SOMA - August 2015 by Lawrence Ambrocio

the filM And MuSic iSSue

0 8>

jAMie XX KiKi SuKezAne the AlcheMiStS Volume 29.4

Ago ‘15

USA $3.50

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jeSS glynne She MOVeS Me the influencerS Canada $4.50

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Photo by Clinton Hussey

MEET YOUR COLOR MATCH Four Flavors Of Dry Shampoo aghair.com

The internationally acclaimed magazine of culture, fashion and the arts Publisher & Editor-in-Chief A. Ghanbarian Creative Director Timothy Petersen Art Director Managing Editor Senior Editor Associate Editors

Alberto J. Carvajal Jennifer Richardson Karena Akhavein Keila O’Leary Noelani Peters

Arts & Culture Editor Music Editor Art Intern

Debra Winter Lily Moyari Blake Piyathanapong Claire Liang

Social Media Intern Editorial Intern

Valerie Tsai Michelle Robertson`

Contributing Writers Karena Akhavein, Zee Chang, Caitlin Clarke, Jonathan Cheung, Tess Collins, Kyle Thornburg, J. Poet, Morgan K. Stern, Emilie Trice, Jennifer Richardson, Debra Winter, Katia Ganfield, Julie Albin Contributing Photographers Nigel Barker, Martin Vallin, Olivia Beasley, Kenji Toma, Sean Gelbaugh, Darian Zahedi, Sergio Kurhajec, James Russell, Mike Kobal, Peter Rosa, Mike Anderson Contributing Stylists Mark Anthony Bradley, M O S E S™, Allison St. Germain, Don Sumada Subscription Inquiries Only Send check or money order payable in USD for the exact amount to: SOMA Subscriptions, 649 Main Street, Suite 111, Martinez, California 94553, USA US Rates are $24 per year. Canada $75 USD. Europe $100 USD. Elsewhere $100 USD. Or send PayPal to argt@somamagazine.com Or in the U.S. call 800 833 0159 International/National Distribution Hudson News, Lords International, The News Group, Whole Foods One Source, SOMA Distribution Advertising/Marketing Director Ali Tabriz Tel 415 777 4585 x14 Fax 415 777 2126 Email argt@somamagazine.com

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Editorial Tel 415 777 4585 Editorial Fax 415 777 2126 General Email info@somamagazine.com Editorial Email editorial@somamagazine.com Website www.somamagazine.com SOMA Magazine Office 888 O’Farrell Street, Suite 103, San Francisco, California 94109, USA Submissions For writer guidelines, send a self-addressed stamped envelope to our Editorial Office. SOMA Magazine assumes no responsibility for unsolicited material. The opinions expressed within are the responsibility of our contributors and do not necessarily reflect those of SOMA Magazine. All rights reserved. Reproduction without permission is prohibited. All material Copyright 2006, SOMA Magazine, Inc. SOMA (ISSN 0896-5005) is published bi-monthly by SOMA Magazine, Inc. at 888 O’Farrell Street, Suite 103, San Francisco, California 94109, USA Periodicals Postage Paid at San Francisco, California and at additional mailing offices. Attention Postmaster Please send address changes to: 649 Main Street, Suite 111, Martinez, California 94553, USA © 2014 SOMA Magazine Inc.

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Contents features

fashion

The Alchemists

The Influencers Natalia Burina, Lara Eurdolian & Adriana Gascoigne

Novica

I Am Eleni

Sarrita King

She Moves Me Photography by Sergio Kurhajec

Training Day Photography by Peter Rosa

future stars

D’Clic

of fashion

AYK

street pulse

San Francisco

style

Fariba Soltani

about place

British Film Institute

hand signal

Jess Glynne

i - pose

music

California Wives

Jamie XX

La Jolla International Fashion Film Festival

film

Kiki Sukezane

urbanite

The Audacity of Jean-Charles Boisset

Salute Hollywood So what the hell does SOMA mean anyway?

Originally an ancient Indo-Persian word, representing an entity that transforms those who embrace it into ecstatic or transcendental realms. Soma eventually became a philosophical concept representative of ritual offerings, the contents of the material world, or the ‘life-force.’ The Greeks and the Romans used it to refer to the body. And of course Aldous Huxley described it as a holiday from the ordinary. We simply think of it as a magazine.

AVA I L A B L E A T L I T T L E L I F F N E R . C O M & B A R N E Y S N E W Y O R K 3

Future Stars Of Fashion

D’clic text by JOa bOhOrquez

When we talk about design with purpose we talk about D’Clic. A cutting edge Fashion Company founded by San Franciscobased, French designer and entrepreneur Martial Yapo; a former partner of the iconic wine bar “Amelié” and creative mind of D’clic. The designer developed his skills while attending architectural school in northern France during his 20’s; during this time, Martial was competing as a national athlete representing France, which allowed him to travel around the world. As being on airplanes constantly was part of his life, the designer grew a special interest in airplane buckles and belts. He then decided to transform them into staple urbanwear pieces while using them in a variety of garments that would become the beginning of D’clic. The made in USA brand makes a bold statement by using functional, durable and stylish materials. Architectural shapes come together with techniques like deconstruction of everyday objects: take a shopping bag for instance, the ingenious designer has the ability to take simple items, rip them down into parts and put them back together into sophisticated morphological designs. The beginning of this fashion brand was modeled by a basic airplane seatbelt. Simple airplane belts turned into lighter, thinner belts that have now transcended into a high-end version of leather accessories. Each leather belt is branded through metal press by hand with the numbers 76000 and 94115, indicating the zip codes of 12

Yapo’s hometown: Rouen in northern France, and San Francisco; his current city. The artisanal brand goes back to crafting while using complicated folding techniques and careful stitching to give life to contemporary statement pieces. Seeing things not for what they are but what they could be, and reflecting his architectural background, Martial is the engineer of innovative designs made with bold lines that construct asymmetric and geometric shapes with unrestrictive style. Everyday objects become art and art becomes wearable with D’clic. A conceptual brand with edgy-chic; street-style that inspires the senses through quality, texture, design and comfort. Martial works to create fashions with durable materials made with leather, nylon and traditional denim with a fresh clean cut while using traditional colors such as wood tones, wood timber tones, black and rich reds combined with the metallic colors of the buckles. Creating a harmonious combination of epic elements together into sharp modern ideas. This brand will continue to offer character in urban wear as it evolves with its exciting pieces that don’t pay attention to trends but are rather an expression of a soul. As Martial Yapo says, “A creator should not betray himself, creators should be true art, the true fruit of creation of spirit and soul”.

Future Stars of Fashion

AYK text by joa bohorquez

“Ceramics is my language” - Anna Yuh Krengel, San Francisco artist and Central Saint Martins graduate explains as she takes us through her innovative work for AYK in jewelry ceramic design. AYK Ceramics constructs its collections with detailed handcrafted designs that are a translation of relics that were once created by influential ancient power women. The “MUSE”inspired collections have stories behind them surrounded by cultural artifacts, catacombs, ceremonies in ancient rituals, gemstones in skeletons, bones, and are essentially interpretations of historical intriguing craftsmanship in relics. AYK designs statement pieces with unique personality. While making everything with natural materials such as porcelain, clay, and stoneware, Anna uses these elements based on their qualities to hold color and their ability to be used with modern glass gemstones while adding chic rose gold chains and details for a sophisticated touch. Potentiana Hammerl inspires her latest collection “Potentiana”; named after the outstanding Roman crafter who devoted her life to adorn skeletons and ribcages with precious stones while celebrating beauty, glory and the unknown. The interesting hand-carved ceramic accessories have a beautiful 14

Middle Eastern inspired color pallet, which is hand-painted and kiln fired five times, then delicately assembled with red and blue glass components. Her innovative work in ceramic design explores assumptions about the material, a perspective that produces delightful and oftentimes surprising results. Anna has chosen to design after the muses who had a powerful sense of dedication to their passions, and who were in pursuit of something greater than themselves. “These women lived life before my time; it’s so much easier to be an independent woman today, but during their lifetime it was much more of a struggle, yet they stayed true to themselves and powered through” explains Anna. “I interpret design based on the intangible, like a sound or an emotion.” Her ceramics evolve contemporarily while creating bold, and yet feminine statement pieces that become accents of art in fashion with a strong identity that represents a vision of whomever is wearing it. It’s an expression of identity of self. AYK ceramics fosters a language between people about individuality and educated forward thinking perspectives with creative progression with the adorned intricate designs are timeless accessories with unique energy and personality.

