The Men's Issue - May 2022 by The House of Perez

VOLUME V I

JASON REYNOLDS FOR

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THE HOUSE OF PEREZ WEDDINGS

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COMING SOON The latest place for luxury wedding inspiration. Follow along for the latest trends in wedding fashion, design, beauty, and tips and tricks from the best in the industry.

Photography by Jana Schuessler | @janaschuessler | www.janaschuessler.com

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CONTENTS May 2022

Editor’s Letter

BEAUTY & WELLNESS

Frankie Sanderson Meet the celebrity hair stylist and Beauty Director for The House

FOOD

Men's Skin and Shave What you need to know about taking care of your skin

12 Obessions: Grooming A product round up from celebrity makeup artist Nova Kaplan

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16 Arian Castañeda A master cigar roller spreads the gospel of Cuban hospitality

TRAVEL 20 David Rabin A night out in the concrete joungle with David Rabin

24 The Proper Experience Discover the Austin Proper Hotel and make yourself a cocktail shared straight from Goldie's Bar

P H OTO G R A P H Y B Y ( L E F T TO R I G H T ) : E M I LY M O R G A N , T H E I N G A L L S . FA R R I G H T I M A G E P R O V I D E D B Y: A R I A N C A S TA Ñ E D A . M A I N M I D D L E I M A G E B Y: G E O R G I N A P R E S TO N .

ART

FEATURES

Filippo Contri A moment with up and coming Italian actor

An Artful Perspective This acrylic painter shares his work, is process and perspective

Cover Story Jason Reynolds

Guacho Fashion A visual journal from photographer Georgina Preston's time in Argentina

Nigel Barker From the runway to the camera with this worldrenowned photographer

Last Look

95 Final Notes

84 Jose Angulo How this professional soccer player revolutionized the soccer landscape

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Letter from the Editor

THIS MONTH OUR FOCUS WAS ON A GROUP OF individuals that represent a body of people that has morphed from generation to generation. Society has drastically changed over time, and as a result, the dynamics of the male role in every facet of life have developed into something very different than seen in years past. A bit of an "about face" has taken place and we're here to celebrate that in this issue. As a team at The House, we are constantly pitching and sharing ideas for upcoming issues and a lot of our focus is the cover. Once we decided to dedicate May to The Men's Issue, we knew the cover needed to be special. The person needed to be inspirational. Someone who was doing work for positive impact. Someone like Jason Reynolds. I first discovered Reynolds through my mother who works at a junior high school - one that Reynolds happened to connect with through a zoom call, where a couple of lucky Wyoming students got to ask him some questions. Soon after, the COVID shutdown occurred and my mom would continue to talk about Reynolds and the efforts to keep kids connected and engaged through his Instagram channel. I started following and listening and my amazement grew. This was a man, dedicating his whole life to creating excitement around reading for young adults. As a mother, it struck a chord. From then on, I've continued to follow Reynolds and I've most enjoyed listening to his interviews where he continually proves, to me, to be one of the kindest, smartest people alive. We also go through an artistic journey in this issue. We had the pleasure of interviewing prominent photographer Nigel Barker and talented abstract painter Andrew Arthur. Georgina Preston also takes us back in time in Argentina where we see the historical, classic fashion of the Guachos she traveled with along the mountainside. As always, we hope you enjoy these stories and people. Happy Spring.

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P H OTO C R E D I T S F R O M TO P TO B OT TO M : G E O R G I N A P R E S TO N , T H E I N G A L L S , G E O R G I N A P R E S TO N .

About Face

Editor in Chief KACEY PEREZ Creative Director at Large NATALIE STEGER Operations Director + Features Editor JENNIFER STRIEGEL Editor at Large AIDA M. TORO Managing Editor CAROLINE COTTEN Visual Director JANA SCHUESSLER Visual Director FILBERT KUNG Fashion Director CONNOR DUSZYNSKI Beauty Director FRANKIE SANDERSON Social Media Manager CLAIRE GRISOLANO Contributing Writers JIMMY WARD & NINA HAASKIVI

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Men's Skin & Shave What you need to know about taking care of your skin. W R I T T E N B Y: F R A N K I E S A N D E R S O N P H OTO G R A P H Y: CO U R T E S Y O F B R A N D S

SOMETIMES IT’S AN OVERWHELMING EXPERIENCE staring at skin care shelves full of products of different sizes, colors, and uses. All those interestingly shaped bottles filled with various creams and potions. “What do they do?” I’m here to solve that mystery for you. A.M. ROUTINE Before you get started, you must figure out which of the five skin types you are: normal, oily, dry, acneic, or combination. After you’ve determined your skin type, you’ll need to figure out what brand speaks to you, and if they have the correct skin care products to meet your needs. I will use myself as an example. I have normal to oily skin. For the first step in my a.m. routine, I currently use two gel cleaners: one is from La Mer and the other from Dermalogica. I wash my face twice in the morning and twice in the evening. It’s the Japanese standard for cleansing the face. You can not properly cleanse in one wash. The second step is exfoliation. By the time we reach our forties, our skin cell turnover rate has declined considerably. For instance, in your twenties, this turnover takes place every 14-21 days. In your forties, this jumps to 45-60 days. Therefore, exfoliation is extremely important. You want to remove all those complexion-dulling, dead skin cells so that your products can be absorbed and offer the maximum benefit. Currently, I use M-61 Retinol cream for face and eyes, M-61 Glycolic pads, and Dermalogica Vitamin Scrub. At times, I will also use a simple washcloth. All these aforementioned items are a method and mixture of exfoliation and skin-tightening, pore-refining results. The third step in your a.m routine is using a toner. Toners are used to recalibrate the pH of the skin after the cleanse and exfoliation. I use La Mer and Dermalogica Anti- Aging Toner. The fourth step is applying your serums. Sometimes, serums go on after the moisturizer (see fifth step), just be sure to read the directions. I use a few different serums (of course): M-61 JetGlow, M-61 Vitamin C Serum, and Dr Barbara Sturm Age Serum. I use

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these one at a time until I’m sufficiently slathered in glorious product. Side note: You do not have to use multiple creams, serums, etc. as I do. I am obsessed with skin care and am also a product junkie. That being said, if you want to add more to your beauty routine, you will often get better results. Just keep that in mind. The fifth step will be applying the correct moisturizer. I use two pumps of M-61 Moisturizer with SPF, and one pump of M-61 Vitamin C Moisturizer. The sixth and final step is an eye cream. Apply it underneath the eye and the orbital bone, avoiding the eyelid. I use M-61 Vitamin C EyeBalm, La Mer Eye Concentrate, Madonna’s MDNA Eye Serum, and Dr Barbara Sturm Exoso-Metic EyeSerum. P.M. ROUTINE You’ll follow the same steps as in the a.m. routine, but you may opt to skip exfoliation in the evening. If you do exfoliate, then you can masque afterwards, before your serums. Masques are designed to add moisture, extract oil and impurities, target acne, or whatever skin need you are trying to address. Masques are meant to be used often, but not every night. Read the directions and find out how it will work best for you. The final p.m. step is applying moisturizer. Again, I have a few of them: M-61 Vitamin C Cream for brightness and to fade skin discolorations, M-61 Polypeptide Cream for skin tightening, and Dr Barbara Sturm’s Super Anti- Aging Moisturizer. The products I have mentioned work well within my skin care routine. They will not be for everyone because our skin conditions are unique to ourselves. The point is, I wanted to show you an example of how to really take care of your skin. It’s work, but it’s a small price to pay for a lifetime of youthful and radiant skin. And don’t forget to moisturize the rest of your body. M-61 Body Butter is great. Dermalogica Body Lotion is wonderful as well. THE SHAVE Wow! What a nice feeling to recline in a comfortable barber chair and get a straight razor shave. It’s so relaxing to lie back with

a hot towel on your face, and trust your barber with an open razor against your neck. An oxymoron, but true. This shave is so tight and clean that it gives you a few extra days until you have to shave again. Of course, if you are not the type to go to your barber for a shave, you can handle it on your own. But remember, not all shaving creams are made the same. After your shower, when your facial hair is still wet, you can use Davines Softening Shaving Gel to soften your unruly beard before a shave. really makes it easier to cleanly and efficiently remove facial hair.

Give these tips a try and you’ll be singing my praises. Just using your new skin care products for a few days will change your skin, your appearance, and your confidence. Remember, your skin care routine does not have to be as methodical and deeply ritualistic as my own. Shop for the products that are right for you and your skin, and use them day and night. You can thank me later.

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Obsessions W R I T T E N B Y: N O VA K A P L A N P H OTO G R A P H Y: CO U R T E S Y O F B R A N D S

1. Le Prunier, Plum Beauty Oil ($72 / 30mL) Having to pivot between so many different skin types, it’s great to have a multi-use product made with only one ingredient. This oil comes from the kernel of a plum, and it’s great to hydrate your skin, nourish the nail beds, and revive the hair (including facial hair).

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2. Dragun Beauty, DragunFire Color Correctors ($25 / ea) The perfect way to avoid product build up is to utilize color theory. These color correctors have unmatched staying power. Once dry, it will not mix with any additional products laid on top.

3. West Barn Co., The Brow Pen ($21) My number one goal in grooming is always to have my work seem unnoticed; as if “they woke up like this.” The Brow Pen allows me to fill in hairlines, brow hairs, and facial hair in a discreet way.

s: Grooming

4. M.A.C. Cosmetics, Blot Powder ($31)

5. Aquaphor, Lip Repair ($3.99)

This extremely sheer pressed powder delivers epic oil control without adding additional product to the face. When grooming, it’s very important to use sheer products to maintain the illusion of no makeup.

With grooming, you want to keep the lips hydrated, but you also don’t want them to look overly glossy. Aquaphor works perfectly. It’s available almost everywhere, and comes in endless different containers to suit your preferences. I prefer the tiny squeeze tubes.

