Eide | Fall 2013 | The Forbidden Issue by Eide Magazine

WORLD

C U LT U R E

SOUTHERN

STYLE

EIDEMAGAZINE.COM

THE FORBIDDEN ISSUE

$ 6 . 9 9 U S

FA L L 2 0 1 3

noun, plural of ei·dos [ahy-dee]. The distinctive and formal expression of the cognitive or intellectual character of a culture or social group. It is the essence of each thing and its primary substance.

Tova Gelfond EDITOR-IN-CHIEF/ CREATIVE DIRECTOR

Craig Rosenberg CFO

Jaime Lin Weinstein SENIOR EDITOR

Avi Gelfond ART DIRECTOR

Tian Justman FASHION DIRECTOR

Austin Holt GUEST EDITOR (GRAND MASTER FLASH)

Ashley Brechtel, Bonnie Herring, Austin Holt and Lauren Ladov CONTRIBUTING WRITERS

Colby Blount, Max Eremine, Julia Gartland, Austin Holt, Jimmy Johnston and Theary Meak CONTRIBUTING PHOTOGRAPHERS

Turiya Clark CONTRIBUTING ILLUSTRATOR

Victoria Knight PUBLIC RELATIONS ASSISTANT

Courtney Rosen ASSISTANT PHOTOGRAPHER

Arianna Skibell EDITORIAL INTERN

Claire Ehlinger GRAPHIC DESIGN INTERN

Jessica Beazer, Turiya Clark, Anecia Davis and Bias Hadley FASHION INTERNS

© Enlightenmint Media Group, LLC 2013. All rights reserved. No part of this magazine may be used or reproduced without the written permission of the publisher Enlightenmint Media Group. The views expressed in Eidé Magazine are those of the respective contributors and are not necessarily shared by the magazine or its staff. The registered office of Enlightenmint Media Group is at 1200 Foster Street NW, Suite 20, Atlanta, Ga 30318. All information contained in the magazine is for information only and is as far as we are aware, correct at the time of going to press. Enlightenmint Media cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Enlightenmint Media a license to publish your submission in whole, or in part, in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk and, although every care is taken, neither Enlightenmint Media nor its employees, agents, or subcontractors shall be liable for loss or damage. Published four times a year by Enlightenmint Media Group, LLC 1200 Foster Street NW, Suite 20, Atlanta, Ga 30318

Come Say Hi.

ARI GRAYNOR HOLLYWOOD IS CALLING

THE GENIUS ISSUE

SEPT/OCT 2012

IN SEARCH OF THE

SUITABLE MAN

IN THIS

ISSUE 66

52 70

jonathan Buckhead 404.846.7988 | jonathan@jonathanbuckhead.com Atlanta | 110 East Andrews Drive #4 by appointment

LETTER FROM THE

THE THING ABOUT LETTERS

etters are a connection, a means for lost friends to find their way back again via pen and paper, a message of intention or a confrontation that leads us further. Some letters, like one from the editor, are meant to sum up an issue or entertain you on your way to the next page.

This is not that letter. This solitary piece of paper typed up in Adobe Garamond Pro is, in fact, a love letter. Here, I am allowed to wax poetic about the drive to write on forbidden topics, or style avant-garde shoots into unforgettable moments. I can revel in the times when the lighting and wind is just right as a photographer traps the fragile frames within his lens. Or feel the surge of energy that fills the spirit when the perfect font is placed — without question — into a hungry trail of words. These countless hours toiling over heady titles and white space with a clan of obsessive perfectionists are the stuff of dreams. The air that fills our lungs along this journey is laced with passion. We breathe it into our being and let it fill us with purpose and drive. I write this letter to profess my love for this craft of pen to paper, of mouse to screen, of concept to creation.

Magazines are not an artform approaching death, or a long-lost craft trying to regain its footing. They are cultural novelties, presenting a texture of life that fills us with hope: a mirror image of the life we lead as seen through a tangled web of truth. This love language I speak is that of a creative tongue. No translation is necessary, as no passports are given. If this is your homeland, then you know. Therefore this note is my connection. My way back to long-lost editors, stylists, photographers, designers and friends — a confrontation with purpose, and plans. In summary, this issue is about forbidden concepts. And in love, this is simply a letter.

Tova Gelfond

C O N T R I B U T O R S

COLBY BLOUNT 1

ERICA BOGART 3a

Colby Blount was born and raised in Dublin, Georgia. He discovered his love for photography at a young age and further developed his natural talent by attending Atlanta’s Portfolio Center. After spending a year being mentored by photographer Liz Von Hoene and building an Atlanta client base, he relocated to New York to gain more experience and exposure in the fashion industry. He now divides his time with clients between the two cities. By approaching the series of photographs in the “Leaves Falling” shoot with a minimalist perspective, Blount says he was able to “capture the model’s natural beauty and innocence within a serene environment.”

Makeup Artist Erica Bogart is a creative visionary with expertise in color, texture and realization. An accomplished dedicated professional within the cosmetics industry, Bogart illuminates individual beauty with passion and perfection. Recognized for her range of style with all ethnicities, her unique creations translate effortlessly on screen, in print and onto the red carpet. “The ‘Hanamachi’ editorial allowed me to play with traditional and modern makeup effects and how they co-exist,” she says.

JULIA GARTLAND 2 Julia Gartland is a Brooklyn-based photographer and self-taught cook/ baker. Her site, Sassy Kitchen, is filled with gluten-free, homemade and seasonal recipes. She is most happy when her love of food and photography meet. True to this issue’s theme, she was inspired by “forbidden foods — those of allegorical nature or of conviction” in creating her Pomegranate BBQ Grilled Shrimp with Prosciutto recipe and she “wanted to squeeze in one last outdoor barbecue to enjoy before the weather cools.”

ASHLEY BRECHTEL 4 Ashley Brechtel is a freelance writer/photographer who loves to travel. Her latest adventure took her to Buenos Aires where she explored the Argentinian sex culture marked by pay-by-the-hour hotels. “I am always looking to step out of my comfort zone,” she explains. “If the idea of something makes me nervous, that's a good sign to try it. That's why I wanted to visit a telo; it scared me. I knew that it'd make a great story and I'd be happy to have had the experience. That's a winning combination in my book!” When she’s not on the move, her favorite thing to do is to spoil the many kids in her life, which include her six nephews and two godchildren.

3ab

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JAIDEN SMITHSON 3b Originally from Detroit, makeup artist and trendsetter Jaiden Smithson now calls Atlanta home where he owns and operates Tres Tres Jai, LLC. He works as both an editorial and licensed master stylist and has a high specialization in cutting and coloring. With an undying passion for fashion and beauty, Smithson loved “seeing the creativity from the team. Being a part of it really excited me,” he says of the “Hanamachi” and “Paved Paradise” shoots in this issue. “I enjoyed working with and watching everyone create and take both beauty and fashion to another level!”

MAX EREMINE 5 Max Eremine is a fashion and portrait photographer dividing his time between Atlanta and New York. His work style is rooted in the search for the underlying balance between chaos and order and often features the use of Dadaist photographic techniques. In preparation for the “Hanamachi” shoot in this issue he tried to absorb as much Japan-themed imagery as he could. “My work is often inspired by cinematography and this time was no exception — in the days preceding the shoot I watched a variety of visually stunning movies, from Memoirs of a Geisha to the masterpieces of Akira Kurosawa.” He also tries to match the music played during the photoshoot with its theme — for this shoot he picked the soundtrack from Quentin Tarantino’s Kill Bill, “which worked wonderfully to get everyone in the mood.”

F O O D

B E V E R A G E

I EAT THE HEAT THEREFORE I AM Story by Lauren Ladov Photography by Theary Meak

SOME LIKE IT HOT. SOME LIKE IT REALLY HOT. SOME LIKE IT SO HOT THAT THEIR EYES TEAR UP, THEIR HANDS CRAMP AND THEIR TONGUE,

THROAT, AND LIPS CRINGE AND BURN FOR HOURS ON END.

e’ve pondered for centuries what separates humans from other living mammals, and one answer is such: humans like it hot, eating and enjoying chili peppers at will. It’s the thrill of it all, really. When capsaicin, the element of chili that causes the spiciness, comes into contact with the tongue, it stimulates

somatosensory (pain/temperature) fibers, and the body believes that it is on fire. Pain-relieving endorphins are released, increasing the body’s threshold for pain. Numbness overcomes the affected area, and a euphoria sets in — a chemical reaction similar to morphine. A kind of natural addiction ensues, and we are in need of our next heat-fix. It’s an evolutionary quirk, as all

other mammals steer clear of the fruits dangling on the low bushes. Humans choose to stomach the heat, assuring our tongues and bodies that we are not actually on fire. Call it a higher brain function (or not), such tolerance and subsequent pleasure illuminates human’s intricate relationship between body and mind, placing physical and immaterial desires so strangely at odds.

T H E N U M B E R O F S C OV I L L E H E AT U N I T S ( S H U ) I N D I C AT E S

THE

AMOUNT

CAPSAICIN

P R E S E N T. D E V I S E D B Y A M E R I C A N P H A R M A C I S T, WILBUR SCOVILLE IN 1912.

Bell pepper

Anaheim

0 SHU Capsicum annum

500 – 5,000 SHU Capsicum annum

Scotch Bonnet

Habanero

100,000 – 325,000 SHU Capsicum chinense

100,000 – 350,000 SHU Capsicum chinense

Paring Knife Handmade by L’Idiot.

