BELLO mag #73

BELLO YOUNG HOLLYWOOD

J UNE 2015

Starring

Copenhagen

PHOTO FESTIVAL Raw Art by

JSQUARED PHOTOGRAPHY Has Pop Music Helped

ENTITLED GENERATION? Create The

+ Summer Fashion #73

SHAMEIK MOORE +

by SAM ZACHRICH

MORGAN STEWART MATEUS WARD ELISE EBERLE

BELLO JUNE 2015

#73

Morgan STEWART

by ALEKSANDAR TOMOVIC

Scandi Snaps: THE COPENHAGEN PHOTO FESTIVAL RAW ART by JSQUARED PHOTOGRAPHY

Letter from the Editor Summer is upon us. It’s a season that promises new experiences and possibilities. It also marks the halfway point of our new year. For me, this year, it is a time to reevaluate what hasn’t worked thus far, and improve what has. Our new weekly format in itself is a new beginning, as well as an improvement. This issue we’re honoring the summer spirit by celebrating the arrival of new faces.

We introduce a new voice to the Bello team in contributing columnist Morgan Stewart, a voice certain to change the experience our readers have had with us in the past, and a collaboration I am very excited about. In the spirit of new experiences, we also introduce fresh-face Shameik Moore, star of this summer’s instant classic, Dope. Posters for his film are on every possible postable wall in Los Angeles and I believe that soon his face will be too.

I also believe that you can’t have experience without culture, a lucky formula that more than likely always results in fun, and so we’ve spotlighted a destination that embodies all necessary components of entertainment.

All those in this issue - as well as the magazine in its entirety - are coming into their own and treading new waters. We hope that you like discovering these talents and new possibilities as much as we do.

Dio Anthony Young Hollywood Editor

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CONTENTS 73 06

Letter from the Editor Contents Intro Masthead

SHAMEIK MOORE

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ELISE EBERLE

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MORGAN STEWART (ART COVER)

Spotlight - Mateus Ward Has Pop Music Helped Create the Entitled Generation?

ART COVER

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Copenhagen Photo Festival Raw Art by JSquared Photography +Fashion List

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Photography ALEKSANDAR TOMOVIC

FORWARD The sun is all over California, and we are having hard time concentraing with this smell of the ocean calling us to leave everything and go for a swim. Yes, summer is finally here, and boy were we ready for it. I hope you guys have some great plans, but in case you need inspiration always check @BELLOmag instagram to see what our editors and contributors saying.

Young Hollywood has been one of our most popular sections of BELLO mag and we are so happy that with this issue it is becoming a stand alone entity of its own, and we are inviting you to tell us who and what you would like to see in upcoming issues @BELLOmag .

Our cover boy Shameik Moore has already started gracing big screeans in movies like Dope, and he only has more to come. We are also making an exception in this issue by adding one more cover, and that’s ART with Morgan Stewart (from Rich Kids of Beverly Hills), who will also be our regular contributor beginning with our next issue. I photographed Morgan, and let me tell you, she is beyound amazing, and we are so excited to be her as a part of our team.

Enjoy the summer, Ciao Aleksandar Tomovic

INTRO Indie film, DOPE, has been buzzing loud and clear, and we are happy to announce that we have new-comer and main lead, Shameik Moore covering our Young Hollywood issue. Also attached to this special issue is Salem’s Elise Eberle and Disney channel’s Mateus Ward.

Also, the inside ART cover is Rich Kids princess, Morgan Stewart giving us serious grafitti realness in an editorial shot at The Style List in Hollywood by our very own Aleksandar Tomovic.

Enjoy, Leslie Alejandro Executive Editor Editor In Chief

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PUBLISHER

IMAGE NATION STUDIO L.L.C. California, USA editorial@bellomag.com

ADVERTISING

advertising@bellomag.com

Aleksandar Tomovic (editor in chief) alek@bellomag.com

Dio Anthony (young hollywood editor) dio@bellomag.com Stephane Marquet (creative director) steph@bellomag.com Leslie Alejandro (executive director) leslie@bellomag.com Warren Alfie Baker (fashion director) warren@bellomag.com Fabio Fernandez (fashion news director) fabio@bellomag.com Kimmy Erin (fashion editor) kimmy@bellomag.com Hiko Mitsuzuka (entertainment editor-at-large) hiko@bellomag.com Brad Liberti (entertainment editor) brad@bellomag.com Nicole Walmsley (beauty editor) nicole@bellomag.com Steven Carver (international editor) steven@bellomag.com Brent Lambert (design and technology contributor) brent@bellomag.com Amanda Peixoto-Elkins (creative director, latin america) amanda@bellomag.com

COPY EDITOR

ASHLEY HERBINGER ashley@bellomag.com

LAYOUT

NEBOJSA DOLOVACKI

CONTRIBUTING WRITERS

DIO ANTHONY (Young Hollywood) MICHELLE GANNEY (Young Hollywood) JSQUARED (Art) KATHLEEN NEWLOVE (Art)

CONTRIBUTING PHOTOGRAPHERS

ALEKSANDAR TOMOVIC (Los Angeles) JSQUARED PHOTOGRAPHY (Los Angeles) MARC CARTWRIGHT (Los Angeles) SAM ZACHRICH (Los Angeles)

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COVER STORY

We Want

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Moore

BY DIO ANTHONY PHOTOS BY SAM ZACHRICH

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ON JUNE 19TH, JUST TWO DAYS BEFORE THE KICK-OFF OF SUMMER, WRITER/DIRECTOR RICK FAMUYIWA RELEASES HIS SURE-TO-BE HIT, DOPE, IN THEATERS WORLDWIDE. FOLLOWING A STANDING OVATION AT THE OFFICIAL CANNES PREMIERE OF THE COMING-OF-AGE FILM THIS PAST MAY, AMERICAN AUDIENCES ARE BOUND TO FALL IN LOVE WITH DOPE AND ITS CHARACTERS. Such was the case with Famuyiwa’s wildly successful soul-love romantic comedy Brown Sugar back in 2002.

