Portafolio Winter 2011 by Portafolio Magazine

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PYRO F IR E A N D I C E | T H E FA MI LY P OR TRAI T | EV ENT H ORI Z ON | EMP TY STRI NGS WINTER 2011

PORTAFOLIO TABLE OF CONTENTS

LETTER FROM THE EDITOR-IN-CHIEF

JHONNATAN HERNANDEZ-BONOLA

LETTER FROM THE DIRECTOR

SARAH ELIZABETH RICKER

CONTRIBUTORS

WINTER 2011 CONTRIBUTORS

COVER STORY

FIRE AND ICE

ART

MICHAEL SHAPC OTT MOLLY CRABAPPLE

ESRA RØI SE

FASHION

BRAVE NEW WORLD

EVENT HORIZON

THE FAMILY POR TRAIT

EMPT Y STRINGS

INTERVIEW

MARCK:VIDEOSCULPTUREN

NEW ARTIST SPOTLIGHT

ELENA JASIC COVER

PHO TO G R A P H Y EL EN A J A S I C | MAKE U P AR TI ST ELI Z A DAV I LA | MODEL OLI V I A ARDEN

PORTAFOLIO JHONNATAN HERNANDEZ-BONOLA EDITOR-IN-CHIEF |CREATIVE DIRECTOR | PUBLISHER SARAH ELIZABETH RICKER EXECUTIVE DIRECTOR | DIRECTOR OF ART ALMA BELEN GALVAN ASSOCIATE PUBLISHER | ASSOCIATE DIRECTOR JORDAN JAMES SCHROEDER FEATURES EDITOR BRYAN WHITELY ASSOCIATE DIRECTOR ERIC KRULL SUPERVISING EDITOR

PORTAFOLIO MAGAZINE WI NTER 2011 - VOL U ME II ISSU E II I S S N 21 56 -9525 (PRINT) | ISSN 2156-9533 (ONL INE) POR TAFOLI O M AGAZI NE I S PRINTED IN THE U SA AND PU B L ISHED B I-ANNU AL LY. SUBSCRIPTIONS AVAILABLE THROUGH POR TAFOLIOMAG.COM

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CONTRIBUTORS JU DE KEND AL L | M A UVAIS -RE E VE .O RG

A recent graduate from the London College of Fashion, Jude has spent some time assisting Mark Lebon before focusing on her own work. She doesn’t fit the normal mould of fashion photographers and seems to be constantly drawn to darker subjects, having shot editorials inspired by horror movies, succubi, murder and aliens. Jude is fascinated by people – not in the same way street photographers are, but finds that she projects onto others and so that the models she shoots become the people she wants to be. Jude is most inspired by characters from film, music videos, and photographs. Her general aesthetic is an amalgamation of her influences. Jude’s work always ends up on a spectrum of grungy but she finds the photographic process very important and tries to always shoot on film, using either black and white or color slide film, processing black and white film at home so that she always has a string of negatives across her flat. For her, digital feels very safe in comparison to film and there is no surprise, whereas with film, there can be an unmitigated disaster, but there can also be the biggest rush when you realize you have exceeded your expectations and created something magical. “I truly feel that the purpose of fashion photography is not to be a catalogue photographer who can take an accurate record of a garment. It is about encapsulating a mood and idea and inviting the viewer to fall in love with it.” TH EOD ORE AD OLPH-R E G IS FO R D | TH E O RE G IS F O RDS TY LI NG. TUMBLR. C OM

“My first real fashion memory is from the summer of 1991 when I was 5. It was really hot and my mother had dressed me all in white: white shirt, white shorts and we were on a long bus journey and I dropped chocolate ice-cream top down my top! My mother freaked and we had to go all the way back home to change me. That was my first real taste of the importance of style.” After I graduated from the London College of Fashion with a foundation degree in photography & styling, I interned at Giles Deacon for a season (that was super fun and such a great learning experience) before moving on to a Private Members’ boutique in Mayfair where I became a stylist assistant. After 15 months of working there I decided to go freelance, as I knew my dream was really to create amazing fashion editorials and I guess shape fashion, trends and the way people perceive fashion.” MICH A EL SHAPC OTT | MICH AE L-S H AP CO TT.CO M

