HOLOGRVM
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H O LO G R V M
TA B L E O F C O N T E N TS : 05// let ter fro m the edi tor 07// ava nt a review of toi on sunset, your new favorite thai spot in hollywood
08// hi t the l ights photo diary of the museum of neon lights in glendora, ca
10// off beat on the 5th floor of the fidm main building lives the vcom major’s window displays
12// FALL EDI T makeup inspiration for fall taken right from the runway
18// gir lboss sophia amoruso has taken over the fashion industry, but she isn’t stopping
26// a sense of s pace julius schulman’s photography captured socal living
34// dye yo u ng hayley william’s new hair dye line proves she can do more than just sing
47// AUGUST PL AYLIST a badass list of songs by our favorite women in music
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H O LO G R V M E DI TO R
phoebe case F E AT U R E DI R E CTO R
jade taylor FA S H I O N E D I T O R
jenn marshall ST Y L E E D I T O R
jade taylor S R. B E AU T Y EDI TOR
keiara scranton A R T DI R E CTO R
olivia malone PRODUCER
kayla kern P R DI R E CTO R
juile hermes CONTRIBUTERS samantha ravndall alyssa jackson amelia lynn
110 Greene Street, Suite 600 N e w Yo r k , N Y 1 0 0 1 2 4
from the
e di tor This months issue is the Girlboss issue and focuses on badass entrepreneurs and women in business, like Sophia Amoruso and Hayley Williams. Thanks for reading HOLOGRVM Magazine. -Phoebe
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food + travel + 5 th floor
Toi On Sunset a rock-n-roll ensemble of delicious thai food served among a legendary decor inspired by the merciless history of hollywood’s rock bands, movie stars and hit films. by alissa jackson oi is a classic LA establishment. Great Thai food with lots of vegan options in a fun kitschy environment. Lots of music and movie memorabilia everywhere. Dim colorful lighting. I cannot lie-I have been here several times in the past after 3am (they are open until 4!) while blackout drunk. I remember eating a vegan curries and drinking wine at a table with a picture of Elvis on it, and very little else. I drink a lot less these days, and am pleased to find that the food is also delicious when sober. Toi has more unique vegan options than your typical Thai restaurant, as well as all the classics. I went with the Eggplant, Pumpkin, and tofu dish which was excellent. Very good flavors and delicious with brown rice. Definitely a top choice for late night (or whenever) food in WeHo. Attentive, accurate
7505 1/2 W Sunset Boulevard, Los Angeles, CA 90046
servers, and the food is always out SO FAST and of course it always tastes delicious. I am a huge fan of their yellow curry with tofu. The sauce is amazing with white rice. My husband always gets their lemon chicken which comes out piled a big plate and is perfectly crispy. They serve their wine and beer in chilled glasses with we both really enjoy. It is a small touch but definitely makes a difference. It gets a little packed on the weekends, but we usually don’t have to wait too long. I love the weird decor, kinda funky punk rock. The place reminds me of a cool garage that you’d hang out with your friends as a teen - movie and band
posters and some sort of old movie or tv playing on the screens. We went in once and it was old batman tv show which was fun. We’ve been coming here for years and will be back!
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food + travel + 5 th floor
216 S Brand Blvd, Glendale, CA 91204
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mona is a museum that exists to encourage curiosity through the preservation of neon art. by amelia lynn 8
eon is a gateway between scientific principles and artistic expression. Neon illumination integrates electrical technology, creative design, and fundamental concepts of physics and chemistry. The Museum of Neon Art is the only museum in the world devoted exclusively to art in electric media, exhibiting electric and kinetic fine art, and outstanding examples of historic neon signs, for over three decades. MONA was founded as a nonprofit art museum in 1981, by artists Lili Lakich and Richard Jenkins in downtown Los Angeles. Their intent was to create an awareness for historic neon sign preservation and to showcase this electrifying contemporary art form. After several relocations, (Universal City Walk, Grand Hope Park and the Historic Core), the museum successfully negotiated a permanent home in the city of Glendale where it will anchor the southern end of the Arts and Entertainment Corridor. Throughout its 30+ year history, MONA has fostered an awareness of historic neon signage through its LUMENS project with the City of L.A. and its popular bus tour, the Neon Cruise™. MONA has witnessed the rise and fall of neon used by the sign industry and the current resurgence of neon used by creative artists and commercial designers today. The new MONA facility in Glendale will have a classroom on the premises where visitors can watch skilled neon craftspeople fabricating and processing the neon tube and take hands-on classes to learn this fascinating art form.
