalides. I began the day by working for two hours on a small novel about Vietnam. Then, more often than not, starting in
Paris, magazine spread layout
the late afternoon, I would walk the city. The walks became a serendipiter’s delight: for I was experimenting at all times. I did not just use the guides, Michelin and others, in my search for restaurants, most particularly bistros, but I put myself at the mercy of the city itself, going into neighborhood places, drawn as much as anything else by instinct, and almost always handsomely rewarded. I came gradually to love Paris and, I hope, to understand it as well, and to see it for what it was, a city occasionally oblivious to the present, the best of a living past skillfully midwifed into an uneasy accommodation with the 20th century. With that the deed was done. I have loved going back ever since and, above all, stumbling into neighborhoods and watching the special quality of the light as it hits familiar places at different times of the day. And so I have finally come to understand that while I am hopelessly American, accustomed to (and dependent on) the relentless pressures and fierce energies of the New World, that there are moments when I want to escape to a different place with a beauty and a beat of its own. And when that happens, when I want to disappear from who I am, and where I live, the place I think of is Paris. DAVID HALBERSTAM
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natural beauty James a. Penn
T h e Te r m “ n aT u r a l b e au Ty ” g e T s Th ro wn around of Te n e noug h that many people don’t actually know what natural beauty is. Is natural beauty a way of avoiding having to enhance one’s appearance for public presentation? Does it mean that a natural beauty only uses things made from nature? Or is a natural beauty someone who can look great no matter what? To some degree or another, the answer to all of these questions is yes. To start, natural beauty doesn’t require anything. If someone is said to have natural beauty, that person can get up in the morning and still look as though just a change in clothes ought to be enough to appear dazzling. The person in question doesn’t need to look like a super model. After all, many super models spend hours dealing with hair, clothing, makeup, and even the right way to stand for a picture or show. No. Natural beauty doesn’t necessarily have anything to do with specific body features. A little enhancement never hurts to bring forward someone’s natural radiance.
Even though natural beauty is defined as looking great without enhancement, that doesn’t mean that someone doesn’t or shouldn’t use clothing, styling, or make-up to enhance what’s already there. For most natural beauties, styling is usually much lighter than for everyone else. In the case of make-up, many natural beauties use colors that blend with the skin so well that it looks as if the extra pigment was there to begin with. Hair styles are usually simple for most days, and clothing isn’t always something from the latest fad. For many people with natural beauty, dressing is a matter of what feels good as opposed to what looks good. Ironically, someone who dresses to feel good often looks great! So what about those enhancers? Are they only made from nature? This is usually the case. Many natural products are priced beyond the capability of some people’s finances. Therefore, many people wanting natural products
get what they can at the best price and fill in the gaps as best as possible with other products. Sometimes, natural enhances are as simple as not using hair spray and sticking to shampoos that have natural extracts. A lot of people use home remedies to take care of minor problems that occur in the skin and hair. Diet and exercise are great ways of treating the appearance from within. It’s always easy to tell who feels healthy and who doesn’t based on how they present themselves, and using natural products from the inside out is a great way to feel healthy. Natural beauty is no mystery. It’s easily within everyone’s grasp, and no one has to portray themselves as hippies to achieve it. Natural beauty is more about presenting oneself in a style that suits that person individually without major fuss. Discover how to Transform Yourself Through Natural Beauty using a secret natural beauty regimen to achieve glowing skin, luxurious hair, slim your waistline, decrease unnecessary stress and let the REAL you shine through!
Natural Beaty, magazine spread layout
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BEACH WATCH There’s no place like a sunny beach for summer fun. from figi To hawaii we have The basics covered. don’T forgeT your sunscreen!