Jalepeno

Serrano

2,500 – 10,000 SHU Capsicum annum

10,000 – 23,000 SHU Capsicum annum

Thai Chili

Naga Bhut Jolokia

Trinidad Moruga Scorpion

75,000 – 150,00 SHU Capsicum annum

330,000 – 1,032,310 SHU Capsicum chinense

580,198 – 2,009,231 SHU Capsicum chinense

SPICY, OR “PIQUANT,” IS NOT TECHNICALLY A TASTE SINCE THE SENSATION DOES NOT ARISE FROM TASTE BUDS. IT’S A FEELING. ONE THAT BURN, BURN, BURNS.

riginally cultivated to enliven mundane rice or corn-based diets, the chili’s sensation creates an outlet for the flavor-repressed. And in the land of corn syrup and processed sugars, Americans take their repressed frustrations to the extreme. Don’t names like Blair’s Pure Death, Lethal Ingestion, Spontaneous Combustion, Crazy Mother Pucker’s Fire Roasted Confusion, Vicious Viper and Colon Blow, “A Red Habanero Enema,” sound like the perfect accompaniments to your chicken salad sandwich? This obsession to pursue the ultimate heat is seemingly an American quirk. Where other cultures integrate the heat of the chili into their daily digestion and cuisines, American chiliheads (those that consume the chili, devotedly) see only the danger, the challenge, the masochistic provocation of the bulbous fruit. From sports to fashion to reality television, we possess a knack for upcycling pain into national entertainment. And our ingestion predilections should be no different. Dr. Paul Rozin, the self-proclaimed father of disgust in psychology at the University of Pennsylvania, theorizes about the pleasures of “constrained risk.” “Humans seem to enjoy situations in which their bodies warn them of danger but they know they are really okay,” he says. In researching people’s thresholds and preferences for spiciness, Rozin found that subjects chose the highest piquant intensity “just below the level of unbearable pain,” concluding, “They

like the burn.” But the burning, cringing, numbness and pains of this cruel capsaicin heals. The Native Americans first discovered the health benefits of chili peppers, using the pepper pods on their gums to ease toothaches. Nowadays, topical creams of capsaicin provide relief of pain from neuropathy, arthritis, headaches and minor aches in muscles and joints. Capsaicin is very effective in preventing chronic sinus infections, as many have personally experienced the clearing out of congested nasal passages by eating something spicy. Long-term exposure therefore helps prevent sinus-related allergy symptoms.

Moreover, recent studies suggest capsaicin can kill off prostate cancer cells, noting a correlation between increased cell death and capsaicin. The capsaicin’s cartenoids and flavonoids scavenge free radicals (cancer-inducing molecules) within our system, so people who eat a lot of chili peppers have a lower incidence of prostate cancer. But chiliheads could care less about such benefits. Granted, these are perks, but for the heat-addicted there is no cure. There will always be something hotter to taste. And someone will be there to film it, I’m sure.

WHY DO WE GO TO EXTREMES? BECAUSE WE CAN. WE’RE HUMANS AFTER ALL.

BELL PEPPER:

SERRANO:

HABANERO:

0 SCU Capsicum annum

10,000 – 23,000 SCU Capsicum annum

100,000 – 350,000 SCU Capsicum chinense

(This is the only chili that does not actually produce capsaicin due to a recessive form of a gene.) Name: Christopher Columbus gave the name “pepper” to this plant when he brought it back to Europe. At that time, peppercorn, the fruit of an unrelated plant originating from India, was a highly prized condiment, so the name “pepper” was applied to all known spices with a hot and pungent taste. Found: China is the world’s largest bell pepper producer. Common Uses: These can be sliced raw for dipping or salads, stuffed and roasted, or grilled on kebabs.

Name: “Serrano” is a reference to the sierra or mountainous regions of Mexico’s Puebla and Hidalgo where the chili originated. Found: It is one of the most used chili peppers in Mexican cuisine, and the country produces over 180,000 tons each year. Common Uses: Since this chili is particularly fleshy, it is often used in making pico de gallo sauces and salsas.

Name: “Habanero” translates to “of Havana” from the theory that it originated in Cuba. Found: Native to Central and South America. Common Uses: Habaneros are an integral part of Yucatecan food. In America, they are the chili often chosen for sweet and spicy recipes, in jellies, sauces and mixed drinks.

ANAHEIM:

500 – 5,000 SCU Capsicum annum

Name: “Anaheim” comes from Emilio Ortega, the farmer who brought the seeds to Anaheim, California, where Ortega grew these chilis commercially in the early 1900s. Found: Anaheim peppers originated in New Mexico. Common Uses: Most popular preparation is stuffing them to make chile rellenos, or used raw in salsas.

NAGA BHUT JOLOKIA:

330,000 – 1,032,310 SCU Capsicum chinense

THAI CHILI:

75,000 – 150,00 SCU Capsicum annum

Name: Native to Southeast Asia, it is also called the “Thai Dragon” due to its resemblance to claws. Fact: The Garos of Meghalaya called it jal·ik meseki (where jal·ik = chili; meseki = mouse dropping) because of the native strain’s tiny shape. Common Uses: Appears on most people’s tables alongside the salt and pepper as a chili fish sauce, while often minced to season meats.

Name: Where “bhut” translates to “ghost” from several Indian languages, the “Naga” is believed to refer to the ferocious Naga warriors of the Naga tribes in northeast India, who were known head hunters. Fact: Scientists at India’s Defense Research and Development Organization announced plans to use the peppers in hand grenades, as a non-lethal way to flush out terrorists from their hideouts. Uses: This chili is used mostly in hot sauces and curries. While in northeastern India, the peppers are smeared on fences or incorporated in smoke bombs as a safety precaution to keep wild elephants at a distance. TRINIDAD MORUGA SCORPION:

580,198 – 2,009,231 SCU Capsicum chinense

SCOTCH BONNET:

JALEPENO:

2,500 – 10,000 SCU Capsicum annum

100,000 – 325,000 SCU Capsicum chinense

Name: The jalapeno is named after the Mexican town of Xalapa. Fact: “Jalapenos” can refer to the spicy chili or the residents of the town itself. Common Uses: Jalapenos are often smoked into chipotles, while jalapeno juice can be a remedy for seasonal allergies and cardiovascular problems.

Name: This chili is named for its resemblance to the Scottish bonnet “Tam O’Shanter” — the brimless beret with a pom-pom in the center. Found: Native mainly in the Caribbean, the Maldives Islands and West Africa. Common Uses: This chili is what gives jerk dishes their unique flavor.

(As of February 2013 this is declared the world’s hottest Chili pepper cultivated). Name: This pepper is indigenous to Maruga in Trinidad and Tobago. The “scorpion” namesake ensures consumers know what they are up against. Found: Endemic to the district of Moruga in Trinidad and Tobago. Common Uses: Besides for hot sauce, this chili is strictly an academic chili.

New Mexico State University’s Chile Pepper Institute is the only international, non-profit, scientific organization devoted to education and research related to chilies. Each year their team plants 100+ chilis of the hottest varieties to test which is the hottest. Perhaps there will be a new victor next year.

Wrapped in With

Julia Gartland Tova Gelfond

EIDEMAGAZINE.COM

FA L L 2 0 1 3

Julia Gartland

hat do you think — the chicken or the egg? The omelet? The cacciatore? How about the recipe or the cook: which truly comes first? For Julia Gartland, the food photographer and founder of the beloved blog, “Sassy Kitchen,” one could not exist without the other. It was the need to find new recipes that led her to an obsession with cooking — or wait, was it the other way around? However the love affair began, dietary restrictions were the culprit. A victim of chronic stomach problems since childhood, Gartland was finally diagnosed with multiple food intolerances (including gluten)

in her 20s, and was forced to learn how to eat anew, with dietary restrictions as a guide. “I have always gravitated toward clean, healthy eating habits, but I was never a cook,” Gartland explains. “All these things were taken away from me, and so I had to learn to feed myself again... allergies teach you how to eat, for sure, but they also teach you how to cook. I don’t know if I would have gotten into food if I didn’t have these problems.” With a background in fine art photography, creating a blog to share her newfound love for food (cooking it and photographing it) was an obvious next step. The inspiration behind each new recipe she shares comes from a garden of con-

siderations. She starts with dietary limitations and combines that with, “what’s local and what’s in season and that kind of curates your flavor.” And the photography? “It’s a styling element.” But what guides Gartland and her site as a whole goes beyond the basic components of food and photo. “I see a lot of blogs that are really beautiful and have really great recipes, but I don’t get a sense of the person. There’s no warmth to them. I hope there is some sort of warmth to my blog,” she says. “I talk about the relationship between food and home a lot. I love cooking for people. Food is so important and ingrained in our sense of home and wellbeing. I hope (readers) can sense that from my site.”

Serves 4

1/3 cup pomegranate molasses

2 tablespoons Worcestershire sauce

4 cloves garlic, roughly chopped

1/3 cup apple cider vinegar

1 small red onion, diced

1-2 dried arbol chile

1 teaspoon mustard seeds, freshly ground

3/4 cup brown sugar

1 teaspoon cayenne pepper

1/4 cup water

Add all ingredients in a food processor. Pulse until smooth. Add mixture to a medium-sized saucepan. Bring to a boil,

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then simmer for 30-45 minutes or until reduced and thickened.

1 1/2 lb. shrimp, deveined and shelled

1 garlic clove, minced

4 ears of corn, de-husked

A bundle of fresh chives, minced

6 oz. thin prosciutto, sliced in strips

Fresh ground pepper

1/2 stick butter, soft and salted

Sea salt to taste

1. Wash and pat shrimp dry. Add to a medium mixing bowl and let marinate in barbecue sauce for 1 hour in the fridge. In the meantime, get your grill hot and soak some skewers! 2. In a small bowl, whisk together butter, garlic, chives, pepper and sea salt to taste. Slather over ears of corn and season very generously. Wrap each corn in tinfoil. Grill over medium heat for 35-40 min-

utes or until browned and tender. 3. For the shrimp: Remove shrimp one at a time, wrap in a thin slice of prosciutto, slather more barbecue sauce on and skewer. Use any leftover sauce to brush onto shrimp as they are grilling. Grill over high heat for approximately 5 minutes each side, or until browned and tender (but not overcooked!). Let cool for 5-10 minutes and enjoy!

