LAPALME MAGAZINE Fall 2014 issue

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FALL 2014

US $4.99 CAN $5.99


Versatile fashion from established and up-and-coming labels



Editor-in-Chief KEVIN LAPALME Creative Director ANGEL CARDONA Assistant Editor MASSIEL MANCEBO Talent Recruitment FR ANCESCA GREENWOOD Circulation Manager KEVIN LAPALME Ad Sales CHROME CREATIVE GROUP Marketing and Public Relations MarkAnthony Brown Columnist Liaison Bryan Whitehurst Contributing Layout Graphics: Sam Spade Karen Leigh Nieves Ramos Contributing Journalists Massiel Mancebo Gemini Martin Tony Edge Angel Cardona Coralie Claeysen-Gleyzon Chloe Firetto Toomey Giselle Sendra Copy Editor Thandwe Ogbonna To Subscribe ŠCopyright 2014 LAPALME Magazine. All rights reserved. Reproduction in whole or in part of any text, photography or illustration only with written permission of the publisher. LAPALME Magazine, its officers, staff members or writers do not warrant the accuracy of or assume responsibility for any of the material contained herein. Freelance photographers are responsible for their copyrights. Editorials or editorial submissions do not necessarily reflect the opinion of the Publisher and/ or magazine leadership. All letters, text and photo material received become property of LAPALME Magazine. WWW.LAPALMEMAGAZINE.COM


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FASHION 08 16 24 46 54 64 74 84 92 106 114


STYLE & CULTURE 14 44 52 83 90 98 120 124

ON THE COVER Model: Susan Miner Photographer : Chuck Kovach Designer: Blacmera by Yuliana Candra Art Director: Francesca Greenwood Hair: Andrew Sellers Mua: Sheri Michelle Photographer Assistant: Stephen Glass 6

22 30 32 36 72 80 102



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lot has happened in the past year, we have seen the magazine growing by leaps and bounds. We’ve expanded to salons, boutiques and hotels and gathered countless subscribers and received editorial submissions internationally. We listened to our readers and are engaging our team to bring more vibrant fashion features and to Photo Courtesy of Chuck Kovach keep engaging in original interviews and articles. I find myself constantly awestruck with the talent that people in this industry possess. I tend to view the world with an optimistic mindset, and I believe that at that no time in America have we had the opportunity to be exposed to so many entreprenuers, designers, publishers, groups and networks. Our access to Culture, the Arts, Photography and Creative schools and the growing media frenzy of Vine, Instagram and YouTube have really allowed the individual unprecedented access to having their work commented on, praised and shared by the masses. Countless others have blossomed with the advent of social media outlets to connect and collaborate on projects worldwide. One of the perks of interacting with so many entrepreneurs and corporations is seeing a small idea turn into a international sensation; Much like this magazine. I recently had the opportunity to tour many of the startups that we have been exposed to over the past few years and it’s amazing how quickly society has adapted these concepts into their daily lives, from Uber to AirBnB. We are a veritable melting pot of creativity and action oriented individuals. In future issues, expect us to keep evolving our offerings, tweaking our content, quality and network. Like our readers, our interests are varied and change is a part of growth and development. We have an exciting array of editorials, interviews and behind the scenes additions lined up to help bring you closer to the talent that surrounds us... Thank you for your support, readership, and demand for a publication with a new voice, without you we simply couldn’t be here. Sincerely,






ebel tyle

Photographer William Callan Stylist Andrea Sagun Model Matthew Thornton with DT Model Management

Shirt Calvin Klein

Sweater Zara

Jacket Barbour Shirt Calvin Klein

Sweater Shirt Tie Pants Shoes

American Apparel Top Shop Top Shop 3rd and Army Florsheim

Shirt Calvin Klein

The Gentleman’s Guide to

Whiskey Whiskey, like revenge, is best served cold & undiluted! The whiskey obsessed here at LAPALME Magazine wanted to address the popularity of cooling mechanisms for our favorite distilled spirits.

Whiskey Stones Whiskey Stones are cubes of solid soapstone that will chill your liquor without diluting it.

Unlike ice, Whiskey Stones are non-porous and thus odorless and tasteless. So, adding Whiskey Stones to your favorite bourbon will chill the spirit without affecting its taste. Because soapstone retains its temperature longer than ice, Whiskey Stones provide for a more sustained chill.
 Softer than granite, soapstone won’t inadvertently scratch your glass.
 Hand-crafted in Vermont in America’s oldest soapstone workshop, Whiskey Stones are the perfect gift for the refined connoisseur of spirits.

Whiskey Balls

If you happen to like your drink on the rocks but hate the fact that you end up diluting whatever you’re imbibing, invest in this Roller Rock Glass. Just freeze up an ice ball with the included mold and drop that sucker in the glass. The glass is designed to let the ice roll across the bottom and open up all the aromatics your drink has stored away while it chills without diluting. Plus, swirling it at a cocktail party while pondering some deep thoughts will surely attract some ladies.

Steel Balls

If you want to chill whiskey more than just a few degrees, stainless steel cubes or a well chilled tumbler will do far better than whiskey stones.

Whiskey Disks

Made from Canadian soapstone, WhiskeyDisks are designed to slightly chill your whiskey to 50 degrees without watering it down or changing the flavor. Something about changing the molecular structure or somesuch. According to the WhiskeyDisk website, it’s all about staying above 45 degrees. Any lower and you start messing with the science nonsense.


The size and shape of the ice you use play a key role in how drinks taste. Small ice cubes tend to melt faster than larger cubes and will therefore more quickly dilute mixed drinks. A drink made with small cubes will taste best when it’s first served, but becomes watery and less flavorful in short order. There are many whiskey drinkers out there who would welcome the invention of some sort of whiskey glass lid to keep out all impurities—ice included. Us, we happen to like a couple of fingers chilled. The thing both sides can agree on is ice from your fridge dispenser has no place making a splash landing in some Jack. 16










Barbershop Quintet Photographer Michael Giragosian Art Direction Michael Giragosian Model Marius Pagel

Model Richie Wermuth Model Matthew David Model Carlos Palacio Model Adam Hobbs

Stylist Jeneka Kekuaokalani Makeup Sheri Michelle Hair Angel Cardona Location Floyd’s 99

Jacket Shirt Tie Pants

Neiman Marcus Hugo Boss Ike Behar Ike Behar Incotex

Jacket Shirt Pants Shoes

Jacket Shirt Yellow Tie Pants Shoes

Current Sand Sand AG Magnanni (Neiman Marcus)

Neiman Marcus Hugo Boss Armani Ike Behar Hugo Boss Magnanni

Neiman Marcus Shirt Robert Graham Yellow Pants Incotex Shoes Prada

Neiman Marcus Pink Shirt Robert Graham Glasses Ray Ban Pants Diesel

Jacket Shirt Pants Shoes

Current Sand Sand AG Magnanni (Neiman Marcus)

Vest Shirt Pants Shoes

Neiman Marcus Robert Graham Diesel Salvatore Ferragamo (Neiman Marcus)

Jacket Shirt Tie Pants Shoes

Neiman Marcus Burberry Armani Tom Ford Diesel Magnanni

Vest Shirt Pants Shoes

Current Ted Baker Ted Baker J Brand J Shoes

Jacket Shirt Pants Shoes

Current Ted Baker Ted Baker J Brand Del Loro

The one phrase that I can say that sums it up is ‘one goal, one purpose, team effort.’ I have thoroughly enjoyed working with all the guys and look forward to great things in the future.”

Bringing together a large group of people for a fun night is nothing new to local charity Guys With Ties. Once again, its annual summer “White Party” event was a success, raising over $4,000. Hosted by Vanity Nightclub in Downtown Orlando, the event was standing room only with a few hundred people in attendance. The event benefited an organization called Jobs Partnership of Florida, which not only helps people find jobs, but also provides them with services like professional development and resume writing, and can even provide donated professional attire. Guys With Ties, founded in 2005, is a non-profit organization located in Orlando. The Board of Directors consists of eight men whose professions range from doctor, lawyer, and engineer to entrepreneur and sales manager.