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food + travel + 5 th floor
off
beat located at the top floor of the fidm building lives this quarter’s “off beat” window displays.
by: phoebe case isual Communication pros are experts at designing the perfect window display or pulling together the perfect outfit—and making it look like a work of art. With classes in quick sketching, Photoshop and Illustrator, and practice working in teams and analyzing trends, students become experts at design and visual communication. In the classroom, students collaborate on real-world projects with companies like Saks Fifth Avenue and Disney Stores North America. Internships have included Anthropologie, Giorgio Armani, Warner Bros., and luxury brand owner Richemont. The Visual Communications Program offers students a diversified, creative business background in visual presentation, exhibit/trade show design, retail and event marketing and store planning, 10
with an emphasis on the fashion and entertainment industries. Students benefit from exposure to practical and theoretical visual merchandising techniques. Courses include presentation design, color theory, concept visualization, trend forecasting, and computer graphics For my entrance project, I created a board showing what the outside design of my store would be and showcasing the inside as well. I made the theme “LA Summer” keeping the board decorated in a fun, summer vibe, ranging from sunglasses cut out from a magazine to glamorous gold chains dangling in the front
window. I also came up with some fun slogans for example on the front window I had put “hot couture” instead of “haute couture” since it is hot during summer time and the clothes would of course be chic and hot. I had also incorporated the triangle, square, circle assignment by drawing my name as if it was the Hollywood Sign in the hills. I had subtly thrown in the circle by making a sun and palm trees where the coconuts were the circles. The squares and triangles had also been thrown in understated fun ways as well.
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FALL EDIT beauty inspiration from your favorite designer’s 2016 fall collections by: jade taylor
nyx face and body glitter $6 nyxcosmetics.com
nyx glitter glue $5.99 nyxcosmetics.com
kat von d tattoo liner $19 sephora.com
benefit cosmetics 3D browtones $24 sephora.com
benefit cosmetics rollerlash mascara $24 sephora.com
urban decay afterglow blush in obsessed $26 sephora.com
urban decay heavy metal glitter liner in glamrock $20 sephora.com
rosebud perfume co. rosebud salve $6 sephora.com
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backstage at chanel haute couture
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backstage at dior haute couture
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kat von d studded kiss lipstick in mรถtorhead $21 sephora.com
nars hardwired eyeshadow in stud $25 sephora.com
milk makeup lip + cheek in rally $24 sephora.com
marc jacobs beauty highliner gel crayon in in the buff $25 sephora.com
kat von d lock-it setting powder $30 sephora.com
elizabeth and james nirvana rose $85 sephora.com
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H O LO G R V M
THE GIRLBOSS ISSUE - AUGUST 2016
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ert s p m u d om r f t n e w o us to r Y o A m B A E a N i h O p S So HE T O L C G N I L L on i E S h s D a f N A r a g l l n i do div n o i l l i m i t ALONE mul a g BY: OLIVIA M n i . d l 0 i 3 u b of e g a e h t y lb empire- al
