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    At the very imaginative crossroad between fine art and fashion lies the Madrid-based design house Delpozo. Spring/Summer 2014 brings a palette of clean, unfussy, button-up tops that can be effortlessly paired with high-waist, ankle-length, semi-sheer skirts––perfect for hot summer days. Transitional in its approach, the collection is also fluid from day to night. Structured dresses and skirts reflect creative director Josep Font’s architectural background, while details like a ribbon-tie closure in the back of a tank adds femininity to the stark geometry.

    Shop all Delpozo here
    Sheer Sleeveless Cropped Button-down in mustard

    Sleeveless Sweatheart Neck Dress in black

    Cropped Ribbon Detail Tank in ivory

    Sheer Maxi Skirt in ivory

    Plaid Maxi Skirt in black/yellow

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    'Tis the season to constantly check the weather on your smartphone for fluctuating temperatures. Dress warmly, and you risk showing up late to the party of prints, cropped jackets, and summer embraces happening on the streets. Live dangerously and wear that mini skirt, and you risk shivering on a blustery day. The solution to both problems? One of Opening Ceremony's light, transitional jackets. Take the clean, voluminous Kenzo version worn recently at the Hyères festival by OC friend CHLOË Sevigny. It’s perfect for that shift from day to night, as well at that debate over whether or not to wear a jacket to an evening fête. So stop making plans in accordance with Mother Nature’s capricious sense of humor. Our favorite multitasking jackets won't make you sweat or leave you out in the cold.


    Kenzo's POLY TECH DOUBLE FACED JACKET in neon pink is just roomy enough to ensure you'll never miss a cool breeze. Volume isn't just for show; it's fully functional. 


    Thin, lightweight, and the perfect shade of blue, Opening Ceremony's Caspian Barn Coat is the perfect overlay for spring's not-so-certain weather patterns. 

    One of the most innovative trends of late is architectural asymmetry, perfectly empitomized in this Opening Ceremony CRACKLE LEATHER DROP SLEEVE JACKET. Crackled leather turns up the texture volume. 

    Leather in the summer? It's doable, but not nearly as comfortable as Christopher Kane's Biker Jacket in red crepe wool. This is the perfect way to rock the perfecto look while still keeping your cool. 
    69's FRINGE BOMBER JACKET isn't only versatile weather-wise: it's also reversible! On one side is a 3D fringe, while on the other is simple, lightweight linen.

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  • 05/11/14--21:00: Sound Check: Sylvan Esso
  • In SOUND CHECK, we check in with some of our favorite musicians.

    Combine Amelia Meath's saccharine, sultry vocals with Nick Sanborn's smart yet playful pop sounds and you get the electronic-folk duo Sylvan Esso. We already have their singles "Coffee" and "Play It Right" on repeat, and the rest of their debut album (set to be released tomorrow) promises even more infectious electro-pop. We met up with the North Carolina-based band earlier this week at Two-Bit's Retro Arcade in the Lower East Side for some beers, games, and conversation. As Amelia played Tetris intently, Nick cheered me on as I kicked major ass at The Simpsons pinball machine. Hanging with the duo felt more like a seventh-grade summer camp than a first encounter (right down to the OG Buffalo platforms that Amelia was sporting). The two oozed zeal for life and music, and as we chatted about songwriting, the North Carolina music scene, and their upcoming European tour with tUnE-yArDs, we got a taste of the bubble-gum charm that permeates their songs.


    KATHLEEN TSO: Our band is ______ and our sound is ______. 
    AMELIA MEATH and NICK SANBORN: We are Sylvan Esso and our sound is that of a slinky.

    In the spirit of your single "Coffee," how do you guys take your coffee in the morning? 
    AM: Drip coffee, shot of espresso, a little bit of half and half; iced when it's hot, and hot when it's not.
    NS: Same way, but black. Iced when it's hot, hot when it's not.

    There's an element of storytelling in your songwriting. Where does the inspiration come from for your lyrics?
    AM: Some of them are personal, some of them aren't. I find that story songs are my favorite kind of songs. I wrote "Coffee" about falling in love over and over again and the nature of human relationships, and how [they're] cyclical. How you're constantly recognizing, or having déjà vu, about feelings that you had in the past. I like to write songs about questions that I have, otherwise I don't know why you would tell the story. I love storytelling and personal mythology.

    Where does the name Sylvan Esso come from?
    NS: I've always had wood-themed bands and it's based on this character in this video game that we love called Swords & Sworcery. It's an iPhone game and we love it. It costs $4, but it's so worth it. It's this gorgeous game and when you're playing [it], you can tap this tree and this beautiful Princess Mononoke tree spirit comes out and sings to you. And it was just this really beautiful thing we latched onto. Its name was a Sylvan Sprite.

    How have things changed since you signed to Partisan Records?
    NS: Before we had a small team of people: our manager, booking agent, and press dude. When we signed to Partisan we all just got bigger, and since there is so much more work, there are more people to help out. They have just been so immensely supportive.

