The Virgin Issue - May 2013 by Relapse Magazine

RELAPSE Ian Frisch

Founder, Editor in Chief

Max Louis Miller

Art Director

Tyler Mitchell Photography Editor

Kelsey Paine Abby Kron Alexander Tirpack Staff Writers

Gabrielle Lipton Jamie Lee Bishop Contributing Writers

Jessica Lehrman Michael Tessier Cole Barash Adam Hribar Staff Photographers

On the Cover

PHOTOGRAPH AMBER GRAY FASHION DIRECTOR ISE WHITE HAIR YOICHI TOMIZAWAFOR at ART DEPT MAKE UP DAVID TIBOLLA MODEL KATE P at MC2

Curt Everitt

Creative Vice President

Ise White

Fashion Director

Meghan Hilliard Managing Editor

Billy Jim Jonathan Bookallil An Le Amber Gray Dawidh Orlando Sarah Kjelleren Griffin Lotz Daymion Mardel David Needleman Reka Nyari Mackenzie Duncan Caroline Knopf Contributing Photographers

On the Back

PHOTOGRAPH COLE BARASH

Dress PORTS 1961 Body Suit SEX TRASH

PUBLISHED BY RELAPSE MEDIA INC in BROOKLYN, NY PRINTED by BILL DUERR at HATTERAS in NEW YORK, NY

Contents.

8 10 12 22 24 28 30 34 44 54 62 72 82 94 102 112

The Dreamweaver Golden Girl 64.1333째N/ 21.9333째W The Immaculate Conception British Invasion Saudade Parents, Porn and Promiscuity Between the Sheets A Rose by Any Other Name The Only City The Projectionist Our Lady of Cyprus The Sacrifice In Bloom Becoming Melancholia

EDITOR’S LETTER

A Lover You Can Never Forget

lost my virginity to New York City on August 27, 2009. A thick and sticky day where my shirt clung to the small of my back, I walked around Brooklyn for the first time, smelled the rolling breeze off the East River and felt the heat of the fire under this place, noticing a ripple of fear, anticipation, and longing in my gut that, for the first 22 years of my life, I had never felt before. For this issue of Relapse, I wanted to touch upon that feeling of loss of innocence, the moment in your life where you make a decision that cannot be taken back—something that you’re forced to live with, for better or worse. And for many of us that moved to this city, we are taken aback by our newfound ability to find determination, as if, after coming in contact with this place for the first time, we have transformed and found ourselves in a new state of mind. From Meghan Hilliard’s look into first-time author Ashley Cardiff ’s sex-filled memoir; profiles of risk-taking, up-and-coming fashion designers Erin Barr and Titania Inglis; Amber Gray’s ethereal, garment-shedding cover editorial; Jonathan Bookallil’s innocence-fueled story “Between the Sheets”; to Cole Barash’s look into the arts and culture movement of Iceland, we are celebrating the concept of the “first time,” and those who have made the decision to shed their clothes and dive in headfirst. The Virgin Issue is also meant to encapsulate not only the traditional interpretations of virginity, but also to dig deeper into the fact that this city that we call home, the place we could never imagine leaving, one day in the past, took our virginity. And that day is something that you can never recreate, never truly experience again—the first time that you became one with New York City. That day where, coming over the crest of the Brooklyn bridge just before midnight, you felt truly comfortable, watching the lights of the city pulse and radiate underneath a late summer’s moon, glowing as bright as the sun and with almost as much importance. Something that you can’t imagine not being there. Something that will always been in your heart and under your skin. A place that you can never duplicate. And a lover that you can never forget.

Ian Frisch, Editor in Chief

The Machine. Amber Gray Making her debut in Relapse this March with “Dark Visions,” a mysterious, smoke-fueled beauty editorial, Amber Gray returns with the cover of the Virgin Issue, bringing us back to the ethereal and atmosphereic aesthetics she is best known for. With clients ranging from Marie Claire to Beyonce, Amber’s sense of humor and penchant for glam-rock peek through revealing unique, memorable, and bewitching personalities.

Jamie Lee Bishop A native of Atlanta, Georgia, Bishop profiled fashion designer Titania Inglis for this edition, but made her debut in Relapse with “The Concrete Jungle,” a fiction piece, her primary focus, for The End of the World Issue. She is currently studying creative writing with a focus on the craft of the novel at the University of Georgia. She has written for Refinery 29, and was previously a staff writer for Pop’stache, an online music publication. An avid reader of Stephen King, Bishop, ironically enough, has been forced to wear an ominous eye-patch in recent months.

Griffin Lotz A tri-state native, Lotz grew up in Montclair, New Jersey and attended the University of Delaware. The 25-year-old is currently the Assistant Photography Editor of Rollingstone.com, and took portraits of first-time author Ashley Cardiff for this issue of Relapse. An avid traveler, Griffin has touched ground in China, Tanzania, Vietnam, Costa Rica, London, the Caribbean, Puerto Rico, and throughout much of the United States, including Texas, recently documenting SXSW for Rolling Stone.

Caroline Knopf Winning the Gold Award at the Graphis Photography Annual “Best 100 in Photography 2013” for her debut in Relapse, “The Girl Who Fell to Earth” last December, Caroline Knopf makes her sophomore appearance with “Our Lady of Cyprus” for the Virgin Issue. Originally from the south, Knopf is now based in Brooklyn after working extensively in Paris. Currently working on a fine art series for charity, she was also chosen to be a juror at the PWP Women Photographer show at NO Gallery in Manhattan, curated by Klompching Gallery and Mary Ellen Mark.

