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Vol.1
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The city‘s best: Julius Schulman A genius of space
Sarah Wilson: New Day, New Wave
Last minute to get salted:
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Welcome to SC Magazine Letter from the Editor editor-in-Chief Tanita Enderes executive editor Tanita Enderes editorial diretor Gared Hohlt Managing editor ann Clarke deputy editor david Haskell design director Thomas alberty Photography director Jody Quon Culture editor Lane Brown Strategist editor ashlea Halpern Senior editors Chris-topher Bonanos, Rebecca Milzoff, Raha naddaf, Carl Rosen, genevieve Smith, alexis Swerdloff Food editors Robert PaTronite, Robin Raisfeld Fashion director amy Larocca Staff editor Patti greco editor-at-Large Carl Swanson Shopping editor Jessica Silvester
Dear readers,
We are the magazine against the norm. We bring together people with a truthful vision and risking reckless talents. Our themes and concepts reflect a contemporary view of the world. We stand by strong imagery and powerful visual ideas, real stories and people with real lives, to be reflected with a world of icons, heroes and dreams. We are an independent source of new talent making waves in music, fashion, film, photography, art, literature, ideas, imagery and opinions. Let us celebrate the people who shape these ideas for a new generation and the roots where it all started: Los Angeles. Welcome to SoCal Magazine! Cheers,
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Food
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Portrait
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mini hamburger cupcakes Have a closer look and suprise your friends and family with these unique cupcakes. These little mini burger-cakes are super easy to put together and besides being frigging cute they are impressive for your guests. 1 box of brownie mix 1 box of vanilla cake mix red icing green icing sesame seeds
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boost your energy Natural and delicious drinks give us energy this upcoming fall. Hendign atiandebis duntinulpa doluptatur sin remporpor simus duntius pos quibus dolorunti aliquostia suntemp oreiciumquae nonsequat veliquiEbit ma volorpos ut underferiam.
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"artist have more fun."
Foreign Exchange: So Cal(l) Elitsa Stefanova Foreign Exchange: So Cal(l) Elitsa Stefanova by Sarah Perkins Photographer Tanita Enderes Foreign exchange student Elitsa Stefanova tells us her own version of living the American Dream in LA, even if only for 3 months.
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window dressing Themed windows make brilliant vignettes on FIDM’s 5th floor. By Dagmar Winston Photographs by Kyle Swinehart Each semester at fashion school, FIDM, located in downtown Los Angeles, the 5th floor is host to a variety of
window displays created by the Visual Communication students. Each semester they are given a theme and told to run with it. The results, quite often, are spectacular. This semester’s theme is nature and instructor Katherine LoPresti instructed students to build their window displays with “as much organic materials as possible.”
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SWAG notebook by Moleskine
black raincoat by Reebok
black flip flops by iPanema
backpack by Herschel
red sunglasses by Rayban
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swimming shorts by Reef
red T-Shirt by carhartt
brown watch by Swatch
type T-Shirt by Idioma green shirt by Reef
graphicb skateboard by Roxy
swimming board by Quciksilver
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Vol.1
The September Issue
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Surf‘s Up
new wave For Sarah Wilson, every wave means a new beginning. Today she tells us her story. By Tanita Enderes Photographer Richard Perkins
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n 4-5 foot surf, the 2012 ASP World Junior Champion Sarah Wilsonclaimed the crucial win over compatriot Dimity Stoyle at the final stop on the 2013 ASP Women’s Qualifying Series. Wilson was the stand-out surfer of the day, displaying commitment and radical manoeuvres as she battled the powerful offshore winds reminiscent of her home-town Phillip Island, Victoria. “I feel amazing, I’m so thankful for the support I’ve had, like my sister’s coming with me,” vanWilson stated. “I’m so happy I’ve finally done it! I was so nervous about the whole ranking’s thing and it’s easy to get caught up in all that, so the previous event in France was a bit of a speed bump to my goal, but it kind of made me wake up and realise I could do it without worrying too much and just being myself.” Wilson will officially join the elite ASP Women’s Top 17 next season, fulfilling a long time personal goal. Having had the opportunity to surf against the world’s best as a Rip Curl Pro Bells Beach wildcard competitor, she will compete among the world’s best and vie for a world title. “I definitely look up to Steph Gilmore, Carissa, Sally and all of them,” van Dijk admitted. “I cannot wait to surf against them again, I’ve been a wildcard in a couple of events but this time it’s for real!” With a six month break until the tour begins, van Dijk will savour her victory and qualification before commencing training for 2014.
