Issue 3

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FU TURECL AW - ISSUE 3 It’s summer, and everybody wants to go on vacation. Of course, with the economy in the epic failure it’s in, no one can actually afford a real life vacation. So, instead, we’ ll bring memories of a vacation to you. In this issue, FutureClaw takes you to London, Paris, Tokyo, New York, Egypt, Spain, Australia, and even outer space. Using the latest in photographic technology - we call it the “ego trip” - you’ ll become the ruler of a lost kingdom, explore Daido Moriyama’s world, confront personality clans, take a soft romantic walk, lead a revolution, and so on. The strongest memories are built upon surprise, and hopefully these images will be defining moments for you, as they are for us.

Meanwhile, Vermont will alway remain an interesting place in the world. We love the Combat Paper guys, and we’re proud to present their works here.

An additional goal for this issue is to form a core FutureClaw style, and so we’ve expanded our coverage of the de-

signers we find agreeable. We’ve been working hard on this issue, but now it’s time to relax, and take a vacation.

Enjoy.

EDITOR-IN-CHIEF Bobby Mozumder SENIOR EDITOR Andrew Stock US FASHION EDITOR Julie Bobek EUROPEAN FASHION EDITOR Maria Giraldo Bombin LONDON FASHION DIRECTOR Jem Goulding ASSOCIATE FASHION EDITOR Talia Fittante STAFF PHOTOGRAPHER Zinnia Mozumder ART DIRECTION FutureClaw Studios COPY EDITOR Julie Epstein ASSISTANTS Chris Russell Omar Mozumder

FRONT COVER Photography RJ Shaughnessy Fashion Stylist Jem Goulding Model Josh Beech wearing Raf Simmons top BACK COVER Combat Paper Installation HEADQUARTERS FutureClaw Magazine 113 Church St. Burlington, VT 05401 Ph. +1 802 922 9380 Ph. +1 800 320 9299 GENERAL INQUIRIES info@futureclaw.com SUBSCRIPTIONS subscriptions@futureclaw.com ADVERTISING advertising@futureclaw.com © 2009 FutureClaw LLC & Respective Copyrightholders.

No part of this magazine may be reproduced without written permission from content holders.

-Bobby Mozumder

CONTRIBUTORS Nicholas Routzen, RJ Shaugnessey, Elena Mussa, Yeikov Bermudez, Michael Preis, Ernesto Aquino, Vespa Goodarz, Daniele Marino, Verena Gralert, Emma Tempest, Ben Rayner, Manuele Geromini, Laura Villa Baroncelli, Dima Hohlov, Gisel Florez, Willem Jaspert, Combat Paper Project, Dakota Kim, Dale Donaldson, Tent City, Richard Gill, Kathy Grayson, Chris Johanson, Tavis George, and Sean Sullivan.

THANKS TO Ford Models, Elite Models, Marilyn Agency, Red NYC, DNA Models, Muse Management, Drew Cameron, Eli Wright, Jon Turner, Amanda Sanfilippo, Burlington City Arts, Paul Damon & Tommy Wheeler, Kathy Grayson, Max Gustashaw, Meg Zanke, Eldelgadobuil.com y josepabril.com, Sandra Backlund and Andreas from Ibeyo Studio, Marietta Vazquez from IFEMA International Press Office, IMG World, Sandrine Briere, Minerva Arboleya, Deborah Huges, Eugenia Gonzalez Ruiz-Olioqui, Saba Ebrahami, Myra Joloya, Simone Poggi, The Microchip, and Vfunct.

Find FutureClaw on Facebook, Twitter, and Myspace. http://www.facebook.com/futureclaw http://www.twitter.com/futureclaw http://www.myspace.com/futureclaw

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PR ET T Y T H I NG S 4

Cirque de Beauté blooms, revealing face deco by Sarra Abou-El-Haj

FA SH ION STOR I E S 48

All the Kings Gold lures the nouveau men’s silhouette over ancient Egypt by RJ Shaugnessey.

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Now You See Me if you let Nicholas Routzen remove the veil from your eyes.

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Headonistic up-to-date historic millinery with Londoner Justin Smith

30

Cat Stevens pictures reveal how to be never naked, just twenty-four-seven-perfumedressed in a Week of Wonders.

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When hair is a statement, or when hair is a state of a Voodoo Child’s mind, by Emma Tempest

A walk on the romantically aggressive side accompanied by stylist Erin Walsh and photographer Dima Hohlov in Le 14 Julliet

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Celebrate the National Ignitiion Facility’s first shots of its 192 lasers in a Heist of exquisite wearable jewelry photographed

by Gisel Florez

Stylist Naoko Watanabe and photographer Masaya Takagi follows model Sachi Kawamati into the dazing labyrinth of Tokyo’s World in Color.

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“What are you looking at?” says the Tough Talker by Laura Villa Baroncelli and Stylist Yang Hartano

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No need to talk with Sugar on my Tongue wordless coutoure by photographer Willem Jaspert and stylist Santi Rodriguez

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Cross the frontier of reality into the fashion landscape’s Surrealista guided by photographer Manulle Geromini.

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It’s summertime, so dive into splashing colors in I Am What I See with photographer Michael Preis

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No sense in offering resistance, let yourself be poisoned with Poison Ivy by Emma Tempest

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138

Photographer Nicholas Routzen lights up Cintia Dicker On a Dark Light.

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Sid the Kid confronts London head on by photographer Ben Rayner

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Never fade, never get lost in the daze, but disappear into The Street Parade by Brendan and Brendan.

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A new world awaits you in the outer colonies of The New Clans of the Alphane Moon, by Bobby Mozumder, artist Rob Shields, and stylist Elena Mussa.

WRITINGS ON THE WALL 14

Fashion-in-advance worldwide, spotted by our Fashion Editors. Walk along.

166

Question our questionable art from leading national and Vermont artists in FC Group Show

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Iraq war veterans somehow turn their military uniforms into paper to create stunning works of art in the Combat Paper project

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Talk about our favorite musicians this season: Lissy Trullie, Au Revoir Simone, and Findlay Brown.

Cirque de BeautĂŠ Photography Sarra Fleur Abou-El-Haj Hair Tyler Laswell for Tresseme @ Contact NYC Makeup Shawnelle Prestidge for MAC @ Bernstein + Andriulli Models Elyse and Letecia @ Ford Models

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Z E RO +M A R I A C OR N EJO

WORDS & PHOTOS by BOBBY MOZUMDER Maria Cornejo is a FutureClaw favorite. There is an abstraction to her cuts and patterns that conveys her nihilism and search for meaning. The best-of-the-season music tracked the industrialism and modernism in her Fall 2009 show as well, with some fast-paced funk energy thrown in the end. Of course, with a brand named Zero, there’s going to be a lot of monochrome, and sure enough black is everywhere. The designer does drop an occasional color to spice up her forms, but her sleek, futuristic cuts are the stars here.

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TON I M AT IC E VSK I

WORDS by JULIE BOBEK / PHOTOS by BOBBY MOZUMDER “So if you leave with nothing more than a feeling, a memory, or an image of something you can’t describe except being and seeing something you thought beautiful and brought a faint hope, a shiver, even a tear then you have been inspired by what I have.” The quote’s from Toni Maticevski’s Fall 2009 run of show. I had the pleasure of meeting him the following morning at Hotel Rogers in New York City. One of the most popular designers in the Australian fashion industry, he is known for tucking, twisting, and mixing different textures and fabrics into fascinating garments. Toni took the current economic state as a challenge and elevated his dressmaking skills to a successful fall collection.

What was your thought process behind this season’s collections? It sort of just happened. I had a month and half to get it together. So, I had all these fabrics that I was going to throw away.

I had them all laid out. After playing with them, they actually all worked together. No one has seen these fabrics. I enjoyed mixing all fabrics and seeing how far I can take these textures.

What kind of fabrics/textures you used? There’s a lot sequins and beading which are new to me. I incorporated different elements this season. I normally do really soft fabrics like the petal gown in the first part through the collection. I used a lot of different wools, snakeskin fabrics with flecks. I tried to mix as much into it including fur and feathers.

What colors were strong in your collection? The colors were predominately about two colors which was lilacs/purples and rusty orange. The rest of it was basic chocolate and blacks. Then I anchored it with light neutrals. I tried to stay away from too many colors. I wanted to play with the tonal color palette.

