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SNAP! 18

THE ROAD TRIP ISSUE

FALL 2012

CONTRIBUTORS PHOTOGRAPHERS Maurizio di Iorio

FOUNDERS Hannah Byrne & Shayl Prisk

mauriziodiiorio.it

Evan Redsky Richard Bernardin richardbernardin.com

Emily Shur

emilyshur.com

Marie-Christin Stephan

cargocollective.com/mariestephan

EDITOR & CREATIVE DIRECTOR Shayl Prisk

ADVERTISING, MARKETING & PRODUCTION Hannah Byrne

ART DIRECTION & DESIGN Sean Yendrys

RELATIONS MANAGER Daniel Oropeza

seanyendrys.com

J. Wesley Brown

STYLISTS Izabel Soucy Lu Philippe Guilmette byheroes.tumblr.com

Sara Graorac

supersuperchouette.tumblr.com

Jay Forest jayforest.net

Marie-Claude Guay marie-claudeguay.com

Patrick Vimbor

jwesleybrown.com

Bianca di Blasio

Donat Boulerice dfoto.ca

HAIR & MAKE-UP ARTISTS

Jerry Pigeon

jerrypigeon.com

Maïna Militza

Laurence Philomène Olivier laurencephilomene.com

mainahmu.tumblr.com

Zach McCaffree

Julie Saint-Laurent

zachmccaffree.com

Soraya Qadi

Mathieu Fortin

Jessica LaBlanche

mfortinphotographer.com

Clara Palardy

foliomontreal.com/artists/ jessica-lablanche

Rebecca Storm

janicksabourin.blogspot.ca

Anouk Lessard

ASSISTANTS & PRODUCTION

clarapalardy.com

Janick Sabourin

rebeccastorm.com anouklessard.com

Antoine LaRochelle antoinelarochelle.com

Shayne Laverdière shaynelaverdiere.com

Catherine Patrick-Boone

Julien Barbès

cargocollective.com/julienbarbes

Isabelle Long

mayafuhr.com

Maya Fuhr

nikmirus.com

Henriette Kriese

Joelle de Binet

Nik Mirus

Sébastien Boyer sebboye.com

WRITERS

Jeremy Magne

Shayl Prisk

Samuel Pasquier

Manisha Aggarwal-Schifellite

Juan Manuel Fangio

Rebecca Ugolini

Scott Meleskie

Ben Pobjoy

scottmeleskie.com

Drew Thomson Marie-Christin Stephan

ON THE COVER Maurizio di Iorio mauriziodiiorio.it

On this page Photographer: Henriette Kriese

Marie-Christin Stephan

INTERN Marie-Christin Stephan

MASCOTS Seamus, Kisha and Mini

*CHINESE CORRESPONDENT Andreas Sundgren

ARTISTS Adrien Baudet adrienbaudet.com

Catherine Wakim cargocollective.com/ powpowbangbangco

Advertising Information +1 514 576 7867 / Offices 4064 St Laurent Blvd, Suite 1, Montréal QC H2W 1Y8 / snapme.ca / info@snapme.ca / Printers Solisco Imprimeurs. All contents of this magazine are copyrighted ©2012 SNAP Magazine Inc. / 1001 rue Lenoir a-205, Montréal QC H4C 2Z6 / or third party-party content providers. SNAP Magazine Inc. assumes no responsibility for content of advertisement. Reproduction of editorial is strictly prohibited without prior permission of SNAP Magazine Inc. SNAP Magazine Inc. will not hold itself responsible for unsolicited contributions.

Win this amazing prize pack which includes a portable stereo speaker from Nixon, a backpack from Herschel Supply, sunglasses from Proof Eyewear, boots from Royal Elastics and a Polaroid starter kit from The Impossible Project (a camera + 2 packs of film). To enter, email info@snapme.ca titled ‘My Road Trip’ and in 1,000 words or less, tell us about your wackiest adventure on the road. We’ll be publishing our favourites on www.snapme.ca.

Photographer: Marie-Christin Stephan

WIn

Never Can Say Goodbye Photographer: Laurence Philomène Olivier Stylist: Sara Graorac Stylist’s Assistant: Catherine Patrick-Boone Special Thanks to: The Bay

On Amanda Scarf—Vintage Coat—Bench Skirt—American Apparel On Thomas Hat—Penfield Coat—London Fog Sweatpants—American Apparel

On Alex Coat—WeSC Shorts—American Apparel Socks—Santa Cruz Boots—Dr. Martens On Luna Blazer—Calvin Klein Dress—American Apparel Clutch—American Apparel Boots—Urban Outfitters

On Anika (left) Shirt—Model’s Own Pants—J Brand Shoes—Vans On Sara (right) Headphones—WeSC Dress—Model’s Own Coat—Ralph Lauren Backpack—WeSC Shoes—Model’s Own

The Mile High Club

Image by Adrien Baudet

Ever wondered what it’s really like to be a flight attendant, travelling the world and getting paid for the privilege? In reality, the job is gruelling with the stress of rude passengers, departure delays and new time zones part of your daily routine. We spoke to Lauren*, an FA working with Air Transat, who gave us some insight into her job and its pros and cons.

How old are you? I’m twenty five years old. How long have you been a flight attendant? Nonconsecutively for almost four years. What are the best parts of your job?

The Deal: In Lauren’s company, you get paid for a minimum of 65 hours a month, even if you are on call and you don’t get asked to come in. The maximum number of hours you can work in a month is 95. Your hours are counted only by those you spend in the air, from ‘wheels up to wheels down.’ Starting pay is $25 an hour. FA’s are also paid approximately $100 (untaxed) for every night they are away from home. Hotels at layover destinations are paid for. There is 80% dental and medical coverage in the profession. Each FA benefits from standby agreements with certain airlines whereby empty seats on flights are automatically given for free to those needing to travel. On top of this, FA’s and their family and friends receive a certain number of free flights annually.

Just telling people you’re a flight attendant is always a thrill, I find it’s got a bit of prestige to it. The travelling constantly is something I like and getting to see new places in the world while being paid is definitely a perk. I also love that I never have a 9 to 5 schedule, and that I’m always working with and meeting new people. What are the worst parts of your job? Probably all the waiting. If you don’t like waiting, this is not a job for you. You get to the airport, you wait for the rest of your crew to meet up. Maybe there’s been a delay, and then you wait some more. On the plane, things go fast, but then at the end you wait for everyone to deplane, and then you wait for the transportation to the hotel, and then you wait for the hotel to figure out which room is yours. The jet-lag is another thing. It hasn’t appeared to decrease at all, and it’s tough to get used to. What is it like dealing with rude passengers? The passengers are impressively awful sometimes. I think air travel has gotten this bad rep, and if you ask anyone they will be happy to bitch and moan about delays, seat size, food, security, line-ups. I feel like people often get onto a plane with the mentality that they are about

to be miserable for eight hours. And with some people, you really can’t change their minds. Passengers will stand in the middle of the aisle during boarding and ask to switch seats. People treat airplane bathrooms in ways I pray they don’t do at home. I have had so many people hand me, with my bare hands, their disgusting garbage: sneezed on kleenexes, dirty diapers, puke stained napkins... I don’t want it either! I don’t understand when that happens. What applies on the ground should still apply in the air. You wouldn’t do that to your waitress would you? Do you enjoy all the travelling that comes with your work or do you sometimes miss having a stable routine in one place? For me, I love it. It’s good practice in focusing on the essentials in your life, because you realize how little you actually need to have with you at all times. I can pack for a week in a carry-on only now. I think it’s a good job to start at a younger age because it must be difficult to adapt if you have a family or spouse or a routine established. With that said, I do know a few flight attendants who manage their family life while living the jetset lifestyle. Is there a lot of romance going on in the air? Have you ever hooked up on a plane? It’s a good setting for romance: the crews are always changing, the passengers onboard are always changing, so you tend to be meeting new people and thinking, “it doesn’t matter, I’ll never see this person again, so let’s seize the moment!” This is not to mention that the air crews themselves always look so foxy in their uniforms, which definitely helps. However truth

