wander
LETTER FROM THE EDITOR
Dearest wander readers; It is with great pleasure that I invite you to our first issue. After long hours of venti starbucks coffees; asian cuisine on speed dial; and two hundred pages later; I am so honored and blessed to see the dream of wander become a reality. On behalf of the whole wander staff I invite you to get lost and ‘wander’ around the pages of wander in hopes of exploring some of the most sought after information on, fashion, film, music, and art. enjoy! xxx
CEO / CREATIVE DIRECTOR
CONTRIBUTORS
Meg Dailey born in Washington DC is a student at Parsons The New School of Design. Majoring in Fashion Design with a minor in French. In addition to Fashion she has a strong interest in the Music, Film, & Art Industry.
HEAD OF DESIGN Micaiah Carter born and raised i Los Angeles, CA is a student at Parsons The New School of Design majoring in Photography. He has a passion for Typeography and Web Design.
HEAD STYLIST Tanya Alessandra born in Miami, FL is a student at Parsons The New School of Design. Majoring in Fashion Design with a passion for styling.
HEAD OF CINEMATOGRAPHY Zanzie Addinton-White born in Chicago, IL is a student at Parsons The New School of Deisgn majoring in Design and Technology with a passion for color and sound.
WELCOME TO WANDER
IT IS WITH GREAT PLEASURE THAT WE, THE WANDER TEAM, INVITE YOU TO OUR FIRST ISSUE! WE ARE VERY EXCITED TO HELP YOU “WANDER” THROUGH THE MOST SOUGHT AFTER HIGHLIGHTS OF SOME OF OUR FAVORITE THINGS. WITH A FOCUS OF FASHION, FILM, MUSIC AND ART, WE ARE DEDICATED TO BRINGING YOU THE BEST INFORMATION FROM AROUND THE WORLD! THIS MONTH’S WANDER TAKES YOU ON AN ADVENTURE THROUGH THE UNDERGROUND ART SCENE AROUND THE WORLD, BAGS YOU CAN NOT LIVE WITHOUT THIS FALL, AN OVER VIEW OF ONE OF OUR FAVORITE ARTISTS, CHUCK CLOSE, GOODIES YOU WISH TO FIND IN YOUR STOCKING THIS CHRISTMAS, AND A LOOK AT IMG’S LOULOU SHOT BY MICHEAL SCHWARTZ.
ENJOY THE ISSUE!
MARK VASSALLO x GAVRIEL MAYNARD
x KARINA K The amazing Mark Vassallo Creative Director Fashion Director Consultant & Editor At Large escapes to Malibu to shoot the lovely Karina
Dress by gucci $2,34; barneys.com Necklace & earrings by tom binns; tombinns. com
Dress by Alexander Wang; Barneys.com Necklace & Earrings by Tom Binns; tombinns.com opposite page; top; dress by alexander wang; Barneys.com neckalce by Tom Binns tombinns.com Hat by supreme;supreme.com
Dress by Alexander wang; BArneys.com Harness by Agent Provocator; agentprovocator.com headcrown by seawhisper; barneys.com price upon request
Dress by Gucci; Barneys.com Head Crown by tom binns; tombinns.com
WINTER IN PARIS By B By Meg Dailey
“Il y a deux manières d’être malheureux: ou désirer ce que l’on n’a pas, ou posséder ce que l’on désirait.” There are two ways to become unhappy: to desire what you don’t have or to have finally gotten what you have desired.
Louys.
Visiting during Winter in Paris means, hot chocolate at Angelina, one of Paris’ famous tea salons. it means the Galette des Rois in January for the Epiphany. It means less crowds, and some dramatic photos. It’s also easier to get into some amazing restaurants which often require reservations months in advance. Yes, we know it rains in Paris in the Winter, but as the song says, “I love Paris in the Winter when it drizzles”. Paris is always a good idea as Audrey Hepburn said so well. There is always something going on in the city of light and Paris in the Winter would never stop a true Paris lover. Come for the art, come for the music, come for the food.
Winter in Paris is the perfect opportunity to indulge in creative layering, colorful tights and stylish boots. While stylish Parisiennes abound in Paris, the people-watching on the cobblestoned streets of Montmartre is one of our favorite ways to while away a lazy afternoon on a heated cafe terrace. From Paris to New York, stopping off at London and Milan along the way, it is clear that this coming season is all about contrast. Ambiguity between masculine and feminine, strength and fragility, opulence and grunge, past and present... These contrasts reflect the multiple facets of the 21st century woman and, above all, celebrate your personal style
MORE THAN JUST A PRETTY FACE By Meg Dailey
Between waiting backstage for a show to start, to spending hours on end getting hair and makeup done, there is a lot of downtime in the day of a runway model—especially during the collections. So what’s a girl keen on using her time (and brain) wisely to do? Why, pick up a book (or a Kindle or an iPhone) and read, of course. From fashion magazines to city guides, best-sellers to great literature, here is what we spotted our favorite catwalkers poring over this season—consider it the best-looking reading list of the year.
CICI XIANG YEJING BACKSTAGE ACNE
CODIE YOUNG AT PAUL SMITH
NICHOLE POLLARD AT ROBERTO BETTE FRANKE AT ETRO CAVALLI
ARRAN GREGORY By Micaiah Carter
ARRAN GREGORY IS A GRADUATE FROM CHELSEA COLLEGE OF ART & DESIGN. HE BELIEVES IN IDEAS OF WILDERNESS AND PREDATORY FORCES OF NATURE. HE USES THIS AESTHETIC AS THE BACKBONE TO HIS WORK. HIS EXPERIEMTNS ARE A CURIOUS VISUAL INSIGHT INTO A MAN’S RELATIONS TO NATURE AND THE EMOTIONS IT PROVOKES WITHIN US AS HUMANS.
