The Selby House, Daelim Museum Catalog

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Todd Selby

읪줆

ěƒŽěžŠě§†쿎덎

ěƒŽěžŠě§†쿎덎픎 2017ëź’ 4í’˘ 27í•Šě­Žíťž 10í’˘ 29핊밚힎 í—’ 쟆몒

í˝ŽěŠŞ 쟎찒플 í•&#x;íŽ“íŽžě ˘ 삲í?&#x;îŒŞ ě­’í?Ší”Ś 욺앚슲덊 믆슲플 ëŤƒë§’, 캄플

î†şí˝ŽëŻ†ě•Śî…Ší•‚í•ž í•Šě–şí ˛î‚†ě—–í•‚íťž í˝ŽěŠŞ 쟎찒(Todd Selby)플

í•‚ě ˘ ěšşíž’ ě§? í•Šě–şí ˛î‚†ě—–í•‚쟌덊 맧픎 í°Şěż§îŒŞ ěž˛íŞ‚íŽž í•&#x;많 퓎플

í¸şě?şíŽží•‚흞슲플 맪읿 ëťŚí°Śě ˘ ě•Ší•‚î‹’ í ˛íşŽí•Ší”’ 믞ě˜ŤîŒŚě ˘

짡í‚Ťěśž íŒ’ě‚–ě•Š í•&#x;많플 몋펞읪 í‚Şí•&#x;쇪 ěžœí”Ž í•‚í?Š믞슲핂 ěƒ‚늜 í•–í”Šě ž,

í—’í‚Ş <The Selby House: #í?ž먞í’‚_뚌플_íž&#x;>í”’ 맪폪îŒˇě‚–ě‚˛.

íťží°Śě?Š í•“î?Ž í“Žě †í?Ž í?ž먞í’Ží•‚ ëťŚí°Śě ˘ í•&#x;î‰–ěŠ˛ě˜Ş íş’캍îŒˇě‚–ě‚˛. í•‚í?Ž

핆줊덊 ëŤƒë§’íŽž ěƒŽîŒŞ íŒŽí—ŁëŤŠ î?†믞í‚şí•‚ 많슍 ěƒ‚ë°‚ ěšşíž’ ě§? 맞ë§?í—?핆

맧í•‚ í•&#x;ë§Žě ˘ í•Šěş? ě˝› 삲í?&#x;îŒŞ 잚뚜덊 덎몒ě?Š í??ë§ží”Šě˜Ş ěşŠíŒ’ 핞킎잚플

í•Šě–şí ˛î‚†ě—–í•‚쟌í”’ 힃î?‚ ěƒŽí›&#x;덊 ě˝šížƒîŒŚě ˘ í˝ŽěŠŞ ěźŽě°’ě ˘, îƒśěźŚ, 싢핞핆,

í‚Şë§? 펆펂ě?Š 븘핒펔핂 짪헒킪횲몎, ěƒŽí›&#x;덊플 썂삲 í°ŞëŻŠîŒŚëŞŽ í—?믇í—?핆

í??î?˘, ëŠ‚í­Ł, 푢ě?ş 슿 ě­’í?Šě?Š ěž—ě˜ŽîŒŚëŞŽ 엚슪 쟆흞않쥂 ëłť îŒśë˛Ś

ě˝šížƒí”’ í‚Şě†’îŒˇě‚–ě‚˛. í—’í‚Ş <The Selby House: #í?ž먞í’‚_뚌플_íž&#x;>픎

í•&#x;íŽ“îŒŚëŻžě?Š í?‚ěžŤîŒŚě ˘ íŒ’î‚ží ˛î‚†ě˜Ş 훊쥡짊몎 í•–í‚ƒě‚–ě‚˛.  í•&#x;펞

í•&#x;많플 í“ŽíŽžîŒŞ 욺몎짡킍덊 í•ží“Žě­’짡îŒŞ ě•Ší•‚î‹’ í ˛íşŽí•Ší•‚ ë§ŽěŠŤîŒŞ 쟎찒플

ěƒ‚ë°‚ 쟎찒 퓎플 í“ŽíľšîŒśëŤŠ í•ží“Žě­’짡îŒśí”Ž ě‚śí˜žě˜Şí’‚ í•Šěş?펞 í?–쿎í—?

íž&#x;í”Šě˜Ş 덎맍슲픒 íŤ–ěƒŽîŒŚíŽş, 슢îŒŞ í•Šěş?펞 í??맞핂 쇌펂훒 쿌 í•–ě ˘

í??맞픒 í—ŞëŤƒîŒŚëŞŽ 믛헣í—?핆 펞띖힎ě?Š ě­–ě–şí•Ší”ŠíłŞ í?˘í‚ƒě‚–삲.

콚í›&#x;îŒŞ 쿪맒슲픒 읎욺 늑핓삖삲.

짆쿎덎 í•“돺펞읪ě­Žíťž í—’í‚Şí•ł í—’íŞ‚, 믆ě?şëŞŽ 헣풞밚힎 í˝ŽěŠŞ

쟎찒플 î?—ěŤƒîŒŞ ěş?ěş?덊 í?ž먞í’Ží•‚ ë§ŽěŠŤîŒŞ â€˜ěźŽě°’í”Ś íž&#x;â€™í”Šě˜Ş 쪎î?˘îŒŚě ˘

핂슖 í—’í‚ŞíŽžěťŞě ˘, 믆플 ěƒŽîˆŞ ěšşíž’ í‚Şě?şí?–ěśž íŒ’ě‚–ě•Š ě‚˛í¨’ě˜Şí’‚ í˛şě–şí?Ž í•ží“Žě˜Şí’‚ îˆŞî?’í•‚ ě†™ěŤ‚í•‚ě ˘ í•Šě–şí ˛î‚†ě—–í•‚쟌, í??ěş?, 믆ě?şëŞŽ ěş–ě˜ťëŠš

읎ěŤ‚í•‚ě ˘ ěƒŽî?Ł ěť˛í°Ś í•&#x;펓밚힎 í•&#x;많플 ěş?ěş?엳덊 í“Žě †ë§žë§?í•‚ ëŞŽí ˛ě•Žî•– ěŠŞě–şëšŚě ˘ í•&#x;슲픒 퍍ěžŤě•ŠîŒˇě‚–ě‚˛. 썆 í—’í‚Şě ˘ í˝ŽěŠŞ 쟎찒많 핞킎플

쯢ě˜ŞëŻ† â€˜ě„˘ěźŽě°’ěƒ…íł‚(theselby.com)’펞 ëŤƒ맪îŒŚě ž í¸ž 훊쥡í”’ 짊믞 í‚Şí•&#x;îŒŞ 퓎쥓핆슲플 ěšşí—?핆 ëŤƒë§’í”’ 퍺í??îŒŞ 퍖믞 í•&#x;쭎흞, îƒśěźŚëŤŠ

푢ě?şí”Ś í??펝펞읪 î?Şí?‹îŒŚě ˘ 핆줊슲플 펝솧í—?핆 í•&#x;펓킲덊 í¨‹í”Śí—?핆 훊짡í”’ ěƒ‚í”Ž 230펺 헞플 ěƒŽîˆŞ 욺힒슲픒 îŒŞ í•žě?şíŽž읪 콚맪îŒˇě‚–ě‚˛.  íž?í—&#x; 횲í’‚ íŒ§ëŞŽě•Š í˝ŽëšŠí”Ś íź†ě˜Ş 플ěş?í”’ ěžšěŠŞě ˘ 삖 싢핞핂띖

íŒ˘ě°’íą‚ í´Śě˜Şí•‚(Ambika Conroy)ě?Š î†şîŒśîŒŚíŽş, 짪잍(Balmain)플

폪펞콚 싢핞핂띖 í?şě?şě°’펞 ěšśí ˛íźší•—(Olivier Rousteing), í•‚íş–ě?şíŒ’ îƒśěźŚëŞ’í”Ś ěƒŽ쥜í•‚í•ž 10 ëłşě?‚콚볺쥜 읲ěž‹í•ž íą‚ě?Šě•Š ě˝ší§śě‚–(Carla

Sozzani)플 í•&#x;펓 ëŤƒë§’ëŤŠ, ě Łí‚Şí´˘í”Ś 반픎 헣믎펞 í•žě?şí•Żí”Ž ě—–í ˛í˝Žě•&#x;

îŒŚî‚†í‘žěŠŞ(Hartwood)뚌 쯚욜횂ě?ž(Brooklyn)플 ěšśî‹’íş&#x;í”’ ë˝›í•łí”Šě˜Ş

짢ëś†ě ˘ 솒킪 뽛쭎 íŒŽě‚– 뽆짣(Annie Novak)플 í•Šěş?í”’ ěƒ‚í”Ž 욺힒슲픎 ë§?믞 삲ě?† ě­’í?ŠíŽž읪 í›ŠíŞ‚í—?í”Šě˜Ş ěş‚íŒ’ë§Žě ˘ 욺앚슲플 쥜킃픒 íŒŽí—Ł 펂ě?ž

í‚Şë§?í”Šě˜Ş 썂펺훛삖삲. 섢쭖펂 솧줊, 픚킍, 핞펞 슿플 í•Šěş?í—?핆 콚핺펞 í•&#x;많잚플 몎í“ŽîŒŞ 캗밢덊 쿪쿌îŒŞ 펞띖힎ě?Š ě„ľí•“î•š í•Šě–şí ˛î‚†í?Ž ěŠŞě˜Şí•—

í•&#x;슲픒 힃î?‚, 썂삲 í ‹몎 í°Şě§ŽîŒŚëŠš ěƒŽí›&#x;덊 ě˝šížƒîŒŚě ˘ 짡í‚Ťí”’ 븘핒펔핂 짪ë­‚îŒŚëŞŽ í¨‹í˜žî?‚ëş‚ě ˘ í˝ŽěŠŞ 쟎찒플 찒훊펊 í˛˛ěĽ˛ě‚–íłŽí•‚íťž(Visual

Communicator)ě˜ŞěťŞí”Ś 쥜í‚ƒě†’ îŒśë˛Ś í˜žěžŤîŒˇě‚–ě‚˛. ěśžěžš íŒ’ě‚–ě•Š í•Šěş?

í•žíŞ‚ë§Ž í¨‹í”Śí—? 늞ëŤŠě¤Šě˜Ş í•‚íŽ‚ížŽě ˘ 많핳 â€˜ěźŽě°’ě‚˛í’‚â€™ ě•Ší•‚î‹’ í ˛íşŽí•Ší”’

슲펺삲썊 쿌 í•–ě ˘ í˝ŽěŠŞ 쟎찒플 먞킲덊 í°śí‚˛, í•&#x;펓킲픒 í•şëŹşěťżîŒŞ 쟎찒플 짡덊, í•&#x;많플 펂잂 í—? 뜖덊 믞펃핂 îŒŚëšŚě˜Ş í”&#x;íž&#x;쇌펂 î?Śěş?í—?핆 íŽžëť–ížŽě˜Ş î†ťě§ŞîŒŚě ˘ 쟎찒플 헣믎픒 íž?í—&#x; íŞ‚îŽŚîŒŽ 쿌 í•–ě ˘ ëŤƒë§’í•‚ 잖엜쇡삖삲.

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FOREWORD

DAELIM MUSEUM

Daelim Museum presents <The Selby House>, the exhibition of the photographer and illustrator Todd Selby from April 27 to October 29, 2017. Through photographs, full of warmth and curiosity and colorful illustrations, Todd Selby’s work intimately portrays creators around the world and the spaces in which they live and work. Selby is renowned for his passion for working with colorful characters in diverse fields ranging from fashion to design, film, architecture and food. His uniquely upbeat, uninhibited works evoke positive energy and provide artistic inspiration amid the monotony of everyday life. In this exhibition, the whole of Daelim Museum, from the entrance to the exhibition spaces to the garden, is transformed into the ‘Selby House.’ Enriched with the artist's sense of humor and irrepressible imagination, <The Selby House> presents a comprehensive collection of works from his most notable photography series to colorful illustrations, films, and large site-specific installations. Over 230 of Selby's photographs include the early images of celebrities’ homes that started a sensation on his blog, theselby.com, and the pictures of studios and kitchens of creative individuals in the fields of fashion and culinary art. Through his intimate perspective, the photos tell compelling stories of the people leading unique lifestyles, capturing scenes from their daily lives and work spaces. The images include Ambika Conroy, a designer who makes clothing from home-raised angora rabbits, Olivier Rousteing, Balmain's youngest designer, Carla Sozzani, mother of Italian fashion and the founder of 10 Corso Como, Hartwood, the restaurant located in the center of the Mexican jungle, and Annie Novak, an urban farmer who runs a rooftop farm in Brooklyn. The exhibition also introduces Selby as a visual communicator, who constantly searches for ways to connect with the public through his drawings of everyday subjects such as animals, food and nature, infused with his lively personality and energy. Meanwhile, the re-creation of the artist's own living room, bedroom and studio provides a glimpse of Selby’s lifestyle, where his creative outputs are born. Upstairs in the Jungle Room, the artist's childhood dreams and memories come together in an explosion of captivating energy.

The works of Todd Selby incorporate the spaces and lifestyles of individuals working in myriad fields, while also sharing bundles of stories derived from the artist's own experience. With the touch of his unique artistic style, familiar mediums, such as photography and illustration, brim with fun and joy. Inspired by the encounters and relationships formed in everyday life, the artist constantly develops his own visual language in an attempt to actively engage and intimately communicate with the general public. A place full of whimsical thoughts and freewheeling lifestyle <The Selby House> welcomes visitors and transforms ordinary moments into extraordinary.

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펞쟆핂

ěşžě?şď˜“킿펂

쥕 ëź’ í—’, í˝ŽěŠŞ ěźŽě°’ě ˘ 헪늚 ěş–ě˜Şí’‚ í¨“íŽž ëŤŽîŒŞ íŒ’í•‚ě‹˘íŽ‚ě?Š

í?–쿎ë§Žě ˘ î?†믞í‚şí•‚ ěžœíŒ’í?Š îŒŚëŞŽ îŒ§ëŹşí—?핂펂í?Š îŒŚě ˘ë§Žě•Šě ˘ 힖줆펞

<Edible Selby>, <Fashionable Selby>펞 핂펂

Yorker)>펞읪 í˝ŽěŠŞ 쟎찒ě?Š â€˜ě•Ší•‚î‹’ í ˛íşŽí•Š 쯢ě˜Şë¨žâ€™ě˜Ş í°ťîŒŞ 늑픎

ěžžî?‚í›ŠíŽ–í‚ƒě‚–ě‚˛. 믆 í¨“í”Ž <The Selby is in Your Place>,

í—Łî?Łî•– ěƒƒí”’ îŒŚëŻžě ˘ íŽ‚ě˜ƒížŽěžš, 폪믊 핯힎 <ě ‚í‘˘í˛˛(The New

<쟎찒푞슪(Selbywood)>ě•Šě ˘ í—ŞěĄˇí”Šě˜Ş, ěšşíž’, í•Šě–şí ˛î‚†ě—–í•‚쟌,

í? 픎 îˆŞî?’í•‚ íŒ’ě‚–ě•Š몎 캍ë§?îŒˇě‚–ě‚˛. ëŻ†ě ˘ 튌픚쭎흞 핆흞럅핂 í•ží‚Ží”’

삲í?&#x;îŒŞ í´ŚíźžíŻŽě?Š 팒푞ě?‚ě—˛ě ˘ 몒픒 많힎몎 í•–íŽ–í‚ƒě‚–ě‚˛.

덎헞덊 훊쪎픒 믞ě˜ŤîŒŚě ˘ 짡í‚Ť, 믆ě?şëŞŽ ě†§í‚ŞěƒŽ 욺앚슲핂 í?‚ëŤ&#x;îŒŚě ˘

쿌í¨’î?˘, 핆흞쎞, í¸‚í?–, í ˛î‚ží˛˛ 믆ě?şëŞŽ í??î?˘ íąžě?ťíťž 슿 돗핳

îˆŞî?’îŒŚě ˘ ě„ž í—?îŒˇîŒŞ ěž˛íŞ‚ě•Šě ˘ 늑픒 팚몎 í•–íŽ–í‚ƒě‚–ě‚˛. í“‡ěšşí•‚î‚†ě ˘ 믆플

í˝ŽěŠŞ ěźŽě°’ě ˘ ě?şí‘žěŠŞ(Hollywood), îƒší•†í‘žěŠŞ(Pinewood),

늑덊 믆슲플 쿌íž&#x;슲픒 쥜혞ě?ş í—Ží•łîŒŽ 쿌 í•–ě ˘ ëŤƒë§’í•‚íŽ–í‚ƒě‚–ě‚˛.

썊ě?şí‘žěŠŞ(Bollywood), 뽎ě?şí‘žěŠŞ(Nollywood)ě?Š î†şîŒśî?‚ í??î?˘ëŞ’

í˝ŽěŠŞ ěźŽě°’ě ˘ í¨“í”Šě˜Ş ë§ŽěŠŤîŒŞ í¨“í•łëŤŠ 뺗핳몎, 쪋뚪ě˜Ş,  쿌íž&#x;ëŤ&#x;슲핂

í—’짌펞 ěžœí”Ž 덎킺픒 많힎몎 핖펖몎, 펆헪뚌 믆엕슽 쿜픎 í˜žíŽžěŠ˛ - ě¤‚ěƒŽ

ëŹ‚ížŞí ˛ě—‹몎 펂쿌읎îŒŚëŠš 쥜íŒ’ěˆ˘ 줊늂슲펞 í¸ž 짆ě?Š ě žëł–í‚ƒě‚–ě‚˛. ëŻ†ě ˘

쉲 í ˛íşŞî‹’, 콚 í ˛íşŽí•Šě?şí ˛î‚†, 많짪 í—Şí•&#x;í•ž, 펺짞푞í?Ž í˜žěżŚ 슿 - 펞늚

ě‚şë¨Žíłƒ, ěş– 쥜핂힃, ëŻŠěšşîŒŞ 솒핞믞í?Ž 읪ěœŚě„˘ě§†ěŠ˛ě˜Ş 핞킎잚플 맪읿í”’

덎킺핂 ěžœíŒŚí‚ƒě‚–ě‚˛. 믆얺뚌 삜힎 믆슲플 쥜킃픒 믞ě˜ŤîŒŚě ˘ 늑펞잚

îˆŞí­ŞîŒŚě ˘ 욺앚슲, 믆ě?şëŞŽ ě˝›í?… ě°śě•Śě?Š 줂킺 ě„Śí˜† 띹픎 îŒŠí¸şě‚—

잲삺ě?şě ˘ 늑핂 íŒ’ě‚–ě•Š, 믆잚플 í‚Şë§?í”Šě˜Ş í•‚ 쟆몒ě?Š í§›몎, 믆엲뺂몎,

짢돺ě‚–í?Ž 띌íŞžëšŚě ˘ í¨‰í•˘ í˛şě——쟌í”Šě˜Ş í•ží‚Ží”’ îˆŞî?’îŒŞ 욺앚슲펞늚 잲엳픒

욺앚슲플 í•‚í?Š믞ě?Š 승몎, í˛şě–şě?Š 섾핓쥂읪 í˝ŽěŠŞ 쟎찒플 쟆ěş?í”’

ě žëšŽě‚˛ëŞŽ ěžžîŒˇě‚–ě‚˛. 핂슖 헒킪펞읪 읎ěŤ‚í•‚ě ˘ 믆플 í°śí‚˛ëŤŠ í•&#x;펓킲펞읪

îˆŞî?’îŒŚëŞŽ 탄펂î?–í‚ƒě‚–ě‚˛. ěƒ‡í‚Ží”Ž í•‚ě–ž íŽ‚ěž–íŽ‚ěž–îŒŞ ěş?ěş?플 쟆몒ě?Š

í•‚ě–şîŒŞ ě­ŽěœŚí”Ś 욺앚슲덊 ě°’í‚…îŒŞ í˝ŽěŠŞ 쟎찒플 ěťżî?łě†’ î?Łí•†îŒŽ 쿌

믆엲썊 쿌 í•–í”’ 늑 맧뚌푢?

í•–í‚ƒě‚–ě‚˛.

í˝ŽěŠŞ ěźŽě°’ě ˘ 팒íž? í•‚ í¨“í”’ í­ŞîƒžîŒŚížŽě ˘ íŒ˜íŒŚí‚ƒě‚–ě‚˛. ěƒŽí‚ŽíŽž ëŻ†ě ˘

í˝ŽěŠŞ 쟎찒플 ě°’í—’, í?— 쟎찒풢슪(Selbyworld)ě ˘ 늞돝 욺앚펞읪

îŒŞ íŒ’í•‚í”Ś íŒ’ěŠ’ížŽë§Ž 쇌펖몎, ě?şí‘žěŠŞ(Hollywood), 펒짎 ěžžîŒŚí•žěĄ‚

í­Şě§ŞîŒˇě‚–ě‚˛. 믆í?Ž 훊쪎 욺앚슲플 í•Šěş?펞 ěƒŽîŒŞ ëŻžě˜Ť, 킺힎펂 믆많

맢í‚ƒě‚–ě‚˛. ëŻ†ëŤ íŽž읪 ëŻ†ě ˘ í??î?˘ě?Š í—Şí•&#x;îŒŚëŞŽ ěƒŽěžŠě§†쿎덎픒 í“’îŒŞ 헒킪솒

î‹’ě˜Şí—Ťî‚†í”Ś í‚Şí•&#x;í—ží•Š 윞핓삖삲. í ˛íłŽí°ŚîŒŚëŞŽ, ěş—í”’ í°ŽîŒŚëŞŽ, 퍺í??îŒŚëŞŽ,

쯚엚푞슪(Brentwood)(펂í&#x;š먞뚌 푞슪(wood)많 쭧픎)ě˜Ş í•‚ěšşě?Š

ěş?펓í—?핆 í•Ší”’  ěŒšíŽž ěž–í›Ší°Śě ˘ 욺앚슲밚힎솒 믆플 짡ěƒŽîŒŞ í¨‹í•&#x;

맪폪îŒŚě ˘ 슿 핊홓플 â€˜ěźŽě°’í‘žěŠŞ(Selbywood)’ě?Š 킲î?’î?‚ ëş–í‚ƒě‚–ě‚˛.

íž–ě¤†îŒŚëŞŽ, 튞몎, ë˝‡í”šîŒŚě ˘ 짡í‚Ťí”Šě˜Ş ëŻ†ě ˘ 퍺í?? ěƒŽěş?슲펞 ěƒŽî?‚ 븘핒펔핂

헎펞늚 ěźŽě°’í‘žěŠŞě ˘ 뜆짆힎 팘픎 팒ě?’삲풎핂 í•–몎, íž?í—&#x; ěş‚íŒ’ěŤ‚몎 탄픒

íşž돺îŒŚě ž, ě †ěž?콛펞읪ěžš 믆ě?şě„Ś ěş–ě˜Şí’‚ î?ŁíşŞí?Ž í?˛ěŻší—Şě˜Ş í•şíş’캍

í—Łě†’ě˜Ş 잲푞 핆맒í—?핂쥂읪솒 ëŹ‚ížŞí ˛ě–şí’‚ ëŤ í•“ě‚–ě‚˛.

í‚Şíşƒě‚–ě‚˛. ěž–í°Ś ěƒŽěžŠě§†쿎덎플 헣풞펞읪 ěƒ‡í‚Ží”’ 짌늜í›’ 잲엳í—?핆

í˝ŽěŠŞ ěźŽě°’ě ˘ ě?şí‘žěŠŞíŽž읪 ëšśí˘‹í”Šě˜Ş 38ěž–í•Š ě?śíŽ‚íž’ 솒킪핆

ěĄşí ˛íťžíŠŚě—Š 잞핓삖삲. í˝ŽěŠŞ 쟎찒 í•&#x;플 핊쭎많 ě‡Şě‚˛ě ˘ 늑픎 잲푞

ěšžíşŽíŒ’뚌(Santa Ana)펞읪 í•žě•ží‚ƒě‚–ě‚˛. í•‚ ëŤ í”Ž í‚Şë§?í—?í”Šě˜ŞëšŚ

뽎앛몎솒 í??ëŤ&#x;í ˛ě–şí’‚ í•Ší•Š 늑핓삖삲. íŒ’ěž–ě†’ íŒ˛ě‹˘ í’šî?Ž(Andy

줆î?˘í—?í”Šě˜Ş 돗핳 몎ě?şíşŽě­’îŒŞ ížŽíŽťí”Šě˜Ş, ěž–í°Ś ëŤƒî†şí??î?˘íŽž읪 돂줊핂

Warhol)í•‚뚌 íłŽî•šě„ž í?Ží•Šě?ş(Kehinde Wiley)많 ëŻ†ě˜†ě„Ś 핆줊슲솒

í•‚ě ˘ 20쟆믞 ěžž íąŚě?şî†şě‚–팒(California) 훊플 í?˛ě—šížŽ íą‚í’‚î‚ž(Orange

ěšşíž’í•&#x;많, í•Šě–şí ˛î‚†ě—–í•‚흞뚌 쪒홓플 î•§í ˛íťžë§Ž íŒ’ě‚š, "íŒ’î‚ží ˛î‚†"ě˜ŞěťŞí”Ś

킃늡 늑잚 맧픎, î?‡í”Ž í”ší°śîŒŞ 푆몒솒킪 맧픎 ě žëšší”’ í›Šě ˘ ëŤ í•“ě‚–ě‚˛.

í•‚ě–ž 믞ě­’í”’ ě žëšŠížŽ íŒ˜íŒŚí”’ë°š 캍ë§?î?‚ 썓삖삲. ě‚śíŽ†í˛śěƒŽ 쯢ě˜Şë¨ž,

County) 힎펝펞읪 헣몒ě?Š í›Šě†’îŒŚě„Ś ě˜ŞëťžěŠŞ 엖핂늂(Ronald

í˝ŽěŠŞ 쟎찒펞늚 í§›î?˘ě‚˛ě ˘ 늑픎 쥓짿îŒŞ ěšşí‚˛í•‚ě ž, 핂늂 ěž–í°Ś ëś– 맧픎

Reagan)í”’ í?‡î?†îŒŚě ˘ ëŤƒî?˘ěƒ‡í’žěŠ˛ëŤŠ í?‚ěťżí—?핆 믞솓돞핆슲핂 잚슎

í•Ší•Š 늑핓삖삲. 믆엕삲쥂 덊펞 앚덊 ěž˛íŞ‚, îŒŠěšşíŞ‚ 믆ě?şëŞŽ í•&#x;펓플

몋핓삖삲. í˝ŽěŠŞ ěźŽě°’ě ˘ í•&#x;많뽆펞 핊í—?í”Šě˜Ş 뚌í?‚쇪 í›ŠíşŤě‚śížŽí?Ž

쥡í—?(쿪쿌îŒŞ í¨‹í˜ží?Ž ěş?펓í—? 쥡í—?)펞 펂ě?ŽîŒŞ í§śěŞ’ě†’ ěˆžížŽ íŒ˜ě ˘ 믆ě?Š

쿊îŒ&#x;쥞플 쥜킃, 믆ě?şëŞŽ 돗핳 ě§™ě§™îŒŚëŞŽ ě¤‚ě§†ëŠ‚í˜žî?–ě„Ś 몎ěŠżîŒ§ëŹž

â€˜ëŞ‹ëŞ’ě?Š îŽ–ě¤‚ě ˘ ěšşě•š(disruptor)’않몎 헣플î?‚슒엲솒 쇎밚푢? ěžší?‹

í‚Şí—–í•‚ í?˛î•–ě—˛ 믆펞늚 ě†“î‚‡îŒŞ ěťżî?łëŤŠ 펜î?łí”’ 힎삚 íŒ’í’‘ěšşí•‚ě„˘ěŠ˛ëŤŠ

íŒ’î‚ží ˛î‚†ě ˘ íŒ’î‚ží ˛î‚†í•“ě‚–ě‚˛. ë­ í•‚ ěş–ě˜Şí’‚ 쿌킍펂ě?Š í¨ŒíŒ’ëşŠ îŒ’í‘˘ě ˘

킪헖펞 ěƒŽîŒŞ ëŻžíŽƒí”’ í—?íŽ–í‚ƒě‚–ě‚˛. 믆플 잞펞 ě‹žě?‚쥂, í•‚ě–şîŒŞ í“Žëź’

믆앺삲쥂 ëŻ†ě ˘ íŒ’ěž– 2010ëź’ěƒŽíŽž읪 í??í’žî•– 맕î?Ž 힎뺊힎솒 쥜ě?“삖삲.

펂풆ě?şě ˘ 믞î‘šě?Š 훊펖삲몎 îŒˇě‚–ě‚˛. í—Žě ˘ í•‚ě–şîŒŞ 펂ě?ž 킪헖플 몋핂

펔삲몎 캍ë§?îŒˇě‚–ě‚˛.

믆잚플 ě†“î‚‡îŒŞ 맞ë§?í”’ 믞ě?‚ě ˘ě„ž 솒풎핂 쇌펖삲몎 캍ë§?îŒˇě‚–ě‚˛.

(í?–쿎ë§Žě ˘ ë­šíşŞě˜Şě­Žíťž íş’캍îŒŞě‚˛ě ˘ ěžž튌ě—Š)

ě¤Šě˜Ž ěƒ‡í‚ŞíŽžě ˘ íŒŹěťŞ ë§’ě–ƒî•– 읲ěĄ“îŒŞ 늑슲 푆펞솒 ěžœí”Ž 핊슲핂

ěšžíşŽíŒ’뚌í?Ž í?˛ě—šížŽ íą‚í’‚î‚ž ě­?쭎펞읪 ěŠšíŽ‚í˜ší‚ƒě‚–ě‚˛. ëšśíŒ’í‚ŞíŒ’(South

Asia)í?Ž í›&#x;짆(Central America)펞읪 늂띖í?ś 핂짊핞슲픎 îŒŞ ěŒš

뽛몋힎í?Žě„Ś í•‚ëŤ í”’ ëś–뜢í?˘ě„Ś îƒšě•Šě‚˛í•‚í ˛ě˜Ş 잚슲믞 í“’î?‚ 뽆엳î?–몎,

ěŠ’ě—˛í˜† í•–ě„Ś ěŒ“íŽž î?ŞëŻžě?Š ě­–íŽ‚ëťąíŽ–í‚ƒě‚–ě‚˛. í˝ŽěŠŞ 쟎찒플 í•&#x;많뽆펞읪

‘í•&#x;펓핂 섢 ěžœí”Ž í•&#x;íŽ“í”Šě˜Ş í•‚íŽ‚íž’ě‚˛â€™ě ˘ 믆플 í‚Žëźží”’ 짪늺 쿌 í•–ě ˘ě„ž,

ěşžě?şď˜“í‚żíŽ‚ď˜“/ď˜“ěŤ‚ëŻ†ěƒ…íł‚ď˜“í¸şě?şíŽží•‚î‚žěŻšď˜“ě‹˘ížŽíź†ď˜“ě‹˘ě——íťž

í—Žě ˘ 핂늑 펝킪 í?˛ě—šížŽ íą‚í’‚î‚ž 힎펝펞읪 í•žě•Ž í??î?łí•‚ě•Š몎 캍ë§?îŒˇě‚–ě‚˛.

í˝ŽěŠŞ 쟎찒플 í?˛ě•Ş í°ŞëŹşí•‚í•ž í˜žě—łí•ží•† ěşžě?ş 킿펂(Sally Singer)ě ˘ ěŤ‚ëŻ†ěƒ…íł‚(Vogue.com)플

ě­’í?ŠíŽž읪 븘핒펔핂 í¨‹í”Śí—?핆 í•&#x;펓펞 쥞ěˆžîŒŽ 쿌 í•–ě ˘ížŽě?Š íŒšě—˛ěĄ‚

í˝ŽěŠŞ 쟎찒플 íąŠě—Š <Edible Selby>플 íž&#x;í”’ ěƒ‚ěƒ‡îŒŚëŻžě†’ îŒŚí?Žě‚˛. ëŻ†ëźŽě ˘ 퓇욺핂

í¸şě?şíŽží•‚쯚 싢힎ퟆ 싢엗흞(Creative Digital Director)ě˜Ş ě ‚í‘ŁíŽž읪 î?Şě†§îŒŚëŞŽ 핖삲.

ě?žîŒŞ 믆많 펂쎉늚 îƒśěźŚ, 픚킍, 핆ퟚě?şíŽ‚, í?–쿎í”’ ě°’ě˜˝î?‚ 삲í?&#x;îŒŞ

ěşžě?şě ˘ <ě ‚í‘ŁíşŽí•’í ˛ T 잲먞힒(New York Times T Magazine)>펞 믞핺쇌펖섌

ěŤ‚ëŻ†ěƒ…íł‚í”’ îƒśěźŚ, 쎞î‚ž, 줆î?˘íŽž ěƒŽî?‚ í‚˛í‚Şë§’í”Šě˜Ş ě˝šížƒîŒŽ 쿌 í•–ě ˘ î‹šě•šî‡Ší”Šě˜Ş í•şíş’캍í‚Şíłží”Šě ž,

í•‚ě–şîŒŞ ěťżí•ł 덊헣펞 ěƒŽîŒŞ í•‚î?‚많 읎î?—쇌펂í?Š îŒˇě‚–ě‚˛. 믆펞늚 덊헣픎

‘핕 짿(It Bag) íąŽî…Śí•†â€™ëŤŠ 맧픎 î‘›믞í—?핆 íŒ’í•‚ě‹˘íŽ‚ěŠ˛ě˜Ş 썂믆잚플 ě†“í¨‹í—?핆 í´ŚíźžíŻŽě?Š 잚슲펂 뚌많몎 핖삲. ě?žîŒŞ í­˛í”’ í­˘ë¨žëšŚ 풂솧픒  ěŒš ěŠŞě–şëšŚě ˘ 좆플 í’Žíž?í•’í”’ í??ěş? ě§? 쥜쟌ëŻ†ě•ŚîŒ‹ í•&#x;펓픒 힃î?‚ 읎ěŤ‚í•‚ě ˘ 슿 îƒśěźŚ 푆펞솒 늂맣, ě•Ší•‚î‹’ í ˛íşŽí•Š, í—Łí°Ś 슿 삲í?&#x;îŒŞ 훊헪ě?Š 팒푞ě?‚ě ž ěŤ‚ëŻ†ěƒ…íł‚í”Ś í??펝픒 뜆훎 î?Łí•łí‚Şíš˛ëŞŽ 핖삲.

늞덊줊잚횊핂뚌 í›&#x;í‘˘îŒŚëŻž ěŒšě¤†í•“ě‚–ě‚˛.

4

ESSAY

Sally Singer

A few years ago, Todd Selby came to me with the idea for his next book. It would be entitled <Selbywood> and, much like his previous titles (<The Selby is in Your Place>, <Edible Selby>, and <Fashionable Selby>) it would exhaustively document in photographs, illustrations, watercolors, interviews, quizzes and stickers the characters and characters of motion picture communities. Todd was interested in Hollywood, Pinewood, Bollywood and Nollywood and, well, the entire forest of filmdom. His points of entry, as always, were the people who worked in these places, the wizards behind the curtains, whether be they prop stylists or wig makers, leading ladies or best boys. But I think it was clear to me that his fascination was not entirely anthropological. He wanted to capture --literally--these kingdoms, to shoot and sketch and listen and paint his way to a very personal understanding of the global dream machine. How do you imagine imagination on such a scale? Todd didn't do the book--or, at least, not yet. Instead he became a father, moved to Hollywood (okay, Brentwood, but a “wood� nonetheless), made his own movie, and created this museum show, which is--in my view--a version of Selbywood, or the deeply humane, wildly beautiful and deliciously strange neighborhood in which I would most like to lay my head. Todd Selby grew up 38 miles south of Hollywood in Santa Ana, which is a place of such intense visual and cultural dullness that it almost seems like the set of a suburban horror film just before the monster comes crashing through or the alien land. Or at least this is how it appeared in the waning decades of the 20th century, when evangelical Christians and Ronald Reagan-loving Republicans ruled this part of Orange County, California. Todd writes in his artist statement about his memories from childhood, the perverse sameness and blandness of the tract houses and strip malls, the bland terror of high school. It made the teenage Selby, as he tells it, look for outliers, anyone getting by who was just a little bit perpendicular, rebels by temperament or aesthetic. I think that sort of childhood hones one's antennae, one's receptors, in ways that are incalculable. (Artists incubate in boredom, no?) But, of course, there was more going on in those years in Santa Ana, or the northern O.C. (as it is known), than can be gleaned from such a swift, crude depiction. Immigrant communities from South Asia and Central America were busily transforming what had once been farmland into this placid pseudo paradise. There was so much activity underlying the overarching inactivity. Todd writes in his statement about his belief in work--that work creates work--and I can't help but think that this too is a product of the O.C. and essential to understanding his interest in the production of otherworldly creativity, be it in fashion or food or interiors or art. Process is as

important to him as product. Should artists be this curious, this journalistic? I don't know. I do know that to define Todd Selby as a ‘lifestyle blogger’, as did <The New Yorker> recently in passing, is to miss the point entirely. He certainly understood, early on, how to use the internet as his gallery. He created a home online for his point of view, his way of documenting the world, his peculiar indexing of his generation’s obsessions and possessions. I think Todd is genuinely intrigued by crowded bookshelves and refrigerators and mantels‌ especially those that have been artfully cluttered by folks with a kooky relationship to stuff generally. He is drawn to people who live in their own heads but externalize that relationship through eggcups, bird feeders, inexplicable ceramics and piles of paperwork. He is drawn to people who, like him (see his bedroom and studio, installed here!) externalize their storminess in tea cups and whose dirty underwear resides in a hamper that's not a hamper but is nonetheless really, really cool. But people are the point of entry into Todd's vision, or Selbyworld, as it were. The documentation of lives and of his life in photographs, or even the environs and personnel of the companies he works for commercially, is just the start of a massive project of creative invention. He draws, paints, films, asks, writes, tapes...he wrestles with his subjects so that, by the end, they actually live in his head, reborn and reformed as Selby figures, much like the charming monsters that greeted you from the bushes as you entered this museum. It's a privilege and a surprise to see oneself portrayed by Todd Selby. Maybe Andy Warhol's subjects felt this way? Or perhaps Kehinde Wiley's do? In any case, it is the fact of having been captured by an artist--not a blogger, nor a photographer, nor an illustrator, nor any hybrid hipster label that one might dream up. Could Todd Selby be termed a disruptor? Possibly--because he sees no hierarchical differences between platforms, mediums, subjects, and intentions (his creative and advertising work are as one) --but then he'd be stuck forever in 2010. I think an artist is an artist. Language need not evolve thus.

Sally Singer / Vogue.com Creative Digital Director Todd has been close friends and collaborators with Sally Singer for many years. Sally was Todd’s editor for his <Edible Selby> column at the <New York Times T Magazine>. Sally Singer is a Creative Digital Director of Vogue.com in New York. With a mission to transform Vogue.com, she started to build the platform where diverse information on fashion, beauty and culture are introduced and shared through real time communication with the users. She is in charge of all the online contents that comes and goes through of Vogue.com and continuously develops and presents groundbreaking projects such as ‘It Bag Campaign’. She also focuses on film and motion graphics that effectively delivers body movements in dance and fitness. Beside fashion, she also shares latest stories in health, lifestyle and politics, broadening Vogue.com’s spectrum.

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8-131 SELBY THE PHOTOGRAPHER

SELBY THE TRAVELER

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132-147 SELBY THE STORYTELLER

SELBY THE NEIGHBOR

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148-165 SELBY THE ILLUSTRATOR

SELBY THE DREAMER

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166-173

174-179

180-191

7

ëšŚě ˘ď˜“ěšşě•šëŤŠď˜“ëŤƒë§’ď˜™ď˜“ëŻ†ě?şëŞŽď˜“ě‚˛í?&#x;îŒŞď˜“ěş„í”Śď˜“쿪ë§’ěŠ˛í”’ď˜“

í¨‹í”Śí—?í•†ď˜“짡í‚Ťí”Šě˜Şď˜“믞ě˜ŤîŒˇě‚–ě‚˛ď˜›ď˜“뚌í”Śď˜“ěšşíž’ď˜“í•&#x;íŽ“í”Žď˜“

ëş‚ë§Žď˜“ëŞ‹îŽŚîŒŞď˜“ëŠ‘ěŠ˛ëŤŠď˜“ě †ě¤Šě—Žě„Śď˜“ëŤƒë§’ď˜™ď˜“ëŻ†ě?şëŞŽď˜“ěž–í›Ší°Şď˜“

ěšşě•šěŠ˛í”’ď˜“í›Ší—Şě˜Şď˜“îŒˇě‚–ě‚˛ď˜›ď˜“íŽ†í—ŞëšŚď˜“뚌íŽžëŠšď˜“ěšşíž’í”Žď˜“í?‚ěžŤëŤŠď˜“ í?‚í—Łí”Śď˜“ěƒŽěş?í•‚íŽ–í‚ƒě‚–ě‚˛ď˜›ď˜“ěšşíž’í•&#x;ë§Žě˜ŞěťŞď˜“í•&#x;íŽ“îŒŽď˜“ěŒšď˜“í™™í”Žď˜“ í—ží”Žď˜“î”łě§†ě˜ťëŞŽď˜“í•şě§†í•–ě ˘ď˜“ěş?î?ˇí”’ď˜“í?—ë§?í—?í”Šě˜Şď˜“ëŞ‹îŽŚî?‚ěŤŠď˜“ 쿌ď˜“í•–ě‚˛ě ˘ď˜“ëŠ‘í•†ě„žď˜™ď˜“í•‚튌ě—Šď˜“ěšşíž’í”Žď˜“뚌í”Śď˜“î?†믞í‚şí”’ď˜“

í­ˇí˜żí‚Şíš˛ëŞŽď˜™ď˜“ěź†ëŞ’ě?Šď˜“펺î?—îŒŚě žď˜“ě†“î‚‡îŒŞď˜“ěšşě•šěŠ˛í”’ď˜“ěžš뚎ď˜“ 쿌ď˜“í•–ě ˘ď˜“ě˝ší›&#x;îŒŞď˜“믞î‘šë§Žď˜“ě‡ŚíŽ‚ď˜“í››ě‚–ě‚˛ď˜›ď˜“ëş‚ď˜“ěšşíž’ěŠ˛í•‚ď˜“ 짍몎ď˜“ëŻ›í—Łí—?í•†ď˜“íŽžëť–ížŽě˜Şď˜“ë§ŽěŠŤîŒŞď˜“ëŠ‘í”Žď˜“ëş‚ë§Žď˜“ěžš뚪ď˜“

ěšşě•šěŠ˛ď˜™ď˜“ëŻ†ěŠ˛íŽžëŠš읪ď˜“íŽ‰í”Žď˜“ë°śě‚şí”šëŤŠď˜“í??맞펞읪ď˜“ě°’ě˜˝ě‡ŚëŻžď˜“ ěŒšě¤†í•“ě‚–ě‚˛ď˜›

The art world that I inhabit with my work is based on a creative documentation of real life - people, spaces and moments. My art highlights situations I’ve experienced, places I've been, and people I've seen. I've always had an admiration and passion for photography. Being a photographer is an instant excuse to jump into some really interesting situations. It offers opportunities to satisfy my curiosity, travel the world, and meet countless interesting people. Based on my encounters with various people and lessons and inspirations I get from them, my works stay positive and lively.

8

SELBY THE PHOTOGRAPHER

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í?˛ížŽď˜“ě•Ší•‚î‚†ď˜™ď˜“ěž–í•Šě?şď˜“îŒŠíŻŽí—Şě—‚ěŠŞď˜™ď˜“ě˜Şíš˛ď˜“ě?şěŠ’

Ozzie Wright, Mylee Fitzgerald, Rocky River î‹’ě˜Ş 읪핂핞 쒞펂뚪 íŒ’î‚ží ˛î‚† í?˛ížŽ 않핂(Ozzie Wright)플 íž&#x;팖 ëŤ ëŤ íŽžě ˘ 믆잚플 í•ží“Žě˜Şí’‚ 맞읿핂 줉펂핖삲. ëŻ†ě ˘ íŒ’ëş‚í•‚í•ž í??í’žîŒŞ 켲í?– ěž–í•Šě?ş(Mylee)í?Ž ěšşě•&#x;í ˛ě–şí’‚ íŒ’ěŠ˛ ě˜Şíš˛(Rocky)í?Ž îŒśë˛Ś 킪슪삖펞 욞삲. î?’덎 쪋쥂펞 í°Žî?‚íž’ í˛˛ě‚˛ě•Ž 줂힎맪í?Ž 읪îŒ&#x;

썂슪슲, îƒší ˛íź˘ ěş—í”Šě˜Ş 믆ě?ž ěŠ…ěž–ěƒ‡í”Ś í ˛íłŽí•‚î‚†ěŤ‚ěŠŞ í—žî‹’ěƒŽ, 쪋쥂 펺믞헎믞펞 쭧펂 í•–ě ˘ ěŠŞě˜Şí•—íŽž읪 믆플 펜î?łí”’ í??썊 쿌 핖삲. 믆플 맪돺í–?í•‚ íŒ’ěŠ˛ ě˜Şíš˛ 펝킪 믆잊 믆ě?şě ˘ 늑픒 í™™íŒ’îŒŚě ž, í‚˛í¸ş í•Ží?…덊 í‚żí‚żîŒŞ ěŤƒěżťíŒ’, í ˛íłŽí•‚î‚† 썂슪펞 í?‚ëŤ&#x;îŒŞě‚˛.

