March/April 2011 issue

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MARCH/APRIL 2011 www.papercutmag.com2


IN THIS ISSUE10 FROM THE EDITOR Past decades meet present progression

THE LIFE

11 What is it About Vintage? It just keeps us coming back for more

12 She’s Got the Look Beauty at its best; photographed by Conor Doherty

24 Ugly Shoes we Love Oui, Mademoiselle’s Annamária Kiss shares her collection

25 Fashion Robots What happens when the world is dictated by trends

BUZZWORTHY

26 On the Verge: Three young—and of course, extremely talented—photographers

34 Mod Squad Color crazed; photographed by Conor Doherty

40 The New York Chronicles: All black everything

42 Eye of the Beholder An interview with celebrity eyewear designer Stevie Boi

46 The Woman Warrior The ongoing battle of gender equality in the workplace

FASHION FORWARD

48 Day in LA: Adventures in the big city; photographed by Mike Nguyen

60 Erin Christine: On Her Way From YouTube sensation to MTV feature

63 Artfully Engaging The North Brooklyn Art Coalition unites artists with their communities

64 The Incredible Everett Hoag Your new best friend

68 Silk & Lace Vintage lingerie, updated; photographed by Gabriella Di Muro

80 Dangerous Liaisons Dangerously sexy; photographed by Natalia Borecka

ON THE COVERPhotographed by CONOR DOHERTY

Hair/Makeup JANEEN JONESStyling NICOLE HERZOG

Model ORLA ROCHE (MAGGIE) 0 37542 98437 4

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EDITOR-IN-CHIEFHayley Maybury

CREATIVE DIRECTORNicole Bechard

MARKETING AND TECHNICAL DIRECTORJamall Oluokun

ADVERTISING DIRECTOR AND PUBLISHERShomari Miller

FASHION EDITORNicole Herzog

COPY & WEB EDITORNora E. S. Gilligan

GUEST BLOGGER Annamária Kiss

CONTRIBUTING WRITERSVicky Anson ArTisTech

Nicole BechardErin Berry

Brittnee CannElysia Mann

Hayley MayburyBillie D. McGhee

CONTRIBUTING ARTISTS/PHOTOGRAPHERS Michael Antonio

Ryan BaterMatt Bennett

Natalia BoreckaTravis Curry

Gabriella Di MuroConor DohertyJustin HoganBrian James

Mauro LagigliaMike Nguyen

www.papercutmag.com


FROM THE EDITORPAST DECADES MEET PRESENT PROGRESSION.

Hello, Hello! I’m pretty sure it’s safe to say that everyone loves a good classic. Whether it be a movie, a song, a car or a dress, there is always something so elating about things that are lasting and timeless. For this reason, we decided to dedicate this issue to fashions of the past and everything vintage.

There is a constant stream of excitement flowing through the Papercut team with every issue we put out, but this one has been our most anticipated yet. The thing I love most about the pages ahead is that all the editorials are channeling past de-cades, while the articles focus on our present progression and accomplishments. As guest writer Vicky Anson says in her ar-ticle, “What is it About Vintage?”: “Nostalgia for the past doesn’t mean a lack of appreciation for the future.”

Also in this issue, we get a chance to look into the lives of some amazingly talented people. From young, emerging photogra-phers around the globe to celebrity eyewear designer Stevie Boi, who has been making waves all over with an eyewear collection suited for the masses. And don’t forget to check out our music feature this month, Erin Christine. Her soulful sound and pas-sion for music will leave you feeling pretty inspired. One last thing before I leave you—make sure to take a peek (if you haven’t already) at our special New York/Mercedes-Benz Fashion Week edition! Happy reading, Papercutters!!

xoxoHayley

P.S. As always, printed copies of Papercut Magazine are available for purchase on MagCloud ( www.magcloud.com )!

TOP-BOTTOM: Editor-in-chief Hayley Maybury at Lincoln Center during MBFW; Copy/Web Editor Nora Gilligan, Hayley and friend Jimmy Guzman (of JNG Floral Design) while visiting the lovely ladies of Mercura; some of the crew from our “Dangerous Liaisons” (page 80) editorial shoot.

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WHAT IS IT ABOUT VINTAGE?THERE’S JUST SOMETHING ABOUT VINTAGE FASHION THAT KEEPS US COMING BACK FOR MORE.

Written by VICKY ANSON

What is it about vintage fashion that captivates us so? Is it the charm of a classic look, or nostalgia for a bygone era? Perhaps it is similar to the appeal of a costume, with which we can possess the bold, cheeky spirit of the 1960s mod look, or the feminine elegance of 1950s fashion. Vintage fashions embody historical mystery, as we can imagine the world from which a particular garment came. Like heirlooms, vin-tage fashions that have been lovingly preserved can tug at the heartstrings in a way that no new garment ever could. For those of us who have fallen in love with a choice vintage find, there is an undeniable rush—complete with a quicken-ing pulse—that draws us to that perfect vintage dress, or those unbelievable vintage earrings. Like the thrill of a suc-cessful hunt, we know that we have found something special and unique, and if we allow it to get away then it might never be found again.

Modern fashion is always inspired by the past, which we give a nod to as we forge ahead, creating the future. The ele-ments from the past that we do not wish to leave behind iden-tify themselves as holding a value for us: in classic aesthet-ics, the work ethic apparent in meticulous construction or the prevailing values or attitudes of a period in time. Many of us find ourselves drawn to a specific period in history. While cur-

rent fashion trends seem to draw inspiration from different decades with increasing rapidity, many of us have held on to a silhouette, a mood or a color that was drawn from the influ-ence of a time gone by. Style is wearing what works for you, rather than whatever is trendy.

I myself am enchanted by the 1950s aesthetic—the graceful and polished class of it all. The allure of a time when women were dressed when they went out, rather than the ever-casual wardrobe that is the norm today. Pajama jeans, anyone? Don’t get me wrong—I wouldn’t wish to actually live in the 1950s. We’ve come a long way, baby. I could never give up our progress with civil rights—or the Internet for that matter—in exchange for feminine frocks. Nostalgia for the past doesn’t mean a lack of appreciation for the present. I am consistently amazed by the innovations of today, and the promises for tomorrow. Maybe this is why vintage apparel holds us under a spell; it reminds us of where we have come from, and where we would like to go.

LIKE HEIRLOOMS, VINTAGE FASHIONS THAT HAVE BEEN LOVINGLY PRESERVED CAN TUG AT THE HEARTSTRINGS IN A WAY THAT NO NEW GARMENT EVER COULD.


she’s got the look.Photography by CONOR DOHERTY Hair/Makeup by JANEEN JONES

Styling by NICOLE HERZOG Model ORLA ROCHE (MAGGIE)

Vintage hats courtesy of MARY’S CLOSET www.maryscloset.net


The term ugly, generally speaking, means unpleas-ant to look at. Something with unbecoming features. With a frumpy facade. But therein lies a very dis-turbing problem: who is it that determines the divid-ing line between ugly and beauty? Or is there actu-ally any line at all? Why is a bigger nose considered more ugly than a small one, or a thinner leg more beautiful than a thicker one? Does society, culture or the media have the right to decide what is unlovely and what should be ideal?

