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FASHION how to put it all together
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COVER STORY NAOMI PREIZLER fashion’s in-house artist RICHARD AVEDON portraits of power THE LAST PAGE
CONTENTS
MASTHEAD EDITOR’S LETTER AGENDA the crystal noodle orange mojito the 5th floor
06
MAGAZINE
ART DIRECTOR Yao HU PRODUCTION DIRECTOR Andrew Bailin CREATIVE DIRECTOE Jon Sidman GRAPHIC DESIGNERS Jamz todd Yao Hu EDITORIAL DIRECTOR Stephanie Henry FASHIHON DIRECTOR Yao Hu
S oCal is a magazine that inclued
lifestyle content producer of all media. It is the digital convergence of culture, style, and art. SoCal is the celebration of rebellious lifestyle and the voice of hip, edgy, and creative individualists. The latest in fashion, music, art, and pop culture that connect an audience of innovators in an unparalleled way. On SoCal you will find stories on people that with dreams and making it happend. Whether you are looking for ideas of art, we will bring you to.
COPY EDITORS DB Mitchell Breattan Bablove TRAFFICKING DIRECTOR Tracy Reuter MANAGING EDITOR LA Karan Knighton MANAGING EDITOR SD Sarah Daoust MANAGING EDITOR LV Matt Kelemen
MAGAZINE
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SOCAL MAGAZINE
EDITOR’S LETTER
Well, Socal has had its hair done. And a makeover. And had a litter taken in around the waist and a litter let at the bust. Its nose is slightly smaller and it’s had work done on the ol’s cottage cheese thights. Basically you hold before you a completely rejuvenated publication with renewed vigour and a sense of purpose. Yao H u is a international student from FIDM major in Graphic Design. It is her 2nd year in FIDM. She work not that hard than other students, but her pation is full over others. she cames from Changsha, China, a city you probablly never hard before, but you will fall in love with that city when you been there just like you will fall in love with this girl when you know her. :) Momo H u is a girl from China whos just come to United State to play around. Momo
is a photographier of Socal magazine, a designer of FIDM, a tattooer of herself. She travaled around from Florida to Californa, stoped here for someon she care about. :) I’m always keen to hear from peeps with an itchy pen-pushing finger, so frop me a line with any ideas for contributions you might have. Meanwhile, happy reading, and I hope this issue sets you straight on what to drink, eat, watch, listen and drink.
YAO
Cheers,
YAO ÿÁÕ
Y A O
D E S I G N
CO N TACT :
Contributions Editor: Yao Hu momohy@fidm.edu
SOCAL MAGAZINE
•4•
AGENDA
EPICURIA LIBATION THE 5th FLOOR
THE CRYSTAL NOODLE It is true that Cicero would have used agendum to refer to a single item of business before the Roman Senate, with agenda as its plural. But in Modern English a phrase such as item on the agenda expresses the sense of agendum, and agenda is used as a singular noun to denote the set or list of such items, as in The agenda for the meeting has not yet been set. If a plural of agenda is required, the form should be agendas: The agendas of both meetings are exceptionally varied. SOCAL MAGAZINE
•6•
LIBATION
Copyright (c) 2004 Television Food Network, G.P., All Rights Reserved.
ORANGE MOJITO
AGENDA
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SOCAL MAGAZINE
1/2 orange, cut into 3 wedges 1/2 lime, cut into 3 wedges 2 teaspoons sugar 1 or 2 sprigs fresh mint 2 1/2 ounces white rum 1 cup crushed ice Put the oranges, limes, sugar, and mint in a large rocks glass. Muddle the leaves and citrus by pressing them with a pestle or a wooden spoon until juicy and fragrant. Add the rum and ice. Cover with a cocktail shaker and shake vigorously, or stir, until combined and chilled, about 30 seconds. (In general, by the time the shaker mists up the drink is ready.) Serve.
