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ISSUE 34 WINTER 2022

FADDY MAGAZINE’S WONDERLAND ISSUE F E AT U R I N G NAEEM KHAN & PA R K E R W I N S T O N PHOTO GRAPHER NICOLA D ORAZIO

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FOLLOW, CONTACTS Instagram: faddymagazine faddymagazine@gmail.com Facebook Page: faddymag For all inquiries please contact Candice Solomon Email: candicevalentinesolomon@gmail.com, FADDY Magazine submissions: candicevalentinesolomon@gmail.com Web Page: http://faddymag.com FADDY MAGAZINE EDITOR-IN-CHIEF & ARTISTIC DIRECTOR Candice Valentine Solomon MANAGING EDITOR Biagio De Giovanni SVP SALES AND ADVERTISING Candice Valentine Solomon candicevalentinesolomon@gmail.com JOURNALIST/WRITER Linda Arroz Anneysa Gaille EDITOR-IN-CHIEF ASSISTANT Helen Wilkey GRAPHIC DESIGN CONSULTING Robert Santoré FADDY MAGAZINE US HEADQUARTERS New York, New York +1 917-963-9473

EDITOR’S NOTE My life has grown so much as well as my craft and vision for both FADDY Magazine and myself as a creative and as the Editor in Chief. I couldn’t have done any of this without the trust and love from all the contributors. I literally pinch myself because of how far I’ve come and where I am today. A year ago my dream of having Helmut Newton, Ellen Von Unwerth and Albert Watson on FADDY Magazine covers came true. The list continues to expand as we continue to collaborate with more internationally recognized creative icons. My sincerest gratitude is endless to all of you. I am proud of the work we have all done and will continue to do. Those 80 hour weeks were not in vain. I built something that I’m truly proud of and a beautiful FADDY family that I adore to no end.

I’d like to start my opening statement for the “Wonderland Issue” with this beautiful quote about wonder:

“Wonder is the beginning of wisdom” ~Socrates

As you all know, the past two years have been both difficult yet filled with great lessons and incredible strides for many of us in the arts and creative community. I’d like to think FADDY Magazine has brought us together and also created a stronger creative community, globally. I know for myself the last couple of years have been filled with miracles on all levels. Especially my relationships with everyone who contributes to FADDY Magazine. It’s an honor and privilege to finally have the iconic Naeem Khan grace my cover. “Naeem thank you for two of the most glorious days of shooting feature and your cover with Nicola D Orazio with our lovely cover girl Parker Winston. I especially enjoyed having the opportunity to style, creative direct and privilege of shooting on location in Naeem’s glorious home in New York City.

I am dedicating this issue to the “beauty of wonder” because without wonder we would not awaken the child within and nor would we have the curiosity to create. I would also like to give a very warm thank you to the iconic and legendary Patricia Field for her beautiful contribution to this issue. If anyone understands wonder and the child within its Patricia Field. I would also like to congratulate her on her beautiful work for the Netflix series Emily in Paris. I would also like to wish Patricia an early happy birthday. February 12th is indeed a day of celebration. I could go on and on, but I’ll let the issue tell you the story and with no further ado I welcome you to FADDY Magazines “Wonderland Issue” and all the contributors who made this issue magical. Have a Happy New Year and a wonderful 2022, and remember to keep the child alive inside and continue to be inspired and create.

Ooxx

Candice Solomon Editor in Chief Faddy Magazine

CANDICE SOLOMON Editor In Chief, Artistic Director

Candice Solomon has an accomplished and impeccable reputation

Candice Solomon a native New Yorker,

industry as the “go to girl” for “anything and everything” from sourc-

resides in Manhattan.

ing incredible location for editorial photo shoots, engaging with and

in the world of fashion. Candice is renown throughout the fashion

securing the worlds best and acclaimed photographers, stylists, Candice is a world traveler and the

award winning hair and makeup professionals to securing multi-mil-

quintessential Native New Yorker. She

lion dollar apparel pulls for promotions and presentation, as well as

is a highly successful female entrepre-

working with an inclusive, multidimensional pool of talent as models.

neur running the operations, “day-today” and strategic business offerings in

She is passionate and a life-long supporter of the LGBT Community,

the highly competitive and ever-changing landscape of the fashion

Trans Lives and mentor to many talented young people who have

industry. She is an award winning bridal and evening wear designer

become incredibly successful under her guidance.

noted for her international and celebrity red carpet patrons. Candice is the owner of a boutique consultancy/agency in New York City focusing on optimizing strategic placement, strategy and trend management for a broad cross section and inclusive segment of the fashion industry. She also operates a highly successful e-commerce showroom servicing blue ribbon customers globally. She is Editor-in-Chief and Artistic Director for FADDY Magazine and the Sr. Vice President of Sales & Advertising.

