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  • 04/30/14--21:00: BLACK EYE: Art Beyond Race
  • BLACK EYE, an exhibit focusing on the twenty-first century black experience, opens in New York this Friday. But unlike other exhibitions which bring together black artists, this one isn't supposed to be about race.

    “I hope this comes across [as] an anti-discussion discussion,” BLACK EYE curator Nicola Vassell said this week as she oversaw the installation of works from Wangechi Mutu, Derrick Adams, and Steve McQueen. “We don’t want to talk about race anymore; we want to talk about the next step, the next quantum."

    According to its press release, BLACK EYE seeks to show how factors other than race such as "gender,  sexuality, transculturalism, and political proclamation have become far more fitting identifiers of self than the color." So yes, while the artists featured in BLACK EYE are black, the stories behind them are ever varied, and their identities are complex. Some artists are known to comment on advertising (Hank Willis Thomas), while others might draw on experiences in Kenya (Mutu), or sexuality (Jacolby Satterwhite). The idea is to explore complexities around the work and artists and examine how the dialogue around race is changing. 

    “It’s not fair to try to apply labels or definitive slots to the self,” Vassell said, sitting amidst the works of art in a casually elegant sweater dress. “The fragmented self speaks to splintering, and when something splinters, it’s almost as if you couldn’t dare put it back together. The message here is really about embracing that and not feeling that one must put Humpty Dumpty back together again.” 

    To add more depth to the exhibit (and develop the artists' identity within the show), Vassell commissioned filmmaker Danilo Parra to create video portraits of three artists: Mutu, Willis Thomas, and Satterwhite. The two-story gallery space will exhibit works upstairs, and feature installations and projections, including the Parra videos, in the dimly-lit basement.

    “It’s interesting that the videos are being shown down here because visitors are going to see some of the artists upstairs first,” Parra said, slightly distracted by his videos playing across the room from NICK CAVE’s Blot projection. “And then they’ll come down, see this, and have a different perspective. Or, I hope they’ll have a bigger impression.” 

    Scroll down to check out Parra's video of Mutu in her studio discussing her latest inspirations, ahead of this Friday's opening. 

    BLACK EYE opens FRIDAY, MAY 2, AT 6:30 PM | Exhibition through May 24, 2014

    57 Walker Street
    New York, NY 10013

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    Truth be told, I wasn't always a shoe girl. I've never been one for flats or pumps, and shoe-sale sections give me the hebejebes—all those lonely, single shoes that will never reunite with their mates. Luckily, shoe shopping at Opening Ceremony couldn't be further from that scenario: behind every glittering pair lies a whole closet of outfits waiting to be transformed. One of my favorite new discoveries is Japanese brand Toga Pulla, which covers its boots and sandals in beautiful details like silver-tone embellishments and embossed leather. For Spring/Summer 2014, it has brought back its urban cowgirl, four-buckle boot in variations that range from light and springy with translucent straps to seductress in calf-high boots. The Western motif that resembles silver spurs also appears on sneakers and sandals, adding an Americana flavor to ultra-modern silhouettes. Now, if only I had these shoes as a teenager back when my parents dragged me out to Tombstone, Arizona to see the O.K. Corral.  

    Shop all Toga Pulla shoes here

    Toga Pulla TWO BUCKLE DETAIL BOOTIES  and FOUR BUCKLE DETAIL BOOTIES styled with T by Alexander Wang 2 Way Zip Cropped Tank, Acne Studios Flex Atlantis Jeans, Tabio for Opening Ceremony Jewel Sparkle Sock, and Opening Ceremony Moon SunglassesPhoto by Jimmy Jimeno

    CUT-OUT BOOTS in black 

    Two Buckle Detail Booties in black 

    Four Buckle Detail Booties in green/black/clear 

    Buckle Thick Strap Sneakers in black 

    Thick Strap Sandals in whi

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    The girls of “off-the-record” collective FASTFORWORD are out to preserve the artwork of the Internet generation. With the publication of their first book—a beautifully spare tome aptly titled, YOUth, for the 20-something photographers, visual artists, and writers that it champions—childhood friends Sofia de Pahlen, Tatiana de Pahlen, Elizabeth Gilpin, and Carolina Cavalli hope to make physical what has long been floating aimlessly in cyberspace. “It’s easier to save a book than a blog,” Carolina joked. 

    Sourcing their participants directly from the blogosphere, the FastForword girls picked young artists that they felt authentically represented modern-day youth culture in all of its Internet-induced-ADD glory. What they uncovered was a cohesive collection of sometimes sun-faded, often low-res, almost always spontaneous, and unquestionably authentic works from emerging talents like Coni Dietrich, Colin Michael Simons, Sophie Van Der Perre, and OC friend COCO YOUNG

    After a successful premier in Milan, YOUth has come to America with a launch at Bill Powers’ HALF GALLERY, tonight from 6 to 8 PM. I chatted with Tatiana, Elizabeth, and Carolina on the eve of their book party to talk about everything from domain name woes to what the word “youth” means to them.