Street Pulse

Street Pulse: San Francisco text & PhotograPhy by eric Park

1. Favorite Films

2. Favorite Director 3. Favorite Musician of All Time

Lauren guerdat

Joshua Van Leader

Domenica Domiray

1. Heather, The Royal Tenenbaums and Midnight in

1. Dior and I 2. Ridley Scott 3. Frank Sinatra

1.Chocolat, Bananas 2. Woody Allen 3. Led Zeppelin,

Paris 2. Wes Anderson 3. Prince

Living Legends

Lennart Fleschhut

MiRi Park

elias harrison

1. Warrior, 99 Francs, Interstellar 2. Christopher Nolan,

1. The Science of Sleep, The Sound of Music

1. 2001 A Space Odyssey, the Good the Bad and the

Nicolas Winding Refn 3. Nicolas Jaar, City and Colour,

2. Michel Gondry 3. The Beatles

Ugly 2. Stanley Kubrick 3. Giorgio Maurader

Youth Lagoon

Street Pulse

Jongchan kim

Mireya gartland

alexander McNally

1. Knocking on Heavens Door, Nobody, No Country

1. The 400 Blows, Harold & Maude, Star Wars Original

1. Batman Trilogy, Lawless, Lord of the Rings & the

for Old Man 2. Guy Richie, Christopher Nolan, Shinkai

Trilogy 2. Wes Anderson, Stanley Kubrick, Christopher

Hobbit 2. Christopher Nolan 3. Cold Play

Makoto 3. Muse, John Legend, Daft Punk

Nolan 3. No Idea; Kpop, Childish Gambino

Marion guidicelli

Zeynep enderoglu

Fujio emura

1. Pulp Ficton, Sheitan 2. Mathieu Kasovitz

1. Wings Of Desire, Anti-Christ 2. Jean Luc Godard 3.

1. Leon the Professional, Skin I live in 2. Alejandro

3. Stevie Wonder, Bob Marley

Nina Simone, Björk

Jodorwsky 3. SBTRKT, Anything UK House

style

Fariba Soltani

Architecture of a Scarf TexT by Jennifer moulaison PhoTograPh by karolina bill

While the concept of a scarf is hardly novel in the accessories by the metamorphosis that occurs in flames, with its smoke market, nor to fashion for that matter, a scarf that draws its as a momentary canvas suspended in air. Soltani found the inspiration from interior architecture is more extraordinary. apparitions of flame, when captured by a camera, offered “My background is in architecture, hence my love for clear uncluttered, fluid movement that’s inherently bold and exudes lines and subtle choice of colors,” says Fariba Soltani of her modernity and classic style—ideally suited to what she wanted uncommon transition from a successful career in architecture to create with her scarves. The Salda, which translates from to producing original prints and textiles for her collection of Persian to mean, “Mountains,” was inspired by the study of scarves. These ensemble-emphasizing accessories offer a pleas- natural stone and reflects the variety of colors of onyx when ing juxtaposition of angular abstraction and symmetry with fluid in its original quarry state. The compositions make a series of patterns that represent natural elements like fire and stone for abstract, multi-layered geometric proportions in rich, yet muted a truly unique product. colors. Each scarf in this collection, rendered in modal blends, Soltani, (whose self-taught mother also possessed a vision is named after a mountain in Iran. for authentic pattern creation and designed handmade Persian Soltani strives to find an unconventional approach to her rugs,) originates from Isfahan, Iran but eventually made her way design. She finds herself most inspired by cultural heritage, hidto London in pursuit of her education. After attending Kingston den beauty in nature, geometric proportions and the concept of University, Soltani worked with renowned architecture firm, time, speed, and movement. And her methods, though innovaFoster & Partners as well as Fox Linton’s design office, where tive and ultra modern in style, are entirely old-school in their she cultivated a diverse range of design and project experience. creation. “I use a sketch book heavily for design developments Soltani has since successfully freelanced as an interior architect and research. I would only put into production that with which for six years, carrying out luxury residential and trade exhibi- I feel closely connected and that has a strong design quality for tions throughout the United Kingdom and beyond. From this myself.” This dedication to create innovative renderings of natuexperience she developed a strong interest in prints and patterns ral and spatially organized designs make an accessory that needs with prominent abstraction, geometry and story-telling capabili- little help from its supporting ensemble in order to make a bold, ties. This interest soon made its way into Soltani’s work where chic statement. she began to feature her own original textiles and patterns in Currently, Fariba Soltani’s work is being picked up by bouher interior designs. tiques and high-end departments stores such as Fenwick of Inevitably, captivated by the idea of transitioning her pat- Bond Street and will soon be launching in Qatar’s luxury store, terns to wearable textiles, Soltani combined her love of fashion Blue Salon. With such an obvious proficiency in generating wearable texwith her graphic interest, and experience in architecture. “For me it is very natural to print my designs on an item that I love to tiles, perhaps we can expect more garment styles to come from wear,” says Soltani. She quickly discovered silk, cashmere, and Soltani? “For the foreseeable future it is only scarves,” she says. modal to be ideal materials for hosting her distinctive motifs, “But my intention is to grow and expand. Though not something making scarves her natural choice of garment. I can say much about right now, I am currently working on some Soltani has debuted two striking scarf collections: The private commissions, developing prints for a very specific marAtrisa from autumn/winter of last year and The Salda, her most ket.” If you’re among Soltani’s growing group of admirers, you’ll recent collection for spring/summer of this year. Translating be waiting with bated breath to discover her future endeavors to, “like fire” in Persian, The Atrisa collection was inspired and it feels safe to assume they won’t disappoint. 18

About Place

British Film Institute text by Michelle robertson

The British film institute resists definition. It is a movie theatre comprised of three thwarted and an IMAX cinema. It is the home of the worlds largest film archive. It is a charity governed by Royal Charter. It is a film academy. More than anything, the BFI is a London cultural institution. It’s easy to miss the BFI South bank building, as it is engulfed by towering concrete high-rises and crowds of tourists stumbling away from Big Ben with their sights set on the Globe Theatre. Only by taking a sharp turn down an unassuming alley next door to the national theatre, towards the muddy Thames, will one discover this treasure trove of cinema. From the outside, it looks like a film studio. The front is floor-to-ceiling windows that give the passersby a glimpse into the cafe and gift shop. Passing through the automatic doors, you become immersed in the buildings studio warehouse atmosphere. Aluminum-tiled floors are accented by red velvet ropes, and posters of films old and new dot the Walls. You feel both as if you are entering a shrine of cinematic history and simultaneously participating in the creation and preservation of upcoming films. Grandiose musings aside, the BFI Southbank is simply an excellent bulwark against the tourist crowds that stampede across Southwark. 20

Growing up in the suburbs of San Francisco, my local movie theatre played all the blockbusters, delivered with a side of creaky seats and gum-stained floors. If I had a cinema like the BFI in my neighborhood, I no doubt would have grown up with a greater knowledgeof and appreciation for the cinematic arts. This isn’t a place you come to sit in the back and make out with your date, this is a place where cinephiles can feed their appetites for the great films of old and the up-and-coming films of the day. At the BFI, grannies seeking a matinee ticket special rub elbows with bearded hipster film snobs catching the latest David Lynch and suited businessmen grabbing a cocktail at happy hour. Whether they come for the movies or the calming modernist architecture, the BFI Southbank is undoubtedly a local meeting place, buzzing with activity even on the Thursday afternoon that I visited. Perhaps the BFI resists definition because it has such widespread appeal to an audience as diverse as the films it shows. Don’t come to the BFI expecting to zone out to a superhero movie as you scarf down a bucket of popcorn, (they actually don’t even sell popcorn.) Come to the BFI to remember what a trip to the cinema was back in the old days: a temporary refuge from reality and an immersion in the fantastic.

Hand Signals

Jess Glynne text by kennetH Scrudato

Since the death of Amy Winehouse in 2011, the entertainment press, especially in Britain, has been in a perpetual search to crown her “successor.” Jess Glynne actually came up through the UK dance scene, providing exuberant vocals for chart topping hits by Clean Bandit and Route 94 in 2014. Her debut solo album, I Cry When I Laugh, is scheduled for Stateside release this September. While “Don’t Be So Hard On Yourself ” taps familiar dance culture influences, other tracks like “Take Me Home” and “Gave Me Something” mark her out as a formidable neo-soul talent. You’ve already had two # 1 hits in the UK (including “Rather Be” with Clean Bandit) – did that put a lot of pressure on you when making your debut album? When making the album I just wanted to be creative and enjoy it. So I tried not to put too much pressure on myself. The album is titled I Cry When I Laugh. Is that true? It’s very true, I always cry when I laugh, no matter what! Who are some of your biggest influences? Amy Winehouse and Lauryn Hill were two of my most significant influences when it came to writing and creating melodies. They both inspired me to write about life. 22

You had surgery on your vocal chords earlier this year. Can you say what happened? Yes, I had a polyp. And that was affecting my talking and singing massively. The US doesn’t always take to UK dance music. Do you have any expectations for your 2015 American tour dates later this year? You know what…my album isn’t a dance album, it’s full on soul and funk and good pop. And I am just so excited to jump on stage and have fun over here! You guys are such great audiences and I’m sure it’s going to be really exciting. If you could describe Jess Glynne in three words, what would they be? Humorous, loving and controlling. You were turned down for The X Factor when you were 15. Does your success feel like a bit of sweet vindication? I don’t think it does, to be really honest. I walked away from The X Factor producers, as it didn’t feel right, and it wasn’t the road I wanted to take. I’m so glad I made that decision.