Michael Shapcott was born on June 6, 1982 in Hartford, Connecticut and is a Central Connecticut-based painter, known for his daring color palette and emotionally charged portraits. His work deals with highly detailed graphite underdrawings which he then paints with colorful washes in oil and acrylic paints. In addition to painting, Shapcott creates art videos that track the process of painting a piece and showing his unique style of working. Shapcott studied illustration for two years before switching to fine arts for the remainder of his studies at Paier College of Art in Hamden, Connecticut, graduating in 2007 with a degree in Fine Arts. He credits his education for basic technical experience but feels that only in breaking some of the traditional methods he was taught and experimenting on his own did he develop the confidence, unique voice and style he continues to expand upon today. E LE NA JASI C | E L E NAJ AS IC.CO M

Serbian born photographer Elena Jasic began her self-taught photographic journey early on in her adolescent years. Elena’s aesthetic vision is simple, often minimal and always provocative. Now an internationally published photographer, the passion that led Elena to pursue photography continues to live on through her work.

MOLLY C RABAPPL E | MO LLYCRABAP P LE .CO M

“I learned to draw in a Parisian bookstore. My pen and ink technique comes from hours spent copying Alice in Wonderland and A Tart’s Progress. I soon fell in love with the feel of making ink lines – the crackle of the paper, the scratch of the pen nib, the sensual pleasure in drawing a curve. Back in New York I came across the subject most dear to my heart – artifice. As a model, I work in an industry where girls turn their bodies into art objects. It’s a beauty doubly poignant because it’s so short-lived. Most girls won’t last past thirty. My time as a burlesque dancer showed me plain women emerging from the club’s dressing room as goddesses. Through paint, feathers and pasties, they made themselves gorgeous. It’s beauty as a garment, a shell, a mask. In the two time periods I draw from most in my work – Victorian England and Rococo France – people tried to make their entire public lives as artificial as a burlesque dancer’s face. My characters, bewigged aristocrats and corseted ladies, are creatures of the polished surface. They’re molded by ornament – their corsets and cage skirts – and sometimes trapped inside. But as with any mask, there’s a face underneath. And the face in my work is smirking. For any mask, or mask like society, has a weakness. If you want to crack it, you only have to laugh. Thus, my characters have arched brows and sarcastic smiles. They want to let you in on a secret. It’s all terribly silly, isn’t it?” E SRA R ØI SE | E S R A R O IS E .CO M

“I’m Esra, a Norwegian freelance illustrator based in Oslo. I started out with 2 years at Einar Granum Scool of Art and recently finished a BA in Visual Communication at the Academy of The Arts in Oslo. Inspired by seemingly small unimportant everyday situations, and snapshot photography with their impulsiveness, bad cropping and weird angles. People around me, the fashion industry, music, awkward moments and imperfections” PH ILIPP ND ZANA | NDZANA.CO M

Moscow based, official photographer to Portafolio, Phillipe Ndzana (BKA: Philipp Ndzana or simply Ndzana) has a unique fashion sense and photographic style that has landed him important clients all around the world. His past contributions include the cover for the Portafolio Japan Special Edition, Back to Black, and, in this issue, Event Horizon. BRYAN WHI TEL Y | B R YANWH ITE LY.CO M

“I have always been infatuated with the human face and have connected with people when there is a camera in front of me. Moving to Chicago two years ago confirmed for me that photography is my passion. I will be taking photos the rest of my life. I want to continue to push myself and my work. Working with top agency professionals and people who are passionate about what they do inspires me.” MARCK | M AR C K . T V

Swiss contemporary artist and videosculptor Marck, shares with us his work process and point of views about the art scene of today on an interview with Jhonnatan on page 24.

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EDITOR’S LETTER As I was sitting in the train looking out the window on a cloudy Friday in late May, I could not help but notice how fragments of Kings of Leon’s The End, Revelry and Pyro were constantly replaying in my mind. As that day proved to have its own endings, its own burning guilt, it was thanks to those moments my curious mind drifted into an uncontrollable whirlwind of emotions. It was very obvious how the beginnings and endings and the struggles therein from the lyrics resonated with my own life. Aside from creating such striking visuals in my head, they made me think about many issues with acceptance, tolerance, and emotions –issues when the end of something really seemed like the end of the world ...but is it really? This is just an example of my curious, music-obsessed mind speaking. But, going beyond the emotional side of things, going into a deeper sense in imagery, what would it be like to visually juxtapose contrasting emotions? I am not going to lie. Sometimes when I do a shoot, whether I direct or shoot it myself, I get into character and out of my own head. Step outside the box, and step into a new one, to later step out of it again. I thought and asked myself, what would happen if there was a black sheep in the family? Then I told myself: “ That’s too typical”. The black sheep is obviously the rebel. It started to become such a cliché, how everyone wanted to be the black sheep of the family. I did not think to look for the reason why someone would be so anti-everything, questioning everyone’s existence and surroundings. Then I told myself, what is to be said about feeling alienated in ‘a new world’ where our surroundings instead of being welcoming, are hostile? Take the avant-garde story of Brave New World.

