Lets loose on fame, beauty & her love life
23ways to
wear all white
Table
Contents HEALTHIER WAYS to EAT
7
DESSERT
14 22 U S I N G FABRIC
28
IN YOUR HOME DECORATING
8
Creative director: Ashly Andrade Publisher: Cecilia Moreno Editor in Chief: Samia Arslane Photo Editor: Stephen Kamifuji Fashion Editor: Amanda Eliasch Fashion Director: Laura Dunn Editor at Large: George Blodwell Fashion+Style Director: Chriselle Lim Food+Wine Editor: Jeff Lipsman Director of Events: John Sugrue VP of Advertising: Rhonda Zakhor Copy Editor: Larry Lederman Financial Director: Marc Meshekow Director Human Resources: Yolanda Garcia Senior Beauty Editor: Lisa Wayne Beauty Editor: Daven Mayeda Writer at Large: Almie Rose Spring Issue Š2014 by Gypset Magazine, LLC.,
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-Ashly Andrade
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Digest Decor Discover
HEALTHIER WAYS to EAT
DESSERT
S
ticking with a healthy eating plan is hard work. There is no way around that, but for many it means giving up the foods that they love the most. But, you don’t have to do that! If you are limiting yourself so much that healthy eating becomes more of a hindrance than a help, then your good habits won’t last long. So what does this mean? You can still eat dessert-- and enjoy it! Learn some smart substitutions to make your dessert a healthy part of your day. The key to including dessert is to enjoy that sweet treat without overloading on calories, fat, and sugar. Desserts can often make it hard to maintain a healthy weight. But who wants to give up their favorite foods? Willpower is hard to fight against. As with many things in life, moderation is key, so you’ll need to stop yourself before you overindulge. Try sensible portions; you can eat 1 slice of pie and still be in your calorie range for the day. Not every chocolate cake or banana nut muffin is created equal. Look for things without a lot of butter, nuts, or creamy frosting. Since feeling guilty can ruin a good meal, why not try some of our ideas instead of your “regular” desserts?
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USING FABRIC IN YOUR HOME DECORATING
U
sing fabric to decorate a room is an inexpensive way to add color, pattern and charm. Use fabric to soften a room, add romance, and give a room a finished feel. Fabric can be used in any room style, and on any budget! Follow these great guidelines for using fabric in home decorating without breaking your budget! 1. Inexpensive sources for fabric for decorating a room include using flat sheets from discount stores, quilts and tablecloths from yard sales (or your own linen closet!) or the discount table at any fabric store. 2. If you want to add pattern to a room with fabric, here is a no fail guideline. Use a solid, and stripe, and a smallmedium scale pattern. Let each of the three fabrics share at least one color. Finally, distribute the pattern throughout the room following the 60/30/10 rule…Use your primary fabric, (usually the solid) in 60% of the room, the next fabric in 30% of the room, and the last fabric throughout 10% of the room. 3. Heavy pinch pleat draperies are long since passé. Use lighter rod pocket curtains to soften your windows. Twin flat sheets can fit most average windows with nothing more than a rod pocket sewn in! Make sure the curtains draw completely clear of the windows to let the most possible amount of light into the room. Also, consider hanging the curtain rod near the ceiling line instead of right above the window…it adds height and dimension to a room, making it look larger!
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Digest Decor Discover
D I S C O V E R A LITTLE P I E C E OF M E X I C O PLAZA OLVERA If you’re looking for a historic and touristic spot in the city of Los Angeles, ‘Plaza Olvera’ street is one of California’s most popular State Historic Landmarks. The roots are deep into the cities history, “La Placita Olvera” as it’s known around Los Angeles, is the oldest street in the city. ‘Plaza Olvera’s foundation dates back to the early 1800’s when California was still part of México. The original name was “Calle Vino” (Wine Street). The name was changed in 1877 to honor local judge Agustín Olvera. ‘Plaza Olvera’ is an image of Latin America’s believes, which include a plaza surrounding a church, a place for recreational time where families go and spend a day on the weekend. This is a very strong traditional practice in many Central and South American countries. Since 1930, ‘Plaza Olvera’ has become a colorful marketplace many tourist and locals visit.
Located in front of another Historic Landmark called Union Station.The “Placita Olvera,” is today the home of various holiday celebrations such as ‘Cinco de Mayo,’ and Mexican independence day. A true melting pot of the city of Los Angeles, with a rich history of the Mexican American community. Many have called this historic piece of a land, “A reflection of what old México use to be.” ‘Plaza Olvera’ is home to LA’s oldest catholic church, ‘La Iglesia de Nuestra Señora de los Angeles,’ (Church of our Lady of Angels). Most importantly, the ‘Plaza Olvera’ is a place where you can find great authentic mexican food and music. If you’re in the city, this mexican plaza is only 10 minutes from Downtown Los Angeles. As you make your way around, you will step back in time and take a look at what Los Angeles once looked like in the 1800’s.