The Inglewood set film (Dope) trails good guys Malcolm (Shameik Moore), Jib (Tony Revolori) and their gal-pal “Diggy” (Kiersey Clemons) as they fall into a metaphorical bucket of worms, leaving them fleeing for their safety in a drug-filled neighborhood known as “The Bottoms.” Dopealso stars forces like funny-man Blake Anderson, Rapper A$ap Rocky, and indie princess Zoë Kravitz.

Judging by the film’s instant acclaim and buzz, not to mention the momentum surrounding Dope’s leading man, it really comes as no surprise to us at Bello that the world wants Moore. And thanks to this popular demand, we’re getting just that. “I’m so thankful. I’m enjoying every moment and taking it all in,” says 20-year-old Shameik Moore.

“All the love and positivity from everyone is making me dream even bigger.” The positivity he speaks of is neither distant nor faint. Dope was produced by Forest Whitaker, Pharrell Williams and Seam Combs, but it was the story’s authenticity and performances that prompted more than five production companies to offer distribution deals after its debut at 9

Sundace this January, after which the film was ultimately sold to mega-house Open Road Films. Moore says it’s the hard honest work put into the movie that is to credit for the quick praise. “I think Dope will affect everyone because it’s relatable, and it was made with passion. We all like to experience something genuine, something that touches our soul.” Touching, yes. Entertaining, yes. Called “one of the freshest films of the year” by The Huffington Post? Most definitely. But what was it really like, being directed by Rick Famuyiwa? To Moore, who immediately watched The Wood upon hearing he got the part, it felt like more than a professional relationship. “Rick always had a big brother vibe oozing from him,” recalls the Atlanta native. “He always looked at me with belief in his eyes.” Growing up, Moore wasn’t a whole lot different than his Dope counterpart. Like Malcolm, the actor was well-liked among peers, though not a nerd. People were always asking him to show off his dancing skills at any given time. “I always put my energy into my art, so thankfully, I was fortunate enough to have a family that believed in me.”

You’ll be seeing him next in the genius Nextflix original The Get Down, a series

that takes place in 1970s New York City at the coming up of hip-hop and punk culture. The series, according to creator Baz Luhrmann, has been in the works for a little bit over a decade.

With a release slated for 2016, Moore will play South Bronx teenager Shaolin Fantastic, an eccentric street-kid with an unpredictable streak. Though he declined to comment on the goings-on of production, or shed light on possible storylines, Moore did say his audition prior to getting the part was by far his most interesting audition to date. With Luhrmann as his latest supporter, there’s no telling where Shameik Moore will be a year from now. Premiering another buzz worthy film at Sundance?

Maybe. Releasing a studio-album a la Empire after the release of his musicallycharged Netflix series? Possibly. What he is sure of is his first love, music, an underlying theme that has attracted him to projects well worth being a part of, and it’s that passion that continues to drive Moore, regardless of his recent successes. “Music is my first love; it flows through me so freely that I touch it and manipulate it while I’m dancing.

When I hear music, I see colors, and I feel the energy that is being projected.

I think that’s why I really appreciate music that makes me feel good.”

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Photographer SAM ZACHRICH www.samanthazachrich.com Stylists ASHLEY ELIZABETH and ENRIQUE MELENDEZ www.blackboardgroup.com Groomer CHANEL PANAGIOTOPOULOS www.badassbeautytv.com/ Photo assistant KRISTI NEILSON YOUNG HOLLYWOOD issue - BELLOmag.com

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YOUNG HOLLYWOOD

SAILING SALEM:

Elise Eberle WORDS BY MICHELLE GANNEY PHOTOS BY MARC CARTWRIGHT

ELISE EBERLE IS NO STRANGER TO THE HOLLYWOOD SCENE, HAVING ACTED SINCE THE TENDER AGE OF TWELVE. “I GOT THE BUG EARLY. AS AN ONLY CHILD WITH MUCH ALONE TIME, I HAD MANY FRIENDS IN THE MIRROR. I LOVED CREATING DIFFERENT CHARACTERS AND SCENARIOS AND DISCOVERING EXCITING WORLDS OF MY OWN. I LIVED IN THE LAND OF MAKE BELIEVE FOR HOURS ON END...SOMETIMES EVEN DAYS.” Despite embarking on the showbiz world at such a young age, it seems Eberle takes the challenge in her stride, although she does admit it can sometimes be nerve-wracking. “I have a tendency to try to raise the bar every time I perform, so the key is to not thinking about being ‘in the spotlight,’ but instead, being in the moment. Nothing is more important than that.”

There were certain iconic characters that lead Eberle to commit to her dream of becoming an actress. “I think as a child, characters inspired me more than a particular celebrity, like Rose in Titanic, or Roxanne in Cyrano de Bergerac, or Jo March in Little Women.

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Come to think of it, the stories they carried with them were as influential as their personalities.”

Eberle has appeared in her fair share of productions, Teardrop and Tiger Eyes among them. Her big break, however, arguably came with the hugely successful fantasy thriller Salem, in which she plays the emotionally tormented Mercy Lewis.

Eberle revealed her closeness and admiration towards co-star Janet Montgomery from the set. “I always love working with Janet. It’s playtime whenever we have a scene together, so much fun.

And considering how hard she works, coming in so prepared and doing so flippin’ well, it’s inspiring.”

However, Montogmery isn’t Eberle’s only muse. She has a ‘wish list’ of inspirational actors and actresses she hopes to work alongside in the future. “Wow, there are so, so many.