    Congrats on your debut album coming out tomorrow, May 13. What are you guys going to do to celebrate the occasion?

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    Just prior to the 2014 Academy Awards, Opening Ceremony sat down with the Canadian composer Owen Pallett to learn more about his Oscar-nominated work on Spike Jonze's movie, her. Though the artist didn't take home the award for Best Original Score that night, he'll be back in the public eye on May 27, with the release of In Conflict. His fourth album to date, In Conflict is a dreamy collection of narratives, discussing depression, substance abuse, and gender issues, in tracks backed by orchestral layering, Brian Eno's drones, and Owen's signature violin loops. In light of his forthcoming release and his two tour dates in New York this week, we caught up with the musician via phone. 


    My name is _____ and my music sounds like ______.
    My name is Owen Pallett and my music sounds like—wow. I don't know, I've never been asked that before.

    If your most recent album were the soundtrack to a film, what would it be and why?
    It'd be Persona, the Ingmar Bergman movie. It's about a dual state of being—the "we" versus the "me."

    Whose style did you admire as a teenager?
    This is so embarrassing, but Beck's. It was hard for me to do a proper Souxsie, but Beck was really easy. When I was 15, I clipped out a couple photos I had seen in the newspaper and dressed like that for about two years. My mom hated the way I dressed; I came home one day to find out that she'd thrown out all those clothes and told me I had to get new ones and start dressing better.

    How would you describe your style now?
    Nico Muhly and I shop the same designers, but he goes for the robes and capes and describes his style as "Ringwraith," like Nazgul from Lord of the Rings, whereas I think of myself as the more scholarly version of that. Dark librarian.

    What's the weirdest thing a fan has given you?
    I don't know about weirdest, but one of the coolest things was a thesis paper that they wrote on Heartland. It was brilliant and beautiful to read, and it picked up on a lot of stuff that I unconsciously knew I had done, but didn't consciously know. I think it was a Musicology paper and to have so much of my inner songwriting voice dissected was amazing; it was like getting a doctor's report or a biopsy.

    Was it pretty spot-on?
    I would have given him an A+. 

    How would you dissect your evolution between Heartland and In Conflict?
    The big change between the two happened when I heard the Dan Deacon remix of "Lewis Takes Off His Shirt." It was much more drum-oriented—just drums, drums, drums propelling the song. I love drums, but I'd never featured them too heavily in my records for reasons that are very complicated, but I just kind of find that they're a way of sedating your recording. But in Heartland, I noticed that the drums were very restrained because the songs weren't written for the drums, but for violin and voice. So, for In Conflict, I wanted the rhythm section to be as much a part of the songs as my voice and violin.

    I always nervous about forming a band, because I didn't know what I would do—my shows are just me playing a violin and looping it. Like, the drummer's going to play along to my limping loops? But, then when we started doing it, it made it sound like the loops were coming alive.

    What was the inspiration behind your new album's lyrics? I read that it was about approaching "insanity" (emphasis on the scare quotes)

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    They were hip in the ‘60s when Elvis crooned over a ukulele in Blue Hawaii. Then in 1983 when Tony Montana delivered his unforgettable, “say hello to my little friend.” Raoul Duke rocked one through the desert in Fear and Loathing In Las Vegas and they made a comeback in the ‘90s with Jim Carrey in Ace Ventura. Hawaiian shirts go in and out of style, but they never go away. Now, the floral prints are back, hitting runways everywhere from Mother of Pearl to Dries Van Noten to our own Opening Ceremony X Elvis collection. In honor of island fever, we found the man who knows more about Aloha shirts than anyone. Meet David Bailey, owner of the largest collection of Hawaiian shirts––over 15,000!––in the world.

    In case you’re curious about the origin story: early Hawaiian shirts were inspired by the geometric designs of traditional Polynesian clothing called tapa cloth­­—malo loincloth for men and the pa’u skirt for women. That, mixed with the western sewing techniques of foreign settlers and the missionaries’ interest in “modest” ways of dressing, created the precursor to the Aloha shirt as we know it. The modern Hawaiian shirt (with its palm tree, pineapple, and surfer motifs) became commercial in the 1930s, spreading with tourism and the opening of the Royal Hawaiian Hotel on Waikiki.

    On a recent visit to Bailey’s Antiques and Aloha Shirts, David’s vintage emporium in Honolulu, I chatted with the expert about Elvis, Honolulu, and, of course, Hawaiian shirts.


    AUSTEN ROSENFELD: How did you start your collection?
    DAVID BAILEY: Well, it was the late '70s and I was a hang glider in Santa Barbara and I had an accident… I fell over 1,000 feet. I’m the only one who can say that and live to talk about it. At that point, I quit and I had a job in a small store in Santa Barbara selling jewelry. I started collecting Hawaiian shirts when they were really cheap and once I had 1,000 I opened up a store.