IN 2009 YOU GRADUATED FROM CHELSEA COLLEGE OF AT THE BEGINNING OF THE YEAR YOU COLLABOART AND DESIGN, SINCE THEN HOW HAVE YOU ADAPTED RATED WITH DREAM BAGS AND JAGUAR SHOES FOR TO LIFE BEYOND THE UNIVERSITY ENVIRONMENT? A SHOW CALLED ‘FOREST’. WAS THE COLLABORATION WELL RECEIVED AND WHAT DID YOU TAKE AG: Since graduating I feel much more free. I mean, there are not FROM THIS EXPERIENCE? so many constraints regarding the work I produce, while at Uni there is always the pressure of ‘the Brief’ and getting ‘the Grade’. AG: Forest was my second solo show and I was really So it’s way easier not having this on my shoulders. Saying that, pleased with the result. Lots of people turned up to the PV obviously I need to earn a living and maintain certain standards and quite a few pieces sold. It was really exciting having though, which comes down to self-discipline. that show at Jaguar Shoes, as so many great creatives have passed through there over the years. The walls are padded thick from all the previous wallpapers that have gone up. I ART SCHOOL CAN BE A VERY INTIMIDATING AND think solo shows are really important because the pressure VERY NURTURING PLACE. HOW DID CHELSEA ENis that much higher. FOREST really pushed me to combine COURAGE YOU? WERE THERE EVER TIMES WHEN my sculpture and illustration together in a way that I had YOU FELT DETERRED BY GRAPHICS? always been afraid to do before, so the experience was challenging for me. But I actually learnt a lot about my AG: Yeah big time. But, I had been advised from a young own work at the end.
age not to go to art college.. I was told by a very influential person in the design field that art college narrows peoples minds creatively and teaches them to think in the same way, i.e artists who don’t study art maintain more creative freedom because they have less boundaries. So with this in mind I’ve always tried to steer clear of becoming pigeon holed. Luckily my course at Chelsea didn’t tie me down and actually nurtured that creative freedom. I am deterred by the boundaries of graphics, which is why I like to switch up my processes sometimes. I get bored of graphics and create sculpture, then get bored of sculpture and go back to graphics. I get bored easily but i think that’s a good thing... WHERE DO YOU DRAW INSPIRATION FROM WHEN YOU’RE WORKING?
WHY DO YOU FEEL IT IS IMPORTANT TO DEPICT YOUR ILLUSTRATIONS IN LIFE SIZE?
AG: I use mirror and artificial fur along with glossy enamels. I find human desire in material objects interesting. So for the Mirror Bear and the White Fur animals of Trophy Room I’m playing with the surface materials of the objects. Magpie Culture and False Glamour tends to interest me and combining these with discernible forms of nature helps structure my ideas. HOW DOES THE NOTION OF FUTURISM IMPACT YOUR ARTWORK?
AG: I’m inspired strongly by the natural world. I have AG: Beautiful Losers is a great film, Aaron Rose a always felt a strong sense of wellbeing when surrounded by really cool guy and I find all that early 90’s, late 80’s forests or fields. I’m also inspired by the idea of freedom and graphic art/design culture really inspiring. Honestly, creativity within spaces which probably stems partly from skateboarding keeps me thinking creatively. At the being a skateboarder. same time it’s all blown up so much lately with skateboarding culture being so commercialised, which for me somewhat spoils the ‘underground’ beauty of it all. WHEN AND HOW DID YOU ENCOUNTER THE NOTION My creative process fits within a similar ethos to those OF FOREST EMBEDDED IN YOUR THEME? depicted in the film, but at the end of the day I’m just doing what I do. Though I’d like to see my artwork AG: I continually use nature and wild animals as the back- develop more internationally, especially my sculpture; bone of all my work simply because I find them very inter- I’m working on a few more ideas for this summer. esting to work with. I like the innocence and instinct that animals have. I like how they are such a familiar part of nature and yet we can’t communicate with them. Wild animals do their own thing and live inconspicuously, but are very much in touch with nature. Humans on the other hand, to me at least, have lost touch with nature. We have become somewhat detached from the essence of life, so I guess I use the forest theme as my outlet.
HOW DOES THE NOTION OF FUTURISM IMPACT YOUR ARTWORK? AG: Beautiful Losers is a great film, Aaron Rose a really cool guy and I find all that early 90’s, late 80’s graphic art/design culture really inspiring. Honestly, skateboarding keeps me thinking creatively. At the same time it’s all blown up so much lately with skateboarding culture being so commercialised, which for me somewhat spoils the ‘underground’ beauty of it all. My creative process fits within a similar ethos to those depicted in the film, but at the end of the day I’m just doing what I do. Though I’d like to see my artwork develop more internationally, especially my sculpture; I’m working on a few more ideas for this summer.
WHAT ADVICE WOULD YOU GIVE SOMEONE WHO WANTS TO MAKE A CAREER OUT OF GRAPHIC DESIGN? AG: Get a good website together. Have confidence and persistence in what you do. YOU’RE LIFE’S MOTTO? AG: ‘Now or Never’. But I’m not very good at it. FINALLY WHO IS YOUR IDOL? AG: Bruce Lee.
