Remix Magazine- Global Edition- Young Hollywood

FASHION BEAUTY POP CULTURE lifestyle

WINTER 2011/12

US $17.99 / UK £8.00 / Eu €12.00 INTERNATIoNAL EDITION

NEW BREED

S PR I N G

/ SUMMER

/ 2 012

wor ldbra nd.c o.nz

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CONTENTS 1 24

74

David Armstrong: Photographer

Beauty: Elettra Feel

30

82

Kon Trubkovich: Artist

Beauty: Gareth Pugh for MAC

35

84

Pau Wau: Publishers

Hollywood’s New Breed

38

86

Hugh Lippe: Sketchbook

Anna Kendrick

49

94

Illustrated trends

Jane Levy

56

98

HeiMstone: Designer

Topher Grace

68

104

Beauty: Essentials

Julia Jones

COVER 1 Photographer ANNELISE PHILLIPS Fashion Editor EMILY BARNES Photo assistant Victor Gutierrez Fashion assistant Chloe Hartstein Creative director Matthias De Gonzales Makeup Sara Glick u sin g DiorShow Hair Jeff Francis Anna wears: DOLCE&GABBANA coat.

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JCHOO_INT_ADV_070.indd 1 JCHOO_INT_ADV_070.indd 1

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CONTENTS 2 108

140

Xavier Samuel

Jason Lew

Mickey Sumner

144

114

Remix Fashion

118

234

Mike Vogel

Connan Mockasin: musician

122

240

Emily Wickersham

Ghetto Gothik: party people

126

246

Tom Payne

The Beauty Book

132

250

India Eisley

Remix Loves

136

Daniel Sharman

COVER 2 Photographer ANNELISE PHILLIPS Fashion Editor EMILY BARNES Photo assistant Victor Gutierrez Fashion assistant Chloe Hartstein Creative director Matthias De Gonzales Makeup Sara Glick u sin g DiorShow Hair Jeff Francis Anna wears: COMPTOIR DES COTONNIERS cardigan, ACNE denim jacket, PETER SOM pants.

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EDITORIAL

The New Breed.

When you pick up a newspaper, turn on the telly or browse your favorite news site we are reminded daily that our world is in a state of constant flux. Amid all of this, a new breed of thinkers, artists and visionaries are allowing their voices to be heard and spawning change. They are not the obvious candidates. These forward thinkers approach their respective industries with a consciousness relevant to a new global generation. In this issue we focus on that new generation of emerging talent in Hollywood.

On our cover is the Academy Award-nominated actress Anna Kendrick. Don’t let her 5’2 stature convince you that she’s a wallflower. With a slew of heavyweight films under her belt, her presence is larger then life and she more than holds her own next to any of Hollywood’s leading men. This issue also profiles the actors Topher Grace, Jane Levy, Mike Vogel, Julia Jones, Tom Payne, Emily Wickersham, Daniel Sharman, Mickey Sumner and Jason

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Lew. Each of these talents reveal a personal side and allow us a little peek into their mindset.

Outside of Hollywood, we also shine the spotlight on a group of young fashion designers whose approach to apparel allow us alternative ways to express our individuality. Illustrator Jenny Mortsell takes us through the season’s trends with her magical pencil drawings. And with the help of our new fashion director, Emily Barnes, our fashion section packs a powerful punch of the season’s sartorial offerings and must-haves.

We hope you enjoy this issue and that it inspires you in the chilly months ahead to become a part of the new breed and support the beauty of individuality.

All the best, Matthias De Gonzales (CD)

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Publisher Tim Phin Tim@Remix-Magazine.Com +1 (323) 275-1333

Advertising Director Micheal DiChaiara micheal@remix-magazine.com 203.609.1599

Creative Director Matthias De Gonzales at ILLUMINISTA matthias@remix-magazine.com matthias@illuministaltd.com

National Advertising Director Barbara Zawlocki bzimedia@gmail.com 203.609.1599

Editor Tina Moore tina@remix-magazine.com

Contributing Fashion Editors Hilary Wendt Cassia Skurecki Brett Bailey William Graper Clare Byrne Christian Stroble Micah Johnson Jason Rider

Art Director Ian Ferguson ian@friendsofdesign.com Design Annabelle Rose Fashion Director Emily Barnes emily@remix-magazine.com Men’s Fashion Editor Matthias De Gonzales matthias@remix-magazine.com Associate Fashion Editor Chloe Hartstein chloe@remix-magazine.com Beauty Director Daniel Martin daniel@remix-magazine.com Beauty Assistant Cyndle Strawhecker Arts Editor Emily Barnes Editorial Coordinator Sophie Donovan

Contributing Photographers Andreas Laszlo Konrath Hugh Lippe Annelise Phillips Danielle Levitt Stas Komarovski Darren Tieste David Schultze Steven Perilloux Dean Podmore Beau Grealy David Armstrong Matthew Brookes Arian Camilleri Matthew Kristall Sicco Diemer Kava Gorna Brian Paul Lamotte Contributing Writers Johnny Misheff Sicco Diemer Sarah Cristobal Yale Breslin Alex Catarinella Karline Moeller Steven Fernandez Jessica Beresford Sophie Donovan

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Contributing Illustrator Jenny Mortsell Special Thanks To: Dan Foley, Jed Root, Bianca Balconis @ The Wall Group, Courtney Jones @ CLM, Christine Cavallomagno @ Jed Root, Charlotte & Amy @ AFG Management, Sarah Math @ CBA, Preia Narendra @ 3.1 Phillip Lim, Amanda McMillan & Keaton McGinty @ PR Consulting, Lisa Lawrence @ Aeffe, Michael Schwartz & Corinna Springer @ Nouveau PR, Rita Fahky @ Catherine Miran Press Office, Camille Touitou @ Pressing, Amanda Carter @ Mode PR, Philippine Scheidecker @ Derek Lam, Alyssa Alexander @ Haan Projects Thank you to our interns Irina Binder & Dezmon Fair

Contact Us In New Zealand Tel: +64 9 376 2055 Www.Remix.Co.Nz Postal Address: P.O. Box 105 631 Auckland Central Auckland 1143 New Zealand Los Angeles Office All Points Worldwide 8455 Beverly Blvd Ph Los Angeles Ca 90048 www.allpointsworldwide.com jhoanna@allpointsworldwide.com Global Distribution Sh Circulation Ltd www.shcirculation.co.uk Tel: +44 (0) 2392 787 970 Disclaimer: The views expressed in Remix magazine are not necessarily those of the publishers and editors. No part of this publication may be reproduced in any way without permission. Š 2011 Remix Media Ltd

NO LIMITS FREESHAPE Six new products with heat-activated technology—for the many styles of you.

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CONTRIBUTORS

Hugh Lippe Born and raised in Texas, Lippe was very fortunate to experience many colorful memories as well as learn to appreciate how real life can be. He was fortunate enough to obtain a serious education bringing him to the East coast where, after several years of culture shock, he settled in New York City where hardly a day goes by that he doesn’t see or read something that he finds inspiring in some way or another.

Matthew Brookes A self taught photographer, Matthew Brookes was born in England, grew up in South Africa, and traveled extensively, finally settling in Paris. This past year he has also become a part-time resident of New York City. This globe-trotting regime continues to fuel his work, where he gets his inspiration for everyday life (wherever in the world that may be) and his interaction with others. Matthew has shot advertising campaigns for Banana Republic, Davidoff, Paco Rabanne, Burberry Black Label, Ermenegildo Zegna, Montblanc, Vivendi, Roc, Bergdorf-Goodman, Kenneth Cole, Express and J.Crew. His magazine work includes Interview, Vogue, Vanity Fair, the New York Times (T Magazine), GQ, Hercules, V, Numero Hommes and Vogue Hommes International.

Emily Barnes is a fashion stylist based in New York. Her work has been featured in publications such as American Vogue, China Vogue, US GQ and The Last magazine.

Emily is the Fashion Director of Remix International Edition. For this issue of Remix, Emily directed the fashion and the art portfolios and she says, ‘To be able to collaborate with so many inspiring artists for my first issue has been immensely rewarding.’

Arian Camilleri Born in Maine. Lived down the street from Stephen King. Rode in an eighteen wheeler across Canada. Lived in Washington State. On a goat farm.

Moved back to Maine. Lived in a teepee. Got a dog. Won the Pinewood derby race. Moved to Georgia. Went to college for business. Didn’t like it. Booked bands for local music venues. DJ’d. Started taking photos with disposable cameras. Bought a real camera. Read the manual. Attended the creative circus. Liked it. Won twenty or so awards. Built a photo studio. Bad idea. Ditched photo studio. Good idea. Moved to Tokyo. Great idea. Traveled the country. Got a part-time job delivering flowers. Shot a lot of pictures with a lady named Holga. Met a geisha. Moved to NYC. Shot some commercial and editorial work. Co-created a portrait project called human°. Started making fine art work. Seriously. Did some gallery shows. Love my job.

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Stas Komarovski Born in Moscow, Russia, Stas was exposed to photography by his family at a young age. Photo labs in Russia being expensive, he learned to develop and print photos in his parents’ bathtub with the help of his sister. After moving to the US at the age of nine Stas became an avid skateboarder and skateboard photographer.

While still in school he took a staff photographer position with a Dallas, TX newspaper. Developing an interest in fashion and beauty photography Stas moved to New York City in 2007. In the past four years he has had the pleasure of working with legends such as Michael Thompson, Willy Vanderpere, Hedi Silmane and Mikael Jansson.

Stas lives in Brooklyn and is Steven Meisel’s first assistant.

Christian Stroble started in the fashion business assisting stylist Laura Ferrara in New York City whilst simultaneously launching the brand, Eventide. After several successful years at both, in the fall of 2008 Christian graduated to be coming a freelance stylist. Christian has contributed to magazine such as Commons and Sense, Huge, Perfect, Guide, Elle, wonderland and Vman just to name a few. In the past year, he expanded his expertise in styling to creative direction for a multitude of cutting edge fashion companies, which included refining brand imagery, business strategy, streamlining the collections and styling the campaigns. Christian lives in the West Village and works between New York and Paris.

Annelise Phillips Experience, light, shadow and emotions. These are the key elements to the photography and film of Annelise Phillips. At once evocative and sensual her images weave loose, light hearted narratives throughout. Annelise’s singular style has developed throughout her initial collaborations at the Royal College of Art to her world in the global advertising market, collecting many awards along the way. Her love of film has naturally led her into moving image. Having already worked with actors such as John Malkovitch for Sony, perfume advertising for Boucheron, a breast cancer film and recently has been filming and directing small fashion led films. Annelise contributes to V, The Last, Dazed and Confused, i-D, Dossier, Crystalized, Oakzine, Big Magazine, Lula, Independent, Telegraph, and Wonderland.

David Armstrong was born in Arlington, Massachusetts. He attended the Boston Museum School and Cooper Union, and he earned a B.F.A from Tufts University in 1988. Armstrong first received critical attention for his intimate portraits of men, either lovers or friends, in sharp focus. In the nineties, he began to photograph cityscapes and landscapes in soft focus to contrast with the resolution of his portraits. Street lights, electric signs and cars are reduced to a sensual mottled blur, complementing the vividness and tactility of his portraits. His photographs have been included in numerous group exhibitions including the 1995 Whitney Biennial and Emotions and Relations at the Hamburger Kunsthalle. David’s work has appeared in French Vogue, L’Uomo Vogue, Arena Homme+, GQ, Self Service, Another Man and Japanese Vogue among others. He has realized advertising campaigns for a variety of clients, including Zegna, Rene Lezard, Kenneth Cole, Burburry, Puma, and Barbara Bui. David Armstrong lives in New York.

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CONTRIBUTORS

David Schultze After finishing high school in Melbourne, Australia, David earned a Bachelor of Arts (Photography), at the Royal Melbourne Institute of Technology.

Upon completion David began traveling and photographing. Fate saw him take roots in NYC, quickly he began working for many of the top industry photographers including David Sims and Steven Meisel. David has contributed to Elle, Vogue Japan, Surface, V and V Man.

Dean Podmore Born and raised in the Blue Mountains of Sydney, Australia. After finishing photography studies at RMIT University in Melbourne, Podmore began assisting some of Australia’s top fashion photographers (including the likes of Georges Antoni and Justin Ridler). Presently, he is assisting Sydney-based photographer Chris Colls, which has helped shape the style and approach to his personal work. Podmore has very recently relocated to New York City. When hes’s not assisting, he is focusing on building up his own portfolio of fashion imagery and portraiture.

Sicco Diemer honed his photographic skills during a four-year stint as Mario Testino’s assistant in Paris and London. Born in Carthage and raised in Holland, he is currently based in London where he is a creative director for studio Mon Frere and lives with his French girlfriend Maud and Clement the African Bullfrog. In his spare time he collects Latin American cacti, Victorian silver cake forks and exotic deodorant roll on sticks. For Remix he met up with Connan Mockasin, a 21st century renaissance man from Te Awanga, New Zealand.

Chloe Hartstein Born in NYC but raised in Europe, Chloe’s love of dance and movies have influenced her fashion sensibility. A PR specialist by training, she has been styling since 2009, working with Emily Barnes, after stints in PR.

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Sarah Cristobal is a freelance fashion writer and editor living in New York. She has worked with a variety of companies including Diane von Furstenberg, Harper’s Bazaar, Interview, Style.com and AOL. For this issue she interviewed sprightly young superstar and fellow New Englander, Anna Kendrick.

Johnny Misheff was born and raised in Ohio. A series of weird occurrences and bizarre rigmaroles led him to New York in 2005. Mr Misheff divides his time working on his own website, www.rereveal.com, a sporadically updated online arts magazine; regularly contributing his ramblings and photo essays to such publications as T Magazine, Elle and V magazine; and throwing a really fun weekly party called Spencer’s GIFS with artist Spencer Sweeney at Santos Party House.

Dyad Photography Conceptually, Dyad is Colleen and Justin Picciotti. They have been working together on creative images for about ten years. When an idea starts out calm and controlled, it always develops into something messy. They live in Brooklyn with an assortment of fuzzy and aquatic creatures. Selected for PDN 30 2011.

Danielle Levitt is a photographer based in New York. Her portrait and fashion work has been featured in publications such as Arena Homme+, New York Magazine, Time, GQ and Dazed & Confused, among others. Through her personal work she documents American teens and received critical acclaim in 2008 with the publishing of her first book, We Are Experienced.

Rodney White When he was six, Rodney White found a box of scrap paper in the back of a kindergarten classroom. The rest is history. Today, Rodney is an artist who draws inspiration from society and pop culture in a refreshingly relatable way. His work is a hybrid of loves such as typography, numerology, poetry and vintage advertising. It’s a reflection of an individual’s dream and the sweeping dream of humanity, to ‘be your best self’. His art fuses the old and new while being a catalyst for self-reflection. Rodney’s paintings have been exhibited in national museums, galleries and Vinny Chase’s living room. In addition to HBO’s hit series Entourage, Rodney’s work has been featured in numerous TV shows and movies, including CBS’s How I Met Your Mother, FX’s Justified, and the epic 2012 to name a few. Born in Augusta, Georgia, Rodney White now lives and works in Brooklyn, New York.

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THE SOUND OF yotel

Radical new hotel Yotel, which opened just a few months ago in New York’s Times Square West, has brought on Tom Middleton, a pioneering electronic producer and DJ as their ‘sound architect’. Middleton is responsible for programming the music that is played throughout the hotel, and he’ll also be hosting a regular ‘Sound Of The Cosmos’ party which will make use of the hotel’s state-of-the-art Funktion One sound system. Middleton has created distinct music and sounds for all of the hotel’s public spaces - from Ground Control (the hotel lobby) to various parts of FOUR, which houses the hotel’s

20,000 square foot public space. He’s even created a special soundtrack to serve as the voice of YOBOT, the world’s first luggage robot. ‘My key focus is on making the music in YOTEL sound different from what is found at other hotels,’ says Tom Middleton. Middleton’s top five Yotel tracks are: The Peddlers ‘On A Clear Day’, Pointer Sisters ‘The Pinball Number Count Song’, Andre Previn ‘Executive Party’, Visioneers ‘Dirty Old Bossa Nova’ and his own creation, ‘Astral Projection’. www.yotel.com

EVERY CENT FROM THE SALE OF THIS LIPSTICK AND LIPGLASS GOES TOWARD HELPING WOMEN, MEN AND KIDS EVERYWHERE AFFECTED BY HIV AND AIDS. MACCOSMETICS.COM

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end of century

Lower East Side, once the home of bag ladies and gutter punks, now is flooded with bottle-popping bridge-and-tunnelers and sanitized with an onslaught of trendy, dim-lit restaurants and boutiques boasting overpriced designer duds. But leave your panicking at the door of 237 Eldridge Street, because it’s not the end of the Lower East Side just yet, thanks to boutiquecum-gallery, End of Century. In an effort to support and showcase emerging artists, designers and other creatives who all likely can’t afford LES rent, friends Lara Hodulick and Chantal Chadwick opened shop a little over a year ago, recently relocating to a former gallery-space. Curating it into a meticulously and quirkily-crafted world of the duo’s own, lucky for LES, End of Century was born. A slew of gorgeous female and male garb from independent designers, like a pair of delicately draping, off-white trousers made from yarn, hang from handmade birch-branch-and-wire racks.