Director of Volunteers Alex Lane has worked with Guys With Ties for 10 years. Lane joined Guys With Ties because of his passion to motivate other young professionals to support and give back to the community, and his focus is creating fun. I inquired about the craziest or most awkward situation that Guys With Ties has experienced with volunteers. “The craziest situation was a volunteer [who] had a little too much to drink and took all the cash out of the donation box and proceeded to ‘make it rain’ money. Fortunately, we were able to recover all the cash and made additional donations because the crowd thought it was part of the show.” “Our most successful event that Guys With Ties can be proud of,” Director of Charities Steve Melko said, “[was] our Halloween event in 2006. We raised over $42,000 for BASE Camp for Children’s Cancer.” Melko said, “There are two organizations that touch our hearts the most, Toys for Tyler and UCanSki2. Toys for Tyler was started to benefit a young man with stage 4 cancer and has now grown into a non-profit to help children with cancer. Guys With Ties was able to donate a U-Haul truck load of toys. Guys With Ties also made Tyler an honorary board member. Tyler is now 13 years old and still fighting.

“I started out owning and working with many charities before joining Guys With Ties,” President J.R. Tanghal said. “I found that focusing on smaller community events could help more people and bring together the community often. I feel that Guys With Ties puts ‘the fun in fundraising.’”

“UCanSki2 is an organization that helps people as quadriplegics find a way to enjoy activities like skiing. UCanSki2 donated and named a dock after Guys With Ties.”

“The main reason I joined Guys With Ties,” quips Vice President Ryan Beam, “is to be more connected with the community. I feel Orlando is a great opportunity for Guys With Ties to not only help those in need but to bring the community closer.”

“We have been together for 10 years now and had some great success. Our biggest plans are to expand demographically and geographically. What we are realizing is that we are all getting older and need to expand our demographic of 21-25 to 28 and over. We feel we are limiting the organization from more success. We will be creating other events that correlate to a more diverse age range. We also want to create bigger events. Currently, the White Party and our Halloween Party are our biggest events that tend to attract in upwards of a thousand guests. We have plans to expand to bigger markets across the U.S. and even create another entity called ‘Guys in Suits.’”

Director Brannon Osuba has worked with Guys With Ties for just a few years. He moved to Central Florida in 2002, where he graduated from the University of Central Florida with a B.S. in Communications. Osuba discovered Guys With Ties when he sought out the White Party to attend. I know working with people is challenging enough, so I asked him what it is like to work with men with so many different personalities and walks of life. “I can say the three main factors are understanding, patience, and passion,” Osuba said. “Everyone has to be on the same mindset most of the time. We all have to understand the end game and product.

Here’s what the guys had to say about the future of Guys With Ties:

And when I asked for a quote that represents the mission of Guys With Ties: “There are so many quotes that we love but we believe the one that most represents our organization is ‘What we have done for ourselves alone dies with us; what we have done for others and the world remains and is immortal.’” Article written by Bryan Whitehurst

CLASSIC Photographer Numa Delgado Art Direction Andrea Puglia Model Lauren Ensley BMG Model and Talent Wardrobe Stylist Orlando Styling Mua Orlando Styling Jewelry Bon Posh Shoes Shoe Town (Old Town) Car Steve Nash Location Old Town Kissimmee (A&W)

Body Suit Vintage Sequin Socks Polka Dot Shoes Shoe Town

Jacket Sweet Cream Scalloped Dress Printed Strawberry Sorbet Shoes Kiss me Now - Shoe Town

Jacket Vintage Raspberry Skirt Classic Cut Bracelet Bon Posh

Shirt Shorts Shoes Bracelets Bangles

Olive Green Tie Up Printed Floral Shoe Town Bon Posh Bon Posh

Jacket Sweater Pants Shoes Jewelry

Jet Set Yellow Jeweled Knit Continental Printed Crops Shoe Town Bon Posh

B.O.R.N. to


Photo Courtesy of A&E Networks


eople many times get confused between the meanings of fashion and style. You can buy trendy clothes at any department store and someone will possibly express that they admire your outfit. A compliment on clothing never goes unnoticed, being labeled as fashionable is a honor in itself. However, when someone presents you with the line, “you have style,” it changes the game completely. Having good style is a gift, and located in Harlem, New York stands a vintage boutique overflowing with style and originality. The store is the epitome of individuality, having products ranging from vintage wear to fashion’s more modern pieces. Jonathan Broderick and his team make sure that their clients leave their shop feeling like “a better version of themselves.” This is exactly what draws viewers into the show. Viewers are also attracted to the family atmosphere of the store. “There was no way we could have casted this team,” explains Broderick. “Organically, it just comes to you,” Jonathan speaks of the chemistry in the shop. With the help of their humor and witty one liners, this team draws you into their passion. The love for style is infectious while watching the show, you feel welcomed into this fierce family of fashionable divas, and if that doesn’t sounds like heaven, I don’t know what does. Broderick explains how his goal is to, “enhance the resume,” the resume being the client. This team takes pride in listening to their clients and understanding their personal style before bestowing their fashion genius upon their guests.

Along with Jonathan Broderick, there is stylist and close friend JJ Langan. The two have known each other for thirteen years now and the banter between the two is as funny as ever. JJ has also been a street style photographer and is no fashion newbie, his style and expertise is all displayed on the show effortlessly. Next is stylist, Brandon Hood, the newest addition to the team, but viewers would not be able to guess this. Jonathan explains that, “he brought his southern hospitality,” to the team and they all mended as a family quite easily. Terry Artis, singer, songwriter, store manager, stylist and partner of Jonathan’s for eleven and a half years, is one example of the magnitude of talent these people possess. Everyone is talented beyond comprehension, including the lovely make-up artist and beautiful lady of the show Kristen Brown. Starting out as an intern, Kristen grew with the team and made her way into the family of the shop. Also in the family is Devin Stokes, assistant, godson to Jonathan, and an aspiring actor as well. Devin, “reminds me so much of myself,” explains Jonathan. The drive and passion that is instilled in Jonathan, is apparent in Devin and the rest of the team as well.

The team is made up of a collection of creative individuals. Starting with owner Jonathan Broderick, a frequent thrift store visitor by the early age of nine, has had fashion on his mind for most of his life. When deciding to open the store, in the business planning stage, a question was presented to him, it read, “Who is your competition?” He explained, there was no competition; Not that there was not thrift stores and consignment shops, but there was no place quite like his. No place in Harlem offered what he was offering and this is what he knew would “It’s not a makeover it’s a transformation,” Jonathan separate him from the rest. expresses, He believes in everyone’s authentic selves, he also believes that everyone should stay true to their uniqueness. “Everybody brings their own style into the store we just enhance it.” This attitude and belief is what leads people wanting watch them in action. One day Jonathan Broderick was asked by his brother if he could film a documentary on the store. Jonathan complied and they shot interviews with some customers and it only grew from there. Two and a half years later the team is shooting for A&E Networks and everyone has fallen in love with the vintage boutique with a whole lot of personality.

You can catch B.O.R.N. to Style on the FYI Network or online at Article by: Gemini Martin 33


CARLOS MARRERO Combining the wonderful and whimsical images of the 1940s and 1950s, along with delightful childhood memories and a strong passion for the artistic, Carlos Marrero shares with us some of his inspirations, motivations, and the stories that have made him who he is today. By: Massiel Mancebo MM: As a fashion illustrator, what is one of the things you enjoy most about your job? CM: What I enjoy most about being a fashion illustrator is that I followed my dream, I followed my passion. Ever since I was a little boy and my grandma used to take care of us, because my parents were divorced and my mom had to work, my grandma used to make clothes from patterns. She used patterns from McCalls and Butterick, and those patterns had beautiful fashion illustrations in the cover. I used to try to copy the drawings, and was always trying to perfect them. Many years later, and after my grandmother passed away, I actually got a job from McCalls magazine and I was chosen to be on the cover! It was such a nice turn around, like a circle of life sort of thing. I also say that the opening credits of “Bewitched” and “I Dream Of Jeannie” inspired me to be an illustrator as well. So I’d say that the thing I love the most about being an illustrator is that I do what I love. MM: What has been your greatest inspiration? CM: When you are a fashion illustrator you are always looking to fashion for inspiration, and I’d say that my specific

MM: What has been your greatest motivation? CM: I think motivation changes with time. I’ve been in the business now for 25 years. I started in this business when I was around 22-years-old and so I see that motivation changes. Now my motivation is to keep proving to myself and to the world that there is a relevance for fashion illustration and fashion art. Sometimes time passes and you don’t see illustration for a while, and I wanted to be one of those artists that was able to stay through the decades and survive as an artist. I wanted to prove to myself and maybe even my family that at one point might have thought that I hadn’t made the right move, that it was. That following your passions and living as an artist in the fashion industry is a big thing.

decades of fashion to be inspired by are the 1940s and 1950s. I love when women wore those voluptuous skirts, Christian Dior’s “New Look”, the gloves, and beautiful hats and shoes. Women would take their time to dress up, not that I’m criticizing the women of this particular generation! (laughs) we live in different times. But if I could have been born in another era it would have been the 40’s and 50’s. I also love the “Mad Men” era. That’s what inspires me.

