The House of Perez - December 2021

12/21 11/21 - SPECIAL EDITION

WINTER WONDER INDIGENOUS in Hunt Country

GENIUS

ThunderVoice Hat Company and Elias Jade Not Afraid

FASHION ISSUE

Moments with Michael Cinco, Christine Alcalay and AZ Factory

LOCAL IS GLOBAL

An exclusive inside look at the latest publication from Death & Co.

JOY KINGSLEY-IBEH

OLGA SHERER

Her personal story and her path to success

her career on the runway

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CONTENTS December 2021 4

Editor’s Letter

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An Eye for Style A moment with Connor Duszynski, Fashion Director at The House of Perez

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Métiers D’Art Collection A look into the making of Chanel's latest collection

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Joy to the World of Love Joy Kingsley-Ibeh tells us her story and how it's paved the way to her success

Alone for the Holidays Shell Peterson shares new perspetive on how to spend time during the holidays

CO V E R LO O K Brittney Noelle styled by Joy Kingsley & Zoey McCarroll. Photography by Ronda Gregorio

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Recipes from Chef Ryan Ross Quick and easy winter appetizers from creative chef based in the Pacific Northwest

Death & Co. An inside look into the latest publication from these popular cocktailers

Winter Watercolor Lydia Schrader shares her favorite pieces from the season and a look at her career as an artist

Mr. Miyagi in NFTs Peter Klamka, CEO of MORE Management, talks about their latest NFT realease

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A Moment in France Model Camille Cremet visits Chateau de Chantilly

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Winter Wonder in Hunt Country Our cover shoot featuring Brittney Noelle in classic Americana fashion at one of Virginia's most romantic spots

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Georgina Preston Through the lens of prominant UK photographer during her time in Hunt Country

C H ÂT E AU D E C H A N T I L LY Below: Camille Cremet wearing Zenga.

Photographed by Filbert Kung

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Making an Impact Heidi Zimmerman uses her creativity to bring happiness around NYC

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Letter from the Editor

WE HAVE OFFICIALLY MADE IT TO THE END OF THE YEAR, and I am left feeling completely honored to have worked with the many amazing creatives that have made up our first three issues.

When we were in the dreaming process of developing this magazine, we agreed we would be happy to publish an issue each quarter, knowing that this was a passion project for our then very small team.

Workloads needed to be managed as the balance between paying jobs and this "hobby" was put into place. Here's what changed our initial goal: You. As we started reaching out to contributors, artists, creatives and brands, we realized the excitement for a publication like ours to tell your stories was more than we anticipated. It fueled us to produce more and connect with others like us who share in this passion - giving us the chance to grow our team and our editorial calendar to an issue each month in 2022.

In this issue, you will see coverage within the food space for the first time. Sharing a couple recipes from chef Ryan Ross, and an exclusive inside look into Death & Co's new book of cocktails - which felt right for the season. Next year, we plan to share more stories within this industry and the rest of the creative spaces we have touched on before: fashion, art, interiors, music, and design. We are proud to provide you the latest news and stories surrounding each of these fields and the people within them.

We also had the pleasure of spending time with a couple inspiring women this month including stylist, Joy Kingsley-Ibeh of Kingsley Models and Talent Management agency, as well as artist Lydia Schrader.

Hearing stories like these is an amazing way to become inspired as we close out this year and begin again in the next.

Our team is extremely excited to bring you an entire new line up of stories starting right away in our January issue, Trendsetters and New Beginnings. If you follow us on Instagram, you may have already seen a peek of the cover stars from behind-the-scenes footage. Make sure to stay tuned there for more inside looks at this story and many more as we continue to build this brand and family of followers like you.

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TO P : C O V E R LO O K P H OTO G R A P H Y B Y R O N D A G R E G O R I O. B OT TO M : K I N G S L E Y M O D E L S P H OTO G R A P H E D B Y D R E W X E R O N

Future Thinking

Editor in Chief KACEY PEREZ Creative Director at Large NATALIE STEGER Editor at Large AIDA M. TORO Fashion Director CONNOR DUSZYNSKI Visual Director FILBERT KUNG Visual Director JANA SCHUESSLER Features Editor JENNIFER STRIEGEL Social Media Manager CLAIRE GRISOLANO

Contributing Writers Shell Peterson

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An Eye for Style

Introducing Connor Duszynski, a marketing master and Fashion Director at The House of Perez WRITT EN BY: CONNOR DU SZYNS KI PHOTOGRA PHY BY: GEORGINA PRESTON

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Connor Duszynski is the President & CEO of Cardinal Marketing & Design, LLC, a marketing agency he started a few short months ago upon completing his studies at George Mason University last May - all at the age of just twenty-two years old. “People always ask how and when I knew I wanted to start my own agency, or if I had any reservations about trying to grow my own business so young. Honestly, I didn’t. I was and am at a place in my life where I believe in going all-in.

Business owners and entrepreneurs don’t have the luxury of being just ‘half-in’ when you’re trying to make a living, support and represent your clients, and grow your brand,” says Duszynski. Now, just six months after forming Cardinal, the agency consists of clients from Wall Street Journal, bestselling authors, renowned equestrian and commercial photographers, tech companies, nonprofits, independent retailers, rising polo stars, artists, and interior designers throughout the United States.

When asked where he gets the inspiration for his entrepreneurial spirit, Duszynski answered that his parents have always played that role for him. “My mother and father didn’t go to college growing up. My mother especially didn’t come from much before moving from the outskirts of Pennsylvania’s coal country to Maryland where she ultimately met my father and started our family. Over the years, hearing her stories has inspired me to make something for myself. It’s the same case with my father, who started in construction when he was still in high school. Those early years set him up for a successful 40-year-long career in commercial and residential land development.

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"I admire them both greatly for their resolve, determination, and for inspiring me to forge my own path.

You could say it runs in my blood.”

Duszynski’s upbringing not only taught him the importance of hard work, but it also helped prepare him for future networking opportunities and the chance to explore his creativity. Art and self expression were always at the forefront of his mind, even from a young age. While his siblings were away at varsity soccer, lacrosse, and basketball, Duszynski always preferred staying home or in the art studio with his favorite teacher to draw, paint, create, and photograph landscapes.

“It’s essential to have a creative mind in marketing. I’ve been blessed to say that creativity and artistic expression is always something I’ve been allowed to explore, even in my childhood,” says Duszynski. His casual love of watercolors and oil painting grew into a hunger to learn more about digital photography and architecture.

It's this exploration of art that still fuels his creative process and outlook on marketing. In a world that is so laser-focused on aesthetics, style, flashy images, assets, and thought-provoking work, Duszynski’s creativity and “good eye” for interesting content has manifested itself in stylish and contemporary rebrandings of his clients. “I like to think I have a good eye for style and art that’s interesting to look at. That’s always something I want to showcase in different ways through the digital presence of my clients. My client Carrie Hull, the Executive Director of the Great Meadow Foundation in The Plains, Virginia always says that we’re living in an attention economy, and it’s true. Especially on social media, we are inundated by a constant stream of flashy images that most of us will forget about

in ten minutes. It’s important to showcase interesting and engaging content that people will remember and be excited by. The more my clients stand out, the better,” he shares.