The Dreamweaver

Brooklyn-based Designer Titania Inglis’ Vision Makes Fantasy a Reality WORDS JAMIE LEE BISHOP PHOTOGRAPHS TYLER MITCHELL

“O daughters of Earth! foolish virgins, beware! Lest in that upper realm you have nothing to wear!” William Allen Butler, “Nothing to Wear”

e have nothing to wear. In a sea of garments, we always have nothing to wear. Our wardrobe is brimming with last season’s memories. We’ve shed our winter coats but can’t seem to wash out the scent of an ex lover clinging to the fibers of our favorite sweater. The bare skeletons of the trees are beginning to bruise with nourishment, and we gaze out of our bedroom windows envious of their physical transformation. We feel different, but our outfits are a reflection of the past. That itch for a new wardrobe creeps up our neck. Brooklyn-based fashion designer Titania Inglis quenches our

ever-changing mood by creating pieces that transition seamlessly from season to season. Inglis’ thoughtfully made designs are fit to endure a dynamic lifestyle, leaving us with both more options and more closet space. “It’s really about this philosophy…I’ve been calling it lush minimalism, but it’s this idea of less is more,” said Inglis. “We don’t need to buy a zillion new tops every season. We have tops. We’re so much better off, and in the end so much more stylish, having just a few tops that we really love that actually fit us well, in gorgeous materials, and that we can wear over and over

again and style different ways to make new interesting looks.” Before settling in Brooklyn, Inglis, the daughter of Chinese and Scottish parents, was raised in Ithaca, New York. She honed her skills at Design Academy Eindhoven and the Fashion Institute of Technology, and polished her distinctive artistic style while studying abroad in Denmark and the Netherlands. The launch of her own line came after Inglis apprenticed under notorious New York designers Camilla Stærk, Jean Yu, and threeASFOUR. Minimalism radiates through Inglis’ work, not only in the versatility of her pieces, but in the minimal environmental impact of her garments as well. All made within a small factory in New York, her fabrics are sustainably sourced, utilizing materials such as Japanese organic cotton, vegetable-tanned leather, and deadstock wool from the city’s garment district. Working with sustainable fabrics means there are more challenges and fewer options, but the same goals of fashion still apply. “For this idea of sustainable fashion to be successful, in the end it just needs to be beautiful fashion,” said Inglis. “It has to be clothes that women are going to want to wear again and again, and that are beautifully designed. Otherwise, it doesn’t matter; it’s just a waste of fabric.” Inglis is certainly not known to waste fabric. A first for the designer, her A/W 2013 presentation at MADE Fashion Week featured reindeer fur, which she challenged herself to find a way to use sustainably. After the parts of the animal used for meat and other purposes are gone, the hides, sourced from the Sami people of the Northern Europe territory Lapland, are what remain. Along with the fur pieces, the collection, entitled “Arcadia”, featured the striking yet effortless geometric patterns Inglis is known for in array of taupe, black and bronze. Sprinkled with hoods, plunging necklines and adorned with Nettie Kent jewels, each chic, architectural ensemble told its own story. Inglis embraces contrast, harmoniously blending goth with feminine and ethereal aspects. Woven throughout her designs is a blend of organic handmade and industrial, giving a perfect juxtaposition that allows you to look and feel as bold as a warrior or as whimsical as a pixie. This strong but gentle quality only allows for further metamorphoses with her designs, whether you’re transforming from day to night or from good girl to bad girl. The collection exemplified that masterful union of opposites with its essence of a mysteriously enchanted forest tinged with an arctic chill. With such stirring designs, it makes one curious as to where the designer finds her inspiration. This season’s vision was found in a rather unlikely place. “I looked at it like a narrative,” Inglis explained. “In this case, it was the idea of this parallel mirror world like when you look into a puddle and you see the trees and the sky. For me it’s as if there’s this idealized world in there. It’s almost like ours, but a little more magical. So, it was this idea that the girls were these characters from this mirror world that could turn into deer just in the blink of an eye.” The collection earned Inglis recognition from prestigious publications such as The New York Times, WWD, and Elle, with Elle dubbing her one of “Fashion Week’s Next Big Things”.

Her influence and well-deserved exposure over the past year has grown a tremendous amount, which the designer humbly attributes much of to the Ecco Domani Fashion Foundation’s decision to honor her with an award for Sustainable Design in 2012. Winning the award allowed Inglis to have her work seen by leading names in the fashion industry and gave her the opportunity to work with some heavy hitters such as jewelry designer Bliss Lau and stylist Christian Stroble. “As a small designer sometimes it can feel like you’re working in a vacuum,” Inglis confided. “There are so many other simple designers out there and you meet a lot of them, but it’s hard to be sure that anyone is really appreciating what you’re doing. I’ve gotten a tremendous amount of recognition and I’ve had the chance to work with so many amazing people. It’s a whole new place I wouldn’t have been until I got that award.” The appreciation for Titania Inglis can be seen in the confident glow of the woman dressing down last week’s party dress and wearing it to something as casual as grabbing coffee. This woman’s closet may appear bare but her options are endless. She no longer has “nothing to wear.” Inglis’ staying power is a direct result of her less-is-more approach, creating pieces that follow the owner from season to season, becoming treasured staples. She hasn’t just made garments that are beautiful, but that are also sustainable and transformable. These tough but delicate designs tell the story of a woman who is just like us, but a little more magical. “You really have to feel that you’re bringing your own voice to the fashion industry and to the world, otherwise there’s no real reason,” Inglis said. “I do think I have that. I think that my specific look is definitely its own thing right now.”

Golden Girl

Upcoming fashion designer Erin Barr proves being a NYFW darling comes to those who don’t wait WORDS GABRIELLE LIPTON PHOTOGRAPHS SARAH KJELLEREN

hree dings into Erin Barr receiving a phone call and she was already considerately apologzing, muting her device—exuding the epitome of Midwestern manners. It’s simply impolite for a phone to disrupt a conversation. Her actions beamed the confluence of a bustling business owner and a considerate Wisconsin-bred girl. She can’t even criticize Land’s End without apologizing and taking back her words—not that they were malicious. Mind you, this is coming from a rising fashion designer in the thick of today’s industry, which isn’t exactly partial to geniality or catalogue outerwear brands. She doesn’t look you up and down, speak in the rapid-fire parseltongue of fashion talk, or bureaucratize her growing brand; she looks you in the eye, jokes about sounding like a hippy, and encourages

interns to show her their sketches. Blonde and willowy at 5’9”, the only professional giveaway is her all-black attire. Otherwise, Barr screams Golden Girl—not that her voice ever raises above a frothy alto. Barr was working at the luxury fashion label Cushnie et Ochs when she realized that there is no such thing as an opportune time to start a brand. “I was like, ‘You know what, if I don’t do this now, I’m just going to keep putting it off. Obviously it’s going to be expensive and stressful. I might as well start while I’m young and get the tough part over with,’” she explained. All true, except that the stress factor has yet to put a line on her coolbeige visage. On top of it, she’s self-funding her way through one of the most competitive creative fields during an economically

