plastik wrap downtown vamp sugar sweet accessories transform and emerge scavenge for fashion
on R.E.T.R.O. and performing live
editor s letter
Spring is here! It is the time of the year for all things fresh and new. This issue contains many features for the season, bright and sugarery accessories to liven up your wardrobe, tons of new album reviews to freshen up your music library, futuristic fashions to protect you during those April showers, a spring cleaning guide to get your abode squeaky and updated, and many great interviews to bring new perspectives. This issue we had the opportunity to interview some notable personalities; Adriana Fulop the designer behind the highly successful clothing company Plastik Wrap, Acey Slade musician and rocker who has been a part of a long list of bands including Acey Slade & The Dark Party, Dope, and Wednesday 13, Arden Leigh the mistress of seduction, and mind.in.a.box creating some of the best electronic music out there today. The writers at Auxiliary have dug into the creative projects, passions, and influences of these people, and I think the interviews offer lots of inspiration and new perspectives perfect for the time of year when everything around us is in a process of renewal. Now that the issue is complete and ready for your enjoyment, I am off to enjoy this beautiful spring day! As always thank you to all our contributors this issue and thank you for your continued support.
Auxiliary Magazine. auxiliary = alternative, supplementary, to provide what is missing, to give support.
We have always had a love for the different, the unique, the creative. But from all sides we’ve heard what we love is on it’s way out, is suffering, is dying, is dead. Today an alternative aesthetic is seen more than ever. Yet the core, the base, the scene; everyone is telling us is in a sad state. Reality is what you make it. Our goal is to provide high quality fashion editorials, photographs, and articles; unique reviews and insights on the best media out there; and to create discussion and passion about alternative subcultures. There is a lot of amazing and creative stuff happening. We hope to find it, highlight it, and encourage it to grow. That is why we’ve created Auxiliary Magazine; an online and print magazine dedicated to fashion, music, and lifestyle with a darker aesthetic. There are no other boundaries than that. That is the strong point of alternative culture; and we hope to include it all.
Sincerely, Jennifer Link
And that is a lot of ground to cover. So contribute! Send us your fashion, your music, your events, your opinions, your projects, your ideas. This magazine isn’t for a select few, we don’t know it all, this magazine is for you and what we all love.
Photographs / Illustrations
Editor in Chief Jennifer Link
Aaron Andrews Acid PopTart Luke Copping Yone Dundas EJTower Meagan Hendrickson Eric Kendall Mike Kieffer Jennifer Link DJ Mighty Mike Saga Paul Morin Numi Prasarn Adam Rosina Lizz Schumer Jennifer Seaman Vanity Kills
Photographers Jennifer Link www.jennifer-link.com Stephanie Bell www.emergingdesign.ca Laura Dark www.lauradark.net Luke Copping www.lukecopping.com Steve Prue www.teamrockstarimages.com Billy Archos www.theunspokenwords.com
Illustration on 46
Fashion Editor Meagan Hendrickson Music Editor Mike Kieffer Associate Editor Luke Copping Copy Editor Zach Rose Dan Barrett www.auxiliarymagazine.com email : email@example.com
Logo Design Melanie Beitel
issue 9 : april/may 2010 ISSN 1948-9676
Layout Design Jennifer Link Luke Copping
No part of this publication may be reproduced in any form or by any means, electronic or mechanical, without the permission in writting from the publisher, except small excerpts for review purposes. Submitted work, reviews, ads, and photographs are copyrighted by their respective owners and fall under previous declaration. Copyright Auxiliary Magazine 2010. AUXILIARY april/may 2010
Photographs on 7 Kidtee Hello www.kidtee.daportfolio.com Illustrations on 16, 40, and 41 Maki Naro www.page8productions.com Image on 17
A Snake Of June image courtesy of Tartan Films
Jinx in the Sky www.diamondsoul.synthasite.com
Photographs on 47- Luke Copping Fluevog images courtesy of Fluevog Photograph on 30 Jeff Turner www.jeffturnerphoto.com Advertising
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on the cove
plastik wrap downtown vamp sugar sweet accessories emerge and scavenge : 8 mind.in.a.box
: : : . :
42 14 48 58 22
Photographer : Stephanie Bell Stylist : Pretty Deadly Stylz Makeup : Wendy Rorong Hair : Anna Crooke & Matthew James Genser Model : Alycia Gallagher
editorial 4 6
27 music reviews Goldfrapp, Architect, These New Puritans, Absurd Minds, and more 30 guest music review Yone Dudas of Decoded Feedback
the culture crisis in the U.S. style weaves a story an editorial by Acid PopTart
emerge beauty looks that will transform you 14 aesthetic downtown vamp 16 electroshock spring forward into an electric equinox
20 31 36 40 42
the bohemian legacy the PinUp - Acey Slade the PinUp take 2 - Arden Leigh a squeaky clean spring Adriana Fulop an interview with the designer behind Plastik Wrap and BitchCraft 45 my life as a goth girl
17 the essentials : Harold and Maude and A Snake of June 18 Tim Burtonâ€™s Alice in Wonderland
47 style - under the big top 48 sugar pops sweet accessories to rev up the color 58 scavenger garments for the future 65 where to buy 67 fashion essentials the summer dress
22 mind.in.a.box an interview with the duo behind the music 26 quick picks 27 DJ tracks DJ Mighty Mike Saga 3
april/may 2010 AUXILIARY
According to the Urban Institute, there are four main ways that (most) people participate in the arts: they, “attend programs and events, encourage their children to participate, make or perform art as amateurs, or support the arts through donations of time and money.”1 Among the many benefits of the arts I will address, including education, economics, and quality of life, research with the Urban Institute shows that, “the more ways people participate, and more often (in the arts), the more likely they are to engage in other activities that support community life.” Very few of us, I believe, need to go far in our own hometowns to notice the general pattern of crumbling, desolate communities, or the general lack of cultural involvement with the arts or each other in creative, stimulating, empowering ways.
fluent country compared to the previous seven, bursting with the wealth of the highest GDP, the U.S. spent a whopping 1-2% of it on the arts, thus proving cultural health to be a very low priority in the U.S. when compared to competing innovative nations (and leaving me wondering where the heck all my taxes are going). It was no better after the dot-com bubble burst. In 2004 Britain’s government arts budget was “30 times higher” than that of the U.S. (NEA) despite the fact that Britain’s funding rate was one of the lowest of all of Western Europe.3 During that same year, Italy’s 2.5% budget cuts left that country’s “per capita cultural spending (only) about 56 times higher than the NEA (U.S.) budget!4 The Arts “Poverty Gap”
Our “culture” in the U.S. these days tends to be projected at us through advertisinghyped consumerism. Cheap goods, high-tech escapism, ADD-inducing television programming, and drive-bys past the “bad part of town” for an overpriced drink, movie, or bite to eat are the cultural activities that prevail. A major part of the problem is that many citizens aren’t engaged in their own culture, neither part of it nor creating it. We’ve basically been told to take what culture we’re given. What we are left with is more spending into the corporate machine and ignoring the jaded pangs of the daily grind. How many PeopleofWalmart.com and inner city cultural wastelands do we need to have to acknowledge that something is DEFINITELY wrong here in the U.S.?
Okay so public arts funding is kinda, um, low. So what? Why does “public assistance” in the arts matter anyways? Actually, studies of the art museum-going public and national arts participation have shown that for decades that U.S. arts participation is lower in lower income groups. Those who participate in arts and culture more come from, “upper educational, occupational, and income groups.”5 New national data corroborates that, “the strongest predictors of arts participation are arts education, level of education, income level, and in some cases age.” That means the majority of the U.S. population is culturally deprived. Why might this be? Rather than feign delicacy I’m just going to go ahead and say it. Rich people have nicer things. They have nicer schools, well-funded art education programs, and more income at their disposal to pay for additional non-school art classes. According to the 2008 NEA national survey, “those with higher incomes tend to have more education, more education in the arts, and humanities, and community-based arts education.”6 As lean property taxes in low socioeconomic areas starve off public school budgets, art programs are one of the first “specials” to be reduced or cut. A sad fact considering that “arts education” was the “strongest predictor” of increased arts participation, “reducing the effect of SES (socioeconomic status) substantially.”7
GDP Rich, Culture Poor Welcome to the crisis. The National Endowment for the Arts (NEA) has reported a consistent overall decline in American adult arts participation since WWII, with last year’s results from a 2008 national survey marking an alarming rate of cultural stagnation. This latest NEA Survey of Public Participation in the Arts highlighted that audiences, creators, and performers in the arts alike are all getting older and declining in numbers, while young adults arts participation is at a near standstill. Culturally, our population is dying. Looking at U.S. spending on the arts up to 2008 may clue us into why this is happening.
Museums and other arts agencies, many of which stress educational programs and resources to increase lower income audiences, have also felt the pinch resulting from our measly national spending on the arts. Thus we are left with an art-based microcosm of the low-income conundrum of the American Dream: what comes first, wealth or education? And can you really get one if you don’t have the other? “Al-
From 1993 to 1996 per capita public arts funding was below Australia, Canada, Finland, France, Germany, Ireland, Netherlands, Sweden, and the United Kingdom, as much as 90% below the spending of many of these nations!2 For being the most af-
“Arts Participation: Steps to Stronger Cultural and Community Life,” an Urban Institute publication. “An International Glimpse of Public Spending on the Arts” by Jeffery D. Mason
AUXILIARY april/may 2010
by Jennifer Seaman
“Some Stats for European Funding,” by William Osborn, referencing statistics from a Guardian May 3, 2004 news article. Bloomburg news article, Feb. 2, 2004 5 “The General Public and the Art Museum,” a research study by Hendon, Costa and Rosenburg, 1982. 6 National Endowment for the Arts 2008 “Survey of Public Participation in the Arts.” 7 “Effects of Arts Education on Participation in the Arts,” an NEA publication. 3
E D I TORI AL The ideas and viewpoints of our readers published to voice an alternative perspective on current day society, topics, and events.
though SES (socioeconomic status) was not as important in increasing participation as was arts education, it did function as a resource factor, contributing to whether or not a person received education in the arts.”8 We are a nation that is culturally starving one community at a time. Ultimately, it is the majority of U.S. citizens who suffer from poor public arts funding. Jonathan Katz, CEO of the National Assembly of State Arts Agencies notes, “when a state arts agency’s funding is cut, communities throughout the state feel the consequences. Cuts in funding diminish the benefits state arts agencies provide to strengthen education outcomes, promote civic vitality and ensure that all citizens have an opportunity to enrich their lives through participating in the arts.”
by several galleries on the same night- offering free wine and cheese. Volunteer at any given art event you’d normally have to pay for: you’ll still get in for nothing and feel like a part of it all! 3. Participate in local arts collectives, quilting circles, poetry groups, book clubs etc. Internet and public bulletin boards are a good resource for finding such groups. These people tend to do their art for love, not money, and may be happy to teach their skills to an interested newbie! 4. Start your own art club or collective. Pick your focus, post flyers at cafes, creative businesses, and public centers. Collect dues from members to purchase materials. How democratic! Search online for more information about starting a collective (it’s there).
The proof and the research is out there: the arts improve our communities. They focus skills and ways of thinking that benefit the economy, learning, and future employability that are not found easily in other school subjects. They attract tourism and industry to our cities. They improve health, happiness, fulfillment, and quality of life. Rich or poor, the arts matter in many ways left to be explored in depth here. Because they matter so much, they are worth the effort to resurrect them into your own communities, cultures, and lifestyles.
5. Hit up the arts and music sections of the public library. Become an amateur expert in Mexican folk art or Medieval music for free! If you want fresh literary material, check out newpages.com’s listings of available contemporary literary magazines. Always try to get things through inter-library loan first before paying for them! 6. Look for the discounts. I have never been in a city that didn’t have reduced performance tickets for same-day purchasers. The best time to show up is right before for deep discounts. Sometimes, they will have so many no-shows who buy full season tickets that they will just let you in for free. Many community arts centers also offer reduced class tuition in certain cases.
Go Grassroots! Since, “there is a significant correlation between the amount of amateur, informal arts activity and neighborhood stability/improvement,”9 one of the best, easiest, and most effective places to get reacquainted with the arts is in your local community. Producing in the arts as an amateur is just as valid and worthwhile as participating as an artist, so don’t be afraid to get messy or try new things! The following is a list of ways to participate:
7. Create a zine. Collaborate with local writers and/or artists and distribute the zine at local sites. Sometimes all you need to make your own zine is paper, felt pens, a photocopier, and a stapler! Find more about making your own zine online!
1. Volunteer for a local museum, art organization, or gallery. Even if you know nothing about art there are always skills you can offer. If you are comfortable with arts or crafts, offer to do activities for local organizations such as making ornaments with The Salvation Army, a nursing home, etc. Plan and practice beforehand with the same materials you will be teaching with for your sanity. The message is even more valuable when you do this with your kids.
8. Engage in public art and beautify (or politicize) your community. Guerilla gardening, wheatpasting, and temporary public art are less costly options to you than graffiti (if you get caught) if you can’t get a permit/permission. For more info check out Keri Smith’s great book The Guerilla Art Kit. 9. Pick up an art hobby and learn to experiment and solve creative problems again! Have fun and relax. Put your work in a local show. Become part of the cultural landscape.
2. Decide on the radius you are willing to travel for free cultural events. Sign up for email newsletters at individual art institutions and local arts agencies. Check out websites every month. There are plenty of great adult and family-friendly free cultural events you can attend each month. Some examples are: ventriloquist show at the library, art show opening at the local community college, gallery hop organized
10. Become an arts advocate. This is especially needed at school board and city budget meetings! Just because you don’t like making art doesn’t mean you can’t become a pillar of your local arts community!
“Effects of Arts Education on Participation in the Arts,” an NEA publication. “Magnetizing Neighborhoods Through Amateur Arts Performance” by D. Garth Taylor, an Urban Institute research publication.
Let us know what you think! We think it is important that alternative culture has a voice on important and current topics.
Our editorial section is for your opinions. email : email@example.com
april/may 2010 AUXILIARY
by Acid PopTart
Life in all its forms has always been art, an expression, no matter how painful or joyous the picture that might have been painted. The way we choose to express ourselves through fashion can tell so much; whether it be a well-constructed lie or a love driven passion, clothing will always weave a story. The fabric, the colors, and the cut are used in dramatic punctuation in films, videos, photographs, and most importantly, in everyday life. But the grandest stage I’ve watched the show unfold on and participated in myself, was the tumultuous punk-splattered goth scene of the 80s and early 90s.
some Psychic TV or Skinny Puppy record. The scene was driven by its music, a chaotic journey of life and death, littered with too much alcohol and drugs, capped off with broken jaws and bar fights. I fought like I danced, like it would be my last. The scene in Raleigh bled into other cities as we frequented clubs there; Chapel Hill, Durham, Greensboro, Winston-Salem and Ft. Bragg maintained one of the best industrial clubs that I’ve forgotten how I’ve gotten home from many times. The fashion would change as quickly as the songs; we were all artists finding our voice through the medium of what we wore, from switchblade eyeliner and ripped up fishnets to mohawks and studded leather. If there was a style to follow, we never saw it; we did what worked for us. Siân was fond of boots and vintage kimono-inspired dresses and I’d shift from Boy George drag looks to some sort of Siouxsie-meets-Madonna collision. One day it’s leopard print skirts for Siân and I’m wearing tape on my nipples. It was deliciously insane.
I won’t sit here and tell you how cool I was in high school; that I was that morbid looking girl in all blac writing dark poetry in the corner of the classroom. How I knew I was so goth before there was even a word for it. No, I’m sure at one time I wore obnoxious neon, had claw bangs and, oh my gawd, I can remember getting quite a few perms. I was outspoken and dramatic. Not shy at all and never really knew when to keep my mouth shut. I was a rebel in high school, lashing out at everyone and everything around me. I listened to Elvis Presley and Bon Jovi, most likely in the same hour. I sung out to Guns-n-Roses but would dance to Bell Biv DeVoe. Even now, my iPod is a true freak show of auditory delights of schizophrenic proportions. I was wearing acid washed jeans that had been sliced with a razor all the way up to my crotch, knee high boots, tank tops, and a damn bolero hat. Clearly if fashion was my statement, it would read, “just what were you thinking?”. My senior portrait was a threat from my mother to not look like a whore, since she was paying for the pictures and, shockingly, I guess she still had hope that I might be a lawyer one day. Now I have a photographic memory of looking like a Jersey mall rat or an up-and-coming country western singer, depending on how you look at it.