Distressed wooden shelves are scattered with art books, terrariums, sterling silver-plated bug cuffs, ceramics, and perfumes made from scratch with names like Blood/Sweat/Tears. If you’re looking for an avant-garde piece

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hat and wish to wear a miniature windmill crown of sorts, you’ll find that work of art on display, too (if it’s not already sold out). Oh, did we forget to mention (the other) art from burgeoning artists also for sale on the walls?

‘End of Century is unique because there are no rules,’ says EOC gallery director Claudia Martinez Reardon, who hints at conceptual dinner parties and dance performances in the future. ‘We’re totally into the lifestyle of the artists and designers as much as we’re into the products; we’re not just a place to buy a dress,’ says Martinez Reardon, offering a mission statement we’d happily co-sign. If the joint re-opening/exhibition fete earlier in the month was any indication (which involved overflowing cocktails, a killer performance by a hair-whipping all-girl band, and a bevy of hipper-thanthou downtown darlings) we wouldn’t mind dancing till the world ends (or till we can’t properly stand) alongside the gals at End of Century. www.endofcenturynyc.com WORDS BY ALEX CATARINELLA, PHOTOS BY ANGELA PHAM

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Casual friday

It’s been almost a decade since the peak of ‘Casual Friday’ and since a stack of ironic t-shirts had any place in a stylish man’s wardrobe. Enter the era of the New Graphic Sweatshirt. Fall 2011 welcomes back the human bumper sticker, a sophisticated cousin of both the statement tee and the university pullover.

In this new incarnation, Acne has replaced the classic I heart NY logo with mash-up cities like Rio De Janeiro, Sweden alongside a Statue of Liberty graphic, and Raf Simons has replaced an Alma Mater with the fictional Dead Prince College. Wear the new graphic sweatshirt over an oxford button down, under a tartan scarf and with just a hint of irony. WORDS BY Micah Johnson

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‘Peroni’,Premium PremiumBirra BirraBeer BeerNastro NastroAzzurro Azzurro Export Lager, Peroni 1846 Peroni Nastro Azzurro are registered marks of Peroni Nastro Azzurro Limited.

‘Peroni’, Export Lager, Peroni 1846 andand Peroni Nastro Azzurro are registered tradetrade marks of Peroni Nastro Azzurro Limited.

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ToMMyguns SALON

Tommy Guns salon was first established in 1994 in London’s Soho district, as a combined authentic vintage-style salon and apothecary.

While the look and feel of the salon may be old school, the skills of their senior stylists are at the very cutting edge. With a true aesthetic of an old time barbershop, they primarily focus on promoting the classic groomed men’s look - think Mad Men style; more 1920s to 1940s rather than the ‘60s. The apothecary department carries shave brands, body care and fragrances imported from Italy, England and good ol’ USA. Tommy Guns also recently opened a new depot in New York’s Williamsburg district. tommygunsny.com / www.tommyguns.com

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David Armstrong The magic begins walking up to David armstrong’s house, it all happens here.

Barbara Hendrinks is softly playing in the background. David greets me with a warm smile and kiss hello.

He is wearing his usual attire of a smart, slightly distressed denim shirt and a pair of his favorite jeans. David already has been awake for hours this morning, curating his next exhibition. Stepping into David’s world is exhilarating; watching a master perform his craft always is. As an old friend greets another, David casually yet lovingly lifts the camera and captures his first photographs with both ease and purpose. Despite the gawky subjects primed in their youth, David encourages confidence in the young men, often wearing nothing more than a shredded dress and a touch of makeup. His expertise surpasses simply creating beautiful photographs, but transitions into a sort of animal tamer, calming his subjects to reveal honesty specific to each individual. With no false pretenses, no hidden agendas, just beautiful images being created, it was here in the studio David and I sat down to discuss his most recent accomplishment, a book entitled 615 Jefferson Avenue.

How did you get started taking photographs? What were your early days like? I really wanted to loosen up and stop just sitting. I would leave the house with a 35mm, which was new to me then, I hadn’t used one since my first year in art school and I would give myself a project. I would tell myself, ‘I will not come back to the apartment until I’ve shot seven rolls of film’.

When was this? This was 1991-1993 when I lived in Berlin. At that point,

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we would come back once every six months. I had gotten the camera right before we left to go and the pictures I just hated. I thought, I should have bought postcards instead. But, by saving those rolls of film you know there’s got to be something in there. As Nan always says you take enough rolls of film, you are bound to take at least one good picture. I was doing portraits as well. I would go to the places but it’s simply not about being in the places, in a park, or somewhere very exotic. It’s not a regular day in the park. It’s very intense. It’s a different kind of consciousness. You know, you’re looking at things in a much different way. I didn’t know since I hadn’t done anything but portraits, when I confronted something that I saw I had examine the angles, do I bracket in for exposure? I had to learn more about the physics of objects and the distance between myself and the subject. It’s very different with portraits, with landscapes certain different areas of the photograph are out of focus. That’s why I was doing shallow focus portraits; I would see a face in the background would be blurred.

When you do the blurry bit, it’s almost a trick. It is a trick. A really good exercise and people fucking love it. I have made more money on those than anything. They’re like a Kleenex box.

What made you pick up a camera? When did you start? I started in my second year of art school. But I really started when I was about 14.

No one paid attention to it at the College – it was all about drawing. I took

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‘At school, art history was such a big focus. We would have about 150,000 slides to go through. I thought it was so boring.’

photographs to document my drawing and paintings. The photo people loved me and by the end of it I was in advanced photo classes. I never knew how to discuss art until photography. We would be talking until 3am at the Director’s house about why we did certain things in the pictures. At school, art history was such a big focus. We would have about 150,000 slides to go through. I thought it was so boring. You know, the history of photography is so short; it’s only been around 150 years.

What got you into the commercial world of fashion? I had done a couple of things for Visionaire back in the day. James Kaliardos was doing a theatre thing and my best friend is the director, James Ovitz. James Kaliardos was very excited and wanted me to do photos of them rehearsing.

It was almost more fashion, in the art world we thought the fashion people were very insular. At openings, we would see them but they would just stay together. You know, a lot of them had really great style. But, they were just so intimidated to go outside of what they knew.

That’s still the way it is! You go to a party and everyone is in their group. Yeah! So, I think what happened is that I had done a couple stories for V. I got a call from the Paris studio and the woman was very formal and asked if I would like to do a portrait of Hedi Slimane. And I said,

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‘Well I don’t know – who is he?’ And she kind of chuckled and told me he had just taken over Dior Homme and that I would really like him so I told her to send him over. We spent most of the day together and I just adored him.

So, we did the pictures and he asked me to come the last week of fittings to Paris and photograph the boys and told me I could do whatever I want. And I thought that sounded like so much fun. Knowing he liked my work definitely stroked my vanity. He was going through some photos I had just gotten back from a museum and he came across one from Boston that was bubble wrapped and said ‘you have no idea how much that picture has influenced my life.’ And I was just shocked! I had no idea how he had even seen it. I fully well knew the fashion world really didn’t know what my capabilities were.

I was being like a young ingénue and I was past 45. And through that I met Corinne Roitfeld; and when people really high up say ‘do what you want’, they really mean it. It is a hard thing for them, but they go with it. When I first went to Paris, the first story I did was French Vogue. I brought my best friend James as my assistant, one 35mm camera and just took pictures the only way I knew, I did a lot of soft light. It’s actually a really beautiful story.

So, when did you first meet Nan? In grade school – you know we had teachers who were grad students at MIT and such and one mentioned a

Polaroid camera, we got one and that’s when we started taking pictures of each other. That’s what Nan always wanted to do.

What do you think about what’s going on now? Well, you know, we started because it was fun. It was just a fun time and the photographs reveal that. Now, things are just so under or over produced. I want to ask these people if they could bother to try a little. You know, I meet these boys and look through their books, and they’re absolutely beautiful but you would never know by the photos in their book.

That’s the thing about your work – you reveal the truth and capture their natural character. The thing now, and it’s truly only through osmosis, is that the light seems to hit on different areas on the boys that I find so sexy. It’s never what I’m thinking of.

When did this obsession with these boys begin? I’ve always had that. People think I only do boys but for every four boys I do at least one girl.

If you look at my older books the boys always look very vulnerable and the women always look very strong. The girl’s photos are different. I try to make them better photographs because I’m not in awe of them. Natalia Vodianova was probably the last girl who struck me like that. She looked like a princess, which is so wonderful because she really was like a peasant. I would have

married her! The girl who I’m obsessed with right now is Laura Love, she’s a ballerina.

Is there a boy right now who you’re obsessed with? No one really but Boyd. Boyd wasn’t simply a package deal, there’s something about him that is so intriguing. I hated that he thought I was like elevated in a way.

What do you say to young photographers? It’s not about the gifts and prizes – it’s about the craft. You know, I didn’t sell a photograph until I was 36.

What did you do to pay the bills? This, that, and the other. But, I still did it and that’s what is important. It’s so different now for kids today because the economy is so different. They do so much on commission.

In the art world, it’s so different; you do something and may not make a commission until way after so you have a long time to think about it.

Exactly, when I do a personal project it usually comes out stronger because there’s no pressure. I think that was the problem a lot at first in Paris. People would just do things to make a lot of dough. But, it doesn’t work though because then that becomes a trend and it can become very confusing in every way possible. Are you a fashion person or are you an artist? What do you think you are? Oh I don’t even know!

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‘If I had the courage to do what I really want I’d just open an antique stores here and take pictures of people in the store.’

If I had the courage to do what I really want I’d just open an antique stores here and take pictures of people in the store. I mean, I love photographs but I also love a lot of other things. There are times when I’ve stopped taking photographs and I think it’s over. There’s no motivation for a moment. But, the problem is you get to a certain point and you realize you’re expressing yourself and you may as well use what you know.

Do you consider yourself an artist? I do now actually, yeah. It takes a lot of time to come to terms with that. If someone had asked me what I did, I would never say I’m an artist, I would say I do photographs.

Where do you think photography is going? I have no idea!

What’s the next book you’re going to do? I would like to do a book of girls. But the next one I’d like to do is a night and day one. I think it will be a small one. I feel like this one will be life. These are snapshots that I took on a 35mm which I hadn’t really used before.

What does this book mean to you? More than anything, I think this book is a tribute to Boyd. There was a little book all about Boyd that was just from when he was like 20 to 21. Boyd is one of my very best friends. I like this book, I like that it’s very specific about this house. It’s as honest as you can get. There was an evolution to it, where I broke ranks and I said ‘enough’ but

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it was very much informed from all the work that I had done with fashion.

Is there any designer you really like at the moment? I have to say, all the stuff of Thom Browne’s I’ve seen lately I really like. He twists vintage in a very interesting way.

What do you think about fashion today? Oh, I hate it. It’s becoming more and more about the bottom line, so people are just making things that will sell.

I loved in working with you how natural you got the boys to be. They could be in a dress and it seems like second nature.

Sometimes I’m worried that they think I’m weird when I say oh that’s so beautiful, but they are. But it’s interesting to see how they change when you say something; they usually become more relaxed. The other thing that’s intriguing is when you’re the same age as your subject. But then, it’s different to see the dynamic change when you’re old enough to be their father and then their grandfather. I was so paternal with Boyd, more than anything.

What’s the next thing? What I really love to do is arts and crafts and cutting things up and placing them just so. I started doing it years ago. I really just want to keep taking pictures and do a lot of things with imagery.

INTERVIEW BY CHRISTIAN STROBLE

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KON TRUBKOVICH ‘If the world survives and our greatgrandchildren are able to look back at this time, I think that they will wonder how was it that we came so close to destroying our world’

Kon Trubkovich is a Moscow-born, New York-based artist who has enjoyed an impressive showing of his drawings and video work over the last 5 years; from PS1 Contemporary Art Center in New York (a solo show curated by Neville Wakefield), to Museum 52 in London to The Garage Center for Contemporary Sculpture in Moscow to multiple solo shows at Marianne Boesky, which is his home gallery in New York. His work is filled with grim, trudging atmospheres, faceless portraits, chilling depictions of mankind imprisoned. His work is largely informed by his fascination with his own experiences miraculously escaping cold war-ridden Soviet Union.

Trubkovich is utterly pleasant to be around, there’s nothing macabre in his personality. He has much to celebrate, after all: he’s currently splitting his time basking in the glory of having recently married the love of his life surrounded by a throng of adoring friends and family and preparing for an ambitious solo show this May at the much buzzed about Miami/Los Angeles gallery OHWOW. What are you working on right now? All month I’ve been in upstate New York working on new paintings. They seem to me very different from the work that people know or are familiar with, which is good. These paintings

are of television static. Some are abstract and others have recognizable elements like words or faces but all refer back to the randomness of the analog static. Lately I’ve been thinking about the direction my work has taken in the last couple of years, which had been a time of searching for me. I keep gravitating to stripping my work down, to accessing an emotional core of whatever it is that I am trying to address. My last show was only portraits - nearly identical - and small static works made with graphite. I continued to think about them after the show came down and started to play around with analog static. After some experiments I figured out ways of using the static as a visual mesh and involving imagery into it. The process is incredibly liberating because the freedom and excitement I have when I am actually pausing and distressing the footage on screen has now carried over into the painting process. I have been thinking about all the new work as a mnemonic exercise. I’m trying to access memories that are fragments, almost lost or disappeared. Some things from my childhood or my life back in Russia, some of it not even that concrete, just emotions that come and go in a nanosecond. Nonetheless, it is actually not so different from my earlier work about captivity and freedom because it comes from the same emotional

urge. It’s just stripped of metaphor.

What is the most bewildering part of your process that you can elaborate on for us? I’m also curious as to what you feel comes easiest for you... Not to be coy, but the most bewildering part of the process for me has been to make things effortlessly. I am quite good at creating work for myself, figuring out more and more complex ways to arrive at questions and answers, but simplifying things has been incredibly difficult for me. This is the thing that I am really focused on right now. At some point you realize that skills are learned and with time one can learn how to paint a certain way and sculpt a certain way that is ‘impressive’. If you come at this realization the right way skill will become a secondary faculty. Instincts and your mind become primary and that is a much more unforgiving tightrope to walk on. There is a lot less to hide behind.

So how do you plan on simplifying things? It seems like that is something that is important to you. I wonder if you have discovered excersizes that help in strenghtening those faculties?

As far as the instinctual, I think that one has to be able to create enough space in his or her practice to be able to allow failure into the process. This is the

only way to expand, otherwise one’s work becomes a closed loop. All the work I made with the fugitives running in circles and destroying things anticipated this and that is what that work was about, but at the same time it did not allow the failures but only contemplated their existence. I am now much more open to failure and that is why my work has changed and opened up.

Did you always have the urge to make work? What are your earliest recollections of creating? I started to draw really early, around three or four years old. It was the best way I could communicate and from an early age I was considered gifted by adults so it was a good way to get positive attention as well, which psychologically speaking did me a disservice later on. This sort of brings us back to the question of skill and the captivity that it creates (this is a recurring theme in my work). But in spite of all of that and the machinations of the art world, the egos and ambitions, the failures and successes, I still have the urge to make things and that does not seem to change. So that’s something!

How has living in New York with all your colleagues and friends and heroes and mentors and magazines and other publications and galleries and millions of random people made an impact on

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you? Would you live anywhere else? I have been in New York since I was 14 years old. Half of my life. It has a hold on me like no other place. I am still wide-eyed in the city; still believe that there is magic around each corner. The funny thing about colleagues and friends is that somehow it has become more and more difficult to see each other lately - I used to go to friends’ studios and drink and do god knows what all night long and wake up the next day and do it all again and I learned pretty much all I know about art from those nights. It is a little harder now. I need more time alone.

What makes a show incredible? What makes a show terrible?

Good question... Incredible shows open up to you. It’s always such a surprise.

You walk in and suddenly the work is short-circuiting your perceptions.

And it continues to change and fluctuate. Suddenly you are asking yourself why and the question opens up a new path. And you’re off to the races.

Sometimes this happens a week after you’ve seen a show - I have a special place in my heart for work that sneaks up in you like that. Terrible shows do the exact opposite. They dull you; they make you feel cynical and defensive and cheated.

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Describe the wildest show you could make... sky’s the limit... no budgetary or location restrictions. I’d love to know what this show looks like to you… I don’t know. I don’t think the biggest most expensive show I can make would be the best show. Of course in my head I have imaginary shows and when I walk through them everything works and you have the feeling that it does. I can’t articulate this feeling. My goal, as far as the question is concerned, has been to make a show where my video work, painting, drawing and sculpture are all working symbiotically and enhancing each other. I’ve always wanted to make a show where all of those things work so well together that the public walks away with the same feeling that I get in my chest when I think about it.

That feeling in your chest - what else gives you that? Do these sensations have a tendency to inform your work or are you more private than that? Do emotions end up in your work a lot?

I would like to clarify; the feeling that I am talking about has nothing to do with sentimentality. It is a physical feeling. I recently got that feeling when I watched Ronald Reagan’s ‘bring down the wall’ speech on YouTube. I have

nothing in common with his politics or worldview and have always thought that he was a false icon and a shitty president so it has nothing to do with any sort of sentimental attachments or glorification but I somehow found myself feeling intrinsically connected to the atmosphere and time of the speech.