be told, a lot of the magic kind of fizzles out when you’re on a cramped plane with screaming babies everywhere. Even so, I will regularly see phone numbers being exchanged from passengers to crew and it’s a pretty natural thing. When you know you’re only in a destination for one night, and you have a hotel room paid for it can often seal the deal. And if you’re wondering, I have indeed joined the Mile High Club. Can you tell us some anecdotes about your work that you have heard from friends or have had happen to you? Well one thing you wouldn’t know about our line of work is that pilots like to haze or initiate new employees like they do in clubs and fraternities. So there’s always a couple of lame pranks I see played on the new hires. One time for example, a pilot handed one of the FAs a garbage bag and asked her to take an air sample from the cabin. So this poor sweet girl took the plastic bag and walked up and down the aisle a couple of times mid-flight (full of confused passengers) and then tied it tightly and brought it back up to the pilot. They were all laughing so hard, it took her a while to figure out it was a joke. I’ve also seen the pilot ask the new FAs to “test the suspension” by jumping up and down. It’s funny but pretty cruel. The most ridiculous one I remember was when an FA went up front to visit the flight deck and give the pilots their coffees. The guys were pretending to have a casual conversation about their plans for the night. The first officer said that he just remembered he forgot to take out cash when he was on land so the captain suggested he just use their built-in ATM. The first officer pretended to press some buttons and after a moment, casually pulled some euros out. The flight attendant that saw it all happen actually believed it so on her next flight she was heard asking if she could come up front to use the ATM. Everyone had a good laugh at her when she said that. What are some of the rules and regulations that you have to follow in a job like yours? Such as no drugs... The uniform aspect is really important. You can get in trouble for not having all the buttons done up, runs in your nylons, jewelry that doesn’t comply with the dress code. Even sunglasses and gloves are listed in a strict uniform policy. You also may not consume or purchase alcohol when in uniform, even if it’s the end of your shift. You may not chew gum in uniform and often it’s frowned upon to even be seen eating in uniform. No drugs, whatsoever, of course, and for drinking, you may not consume any alcohol 12 hours prior to your shift. Ensuring passport and your airport security pass are up to date is also really important. They’re pretty strict with air crew for customs too, it’s not uncommon to be pulled aside and have your luggage searched by customs.

in awe. Everyone rides a bike, even families are strapping on extra child seats or wagons. And nearly everyone seems to speak fluent English, too. I really hope to have a layover soon in Portugal, in Lisbon or Porto… How long do you think you’ll want to keep doing this job? I don’t know, I want to do it for as long as I can. Funny enough, a lot of senior flight attendants who have been in the company for twenty-plus years tell me when they were first hired they never thought they would still be there after a few years. So maybe it’s possible I’ll retire with them. I feel like it might be a lifestyle you get so used to that it’d be hard to leave. Have you been on flights that have gone badly, had emergency landings and this kind of thing? I have had a couple rough experiences. One time one of the engines went out, but luckily there wasn’t anything bad that happened because of it. We’ve had deaths on flights, which happens more often than you would think. I think a lot of people put off travelling their entire lives and finally when they are really old, they decide to do it and it can be a strain on their systems. I’ve had drunk and unruly passengers, people who have had to be cuffed and met by police on landing. I’ve also had pretty bad turbulence which can be pretty scary. Even though the pilots usually give us a heads up to secure the cabin before the turbulence hits, sometimes it can really pop out of nowhere and surprise you. I’ve seen people hit the ceiling because we dropped so fast. What are some of the ways you have to take care of yourself because you spend so much time in the air? The jet-lag is really brutal. You fly out one night, arrive in your destination 6 hours later but technically you are 12 hours later in your local time. By then you’re tired, so you might take a nap, wake up mid-afternoon, go shopping or sightseeing or have dinner but still be tired pretty early on in the evening. You have to fight through that and stay up until later otherwise you’ll be wide awake at 3am when your wake-up call is at 7am. When you get to the airport you fly back, another 6 hours, but when you arrive you are somehow only two hours ahead, local time. You gain and lose hours and days so much it’s pretty difficult. It’s unlike going on a vacation where you get a chance to adapt to a different time zone. With this job there isn’t really the chance to get settled into the new time zone. For this reason, it’s confusing as hell to try to stay on the Pill. I’ve been looking into other methods. The sleeping thing is also a big deal. A lot of flight attendants take a supplement called melatonin which apparently eases you into a deep sleep. I’m still trying to find a system that works for me.

Is it true that flight attendants and pilots are big drinkers? In my experience, yes, definitely. I’m not sure why, maybe it’s the idea of having to socialize with completely new coworkers practically every time you come to work, at the end of the shift maybe a few drinks assists with that. What is the city you have enjoyed most so far since travelling around the world? I loved Amsterdam, that was a really fascinating city, and just so beautiful. I went on a canal boat tour on my first layover and was just

“One thing you wouldn’t know about our line of work is that pilots like to haze or initiate new employees like they do in clubs and fraternities.”

Free as a Bird Words and photographs by Marie-Christin Stephan

All of the truck drivers I’ve met have told me about the freedom of the road but also about the sadness of being alone on their life’s path.

“With one successfully completed tour of around thirteen hundred miles, he makes up to nine hundred dollars a week.”

Premjeet Singh Sahota, one and a half years on the road I have to shout in his direction to compete with the sound bellowing from the motor of his huge truck. Blue letters in Greek style adorn the length of his immense white trailer truck. He isn’t hearing me. I climb the two steps up to his open window to ask him for his name. I can’t understand the foreign mix of letters he is shouting back to me. After a minute we give up the fight against the loud motor noise and Premjeet gives me his insurance card so that I can note his name in my small notebook, my left hand clasped around the bar of the door of his truck. Premjeet is 22 years old and has been on the road for one and a half years. He tells me since he started, all he ever wants to do is drive his truck, non-stop, all the time. The little cabinet in the backside of the camion has become his new home and his own private space. Before he began this job he had lived in Montréal with his parents and his sister, but now he gets back home barely once a week. He tells me he prefers sleeping in his truck and proudly shows me the two square metres that make up his new dream house. He has the keys for three different trucks which belong to his uncle and he offers to show me his real treasure. The truck is parked 50 meters away from us. We go inside and I see Indian jewelry and grey leather and porn and I understand his excitement for this beautiful giant. Home sweet home. He asks me if I have a boyfriend and I look up into the young brown eyes of Premjeet, understanding that besides his dream of feeling free like a bird on the road, he is flying all this way alone. Premjeet never had a girlfriend and when I ask him if he is sad about this, he drops his head a little and says “That’s life. That’s the road.”