MM: Tell us a bit about yourself, who is Carlos Marrero? CM: Can I draw you a picture instead? (laughs) you are asking an artist to talk about himself… We all have our egos, but when it’s time to talk about ourselves, it’s never easy. If I were to narrow it down, I’d say that I am someone that lives, and lets live. That’s one of my mottos I guess. I say if you like a particular religion, or party, I’m not going to judge you for that. I always say that some people dance the tango and some people dance the cha-cha, and that being whatever topic you want to put in there (laughs).

But if you dance the tango, you can hang out with people the dance the tango, but don’t go and criticise the people who dance the cha-cha! Does that make any sense? That may not make any sense at all. MM: It makes a lot of sense! CM: I try to live my live on purpose, keep pushing to follow my dreams. I’m always open and pushing for spiritual growth. Carlos Marrero is one who likes to inspire others by my work, but not only by my work but by my actions. MM: Is there a particular fashion illustrator you look up to? CM: One-hundred ten thousand, one million percent it would be… Antonio Lopez, he was probably one of the most influential fashion illustrators in the world. He is a native of Puerto Rico like myself, and he inspires me as an illustrator because his work was very eclectic, extremely colorful, and just brilliantly dynamic. I mean this man had so many styles, he was like a chameleon. I feel he actually elevated the whole fashion illustration world. He brought fashion illustration to covers of magazines, he brought respect to fashion illustration. He was also one of the first people that we lost to AIDS in the 1980s, which was very sad. He is most definitely my inspiration. René Gruau is another one that I do love, the posters of the old days… beautiful, beautiful work. Also Patrick Nagel. If I were to pick my top 3 those are it. But Antonio is way above the other two for me personally. He’s my ultimate favorite. MM: What has been one of the projects you’ve most enjoyed working on? CM: There are certain projects that mark eras, or achievements or goals that you achieve. I remember my illustrations shortly after graduating from The School of the Art Institute of Chicago. I remember getting a job with Escada. I remember seeing my illustrations on the windows of the beautiful Escada boutique on Michigan Avenue in Chicago. I thought: “Wow! I made it!” And then there were my first illustrations on Cosmopolitan magazine, so when I received the first issue of a

national magazine I just literally broke down into tears because you think “oh my God, it happened.” Then it was Vogue, then it was Glamour, then it was InStyle magazine, Entertainment Weekly, so I’d say it really doesn’t get old. Last month I had a two page spread on Latina magazine, you open it and you still get the goose bumps because imagine, you are at a Publix or Walgreens store and you see your drawings with your name on it. It just doesn’t get old. Another great moment was when I published a book and received the first printed copy of Wake Up Romeo which is the name of my book. I then went on tour and met people who were buying the book, and I was signing copies. It was great. Now my big project that I enjoy the most is my fall and winter line of handbags and accessories, so it changes with the times. MM: I was able to see your wonderful new collection on your site, can you tell us a bit more about that project? CM: Yes! I launched The Marrero Collection on July 25, 2014. It is a compilation of alluring statement pieces designed for the fashionista looking for unique fashion items without the couture price tag. The line features chic and stylish handbags and accessories, which allow women to take part in my glamorous and whimsical vision of fashion and femininity. I believe that the modern consumer is looking for ways to express her individual taste and stand out from the crowd, and the internet makes it easier for individual artists to compete with major manufacturers who have traditionally dominated the market. This line represents my lifelong pursuit of seeing my illustrations in products. MM: What inspirational quote or statement do you live by? CM: I’m an inspiration quote junkie! There’s a section on my blog that’s just for quotes. The one that came to mind first was by Christopher Morley: “There’s only one success, to be able to spend your life in your own way.” You have to go after what you want, if you are not doing what you love then what are you doing here? Joseph Campbell is another who wrote the most important words: “Follow your bliss”; ask yourself: What is it that makes your heart sing? To me,

if I’m drawing my heart is singing. If I’m not creating I feel stuck. Everyone is born with a song, and some people die never singing that song. So sing your song baby! MM: What are your words of inspiration for future creatives and people who look up to you? CM: I would say to never, ever, ever lose sight of what inspired you to pick your career. I think the challenge with this generation is that they have a microwave mentality; because they’ve seen so and so have things “now” they think it will be the same for them. Sometimes it takes a lot of work to achieve things. Even if you doubt yourself, keep your eye on the prize. People will try to take you down, but better doors will open. I’ll leave them with this quote by Charles Kettering: “Believe and act as if it were impossible for you to fail.” To shop for The Carlos Marrero Collection visit: | For more information visit:


Designer and fashion illustrator Carlos Marrero welcomes back, the most classic of combinations

black white

available at:


She has graced the covers of Vogue, Elle, and many more


he has graced the covers of prestigious magazines such as Vogue, Elle, and Marie Claire. She has stood behind the lens of some of the worlds most recognized photographers and was named one of the “Most Unforgettable Women of The World” for Revlon. Aside from having lived a life of fashion and luxury, Susan Miner, M.A. is now a counselor and motivational speaker who dedicates her life to helping others discover and develop their own inner beauty.

MM: What was it like being considered as “one of the most unforgettable women of the world”? Is this something that brought on a higher expectation to live up to? SM: “It’s a funny question because of the answer –I wasn’t even paying attention; I remember during interviews they would ask me “where are you from?” I would say “Massachusetts” but I’m actually from a town called Hampden Mass and it’s a really small town, and I remember thinking “oh it’d be funny if they could put my really small town,” but other than that I didn’t pay too much attention. It wasn’t until years later when people like yourself have asked me about it and I think: “oh yeah that was kind of… (laughs).” MM: What was a point in modeling when you felt that you had “made it”? SM: “When I first went to Paris I was there for three months and I only got one job, and after that I went to Milan where I worked pretty much everyday. Several years later I was flown to Paris on the Concorde, made a boat load of money and I felt like: “oh okay, the first time I was here I didn’t find anything and now I’m being flown here on the Concorde” so that was pretty cool.” MM: Growing up, what were some of your ambitions? Did you know you would become a model? Did you want to be? SM: “I did want to be a model, but I did not really have it fully formed in my mind. What I did have in my room, was a collage of models, literally cut out and

taped on my entire bedroom wall on the wallpaper. My mom was very forgiving about that. That was my first manifestation board before I even knew what a manifestation board was. I had a photo of Brooke Shields on my wall in an old fashioned frame I found in the basement; it was a Vogue cover. Years later my friends got me an old fashioned frame and put one of my Vogue covers in there, so it was pretty cool, it came full circle. I still have it saved. My mom saved tons of my photos in boxes for posterity.” MM: You graced the covers of Vogue, Elle and many more. Was there a cover or a shoot which you felt reflected you the best? (or reflected your inner battles)? SM: “There was… that’s a good question; and one cover encapsulates both –that was an American Vogue cover that I did. It was a very well received cover; It was featured in an HBO documentary about the editors of Vogue, they showed that cover. It had the biggest impact on my career; I think it’s timeless and it’s still beautiful today, so that was one aspect, but flipside, when we were doing it, the photographer told the hairdresser and make-up artist to spray my face and hair with water. My face and my skin were wet, and I had never seen anything like that. Prior to that they always had big hair, the pictures were taken very close up, it was a different look, so I was mortified doing it. Cindy Crawford was there shooting for the other half of the day so I thought I thought: “I’ll nev-

er get this cover”; that was my insecurity voicing itself. Inside I’m thinking “this is awful”. It was different, I didn’t expect it, so when Richard Avedon showed me a polaroid, I thought it looked pretty but I was still kind of uncomfortable –funny right?” MM: Richard Avedon is my all time favorite photographer, I have so many of his pictures saved for inspiration, I love his work, what was he like as a person? SM: “He was very kind, very nice guy. He would hang out and talk with us; a very nice guy.” MM: Was there someone who inspired you to change your path in life? Or was this something that came from within? SM: “It came from within; it was always my desire to help people. My favorite thing was always to help people, even when I was a kid. Also, I wanted to help myself, I wanted to feel better. I wanted to feel peaceful, so I was self-motivated to feel better, and of course, when I’m helping people I always feel better as well. When you help others, you focus less on yourself. This goes back to your first question about how you can help yourself, helping others is one way to do it, because when we become very focused on ourselves and depressed, we become very self-centered and that is so painful. Article by: Massiel Mancebo Photographer: Chuck Kovach 39