LINDA ARROZ - Writer

Linda Arroz is a writer based in California. Words are her currency. The first plus sized spokes model to get a contract with a major brand, Spiegel Catalog, Arroz’ career spans the evolution of her skill sets. Her portfolio of work has always been a voice of inclusivity. Co-author of “Affordable Couture,” Arroz’ experience includes working as an apparel firm marketing director, magazine editor, fashion stylist, and TV personality, producing hundreds of morning television makeovers. Her consulting firm, Makeover Media, continues to advise clients on a range of issues and opportunities. Acting as a cultural anthropologist, she puts the past into perspective in order to manifest the future. Arroz is currently writing a memoir of her years working on the assembly line at General Motors.

ANNEYSA GAILLE - Writer

Anneysa Gaille is a poet, educator, and journalist based in New York City. In 2018 her chapbook, No Such Thing As, was published by the Center for the Study of Gender and Sexuality at the University of Chicago. She is currently an adjunct lecturer in the English Department of Brooklyn College. Gaille also serves as the poetry and visual arts editor for the Brooklyn Review.

HELEN WILKEY - Assistant to Senior Fashion Editor

Helen Wilkey spent her first two years out of The University of Chicago working in talent, most recently at Paradigm Talent Agency. Ready to explore realms beyond her desk, Helen looked to fashion for hands-on production experience. She is now assisting on shoots in and around New York City.

Table of contents

THINGS PATRICIA 144 ALL E X C L U S I V E I N T E RV I E W B Y A N N E Y S A G A I L L E

128 FREDDY KOH: EXSEXXX 8

182 FEATURED ARTIST: ROBERT SANTORE

STORY: NAEEM KAHN 10 COVER E X C L U S I V E I N T E RV I E W B Y L I N D A A R R

RO Z

92 CRISTOPH MICHAELIS 84 STEFANIE RENOMA

112 RUBIN CAMPOS

54 INSIDE COVER: GREG KADEL 9

NAEEM KAHN EXCLUSIVE I N T E RV I E W B Y L I N D A A R RO Z

Is there a thrill of designing for individual bodies? The reality of the women we dress, the woman who really wears my clothes is not a fashion model. She may be voluptuous, but she is a normal woman. Designing clothing for women takes a bit of an understanding, because the normal woman in Japan is different from the normal woman in Texas or Los Angeles How do you design for the world? It comes with many years of experience. It’s like being both scientist and engineer. You must understand the body and know the nature of various materials and what they can do. There you were, a teenager in the middle of such an exciting time in the history of New York fashion scene, working with Halston. Looking back on that moment, how were you able to focus on the work when you were surrounded by the decadence of the era? It was the love of my mother and heroes like my father and grandfather which kept me in place. As I grew up, I studied myself and wondered why I didn’t go the route of getting involved with drugs or hanging out with the wrong people. Even though I was very young and tempted, I did not want to become a black dot on my family. To hear them say, “we put him in the right place, and he was a failure,” ensured there was no failure for me. You designed a gown for Michele Obama with two weeks’ notice. Please tell us how that went down behind the scenes. That was the opportunity of a lifetime. When I got the phone call the White House wanted me to design a dress for Michelle Obama, I totally panicked, because two weeks in my world is nothing. Everything must be done by hand.

When I first started working in fashion, I was a kid. I was working for Warhol, and we used to hang out and draw poppies together, making flowers for Halston’s clothes. Inspired by Andy Warhol’s poppies, I drew the embroidery and designed a textile which had this history for me. As I sent it to my factory, I remembered that in my grandfathers’ time there was a technique for making sequins of pure gold and silver. Imagine taking a gold wire and twisting it in a circle around a nail, removing the nail, and then hammering the round wire to flatten it into a sequin. That technique and the noise: the tick, tock, tock, tock, has been in my head since I saw my grandfather do it when I was five years old.