From Cate Blanchett, to Ralph Fiennes, to Marion Cotillard… the list can go on and on.”

Everyone knows the acting scene isn’t an easy one and it seems Eberle’s favorite quote is rather telling of her experience in the industry thus far: “a smooth sea has never made a skilled sailor.”

Watch this talented actress in action – Season 2 of Salem premiered on Sunday 5th April on ET/PT on WGN America.

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Photographer MARC CARTWRIGHT www.marccartwright.com Hair MELISSA DEZARATE for Exclusive Artists Makeup ANTON for Exclusive Artists 21

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YOUNG HOLLYWOOD

YH Spotlight:

Mateus Ward PHOTOS BY MARC CARTWRIGHT

MATEUS WARD IS BEST KNOWN FOR PLAYING MARCUS DAVENPORT ON THE POPULAR DISNEY XD SERIES, LAB RATS, BUT THAT’S ABOUT AS DISNEY AS THIS YOUNG UP AND COMING ACTOR GETS. HIS ROLE AS JAKE SANDERS ON THE CBS THRILLER HOSTAGES WAS A DARK CHANGE OF PACE, AND HIS CURRENT ROLE ON THE NEW SEASON OF TNT’S DRAMA MURDER IN THE FIRST IS EVEN DARKER. WE SAT DOWN WITH MATEUS TO TALK ABOUT THIS NEW ROLE AS DUSTIN MAKER, AND WE SOON REALIZED THIS OLD SOUL IS DEFINITELY ONE TO WATCH! YOUNG HOLLYWOOD issue - BELLOmag.com

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· When did you realize acting was a passion of yours?

For as long as I can remember, I’ve always been a performer, whether it was making movies with a flip camera or putting on plays and concerts for neighbors in the cul-de-sac. When I was nine years old, I did my first play and that’s when I realized I wanted to be an actor. · Tell us how you pick and choose the characters and projects you want to invest in.

The most important thing to me is great writing. I look for complex and interesting characters, someone who has secrets or something to hide. I am interested in characters with strong internal struggles, and projects that are unique and surprise me. If I really like the part, then I stalk IMDB and see who is producing, who is directing, the casting directors and writers and what they have all done. For Murder in the First, I was like, Steven Bochco, YES! He’s amazing. I wanted the part so badly! · We hear you are into martial arts.

What’s your favorite style?

I can’t really choose just one. I practice Jui Jitsu, Muay Thai, Boxing, and Eskrima. I’m very fortunate; I’ve got this great mixed martial arts teacher who teaches me not only the skills, but also the philosophy behind the different martial arts. Lately, I have been learning the bow staff, and it’s really awesome. · Being so young, what has been your biggest lesson in the business so far?

Work hard, have fun, and enjoy it. · You are currently working on a movie with your dad. Tell us about the movie and the inspiration behind it.

Rebel is an anti-bully project that my dad and I are currently working on together. It’s cool, like a family thing.

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We wanted to do a project around bullying, but focuses on apathy. We wanted to explore not just the bully, or the victim, but the people who don’t stand up or speak up. The ones who do nothing. Bullying is a huge issue right now for so many kids, and I just think if more people had the courage to take a stand, we could make a change. It’s really exciting to work on a project that means so much to me and is so close to my heart.

· You currently play the role of Dustin Maker on the TNT drama, Murder in the First. What drew you to the character?

I thought the role was incredible! Dustin is a very complex and challenging character. I am always interested in characters with a secret. When I read a script, I like to look for things not said. Dustin is constantly thinking and planning. He has the ability to

assess a situation and adapt to it. This series brings forward a very prominent issue in society that needs to be discussed. That really inspired me to play Dustin as truthfully as possible, and bring humanity to the role. I just hope I am doing it justice. · What can the fans expect from the new season and what are you excited most about?

I can’t give that away. All I can say is no one is what they seem. Everyone has secrets, and what happens this season is really shocking! · From each project, what do you try to take away with you?

The best thing about each project I do is that I get to meet all of these amazing people from so many different backgrounds. So I guess I would have to say the friendships and mentors. This is the most talented cast and incredible crew. I really love working on this show and with everyone involved. · In your career, you have worked with a lot of big names. What has been your favorite project so far, and who would you like to work with again?

That’s impossible to answer. I have been fortunate to work with so many extraordinary actors, and have learned so much from all of them. If I had to choose, I would love to work with MaryLouise Parker again. I loved working with her on Weeds! · What is next for you?

To continue on this incredible journey and bring to life rich characters. But for now, I would really love to go to Disneyland!

Photographer MARC CARTWRIGHT www.marccartwright.com YOUNG HOLLYWOOD issue - BELLOmag.com

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YOUNG HOLLYWOOD

BELLO SOAPBOX:

Has Pop Music Created The

“Entitled Generation”?

All around the world, pretty girls, Jump the line to the front, Do what we like, get what we want, We’re just so pretty!

WORDS BY HIKO MITSUZUKA (@TheFirstEcho) PHOTOGRAPHY ALEKSANDAR TOMOVIC

- “Pretty Girls” by Britney Spears and Iggy Azalea Britney and Iggy’s highly anticipated single, a wannabe summer anthem if there ever was one, finally leaked after weeks of speculation and buildup throughout the music blogosphere.

The behind-the-scenes photos of the music video promised a fun romp with both pop starlets, surrounded by hot guys, flaunting some ‘80s-inspired fashions. The collaboration seemed like a match made in pop heaven: a chart-topping rapstress who enjoyed a successful 2014 and pop’s (arguably) reigning princess, who could enjoy some success on the charts while she hits the home stretch of her Las Vegas residency.

I’ll just say it now. “Pretty Girls” is... okay. On the surface, it seems to mimic the sparkly-rebellious nature of a Charli XCX or Icona Pop jam.