MM: Was there a place that inspired you, a country or city you visited which was very impacting? SM: “Well travel in general inspires me, I love being by myself and just wandering. The old city of Barcelona inspired me; I did a job there for a German catalogue and I only worked in the mornings –it was brilliant! I had the rest of the day to just hang out and explore. I loved the architecture, the museums, everything was amazing.” MM: Your story strikes a deep nerve with many women especially young women, what would you say to these young girls who are considering self harm, eating disorders, and even suicide, as a result of how poorly they feel about themselves? SM: “The first thing I would say is that wisdom, and the ability to care for yourself comes with time, and with practice. That’s really the key, the ability to care for yourself; It’s different for everyone but it’s important to know that the twenties (particularly the early twenties) are brutal. It’s as simple as that; they are brutal. You are trying to start out in the world and there are many pressures to be everything as a woman: the business person, the nurturer, the supermodel, the athlete. There are all these things that are expected of us now and it’s too much, we can’t be everything. Just know that wisdom is coming, meanwhile try something that makes you feel better. When someone gets caught in an eating disorder, in fact what they are trying to do is to feel better, but they are just looking in the wrong place. Going down that path is just going to make them feel worse. It’s the same thing with drugs and alcohol, they’re looking to feel better but it’s going to make them feel worse. My advice is to try counseling, church, temple, meditation, self-help books, karate class, volunteering, those kind of things will help you. I was a mess, and it took me a long time to figure things out and that’s why I do what I do now to help people. But see I’m 25-years out, I’m 45 and there are people like me who still remember what a nightmare it was, who have the experience and who have the schooling to help you so you are not alone.”


member that it’s all designed to get you to purchase something. The way that marketers do that is by telling you you’re lacking something. Then tell you that what they are selling you will fix that something. When you’re comparing yourself, you’re comparing how you feel inside to how the advertisements tell you to feel. Or how your social media friends look on their vacations, or at her bridal shower, so when you’re looking through your Facebook and you haven’t showered, maybe you didn’t sleep that good, and you’re seeing people at their absolute best moment…you just have to remember you are comparing your insides to someone’s outsides. Then the next thing is –put your phone away. Put it down, and remember that you have a responsibility to yourself when you’re surfing or looking at ads, or if you’re on a certain social media and you begin to notice that you’re not feeling well, it’s your responsibility to turn it off. For example, if you’re watching the Victoria’s Secret Angel runway show and you start to feel bad, turn it off . I have never watched one and even though physically I’d be considered to come closer to that ideal, I don’t hit it. I’m pretty close –but even I would still even feel less than if I watch it, so I know better. When we’re comparing that’s focusing on the other person, we need to bring it back to ourselves and focus on our own strengths, and our own creative outlets etc. Once you start on the path of feeling badly when you’re comparing yourself, begin to speak to yourself about what you’re good at, your recent successes. You can think about things like: “hey yesterday I helped my friend feel better” or “that guy told me I had a nice butt” whatever it is, start reminding yourself of the good stuff.”

MM: Today with everyone living through social media, women are bombarded heavily with images of what they should look like, what weight they should have, etc. What is your opinion on this?

MM: Do you feel that there is a positive way in which women can transform these negative feelings of comparison and insufficiency with what they see displayed on a screen on a daily basis? SM: “That would be to focus purposely on your strengths, and the positive things that are happening in your life; focus on the compliments that you get. Retrain yourself to focus on the positive. There’s a program I did called “Supermodel Confidence” and one part of it was to write down your accomplishments and put it up where you could see them. Whatever makes you feel good, begin focusing on that and write it down.”

SM: “Well several things…one is to re-

MM: Do you have a quote/statement/

proverb that you live by? SM: It’s not a proverb, but I always think and say to myself…for example when I was 26 and I was retiring from modeling, I said to myself: “well I’m going to be 30 anyway” so I went to college, so I might as well have a degree. Or “I’m going to be 40 anyway”, now I’m saying to myself “I’m going to be 50 anyway” so I want to get these books published and all of these different things. We are going to get older… that’s it (laughs) It’s coming! Might as well accomplish stuff that we’ll be proud of in the meantime. MM: What are your top 5 beauty regimens to maintaining yourself beautiful inside and out. SM: “Sunblock every-day! Vegetables with breakfast, that’s everyday unless something crazy happens. I’m having vegetables because I find that we don’t get in that many vegetables usually. I meditate everyday, and I exercise or move my body everyday. I’ll exercise but I won’t do an hour class. I’ll do a half hour, or I’ll do a yoga class or I’ll do high intensity for 20 minutes but I don’t beat my body into the ground –I find that works best for me. I find that a 20-minute workout is good; the key is consistency. The last one is I’m always on the lookout for how I can help people, and then I do my best to do it.” MM: If you were on a deserted island with no spas, and you only had one bag with a few products and things to take in it, what would you take? SM: “I would take Vaseline for my lips, I would take sunblock, I’ve been liking the Alba sunblock. I would take Shea butter, just your basic Shea butter, I guess that’s about it. I would take Pureology shampoo, what a difference good shampoo makes! An umbrella… ear plugs! I sleep with ear plugs every night, they help me sleep.” MM: What are some of your current goals and dreams, what would you like to achieve in the next 5-10 years? SM: “I would like to publish 3 books, they are on their way. I’d like to do a TED talk and I’d like to be a spokesperson for a company who believes in beauty inside and out. I’d like to be a spokesperson as a counselor as well, instead of a celebrity or an actress I’d like to be someone who helps women reveal their inner beauty as a way to enhance their outer beauty at the same time.”

“When we are comparing, that’s focusing on the other person, we need to bring it back to ourselves and focus on our own strengths, and our own creative outlets.”

MM: What has been the best thing about changing your career path? SM: “The best thing would be seeing my clients change, and just being in awe of the process because it’s quite a spiritual process when someone takes on the work of changing themselves. They have to be vulnerable and they have to be brave, and when I can be with them through that process and watch their anxiety drop away, or their panic attacks stop, or their self-esteem raise, it’s just so gratifying.” MM: Who are some of the people that keep you loved and grounded in your everyday life? SM: “I would say my family, and my circle of women friends, and then… this is kind of funny but, I derive comfort from some of my favorite teachers on YouTube; some of my favorites are Louise Hay, so I listen to her affirmations and power thoughts and I encourage some of my clients to do that as well. It gives me comfort and company to have her presence – really you’re bringing her presence in. Eckhart Tolle I bring into my house a lot… so that’s where I find technology can be good. This goes back to your earlier question: find the technology that uplifts you. A final thought is your inner beauty and your inner peace is in your control, and by that, I mean there are exercises and ways in which you can raise your inner beauty or reveal your inner beauty, so find them. We can’t always change what happens to us, although the more peaceful we are the better things will happen. If you’re not peaceful, or you feel you’re not peaceful because of a bad childhood for example, you still have control. It’s like exercise, if you want biceps, you want muscles, you go to the gym and you lift weights. If you want to be more peaceful, find the things that make you more peaceful. Find what works for you.” For more information on Susan Miner and her programs “Beauty From The Inside Out” visit:

Photographer: Chuck Kovach Art Director: Francesca Greenwood Photographer Assistant: Stephen Glass Designer & Collection: BlacMéra by Yuliana Candra Make-up Artist: Sheri Michelle Hair Stylist: Andrew Sellers from Marigold Scott Hair & Make Up Accessories: Tuni, Winter Park, Florida. Location Services: Megan Morris For more information on this house: contact Isleworth / Stockworth Realty



Get the look: try M.A.C. eyeshadow in Steamy and M.A.C. Eye Kohl in Tarnish, suggests makeup artist Sheri Michelle.