brutal time. Talking to Barr about her work is like watching a trained dancer make physical feats look so effortless that for a second, you think, “I could do that.” Perhaps this composure comes from having weathered the elements of multiple trails aspiring designers traditionally take. She began in the beauty sector, doing hair and makeup on photoshoots and in high-end New York salons. (She was entrusted the responsibility of Martha Stewart’s hair circa when Ms. Stewart was still wearing a tracking ankle monitor from her harrowing stock scandal.) But three years of fashioning above the décolletage only amplified Barr’s desire to design for below—to wrap the whole present, if you will, and not just tie the bow. She re-mapped and went back to school, first to Central Saint Martins in London, arguably the top design school in the world, and then to Parsons, where she finished her degree. “Everyone always thinks it’s so crazy that I left Saint Martins, and I guess it kind of is. But for me, it was so far away from my family. I wanted to be back in the States, and I love New York,” she confided. With the free flowing, creative approach championed by the first school and business-centric marketing method by the second, her crossbred education gave her the balance she now champions in both demeanor and design. Her fashion degree helped land her internships at Alexander Wang and Shelly Steffee and a design assistant position at Cushnie et Ochs before she ditched the map altogether and started her own line. She debuted with S/S 2012—a pallor assemblage mostly of separates that safely hinted at her now pronounced signatures: front-slit skirts, asymmetrical hemlines, unexpected revelations of skin. Friends and industry peers saw it, liked it, and told her to keep at it, freely lending labor to help her do so when they could. Five collections later—four full seasons and one PreFall—she has since won over many a gen-Y damsel with her polished tomboy look (think Katherine Hepburn, Françoise Hardy). On the day we met in her Williamsburg, Brooklyn warehouse studio, this writer was wearing a salmon colored button-up, and Barr her husband’s black sweatshirt. “Women are dressing more like boys. We want to be sexy, but there’s a balance, and we’re seeing more of that now.” Her clothes subsume more softness than Wang’s pavement-hard street wear, but edgy girls Dree Hemingway and Kate Bosworth are still counted among her style symbols. “Like, a Freja Beha could bring a lot of these clothes alive.” Take, for instance, her S/S 2013 collection, which coupled 1950s painter Frank Stella’s minimalism with strikes of bold sexiness inspired by Marilyn Monroe. Ruby Woo reds and provocative cutouts roused below-the-knee dresses and conservative necklines for a slightly sexed-up gamine guise that makes most pieces equally appropriate to offices or the Wythe Hotel’s roof at night. She designs for the tastefully daring; she designs for herself. Whoever would think to pair Stella and Monroe without being provoked by something is some kind of prophetic visionary. Perhaps her zen will blossom into that one day, but for now, she researches her inspirations by tearing apart fashion spreads, Artforum, and photo books; lays all of the images out on her studio floor; and lets her eyes guide her through them until a nar-

rative emerges. “Crazy things you’d never think of come together. Like, you’d never think to put this image of a plane with this one of boots in a graveyard and this one of the girl in the car window,” she said, holding up three pictures clipped from magazines. They’re entirely on point chromatically and emotively. “For me, it helps bring out things that you would never think of. I like the chaos of that.” And Barr thrives amidst chaos, seeing as the likes of WWD has hailed her past collections, and Style.com most recently marked her as one of their “11 New Labels to Watch Out for at NYFW”. Currently, Erin Barr is sold primarily at boutiques around New York and other stockists strewn around the country, but anyone anywhere can have anything via her online store. She hopes to branch into the European market soon, but she is cautious, as taking on too much too soon could easily backfire and destroy a fragile young brand. “Fashion is changing. We all want to do gobs of Valentino embroidery, but you have to be reasonable now if you want to stay alive and going. It’s all about balancing.” When Barr was young, she see-sawed through her youth, balancing idyllic canoeing and camping trips at her family’s cabin with hours at Borders, where she would pore over fashion editorials born of a world far removed from the Midwest. Riddle me Freudian, but there are few who end up supporting themselves on what was once their childhood fantasyland. For Barr, it seems to have come as naturally as if it were her only choice.

64.1333°N

21.9333°W

On January 16, 2013, Cole Barash left New York City for Reykjavik, Iceland. Armed with over 100 rolls of film, Barash set out to create a body of work encapsulating the predominately overlooked but highly progressive Icelandic arts and culture movement. Focusing on musicians, artists and fashion designers, he experienced more than merely taking portaits of tastemakers on the cusp of the Arctic Circle; he embodied a part of the world completely foreign to that of New York City—a thriving metropolis stuck within an open landscape of valleys and mountains. A place where, admist a notoriously variable climate, the people of Reykavik have carved out their own special niche within the global arts and culture movement. And they are here to stay. This is the next generation. This is Iceland.

S贸lstafir / Music

Clockwise from top left: Gabriela Kristin Fridriksdottir / Art Mundi / Fashion Vintage Caravan / Music Gabby Madien / Music

Clockwise from top left: Hildur Yeoman / Fashion Sylv铆a D枚gg Halld贸rsd贸ttir / Art Pascol Pinon / Music Anna Hrund / Art

Top: S贸ley / Music Bottom: Vintage Caravan / Music Right: Rebekka Jonsdottir / Fashion

The

Immaculate Conception

Rebecca Thomas Debuts First Feature Film Electrick Children WORDS ABBY KRON PHOTOGRAPHS DAVID NEEDLEMAN

hen Rebecca Thomas took the stage at the IFC Theatre on March 4th for the New York City premiere of her first feature film Electrick Children, there was no lengthy thank you speech or superfluous explanation for what the audience was about to see. She uttered softly into the microphone, “I’m so nervous right now.” The audience responded with endearing laughter and applause. A few days later, Thomas met with me to discuss the film at a bustling café in the West Village. The 28-year-old director, who might appear timid at first, offered a beaming smile and a quietly confident tone that makes her as engaging as she is relatable. Thomas seemed both relieved and exhausted after nearly a year of promoting the film, including premieres at 2012 Berlinale Film Festival and SXSW before it reached New York. “I feel like I’ve aged a lot since making the movie. I have so many