Never one to blend in, Duszynski takes the same approach to fashion. Joining creative partners Kacey Perez and Natalie Steger at The House of Perez, Duszynski became our Executive Fashion Director shortly after forming Cardinal Marketing last summer.

His eye for fashion was formed in his youth alongside his love of art. Attending a small private school growing up, which required uniforms, Duszynski was always looking for ways to break the rules and bend the fashion norm. “I thought I was Cher from Clueless in high school. I was always trying to find ways to get around the boring dress code at school. I (usually) didn’t get in trouble for it either, and I like to think that’s because I looked stylish doing it. I didn’t and still don’t like the idea of blending in. It’s boring, and I don’t do boring. Finding something as simple as a pop of color on my tie, or a patterned shirt that I wasn’t allowed to wear, or adding accessories and jewelry to the uniform was enough for me.”

While Duszynski was breaking the rules at school, he was taking notes at home. He’d watch as his mother got ready for her daily errands, dinner parties, and other social events throughout his youth, eventually helping her pick out and style outfits. “She didn’t always listen to me but she does for the most part now,” he jokes.

“Growing up, she was my style icon…and Lady Gaga, of course. I can’t tell you how many times I rewatched her music videos just for the fashion. I was in awe of her, her spirit, and her expression through what she was wearing. I wanted to be like her.”

Gaga’s fashion sense, coupled with her messages of self-love and self-acceptance, is what has most greatly impacted Duszynski’s outlook on fashion, personal style, and stance on using clothing as a means to make a statement. “Fashion is a vehicle through which we express ourselves, how we’re feeling, and what we want. It’s a tool that everyone should use. Fashion and your sense of personal style is empowering, and I don’t think enough people recognize the impact it can have on your day-to-day life. For me, personally, I wear black whenever I want to get something done or am feeling confident. It’s just one simple example of how I use fashion as a means to stand out amongst my surroundings, to accomplish tasks at-hand, or as a pick-me-up on any particular day,” he adds.

It’s this sense of fashion that we love at The House of Perez.

Similar to his sense of marketing, fashion is meant to be exciting, interesting to look at, and intentional. While it doesn’t always have to be groundbreaking for a day-to-day look, personal style should serve a purpose and be conveyed in a way that’s authentic to whomever is

wearing it. With this in mind, our team is most excited by the recent pieces and collections of Schiaparelli, Mugler, YSL, AZ Factory, Gucci, Ludovic de Saint Sernin, and Balenciaga to name a few, all houses which embrace the bold and trend-setting. Duszynski’s most excited to see up-and-coming designers as well in 2022 and beyond. “While there are many current, well-established fashion houses that are continuing to pave the way and are constantly being featured at award shows and red carpets, I’m really excited to see what new designers have to offer. We’re all well-aware that Gen Z is shaping the fashion landscape, and it’s about time our designers and regularly-featured brands reflect that.”

Looking back at the past six months, from becoming the President of his own marketing agency to our Fashion Director, and a published contributor at numerous other publications, Duszynski is in the business of manifesting one’s reality. With virtually no limit on the kind of client he accepts, he has anticipated and made plans for 2022 to be his most explosive and dynamic year yet. From more upcoming podcast features to new clients he’s signing at the start of Q1, as well as plans for international work travel, Duszynski’s positioned Cardinal for flight. “I’m blessed to say that I’ve already surpassed my initial five-year plan. I knew before forming Cardinal that it was going to take-off, I could feel it. There was just an unstoppable amount of momentum heading into its founding in June that made me realize I was going to do something big with it. That feeling was the surest thing I’ve ever felt in my life. All I could think about was working towards my future and making myself proud. I’ve done that, so I’ve already succeeded in my book.” Duszynski knew his business was going to succeed when potential clients and partners began reaching out to him directly on social media, inquiring about how to work with him, setting up consultations and wanting to learn more about his offerings.

“I had complete strangers and members within my local community reaching out to me who I had never spoken to before.

While it’s the best feeling in the world to be recognized and uplifted as much as I have by my community, it’s not something I take for granted. Being in a position to give back and support my community, helping us all to elevate our businesses and our callings is the most fulfilling thing I’ve been able to do in the past six months. If there’s one thing I could leave with potential clients and readers, it’s to find your calling, manifest your future, and pursue it tirelessly. You owe it to yourself.”

“Fashion is a vehicle through which we express ourselves, how we're feeling, and what we want.

Fashion and your sense of personal style is empowering, and I don't think enough people recognize the impact it can have on your day-to-day life.”

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Honoring New Creative Perspectives Chanel 2021/22 Métiers d’art Collection WR I TT E N BY: N ATAL IE T. ST E GE R P H OTO G RAP H Y: C OU RT ESY OF CHANEL

Dallas, Paris, New York, and Mumbai were past locations where Chanel has honored the craftsmanship of the ateliers and artisans, or what the Parisian House of Chanel calls, “the virtuoso hands of fashion.”

For Artistic Director Virginie Viard's 2021/22 Métiers d’art collection, she thoughtfully chose le19M, the new Parisian building imagined by CHANEL and dedicated to the Fashion Métiers d'art. World-renowned architect Rudy Ricciotti took the helm in the design and concept of le19. M. Ricciotti was quoted in an interview last summer that the building was a tribute to Chanel’s craftsmanship and the vision of the design was to honor the people who work for Chanel.

In turn, one can say the design and

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intention of the building was an inspiration to Viard as the place to present the Chanel de Meiters as the building itself is the “story of a unique place that hosts both workshops, a school, and a gallery space open to all audiences” - the intention of architect Ricciotti.

Eleven Maisons d’art have been brought together at this new building dedicated to the Métiers d’art and designed by CHANEL, located between the municipality of Aubervilliers and the 19th arrondissement of Paris.

The thoughtful selection of the show’s location, partly due to the uncertainty of the pandemic, opened doors to a new and creative way to present the show's story. Viard called upon the Remembers Studio to create eight animated films featuring models close

to the House, which are portrayed in imaginary worlds inspired by Métiers d’art. As a These short films echo the skills and talents of the great artisans Chanel and continues the tradition celebrating several hundred embroiderers, feather workers, paruriers, goldsmiths, pleaters, shoemakers, hatters, milliners, glove makers, tanners, leatherworkers, as well as silk and cashmere experts.

The Chanel collection is rich in details crafted in the Maisons d'art ateliers that honored and complimented architecture through the looks of embroideries and structured proportions of the show’s metropolitan and rich details, which merges the craft of the past with modern techniques in fashion. “The preservation of this heritage

goes hand in hand with the need to focus on the future, to inspire new vocations and to experiment with new techniques,” words from the House of Chanel in regards to the show.