Wedge: Steve Madden, Skirt: Zara, Watch: Michael Kors, Sunglasses: Prada, Hat: H&M,
Bikini: Victoria’s Secret, Beach Bag: Amalfi, Cluth: BCBGMaxazria, Crop Top: Top Shop
M
ilas kunis has been having fun in her new york hotel with several frenchmen. She comes down from lunch with a smile on here face - perhaps because said Frenchman were laden for dresses for her dior accessories campaign shoot. not a bad day, all in all, “It literally just happened, “Mila say of her new fashion gig. “I was trying on the dress, and I was like, “how did I get here?’ “ She plops down in the hotel restaurant, wearing black skinny jeans, biker boots, and a silky cream shirt covered with tiny black guns. “I thought they were doves.” She chuckles. “And then I realized.” To make a corny analogy. Mila and her sister have something in common; Each is a pistol in the package of a beautiful bird. Mila, 28, has been acting since age nine; at 14, she began an eight-year stint on the ‘70s show. But it’s in the past two years that she has hit the major leagues, tanks to Darren Aronofsky’s critical and commercial hit, Black Swan. Mila, as the rival and obsession of Natalie Portman’s paranoid dancer, saw her life change as quickly as she could take of here pointe shoes. She didn’t see Black Swan as a career maker at first. “I honestly thought, “This is going to be a Darren Aronofsky movie. Maybe people would see it, maybe they won’t. ‘ I didn’t for one second think, ‘I’m making a movie about ballerinas. People are gonna run to see this.’” Before Black Swan,”I had anonymity,” she says. “Right now, not nearly as much.” Oh the curse of popularity. And Mila is really popular. Girls want to hang out with gere, and boys want to hang out with here (although there definition of hanging is like rather different). There is an ease about Mila that is all the more surprising when you remember that she arrive in Los Angeles from Ukraine at seven, speaking not a word of English. “We easygoing aspects of me comes from that when you have nothing, you have nothing to lose.”
M
ilas kunis has been having fun in her new york hotel with several frenchmen. She comes down from lunch with a smile on here face - perhaps because said Frenchman were laden for dresses for her dior accessories campaign shoot. not a bad day, all in all, “It literally just happened, “Mila say of her new fashion gig. “I was trying on the dress, and I was like, “how did I get here?’ “ She plops down in the hotel restaurant, wearing black skinny jeans, biker boots, and a silky cream shirt covered with tiny black guns. “I thought they were doves.” She chuckles. “And then I realized.” To make a corny analogy. Mila and her sister have something in common; Each is a pistol in the package of a beautiful bird. Mila, 28, has been acting since age nine; at 14, she began an eight-year stint on the ‘70s show. But it’s in the past two years that she has hit the major leagues, tanks to Darren Aronofsky’s critical and commercial hit, Black Swan. Mila, as the rival and obsession of Natalie Portman’s paranoid dancer, saw her life change as quickly as she could take of here pointe shoes. She didn’t see Black Swan as a career maker at first. “I honestly thought, “This is going to be a Darren Aronofsky movie. Maybe people would see it, maybe they won’t. ‘ I didn’t for one second think, ‘I’m making a movie about ballerinas. People are gonna run to see this.’” Before Black Swan,”I had anonymity,” she says. “Right now, not nearly as much.” Oh the curse of popularity. And Mila is really popular. Girls want to hang out with gere, and boys want to hang out with here (although there definition of hanging is like rather different). There is an ease about Mila that is all the more surprising when you remember that she arrive in Los Angeles from Ukraine at seven, speaking not a word of English. “We easy going aspects of me comes from that when you have nothing, you have nothing to lose.”
I will not put a needle in my body unless I have a medical emergency.
A Portrait of an Artist
Fahey Klein presents a major retrospective of the photographers work. By Kely Smith
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
the images regularly contain the image was framed. Within the Avedon’s
subjects
move
which brings a sense of
front of white backdrops. When printed, dark outline of the film in which the minimalism of his empty studio, freely, and it is this movement 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.
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
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 work. Years later he would again drift from his celebrity portraits with a series of studio images of drifters, carnival workers, and working class Americans. Throughout the 1960s Avedon continued to work for Harper’s Bazaar and in 1974 he collaborated with James Baldwin on the book Nothing Personal. Having met in New York in 1943, Baldwin and Avedon were friends and collaborators for more than thirty years. For all of the 1970s and 1980s Avedon continued working for Vogue magazine, where he would take some of the most famous portraits of the decades. In 1992 he became the first staff photographer for The New Yorker, and two years later the Whitney Museum brought together fifty years of his work in the retrospective, “Richard Avedon: Evidence”. He was voted one of the ten greatest photographers in the world by Popular Photography magazine, and in 1989 received an honorary doctorate from the Royal College of Art in London. Today, his pictures continue to bring us a closer, more intimate view of the great and the famous. Avedon died on October 1st, 2004.