gray hairs now I have to pull them out every morning,” she joked lightheartedly, sipping some tea. For the last two years, Thomas had been consistently at work on writing and directing Electrick Children. The film tells the story of Rachel, a 15-year-old fundamentalist Mormon girl who believes she has experienced an immaculate conception after listening to a forbidden rock & roll tape. While Thomas was raised as a mainstream Mormon, the film is not merely an endorsement or reflection of her particular religious tenets. Instead, it proves to be more about a love for music and the power of faith— which Thomas and her protagonist Rachel both explore in individual ways. Although Thomas began writing a rough version of the script before attending film school at Columbia University in 2011, it was a photography course she took during her final semester that inspired her to direct her first feature. “The class was taught by a great photographer named Thomas Roma, who would take our photographs and tell us why they sucked and how we didn’t have enough courage,” Thomas laughed. “I was inspired by that class to gain the courage to want to say something.” By this point, Thomas had already completed several short films, the first of which “Nobody Knows You and Nobody Gives a Damn”—which she wrote and acted in—went to Sundance Film Festival in 2009. “I already knew the consequences of having a short go to a festival and didn’t really want to do it again,” said Thomas. “If I was going to spend money, I was going to try to make a feature.” After Thomas invited her friend Jessica Caldwell on as executive producer, the two began actively trying to fund the film via Kickstarter in May 2011. “We thought we’d make it for $20,000 by raising half on Kickstarter and each taking out $5,000 loans,” said Thomas. “We planned to make this low budget film with help from our friends and if it totally fails, we figured we already had $175,000 in grad school loans, so what’s the difference adding another few thousand? We just thought, ‘Let’s do this.’” Caldwell randomly sent the link to now-Executive Producer Richard Neustadter whom she previously met at an audition and was stunned when he personally contributed a quarter of the film’s total budget. Thomas followed up by sending the script to Neustadter, who saw potential in the young director and offered to help make the film for a higher budget. Virtually overnight, the micro-budget project between friends developed into a multi-million dollar production thanks to an angel investor. “We were super lucky. It was like a miracle. Basically, a bunch of money fell into my lap and I was feeling a lot of faith. I thought, ‘I really love this story, I would have made it with or without money.’” Thomas chose to keep much of the original production crew intact, including her sister-in-law Tennille Olsen and brother Will Thomas, who served as first and second assistant camera, respectively. One major addition, however, was Casting Director Adrienne Stern who would help Thomas secure a star cast to bring her characters and her script to life. “I couldn’t believe I was making a film with more crew and more talent than I could ever have imagined,” said Thomas. “It was so magical. I was already happy on the first day.” One of the first auditions Stern and Thomas received

was from veteran actor Billy Zane who earned the role of Paul— Rachel’s father and leader of the colony. Zane, who has worked with notables like James Cameron on Titanic and Robert Zemeckis on Back to the Future, claims that Thomas had an approach to directing that was all her own. “Rebecca has the director gene,” said Zane. “She has the vision and confidence of relaxed specificity shared by few established directors I’ve had the great pleasure of working with.” Liam Aiken, who previously starred alongside Susan Sarandon in Stepmom and as Klaus Baudelaire in The Series of Unfortunate Events, was cast as Mr. Will—Rachel’s rigidly obedient older brother who undergoes arguably the most drastic character transformation. The other lead male role of Clyde went to Rory Culkin, who Caldwell specifically suggested for the role. “I looked him up and thought he was perfect,” said Thomas. “So, we offered him the part and he said yes.” Ironically, the film’s protagonist was the last to be cast. Thomas and Stern had seen auditions from several actresses but none quite fit the specific image the director had for Rachel’s character. Julia Garner, the doe-eyed blonde indie actress, snagged the leading role just a week before production began. “After seeing Julia Garner, I can’t remember who I imagined playing Rachel before,” said Thomas, “Julia has this sort of ethereal quality; she just kind of glows, she’s just very virginal and angel-like. When I saw her, I thought, ‘That’s it, that’s what I need!’ ” While Julia Garner has landed several supporting roles in indie hits like Martha Marcy May Marlene and The Perks of Being a Wallflower, Electrick Children marks the 19-year-old actress’s first starring role. Even though she did not have much time to prepare for her role, Garner said Thomas “immediately put her at ease” and was able to effectively communicate her vision for the role of Rachel. “She is one of those directors who can direct anybody— she has a true gift,” Garner confided. “I never felt when working with her that she was a first-time director. She has an inner confidence and a natural ability to guide and direct her actors, yet always gives them freedom.” Even though the mood on set was positive and synergetic, Thomas admits that initially it was nerve-wracking to work with such an experienced cast for her first feature. “It was overwhelming to be working with a cast that had years and years on me, in terms of experience,” said Thomas. “I was nervous

everyday, to say the least, but I felt like there was a lot of love on set. Rory said to me once—the nicest thing someone’s ever said to me—‘I wish we could make this movie every year.’” The loving atmosphere between cast and crew during shooting had to do with the emotion of the film and its protagonist’s story. “I think everybody sort of felt it,” said Thomas. “That’s what the movie is about: While there’s something dark boiling under, I do think Rachel’s perspective is so faithful and so loving. I hope I get to make another film and have it be as loving.” Ultimately, Electrick Children is a story about love—a love for faith and a love for music. Growing up as a fairly obedient Mormon child, Thomas found music to be a source of rebellion, which also became the driving idea behind the plot to her film. She recalls overhearing her older siblings’ choice punk and hiphop music from a young age, an experience that partially inspired Rachel’s fascination with the forbidden cassette player in the film. “I probably heard music that I shouldn’t have been listening to at a much earlier age because I shared a room with my sister,” said Thomas. “Hearing it when I was really little did give me big emotions—similar emotions as when I sang hymns in church.” Rachel’s experience with listening to the music on the forbidden tape drove her to question her faith, but never stray from it. Thomas has, too, wrestled with her faith in a similar manner. Asked if she was still a practicing Mormon, Thomas admitted, “I don’t really know is probably the answer that is most accurate.” Although Thomas is already writing her next film—a doppelganger thriller set in New York City about a girl who meets her exact lookalike, Miss New York—she maintains a strong connection to the film that has solidified her as a serious director. “Even though I still feel very connected to the film, it is much easier to talk about now that it is coming out in theaters,” admitted Thomas. “I feel less attached to it, but in that way, I’m almost more open about it.” The initial script she had written for the film over four years ago now seems like a hazy, distant memory. Thomas cannot exactly recall how she originally envisioned the film, but she is genuinely happy with the outcome. “Everything happened so fast that I sort of had this blind boldness, this courage,” said Thomas. “It almost feels like I haven’t made a film, like I’m about to make my first film because now I know all the mistakes I’ve made—somehow it all miraculously turned into something better than I could have imagined.”