The music was loud and so were we. We were fearless with our lives; we made sure it showed in what we listened to, in what we wore. Confidence came through in the experimental industrial sounds of Front 242 and Einsturzende Neubauten, deathly romantic Moev (with one of my favorite songs ever, “Crucify Me”) & Cocteau Twins, and the familiar wail of Danielle Dax and Siouxsie Sioux. Everyone wants to be an individual; it’s a deep human need to stand out and be original, even if that desire turns into a paralyzing fear and the shy become more introverted and begin to follow paler imitations of the ones they look up to and admire. Haute couture will trickle down into the mass market as a watered down substitute for those with less gumption. Somewhere, the true spirit of the designer’s intent might linger, but by now it’s more or less a societal acceptance; it becomes a trend. A way for people to stand out but be included. To boil it down to its basis; a way to be the cool kid in whatever clique you’ve identified with. Today’s alternative fashion is no different, and it has come a long way from the DIY spirit of my punk youth, where looking like I did came with the price of verbal attacks, or in my case, physical attacks which I wore as a badge of honor. My bruises and cracked ribs showed my independence. Then, the underground surged with electric inspiration and it came through even on high fashion catwalks. Today’s pseudo punk bands didn’t bring rebel fashion to light, and Avril Lavigne wasn’t the first to wear skintight skater pants. Wendy O turned her music and her look into performance art that would rival some heavy metal shows. Joan Jett and Pat Benatar were taking their best shots and holding their own way before Amy Lee of Evanescence was held as some goth princess with an angry edge.
But a lot of finding myself all came into perspective the day I walked into my junior math class and saw Siân, a striking dyed-burgundy hair vintage punk rock vixen. I don’t think anyone in my school had ever seen anything like her. Fishnets and stiletto boots with her leather jacket and retro pillbox leopard-print hat. Although a year apart, fate made sure we kept running into each other and we eventually became best friends and roommates. Straight from England, she introduced me to a lot of stuff I might have otherwise missed in the at-least-5-years-behind-the-trend state I lived in called North Carolina. There were no Hot Topics for us then, malls were yuppieridden hellholes littered with pastels and “Betties”. Siân and I haunted thrift stores and vintage boutiques, dying things black and ripping them apart to be safety-pinned back together. If I heard the word vinyl, I was immediately thinking of my next DJ gig (which is yes, where the name Acid PopTart originated) and taking a trip to buy
AUXILIARY april/may 2010
E D I TORI AL
photographer Kidtee Hello fashion stylist The House of Smoke & Mirrors makeup artist The House of Smoke & Mirrors hair stylist Heads Will Roll model Acid PopTart fashions Kambriel
And the legendary shrieks and sinister ululation of Diamanda Galas were fighting the Catholic Church and society in general long before it was cool. The punk rock queen of fashion, Vivienne Westwood was clothing musicians instead of models, making rebellion a high fashion statement in the 1970s. Thierry Mugler was taking film noir and modern rock into his designs in the 1980s and doing album covers for Depeche Mode. Joined by the “enfant terrible” himself, Jean-Paul Gaultier, who took street fashion into high fashion and brought his edgy style to films such as The City of Lost Children and The Cook, The Thief, His Wife and Her Lover. Much like the late Alexander McQueen who carried his own club days into his runway with an unique vision that remains unmatched today. It would seem it’s all been done before; corsets are now as commonplace as stilettos in the scene, pvc and latex don’t even raise an eyebrow, fishnets and stripes are expected, and the ever popular “stompy boots” that rival the platforms of KISS now cover the dance floor. In the warm Carolina spring of 1990,
a newspaper reporter wandered into the Fallout Shelter, the local club, interviewing myself and numerous other alternative faces. He wrote how it was only a matter of time before the experimental Berlin bands of the 80s hit English club goers, which eventually hit the transitional New York scene, and eventually trickled down to the rest of the American underground; how much longer before the “new scene” we were all up to our spiked hair in, would explode mainstream? I would have never dreamed of a Hot Topic being in a mall then, but they are everywhere now. The scene feels less driven by pulsating beats & lyrical anthems of anarchy, and instead it bleeds weak electronic notes with repetitious lyrics. The clubs are overrun by the petty drama of self-appointed kings and queens who’s high point is working at the gas station (not that there’s anything wrong with that). It’s a trailer park bubble, becoming more trashy and inbred by the moment, with fashion as a stale afterthought. It takes even more to stand out now. Fortunately there are easily accessible designers, thanks to the internet, that come to the rescue. There’s a refreshing revolution now, where the knock-offs and cheap hacks fall away, leaving visionary designers to storm the castle of the expected and overdone. Pvc and rubber take on new looks such as Eirik Aswang’s apocalyptic visions and Artifice Clothing’s sleek sci-fi inspired fetish looks. The romantigoth at heart can find decadent designs among Kambriel’s timeless creations that have appeared on the red carpet of the Oscars as well as opening alongside Galliano and McQueen in the FIT Goth exhibit. As some looks may die with overuse, others will come forward. The sub genres of goth and punk rock have splintered into fascinating sub-sub-genres of steampunk, deathrock, rockabilly/gothabilly, Japanese inspired street fashion, and the list goes on. There are still those rebels of fashion, finding their voice out there, and making a scene. Refusing compromises and making no apologies. It’s how I live. Passionately. 7
april/may 2010 AUXILIARY
photographer Laura Dark makeup artist mascaraid.com hair stylist Gray Artistry models Brianne Jeannette, Bre Rhodes, and Natasha Fatale retoucher Jay Leavitt
THIS PAGE On the skin Illamasqua Rich Liquid Makeup and Pressed Powder. On the cheeks and eyes Make Up For Ever Eyeshadow #75. On the lips Illamasqua Lipstick in Corrupt with Illamasqua Intense Gloss in Indulge and Make Up For Ever Silver Flash Color. On the nails OPI for Sephora in Access 24/7.
april/may 2010 AUXILIARY
AUXILIARY april/may 2010
THIS PAGE Tarina Tarantino Sparklicty Powder creates a dramatic effect on the skin. On the cheeks Illamasqua Powder Blush in Sin. On the eyes Make Up For Ever Eyeshadows #71 and #92 and Make Up For Ever Gold Flash Color. On the lips Illamasqua Intense Gloss in Fierce with Yves Saint Laurent Gloss in Golden Lavender. On the nails OPI for Sephora in Iris I Was Thinner.
april/may 2010 AUXILIARY
AUXILIARY april/may 2010
THIS PAGE On the cheeks Make Up For Ever Gold Flash Color and Make Up For Ever Eyeshadow #71. On the eyes Make Up For Ever Eyeshadow in #101 and #71 with Urban Decay Eyeshadow in Graffiti. On the lips Make Up For Ever Flash Color in Leaf Green with Kat Von D Gloss in Retox. On the nails OPI for Sephora in Absinthe Makes The Heart Grow Fonder.
april/may february 2010 AUXILIARY
Downtown Vamp photographer & author Luke Copping hair stylist Kristin Draudt makeup artist Shianne Valletta models Kerry Quaile & Lauren Mentkowski
AUXILIARY april/may february 2010 2010
BEAUTY Combining elements of urban Asian street fashion with elements of punk, runway, and cybergoth; the downtown vamp is a cocktail of visual influences that conglomerates to form something new and fresh. The key to this look is to always make sure it is polished and well produced. There is a definite air of raw sexuality and confident sophistication to this style that requires a certain amount of dedication and commitment to pull off. This is a look that can accidentally appear as a costume rather than an extension of your own personality. The styling must be perfect, but the attitude must say that you donâ€™t care about the perfection that goes into it. Bright and bold colors are the key to the makeup of the downtown vamp. Electric colors applied liberally are one of the trademarks. Take influence from the neon of Tokyo signs, applied with the hard and severe edge of the best hiphop fashions. Yellows, chartreuse, teal, white, and bold red are good choices for eyes. Basic black is always an option as well, but the shaping must be severe and dramatic. Often the bright colors and black are not mixed. White and clear eyeliners and mascara are a common element of this theme.
The hair is an important factor to consider. One must strike a balance between sleek and over the top large. Braids are often incorporated into the styles as accents; be they long braids or tight cornrows, often combined with large, teased out mohawks or large, messy Robert Smith inspired style. Alternatively, one could go super sleek with an anime-inspired look; one that is highly sectioned and built high in the back of the head into an exaggerated shape. Short, blunt cut bangs can also be incorporated into the style, with tight braids in the back to provide contrast and additional style references.
april/may 2010 AUXILIARY
Spring forward into an electric equinox with 1000-watt jolts of unapologetic color.
by Vanity Kills
Follow along with this guide to help you choose the best brushes to use for these looks. Brush #1 : Brush with a rounded edge [try the Eyeshadow “C” brush from the studio brushes collection by eyes lips face]. Brush #2 : Eyeliner and detail brush [such as Small Precision Brush from the studio brushes collection by eyes lips face]. Brush #3 : Blending brush [I recommend the Sephora Collection Professionnel Blending Eye Brush #29]. Brush #4 : Small eyeshadow brush [I love the versatility and affordability of Sephora Collection Professionnel All Over Shadow Small Brush #23].
acid bath 3 Dab a tiny amount of a mid-tone forest green pressed eyeshadow [Sugarpill Pressed Shadow in Midori being a great choice] onto Brush #2 and draw a line that follows the natural crease of your eye. Making the line as straight and precise as you can is key! Using the same brush, blend the color outward. This technique is called cutting the crease. 4 With the help of Brush #3, blend vivid green pressed eyeshadow [try MAC Bitter] up and outwards. Make sure to blend the vivid green into the forest green that you added to your crease to avoid harsh lines. 5 Sweep some shimmery white shadow [like Illamasqua Powder Eyeshadow in Moonflower] directly under your eyebrows with the help of Brush #4. 6 Starting at the inner corner of your eye, line your upper lash line with bright metallic lime liquid eyeliner [such as Urban Decay Liquid Liner in Acid Rain]. 7 Line your bottom lid starting from the outer corner of your eye, slowly making your way toward the inner corner with a bright medium green eyeliner pencil [Urban Decay 24/7 Glide-On Pencil in Graffiti rocks]. Most of the color should be concentrated in the outer corner. 8 Finish off the look by applying two thin coats of volumizing black mascara [try Urban Decay Big Fatty Mascara in Black-Black] to your top lashes. Follow up with one coat to your lower lashes.
Dangerously refreshing, like poison-infused limeade on a warm April day; shocking greens meet their match in high-voltage yellows for a double dose of drama. 1 Lightly coat your entire eyelid area with an eyeshadow primer to build a smooth base for your shadows, pigments, and liners. [Too Faced Shadow Insurance is a bestselling favorite.] 2 Using a dampened Brush #1, gently tap (DO NOT SWIPE) a bright primary yellow pigment [such as Obsessive Compulsive Cosmetics Loose Colour Concentrates in Pollencount] across your entire eyelid from lash line to crease.
let them eat cake… Cutie pie pastels get amped up with the intensity of neon. Think watching Sofia Coppola’s Marie Antoinette while consuming LSD laced baked goods. Off with the head of fools that dare to tell you to “grow up”. 1 Lightly coat your entire eyelid area with an eyeshadow primer to build a smooth base for your shadows, pigments, and liners. Urban Decay’s Eyeshadow Primer Potion in Sin will prep your eyes for color and give your lids a hint of slight champagne shimmer that will harmonize nicely with intense pinks and purples. 2 Dip a slightly dampened Brush #1 into a bright purple pigment [such as Royally Fucked by Miss X Aesthetic Industries] and gently tap, DO NOT SWIPE, the pigment across the outer 1/3 portion of your eyelid from lash line to crease. 3 Clean Brush #1. Using the same technique, add some cotton candy pink pigment [I recommend Lime Crime Magic Dust in Pink Poodle] onto the middle 1/3 portion of your eyelid, from lash line to crease. Blend it into the bright purple pigment using Brush #3 to ensure a smooth transition. 4 With the help of a moistened Brush #2 carefully add more of the bright purple pigment onto the inner 1/3 portion of your lid, from lash line to crease. Blend into the cotton candy pigment with a Brush #3 to prevent harsh lines. 5 Highlight your brow bone with a shimmering pinky mauve pigment [try MAC Kitschmas] applied with Brush #3.
6 Starting at the outer corner of your eye, line your bottom lash line slowly making your way toward the inner corner with metallic gold liquid eyeliner [such as Urban Decay Liquid Liner in Honey]. 7 Last but not least, a pair of falsies with alternating pink and purple lashes [like Elise Faux Eyelashes #354] adds some extra icing to this already yummy cake of Technicolor tastiness. To apply, add adhesive to the back of the eyelash strip. Grab a false eyelash with a pair of tweezers and adhere to the outermost part of your eyelids, keeping them as close to your own lash line as possible. You know that they’re in the right place when they’re sitting right on top of your natural lashes. Gently hold them down in place with your finger for about 30 seconds or so until the glue dries. Rock the neon, don’t let the neon rock you. Remember that subtlety is for the weak and wear those in-your-face brights loud and proud.
AUXILIARY april/may 2010
MED I A
There are the classics, there are the cult films, there are the masterpieces; there are many films that are obvious essentials. These are essentials that may have gone unnoticed.
by Luke Copping
harold and maude
a snake of june
directed by : Hal Ashby released : 1971 starring : Bud Cort, Ruth Gordon
directed by : Shinya Tsukamoto released : 2002 starring : Asuka Kurosawa, Yuji Kohtari, Shinya Tsukamoto
Was it predestined that Hal Ashby, a director who met such a tragic end, would ultimately direct one of the most tragically humorous and interesting films made within the American studio system in the last forty years? Harold and Maude is a truly interesting exploration of emotion in film. Wrapping a film about morbidity, humor, tragedy, love, laughter, the embrace of life, and the acceptance of death up in an upbeat early seventies Cat Stevens soundtrack was simply a stroke of genius on the filmmakers part.
While most western audiences know him for his earlier films in the Japanese cyberpunk genre, or for his appearances as an actor in well known films like Takashi Miike’s Ichi the Killer, Shinya Tsukamoto is a far more accomplished director than most casual viewers give him credit for. While well known for the legendary Tetsuo: The Iron Man, his list of credits also includes masterfully made films like Tokyo Fist, Bullet Ballet, Vital, and his masterpiece A Snake of June. A step away from the hyperactive physicality of Tetsuo, A Snake of June is a tense psychosexual study that makes use of an isolationist atmosphere and a mood reminiscent of the neo-noir movements.
Harold and Maude is the story of 19 year old Harold, played by the infinitely interesting Bud Cort, a young man obsessed with death and his own morbid pranks he plays to scare away the blind dates his mother sets him up on. Harold is one of those aimless characters, at first content to amuse himself with his own little games without any real drive in one direction or another. This changes when he meets Ruth Gordon’s Maude, a septuagenarian with more energy and lust for life than a sugar addled ADD kid, albeit much easier to relate to. Upon the catalyst of Maude coming into his life, Harold begins to undergo a change; not so much becoming more normal by his families standards, but by becoming even more himself, albeit with new outlooks and drives the evolve within him throughout the film.
A discussion of plot in anything but the loosest terms would be a disservice to you. For one, it ruins much of the suspense of the film, which Tsukamoto layers on more and more until your head is reeling with anticipation. Secondly, while this is one of Tsukamoto’s more coherently plotted films, when compared to mainstream western or eastern cinema still leaves one feeling confused and disoriented. This dizzying effect is one of the true joys of watching Tsukamoto’s work, and to go into the film for the first time with anything more than the barest inkling of the storyline will only soften the psychological blows the film deals you.