I’m inspired by places that have history and culture. What I take from countries is their history, and how history changes food, how history changes fashion, how history changes art. When cultures meet, new things come to life. You’re a wonderful chef and fabulous host. If there was an impromptu dinner, what would we eat? This week I’m having a few people over for dinner at home. It’s going to be a festive Indian evening, but with things like caviar served in the style of street food. Taking the simplest of street food and making it super luxurious, that’s the dichotomy, whether it be food or fashion. It’s how we put it all together that makes it interesting.

I wanted those Andy Warhol flowers to be created in that same technique. These handmade sequins were sewn onto the Andy Warhol inspired flowers on flesh colored tulle. Over a hundred people worked on it. It was sent back in a week. But there was a problem. The White House did not want to provide the First Lady’s measurements, for her privacy. I created a corset that could be several sizes, it could overlap or be let out. Then I constructed a wired, strapless dress on top of the corset. It was all done on the bias cut, so the fabric could move and stretch in different ways. Even the tulle had a bit of stretch to it. This dress could be a size four or a size 10! It fit her like a glove. I know that two other designers were also asked to make a dress, but I had to win. I won! Is there a location on the planet that continues to inspire you? I love going to places where there is no fear of color. Where this is no fear of gold on green or adding a layer of purple on something. Creative Director, Styling & Producer, Editor In Chief Candice Solomon. All gowns, shoes & accessories by Naeem Khan. For inquires naeemkhan.com Turbans by G: @maisonmilamalou

Yellow embellished caftan & accessories by Naeem Khan. For inquires naeemkhan.com 12

I T A LY

M A G A Z I N E

GREG KADEL BIO Greg Kadel is a US born fashion photographer and film-

Greg Kadel’s images have appeared in publications in-

maker based in New York. Born and raised in Pennsylva-

cluding 10 Magazine, Allure, AnOther Magazine, GQ,

nia, Kadel initially moved to Long Island to study marine

Details, The Face, Glamour Italy, GQ, Harper’s Bazaar,

biology and fine art. Upon completion of his studies,

The Hunger, i-D, Industrie, Instyle, King Kong, Let’s Panic,

he shifted his focus to his passion for photography. His

Li, Marie Claire, Nero Magazine, Numero, Numero Hom-

images have been described as “classic with a modern

me, Telegraph, V, Visionaire, Vogue, Vogue Arabia, Vogue Australia, Vogue Brazil, Vogue China, Vogue Espana, Vogue Germany, Vogue Italia, Vogue L’uomo, Vogue Nippon, Vogue Paris, Vogue Russia, Vogue U.K., and W Korea.

His advertising clients include Amazon Fashion, Anna Sui, Ann Taylor, Aussie, Aveda, Avon, Bath and Body Works, BCBG, Bebe, Bergdorf Goodman, Biotherm, Bloomingdales, Brogan Tennyson, Carolina Hererra, Caroll, Chantelle, CHNY, Christian Dior, Clarins, Diane Von Furstenburg, Elie Tahari, Emaar, Express, F Shoot, Fabletics, Fekkai, FolliFollie, Free People, Georges Rech, Guilty Brotherhood, Hermes, H&M, IBlues, Inhouse & Partners, J Crew, Jaspal, Jil Sander, John Richmond, John Varvatos, Juicy Couture, Koradior, La Perla, La Senza, Lancome, Loewe, Longchamp, Louis Vuitton, L’Oreal, Macy’s, Marc Fisher, Max Mara, Maybelline, Miami Design District, Michael Kors, Mother Denim, Neiman Marcus, Nexxus, Nogood Industry, NY&Co, One & Only, Oscar De La Renta, Outnet, Passionata, Perry Ellis, Plein Sud, Redken, Reebok, Saks Fifth Avenue, Salvatore Ferragamo, Selena Gomez Fragrance, Sephora, Shiseido, Snap Inc., Stuart Weitzman, Swarovski, Talbots, Valentino, Vera Wang, Vichy, Victoflair” and he is respected for his unique ability to bring

ria’s Secret, Vince Camuto, Wella, WHBM, and Wild Aid.

the best out of his subjects. He currently spends his time working between New York, Paris, and Los Angeles.