A free thinker, but has some difficulty

She is very very good at getting her way.

expressing exactly what she means. Her

Because of her external appearance of

thoughts can be so far out the box that she

fragility, people will want to help her.

can have trouble telling others about them in

Because

a way that they can understand what she is

choose and steer the direction of the

talking about. This causes a certain amount

help she accepts.

her

iron

will,

she

Delicate on the outside, but is steel on the inside, a true iron butterfly wearing velvet gloves.

can A collector of many things, especially the

of loneliness throughout her youth.

unusual and the fragile.She likes things that have histories and tell stories to her. She spends time touching them, enjoying them and listening to their stores.She collects fragile people too – they trust her because of the combination of delicacy and strength.

This is someone who reaches for worlds beyond the mundane. A strong dreamer, who dreams further afield than most people. There is a certain delicacy of touch shown here in this hand. This person respects the inherent integrity of both objects and people and takes care not to

damage them or displace them.

5 11

She has a tendency to fall in love with odd people. It will not be until later in her life that she learns how to tell the difference between the kind of oddness that is interestesting and suits

her and the just out and out peculiar ones

3 4

9 7

She will find her tribe eventually, but not in the place and culture she is now. She will have to

Has quite a temper. Do NOT take her

step outside of her own culture in order to find

stuff. Do NOT mess with her stuff. Do

like-minded souls.

NOT even breathe on her stuff without permission or she will go ballistic!

She has not yet come in to her peak of power. She

There is a strong trauma here. She appears to be

Her body is much more delicate than

will be a force to recon with when she reaches

in the middle of it now, trying to find her place in

her mind. She really needs to pay more

her prime ad figures out the best way to

the world, in society and in subcultures. Nothing

attention to her physical health than

personify her strength and beauty.

quite fits because she is more ahead of her times

she is currently doing or it’ll catch

while young than others around her. The pain

up with her. Her mind has far more

comes from not yet being to find her people,

stamina and can keep running longer

her tribe.

than her body, so she needs to consciously stop and rest.

Ipose/I-pose

love

pose PhotograPhy by

Joseph CultiCe

Styling Devon

rodgers Linak Hair StyliSt Christina robertson Make-Up artiSt Satya

Model Taylor Mack Crommie Posing as David Bowie Occupation: Musician Stylist’s own jacket and neck tie Artelier peral earing as pin

Model Kate Boyer Posing as Angie Bowie 70’s glam Occupation: Actress / Stunt Blq Jacket Sabo Skirt top Boyajian necklace

Model Daniel Norman Posing as Jean Michel Basquiat Occupation: Musician Models own jacket, shirt, tie and jeans Haati Cha necklace

Model Jacob Rushing Poses as Tom Waits Occupation: Photographer Matiere Shirt Levis Jacket and Jeans Model’s own handkerchief

Model Sundra Oakley Posing as Tomb Raider (Laura Croft) Occupation: Actress American Apparel top Elizabeth and James jeans Stylist’s own belt

Model Koyo Kim Posing as Little Dragon Girl Occupation: Violinist / Artist One Teaspoon dress Nadia Gabriella cuffs Lijin shoes `

Model Satya Linak Posing as Jessica Rabbit Occupation: Make Up Artist Mason Lejaby bra Model’s own jacket G-star jeans

Model Koi Saelee Poses as Michelle Rodriguez Occupation: Aerospace Engineer Lijin top Adriano Goldschmed jeans Model’s own shoes Stylist’s own braclet

Model Cristina Dunlap Posing as Steve Nicks Occupation: Director/Photographer Nines bodysuit Fete pants Sabo Skirt shawl jacket Amarilo ring Lily White head chain

Model Nomi Star Cultice Poses as Robert Smith Occupation: Minecraft Artist Target shirt

Model Katsura Ogawa Posing as Ryan Goslin Occupation: Executive Assistant Fete pants Model’s own t-shirt, her boyfriend made it for her XOXO

Model Anna Kennedy Poses as Audrey Hepburn Occupation: Actress / Astrologist Model’s own dress Will Know Monday crown Artelier earrings

Feature

The Alchemists Michael Canale text by Karena Gupton aKhavein

Who doesn’t believe in the transformational power of good hair and makeup? In Hollywood, this idea is taken up a notch: beauty professionals are true magicians, who hold the power to contribute to a star’s mystique. They become celebrities’ best friends and confidants and are elevated to the position of legends in their own right. SOMA catches up with Michael Canale and Ida Gal-Csiszar, two veteran industry insiders in Los Angeles who have perfected the science of beauty. Michael canale What do Jennifer Aniston, Shakira, Penelope Cruz, and Heidi The one constant in Aniston’s hair, which is a testament Klum have in common? They entrust their enviable heads of to Canale’s talent, is the appearance of health and shine, and hair to Michael Canale. The go-to colorist for a long roster of the fact that the color is always natural, never brassy or dull. celebrities has been working in Hollywood for thirty years. He Aniston’s trademark shade, a caramel tone that oscillates believes that a large part of his success stems from the fact that, between brown and blonde, also known as “bronde,” may look unlike some colorists, who take a more loose, artistic approach artless, but it is actually quite challenging to achieve. Canale to mixing and applying hair color, Canale prides himself on explains that it helps that he specializes in corrective color, excel“being conscious and organized.” Indeed, Canale is a scientist ling at “a technique specially designed to lighten or darken hair by training and appears to remain one at heart. Starting off his without producing warm tones.” Also, the perfectionist insists trajectory as an engineer, he eventually changed course: “Due on using foils, never balayage, as the result is more precise and to the layoffs in engineering in the late 70’s, I decided to refo- more subtle, easier on the hair, and infinitely more consistent. cus,” he explains. A chance meeting with “a girl who worked at With Aniston, he will often highlight more heavily along the part John Peter Salon” introduced Canale to what would become his and around the face while leaving other sections darker, but only passion: “the technical side of the industry and the chemicals.” slightly so: no ombré or visible roots here. Again, “natural” is Though the earliest years of this new career were spent partly the key word: despite the Hollywood stereotype of extremely on New Wave music video sets, and on creating the extreme blonde starlets who must eventually resort to extensions due to looks that went with that genre, meeting glamorous yet natural the breakage brought on by bleach abuse, Canale favors a less stars such as Farrah Fawcett and Morgan Fairchild marked the harsh look that brings out a woman’s beauty while respecting beginning of Canale’s preoccupation with maintaining healthy the integrity of the hair, gradually blending in subtle highlights strands and his focus on preserving the integrity of the hair. and avoiding all over color whenever possible. Many of Canale’s Talented as he is in his own right, Canale thrives on working clients, inspired by the beach lifestyle, are interested in pursuing with others. As he quips, “teamwork makes the dream work!” a naturally sun-lightened look, and according to the colorist, this He regularly partners with stylists such as Byron Williams and can be achieved with minimal chemical bleaching, harnessing Enzo Angileri, but legendary haircutter Chris McMillan, who has the sun’s rays to naturally lighten ends without excess oxidation worked on some of the industry’s biggest stars, and with whom or breakage. Canale once owned a salon in celebrity-heavy Malibu, may well Though he is a seasoned globetrotter, with frequent travel be his favorite collaborator. “I love working with Chris McMillan- between clients in Paris, London, and Gstaad, and maintains he makes the most beautiful haircuts, and allows me to enhance a monthly schedule that regularly sees him rushing between them. I’m sure he feels the same way.” McMillan and Canale New York, Washington DC, and San Diego, copious amounts have collaborated for twenty years on the holder of the most of sunshine, and the celebrities for whom his services are in consistently admired head of hair in Hollywood: the aforemen- high demand, ensure that Canale’s base remains firmly in Los tioned Jennifer Aniston, she of the most preternaturally perfect Angeles, between his flagship salon in Beverly Hills and a freshly tresses in the business. Since co-creating the infamous “Rachel” opened new space in Pacific Palisades. “Hollywood is the most style, a layered cut enhanced by face-framing and illuminating iconic location in the world for a hairstylist or a hair colorist,” streaks, the duo has continued to take Aniston through several he enthuses. permutations of the signature look, keeping it current via changing lengths and subtle variations in shade. 38