Whether laughing at Harold’s many mock suicide attempts, appreciating that he builds what may be the coolest car of all time, ruminating over the philosophical nuggets that Maude presents throughout the film, or enjoying the soundtrack (perhaps one of the best recorded during the seventies) Harold and Maude is one of the more touching films from an era obsessed with poor slapstick, melodramatic attempts at romantic films, and histrionic self-obsessed characters presented as some sort of undeserving antihero. Ashby’s film stands out as something fresh and almost innocent despite the morbid and dark humor it presents.
Whereas his past films have dealt mostly with the transformation of the body, A Snake of June moves Tsukamoto’s area of focus to the psyche. Shot in a haunting blue tinted black and white, A Snake of June seems to pull from several eras of film making as an influence, all the while keeping the viewer firmly entrenched in the twisted mundanity of the repressed marriage of a couple living in an all too real dystopian cityscape. Sexual awakening, an obsession with hygiene, and nightmarish production design are only a few of the elements that will undoubtedly leave you with more questions than answers after viewing this film. Tsukamoto should be held in the same regard as David Lynch in many ways, and Lynch may in fact be the closest analogue for western audiences through which to relate to Tsukamoto’s style and vision.
april/may 2010 AUXILIARY
AlicE In wOnderlAnd
by Adam Rosina
With all the hype around Tim Burton’s Alice in Wonderland, and with endless options for Alice themed merchandise courtesy of Disney and Hot Topic, does the film offer anything more than pretty images and a cute Queen of Hearts handbag?
As I entered the theater showing Tim Burton’s Alice in Wonderland, I had a mountain of reservations. Burton hasn’t turned in a decent film in damn near a decade, and his most recent handling of preexisting intellectual property (Roald Dahl’s Charlie and the Chocolate Factory) didn’t go so well, to put mildly. Yet, I walked in a with sliver of hope that Burton could pull off a miracle and create a film that meshed his own dark, idiosyncratic vision with that of Lewis Carroll’s nonsensical fairytale. Sadly, this was not the case. What’s more, Alice in Wonderland is assuredly the worst Tim Burton film yet, if not the worst big budget genre film of the last decade. Whether this is an adaptation, re-imagining, or sequel to the works of Lewis Carroll is up for debate. It mixes and matches parts of Alice’s Adventures in Wonderland, Through the Looking Glass, and What Alice Found There (not an uncommon practice for adaptations of Carroll’s first Alice book), with elements of the poem “Jabberwocky” thrown in for good measure. Burton chose not to classify the film as any of the categories listed above, further complicating the issue. It doesn’t really matter, I suppose, as Burton and screenwriter Linda Woolverton don’t hold the source texts (which, mind you, are classics of children’s literature beloved by young and old) in high regard, as they stomp through Carroll’s books, cutting and pasting as they see fit. In the end, the story doesn’t much resemble the works it’s supposedly based on, save for taking most of the main characters, altering their characterizations, and dropping them in a generic fantasy adventure film.
re-enacted by an adolescent girl and a bad CGI dragon voiced by Christopher Lee. That’s roughly the gist of it. If we’re going to begin dissecting this film, let’s start with the cast, which is, for the most part, a collection of exceptionally talented performers and gifted newcomers slumming it to the highest degree. The titular character of Alice is portrayed by relative newcomer Mia Wasikowska, and while she certainly doesn’t do a bad job, she doesn’t have much of a screen presence here either. She’s certainly approaches the role with the requisite amount of bewilderment that a portrayal of Alice demands, but much of her performance comes off flat. And when the battle with the Jabberwocky gets into full swing, she fails to convince as a heroine of any note. Then again, the idea of transforming the role of Alice into that of dragon slayer is questionable to begin with. However, there is enough of a spark in this young actress’s performance to indicate that down the road she will mature into more than merely a serviceable actress, provided she’s given better material to work with than the likes of this.
The setup is that Alice, now 19, is taken by her mother to some stuffy high society get-together, only to find out that it’s her engagement party. When her foppish suitor pops the question, she spies the White Rabbit and make’s a b-line for the rabbit hole. Soon enough, she’s in Wonderland (renamed Underland in this film for, well, no good reason), reuniting with all the talking critters she met as a child, although time has whittled her memories down to near nothing; what little she does recall being chalked up to recurring childhood dreams. Soon, she meets up with the Mad Hatter, finds her way to the Red Queen’s castle, and almost gets date raped by the Knave of Hearts (I‘m only slightly exaggerating here). She gets the hell outta dodge after the Queen says, “Off with her head!”, and heads for the White Queen’s castle, where she learns that she is Underland’s messiah and must do battle with the Jabberwocky in a climactic battle that amounts to a boring rehash of Gandalf verse the Balrog, as
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Johnny Depp takes a stab at the role of the Mad Hatter, his performance alternating between a dandyish lisp and a brooding Scottish brogue. The many faces of Depp are all on display here, each performed with less enthusiasm and to lesser effect than usual. I have a question or two to ask Mr. Depp regarding his performance,
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such as, “What the fuck is with the break dancing?” Or, “Why does the Hatter take a Highlander-esque turn at the climactic battle with a claymore?” One sympathizes with Depp’s dilemma, as his good friend Burton (who, let us not forget, helped establish Depp as a star by casting him in Edward Scissorhands) keeps casting him in films of increasingly poor quality. So he tries to do Burton a solid while attempting to rise above the material given to him, which works in varying degrees. God knows, he tries here, but he had to know how sub-par the script for this train wreck was before he signed on. Even a great actor can only swim against the tide for so long before he’s pulled under by it. At the end of the day, though, if he signed up for it, he’s responsible for the performance that ends up on screen. And once again, what is with the dancing?!
The effects are dreadful as well. For as much money Disney threw at this production, one is amazed at the poor quality of the CGI. It comes off at roughly the same quality as that of a video game cutscene. Actually, that’s not a fair comparison, as video game developers are not given much money at all to work with in comparison of all but the most modest Hollywood productions, yet yield results that are astounding in light of their limited resources. By contrast, this film was given $200 million to play around with (compared to the average video game budget of $23 million), and comes up with CGI that would have been laughable half a decade ago. If you’re going to have this much of the movie hinge on the visual effects (by “this much”, I mean that outside of four and a half actors, damn near everything else on screen is a computer-generated clusterfuck), they’d better be mind-blowing.
Helena Bonham Carter, who is usually a fine actress of considerable skill, lays down maybe the most abrasive, over the top acting to be committed to film in the last decade as the Red Queen. I get it; she’s playing a larger than life character (literally), but she doesn’t have to do it in such a way as to simulate razorblades being scrapped against my inner ear. Most other critics have pointed to Miss Carter’s performance as one of the film’s saving graces, but it’s easily one of the least enjoyable parts in what is already a hard film to tolerate.
After viewing the film, one wonders what creative control Burton actually wielded over the production, and to what extent Disney neutered his vision. If Disney indeed laid down content restrictions and coerced Burton into making Alice more commercial and marketable, the fact that Burton stayed on board and put his name on the final product makes him equally as guilty as he would be if this is in fact was his own bland, pitiful creation. In fact it’s worse; instead of being a simple hack, it makes him a complete whore.
Alan Rickman makes what more or less amounts to (in terms of screen time) a cameo as the caterpillar smoking a hookah that so many dumb hippies love to get tattooed above their ass cracks. He turns in a performance that so humps the leg of the one he does in the Harry Potter films that one begins to wonder if he hasn’t been playing the same character for so long that he’s lost all range as an actor.
The bottom line is this: a film where everyone aimed low and hit accordingly. Armed with a pool of high caliber talent and a fat wad of cash, Burton and company should have turned in quite a gem of a flick, if not a minor masterpiece of mainstream fantasy film-making. Instead, what we get stuck with is a piece of trash that no one involved in seems to have had their heart in, and projected that lack of care and passion up on the screen.
Crispin Glover turns up as the Knave of Hearts, which is a bit of casting I question. Not that I take issue with Glover himself, who is an incredibly individualistic actor who brings something original and terribly authentic to any part he plays, or rather, inhabits. The problem here is he is given a role that is written with very little for him to do. I have to wonder why they hired an actor as talented as Glover at all if all he’s asked to do is say a few villainous lines and commit a few dastardly deeds. The Knave of Hearts is written here as such a blank character that any actor could fit the bill. It’s just a waste of Glover’s talent that he’s cast in such an indistinct role.
If it sounds like I’m being harsh, it’s likely because I am. I feel cheated and betrayed by this film, primarily because it’s Burton in the director’s chair. I, like many of my generation, grew up on Burton’s early films. They introduced me to a dark and fantastic world that urged my imagination to run wild. While I’d hardly call him one of my favorite directors today, I’d be lying if I said his films didn’t have a significant impact on my artistic and personal development. Burton’s heroes are always the weirdos that triumph not in spite of, but because of, their strangeness and individuality, and that’s certainly a comforting and encouraging message for those of us that grew up feeling like Martians. But as time went on, Burton’s films lost a lot of the soul that propelled them previously, and his work became less endearing as his personal vision took a backseat to crafting bland blockbusters designed to please everyone and guarantee a decent box office return. While there have been glimmers of hope in Burton’s body of work in the last decade (Big Fish comes to mind), most have been boring at best and dismal at worst. But this film is the final insult, and it cements Burton as a soulless husk of a man without any of the desire to infuse his works with the passion of old. Shame on you Tim Burton.
On the plus side, I have nothing but good things to say about the performance of Matt Lucas (probably best known for his work on the hilarious BBC comedy series Little Brittan and its HBO spin-off Little Brittan USA) in the roles of Tweedledee and Tweedledum. The characters may be birthed into existence by a combination of live action and CGI, but Lucas infuses them with life with his gut-busting performance. The disappointments don’t stop with the acting. Burton once again turns to his go-to composer Danny Elfman, who has slowly let his work slip to the level of tedious repetition over the years. Elfman once stood as one of the most inspired composers in film, something of a quirky and bizarre John Williams. But it seems in recent years the creative juices aren’t flowing as freely as they used to, with Elfman resorting to near-cannibalization of his own scores in some instances, such as his work on Hellboy II: The Golden Army (Elfman doesn’t get to pass off old material as new just because no one saw Nightbreed). Such is the case here, with Elfman recycling much of what he has done in previous Burton films, sans any pomp and devoid of the wonder his music used to inspire.
Instead of wasting your time and money on this banal failure of a film, one might be better served (especially if one wishes to pursue more adventurous cinematic fare) by tracking down a copy of the 1988 Czech film Alice, directed by Jan Svankmajer. Brought to life by a combination of live action and stop motion animation, this surreal and sometimes grotesque film attains a strange kind of beauty at times, and is by far superior to Burton’s effort.
april/may 2010 AUXILIARY
There is a hidden country of criminal artists, heretical philosophers, and radical couturiers. A land made from abandoned buildings and forgotten neighborhoods, ignored by authoritarian eyes. Here, in this secret place, western culture has its dreams and nightmares. Here works of art explode like mariner flares over the gray row houses. Here new ideas mingle with old ideas, transforming society in ways both great and terrible. This land is called Bohemia, and it exists both everywhere and nowhere at all. It is a virtual land that is the homeland of all countercultures, created amongst artists and intellectuals as a space for experimental living and aesthetics in spite of mainstream society.
The pattern of creating a world outside of mainstream standards in the urban slums would become a cultural legacy that would last into contemporary times. These alternative places known as bohemias, have spread wherever artists have gone and have served as incubators for current day countercultures. They are arguably the current incarnations of bohemians. Greenwich Village, a bohemia in New York City, has given rise to generations of artistic counterculture such as Dadaism, surrealism, and the beatniks since the dawn of the 20th century. Fundamentally about far more than art, bohemias offer shelter from persecution and a chance to act freely away from the eyes of “moral” society. Homosexuals, political radicals, criminals, and anyone else rejected by the majority have historically taken shelter amongst the bohemians. As such, these places have also become the breeding grounds for destructive political upheaval and positive expansion of civil rights.
Bohemia is a land that has been settled by many tribes, but the founding generation who lent the land their name, began flooding into the impoverished left bank neighborhoods of Paris in the early 19th century. It is fitting that these early settlers of our virtual land received their name through a case of mistaken identity. The alternative lifestyles and romantic outlooks of these penniless artists were confused with the stories of nomadic gypsies from Eastern Europe, and so they became known as bohemién.
If the founding principles of our hidden country are the subversion of the “moral” majority and the sheltering of alternative life, then we might ask why bohemia manifests in urban centers instead of trying to make completely independent communities. This paradox of bohemia, a desire to separate and subvert, but a dependence upon the economy they loathe has been a problem since the early bohemians in Paris.
Immigrating into left bank Parisian neighborhoods like Montparnasse, the bohemians unlike many others did not come to seek a career in a worldly economic center, but instead to tend to artistic obsessions protected from conventional society. Life in Montparnasse was cheap, but far from the romantic ideal of an artistic commune. Taking society amongst other artists in cafés that rented tables out by the hour, they crafted works of art with all available time, but often fell on panhandling or working odd jobs to cover the food and rent money. Henri Murger, author of Scènes de la Vie de Bohème (Scenes of Bohemian Life) that would later be adapted into the opera La Bohème by Giacomo Puccini, characterized the daily lives of his bohemian friends in his stories:
Poverty is hellish, and the life of the impoverished often short because of it. For the poet Charles Baudelaire bohemia was not a life full of romance, but one full of naked, unsettling realities. Through the realities of his bohemia in Montparnasse, Baudelaire he penned a volume of poetry titled Les Fleurs du Mal (The Flowers of Evil) that he hoped would lift him from his debts and hunger. As a writer he had been terribly unsuccessful, and his health was poor. In 1857, the year that Baudelaire would publish Les Fleurs du Mal, those who published and purchased his literature were not his fellow bohemians but ironically the very society he had sought to avoid. Earlier in that year, Gustave Flaubert, the author of the sexually explicit novel Madam Bovary, would publish his novel and immediately be put on trial for offending the public morality. In Flaubert’s case his book was well defended and he won the trial. The sales of his book enjoyed a huge bump because of the public controversy, and he made a fair amount of money.
Their daily existence is a work of genius…they know how to practice abstinence with all the virtue of an anchorite, but if a slice of fortune falls into their hands you will see them at once mounted on the most ruinous fancies, loving the youngest and prettiest, drinking the oldest and best, and never finding sufficient windows to throw their money out of. Then, when their last crown is dead and buried...they go poaching on all the callings that have any connection with art, hunting from morn till night that wild beast called a five franc piece.
As the bohemian becomes wealthy and escapes the confines of his impoverished life, the question of if he remains a real bohemian arises. However, this question also has an antithesis that involves mainstream society. Flaubert remained true to his bohemian nature and did not compromise the erotic themes of his novel. It was the mainstream society whose public morality was shown to be a façade when they were seduced by his dangerous art. Here mainstream values were the real sell out, and the real relationship between bohemia and society is shown, each challenging the other
The bohemians were carefree idealists filled with the sense that life should not be commanded by the demands of money and career. Money corrupts the person with impulses to save and invest in a system that demands they work harder for nothing. It would be subverted by the new commands of the bohemians to spend, drink, gorge, fuck, and make art. AUXILIARY april/may 2010
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“Au Salon de la rue des Moulins” painted in 1894 by Henri de Toulouse-Lautrec, an artist who lived the Bohemian lifestyle
in a contest of values. We see the outcomes of these contests around us every day, the informal use of first names, casual fashion, and sex in the media. Bohemia has chipped away many outmoded ideas and useless formalisms over the past 170 years, but the reverse is also true.
place of free expression, in more recent years, the rise of boutique marketing firms and just-in-time production lines has made the bohemia’s of some cities into prison farms for artists. Today the cool hunter walks amongst the bohemians like the looter anthropologists of the 19th century, seeking valuable artifacts to sale in the mainstream marketplace. These cool hunters are always on the look out for the possibility that some new style or kind of art might become popular and therefore highly valuable. This method of “product research” has now been in use for more than twenty years, and is responsible for the wide availability of countercultural products in stores like Hot Topic and Urban Outfitters. Criticism of these stores as unauthentic and mass produced are well known, but few have explained the insidious nature of the cool hunter. In the past, bohemia faced either acceptance or rejection of their alternative lives and artistic messages. Today, the cool hunter abstracts the bohemian into product form and sells it to the masses. Lost in this process is the actual substance of the original work and culture. Is a metal studded leather jacket purchased from a wrack in a store conveying the do-it-yourself message of the punk movement? Is a beat-up lamp shade, distressed by Chinese factory workers, actually an anti-consumerist product?