Following this conception, it seems we ap-proach fashion from one of two directions: either in a classic way, or with an outsider, riotous atti-tude. However, nowadays it seems that ugliness and oddity meld with exceptional style more and more. Maybe soon The Age of Ugly Shoes will come, when masterpieces like Alexander McQueen’s alien heels, Maison Martin Margiela’s Tabi boots or Wal-ter Steiger’s Ishi shoes will mean that accepted footwear-agent which we can only dream about now. Of course, here’s our problem again, because if ugly becomes casual, we simply refuse to wear it. It’s a vicious cycle. So the only conclusion is this: there will always be two significant ways to follow fashion; no matter if you find pleasure in the wide-spread or in rebelling, the point is, enjoy yourself in wearing your wardrobe.

Lately, I’ve started to collect these kinds of strange shoes. For me, the moment when people look at my feet and I see the little thunderstruck look in their eyes is priceless. So let me introduce two pieces of my newborn collection. Both of them are from a second hand shop and were ludicrously cheap. The heels reminds me of the nineties and some post-punk vibrations. The other pair is by an old Hungarian brand called Kőrös, and look like the good old 1970s loafer shoes. Actually, I think both pairs really are from those respective periods, and this vintage entity gives them added curiosity. Ugly or not, love them both!

UGLY SHOES WE LOVEOUI, MADEMOISELLE’S ANNAMÁRIA KISS SHARES HER COLLECTION (AND THOUGHTS).

Posted by ANNAMÁRIA KISS

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Trendy. Dictionary.com tells us the word is an adjective: “of, in, or pertain-ing to the latest trend or style; following the latest trends or fashions; up-to-date or chic; appealing to faddish taste.”

Why do you dress the way you do? To express your personal style? To make a statement? To follow trends, fit in and look attractive?

It is often believed that being fash-ionable equates with wearing what everyone else is wearing. So the lines of fashion become blurred: passion-ate fashionistas are frustrated with a lack of true, individual style, and the remainder of the population is fed up with seeing fashion victims wearing the same things. This—one might argue—fosters a lack of creativity in the way we dress ourselves. Save for the true cre-ative originators, we’re too much alike, and the idea of true, personal style is lost in the herds. Yes, the herds—like identical sheep—all wearing the exact same outfits.

When trends are dissected, it all comes back to the fashion industry. Spe-cifically, the trend forecasting industry. Businesses such as Tobe, Stylesight,

and Pantone’s Color of the Year all pride themselves on informing their corporate clients, typically buyers for large com-panies and designers, what the “next big thing” will be. How exactly is this done? Deep analysis of global street style, run-way and trade shows and retail reports are the main tools to determine what trends are up-and-coming. Pantone says that it’s known for “standard language for accurate color communication, from designer to manufacturer to retailer to customer.” Heavily researched reports are fed down the hierarchy of the fash-ion industry, eventually leading to the general population reading fashion magazines and style blogs. We hear a trend is about to emerge, and we all begin to wear it. This incredibly spe-cific and precise process leads to one end—a society where virtually every-one responds to each and every trend. Whether it’s rebelling and trying to avoid fashion (which is an impossible task) or embracing the culture and pas-sionately dressing in the latest fashion forward ensembles, all of us are victims. And thus, the sea of unimaginative citi-zens we can all relate to witnessing.

This leads me to the concept of fashion versus style. Style is what cul-ture is made of; it’s what sets us apart; it’s what gives us personality, pas-sion. Fashion is an industry just like any other—the goal is to make money through manufacturing new products. But style? Style is a way of living and a way of expression. What would become of a society without personal style? The robotic fashion victims desperate to fit in are giving us a sneak peek. Sim-ply following a trend without styling it doesn’t make anyone chic, it means you’re probably wearing a piece of clothing that doesn’t flatter your body type and will only sit in your closet with the other unworthy purchases. How many people, without a fine-tuned personal style, can pull off harem pants or a hippie headband without looking a bit stupid? The answer is very few. Trends are meant to be followed, but they’re also meant to be evolved and re-interpreted to lead to new trends. The next time you go downtown to pick up the “latest,” consider why you want to follow the trend. And—more impor-tantly—how you’ll make it your own.

FASHION ROBOTSWHAT HAPPENS WHEN THE FASHION WORLD IS DICTATED BY TRENDS.

Written by ELYSIA MANN

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ON THE VERGEON THE VERGE ON THE VERGE ON THE VERGE ON THE VERGE ON THE VERGE ON THE VERGE ON THE VERGEIN AN AGE WHERE DIGITAL EQUALS ACCESSIBLE, PHOTOGRAPHY HAS BECOME A NEW AND EXCITING FIELD FOR INDIVIDUALS OF ALL AGES. THIS MONTH’S ON THE VERGE FEATURE BRINGS YOU THREE VERY TALENTED (AND YOUNG!) PHOTOGRAPHERS.


TEENAGE DREAMRYAN BATER IS ONLY 17 YEARS OLD WITH A PORTFOLIO WELL BEYOND HIS YEARS.

Interview by NICOLE BECHARD

The basics: name, age and where you’re from?My name is Ryan Bater, I’m 17 years of age, and I’m from South Wales, United Kingdom.

Education credentials?I am currently a full time first year stu-dent at Gower College, Swansea. I am studying four A-levels, and planning to study one more course next year within a fast track (two years of work [completed] in one year).

When and how did you first get started in the field of photography?I first got started in the field of photogra-phy over a year ago, when I was 16 years of age. I fell in love with photographing the beauty of specific things that I found interesting, mainly landscape photog-raphy. I then arranged to photograph a young, beautiful female of [my] same age at the time. I really enjoyed the di-rection of how everything worked, and suddenly became hooked on the genre of fashion photography.

I understand you are self-taught. Do you feel this has given you a unique advantage? If so, how?Being self-taught allows you to learn and experiment and practice within your own time scale. It allows you to get to know what your photographic equipment can [actually] do, from the [very] basics to the more advanced lev-els. Instead of learning [photography] theory from a teacher, you get to learn it through experimentation, your own investigation and your personal way of learning. I believe that’s the best way of succeeding and realizing [whether] you have talent within the industry or not.

Where do you draw inspiration from?The photographer that I draw my in-spiration from at the moment is Kesler Tran. He has such beautiful work that conveys a high level of emotion, and the portfolio of his work shows how con-fident he and his team are, from the directing to the photographing of his models. I also draw inspiration from a specific blog site, coûte que coûte. It’s

very inspirational, and a unique source for ideas. Other inspiration draws from specific teenage fashion photographers from around the world—there are many that I admire and communicate with frequently, and they really inspire [me] to keep working hard.

Film, digital or both?Both, but mainly digital.