As if it changed the course of my life - which it very well may have. That guttural feeling of connection, I think, is what I mean. I get that same feeling when I see pictures of my mother when she was young, or when I pause an image and the distortions reveal something hidden in a video still. I guess the feeling is one of revelation or connectivity. I think that at this point it is the thing that I rely on informing my work the most. Something like sixty percent this emotion, twenty percent intellect, twenty percent intuition. It acts as an internal barometer for me to make sure that I whatever I produce is directly connected to me.

What do you think the history books will have to say about the time period we are living in right now? If the world survives and our great-grandchildren will be able to look back at this time I think that they will wonder how was it that we came so close to destroying our world and why was no one was able to inspire us to be better. Why was it that

we as a species constantly gravitated to the lowest common denominator?

No other time in the history of the human race has there been such scale of murder, pollution, corruption of ideals, destruction, and injustice as there has been in the 20th and the beginning of the 21st century. Just think, of the monstrosities of our recent past: the trenches of World War 1, Hitler’s Holocaust, Hiroshima and Nagasaki, Stalin’s purges, Mao’s cultural revolution, Pol Pot’s killing fields, Vietnam war, Bosnia, Rwanda, Darfur, 9-11, Iraq war. I am just naming the ones everyone knows about. We are living in the time of death and destruction. The planet is dying. Capitalism is barely hanging on by squeezing the life out of the weak, all our other systems are even worse off; culture has become escapist and pandering to the whims of the elites. But you know what, I love life and want more of it. Which makes me think of this Woody Allen joke, ‘Two elderly women are at a Catskill mountain resort, and one of ‘em says, ‘Boy, the food at this place is really terrible.’ The other one says, ‘Yeah, I know; and such small portions.’

INTERVIEW BY JOHNNY MISHEFF. IMAGES BY Andreas Lazlo Konrath.

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Pau Wau Publications text by yale breslin images by brian paul lamotte REMIX 35

Brian Lamotte and Andreas Laszlo Konrath are the founders of Pau Wau Publications, an independent publishing collective specializing in the production and execution of limited edition publications with an emphasis on both art and images. Remix catches up with the two budding entrepreneurs, in the heart of the East Village (by way of Brooklyn).

How many books have you published together?

Brian: We’ve done fifteen now.

Andreas: Fifteen different books all with different subjects and artists.

How do you describe what you do?

B: I don’t know [laughs]. We called it Pau Wau Publications because I like the idea of ‘publication’ meaning anything that you put out. It could be digital or, in our case, it’s mostly physical. So many people try to categorize things like whether it’s a book or a pamphlet or a magazine, but they are what they are and you take them however you take them. Technically, I tell people I’m a bookmaker but what I’m doing is also producing the book.

A: You know we have to earn money, so I do commercial photography on the side, and Brian does his graphic design work. But we both come together to do Pau Wau. So how does the process begin of finding an artist and producing a ‘book’?

B: It’s different every time, but most of the work we’re interested in putting out has some sort of element of youth culture and telling stories. I don’t like to say they must have a beginning, middle and an end, but I’m definitely interested in putting out things that have a narrative to them.

Is there an over-arching voice throughout all these publications?

B: I don’t think there’s an over-arching voice as such, it’s more about working together with friends and putting out things that you’re super proud of.

A: And doing it yourself. Not having this project sitting in a box at home but rather being like, fuck that, let’s just do it ourselves.

B: It’s about doing it ourselves with the means that we have around us but it’s also an outlet for personal work. We’re happy to keep it simple for the small number of people that still buy books rather than heaps of copies that no one buys.

How did you come up with the name Pau Wau? B: It actually came to me in the shower.

A: It started off as this idea of our group of friends meeting up to talk about work and projects. And from there, it kind of became more of this thing about making ‘zines out of projects - sort of like a ‘Pau Wau’. And then one day, Brian said, ‘Let’s call our collaboration Pau Wau Publications.’ And from there, he discovered that the traditional spelling is ‘pau’ not ‘pow’- which we thought worked better anyways because it looks more serious and interesting.

It seems like the process behind these books are all so

organic though…

A: That’s because we work with people we’re friends with or that we know. It’s a book that we make together and everyone is part of the project. So what’s great is that everyone’s part of the cause.

B: Organic is a nice way to put it. A lot of this stuff happens by finding random people and random projects through people we know.

Do you guys have a timeline for when you put these out?

B: Usually no, there’s no timeline and that’s the nice thing about it.

It’s very organic. There are projects that we work on for months and then we put it aside when we get busy with other stuff and then we come back to it.

A: Sometimes it’s more helpful when you have a deadline because you just have to fucking do it. You have to make compromises creatively but sometimes deadlines are good to just get things done.

What’s up next for you guys?

A: This book The Nile and the book fair.

B: Yeah the book fair and we also just finished this project with Dashwood Books [an independent New York bookstore devoted to photography] because they’re doing a magazine series. To us, it’s not about the money – we just want people to walk in and think ‘that’s rad’ and slam down like twenty dollars and they can have it.

It doesn’t matter whether you have thousands of dollars or twenty dollars in your pocket. We want anybody who wants these to have them.

A: We’ve made almost no profit on any of these. In fact if we come out even we’re like ‘brilliant.’ We’re never going to make lots of money off these, but for us it’s about our passion and creating these objects that people will know we spent a lot of time making. I think people respond a lot more to books like this than ones that are massproduced and people who own these know they’re like one of fifty.

That’s very cool, a lot like Visionaire [the publishing house specializing in limited edition art and photography books].

B: Exactly, Visionaire was something I was very influenced by when it first started. Theirs are obviously very expensive in a different way because of the production and things like that, but we’re the same in creating this desirable and obtainable object that people wanted. And where they knew that by owning it they were a part of something very small. That’s a unique position to be in in the world we live, where everything is available in X, Y and Z. A: At the end of the day we want to print things. These are not things you can download off iTunes. We still love print and we love the smell of it. We still get excited every time we get new types of paper!

Row 1: Adam Krause - Carnivores & Destructors, Andreas Laszlo Konrath - A Lady & Her Barber, Brian Paul Lamotte - Me & My Uncle Row 2: Brian Paul Lamotte - Polaroid NYC, Various Artists - Works in Progress, Simon Howell - Chinook Winds Row 3: Thomas Giddings - There’s No Other Place Like This Place Anywhere Near This Place, So This Must Be The Place, Andreas Laszlo

Konrath - My Generation, Brian Paul Lamotte - Michael Joseph Jackson Fanzine Row 4: Andreas Laszlo Konrath - Made in Brooklyn, Niall O’Brien - Good Rats, Andreas Laszlo Konrath - J.O.E. Row 5: Andreas Laszlo Konrath - So Alone I Keep The Wolves At Bay, iO Tillett Wright - Lose My Number, iO Tillett Wright - Kisser

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MY SKETCH BOOK: HUGH LIPPE

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maxWELL snow

A constant duality exists in Max Snow’s recent works being shown at his first exhibition in Germany at the Duve, Berlin. In this show he addresses his life experiences in both the physical (through his sculpture) and the cerebral (in his portraits). Snow’s recent work includes haunting and engaging images of subjects encountered in the most bizarre circumstances. In Snow’s sculpture we clearly see an artist growing into his own inventive genre and breaking through taboos that often prohibit an artist from arriving at his final destination. Photographically, Snow’s keen observation in portraiture has been refined. Many of his subjects were discovered in the depths of downtown New York City and others were observed in less dark areas, but still resonate within the viewer versus subject experience.

WORDS BY KARLINE MOELLER

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Fashion Editor EMILY BARNES

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HEIMSTONE Parisian label Heimstone, created in 2007, not only represents the epitome of coolness with its little dresses and perfectly worn-in leather jackets, but its creator and designer Alix Petit has a true vision of what the cool French woman in all of us should be wearing.

How did you find yourself working in fashion? Living in Paris, after graduating high school, I was thinking of studying architecture and interior design like my mother, but at the same time I was drawn to textiles, fabrics, knits and colors. I used to knit a lot with my twin sister, and we would knit entire collections of beanies that we would sell in different little boutiques and in our friend’s restaurants. I decided to take a year off to think about what I wanted to do and which direction I wanted to take, and I enrolled at L’Atelier de Sevres in Paris, which is a prep school for the big art schools in France. I really enjoyed my time there and learned a lot. By the end of the year, when it was time for me send in my applications to various art schools, I realized that most of my work really revolved around textiles and fashion in general, more than architecture, so I applied for a three year degree at the Atelier Chardon Savard studying knitwear.

So how do you go from studying knitwear to designing a full blown collection? Well, while I was studying, I started interning in

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various areas of fashion: publications, couture houses, ready to wear houses.

While interning for a French designer, I was given a contract to design his knitwear for his main and secondary lines right out of school. After a year of working there, I felt like it was time for me to kind of spread my wings and create something of my own. This is when I launched Heimstone, in January of 2007. Everything went pretty fast from there, it was so obvious for me; I didn’t ponder too much, I was really convinced this was the right thing to do. I still wonder how my parents let me quit my job to build my own brand at the age of 23 and no experience! From the beginning, when I created Heimstone, the first thing I thought was that I wanted my brand to be different from other brands on the French market - which at the time was already extremely saturated. My goal was to offer a product that was different.

What was your initial vision for your brand, and how did you make it evolve? My initial idea for Heimstone was to have a collection

made of dresses and leather jackets. I love the idea of wearing a dress like someone wears denim, comfortable and practical; almost all my dresses have pockets. As seasons went by I started to add elements to the collection but the key element in all my collections are the dresses and the leather jackets for sure. I’ve never based anything on a trend or a category or a style; I don’t really care about trends, I design things that I want to wear. It’s a very intimate way of working for me and opens up my creations and gives me a lot of liberty to make the brand evolve. It’s a very personal process for me, I base myself on my travels and experiences more than on fashion.

Speaking of traveling and inspiration, what is your design process like, and how do you use those elements of travel and personal inspiration in your designs? Do you have a muse? I don’t know if I have a muse. I think a muse needs to be more than liking a certain look or style, it has to work on an intellectual and emotional level as well, and as of now I haven’t been able to find the perfect person. I’m

obviously inspired by people like Keith Richards, but I think I am more influenced by eras that I love, like the whole rock and punk scene in the ’80s, there is something a little tacky about it… I love it! I love watching old ’80s and ’90s videos when I’m designing - Paula Abdul, Kate Bush, Counting Crows, Guns N’ Roses and Aerosmith to name a few. To me the Heimstone woman is totally free, but also very at ease in her own skin. I’m not saying that she is a woman/man of our generation that is independent and doesn’t need a man in her life. The Heimstone woman is soft, feminine and sexy, but she isn’t girly at all, she can drill a hole, hammer a nail into place and build a cardboard box! She knows exactly what she wants. Ninety percent of my collections are inspired by my travels. My boyfriend and I share a passion for traveling, and we both like traveling in the same particular way - by car, continent after continent. Our first exploration of a continent was the United States, all in all we made four different road trips with cars that we had bought on eBay, and the last legs of these trips were in Alaska and in Hawaii,

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which ended up inspiring my Fall Winter 2010 collection Nome.

Each travel gives birth to a travel journal, a log book in a way, where I paint, write, draw. My boyfriend, being a photographer, I also add a lot of old polaroids.

So that was your first adventure, what was the second one like?

Well after the US, we decided to go to Iceland in August 2010, which inspired me for my Fall Winter 2011 collection. But I also draw a lot of inspiration from artists, like for my Spring Summer 2012 collection called ‘DIA’, like the art foundation ‘Dia Beacon’ upstate New York, inspired by like Sole Lewitt, Dan Flavin and also Egon Schiele.

It doesn’t sound like you sit in your studio to come up with your designs? Yes now that i think of it, i never design my collections in Paris, it’s very rare for my team to see me sketching at the office! I’d say that most of my collections are sketched in planes and while Antoine - her boyfriend - and i are traveling, i think it gives my mind a chance to wander easily! I really let my collections build up in my head and once i feel like i am ready

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to start drawing i do it, and it’s great because i know exactly what i want and what direction i want to take so i don’t end up with thousands of sketches How do you source your fabrics and prints? I make all of my prints and a big part of my fabrics. That’s probably tthe part that takes the most time because i want them to be the exact reflection of an emotion i had while traveling. So for my Fall Winter 11 collection, i developed a print of a glacier using images captured with google maps, i tend to use google maps a lot when creating prints, it’s a satellite view of a glacier located next to the Eyjafjoll volcano that erupted in april 2010, the big black streaks being ashes in the ice and snow. There’s also a “wood” print … In Iceland theres is no greenery, no trees. While touring the country, we ended up on a beach way up north, and we noticed these huge tree trunks floating in the sea, thousands of them just floating and drifting towards the beach.

We were so intrigued that we drove to a neighboring town and asked the fishermen there where these trees were coming from. They told us that they all float from Siberia and that they always end up on the beaches in Iceland

because the island is the only obstacle in their way. I was so touched by this story and thought it was so beautiful, i had to make a print out of it, so we photographed them and produced it!

I want to talk about your mood boards and travel journals a little bit more, how do you sort through your ideas and log them and use them in your collections? Well there are 2 parts to it really. My travel journals, and then my inspiration journals for Heimstone.

I work on my travel Journals while we’re driving around, i’ve gotten really good at painting in a moving car!

They are true travel journals, they’re pretty bulky and heavy too, my twin sister handmakes them with recycled paper and natural leather. When they’re empty they weigh about 3kg - 6pounds -, and once i’ve used them they are about 5 kg -11pounds- .

My inspiration journals for Heimstone are usually made once i come back from my travels, i see them as a way to condense my emotions, i sketch in them, i love to do collages, so there are a lot of different things in there,

images from fashion magazines, from National Geographic, landscapes, pieces of leather, fabric swatches etc.

How do you see the brand evolving, you incorporate clothes, bags, shoes in your collections, what are your thoughts on jewelry? I make some jewelry inspired from my travels, but it really depends on the collections, for examples the Elves collection for Fall Winter 2011 was fairly heavy with fabrics and prints so i didn’t feel the need to overload it with jewelry.

But for the Spring Summer 2012 collection, Dia, i made a lot of jewelry. I love making it with rustic materials, so i use a lot of rope and cotton threads, and i add industrial bolts (they’re very symbolic of the brand) What i really want to develop is a perfume and a Heimstone candle. It would really be the scent of the brand and of my inspirations. I think that people would understand the brand, what lies behind it and would be able to travel with me a little bit when smelling it! www.heimstone.com INTERVIEW BY Chloe Hartstein, FASHION EDITOR EMILY BARNES

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mandy coon BASED IN MANHATTAN

Mandy Coon definitely rules the edgy and dark scene of Manhattan. Starting off in the fashion industry as a model after being scouted in her local mall in Texas, Mandy quickly outgrew her modeling gigs and started DJing and collaborating with visual artists. Drawing inspiration from designers like Bernhard Willhelm, Coon set her sights on design.

Her Fall Winter collection was strong and dark.

Heavy wide leg pants, mixes of leather and wool made for a gothic mood. Touches of bright pinks and python punctuated the collection with

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colors and textures. Intricate faux fur jackets and leather detailing added to the delicate edge of her collection. Mandy has kept on adding more playful items to her collections - color, prints, and cool accessories like her famous Bunny Bag and oversized python backpacks. Dual concepts seem to be recurring themes in her designs since the launch of her first solo collection in Spring Summer 2010. Hard and soft, tough and delicate, her woman is badass and somewhat fragile, and ready to rumble on the streets of New York WORDS BY Chloe Hartstein

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j.sabatino BASED IN TOKYO

Speaking to Jay Sabatino, you notice right away that he understands how to make a man look effortlessly cool. His love and knowledge of vintage clothes is amazing. He knows which secret spots to hit to get the best American work wear in Tokyo before everyone else. His work is not trend driven, but strongly influenced by chic and slightly disheveled types like Serge Gainsbourg, Tom Waits and Robert Crumb, mixing high and lowbrow. Building his knowledge of fashion from an early age, he started off as a vintage buyer and ended up in Tokyo, via the creation of eclectic window and store displays for some of the biggest retailers.

His Fall Winter collection mixed a dark and warm palette of colors to touches of moss green and rusty red. Slouchy pants paired with comfy knits as well as some beautiful leather jackets and shearling coats. Subtle layering made for a strong and retro Americana feel, gently used leather vests over a jacket combined to a perfectly washed out scarf. Mixing his American roots to Japanese culture, Sabatino splits his time between New York and Tokyo and he has built, throughout his collections, a strong cinematic and romantic vision of the J.Sabatino man.

WORDS BY Chloe Hartstein

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anthony vaccarello BASED IN PARIS

If you are looking for a sexy and all black look, Anthony Vaccarello is your man. The La Cambre graduate and Hyères Festival winner launched his debut collection in 2008 after making his mark at Fendi, designing fur for the Italian label under the helm of Karl Lagerfeld. His Fall Winter collection made quite the impression on the fashion crowd with its funky black dresses. The look was short and geometric, with a lot of sheerness involved. Perfect cut outs revealed just the right amount of skin on the models. The simplicity of the lines mixed with the play on fabrics and metallic touches made for a strong and edgy collection for a girl who is not afraid to reveal some leg and skin.