When Baudelaire published Les Fleurs du Mal he hoped for a similar experience to Flaubert. He was also put on trial for offending the public morality, but in the intervening months, campaigns for morality had bolstered the public against such bohemians, and so Baudelaire became a public example. His case was poorly defended by a timid lawyer, and the subject matter of his poetry was far more explicit than Madam Bovary. Lesbians, drug use, poverty and death, and direct appeals to Satan himself, were all subjects Baudelaire wrote about because he wanted to talk about reality, but this defense of his work would not stand because it was exactly the charge leveled against him. The prosecution accused him of offending public morality with “realism”, and as a result his book of verse had six poems redacted, most of them related to homosexuality. Bohemia is a land of paradox, and all the artists who have ever settled there have dealt with its complexities. The American beat poet Allen Ginsberg was also put on trial and vindicated much like Flaubert, but many others before him experienced the moral rejection of mainstream society more like Baudelaire, who would die at a young age only a decade later. Bohemia serves as much as a refuge for the radical artist as it serves mainstream society as a reservation where people with mutant ideas can be quarantined. Though most artists enter Bohemia willingly, seeking a
Bohemia once survived in the places mainstream society did not want to look, of which it did not care to know. If bohemia is to survive this epidemic of simplified commodification, it will have to find new invisible places and begin doing what society avoids, offering cool hunters poison apples.
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Mind.in.a.box is the musical colaboration between Stefan Poiss and Markus Hadwiger. Often described as technopop, mind.in.a.box emerged in 2004 with a highly impressive debut album, Lost Alone. The name being a metaphor for everything that prevents our minds from truly being free, mind.in.a.box then released two more albums that weaved a narrative building on that metaphor. Their hard to categorize style of electronic music garnered the respect of fans and critics alike. In 2010, mind.in.a.box is in full force, after years of being a studio-only project, they are performing live and have a brand new album, R.E.T.R.O., with the goal of re-inventing the past interview by Mike Kieffer and Jennifer Link for an advanced future. Your new album R.E.T.R.O. is out now, musically, how is it different and yet similar from previous albums?
regular albums, but musically it has a lot of similar traits, and now we can see that a lot of the same people that liked our previous stuff also like R.E.T.R.O.
Stefan Poiss : There is quite a difference between R.E.T.R.O. and our previous albums. Whereas our other albums focus on emotions and are connected in the background by a continuing storyline, our latest album is most of all a homage to the good old days of the Commodore 64 and the early days of home computer and video games. We tried to bring back the emotions, we personally connect with those times, using our music. So I think the feeling of the album is quite different from the other ones, but I hope people will still be able to recognize a lot of our sound in it. Also, the Commodore 64 produced very particular sounds and melodies, and I was hoping to capture that as much as possible on R.E.T.R.O. So the album is a tribute to those times and a homage to some of the incredibly great composers on the C64.
MH : The reception so far is extremely positive, which is wonderful. So there also seems to be no problem of a very isolated market, but I think we got some additional fans from the chip tune scene, which is terrific. Of course you cannot always do what pleases every single fan, but I think in the end the best thing is not think too much about that and do what you think is the right thing. Then you can never be really wrong. With R.E.T.R.O. it seems you’ve created an homage to early 80s video games, how have video games influenced your music and your life? SP : They have influenced us a lot! For me, the Commodore 64 was the beginning for making music on a computer. My early efforts were really bad, but it was so much that it got me addicted to making music with a computer. The C64 was the best selling home computer and the community was just huge. A lot of people made very good music with this computer, although it was technically so extremely limited with only three available channels that could play a sound at the same time. On the other hand, these technical restrictions generated so many ideas and workarounds that I still am extremely fascinated how people could do all of this. When you wanted to do a good track on the Commodore 64, you had to have this rare mixture of creative and technical thinking.
Markus Hadwiger : We were thinking about something like this for a very long time, and Stefan started to work on new interpretations of some of our favorite C64 songs. We liked the mood and feeling of nostalgia this created a lot, so at some point we also started to do completely new material like “8 Bits” and “I Love 64”. It was a nice break from our other work, and an awful lot of fun. R.E.T.R.O. doesn’t fit into the storyline that was established with the previous albums, was there any hesitation in labeling the album as mind.in.a.box rather than a separate side project?
MH : Video games were always a very important part of our lives. I was always especially interested in how they work technically, so even as a child I spent more time programming than actually playing games. These days there is not enough time, but even just looking at current games and playing them at least a little bit is great, so I buy lots of games. So now I am more of a collector, I guess it still gives me this nostalgic feeling of my childhood. [smiles] I also like to follow what’s going on in game design and development. Over the years, video game culture has influenced me a lot and it still does.
MH : Yes, we were thinking about that for a long time, and the initial plan was to release the album as a separate project. But in the end we decided to release it as mind.in.a.box, and our label also liked the idea a lot. Fortunately, it seems as if almost everyone who already liked mind.in.a.box also really likes R.E.T.R.O., which makes us very happy. The subject matter of R.E.T.R.O. will appeal to the video game fanatics, yet musically I feel it could appeal to people with no interest or knowledge of the Commodore 64 and games you reference. Was there any concern that this album would isolate your market or alienate mind.in.a.box fans?
Would you say you have a greater passion for video games or music? SP : We have lots of passion for both. [smiles] Especially Markus collects a lot of stuff in both areas. But we both don’t have a lot of time to actually play games because it just doesn’t allow you to get enough work done. But we always stayed in touch with video games.
SP : Yes, we were quite anxious about what our fans would think of such an album. But we had a really strong desire to release this material and were hoping that people that had known us before would also like it. So we finally made the decision together with our label to release R.E.T.R.O. as a mind.in.a.box album, and we are very happy with how this decision has turned out. Of course, the album is very different from our 23
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MH : That’s hard to say, they are both very important. I think music can convey much stronger emotions, and many great games are also supported by great music. But I would not pick one over the other. [winks] Where is mind.in.a.box, the video game? SP : We actually have thought about that. [smiles] That would be terrific, but the problem is that if you want to make a video game today it needs A LOT more time than making an audio CD. You cannot do a video game with two people in your spare time anymore. But it would be great if some game studio would want to do a mind. in.a.box game. It would be a pleasure, and of course I would want to make the music for it. [smiles] MH : There is quite a renaissance right now in smaller games that have great game play without a blockbuster movie development effort. But this only works for neat little ideas. For a mind.in.a.box science-fiction themed game, the development effort would be very high. But who knows. [smiles] Recently mind.in.a.box went live, how do you feel your songs have been received by your audiences? SP : I think really well. We have had some awesome experiences, especially in Arvika, Sweden, and Oslo, Norway. It was unbelievable for us and I never expected this. I still have to learn a lot, because for me it is not easy to be on stage. But for the first three big shows we did, it couldn’t have worked better for us. At this point a big thanks to our hardcore miab fans! We always meet some people who travel very large distances only to be able to see us. Thank you guys! Many electronic acts have morphed their sound to be more stage friendly. Did you find yourselves thinking about how songs will sound on stage when composing new material? SP : In the past I never thought that I’ll be on stage some day so it did not play any role for me while working on music. Now I try to think about it a bit, but not for every song. In the “mind.in.a.box goes live” clip that we released some time ago you can hear a new song called “Remember”. As I was working on that song, I was thinking a lot about how we would be able to play it live. It was the first song in this direction. On R.E.T.R.O. there is also a song that I thought would work very well live while I was working on it. It is the last song on the album, “Whatever Mattered”. The question that has to be asked, are there any plans for a full tour? What about hitting some cities in North America? SP : Yes, that’s a hot topic for us at the moment, but it’s not easy. You know, we are four people on stage with a lot of stuff that we have to bring with us, so I think we have more costs than other electro bands. That’s especially not easy when you have to fly some place. But I’m sure we will be able do it in the future. This year we might only play more European cities, but next year maybe we will be able to do a small US tour. Mind.in.a.box is a well-rounded project; it is more than just music and has many visual elements. How do you plan to continue to develop these visual elements? SP : For our live shows we made a special visual for every song. We have actors who play the main characters from our mind.in.a.box story in these visuals. Through all of this, mind.in.a.box has grown to a little family with a lot of people involved. It is really a lot of fun to work with them and we are all friends. I’m very proud to have all these guys around me. Of course, the basis for all the story elements are the lyrics and written stories from Markus and our author friend Andreas Gruber.
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I find it very interesting that only one voice is behind all the vocals one hears with mind.in.a.box. When I first heard Lost Alone and had no background knowledge, I imagined three vocalists, and even now when listening to your albums I picture multiple people delivering the lyrics. My guess is that they are different characters in the mind.in.a.box story but are they also perhaps fascists of yourself as the true person behind them? SP : I always tried to use my voice in different ways to tell the story and represent either different characters, emotions, or moods. Or a combination of those. If you change the vocal style or the sound of your voice, it allows you to create different layers on which you can convey emotions or tell something. This is one of the major parts of mind.in.a.box. I think if someone tries to tell someone else what mind. in.a.box sounds like, they probably first mention the variety of vocal styles that we are using. I can see myself in some songs more than in others but of course I always try to put all my emotions into what Markus wants to convey through the lyrics, and I always really love the process of adding the vocals to our songs. MH : I most of all think of different emotions and moods when I am writing, but also about different characters. Stefan and I then sit together and talk about how the vocal style should support that. I like the idea of different vocals conveying different emotions even more than simply different characters. But I think both of these directions work very well together. the duo behind mind.in.a.box, Stefan Poiss (left) and Markus Hadwiger (right)
MUSI C What is the dynamic of the creative collaboration between the two of you? SP : Markus and I have known each other since our childhood and our musical tastes are very similar, so the creative collaboration is very easy for us. I think Markus knows very well what kind of lyrics work best when I sing them afterward, and usually it is very easy for us to make both sides work together very well. MH : It is really quite easy for us to work together. Although we are working with different means, I think we have a great understanding of what the other one needs and how we can make everything fit together. You both seem to be drawing off many things to create the project that is mind.in.a.box: a narrative story, emotions, each other. What often is the starting point for a track? Or is it different with every song? SP : It is changing a lot and I’m not sure which of all variations we tried was the best. Sometimes we work separately and Markus gives me the finished lyrics which I then add to the music. Other times we are sitting in a café or at home talking about a lot of details how everything should fit together. Sometimes we have a lot of fun and crazy ideas when doing this, for example for the song “8 Bits” on R.E.T.R.O. That was extremely funny you can imagine. [smiles] When I sing a part of Markus’ lyrics, I send that to him and often he then edits them again and vice versa, so we can make the two fit together smoothly. What are the musical influences on mind.in.a.box? What are you personally listening to right now? SP : Right now I’m listening to ELO (Electric Light Orchestra). For example “Here Is the News” or “Ticket to the Moon” are some of my childhood favorites, and I still love these songs. Yesterday I thought about covering “Ticket to the Moon”, but I’m not sure if we can do it. If I’m honest there are not so many electronic acts in our scene to which I am listening constantly. The latest two great electronic songs that come to my mind are “Pitch Black Ocean” from Biomekkanik and “Undisclosed Desires” from Muse. MH : I am listening to a lot of different things, both electronic and completely non-electronic. Now after listening to a lot of Commodore 64 music, I feel that I need a bit of a change and am listening more to guitar music. Right now, for example, Calexico. It was stated in a past interview that when mind.in.a.box was created you both were unaware of the music being played in goth/industrial clubs and the popular bands in the synthpop/EBM genre such as Covenant and VNV Nation. Did you find your music changed after becoming aware of that scene and finding that mind.in.a.box was becoming a part of it? I did notice some more club friendly tracks on Dreamweb. SP : Yes, I think we are always changing the style a little bit, but we definitely wanted to do our own style and stuff. I do not have so many CDs at home from our colleagues in the scene; Markus knows many more bands there than I do. But you are right regarding Dreamweb. There were some songs that were a bit more club-friendly, although that at least was not a conscious decision. I think in general the structure of our songs is often too complicated to be played in clubs. Of course it is always very nice when some tracks are played there nevertheless. [smiles] MH : That’s only true for Stefan. [winks] I listened to a lot of Covenant, VNV Nation, and Apoptygma Berzerk, for example. But in our youth we were more into computer music and artists like Jean-Michel Jarre or Vangelis than industrial music, that’s true. Do you plan on continuing the narrative that was established with the first three albums? When can your fans expect it? MH : The narrative was always a very important part of mind.in.a.box, and we really enjoy working on it, so of course it will continue after R.E.T.R.O. Black and our other characters will be back on the next album. SP : I hope that we will be able to release the next album toward the end of this year. It is done about 70 percent, so stay tuned!
quick picks De/Vision - PopGefahr
Destroid - Silent World EP
Omega Lithium - Dreams In Formation released by Artoffact Records on 6 April 2010 genre : gothic metal This Croatian industrial gothic quartet has been buzzing around the world for a while, and now they have made their way here with an official North American release. Fronted by the dashing young female, Mya Mortenssen, and backed by… um, the other three (sorry guys it’s a marketing tool), they rip it hard. Powerful riffs and strong vocals bring the energy on full force. The male backing vocals by Malice Rime are another strength and really help this album stand out from the others in the genre. Lyrically the songs cover uplifting subjects; misery, pain, hatred, apocalypse; and really I do enjoy the song “Hollow March”, a song about the end of days. Hold me. 7/10 - MK
mind.in.a.box - R.E.T.R.O.