AGENDA
THE 5th FLOOR
Windows into the Surreal FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli by Hamish Bowles
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SOCAL MAGAZINE
“Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word ‘genius’ is applied most often,” Time magazine wrote of its cover subject in 1934.[1] Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.” (To Schiaparelli, Chanel was simply “that milliner.”)[2] Indeed, Schiaparelli—“Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas. In the thir-
ties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown—modeled by Madame Crespi in Vogue—had a stiff overskirt of Rhodophane (a transparent, glasslike modern material); a smart black suit jacket had red lips for pockets. Monkey furand zippers (newfangled in the thirties) were everywhere. Portrait: Irving Penn Windows: photographed by Carlos Diaz
Giuseppe Zanotti Design Sneakers $1750
www. giuseppezanottidesign.com
Kenzo Necklace $295
www.kenzo.com
Versace Coat $2895
www. versace.com
Mustmind Japan Handbag $1199
www.mustmindjapan.com
Valentino Wallet $695
www.valentino.com • 11 •
SOCAL MAGAZINE
UNIF David’s deer Keychine $45
www.uniflosangeles.com
SHO
Alexander Mcqueen Scarf $295
www.alexandermcqueen.com
P
Christian Louboutin Malabar Hill $1095
www.christianlouboutin.com
Valentino Gloves $645
www.valentino.com
Givenchy Jacket $865
Givenchy Hoodie $769
www.givenchy.com
www.givenchy.com
Vivienne Westwood Handbage $895
www.viviennewestwoodcom SOCAL MAGAZINE
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I M O NA R E L Z I E R P
H N I S ’ SHION
T S I T R A OUSE
to is often r e l z i e r omi P odel Na or y. m e h t inar y gl lk , d a r w o t a a r t c ex the in all its g d ow n d n l i r d o i r w t s r an t hing he e Finnig he’s no c t t s a e n K k e s y h , b W tage d bac ks n u o f e b
FA
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SOCAL MAGAZINE
Fashion’s not all glamour, you know. Like that of a film star, the life of a professional model tends to involve lots of tedious hanging around - queuing for castings, queuing for fittings, waiting for four hours to see if your face fits the bill for this season’s Calvin Klein show… While some girls might use this time to micro-edit their Facebook profiles or begin cultivating that inner diva, the Argentine model Naomi Preizler reaches for her pencil. The 21-year-old, who has walked in catwalk shows for labels such as Alexander Wang, Chanel, Givenchy and Balenciaga, and has been photographed in magazines including Italian Vogue, Interview and Love, is fast becoming fashion’s unofficial artist in residence, doing lightning-quick sketches of her sister models backstage, and bold, larger-than-life self-portraits. And it was queuing in the ateliers of grand designers that proved the inspirational catalyst. ‘You know, you’re watching Jean Paul Gaultier or Nicolas Ghesquière designing - they’re artists. It’s a great opportunity,’ she says, in the office of her London model agency, Premier. ‘I realised fashion students, for example, would die to see this.’ Having grown up in an artistic household in Buenos Aires - her father an architect and sometime oil painter, her grandmother a sculptor - Preizler has been obsessed with both art and fashion from a young age. She was spotted by a model scout aged 14 but didn’t take up modelling until she left high school. In the meantime she had started producing her own versions of fashion images that caught her eye. She still has a 1995 issue of Italian Vogue bought while on holiday in Rome with her family, from which she did drawings of a Moschino advertising campaign. When her international career finally began, a world of fine art also opened. ‘I was living in Paris, going to the Louvre, seeing the Old Masters,’ she says,
in her accented but perfect English. ‘I discovered Schiele’s work, which I’d seen in books, but when you see them in person it’s different. In Argentina we don’t have access to anything like that, but in Europe you’re surrounded by it.’ In 2007 she found herself at a Balenciaga fitting in the presence of the house’s designer, Nicolas Ghesquière. ‘He was sketching and there was this beautiful coat from the show and I thought, “I want to draw this!”’ She started taking her sketchbook along to model castings. ‘You’re in line-ups for an hour, two hours,’ she says. ‘All the girls are listening to music or reading or chatting and I was talking to nobody, so I started sketching. I wore my sunglasses so nobody could see me looking at them.’ Her drawings have to be quick - ‘The girls move on all the time’ - and she sometimes leaves them half-finished, liking the sketchiness of the figures. Preizler develops some initial drawings into paintings, using lurid colours that burst out of the page almost monstrously. A backstage self-portrait sketched at a Chanel fitting the reflected figure is herself as artist, the other figure herself as Chanel model - was fleshed out afterwards on paper in acrylic, combined with watercolour, ink and pencil. She also paints on canvas in oil brightened with acrylic paint to make the colour more vibrant. The effect, combined with the exaggerated features she gives herself - ‘I always do thick eyebrows and strong features and skinny figures because it’s a version of me’ - is carnivalesque.