CHUCKCLOSE THE RARE INTERVIEW
CHUCKCLOSE By Micaiah Carter
WD I’m going to interview you like a shrink, let’s take CC What did you come up with? this very psychoanalytically. WD You’ve said we work from our weaknesses. And I Chuck Close Twenty years of being shrunk. This should thought, “Well of course! You’re obsessed by things that be good. Should I lie down? you can’t do.” Your work is a combination of what you do really well and what you struggle with. WD No, face to face therapy only. So, what’s your ethnicity? CC My art has been greatly influenced by having a brain that sees, thinks, and accesses information very CC My family’s been in America for so many generdifferently from other people’s. I was not conscious of ations that no one is quite sure. It’s white, American, making a decision to paint portraits because I have difMidwestern, and probably English. “Close” in Old En- ficulty recognizing faces. That occurred to me 20 years glish is a road which turns around on itself and comes after the fact when I looked at why I was still painting back out. portraits, why that still had urgency for me. I began to realize that it has sustained me for so long because I WD They call them circles here. have difficulty in recognizing faces. Maybe I should say something about the nature of this affliction: I could CC It’s not quite a circle. It’s a dead-end street with spend an evening having dinner with someone, stare at a turn-around, usually in English cities. Out on Long their face, be incredibly interested in everything they Island there are lots of closes. But we were just regular, say, and the next day, be able to remember all kinds of poor, white-trash Americans. things they had told me. But, if I were to see that person on the street I’d have no idea that I’d ever seen them WD Poor-white-trash is one of my favorite subjects! before in my life. But I can remember things that are flat, which is why I use photography as the source for CC We aspired to the middle-class. My father had an the paintings. With photography, I can memorize a face. eighth-grade education; my mother studied to be a con- Painting is the perfect medium and photography is the cert pianist after high school, during the Depression. perfect source, because they have already translated But there wasn’t anything to do with that skill. We didn’t three dimensions into something flat. I can just affect actually throw beer cans out of our trailer windows but the translation. everyone around us did. We were the aristocracy of the trailer court. (Just joking—we didn’t actually live in a WD What surprises me is that you work in incremental trailer court.) units, building toward a whole rather than from the whole to the parts. It would seem to me that this would WD Last time I was here you mentioned your dyslexia increase the problem, not help you to overcome it. Is the and your difficulty in recognizing faces. That has added size of your grid based on the movement of your wrist? another layer to your obsession with painting portraits. CC No. Gradually, over the years, the dot grid got coarser. The size of the increment got larger and there was more room inside the square.
KAWS THE INTERVIEW
KAWS By Micaiah Carter
Who’s your favorite New Yorker, living or dead, real or fictional? Woody Allen. I tried to avoid saying Woody Allen because I thought it was too obvious, but every other person I thought of doesn’t define New York like I feel Woody does. What’s the best meal you’ve eaten in New York? That’s really hard to answer. I do find myself going to Cafe Colette in Williamsburg quite often to have their chicken sandwich for lunch. To me, it’s the best meal. I’m a simple person. I like the comfort of things I’m familiar with. In one sentence, what do you actually do all day in your job? I make the stuff I dream about come to fruition. What was your first job in New York? I handed out flyers in clubs for parties at the club Quik and the Bldg when I probably 15 or 16. The kids in Jersey City that I hung out with — guys I did graffiti with who were a little older than me — started to go to clubs and I tagged along. The money for handing out the flyers was bullshit; it was more about going to the clubs and getting in everywhere. What’s the last thing you saw on Broadway? I don’t really see shows on Broadway, I couldn’t even tell you what’s on Broadway at the moment. The last show I saw Off-Off Broadway was The Lying Lesson with Mickey Sumner and Carol Kane. I ended up there because of my wife.
Do you give money to panhandlers? Sometimes, I think I’m really random in my reasoning for giving. What’s your drink? Dark and Stormy. I have a bunch of friends that when we get together, that’s what we make. But I usually just drink wine when I’m at home. How often do you prepare your own meals? Almost never, I cook about as well as I drive. I eat out constantly and when I don’t, my wife is the pro chef. After spending the whole day in the studio, it’s nice to get out for some air. What’s your favorite medication? Ambien, mostly for when I fly to Hong Kong or Tokyo. I find it impossible to get on schedule without it. What’s hanging above your sofa? A single lightbulb. My sofa is in the middle of the room, and when I was renovating the apartment almost ten years ago I never found a light fixture for the ceiling that I liked, so I had the bulb just hanging from the wire, and eventually I got used to it. I collect a lot of art, so that’s what’s on the walls. Probably the piece I’m most excited about is the Peter Saul Double De Kooning Duck. It’s gorgeous. There’s nothing like living with original pieces.
How much is too much to spend on a haircut? I haven’t spent money on a haircut in ages. Years ago I bought a nice set of clippers and haven’t visited a barber since.
Who is your mortal enemy? I don’t have one, lucky me. But I’ll say time.
What do you think of Donald Trump? When I think of Donald Trump, it makes me think of how when I hold my dog’s elbow between my fingers I can make her arm straighten, and her paw shoots forward so it looks like she’s motioning Donald’s “your fired” hand gesture. (I usually say “your fired” while doing this.)
Times, Post, or Daily News? Times, just online and I mostly skim. I always look at the Arts section and I always look at Real Estate.