Santa Hates You - Crucifix Powerbomb
Zeromancer - The Death of Romance released by Trisol on 5 March 2010 genre : alternative, industrial rock Pumping out the albums, The Death Of Romance is a follow up to 2009’s hit album Sinners International. This album brings dark romantic, angst driven, malevolent songs to a new level. With songs like “The Hate Alphabet” and “Revengefuck” it is pretty easy to see that you won’t have any of these as your wedding song. Although dark lyrically, the actual product won’t put you into a murderous frenzy but fill your step with liveliness. The album demands you turn the volume up to 11, the guitars are heavy, the synths are blaring, the bass is thumping, and the vocals deliver. High energy from start to finish. 8/10 - MK
released by Popgefahr Records on 23 March 2010 genre : synthpop One of the leaders in the synthpop genre De/Vision has released a fantastic new album, PopGefahr. The tracks are crisp and clean bringing a nice pop to the music. The rhythms and lyrics are infectious and will have you humming them all day long. I was surprised how much I actually enjoyed this album after being disappointed by their 2007 attempt Noob. The single off PopGefahr, “Rage” will be a De/Vision classic, and the video they produced for it will help solidify that. Which song on the album is the best? Well each of them are great in their own way and as time goes on my favorite will change from track one all the way to track ten. 9/10 - MK
released by Metropolis on 9 March 2010 genre : futurepop Mind.in.a.box’s fourth release, R.E.T.R.O., is a slight departure from their previous work and has a bit of a different concept in mind. The focus is 80s sounds and equipment including some covers of Commodore 64 game soundtracks. MIAB usually makes music with a future concept and in truth they do it here too, only it’s the future you imagined in 1984. The songs are easily identified as MIAB since the vocals and programming all have the band’s signature sound. With this album, the duo have turned their interest in video games into a collection of songs that are pretty, sometimes epic, and possess lots of retro flair. 8/10 -AA
AUXILIARY april/may 2010
released by Scanner on 19 February 2010 genre : EBM Destroid is another of the always active Daniel Myer’s projects, this one in cooperation with Sebastian Ullmann. This is a more pop oriented outlet with very straight forward song writing and lyrics. This EP has three original songs, two versions of a “Lucretia My Reflection” cover, plus remixes by [: SITD:] and Assemblage 23, and topping it off it revisits the previous album with a “Bird of Prey” remix and a fantastic live cut of “Let Me Leave”. All the songs are catchy as hell and I found it fun to listen to as I found new things I liked every time. The Sister’s cover is very enjoyable. 7/10 - AA
released by Tristol on 19 February 2010 genre : electro-industrial Peter Spiles (of Project Pitchfork) and Jinxy’s second release under the name Santa Hates You brings the hard stomping electro with an odd set of lyrics. You can tell that they have fun with this project and that they willingly let their creative writing skills take over. Musically this album is solid and the bombs are there; “Z.O.M.B.I.E.”, “Rocket Heart”, and “Slime Green Spaceship” (my favorite) will please any dance floor at peak hours. As a whole Crucifix Powerbomb will not win any awards for album of the year, but sometimes it’s nice to break the monotony that can plague the norm. 7/10 - MK
DJ Mighty Mike Saga Phillidalphia’s goth/industrial DJ, DJ Mighty Mike Saga, has been spinning for eight years now, pushing the music and local scene to new heights. He is also featured in NYC frequently at various events including SMack!, MotherFucker, and Stimulate parties. In addition to the clubs, he has played major North American fesitivals such as Black Sun Festival, Dark Star, and the upcoming Kinetik Festival in Montreal, Canada. Mike Saga’s biggest, personal acomplishment to date so far has been spinning at the world’s largest goth/industrial event, Wave Gotik Treffen in Leipzig, Germany in 2008. These are merely the highlights... the future for this DJ has no end and for more info and free DJ mixes go to www.mikesaga.com.
“We Are Machines” Kombat Unit
A cooperation between Suicide Commando and X-Fusion aka Noisuf -X! To me the most genius combo of two artists EVER. I spin this track nearly every time I play a gig! This song is so good that it made it to my latest free promo DJ mix!
“Face Down” Shaolyn
Ok , any 2 Live Crew reference in any song is cool with me! Nice crunchy beats for peak hour floor stomping pleasure! I hope to see more from this awesome producer!
“Nine Dudes Freaking Out” The Gothsicles
This song just ROCKS… it gives you a mental image of just that, nine dudes freaking out, and DarkNES’s voice is just out of control!
photo by Dale May
Anyone heard of these guys? There a electropopish type band from Germany! This song is so much fun! It’s like drum n bass meets electro… called electrostep! Good times!
“Born In Sin (DJ Psycon mix)” Virgins O.R Pigeons
With AWESOME horror movie samples of Stephen Kings Storm Of The Century you can’t go wrong! Nice fast paced song for the height of the party!
“Ways to Dance” Kite
“Stage 2” [X]-RX
At first glance it sounds like a girl singing but it’s actually a guy! Such a great raspy voice with the most awesomeness retro synth lines… I love these guys!
This song rocks my size twelve socks! Innocently starting out like a Jane Fonda work out video, you soon realize the sexy robo girl has a secret! Hehe. Definitely a dance floor crowd pleaser! PS, check the whole album out called Stage 2. It gets the “DJ Mighty Mike Saga dance floor approval”! Long live techno industrial!
“Stein Auf Stein” Schwefelgelb
A fun 125bpm dance track! Cool opening synths, I have a feeling this will be a hit song soon! Well if no one else feels that way I sure do and I’ll keep playing til it is! Haha!
“No Escape” Doctrine
A perfect specimen of industrial and EBM meets trance. One of those songs I can’t stop playing out when I spin and love listening to it at home. This song IS serious business!
“Now You Know” Angels On Acid
Screaming terror EBM gets me fuckin’ amped! And this track does just that for me!
music reviews Absurd Minds - Serve Or Suffer
released by Scanner on 5 March 2010 data : 5th album . 13 tracks . run time 58:11 . www.absurdminds.de reviewed by : Mike Kieffer genre : EBM Serve Or Suffer follows up Absurd Minds’ amazing 2005 release Noumenon and marks Absurd Minds fifth full-length album. Much like their previous albums, Serve Or Suffer grows better with time. Once you learn all the lyrics and can sing along with the talented Stefan Grossman, the songs just get better. The melodies, synths, and bass lines are typical of Absurd Minds, and you won’t find anything uniquely different here. Throughout my many listens, I found that I was comparing some of the new songs to older songs and in a few of these instances I just wanted to hear the old song. There are a few standouts on Serve
Or Suffer such as “Human Bomb”, “Pendulum Swing”, and “Tear It Down”. The title track is the insta’ hit and most likely to be heard at the clubs, the track has a certain pop to it that will make it enjoyable to new listeners and has the trademark sounds that will instantly peak the ears of long time fans. Considering the album as a whole has brought my rating down; the consistency of great tracks is just not there and upon further inspection I believe it is a track arrangement issue. My experiments found that when I played the album at random I liked the songs that I didn’t much care for before. Serve Or Suffer is not my favorite release by Absurd Minds; there were too many songs that were just average making the album just good, not great. So as the long wait has ended, now the new wait begins. recommended tracks : Serve Or Suffer, Tear It Down if you like you may like : Rotersand, Covenant, Assemblage23 grade : overall 7 - music 7 - lyrics 7 - recording quality 9 27
april/may 2010 AUXILIARY
music reviews Goldfrapp - Head First
released by Mute on 23 March 2010 data : 5th album . 9 tracks . 38:10 run time . www.goldfrapp.com reviewed by : Eric Kendall genre : dance, glam, electronica Alison Goldfrapp and Will Gregory have always made music with a sympathetic and loving nod to new wave, and this time it appears they have gone off the deep end. Head First sounds like it’s straight out of the 80s (fingers crossed for a deluxe edition packaged with its own pair of legwarmers). While 2008s soft-core departure, Seventh Tree was an exercise in a more lush, organic, and pastoral soundscape, Head First is unapologetic in its dive into full blown dance-pop. The first single, “Rocket”, wouldn’t sound too out of place as the opening theme to Fame, with its stuttering synth flourishes and sing-along chorus. A friend of mine has gone far enough to say it reminds him of Olivia Newton John‘s “Xanadu”, which couldn’t be more accurate. “Alive” keeps things going with a bouncing bass line, touches of piano and tastefully cheesy guitar licks thrown in for good measure. Now, I’ll be the first to admit that the last thing the world needs is another album that revitalizes the decade of shoulder pads. In Goldfrapp’s case, I think there’s room for ONE more. They manage to pull it off with just the right balance between tasteful-
ness and being TOO over-the-top. There’s always an element of texture that can be so easily lost when tackling this kind of music. Alison and Will know when to pull their punches just enough as to not become a parody of themselves. This meticulous attention to detail ensures that Head First comes out a winner. I do have one qualm (and it‘s a big one); the apparent lack of the dark and sexy “hurts so good” vibe that Goldfrapp have always been known for. It’s a big piece of the puzzle that’s missing and it’s a shame that it had to be the one thing that was lost amidst all the flash and glitter. recommended tracks : Rocket, Hunt, I Wanna Life if you like you may like : Ladytron, Cocteau Twins, Erasure, M83 grade : overall 7 - music 6 - lyrics 7 - recording quality 8
Architect - Consume Adapt Create
Xiu Xiu - Dear God I Hate Myself
reviewed by : Aaron Andrews genre : IDM, drum n bass Daniel Myer’s Architect project has, in the past, been a place to play with soundscapes. He’s explored the ambient and laid back realms and also driven the listener through some more intense landscapes where glitchy beats are king. Here, on Consume Adapt Create, he’s still exploring soundscapes but with more traditional structure than before. The compositions are just as moody and experimental but there’s a solid back bone through the entire album informed by drum n bass, a genre that’s been weaved into Myer’s many projects for a while now. Myer’s slow moving dubstep/drum n bass sound is everything I had expected from Photek when he released Form & Function II but didn’t get. Consume Adapt Create is an album with the moody experimentation and the drum n bass soul that I think many of Myer’s fans knew him to be capable of. Minimal samples and synth ambience are fitted well with the bass and beat structure, the compositions are balanced well. Only a few of the tracks, like “The Beauty And The Beat (Rokka)” for instance, are fast enough for the dance floor but the entire album has the same care and understanding and that’s what makes it so good to listen to. It’s a solid mix of a musical direction we’ve heard from this artist before and the strengths he has displayed in the previous Architect releases. Moving toward a more song-based formula hasn’t hurt this release it actually helped it. These songs will appeal to both those familiar with and fans of his previous Architect work and also lend themselves to be picked up and enjoyed by listeners who are familiar with intelligent drum n bass artists but not Myer. recommended tracks : The Shadow Of Eve, Fast Lane (Freeze Frame), The Beauty And The Beat (Rokka) if you like you may like : Photek, Haujobb, Black Lung grade : overall 8 - music 8 - recording quality 8
reviewed by : Paul Morin genre : experimental, indie The opening track, “Gray Death”, sets the pace and answers all questions. Confusing, claustrophobic, and poised between art, pop, and noise with Jamie Stewart’s trembling falsetto full of anxiety and excitement, it will immediately polarize listeners into two groups of yea and nay. Lyrically the band delves into such dark corners of the psyche as self-loathing, angst, and selfindulgence while the music, more electronic than previous albums, is chock full of lo-fi 8-bit junk-tronic samples and moves from quiet acoustic passages into overstimulated moments of video game noises clacking and crashing while the band bangs on everything but the kitchen sink. Xiu Xiu’s primary aesthetic on this album seems to be one of interrupting. Lay down an idea or two and then turn something on loudly to drown out everything presented before. While this produces several really interesting moments, many of the tracks spin out of focus detours into ambience that fall in the cracks of the album like a film noir score (read: filler). Fortunately these are more often than not followed by brilliant slices of pop songwriting, and the album’s highlights far outweigh the excursions into the subconscious. “This Too Shall Pass Away (For Freddy)” is the best song New Order never wrote, “Chocolate Makes You Happy” is impossibly bright despite its dark lyrical underpinnings, and the title track “Dear God I Hate Myself” will give the lost children of Morrissey and Robert Smith something to sing along to. Eccentric, original, difficult and dense, it makes a good soundtrack for the little depressant screaming beneath the smiles in all of us. recommended tracks : Chocolate Makes You Happy, Dear God I Hate Myself if you like you may like : Joy Division, Swans, Add N To X grade : overall 8 - music 8 - lyrics 8 - recording quality 8
released by Ant Zen on 22 February 2010 data : 5th album . 13 tracks . 74:02 run time . www.ant-zen.com/architect
AUXILIARY april/may 2010
released by Kill Rock Stars on 23 February 2010 data : 8th album . 12 tracks . 37:02 run time. www.xiuxiu.org
MUSI C These New Puritans - Hidden
released by Domino on 2 March 2010 data : 2nd album . 11 tracks . 42:59 run time . www.thesenewpuritans.com reviewed by : Paul Morin genre : post-rock, post-punk, experimental Horns! Woodwinds! Samples of swords! People playing chains! Tribal drum lines! Chanting! Yep, this album has all that. Combining elements of modern classical, post-rock, post-punk, noise, and one song that sounds like Joe Jackson snuck into the control room (“Hologram”), this album moves like a puzzle to some dark secret kept closely guarded by occult forces. There is a logic to it, a concept and repeated themes throughout, but it’s not easily grasped and requires your full attention as it moves in unexpected directions. Most songs are carried by a battery of percussion that thunders and explodes with enough force to make Blue Man Group blush while Jake Barnett’s talk-chant-sing delivery give the songs’ direction and focus. Horizontally, the notes pepper across the page in complex harmonic structures and leitmotifs, favoring atmosphere and odd transitional phrases to familiar pop structure. Vertically the instruments pile up on one another under the weight of dramatic, climactic conclusions. Less “songs” and more “compositions”,
the album constantly runs the risk of falling into the abyss of Spinal Tap-esque pretension and self parody, but somehow, even between the backing of a boys’ choir and the tuba and the flutes, TNP have managed to avoid such pitfalls, presumably by attacking every note and instrument with so much conviction that even the most jaded critic of art rock has to stand back and take notice. Endless comparisons to Wire and The Fall will abound, but this album sounds like neither and instead takes more of the spirit of both bands, their willingness to experiment even at the risk of complete failure, and breathes new life into their aesthetic. Wildly original and truly like nothing else out there, this album is a tower built by a band full of faithful devotion and strong practice. recommended tracks : We Want War, Hologram, Fire-Power if you like you may like : Einsturzende Neubauten, Bark Psychosis, Talk Talk grade : overall 9 - music 10 - lyrics 9 - recording quality 9
Autechre - Oversteps
Groove Armada - Black Light
reviewed by : Paul Morin genre : IDM, ambient I’ll admit it: Autechre are so damned smart their music often eludes me. I usually have no idea what they’re doing, how they’re doing it, or where they come up with their ideas, much less their song titles (“Pt2ph8” and “Yuop”, for instance don’t offer much help in the understanding department). The music jumps, skips, and twists in patterns like a kaleidoscope slowly turning, making it difficult to find something to hold on to in the song. All of this is a good thing, and has always been Autechre’s strength, and I’m happy to report that on their latest effort, Oversteps, they are still drawing on the same rich ambiguities that made previous efforts so interesting. Somewhere between the Blade Runner and Tron soundtracks but backed with an arsenal of the latest technology and a degree or two in how to use them, Oversteps presents dark, intricate soundscapes that seem to explore the promise and fear of the future. Not so much a change in the band’s sound as just adding new tools into the tool belt, Autechre continue to search for new textures and atmospheres that sound both alien and hauntingly familiar at the same time. Oversteps focuses primarily on ambience, with most tracks floating along without a beat to speak of, and when there is a beat, it’s usually quirky, glitchy, and more a part of the ambience than anything to tap your foot to. All of this is to say that despite the fact that Autechre are so grounded in their own strange world and that those already familiar with it know what to expect, they are still miles ahead of the competition and proving once again that they are the masters of the genre. recommended tracks : known(1), Qplay if you like you may like : Aphex Twin, Brian Eno, Kraftwerk grade : overall 7 - music 7 - recording quality 10
reviewed by : Aaron Andrews genre : new wave, electro Groove Armada is familiar to many as the duo that makes mainstream friendly house bangers and it would have been an easy task to go that route for their sixth release, after all this is the band that most Americans know for the track “I See You Baby”. Instead the duo of Andy Cato and Tom Findlay decided to take a different road. Taking cues from newer groups like MGMT and classics like Roxy Music, they produced an album that mixes nostalgic new wave sounds with a fresh take and understanding of more recent dance and pop music. Black Light ends up being a great marriage of then and now, slick production meets up with 80s synths and timeless pop elements. The songs are beautifully composed and recorded, most of them have a personal feel and pull you in quickly. A lot of the credit for the albums fantastic feel can go to the performances on this album. Groove Armada laid these tracks down with a live band and great selection of vocalists. Vocals are contributed by Nick Littlemore (Empire of the Sun), SaintSaviour, Jess Larrabee (She Keeps Bees), and finally Bryan Ferry (Roxy Music) on the wonderfully laid back “Shameless”. Each contributor is an important piece of their song and I can’t imagine what any of these would sound like if someone else had performed them. Black Light is the kind of album that sometimes feels like a guilty pleasure, there are times when I’m listening and want to scold myself for enjoying something so entirely pop, but the quality is so good I just brush it off to keep going to the next fantastic song. Groove Armada have taken the best of modern electro-driven rock and combined it with their love and respect of new wave to make one of the most fun albums to come out so far this year. recommended tracks : Not Forgotten, Shameless, Paper Romance, Fall Silent if you like you may like : MGMT, Gary Numan, Roxy Music, Way Out West grade : overall 8 - music 8 - lyrics 7 - recording quality 8
released by Warp on 23 March 2010 data : 10th album . 14 tracks . 71:15 run time . www.autechre.ws
released by Cooking Vinyl on 23 February 2010 data : 6th album . 11 tracks . 52:37 run time . www.groovearmada.com
april/may 2010 AUXILIARY
guest music review
Yone Dudas of Decoded Feedback The Duo of Marco Biagiotti and Yone Dudas, known as Decoded Feedback, formed in the mid nineties and were quickly picked up by record labels on both sides of the ocean. Their dark electro-industrial style has brought them success over the years including multiple rankings on the German Alternative Charts (DAC). They are no strangers to the stage having headlined European tours and played major festivals all over the world. Listening through their seven-album discography shows continual evolution and reinvention of their sound. Instead of being complacent, they continue to push the boundaries of their music and continue to keep fresh, leaving their new and old fans satisfied. In May Decoded Feedback will be performing at Kinetik Festival in Montreal, Canada and on May 11, 2010 they will release their eighth fulllength album, Aftermath. Be sure to check out www.decodedfeedback.com
Suicide Commando - Implements of Hell
released by Metropolis & Out of Line on 26 January 2010 data : 11th album . 11 tracks . 53:05 run time . www.flint-glass.com reviewed by : Yone Dudas genre : harsh EBM Meeting Johan van Roy for the first time backstage at M’era Luna in 2004 was an incredible honour. He was very gracious and humble, but when he got on stage, he came alive with anger and passion. It was incredible to see this transformation and how his music embodied his body and soul. His music has always been on my top ten list of favorites and even though our styles might not be the same, his genius has immensely influenced us throughout our musical career. So, for me, it is a pleasure to review his latest creation Implements of Hell. Implements of Hell opens with an intro, a sample from old film, that perfectly sets the tone for what is to come. The album is like a story unfolding with different chapters and characters. There is a beginning, a middle, and an end. The progression of this album is excellent. The heavier tracks capture you, then the slower tracks bring in more context. Overall, this album was wonderful. Great use of arrangement, instruments, vocal effects, and samples. I have always been a huge fan of samples and Johan uses them to his advantage. Each sample fits in its place and is an intricate and vital part of the song. I like how you can hear each instrument and how he uses each one in the right way. He doesn’t overload your ears with too much noise, unless he finds it necessary to achieve the desired effect. He is truly a master at orchestration. There have been many who have tried to copy him, but no one can ever touch his
Decoded Feedback, Yone on right, photo by Jeff Turner
level of talent. I am in true awe as a fan and as a musician. It is always an honour when people compare one of our most popular songs “Phoenix” to Suicide Commando, it makes my day every time. If you are a fan of Suicide Commando, you won’t be disappointed with Implements of Hell! This is classic Johan at his best. He doesn’t follow the trends; he is true to himself and his style. My favourite track has to be “God is in the Rain”. It is a wonderful slower track that has incredible power that develops into a soundscape. The strings compliment the textured vocals. The use of the vocoder is superb. I love this track. I must admit that I am more of a fan of the slower tracks because the song development is stellar. Each instrument and sample has its place and enters the song at the perfect moment. As a composer myself, I just love this and appreciate how articulate he is at expressing his musical vision. recommended tracks : God is in the Rain ,The Dying Breed, Death Cures All Evil, Die Motherfucker Die, Come Down With Me, Until We Die, Severed Head if you like you may like : Wumpscut, Hocico, Amduscia, Decoded Feedback :) grade : overall 9 - music 9 - lyrics 8 - recording quality 8
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Auxiliaryâ€™s playful take on the sexy centerfold pin up. Flip the page, cut out, and tac on your wall!