SOCAL MAGAZINE
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“You know, you’re watching Jean Paul Gaultier or Nicolas Ghesquière designing - they’re artists. It’s a great opportunity,’ she says, in the office of her London model agency, Premier. ‘I realised fashion students, for example, would die to see this.” Having grown up in an artistic household in Buenos Aires - her father an architect and sometime oil painter, her grandmother a sculptor - Preizler has been obsessed with both art and fashion from a young age. She was spotted by a model scout aged 14 but didn’t take up modelling until she left high school. In the meantime she had started producing her own versions of fashion images that caught her eye. She still has a 1995 issue of Italian Vogue bought while on holiday in Rome with her family, from which she did drawings of a Moschino advertising campaign. When her international career finally began, a world of fine art also opened. ‘I was living in Paris, going to the Louvre, seeing the Old Masters,’ she says, in her accented but perfect English. ‘I discovered Schiele’s work, which I’d seen in books, but when you see them in person it’s different. In Argentina we don’t have access to anything like that, but in Europe you’re surrounded by it.’
“All the girls are listening to music or reading or chatting and I was talking to nobody, so I started sketching. I wore my sunglasses so nobody could see me looking at them.” ‘You know, you’re watching Jean Paul Gaultier or Nicolas Ghesquière designing - they’re artists. It’s a great opportunity,’ she says, in the office of her London model agency, Premier. ‘I realised fashion students, for example, would die to see this.’ When her international career finally began, a world of fine art also opened. ‘I was living in Paris, going to the Louvre, seeing the Old Masters,’ she says, in her accented but perfect English. ‘I discovered Schiele’s work, which I’d seen in books, but when you see them in person it’s different. In Argentina we don’t have access to anything like that, but in Europe you’re surrounded by it.’ In 2007 she found herself at a Balenciaga fitting in the presence of the house’s designer, Nicolas Ghesquière. ‘He was sketching and there was this beautiful coat from the show and I thought, “I want to • 19 •
SOCAL MAGAZINE
draw this!”’ She started taking her sketchbook along to model castings. ‘You’re in line-ups for an hour, two hours,’ she says. ‘All the girls are listening to music or reading or chatting and I was talking to nobody, so I started sketching. I wore my sunglasses so nobody could see me looking at them.’ Her drawings have to be quick - ‘The girls move on all the time’ - and she sometimes leaves them half-finished, liking the sketchiness of the figures. Preizler develops some initial drawings into paintings, using lurid colours that burst out of the page almost monstrously. A backstage self-portrait sketched at a Chanel fitting - the reflected figure is herself as artist, the other figure herself as Chanel model - was fleshed out afterwards on paper in acrylic, combined with watercolour, ink and pencil. She also paints on canvas in oil brightened with acrylic paint to make the colour more vibrant. The effect, combined with the exaggerated features she gives herself - ‘I always do thick eyebrows and strong features and skinny figures because it’s a version of me’ - is carnivalesque. Lara Stone backstage at Givenchy and the male model Marcel Castenmiller Her peers have differing reactions. ‘Some of the girls don’t like it, and some people really like it and say, “Oh, I see you’re sketching me, Naomi. OK…”’ - Preizler strikes a challenging ‘model’ pose in imitation - ‘”…let’s see what you’ve got!”’ With such unique inside access Preizler’s artistic talent is increasingly sought after. She’s proud that she’s been on the cover of Argentine Harper’s Bazaar, with her art featured inside. Jean Paul Gaultier owns the watercolour she did of him and Beth Ditto after his spring/summer 2011 show, and Harvey Nichols recently commissioned Preizler to illustrate its spring/summer 2012 press book. At the next round of international fashion weeks she’ll be doing backstage drawings for vogue.com. Preizler, it seems, has found that elusive path of working and indulging her passion at the same time. ‘For me fashion and art will always go alongside each other,’ she says.