Venturing on to previously untouched territories of sci-fi and the futuristic where an alien shipwrecked on earth, was no longer a victim of circumstance; she started alone in a strange new world. But it was the hostility of her surroundings that became conniving and defiant and in the end she declares war on the world she now knows. What if in a tormented twist of reality, one of the boldest and darkest of the black sheep families in an avant-garde tomorrow were to have lived in the past? What if the predominating Mafia structure of the 40s were to be the standard for futuristic darker and less pulled-together families? A structure where an all-seeing private eye documents the cynical attitudes and exposes indirect sexual motivations? By taking inspiration from one of the most iconic American cinematographic eras, the 40s, and through a simple minimalist bold contrast with a wide array of monochromatic textures the style for the film noir story, The Family Portrait, deals with the issues of acceptance, tolerance, cynical attitudes and indirect subtle sexual motivations. In an effort to bring everyone reading this issue closer to each other, even to myself, I want to show how important emotions and visuals play out in the life of an artist, as sane or tormented as they may be, and show you how even the most bizarre of circumstances can relate to the most conservative or ‘alienated’ soul. This is by far the most personal issue I have opened myself up to do - living the ups and downs of an artist obsessed with abstract expressionism and surrealism in the reality of life. Dealing with the fiery moments of a tender but ice-cold heart that lives with the fear of hurting someone close with their obsessions and desires to be set free… all in striking visuals, I present to you: PYRO

Jhonnatan Hernández Bonola

Editor-In-Chief | Creative Director

A R T

MICHAEL SHAPCOTT CONNECTICUT

MOLLY CRABAPPLE NEW

YORK

ESRA RØISE NORWAY

MARCK

SWITZERLAND

ELENA JASIC

PENNSYLVANIA

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MICHAEL SHAPCOTT CONNECTICUT

The Girl and the Owl

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Above:

Dahlia Right:

Pele

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MOLLY CRABAPPLE NEW

YORK

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ESRA RØISE NORWAY

Goodness

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Pin Up Baby

Make Out

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Last Dance

FF2

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Frauenkiste, 2008

MARCK VIDEOSCULPTUREN

I N T ERVI EW B Y JH ONNATAN H ERNANDEZ -BONOLA

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Once in a while you come across a piece of art that rouses every single one of your senses. How can such a piece of art evoke so many senses, bring about so many questions, and impose a bold perspective? Behind the great work of an artist, the finished piece and its message always has something to do with the process and the artist’s life. Curious about Marck’s process and his point of views, we had the privilege to ask the Swiss artist some questions. JHB: What is the process of your work, from the inspiration to the presentation? M: As opposed to my inspiration, form and technology are no longer dominant in my mind. Crucial are the insights and situations, which I, at that time, want to reduce into a feeling. I then try to realize this feeling visually with form. The whole technical process is always accompanied by thematic confrontations. Obviously, I initially conceive the form and the content in my mind. Somewhere in the middle of the process of creating the work, I make the film. This is studio work. Then comes a raw cut and further treatment to the film. Finally I ‘tailor’ the sculpture and the film to together.

JHB: Marck, how would you describe the genre of your work? M: I think the best fit is conceptual videosculpturen, a combination of video and sculpture. Film offers the possibility of non-static narrative while the shape of objects and sculptures offers a design that has always fascinated me. It was only logical for me to combine these two mediums. With video, it is possible to take away the static from sculpture. Conversely, I can set real limits with the sculpture to the video. JHB: What seems to inspire you to make your artwork the most? M: I like to observe people, especially when women move in a certain situation. I am very interested in their behavior and in their movements. I try to reduce what I observed to a minimum and showing that in my video boxes, maybe in a quite pithy form.