What kind of silhouettes were the focus for this collection?

Some shapes were quite 40’s in suits, hats, cocktail sequins dresses and others not. I don’t know how to describe it. I didn’t really think about it.

The shoes were really interesting. Did you design the shoes?

Yes. I wanted to mix fierce, scary and aggressiveness and put it with pretty and feminine things. I mixed thick, dark, heavy “shark tooth” heels with decorated silk flowers and beaded trims on the ankles. It’s the whole the contrast of mixing ugly and pretty.

You were named Designer Of The Year in the 2008 International Design Awards (an American organization that exists to celebrate the world’s most visionary designers, discovering new emerging talent and to promote the appreciation of design worldwide). How does it feel to win an international fashion design award? It’s exciting, lovely.

What did you submit in order to achieve this award? I submitted images from Spring/Summer 2009 collection. Winners will

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have their work printed in an art book that is developed by the organization and sold in several stores/museums.

When did you start sewing/constructing a fabric? I think I was about 12-13 years old when I made my first piece of clothing which was really ugly. It was an evening skirt... It was this fabric, this weird orange jersey that I found at school. Oh... I thought it was pretty. Now I look at it as revolting. I finally just threw it away.

Some things people don’t need to see.

Any new goals you would like to attain this year? Still be do-

ing what I like doing... it would be really nice.

Are you going to venture into Menswear or Fragrances? The

door is open for other ideas. I kind of like NOT knowing that is a bit more interesting.

What would you like to do in the next 5 years? “Never think about it... If I think about 3 months ago then it would be a waste of time.

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DUC K I E BROW N

WORDS by JULIE BOBEK / PHOTOS by BOBBY MOZUMDER “How Duckie can you get?” asks Daniel Silver and Steven Cox in their fall fashion invitation. This fall’s collection was all about optimism, as the bright orange gives your mood a positive boost. A major highlight of the show was the beautiful new fabrics that the designers created through collaboration with their textile mills. The waxed pants, coats and gloves deliver a smooth and comforting feel through their slippery, slightly sheened surface. From a distance, a handquilted jacket looks as if it would be heavy and uncomfortable, but one touch of the fabric reveals an airy lightness that seems positively futuristic. Additionally, functional elements, such as pants with knee pads and classic herringbone suits, kept the collection grounded. After watching their group cheerfully toast the collection backstage shortly before it would be revealed at Bryant Park, I was able to ask Daniel and Steven a few questions.

Describe this year’s fall collection to me? - Steven - It’s all about the eyes. - Daniel - All about covering up. It’s coats, jackets, hats, gloves and big scarves. It’s durable fabrication. It’s about survival and mostly optimism!

What colors are you showing in this season’s collection? - Steven Black, orange, brown camel and all shades of grey.

You don’t show any fantasy pieces? - Steven - No. Everything we show we sell. - Daniel - Yes. Everything we show you can wear. The fantasy part is up to you.

What new fabrics have you developed? - Steven - We have developed a lot of fabrics. A technical fabric has been created. It’s very durable and yet has a hand made feel to it. It’s a heavy woven like You have been in the fashion industry for more than 20 years. a tough basket weave. The fabrics are thicker than usual. We have Where do you see fashion moving toward with the current econoused coating fabrics for jackets and trouser. It’s very stiff and has my? - Daniel - Fashion will always survive... Fashion is patient. It’s an armour like feeling. Many pieces are molded yet tailored. A about what people are thinking and feeling and always changing. sculptural feeling. - Daniel - heavy wax cotton.

- Steven - Fashion will become more interesting. You will have to be really good and creative to survive.

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You manufacture your collection locally and internationally. How can you influence other designers to follow your directions? - Steven - That is up to them. - Daniel - Yes, that is up to them. You have to feel a sense of responsibility for the city and or country that you live in. and it’s about giving back. That is not something that is taught. That is something you have or don’t have.”

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MICHA EL BASTIAN

WORDS by JULIE BOBEK / PHOTOS by BOBBY MOZUMDER Let’s take a road trip with Michael Bastian? Arriving about 4 hours before the start of his Fall 2009 event, I was greeted with a friendly staff and warm-hearted Michael Bastian. This season’s was a big hit for the true Americans. Brotherhood at its best during a time of need! The stage was set a road with light posts, hills, turns all enhanced the theme in this season’s collection, “On the Road”. Lighting and sound were on cue to the green light. The sportswear collection was filled with layered jackets, sweaters, shirts and pants in classic colors. An array of styles from a camouflage hunter, free spirited musician to a preppy businessman. All of this leading to a strong American vibe with a sense of love, and being nominated for the 2009 CFDA Men’s Wear Designer Award.

As I understand it, you are sharing a space with Charles Nolan. Would you explain to me how this occurred? It’s that amazing. Charles Nolan is a friend of Kevin who is our producer of our show. With our limited budget as a young designer, Charles offered us a space. Charles Nolan designs women’s collection. He’s not doing men’s. So there is not real competition. We are in the spirit of helping each other in this rough time. I couldn’t be more grateful.

Explain your fashion presentation/event? We do a really interesting thing? I use to be at Bergdorf Goodman for 5 years as Men’s Fashion Director and I went to a million shows and presentations.

Presentations always felt a little weird when models are just standing because they are live people. No one wants to go up and start pulling on the clothes. Men’s is so much about the details. With runway shows there is always that drama about seating. We decided to combine the two. So, you have the movement like a runway show but no seating problems. People can come and have a drink.

We run the show 3 times. It’s a lot more for friendly for the editors

and buyers. It worked for us the first time and we really like this.

It’s kind of like a party.

What is your theme for the collection? Do you know the book, “One the Road.”? By Jack Kerouac? They recently released an original scroll of “On the Road.” And you realize when you are in high school reading it that it was presented as a book of fiction. It’s really a biography of Jack Kerouac and friends. It got me thinking about the era of hitch hiking. There’s a time when people would hitch hike. These guys had no money and it was nothing to say about it. They decided to go to Colorado. There’s a spirit of brotherhood. No one really hitch hikes anymore. It started there and then it morphed into (movie) “My Own Private Idaho”. There’s a beautiful poem by Walt Whitman, “I give you my love more precious than money.” I think that’s something important to remember now. We all are broke now. It’s a hard time.

We still have something to give each other. The overall theme is a real spirit of brotherhood that is going to get us all out of this.

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What key items or silhouette are for fall? A skinny bottom and lots of layers. It’s a response to this weird climate we live in now. You leave your apartment and need to layer to adjust to the weather. We need to have the ability to take things on and off.

Describe your customer? Well, I started thinking he was a guy like me. He lived in the city. He valued beautiful tailoring. All made in Italy, yet really American sportswear with quality at a luxury level. He has an American vibe but value luxury. But actually my customer is between 30-50 years old, introverted, introspective.

Details are on the inside. Beautiful tailored pieces.

What are the secret or key items to look for in your collection? Like I was telling you, that brotherhood is what is going to get us through this. I have a few pieces that have the poem by Walt Whitman embroidered on the belt and scarf. There’s a glove with palm-of-heart embroidery. Little things like that give a gift to express himself.

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S A N DR A BAC K LU N D WORDS by MARIA GIRALDO BOMBIN / PHOTOS courtesy SANDRA BACKLUND Deeper beyond fashion, way above seasons and further than trends, that is the exact location for the work of Sandra Backlund. Like masterpieces, her work does not need to come with a context, it does not have a WHY, it does not need to be explained, no need to be justified, no need to be coherent, no need to be a slave of the seasoned frame industry.

At the beginning of her career, she was awarded with prizes sponsored by Topshop or H&M but she wanted a slow life and believed in slow fashion. She founded her own company in 2004.

“It is just me in my studio in Stockholm, but my family, friends and press office help me a lot”. She collaborates punctually with partners, such as Emilio Pucci or Louis Vuitton.

To what extend do you need or take advantage of the fashion world? I don´t like the way mass production, mass consumption and making fast and big money is poisoning modern fashion. I think we all have to start taking responsibility for our actions in this matter, but of course I am aware of the fact that it will be imposible for me to continue to do everything by myself and by hand forever. I already work too hard for my own best, so there is no way I can develop my collections if I don´t find a way to solve the production problem. I was recently introduced to Italian knitwear producer, Maglificio Miles (producer of

Alaia, Rykiel, etc.) by the White Club, a non-profit organisation based in Milano which works to connect new designers with producers in Italy. We have just carried out our first collaboration (pictured above). A test that has been very successful and I hope that it will soon be possible for me to combine my hand made one-off pieces with machine made pieces, within the same collection.