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Frankie Sanderson WR I TT E N BY: KAC E Y PE RE Z P H OTO G RA P H Y BY: COU RT ESY OF FRANKIE SANDE RS ON

Since October 2021, our team has dramatically increased our workload and have had to adjust how we've operated to keep up with the surprising pace we have set for ourselves. I think the area we have been most fortunate in is our people. We've been lucky to connect with individuals that bring quality perspective, advice, and massive motivation to keep moving forward with efficiency. Enter, Frankie Sanderson. He first worked with The House on set for the January 2022 cover shoot in New York featuring the Suarez Sisters as part of the glam team. From there, he's taken over our beauty section and led the way in bringing in experienced contributors from the industry. He's been a key asset to our team and it comes at no surprise once you take a look at his career. Sanderson is a prominent hair artist in Washington DC, the overall tri-state area, and the West Coast. He is a Master Extension, Blonding Specialist, and hair loss specialist who has been doing hair for over years. His path in education began at UNC and at VCU where he completed his degree in Fashion Design. The education Frankie received in the creative field ultimately led him to other creative endeavors such as hair and makeup for photoshoots, editorials, runway shows, films, weddings, and so much more. He took his first apprenticeship following attending TIGI Academy in New York City. Not to mention, Sanderson also continues to take several classes a year to perfect his craft at various schools such as L'Oreal Soho Academy, Vidal Sassoon, Redken, and Wella. He is a graduate of the Masters of Balayage Program, an independent educator, as well as a US Ambassador for the Godiva Hair Extension Academy in the UK. As a creative maven behind the chair, Frankie specializes in: extensions, global lighting, foilayage balayage techniques, hi-lo lighting,

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root stretch- smudge techniques, and extensive color corrections. Sandersons own studio, The Studeo D.C., holds the best of the best brands such as Great Lengths, Hairdreams, Hairtalk, Bellami, HotHeads, SHE by SoCap, Habit, Covet & Mane, JZ Styles, Short To Long, among others are utilized by Sanderson for his services. Depending on his clients needs, techniques such as tape-ins, beaded wefts, k-tips, micro k-tips, i-tips, micro i-tips, fusions (keratin and thermoplast), and Waterfall Beaded Rows (WBR) and WBR No Show Rows are done. Sanderson has also passionate about hair replacement techniques for both men and women, something that is done at The Studeo with Hairdreams, Hairskeen, and Godiva Mesh Integration Systems - the top three European innovators of hair replacement systems. Among his vast list of celebrity clients such as Nicole Kidman, Lindsay Lohan, Rachel McAdams, Tina Fey, and Cindi Lauper to name a few, he has also been awarded as the Best Hair Extensionist in Washington D.C. from 2015 - 2020, as well as being featured in the Best of DC Modern Luxury 2016 edition. Despite his major accomplishments, I think it's important to note that Sanderson is a gem of a human - someone who makes us laugh, get serious when needed, and is there no matter what - and that's something we'll hang onto.

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Arian Castañeda A Master Cigar Roller Spreads the Gospel of Cuban Hospitality WRI TTEN BY: J IMM Y WARD. PHOTOGRA PHY COURT ESY OF: ARIAN CASTAÑEDA

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Few things scream “old-school cool” more than the image of someone sitting in a dimly lit room, a rocks glass of liquor in one hand, a quality cigar in the other. It conjures up thoughts of some unimpeachably smooth operators: Hemingway, Churchill, Jack Nicholson, Michael Jordan, even the fictional Don Draper. If you close your eyes, you can see it, hear it, feel it. The gentle clink and crack of the ice as you pour a few fingers of whiskey or rum into the glass. The crisp paper of the cigar as you turn it in your fingers. The scratch and flash of a match. The subtle burn of the packed tobacco. You sit back in your chair, watch the smoke waft away, and you think to yourself: “Can it get any better than this?” Maybe I’m waxing a tad romantic, I’ll admit it, but there is something undeniable about the scene. It feels both eminently approachable and yet, also a bit intimidating. The world of high-quality consumable goods can often be an impenetrable one. It’s all too easy to overlook the artistry behind our wine, liquor, or cigars — to enjoy them passively. To fully appreciate these “finer things,” though, we need to look deeper. To consider the blood, sweat, and tears that went into creating them. Enter Arian Castañeda. If there is someone who understands what makes that indelible image so timeless, it’s him. Arian is as close as it gets to cigar royalty. He is the owner of Castañeda Cigars, one of the oldest Cuban cigar brands in the world. The steward of a family legacy of quality stretching back over four generations, Arian is an enthusiastic promoter not only of the cigars that bear his name, but also of Cuban history and culture. Nowhere is this more evident than in the recent opening of Casta’s, a rum and cigar bar located in Washington, D.C. Arian was generous enough to hop on the phone and talk to us about his own story, cigars, rum, Cuba, and his quest for authenticity in everything he does. What is your origin story, Arian? I was born and raised in Cuba, where my family owns one of the oldest Cuban brands of cigars. It’s been in my family for four generations, and I took it over after my father passed. I’ve been immersed in the cigar industry since I was probably five or six. At that age I was already learning the feel of the tobacco: selecting it, collecting it, learning about the drying and aging processes. It was a fun way to grow up. Was it always inevitable that you would take over the family cigar business? Was it something you wanted? Yes, though my background was

totally different in that I graduated with a computer science degree. Education was something my family always pushed for. Education came first, the family business came later. But cigars have always been my passion. I’ve always felt very happy whenever I was in the topography — around the leaves and the cigars. I was learning the family business all along, but at the same time I was focusing on my own career and education. I was learning everything I could. And then in 2011, at 26, I came to the US to keep promoting the brand. Obviously, Cuba and the United States have an extremely complicated relationship. How has that relationship impacted Castañeda Cigars over the years? You know, in the 1930s we used to have a brand headquarters in New York City, and another in London. But, of course, after the revolutions, everything went down in terms of the brand. In Cuba they even took away our cigar factory. The scale of the company, and the budgets, shrunk considerably. We kept growing the tobacco and processing it on our farm. But there was no selling our tobacco to the government. It was just trying to sell cigars to tourists and things like that. It was a really, really small scale. The focus was wholly on keeping the brand alive. On keeping the farm alive. On keeping the traditions alive. They took away the family factory but not the farm. Does that mean, to this day, the tobacco for your cigars still comes from your family farm in Cuba? Yes, the tobacco is still grown on the farm in Cuba. But the factory is now located in Nicaragua. So, what I do is I ship my tobacco from Cuba to Nicaragua and my workers there, who are from Havana, manufacture the cigars. Because the final step in the process is done there, that’s how I can bring the final product to the United States. There is a mythology of sorts surrounding top-tier cigars, especially ones from Cuba. What is it that goes into making a truly great cigar? It’s really an art form. It starts from the seeds and where you plant them. The soil makes a big difference and the soil where my tobacco is grown — that’s the best land that grows tobacco in the entire world. It gives you all the minerals that create the flavor; the oil in the tobacco, the leaf itself. The quality of your tobacco will be different even if you get it from the same plant grown in another country or region. After that there is, of course, the human processes. The collecting, the drying, the fermentation. With the fermentation, you must be particularly careful so you can get rid of all of the ammonia, so the tobacco can have a nice flavor. Then comes the aging. And, unfortunately, even in Cuba, most brands don’t have the time or the capacity to age the tobacco properly. They often end up rushing it, whereas

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we age our tobacco for a minimum of five years. This makes an enormous difference in flavor, combustion, and aroma. Finally, when you are ready to make the cigar, comes the selection of the tobacco leaves. This is based on what kind of blend you want to prepare. It’s also especially important to us that we don’t use any chemicals in the process. It’s basically organic, pure tobacco. No artificial flavors or anything like that. Everything – from seed to final product – needs to be done meticulously and with great patience. Step by step, with no rushing. If we rush the process the product will be inferior and inconsistent. You want there to be true quality and true reliability. When buying a cigar, what are you looking for as a mark of quality? What are some potential red flags? First, you need to look at the presentation of the cigar. Is it neat? Is it nice and smooth? No wrinkles or anything like that. Next is the smell. The aroma should be an enjoyable one, not stale. Another thing you absolutely must check is the texture. You actually want to press into the cigar a little bit and see if it’s too tight or too loose. It needs to be tight enough so that it doesn’t fall apart, but not so tight that you can’t pull on it. If it’s too tight, you may feel a “vein” that feels like a piece of wood inside the cigar — that’s definitely not a good sign. If it’s too loose, when you heat it up it’s going to get totally destroyed. You opened Casta’s in 2019 in Washington, D.C. What led you to make such a move? Well, it was inspired by disappointment. When I came here in 2011, I was trying to go to all the Cuban places around, and there was no place that I felt was doing it right. I was so disappointed and I thought to myself – I need to create something legitimately Cuban. A place where, when people step inside, they don’t feel like they’re in D.C. anymore. They feel like they are in Cuba. And that’s literally what I did. It’s a rum bar. We have more than 120 types of rum there. We have food and great cocktails as well. We also have our Castañeda cigars and live music. Basically, it’s everything you have at any Cuban bar in Cuba. And the name, Casta’s, is the nickname of both my dad and me. Everyone called him Casta. My goal is authenticity. Unfortunately, businesses here are often focused on just not disturbing customers, or just trying to satisfy their needs in the simplest way possible. But in doing this they are losing authenticity. For me, I think people are really craving that authentic experience more than anything else. I want to bring a piece of Cuba to this city the way it really is. So people here in the US have the chance to appreciate how Cuba looks, and how we are in Cuba service-wise. You walk into my space; you literally feel like you are walking on the streets of Havana. One of the biggest compliments I get is that people just feel so welcome. So relaxed. They feel like they are on vacation. They feel like they have come home. Speaking of relaxing, when you are not on the clock, what is your go-to cigar and rum pairing these days? One of my favorite cigars is called Torpedo Habano Box Press. It’s a medium to full bodied cigar. There is a common misconception that full bodied cigars are all really strong. But for us at Castañeda Cigars, it means it has the most flavor,

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“The way Cubans are. The way we welcome you into our house. We open the door to our home to everybody and anybody. We make them feel like our house is your houses. We may not have much possibility over there [in Cuba], but we don't mind sharing what we do have. We are happy.” but is still very enjoyable and smooth. As for the rum, when I can’t get a Cuban rum, I would drink Zacapa 23. What is most important, though, is relaxing and taking your time, whatever the cigar or rum. You opened Casta’s six months before the COVID shutdowns began. How did you handle that immense challenge? To be honest with you, we were really blessed with how Casta’s was accepted by our customers from the start. We had an amazing opening, and the place was packed every single day until the decision came to shut down the whole country. That last night, we were incredibly busy. And as soon as we could reopen, for takeout or patio seating, people started showing up. With the capacity limits and social distancing, it was almost impossible to find a table on the patio. And as soon as the restrictions were fully lifted, it was just incredible. I was extremely happy to see how people were still excited to come to Casta’s and have a good time. They were just waiting to come back to us. You come by on a weekend now, and the line is around the block! It seems that the Cuban authenticity you are striving for is really resonating with people. Beyond the cigars, the food, the sounds, is there anything else you aim to share with your customers about Cuban culture? Hospitality. The way that Cubans are. The way we welcome you into our house. We open the door to our home to everybody and anybody. We make them feel like our house is your house. We may not have much possibility over there [in Cuba], but we don’t mind sharing what we do have. We are happy. And that is my main focus. When I started hiring my employees, I said, “Just one thing, guys. Pretend you are Cuban.” They laughed and asked me how they were supposed to do that. I told them it was very simple. Be happy, treat people with respect, work on them, and smile. That’s it. That’s Cuba. For information on Casta’s Rum Bar, check out their website at www.castasrumbar.com or their Instagram @castasrumbar. To order Castañeda’s cigars, send an email to info@castanedacigars.com or call 609-865-7890.