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“Ozzie is a pro surfer who lives in Sydney with his family. He is also a super-talented artist. His wife, Mylee, serves as his muse and the inspiration for many of his drawings. Everywhere you look in their home you see Ozzie’s artworks: a giant rainbow on the front door, painted surfboards, the pastel skate ramp in the backyard, and drawings on every wall. Their son, Rocky River, loves silk pajamas, fresh peaches and skateboarding.�

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띲í•‚í ˛íş˝ď˜“ěŻšě•Šě„˘í ˛

Neistat Brothers í??î?˘ í—Şí•&#x;í•ž 쨂덊 íłŽí•‚í‚Ş ëť˛í•‚í ˛íş˝ î?Łí—Ş(Van & Casey Neistat)플 í ˛î Şě‹˘í?˛ě ˘ 믆슲플 ëŹ‚ížŞí ˛ě–şí’‚ í•&#x;펓 짡í‚Ťí”’ ëŻ†ěƒŽě˜Ş

썂펺훎삲. î?Łí—Şě ˘ ě†“îŒ§í”Šě˜Ş í??î?˘ě?Š ëŤƒě­ŽîŒŚíŽş í??î?˘ í—Şí•&#x;핞많 ě‡ŚíŽ–í”Šě ž, í—Şí•&#x;ě­Žíťž íŽží­ŞëŤŠ 훊펞픒 잯픎 HBO í‚Şě?şí?– <The Neistat

Brothers>ě˜Ş 핆믞ě?Š 븚펖삲. 믆슲픎 í??î?˘íŽž îŒ’í‘˘îŒŞ 쥜슎 솒돺슲펞 í™“ěœŚ ěŞ’ě˜Ş ě•Š슜í”’ 쭧펺 íž–읪 í—ŁíŽžîŒŚëŠš í—Łě?şîŒŚëŞŽ í ˛î Şě‹˘í?˛íŽž

ěŤ‚ëŤŽîŒŞě‚˛. í ˛î Şě‹˘í?˛ îŒŞ íłŽíŽžě ˘ 짆돝플 퓎쥓 ě•Śî…Š ë˝†í˝Žě?şíŽ‚í ˛ ě°’íŒ’í•‚ížŽ(Notorious B.I.G.)플 몯 <Juicy>플 많욺많 í—?î•š ë§Ží›‹ě˝šîƒšë§Ž í•žě?şîŒŚëŞŽ 핖삲.

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“I first saw the Neistat brothers’ videos while shopping at ‘colette’ in Paris. They did all sorts of crazy stunts, like locking their bikes around New York City and then using an axe to steal them in broad daylight. Their studio reflects their organized yet bizarre way of doing everything. My favorite thing in their studio is the ‘Money Green’ leather sofa with the lyrics of the Notorious B.I.G.’s song <Juicy> written on it.�

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ě—–íŻŽď˜“í‘žěŠŞ

Retts Wood î†şí˝ŽëŻ†ě•Śî…Š ě—–íŻŽ 푞슪(Retts Wood)플 íž&#x;픎 쟊엂 ě–žě„Ś(Central London)플 욺읲 ěťŽí§ˇí•łíŽž 헣짣쇌펂 í•–ě ˘ í’‚îŒŚí‘ˇ 썂핂삲. í˝ŽěŠŞ 쟎찒많 핞킎플 í¨“íŽž읪 많핳 잖픚펞 ěŠŞě ˘ ëŤ í•‚ě•Š몎 짍î•š ě—–íŻŽ 푞슪플 ëŤƒë§’í”Ž íŒ’ěƒ‚îŒŚëŞŽ íŒ–ě•‹îŒŚě ž 캍î?ŞíŽž ëłť îŒ’í‘˘îŒŞ ëŠ‘ěŠ˛ě˜Şěžš

돺읿쇌펂 핖삲. 썂ě?Š îŒŞ 슖솒 í’‚í—’î?‚썆 í—? 펔섌 ëŻ†ëźŽě ˘ 줂í•&#x;í—Ł 짞ě?Š í•łěžšîŒŚíŽş ěƒ…ěş– 맒 ě–žě„Ś í’‚îŒŚ í•‚ëŤ í—ŽëŤ í”’ ě†šíŒ’ě‚˛ëź˘ě‚˛ëŞŽ îŒŞě‚˛. 핆줊욺힒 헒줆 î†şí˝ŽëŻ†ě•Śî…Ší•† ě—–íŻŽ í‘žěŠŞě ˘ 줊 í“’ě?Š í“Žě•&#x;îŒŚě ž 슒슒ě?ş(Burberry), <펌ě?‚(Elle)>, <썂믆(Vogue)> 슿 퓎쿌플 îƒśěźŚ 쯚앪슪 ě§? 핯힎욺í?Ž í•&#x;íŽ“îŒŚëŞŽ 핖삲.

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“Retts lives on a funky canal boat moored at a private marina in central London. She bought it and, never having navigated a boat before, piloted it for five days by herself through the canals to London. I often daydream about living on her boat, reading <Towpath> magazine, hanging out with the local house-boaters at their private tavern, and feeding coal into the mini-stove.�

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íąŠď˜“ě•Š먞

Karl Lagerfeld 쟆몒í—?핆 îƒśěźŚ 싢핞핂띖 íąŠ ě•Š먞(Karl Lagerfeld)플 í ˛î Şě‹˘í?˛ě ˘ 솓읪ëŤ&#x;핆 믆플 펜î?łí”’ ëŞŽí ˛ě•Žî•– 썂펺훎삲. í ˛î Şě‹˘í?˛í”Ś

짢삳펞읪ě­Žíťž 2í°ƒ 튪핳펞 í•‚ě?‚믞밚힎 í?‹ 20ěžš 뭚플 í¨“ěŠ˛í•‚ 쪋쥂픒 많슍 ě ˘í‘žëŞŽ 핖삲. ëŻ†ě ˘ 1998ëź’ 핞킎플 í ˛î Şě‹˘í?˛ 짢ě˜Ş í?”펞

‘7Lâ€™í•‚ě•Šě ˘ 읪í—ží”’ í?‚믞솒 îŒŚí?Žě‚˛. í ‹ëŠš 삲많많믞 펂엲풚 ěŤ‚í•‚ě ˘ ëŻ†ě ˘ 욺킲 잲푞 í“ŽíľšîŒŚě ž í•şí°Ś í•–ě ˘ ěšşě•ší”Šě˜Ş ěšşíž’, í?–쿎, ě•Ší•‚î‹’ í ˛íşŽí•Š 슿 삲í?&#x;îŒŞ í??펝플 읪í—?í”’ 쿌íž&#x;îŒŞě‚˛. 줂쿌î•– ěžœí”Ž í¨“ěŠ˛í”Ž 믆플 îƒśěźŚě‹˘í•ží•†íŽž ě¤‚îŒŞîŒŞ í??맞픒 ě­–íŽ‚ëťąě ˘ě‚˛.

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“Everyone knows that Karl is one of the top fashion designers in the world, but not many people know how much Karl loves books. His books cover every wall of his studio from the ground, up two stories, to the skylights. Plus he owns the bookstore that is right next door. And for someone who appears so untouchable, he is surprisingly funny and quick with wisecracks. Karl is the man.�

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엖뚌ď˜“í¸şě?şí ˛íźží ś

Helena Christensen ě žëŻ™îŒŚëŞŽď˜“í•ží“Žě˜Şí’‚ď˜“í??î?Ší”Śď˜“ě˝ší“Ží•žď˜“í –î…Š쥜ě…†ď˜“îŽşě—–뚌ď˜“í¸şě?şí ˛íźží śď˜—)FMFOBď˜“$ISJTUFOTFOď˜˜í”Žď˜“ě°–î‚žížŽď˜“ě˝šî‰–ěŠ˛ëŤŠď˜“ë§Ž돺ě˜Şď˜“ëś†ě žíž’ď˜“ě ™íž’ď˜“

íž&#x;íŽžď˜“ěş‚몎ď˜“í•–ě‚˛ď˜›ď˜“îŒŞěŒšď˜“í’śí ˛î‚†ď˜“ě°šě?şížŽď˜—8FTUď˜“7JMMBHFď˜˜íŽž읪ď˜“ě°–î‚žížŽď˜“ěż›í”’ď˜“í’‚í??î?–ě„Śď˜“ëŻ†ëźŽě ˘ď˜“îƒžěž˛îŒŚëŻžď˜“íŒ’ë°ší’‚ď˜“ě†“î‚‡îŒŞď˜“ěŤ‚ě¤ŠěŠ˛í”’ď˜“쥜íŒ’ď˜“íž&#x;íŒ–ď˜“ ëŤ ëŤ íŽžď˜“쿜늜뽥íŒŚě‚˛ď˜›ď˜“ě°“í˝Žě?şíŒ–ď˜šíŒ’ě ˘ě?şíą†ď˜—7JDUPSJBOď˜š"NFSJDBOď˜˜ď˜“í ˛íşŽí•Ší”Śď˜“ě˝šî‰–ěŠ˛ëŤŠď˜“íž?í—&#x;ď˜“퍺í??îŒŞď˜“î”&#x;짿í”Śď˜“î‰›ëŞ‹ěšşíž’ď˜™ď˜“í—Łě¤Šî?˘ď˜™ď˜“믆ě?şëŞŽď˜“ ěŞ‹ě†šď˜“ěŞ‹í•‚ď˜“í•Śď˜“íŽ‚í‘žě–şíž’ď˜“íŒ’îƒšî‚†íŽž읪ď˜“ëŻ†ëźŽí”Śď˜“ě§†í—?ď˜“ë§žë§?í”’ď˜“ě žëš’ď˜“쿌ď˜“í•–ě‚˛ď˜›

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“Helena is a Supermodel with a capital ‘S’, which usually means diva attitude. But she is actually such a down-to-earth, chilled-out free spirit. She used to own a vintage clothing and furniture store in the West Village, which she stocked with wonderful treasures that she hated having to sell. Her apartment is a bright, brick-walled Greenwich Village walk through filled with furniture and bric-a-brac in a perfectly executed VictorianAmericana style.�

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í¸şě?şí ˛í§şď˜“ěšśě­Žíşż

Christian Louboutin 돺ěˆž 싢핞핂띖 í¸şě?şí ˛í§ş ěšśě­Žíşż(Christian Louboutin)픎 4럒펞 ëŠ†íŞž 핞킎잚플 í ˛íşŽí•Šě˜Ş 팒ě?Š í˜žëŻ–í‹ˇ 맪혞î?‚ î?†î?˘ě˜Şí‘žěĄ‚읪솒 íąží›ŠíŽŠîŒŞ ëŤƒë§’í”Šě˜Ş 뜆쥒삲. î?˘ě—˛î?‚ ěŤ‚í•‚ě ˘ íž?íŽ“ëŤŠě ˘ ě‚şě?ş ëŻ†ě ˘ 잲푞 î?’킲í—?í•‚몎 ëŞ†ě˝žîŒŞ 읿픒 힎삚 í•†ě¤Šě˜Ş, 홓홓 í ˛ě‚–í˛˛í?–ě?Š

킎몎 뚯픎 í ˛íśŽíťžě?Š ěĄžě ž ě?ş í‚Şëş‚ îŒŞěŤƒîƒží”’ î?ŞěŤ‚îŒŚëŞ˛ îŒŞě‚˛. 읇슲ě?şíŽží?Ž 돺ěˆžě˜Ş ëś†ě žíž’ 믆플 팒ě?şíŽžíŽžě ˘ îŒŞë§ŽîŒŽ ěŒš íşŽě ž 킪맒픒 ěŤ‚ëş‚ě ˘ ëŤƒí›&#x; 믆띲많 잲삺엲 핖삲.

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“Christian is a ball of positive energy that keeps on going and going. He has been renovating his apartment for about four years and it still seems nowhere near completion. His atelier has a trapeze hanging from the ceiling so that when he has spare time, he can literally swing from the rafters. For someone whose products are the definition of luxury, he is shockingly down-toearth. He drives around Paris in his sneakers on a beat-up scooter.�

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í?şě?şě°’íŽžď˜“í•Ž

Olivier Zahm îƒśěźŚ 핯힎 <î…Šî‹š îƒśěźŚ(Purple Fashion)>플 íž&#x;í•łí•‚í•ž í?–쿎 찒많, î‹’ě•&#x;í ˛ 욺돞몒펞읪 콞봋 í—Łě†’ě˜Ş 띥픎 핆잳픒 í•žě•&#x;îŒŚě ˘

í?şě?şě°’펞 í•Ž(Olivier Zahm)픎 í’‚îŒŚ í?”펞 í“’í°ŚîŒŞ í•&#x;픎  îŒŚí‘ží ˛íŽž 먞í›ŠîŒŞě‚˛. ě?şí”Ś 팒ě?’삲풂 í ˛íą‚í•‚ě•Ší•†í•‚ îŒŞëż–íŽž 슲펂í?˛ě ˘ íž&#x; ëş‚ě­Žě ˘ 많훋 í•şíş… í˛şě——쟌덊 돞í?&#x; 읪í—?, î?łěżŚë§Ž 핢쓡 íƒĄíŽş í•–ě ˘ 읎짌í”Šě˜Ş í¨’í’ší˜† 핖삲. îƒśěźŚí”Ś î?’킲í—?핆 짆맞픒 ěƒ‚íŒ’ëş† <î…Šî‹š îƒśěźŚ>

핯힎ě?Š í‚Şí•&#x;í”Šě˜Ş ‘ í•†í ˛î‚žî ŞěŠŞ(Purple Institute)’ě?Š í’‚í??îŒŚě ž 팒 ě‹˘ě——îƒ“ë°šížŽ ëŞ†îŒŚě ˘ ëŻ†ě ˘ ë¨ží°śíŽ”ě ˘ 읿늡플 ěžšě ł îƒśěźŚí•†í•‚ě‚˛.

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“By day Olivier is the editor of <Purple Fashion> magazine, an accomplished art critic, and an intellectual. But by night he is a social butterfly without any inhibitions, who also is a master of erotic games. He lives right next to the canals in a small penthouse apartment that has amazing views of the Paris skyline. His place is filled with highbrow paperback books, a serious collection of tight leather jackets, and an impressive wall of colognes.�

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ěšśď˜“ěŠŞí?Ží•‚í?‡

Lou Doillon 쥜ě…† 몆 í??î?˘ě§ží‘ží•‚í•ž, î‹’ě—ší°Ś í‚Şí¸şí”Ś ěƒŽěĄ“ěšş ěšś 슪í?Ží•‚í?‡(Lou Doillon)픎 î‹’ě•&#x;í ˛ ě?şí”Ś 3í°ƒ í›ŠíşŤíŽž íŒ’ěŠ˛ëŤŠ 팎í?’늺덊 îŒśë˛Ś ěş‚몎 핖삲. í•ží“Žě­’짡îŒŞ ěŤ‚îŽ˛ě§†íŒ– ě•Ší•‚î‹’ í ˛íşŽí•Ší”’ í?žëŻžě ˘ 믆럎플 펜ě§†ě ˘ 믞íşŽ 펞훊í?Ž 짣í—Ş 솧줊 쿌íž&#x;핂삲. íž&#x;팖 돺읍돺읍펞읪 짪늺

쿌 í•–ě ˘ 찖힎 많돺슲덊 짣í—Ş 솧줊슲픎 믆럎플 맪읿 ëťŚí°Śě ž 믊킺 먿í—Ł íŽ”ě ˘ ěş„í”’ 썂펺훎삲. í˝ŽěŠŞ ěźŽě°’ě ˘ 믆럎플 ěş„ í•žíŞ‚ë§Ž î?—ěŤƒí”’ 썂펺훎삲몎 ěžžîŒŞě‚˛.

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“Lou lives with her son in a skinny three-story house in Paris. She collects taxidermy, which her English bulldog loves to chew on. When she is home, she draws, plays music, hangs out with her son and cuddles with her rabbits. Her friends often stop by to hang out and catch up. Lou defines effortless chic; she lives a carefree, bohemian lifestyle and serves as a muse to many people. In a family of super achievers, she seems to have achieved the most difficult thing: happiness.�

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펞ě?ťď˜“í’šëť–ď˜“&ď˜“ěž–í•‚íŒ’ď˜“îŽśě?şď˜™ď˜“îŒŚî‚†í‘žěŠŞ

Eric Werner & Mya Henry, Hartwood îŒŚî‚†í‘žěŠŞ(Hartwood)ě ˘ ě Łí‚Şí´˘ 헣믎펞 í“’í°ŚîŒŞ í?Ší‘† ě—–í ˛í˝Žě•&#x;í”Šě˜Ş, 쪒핂 ěŤ‚í•‚ě ˘ í?˛î‹– íš˛í°ŞíŽž읪 혞ě?şě‡Ş 짆돝í‚Ť ě Łí‚Şíą† 픚킍픒

ě ‡í”’ 쿌 í•–ě ˘ ě˜Şěžśî‚żîŒŞ ëŤƒë§’í•‚ě‚˛. 2010ëź’, ě Łí‚Şí´˘ 웆(Mexico, Tulum)í”Šě˜Ş ě?ŽëšŞ 많 í›&#x; ě Łí‚Şí´˘í?Ž ěšşě•&#x;펞 ě°Žíž’ 펞ě?ť í’šëť–(Eric

Werner)í?Ž ěž–í•‚íŒ’ ě?ş(Mya Henry)많 í’‚í??îŒŚě ˘ ëŤ í”Šě˜Ş, 줊덊 í—’믞ě?Š ěšşí‘ˇîŒŚížŽ 팘몎 íşŞí?&#x;찊덊 í•łí•&#x;ě­–ě˜Şěžš 퓎힎쇪삲. 쥡혞

늂줊핂삲 썂삖 í?–ěş?í°Ś ě˘‰îŒŞ 핞펞핺î?‚ě˜Ş 펂엲풎픒 늸몲 îŒŚížŽěžš, 쿌 í§śě˜Ž ě—–í ˛í˝Žě•&#x;í”’ 썂쿌îŒŚě ž 늺몎îŒŚëŠš 잚슲펂뚌많몎 핖삲.

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“Eric Werner and Mya Henry fell in love with Mexico while on vacation in Tulum in 2010. They talked about realizing their own dream of starting an open-air restaurant in the jungle, using just a wood-burning grill and oven to cook. What is crazy is they actually did it. Hartwood’s ‘Mexican farmhouse rustic’ food reflects Eric’s love of traditional American recipes combined with his respect for the local spices, produce, and seafood. The wood that makes up the restaurant was all harvested by local Mayans under the full moon.�

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ëŻ†ě•Şî‚†ď˜“íŒŽí˛˛íŻŽď˜™ď˜“ëťłí ˛î‚†ď˜“

Grant Achatz, Next

ëťłí ˛î‚†(Next)ě ˘ í—Łî?Łî?˘ě‡Ş í’‚í?? 짡킍덊 혞ě?şěŠŁíŽž읪 슼펂뚌 î??í‚Ží—?핆 짡í‚Ťí”’ ě†’í•“îŒŞ ěş–ě˜Şí’‚ 맪럞플 ě—–í ˛í˝Žě•&#x;핂삲. í•‚ëŤ í”Ś 퀞

믆앪 íŒŽí˛˛íŻŽ(Grant Achatz)ě ˘ “í?Ş ě—–í ˛í˝Žě•&#x;픎 îŒťěş? 맧팒í?Š îŒŚëšŚ?â€?ě•Šě ˘ 힖줆펞 ěƒŽîŒŞ î?‚ěƒƒí”Šě˜Ş, 3맪풢펞 îŒŞ 슖틡 ě—–í ˛í˝Žě•&#x;플

íźšěž–ě?Š 짢뜊삲. 2011ëź’ 맪펓 í•‚î’’ â€˜íşŞëŹť 펺î?—’, â€˜ě†§í‚şâ€™ 슿 삲í?&#x;îŒŞ íźšěž–ě?Š í—ŁîŒŞ 쉲, í‚Ťěƒ‡í”Ś ě­’í“’믞í?Ž ě ˘ě ‚ě?Š 훊헪펞 ěžŹí­ž 쪎몋î?‚í?˘ě‚˛. 솒헒덊 쥜픒 í?žëŻžě ˘ 믆플 욺몎짡킍픎 잲슖 ëťłí ˛î‚†ě?Š í§śěŞ’î?˘ě‡Ş ëŤƒë§’í”Šě˜Ş í•şíş’캍킪횜삲.

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“The thing that inspires me the most about Chef Grant Achatz is his dedication to ask questions and coming up with his own answers. Dining at one of his restaurants, Alinea or Next, Grant’s dedication to questioning assumptions is obvious. At Alinea, Grant asks questions like “why should we eat off plates?� and at Next he asks “why should a restaurant stay the same?� Every three months Next’s theme will change. The first three themes after Next opened in early 2011 were ‘Paris 1906—Escoffier at the Ritz’, ‘Tour of Thailand’ and ‘Childhood’.�

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펞짎ě?şí?˛ď˜“î…Śě?‚뚪ě„ží?–ď˜™ď˜“ěšşď˜“î†şě•Šě‚˛ě‚˛

Emilio FernĂĄndez, Sa Foradada ěšş 않삲삲(Sa Foradada)ě ˘ í ˛î…Śí•† 헒힃 푢ě?şí•† 펞í?Š(Paella) 헒줆 ě—–í ˛í˝Žě•&#x;í”Šě˜Ş 힎í›&#x;î?‚펞 í“’í°ŚîŒŞ 잖푢ě?‚íą‚ ěťş(Mallorca)펞 핖삲. í•‚ ëŤ íŽž 많믞 í“’î?‚ěťŞě ˘ 썂ě?Š íşŽ먞뚌 í?şě?şěŻš 퀀 ěšşí•‚ě?Š 힎뚌많í?Šěžš îŒŞě‚˛. 팒ě?’삲풂 핞펞 콛펞읪 í‚Şë§?덊 짆ë§?í”’ 솧킪펞 í­ˇí˜żí‚ŞíłŞí›Šě ˘ í•‚ ëŤ í”Ž, 썆알 í?˛í ˛î‚†ě?şíŒ’ ëŤƒí•&#x;플 맪핆 욺퓎힎í?Žě‚˛ë§Ž 1972ëź’ 퀞핂핞 í?˛ëť–핆 펞짎ě?şí?˛ î…Śě?‚뚪ě„ží?–(Emilio

FernĂĄndez)펞 플î?‚ ě—–í ˛í˝Žě•&#x;í”Šě˜Ş í•şíş’캍쇌펖몎, î?’í•şě ˘ 믆플 ěŒ† ě?şě‹˘íŒ’(Lidia)많 í’‚í??îŒŚëŞŽ 핖삲. í˝ŽěŠŞ ěźŽě°’ě ˘ í•ží‚Ží•‚ 짡ě¤†îŒŞ ě—–í ˛í˝Žě•&#x; í›&#x; 핞펞 몋픒 í?žë°† 쿌 í•–ě ˘ 폪몎플 í•łě˝šě˜Ş í•‚ ëŤ í”’ ë´‹ě ˘ě‚˛.

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“Sa Foradada is a paella restaurant in Mallorca that is only accessible by boat or climbing a fence and hiking down a very long path through ancient olive groves. Sa Foradada was originally built as one of the private homes of Archduke Luis Salvador of Austria. In 1972 it was leased by Emilio FernĂĄndez, who transformed it into a restaurant. Emilio’s daughter, Lidia, runs the place, while Emilio makes paellas using the fire in the back.â€?

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íš‚ě—–íŽ‚ď˜“î‹’íş?ď˜™ď˜“짢í•‚í?şě—Šď˜“íłŽí•‚í¸şď˜“

Claire Ptak, Violet Cakes

짢í•‚í?şě—Š íłŽí•‚í¸ş(Violet Cakes)ě ˘ 횂엖펂 î‹’íş?(Claire Ptak)í•‚ í’‚í??îŒŚě ˘ 슎í•‚í˛˛ě?şí•‚삲. 2005ëź’ ě–žě„Ś ěž–íłĄíŽž읪 콚뎪쥜ě˜Ş

í‚Şí•&#x;î?‚ 2010ëź’ í??돝 î?‚í¸şě‚–(Hackney)펞 í“’í°ŚîŒŞ í˛˛ě‚˛ě•Ž ěş?í—ží”Šě˜Ş î?Łí•łě‡ŚíŽ–삲. ěť˛íşŁí”Šě˜Ş 섟펺핖힎잚 ěƒ‚짿îŒŞ 잊플 ě †îŒŽëŤŠ 푞

핂(whoopie pie), í??돝í‚Ť ěŒ†믞 íłƒíłŽí•‚í¸şě ˘ 삜잊픒 띌펂읪 ě ‡ě ˘ 핂플 잖픚밚힎 ě‚şí´˛îŒŚëŠš 잚슲펂훎삲. ěť˛íşŁ, í‘ží“Ž, 몒앎 슿 쥜슎 훊핺욚ě?Š í“ŽëŻžë˝›í”Šě˜Ş ěšşí‘ˇîŒŚëŞŽ, î?†ě§ŽëŤŠ 뎎ě?ş 슿 í‚ŽěťŽîŒŞ 몯줊슲픒 띹펂 잊윞잚 íŒ’ě‚–ě•Š 늂맣펞솒 홙픎 싢헎ě?Š 잚슎삲.

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“Claire Ptak opened Violet Cakes as a market stall in 2005 when she moved to London from California. In 2010 she moved her shop and bakery into a little free-standing white house in Hackney. She describes her concept of baking as “not really conceptual, it’s just good-ass cake.� I politely disagree. I think there is a very strong concept of understated purity to her baking style, which always feels wholesome, even if what you’re eating is pure sugar.�

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íŒŽě‚–ď˜“ë˝†짣ď˜™ď˜“í•‚ëŻŽď˜“í ˛î‚†ě?şî‚†ď˜“í?łěş?ď˜“ë˝›í•ł

Annie Novak, Eagle Street Rooftop Farm ě ‚í‘Ł 쯚욜횂ě?ž(Brooklyn)펞 í“’í°ŚîŒŞ 핂믎 í ˛î‚†ě?şî‚† í?łěş? 뽛핳(Eagle Street Rooftop Farm)픎 í•‚ě?’ ëŻ†ěƒŽě˜Ş í?łěş?펞 뜆엲힒

ë˝›í•łí”Šě˜Ş, 삲í?&#x;îŒŞ ë˝›í•&#x;줊덊 뜎슚, í˝ŽëšŠ, 삝슲핂 í•žě•Š몎 핖삲. íŒŽě‚– 뽆짣(Annie Novak)픎 욺앚슲덊 픚킍 맒플 짎í—&#x;îŒŞ 덎몒펞 짆ě?Š ě žëšŠ몎 í?łěş?í”’ 맪í˜žîŒŚíŽş 뽛핳픒 잚슲펖삲. 펺ě?’íŽžě ˘ í‚Şí’žîŒŚëŞŽ 늜í’†íŽžě ˘ í?śëŻžë§Ž í“ŽížŽě‡Śě ˘ 믆럎플 솒킺 ě˝› 뽛핳픎 í¨’ě˝šě?Š í•şě§žîŒŚě ˘ 늑 푆펞솒, 핞맖덊 íşŽě?‚ě˜Ş 쉲섟핆 믞홂플 í?łěş?썂삲 î’śí‹ş 핺짆핖몎 í“Ží•ƒîŒŞ 늑슲핂 ěžœě‚˛.

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“The Eagle Street Rooftop Farm in Brooklyn was the first commercially run, fully landscaped green roof in the United States. In the three years it has been around, it has grown tons of food and been a home to 80,000 honeybees, some rabbits, and a flock of chickens. Annie Novak started the farm primarily as a way to promote green roofs and rooftop farms. By planting on roofs we can insulate buildings to keep them warm in the winter and cool in the summer. Plus it’s a lot more fun than a bunch of gravel or tar.�

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íŒ–í—˛ě˜Şď˜“ë§Žě˜Şď˜™ď˜“ě?‚띲ěş?í ˛ď˜“î†şížŽ

Angelo Garro, Renaissance Forge 썆알 ëŠ‚í­Ł 핳킍줊덊 쪋뚪ě˜ŞíŽž íŠží•‚ě ˘ 솒돺ě?Š ěžšěŠŞě ˘ ëŤ í•† ě?‚띲ěş?í ˛ 힎(Renaissance Forge)ě ˘ 푢ě?şě?Š í?žëŻžě ˘ 훊핆 íŒ–í—˛ě˜Ş

ë§Žě˜Ş(Angelo Garro) 섣쭒펞 ëŹ—í•łîŒŞ 훊짡í”’ 많힎몎 핖삲. ëŻ†ě ˘ 콞쿌 훊짡믞믞ě?Š í—Şí•&#x;îŒŚëŞŽ, í°ŞëŹşí”Ś 헣풞펞읪 덊핊픒 쿌î?ŁîŒŚě ž, îƒší ˛íşŽí?Ž í?Ží•†ëŤŠ 맧픎 푢ě?şíŽž ěŠ˛íŽ‚ë§Žě ˘ 쥜슎 í•şěššě?Š íž?í—&#x; 돺îŒŚëŞŽ 잚슲펂 í¨‹í”Śí—?핆 푢ě?şě?Š 읎썂핆삲. ěşšî‹’ě•Ží‚Şí ˛í´˘íŽž ěšşě ˘

욺앚핂않쥂 ëż’돺뚌 킲í—?핆 훊짡 솒돺ě˜Ş 혞ě?şîŒŞ í‚ŽěťŽîŒŞ 픚킍, 줂î?˘ëŤŠ 뚌줂 íŒ’ě•Śí”Ś 짢ě°’í¸ž, í§śëŞŽ íŒ–í”Ś í˛˛ě‚˛ě•Ž íźší•‚쯢펞 ěˆŚě–şíŒ—íŒ’ ě ‡ě ˘ í—Žëź?킍욺펞 íŤ–ěƒŽ짊믞ě?Š í’žîŒŞě‚˛.

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“Angelo Garro’s house has the most incredible kitchen I have ever seen. It is a large sprawling space that includes his metal forge, his stainlesssteel-drum barbecue pit and an open space with a large fig tree growing out of it. He makes his own pasta and wine, cures olives and makes prosciutto from the boars that he hunts in his friend’s grape field. Under the name of Renaissance Forge, he makes custom hand-forged architectural details as well as beautiful fireplace tools.�

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í˛˛í¸şď˜“ě˜şě§˘ěŠŞď˜™ď˜“í‹śď˜“î†şě?şí—Ž

Kirk Lombard, Sea Forager í‹ś ě?şí—Ž(Sea Forager)ě ˘ í˛˛í¸ş ě˜şě§˘ěŠŞ(Kirk Lombard)많 í’‚í??îŒŚě ˘ 콚뎪쥜 í°Şî?ŚëŞ‹ 뚨í‚Ş íżşíŽ‚ î‹’ě˜ŞëŻ†ě•śí”Šě˜Ş ě­Žěˆž íŒ’ě•ŚëšŚ 찼줊 짞쿌덎 ëş‚ě­Ž 슿 ěşšî‹’ě•Ží‚Şí ˛í´˘ ěžš(San Francisco Bay Area) ëŤ ëŤ íŽž 쿜펂 ěšşě ˘ ë§?í?&#x;ë§?캗플 줊몎믞슲픒 핯몎 íşž돺îŒŞě‚˛. ëŻ†ě ˘

ěşšî‹’ě•Ží‚Şí ˛í´˘í”Ś 펂펓 솧î?łí”’ ěş‚îŒŠě ˘ ëŤƒě¤‚í’ží”Šě˜Ş í•ŠîŒŚěĄ‚읪 펉픎 ížŽí‚Ťí”Šě˜Ş íşŞî†—í?&#x;펞 읪í‚ŤîŒŚě ˘ íŽ‚îƒśěœŚ 헒줆많많 쇌펖삲. ëŻ†ě ˘ í‹ś ě?şí—Žě?Š 힃î?‚ 펆헪, 펂싢읪, 펂쎉늚 í•Żî?˘ě ˘ížŽ 풞욞힎많 ě­’ěĄ“îŒŞ í‚ŽěťŽîŒŞ î?‚욞줊픒 îƒžěž˛îŒŚëŞŽ íž?í—&#x; 푢ě?şî?‚ ě ‡ě ˘ě‚˛.

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“Kirk Lombard is the founder of Sea Forager, which includes an element of commercial fishing done in a very targeted, small-scale, sustainable way, along with an educational component through the fishing tours he gives around San Francisco. On our day together, Kirk showed me how to fish out of a storm drain. We also kayaked under old piers to catch black surfperch, threw nets on a beach to catch surf smelt, and went poking for the elusive monkey-faced eel.�

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íŒ˘ě°’íą‚ď˜“í´Śě˜Şí•‚

Ambika Conroy íŒ˘ě°’íą‚ í´Śě˜Şí•‚(Ambika Conroy)ě ˘ í°Şî?ŚëŞ‹í—?핆 싢핞핆 í”ŚěœŚě?Š 잚슎삲. ě †í€şě Şě˜Şí‘ž ě¤—í°Ś 맧픎 16ěž–ě?şí”Ś íŒ§ëŞŽě•Š í˝ŽëšŠí?Ž í?Šě˝š, í?&#x;í”’ 횲í‘žě ž 잲럒 발픎 íź†ě˜Ş 킲픒 ě´&#x;몎 쥜í•ží?Ž í ˛í’śíťžě?Š 힎삲. 콞쿌 잚슎 í?…슲픎 핞펞펞읪 펉픎 튪펞 í•şěššě˜Ş í?Šěş—îŒŚíŽş îƒžěž˛ě‡Şě‚˛. ě ‚í‘Ł 훊

뚜쭎펞 í“’í°ŚîŒŞ íąž􋩺 ěšžěžł(Catskill Mountain)펞읪 펂ě?ž í‚Şí—–í”’ 썂뺆 믆럎펞늚 솧줊슲픎 í“Ží•ƒîŒŞ 콚핺핂핞 í??맞플 í’ž튪핂삲. í˝ŽěŠŞ ěźŽě°’ě ˘ 믆럎플 í˝ŽëšŠěŠ˛ í›&#x; ě´žëş‚믞ě?Š í™™íŒ’îŒŚě ˘ 잲엳í—?핆 í˝ŽëšŠ í‚˛ěŠŽí ˛íťž(Sylvester)ě?Š 많핳 í™™íŒ’îŒŞě‚˛.

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“Ambika’s 16 Angora bunnies are like giant pouncing marshmallows. Sylvester is my favorite, a charming ruffian who humps everything and always shows off. What’s even more impressive than the hats, vests, and stoles that Ambika makes from the rabbits’ super soft, fluffy wool— which is hand-shorn without cruelty, blended with fiber from her sheep and goats, and woven using wind-powered spinning wheels—is how Ambika’s love and respect for the animals inspire her in creations.�

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í?˛ěŠŞě?şď˜“ěšśí•‚í ˛ď˜“ě—–í•‚ë˝Ží?–

Audrey Louise Reynolds 튪펞 í?Šěş—많핂핞 î?˘ë§Ž, 헣풞욺핆 í?˛ěŠŞě?ş ěšśí•‚í ˛ 엖핂뽎í?–(Audrey Louise Reynolds)ě ˘ 삲í?&#x;îŒŞ 핞펞 í•şěššě?Š 핂푡î?‚ íž?줊픒

í?Šěş—îŒŞě‚˛. 쯚욜횂ě?ž 엖슪 î’’í¸ş(Brooklyn Red Hook)펞 í“’í°ŚîŒŞ íž&#x; ěŠ…ěž–ěƒ‡íŽž 뽥핆 í˛˛ě‚˛ě•Ž 콳펞 í?Ší¨’, 덊í?§, í?˛ížŁíŽ‚ ě ‡ě¤Š, í¸şě?şí ˛íź† 많욜 슿 ë§?홓 튪펞 핺욚슲픒 띹몎 븥펺 ěş–ě˜Şí’‚ ěş—í”’ 잚슲펂 뺆삲. îŒŠě­ŽíŽž íž?í—&#x; ěƒ?ě ˘ í?…펞 í°Şî?ŚëŞ‹í—?핆 짡슣í”Šě˜Ş ěş—í”’ í•“î•Śí”Šě˜Şí„ś,

핆맒덊 î?ŚëŞ‹ 쥜ěˆžě?Š í“’îŒŞ 늂맣îŒŞ 짡킍픒 í—ŞíŒ–îŒŚëŞŽ 핖삲. 뚌í•‚횲(Nike)í?Ž îƒšě Şě•Š 얺쯚(Pamela Love) 슿 펺얺 îƒśěźŚ 쯚앪슪í?Ž î?Şě§Şî•– í•&#x;펓 í›&#x;핂삲.

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“I work with color.â€? Audrey says. “I work with it in every possible form and I’m always searching for new experiments and tones.â€? Using a cauldron in her backyard in Red Hook, Brooklyn, she’s constantly cooking up new colors, using a creative mĂŠlange of natural ingredients: vegetable, fruit juices, squid ink, powdered crystals and even rust. “It’s a mineral explosion that’s like chemistry, cooking, and painting in one,â€? she speaks. “And it’s also about helping people wear healthy things on their skin, which happens to be our largest organ.â€?

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ě?žížŽď˜“싢늂

Lindsay Degen 콞쓜맪 싢핞핂띖 ě?žížŽ 싢늂(Lindsay Degen)픎 ě ‚í‘ŁíŽž읪 ě“śë§Şíž–ě˜Ş 삲í?&#x;îŒŞ 킪솒ě?Š îŒŚě ˘ 쯚앪슪 싢늂(Degen)플 í¨‹ěž‹í•ží•‚ě‚˛. ëŻ†ëźŽě ˘ î‚‡ěŞ’îŒŚëŞŽ ě†“î‚‡îŒŞ î?ŁíşŞí”Ś 플ěş?덊 íŒŻěź†읪ě?şě?Š ěžšěŠ˛ě ž 삖플 몋몒ě?Š î?Łí•łîŒŞě‚˛. 쓜맪힖펞 ěƒŽîŒŞ 믆럎플 í?‚헣픎 3ěş‚ ěŒš

îŒŽě †ě‚–ě˜Şě­Žíťž ě§˘ě Ś 쟆ě?Š 읎줊 짊픊쥂읪 í‚Şí•&#x;쇌펖삲. 퓎헒핞핆 ě­Ž쥜삌플 í??î?łí”Šě˜Ş, 쓜맪힖 îŒŞ ěŒŽí”’ îŒŚëšŚí”Ś í•“í•žě˜Ş, ě˝žě“śë§Şě˜Ş 잚슲펂힒 í•&#x;픒 ě­’í•ž뚌 짢í•‚ě–şí ˛ î?‡í”Ž 짆캍ě¤Šě˜Ş í•‚î?‚îŒŞě‚˛.

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“Lindsay’s passion for knitting was born when she was three years old when her grandmother taught her how to knit. After many years of needling scarves, sweaters and hats, she has always been looking for new ways to push knitting’s boundaries. Knowing its constraints—knitting is just purling, tucking, and skipping—helps her bend the rules, creating nipple shapes and embellishments inspired by microscopic leeches.�

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í?şě?şě°’íŽžď˜“ěšśí ˛íźší•—ď˜™ď˜“짪잍

Olivier Rousteing, Balmain í?şě?şě°’펞 ěšśí ˛íźší•—(Olivier Rousteing)픎 24쟆플 뚌í•‚ě˜Ş 짪잍(Balmain)플 í¸şě?şíŽží•‚쯚 싢엗흞많 쇪 îƒśěźŚëŞ’í”Ś í—’읲í—?핆

핆줊핂삲. îŒŞ ěŒš ěťşěź†îŒśëŤŠ í‘žíŒ’îŒśí”’ 맣í˜žîŒŚě„Ś 짪잍픎 í?şě?şě°’펞많 싢핞핆픒 잯픎 í•‚î’’ě˜Ş í‚Şí¸şîŒŚëŞŽ 솒헒í—?핆 펺읿플 핂짆힎ě?Š í­˘ëŹşîŒŚëŞŽ 핖삲. 삲í?&#x;îŒŞ 콚핺ě?Š ěšşí‘ˇîŒŞ ëŹşí˜ží—?핆 싢핞핆픎 믆많 ëŠ‚í­Ł í?&#x;킍펞읪 ěžœí”Ž í??맞픒 짊íŒŚí”ší”’ 썂펺훎삲. 믆플 플ěş?픎 팒ě?’삲풎픒 띌펂 핞킎맞덊 맪읿 ëťŚí°Śě ˘ 펺읿픒 믆ě?žě‚˛.

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“One of Paris’s ‘big three’ fashion houses after World War II (along with Dior and Balenciaga), Balmain was once known for dressing leading ladies in girlishly elegant frocks. Even a quick glance at Olivier’s clothes shows that he’s inspired by architecture so much so that he compares designing a dress to constructing a building: “All the shapes, materials, and colors have to fall into place perfectly in order for it to be steady and strong,� he says.�

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짆í?–îŒŚě•Šď˜“íš˛í´˘

Kiko Mizuhara 짆í?–îŒŚě•Š íš˛í´˘(Kiko Mizuhara)ě ˘ 핊썆펞읪 î?Şě†§îŒŚě ˘ îƒśěźŚěĄśě…† 몆 짞í‘žě˜Ş ě†“î‚‡îŒŞ îƒśěźŚěźŠí ˛ě?Š 힎삖몎 핖삲. îƒśěźŚ 핯힎

<ěź†ěŻžîƒ‚(Seventeen)>í”’ 힃î?‚ 펂ě?ž 뚌핂펞 쥜ě…† î?Şě†§í”’ í‚Şí•&#x;îŒŞ ëŻ†ëźŽě ˘ í•şě§†í•–ě ˘ ě§‡í ˛-íŒ˛-ěž˛í°Ś í ˛íşŽí•Ší”’ í™™íŒ’îŒŚëŞŽ 킲í—?핆

플ěş?í”’ í?ž늜 í•“í”Šě ž, 쟆몒í—?핆 싢핞핂띖슲플 켲í?–ě˜ŞěťŞ í?ŁěťżîŒŞ î?Şě†§í”’ î†Ší°ŚëŞŽ 핖삲. ě¤‚ě•Šíą‚ě§† îŒŚěšśíš˛(Haruki Murakami)플 콚읲í”’ í??î?˘î?˘îŒŞ <ěş?킲플 í‚ŞěƒŽ(Norwegian Wood)>펞읪 íŽşí›Ší•†ëŤƒíŽťí”’ ěžŻí”Šě ž 짞í‘žě˜ŞěťŞě†’ î?Şě†§îŒŚëŞŽ 핖삲.

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“Texas-born, Kobe-bred actress and model Kiko got her big break when she found an advertisement for a modeling competition in <Seventeen> magazine. She ripped it out, sent in photos of herself and became Miss Seventeen. She charms in real life and told me that even at home, she’s just looking for a good time. “I love something fun. I’m happy to be with my cats and with lots of cheerful colors.� she says.�

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í?Šěž–íą‚íşŽď˜“í‘˘í‚Şíą‚í?–ď˜™ď˜“ě?şî‚ŠíŒŽî‹’íťží’ší?–

Yoshikazu Yamagata, writtenafterwards 핊썆플 îƒśěźŚ 싢핞핂띖 í?Šěž–íą‚íşŽ í‘˘í‚Şíą‚í?–(Yoshikazu Yamagata)ě ˘ î?˘ě—˛îŒŚëŞŽ íš˛í°ŚîŒŞ í•&#x;펓픒 î†Ší°Şě‚˛. í¨“ <Fashionable Selby> îˆŞížŽíŽž ěŠżí•łîŒŚě ˘ 핳뚪맞핂 핢쓡 쭧픎 삲삲짆 í?… 펝킪 믆플 í•&#x;핂삲. í•ží“Žě˜Şí’‚ îƒśěźŚí”’ 많핳 í›&#x;í‘˘í‚ŞîŒŚě ˘ ëŻ†ě ˘ 핞킎플 쯚앪슪

ě?şî‚ŠíŒŽî‹’íťží’ší?–(writtenafterwards)ě?Š 힃î?‚ 쿪쿌îŒŚëŞŽ 맪읿 ëťŚí°Śě ˘ 플ěş?í”’ 읎썂핆삲. îƒśěźŚ îŒ§ëŹž â€˜í´˘í´˘ë˝†ë§Ží´˘(Coconogacco)’ě?Š í’‚í??îŒŚě ž 험픎 ěş–ëş‚믞 싢핞핂띖슲덊 ëŹžěœŚě?Š 힃î?‚ ě¤‚îŒŞîŒŞ ěş?ěş?엳덊 험픎 맞ë§?í”’ í“ŽížŽîŒŞě‚˛.