    Shop YOUth in Opening Ceremony stores

    CLARKE RUDICK: What does the word “youth” mean to you?
    TATIANA DE PAHLEN: Opportunity.
    ELIZABETH GILPIN: I think it’s a lot of energy and people that are very eager.
    CAROLINA CAVALLI: Being conscious.
    T: I think it’s a lot of fear as well.
    E: Self-discovery. Trial and error. It’s also about working together and collaborating with other youth and growing together. That’s what we’ve done—bounced ideas off of each other.
    T: It’s lack of responsibility.
    E: Stumbling out of night clubs! [Laughs]

    Why did you choose the name "FastForword?"
    C: Lack of sleep. [Laughs]
    E: And the domain was available! And it wasn’t 20,000 Euros!
    T: We wanted, but it was 20,000 Euros! 

    How did YOUth come about? 
    E: One night, exhausted, at 5 AM. [Laughs]
    T: It grew organically. People really believed in us. We got lucky that way. 
    E: Everything was very organic. It started as a book, moved to a show in Milan, and then Bill [Powers] came. It was never meant to be this world tour. The lack of responsi

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    "Most Wanted" presents our favorite and most coveted items available at OC.

    What better object to shield your face from the sun than the OC Moon Sunglasses? Prepare for the future with these shades that will look cool on any planet. 

    Shop all OC Sunglasses HERE

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    Issue 17 of Toronto-based magazine Bad Day launched last night at OCNY, and today we're publishing an exclusive preview of one of its new features, an interview with Telfar Clemens. 

    Telfar Clemens
    loves Times Square. “It’s like a stop-off in time—a crossing place,” he told me the first time we met, in January 2013 at a Times Square-adjacent, Paris-partnered gallery where he was showing an Autumn/Winter collection. While most New Yorkers only ever transfer through the tourist center, Telfar has made it a second home. He even spent Christmas and New Year’s Eve here, finalizing his next season’s samples in a factory on West 39th, one block down from the men in Elmo costumes. This factory is where I found Telfar for our chat; two weeks after showing one collection, already working on the next.

    Shop the new issue of Bad Day HERE

    FIONA DUNCAN: Duncan How did you find this factory? It’s incredible.
    TELFAR CLEMENS: Oh, Mr. Tai’s a legend. He’s been working here since the early seventies. He’s done everyone: Zac Posen, DKNY... Sometimes I’ll see a tag and be like—oh, you too? When I was in here during fashion week, I saw that everyone is getting a sample through Mr. Tai! From low to downtown labels. Mr. Tai is really reliable. He’s such a darling to me.

    The theme of your most recent show was “Extremely Normal™”. Could you talk about what that means?
    Yes. Babak [Radboy] was the one who named it that. I couldn’t put a title to the collection. I didn’t know what to call it besides “2014”—that seemed like the most significant name I could give it. Babak sees my clothes as really normal but normal for right now, you know? Or, what’s going to be the norm—

    In the future.
    Yes. Exactly, it’s future forecasting of the normal. New norms, new forms.

    How did you get involved with Kmart?
    Kmart was launching this “#knownewtrends” project, which is really broad in scope, but part of it involved them reaching out to the art community. I think they did a really good job with our pairing; it didn’t seem forced. It’s the next step for corporations to get involved with artists. There is absolutely no shame in getting involved with corporations at this point. It’s the reality of our economy.

    Do you think people still harbour anxieties around “selling out”?
    Sure, sure. But when I work with a corporation, it’s always to my advantage.

    Are there any corporations you wouldn’t work with?
    I’ll consider any company as long as they’re not killing anybody and people are getting paid a fair wage. Nobody wants to do business that’s more harmful than helpful.

    You showed your collection on two floors, top and bottom, of the New Museum. How did that get set up?
    I work with many of the same artists that the New Museum works with. I’m also going to be part of the next [New Museum Generational] Triennial in 2015. After my fashion week show last season, the New Museum really wanted me to do something there. Babak and I had the idea to make a really high-gloss retail pop-up,

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  • 05/01/14--21:00: A Good Night For Bad Day
  • Downtown swirled around the OC Men’s shop last night, as the store morphed into a party space to celebrate the release of Bad Day’s seventeenth issue. The publication’s goal is to create “direct dialogues with the international creative community” and “disregard boundaries” between the worlds of fashion, film, music, and visual art—a philosophy evident in the evening’s eclectic crowd. Creators from all disciplines mingled with Bad Day’s friends and family, all of whom were charmed by another brilliant execution of the poised yet minimal zine.

    Each edition of Bad Day revolves around its handful of featured artists, and this batch doesn’t disappoint: musician Kelela is the issue’s cover girl. Painter Nathalie Du Pasquier, filmmaker Gia Coppola, musician Sean Nicholas Savage (beautifully interviewed by Ryan McGinley), and photographer Kristie Muller all make appearances. One of the feature’s main attractions is a profile of New York designer Telfar Clemens—which we’re exclusively previewing on our blog—who DJed last night’s gathering after working all day on his new collection. “I’m really influenced by whatever is a basic thing, and kind of revamping that and making it a new staple,” he said of the upcoming line.