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A Night Out in the Concrete Jungle with David Rabin WRITT EN BY: AIDA M. TO RO PHOTO G RA PHY BY: CO URTESY O F DILLO N BURK E

New York City is literally the city that never sleeps. Activities that make New York City the lively metropolis it is are making a comeback, as residents, commuters, and tourists alike are parading back in. David Rabin, a magnate in New York City nightlife, continues making his contributions to the city. If you’ve dined and partied at some of the most iconic places in the Big Apple, then you’ll know who Rabin is. He’s one of the forces behind American Bar, Veranda, SONA, Jimmy, The Skylark, Temple Bar, and the recently reopened Lambs Club. Rabin was also one of the masterminds behind legendary clubs such as Lotus, which was featured in Sex and the City, The Double Seven, Union Bar, Rex, and others. Rabin and I took the time to speak about his overall career, changes New York City nightlife has experienced throughout the years, the ideal night out in Manhattan, and more. Where are you originally from and what did you do prior to becoming a partner at numerous places in Manhattan and more? I was a lawyer in the 80s. I did mostly real estate and a little bit of entertainment law. The guy who became my business partner, Will Regan, was a close friend of mine from Tufts University…we went to college together as undergrads. At the time, Will was a Wall Street trader and we were running around New York a lot, running into each other at various restaurants, nightclubs, places and parties. We were always kind of complaining that we couldn't believe we were 28 and that being a lawyer and a trader was what we were going to do for the rest of our lives. I really wasn't enjoying my law job and he was really unhappy as a trader, although he was doing very well financially. One night we're in a club called Nell’s, which was Keith McNally's

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great nightclub and we were just there at a table with a bunch of people who were out in the scene all the time…fashion people, music industry people, among others. We kind of looked at each other and joked around and said we should just quit our jobs and open one of these, since we already knew all of these people. A couple of days later, we called each other and acknowledged that we were pretty serious about our idea of opening up

a club. We were single and 28 or whatever we were and if we failed, we could always go back and get real jobs, since I had a law degree from Columbia and he was a successful trader. As a result, we opened our first place, which was called Rex. How was your experience opening Rex? We didn't really know what we were doing, but we were lucky because we had a strong following and just lots of friends who were

ably the busiest part of New York during about our age and were very much in that that time. Then about five years later, even mode of going out all the time. There was though we kind of thought that we were a younger group of women who were in sort of done with big nightlife venues, the their early 20s and were Will's friends, who just happened to become the most famous models in the world, such as Linda Evangelista, Cindy Crawford, Naomi Campbell, and Christy Turlington. It was a small place that wouldn't be filled with a lot of people annoying them… it was just an insider place. Word got out that we had this hot little nightclub in this little townhouse on 6th Avenue in Chelsea, which kind of led in an odd way because we really didn't know what we were doing. It kind of led to everything else we've done since because it set us on a path of people being interested in working with us and opened up a lot of doors. It was like going to grad school again. Have you ever opened locales outside of New York City? If so, how was that experience? After Rex and before Lotus, believe it or not, we went to VERANDA Moscow and as consultants, opened the first Western style supper club in Russia since the fall of communism. It was called Manhattan Express and it was 100 yards from Red Square, which was very successful. We went through the last sort of coup that happened in Russia, but the club survived and we came out of it. Manhattan Express was the Studio 54 of Moscow, if you will. No one had ever opened a big nightclub over there like that intentionally. There were nightclubs in gyms and stuff, however, this was the first time someone actually did hire the real designers of Studio 54 to design it, as they brought them over from America and they brought us over to run it. Will and I took turns for two years living in Russia. What other places did you open in New York City once you returned from TEMPLE BAR Russia? We opened a place called Union Bar on Park Avenue South. Just when opportunity came up to take over the space that became Lotus, which had actually been Park Avenue South was kind of on fire in 1995, there was the Coffee Shop, Park Avalon a gentleman's club. The place had gone out of business, had all the licenses for cabaret, and a place called the Lemon. It was prob-

and was in an area that was zoned for cabaret license. It also had a 4am liquor license…and at the time, I was the President of the New York Nightlife Association, so I knew way too much on how valuable it was to have a venue like that. It was kind of a Godfather Three moment for me in a lot of ways. We really weren't thinking about going back into real nightlife, but it was just too good of an opportunity. We then reached out to Jeffrey Jah and Mark Baker, who were the promoters of a club called Life back then. We asked if they wanted to be partners rather than just be promoters all the time for other people's venues. They agreed, so we formed this partnership and did Lotus together, following with the original Double Seven which was right across the street in 2005. We worked together on two projects that were both pretty notable. Overall, it was a very different and great time in New York City. Being a major player in the nightlife industry, have you ever experienced any challenges throughout the years with your businesses? There was a real low post 9/11 for about eight months. It was a very sad time in New York for a while. In many ways, it almost put us out of business because people still did have to go out to eat, however, they weren't in the mood to go celebrate and dance. It was a very damaging time for our business, but luckily, we came through it and people started to shake off the gloom of New York after six to eight months. Then, the crash of 2008 hurt us a lot. Tell me about The Jimmy and the locales you are a partner at nowadays. I did Jimmy with another group because the folks who originally asked me to get involved with Jimmy and my partners from Lotus thought it was too small of a space. I asked them a couple of times if they wanted to get involved and I was like “guys, it's an 18th floor rooftop with a pool overlooking the entire city, how on earth would we say no to this”. They still thought it was too small and felt it would distract us from other

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SKYLARK

things. Therefore, I decided to do this with some other guys, because in my mind, it was too good a thing to pass up. Luckily that was the right decision, however, that first group and I did go and do the Lambs Club together. For the Lambs Club, it was Will, Jeffery Jah, Geoffrey and Margaret Zakarian, which we did for ten years. Then I teamed up with Kyle Hotchkiss Carone and we did Cafe Clover together and then now American bar. Then I also started to partner with Maneesh Goyal in the end of 2015 to early 2016 and then of course the pandemic, but we started looking for the space that would become Sona. Then by accident we sort of stumbled upon the fact that we could potentially get Temple Bar, which we also just brought back in October. In 2012, due to our success with Jimmy, I had the good fortune and was asked to just go have a meeting with the guy who was building the Skylark rooftop on 39th and 7th which was on the 32nd floor. The plan he had in mind for how he was going to operate it was really more on having a full on nightclub with bottle service, DJs and promoters. I told him I would focus more on the after work business and make the late night business a happy outcome if it develops, especially because people are coming out of the office, going to Madison Square Garden,

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and more. I also suggested I wouldn't even open on weekends because there wasn’t a lot of activity there on weekends because it's all office driven. Therefore, I mentioned I’d stay closed on weekends, do weddings and 50th birthday parties. So he ended up calling me back and asked me if I'd be interested in partnering with a company called Abigail Kirsch, a huge catering company, and that maybe we could operate the Skylark together. That’s when I met Jim Kirsch, whose mother was Abigail Kirsch. We formed this partnership at Skylark and Abigail Kirsch actually became my partners when we reopened Jimmy because the hotel is now called the Modern House Hotel in SoHo. We also a restaurant called Veranda with a great Chef George Mendez. It’s all been by happenstance when my partner Will Regan left the business in 2012 when he decided to move up to Massachusetts…I was sort of forced to form a whole bunch of new partnerships. How do you balance being a partner at so many businesses? For the most part very well, however, it's difficult because there's a lot of meetings. It's not like you can have one meeting and go through all of your venues. I'm a partner for three different groups, so it's a lot of meetings. People think of our job

only really happening at night, but I honestly get 300 emails a day and have to go to two or three meetings a day. Then, I have to be out at night at least five days a week. I enjoy what I do, but when people warned me against it when I was 28, I listened to them, but I still thought I knew everything and didn't really realize it would consume so many hours. When I was in law school, there was a saying I didn't really understand, which was: the law is a jealous mistress. I was like, “what does that mean?”...It means you're not going to have your own life and it's going to want all of your time. Running hospitality is very much the same way. I mean, there's always something coming…either in a bad way or good way either. What are some of the takeaways you’ve gained by working in hospitality? There can be someone amazing at one of your venues that you always wanted to meet or you wanted to turn them into a regular, or a regular customer who happens to be an old friend and they just showed up out of the blue and text you and say they are at the venue. Something can also go wrong, such as something breaking or someone quitting in the middle of a shift… so it's not a nine to fiver by any stretch. I still enjoy it, it’s a lot of fun, and has definitely

THE JIMMY

opened a lot of interesting worlds to me. I get to meet a lot of fascinating people from all different walks of life, which is definitely a net positive for me. How do you feel New York City has changed since you've been working in the hospitality industry? I think that a big thing that's changed is the spreading out of nightlife and a breath of hospitality, because when we first started no one was really talking about Brooklyn or Queens for that matter. There are people who never leave Brooklyn anymore because they don't have to because they live out there in some great apartment or townhouse. They also have accessibility to amazing restaurants they can choose from and they have pretty cool nightlife venues, and more. There was a whole subset of people that used to come into Manhattan for their nightlife. Oddly enough, the dance club scene has really left New York. Nowadays, for big nightclub experiences, you think of Vegas, Miami, and festivals. When I was younger, there was a time in New York that not only did you have Nell’s, but you had places like Limelight, Palladium, Tunnel, if your taste was different. These places were full all at once, as thousands of people were going out on a Thursday or Friday night in Manhattan. These type of venues don’t exist

anymore in Manhattan. I also feel Tinder and application of these sort makes life different for people because instead of going to a bar or club to hope to meet somebody, they can just scroll on their phone and then go meet someone at a local wine bar rather than making a trip to a big nightclub and hoping to run into someone they might be interested in. Another thing that's really changed is that seven o'clock is the new nine o'clock in terms of dining. Since no one was able to go out during the pandemic, people started eating earlier. Initially there was a 10 o'clock or 11 o'clock curfew, so people wanted to eat before the curfew came and before the kitchen at the restaurant had to close. It's interesting… It changes all the time. We'll see what happens as people, once spring fever and the summer kick in. What can you say is a night out done right in New York City? For me, if it's nice weather, I think popping by Jimmy or the Skylark is a good way to start and then suggest going to Indochine and Raouls, where you can breathe in 30 to 40 years of New York. I can also tell you to go walk on Little Island and not go to any venue, just walk around and sit on a bench, or even look out at the river. I actually like riding a Citi bike up the West Side Highway.

Are you working on any upcoming projects that you can give me a snapshot on? Right now, we have seven places open and five that opened post-pandemic, so I'm just trying to keep my finger on the bike basically. I hope that in a few months the air will clear a little bit and I'll be able to think about what would be smart to do next. Right now, when I'm getting emails from brokers and stuff about potential projects, I'm basically saying that I'm very flattered they’re reaching out, but right now we just have to make sure all of these places we just recently opened are all functioning well before we take on another project. If you ever pop into JIMMY, The Skylark, American Bar, Temple Bar, SONA, The Lambs Club, or Veranda SoHo, you may spot Rabin checking in. To keep up with Rabin, the venues, and his upcoming projects, follow him on Instagram over @davidrabin8.