Marco Leins, seven years on the road “A driver who says he doesn’t fall asleep on the road is lying.” Marco Leins is looking down to me and smiling at the expression on my face. I can see my own surprise, mirrored in his blue metallic sunglasses. He tells me, “it happens,” and that he falls asleep too. He explains that if you want to make money in this business, you can’t afford to take long breaks. A good driver is not one who follows the rules but the one who gets to their destination as quickly as possible. Instead of the permitted 13 hours drive time, 16 hours is much more common. If not, he wouldn’t do his route from Montréal to Florida in time. After all, with one successfully completed tour of around thirteen hundred miles, he makes up to nine hundred dollars a week. He smiles shyly at me: “What can you do? That’s the job.” Marco Leins has lived on the road for seven years now. Before becoming a truck driver he studied four years of business administration. But he could not resist the call of the road when he contemplated a life of being stuck behind an office desk. Yet for the freedom you get, you have to pay another price. Marco turns his back on me and starts playing with the door handle of his truck. After a moment he turns to me and he recites a statistic he has memorized: around 89% of truck drivers don’t have a wife or a girlfriend. He tells me he lost his girlfriend because she couldn’t stand him leaving all the time. “On the road you are alone. There is nobody who gives you a hug from time to time.” He takes off his dark mirrored sunglasses. Sometimes, alone on the road, he wishes there was someone waiting for him. When I ask him if he searches this closeness at certain establishments he just shakes his head wearily. He says when he stops his truck to take a break he is too tired to think about needs like that and all he wants is to go to sleep.

Claude, over thirty years on the road Claude transports grain between Québec and Ontario and he chose this life because he loves its liberty. He looks like an old, American James Bond, leaning on his truck, enjoying the morning sun with his white gleaming Pierce Brosnan haircut. Or perhaps Claude is more like a cowboy, his horse a padded chair and a humming motor running wild across fallow landscapes paved by grey highway. But the business isn’t like it used to be. Claude recalls truck driving back in the 60’s and 70’s, and describes it like a kind of golden age, where drivers had communities, they met up in big groups at meal times together, sitting on long tables to eat as a family. He postulates with me about how it all changed, citing the ever-increasing cost of gas and provisions as one reason. Nowadays he mostly eats alone in his truck, and doesn’t really socialize with the truckers around him. Another reason, he believes, is the influx of younger drivers on the road who don’t perceive other truckers as their family, only as their competition. He also notes new government rules and regulations imposed on truckers that have made his day to day a fairly strict routine. And yet in spite of all these radical changes, Claude tells me he still loves his job and the freedom that can only be found when out on the road. It’s definitely a lonely business, he points out. The job cost him his marriage, “like most of the truck drivers I know,” he says. Each week he is on the road from Monday morning until Saturday evening, and on his day off he will have to clean his truck. What time do you have left to share with your family after all of this?

“Each week he is on the road from Monday morning until Saturday evening, and on his day off he will have to clean his truck.”

The Young and The Restless Photographer: Donat Stylist: Izabel Soucy @ Gloss Artists Photographer’s Assistant: Antoine La Rochelle Hair & Make-up: Julie Saint-Laurent @ Next Model: Autumn @ Folio Special Thanks to: The Bay Little Burgundy

Turtleneck—American Apparel Coat—American Retro Earrings—Little Burgundy

Dress—Travis Taddeo Shirt—American Apparel

Top coat—Travis Taddeo Jeans—7 For All Mankind Shoes—Jeffrey Campbell

Fur—Travis Taddeo Leggings—Your Eyes Lie

Top—Travis Taddeo Panties—American Apparell

Emily Shur

Making a name for herself as a portrait photographer, Emily Shur has shot the full gamut of celebrities from Adrien Brody, Mila Kunis, Luke Wilson and Jeremy Piven to Sofia Vergara, Michael Cera and Janice Dickinson. However Emily also travels far and wide shooting epic landscape photography, from Japan to New Zealand, Scotland to Alaska. Here Emily explains to us where her interest in both forms of photography comes from, how they differ and the way she will approach each new subject.

“I see photographs everywhere I look... I’m not always in a position to take the picture, but it keeps my mind working.”

Where did you grow up? Houston, Texas. How did you start out in photography? I took my first photo class when I was a freshman in high school. I went on to major in photography at NYU and began shooting for all types of magazines a couple of years after graduating from college. I shot everything from restaurant interiors to musicians. I would take any shoot that came my way. What inspires and draws you to photography on a day to day basis? It’s not always easy maintaining inspiration on a daily basis. I think it’s important for working artists to be critical enough to realize when it’s time to change things up or to experiment. Photography is amazing because we as photographers can have all the control in the world or none at all. We can choose which aspects of the photograph to leave to chance and which to direct. I find it’s the perfect partnership of both sides of the brain.

Your portfolio showcases a wide range from contemporary celebrity portraiture and photojournalism to epic landscape and still life projects. Your eye seems very honed, how do you refine it in this way? Through the constant practice of your work or do you also find yourself drawing from art, print, film and your daily experience? The photographer’s eye is the most important piece of the puzzle. Without a specific point of view, there’s nothing setting one photographer apart from another. I am absolutely inspired by art, film, other photographer’s work and definitely by daily experience. I see photographs everywhere I look - driving around, running errands, walking the dog, etc. I’m not always in a position to take the picture, but it keeps my mind working. What is it like to live and work as a photographer in Los Angeles?

Light, composition and emotion.

It’s great! Los Angeles and the surrounding areas are so geographically diverse and that really ups the game, photographically speaking. You can be at the beach, the desert, in the mountains, or a mansion in the hills in a matter of a couple of hours. It opens the door so much wider for photographers to live out their photo fantasies. Plus the light here is beautiful all by itself.

As you have developed your technique, have you found your subjects and style have changed? Have you always had a strong directive?

It seems you have traveled a lot for your work. Can you name a few of the places you have been that have most affected or impressed you visually?

As my career and photography developed, I found myself spending more and more time on my landscape work. As much as I love doing portrait work, the landscape work is such a nice break from photographing people. Over time I’ve realized that I absolutely need the balance of the two to remain engaged and inspired.

Japan for sure. Japan continues to inspire and impress me. Closer to home I find Arizona, Utah and (of course) California are all outstanding places to take pictures.

What elements do you look for when you are going for that perfect shot?

J. Wesley Brown

J. Wesley Brown is a photographer now based out of Los Angeles. Over this past year, as a friend of the director of independent short film Nono, he had the opportunity to discover entirely new terrain and surroundings while shooting this series of stills on set. Here he tells us about that experience and gives us a glimpse into his life, having just recently relocated from Madrid, Spain, where he had been living and working.

Tell us about the film that these stills were taken from. How did you get involved in the project? These were for the short film Nono, which we shot in Borrego Springs and the Salton Sea. I met the director in college and had never been to either place so when he asked me to shoot stills, I jumped at the chance. It’s a somewhat open-ended film that follows two blonde Australians as they arrive for a desert jaunt before things take a turn for the worse. Tell us about where the film was shot, what was the environment around you like? Our base was an amazing house in Borrego with a saltwater pool, so that sweetened the deal a bit. We shot it in July so it was around 110 degrees each day. We’d film the desert scenes for about an hour and then get back in the car and blast the air and everyone would be absolutely dripping with sweat. I’ve never been so hot in my life but it was very nice floating on my back in that pool at the end of each day looking up at the Milky Way, which I’ve never seen so clearly anywhere else. What was the experience like working with the cast and crew? We were a pretty small team so there was a really good vibe and I actually already knew the two principal actors so it made things a bit easier to get in close and take nice shots without having to worry about annoying anyone. It can be a tricky prospect when shooting stills

for film. I just got back from shooting a bigger production up in San Francisco and the stress level of the crew and just the general vibe was quite different. In situations like that, you’re sort of near the bottom of the totem pole so you try your best to be a bit invisible. I felt a lot more free on the Borrego shoot. Where did you grow up? I moved to LA when I was seven so I consider myself an LA native. I went to college on the East Coast and then lived in Sydney, NYC, and Madrid for the next 10 years. I only came back to LA when my Spanish visa ran out. I’ve been surprised at how much I’ve loved being back here. I think California is the most beautiful state in the country so I’ve enjoyed travelling around on long weekends and the light and plethora of locations are a photographer’s dream. When did you first get involved in photography? My grandmother’s cousin gave me a 1981 Olympus OM-1 when I was 16 and then my best friend taught me to develop and print in our school darkroom on the weekends. In college, I wasn’t allowed many electives so I dropped it and was in a band for the next six years, which left little time for photography. When the band broke up, I needed a creative outlet and by then digital had come along so I got a little point and shoot and moved up from there. I feel like mine is probably the last generation to have learned in the darkroom and I’m grateful for having had that experience.