    So, what’s coming up for Bad Day? “It’s really hard to single out one thing that I’m most excited about because I’m attached to so many different things,” Creative Director Colin Bergh told me. “I can safely say that with every issue, it gets better.” One thing that’s not changing? The tradition of printing each issue in one color (purple for this time around). “It started out as an economical reason because we don’t have a huge budget,” Colin said. “Somehow that’s kind of become the brand. People look forward to what’s going to be the next color.”
    Colin Bergh from Bad Day, Eva Michon from Bad Day, Telfar Clemens, and Jackie Linton from Bad Day. Photos by Matthew Kelly

    Icona Pop

    Michael Magnan and Gerlan Jeans

    Mike Eckhaus and Patrik Sandberg

    Todd Pendu and Zana Bayne

    Tim Barber (right)

    Shayne Oliver

    Matthew Mazur, OC's Michelle, and OC's Will

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    A grayscale film about an orphan set in 1962 post-Stalinist Poland doesn’t promise scintillation or provocation—yet director Pawel Pawlikowski (of My Summer of Love fame) cleaves a brilliant narrative about nascent sexuality. In just 80 minutes, Ida delivers a streamlined, open-road novella about priests, nuns, hedonists, and musicians. The titular role, played by newcomer Agata Trzebuchowska, is an apprentice on the verge of taking her vows in a convent, when she encounters a chain-smoking, wild fox of an aunt. From there, it’s a rabbit hole exploration of identity—curiosity clashes with devotion and sexuality with virginity. Opening Ceremony recently caught up with Trzebuchowska about her role. Read our interview and scroll down to watch an exclusive clip from the film. 

    JEANINE CELESTE PANG: This particular role, for all intents and purposes, fell into your lap when you were approached in a cafe. Did it take much convincing on your part?
    AGATA TRZEBUCHOWSKA: Not really. I knew and adored Pawel Pawlikowski's My Summer of Love. I was curious [about] what kind of person he was, and what kind of cinema he was about to create. The story of Ida seemed intriguing and touching as well.

    Where did you get your inspiration to play Ida? Did you research the inner workings of a monastery?
    Honestly, I didn't have concrete inspiration for Ida's part. On paper, the character seemed indefinable; she was something of an enigma, and I found it difficult to understand her reactions and choices. It wasn't easy to identify with her, and research wasn't very helpful. What I tried to do was make her more universal and approachable. I wanted to take her out from this tight context and find some similarities between us. It wasn't something that came totally naturally.

    Was it difficult to play someone like Ida? Not only is she a nun, but also an orphan who has very little sense of family.
    Yes, it was quite difficult. Firstly, because I had no previous acting experience; secondly, because the character of Ida was very specific and demanding. As a nun and an orphan, she knows nothing about her roots. She has spent her entire life in a convent, and all that she cares about is her faith. She has no earthly life; the only one that she knows is a religious one. But I think that this kind of isolation, paradoxically, helps her. She has her inner strength. It is the strength of a hermit, somebody excluded from the "real" world and connections. But Ida's experiences [of love and sexuality] question her exclusion and allow her to develop a new kind of strength connected with the world—not based on religious escapism.

    Ida opens today in Los Angeles and New York; national release to follow

    Ida/Anna (Agata Trzebuchowska) in Ida. Photos Courtesy of Music Box Films
    Ida/Anna (Agata Trzebuchowska) and Wanda (Agata Kulesza) in Ida

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    This season, Mother of Pearl’s Maia Norman and Amy Powney teamed up with renowned, London-based artist Mat Collishaw to take his nature inspirations and weave them with MoP’s signature, streamlined silhouettes. The result is a bona fide fruit salad of swank vacation wear in vibrant prints that Carmen Miranda would love. Whimsical, tropical motifs, like pineapples and citrus, are present throughout the collection––on everything from silky, flowing dresses to boxy, Hawaiian-style shirts to ruffled, over-the-shoulder bandeau tops—and cut with nautical stripes and animal prints.

    Shop all Mother of Pearl here

    Franklin Double Cotton Shift Dress in fruits 

    Bistra Crepe de Chine Strappy Dress in fruits

    Siret Stretch Cotton Bandeau Top in fruits

    Juno Heavy Crepe De Chine Boxy Top in lemons

    Rio Stretch Cotton Short-Sleeve Shirt in lemons

    Kapka Heavy Crepe de Chine Long Skirt in lemons

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    While we have another year and some change to wait until the J.J. Abrams-helmed Star Wars, Episode VII hits the big screen, the galaxy far, far away is brought down to earth in the Vault by Vans x Star Wars collaboration, which drops today, May 4: “May the force be with you.” Paying the ultimate homage to the cinematic classic, OC has stocked up on the high-tops and slip-ons worthy of any Jedi.