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His beautiful designs have not only won over some of the edgiest retailers in the world - Colette, Kirna Zabete and Maxfield to name a few - but also some of our favorite it-girls, from Lou Doillon to Abbey Lee Kershaw. His Belgian and Italian heritage help him create a vision of a woman that is both strong and edgy, but also very sexy.

Surrounded by women while growing up, Anthony began to build the idea of the girl he wanted to dress. Mixing strong Italian references like Gianni Versace with his admiration for uber cool designers like Helmut Lang and Ann Demeulemeester, Anthony has brought a breath of sexy cool air to Paris.

WORDS BY Chloe Hartstein

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Season Essentials Five trend components to update your makeup this winter WORDS BY DANIEL MARTIN PHOTOGRAPHY BY DYAD PHOTOGRAPHY

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ELLETRA FEEL Lancôme spokesmodel & restaurateur, Elettra Wiedemann gives good face in fall’s coolest trends.

Photography Stas Komarovski Makeup Daniel Martin USING Lancôme Model Elettra Wiedemann hair Hiro & Mari @ 87eightseven.com

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Lips: Lancôme L’Absolu NU Rouge Lipstick in Rouge Canaille photo assistANT Christian McDonald makeup assistANT Cyndle Strawhecker studio location splaslight soho special thanks to mary howard

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B-sides...

Clinique Age Defense Hydrator SPF 15 Using broad spectrum UVA and UVB sun protection, this lightweight moisturizer targets fine lines and wrinkles. Its plastic bottle makes it great for traveling and the gym.

Yves Saint Laurent L’Homme Libre With a harmonious blend of patchouli and Calabrian bergamot, then add the freshness of basil and star anise, you get a modern earthy fragrance that’s subtle throughout the day.

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Hawleywood’s Layrite Deluxe Pomade An industry cult favorite, this water-based pomade holds like a wax but washes out like a gel. Its flexibility, hold and shine makes it a serious staple in every guy’s grooming kit.

The latest and greatest grooming hits for the boys.

Evolution Man Cleanse & Shave A two-in-one product that cleanses the skin and softens the beard. Plant-derived exfoliators remove dull surface cells to allow for a closer shave without the use of parabens, GMO’s and sulphates.

Clarisonic Mia Cleansing Brush Using a patented sonic frequency of more than 300 movements per second to clean the skin, you will notice a difference in softness and texture immediately.

Aveda Men’s Dual Action Aftershave This two-in-one aftershave and moisturizer not only cuts your time in half, but will improve skin barrier strength by 47 percent. The perfect product you’ll need this winter.

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Rodial Glamoxy Snake Mask The coolest mask you will ever use!

The black ‘peel-off’ mask purifies and tightens the skin as licorice brightens the complexion.’

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gareth pugh FOR m.a.c British designer Gareth Pugh has joined forces with M.A.C Cosmetics to create a futuristic goth inspired makeup range. Remix chats to Pugh and James Gager, creative director at M.A.C, about their collaboration.

When you are creating your collections each season how influential is the show makeup in the process?

Gareth: When I have everything in front of me with regards to the clothes I will talk with my stylist Katie Shillingford, who I’ve worked with for years, about big ideas about hair and makeup and what we want to do. I work with Alex Box from M.A.C a lot for my shows, so then we just relay what we talked about to her. It’s more of a collaborative thing about working together as a team on it, rather than me saying, ‘This is exactly what I want.’

So it’s more of a brainstorming session?

Gareth: Yeah. I think that’s the joy of collaborating with people, to let everybody have their own little part in the end result.

How did the collaboration come together with M.A.C? Gareth: M.A.C has been with me since the beginning and it’s something that I was asked to do. It’s an amazing opportunity. It’s nice to work with nice people and to do something that makes sense. Also to do things that aren’t just related to clothes; it’s nice to see my thing evolve into different areas.

So it was quite an organic collaboration for you?

Gareth: Yeah and you know I wear makeup every day so it kind of makes sense (laughs).

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James: We’ve supported Gareth almost from day one and we believe in the clothes he designs and his whole attitude and style. I think he kind of synergistically works well with us so we’ve wanted to do a makeup collection with him for a while. You know when the time is right you reach out, and that’s how I think it should happen. What’s wonderful about Gareth from my perspective is that he keeps a small group of people that are almost like his family and I hope that M.A.C is part of his family of people he trusts and works well with. For me that was also what was so great about doing this project.

How did the process work? How was the vision created?

James: Basically we asked Gareth to give us a lot of inspiration, at least for the packaging anyway, and he sent us his thought process. We began to put some things together and sent it back to him. There were dialogues back and forth, then when he would come to New York we would go over what we thought were good directions. Obviously we wanted it to reflect him, and in the end it all does reflect him very, very much.

Gareth: It was very much the case that I knew what I didn’t want it to be. I wanted to do something quite interesting with color because I don’t work a lot with color in my work. It’s like a new challenge! With regards

to the colors, there was a lot of backwards and forwards between me and M.A.C. The things that we managed to do are are really interesting and very different to what I do with clothes but it fits together. There’s a nail varnish that flickers purple and green , it’s similar to what I do with opposites and the idea of two opposing things existing within one thing. Whether it’s masculine or feminine or black and white or good and bad, there’s the idea of two characters or two kinds of moods in the same collection. This is kind of like the process of how we came about with the collection. The idea of something that is very powerful and strong mixed with something that’s quite ethereal and fragile I suppose.

You were saying you don’t really do color in your collections, so what was your approach towards color and how did you want to bring it in in a subtle way for a makeup line?

Gareth: The idea was to do something about the idea of electricity, or two opposites existing simultaneously. If you think about a battery for example, there’s a positive and a negative and it creates electricity or energy. The colors are like a lightning storm, you’ve got black, silver and you’ve got purple of the electricity.

If you were a woman who would be your style icon and why?

Gareth: Dear me… who would yours be James?

James: Well it will go between probably Audrey Hepburn and today Daphne Guinness. She’s [Guinness] pretty incredible and I think she takes a lot of risks and she certainly knows who she is and what she dresses like. I like women who have an opinion about themselves and know themselves pretty well and what looks really good on them. It’s kind of like when we did our ‘Beauty Icons’ series, it’s like picking women who, when you close your eyes, you know immediately what they look like. I like people who have that point of view and I think that’s what’s so great about Gareth, you know what his point of view is. He was pretty clear on the collection even though we went in with different twists and takes, he knew when it was right and when it wasn’t right. Even if he may not have known how to articulate color because makeup is a new vocabulary for him, he instinctually knew what he was trying to express.

Gareth: Well to be honest, with regards to a girl who I admire, I think of my stylist Katie. Basically I’ve worked with her for many, many years and I really admire her own sound sense of style, the way she carries herself, and the choices that she makes. She’s very critical about herself and with the way she does things. INTERVIEW BY CHLOE HARTSTEIN

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NEW BREED We love to watch a star on the rise! Remix chats to eleven of the freshest faces in film today.

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Anna Kendrick may be all of 5-foot2 but with a slew of top-notch films under her belt and more on the way, this Oscar-nominated actress with a self-diagnosed Napoleon complex is larger than life.

Interview by SARAH CRISTOBAL Photographer ANNELISE PHILLIPS Fashion Editor EMILY BARNES

Wearing COMPTOIR DES COTONNIERS cardigan, holding JEAN-PAUL GAULTIER cardigan

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Anna Kendrick arrived in Hollywood at the tender age of 17, a petite and determined transplant from the wilds of Portland, Maine. In just under a decade, she’s proved her mettle with a range of hearty roles.

There was a high-school debate queen in Rocket Science, the calculating friend Jessica Stanley in the (ongoing) Twilight series, and of course, going head-to-head with universal heartthrob George Clooney in 2009’s Up in the Air. The latter, in which she played an uptight efficiency expert, garnered critical acclaim and multiple nominations of the golden statuette variety, including the grand poobah of them all, an Oscar.

Immediately following her requisite parade of red-carpet appearances—which Kendrick likened to mandatory skydiving—the 26-year-old actress tucked in to another meaty role in 50/50, as a newbie therapist dealing with issues way beyond her professional capacity. The film, based on the real-life experiences of comedy writer Will Reiser, takes a heartfelt but humorous approach to the plight of a young man (Joseph GordonLevitt) facing terminal cancer.

It’s the first of seven films lined up over the next year. While many of her Tinseltown contemporaries would be capitalizing on their nascent fame and whooping it up as denizens of the night, Kendrick mirrors the girl who everyone has grown to love in her films. To wit: she opts for baking over clubbing (a mean hazelnut torte is her specialty), swears when the mood strikes, and professes to Office Space–style rapping fits in the confines of her car. Though her steps are measured, they are moving - fast. Just be sure not

to piss her off. The next role she’d like to tackle involves ‘something where I get to hold a gun’.

Up in the Air was clearly a blockbuster, but honestly, how much of your life is now spent talking about George Clooney?

[Laughs] Well it’s not every second of every day.

I was never really sure what to say when it comes to that question. How to say someone is great and not make it sound, like, disingenuous because you’ve answered this question so many times.

You’ve been in previous films, but did that feel like a huge step up? It took a lot of steps for it to click for me. I didn’t think George Clooney was going to do it; I really didn’t think I would get hired; I really didn’t think that the part was going to stay as big as it was. I thought, ‘this is a female and she’s not a romantic interest’. So it took a really long time for it to sink in.

Your latest film is 50/50. How you do feel it’s being received? I’m really happy. The Toronto Film Festival was certainly a pinnacle.

Everybody was on his or her feet and looking around for Will, so that was pretty special.

Is there an actress whose career arc you admire? The thing that bums me out is there are amazing actresses that I look up to, they do everything right—all the classy films—and still end up having to do TV once they’re ‘past their prime’, which in this industry is considered, like, 30. I just hope to do stuff that inspires me and, for all I know, that could be TV. That thing of saying, ‘Oh I wish I had Meryl Streep’s career’?

I think she’s a dying breed. A Betty White thing would be fun, where all of the sudden you have this big renaissance at, like, 80.

‘I go on Reddit and I play Angry Birds and I eat sugar late at night.

Which everybody says you’re not supposed to do, but I do it anyway.’

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Are there certain films or genres you want to go toward as you progress? Not really. I’m really surprised by the things I find interesting. I have this problem where anytime I read something where I would get to hold a gun, I try to find a reason to like it just because I want to be a badass someday.

Cop or cowgirl? Literally any one of those things! Any time a character is kind of physically tough. I think I have a Napoleon complex because I’m so little. It’s like ‘Yeah, I want to do that!’

In terms of your career, did your ascension in Hollywood feel like you were on a Tilt-a-Whirl? Definitely the weird part for me was getting to L.A. and feeling like ambition was an attractive quality. I came from a place where modesty was important. The idea that someone was running around saying, ‘Yeah, I’m only 21, but I’m already making my way up the rank at such and such company!’ Like why would you advertise that kind of arrogance?

Was there a particular instance when you felt, I don’t know if this is for me? I can remember going to auditions and being really proud of where I’m from. Then you get to these auditions, and I’d see all of these other girls with their nice cars and nice clothes, and I’d wonder where the hell they came from. I’d never seen them work before. And that was the only time that I was embarrassed about the car that I drove and how much money I had, but I guess it’s easier now. I’m super proud of the car I drive; it’s the same car. Being unemployed and unknown was when I let myself get really insecure about what kind of status I was supposed to have.

JEAN-PAUL GAULTIER shirt

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JEAN-PAUL GAULTIER shirt, peter som pants

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People from small towns who have big dreams need to hear that stuff! I came from a place where if somebody said they really loved your shoes and you excitedly responded, ‘Dude, I got these at Target!’, it was exciting and not something to get sneered at. I didn’t know that was the sort of thing that you were supposed to keep to yourself.

How was the award-show season and being thrown into that mix? I kept thinking the next one will be really fun and I won’t have to feel like I have to throw up in the car on the way over, but no, that was a pretty consistent thing.

It felt like being in one of those skydiving planes, where you think I’m not going to do it, but they open the door and you do it because you have to. Before you know it, you’re fucking skydiving.

And then you’re on the red carpet doing your best impression of someone who belongs there.

I would be mainlining Xanax personally.

Yeah maybe that would be better. I thought there was a playbook they would hand you secretly when you went through something like that.

People don’t realize that you don’t know how to do it.

You mentioned skydiving, are you sporty and adventurous in that way? I’m not really athletic, and I don’t think of myself as adventurous. I do want to skydive and I would like to bungee jump. I’m so odd socially that I could never backpack across Europe. It would be like, ‘Oh God, I don’t know how to interact with people from different cultures. Oh God, get me out of here’.

You seem to be handling all of this quite well. At some point, somebody said, ‘Just think of it as you’re playing a part of somebody who knows how to do this.’ At the time, I thought that was the stupidest thing, but it really helped actually. I am the type of person who takes five minutes to order a coffee and apologize the entire way. I’m dropping quarters everywhere, saying,

‘Oh never mind, I’ll just go drink some tap water.

I’m really sorry everybody’.

Do you ever worry about typecasting based on your successful roles? [Laughs] The thing about Up in the Air was everyone said, ‘You must have your choice of roles,’ and I would think, Yeah, if by ‘choice of roles’ you mean all the characters that are exactly like my character in Up in the Air. I got offered every single one of them. I try to avoid doing the same things because that’s what they want you to do, until you do it, and then all of a sudden, it’s like, ‘Oh she just does that one thing. ‘ It must be hard to say no to certain things.

Oh yeah, there are definitely times I wake up in the middle of the night and be like, ‘Why didn’t I take that job!’ But I know it’s for the best.

A lot of your contemporaries do things like being splayed out in a latex bodysuit on the cover of a laddie mag. I’ve still got that part of my brain that is everything you do is based on the guy that wouldn’t give you the time of day in high school, when every waking moment is to prove those people wrong. So there’s that part of me that’s like, only hot girls get to do Maxim! I don’t want to knock things like that because I have friends who do it, but I wouldn’t be able to look my mom in the eyes if I did.

In terms of style, what’s your fashion mojo? I work with a stylist, but I feel like in real life, I just look like anybody. I’m mostly trying to wear something that I think won’t catch me any flack. I don’t really need to put myself through the ‘Oh my God, I cant believe she’s wearing those feathers’ moment or whatever. I try to keep it simple and find things that I like but that other people can digest easily.

Have you been given any good fashion advice recently? I wish someone could have told me earlier not to overpluck my eyebrows.

Now I’m obsessed with big eyebrows. I’ll never have them, but that’s okay.

Besides baking, do you have any vices?

Vices... I go on Reddit and I play Angry Birds and I eat sugar late at night. Which everybody says you’re not supposed to do, but I do it anyway.

There are multiple Anna Kendrick Facebook profiles. Are any of them yours?

I don’t have a Facebook profile. Twitter is where I censor myself and say things that cross my mind, when they’re funny and won’t offend anybody.

What I like about Reddit is that it’s anonymous, so I can say the things that I think are funny without worrying about a 13-year-old thinking that the girl from Twilight is a monster.

That’s where you get all your angst out.

[Laughs] All that darkness.

Let’s talk about music. You had a cameo in LCD Soundsystem’s ‘Pow Pow’ video.

How did that come about? David Ayer directed it, and heaven knows why he asked me to do it, but when he was pitching me the idea, I said, ‘No need to pitch. I’m totally sold!’ It was this fun thing that everybody did for like zero dollars.

And you got to play this shape shifter who could abolish bad guys! My roommate asked me if I was supposed to be cocaine, and I thought that was really clever because I act really innocent, but then I steal your soul and I’m all in white at the end.

I was told you were rapping on the set of this shoot. I did have a tiny hip-hop moment. It comes from that Napoleon complex thing, where in the privacy of my car, I definitely feel like a badass singing along to like ‘99 Problems’, but I should just really leave that in the content of the vehicle.

It’s a catchy tune. The ridiculousness is what makes it fun. If I’m singing about how many bitches I have, the irony is what makes it so happy.

‘I think I have a Napoleon complex because I’m so little’ Photo assistant Victor Gutierrez Fashion assistant Chloe Hartstein Creative director Matthias De Gonzales Makeup Sara Glick u sin g DiorShow Hair Jeff Francis

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Interview by Yale Breslin Photographer Danielle Levitt Fashion Editor Cassia Skurecki

Her first time in front of the camera was just over 12 months ago. Thanks to her breakout role in the dramedy ‘Shameless’ and her current role on ‘Suburgatory’, Levy’s been honing her skills. With an upcoming role in ‘Funsize’, a film she recently wrapped and which she deems ‘hilarious’, Remix caught up with Ms. Levy about how a European summer vacation changed her life.

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You grew up in Maroon County, just north of San Franciso. What was your childhood like? I grew up hating the place but I think it’s the most beautiful place to visit.

I wanted to be an actor when I was really young and my mother was always like, ‘No, go play in the dirt, think about it, wait 18 years, and then you can do whatever you want’.

So you always wanted to be an actress?

Definitely. I did community theatre and school plays. I would always be like, ‘Get me an agent!

Take me to L.A!’ But in the meantime, I played soccer. I was a dancer and I really liked maths and science. But I really did always want to be an actress – I just didn’t think it was a realistic thing.

How did you make it happen then?