    Do you have a favorite Hawaiian print?
    Oh, no. For me it’s basically a commodity now. I like florals. I usually take a shirt and wear it a few years, then exchange it out... I’m always open to selling the shirt off my back. I like to call it wearable art. It’s a good investment, better than the stocks I pick which all uniformly go down. But the shirts tend to go up.

    What are some well-known Hawaiian prints or artists?
    Alfred Shaheen is well known. Right now, what is called the hand-painted back panel shirts, by McGregor and Catalina, are very high-end. There are a couple artists [whom I sell here]: one is Eugene Savage [and] the other is Frank McKintosh, who designed the menus for the Lurline ships that used to come [to Hawaii].

    How can you tell an original from a replica?
    The best three indicators of a pre-1960s shirt are horizontal buttonholes, French, or flat, seam on sides and around armpits, and an old label. Rayon is most valuable, although shirts were also made from cotton, nylon, and silk in the '40s and '50s. Laser technology since about 1990 has allowed almost perfect replicas, which changed the industry, as it is cheaper to copy than to hire an artist.

    How did Elvis change the way Hawaiian shirts were perceived? Are you an Elvis fan?
    It was about 60 years ago when I was at a friend's

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    If you're looking for a little party around your wrist this summer, Venessa Arizaga's men's collection offers plenty of solid options. The contemporary jewelry designer began her career in 2003 at Tuleh, before taking lead roles at Carolina Herrera and Zac Posen. And a few years ago, while visiting her father’s birthplace of Puerto Rico, she became so inspired by the island’s natural beauty that she began tinkering with local, mixed media materials like seashells, natural stones, and silk threading.

    After years of innovation, she debuted her eponymous line of women’s jewelry in 2010. This year, she's debuting a men’s line for the first time. Capturing Puerto Rico’s fun-in-the-sun culture, coupled with New York’s love for easy statement accessories, the jewelry designer offers what she called "a mix of beach and street culture," as seen here in her debut men's collection. First happy customer? Her photographer beau Shawn Roche, who test-drove her pieces with aplomb. Hey, if it's good enough for the husby... 

    Shop all Venessa Arizaga men's HERE


    Venessa Arizaga LET'S BONE BRACELET and RED TIDE SKINNY BRACELET. Photo courtesy of Venessa Arizaga



    Let's Bone Bracelet in black with silver lettering and bone charm


    Hula Girl Bracelet in black with hula girl charm

    Rad! Bracelet in black threading with white beads

    Money Bracelet with gold and black threading and gold dollar-sign beads

    "Weed" Bracelet in green threading with white beads

    Shark Bracelet with grey and silver threading and shark charm


    HIGH TIDE BRACELET with multcolored threading


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    Is there anything Kiko can’t do? Last season, we brought you the ultra-kawaii Opening Ceremony collaboration with Japanese model and all-around bad gal Kiko Mizuhara. Now, we're bringing back the highly coveted pizza separates, along with Kiko's spot-on mini skirts and tie-waist tops inspired by Tokyo teens. As a perfect compliment to the resissue, Kiko is also debuting a collection of high-octane headgear that blends Harajuku style with '90s streetwear, in collaboration with OC Japan and Harlem-based label Gypsy Sport. 

    Shop Kiko Mizuhara for Opening Ceremony HERE | Shop Gypsy Sport x Kiko Mizuhara x OC HERE
    Kiko Mizuhara for Opening Ceremony Pizza TOP and LEGGINGS


    Kiko Mizuhara for Opening Ceremony Cut-Out Short-Sleeve Turtleneck Dress

    Kiko Mizuhara for Opening Ceremony Long-Sleeve Tie-Up Shirt in blue


    Kiko Mizuhara for Opening Ceremony Pizza TOP in dot

    Kiko Mizuhara for Opening Ceremony Pizza TOP and LEGGINGS

    Kiko Mizuhara for Opening Ceremony Plaid Skirt in red

    Gypsy Sport x Kiko Mizuhara x OC Halo Faux Fur Headband in black

    Gypsy Sport x Kiko Mizuhara x OC HALO FAUX FUR HEADBAND in baby blue

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    Between 2010 and 2013, the Danish filmmaker Andreas Johnsen paid Ai Weiwei about seven visits to his home in Beijing, where the director had just one stipulation: “If I was recording with my camera, Weiwei had to be present.” The result is a new documentary out this Friday, Ai Weiwei The Fake Case, which follows the Chinese conceptual artist and political dissident after he returns home from 81 days of solitary detention under a half-baked Chinese government tax evasion lawsuit, a closely-watched story that would soon be dubbed “the fake case” by international media outlets.

    The film takes place mainly during the year of house arrest following Weiwei’s release from jail. We see him behind the walls of his studio, 258 Fake, in the Caochangdi arts neighborhood in northeast Beijing—giving rambling monologues to the camera, interacting with his son, and becoming increasingly frustrated with the police. But, physical restraints didn’t stop the 56-year-old artist from challenging society through high-concept, remote commissions and galvanizing the Chinese youth via one very active Twitter handle. 