FA L L 2 0 1 3

P H OTO G RA P H Y BY J I M M Y J O H N STO N STYLING BY TIAN JUSTMAN M O D E L S A N G E L A L O N G T O N F O R C L I C K AT L A N TA E R I CA F O R E L E M E N T M O D E L M A N AG E M E N T MAKEUP BY ERICA BOGART HAIR STYLING BY JAIDEN SMITHSON S T Y L I N G A S S I S TA N C E B Y T U R I YA C L A R K P R O D U C T I O N A S S I S TA N C E B Y A N E C I A DAV I S A N D B I A S H A D L E Y

PAV PAR DIS

Gramercy Eight Minimalistic Rose G o l d Ho rs e s h o e A rc E a r r i n g s , $ 76 ; Becca Belz Heart and Grey Agate R o s a r y, $ 1 4 0 ; I s a b e l T h o m a s I t a l i a n Wo o l C o a t , $ 4 2 0 ; M a m i e R u t h A r i e s C r o p p e d Tu r t l e n e c k , $ 8 8 ; M a t To m B e c c a J u l i a Tu x e d o P a n t s , $ 1 9 5 . All available at eidemagazine.com.

VED RA SE FA L L 2 0 1 3

O n e O A K S A d o l f o R e a l i t i e s B r o w n Ve l v e t 6 0 s V i n t a g e H a t , $ 8 2 ; B e c c a B e l z Aq u a m a r i n e a n d G ray Agat e Ne c k l a c e, $ 2 2 5 ; Mi n e f y Vi s a ge S h i r t , $9 8 ; On e OA KS Vi nt a ge Ho u n d st o o t h Pa nt s , $95 ; G i a nt L I O N Stone and Brass Bar Ring , $64; Mint Esmerelda Nail Polish, $10.

All available at eidemagazine.com

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Mamazoo Black Fabric Multi-Ring N e c k l a c e , $ 6 8 ; M a t To m B e c c a C h a r l i e B l a z e r, $ 3 2 5 ; M a m i e R u t h S o l a r M o o n P h a s e s B r o w n Ta n k , $ 3 2 ; M a m i e R u t h Celeste Sparkle Leggings, $92; BANGS K h a k i H i -To p S n e a k e r s , $ 6 0 . All available at eidemagazine.com.

E i l i s a i n S i l v e r D o u b l e O w l Ta l o n E a r r i n g s , $ 1 5 5 ; Yo u n g F r a n k k P o i n t s H a m m e r e d B r a s s Layered Necklace, $62; Tian Justman for O n e O A K S G r e e n S i l k S l e e v e l e s s Tu n i c , $ 2 2 5 ; C O LY E H a n d m a d e L a y e r e d L e a t h e r with Goldplated Driftwood Belt, $325; Mamie R u t h Ve n u s S e q u i n M i n i s k i r t , $ 1 0 4 ; B A N G S G r e e n H i -To p S n e a k e r s , $ 6 0 . All available at eidemagazine.com. FA L L 2 0 1 3

Ve n a K i m L e o p a r d P r i n t I n f i n i t y S c a r f, $ 4 6 ; C o u t u r e C o u t u r e O f f W h i t e C o a t w i t h F a u x F u r, $ 3 2 0 ; O n e OA KS Vi nt a ge C h ev ro n Dre s s , $ 75 All available at eidemagazine.com.

Ve n a K i m Ye l l o w - G r e e n N e o n S c a r f, $ 5 2 ; G i a n t L I O N D o u b l e Qu a r t z Ne c k l a c e, $ 64 ; On e OA KS Vi nt a ge Pa i s l ey Pa r i s i a n B l o u s e, $ 5 6 ; Ti a n Ju st m a n fo r On e OA KS O l i v e G r e e n a n d Ta r t a n P l a i d Skir t , $110. M a t To m B e c c a A m e l i a Tu x e d o B l o u s e , $ 2 1 0 ; C O LY E V i n t a g e Handmade Snakeskin and Stone De t a i l B e l t , $ 2 3 5 ; On e OA KS Wo o l S a i l o r C u l o t t e s , $ 6 0 . A l l a v a i l a b l e a t e i d e m a g a z i n e .c o m .

FA L L 2 0 1 3

Mamazoo Black Fabric Multi-Ring N e c k l a c e , $ 6 8 ; P o p P l a i d Tu n i c , $ 7 2 . Ti a n Ju s t m a n fo r O n e OA K S H a n d made Blue Acrylic and Beaded Necklace, $150; Isabel Thomas Colorblock Shift Dress, $310; BANGS Blue Sneakers, $55. All available at eidemagazine.com.

Gra m erc y Eig ht Mi n i m a l i stic Rose Go ld Ho rse s h o e A rc E a r r ing s, $76; B ecc a B e l z Mu l t i ch a i n with L ava Nec k a ce, $1 95 ; Mi n ef y Vi s a ge Tau pe Dres s w i t h Bl a ck S l e eve s , $127.18. All ava il a b l e at e i d e m a ga z in e.com.

FA L L 2 0 1 3

Gramercy Eight Sterling Silver Cuff Necklace, $110; Isabel Thomas Back Button Blouse, $98; Dream Nation Alpha Bamb o o Le g g i n g s , $ 7 9.7 9 ; B A N G S Red Sneakers, $55. Yo u n g F r a n k k T i p i H a m m e r e d C o p p e r N e c k l a c e , $ 74 ; C o u t u reCouture Lime Architectural Coat, $200; Tian Justman for O n e OA K S B l a c k a n d W h i t e S p i ral Graphic Sheath Dress, $95. All ava il a b l e at e i d e m a ga z in e.com.

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B e c c a B e l z Tr i p l e T i e r e d P e a r l E a r r i n g s , $ 6 5 ; Ve n a K i m Ye l l o w - G r e e n N e o n S c a r f, $ 5 2 ; I s a b e l T h o m a s Pe e k-A- B o o D r e s s , $ 2 9 0. All available at eidemagazine.com.

Yo u n g Frankk Rake Hammered B r a s s N e c k l a c e , $ 74 ; C o u t u r e C o u t u r e P a l e Ye l l o w M a x i C o a t , $ 2 5 4 ; On e OA KS S t r i p e d Ju m psu i t , $ 6 8. All available at eidemagazine.com.

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On e OA KS G i m b l e s 6 0 s Vi nt a ge Hat , $ 85 ; On e OA KS Vi nt a ge Ho u n d st o o t h Ja c ke t , $ 1 1 0 ; Mi n e f y Vi s a ge W h i t e D r e s s , $ 1 9 0.1 8 ; I s a b e l T h o m a s S i l k Organdy Skirt, $196; BANGS Khaki H i -To p S n e a k e r s , $ 6 0 ; M i n t M i n g N a i l Polish, $10. Ti a n Ju st m a n fo r On e OA KS Rh i n e stone and Button Earrings; $30; One OA KS C r i n k l e G u n m e t a l S l e eve l e s s S h i r t , $ 3 2 ; On e OA KS B l a c k S at e e n Shirt with Silver Beaded Broach, $42; M a m i e R u t h Ve n u s S e q u i n M i n i s k i r t , $104; BANG S Red Sneakers, $55. All available at eidemagazine.com.

Career Education

Your Future is Coming Together • Fashion Design • Fashion Merchandising •

Also offering: Business, Criminal Justice*, and Medical Assisting.

Call: 800.982.8185 www.go.bauder.edu

For more information on our programs and their outcomes visit www.bauder.edu/consumer-info. Bauder College does not guarantee employment or career advancement. Bauder College is accredited by the Commission on Colleges of the Southern Association of Colleges and Schools (SACS). * Additional academy training or education may be required for law enforcement positions.

E N T E R T A I N M E N T

MUSIC OF THE PEOPLE GRASSROOTS FUNDING EMERGES ON THE CONCERT SCENE

STORY BY BONNIE HERRING

here is something about live music that YouTube and iTunes just can’t duplicate. Dedicated fans want to see their favorite bands live. However, not all talented artists can afford the exorbitant cost of touring. Oftentimes touring options for artists are limited to select markets in towns with good attendance records. This doesn’t help fans who want to see their favorites in person.

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With our ever-blossoming social media methods, it has become easier and easier to unite people under a common cause. Thus welcoming GigFunder, a grassroots fan-funding platform that unites eager fans and cash-strapped artists to raise money for expenses prior to booking a show. Crowdfunding is becoming an effective force in the music industry as fans continue to pledge millions of dollars to help musicians record new albums. In addition to raising funds for albums, crowdfunding recently put the power of financial backing in the hands of the fans, enabling artists to perform more live shows and ensure profitable tours. Artists know before the event is reserved that they can cover the necessary costs of travel, rental equipment and venue booking even if the show isn’t a sellout. Sites like GigFunder, Detour and Bandtastic offer a direct-to-fan fundraising campaign that results in an all-or-nothing payout. If the campaign isn’t fully funded by the deadline, the money that has been pledged is returned to the fans. There is no risk to the artists or fans for creating a fundraising campaign. When a successful campaign reaches its goal, the money is funded and the event or tour proceeds. According to GigFunder founder Matt Pearson, the site’s largest facilitation so far

was $11K for a heavy metal group. The average pledge on the site is about $57, and they have had artists from Boston to San Fransisco find funding. Since the platform was created to empower fans in cities that often get skipped over by most artists, GigFunder hopes to see acts brought to small, lesser-known towns. And for the dedicated fans willing to shell out more money than the price of a ticket, a live show is not the only reward. A strong fundraising campaign includes fan rewards that correspond to dollar amounts pledged. Artists provide and set the rewards based on value, creating multiple pledge tiers. For example, a $5 pledge might correspond to a free download, a $25 pledge to a concert ticket. Bigger pledges generally warrant bigger prizes such as a meet-andgreet, signed merchandise, t-shirts, a chance to go on stage or basically whatever the artists deem valuable. So in addition to seeing their favorite artists live and close to home, fans’ contributions are rewarded with real mementos — a socially generated win-win. Stay connected to artists on your radar and you may see a crowdfunding campaign come to life soon, or you can simply start one yourself. If you are eager to get a band on a stage near you, get in contact and suggest they jump on the fan-funding bandwagon.