A lot of your work has a distinctively narrative style, what are some other points of view you like to explore in your work?

Where have you traveled in the world for your work and what are some of your favourite cities?

Well I like to think of it as having a pretty open-ended narrative where it’s really up to the viewer to imagine what’s going on in the scene. These last two years have seen me continuing these kind of set-up shots, but I was also working on a more heavily conceptual series which I called Inversion. For this, I created a series of inanimate animated GIFs that were released last year. There is also a night street photography series which I’ll release in a couple of months. I’ve really liked working in these varied ways at the same time because it keeps things fresh. With a new documentary project, I’ve focused on making work about Los Angeles in the present because I think it’s important to make work about the time and place in which one is living and in this case, where I am from also.

I was recently in the Virgin Islands which was pretty amazing but the cities I connect most with are those in which I have lived, though not all of them. My favourites where I’d live again in a heartbeat are Sydney, Madrid, and Buenos Aires in that order. I sort of ended up back in LA by default but I love it here also, despite it’s odd characteristics compared to most cities. I’m glad I moved here in my 30’s and not in my 20’s.

“I think it’s important to make work about the time and place in which one is living.”

Lone Traveller Photographer: Mathieu Fortin Stylist: Jay Forest @ Folio Stylist’s Assistant: Joelle de Binet Hair & Make-up: Jessica LaBlanche @ Folio Model: Ashtyn @ Folio Special Thanks to: Simons The Bay

Shirt—Dolce & Gabbana Pants—Tiger of Sweden

Trenchcoat & Pants—Roberto Cavalli

How to Become an Explorer

In the series How to Become an Explorer, photographer Marie-Christin Stephan attempts to link the tradition of old explorer portraiture with the contemporary explorer culture she experienced while participating in an expedition through the Finnish wilderness north of the polar circle. Her project involved reconstructing or imitating traditional portraits and recontextualizing the age old motif of human strength set in and against the immense beauty and force of nature. Here is a selection from her series.

“This ‘thousand-mile-gaze’ is a trademark of exploration photography because it represents the explorer in an iconic way.”

In our imagination, the frozen polar regions are characterized by infinitely wide landscapes of ice and frost, harsh weather and unknown vastness. Even today the Arctic remains a place most people will never see themselves, only through photographs, movies and newspapers. But back when the explorers of the nineteenth century first went in search of the north, they had no idea they were travelling toward such an open expanse. Seeking new lands, what they discovered in this place was cold, pure emptiness. Early Arctic photography from the nineteenth century is like no other explorer photography. Rather than wide shots of bushland or details of the terrain, early explorer photography in the polar regions is characterized mostly by the remarkable technical limitations of their photographic processes, as a result of shooting in the blinding white landscape of the Arctic continent, and at freezing temperatures. The logistical complexity of taking photographs while on their explorations and the cumbersome camera equipment only added to the difficulty of their travels to new regions. However as a result of these limitations, a new approach to this style of photography was born: all of a sudden the explorers themselves became the subject. What did these photographs look like? The long exposure times required for the light-

ing and conditions of these icy landscapes made the capture of spontaneous moments or authentic impressions pretty much impossible. Therefore many of the aspects of exploration the teams wanted to capture in a photograph had to be staged or were re-enacted in front of the camera. The motifs often felt strange or surreal because ​​ the model and photographer were working with different exposures. Props were dramatically staged, adventurers were made ​​to look courageous or powerful. When we look at these images today, they retain a definite impact: these peculiar and gruelling explorations into the unknown still strike us as epic. Is it all the complex equipment the discoverer is carrying, is it the nostalgia of the black and white photo or is it simply that thousand-mile gaze that is surrounding each figure in every shot? This ‘thousand-mile-gaze’ is a trademark of exploration photography because it represents the explorer in an iconic way, removed from the emotional and physical exertion of their adventure and made timeless in their stoic pose. There are many elements of the explorer photography produced in the Arctic that have made a lasting impression on our collective awareness of not just these territories, but camera technology and even the role and importance of the explorer as well.

“The long exposure times required for the lighting and conditions of these icy landscapes made the capture of spontaneous moments or authentic impressions pretty much impossible.�

Susan MacQuarrie

Halifax born, Montréal based Susan MacQuarrie has established a career for herself as an art director and set decorator for films, television, commercials and photo shoots, and has worked on an incredible array of top notch projects for many decades. From her very first feature film job on the set of Cronenberg’s The Fly Susan was developing her eye for visuals and her sense for decor, a job she had always felt a calling for. Now Susan travels the world for her work and has an immense role call of directors, producers and actors she has come to know well, from Robert de Niro, Samuel Jackson and Hugh Jackman to famous directors Martin Scorsese and Gaspar Noe and costume designer/art director and Order of Canada recipient François Barbeau. We had the pleasure of interviewing Susan in between projects during the summer and got to learn about the nature of her work, as well as the travels she has managed to enjoy along the way.

OK so when did it all start? What was your very first job in the industry?

the television process as well as interacting with all the other departments.

When I was finished university I moved to Toronto. My goal was to work in the film industry so I just started at the bottom, knocking on doors. The first production company I went to was Boardwalk Pictures and they took me on, so I got to work and immediately loved it. At that time it was rare for girls to be doing jobs like this, and I was the only one among all the boys. They also didn’t have art directing per se. It was simply called assistant to the director. Working on commercials was a great school to learn how the filming process works and all that is involved to achieve the final product. After a year of commercials, I felt ready to go to the next level, television movies. I contacted a production company that made television films for the USA market and was offered two positions, one in the production office and the second on set doing craft service. I wanted to be on set so opted for craft. I loved it! When I organized myself well, I was able to observe

So this was still in television and commercials? Were you eager to get into film as well? Yes, that was the next step. After I finished that job I got a phone call from a production manager. He said “I want to offer you this movie. It’s called The Fly and it’s directed by David Cronenberg.” Of course I said yes! It was shooting just outside Toronto. It was a big set and I had a few assistants, so I did like before. I set myself up and then went out and walked around, checking out what was happening in the art department and seeing the way people were interacting and working on the different scenes. It was a wonderful experience for me. After The Fly, my love of the French language (I have a French degree) brought me to Montréal. Upon arriving here, Boardwalk offered me a position as junior producer back in Toronto, but my heart and bonheure were here with the Québécois.

