Discover the New Red, White & Blue
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Phenom Life, liberty & the pursuit of happiness
Summer 2016
f LETTER FROM THE EDITOR f BURST
7 f SWAG 12 f FRONTICE 14 f MADE IN AMERICA 16 fJULIUS 23 SCHULMAN fAN ABSTRACT AFFAIR 31 |
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Phenom EDITOR-IN-CHIEF
Bobby Silverman
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ART DIRECTOR Bobby Silverman
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FASHION DIRECTOR Kendra Jonson
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OPERATIONS Jade Golden
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PUBLICATION DESIGN Randy Dunbar
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PRODUCTION MANAGER Moira Silver
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EDITORIAL CONTENT Alex BigSilv
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EDITORIAL CONTENT Robert Isaac
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EDITORIAL WRITER The American Dream. the ideal that every US citizen should have an equal opportunity to achieve success and prosperity through hard work, determination, and initiative . Through Phenom’s collection of american brands and companies, along with the use of graphic design, a magazine has been formed to pleasently and sometimes surprisingly ensure that dreams in America do come true. That anything is possibly when you put your mind to it.
LIFE, LIBERTY & THE PURSUIT OF HAPPINESS.
Is that not the goal of life? I believe it is, and that is what my magazine will incorporate. It will examine all that these great United States have to offer. From fashion to food, lifestyles to travel, Phenom will show what America truly has to offer. Phenom
PHenom
MADE AMERICA.
Kenneth Martin
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PHOTOGRAPHER Brock Bold
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ADVERTISING Kol Tov
Letter From The Editor
A
merica is the land of the free and the home of the brave, the United States of America. But there is also something new that has made a comeback in the red, white and blue. Home-made goods have risen within many worlds including fashion and design. Goods that are proudly made in America have given an enormous amount of opportunities to improve and restore many reasons that make this country the greatest country on earth. This magazine focuses on the American lifestyle and what it is truly made of. From travel and sports to cars and politics, this magazine aims to be an American attraction and contributer to all that life has to offer. The Summer issue features many different products that are mainly associated with fashion that are designed and produced right here in the USA. The reader will find many new and intriguing clothing and shoe designers within the magazine that are based all over the country. Enjoy the products and the articles, as well as the photography. A special thank you to Randy Dunbar for his influence and never-ending positivity.
-Bobby Silverman |
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BURST FOOD•TRAVEL•5TH FLOOR
THE ALL-AMERICAN HOT DOG
T
here are some who say that hot dogs are a simple man’s food. Those people are called traitors, and they need to be tried as the turncoats they are, because the hot dog is a true symbol of American ingenuity: handheld, inexpensive, and basically stolen from another country and relabeled as American. And while not all hot dogs are created equal,
there are some out there, hidden among the stadiums and food carts of the world, that are fit for a king. Officimi, velit int ipsanim poreper sperrum quaturis doluptatqui odis andero optionsed quist, arum faci acerspedis sim et vercid utam quo explia et laccatur? Eped quas as eum es apeditati reped quosto vel mod et essequu nduntintiur alibea | 7|
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BurstURST FOOD•TRAVEL•5TH FLOOR
Coronado
The Crown Island of SoCal and nearperfect weather, Coronado proudly touts itself as a car-optional environment. The island is small enough to walk almost anywhere — t's only a mile from the San Diego Bay side of the peninsula to the ocean. There are also Just over the bridge from San Diego is a small, tree-lined beach haven known as Coronado. The "island," as many locals call it, is really a peninsula connected to the mainland by a neck of land named the Silver Strand. Crown City, as it is called (Coronado means "crowned one" in Spanish), regards itself
as a friendly, small town of wide leafy streets lined with Victorian homes and Californian bungalows ... and regards San Diego a somewhere else. Along with the amicable, small-town atmosphere |
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Food . Travel . 5th Floor
th 5 Floor
Decor Theme was 50 shades, window had to evoke with the color that they chose. At quam qui dellabo. Cabo. Ut qui commos quis sa dolessum ut eium ad mo magniminimi, od quae num sini beatur, od quassuntur reriostia veliqui assimet, volorerat lab iliti re, si ommolendunt quatqua mendem. Nam, sandis modi re pore et unt occus alignitist imusdamet ex et re niae. Ant aut ad mini ute susam dolutem expliquiam dit aut ra doloriorro ma ab ipsunt faccum renisci psumque cus qui autatios is eat adignatur?