    A swashbuckling Darth Vader and stormtrooper, complete with a skull-and-crossbones-style lightsaber motif, have made their way onto the Sk8-Hi and OG Era LX styles: which makes sense considering Sith Lords and stormtroopers are essentially the pirates of the Galactic Empire. Meanwhile, Imperial AT-ATs from The Empire Strikes Back step out of the ice planet, Hoth, to soak in the Miami sun and lumber through palm trees on classic Slip-On and Sk8-Hi kicks. These designs are part of a limited-edition run under the Vault by Vans label of prints dug up from the sneaker brand’s archive. On the Half-Cabs, Darth Vader in Dark Side-approved black leather (what else?) plays the perfect opposing force to a lightsaber-brandishing Yoda sneaker in soft, white suede.

    YODA SAYS: Sold out online these are! But you can still grab a pair by calling your nearest OC store!

    Miami At-At Sk8-Hi Printed Sneakers in white/oyster grey

    Darth Storm Sk8-Hi Printed Sneakers in white/black/red

    Darth Storm Era Printed Sneakers in white/blue/red

    Miami At-At Classic Slip-ons in white

    Yoda Leather Half-Cabs in white

    Darth Vader Leather Half-Cabs in black

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    In honor of Cinco de Mayo, we asked OC's newest contributor, Fiona Duncan, to drink on the job and test out the Tequila Diet.

    I've never dieted but I've thought about it plenty. I’ve thought about the Paleo diet and the VB6 diet, about juice cleanses, selective fasting, and raw food. I’ve thought about cutting out gluten and quitting corn syrup, about replacing dairy with coconut milk and Diet Coke with the white kind. And, if there’s one thing I’ve learned in all this, it’s that thinking about dieting will not help you lose weight. 

    The only diet-ish actions I've ever managed to maintain are those so entwined with daily life, I already conveniently fulfill them. Take my phobia of elevators, which means that I usually take the stairs. Or, my writer’s budget, which prioritizes nutritional essentials. So, when new research came out last month, drawing correlations between tequila and weight loss, I was delighted as I already delight in tequila. 

    According to science, a natural form of sugar found in the agave plant (from which tequila is brewed) could lower blood glucose levels and help with both type two diabetes and weight loss. The sugar, called agavins (not to be confused with the vegan-friendly agave syrup), is non-digestible and can act as a dietary fiber. In the study which made headlines last month, a team of researchers found that mice who were fed a standard diet with agavins added to their daily water ate less and lost weight. 

    Agavins have yet to be put to market as a sweetener. For now, humans outside the lab can only ingest the sugar via agave-plant derivatives like tequila. And so... the Tequila Diet! At least, that’s what the media, jumping on the recent popularity of tequila-based drinks, proclaimed last month. 

    I decided to put myself to the test. For one week, I drank only tequila-based alcoholic beverages. The timing was ideal: Today is Cinco de Mayo, and after the longest winter, spring had finally sprung in our hyperallergenic city. Congested dumb and horny dumber, it seemed like there was nothing to do but drink. As the trees blossomed above outdoor patios, so did the specials on Mexican restaurant menus. At Chavella’s in Crown Heights, I drank a jalapeño maíz margarita with brunch. At Mayahuel in the East Village, it was a cocktail called “Baby Dragon” (that’s strawberry infused Blanco spiked with cinnamon bark). At Clandestino in Chinatown, I was responsible with two tequila sodas—on a Monday. 

    My agavins experiment ended on Thursday evening at the Cafe de la Esquina outpost in Williamsburg, where I got deliriously—the most all week—drunk in a near-empty diner car. I arrived alone at 5 PM. Outside, the rain was violent. Umbrella or not, you couldn’t avoid getting wet. I sat at the bar and told the bartender my business: I am a journalist on assignment, researching the latest diet du jour. 

    Javier was his name, and he looked like a young, Spanish version of Jonathan Taylor Thomas. He wore a T-shirt that said “Sexico” though he’s not from Mexico. Javier is from the Dominican Republic. He’s lived in America four years and wants to stay. 

    After three sips of El Jimador Blanco, which Javier had me sample as “your standard cheap shot tequila,” I offered to marry him. 

    Tequila gets me high. I know many who feel the same. A friend of a friend who only drinks tequila likes to sing-song this precious axiom: Tequila, the one spirit that lifts my spirits. Javier claimed the “drunk vibes&rdqu

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  • 05/04/14--21:00: Mama's Boy: Joe Campanale
  • They say you are your own worst critic, and second in line is Mother Dearest. It’s all out of love, of course, but moms give it to you straight—with that uncanny way of dredging out every last, embarrassing "remember when" at the dinner table. So in honor of May 11, we’re featuring four of New York’s finest culinary personalities and the apples of their eyes.

    First up in our series: Joe Campanale and his mother, Karen. Recently named one of the Top Sommeliers of 2013 by Food & Wine, Joe is the beverage director and owner of dell’anima and L’Artusi, among other Manhattan establishments. So, is his success mother-approved? We sat down with the duo to find out.