JHB: What do you think is the role of an artist, like yourself, in today’s society? M: Art was and is just the food for the soul. Once the stomach is full, it is absolutely necessary to feed the soul. Art helps people to reflect in themselves, to occupy oneself with the human existence; but it also helps to trigger feelings, to ask yourself questions and to place yourself in a world you may not be yet so familiar with. The artist and his work, of course, can be only for entertainment, where it can be food for the insatiable public, or as I refer to it, Publikum, that increasingly consumes people into getting amused; but each artist makes his or her own decision as to what stage and for which crowd he or she plays. There are as many roles as there are artists in this society, and everyone has to know where in the equation he or she is standing in. JHB: Does your personal life completely influence what you create or do you create a world away, an escape, per se, from your personal life with your artwork? M: Is that possible? Is it possible to split personal life from making art? I think life is personal and so it also creates art, or at least life creates the topic. Often times there are personal themes people have not

IMAGE BY GMD THREE

yet solved subconsciously. In art, they come to the surface. They stand out, and I try to look at it from a different perspective. With mediums such as video and others materials, I try to design these themes into my pieces. JHB: Given the endless discussions about educated, degree-holding artists having a stronger career over self taught artists, which in my opinion, is not always true, do you think a degree in art defines an artist? Can anyone create art? M: This is obviously a topic of mine because I have never attended an art school. Not everyone can create art. Let me briefly explain how I define art: I believe art is to be able to cause the viewer something. There are people who make technically, excellent images. Only the images are also simply beautiful. If these images don’t trigger any emotions, questions, or other thoughts, to me they have not met my claim to art; they may just have been produced for decoration or perhaps, commercial purposes. I think artists have a strong urge, a strong feeling that they absolutely must get rid of, only for themselves. Only then, in my opinion, will an image become art. And it really does not take an art school to teach you that. Sure, an artist’s career is much more difficult without having attended an art school. You will not be taken seriously for a longer time by some of certain important institutions, public art galleries, or museums. You must create your way without government grants and other forms of support. Only when you achieve some international successes, will you be noticed in your homeland. It is not detrimental; one develops a certain edge and some business sense, but overall the way of an unsubsidized artist is hard.

JHB: The market for Fine Art, including contemporary artists, is currently suffering because of today’s global crisis in economy. Do you think that at the end of the day, it ends up being more important to be a creative businessman than to be an artist? M: Money is of course very important. Without money I can’t produce art. Therefore that is a compelling enough of a reason for me to think entrepreneurially. JHB: How would you define the perfect balance between selling and making art? M: I make artwork that I know I will find a buyer for and, therefore, it will sell. With this money I can also make artwork that I produce 100% just for me, without the intent to sell. Funny though, because these are so “pure” of any commercial intentions they end up selling so well, which amazes me because they are not planned. JHB: Do you consider yourself a supporter of the new talents in art? M: Because I have a lot to do with technology and more and more young artists that work with new media ask me for some help, tips, for technical stuff or other forms of support, I think I try to support my environment according to the best of my abilities. JHB: What advice do you have for these new artists? M: I recommended having no fears to come in contact with new materials and technical equipment. The more technical know-how and craftsmanship you have, the stronger the ability to implement which ideas are good ideas.

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Sichel, 2009

Unwohl, 2010

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Human Air System, 2005

Untitled (Burning Girl), 2011

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P O R T A F O L I O

N E W

P R E S E N T S

A R T I S T S P O T L I G H T

FIRE AND ICE ELENA JASIC: THE JOURNEY FROM WAR TO ARTISTIC PROSPERITY

BY SARAH ELIZABETH RICKER

Elena Jasic was born in Sisak, Croatia in 1988. However, wartime lead her family to flee the country first to Serbia, and finally to the United States. “The experience was both life-changing and maturing,” said Jasic. “I do not think anything of that magnitude ever leaves you as person. From time to time, I can still see the effect the war has left in my photographs.” For the last fifteen years, Jasic has been living in the United States on the east coast and has quickly turned her life from one of war-stricken destitution to one of promise. The opportunities afforded to Jasic in the United States have allowed her the resources needed to pursue her life-long goal of becoming a professional photographer. Jasic was always a creative child, but never really found her niche in any of the other arts. “I used to bring home drawings I did in middle school, but they were never refrigerator worthy,” said Jasic. “But all that changed when I finally got my hands on a camera.” Growing up with a mother constantly taking pictures, Jasic developed a unique attraction to the craft. By thirteen, she was experimenting with any equipment she could get her hands on: from point and shoot cameras to camcorders, even webcams. When asked if she remembered her first camera, Jasic said, “Unfortunately I do. It was a Nikon Coolpix point and shoot. It was my child, until I dropped it on the ground and it shattered. I felt like a part of me died.“