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“Every wave is a chance for a new beginning. Every turn a new path into the future.“
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A Sense of Space Photographer Julius Schulman’s photography spread California Mid-century modern around the world
By Peter Gossell Photographs by Julius Schulman
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ven if you’re confused by the fork in the driveway, which slopes up to the Edenic apex of Laurel Canyon, or don’t recognize architect Raphael Soriano’s mid-century design landmark, you can’t miss Julius Shulman’s place. It’s the one with the eight-foot-high banner bearing his namean advertisement for his 2005 Getty Museum exhibition “Modernity and the Metropolis”hanging before the door to the studio adjoining the house. As displays of ego go, it’s hard to beat. Yet the voice calling out from behind it is friendly, even eager“Come on in!” And drawing back the banner, one finds, not a monument, but a man: behind an appealingly messy desk, wearing blue suspenders and specs with lenses as big as Ring Dings, and offering a smile of roguish beatitude. You’d smile, too. At 96, Shulman is the best known architectural photographer in the world, and one of the genre’s most influential figures. Between 1936, when a fateful meeting with architect Richard Neutra began his career, and his semi-retirement half a century later, he used his instinctive compositional elegance and hair-trigger command of light to document more than 6,500 projects, creating images that defined many of the masterworks of 20th-century architecture. Most notably, Shulman’s focus on the residential modernism of Los Angeles, which included photographing 18 of the 26 Case Study Houses commissioned by Arts & Architecture magazine between 1945 and 1967, resulted in a series of lyrical tableaux that invested the high-water moment of postwar American optimismarresting, oddly innocent glamour.
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Shulman’s decision to call it quits in 1986 was motivated less by age than a distaste for postmodern architecture. But, he insists, “it wasn’t quite retiring,” citing the ensuing decade and a half of lectures, occasional assignments, and work on books. Then, in 2000, Shulman was introduced to a German photographer named Juergen Nogai, who was in L.A. from Bremen on assignment. The men hit it off immediately, and began partnering on work motivated by the maestro’s brand-name status. “A lot of people, they think, It’d be great to have our house photographed by Julius Shulman,” says Nogai. “We did a lot of jobs like that at first. Then, suddenly, people figured out, Julius is working again.” “I realized that I was embarking on another chapter of my life,” Shulman says, the pleasure evident in his time-softened voice. “We’ve done many assignments”—Nogai puts the number at around 70—“and they all came out beautifully. People are always very cooperative,” he adds. “They spend days knowing I’m coming. Everything is clean and fresh. I don’t have to raise a finger.” As regards the division of labor, the 54-year-old Nogai says tactfully, “The more active is me because of the age. Julius is finding the perspectives, and I’m setting up the lights, and finetuning the image in the camera.” While Shulman acknowledges their equal partnership, and declares Nogai’s lighting abilities to be unequaled, his assessment is more succinct: “I make the compositions. There’s only one Shulman.” “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 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. 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.” 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.” Given the fun Shulman’s having being Shulman, one might expect the work to suffer. But his passion for picture-making remains undiminished. “I was surprised at how engaged Julius was,” admits the Chicago auction-house mogul Richard Wright, who hired Shulman to photograph Pierre Koenig’s Case Study House #21 prior to selling it last year. “He did 12 shots in two days, which is a lot. And he really nailed them.” Of this famous precision, says the writer Howard Rodman, whose John Lautner–designed home Shulman photographed in 2002: “There’s a story about Steve McQueen, where a producer was trying to get him to sign on to a movie. The producer said, ‘Look how much you change from the beginning to the end.’ And McQueen said, ‘I don’t want to be the guy who learns. I want to be the guy who knows.’ And Shulman struck me as the guy who knows.” This becomes evident as, picking up the transparencies from his two most recent assignments, he delivers an impromptu master class. “We relate to the position of the sun every minute of the day,” Shulman begins, holding an exterior of a 1910 Craftsman-style house in Oakland, by Bernard Maybeck, to the lamp atop his desk. “So when the sun moves around, we’re ready for our picture. the west side of the building. If I’m not ready for that moment, I lose the day architecture’s transparency.
“Are you pleased with these photographs?” I ask as he sets them aside. “I’m pleased with all my work,” he says cheerfully.
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The Flashback Let“s take a step back and remember the various memorable days we spent on the beach. by Tanita Enderes Photographer Leonie Aleman Quisitatiunt labo. Nam ideriam voluptas aut et aut a dellabo. Ut aut opturestrum aligeni enihil ipsaernatur sim sandae nest, unt, et vererit audam et ut pel ipicil evellor alis plabore sequae. Nem faceati dus dunt es quod ut lautendunti blabores dolupis qui santuria quis a evel illandis re vendae simi, cor apisimos am vid quosa accust optatur, sum quiatur ehendae serior sustrum lit, as num veribusciis quundae il mod quam dio. Ita dolor sit aliquis exerum sendebis molor aut aliqui idunt, cullabo rectior sapitibus, simporem faccupt assumquam la cus dolupic
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