    JEANINE CELESTE PANG: When did you first become interested in food?
    JOE CAMPANALE: As a kid, I was cooking a lot, and even more so after my mom got into a bad accident when I was 14. 

    What kind of stuff did you make for her?
    JC: Just very basic stuff; a lot of it wasn’t very good.

    KAREN CAMPANALE: It wasn’t good! Except the breakfast. I would be lying there in bed, and I’d hear, “Mommy, Mommy, I made you breakfast,” and he’d come to my bed with toast, eggs, bacon, pancakes, cereal, and more eggs—everything.

    JC: It was a little excessive. But through the years, I realized that what I really liked was taking care of someone through food. I eventually made my way back to the front of the house through the wine industry. With wine, you’re pouring and interacting and hearing the feedback of someone having a great time.

    What’s the worst thing Joe’s ever done?

    KC: You mean, now or then?

    JC: Be careful, Mom…

    KC: They’re very different [Laughs]. The worst thing he’s done happened in high school. It was six in the morning. I went into his room and pulled the blankets off, and I definitely did not find a child. It was all sorts of things wrapped up—like a stone.

    JC: I snuck out in the middle of the night to visit my girlfriend, and I couldn’t get back in the house. I ended up falling asleep on the patio.

    KC: I just kept thinking that he was kidnapped, or whatever. It was an automatic response, like, “Ahhhh! They took him!”

    JC: I don’t think a kidnapper would then arrange the sheets.

    What was his punishment?
    KC: I never punished Joey in his life.

    JC: It was just guilt: “Joey, I’m not mad, I’m disappointed.”

    What’s the best thing your mom makes?
    JC: Her fried chicken is still the best I’ve ever had.

    Is there a secret to the chicken?
    KC: The crust is a combination of slightly crushed corn flakes and potato chips. It’s thick, and it has this crunch.

    How do you envision the perfect Mother’s Day?
    KC: We always eat at a really great restaurant.

    JC: Where do you want to go this year? We can go wherever you want.

    KC: We should go back to Bouley. I named my dog after chef David Bouley!

    Joe, do you think you could have any of this success without your mom?
    JC: No, she’s been so supportive and very important in developing who I am today.

    KC: I was a single mom; it’s always just been Joey and me. I knew we weren’t rich, and there were always p

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    The best inventions are those borne of necessity and a desire for efficiency––just take the wheel or Instagram. So when designer Marguerite Wade couldn't find tennis clothes she liked, she made her own. In a world where women's athletic clothes trend towards garish and uncomfortable, Marguerite's line, Full Court, is a collection of easy, color-blocked active wear that fits right in with an iced coffee at The Smile and still lets you dominate on the court. And you can only find this sleek gear at Opening Ceremony! To showcase the collection's versatility, we took the pieces out to play with some of our Spring/Summer favorites, and then sat down with the designer to talk sports.

    Shop all Full Court here

    DANA MELANZ: So what's the story behind Full Court? How did you get into fashion design?
    MARGUERITE WADE: Well, I got into it in sort of a roundabout way. I'd been working in fashion for so long—in production design—and I was always in that world. Designing something myself is completely new, and I ended up with this because I'm a do-er. I was playing tennis and a friend said that someone should design something cooler than the current tennis gear and I decided I would. At first it was sort of like a few pieces, just a kit for myself. Then, people started suggesting things I should make and I got inspired, started pulling references, and then the line kind of grew from that. 

    How did you hook up with OC?
    I've known Carol and Humberto for a long time, and I've seen the store grow into what it is now. So when I was developing the line, I thought it was the perfect place. There's a bit of '90s and old-school throwback feel to the line, which, I think aligns with the store's sensibility. I'm very happy that it came to the store; it's a great place to be if you're doing something that's a little bit different, even though my line's not necessarily wildly innovative.

    What were some of the things that you noticed were missing from athletic gear?
    It was always the color. White and pink, always. That's not my style, and walking through the city streets I wanted something a little bit darker, a little bit more urban. I was thinking about that from the get-go. The ball pocket [on the backs of the shorts and leggings] was the start of what I wanted to do, and I'm still working on that, conceptually. I wanted clothes that I can keep wearing throughout the day, so I created a collection I actually want to wear. 

    Who are some of the women you had in mind while you were designing?
    Just women like my friends and me. [For] busy people who are living in the city, riding the subway... a tiny tennis skirt isn't going to fly without something underneath it. People who love fashion and love sports were interested. There are a lot of people like me out there, so I'm just designing with my own interests in mind like a big selfish person. [Laughs]

    But if you don't wear your own clothes, it's probably much harder to figure out the technical stuff when you're starting.
    Exactly! The fit was really important. When you're using yourself as the fit model and the jumping-off point, you take all of these other things in[to consideration] that you might not normally if you were doing something from afar.