If you could photograph any person/place/thing in the world, what would you choose?That’s a hard question to answer, as there would be a list. If I have to choose at the moment, it would have

to be a female model based in France, Amandine Camporro.

What is it about the field of fashion photography that really drew you in?I find it beautiful, everything from the whole production, to how it’s pho-tographed. You’re allowed to bend the rules or make up your own, and ex-press your vision in any way you feel. [Not only are you allowed], it’s accepted and encouraged. I also strongly love to direct the team, and of course the mod-el; direction is one of my main [draws] as a photographer. I’m currently work-ing much harder and enjoying myself while doing so. I’m also looking at

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more options—I’ve recently taught my-self how to sew, knit and make cloth-ing, and it’s seriously interesting how I’ve considered myself learning these things from taking up fashion photog-raphy. It’s even more interesting won-dering what direction I will decide to take—to be both a photographer and a designer, would be something!

What can we expect to see from you in the future and/or where do you see yourself going?You can expect to see me carrying on and working as hard as I possibly can, being more involved within the fash-ion industry as a whole. I will be col-

laborating with a variety of magazines from around the world in the next few months and being published a lot more frequently. I am working the hardest to my abilities within college, hoping to succeed with a very good amount of qualifications. In many years time [you can] expect to see a large recognized portfolio of work from me. Links and other self-promotion?www.ryanbater.co.ukhttp://www.coutequecoute.blogspot.com/

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YOUNG VISIONARYBRIAN JAMES’ CREATIVE EDGE DERIVES FROM EXPERIENCE IN MAKEUP ARTISTRY AND PHOTOGRAPHY.


The basics: name, age and where you’re from?My name is Brian James; I’m 18 years old, and from Boston, Massachusetts.

Education credentials?I recently graduated high school in 2010, and am currently attending a lo-cal college with plans to transfer to an art school in New York to obtain a Bach-elors Degree in Fine Arts.

How and when did your love affair with a camera begin?As long as I can remember I’ve had a fascination with photography. As a little kid I would beg my parents for disposable cameras so I could explore the woods around us and take photos. When I was about 15 years old I took up photography as a hobby with my first real camera. I immediately fell head over heels in love with the art and the industry the more I explored and learned about it. Since then I have been working hard to better myself as a pho-tographer driven by an endless thirst for knowledge. As my love grew I began reaching out and collaborating with other artists at 16 years old. Gaining that experience really helped me not only develop as a photographer but as a person too. I am so grateful to have re-ceived the support and encouragement I have from family and friends.

Where do you draw inspiration from?Inspiration can honestly come from anywhere, and it‘s hard to say what it will be or when it will come. I’ve had ideas come from everything from hu-man emotions all the way to things such as thunder storms. Sometimes things as simple as different textures, colors, or shapes might call to me and spark an idea. The looks or attitudes of certain models can even inspire a clus-ter of ideas which I can pull from. Occa-sionally an idea or vision will just come to me seemingly unprovoked which I develop and give my all to bring to life. No matter where my inspiration comes from, I’m always looking to narrow down and refine my ideas into concepts for photo shoots.

Film, digital or both?Both. When I first got really involved in the art I was lucky enough to have the opportunity to learn the fundamentals of photography in the dark room which helped me learn the digital side. As much as I love the traditional practices, living in such a technology-based world it only makes sense to shoot digital so that’s what I focus on. When I do shoot film now it’s generally for more artistic personal projects in which I just let go and have fun with.

If you could photograph any person/ place/thing in the world, what would you choose?I would absolutely love the opportunity to meet and take portraits of fashion legend Karl Lagerfeld. He has a truly incredible mind, and I feel it would be such an honor to meet and speak with him over a shoot.

I understand you are also a makeup artist (awesome!). Were you established in that before you became involved in photography or was it the other way around?My mother is a cosmetologist of 30+ years so I had always grown up with an interest in that world. When I was about 13 or 14 years old I started ex-perimenting with makeup which lead me to take classes at 15. I would say my passion for makeup is absolutely what lead me to photographing people. My interests in both makeup artistry and photography in a way fused together and grew. Having the ability to do both is something that has definitely proved to be helpful.

Do you feel your background in makeup artistry heavily influences your photography?I feel that my experience in makeup artistry absolutely comes into play when developing a concept for a shoot. Being as comfortable as I am with makeup gives me insight which some photographers don’t have. It allows me to build looks based off of products I myself have put to use and am famil-iar with. This really benefits me when

working with other makeup artists; it’s extremely helpful to be able to talk specific product and possible execution while on set.

Where do you see your photography taking you this year?So far I have been beyond fortunate to meet and work with some truly won-derful and incredibly talented people. It’s amazing what a year can bring so I really hope to keep on that same path. This year I see myself continuing to build my portfolio gaining as much experience and knowledge as I can to ready myself for taking on New York City this fall. While there I hope to suc-ceed in school, network and hopefully get the chance to work with some great artists. There is really no telling what that step will bring me, so we‘ll just have to wait and see what’s in store.

Links and other self-promotion?My website www.brianjamesphoto.net is currently under construction. Until that is running, view examples from my portfolio and contact information at www.brianjames092.daportfolio.com


SIGHT-SEEINGFOR MAURO LAGIGLIA, THE CAMERA SERVES AS AN EXTENSION OF HIS OWN EYES.


The basics: name, age and where you’re from?My name is Mauro Lagiglia, I’m 20 years old and I’m from Buenos Aires, Argentina.

Education credentials?I’ve done a lot of things in my life. I’m crazy about languages and cultures: English, French, Italian and Russian are just some of them! When I was a kid I went to music school where I learned to play piano, compose and sing. At the age of 18 I moved alone to Buenos Aires, and that’s where ev-erything started. I used to study cin-ematography; it really wasn’t for me. Now I’m finishing my college career as a fashion producer and working as a photographer and stylist!

How/when did you become involved with photography?I think it all started in 2006. My par-ents gave me a Kodak digital camera

for my birthday. When I took the cam-era for the first time it became part of me, as a continuation of my own sight. Since then, I never stopped.

What is your favorite subject matter?I would [usually] choose women’s fash-ion, but I’m actually exploring men’s fashion and a whole new way to show things. Fashion is such a powerful way of art, of communication. Fashion shows the world who you are and who you’d like to be. The funny thing is that you live your life through it, and you don’t even realize it.

Where do you draw inspiration from?I’m inspired by life. Everything that re-ally touches me means an inspiration for me. I’m very connected to music. I’m a music freak, sometimes when I’m walking on the street listening to my MP3 player—which goes from Mozart to Ke$ha and the Chicago musical to Lykke Li—I invent poses and faces

“FASHION IS A POWERFUL WAY OF ART, OF COMMUNICATION. FASHION SHOWS THE WORLD WHO YOU ARE AND WHO YOU’D LIKE TO BE. THE FUNNY THING IS THAT YOU LIVE YOUR LIFE THROUGH IT, AND YOU DON’T EVEN REALIZE IT.”

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that my models do later. If you see me, you will laugh.