ANDREW CLANCEY

British Invasion

Bombastic expat Andrew Clancey and his unique boutique bring Londontown to the Lower East Side WORDS ALEXANDER TIRPACK PHOTOGRAPHS MACKENZIE DUNCAN

or Andrew Clancey, owner and operator of the LES English boutique Any Old Iron, life is fashion and fashion is a party. Sure, he has to deal with the hassles of owning a small business in New York City: the paperwork, the red tape, the labor laws; but when it comes down to getting dressed up for a night out, Clancey is one of New York’s best. Perhaps that’s why Time Out New York named him one of “New York’s Most Stylish Men”, or why musicians across the board— from hip hop’s 2Chainz to country’s Big & Rich to myriad of

punk and rock bands—come to Clancey for pictorial and stage styling, or why his barely three-year-old Orchard Street shop is a must-stop for tourists, natives, and celebrity stylists, even in a city saturated with clothing stores. But like most successful small businesses, Clancey owes a lot to finding and exploiting a niche. “I found a bit of a gap in the market for a British boutique, for solely English clothing, solely English designers,” said Clancey. “I also thought the menswear [in America] was boring. I just thought that there was an English rock & roll kind of style

On Her: Breastplate VON Earrings HOUS OF TOPPER On Him: Jacket J CHEIKH Tie DIOR Cardigan UNCONDITIONAL Shirt ANY OLD IRON

missing. I like things with a twist. Design can have edge. I don’t like being commercial, and I think if you can stay away from that commercialism, you’ll never get old and boring. And that’s the worst thing, to come into a store and be bored.” For someone like Clancey, finding the right accessories and outfits has always been of the utmost importance, and even a source of adventure. Growing up in a small village in England, he would regularly drive 200 miles to visit two shops in London, solely because he knew he would always find something new and different. He’s a man who owns over a hundred pairs of shoes, and will only wear a black shirt if it’s got some mesh, tears, or see-through components. Dapper, eclectic, loud, colorful, effeminate: These are but a few words one could use to describe Clancey’s style, but none of them really do it justice because it’s always something new, always something you’d never expect, and perhaps something you wouldn’t think of wearing until you see how good he makes it all look. All of the above surely contributes to Clancey’s notoriety, but the main reason he and Any Old Iron are staples in

the New York fashion world is because very few designers—if any—on this side of the pond can provide the threads needed to be Clancey-approved. Primarily a menswear store, the clothing available at Any Old Iron is unique in that many of the labels, be it the biker-on-qualudes leather pieces from Red Mutha, the oneof-a-kind work from designer Michael Calloway, or the ripped and torn U.K. punk rock-inspired store-specific label pieces, are only available to the shop. And the labels that are no longer exclusive to Any Old Iron were most likely broken into the U.S. market by Clancey himself. “When I first opened the store, we were about 90 percent exclusive in the U.S.,” said Clancey. “That figure has been going steadily down since other stores have taken the labels. At first I wanted it to be ultra exclusive, but then what happened was, I brought the brands to America, then another store started selling it, it became popular, so I stopped selling it—that’s what I was doing. But that’s just not good business, because I still want to have that designer even if other stores have it. So now we’re probably 50 percent exclusive. But it’s a pretty cool balance. It

On Him: Long Jacket and Shirt SONS OF HEROES On Her: Skirt NATHALIE KRAYNINA Jacket UNCONDITIONAL Glasses TATTY DEVINEf Necklace and Ring BESPOKE CONSCIENT

Jacket and Shirt HORACE Trousers STYLIST’S OWN Boots ODD HAIR BRADLEY IRION at ARTISTS BY TIMOTHY PRIANO for ORIBE MAKE UP RACHEL WOOD at ARTISTS BY TIMOTHY PRIANO for CHANEL MODEL PHILLIPE LEBLOND at DNA MODEL TESA at MUSE POST PRODUCTION NICK LEADAY for PORTSMOUTH RETOUCHING

seems to be working.” Even with the difficulties in maintaining privileged choice, there are plenty of ways to retain the goal of being a destination shop for men looking to dress with a little more flair. One of Clancey’s methods for keeping Any Old Iron relevant in a constantly shifting industry is to hire up-and-coming local designers and graduates from area fashion schools like FIT and Parsons. He also travels extensively, on the hunt for the next premiere label, line, or designer. And while he almost always busts his budget on his travels, the payoff is usually worth the payout. It was in Thailand where he found Tube Gallery, likely the next label to launch at Any Old Iron. “They’re amazing. They do over-the-top, way ‘out there’ clothing,” Clancey said. “Obviously it’s nowhere near England— it’s not an English thing, but it’s such an amazing line; I just want to have it in the U.S. It fits in the store perfectly. I’ve been going to Thailand for 15 years and I’ve bought stuff every trip and all of it has stood the test of time.” Clancey knows a little something about fashion’s test of time. He’s been a U.K.-based celebrity stylist since his midtwenties, when he left a century-old family scrapyard business located in a small town outside of York, England to throw his hat into the fashion world ring. In addition to driving lorries in a scrapyard, Clancey worked the doors at several U.K. nightclubs, where he was already known as one of the most flamboyantly dressed doormen in the area. It was because of his interest in music, clubbing and fashion that a friend asked him to come style an album cover for the band Ministry of Sound. From that point, the junkyard became just a blip on Clancey’s professional map (but certainly not forgotten—the name Any Old Iron is a

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homage to the scrapyard, and also the title of an old folk song about a well-dressed man). “The first shoot I did was in a building filled with five models dressed in menswear and clubbing clothes,” Clancey reminisced. “At first I thought, ‘Well this is a bit much,’ but then I did all the Ministry stuff, and then all different variations of music. The money went out of the [music] business, so I started doing more editorial and advertising work. Then it came back to doing menswear. I moved over here with an ex-fiancé and that was it. Just kind of met my [business partner, Christopher Melton] and opened the store.” Having spent ten years as an English fashion stylist certainly helped in retaining relationships he has with the labels he’s filled his store with, but again, it’s not one single thing that has made Clancey and Any Old Iron something special. Partying (specifically throwing parties at his store or tying in with clubs and promoters known for outlandish, mod, and drag queenesque fashion like Susanne Bartsch’s Catwalk and the DropOut events) have helped build the clientele and the enjoyable reputation. As for the parties thrown at Any Old Iron, they’re basically mixers set as a way to draw people to the store and to socialize with customers, friends and sponsors in a more relaxed environment. But getting dressed up is for going out and throwing down, so it’s only logical that that’s where the real magic happens. “It goes hand in hand. As a stylist you get invited to