    Check out OC's exclusive clip from The Fake Case and interview with its director, Andreas Johnsen. 




    JEANINE CELESTE PANG: Ai Weiwei is known as a provocateur and something of a media exhibitionist. Did you get any sense that the on-camera persona was slightly theatrical, or just an act?
    ANDREAS JOHNSEN: Basically, the cameras were never off. He wanted everything to be shown. Transparency, honesty, and truth are his main goals. He’s not superstitious and he’s not spiritual—he’s just very straightforward.

    You get the sense that he’s always goading the Chinese government to have a deeper conversation about censorship.
    If you think about his art project, the self-surveillance WeiweiCam, that was genius. It was like, “Here I am, totally transparent, totally honest.” He’s just like, “You want to put 18 cameras outside my house? I’ll put even more inside my house. See me go to the toilet!” I think that’s how he really survives, mentally and under the pressure of being in this total uncertainty. He’s playful. I think that’s a beautiful tactic for just staying alive.

    What was the most impactful thing you were able to learn from him?
    Consistently, on every one of my trips, I was impressed by how he was able to turn a situation around to his advantage. His life is basically shit, you know. He was away for three months, and he comes out of this prison where he wasn’t even allowed to talk to the guards that were in his cell. Anyone else would have broken down. But then, little by little, by being smart and playful, he turned all these restrictions around and almost ridicules them.

    This is the second feature-length documentary to come out about Ai Weiwei. The first was done by Alison Klayman, who released Ai Weiwei: Never Sorry in 2012. Was there any overlap between the two films?
    Yes, in 2010. All of a sudden, Alison walks in with this big-ass camera, and I was like, “Hello!” and she was like, “Whoa—who are you

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    Judging from the tempermental first few weeks of spring, we're looking at a storm-ridden season. And lest you walk around in rainboots and a parka every weekend, preparing for potential rains requires some finesse, especially when it comes to footwear. We’ve rounded up some of the most versatile sandals of the season, letting you gallivant around the city without worrying about a few summer showers. These comfortable flats and chunky heels come prepped with rubber soles, sturdy leather, and enough style to take you from rooftop soirée to muddy music festival.

    Shop all women's and men's sandals

    These sneaker-style THICK STRAP SANDALS by Toga Pulla scream comfort, key when you're on your feet all day long at a festival (for three days straight). 

    Opening Ceremony's Rae Sandals are the epitome of the versatile summer shoe. Wear them to the beach, to the block party, or to that rooftop bar.


    Channel a modern-day gladiator with Acne Studios' Lottie Sandals.

    Looking for the perfect minimal sandals (not to mention minimal tanlines)? Say hello to Opening Ceremony's Miranda Sandals.

    These adidas Originals x Opening Ceremony Taekwondo Platforms will elevate you above puddles (and help you see the stage at that outdoor concert)!


    Robert Clergerie's Fifre Platform Sandals might be a pain to clean post-mud, but are definitely worth it to complete your avant-garde space cadet look.



    Kenzo's Mortisia Lug Sole Sandals are the perfect stomping boots––in sandal form.

    Metallic platform gladiators? We never knew a single shoe could have so many things going for it until we saw Proenza Schouler's Gladiator platform sandal.

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  • 05/12/14--21:00: It's A Toga Party!
  • Here's the truth: no toga party we've ever heard of is half as fun as the new collections from YASUKO FURUTA's Toga family, made up of the labels Toga Archives, Toga Pulla, and Toga Virilis. In her collections for men and women, the Japanese designer fuses textures and influences: take the skirt coated in multicolored stones in the luxe TOGA ARCHIVES collection, the Western-influenced bra top in the more casual TOGA PULLA line, or the sporty mesh jerseys of TOGA VIRILIS, Yasuko's men's label. The vibe is eclectic, sure, but also cohesive: daring details are tucked near ever collar and hemline. In Toga Archives, toga-esque drapery gives simple dresses a classic elegance, while floral-print skirts and tops come in angular, geometric cuts. Toga Pulla, meanwhile, peppers its youthful tops, jackets, and skirts with swatches of unusual materials like mesh, leather, and corduroy. At Toga Virilis, men’s staples such as Western shirts are tricked out with metal-tipped collars, while a baseball jacket is elongated with a drawstring, mesh attachment at the bottom.