Feature

The Alchemists Ida Gal-Csiszar text by Karena Gupton aKhavein photoGraph by brittany jurGaitis

It’s no surprise that Ida might need a little help: in addition You know you’ve made it in the beauty business when Hollywood makeup legend Max Factor asks you to personally blend his to keeping the factory running smoothly in its day-to-day operawife’s signature lipstick, a creamy formulation in a very specific tions, the scientific visionary is “always busy working on new shade of orange-red. Yet for Ida Gal- Csiszar, that was merely the formulas. I give the idea to the chemists, which sometimes they beginning of her amazing adventure in cosmetics. The charm- can’t deliver.” Not to mention, the ever-active Ida, who keeps a ingly accented Hungarian émigré adds to an impressive list of notebook by her bed in order to jot down the cosmetics ideas that Eastern European cosmetics professionals such as Factor, Estee regularly strike at 2 a.m., is also hard at work on a memoir. Enter Lauder, and Helena Rubinstein, who have shaped the industry. Hillary Clark, the well-connected and well-informed celebrity “The difference is, they came with loads of money. I arrived in makeup artist who is helping Ida to develop and launch her pasAmerica with an empty suitcase,” she laughs. Landing first in sion project: the high-quality, luxurious line, which will be called New Jersey, Gal-Csiszar started out at Johnson & Johnson. Her Gallany Cosmetics. “Hillary is an asset, I love that girl,” says Ida. ambition and dreams of colors and creativity soon called her out Clark is in charge, among other things, of tweaking colors, of West. She vividly recalls her arrival in LA, in 1973. “I was starv- naming them, of looking at packaging, of filming video content, ing to do what I loved to do. When I walked into Max Factor I and overseeing photo shoots. One of her favorite parts of her job, felt I was in heaven.” She was hired on the spot, and eventually though, is that she gets to spend a lot of time watching and learnbecame the head of research and development. “Max Factor was ing from Ida in the lab: “It’s like watching a magician,” says Clark. the biggest schooling I could have. I learned a lot of things. It’s “We are so desensitized to the complexity and science behind hard to explain that feeling when you love something so much. beauty, it’s just breathtaking to watch it come together. For me, They had to chase me out of there every night. Back then there it’s like watching Creation at the hand of a Master Creator- which were only several colors used (…) I was always pushing the enve- Ida is in the lab.” lope. I was too modern. I wanted to show them that there are Clark underlines the major advantage of having a full lab and other colors out there, new formulas, new packaging. I wanted factory at one’s direct disposal: there is significantly less turnto express my personality.” around time and expense when creating samples, which allows Ida soon graduated to her own factory, launching her busi- drastically increased creative freedom. Also, with Ida’s long ness, Classic Cosmetics, in 1988. The company has formulated history in the business comes priceless expertise: “Sometimes products and fulfilled orders for lines such as Tom Ford, Stila, samples will come out differently than expected, but Ida can tell and Smashbox, which incidentally was created by Max Factor’s just by looking at a formulation what’s happened: whether it’s grandsons, who largely credit Ida for their success. But Gal- been overheated, or mixed differently.” Ida’s extraordinary life and unique style are also the inspiraCsiszar’s passion couldn’t be fueled merely by making products for others. “I made so many other companies billionaires, and I tion behind many of the products: Though she has always loved thought, why not me? I want to put my name out there and prove to push the envelope when she concocts cosmetics, Ida’s sigthat I can make my line as successful as other ones I launched.” nature daily makeup is a glamorously classic constant: she has Gal- Csiszar initially tried to embark on her project 10 years ago, always favored a pure red on both her lips and nails. In fact, “Ida but it wasn’t the right time. Now, says Ida, “this is it. I still have Red” is slated to be one of the offerings in the Gallany lipstick time and hope. We have everything in house, and I now have line. Also in the works, hopefully, is that custom shade Ida mixed the help I need.” for Mrs. Factor. 40

Feature

The Influencers Adriana Gascoigne TexT and PhoTograPh by Kyle Thornburg PhoTograPh by Ziv gillaT

Adriana Gascoigne, 38, sees the innovation in technology. It’s a type of innovation not limited to her roles in technology, which have spanned both global brands and start-up spaces. Wishing to further the visibility of women in the technology industry, Adriana founded the non-profit organization, Girls in Tech, in 2007. Established with the mission to empower women with professional aspirations in technology, Girls in Tech mentors women across 47 international chapters with Adriana at the headquarters’ helm in San Francisco. Your professional timeline has led you through an assortment of titles as well as offices around the world. What has been the unifying element or passion in your career? There are a few things, but one thing I’m most definitely grateful for is the exposure and impact I’ve had through international relations with people all across the globe. I’ve been fortunate enough to explore my creativity and apply all of my skills and talents through building my company, mentorship activities within my organization, and program development—all of which I’m passionate about. One of the components of Girls in Tech is identifying which areas of science, technology, engineering, and math (STEM) are most appealing to young women. Which areas of STEM enabled you to envision a career for yourself in technology as a young woman? I’d say I primarily fall on the tech side. The design and illustration coupled with product development and product marketing have all played a role in how I have been able to envision my career as a young woman. What falls into an overarching category in all of this, I would say, is the psychology behind user behaviors, which is a general asset that I’ve been able to improve on as I’ve strengthened my career Can you remember an event or phenomenon that showed you your idea for Girls in Tech had a valuable place in modern society? There are a couple of instances that stand out for me. One of which is when 200 women in the tech industry came out of the woodwork for our first event in San Francisco. Another memorable instance was when I received a letter from a young high 42

school girl, saying “thank goodness for Girls in Tech,” stating it changed her, “life, schooling, future career, and livelihood.” What type of support or foresight does Girls in Tech offer that you might have benefitted from during the start of your own career? I wish I had access to 90 percent of what I’m building when I was starting my own career! We offer some amazing resources under pillars in education, mentorship, professional growth opportunities, and team building. The diverse programs offered by Girls in Tech cover everything from social learning to tech lab workshops. In what way would you like to grow the curriculum or influence of your organization in the future? I would like to continue to focus on the five trademark programs which we’ve created: Catalyst Conference, Lady Pitch Night, Bootcamps, Hackathons, XChange. I would also like to develop a platform to showcase female entrepreneurs and their products. Eventually, it would be great to build a Girls in Tech Fund to help fund women-run start-ups What products, interactions or realizations from your work with Girls in Tech that have surprised you most? It’s always great to see how women everywhere are hungry to learn, grow, and share stories. You learn how similar all women are when you take away the layers, and we are pretty strong, focused, and driven! What humbles me the most is that a lot of people have heard of Girls in Tech, love the concept, and want to help us. I find that all I have to do is ask for the help! Who are the women who have had the most formative impacts on your life—professionally and personally? My mom, who has amazing values consisting of fortitude, integrity, and resourcefulness. My best friend, who’s an Engineer at Tesla. Her work ethic and passion are unmatched. Aung San Suu Kyi, because she’s a fearless and selfless leader! Two mentors during my college internships. They were Latina women who always looked after me and genuinely wanted me to succeed. I loved that they challenged my thinking and held me accountable. This taught me the concept of “no excuses in the workplace.”

Feature

The Influencers Natalia Burina TexT by Kyle Thornburg PhoTograPhy by Coriander STaSi

For Natalia Burina, software engineering errs on the side of charisma. As a young entrepreneur, Natalia’s upbringing was rich with her Yugoslavian heritage and an obvious diligence, which influenced her to study applied math and computer science at the University of Washington. It was from this foundation that Natalia worked for powerhouses such as eBay and Microsoft, where she built consumer products used by millions of users. With newfound roots in San Francisco, Natalia co-founded Parable, a photo-networking app fusing users’ thoughts, emotion, and images as one. Your parents influenced your foray into computer science after immigrating to the United States, but you also have many liberal arts passions. Was it always clear you’d intertwine these interests in your career? Not at all! Early on in my career I worked as a software engineer. The job was highly technical and required a great degree of specialization. A successful consumer product inspires strong emotions in its users. I find that studying examples of good design, psychology, architecture, and art is a great guide for building successful products. I have always been a voracious reader and loved to write. Language is a powerful tool that fascinates me. As someone who speaks three languages, I recognize how language shapes our experience of the world. For startup founders, the skill to communicate and write well is essential. A well-crafted email can change the fate of a business. Great founders communicate effectively with users, press, and investors.