How many collections do you launch per year? How many pieces do you need to consider a collection complete? It could be one? Ever since the beginning I have been doing two collections per year, one for Fall/Winter and one for Spring/Summer.

A collection is not completed by just a specific number of garments, it differs a lot and this is also one important reason why

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I need to find help for production. Now when I do about 10 pieces per collection, I already work all the time. It is frustrating because I often feel like I am wasting ideas because there is no time to allow my collections to grow bigger. Regarding your question if one garment could complete a collection I would say no, but of course it could be possible to build a collection from only one garment. I could use it as a starting point for other clothes, it depends how you see it…

Greater artists have always built their world bounded to an obsession? What is Sandra Backlund’s one? Except for the obvious, the handicraft techniques and the materials I work with. I am really fascinated by all the ways you can highlight, distort and transform the natural silhouette with clothes and accessories. I like

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to consciously dress and undress parts of the body. I am really introverted and lock myself in my studio when working, so in that sense I guess I find inspiration from everything that is going on in my own life both private, as a designer and as a founder of my own company.

I guess a different piece takes a different amount of time, but you could give us an approximately idea of how time demanding you pieces are? As you already guessed, it differs a lot depending on the piece and my current health/strength but for the most complicated pieces, could be up to 400 hours.

She avoids the main fashion weeks, while her collections are exhibited in galleries around the globe. Sandra has also taught at the Arts of Fashion Foundation as a master on knitting structures. Her public confessor is the cultural guru, Diane Pernet, from a “Shaded View on Fashion”. She invited Sandra to the runway of Hyers Festival 2006, where she received the grand prix from Christian Lacroix.

You say fashion is a democratic form of art? It is in a way because you can express yourself but it is also a very “classifying way”, specially when you make sure you wear pieces not everybody could afford. So, do you think democracy applies the Luxury Brands as well as to your not-so-easy-accessible pieces? Personally I like to think of fashion as an art form rather than an industry. I consider fashion a democratic form of art in the sense of something that most of us do relate to in our everyday life.

People in general could of course be more self governed when it comes to fashion, but even if you do not think about it or actually care about it, the choices you make on what you wear is still an expression for something. It can be a personal or political statement, a way to become someone else or to blend in and look like everyone else or just because of aesthetical reasons. My designs are very personal for me and they are not made with the purpose to please everyone. Both the aesthetics and the fact that it is all hand made by me and often made from high quality materials, makes it not at all commercial. Actually I try not to think so much about trends, wearability and what other people wants from me when I design my collections, in the end I do this mostly to satisfy myself.

On the contrary to other designers, she creates from nothing, no cloth or surface on which to print or cut. It is just her yarns and needles. Some of her pieces must be complicatedly assembled right on the body before shows. Sandra has investigated with different materials, wood, hair but she seems to have found in wool the perfect companion.

What does knitting allows you and what doesn’t? I do not feel like I chose knitwear, it just happened that way. I have always been experimenting with different materials and three dimensional shapes and the kind of knitting that I do is just perfect for that. For me knitting is synonymous to creative freedom. Very consuming in matter of time and money and a real trial to one’s mental and physical strength. I like the way you are building your own fabric while working with traditional handicraft techniques and the way it is often both mathematical and yet permits improvisation.

It is never easy to define your own work, but you say you are more a sculptor than a tailor. Aren’t tailors, also sculptors who assemble small parts in a conservative or innovative manner?

I understand your question, of course tailors also sculpt sometimes when creating shapes, but since I never work with traditional pattern making, but invent my pieces while doing them 3 dimensionally by hand, I think I approach fashion more like a sculptor.

Do you wear your designs? For you daily life, what type of garments do you wear? And for special occasions? Any brands in particular you follow, like or wear? Do you like collecting at markets, or vintage places? I seldom wear my own design, but that is also a future mission of mine: for every collection to include at least one garment that I would actually dare to wear myself. Now I almost only wear vintage clothes, mostly all kinds of dresses. I never shop for brands, but for specific pieces I like.

As a designer and as an entrepreneur with your own brand, what would you like to achieve creatively and economically

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speaking? I try to keep an open mind and not worry too much about the future, but on the other hand I am not the kind of person who wants to rush for the stars either. My plan is to continue to work hard, protect my origins and what I am good at, but still find a way to develop my designs and my company. I am a searcher so I will never find myself reaching some kind of finishing line, but I would of course like to be able to live off my work.

Any upcoming projects? At this moment, I am giving the last touch to my F/W 09-10 collection and I am also working on a special knit piece for the Arnhem Fashion Biennale in The Netherlands this summer, and planning for my S/S -10 collection.

Any common characteristics that your yarn must comply with?

If I could choose whatever I wanted I would prefer ecological and fair trade yarns, but it is a bit difficult when you are a small company doing just one-off pieces. Sometimes I buy my yarns from my local yarn store and sometimes I order from bigger companies, for example in Italy. Hopefully in the future I will be able to select my yarns more carefully planned.

Sandra experiences fashion, work and life seem to be one single matter. Maybe for that reason she baptizes her collections in such an intimate way. “Last Breath Bruise”, she fell down the stairs at the very same momentum her grandmother died.

What would you never give up?

My origins.

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M A D R I D FA S H I O N W E E K

WORDS by MARIA GIRALDO BOMBIN / PHOTOS by BOBBY MOZUMDER Madrid Fashion Week might not be included on the touring agenda of most fashion editors, but Spain has always been a fashion territory; homeland of couturiers first and flagship for international fashion business then. During the XVI Century, Europe would dress “a la española” (the Spanish way). Then, in 1910’s Fortuny gave rise to the Delphos dress revolutionizing the fashion industry with a new pleating technique for silk and the printing of its signature on the labels, considered by many as the starting point of the “brand” concept. This pleating method continues to be a secret. Miyake is one of its finest followers and he openly confesses long hours studying Fortuny’s work. In 1918, Cristobal Balenciaga, founded his little emporium and “invented” couture.

Spain, homeland for fashion artists has turned into a shelter for Cibeles Madrid Fashion Week Fall 09/10 is part of that democrafashion business. Nowadays, Spain is the homeland for some tization: equity for all. A twenty minute show for the new avantbrilliant readymade global brands such as Mango or Zara, the de- garde generation and for the “play safe” and predictable cutters, mocratization of fashion. A business phenomenon, although not the same runway for the magicians of deconstruction, and for the the artistic influx which fashion needs every six months to keep “right to the point” ones. Like every other Fashion Week around the breathing. A profitable common-conscience listening and repro- globe, edgy versus elegant and saleable clothes and like everywhere ducing the desires of the mass. Those well-trained designers are no else minimalism, 80’s, wool, black and greys…for Fall. longer creators but recyclers.

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PHOTOS TOP: JAN IÚ MÉS - Two designers with a single strong view.

BOTTOM ROW, FROM LEFT: 1. JOSÉ MIRÓ - Softly aggressive over a stone palette.

2. ANA LOCKING - Strucutral manners.

3. ANKE SCHLÖDER - Precious metal amazons.

4. CARLOS DÍEZ - Neoprene army.

5. CARMEN MARCH - The Golden 40’s.

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CUSTO BA RCELONA

WORDS & STYLING by JULIE BOBEK / PHOTOS by BOBBY MOZUMDER Custo Barcelona’s “Eco Glam” collection hit the runway with bright style and attitude. This famous clothing line is known for the use of color. Like no other craftsman, Custo Dalmau has a true talent for mixing color, texture and shape into style. Each season has a new twist yet still hold the main elements of a famous brand. This fall’s collection is no different. The two brothers, David and Custo Dalmau started this empire in the 1980’s after a motorcycle trip through the United States. The California lifestyle and fashion scene of colorful psychedelic patterns caught their attention, to which they started a t-shirt line in their home country of Spain that now focuses on worldwide sales for growth.

Please explain the inspiration for the fall 2009 collection?

Each collection for us is to bring back our identity. It’s important for us to refresh our identity, but never losing our identity. Our identity is based on the fusion of materials, graphics and color. This season is a tribute to the planet.