    Shop Toga Archives HERE
    Shop Toga Pulla HERE
    Shop Toga Virilis HERE

    Toga Pulla Flower Detail Denim PANTS and Shirt in white 
     
    Toga Archives Acetate Twill Dress in navy

    Toga Archives Flower Jacquard Top and Skirt 

    Toga Archives Tape Motif Jewels Pullover in navy and Wool Mohair Chambray Flared Pants 

    Toga Archives Taffeta Stone Skirt in black

    Toga Archives 

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    Bellavance is the serendipitous brainchild of design duo Nolan Bellavance and Ava Hama. For Spring/Summer 2014, they’ve conceived a collection of clean lines and vertical stripes that straddle the fence between classic, downtown chic, and playfully sporty. Take, for instance, the tiered dress with asymmetrical stripes of textured blue, white, and pale orange that are both abstract and angled to flatter your curves. It's a sophisticated yet accessible approach to dressing. 

    Shop all Bellavance HERE
    Cirque Cotton Dobby Dress in multi

    Serena Cotton Dobby Dress in white/navy

    Elsie Silk Cording Robe in sky blue/black
    Claire Stretch Cotton Denim Jacket in grey

    Aster Cotton Striped Top and Iberis Cotton Dobby Skirt in white/navy

    Disa Cotton Dobby Skirt in white/navy

    Viscose Ribbed Knit Tee in white

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  • 05/13/14--21:00: Is Cities Aviv A Rapper?
  • Is Gavin Mays, aka Cities Aviv, a rapper? “For the sake of normalcy, I am to an extent,” he reasoned last month when we met in Harlem. But the more complicated truth is that the Memphis-raised, Brooklyn-based musician is as adept at mixing Memphis Soul with '80s noise and industrial as he is coming up with rhymes. “In the end, I’m a cultivator of culture and content—that’s what I do,” he said.

    Cities Aviv has been on the scene nearly four years, with two LPs under his belt and a mixtape to complement them. If one thing is certain about Gavin, he possesses an ear that challenges conventional taste. His live performances are raw, unsettling, and spellbindingly good. A mixture of noise, deconstructed sampling, and dance-art, Gavin never fails to leave his audience with something experiential and real.

    On a recent weekend, I had the pleasure of hanging out with Cities Aviv in downtown Harlem, at the historic intersection of 125th Street and Lenox Avenue. We discussed “hardcore” music, artist collaborations, his personal take on fashion, touring with Weekend, and of course, Memphis rap.


    KYLE WUKASCH: How has the transition from Memphis to New York impacted your music?
    GAVIN MAYS: From a pure creative aspect, the change has left me looking more to my roots. This past album feels inherently more "Memphis" in nature as opposed to a reinvention of the New York landscape. I think it took me leaving my base to understand myself more, which is more real than anything else. This transition gave me that.

    Is it true you were in a hardcore-punk band in Memphis?
    Yes, I was.

    How did that period in your life influence your current musical direction?
    It reinforced everything I am currently doing and everything I wish to create in the future. There is a sense of expression that you find in heavy music that is absent in many other forms. What I do now wishes to capture the beauty in that expression. Never senseless aggression, but apparent passion.

    You now have two albums under your belt, both markedly different in sound and production. What influenced your production style and sound with the new album?
    To me, the new album was to be a culmination of all of my past works. I feel that its aesthetics and textures accomplish just that. I was listening to a lot of late-'80s noise rips and industrial and some of them probably found their way into my influence. Overall, I'd simply say the new album is more "me" than ever.

    You just finished touring with the band Weekend. How was it?
    The tour was crazy. I feel like a reached a point before tour where I was pretty apathetic about playing altogether. Just being in NYC and seeing the same attitudes––people just seemed generally uninterested in everything. So it was cool to break away and go to nowhere America, entering a different environment which I’ve never experienced. It was an eye-opener.

    If you could collaborate with an artist, past or present, who would it be?
    Personally, I feel too removed to answer. I appreciate quite a bit that is currently happening but I definitely see a void in mainstream and underground media.

    I hear you're now designing shirts. Is fashion a medium you want to cont

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  • 05/13/14--21:00: Hanna Liden's Bodega Bouquet
  • When I asked photographer HANNA LIDEN about the inspiration behind her new show, the answer was blunt: "It's obviously New York City deli." The photographs look like what might happen if a bodega trash bin magically sprouted a garden: tulips emerge from Gatorade bottles, elegant white orchids from Budweiser cans, and Kool-Aid-colored daisies from discarded coffee cups. According to Liden, the only thing that's not from a deli are a pair of black boots. "Those are from Barneys," she noted.

    Liden isn't the first artist to draw inspiration from the bodega: last year, Aurel Schmidt hosted her exhibit Fruits IN A FORMER BODEGA on the LES, and before that, Alex da Corte and Borna Sammak recreated the Philadelphia deli experience with As is Wet Hoagie. Liden's exhibit is both a departure from and a prime example of the bodega-art genre: its juxtapositions of the ugly and beautiful are tongue-in-cheek, sure, but ultimately sincere. The title of the show, I Hope These Ruin a Perfectly Bad Day, isn't as sarcastic as it might sound, Liden explained: "It's a double negative, so it's actually a positive thing. It's like a greeting card in a flower delivery." 