Describe the experience of releasing an app like Parable, into an industry comprised of your colleagues, consumers, and critiques. Building Parable has been an incredible adventure! A short time after we launched, Apple featured Parable on the App Store. It meant a lot to us that they liked our design. Parable also garnered acquisition interest from Facebook and Pinterest. At one point we had so much traffic that we reached capacity with our email servers. The greatest reward is seeing endearing and creative posts from our users. Many love it because it is an opportunity to interact with people from all corners of the globe. In what ways does Parable enable you differently as a professional than in your past? As a startup founder I took on roles that were new to me. I learned how to market, and work with users, partners and press. I love the breadth of work with Parable. The best part is the freedom to define and build something new. How do you maintain momentum working in such a competitive industry? I enjoy tackling hard problems. However, to gain and maintain momentum you have to surround yourself with smart people. A great team will challenge and push you. When everyone on the team has high standards, you don’t have to worry about momentum.

Do you have a life philosophy? I believe in simplicity. My favorite quote is attributed to da Vinci, What part did your professional history play in your culti- “Simplicity is the ultimate sophistication.” It also captures my vation of Parable in 2014? approach to product development. . My career has been dedicated to building software products from the very beginning. I have worked in almost all roles Who are the women who inspire you most? My mother and grandmother, I owe my success to them. Both in the industry. In 2012 my co-founder and I built an app called Flockish. faced enormous obstacles with dignity. My mother re-built a StubHub! thought it was interesting and acquired it. At eBay I successful career as a software engineer at Microsoft after we learned that high quality images have the power to drive a busi- immigrated to the United States. My grandmother came from ness. This year alone the world will create more photos than a simple peasant background and witnessed multiple wars. ever. With Parable, we applied the skills we learned in building She stressed education and forged an independent path for Flockish and set out to take advantage of the visual web. herself. They taught me to persist and manage difficult situations with grace. 44

Feature

The Influencers Lara Eurdolian TexT by Kyle Thornburg PhoTograPhy by James King

Lara Eurdolian, 31, navigates the blogosphere with a stylesavvy compass. With a background that integrates branding and beauty, Lara launched her career in marketing with NARS and Jurlique, after graduating from the Fashion Institute of Technology. She went on become a brand consultant for entities like Kiehl’s, Skyn Iceland, and Avon. All the while, she amassed an outlook of her own. This point-of-view came to fruition in 2009 when Lara started the beauty and lifestyle blog, Pretty Connected, and again in 2014 when she founded In His Clothes, a blog that examines the influence of menswear in women’s style. Lara’s blogging and branding presence has led her to partner with the likes of COVERGIRL, Aveeno, and Essie, and to catalogue culture along the way. At the start of your career, as a consultant and social media strategist, what was most important to you? Staying current, creating meaningful (original) content and getting results. We transitioned so quickly from a print to digital world where suddenly we could track influence and results in a completely new way. The rise of social media was this exciting time where you could try different things and get to know your audience in a way that wasn’t possible before. How did you find a marriage between your own perspective and the perspective that would become Pretty Connected? They are very intertwined in that the blog is all about sharing products and experiences that I’m excited about and feel will benefit my readers. If the content I’m putting out has no value to my audience or is off subject, then it doesn’t warrant being on the site. How do you ensure that you are remaining inspired from blog post to blog post, project to project? My site is more of a lifestyle than a job, so I have to love it or something has to change. It is a highly personal thing and it’s not easy, but at the end of the day I’m very fortunate to have so many relationships with brands and to have the control to create content that continues to excite. You can’t do it all (that’s a lesson we all learn at some point) but if you don’t constantly evaluate your content and opportunities then you’ll never grow. You can’t be afraid to evolve and find creative ways to partner with brands as well as try new things that keeps things fresh. 46

In His Clothes stands on a different fashion platform than Pretty Connected. Describe what that’s like for you. Pretty Connected’s main focus is beauty, but there is a strong lifestyle component that spans fashion, travel, and home. It doesn’t have rules as much as a curation of things I enjoy and think my readers would be interested in. In His Clothes has a very specific concept without a lot of gray area. It’s all about borrowing from the boys and then adding a feminine twist; Converse with dresses, motorcycle jackets with heels. The Instagram handle for the account @ inhisclothes is particularly fun since we’re constantly featuring different women and how they interpret trends, whereas @prettyconnected is more focused around new product launches and my style posts. What characteristics help you to identify a brand that you would like to partner with? I generally go for products and brands I use and get excited to talk about. A partnership is two sided and I only want my name associated with brands and products that I love and use. It just has to make sense for my brand and otherwise I try not to put limitations and just be open to how I can creatively partner with brands. I have a strong marketing background so it’s easy to pick out when something feels forced or off brand. If you weren’t a blogger and brand ambassador, what do you think you would do for a profession? I would have stayed on track with my marketing career and continued to work in beauty. It’s an industry that has always been very good to me and one I enjoy. Who are the women who have had the most formative impacts on your life—professionally and personally? It’s actually been mostly men that have had the biggest influence on my career. The former head of creative at NARS, Todd Smith taught me a lot about branding and not cutting corners to make something beautiful. My former colleague at both Jurlique and Kiehl’s, Jeremy Goldman, was incredibly influential in pushing me to make the leap from traditional marketing to digital. And my boyfriend and partner in the blog, James King who’s from the digital advertising world gave me the confidence to go a consulting route and pushes me to grow and create everyday

Feature

NOVICA

Gives Global Artists a Voice TexT by eLLeN georgiou PhoTograPhy courTesy oF Novica

Roberto Milk, Co-Founder and CEO of NOVICA, says the Since co-founding the company, Roberto has received many “Ah-ha” moment came while in a Portuguese class at Stanford awards and honors for NOVICA, including being chosen as a University. The professor was explaining to the class how dif- Young Global Leader by the World Economic Forum and being ficult it was for traditional Brazilian artists to make a living off recognized by the Schwab Foundation as a Social Entrepreneur their craft and Roberto says this just didn’t sound right. He knew of the Year. there had to be a way. Today NOVICA stands as a model for social entrepreneurism. After graduating Roberto went on to work as an investment It partners with National Geographic, UNICEF, Grassroots banker but says the idea of giving artisans around the world a Business Fund, the online lending nonprofit KIVA, and its misglobal platform stayed with him. sion of empowering, connecting, preserving has been cemented “I knew there was a way to empower artists in developing coun- by a new ethos: Global Happiness. tries, connect them with the rest of the world and also help “Who wants to make art for middlemen?” says Milk. preserve local traditions and craftsmanship,” says Milk. “They have all the control, they negotiate down prices, they want “It was the Internet that really gave life to this vision as it gave cheap materials, they water down designs, and they crush creaccess to unique art by master artisans in remote areas around ativity. Does that sound like fun?” the world.” It may not be fun but it’s the dominant system for selling artisans In 1999, NOVICA was born in a Los Angeles basement (www. work worldwide and one Milk decided to change. novica.com). It is an e-commerce site that allows artisans In the NOVICA system artisans set their prices, tell their stoaround the world to set their prices and sell their art directly to ries, and earn real-world recognition for their artwork. This way consumers. This includes jewelry, art, ceramics, clothing and they generate a lot more income and are also a lot happier in home furnishings. NOVICA provides detailed information and the process. bios on each artisan and cuts out the middleman to establish “We are channeling that happiness. Spreading it through artia direct global connection that supports entrepreneurs and san communities and into collectors’ homes worldwide. From small business in Peru, Brazil, Central America, Mexico, India, a buyer perspective, it is a lot more interesting to know who they Thailand, Bali, and West Africa. are buying from and feel the attachment and positive energy In the past 16 years, NOVICA has given back almost $65 million from the hands that created it. This way, we’re not just selling dollars to artisans worldwide and provided quality, one-of-a- art, we’re spreading happiness.” kind handmade art to consumers in the US. The company also developed a Microfinance Program to supply artists with working capital to grow their businesses. 48

Awudu Saaed West Africa “My dream is to further my education and expand my workshop to be able to train more people.” As a child Awudu would hang out at a friend’s house whose parents had a workshop making woodcarvings. He would love to see them working and it wasn’t long before he was given a piece of sandpaper to finish off the items. His mother was bringing up six children alone and Awudu had to drop out of school to help

support the family. He found employment in the workshop and managed to save money to buy basic tools to design and carve his own masks. He had to travel long, often-treacherous routes to Senegal, Mali and Dakar to sell his work at fairs but says it was worth it. “I was determined to take care of my siblings. The long travel paid off, my work was selling well, and I was able to put my siblings through school. This inspired me to bare all the risks of traveling.” Now with NOVICA, Awudu has his own workshop with three apprentices and has exhibited his work at Ghana’s Trade Fair. 49