There was a small army of models who waltzed down the black and white checkered floor during the show, a motif that appeared on sequined skirts and tweed dresses throughout the collection. Viard mainly displayed a monochromatic palette against soft colors with modern riffs on the stylistic codes at the brand's heart—tweed, quilting, black-and-white, pearls—or introducing a floral print. Along with classic Chanel logos embroidered on burgundy cashmere cardigans, Viard also played with shapes, lines,

exaggerated silhouettes, and sizes, bringing unique juxtaposition that fashion lovers of all ages would admire. It was a perfect blend of street chic and true sophistication in the craftsmanship in each piece one would expect from Chanel.

The pairing of the beauty looks of the dramatic wing-lined eyes brought a modernized Parisian elegance to the show by hair and makeup leads – Damien Boissinot and Tom Pecheux, respectively – the beauty looks were the perfect blend of modern with nods to the past that aligned with the Viard’s vision as she describes the collection as, “very metropolitan yet sophisticated, with tweed jackets with sweatshirt sleeves, graffiti-style embroidery in colored beads by Lesage, vo-

luminous purple or royal blue knit bermuda short-outfits, and casual coats worn open.”

The pandemic has brought fashion to find innovative ways to communicate its story in the collections. Collectively, through authors perspectives, short films, and videos of the show itself, it's proof that a person can still experience a show like this, even when they are not in attendance. The future involves sharing a vision through different perspectives to deepen the viewers experience in more creative ways. To view the entire Métiers d’art show, visit Chanel's website.

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J OY B R I N G S J OY Joy Kingsley-Ibeh thrives on bringing joy to her clients by making them feel confident again.

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Joy

to the world of love

WRI TTEN BY: J E N N IFE R ST RIE GE L P H OTOG RA P H Y BY: DRE W XE RON

A survivor. A thriver. A lover. A fighter. And the A list goes on and on.

Meet Joy Kingsley-Ibeh. Yes, Joy’s name is Joy. From birth. Her birth in Nigeria. Her youth in London, New York, and Virginia.

Her adulthood with her husband, DJ and Co-Founder of her business, Kinsley Model + Talent Management, Azam Mirza, based in Washington D.C. This female force is humble. She is soft, whilst being incredibly multifaceted in her experiences and enduring strength. Joy is inspired each and every day to continue to do her part to make modeling and styling a work of love. But first, let’s go down memory lane. To where Joy’s fashion jour-

ney began. Through hardship, loss, and… volleyball.

Joy was born in Nigeria. As the youngest in the family, she was the first child in her family to join her parents in immigrating to London then to New York. “You come to America by any means necessary.

Because our (life’s) purpose is for education.” Her father was accepted to Liverpool University and subsequently New York University (NYU).

Devastatingly Joy’s father was murdered when Joy was just nine years old. Joy shares this horrific experience as a youth through the lens of extraordinary hope and appreciation for what her family endured

and the support they had. She highlights the U.S. court system as an anchor of that support. Specifically, her family’s assigned prosecutor stepped up to ensure her and her family were not deported because their visas were through her father’s scholarship to the university. Especially in today’s world with all of the backlash on America’s archaic and continuing broken systems, it is refreshing looking through Joy’s lens. Both in tears from what no family should have to endure, whilst in smiles for what prevailed in coming to America.

Joy’s family moved from New York to Virginia and Joy spent her teenage years thriving. She was tall and beautiful, a stand-

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out athlete and her strength in softness was continuing to emit around her. "Despite feeling like outsiders in a new and predominantly white school and community, we ended up being cool to our friends, because we were good at sports". Joy got a full scholarship to George Mason University for volleyball.

Then her first hours in the Netherlands playing professional volleyball, another unthinkable murder happened in her family. This time her older brother. Again, she took from the travesty a necessity to continue to rise up. Joy continued to play professional volleyball in the Netherlands to honor him, all the while, establishing her eye for styling from her worldly experiences. Her own look and helping friends with their looks was being shaped and honed in on. What Joy chose for people to wear and what she wore herself, made her and others feel good in their own skin.

Her passion for shifting the paradigm of feeling and looking good as being a sign of vanity to a message to the world of valuing oneself continued to emerge. Joy, also modeling herself, continued to expose her to both the trends and the realities of what was taking place in fashion behind the curtain. Stylists were experts in certain body types and skin tones, but didn’t know how to adjust for all. Joy knew she could help guide others to fall in love with themselves and share that with others, because she was styling them based on them individually.

Both Joy’s passion and undeniable fashion expertise was not her primary profession at the time of this creation and curation, though. Joy worked in a United States Federal Government Agency, the

United States International Trade Commission, for eleven years as a Contracting Officer while moonlighting modeling and styling. In hindsight only, the foundation at the Fed has enabled her in being impec-

“The thing that fuels me the most is that I live my life knowing tomorrow is not promised.”

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J OY ' S FA M I LY. P H OTO CO U R T E S Y O F J OY K I N G S L E Y.

cable in her tastes for others in modeling and styling, also in being a savvy business owner and leader. Her natural ability with the numbers side of the business carries through in her unending support of the

models and clients she services. Joy sees joy in each opportunity she provides. So much so, like her childhood hardships, she takes lessons from every setback. “A client may not rehire a model. But they will rehire the agency, for another talent. That gives more jobs to more people.”

Joy’s decision to make her side hustles in modeling and styling, the hustle, was unsurprisingly another hardship turned opportunity to endure. Joy got sick unexpectedly and had to take medical leave from her Fed job. During that time, with the support of her husband, she was able to write the Kingsley Model + Talent Management and Style by Kingsley business path. While not returning to the Fed after that leave, Joy refers to her former coworkers as integral supporters.

“In the government… some believed in me more than I believed in myself.”

She reflects on how there was always mention of how she showed up to work through her style. That it didn’t fit and she could thrive elsewhere.

That elsewhere has benefited so many of us in fashion and in life. Joy has this uncanny ability to see what could be so complex and controversial, instead as an opportunity to bring the world together. "The thing that fuels me the most is that I live my life knowing tomorrow is not promised."

You will see Joy’s styling on the high street, on mainstreet, at film premieres and Emmy award winning television shows, from artists and artisans to athletes and influencers worldwide. The way she supports others, through a precise messaging that’s customized for the individual to meet each of her client’s needs, comes from believing in herself first.

Making time to look and feel her best and being present with her husband for his feels. Being unwavering in fostering the simple joy one gets from putting their best self forward. We should all be so lucky to learn how to experience the true meaning of bringing yourself joy… from Joy. | kingsleymanagement.com

KINGSLEY MODELS KMTM has accumulated a diverse team of talent experienced in the fashion and entertainment industries.

Pi c t u r e d l e f t : J o y a n d h e r f a m i l y.

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Alone for the Holidays Joy in the Solitude

WRI TT EN BY: SHELL PETERS O N

P H OTO G R A P H Y B Y MARK CRUZ.

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The holidays are generally understood as a time of togetherness spent with family and friends. But “the most wonderful time of year” can be a stressful and lonely season for some.