What were some of the early lessons you learned, even at this stage, that you still draw on today? Many things. One, you’re only as good as your crew. You have to love the team you work with, you have to have gratitude, you can’t judge people, on set you are a family. Second, how vital your contacts are. And third, details in the visuals often make the difference between good and bad art direction. How did you graduate to art directing and set decorating on your own? Who were some of your mentors as you developed your talent? Well I just continued working and working. I did many commercials in Montréal and Québec and made more and more contacts. Sometime around then I was offered two low-budget films being shot in LA, so I headed down there. As well as my experience on set, I got to work with some really talented people and learn first-hand from them. Something that really stuck with me I got from LA based production designer Paul Peters - he taught me about moodboards, about physically putting inspirational visuals on walls and working through ideas that way, establishing your colour palette and so on. A lot of people don’t do that anymore, but because of him I still do. Paul also taught me about the importance of scale on decorated sets. Another person who had a big influence on me was the great Stuart Wurtzel. He taught me that you have to spend time with your set, to live with it. We have a lot of time restrictions in film, so learning to work quickly and adapting to change is a necessity. But if you do have the luxury of a bit more time to work on your sets, embrace it, as they become much richer. Had you always wanted to do work like this? What were your interests when you were growing up? As a child, I was always so interested in films. While my sisters were playing with dolls, I was on the sofa watching obscure films with my father, forever wondering and asking “how do they do that?” I found the whole world of movies fascinating. At the same time I have always loved objects, decorating, lighting. My mother would often take us antiquing, educating us on different styles and eras which influenced me a lot. I love the history of beautiful old pieces. I was fortunate that I got to work with my passion, but I was always a hard worker. My father used to say, “live your working life” and that’s what is great about my job. At times it’s just like being at home, you are measuring, making sketches, moving furniture around, choosing your paint and you’re always with a hammer and a nail. I love it. When was the big heyday here in Montréal for films? And when did it start slowing down? Around the time when American films were being made here I had become pregnant with my daughter. I remember a friend telling me, “oh well it’s all over then!” but I didn’t want to stop working. I scaled it back to being a key decorator on television shows, as well as some local and American movies, so my daughter got to grow up seeing all of these things behind the scenes. It was great. The very best time for films here was around eight or ten years ago, that was the boom. But then the city introduced a welcome tax that was very hard to get around and there were also other factors. I wouldn’t say Montréal was black-balled but things just seemed easier to film elsewhere, like Vancouver which is in the same time zone as Los Angeles today. Even so,

slowly the big productions are coming back, with Jean-Pierre Jeunet and Roland Emmerich shooting in town as we speak. People will always love the beauty and character of Montréal. Did you always travel a lot for your work? Yes there were always offers here and there that involved me travelling. I have seen a lot of the world thanks to my work which is a blessing. Whether it is for work or pleasure, I’m on a plane at least 8 or 10 times a year. Does it take a lot out of you to move around like this and frequently be in new unfamiliar places? What it takes out of me it gives back to me in spirit. It can be difficult sometimes, when you are tired and there’s a language barrier and you don’t know your way around. So the first thing I do when I land in a new city to shoot: I hit the museums. Maybe you are not too familiar with the country, but you will always find a friend in the museum, and my friends are the paintings. Art centers me, it inspires me, and when I get out I’m ready to go. All the travelling must help inform your work too, because you are seeing new things, discovering new aesthetics and objects. Yes exactly. Look at this picture I took in the Dominican Republic, just the old shack and the vines growing around it, the bright paint, and the local man here, this inspires me so much. I love finding and recreating worlds like this. An art director has to be inherently curious, always reading, wandering around shops or even just stopping on your bike when you see something interesting. Travelling means you always have your eyes open to new and fascinating things. You’ve worked in so many different places, what are some countries you are looking forward to discovering? I have heard so many good things about the cities and design of Germany, I would love to visit there. And I know if I went to Japan it would be splendid! You did the set decoration for Gaspar Noe’s Enter The Void which was partly set in Tokyo, though it wasn’t all shot there I suppose. What was that experience like? It was shot in both Japan and Montréal. The experience was wonderful, Gaspar is an incredible man. I had a blast, it was creative, colourful and the vision was very unique. And what is your favourite city? Oh I couldn’t choose just one. I am torn between Paris and New York, they are two cities that I find equally magical, but in different ways, the language, culture and architecture. And of course Montréal because it is a nice blend of the two.

“An art director has to be inherently curious, always reading, wandering around shops or even just stopping on your bike when you see something interesting. Travelling means you always have your eyes open to new and fascinating things.”

Richard Bernardin Interview by Marie-Christin Stephan

Richard Bernardin is a Canadian fashion photographer famous for having a signature style and impeccable feeling for art direction. His talent has won him accolades and awards over his nearly twenty year career and with clients calling from cities like New York, Paris and London every week, he is frequently travelling the world for new work. We spoke to Richard about the challenges and rewards of travelling as a photographer and how he maintains balance between his family life here in Canada and the excitement and stress of a career abroad.

“The work I’m producing and the way I’m doing it is constantly being influenced by my life experiences and my environment. I love travelling as it always brings something special and unique to my work.”

You’ve been a fashion photographer for over nineteen years. What do you have planned for your twentieth jubilee? I’m thinking about making a book. I’ve been asked several times in the past, but it felt more like a retrospective, and I just wasn’t ready for that. I’ve just turned 40 and I don’t believe I’ve produced even half of the work that I will get to in my life. This is why I think that any form of retrospective is kind of premature. Instead of this, I’ve been considering making my first book as a unique personal series. How do you make decisions about the selection of your photographs and their final presentation?

Shot in Paris

It’s hard and it keeps me up at night. Do you see the white hairs in my beard? No seriously, I believe it’s very important to be completely involved in your own post-production process, whatever that might be. And that’s what I’ve always done and will continue to do. I won’t let anybody touch that aspect of my work. But on the other hand, I do think it is important to have some sort of separation when it comes to marketing or the process of putting my work out there… Publicizing it? That part, I need to step back from. Otherwise, I can become obsessed. While I know some people who can and do work that way and I applaud them but I’ve tried and it wasn’t for me. Helmut Newton called himself “a gun for hire.” Would you identify your own way of working with this mentality? Totally! He has always has been an inspiration for me and one of my photographic ‘gurus.’ In an ideal world, you could choose what you shoot

and who you work with all the time. But that’s an ideal world. Most times I have no say in matters such as the clothing or the general idea behind the shoot. But at the end of the day, I am a fashion photographer and I am hired to do my best work no matter what the subject is or what the model may be wearing. As long as I can interpret what a client wants me to shoot in my own light, I will pretty much shoot anything. “Hired guns” travel a lot. Do you enjoy the travelling aspect of your work? Whenever I go somewhere for work, the initial impact of the location is always visceral and exciting but it soon fades and becomes like a soundtrack to my multitasking: pre-production, production, meetings, location scouting, etc Whether in Paris or Marrakech or Los Angeles, and in spite of the chaotic tempo, I am still breathing the air, waiting in the traffic, feeling the ebb and flow of the people… and all of this has a direct impact on me. Naturally the work I’m producing and the way I’m doing it is constantly being influenced by my life experiences and my environment. I love travelling as it always brings something special and unique to my work. So travelling improves the quality of your work? It is more a duality that I live with: my family and my life are in Montréal. But for work, my heart is in New York or in Paris. I’ve set many goals for myself, both professionally and personally, that can only be attained by this kind of lifestyle. I’ve found that despite the complexity of travelling for work and the inherently challenging nature of being a fashion photographer across several different markets, coming back home to my family is the most rewarding aspect of all.

How would you describe the difference between work being made in Canada and work in the States or Europe? As the Canadian market is smaller and caters to a smaller population, the majority of the work produced in fashion and photography has to have the maximum impact and visibility. Therefore, it has to be more commercial in nature. What changes in Europe or the US is the multi-visibility. Populations are bigger and so is the demand. Consequently, there is a concentration of talent found in Paris, London or New York that we just don’t have here. There are also many more venues for all types of work, both editorially and commercially, as well as the entire luxury niche of the fashion and beauty industries. When tallied, these elements all contribute to make these cities ‘meccas,’ attracting a large number of extremely talented people who collaborate and grow together to produce some of the world’s most avant-garde and trend-setting work. Your passion and work is in Europe or the States, but your family life remains in Canada. How do you balance it all when you are travelling? I’ve never traveled for really long periods of time; usually never more than a week. And my boys are older now. When they were younger it was more vital for me to be there with my girlfriend and my kids. I didn’t have kids not to see them! My family is more important to me than any of the successes in my career. Jobs come and go but my family will always be there. They are the foundation of my life and I owe all my success to them and the support they have given me. So you can challenge yourself because you are sure you have that home base? Exactly. I never feel better than when I am at home. And I’ve travelled to hundreds of amazing places. This year alone, I’ve been to Italy, France, Britain, Morocco, Mexico, the US, Guadeloupe and the Caribbean. And I really do appreciate these places for two or three days or maybe a week. But then, I always want to come back home.