What was your first role? My first role was Shameless last year. I went to college for a year and I was horribly depressed and bored. I went to Europe for summer with one of my girlfriends,

and I know it sounds real cliché, but I was on a train going from one country to the next in Europe and I was like, ‘I hate school, why am I doing it?’ So I came back and told me parents two weeks before I was supposed to go back [to school] that I was dropping out and that I found an acting school. I went to acting school for about a year and a half then I moved to L.A. last summer when I finished.

Then you had your role [in Shameless] and now Suburgatory... I shot two films this summer too.

What films did you shoot? And tell me about them. One was called Nobody Walks; it’s a really small role in a independent [film] with Rosemarie DeWitt and John Krasinski. The film is really about them – I just play the annoying friend of the daughter of the main family. It was written by Lena Dunham and Ry Russo Young.

It’s a cool fit and I’m excited to see it but it

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probably won’t be for a while.

And then you spent some time in Cleveland filming Funsize. How was that? It’s a comedy. I think it’s hilarious and it was so magical making it. The actors, the director and the connection that we had was so special and such funny stuff happened. It’s one of those stories that always takes place ‘during one night...’ Me and Victoria Justice are the leads, I play her best friend and we try to get her brother back because we lose him on Halloween.

With Johnny Knoxville, Ana Gasteyer and Chelsea Handler in the cast, how did you not laugh all day? I did totally!

But managed to get the job done. I mean I’m the worst. I’m always the one that ruins it because I laugh just too much.

Did you take anything away from filming Funsize? Yeah we got a lot of space to improv, so I guess I learnt a lot about trusting my insticts.

‘I know it sounds real cliché, but I was on a train going from one country to the next in Europe and I was like, ‘I hate school, why am I doing it?’

Previous: Camilla & Marc dress Left: LittleDoe bonnet, Aurora Lopez ring, nahm dress

Photography assistant Gray Hamner Hair Cervando Moldonado Makeup Kayleen Mcadams Prop stylist Juliet Jernigan

I work with Ana on Suburgatory and Cheryl [Hines] and Jeremy [Sisto] so I get advice from these awesome alpha actors all the time. Small things like ‘better to be well rested than well prepared’ which a lot of people can argue with.

For me, working on Suburgatory and these crazy hours, to get a good night’s sleep is the best thing I could do for myself because I need it.

How’s Suburgatory treating you? It’s a lot of fun! It was kind of like an explosion right away. I’ve never worked so much in my life.

What have you learnt about yourself?

I don’t know how to explain the specifics, but we get to watch our episodes not much after we film them and you know, if you make a film, you might not see it for like two years. By then you might not even remember what you did and you’re not the same person anymore. Since I get to see my work less than a month after I filmed it, I know what moments worked and what didn’t. I

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am learning a lot about my sensitivity. I’m really sensitive on set. If everyone was in a bad mood, I will get really flustered. I’m learning how to block all that kind of stuff out though.

Isn’t it crazy to think that your first time in front of the camera was just a year or so ago…? Yeah sometimes I think about it and I’m like, ‘This is wacko!’

It’s total bizarre land and crazy! Are you proud of yourself? Yeah I’m really proud of the work I did on Funsize. I’m really excited to see what happens there because I really let myself go.

Was it a struggle? I always want to hold on to something but I got to play a character so far from myself in that movie that - this is going to sound cheesy because it’s a comedy - I let myself disappear. It wasn’t about myself, I made it about her and it was so much fun to give this character a beating heart.

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Interview by yale breslin Photographer Danielle Levitt Fashion Editor cassia skurecki

Topher Grace, who rose to overnight fame thanks to a show about getting high and living life in high school during the ‘70s, has been able to escape the one-hitwonder stigma associated with appearing on a long-lived sitcom.

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‘It was a very weird time for me, and when I look back, I think my trajectory was inverted.’

He’s had memorable roles in films like Traffic, Mona Lisa Smile, and Spider Man 3, and now, with a string of unlikely roles on the horizon, Remix chatted with the self-proclaimed onetime ‘loser’ about having Chloe Sevigny as a babysitter, working with De Niro, and why he’d love to burn some of his previous work.

You grew up in Connecticut, did you spend much time in New York City? I came in a lot when I was a kid. My folks would bring me here, because we also have family in the city.

And especially when I finished filming That ‘70s

Show, I kind of fell in love with this apartment in New York, and you know what living in NYC is like, so I called it the seventh season apartment.

Tell me about That ‘70s Show. Was that your first gig? It wasn’t only my first gig - it was my first audition. It’s crazy to think how long it went on air - I’m just glad I wound up enjoying acting because you have to sign the contract before you audition.

Was that something you always wanted to do? Did you always want to be an actor? Not at all, no. I went to boarding school and I had done a play because I was on the

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varsity tennis team and sprained my ankle in senior year. So, since I couldn’t do that, I decided to try something else. I had small parts in the school plays beforehand, and I always found it fun. Since I couldn’t do sports that season, I tried out for the lead character in the school play and I got the part. I’m still kind of surprised I got the role because there were much better actors!

Why do you think you got it? To be honest, it wasn’t the greatest production, and really, the drama department at the school was pretty bad. I don’t know really, I was just a weird kid.

You know, I came to a taping of That ‘70s

Opening: Vivienne Westwood boots, Bespoken jeans, Billy Reid shirt Opposite page: Riviera club jacket, Levis jeans, Calvin Klein t-shirt, vintage boots This page: Shipley & Halmos shirt, tommy Hilfiger pants, Ao eyewear sunglasses, Florshiem by Dickie brown shoes

Show I think in like season one or two. I can’t remember what was going on in the episode though. I did get your autograph after the show though. We were probably getting high at some point.

That’s true. But I really have no idea what was going on. I was pretty young at the time. Maybe 13... I was young too, so if you came the second year, I was probably like 20 and I had no idea what was going on. I didn’t even have an agent when I started, and even when I got the show, I still didn’t have an agent.

It was a very weird time for me, and when I look back, I think my trajectory was inverted. I didn’t know how to hit marks, you know the marks you have to hit on the floor; I mean I didn’t know I had to face the cameras. But I did have a really specific point of view and I remember a lot of the kids in the audition and they were all cool or had been in Hollywood and affected a little bit. I remember thinking, ‘I’m a real loser’. I was thinking something like ‘I literally was rejected by a girl last week’, so I brought my real life experiences to the character.

This must have been a huge change

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for an 18-year-old going from being a regular kid and then onto a show literally overnight? I wasn’t just a regular kid, when I say I was a loser I don’t mean that like some actors who are gorgeous and tell you they were a loser in high school. It was no joke. I was running out of money and I used to skip dinner to buy CDs. I remember around that time I talked to some girl at school and she sat me down and said, ‘Hey honey, I’m a senior - you can’t ask me out.

You’re a freshman, I date a dentist’. Then all of a sudden I had my own TV show and I was actually getting headaches around that time because I felt like everything that I was going through was so much bigger than I had ever dreamed of. I’m sure there are some kids at 15 that have their Academy Award speech in their head in the shower, but I hadn’t even thought about that. I remember every minute of that first year. It was so crazy.

It must have been quite a trip. What was really great is that the cast was phenomenal. I could tell back then that even though I had no experience at all, I knew that there was something special. I thought Ashton was so great, and so was Mila, who was just 14 at the time.

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‘There are episodes of That ‘70s Show when I was young and didn’t know how to act that I would love to be burned’

Which is crazy, that’s super young. She’s really made a name for herself...Yeah.

But she was phenomenal. I remember the joke that she did in the pilot that made me laugh really hard and I thought, ‘This 14-year-old girl is cracking me up.’ I thought that was definitely kind of neat.

I recently read that Chloe Sevigny used to babysit you. Is that true? That’s also true yeah. We’re from the same hometown and we actually did plays together when we were younger. I was the Tin Man and she was the Scarecrow in the Wizard of Oz. She was even a great actress back then. I recently went back to Connecticut and slept in my old bed. It was the closest thing to time travel with the bunk bed and dinosaur posters. My mother would cut fresh peaches and put it in my cereal in the morning before I went to work for a yelling scene with De Niro. Then I would come home and my Dad would have salmon on the barbeque. What’s also crazy is that I lived on the border of my hometown next to Katherine Heigl’s hometown so we actually knew each other from the ‘90s, and now we’re playing brother and sister in an upcoming movie.

What’s the movie called? What’s it about and what is your character? It’s called The Big Wedding. It’s about this dysfunctional family over the course of a wedding. Amanda Seyfried is marrying Ben Barnes, who is my younger brother in it, so me and Katie [Katherine Heigl] and Ben are still living with Bob [Robert De Niro], I suppose as I call him now. And then he’s estranged from Diane [Keaton] who comes

home. I honestly don’t know if I should be talking this much about it but Robin Williams is a part of it and Susan Sarandon’s a part of it. It was just the most insane cast. Everyone was super talented and the film’s really good. But the real kick is to be able to bike to work, you know.

Did the cast give you any advice? What was it like working with such huge icons? You know, I’ve been lucky, especially to do the scene with Robert, which was amazing.

Diane was like… I think Annie Hall’s my favorite movie of all time… and I got to do some comedy with her, which was also great. But you know I’ve got a movie coming out with Richard Gere, I’ve worked with Dennis Quad and Michael Douglas as well, and I’m very lucky that I’ve had the chance to work with remarkable people in my career. They’re like the CEO’s of acting. And the one thing about all those actors is that they never preach. You know someone’s not that good if they’re telling you how to act. You just work with them and through osmosis you pick stuff up because they’re doing it right.

And what’s the Giant Mechanical Man? Jenna Fisher and her husband Lee Kirk, who’s a great writer and director, made this film and it’s just this great, small, weird romantic comedy and I play a really, really weird role. I’m like a motivational speaker; I have hair down to my shoulders. I’m basically the antagonist I think.

Did you ever find after That ‘70s Show or do you even find now that you get pigeonholed as the quirky, boy-nextdoor character? I know that people on sitcoms do run into that problem, but I think

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I was really lucky in my character on That ‘70s Show in that there were a lot of different levels to Eric Forman’s role. I was really conscious of making sure that the first thing I did was about as opposite to roles that I had already done.

You know, in Traffic, I’m like huffing meth or something and I do remember like a certain amount of teeny bopper attention evaporating which I was thrilled about. But, there were a lot of teen movies being made that I turned down.

Titanic had just come out and the Backstreet Boys were huge.

Yeah you’re all over the place, which I think is really smart. Well I know my agents hate it because you would make more money by sticking in one kind of role, but for me, it’s healthier for that acting muscle. You learn something new when you do something new.

Do you have a hard time watching yourself on screen? You know not really, I certainly don’t understand those actors that claim they’ve never seen anything they’ve done.

I think that’s counterproductive. But there are episodes of That ‘70s Show when I was young and didn’t know how to act that I would love to be burned.

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Words CHLOE HARTSTEIN Photographer Stas Komarovski Fashion Editor Emily Barnes

Speaking to Julia Jones about her character in the ‘Twilight’ saga, she immediately mentions how this is the kind of adventure that expands your horizons and life in general.

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To her, filming the blockbuster, which she describes as incredible and rewarding and fun, was a tiny part of the experience.

She thinks for a second and remembers how at age eight she had a ‘this is what I want to do for the rest of my life’ moment while on stage in a production of Peter Pan. With Twilight she is doing exactly that, and so much more, ‘the world gets bigger’. When studying her craft, she never thought she would ever get to a point where she would be traveling all over the world promoting a movie, doing photo shoots and interviews. For some time she actually didn’t think she would be an actress. A ballerina attending Boston Latin, her family would humor her about her acting dreams, thinking it would just be a phase, and they might have been concerned for some time, but Julia knew the whole time that this was what she was supposed to do.

Being of very curious nature, acting has been a very convenient excuse for Julia to do just that; it’s part of the job to

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explore, to understand how everything works, every role makes her step into another world. One of her favorite parts of acting is the research period, finding a script that speaks to her, resonating for some reason, and throughout the course of filming, discovering elements of the character’s story overlapping with her own life and experience. When asked what kind of character she would like to play in the future, she answers that she is drawn to characters that she feels for, but doesn’t understand in a conscious way; the more extremes the role has, the more interesting and fun it is to approach.

Leah, her character in Twilight is the perfect example. Julia is protective of Leah and gets emotional talking about her. Leah is tough, but also sensitive and hurt, which made Julia care for her a lot.

But to Julia every experience is different, once she feels connected to the core of her character, she starts to surrender to her role and that is what opens the door to the next chapter.

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Xavier Samuel sent his audition tape for a role in the ‘Twilight’ saga from his hometown in Australia, not knowing whose desk it would land on and whether anyone would ever see it. Next minute he’s a global pin-up...

Interview by TINA MOORE Photographer Darren Tieste Fashion Editor Brett Bailey

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‘Playing a villain is cool, getting to act in that dark and twisted place.’

Growing up in Australia and attending drama school in Adelaide, did you ever see yourself ending up in Hollywood? It always seemed so far away in my head. But there are a lot of people in Hollywood and it’s only a plane ride away. I never imagined things would pan out quite the way they have.

Shows like Neighbours and Home & Away have been a catapult for a lot of Australian stars in the past. How did you make the leap without going through those channels? I went to drama school.

Did things change overnight after your role in Twilight? The series definitely has some rabid fans... I wouldn’t say things changed overnight, it has been more of a gradual thing. But it’s certainly opened a few interesting doors. The fans are really enthusiastic. Which is great. It’s cool to be involved in a story that can generate that kind of a response and it’s fun and kind of surreal to witness.

We like to think of ourselves as pretty well grounded here in Australia and New Zealand. Does that help you deal with all the extra attention? I’m glad I grew up around that mentality. I think all you can do is take things in your stride, that seems to be an Australian/New Zealand characteristic. Life’s too important to be taken seriously.

What’s your home away from home in America? Do you have a place to kick back when you’re not filming or touring? I spend a lot of time in Silver Lake. There’s some pretty cool laid-back cafés over there.

You’ve been in some big films lately – it doesn’t get much bigger than Twilight –

but you started out your acting life on the stage. Your latest film, Anonymous, must be a great combo for you, getting to bring your passion for theatre to the screen? For sure. I enjoy theatre and film for different reasons and to have the two intertwined is kind of rare and exhilarating. The production design on Anonymous is amazing, they rebuilt the Rose Theatre in full detail in a car park in Berlin. It was sort of unreal and dreamlike. Watching the film, you get a real sense of what London and the Theatre was like in the 17th century. It’s a really intense and wonderful film, Roland [Emmerich, director of Anonymous] has taken the Shakespeare authorship question and created a twisting thriller.

You played Hamlet in Adelaide as part of your graduation from drama school.

What’s it like going from that to full-scale replicas of Shakespearean London? It’s strange comparing the two, because the film is more about how the plays came into existence and the way they were used as ammunition against the powers that be. So while you get to see bits and pieces of the plays it’s not the central focus.

So I guess it was a totally different experience.

Also, the film was mostly shot in front of a green screen. I remember watching it for the first time and thinking, ‘I don’t remember seeing that’, the visual effects are stunning and really convincingly recreate the London of that time.

Is theatre something you’d like to return to eventually? It would be great to keep doing theatre. I think there are things that happen in theatre that you cannot capture on film. I really enjoy the community of it all and the notion of something completely unique evaporating right in

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‘There is a lot of bad, boring theatre out there, that I think can end up pushing people away. But when it’s good, there is nothing like it.’ front of you. There is a lot of bad boring theatre out there, that I think can end up pushing people away. But when it’s good, there is nothing like it.

The film has an impressive cast.

What was it like to work with such accomplished actors? I learned a lot just being around them. So many great actors who were all really down to earth. The scenes that I wasn’t in, I would just hang out on set and watch.

Rhys Ifans has a bit of a reputation for mischief. What’s he like in person? He’s a Welshman, what do you expect? Rhys has such a great sense of humour. Every second spent with him was brilliant. He is a really lovely, gentle guy, and totally one hundred percent genuine, which is a pretty rare quality. I think he is ridiculously talented and one of the most generous actors I have worked with. Can’t speak highly enough of him.

Vanessa Redgrave, who plays Queen Victoria, has a long history in both stage and screen. Is that how you see your career panning out? I don’t think too much about it, I just hope I keep getting the chance to work with interesting people on stories that I find interesting and might have something to contribute. Vanessa Redgrave has an amazing career. Any attempt at comparison seems a bit silly.

Tell us about the experience of working on such a big production. It’s a long way from the set of a local Aussie or New Zealand film. I wouldn’t say it is very different

to Australian film. Perhaps the only big difference is that there is more time, and you usually get a few more cracks at the scene before you move on.

A few more people around but other than that it’s pretty much the same operation. Sometimes the studio wants to keep a really tight lid on what the characters or the costumes look like, to save some secrets for the big screen, so you end up being covered by an umbrella wherever you go or driving ten meters from A to B in a car with tinted windows. That can be a little bizarre.

Working in Hollywood is a dream for a lot of aspiring actors round the world, but do you ever miss working back home down under? There are so many talented Aussie film makers. It’s incredible. So, I try to do as much Australian film as I can. I also think it’s important to remember your roots, so I am keen to remain a part of an industry that has supported me. And it’s good to have friends and family close by.

Your brother is an actor and your sister also works in theatre, is acting a family affair for you? Have you ever thought about working with them somewhere down the line? Both my parents are teachers.