The flight back from Oaxaca seemed to take forever, but I fear it was only Judith’s disgust with me that made it seem interminable. Anyway, we got home and life returned to normal, or even better than normal, even supernormal, if there is such a word. I told Judith I was sorry about the comments I made about her parents and the Day of the Dead celebration, and she apologized for
Beach Watch, magazine spread
her brazen flirting with that good-for-nada bullfighter. Then, in an effort to cement our new-found bond, Judith enrolled us in an origami class. “Oh great, I thought, “my marriage has been reduced to folded paper.” But now that I’ve been in the class for a few weeks, I must admit that I love it. Origami is amazing and beautiful. On the evening of our first class, the instructor, a
on the crane and released it. A few days later, a lovely woman visited his house, and asked him to shelter for the night. Soon the two got married. “The bride was sweet in disposition as well as beautiful, so they lived happily. But the hunter couldn’t afford to support his new wife. One day, she said she would weave cloth for him to sell at market, but she told him never to see her weaving. “She stayed in a weaving hut for three days. When she finished weaving, she emerged with a beautiful fabric. He brought the fabric to town, where merchants were surprised and paid gold for it. The fabric was very rare and called Tsuru-no-senba-ori (thousand feathers of crane).” This story made me feel good inside. I learned to appreciate the art of origami, and I decided to read as much about its history as time allowed. The name origami was coined in 1880 for the words oru (to fold) and kami (paper). It started in the first century AD in China. (I thought it started in Japan, but Judith quickly pointed out the error in my thinking.) They say that’s when papermaking started, and with papermaking came paper folding. The Chinese developed some simple forms, some of which survive to this day. Buddhist monks brought Origami to Japan in the sixth century AD. It caught on quickly throughout the culture: paper was used in architecture and in many everyday rituals. Many of the earliest designs have been lost, since there was nothing written down about origami until 1797 with the publication of the Senbaduru Orikata (How to Fold One Thousand Cranes). The Kan no mado (Window of Midwinter), a comprehensive collection of traditional Japanese figures, was published in 1845. Origami flourished in other parts of the world, as well. Arabs brought the secrets of papermaking to North Africa, and in the eighth century AD, the Moors brought the secrets of Spain. The Moors, devoutly religious, were forbidden to create representational figures. Their paper folding was a study in geometry. After the Moors were driven out of Spain during the Inquisition (Judith gave me a look, but then softened into a smile), the Spanish developed papiroflexia, which sounds to me like some sort of inflammation of the Pope’s ligaments. Anyway, this technique is still popular in Spain and Argentina. Modern origami owes its existence to a man named Akira Yoshizawa. In the 1930’s, Yoshizawa designed thousand of models of various subjects. He is the originator of the system of lines and arrows used in modern paper folding. He exhibited his work throughout the west in the 1950’s and 1960’s and helped inspire many paper-folders in the west as well as Japan. As paper origami evolves, beautiful and very elaborate folding techniques produce such amazing models. In our class, Judith specialized in creature fish and sea creature origami. During the first two weeks of training, she produced a horseshoe crab, a goldfish, a strikingly beautiful seahorse, a so-so squid, and a lopsided clam, basing her patterns on Barbour, Andreozzi, and Robinson. Origami tessellations has grown in popularity recently, but has an extensive history.
surf lessons, ocean-side spas & plenTy of unTamed beach To explore: cali in 4 days
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Breakfast at Tiffany's Turns One Hollywood’s most beloved films, “Breakfast at Tiffany’s,” is about to celebrate its 50th anniversary. Loosely-based on the Truman Capote novella, “Breakfast At Tiffany’s” is looked at by many as having had a huge impact on movies, fashion and society at large. On “The Early Show on Saturday Morning,” New York Times Chief Film critic A.O. Scott and More magazine film critic Alison Bailes discussed that impact and how it changed the way we look at women on the big screen.
Breakfast at Tiffany’s, magazine spread
50
Directed by the late Blake Edwards, the classic centers on New York party girl Holly Golightly, played by Audrey Hepburn, as she embarks on a wild, comedic adventure to find love in the big city. Bailes observed, “What’s groundbreaking about it is, I think, the way Audrey Hepburn became associated with that role, and the dress, the little black dress, and the hat and cigarette holder. “So, really, it was iconic, rather than groundbreaking. She is playing a society girl. She’s very inventive. It’s about self-invention. It’s about the American dream.”
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...THE SWEET SIDE OF LIFE THIS SPRING LOUIS VUITTON HAILS...
To the tinkling strains of a music-box melody, Marc Jacobs unveiled his collection for Louis Vuitton on a bevy of girls sitting atop a carousel of prancing white horses—a wry comment on the current merry-go-round of fashion, perhaps, of which Jacobs himself is a focus of frenzied speculation. From the prom-queen tiaras
that crowned them to their conventional stiletto heels and handbags, vaguely evocative of the Eisenhower era, these girls were brimming with sugar and spice and all things nice—capturing the mood of ironically exaggerated femininity that has swept the runways. Chez Vuitton, this mood was embodied by the abundant use of eyelet lace forming
Louis Vuitton, magazine spread
fields of daisies. To soften the effect even more, these pieces were veiled in sugar-almondcolored organza layers (or misted with shaded ostrichfeather fronds). Skirts were as puffed as Ladurée macarons, the bouffant silhouette starting either from an Empire line just below the bust or erupting at the hip like the party dresses of a 1920s china doll.