Try it! Givenchy Noir Couture 4-in-1 Mascara, and Tweezerman’s Slant Tweezer for clumping. 46

Romantic Get the look: Michael Kors’ Sporty Bronze on cheeks and Michael Kors’ Dame lip laquer.



ach of Fall 2014’s runway looks showcased a singluar feature, leaving everything that remained clean, androgynous, and naked. Key makeup artists’ Fall prescription: Find your power and accentuate your individuality, and then peer past those lashes in get in touch with your truth. By Tracie Cervero

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Photographer Cindy Leon for Foto Lucid Wardrobe Styling Giselle Sendra Model Becca Boliver

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Timeless Elegance Photographer Vincent Gotti Designer Sue Wong Hair Sheila Vergara - (Duo for Hair) Make-Up Artist Ozzie Mendoza Stylist Pao Nissen Lighting Director Scott Nobles Photographers First Assistant Christian Thomas Executive Producer Aaron Madariaga Models Kaylen Meuniere Kristina Schroder Sterling Zayas (Courtesy of MYELITE Model Management)

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D i a n n e H a lloway Article By Gemini Martin

Designers all over the world aspire to do one thing, make history with their products. Leaving a mark on the fashion industry is a goal that stylists, designers and photographers everywhere wish to accomplish. The goal is to create your imaginations and present them to the world in hopes that they in return will love it as much as you do. Designer, Dianne Halloway underwent the same stress and hopefulness that many have gone through before. Halloway Collections began as a concept in 2010 where the shoe genius known as Dianne Halloway created her first men’s shoe collection, Blacc Republicc. Under the company name Pradjex, she put this collection out to her friends and fans and got a response she would have never imagined. Outreaching from Barbados, Indonesia a n d

South Africa began to inquire on Blacc Republicc and before she even realized it, Pradjex had many people eager for more. High fashion retailer Barney’s New York reached out to Dianne and encouraged the change of the name of the company from Pradjex to Halloway Collections. Halloway Collections then set out to conquer. Getting the attention of celebrities such as Jada Kiss, Big Sean, Neyo and Swiss Beats, the collection was virtually a success. All Halloway Collections needed was the shoe.

There are more plans in stone to travel to England for Brighton Fashion Week and to Tokyo for the Plug-In Exhibition at Mercedes Benz Fashion Week. Halloway Collections wants to appeal to customers on an international level, and that is exactly where it is heading.

Eager to please her new fans, Dianne came out with the Black Python Collection. Being manufactured in Spain, Portugal and Italy, Halloway Collections was preparing the finest quality of shoe possible. The response to the Python Collection was a positive one as well. Halloway was invited to New York Fashion Week to be showcased as a new designer and is also scheduled to attend Paris Fashion Week this fall.

The Black Pyhton Collection’s success led Dianne Halloway to only create more. She wants to go,” beyond the boundaries, beyond what is allowed.” Her work shows her incredible efforts to create fresh ideas and artistically a p p e a li n g shoes. Growing up in the foster care system, all Dianne knows is hard work and overcoming obstacles. Excelling in school through out her high school and college careers were only the beginning for this woman. While attending Arizona State University, Dianne

Halloway ran track for four years, receiving four championship rings whilst remaining on top of her academics. Halloway thought to herself how she wanted to make history, a question seldom few ask themselves. She researched and found that the percentage of women in the business of designing men’s shoes was miniscule, so she sought out her target and here she is tackling the tasks. To match the quality in shoes, Halloway Collections believes in the quality of service. “Upscale sneakers, upscale service,” she states. When the shoes are delivered, they come in a briefcase accompanied by a signature from Dianne Halloway. The company is going to be offering a concierge drop off service of the shoes for a more personal customer to company relationship. This is what sets apart Halloway Collections from the rest of the designers in the field. Starting this fall Dianne Halloway will be revealing her Bolivon Collection, BLÆOLITHIC Collection and the VII Trumpets. All featuring the originality, professionalism and creativity that is Halloway Collections. Giving the customer the individuality that they deserve, this is only the beginning of Halloway Collections. “Something’s coming,” claims Dianne Halloway, something is coming and we are hanging on to every string.

Check out the Halloway Collection

Photographer Travis SEALE Stylist Vara Ayanna 74




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MICHAEL Angel Cardona, the Creative Director for LAPALME Magazine, sits down with Michael Polsinelli, a Global Art Director for Sebastian Professional, to talk about life, hair, and fashion.

Angel Cardona: First off, I have to say thank you, Michael, for taking the time out of your hectic schedule to sit down and do this interview. I also would like to say congratulations on the birth of your second child, and I know you’re just getting back from your trip to Europe for a photo shoot. Is there any way you can let us in on what that photo shoot in Europe was for? Michael Polsinelli: Thank you, Angel. I was in Hamburg, Germany, shooting the Fall/Winter 2015 Collection for Sebastian Professional, working with two new revolutionary styling products. It was a lot of fun pushing the hair to the limits. That’s all I can say. AC: So for our readers who might not be too familiar with your work, can you let them know a little about yourself? How did you get started in the industry? Where did you grow up? What is your background? MP: I’m originally from Toronto, Canada, born to Italian parents who are also hairdressers. I started working in their salon for fun during my high school holidays, assisting nine hairdressers. So I was influenced by hairdressers at an early age. I never thought I was going to be a stylist because I was drawn to becoming a graphic artist. But when I finished high school, I said let’s give this a shot. So I went to college and did an apprenticeship program and learned hairdressing, science, and the business side as well. AC: What do you think drives you as an artist/hairstylist to constantly recreate yourself and to always look for what is next in the world of hair? MP: What drives me is the challenge to create something interesting and beautiful when you’re in the moment. The fear of becoming stale or irrelevant forces me to challenge my ideas and skills and push them as far as I can. So I stay plugged in to everything that is happening around me. Current events, fashion designers, fabrics are just some of the things that I love. AC: Being at the level you are, which is the Global Art Director for Sebastian Professional, a company that has been around for 40 years, what kind of pressures do you face or does it all seem to come natural to you?


POLSINELLI MP: I have always put pressure on myself because I am just that kind of person. I am extremely grateful for the position that I have at Sebastian and hold myself accountable for sharing all that I know [with] hairdressers around the world. I have become more comfortable with the responsibility as the years have passed, because I have developed my own creative process or formula and now use pressure as fuel; I don’t see it as an obstacle. I also share my title as the Sebastian Global Art Director with my partner in crime, Mr. Shay Dempsey. It’s great to be able to bounce ideas off each other because we are of like mind and that helps ease the pressure, as well. Sometimes when I don’t have pressure I create it to put myself in uncomfortable situations to keep me on my toes. AC: Do you feel that fashion, runways, and top designers really play a big role in what you do? MP: Absolutely! I’m a fashion junkie and love how certain fashion designers are changing the way we wear clothes. Designers have changed how I look at hair as a fiber because couture is now like timeless pieces of wearable art. I see hair in the same way when I’m creating my avant-garde headdresses. I love changing the fabric of hair into something completely different by using materials such as resin or synthetic plastic. I love exploring and thinking outside the box. AC: Who is your favorite designer at the moment and why? MP: I have a lot but I’ll just mention a few: Gareth Pugh, Rick Owens, Alexander McQueen, Iris van Herpen. I am drawn to these designers because they see mediocrity as the enemy and use individuality and intuition to dare to be different. AC: Is there anything in fashion that you absolutely love and hope won’t go away any time soon? MP: Yes! I love fashion that fuses different cultural styles to create something new. I am attracted to the Eurasian blend of lines and the mixing of new fabrics. AC: What would you like to see more of in fashion as well as hair trends?