THE SITE’S LARGEST

FACILITATION SO FAR

WAS $11K FOR A HEAVY METAL GROUP.

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RO MA NCE R E V E L

I N

T H E S O U N D T H AT ’ S T U R N I N G H E A D S

P H OT O B Y R I C H I E A R P I N O S T O R Y BY A R I A N N A S K I B E L L

STEP ASIDE JUSTIN BIEBER, THERE’S A NEW G R O U P I N TOW N — O N E T H AT H A S Y E T TO P E E I N A B U C K E T O R B L A S P H E M E A F O R M E R P R E S I D E N T.

eorgia-based band Revel in Romance (RIR) is garnering more and more attention in the southern music scene and beyond with their original sound that diverges from the over-processed and digitized quality that has become a radio staple of late. Guitarist, vocalist and songwriter Parker Rehklau, 21, says the group is attempting to return to “pure music.” RIR combines the deep soulfulness of Evanescence with a southern folky sensibility reminiscent of Mumford and Sons, creating incredibly catchy tunes saturated with meaning. They cite a

wide scope of inspirations from Matchbox 20 and Avril Lavigne all the way to Beck and the Red Hot Chili Peppers, which has helped the trio find a fresh sound that they credit to a mix of many different genres. “We have a couple different sounds and sometimes they show in one song more than others,” says lead guitarist, vocalist and songwriter Devin Maier, 21. “We have some folk influence, for some reason, that comes out in us – pop, post-grunge, alternative rock…so everything is kind of based off of that.” Vocalist and songwriter Saxony Raine, 18 — who happens to be Rehklau’s sister —

added that each member of the group has different influences they draw inspiration from when writing songs. “We’ll sit down and come up with something that doesn’t sound like anything, but it sounds like us,” Rehklau explains. RIR will release their first acoustic EP, Stripped, this summer and are currently recording their debut full-length album, produced by Jan Smith, owner of Homegirl Entertainment. Smith is known for her vocal coaching of artists such as Justin Bieber and Usher. Also working to produce the album is Shawn Grove, who has worked with Collective Soul, Sevendust and many others.

is not enough to make a successful band. On top of that, you need talent and a way into the industry. RIR has the talent: Rehklau competed in a Battle of the Bands competition at age 14, which put him in contact with Mama J, as Smith is affectionately called. “We were playing this Battle of the Bands thing for the southeast, and we were the youngest band in competition,” Rehklau recounts. “There were 30-something bands competing and my band ended up winning…One of the judges there said to me, ‘You need to go see Jan Smith.’ I had never heard of Jan. I was just this little teenage kid in a band. She had me audition to work with her. Now, she’s very particular about who she works with, so when I got the offer to be one of her students it wasn’t like a ‘yea, sure,’ but more like ‘hell yes, absolutely!’” Once Rehklau started playing with Raine and Maier, Smith had the trio come into the studio to work on their music under her tutelage. Smith has become a

form for local artists to network. When the trio found out there was a raffle involved – prizes included a free recording day in Parhelion Records’ studio as well as other goodies – they each bought a ticket. The trio describes having a strange sensation that destiny was on their side. “Once we got down there…we were looking at each other and we all just thought ‘we’re going to win this,’” Rehklau says, a giant grin making its way from ear to ear. “We were just feeling it,” Raine added. Rehklau explained that the first ticket that was drawn belonged to a guy who had already left, which disqualified him. And the second ticket belonged to Cacciurri, who did not need a free day of recording in his own studio. “And then we won,” Rehklau says. “It was my ticket,” Raine exclaims, and the guys laugh. Thrilled, RIR spent their free day in the studio recording as much as possible.

“THERE WERE 30-SOMETHING BANDS COMPETING AND MY BAND ENDED UP WINNING…ONE In the last year, RIR has already gained some notoriety, opening for a number of prominent artists, such as Josh Groban and The Band Perry. But RIR’s name is no southern secret. In 2011 the group organized a self-promoting summer tour through parts of the Midwest, including Kentucky, Ohio and Michigan. “You learn so much just by being on the road alone,” Rehklau says. “Not only are you playing a show every day, and you get infinitely better just from doing that, but you get back and realize ‘Oh my God; a week ago I couldn’t do this.’” The trio formed with the collapse of their previous band and a shared desire to keep playing. “[After the split] us three just looked at each other and were like, ‘well moving forward…let’s do this.’” And thus the birth of RIR. But, as we all know, a yearning to play

OF THE JUDGES THERE SAID TO ME, YOU NEED TO GO SEE JAN SMITH.” real mentor, helping the group work on their vocals and composition. “We go in and show her a new song and she says ‘try this, try that, do these layers with the harmony, why don’t you try it this way’… she’s amazing,” Raine says. Although Mama J has been instrumental in this young group’s progression, it was a stroke of luck that landed them in Grammy-winning recording engineer Ralph Cacciurri’s studio at Parhelion Records. Last December, RIR attended a Grammy mixer at Criminal Records in Little Five Points. The event was a plat-

Ultimately, the day proved invaluable. The trio managed to record their entire EP, which consists of four full-length tracks. “They’re these stripped down little songs, they’re just us three. No drums, no base, nothing laid down after that, and that’s basically the EP,” Maier says. With the imminent release of Stripped, a full-length album in the works and a fairly substantial following, it seems RIR is on the precipice of stardom. It might not be too long ’til we’re all reveling in the sounds of this band on the rise. FA L L 2 0 1 3

E N T E R T A I N M E N T

EIDEMAGAZINE.COM

LIGHTS. CAMERA. CLOTHES. The real secret to bringing a character to life on screen? Famed costume designer Debra McGuire.

T T

Interview by TIAN JUSTMAN

here’s a lot that goes into creating a television or film character. Screenwriters spend hours writing and rewriting dialogue to perfectly capture the heart of a role. And when the script is finished, a director must mold the actors into these carefully crafted personas. But it is the costume designer who supplies one of the most important elements: the look. The process is collaborative, but without a skilled and multifaceted costume designer, a character — even a fully developed one — will fall flat. Critically acclaimed costume designer Debra McGuire, known for her work on countless films, including Anchorman, Knocked Up and Superbad, and hit TV shows such as “Friends” and “New Girl,” encapsulates the perfect qualities needed for successful costume de-

Photography by AVI GELFOND

Story by ARIANNA SKIBELL

sign. Producer Jeremiah Samuels called McGuire, “one of the nicest, kindest, smartest, coolest people ever. Plus the quality of her work is outstanding, perfectly intuitive.” The actors who have had the opportunity to work with McGuire echo this sentiment. Nina Dobrev, known for her role as Elena Gilbert in the CW’s drama “The Vampire Diaries,” said, “You know that saying, a jack-of-all-trades is the master of none? She’s the opposite of that. She’s a jack-of-all-trades and a master of all. I honestly believe that.” McGuire began her career designing costumes for a dance company in Paris. When the company moved to New York, she started experimenting with accessory design and eventually started her own jewelry company. After 12 years, McGuire transitioned back to clothing, designing costumes for television and film.

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So what has inspired McGuire’s fashion taste over the years? How did she get her start? What motivates her? Eidé Fashion Director Tian Justman sat down with McGuire on the set of the upcoming film, Let’s Be Cops, fashionista-on-fashionista, to learn the answers to these questions and more in our exclusive interview. Eidé Magazine: Tell us about your approach to fashion. Debra McGuire: I don’t care what other people are doing. I like the fashion that comes from the heart. [I care] what it really is to have style and taste [and] not about trend. EM: How did your fine arts background lead you into the world of style? DM: My whole career has been completely organic. It started with my girlfriend’s dance company in Europe. We did a performance in New York City at The Joyce and then their company ended up moving to New York. I’d [previously] done an art show in San Francisco [where] the gallery owner asked if we would do things in other materials, other than what we worked in. So I did a series of necklaces in plexiglass and paper and paint. And then someone from a department store saw the necklaces and asked if I’d do something for the store, and then suddenly I was a jewelry designer! I was a jewelry designer for 12 years. Then when I became really successful doing that and I had the money to do other things I started doing clothes. I did small private collections and then I did a hat company for a few years in New York. After that, I kind of did a lot of things. I had a friend who was the head of a studio in California and asked if I was interested in coming out and working on a film, and I did that. And at that time I had my first

child and my parents lived in LA and I thought that might be a good thing to do. So everything has been very, very organic. EM: Costuming, fashion, jewelry, fine arts — what keeps you going? DM: I have a meditation practice that I’ve had for almost 40 years. So I think that helps. And I have a very regimented, disciplined life. I don’t sleep much. And I’m afraid if I stop, everything will fall apart, and I’d suddenly look my age. EM: So when you’re approaching a new project, how do you wrap your head around all of the characters and keep that cohesive within the costuming? DM: I will read a script and usually have a very clear idea of what it looks like and who these characters are. And then from the creative perspective, I do my work and I translate what that is to the people who work for me and if they’ve been with me for 10, 15 years – which most of them [have been] – they know exactly what I mean. Every project has a different vibe and a different requirement. So, the first thing I do is try to tailor-make the correct crew for the correct project. That’s the most important thing...And part of what I love about it, and why I work so much is because if I stop doing all these projects I would lose the people that have been with me for so long...It’s just like a family.