When’s the last time you drove a car? I never got a driver’s license, but it’s on my to-do list. When’s bedtime? Last year, I took a road trip with my wife and she drove I usually get to sleep around midnight or one in the the whole time, and that made me feel pretty horrible. morning. I’m either getting old or the days are getting It was a great trip, I just felt guilty. (To answer your more full — possibly both. question, I only drove a car once or twice when I was a teenager.) Which do you prefer, the old Times Square or the new Times Square? How has the Wall Street crash affected you? I never spent much time in Times Square, old or new. I I couldn’t tell you, I don’t think that it has. (Knock on think I would avoid them both. wood.)
Where do you go to be alone? I like working the weekends in my studio with nobody there.
What do you hate most about living in New York? What makes someone a New Yorker? There’s a lot of things that are terrible — black ice, Endless optimism. smelly air pockets, the grind, the expense of living here. But with nothing negative you can’t appreciate the positive.
THE MAN BEHIND THE MANDALAS
JOHN JANNUZZI LUCKY MAGAZINE DIGITIAL EDITOR & ARTIST
WE CAUGHT UP WITH JOHN TO ASK HIM A FEW QUESTIONS ABOUT SOME OF HIS FAVORITE THINGS By Meg Dailey
STYLE ICON? JJ: “JACK KEROUAC” SIGNATURE SENT? JJ: “ DEGREE DRY PROTECTION DEODORANT- THE COOL COMFORT SENT IS THE BEST. PLUS ITS BODY-HEAT ACTIVATED. NOT REALLY INTO COLOGNE, BUT THIS SMELLS REAL NICE.” FAVORITE GROOMING PRODUCT? JJ: “URSA MAJOR SHAVING CREAM, LIFESAVER FOR THOSE OF US WITH SENSATIVE SKIN.” MOST PLAYED SONG ON YOUR IPOD? JJ: “20TH CENTURY BOY’ BY T.REX IS ALWAYS ON MY RECENTLY PLAYED.” FAVORITE APP? JJ: “SEAMLESS- I CAN ORDER FOOD FROM A CAB ON MY WAY HOME. IT REALLY HELPS WITH TIME MANAGEMENT AND GENERAL HAPPINESS.” LAST PURCHASE: JJ: “A NON-REFUNDABLE MOVIE TICKET TO BEAUTIFUL CREATURES. NEXT VACTION DESINATION: JJ: “BOOKED A TICKET TO ST. MAARTEN FOR THE THIRD WEEK OF MARCH IN THE UPCOMING YEAR. LOOKING FORWARD TO BURNING UP LIKE A LOBSTER.” THING AT YOUR DESK PEOPLE WOULDN’T EXPECT: JJ: “I KEEP AN AXE AT MY DESK. PEOPLE GET A LITTLE INTIMIDATED BY IT, BUT I FIGURE I CAN USE THAT TO MY ADVANTAGE, SO THE AXE STAYS.” DECADE IN TIME YOU’D WANT TO LIVE: JJ: “THE ONE RIGHT BEFORE FACEBOOK.” ADDITIONAL THOUGHTS? JJ: ” I JUST REALLY DONT UNDERSTAND BAKED BY MELISSA CUPCAKES SOMETIMES.”
JOHN IN A FUCKING NUTSHELL
Laetitia Crahay jewlery director, chanel & artistic director, maison michel, Paris By Meg Dailey
It’s hardly a secret at this point, so we’re just going to come clean and say it flat out: We have a little bit of a thing for CHANEL. We had the opportunity to sit down with uncle karl’s right-hand woman- leatitia crahay. she also happens to be the brains behind those lacy, veiled bunny ears. did we mention she is also the artistic director of maison michel. How she finds the time, we have no idea. we have been long time admirers of how crahay has been able to infuse her signature sense of irreverence and humor into both of the historied brands. We recently made a quick trip to paris to hit up crahay’s crib. upon on arrival, crahay welcomed us in with champagne and snacks, introducing us to her make-up artist and adorable daughter theodora.
Crahay is at once incredibly chic (a word we don’t use lightly) and yet completely cool and insouciant. She casually strutted her stuff in a strappy Anthony Vaccarello dress while we toured her home. While the majority of Crahay’s wardrobe reads like a walking tour of her history at both CHANEL and Maison Michel, she’s someone who exhibits equal admiration for boundary-pushing designers with pieces by Rei Kawakubo, Nicolas Ghesquiere and Christopher Kane among her collection.
We wrapped our shoot with (more) champagne and music, lingering long after we’d finished shooting just to take in Crahay’s entire vibe. But can you really blame us?
1. coat by Prada, Dress by Christopher Kane, Shoes by Chloe 2. Skirt by Christian Dior, top by Christopher Kane, Shoes by Louis Vuitton 3. Dress by Celine, Coat and fur by miu miu, shoes by oscar de la renta
1. Giambattista Valli and ivysaur 2. jean paul gaultier and alakazam 3. chanel and clefable
1. Coat by Altuzarra, dress and shoes by dior 2. Dress by Dolce Gabbana, Coat by Nina Ricci, shoes by dior 3. Dress by Valentino, Shoes By Dolce Gabbana
1.Coat by Billy Read, Henley by Dries Van Noten, Jeans by Ralph Lauren, boots by Michael Bastian 2.Coat by Moschino, Sweater by Michael Bastian, Pants by Ralf Lauren, boots by N. Hoolywood. 3. Coat by Burberry, Sweater by Todd Snyder, pants by Trussardi, shoes by Louis Vuitton
By Meg Dailey A certain sort of girl has emerged in the style landscape—she’s ladylike but not overly precious, ultra-feminine but not saccharine, and just a little retro. She takes cues from Alexa Chung, lives for Valentino, is inspired by Mary Quant and isn’t afraid of a block heeled flat—with or without bow. When pink re-emerged she wondered what all the fuss was about and the Peter Pan collar is basically her national flag. And we’ve stumbled upon her new dress—short and red with an A-line skirt, scallop detail, surreal hand collar and charm to spare—all under $500. Vivetta dress, $470, avenue32.com.