Shot in New York City

If you are travelling so often, can you still maintain day to day routines and rituals? Sure. Most people have a ritual in the morning without even realizing it. You get up, you go to the bathroom, and you make yourself a cup of coffee, whatever. My ritual is that I meditate every morning. I also do my martial arts pretty much every day. When I travel, I draw strength from this even if, while I’m on the road, I can’t practice my rituals as I do at home. Most people prefer sleeping half an hour longer in the morning rather than meditating. But for me, it brings me a lot of peace, joy and success and it’s a big part of my life. Taking the plane is also now a ritual for you. Are you able to enjoy it or do you get bored? I am never bored of it. It’s just a part of my routine so I do it. There is no problem. But it has definitely become more complicated to travel, especially since 9/11. Between the flights, security and never-ending lines, it pretty much takes up an entire day to travel anywhere. I’m not complaining but it’s not as glamorous as it used to be, for sure. If we could just invent teleportation, that would be great.

Shot in Los Angeles

After Midnight Photographer: Anouk Lessard Photographer’s Assistant: Nik Mirus Art Direction: Isabelle Long Styling: Jay Forest Hair & Make-up: Maïna Militza @ L’Eloi Stylist’s Assistant: Joelle de Binet Model: Claire-Marie @ Folio Special thanks to: Holt Renfrew Off The Hook Boutique Simons Little Burgundy

Skirt—H&M Sweater—MSGM Backpack—Mountain Engineering Co-op Shirt—Ralph Lauren Polo Cap—Urban Outfitters

Shirt—Levis Hat—Brixton Skirt—Clover Canyon Backpack—Epperson Mountaineering

Backpack— Marc by Marc Jacobs Dress—BCBG Maxazria Hat—Supreme Jacket—Made for Loving Shoes—Jeffrey Campbell

Welcome to Paradise Photographer: Zach McCaffree

Opposite Page On Claire Lingerie—Stylist’s Own Coat—WeSC On Roxanne Overalls—Tommy Hilfiger Coat—WeSC On Meryam Scarf—Vintage Top—WeSC Shorts—WeSC Jewelry—Stylist’s Own On Anya Shoes—Native

E H W R E

Photographer: Rebecca Storm Stylist: Sara Graorac Stylist’s Assistant: Catherine Patrick-Boone Models: Roxanne, Claire, Anya, Meryam, Ian, David Special Thanks to: Tiger Distribution Empire MTL

N E E D I R

From Left to Right On Roxanne Top—WeSC Shorts—Vans Jewelry—Stylist’s Own On Claire Top—Vintage Pants—Quicksilver Belt—Archive Water Bottle—Penfield On Anya Hat—Stylist’s Own Top—Vans Shorts—Insight On Meryam Dress—Insight On Ian Hat—Supreme Sweater—Insight On David Hat—Stylist’s Own Top—Brixton Shorts—WeSC

On Meryam Scarf—Vintage Top—WeSC Shorts—WeSC Jewelry—Stylist’s Own On Ian Top—Insight Button Down (around waist)—Vintage Shorts—WeSC Watch—G-Shock

alexander mcqueen for puma

nike

adidas originals

Photographer: Jerry Pigeon Special Thanks to: Off The Hook Boutique

e r e w e w y b Ba to run n r bo

royal elastics

vans

silver

e t a h I y e e s i o t but a w o t

e go u o y ve o u l i h yo c t a ve a e l

mavi

insight

quiksilver

Which Way Out of Here Photographer: Julien Barbés

Bike—Linus

Top Watch—Nixon Bottom Tuque—Coal

She Drives Me Crazy

My wife drives the car like lightning.

You mean she goes very fast? No, she hits trees.

“As a group, men seem to have the edge when it comes to car handling, but women appear to have better judgment.”

Where did the persistent cliche about bad female drivers start? Is one sex really better behind the wheel than the other? While that’s not an easy assertion to defend, researchers have identified differences between men and women’s driving abilities. As author of a book on driving abilities, Tom Vanderbilt argues that although studies can’t be used to conclude that men are better drivers or not, what they can prove is that men have different strengths and weaknesses to women. “Male drivers have, in some cases, been shown to be more technically proficient,” he says. “For example, for young drivers taking a driving test, young males do statistically better than young female drivers. However, who goes on to be statistically more involved in serious crashes? Those same ‘better’ young male drivers.” Other research on the subject has focused on statistics from insurance companies and federal safety regulators. These reveal that “women are more likely to be involved in accidents based on slips or lapses (like distracted driving) while men are more likely to have

accidents based on deliberate or risk-taking behaviour (such as speeding).” The data from one insurance firm determined that men were “3.4 times more likely than women to be cited for aggressive driving,” and when men were involved in crashes, “they were 27 per cent more likely than women to be considered at fault (the result of riskier driving).” Lastly, after studying years worth of traffic data, researchers at Carnegie-Mellon University in Pittsburgh determined that “men are more than twice as likely to die in a car crash as women, and although men drive more than women do (approximately 60 per cent more, on average) their risk of a serious crash is still higher on a per-mile basis.”

On The Road

Six films where the road becomes a catalyst Written by Rebecca Ugolini & Manisha Aggarwal Schifellite

The Motorcycle Diaries Wanderlust can lead anywhere: to countryside bars, to fields, mechanic shops, ditches, to friendship, to epiphany and to revolution. In this biopic inspired by the travel narratives of Ernesto “Che” Guevara (Gael García Bernal) and long-time friend Alberto Granado (Rodrigo de la Serna), the lives and friendship of two men are transformed as they play first-hand witness to South America’s tragedy and splendour. As a young medical student one semester away from graduation, Ernesto puts his studies aside to experience a land he’s only read about in books, an undertaking which stokes the fires of his growing revolutionary urge to reform and unite the people of South America. Adventure sows its own seeds, and while some grow to fruition, others fail to take root. Ernesto’s romance with an enigmatic upper-middle-class woman proves fleeting, the friends’ bestlaid plans are wrenched apart by conflicts of character, and difficult humanitarian work in a leper colony ends on a bittersweet but ultimately transformative note. As the two friends part ways at the film’s close, Ernesto’s mind is already sprouting the germ of the incendiary ideas which would earn him admiration and notoriety and transform the South American political landscape for decades. The Motorcycle Diaries explores what it’s like to travel without a safety net or definite plan, living life in the spontaneity of youth unknowingly paving the path to a great and terrible future. RU Thelma and Louise Thelma and Louise is a road trip movie about a journey away from a stifling and boring past, and without a real idea of where the road ahead will lead to. Thelma is a housewife with a loutish husband and Louise works a dead-end waitressing job. The two set off for a weekend away in the mountains, but on the first night of their trip, a deadly incident at a honky-tonk bar makes them subjects of a police investigation and ultimately sees them fleeing from the law. As Thelma and Louise drive across the barren desert, we get a sense of their desperation and yearning. Through their conversations with each other and with strangers met on the road, we learn about the women’s personalities, hopes and dreams, and their deepest fears.