EM: What’s been one of your favorite projects to work on? DM: Well, I have so many. But I have to say that “Friends” was really important. I wouldn’t say it was the most enjoyable, because that was 10 years. So there were good years and bad years. But I have to say that that definitely catapulted my life to another level where I was able to do multiple projects, and have a store, and have three businesses, and have a huge amount of employees to take care of my business, and have six interns every season, and train people. So during that process I trained people who then became costumers. And there are people who have worked for me who have never worked for anybody else before. So it’s kind of cool. EM: What’s your personal style like? DM: It doesn’t change. My personal style is pretty much the same; it’s always been the same. Seriously. Like if you look at pictures of me, probably from the time I’m five years old, I have the same style. EM: Have you been enjoying your time in Atlanta? DM: I’ve basically eaten my way through Atlanta. I love the food here. I’ve been to The Optimist twice, I love Parish, I love everything [and] I love One Eared Stag. I think [Atlanta] has some of the most unique food in the world.

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A R T

TATE OF A S

CHURCH THE PURSUIT OF HAPPINESS WITH AT L A N TA’ S M O S T I R R E V E R E N T BARMAN

ST O R Y A N D P H OT O G R A P H Y B Y AUSTIN HOLT

EIDEMAGAZINE.COM

Sister Louisa was a nun in a convent in Baton Rouge, Louisiana. She fell from grace from the church when she fell in love with the convent’s janitor, “Luscious” Lamar Thibideau. Sister Louisa wants you to know that even though she has fallen from the church proper into her airstream where she makes art; she is no less connected to God…maybe more! God bless all who see her art and feel the power of God’s true love. -Grant Henry aka Sister Louisa

C H U R C H I S N ’ T A B A R — T H E R E ’ S TO O M U C H O F

I T S O W N E R L I N I N G T H E WA L L S F O R T H AT.

t is, as the cynical and the sincere alike would attest, a place with sharp, irreverent personality, leaping from the seams with Technicolor intensity. It’s opinionated. It’s darkly funny. Both serene, and obscene. It’s an homage to a phase in a series of phases — a brick-andmortar extension of a guy who started out a middle child, eager to please; who grew up to seek fulfillment in the arms of love and religion; who worked with patients in psychiatric hospitals before partying his ass off for awhile with a ping-pong table and a newly-minted knowledge of mixology; who became an artistic element of urban folklore; and finally, his evolution into a man who, as the medallion around his neck proudly boasts, tells fear to fuck itself. Church is a sacred place — a sanctuary of Grant Henry’s own creation. And, okay, Church is a bar. A weird, irreverent Atlanta bar with an unusually long, eyebrow-raising name (Sister Louisa’s Church of the Living Room and Ping-Pong Emporium). Take the Pee-wee Herman straddling a cross. Or the cryptic biography of the namesake nun that climbs the staircase (the biography, not the nun, though don’t be surprised). There are the hundreds of wall hangings: paint-by-numbers religious imagery peppered with snarky, bubbly graffiti. Look up, and there’s the roller skate’d, habit-frocked blowup doll wearing a jet-black strap-on. Karaoke is sung in choir robes by PBR-chugging patrons of all ages and social stripes who haven’t stopped coming through the doors since Henry opened the place two years ago. “Every now and then, pretty often, I’ll

notice someone who comes into the place for the first time,” Henry says with a devilish guffaw. “They’ll take a couple of steps in and look around. They’ll see something, and they won’t believe their eyes. And they’ll slowly back out. That always makes me smile; it’s so funny.” Sitting in a beat up dryer chair on the second floor of Church, sur-

rounded by the trimmings of his satire, he looks normal enough. A guy in his 50s with a couple of external eccentricities: a perpetual pair of amber-tinted hornrims; a trucker hat with ‘PRAY’ inscribed in large block letters across the front; the aforementioned silver medallion. There’s a cross on the obverse, “Just in case,” he says.

A L O T OF P EOP L E

G RA NT HENRY.

THEY THINK HE’S A CRAZY MAN: THE PROPRIETOR OF A SINFUL HIVE, OUT TO LAMBASTE ALL THEY HOLD DEAR.

tlanta is still the South, where a lot of folks don’t take too kindly to making fun of the Lord. Some people in the slowly gentrifying, inner-city borough of Edgewood Church calls home, didn’t want him around at all. But he had come a long way to open this bar. And, a lot of people love him. His artwork has been greedily scooped up by collectors for nearly two decades, his “Sistine Chapel” of blasphemous kitsch has received praise from the national press and his business has exceeded everyone’s wildest expectations.

Furthermore? He’s actually a really nice guy; a gregarious, opinionated free spirit who has run life’s gauntlet in the search of truth, and who knows? Maybe he’s found it. You see, for better or for worse, Grant Henry is finally happy. As Henry became settled in his early adulthood, he realized there was an element of truth missing in his life. So he left it all behind and turned to God. Always a religious person, he began going to seminary. For three years he studied, but in his searching, he failed to find exactly what he was looking for. He just couldn’t buy into it, lock, stock and barrel. It came to a head on his last day. “I couldn’t finish seminary,

because they wanted me to stand up in front of the church and say, ‘Only through Jesus Christ is salvation possible.’ I said to the church leaders, ‘I can’t say that — I would like to change it to say ‘Salvation is possible through Jesus Christ.’ They said, ‘You can’t say that, you’re a Christian!’ But for me, it wasn’t truthful, and I came to seminary to be truthful.” Then, they said, “It’s only words; just say the words,” Henry recalls — a phrase that stuck with him ever since. “So basically live a lie so I can have a great career. That blew my mind. Words are all there are. If we don’t have words, what do we have? So I left the church.”

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“ I T WA S H O L L I S W H O G O T M E G O I N G I N T H I S D I R E C T I O N , ” H E S AY S .

“

was working at a psychiatric hospital before all the bar stuff. We were having lunch, and I looked across the street at this little shop. I said, ‘I want an earring.’ She told me to get one, and I said I couldn’t because

Henry sips on a double vodka soda, slice of lemon, digressing, “You know, I’ve been bartending for 13 years. When I started, I didn’t even know how to make one of these. I was throwing a lot of parties at my place, so I wanted to learn the basics. I convinced the folks at The Local (a neighborhood burger and brews haunt) to teach me. Customers had to tell me how to make their drinks. Rum and Coke: Take a glass. Fill it with ice. Put in a shot of rum. Top it off with Coke.” Henry started working the Monday shift, 4 to 7 pm. No danger of offending the regulars or getting caught in the weeds. He began focusing on art as an outlet as well, and had sold enough pieces to make it a “thing.” By his 40s, he had assembled a large collection — nice antiques and weird bric-a-brac alike — to open a curious little antique store. He made a few friends along the way, too: Hollis Gillespie, an Atlanta-based humorist and author, made him a fixture of a weekly column she wrote for an independent news weekly, and as he learned the ropes, and as his on-the-job training at the bar turned into a regular gig, he found himself a bit of a local celebrity.

I’d probably lose my job at the hospital. She said, ‘That’s not why you don’t get the earring. That’s why you do get the earring. Why would you work for someone who doesn’t let you be yourself?’ That was a new concept for me.”

He traded his steady job for the late hours of a bartender, and fell in love with the new lifestyle. Things finally started coming together. He kicked his work into high gear, and Sister Louisa began to cement her place in Henry’s brain.

an alter ego of sorts.” Ten years go by. Henry’s unlikely journey was starting to come to a head. He decided he wanted to open his own place — one he would decorate out of his antique shop and art studio — and would work the bar. Maybe have some fun conversations along the way in an offbeat place where everyone’s welcome. The neighbors raised a fuss, but Henry didn’t compromise. He didn’t think anyone had anything to be offended about. “What people don’t realize, is that Church is a church,” Henry says. “It’s not making fun of a church. I value the role of church. I am not a Christian, because a Christian is supposed to pack up their bags and follow Jesus. I’m a nice guy, but I don’t do what you’re supposed to do to call yourself a Christian. But, I love playing with the symbols of what people believe,” he continues. “When you play with the symbols of what people believe, they think you believe them. My art tells more about the person viewing the art, than me. People will ask if I’m a Jesus freak, or an atheist. They have a hard time believing that I’m neither.”

“MY ART TELLS MORE ABOUT THE PERSON VIEWING THE ART, THAN ME.”

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“She began as a person I made up to mess around with people who wanted to interview me. I would be asked when someone could meet her, and I would start spinning a story about how she made art in her airstream in Louisiana, because she was kicked out of the convent for messing around with the janitor. But as I made her up, I really started to like the sound of her more and more. She became

The bar is starting to fill up, and it looks like itâ&#x20AC;&#x2122;s going to be another busy night. A few people have streamed upstairs for a game of ping-pong, but they take a look around first. One of them points to a doctored image of The Last Supper and calls over her friend to take a look. Henry glances their way with a smirk. First timers. Itâ&#x20AC;&#x2122;s a Sister Louisa smile. You can just tell. Fictionality aside, the nun who fell from grace is alive and well, drawing on pictures of Jesus in her airstream, and driving the neighbors nuts. He just had to find the words.