By Meg Dailey
Miroslava Duma’s look feels a bit like a throwback, but in a way that feels perfectly holiday. A beautiful red coat, a ladylike bag, a simple turtleneck dress and an utterly charming shoe, all are a study in red. Embrace the nostalgia and shop the look below.
A Pop of color this season goes a long way Olivia Palermo Wears a Yellow Gucci Coat
By Meg Dailey
Don’t be afraid to Color Block
Embrace Plaid this Winter
Warm up with Fur accents
SPRING 2014 TREND: THE SHINING
Metallic treatments provide the perfect foil for spring — vivid, edgy and most importantly, highly wearable.
Max von Gumppenberg +
Patrick Bienert
HARMONY & FRIDA & ESTHER LOULOU & MARTA & AMRA STYLING: NICOLA KNELS
DUKE DUMONT By Meg Dailey
Before 2012 Duke Dumont was known as a ‘producer’s producer’. He was the name on a 12” record the DJ knew to reach for when he wanted to please the crowd, without them knowing who had constructed the mesmerising sonic confection they were dancing too. Synthesizing his influences from techno to UK garage and house he brought back goodies from this zenlike exile. ‘For Club Play Only Vol. 1’ was released in April 2012 on Turbo. With ‘Street Walker’ and ‘Thunderclap’ on there, it alerted the heads to the Duke movement and received support from the likes of Jamie Jones and Simian Mobile Disco.
Where did the name Duke Dumont come from? I’ve been DJing and making music professionally for about 6 or 7 years now and I always wanted an alias that was different from my real name. When you DJ, to a degree, it’s not real life. In what aspect of real life do a thousand people come and clap their hands and cheer you? It’s purely in response to the music I make and not so much who I am. Take Daft Punk for example. They take it to the extreme where they have helmets on, but you know I bet they’re really happy that they can walk down the street in Paris or LA. What’s changed since “Need U (100%)” became a massive hit? Like I said I’ve been DJing for about 6 or 7 years now and “Need You (100%)” took me into another realm, which I’d never had access to. Instead of [the music] just playing underground parties, it’s played on the radio. How did the idea for the music video for “Need U (100%)” come about? Is this how you feel having to play the track every time you perform? The idea for the music video didn’t actually come from myself, it came from a director called Ian Robertson. He made a great video and I’m happy with what he did, but I don’t actually share the same emotion as the guy in the video. I’m very grateful for the song being successful. Do you have a favorite sound or sample now? I don’t really have a favorite sample now. My favorite thing to do at the moment is to just go back to music I recorded in the last year or two years. I have some favorite demos that I’ve done, which to me still sound good like a year later. I’ve found with music that if you still like something two months or three months or a year after you recorded it, usually it has got a good shelf life.
Do you prefer composing or performing? Why? I absolutely love both. They appeal to different parts of the brain. When you perform or do a live show, it’s very instantaneous. The fruits of the labor are there. Now composing and producing, when you finish a song that you’re really happy with, that instant gratification isn’t there because you don’t know how people are going to embrace the song. Producing and composing on a professional level takes a much longer time to achieve a high standard. That’s the area I pride myself on because I’ve basically given up the last ten years of my life to learn the art form. You can’t perform if you haven’t put in the effort in the studio. What do you think about crossover electronic acts like Disclosure? Are they killing the electronic music revival? Do you mean killing it in a positive or negative way? Negative? In all, my opinion is crossover or not crossover if you can make people happy with what you do, who the fuck is to say whether you’re killing something or not. Ultimately, crossover or not crossover, if you write a good song it doesn’t matter if it’s a house track or underground. Good music is good music. Is there a difference between American and UK electronic music? I’ll split the answer into two sections. I think in terms of the artists making the music, there’s absolutely no difference. There are some incredible record producers and DJs in the United States. That’s one side of it. The second side of it is that mainstream radio in the United States and the UK are very different. In the US, it’s a lot harder for someone who does what I do to get radio play because it’s very commercial. In the UK, radio stations play a lot of house music, a lot of UK garage music. The climate of radio is different, but in regards to the quality of artists it’s not. What are you currently working on? I’m doing a West Coast tour in July. I’m playing from Vancouver down to Mexico City. At the end of the summer, I’m back in the studio recording an album. There’s only one thing worse than being busy and that’s not being busy. Do you have a musical guilty pleasure you’d be willing to reveal? I’m really obsessed with catalogue music from the 1970’s and 1980’s. There were these producers and like all day all they did was write music for TV adverts. Some of it’s quite experimental. I’m obsessed with it. I’ve got like hundreds of records of weird moog sounds.
CAREER HIGHLIGHTS Duke Dumont’s “Hold On” featured on Pitchfork Duke Dumont’s “Need U (100%)” feat. A*M*E reaches number 1 on the Official Singles Chart Duke Dumont’s “Need U” Duke Dumont played as a special delivery on Annie Mac’s Radio 1 show Duke Dumont’s “The Giver” named Earmilk’s #4 in Top 100 Dance Track of 2012 Duke Dumont and Boston Bun live stream in the Mixmag DJ Lab Duke Dumont’s BBC Radio 1 Essential Mix
SOLANGE X SAINT RECORDS By Micaiah Carter
SOLANGE INTRODUCES HER NEW RECORD LABEL SAINT RECORDS WTIH A NEW COMPLICATION ALBUM SAINT HERON
SAINT RECORDS Solange Knowles has been known for her eccentric sense of style and taste in music. Solange recently released her True EP on November 27, 2012 on Brooklyn indie label Terrible Records, she is set to drop on November 12th, 2013 on her own label, SAINT RECORDS, a compilation album entitled, Saint Heron. This album is a breathe of fresh air consisting of artists Jhene Aiko, SAMPHA, B.C. KINGDOM and R&B newcomer KELELA.