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lots of fashion parties and stuff,” Clancey said. “There’s always fashion weeks going on. For me, I’m not about the shows. I think now you go to the shows to be seen. I think it’s a bit of a media frenzy—a circus. It’s like, you go to Lincoln Center, or wherever [New York Fashion Week] was this year, and there’s people catwalking outside just to get their pictures taken. But for me, it’s always been about the parties. That’s where you do business. That’s where you make your connections. Fashion and clubbing, it’s all synonymous. It all seems to gel together nicely over a glass of whiskey.”

Saudade

Midwest Americana shines through folk upstart Widowspeak’s sophomore effort, Almanac WORDS KELSEY PAINE PHOTOGRAPHS COLE BARASH

olly Hamilton and Robert Earl Thomas are equal parts balanced and kindred spirits, lounged on the tattered leather sofa of the Relapse studio in Brooklyn last week, a few hours ahead of their show down the steet at the Knitting Factory later that night, weaving in and out and over each other’s speech patterns as they bounce back and forth between ideas of 50s bluegrass, pioneer living, the nuclear family and futurism. For every trailed off sentence, the other was there to pick it up, abstractly discussing just how Widowspeak manages to craft a shoegazey, psychedelic brand of folk rock that is so unequivocally personal, yet universal. Saudade. A Portuguese word meaning an emotional nostalgic longing for a feeling, love or relationship that you didn’t necessarily participate in. Saudade. It explains the way Widowspeak feels about the American West and folk history—a sentiment honed, curated and explored within the band’s unique

folk/rock/country hybrid. Hamilton hails from Tacoma, Washington, and as she spoke, with her unruly brown bangs, vintage skirt and scuffed boots, her obsession with the untamed American West becomes clear. “Initially when I started writing songs I was coming out of high school,” she said. “They were more folky and I wanted someday to have a project called Widowspeak. It was based off 1940s [and] 1930s Disney soundtracks. Lawrence Welk. Country, but not like we think of now. Early Patsy Cline songs.” But after teaming up with Chicago’s Thomas, whom she met in musician heaven Brooklyn, the inspiration for Widowspeak continued to snowball. While crafting their acclaimed sophomore album Almanac last year, Hamilton’s lyrics lent themselves towards an apocalyptic-bent study of beginnings, endings, cycles and nature. “It’s not that I’m obsessed with doomsday imagery,”

Hamilton said of her writing on Almanac. “But it seemed like a good analogy. I was experiencing a lot of change and it’s good to write about what you know, but I like masking them in ways that relate to other things. Especially the end of the world was supposedly happening that year. It was something I had been afraid of—things ending, things changing, the mass hysteria,” she explained. “And then it became about neither of those things; it became about cycles and the way things start over. Almanac became a really apt title. It’s a really nostalgic idea. It keeps that natural world idea in one place.” The cyclical nature of Hamilton’s lyrics are evident, as she croons “I’m afraid that nothing lasts long enough,” on Almanac opener “Perennials,” a gorgeous campfire burner. “Ballad of the Golden Hour” is punched up by Thomas’ country western guitar riffs. “Think of me, how I used to be/We could never, stay forever,” Molly sings in her melancholy lilt. Traveling across the country for countless weeks on tour, and gaining more listeners than ever before, Hamilton and Thomas’ exploratory thirst was clearly quenched. “All of us had never driven across the entire country,” Thomas opined. “So to see the rolling landscapes and Omaha and Salt Lake City—we were drooling with our faces to the window.” After recording Almanac in a country house in upstate New York, the duo is already trolling Craigslist for a secluded hideout to record their next album. And Hamilton and Thomas’ desire to leave the city and explore the untamed earth gives their music’s thematic elements some real weight. After all, these two are practically Lewis and Clark: riding horses in the desert of Monterrey, Mexico; skirting past border patrol in Canada; or rocking an underground house party deep in Mormon country. Unable to stop the creative flow, they talked more about what they will do next, rather than what they have already done. “The next ideas we’re talking about have to do with the idea of the perfect nuclear family in the 50s,” Thomas proffered. “The idea of gender roles. Utopian ideas—a lot of the things that you think are nostalgia are kinda still around, because we live in this hyper city, which you take for granted. But you find a lot of these ideas and values and ways of living that haven’t died out. Even though we’re living in this modern godless New York.” And as Robert and Molly go back and forth, it’s clear the inspiration for Widowspeak stems from what these two supremely intellectual artists are instinctively interested in. The American West. Cowboy culture. Southern blues. Southeast country. Grunge.

“Writing the record is a lot about thinking before we even get close to music,” said Thomas. “We talk a lot about music and movies and photographs. Trying to figure out the feeling and theme of the record before we even get into writing the music for it. It’s not a concept record, but should have some sort of concept.” “Or a feeling,” Molly cut in. “Or a place or a time. Even if I’m still writing personal songs, even if I’m writing about my own experiences. I’m framing it in something else.” It’s this emotional heart of Widowspeak, sometimes hidden beneath swirling instrumentation and naturalistic metaphor that makes the band so much more than your straightforward folk outfit. There’s always a bit more under the surface of Hamilton’s lyrics—a nod to friendship, love or loss—poking its head out like a timid prairie dog upon repeated listenings. So while they dig up a wealth of past, present and future inspiration, they recognize their collusion with saudade, an innate desire to meld history and emotion. “We want to participate in the timeline,” said Thomas. “We’re definitely nostalgic people,” Hamilton admitted, “but we don’t try to make it sound like a certain way, it just ends up sounding like a conglomerate of a lot of different things. Nostalgia doesn’t necessarily need to be a tribute to the past, it’s just reforming past ideas.” After all, she said, “I don’t want to wear cowboy hats.”