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“Yoshikazu’s designs show how we accept and gather everything together and combine them in a chaotic way. What I find truly special in all of Yoshikazu’s works at writtenafterwards, from his runway shows to his illustrations, is the beautiful, childlike innocence that shines through. Perhaps he stays youthful by working with fledgling designers at the private fashion school he runs, ‘Coconogacco’, which focuses on ‘free fashion expression’.�

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ěž–ě?şě˝˘ď˜“쿌íŒ’ě—–í?–

Marisol Suarez ěž–ě?şě˝˘ 쿌íŒ’ě—–í?–(Marisol Suarez)ě ˘ 욺앚플 ě †ě?şíą‚ě•‹í”’ í•şěššě˜Ş îŽ˛íŽ‚îŒŠí ˛ě?Š ě‹˘í•ží•†îŒŚě ˘ â€˜í ˛î Şě‹˘í?˛ ěž–ě?şě˝˘(Studio Marisol)’플 펂 싢핞핂띖핂삲. ëŻ†ě ˘ îŒ§í¨‹í‚Şí—– í‚ŽíŞ‚í”Ś 핊쭎핆 ě †ě?şíą‚ě•‹í”’ í•şěššě˜Ş ěşŠě ˘ 펂 팒펞 잲욚쇌펂 펂 싢핞핆픒 í‚Şí•&#x;î?–삲. î?’í•ş

ě?şí”Ś ěž–ě—–(Marais) 힎돺펞읪 ěş‚ě˜żí”’ í’‚í??îŒŚě ž í§ˇí‘ˇ ë§Žě łîŒŞ ě†“î‚‡îŒŞ î?ŁíşŞí”Ś îŽ˛íŽ‚îŒŠí ˛ě?Š 잚슎삲. î‘›믞í—?핆 î?ŁíşŞí?Ž 믞슣í”Šě˜Ş í—Şí•&#x;쇪 많짪슲픒 í—’í‚Şí?Ž îƒśěźŚěżŠíŽž 읎썂핂믞솒 îŒŞě‚˛.

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“Marisol chose hair as a medium to work with while in art school. She was instantly attracted to it “because it is organic, and therefore very alive. It reacts in such different ways.� Now she has a salon in the Marais in Paris, where she makes wearable masterpieces of hair art. Marisol’s work is featured in magazines, museum exhibitions and two runways annually, as well as in thematic exhibitions at her salon.�

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ěŠ’ížŽě‚–íŒ’ď˜“슎í•‚íŻŽ

Virginia Bates

찖힎 헒줆많 ěŠ’ížŽě‚–íŒ’ 슎í•‚íŻŽ(Virginia Bates)ě ˘ 짞í‘ž 캍î?Şí”’ í”Žíż‚îŒŞ î’’ â€˜ěŠ’ížŽě‚–íŒ’ íŒ˛î‚ží¸ş(Virginia Antiques)’ 쿛픒 í?‚펂

ě°“í˝Žě?şíŒ’ í‚ŞěƒŽí”Ś í‘Łí˜ž, î?ˇě†§ î‹’ě—–í•’ í°śěƒŽ, î…Śî‚ží´˘î‚† 슿플 íŒ˛î‚ží¸ş 많돺슲덊 플ěş?í”’ îƒžěž˛î?–삲. îƒśěźŚ 쥜ě…† 엖뚌 í¸şě?şí ˛íźží ś(Helena

Christensen)덊 뚌í?˛ě§† íąŽěŠś(Naomi Campbell)í•‚ í•‚ ëŤ íŽž읪 돺ěž˛îŒŞ í´˘î‚†ě?Š îƒśěźŚ í“’í¸şíŽž읪 í§ˇí‘ˇîŒŚě ž ěž˛í­Şí•‚ 믗늡î•– ě ŚíŽ–몎, 믆럎í?Ž 믆럎플 쿌íž&#x;솒 í¸şëŠš 훊쥡 짊íŒŚě‚˛. 2013ëź’ 믆럎플 ë§ŽëŠšě ˘ 줆픒 ě‚šíŒŚížŽěžš, <썂믆(Vogue)>플 쯢ě˜Şë¨ží•‚í•ž îƒśěźŚ îŒŠî‹šě˜Ş 뜆훎 î?Şě†§îŒŚëŞŽ 핖삲.

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“I was a teenager when I first saw Virginia Bates, when she played the role of a beautiful and sadistic temptress in Stanley Kubrick’s <A Clockwork Orange>. Between acting gigs, she opened a shop called Virginia Antiques, filled with Victorian baths, brass beds, petticoats and turn-of-the-century shawls. “I love antique clothes for the mystery and life they had before finding their way to me.� she says. “The cut, the textures, and even the faded colors make the garments irresistible works of art.�

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íą‚ě?Šě•Šď˜“ě˝ší§śě‚–ď˜™ď˜“ ď˜“ëłşě?‚콚볺쥜

Carla Sozzani, 10 Corso Como íą‚ě?Šě•Š ě˝ší§śě‚–(Carla Sozzani)ě ˘ ‘10 ëłşě?‚콚볺쥜(10 Corso Como)’플 읲ěž‹í•ží•‚í•ž 맲ě–şě?ş í?˛ëť–핂삲. <썂믆 í•‚íş–ě?şíŒ’(Vogue

Italia)>펞읪 í•ŠîŒŚě„Ś í‚Şí—– 쟆몒í—?핆 ěšşíž’í•&#x;많슲덊 îŒśë˛Ś í•&#x;펓î?–ě„Ś 몋픒 ěş‚ě—˛ ěžš ě—–í•‚(Man Ray)í?Ž ě˜ŞěŠ’î‚† ě?şě†’ě?ş(Robert Polidori)플 ěšşíž’í—’í”’ 믞î‘›îŒŚëŻžě†’ î?–삲. ě ˘í™“ ěž–îƒ‚ ěž–ě?‚힎펌않(Maison Martin Margiela), íŒšě——ěšžě„˘ ěžłí¸†(Alexander

McQueen)덊 맧픎 퓎쥓 싢핞핂띖플 플ěş?í”’ 콚맪 ěśž íŒ’ě‚–ě•Š 믆럎플 ěšşíŽ“îƒšî‚†ëť–í•‚í•ž íŒ’î‚ží ˛î‚† í¸şě?şí ˛ ěœŚ(Kris Ruhs)플 î‘šî?˘ ě§? 혞ë§? í•&#x; 슿핂 ěť˛í°Śě‡Ş ‘10 ëłşě?‚콚볺쥜â€™ě ˘ 믆럎플 뚜삲ě?† 팖쥡덊 í¸žě—–í•‚îƒ“ ě łě—łí”’ í??썊 쿌 í•–ě ˘ ëŤƒë§’í•‚ě‚˛.

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“Having worked with photographers from Bruce Weber to Robert Mapplethorpe during her time at <Vogue Italia> and showcasing the works of Man Ray and Robert Polidori in her influential ‘10 Corso Como’ gallery, store, restaurant and hotel, Carla is the ultimate editor. With paintings and sculptures by her partner, Kris Ruhs, and with its white-andglass decor, ‘10 Corso Como’ doesn’t look like anything else.�

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íą‚쥜ď˜“íą‚íŻŽí?Š

Katsuya Kamo íą‚쥜 íą‚íŻŽí?Š(Katsuya Kamo)ě ˘ 솒휒, ě ‚í‘Ł, ě?şíŽž읪 î?Şě†§îŒŚě ˘ 펂 싢핞핂띖핂핞 ě ˘í•‚í¸şíŽ“ íŒ’î‚ží ˛î‚†ě˜Ş, î?˘ě—˛îŒŚëŞŽ íŞ‚ëŞ’í—?í•‚ě ž î”łě§†ě˜Şí’‚ í ˛í˝Žě?şë§Ž ěƒ‚ë°‚ í•&#x;픒 í—Şí•&#x;îŒŞě‚˛. 훊쪎플 쥜슎 늑픒 î”ŻěżŚîŒŚě ˘ 핆맒 í ˛î†žížŽě˜Ş ě­–ě?şě ˘ ëŻ†ě ˘ 핯힎플 íž˛ěž—îŒŞ 믞욺, í•&#x;픎

싿헣슚엖, 짌ížŤí•‚ě ˘ ěŞ&#x;ě‘Şë˛&#x; 슿 훊쪎플 쥜슎 욺줊펞읪 í??맞픒 펉몎, í•‚ě?Š îƒśěźŚ ěšşíž’í•‚뚌 ě–ží’śí•‚ě?Š í“’îŒŞ îŽ˛ěŠŞîŒŠí ˛ě˜Ş 잚슲펂뺆삲.

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“Half person, half sponge, Kamo absorbs everything around him: snippets from magazines and books, of course, and also a butterfly’s broken wings, a tiny beetle and a shiny bottle cap. He channels all that inspiration into the sculptural headpieces he makes for fashion shoots and runway shows. When I asked him what inspired the pieces I shot, he told me he couldn’t possibly explain. The art of hair design, it seems, is tough to put into words. It’s all there in the headpieces themselves and they tell their own stories.�

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íŒ˛ěŠŞěœŚď˜“ě˜ŞëŠ‚

Andrew Logan 혞ë§?많핂핞 íŒŻěź†읪ě?ş 싢핞핂띖 íŒ˛ěŠŞěœŚ ě˜ŞëŠ‚(Andrew Logan)픎 í??돝 ě–žě„Śí”’ í›&#x;í‚şí”Šě˜Ş íŒŻěź†읪ě?ş, 핆ퟚě?şíŽ‚, î…Śí ˛î‚žěŠš 싢핞핆

슿 삲í?&#x;îŒŞ ě­’í?ŠíŽž읪 î?Şě†§îŒŞě‚˛. 믆많 í›Šě˜Ş ěšşí‘ˇîŒŚě ˘ í•&#x;펓 í•şěššě ˘ 쿌í—Ł, í’‚읍 슿 짌ížŤí•‚ě ˘ ëŠ‘ěŠ˛í•‚ě ž, 믆ě?Š ěƒŽîˆŞîŒŚě ˘ 팒핂ퟪí”Šě˜Şě ˘ 퍖î?’킲훊플í—? íŒŻěź†읪ě?şí?Ž í?ž늜 í•“ě ˘ 맣ě—şîŒŞ 캗플 í‚˛í¸ş 플ěş?덊 í•ž쿌 쥜핞많 핖삲. 펎잖뿒펌 í’“ë§Žě˜Ş(Emanuel Ungaro),

봊섞많ě?‚콯(Comme des Garçons) 슿덊 î?&#x;íŽ“îŒŚě ž 킎맪럞 ě§†í•†ěƒŽî‘š â€˜íŽŠíťžëť–î‚žěŻš ě§†í ˛ 풢슪(Alternative Miss World)’플 훊폪í•žě˜Ş î?Şě†§îŒŚëŻžě†’ îŒŞě‚˛.

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“Ask Andrew, a London based artist and accessories designer, to name his favorite materials to work with, and he’ll cite asteroids, crystals, meteorites and glitter. His jewelry—think of odd-shaped, pearl-encrusted cufflinks and bright red rings made with stones—would fit in at an incredibly glamorous Renaissance fair.�

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î‹’ě—–ěŠŞď˜“ěŠ’î‚Žě–ş

Fred Butler

엖슪 슒얺(Fred Butler)ě ˘ 엖핂싢 많많(Lady Gaga)많 <ퟢ엖(Telephone)> 켲íž? 찒싢í?˛íŽž읪 í§ˇí‘ˇîŒŞ ě?†ěş— í—’î?˘ëŻž 쥜í•ží?Ž î?†짣슚 í˛şě——쟌í”’ ě‹˘í•ží•†îŒŞ íŒŻěź†읪ě?ş 싢핞핂띖핂삲. í ˛í ˛ě˜Şě?Š í??î?˘ í—Şí•&#x;í•ž, 팒 싢엗흞, 콚 í ˛íşŽí•Šě?şí ˛î‚†ě•Š몎 í°ťîŒŚě ˘ ëŻ†ëźŽě ˘ ě°’í‘˘í¸ş(BjĂśrk)í?Ž ě‚–횲 짆뚌í?–(Nicki Minaj)í?Ž 맧픎 맪읿 맣îŒŞ 쟎엋슲플 íŒŻěź†읪ě?ş 싢핞핆픒 í—’ěƒ‚î?‚í?˘ě‚˛. î?’í•ş â€˜î‹’ě—–ěŠŞ 슒얺 í ˛íşŽí•Š(Fred Butler Style)â€™í•‚ě•Šě ˘ 쯢ě˜ŞëŻ†ě?Š í’‚í??îŒŚě ž î‚‡ěŞ’îŒŞ î‹’ě˜Şí—Ťî‚†ě?Š íž’î?— í›&#x;핂삲.

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“While most accessories designers are fashion obsessives above all, Fred Butler got her start in prop-making and set design. After all this is the lady who made the blue telephone helmet that Lady Gaga wore in her <Telephone> music video, and the brain behind an entire collection of golden accessories inspired by bumblebees. “It’s all to conjure up another dimension of fun and joyous vibes.� she says. “I want to create works that uplift and inspire people and open dialogues between strangers.�

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ě?şíŠŚěŠŞď˜™ď˜“ě˜Şě?şď˜“ě?žď˜™ď˜“í—Şí‚Şď˜“í˜žď˜“í ˛íş?ď˜™ď˜“í¸şě˜şîŒŚíŻŽ

Richard, Laurie Lynn & Jesse Jo Stark, Chrome Hearts í¸şě˜şîŒŚíŻŽ(Chrome Hearts)플 쿌í•ł ě?şíŠŚěŠŞ í ˛íş?(Richard Stark)픎 믆플 íŒ’ëş‚ ě˜Şě?ş ě?ž(Laurie Lynn), ěŒ† í—Şí‚Ş 혞(Jesse Jo)í?Ž

îŒśë˛Ś ěžŹí­˛î?Ł íŒŻěź†읪ě?şě?Š 잚슎삲. 1980ëź’ěƒŽ 쥡ëŤƒí•łí”Ś í‚˛í‚ƒ캍í”Šě˜Ş í•ŠîŒŚě„Ś ě?şíŠŚěŠŞě ˘ í•ží‚Ží•‚ í’žîŒŚě ˘ í ˛íşŽí•Ší”Ś 쥜흞욺í•‚íš‚ 플ěş?í”’ í¨ŒížŽ 좉î?‚ í ˛í ˛ě˜Ş 많훋 í•žíłĄí”’ 잚슲믞 í‚Şí•&#x;î?–ě ˘ě„ž, 핂늑핂 â€˜í¸şě˜şîŒŚíŻŽâ€™í”Ś ěĄśíşŞë§Ž 쇌펖삲. L.A. ëŤƒ짡펞읪 í•ží“Žě˜ťëŠš í•&#x;íŽ“îŒŚě ˘ 믆플 ë§Ží˜żí”Ž 엚슪í?Ž ěş?덎펔핂 핞킎슲핂 ěƒ‡í•ł îŒŚëŞŽ 탄몎, îŒŚëŞŽ í•–ě ˘ 늑펞 íž&#x;í›&#x;îŒŚě ž í?—í—?í”Šě˜Ş í•ŠîŒŞě‚˛.

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“I am willing to bet that Richard Stark is the only person to have ever won a Council of Fashion Designers award and not know what it meant. He has always done things his own way. Back in the 80s, Richard was an apprentice to a woodworker and was also working in a leather business. Unable to find the kind of motorcycle-riding gear he wanted, he started making his own leather jacket prototypes. This is how Chrome Hearts was born. This do-it-yourself attitude is in many ways the backbone of the company.�

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펌ě?şď˜“íş&#x;ď˜™ď˜“ě•&#x;짡

Elie Top, Lanvin 펌ě?ş íş&#x;(Elie Top)픎 뽎않풂 í•şě łí”’ íşŽ몎 뚪 íŒŻěź†읪ě?ş 싢핞핂띖핂삲. 19ěş‚ ěŒšě­Žíťž í•“캍ě˜Şě•&#x;(Yves Saint Laurent)펞읪 íŒŻěź†읪ě?ş

싢핞핆픒 î?‚í?ś ëŻ†ě ˘ ë§ ě°’íƒŠ 썂읍 ěƒŽí‚Ž 쥜혞 썂읍í”’ 욺푡î?‚ ěş—ěş?, í¸şëŻž 슿펞 í—ŞîŒŞí”’ 짊힎 팘몎 í•ží“Žě˜Şí’‚ 싢핞핆픒 읎썂핆삲. 펂ě?ŽîŒŞ

í ˛íşŽí•Ší•‚ěŠŽ, ě?žîŒŞ 펂ě?ŽîŒŞ 욺앚펞늚뚌 펂풆ě?şě ˘ 핳킎돺ě?Š ěžšěŠŞě ˘ ëŻ†ě ˘ 펝욺í—?핆 핆줊핂뚌 íŒ˛î‚ží¸ş íŒŻěź†읪ě?şě˜Şě­Žíťž í??맞픒 펉몲 îŒŞě‚˛.

2016ëź’ 핞킎플 í•‚ě?’í”’ 뺂늂 í˛şě——쟌í”’ ě˜Ží°ťî?‚ îƒśěźŚëŞ’í”Ś 훊쥡í”’ 짊몎 핖삲.

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“A driven man with an amazing mustache, Elie has been designing accessories since the ripe age of 19, when he began dreaming wonderful ideas in Yves Saint Laurent’s Paris atelier. When Alber Elbaz arrived in 1998 and created the studio’s famous Rive Gauche ready-to-wear line, Elie was charged with developing the perfect jewelry to go with every look. Avoiding precious stones in favor of larger-than-life costume jewelry, he makes pieces that are unrestricted by color, size or cut.�

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팒핂ě?şí ˛ď˜“짌ď˜“îŽ˛ě?‚î…Ş

Iris Van Herpen

팒핂ě?şí ˛ 짌 ě?‚î…Ş(Iris Van Herpen)픎 폪íŤ–ě˜Ş 3D î‹’ě?žîƒ“ ěŠŞě—–í ˛ě?Š 읎썂핆 솓썂í—?핆 îƒśěźŚ 싢핞핂띖핂삲. î?˘ě—˛îŒŚëŞŽ 퍖î?’ěƒŽí—?핆 믆럎플 í˛şě——쟌í”’ 슲펺삲썂쥂, 믆 핂쥂펞 튜삜믞쿎덊 ěş–ě˜Şí’‚ 핺욚플 욺푡 슿 캍ě˝šîŒŞ 늑슲펞 ěƒŽîŒŞ î?†믞í‚şí•‚ ë§ŽěŠŤîŒŚě‚˛. îŒŚí•‚íźší¸şě?Š

î?Şí‘ˇî?‚ ě—–í•‚í—Ž í˛˛îƒ“ě‡Ş í?–ěŤƒ, 썗헪읎 íŽ”ě ˘ ě•Šíź›í ˛ ěŠŞě—–í ˛ 슿 î‘›믞í—?핆 플ěş?í”’ í—Şí•&#x;îŒŞě‚˛. ëŻ†ëźŽě ˘ 삲í?&#x;îŒŞ í?–쿎 ě­’í?Ší”Ś 핆줊슲덊 î?&#x;펓픒 íž’î?—î?‚í?˛ëŞŽ í•–í”Šě ž, 믆럎플 í•&#x;픎 îƒśěźŚëŤŠ í?–쿎플 몋몒ě?Š 띌뚌슎삲.

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“If there’s an underlying theme to Iris van Herpen’s ornate, futuristic fashion collections, it’s the designer’s constant thirst for the unknown, of foreign materials and untested techniques. “I start from nothing every season.� she says. That nothingness has spawned pretty laser-cut frocks, 3D–printed fabrics and seamless latex dresses made to look like skin covered with piercings and scars.�

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í?˛ížŽď˜“ě•Ší•‚î‚†ď˜™ď˜“ěž–í•Šě?şď˜“îŒŠíŻŽí—Şě—‚ěŠŞď˜™ď˜“ě˜Şíš˛ď˜“ě?şěŠ’ď˜“

1

Ozzie Wright, Mylee Fitzgerald, Rocky River

띲í•‚í ˛íş˝ď˜“ěŻšě•Šě„˘í ˛

2

Neistat Brothers

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91

ì—–í¯®ï˜“í‘¾ìŠª

3

Retts Wood

í±Šï˜“ì•Š먾

4

Karl Lagerfeld

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93

엖뚌ď˜“í¸şě?şí ˛íźží ś

5

Helena Christensen

í¸şě?şí ˛í§şď˜“ěšśě­Žíşż

6

Christian Louboutin

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94

95

폺읺찒펞핮

7

Olivier Zahm

욶슪퐎핂퐇

8

Lou Doillon

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97

펞ě?ťď˜“í’šëť–ď˜“&ď˜“ěž–í•‚íŒ’ď˜“îŽśě?şď˜™ď˜“îŒŚî‚†í‘žěŠŞ

9

Eric Werner & Mya Henry, Hartwood

ëŻ†ě•Şî‚†ď˜“íŒŽí˛˛íŻŽď˜™ď˜“ëťłí ˛î‚†

10

Grant Achatz, Next

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99

펞짎ě?şí?˛ď˜“î…Śě?‚뚪ě„ží?–ď˜™ď˜“ěšşď˜“î†şě•Šě‚˛ě‚˛

11

Emilio FernĂĄndez, Sa Foradada

íš‚ě—–íŽ‚ď˜“î‹’íş?ď˜™ď˜“짢í•‚í?şě—Šď˜“íłŽí•‚í¸şď˜“

12

Claire Ptak, Violet Cakes

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팮삖뽆짣핂믎큲읺폳캏뽛핳

13

Annie Novak, Eagle Street Rooftop Farm

팖헲옪많옪읂뻲캏큲힎

14

Angelo Garro, Renaissance Forge

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í˛˛í¸şď˜“ě˜şě§˘ěŠŞď˜™ď˜“í‹śď˜“î†şě?şí—Ž

15

Kirk Lombard, Sea Forager

íŒ˘ě°’íą‚ď˜“í´Śě˜Şí•‚

16

Ambika Conroy

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폲슪읺욶핂큲엖핂뽎흖

17

Audrey Louise Reynolds

읾힎싢멂

18

Lindsay Degen

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107

í?şě?şě°’íŽžď˜“ěšśí ˛íźší•—ď˜™ď˜“짪잍

19

Olivier Rousteing, Balmain

짆í?–îŒŚě•Šď˜“íš˛í´˘

20

Kiko Mizuhara

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í?Šěž–ë§ŽíşŽď˜“í‘˘í‚Şíą‚í?–ď˜™ď˜“ě?şî‚ŠíŒŽî‹’íťží’ší?–

21

Yoshikazu Yamagata, writtenafterwards

ěž–ě?şě˝˘ď˜“쿌íŒ’ě—–í?–

22

Marisol Suarez

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111

ěŠ’ížŽě‚–íŒ’ď˜“슎í•‚íŻŽ

23

Virginia Bates

íą‚ě?Šě•Šď˜“ě˝ší§śě‚–ď˜™ď˜“ ď˜“ëłşě?‚콚볺쥜

24

Carla Sozzani, 10 Corso Como

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113

íą‚쥜ď˜“íą‚íŻŽí?Š

25

Katsuya Kamo

íŒ˛ěŠŞěœŚď˜“ě˜ŞëŠ‚

26

Andrew Logan

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115

î‹’ě—–ěŠŞď˜“ěŠ’î‚Žě–ş

27

Fred Butler

ě?şíŠŚěŠŞď˜™ď˜“ě˜Şě?şď˜“ě?žď˜™ď˜“í—Şí‚Şď˜“í˜žď˜“í ˛íş?ď˜™ď˜“í¸şě˜şîŒŚíŻŽ

28

Richard, Laurie Lynn & Jesse Jo Stark, Chrome Hearts

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펌ě?şď˜“íş&#x;ď˜™ď˜“ě•&#x;짡

29

Elie Top, Lanvin

팒핂ě?şí ˛ď˜“짌ď˜“îŽ˛ě?‚î…Ş

30

Iris Van Herpen

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1 폲힎않핂잖핊읺�헪엂슪옪�읺쩒 Ozzie Wright, Mylee Fitzgerald, Rocky River --------------------------------------------------

Q A

펺읒픦잖힎잗빮핂펖섦핊펞헪팮잖큖퓖4DIXJOO 핞헒먾읊�몮핟펓킲옪횮�핒큲�펂펞컪푾펾

Q 쫂핂읒픒폖츦멚붆젾쫆삲졂 A

폲�짢핂읊벦�몮핖섦퍊삖쯚퐎�핂읊잚빺펂푢 쯚엩뫊혾킪�핂킪핾뫊벦�킪펂큲$IFMTFB

1JFST펞컪몶읊�몮캦핂믾몒읊혾핟컪몶뫃핂 몒콛빦폲멚쁢쩣픒팚팒뺖힎잚믆잚펾킃핳펞컪

팖뼣켆푢팒잞읺팒폲큲�퐎옪�

Q A

쨂힎믖벝많핳퐒쪋섦욶쁢펆헪핆많푢

폲큲�옪�많�펂빪빮픦졶킃픒믆엲훒쿦핖빦푢

몶�읊쭒킲몮잞팦횮혾킪쁢퐅픒쩥몮쁢

Q �큲5IBNFT맣펞컪쫂읊�쌚졓킺퍊

쒾펂슲펖펂푢푾읺쁢��큲�펂뫃풞5PNQLJOT

A

�잊픊옪풶큲칺핂슪몮콛솒옪펞핖쁢쭒쿦샎펞

4RVBSF1BSL픊옪많컪샂쪊앋멅믾킪픒믾솒 몮푢믆읺몮짆�퐎엞픒잚빦헎뼏킫칺읊쉲

A

샎읊빦뿮�몮컮�핂킪많핞헒먾짷�읊핯몮

짆�많삺픒짭팦횮솚팒폲졂컪싢헎읊칺젇펖쁢섾

팒잞읺팒폲큲�읊�픚잚빺섦빮믆픦졶킃픎

헪많몮읆�흖�핂�많삶펾�몮폎펂푢푾읺쁢믾�

펂쌮빦푢

펂옪HVJUBSIFSP멚핒픒몮캦픎멚핒픦많핳 펂엲풂엖쩶펞컪 맪픦펾훊몯픒컿뫃펂푢힟펞 솚팒퐎컮빦픦팒읒삲풂믆뼎퐎핮핂슲펖횮

Q A

Q A

폲큲�샇킮픦힟픒훊헪옪킪읊힎펂훒앦푢

핂힟펞컪쁢욶홓핊얺쯚앪슪읊펊먾읺삲핓핂

Q A

헣솒않뻲핂뫁펞컪쁢폂킺뽆엳삲졂삺빦않옪

잞멑Ώ맪핆줊펞콞샎힎잞멑ΐ펂힖엎삲졂짦슪킪

펺픒맖쿦솒핖삲뻲힎잚믆멂�퍟팒앦좆픒

�풆멑Α튾엖믾쁢잲핊짤펞뺂삲뽡픒멑Β칺앚핂

뿒핂쁢믆헣솒픦핺짆펞쭖뫊춞

Q A

헞킺픒칺얺빦많졂빦젆힎칺앚픎맧핂쫊폏읊 몶않뽡픒멑Γ삲썶펂힒줊멂픎캖옪칺삲뽡픒멑

팒잞읺팒옪�픦짆콚힡멚쁢솧 많힎읊봋쁢삲졂

Δ쫂않캗픎멑Ε�픎펆헪빦펾옪많슫�풚

΍빦읊볂팖몮�삳�삳슿픒숞슪잂쌚Ύ푢슲콯픒

뽡픒멑Ζ믆얾삲픚펞잚큲�핂쫂슪읊�멑

쭎읊쌚Ώ잖핂�펞샎몮퐇팚퐇팚뽆앦읊쭎읊쌚

Η칺힒핟많슲픒뫃콞멚샎헟멑

ΐ빦읊쫂몮짷믙짷믙풑픒쌚

Q A

폲큲�컪핂컮칺쁢�몮픦쿪맒픎펆헪핆많푢 핆솒뻲킪팒픦칾�많잚슲펂뺆푣혾�엊팒쁟

뫃맒펞좆픒반핂샂믆몮퀺삲많힟펞솚팒퐎킫픊옪 빦킪몮엫픒젇픒쌚횮

Q A

Q A

팒잞읺팒팬픊옪볻몮탄픎핊 많힎읊봋쁢삲졂

΍쿪맒펞�킲캄Ύ졷푣믾Ώ많혿슲뫊믆 ΐ몯핟몯믾Α풑믾Β��믾

쉲푢쌚솚엲짩힎좉삲졂삲픚쭎�쁢찚엲훊힎

3 엖�푾슪 Retts Wood --------------------------------------------------

폲큲��삲앎짿캏펂읊잖읺믆엲훊켆푢

핖삲ΐ훊쪎펞뻖줂빦젙힒핂풑슲핂핖삲Α훟팧빪짷 샎킮핟픎빪옽쭖잚픊옪솒짷픒싾씉멚쿦핖삲 Β쫂많홏팒컪튾엖믾읊탡팒숞힎팘멚쇪삲

Q A

�졂펞컪짢않쫆쫂픦졶킃픒믆엲쫆삲졂

팖뼣켆푢�핂킪퐎쨂

Q

쨂�핂킪퐎찒묞픒쌚핞킮잚픦맣헞핂핖삲졂

A

뫃묺뫎읺

Q A

줂펕핆많푢

�핂킪쨂픦�쿦폊픒믆엲쫆삲졂

Q

빦잚픦쫂읊많힎멚쇦졂컪캖옻멚팚멚쇪 많힎많

A

΍컫�샎많팒훊줂멏삲쁢멑Ύ볻헒엳핂푢 ΐ빦잚픦%*:헪픒잚슪쁢핺짆핂헪쁢큲큲옪 펢힒밚힎솒쿦읺쿦핖멚쇦펖횮˘

Q A

ΐ믆뫁펞컪팦섦졶슮멑슲

멑힎잚핢핢쌚쁢�줊옪졷푣쁢믾쭒핂슲횮

Q

Α�큲맣쪎펞홙픎쿮힟슲핂잜힎Β홏몮밂쫂많 않큲쫂쫂삲빹삲쁢멑

A

쨂�핂킪픦�쿦폊픒믆엲쫆삲졂

Q A

뺂읺쁢콚읺읊슲픒쿦핖픒�삖밚푢 킮홓큲��읊싢핞핆삲졂

않핗큲��˘˘팒큋멚솒뽡�쩒옆뻲푢

Q A

칺힒칺힒칺힒˘˘ ���

Q A

펺맫믾읊캖옪싢핞핆삲졂푢 맡�킪쇪��슪펺맫믾

Q

칺힒핟많쯚읺�)FSC3JUUT옪쭎�짾풂멑핂핖삲졂

A

핞펾큲얺풂퓮젆맞맏뺂캫볻푢멑많쪊풂

Q A Q A

A

핂옮헏픊옪쁢 뼒칺앚픊옪�졂 캂�핂푢

Q A

Q A

믆맒핋펖섦퓒핆헒훟짿짆쁢

�믊�쇪읺�않삲�'SJU[3BEEBU[많틂 잂�3BJOFS.BSJB3JMLF픦캫팮펞뫎�

펺컿픦팒읒삲풎픒멾헣쁢 많힎푢콚쁢줂펕핆많푢 ΍푆졶쁢믾쫆Ύ험픚픎믾쫆Ώ큲�핊픎믾쫆 ΐ맠찒탊픦캏픎믾쫆Α착빦쁢쭎쁢믾쫆

΍쭖착Ύ맧픎쁦팒앦홂핺쁢뻖줂빦솒삲�옪풂 줆슲Ώ캖쪋뼦맣많픦팖맪ΐ슪큶많픦쿶멶힒

�읺큲�욶쭎� Christian Louboutin -------------------------------------------------팖뼣켆푢�읺큲�

Q

빦잚픦줊샂쨑샎CPOH읊싢핞핆쫆삲졂펂썲

A

�슪짆팖힎잚빦쁢맿맿샒큲(BOH(BOH%BODF

샇킮핂잶�픚싢핞핆섦핂픒믆엲훊킲앦푢

뫪컪컿핂젾칺앚슲픒뮎�멚횮큲핂�많 픊읂엏먾읺믾킪핟졂믆콚읺쌚줆펞쭖팖힒

칺앚슲핂�핂쯢퓒픦픚킫픒뼎컫펞멚졶숞뺂펂훊멚 쇦펂핖펂푢

Q A

팒슲픦펊뭂픒믆엲쫆삲졂

Q A Q A

Q

켦1VSQMF'BTIJPO 픒�맒멚쇪솧믾쁢

A

핯힎픦�맒킪믾쁢 뼒많픒믆얺삖밚몋헪퓒믾옪

Q A

Q A

폏옪헫읊컮헣쌚믆믾훎픎줂펕핆많푢 졶읂멮펂푢˘˘홎팚엲훦푢

젆읺숦삺읾쿦�픒믆엲훊켆푢

줂펕핆많푢

뼒샎많쭣묂쇪힏폎횮

켦 픦짆앦쁢펂썶멑맧빦푢

짆앦쁢핂횮빦쫂삲섢폲앦솒옫캂팒빶쁢핯힎많 쇦믾읊

샇킮픦핂퍊믾읊슲엲훒쿦핖빦푢

Q A

폺펉픎묞핂핖삲졂줂펕핆많푢 뺂뼒펞팚엲훒멚푢

뼒 풢뫟몮펓몒핊슲픎찒흖삖큲많

Q

�펂빪힎 맪풢핂펖픒쌚픦큲핂�졶킃픒

펔펖힎잚킪맒픎잜팦믾펞핆�뼅펞컪캂밆픒�믾옪

A

힎믖뫊쏟맧핂캫몊힎잚섢핟팦횮

팒삖펞푢픒졶숞핑쁢짢앚펞묗핳푾풆펂푢솖픎 멾킺몮삲핂펂읺1VSQMF%JBSZ읊킪핟횮

믆엲훊켆푢

힎믖픎쯢옪먾옪솧몮핖쁢섾헣잞흞먾풚푢

쏞삲읆핂퍊믾빪펂헽짲�큲��)PUFM �슪빦쁢맪핆헏픊옪 뼒샎읊홙팒힎

팘팒푢 뼒샎픦붖픒힡짭픎멑핂짢옪

섦멑솒믆쌚줆핂횮믆얺빦펂쁞핆�쮾펞컪

폏맞솓않핂뻖쩮읂뻖큲찖섢3BJOFS8FSOFS

묺숞짟�픒찶맒캗픊옪핓믾킪핟핂퓮쁢

믆슲펞멚컪믊칺졶킃픒핂븚펂뺂쁢핊픎샎삶

싢핞핂뻖읊폂잫쁢칺앚슲펞멚훊몮탄픎핂퍊믾많

A

샇킮픦쫆쁳뫊캏캏엳픒싾읂몮짍몮잯믾켆푢믾쿮펞

Q A

힟펞핖픒쌚훊옪쁢핊 많힎읊봋팒쫆삲졂

΍핮핞믾Ύ켇큲Ώ솓컪ΐ뺂쌆팒킪팒"TJB퐎 뽎팒훊믾Α캲풚Β핂칺뭏읺

핂쿪컪옪삲쁢잞픎팒삖펞푢

핖빦푢

Q

폏짾푾�옪펞켆찒삖$IMPª4FWJHOZ픦펂썲헞핂

펋잲핂힎잞몮푢

A

΍믆뼎픦핂읒Ύ믆뼎픦폏Ώ믆뼎픦큲�핊

홙픎많푢

ΐ믆뼎픦폲찮Α믆뼎픦좆잲Β믆뼎픦졷콚읺

121

΍푾읺힟Ύ옿'BO'BSPO읺 쩖많펞핖쁢 짢핂않쁢씉핂퍊Ώ쿦픦짣줊뫎ΐ샇읂

짣줊뫎.VTFFEFMB7JFSPNBOUJRVFΒ읂않켆흖 1§SF-BDIBJTF픦뫃솧죦힎

"VDI&JOF7UPQJF

퓮쁢멑뫊삲읒펔믾쌚줆핂펞푢

읺펞컪많핳홙팒쁢핳콚 뫁픒봋쁢삲졂

옪큖옪%FOGFSU3PDIFSFBV픦���Α빻잚훊픦

쏞퓮�팒핓삖삲솓핊펂옪쁢,FJOF6UPQJFJTU

폂헣픒캏힣쁢찶맒캗픎헎믾푢빦읊싾않퐎푢몮

펂싢핆많푢

Q A

'BTTCJOEFS많빶몊섦잞�엊퓮�팒많펔쁢켆캏

줂펕핆많푢

Q

콛펞컪핟픒잚슲펂뺂쁢

믆얺몮컮썶펂힎쁢픚킫픒빨팒�훎찒읊먾빦

$PTUF 펞컪짆큲쩒�않핂퐎�큲횮

칺힒�쁢멑픦잲엳픎줂펕핆많푢

믾킺뺂핟펞샎팮헣믆읺몮�캏픦�싢켦

큲핂�쁢핊삶쮢�핂쯢팒앦펞핞읺읊핯팒푢

�멶훊빦푢

쁂푣�킮쥲힎켦잚�맿쨓(BOH#BOH솒핦팚힎잚 쫊멚푢

캂쌚싢핞핆섦묺숞

뺂�샎

샇킮픦풞솧엳픎줂펕핊밚푢

A

졶킃핊밚푢

줊샂쨑샎읊칺푷쫆헏픎펔펂푢핊삶쩖믆엲쁢

핞캏픒믆읾삲졂

Q

Q A

펔삲쁢멑핂폖쿮많쁢핳읂읊뻦빦슲젾믎뽊줆펞켆핂

팖뼣켆푢폺읺찒펞

뼒샎펞푢푾읺많퓮�팒펔쁢캄픒캂팒퍊

칺힒믾팬펞컪펂캗쁢칺앚슲픦밂핳픒펂훊몮

핂헪섢핂캏콢읺삖1JFS1BPMP1BTPMJOJ핆�쿦

폏켆핳펞컪팮퐒멺큲핂�픦짳픎펂쎉멚

탄펂푢

Β켇킪솒믾쫆

Q A

핊펞컪짾푾쁢멑핂핖삲졂줂펕핆많푢

Q

삲킪윻샎�옇핂샇컮쇦졂홙멮몮컪옪삲읆

쁂푣픦잲엳 많힎읊몮읆삲졂

6

Q A

핞킮핂쇦믾

8

킪뫃맒콛펞컪컪뻖맪헣솒픦맏믾삲읆캄픒캂팒쫂몮

멆잂밚푢

헣풞Α뺂�묺슲Β솓쭒퓒믾

힎믖벝팚엲힒헏펔쁢퓒샎핂믾읊 핆캫헒쭎읊먾쁢멑핂빦잖�많힎횮

푾헣픒흞멏멚푷쁢쩣

줂펆많많몶솧핂쇦쁢섾펞펂쁞헣솒픦킪맒핂

짆앦쁢펂썲믾핊밚푢

폲쁦빮켦싢핞핂뻖많쇪삲쁢멂펂썲픦짆핆많푢

줂펕핆많푢

Q

Q A

΍팲싢풚쇦믾앟큲쩒헒Ύ핖쁢믆샎옪픦빦

콚컲킪픒틂섾삲폏밚힎잚슲펖횮

뺂많쫃힎쁢멑뫊켆캏핂쫃힎쁢멑짆묻펞

폺읺찒펞핮 Olivier Zahm --------------------------------------------------

삲픚몒픎줂펕핆많푢 �엗켦�엗켦�엗켦

붖핂핖삲졂푢

7

A

120

펂컪찒많뺂옆픊졂홙멮펂푢믆얺졂젆읺퓒옪찒많

Q A

캫팮�몮픦졷많핖삲졂

욶슪퐎핂퐇 Lou Doillon --------------------------------------------------

샇킮픦팒핂읊믆엲쫆삲졂

폏맞핂푢쌚읺펞컪흞멶�쁢핳콚쁢

�쿦핖삲쁢멑솒핂힏펓핂훊쁢뭚핂횮

Q A

캖힟픒펉펂컪많핳킮빦쁢멚핖삲졂줂펕핆많푢

Q A

팖뼣켆푢욶

Q

헎뫁픒썮솚쿦핖삲쁢멑뺂많쁞빊쁢쿪맒픒캫캫멚

Q A

쫊쿦핖픒멑맧팒컪푢

믆엲훊켆푢

팖뼣켆푢�

많힎몮핖쁢훊헒핞읊믆엲훊켆푢

잲엳헏핂펞푢�핆픦캄콛펞슲펂맖쿦핖삲쁢멑핂뫁

읺픦힎쭣슲푾읺힟힎쭣픒펂큺엏먾읺쁢몮퍟핂슲픒

멑핆많푢

샇킮픦졶읺큲잖핂뻖.PSSJT.JOPS핞솧�읊

�않먾 Karl Lagerfeld --------------------------------------------------

A

Q A

A

Q A Q A

4

핖삲졂

멑픎팒삖않쁢헞Ώ�많핟팒컪홙픒쌚솒핖삲쁢멑

Ώ핊쫆헪콚�빊읺핆

뼒헣솒짤펞팖멆잂�섾

2 뻲핂큲�쯚않섢큲 Neistat Brothers --------------------------------------------------

΍몶솧몮읺쩒슲픦핞Ύ줃픎솚짦힎

캖옪핂칺힟픦�핳�뫟�픎펂싢펞컪읊펉픎

많힎읊몮읆삲졂줂펕핂핖픒밚푢

힟펞많쫂졂팖쇮밚푢뺂많킪콛 �옪짆�옪풂헒졂

΍펾펞힟픒븚몮삲삖젾펺쿦핖삲

빦삲Ώ펺읒펞쁢칺앚슲픒�푾몮펺믾헎믾삲삞쿦

A

슪줆푆쌂뫁펞헣짣쫂않쁢멑ΐ맣줊픦읒픒򰨺

쫂펞컪칺쁢핳헞픒 많힎잚봋쁢삲졂줂펕핆많푢 Ύ얾섦펞컪캫찒읊훒핊쿦핖쁢�몮픦짷쩣훟

샇킮픦쿛펞컪팦섦헪훟헣잞몮탄힎팘팦섦

킲잫킪�힎팘픊읺않쁢멑Ύ짿혾많칺킲묗핳

팖뼣켆푢엖�

Q A

Q

Q A 짢삲옪빦많몮탄펂푢핂멑픒븚몮잶펞핖쁢샇킮픦

킪솒쁢팖푢믆헎킲춞

΍빦칺븫핂줗�힎힎팘솒옫멑Ύ줊멂픒찚엲훎

팖뼣켆푢엖빦

Q

쫂읊븚몮많몮탄픎뫁핂핖빦푢

�핂킪핟픒퓒짆읺킪솒쫂쁢멑핂핖빦푢 쨂큲싢폲펞컪힎�퍊쁢뮪�핂핖빦푢

΍팒줂읺빮틶많탎탎솒퍊맒쿦폏픎푾읺읊

엖빦�읺큲�큶 Helena Christensen --------------------------------------------------

뫃멷헏핆솧줊핂않쁢멑Ώ섢�흞먾풎픒풞삲졂핆헏

�핂킪픦힟픊옪맢쁢섾�핂킪퐎짆�쁢핞헒먾

Q

많힎많핖삲졂줂펕핆많푢

5

Q A Q A

샇킮픒잲쩖뽎않멚쁢멑핂핖삲졂줂펕핆많푢 칺앚

힎빪 뼒맒컿멷펞쪎많핖펖삲졂펂썲쭎쭒핆많푢

헒쫂삲섢쭎슪얺풚혚몮핂헮맞�훒솒팚횮믆멚볻 짢앚힏핊픎팒삖힎잚˘˘ 캂쌚쁢힎믖쫂삲틺 섢뫪�팦횮

� 팖펞 삲 헏픒 쿦 펔픒 먾펞푢. 샇킮픎 빻 �엖읊

9 펞읻 풚뻖 & 잖핂팒 읺, 푾슪

Eric Werner & Mya Henry, Hartwood -------------------------------------------------팖뼣켆푢, 펞읻뫊 잖핂팒!

Q A

푾슪픦 솒졂픒 믆엲훒앦푢?

홙팒빦푢?

Q A Q A

샇킮픦 폂헣펞 솧믾읊 쭎펺쁢 멑슲픎 줂펕핆많푢?