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PRO exper PH OTO G RA P HY: THE IN GAL L S WO RDS P ROVIDE BY: TH E AU STIN PROPE R 22

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OPER rience

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Situated in Downtown’s 2nd Street District, Austin Proper Hotel and Residences offers an artful immersion in lifestyle and well-being. With emphasis on collaboration, the passionate, compelling vision of designer Kelly Wearstler meets the culinary creativity of Austin tastemaker McGuire Moorman Hospitality. Essentials include 244 rooms and suites; 99 branded residences; four unique settings for dining and drink; a focus on wellness with a dedicated spa and fitness center; plus a variety of atmospheric spaces for events. And it wouldn’t be Proper without a 5th floor pool deck offering smallbatch tequilas and Lady Bird Lake views. Joining the Downtown skyline in 2019: 32 stories merging a 244room destination hotel with 99 exclusive residences. This sculptural new construction integrates the work of award winning Handel Architects and interior designer Kelly Wearstler in a progression of atmospheres including two pools, 14,500 square feet of event spaces, and multiple dining concepts by McGuire Moorman Hospitality. In step with Austin’s natural lifestyle, LEED® Gold certification minimizes footprint and maximizes sustainability. To promote wellness for those who stay and work with Proper, these rigorous environmental standards extend from water use (reclaimed irrigation systems, in-building chilled water loops, centralized boilers) to low-VOC paints, energy-efficient LED lights, and insulated dual-pane windows that save energy and block UV.

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Kelly Wearstler’s creative direction for the design of Austin Proper has unfolded over three years. The layered, individualis tic look mines a tradition of artistry and craftsmanship distinct to Austin. The historical influence of Austin’s most stately homes inspires eye-catching details including a sculptural staircase installation of patch-worked vintage rugs. Local artists and materials are featured prominently throughout, with every surface adding textural interest: pots, trays and cabinet inlay tiles by ceramicist Rick Van Dyke; photography by local Barry Stone; locally quarried travertine on the pool deck; custom millwork cypress shou sugi ban paneling and antique mirror finishes. With Austin as muse, each the of 244 rooms and suites have been thoughtfully designed by Kelly Wearstler for refined living and restful evenings. The design is deeply influenced by local craft and material, from raw travertine sourced at nearby quarries, to trays by Rick Van Dyke and original fiber artworks by Magda Sayeg. Well-considered appointments include Aesop bath amenities, Kelly Wearstler x Parachute Home robes and signature Proper beds layering Simmons Providence Mattresses, Fili D’oro and Bellino Fine Linens. Maintaining Proper health is key, no matter where your travel takes you. Our Verbena Spa includes a soothing lounge, five dedicated treatment rooms, men’s and women’s locker rooms with steam showers, and wellness experts on call. Our spacious 2,000-squarefoot fitness center features state-of-the-art strength training, weight

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and cardio equipment and exclusive access to outdoor classes, including yoga and boot camp. Leading Austin Proper’s dining front is McGuire Moorman Hospitality, the award-winning team behind many of Austin’s best dining & entertainment spots. At the landmark eatery, The Peacock, guests can savor Mediterranean–inspired foods and flavors that are colorful, healthy and wholesome, paired with house-made pita from the wood-burning oven. On the rooftop pool deck, the coastal Mexican restaurant, La Piscina, offers wood-fired seafood, fajitas and a raw bar. Morning, noon or night, the ground floor Mediterranean coffee shop, The Mockingbird, serves savory items to-go and tempting treats like soft-serve Greek frozen yogurt, while Goldie’s Sunken Bar is an elegant hideaway for hotel guests and residents. An array of high-end amenities that aim to refresh. Whether borrowing a bicycle for a lakeside trail ride, taking a dip in the 5th floor heated swimming pool or finding your zen through our onsite wellness activations, Austin Proper has you covered. Enjoy the comforts of home with a full service business center, a cozy art filled lobby ideal for entertaining and laundry services including tailoring all in a pet-friendly environment. The 24/7 concierge team is on-site and eager to make your stay unique and memorable. Austin Proper offers more than 14,000 square feet of thoughtfully designed spaces for indoor and outdoor meetings, weddings, special events and private dining. Adding distinction to the creative design, the Proper team and McGuire Moorman Hospitality specially curate menus and styles of service to match any occasion. The 2nd Street District merges convenience and culture with creative offices, entertainment, shopping and waterfront wellness. Hit the trail around Lady Bird Lake, walk shady sidewalks to lunch, check out a movie at the Violet Crown, grab a last minute gift or something special for you at one of the many boutique shops, and of course catch a nighttime show...it’s all only steps away.

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Goldies' THE W.L. BROWN DERBY ingredients Weller Reserve Bourbon Grapefruit Lemon Acacia Honey

"The W. L. Brown Derby is a made with Weller Special Reserve combined with Texas grapefruit and a splash of extra citrus with a little bit of honey - served on a large cube to make a cocktail that's refreshing but not too bright. This is the Goldie’s take on a classic that I think fits our refined style and still packs a punch."

Nicky James, Head Mixologist Goldie’s is an intimate cocktail bar on the ground floor of the Austin Proper Hotel & Residences, helmed by Austin locals McGuire Moorman Lambert Hospitality. Goldie’s serves as an elegant and vibrant setting for a posh celebration, sophisticated drinks, or a romantic evening out — open to Proper’s hotel guests and residents only. The focal point of the room is a marble sunken bar, surrounded by a plush array of tweed and velvet seating. Seasonal cocktails will rotate based on ingredient availability, while a classic martini, Pink Lady Champs-Élysées, and other favorites are menu mainstays. THEHOUSE-MAGAZINE.COM

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AN ARTFUL PE THEHOUSE-MAGAZINE.COM

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ERSPECTIVE THEHOUSE-MAGAZINE.COM

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LO V E 4'x6' Acrylic on wood, 2021.

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WRITT EN BY: CO NNO R DUSZYNSK I PHOTOGRA PHY: COU RT ESY OF EMILY MORGAN

DRAWING FROM HIS OWN PERSONAL LIFE, MEMORIES, and experiences, Andrew Arthur’s works are all about communication. Utilizing shape-based writing systems like Braille, Morse code, and Cuneiform to create composition, Arthur wants his viewers to “experience the paradigm shift once they are aware that the abstract shapes and colors have exact meaning.” I sat down with Arthur to discuss the viewers’ experience and his time as a professional painter. Upon graduating from the Savannah College of Art and Design (SCAD), Arthur began showcasing his works in countless galleries and exhibitions around the world. With no sign of slowing down, Arthur also shared the inspirations behind some of his latest works, as well as a few hints at his life’s next chapter. Hello, Andrew! Thank you for joining me. Can you tell me a little bit about yourself, including where you’re from, how long you’ve been painting, and anything else I should know about you? Thank you for having me. I was born and raised in Los Angeles. I spent some time in Savannah and also lived in and around Chicago for a bit. In terms of painting, I’ve been professionally painting for about eight years. And when did you first get interested in painting? Have you always been artistic and expressed your art through painting, or were there other mediums you initially dabbled in? What has your artistic journey looked

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N O. 8 7 Acrylic on wood.

like through your own eyes? I’ve been painting my entire life. Art has always been considered “god” in my household. I started experimenting with art in high school and during my time at SCAD. Before then, I certainly worked in different mediums which helped build me as the artist I am today. Painting and my experience at art school at that time was influenced and formed by a lack of money. I had to scrounge for street signs, fabrics in

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dumpsters, or canvas from old couches that I’d find. That’s where a lot of my experimentation came in. Even still, I like to bring in some of those elements. I like to bring them in because it adds to the experience. Is there a memory you care to share with our readers from that time that really sticks out to you? I found an old leather couch. I stripped off the leather and on that painting, there’s a lot of experimentation. I had it hung up in

my living room when I was living in Chicago. There was a morning in my early twenties. A lady came into my living room who had seen the painting from the window. She wanted to start marketing my painting and my art after that point. I initially wasn’t interested. After that point, however, I began realizing I could make money from art. The art intrinsically changed after that. When you say your art changed, was that

NO 45 ABOVE:: acrylic on wood. NO 84 LEFTt: acrylic on wood.

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S AT U R D AY M O R N I N G AT FA R M E R S M A R K E T 6'8' Acrylic on wood, 2021.

a result of recognizing what people liked and wanted to purchase? Or did the subject matter and your art change naturally over time? I think once I had money coming in, I was able to have access to different materials. Instead of having to go through a dumpster and clean up the materials, I was able to use real canvas and utilize store-bought paint. The outcome was good and bad for me. But it was certainly a change. It changed the art itself. That was in my early twenties. I think I was 23 at that time. It sounds like you’ve been pretty expressive artistically for much of your life. Is that something that was encouraged growing up? Do you have an earliest memory of getting into art? Yes, it was definitely encouraged growing up. Art was always my favorite subject in school. I still have art hanging up in my house from when I was in fifth or sixth grade. It was something we prized growing up, and something that is paramount in my own family today. The best thing I’ve been able to bring into my household is art; both my children are creative. They have a craft area and they love to sit, draw, and create. That means

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everything to me. You’ve shared that your art is very much about communication. What exactly is it that you’re trying to communicate and what do you want viewers to take away from your work? I define art as communication. I think that when I was younger, my art was unsystematic. It was fluid. I think my art was left open to a great degree of interpretation. I don’t know if that’s what I was going for. But, I know my art now is the complete opposite. My art now is based on a system of communication. Now, I’m trying to communicate an exact message with specific color references. Can you give us an example of how you might utilize color to share that message? I’m looking at your work entitled ‘family loves cold pool on a hot day’ at the moment. In that painting, there’s a lot of bright green, a lot of blue. There’s some orange. I think some pink as well. The way I interpret color and try to interpret these paintings is that the color of the painting references the exact image of something that I’m looking at. Sometimes I even think of it as a kaleidoscope. If you’re looking

“I define art as a communication. I think that when I was younger my art was unsystematic. It was fluid. I think my art was left open to a great degree of interpretation. I don't know if that's what I was going for. But, I know my art now is the complete opposite.” N O. 5 1 A TOP: acrylic on wood. N O. 5 1 B RIGHT: acrylic on wood.