photographer Steve Prue hair stylist Jamie Starr model and makeup Acey Slade
Auxiliary Magazine Presents
Jewelry by Justin Davis.
Acey Slade is the driving member of Acey Slade & The Dark Party, but many know him from his roles in bands such as Trashlight Vision, Vampire Love Dolls, interview by Luke Copping Dope, The Murderdolls, and Wednesday 13. Moving forward with both his music and personal life into new projects, Slade is also known as something of a style maven in the rock scene, sporting attention grabbing looks. While the PinUp section has usually been about the ladies, we decided this month to give the ladies a treat of their own!!! Your new project, Acey Slade & The Dark Party, seems to have such a hybridized style of rock, punk, metal, and electronic music. Where there any specific influences that you drew from in building the bands sound? Acey Slade : I am on tour quite a lot of my living life. A lot of times when you are driving at night or trying to sleep in the back of the van, you may not be in the mood for the three chords and a cloud of dust type music I am associated with. So, what I listen to is stuff like Manic Street Preachers, Primal Scream, Depeche Mode, Prodigy, Pendulum, DJ Shadow, Tricky, Portishead. I wanted to explore that stuff and not alinate my fans. Make an album that might be an ‘alternative’ for people who like KISS, Janes Addiction, or other guitar rock stuff. You have played in bands covering a variety of musical genres from punk to hard rock, industrial metal to glam tinged horror rock. Is there a genre yet to tackle that you’ve been dying to get at? Something itching to come out in the future? AC : I’d love to do something even more dance and electronic, but I wouldn’t do it under my name. Being that you live in NYC, and travel extensively on tour, where are some of your favorite hotspots to pick up clothes? Where do you find the most unique finds for your style?
AC : Oh…well Harajuku in Tokyo is great. Especially Sex Pot Revenge and Justin Davis Jewelry. In England I love Camden and in Manchester I love Affleck’s Palace. There was a shop there called Bats that was amazing. But lately, I’ve been leaning to Rick Owens as a designer. I like Ben Sherman a lot; he cuts his clothes for skinny guys. Century 21 is a great spot to get some designer finds. We often feature women of style in this article, I think it’s important to have a male perspective on the issues of style verse fashion. Do you see your style more as a personal extension of your personality or do you work with stylists? Do you follow fashion trends much? AC : No, I never work with stylists. To be honest, I get a lot of ‘model’ work just for that reason. ‘Hey we need a sharp tattooed rocker guy!’ I show up being me and it’s done. [laughs] Beyond that, there are two issues I have with fashion right now. One, American men’s fashion is pretty terrible. Guys for the most part are bad dressers. They are always worried about being too ‘metero-sexual’. I mean when you look at what men wear in Europe and Japan it makes you want to blow up every Abercrombie and Old Navy you can find. A lot of it is the way they are cut. Two, it used to be that musicians dictated what was going to happen in fashion. Now, it’s so follow the leader. I mean I just saw Dave Navaro with a YSL guitar strap? Really? I mean, YSL is like the McDonalds of fashion now and remember when Janes Addiction came on the scene? How cutting edge they were? I’ll bet they inspired a ton of designers, now the bands are dressing to impress the designers. Vivian Westwood is a great example. She was designing with the bands in mind back in the day, now look! But… I still love Vivian Westwood… so we will take it easy on her. [laughs] But that’s one of the things I like about John Varvatos, how he is inspired by the bands. Not the other way around.
name : Acey Slade nickname : Bone Daddy, Pumpkin King, Creep birthday : December 15th birthplace : Downingtown, PA eye color : brown/green hair color : changes like the seasons turn-ons : natural beauty, a sense of humor but still sensual turn-offs : name droppers, excessive make up favorite musical artist : The Cult favorite movie : Nighmare Before Chrismas favorite tv show : Dexter favorite book : Let the Right One In favorite cocktail : coffee favorite color : dark black, black, and light black favorite tattoo : pumpkins! favorite article of clothing : Doc Martens or my new John Fluevog shoes! favorite fashion designer : Vivian Westwood or Rick Owens favorite fashion style : 77 UK punk or draped high end black stuff. It’s a paradox I know, but that’s me. favorite star/icon : David Bowie favorite outdoor activity : ...The Coffee Sprint! It’s when you put on your sunglasses and walk on the shady side of the street as quickly as you can for a double espresso! If the sun touches you, you’re disqualified immidately! favorite indoor activity : Hee, hee... favorite club/club night/place to go out : Rated X in NYC, Decadence in London, Rock Rock in Tokyo anything you’d like to say to our readers? : Look sharp, be sharper!
Shirt and pants by Amalga NYC with jacket by Helmut Lang.
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What two essential basics should every stylish rockstar at heart own? AC : 925 Silver. A ring, necklace, silver is like the ‘bling’ of rock n roll and look beyond Chrome Hearts, who is cool, but get creative! At least one pair of Doc Martens at least somewhere in your wardrobe. Outside of your own projects are there any acts you’re following right now? Newer bands that are really grabbing your attention, or even older guilty pleasures that you keep coming back to? AC : I’m a sponge musically. I still love the classics, KISS, Sex Pistiols, Ramones. But somehow, Tricky Angels with Dirty Faces passed by me! So I play that a lot. The new Pendulum is great and so is the last Placebo. Any thoughts on Auxiliary deciding to make you our sex symbol of the month? AC : Wow. I’m very excited about that. [laughs] I just dress myself up well, that’s all. Be sure to visit www.myspace.com/aceyslademusic
april/may 2010 AUXILIARY
Auxiliary Magazine Presents
ArdeN LeIgh photographer Steve Prue model, makeup, and hair Arden Leigh second model Helena
This issue we bring you a second PinUp, for twice the eye candy! AUXILIARY april/may 2010
Co-founder of The Sirens Seduction Forum, Arden Leigh’s interest lies in seduction. She most recently honed her skills of seduction as the Director of Training and Marketing at New York’s most renowned house of professional domination, where she trained neophyte young dominatrices to seduce their male clients into spending lots of time and money on them, and became one of the most successful professional dominant to ever tout a whip there. She has written her own seduction guide for everyday women, Whipped: A Professional Dominatrix Shares the Secrets to Wrapping Men Around Your Little Finger. interview by Numi Prasarn The Sirens Seduction Forum was set up in response to male pick up communities… which in turn was in response to men feeling that women already had the upper hand in the art of seduction. What do you think is the biggest difference between the two movements? Arden Leigh : Definitely the end goals. I mean, there’s a reason that there are no books for men on how to get into relationships and no books for women on how to get laid. This actually goes back to evolutionary psychology; in order for us to further the species, it’s best for women to pair with one mate who’s going to protect and provide for her, while it’s in men’s best interest to pass on their genes by pairing with as many partners as possible. We’ve been at odds with one another since the dawn of man, when you think about it. What the pick-up community did was to equip men with a strategy to achieve their goals of having access to a wide range of women. What I bring to the table for women is a strategy on how to stand out, how to compel, attract, and add value in a manner that will make the man they want feel that being with them is a better deal than having all their other options. In your writing you describe the art of seduction as being something very methodical and almost calculated, yet coming from a place of love, an act of care and devotion. Do you find a lot of resistance to this idea of seduction as a positive form of deception? AL : Oh absolutely. I think people place such a value on honesty that anything that is at all underhanded is immediately seen as bad. (Of course, if we were to go to the other end of the spectrum with honesty, we’d be where Russell Crowe’s character was in A Beautiful Mind, at the bar approaching a girl and saying, “I don’t exactly know what I am required to say in order for you to have intercourse with me, but could we assume that I said all that?”) I believe that seduction is essentially a generous action in that at its core it is thinking of what the other person wants. But I keep a lot of ethics in mind, both for myself as well as to assuage the doubts of others. In the end though, I think my own best argument in defense of seduction is that I truly wish that people were able to seduce me the way that I do others. I even wrote a blog on how to seduce me! My business partner James said I was essentially handing Kryptonite to the masses. Fine with me! Please, feel free to exploit my fantasies and desires for the betterment of the excitement and pleasure in my life. Often in people’s minds, dressing up and lingerie go hand in hand with seduction. What do you think the growing popularity of shops focusing on luxury lingerie (i.e. Agent Provocateur, Kiki de Montparnesse, even H&M) says about modern day seduction? AL : I think we’re seeing a big swing back from the dark ages, the days when you couldn’t walk into Victoria’s Secret and find a single garter belt. I think it’s great that mid-range lines like Victoria’s Secret, Elle Macpherson, and those offered at H&M are now offering affordable options that are still sexy in the style of AP and Kiki D’s. I’m a huge AP fan in addition to loving all sorts of European brands you can’t find easily in the US (Carine Gilson, Guia la Bruna, ID Sarrieri). I’m not sure what the growing focus on lingerie says about seduction except to say that the fashion world seems to be placing value once again on the kind of sexiness that starts when you get out of bed in the morning, and by that I mean that seduction, ideally, is a 24/7 lifestyle, and there’s no reason to wear anything under your clothes or in the bedroom that makes you feel anything less than ridiculously desirable. This past season, mainstream designers from Dior to Marc Jacobs have been sending “lingerie as outerwear” looks down the runway for spring, do you have any advice for those thinking of trying this trend out with a little bit of edge?
Agent Provocateur with gloves by Other World Kingdom. april/may 2010 AUXILIARY
AL : I think the most important thing is to keep in mind where you’re wearing it! [laughs] I’ve gone to parties in NY where I wore nothing but lingerie that wasn’t even remotely disguised as outerwear, and it was terrific. But the situation was so anything-goes that I didn’t look out of place. In slightly more conservative venues, like when I’m teaching, I like to wear a dress that allows a tasteful bit of bra to show. It’s also always sexy to cross your legs and have a garter belt and stockings appear. I think it’s important to make sure that people know you’re doing it on purpose, so when I do that, I make sure to match it to the outfit. As a burlesque performer, you must be used to taking your clothes off to seduce an audience, but what clothes/designers would you reach for to seduce yourself? AL : I love Dolce & Gabbana’s cocktail dresses; I have one each in red, white, and black. They’re so flattering and really accent a good waist-to-hip ratio. Obviously I love McQueen; his leather thigh-high boots are among my prized possessions, and I have an ivory half-corset of his that I love as well. Louboutin should go without saying, I think! On the high street end I really love All Saints. I think their dresses make you feel mythic. Last but not least, what was the last thing that floored you (good, bad, small, or large)? AL : I was at a club recently with a group of friends and there was a very attractive, very New York-renowned man there whom I knew socially, by reputation. Come 3:00am when everyone else was letting loose, he fixed me with an intense stare and beckoned me to him from across the room. Feeling almost in a trance, I walked up to him and he embraced me, running his fingers over my arms and back, drawing me in, bringing his face very close to mine. I arched my back, closed my eyes, and parted my lips, anticipating an amazing kiss. And then he stopped. And he just stayed there, holding me, his mouth an inch away from mine. He never once said a thing. Finally I just licked his lips and walked away. But wow did that get my attention!
From left to right, top to bottom, Carine Gilson, I.D. Sarrieri, Agent Provocateur with gloves by Other World Kingdom, Mimi Holliday, and Louboutin.
name : Arden Leigh birthday : January 27th (which I share with Mozart, Donna Reed, Lewis Carroll, and Leopold von Sacher-Masoch; if that doesn’t sum me up I don’t know what does!) birthplace : Phoenixville, PA eye color : blue-green hair color : brown turn-ons : eyeliner, tattoos, plausible deniability, teasing turn-offs : people who don’t pay attention favorite movie : Edward Scissorhands favorite tv show : The Mentalist favorite book : Other than mine, due out in spring 2011? The Art of Seduction by Robert Greene. favorite cocktail : The Benton’s Old-Fashioned, from Please Don’t Tell in the east village. I make my own bacon-infused bourbon at home now. favorite color : burgundy favorite tattoo : Oh... I just went to a happy place, excuse me. I’ll be just a moment. favorite article of clothing : Oh, are we back already? Um, red jersey wrap-dress. favorite fashion designer : McQueen, with a nod to John Varvatos for menswear. favorite fashion style : A mix of high fashion, goth, retro, punk, and fetish, with a dash of pirate thrown in. favorite star/icon : Johnny Depp favorite outdoor activity : Anything I can still do in five-inch heels. favorite indoor activity : Other than the obvious? Sitting on my couch with my colleagues and plotting great seduction moves. We sometimes refer to this as Evil Genius Camp. favorite club/club night/place to go out : I’m going to quote Clifford Odets on this one and say, “A place isn’t a place; a place is who you’re with.” anything you’d like to say to our readers? : Life is too short to not go after what you want!