Many people experienced holiday blues for the first time last year as Covid-19 kept us apart from loved ones. Whether you are single, newly divorced, an only child, unable to travel, or suffering from a loss, spending the holidays in isolation can be extremely challenging and despairing.

As a newly single mother, the festivity

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cheer is difficult for me to muster. And yes, it’s okay to feel hurt, pain, anger, and/or resentment during the season. It’s okay to allow yourself to go through every emotion because forced positivity can cause more harm to you than good. After all, the holiday blues are most likely caused by unrealistic expectations during this time of year - the picture-perfect nostalgic image of loved ones around the dinner table without a hair, a garish, or a decoration out of place.

But I’ve quickly learned that even though I may be physically alone over the holidays, doesn’t mean I can’t find emotional support

in other areas of life to empathize with your emotions.

During this new season of loneliness and desolation, I’ve discovered the beautiful gift that comes with it. - openness.

The new season of coping with isolation has taught me to open my heart, my world, and my mind to others who are solo during this time. The emptiness that we experience can evolve into an openmindedness that flourishes new insight, new experience, and a new segment of relationships. It’s about tapping into what you truly need during this time and finding

the family that suits you for this specific chapter of life. I’ve learned that you can create your own and invited family whose company you sincerely enjoy and from connections that you can learn, grow, and inspire from. This theology alone can take the pressure off of holiday stress by focusing on real connections as opposed to following traditional settings.

The perfect picture scene around the table is now friends laughing on my couch

with a bottle of wine. The perfect posed Christmas card is now six-second short clips of my daughter and me laughing at goofy filters. The traditional holiday dinner is now a reservation at that highly soughtafter restaurant I’ve always wanted to dine at. The family tradition is now insightful conversations with old or new friends that are thought-provoking and spark energy and open your world to new ideas and meanings.

The gifts surrounding the tree are now

spending my time in a more impactful way to help the community or seek volunteer opportunities. Finding joy in solitude means defining it for myself and determining what that looks like during this moment in timeeven if that means seeking the simplicity of the silence and solitude.

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food WR I TT E N BY: RYAN ROSS P H OTO G RAP H Y: C OU RT ESY OF RYAN ROSS

Ryan Ross is based in Bow, WA where she works as a private chef and consultant and lives with her fiancé Casey Rigney. Ryan is from Warrenton, VA where she grew up drinking green juices in her mother’s health food store, the Natural Marketplace. She studied dance at Hollins College and performed in several dance companies while attending the Natural Gourmet Institute in New York City.

There, she mastered health-supportive cuisine and became an accredited chef.

In New York, Ross served for three years as the chef of the Penington Friends House, a multigenerational, multicultural community in Union Square. There she prepared regular dinners for 30-something housemates from all walks of life, in a family-style setting. She then made her way to Nicaragua’s Little Corn Island, where she served as chef and consultant for the opening of the Yemaya Island

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Hideaway & Spa. There she designed menus catering to specialty diets, cleanses and spa services, and hired and trained local chefs in plant-based cooking. Being on an island, using local ingredients was crucial so she worked with a permaculturist to create a sustainable garden that supplied the hotel with its food.

Ryan then made her way to the Pacific Northwest, which she now calls home. She serves as a private chef for clients from Seattle to Vancouver, and puts on a fantastic dinner party. You can often find her hosting Supper Corps, a recurring community dining experience she created to celebrate cooking creatively, support local business, and foster community. The dinners, which seat up to 40 people, are often in unlikely places, be it a barn or a butcher shop, and the staff is a rotating mix of food lovers, artists and talented locals.

Quick Pickled Cold Smoked Mussels

This recipe may sound intimidating, but they are a cinch! A welcomed bright little meaty morsel to any charcuterie board or appetizer spread, these mussels will have you coming back for more. Serve these on the half shell, in a small jar with some good mustard, with olive oil crostini or individually with a toothpick.

P R E PARAT I O N

Remove beards off of each mussel while r i n s i n g u n d e r c o o l r u n n i n g w a t e r. I f a mussel is open, tap it gently against the side of the sink, if they are alive they will c l o s e . To s s a n y t h a t a r e c r a c k e d o r w i d e open and will not close.

Po u r t h e w i n e i n t o a p o t a l o n g w i t h 1 - 2 c u p s o f w a t e r, e n o u g h s o t h e r e i s a b o u t 2 inches of liquid in the bottom of the pot. Cover pot with it's lid and bring to a s i m m e r. A d d t h e m u s s l e s a n d p l a c e t h e lid back on, let the mussels steam open about 10 minutes.

Once the mussels are steamed, remove f r o m t h e p o t a n d l e t t h e m c o o l s l i g h t l y.

Remove each mussel from their shell and place into the slotted hotel pan or screen in a single layer and set aside. ( To b e d o n e o u t s i d e ) P l a c e a s m a l l p y r e x or another heat safe dish in the middle of a hotel pan, fill the pyrex dish with wood chips and fill with the rest of the pan surrounding the pyrex with ice.

IN GR EDIEN TS

1 lb fresh mussels, about 20-25 count 1 cup white wine 1 cup apple cider vinegar 1 cup rice vinegar 1/4 cup honey 1 T black peppercorns 1/2 Tbs kosher salt 1 cup smoking wood chips EQ U IP MEN T

large pot and lid 2 hotel pan 1 fitted screen or slotted hotel pan 1 sheet, towel or apron

Light the wood chips until you have a good amount of smoke going, work ing quickly fit the slotted hotel pan with the mussels on to the smoking hotel pan then cover with the second hotel pan upside d o w n t o t r a p t h e s m o k e . We t t h e s h e e t , towel or apron and cover the entire cold smoker set up and let smoke for about 30 minutes.

While smok ing, make the pick ling liquid by combining the vinegars, honey and peppercorns along with a cup of water in a small sauce pot and bringing to a boil.

Remove from heat and set aside.

Place the smoked mussels into a mason jar with fitted lid and pour over the pickling liquid. Screw on the top and place the jar in the fridge. Let chill over night or at least 8 hours before ser ving.

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"Fleur de Chevre" for the Winter Season I have a cute lil' bite that's great for holiday gatherings. It is a bit of a nod to the favorite, "cheese ball" appetizer. These little "Fleur de Chevre" are individually sized, vegetarian, gluten free and are very elegant, but unfussy and unique! In the warmer months, I use edible petals and fleur de sel, to wrap and season these savory little truffles. Plain goat cheese is a great blank canvas for all different kinds of flavor profiles, so anything goes! I decided to winterize this little app for the colder months, and save the springy edible petals for the right season. I encourage experimenting with different fragrant herbs and salts, it's very fun and you can also showcase your local finds by using local salts, honey, home grown herbs, even foraged items from your very own yard. Everything I have listed for the dredge is optional. Using two or three items from the list will get you the flavor and effect of a festive little appetizer to bring to a party!