    How many other women did you have to try on your garments to develop the fit?
    That was really great actually, since it's not my primary line people were curious about what I was doing. People would come over and I would just put the pieces on everyone to see if they would loo

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    Looks like you'll have another reason to lay out in the sun: Gap and Visionaire will launch a second installment of their limited edition T-shirts, exclusively online at OPENING CEREMONY beginning Friday, May 9. The series, which will unveil at FRIEZE ART FAIR this week, is pegged as a celebration of color, meaning UV-sensitive SOLAR ink, along with embroidery, foils, and photo printing will all play a role in animating these collectible shirts, featuring artwork and photography by Mario Sorrenti, Peter Lindbergh, Roe Ethridge, and Richard Phillips, among others.

    The 11 shirts will retail for $34.95 a pop, so please don't mind if we run up the tab, here. Our personal favorites? Peter Lindbergh’s Great Gatsby eyes, Richard Phillips' horror movie-esque reaction, Alex Katz’s Pop Art print, and Yoko Ono's "Grow Love With Me," a immaculate, goil foil re-issue from the original series. Scroll down to view the entire collection in GIF form, and watch this space to nab yours. 
    Images courtesy of Alex McWhirter at Visionaire

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    We have a hard time trusting anyone with our hair, but if there's one person we'll gladly hand the scissors to, it's Opening Ceremony's resident hair guru, Edward Lampley (witness his most recent magic, here). Thankfully, the senior stylist is lending his know-how exclusively to our blog, answering tough questions like, "How do I get perfect, slept-in waves, without looking like Princess Leia the night before?" Read on for his guide. 

    Every time I read a story on "How to get great beach waves," I roll my eyes. You're either getting sent to bed looking like your grandmother in a head full of pink curlers, or you're twisting your hair into cinnamon-snail side buns like, yes, Princess Leia. We love the character on-screen, but let's be honest—sneaking off to the bathroom at the crack of dawn so that your beau doesn't witness your off-screen tragedy is tragic, and so inconvenient. (Let's leave our Star Wars homage to these, please.)

    We want to wake up, shake out our hair, and have it fall into a cool texture that looks and feels effortless. So, let's start at the bottom and work our way to the top (insert Drake lyric here). Below: Your five-step cheat sheet to the best slept-in waves of your life.

    Step 1: Take a styling lotion and spray a little at the roots of damp hair. The trick is to not drench your strands—a little goes a long way. 

    Step 2: Take your surf spray. With this, you can spray liberally from your roots to your ends.

    Step 3:
     Take a handful of mousse and massage it in, starting about halfway down your hair.

    Step 4: Take your brush and run it through your hair, from roots to ends.

    Step 5: Now, take a 1-inch bendy roller (starting at the ends) and roll it up the back of your hair, until it sits tight against your head.

    Step 6: Then, just bend it until it looks like a bun and secure with four large hairpins.

    Step 7: In the morning, remove the roller and the pins, fluff out the hair, and voilà! Sexy, perfectly tousled hair to last 'til your next wash. 

    Step 1: Take a STYLING LOTION and spray a little at the roots of damp hair. The trick is to not drench your strands—a little goes a

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    Another season, another eye-opening, cross-border collaboration between the Spanish shoe company Camper and the Belgian-based designer Bernhard Willhelm. As part of Camper’s “Together” series, the two have teamed up for many seasons now, incorporating both creativity and functionality to produce a one-of-a-kind look that is both eccentric and fun. (In other words, it's trending!) 

    For Spring/Summer 2014, sandals were embellished with bright-hued Velcro straps and high-top sneakers were rendered in suede, rubber, and even cartoon-like sketches. It's safe to say, Camper hasn't seen color like this since the '60s. Case in point: The zigzagged sole gives the shoes extra height and a geometric twist. Available in men's and women's, this collaboration is the perfect kickoff to a vibrant summer.  

    Shop all Bernhard Willhelm x Camper Women's and Men's

    together willhelm high-top sneakers Printed Platform Sneaker In White

    Together Willhelm Heeled Sandals In Black Printed Leather

    Together Willhelm High-Top Sneakers Printed Platform Sneaker in White

    Together Willhelm Sneakers Seude and Leather Platform Sneaker

    Together Willhelm Sandals Color Blocked Platform Sandal

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  • 05/05/14--21:00: Mama's Boy: Nick Anderer
  • They say you are your own worst critic, and second in line is Mother Dearest. It’s all out of love, of course, but moms give it to you straight—with that uncanny way of dredging out every last, embarrassing "remember when" at the dinner table. So in honor of May 11, we’re featuring four of New York’s finest culinary personalities and the apples of their eyes. Next in our series: Nick Anderer and his mother, Mia. 