Feature

I Am Eleni TexT by eLLeN georgiou

Australian artist Helen Andronis Ibrahim – who uses her Greek name, Eleni, to sign her art – travels among Indigenous people in Australia and the Native American Hopi in Arizona to pursue an art that is a reflection of what it means to be connected to this earth and also a narrative of her personal journey. Ibrahim says she has always had a connection to all Indigenous cultures especially when she’s painting. In 2011 she painted an iconic image of an Aboriginal Elder who died in May 2015. His first name cannot be mentioned or written down during the mourning period as Aboriginal tradition dictates that a dead person’s name cannot be said as this would recall or disturb their spirit. Ibrahim refers to him as “Uncle” and, while many cannot say his name, her extraordinary portrait, which she named “I AM”, captures a voice and spirit that cannot be silenced. Soil, bark, feathers, sticks, charcoal, and acrylic paint are mixed together to compliment the balance of earth tones and vibrant hues. Between the 1800s and 1970, many Indigenous children in Australia were forcibly removed from their families as a result of various government policies -- most of them based on the ideology of assimilation. They became known as the Stolen Generations. These actions left a legacy of trauma and loss that continues to affect Indigenous communities and individuals today. The subject of “I AM” was one of those children. Ibrahim’s earth-to-canvas technique captures the voice of Australia’s Stolen Generation, none more than “I AM.” The portrait has been celebrated by galleries in Australia and New York and the SeeMe Gallery in New York selected it to mask an entire 25-storey building in the middle of Times Square for eight weeks. Helen Andronis Ibrahim talks to SOMA about her art and creative goal: Who is “Uncle”? Uncle was a teacher and leader for Indigenous land rights, education, community development and cultural awareness. He 50

was a bridge between cultures and world nations, creating an understanding so Indigenous and non-Indigenous people can live and learn together, heal the past through shared experience in the present. How did you first meet him? It was at one of his documentary gatherings. I felt this deep connection and closeness to his words, his kindness, and the love he had for his land, culture and humanity. He was truly one of the most incredible and gentle human beings I have ever met in my life. How is your art close to Aboriginal art? My work is not Indigenous Art. It’s my style of art. It’s what comes from my heart. My work represents the connection I have to the land and all of its beauty. And that’s what I love about Indigenous cultures. I feel that connection and paint it on canvas the best way I know. What did Uncle think of the painting? He absolutely loved it. What can you tell readers about the true significance of the Aboriginal people and why it’s important to keep their voices alive? It’s so important to keep their voices alive along with all Indigenous tribes on the planet. My creative goal is to bring Indigenous energy into our lives the best way I know how. I wish to continue that process throughout my work, which will hopefully enable our community to appreciate Indigenous culture and heritage all over the world. For many years that knowledge has been neglected. I am an artist and I paint what is true to my soul.

Feature

Sarrita King

A Fusion of Past, Present and Future TexT by eLLeN georgiou PhoTograPh by saviLLe cobLe

Sarrita King is an exciting second-generation Aboriginal artist who brilliantly fuses the past, present and future of her culture through her painting. She was born into an accomplished family of artists. Her older sister is noted artist Tarisse King and her father is the late William King Jungala who is a highly collected Aboriginal artist. King’s ancestors are from the Gurindji tribe from the Northern Territory who became noted for their courage when 200 of them walked off their jobs as stockmen and servants at Wave Hill Cattle Station in 1966. The Gurindji Strike, as it became known, led to a landmark case which paved the way for more land rights claims by Aborigines. In 1975 the tribe was granted freehold title to almost all of Wave Hill Cattle Station, their tribal land. It is this strong sense of self and pride that Sarrita embodies and it is the connection to her tribal land fuels her drive to paint. Sarrita spent most of her youth growing up in Darwin in the Northern Territory and the inspiration for her art in without doubt the amazing environment she grew up in, not far from where her ancestors lived. She felt a strong connection to her Aboriginality and her love of the land was nurtured. The extreme weather and the landscape provided her with thematic tools to explore in her art. Rolling sand hills, scorching heat, strong lightning, big storms, and arid desert are all scathing environmental factors that shaped her forefather’s lives and also her own. She creates fantastic energy on the canvas but there is also a strong rhythm in all her work that is determined and controlled. Stylistically, she utilizes traditional Aboriginal techniques such as ‘dotting’ but also incorporates unorthodox techniques inherited from her late father, as well as her own distinctive style. She represents the next generation of artists who have been influenced by both their indigenous history, and current Western upbringing. What are your goals as an artist? My goal is to share the story. Many of my artworks are my father’s stories and inspiration. He was so passionate about sharing them with the world. Since his passing I strive every day to put more 52

artworks out in the world for people to share the stories with their friends and family and continue my father’s legacy. My goal is also to raise the recognition of younger artists who are bridging their aboriginal culture and the new world we now live in through art. Do you recall the first time you held a paintbrush? I actually can’t remember starting to paint. Being an artist was something I did not set out to do, but I loved to spend time with my father in his studio. His passion for his creations was contagious and I soon found myself engulfed and overcome by the same passion. I sometimes see some of my early artworks in people’s homes or collections and it brings back memories of painting side-by-side with my father and sister. They hold a very special place in my heart. What do you ‘carry’ from your Aboriginal DNA? Pride. I have been enriched by my Aboriginality through my connection to the land and to people.. I am proud of my heritage from both sides of my family. I am lucky to have the benefits of both Aboriginal and Western worlds, I choose to express the beauty of my culture and my landscape and share it will all those seeking connection. How do you describe your style of painting? My style is my own. I use my father’s teaching of layering and texture to create depth in a piece. He was always intrigued by the micro/macro of a work and being able to appreciate the artwork as a whole while also appreciating the small details that create the artwork. I love to use different colors and reflect on the movement of the natural world. What inspires you more than anything? I am constantly inspired by the world around me. That is why it is so important for me to be out looking at and enjoying the country and the beautiful landscapes of Australia. Darwin, my hometown, is a constant source of inspiration with its mix of different people, the lush tropics, and the diverse weather. There is nothing better than being home.

She Moves Me Sergio Kurhajec Don Sumada

Photography Styling

Five women are stealing the editorial stage at SOMA. One is an entrepreneur, another is an anti-fashionista, there’s a Beyonce-producer, an internationally hailed vocalist, and dance-punk band leader. Together, they cover impressive ground—and they all have something in common: they are powerhouse rock stars and role models.

Alexis Krauss, lead singer of Sleigh Bells

Valentino dress

The Blonds bodysuit

Samantha Urbani, singer, songwriter

Georgine gown

Gucci dress

Caroline Polachek, lead singer of Chairlift

Issey Miyake jacket

Isabel Marant sweater

Kelly Zutrau, lead singer of Wet

Michael Kors dress

Georgine coat

Tamaryn, vocalist

Hair by Alberto Guzman for Bumble & Bumble at Ray Brown Pro Makeup by Stephanie Peterson at Art Department Special thanks to Dune Studios

The Blonds top and leggings

Training Day Peter Rosa Gemma Slack

Photography Styling

Nike jacket Chromat top Monreal London skirt Nike sneakers

Chromat jacket Daniella Kallmeyer dress

Vince jumpsuit Eres bra Michi jacket Everlast gloves Alexander Wang shoes

Koreswim swimsuit Reebok shorts Nike sneakers

Armani jacket Reebok bra Adidas pants Nike shoes Garvey bag

Michi bodysuit Monreal London jacket Gore-Tex sleeves

Michi bra American Apparel shorts Nixon watch Makeup by Stefanie Willmann Hair by Andreas Schonagel Model: Vlada Saulchenkova at IMG

Koreswim swimsuit Xinnatex pants Falke socks VPL shoes Monreal London jacket

Music

California Wives text by NoelaNi Piters

The band California Wives may hail from Chicago, but there is no doubt that a golden state-of-mind exists within their music. Art History, their 2012 debut album, brims with new wave vibes of buoyant synth and lilting melodies. This time around, their latest EP, Heavy—released on vinyl July 23rd—hits home with a new marriage of substantial guitar riffs and meditative lyrics. The two records focus on the throes of youth and the self-questioning that accompanies adulthood. Lead vocalist and keyboardist Jayson Kramer left a potential medical career in 2009 to pursue music professionally, so it’s no wonder his muse dwells in that period of extreme change and possibility. California Wives comprises Kramer, guitarist Graham Masell, and drummer Joe O’Connor. Kramer has been busy these last few years—amidst the EP, he has started the label HOMHOMHOM Records with some high school buddies, and is soon hitting the studio to record the next full-length album with his fellow Wives. Early on a Monday morning, Kramer talked to SOMA about the band’s evolving sound and his own musical comingof-age process. 74

What was the process of making your newest record, Heavy? Things were a lot different in California Wives mainly because we had dealt with a lot of lineup changes and the business side of things crept its way into the band. It was a lot of shifting. Writing this record, I didn’t know what my intention was. I just had to get these things out. I didn’t know what was going to happen, whether or not I was going to keep writing music and keep being in the band. It was like a litmus test for me, testing my love affair with music and songwriting so to speak. How did that shift affect your sound? Because we moved into a trio, I needed to play bass on the record and so we also lost a bit of the synthesizer sound. Heavy is definitely a lot more rock-driven than Art History. The rawness of the sound matched the lyrical content and the angst, so we kept it that way.