Fire and Ice, the cover story for this issue of Portafolio, displays the creative vision of self-taught photographer Elena Jasic. The images are dark and brooding, focusing close on the model’s face as she stares longingly out at the world. Through the use of expertly applied shutter drag and creative lighting techniques, Jasic delivers an editorial that is simultaneously personal, raw, and sensual.

Although widely respected in her local community, Jasic was not always a brilliant photographer with a stunning portfolio. Her breakthrough in the craft did not come until after she received her first SLR camera. The equipment finally allowed her more control and freedom to express her vision. “Shortly after the Coolpix incident, my stepdad surprised me with my first SLR, which was a Canon Rebel XTI. Back then I did a lot of experimental self-portraits, which slowly transitioned into shooting abandoned buildings. There was just something that attracted me to creepy places.” Over the years, Jasic’s collection of equipment has grown exponentially, including the recent addition of studio lighting. “There is a distinct difference between shooting in regular house light and shooting under studio lighting,” said Jasic. “Since studio lighting allows full control, it has really enabled me to develop my own unique style.”

Now that she has found her professional calling as a photographer, Jasic can barely remember a time when she was not taking pictures. “The majority of my memories consist of me rolling around in the grass with my friends, taking pictures, and just generally goofing off,” said Jasic. “But there was always a camera involved. Always.” By the end of

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high school, she had taken all of the photography courses allowed, earning high marks and passing her knowledge on to fellow students. It was not until 2006, however, when Jasic was getting ready to apply to college that her creative talents really sunk in. “I had recently won a bunch of art and photography contests,” said Jasic. “I was even granted a $30,000 scholarship based on my portfolio to go to school.” However, Jasic ultimately decided against college art schools, taking the initiative to make it on her own in the field. “I guess I really felt like I had enough will power to do it on my own,” said Jasic. “I have a lot respect for people who are self-taught because I think it takes a lot more passion and dedication to do it on your own everyday rather than have someone else pushing you. I guess I always believed the Oscar Wilde saying, ‘Education is an admirable thing, but it is well to remember from time to time that nothing that is worth knowing can be taught.’” Jasic spent months talking with old photography teachers and professional photographers, learning Photoshop techniques and the art of studio lighting to prep her for the endeavor into entrepreneurial photography. “Basically, they all told me to develop my technical knowledge, to build a strong portfolio, and to most of all stay hungry,” said Jasic.

“I guess in the end they were telling me that it does not matter how much knowledge or technical skill you have, if you do not want it – it is not going to happen.” The plan has paid off, landing Jasic with a long list of local clients and both nationally and internationally published works. “Being published is very rewarding. It is kind of like a trophy,” said Jasic. “Viewing my work in past magazines acts as a sort of reminder or milestone of what I have been able to achieve.” Jasic draws inspiration for her work from daily life. She describes her process as starting with ideas and thoughts jumbled around inside her head that one-day start to make sense and form an image. “I guess there is really no structure to it,” said Jasic. “I usually end up thinking about things that are visually appealing and then attempt to recreate them in my own way. Oftentimes it is successful, but when it’s not it is just more of a learning experience.” Her final style is heavily influenced by modern architecture and design, creating a vision that is simple, minimal and always provocative. But, what makes her work great is its uncanny ability to always push the limit of modern photography. “The rule I live by is to keep trying to outdo myself in my work,” said Jasic. “I keep high expectations which help me to continuously push the quality of my work to new heights.” Elena Jasic has a bright career ahead of her, but time will tell the life she will build from her talents. “It feels surreal,” said Jasic. “I feel an extreme sense of accomplishment, but I know that I have a long way to go. I do not like to discuss the future much, but I do dream of one day working for known fashion magazines and with a team of amazing people.”