    The series is certainly an aesthetic departure for Liden, who is mostly known for her stark, moody photographs of naked young Swedes, and more recently for photographs of pentagrams and Pagan rituals that reference the occult. Recently, sculpture has played an essential role in the photographer's work: handmade and found objects are united in carefully composed tableaus that meld street and studio. As Liden revealed last night, though the pieces on display were put together in two weeks and shot in only two days, she had been planning them for a lifetime: "How long it takes to make a work isn't important. It takes a fifteenth of a second to take a photograph, but you can't just take a photograph. You've thought about it for a long time."

    Through June 14, 2014

    Maccarone
    98 Morton Street
    New York, NY 10014 
    MAP 

    It's a Pleasure to Serve You 2014. Photos courtesy of Maccarone gallery

    My Condolences 2014

    Can Development 2014

    Hydrate, Hydrate, Hydrate 2014

    Let It Go 2014

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    Angelo Garro describes himself as “a blacksmith by trade and a cook, hunter, and lover of food by passion.” And mainly, "just a man who likes to have fun.” Fun attracts: In the past few years, the San Francisco-based, Sicilian-born polymath has gained traction—and friends around the dinner table—by hosting convivial parties in his SoMa Renaissance forge, which houses his kitchen and metal studio. On any given day, hand-cured salami dangles from the rafters and homemade pasta stretches from the counters, and everything, from the ironwork to the pickled grapes, is created in (and with) his hands. 

    Years ago, we first heard about him as the lone ranger who hunted wild turkeys in Napa Valley and wild boar in Sonoma with a sort of infectious, childlike zeal. We thought of Ralphie Parker and his Red Ryder BB gun. But of course, this is an adult we're talking about, and as such, Garro was seasoning his meat with a sophisticated blend of organic spices (like wild fennel) and sea salt, a savory mix that he would give as gifts to friends including Alice Waters (he and Waters bonded on an eel-fishing expedition off Ocean Beach), the filmmaker Werner Herzog, and the author Michael Pollan. So popular was this salt, that last year, Garro made it available to the public through a successful Kickstarter campaign, released under the name Omnivore Salt.

    Recently, Garro held a fennel cake-making class at the Renaissance Forge, using wild fennel foraged from everywhere between Potrero Hill and Upper Market, as well as the signature salt. He shared the recipe and pictures exclusively with Opening Ceremony.


    Polpette di Finocchio (Fennel Cakes)

    Ingredients (serves ten):
    4 cups finely chopped tender fennel stalks from a young bush of fennel
    3 eggs
    1 cup Parmigiano Reggiano, finely grated
    1 cup course bread crumbs (made from day-old bread)
    5 garlic cloves, finely minced
    1 pinch of crushed red pepper
    1 cup of vegetable oil
    3 tablespoons extra virgin olive oil
    Omnivore Salt to taste 

    Instructions:
    1. Peel off the outer layers of the fennel, only using the inner tender stalk. Finely chop the fennel stalks to about 1/8-inch-pieces and a handful of fennel fronds.
    2. Parboil the fennel in salted water until tender for about five minutes.
    3. Drain the fennel and let it cool off. Do not rinse.
    4. Mix in a large bowl. Add the bread crumbs, minced garlic, and Parmigiano Reggiano.
    5. Add the three eggs and mix together with your hands.
    6. Take a rounded tablespoon and form each cake. The mass should not be too dry, nor very wet.
    7. Fry the cakes in oil until lightly browned on both sides and air-dry on paper towels.
    8. Sprinkle with Omnivore Salt and serve.

    Photos courtesy of Veronica Ronchi





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    In STRAIGHT TRIPPIN', OC friends and family share tidbits from their latest travels. This time around, Jeanine Celeste Pang shares her snaps from a recent trip to Antigua, Guatemala for her best friend’s wedding. 

    Name: Jeanine Celeste Pang
    Occupation: Managing Editor, Opening Ceremony
    Travel destination: Antigua, Guatemala
    Carry-on necessities: “Dirty Mindy” Thierry Lasry sunglasses (available at OC online soon), Skittles, and moisturizer
    Reading materials: Bark by Lorrie Moore
    Most over-played tracks on your iPhone this trip: The bride and the groom both really dig EDM. So...there was a lot of Calvin Harris!
    Favorite outfit to travel in: Opening Ceremony Celia Crepe Shorts, and this Been by D'Heygere watermelon-print bathing suit. I pretty much refused to take the suit off—it’s like a power bar to the soul. 
    Highlight of your trip: The Pacaya volcano hike was so beautiful (and such a great workout for my lazy bum). It's an active volcano, so you're literally walking on hot lava particles and dust (almost like you're walking on the face of the moon). It got so hot, that our local tour guide gave us litle pink and blue marshmallows to roast right above the lava. 
    Souvenirs: Chocolate, coffee, and hand-beaded keychains in the shapes of parrots and shrimp—all from El Mercadito de Artesanias.