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HANAMACHI

PHOTOGRAPHY DESIGN ALLISON

TIAN

MAX

EREMINE

JUSTMAN

FIALKOWSKI

BY ERICA BOGART

FLOWER STREET

FOR

STYLING

MODELS:

FAC TO R

ANNIE

AT L A N TA

AND

SET

SHU

AND

MAKEUP

HAIR STYLING BY JAIDEN SMITHSON

P H OTO G R A P H Y A S S I S TA N C E B Y B R I A N C O L E S E T D E S I G N A S S I S TA N C E B Y T U R I YA C L A R K

| |

STYLING AND PRODUCTION

A S S I S TA N C E BY J E S S I C A B E A Z E R A N D B I A S H A D L E Y

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Becca Belz Multichain with Lava Necklace, $195; One OAKS Vintage Metallic Blue Tank Top, $37; COLYE Vintage Handmade Dyed Snakeskin and Metal Belt, $265; One OAKS Vintage Violet Skirt, $47. All available at eidemagazine.com.

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Becca Belz Oval Hoop with Smoky Quartz Drop Earrings, $55; Eilisain Silver Owl Talon Necklace Charm & Chain, $90; One OAKS Black LooseKnit Sweater, $42; One OAKS Gianni Versace Vest, $110; One OAKS Red Rope Belt, $50; Mamie Ruth Lace Flare Pants, $88. All available at eidemagazine.com.

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Tian Justman for One OAKS Bamboo Beaded Earrings, $35; One OAKS Vintage Ivory Feathered Fringe Shirt, $57; COLYE Vintage Handmade Wide Embossed Leather with Decorative Enamel Inlay Detail Belt, $210; One OAKS Patterned Knit Skirt, $65. All available at eidemagazine.com.

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Tian Justman for One OAKS Rhinestone and Button Earrings, $30; Becca Belz Freshwater Pearl Cluster Knot Necklace, $150; One OAKS Vintage Renaissance Corset, $150; One OAKS Vintage Long-Sleeve Black Chiffon Top, $39; One OAKS Vintage Light Pink Skirt, $42. All available at eidemagazine.com.

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Gramercy Eight Sterling Silver Cuff Necklace, $110; Becca Belz Small Evil Eye Necklace, $150; Tian Justman for One OAKS Blue and Green Tribal Necklace, $40; One OAKS Navy Kimono Jacket, $73; Mamie Ruth Pandora Sequin 3/4 Sleeve Jacket, $144; One OAKS Vintage Black and Pink Long-Sleeve Blouse, $40; Mamie Ruth Black Maxi Skirt, $76; Gramercy Eight Multi Brass Finger Cuff Ring Set, $58; CottonTimes Chrysanthemum and Crane Coin Purse, $28. All available at eidemagazine.com.

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All wooden shoes shown throughout spread sold as Okobo Bookends. See page 45 for details.

The Telo Way of Life E X P L O R I N G T H E S E X C U LT U R E IN ARGENTINA

Story and photography by ASHLEY BRECHTEL

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I S AW T H E W H O L E E X P E R I E N C E A S A M I S S I O N : G E T I N , H AV E S E X , G E T O U T ; J U S T A N OT H E R T H I N G TO A D D TO M Y L I S T.

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hen my husband and I decided to take a trip to Buenos Aires, Argentina I immediately began planning things to do. Standard websites suggested the typical activites: Explore Recoleta Cemetery, stroll through Jardín Botánico, dance the tango. I was dutifully taking notes as I noticed a naughty suggestion — “Frolic in a Love Hotel” — hmmm, this was definitely worth looking into. I added it to my list with a question mark beside it. As I began researching, I quickly learned that “Love Hotels,” or telos, are pay-by-the-hour sex accommodations. For me, this type of establishment conjures thoughts

of red, blinking neon signs and women in tight dresses walking the nearby streets with dirty needles strewn about. Not a place I’d be too keen on visiting. In Argentina, however, I discovered that telos are something quite different. The average patrons include young couples looking for a place to be alone. In this youth culture, living with parents until marriage is a common practice. Going straight from a parents’ house to a spouse’s house means there isn’t a great place to be intimate until wedding vows are exchanged. Thus the commonality of the telo, a safe and affordable place for people to go for some much-needed alone time before saying “I do.”

I ’ M S U R E N OT E V E R Y O N E W H O F R E Q U E N T S T H I S T Y P E O F E S TA B L I S H M E N T I S A F R E S H - FAC E D C O U P L E LO O K I N G F O R S O M E C U D D L E T I M E .

Just like anywhere else, there are adulterers looking for a private place to rendezvous, strangers in search of hook-ups and married travel writers whose curiosity got the best of them. I pitched the idea of taking a night in to my husband and wasn’t surprised by how readily he agreed to frolic with me. All of a sudden our run-of-the-mill vacation became a little more forbidden, and before long, that unexpected suggestion was the thing I most looked forward to. Yes, the idea of standing in the Plaza de Mayo and gazing at the very balcony where first lady Evita Perón famously addressed the citizens of the country gave me goosebumps, but there was something about visiting a telo that just got my blood rushing. We decided on a place called Rampa Car in the swanky Palermo neighborhood. The website boasted a variety of themed rooms where you could play out your fantasies in a spaceship, Roman temple or Egyptian pyramid. You don’t make reservations, you just show up. We hailed a cab and gave our

driver the address. I blushed, assuming he knew exactly where we were headed. He dropped us off at the end of the street and we walked a block to the entrance. I had read that the building would be inconspicuous, and it was. Only a simple, sleek sign that read “Rampa Car” confirmed that we were at the right place. As we approached, I thought maybe it was closed. No one was outside and there was no obvious entry. It looked like we were standing in front of an abandoned garage. All of a sudden, a black tinted window opened slightly and a room key slipped through the tiny crack. We took the key and a gate opened. With a tense jitter of nerves, we walked through and took the elevator to the number that was printed on the card. The halls were dimly lit and completely empty. We didn’t exchange words with anyone so there was no opportunity to request the type of room we wanted. “Oh well,” I thought, “we’ll be surprised.” When we entered, my first thought was, “This room is not made for sleeping.” Everything screamed

sex. My adorably money-conscious husband immediately set his phone for one hour, so I promptly got to exploring. A round bed dominated the center of the room and one wall was completely covered in mirrors. On the bed were two packages; each containing a condom, a toothbrush and toothpaste. On the wall there was a panel of buttons that controlled the lighting and music. A fireplace mantel held several menus — one contained food and beverages while the other offered a variety of adult toys, lotions and potions. Colorful vibrators and flavored lubricants could be delivered to the room for a fee. I giggled at the thought of placing an order, “Yes, I’d like the chicken ceasar salad and neon pink dildo, please.” After a little extra sleuthing, I discovered a box outside of our room with a buzzer nearby. Apparently, once an order is placed, someone delivers it to the box and signals its arrival. You give them a minute to leave, and you can retrieve your goodies without ever having to encounter another soul.

Only a simple, sleek sign that read “Rampa Car” confirmed that we were at the right place.

n the television, porn was mingled in with the regularly scheduled programming. All the options were girl-on-girl action, which wasn’t surprising. Even in this setting, sexual fantasy is catered to the male. God forbid they throw women a bone — pun intended. Once we made our way to the bed we quickly realized that it spun and sat below a ceiling of tiled mirrors. To sleep in this room would be a shame. Despite my love for adventure and the unknown, I didn’t expect the nervous feeling I had. It took me by surprise to say the least. How silly to be nervous when you’re with your husband of seven years? As I took another look around, I quickly realized why this was. I felt exposed. Gone was the opportunity to set the mood to meet my com-

fort level. There was no stepping out in my robe, dimming the lights and slipping under the covers; insuring minimal opportunity to gaze at my imperfect figure. There was literally nowhere to hide. “What kind of hotel room doesn’t have a blanket on the bed?” I thought in dismay. The answer came soon enough; the kind that is designed for people to fully enjoy one another with no self-imposed barriers of propriety. As my nerves subsided, my confidence grew. How could it not when everywhere you look there’s your reflection staring back at you, challenging you? I learned a few lessons that day: mirrored ceilings aren’t all that bad, spinning beds can cause nausea when not used correctly and you can do a lot in one hour. The biggest lesson, however, was that the bedroom isn’t the place

to cater to your insecurities, but rather the opposite. If you’re with the right person, it’s the place to set them aside. When we left, we simply passed our card back to the stranger behind the glass. He calculated our total, and once we paid we were buzzed out back into the world. For one hour we paid $30. Leaving was the most embarrassing part for me. I felt as if everyone I encountered was giving me an I-know-what-you-just-did look. As I walked down the empty street to hail a cab, I thought about how cool it is that people here recognize this particular need and have found a way to offer a clean, safe way to meet it. Simple supply and demand. No shame. Telos are discreet, but there’s a difference between that and turning something into a taboo because it makes one feel uncomfortable.

I’M GLAD I STEPPED OUT OF THE BOX TO DISCOVER THIS NAUGHTY SIDE O F B U E N O S A I R E S , A N D M Y S E L F. I N D O I N G S O , I L E A R N E D T H AT N A U G H T Y D O E S N ’ T N E C E S S A R I LY M E A N W R O N G . S O M E T I M E S I T S I M P LY M E A N S N A U G H T Y, A N D T H E R E ’ S N O T H I N G W R O N G W I T H T H A T.