MP: I have mixed feelings everytime I get asked this question. It seems that a high or low price tag on a haircut has become the measuring stick for talent or success. I think this makes hairdressers feel inadequate or uneasy when they compare prices. The cost of a haircut can be affected by many variables such as experience, location, self doubt, or ego. Success is different for every hairdresser, no matter what you charge. I charge an honest price for my haircuts because I like creative variety in my clientele. I think my clients feel comfortable, trust and know that I will always be honest. I do love making my clients laugh and have stimulating conversation about whatever. AC: What moment in your career do you feel helped propel you to the next level and when did you actually feel like you began to make a mark on your industry? MP: Back in 1997, Sebastian allowed me the opportunity to showcase my talent, but in 2000, a man by the name of Robert Lobetta opened my eyes to see hair as a fiber waiting to be transformed into art. AC:What is next for Michael Polsinelli, and where do you see your career going in the years to come? MP: Hopefully I can continue to make a difference for Sebastian for years to come with Mr. Dempsey. I would love to one day have a gallery showing of all the hair art that I have created over the years. I try to not force my things to happen career-wise, but instead embrace the possibilities of what lies ahead. AC: If any of our readers would like to find you, how can they book an appointment with you? MP: You can find me at John of Italy in Westlake, Calif., or on Facebook

MP: I would love to see hair become more of an integral link in the development of fashion trends. Hair is an accessory just like the clothes themselves and all play part of the composition. AC: What is the going rate for a haircut with Michael Polsinelli these days and how would you describe the experience?


CRAFT ACROSS CULTURE A/W 2014 Raise the volume and define your style with featherweight volume. Created with Thickefy Foam. Only from Sebastian.

WHAT’S NEXT. SEBASTIANPROFESSIONAL.COM ©2014 Sebastian Professional, Woodland Hills CA 91367, USA. All rights reserved.




Want to upgrage your lovely locks for the chills of Fall? Here are the top 3 hair trends that are taking the runway by storm.


1. BOHEMIAN WAVES: Bohemian waves are continuing to be a hot look for fall 2014. They are a bit more

polished and relaxed than the wild and tousled beachy waves seen during the summer months, which makes for a refreshing change.

2. BRAIDS FOR DAYS: Braids come in all shapes and sizes, and this season they are everythere. There were so many different types of braids seen during fashion week across multiple brands; everything from tight braids, half-up half-down fishtail, tucked and twisted into up-do’s. This is one great fall trend to experiment with this season. How would you wear your braids?


Ballerinas are known for their graceful elegance, which makes channeling our inner ballerina a fantastic idea for the fall. Center parts, ponytails, and undone ballerina buns were all over the runways for Fall 2014. These easy, natural looks will surely find a way into your regimen. They are as simple as you want them to be and look effortlessly chic. 85


CHROMA Photographer Brandy DeMarzo Photographer Assistant Curt Leimbach Make -Up Pam Bloomgren Hair Dana Hawk Styling Pam Bloomgren Editing Thiago Christo Model Mary Butterly - Level Talent Group Wardrobe Designer - Sandra Hagen



Y ou can feel the excitement building, the tension from the fast pace working, and through all of that… a sense of awe. This seemed to be a reflection from every participant involved in the grand production, from the seasoned vet to the first timer. Each individual knew their role and played it well, for the most part. Understanding the importance of their job for the day, everyone was eager to get started. We began to settle in and get ourselves situated for the chaos that we all knew was about to ensue.

One by one the models began to trickle in. The first seemed to be 30 minutes early but actually right on time. The second arrived almost at the moment Jorge, the lead stylist, finished the first. I began to prep and section her hair as if it came natural and in a way it did. Three quarters of the way finishing her style Jorge came by to make sure I was staying on trend with the look he created. Suddenly a hand full of models came rushing in and the rest of the stylists and makeup artists quickly got to work. Everyone eager to get their hands busy; two to three people pairing up to collaborate on one model. You could really feel the energy. For us backstage, the show had begun. Once the models where called for runway rehearsal we all scattered and went to go see the set up. The room was already in order with the materials and swag already placed on each guest seat. The photographers were anxious even though they had over an hour until show time. Everyone was picking their positions to have a look at the run through for Son Jung Wan. The fashion show director got on the mic and began to give the models direction, “make sure to always walk down the center and to turn as close as you can to the seats when you get to the end of the isle”. She cued the music, then the models one by one walked down that runway as if the spot light was just on them, full of confidence and determination. As we watched the run through, Laurent [the other lead hair stylist] leans over and mentions how the show director, Lynne O’Neill, is one of the most important people in the fashion industry and how they have even made a movie about her. In 2001, Margaret Cho played a colorful version of her in an episode of “Sex and the City” titled, “The Real Me.” 92

Soon it was time for finale touch ups, The finished models begin to get dressed and the remaining ones anxiously await their turn at hair and makeup. Everyone knows show time is just minutes away. We all begin to double check our work and the work of others, feeling satisfied we try to find a spot where we could watch

the show from the monitor backstage. You can sense the excitement in the air as the show director yells, “first model

you are going on now” as the music blares… the show has begun.

After a successful first show, we quickly came down from our high knowing we still have one more show to go. This next show is for Designer Luis Antonio; unlike Son Jung Wan it was my first time working his show. We quickly packed up and moved to his tent so we would be ready to begin prepping his models. Just like the previous show, the first model always seems to come early and alone. So we all gather around and watch as the first model is prepped and styled while we patiently wait as the rest of the models begin to trickle in. The energy back stage begins to pick back up as we get busy, This time the look, though still pulled back, is completely different. In the first show it was more sleek and polished this collection is a bit more undone and wavy but very elegant. As we prep the models I cant help but notice that it seems to be even more crowded then it did before and I wonder how many people are back here that aren’t authorized. i work diligently knowing we are crunched for time and feeling the tension building up around us.

My next model walks in from a previous show with what appears to be a “wet look” but is actually very hard due to tons of product. Knowing I have quite a task ahead of me I recruit the help of a fellow hair stylist. As we begin to wet her hair down so we can blow-dry it and start the style, it seems almost impossible to comb through her hair without hurting her due to being tender headed. These are the moments that I feel bad for the models but don’t have much time for sympathy, so we carry on. Once again the models are called for their walk through but this time I stop for a snack before heading to the runway; no time for lunch today. As I make my way towards the rehearsal room, the new fashion show director Kelly Cutrone and I cross paths. I was a little taken back because I have seen her on TV several times and on a few fashion documentaries. I quickly want to introduce myself but when I get closer I notice that she is calling for security to kick some guy out of back stage, so I decide right then that this probably isn’t the best time to try to make small talk. Inside the show room again, my excitement about the impending show is growing. As Kelly begins to direct the models and cue the music I decide to take a couple of snap shots with my camera. This set of models bring the same confidence and class to the show that made the last one a success. “Finale looks” is called and we all rush back to make sure everything is perfect. The models are dressed and ready as we collectively look over everything for a last time and make sure they are all set for the runway. I find a spot back stage close to the monitor so I can try to get some footage of the actual show amongst all the distractions going on around me. The show was fantastic, and being lucky enough to be able to experience it from both perspectives makes it even better. NYFW Photo Credit goes to Diego Duchitanga


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Photographer Timothy Prestoza Photographer Assistant Curt Leimbach Make -Up Carla Tersini Styling Yekaroma Card Assistants John Bermudez Lorna De Perio Models Vanessa A. Leigh Heather Rose Production Assistants Marty Maguire Mary Zdorova




so I grabbed all that I could. A month later I made an enormous sculpture with it.” The finer details of her creative journey were explained in Carvalho’s own words in the booklet titled, 101 Dresses, which accompanied the exhibit. She obtained a BA in Fine Arts in Sao Paulo, Brazil, then spent eight years in Chicago. There she learned technical training at a mechanics institute and was influenced by artists such as Julio Gonzales and David Smith. Carvalho studied welding and focused on 3D welded artworks — her first foray into working with metal. Her art is indeed rooted in metalwork, but also includes assemblage and printmaking, for which she created a unique printing technique that uses her metal works as templates. In her native Brazil, she established an art foundation dedicated to teaching underprivileged children the importance of art and craftsmanship.

In Miami, Adriana Carvalho is part owner of Pink Bastard Art Forum, an organization that showcases other artists. She exhibits with established galleries and museums, art foundations, and international art fairs such as Scope, Art Miami, Art Brussels and Arcomadrid.