IN GR EDIEN TS

P R E PARAT I O N

ser ves 8-12 6 oz of plain chevre (soft goat's cheese) Let chevre come to room temperature and stir in: 1/2 tsp sea salt 1 tsp honey

I like to use a plate to scatter my dried herb, s e e d , a n d s a l t m i x t u r e o n t o . Ta k e 1 h e a p i n g teaspoon of your seasoned and honeyed chevre at a time, roll into a ball between your palms and then roll into the dr y mix on the plate. Coat well and tap off the excess and roll once again ver y gently to press the herbs, nuts and such into the chevre ball.

If your chevre rolling and dredging gets too warm, you can always chill in the fridge for half hour increments to make for easie r h a n d l i n g . Yo u m a y m a k e o n e d a y a h e a d and they will keep in the fridge for about a week.

In a bowl combine: 1 Tbs of dried cranberries or cherries, chopped fine 1 Tbs hazel nut, chopped 1 Tbs pumpk in seed, chopped 1 tsp of each: f r e s h r o s e m a r y, c h o p p e d f i n e fresh thyme, chopped fine fresh sage, chopped fine fresh pine needle, chopped fine dried lavender buds lemon zest dried calendula petals 1/2 tsp fine sea salt; use your favorite black Hawaiian salt, smoked salt, Himilayan pink salt, fleur de sel, etc.

1/2 tsp poppy seed

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DEATH & CO the LOCAL IS GLOBAL cocktailer WRITT EN BY: JENNIFER STRIEGEL PHOTO GRA PHY: CO URTESY O F DEATH & CO.

POP. LIFT. POUR. CACKLE. SWISH. SIP. GULP. RINSE. REPEAT. A day in the life of a mixologist, bar owner, and author. Meet David Kaplan - husband, father, owner of Death & Co, and all around creative entrepreneur who just released a third book, Welcome Home - a title that instantaneously pulled at The House of Perez heart strings.

On December 31 in 2006 David opened the first Death & Co in the East Village, Manhattan. This is the origin of a local Death & Co achieving global recognition for their unparalleled cocktail expertise and, exceptional customer experience. Their business model, like many successful entrepreneurs, bridges subject matter expertise with multi-faceted potential. Together, that bridge is crowded with a wide array of customers from anywhere with one like-minded belief, a love for Death & Co.

Fifteen years, multiple physical destinations (New York, Denver, LA), numerous hospitality industry awards, and their three books later, we have no doubt Death & Co’s creative journey, and our sensorials as the beneficiaries, are just their beginning.

For the culmination and commencement of both tremendous and trepedious times, we extend our utmost gratitude to Death & Co for defining The House of Perez through the palate and of one’s experience when cocktailing.

The House of Perez family hunkers by barside, some on the road, some right at home, with a mix of cool, sweet and savory. All of us are in for the duration of the party - before and after. Pick your preference. Hot or cold? Sweet or savory? Pre-party or after party?

Play this or that with your family and friends around the bar or table, and be sure to discuss your must-haves for the new year, including your own copy of Welcome Home to cocktail brainstorm.

Meet The House of Perez cocktail family. Inspiring to achieve in publishing artists what Death & Co has in every facet of what they do, we leave you with this exerpt from their amazing new book: “Everyone at Death & Co is picked from the same top shelf: the doorman, the hosts, the bartenders, the barbacks, the chefs, the servers… The people who work there are so well trained that they can concentrate on their guests having the best time. They understand that our guests could go anywhere tonight, but they picked us, so let’s not let them regret it… All over the world there are new bars popping up all the time. Most of them disappear. But to stay around for fifteen years and get better with age, that’s an achievement.”

Purchase your copy of Welcome Home at all major bookstores and online at www.deathandcompanymarket.com.

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the S LY F OX The boss…The House of Perez’s version of Devil Wears Prada but she would rather wear The Row. She’s always calm and watching it all. She can tell you how it is with as few words as possible that are a little salty but always sweet.

K ACEY PEREZ E D I TO R I N C H I E F

our team's

DRINKS OF CHOICE

the FA L S E A L A R M This German beauty will take your breath away, but always parties the night away if the moment feels right. She might capture your beauty through her lens, but she’ll steal your heart with her smile.

JANA SCHUESSLER V I S UA L D I R E C TO R

the GRAMERCY RIFFS

the

M O U N TA I N O F LIGHT

A lover of the arts and all beautiful. Refined and Cultured. Don’t be fooled he is still a true Gen Z baby that can still make gag with the sass in his walk and his collection of all things designer.

Known to be a little loud and a truth teller whether she’s sober or tipsy. The Dragon mother of all things creative. She is loving and a little bit scary, but always fun.

CO N N O R D U S Z Y N S K I FA S H I O N D I R E C TO R

N ATA L I E T. S T E G E R C R E AT I V E D I R E C TO R AT L A R G E

the N O - LO O K PA S S Can't stop, won't stop moving with ideas for the board room to the factory floor. More energy then coffee, she’s the jenergy bunny.

JENNIFER STRIEGEL F E AT U R E S E D I TO R

the

the

SUZE

SOUR SOUL

The Colombian version of Carrie in Sex in the City - lots to say and always ready for fashion & food, but for her it is a pass on Mr. Big.

Fashion is her passion in her work and her adventures - always looking put together wherever you may find her. She's got the ultimate intelligence on and off the screen all while keeping up the best boho vibes.

A I D A M . TO R O E D I TO R AT L A R G E

CLAIRE GRISOLANO SOCIAL MEDIA MANAGER

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Hunt Country artist, Lydia Schrader reflects on her journey as an artist WRI TTEN BY: C ON NOR DU SZYNSKI P H OTOG RA P H Y BY: GE ORGINA PRESTON

PROVIDING INSPIRATION TO EVERYONE AROUND HER, even in the most unpleasant times, I had the pleasure of sitting down with Palm Beach-based artist Lydia Schrader to discuss her own sources of inspiration, artistic journey, and plans for her fine art business, Lydia Marie Elizabeth, in the new year. I was drawn to Lydia’s works several years ago, seeing her watercolor paintings of Hunt Country scenes pop up on my social media feed time after time, beckoning me to learn more. Immediately drawn into her world, I had the pleasure of working with Lydia on several projects for local clients, including two watercolor maps of the greater Virginia Piedmont region. From our initial correspondence, I quickly learned that Lydia radiates love. Her positivity and caring demeanor is infectious, and I’m fortunate to consider her a personal friend.

Hello, Lydia! Thank you so much for joining us. We’re excited to feature you for The House of Perez. For our readers who may not know much about your work, tell us a bit about you and your art. Thanks for having me! My name is Lydia Schrader. I am a 32-year old watercolor artist. My business is called Lydia Marie Elizabeth, which are my two middle names. I was born in Hartford, Connecticut, but moved

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THE MIDDLEBURG CHRISTMAS HUNT The Hunt Collection. An original 16x20" watercolor painting on arches smooth paper

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C H R I S T M A S AT THE BREAKERS The 2021 Palm Beach Collection. Painted with watercolors on smooth French watercolor paper.

SNOWY EIFFEL TO W E R The Paris Collection.