A Q

펞읻, 샇킮핂 많핳 홙팒쁢 솓 힎 핺욚 6많힎쁢

A

΍ �퍊 Ύ 짢뻲옪 몮� Ώ 짪옪 � ΐ 삶짣

Q A

줂펕핆많푢?

Α �읺쯚칾 짢샅많핺 Β 줆펂

킮컮멚 힮 핞좋 훊큲퐎 짢뻲옪읊 푾엲뺆

엖칺솒(Reposado) 섾빒않읊 3:1픦 찒퓶옪 컬펂푢.

Q A Q A

펞읻, 젣킪�많 샇킮펞멚 많읂� 훎 멑픎 줂펕핆많푢? 핆뺂킺

잖핂팒, 젣킪�많 샇킮펞멚 많읂� 훎 멑픎 줂펕핆많푢?

‘뺂핊’핂푢.

샇킮픦 솒짆 �묺핂 푢읺쩣픒 팚엲훒앦푢?

쭗픎 솒짆 �묺핂 푢읺쩣: 뮲뫊 짢힖옪 콛픒 �풂 쭗픎 솒짆읊 뮲, 옪흖잖읺 폲핊뫊 벦 �잖쁦뫊 옪흖잖읺

샇킮픦 쯢욶쩮읺 ��핊 푢읺쩣픒 팚엲훒 쿦 핖빦푢?

A

΍ 잩쫂쁢 쩣 Ύ 뫊핊픒 몮읂쁢 쩣

줊옮핂횮, 믆엕힎잚 팒밚�엊 핂 힖줆힎 � 팖펞 삲

헏힎 좉 멑 맧픎섾푢.  많힎 킲 멂 빻 �엖퐎

Q A Q A

솒짆쁢 짢칻짢칻졂컪솒 쭎슪얺풚퍊 몮, 짢뻲옪

Q A Q A

Grant Achatz, Next 팖뼣켆푢, 팮�� 퀞!

Q A

‘뻳큲(Next)’픦 ‘�핂(쫄픚 탎묻쿦)’읊 믆엲훒앦푢?

Q A

Q A

많핳 젙힒 �많 삶(window box farm)픒 믆엲훒앦푢?

샇킮픎 퐪 핂 뫁펞 엖큲�앟픒 힎펖빦푢?

핞펾훊픦 엖큲�앟펞 많핳 헏 뫁핂펂컪푢.

��핂�많 퐒컿쇦횮!

A

쁂푣펞 섢 잜픎 폳캏 뽛핳슲핂 캫믾엲졂 펂쎉멚 퍊 빦푢?

Q A

Q A

샇킮핂 젇펂쫆 �몮픦 싢헎 5많힎많 핖삲졂푢? ΍ 폶숞않큲(Republic of Honduras) 컺픦 

폲숞잗펞컪 젇펖섦 ��뻩 챃. ��뻩 폲핊뫊 ��뻩 뫊퓯픒 뻱펂 잚슮 챃핂펖쁢섾, ��뻩 벛힖픒 �풂 쭖옪 묺풚뺆 멑핂펖횮. Ύ 졶옪�(Kingdom of

Morocco)픦 잖않�큖(Marrakech)펞컪 푾퓮퐎 폲엚힎 쯢옪컺(Orange Blossom)픚욚앟 벦 잩쫂팦섦 큲읺 Ώ 퓮졓 퀞 펞읂 펞읂젢(Pierre Herme)픦 짎퓮 ΐ 펦읺큲퐎 삖픦 힟펞컪 잩쫆 뮲뫊 샎� Α ‘삲쫂큲 켆몒 몋헪 엊(Davos Forum: World Economic Forum)’픒 퓒 잚슲펖섦 칺뫊 �읂. 믆옪� 칺뫊(Glockenapfel)옪 잚슮 멑핂펖쁢섾, 칺뫊픦 잩핂 핊핂펖힎푢.

잖푢읂� 컺픒 샎쁢 푢읺픦 혾읺쩣픒 팚엲훒 쿦 핖빦푢?

잖푢읂� 픚킫픎 힎훟픦 빮틶 팒앦, 뿖쭎킮 캂뫊 짢삲 믆읺몮 칾픦 몋픒 샂팒 잚슲횮.

펞퍊읊 푢읺힎 펊잖빦 쇦펖빦푢?

퍊캫 젵쇊힎 푢읺

15

묺혾헏픊옪 �몋 폳캏픒 잚슲믾펞 �쭒횮.

--------------------------------------------------

퍟킫픊옪 핞읺 핯팒퍊 푢.  폳캏픒 많힒 �솒않졂

Q

폏묻 �빊 16잖읺픦 핂읒뫊 맏핞픦 컿멷픒 핂퍊믾

A

΍ 펦찒큲 ‘쪒’ 쿦� �빊. 읺슺펞 좆픒 잯멶 ��쁢,

A

팒훊 맣엳 옪 �읊 쭧펺훦퍊 픚 ΐ 쩒싢: �펞 빪 �핂 줊믆읕펞 핞훊 펗� Α �읺:  믾퐎  젇믾읊

홙팒 Β 옪쩒 “삲푾삖”: 폶홓핊 핞믾 � 콞힖믾 짢츶

샇킮핂 홙팒쁢 짢삲 캫줊슲픦 퓒�많 킪쇪

Γ �않�: 팚픒 좉캂멚 뭄. �많핂!

캚앎킪큲� 힎솒읊 믆엲훒앦푢?

Δ 큲쯚: 헪2픦 짢앚숳핂. 묞짾읊 퓒 삲읆 뽛핳펞컪 섾엲퐂 Ε 쯚읺힡: 뮎폊숳핂 Ζ 엖삖: 쿦�픒 퓮

Η 힎빦: 엖삖읊 싾않 Θ 켾흖: 팢� 팧몮않 �빊슲픦 샎핳 Ι 않빦 Κ 팒짢 Λ 콚 Μ 않: “쭗픎 펺푾�

팮삖 뽆짣, 핂믎 큲읺 폳캏 뽛핳

-------------------------------------------------팖뼣켆푢, 팮삖!

Q A

팒많틶슲”옪 솧뻲픦 졶슮 �빊 뭂 팬펞컪 �픒 

Q A

-------------------------------------------------팖뼣켆푢, 팖헲옪!

Q A

샇킮펞멚 캄픎 펂썲 픦짆핆많푢?

Q A

많� 핖쁢 홂핺많 쇦믾 퓒 뽆엳쁢 캄픒 캂삲많쁢 멑 샇킮픦 뻺(fennel, 짆빦읺뫊 킫줊) 쭎�맪 푢읺쩣픎 줂펕핆많푢?

1풂슪(lb)픦 퍊캫 뻺픒 많쁦멚 턺 쉲, 콚믖줊펞컪 10쭒맒 븡핓삖삲. 핂 줊픒 싾않뺂몮, 핺욚읊 컬픒 � 믆읕펞 샂팒푢. 펺믾펞 잖쁦 1�, 잖칾 �흖 1�, 챃 많욶, 삺먎 2맪, 믆읺몮 맒픒 재�믾 퓒 콚믖뫊 �읊 뻱몮 헒쭎 컬펂훊켆푢. 핂멆옪 핟픎 섷펂읺읊 잚슲몮, 폺읺쯚 폲핊펞 쭎�뺓삖삲. 헣잞 잩핖힎푢.

Q

캚앎킪큲� 잚 핊샎펞컪 샇킮핂 �픊얺 삲삖믾 홙팒쁢

A

퍊캫 쇊힎, 뻺, 폲읺, 킪삖 쩒컽, 몾쫂 쩒컽, 캫컮,

핂믎 큲읺 폳캏 뽛핳픦 힎솒읊 믆엲훒앦푢?

Q A

헎쁢 핆맒핂 �펂빮 쌚쭎� 많� 핖쁢 홂핺않믾 쫂삲쁢 맧팒푢.

멑픒 믆엲훒앦푢?

Q

풞쿻핂펊뭂핳펂(monkey-faced eel: 줊몮믾 홓)펞멚

A

쫂앝착픦 캫졓�펺, 펂숮 콛 짢퓒 픊옪쭎� 펂컪

Q A

Q A

빮찧펂펞컪 폏맞 짩픎 핂�솒   턶훒 쿦 핖빦푢?

줊먾 콛 빮찧펂. 폲핂�엊 캫밂 뻖읊 뺂많 펂�빦 젇몮 탄픎힎!

Q

샇킮픎 퐪 솒킺 콛 빨킪읊 홙팒빦푢?

A

΍ 솒킪픦 줊 콛펞쁢 젙힎몮 삲퍟 줊몮믾슲핂 잜믾

팯켆컪읺읊 잚슪쁢 먾횮. 팧몮않 �빊�픎 퍟�쫂삲

쫂폶컿핂 8짾빦 쒾펂빦푢. �빊  잖읺픦 �옪 1뼒 솧팖 졶핞 8맪 헣솒읊 잚슲 쿦 핖횮.

Q

혾퀺, 샇킮핂 ‘뽆팒픦 짷훊’ 뽛핳픦 솧줊슲옪쭎� 짾풂

A

헎쁢 솒킪 믊묞펞컪 핞앞믾 쌚줆펞 뽛칺 몋핂 헒

Claire Ptak, Violet Cakes

Q A Q A

헪 훊쪎픦 멑슲픒 폺짢읂멚 쫊 쿦 핖멚 솒퐎훊몮, 헎읊

캚앎킪큲�옪쭎� 폏맞픒 짩픎 푾 핂읊 믆엲훒앦푢?

펆헪빦푢. 픚킫픒 젇먾빦, 푢읺먾빦 컪찧쁢 칺앚핂 믆

흞멏멚 훦푢. 솧줊슲픎 헪 많혿핂빦 잖�많힎핂몮, ‘뫎몒’않쁢 멑핂 줂펕핆힎펞 샎 븘핒펔핂 많읂� 훊횮.

Q A

픚킫펞 팮헣핂 핖삲졂 펆헪슮힎푢.

��핊픎 펂썲 푢콚슲옪 핂욶펂힖밚푢? 샇킮픦 빻 �엖(Panang Curry) 푢읺쩣픒 팚엲훒 쿦 핖빦푢?

믆엊푢, 믆얾섾 펺믾컪쁢 펂엲풆 멑 맧팒푢. 핂 힖줆힎

Q Q A

퀞많 쇦펂 많핳 홙픎 헞픎 줂펕핆많푢?

‘�엖펂 �핂�(Claire cakes)’읊 훒핆 믆뺳 ‘�핂�(Cakes)’많 헪 핂읒핂 쇦펂쩒읾 헞핂푢!

122

A

Q A

뽛핳펞컪 핦 핞않쁢 4많힎 핟줊픎 줂펕핆많푢? ΍ 짢힖 Ύ 폲핂

Ώ 많힎뫊 킫줊(Nightshades): 많힎, 몮�, �잖� ΐ쩚

퐪 볻 헣픦쇦펂퍊 삲몮 캫맏횮?

펔펖펂푢. 믆앦컪 ힵ픎 킪맒 솧팖 퍟펞 샎 반핂

핖펂컪 팒훊 � 솒풎핂 쇦펖횮. 솧줊슲픎 헪 캄픦 짢�핂핞

팖뼣켆푢, �엖펂!

픚킫핂 폖쿮핂 쇦쁢 쿪맒픎 펆헪핆많푢?

멑핂 핖삲졂푢?

뫃쭎쁢섾, 믆 쌚 뫃쭎섦 멑슲픎 헪많 뽛핳픒 풂폏펞

--------------------------------------------------

Q A

믾 퓒 믖콛 �콢옪 많힎얾 찥멶 훊젾 킲 줗�읊

잚슲펂푢. 핂 킲픒 �짢쁦옪 썮 싾씉몮 쭎슪얺풂 퐅뫊

킺짆헏핆 핂퓮핊 먾펞푢.

풞쿻핂펊뭂핳펂픦 캫밎캖읊  핳 믆엲훒앦푢?

‘�빊� 졶핞’많 펂쎉멚 잚슲펂힎쁢 힎 컲졓 훊킪멮펂푢? 켆 삺펞 쩖틷 �빊�픒 발팒푢. 믆얾 삲픚 �픒 몮읂멚 잚슲횮. 믆 삲픚 줊엖빦 많앋짢�펞 맞팒 탛폺킲픒

쌚줆핓삖삲. Ύ 헪많 솒킪펞 캂몮 핖믾솒 몮푢.

�엖펂 �, 짢핂폺엩 �핂�

Q A

팧몮않 폊콚 쩓(Buck)픦 펊뭂픒 믆엲 훊킲앦푢?

빦폲먾않. 뺂많 뻖읊 핯픒 쿦 핖멚.

핞펾픎 헪멚 훟푢삖삲. 핂멂 팒잖 헎잚핂 핂 쿦 핖쁢

Q A

팧몮않 �빊펞멚 킮믾 헞핂 핖삲졂?

믆슲핂 홂핺삲쁢 멑!

폏맞 짩픎 핂�(Haiku, 핊쫆킪)읊   턶훒앦푢?

Ώ 폲앪 킪맒핂 얺 줊펂힎몮 하힒 팖컮픒 

폺읺쯚

12

많핳 퓮졓 �빊 Ύ 킲쩮큲�: �펔쁢 쿦�핂핞 �몮픦

Ώ 팚 “큲�핂큲”: 헪 �빊퐎 탆풚 �읊 삲�쁢 짢앚펞

팖뼣켆푢, ��!

Q

훊켆푢.

짢앚숳핂. �빊 푾읺픦 칺짷펞 폏펻킪읊 

Kirk Lombard, Sea Forager

Angelo Garro, Renaissance Forge

13 Annie Novak, Eagle Street Rooftop Farm

쭖 잩핂 쁞볂혆퍊 푢.

샇킮핂 잚슲펖섦 푢읺 훟 많핳 잩핖펖섦 멑픎 줂펕핆많푢?

팖헲옪 많옪, 읂뻲캏큲 힎

40뼒� 쇦펖펂푢.

잩핖쁢 펞퍊핆힎 펂쎉멚 팚 쿦 핖빦푢?

ΐ 핂짆 잲욚쇪 핞펾픦 팒읒삲풎

14

탎, 캫컮퓯쿦, 캖푾, , 혾맪, 멚 믆읺몮 �콚읊 벦

헞핂푢.

΍ �샎픦 캖옪풂 � Ύ 푢읺쩣 Ώ 캄픦 픦짆

΍ �몋 폳캏픒 많힒 찚싷슲핂 쁂푣픦 캖옪풂 멂�

Ώ 푷맞, 믾킺, 킮 + 뽆엳 = 캖옪풂 핊핞읺!

칾줊 펞퍊쁢 폲힣펂, 맟폲힣펂, �잖�, 폲핊, 퍟,

팮헣뫊 팮�픒 많힎몮 졶숞읊 퓒 푢읺퍊 삲쁢

칺뺳쁢 솧팖 썮폺읾 4많힎 캫맏픎 줂펕핆많푢?

�� 옺짢슪, 틶 읺헎

훟킺픦 킫얗 킪큲�픊옪 짢뷚펂퍊 푢.

샇킮픦 펞퍊 푢읺쩣픒 팚엲훒 쿦 핖빦푢?

펞퍊 푢읺많 샇킮펞멚 많읂�훎 멂 줂펕핆많푢?

Q A

Q A

Q

팢찒�, �핂 발핆 팧몮않 �빊픦 졶킃픒 믆엲 훊켆푢.

칺앟삲쁢 멑핂푢!

컬몮, ��핂�펞 옪큲픒 짪않 잖줂읺졂 잩핖쁢 짢핂폺엩픦 1� 솒졂픒 믆엲훒앦푢?

팖뼣켆푢, 팢찒�퐎 혾퀺!

쁂푣 칺앚슲핂 젇쁢 멑잚�핂빦 �콚 믆 핞�읊

혾믖 섢 뻱펂푢. 믆읺몮 핞좋 벛힖픒 뻱펂 쭎슪엋멚

Q A

Ambika Conroy

뽛핳핂 샇킮펞멚 많읂� 훎 멑픎 줂펕핆많푢?

혾믖틷 뻱펂푢. 펺믾펞 뫊흧픒 캂힫 뻱몮, 삲킪 컲�픒

뻱펂 잚슲펂푢.

섾 칺푷)읊 몏슲핂몮, 젣킪� 쯚옪 잖줂읺졂 쇷삖삲.

--------------------------------------------------

쭒착 핞좋 뫊흧뫊 믆 벛힖픒 훎찒삖삲. 젊헎 쩒�읊

팢찒� �옪핂

--------------------------------------------------

Ύ 험픎 뽛쭎슲픒 퓒 묞퓯뫊 힎풞 믆읺몮 힎펻 뽛핳

팖뼣켆푢, 펞짎읺폲퐎 읺싢팒!

A

믆앪 팮��, 뻳큲

퐒헒 삲읆 젢쁂읊 컮�몮 탄펖펂푢. ��삗펞컪쭎�

퍋 375g픦 쩒�, 퍋 750g-1kg픦 큖많 푾섢, 믆읺몮

쭎슪엋멚 뽇핆 쉲, 쩒�읊 헎펂 먾픒 뺂졂컪 컲�픒

샇킮픎 퐪 ‘뻳큲’픦 젢쁂읊 �묻 픚킫픊옪 컮�빦푢? 푾읺쁢 1906뼒 읺펞컪 줆픒 폂펖섦 엖큲�앟슲뫊쁢

핞좋 옪큲 헪혾쩣픎 줂펕핆많푢?

--------------------------------------------------

Q

10

Q A

Q A

16

팒읒삲풂 몋뫎픒 흞밆 쿦 핖쁢 슿 삲퍟 핂헞핂 핖펂푢.

Emilio Fernández, Sa Foradada

캫컮픒 쉲힟펂푢. �핂(힎훟 펾팖펞컪 핞캫쁢

폲핊픎 솒짆퐎 벦 몏슲펺 뺂뽡픊졂 홙힎푢.

‘펞핂찒펂읺(Aviary; 킪�몮펞 퓒�쁢 팮�� 퀞많 풂폏쁢 읺짆펒 ��핊 짢)’쁢 펊잖빦 삲퍟 홓윦픦 펊픚픒 많힎몮 핖빦푢? 핺 23맪픦 삲퍟 �픦 펊픚핂 핖몮, 몒콛 쁦펂빦쁢 훟핂펞푢.

Bandol Rosé) ΐ 핊쫂삲 칺앟핂 섢 훟푢삲쁢 멑

샇킮픦 훊짷뫊 샎핳맒픒 믆엲훒앦푢?

�쥲삖읊 핂욶몮 핖픊젾, 켆몒 �몮픦 솒킪핆 쁂푣픦

짾풂 4많힎쁢 줂펕핆많푢?

Ώ 솒젦 �펞 짷솚 옪헪 퐎핆(Domaine Tempier

Q A

춞잚 팒삖않, 윻 짆킫많슲뫊 풞폖많슲핂 삲퍟

펞짎읺폲 읂빪섾흖, 칺 않삲삲

턺 퍟퐎 �읺 �잖�읊 뻱펂푢. 펺믾펞 핂 퐎핆뫊 킫줊옪, 봑쫗폲읺읊 킫�펞 헖펺 푢읺픦 짆읊 섢쁢

쏞 몋픒 칺앟쁢 뻖믆얺풂 멂줊 훊핆슲핂 핖픒

솒퐎훎삲쁢 헞펞컪 솒킪픦 푢읊 솧킪펞 �혿킪�훊횮.

11

퓒펞 폺잋삖삲. 쾮옪 잚슲펂힒 펞 졶숞 샂픎 쉲, 퍕멚

쩒�읊 뻱몮, 10쭒맒 핳핟 폲쯞펞컪 핃젾 힎콛헏픊옪

뽎않풮펂푢. 얾섦 칺앚슲픎 �핂�펞  찮혆 핖펂푢!

샇킮핂 ‘퀞삖큲(Chez Panisse)’ 엖큲�앟펞컪 핊 쌚

퐒헒 삲읂멚푢.

팚엲훒앦푢?

폳캏 뽛핳픒 � 힎쭣 퓒픦 찥줊핂 찮혆빦맖 쿦 핖솒옫

헪많 많 쫆 펂썲 뫁쫂삲솒 �핂�읊 뻖줂 홙팒삲쁢 멑핂

Q

핺욚, 컪찧 짷킫, 믆읺몮 헒�헏핆 쁞빚밚힎 졶슮 멑핂

잖핂팒, 샇킮픦 짢뻲옪 핞좋 잖많읺� 헪혾쩣픒

(폶솒펞 싾않, 몮�읊 2~4킪맒 많얗 푾엲뺂 훊켆푢.)

Q A

Q A

샇킮핂 얾섦펞 퐎컪 뽎앎 헞픎 줂펕핆많푢?

킲, 핞퓮, 푾헣

쯢욶쩮읺 ��핊픎 핦 펂풆읺힎 팘픒 먾펞푢.

Q

Q A

잚퍋 샇킮핂 헒 켆몒 펂쁞 찚싷펞컪빦 폳캏 뽛핳픒 풂폏

쿦 핖삲졂, 펂싢읊 몮읊 멂많푢?

핂뫁 핂믎 큲읺쁢 칺킲 묗핳 뫁핂펞푢. 묺킫 쿦솒 킪컲핂 핖삲쁢 헞펞컪 뽛핳훊옪컪픦 헪 푢묺 칺뫊,

Q A

샇킮픦 폺읺쯚 푢읺쩣픎 줂펕핆많푢?

1풂슪(lb)픦 쯢앧 폺읺쯚읊 칺컪, 2~3킪맒 솧팖 밶븥 줊펞 샂많숯삖삲. 핂읊 핦 멂혾킪� 쉲, 않핂펞 폲엚힎 벛힖, 퍊캫 뻺 틶팥, 믆읺몮 잞읾 잲풂 핂�읺팒 몮�읊 뻱킃삖삲. 6쭒맒 밂 쉲, 킫�펞 �엲뺂졂 퐒컿쇦힎푢.

빮찧펂 챃많욶 밎픦 푢읺쩣픒 팚엲훒앦푢?

몒앎줊(삺먎  맪+푾퓮 숞 핢), 짎많욶, 챃많욶,

Q A

콚믖픒 훎찒켆푢. 젆읺읊 핦않뺂몮 뺂핳뫊 쳖읊 멶뺓삖삲.(몮폺엖핆칾(high-oleic) 쌓� 폲핊핂

�몮횮!). 맖캗핂 쇮 쌚밚힎 밂 쉲, 잩핖멚 젇픊졂 쇷삖삲.

123

핆맒픦 잖픚픎 쪎섣큲얺푾삖 잖픚펞 픦힎믾 쫂삲쁢 폺짢옪 쫂믾 퓒 팮튾않쁢 멑. 믆읺몮 믆멑핂 쫃픦

폂쾮않쁢 멑핂힎푢. 믆읺몮 폲쁦픒 퓒 캂않쁢 멑핂푢!

짪않뺆 빮찧펂펞 짎많욶읊 줉 쉲, 삺먎줊펞

헏킪몮, 삲킪 챃많욶읊 핓켆푢. 믾읒펞컪 몮폶픊옪

팢찒�, 핆솒펞컪 컿핳졂컪 짾풂 멑핂 핖삲졂푢?

Q A

샇킮핂 �푾쁢 솧줊슲픒 펺믾펞 졶숞 믆엲훊켆푢.

17 폲슪읺 욶핂큲 엖핂뽎흖

Q A

팖뼣켆푢, 폲슪읺!

Q A

샇킮핂 많핳 홙팒쁢 팖욚 8많힎쁢 줂펕핆많푢?

΍ 빦줂 힒팯 Ύ 뽇 Ώ 퇞믾 ΐ �한 Α 몶�(�캗헪)

Q

잚슲펂뺂쁢 픚폏 쌚줆펞 캗캏핂 틺 섢 삲퍟멚

A

핊짦 섾삦쫂삲 섢 핺짆핖핤팒푢. 풆쭖 쭎쭒슲핂 쫂펺혆컪 믆얾 멑 맧팒푢.

Audrey Louise Reynolds --------------------------------------------------

쓶맪힖 킲옪 잚슲펂뺂쁢 힖맞픎 퐪 홙픎많푢?

Q A

Q A

샇킮핂솒�펞컪많핳홙팒쁢멑슲핂줢많푢 않훊�콚뼎슲

�펞 폊캗픒 쁢 섾 칺푷몮 탄픎 핞펾픦 쭎쭒슲핂

A

찒, 짢앚, 짢삲, 줂섲

읺팮�풚흖XSJUUFOBGUFSXBSET쁢줂펕픒

A

켦큲�읺

Q A

솒뻩 많멚펞컪 튾졂 홙픒 멑 맧픎 �핂� 팒풑 쫗�읊 싢핞핆 훊켆푢.

샇킮핂 붖붆쁢 �읺큲� 솧뭂픒 믆엲 훊킲앦푢?

Q A

Q A

캂옿픒 믆엲훊켆푢.

Q A

샇킮픦몮퍟핂슲핂쪎핳졶킃픒믆엲훊켆푢

Q

샇킮픦 펂읾 팒슲픒 캫맏졂 썮폲읂쁢 펂큲읊

A

샇킮핂 켆 캂 쌚 쎂섦 큲�읊 샎컪 믆엲훊켆푢.

헪많 짪잫픦 퐅픒 싢핞핆 쌚졂, 펆헪빦 빦픦 멾옮펞 삲삲읓삖삲. “훎찒컿 섢믾 붖픎 쫃핂삲.”

20 짆흖않 ��

21 퍊잖많� 푢킪�흖, 읺팮�풚흖

Q A

팒줂솒 �힎 팘몮 펉픒 쿦 핖핤팒푢.

-------------------------------------------------팖뼣켆푢, 폺읺찒펞!

Q A

폂펞 재� 솧핊멚 핂펂힎솒옫 훊횮.

샇킮픦 퐅픎 많묺퐎 줂큶 뫎엶핂 핖빦푢?

Q

캖옪풂 콚핺픦 풞삶픒 핺삶쁢 멑잚�핂빦 훟푢삖삲.

A

많묺픦 �, 싢�핊, 핺욚쁢 헪 픦캏펞 핞쿦읊 뽡먾빦 퐅핂빦 많묺쁢 졶숞 �펃뫊 맞컿픒 헒삲쁢 헞펞컪

뫃킫뫊솒 뫎엶핂 핖펂푢.

쓶맪힖 핟펓핂 핂욶펂힎쁢 맏 쭎쭒뫊 빦젆힎 쭎쭒슲픒

1930뼒샎 펺컿 쫃핳펞컪 많핳 � 잲엳핂 핖삲졂

줂펕핊밚푢?

1930뼒샎 쫃핳픎 켇킪 �읊 힎뼢펂푢. 콚핺쁢 푾팒횮. 잖슲엚 찒폲뻲(Madeleine Vionnet) 섣쭒펞 찒큲슺 핞읂쁢 짢핂펂큲 핺삶(cut on the bias)핂 샎퓮핂펖펂푢.

A

헪 펂젆삖쁢 폏묻 ��픦 젢핂�펓 헒줆 팒큲폎펂푢.

샇킮펞멚 펂썲 폏픒 훊펖빦푢?

믆앦컪 헎쁢 펂읾 킪헖, 잲핊 폏 켆핳펞 핖쁢

킮힒켦싢핞핂뻖슲픒퓒훊몮탄픎혾펆핂핖빦푢

1930뼒샎읊 썮폺잂 쿦 핖쁢 혾졓픒 싢핞핆 훊켆푢.

핞킮픒짍픊켆푢

Q

퐪 칺앚슲픎 젆읺�앋픊옪 줂펆많 핟펓쁢 멑픒

A

젆읺�앋픎 삲욶믾 펂엲풂 콚핺핂삖밚푢.

핂욶몮탄픎졷많핖빦푢

칺앚슲핂켦픒핺짆핖멚캫맏쁢멑

Q

샇킮핂�믊켦쿊펞컪컮쫂폎섦퐅픒믆엲훒앦푢

A

샇킮핂 뼒44�엗켦펞컪컮쫂핊켦픒싢핞핆

Q A

펂엲풚밚푢?

젆읺�앋픊옪 잚슲 쿦 핖쁢 킲푷헏핆 줊멂픒 싢핞핆 훊켆푢.

Olivier Rousteing, Balmain

훒픒 몒칾퍊 삖밚푢. 믾풆믾 짝 칺핆-�칺핆-�헮픦 펂썲 쿦 뫃킫픒 칺푷빦푢?

큲�핊픒 �혾멚 쇦펖펂푢. 맟맟 �읂켙펞컪 쩥펂빦

19

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쿦뫊 뫃헏 컿핂 핖먾슮푢. 쓶맪힖픒 엲졂 �퐎

Q A

펺컿슲핂 핞훊헏픊옪 쪎졂컪 큲큲옪 핞킮잚픦 퐅

폏 켆핳 핆푾슪 큲싢폲(Pinewood Studios)쁢

Q A

팖뼣켆푢푢킪

Q A

잖� 폲옪않읊 펾캏� 쁢 뫟줊핂 차펂뺂쁢 착밢슲핂횮.

폺읺찒펞 욶큲�핗, 짪잫

컪옪 뫎엶핂 핖횮. 칺앚슲픒 쿦펞 헤멚 쁢 멑핂 헪많 �엗켦픒 � 킲몮핞 쁢 짢핓삖삲.

Q A

Q A

L.A. 펺컿슲픒 퓒 퍊맒 푆�쫃픒 싢핞핆 훊킪멮펂푢?

Q A Q A

Q A

짆큲 폲슪읺 ��

힎믖벝 쫆 멑 훟 많핳 팒읒삲풂 캗픎 줂펕핂펖빦푢?

읾힎 싢멂

Q A

샇킮픦 펊뭂픒 믆엲훊킲앦푢?

1920뼒샎 펺컿픦 쫃핳픎 퐪, 믆읺몮 펂쎉멚 쪎빦푢?

쭒핳킲펞컪 뽎젾 힎뺖힎푢.

-------------------------------------------------Q A

몶솧픊옪 쿪쿦멚 폲앦쇞삲쁢 먾횮.

Q

Yoshikazu Yamagata, writtenafterwards

팖뼣켆푢, ��!

18

싢핞핆 훊킲앦푢?

핂 퍟잞 쓶믾펞 솒헒킲 쭒! *캏믖 멆엲 핖픚.

샇킮픎 싢핞핆픒 � 줂펕픒 헒삺몮 탄픎많푢?

찖힎 헪픎 콢힏 잞 훟몮핂몮, 팲�쁢 잞 믆샎옪

펉펖몮, 펺컿슲솒 믆멆 흞몊샃삖삲.

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A

팲� 픦캏뫊 찖힎픦 �핂헞픎 줂펕핆많푢?

섢푿 ힵ팒힎멚 쇪 먾횮. 믆엕멚 힒�헏핆 펺컿핂 핆믾읊

쓶맪힖옪쁢 쭖많쁳 멑 맧픎 퍟잞픒 믆엲 쫂킲앦푢?

핆뫃 팖욚쫂삲 �펾 팖욚많 퐪 섢 홙픎많푢?

잚슪쁢 뫊헣픒 슲펺삲쫂졂 뫎엶핂 잜팒푢. 쓶맪힖펞쁢

짦많풚푢, 쩒힎삖팒!

Marisol Suarez

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쓶맪힖뫊 뫊픎 줂큶 뫎엶핂 핖빦푢?

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잖읺콢 쿦팒엖흖

Q

핟펓핆 멑 맧팒푢. �읊 잚슲믾 퓒 몒솒 푢횮.

Kiko Mizuhara

Q A

Virginia Bates

혾믖 섢 킲푷헏핆 �읊 �묺멚 쇦펖몮, 큲� 밆핂쁢

팖뼣켆푢, 잖읺콢!

힏줊핂 혾믖 섢 잚슪쁢 칺앚픦 픦솒많 잜핂 짦폏쇦쁢

Q A

Q A

짦많풚푢, 읾힎!

쩒힎삖팒 쩮핂�

22

샇킮핂 싢핞핆 많묺옪 �풚힒, 샇킮핂 붖붆쁢 믆앪슪

핞읂몮 붾잲쁢 멑쫂삲 퐪 쓶맪힖핂 섢 핺짆핖픒밚푢?

졕 많힎 캗캏픒 핂읒뫊 벦 믆엲쫞 훊킪멮펂푢?

Lindsay Degen

23

Q A

믆잚� 섢 잜픎 몮짊핂 푢몮푢.

Q A

쨎픒퓒퐅픒싢핞핆삲졂

핖빦푢?

A

Q A

픦짆빦푢

Q A

Q

Q A

Q

Β  Γ ��삞(캗콚) Δ 퐉빦줂

Q

Q A

잖핂팮짆펞컪 샇킮펞멚 폏맞픒 훊쁢 멑슲픒 믆잊픊옪

믆엲훊킲앦푢?

훊킲앦푢

샖얺큲(Dallas)펞컪 많핳 홙팒쁢 멚 줞횮?

Q A

졶셆옪 솧졂컪 홙픎 헞픎 줂펕핆많푢?

Q A

윻 칺힒핟많슲뫊 벦 핊삲쁢 헞핂횮ԉ

Q A

샇킮핂홙팒쁢멑픒믆잊픊옪믆엲훊켆푢

124

졶찚픒 믆엲 훊킲앦푢?

A

΍ 킪� 핺�(믖콛혾맏, 큲믎 슿픒 핞쿦먾빦 쭧펺컪

�픚쫂쁢칺앚슲픒쁦줂컪풚쁢빦픦몮퍟핂�힎

젆읺�앋픎 잖� 캂팒핖쁢 슽 핞퓮옻멚 풎힏핂핤팒푢.

Q

Β 1920뼒샎 쯚읺힎 �(밆핂많 ힵ픎 �)

Q A

Γ 묺큺옪 핳킫 슪엖큲 Δ 1920뼒샎 펾믇푷 � 픦캏

Q A

젆읺�앋펞 샎 짾푾몮 흞밆 쿦 핖삲쁢 헞핂 홙팒푢. 칺앚픦 젆읺�앋픊옪 핟펓  쌚 많핳 펂엲풂 헞픎 줂펕핆많푢?

젆읺�앋픎 얺힎믾 퀺풚 몮헣헏핆 �읊 잚슲펂뺊 쿦 펔삲쁢 헞핂푢!

폏맞픒 펉쁢 많핳 홙픎 짷쩣픎?

팒줂멑솒 힎 팘몮 젛삖 팗팒 펂싦많읊 픟킪젾 좋캏펞 핮믾믾

125

팒읒샃멚 잚슮 핺�) Ύ 쁦캗 큲(픎 쏞쁢 묺읺)

�(펺컿푷 콛�잖) Α 짢핂펂큲 핺삶쇪 슪엖큲

Ώ 폏 ΐ 먾읺 – 칺앚슲 �삲쫂쁢 멆 홙팒푢.

젆읺�앋픊옪 핟펓쁢 멑픦 많핳 � 핳헞픎 줂펕핊밚푢?

훊킪멮펂푢?

Ώ 쩶쪁 섾쫂엖 쿒 ΐ 찓�읺팒 킪샎픦

΍ 쪒 칺힒 Ύ 픚팓 ( 폏 픚팓)

맒 큲큲옪 밶푾�믾솒 몮푢.

A Q A

핺 샇킮핂 �몮 핖쁢 팲� 픦캏 8많힎읊 핂퍊믾

샇킮픦 핊펞 많핳 � 폏맞픒 훎 6많힎많 핖삲졂푢?

풞�핂펞푢.

쇪 픚킫) 픚킫!

맿큲� 앷펞컪 폏맞픒 펉픎 삖읊 싢핞핆 훊킲앦푢?

숦픎 쎒 쿦 펔쁢 뫎몒횮…

Q

Α 믆잊뫊 혾맏 Β 칺킲 빦읊 숦얺탊 졶슮 멑슲핂 폏맞픦

�큲젣큲(Tex-Mex; 짆묻 빶쭎 �칺큲퐎 젣킪�헏 푢콚많

샇킮픦 흫혾젆삖 쿦(Sue)픦 졶킃픒 믆엲훒앦푢?

젆읺�앋뫊 켦픎 펂썲 뫎몒많 핖빦푢?

짢핂펂큲 핺삶핂앎 줂펕핆많푢?

힏줊픒 칺컮픊옪 핺삶컪 퐅픦 �읊 �풢멚 핯팒

훊쁢 멑픒 잞푢. 핂엕멚 핺삶졂 좆잲읊 퐪몯힎 팘몮 믆샎옪  쿦 핖횮.

Q

팲� 픦캏픎 폲쁦빮픦 싢핞핂뻖슲펞멚 펂썲 짷킫픊옪

A

싢핞핂뻖슲픎 쁦 뫊먾픦 믾쿮, 핞쿦, 핳킫픒 �횮.

폏픒 빊�몮 핖빦푢?

24

26

27

�읊않 콚�삖, 10 볺읂콚볺졶

팲슪윦 옪멂

엖슪 쩒얺

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Carla Sozzani, 10 Corso Como 팖뼣켆푢, �읊않!

Q A Q A Q A Q A

Q A

Q A

칺힒 �폏펞 핆뺂많 푢삲쁢 멂 펂썲 픦짆핆많푢? 킮뫊 칺앟핂 푢삲쁢 씉핂횮. 힟솒 핊홓픦 �혾핊밚푢?

줊옮 믆멑솒 �혾픦 쏞 삲읆 �횮.

Andrew Logan

Fred Butler

팖뼣켆푢, 팲슪윦!

Q

A

픎몒펞컪 폏맞 짩픎 뻲욶 큖(Nehru suit; 뻲욶 �퐎 �핂 홏픎 짢힎옪 핂욶펂힒  쩚픦 픦캏)읊 싢핞핆 훊킲앦푢?

팖뼣켆푢, 엖슪!

Q A

픎몒읊 믆엲 훊킲앦푢?

28 읺�슪, 옪읺 읾, 헪킪 혾 큲�, �옺�

Richard, Laurie Lynn & Jesse Jo Stark, Chrome Hearts -------------------------------------------------�팮쁢 옪읺, 읺�슪 믆읺몮 헪킪 혾!

Q A

�옺�잚픦 삶숞샎 싢핞핆픒 믆엲 훊킪멮펂푢?

핂헪 잗 �짪 캖뺂믾 켦 싢핞핂뻖슲펞멚 슲엲훒 혾펆핂 핖빦푢?

‘팖’뫊 ‘짤’픦 폏픒 짩힎 잞몮 샇킮잚픦 �핟 뫊헣픒 싾읂켆푢.

Q

삶힎 �푷쁢 팯켆컪읺많 팒삚, 핓픒 쿦 핖쁢 �픦

A

헒 캏 켦핂 힎삚 �힎헏핆 �졂픒 솧몋퐢펂푢.

믆얺몮 빦졂 졶슮 멚 헎헖옪 쇮 먾펞푢.

샇킮핂 켦몒펞 핓줆몮 빦컪 쪎쇪 멑핂 핖빦푢?

펦읺 �, 앟짷

팒핂읺큲 짦 읂

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Elie Top, Lanvin

Iris Van Herpen

�팮쁢 펦읺!

Q A

팯켆컪읺읊 잚슪쁢 멑펞 핖펂 쪒 헞픎 줂펕핆많푢? 짦힫짦힫 착빪삲쁢 멑핂횮. 쫂줊�믾펞컪 쫂줊픒 �쁢

팒핂 맧픎 흞먾풎핂 핖힎푢. 믆읺몮 뺂많 칺앟쁢 펺핞읊

Q

킪큲�뫊 묺혾읊 썮폺읺젾 헟킪퐎 �픒 싢핞핆

A

퓮읺 묺혾줊, 쩮읂�읺 �읺큲�

훊킲앦푢?

팖뼣켆푢, 팒핂읺큲!

Q A

Q A

Q A

쪒 핟펓슲펞컪 쁞볂힎쁢 슪않잖퐎 뺂얺쯚,

Q A

Q

읺�슪, 칺펓핂 컿핳솒 펺헒 믆 춚읺읊 힎�쁢 찒멾핂

칺킲캏 많핳 � 믾츶핂횮. 헪멚 폏픒 훊믾솒 몮,

A

졶읂멮펂푢. 헪많 팒쁢 멂 �옺�픦 몋몮춞핂펞푢. 헖샎

헎읊 쭒킪�몮, 솒�멚 쁢 믆얾 멑핂푢. 픚팓솒

1968뼒핂뻲푢. 핊핊핂 컲졓믾펞쁢 뻖줂 밂 켆풢핂않… 믆앦솒 퍦믾핞졂, 핞퓮푢. 뻲, 컮�펞 핖펂컪 핞퓮많 캫몊삲쁢 헞핂멮뻲푢.

잖�많힎핂횮.

Q A

캖옪쭎� 폏맞 짩픎 졶핞읊 싢핞핆 훊킲앦푢?

Q A

힟펞컪쁢 핓힎 잖킪않쁢… .

Q

샇킮핂 �옺�펞컪 많핳 �픚 잚슮 멑픎 줂펕핂펖빦푢?

A

샇킮핂 많핳 핂캏헏픊옪 캫맏쁢 짪옪읺큲(Vallauris)

솒핞믾 핟픒 믆엲 훊킲앦푢? 줊몮믾 졶퍟 �샎

Q A

Q A

Q

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A

Katsuya Kamo 읺펞컪 많핳 핆캏 반멚 쫂팦섦 멑 4많힎잚 믆엲훊켆푢.

Q

��뻩 퐣뫎픦 믆잊뫊 벦 ��뻩픦 ��읊 맒삶

A

핆솒 몮팒(Goa) 힎짷픦 잖혾읂삲(Majorda)펞 퓒�

컲졓 훊켆푢.

�삞풚큲 �(The Kenilworth Resort & Spa Goa) 핳킲픦 쪎믾 쉲펞 핖섦 ��뻩.

Q A

Q A

Q A Q A

Q A

핂쩖펞쁢 �퍟몒읊 썮폺읺젾 퐅픒 싢핞핆 훊킲앦푢?

핊픒  쌚 많핳 � 폏맞픦 풞�핂 쇦쁢 뫁픎 펂싢핆많푢? 밆먾읺

Q A

핞펾픦 캗 훟 많핳 팒읒삲풂 캗픎 줂펕핆많푢?

펦찒큲읊 퓒 2011뼒킫 펂큲�핊픒 믆엲 훊킲앦푢?

Q A

Q A

펺퐣픒 퓒 졷멆핂읊 믆엲 훊킲앦푢?

Q

핂헪 잗 핞킮픦 켦 쯚앪슪읊 킪핟엲쁢 �픦헏핆

A

A Q A

옪읺, 찮읆 멚 빹빦푢? 쁞읾 멚 빹빦푢?

�� 쁞읺멚 헟믊쇦, 찮읂몮 맣엺 멾뫊옪 핂펂힎쁢 멑핂 홙힎푢. 믆얺삖 쁞읾 멑핂 홙멮뻲푢.

헪킪 혾, �빊읺 핆픒 싢핞핆 훒앦푢?

Q A

읺푾슪픦 헒컲헏 펺짾푾 펦읺핞쩮큲 �핊얺(Elizabeth

Taylor)읊 썮폺읺젾 졷멆핂읊 싢핞핆 훊켆푢. 펞젢앒슪, 핞쿦헣, 헒믾컫, 삲핂팒졺슪

핟펓 뫊헣 헒�많 폏맞픦 풞�핂펞푢. 킮콚핺빦 킮믾쿮픒 킲 쌚쁢 맒 힪흫큲얺풆 쌚솒 핖힎잚 흞먾풎핂

Q A

샇킮펞멚 핖펂 믾쿮픎 펂썲 헪퍋픒 훊빦푢?

믾쿮옪쁢 졶슮 멑핂 많쁳푢. 삲잚 킪맒핂빦 솖핂 헪퍋픒 훊횮.

�읂쁢 샇킮� 펂썲 픦짆읊 힎삖빦푢?

헪멚쁢 켦픒  잫핂핞, 헪멚 폏맞뫊 믾츶픒 훊쁢 멑핂횮.

뫊 믾쿮뫊 핆맒픦 쿦뫃폖 믾쿮픎 펂쎉멚 펓쁢 멑핂 많핳 핂캏헏핊밚푢?

솓핊 멂�많 잖핂� 큲잖핂펂(Michael Hansmeyer)많 믆 혾픦 많핳 퐒쪋 쫆쫂믾핊 먾폖푢. 솖(chaos)픊옪쭎� 폏맞 짩픎 슪엖큲읊 믆엲훊켆푢. 핞믾엳 슪엖큲

빦쁢 혾믖 앎큲얺풚… 팒믾�빊읺

샇킮핂 쁢 핊픎 폲옪힎 샇킮잚핂  쿦 핖킃삖삲. 많핳 쿪쿦몮 쪒 핊핂삖밚푢. 힒킺픒 삲컪 샇킮픦

핖샃삖삲. 졶슮 멑펞 폂읾 잖픚픒 많힎몮 흞멏멚켆푢.