More than the planet, it’s to the earth, the planet and life. It’s what we call “Eco Glamour.”

What kinds of materials did you include besides peacocks and feathers? Yes, we have peacocks and feathers. It’s a lot about graphics as well. Graphic prints that represent the rainforest, jungle, bright colored animal prints such as crocodiles and alligators and many f loral are used. It’s a lot about colors and animal graphic prints.

You show men’s and women’ collections, explain the similarities and differences. Women’s collection is much riskier.

We keep the same philosophy for men’s. We make it digestible risk. We still try to bring something new to the collections. Men’s is wearable and a companion to this very sophicated woman. We still bring our language of color, materials and graphics to men’s collection. It’s a digestible risk for men.

What are the new projects you have launched? We did a lot the past month. We launched in the market: sunglasses, perfume, watches and sneakers for men. Watches and sneakers are going to be this fall’s fashion show.

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Would you explain the details on your men’s sneakers?

It’s embroidery over brown wool sneaker and then strongly washed to give a strong weathered look. There is a very strong finish on the shoes. We also have lace tied boots.

I know you have a unique exhibit at the MOMA. What are you showing? We exhibited a chair from which is an icon the 1970’s Italian furniture industry. It has a very distinct taste.

We decorated both chairs in the same way and materials as we decorate to night dresses.

HAIR: DANIELE MARINO MAKEUP: VESPA GOODARZ MODEL: YARIS CEDANO @ FORD MODELS

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BETSEY JOHNSON

WORDS & PHOTOS by BOBBY MOZUMDER Betsey Johnson’s fall presentation came as a surprise to me. I drew the last straw when our group decided who would cover it, so I reluctantly went with my camera and expecting some wacky super-happy over-the-top farce of a presentation. Sure enough, I got the wacky super-happy over-the-top, yet refreshing, presentation, but it was a genuine enthusiasm for layered, rich detail in the playful styling that kept me happy.

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THUY

WORDS by JULIE BOBEK / PHOTOS by BOBBY MOZUMDER Thuy Diep described her fall collection was all about “optimism”. With the sharp chartreuse yellow dresses and cobalt blue coat, it’s no wonder why we shouldn’t look to the bright side of today. Pleating, tucks, gathers were seen in dresses, pants, and blouses. Draped coats and pants with an offset collar or waistband made the pieces look better today and than in fall of 1988. Coats were by far her strongest pieces from the runway show. With the specially designed hat, the crème coat with embroidery sleeves deserves more than 15 seconds of fame.

OHNE TITEL

WORDS by JULIE BOBEK / PHOTOS by ZINNIA MOZUMDER Designers Flora Gill and Alexa Adams designed a chic body conscious collection for fall 2009-10. The two young designers from Parson’s know the human body and drape with confidence and ease. Ohne Titel‘s tight “chain-mail” knit dresses and sweaters, knee slit pants and constructed jackets were the center of this collection. Craftily draped pants and blouses added life to the subdued colors of brown, black, grey and more black. A fierce silk biker jacket shined on the runway. Constructivism and layering several textures highlighted a dark and sober room, but the stunning tall boots stole the show. These two designers will be here for many years to come.

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WORDS by TALIA FITTANTE / PHOTOS by BOBBY MOZUMDER Fashion writers like to throw around words like “costumey” and “overdone” when they write about collections with actual personality. Most often than not, reviews of Tia Cibani’s collections for Ports 1961 read like a how-to primer for fashion writers. At various times, reviewers have criticized Cibani’s collections for being too literal in their interpretation of a theme. These reviews are generally mixed with high praise for Cibani’s color palette and eye for detail, but I think views like this are missing the fundamental essence of Ports 1961. Cibani does not compromise her vision. She wants to create a spell through her collection. The wearer should be transported to another time and place. Buyers of her pieces are free combine at will, but at the root of Ports 1961 is the belief that clothing should be joyous and beautiful.

Cibani herself embodies these very ideals. When I spoke with her backstage before the debut of her Fall 2009 collection, the first thing that impressed me about her was her utter lack of pretention. This is not a woman who allows censors to dictate her path or who buckles under market trends. This is a woman utterly devoted to infusing every thread in her collection with the knowledge she has gained from her life and her travels. Born in Libya, raised in Vancouver, and trained in Shanghai, Cibani certainly brings a lot of experience to her collections. Though she only took over as creative director in 2004, she has been a part of the brand for more than 15 years. In the past she has interpreted the totem poles of the Pacific Northwest and the mythic beauty of a Scottish winter. Now she turns her hand to medieval India during the Mughal dynasty and the person of Empress Noor Jahan, a woman who broke the mold for her time.

greys that shimmer as the models move. And move they do as they step jauntily to the music of Red Baraat, a Brooklyn-based Bhangra and brass fusion band that is live on the runway. The collection is unapologetically luxurious, with its beautifully embroidered jacquards, bright silks, and rows of tiny buttons. Draped pieces, such a as a flowing lightly-patterned dress, are paired with highly structured jackets with meticulously articulated details. The idea, Cibani explained, was to show traditional Hindu shapes coupled with the more structured pieces like those the Mughals wore. The soft pieces are kept close to the body, while the more armor-like ones are on the outside. One could even say that this is a metaphor for Empress Jahan herself. A renowned beauty, she won the heart of the emperor and became his wife. Though women in her time had very little power, she became the true force behind the throne, often ruling on important matters in place of her husband.

The colors of India jump out at you right away as the collection comes down the runway. Brilliant curry yellow and dusty rose are set against sandstone woven through with gold thread and pearly

There is no way to miss Cibani’s inspiration in this, or any of her collections. But instead of seeing costumes, I see potential. Women will want to wear these clothes. And why not? They are stunningly

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executed and many are the visual manifestations of the “statement piece” that magazines are always exhorting us to find and add to our wardrobes. But beyond that, they seem like they would be a joy to wear. Backstage, Cibani insisted that her collection was “about ceremonial dressing” and “pausing to enjoy a little bit, the color, the drape of the fabric, the detail, even having someone to help you.” These pieces are about feeling special simply because you are a woman. Clearly, Cibani pours herself, heart and soul, into her collections, Season after season, she takes the consumer along on her travels. In an industry ruled by the fear of irrelevance, she takes a brave stand by weaving fabulous stories from cloth and displaying them for all to see.

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SPUR R

WORDS by JULIE BOBEK / PHOTO by BOBBY MOZUMDER Drawing inspiration from the film 2001: A Space Odyssey, creative director Simon Spurr, mixed patterns, textures, colors and silhouettes to create a clean, mod look for 2009. By combining organic and man made materials like tweeds, wools, nylon and leather, Spurr acknowledged both the current environmental concerns and the strong attitude of today’s best dressed man. The pop of color mixed well with other grays, blacks, whites, and ambers that dominated.

SHIPLEY & HALMOS

WORDS by JULIE BOBEK / PHOTOS by ZINNIA MOZUMDER Designers Sam Shipley and Jeff Halmos showed a sleek and modern clothing line for fall 2009. Minimalism with architectural shaped jackets, coats, skirts and dresses dominated this zigzag runway. Predominantly the collection was in a black and grey color palette. However they had a few extreme pops of color in pale metallic pink, maize yellow and peacock blue. I saw hope and future for these designers..