Check out Arden’s blog at www.ardenleigh.typepad.com and www.seductionsirens.com. april/may 2010 AUXILIARY
a squeaky clean kitchen
spring by Lizz Schumer
With spring knocking down the door, many cool-weather residents are climbing the walls. Whether you live in a hundred feet or ten hundred, there are ways to air out your space and spice it up for the coming season. But who wants to spend the warming weather inside scrubbing? A little design motivation can go a long way to make spring cleaning seem worthwhile.
Kitchens are high-traffic; between cooking, eating, and congregating in between. Frequent use means your kitchen needs to be carefully cleaned and designed for form and function. Fortunately, you can have it both ways. Keep cleaning simple and straightforward with two miracle products: baking soda and vinegar. Forget harsh chemicals and expensive formulas, these two drugstore miracles are all you need. Baking soda scours sinks and stainless steel to shining glory, and vinegar will give you a streak-free shine that puts Windex to shame.
Forget tearing the place apart looking for a piece of paper to jot down a note by the phone, or scrambling for a recipe while trying to throw together a dinner party. Meet blackboard paint. Available at most paint stores, blackboard paint can transform the cover of a cabinet or stretch of wall into an instant notepad or doodle board. Cover one cabinet by the phone for notes, cover the whole wall, or stick a square by the stove for recipe notes. The sky (or ceiling) is the limit.
When most people clean their living space, they run around a vacuum, dust a few knickknacks, and call it quits; but consider the surfaces outside your field of vision. Donâ€™t have a duster? Stick an old sock on the end of a ruler and voila! Instant highreach dusting tool. Make sure you get the tops of lighting fixtures, high shelves, and windows for a truly clean feel.
Sometimes redesigning your pad doesnâ€™t require buying a slew of new stuff, just rethinking old things in new ways. How about that pair of funky candlesticks you use once a year? Relocate them from the cabinet to your mantle, TV stand or re-imagine them as bookends. Sometimes fixtures with great bones just need a facelift. Try antiquing as a fun new finish. For rugged brassy looks: spray your fixture with black or gunmetal spray paint (test the surface for adherence first), then sponge gold or bronze paint over the top. Make sure to avoid any deep crevices to get that authentic look. If tarnished metal is more your vibe, spray the fixture with gold and apply a greenishblue paint over the top, then wipe most of it off with a soft cloth. Leave extra in the crevices for a natural feel. This easy afternoon project can revamp your entire space for the price of a few cans of paint. Bonus points if you wire the electric yourself.
AUXILIARY april/may 2010
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Make room for fierce fashion finds by cleaning out your closet. A good rule of thumb is tossing anything you haven’t worn in a year, and then work down to nine months, then six months, until you have plenty of space for spring style. Anything that doesn’t fit is an automatic toss. Forget “goal pants”. Unless you yo-yo sizes regularly, if you don’t wear them now you never will. Take a moment of silence and turn some old favorites into something fabulous.
Let’s face it, no one likes cleaning the latrine. This is one of those rooms that needs less of a spring cleaning than a regular once-over. Grab the baking soda and vinegar from the kitchen and scour the tub or shower. Pay special attention to the countertops, especially if you plan on tackling the next design project. Streaky mirrors? Use crumpled newspaper instead of paper towels. One sheet will do the trick until the mirror is almost dry, and then finish with a fresh sheet. Streaks will be a distant memory.
What to do with that pile of discards? Foray into the field of fabric. Old band t-shirts can be turned into pillows or stitched together into a t-shirt throw blanket, perfect for the end of the bed or over the couch. Like your clothing style, tailor your fabric usage to your personal taste. If you can rock it, so can your room. Fishnet pillows pop against wrought iron or antiqued finishes, or add an edge to any finish with funky patterns and textures. Don’t be afraid to mix patterns: graffiti loosens up gingham, and leather with lace is a match made in home decor heaven. Feeling especially creative? Corsets aren’t just for the club anymore. A length of ribbon, a couple of measured cuts, and you can cinch anything from pillows to couch cushions for an unexpected accent.
Replacing countertops can be a time-consuming and expensive endeavor, but most surfaces can be painted. This one takes a weekend, so make sure you have the time to commit, or can live with a half-done bathroom for a few days. First, sand the countertop with a fine 200-grain sandpaper and wipe with a damp cloth to remove all the grip. Make sure the cloth doesn’t leave any fuzzy residue. Next, paint the entire countertop with a latex interior paint. Allow it to dry overnight. Repeat as many times as necessary to cover the color underneath. (This will vary, depending on how heinous the underneath. Patterns may need up to five coats, so plan accordingly). Next, use an old rag or sea sponge to apply a complementing or contrasting color, depending on how dramatic your desired effect. A gentle, flicking wrist motion works best; and don’t go too heavy, so some of that hardworking base shows through. Repeat with as many colors as you like, allowing each color to dry overnight in between. Finally, cover the whole countertop with water-based polyurethane and allow to dry overnight to seal. Once this is done, you can use your countertop just like you always have. Any scratches can be repaired with a light buffing with sandpaper and another coat of polyurethane. All of the cool at a fraction of the cost? With a project this easy, you can redo your countertops every season.
With these tips and tricks, your pad can pop just in time for that backyard barbecue you always meant to have. Cleaning doesn’t have to be a drag with a healthy dose of design thrown in, and none of it has to cost your entire budget. One weekend, a couple of bucks, and some inspired elbow grease, and your spot will be shining and spruced-up in no time.
april/may 2010 AUXILIARY
ADRIANA FULOP Business woman, fashion designer, and stylish lady, we caught up with Adriana Fulop to talk about her highly successful clothing companies, Plastik Wrap and BitchCraft. interview by Vanity Kills OPPOSITE PAGE On Adriana, right, Fatale dress and OilSlick gloves by Plastik Wrap with LollaX jewelry. Left, Vixen dress and sleeves by Plastik Wrap with LollaX jewelry. THIS PAGE Historitek jacket and Hex skirt both by Plastik Wrap. AUXILIARY april/may 2010
photographer Billy Archos fashion stylist Adriana Fulop models Adriana Fulop, Robin Domander, Kassandra Merrit, and Giovani Pereira
PLASTIKWRAP BITCHCRAFT If you ever found yourself ignoring the plot of a sci fi action adventure flick due to the fact that your attention was fixated on sleek and sophisticated future fashion, you are not alone. Many of us longed for dresses seemingly made of polished chrome and punctuated with bursts of vivid color. Something to hold us over until neural implants with social networking capabilities become commercially available. Luckily, Plastik Wrap’s Adriana Fulop and Ryan Webber possess the creative genius and technical skill to keep you looking like android royalty straight out of the pages of a gripping cyberpunk thriller. They can’t hook you up with the aforementioned brain implants, nor with a prototype hover car, but they can infuse your life with a little artificial flavor by outfitting you in precisely tailored cyber apparel which flatter and accentuate both the male and female form. Not quite ready to enlist in the plastik army just yet? If you crave high impact alt fashion with a more relaxed fit, then a sampling of Bitchcraft’s tasty offerings might be in order. Let Plastik Wrap’s Adriana Fulop and her creative partner Gabrielle Neveu tempt you with playfully dangerous body hugging tees adorned with prints of things that might hurt you if you’re not careful. Brass knuckles, scissors, syringes, and daggers, that’s what little girls are made of. In Bitchcraft’s world anyway. Those less fond off cutsey implements of torture can always hang with Mr. “Grumpy Octopus” or overdose on girlie glam in the “Tie Me Up Pretty” tee. Old world elegance and love of quality craftsmanship fused with durable modern fabrics and space age trimmings on one end of the spectrum. Deliciously dark tees you’ll want to live in on the other. How does Adriana Fulop do it all? How would you describe Plastik Wrap’s current aesthetic? How did it evolve since the initial inception of the company? Adriana Fulop : Initially we were designing simple, starch, space age styles. Which over time evolved into a darker, more utilitarian and avant-garde aesthetic.We haven’t focused on any one style category and have allowed ourselves to explore many interests, which has extended our tool set and fashion vocabulary. All of this combined has helped Plastik Wrap remain a design house that is very difficult to label. At least that is how I feel about it. What’s the primary difference between your newest fashion endeavor, BitchCraft, and Plastik Wrap? AF : BitchCraft is more playful, more of a fun evening project. Plastik Wrap is more like air to my lungs. Where did the idea to create T-shirts with spooky fun prints, such as syringes, mechanical hearts, and steampunk invertebrates originate? AF : Myself and my partner in bitching and crafting, Gabrielle Neveu, who is an excellent artist, were always doings some fun evening projects... making weird fabric dolls, pillow cases, and lamp shades with vintage erotica screen printed on them, which we used to call ‘home porn décor’. It was just a natural progression of things, me being a clothing designer and her being an artist, that we decided to start working on some shirts together. As for the prints themselves, well, we are always into things that are cutsey and dark at the same time, and sometimes with a touch of irony. What are the must-have items from Plastik Wrap and BitchCraft for this spring season? AF : Plastik Wrap, definitely our transformable pieces like our Vixen dress and Transform top. As for Bitchcraft, our new Harmless Weapons collection, shirts and undies with daggers, brass knuckles with stars, brocade guns, handcuffs, or evil but cute scissors! Can fans of both lines ever expect a cross over “BitchCraft for Plastik Wrap” (or vice versa) collection?
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AF : Definitely! We, Plastik Wrap, are going to be making more structured pieces with cute and sexy prints from Bitchcraft. Expect to see some fun collaborations this summer. I very much enjoyed visiting your brick and mortar Toronto shop. Any plans on expanding your retail locations beyond the Ontario area? AF : The plans are always there, we would love to have a shop in Montreal, both teams love that city and would be an awesome place to set up a stylish boutique. But probably not this year. Many designers credit the city they live in as an inspiration for their garments. How has growing up in Slovakia shaped your outlook on fashion? Has the fastpaced Toronto lifestyle had any influence on your work? AF : I am sure the city I grew up in, Bratislava, shaped and inspired my style. It’s a pretty old city with great historical center. I think it made me grow up to love elegance, classiness, and tailoring. I believe that is one of the reasons, why I never really liked trashy punkiness in my personal or Plastik Wrap style.Although I hate so say it, Toronto made me realize that comfort is a total must, I never really cared much for comfy clothes back home. Also Toronto made me design more utilitarian, always on the go. In your opinion what differentiates Toronto from other major fashion hubs such as Tokyo or New York City? AF : Toronto being such a multicultural city, has many cultural influences walking the streets to derive inspiration from. In many ways Toronto is quite similar to New York. Maybe a bit less adventurous and more practical when it comes to fashion. All
over I think it does not matter where exactly you live but more so, what you create and how your present it to the world. What was the first thing that ran through your mind when you were asked to showcase Plastik Wrap’s designs in the Gothic: Dark Glamour exhibit presented by NYC’s Fashion Institute of Technology alongside haute couture pieces by Rick Owens, Thierry Mugler, Jean Paul Gaultier, and Alexander McQueen? AF : The first first thing was, holy shit is this for real? The second was, I still can’t believe that, are you sure those email addresses are legit? [laughs] It took us a while for it to soak through our brains I think. We were honored to be contacted by Dr. Valerie Steele and included in such an interesting book with other great artists. Where do you see your brands in the general scheme of fashion? AF : Plastik Wrap on the experimental fore front of fashion. Fashion forward enough to be kinda anti-fashion, if that makes sense. BitchCraft is street influenced. Whimsical elements, meant for daily wear and social expression. What’s the one thing that you would like to change about the fashion industry? AF : I would love to see the industry support manufacturing within North America or even your own country, rather than outsourcing overseas. Currently the fashion manufacturing industry is fading quickly in North America and this makes it very difficult for young designers to get started. What’s your latest obsession? AF : Color combinations... lately I am imagining color combinations, and then squeal like a little kid, they are so exciting to me. For example imagine: silver grey, black, white with a dash of sea foam; or white, charcoal grey, and a touch of electric blue and bright yellow. So exciting! Plus of course, there is the ever going shoe obsession. I make clothes so I never really shop for them, but I cannot make shoes, not yet anyway. I am obsessed with collecting interesting shoes, lately I am really into United Nude. Plastik Wrap has always struck me as the epitome of classy cyber. The clothing fuses avant-garde futuristic concepts with accessible street wear. I’m a big fan of the “cyber” style, but unfortunately I have seen it go wrong more times than I can count at this point. As the woman behind the label that “does it the right way”, could you offer Auxiliary Magazine readers some pointers in regards to wearing space age fashions without looking like an anime convention threw up all over them? AF : Thank you. The key for me is to start simple. Pick one inspiring garment or accesory and build the outfit around it. Don’t go and grab every element/piece listed under ‘cyber fashion’ and put them all together thinking its the right thing to do. Please pay close attention to your makeup. This is somewhere were many have gone wrong. Which alt fashion trend would you like to see go into early retirement? AF : Wide legged pants with heavy chains and buckles all over them. They probably weight a ton and always look trashy to me. If you could be the lead costume designer in the re-make of any movie, what would it be and why? AF : Aeon Flux. I love that movie, even though it’s different from the animated series, how serene and stark it feels, but I think the costumes are a bit boring. They could have had more fun with them, they need to be edgier. They are missing Plastik Wrap-yness! If you could choose one world-renowned photographer to collaborate with on a Plastik Wrap or BitchCraft advertising campaign, who would it be? AF : Floria Sigismondi, love the creepiness she brings into her work. Finish the sentence “When working on pieces for a new collection I am most likely to be listening to…” AF : Gry, The Knife, or Squidlid.
AUXILIARY april/may 2010
FROM TOP TO BOTTOM Axiom shirt, Mistique skirt, and OilSlick gloves all by Plastik Wrap. Mek Heart shirt by BitchCraft with Algorithm pants by Plastik Wrap. Boot Addict shirt by BitchCraft with Mistyque skirt and OilSlick gloves by Plastik Wrap. On Adriana, Hex skirt by Plastik Wrap and On Guard shirt by BitchCraft.
LI FESTY LE Quick! Off the top of your head what are the top five things that you’d like to accomplish before you die? AF : Wow, I actually do not think that way. I don’t think in terms of ‘die’. Just do things as life and my surroundings let me. I would have to think about this one for a long while. Was fashion a career path you chose for yourself as a child? If not then what did you want to be “when you grew up”? AF : I wanted to be a truck driver. I saw it as a great job with lots of traveling and the aura of a tough personality. [laughs] Later I wanted to be a puppeteer, making little puppets and clothes for them.
by Vanity Kills
What are the best and worst aspects of being your own boss? AF : Best, you do not have to answer to anybody, I do not like to be bossed around. Worst, you never know when to stop working. There is never the sense of ‘5 o’clock’, it’s always a ‘I could be working’ type of mindset for me. You can’t just call in sick and you can’t just say, I will cover it with my next paycheck...
The fictional stories and dramas of Kimmy, the subcultureelitist, fetish-fashionista, yet sweetly endearing queen of the goth scene that everyone loves to hate.
What’s the division of labor between your Plastik Wrap partner, Ryan Webber and you like? AF : Simple way to describe it would be... Ryan takes care of the website things, graphics, wholesale docs; and I take care of production, photoshoots, employees. We design together, each piece has a bit of both of us in it.
“SHANE YOU MOTHERFUUUUUUCCCCCKKKKEEERRRRRRRR!!!!” I screamed as I stomped back into Sanctum. On the way inside I allowed myself to be completely consumed by all the rage that had been bottled up inside me for the duration of my terrible relationship, and now that it was finally pouring out it was very definitely not pink furry kittens, nor rainbows. I was blinded to the normally lol-worthy mass of terrible synthetic hair and joketorian outfits, and was instead an arrow, seeking to puncture one very specific and very black heart. I was walking so fast that my legs practically lifted off the ground. I was a banshee straight from the ninth circle of hell, filled with demonic fervor. He was the Lilith who betrayed my Adam (not that I’d wear a fig leaf!) and at last he must be removed from Eden.