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ophia Amoruso always had an independent spirit, a curiosity to explore, and a drive that would eventually turn her into a fashion retailer worth millions. “I had a healthy disregard for authority from an early age- I’m not someone who is super great at working for other people.” “My father told me, ‘When you’re done with everything, don’t stop – keep doing something,’“ she says. “That’s my work ethic.” As a teenager, Amoruso says one of her first experiences as an entrepreneur included stealing books and reselling them on Amazon. It wasn’t until she got caught that she received her “wake-up call.” “I was doing that as a teenager because I thought capitalism was evil,” she admits. “I thought corporations were evil. I thought that they were faceless and if I stole from them, I’m not hurting anybody. It’s not a noble
items with a vintage feel. In 2006, Amoruso launched Nasty Gal, a fashion retailer selling clothes, vintage pieces, shoes and accessories to the “girl in progress.” Now worth an estimated $250 million, Amoruso is continuing to grow her Los Angeles-based brand
gives grants to women working in the arts, a Netflix series – co-produced by Charlize Theron – and a new book called Nasty Galaxy are also on the way. Today, when Sophia calls herself the founder and chief troublemaker at Nasty Gal, it’s not just a shallow bit of CEO-as-guru branding. She’s a real-
"IF YOUR COMPANY IS RUN BY AN OLD WHITE GUY THAT YOU MASK WITH A 'COOL' SOCIAL MEDIA ACCOUNT, PEOPLE KNOW IT." thing to do.” As she continued to mature, Amoruso supported herself with a job checking student IDs at an art school. Feeling creatively unfulfilled, she began brainstorming better ways to find merchandise to sell – scouring thrift stores for vintage finds until she eventually began designing her own
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into a retail powerhouse with global online research. Since the launch, Nasty Gal has more than 2 million followers on Instagram and more than 1.2 million on Facebook. Amoruso has also expanded her brand with her memoir, #GIRLBOSS, a weekly podcast of interviews with other successful women, a nonprofit foundation that
deal, born disruptor. In less than 10 years, she’s turned that very same eBay vintage shop into a bona fide, $100 million global brand, through pure sweat; social-media savvy; and an eye for the fashion-forward, subversively sexy clothing women want to wear. And, yeah, great customer service. Now, sitting atop a mini-retail empire
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“I SHOPLIFTED, DUMPSTER DOVE, AND HITCHHIKED MY WAY TO A PLACE WHERE I LEARNED THROUGH TRIAL AND ERROR THAT ONLY HARD, HONEST WORK IS SUSTAINABLE.”
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of over 350 employees, Sophia has become that rarest of things: a CEO who truly inspires and a patron saint of badass #girlbosses everywhere. Ahead, her thoroughly inspiring take on the unlikely rise of her scrappy brand, and why she’ll always be an upstart at heart. I’m reading my advance copy of #GIRLBOSS, which hits shelves on May 6, and I really, really love it! I texted you that one of the parts in the beginning, The Red String Theory, made me cry. It was so smart and moving. What’s the biggest objective for writing the book and what do you hope your fans will get out of it? “Over the past year and a half, I’ve told the story of how Nasty Gal began and how I built what it is today. What I haven’t told is what I was doing (or blowing it at, for that matter!) before I launched the brand. There are so many things that I did prior to Nasty Gal that prepared me — I shoplifted, dumpster dove, and hitchhiked my way to a place where I learned through trial and error that only hard, honest work is sustainable. That’s a crazy story, and it needed to be told in my voice — few women who aren’t pedigreed with Ivy League MBAs are speaking to girls, and it’s important that the rest of us can powwow, share ideas, and make amazing shit happen, too.” We met when we were both starting businesses and buying most of our clothes at the Salvation Army.