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HeAdonIstIc Photography Julia Kennedy Millinery J.S. Esquire Art Director Jem Goulding Makeup Sinden @ Streeters Hair Claire Rothstein Model Erin Fee @ Select

21st century millinery is all about mood, sending out sexual and sensual messages. It is powerful even disturbing, giving a newborn strength to the woman it adorns. Master of this new genre is Justin Smith, milliner from London. Who, with his dark and masterful works of art, transforms and encapsulates a contemporary age in fashion. - Carole Denford, Fashion Editor, The Hat Magazine

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Week of Wonders Photography Cat Stevens Art Director Kathryn Ferguson Prop Assistant Evelyn Smialkowski

B by Bocheron

Sycamore by Chanel

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Bright Crystal by Versace

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Flora by Gucci

Black Orchid by Tom Ford

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Ange our Demon by Givenchy Gucci by Gucci

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V oo doo Child Photography Emma Tempest Makeup Sinden @ Streeters London Hair Liz Taw @ Naked Art Director Jem Goulding

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Heist Photography Gisel Florez Fashion Stylist Harold Jay Melvin Stylist Assistant Tara A. Denman Stylist Intern Ashley Posey Digital and Lighting Assistant Nelson Figallo

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Black Caged Boot Yves Saint Laurent (Jeffrey New York) Jeweled Black and Silver Bracelet Philippe Audibert Dashwood and Crystal Clutch Devi Kroell

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Silver-Black Mesh Heel Christian Dior (Jeffrey New York) Blue Jeweled Aquatic Cuff Sorrelli Long Hammered Squares Necklace Tuleste Market

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Multi-Colored Sequined Heels Miu-Miu Gray Patent Leather Shoe Cuff Dekkori (Jeffrey New York) Silver Cocaine Bracelet Tom Binns (Jeffrey New York) Jewled Necklace Leetal Kalmanson

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Photography Emma Tempest Art Director Jem Goulding Makeup Kenneth Soh @ kennethsohmakeup.com using MAC Pro Cosmetics Hair Fabio Vivan Model Annie @ Models1

POISON IV Y - 45 -

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All the King’s Gold Photography RJ Shaughnessy Fashion Stylist Jem Goulding Model Josh Beech @ Models 1 Photo Assistant Jake Michaels Stylist Assistant Marcia Cooper Hospitality Four Seasons Hotel Cairo at the First Residence

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Shirt Valentino Necklace Arielle de Pinto at Kabiri Jeans Tom Ford

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Jacket G-Star Boots Hudson T-Shirt Prada Jean Shorts Acne

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Boots Rick Owens Hooded Top Julius Jeans Levi’s

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Jacket Levi’s Jeans Diesel Shoes John Rocha Sunglass Calvin Klein

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Jacket Lanvin Shirt Diesel

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Shirt Marni Jeans Lagerfeld Underwear Dolce & Gabbana

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Sunglasses Persol Jacket Balenciaga Jeans Jeans Dior Top Lanvin

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Top Raf Simmons - 60 -

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Shirt Wrangler Jeans Levi’s

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Photography Nicholas Routzen Stylist James Knox Model Kelly Kopen @ Marilyn Models NY Hair Stacy Child for Factory Downtown using Redken Makeup Claudia Lake for Contact NYC Photo Assistants Geordy Pearson and Greg Aune

Top, Polka Dot Lounge Pants, Sandals Louis Vuitton

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Asymmetrical Swimsuit w/Armband Herve Leger for Max Azria Metal Necklace Ben Amun Cigarette Marlboro

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Black Leather Structured Dress Alexander McQueen

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Oversized Print Jacket, Dropped Crotch Shorts, Cage Sandals Yves Saint Laurent Sheer Top American Apparel Bracelets Ben Amun

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Blazer, Feather Skirt, Metallic Belt, Rope Band, Bracelets Louis Vuitton

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Blazer Christian Dior by John Galliano Black Metal Weaved Silk Cutout Dress Prada

Bathing Suit Herve Leger

Bracelets Ben Amun

Metal Cuff Disaya

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Black-White Fantasy Tweed Jacket, Black/Ecru Cotton Tweed Top, Two-tone Tights Chanel Printed Sandals Christian Dior by John Galliano

Circle-cut Top and Cropped-over Jacket, Sequinned Skirt, Socks, Taupe Patent Heels Marni

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Black-White-Purple Painted Tweed Vest and Skirt Chanel Metal Bracelets Tom Binns

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Le 14 Juillet Photography Dima Hohlov Stylist Erin Walsh Makeup Ariel Yeh Manicure Mai Kiyotake Photo Assistant Melih Aydin Model Rosie Tupper @ Dna Location Drive In Studios, New York, Ny Special Thanks Aldana Oppizzi and Pj Hair Yukiko Tajima

Opposite Ivory Jumpsuit and Black Patent Leather Belt Proenza Schouler White Silk Blouse Altuzarra White Leather Handbag Chanel Balmain Swarovski Crystal Studded Sandals Worn Throughout Fenton Crystal Drop Earrings and Bronze Rings Worn Throughout

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Black Blazer Band of Outsiders Distressed Jeans Rock and Republic Gold Cuff Fenton

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Ohne Titel Mint Silk Blazer Balmain Magenta and Purple Silk Crepe Dress with Swarovski Belt

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Lurex Tweed Waistcoat Marc Jacobs White Blouse Yohji Yamamoto White Blouse (worn underneath) Altuzarra Denim Checked Pants Tripp NYC

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Balmain Swarovski Crystal Studded Jacket and White Denim Jeans Altuzarra White Blouse Fenton Necklace

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Black Silk Trousers Marc Jacobs White Tee Dries van Noten Vintage Black Hat Black Patent Belt Proenza Schouler

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White Tee, Worn Over Oxford Dries van Noten White Oxford Dress, Worn Underneath Acne White Silk Crepe Striped Harem Pant Acne Pink Leather Bag Chanel Vintage Scarf Stylist’s Own

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White Blazer Band of Outsiders White Vest, Worn Under Altuzarra Striped Denim Pants Tripp NYC Sequin Handbag Chanel Sunglasses Dries van Noten

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Dress Kenzo by Antonio Marras Belt Stylist Own

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world In color Photography Masaya Takagi Fashion Stylist Naoko Watanabe Hair Kazuya Matsumoto @ Femme Makeup Yoshiko Kawashima Model Sachi Kawamata @ Friday Photo Assistant Yoko Matsuno

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Dress Yohji Yamamoto

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Dress Sonia Rykiel Shoes Missoni

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Jacket and Pants Christian Lacroix Inner Sladky

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Dress G.V.G.V Socks Marcomonde Shoes Vivienne Westwood Red Label

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Dress Vivienne Westwood Red Label

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All Etro

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Body Suite Missoni Shoes Etro

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Dress Nina Ricci Shoes Etro

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Tough talker Photography Laura Villa Baroncelli Stylist Yang Hartono Hair Nicolas Eldin @ Artlist Makeup Eny Whitehead @ Calliste

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White Tulle Bra and Nude Lycra Panties Eres

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Black Cut-out Patent Leather Corset Belt Alaia Black Tulle Transparent Panties Dolce & Gabanna

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Black and Gold Tulle Bra Phylea

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Nude Lycra Bra and Panties Eres Brown Cut-out Leather Booties Alaia

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Black Tulle and Lace Panties Chantal Thomass

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Black Tulle Bra and Panties Calvin Klein Black Hosiery Falke

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Sugar on mY tongue Photography Willem Jaspert Fashion Editor Santi Rodriguez Makeup Mel Arter @ CLM using MAC Hair Adrian Clark @ Caren using Kiehl’s Model Josephine G @ Independent Photo Assistants Jon Cardwell, David Walke Fashion Assistant Josephine Porath Thanks to digitalpro.co.uk

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Printed Jacket and Leggings Alexander McQueen Shirt Uniqlo Beaded Necklaces Floriaan

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Striped Shirt and Trousers Viktor and Rolf White Bow Belt Anna Vince Shoes Bally Socks Tabio Earrings Erickson Beamon

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Bolero Jacket and Dress Jonathan Saunders Trousers Josh Goot Bracelet Maria Francesca Pepe Socks Tabio Platform Sandals Charles Anastase

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Blue Trench Aquascutum Vintage Necklace Selection Pebble

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Printed Dress and Belt Christian Lacroix T-Shirt Armand Basi Necklace Maria Francesca Pepe

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Dress Emilio de la Morena Bolero Manish Arora Vintage Necklace Selection Pebble

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Top and Skirt Louis Vuitton Necklaces Erickson Beamon and Mawi Tights Falke

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Dress Alexander McQueen Red shirt underneath Adidas Y3 Dress worn underneath Peter Pilotto

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SurrealIsta Photography Manulle Geromini Stylist Charles Davis at East Photographic, London Hair Wendy Iles at Artlist, Paris for Bumble and Bumble Makeup Helene Vasnier at Artlist Paris Model Natalie Keyser at Marilyn Models, Paris

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Beige Sequin Top Patrizia Pepe Tulle Skirt Gardem Couture - 119 -

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Pink Vest Chevignon Yellow Net Wrap Fabrics Interseason

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Patterned Leather Pants Lie Sang Bong Yellow Coat and Yellow Net Wrap Fabrics Interseason Yellow Satin Shoes Casadei Pink Vest Gap