Broderie anglaise was used for exaggerated Vandyke collars, and as insets replacing the alternate diamonds on an Argyle knit. It perforated stiff little faille skirt suits and separates made from leather treated to look like scrunched-up sheets of cartridge paper. And in a playful take on the LV logo, it was used for parasols and to
aerate clear plastic purses. Jacobs took delight in treating some classic masculine wardrobe elements to the ultrafeminine makeover— a biker jacket in powdery spring-chick yellow or babyblue crocodile perhaps, or a sweatshirt trellised in fine silver thread. The optimistic daisy motif was blown up larger still for
with multi-scaled plastic sequins that trembled on some of the prettiest short evening dresses of the season. To emphasize Jacobs’s fashionable volte-face, Kate Moss—last season’s saucy Vuitton dominatrix—was recast for spring as the ballerina on that music box in a gleaming white baby doll frock and Barbie white stilettos. - Hamish Bowles
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A Nov e l
Sugar & Spice E l l e Ry a n s
Sugar & Spice, book cover design
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S e q u a l t o t h e N EW YO R K T I M E S B E S T SE L L E R : Su g ar an d Sp i c e
Snips & Snails E l l e Ry a n s
Snips & Snails, book cover design
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I was a mistake. My mother did not want to have me. No one ever told me I was pretty when I was a little girl. All little girls should be told they are pretty.
Norma Jean, poster
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An American Dream, 5 piece poster series
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Between Theory and Practice, poster
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W A S N I E ROB
H T T A H W
RTS
3 PA N I L E V O
AN
H. ALEXANDER FULTON What the Robin Saw, book cover design
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DOLLAR ENTRY Crystal Grenade, concert poster
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Cheif, poster
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DE PRES SION
Depression, magazine spread
Although depression is often thought of a being an extreme state of sadness, there is a vast difference between clinical depression and sadness. Sadness is a part of being human -- a natural reaction to painful circumstances. All of us will experience sadness at some point in our lives. Depression, however, is a physical illness with many more symptoms than an unhappy mood. The person with clinical depression finds that there is not always a logical reason for his dark feelings. Exhortations from well-meaning friends and family for him to “snap out of it” provide only frustration, for he can no more “snap out of it” than a diabetic can will his pancreas to produce more insulin. Sadness is a transient feeling that passes as a person comes to term with his troubles. Depression can linger for weeks, months or even years. The sad person feels bad, but continues to cope with living. A person with clinical depression may feel overwhelmed and hopeless.
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Sparkle: A Memoir, book cover design
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K AY S I LV E S T E R
HER MOTHER’S SISTER Her Mother’s Sister, book cover design
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prohibition constitutes temptation Temptation, poster design
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Poppy, self-portrait collage
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THE PATERSON SUITE
With its lovely leaded glass windows, richly burnished woods and luxurious fabrics, the inside of Blantyre is exactly what you would expect upon seeing the outside of the building. In the Main House there are overstuffed chairs, fresh flowers, a light-filled music room and rooms for private dining — all designed with the comfort of our guests in mind. The heart of the house, the baronial Main Hall on the first floor, is an eclectic mix of period pieces, treasured heirlooms, and enchanting art specially assembled under owner Ann Fitzpatrick Brown's and her mother Jane's discerning eyes.
As befits accommodations named after Blantyre's original owners, Robert and Marie Louise Paterson, the Paterson Suite offers an elegance of a bygone era. Decorated in soft shades of cream and celadon green, rich damask covers the walls, the sumptuous sofa and overstuffed chairs. The unusually spacious bedroom includes an enormous, and enormously inviting, king sized four-poster bed. Nine shuttered windows keep the world out or open to a tranquil scene of lush lawns shaded by towering trees with hills on the horizon, a view you're sure to enjoy. An adjoining sitting room is the perfect place to relax with a working fireplace, a desk tucked beautifully in a bay window, a daybed and easy chairs for reading, or drifting gently off.
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NEW YEARS EVE BALL 2010
Caviar, champagne and rare fine and rare wines couple with dinner and dancing. The perfect
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The Paterson Suite has two bathrooms. The larger bath has a soaking tub, marble hand basin, dressing table and a whimsical flowered loveseat. The second bath has a walk-in shower and a lusciously flowered chandelier. Also hidden by a luscious pile of oversize towels is a white wicker commode owned by Marilyn Monroe and Joe DiMaggio.
Eight exquisite guest bedrooms and suites, many with fireplaces, all with their own unique personality, are located on the second floor.
Caviar, champagne and rare fine and rare wines couple with dinner and dancing. The perfect
beginning to a brand new year. 7 p.m. - 1 p.m. Black Tie Only
JANUARY 2011 Enroll in a Relais & Chåteaux Cooking Classe
Fine Dining
The Main House
MAIN HOUSE
Paterson Suite
About Blantyre
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© 2010 Blantyre. All rights reserved.
beginning to a brand new year. 7 p.m. - 1 p.m. Black Tie Only
JANUARY 2011 Enroll in a Relais & Chåteaux Cooking Classe
Privacy Policy
Terms and Conditions
Check Availabilty
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© 2010 Blantyre. All rights reserved.
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IZZE Sparkling Juice, web redesign
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