Do you have any preference when it comes to either candid or posed shots? You seem to do very well at mastering both!Thanks! [laughs] I have no favorite, I like both as long as they work. I think it depends on my mood, but also has to do with the strength of the model, the place and the stylism.

Film, digital or both?It is very comfortable to work in digital; also it is cheaper and faster. But, there’s nothing like the magic of film.

If you could photograph any person/place/thing in the world, what would you choose?Any person would be Sasha Pivovarova. Russians (and her in particular) have a lot of mystery caught in their gazes, but their eyes still radiate tranquility. An-other option could be Coco Rocha! She has a unique energy.

Where do you see your photography taking you in the next year?All these incredible things are happen-ing so fast, I can’t tell where I will be in a year. Wherever I am, I hope I’m meeting new amazing people, stories and places!

Links and other self-promotion?You can check part of my work as a photographer (and as a stylist) at: http://flickr.com/mlagiglia. I also have a blog where I talk about how fashion in-vades my life everyday, so you can visit it at: http://maurolagiglia.blogspot.com.

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Photography by CONOR DOHERTY Hair by MICHAEL ALBOR of LOFT SALON

Makeup by BRE WELCH of ZERO 2 SIXTY CREATIVE Styling by CALLISTA WILSON of ENNIS INC.

Models CAMERON (MODEL CLUB), SHAINA PERKINS (MAGGIE) & NICOLE (CLICK)

mod squad


THE NEW YORK CHRONICLESALL BLACK EVERYTHING.

Written by BRITTNEE CANN

PHOTOS BY JUSTIN HOGAN

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There are many stereotypes out there about New York fashion, but probably the most widespread is that the City’s residents have a strong pen-chant for wearing all black. Not only is this the most widely accepted idea, but it is also very true.

I always wore a lot of black, even before moving to NYC, but this bor-derline addiction only spiraled more out of control afterwards. So much so that one of my New Year’s resolutions this year is to buy only black, white or gray clothing (so far so good). The craziest part of this being that, in my monochro-matic brain, it doesn’t seem at all ridicu-lous. The thinking behind this resolution came from the realization that anytime in the past I had bought clothing in a color other than black, white or gray it ended in regret. I would just look at the piece hanging in my closet, thinking, “I wish that were black.” Even worse, I’m getting to the point now where I some-times don’t even know how to wear color. What goes with pink? Beats me. I only wear black jeans, never blue. I don’t pre-fer any nail polish color outside of the grayscale. I think yellow looks weird paired with anything, and—excluding leopard prints—I haven’t worn brown in at least three years. So, what gives? Is this an engraved personal preference of mine, or is it the overall vibe of New York City having its effect on me?

If I take a survey of my friends in New York at any given time, most of them will be wearing black—most. Some of the New Yorkers I know love

to wear color, but still I’ve found this dressing choice to be contingent on what season it is, which also coincides with mood, of course. In the summer there are more colors walking through the streets; during the cooler months it is a near blackout. Thing is, in New York most of the months are cold. Could that be an explanation for the dark-ness? Perhaps, but there are other pos-sible answers as well.

The all black fashion phenomenon could be attributed to the universal opinion that black is a flattering color for every woman to wear. Though, as it turns out, that might not be true. In January of last year, New York Magazine published a story referencing research conducted by the Daily Mail, with ex-pert color consultants saying that only one in five women has the proper skin tone to look flattering in black clothing (after this story was published, there were shrieks heard from all the way up in the Bronx through to the southern-most point of Brooklyn). The experts claimed that black clothing emphasizes bags under the eyes, make wrinkles look darker and deeper and can even

create the appearance of fissures or dark spots in the eyes. Whatever, ex-perts! Because even if this argument makes sense as to how black clothing affects a woman’s facial appearance, it doesn’t apply to the way it makes her body look. Point blank, black clothes are slimming for everyone. They can help accentuate the body in the right places and hide it in the others. Black clothes do not give off any shadows where the fabric is creasing or where there are lumps in the material. Even more, a full black look forces an onlook-er to view the woman as a whole, rather than in several separate parts.

Another thought on why black is always trendy is simply supply and demand. People will always be inclined to buy black clothing because it is a safe and easy choice. Based on this, it makes fiscal sense for designers to produce their items in black, ensur-ing sales. So of course designers will almost always produce a black version of whatever item they are selling. This is the reason why the silly snowclone phrase, “is the new black,” became famed in both fashion and pop culture circles, and also why there will never truly be a “new black.”

For me, it won’t ever really matter why I like black—be it the season, my mood, the influence of the city or other-wise. A personal like for anything can’t ever really be explained anyway. Plus, having a closet full of only a few simi-lar shades makes it a hell of a lot easier to get dressed in the morning.

EVEN WORSE, I’M GETTING TO THE POINT NOW WHERE I SOMETIMES DON’T EVEN KNOW HOW TO WEAR COLOR. WHAT GOES WITH PINK? BEATS ME.


EYE OF THE BEHOLDER

CELEBRITY EYEWEAR DESIGNER STEVIE BOI IS REDEFINING THE IDEA OF ALTERNATIVE STYLE.


Interview by NICOLE BECHARD Photography by MICHAEL ANTONIO of www.michaelantonio.net

Hair by CHERELLE RENEE Styling, clothing and eyewear by STEVIE BOI of www.stevieboi.com


Let’s start with the basics. How did you first get into design?I engaged myself with design just only a year ago. I was more interested in mod-eling and photography—as I did both—but [eventually] found the passion for design through accessories, etc.

Did you study design or are you self-taught?I taught myself how to sew. I broke a lot of sewing machines during this time, but then I found the creativity in re-constructing old accessories and mak-ing them more modern.

Who or what are your most notable influences as a designer?My biggest inspiration is Grace Jones! I would love to work with her! Every-thing she stands for as an artist boost-ed my confidence in what I do.

Your eyewear implements many different types of materials—from stainless chrome to pewter to fabric. What are some of your favorite me-diums to work in?I love working with the stainless chrome! It is tedious but also very great in quality. My new line is all chrome and metals, and I love the new transi-tion from fabrics to metal. It’s refresh-ing and actually more me.

Do you have any personal favorite shades from your line(s)?Believe it or not, I fall in and out of love with my own pieces. But I love this new

piece from my collection, which I will call “Starz of Davidz.” I’m sure they’re going to sell a lot, due to them being so odd in shape and symmetrical to a human’s face.

Your line “Toxic” (launched in 2007) has been described as “champion-ing supernatural innovation with eclectic remixes of alter personas”. We’re not sure what exactly that means, but we like the sound of it! Can you elucidate?Oh wow. A lot of people gave that line so many different meanings, so I’m not exactly sure what that review was based upon. But my new line, com-pared to “Toxic,” is way better in color and organization.

Your 2009 collection “Diablo” has been worn by the likes of Lady Gaga, Trina, Ester Dean and Tila Tequila (to name a select few!). That’s amazing! Do you collaborate on special orders with any of your celebrity clients?It was amazing having the likes of [those] celebs in the shades! I enjoyed the process of making [the shades] for them as well, and being open-minded and letting them use me as a crafting tool for their styles, etc.