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White Tshirt Isabel Marant Yellow Leather Shirt Guilty Brotherhood

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Swimsuit Junko Shimada Red Shoes Larare, Paris

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Pink Suit Blaak Homme T-shirt House of the Very Island Red Shoes Larare, Paris Bow in Hair Mjolk

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White Leather Dress Guilty Brotherhood

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Photography Michael Preis Stylist Verena Gralert Hair Donald Francis for Create Ion USA Makeup Emi Koizumi www.emikoizumi.com for MAC Photo Assistant Hiro Kobayashi www.hirok.jp Model Aleksandra @ Muse

Orange Bathing Suit with Suspenders VPL

I am what I see

All Bracelets Alexis Bittar Shoes Casadei

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Brown Panties Roseanna Necklace Malene Birger Ring GM Collections Bracelet Alexis Bittar

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Dark Green Bikini Panties Norma Kamali Necklace and Ring GM Collections

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Black Bathing Suit with Broach in front Sauvage Bracelets Right 1st Alexis Bittar, other 3 GM Collections Bracelets Left Alexis Bittar

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White Bathing Suit With Cutouts and Print Miss Sixty Shoes Ruthie Davis All Bracelets GM

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Yellow Strapless Bathing Suit with White Stripes Abaete Ring and Necklace Alexis Bittar

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On A DaRk LIght Photography Nicholas Routzen Fashion Stylist James Knox Model Cintia Dicker @ Marilyn Models NY Hair Stacy Child for Factory Downtown using Redken Makeup Cheyenne Timperio for The Artist Loft NYC using M.A.C. Photo Assistant and Set Greg Aune

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Black Pleated Jersey Basque Agent Provocateur Hosiery Wolford Swivel Heel Sandal Alexander McQueen

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Sheer Top Yves Saint Laurent Side Bow Panties Moschino Chain Link Necklace Ben-Amun Hosiery Wolford Statue Heel Sandals Christian Dior

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Black Metallic Lace Bodysuit Agent Provocateur Dice Metal Ring Disaya Bracelets Ben-Amun

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Panties La Perla Ring Alexis Bittar

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Briefs Moschino Patent Long Gloves La Crasia Skull Ring Disaya

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Braces Ede & Ravenscroft Trousers Bottega Venetta Vest Issey Miyake

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Turtle Neck Fred Perry Blazer Junya Watanabe

Photography Ben Raynor Stylist Jem Goulding Hair Liz Taw @ Naked Artists Makeup Claire Read @ Caren Stylist Assistant Evelyn Smialkowski Model Sid @ Models 1

Sid the kid - 147 -

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Turtle Neck Fred Perry Blazer Junya Watanabe

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Scarf Tootal Coat Burberry Prosum

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Scarf Burberry Shirt Hugo Boss

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Cardigan Pringle Tie Aquascutum Shirt Burberry Prosum Trousers Calvin Klein

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Jacket Dries Van Noten Polo Top Yves Saint Laurent Trousers Farah

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Dress Ksubi Underwear Calvin Klein Boots Dries van Noten

Scarf American Apparel T Shirt Chronicles of Never Trousers Ksubi

THE Street PARADE

Shoes Kickers

Photography Brendan and Brendan Styling Rebecca Sammon Hair and Makeup Nakazawa Sakiko Models Jake Calvert and Anouk Hagemeijer at Models 1

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Tshirt Ksubi Jeans Levis

Hat Emma Hedlund Top James Long Trousers Nom D

Necklace Maki Loulou Top Emma Hedlund Trousers Ksubi

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Goggles Emma Hedlund Top & Shorts Maria Francesca Pepe Bracelet Evoke

Anouk Goggles Emma Hedlund Top Maria Francesca Pepe

Ryan Glasses Mint Cape Ksubi Leggings Beyond Retro

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Vest Illionaire Trousers Disney Couture Shoes Topshop

Top Ksubi Trousers Emma Hedlund Jewellery Giles Deacon for Evoke

T shirt Margiela Waistcoat Levis Woven Neckties Maki Loulou Trousers Beyond Retro Ring Giles Deacon for Evoke

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clans of the new

alphane moon

Photography Bobby Mozumder Illustration Rob Shields @ www.robshieds.net Fashion Styling Elena Mussa Makeup Yeikov Bermudez using Make Up For Ever Hair Ernesto Aquino for Chudo Haircare Prop Stylist JC Villareal Models Kristina Almadova @ Marilyn Agency NY, Alyssa Young @ Elite Models

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Dress Hannah Marshall Top Serious Los Angeles City of Rockers Gloves La Crasia Shoes Yves Saint Laurent

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Black Top Hannah Marshall

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Sequin Top Gryphon Helmet Fulmer

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Black Body Hannah Marshall Leggings LnA Tulle Skirt Jaesyn Burke Sandals Michael Kors

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Dress Gucci

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Vinyl Dress House of Field Belt All Saints Shoes Hollywood Heels by Michael T.Kaplan

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Black One Piece Hannah Marshall Sequin Vest Isli Corset Belt Kiki De Montparnasse Gloves Patricia Field Silver Cuffs Henri Bendel Shoes Hollywood Heels by Michael T.Kaplan

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CURATED by DREW STOCK

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THIS PAGE: Richard Gill, When I Fall in Love I Fall Hard, 2009.

OPPOSITE: Bonita Deezine, Web Two Point Oh, Bro, 2009.

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THIS PAGE: Mick Loopis, Drop Out, 2009.

OPPOSITE: Chris Johanson, Untitled (clock), 2000.

Courtesy Kathy Grayson and Jack Hanley Gallery, San Francisco.

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Dear Tommy,

become a top in the game. I’d probably get a lot of butt, gay guys find me particularly attractive.

What is it about this T-Pain cameo on the Rick Ross album? It is so fucking magic. I love it. It is a modus vivendi. It is a spirit. It is beautiful.

Tommy, I admit I was nervous last night at Pac Rim before Sophia arrived. I had had such a baller day, full of beauty, confidence, wit and happiness with very little questioning of the foundation I was seemingly levitating over. I think I was getting caught up in logistic thoughts about my travels home and burning CDs, trying to ensure some sort of permanent value was gained from my paid vacation to Burlington than all the drinking and witty banter, however fun and reinvigorating all of that was.

I really relate with T-Pain when he sings “I got a fresh lineup, a fresh outfit.” I felt that much fresher and enthralled with what the universe would bring me after purchasing my new farmed-salmon colored American Apparel single pocket t-shirt. It might have made all the difference in the outcome to the evening.

I was deep in that pussy, son. She was so much fun. She asked me to hit it raw and I obliged. I was in complete accord. The she’s like playfully like, “You don’t have any STDs you’re going to give me?” Sort of like a statement, like she was trying to dictate a clean outcome for this very dirty, heated episode. Then she’s giggling like “like maybe some herpes.” And I kind of got into it like, “Naw, ma, just HPV.” I don’t think I’ve ever joked with a partner about transferring STDs. It’s usually a very heavy existential questioning and not usually openly communicated, an elephant in the room if I may, you just kind of work your way to the point where there is no more questioning the action, and... boom, you’re in. And it feels so good. Upon finishing you are instantly overwhelmed with regret and paranoia.

Sometimes I get caught up in thinking of value like that. On the weekends in NYC sometimes I have slight existential panics about how I could and should and am spending my time. “Geez, I should really go to the Met.” Or “I should really watch some more movies. I don’t know much about movie trivia.”

That’s a really gay way of thinking. You can’t harp over self improvement like that. Self-improvement happens. Another thing I notice myself doing is approaching information that I don’t know with guilt.

Like, “I should know that” or “I fucking knew that, I read about that a while ago. Why didn’t I remember that?”

Last summer, I had an epiphanic moment where I realized that no benefit, no true evolution can result from such a doggedly negative self outlook. I began to approach topics and information that I knew little or nothing about with an almost greedy excitement, viewing them as great opportunities to further understand this place we call the world and its history.

The regret is a bit vaguer in this case. Just based upon the sarcastic and playful milieu that enveloped that episode it would be rather comic if I ended up with HIV from that scenario.