SOCAL MAGAZINE
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R
ichard Avedon (1923–2004), America’s pre-eminent portraitist and fashion photographer, photographed the faces of politics throughout his career. As the country enters the next presidential election season, the Corcoran will bring together Avedon’s political portraits for the first time. Juxtaposing images of elite government, media, and labor officials with counter-cultural activists and ordinary citizens caught up in national debates, this exhibition will explore a five-decade taxonomy of politics and power by one of our best-known artists. Richard Avedon: Portraits of Power will include approximately 250 photographs from the 1950s through the artist’s death in 2004, displayed chronologically and grouped within Avedon’s specific editorial projects. The exhibition will include many rarely-seen and some never-before-exhibited or published photographs. A major catalogue, published by Steidl, will accompany the exhibition. Avedon, with unparalleled access afforded by his fame and his work for such magazines as Harper’s Bazaar, Vogue, Egoiste, and The New Yorker, photographed important figures of the American political scene throughout his career. In addition to single portraits commissioned to accompany magazine profiles, the artist made several extended photographic essays with political themes. Among these, his groundbreaking 1976 portrait series “The Family” is most significant. Commissioned by Rolling Stone magazine, Avedon made 69 portraits depicting elected officials, government bureaucrats, lawyers and lobbyists, captains of industry, and union leaders—all representatives of the American political, military, media, and corporate elite. He photographed people on both sides of the civil rights debate for his book Nothing Personal (1964), and in the late 1960s and early 1970s he documented the American anti-war movement and the war in Vietnam. In 1993 Avedon combined past work with new images for a nostalgic New Yorker photo-essay called “Exiles: The Kennedy Court at the End of the American
Century.” In 2004 the artist accepted a New Yorker commission to make portraits that would illustrate “a sense of the country” during a politically fractious time. While working on the project in Texas, Avedon suffered a cerebral hemorrhage; he died a short time later. “Democracy” was published by The New Yorker in incomplete form just before the election. This exhibition traces one artist’s fascination with the animating forces of American democracy. Seen together, the photographs comprise a kind of historical group portrait, showing key figures from a half-century of political life. They provoke questions about the complex motivations of portraitists and their subjects, who work—sometimes at cross-purposes—to depict or project an image
RICHARD AVEDON PORTRAITS OF POWER September 13, 2008 to January 25, 2009
that conveys personal history, character, ambitions, and ideals. Finally, they reveal an extraordinary career-long investigation into the complex nature of power. Surrounded by the faces of the powerful, leaders and ordinary citizens alike, the audience is itself empowered by the dialogue that results between those who use power to exercise control and those who seek it to affect change. Richard Avedon: Portraits of Power will include approximately 250 photographs from the 1950s through the artist’s death in 2004, displayed chronologically and grouped within Avedon’s specific editorial projects. The exhibition will include many rarely-seen and some never-before-exhibited or published photographs. SOCAL MAGAZINE
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R
ichard Avedon: Portraits of Power will include approximately 250 photo g r aphs from the 1950s through the artist’s death in 2004, displayed chronologically and grouped within Avedon’s specific editorial projects. The exhibition will include many rarely-seen and some never-before-exhibited or published photographs. A major catalogue, published by Steidl, will accompany the exhibition. Avedon, with unparalleled access afforded by his fame and his work for such magazines as Harper’s Bazaar, Vogue, Egoiste, and The New Yorker, photographed important figures of the American political scene throughout his career. In addition to single portraits commissioned to accompany magazine profiles, the artist made several extended photographic essays with political themes. Among these, his groundbreaking 1976 portrait series “The Family” is most significant. Commissioned by Rolling Stone magazine, Avedon made 69 portraits depicting elected officials, government bureaucrats, lawyers and lobbyists, captains of industry, and union leaders—all representatives of the American political, military, media, and corporate elite. He photographed people on both sides of the civil rights debate for his book Nothing Personal (1964), and in the late 1960s and early 1970s he documented the American anti-war movement and • 23 •