Brit sounds “pretty” good, and Iggy does her requisite wordsmithing in between, but if you listen carefully to its let’s-party-and-have-a-good-time sensibility, you might hear something else. Read between the lyrics, and you get an indication of the current state of pop music...and its listeners. These two female artists are representing a generation that has been raised to believe they can have it all (especially if they bare their midriffs and pout their lips).

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Call me an aging fogey who’s too critical of Top 40 these days, but this new jam made me realize something: could the superficial messages behind some of today’s biggest hits be reinforcing a generation’s beliefs and values to be equally superficial? You hear about older generations complaining about “today’s generation” being too spoiled or - the new word du jour - “entitled.”

But is a luxe lifestyle, more than ever, being overtly glorified in pop culture, particularly in pop music?

Give me to me, I’m worth it.

Baby, I’m worth it.

Uh huh, I’m worth it.

Gimme gimme, I’m worth it.

- “Worth It” by Fifth Harmony feat. Kid Ink Of course, this could be a matter of which came first, the chicken or the egg: did the youth of America always feel entitled, and their music just started reflecting their tastes? Or is it the other way around? I can’t help feeling it’s the latter.

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Entitlement is more prevalent in American pop culture for a number of reasons. Thanks to technology, and to put it simply, we’re used to receiving things faster. YouTube musicians are thrust into the spotlight (usually on Ellen) after just one video goes viral.

Someone makes an Internet splash, and they’re immediately catapulted into everyone’s news feed. Order a book on Amazon, and you can get it the same day! Therefore, we expect more things to happen more quickly. We expect more stuff to come to us more quickly. We expect everything now, and this includes everything from a wellpaying job after college to the overall glory of success, wealth and happiness.

Granted, a child’s upbringing is also a definite factor - the values and morals instilled at an early age - but we’re talking about outside forces that can shape a person’s outlook on life here.

Songs about flaunting one’s riches, enjoying life, and demanding only the best have been around for some time.

Sheila E’s “Glamorous Life” from 1984 was arguably the first anthem of its kind, a product of the Reaganomics-fueled ‘80s, a time when everyone believed in sparing no expense.

Then, the following year, a little song called “Material Girl” by Madonna hit the airwaves, perfectly encapsulating the unapologetic philosophy of demanding wealth and excess (“The boy with the 27

cold hard cash is always Mr. Right.”).

And let’s not forget the countless music videos that paraded around pimped-out cars, various bling, and a never-ending supply of scantily clad women (and very little men) throughout the late ‘90s and early aughts. The messages were blatant: “Look at our fabulous lives.

You could have this too. Don’t you want to be like us?” One glaring omission: the question that asks, “How does one achieve all of that wealth?”

Those were just music videos. The amount of singles with lyrics celebrating superficiality over the past decade has been, frankly, a little sickening. Going back to 2006, Fergie’s “Glamorous” unabashedly embraced a luxe lifestyle.

Naturally, the music video for this ode to “floss” had no problem rubbing bottle service and private jets in our faces. MGMT sang about marrying models and bingeing on cocaine and heroin in 2008’s “Time to Pretend” (albeit ironically, it was one my top tracks of the year). And according to Mashable.com, “much of the criticism surrounding Jay-Z’s new record Magna Carta Holy Grail pointed to Jay-Z’s insistence on continuing to rap about his wealth. This was exacerbated by the controversial Samsung deal that earned him $5 million and RIAA’s platinum certification” before the record even hit shelves (I mean, the dude even dedicated one track to fashion mogul Tom Ford).

Unlike Madonna’s “Material Girl,” today’s hits aren’t entirely indicative of a society experiencing a booming economy in which everyone can splurge on luxury items. Sure, we might be slowly bouncing back from the financial nightmare that was the 2008 Recession, but the gap between the rich and the poor is wider than ever. Economic inequality has never been bigger. So why are more and more popular songs celebrating such high-end lifestyles? Is this supposed to be some kind of aspirational ploy? Are these songs designed to help encourage Americans to spend more and help the economy? To enjoy all the riches possible...without really earning it? I guess that would explain the shameless product-placement-filled lyrics that attempt to rhyme words with expensive labels like Grey Goose, Louis Vuitton, Cristal, and Prada.

Look at Pitbull, the current King of The Party Track. His latest single with NeYo, “Time of Our Lives,” is basically all about treating yourself because you deserve it. Sample lyric: I knew my rent was gon be late about a week ago.

I worked my ass off but I still can’t pay it though.

But I got just enough to get off in this club.

Have me a good time before my time is up.

Don’t get me wrong: I’m fine with a feel-good track to help you get pumped for the weekend, and I’m all for a song that inspires you to seek out the best things in life (God knows I’ve pushed a few here in this magazine). Pop music is, for the most part, inherently full of fluff designed to brighten your day. But it’s the increasingly aggressive push of these messages that is starting to become worrisome. The “feel-good” messaging behind most of these songs is arguably a disguise for what it really is: a rallying cry, a call to action for young people everywhere to demand whatever they want. Because they “deserve it.” Because they’re “worth it.”

But are they really?