Saint Records presents Saint Heron – a collaborative compilation album featuring 11 independent artists telling their unique stories on one innovative platform. Saint Records was designed to give new and ingenious artists a space to create their music and circulate their art – in turn becoming a haven for R&B lovers and listeners to discover music free of marketplace politics. The intent of the album, and the label at large, is to feature, highlight and align a new movement of contemporary, Smooth synths, deep 808s and amazing vocals genre-defying R&B visionaries, which will create a masterpiece and set the stage for a new serve as a segue into the diverse evolution of platform of New Wave R&B. We once again these independent artists as they share their salute Solange for her endless creativity and voices and words as only they can – through efforts to, I say, successfully revive the long lost pure, unadulterated music. art-form of R&B music.
‘With Saint Heron I really wanted to celebrate and continue to cultivate the community for genre defying R&B artists,’ Solange said. ‘I’ve personally connected with all of these extremely talented artists, and really excited for us to come together through the compilation as a new movement for music.’ - Solange
DPAT BEATS By Micaiah Carter
23 year old Houston native Dpat has released a new album In Bloom with Soulection and it’s one of the most soothing releases on the label this year. Slowly gaining acclaim from all over the globe for the work he has been doing with like minded artists in the last year, Dpat has brought a level of R&B influence into the modern beat scene that is a very fresh breath of air and a staple of the Soulection crew. A very active producer right now that is passionate about the direction and release of his music, Dpat has really made a big impression on us with In Bloom. We can’t wait to see where he goes with his career and feel that In Bloom will really grow far past its date of inception.
In Bloom showcases a beautiful mixture of lush soundscapes layered with soulful rnb vocals and swirled in live instrumentation, in large part performed by the project’s creator, Dpat. The title track “Above Us”, represents Dpat’s soft, yet intentional beat structure full of dreamy keys, rnb charisma and Sango-infused bass lines. Angelic vocals from Austin-based Isles are weaved throughout the track making it a realistic glimpse into the sound story of In Bloom. – Soulection
SMALL TALK WITH DPAT: W: I really enjoyed In Bloom. A lot, actually. I’m sure that album must have been a journey to create. Any fun adventures happen in or out of the recording room? Tell me a little about the making of the LP. Dpat: Thank you. It definitely was a journey that started about a year ago, when I began making songs with a cohesive mentality. The first songs I made for “In Bloom” were ‘Above Us’ and ‘Cutthroat’, so those set the tone for the rest of the project. There were a lot of songs that didn’t make the cut and originally, it was supposed to be an 8-track album, but a sample issue brought it down to 7. I want to press it on vinyl and add some bonus stuff though. W: In the realm of music making, I’ve noticed some artist tend to mess around with their gear, feeling out the musical melodies that would inevitably evolve into the final product. While some tend to have the idea or concept down from the very beginning. How did some of your tracks come into fruition? Dpat: I think I have a general idea of where I want the song to go when I begin. It almost always evolves into something else by the time I’m done though. I don’t like to place any mental boundaries that restrict me from experimenting with sound, like I shouldn’t do this or that because it conflicts with what I had in mind at first. Sometimes, the best ideas come from something you did on accident or from stepping into unfamiliar territory. I knew I wanted to use guitar and piano heavily throughout the album, so each song usually started with me playing some chords on either instrument. Sometimes I would go back to a song idea I never finished and add guitar, which would bring a whole new element to it. The song ‘Bloom’ was one of those unfinished, forgotten songs until one day, I added guitar to the intro and was like, “Damn! This could work.” I recorded guitar for almost every song on In Bloom. The only track that doesn’t have it is ‘Above Us’. W: Thanks for your time Dpat, it’s been a welcomed gift absorbing the music on In Bloom and we wish you the best of success with Soulection and the other collectives you are working with. Cheers. Dpat: Bless. Thank you.