SOCAL MAGAZINE
the war in Vietnam. In 1993 Avedon combined past work with new images for a nostalgic New Yorker photo-essay called “Exiles: The Kennedy Court at the End of the American Century.” In 2004 the artist accepted a New Yorker commission to make portraits that would illustrate “a sense of the country” during a politically fractious time. While working on the project in Texas, Avedon suffered a cerebral hemorrhage; he died a short time later. “Democracy” was published by The New Yorker in incomplete form just before the election. This exhibition traces one artist’s fascination with the animating forces of American democracy. Seen together, the photographs comprise a kind of historical group portrait, showing key figures from a half-century of political life. They provoke questions about the complex motivations of portraitists and their subjects, who work—sometimes at cross-purposes—to depict or project an image that conveys personal history, character, ambitions, and ideals. Finally, they reveal an extraordinary career-long investigation into the complex nature of power. Surrounded by the faces of the powerful, leaders and ordinary citizens alike, the audience is itself empowered by the dialogue that results between those who use power to exercise control and those who seek it to affect change. Richard Avedon: Portraits of Power is organized by Paul Roth, curator of photography and media arts at the Corcoran Gallery of
photography and media arts at the Corcoran Gallery of Art. Richard Avedon: Portraits of Power will include approximately 250 photographs from the 1950s through the artist’s death in 2004, displayed chronologically and grouped within Avedon’s specific editorial projects. The exhibition will include many rarely-seen and some never-before-exhibited or published photographs. A major catalogue, published by Steidl, will accompany the exhibition. Avedon, with unparalleled access afforded by his fame and his work for such magazines as Harper’s Bazaar, Vogue, Egoiste, and The New Yorker, photographed important figures of the American political scene throughout his career. In addition to single portraits commissioned to accompany magazine profiles, the artist made several extended photographic essays with political themes. Among these, his groundbreaking 1976 portrait series “The Family” is most significant. Commissioned by Rolling Stone magazine, Avedon made 69 portraits depicting elected officials, government bureaucrats, lawyers and lobbyists, captains of industry, and union leaders—all representatives of the American political, military, media, and corporate elite. He photographed people on both sides of the civil rights debate for his book
Nothing Personal (1964), and in the late 1960s and early 1970s he documented the American anti-war movement and the war in Vietnam. In 1993 Avedon combined past work with new images for a nostalgic New Yorker photo-essay called “Exiles: The Kennedy Court at the End of the American Century.” In 2004 the artist accepted a New Yorker commission to make portraits that would illustrate “a sense of the country” during a politically fractious time. While working on the project in Texas, Avedon suffered a cerebral hemorrhage; he died a short time later. “Democracy” was published by The New Yorker in incomplete form just before the election. This exhibition traces one artist’s fascination with the animating forces of American democracy. Seen together, the photographs comprise a kind of historical group portrait, showing key figures from a half-century of political life. They provoke questions about the complex motivations of portraitists and their subjects, who work—sometimes at cross-purposes—to depict or project an image that conveys personal history, character, ambitions, and ideals. Finally, they reveal an extraordinary career-long investigation into the complex nature of power. Surrounded by the faces of the powerful, seek it to affect change. SOCAL MAGAZINE
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THE LAST PAGE