T&G
__2015 The Brand New Rage In Men’s Fashion
Tailored & Groomed
JAKE GYLLENHAAL man of the year
10 Ways to Look Expensive Without Breaking Your Wallet
Table Of Contents
7 process T & G 9 empower 11 must haves 12 Jake gyllenhaal 16 24 emptied gestures 32 Thought
TAILORED AND GROOMED
The Road To Becoming Man of The Year
portait of an artist
mast head Editor: Raul Alvarez Art Director: Raul Alavrez lead supervisor:
Youeucibe
producer: hesnotaperosn co-producer: hismom
letter from the editor This is a magazine for you. It is for the man who wants to look
fashionable
and
expensive
without
actuallypaying
a lot for it. This magazine is comprised of many different sources and materials to help you on your way to your journey of becoming “the man of the year.” In this issue, you
will
find
a
number
of
ways
to
fool
people
into
thinking you’re expsive. It will also be an issue where you can also feel empowered in your decisions and shape the way you look at the world around you. Confidence is key, so go out and find your lock.
enjoy.
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T&G TAILORED AND GROOMED
man of the year
richard Avedon
o therwise distant and inaccessible, was immediately don’s ability to set his subjects at ease that helps him recognized by the public and the celebrities themselves. create true, intimate, and lasting photographs. Many sought out Avedon for their most public images.
Throughout his career Avedon has maintained a unique
His artistic style brought a sense of sophistication and style all his own. Famous for their minimalism, Avedon authority to the portraits. More than anything, it is Ave- portraits are often well lit and in front of white backdrops.
When printed, the images regularly contain the dark only a portion of the person being photographed, the outline of the film in which the image was framed. With- images seem intimate in their imperfection. While many in the minimalism of his empty studio, Avedon’s sub- photographers are interested in either catching a mojects move freely, and it is this movement which brings ment in time or preparing a formal image, Avedon has a sense of spontaneity to the images. Often containing found a way to do both.
W
hat do Jean Genet, Jimmy Durante, Brigitte Bardot, Georgia O’Keeffe, Jacques Cousteau, Andy Warhol, and Lena Horne have in common? They were a few of the many personalities caught on film by photographer Richard Avedon. For more than fifty years, Richard Avedon’s portraits have filled the pages of the country’s finest magazines. His stark imagery and brilliant insight into his subjects’ characters has made him one of the premier American portrait photographers. Born in New York in 1923, Richard Avedon dropped out of high school and joined the Merchant Marine’s photographic section. Upon his return in 1944, he found a job as a photographer in a department store. Within two years he had been “found” by an art director at Harper’s Bazaar and was producing work for them as well as Vogue, Look, and a number of other magazines. During the early years, Avedon made his living primarily through work in advertising. His real passion, however, was the portrait and its ability to express the essence of its subject. As Avedon’s notoriety grew, so did the opportunities to meet and photograph celebrities from a broad range of disciplines. Avedon’s ability to present personal views of public figures, who were otherwise distant and inaccessible, was immediately recognized by the public and the celebrities themselves. Many sought out Avedon for their most public images. His artistic style brought a sense of sophistication and authority
to the portraits. More than anything, it is Avedon’s ability to set his subjects at ease that helps him create true, intimate, and lasting photographs. Throughout his career Avedon has maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly contain the dark outline of the film in which the image was framed. Within the minimalism of his empty studio, Avedon’s subjects move freely, and it is this movement which brings a sense of spontaneity to the images. Often containing only a portion of the person being photographed, the images seem intimate in their imperfection. While many photographers are interested in either catching a moment in time or preparing a formal image, Avedon has found a way to do both. Beyond his work in the magazine industry, Avedon has collaborated on a number of books of portraits. In 1959 he worked with Truman Capote on a book that documented some of the most famous and important people of the century. Observations included images of Buster Keaton, Gloria Vanderbilt, Pablo Picasso, Dr. J. Robert Oppenheimer, Frank Lloyd Wright, and Mae West. Around this same time he began a series of images of patients in mental hospitals. Replacing the controlled environment of the studio with that of the hospital he was able to recreate the genius of his other portraits with non-celebrities. The brutal reality of the lives of the insane was a bold contrast to his other
T
hroughout his career Avedon has
maintained a unique style all his own. Famous for their minimalism, Avedon portraits are often well lit and in front of white backdrops. When printed, the images regularly
Diversity