SKY FERRERIA By Micaiah Carter
SKY FERRERIA’S NEW ALBUM INTRODUCES A NEW TYPE OF SOUND / VIBE WITH HER NEW ALBUM NIGHT TIME, MY TIME
When Sky Ferreira turned up recently at an Echo Park muddied others’ notions of who Ferreira was. Ditto her watering hole to talk about her debut album, the sing- arrest in mid-September for drug possession. er’s seen-it-all manner — joyless expression, slumped shoulders, eyes hidden behind dark sunglasses — hard- “I had all these people telling me that I needed a hit, that ly communicated the giddy excitement of an artist on I needed to change,” said Ferreira, now 21. Her bleachher way up. But it wasn’t entirely unexpected of some- blond hair was tucked beneath a black-leather baseball one who’s been through what Ferreira has. cap, and as she recounted those years of frustration, her gloomy demeanor lifted, replaced by a goofy cheerfulness. In 2007, when she was 15, the Los Angeles native “But I’m stubborn, and I wasn’t willing to change.” She signed a major-label record deal after developing a laughed. “I can be a little self-destructive that way.” following with songs she’d posted on Myspace. Yet stardom failed to materialize for Ferreira, who says she That surprising exuberance — and that honesty regarding spent the next half-decade enduring the label’s grinding her own character — course through “Night Time, My indecision about what kind of singer it wanted her to Time,” Ferreira’s long-awaited album. Finally released last be. week on iTunes (and due in other stores Tuesday), it’s a bracing electro-pop jolt that spikes pretty girl-group meloAssigned to work with a succession of top-level song- dies with blasts of jagged noise. writers and producers, she completed scattered singles and EPs — including last year’s five-song “Ghost” — Still, Turner insists the label is committed to the project. but couldn’t come to terms with her bosses about the Later this month, he said, Capitol will release a set of shape of her first full-length. B-sides from the album. To support herself she moved to New York and began modeling, eventually scoring gigs for Calvin Klein and Marc Jacobs. But even that success, she says, made it harder for her to do music; the pouty pictures only
LIBRARY ARCHIVES By Meg Dailey
A hardcover book of inspirations and ideas from Alexa Chung, including bits of her personal writing, drawings and photographs. Learn all about her thoughts on life, love, music and fashion - even how she decides what to wear in the morning!
“In Between Days” is a softcover novel that paints a portrait of an American family trying to cope - it’s a story of choices and of doubts, told with piercing insight and psychological suspense. This is a novel about love and family, about betrayal and forgiveness and about coming home. Published by Vintage.
The definitive, intimate, no-holds-barred hardcover biography of Johnny Cash, written by the only music journalist to attend the legendary Folsom Prison concert in 1968. Drawing on his personal experience with Cash as well as never-before seen material from the singer’s inner circle, the author provides a firsthand portrait of an icon, one who influenced country and rock music in equal measure, while living a wild, meaningful and memorable life. Published by Little, Brown and Company.
Courtney Angela Brkic’s “First Rule Of Swimming” is a haunting hardcover, one that explores the legacy of betrayal and loss in a place where beauty is fused inextricably with hardship, and where individuals are forced to make wrenching choices as they are swept up in the tides of history. Published by Little, Brown and Company.
A memoir of downtown New York City in the 90s, this candid, wistful, touching, and hilarious paperback book tells the story of Marc Spitz, a suburban kid searching for authenticity, dangerous fun, and druggy, downtown glory: first during New York’s last edgy era, the pre-gentrification ‘90s, and finally as a rock writer, partying during the music industry’s last gasp. Thrill at brushes with famous characters from Morrissey to Courtney Love, then read along as a post-9/11 breakdown and an improbable new love leads him to find his true self. Published by Da Capo Press.
ALEXIS BY MICAIAH CARTER STYLE: TANYA SALAMI AND CHLOE SNOWER PRODUCER / CREATIVE DIRECTOR: MEG DAILEY
GILBERT BY MICAIAH CARTER
JANA BY MICAIAH CARTER STYLIST : TAYNA SALAMI MAKE UP : SARAH SALICE CREATIVE DIRECTOR : MEG DAILEY
JULES BY MICAIAH CARTER CREATIVE DIRECTOR BY MICAIAH CARTER
WES ANDERSON By Meg Dailey
WES ANDERSON Wander Magazine: Did you go to the movies a lot as a WNDR: I gather that the first in the series of dots that kid? And if you did, were any films or filmmakers par- led to you making your first feature happened at the ticular favorites? University of Texas. How did you and Owen Wilson first cross paths? And what was the root of the idea for Wes Anderson: Yeah, I did go a lot. As a kid, I loved the Bottle Rocket, initially as a short? Pink Panther movies, and I loved Star Wars and Indiana Jones and [Steven] Spielberg, in general. And then Anderson: Well, Owen and I had a mutual friend who also there was a revival theater in Houston, where I’m had gone to my school in Houston and had subsequentfrom, and that’s where I saw the Pink Panther movies ly gone to military school with Owen in New Mexico, and also [Alfred] Hitchcock, and I loved some of those. and we knew about each other through him. We met You know, Hitchcock and Spielberg were kind of the without him introducing us, because we were in a class first two filmmakers where I was really aware, “There together -- a playwriting class -- and we never spoke is a guy who was behind of all of this who we’re not during the class, but, at the end of it, we, sort of, reseeing.” alized that we were the people who our friend knew. Somehow, it sort of occurred to us; Owen just walked up to me in the hall one day and started talking to me WNDR: When did you first experiment with filmmaking, as if we knew each other. In fact, what he talked to me even just messing around? about was he asked me which creative writing class he ought to take -- he was asking about which professor Anderson: My father got me a Super 8 camera -- a -- and I told him the one I thought. We were both writYashika Super 8 -- when I was, maybe, 8. I want to say ing short stories, and we started showing them to each it was my eighth birthday. And so I started making little other and getting help from each other with them. Owen one-reel shorts, which are like three minutes long, with was actually sharing an apartment with the mutual my brothers and my friends. And I think the first one friend, who had moved to Austin, sort of, along the way, was a library book that was probably not a very good after we’d been in this class together. They’d gotten story called The Skateboard Four; I think that was the the apartment that we shared together, and we started first one I did. working on Bottle Rocket as a feature script. You know, we wanted to write a movie script, and that was the WNDR: When you went off to college, was it already script we came up with. We started trying to film it as clear to you that filmmaking was what you wanted a feature with some money from our fathers -- we each to pursue for the long haul, or is that where it sort of borrowed $2,000 -- and we sort of ran out of money, emerged as that? and it became a short. Anderson: That’s where. I don’t know why I wasn’t more WNDR: So I guess you were happy enough with it to clear about it, because I’d spent so much time kind of submit it to Sundance. Did you ever imagine that it tinkering with movie stuff. I’d also joined this cable-ac- would provoke the sort of response and opportunities cess channel in Houston so I could use the equipment that it did? there and had made some little video shorts there. But I thought I wanted to be a writer, and it wasn’t really until I was in college that it sort of clicked with me that what I really wanted to do was be using cameras.