    "PACAYA! This is pretty much as close as we could get to the volcano. #hotlavaproblems. At least my wrist was tricked out in Venessa Arizaga assorted friendship bracelets." -Jeanine Celeste Pang 
    Made in the shade. Venessa Arizaga BRACELETS, "Dirty Mindy" Thierry Lasry SUNGLASSES (available at OC online soon)


    In Antigua, every hour is happy hour 

    To market, to market

    Handwoven Guatemalan kicks, made from banana leaf stalk
    Chocolate and coffee from El Mercadito de Artesanias

    The paperboy
    Yet another beautiful church 

    "Gorgeous doors, everywhere. This one is t

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    For Kenzo’s Spring/Summer 2014 RTW collection, designers Carol Lim and Humberto Leon brought their sun-and-surf, California roots to the runway. The inspiration was the water, and the result was, well, mind-blowing—arguably the designers' strongest showing for Kenzo to date.

    A fluid yet tailored collection, there were consistent riffs of the ocean with crashing, froth-like patterns and frilled edges lining easy separates. And, within the designers’ mission to dress you, they were also doing their part to bring awareness to ocean preservation—specifically, the environmental danger attached to overfishing. A win-win for all. Asked by a fashion reporter for his reaction to the collection, stylist Mel Ottenberg put it best: "Rihanna will definitely be wearing these clothes." 

    Shop all Kenzo HERE


    Cotton High Wave Long-Sleeve Overall in black

    Jacquard Bicolor Wave Sleeveless Dress in deep ocean blue

    Ottoman Embroidered Fish Top in optic white

    Twill Cotton Scribble Striped Jacket in deep ocean blue

    Lurex High Wave Sleeveless Overall in teaberry

    Fish Detailed Back Crepe Dress in black

    Wave Cut-Out Neoprene Long-Sleeve Top  in black 

    Broken Wave Lame Sleeveless Dress in black 

    Peplum Sequin Dress in black 

    Poly Tech Detailed Back Sleeveless Dress in deep ocean blue

    High Wave Sleeveless Button-down Dress in optic white

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    In a warehouse-cum-venue on Paris’ Canal Saint-Martin, a woman in a flame-embroidered trucker hat and a man in pre-millennium sneakers are doing a dance somewhere in between clogging and Michael Jackson’s “Thriller.” But the music that’s playing is neither '80s pop nor Irish jig: it’s techno. (Specifically, a jacked-up remix of the Cranberries’ “Zombie”.) “It’s like folk dancing. It has a weird gypsy or lower-class vibe,” Miami artist Johnny Laderer would later explain about the Dutch dance style called Hakken (ha-ken). “It’s bouncing, marching fun,” I also hear, and, “like a cat dance.” All of which is accurate.

    Hakken is associated with the '90s hardcore techno genre Gabber, which this month was the focus of a two-week long festival at Paris’ Point Éphémère. The name of the festival––which included club nights, an art exhibit, and a pop-up store––was Une culture à 180bpm!, or a culture at 180 BPM. Electronic music fans will know that 180 beats per minute, is very, very fast: the hallmark speed of Gabber back in its heyday. “It’s an extreme music scene that became really popular,” says Paul Orzoni, the event’s young founder whom I’ve met over beer at Le Point Éphémère.

    According to Orzoni, the time is ripe for a Gabber renaissance. “In Paris, we have a massive return of raves. People are so ready for the sound again,” he said. At the expo’s shop, I find second-, third-, and probably fourth-hand sportswear of a certain look––track pants, polos, jerseys, and windbreakers that wouldn’t look out of place at a Nasir Mazhar show.

    The expo’s walls are hung with rave posters. One flyer, for a party called "The Final Exam" that happened in 1992, advertises a 12,500 square meter "Jump Area" (that’s a mosh pit, we guess), a 250,000-watt computer-controlled sound system, “Food/Chill Out,” and something called “Flying Lights.” About 13,000 people showed up, who, according to photos at the expo, were devotees of a particular style subculture: facial piercings, half-shaved heads, nylon jackets, and those sneakers. Elsewhere in the exhibit is a single tablet of Ecstasy still in its baggy, like evidence.

    Gabber started in the early-'90s when DJs in Rotterdam started playing techno faster, adding drum machines, kicking up the bass, and distorting it with synthesizers. The subculture’s name came out of an interview between DJ KC the Funkaholic and a journalist. Asked what he thought of these kids and their hard-house raves, the musician responded almost dismissively, saying, “They’re just a bunch of gabbers having fun.” Gabber was old Dutch slang—a thieves’ cant spoken by crooks, drifters, and traveling salesmen—used for a “buddy” or “pal.” “[Gabbers] were outcasts and poor people from the countryside, you know?” said Orzoni. “You can still see that dynamic and what participation was about.”