Painted with watercolors on smooth French watercolor paper.

to Leesburg, Virginia when I was young.

About a year later, we moved to Texas briefly while my dad was in war college, before coming back to Virginia where I spent the remainder of my childhood. Virginia will always be home to me!

So at what point in your life, between moving around or later on, did you really start

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honing-in on your artistic abilities?

I really do feel like my first memories are seeing my mom’s address book when I was young. It had a portrait on the cover that I remember being art. I also used to open up all her cookbooks and draw scribbles. I used to draw women with small, circular heads and even though I didn’t

have their form down, I loved expressing myself in that way. It was at that point that my parents wanted to get the pens and the cookbooks separated, and decided to start putting me into art classes. I started pottery when I was probably three or four years old and have been in classes or tutoring sessions ever since! When we moved

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WA S H I N G TO N S Q UA R E A R C H I N THE SNOW An original 5x7" watercolor painting on paper.

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“People are so complex. When people look at my art, I want them to be happy. I want poeple to be able to look at my work in a lonely moment in their lives and refocus themselves.” back to Virginia after Texas, my art teacher Alex Carr, was pivotal in helping me hone-in on watercolors once I started picking up brushes. After that point, I traveled to France with my older cousin when I was fourteen, and I have many fond memories sitting and painting scenes with her.

As you’ve mentioned, you’ve primarily done watercolor paintings for much of your professional career. Has this always been the case or have you dabbled in other mediums as well? It certainly started with crayons and ballpoint pens when I was young, before graduating to watercolors and some pastels. In my training, I’ve certainly explored a number of different mediums, including acrylics and classes in oils. I’m also pleased to announce that future LME collections will also feature oils coming in 2022. It’s something that’s been on the docket for a number of years, and I’m excited to focus on an oil collection later next year.

Much of your subject matter focuses on scenes and seems to be inspired by particular places you’ve traveled to. From your Hunt Country to Palm Beach and NYC Collections, much of your work highlights specific aspects of a location.

How do you start this process and go about getting inspired by a place? When I’m in a place, I try to pay attention to certain aspects like the way the wind feels. So, for example, the wind in Palm Beach feels like silk. You almost feel like the clouds are perfumed even though there’s no scent. The colors come alive and are almost like a song. I observe things in

that way. When I’m in public, if you were to travel with me, you might think I’m the most spacey or oblivious person, because rather than focusing on people I look more at the aesthetic and the surroundings of a place. I then often think about how humanity relates to that place and what that means. In the case of Palm Beach, it’s very warm, vibrant, and inviting and I want people to see that when they look at the collection.

Is there an element to your work that people might not see or understand right away? While much of my work may be perceived as lighthearted and happy, I don’t ever want to give the impression that I don’t recognize the hurt and the bad in the world. I’m well-aware that there’s much sadness in the world.

When I look around and I see something that’s damaged in my surroundings, I don’t ignore it. If I am in a public space, one of the first things I actually notice about people is their sadness more than I notice their joy.

People are so complex. When people look at my art, I want them to be happy. I want people to be able to look at my work in a lonely moment in their lives and refocus themselves. I want people to look back at a space and be inspired by the brightness and vibrance of the colors in my paintings.

There’s so much beauty in our surroundings to uplift us. I always love doing these sorts of character studies of a place depending on how people treat their space if that makes sense.

Where does that desire to help uplift people come from? Was there a particular moment in time that prompted you to make that your mission through your art? It certainly comes from my Christian worldview. When I was young, I loved learning about all kinds of religion.

Learning the character of God has been my lifelong mission and is a lifelong experience for me. He constantly reminds me of His character. When I’m creating these scenes, I am reminded of His goodness and that they are all gifts, and I want to share that with people. I’m also just aware that life can be tough and that unfortunately there’s a lot of sadness out there. My hope in creating and sharing my art is to uplift peoples’ spirits as He teaches us.

What does your artistic process look like? Once you’re inspired, how do you go about creating your pieces? There’s this magical moment where I have an idea and get it onto paper. When it works, the art usually brings together pieces of my imagination that have been floating around for awhile. When it’s on paper and sketched out, after the first two washes of colors, I get pulled into it. It starts going, like this unstoppable inertia that’s happening. My best pieces are usually completed all at once. If it’s really intricate and detailed, I might come back to it, but generally I’m able to complete it altogether. A great example where I’ve had this experience was with the creation of “On the Hill,” as part of my Hunt Country Collection. I thought I had com-

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PA R I S I C E S K AT I N G An original 5X7" watercolor p a i n t i n g o n s m o o t h p a p e r.

pleted the entire collection and was about a week out from its launch. I was photographing the pieces on a hill here in Virginia when it came to me and I knew I had to create this piece to bring everything together. That happens sometimes when I think I’ve completed a collection, and then once I see it all laid out or I’m down to the wire before the launch, an idea will come to me that I just have to include! I think that’s because there’s a sense of urgency before a collection launches that fuels my creativity. Once I’ve created a few really strong pieces, I tend to find my stride and ability to convey exactly what I want.

It’s clear from your social media and all of your activities that you’re always staying very busy with new collections, galleries, and pop-ups.

Can you tell us a little bit more about your latest work and upcoming goals for the new year? My

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largest recent collections would definitely be the Calendar Collections, which I did for Palm Beach, Chateau, and the Hunt Country Collections. The Chateau Collection specifically might just be my favorite collection from the past year or so.

I would imagine that there’s probably moments where painting so much and having to fuel your creativity constantly might get a bit exhausting at times. Is that true? How do you stay inspired, recharge, and what does that process look like for you? I’m pretty lucky because I rarely feel that way. I’m almost always inspired by my surroundings and thoughts, especially by the nature around me. My mind is almost always thinking of the next ideas while I’m working on the current collection.

Is there a proud moment you have that comes to mind so far in your career? That’s a

tough question to answer, but I was just at the Four Seasons in Palm Beach, doing a pop-up there. They commission me to do work all the time, and I am really proud to have that connection and to have a large global company recognize me and my work.

For them to come to me and have me do work for them is definitely one of my greatest accomplishments so far.

What’s next from LME? Give us a sneak peak of what’s to come in 2022. Certainly more pieces for the Hunt Country Collection and Palm Beach. A Philadelphia Collection is also on the docket, a place that I lived in and experienced.

H ÔT E L D E V I L L E T h e Pa r i s C o l l e c t i o n .

Pa i n t e d w i t h w a t e r c o l o r s o n s m o o t h Fr e n c h w a t e r c o l o r p a p e r.