Parents, Porn and Promiscuity

First-time author Ashley Cardiff talks infidelity, orgy attendance, and keeping her own sex out of her sex memoir, “Night Terrors” WORDS MEGHAN HILLIARD PHOTOGRAPHS GRIFFIN LOTZ

he ring around the filter of a Nat Sherman resting on a nearby ashtray matches the raspberry hue adorning Ashley Cardiff ’s mouth. Within one exhale of her New York Cut, the Deputy Editor of the popular women’s website The Gloss can tell you the name and make of her lipstick (it’s Empress by Hourglass) and crack a crass quip (“when life hands you lemons, make dick jokes”). A week after her 27th birthday, Cardiff and I sat in the bar garden of The Gibson, a Williamsburg haunt on Bedford Avenue, and discussed the release of her first book, “Night Terrors: Sex, Dating, Puberty, and Other Alarming Things,” a sex memoir that has already graced the first page of Publishers Weekly as their “Pick of the Week,” three months before its official release. “Can I take a few of these down before we start?” she asks striking a match off a book of a neighboring bar, lighting her cigarette. “I hate talking about myself.”

Where did you grow up? I grew up in a very, very small town called Sebastopol in Sonoma County. The population sign says it’s got about 7,000 people in it. It feels very small. Redwood trees, apple orchards, vineyards, and absolutely nothing to do under any circumstances. I was a very bored teenager. Did you write as a kid? I wrote my first book at 12, my second at 13, third at 14, the fourth one at 16, and the fifth one started when I was 18. They were all over the map stylistically. They had nothing in common with each other at all, other than the fact that they are completely unreadable and hugely mortifying.

You graduated from St. John’s College in 2008, and then moved to New York directly after. What brought you here? I wanted to move to New York my entire life. Growing up in my really small Northern California town, everyone was so blissed out and somehow always on the way to Burning Man. I was a little more dour and wore black and read Russian literature so people would say ‘Oh, you should move to New York’ I think as a nice, supportive way of saying, ‘You really don’t belong here.’ Over time I just internalized that and convinced myself that was the thing I needed to do. Obviously, the whole publishing industry is here so I figured if I couldn’t get a book deal, I could somehow peripherally be involved with writing books.

Why? Because I’m extremely private. I know how that’s going to look in print when I’m peddling my sex memoir, but I am really private. Part of the reason why I was able to make the column any good was because it wasn’t under my own name and I could be as ridiculous and as cartoonish as I wanted to be. I have lead a pretty middling, uninteresting life and it would have never occurred to me that anything I’ve done in my life was worth writing about. But, I suppose a good writer could make anything interesting, and I truly believe that, so I said ‘Fuck it,’ I gotta try.

“After all, that’s why it’s called ‘cheating’ and not ‘making babies smile’ or ‘feeding artisanal bread to ducks.’”

Did you ideally move to New York to try and get a book deal? I moved out here because I felt I needed to be here, which is dumb because you can absolutely write a book in a city where you can also afford to live. I certainly wanted to get a book deal but I always thought I’d be writing fiction and so this came as a bit of a surprise.

The book is technically a sex memoir, but there is no talk of you actually having sex. There’s not really any of that at all! It’s not a sex memoir in the sense, ‘I fucked this person and then I fucked this person and you’re supposed to give a shit because I give a shit and I’m an unapologetic narcissist who was encouraged too much as a child.’

How did the inception of “Night Terrors” happen? I was working in publishing and I was super poor. A friend of mine was an editor at a woman’s website and was always super supportive. I had a Tumblr at the time called Brainland where I was writing in this persona as this character with fictionalized anecdotes. She thought it was really funny so she asked me to pitch to her editor. The publishing industry is still pretty traditional, so the things I was writing about—mainly humiliating sex stories about my friends that they gave me permission to publish, granted I obscure their identities enough—I figured it probably wasn’t the best for my publishing career if the first thing people saw when they Googled me was all these dick jokes that I was making. So I came up with a pseudonym. Because I was writing pseudonymously, the narrative quickly was hijacked by this persona. They ended up offering me a position, and I left publishing to become a blogger which I didn’t see coming. At some point, a friend sent her agent one of the columns in a Gchat, kind of like, ‘Here’s the link, LOL.’ It wasn’t like, ‘you should represent this girl’ and the agent emailed me. She really liked the idea of parlaying the column into an essay collection. We threw together a proposal and the feedback we were getting was positive, but they thought that it would be much more accessible and better if it was written by me. We turned it into a proposal that was written by me, and Penguin was super into it and they bought it. The consequence of that was, before I even realized what was happening, I got a book deal for what is effectively a memoir about my sex life. Honestly, two years ago if you were to tell me that I would have been horrified.

comes from sex and dating, opposed to being about the sex and dating in a very literal way. But there’s lots of extremely infantile dick humor for people who like that, too. I like that. A lot of young adults move to New York City and get dream-crushed, have their hearts broken, and partake in questionable sexual activity. Is your story any different? No, but I do think that it is reasonably funny, so I’ll give it that. It would be impossible for me to sit here and conjecture why people should read such a thing, because I’m still coming to terms with the fact I wrote it, but I do think that there is something intensely relatable about being stressed out by sex and dating and I think that specific approach is not explored as often in sex writing which tends to be shoot first, ask questions later. Whereas I lose my mind at looking at things from as many angles as possible. You introduce a handful of ex-boyfriends. Do they know about their roles in the book? I kind of lost my mind in that process as well because I’m private, and I would be distressed if someone was writing about me in that regard. I could not think of their response to the material while I was writing because that was just going to change the way I wrote everything. However, when it started to take shape in the editing process, I began to realize I was going to need to show these people the dignity of explaining to them that they are being written about. I spoke to my adult boyfriends about it, and I was really anxious about it. The one who is referred to in the book as “The Mormon” was really compassionate. I offered to show him the chapters that concerned him before the book went to copy editing, and he said he trusted me to write about an experience that was true to me. The other wouldn’t promise that he wouldn’t be upset about it, but he was really proud of me for getting a book deal. I’m not interested in that kind of writing personally, so I certainly don’t think I’d be any good at writing about it. I do think that there is a lot of material for things of or relating to sexuality I could be funny about. I think the stuff I included that was personal should be there, or it would have felt insincere to exclude it. Because it was formative and important to my development. It’s not about me having sex because I’m terribly interesting and I think I’ve had a terribly interesting sex life. I think if I wrote a book that was just about me having sex and dating people, it would be dreadful and exceptionally boring. You introduce us to yourself as a kid, getting kicked out of catechism (that was taught by your grandmother) because of your overtly sexual illustrations and bring us all the way through to the introduction your present day partner. Tell us about the in-between. The book as I see it is about dread and anxiety as it pertains to human sexuality, and the narrative of the book loosely follows psychosexual development. A memoir that’s about the confusion, and the unease and the alienation and the distress that