How do you know when you’re ready to record a song? When we finished “The Heart Always Breaks” as a group, we were like, “That’s it. There’s nothing else we need to do for that song.” “Over & Over” originally started on synthesizer, and then I played it on piano when we recorded. It changed more when Martin Kinack produced and mixed the record by himself. It was changing all the way until the very end. It’s different for each song, but it’s instinctual. Is it hard to cut away things that you’ve done before and do something new? No, I would say it’s even the opposite. This record felt like a rite of passage as a songwriter. There are a lot of trends and cycles that go on in music, like how right now the nineties are big. I reflect everything that I listen to and hear, and we all do, but at the same time I’m also just doing what feels right. I asked myself why am I doing this, why am I writing music, why am I in a band? And the truth is that we all do it because it’s something that we need to do.

After the band recorded Heavy, Kramer road-tripped from New Mexico to Sacramento under wavering clouds and blue skies. He then created the music video for the title song: iPhone footage from New Mexico and DSLR footage from Sacramento were manipulated with a friend’s VHS circuit-bent toy and edited further in Final Cut. As a result, there is a fuzzy, psychedelic quality to the video, a pulsing vision of the present through the lens of the past. It is colored with nostalgia, and California Wives seems to embody this pull of old and new in both music and visual media. “I found myself going back to my roots,” said Kramer. Take a look at the EP’s cover and you’ll see a photograph of his mother in the seventies. It seems only fitting to search for stability in times of the greatest upheaval, to honor your foundation and build upon it. www.californiawives.com

Music

Jamie XX

Going Solo with In Colour text by LiLy Moayeri

Jamie xx is notoriously quiet. Not shy or impolite or moody, as Attempting to reconnect with home, coupled with a romantipeople who meet him are quick to clarify, but slightly awkward. cized idea of going out, he immersed himself in British party The 26-year-old Jamie Smith, who has been given the “Jamie xx” culture films like Human Traffic, 24 Hour Party People, and nickname-turned-professional-moniker because of his inter- Fiorucci Made Me Hardcore, all of which take place during a time nationally acclaimed music group, The xx, speaks in a halting, Smith was too young to have experienced firsthand. It was the mumbling fashion. Just when you think he’s done making his last of these that inspired, and from which a sample was used, point, you realize he’s simply stopped talking for a bit and now on Smith’s stand-alone single, the softcore “All Under One Roof he’s picking up what he was saying again. Smith’s reclusive dis- Raving,” the precursor to In Colour. position is at odds with his job, as a music producer and remix “Raving” is too strong of a word to use when describing artist, which requires him being thrust into all manner of situa- Smith’s compositions. If anything, In Colour is melancholic. tions, expected to interact with fans, peers, and executives, and Deceptively minimal, the album summons ghosts of dance to talk about himself and his music. floors past, interpreting their vibe and sound with an introverted In the space of six years Smith has released two albums with approach. “It’s kind of what you do every time you go out raving: The xx. The first was the eponymous winner of the Mercury Prize try and recreate when you had a great time in a club,” says Smith. and its follow-up, Coexist; a reinvention of Gil Scott-Heron’s I’m “It doesn’t always happen.” Smith’s carefully selected samples, such as the Persuasions New Here under the title, We’re New Here. His solo debut, In Colour was released in June. The creation of In Colour, and in its pro- on “I Know There’s Gonna Be (Good Times)” featuring Young motion, have been the first time Smith has been entirely on his Thug and Popcaan, clever re-imaginations of melody lines, like own. After his time working with Drake, Adele, and Alicia Keys Orbital’s “Belfast” on album opener, “Gosh,” and effective as the electronic music producer/remixer du jour, and dealing reworkings like Freeez’s “I.O.U.” on album closer, “Girl,” give with pop world requirements, only having himself to contend In Colour’s downbeat, nocturnal nature a personal feel. “Every song on the album has its own color, which represents with is a welcome relief. “I’ve always had freedom to do whatever I wanted—other the color in my head,” says Smith, now in the comfort of his than when working with artists outside my world,” says Smith home. “It’s not like synesthesia, just conjuring up a certain color traveling in a taxi to his home in London on his way back from based on the music. I do it with other people’s songs as well, but the airport. “It’s very insular being on your own versus the con- I don’t think about it as much as I do with my own.” Much like In Colour’s color spectrum cover art, designed by stant back and forth and compromise with a band. With the band we don’t finish a song until we’re all happy with it. It’s the same Smith, his DJ tour for the album connects the tracks he’s playwith me, except I have nobody to bounce ideas off of.” ing with assigned colors. He says, “The DJ set is different every In Colour is very much Smith’s vision and his musical voice. time, but I plan the show so when I’m mixing in one of the album Even on the tracks where he features The xx band members, tracks or my previous tracks, the whole show goes to that specific Romy Madley Croft (“Loud Places,” “Seesaw”) and Oliver Sim look and it becomes obvious as the show progresses that it’s the (“Stranger in a Room”), he collaborates with them individually. color to each song.” “We hadn’t worked one-on-one since before the first album,” An alternate version of Smith’s aural/visual representation, says Smith. “It was nice to get back to that idea.” is currently on exhibit in a commissioned piece at the National The concept behind In Colour, came about during a bout Gallery in London, until September 6th. Part of the museum’s of homesickness while Smith was touring Coexist with The xx. “Soundscapes” exhibit, Smith created a soundtrack for Théo van 78

Rysselberghe’s 1892 painting, Coastal Scene. Smith says he chose the Belgian neo-impressionist painter’s pointillist work because he was attracted to the dots. Another avenue for Smith was scoring the Tree of Codes ballet, based on the unusual novel of the same name by Jonathan Safran Foer, and commissioned by the Manchester International Festival. The ballet premiered to rave reviews in Manchester in July and is coming to New York in September.

“I started by taking pages from the book which are sculpted and literally cut out,” says Smith. “They create these patterns that look like melodies. I tried to put those patterns into a computer program to create the melodies that are the basis for the music. It was very abstract which allowed me to work away with my own thoughts without having to be very strict about the music I was making.” 79

Film

La Jolla

International Fashion Film Festival text by JenniFer Moulaison

The classic glamour of Hollywood film society has always paired splendidly with the pinnacle of haute couture fashion. Today, the new genre of the fashion film is considered by many to be the most integral part of a fashion brand’s advertising campaign. Among the palm-lined streets of sunny, coastal La Jolla, an important fashion and film festival has quickly evolved into what is described as the Cannes Film Festival meets New York Fashion Week. Those who appreciate great films as much as the stunning ensembles showcased within them, eagerly mark their calendars for the La Jolla International Fashion Film Festival (LJIFFF), which takes place each year at the end of July. Chosen for its environmental similarities to that of Cannes, La Jolla’s moderate climate and dramatic setting, complements the beauty of the fashion industry and their films. It might be difficult not to be upstaged by some of the most picturesque Pacific coastline California has to offer, but the LJIFFF holds its own and continues to gain momentum and recognition as the largest gathering of fashion film professionals. This is no small feat considering just a decade ago, the concept of the fashion film didn’t exist the way it does today. What began as a novelty and means for only the most avant-garde fashion houses to surprise their audience while showcasing and marketing their freshest designs, quickly became a new standard for all designers. Now in its sixth year, the event takes place at the Museum of Contemporary Art San Diego and draws a global audience of many highly respected names among the fashion and film industries. The festival is fueled by the remarkable short fashion films, created by talented directors worldwide. Fred Sweet, founder of the LJIFFF, felt these individuals deserved an outlet where they could be recognized for their efforts. “I have seen six minute fashion films more provoking and engaging than 90 minute feature films,” says Sweet. Early on, he anticipated the growth and success of this unique art movement. 80

Offering two days of film screenings, seminars lead by influential names in fashion and film, dazzling after-parties, press receptions, and an awards ceremony, the LJIFFF has all the defining characteristics of a high profile event. But what would a film festival be without a red carpet? LJIFFF’s red carpet affords guests and celebrities the chance to be interviewed by the world’s press. Also featured on the carpet, are a selection of garments and collection pieces from nominated films, displayed to showcase talented fashion designers’ creativity and craftsmanship. The LJIFFF has seen some exceptional highlights in past festivals such as hosting the world’s first Karl Lagerfeld fashion film retrospective with many of his early works. The films nominated for the LJIFFF award ceremony are chosen very carefully and thoughtfully. “We review over 11,000 films during the process,” says Sweet. “The final number of nominated films usually winds up around 75 screened over two days and all the big brands are represented along with the best and most creative directors.” With 15 award categories, the LJIFFF hosts one of the largest film festival juries to vote and judge the films. Not just glitz and glamour, the festival also supports a worthy cause with its partner, the United Nations’ Ethical Fashion Initiative. This project connects micro-communities of artisans to the international value chain of ethical garment production. This group of ethically concerned and highly capable individuals are working to provide a fair wage for artisans in the developing world. Through their efforts, the designs of talented, but small-scale and slow producing artisans, are assisted in reaching a global market. Through the LJIFFF’s authenticity and an eclectic mix of attendees, from celebrities and European royalty to top film and fashion talent, this event continues to thrive and gain respect among discerning festival-goers.