The early days were pretty tough, but I kind of miss them sometimes. Is there any aspect of a young business at the beginning that you miss? And, by the way, I still shop at the Salvation Army. “When I look back on the early days, I can’t help but feel nostalgic for that time in my life. It was hard, but fun, and there was something new to learn every day. Quite honestly, I’m so glad that I can say that I feel the same today, but the lessons are very different. I’m dreaming up big ideas rather than executing small ones — but without the meticulous hands-on work I did in the early days, we wouldn’t have a brand today.” I’ve been a huge fan of Nasty Gal since Day One, and the thing I love most about the brand is the voice. It’s not just stuff to wear but a state of mind for women who aspire to be like you. The confidence and the clothes go hand in hand. What do you think has been the most important part of your strategy and approach that’s allowed that to thrive? “It’s incredibly important for us to be consistent — from our photography to our design to our copywriting, every small choice is an opportunity to either strengthen our brand or fall flat. I’m so fortunate to have an incredible team around me who not only sustain the voice that I incubated over so many years, but who can truly evolve it.” Social media is an amazing tool for smart women like you with a strong
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When Sophia’s book became a smashing success, she decided to give back to her Girlboss community. Since their launch in 2014, the #Girlboss® Foundation has awarded over $75,000 in financial grants to women in the worlds of design, fashion, music, and the arts, to help fund them on their way to becoming a girlboss and owning their future. The Girlboss Foundation’s mission is to empower the next generation of female entrepreneurs within the creative community. The Girlboss Foundation fulfills its mission through distinctive grants programs, providing women in the worlds of design, fashion, music and the arts with financial endowments to achieve their goals.
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point of view to share a more intimate side of the brand and the culture around it. It can be such a powerful tool, and your approach is one of the best examples of being real with customers and inviting them into your world. Yet, why is it that so many fashion brands still fail to have an authentic presence online? “For one, it works to our advantage that Nasty Gal was born on social media. We’ve been having a 24-hour-a-day nonstop party with our girl for eight years and never once stopped to create a social ‘strategy.’ It’s in our DNA. Secondly, who we say we are and who we are happen to be one and the same. This generation is savvy — if your company is run by an old white guy that you mask with a ‘cool’ social media account, people know it. Who’s provided the most inspiration for you along the way, as you’ve built your business? What advice can you share with other Superwomen and #Girlbosses in training? “In #GIRLBOSS, I talk a lot about being your own idol — that when you look up, you keep yourself down. I prefer competing with myself rather than others. And, I do my best work in a vacuum. My dad said at dinner the other night something that I really loved- he said, ‘Hope is not a strategy.’ The best things happen with not only hope, but ingenuity, self-
awareness, and a lot of elbow grease. That’s when the real magic happens.” “It’s been a wild ride since #Girlboss debuted and spent 18 weeks on the New York Times Best Seller list. Prior to that, I was known as the founder and ceo of Nasty Gal, but the entire story hadn’t been told. The feedback was overwhelming and it’s become clear that #GIRLBOSS is destined to be more than just a book.” Worth an estimated $250 million, Amoruso is continuing to grow her Los Angeles-based brand into a retail powerhouse with global online research. A Netflix series – co-produced by Charlize Theron – and a new book called Nasty Galaxy are also on the way. “It’s exciting that by sharing my story, it makes people feel capable,” she says. Netflix is hoping its new comedy series—inspired by Amoruso’s book #Girlboss— will rise, like a Doc Marten-clad phoenix. Especially now that the show has found its star. Britt Robertson will play Sophia, a character seemingly based on the young Amoruso described in #Girlboss, when the series premieres in 2017. watch as the devout anarchist learns “the value and difficulty of being the boss of her own life”— or, as her younger self might have put it, buys into the capitalist machine, man. -OM
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chulman
A SENSE _OF SPACE Photographer Julius Schulman’s photography spread California Mid-century modern around the world.Carefully composed and artfully lighted, his images promoted not only new approaches to home design but also the ideal of idyllic California living — a sunny, suburban lifestyle played out in sleek, spacious, low-slung homes featuring ample glass, pools and patios.