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S O C I E T Y

THROW AWAYS STORY BY LAUREN LADOV

P H OTO G R A P H Y BY C H A R L I E WAT T S

DEFINITION OF A THROWAWAY: ANY PERSON WHO LEAVES

DEFINITION OF THE THROWAWAYS: PERSONS WHO EXIST

HOME OR RESIDENCE INVOLUNTARILY OR LEAVES WILLINGLY

AMONGST US AS SEX SLAVES WHO SOCIETY TYPICALLY DOES

BUT IS NOT LOOKED FOR OR WANTED BACK.

NOT LOOK FOR OR WANT BACK.

idden behind the doors of motel rooms, suburban basements and online personas, a generation of female youth has been squandered by the hungry minds of the sex-trafficking trade. An all-too familiar topic, this modern-day slavery runs on a highly skewed chain of supply and demand, where, according to state Human Trafficking Task Forces, “an estimated 293,000 American youths are at risk of becoming victims of commercial sexual exploitation.” What words really can express the traumas that render these girls’ lives a meaningless mess? There are other mediums, however, where such conversa-

EIDEMAGAZINE.COM

From the Artist Statement

tions not only exist, but thrive. Over the past years, socially aware artists have sensed the severity of the situation and are using their creativity as a tool to raise awareness in hopes to instigate change. Charlie Watts is one such individual, who has spent the past year creating a collection of mixed media photographs based on her personal exploration of Georgia’s underbelly, a state where more than 200 girls are sold to service more than 7,200 men. “It may not be much, but, at the very least, my social circles will be informed. Maybe, though, there will be a butterfly effect…” We’ve decided to take a glimpse of this seedy world through the artists’ lense.

T H E FO L LOW I N G A R E P I E C E S F R O M WAT T S ’ P R O J E C T E N T I T L E D “ T H E T H R OWAWAY S ,” W H I C H A R E D I S P L AY E D T H R O U G H O U T G A L L E R I E S AC R O S S T H E SO U T H A S W E L L A S O N L I N E AT: W W W.T H E T H R O WAWAY S P R O J E C T. C O M .

OPEN FOR BUSINESS AS USUAL The gas station depicted here is at a busy cross-section in Atlanta and a prominent location for prostitution “strolls.” The young girl is Theresa Flores, a survivor of sex-trafficking. Flores is the author of Slave Across the Street and currently works for victim’s advocacy. Watts’ shares Flores’ story: “As a 15-year-old girl from a good, upper-middle-class Catholic family, Flores was used as a sex slave for two years in an upscale suburb of Detroit. Her parents didn’t have a clue what was happening. When a young man raped her at school, he used photographs of the rape to blackmail her into becoming a sex slave, into doing anything he demanded. He drove her to a house where his cousins were waiting in the basement. ‘You’ll do what we say, whenever we say, and when we’re done, we’ll take you home,’ he told her. For the next two hours, they beat and raped her before driving her home. This continued for two years.”

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TAP INTO THE ISSUE

HUMAN TRAFFICKING PROJECT “HTP is a non-profit organization that utilizes art and technology to raise awareness of modern day slavery, connect those working to combat the issue and support trafficking survivors. Art has always been a powerful means of conveying a message and moving people to action. Combined with the technology to connect people, provide timely information and channel resources to support victims, the HTP’s goal is to blend art, information and technology to create awareness of modern day slavery and take action to stop it.”

MOUTH WIDE SHUT Collaged here is an image of an actual perpetrator who was caught in a huge ring of prostitution. The female figure sitting on bed amidst white sheets alludes to our culture’s long-term obsession with distorting the visions of purity and youth into sexual entities. The positioning of the folded hands double as claws or a fanged mask, suggesting the monsterhood of the immoral. The female victims “range in age from 9 to 19, with the average age being 11,” Watts stresses.

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THE WELLHOUSE “The WellHouse is a faith-based and Christ-centered nonprofit organization offering immediate shelter and transitional housing to women who have been trafficked, are prostituting, or otherwise sexually exploited. Food, clothing, spiritual guidance, Christian counseling, and other necessities are provided, along with assisting with referrals for substance abuse treatment, if needed. Life skills classes, GED preparation, and other enrichment services are part of the experience to help these women become self-sufficient and give them a sense of self-worth. The goal is for women to go on to live full and productive lives.”

I-20 Depicted here is Highway I-20. The stretch between Georgia and Alabama has earned the name “Super-Sex Highway” due to the prevalence of trafficking occurrences. Watts first wondered how the general population could relate to this hidden issue, and finds connection simply from the location of it all, asserting: “We inhabit some of the same spaces as trafficking, and it’s time we took notice of our surroundings.” Truck stops are a popular location for sex-trafficking transactions since the space itself acts as a kind of vagabond loitering area and offers a quick get-away option.

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C A R P E T

styles to fit your style 404.352.8141 | www.myerscarpetatlanta.com | 1500 northside drive, atlanta, ga 30318

D I N N E R

P A R T Y

WHY WE LOVE IT Stacking simple table napkins atop lace placemats adds fresh textural layers without detracting from the setting as a whole. Whimsical and vibrant, a range of green china adds hues of emerald (the Pantone color of the year) to a brunch with friends. The hand-painted bulbs on the bottom of the orchid give it a rustic touch, and the bugs and snails gives it personality.

Hand Painted Anna Weatherley Lily Dinner Plate, $450; Green Charger, $110; Jay Strongwater Collectible “Two Peas in a Pod” Box, $250; Lily Pad Bread & Butter Plate, $294; L’Objet Gold Pinecone Place Card Set, $175; Snail Bread & Butter Plate, $294. All available at Kathryn Leach Home.

ORCHID BLOOM P H OT O G R A P H Y B Y R I C H I E A R P I N O

Rare, sensuous and full of power, orchids are an expensive obsession for some and a symbol of femininity for others. During the Victorian Era, in fact, orchids were seen to be so sexual in nature that it was forbid-

S T O R Y B Y T OVA G E L F O N D

den for English women to own many of these different plant species. With a seductive and sweet fragrance, the orchid shape lends itself to an evening of rich conversation, and even richer food. FA L L 2 0 1 3

WHY WE LOVE IT Dark, burgundy/chocolate chargers take this floral, light china pattern into a fall aesthetic. Full of life and texture, this place setting is rich and elegant looking without taking itself too seriously. And who doesn’t want a pair of “lovebird” salt and pepper shakers?

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Lâ&#x20AC;&#x2122;Objet Gold Bird Salt & Pepper Set, $175; Grande Baroque Solid Sterling Silver Continental Place Setting, price on request; Handmade Lace Placemat and Napkin Set, $135; Hand Painted Anna Weatherley Orchid Dinner Plate, $540; Brown Charger, $110; Midsummer Morning Teacup & Saucer, $445; Pink Old Masters Tulip Bread & Butter Plate, $279. All available at Kathryn Leach Home

PLACE SETTING TIP It can be costly to buy an ornate hand-painted setting for 10, so think of the art plates as accent pieces and intermingle them on a table of white china. You can purchase a basic, clean set for a minimal cost, and as you find more unique plates, chargers and bowls, they can be easily added. Over time, it also breaks up the matchy-matchy nature of the same thing at every seat.

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L eave s F A

N G

F A

N G

P hotog raphy by COLBY

Mod e l: AB BY

BLOUNT

BAUDRY f o r Click M o dels

Ma ke up a nd H a i r Sty ling by BR I ELLE

Poe try by TOVA

GELFOND

BR ENNER

I HEAR THE CRASH

OF SILENCE FALLING,

CRADLING THE LAND,

A BLANKET OF SHELTER

RELEASED FROM THE CLOUDS

TO THE THICKET

BENEATH MY BARE SKIN.

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I FEEL THE SURGE OF EQUINOX HEAT

COILING DAMP AIR THROUGH THE TREES,

UP FROM ROOTED SOIL

STRETCHING TO SIENNA REDS

OF WHAT WAS EVER GREEN AND WHITE,

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THAT LOST KILTER AND FELL AND FLOATED AND WHISPERED SECRETS IN CIRCLES, WEAVING LIKE

B R O W N

S N O W F L A K E S

GLIDING ON PASSAGES WITH MAPLE WINGS TO THE TRUNKS OF ITS BEGINNINGS.

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THE LEAVES LAY AT MY FEET

FLAKING INTO DRY SPINES

LIKE SPIDER WEBS,

WOVEN INTO

THE AGING FABRIC

OF THIS WOODLAND.

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The Seay Firm LLC is an entertainment, intellectual property, and business law firm based in Atlanta, Georgia. Our founding attorney, John Seay, is a former musician and journalist with over a decade of experience in the entertainment industries. That experience helps John connect with and understand the needs of his artist and arts-related business clients. Among the services we provide are contract review, drafting, and negotiation, licensing, business formation, registration and protection of copyrights and trademarks, and litigation. The Seay Firm LLC provides cost-efficient legal solutions that are as creative and dynamic as you are.

C A L L F O R A F R E E C O N S U LTAT I O N (404) 913-4232 | John.Seay@TheSeayFirm.com | www.theseayfirm.com |twitter: @TheSeayFirmLLC

F A S H I O N

FUR

FOR ALL? ON

THE

PLIGHT

PELAGE

Story by Jaime Lin Weinstein Illustrations by Turiya Clark

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It was to no one’s surprise that fur took center stage (in the form of raccoon peplum and laser-cut minks) at the Fall 2013 show of J. Mendel, the fifth-generation luxury brand established with a specialty in luxurious furs. The surprise, rather, was the omnipresence of the mate-

rial in collections shown throughout New York Fashion Week: black and white fox chubbies and oversized mittens at Altuzarra; shearling-collared coats and fur pillbox hats at Ralph Lauren; and longhaired coats and color-blocked vests at Monique Lhuillier (to name just a few).