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DIRECTOR’S LETTER It has been a whirlwind of a year here at Portafolio. We have had some amazing artists, designers, fashion gods and goddesses, and architects grace our pages with work that is nothing short than stunning. Keeping a new magazine on its feet is anything but easy; however, we had a lot of support. Whether you submitted work, liked us on Facebook, bought an issue or a subscription, or helped out the Portafolio team in some way, I would like to thank each and every one of you. So here is my early-proverbial-new year’s toast to all those who gave a piece of themselves to help make Portafolio’s dream come true! With Pyro, our third issue, Portafolio officially turns one year old, and we could not have done it without you! To celebrate, Portafolio is going to embark on a few new adventures. To start, we are going quarterly! Our original plan was to stay bi-annual with a Fall/Winter issue, a Spring/Summer issue, and one special edition each year. But you deserve more than that, so we will be giving you four designated issues of Portafolio each year, one for every season: Spring, Summer, Fall, and Winter. We are working hard every day on new, ingenious ways to deliver our content to you, the readers. You can expect to see Portafolio popping up soon in Apple’s App Store and other electronic marketplaces. We are overhauling our website to keep everything accessible to you and running smoothly, including a major update to the Portafolio Blog. You can expect to see extra features on fashion, art, and everything in between.

However, the resources to make all these improvements happen do not come from Santa. Because of this, you will also start noticing the addition of advertisements within the pages of Portafolio. Not to worry though, the team has been working extra hard to ensure the ads you see live up to the Portafolio name. In other news, Portafolio is also opening up a sister magazine, FRAMED Magazine, which will be released in January 2012. FRAMED Magazine is a Chicago-focused magazine dedicated to the exposure of new, edgy and fresh local talent in art, fashion, and music. FRAMED’s mission is to provide Chicago with quality local content with a casual approach by collaborating with the big names in the industry around the world. So if you are interested in some local Chicago beats, then check it out at http://www.framedchicago.com! Once again I would like to thank you for all your support. We hope you absolutely love this latest issue of Portafolio as much as we loved making it. See you in the spring! Sarah Elizabeth Ricker

Executive Director|Director of Art

Have an idea? Portafolio would love to hear it! You can always send any comments, requests, or concerns to contact@portafoliomag. com. Have a submission? Portafolio would love to see it! You can always send low-res copies of your work to submissions@portafoliomag.com. Please view our submission guidelines online a www.portafoliomag. com before submitting your work.

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FASHION

THEODORE ADOLPH-REGISFORD JUDE KENDALL LONDON

PHILLIP NDZANA MOSCOW

JHONNATAN CHICAGO

BRYAN WHITELY CHICAGO

BRAVE

NEW

WORLD

PHOTOGRAPHY

JUDE KENDALL ASSISTANCE

JAMES DARK STYLING

THEODORE ADOLPH-REGISFORD ASSISTANCE

LUCY HIRSCH CARLY FLORENTINE HAIR AND MAKE-UP CHARLENE MCGREENE MODEL

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KRISS AT IMG

PREVIOUS PAGE: COAT: CHLOE REYNOLDS, SKIRT: KATRINA FERRARI, SHOES: CLAIRE JAYNE- DAVIS HEADPIECE: EMMA YEO; JACKET: UMEROMAAN

HEADPIECE: EMMA YEO; TOP: FANNIE SCHIAVONI; SKIRT: JOHN EARNSHAW, SHOES: FIONA STOKER

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SHOULDER PIECE: CLARE WHITT; TOP: JOHN EARNSHAW; DRESS: KIERAN HO; LEGGINGS:LOUISE KORNER; SHOES: FIONA STOKER

HEADPIECE :ABBY LEE; DRESS: IOANNIS DIMITROUSIS, NECKLACE: IMOGEN BELFIELD, SHOES: IRIS VAN HERPEN X UNITED NUDE

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TOP & SKIRT: LOUISE KORNER HEADPIECE: CLARE WHITT; SHOES: IRIS VAN HERPEN X UNITED NUDE

COAT: UMEROMAAN; WOOL DRESS:CHLOE REYNOLDS; PORCLAIN SANDAL: CLAIRE JAYNE-DAVIS

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EVENT HORIZON PHOTOGRAPHY

PHILLIP

NDZANA

STYLING

ROMAN

TRAVIN

ASSISTANCE

GERGIO

BOGDANOV

GROOMING

HOLLY

STOUN

MODEL

IGORY

CHERNAK

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PR EVI OU S PA GE : SC A R F: N R AT E LIER T H I S PA GE: C OA T : CY R I LLE GA SSILIN E; PA N T S A N D B L OUS E : K O N S TA N T I N G AYDAY