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through a kaleidoscope, something may be broken into a thousand images and angles. But the color still remains the same. That’s kind of how I interpret colors in the paintings. In regards to that specific style, that painting was created using the Morse code writing system, of which I still have some control over the shapes that form that composition. I wanted it to feel like a splash. My kids enjoy doing cannonballs in the pool; I wanted the painting to have that same feeling coming from the center and splashing across the canvas the way that the kids jump into the pool when the water explodes. It’s a very literal interpretation. I’ll literally take the image in front of me and incorporate the colors in that way. Expanding upon Morse code, why do you feel that it’s important to incorporate these writing systems like Morse code, Braille, and Cuneiform in your work? The nature and rules, I think, of each alphabet is different. These systems have different outcomes when you put them into a composition. They all look different on the canvas. From that point alone, that distinguishes each series. From a different angle, these paintings feel similar because they share similar traits. The title of each painting is actually the words used to create the composition. I’m using the exact words to generate a composition of the painting. Lines that intersect one another might make-up the same letter. My purpose, however, is to have someone go through the paintings and enjoy them on their own. Then, they can realize that those colors, lines, and shapes do have a message. Is there any level of subjectivity in your paintings, or do you want your viewers to have a very clear and literal interpretation and understanding of your work? I want them to take it away literally. I think everyone has their own experiences that they can attach to the paintings, but I want to surprise the viewer. I think most people come in and see

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something that looks very geometrical and take it at face-value. I think once they understand it, they understand that there’s something that goes beyond the shapes and lines and pretty colors. That’s what I’m trying to convey. What are the feelings you want to evoke from your art? I do have times where I can be pretty quiet. Most of the time, my art is based on experience. I really create art for myself. Although, there’s a key part of it that I am communicating something. In a lot of these paintings, there are colors that reference what’s in the background. Sometimes, however, they’re darker than they feel. To me, some are darker because the subject matter is not a happy subject matter. Others are explosive and happy. However, even in these brighter pieces, there’s oftentimes a line of black because it’s a fleeting experience. These are colors that I think about for hours on end. Every color in every spot is there for a very specific reason. What does your creative process look like? You’re very inspired by your family and personal life. How do you get and stay inspired? Is it routine or does it change depending on the piece that you’re creating? I stay inspired for one specific reason: once I’ve completed one painting, I feel the need to immediately move-on to the next one. I always feel like the next one is going to be better than the last. That gets me inspired. What usually keeps me inspired is probably that as I get older, I realize that life is not forever. My grandfather was an artist, as were many of my other family members. As they’ve passed, their art has stayed. That’s something that takes a strong hold of me. I want to leave a legacy of art to other people. That’s something that keeps me going. One of the things I think about is the phrase or words that come out of a painting. I’ll usually write down or text myself words that come to mind when I’m creating a painting. Once I capture that,

N O. 8 3 Acr ylic on wood.

from that moment going forward, I take that phrase and chop it into pieces. I’ll break it down and lay it out on the board. This part of the process is always very inspiring to me. It’s usually at this point that I can envision the painting before it’s even completed. It’s a constant process and I love that. And is this your favorite part of your process? Seeing it come to life is wonderful, but I think finishing it is always my favorite part. I take great pride in having a perfect finish with very clean edges and trying

to turn over a perfect painting. To be honest, I don’t know if I ever have a point where something is completely perfect, but I’m always happy to move on to the next thing. I’ll usually work on two or three pieces at a time. Does that ever get disorienting for you, or do you enjoy working on multiple pieces at the same time? Is it fun for you to bounce back and forth between pieces? I think I’m a very orderly and organized person. I actually have prefixes, stickers that go onto each can of paint. I pre-

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N O. 7 7 Acrylic on wood.

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“I premix my own paint. This tells me which paint has been applied to each painting. At any point, I might have a hundred and twenty premixed paint jars that I'm keeping track of. Due to a system of being probably too organized, it works for me.”

mix my own paint. This tells me which paint has been applied to each painting. At any point, I might have a hundred and twenty pre-mixed paint jars that I’m keeping track of. Due to a system of being probably too organized, it works for me. A lot of these paintings need multiple layers. I’ll go through and change the colors and composition a few times. It’s definitely a process. Usually it’s fine for me to do three paintings at a time. How long does it typically take for you to complete a piece or get to a point where you’re satisfied with the result? It usually depends on the scale of the piece and its complexity. It also matters how long the phrase or words are that I’m trying to communicate. If it’s a lot of words, there’s more color work that goes into it trying to get it right and execute the painting. Generally, I can create a painting in two weeks. That’s with long, ten-hour days. It’s certainly labor-intensive. When clients come to you and bring words or phrases, do they request that certain colors are incorporated into the piece, or do they leave it up to your interpretation of the text and personal color associations? In the commissions that I’ve had so far, it’s important for me to have a conversation with the client to understand where they’re coming from and what the word or phrase means to them. If there’s not a color that I associate with the text, I’ll usually recommend that the piece is done in black-and-white. Are there any projects, commissions, or galleries coming up that you’re especially excited about? What can our readers and viewers of your art expect next? I currently have art hanging in a gallery on 4th Street in downtown Los Angeles. Some of the pieces have come down, but there are others that are on an extended lease to them which viewers can still admire. I’m also working on another show that’s going to be in Paris in September over Labor Day weekend. In my personal life, we have sold our Los Angeles residence and are in the process of relocating to the East Coast. This year, I’ll be dedicating time to getting a studio set up on the other side of the nation there. I’m excited to share this process of building-out a studio on social media. I’m in the midst of a metamorphosis in my life and ready to share it and my art.

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From the Runway to the Camera with World-Renowned Photographer

Nigel Barker WRI TTEN BY: A IDA M. TO RO

PHOTO G RAPHY C O URT ESY OF: NIGEL BARKER

PHOTOGRAPHERS PLAY SUCH A KEY ROLE IN TODAY’S CREATIVE SPHERE, whether it be for a major editorial production, commercial, or even one's Instagram feed. Nigel Barker, a former model and well-known creative mogul in the fashion industry, is one who continues delivering meaningful work to the creative industry, whether it be by cultivating a state of the art editorial, a well thought out campaign, participating as a spokesperson for brands, or incorporating philanthropy. Many have seen Barker’s participation on America’s Next Top Model, where he was the photographer and a judge on the show. He was also the host of reality show The Face for the American series. Recently turning 50, the prominent photographer and creative artist has accomplished a ton throughout his career. Barker and I took the time to have an insightful conversation about his overall career, current projects, photography, modeling, and more. What inspired you to come to New York City? Essentially, I came to New York to pursue my photography career. I was a model myself in the late ‘80s and early ‘90s. At that time, I was living in Paris and Milan, mainly Milan. I lived there for several years, and when I was there, I met my wife Crissy. We started dating and, after living in Paris and Milan for a time, she moved to England with me for about six months. Crissy was a young model herself, and she wanted to move to New York to try it out. I kind of followed her and went to New York for the first time. I knew I couldn’t model forever, though, and I had also started taking pictures, predominantly of Crissy and her twin sister Kimmy. That was the moment where I figured I’d reinvent myself – especially since I was in New York, a new market for me, and where no one knew who I was. I even shaved my head – I used to have long hair – which was like a process, because I wanted to get rid of everything from my past surrounding modeling. When I officially moved to New York in 1996, I really became a photographer full time and tried to sort of break into the industry. I opened my studio there in 1998. Where did you open your first studio and how was the experience? When I first got to New York, my first apartment was in Soho, right on Broome Street. I used to shoot in my apartment and it was a fun place to shoot in. Then, I opened my first studio in 1998. It was in the Meatpacking District, which at the time wasn’t really that cool. I mean, it was a good place to be because there were big spaces available, but it was very much an active meatpacking place at that time. My place was on 14th street and ninth avenue, across from where the Apple Store is now. Back then, there was no Apple Store and no cool restaurants. It was mostly real,

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C A R I D E E E N G L I S H F O R A M E R I C A' S N E X T TO P M O D E L

active meatpacking places and a few dodgy bars like Hogs and Heifers, which were pretty crazy. But it was a fun place to go to. Models used to show up at my studio and they would literally call me from their taxis downstairs and say, “I think I'm at your studio, but I don't think this is right.” I told them they would have to go across the meatpacker’s space and go upstairs, because the ground floor was literally an active meat packing company. There would be carcasses of pigs, beef, and things just hanging in the front door. You'd have to often push them aside just to get in. Prior to meeting your wife Crissy, were you always passionate about photography, and did you sense you were going to become a photographer?I wasn’t necessarily passionate in a way that I knew I was going to be a photographer. I started taking pictures when I was very young… I have to say at the age of 14, when I was in high school. I learned to print from my biology teacher, Dr. Adams. In fact, I was going to study medicine, which I

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really didn’t want to do. My parents wanted me to do it, though, and I was on track to go to medical school. My mother then entered me into a modeling competition in 1989 called The Clothes Show, a televised modeling competition very similar to America’s Next Top Model. I didn't win but got into the top three… and that was how I got my first break. I then decided just before I went to medical school, or any other kind of college, that I would sort of take a sabbatical year and perhaps do some modeling and make some money. One year led to two, which led to me never going back to college, and deciding to be a model, and kind of getting into photography eventually. When did you first realize you were in pursuit of creativity? As a child, I really liked doing anything creative. I used to do woodwork, metalwork, and pottery. One of the things I really got into was fashion design. So whilst I was still studying biology, chemistry, physics, and math in order to go and do medicine – on the side in my

humanities, I studied pattern cutting, dressmaking, weaving, and tailoring. I remember my father often asking me why I was doing all of these courses for girls. Although that was quite a sexist remark, my father was also correct at the time, because it was a class full of girls back in the 1980s in the UK. I was the only guy in a class of 20. However, I told my father that when I became a plastic surgeon, I’d be the best person that's stitching anybody up because I would have had years of practice perfecting my sewing and stitching. My father thought it was brilliant, though I completely didn't mean what I had said. I just wanted him to agree with me taking fashion design class. I also told him to remember that I was also the only boy in the class of 20 girls, and that I'd definitely be getting a date for the weekend. Overall, it was fun and I really enjoyed doing it. Fashion design also gave me a practical background in fashion, so when I eventually became a photographer in the business, I had a deeper understanding

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of the process designers go through when they make their garments, which has always helped me. How did you stumble upon the opportunity at America’s Next Top Model and how was that experience for you? I'd been shooting for several years by that point. It was during the early 2000s and Season one of America's Next Top Model had an ad, and we'd all watched it in the industry. I thought it was fun and brave. There wasn’t anyone else doing anything with fashion in reality television. It was the first of its kind. One of my friends who I was working with a lot, a stylist called Nole' Marin, was working on the show in season one. She was helping with dressing Tyra and doing a few shoots and stuff. He mentioned to me that season two was coming up and that they were looking for a photographer to participate in one of the episodes. I said to Nole' that I thought it would be fun, and that I would love to audition, as I’ve never been on television before. I did the audition, met

the producers, and met Jay Manuel. Jay told me the audition went well, but then I didn’t hear anything back for six weeks. Turns out, I had pretty much aced my interview and, as a result, my casting tape had gone all the way up until it had reached the top decisionmakers, who told me they really liked me as a photographer for the show. They asked if I’d be interested in a permanent role on the show, as both a judge and a photographer for every episode. For me, that was a completely different gig, because it wouldn’t have been for me to come in for just one episode to do one photo shoot. Also, I wasn’t an actor. As part of the process, they also gave me a magazine to critique. Since I’d been a model for so many years, I was able to analyze what the model was thinking, and then, as a photographer, really explain what I thought about the picture. I was very opinionated, which they liked. I went to do season two and then they put me on a revolving contract. Before I knew it, I'd been there for a decade doing 18 seasons.