Your newest line “CoExist” debuted at Mercedes-Benz Fashion Week this past February. That must’ve been an amazing experience!It was amazing! I’m extremely excited for the reviews and the support that I

have been given during the making of this line!

Despite your celebrity following, prices for your eyewear rangeseverywhere from $15–$450. We love that your products are not only very cool, but very affordable! I feel in this time it’s best for me to offer quality products for a lower price to all demographics. It’s best to win over your clientele by showing them you can have a great product at a low price.

What can we expect from the SB brand this year?Many magazine spreads, ads, etc. I will definitely be taking over a lot of maga-zines, [whether] you see me physically in them or not!

Last question (well, almost) and we have to ask: can you actually see out of the shades?Yes, you can literally see! On my specs website it shows the visibility level of the shades. The lowest [visibility] is 55 percent, but most of them are 95 percent.

Links and other self-promotion?Yes, my website is www.stevieboi.com but for cell phones and slower PC’s use www.sbshades.com.

“I TAUGHT MYSELF HOW TO SEW. I BROKE A LOT OF SEWING MACHINES DURING THIS TIME, BUT I FOUND THE CREATIVITY IN RECONSTRUCTING...”

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THE WOMAN WARRIORWHEN IT COMES TO GENDER EQUALITY, IS THE WORKPLACE WOMEN’S FINAL BATTLE?

Written by BILLIE D. MCGHEE

Margaret Thatcher is attributed to having stated, “If you want anything said, ask a man. If you want anything done, ask a woman.” Women have come a long way from being considered the weaker sex. From education, marriage, vot-ing, work and wages, the opportunities for today’s American woman are far greater than they have been in the past, or comparative to some other countries. It’s crazy to think that, not so long ago, we were condemned for wearing slacks and taught that our most productive use was in the kitchen. The 1960s to present day was substantial time to boomerang our role in society: we went from homemakers to CEOs, and now it seems we’ve reached a point where a home economics class might be interesting just to find out what all that cooking stuff is about.

Still, there are strides that have yet to be made to reach a point of true equality. One area that remains slighted when it comes to our quest is the workplace. Last December, the U.S. Congress Joint Economic Committee released a comprehen-sive review of women in the domestic economy, stating that, for the first time in our nation’s history, women comprise half of the U.S. workforce. But despite the new numbers, men still manage to earn more than women do, even in equivalent job positions. Some men treat women as less valuable employees and peers, and in some cases fellow female colleagues join in on the discrimination, in a cruel way to self-promote themselves. The New York Times released an article last May entitled “Why is Her Paycheck Smaller?” which presented an elaborate dia-gram showing the gap across occupations between earnings brought home by women versus those brought home by men. Whether the difference in paychecks was less than one percent or as high as forty percent, women suffered in every compari-son. In Women, Work and Politics, authors Torben Iversen and Frances Rosenbluth discuss how, although they are capable, women don’t exercise power the way men do: “Women are un-derrepresented in government legislatures, corporate board-rooms, earn less than men for comparable work, and are sig-nificantly more likely to live below the poverty line.”

So why is it, that with all these women in the workplace, the highest paying jobs still go to men? Much of it may have to do with having children, and I’m not just talking about three months of maternity leave. Women tend to slow down once they have children, and time away from the office means a less productive employee. Women in the fast lane can’t afford to lose any time maintaining their career. Careers in finance, in-surance and law, especially, aren’t known to have a lot of extra vacation time, so children become a huge consideration in the work we do. Unfair, maybe, but this is less of a deciding fac-tor for men. On another side of the career spectrum, women with jobs that include clerical work, bookkeeping, food service, lower-school teaching, childcare and other less-competitive positions aren’t penalized as harshly for slowing down. Since the aforementioned jobs offer more slack, they result in an overflow of female employees. According to a 2009 study of the “20 Leading Occupations of Employed Women” by the United States Department of Labor, jobs with a smaller wage gap

were the same as the jobs listed as being predominantly fe-male. Secretarial and administrative assistant rolls ranked as most commonly filled by a woman. Not far behind were nurses, elementary and middle school teachers, cashiers, nursing/psy-chiatric aids and retail sales associates and managers. Since the workload for these jobs wouldn’t dramatically suffer if the employee needed more time off to tend to her family, this is where the female population has gravitated.

Some may argue that women are better fitted for these jobs. In general, woman are believed to have a higher level of empathy, to be more caring, understanding and able to more effectively carry out multiple tasks at the same time—quali-ties that would be good for someone who works in a profes-sion devoted to helping others. Maybe since most men are considered to not possess these qualities they make them-selves useful in other fields. I think that the professions our country’s women have gravitated toward should not be over-looked by anyone as being menial work or as being strictly for women. Since we see mostly female grade school teachers and assistants the stereotype that only women can pursue these careers has been perpetuated. Male nurses and secre-taries are still considered strange to a lot of society, and that’s only because we continue to believe that a woman can only fill these positions. Another answer to women’s injustice in the workplace is that we are still creating and conforming to social norms that are slighted against women. I can remem-ber the injustice I felt in elementary school, when the teacher would ask if there were any strong boys willing to help car-ry chairs into the gymnasium. The conditioning starts at a young age, when little boys are given complex video games and Lego sets to put together while girls are given plastic dolls and Easy-Bake Ovens. These details go unnoticed, but work subtly towards the creation of a culture in which women seem to have less potential than men and are herded toward female-friendly careers.

In the end, there’s no straight answer as to the cause of gen-der discrepancies in job wage and opportunity, or to what we can do to fix it. There are many women who are happy to say that they are not affected. Small business owners, CEOs and politi-cians, are examples; we need to hear more from these women to find out what they did for themselves to step outside the norm. Forbes “Most Successful Women in 2010” listed some familiar names such as Michelle Obama, Oprah Winfrey and Lady Gaga. However, there are other women you may not have heard of that are creating waves in the business world: Irene Rosenfeld, Chief Executive of Kraft Foods; Angela Merkel, Chancellor of Germa-ny; Indra Nooyi, the Chief Executive Officer of PepsiCo; Carol Bartz, Director, President and Chief Executive Officer of Yahoo! Inc. All are celebrities of the corporate world, women warriors of our society who are breaking down the walls in the workplace. Both women and men can and should learn more about our cur-rent state in the economy and work toward a future of equality that will ultimately benefit us all.

OPPOSITE: Concept and styling by Billie McGhee; photography by Matt Bennett, hair/makeup by Janeen Jones; model is Dobrodana Popova.


DAY IN L.A.Photography and post-production by MIKE NGUYEN Assisted by JEFF GUTIERREZ AND JUN MAPUE

Hair/Makeup by BARBARA YNIGUEZ (CURRENT STUDIO LA) using I.C.O.N. Wardrobe/Styling by KRISTEN M. STUART

Model BROOKE ANDERSON (EDGE MODELS)

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THIS PAGE AND NEXT:Vintage sweater, scarf, skirt

and purse from AROUND THE CITY VINTAGE; cut-out wedges

from SHOES FOR THE STARS; jewelry and vintage film

camera are stylist’s own.