As a designer did you ever run into any obstacles that you felt you could not surmount? AF : Not really things we could not surmount, but with time and experience you’ll learn that you can not entirely rely on third parties. You always have to have some kind of back up plan. How did the rise of social networking media affect your business? AF : Social networking media has changed drastically during the time we have been in business, but it’s always been there. I have always been active in cyber space and enjoy adapting to its ever changing reach. For us as a business, over time it has made it easier and easier to directly communicate with our market, no matter which part of the world they are. Does fan feedback influence the direction of your creations? AF : Yes, but it is hard to say how. Once again it’s a matter of being influenced by all things in your life: the feedback that you hear is one of those elements. Do you have any advice for up-and-coming alternative fashion designers? AF : Don’t focus on what is alternative, find your style and work hard at developing it. You will only stand out in the crowd if your designs reflect something about yourself. Fashion design must take up a substantial portion of your life; does it leave any time for additional creative expression? AF : Everything I creatively do, somehow evolves around fashion. If I am not working on Plastik Wrap or BitchCraft, I love to knit, take photos, style other peoples fashion shoots, make jewelry, or dance. Can you divulge more information on the jewelry line conceived by your alter ego Lolla? AF : Oh, that is another hobby of mine, that somehow transformed into a bigger project. However, it remains more of an artistic outlet, where I create one of a kind pieces. It has been a great styling tool for a number of photoshoots and soon to be available at plastikarmy.com. What’s in store for the future of Plastik Wrap and BitchCraft? AF : Soon you will be seeing collaborations between Plastik Wrap and other talented artists from a number of different disciplines. While BitchCraft will be expanding its collection and integrating technical elements from Plastik Wrap’s repertoire. All of which will be available online at the new online shopping destination, plastikarmy.com.
When I got up close to Shayne, who hadn’t stopped his causal schmoozing about his latest near-score with underage Gothy McTripp-pants to give me even a sideglance, I erupted. My mouth flew open like the gateway to the abyss and from it spewed a terrible demon with seven heads and seven crowns, vehemently breathing fire and ash and woe unto all that stood before me. The bar ceased to be the squalid dump that was Sanctum and was replaced by fields of dead cybergoths, with circling vultures and burning trees. I chanted the violent maledictions of ancient witches and cursed his bloodline and all future progenies, should they be unfortunate enough to be born. I envisioned the fire pouring from my mouth engulfing Shayne’s mangy dreadlocked head, melting it into burnt charcoal. Sadly, I don’t think this really happened. I recoiled in pain as my wildly swinging arm crashed into the bar, and my brief fantasy dreamworld was shattered. I realized, sadly, that I was still standing in what was probably rat droppings in a poorly lit club, and that Shayne had ignored every single word I had said, even the face melting part! So I did what any scorned woman would do (cue Suicide Commando “Consume Your Vengeance” in my head); I slapped him with as much force as my petite hand could muster, which amounted to that of a very small, pale missile. WHACK! I knew that I had a very brief period in which he would be stunned before going into quasi-roidraging berserker mode, so I had to make it count. I spit in his drink and condensed all my rage into the briefest, most rambling sentence I could construct: “YOU ARE A PATHETIC AND DISGUSTING PIG AND HAVE NOTHING TO OFFER TO ANY WOMAN. THE ONLY ONES WHO FIND YOU ATTRACTIVE ARE THOSE 18 YEAR OLD SLUTS BECAUSE THEY JUST WANT FREE TATTOOS! YOU WEREN’T EVEN GOOD IN BED!” I made sure to yell that last part extra loud so it would not be missed by hordes of eavesdropping ears. Before Shayne had a chance to retort, I spun around and made for the doorway. Of course, nothing is easy. I was only steps away from the exit and having the burden of a sad excuse for a boyfriend lifted, when I encountered the very annoying final tribulation. The old, washed up ex-cockrocker Jaguar Steve had obviously witnessed my (assumed) ascension into single womanhood and decided it was an appropriate time to swoop in for the kill. He sauntered over and swung his thinapril/may 2010 AUXILIARY
LI FESTY LE
continued . . . ning, poorly bleached skullet (whatever that move was supposed to do…it wasn’t doing it) and began his usual drunken pick-up technique, which began with un-subtly showing off his faded tattoo of a naked woman embracing a snake which looked more like a burnt earthworm, and ended with something to the extent of, “Hey you know, my band toured...uh… with…uh… Poison back in ’78,” all the while making a point to show off his fugly animal-print kilt and moldy thrift-store boots. I wanted to barf all over him. If I had been any drunker there would have been no hesitation. Instead I just hissed and shouted, “EW, get away from me you fat old loser! Don’t you have any fucking manners!? You’re not relevant and you never will be!” Normally I would have been more composed and at least feigned interest, in hopes of acquiring a free, albeit watered-down beverage, but I really didn’t have time for this asshole at the moment. The girls and I will surely have a good laugh at our next late night diner adventure about how I shot down his corny ass (and how they were eager to be the next to jump on the diss-the-Jaguar bandwagon). How can these jackasses seriously have no clue, I wondered. Just before I got to the door, it was opened and heavenly light poured in like a dream, for it was Eli holding it open for me. My friends were
gathered outside, waiting for me to spill the good news of how I brutally cut Shayne off in any number of horrible ways. Cheering ensued. I was greeted with excited hugs and kisses. “Yes!! You totally rock!” Cassy exclaimed, and, “You totally did it, High five!” from Justine. Sheesh, it seems like they were even more excited than me! There were no members of the Shayne fanclub here indeed(I believe that the age cut off for that is 20). Just then, Eli grabbed me from behind and kissed my neck and ears. “Mmm…oh I missed you so much! I’m so glad that’s finally over!” I yelled a little louder than I probably should have. It didn’t matter though; I was so relieved not to have to hide my super secret boycrush any longer. “OK!” Cassy cut in, “before you two go into make-out marathon ’99, we need to get the hell out of here and get some food!” This was met with a chorus of approval, and we decided it was time to be rid of the goddamn club for another week and take temporary and delicious solace at our favorite 24 hour diner. The feasting horn of delicious 2am pancakes had sounded and the call could not be ignored.
Under the Big Top Take Victorian vaudeville, mix with punk rock, throw in lots of stripes, and Viola! you have circus punk! The musical genre is mostly known for its blending of punk rock with circus music, and like itâ€™s eclectic sound, the clothing tells the same tale. There are no set rules for styling circus punk way, but incorporating striped items into an outfit is one of the most popular ways to achieve a carnival-esque ensemble. Marching band uniforms inspired items along side circus ring master pieces can be mixed with Victorian bustle skirts, bloomers, tuxedo tails, and tailored riding breeches. Mix all these things together and youâ€™ll achieve a style that is comical, carnival, and light-hearted: circus punk! styled and written by Meagan Hendrickson 1 Tattoo Lady Brooch by Mamas Little Babies 2 Trapeze Lovelies Necklace by Mamas Little Babies 3 Victorian Cameo Top Hat by Hot Topic 4 Tattoo Guy Earrings by Mamas Little Babies 5 Pinstripe Halter Dress by Carnie Couture 6 Top, part of Purple Stripe Carnival Suit by Carnie Couture 7 Circus Elephant Cuff Bracelet by Mamas Little Babies 8 Circus Acrobat Necklace by Mamas Little Babies 9 Gators with Bows by Carnie Couture 10 Waist Cincher, part of Purple Stripe Carnival Suit by Carnie Couture 11 Bellevue Ida Clark in black and striped canvas by Fluevog 12 Bellevue Ida Clark in purple and beige leather by Fluevog
7 9 8 10
11 12 39
april/may 2010 AUXILIARY
THIS PAGE Silver sequin hair bow by Fashion Whore. Adoring middle of neck, Black Bow & Heart Necklace by Fashion Whore. Attached to shoulder chain from right to left; White Sequin Bow by Fashion Whore, Pink Leopard Print Hair Bow by Cherry Riot Accessories, Black Bunny with Leopard Print pin by Kaotic Ekkoâ€™s Curiosities, Pink Cupcake Bow by Cherry Riot Accessories, Rubber Cupcake Necklace by Fashion Whore, Black Rose Cameo by Cherry Riot Accessories, Pink Poodle Hair Bow by Fashion Whore, Leopard Print Bow with mini skull by Cherry Riot Accessories, and White Bow Ring by Fashion Whore.
photographer Stephanie Bell fashion stylist Pretty Deadly Stylz makeup artist Wendy Rorong hair stylists Anna Crooke and Matthew James Genser models Miss Monoxide, Zilly Lilly, and Alycia Gallagher
SUGAR POPS Sweet accessories for girls who like to rev up the color!
THIS PAGE Adorning hair; Pink Iris with Jewels by Cherry Riot Accessories (on left) with Leopard Bunny with Pink Heart by Kaotic Ekkos Curiosities and Purple Skull Rose by Cherry Riot Accessories (on right). Neck decor, from left to right; Zebra Bow by Fashion Whore, Black and Blue Rose Cameo by Cherry Riot Accessories, and Pink Bow & Sundae Necklace by Fashion Whore. Pink Delux purse by Revamp Productions provided by Dollabella.
april/may 2010 AUXILIARY
AUXILIARY april/may 2010
OPPOSITE PAGE Dark Purple Bat pin in hair by Kaotic Ekkos Curiosities with Pink Cotton Candy Earrings by Cherry Riot Accessories. Adorning the neck from left to right; Light Purple Cat pin, Dark Purple Bunny pin and Light Purple Bunny pin. Purple & Black Skull Cameo Necklace by Cherry Riot Accessories with Key To My Heart Necklace by Healing Heart Designs. THIS PAGE Dollabella White Veil Hair Fascinator with Red Glitter Platform Pumps by Bordello. On the eyes, MAC Penultimate eye liner in rapid black.
april/may 2010 AUXILIARY
THIS PAGE Racheal purse with silver handcuff detail by Brook Alviano. Attached to shoulder chain from right to left: White Sequin Bow by Fashion Whore, Pink Cupcake Bow by Cherry Riot Accessories, Rubber Cupcake Necklace by Fashion Whore, Pink Poodle Hair bow by Fashion Whore, and Leopard Print Bow with mini skull by Cherry Riot Accessories. OPPOSITE PAGE Adorning hair; Black Cat pin by Kaotic Ekkos Curiousities with Red Leopard Shoe with PVC bow by Delicious. Black & Red Icing Cupcake Earrings with Black & Red Rose Cameo Necklace by Cherry Riot Accessories.
AUXILIARY april/may 2010
april/may 2010 AUXILIARY
OPPOSITE PAGE Pink Jeweled Iris hair flower with Pink & White Polka Dot Ring and Pink Ice Cream Ring by Fashion Whore. Zebra Bow and Pink Bow & Sundae Necklace by Fashion Whore with Black & Blue Rose Cameo Necklace by Cherry Riot Accessories. THIS PAGE Paris Poodle Purse by Revamp Productions, available at Dollabella. Hair; Dark Purple Bat pin by Kaotic Ekkos Curiousities with Pink Cotton Candy Earrings by Cherry Riot Accessories. On the neck from left to right; Light Purple Cat pin, Dark Purple Bunny pin and Light Purple Bunny pin. Purple & Black Skull Cameo Necklace by Cherry Riot Accessories with Key To My Heart Necklace by Healing Heart Designs and Black Mirror Ring by Fashion Whore.
AUXILIARY april/may 2010
april/may 2010 AUXILIARY
OPPOSITE PAGE Cherry Red Rose by Cherry Riot Accessories. Adoring lips; MAC Lady Danger lipstick and Rue dâ€™Rouge dazzleglass. THIS PAGE Hair from left to right; Leopard Print Pink Rose by Cherry Riot Accessories, Light Purple Cupcake Bow by Fashion Whore, and Leopard Print Purple Rose by Cherry Riot Accessories. Lightning Bolt Filigree heel by Iron Fist.
AUXILIARY april/may 2010
april/may 2010 AUXILIARY
R E G N E
V A SC
ct prote d n a utility
g ion :
re e futu h t r o nts f ar me
photographer Jennifer Link
fashion stylist Meagan Hendrickson makeup artist Christina Rufino hair stylist Jessica Jean model Tina Timebalm AUXILIARY april/may 2010
OPPOSITE PAGE Max Vintage Twill Neck Corset in military/black by Jessica Darwin, Moto Vest with zipper details in black by Buddhaful, and Jessica Darwin Rider Low Rise Ponte Leggings. THIS PAGE Yesod Sweater Coat in black with brass button details by Buddhaful paired with Rider Low Rise Ponte Leggings by Jessica Darwin.
april/may 2010 AUXILIARY
OPPOSITE PAGE Steam Punk Ninja Jacket in black with olive sleeves and grey Moto Capris with black stitched details by Buddhaful. THIS PAGE Phase 3 Jacket in burgundy with black strap arm detailing by Crisiswear, 2013 Skirt with rivet and snap front design by Buddhaful, and Phase 1 Leggings in burgundy with adjustable straps by Crisiswear. AUXILIARY april/may 2010
april/may 2010 AUXILIARY
AUXILIARY april/may 2010
OPPOSITE PAGE Shift Dress in black with hip pockets, rivet details, and asymmetrical front zipper by Crisiswear. THIS PAGE Kensen cowl neck hooded shrug in olive by Crisiswear. Tran Twisted Drape Halter Vest in grey with Deri Latex Cuff Gloves and Ree Leather Leg Holster in black/coral all by Jessica Darwin.
april/may 2010 AUXILIARY
AUXILIARY april/may 2010
THIS PAGE Cropped Jacket in black with asymmetrical zipper and neck strap details by Buddhaful, with Jessica Darwin Sioux Drop Back Halter Tank in green, and Cyberdoll Skirt with adjustable strap details by Crisiswear.
where to buy Agent Provocateur www.agentprovocateur.com
Jessica Darwin www.jessicadarwin.com
Miss X Aesthetic Industries www.angelspit.net
Amalga NYC 114 Wooster Street NYC
Justin Davis www.jd-jewels.com
Obsessive Compulsive Cosmetics www.occmakeup.com
Fashion Whore www.fashion-whore.com
OPI for Sephora www.sephora.com
Brook Alviano www.brookalviano.com
Kaotic Ekkoâ€™s Curiosities
Other World Kingdom www.owk.cz
Healing Heart Designs www.etsy.com/shop/HealingHeart
Kat Von D for Sephora www.sephora.com
Plastik Wrap www.plastikwrap.com
Carnie Couture www.carniecouture.com
Heartbreaker Fashion www.heartbreakerfashion.com
Lime Crime www.limecrimemakeup.com
Carine Gilson www.carinegilson.com
Helmut Lang www.helmutlang.com
Tarina Tarantino Cosmetics www.sephora.com
Cats Like Us www.catslikeus.com
Hot Topic www.hottopic.com
Too Faced www.toofaced.com
Cherry Riot Accessories www.cherryriot.com
I.D. Sarrieri www.sarrieri.com
Make Up For Ever www.sephora.com
Urban Decay www.urbandecay.com
Mamas Little Babies www.mamaslittlebabies.com
Yves Saint Laurent Cosmetics www.sephora.com
Iron Fist www.ironfist.tv
Mimi Holliday www.damaris.co.uk
fashion essentials The Summer Dress
Infuse color into your summer wardrobe with swirled prints mixed with cool toned colors. The halter style dress is an essential grab-n-go piece for effortless daily chic. This piece can be paired with heels, flats, or sandals, and a bracelet or two for a versatile summer look with no need to over accessorize! Pucci Turquoise Halter Dress by Heartbreaker Fashion available at Cats Like Us
fashion stylist & author Meagan Hendrickson photographer Luke Copping makeup & hair Jessica Jean model Lacy Ellinwood
april/may 2010 AUXILIARY
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