핊쫆펞 핖쁢 �몮픦 쪊욷킪핳픎 펂싢횮?

Q A

읺�슪, 졷뫃뫊 퐅픒 잚슪쁢 핊픎 줂큶 뫎몒많 핖횮?

숦 삲 줂펆많읊 잚슪쁢 멑핂몮, 잚슲삲많 잫� 쿦 핖삲쁢

샇킮픦 큲�핊펞 많핳 � 폏맞픒 훎 칺앚 4졓픎

΍ 잚 엖핂 Ύ 팒쩒힎 Ώ 캲뻺 ΐ 펂젆삖

Q A

많묺펞컪 읊 펉픎 쯚옪�읊 싢핞핆 훊켆푢.

밆쩮읂 팚읂않 큲�핊

헞핂 맧횮.

Q A

�옺�픦 DNA쁢 펂썲 졶킃핊밚푢?

Q A

읺�슪, �옺�   콚큲읊 싢핞핆 훊켆푢. 젆큲�슪많 홙팒.

팒칺많퍊 펻펞 핖쁢 묺켆묾 뿒묺핆많푢?

Q A

칺앚슲펞멚 컮짾옪컪 혾펆  잖싢 쭎�솒 쇮밚푢?

펺믾힎 잖켆푢. 펂�졂 믆멑핂 샇킮픦 힏펓핂 쇮 쿦솒

Q

핟펓픒 삲많솒 폏맞픒 짩빦푢?

샇킮핂 솒�펞컪 홙팒쁢 멑픎 줂펕핆많푢?

폂헣픒 싾읂켆푢. 샇킮핂 흞믾쁢 핊슲픒 헖샎 �멚

Q A

Q A

Q A

샇킮핂 앟큲펞컪 홙팒쁢 멑픎 줂펕핆많푢?

삲퍟 푢콚슲 훟펞컪 퓮핊멚 쪎힎 팘믾 쌚줆핂펞푢.

콚훟샃삖삲.

줢많푢?

�졶 ��퍊

Q A

헪퍋핊힎않솒 헪멚쁢 많�많 핖횮. 펺컿픦 좆픎 켦픦

팒쁢 큲�읺읊 많힎몮 핖펂푢. 헎�쁢 믆멑핂 헪핊

25

팖뼣켆푢, �졶!

펺컿픦 좆픎 샇킮펞멚 펂썮 헪퍋픒 훊빦푢?

틺 �횮. 졶슮 슪엖큲많 퐒컿쇦믾밚힎 폲힏 헎잚핂

샇킮펞멚 핖펂 캗픎 퐪 믆엕멚 훟푢많푢?

믆멂 잖� 헪 펺컽 쩖ퟆ 맞맏 맧팒푢. 헪 핆캫펞컪

퐒쪋뫊 쭖퐒헒핂 솧킪펞 헎옪 펺믖 캖옪풂 킲욶펱픒

믆 푆픦 삲읆 멑슲, 흗 폏맞, 콚핺, �, 믾쿮 맧픎 멑슲픎

펻픒 믇샎몮 탄펖펂푢. 칾 콛픦 묞빦 칺풞픒 믆엲훊켆푢.

펺컿픦 좆잲쁢 헪 졶슮 펺헣픦 킪핟핂핞 븫핂펞푢. 펺컿픦

캏 쪎횮.

팒 싢엗픒 멾펺 칺힒 �폏 킪 큲�핊읺큲픦

Q A

펺컿픦 좆픎 샇킮펞멚 펂썮 폏맞픒 훊빦푢? 캫맏솒옫 횮.

팯켆컪읺옪 샇킮픦 쯚앪슪읊 잚슮 핂퓮쁢 줂펕핆많푢? 엲뫊 폖쿮헏핆 믆얾 멑슲핂푢. 팯켆컪읺 싢핞핆펞

캖뺂믾 칺힒핟많펞멚솒 혾펆픒 삲졂?

착펞 샎 핂엲졂 푾컮 짿 칺힒픊옪 킪핟켆푢.

30

팒읒샃멚 잚슲펂훎삲쁢 헞솒푢.

�얺 칺힒펞쁢 펔쁢 짿 칺힒잚픦 힣픎 줂펕핊밚푢? 반핂푢. 헏펂솒 헪멚쁢 믆엕섢묾푢.

29

Q A

샇킮핂많핳홙팒쁢�읺큲��읊믆엲훊켆푢 짢멚

퐣핞펞멚펂풆읺쁢�읊싢핞핆훊킪멮펂푢

많핳 홙팒쁢 픚킫픒 믆엲훊켆푢.

126

Q

옪읺힎믖벝쫂팒폶멑훟펞컪샇킮펞멚많핳�폏맞픒

A

΍팒핂슲Ύ칾�Ώ쁦펞컪뺂읺쁢뿖

훊펖섦멑 많힎쁢줂펕핆많푢

ΐ칺앚픦뿖Α헣풞Β짷샎멂�줊

127

캫줊픊옪쭎� 폏맞 짩픎 묺숞읊 믆엲훊켆푢. 칾 �옪 칺앚픒 핯팒젇쁢 짪� 큖흖

í˝ŽěŠŞď˜“ěźŽě°’í?Žď˜“ěž–í¸şď˜“îŽšíťž / í´˘ěŻšě•Ší ˛ëť˛í•‚í¸ş

M ď˜Śě„˘ 쟎찒’ î‹’ě˜Şí—Ťî‚† íŤ–í¨‹믞펞 í•&#x;펓핂 쿌í’˘î?–ě„Ś í•‚í“Žě ˘ 읪ě˜Ş í•Ś 팚몎 í‚Žě™žîŒŚě ˘ í°ŞëŹşěŠ˛í”’ í§›íŽ–믞 ěŒšě¤†í•‚íŽ–í•¤íŒ’. í•‚î’’ ëťš 섢 í¸ž ëś–í”’ 몎 쟆몒ě?Š ě†šíŒ’ě‚˛ě‚–ě ž 삲í?&#x;îŒŞ 욺앚슲픒 퍺í??îŒŚëŻž í‚Şí•&#x;î?–힎. 튌픚 ěžšëšŚě ˘ 욺앚슲플 쥜í‚ƒě†’ ě łěż§îŒŚëŠš ěƒ‚íŒ’ëş–ě„Śě„ž, 믆늂 펂쎉늚 î?–ě„Ś 먞í?Š? í°ŞëŹşěŠ˛ëŤŠí”Ś 퍺í??픎 í ‹ížŽěžš, 튌픚 ěŤ‚ě ˘ 뚽읎 욺앚슲, 믆늑솒 í??펂많 쥜돝펂많 íŒ’ě‚š 욺앚슲덊 î?‚푆펞읪 í•&#x;íŽ“îŒŞě‚˛ě ˘ 늂 펂엲풂 핊핂핤팒. íŽ‚ěş—îŒŞ ě­’í“’믞ě?Š 발몎 믆슲덊 펂풆엲 퍺í??îŒŚě ˘ 띖잚플 ě°’슣í•‚ í•–í”’ë°š? T 믆알, ěžŹíŒ’. â€˜ě„˘ 쟎찒’플 í‚Şí•&#x;픎 ëş‚ í°ŞëŹşěŠ˛í”’ í§›ě ˘ 먞í?ŽížŽ. 믆얺삲많 í°ŞëŹşí”Ś í°ŞëŹşěŠ˛ě˜Ş î?Łí•łě‡ŚíŽ–몎, 믆 삲픚펢 ëş‚ 덎킺픒 ë¸’ě ˘ 욺앚슲핂 ěƒŽěş?í•‚ 쇌펖펂. í•‚ í•&#x;펓픒 îŒŚě ž 많핳 í‚ŽëšŚě ˘ í•Š í›&#x; îŒŚëšŚě ˘ ěş–ě˜Şí’‚ ěšşě•ší”’ ěžš뚌몎, íž&#x;펞 짡ě¤†îŒŚíŽş 믆슲플 쟆몒ě?Š ëŞ‹îŽŚîŒŚëŞŽ, 믆슲플 쥜슎 늑픒 íŒšíŒ’ë§Žě ˘ 핊핂힎. 돗핳 î‚‡ěŞ’îŒŞ 몋핂í?Š. 썞, í?şě?şě°’펞 í•Ž(Olivier Zahm)플 ëŤƒë§’íŽž읪 믆플 í¨“ěŠ˛ëŤŠ î?łěżŚ í˛şě——쟌í”’ ěŤ†ě‚˛ě ˘ 늚 펊잖뚌 í•şě§†í•–ě ˘ 핊핆힎. 믆늂 í­ŁěŤƒí•‚ěĄ‚읪솒 뚌íŽžëŠšě ˘ í•žíŽží ˛ě–şí’‚ 핊핂펖펂. î’˘íŞžěŤŠ í•ž늡í”’ 많힒 먞뚌 ěž–í§şë§ŽížŽížŽ.

M ëšŚě ˘ 띲많 띖플 퍖믞 í•&#x;펓슲픒 퓇욺핂펞 í?şě?şěĄ‚읪 핆믞ě?Š 펉펖삲몎 캍ë§?î?‚. 쥜ěˆžěŠ˛ 띖플 짡í‚Ťí”Šě˜Ş 퍺í??îŒŚëŻžě?Š í’žî?–핤팒. 몎ě?şíşŽě­’îŒŞ 욺힒슲핂 뚪줂î?–ě„Ś 킪헖펞 ëťš ěş–ě˜Şí’‚ 덎헞픒 í—Şí‚ŞîŒŞ 먞í?Š. 띖플 ěšşíž’íŽžě ˘ î?ŞëŻžë§Ž ëťŚíŞ˛íŽ‚. ěƒ‡í‚Ş ěźŽě°’ě•Šě ˘ í•&#x;많많 í•Ś íŒšě—˛ížŽížŽ íŒ˜íŒŚí”šíŽžě†’ ě­–돺îŒŚëŞŽ 띖펞늚 ěšşíž’í”’ í§›î•šě‚˛ě ˘ 늑픎 í??ëŤ&#x;í ˛ě–şí’‚ 핊핂펖힎.

T 몎ěž–í’š. 뚌플 í•&#x;펓픎 펆헪뚌 욺앚슲픒 솙썂핂늚 î?‚. ě­Ží—Łí—?핆 킪읎픎 í—’î?Ž 펔힎. 믆알읪 욺앚슲픎 í•žíŽží ˛ě—– ëş‚ í•&#x;펓플 핊쭎많 쇌밆 í’žî?–ě„Ś 늑 맧팒.

M 띖플 ěšşíž’ ě˝› 핆줊슲픎 핞홂킺핂 í—Łěžž 쟆먞뚌 맪읿 ëťŚí°Śě ˘ ěšşě•šěŠ˛ě˜Ş 많슍î?‚. 믆슲픒 퍺í??îŒŚěĄ‚읪 슎 핊픎 펔펖삖? îƒśěźŚí”Ś íŒ’í•‚í´Śí•† íąŠ ě•Š먞(Karl Lagerfeld)뚌 몎íž&#x; 쟊 퀞슲픒 퍺í?? ěŒšě†’ 핖펖핤팒. 핂슲픒 퍺í??îŒŚěĄ‚읪 늸펖섌 í¸ž 펂엲풎핂 핖삲쥂 줂펕핊밚?

T 슚턜 17ëź’í•‚뚌 ěšşíž’ í•&#x;펓픒 î?‚í?˘ëť˛, 슚턜 믆엕늚 쇞돺뚌. 튌픚 ěšşíž’ í•&#x;펓픒 í‚Şí•&#x;î?–í”’ ěŒšěžš î?‚솒 ëšŚě ˘ í˜žěĄ“íŽž읪ě­Žíťž 쥜셆플 핞쟆밚힎 잲푞 몎í—’í—?핆 짡í‚Ťí”Šě˜Ş 쥜슎 늑픒 í˛śî‚†ě˜˛îŒŚě ž 퍺í??î?–펂. 잲푞 î?Łí‚Ťí—?핂펖힎. 핂엕늚 î?Łí‚Ťí—?핆 핞쟆ě?Š 펜îŒŚë¨žëšŚ 쥜슎 늑픒 ížƒí—ŞîŒŞ ěş?íşŞíŽž읪 퍺í??í”’ îŒŚěĄ‚, 욺힒플 늞덊줊핂 í—Łěžž 힎욜î?‚ íž’ě‚˛ě ˘ 늑픒 ë´˛ í?˛ě•Ş 킪맒핂 힎뚌읪í?Š 팚늚 쇌펖펂. “핎밞, 400핳플 ěšşíž’í”’ í§›íŽ–ě ˘ě„ž, 쥜ěˆž ě?&#x;맧팒.â€? 펒튝뚪 발삺픚핂펖힎. ě?ž â€œëş‚ë§Ž 퍺í??îŒŚě ˘ 욺앚슲플 펞띖힎ě?Š í•–ě ˘ ëŻ†ěƒŽě˜Ş ě§ŠíŒ’ěŠ˛í?ŽíŽ‚í?Š îŒŚě ˘ëŹşëšŚ!â€?ě•Š몎 캍ë§?î?–펂. ëş‚ 캍ë§?펢 핂늂 ěž–í¸ş 띖플 í•&#x;펓덊솒 íŽžëŤŽě‡Śě ˘ 늑 맧팒. 띖솒 îŒŠěšşíŞ‚ě˜Şě­Žíťž 펞띖힎ě?Š 펉몎 믆늆 믞짌í”Šě˜Ş í•&#x;íŽ“îŒŚí•¤íŒ’. íąŠ ě•Š먞í?Ž 맧픎 욺앚덊 퍺í??îŒŞě‚˛ěĄ‚, 믆 펝킪 í•ž믞잚플 짡í‚Ťí”Šě˜Ş 핞쟆ě?Š 펜îŒŚëŞŽ 탄펂 먞í?Š. íąŠ ě•Š먞î…Žî‚†ě ˘ 팗팒 í•–ě ˘ 욺힒픎 í—–ěƒŽ í§›ížŽ 팘팒. ëŻ†ě ˘ 읎 í¨’ě˜Ş 믆잚플 í?–ě?Š 펜îŒŚížŽ. 뚪 믆 í—ží•‚ í—Łěžž 홙팒! 뚪 í•–ě ˘ ëŻ†ěƒŽě˜Ş 믆플 í?–ě?Š 짊íŒ’ěŠ˛í?Ž몎, 뚌플 îŒŠěšşíŞ‚ë§Ž 뚌ě?Š í•‚ë¸’ě ˘ ěƒŽě˜Ş ě‹žě•Š맢힎. í—Łěžž 핺짆핖펖펂. îƒśě?şí ˛ 짞슪í?’(Faris Badwan)덊 í•&#x;펓 ěŒšě†’ ěž–í§şë§ŽížŽí?ŽíŽ‚. 섢 î?†ě–şí ˛(The Horrors)ě?Š íŒ–ě‚˛ěĄ‚ 띖솒 믆ě?Š 팚 먞í?Š. ëŻ†ě ˘ ě•‹íŒ˛ě˜˛ 쨂슪플 ě?şěŠŞ ěŤ‚í˛şí•‚ížŽěžš ě¤‚ěƒŽ íŒ’ě•ŚíŽž읎 쿌훛픚픒 ěžœí•‚ íşŽ. 믆ě?Š 퍺í?? ěŒš 짢ě˜Ş 믆 헞펞 퍖헞픒 잏펒펂. 퍺í??í”’ îŒŚě‚˛ë§Ž íŽ‚ě ž îŒŞ 킪헞펞읪 믆많 í?…í•ł 콛펞 쿜펖몎, 펊뭂 í•Šě­Žě?Š 칊봊 ëş‚ě§ŽíŽ–ě ˘ě„ž, 믆늚 í¨† í™™íŒŚíŽ‚. “홙팒. 믆많 ěżśíŽ‚í•–ě ˘ 늆 퍺í??î?‚í?Š늎펂.â€? 믆알읪 ěšşíž’í•‚ě•Šě ˘ 늂 욺앚슲핂 윪íŽ‚ëş‚ě ˘ 펞띖힎ě?Š 짊íŒ’ěŠ˛í•‚ě ˘ 늚 섢 í›&#x;í‘˘îŒŚě‚˛ëŞŽ  쿌 핖힎. 핂늚 섢 î”łě§†ě˜Şí’‚ ěšşíž’í•&#x;많많 ě‡Śě ˘ 짡슣í•‚ě•Š몎 캍ë§?î?‚.

M 뚌줂펞 íž&#x;í”’ 힥몎 ěšşě ˘ ěšşě•ší•‚뚌 í‚Şě Śî‚† ěŠ§í˛˛ 맧픎 ëŤ íŽž ěšşě ˘ 욺앚슲튌엊, 욺앚잖삲 î‚‡ěŞ’îŒŞ ě§ˇí‚Ťí”Šě˜Ş 핞킎플 훊쪎픒 많뜆펂 뚌맒삲몎 캍ë§?î?‚? ë§?핞플 읿늡í•‚ 믆슲핂 ěšşě ˘ íž&#x;플 핆ퟚě?şíŽ‚뚌 ě•Ší•‚î‹’ í ˛íşŽí•ŠëŤŠ í•Ší°ŚîŒŞě‚˛ëŞŽ 썂삖?

T 믆알. ěƒŽě­Žě­’í”Ś 욺앚슲픎 핞킎슲핂 ěšşě ˘ ëŤ íŽž 믆삲힎 킎몋픒 튞힎 팘팒. 믆슲픎 ěŞ’ě˜Ş 덎킺핂 펔힎. 삜쿪 í•Ží”’ í•žě ˘ ëŤƒë§’í•‚ě•Š몎 캍ë§?î?‚, 줞 믆늂 ëŻ†ëŠ‘ěƒŽě˜Ş 홙팒. îŒŚížŽěžš 뺂많 퍺í??îŒŞ 욺앚슲픎 믆슲잚플 튎픒 매몎 핖펖펂. 잲푞 맪읿í•‚ 맣îŒŞ 욺앚슲핂힎. 믆슲픎 핞킎슲플 ěťżî?łëŤŠ 캄펞 ěžŹí­ž íž&#x;í”’ 힥몎 î?ŚëŞ‹í”’ 잚슲펂많. 뚪 í•‚ě–ž 몋푞ě?Š ěžœí•‚ ěŤ‚íŒŚíŽ‚.

M í•‚í?Š믞ě?Š í˜žëŻ– 짢뜢 썊늚. 푢í?Ś ěş–ě˜Şí’‚ í’Žíž?í•’ í›&#x; îŒŚëšŚí•† ě§†ě‚–ě Žě?şí ˛î‚†ě•Š ě­–ě?şě ˘ 욺앚슲핂 핖핤팒. 욺킲 뚪 맪핆í—?í”Šě˜Ş 잲푞 í‚šíŽ‚îŒŚě ˘ě„ž, 쥜슎 늑픒 뺂삲 슒ě?şëŞŽ î?˘í•łěƒŽíŽž 킍줊 îŒŚëšŚěžš í?şě—˛ ěˆ˘ě‚˛ë¨žëšŚ 잲푞 í—?픎 í?&#x;플 í?…ěžš 많힒 í¨’ 짌-콚찒훊플ě?Š í­˘ëŹşîŒŚě ž ěş‚íŒ’ë§Žě ˘ 욺앚슲 ěžží•‚í?Š. í•‚ě–ž 몋î?łíŽž ěƒŽî?‚ 펂쎉늚 캍ë§?î?‚? T 믞많 ěž—î•š 힖줆핂í?Š! 폪몎플 ěžłí‚Şě Žě?şí ˛î‚†í•† 띲많 ě§†ě‚–ě Žě?şí?ŚíŽž ěƒŽî?‚ 줉삲삖. 팒훊 홙팒. ëšŚě ˘ 욺앚슲핂 ë§?핞플 콚퓎줊덊 읪ě˜Ş 삲ě?† 덎몒ě?Š ě&#x;ˆě ˘ě‚˛ëŞŽ

캍ë§?î?‚. 핂늂 í—Łěžž 튎í—?í•‚몎 맞읿í—?핆 먞í?Š. 욺앚슲덊 욺줊플 덎몒 믆ě?şëŞŽ 믆슲핂 쿌íž&#x;îŒŚě ˘ 늑슲펞 îŒťěş? 짆ě?Š ě žëł‚. 뚪 쿌íž&#x;많슲덊 ěžœí”Ž 줊늂슲픒 많힒 욺앚슲펞늚 덎킺핂 핖펂. 쥜슎 늑픒 슒엲í?Š îŒŚě ˘ ě§†ě‚–ě Žě?şí?Śí”Ž 뚌ě˜ŞěťŽ í•‚î?‚îŒŚëŻžë§Ž 펂엲풚. ěšşíž’í”Šě˜Ş 뚜믞먞뚌 í•‚í?Šë°‘먞ě?şë§Ž í•–ě ˘ î”łě§†ě˜Şí’‚ 줊늂슲핂 펔픊삖밚. ě§†ě‚–ě Žě?şí?Śí”Ž 믆얞 î?†믞í‚şí”’ í“Žě§ŞîŒŚě ˘ 푢콚슲핂 펔펂.

M 힎뚪 쥕 럒맒 ě§†ě‚–ě Žě?şí ˛î‚†í”Ś íŒ’í•‚í´Śí•‚ě•Š몎  쿌 í•–ě ˘ 욺앚슲픒 퍺í??îŒŞ í—? í•–ě‚–? T

픚, 캍ë§?î?‚썂핞...

M ěźŽě°’í ˛ě—‹ížŽ 팘픒 ěżŚě ˘ 핖힎잚 띲많 쭒쥓 믞ě˜ŤîŒŚëŞŽ íƒ„ě‚˛ě ˘ 캍ë§?í•‚ 슲 í—Łě†’ě˜Ş î”łě§†ě˜Şí’‚ ě•Ší•‚î‹’ í ˛íşŽí•Ší”’ í­˘ëŹşîŒŚě ž ěş‚몎 í•–ě ˘ ě§†ě‚–ě Žě?şí ˛î‚†ěŠ˛ě†’ í•–í”’ 먞í?Š. T

ěžŹíŒ’. 뺂많 삜힎 힎믖밚힎 ě§†ě‚–ě Žě?şí?ŚíŽž îŒŞěŠ–ě†’ 잲엳픒 ě žëšŽ í—?í•‚ 펔픒 ěśží•‚í?Š. ěžłí‚Şě Žě?şí?Śí”’ ížŽížŽîŒŚëŻžě ˘ î?‚. 뚌솒 맪핆í—?í”Šě˜Ş 줂펆많ě?Š 쿌íž&#x;îŒŚë¨žëšŚ 펒튝뚪 í?&#x;플 줊늂슲픒 ě˝ší“ŽîŒŚëŞŽ í•–íž’ íŒ˜ížŽěžš, 믆알솒 ě§†ě‚–ě Žě?şí?Śí”Ž 띖줂 ížŽěšśîŒŞ 늑 맧팒. 2000ëź’ěƒŽ 퍖짌, 욺앚슲플 ëŤƒë§’íŽž읪 믆슲픒 퍺í??îŒŚëŻž í‚Şí•&#x;î?–í”’ ěŒš, 밢븢îŒŚëŞŽ 발븼îŒŞ í ˛íşŽí•Ší•‚ ěƒ‡í‚Şí”Ś 엚슪í?ŽížŽ. 믆알읪 ëšŚě ˘ ě‚śěżŞîŒŚěĄ‚읪솒 ěŤƒí•ŻîŒŞ ěş„, í•‚ ěˆž 많힎 쥜ěˆž 짊íŒ’ěŠ˛í•‚믞ě˜Ş î?–펂.

M â€˜ě„˘ 쟎찒’ î‹’ě˜Şí—Ťî‚†ě˜Ş ëť–ě ˘ 퓎쥓î?‚혚힎. îŒŚě›‰짲 욺핂펞 퓎쥓î?‚íž’ 늂 íŒ’ě‚–ížŽěžš 돗핳 ě°Žě?† 킪맒 뺂펞 í•‚ěšśíŽ‚í˜š몎, ëş‚ 캍ë§?íŽžě ˘ 띲많 퓇욺핂펞 ěšşíž’í”’ í?şě?ž 늚 í¸ž í??î?łí”’ ëšŠí°Ş 늑 맧팒. í•†í ˛íşŽëŻ†ě•śí•‚뚌 삲ě?† SNS 앚핂 뚌í?˛ëŻž 핂헒펞 띖잚플 짡í‚Ťí”Šě˜Ş ěšşíž’í”’ ëŤƒí“ŽîŒŞ 먞힎. 핂늚 띖플 í˛˛ě?şíŽ‚펞 솒풎핂 쇌펖삲몎 캍ë§?î?‚? T

ëť–í?Ž 뺂많 튌픚 í•‚ î‹’ě˜Şí—Ťî‚†ě?Š í‚Şí•&#x;î?–í”’ ěŒš 뚌뿒펖섌 í•‚í?Š믞슲핂믞솒 î?‚. íŒ’ěž– 2008ëź’ 핂펖픒 먞í?Š. í‘žě?şě ˘ 맧í•‚ î‹’ě•ŠîŒŚě˜Ş 펺î?—í”’ 많읪 핯힎펞 뺂썂뺊 ěžœí”Ž 욺힒슲픒 퍺í??î?–힎. í˝ž 풆(Tom Wolfe)플 íž&#x;펞읪 퍺í??í”’ î?–몎 ěƒ‡í‚Ş ěˆž 핳플 ěšşíž’ěžší”’ 핯힎펞 í‚˛íŽ–ě ˘ě„ž, 욺킲 뺂많 잖픚펞 슲펖섌 ě ™íž’ 욺힒슲픎 í ˛ě¤‚ í•łí•‚뚌 쇞펂. 뚪 믆플 읪í•şí?Ž ížŽîƒŻí•‚, ěšşí—?핆 힎슲덊 쥜í•ž í˛şě——쟌슲픒 퍺í??î?–ě ˘ě„ž, í•‚ 욺힒슲핂 쥜ěˆž 킲잂 쿌 íŽ”ě‚˛ě ˘ 늑핂 띖줂뚌솒 ě˝›ěş?î?–펖힎. 먞믞펞삲 í•ŻížŽě•Šě ˘ ěž˛íŞ‚ě ˘ 잲푞 ힾ픎 믞맒 ě†§íŒ–ěžš 콚찒쇌삲 í•‚ëş‚ ěšşě•Ší˜† 슒ě?şí•¤íŒ’. í‘žě?şě ˘ í•‚ 읿펞 ěƒŽî?‚ ěžœí”Ž 뽊플ě?Š î?–몎, 믆 ěŒš 띲많 “띲 욺힒슲픒 퓇 욺핂펞 í?şě?şí•ž.

쥜슎 욺힒슲픒 í?şě—˛ěťŞ í—’ 쟆몒플 ěžœí”Ž 욺앚슲핂 펆헪 펂싢읪슎 í•‚ 욺힒슲픒 썊 쿌 핖늚 îŒŚí•ž!â€? ě•Š몎 í—ŞíŒ–í”’ î?–핤팒. 힎믖픎 퓇욺핂펞 ěšşíž’í”’ ëŠší•şîŒŚě ˘ 늚 î”˘îŒŞ í•Ší•‚ 쇌펖힎잚 ěƒ‡í‚ŞíŽžě ˘ “홙팒. 뚌플 í˛śěź—íŽž ěžŹě ˘ 폪몎플 짡슣핆 늑 맧팒â€? ě•Š몎 캍ë§?î?–펖펂. 뚌펞늚 í›&#x;í‘˘îŒŞ 늑픎 ě‚ś îŒŞ íł…í”Ś ěƒŽîˆŞ ěšşíž’ěžší”’ ěŤ‚íŽşí›Šě ˘ 늚 íŒ’ě‚–í?Š. 60핳플 욺힒슲픒 쥜ěˆž ěŤ‚íŽşí›Šě ž í•‚í?Š믞ě?Š í—’ě‚şîŒŚëŞŽ 탄픎 늂섞, í•ŻížŽě ˘ 믆얺믞 í ‹ížŽ íŒ˜íŒŚížŽ. 핆흞럅픎 í•‚ě–şîŒŞ 몎짊픒 îŒŚě„Ś 뚌펞늚 뚌íşŽ뚪 폪몎플 ěž˛íŞ‚í?ŽíŽ‚.

M ëťš ě ™íž’ ěšşíž’í”’ í§›í”’ ěśž íŒ’ě‚–ě•Š 퍺í?? ëş‚ëş‚ 믆슲픒 핆흞쎞îŒŚě ž 쥜슎 í•‚í?Š믞슲픒 ě˝žëŻŽí‹śě˜Ş ě§ŠíŒ’ í—?íŽ–ě ˘ě„ž, 믆 쥜킃픎 ěž–í°Ś 믆잊픒 믆ě?şě ˘ 늑 맧íŒŚíŽ‚. 삲킪 ěžžîŒŚížŽěžš, 믆 ěƒ‡í‚Şí”Ś í“‡ěšşí•‚î‚†ěŠ˛íŽžě ˘ 믆얞 늑슲핂 í—’î?Ž 펔펖펂. ëťš ěş–ě˜Şí’‚ 엚슪ě?Š 잚슲펂뺆 핆줊핂몎, ëť–ě?Š ě‹žě•Š îŒŚě ˘ 쿌ěžœí”Ž í­˘í™“í•žěŠ˛í”’ 잚슲펂뺖힎. 믆엕힎잚 â€˜ě„˘ ěźŽě°’â€™ě ˘ 쭒쥓 풞혞 늡í•‚몎, í•‚ í??펝펞읪 많핳 í??î?łě—ł í•–ě ˘ 욺핂í?Š. T

몎ěž–í’š í°ŞëŹş.

M í?śě•Ší•† ěş?펞읪 띖플 í˛śíźžíŻŽě?Š 많힎몎 ě˝šížƒîŒŚě ˘ ëŠ‘íŽžě ˘ 펂ě?˛ í•łě‚śí—ží•‚ í•–ě‚–? T

믆늂 뚌펞늚 í—Łěžž 뽎않풂 핊핂펖펂. í‘žě?şë§Ž ěş‚íŒ’ë§Žě ˘ 쟆ěş?í•‚ â€˜ě„˘ 쟎찒’ í?Ž 맧픎 í“‡ěšşí•‚î‚†ěŠ˛ě˜Ş 쪎î?˘î?‚í?˘ě‚˛ëŞŽ 캍ë§?î?‚. 푢í?Śí”Ž ěšşíž’ ě&#x;…í•‚뚌 íŽ“ě˜ŞěŠŞ 짡킍펞 í—ŞîŒŞí•‚ í•–믞솒 îŒŚëŞŽ, ěž?í¸şě?Š íşŽ몎 짢ě˜Ş 삲ě?† ěšşí•‚î‚†ě˜Ş í•‚ě†§îŒŽ 쿌 í•–ě ˘ SNS많 훊ě?Š í•‚ěšśí•¤íŒ’. 펂ě?˛ 쥂펞 읪 SNSě ˘ 섢 ěžœí”Ž í—Şí?‹í•‚ 핖삲몎 썊 쿌 핖힎. ëšŚě ˘ 뺂많 잚슎 퓇욺핂플 í—&#x;믊 짡í‚Ťí•‚ 펺헒 섢 잲엳í—?핆 늑 맧팒. í?ŞëşžîŒŚěĄ‚ 썂펺훊몎 탄픎 욺힒슲픒 뚌잚플 í•†íťžî…Śí•‚í ˛ 짡í‚Ťí”Šě˜Ş 썂펺훒 쿌 í•–먞슎. SNSě ˘ ě°’í‚…ě°’í‚…îŒŞ 킎짪ěş?í•ž 팖펞 í¨‹í”Śí—?핆 늑슲픒 ë§ŽěˆşěŠ’ě?şě ˘ 늑 맧팒.

M í—’í—?í”Šě˜Ş 솧플î?‚. ëšŚě ˘ 띲많 í•‚ě–şîŒŞ î’šěœťîŒŞ 퓇욺핂ě?Š 맪읲îŒŞ 늑윞잚 íŒ’ě‚–ě•Š 띖플 í•&#x;펓슲핂 킲ě?ž 3뭚플 í¨“í”’ 짪맒î?–ě‚˛ě ˘ 늑솒 뽎않풚. í¨“í”Ž 믞쿎í•‚ íŒ’ě¤‚ě?ş 짪í—’îŒŞě‚˛ î?‚솒 í??í’žî•– í™‚í•şîŒŽ íźšě‚– ěžží•‚í?Š.

M ëť–ě ˘ í—’ 쟆몒ě?Š 펺î?—îŒŚěĄ‚읪 많핳 í??î?łě—ł í•–ě ˘ 욺앚슲핂 펂쎉늚 ěş‚몎, 줂펕픒 욺몎, 줂펕픒 í™™íŒ’îŒŚëŞŽ, 펂쎉늚 í•“몎, 줂펕픒 ě ‡ě ˘ížŽ 썞í?˘ě ˘ě„ž, 띲많 퍺í??î?‚í?ś í•‚ í¨‹í”Śí—?핆 욺앚슲펞늚읪 ëŤƒížƒí—?í”Šě˜Ş ě§ŞëŠşîŒŞ í—ží•‚ 핖펂? T

íŽ‚í§š 썂쥂 믆슲플 ëŤƒížƒí—ží”Ž ‘뚌’않몎  쿌 핖펂. î”łě§†ě˜Şí’‚ 욺앚슲펞 ěƒŽîŒŞ 뚌플 덎킺핂 ëŤƒížƒí—ží•† 먞힎. 믆늑핂 뺂많 ëż’돞많ě?Š 퍺í?? îŒŚě ˘ě„ž îŒ’í‘˘îŒŞ í“Ží•ŠîŒŞ 혞늂핂í?Š.

M 믆늚 í˜žëŠ‚í•‚ě•Š몎? T

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í”&#x;, 믆슲핂 í“ŽěĄ“îŒŽ îŒ’í‘˘ě ˘ 펔펂. ě­Ží•ží•Š îŒ’í‘˘ě†’ 펔힎. 헣 ëŤƒë§’íŽž 캂힎 íŒ˜íŒ’ě†’ ě‡Šď˜›ď˜“뚌í”Śď˜“í•&#x;íŽ“í”Žď˜“í—’ě­Žď˜“뚌í”Śď˜“î?†믞킺펞읪ď˜“ě°’ě˜˝ě‡ŚížŽď˜›ď˜“íŽ‚í§šď˜“ěŤ‚ěĄ‚ď˜“ëŻ†ëŠšď˜“í“Ží•ŠîŒŞď˜“

T Todd Selby M Mark Hunter / The Cobra Snake ---------------------------------------------------------------------------M In the beginning of ‘The Selby’ project, I know that your first approach was to shoot mostly your friends because you know those people and you get along with them and they trust you and it’s an easy fit. But I know that you had bigger ambitions with this project and you wanted to shoot people all around the world, but sometimes you met them for the first time and you had to whip out your camera and take some photos of them. How did you go about that? With your friends, it’s easy. Meeting a stranger, maybe in a foreign country, that doesn’t speak English for their first language, was there any tips on how to break the ice or how to get involved with shooting them? T Yea. ‘The Selby’ definitely started with shooting my friends and then it eventually became friends of friends and then just people that I was interested in. One of the best parts is just meeting someone and entering their world and having an excuse to go through their house and learn all about them. It’s a really unique position to have in life. “Hey, how interesting would it be to see how Olivier Zahm lives and check out his books and his cologne collection?� It’s such a blast, such a natural thing. I have a license to be a snoop. M And I think you built such a great reputation with your early work on the website that, if you showed that to anybody, they would want to be shot in that way. You had such a fresh perspective on interior photos, where everything else was so stale, yours was full of life and it was an honor to get shot by you, even if they didn’t know exactly who you were in the beginning. T Thanks. My work has always been a celebration of people. There’s nothing negative about it. So naturally people want to be a part of it. M Totally. M It seems that a lot of the people that you’re shooting are really confident and have really strong personalities. Do you ever find that tricky when you’re shooting them, because you’re shooting Karl Lagerfeld, who’s the most iconic fashion guy, and chefs who might have big egos? Do you find that it’s ever challenging working with those subjects? T You know it’s interesting because I’ve been a photographer for a while now, for seventeen years. Kind of crazy. But in the beginning of my photography career, I was really into formal portraiture and I wanted to really control every aspect of my photo shoot, from the lighting to where everyone was positioned to the composition. It was very formal. I realized after doing that for a long time what happens, if you do that formal kind of portraiture and you control everything, it means all of your work tends to look exactly the same and it’s really boring. After a while, I thought, “Wait. I just did 400 shoots but they all look the same.� So it was an evolution, “Wow! I should embrace the energy of the people that I shoot.� which I think you Mark can really relate to with your work. You very much feed off the energy of your subjects and you are trying to build it and work with it. I’ll shoot someone like Karl Lagerfeld and he wants to be portrayed in a very particular way. You never take a picture of Karl Lagerfeld when he’s sitting down. He stands up and he’s got his pose and his moves. And I love that! I embrace that and I go with that and let my subjects lead me down a path which is really fun. I mean I’ve even shot people...there’s a guy I shot named Faris Badwan. You might know him from The Horrors, and he’s the lead singer of a rock and roll band but he’s actually really shy when he’s not on stage. There was a certain point when I’m shooting him, was hiding in his closet and you could just see a little bit of his face, peeking out and I loved that. “Ok. He’s hiding. I’ll take pictures of that.� So, it’s more of an embrace of everyone’s energy. I think that’s a more interesting way to be a photographer. M Did you find that these people are building their surroundings in a special way, like this guy would prefer to live in a tree house or this guy wants a cement bunker? Did the personality of the person really fit with their home interior and lifestyle? T Yeah. A lot of people don’t care really about where they live. They don’t really do anything to it. It’s just where they sleep, which is totally fine but the people who I photograph, they have a certain philosophy. They’re

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T í˝ŽěŠŞ 쟎찒 M ěž–í¸ş 흞 / í´˘ěŻšě•Ší ˛ëť˛í•‚í¸ş

Todd Selby and Mark Hunter/ The Cobra Snake big characters. They build their house and their environment to suit their personality and their life. I see a lot of that. M So there’s this new movement, which I detest, called minimalist, and those are the people who want to get rid of everything and live with one plant on their dresser and a very limited amount of clothes and anticonsumerism and everything. What’s your opinion on that? T I love that question! It’s the ultimate maximalist such as yourself asking me about minimalism. I think people just have different relationships with possessions. It’s very philosophical and emotional. That’s always something that interests me, how people relate to their things and what they want to collect. I’ve always been interested in collectors and people who have loads of stuff. To me, minimalism is hard because it means getting rid of everything. So you don’t have those objects to photograph or talk about or be interested in. Minimalism lacks those points of interest. M And have you shot any iconic minimalists over the years? T I’m trying to think of one‌ M It doesn’t bleed Selby to me but I’m sure there’s definitely some minimalists that have really interesting lifestyles that you could have documented. T Yeah. Minimalism is just something that I’ve never been attracted to. Definitely I’ve always been a proponent of maximalism. Myself personally, I think I live that through my work. I don’t personally try to collect things and have so much stuff, but actually minimalism to me is quite boring. When I started shooting people and their spaces in the early 2000s that super clean look was the dominant aesthetic. So what I did was so embracing of minimalism and real-life and messiness, so it was a slap in the face to that whole thing. M With ‘The Selby’ project, you became famous, not overnight, but it definitely happened pretty quickly and I think it had to do a lot to being that you put the photos on a website. And again this was pre-Instagram and pre-social media and you were kind of a game changer in terms of the way that you shared your content. How do you think that that helped propel your career? T It’s something that you and I talked a lot about when I was first working on this project. It was 2008 and we were on a trip to Prague together and I was shooting a lot at the time for magazines. I’d just shot this cool story of Tom Wolfe in his home and the magazine printed two photos, but to me there were twenty amazing photos. I got to photograph his library, his canes, his personal letters, and his hat collections and it was really frustrating for me that those photos weren’t being shown. And on top of that, issues of magazines were out for such a short time and then basically disappeared. This was something that we discussed a lot and you had the suggestion, “Well, you should put all the pictures up on a website, so that everyone in the world can see it and it’s always there.â€? which today is an obvious thing but back then was a revelation, “Oh yeah. This is the perfect medium for this kind of concept.â€? It’s not about the one iconic photo for me. I want to build a story out of sixty photos but with a magazine, you can never really do that. So the internet was the perfect medium for me. M I mean you definitely painted a picture, not only with the amazing photos, but you would do these handwritten interviews with each of the subjects during the photo shoot. Again, for a website at that time, it didn’t really exist. So you were pioneering a whole new trend and then tons of copycats followed. But you know ‘The Selby’ is definitely the original and most influential in that game. T Thanks home dude. M Do you have any pros or cons about online communication and putting the content out there? T For me, it’s been an amazing thing. I think that the world has changed from a world of websites, which is where ‘The Selby’ launched. Now it’s dominated by social media where they very much constrain how many photos you can put up there and the formatting, and the ability to link. Social media is so much more constrained in a lot of ways. To me, that website approach is still so attractive because you can really build your

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í˝ŽěŠŞď˜“ěźŽě°’í?Žď˜“ěž–í¸şď˜“îŽšíťž / í´˘ěŻšě•Ší ˛ëť˛í•‚í¸ş

T í•şě§†í•–ě ˘ 힖줆핂띲. 캍ë§?썂삲 í—Łěžž ě°śě?ş 킲맞î?–펂. 뺂많 퓇욺핂ě?Š í‚Şí•&#x;îŒŚëŞŽ 뚌읪 ěˆž ě‚ş î’’팲í•‚í?Š. 2008럒펞 “팖럣îŒŚěź†í‘˘, 헪많 퓇욺핂펞읪 îŒŚëŞŽ í•–ě ˘ 핊슲픒 î?Łí•†î?‚썂쟆푢. theselby.com ěž?í¸şě?Š íš‚ě?ťî?‚훊쟆푢â€? ě•Šě ˘ í•‚ě ˘í•Ší”’ 썂뺖몎, 믆 î’’ îŒŚěšś ě†§íŒ– 10쥓플 ěšşě•ší•‚ ëş‚ 퓇욺핂ě?Š 짡줆î?–펂. 믆 삲픚 40쥓, 믆 삲픚펢 100쥓핂 í?˘ížŽ. 짡줆핞 쿌많 믞îŒŚëŻ—쿌í—?í”Šě˜Ş í?şě•Šë§Ž믞 í‚Şí•&#x;î?–펂. 믆 삲픚 í›ŠíŽžě ˘, 1,000쥓, 10,000쥓핂 쇌펖힎. 믆늂 í—Łěžž 뽎않풂 핊핂펖펂. 믆 쿌많 몒콛î?‚읪 í?Ťë§Žî?–몎, 쥜ě?‚ě ˘ 욺앚슲핂 뚌펞늚 í•‚ě ˘í•Ší”’ 썂뺂믞 í‚Şí•&#x;î?–펂. 핂늂 í—Łěžž 퓎쥓쟆ě?Š íşŽěĄ‚읪, 줢많많 핊펂뚌몎 í•–ě ˘ 먞핤팒. 뚌펞늚 í¸ž 풞솧엳핂 쇌펖힎.

M <ě ‚í‘ŁíşŽí•’í?–(The New York Times)>펞 í¸şëŠš 믎핂 킲ě?ž í—? 핖힎 팘팒?

T í—Łěžž íŤ–í¨‹믞펞 <ě ‚í‘ŁíşŽí•’í?–>펞 í‚˛ě˜†íŽ–íŽ‚. 뚌펞 ěƒŽî?‚ í‹‚ ě ™íž’ 믞욺슲픎 뺂많 í•Ší”’ îŒŚě ˘ě„ž í¸ž 솒풎픒 훊펖힎. 뚌펞늚 í—Łěžž í¸ž î•Śí•‚ 쇌펖펂. í—Łěžž í™™íŒŚížŽ.

M ě?ş â€˜í´Şě—–î‚†(colette in Paris)’펞읪플 헒킪많 띖플 튚 í—’í‚Şí?ŽíŽ–힎?