S T E FA N I E R E N O M A

Necklace: Holi Editions Dress: Seyit Ares Boots: Collini Milano

PAT R I C I A F I E L D EXCLUSIVE I N T E RV I E W BY ANNEYSA GAILLE

Anneysa Gaille: In the past, you’ve said that “if you recognize your essence and play it up, it works. You can’t go against your nature, that’s when you make mistakes.” How did your childhood in New York shape your essence? Are there any moments that were defining for you in regard to recognizing your own essence? Patricia Field: My childhood in New York created my essence. It was my whole experience. I was born in Manhattan. My grandmother and family lived in Astoria. I used to go back and forth from our apartment in Manhattan to Astoria. I had three single, younger aunts who were very much in my life as a kid in addition to my mom. I grew up positively and normally. AG: Something that has always intrigued me about costume design is the integral role it plays in character development because, as you have said, “costume design… isn’t about selling clothes, it’s about telling a story.” How has your personal life story affected your understanding of such an endeavor? PF: I found it very interesting when I entered the world of costume design at some point in the mid-eighties. It was an adjunct to my experience as a fashion shop owner. It was another step out there, another way of expression. I really did enjoy it because it was a new dimension for me. As we’ve said, costume design is not about selling clothes. Costume design is about selling a character. The components of that are the actor who portrays the character and the script, which is foremost because we are all revolving around that script creatively. But it’s very important to get to know the actor.

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After all, the actor is who’s portraying the character in front of the camera. AG: Has how you approach developing the style of a character changed—or perhaps not changed— over the years as you have grown personally and professionally? PF: I learned that actors need to be comfortable. They need to feel positive about the way they look because that helps them to assume this fictitious character. So, getting to know the actor is an important step for developing the style of a character since it’s the actor who’s in front of the camera. It’s not in any way a dictatorial job. Aside from being artistically creative, it’s a bit psychological as well because you have to develop a relationship with the actor so that they trust you. Once that trust is established, they have confidence in you and it’s basically smooth sailing. AG: I love that you bring up this image of motion because it reminds me of how you are known for using costume design as a means by which one can be elevated. Could you elaborate on this stance? PF: Yes—I’ve been told or read things written about how I elevate reality with costume design. However, in my mind, brain, and heart, I love to elevate regardless of whether it’s in costume design or in my shop. It’s an elevation and it gives another dimension to what is being experienced. The idea of elevation is second nature to me. AG: I’m glad you brought up your shop because I’d like to talk about your eponymous boutique that opened in 1966 and became a fashion landmark. What

made you want to open a boutique and how has working in retail influenced you creatively? PF: For me, going into fashion retail was a natural progression when I graduated from NYU, where I had studied liberal arts. I definitely enjoyed it, but I didn’t see myself in some academic or corporate situation. I was always very creative, and fashion came easy to me. I learned early on to do what’s easy for you. Don’t go against gravity— go with the flow, your natural flow. This took me into fashion retail. And as a kid, I was exposed to business experience with my mom, who was in the dry-cleaning business; even though I was a child, I played an active role in her business. Because of this early exposure, business was also something that came fairly naturally to me. So, it was about combining the two and creating a career out of these experiences. AG: In another interview, you described your approach to your life and career path as being organic, like “sitting by the seashore” when “a wave comes in” with “a little pearl” that you then take. You also asserted that “this happens all of the time if you open your eyes.” Can you elaborate on the meaning of this? PF: It’s an analogy of looking for the warmth and the shine of the sun, for being optimistic. People enjoy what I deliver in that sense. It’s not strict reality. It’s more of a blend. It becomes more interesting that way and much more enjoyable. I take it very personally. It’s definitely the way I interpret my work. It was the same in my shop. My shop was unique: people came from everywhere as it became well-known. It’s about the fantasy and fun of the fashion experience.

STUDMUFFIN NYC vest NAMARA sweater AMERICAN APPAREL pants MANOLO BLAHNIK heels ERICKSON BEAMON necklaces

DAVID DALRYMPLE leather jacket DAVID DALRYMPLE sequin boy shorts JOHN ASHFORD red over-the-knee boots PATRICIA FIELD t-shirt ERICKSON BEAMON earrings and necklaces

AG: You once described your shop as a daytime club. How would you describe your personal and creative relationship with New York’s club scene?

and then Myra started working in the shop. Based on the people that we knew and some of the ball kids, we got into it and that’s when the House of Field was born

PF: It was like a salad: one enhanced the other, and one influenced the other as well.

AG: That’s wonderful. Can you talk about its further development?