    Nick is the executive chef at Maialino, Danny Meyer’s pork and pasta-heavy trattoria at the Gramercy Park Hotel, which, to put things in perspective, earned a formidable two stars from The New York Times’ Sam Sifton. So, Nick may run with the big boys and a table for two at his establishment is harder to nab than a cab on New Year’s, but does Mom like the food as much as the rest of Manhattan does? Let’s just say, that menu takes its cue from home cookin’… 

    JEANINE CELESTE PANG: What was one really mischievous thing that Nick did, as a little boy?
    MIA ANDERER: Mischievous… you know, I can’t remember! Nick was always really good. For the longest time, we called him “Tragic Magic,” because when he was an infant, he didn’t smile. He looked very serious until maybe the first couple of months. And after that—big smiles. I don’t want to embarrass him, but the sweetness has retained.  
    NICK ANDERER: I never heard about the “Tragic Magic” thing.
    MA: Well, we only called you that for the first couple of months, because you were just so serious. I remember that day when he really started to smile—in the second or third month—I just kept taking pictures. But, he’s always been a very sweet, sweet boy. [Laughs] And he liked to eat. He comes from a family of big eaters. 

    How were meals prepared at your home?
    MA: I prepared them, and we always had dinner together. That’s one thing I’m proud of as a mother—that we were always able to sit down and have a meal together at the end of the day. In raising a family, I think that’s very important—to have that closeness. Nowadays, it doesn’t happen as much.

    Nick, what were some of your favorite things that Mia would make?
    NA: She cooked a lot of things that I really liked. Early on, it was the American staples: meatloaf, mashed potatoes, and creamed corn. We were meat and potato eaters.

    And did you help your mom in the kitchen?
    NA: I think I started taking an interest in high school. Before that, [my brothers and I] just did the dishes. And we drank a lot of milk—we went through gallons and gallons of milk.
    MA: They loved their whole milk. Even now, when we have family dinners together (like on birthdays), I’ll cook. And with the dessert, I’ll offer coffee and tea, but the boys still always want their milk!

    Mia, do you see your influence in Nick’s cooking?
    MA: I don’t know, because I didn’t start making Italian food until Nick was in the third grade.
    NA: Well, you say you don’t see the influence, but it’s definitely there. All the stuff that I cook is very homemade and rustic. We say at the restaurant that I cook “upscale grandma food.”

    What was the first meal that Nick helped you prepare?
    NA: You taught me how to make meat sauce at an early age; I remember being surprised that

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    My mother, photographer Jeannette Montgomery Barron, has seen everything. In the '80s, she would have lunch at Andy Warhol's Factory with Jean-Michel Basquiat and Boy George, work out with Bianca Jagger, and go to Area or the Mudd Club with Paige Powell. This artistic scene lived fast and she was their go-to photographer. Her new exhibition at MaxMara's Collezione Maramotti documents this time and follows her book of the same title, Scene. I talked to her recently about her portrait sessions, the new art scene in New York, and surviving the '80s.

    BENJAMIN BARRON: How did you start taking artists' portraits in New York?
    JEANNETTE MONTGOMERY BARRON: My brother, Monty, and our mutual friend, Samia Saouma, brought me down to Francesco Clemente’s studio on lower Broadway. I brought my camera and took some portraits of him. I had been in Paris earlier that year and met and photographed some artist friends of Samia’s, including Mattia Bonetti, the designer. I guess, I was already thinking about continuing to take artists’ portraits. When I got the photographs of Francesco back, I was very excited. My brother recommended I make a book of artists’ portraits; that came about in 1990, when the gallerist Bruno Bischofberger published my first book of portraits.

    What was your favorite moment from these sessions?
    I used to always be nervous before taking a portrait. I thought to myself, “I’m just not going to be able to get something good this time,” or, “What if they don’t like me?”—that sort of thing. Then when I got in the front door and finally met the person, all of my worries would fade away. I would see exactly what I wanted to do––so that was my favorite moment, knowing I was going to get a good picture. The other great moment was when I would pick up the film from the lab and finally see the pictures.

    You went out with Bianca Jagger and Jean-Michel Basquiat, among others, but have said that you felt like an outsider. Why?
    Bianca was a friend, and I really did hang out with her: we exercised together, had lunches, went shopping together. So I did feel close to her, and yet she was, "BIANCA JAGGER," you know? People were dazzled by her presence; she was, and is, a star. I always felt more comfortable being under the radar, so to speak—that’s just my nature; I like sitting back and observing. I guess that explains why I felt like an outsider. Jean-Michel was more of an acquaintance. We would see each other out at parties and that sort of thing. I can’t say I ever really got to know him well.

    The people you document seemed to live fast. Why do you think you were able to survive?
    I’m a steel magnolia, that’s why! I am a survivor, and it also helps not to have an addictive personality. A lot of luck also came into the equation.

    How do you feel the Internet has changed the way you approached taking these photographs?
    I used to have to get phone numbers for everyone through a friend or a friend of a friend, and then muster up the courage to call the person. It’s funny to think th

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    Last night, while you were holed up in your PJs watching 24: Live Another Day, some lucky folks found their way to the Upper East Side for the Metropolitan Museum of Art's annual costume gala—known simply as the Met Ball. This year's white-tie show was centered around the theme of the museum's new exhibit, Charles James: Beyond Fashion. Take a peek inside Carol and Humberto's Met Ball diary, and be prepared to swoon. 
    "The Day of the Met Ball!" -Carol and Humberto

    Here we are earlier in the morning, getting ready to watch the ribbon cutting at the Met, where Michelle Obama inaugurated the revamped Costume Institute in New York (now called the Anna Wintour Costume Center).