Where road trip movies often involve some kind of end goal, the destination in this one is simply Mexico, somewhere for Louise to find peace and legal amnesty. But what the film really focuses on is what the two friends are leaving behind, making it more about what they want to forget instead of what they want to find. The characters evolve at every turn, surprising themselves with acts of daring, stupidity, and romance, and learning to let go, no longer caring about the consequences. The desire to get as far away from their pasts as possible, combined with a feeling that they have nothing left to lose, allows them to let loose as they literally speed away from their former lives. MAS Almost Famous The legend goes that when rock’n’roll was in its heyday, bands and their groupies were something like nomadic tribes, driving across the country, writing songs, raising hell and living life on the edge of reason, sanity, and sobriety. Based on the true-life experiences of rock journalist Cameron Crowe, who toured with Led Zeppelin, Lynyrd Skynyrd and The Eagles, Almost Famous explores what it’s like to be both an insider and outsider in the glamorous world of rock stars and groupies. The story is told from the perspective of William Miller (Patrick Fugit), a teenage rock fan and first-time writer for Rolling Stone Magazine. As William tails emerging rock group Stillwater and struggles to toe the line between friendship, fandom, and his position as a journalist, he becomes further embedded in the rock’n’roll lifestyle replete with drugs, jealousy and aggression, and falls for ebullient yet emotionally-fragile queen groupie Penny Lane (Kate Hudson). Taking sides and forging alliances becomes almost impossible to avoid, as in-fighting tears through the band and tour dates begin to dwindle, leaving William at deadline with a decision to make: to tell the harsh truth about Stillwater’s destructive dynamic, or to tell no story at all. Almost Famous is a look into a world where “it’s all happening” and it’s all falling apart; a dysfunctional but touching coming-of-age story of sorts for both its teenage protagonist and the tumultuous but fizzling rock scene just passing its peak. RU

Little Miss Sunshine Little Miss Sunshine is a road trip movie about travelling on a deadline: the Little Miss Sunshine children’s beauty pageant in California. The movie is centered around the Albuquerquebased Hoover family, who are rallying around youngest member Olive (Abigail Breslin), a quirky seven-year-old with big dreams of winning a beauty pageant. When they all pile into a VW microbus to get Olive to the pageant on time, we quickly learn the extent of the family’s problems and dysfunctions, including a son who won’t speak, a suicidal uncle, and a drug-addicted grandfather. There is a sense of urgency permeating the trip, as it seems like everyone in the Hoover family is in some sort of personal crisis. This urgency only intensifies as the family finds themselves illegally trafficking a body across state lines, attempting to drive a bus with no brakes or steering, and then finally, getting Olive pageant-ready with little time or resources. This is a film in which the road trip is integral to the unfolding of the story, because it serves to compress and intensify the relationships between each family member, who are otherwise rarely together in the same place at the same time. It can be hard to maintain the magic of the open road once the characters reach their destination, but a good road trip story offers the viewer the hope that the hardships witnessed along the way will lead to positive change once the adventure ends. The final scene hints at this promise as the family bands together once more to push their bus onto the highway for the final time. MAS Broken Flowers Broken Flowers doesn’t really follow in the tradition of classic road trip movies. Directed by Jim Jarmusch, the movie follows Don Johnston (Bill Murray), a washed-up Don Juan who is taking to the road (and the sky) to find the mother of a young man who claims to be his son. While we never meet the alleged son, an anonymous letter is all it takes for Don to set off across the country to reunite with those women with whom he shares a past. The focus of the movie is on each of the encounters that occur between Don and his old girlfriends, who are scattered across the country, and living disparate lives of their own. While it may seem that the physical journey is merely a way for Don to get from one woman to the next, the travel is also a metaphor for the personal development and growth of Johnston as a character. Don ends up where he started, but we get the sense that he’s utterly changed during his trip, that revisiting his past in this journey couldn’t help but provide new direction for his future. MAS

Midnight Cowboy Companionship is a volatile thing. It can be solicited, sold, rejected, forged through hardship, and snuffed out before its time. In this 1960’s film famous for being the only X-rated movie to ever win Best Picture, an unlikely friendship grows between sickly New York street hustler Enrico “Ratso” Rizzo (Dustin Hoffman) and Southernplayboy-turned-gigolo Joe Buck (Jon Voight) as they struggle to eke out a living in Manhattan’s dangerous and seedy criminal underbelly. Hoping to escape a dead-end deli job in the town where scandal has ruined his reputation, Buck escapes on a bus to New York to cater to disillusioned sophisticates from Manhattan’s social elite. If the clothes make the man, Buck presents himself as a vision of classic Americana, a cowboy-hatted, leather-booted smooth-talker whose smile exudes confidence and sensuality. After scams at Ratso’s hands and a series of losses leave the naïve Buck destitute, the two men lapse into a co-dependent friendship as they live as squatters in a condemned Manhattan flat. Petty theft, robbery and gay prostitution are a far cry from the glamorous life Buck imagined, but both Buck and Ratso find companionship, if not trust and compassion, in their shared life of crime. Just as Buck begins to earn some money, Ratso’s illness seizes control of his body, incapacitating him and leaving him in a constant fever. Buck rushes to carry out his dying friend’s dream of visiting Miami in the film’s bittersweet conclusion, and the midnight cowboy boards a faraway-bound bus once more, hoping to start life anew yet again. RU

T ’ N I K A C I A B D G N A MIN O C

Photographer: Shayne Laverdière Stylist: Patrick Vimbor Hair & Makeup: Jessica LaBlanche @ Folio using Tom Ford and Makeup Forever Model: Masha @ Folio Stunt Supervisor: Jeremy Magne Photographer’s Assistants: Samuel Pasquier Juan Manuel Fangio Scott Meleskie Special Thanks to: Holt Renfrew Danny Oldsmobile Ville de Mirabel

Coat—Prabal Gurung Shorts & Sweater— Marc by Marc Jacobs

Coat—Prabal Gurung Jeans—7 for All Mankind

Opposite Page Coat窶年atural Furs Denim Shirt窶認ree People Jeans窶認ree People This Page Dress窶濡ucci

Sweater—Designers Remix

FALL 2012

QUÉBEC Place Ste-Foy . Galeries de la Capitale . Vieux Québec MONTRÉAL Centre-Ville . Promenades St-Bruno . Carrefour Laval SHERBROOKE Carrefour de L’Estrie MAGASINEZ EN LIGNE . SHOP ONLINE SIMONS.CA

We’re In This Together Now Photographer: Jorge Camarotti Stylist: Lu Philippe Guilmette Hair & Make-up: Soraya Qadi @ Gloss Artistes using Giorgio Armani makeup and TRESemme hair products Models: Audrey @ Next Felix @ Dulcedo Special Thanks: Holt Renfrew

On Audrey Coat—Prada Skirt—Antonio Marras Shoes—Prada

On Felix Leggings—Gucci Boots—Helmut Lang

Turtleneck—Kenzo Skirt—Prada

Tank—Clare Tough

Find Some Beautiful Place To Get Lost Photographer: Julien Barbès Stylist: Bianca di Blasio Art Director: Marie-Christin Stephan Models: Jean, Jeff and Jules @ Dulcedo Special Thanks to: Off The Hook Boutique

On Jean (left) Shirt—Brixton Pants—Marshall Artist Hat—Brixton Glasses—Stylist’s Own On Jules (middle) Shirt—Obey Pants—Marshall Artist Vest—Marshall Artist On Jeff (right) Shirt—Brixton Coat—Marshall Artist Pants—Marshall Artist Boots—Native Shoes Cap—Brixton

On Jean (top) Jacket—Holden Sweater—Brixton Pants—Marshall Artist Glasses—Stylist’s Own On Jules (middle) Shirt—Freshjive Pants—Marshall Artist Vest—Marshall Artist On Jeff (bottom) Shirt—Brixton Vest—Marshall Artist Pants—Marshall Artist Boots—Native Shoes Hat—Brixton

Going for Broke: Single Mothers hit the road Photos by Evan Redsky / Single Mothers

“Touring is basically a constant battle not to lose your marbles.”