What are some other shows you’ve worked on since America’s Next Top Model? I did America’s Next Top Model, then I went on to do The Face with Naomi Campbell for two years, which I was the host for. Then I went on to do another show called Top Photographer, which I also hosted. I then created a show called The Shot, which was on VH1, where we had Russell James as the photographer. Overall, I worked on many other shows. My career has always been at the intersection of fashion and entertainment, and really making fashion accessible to some extent. Come the pandemic, I was stuck at home because no one was really working or shooting. With this in mind, I thought about one of the things I had started doing a few years ago, which was photographing my wife and sister-in-law religiously every month. I also started doing some simple videos for them. They created an Instagram account that was centered around their lives, yoga, healthy living, and ballet dance – because they are

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“Crissy and I were both models, so it's in the family. I've never forced [my kids] to do it, but I've always had my camera out, so my kids are very used to being photographed. They just pose and they're always into it.” dancers and yogis now – and it did very well and got a hundred thousand followers. It was going viral and they were getting thousands and thousands of views. It really caught people's attention. The Design Network actually came to us and said they really loved what we’d been doing with Kimmy and Crissy, and they’d be interested in making it a show on the channel – which was perfect timing during the pandemic because we didn’t have to go anywhere and we could do it ourselves. As a result, the Chin Twins was born and now we're in pre-production for a second season. How do you encourage your children to incorporate creativity into their lives? As you know, Crissy and I were both models, so it’s in the family. I've never forced them to do it, but I've always had my camera out, so my kids are very used to being photographed. They just start to pose and they've always been into it. My daughter, Jasmine, was particularly into it. Recently, Jasmine attended the Coco Rocha model camp because Coco actually spotted Jasmine on my Instagram and reached out to us. She said she loved her and asked if she could have her as a special guest at the camp, even though she was only 13. My son Jack went as well, as did I, because I ended up

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doing a photoshoot of all the models that were attending the camp as a thank you to Coco and her husband, James. Attending this camp sort of helped Jasmine launch her career, and she went public with her Instagram account just a few weeks ago. She's already got like 9,000 followers in just a few weeks, and you can see a little career starting at only 13 years old and being 5 '11 and a half in height. Jack is 6’3, but he's more into basketball than he is into modeling. When did you first start photographing for publications? First of all, I was a test photographer when I started, which meant I tested for model agencies and I would shoot models for their portfolios. I shot an exhibition of portraits for a series called Click Silver for the model agency Click Models. I was commissioned to shoot the entire agency. We painted each model silver from head to toe and created eye-catching images with the tag – “It’s your time to shine.” This series then led to me working for Interview magazine. Interview magazine was the first magazine I ever actually photographed for. I started shooting regularly for Paper magazine and Mickey Boardman, who has been a friend of mine for twenty-five plus years. He kind of took me under his wing,

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and only a few months in gave me my first chance at doing an editorial. I remember he had asked us to do a two page spread about a story idea called He’s So Vain, which was about male modeling and vanity. Mickey thought it was a fun idea. For this project, I also had this great stylist, Timothy Reukauf, who really became a styling legend. The two of us got together and we managed to get these male models – who were some of the big guys at the time – for this fun job where we ended up shooting 14 pages, which was way too much. We gave Mickey all 14 pages and we thought he was just going to have us pick the top two. However, they got back to us and said they loved all 14. All the pages were run, which was a big deal. This was my first story ever in the early 2000s. After this, I started getting calls from Versace, Jill Sander, and others because they really loved it. This was my big break and was really the first thing that set me up to obtain more magazine editorials, working for all the publications, and just getting out there and getting work. What are some challenges you’ve experienced as a photographer? I mean, I've been shooting now for 30 plus years, so there's always challenges. But at the same

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time, I feel like I've been very blessed that I get to do what I do, which often feels less of a job and more of a hobby. Sometimes it can feel job-like, but I have always enjoyed the people around it. When you’re a young photographer, you start shooting at your house just like I did, and you feel it’s an easy job. But then you get your first paid job and you have to deliver, which makes things more complicated because you don’t want to mess up. This is where I see young photographers perhaps giving up on their style. I was very lucky because when I started as a test photographer, people were booking me only for what I did, which is how I made my money and my name, followed by getting into editorial and fashion photography. I wasn't really a commercial photographer in the same way, so I was still being booked to do what I do. The challenges also come when you go from having two to three people on set to having four or five people on set for shooting big groups. I have always enjoyed the chaos and everything that would happen on my sets. For instance, my sets now can have as many as a hundred people. I've done shoots with 30 models – 10 of which were supermodels – 15 hairstylists, 15 makeup artists, 11 photo assistants or more,

and having cranes along with helicopters on set. It can be daunting, and the challenge is how to manage all of it and not get lost in it. It’s important to keep your head on straight so that you can direct this kind of situation. I’ve always thought to myself that it isn’t any different from directing a movie or TV commercial. How do you feel you've changed the landscape in fashion editorials, modeling, and the overall creative industry? Being associated with a show like America’s Next Top Model for 18 seasons was very pivotal, because people didn't know about fashion in the same way. We created a conversation that wasn’t exclusive to people in the fashion industry, but was for everybody, everywhere. A whole generation of people grew up knowing about the fashion industry in large part because of what we did on America's Next Top Model. Many people also became photographers because they saw me shoot on the show, and it was also one of the very first times they'd seen a fashion photographer at work at all. There really isn’t a day that goes by that someone doesn't DM me – or a photographer bumps into me – and tells me the show is the reason they got into photography. I give big kudos

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to what the show did because it opened up a lot of doors for people. When I first started modeling, the industry was also very cookie cutter because there was no such thing as full figure models or petite models. On America’s Next Top Model we were trying to break the mold and create something different. The same with my other show, Top Photographer. I felt the show was about making photography accessible to people en masse. When I first started shooting, my first camera was obviously a film camera. I started shooting in the 1980s and digital didn't come around until the 2000s. It was very hard for people to get into photography because it was very expensive back then, since every single roll of film cost money, followed by having to process the film, which also cost money – it was three stages of costing you money for only one photo. It wasn’t easy for young people to do. Photography was considered to be a “rich man’s hobby” back then. Nowadays, I tell people all they have to do is pick up their phone and take a picture, which doesn't cost you anything. To me, it was wonderful when I saw over a billion people with a camera on their phone, which gave them access to photography when I

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was working on Top Photographer. Even if you don’t have a big camera, you can still train your eye and have the opportunity to experience and express yourself through capturing imagery with your phone’s camera. My legacy is helping to make fashion and photography accessible to people all around the world. Can you provide me with a snapshot of any upcoming projects? A lot of what I do these days is creative consulting for brands. I'm one of the creative directors for a hotel chain at the moment called 21c Museum Hotels. I'm specifically working on the hotel in Chicago, where I will be shooting their advertising campaigns and everything for their websites. I have a book which is a New York Times bestseller called Models of Influence. I also wrote another book called Beauty Equation. I had a furniture collection with Art Van Furniture for many years, which Cindy Crawford helped release for me. I was also one of the founders of DOGPOUND. Myself, Hugh Jackman, Tom Farley, and Alex Geera, with Kirk Myers and a few other guys – all the trainers – started it. I was the DOGPOUND CMO for the first three years and helped set up everything there, such as taking all of their pictures,

shooting their advertising, and more. I've been involved in a lot of different businesses. Currently, I have a podcast called Shaken & Stirred, which is produced by Sony and Embassy Row. Tell me about Shaken & Stirred. The podcast comes out every week and it’s a celebrity interview podcast that is done over a cocktail. The idea came about through the pandemic and realizing that we couldn’t do face to face meetings with people, nor go for a drink. I thought, how much fun would it be to basically have a cocktail over Zoom, talk to someone, record it, and make it a podcast? I’ve done over 100 episodes and have had extraordinary people on the podcast. I’ve had people all the way from reality television stars, to authors, movie stars, singers, rock stars, performers, and all the rest of it. It’s a take-off of the James Bond term “shaken not stirred” but we are “shaken and stirred.” To keep up with Barker and his upcoming projects, follow him on Instagram over at @nigelbarker. You can listen to Shaken & Stirred on Apple Podcasts, Spotify, or wherever you get your podcasts.

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TAY LO R S W I F T S H O OT F O R 8 H R S B O O K

P O R T R A I T O F N I G E L B A R K E R TA K E N BY TAY LO R S W I F T

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B E H I N D T H E S C E N E S O F N B S H O OT I N G T H E N I N E W E S T C A M PA I G N

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As a journalist, I have to admit it was hard to play it cool when faced with the prospect of interviewing Jason Reynolds. A writer of his caliber, arguably the voice of a generation, who am I to tell even part of his story? New York Times best-selling author, National Book Award Finalist, and NAACP Image Award winner are only a few of the titles of which he can boast. But sitting down to speak with Jason was surprisingly easy; simultaneously like talking to an old friend and watching an elite athlete perform the most difficult feats with a grace and ease found only in the mastery of one’s craft. And Jason’s craft is words, in all forms. Hearing him speak was like listening to a yet unwritten poem. The meter and rhythm to his words, deliberately chosen, as an artist chooses a paint color, carried our conversation to topics I could not have foreseen; topics that we as a society must tackle, though they are heavy. Issues that we cannot solve until we have put language to them. Not only is Jason unafraid to look at the difficult parts of life and society, but he is also brave enough to admit that he does not have a solution to these problems, other than continuing his work. Throughout history, we have looked to the great thinkers of our time in order to solve these problems, but Jason, instead of solving these problems for us, sheds light on problems we did not know previously existed, gives voice to those who previously felt voiceless, and meets us where we are at to solve these problems together. As he says, “I hear you, you're not a voiceless person. There's no such thing as a voiceless child.” Every one of us has a story to tell, and Jason’s profound ability to put words to not only his own story, but also the story of those around him, and to push them to new limits simply by expressing himself, is unlike any I’ve seen before.