T í”&#x;, 튚 슖í&#x;† í—’í‚Şě?Š â€˜í´Şě—–î‚†â€™íŽž읪 î?–펖펂. ëšŚě ˘ í•&#x;몎 íŽ‚ěˆží’‚ ížŽîŒŚ í ˛î Şě‹˘í?˛íŽž읪 쥜슎 ěšşíž’í”’ íž?í—&#x; 핆잒î?–힎. î‹’ě?žíťžë§Ž ě ‡ížƒí•‚ 쇌힎 íŒ˜ě†’ě˜Ť îŒŞ 핳틡 핆잒ě?Š î?‚í?Š î?–믞 ěŒšě¤†íŽž 잲핊 짲ěş–í’š í•Šî?–펂. 믆ě?şëŞŽ 뚌읪 â€˜í´Şě—–î‚†â€™íŽž 맢ě„Ś 늚 믞펃뚌. 힎믖픎 ëş‚ íŒ’ëş‚ë§Ž 쇪 삲삖펌(Danielle)덊 ëšŚě ˘, â€˜í´Şě—–î‚†â€™í”Ś ěšşě•Š(Sarah)í?Ž 믆플 îƒŽí’žěŠ˛ëŤŠ îŒśë˛Ś 쪋덊 몒삜윞잚 íŒ’ě‚–ě•Š 맲ě–şě?şí”Ś 쥜슎 ëŤƒë§’íŽž ěšşíž’í”’ ě­§í?ŽíŽ‚. 핂늂 íž’í—ŁîŒŞ DIY짡킍핂펖힎. 핂늚 뚌플 튚 í—’í‚Ş ëŞ‹îŽŚí•‚íŽ–ě‚˛ě ˘ 늚 뽎않풚.

M í—’í‚Ş í?˛î‹’삍펞 íąŠ ě•Š먞(Karl Lagerfeld)많 í?˘ě„Ś 늚 믞펃뚌. ëťš í‘žě?ş ěšşíž’í”’ í—Łěžž ě ™ížŽëŠš í§›íŽ‚í›şížŽ.

T ěžŹíŒ’, íąŠí”Ž â€˜í´Şě—–î‚†â€™íŽž 핞훊 많. îŒŚěšśě ˘ 믆많 쿊îŒ&#x;í”’ îŒŚě‚˛ë§Ž 많늚 ëŤ ëŤ íŽž 쭧펂핖섌 ëş‚ î‹’ě?žî‚†ě?Š ěŤ‚íŒŚëŞŽ, ěšşě•Šě•&#x; í•‚í?Š믞ě?Š 뚌ëż’몎 í•–íŽ–ěƒŽ. ěšşě•Šě ˘ â€œí˝ŽěŠŞë§Ž íž’í‚şí”Šě˜Ş ěƒ‡í‚Ží”’ í§›몎 탄펂î?‚푢.â€? ě•Š몎 ěžžî?‚ 훊펖몎, íąŠí”Ž â€œí˝ŽěŠŞíŽžëŠš ëş‚í•Š íŒ’í°ś í•Žë°ž 슲ě?‚ě•Š몎 ěžžî?‚훊쟆푢â€?ě•Š몎 ěƒŽěƒƒî?–ě‚˛ě ˘ 먞í?Š. 믆엕늚 믆ě?Š 퍺í?? 쿌 핖늚 쇌펖힎. ěšşě•Ší?Ž â€˜í´Şě—–î‚†â€™íŽž읪플 헒킪많 뚌ě?Š îŒŞ í°ƒ 섢 ěťżí•łîŒŽ 쿌 핖늚 솒í?Ží›ŠíŽ–펂.

M 돗핳î?‚. 띲많 îŒŞëŹťíŽž읪 펂ě?˛ í—’í‚Şě?Š 믞î‘›îŒŚëŞŽ í•–ě ˘ížŽ 띖줂 믞ěƒŽě‡Š. 욺앚슲픎 쭒쥓 짌îŒŚëŠš 쇎 먞몎 쥜ěˆžěŠ˛ 짆쿎덎펞 많읪 띖플 í•&#x;덊 ěźŽíą‚ě?Š í§›몎 탄펂 먞í?Š. M ěšşíž’í”’ 퍺í?? ěŒš í›&#x;í‘˘îŒŚëŠš 캍ë§?îŒŚě ˘ 3ë§ŽížŽě ˘ 줂펕핂삖?

T 튚 슖í&#x;†ě˜Ş í›&#x;í‘˘îŒŚëŠš 캍ë§?îŒŚě ˘ 늂 î”Śě–şë§Žě ˘ ěƒŽě˜Ş ěšşíž’í”’ í§›ě ˘ 먞í?Š. 핂헒펞솒 ěžžî?–슽핂, 욺앚슲플 ěťżî?łíŽž ěžŹí­ž 믆슲핂 î?—ě†§îŒŚě ˘ ěƒŽě˜Ş ě‹žě•Šë§’ě‚˛ě ˘ 늑덊 ě°’í‚…îŒŞ 잳앋핂힎. 핂븚ě?şě ˘ ěƒŽě˜Ş 펂싢슎 ë§Žě ˘ 먞í?Š. 믆늑핂 í—’î?Ž 캍ë§?îŒŚížŽ ě˘‰îŒŞ 짡î?łí•ŠížŽě•Šě†’, 핂헒펞 썂힎 ě˘‰îŒŞ 줂펆많ě?Š 짪늺 쿌 í•–ě ˘ 믞î‘ší•Š먞í?Š. ěˆž 슖í&#x;†ě ˘ 줂펕핂 쇎힎 í•Ś 쥜ě?‚늎띲.

M 섢 핞쟆 í•‚í?Š믞î?‚ 썂핞쥂, 뚪 믞î‘šě?Š ěžšěŠŞě ˘ 늑핂 í›&#x;í‘˘îŒŚě‚˛ëŞŽ 캍ë§?î?‚. 짢츪 í•Ší—Ł 콛펞읪솒 욺앚슲픒 퍺í??îŒŚëŻž í“’î?‚ 믞벊핂 믆슲핂 ěšşě ˘ ëŤ ë°šížŽ íž?í—&#x; í¨ŒíŒ’ë§Žě ˘ 띖플 í?‚헣덊 뽆엳픎 í—Łěžž 쪒î?‚. ëťš 믆 퍺í??í”’ í“’î?‚ í ˛í ˛ě˜Ş 몒픒 쟆풚í?Š î?–몎, 핂늑핂 짢ě˜Ş ěšşíž’ í•&#x;ë§Žě˜ŞěťŞ îŒ’í‘˘îŒŞ í•žíž–í•‚믞솒 îŒŚížŽ.

T ěžŹíŒ’. í¨ŒíŒ’뚌ë§Žě ˘ 늑핂 ěťżëŤƒ í‘˘í•†í”Šě˜Ş í•&#x;í‘ˇîŒŞ 늑 맧팒. ë§Žě łěťżí”’ í?‚펂 ěˆž몎 í¨ŒíŒ’뚌ë§’ě‚˛ě ˘ 늑. 쥡îˆŞě?Š î?łî?‚ 뚌íŒ’ë§Žě ˘ 늑덊솒 맧힎. 핂늚 ěˆž 슖í&#x;† ěƒŽěƒƒí•† 늑 맧띲.

M 핊덎읿픎 íŽ‚ěŒš? 띖플 ěšşíž’íŽžě ˘ 띖잚플 펞띖힎많 ěƒ‚늜핖펂. "í—Ž먞 쟎찒많 í§›íŽ–í•¤íŒ’"ě•Šě ž ëż’돺뚌 '섢 쟎찒'플 ěšşíž’í•‚ě•Šě ˘ 늆 팚 쿌 핖힎. 믆얞 핊덎읿픎 잲푞 í›&#x;í‘˘îŒŞ íŽťîŒŽí”’ îŒŞě‚˛ëŞŽ 캍ë§?î?‚.

T í”&#x;. 홙픎 핆í?Š. í?ŞëşžîŒŚěĄ‚ 펂ě?˛ ě?’í•‚뚌 쿪맒픒 ě‹žě?†ě‚˛ě ˘ 늑잚핂 100%ě ˘ íŒ’ě‚–ě‚–ë°š. 쟆 슖í&#x;†ě ˘ 핊덎읿픒 ížŽíš˛ě ˘ 먞í?Š. 핂늂 뚌플 ě§†îŒ§, 뚌플 덎킺욺í?Žě†’ 맧팒. 핊덎읿픎 뚌펞늚 í›&#x;í‘˘îŒŞ 쭎쭒핂힎. 믆 욺앚슲덊 믆슲플 줊늂펞 ěƒŽîŒŞ 뚌플 î?†믞킺솒 îŒŞ 쥚픒 îŒŞě‚˛ëŞŽ  쿌 핖펂. 핆흞쎞ě?Š îŒŚëŞŽ î‹’ě—–í•’ í•&#x;펓픒 îŒŚě ˘ 늑튌ě—Š 믆헎 í?žëŻžě ˘ 늑. 핊덎읿, ěžŹíŒ’. 홙픎 힎í—?í•‚í?Š.

M ěžŹíŒ’, 핊덎읿핂 î?ƒí‚şí•‚ě•Š  쿌 핖힎. ëťš 힎믖밚힎 쿌짿 쥓플 욺앚슲픒 퍺í??î?‚í?˘í•¤íŒ’. 퍺í??î?–ě„Ś ěšşě•š í›&#x;펞 í—Łěžžě˜Ş 솙썂í?Ž먞뚌 믞펃펞 ëšśě ˘ í•‚í?Š믞많 핖펂? í—Łěžž ë­?믖î?‚.

T íŒšě‚˛í‚ŞîŒŠ ëšŚě ˘ 믞íŽƒě—łí•‚ 줂튧 뚌찎. 믆알읪 ëş‚ 욺힒슲픎 ëş‚ 믞íŽƒëŤŠ 맧힎. ěž–í°Ś ëş‚ í¨“í”’ ěŠ˛íŽşě‚˛ěŤ‚ě ˘ 늑핂믞솒 îŒŚëŞŽ, ëş‚ 쥜슎 힎뚪 몋슲픒 믞íŽƒîŒŚě ž ëŠ…ě ˘ 늑덊 맧팒. íşŽí•’íąŻí žëŤŠ 맧픎 먞힎. í?–헒펞 í§›í”Ž 띖플 ěšşíž’, 믆 í‚Şí—–, 믆 ëŤƒë§’íŽž í•–ě ˘

ëť–ě?Š 힎믖플 띲많 짢ě•ŠěŤ†ě‚˛ě ˘ 핊픎 í—Łěžž 뽎앛몎 î”łě§†ě˜Şí’‚ í•Ší•‚í?Š.

M í—Łěžž ëŤƒë§žî?‚. 쥜슎 욺앚픎 뚌í•‚ě?Š ě ‡믞 ěŒšě¤†íŽž ěŒšě¤†íŽž 핂늂 íşŽí•’íąŻí žëŤŠ 맧힎. 욺앚슲픎 íŒ’ěž– ěş–ě˜Şí’‚ íž&#x;í”Šě˜Ş í•‚ěšşě?Š  늑핂몎, 믆슲픎 띲많 퍺í??îŒŞ 줊늂슲 í›&#x; í•Šě­Žě ˘ 슒ě?şëŠš 쇎 먞í?Š. 믆얺쥂 í•‚ 욺힒슲픎 믆 ěŒší”Ś 믞íŽƒí”Šě˜Ş ëšśíŒ’ í??í’žî•– í™‚í•şîŒŽë¨ží?Š. í—Łěžž ě ™í˜†.

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own interface and show the pictures how you want to show them. So I feel that the move to social media has really put creatives back in a shoebox again. M Totally. Also I think it’s pretty amazing that, not only did you build this great website, but you’ve had already three coffee table books come out with these images and those will live on forever way past the days of technology. M You’ve travelled around the world to see how the most influential people live and what they buy and how they dress and all that and the food they eat. Do you find any common threads with those people in these creatives that you’ve shot? T The common thread, I think, simply is me in a way because it’s my interest about them, people that I find interesting because that’s the only qualification for me shooting someone. M That’s the qualification? T They don’t need to be famous. They don’t need to be rich. They don’t need to live in a certain place. My work is just an exploration of my curiosity. So in a way, that’s the one thing. The only other odd thing that I think connects them all is that they’re usually all collectors of some sort and people who express themselves in their living environment at least or working environment. M Yeah. That makes sense. When you started ‘The Selby’ website, when did you really feel that it had some traction and it could turn into something bigger than an art project or a hobby thing? T That’s an interesting question. That happened pretty fast. I’d say after two months of doing it. In 2008, I just emailed people. “Hey! Look at this thing I’m doing on my website. Click on this link theselby.com.� and I got ten people looking at it a day, and then there was forty people looking at it a day, and then there was a hundred people. And then traffic started to go up exponentially. A thousand people. The next week, it was ten thousand people in a day. I thought, “This is amazing.� Just seeing the traffic and going up and then people I didn’t know started emailing me. It just really took off. This is it. This is really going somewhere. It really encouraged me. M Didn’t you also have a big write-up in the <The New York Times>? T Really early on I had a write-up in <The New York Times>. That definitely helped propel things and lots of great editorial pieces about what I was doing. Just really encouraged me. It was cool. M Was it at ‘colette’ in Paris that was the first in real life Selby show? T Yeah. My first show was at ‘colette’ in Paris. I remember I had this dingy basement studio and I printed the whole show myself in my little studio and stayed up all night day after day because I had to feed one print at a time or the printer would jam. And then I remember going to ‘colette’ in Paris. And then Danielle and me, who’s now my wife, we were in there and we were with Sarah from ‘colette’ and her team. We were just putting up photos. We’re taping photos to the wall. We started in the gallery space and then just kept moving down the wall and down the staircase and then just everywhere. It was a real do-it-yourself style thing. It was awesome to have that be my first show experience. M I remember at the opening Karl Lagerfeld was there. You took a really epic photo of me and him.

ěž–í¸şď˜“îŽšíťž / í´˘ěŻšě•Ší ˛ëť˛í•‚í¸şď˜™ď˜“ěšşíž’í•&#x;ë§Ží•‚í•žď˜“î‚†ě—–í•‚ëť–

í´˘ěŻšě•Ší ˛ëť˛í•‚í¸ş(The Cobra Snake)ě˜Ş ě­–ě?şě ˘ ěž–í¸ş 흞(Mark Hunter)ě ˘ â€˜ě„˘ 쟎찒’ î‹’ě˜Şí—Ťî‚†(‘The Selby’ project)ě?Š í‚Şí•&#x; 쿌 í•–ě†’ě˜Ť 솒풎픒 훎 핆줊핂삲. ëŻ†ě ˘ ě†“î‚‡îŒŞ í?…í§śěžŠíŽž îŒŞ ě˝žíŽžě ˘ íą‚ě ˘ě•Šě?Š 슎 쥜í‚ƒí”Šě˜Ş 2000럒솒 ě ‚í‘Ł(New York)플 펞읪 í˝ŽěŠŞ 쟎찒í?Ž 튌픚 ěžš뚌 핆펞픒 ě&#x;ˆíŽ–삲. 욺힒덊 îƒśěźŚí”’ 헒줆í—?í”Šě˜Ş ě‚˛ěšśě ˘ í?śě•Ší•† 앚핆 â€˜í´˘ěŻšě•Ší ˛ëť˛í•‚í¸ş(The Cobra Snake)’ě?Š 잚슲몎, 싢힎ퟆ í‚ŞěƒŽíŽž î?˘ě‡Ş ěšşíž’í•&#x;ë§Žě˜Ş 핓힎ě?Š ě‚˛í˜†í?ś ëŻ†ě ˘ íąŚě°–íš‚ě•Ší•†(Calvin Klein), 줂앝(Helmut Lang), <îŒŚî…Ší ˛ 짢í•ž(Harper’s Bazaar)>í?Ž 맧픎 쟆몒í—?핆 쯚앪슪슲덊 삲í?&#x;îŒŞ î?&#x;펓픒 핂펂í?˛ëŞŽ 핖삲. 싢힎ퟆ ě˝šížƒ 짡í‚Ťí”’ í—?믇 î?Şí‘ˇîŒŞ â€˜í´˘ěŻšě•Š ěťƒ(The Cobra Shop)’덊 â€˜í´˘ěŻšě•Š î“Śî‚†ě‚–í ˛ íš‚ě—‹(The Cobra Fitness Club)’솒 í’‚í??îŒŚě ˘ ëŻ†ě ˘ ě‚˛í¨’ě˜ťëŞŽ í ˛íşŽí•Šě?şí€şîŒŚě ž, îƒśěź˘ëť–쯢îŒŞ í•‚ě§†ížŽěŠ˛ě˜Ş 험픎 ěź†ěƒŽěŠ˛íŽžëŠš ěş–ě˜Şí’‚ ě•Ší•‚î‹’ í ˛íşŽí•ŠëŤŠ 엚슪ě?Š 읎썂핆삲.

T Yeah. Karl goes to ‘colette’ a lot. He was in there shopping one day and he saw the prints that were everywhere in the store and he was talking to Sarah about it. And Sarah from ‘colette’ said, “Todd really wants to photograph you.� and Karl told her, “Tell Todd to come by tomorrow morning.� And that’s how I got to shoot him. It was pretty amazing that Sarah and ‘colette’ really helped propel me to the next level. M Awesome. I’m so excited to see what you have planned for Korea and I think it’s going to blow people away and everyone should try to make it out to the museum and go take some selfies with your artwork. M What are three important things that you keep in mind when you’re taking photographs? T My first thing I keep in mind when I’m taking photographs is to go with

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M 믆엊, â€˜ě„˘ 쟎찒’ 퓇욺핂많 펜짆뚌 í?–쿎 î‹’ě˜Şí—Ťî‚†ě?Š 띌íŽ‚ěťŞě ˘ í??î?łě—łí”’ 많힎늚 ě‡žě‚˛ě ˘ 늆 펆헪 ě žëł–íŽ‚?

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솧믞않몎  쿌 핖펂. 믆슲픒 îŒŚëšŚě˜Ş ě¤„ě ˘ ě?ž 삲ě?† ëŤƒížƒí—ží”Ž í›Šě˜Ş 줂펆많ě?Š 쥜í”Šě ˘ 쿌íž&#x;ë§Žě•Šě ˘ í—ží•‚í?Š. 캍î?Ş î?ŚëŞ‹í•‚뚌, í•&#x;펓 î?ŚëŞ‹ 팖펞읪 í•ží‚Ží”’ îˆŞî?’îŒŚě ˘ 욺앚슲핂힎.

Todd Selby and Mark Hunter/ The Cobra Snake

the flow. So that kind of relates to what I was saying earlier about following people’s personality and just going with it. Wherever it leads, just go with it. If it goes somewhere really weird, that’s the best because it will be different from anything you’ve ever done before. I guess the second thing - I don’t know what the second thing is, if there is a second thing. M Just to elaborate on that, I think it’s so important to be available for the opportunity. And again what was so special for you, you did this as a passion project and you took time and your own money to travel to shoot these people with busy schedules and stuff. So you have to set yourself up to capture them, which is part of being a photographer. T Yea. Showing up. Showing up is part of success. Being open to it and then showing up, going for it. I guess that’s number two. You’ve got to be there. M What about consistency? I think that you’ve definitely created an energy around your photography that your photos are recognizable as ‘The Selby’. You know, “Selby shot that.� I think that plays an important role. T Yeah. That’s a good point because it’s not 100% going with that flow or that moment. The third thing being consistent, which is my aesthetic, my interest. There’s part of me in it too and that’s my interest in the person and their things and having fun and doing the interviews and having that framework that I built. So consistency. I dig that. M Consistency is key. You’ve shot hundreds and hundreds of people at this point. Has there been anyone that really stood out or any memorable story about shooting somebody? I’d love to know. T You know me. I have a terrible memory and my photos are my memories. To me, looking through my books and is walking down memory lane through all these experiences. It’s a time capsule. It’s pretty amazing even looking back at the pictures I took of you and then you see you at that moment of time in your place. It’s really interesting. M I love that. It is a time capsule cause everyone’s going to get older. They’re going to maybe move into a new house. They’re going to get rid of some of the stuff that you photographed and it’s those images that will always exist that will be those memories. That’s great.

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Mark Hunter / The Cobra Snake, Photographer and Fitness Guru ď˜“

Todd met Mark Hunter in 2000 at various parties around New York City. Mark was a young guy with a camera and an outrageous look, and they became good friends almost immediately. Mark was very influential in Todd’s conception of ‘The Selby’ project. Mark Hunter is an active photographer in the digital era. He goes by his nickname, The Cobra Snake, and runs online platform that covers fields of photography and fashion. He has been working with internationally acclaimed brands such as Calvin Klein, Helmut Lang, <Harper’s Bazaar>. Based on his insight and understanding of digital interaction he has been introducing new form of lifestyle and latest trends to the Millennials. All of his projects capture every moment in life with such an excitement and passion, which are shared through various social media and his online platform, ‘The Cobra Shop’ and ‘The Cobra Fitness Club’. His colorful, stylish and fashionable images offer alternatives to break from everyday routine. @thecobrasnake

í?–í—’ě­Žíťž ěšşíž’ ě˝› í›Ší•†ëŤƒěŠ˛íŽž ěƒŽîŒŞ ë°˜몎 î‰›ě­ŽîŒŞ í•‚í?Š믞ě?Š 섢 í•Ś í—’ě‚şîŒŚëŞŽ íƒ„íŽ–ě„Ś ëšŚě ˘, 욺힒덊

í•Šě–şí ˛î‚†ě—–í•‚쟌í”’ 늞îŒˇîŒŚě ˘ 짡슣슲펞 ěƒŽî?‚ 몎짊î?‚ í?˘í‚ƒě‚–삲. ěšşíž’ ě˝› í›Ší•†ëŤƒěŠ˛í”Ś í•‚í?Š믞ě?Š í?’ěŞ‹îŒŚëŠš

í—’ě‚şîŒŚëŻž í“’î?‚ 핂짆 퓇욺핂 â€˜ě„˘ 쟎찒(The Selby)’펞 ěžœí”Ž 욺힒슲덊 î…Śí•†îƒ“, 믆ě?şëŞŽ 쿜늜íž’ í•‚í?Š믞많

ěƒ‚ë°‚ 핆흞쎞ě?Š îŒśë˛Ś 늚핺î?‚í?˘ížŽěžš, 핂슖 í—’í‚ŞíŽžěťŞě ˘

삲ě?† 짡슣í”’ í¨ŒíŒ’í?Šěžš î?–í‚ƒě‚–ě‚˛. í•‚ 덊헣펞읪 í˛˛ě‚˛ě•Ž í¸şëŻžě˜Ş 핆î?˘îŒŞ 욺힒펞 콞 믎틜, í´Şě•Ší›Š, íŒ’í•‚ěŠ˛í”Ś

ěŠŞě˜Şí•—í”’ ě„˘îŒŞ îŒŠíťž 찒펂슪(Peter Beard)플 í•&#x; <늚핒플 븍(The End of the Game)>í”Šě˜Şě­Žíťž ěžœí”Ž í??맞픒 íŽ‰íŽ–í‚ƒě‚–ě‚˛. 헒킪쇪 â€˜ě—–íž’ 엖핒’슲픎 믆플 í´Şě•Ší›Š ěŠŞě˜Şí•— 짡í‚Ťí”’ 짪í—’í‚Şíšś ëŠ‘í”Šě˜Ş, 몇몇핂 쭧핆 í•Šě–şí ˛î‚†ě—–í•‚쟌슲핂 ěˆžë˛Ší’‚ ě—–íž’í”Šě˜Ş 잖맞

튌ě?şě‡Ş î‹’ě—–í•’íŽžě ˘ ěšşíž’ ě˝› í›Ší•†ëŤƒëŤŠ 믆슲픒 ěˆŚě–şíƒŠ

í•‚í?Š믞ě?Š ě ™ížŽëŠš îˆŞî?’îŒŚëŞŽ í•–í‚ƒě‚–ě‚˛. ě?žîŒŞ î‹’ě—–í•’ 퓒플 í•Šě–şí ˛î‚†ě—–í•‚쟌슲픎 ë§? 욺힒플 훊헪ě?Š 읲ěĄ“îŒŽ ěśžěžš

íŒ’ě‚–ě•Š, 뚌잚플 î?Śěş?덊 í¨‹í”Śěťżí”’ îˆŞî?’îŒŚě ˘ě„ž í›&#x;í‘˘îŒŞ íŽťîŒŽí”’ îŒˇě‚–ě‚˛.

For a long time, I’ve been interested in ways to integrate illustration as a way to tell deeper and richer stories about the subject of my photographs. On my website, I’ve been able to include a lot of photographs, paintings and written interviews which tell a complete story. For this show, I was searching for a way to go even more in depth for each story in my photographs. I started thinking about the work of Peter Beard and his project <The End of the Game>. I was so inspired by how Peter creates a whole world by printing a single large photograph and then mixes in his handwriting, cut out materials and school children’s drawings. For ‘the resin frames’ in this room, I developed a process that built on a base of collaged drawings. I would place layers of single illustrations and thick resin to build up a feeling of the world each of my photographs inhabits. The illustrations that I chose to include on each frame further enhance the story about the interior subject in each photograph. The illustrations also give me an opportunity to express my own vision which is based somewhat in reality but also in my own fantasy and creativity.

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SELBY THE STORYTELLER

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ëŤ&#x;ěƒŽď˜“î‚†í“’ě‹˘

í•‚ 욺힒플 í›Ší•†ëŤƒí”Ž 믞슪 ěťŞí˛˛í ˛(Giffords Circus)플 í ˛íşŽ ëŤ&#x;ěƒŽ 퓒싢(Tweedy the

Clown)핂삲. 믞슪 ěťŞí˛˛í ˛ě ˘ í??돝플 킪몜 힎펝핆 í´˘íŻŽí’˘ěŠŞ(Cotswolds)펞읪 ë§Ží˜żí•‚ ěƒŽěƒŽě˜Ş í’‚í??î?‚ í?ś ěťŞí˛˛í ˛ě‚śí•‚ě‚˛. ëŤ&#x;ěƒŽě•Šě ˘ íŽťîŒŽíŽž í¸ž 덎킺핂 펔펖섌 ëšŚě ˘ í•‚ ěťŞí˛˛í ˛ě?Š ëŤŽě•šîŒŚě ˘ 쿪맒

퓒싢펞늚 짌î?‚ěŠ’ě˜†ě‚˛. ëŻ†ě ˘ 욺앚슲펞늚 풑픚픒 훊믞 í“’î?‚읪않쥂 훊헎 펔핂 짢썂 맧픎 î?—솧픒

îŒŚëŞŽ, í•Šě­Žě–ş 짪í”’ 싢싢먞뚌 쥜슎 늆 íŽ—ěžŤí”Šě˜Ş 잍많쓜ě?şëŞŽ, 펂ě?şěˆłí—–îŒŞ 튧픒 îŒŚë¨žëšŚ ě­Žěšží ˛ě—‹ëŠš î?—ě†§îŒŚëŻžě†’ îŒŞě‚˛. ěšşí‚ş íŽ”ě ˘ 믆플 î?—솧슲픎 í‘žě?şí”Ś í•Šěş? ě˝› 쥜í‚ƒëŤŠě ˘ ěƒŽí˜ží—?í”Šě˜Ş ě°’í­žížŽě ˘ě„ž,

í•ží‚Ží”’ 썂몎 ě˝žë§Žě•‹íž–îŒŚě ž ěżś 띌펂맖 슽 í’‘ě ˘ 욺앚슲픒 짢ě•ŠěŤ‚ě ˘ 늚 î?—ěŤƒîŒŚě‚˛ě ˘ 퓒싢플 쥜킃픎 í‘ˇë§žîŒŚě ž 팒ě?’ěƒƒ믞밚힎 îŒŚě‚˛. ěšşíž’ ě˝› î‚†í“’ě‹˘ě ˘ íŒŹě‚–ë§Ž ě°Žíž’ í¨’ě˜Ş î?ŚîŒŚëŠš 짆콚 힥몎 핖삲. í•‚ í•&#x;플 î‹’ě—–í•’íŽžě ˘ ě?ž 삲ě?† í•ƒěş‚í ˛ě–şí’‚ ëŤ&#x;ěƒŽë§Ž ěťŞí˛˛í ˛ 펞믞ě?Š îŒŚě ˘ 쥜킃픒 ěƒ‚íŒŚě‚˛.

Tweedy the Clown This is a portrait of Tweedy the Clown who is one of the star performers in the Giffords Circus. The Giffords Circus is a traditional family run circus in the Cotswolds, an idyllic region of rural England. I've never really been interested in clowns, but spending time at this circus, I was instantly drawn to Tweedy. He does whatever he can to look like a fool, tripping, messing up everything, being confused, wandering about, just to make people laugh. His actions are selfless and are such a contrast to how we all try to behave in our daily life. People pointing and laughing at Tweedy just brings him such joy, it's a brave and beautiful thing. In this photograph you see Tweedy and his huge smile that radiates, even though he is missing his front teeth. The illustrations in the resin frame depict the waving band leader among an assortment of wacky clowns in circus anarchy.

Tweedy the Clown at Giffords Circus, England, 2015

134

í ˛î‚žěŻšď˜“íŒ’í?˛íš˛ď˜“

뚌í?Ž í ˛î‚žěŻš 팒í?˛íš˛(Steve Aoki)플 튚 잚뚜픎 10ëź’ í—’í”Šě˜Ş ë¨ží şě–ş í?şě•Šë§’삲. ěƒ‡í‚Ş 핊쥓

â€˜í´˘ěŻšě•Ší ˛ëť˛í•‚í¸ş(The Cobra Snake)â€™ě•Šě ˘ ě‚—띲í•’í”’ 많힒 뚌플 í°ŞëŹş ěž–í¸ş 흞(Mark Hunter)ě ˘ 핆싢 ě—–í•‚쯢í”’ í’‚í??îŒŚëŞŽ í•–ě„Ś 믆플 욺줂킲 í?… 짡펞읪 ěş‚몎 핖펖삲. í ˛î‚žěŻšě?Š 튌픚 썆 쿪맒쭎흞 ëšŚě ˘ 믆플 뽎않풂 íž&#x;í›&#x;엳덊 펞띖힎, í°Şí—–îŒśíŽž ěž˛ěššě‡ŚíŽ–ě ˘ě„ž, î?Şě—łí•‚ ëťŚí°Śě ž, í??맞 믆 í•žíŞ‚í•†

í ˛î‚žěŻšě ˘ 쟆몒í—?í”Šě˜Ş í“ŽěĄ“îŒŞ DJ많 쇌펂 쟆몒 ëŤ ëŤ í”’ ëż’ě°’몎 핖삲. 믆많 싢헪핗픒  ěŒšíŽžě ˘

많잚 읪읪 ě§‡í ˛ě‡Ş 몯픒 î‚ŽíŽ‚í›Šě ˘ í—Łî?Łî?˘ě‡Ş 싢헪핗 î…Šî†şě Ší ˛ě?Š îŒŚížŽ íŒ˜ě ˘ě‚˛. 핞킎플 í•‚ě?’í”’

뺂늆몎 í ˛í ˛ě˜Ş 쿊플 í›&#x;í‚şí•‚ 쇌펂 ëŤƒíŽží”’ îŒŚě ˘ě„ž, í­˛í”’ í­˘ëŞŽ 뽆알ě?Š îŒŚě ž, ěž–í•‚í¸şě?Š ěšşí‘ˇîŒŚë¨žëšŚ, ë˝ í”Ž ě‚śěş? 퓒펞 í?˛ě?‚몎, 덎í›&#x; í“’ě˜Ş 좆픒 섌힎먞뚌, 믆슲펞늚 íłŽí•‚í¸şě?Š 섌힎믞솒 îŒŞě‚˛. 핂슖

헒킪펞읪 읎ěŤ‚í•‚ě ˘ í ˛î‚žěŻší”Ś ěšşíž’íŽžě ˘ ě•Ší ˛ěŠŽí•‚ë¨ží ˛(Las Vegas)플 ěƒŽî?Ł 뚌핂횂엋펞읪

싢헪핗픒 îŒŚě ˘ 쥜킃핂 ěƒ‚늜핖삲. ě¤‚ěƒŽí”Ś ë˝ í”Ž ëŤ íŽž 팗팒 í•–ě ˘ í ˛î‚žěŻšě ˘ 늡í?&#x;쇪 덎í›&#x;슲펞늚 슿픒

솚ě?ž í¨’ ěž–í°Ś 쥓ěş?îŒŚěŠ˝ 믆 ěş?î?ˇí”’ í?ž믞몎 í•–ě ˘ě„ž, ěƒ‡í‚Ş ëŤƒíŽží•łíŽž읪 윪펂혆 뚌í?˛ě ˘ íŽžëť–ížŽě ˘ í—Łěžž 뽎않풎삲. í•‚ í•&#x;플 엖핒픎 믆플 헒푡 헪믞í?Ž 픚짌, íź‚íźší•‚쯢, 덎í›&#x;펞늚 ěśšě˜†ě„Ś 읂핆덊 í?Ší¨’ í›Ší ˛ 슿 믆í?Ž 펞덎쇪 삲í?&#x;îŒŞ ëŠ‘ěŠ˛ě˜Ş í•‚ěšśíŽ‚í˜† 핖삲.

Steve Aoki When I first met him over 10 years ago, Steve ran an independent record label and my friend Mark Hunter / The Cobra Snake, lived in a walk in closet in Steve’s office. Since day one, I was so amazed by Steve’s focus, energy and friendliness. He's really an inspiration and a force of nature. Now Steve jetsets around the world in his work as a world famous DJ. One thing that Steve pioneered was his concept that a DJ doesn’t just stand there and mix records; when Steve is DJ-ing he is headlining a Show with a capital “S�. Steve dances, waves, sings, parties, gets on the microphone, climbs up high, rides the crowd and throws cakes. In this photo you can see Steve as he's DJ-ing in a massive nightclub in Las Vegas. At this moment, the crowd is going wild and Steve sits high on stage, turns his back to them, sits down and meditates for a moment. The energy in the room was unbelievable. For this frame you can see some things that I associate with Steve, his private jet, his records, champagne that he sprays on to the crowd, turntables, and healthy green juices.

Steve Aoki performing at Hakkasan, Las Vegas, 2016

136

ě?şíš˛í?Žď˜“ě°“í ˛

쥜ě…† ě?şíš˛(Ricki)í?Ž í ˛íşŽí•Šě?şí ˛î‚† ě°“í ˛(Vix)ě ˘ 잲푞 ě†“î‚‡îŒŞ í˛˛î‹ší•‚ě‚˛. 퍺í??í”’ í“’î?‚ 뺂많 믆슲플

íž&#x;í”’ 짡줆î?–í”’ ěŒš ě?şíš˛ě ˘ 뺂늚 ěŠŞě—–í ˛ě?Š í•“몎 î‚ž  îŒŚëŻžě?Š í™™íŒ’îŒŞě‚˛ëŞŽ ěžžî?–몎, 믆엕늚 í‘žě?şě ˘ í•‚ ěšşíž’í”’ í§›ëŠš 쇌펖삲. ëšŚě ˘ ě?şíš˛í”Ś ëťŚí°Śě ˘ 핞킎맞덊 줂펕핂슎 먞ě“şî•– î?‚ëş‚ě ˘ 믆플 ě łě—łíŽž

잲욚쇌펖삲. ëŻ†ě ˘ ěŠŞě—–í ˛ě?Š í•“몎 î‚ž ě?Š 훊솒î?–힎잚, 팒훊 뚜핞삲풎삲. ě?şíš˛í?Ž믞 ěŒšě¤†íŽž

ë§Žě łîŒŞ 핊핂힎! í•‚ í•&#x;플 î‹’ě—–í•’íŽžě ˘ í•‚ í˛˛î‹ší”Ś íž&#x;펞읪 짪늺îŒŞ 삲í?&#x;îŒŞ 줊늂슲덊 펺얺 많힎 í??돝 핳킍슲핂 ěƒ‚늜 핖삲.

Ricki and Vix Ricki and Vix are quite the couple! Vix is a stylist, and Ricki is a model. While I was photographing them in their home, Ricki mentioned that he loved dressing up and having a tea party, so that’s what we did. I love Ricki’s incredible confidence, and his ability to pull off almost anything. He can wear a dress and host a tea party, but in a very masculine way. Not an easy task! In this resin frame I include many items from around their home as well as a lot of British bric-a-brac.

Tea time with Ricki and Vix, London, 2015

142

ě˜Şí•‚ěŠŞď˜“íą‚í‘žî‹’ěžš

î‚†ě˜Şěž– 썆욺 욺줂킲펞읪 í??î?˘ 콚슲펞 ěˆŚě–şíƒ†íŽş í?–ě?Š 펜îŒŚëŞŽ í•–ě ˘ í•‚ 욺힒플 í›Ší•†ëŤƒí”Ž â€˜î‚†ě˜Şěž– ě?’(Troma Films)’플 돂힪 싢엗흞 ě˜Şí•‚ěŠŞ íą‚í‘žî‹’ěžš(Lloyd Kaufman)핂삲. ëšŚě ˘ 펂ě?ž 킪헖펞

<í˝Żí‚Ť î•–íŽ‚ě˜Ş(Toxic Avenger)>í?Ž <ëż’í¸şí˜ż(Class of Nuke 'Em High)>덊 맧픎 믆플 B믗 í˛şî‚† í??î?˘ě?Š ěŤ‚ě ž 핞앞삲. í??î?˘ í—Şí•&#x;펞 짆ě?Š 매늚 쇌쥂읪 믆플 í—Ž읪핆 <Make Your Own Damn

Movie!>ě?Š 핋늚 ě‡ŚíŽ–ě ˘ě„ž, í??î?˘ě?Š 헒줆í—?í”Šě˜Ş 짞풂 í—? 펔섌 뚌펞늚 í??î?˘ í—Şí•&#x;펞 ěƒŽî?‚ íŒšě—˛í›Šě ˘

í“Ží•ŠîŒŞ ížŽí°śěťŞí?Žě‚˛. í•‚ í¨“íŽž읪 ě˜Şí•‚ěŠŞě ˘ í??î?˘ í—Şí•&#x;펞 핖펂 많핳 í›&#x;í‘˘îŒŞ 늑픎 î?˘í•łí‚˛ 핂푡핂 펊잖뚌 ě?şîŒŞë§ŽíŽž 삺엲핖삲몎 ěžžîŒŞě‚˛. í•‚í—Şë˛? îŒŞ 슖솒 썆 í—? íŽ”ě ˘ î?’킲í—?핆 í•‚í?Š믞핂삲. 줂펆많ě?Š îˆŞî?’îŒŚě ˘ 섞펞 ížŽí°ŚížŽ íŒ˜ě ˘ í?‚í—Łí”’ 힎삚 ëŻ†ě ˘, í??î?˘ě?Š í—Şí•&#x; ěŒšíŽž í?–ěšž î?ŁěŤ‚뚌 홙픎 ěƒŽěŤ†,

펞믞엳덊 맧픎 줆헪슲펞 펋잲핂힎 íŒ˜ě ˘ě‚˛. ëšŚě ˘ 믆플 â€˜îŒŞěŠ– î?‚썂핞(get it done)â€™ě•Šě ˘ îƒśëŻž ëťŚí°Śě ˘ 핞쟆ě?Š 썆썂믞 ěşŠíŒ’ í•&#x;íŽ“îŒŞě‚˛. ‘븍í”’ ëş‚ě ˘ 늑(Done)’핂 í?˛î•–ě—˛ í?’ěŞ‹îŒśěŤ‚ě‚˛ í›&#x;í‘˘îŒŚě‚˛.

í•‚ í•&#x;플 엖핒픎 뚎 믆플 í??î?˘ 콛펞 ěŠżí•łîŒŽížŽě†’ 쥜ě?‚ě ˘ 뚌플 ěş?ěş? ě˝› ëŹ‚ě¤ŠěŠ˛ě˜Ş í¨’í’ší˜† 핖삲.

Lloyd Kaufman Lloyd Kaufman is the quirky director behind Troma Films. In this photo you see Lloyd at his desk at Troma headquarters, surrounded by props from many of his films. As a kid I grew up watching his cult classic B-movies, like the <Toxic Avenger> and <Class of Nuke 'Em High>. As I started getting interested in filmmaking I read his book <Make Your Own Damn Movie!> Since I never went to film school, in a way his book is the sole education that I have about making films. Pretty scary! One of the things that he says in the book is the most important thing about making a film is access to a bathroom. Truer words have never been written! I love that Lloyd has an unbridled enthusiasm for expressing himself. He doesn't get caught up in petty things like securing a budget, having a good script, or even acting ability when making his films. He has a real ‘get it done’ attitude which I emulate in my own work. ‘Done’ is better than perfect! The frame around this photo is filled with monsters from my own imagination that I could imagine populating Lloyd’s future films.

Lloyd Kaufman at Troma Headquarters, NYC, 2016

144

í˝ŽěŠŞď˜“ěźŽě°’í?Žď˜“îŒŞí ˛ď˜“í‚Şë¨ž

H 띖플 ě—–íž’ î‹’ě—–í•’ í•&#x;펓슲펞 ěƒŽî?‚ í•‚í?Š믞 îŒŚëŞŽ 탄펂. í•‚í—Şë˛? îŒŞ 슖솒 썂힎 ě˘‰îŒŞ í•&#x;핂í?Š. 펂싢펞읪 í??맞픒 íŽ‰íŽ–ě ˘ížŽ ë­?믖î?‚. T 픚, 핂늂 콚펞솒 ěžœí•‚ 캍ë§?î?–ě„Ś 늂섞, 펂ě?˛ ěšşíž’í•&#x;ë§ŽěŠ˛íŽžëŠšě ˘ ěšşíž’ îŒŞ í•łí•‚ í•ží‚Ží”’ ěŤ‚íŽşí›Šě ˘ 짡í‚Ťí•‚í•¤íŒ’. í?–ě?Š 슲쥂, íŒŽě‚– ě—–ěŤ‚ě°’íŻŽ(Annie Leibovitz) 맧í•‚ îŒŞ 핳플 ěšşíž’í”Šě˜Ş 쥜슎 í•‚í?Š믞ě?Š í—’ě‚şîŒŚě ˘ 늑튌ě—Š.

H 믆엕힎.

T ëş‚ 욺힒픎 îŒťěş? 믆 짌ěƒŽí?ŽíŽ‚. 펒튝뚪 í?&#x;플 욺힒슲픒 썂펺훺힎. îŒŞ 핳플 ěş?힣í—?핆 ěšşíž’ěŤ‚ě‚˛ě ˘ 쿌짿 핳플 욺힒슲픒 힃î?‚읪 í•‚í?Š믞ě?Š í—’ě‚şîŒŚě ˘ě„ž 섢 íž&#x;í›&#x;îŒŞ 먞í?Š. ěšşíž’ ě˝› 핆줊슲덊 믆슲플 줊늂, 믆슲플 íŒ’í•‚ěŠ˛ë°šížŽ 짪늺îŒŚě ˘ 먞힎. ěžœí”Ž ěšşíž’ěŠ˛ě˜Ş ěžœí”Ž í•‚í?Š믞ě?Š í—’ě‚şî?‚í?˘íŽ‚. 믆얞섞 핂슖 í—’í‚Şě?Š í›Žě°’îŒŚěĄ‚읪 îŒŞ 핳플 ěšşíž’í”Šě˜Ş ě‡Śě†’ě˜Ť ěžœí”Ž í•‚í?Š믞ě?Š í—’ě‚şîŒŚě ˘ 짡슣í”’ 펞돺î?‚ 썲펂. 뺂많 캍ë§?îŒŞ íŒ’í•‚ě‹˘íŽ‚ě ˘ ěšşíž’ 엖핒펞 삲í?&#x;îŒŞ í•Šě–şí ˛î‚†ě—–í•‚쟌í”’ 띹펂 îŒŞ 핳플 ěšşíž’ 콛펞 쥜슎 늑픒 ěƒ‚ě ˘ 먞힎. 삲í?&#x;îŒŞ í´Şě•Ší›Š í•&#x;펓픒 킪솒î?‚ 썆 î’’ í•žíŞ‚ í—Şí•&#x;îŒŞ â€˜ě—–íž’ 엖핒’픒 î?Şí‘ˇîŒŚě ˘ 짡팖픒 í¨ŒíŒŚíŽ‚. íŽşëŻžíŽžě ˘ 욺힒덊 덎엜쇪 ěžœí”Ž í•Šě–şí ˛î‚†ě—–í•‚쟌슲핂 ëŞ‡íŞží˜† 핖펂. 욺앚슲핂 ěšşíž’í”’ 슲펺삲썆 î’’ î‹’ě—–í•’í”’ 썲í”’ ěŒš, ěšşíž’ ě˝› í›Ší•†ëŤƒíŽž ěƒŽî?‚ 섢 ěžœí”Ž 늑픒 팚늚 쇌몎 섢 î‰›ě­ŽîŒŞ 몋픒 펉펂 맢픊쥂 í™™늎펂.