Do you ever wonder what you’d do concerning sexual activity, how you would change your sex life if you were to contract HIV? Being in the city maybe I could get into a circle of gay guys who have HIV – such networks do exist I hear – and get my dick sucked, maybe

I guess work – being in a junior position, shaving every day and putting on a suit, feeling new responsibilities and pressures, not just from

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work, but from living in such a place as New York – has deteriorated that zeal and led to this pathology of ‘should haves’ and ‘I don’t knows’.

the prospect of gaining access to pussy – an activity which holds great weight in our gauging overall personal happiness) manner. When you’re drinking before work, and missing work because of drinking, well, that’s when you have a problem. My Uncle is an alcoholic. You’re not like my Uncle. He is a fucking mess. You’re not a mess. I don’t see him in you.

Back to Sophia: I want to thank you for providing such a great prelude to sexual intercourse via the atmosphere at Pac Rim. I guess I was worried because of the stark contrast from the planned meeting with Sophia – sober – against the night before – seeing each other for the first time, ethereally intoxicated and expressing such emotions through dance.

But, thanks to your help (the Akon, the distilled spirits), I was able to salvage my graces and shape fate to my benefit yet again. Winning is the shit.

Oh, another note, Sophia is a former nationally ranked tennis player.

She has a great body and is very comfortable in her skin, a requisite to any truly memorable fuck. If her face was a good as her body she would be a 9.8. Great pussy (wet), still taught, firm C-cup breasts with fun nipples, long legs, great hair to run your hands through, a toned but not muscular body, which makes her more attractive to me because she occupies the middle ground between the flabby hipster ass that you kind of hit hard out of spite for such a pathetic lifestyle and an athleticism that confounds confidence to some degree and may result in finishing early, going flaccid or just not being fun in general.

Also, I hope you were able to have a decent sleep on the floor in the greenroom. I chose your room because it is optimal to listen to music throughout romantic interludes. As you know, it can really make the experience. And, oh yeah nigga, we fucked to Sade. So fucking hot, dude. Please try it.

It is so beautiful being hot boys in our prime. Let’s try to remember that and really enjoy our youth, because, after all, it is ephemeral.

On a greater level, I want to thank you for helping me to develop as a person and for rescuing me from low points and depressed states at various times over the last few years. Your stoicism, calm, rational ways, humor, wit, and perspective have contributed so much to my general well-being. During those long months in the hospital I wanted to talk with you the most. You are my favorite person to engage in conversation with.

Your Friend, Paul

I love you and care for your wellbeing. That being said, I will tell you if I think your drinking is becoming problematic. You claim to be an alcoholic. I don’t think you’re there. Your drinking is, from what I know, usually done in a celebratory or a self discovering (on a quest to reach those witty peaks which instill further confidence and lead to

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I have been thinking about getting Tent City back together. I am moving to San Francisco soon to spend time with Colin and Sam, Elaine, Annie and whoever. Being a rapper seams really fun, and there is no reason to look upon that dream with skepticism.

Dear Paulie Son, Dear Paul, Fall is upon us, seasons are changing, and my 25th year is on the horizon. That being said, I am not unhappy with the outcome of my life thus far. After all, I lost my virginity, the only thing I cared to accomplish during the first portion of my existence. I recall the dismal days before this event, doubt-laiden and pathetic, surely the cause of the dark comedy that is my personality. A certain sagacity is derived from the pain and rejection that the soft-faced liberal boys of our peer group were spared from, sinking there penises into pretty little virgin girls, while I was by myself masturbating in a graveyard.

Paul, I hope to see you soon, either in San francisco or New York or wherever. Let’s make plans.

Love, T

I recently watched the 50 cent movie Get Rich or Die Tryin’. Apparently his early life was quite trying and he almost died a number of times, the 9 bullets we all hear about included. After the shooting, he entered a deep depression, and as humans tend to do, he bounced back and became the second richest rap entertainer today (after jay-z). I realized that hitting rock bottom gives one a certain character that allows them access to the top. The more you’re willing to span the spectrum, the more life can offer. 50 has vascilated between near death and now, far from death, with the security that large amounts of money can provide.

I’ve been thinking about this lately because, like 50, I yearn to take chances and span the spectrum, and in doing so, possibly unleash the potential life has for me. I recall all of the momentum you and I had going at the end of last summer. So much positivity and elan for life.

That feeling has waned a bit in me and I am ready for it’s renaissance. I look back on those days of empowerment, you and me, with considerable fondness. This dogma lies within me, but for some reason, when I am with you, it rises to the surface so naturally, to the point that I believe I rely on you to extract it from me.

THIS PAGE & OPPOSITE: Paul Damon and Tommy Wheeler, Love Letters (no homo), 2009.

Courtesy Tent City Estate.

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TM

THIS PAGE: Sean Sullivan, Trey Equals Yoga T-Shirt Design, 2009.

OPPOSITE: Dale Donaldson, Untitled Drawings, 2009.

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THIS PAGE: Tavis George, Reinstating Hero Worship, 2008.

OPPOSITE: J. Epstein, Wood Block Heart, 2009.

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INTRODUCTION

by

DREW STOCK / PHOTOGRAPHY

by

BOBBY MOZUMDER

The Combat Paper Project was initiated by Drew Cameron, an Iraq War veteran, and Drew Matott, a paper maker based in Burlington, Vermont. Their project has become many things to many people: part outreach effort, part therapeutic outlet, part platform for self expression, and part forum for political activism, it defies clear definition.

The Drews and other core Combat Paper members Eli Wright and Jon Turner agree, though, that Combat Paper is fundamentally about war veterans making sense of their service experience through the process of turning combat uniforms into paper. FutureClaw is privileged to showcase some of the project’s recent output.

Combat Paper’s show Fabric of War will be on view this summer at the Courtauld Institute of Art in London, England and the Phoenix Gallery in Brighton, England.

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Eli Wright, Broken Toy Soldiers, 2009.

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Opposite: Combat Paper Makers at Rutgers University Residency, 2008. This Page: Drew Matott & Jan Barry, Untitled, 2009.

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Studio Installation at Burlington City Arts Firehouse Gallery, 2009.

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Jon Turner, Pink Mist, 2009.

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Jon Turner, Untitled, 2009.

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Dick Lacavello’s Phu Bai 1963 with an untutled poem by Drew Cameron, 2009.

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Drew Cameron & Drew Matott Breaking Rank, 2008.

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Music

L IS S Y T RU L L I E

WORDS by DAKOTA KIM / PHOTO courtesy LISSY TRULLIE A slight, Fender-slung woman, clad in a leather jacket, with a rosary dangling from her neck, steps to the podium at Red 7 on a hot March night in Austin, Texas and tosses her sleek cherry mop. “It’s my first time in Austin, Texas, so let’s get naked,” she says. The band launches into a punchy rendition of a song called “She Said” whipping the crowd into a frenzy. With an experienced crew including guitarist Eben D’Amico, drummer Josh Elrod, bassist Ian Fenger, and the eponymous vocalist and guitarist, Lissy Trullie falls somewhere between the carefree new wave power pop of Blondie and the angular guitar crunch and sarcastic, plaintive punk whine of Richard Hell. I chaise lounged with Lissy Trullie at Park Slope’s Union Hall a couple weeks after SXSW and got a chance to catch up with the band.

Is the story of the band linking up one of those typical New York stories? - Lissy - It is, actually. I met Josh through Erin who used to play keys with me and from there, I was kind of looking to get a solid band with very good musicians, so I put my feelers out and found Josh through Erin who used to play keys with me. I used to work with this guy who knew Eben, so my old boss introduced Eben, and Ian came to the band through Josh, but it turns out Ian and I knew each other in freshman year in the same band. - Josh - I was performing with Blue Man Group, I had moved back to the city from Amsterdam, and Erin was sending me Lissy’s music and telling me about her.

was helping him find bands and they found us. I found a lot of people make it a bigger thing than it is. You live in New York and it happens. - Josh - Obviously, we have connections. I guess people can look and say Lissy Trullie was at this event, oh, these people are all in cahoots together, being funded. Well, whatever, I got a free suit and it’s fun. We got to chop up our songs. It was an interesting challenge.

sell everything that’s not tied down. - Josh - It used to be a really cashable thing and now it’s literally about survival. There’s no such thing as a six, seven figure salary. People don’t receive royalties and don’t get checks. The record labels are terrified.