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Mr. Miyagi Steps Into the Crypto World WR ITT EN BY: AIDA M. TO RO IMAG E S : CO URTESTY O F MO RE MANAGEMENT

“We all need a Mr. Miyagi whispering in our ear to wax on,” said Peter Klamka, Founder and CEO of More Management LLC. The iconic Mr. Miyagi character of the 1980s blockbuster franchise “The Karate Kid”, played by Pat Morita, has been turned into a non-fungible token (NFT) by Klamka. An NFT is a unique and non-interchangeable unit of data stored on a digital ledger, which can be associated with reproducible digital files such as photos, videos, and audio. Klamka began delving into NFTs when he began his crypto career in 2013. At a very high level, a majority of NFTs are part of the Ethereum blockchain, which is a cryptocurrency, such as bitcoin or Dogecoin. The blockchain, however, can support these NFTs as well, where extra information is stored that makes them work differently from an ETH coin.

“The first thing to do is edit the NFT yourself,” said Klamka.

“Not all celebrities, brands, and huge influencers will make good NFTs.” Klamka, who launched MORE in 2016, stated having a basis in crypto can be beneficial when interested in diving into NFTs. Klamka created MORE in New York City, where he operated bitcoin ATMs in the five boroughs alongside his business partner. The duo then converted a Chinese restaurant on 34th Street in Manhattan that hosted one of their bitcoin machines into an unofficial crypto nightclub on weekends where a bitcoin was needed in order to be able to get into the party.

These weekend parties were a grand success, so Klamka

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decided to find a new home for the business and in 2017, MORE Las Vegas was born. Following this opening, a location in Hollywood was opened in 2018 and more. For Klamka, 2020 was a research year, as it was for many due to the global pandemic. MORE started making inquiries with agents, brands, and various celebrities in late 2020.

“One of the celebrities that had appeared at MORE asked me about NFTs in late 2019,” said Klamka. “That led me down the rabbit hole of NFTs to see that they have the potential to change celebrity merchandising, artwork, ticketing, egaming, and MORE.” Klamka stated he’s worked on celebrity merchandising deals with legends such as American rock band KISS, Mike Tyson, Michael Jordan, NASCAR, Disney, Paramount Pictures, a plethora of record labels, and now deceased celebrities and famous college athletes. He mentioned that NFTs allow a brand to create a new revenue stream that can stay virtual or go between virtual and the real world, even as a backstage pass and concert collectible.

“The good news is that it is still so early,” said Klamka in regards to NFTs. “Literally, everyone in NFTs is like Jeff Bezos in 1995 with a bookstore website right now.”

Klamka stated the time to market is really fast as one can do an NFT in a few hours, all the way from the art to the consumer sphere, which also has continuing revenue.

“Michael Jordan and Kanye don't see any part of shoe sales on the resale market, while Pat Morita will make money on his NFT resales forever,” he stated. “Miyagi tops Yeezy.”

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For those who join MORE, members will have access to presales of the organization's upcoming NFTs and coin, which can be utilized to purchase NFTs for a members only discounted price.

“We have focused on utility and icons and are working on some MORE branded NFTs that will tie in with our token and give you access to nightclubs, events, and various services…hence the utility,” he said. “Our other focus is on icons and we are interested in working with unique individuals, brands, and even museums. For example, we did a project with the Estate of Chris Farley in October that was a giant success that sold out in 15 minutes.”

The official Chris Farley NFT was produced under exclusive license from Farley Entertainment, which consisted of six unique art pieces that were inspired by the career of the comedy legend. The collection captivated Chris Farley fans, notable NFT collectors, and celebrities such as Tom Arnold.

With Chris Farley’s NFT collection being a grand slam, Klamka launched the Pat Morita NFT collection on December 15th, timed to Netflix series’ “Cobra Kai” season four that is streaming December 31st on Netflix. The limited edition collection consists of ten images created under license and direction from Pat Morita’s widow and the producers of the critically acclaimed documentary, “Pat Morita: More Than Miyagi''. The majority of the art for the Pat Morita NFT series was done by a female artist named Wasfa Kamal who MORE met as a result of their Chris Farley collection. She was selected from a crop of artists after MORE launched Farley and received productive awareness.

“We get and welcome submissions from artists almost every day for our celebrity projects,” said Klamka. “Pat’s Miyagi character is one of the greatest cinema roles of all time. The goal was to create a series of NFTs that touched on Pat’s genius on screen and that evoked the warm feelings he brought to his performances.”

A variety of the “Cobra Kai” cast members, such as Tanner Buchanan who stars as Johnny Lawrence’s son, are involved in the Pat Morita NFT collection. In the series, Pat’s spirit is really in every episode of Cobra Kai, which Klamka believes the cast feels.

“Really excited with Tanner’s participation,” said Klamka. “The new generation of actors and celebrities definitely appreciates and respects Pat Morita, and NFTs are the cutting edge that resonates with the young and famous.”

The first series of the Pat Morita NFTs will be on sale through January. MORE may drop a few unreleased versions over the next few weeks since the interest in the collection has peaked.

Klamka stated that MORE is booked for the first six months of 2022 with NFTs such as a Las Vegas themed Rat Pack collection which will have an installation at a casino, following with a 1 of 1 photograph tying to the Smithsonian that should sell for at least seven figures and will be announced in February as well as auctioned in April, a famous movie director, among others.

The Pat Morita NFT collection is limited to 500 pieces with prices ranging from $150-$500. For more information on the Pat Morita NFT collection, visit @officialpatmoritanft on Instagram. To keep up with Klanka’s happenings at MORE, visit @more_coin on Instagram.

“The good news is that it is still so early. Literally, everyone in NFTs is like Jeff Bezos in 1995 with a bookstore website right now. ” .

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FRENCH ART Model Camille Cremet in front of Château de Chantilly, once the home of the the Duke of Aumale, his collection of art is still hung as it was in the 19th century.

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C L A S S I C A L LY S I M P L E Cremet wears Zenga in classic black alog the French countryside.

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Winter Wonder Classic Americana fashion from Virginia's romantic Hunt Country region shows us what it's like to step into a Norman Rockwell Painting PHOTOGRAPHY BY: RONDA GREGORIO

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EQUESTRIAN AESTHETIC Cover star Brittney Noelle in her element at High M e a d o w M a n n o r. B l a z e r b y A l e x a n d e r Wa n g , g o w n b y Pa u l e K a , j e w e l r y b y S o p h i a Blake. Styled by Joy Kingsley & Zoey McCarroll. Hair and makeup by Chanel Mizani.

Lighting assistant, Misti Wa l t e r s . C r e a t i v e a s s i s t a n t , A m y Ve n c l i c .

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WRITT EN BY: CO NNO R DUSZYNSK I

C

Christmastime looks different for everyone.

For some, it means spending too much time with friends and family around the fireplace, while for others it can actually be the hardest time of the year in one's spirit. However, for the locals of Hunt Country, located in the heart of Virginia’s Piedmont, it’s a time of grandiose celebrations, honoring our heritage, and of course far too many equestrian activities to keep track of. Approached by local Hunt Country photographer Ronda Gregorio back in September, the inspiration for our December Issue’s cover story and featured editorial spread stems from the love of the romanticized equestrian culture in northern Virginia, styled with elegant wintertime outfits and apparel one might find at a local hunt’s annual ball.