H í”&#x;. ëšŚě ˘ í•‚ í•&#x;핂 띖플 í•&#x;펓 튎îŒ§ëŤŠ 펞늞쇪삲몎 캍ë§?î?‚. í?–헒펞 ëť–í?Ž îŒśë˛Ś í•Šî?–í”’ ěŒš 짡ěƒŽîŒŞ í•&#x;펓얗 ěŒšě¤†íŽž íž&#x;îŒŚě ˘ 늑핂 슲 ěŒšě†’ 핖펖힎잚, 믆늚 짢ě˜Ş ëť–í•¤íŒ’. ëťš í—Łěžž í?‚í‚şî•– í•&#x;펓î?‚읪 쿌ěžœí”Ž í•&#x;픒 íş’캍킪횲힎. ëť–ě ˘ 펂쎉늚 íž&#x;îŒŚëŞŽ 쿌í—Łî?‚í?Š îŒŚě ˘ížŽ 팒훊 í•Ś 팚몎 핖펂. ěžœ몎 ěžœí”Ž 짡슣 í›&#x;펞, 띲많 íşŤîŒŞ 짡킍핂 ě—–íž’ î‹’ě—–í•’í•‚ě•Šě ˘ í—ží•‚ 잲푞 î”łě§†ě˜Şí’š. T í”&#x;. 쭒쥓 믆엕힎.

H ěšşíž’í•&#x;많많 íź›í ˛î‚†í?Ž í•‚í?Š믞ě?Š îŒśë˛Ś í•&#x;펞 ë˝‡í•†ě‚˛ě ˘ 늂 돗핳 펂엲풂 핊핂핤팒. í?ŞëşžîŒŚěĄ‚ â€œěŤ‚몎 ě žëł‚ěŤžâ€?ě•Š몎 îŒŚě ˘ 늚 î’śí‹ş 퀺푞삖밚. 핂엕늚 펂엲풂 í•&#x;펓핒펞솒 펺얺 푢콚슲픒 í•Ś 늞îŒˇîŒŚíŽş îŒŚëšŚí”Ś í•‚í?Š믞ě˜Ş íŽźě ˘ 띲많 í—Łěžž ěƒŽě‚śî?‚. T í”&#x;. ëş‚ 덎헞펞읪 핂늂 ěŠŞě˜Şí•—í•‚í•ž ěšşíž’í•‚í?Š. ëšŚě ˘ 믎핞ě?Š ěžœí•‚ î?Şí‘ˇîŒŚížŽ 팘팒. 믞많 쇌쥂 엖핒펞 믎핂뚌 믎핞ě?Š 띹펂썂몎 íƒ„í”Žě„ž, 팒íž? 몎짊 í›&#x;í•‚í?Š.

H ëş‚ 잞플 î?ƒí‚şí”Ž í?’í—’îŒŞ í•‚í?Š믞ě?Š í—’ě‚şîŒŚě ˘ 짡킍펞 ěƒŽîŒŞ 먞í?Š. í?–헒펞 뺂많 í‚Şíą‚몎(Chicago)펞 ěƒŽîŒŞ 믞욺ě?Š í…Šě„Ś í—?í•‚ í•–íŽ–ě ˘ě„ž, 튌í”šíŽžě ˘ í•‚ 솒킪펞 ěƒŽîŒŞ 쥜슎 늑픒 펂쎉늚 îŒŚëšŚí”Ś í ˛í˝Žě?şíŽž ěƒ‚í”’ 쿌 핖픒힎ě?Š 몎짊î?–펖펂. 믆알읪 줂í•&#x;í—Ł 쥜슎 늑픒 í—?픊엲몎 î?–ě ˘ě„ž, 삲킪 캍ë§?î?‚썂삖 íźšěž– îŒŚëšŚě?Š í—Łî?‚읪 í—&#x;ëŻŠîŒŚě ˘ 늑솒 í?’í—’îŒŞ í•‚í?Š믞ě?Š í—’ě‚şîŒŚě ˘ 짡슣í•‚ 쇎 쿌 핖픚픒 발삚늚 쇌펖힎. í?–ě?Š 슲펂 í‚Şíą‚몎펞 ëŤŽîŒŞ í•‚í?Š믞ě?Š 쟆 많힎 íźšěž–ě˜Ş 뚌뿒펂 í—’ě‚şîŒŚěĄ‚ 욺앚슲픎 í•‚ 솒킪펞 ěƒŽî?‚ íŽ‚ě ž 헣솒 í•‚î?‚  쿌 핖늚 ě‡Śě ˘ 먞í?Š. 믆얞섞 ëťš 믆엕힎 팘팒. 쥜ěˆž 삲 ěƒ‚íŒ’í?Š îŒŚëŞŽ, 쥜ěˆž 삲 삲욜펂í?Š îŒŚëŞŽ. 짢ě˜Ş 믆 í—ží•‚ ëšŚě ˘ î”łě§†ě˜Şí’š. T í”&#x;. ëšŚě ˘ 핞킎플 ëŤƒë§’ 팖펞 í•–ě ˘ 욺앚슲픒 욺힒펞 ěƒ‚íŒ’. 믆알읪 펂ě?˛ 솒킪뚌 뚌ě•Š í—’íŞ‚ě?Š 믞ě˜ŤîŒŚě ˘ 늑썂삲 î’śí‹ş 반핂 핖늚 믆슲픒 믞ě˜ŤîŒŽ 쿌 핖펂. 솒킪뚌 돝많 í—’íŞ‚ě?Š 믞ě˜ŤîŒŚě ˘ 늂 ě­–ë§Žě ł îŒŚížŽěžš 뚌플 îŒŠěšşíŞ‚ě?Š í?śí—’î•– 믞ě˜ŤîŒŽ ěżŚě ˘ 핖힎.

H 홙픎 ěžží•‚í?Š, ě ™í˜†. 믆엊 삲픚 íž–ě¤†í”Šě˜Ş 띌펂맖늚. ě—–íž’ î‹’ě—–í•’ í•&#x;펓픒  ěƒŽěş?픎 펂쎉늚 í—Łî?‚? 짆ě?ş í—ŁîŒŚě ˘ 먞í?Š? íŒ’ě‚–ěĄ‚ 뚌í›&#x;펞 늞í—Łě‡Śě ˘ 먞í?Š? T 뺂많 퍺í??îŒŚě ˘ 쥜슎 욺앚슲픎 í•‚ í•&#x;펓펞 í•Ś 펂풆엲. í?ŞëşžîŒŚěĄ‚ 쥜ěˆžë§Ž î‰›ě­ŽîŒŞ í•‚í?Š믞ě?Š 많힎몎 í•–먞슎. í?–ě?Š 슲펂, â€˜î‚†ě˜Şěž– ě?’(Troma Films)’플 ě˜Şí•‚ěŠŞ íą‚í‘žî‹’ěžš(Lloyd Kaufman) ě—–íž’ î‹’ě—–í•’ í•&#x;픒 썞. í•‚ î‹’ě—–í•’íŽžě ˘ ë§?홓 돂줊슲핂 ëŻ†ě—˛í˜† í•–ě ˘ě„ž, 믆플 욺줂킲 ě?žîŒŞ ëŹ‚ě¤ŠěŠ˛ě˜Ş 많슍 í¨’í’ší˜† 핖힎.

H í?˛, 믆먞 í¨† ě ™ížŽě‚˛. T 믆알.

H í•‚ 엖핒펞 í•–ě ˘ í•Šě–şí ˛î‚†ě ˘ 먞ěƒŽîŒŞ í –ěž?횲 ě‹ˇí¸şěŠ˛(Shrinky Dinks)í•‚ě‚–?

T îŒŚîŒŚ, í”&#x; ěžŹíŒ’. í•‚ 엖핒펞 îŒ’í‘˘îŒŞ 믞쿎 맪짪í”’ í“’î?‚ í –ěž?횲 ě‹ˇí¸şě?Š 욺읪 킲î?‚ 썂믞솒 î?–펖펂.

H í?Ží‘ž. 믆늑슲픎 펊잖뚌 íł†íŽ‚?

T 핂 90í•†í°Ś(228ěźŠí°Śě§†íťž)뚌 쇊.

H í‘ží?Ž. 믆엕돺뚌. í•‚ í•&#x;펓픎 íŒŹí”Šě˜Şě†’ 몒콛 íž’î?—먞í?Š? î?‡í‚Ş î?Łí•ł í‚Şíšş 캍ë§? 핖펂? î‹’ě—–í•’í”Šě˜Ş í‚Şí•&#x;îŒŞ í•‚ í˛śěź—í•‚ 쪋핂 쇌몎 ëŤƒë§’í•‚ 쇎 쿌솒 핖핤팒. 띲많 ëŠ‚í­Ł 팎î?†ë§Ží•† 늆 뚪 팚몎 핖펂. T ě—–íž’ 엖핒플 í•şěšší?Ž í˛śěź—í”’ 짪í—’í‚ŞíłŞ 많돺ě?Š 잚슲엲몎 킪솒 í›&#x;í•‚í?Š.

H 픚, î”łě§†ě˜Şí’š. 뚪 띖플 쥜슎 í•&#x;펓슲핂 îŒŚëšŚě˜Ş 펞늞쇌펂 핖삲몎 캍ë§?î?‚. 띖플

T

퓇욺핂ě?Š 썂쥂 ěž–í°Ś 띲많 잚슲펂뺆 îŒŚëšŚí”Ś 솧띲 맧팒. 읪ě˜Ş ěžš뚪 í—? 펔힎잚 핂짆 팚몎 ížŽëş‚ě ˘ í•‚í’‘튌ě—Š â€˜í˝ŽěŠŞí”Ś í•‚í’‘ěŠ˛â€™ě˜Ş 펞늞쇌펂 핖펂. 띖플 ěšşíž’ í•&#x;슲핂 ěž–í°śëş‚ 쪋픒 슼펂뚌 í‚˛í—Şě˜Ş ěžšíž– 쿌 í•–ě ˘ 짡, íž&#x;, 믆ě?şëŞŽ ëŤƒë§’í”Šě˜Ş î?Łí•łě‡Ž 쿌 핖삲몎 캍ë§?î?‚. í•‚ 엖핒슲핂 퓎솓 î”łě§†ě˜Şí’‚ í•‚í“Ž í›&#x; îŒŚëšŚě ˘ 띲많 í’žě•Ś îŒŚě„Ś í•&#x;펓슲덊 삲ě?‚믞 ěŒšě¤† í•Š먞í?Š. 핂늑슲픎 íž?í—&#x; 썂힎 íŒ˜í”ŠěĄ‚ ě žëšŠ몎 í•‚î?‚îŒŚëŻž íŽ‚ě˜ƒížŽ. 띖플 í•‚í—’ í•&#x;펓슲핂 íž’î?˘îŒŞ 늑 맧팒. 욺킲핂í?Š. 핂늂 í•†íťžëź…ěŤ‚ě‚˛ě ˘ í—’í‚Ş ëŤƒë§’íŽž ěžŹí­ží˜† 핖힎.

í•‚ 욺앚슲핂 쪒 섢 î‰›ě­ŽîŒŞ í•‚í?Š믞ě?Š 많힎몎 핖삲몎 캍ë§?î?–펂.

H Mm hmm.

H ě ™íž’ 캍ë§?í•‚í?Š. T

ě˜Şí•‚ěŠŞ íą‚í‘žî‹’ěžší”Ś í—Ž읪펞 í•şě§†í•–ě ˘ 믎뎎많 í•–ě ˘ě„ž, “í??î?˘ í—Şí•&#x;펞 핖펂 많핳 í›&#x;í‘˘îŒŞ 늑픎 î?˘í•łí‚˛ 핂푡핂 펊잖뚌 ě?şîŒŞ 많펞 삺엲핖삲.â€?ě•Š몎 튞펺 핖펂. ëšŚě ˘ í•‚ě–ž 늚 í—Łěžž 홙팒. 띖줂 î?’킲í—?핂핤팒.

H í•‚ě–ž 믞썆í—?핆 캍ě?şî?’ěş?플 î?‚ě˝šě˜Şě­Žíťž 핞퓎많 ěžšěŠ˛íŽ‚ížŽě ˘ 먞힎. í•ží“Žě ˘ ěšşě•ší”’ í¨‹í”Śí—?í”Šě˜Ş ěšşëŞŽîŒŚëŞŽ î?—ě†§îŒŽ 쿌 í•–ě†’ě˜Ť 잚슲펂. í??î?˘ í—Şí•&#x;핞슲핂 믞썆í—?í”Šě˜Ş ë§¤í­˘íŽ‚í?Š  íşŞě†’í?Š. ě¤‚í ś 핊핂슎 핊펂뚎 쿌 핖픊삖 îŒťěş? ěƒŽě°’îŒŚě ˘ 늑. T

í”&#x;. 믆얞 í—ží•‚ íą‚í‘žî‹’ěžší”’ ě—–íž’ 엖핒플 í›Ší•†ëŤƒí”Šě˜Ş í¨’íşŤîŒŚě†’ě˜Ť ě­Ží­˘ëŞŠížŽ.

100 í•‚ěş?플 í??î?˘ě?Š 잚슲쥂읪 믆잚플 쟆몒ě?Š í¨‹í˜žîŒŚëŻžě†’ î?–핤팒. 믆ě?şëŞŽ ě•Ší ˛ěŠŽí•‚ë¨ží ˛(Las Vegas)펞 ěšşě ˘ 싢헪핂핂핞 í—Şî‚†í˜żí•† í ˛î‚žěŻš 팒í?˛íš˛(Steve Aoki)솒 핖펂. 믆플 엖핒픎 í?Ší¨’ í›Ší ˛, 맪핆 헪믞, î†şí˛˛ íą‚ěŠŞ 슿 믆플 í•Šěş?덊 덎엜쇪 ěŠŞě˜Şí•—ěŠ˛ě˜Ş í¨’í’ší˜† 핖힎. 읎핆핳 많늚 훊핆 í˜žě‚–(Johnny)플 엖핒펞 ěƒ‚ë°‚ ěšşěž— 몋픎 쪒뚪 읎핆핳슲픒 í¨ŒíŒ’ îŽ˛ěž˛ě ˘ 욺앚슲플 쥜킃픒 ěş?ěş?í”Šě˜Ş 믆엲뺖펂.

H 믆알, í—Łěžžě˜Ş 욺힒펞 í•‚í?Š믞많 섢î?‚혆 í•–띲. ëšŚě ˘ 띲많 믆 ěžœí”Ž í•‚í?Š믞슲픒 îŒŚëšŚí”Ś 엖핒펞 ěƒ‚íŒ’ëş‚ě ˘ě„ž ěťżëŤƒî?–삲몎 캍ë§?î?‚. 욺킲 핂늂 í—Łěžž 펂엲풂 핊핂핤팒. 줞앒밚, í•łí‚Ťí•‚ě•Š몎 ě­Žě?‚ëŻžě ˘ 홎 믆엕몎‌‌ 쥜슎 늑플 í??î?Šë°šížŽ ěƒ‚늜í•–ě ˘ 슽 î?‚. T

ëšŚě ˘ ëş‚ í•&#x;펓핂 펂싢밚힎 î?Łí•łě‡Ž 쿌 í•–ě ˘ížŽ 킪î?‚썂몎 탄펂. ëšŚě ˘ í¨‹í”Śí—?핆 믞ě˜Ťë§Ží•‚믞 ěŒšě¤†íŽž í•‚ě–şîŒŞ íŻŻěĄ‚í”’ ě­Žë§?킪횲엲 뽆엳î?‚. 믞ě˜ŤíŽž 믞짌îŒŚíŽş 뚌플 ěş?ěş?엳덊 í¨‹í”Śě—łí”’ î?Łí•łîŒŚě—˛ îŒŚížŽ. í?ŞëşžîŒŚěĄ‚ ëšŚě ˘ 욺앚슲픒 ěŤ‚í•‚ě ˘ ëŻ†ěƒŽě˜Ş ëŻžě˜ŤîŒŚěĄ‚읪솒 ěş?ěş? ě˝› ěş–ě˜Şí’‚ 늑슲픒 죌îŒŚëŠš 읏믞 ěŒšě¤†í•‚í?Š. 믆ě?şëŞŽ î‹’ě—–í•’ ěžšěŠŞě ˘ 슣í”’ 몎ě§ŠîŒŚëŞŽ 콞쿌 í—Şí•&#x;îŒŚě ˘ 덊헣픎 ě?ž 삲ě?† 핺짆 푢콚핂힎. ëšŚě ˘ 쿌í•&#x;펓플 ě žëšší”’ í™™íŒ’îŒŚë¨žěŠŽ. 뚪 잲푞 싢힎ퟆí—?핆 ěšşě•ší•‚믞 ěŒšě¤†íŽž ě˝ží”Šě˜Ş íž?í—&#x; í—Şí•&#x;îŒŚě ˘ 헞슲핂 ěş–ě˜Şí’š. í•&#x;펓 덊헣핂 힒힪 핺짆핖펂.

H ě ™ížŽě‚˛. í•‚ 엖핒슲픎 íž?í—&#x; 잚슲펂? ěž–í°Ś 쿪쿌 í?–쿎 í•&#x; 맧픎 늂많? T

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T My photography has always been the opposite of that. It’s an onslaught. A tidal wave of photos. You can tell a story, it’s not really about one iconic photo. It’s about a hundred photos. You see pictures of the people, you see their stuff. You see them with their kids. Telling a lot of stories through a lot of photos. When I was working on this show, I was trying to figure out how I could do something that relates to my work but with a single photograph. The idea that I came up with was to integrate my illustrations within the frame as a way to give context to the main image. I played around with a lot of different collage type effects and settled on these custom layered resin frames, you see these many levels of illustrations that relate to the photo. Hopefully people see the photo and then they look around the frame and they learn more about the subject and it’s a richer experience. H Yeah. I think this relates to your work ethic. I have worked with you and yes, editing your work is a chore, because there’s so much. That’s your thing. You just work hard and you hammer and hammer and just create a lot of work. You know how to edit and boil things down. You could go in so many different directions. It’s just really interesting to me that—these frames are kind of your take on doing that. T Yeah. Definitely. H For a photographer, incorporating text and story and things is really hard. Because it’s easy to go “see and say.� what I admire about is you, just the incorporation of those elements to tell a story really kind of difficult to do. T Yeah. In my case it’s drawing and photo. I haven’t messed around so much with type or lettering. Something I want to do more as I am trying to figure out a way to put in some written stuff into the frames but I haven’t really wrapped my head around that.

í•‚ 엖핒슲픎 쿌맪í’˘ ě†§íŒ–í”Ś 킲픒 먞íŞž í§śëŞŽíŽž읪 뚌플 í˜žěżŚí?Ž îŒśë˛Ś 잚슎 í?˛ě?şížŽëťž í•&#x;슲핂í?Š. 쥜ěˆž ě˝ží”Šě˜Ş í•žě?† 쥡í•şě•Š í˜žëŻ– í’†î€?ě­–î€?îŒŚëŞŽ, ě—–íž’ í•şěššě ˘ 펺얺 í°ƒí”Šě˜Ş íƒĄíŒ’ í?şě—˛ěťŞ 섢 핺짆핖힎. ëş‚ í§śëŞŽ í“’ě˜Ş 뚌줂많 슪ě?şí’ší˜† 핖펂 뚌ě¤•í•œěŠ˛í•‚ ě—–íž’ í“’ě˜Ş ě?śíŽ‚혆 ě‚şě•Š쭧믞솒 îŒŚě ˘ě„ž, 믆늑솒 띖줂 잖픚펞 슲펂. í—Łěžž ěžœí”Ž 늑슲핂 몇몇핂 íƒĄíŽş 핖펂.

H I guess what I am getting at is the need to tell a complete story. I worked on some editorial once about Chicago and you just feel like, oh my god we got to incorporate this whole story. This whole city. We got to do everything and then you realize then maybe we can just pick a part, and that tells a complete story. If we told three stories about Chicago you get the idea of the whole city. But what’s interesting to me is you are one of those kinds of people I know that still says, screw that. We got to do it all. We got to cover it all. And get it all. That’s the interesting thing.

잲푞 î‚‡ěŞ’îŒŚížŽ.

T Yeah, I mean my subjects are people in their spaces so it’s easier to fully deeply document that than to do the whole city or country. That’s kind of impossible, so I try to fully document my subjects.

H í‘ží?Ž, î’šěœťî?‚. 펺얺 맪많 íŒ’ě‚š ě‚ś îŒŚëšŚěžš í™‚í•şîŒŚě ˘ 늑핂않삖. ěŤƒí—Şě‡Ž 쿌 íŽ”ě ˘ í“Ží•Šě¤‚í•‚îŒŞ í•&#x;핂띲. T

H I want to talk about your Resin Frame work. I’ve never seen it before. But I was curious about what inspired you to do this? T Yeah. Well, it’s something I think about a lot is there’s certain photographers that make one photo and that’s their thing. Similar to the Annie Leibovitz school I’d say. They tell the whole story in one photo.

H ě—–íž’ î‹’ě—–í•’ í•&#x;íŽ“í”Šě˜Ş í?Ş í•‚ 욺앚슲픒 ěťŽíşŤî?–펂? T

T Todd Selby H Hans Seeger ----------------------------------------------------------------------------

H That’s a good way of saying it. Cool. Okay. Here’s another question. How do you decide who gets the Resin Frame treatment? Do you know in advance or hindsight? T Everyone that I shoot is good for this work because it’s people who have rich stories and also have a lot of things. For instance you can see that with the Resin Frame of Lloyd Kaufman from Troma Films. The frame has all these monsters and then you see his picture his whole office is filled with monsters. H Oh, that’s cool. îŒŞí ˛ď˜“í‚Şë¨žď˜™ď˜“íŒ’î‚†ď˜“ě‹˘ě——íťžď˜“ď˜“

짆돝펞읪 î?Şě†§îŒŚě ˘ 팒 싢엗흞핂핞 싢핞핂띖 îŒŞí ˛ 킪먞(Hans Seeger)ě ˘ í‘žíŽžîŒŞ 몒믞ě˜Ş

í˝ŽěŠŞí?Ž 핆펞픒 ě&#x;ˆí”Ž í•†ě¤Šě˜Ş, í?–쿎덊 싢핞핆 ě­’í?ŠíŽž ěƒŽîŒŞ î?‚짣îŒŞ 힎킍덊 띥픎 í•‚î?‚ě?Š 힎럎 í˝ŽěŠŞ 쟎찒펞늚 펒튝뚪 í??맞픒 í—ŞëŤƒîŒŚí?Žě‚˛. í›Šě˜Ş 헪 싢핞핆덊 ëŤ&#x;몎 믞픒 î?‚ í?ś ëŻ†ě ˘ 팒튌(Aperture), 팎(Apple), ěƒŽí‚Şí‘žěŠŞě­?(Dashwood Books), î…Śí•‚í ˛ě­?(Facebook), í•ťí ˛î…Śí•‚ěŠŞ(Jack Spade), ě?şî‚ŽěŻšě•Ší’‚ě †í€şě›†(Little Brown Mushroom), ěšśí•‚ě°’ížƒ쥜펞띲킪(LVMH), îƒšî‚†ëť–í?–íŽ˘í ˛î…Śí•‚ěŠŞ(Partners&Spade), íşŽ늭(Target), 섢펓않핂킪í?ší?–쯚ě?şëŠší•‚슪(The Upright Citizens Brigade), í?Žě°’îƒší˛˛(Warby Parker) 슿 삲쿌플 쟆몒 퓎쥓 쯚앪슪í?Ž î?&#x;펓î?‚ í?˛ëŞŽ 핖삲.

T Yeah. H Are these frames similar to giant Shrinky Dinks? T Haha yes they are. I purchased Shrinky Dinks to experiment with when I was trying to develop the technique to make these frames. H Wow. How big are these? T They are 228 cm wide. H Wow. Okay. Where is this idea going? Do you see it expanding? This

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T í˝ŽěŠŞď˜“ěźŽě°’ď˜“ H îŒŞí ˛ď˜“í‚Şë¨ž

Todd Selby and Hans Seeger concept could go from a frame to the taking over the walls to making rooms. Knowing you are an architecture buff. T I am trying to develop a way to use this same materials and kind of concept to make furniture. H Well, because it’s interesting to me as I kind of see the work coming full circle. If you go through your website it’s essentially a neighborhood. It’s kind of Mr. Todd’s neighborhood. But in this neighborhood where everybody knows everybody but they never met. The fact that your work escapes the walls and you could start building rooms of it, physically manifest rooms, homes, spaces. It’s interesting because with these frames, it’s not something that’s really in your wheelhouse in the sense that it’s hard to convey unless you’re physically with it. It’s feels like an evolution. T That’s true. It’s very specific to a gallery show space rather than the internet. H Why did you choose these subjects for the resin frames? T I think that these people have particularly rich stories. H That’s great. T Lloyd Kaufman has a really funny line in one of his books that goes along the lines of “the most important thing about making a film is access to a bathroom.� I love it. Just the practicality of it. H By covering those basics it creates freedom. It gives you freedom to be creative and do your thing. It’s just kind of as a producer it’s elementary. Just create an environment for which anything can happen. T Yeah and I thought that Lloyd as a subject would be great for the resin frames, because he has built all these worlds. I think he has made over 100 films. Then we have Steve Aoki, who is a DJ-jetsetter who lives in Las Vegas, so his frame has drawings relating to his lifestyle. His green juices, private jet and his poker stuff. The desert scene around Johnny at the Cactus Store is more of a fantasy world relating to the desert where these guys go out to the find all these strange cactus. H Yeah. They really add to the pictures too. I think you succeeded in the sense you learn so much about him in one frame. That’s really hard. I wouldn’t even call it embellishment, it’s almost an homage to the spirit of everything. T What I am trying to do is really push my work—I am a creative documentarian so I am just trying to push the creative side of that. Stay based in documentary but then let loose my imagination and creativity somehow at the same time. Because I am not just straight up documenting these people, it’s kind of a weird hybrid between documentation and creation. I think that another fun aspect of doing these frames is the physicality and process of figuring out how to make them. I love that they are hand made and gritty. It’s something new for me because I am much more of a digital person. That whole process was really fun. H That’s cool. H Do you make these frames yourself? Are these original artwork? T The frames are original artworks made in my garage with myself and my art assistants over many months of experimentation. They are all hand cut wood so they are a bit wonky and all of the resin stuff is all done in layers and layers so it’s all very funky. My tree is above the garage and little leaves fall into the resin and get stuck there, I love that. It’s very layered on many levels. H Wow that’s great. These aren’t multiples, they are one of a kind. T One of a kind dude.

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Hans Seeger, Art Director Todd has no idea how or when he met Hans Seeger, but somehow he just appeared in his life! Todd has a deep respect for Hans' knowledge of art, design and books of all kinds. Hans Seeger is a freelance art director and designer. Clients & collaborators include Aperture, Apple, Dashwood Books, Facebook, Jack Spade, Little Brown Mushroom, LVMH, Partners & Spade, Target, The Upright Citizens Brigade & Warby Parker. @hansseeger

î…Śí•†îƒ“ëŤŠ ěŠŞě˜Şí•—í”Ž í—ží§ś ëş‚ í•&#x;펓플 í›&#x;í‘˘îŒŞ ě­Žě­’í•‚ ě‡ŚíŽ–í‚ƒě‚–ě‚˛. 튚 슖í&#x;† í¨“ <The Selby is in Your

Place>ě?Š í—Ž쿎îŒŚěĄ‚읪, ëšŚě ˘ 뚌플 욺힒슲핂 썂삲

í°ŞëŻŠîŒŚëŞŽ 핆맒í—?í”Šě˜Ş ě žëł‚íž– 쿌 í•–ě†’ě˜Ť 쿌í¨’î?˘ě?Š

í‚Şí•&#x;î?–í‚ƒě‚–ě‚˛. ě?žîŒŞ î…Śí•†îƒ“í”Ž 핂헪밚힎 뺂많 î?‚í?˛ě„Ś 믞ě˜Ťí•‚ě•Šě ˘ 짡í‚Ťí”’ 띌펂 쿪쿌îŒŞ í¨‹í•&#x;í”Šě˜Ş í•&#x;펓

í??펝픒 î?Łí•łîŒŚě ˘ î’šěœťîŒŞ 쿌삜핂 ě‡ŚíŽ–í‚ƒě‚–ě‚˛. 뺂많

믆잊픒 믆ě?şě ˘ 많핳 í¸ž í•‚í“Žě ˘ 욺앚슲픒 맞솧킪횲몎 ëŤƒë§ží”’ 펉믞 í“’î?‚읪핆섞, ëŻ†ě–şîŒŞ 쭎쭒펞읪 뚌플

î…Śí•†îƒ“ í•&#x;펓슲픎 솧줊, ěšşě•š, 킍줊, 뚧읪 슿덊 맧픎

ě‚śěżŞîŒŚëŞŽ í•Šěş?í—?핆 늑슲픒 ě˝ší•şě˜Ş îŒŚěĄ‚읪솒 ë§?핞플

맪읿í”’ í•Ś î†şí§ˇîŒŚíŽş í?ž먞풎덊 믛헣í—?핆 펞띖힎ě?Š 많슍 몎 í•–í‚ƒě‚–ě‚˛. 삲킪 ěžžî?‚, ëŻ†ěžŠí”Šě˜Ş ěƒŽěş?í”’ ě?&#x;맧í•‚

í•şî?’îŒŚě ˘ 늚 íŒ’ě‚–ě•Š, 뺂많 믆ě?şě ˘ 쥜슎 늑슲펞 뚌잚플 캗밢덊 맪읿, ě§†îŒ§, í?ž먞í’Ž, 믆ě?şëŞŽ 쿪쿌îŒŞ 펞띖힎ě?Š ěƒ‚íŒ’ëş‚ě ˘ 늑핂 뚌플 ë­?믇í—?핆 쥡îˆŞí•“ě‚–ě‚˛.

Painting and drawing have become a larger part of my creative output. I started doing watercolors seriously while working on my first book, <The Selby is in Your Place>, in order to humanize my photographs and make them feel more relatable and intimate. Painting also became a great way for me to move away from documentation and move towards pure creation. Through my paintings, I aim to inspire people and share my interests. My subjects often include animals, people, plants and silly doodles. They are very simple, yet I try to impart a cheerful and vibrant vibe. Rather than technically reproducing my subjects, I strive to bring my personality in terms of colors, aesthetic, fun, energy to everything I paint.

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SELBY THE ILLUSTRATOR

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í˝ŽěŠŞď˜“ěźŽě°’í?Žď˜“í—Şí•‚í śď˜“î‡‚ě•Ž

J í˝ŽěŠŞ, 펂잂 ěŒš 많핳 í™™íŒ’îŒŚě„Ś í•&#x;ë§Žě ˘ ëż’돺í?ŽíŽ‚?

T 뺂많 ěžś 튌í”ší”Šě˜Ş 홙팒î?–ě„Ś í•&#x;ë§Žě ˘ 혞ě?‚훊 펞ě?‚ 잎ě•Š(Georges-Pierre Seurat) í?ŽíŽ‚. J 펂ě?žíŒ’í•‚ í°ŚëŞŽě ˘ ë´˛ 몎ěş?îŒŞ 펜î?łí•‚펖띲.

T í?ŽížŽ 믆플 í•&#x;픎 펂ě?ž íŒ’í•‚ěŠ˛í•‚ í—&#x;ëŻŠîŒŚëŻž 퀺풂 늑 맧팒. 믆플 í•&#x; í—’íŞ‚ě?Š 돺읿îŒŚě ˘ 쥜슎 â€˜í—žâ€™ěŠ˛í”’ îŒŚëšŚîŒŚëšŚ ěŠ˛íŽşě‚˛ěŤ‚ě ˘ 늚 í™™íŒŚíŽ‚. ě­Ž쥜삌덊 îŒśë˛Ś 짆쿎덎펞 많쥂 ëšŚě ˘ í¸ž 콚ě?şě˜Ş ěžžîŒŚëŞ˛ î?–힎, “í?˛, 뚌솒 í—Ž í—Łě†’ě ˘ 믆잂 쿌 핖펂.â€? îŒŚížŽěžš 띖솒 í•Ś íŒšě‚˛í‚ŞîŒŠ, 믆늂 ě­–ë§Žě łîŒŞ 핊핂힎. 펂잂 í—? ëšŚě ˘ 믆잊솒 좉 믆ě?şěĄ‚읪 핞킎맞잚횊픎 띌íŞžëšşíŽ‚! J 잲푞 핞킎맞핂 ëťŚíŞ˛ëť˛.

T îŒŚížŽěžš 잎않플 믆잊픎 잎ě•Šěžší•‚ 믆잂 쿌 í•–ě‚˛ě ˘ 늆 ë°śě‚şíŒŚížŽ.

J î?’í•ş í™™íŒ’îŒŚě ˘ í•&#x;ë§Žě ˘ ëż’돺í?Š? 핊헒펞 í•†í ˛íşŽëŻ†ě•śíŽž읪 í•ł 쉲쎢(Jean Dubuffet)플 ěŠŞě˜Şí•—í”’ í?şě?ž 늆 썆 í—? í•–ě ˘ 늑 맧픎섞.

T 쉲쎢많 ëş‚ í•&#x;펓플 혞î?Łí—? íŻŻěĄ‚íŽž í¸ž í??맞픒 훊펖삲몎 캍ë§?î?‚. 믆많 ěŠŞě˜Şí•—í•‚ě•Šě ˘ í—’î?Łí—?핆 펞읪 슼펂뚌 í´Şě•Ší›Š(collage) 짡í‚Ťí”Šě˜Ş 믆잊픒 ëŻ†ě˜†ě‚˛ě ˘ 늚 í¨† ě ™íž’ 늑 맧팒. í—Łěžž î”łě§†ě˜Şí’‚ 늂 ěŠŞě˜Şí•—í”Ś ě žëšší”’ ëŻ†ěƒŽě˜Ş ěş‚ě—˛ 혞î?Łě¤Ší”’ ěžšěŠ˛íŽ‚ëş–ě‚˛ě ˘ 먞í?Š. 2Dě?Š 3Dě˜Ş í?źëŞŠí”’ ěŒš, 푆덎ěş?í”Šě˜Şě ˘ 3D핂힎잚 2D플 ě žëšší”’ ëŻ†ěƒŽě˜Ş ěş‚ě?şëŞŽ í•–ě ˘ 먞힎.

J ěžŹíŒ’, 돗핳 펂엲풂 í•&#x;펓핒펞솒 ě­–돺îŒŚëŞŽ ěƒŽí›&#x;덊 ě˝šížƒí•‚ ë§Žě łîŒŞ 늂 í°Şěż§îŒś ěŒšě¤† í•Š먞í?Š. 뚌솒 믆얞 í•&#x;핂 홙팒. 믆엊 í•‚í—Ş 삲픚 íž–ě¤†í”Šě˜Ş 띌펂많썊늚. í˜žëŻ– 섢 돺íŞ‚í—?핆 힖줆핆섞, 띲많 펂ě?˛ í‚ŞěťŽí”Šě˜Ş 욺줊픒 짢않썂몎 î?‚읍îŒŚě ˘ížŽ 팚몎 탄펂. 뚌ě?Š î†şîŒśîŒŞ ěžœí”Ž 욺앚슲핂 띖플 î…Śí•†îƒ“íŽž ěž˛ěššě‡Śě ˘ 핂퓎핆 늑 맧팒. 띖플 ěŠŞě˜Şí•—ëŤŠ î…Śí•†îƒ“íŽžě ˘ 줢많 í?žëŠ?몎 믛헣í—?핆 펞띖힎많 핖펂. 띲많 îŒŚě ˘ 삲ě?† 쥜슎 핊슲펞읪솒 ě žëł‚í˜†. 띲많 믆ě?şě ˘ 쥜슎 ěšşě•š, 맣팒힎, 몎í?&#x;í•‚, 믆ě?şëŞŽ 푞훊읎펞읪솒 í•‚ě–ž 짍픎 펞띖힎많 핖힎. ëťš 핂엕늚 ě‚śěżŞîŒŞ ěƒŽěş?슲픒 믆ě?şížŽěžš, 핂슲픎 쥜ěˆž í•ž믞잚플 îˆŞí—Łí”’ 많힎몎 핖펂. í•&#x;펓픒 íž’î?—îŒŚěĄ‚읪 í•‚ě–ž 늑슲픒 í?ŠěˆžíŽž ěˆž몎 믆ě?şě ˘ 먞í?Š? íŒ’ě‚–ěĄ‚ íŒŽíŤ–íŽž 띲많 븚ě?şě ˘ ěƒŽěş?í”’ 믆ě?şě ˘ 먞í?Š? 뺂많 줉몎 탄픎 늂 띲많 ěƒŽěş?슲플 îˆŞí—Łí•‚뚌 쿜픎 맪읿í”’ 븚펂뺊 ěŒš 줂펕픒 캍ë§?îŒŚëŞŽ í•–ě ˘ížŽ, 펂ě?˛ 쭎쭒펞읪 짆ě?Š ě žëł–ě ˘ížŽë§Ž ë­?믖î?‚.

T ëšŚě ˘ îŒťěş? â€˜ě žëššâ€™í•–ě ˘ 줂펆많ě?Š îŒŚëŞŽ 탄펂. 뺂많 믆잊픒 믆ě?şě ˘ 많핳 í¸ž í•‚í“Žě ˘ 믆 ěƒŽěş?펞 맞헣픒 ě­ŽíŽşîŒŚëŻž í“’î?‚읪힎. 삜쿪 믞쿎í—?í”Šě˜Ş 줂펆많ě?Š ěŤƒí—Şî?‚ëş‚ě—˛ě ˘ 늚 íŒ’ě‚–í?Š. 뚌플 ěş—ë°˘, 짆í—? 맪읿, 핺짆, 쿪쿌îŒŞ 펞띖힎ě?Š ěƒ‚íŒ’ëş‚ě ˘ 늚 짢ě˜Ş ëş‚ 쥡îˆŞí?Š. J ěƒŽěş?í”’ ěŠŞě˜Şí•—í•‚뚌 î…Śí•†îƒ“í”Šě˜Ş ëŻ†ě—˛ëş‚ě ˘ 늑덊 ěšşíž’í”’ 퍺í??îŒŚě ˘ ëŠ‘íŽžě ˘ 펂ě?˛ í§śí•‚í—ží•‚ í•–í”’ë°š?

T 욺킲 뚌펞늚 ěŠŞě˜Şí•—í”Ž ěšşíž’ í•&#x;펓픒 îŒŚě ˘ 늑덊 ě?&#x;맧팒. í?Šë§’펞 ěšşíž’ 쿌펓픒 îŒŞ 슖 슲펖섌 늆 칊몲 뚪 욺힒덊 ěŠŞě˜Şí•— 쥜ěˆž í—ŞěƒŽě˜Ş 쇪 돞퓯픒 짊픎 í—?í•‚ 펔펂. J ěšşíž’ 쿌펓픎 펂싢읪 ěŠ˛íŽ–ě ˘ě„ž?

T ě ‚í‘Ł(New York)플 â€˜í ˛íśśí?˛ěŻšě°’훊펊팒(School of Visual Arts)’펞읪. J 뚪 띲많 욺힒펞 ěƒŽî?‚ 섢 ěžœí•‚ 짞í’Ží”’ 먞ě•Š몎 캍ë§?î?–펂.

T íŒ’ě‚–í?Š. 믆ě?şëŞŽ 뚪 헒줆í—?핆 íŽ‚í‚Şí ˛íź‚î‚†ě?Š 몎푡î?‚썆 í—?솒 펔펂. í‘žě?ş íŒ’ěŠ’ížŽ뚌 ëş‚ í°ŞëŹş í“šě?şíŽ’ 핂슎(William Eadon)덊 îŒśë˛Ś 퍺í??îŒŞ 늚 삲í?Š. í“šě?şíŽ’í•‚ ëş‚ íŽ‚í‚Şí ˛íź‚î‚†ě˜Ş îŒśë˛Ś í•Šî?–í”’ ěŒš, 믆솒 욺힒펞 ěƒŽî?‚ ě‹ż 뚌 헣솒잚 팚몎 핖펖펂. 먞플 쥜ě?‚ě ˘ 먞뚌 ěž–í§şë§ŽížŽí?ŽížŽ! 킺힎펂 핯힎 <ě„ží•‚í?–슪 íŒ˛ í˛śîŠśí?–슪(Dazed & Confused)> 퍺í?? ěƒ‡í‚ŞíŽžě ˘ í‘žě?ş ěˆŚ 삲 íą‚ě ˘ě•Š ě—ší?– ě‘Şë˛&#x;í”’ íŽşě ˘ 슣í˜ží§ś 쥞앞펖삲삖밚! 믆얞섞 뚪 헒줆많많 ě‡Şě‚˛ě ˘ 캍ë§? í•žíŞ‚ě?Š 킚펂î?–펂, 믆얞 늑펞 덎킺솒 펔펖몎. îŒŚížŽěžš 쿌 럒맒 ěšşíž’í”’ í§›ě‚˛ 썂삖 헒줆많많 쇌펂 ěŠ’ě˜†ížŽ. í•‚í—Ş íą‚ě ˘ě•Šě?Š 슲몎 몎짊 펔핂 íž?맞í—?í”Šě˜Ş 퍺í??îŒŚěĄ‚ 쇌삖밚 홙픎 í•Ší•‚ë°‚ î?‚. ěšşíž’í•‚ě•Šě ˘ 늚 믞쿎í—?핆 ě­Žě­’í”’ ěžœí•‚ î†şîŒśîŒŚëŞŽ í•–ëŻžě ˘ îŒŚížŽěžš íą‚ě ˘ě•Šě?Š í?’ěŞ‹îŒŚëŠš í•‚î?‚îŒŚëŞŽëšŚě‚– ěž–í°Ś î…Śí•†îƒ“ í•&#x;펓픒 îŒŚě ˘ 늑덊 ěž–í§şë§ŽížŽě˜Ş ěšşíž’ ě?žîŒŞ ěŤ†ě łí—?핆 í•&#x;펓핂섢않몎. J í™™띲. 띖플 í•&#x;슲핂 잲푞 ěšşí—?í”Šě˜Ş ě žëł‚ížŽě ˘ 핂퓎많 띖잚플 î‚‡ěŞ’îŒŞ ëŤŽí—ží”Šě˜Ş 욺줊플 쿜늜íž’ íŻŻěĄ‚í”’ 짪늺îŒŚëŻž ěŒšě¤†í•‚ě•Š몎 캍ë§?î?‚.

T 몎ěž–í’š!

J í˝ŽěŠŞ, 믞ě?‚ě ˘ 팎í?’솧줊핂 í•–ě‚–?

T í?˛, 띲많 í•‚ 힖줆픒 î?‚훌읪 믞첞. 훊헪펞읪 í?‹ë§’ 슼펂뚌ë°‚ î?–힎잚, 홙픎 힖줆핂í?Š. í‘žě?ş íŒ’ěŠ’ížŽě ˘ ëžšě?Š ě‚˛ěšśě ˘ 킎몋덊 헒줆플핂킎섞, ëžš 콞ěş?í”’ 핓픎

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욺앚슲핂뚌 먞ížĄěžžîŒŚě ˘ 욺앚슲픒 헒줆í—?í”Šě˜Ş îƒžěŞ’îŒŚě ˘ í•Ší”’ îŒŚěź˘. 믆얞 í•Ší”’ 힃î?‚ 펺얺 ěž–쿎욺슲덊 í°ŞëŹşë§Ž 쇌믞솒 î?–힎. ěž–쿎욺많 ëŤƒíŽží”’ î†Ší°Śě ˘ ě†§íŒ– 믆 ëż’돺솒 ě‚˛í°ŚížŽ íŒ˜ě ˘ě‚˛ě ˘ 늑픒 í?ŤěĄ“îŒŚě ˘ í•Ší”’ 맧í•‚ î?–먞슎. 믆 ěž–쿎욺 í°ŞëŹş í›&#x; îŒŞ 쥓핂 î?‚ě?ş 쯢ě•§í ˛í˝˛(Harry Blackstone)í•‚í?Š. ëŻ†ě ˘ ěƒŽí›&#x;슲 íŒŹíŽž읪 캍í›&#x;ëŞ’ě˜Ş TV 쿊ě?Š íž’î?—î?–ě ˘ě„ž, ě­Ž읪íž’ 핳뚪맞픒 슲몎 í?ś 펂ě?ž íŒ’í•‚ěŠ˛í”’ ě¤‚ěƒŽ í“’ě˜Ş ě­Žě?‚몲 î?–펂. 믆많 ě¤‚ěƒŽíŽž읪 â€˜î“§â€™îŒŚëŞŽ 줂펆많ě?Š îŒŚěĄ‚, 믆 핳뚪맞픎 ë§ží˘‹맧í•‚ 몎íŞží˜šížŽ. 뚪 믆많 뚌ě?Š ě¤‚ěƒŽ í“’ě˜Ş ě­Žě?Š 먞ě•Š î?Łí‚ŽîŒŚëŞŽ, ě­Ž읪íž’ 핳뚪맞픒 많혆맢펖펂. ëŻ†ěŒšë§Ž 쥕 ěş‚ 핂펖삖?