BY PETER GOSSELL PHOTOGRAPHS BY JULIUS SCHULMAN 26
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“The subject is the power of photography,” Shulman explains. “I have thousands of slides, and Juergen and I have assembled them into almost 20 different lectures. And not just about architecture—I have pictures of cats and dogs, fashion pictures, flower photographs. I use them to do a lot of preaching to the students, to give them something to do with their lives, and keep them from dropping out of school.” It all adds up to a very full schedule, which Shulman handles largely by himself—“My daughter comes once a week from Santa Barbara and takes care of my business affairs, and does my shopping”—and with remarkable ease for a nearcentenarian. Picking up the oversized calendar on which he records his appointments, Shulman walks me through a typical seven days: “Thom Mayne—we had lunch with him. Long Beach, AIA meeting. People were here for a meeting about my photography at the Getty [which houses his archive]. High school students, a lecture. Silver Lake, the Neutra house, they’re opening part of the lake frontage, I’m going to see that. USC, a lecture. Then an assignment, the Griffith Observatory—we’ve already started that one.”
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Yet rather than seeming overtaxed, Shulman fairly exudes well-being. Like many elderly people with nothing left to prove, and who remain in demand both for their talents and as figures of veneration (think of George Burns), Shulman takes things very easy: He knows what his employers and admirers want, is happy to provide it, and accepts the resulting reaffirmation of his legend with a mix of playfully rampant immodesty and heartfelt gratitude. As the man himself puts it,
A SENSE _OF SPACE
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A SENSE _OF SPACE
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AMERICAN PHOTOGRAPHER JULIUS SCHULMAN’S IMAGES OF CALIFORNIAN ARCHITECTURE HAVE BURNED THEMSELVES INTO THE RETINA OF THE 20TH CENTURY.
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“The world’s my onion.”Shulman is equally proud of his own lighting abilities. “I’ll show you something fascinating,” he says, holding up two exteriors of a new modernist home, designed for a family named Abidi, by architect James Tyler. In the first, the inside of the house is dark, resulting in a handsome, somewhat lifeless image. In the second, it’s been lit in a way that seems a natural balance of indoor and outdoor illumination, yet expresses the structure’s relationship to its site and showcases the architecture’s transparency. “The house is transfigured,” Shulman explains. “I have four Ts. Transcend is, I go beyond what the architect himself has seen. Transfigure— glamorize, dramatize with lighting, time of day. Translate— there are times, when you’re working with a man like Neutra, who wanted everything the way
glass wall—dividing inside from outside—roughly mirrors the diagonal he’s drawn. Shulman then indicates the second, perpendicular line created by the furniture arrangement. “My assistants moved [the coffee table] there, to complete the line. When the owner saw the Polaroid, she said to her husband, ‘Why don’t we do that all the time?’” Shulman’s remark references one of his signature gambits: what he calls “dressing the set,” not only by moving furniture but by adding everyday objects and accessories. “I think he was trying to portray the lifestyle people might have had if they’d lived in those houses,” suggests the Los Angeles–based architectural photographer Tim Street-Porter. “He was doing—with a totally positive use of the words—advertising or propagandist photographs
“DON’T TAKE LIFE TOO SERIOUSLY_ _DON’T PLAN NOTHING NOHOW.” he wanted it—‘Put the camera here.’ And after he left, I’d put it back where I wanted it, and he wouldn’t know the difference—I translated. And fourth, I transform the composition with furniture movement.” To illustrate the latter, Shulman shows me an interior of the Abidi house that looks out from the living room, through a long glass wall, to the grounds. “Almost every one of my photographs has a diagonal leading you into the picture,” he says. Taking a notecard and pen, he draws a line from the lower left corner to the upper right, then a second perpendicular line from the lower right corner to the first line. Circling the intersection, he explains, “That’s the point of what we call ‘dynamic symmetry.’” When he holds up the photo again, I see that the line formed by the bottom of the 32
for the cause.” This impulse culminated in Shulman’s introduction of people into his pictures—commonplace today, but virtually unique 50 years ago. “Those photographs—with young, attractive people having breakfast in glass rooms beside carports with two-tone cars— were remarkable in the history of architectural photography,” Street-Porter says. “He took that to a wonderfully high level.” “I tell people in my lectures, ‘If I were modest, I wouldn’t talk about how great I am.’” Yet when I ask how he developed his eye, Shulman’s expression turns philosophical. “Sometimes Juergen walks ahead of me, and he’ll look for a composition. And invariably, he doesn’t see what I see. Architects don’t see what I see. It’s God-given,” he says, using the Yiddish word for an act of kindness—“a mitzvah.”