For those who have gotten this far and asked, “Who’s Jason Reynolds?”: According to the writer himself, “I’m just a dude from outside Washington, D.C., who, wherever there is language and narrative, I can make it go. I can use this particular skill set to create story, because I truly believe that story is the most human thing that we all have to offer. That's me in a nutshell.” The variety and breadth of his work is impressive,

about the style, it’s just about my obsession with storytelling. That's really my jam.” The most important thing to Jason is not the writing style but that he “not write boring books,” because “books were symbols of work, symbols of slog, symbols of boredom, they just didn't represent excitement to me as a child … How do I change the way young people think about what books are? If that means cracking jokes, if that means putting the interesting part at the beginning, whatever that means, I'm willing to do that if it shifts the perception around reading. I'm far more concerned with them being literate than them being ‘well read.’” Being the first Men’s Issue cover star, it is important, even in this day and age, to understand what manhood and masculinity mean to Jason. “It changes by the day. I ask myself this all the time and the truth is, I'm not even quite sure that I care much about masculinity as it pertains to what I think about it for myself, as opposed to what I think about it in the world. I don't really think about masculinity on a day-today basis mainly because I'm not sure I understand what it actually is; I just know how it functions in the greater society.” The self-awareness shown by Reynolds, coupled with his unique lens, brought up a perspective we do not often look at in society: “I think it is incumbent on me to be cognizant of my blind spots. To move through the world recognizing that my body can assault the space, especially if that space is shared by my woman counterpart. And to know deep, deep down inside, no matter how much I want to believe that I am a good person and a ‘good man,' that the society that I was raised in has made it okay for me, even intrinsically, to be misogynistic. Even if I don't believe I am. I think it's dangerous to assume that misogyny does not live in my body. I don't know if it's possible, living and growing up in this particular country, for that to be the case. I don't know if it's possible for me to not have it in me. So, I have to be cognizant of that and be honest about that, no matter how painful it is to admit it, so that I can perhaps

“...books were symbols of work, symbols of slog, symbols of boredom, they just didn't represent excitement to me as a child...How do I change the way young people think about what books are? If that means cracking jokes, if that means putting the interesting part at the beginning, whatever that means, I'm willing to do it if it shifts the perception around reading, I'm far more concerned with them being literate than them being ‘well read.’”

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especially when you consider that, according to Jason, “[he] didn't read until [he] was 17.” Some may know him from Miles Morales: Spider-Man, All American Boys, or more recently, Stamped: Racism, Antiracism, and You with Ibram X. Kendi. When asked what his favorite style is to write he claimed, “I can't do that. Only because I think that every piece of writing calls for what it calls for. I don't really think about it as ‘what do I love the most?’ or ‘what’s my favorite style?’ I think about it like, ‘what's the story?’ It's not

J a c k e t S U I T S U P P LY

JASON REYNOLDS WRITT EN BY: NINA HAAS K IVI PHOTOGRA PHY BY: TO NY P OWELL STYLI NG TEAM - L EAD STYLIST A N D CREAT IVE DIRECTOR: JOY K INGSLEY- IB EH ASSI STANT STYLISTS: ZO Ë MCCARRO LL AND CURTIS BARNES G ROOMIN G: DEANDRE B ROWN PRO DU CTION ASSISTA N T: CO NNO R DUSZYNS K I L O CATI O N: COU RT ESY OF HEIDER AT TTR S OTHEBY’S INTERNATIO NAL REALTY

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“They [rap artists] were bucking a particular system and making a new sound, a new thing, with sounds that already existed. We’re talking about people who were using existing records to create a new music – sacrificing the physical integrity of the record to create a new music. Breaking things down in order to rebuild a new thing is something I think about often. It’s a valuable thing to think about for my own work.” nip it and sort of deconstruct it before it becomes a harmful thing.” Speaking with Jason about his role in society, he clearly has an understanding of the complexities of masculinity and the effect it can have on others when asserted inaptly, and in the resulting debate of “toxic masculinity” versus “fragile masculinity,” he is able to put language to the most difficult question: How did we get here? How did we get to the point where we feel like men do not need the “softer skills” like vulnerability or empathy? “I don't think that there is a singular thing. I think we're looking for a catchall but I'm not sure there is one. I think that there's lots of different context to consider. For instance, I think the one thing that we rarely talk about is the relationship between the triangulation of race, class, and gender. We talk about it in a certain way, we talk about the connection between race and

class. We talk about the relationship between race and gender, but primarily as it pertains to black women. Black women are this underrepresented yet over-achieving group in certain ways. We talk about it that way, but we rarely talk about the relationship between race and gender as it pertains specifically to black men, and then contextualizing that around black men in America historically.” Jason was quick to point out the generational issues at play with regard to masculinity. To be able to step back from one’s own family and fully appreciate their lived experiences is a rare trait. To be able to articulate the story and the impact of those lived experiences is what separates Jason from the rest. “When we talk about my grandfather, unfortunately [he] could not be vulnerable because vulnerability could very well mean the safety of his family. If he were afraid, if he expressed fear, his life was

in danger, and his wife and three daughters’ lives could very well be in danger, his land could be in danger. So, what am I to say about a man who unfortunately had to harden himself so that his family had a fair shot, and then he couldn't turn it off? He couldn't pull it back, that’s complicated.” It is when Jason speaks of his family and the legacy they have left, that his tone becomes song-like, reminiscent of the eighties and nineties rap he was so inspired by as a teen. His description of being “a writer that was born of the hip hop generation” is never more apparent than when he’s sharing stories of his family, as his words pick up a rhythm. “I think everything inspired me back then with rap music. I think the rebellious nature of it, first and foremost; that they were pushing back against the status quo. They were bucking a particular system and making a new sound, a

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new thing, with sounds that already existed. We’re talking about people who were using existing records to create a new music – sacrificing the physical integrity of the record to create a new music. Breaking things down in order to rebuild a new thing is something I think about often. It’s a valuable thing to think about for my own work. The other thing is the dexterity of language. These are people who understood how to bend language, how to make it work in a very different way. They didn't look at language as the thing that controls them or as being rigid. They saw it as a fluid thing that could be bent the way they wanted it to be. They were storytellers.” When Paul Simon said, “I have my books and my poetry to protect me,” he meant for listeners to relate to the sense of protection from loneliness and isolation that books and poetry provided. What’s different between Simon and Garfunkel’s understanding of books and poetry and Jason Reynold’s understanding, is that Jason’s writing provides not only protection but a bridge. “I’m just a dude who's obsessed with using story as a way to illuminate those of us who don't get as much light, and hopefully build bridges for those of us who feel like we're farther apart than we actually are.” As Jason and I wrapped up our time together, I told him a short story of my own: that every time I saw a blue jay, it was a symbol from the Universe that I’m loved. We had just been discussing his simple yet profound practice of telling his male friends that he loves them. “I like to look them in the face and just say ‘I love you,’ and then I watch them get uncomfortable … I like to watch them get uncomfortable and show them it’s okay for me to tell you that I love you without adding any qualifiers. There shouldn't be any discomfort around me expressing my love for my brother. It's an amazing thing and it's liberating once you get over it. It's a liberating thing to be like ‘Nothing's gonna happen to you, this is not a dangerous thing, this is not dangerous.’” Honest and without pretense was how Jason described rap music. It’s also how I’ll choose to describe his storytelling. Jason’s work bears witness to our lives in a way that is as unpretentious as it is relatable.

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This jack-of-all-writing-styles shows he can be a master of them all. For the man who set out to “not write boring books,” he has certainly hit the mark time and again. Being more concerned with the literacy of children than whether they’re “well read” has opened Reynolds up to exploring the full depth of his creative expression. “I've got a new podcast that comes out this summer with me and my mom, which is cool, called My Mother Made Me on Radiotopia. That's happening in a couple of weeks. I've got the second Stuntboy book coming out at the end of the year, another Miles Morales: Spider-Man book comes out next year. There's an adult novel coming out next year. There's a picture book coming out later this year. I’ve got a TV show coming out –” “How do you keep it all straight?!” I asked. Jason touched on the importance of taking refuge in a place where he could focus on the work that needed to be done and be in nature. Amid all that important work and travel, Jason stays focused on what’s important, “I'm providing young people with opportunities to feel fortified and whole as they continue to grow into their adult selves … Perhaps they grow up a bit more empathetic. They'll grow up with a firm grasp of language and creativity and imagination. The kids who are coming from a particular community, especially black and brown kids, would be able to say that they were raised on stories they could see themselves in and therefore, they knew they existed in the world and had a place in the world and that their narratives were not just fodder, but were actually valuable, worldchanging things.” Though the awards and accolades will continue, Jason mentioned that his hope was that one day kids will say, “Jason Reynolds came to my school and when we saw him, we realized that he was one of us. He was just like us. He talked to us like human beings, not like half-formed things.” One of us.

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Guacho Fashion

A visual journal from photographer, Georgina Preston during her time in the beautiful, rugged landscape ofArgentina. Just as beautiful as the landscape was the fashion of the guachos (Argentinian horsemen), magically captured within their element.

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How Jose Angulo Revolutionized the Soccer Landscape WRITTE N BY: AI DA M. TO RO | PHOTO GRAPHY BY: S HANYN FISK E

Jose Angulo is sitting in his condo looking out windows that provide him expansive views of Manhattan. He is sipping a cup of coffee and ruminating on his next move. Angulo was a prominent professional soccer player who had an extensive career in Major League Soccer (MLS). The Paterson, New Jersey-raised athlete, who was originally born in Barranquilla, Colombia, was inspired to pursue the game by his father, who was himself a wellknown professional player in Colombia. “Soccer is in my blood … as a kid being around the sport, being Colombian, witnessing my dad play on a professional level and how serious the game is taken in Colombia, just piqued my interest in trying to reach the highest caliber as a professional player,” said Angulo. Angulo and his family first arrived in the United States in 1990 due to his father taking an opportunity to play professionally for a team. Only two years old upon his arrival in the United States, he and his family began their journey in Florida, followed by California, and then Union City, New Jersey. “I would literally train with my dad at the park in Union City, since there really wasn’t much going on at the time,” he said. “The first time I ever played with a team was when we moved to Paterson, New Jersey.” Paterson is known to be an inner city in Northern New Jersey. With this in mind, Angulo’s father and a group of parents took the initiative to launch the Colombian Soccer (COLSO) Club, which