Vintage sequined shirt and skirt from AROUND THE CITY VINTAGE; belted wedges from SHOES FOR THE STARS; jewelry and vintage film camera are stylist’s own.

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THIS SPREAD AND NEXT:Vintage polka-dot shirt, skirt

and clutch from AROUND THE CITY VINTAGE; black heels

from SHOES FOR THE STARS jewelry is stylist’s own.

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THIS PAGE AND NEXT:Dress by LAUREN ELAINE;

cardigan from AROUND THE CITY VINTAGE; wedges from

SHOES FOR THE STARS; jewelry and socks are stylist’s own.


ERIN CHRISTINE: ON HER WAYFROM YOUTUBE SENSATION TO MTV VIDEO STAR.

Interview by ARTISTECHEveryone knows the Justin Beiber story by now. With hard work, determination and a lot of YouTube videos, he caught the eye of talent manager Scooter Braun, and the rest is history. Pretty amaz-ing, right? The same story is starting to be etched in stone for Erin Christine, a beautiful, talented musician and song-writer, who had her first music video shot by MTV personality Quddus after he watched her singing and playing pi-ano on YouTube. Through soulful, emo-tionally charged lyrics, and a sound that fuses pop, hip-hop and new school R&B, Erin Christine has a cool sound that is desperately missing from today’s overly-synthesized-house-inspired pop scene. And with artists like John Legend and Quddus co-signing on her talent, it’s only a matter of time before the industry gets a heavy dose of Erin Christine.

Your sound is very different from the current blend of house pop that is flooding the airwaves at the moment. Why and/or when did you decide to settle on this kind of vibe for your

current sound? Do you see yourself trying something new in the future?I think it was when I teamed up with Tiff Starr that we created this sound. Tiff writes very emotional lyrics, which complement my soulful voice and piano compositions very well. I think we knew this is the lane we needed to be in, as soon as we recorded our first song to-gether! I for sure see my music growing over time, but as far as moving into a different genre, that’s not even some-thing that’s crossing my mind right now. I’m just focused on creating this sound we have now, and building it with Tiff.

When writing your music, what is your process? Do you experiment? Start on the piano? Or perhaps have a concept already in your head? I usually start creating chord progres-sions or melodies on the piano. Once Tiff Starr hears something that she vibes to, she writes lyrics and melody. After the vocals are all recorded I add production. It’s a long process, but when you hear the final product, there’s nothing like it!

PHOTO BY TRAVIS CURRY

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When exactly did you start play-ing the piano? Do you play any other instruments?I had a piano growing up and would al-ways fool around on it, thinking I was Mozart! I would always make melodies or chord progressions by ear, and from then on I just always had a love for the piano and pretty much couldn’t keep my hands off of it. Never had a lesson in my life—just continued to practice till my hands were sore! I also play a little vio-lin and guitar, and am looking forward to pulling those out on stage.

As someone who went to Berklee, how did that experience help mold you into the person you are now? Going to Berklee was one of my greatest experiences. I went into Berklee thinking I was the shit (coming from a small town I was one of the best singers in my high school). But when I got there, I quickly re-alized that I had a lot of competition and a lot of learning to do! It really made me step up my game. Berklee [attracts] some of the world’s best musicians, and it was a blessing to be a part of that. All said, go-ing to music school was the right choice. I grew so much as a person and as an artist, and my passion for music became more intense as I was inspired every day.

You recently recorded your first mu-sic video with Quddus (of MTV fame). What was that like?That was such an amazing experience! Pretty much everything that could have gone wrong that day went wrong and that was the beauty of it. Up until an hour before we started shooting we didn’t have any locations for the video. Up until literally the night before the video we didn’t have anyone to play my boyfriend. We were working with natural lighting so time was not on our

side. In the end, everything worked out better than I could have ever imagined. It was so great to work with Quddus. He has such a beautiful eye and truly captured the realness of a relationship. He is so passionate about directing, and it’s very inspiring!

Speaking of music videos, I notice you have 50 videos on your YouTube page. How much would you say that YouTube and other social media/networking tools are a part of your musical persona?I think it’s so important to connect with your fans and let them know who you really are. That’s why I love to do videos of me singing in the studio, or lugging my piano around the city to my shows or even of game night with Tiff and friends. I like to let people in and know what I’m about so they feel connected when they listen to my music.

How is working with Tiffany Starr? What has she taught you about music, writing and the industry? It’s been a blessing! Tiff Starr has given me everything from a studio to work in to a couch to sleep on. The knowledge I

have gained from her is priceless. The one [biggest] thing I have learned from her is that when there is a will, there is a way. She tells me that just about every day!

For a lot of budding artists, the live show is the number one way people experience your music. What do you do to get ready for a show?Before my shows I do my vocal warm ups and then really I just like to be by myself and get in the zone. My perfor-mance is so emotionally and physically draining that I just like to be in my head before my shows and not really talk to anyone. I actually feel bad for the people who talk to me before my shows, be-cause I usually give them one-word an-swers (in the nicest way possible)!

The current musical landscape is rapidly evolving. It seems like each week a story comes out detailing the decline in CD music sales (and tepid growth in digital sales). How do you feel about the current state of the music industry, and how is this affecting how you go about creating your music, marketing it and selling it?It’s definitely sad that people are not buying albums like they used to. But it really doesn’t affect how I create. I make music because it’s my love and my life. For me, it’s just an added bonus that people listen to my music and like it. Because the music industry is the way it is and no one is buying albums, you have to think outside of the box. Thankfully I have a very smart, cre-ative and strong team behind me who does not take no for an answer!

What’s up next for Erin Christine?Looking forward to jumping on some tours and rocking on stage with my band! Definitely [will] continue to keep improving and creating new ideas for the live show. March 21st, I’ll be on stage at BB Kings with Keyshia Cole and Lloyd in New York! I’m also looking forward to locking myself in the studio some more, and creating and producing.

Links and other self-promotion?www.youtube.com/erinchristinetvwww.ErinChristineMusic.comwww.twitter.com/imErinChristine www.facebook.com/ErinChristineMusic

CLOCKWISE FROM TOP: Erin Christine in the studio with John Legend; With Quddus of MTV fame.

“UP UNTIL AN HOUR BEFORE WE STARTED SHOOTING WE DIDN’T HAVE ANY LOCATIONS FOR THE VIDEO. UP UNTIL LITERALLY THE NIGHT BEFORE...WE DIDN’T HAVE ANYONE TO PLAY MY BOYFRIEND. WE WERE WORKING WITH NATURAL LIGHTING SO TIME WAS NOT ON OUR SIDE. IN THE END, EVERYTHING WORKED OUT BETTER THAN I COULD HAVE EVER IMAGINED.”