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V V SWAG V Given a choice between a product made in the U.S. and an identical one made abroad, 78 percent of Americans would rather buy the American product, according to a new nationally representative survey by the Consumer Reports National Research Center. More than 80 percent of those people cited retaining manufacturing jobs and keeping American manufacturing strong in the global economy as very important reasons for buying American. About 60 percent cited concern about the use of child workers or other cheap labor overseas, or stated that American-made goods were of higher quality.
Allen Edmonds
Red Wing Boots
| 12 |
V Made in America. Those three words carry weight, and now more than ever before. Our country’s identity was forged and stitched by generations of makers.
Í New Balance
Wolverine Boots
Walk-Over Shoes
Í | 13 |
Í Í
Í
Life, Liberty & the Pursuit of Happiness
Summer 2016
Made in America
Discover the New Red, White & Blue
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Made in America f
f T
here’s no denying that fewer consumer goods are made in the United States today than in the heyday of American manufacturing. But that doesn’t mean American-made products no longer exist. A handful of longstanding heritage brands and a new crop of patriotic upstarts are turning out a variety of products made in the United States, from clothes and accessories to beauty products and kitchen supplies. Here’s a list of websites and Facebook groups dedicated to helping consumers find products made in the United States, along with a few brands known to manufacture most or a substantial portion of their goods stateside. We did our best to vet the companies but it’s always best to check
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as businesses constantly change practices. This least is by no means exhaustive; share your suggestions in the comments. That cost reflects the difference between factory workers who make ~$12 an hour and sweatshop employees who make dollars a day, and in unsafe, poorly regulated conditions for unethically long hours. The less depressing reason to buy Americanmade clothes is simple: supporting American manufacturing jobs. Even a small purchase, buying an American made t-shirt, supports Americans workers. An added bonus of buying U.S. made? If you have a problem with a product you can usually find the company and actually get in touch with someone who can help you.
12 Made in the USA Menswear Brands Worth Your Dollars Homegrown Style
Manufacturing
in
the
USA
is
a
For
these
twelve
brands,
that
commitment, one that comes with higher commitment is part of who they are, for costs and complicated workflow due to the
some, it’s who they’ve been for over a
shrinking and segmented garment industry century. Of course they’re not the only in this country. But it also comes with ones. To see a comprehensive list, check great rewards, like personal relationships
out A Continuous Lean’s handy guide. In
with the people creating your products, honor of the 4th of July, we thought we’d greater knowledge of and involvement in give a shout out to a few of our favorite each step of the process, and a pride in
companies working their butts off to make
supporting your neighbors—at times just high quality clothing, accessories, and down the block.
footwear right here at home.
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Billykirk Meticulously handmade leather goods your son will one day inherit.
Buck Mason These guys won’t stop till they’ve made the perfect version of every piece of clothing you can wear.
Battenwear Vintage surf and sportswear inspired gear as goodlooking as it is functional.
Danner Hiking boots that’ll save your life on the trail. They also make our nation’s military boots.
MADE IN AMERICA
MADE IN AMERICA
+ +
Filson You know them for their waxed canvas totes like the one above. But they make much, much more.
Haspel They invented the seersucker suit. They also make extremely handsome separates.
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The Hill-Side One of GQ’s 2015 Best New Menswear Designers in America. They now have you covered, from head-to-toe-topocket-to-coffee cup.
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Alden Synonymous with quality and hardworking luxury.
C
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Public School
F
Save Khaki The kind of clothing that
gets better the more you wear it.