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became a local team that provided opportunities and a space for under-served children who had the talent, passion, and grit for the game. “It gave the local kids the opportunity to train and play at a decent level,” said Angulo. “The buzz on the COLSO Club spread across neighboring towns, which had teams that wanted myself and some of our players to integrate into their teams due to our athletic abilities.” Although he was a natural, Angulo continued to progress while playing for a variety of other local youth soccer clubs in North Jersey, where he held roles as a team captain and more. Angulo’s talent allowed him to fit anywhere on a team’s spectrum, which also opened other doors for him throughout his youth. He received a major opportunity from the US Youth Soccer National League at the age of 13. As a member of this team, Angulo trained at an accelerated level, traveled throughout the whole country for games, and more. “Word went around about me playing for the US Youth Soccer National League, which is how St. Benedict’s Prep in Newark, New Jersey found out about me and offered me a full ride high school athletic scholarship. Especially since they also saw I was based out of North Jersey,” he said. Angulo took the full ride scholarship and entered St. Benedict's Preparatory High School in 2002. It was known to be one of the top-tier high school soccer programs in the country at the time. He began playing varsity in his freshman year, made an impact on his

teammates, and was a key asset to the team. Throughout his high school career, Angulo was an All-American, and he was named the best player in the country during his junior and senior years. With all of these accomplishments, he had college opportunities in the palm of his hand, as schools that had Division I soccer programs offered him full ride scholarships. “I decided to pass on these opportunities because in my mind I just wanted to be a professional,” he said. “Therefore, I left to play in Europe at Società Sportiva Lazio, and also lived in a couple of countries on the continent such as Portugal, Italy, Germany, England, and more, where I learned so much about the game and life itself.” After spending a few years post high school in Europe, he received an offer to come back to the United States to sign with an MLS team, New England Revolution, which happened to be Angulo’s first professional soccer contract in the States. Afterwards, he played for the popular New York Red Bulls team, among others. “I was also recognized as a Most Valuable Player (MVP) here in the States throughout my professional career,” he said. Although he’s had a successful career as a soccer athlete, Angulo also faced certain hurdles that he overcame, such as the pressures that came with being the star of the team. He stated that no matter what was happening in his life, he always felt he had to place his feelings aside and strive to always be the best. “One of the biggest things you learn is that you can’t allow the highs get too high and the lows get too low,” expressed Angulo. “As long as you work hard in your craft, great things will happen.” During his prime as a professional soccer player at the age of 26, Angulo faced one of the biggest personal hardships in his life when he lost his father, who was his first mentor and who inspired him to pursue a career in the game. His father’s passing occurred in the middle of a season when he was playing for the United Soccer League’s (USL) Pittsburgh Riverhounds SC. “My dad’s passing affected me, but I knew I had to keep going,” he said. “It took a bit to recover from this moment and you can’t control certain things … I know my dad would have wanted me to move forward and that is exactly what I did.” Fast forward to 2020. Angulo took a year off from playing due to the global pandemic. Even though he took some time off, he maintained his fitness and training regimes. In 2021, he decided he wanted to continue his profession and played for a short period of time as a forward for a startup team based out of New York City. He enjoyed his time playing for the team, but felt deep down in his heart

that it was time for him to take a step back and make an impact with his experience as a professional soccer player in a different setting. “At some point, I felt that I wanted to pass on experiences that I’ve had throughout my professional soccer career, as well as other knowledge that the next generation hasn’t acquired,” he said. “As a player who immigrated from another country and was raised in an inner city, I’ve experienced a lot … even at a professional level, which is one of the key reasons why I want to share my knowledge and experiences with today’s youth.” Nowadays, Angulo is coaching at Capelli Sport, a sportswear company and sports complex based out of Northern New Jersey. They offer a state-of-the-art soccer facility, which has expanded to three world-class, multi-sport facilities throughout the Tri-State Area, providing multi-level classes, leagues, tournaments, camps, and more. “Currently, I am coaching players that are ages 17 to 19, that are either seeking the professional route or planning to attend a Division I college,” said Angulo. “Transitioning to the other side of the game and passing down this knowledge to this specific age group is so satisfying for me.” While he’s passing down knowledge and coaching, as well as learning more about the managerial side of the game, Angulo has other projects up his sleeve that are relevant to his soccer career. Having always been passionate about music, the arts, and writing, he is in the process of creating a book based on his professional soccer career, which will also serve as a guide for those seeking a professional pathway towards the game. “When I was playing professionally, I didn’t have time to cultivate ideas like this,” said Angulo. “Now that I am focused on coaching and life outside the game, I can compartmentalize creative projects I’ve always wanted to do.” To add on, he launched Finishing Touch Training, where he’ll be providing individual specialized training and 1 on 1’s while incorporating soccer specific workouts to the regiments. “I am also looking forward to assisting individuals of all ages meet their fitness goals,” he said. “Soccer training can get anyone into shape.” Indeed, Angulo paved a way for immigrant soccer players in the Northern, New Jersey area and continues to do so with coaching and more. To keep up with Angulo and his upcoming projects, follow him on Instagram over at @j_angulo and @finishingtouch_training.

“At some point, I felt that I wanted to pass on experiences that I've had throughout my professional soccer career, as well as other knowledge that the next generation hasn't aquired. As a player who immigrated from another country and was raised in an inner city, I've experienced a lot...even at a professional level, which is one of the key reasons why I want to share my knowledge and experiences with today's y0uth.”

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FILIPPO CONTRI WRI TTEN BY: K AC E Y P E RE Z

PHOTO G RAPHY BY: FABRIZIO CESTARI

| STYLIN G: GIANLU CA COCOCCA

HA I R A N D M A K E U P: E MANUE LA D I G I AMMARCO

MEET FILIPPO CONTRI - Currently casted as a protagonist in "Vita da Carlo", a new release on Amazon Prime Video, Born on October 24, 1992 in Rome, he began his career in the entertainment world after ending his collaboration with a well-known financial consultancy firm. His passion for cinema and theater has always led him to train, even as a teenager, in the most renowned classes in the capital. In 2019, the short film co-produced by Rai, “Happy Birthday”, casted him as the leading male protagonist and was presented at the 76th Venice exhibition. That same year, he starred in the “World-Wide BMW” advertising campaign, directed by Jan Wentz. The film debut came immediately after the release of the feature film, "La Svolta" directed by Riccardo Antonaroli. In 2020, he made his first television appearance in "Nero a Metà", directed by Claudio Amendola, and is currently completing his role in another television series, "Empire", directed by Nico Marzano, which will be released next season on SkyItalia. He also made his debut with “Discarica” at the Off OfF Theater, a play by Silvano Spada, and gave us a few more details of what's to come during our quick chat with the busy actor. Tell us more about yourself. Give us the details on your personal and professional background. I was born and raised in a good family in one of the most beautiful residential zone in rome where I still live and probably will, besides my belonging thanks to the school and the football frist and the college and travel around the world then I had the chance to form my self, and grow. I started my professional career whith a permanent contract in a big consultant company, after that suddenly change before my childhood left me bringing me where I’m

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now. What projects are you currently working on right now? What do most interesting about your character roles in your recent projects? Actually I’m playing in a tv series, which is really young and delightful called ‘’Luce dei tuoi Occhi 2’’ who talks about the troubles of an important dance academy in Vicenza. My character is a new entrance and is the only man of the academy as a phisycal trainer of the dancers. For sure in ‘’Vita da Carlo’’ the role of Giovanni I got was really funny: being an existing person, in this case, means to imagine how does the son of the real and unique Carlo Verdone, a very busy father, live his life. Besides acting of course, what other things are you interested in? For example any hobbies, sports, or special interests? In ‘’impero’’ I really enjoyed play the role of a football player because I dreamt about being a professional football player since I was a kid, and so after all the field time I’ve played, I got the chance to live that life, thanks to the acting job. I think that’s the meaning of acting. How do you prepare for a role? What kind of methods or things do you do to get into character? The frist thing to me is ‘’eating’’ the script, to let the character speak of him with my background and automatically I start empataizing with him no matter how far from me it could be in apparence, I gave him all the faces of the people I met in my life and cut in the most similar to me of them. Then I start playing with my attributes from the code to music taste. In the end in make my proposal to the director and most of time we start again the process togheter. What do you find most enjoyable about being on film, acting, and just in the entertainment industry overall? When I woke in the morning on

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my way to a set I alwys feel like I didn’t woke up at all, like ‘’Am I still dreaming?’’. The energy that you can smell of the environment on the set, all the people who works aroud it, is just magical. Every one is there for the other is there for everyone is there for the film and Is doing his best for it , magic. Even if some days you can wait and wait for hours even the waiting are Magical like in a fairytail. How do you take time for yourself? I spend my free time enjoying the company of my friend old and new ones but also enjoy my lonlieness boxing reading and watching movies. I swear I used to travel before the pandemic. Still waiting for the next contract to bring my mates on the other side of the world. I used to box every day. Now, I can I go running near my house. I usually eat an healthy Mediterranean diet, but when I slip and don't eat healthy, and some days that happens, I try not worry about it. I may feel guilty the day after, so I'll do a double training session and

everything is fine. Do you have any favorite men's designers or brands that you wear or would like to work with one day or collaborate with? I’ve always wanted to wear casual clothes and the only brand I really get confutable with for every situation is James Pearce, but when the elegance call I’d go for Armani like I did at Festival of Cinema in Rome for the presentation of “Vita da Carlo” Anything else you would like for us or our readers to know? I think the most important thing to live an happy life is to be honest and get the chance to talk with yours self maybe during sport. That’s why I go running. My father always said ‘’ If you’re not hurting no one go for it’’.

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Jacket EMPORIO ARMANI Watch PIAGET

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last look

THE MEN'S EDIT

1. MINI MOKE PRINT MEN’S SWIM TRUNK BY VILEBREQUIN 2 . M O N T E D E R O S I N G L E B R E A S T E D J A C K E T B Y S LO W E A R 3 . F O L S O M H O O D I E B Y J O H N E L L I OT 4 . S K E L TO P B A N D A N A - P R I N T L E AT H E R H I G H TO P S B Y A M I R I 5. WILSON 49 SUNGLASSES BY GARRET T LEIGHT 6. ECRU BECK JEAN BY RAG & BONE 7 . G U C C I I N T E R LO C K I N G G S TA R P R I N T S I L K B O W L I N G S H I R T

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6. 4.

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On the

HOUSE

A men's month favorite by DIOR

the BANDANA MOTIF CLOSET STAPLE FOR THE WIN. There's nothing better than casual elegance to line the shelves of your closet. Pieces that can be dressed up and down with ease are a must. Start with this short-sleeved silk twill shirt boasting the classic bandana motif pulled from the Gucci collection's Paris-Texas inspiration. SHOP THIS LOOK WITH EASE BY SCANNING THE CODE WITH YOUR SMARTPHONE. ->

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final notes FROM THE HOUSE

I M A G E S ( L E F T TO R I G H T ) F R O M : H I S TO R Y C H A N N E L , G U I L L AU M E D E P R E Z , G E O R G I A O ' K E E F F E , D I S C O G S A N D N E W YO R K T I M E S M E N S

WRITTEN BY: JENNIFER STRIEGEL

IT'S RAINING MEN. MALE. THE SCIENTIFIC DEFINITION REFERS to the gamete (or sex cell), the sperm. Its symbol is . Historically, Michelangelo’s statues of David and Hercules from the 1400s signal the male archetype. Their visible physical strength symbolizes an endurance that leads to their attraction. As history evolved, so did this archetype and the attraction that came with it. For example, in the 1500s, with the Spanish settlement of the Americas, came the introduction of ranching. By the 1700s the vaquero – “one who manages cattle from horseback” - evolved to the single word, in English, “cowboy.” The 1983 disco song by the Weather Girls, "It's Raining Men", refers to males (or men) as a multitude of options being provided to females (or women).

Sometimes, all gametes, male and female, want to be led by men. They are a representation of the origin story of our human species and its procreation. Yet other times, as men, or in the company of men, we prefer not to be led - but rather exist alongside one another, in unison. Today, we no longer overtly speak of the male, or men, in terms of scientific definitions. When we do, it has a qualified explanation, based on the voice from whom the reference is made, and on the context in which it is being made. This inaugural men’s issue calls forth an era that we invite to be permanent for men – one not focused on what the definition of male is, but rather on who a man defines himself to be, from he to all of thee.

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