HOLLYWOOD BEHIND THE SCENES WITH PAUL SONSKI Hollywood has been fascinating us with great movies and special effects for decades. Many of us can credit the great movies of Hollywood for our sources of inspiration, memories, and emotions, but behind the silver screen and the fancy red carpets, there are people whose imaginations soar far and high to create some of the details that make some of our favorite movies so wonderful. From The Help, to The Amazing Spiderman, to Jurassic Park, Paul Sonski has been one of those people. As both a set designer and art director for some of the most famous Hollywood movie sets, Paul has plenty to say about the fantastic world of Hollywood. Interview by: Massiel Mancebo


MM: How did you get started in the film industry? PS: It was something that came about in a roundabout way. The first thing that happened was that I was born in 1954, and in 1964 The World’s Fair came to town, to New York City. I grew up in Connecticut and we took a family trip to New York for The World’s Fair. I was familiar with the Disney company through Walt Disney’s TV show The Wonderful World of Color and we had a neighbor who had the first clip he had made and I got to see the program in color on their set. I became really attracted to the show and to the different projects that were on that show, and then when we went to the New York’s World Fair I discovered that there were four attractions that were designed by the Disney company. One was the “Small World” ride, another was “The Carousel of Progress”, I think another was “Great Moments With Mr. Lincoln” and another the “Ford Magic Skyway”, and those particular attractions really stood out in my mind. When I discovered later that he had designed them, I thought that would be a really great company to work for. I was also inspired by my uncle; he was a contractor builder who designed his own home, so he had all these drawings that he had done, and my dad was an industrial art teacher who was interested in construction, wood working, metal working, photography and electronics. With that inspiration, I think I came away feeling interested in architecture and ended up going to school in Boston, Massachusetts for architecture for two years, then Syracuse University for three years to get a Bachelors of architecture degree. In the process of all that, I really wanted to discover more about California, and when I graduated College, I decided that I wanted to move to California, Los Angeles more specifically and work for the Disney company. I pursued them but I didn’t get in right away, I sent my portfolio from Connecticut to what was then called the WED (Walter Elias Disney Enterprises). That was the theme park and architectural division of the company which was separate from the film and animation studio. Eventually a friend and I drove to California in 1980, I settled in Los Angeles and by being here I was able to pursue the WED enterprises again (I remember they were working on the Epcot

center at the time). When I first moved I was needing money and so I ended up working at an architecture firm similar to the one I had left in Connecticut, all the while I pursued work for the theme parks. I actually had an interview at Disneyland and they said I was overqualified, but then when I tried to get work at WED they said they didn’t have anything for me, so I was kind of stuck in the middle. One of the things I had done out of college in Connecticut was join an architectural firm, and I wanted something more creative, so I got involved in a community theatre group. When I moved to L.A. I ended up joining a community theatre in Santa Monica as well. I think the combination of working for the architect in Santa Monica and then working in the community theater helped me to get some more credentials to get the job at Disney to work at Epcot; I worked there for about a year from 1981 to 1982 at the Horizon’s Pavillion, it was Disney’s idea of the future. I think that my whole career has been me being at the right place at the right time, the whole concept of one door closing and another window opening. While I was working at Disney, I met a couple of people who were working alongside me who had also done film and television, and it was common for designers to go back and forth between projects. In 1983 I ended up working for another small theme park design company and got more experience in set design. At that time I was interested in creating architectural drawings of sets. I discovered that there was a position in television and film called “set design” which was doing the architectural drawings for the construction department of the sets. I also worked for a company called Showscan, it was a highspeed, high-resolution, film system, which had taken all of Thomas Edison’s basic film making system aspects, and make an improvement of them –which they did. Anyways, I worked for them for a bit and eventually someone said to me: “Hey you should talk to this guy Hank Meyer at Universal Studios Television, he’s looking for people and you could get a job there.” As I took my time to figure out how to make it in the film industry, I realized there was a bit of a trick. You had to get a job in the union to be able to work in the film studios, but you couldn’t get into the union unless you were working… It was a bit of a catch-twenty-two. So what I did was I went ahead and called that guy Hank Meyer, and when I called him he would

always say: “I have nothing this week, call back the next.” Meanwhile I needed money, I needed to work, the company I was working for was changing. About a year passes, I was sort of running out of work and someone tells me to call Hank again. I called him and I said: “I heard you were looking for people” and he said: “Not this week call back next” and see, what he did was he used the same exact tone of voice, same words, same phrase –just like he had said it over and over thousands of times. I heard that and thought hmm… that seems odd, I heard this last year, so I called him back and I said to him: “ I don’t want you to lose out on an opportunity to work with somebody good, I’d like to come in and show you my work.” I think he was kind of intrigued by that. He didn’t have any positions at the time but I thought, let me at least get in and make a contact, show him my face and see what happens. MM: That definitely took a lot of confidence and guts to say that, after being rejected. PS: I don’t know where that came from, there have been two things that have happened to me that I have been surprised at doing. I’m really not an outgoing person, I am not a business man sort of person, I’m really more creative. I had this strong interest to drive cross country from Connecticut to California, that was one major thing I did, and then to call him back and say that. I don’t know what came over me, I just sort of said it. So I came in and I showed him my drawings and I ended up starting at Universal Television back in the fall of 1985. MM: Growing up did you know this is what you wanted to do? PS: My early feelings were influenced by film, and architecture. I liked watching TV, I liked movies, and architecture. As a kid I would find myself in the backyard building little things out of sand and water. Growing up in North Central Connecticut had something to do with it. I loved the idea of architecture, so I went to Architecture school but then I found that it wasn’t as creative so I got involved in theatre. I could relate better to the weirdo people who were the black sheep of the town. I really didn’t know what I wanted to do, so my dad asked me: “what do you like?” I told him I liked film, and TV, I liked being creative and building things, so he suggested architecture school. He said: “it’s only two years, see if you like it” and I did. 105

The World’s Fair in NY 1964-65 for Disney really inspired me to continue as well. Eventually I liked the speed and creativity that film offered. You kind of draw and design and build something and film it, then you take it all down, so the creative process is constantly moving. I always knew I didn’t want to stay in “boring” Connecticut, I wanted to go to Los Angeles. I liked the variety that the city offered, it wasn’t the prettiest city in the world, but I’m not looking for pretty. L.A. was like a working industrial city that generated fantasy, and generated creativity. It’s all these creative people in these sort of oddball neighborhoods. Some people come here be-

and then he hires a team of people to make that vision happen; he hires illustrators, set designers, and artists to develop the idea. Sometimes an illustration or a photograph can be a bit vague, but the specific translation from fantasy to the hard reality of a having a construction team build something goes to the set designer. So we have to translate the information from the illustration or the photograph and make it a reality. For Jurassic Park for instance, I was assigned to the “visitor center” interior, and someone else was assigned to the exterior. The interior was made inside of a soundstage at Universal Studios, and we built different entrances and rooms. In

still the same. For instance, the theatre in the movie is original. We had to build another entrance that said “colored only” to show the segregation that was happening at that time. They also discovered the city of Greenwood, MS was good because it had the plantation, the exteriors, and all the sets were built on location. Minny’s house and Aibileen’s were built inside of a warehouse because they didn’t need to be outside for those, and also they were kind of intimate scenes where they were talking about important things. You want to have a much more comfortable and safe place for the actors to be in those kind of scenes. An interesting fact about this

the finale there’s a scene where our cast runs downstairs, they jump into a jeep, the dinosaur screams and then a banner comes down. The jeep was actually off set inside our soundstage. We had the actor driving inside, so we had to do this a few times to get it all in the right spot. He had to drive off and stop at the right time in order to not run into our service table and run over all our donuts and coffee. There was an exterior set in Hawaii, but there was no interior set on location there. See for Captain America: The Winter Soldier there’s a lot more visual effects. My project on that was to make the design for the control panel room, and the big screen for the wall. There was a large group of people working on this movie and that was just my one piece. For The Help it was very interesting -The director grew up with the writer of the book, they both had lived in Jackson, Mississippi, and they both had similar experiences with having nannies growing up. One of the things they wanted to do was to keep the movie set close to where they originally were, but Jackson had changed a lot from the way it was in the 1950s. They managed to find one street and a couple of buildings that were

movie was Skeeter’s house for instance: The exterior was a plantation that we had found in Greenwood. It had the right look outside, but the inside was dark and had a lot of the owners stuff inside, strange wall paper, it didn’t fit, so we ended up finding a house that belonged to a retired state congressman that was used for the interior. There were things we had to do to make both houses similar. We were very lucky to find so many locations that had stopped in time. Of all my films, I think The Help was one that really photographed well.