The club scene at the time was much more active and fashion oriented than today. So, they went hand in hand, whether it was entertainers who frequented my shop, club goers, or just an assortment of other people. It definitely had that feeling of a club by day—especially since the people that I hired in my shop were creatives who were unique individuals. They provided inspiration to the people who came in because it was like no other typical boutique shop. It was, as people call it, an experience AG: Talking about your store inevitably brings to mind House of Field. Can you describe what inspired House of Field? PF: The House of Field had a fairly long history with me when I initially moved my first little shop from NYU’s campus to 8th Street. One of my clients was from Singapore; he was a trans dresser. He invited me to go to a ball up in Harlem and said, “come late, come very late”; I said, “fine, no problem.” I went there around two or three in the morning, but nothing really started until four or five That was my first experience in the ball scene; this is what started my House of Field idea. Then, I employed a young woman by the name of Myra Lewis, who recently did a documentary film on the ball scene. It was screened at the SVA theater on 23rd Street. It was a full house, and I was really happy for Myra because she put a lot of work into this and she was great in my store as well So, I knew about the ball scene

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PF: We held a few balls; one was right near here on Grand Street at an event space that we rented. It was my idea to bring the fashion world into the ball scene. For example, I invited Marc Jacobs. Vogue was there. It was quite an event. To me, though that was not our only ball, it was the epitome of the balls that we did under the name House of Field. AG: I really admire how you have embodied the intersections of art, culture, and fashion throughout your career. Now, you’re working on Art Fashion. How was it generated PF: Five or six years ago, I had a property and a store on the Bowery. I bought it when the Bowery was not so chic, but in the years that went on, it became a chic place. I was constantly being approached to sell it, but I never took any of those offers seriously. Then one day I was in my office on the Bowery and I realized that I’d been doing a retail store for close to 50 years. And I said, “this is crazy. I’m going to sell it. I have a very good asset here. I’m going to do it. I’ve had a store for too long.” So, I sold it and had to ask myself about what I was going to do next. Throughout the years, many artists had their work in my store— whether it was a painted canvas or a painted t-shirt—and there was always a core of artists who were in the store. Since I had sold my store but was not ready to do nothing, I thought about doing a little art gallery where I could bring those artists and designers. That was the idea, and I took three of my people from the store

to work at this art gallery with me. At this point, we’ve exhibited down in Miami for Art Basel and other places. However, my gallery is a permanent installation. It consists of artists that paint on clothing, which is something that I feel as though I originally started. It was original at the time. So, it kept me in touch with what I wanted to be in touch with, but it was much less responsibility. A retail shop—especially mine, which was so diverse—is a lot of work: it’s staff; it’s shopping; it’s everything that goes into it. Lately I’ve been going to the gallery on a daily basis because I decided that I needed a rest upon returning from Paris after the second season of Emily in Paris, which I did the costume for. So, I’ve been a part of it more than before when I was just going from one TV show after another. My gallery has been perfect for this: I just walk into my gallery right around the corner. Film and TV are demanding, as is having a full-on retail store. And it’s not that I didn’t enjoy every minute of it—I was just ready for something a little bit less extra. AG: It sounds very intense. How have you been able to navigate those different worlds and find balance for so long? PF: When I started with TV, it was in the mid-eighties; at that point, I had been doing my shop since the mid-sixties. So, when the opportunity came to me to do the costumes for a film on the recommendation of my very good friend Candy Pratts Price, it was something new. She was involved in a film starring Diane Lane called Lady Beware, and the director asked her for a recommendation for someone to do the costumes. Then she called me and said, “I’m in Pittsburgh. You want to come here and do costumes?” I had never done it before. So, I said, “sure!”

IMITATION OF CHRIST blue dress PATRICIA FIELD X SEYMOURE blue fingerless leather gloves ERICKSON BEAMON necklaces and ear cuff MADLY MADE “choke” necklace IMITATION OF CHRIST lace dress PATRICIA FIELD VINTAGE ruffle top ERICKSON BEAMON earrings and cuff MADLY MADE chain ring

“PÃPƏL NUNCIO” | 60in” x 276in” (152.4cm” x 701.04cm) | Oil, oil stick, military & industrial enamels, aluminum shapes on birch panel with micro-layer clay ground. 206

IG: @RobertSantoreArt | RobertSantore.com 207

IG: @RobertSantoreArt | RobertSantore.com 209

FITS & STARTS “JELLYFISH” shape realized in corten steel at monumental size located on site at the Texas studio 210