Anderson: Well, I don’t even think it was a question almost were gonna do it with Jersey Films, which was of whether we were happy with it or not. It was all we very supportive about it. But we ended up with Joe Roth had, and I don’t think it would ever have occurred to because it was so tiny in the Disney context; we had us to say whether this was any good or not, really. It more budget and just complete freedom, and that was was more like everything was depending on it. In fact, sort of what I was interested in. - WNDR we didn’t even really submit it to Sundance ourselves. We showed it to a guy who Owen’s father knew named Kit Carson, who became a sort of mentor to us -- the first of a few. He had been going to Sundance since it began, and he submitted it to Sundance on our behalf. And, in fact, at Sundance nothing really happened, you know? We were shown in the middle of a long program of shorts, and nothing really occurred at Sundance with it. But they also had us in this workshop there, a writing workshop, and we had a good time there, and it was encouraging. And then, separately, Kit had sent the script to a woman named Barbara Boyle and her partner Michael Taylor, and they had given the script to Polly Platt, and Polly had said, “I want to be a part of this.” Then showed it to Jim Brooks, and he said the same thing. You know, there was no buzz around the thing; there was no one else anywhere in the world who wanted to give us another $500 to make the movie. It just happened because of Polly and Jim. WNDR: Wow. And so that’s how the feature version came about? Anderson: Yeah. It’s entirely because of them that we made that movie at all. There was no backup option. WNDR: My memory from that time is a little hazy, but what I’ve read indicates that even the feature version wasn’t widely seen, but it was seen by important enough folks that it led to the next level of opportunities, including, I gather, Rushmore. Is that a correct reading of what happened? Anderson: Yeah. You know, it was the skinniest release, the narrowest release possible. I mean, maybe they put it on 40 screens. It made, like, $450,000 or something. So it was not seen. But one person who saw it was Joe Roth, and he wanted to do the next one. And also, not so long after the movie was done, we had this other script, so we sort of had a project ready to go. And that one, we have several, you know -- Mike De Luca initially wanted to do it, and we also did it with New Line, and Scott Rudin was interested. And that kind of got out, and there were a few ways that it almost happened. You know, we
One of Mr. Andersons most popular movies!
JIANG WEN By Micaiah Carter
JIANG WEN Jiang Wen is at the top of the world - the world of Chinese cinema, that is. His year-end release Let the Bullets Fly has just broken the box-office record for a domestic film with some 700 million yuan ($107 million) in gross receipts.
“With The Sun, I gave my heart and soul. I thought the audience would appreciate it and would not mind sitting on the grass by the river, so to speak. But to my chagrin, they were just like the girl in the De Niro film. They wanted the limo and the band even though they may not have good taste in music. They tended to The actor-director clearly savors the moment, sitting equate the bells and whistles with real love. So, with in his less-than-spacious office cluttered with wooden Bullets I gave them the treatment they preferred,” Jiang furniture in Bejing’s diplomatic compound while staff says, changing his use of the term for “girl” from the members shuffle in and out with all kinds of requests folksy niu er to an ostensibly chic but innately tacky and announcements. His sangfroid is not disturbed even meimei before the end of the interview. when told of an award for the film. That does not mean he is not proud of Bullets. It’s just He does not need others to tell him how great he is - not that Bullets, for him, is fun while The Sun is dead seriany more. ous. He is aware of all the political interpretations of his story that have sprung up across the Web and mainYet Jiang Wen is bitter - bitter about how his previous stream media. In 2007, I wrote a Freudian analysis of feature was received. He tries not to show it, but brings The Sun, and his response was condensed into a single two members of his Bullets team into our conversaword - “Sharp” - without elaboration. This time, I was tion because “they were also involved in The Sun Also intent on getting to the bottom of the affair. Rises”. “No, I did not mean to embed political meanings into And I suspect I have been granted this three-hour the story,” he says straightforwardly. When asked about post-premiere rare interview mainly because I, as a one detailed reading that supplied a background link movie critic, had praised The Sun Also Rises as the highbetween the two characters and how they joined the point of his remarkable directing career - although it 1911 Revolution together, Jiang pauses, saying he is was not understood by most of its audience. fine with this kind of creative annotation, but “the focus is too narrow”. Most people would call the 2007 The Sun Also Rises an art-house film and the new one a genre movie, even The Goose Town, the central setting for the movie, has though it does not fit neatly into an existing genre come to symbolize China for some film buffs with a gangster, heist or Chinese western. political leaning. Yet, in our dialogue, Jiang repeatedly uses the location as an outing to the murky world of Jiang laughs off such attempts at categorization. He genre-film making. uses a scene from Once Upon a Time in America in which Robert De Niro’s character takes a girl to a fancy restaurant and overwhelms her with a live band and exclusive use of the venue.
Here at Wander we believe life is all about; expression its about exploring the different aspects of life; through fashion, film, art, and music.
Wander From the team at wander; we thank you for wandering through the pages of our first issue, and we hope you will join us again. please visit our website at; http://wandermag.tumblr.com thank you, The wander team