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BELLO JUNE 2015

#73

Morgan STEWART

by ALEKSANDAR TOMOVIC

Scandi Snaps: THE COPENHAGEN PHOTO FESTIVAL RAW ART by JSQUARED PHOTOGRAPHY

JACKET VINTAGE TOP STYLE STALKER PANTS THE STYLE LIST

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ART

Rich

BY DIO ANTHONY PHOTOS BY ALEKSANDAR TOMOVIC

SITTING CROSS-LEGGED, ONE VERY EXPENSIVE HEEL ABOVE THE OTHER, IS MORGAN STEWART. IT’S A VERY SUNNY DAY IN WEST HOLLYWOOD, CA AND I’VE BEEN TASKED WITH THE VERY FUN DUTY OF INTERVIEWING E!’S LATEST PRODIGY. FOR TWO YEARS, MORGAN HAS ALLOWED CAMERAS TO FOLLOW HER AND HER VERY-WELL-OFF FRIENDS AROUND THE WORLD AND BACK IN HER SERIES, RICH KIDS OF BEVERLY HILLS. TODAY, SHE SITS WITH ME TWO SEASONS INTO THE TRICKY WORLD OF REALITY TELEVISION, HONEST AND SINCERE, AND READY FOR WHAT’S TO COME NOW THAT THE WORLD KNOWS AND LOVES MORGAN STEWART.

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Having the cameras around all the time and allowing them inside my home was definitely a little more awkward for me at first than I imagined it to be.

On screen, her life comes with the same highs and lows we all experience in friendship and love, but for the rich kids, it’s told on a backdrop of money and privilege, two things our Art Covergirl has no shame in having. Stewart is by far the favorite on the show. She’s funny, and smart and surprisingly insightful. She has kicked the “rich girl” stereotype to the curb, letting viewers at home in on the secret that being well off doesn’t mean you’ve lost touch with reality and, not to mention, that “rich” and “lazy” don’t always have to go in the same sentence. Her blog Boobs & Loubs couldn’t possibly have a catchier name; it’s a platform she started before her series hit E!’s Sunday night block. To Stewart, it’s simply “an extension of [her]self,” as she puts it. To fans, it’s another location for more content related to the star, which she’s okay with. Boobs & Loobs is “everything that embodies my personality, from fashion to small tid-bits, sometimes stories about my personal life...it’s just me. An online version of all parts of me.”

When you grow up in a way that to others is more reminiscent of a film than actual reality, there’s no shortage 33

of people interested in your voice, and all parts of you, and an online version seems fit. In this age, where your lifestyle and the act of sharing it with others can garner you a following, Stewart’s show couldn’t have come at a better time. Her star across social media is only growing with every tweet she posts and every photo she grams.

However, being a newbie, she admits it took some getting used to the entire process. “Having the cameras around all the time and allowing them inside my home was definitely a little more awkward for me at first than I imagined it to be.” The first season shed light on Morgan’s lighter side, witty and chic, but season two delves into harsher waters. “I knew what I was getting myself into, but I didn’t know how much work it was going to actually be.” Much to her surprise, it worked out for the best.

“I feel like I’ve learned so much. I feel like I have a work ethic I didn’t have before,” she explains. “People don’t assume that you work, but filming all day long, having people follow you, and having to watch yourself back... that’s not the easiest experience.”

Ever the optimist, though, she turns it

around. “Although I get to watch my imperfections on television, it gives me the opportunity to fix them.” That goes for those less-than-ideal moments, too. “Being true is the good, the bad, and the ugly. I say, if you don’t like it, you don’t want have to watch it, but I can’t make excuses, this is who I am.”

Growing up, she was only slightly different: shorter, but with the same amount of spunk. She remembers her childhood as not much different than the visuals and overall feel depicted in the ‘90s cult-classic Troop Beverly Hills. A big dress here, a busy pattern there. “It really was like that,” she says almost pensively. “I have memories of me as a young girl walking on Rodeo with my mom and seeing Fred Hayman, which is the yellow building the troops performed in front of.” Having never seen the building in person but the film more times than I can count, I think of the parallels of our upbringings, but then her next statement drives it home.

“Yes, I went to a French private school, but I’ve had the same friends since I was a kid. That’s important. That says a lot about a person,” and just like that, I see that she and I are not so different, and hers is a voice I’m not willing to see go just yet.

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TOP EKATRINA LEATHER SHORTS THE STYLE LIST (CHEAP MONDAY) SHOES BCBG

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TOP ASILIO PANTS HELMUT LANG

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TOP ASILIO

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TOP ASILIO PANTS HELMUT LANG

Photographer ALEKSANDAR TOMOVIC www.alekandsteph.com Stylist KAYLA FARHANG and BORY TAN at THE STYLE LIST www.thestylelistla.com Makeup KIP ZACHARY for Cloutierremix • Hair SCOTT CUNHA for The Only Agency • Location THE STYLE LIST 39

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ART

SCANDI SNAPS:

The Copenhagen Photo Festival

BY KATHLEEN NEWLOVE (@knewlove)

THE DANES ARE REPUTED TO BE THE HAPPIEST PEOPLE ON EARTH. WE ALL KNOW THAT SCANDINAVIAN RESTAURANTS, SPECIFICALLY NOMA IN DENMARK, RANK INTERNATIONALLY AT THE TOP OF THE LIST. WE’VE BEEN OBSESSED WITH SCANDINAVIAN DESIGN SINCE THE 1950S. WE’VE SPENT DECADES SHAKING OUR BOOTIES TO THE TUNES OF ABBA, ROXETTE, THE CARDIGANS, AND ACE OF BASE. NOW IT’S TIME TO FALL IN LOVE WITH SCANDINAVIAN PHOTOGRAPHY. Five years ago, Julie Navne Klitbo and Rasmus Ranum got together and founded the Copenhagen Photo Festival to create an international platform for contemporary photography in Denmark and to raise awareness about Danish and Nordic photography. The festival takes place this month at various locations in Copenhagen, Denmark.

Klitbo and Ranum each run their own photo agencies, BLINK and SUMO.

June 4 - 14 2015

CELEBRATING PHOTOGRAPHY WWW.COPENHAGENPHOTOFESTIVAL.COM FACEBOOK: COPENHAGEN PHOTO FESTIVAL

There are multiple installations by dozens of different photographers, as well as instructional workshops in Photoshop. Guests can attend seminars, film screenings, and come to hear the artists talk directly about their influences and their methods.