    Our dear friends Kate and Laura Mulleavy, with Olivier Theyskens and Diane von Furstenberg.

    Humberto and the gang (Joseph Altuzarra, Alex Wang, Lazaro Hernandez) 

    Kate Mulleavy and Christopher Kane 

    Spike Jonze and Humberto getting ready at The Carlyle, in snappy Kenzo tuxes 

    Puttin' on the glitz 

    Waiting for the girls to get ready... (tick tock, tick tock) 

    Spike found something he liked—Chloë Sevigny's killer braids 

    Game time 

    Ready to roll in Kenzo 

    Met arrivals! Alber Elbaz with Gugu Mbatha-Raw and our girl Chloë 

    Laura, Kate, and Shailene Woodley 

    Look who we found! Taylor Swift 

    Spike and Andrew Garfield 

    Imogen Poots and Lazaro

    Carol and Miguel 

    Thakoon Panichgul and Emma Stone 

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    Like a superhero, A. Halford, the Los Angeles-based designer of 69, likes to keep her (or his) true identity under wraps. It ensures that the clothes are gender-neutral, fluid, and open to interpretation. Many of A. Halford’s designs reimagine classic silhouettes—jumpers, hoodies, T-shirts—in denim form, which brings to mind summer at the baseball diamond, popsicle stands, and other visions of American nostalgia. It’s “relatable,” A. Halford said to me last week in an interview. Check out our conversation below:

    Shop all 69 HERE

    AUSTEN ROSENFELD: Can you tell me how you started 69?
    A. HALFORD: Well, it started as an idea. [Laughs] An idea to have an all-denim line for boys and girls, and it sort of remained that way until I added kids stuff and dog stuff. But, basically it’s meant to be for everyone. It started as unisex, but I like to think it’s non-demographic.

    Since you mentioned denim, what made you interested in working with that material?
    Just because it’s this material that is completely comfortable and utilitarian and completely practical for everyone and it never goes out of style. However, at the time, I felt as though there weren’t enough silhouettes represented in the material. And I just thought that was missing somehow.

    Denim isn’t known for being a super comfortable fabric––but your clothes look like you could either sleep in them or go hiking in them. How do you achieve that with the fabric?
    It’s stonewashed. I wanted each piece to feel unique and the stonewashing does that in fact. No two pieces are exactly alike. And, I wanted it to feel worn-in. I feel like a lot of denim is very stiff and you’re sort of left to make it as soft as you want it over time. But I want it to feel as if that’s already done for you.

    I know the label 69 is supposed to be a reference to the astrology sign for Cancer. Do you feel like you are emblematic of the Cancer sign?
    Personally, yes. I think I am. But that’s a secret. [Laughs]

    What are the personality traits of Cancers? Do you feel like that comes into play when you’re designing clothes?
    We are the mothers of the zodiac and we are nurturers, basically. There’s a long list of adjectives and traits, but mostly it’s just that. l feel as though I’m protecting and making everyone feel comfortable. So, yeah you could interpret that [in the clothing]. In a non-gender way.

    Can you tell me about the subtle athletic inspiration for the Spring/Summer 2014 collection? For instance, the baseball-inspired shirt. Do you follow sports?

    Not at all. It was just a silhouette. I mean, I think it’s a really beautiful silhouette. I thought it should be represented in denim. Not that it hasn’t been before. I just figured that was something that needed to be part of the ongoing catalog that’s being built. It was more about including these very popular specific silhouettes.

    Do you have a favorite thing to do in Los Angeles?
    Not really. I like to do a lot of stuff. I mean, personally, I like to hang out with my dog. But that’s super irrelevant.

    What kind of dog?
    I have a hairless dog. She’s everything.

    What’s her name?


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    Supply and demand is a tricky thing. Our latest series, GOING, GOING, is your siren call to OC's most covetable items that are flying off our shelves at lighting speed!

    For Spring/Summer 2014, the Alexander Wang pièce de résistance is his RAW EDGES CONTRAST STITCH BIKER JACKET in fresh, optic white. Crafted from textured cowhide leather, this coveted piece is a modern adaptation of the classic Brando biker jacket. The unfinished trimming and asymmetrical, crossover zipper revive an '80s-punk aesthetic, while sleek silver hardware gives this jacket a refined edge. Throw this wardrobe staple over a playful spring dress to add some rebellious attitude to your flirty ensemble.

    Shop all Alexander Wang Here

    RAW EDGES CONTRAST STITCH BIKER JACKET worn with Gitman Brothers x Opening Ceremony floral shirt (available in stores)

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