They teach English and History. So I suppose it is a little left field. It’s funny how it worked out like that. It certainly wasn’t planned. My sister was pretty theatrical when she was younger. Now she likes to work behind the scenes. Would be cool if the three of us got to work together one day. Not sure what the story would be though.

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Do you have any passions outside of acting? What do you do with yourself when you’re not working? I usually just go home and relax. Spend as much time with my friends as I can. I play guitar a little bit. Watch movies. Go to the theatre. Read. You know, the usual kind of stuff. Nothing too extreme. Though I’ve been surfing a lot lately, in preparation for a film. The character is a mad surfer so that has been a little extreme every now and then.

You’ve done some introspective roles in films like Newcastle in Australia, done Shakespeare on stage and screen, and played the villain in Twilight. What’s your favorite kind of role? Playing a villain is cool, getting to act in that dark and twisted place. But I guess my favorite kind of role is the one that is new. It’s always cool and exciting to explore different territory with characters who you haven’t met before.

What’s next for you then? Any new career goals now you’ve established yourself in acting? I’m working on an Australin film called Drift directed by Morgan O’Neill which is about two brothers who start a surfing company in the early 1970s. And after that, who knows. Just take it as it comes I guess.

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Growing up, Mickey Sumner felt like an outsider. But now, she has found her group, she calls it the circus, her movie family, and she’s right at home in the business of storytelling.

Words CHLOE HARTSTEIN Photographer Stas Komarovski Fashion Editor Emily Barnes

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‘ The job of an actor is to give’: this Robert Redford quote opened up Mickey Sumner’s approach to acting, ‘ it’s so simple and yet so powerful’, she says.

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When asked what acting has taught her, she will tell you that through the act of portraying another person, another character, one of the things you have to learn is compassion, and that compassion helps you to tell their story. Her love and passion for acting is contagious. She loves everything about her job, being a story teller, being thrown into a new world, but she also loves the act of making a movie, ‘the making of something’. You can tell she respects and understands how every single person on set is part of the bigger picture, everyone striving to create something special.

She mentions that growing up she felt like a little bit of an outsider, but she found her group, she calls it the circus, her movie family, creating amazing stories.

Playing Lucy, her first lead role in a feature film, was a dream for Mickey, and she enjoyed every minute of it. Meeting the director, Marty Snyder, while he was still casting the lead role was a godsend for her. They met at a party at a New York nightclub and Marty mentioned his movie, and asked her if she would read the script. After reading it - Mickey describes it as ‘so funny, with so much heart’ - she asked Marty if he would let her audition. The next day, she had the role. She talks about the cast and crew with a lot of love, admiration and kindness; the combination of the director’s positive energy and the talent and generosity of her co-star Jonny Abrahams, not only took away her hesitations and insecurities she wasn’t sure she could pull off a comedy yet

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- but also taught her a lot about acting. By the end of the shoot she felt extremely comfortable in Lucy’s skin.

Mickey sees herself playing many different roles in her career, her main goal being to scare herself with every character she embodies. This is exactly how she sees acting - pushing yourself through your fears, because that is the most fulfilling thing, to get through it. Never fully letting go of her roles while filming, she likes to focus on what is coming up for her character. By the time she wraps the movie, the intensity of the experience and having to leave her family, she learns to let go of her character and moves on to find the next project, a whole new family to get to know.

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Playing a hot shot pilot from the Midwest in the new ABC hit show ‘Pan Am’ is a slight departure from the usual movie roles for Mike Vogel.

Words CHLOE HARTSTEIN Photographer DAVID SCHULTZE Fashion Editor WILLIAM GRAPER

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‘I need to be a part of something that can affect people that deeply.’

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Playing a hot shot pilot from the Midwest in the new ABC hit show Pan Am is a slight departure from his usual movie roles for Mike Vogel. TV is a different animal, says Mike, with any luck you need to be prepared to live with this character for seven years or more. An actor’s challenge when approaching a TV role like Mike’s is to keep it fresh for the long haul.

Talking about work, Mike is excited about the challenge of breathing life into a character, taking words, thoughts and ideas that a writer has put on the page and bringing them to life. It really is all about watching people behave and realizing how unique we all are. Acting has taught Mike a lot, it taught him how to be more attentive and aware in

everyday life, using his focused attention as the life blood of his craft. Using music as a way to bring him into a specific place and zone when working, he says he detaches himself easily of his characters, thanks to his beautiful two- and four-year-old daughters bouncing off the walls, ‘that will snap you back into reality real quick!’

Looking at his future and his roles to come, Mike mentions being part of a WWII movie, as an homage to his grandfathers. Fascinated by that generation, he remembers watching Saving Private Ryan with his grandfather, watching him react to it and thinking, ‘I need to be a part of something that can affect people that deeply.’

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Working alongside Robert Pattinson in the 2010 film ‘Remember Me’ has no doubt made Emily Wickersham the envy of many young girls. With her latest role Molly in ‘Gone’ set for cinemas next year, Emily chats to Remix about her journey.

Interview Steven Fernandez Photographer danielle levitt Fashion Editor cassia skurecki

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‘I dropped out of college because I wasn’t really pursuing anything that I loved and so I moved back to New York and started taking classes in things I was scared of.’

You’ve just finished filming your role as Molly in the thriller Gone, set for release early next year. What can you tell us about the movie and your character?

Yeah, it’s super-exciting; the director Heitor Dhalia is so talented and I was a huge fan of his film Adrift even before I got the part. It’s a beautiful film but it’s also scary so things happen that you don’t expect.

One of your very first big parts was the recurring role of Rhiannan Flammer in The Sopranos. What was it like working on one of the most successful TV dramas of the last decade? It was pretty intimidating at first just because the cast had already known each other for years and some of my scenes were directed by David Chase, so I was a little nervous. But it was awesome and the cast was really nice.

You also appeared in the sci-fi thriller I Am Number Four which is quite different to anything you’ve done. What was that experience like? Yeah I was really excited to be a part of that movie because I had never done anything like it and I was excited to work with [director] D.J. Caruso who’s known for these big action flicks like Eagle Eye and Disturbia. Plus we shot in the Florida Keys and I learned how to jet ski which was great.

In any of these projects you’ve been

involved in so far have there been any role models who have given you any inspiration or tips? All the actors I’ve worked with I’ve loved, but one thing I remember is working on The Sopranos and I was shooting this scene where I was off camera for James Gandolfini’s eye line. The cameramen were blocking me from his view and so he walked over me in front of everyone – the whole cast and crew – and said to me ‘I don’t know how to say this, but I sort of need to see you’. I turned bright red because I didn’t want to screw with Tony Soprano!

Are there any other actors who you look up to that you’d love to work with in the future? Yeah I love Meryl Streep, Michelle Pfeiffer, Anjelica Huston who I recently met is awesome. What inspires me is women who make strong choices, interesting choices and I think all those women have done that.

Do you have any dream roles you’d like to play? I think my dream roles are strong female characters in either a drama or a comedy.

I would love to work with those women or people like Jack Nicholson, Edward Norton or Ryan Gosling.

How old were you when you realized you wanted to be an actress and how did you first get involved in the industry?

Well I dropped out of college because I wasn’t

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really pursuing anything that I loved and so I moved back to New York and started taking classes in things I was scared of, one of which was acting. I had never acted in my life. Then one night when I was out to dinner at a Japanese restaurant an agent approached me and asked if I’d be interested in doing some modeling. I did that for a while but it wasn’t really my thing and so I asked to be sent to some TV and acting auditions and from that I got a few parts.

What kind of things to you like to do when you have some time off? Well I’m always reading – scripts and books. I love to draw and paint and one of my paintings was recently made into a T-shirt. I go through phases of exercising, I do Pilates, I like to box and go running.

You appeared alongside Robert Pattinson in the 2010 film Remember Me. What was it like working with another young star like Robert who has gone on to become one of the biggest names in the business? It was really fun working on Remember Me and Robert is a really sweet guy. I remember walking by his trailer and there were like loads and loads of girls just waiting for him. I’ve never seen anything like it but he handled it really well and he was great to work with.

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Tom Payne has certainly come a long way since his ‘Skins’ days. Named as Screen International’s Star of Tomorrow in 2007, he is living up to the name as the face of HBO’s new series, ‘Luck’.

Payne talks to Remix about LA, horses and how to make it in the cut-throat business.

Interview Jessica Beresford Photographer Steven Perilloux Fashion Editor Matthias De Gonzales

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‘I was at home two weeks ago in England and someone asked me where I lived and I said, ‘ah, Hollywood’, and as the words came out of my mouth it just seemed like the weirdest thing.’

So you’ve been working on HBO’s new series Luck, how’s that been going? It’s been great, we actually finished in July, and we air in January. But it was great, by the time we had finished it had been about 18 months of my life spent in and around the show.

It’s about professional horse racing? Yes, anything and everything to do with the racetrack really, so we have agents and trainers and jockeys and gamblers and everything.

So obviously you have to ride horses for it; was that a new experience for you?

Yeah, I had been around horses before but I’d never ridden them nearly as much as I do in the show. And certainly not as a jockey which is in a completely different style to how you would normally ride a horse. So you are basically perching on the spine of a horse and it was a bit of a crash course for me.

Did you have one horse that was yours?

Unfortunately we didn’t have that luxury because you can’t use a horse for too long, because you can only have a certain amount of takes with one horse. And we were using thoroughbreds rather than movie horses because movie horses have a bit more weight on them basically and they don’t look like thoroughbred horses. So we were using ex-race horses in the show, which had its ups and downs, and certainly was a bit hairy at times. But we made it through. It was definitely a challenge, I had four weeks of intensive training before we shot the first episode and then when we came into shooting the series I was going in twice a week to train as well. It is very, very painful on the legs, so I wasn’t really able to walk around.

And all over really, jockeys are very fit, packages of muscle really. I didn’t realise before but they have to be incredibly fit.

What do you do to get into character? My

character is a Cajun from Louisiana, so I went down there. I’d never been to America before, let alone the South, so I made a point of going down and spending time with people down there. Which gave me a lot of stuff to use for the character, in just the way he would approach the world really. And then on set, we filmed at the racetrack so I just had to put on the silks and be in the jockey room and walk out and you had a huge sense of what it felt like, because everything was real. Including going out onto the track with the racehorses, which can be a bit scary at times.

So you have had to put on an accent?

Yes, a Cajun, Louisiana accent, which I was quite happy about because I didn’t want my first American role to be in an English accent because I didn’t want to be typecast.

What would a standard day be like for you while filming? I’d be up at 5.30am to get to the track for 6.30am in Pasadena. Then I’d have breakfast. As on any set there is a lot of hanging around, then being thrown in the deep end by getting on a horse and getting on with it really. We used lots of different cameras to get the different shots. They shot the races with my stunt double, with a truck driving alongside the horses with a camera on a pole, and then when it came to shooting my dialogue that I might have in the race, or just close-ups of me, we had an animatronics horse, which was on the back of the truck. And they drove that down the track, but then they also had the real-life horses racing alongside me, which is the closest I’ll ever get to racing a horse. And for me, even though I was strapped in on this animatronics horse, it was scary enough to be honest. I can’t imagine going that fast on an animal like that. In actual races they are all bouncing off each other and all incredibly close. It was really interesting for me REMIX 129

to get that close to what it’s like to be alongside a race, and I think the footage that we have came out amazingly. It looks really good. I hope it’s going to be coming out in New Zealand because my sister actually lives in Auckland.

As a young actor, what’s it like trying to break into Hollywood? It’s difficult, I had a career in England which was going pretty well. I was going from job to job in TV. But then I was reaching my late twenties and in my mind I just really wanted to make a proper living for out of it and be making a bit more money. I thought to come here [L.A.] would be the best thing to do. I did a small period film in England with Frances McDormand and Amy Adams and some other great people which enabled me to come over here because the film was released here so I came over and got my representation. After that I started coming out early in the year in what’s called pilot season, when lots of TV shows are being cast.

On my first trip out I did quite well, I got screen tested on Vampire Diaries and another ABC show and a couple of other things. But I was only here for a month, and then I had a really bad year back in England and didn’t really work much when the recession first hit. I just thought, I’ve got to go for it really, so I got a new credit card and came out here for three months, which is what you’re allowed to do as a tourist and then HBO offered me a job. Which is amazing. You can be at home in London or wherever you are sent tapes out to try and get jobs, but I really think it makes a difference to actually be here. It’s a very different experience being a working actor here because when you first come out you are just one of a sea of actors. It’s not even a joke, most people that you meet in Los Angeles are actors. And so when you first come here you are just another actor, but when you are working you really feel like, wow,

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I’m part of the business and the city and it really does feel like a dream sometimes. I was at home two weeks ago in England and someone asked me where I lived and I said, ‘ah, Hollywood’, and as the words came out of my mouth it just seemed like the weirdest thing. But that’s where I live now, you know, the sun shines everyday and we see the Hollywood sign everyday, it’s just crazy.

Are you going to be living there permanently for a while? I think so, for the time being. Certainly with the show coming out I think it’s the right place to be, to get more work really because that’s what it’s all about. In England it will be released on a satellite channel so it won’t have as many viewers, whereas here HBO is watched by a huge proportion of the population. I don’t even know what kind of impact it will have for me or how the show will be received, but I know we’ve got a really amazing cast and team behind us that give us the best chance possible to have a great show. So hopefully it will springboard me a bit out here but we’ll see.

Did you always want to be an actor? When I was about seven at school, one of the teachers dragged me into a classroom to audition for a play because I was quite loud and demonstrative, and then I just started doing plays. That was the main thing I really enjoyed about school so when I got older, in a rather naive way I thought, ‘why would anyone want to do a job they didn’t enjoy?’

Nothing else really interested me. I was quite a bright kid, but I’m quite lazy if I’m being honest, and I didn’t put enough effort into other stuff because I wasn’t really that interested. I had quite supportive parents throughout the whole thing and they tried to dissuade me a number of times but eventually came around. I’ve always been a very driven person so there was never any doubt in my mind that it wouldn’t work out, which I just think is amazing now because I’ve seen so many

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people fall at the way side, and try and be an actor and it just hasn’t worked out. And very talented people as well. But I just had this big drive and ambition and I went to drama school for three years, then got an agent and started working. I’m quite fortunate.

Do you have role model in Hollywood?

No. I was weird as a kid I never really had anything like that. I never believed you should idolise anyone. It was kind of a funny quirk of my character. Having said that, there are actors that I admire like Gary Oldman and people like that who don’t subscribe to the whole method of staying in character because I don’t really think that’s acting. I’ve seen Gary Oldman behind the scenes and stuff and he’s talking to the director as himself and then when the camera’s rolling he’s playing the part. I really admire that, I think that’s the skill. So yeah, I think people like him. I really like Tom Hardy, people who aren’t afraid to be big and take risks and have fun with it really. I am also very intrigued with the Hollywood-movie thing and what makes someone exciting. On our set I’m overawed by Nick Nolte, I just think he represents an archetype of masculinity in film that doesn’t really exist at the moment. When we were on set I was just talking to him and he represents something from the past that we don’t really have now. And I think Hollywood is desperately trying to find the next Nick Nolte or someone like that, and it’s not quite happening yet.

What do you think about the Hollywood scene from the short time you’ve been there? I really enjoy living here, and if you do well, they pat you on the back. No one is judging you and if you start to do well, someone will ask you how you did it. Everyone is trying to build everyone else up. That can also be a bad thing but we’ve enjoyed it out here. We don’t really go to many parties out here because I think I’m

old enough now to not get carried away with it.

Having said that, when the show airs I’ll probably be all over the place. But I think I’m a bit more controlled about where my career is going. I definitely wouldn’t come out here too young, I think then you’d just get your head turned. You would have a big team of people working for you who would tell you this is a good idea and this is what you should do, and you would just go with it. I’ve seen that happen to a few people, but you definitely need to come out here with a clear head and know what you want to achieve. And you can achieve it. I really think in a lot of ways the American dream does work. There are parts of it that I enjoy and parts of it that I don’t want to get involved with.

What is it that you want to achieve, what’s next for you? I want to move into movies now, that’s the big business out here.

The show is the closest I’m going to get into TV. We basically made a movie every few weeks which is astonishing really. All the crew and cast and everyone were from movies. So I’ve got a real taste for that now and I’d like to do more of that. Having said that, I don’t want to head a big franchise or anything like that, I don’t think I’m ready for that. I’d like to explore and play different roles and make sure I’m comfortable with everything. But then having said that, something will turn up and you never know what might happen. You can become famous in one role and then you have to try and escape that role.

Acting is always subject to someone else, you never really have any power or control. So the idea is to get to a position where you do, but in order to do that you have to do the big roles and the whole movie star thing. Basically, the crux of it is that I want to make a living out of what I do.

And in order to do that you have to keep pushing forward and keep hoping to make bigger things.

‘I really think in a lot of ways the American dream does work. There are parts of it that I enjoy and parts of it that I don’t want to get involved with.’

Hair Paul Norton @ Tracey Mattingly

Makeup Marina Gravani & artists

by Timothy Priano.

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18 year-old India Eisley’s first acting role in ‘The Secret Life of An American Teenager’ couldn’t be more different from her upcoming feature film debut in ‘Underworld Awakening’. Remix talks to the young star about her future as one of Hollywood’s ones to watch.