We are really excited about the photo marathon where contestants participate in 6-, 12-, and 24-hour camera competitions across more than 14 cities throughout Denmark. There is even a 6-hour smartphone photo competition. The participants receive a different topic each hour with specific challenges that they have to complete.

ALMLöF GALLEry │ ArBEjdErMuSEET │ ArTIBS │ BANjA rATHNOV GALLErI & KuNSTHANdEL │ BIBLIOTEKET rENTEMESTErVEj │ BLAA GALLErI │ BOrCHS BuTIK │ BrEAdFIELd │ BrEdGAdE KuNSTHANdEL │ BruuN rASMuSSEN AuKTIONEr │ ByENS HEGN │ CAFé dOLOrES │ CAFé rETrO │ CANON │ CArLSBErG ByEN │ COPENHAGEN STrEET FOOd │ dANMArKS MEdIE- OG jOurNALISTHøjSKOLE – FOTOGrAFISK KOMMuNIKATION │ dANSKE GrAFIKErES HuS │ dET GrøNLANdSKE HuS │ dET NATIONALE FOTOMuSEuM │ dFI │ duNKErS KuLTurHuS │ dr KuNSTKLuBBEr │ FIFTFIFTy GALLEry │ FOTOGALLErI VASLI SOuzA │ FOTOGALLErIET [FOrMAT] │ FOTOGrAFISK CENTEr │ GALErIE PI │ GALLErI BENONI │ GALLErI BO BjErGGAArd │ GALLErI CHrISTOFFEr

EGELuNd │ GALLErI IMAGE │ GALLErI KANT │ GALLErI KrEBSEN │ GALLErI LOrIEN │ GALLErI NABOLøS │ GrAFISK EKSPErIMENTArIuM │ GrILLEN – KONTOr & ATELIEr │ GrOuNd FLOOr PrOduCTIONS │ GALLEry VON SCHMOrdENFAdEN │ HANS ALF GALLEry │ HArBO BAr │ HOMELESS GALLEry │ HVIdOVrE BIBLIOTEK │ IN THE GALLEry │ IVAN GruNdAHL GALLEry │ KASTANjEVEjENS EFTErSKOLE │ KONTOrPrOjECTS │ KrABBESHOLM HøjSKOLES FOTOLINjE │ KøBENHAVNS FILM & FOTOSKOLE │ KTS –FOTOGrAFuddANNELSEN │ LE FIx │ LENS CuLTurE │ LITOGrAFISK ATELIEr │ MAdS NørGAArd COPENHAGEN │ MArTIN ASBæK GALLEry │ OFFICIN │ PAVILLON NO. 11 │ PETEr LAV GALLEry │ PHOTOrIET │ PHOTOTEKET │ ruMMET – KAFFEBArEN På AMAGEr │ rIGSdAGSGårdEN │ råHuSET │ SCHILLErHuSET │ SIxTyEIGHT │ SKåNES KuNSTFOrENING │ STAdENS MuSEuM FOr KuNST, CHrISTIANIA │ THIrd SPACE │ udSTILLINGSSTEdET SydHAVN STATION │ VErA │ VErdENSKuLTurCENTrET │ zOOM – PrOduKTIONSSKOLErNES FOTOudSTILLING │ øEN │ øKSNEHALLEN │ øSTErBrO BIBLIOTEK │ öSTrA GrEVIE FOLKHöGSKOLA © Lijie Zhang: Lao Zhang in Speech, 2013. From the exhibition Atheist by Lijie Zhang at Galleri Image May 1st - June 28th, 2015.

HOVEdSPONSOrEr

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One of the exhibits that we’re dying to attend is from the young Norwegian artist, Tonje Bøe Birkeland who, through photography, retells the history of past international adventures by showcasing certain images and then writing about them in journal entries.

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Also not to miss is Fryd Frydendahl.

His Something Borrowed, Something New, Something Blue solo exhibition is getting quite the buzz. He compiled a series of melancholy portraits into a video, unfolding each image one by one to explain his artistic process from start to finish.

No matter if you’re visiting Denmark, or if you live there - or even if you’re a shutterbug or not - the Copenhagen Photo Festival is one of the great art highlights of the season.

Martin Selway Bus Stop

Visit the Festival at copenhagenphotofestival.com for more information.

Tonje Boe Birkeland Letters From Mongolia

Fryd Frydendahl Tonje Boe Birkeland Anna Aurora Astrup

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ART

RAW ART by JSQUARED PHOTOGRAPHY:

Bello Local Artist Features PHOTOGRAPHY, CONCEPT, AND INTERVIEW BY JSQUARED PHOTOGRAPHY www.jsquaredphotography.com

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With NATE COTTERMAN, Glass Artist

IF YOU WERE LOOKING FOR THE SHOP NATE COTTERMAN WORKS OUT OF, YOU WILL PROBABLY MISS IT IN THE INDUSTRIAL AREA OF EL SUGUNDO, CALIFORNIA. IN A HOT, WAREHOUSE ENVIRONMENT, NATE TURNS MOLTEN GLASS INTO FINE BARWARE, DECANTERS, SCULPTURES AND LIGHTING, ALL DONE BY HAND AND AN ARTISTS EYE. ONE PIECE AT A TIME, HE CREATES HIS GLASS ART WITH PRECISION AND STYLE.

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Bello: Where did you grow up and what brought you to Los Angeles?

Nate: I grew up and spent my early 20’s in Ohio. In 2010 Joe Cariati (www. joecariati.com) offered me a job gaffing his designs in LA. I made the move with my wife, dog, and everything we owned in a Honda Civic.

What drew you toward blowing glass as an art form?