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S H IR T: MAIS ON MA R T I N M A R G I EL A ; PANTS: LEONID ALEX EEV

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S H IRT: PU S TOVIT; PANTS: LEONID ALEX EEV

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CO AT: ALEXANDER A R UT Y UN O V; PANTS: LEONID ALEX EEV

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SH I R T : M A I S O N M A R T I N M A RGIELA

BLOU SE & PANTS: LE O N I D A L EX EEV

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S H IR T: MA I S O N M A R T I N M A R G I E LA ; P A N TS : L EON I D A LE X E E V

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T H E

F A M I L Y

P O R T R A I T

DIRECTION & PHOTOGRAPHY: JHONNATAN HERNANDEZ-BONOLA. CO-DIRECTION: ALMA BELEN GALVAN. FASHION DIRECTOR: JHONNATAN HERNANDEZ-BONOLA. FASHION ASSOCIATE: IESHA MILFORD. HAIR & MAKE UP: ROMMY NAJOR AT ARTISTS BY TIMOTHY PRIANO, MELISSA HEINTZELMAN & ROBIN MARTINI.

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2. ‘KEL’. THE SECOND OLDEST. ONE OF THE TWINS WITH THE WEIRD EYEBROWS. GIRL. FACTOR MODEL MANAGEMET. LEATHER DRESS JACKET BY bARBARA Í gONGINI, PARIS. TIGHTS AND BOOTS: STYLIST OWN. GOT ALL DOLLED UP BY ROMMY AT ARTISTS BY TIMOTHY PRIANO. 3.‘ANTHONY’.THE THIRD OLDEST. THE OTHER TWIN WITH THE WEIRD EYEBROWS. BOY. STUDIES HARD AND WORKS WITH COMPUTERS AND THE INTERNET. FINE JERSEY TUNIC: DRKSHDW BY RICK OWENS. LEATHER ZIPPER PANTS: bARBARA Í gONGINI, PARIS. SHOES: STYLIST OWN. ROMMY AT ARTISTS BY TIMOTHY PRIANO GOT HIM ALL HANDSOME FOR THE PICTURE.

4. ‘MARCEL’. THE FOURTH. THE OTHER BOY WITH THE WEIRD EYEBROWS (PERHAPS THE ONLY TRAIT IDENTIFYING HIM WITH HIS FAMILY) OFTEN REFERRED TO AS THE DIFFERENT ONE, WHITE SHEEP OR THE WEIRD ONE. BOY. RED NYC. BLUE DENIM EFFECT COTTON TOP AND PANTS, MAILLE LONG ROBE AND SANDALS: HOUSE OF THE VERY ISLAND, PARIS. ROMMY AT ARTISTS BY TIMOTHY PRIANO GOT HIM ALL HANDSOME FOR THE PICTURE.

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ditched.

5. ‘SYDNEY’. THE YOUNGEST (AND OBVIOUSLY THE SPOILED ONE) SHE IS A SWEETHEART TO EVERYONE. NO EYEBROWS. FACTOR MODEL MANAGEMENT, CHICAGO. BLACK TRENCH COAT DRESS WITH SILK CHIFFON SLEEVES AND BACK: JUNYA WATANABE FOR COMME DES GARÇONS, SAKS FIFTH AVENUE, CHICAGO. GOT ALL DOLLED UP BY ROBIN MARTINI.

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1. ‘JORDAN’. THE OLDEST. THE ONE WITH THE STRAIGHT LONG HAIR. MAN. THE SERIOUS LIBERAL ARTIST. ALSO DOES HAIR. NOT FOND OF MARCEL. SPOILS THE TWINS. TREATED DENIM GARBARDINE/TRENCH: JEAN PAUL GAULTIER. BACK DETAIL KILT: JUNYA WATANABE FOR COMME DES GARÇONS AT SAKS FIFTH AVENUE, CHICAGO. BOOTS: ALDO. MELISSA HEINTZELMAN GOT HIM ALL HANDSOME FOR THE PICTURE.

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EMPTY STRINGS PHOTOGRAPHY & STYLING

BRYAN WHITELY HAIR & MAKE UP ARTIST

JENNIFER LEE JOHNSON MODEL

JAMI HASSAL AT FACTOR MODEL MANAGEMENT

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WINTER 2011