Interview tina moore Photographer Danielle Levitt Fashion editor Cassia Skurecki

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‘It was never really a question of if I was going to do it, it was always just kind of there and that was what I was going to do.’

Can you tell us a little about your role in the upcoming film Awakening? Yeah, I’m not allowed to give away too much. In fact, I’m not really even allowed to say what I play… I’m supposed to keep it a surprise. All I can say is that it’s a creature…

Sure, I’ve seen the brief promo video – it looks to be a creatures versus humans kind of thing. I assume you’re on the creatures side then? Um, I’m a bit of both…

Okay, that sounds cryptic… Yeah, I’m on both sides of the war.

Well it does look like it’ll be pretty cool.

Kate Beckinsale plays a pretty kick-ass character by the looks. Oh, she’s wonderful, such a cool character.

How was she to work with? She was lovely, very professional and I’ve always loved her work.

Great. So is this your first feature film?

Yes, it is. You don’t really count your tiny little walk-on…

It’s very different from your previous role in The Secret Life of An American Teenager.

Oh yeah, much different. Lots of blood and lots of

gore and all that fun stuff.

How did you find going from a teen TV show to this big studio film environment?

I loved it; it was just really easy to work with everyone. They were all running around trying to figure out the 3D filming stuff as this will be the first instalment in a series of films in 3D, but aside from that they all know the feel of the film and the storyline so well that it really wasn’t difficult at all.

What are you working on now? There are a few things in the pipeline that might happen, a couple of them are independents, so you’re not really sure if they’re going to happen because it’s so hard to get a film made now. But they are exciting things, and I’d like to do something completely different.

What would your dream role be for you right now then? I’d love to continue doing more dramatic things, but it’s hard to say. If a role came around that really just spoke to me then I guess that would be the dream role of the moment.

What sort of roles inspire you? Well, I grew up watching a lot of period pieces, anything in a

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different time period, preferably the twenties and forties era stuff. But I remember there have been some performances that have inspired me to get into film; and of course my mother [actress Olivia Hussey], I love watching how she worked.

Both of your parents are successful in the entertainment industry; was that a large part of the reason you became an actress yourself? It was kind of a natural progression.

It was never really a question of if I was going to do it, it was always just kind of there and that was what I was going to do. I mean, I haven’t really thought of anything else that I’d like to do, so I thought I’d give it a go and as long as it continues working for me, I’ll do it.

Well it’s obviously in the genes! Yeah, well hopefully people won’t get sick of me!

I’m sure we won’t… We look forward to seeing this mysterious creature that you’re playing in Underworld Awakening… I know, I wish I could have told you more about it, because there are so many interesting things about the story, we just can’t give anything away!

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Playing Ares, the God of war, in the up and coming film ‘Immortals’ has put rising star Daniel Sharman on the celebrity radar. With a background in stage acting and now a desire to master film, Sharman tells Remix about his role as a Greek God, his heroes and earning his stripes.

Interview by SOPHIE DONOVAN Photographer Danielle Levitt Fashion editor CASSIA SKURECKI

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Tell me a little bit about your role in the film Immortals, released this November?

I play Ares the god of war who is the precocious young god who is hot headed and basically get everybody into a bit of trouble, which is a lot like me in real life! He has a very strong sense of justice and he is a kind of adolescent god, the one who needs to be reigned in by his dad. I think it’s a really cool part and it was really fun to play.

How do you prepare for a role like that, it must be hard to find a reference point for a Greek god? Yeah, instead of studying The Iliad or anything, I tried hard to make Ares very human and a lot of the reference points weren’t god-like. I tried to reference what it would be like to have an all-powerful father who is all encompassing, all powerful and sets rules, or a sister like Athena and what that relationship was like between them. I think the reference points were very family based and emotionally driven.

What was it like working alongside Mickey Rourke and Freida Pinto? It was an amazing experience. John Hurt is one of my heroes so to be able to spend time in his company and work with him and Mickey and Freida and all these extremely talented people was an amazing amount of fun. They were just wonderful people to spend time with, to be training with or to go to dinner with, they were just wonderful people.

Did you have to do a lot of training for some of the war scenes? Yeah I bloody did! I had to go up a month early and do a lot of training and all the actors spent a month in pre-training.

There was a lot of testosterone, a lot of sweat, and a real competitive nature but it was well worth it.

Previous page: 3.1 Phillip Lim shirt, Yves Saint Laurent pants, Martin Margiela shoes This page: Carlos Campos shirt, Zara sweater, Nike for Opening Ceremony shoes Grooming Kindra Mann Photo assistant Gray Hamner Fashion assistant Chloe hartstein Prop stylist Juliet Jernigan

We all got trained in boxing and anime, it was a lot of fun. In a lot of my scenes I had a hammer and a helmet so I had to get used to fighting with that, and it certainly prepares you to play the god of war, it gets you in the mood for a bit of fighting.

Are there any actors or actresses you look up to for inspiration? The person who inspired me the most is Peter O’Toole. I think if I have a career one-eighth the size of his, or play the parts that he has, I would be a very happy man. I feel like he’s my idol, I just adore him, and would watch anything he would do! Also Oliver Reed or Richard Harris, any of those old English actors I have huge admiration for.

What has been your favorite project to work on to date? I am a big one for doing really fucked up roles and I love playing twisted characters or characters with a difficult past.

Some of my favorite roles are playing people who are in a lot of trouble. As a kid I played a part where I had sex with my mother and my dad found out and I killed him. Not a lot of reference points for that but it was fun to do! I think the best part I played was Solyony in The Three Sisters. That was one of my favorites parts because he is such a dark character and such an interesting person.

Playing that and trying to bring some humanity to the role was great.

Do you do a lot of stage acting as well? I do, I went to John’s school in London and most of my career I have been doing stage, so doing film acting is a departure from the norm. I didn’t really think I’d ever be in front of a camera, I thought I would end up touring somewhere. So doing projects like this and learning to work in

front of a camera has been really interesting and something I didn’t obviously envision, but now that I’m doing it I want to master it and be a part of it because it’s such a wonderful experience.

How old were you when you decided you want to be an actor and what path did you follow to break into the industry? I started when I was quite young and I got a part in the Royal Shakespeare Company. From that point on as a kid seeing those plays and watching Shakespeare at that age, I think I knew that’s what I wanted to do. I really believe in doing the time and doing the work. I think that sometimes actors can go into something and expect overnight success. I really believe in doing the time, I think you have to play all the little parts and keep going up and up and up until you earn your stripes. I think it’s really difficult now to go into instant, stratospheric fame, I would be really unhappy because I wouldn’t feel like I’d earned it in any way, or have the experience or the knowledge or the know-how to deal with it. I think from that point I knew that it was something that I really needed to work up to and I’m still working towards it.

Have you got any projects in the pipeline?

In a running theme, the next few parts that I play will be very strange, odd characters. There are a couple of projects in the pipeline that will be along those very same themes that I adore playing which is the oddball of the group, the difficult character. So there are a few of those coming up…

‘There was a lot of testosterone, a lot of sweat, and a real competitive nature but it was well worth it.’

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Jason Lew is the triple threat of young Hollywood. Having had his screenplay directed by Gus Van Sant, a recent role in the action-thriller ‘Recalled’ and with ambitions of directing in the future, Jason opened up to Steven Fernandez about the art of storytelling and why sleep is overrated.

Interview by Steven Fernandez Photographer Steven Perilloux Fashion editor Matthias De Gonzales

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‘I just consider myself to be in the business of telling stories and whether you’re telling the story from a page or with words or from behind the camera you’re still telling a story.’

You recently wrapped filming on the thriller Recalled. What can we expect from this film and your role when it’s released later this year? Yeah it’s an independent film directed by Michael Connors, a great young director and it’s his first feature. He’s actually an ex-National Guard and it follows the story of this group of soldiers on the night before they’re set to deploy back to Iraq. They’re being recalled so hence the title. It follows this one solider played by a very good friend of mine Seth Gabel and his attempt to get one of their fellow soldiers out of their deployment. I play Sergeant Kraft who’s the self-serving supply Sergeant and he basically gets roped into this grand escape plan. It’s a really solid film and I think it’s going to surprise people.

Your play Restless was made into a film adaptation and directed by Gus Van Sant.

What was that experience like to have your script brought to life on screen?

Well Gus is one of my heroes cinematically and artistically, he’s definitely up there in the canon as one of the most important American film directors. The whole thing was such an intensely surreal project because it started as such a personal small thing when I was doing theatre in New York and trying to articulate some things I wanted to express. The closest thing I could imagine to being on set with Gus is if someone staged a dream of yours with every attention to detail. It was a phenomenal experience, difficult at times of course, but it was surreal.

Do you view either your writing or acting as a primary passion? Will you continue to pursue these equally in the future? I just consider myself to be in the business of telling stories and whether you’re

telling the story from a page or with words or from behind the camera you’re still telling a story.

There are different things I love about both but they sort of feed each other and when I’m doing one I always think about how it affects the other.

Having the solitary experience of writing and the collaborative elements of acting mean I can move between those two forms of storytelling.

Are you writing at the moment or working on a script? I have a film with a producer attached and we’re shopping for directors. It’s called The Free World and it’s about a man who is readjusting to society after being in prison for a long time for a crime he didn’t commit. It explores some of the same themes of isolation and loneliness from Restless but it’s much darker.

In any projects you’ve been involved in so far, have there been any role models who have given you some inspiration or tips? I learnt tremendous amounts from Ron Howard when he was helping me with Restless but I’d have to say I’ve learnt the most from my tribe, my group of friends who are artists. My dream is to keep collaborating with my friends and working the same people as much as possible since writing is such a personal process.

What about working with people such as Adrian Brody and Forrest Whitaker in The Experiment. What was it like working alongside acting heavyweights like that? Yeah it was like a Big Brother set with those mentors and Forrest is such a professional.

Even though we would kick it when there was downtime I learnt the most by just watching Forrest and Adrian acting at such a high level.

Are there any other male or female actors you look up to as an inspiration in

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by Timothy Priano.

your career? Although he’s not my generation I’m a huge fan of Sam Shepard’s career because he’s such an experimental playwright and screenwriter. His integrity is impeccable.

What films inspire you as an actor and writer? I think Alfonso Cuaron’s Children of Men is a really phenomenal yet underrated film it’s just so incredibly crafted and acted by Clive Owen. In the Mood for Love is probably my favorite film of all time I’m just a sucker for lush poetic films and I think Annie Hall is just perfection.

How old were you when you realized you wanted to be an actor and how did you first get involved in the industry? I grew up in Maine in a rural area and I was a troublemaker as a kid and got into theatre because it kept me out of trouble. I never thought of it as a viable thing and thought I’d wind up as a doctor like my dad but then it started to be something I was drawn to. It kept calling and calling and then in high school I decided to commit to it with the help of some great literature and drama teachers.

What things do you like to do with your time off? I like to go to the theatre and I love to cook with my girlfriend. I listen to a lot of music when I’m writing and I play the guitar poorly.

Even now living in California I’m still an indoor kid at heart.

So Jason what can we expect from you as a rising star in the next twelve months?

Well I hope to have a couple of my films set up and in production as a writer. I’d like to get into directing more and have some nice juicy acting roles to keep me from getting any sleep. Sleeping is overrated anyway, I can sleep when I die.

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photographer Annelise Phillips Fashion Editor Emily Barnes

i was dreaming in my dreaming

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Jean Paul Gaultier coat, Sea shirt, AF Vandevorst pants, Walter Steiger shoes

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Photographer Dean Podmore fashion editor Clare Byrne

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White on Photographer beau grealy fashion editor emily barnes

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LADIES CHOICE Photography david armstrong Fashion Editor christian stroble

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PLAYING HOOKIE Photography MATtHEW kristall Fashion Editor jason rIder

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Fashion assistant Elena Hale & Pia Rahman.

Model Yuri Pleskun @ Request Grooming: Maki H

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Connan MockAsin Interview & Photography

by SICCO DIEMER.

Connan Mockasin (nee Hosford) is a London-based composer, musician, artist and shoe designer from Te Awanga, New Zealand.

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I want to try to get an insight into how you have become the musician and artist you are today? I was brought up in a small seaside village called Te Awanga on the West Coast of the North Island of New Zealand. It was surrounded by vineyards and farm land scattered with old bits of metal and steel. My brothers and I would drag all kinds of detritus to our house to play with. My parents encouraged our creativity and let us turn the garden into a junkyard. They even bought us some welding equipment and tools to help us play out our fantasies. This seems to have informed the way I work, as I like to submerge myself in a project, whether it is welding an engine or making a record. I find it difficult to tour or to do press as it eats into the time I would otherwise use to produce work.

You mentioned that your father was in a band in the late sixties, early seventies.

Did your parents play a significant role in your musical formation? No, not really, my dad had stopped playing before we were born, however he did have a very good record collection.

My brothers and I, especially my older one, played a lot with a double tape ghetto-blaster. Back in the eighties we used to listen to Prince and Michael Jackson and overdubbed a lot of their songs.

Following in the footsteps of my best friend, I then started to play guitar. By the time I was 9 or 10 I had become obsessed with my guitar until I went to high school where, due to teen shyness I felt very self conscious and stopped playing altogether. I still have not got back into playing guitar.

Seriously? No, I played it so intensely when I was very young, though I never really seemed to have gotten any better at it ever since (laughs).

These days I just play it when I am performing or

recording and never really in between. A lot of the experimentation and improvisation that would perhaps otherwise happen in those in-betweenmoments, occurs on stage or in the studio where it somehow feels more natural to me. I don’t even use the guitar to write. I tend to write in my head when I am driving by myself, am in the shower or just walking down the street and think of the instruments that would come closest to the sound I want to produce.

The album took 18 months to produce: it has a beautiful delicate complexity and does not seem to wear thin easily, but instead seems to constantly evolve and offer new insights each time one listens to it. Oh, thanks. I started to write and record as I went along, rather than getting a bunch of tracks together and putting them in an order. A lot of people make records like that these days and to me that feels more like a mix tape or a play list rather than a proper record. I would start to write a song and go on tour for a while. The writing and recording didn’t take that long, but the actual gaps in between made it appear like that. Additionally I had no pressure to finish the album, as there was no real deadline. The only reason I was making it was because my mum had suggested I should do so.

When you first came to London, you went through a difficult period? Yeah, soon after we first arrived in London we ran out of money. To the point where we spent six weeks sleeping rough in parks. I came to this (musician Neil & Sharon Finn’s) house when I was homeless and could only dream of living here. It has really taught me to appreciate just what a privileged position I am in today: I don’t have to support myself with a ‘normal’ job anymore and can earn a living with

doing what I love most.

You have collaborated with Norman Cook, toured with Warpaint, Crowded House and opened for the Mystery Jets.

You were in BARB and Soft Hair and had your music remixed by Erol Alkan, Mickey Moonlight, the Invisible and Micachu and the Shapes. What are the new projects on your horizon? Michael Mayer has just done a remix of one of my songs. I am very excited to be doing my first remix ever for the Horrors and they are kindly doing one for me. Oh, Erol (Alkan) and I are remixing a song by Neil and Sharon Finn’s new project Pajamas Club, Joe Goddard from Hot Chip and I are doing a remix for one another and I am writing a track for the new Avalanches album.

I almost forgot your contribution to Charlotte Gainsbourg’s new album ‘Stage Whisper’. Can you tell us a bit more about the collaboration? She asked me to write a song for the new album so off I went to a studio in Paris to record with Charlotte. She was great to work with; an intelligent, open and wonderful person. Besides making a song she had also asked me to write the lyrics, which as you can probably imagine is rather difficult if you have only just met someone for the first time. I ended up just mumbling some stuff and she seemed to like it. I think they called it ‘Out of Touch’. I can play you some of it if you like.

Yes, I’d love to hear it. (Connan puts on the record). Oh and I am doing two exhibitions, one in Paris and in London.

Do you have any idea of what you want to do? I have only just started and to be honest no, not really. I am less confident about my paintings than my music. Erol (Alkan) suggested to put a painting on the cover of ‘Forever Dolphin Love’,

Part earthling, part cosmic poet, he fuses psychedelic lullabies with jazz interludes and hypnotizes you with his alien language and childlike voice.

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which really was the first time I have put my art in the public realm. I am definitely excited about the two shows, but only want to do them if I have made something I am 100% happy with.

Experimentation seems paramount to the way in which you make music. You have managed to make something which seems to be distinctly original. You don’t seem to make any direct references to other musical influences. Do you approach visual art in a similar manner? Oh, thanks a lot. No, I don’t surround myself with visual references if that is what you mean, and yes I suppose it is very similar process and just happens subconsciously. It is really hard to say though, and as I just said, it just seems to happen.

Would you consider turning your stage performances into a more visual spectacle a la Sufjan Stevens ‘Age of Ads’?

I would love to, but it is matter of resources and time. Both of which which I currently don’t seem to have enough off unfortunately. Then again, I rather like the relaxed, un-staged vibe of some of my shows. I suppose it all depends on the occasion really.

One could consider your video ‘Forever Dolphin Love’ a ‘gesamtkunstwerk’, it seems that making a film or opera/ musical are almost an obvious next step.

After my contract with Phantasy, I would love to at some point, have a crack at making a film.