    Eventually, “In the Netherlands, Gabber [became] mainstream. It was everywhere—on the charts, [and] on TV,” Orzoni explained. From there, Gabber spread to Belgium, Germany, and Italy, where it had big scenes. “In France I think it was really confidential,” Orzo


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    In case you were wondering, please don't call Nasir Mazhar's clothing “sportswear." For his Spring/Summer 2014 collection, the London-bred designer incorporated both industrial and luxurious elements, such as sequined basketball shorts and multicolored hoodies with silver foil embellishments. In other words, these clothes aren't engineered to shoot hoops in, but rather, to evoke a hardcore, '90s-inspired street vibe. Of course, there are plenty of athletic references, like nylon track jackets with matching sweatpants, but even those have variegated panels and textures to keep the collection elevated and multifunctional. Mazhar once again captured the culture he represents: young, fun, and willing to take a risk.

    Shop all Nasir Mazhar HERE



    Foil Striped Hoodie in red/black with foil embellishment 

    Zig-Zag Capsule Sweatshirt in black, grey, and white with Zig-Zag Capsule Sweatpants

    Nylon Sweatpants in black 

    Back Logo T-Shirt in white/baby pink, and Sequined Basketball Shorts blue/black

    Foil Striped T-Shirt in black, and  Basketball Shorts in red/black

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    As part of our year of Belgium, we've created a collection dedicated to one of the country's greatest artists, René Magritte. Twelve of Magritte's most iconic images have been reproduced on dresses, sweaters, and jeans, with a matching lineup of footwear from Birkenstock, Manolo Blahnik, and Vans. You won't need a membership to the Met to view this stunning collection of wearable art—you can just open your closet. Click through our Surrealist editorial and then shop the looks!

    View the Opening Ceremony & Magritte editorial here | Shop Men's and Women's
     

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    SKY HIGH ON HEALTH reports on nutritional, wellness, and green lyfe fads both crazy and helpful.

    Okay, so I know you’ve read about 50 different posts from 50 different blogs about this ancient detox method but, bare with me, I’m tryna real-talk: like, really, is this shit even worth it? For those of you who reside under a rock, or who spend too much money on rent to afford an Internet connection, oil pulling is also known as “Oil Swishing,” and is the act of literally swishing around oil in your mouth—as one would with mouthwash. Oil pulling is done first thing in the morning… before eating, drinking, or even brushing your teeth! A tablespoon of high-quality (and organic!) coconut or sesame oil should be used for the daily 20 minutes of swishing. When the 20 minutes are up, the oil is spit into the trash, revealing a sparkling smile and a hint of eau de Banana Boat (if you’re using coconut oil) leftover on your palate.

    This Ayurvedic method is meant to improve oral health and hygiene. It is billed as a technique that helps to suppress and heal headaches, migraines, diabetes, asthma, and acne. Additionally, oil pulling is toted as a natural way to whiten teeth. The swishing of the oil is believed to literally “pull” toxins from the mouth—where a major amount of the bacteria in our body lives. The fat in the oil draws out impurities, leaving a healthier system overall and with beauty benefits to boot! When I first heard about oil pulling, I was, of course, most intrigued by the claim that it would whiten my teeth and bring my skin to a new level of smoothness and brilliance. Oral health is great and all, but, damn ma, I want you to hear the music when you look at me! “She put de lime in de coconut, she drank 'em bot' up.”

    Readers, listen up. As I discovered, oil pulling is not about whiter teeth or better skin. It's about snot, mucus and phlegm.

    Yup, for real. The reality of oil pulling is that it's not exactly a pleasant experience—20 minutes is a damn long time to keep something whirling around in your mouth. The first few times you try it, 20 minutes can feel like 20 hours and non-stop swishing can be pretty gag-inducing. Your mouth does eventually get used to the initial gunky consistency (coconut oil is a solid below 75 degrees Fahrenheit so it takes a minute in your mouth to become the liquid that you will swish) and after a week of regular oil pulling, you’ll have sufficiently developed a tolerance to lock-jaw (and your boyfriend will thank me). But such a lengthy AM routine is a serious commitment—especially, if, like me, you’ve got mad shit to do in the morning. If you’re just starting, I highly recommend morning multi-tasking by designating an activity to serve as a distraction to swishing. If you’d like to take those 20 minutes as an opportunity to meditate and ponder the removal of toxins from your being, you can also do that.

    After a month of oil pulling, I’m sad to report my teeth weren’t whiter, my skin wasn’t brighter and I wasn’t living the high-life in a Banana Boat commercial. What I did notice, however, was that each morning, after I spit out my 20 minutes worth of coconut oil, I spent at least another 10 minutes choking up snot, mucus, and phlegm. It seemed never ending—coming up from the depths my inner passages. I didn’t realize I was such a snotty girl! So maybe I still needed Crest Whitestrips and a treasure trove of skincare products, but this oil swishing was definitely doing something. With all that draining of my sinuses, my seasonal allergies were minimized, and congestion reduced dramatically. If all tha

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