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ARTFULLY ENGAGINGCOMMUNITY INVOLVEMENT IN THE NORTH BROOKLYN ART WORLD.

Written by ERIN BERRY

Art (with a capital “A”) is typically imagined as hanging in a museum, or on pristine gallery walls. However, our everyday lives are saturated with vi-sual forms of expression: signs, graffiti, advertisements, park sculptures and murals, particularly in urban environ-ments. Most people pass public art without a second glance. Large, abstract sculptures placed sporadically through-out the streets are so commonplace, they become outdoor furniture rather than art, and graffiti is the city’s wallpaper. Aside from these elements, many believe that “real” art is not meant to be out in the open, or touched. In response to this attitude, the community of North Brook-lyn, New York sought to change the way the public interacted with art.

The North Brooklyn Art Coalition (nbART) is an organization that col-laborates with artists and community members to create, display and support public art. The organization is dedi-cated to creating art that involves the community—as more than an obser-vant audience—in the process of creat-ing the art itself. The program began in February of 2009, when a group of North Brooklyn artists and commu-nity members decided that public art projects were a great way to engage locals and the general public. It began with the India Street Murals, a series of paintings by six selected artists, on walls along the East River in Green-point, Brooklyn. The next project incor-porated the same murals by projecting

films directly onto the painted walls (August to September 2009). From De-cember 2009 to January 2010, McCar-ren Park hosted an illuminated trio of sculptures by Jason Krugman, which sparked the curiosity of the park’s dai-ly strollers. More recently, in the sum-mer of 2010, artist Amanda Browder invited interested citizens to help sew a large scale fabric “sculpture,” which was hung from the side of a building on Manhattan Avenue titled “Future Phenomena.” The creation of this quilt involved three sewing sessions, which brought together creative individuals who collaborated to form a truly unique piece from discarded fabrics. Each proj-ect has striven to create a feeling of uni-ty between neighbors and to welcome all talents along the creative spectrum.

nbART’s upcoming work, to be un-veiled in Spring 2011, takes the idea of community a step further, as a theme to illuminate the city with story and char-acter. No Bills: Stories and Songs of North Brooklyn by artist Nick Yulman is a sound installation piece that com-bines audio clips of community char-acters with found objects that amplify their stories. The entire project will be like a voyeuristic journey through Brooklyn’s past, viewed through a se-ries of peepholes in large construction fences at a series of “stations” from Greenpoint to Williamsburg. The proj-ect elegantly combines music, voice, ro-botics and scavenged city materials to create an assemblage of local history.

Yulman’s previous “sound works” are collections of found objects with robotic musical devices, creating spontaneous orchestras that transfer art from the eyes to the ears.

Many people who encounter public art cannot fathom being one to create it. But art need not be limited to those who went to prestigious art schools, or who regularly haunt city museums; art is free and accessible and should be treated as such. nbART is the be-ginning of a creative movement that brings the people of a city together, to complete pieces that not only activate the space of the city, but activate its people. Hopefully the community of North Brooklyn will set the precedent for other cities and towns to involve the general public, and bring public art and its creation into the foreground.

For more info, please visit the nbART’s website at www.nbART.org

L-R: The calling card for nbART’s upcoming exhibition No Bills: Stories and Songs of North Brooklyn by artist Nick Yulman; past project India Street Mural Seascape by Ali Aschman July 2009–present.


EVERETT HOAGFROM FASHION AND COSTUME DESIGNER TO FORMER STUDIO 54 DANCER.

Foreword by HAYLEY MAYBURY Interview by HAYLEY MAYBURY & NICOLE BECHARD

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EVERETT HOAGFROM FASHION AND COSTUME DESIGNER TO FORMER STUDIO 54 DANCER.

Foreword by HAYLEY MAYBURY Interview by HAYLEY MAYBURY & NICOLE BECHARD

the incredible

The first time I met Everett Hoag, the only thing I could think was I love this man! As we sat at his Pawtucket studio chatting over cheese and wine on a snowy Sunday not too long ago, that’s the exact same thought I had! Not only is he fabulous beyond belief but Everett has a great sense of the world that most people couldn’t imagine. I myself can’t even begin to explain the knowledge this man has, but I will say I learn something new every time we speak and always leave completely and utterly inspired.

And now, we are so pleased to be able to acquaint all of you—our dear readers—with this astounding individual. On the following few pages you will learn more than you think you would in a magazine interview. Everett has done it all, from being a fashion and costume designer to a former Studio 54 dancer. And he has the tales to tell. So, without further ado we welcome you to read on and prepare to be dazzled.

Continued on the following pages


You are an event designer and producer; speaker, fa-cilitator and consultant; professional actor and per-formance artist; costume and clothing designer; a teacher; even a former dancer at Studio 54… Everett, is there anything you don’t do?! What can I say? You don’t know all the bad stuff I’ve done in the past [grins]. Everything starts with the culture you’re raised in and having the chops to go after opportunities when they come to you. As a man who gets paid to see the world and meet amaz-ing artists everywhere I go—I’m lucky. Travel opens your eyes to broader intellectual perspectives on art and culture and lets you experience all sides of life (sometimes glam, sometimes not so pretty). I’m proficient in both the arts and entrepreneurship and I’ve cultivated more than a superficial knowledge about my many different interests and concerns, especially changing people’s buying habits—go for quality over quantity.

How did you get started? Easy…Chris Ludington, his brother Mark, my sister Sue, and I used to stage backyard plays, circuses and parades in Syra-cuse, NY. We’d build all the costumes by hand and gather all the props. One stunning finale featured rolling down a small hill in round moving barrels; when we got out we were quite dizzy and received thunderous applause. I guess I never got over it! Living in NYC, my performance art developed at Studio 54 and other clubs, and with fashion work for Armani, Chanel and Nicole Miller. I [also] received commissions for the National Endow-ment for the Arts, the International Emmy Awards, the Ken-nedy Center for Performing Arts, Lincoln Center Out-of-Doors, Carnegie Hall, Off-Broadway at Joe Papp’s Public Theatre, La Mamma, Theatre for a New City, and many international festi-vals from Europe to Japan. I even got to design entertainment for Michael Jackson’s Madison Square Garden Concert after-party at Tavern on the Green—everybody was there, from Su-san Sarandon to Liza Minnelli and Yoko Ono! Girl, the stories I can tell! Call me; bring wine! I also do work in film and TV as a designer and actor. As a process-oriented person, I’m influenced

by the rapid succession of frames in movies, and I’ve adopted this technique in my own work at various touch points.

Who or what are your biggest influences? Also easy...connecting with people. Contemporary designers like Maya Luz and Zack Lo inspire me and it’s a pleasure to join forces on style projects for their collections. My favorite de-signer who is no longer living was style king Gianni Versace. What an enormous loss to cocktail parties and red carpets ev-erywhere that he’s no longer at the helm of style. Next would be the couture work of Fredrick Worth, elegant Gilded Age ball gowns in the most amazing botanical fabrics; and, of course, the amazing style of the ever flamboyant and brilliant Erte. On an authentic note, my family and circle of eccentric friends keep me inspired to strive for excellence whenever I’m hit by chal-lenge. Giving props to the people that have my back!