Glass blowing is mesmerizing to watch, let alone participate in. The process is what really drew me to the material. I like to compare it to throwing ceramics, without being able to touch it, while riding a skateboard. I really like the clean aesthetic you can achieve, because you can never actually touch it. I also like the community that is involved in glass making. The way we blow glass, it is necessary to have an assistant. You get to know the people you work with better than anyone else in your life. It is a small community with lots of sharing.

How did you get your start in the art of glass blowing?

I started blowing glass at the Cleveland Institute of Art in Ohio. I was always artistic growing up, good at drawing and painting. My father was a teacher and a carpenter, so I was always working with my hands. I went to college intending to pursue an industrial design degree.

For my first studio elective class I signed up for glass. The first day of class I tried to drop it and get into the ID (industrial design) elective. It was full, so I got stuck in glass. I never took the ID elective.

surrounded by modern design objects.

I like to create clean lines and simple forms.

When you design a piece, are you designing for a particular customer (a custom order) or are you designing for yourself?

I do a combination of both. I do a lot of work gaffing (glass making) for other artists, as well as creating both functional and sculptural objects based off of my own ideas and interests.

Because I like the process of glass making, I take my time making work for another artist. It feels to good to zero in on the art of making the object and get out of my comfort zone a little bit. I also like the reward and satisfaction of seeing my own designs being realized right in front of me.

What’s something that you have in the back of your mind that you want to try to make but haven’t yet?

I have sketchbooks and folders full of drawings and ideas I haven’t had time to realize. Hopefully some day I will.

The time helps weed out the ideas that I am not truly interested in and the ones I think are worth pursuing.

How did you come up with the idea for your signature Cube Glass?

I was home for a visit and drinking bourbon with my brother in law and he asked if I had ever thought of making a cup that would chill the drink without any ice. I came home and developed a couple designs utilizing the thermal properties of the glass, settling on the Cube Glass because of how it referenced an ice cube.

Can you tell us a little about the goblet constructions you create? Where did the idea come from and how difficult are they to make?

The idea of the constructions came from the process of creating a Venetian style goblet. It is made in 3 parts: the bowl, stem, and foot. You then attach the three parts together to create the finished cup. The constructions are a play on the disposable nature of the snap together models of my childhood and the elevated technical process involved in creating a Venetian goblet.

If you were not an artist working with glass, what else might you be doing?

I have always wanted to be a barber.

The community and the art of cutting hair are amazing to me.

You can see samples of Nate’s work and find out where you can buy his creations at his website, www.natecotterman. com.

What influences in your life have guided you towards your signature style?

The Venetian style of glass making from Mirano influences my aesthetic a lot when it comes to the look and feel of my glass. Historical glass, as well as modern design and function, also play a huge role in where my forms and shapes come from. Growing up with parents from the ‘60s, I was YOUNG HOLLYWOOD issue - BELLOmag.com

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With URI DAVILLIER at Neptune Glassworks

WALKING INTO NEPTUNE GLASSWORKS OFF THE STREETS OF DOWNTOWN L.A. IS LIKE WALKING INTO A DREAM FACTORY. WITH SPARKS FLYING, TORCHES FLAMING, AND A FULLY FUNCTIONING BAR, IT TAKES A MINUTE TO TAKE IT ALL IN. WHEN YOU TALK TO URI DAVILLIER YOU REALIZE THE ONLY LIMIT TO WHAT HE CAN CREATE IS YOUR IMAGINATION. COMBINING MATERIALS LIKE METAL, WOOD, CERAMICS AND GLASS ALLOWS HIM TO DESIGN BREATHTAKING LIGHTING, GLASSWARE AND ART. URI WAS MORE THAN HAPPY TO SHOW US EXACTLY HOW HE MAKES HIS VISIONS COME TO LIFE. 45

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Bello: Was design and art always a part of your life?

Uri: When I was a child, making art was a huge part of my life. I grew up in a household with two artistic parents who encouraged me to play with everything I could my hands on. I spent many years persuing an engineering degree and lost the artistic fire. Fortunately I had a friend that needed some help in the glass studio one night. I went to help him and it was a lighting bolt through my head. I’ve dedicated my life to making art and designing objects ever since.

Did you go to school for design or did you learn your skills on the job?

Both. I was a working artist for about four years before I realized that working in my own bubble was restrictive to my development. I enrolled at the Cleveland Institute of Art so I could connect to a larger circle of creative people. While I was there I refined my skills tremendously. Nonetheless, I learn something new every day.

Glass, ceramics or sculpture?

Which would you say is your true passion?

Glass is my true passion, and finding that I could express myself in that medium pushed me into a lifetime of art making. However, once I was immersed I found that limiting myself to glass alone was unnecessary. Therefore, I tend to think of myself as a sculptor who primarily uses glass.

Where do you get your inspiration for your works?

I look to find balance between three modes of production: the 47

handmade, the machine and the digital. I look to the craft of the past, the efficiency of the machine and the ability for the digital to bring them together.

What aspects of your life have influenced your style of art?

Primarily the detour into engineering for a few years.

I see that you have set up shop in a real creative, up and coming part of downtown Los Angeles.

Does the buzz of creativity in the area excite you and push your own creativity?

Absolutely. My studio partners and I definitely wanted to be at the front edge of the creative movement in our area. We chose the spot primarily because it was affordable, but seeing the changes that have happened in this neighborhood in the last couple years keeps us working harder every day to keep the momentum going.

If you were not designing, what else would you want to do with your life?

Build bridges.

What other activities do you participate in, and do you think they help you maintain your creativity?

I spend most of my weekends in the mountains. I like to get above the city so I can see it all at once. It helps me reboot and get my mind off of the details of what I do all week.