Film

Kiki Sukezane A New Kind of Hero text by JenniFer Moulaison PhotograPh by darian zahedi hair & makeup by miyabi goto styling elizabeth parks kibbey

Those select few who have managed to carve out careers within Hollywood’s television and film industry can tell you, the pursuit of professional acting is a challenging one. With English as your second language and your homeland across the ocean, this challenging pursuit becomes even loftier—but not impossible as proven by rising star Kiki Sukezane, who just landed a prominent role on NBC’s soon-to-air series Heroes Reborn. Hailing from Kyoto, Japan, Sukezane descends from a noted samurai family and is well versed in martial arts. She first began what would become a vital relationship with American culture as a high school foreign exchange student. By twenty, seeking to broaden her horizons and further expose herself to diversity in the world, Sukezane took on a volunteering opportunity in Tanzania, Africa. It was during her time there she decided to pursue acting—not as a means for her own success, but rather as a tool to build awareness for the realities taking place in other parts of the world. She returned to Japan and spent two years attending acting school and performing various roles in Japanese films. Now residing among the rolling hills of sunny Los Angeles, Sukezane has taken on a variety of roles there and in New York, as well as starring in a Japanese television series, and a German film. Ultimately, her hard work and unrelenting pursuit earned her attention and she was cast in the sought-after role of Miko Otomo in the new mini-series, Heroes Reborn, which branches from the original series-turned cultural phenomenon, Heroes. We took a moment to sit down with Kiki Sukezane and get her thoughts on what promises to be a successful acting career. What was your experience like as a foreign exchange student here in the US? I was seventeen years old when I went to high school in a small town called Sisseton, South Dakota for a year. It’s a small town, where everyone knows everyone else. Half of the students were Native American and the home where I stayed had a lot of cows and horses, so it was a very American kind of experience. What inspired you to involve yourself in volunteer opportunities in Tanzania? I wanted to see the differences in the world. Also, I wasn’t sure what I wanted to be or what I wanted to do in my future, (I was only twenty when I went there) but it was during that trip I 82

decided to become an actress. I wanted to do what Angelina Jolie does. I would like to show people the reality of the world and inspire as many people as possible. What was the single most challenging or defining moment you took with you from this experience? I was there for a month. The most challenging time was when I was robbed by three men at a beach. They had butcher knives and took my phone, camera and money. That was a scary experience but I would say it was everything else during that time that was the most defining. It was an amazing time in my life. What’s your life like in Los Angeles as compared to Kyoto and Tokyo? My life in LA is kind of relaxed and boring compared to living in Tokyo. In Tokyo, I’m really busy all the time, meeting a lot of people. Many places are open until morning so you can imagine it’s pretty crazy and hectic. In Kyoto, where I grew up, it’s a really beautiful, traditional city. My family still lives there. I sometimes really miss Japan, but I also love LA—the weather is so nice! What was the defining step to landing this exciting role? I guess I’m a lucky girl. I also think I really understood this character and the producers saw that. Can you tell us about the role you’re taking on in Heroes Reborn? Is there any part of your character that resonates with you? My character’s name is Miko Otomo. She lived in Tokyo and is looking for her missing father. She has a kind of quiet, unique personality, which is similar to mine. What intentions or plans do you have following the success of your part in Heroes Reborn? I guess I’ll just keep going. I’ll keep auditioning, looking for the next big role. And, of course, I’d love to do films. What kind of advice can you offer young people like yourself, looking to uproot their lives and embark on challenging careers here in the States? Dream huge! If you have thought carefully about it, then go for it.

Urbanite

The Audacity of

Jean-Charles Boisset text by teresa rodrigUez

The stage is set. It’s opening night of Festival del Sole and Jean- but it’s unbreakable, reusable, recyclable, and lightweight. The Charles enters Castello di Amorosa like he owns it. He might as success of the “smart bottle” was followed by his creation of the well, since he already has 25 wineries around the globe. Walking octagonal-shaped packaging with screw-top closures. His inspithrough the courtyard, drawing guests to him like a magnet, his ration for that packaging was from an eggshell. “The eggshell presence surpasses the shine of the metallic tuxedo jacket he is only 7% of the total weight of the egg—it is the most efficient wears. There’s curiosity and mischief in his piercing blues eyes packing of all time.” Once again, the unraveling of discovery that and his Cheshire Cat grin gives the impression he knows some- created a breakthrough in the wine industry. thing that the rest of us don’t. Part of what drives Jean-Charles is his love of exploraOriginally from Vougeot, Burgundy, France, where his par- tion. “I have always been interested in the eras between ents founded a winery in 1961, he arrived in the United States 1300 - 1600 AD, when we thought the world was flat—but we as a naïve eleven-year-old. “Before coming to America, I would were wrong. This is a reminder that there is more space for fantasize that the American way of life was amazing and filled imagination, exploration, being spontaneous, and dreaming.” with possibilities.” Then, he landed on the ripe, fertile soil of Jean-Charles shares. Napa Valley and experienced a profound cultural shift that lead As for his perception of reality, he does not see the world him on his path to his remarkable success. “Reality exceeded my like the rest of us mortals. “I adore discovering other ways expectations! Indeed, America allows you to dream, anything to see and experience. I am a big fan of Surrealism.” In some is possible here! So, I took advantage of the wonderful gift of odd Surrealistic ideology, Jean-Charles challenges his thinkfreedom and exciting opportunities and I haven’t stopped yet.” ing constantly. “It’s all about interpretation. The way I see a An alchemist of the senses, Jean-Charles can take the ordi- tree is not the same way that you see a tree. That fascination is nary and transform it into a mind-blowing experience. To him, constantly giving me other glimpses on how the world works.” sound, taste, touch, smell, and sight are dancing muses he enjoys Jean-Charles contemplates. choreographing. A glass of wine is not just liquid; it is the intiIt is his continuous rumination that enticed him to design mate history of the grape vine, the sound of warm wind through jewelry. “The jewelry is an experience of what I feel, see, and its delicate leaves, and the taste of joyful moments when the experience. First, the jewelry was born because I wanted to have elixir finally wets one’s palate. Every glass has a story and he an adornment on a bottle of wine that I could keep forever. Wine is a master storyteller. “My ultimate objective is to enlighten, is a memory. Plus, men don’t have much for adornments. I won’t surprise, and to take people to a place where they thought they get a tattoo, so it is a great way to express who you are, and still be would never go.” He has the ability to harness ideas, experiences, elegant. It represents what I want to wear—each piece has a deep and moments like they were wild horses at his beck and call. meaning entrenched in what I strive to enjoy: all-encompassing A mercurial entrepreneur, he lives on the sharp edges of risk- nature, earth, the galaxy, precious metal, gemstones, pearls, and taking. “I have never been bored. I am always curious to see ideas of the mind.” He continues. where creativity will take me—usually beyond unlikely realms. The interview concluded with a two-word question: “Any I seek out extremes.” He continues to turn the conservative regrets?” He paused, and then answered in hushed tones, wine industry upside down with his innovations and radical “Sometimes the regret I have is to do the obvious. I will changes. One such invention was the “smart bottle” used for leave at that.” his Yellow Jersey wine. Sure, the bottle is made out of plastic, 84

Urbanite

Salute Hollywood by Beso Steakhouse & Eve Nightclub, Las Vegas 1 1/2 oz Stoli Raspberry Vodka 3/4 Briottet Crème de Cassis 1 1/2 oz Fresh Lemon Sour 3 Fresh Raspberries A small splash of Red Bull Float

Cydney Morris: Stone Cold Fox Co-Founder/Designer www.thestonecoldfox.com www.viciouslycyd.blogspot.com 87

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SOMA - August 2015

Articles inside

Jamie XX

Sarrita King

La Jolla International Fashion Film Festival

Novica

i-pose

The Influencers

I Am Eleni