“Most people whose houses I photographed didn’t use their sliding doors,” Shulman says, crossing the living room toward his own glass sliders. “Because flies and lizards would come in; there were strong winds. So I told Soriano I wanted a transition—a screened-in enclosure in front of the living room, kitchen, and bedroom to make an indoor/outdoor room.” Shulman opens the door leading to an exterior dining area. A bird trills loudly. “That’s a wren,” he says, and steps out. “My wife and I had most of our meals out here,” he recalls. “Beautiful.” When I ask Shulman what Neutra saw in his images, he answers with a seemingly unrelated story. “I was born in Brooklyn in 1910,” says this child of Russian-Jewish immigrants. “When I was three, my father went to the town of Central Village in Connecticut, and was shown this farmhouse— primitive, but [on] a big piece of land. After we moved in, he planted corn and potatoes, my mother milked the cows, and we had a farm life.
“And for seven years, I was imbued with the pleasure of living close to nature. In 1920, when we came here to Los Angeles, I joined the Boy Scouts, and enjoyed the outdoor-living aspect, hiking and camping. My father opened a clothing store in Boyle Heights, and my four brothers and sisters and my mother worked in the store. They were businesspeople.” He flashes a slightly cocky smile. “I was with the Boy Scouts.”
A SENSE _OF SPACE
I ask Shulman if he’s surprised at how well his life has turned out. “I tell students, ‘Don’t take life too seriously—don’t plan nothing nohow,’” he replies. “But I have always observed and respected my destiny. That’s the only way I can describe it. It was meant to be.” “And it was a destiny that suited you?” At this, everything rises at once—his eyebrows, his outstretched arms, and his peaceful, satisfied smile. “Well,” says Shulman, “here I am.”
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rockstar and hair dye entrepreneur. is there anything hayley williams can’t do? by: brian murphy
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voice for anyone whose rebel spirit stands out, but might not always fit in, goodDYEyoung represents a youthful community bonded by self-expression, limitless inspiration and a flair for bold colors. Differentiated not just by the special ingredients in its products, but by its message of self-love through self-expression, the purpose of GDY is to create an all-inclusive counter culture that inspires more creativity, more community, and most of all, more color. GDY introduces bold, vibrant DIY hair dyes that stand apart, transcending ordinary pigmentation with vibrant, mixable colors to celebrate style, spirit and strength. Available in generous 4 ounce tubes and lovingly made with the best professional-grade pigments in unapologetically loud colors, GDY is mindfully eco-friendly and botanically infused with natural sunflower, bergamot and other nourishing conditioners. The vegan & cruelty-free cream formula conditions hair as it deposits color and is safe for hair of all types. The packaging is, of course, green friendly too! And be sure to check out our Fader (a mixing product that offers you the freedom to fully customize your color). GDY colors are designed to both embody and reflect your originality. Don’t blend in, go bold and dye your style to weird and wonderful perfection.
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AUGUST
PLAYLIST
in honor of our Girlboss issue, we compiled a badass list of songs by our favorite women in music.
1.
Double Dare Ya bikini kill
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Hanging on the telephone
blondie
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jennifer’s body
hole
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crimson and clover
joan jett & the blackhearts
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tko
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i just want you to go away
le tigre
the lovely bad things
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you don’t get me high anymore
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suicide
9. 10.
phantogram
the raveonettes
you drive me wild
the runaways
i wanna be your joey ramone
s l e a t e r- k i n n e y
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