íŒ’ěž– 8-9ěş‚ 헣솒í?Žě„Ś 늑 맧팒. 믆많 ëŤƒíŽžíŽž í‘žě?ş ë§Ží˜żí”’ íŤ–ěƒŽî?–몎, í‘žě?ş íŒ’ěŠ’ížŽí?Žě†’ íŒ’ě ˘ ěšşí•‚ě‚–ë°š ěƒ‡íŽžî•– ëş‚ 핳뚪맞픒 몎íŞží›Šě?şě•Š 캍ë§?î?–펂. 믆얞섞 믆 ëŤƒíŽží•‚ 븍뚌맖 ěŒšë°šížŽ 뚌ě?Š ě¤‚ěƒŽ í“’ě˜Ş ě­Žě?‚힎 íŒ˜ě ˘ 먞í?Š. ëšŚě ˘ î”łě­’îŒŚëŻž í‚Şí•&#x;î?–힎. 튝í›&#x;슲 욺핂펞읪 몎îŒśí”’ 힎ě?‚믞 í‚Şí•&#x;î?–펂. ěƒ‡íŽžî•– 뽇픚픎 í›&#x;삜쇌펖몎, î‹’ě˜ŞěŠŽ읪많 í?ŽěťŞě ˘ 뚌펞늚 줊펖힎, â€œě¤‚íŽ•í•‚ 줆헪삖 ëłşěž–í?Š?â€? 믆ě?şëŞŽ 믆 쿪맒 쥜슎 í•‚쥡í•‚ 뚌펞늚 íž&#x;í›&#x;쇌펖펂. 뚪 îƒśě‚— ěş?íşŞíŽž ě°Ží˜š몎 ě †ě?ş 콛핂 ěş–îŒŚí?Śíž’ í¨’ 콚ě?şíŞ˛íŽ‚, “뚪 í˝ŽëšŠë§Ž 매몎 íƒ„íŽ‚í‘˘.â€? 뺂많 핂엕늚 í‘†íŞ˛ě„Ś í•‚í“Žě ˘ 믆슲핂 쿊ě?Š í“’î?‚ í˝ŽëšŠě?Š 훎찒î?‚뽜í”’ 늑 맧팒읪í?ŽíŽ‚. 믆ě?şëŞŽ 믆 î‹’ě˜ŞěŠŽ읪많 뚌îŒŞíźš 100 ě‚şě–şě?Š 훊밆알 콚ě?şížŽě?‚믞ě?Š ě –íŽ’ížŽ. 믆많 띖펞늚 100ě‚şě–şě?Š 훊펖삲몎?

í”&#x;, 8캂핂펖섌 ëšŚě ˘ 100ě‚şě–şě?Š 짊몎 쟆ěş?í”’ 삲 많힒 슽 믞첲힎. ěş?î?ˇí•‚ 홙늚 잖줂ě?şě‡ž띲.

ëŤƒíŽží”’ 썂몎 í‘žě?ş ë§Ží˜żí”Ž î…šěťƒíŽž 맢몎, 뚪 잖픚핂 짢롚펂읪 í˝ŽëšŠ ěƒŽí‚ŽíŽž 믞ě‚–îŒŠëŻ† îŒŞ ěž–ě?şě?Š ěšşí?˘íŽ‚. 믆 믞ě‚–îŒŠëŻ†ě ˘ 맖캗, 캗, î?ˇë§–ěş—í•‚ 읏핆 팒핂í?Žě ˘ě„ž, ëšŚě ˘ 믆ě?Š íŒ’ě§†í•‚íŽ‚(Army Ears)ě•Š몎 쭖엎힎. ě¤†í—Şě ˘ ëş‚ 믞íŽƒě—łí•‚ 홙힎 팘팒 ě ‡í•‚ě?Š 띖줂 ěžœí•‚ í›Šě ˘ 뚌츪 í›Ší•†í•‚íŽ–ě‚˛ě ˘ 먞í?Š. ě ‡í•‚ě?Š 훊몎, ě?ž 훊몎, 짌ěŤƒî?‚읪 훊펖펂. 믆엕늚 íŒ’ě§†í•‚íŽ‚ë§Ž 훋픎 î’’ 팎í?’ 솧줊 횲í‘žě ˘ëŠ† ě‚˛í‚Şě ˘ 앋 짊힎 좉î?–힎. 믆엊 펂ě?ž í‚Şí—–íŽžě ˘ 팎í?’ 솧줊픒 ě‹ż îŒŞěŠ– 밆얺썆 먞돺뚌. ěžŹíŒ’, 믞ě‚–îŒŠëŻ† îŒŞ ěž–ě?şě?Š 밆얺썆 늑핂 í—’ě­Ží?Š.

í•&#x;ëź’ 잞펞 솒휒(Tokyo)펞 맖 í•Ší•‚ í•–íŽ–ě ˘ě„ž, 믆 ëŤ íŽž읪 뺂많 í™™íŒ’îŒŚě ˘ 늑슲픒 ěžœí•‚ 짪늺î?–펂.  솒휒플 핳뚪맞슲펞 ě˛&#x; 잲욚쇌펖힎. 띲많 폪믊 많썆 펺î?—힎펞읪 짪늺îŒŞ î”łě§†ě˜Şí’‚ 줊늂핂 í•–ě‚–? ëť–ě?Š í˛şě——íťžě•Š몎 캍ë§?î?‚? ëšŚě ˘ í˛şě——íťžěŠ˛í”’ îŒŞ ě„ž 쥜í”Šě ˘ í˛şě——íťží?Š. 믆알?

뚌îŒŞíźš 믆얞 쥂핂 핖펂. 뚪 í˛şě——íťžěŠ˛í”’ 홙팒î?‚. 믆슲픒 퍺í??îŒŚëŞŽ 믞ě˜ŤîŒŚížŽ. â€˜ě„˘ 쟎찒’ î‹’ě˜Şí—Ťî‚†(‘The Selby’ Project)ě?Š í‚Şí•&#x;îŒŚëŻž 헒펞 뚌 펝킪 í˛şě——íťží?ŽíŽ‚. 뚪 먞플 í•‚슎í•‚(eBay)펞 í›&#x;솓쇞삲몎  잚횊  ě°Ží˜†í•–íŽ–몎, ě‚łí°Śě ˘ ěƒŽě˜Ş ěžœí”Ž 늑슲픒 욺슲핂몲 î?–먞슎. í•‚í—Şě ˘ í•&#x;펓픒 힃î?‚ 욺줊픒 맞ěş?îŒŚížŽ. 섢 í•‚ěş? 쥜í”ŠížŽě ˘ 팘팒.

T Todd Selby J Jason Polan ---------------------------------------------------------------------------J Todd, when you were a kid, who were some of your favorite artists? T The first artist I loved was Georges-Pierre Seurat. J That’s a very sophisticated taste to have as a kid. T His work is really approachable for a kid. I really liked seeing all the dots combining to make an image. We would go to museums and I would walk around with my family and then I would loudly tell everyone, “Oh, I could do that.� You know, obviously I couldn’t do that. I was very ambitious without having any actual drawing or painting abilities! J Very confident, very confident. T But I knew in my heart that only Seurat could do that. J How about some of your favorite artists now? I saw you posted a Jean Dubuffet drawing the other day on Instagram. T I think Dubuffet is one of my biggest inspirations. I love how he developed ways of drawing without knowing how to draw through collage and other methods. But what is really interesting is when he tries to translate that feeling of a drawing into sculpture. 2D into 3D, but it still feels 2D but it’s actually 3D. J Yeah, there is an approachability to it, where he works really hard but it’s still accessible. I really like that too. So that leads to me into my next question. It’s a little bit more elaborate but it’s a little bit about how you approach things. I am curious because I think it’s about something that I am attracted to in your drawings, and I think a lot of people are attracted too. In your drawings and paintings, there is a lot of fun and positive personality and it comes out in kind of everything you do. In the people, in the dogs and cats, and space ships. You are capturing kind of simple things but they have a personality to them. Is this something your conscious of when you are doing a piece of art or is it something that initially attracts you to a certain subject? I guess maybe the question is, what are you thinking about and what’s attracting you to a certain thing, when you are trying to bring out of certain unknown character or personality to it. T What I am thinking about is trying to do something that has a vibe. The whole point of me doing drawings is to try to impart some humanity. I am not trying to technically reproduce anything, I am trying to bring my own personality in terms of colors, aesthetic, fun, energy to something. That’s really the goal. J How would you approach going into doing a drawing or a painting versus making a photograph of a subject?

뚌플 ëŞ‹í‘žíŽžě ˘ ěş‚몎 í•–ě ˘ ëŤƒë§’íŽž ěžŹí­˘ëŠš 쇊. ěž–í°Ś 믖쭣펂튌ě—Š 섢 í•‚ěş? í¨’í’† 쿌 펔픒 ěŒšë°šížŽ 많슍 í¨’í‘žëŞ˛ îŒŚížŽ.

T It’s funny because for me drawing is similar to photography. I have no formal education in either, I mean, I took just one night class in photography.

í•Šě–şí ˛î‚†ě—–í•‚쟌슲픒 í™“ěœŚěŞ’ě˜Ş ě­’ěœŚî?‚뽜펂.

J Where was it?

힎믖 헒킪펞 읎썂핊 í•&#x;펓슲픒 썂몎 í•–ě ˘ě„ž í?ŽížŽ í˛şě——íťž ě žëšší•‚ 줊틺 뚌.

ëťš 믆 ěƒŽěş?í”’ ëŻ†ěžŠí”Šě˜Ş 믆ě?şížŽěžš ë­ í•‚ 맒íž? îŒ’í‘˘ě ˘ 펔돺뚌. ě˝ší“ŽîŒŽ 쥡í—?í•‚ě•Š믞 ěŤ‚ě‚˛ě ˘ 믆늑픒 펂ě?˛ 짡í‚Ťí”Šě˜ŞěŠŽ ěƒ‚íŒ’ëş‚몎 믆늑핂 홂핺î?–ě‚˛ě ˘ 늑픒 팚믞ěžš îŒŚěĄ‚ ě‡Śě ˘ 먞힎. ě§†ě‚–ě Žě?şí ˛î‚†ě•&#x; 늞î?Šî?‚읪핆힎 믆엕늚 쪎î?‚많뚌 썂삲!

í—Şí•‚í śď˜“î‡‚ě•Žď˜™ď˜“íŒ’î‚ží ˛î‚†ď˜“

í—Şí•‚í ś 앎(Jason Polan)픎 ě ‚í‘ŁíŽž읪 î?Şě†§îŒŚě ˘ íŒ’î‚ží ˛î‚†ě˜Ş, <ě ‚í‘˘í˛˛(The New Yorker)>í?Ž <ě ‚í‘ŁíşŽí•’í ˛(The New York Times)>펞 í•&#x;펓픒 읎썂펺í?˘ě‚˛. 믆í?Ž í˝ŽěŠŞ ěźŽě°’ě ˘ â€˜íşŽí´˘ěŠś ěŠŞě˜Şí•— íš‚ě—‹(Taco Bell Drawing Club)’펞읪 튌픚 ěžš뚌 í•ží“Žě˜Şí’‚ í?–쿎í—? 맞읿픒 ëŤƒí“Žî?–삲. í—Şí•‚í śí”Ž 2008ëź’ě­Žíťž ě ‚í‘ŁíŽž ěšşě ˘ 욺앚슲픒 ëŻ†ěžŠí”Šě˜Ş ëŻžě˜ŤîŒŚě ˘ 핳믞 î‹’ě˜Şí—Ťî‚† <Every Person in New York>ě?Š íž’î?—î?–í”Šě ž, 2015ëź’íŽžě ˘ í•‚ě?Š í¨“í”Šě˜Ş í­Şîƒžî?–삲. ě?žîŒŞ ě ‚í‘Ł î?’ěƒŽě§†쿎덎펞 í•–ě ˘ 쥜슎 í?–쿎 í•&#x;슲픒 믆ě?şě ˘ <Every Piece of Art in the Museum Of Modern Art>í?Ž 짆돝 핞펞욺짣줊덎플 132ěž–ě?şí”Ś 캖슲픒 믆ě?şě ˘ <132 Birds at The American Museum of Natural History> 슿플 ěƒŽî?Ł î‹’ě˜Şí—Ťî‚†ě?Š íž’î?—îŒŚě ž, í“Žě‚–íš‚ě˜Ş(UNIQLO), 콢ěšśě†’í ˛(Soludos), í¸şě?şíźšě?şě˜Ž í˛şě——쟌(The Criterion Collection), 뚌í•‚횲(Nike), íşŽí´˘ěŠś(Taco Bell)덊 맧픎 쟆몒í—?핆 쯚앪슪í?Ž î?&#x;펓î?‚ í?˛ëŞŽ 핖삲.

T ‘School of Visual Arts’ in New York. J I thought you had a more background in photography T Nope. And I never hired professional photography assistants, I hired my dad or my friend William Eadon‌ I hired my friend William to be my assistant on photo shoots and he knew exactly as much as me, which is almost nothing! There was a time when we were doing photoshoots for <Dazed & Confused> magazine and both of us could not figure how to get the cap off of the camera lens! But I don’t like the idea of being an expert. I have never been interested in that. After doing photography for so many years, I am now an expert. I think that’s a really good thing because I never have to think about it, now I could just pick up a camera and start doing it instinctively. That’s great because with photography there are so much technical aspects of it but now that I really understand it, it’s just purely kind instinctual for me similar to the way I make paintings. J I like that. I think that may be part of how things are so personal to you because you are kind of maybe discovering them in a certain way which comes out very personal. T Thanks! J Okay Todd, did you have any pets growing up?

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T í˝ŽěŠŞď˜“ěźŽě°’ď˜“ J í—Şí•‚í śď˜“î‡‚ě•Žď˜“

Todd Selby and Jason Polan

T Oh, I am happy you asked that question. So, okay it’s a bit of roundabout story but I think it’s worth it. So my dad is a neurologist, which is a brain doctor. He would often testify in court cases as a professional witness saying this person has brain damage or this person is faking. Somehow through that work he became friends with of all these magicians, because he testified in a case that had to do with a magician. So one of those magicians was Harry Blackstone and he had a TV show in the front of a live audience. For one of the segments of the show he would call up kids to the stage who would bring broken toys. Then ‘Poof’ the magician would do something and the toy will be fixed. I brought my broken toy to a taping of the show and I thought, okay for sure he is calling me up. J

And how old were you?

T I think I was around 8 or 9. I thought for sure, I know this guy, he invited us, he knows dad. I am going to get my toy fixed, no a big deal. And so that segment came and went and they didn’t call me up. So I started going insane. I was yelling and screaming and I am in the audience. So, of course taping had a stop, so then one of the producers came out and they said “What’s the matter kid?� And all the attention is on me at that moment. I panicked and went blank, and I shouted “I want a bunny rabbit�, because I think that they had bunnies on the show. So, the producer gave me a 100 bucks. And I shut up. J

He gave you 100 dollars?

T He gave me 100 dollars, and 8 year old me was blown away. J

This story took a turn.

T We got to go to the pet shop, and I changed my mind, and I got a guinea pig instead. It was brown and white and tan so I called it “Army Ears.� But I was very bad pet owner because I was very forgetful and I would overfeed him. Just feed him and feed him. So, after Army Ears died, I wasn’t allowed ever to have a pet again. J

So, you had only one pet growing up.

T Yea. I had just one guinea pig. J

I was in Tokyo at the end of the last year and I found so much stuff that I just loved, but most of all I was really attracted to the toys. Have you had any recent fun finds in any of your recent trips? Are you a collector Todd?

T I am a collector of collectors. J

Yeah?

T In a way. I like collectors and I take pictures of collectors and document collectors. I used to be a collector before I started doing ‘The Selby’ project. I used to have a serious eBay addiction, buying so many random things. Through my work I can appreciate things, but I don’t want to own it anymore. J

I do it depending on space. I feel like I am little bit like a goldfish where I kind of fill up my home until I can’t fill up anymore.

J

I am just looking at the work in the show right now and it definitely has the feel of a collector.

T The illustrations are grouped by collections. J

You draw it but you don’t need to have that thing. You don’t need to own it, you just need to know that it exists or you need to capture somehow.

T I think being married to Minimalist also pushes me in that direction!

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Jason Polan, Artist Todd met Jason Polan at his 'Taco Bell Drawing Club' artist salon that he hosts in the ubiquitous fast food restaurant. Todd loves Jason’s creativity and artistic freedom. Jason Polan is a New York based artist who works with <The New Yorker> and <The New York Times>. He captures the core elements of people, objects and landscape that he encounters everyday using only simple lines. With a great ambition to draw every single person in New York, he started a long term project <Every Person in New York> in March of 2008. Everyday, he posts drawings of people he made on his blog with a simple note attached. This project was published as a book in 2015. He runs multiple other projects such as <Every Piece of Art in the Museum Of Modern Art> and <132 Birds at The American Museum of Natural History> and actively works as an illustrator. He collaboratively works with leading brands such as UNIQLO, Soludos, The Criterion Collection, Nike and Taco Bell. @jasonpolan

힎뚪 쥕 ëź’ ě†§íŒ–í”Ś ëş‚ ěş„í•‚ ěƒ‚늜 í•–ě ˘ í•‚ ěť˛í°Ś í•&#x;펓픎 í•Šě–şí ˛î‚† í•&#x;슲픒 쪋펞 늆힎 팘몎 í•“íŞ‚í—?í”Šě˜Ş îˆŞî?’îŒŚëŞŽí•ž îŒŞ 킪솒핓삖삲. ě˜Şí ˛íŒ˛í—˛ě—–í ˛

(Los Angeles)í?Ž ě ‚í‘Ł(New York)í”’ í?˛ë§Žě ž 캍î?ŞîŒŞ ëšŚě ˘, 뺂많 í™™íŒ’îŒŚě ˘ ěˆž 솒킪ě?Š í?˛ëŞŽ ë§Žě ˘ ě°’î?—믞 팖펞읪 ěžœí”Ž 킪맒픒 ěŤ‚ëş–í‚ƒě‚–ě‚˛. í•‚ í•&#x;펓픎 í•‚ 솒킪슲픒 펺î?—îŒŚě„Ś í›&#x; ěž–í›ŠíŞ˛ě„Ś 늑슲덊, ě?Ží?˛ě?† 캍ë§?슲핂 ěƒ‚늜 í•–ě ˘ 핊홓플 íşŽí•’íąŻí ží•“ě‚–ě‚˛. í•‚ ěť˛í°Ś í•&#x;펓픒 í“’î?‚, 줊맞슲핂 읪ě˜Ş 읏핂몎 ěŠ–ížŽě ˘ 쿌í¨’î?˘ ě žëšší”Ś 쪋픒

잚슲몎 íƒ„íŽ–í‚ƒě‚–ě‚˛. 믆알읪 íž?í—&#x; 줊맞픒 í•“î•š í?•몎 ë°‚ 홓핂ě?Š 짆쿎덎 쪋펞 많슍 ě­§í•‚ě ˘ 짡슣í”’ íşŤî?–í‚ƒě‚–ě‚˛.

í•‚ 쪋힎 í“’íŽžě ˘ 짆돝플 읪ě˜Ş 삲ě?† ěˆž 힎펝픒 ěş?ížŁîŒŚě ˘ í•Šě–şí ˛î‚† í•&#x;펓슲픒 í•Śě•Š ě­§í?Ží‚ƒě‚–삲. 핂슖 헒킪펞읪 튌í”ší”Šě˜Ş 킪솒î?‚ 썆 í•‚ ěť˛í°Ś í•&#x;펓핂 펺얺쭒슲펞늚솒 î”łě§†ě˜ťëŻžě?Š 짢앛삖삲.

The main concept behind the “Selby the Traveler� room was trying to take my two dimensional flat illustrations seen in the previous room and break them off of the wall. It’s a process of two-dimensional becoming three-dimensional. This installation tells the story of my life the past few years. I’ve lived between Los Angeles and New York, spending a lot of time in airplanes flying between my two favorite cities. So this room is a kind of time capsule that documents things I’ve seen as well as things I’ve thought about in the airplane as I’ve flown over the United States. For this room, I wanted to develop a new process in order to give the walls the feeling of a watercolor painting. To mimic the look of water color puddles of paint bleeding into each other, I hand painted thin paper strips and then applied them directly to the museum walls. Over those strips I pasted cut-out illustrations depicting different regions of the U.S. It’s a new vibe for me, and I hope you dig it.

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SELBY THE TRAVELER

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뚌플 í•&#x;펓픎 힎믇 맪핆í—?핆 몋펞읪 ě°’ě˜˝ě‡Śě ˘ě„ž, í›Šě˜Ş 퓎럒킪헖덊 ěş‚ě„Ś íž&#x;, í•&#x;펓킲, 믆ě?şëŞŽ î?’핺플

ě•Ší•‚î‹’ í ˛íşŽí•ŠëŤŠ 짎í—&#x;îŒŚëŠš 펞덎쇌펂 í•–í‚ƒě‚–ě‚˛. 뺂많 ěş‚íŒŚě„Ś íąŚě?şî†şě‚–팒(California) 훊 푆덋플 í?˛ě—šížŽ íą‚í’‚î‚ž(Orange County)펞읪플 믞펃픎 í•&#x;펓펞 ěžœí”Ž í??맞픒 훊몎 í•–í‚ƒě‚–ě‚˛. 1980ëź’ěƒŽ í?˛ě—šížŽ

íą‚í’‚î‚ží”Ś ë˝›ëŞ‹ížŽě ˘ 먞ěƒŽîŒŞ 훊먞 ížŽíŽťí”Šě˜Ş ě°Žě?‚늚

쪎î?˘îŒŚëŞŽ í•–íŽ–í‚ƒě‚–ě‚˛. ěžší?‹ 펺얺쭒핂 뚌플 íž&#x; 믊튌ě?Š

먞삞펖삲쥂, ě?&#x;맧í•‚ 캍ë°‚ íž&#x;슲핂 í›’í›’í•‚ ě ŚíŽ‚읪 í•–ě ˘

ëŤ&#x;몋픒 쥡늡îŒŚěźśí”’ ëŠ?삖삲. îŒ§í¨‹ 킪헖플 ëšŚě ˘, í•‚ě–şîŒŞ ‘핊î?˘(sameness)’ě?Š 먞ě­ŽîŒŚëŞŽí•ž 읪ě˜Ş í•Ś 펂풆ě?şížŽ

íŒ˜ě ˘ 띲í?ś 캗플 ě§†í ˛ěž˛í°Ś í ˛íşŽí•Ší”Ś í?…í”’ í?ž늜 í•“íŽ–í”Šě ž, ě†“î‚‡îŒŞ 늑슲펞 덎킺픒 많혚몎, 돂힪슲덊 펂풆ě?şě ˘ 늑픒 홙팒î?–í‚ƒě‚–ě‚˛. í°ŞëŹşěŠ˛ 욺핂펞 펂ě?˛ 콚줆슲핂 í•–ě ˘ížŽ, î?‡í”Ž îŒ§ëŹžíŽž읪 뿒많 많핳 핆믞많 ěžœí”ŽížŽ ěŠżíŽžě ˘ í—’î?Ž 덎킺핂 íŽ”íŽ–í‚ƒě‚–ě‚˛. 뚌플 킪읎픒 븖 í°ŞëŹşě ˘ í€şě ˘

킪맒잖삲 ěŠ˛í°ŚíŽž 팗팒 ë§ŽîŒ’ěŠŞ(Garfield) 몎í?&#x;í•‚ě?Š

몒콛î?‚읪 믆ě?şě„Ś 팒핂í?Ží‚ƒě‚–삲. ëş‚ ëż–íŽžě ˘ 믆많 í—Şí•Š

ě ™í•–íŽ‚ 썂í?Ží‚ƒě‚–삲. îŒťěş? 짞뚝í”’ ě ˘ëŞŽ ě‚˛ě‚–ě ž í•ží‚Ží”’

먞ě­?í•‚ě•Š몎 í°ťîŒŚě„Ś í°ŞëŹşě†’ í•–íŽ–í‚ƒě‚–ě‚˛. í“Žëź’í‚Şí—– ěžš뚪 ě†“î‚‡îŒŞ íŒ’í’‘ěšşí•‚ě„˘ěŠ˛íŽž ěƒŽîŒŞ 덎킺픎 뚎 뚌플 í•&#x;펞 í¸ž í??î?łí”’ ëšŠíŞ˛í‚ƒě‚–ě‚˛. ëšŚě ˘ í“ŽěĄ“îŒŞ 욺앚슲썂삲 핊덊 ěş„, 믆ě?şëŞŽ 많헣픒 힃î?‚ 핞킎잚플 쟆몒ě?Š í¨‹í˜žîŒŚě ˘ î‚‡í•‚îŒŚëŞŽ ě°’ěş?îŒŞ 욺앚슲펞늚 덎킺픒 ë§Ží˜ší‚ƒě‚–ě‚˛.

“Selby the Neighborâ€?ě?Š 힃î?‚ 뚌플 ě•Ší•‚î‹’ í ˛íşŽí•Ší”’ 펺얺쭒덊 ëŤƒí“Žî?–í‚ƒě‚–ě‚˛. ëšŚě ˘ íşŽí•†í”Ś 캄덊 믆슲플 ěšşí—? ëŤƒë§’í”’ 믞ě˜ŤîŒŚě ˘ě„ž ěžœí”Ž 킪맒픒 ěŤ‚ëş‚ě ˘ ěŤ‚ëş‚ě ˘

ěšşě•ší•‚믞펞, í•‚ 덊헣핂 ëłť îŒ’í‘˘îŒŚě‚˛ëŞŽ 캍ë§?î?–í‚ƒě‚–ě‚˛. 헒킪핳플 ëş‚ í°śí‚˛í”Ž 펂ě?ž 킪헖덊 ěƒŽîŒ§ 킪헖플 í°śí‚˛,

90ëź’ěƒŽ î’’짌 ěş‚íŒŚě„Ś ě ‚í‘Ł íž&#x;플 쥜í‚ƒëŤŠ î?’핺많 믞죌îŒŚëŠš 읏펺 í•–í‚ƒě‚–ě‚˛. 욺짡펞 í?…슲핂 ëťžěŻšě–şí˜†

í•–ě ˘ 뚌플 í°śí‚˛í”’ 슲펺삲썂몎 í•–í”’ 덎맍슲플 쥜킃핂 믞ěƒŽě‡ˇě‚–ě‚˛.

ě?žîŒŞ 뚌플 í•&#x;펓킲픒 í•şî?’îŒŚíŽş 뺂많 í•&#x;íŽ“îŒŚě ˘ 덊헣픒

덎맍슲덊 ëŤƒí“ŽîŒŽ 쿌 핖늚 쇌펂 잲푞 믞측삖삲. 뚌 펝킪

삲ě?† í•&#x;많슲플 í•&#x;펓 덊헣픒 ëŤŽí§žîŒŚëŞŽ í ˛í ˛ě˜Ş 핂늑헎늑 킪솒î?‚ěŤ‚ě ž ěšşíž’í”’ 짞í’Ží‚ƒě‚–ě‚˛. í•‚ě–şîŒŞ 덊헣핂

í›&#x;í‘˘îŒŚě‚˛ëŞŽ 캍ë§?îŒŚëŻž ěŒšě¤†íŽž 뺂많 킲헪 ěšşí‘ˇîŒŚě ˘ ěšşíž’

í•łě°’í?Ž î…Śí•†îƒ“ 솒돺슲픒 îŒśë˛Ś 썂펺훊몎í•ž îŒŞ 늑핓삖삲. î?˘ë§Ží?Ž ěšşíž’í•&#x;많ě?Š ëś–ëś†ě ˘ 욺앚슲펞늚 콚í›&#x;îŒŞ í??맞핂 쇌믞ě?Š 짢앛삖삲.

My work is very personal and comes from a place firmly planted in my childhood, my home, my studio and the way I live now. The inspiration for my work stems from my upbringing in Orange County, California, a very suburban environment. During the 1980’s, Orange County’s farmland was quickly transforming into sprawling housing tracts. If you drove down streets near my house, you would see rows and rows of houses that all looked the same. In school, I rebelled against this ‘sameness’. I never fit-in, as I always liked to dress in neon and mismatched clothing. I pursued strange interests and hung around with oddballs. I never knew what was going on socially or was aware of who was popular. My idea of the most interesting person in school was the kid who always sat on a bench during recess and drew Garfield the cat over and over again. To me, he was the coolest. Another friend of mine always wore a backpack and liked to refer to himself as a turtle. As I grew up, my passion for these creative outliers affected my artwork. I have no interest in celebrity for the sake of celebrity, people who are famous for being famous. I am interested in those extreme, rare birds – people who create their own vision of the world through their work, their life, and their home.

SELBY THE NEIGHBOR

In “Selby the Neighbor� I wanted to reveal and share my lifestyle. It only seems right to do this, as I spend so much time documenting other people’s lives and spaces. My bedroom is a curious mash up of my childhood bedroom, my college bedroom, and how I lived when I first got to New York City in the late 90’s with a little bit of ‘right now’ thrown in. I am excited to see you peeking into my bedroom with my clothes thrown everywhere. In terms of my working studio space, I thought it would be cool to show people a bit of my working process. I learned photography from seeing how other people worked and also by trying things for myself. That interest in the process is why I wanted to include my actual photography equipment and painting set up, so aspiring painters and photographers could get their own insights.

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í•‚ í•&#x;펓픎 뺂많 13쟆 ěş‚ 헣솒 쇌펖픒 ě¤‚ě˜ƒ, 펒잖,

íŒ’ě°Ž 믆ě?şëŞŽ î?ŁëŤŠ îŒśë˛Ś ě?Žëšşě„Ś ë§Ží˜ż 펺î?—플 믞펃펞읪

í­Şě§ŞîŒˇě‚–ě‚˛. îŒťěş? î‚‡í•‚îŒŞ 펺î?—ěžš îŒŚě ˘ 늑핂 쭖잚핂펖섌 ëšŚě ˘, î?‚ěŞŽí”Šě˜Ş 뽎얺 ë§Žě ˘ 팒훊 슢îŒŞ 펺î?—í”’ îŒŚëŞŽ

íƒ„íŽ–í‚ƒě‚–ě‚˛. íŒ’ě°Žě ˘ 뚌플 짢ě•šěƒŽě˜Ş í‘žě?şě?Š îŒŚí?Ží•‚ě˜Ş

ě„žě—˛ 맢í‚ƒě‚–ě‚˛. îŒŚížŽěžš, îŒŚí?Ží•‚펞 ě†’í§ˇî?–í”’ ěŒš, â€˜î†şî‚†쥜ě?‚í?–ě°’(Port Moresby)â€™ě•Šě ˘ 뚽읎 ëŤƒîŒť í•‚ě?’í”’ 썂몎 플킺핂 슲믞 í‚Şí•&#x;î?–í‚ƒě‚–ě‚˛. 펂ě?ž 뚌플 뿖펞 ě°’í°Ş 쥜슎 늑핂 í—’î?Ž îŒŚí?Ží•‚í ˛ě—‹ížŽ íŒ˜íŒŚëŻž ěŒšě¤†í•“ě‚–ě‚˛. íą‚ëż’ě?Š íşŽ몎 맣í”’ ë¨ží şě–ş 뺂엲맒 삲픚, 삲킪 ěŤ‚î‚†ě˜Ş 맖팒 íş˘í”’ ěŒš, 뚌플 ěˆžě—˛í’Ží”Ž î?’킲핂 쇌펂 ěŠ’ě˜†í‚ƒě‚–ě‚˛. 펝킪뚌! í‘žě?şě ˘ îŒŚí?Ží•‚많 íŒ’ě‚–ě•Š îƒšî‰†íŒ’ě ‚믞ě‚–(Papau New Guinea)펞 í•–ě„Ś ëŠ‘í•‚íŽ–í‚ƒě‚–ě‚˛. íŒ’ě°Žě ˘ 믆헪읪í?Š í‘žě?şíŽžëŠš ěž–í•‚íš‚ ě˜Ťî…Žě–ş(Michael Rockefeller)ě?Š ě ‡íŽ‚ěŠ’ě˜†í”’ížŽ 쥜ě?‚ě ˘ 킍핆홓 ě­Ží˜żí”Ś ěšşíž’í”’ í§›믞 í“’î?‚ ě ží°Žë§’ ěź†îŒŠí¸ş 맣(Sepik River)í”’ ë¨ží şě–ş í?şě•Šë§–

í?–í—Łí•‚ě•Š몎 ěžžî?‚í›ŠíŽ–í‚ƒě‚–ě‚˛. 썂펞 잖엜쇪 ě§ˇí”Šě˜Ş

많믞 í—’, 팓펂í?Ž îŒŠě•Šëşž 몎믞ě?Š ě ‡íŽ–ě„Ś 믞íŽƒě†’ 뚡삖삲. 믆뚎 짲, ëšŚě ˘ í•‚ 헣믎펞 ěƒŽîŒŞ ëś–í”’ ëś†íŽ–í‚ƒě‚–ě‚˛.

“Selby the Dreamer� was inspired by a truelife event from my past. When I was around 13 years old, my dad, mom, brother and I went on our last “family vacation�. I had been complaining for years that my family always went on strange trips, and I wanted to do something more traditional like go to the beach. My dad finally gave in and we were off to Hawaii. When we landed in Hawaii, I started to get suspicious as the name of the airport, ‘Port Moresby’, was very unfamiliar; and everything seemed not like the Hawaii, I had seen as a child. My biggest fears were confirmed as we boarded a dugout canoe and went down a river to load into a small river boat. We were in Papua New Guinea, not Hawaii. My dad let us know that we were going to go up the Sepik river for a few days in an effort to find and take photos of a cannibalistic tribe which was allegedly responsible for eating Michael Rockefeller. I remember eating crocodile and piranha before I headed down to my room.

SELBY THE DREAMER

That night, I dreamt of the Jungle Room.

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í˝ŽěŠŞ 쟎찒플 1991ëź’ í•Š믞펞읪 짪펚

Excerpt from Todd Selby’s 1991 Diary Entries

펒잖, íŒ’ě°Ž, î?Ł í ˛í´ľ(Scott)덊 ëšŚě ˘ îŒŚí?Ží•‚ě˜Ş î?łîŒŚě ˘ ě°’î?—믞펞 íşŽ몎 핖삲.

슪싢펂 í‘žě?şě†’ 삲ě?† ë§Ží˜żěŠ˛íŠŚě—Š 슢îŒŞ ë§Ží˜ż 펺î?—í”’ ě?ŽëšŞě‚˛. ě†’í§ˇîŒŚěĄ‚ î?‚쪎펞읪 뽎 쿌 í•–늎힎! 믆얞섞 í•‚ěş?îŒŚëŠšě†’ ě°’î?—킪맒핂 í—Łěžž í—Łěžž 밆삲. îŒŚí?Ží•‚많 핂엕늚 ě Žě?ş í•–ě ˘ížŽ 쥞앞삲.

펺믞 ěş–ě˜Şí’‚ ě ‚í ˛. 뺂많 í?’í—’î•– ě˝›íŒŚě‚˛ě ˘ 욺킲! 펝킪뚌 îŒŚí?Ží•‚ě ˘ ě Š ëŤ í•‚ íŒ’ě‚–íŽ–ě‚˛. í‘žě?şë§Ž í§ˇěœ§îŒŞ ëŤƒîŒť í•‚ě?’í•‚ ‘î?†ë˝Žěšžěšś(Honolulu)’많 íŒ’ě‚š

â€˜î†şî‚†쥜ě?‚í?–ě°’(Port Moresby)’핊 ěŒšě­Žíťž í”Śí‚şí ˛ě–şí’Žě‚˛. 뚌플 플킺픎 í‘žě?ş ë§Ží˜żí•‚ íą‚ëż’ě?Š íşŽ몎 맣í”’ 늂띖많 í•&#x;픎 썂펞 ížží”’ 킲픊쥂읪 í—ží§ś î?Łí‚Ží•‚

쇌펂맢삲. í‘žě?şě ˘ îŒŚí?Ží•‚많 íŒ’ě‚š îƒšî‰†íŒ’ě ‚믞ě‚–(Papua New Guinea)펞 í?ś

늑핂펖삲! ěž–í•‚íš‚ ě˜Ťî…Žě–ş(Michael Rockefeller)ě?Š ě ‡í”Ž ëŠ‘í”Šě˜Ş íŒšě—˛íž’ 킍핆홓 ě­Ží˜żí”’ 퍺í??îŒŚëŻž í“’î?‚ ě ží°Žë§’ ěź†îŒŠí¸ş 맣(Sepik River)í”’ ë¨ží şě–ş í?şě•Šë§– í?–헣핆 늑솒 팚늚 쇌펖삲.

썂펞읪플 튚뚎, í‘žě?şě ˘ 팓펂í?Ž îŒŠě•Šëşžě?Š í—Žëź?í”Šě˜Ş ě ‡íŽ–ě‚˛. ě Ś 믆엕슽 íŒ’ě°Žě ˘

뚌í?Ž î?ŁíŽžëŠš 썂플 펢힒덊 í—Şí•Š 많밍몎 í¨‹ě¤†ě†’ íŽ”ě ˘ 많핳 탊 짡í”’ í?–í?‹î?‚훊펖삲. 믆뚎 짲 ëšŚě ˘ 펢힒 힃 í?”펞읪 í•Ží•‚ 슲펖몎, 잞솒 팖 ě‡Śě ˘ ëś–í”’ 뜆펖삲. 뜖콛펞읪 ëšŚě ˘ 헣믎펞 î?Ší•ž ëšśíŒŚëŞŽ, 읪ě˜Ş 삲ě?† 캗플 뚌ě¤‚ěŠ˛ě˜Ş 잚슎 늑 맧픎 íŒšě˜Ťě‚şě˜ŤîŒŞ ëšŚě¤‚îƒží•žěŠ˛í•‚ 쉲섟핆 밆픒 늆펖삲. í—Ž ě Žě?şěťŞ 짌ěŤƒí—?핆 ě­? 콚ě?şí?Ž 먞ěƒŽîŒŞ

풞쿝핂플 풆픚콚ě?şë§Ž 슲엲í?˘ě‚˛. î?‚많 헎줊믞 í‚Şí•&#x;îŒŚí•ž í—ŁëŻŽíŽžě ˘ 쿌짿 ěž–ě?şí”Ś

솧줊핂 뚌íşŽ뚺몎, ëšŚě ˘ 밆픒 ě‹žě•Š 쒞믞 í‚Şí•&#x;î?–삲. ěž–í°śëş‚ ëŤƒíťžíŽž 삲삲앞픒 ěŒš,

ëšŚě ˘ í•‚ěş?îŒŞ 쥜핞ě?Š 튞몎 먞ěƒŽîŒŞ ěş–ě?Š íşŽě ˘ îŒŞ ëšśí•ží?Ž 썂않캗 í’žěżťí•‚ îŒŞ ěž–ě?şě?Š ěŤ‚íŒŚě‚˛. 믆 쿪맒! ëšŚě ˘ 뜖펞읪 발펂뚺삲.

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Mom, dad my brother (Scott) and I are in an airplane headed to Hawaii. Finally, we’re going on a normal family vacation. And I get to hang out at the beach! Strangely, this flight is really, really long, I didn’t realize Hawaii was that far away. Here’s a quick update. So I’ve been tricked! Hawaii isn’t so far away after all. When we landed I started to get suspicious as the name of the airport was ‘Port Moresby’ and not ‘Honolulu’. My biggest fears were confirmed as we boarded a dug-out canoe and went down a river to load into a small river boat. We were in Papua New Guinea, not Hawaii! It turns out we were actually going to go up the Sepik River for a few days in an effort to find and take photos of a cannibalistic tribe which was allegedly responsible for eating Michael Rockefeller. That first night on the boat we dined on crocodile and piranha. As usual, my dad booked my brother and I into a room with no windows, adjacent to the engine room, as this was the least expensive room in the boat. That night, as I fell asleep to the churn of the boat’s engine, I had a crazy dream. I dreamt that I was alone in the jungle. I was walking down a wooden plank path, and the odd thing was each of the boards seemed to come from a different brightly colored tree. In the distance I heard a repetitive drum beat, and the howling of a giant monkey. As the sun started to set, the jungle came alive with hundreds of animals. I started to run down the path. When I came to a clearing, I looked up and I saw a man with a strange hat on sitting astride a giant bird, and next to him was some sort of purple primate. Boom! I woke up.

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THE SELBY HOUSE

2017. 4. 27 - 10. 29

Organized by In Partnership with

ëŤŽí•łď˜“Director í•‚î?‚í‘żď˜“Haewook Lee

퍍ëŤ’í‚˛í•łď˜“Vice Director í•‚í—Łí”Žď˜“Jungeun Lee

í‚˛í•łď˜“Managing Director îŒŞí—Łî”şď˜“Jung Hee Hanď˜“

í—’í‚Şď˜“Exhibition íŒ–í›Šî“Śď˜“Juhui Ahn í•‚í—Łí?‚ď˜“Jungyeol Lee í•łî?’ížŽď˜“Hyunji Jang í—ŁëŽŞíŽžď˜“Kewyearn Chung 짣ě§Ší›Šď˜“Minzoo Parkď˜“

ěŠ–íŽťď˜“Translation 슲ď˜“í•ťí śď˜“Ben Jackson ěƒŽěžŠě§†쿎ëŤŽď˜“DAELIM MUSEUMď˜“ ëŻ†ě•ŚîŒ‹ď˜“ě‹˘í•ží•†ď˜“Graphic Design ěŤ‚í•‚íŽ‚ď˜“Bowyerď˜“

Special thanks to î‹’ě˜Şí—Ťî‚†ď˜“ěž˛ě‚–í—Žď˜“Project Manager íą‚ě§Žě•Šď˜“î…Śě—ší°Śď˜“Camilla Ferenczi

ěšşíž’ď˜“í•†î?˘ď˜“ě§?ď˜“ěŤ‚í—Łď˜“Photo Printing and Retouching íŽžîŒ’ě˜ŞëŻ†ď˜“Epilogueď˜“ íŒśě–žď˜“îŒŠ뚌쥜펂 Allan Finamore í‚ŞíŽžě•Šď˜“몲í•Śě—–í ˛ď˜“Sierrah Gonzalez íą‚í•‚ď˜“ě—–ď˜“Khai Le íŒŽí ‚ě?şď˜“í’˘íťží ˛ď˜“Ashley Walters î‹’ě˜Şě„ŁěźŚď˜“ě‹˘í•ží•‚ëť–ď˜“Production Designer í—Şí•’í ˛ď˜“í?˛ěŞ ď˜“James Obed

í¸şě?şíŽží•‚î‚žěŻšď˜“í˛śěť˛íź‚î‚†ď˜“Creative Consultantď˜“ ě‚˛ě‚–íŽŚď˜“쟢ě Šď˜“Danielle Sherman

íŒ’î‚†ď˜“î‹’ě˜Şě„ŁěźŚď˜“ěž˛ě‚–í—Žď˜“Art Production Managerď˜“ ě•Ší•‚íŽ†ď˜“ěžłë¨žîŒŽ Ryan McGuffin ě—–íž’ď˜“î‹’ě—–í•’ď˜“í˛śěť˛íź‚î‚†ď˜“Resin Frame Consultantď˜“ í˜žě‚–ď˜“ëŞŽí ˛ď˜“Johnny Goss

íŒ’î‚†ď˜“íŽ‚í‚Şí ˛íź‚î‚†ď˜“Art Assistantď˜“ 쯢ě—–í•‚í¸şď˜“ěŻšě—šî‚†ď˜“Blake Brent

íą‚îŒŠď˜“íŽžě‹˘íťžď˜“$opy Editor ě˜Žě‚˛ď˜“쟢ě Šď˜“î‹’ě?şěŠŞě Šď˜“Rhonda Sherman Friedman

Published by DAELIM MUSEUM All images courtesy of The Selby and DAELIM MUSEUM

í•‚ď˜“í¨“íŽžď˜“í‚˛ě?žď˜“ëş‚í‘ˇí”Žď˜“ě„˘ěźŽě°’í?Žď˜“ěƒŽěžŠě§†쿎ëŤŽď˜“ě†§í”Śď˜“íŽ”í•‚ď˜“ě¤‚ě‚śď˜“í—’í•şîŒŽď˜“쿌ď˜“íŽ”í‚ƒě‚–ě‚˛ď˜› ěƒŽěžŠě§†쿎덎

DAELIM MUSEUM

읪í’†í‚Şď˜“í™“ě˜ŞëŹşď˜“í•žîŒŚě¤†ě˜Şď˜“4ë°†ď˜“21 21, JAHAMUN-RO 4-GIL, JONGNO-GU, SEOUL, 03044 KOREA Tel +82 2.720.0667 www.daelimmuseum.org

ISBN 979-11-85724-09-6 19,800í’ž

93600

9 791185 724096

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