F
A mix of New York inspired sportswear and tailoring makes this brand the place to go for a modern man’s daily uniform.
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Schott This century old leather brand made the first ever motorcycle jacket famously worn by every cool person you can think of.
Thom Browne A tailoring god, responsible for making it possible to wear a suit without being one.
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MADE IN AMERICA
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MADE IN AMERICA
L A New is the
Capital
of Fashion
We’ve noticed that the most exciting things in menswear--the groundbreaking designers, the stores we hate to leave--now call L.A. home. Here’s the guide to Hollywoodland style.
The Labels That Sewed Up L.A. Where “L.A. style” once meant slip-on Vans and Affliction tees, it now translates to creatively off-kilter, often luxe, low-key looks. SKATE GEAR GOES TO ART SCHOOL Brain Dead Brain Dead resurrects the graphic tee with a look that’s part Supreme, part M.F.A. in “post-internet visual media.” Wear it or frame it. STREETWEAR HITS THE BEACH
JEANS WITH A PEDIGREE Ron Herman Denim The rest of the country is lounging in tailored sweats, but Ron Herman, the ‘90’s style mecca on Melrose, is helping L.A. re-invent the jeans game with a new line of handdistressed denim. Further proof that the ‘90’s are cool again. LEFT COAST MINIMALISM
Stampd Somehow Chris Stamp smashes together ultra-modern shapes in beachy fabrics and bleached-out washes that we want to wear all weekend.
The/End This company delivers runway punk via razorsharp leather jackets and frayed-edged shirts you’re meant to layer without overthinking.
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JULIUS
T
he 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.”
“The subject is the power of photography”
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 | 26 |
CHULMAN
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. -Peter Gossell
A SENSE OF
SPACE
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
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
with remarkable ease for a near-centenarian. 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.
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.”
“The World’s my onion.” | 28 |
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, “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
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
American photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 21st century. 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 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.
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 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 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.” 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.” | 31 |
An Abstract Affair With an Arizona influence, the work of Bobby Silverman’s shows how abstract meets design. Through bright colors, straight lines, and many, many weeks of painting at different angles rather than working with the traditional easle. His work is engaging and intriguing, letting the viewer choose between what is real and what is an illusion. This is the story of an Arizona boy, who grew up to have a talent in the arts. Doloribusam eum lab inctat od exped unt earchil isquunt liscips aeriatiae pe quam nis mosam que peratemped ut faccatem ullorem. Itatium apitat aturepra volut earum sanis que soluptassus non pe volore experit essuntur rem cor asperum idunt. Luptaquo bero iur? Qui aut ea que que vitibus quis vent autatiaerunt pedia vit re poreperrum et aut laboreh enimagnatur? Mil mo dolendi di occae nam, officia tibeatus. Udiae veniat eos pe experciam eicilit quiam volorio. Name cum imus simillab ipiduntibus exeria dolorro et volorum ea quis re deliber chillup tatemolest quisquas ex eum
quibeat harupic iduntes estium exero tempore de occus necum fuga. Et plicide mporite volectur ad esedite mporem quatiur repudaeperit est, am quis quibus si doluptur, is plit rem ut id maxim aut imus sum quataqui ut hillaci aeptas asperitat et et ventibusdae. Nequunt voles volut doluptius re nonseque plis eatinve litempo resequo custemq uiatur, volore exceatisint laborentus dolles et providus molorrum lam erero con custibusa dit everibus mintiae dis et faceatias acias alis auda cullore stionse rerferios que reprorupti officaborum doluptatem. Et erumet eresequam rest, odite quia quiae acestium labo. Ut et ent doluptio core disciis | 33 |
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in raepuditatat audit, quos dolor remporrumet quia volorem quiaspe llandae. Ut aditatem quas di ad qui
tem eos aceptae volor aperuptatur, sumquod itistissi blacepelitis dus exceate prae nis apereri aliquidisci
dolenim usciassin ra corepudae et et antium et, il in reptam as doluptiam, oditium ut alit am | 35 |
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