And yet, not a drop of red paint fell on the Upper West Side.

ranted it’s been years since significant incidents of faux bloodshed and the like have made headlines — nearly 20 since a fur protester served Vogue Editor-in-Chief Anna Wintour a dead raccoon at the Four Seasons, and even longer since PETA first launched its now iconic “Rather Go Naked Than Wear Fur Campaign” — but could it be that fur has somehow transcended the line from sartorially taboo to tolerable, or dare I say, even desirable? Perhaps. Despite PETA’s efforts (radical as they may be), fur seems to be more fashionable than ever — and not only on the catwalk. According to the International Fur Trade Federation (IFTF), global fur sales are at an all-time high, reaching over $15 billion in 2012, up 70 percent since 2000. (Retail fur sales in the United States were $1.27 billion in 2012, a 1.57 percent decline compared to the previous year due, in some measure, to unseasonable warm winter temperatures nationwide.) So what has ignited the modern interest in the morally controversial commodity? Based on the new sales growth, we can’t simply chalk it up to the current “hipster” youth sub-culture whose penchant for thrift shopping includes the appeal of grandma’s vintage furs. Some consider the popularity of fur as a fabric for designers as a factor, thanks in part to new processing techniques that allow for more versatility when used in design

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(more than 400 designers use fur in their collections today, compared to only 42 in 1985). Or it could be the assumed approval among celebrities publicly donning pelage (including several who once lent their naked bodies to PETA’s anti-fur crusade: Cindy Crawford, Linda Evangelista and Naomi Campbell, among them). Perhaps it’s the widening disapproval of the harassing tactics used by anti-fur protesters. Maybe it is the hipster sub-culture, whose marked assertion of independence — politically, spiritually and stylistically — has led to a backlash against anti-fur dictation (youth rebellion at its best). Or, maybe it’s the recent claims that real fur is actually more eco-friendly (yes, more) than its faux counterpart. Females have been faking it since 1929, though faux fur back then was reportedly made from the hairs of alpaca, before today’s advancements in polymer technology. Now, the majority of fake fur is manufactured from non-renewable petroleum-based products (nylon, acrylic, polyester, etc.). Real fur, on the other hand, is a natural, biodegradable and sustainable product (animals, it turns out, are considered to be renewable resources). And results of a life cycle analysis study by DSS Management Consultants, Inc., commissioned by the IFCF and reported in October of last year, found that a fake fur coat results in about 20 percent greater consumption of non-renewable energy (i.e. oil, gas) and 17 percent more greenhouse gas emissions than a real fur coat — not the first nor the only study to produce results of this kind.

dditionally, fur enthusiasts argue that the industry itself actually supports animal welfare and international animal welfare legislation (note this is different from the animal rights movement, which condemns the use of animals for any purpose — that not only means no animals used for research purposes, but also no pony rides, no Lassie, or any other trained animals in movies or TV, no leather, silk or wool anything, let alone fur, and a vegan lifestyle to boot). The majority of fur sold today — over 85 percent — comes from farms that are governed by national regulations. And fur auction houses, like Saga Furs Oyj in western Finland, even employ a traceability system, allowing them to trace each garment to the farm that produced the skin, so designers can be assured that the pelts they use originate from only certified farms that follow animal welfare regulations. China, however, the second largest worldwide producer of fur pelts, remains highly unregulated with limited animal protection laws.

In regards to wild fur, the majority of species used are taken as part of government-regulated wildlife management programs. The wild fur trade can positively impact the animals themselves in the case of an

approximately 1100 retailers and 100 manufacturers across the country employing thousands of individuals, the fur trade makes a considerable contribution to the United States economy. While historically, beaver, wolf, mink and fox were all luring European men into the North American wilderness long before the Mayflower set sail. Yes, while fur may be the most widely debated fashion trend, let us not forget that it certainly is the oldest. From the cavemen to the Indians, humans have been clothed with the warmth and shelter of fur since nearly the beginning of our existence. And in the United States, the search for fur-bearing animals was the catalyst for territorial exploration and the settlement of many areas across the Great Plains and into the Rocky Mountains. Our country's past is rapt in the lure of fine fur, it seems, and it’s a seminal part of our nation, whether you like it or not. In any case, designer interest and consumer demand seems to trump any suggestive ethical dilemma, at least for now. And the choice to wear real fur versus faux fur versus no fur at all (according to 86 percent of Americans, according to the Fur Information Council of America) should be left up to the designer and the wearer.

Fur enthusiasts argue that the industry itself actually supports animal welfare increase in animal populations that can put a strain on the natural food resources leading to stress and starvation. And in the United States, for example, the wild fur trade is important for land management — beaver dams cause over a billion dollars in damage annually due to flooding, blocked drainage networks and the erosion of transportation channels when dams fail. Not to mention the importance of the overall fur industry to our nation economically — with

"Fur is not for everybody," as Charles Ross, the Head of International Marketing for Saga Furs says. "But today, farm certification programs have made fur a highly regulated farming industry, probably the most in the world, and one with the quality, transparency and sustainability the consumers, and the designers, demand. That wasn’t always the case… but now fur is becoming just another luxury material.”

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F A S H I O N

Story by Lauren Ladov Photography by Austin Holt Styling by Tian Justman Model: Hannah Johnson for Factor Atlanta Hair and Makeup by Mikki Farrar Production Assistance by Jessica Beazer

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We’re living in a digital world, and if you’re not up with the latest tech-trends, consider yourself a dweeb.

hings have changed in our perception of the so-called “geek.” The past decade has seen what the imagination can

accomplish:

with

all-

star nerds like Bill Gates and

Mark Zuckerburg making millions in their sleep, today’s brainiacs can afford to get their broken glasses fixed. As traditional geeky interests like Star Trek, comic books and video games have completely moved into the mainstream and Silicon Valley inhabitants and underground hackers can literally change the world with the swipe of a finger, it is obvious: knowledge is power. In essence, fashion is an extension of ourselves, in both body and mind. And designers across the board urge us to outwardly express our inner nerd with pride. Take the EU-based brand The PussPuss who crafts lines of swimwear, leggings and accessories based on Japanese sound machines and synthesizers from the Roland Corporation. These are the same machines that musical greats like the Gorillaz, Daft Punk and Radiohead use to create their beats, and now they breathe a new life within high fashion. Accordingly, it’s no surprise that celestial motifs are on the rise all over our ready-towear. Mamie Ruth, for example, an American label with local following in the South gets cosmic with its fall line of astrological graphics, moon charts and gorgeous galaxy prints.

So wear who you are, especially if that’s really smart.

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B E A U T Y

B L O O DY BE AUTIFUL T H E

R I S E

O F

V A M P I R E

F A C E L I F T S

s if the thought of injecting Bot-

new procedure aims to facilitate skin re-

ulinum toxin (the

generation rather than simply provide a

bacteria that caus-

short-term solution to wrinkles. Patients

es botulism) into

can generally expect to see results as ear-

your facial muscles isn’t scary enough,

ly as three to four days post-treatment,

the newest trend in non-surgical facelifts

and they are expected to last anywhere

— known as platelet-rich fibrin matrix

from six months to a year, depending on

(PRFM) — is creating a bloody buzz.

the individual. Many experts believe that

The method of PRFM skin rejuvenation,

even the most costly creams on the mar-

also referred to as “vampire facelifts,” is

ket are ineffective because they only im-

said to help regenerate collagen and cre-

pact the surface of the skin, thus failing

ate firmer, younger-looking skin tissue.

to penetrate the many layers that make

The procedure takes 30 minutes, during

up wrinkles. This procedure aims to at-

which the patient’s own blood is with-

tack wrinkles from beneath the surface

drawn from the arm, spun in a machine

in hopes of creating a surplus of collagen

to separate the platelets, mixed with fill-

in the skin.

ers, and re-injected underneath the skin in the face and neck regions.

The vampire facelift price tag ranges from $1,500 to $2,500 dollars and more,

Americans spend millions of dollars

depending on the amount of areas the

annually in search of the fountain of

patient wants to have treated. As with

youth, but could it be that the source is

any facial filler, patients can expect sore-

actually already stored in our own bod-

ness and bruising at the injection sites.

ies? Kim Kardashian seems to think so.

The treated areas are first numbed with

STORY BY

She underwent the procedure on a re-

a local anesthetic before the needles are

BONNIE HERRING

cent episode of her television show, but

injected, but there could likely be a de-

P H OTO G RA P H Y BY

there’s no evidence indicating how well

cent amount of pain based on the num-

it worked. Skepticism remains high with

ber of injections that are required. These

LAURA O'NEALL FOR

the many critics, but using platelet-rich

side effects vary with each person but it

COMMENCE QUEST

plasma is actually approved by the FDA

would be best not to schedule your pro-

STYLING BY

to help facilitate wound healing and has

cedure the same week you have import-

MARCUS JOHN

been around for several decades. And this

ant social events on the calendar.

COLBY BLOUNT MODEL

MAKEUP BY K AT I E B AC O N HAIR STYLING BY C L AY N I E L S E N

B E AU T Y FA D S CO M E A N D G O T H R O U G H T H E Y E A R S . I S T H I S B LO O DY P RO C E D U R E WO R T H T H E H Y P E , O R W I L L I T FA D E AWAY A S A L E S S -T H A N - P R O M I S I N G A LT E R N AT I V E TO A G I N G ? I T W O N ’ T T U R N YO U I N TO A R E A L VA M P I R E ( A R E VA M P I R E S R E A L? ) B U T I F YO U H AV E A F E A R O F B LO O D, N E E D L E S O R A H E F T Y P R I C E TAG , G O I N G B LO O DY TO B E B E AU T I F U L M AY N OT A P P E A L TO YO U . FA L L 2 0 1 3

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