Each and every summer, countless bands hit the road to play shows and peddle their music. To the uninitiated, this tends to conjure some fantastic imagery - cruising on a tour bus, playing to packed houses, being doted on by a team of roadies, staying in fancy hotels, rubbing elbows with celebs, drinking and drugging yourself cross-eyed and of course, copious amounts of hanky panky with beautiful people that adore you. Sure, it can happen… if you’re an established act or a breakout band riding a wave of hype. However, for most young bands, a ‘tour’ - especially the first one - is often a comically hellish road trip of sorts. It’s actually more akin to voluntarily going to war ill-prepared, outnumbered, short on provisions and with no ammo. Yes, it’s a choice, and it’s driven by a desire to ‘make it’ but it comes at a real cost. There’s much hardship, literal hunger, hilarious curveballs, a boat load of daily weirdness and numerous ‘are you serious?’ moments. The only way to maintain your sanity is to take solace in the thirty minutes of stage time you’re allotted each night. Then you’re left to eek out small joys over the course of the day’s other, often gruelling twenty three and a half hours. Touring is basically a constant battle not to lose your marbles.

So, what does a band’s first tour really look like? It looks something like the photos herein, taken by Single Mothers front man Drew Thomson on their recent 7 week-long, DIY booked, coast-to-coast tour of 22 U.S. states and 3 Canadian provinces. The London, Ontario band, despite being unsigned, having little touring experience and with just a single 7” to their name, decided to hit the road in their minivan on a headlining tour that often paid no more than forty dollars a gig. The premier tour of Single Mothers saw them joining local line ups often at the last minute, enduring van breakdowns, sleeping on floors, sweating their nuts off, staying with junkies, hanging out with complete strangers, being eaten alive by bugs, and bathing in the Atlantic and Pacific Oceans. By all accounts they also managed to unleash a series of feral sets in basements, kitchens and illegal venues where they played each night - picking up a heap of new fans and palpable buzz along the way. Words by Ben Pobjoy

Note Illustrated by: Catherine Wakim

Photographer: Clara Palardy Stylist: Marie-Claude Guay Hair & Make-up: Janick Sabourin Models: Konstantin @ Dulcedo Chanel @ Next Masha @ Dulcedo David @ Next Special Thanks to: Néon Boutique Archive Empire

Shirt—Naked & Famous Jacket—Adidas Jeans—Naked & Famous Tuque—Stylist’s Own

E R E H W Y E N A T HER BU

Vintage Jean Jacket—Levis Sweater—Wildfox Jeans—Insight Boots—Dr. Martens Backpack—Comme ça

Sweater—Wildfox Backpack—Jansport

Tank—The Critical Side Society Jeans—Analogy Jacket—Stylist’s Own

SNAP! 18

THE ROAD TRIP ISSUE

FALL 2012

DIRECTORY 7 For All Mankind 7forallmankind.com

Adidas

adidas.ca

Adidas Originals

adidas.com/originals

Aldo

Dolce & Gabbana dolcegabbana.com

Deus

quiksilver.com

Dr. Martens

Made for Loving

Ralph Lauren Polo

Empire

Manish Arora

Roberto Cavalli

drmartenscanada.ca

Alexander McQueen for Puma

fredperry.com

americanapparel.net

American Retro americanretro.fr

Antonio Marras antoniomarras.it

BCBG Maxazria

bcbgmaxazriagroup.com

Bench

bench.ca

Boutique Archive boutiquearchive.com

Brixton

brixton.com

Clover Canyon clovercanyon.com

Catrie

catrie.com

Clare Tough

claretough.co.uk

Coal

coalheadwear.com

Colcci

colcci.com.br

Comme ça ccommeca.ca

Denim & Supply Ralph Lauren

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Kenzo

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Native Shoes Natural Furs

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Penfield

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VSTR

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Wildfox

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Prabal Gurung

Your Eyes Lie

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Prada

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TITLE

PHOTOGRAPHER: MILA FRANOVIC

HAIR & MAKEUP: NEGAR HOOSHMAND

Business & Pleasure

We asked a few of our successful friends: What is the best work-related trip you’ve ever taken?

Marcus Troy—marcustroy.com That would have to be my recent trip to Europe with Bentley. I’ve experienced things that I will remember for the rest of my life. Our trip was about experiencing the Bentley luxury lifestyle. We stopped in Champagne to spend time with Krug, we stayed at L’Allement Hotel which is also home to a fantastic two Michelin star restaurant. We drove the Bentley Continental series around France. We stayed in castles, ate the best foods and experienced the best life. We then made our way to the UK, where we experienced the Mulsanne which is the most luxurious car of the Bentley fleet. We toured the Bentley factory and experienced how every single car is made. It was the ultimate Bentley Boy trip.

Found images from Rafael Jové

Jeff Hamada—booooooom.com The best work-related trip I took was last November, when I went to Israel. A wonderful company called Kinetis brought several art and design bloggers from around the world out there to just hang out, experience the culture, and eat amazing food. We spent every day with local artists and designers and I got to experience the country in a way I would never have been able to otherwise. We ate at one market restaurant that normally required reservations months in advance, and at the end of the meal these girls came and tin foiled our entire table. They proceeded to throw cake and spray syrup on it and then the whole restaurant clapped and cheered over the loud music while we ate the abstract art. Peter Williams—hypebeast.com The best work-related trip I’ve ever taken actually occurred earlier this summer. Every season the Levi’s design team takes an inspiration trip. For the Fall 2012 season they found inspiration in Coastal Maine and decided to invite a select group of editors, which included yours truly, to head out East to revisit the places that inspired them. Landing in Portland, we travelled North along the Atlantic Coast, over the span of 3 days, visiting storied Maine craftspeople such as China Sea Marine Trading Co, Swan Island

Blanket, Salt Water Farm, Haystack Mountain School and Marlinespike Chandlery. We sampled local delicacies such as lobster and blueberry beer along the way, while our driver Darcy gave us a taste of East Coast hospitality. Of course with a group of editors, many antics ensued each evening, especially after discovering one bed-and-breakfast had both a 24-hour pool/hot tub and an “honor bar.” As far as work trips go this one was wicked pisser (Maine slang for very good). Reanna Evoy—reannatime.com Well I did work for a travel magazine so this is right up my alley. My best trip ever is a tie between Grenada and Marfa Texas. In Grenada I stayed in an adobe grass roofed mansion on the edge of the Caribbean sea – total J.R.R. Tolkien vibes sans hobbits and dragons. I remember sipping nutmeg rum punch that literally packed a punch while taking a boat ride to a deserted beach. Even though I was there for work, the smell of tamarind and salt air was enough for me to have my own Eat, Pray, Love moment. Marfa was also incredible. That’s where I discovered the town’s “Mystery Lights” and stumbled upon a vacant PRADA store in the middle of nowhere. It was random and magical all at once. I was there for a photoshoot and the light was a perfect dusty rose. We covered the desert in pink flamingos and threw a smoke bomb party on a lonely highway. Totally normal, right? There is something very special about Texas and it truly made for the best backdrop for our zany shoot. Phillip Annand—madburyclub.com The best work trip I ever took was to a small hotel called Buena Onda in Nicaragua for a little over a week of surf inspired bliss with my good friend Foster Huntington. I’m still in the process of justifying how exactly all purposes of the trip were for work, but none the less it was the greatest experience and one of the greatest beaches I’ve ever found myself on, especially under the guise of work.


SNAP! Magazine Issue 18