You list 14 different names for “dick”. Have your parents read the book? My parents are so weird. They’re super supportive, but they’re not abundantly enthusiastic people. My father has a really black sense of humor. He really early-on left this gleeful message on my phone referencing a really foul joke from the beginning of the book about how children haven’t yet learned that the asshole and the genitals are different opera boxes in the same theater. He left this message where he was just giggling that line and was just like, ‘Good stuff, Ash, good stuff ’ and then hung up. My mother is a little more conscious of social embarrassment. She was like, ‘I don’t know how your cousins are going to feel about that sex tape story.’ They both don’t have any objections that I know about. What does your current boyfriend think of you putting your past public? He jokes he can never break up with me or else he’ll get a really nasty chapter. I don’t see that happening. He is such a good guy, I can imagine if we were to ever break up I wouldn’t have much

bad things to say about him. I would never write anything as revenge, let’s be super clear about that. The things I wrote about that concerned people who I thought were behaving in a cruel or selfish way, I tried to be fair to them. I tried to humanize them and see them as people and see them as dynamic and complicated individuals opposed to men who did me wrong. What’s next? I’ve got to start working on a proposal for book two. I’m really interested in fear and anxiety—interested for really a lack of an option. My brain is interested in fear and anxiety, and I just kind of have to go along with it. I want to write about panic and dread not necessarily as it pertains to sex. I just kind of like the idea of thinking about my life in terms of things I have been afraid of. So, another memoir? Yeah, technically. I’ve got to get used to hearing that word applied to what it is I’m doing. For my own sanity, I like to think of it as an essay collection that hinges on personal anecdotes as opposed to a memoir because it just feels so deeply hubristic to write a memoir in your mid 20s when you haven’t done anything really interesting. I think it’s rather hubristic to write a memoir at any age if you haven’t done anything interesting. It’s particularly egregious if you do it at 25. But, there’s no good reason not to write essays that you think are interesting that you think you could be funny about.

“[My dad] left this gleeful message on my phone referencing a really foul joke from the beginning of the book about how children haven’t yet learned that the asshole and the genitals are different opera boxes in the same theater.” Ideally, what would you like readers to get out of “Night Terrors” after its release July 2nd? I think that at the end of the day it would probably make me content to think they found it funny and found something in it that was recognizable. I definitely hope that it isn’t just something that’s viewed as immediately disposable. I tried really hard to instill it with some value beyond ‘this is a 20-something writing about sex and dating in an extremely banal way’. At the end of the day, I just hope it’s funny.

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Full-Length Chiffon Dress with Jeweled Top ALBERTA FERRETTI Brown Leather Jacket GIVENCHY White Button-Up Shirt GIVENCHY Gold Cuff JOOMI LIM Gold Chain with Gems BEN AMUN

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Long Sleeved Full Length Black Gown ALBERTA FERRETTI Pearl Necklace with Silver Flowered Brooch BEN AMUN Gold and Silver Spiked Necklace JOOMI LIM Silver and Black Shoes DKNY Black Lacd and Gray Flowered Head Piece CIGMOND Silver Cuff JOOMI LIM Silver Triangle Dropped Earrings JOOMI LIM

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Blue Leather Structred Jacket J. MENDEL Black and White Floral Blouse DKNY Black and White Floral Skirt DKNY Silver and Gold Spiked Necklace JOOMI LIM Clear Baby Blue Heels CHANEL

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Black Sheer Dress GUCCI Rose Gold Cuff JOOMI LIM Gold Cuff JOOMI LIM

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Baby Blue Jumpsuit CHANEL Baby Blue Shirt CHANEL Blue Pearl Flower Necklace CHANEL Pearl, Pink and Gray Spiked Necklace JOOMI LIM

Black Plead Dress PAUL SMITH Black Blazer CARLOS MIELE Orange Strap Shoes BLUMARINE Blue and Red Spiked Necklace JOOMI LIM Mirror Aviators MYKITA Silver and Gold Spiked Necklace JOOMI LIM

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Black and Gray Striped Blazer COSTUME NATIONAL Black and Gray Striped Pants COSTUME NATIONAL Black Spiked Shoes CHRISTIAN LOUBOUTIN Colorful Dropped Chandelier Earrings BEN AMUN Red Cylinder Flower Headband MONIKA FINE MILLINERY Rose Gold Cuff JOOMI LIM

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White Dress with Black Lace and Leaves BLUMARINE White Blazer with Black Leaves BLUMARINE Short Gray Leather Gloves CAROLINA AMATO Pink Straw Headpiece LEAH C COUTURE Silver Plate Necklace JOOMI LIM

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Blue Plaid Blazer GIORGIO ARMANI Gray Blouse and Shorts GIORGIO ARMANI Black Studded Belt CARLOS MIELE Cool Colors Rock Necklace BEN AMUN Short Gold Chained Necklace BEN AMUN Brown Tortoise Shades PAUL SMITH Green and White Scarf CELINE Gold Spiked Clutch CHRISTIAN LOUBOUTIN Tall Black Laced Up Boots GIVENCHY

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Gun Metal Gray Dress BOTTEGA VENETA Gun Metal Gray Necklace wtih Diamonds JOOMI LIM Long Black Lace Gloves CAROLINA AMATO Opal Stud Earrings BEN AMUN Pearl and Pink Gray Spiked Necklace JOOMI LIM Long Gold Pearl Faner Necklace BEN AMUN

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Green Block Pants CELINE White Detailed Trench Coat CELINE Gem Dropped Earrings BEN AMUN Black Circle Hat with Ribbon THE HAT SHOP Pearl, Pink and Gray Spiked Neckalce JOOMI LIM Short Black Leather Gloves CAROLINA AMATO

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Blue and Gray Cropped Structure Jacket BALENCIAGA Pale Pink Cropped Blouse BALENCIAGA Navy Blue Skirt BALENCIAGA Green, Blue and Purple Gem Necklace JOOMI LIM Rose Gold Chandelier Earrings BEN AMUN

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