Be sure to go to www. neptuneglassworks.com to learn more about Uri’s designs in lighting, glassware and jewelry. You can also see Uri’s fine art there as well as find out how to contact him for your next design project.

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With LILI LAKICH, Neon Artist

UPON ENTERING LILI LAKICH’S DOWNTOWN L.A. STUDIO, YOU MAY ASSUME THERE MAY BE A LARGE QUANTITY OF WORK JAMMED INTO A SMALL SPACE. BUT AS LILI LIGHTS UP MORE AND MORE NEON, THE BUILDING KEEPS GOING DEEPER AND DEEPER, REVEALING MORE AND MORE GLOWING BRILLIANT COLORS. THE FARTHER YOU GO, YOU REALIZE THE VIBRANT NEON PIECES KEEP GETTING LARGER AS WELL. LILI WAS MORE THAN WILLING TO TAKE HER TIME AND EXPLAIN HER PROCESS IN CREATING HER ILLUMINATING SCULPTURES, AND YOU CAN FEEL HER PASSION FOR HER MEDIUM AS WELL AS HER PASSION FOR EDUCATING OTHERS ABOUT THE LOVE OF EVERYTHING NEON. YOUNG HOLLYWOOD issue - BELLOmag.com

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How did you discover your love of neon?

When my father came back from the Korean War, the first thing he did was buy a baby blue 1953 Chrysler. In it, we traveled all over the United States visiting relatives and old friends from California to Florida. By day, we read all the clever Burma Shave signs and stopped at every souvenir shop or roadside attraction that was made to look like a wigwam, teapot or giant hamburger. But it was driving at night that I loved best. It was then that the darkness would come alive with brightly colored images of cowboys twirling lassoes atop rearing palominos, sinuous Indians shooting bows and arrows, or huge trucks in the sky with their wheels of light spinning. These were the neon signs attempting to lure motorists to stop at a particular motel or truck-stop diner. It was always the neon signs that I remembered.

How did you go about learning the craft?

I went to a local sign company to ask if they would teach me how to work with neon. They said “NO, you can’t learn this.” But one man there pulled me aside, gave me a couple of scrap neon tubes (a white heart and a green script “Chocolate”). He drew me a diagram of how to wire them to a transformer and told me I could buy a transformer on Canal Street. I combined those neon tubes with plexiglass and that’s how I got started. I’m largely self-taught.

Neon seems like an unusual choice as a medium for fine art. What made you decide to use neon as your medium?

In Art School at Pratt Institute in Brooklyn, New York, I hated painting, printmaking and pretty much everything they were teaching except drawing.

When I found out that neon is drawing with light, I felt I had discovered the secret to the universe as well as to my own creativity.

Can you give us a quick run down of your process in creating your work from concept to completed piece?

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I start with a small sketch of what I want to make. Then I put the sketch into a projector on a rolling table to determine the size. I then draw the design full size on vellum and reverse it to draw the neon tubes. Then I copy the neon tubes onto a fire retardant material to give the pattern to a tube bender. Once I have the neon tubes, I cut out my honeycomb aluminum and mount the tubes onto tube supports and glass housings. The work is then wired to a transformer that boosts the 110 volts in a regular outlet to 5,000 to 12,000 volts in order to light the neon tubes.

Looking at your work, I see that you have been influenced by a wide variety of art, from renaissance painters to tattoo flash. What or who would you say has been the greatest influence in your own style?

Certainly my greatest influences have been neon signs in the landscape.

The light, the colors, the animation, the monumentality and the desire to

mark one’s place with such bravado all interest me. I had started out wanting to be a stained glass artist, but when I graduated from high school in 1962, there were no schools in the U.S. that taught stained glass. So I went to art school and by default it was there that I discovered neon.

I have been influenced by many things as well as people. While other kids collected baseball cards or dolls, I collected army patches and insignias. I loved their graphic depictions of eagles, panthers, lightning bolts, etc.

In the realm of art, my favorite painter is Alexei Jawlensky. I’ve always thought that had he lived in America, he might have been a neon artist.

My 75-foot sculpture, “L.A. Angel” (1992), at California Plaza on Olive Street incorporates a 1957 Plymouth Fury quarter panel as the angel’s wing.

Originally created for a bank in Beverly Hills, “Drive-In” (1984) now at 5890 Jefferson Blvd. in Los Angeles has a 1957 Chevy Bel Air as part of its vision of a 1950s drive-in restaurant. I also design and fabricate neon signs for stores and businesses, including 26 Out of the Closet stores and the Parking sign for the Metro Gold Line in South Pasadena.

What has been your largest piece to date?

Do you only create your own personal pieces or do people commission you to create art for them as well?

My largest work is “Flyaway” at the Van Nuys FlyAway bus terminal that is 114 ft. long. Made of aluminum, copper, brass and illuminated with 700 feet of neon tubing, it depicts an abstracted Pegasus connected to a flying human figure by means of colorful streamers.

In addition to personal work, I create work on commission for private homes, corporate buildings or public sculpture.

How long does it take to create something of that size?

It took me a year to actually fabricate the “Flyaway” sculpture, but as it was a percent-for-art commission for Los Angeles World Airports, it took the Los Angeles Department of Cultural Affairs four years to manage the project and another two years to install a plaque.

Can you tell us a little bit about your neon workshops?

Since 1982, I have taught an 8-week neon workshop whereby beginners with no previous experience or art training can learn to create their own neon sculpture or neon sign. Limited to 10 people at a time, the workshop takes place once a week for three hours. At the end of 8 weeks we hang the projects on the walls of my studio and have an exhibition party.

For more of a look at Lili’s work visit her website www.Lakich.com. You can find out more about her neon workshops there as well. Lili can also be found on Facebook at www.facebook.com/ LiliLakichStudio.

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