The culture of Hunt Country is so classically-Americana that visiting around Christmastime is like stepping into a Norman Rockwell painting. With horse-drawn carriages gliding down the gravel back roads lined with stone walls, overlooking

the nearest hundred-acre equestrian property, it's not hard to romanticize the unique feel of the region. Experiencing the season here is unlike anywhere else because it’s a hidden gem to those who aren’t locals; protected by countless conservation easements and Hunt Country natives determined to preserve their way of life, much of Hunt Country remains undeveloped and is therefore protected from the encroaching reach of the D.C.-metropolitan area.

Among the many yearly events on the Hunt Country calendar this season, the annual Middleburg Hunt Ball remains one of the most beloved. For our cover, we traveled to High Meadow Manor in Flint Hill, which is set to host the ball’s centennial celebration in 2024. We managed to shoot a total of thirteen looks in a full day of shooting with our cover star, Brittany Noelle. We also owe a special thanks to Joy Kingsley-Ibeh and Kingsley Models for their gorgeous stylings and local horse owner Betsee Burke Parker, who lent us her horse, John, for our shoot.

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Noelle wearing velvet dress D E C bE yMNBi Ec oR l e2 M 0 2i l 1l e r a n d j e w e l r y

by Sophia Blake.

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XXXX N o e l l e w e a r s XXXX . L e f t Styled by Joy Kingsley & Zoey McCarroll.

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Through the Lens of Georgina Preston A Study of Hunt Country WR I TT E N BY: C ON N OR DU SZYNSKI P H OTO G RAP H Y BY: GE ORGINA PRESTON

A MASTER OF HER CRAFT, watching Georgina Preston on set is a sight to behold. Never afraid to try news angles, pose her subjects, and spend extra time getting the perfect shot, Georgina knows just how to capture and share her point of view through her photography. Nearly a year in the making, Georgina’s trip to Virginia’s Hunt Country was the result of strategic digital marketing, the cultivation of a working relationship with her American partners and contemporaries, and the shared love of the equestrian lifestyle. I first became acquainted with Georgina’s work after my Richmond-based client Hart Equestrian reshared a series of her equestrian portraits on our account in late 2020. Clicking on her profile, I was immediately thrown into her world. What initially stood out most to me about Georgina’s work was her ability to create a feeling of nostalgia and intensity through her darker, moody portraits. A compliment I would never give out lightly, Georgina’s work is reminiscent of that of Annie Leibovitz. Seemingly pulled from the pages of Vanity Fair or Town & Country, Georgina’s aesthetic is fully-realized, unapologetic, and captures the essence of her subjects. Her work is raw and her ability to truly see her subjects at their core is rare.

Staying in Middleburg, Virginia, Georgina’s month-long trip to Hunt Country was occupied with almost daily foxhunts, a cover shoot for a local publication, an abundance of portrait and equestrian portrait sessions with locals and travelers (many even traveling from out-of-state to be photographed by her), and capturing the beloved Fall International Gold Cup, the largest steeplechase in the Commonwealth, held annually at the Great Meadow Foundation in The Plains, Virginia. While these equestrian events and the fox-hunters’ way of life has been captured by many local photographers, Georgina’s fresh take showcased a more intimate and personal (yet still very editorial) side of the local equestrian scene. Choosing to focus more on the candid moments between racegoers, exploring the relationship between huntsman and hound, and showcasing the love a rider has for her horse, Georgina’s Hunt Country works proved yet again that she is a master of capturing the thought-provoking, emotional, and vulnerable side of her subjects.

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Making an Impact with Heidi Zimmermann in The Big Apple WR ITT EN BY: AIDA M. TO RO PHOTOG RA PHY: CO URTESY O F HEIDI ZIMMERMANN

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If you’ve seen an array of images of quaint felted animals in front of colorful street murals in Manhattan on Instagram, then you may wonder who the creator behind these resilient creatures is. To answer all your thoughts, the creator is Heidi Zimmermann, a Jersey girl who crossed over to the Hudson to reside in Manhattan. Currently, Zimmermann divides her time between working in international publishing for a German magazine group

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as a photo editor, working as an agent for Team Wilding Woods at Compass, one of the most innovative and rapidly growing real estate companies, and creating the felted animals via her small Etsy shop, The Wool Zoo. “I have always had a love of fashion and began my career at Vogue magazine, and later its sister publication, Vogue Germany,” said Zimmermann. “I was interested in the powerful imagery that appeared in such magazines, which led to my later role as a

photo editor for several German news and entertainment magazines.”

As she’s been working in the publishing industry for over 20 years, Zimmermann mentioned that one of the biggest changes in the industry has been the introduction of social media, which has provided magazine publishers the opportunity to share instant content with their audiences, rather than simply providing them a weekly or monthly publication. Social channels assist with

interacting and engaging with the audience in new and creative ways while building that connection in a way that a print magazine cannot do on its own. Once the pandemic hit, Zimmermann began working in real estate along with her career in publishing and creative venture, The Wool Zoo. “I took a felting class and really enjoyed working with wool as well as the endless possibilities this craft offers,” said Zimmermann.

“The animals I make are created with sheep’s wool, mohair, and angora fibers over a wire armature.”

The animals she makes are shaped with a needle that tangles the wool, making it more compact. They are not considered to be toys, but more as decorative pieces of art. The first animal Zimmermann created was meant to be a dove, but somehow evolved into a chicken.

“Of course then I had to make a rooster and chick to round out the chicken’s family,” she said. “I have always been drawn to birds and created one as my first project - although the result was not what I had initially had in mind!”

Zimmermann always had a great appreciation for nature and particularly the vast array of beautiful birds in the world. She creates all kinds of animals however, her new favorite has been the classic New York City pigeon.

“They are not often thought of as elegant birds - quite the opposite, really - but they are special in their own way,” said Zimmermann.

Zimmermann also became a real estate agent for the Wilding Woods Team, a talented real estate team at Compass while working on the felted animals for The Wool Zoo and as a photo editor during the pandemic.

“I was inspired by the individualized attention and care the team had for its clients and wanted to be a part of that,” she said about the Wilding Woods Team. “Their vast knowledge of real estate combined with their humility sets them apart. I enjoy meeting such a vast array of clients and seeing all the amazing properties that exist in Manhattan and Brooklyn.”

With her passion for her real estate work at Wilding Woods and love for creating felted animals for The Wool Zoo, Zimmermann used to take photos of the felted animals in front of colorful street murals - which also contained animals - or classic New York City locations such as the Statue of Liberty or the Met Museum. She really enjoyed discovering the diverse glass tile art designs in the New York City subways and photographing the animals with those as well.

“These are all part of the larger picture, which is real estate, in all its forms - and also speaks to my love of art and design,” she expressed.

As for 2022, Zimmermann is looking forward to a year of robust business, both in the magazine industry and real estate, as well as continued support of handmade crafts. For more information on Zimmermann, The Wool Zoo and her real estate endeavors, you can connect via Instagram by following these handles: @heidizimmermann, @thewoolzoo, and @teamwildingwoods.

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