Ideally in a similar way in which I recorded the album: without really knowing anything about the mechanics of film making and just jumping into it to see what happens. I would of course also love to do the costumes and music for it.

You have a style of dressing which seems

uniquely your own, are you interested in fashion, do you like clothes? I love clothes and dressing up, but am not so keen on the fashion industry. I respect people who design, but do not like a lot of the peripheral activities.

Again, I greatly respect original designers, but feel that a lot of fashion is based on mimicking others, which rubs me up the wrong way. To wear something because it’s in fashion is for people with no imagination of their own.

You are also a shoe designer, mainly of moccasins I hear. That’s how I got my nickname. I used to make them out of quad bike tires, leather and sheepskin. The tires have these knobby bits, which I would cut out and turn into the sole of the shoe. I would rivet them with thick leather and stitch sheepskin on top, the moccasins would be a little over ankle height. It would be much easier to show you, but unfortunately I do not seem to have any pictures of them. I would love to make some more, but as it takes me roughly two days to make a pair it seems unlikely I will do so until I go back to New Zealand.

Would you consider doing a collaboration with a fashion brand? Yes I would, I am not saying no to free clothes (laughs). In fact, Prada approached me to do a collaboration.

Designing shoes? No, I might be writing a couple of songs for some adverts, but I should probably not mention that.

Would you like to write a sound track?

Yes, very much. Interpreting someone else’s visual world through sound seems like a very interesting exercise.

What music are you currently listening to? I don’t really listen to much music. I love listening to bad demo’s I sometimes receive,

they can be really funny. I got a record player at the moment where I play the occasional record.

Oh actually, I love the music from Alejandro Jodorowsky, especially a track called Mattresses, Masks and Pearls from his movie the ‘Holy Mountain’. Sam Eastgate from Late of the Pier introduced me to it. It is very beautiful and could be the perfect funeral song.

Even though you say you are not, you are a multi instrumentalist. Besides the guitar I’ve seen you play the wooden shoes. Someone called Yuri Landman designed a new instrument for/with Liam Fin called the Tafelberg. If you could design a new instrument, what would it be and what would you name it? I had a go on it in their studio in New Zealand, it is pretty amazing. I am obsessed with mechanical instruments which almost play themselves but which you can still direct. I do dabble a little with making new instruments. Unfortunately I don’t have access to a workshop here to make any.

Can you give me an example? I started work on a vase-like instrument: a spinning disk with plectrums in the centre, and strings coming out from the middle shaped like a vase with handles at the top to tune them. The disk would spin and the plectrums would hit the strings…ping ping ping (imitates sound). I would love to once make a record only using instruments which I have built myself, or building instruments just for the record.

What would you call this spinning vase of strings? Mmm, not sure, maybe something like the ‘Jazzbuster’.

'I love clothes and dressing up, but am not so keen on the fashion industry. I respect people who design, but do not like a lot of the peripheral activities.’

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Venuz and $hayne both in hood by Air Venuz's, Robert Clergerie shoes, $hayne's sunglasses

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ghetto gothik Interview JOHNNY MISHEFF Photographer KAVA GORNA Fashion Editor emily barnes

New York nightlife has gone through it’s ups and downs. The last few years in particular have seen a major drought in exciting evening revelry. Enter Venus Jazmin Soto and Shayne Oliver, the brilliant minds behind the GHE20 G0TH1K parties.

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New York nightlife has gone through it’s ups and downs. The last few years in particular have seen a major drought in exciting evening revelry. The trends are gross: impenetrable and increasingly ego-inflated door people; nauseating displays of exclusivity; DJs monotonously drilling the same, dry musical selection from night to night. There is a distinct lack of creativity at play here - the true testament to a club’s success relies simply on boring celebrity sightings and outrageously dull atmospheres that come in pretty packages but deliver about as much soul and passion as the development room at a Q-Tip factory. Needless to say, we’ve been in a rut.

So when I first started seeing the bright and colorful flyers for GHE20 G0TH1K’s parties online and heard from a multitude of people of varying tastes and backgrounds about how revelatory and life affirming the parties were, I had to go and see for myself. I can honestly say that GG’s parties are like no other and have driven me to harder dancing and more sweating than I ever thought possible at this stage in my 32 years.

The two revolutionary minds behind all this jollification are Venus Jazmin Soto and Shayne Oliver (who daylights as the designer behind Hood By Air which enjoys a cult following), who dish out more twists and effortlessly challenging aural experiences than it would be possible to account for here. Their parties occur sporadically with no set schedule and take place in locations that remain undisclosed until the day of the event (according to Venus, ‘We keep the address secret in case the space is illegal’), harkening back to the days of the Rave.

The pair can also be found DJing at any number of other similarly inclined party environments, including but not limited to: Santos Party House, Home Sweet Home and any number of abandoned

Brooklyn warehouses. In fact, the Facebook invite for the most recent iteration featured the following information: **CASH ONLY **PLEASE BE DISCREET WHEN ENTERING TO AVOID COPS **NO HANGING ON THE STREET **NO BYOB, EXCEPT BLUNTS ETC **CASH BAR IN THE BSMT. How did this whole thing come about?

(Venus Jazmin Soto): We started DJing together last March about six months after the party started. We DJ’d together for about a year and then this March started performing back to back, i.e. one song for one song... We’ve been developing our own live sound since.

(Shayne Oliver): We used to be friends when we were teenagers, but got separated for a few years.

We rekindled our friendship last winter and our relationship grew through DJing together.

Talk about this style you’ve achieved.

(VJS) Our style is loud. (SO) Harsh, cue driven.

(VJS) When we were first djing together $hayne would use the main cues to make crashes that would wake the whole crowd up and annoy them.

After a while I couldn’t resist making noise with him so I started using the hot cues to sample different parts of songs. We ended up with a new, rough style of mixing that is pretty obnoxious, but intoxicating.

It’s the perfect recipe of a wide variety of styles and sounds - totally challenging and utterly unique. How hard was it to prove that it was danceable and people could really get into it? How did you know people would ‘get it’? (VJS) We don’t care, we just do what we feel needs to be done based off of what’s going on right now. So we are concious of what’s going on in the world and it’s not all fun and games but it’s very sexy and real and scary too, so we just keep it one hundred. Also we play

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music from all parts of the world, high brow and low brow, and across genres and time periods...

We have no boundaries, so we appeal to a lot of different people and their memories.

These parties are wildly successful. What are some tricks you use to make sure everyone has the best time ever? (SO) We control their minds. We play sirens and alarms and use different sounds to elevate the experience and encourage people to smoke hella weed.

Sometimes we play the news or commercials or really dirty interludes and movie clips. The whole set we do is pretty cinematic and there is a lot of information.

What are your plans to keep up all this good work? (VJS) Keep throwing parties that appeal to people globally and keep New York alive via the kids, the culture and the ideas. (SO) This is not a trend, we just take the temperature and read it so it’s constantly changing and the emphasis is on different themes and music at different times.

What is life outside this party like for the both of you? (SO) Outside of GG, I design Hood By Air. We are working on a new collection and products to be launched internationally via the online store later this year: www.hoodbyair. com (VJS) We are looking for a pop-up space to open a store-performance-skillsharing space so we can teach some of our younger friends to DJ and have a space to organize performances that are too abstract for the night. I’m also producing a documentary called Shakedown directed by Leilah Weinraub that will be premiering in early 2012.

Fashion Assistant Chloe hartstein Hair conrad dornan Make up Renato almeida

We control their minds. We play sirens and alarms and use different sounds to elevate the experience and encourage people to smoke hella weed.

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Ólöf Arnalds this mermerizing Icelandic singer and multi-instrumentalist is one to watch

Iceland, that geologically capricious land, glinting in the grey North Atlantic just below the Arctic Circle, populated by a mere 300,000 souls, is surely the mighty atom of nations, one that always punches miles above its weight.

Granted, that’s not always good news for the rest of us, but while its recent banking crisis helped usher in the worst global financial meltdown since the Wall Street Crash, and its ash-spewing Eyjafjallajökull volcano kept international air traffic on the tarmac for weeks, mercifully,

Iceland’s disproportionate global reach continues to have positive implications too, not least when it comes to the creative arts – especially music. Ólöf Arnalds is one such Icelandic export. A singer and multi-instrumentalist who was classically educated on the violin, viola and self-taught on guitar and charango, Ólöf’s most distinctive asset is, nonetheless, her voice. A voice of instantly captivating, spring water chasteness possessed of a magical, otherworldly quality that is simultaneously innocent yet ancient. Ólöf has

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also quickly proved herself as a magnetic, utterly self-assured stage performer, reliant as much on screwball humour, vaudevillian charm and even outright bawdiness, as much as the contrasting delicacy of her song delivery. Arnalds’ upcoming covers EP Ólöf Sings is due out on November 8 on One Little Indian Records. The five-track EP includes recorded explorations of road-tested covers from her live set and is her first recording performed entirely in English. PHOTO BY VERA PALSDOTTIR www.myspace.com/olofarnalds

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beauty & brains The Beauty Book for Brain Cancer is a 312-page hard cover collectable coffee table book featuring stunning beauty portraits of over 120 celebrities, musicians and top models.

Above: on the cover, Scarlett Johansson

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Emily Blunt

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It is a project very special to photographer Darren Tieste.He founded the project in February 2009 after he lost one of his close friends Natalie Sattler Esposito to brain cancer at the age of 35. Tieste wanted to give brain cancer a voice and raise money to fund more research. He was teamed up with the book’s co-producer Sarah ‘Pantera’ Uphoff in early 2010, as she also had a connection to the cause, with her mother also suffering from the disease. The pair have finally completed the project and the book is now on sale, available through their website at www.thebeautybook.org. All monies received will go to SNOG and HEADRUSH, two organizations dedicated to the brain cancer cause. Remix talks to Tieste about how he brought the project together.

How did you get your start in photography? My parents run and own a photo lab and studio in Sydney, Australia. I was given a camera at 13 years-old and taught to use it.

How did an Aussie lad find his way to Los Angeles and into shooting celebrities for a beauty book? I’d been living in the US for five years when one of my best friends, Natalie Sattler Esposito lost her battle with brain cancer.

At her funeral her family asked for donations for her charity SNOG (Sydney Neurology Oncology Group) in lieu of flowers so while I flew back to the US I thought about shooting a coffee table book in memory of her life and to raise awareness and funds for brain cancer research.

I’d already been in Los Angeles for years and had been working with celebrities so I called on

all my contacts to help me produce The Beauty Book for Brain Cancer and the rest is history.

What is your approach to shooting beauty? What is different about capturing a beauty image versus fashion? My approach for beauty is always to make the subject look amazing, beauty images are mostly face portraits and you need to be more of a perfectionist and have a good eye for detail. Fashion can be more free to photograph and usually you shoot head to toe or three quarter length but in saying that, every photographer has their own style and own way of attacking a shoot. There are really no rules.

Who is the most interesting person you’ve met along the way in producing this book? Wow, I’ve been so fortunate to work with so many amazing people. Scarlett

Above: Leighton Meester

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Johansson is stunning and very smart. Miley Cyrus is really down to earth and has big beautiful blue eyes. Fergie is gorgeous and is a really cool woman. Hugh Jackman was really compassionate and asked about my friend who died of brain cancer (and not to mention handsome). Love Leighton Meester; really cool gal and stunning skin - flawless. Kate Bosworth is beautiful and it’s no wonder she’s a big star.

Zoe Saldana was stunning and amazing to photograph… I could go on for ages about the roster of The Beauty Book.

What is the next project for you? Right now it’s all about raising money for brain cancer, so if you reading this please buy a book at www.thebeautybook.org

Miley Cyrus

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ŠThe Beauty Book for Brain Cancer by Darren Tieste / CPi. Published by Tieste Inc, November 2011. Available for purchase from www.thebeautybook.org or where all books are sold. For donations please visit www.snog.org.au

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remix loves: editor Tina Moore’s hot favorites all the way from New Zealand.

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1. Kim Crawford Sauvignon Blanc: A tasty explosion of fresh flavour. NZ is famous for making great Savs and this is one of the best. 2. Nick von K jewelry: Absolutely love his latest collection entitled ‘Figures of Speech’. Each piece is based on sayings from poular vernacular – like ‘Two Birds with One Stone’, ‘Half the Man I Used to Be’ and ‘Losing My Mind’ (pictured). www.nickvonk.com 3. Kohu Rd icecream: Straight up the BEST icecream in the history of icecream. Only available in NZ and Australia, but we’re confident it’ll take over the world any day now because it is truly awesome. www.kohuroad.co.nz 4. Kathryn Wilson: The first lady of New Zealand footwear just keeps going from strength to strength. We love her ‘Twyford Brogue’, it’s the ultimate casual dress shoe. www.kathrynwilson.com 5. Fairytales of the Brothers Grimm: Yes, it’s technically a children’s book, but we had to have it. It’s a brand new translation of some of the most legendary fairy tales and there is a stunning range of illustrations, images from some of the most famous illustrators from the 1820s – 1950s alongside new silhouettes made especially for this edition. New fave coffee table book. www. taschen.com 6. Commoners Alike: Well-designed classic basics for your wardrobe without the pretentious price tag. They’ve got all your wardrobe essentials sorted. www. commonersalike.co.nz 7. www.isaaclikes.com: Kiwi lad Isaac Hinden-Miller has been covering the New Zealand fashion scene through his blog Isaac Likes for years. Now he’s made the move to New York for a more global approach. We love his down to earth approach.

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remix loves: beauty editor Daniel Martin’s hot favorites for the season.

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1. Diptyque L’Ombre’ Dans L’Eau Fragrance: A unisex aroma of blackcurrent leaves and Bulgarian rose, this floral is crisp and clean on anyone who wears it. www. diptyqueparis.com 2. Yves Saint Laurent Zabriskie Boot:The best boot to wear with a skinny or slim boot cut jean or trouser. The stacked high heel adds a modern touch to its bohemian Rive Gauche spirit. www.ysl.com 3. KohGenDo All-in-one Moisture Gel: Made with mineral-rich hot spring water (Onsen-sui) and natural botanicals. The lightweight gel embodies all three elements of a daily skincare routine with the added function of a moisturizing mask. The perfect product in extreme weather conditions no matter where you are in the world! www.kohgendocosmetics.com 4. Carine Roitfeld: Irreverent: A chic and beautiful, visual history of the legendary stylist’s career. A must have for any fashionista! 5. Shen Beauty: This beauty haven in my neighborhood houses hard to find niche products from around the world. One of my favorite stores in Brooklyn! www.shen-beauty.com 6. Proenza Schouler PS1 Bag in XL: I don’t leave my apartment without it! The coolest and most functional bag anyone could own. www. proenzaschouler.com 7. TATCHA Evening Aburatorigami: These chic, black blot papers fit cleverly in a any clutch purse or a dude’s back pocket. A perfect and discreet companion to cutting shine without the use of powder. www.tacha.com

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No.1 PINOT NOIR

No.4 PINOT NOIR

SOhO McQUEEN 09

SOhO McQUEEN COUTURE 08

IN NZ – CUISINE 2010

IN NZ – CUISINE 2010

WINNER

WINNER

PURE GOLD MEDAL AIR NZ WINE AWARDS 2010

GOLD MEDAL NZ INT. WINE SHOW 2010

SOhO SAUVIGNON BLANC 10

SOhO WHITE SAUVIGNON BLANC 10

WINNER

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SOHO WINE CO BLACK & WHITE COLLECTION

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remix loves: fashion editor Emily Barnes’ hot favorites for the season 1.

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Creative Director: Zander Vera Art Director: Erik Bjarnason Publications: Issue: Close: Remix Magazine

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Fonts in Keyline: Avenir 85, Avenir 65 and Avenir 55 Fonts in Cropmarks and Slug: Avenir 85 and Avenir 65

1. Extra Place: Located at 10 Extra Place, New York, with its unique one of a kind antiques, collectibles, clothing etc. In here you can find anything from early 1980s Paper magazine to prizes from Coney Island’s game Arcades from the 1970s, to Tibetan good luck animal rugs. 2. British cobbler Chrissie Morris: Morris says, ‘I value what an active woman wants in a new shoe - what she desires from both a practical and poetic standpoint’. Need we say more? 3. Conscious cloth label Chinti and 7927 Mustang Loop Road Parker: For its British luxury basics made in an ethical way. The Fishergirl Italian cashmere or the classic organic cotton box T are welcome additions to our fall wardrobe.

4. Lingerie brand Maison Close: With its roots in the fames of French love, it avoids the pitfalls of vulgarity but rather offers women a graceful collection of seductive Park City, UT 84098 lingerie.5. Camerabag.tv: We love that it celebrates emerging image makers and equally highlights the beauty and style of the camera. 6. Heimstone’s Kelly green Charlie bag. Any New yorkers wardrobe would be helpless without black. So in from the sideline comes the delightful kelly green suede ‘Charlie’ bag bringing a welcome 689design.com 562.290.2689 shot of color. 7. Australian singer Lanie Lane: She’s adding sass to the smoky, sultry sounds of a bygone era. Lanie’s debut album To The Horses will be released in October on Jack White’s label Third Man Records 8. Norwegian jewelry designer Linn Lomo: Now based in New York, we love the luxurious feel of her downtown vibe, especially her silver bird ring set with black diamonds ring. Available at Oak and Eva.

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