What do you feel has been the biggest personal accomplishment of your artistic career? Having performed all over the world on everything from concert stages to burlesque halls to botanic gardens and dance floors, I’d have to say—hands down—that it’s the artists I have had the privilege to collaborate with (while meeting intensive deadlines and being well-paid for the work)! Each person has a unique take on “the work” and learning to respect our differing approaches and take action is a deep process. I’ve been very fortunate to have my beliefs challenged and have learned to keenly listen to what people say and observe how people work under pres-sure. That’s where a person’s artist-intuition emerges. Get out of the way of any habitual approach to your work and remain curious about all the details; that will keep you growing and thinking and responding. Never work with idiots if you can help it—always side with the smart ones. It’s more challenging, but you look better surrounded by geniuses than merely attractive people with strong personalities and weak character values. As for the biggest accomplishment, I’d have to say it’s not my work but my attitude. No matter what hits, you persevere and trust

L-R: Everett shows us his favorite piece (“a black Victorian evening coat layer in vintage lace and jet beads, lined in blood red satin with matching riding skirt and glimmering bustier”); just a few—and we mean very few—of the many wigs and hats to play with.

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that someone you know has an answer for anything. It helps when people love you and respect you as a person. Word!

You have a warehouse filled top to bottom with vintage and costume clothing, Is there one piece you would name your favorite?Our collection gets used in shows and is available for rental to stylists, photographers and models to help people build portfolios. Each garment, hat and accessory was made by the same process—idea to actuality. Some are authentic, some are interpretive; all are treasured works of fiber art that span cen-turies. While I have a stable of wow items that come instantly to mind (Midsummer Night’s Dream fairies, 18th century ball gowns, four-legged fantasy stilt costumes covered in topiary vines...), I’d have to say that my favorite is a black Victorian evening coat layer in vintage lace and jet beads, lined in blood red satin with matching riding skirt and glimmering bustier. While true to period in many respects, it’s a garment that a princess, a politician, or a drag queen would be proud to strut down any catwalk—and many have!

You are deeply involved as President of the organization RIFashion; can you explain what that is for our readers?As an industry veteran working for over three decades in NYC, I’ve grown to accept the brilliance of process in making fiber art. I may design some over-the-top things, but changing con-sumer’s over-the-top buying patterns using popular culture and fashion has long been a passion of mine. And thus, when I relocated I wanted to focus my entrepreneurial skills on en-hancing the opportunities and “new thinking” that abounds in this sluggish economy. In a world of disposable fashion and friendships, the craft of building something from hand has be-come a precious commodity. RIFashion Group is a social en-terprise supported by New Urbanism community development programs focused on the power of local designers and boutiques to keep handmade work alive and help revitalize the cottage in-dustries in America to make our communities sustainable (who thought of outsourcing art anyway?). Check out www.RIFash-

ion.com as the “go-to” spot for new trends, new products, new designers and new ways our region is in creative bloom. We partner with industry insiders and over 25 nonprofit charities bringing fashion to the people all year long with doggie fashion shows for Providence Animal Rescue League, bold walks down the runway and stunning calendars for breast-cancer survivors with the Gloria Gemma Foundation, connect area teenagers with prom dresses for $20 for Dresses That Cure, and help out-of-work women get interview suits with the international ini-tiative, Dress for Success. It’s all on the website and everybody is proud of what we accomplish. Like our tagline, “Catch the

buzz of great stuff, great experiences and eco-friendly shopping satisfaction available in New England.”

You are a New York native that now operates a studio in Pawtucket, Rhode Island. How did that happen, and why Pawtucket?My motto is, “When your ship comes in, paddle out to meet it!” I was due at the World Trade Center for a meeting at Win-dows on the World on 9/11 at 11:00 a.m. I was doing my dishes and getting ready to leave when the world decided I had dif-ferent plans. I watched the planes hit and the Towers fall; over twenty friends died in the process. My company lost all our contracts; we were broke but alive. I embrace New England as my healing ground and love the unique attributes of this gor-geous area. I’m also amazed at the wealth of untapped fashion and film resources the area offers with great people and places to explore. And Pawtucket rocks! The mill buildings here are perfect live/work artist’s studios. I take time to be thankful every day, and in return I have more than enough time to fit everything else into my day. I am a very contented person!

“I WAS DUE AT THE WORLD TRADE CENTER FOR A MEETING AT WINDOWS ON THE WORLD ON 9/11 AT 11:00 A.M. I WAS DOING MY DISHES AND GETTING READY TO LEAVE WHEN THE WORLD DECIDED I HAD DIFFERENT PLANS. I WATCHED THE PLANES HIT AND THE TOWERS FALL; OVER TWENTY FRIENDS DIED IN THE PROCESS. MY COMPANY LOST ALL OUR CONTRACTS; WE WERE BROKE BUT ALIVE..”

CLOCKWISE FROM TOP: Everett holds up an Oscar statue and explains, “the perfect part of the Oscar you never get to see—his perfect ass;” sketches and fabric swatches in his studio; modeling a sequin jacket amidst the endless racks of clothing.


silk & lace

Photography by GABRIELLA DI MURO Hair/Makeup by LYNETTE ARLENE for LYNETTE ARLENE MAKE UP ART

Styling by ANNA NERETTO Model SVETLANA VAKULOVA

THIS PAGE AND NEXT:Vintage fishnet top and lace culotte; fur headpiece and bracelet by HEADMISTRESS; necklace by COSEATRE; socks by CALZEDONIA.

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silk & lace

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THIS PAGE AND NEXT:Vintage crochet cardigan and

shorts; bra by MANOUSH; headpiece (used as fringe) by

HEADMISTRESS.

OPPOSITE NEXT:Dress by MANOUSH.

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THIS PAGE:Top by MON COEUR; vintage

pants; necklace by COSEATRE;ring by PAOLO PASOTTI.

OPPOSITE:Top and panties by PETIT

BATEAU; headpiece by HEADMISTRESS; vintage shoes.


THIS PAGE:Vintage lace bodysuit and jersey shorts; wool necklace by ATE JÀ; ring by PAOLO PASOTTI.

OPPOSITE:Vintage corsage lingerie, slip and silk and lace camisole; rubber bracelet and earrings by COSEATRE.


DAN GER OUS LIAISONS

Photography by NATALIA BORECKA Assisted by MEG ELKINTON, KELLY BEREZANSKY & ASHLEY MILLS

Videographer MEG ELKINTON Hair/Makeup by NAZ KUPELIAN SALON

Styling by NICOLE HERZOG Models DOMINIQUE (DYNASTY), ISABELA (DYNASTY), JONATHAN (DYNASTY),

KAIO (MAGGIE) AND MICHAEL (MAGGIE)

Wardrobe courtesy of BOBBY’S FROM BOSTON


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March/April 2011 issue

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