Did they let you have some amount of creative control in chopping up the songs? - Josh - Yeah, they totally encouraged creative control, like, we want you guys to love it and have fun.

You’re working on a new album -- what direction is that going in and what stage is it at right now? - Lissy - It’s being written and it’s going to be much more. As far as a cameo, trumpet players.

Is Philip a big music fan? - Lissy - He is and also he had a very specific concept for the show, where all the looks are coming from, very specific.

How do you guys know them? - Lissy - I’ve known Donald [Cumming] for maybe ten years. We’re just friends, supporting each other. - Josh - They’re our biggest fans. Their music is fun. - Lissy And they’re not trying to be too pretentious about it and the actual music itself is not simple but it’s still superfun.

So more jazz and less distorted, dirty, grungy guitars?

- Lissy - I would love to be able to do more piano or synth, violin, just kind of able to beef it up to what I wanted before.

The music industry is completely different now and units aren’t moving in stores like they once did. Do you think it’s been good that bands have to tour more? - Eben - Especially with the economic downturn, there’s a lot of competition for the dollar. A lot of bands don’t love touring, but I think that the collapse of the music industry as we’ve known it is going to come out being beneficial for the hardest working. And in the meantime you have to fucking

What was it like playing Philip Lim’s Fashion Week show?

- Eben - I got a free suit out of it! But we don’t court that stuff. Lissy - Philip was looking for a band to play, so the casting agent

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So what’s next on your plate? Dive bar domination? Megaclubs?

Arenas? - Lissy - The next thing is the Virgins tour.

What have you been listening to, and more importantly, what will make the cut on the tour bus? - Lissy - Gang Gang Dance, R. Kelly, the Virgins. - Josh - Flying Lotus, he’s a beatmaker. - Lissy - Whitest Boy Alive. - Josh - I love the Homosexuals. - Eben - I love them too. http://www.mypsace.com/lissytrullie

Music

AU R E VO I R S I M O N E

WORDS by DAKOTA KIM / PHOTO by JEREMEY WILLIAMS Au Revoir Simone is a downtown New York fairytale: three willowy sirens with vintage keyboards and drum machines and enchantingly wispy voices. Behind their Oz-like curtain are three masterminds of keyboards, drum machines, bass guitars and percussion miscellany. Evoking a miniature Viennese choir more than the au courant postpunk wail, but brought up to date by pulsing, shimmery electronic beats and plangently emotional lyrics, Erika Forster, Heather D’Angelo and Annie Hart are poised for even greater success with their new album themed around the difficulty of maintaining relationships around traveling lifestyles, Still Night, Still Light.

Japan loves you. How was your tour there? Do you think you’ll be seeing your songs in Japanese karaoke rooms anytime soon? - Heather - One can dream. That would be awesome to be on karaoke machines. We love touring in Japan, it’s a favorite place to go. I love the food, the people, how attentive people are at shows. There’s so much respect for music and the shows feel like people are really paying attention. It’s a little bit freaky how everyone is intently listening – if you make a mistake, it feels especially disgraceful.

Travel themes are persistent in your songs. Erika, didn’t you meet Annie on a train ride to Vermont? - Erika - That’s a messed up, perpetuated myth. We formulated the idea for the band on that train ride.

Well, it’s a romantic place for the idea. Do you have a favorite train ride? - Erika - I don’t really do drugs, but when I was first in Europe and we left Amsterdam, my friends and I got hash chocolates and ate them on the train and really enjoyed the journey for many hours. I think we were going to Prague.

All three of you generally share equal singing and keys duties in the band. Is that a conscious decision? - Erika - It’s definitely conscious. From the beginning, we didn’t know what we were really going to be. In that kind of context, it makes sense to give everyone their turn.

So what’s up with the David Lynch connection? He’s a fan, right? - Erika - We met him because of his transcendental meditation book. They have events at Barnes & Noble where they pair a musician and an author and were trying to get us to play for a long time. He thought there was a meditative quality. Somebody was like, “Do you have any advice for the girls?” He said, “Keep doing what you’re doing, because you guys are on the right track.” Since then, he’s been incredibly supportive of us. We played at a retrospective exhibition of his in Paris and feel totally supported and he’s given us a lot of media praise. - Heather - One of the conversations I’ll take with me always is when he was telling us about making Eraserhead and he had to have a paper route to finish the movie. He struggled so long and had such a weird idea, but he

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didn’t give up, obviously. And he was saying the same thing to us. “If you believe in this, you’ve got to do it, whatever it takes.”

You guys have made other artistic efforts besides music, supporting Transportation Alternatives with a t-shirt design that Annie did. Do you ride your bicycles in Williamsburg? Erika - [Annie] used to work for Transportation Alternatives.

It’s a really cool company and has done a lot for getting more bike lanes. We definitely ride our bikes around.

Any ideas for where your next album will go? - Heather None. http://www.aurevoirsimone.com

Music

F I N DL AY BROW N

WORDS by SIMON BERKOVITCH / PHOTO by NACHO ALEGRE Findlay Brown is a man on a mission – a mission to save pop music from itself. The ‘saviour of British folk’ embraces the classic song, gathers praise from famous fans and tells us why pop isn’t a dirty word. “Pop music is perfection for me. Take [Ben E King’s] Stand By Me – That’s where I’m coming from musically.” A surprising admission from musician Findlay Brown, a 28-year-old heralded as ‘the saviour of folk’ by the UK press for his debut LP, last year’s Separated

By The Sea? Not at all, once you hear the beautifully crafted, classic songs that comprise his follow-up album, Love Will Find You. Take that, folk bores!

We don’t use the word classic lightly, either. Notebooks out, tuneless indie wasters: beautiful melodies and hooks abound here.

Pop music is now a dirty word for some, sullied by conveyor belt, manufactured crap. But, Findlay is flying the flag for inventive, beautifully crafted pop music – and ready for a backlash from some quarters.

Immobile and convalescing after a car accident, Fin took inspiration the cream of the crop: “I was downloading stuff from iTunes every day… mainly early 60s, some late 50s… Roy [Orbison], Doo “A couple of hacks have said ‘Oh, he’s only gone with Bernard beWop, stuff on Chess.” cause Duffy’s had a big record’. But it doesn’t sound anything like that. It’s not a soul record for a start, is it? Equally, some fans have “I’m just trying to get in there,” explains Findlay, prodding at his seen that I’m not finger picking any more – and therefore I’m not chest. “True expression. No filters. No inhibitions. Totally un-self- doing what they think that I should be doing. They’re just using conscious. I want to capture those emotions on record.” their eyes, not their ears. I never thought that the first album was folk anyway.”

The spectres of the greats may hover over the album like the instruments themselves – sweeping strings, seductive drum shuffles Last year’s Separated By The Sea album was always more than a heartbreaking pedal steel, Fin’s seductive Roy Orbison croon – but folk record – and the clues were there for what was to come for this is a resolutely modern pop record – produced by Bernard But- anyone with an ear to listen. Memorable tunes abounded t– less ler, ex-Suede guitar hero and production mastermind behind the traditional folk, more the catchy-as-anything muses of Jackson C Duffy album – which is something that Findlay embraces.

Frank and The Byrds’ Gene Clark – another great who makes an appearance on Findlay’s new record – so famous fan Johnny Marr “I loved the stuff he did with McAlmont and Butler. I thought he reckons. would understand what I was trying to achieve with this record.

If we wanted a huge horn section coming in, we went for it. If it’s “You know that’s what Johnny Marr [Smiths’ guitar legend, now overblown – or if it sounds self indulgent – who gives a shit?” with Modest Mouse] said when he heard [album track] Everybody

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Needs Love in the studio? He said that he hates comparing music to other music but ‘I only do it when it’s good and this sounds like Gene Clark – and I love Gene Clark’. He was a fucking dude; so nice. Charisma was just oozing out of him. “ As it does from Findlay. From turning a large event into an intimate affair – as he did as support to Duffy on her biggest UK tour and as special guest at last year’s London War Child benefit gig, sharing the stage with Pet Shop Boys and Keane – to seeing DJs falling over themselves to rework his catchy material for the clubs (remixes from Beyond the Wizard’s Sleeve, Dimitri in Paris and Weirdo Police abound), an audience with Findlay Brown leaves you topped up emotionally.

See for yourself when he tours the States with a string of intimate gigs later this year. http://www.myspace.com/findlaybrown

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