The essence of Paul Sonski: Collage of some of Paul’s favorite moments.

cause they want to be here, and that’s me. MM: You’ve gotten the opportunity to work on films like Jurassic Park, The Help, and most recently Captain America: The Winter Soldier, What does your work on these films consist of? PS: Well I ended up being on a list from the union that said I was available to work on different projects that I was requested for. I was recommended by different people, and so from working on television I ended up moving on to working on feature films. One of the first projects that I did was a Leave it to Beaver remake, I worked on a show called Murder She Wrote, which was very popular at the time, I also worked a lot on Air Wolf which was a helicopter adventure show. I eventually got to work on Steven Spielberg’s Amazing Stories, and that was great for me because I eventually got to network with people who worked with Steven. That’s how I ended up working on Back to the Future 2 and 3. The art department works as a team led by the production designer who is the creative force behind the department. Creatively he interacts with the director. He has a visual concept of what he wants the film to look like,

MM: What are some of the elements you look for in creating the perfect ambiance for a movie set? PS: I guess it would be lighting; if you have good lighting and good color, the DP can photograph it well. Having a lot of interesting textures, anything to create an ambiance, you want it to photograph well. You need good shapes and proportions that will work well within the frame of the camera. You always want a room to be the right proportions, the right colors and textures. For example, the set decorator is in charge of all the loose stuff: furniture, paintings,

-pictures, anything that’s on shelves, anything that’s brought in. My work is to do the architectural building part of the design of the set so you want to accommodate them. You want to create spaces or nooks on shelves, so that they can place things in the right place; you want to make their work look good as well. MM: What has been the most challenging film to work on? PS: It’s funny… one of the most challenging films that I keep going back to is a movie called The Indian in the Cupboard, it’s based on a book. It’s about a little boy who finds this magical little cabinet off in an alley somewhere, and he finds that he can put his plastic Native Indian toy in there and he comes out alive (the same size) but alive. For this film we were working a lot with scale and small spaces. Most of the movie takes place in the boy’s bedroom which is this 12 x 12 room and we had one actor which played the boy so we created 3 identical rooms, matching everything. One of them was up on a platform where you can put cameras in the floor, so you could lift the floor boards so when the Indian was running around, you could see the Indian’s point of view. We had to also create oversize pieces. The Indian was a 6’ft actor played by a 3” inch plastic toy so everything had to be 24 times full size. So if he’s going to be standing next to a baseball or birds nest… just imagine what it had to be like for him to be standing next to a light switch. Everything that the Indian actor has to be next to, was made that much bigger. We had to build a giant bed post, a giant window sill, everything had to be bigger, including the dirt, the scratches, everything. In order to get it to look right we had to use the right lighting to make it look like I was looking down at a little actor, not that an actor was standing next to giant pieces. The trick was to make things look normal, that was a challenge. MM: What was your favorite or some of your favorite films to work on and why? PS: I don’t have a favorite… They are all great experiences, they are all interesting. Even if they’re not such successful movies. Some of my favorite movies to work on are some of the biggest box office flops. I worked on two Adam Sandler movies, That’s My Boy, and Grown Ups 2, they were really great people to work with, really fun. They both took place in the Boston

area which is where I went to school, and my family went on vacation there as a kid, so the experience was really excellent. War of the Worlds was really fun. I was working on a segment where they were climbing up a mountain with the military and they’re fighting off aliens; we did that on a hillside north of Los Angeles. It all had to tie in with a farm house that was filmed in Virginia. It all had to blend well together. MM: What are some of the films you enjoy and admire creatively? PS: God that’s a good question, I haven’t seen many films in theatres. I’ve sort of stopped doing that recently… I think I’ve gotten spoiled using DVD and DVR, I’ve also gotten a bit cranky around people who are chewing and slurping while I’m watching movies (laughs). I could go back to the classics: Wizard of Oz was very striking when I first saw it as a kid, I was also a big fan of 2001: A Space Odyssey but I didn’t understand it and I was a bit put off by it, I was maybe a Freshman in High School when I saw it, but when Star Wars comes out in 1977, it was so much more relatable. Jaws was a really good film, it had an impact on me; I was actually in Cape Cod near Martha’s Vineyard reading the book on the beach before I saw the movie. I also enjoy and admire creatively the films that I’ve worked on. MM: What are some of the artistic skills you cultivated to become a set designer? PS: One of the skills I cultivated was to not take everything so personally. I’m somewhat low-key in my personality, I don’t have a lot of ego that gets in the way, and I’m quite agreeable, but I do have ideas, and so I know when to be of service to my bosses and when to support them, so I can help people to do their job. Sometimes I find that I have to read the designers, and see if they’re looking for advice and suggestions. The trick is to find the right time to say: “how about we do it this way, what about this suggestion?” Some encourage input, but some have specific ideas and suggestions, and I try to do it the best I can. Keep your ego in check but pull it out when you need to. Try to keep a calm balance in the chaos but always take action to support people you are working for even when you don’t agree with them. Another advice is you never know who you are going to work with, some of the simplest production assistants have recommended my name to some of the

biggest jobs. You want to help them and guide them. They are appreciative, which is natural, it’s basic good will, and in turn the good comes back which has happened a lot in my career. If you have a personality that’s caring and loving towards all of mankind, that’s your formula for success. MM: Any big goals, projects, movies coming up? PS: I have a possibility of working on a musical, but I’m not sure, so that’s all the information I have on that. The last thing I worked on was a TV series called A to Z, I think it’s a sitcom built around two people: Andrew and Zelda. The last thing I worked on was doing drawings for the construction of that set, and that’s coming out on NBC this Fall. I worked on a movie called American Sniper based on the story of Chris Kyle, America’s most decorated military sniper, who ended up writing a book about it and then was shot and killed by one of his service men friends about a year and a half ago. It’s going to be played by Bradley Cooper and directed by Clint Eastwood. MM: What are your words of wisdom for young creatives? PS: First of all you need to be punctual, you need to be on time. Be passionate, find out everything you can about the aspect of the business you want to be in by researching it online which is now available (I didn’t have that when I was growing up) and by talking to people that are actually in the business. Everyone’s got a different story and everyone’s got a different experience but they are all part of the same world. You’ve got to keep pursuing it because if you don’t pursue it you don’t get it. MM: A quote or statement that you live by? PS: Lately I try to keep my sanity from getting too overwhelmed and confused by using the phrase: “what’s the next best thing?” so I can kind of keep order and not start opening 3 and 4 projects at once, not get scattered. I always say: “If you’re on time then you’re already late” hmm… I don’t know if I have an overall sentence that says my philosophy. I’d say stay positive, and stay interested, and stay passionate, I’d say those three things because I struggle to hold on to those, I have to remind myself to hold on. I’ve learned that some of my best surprises are when one door closes and another one opens, which is completely out of my control. 107

Afternoon in PRAGUE Photographer Hikmat Wehbi Stylists Jan Kimak Stan Steiner Hair /Makeup

Tomas Moucka

‘CZECH. THE WOMEN’ PHOTOGRAPHY EXHIBITION BY ICONIC MIDDLE EASTERN PHOTOGRAPHER HIKMAT WEHBI AT THE EMPTY QUARTER GALLERY One of the most iconic photographers of the Middle East, Hikmat Wehbi to exhibit his photographic artworks for the first time in the region at The Empty Quarter gallery in DIFC, Dubai from 27-30 January 2014. The exhibition titled, “Czech. The Women” will feature 26 photographs of the artist where he has tried to capture the inner beauty and soul of the Czech women. Synonymous with sensuousness, Hikmat has photographed a variety of Czech women against the magnificent ambience of Prague highlighting each of their attitude, strong personality and character. ‘’My inspiration has always been women and after photographing women throughout my career for fashion and commercial purposes, I wanted to portray through my photographs, the true feelings and strong character of a woman where the silhouette is secondary. ‘’ said Hikmat Wehbi about his photographs. Hikmat discovered his passion for photography in the early 90’s while working for The Daily Star, Lebanon’s premier newspaper. While learning the innovative techniques in photography, Hikmat realized that the objects’ presence in the lenses was far more important and beautiful than the approach used to shoot it. Since then, Hikmat has set out to capture the soul of the woman in photography rather then her aesthetics. This belief has catapulted Hikmat to being amongst the top fashion photographers in the region working with clients including Guerlain, Louboutin, Bvlgari, Harvey Nichols and many more. ‘’Prague is one of the most beautiful cities in the world I have visited. Apart from its historical significance and mind blowing architecture, I truly believe that the Czech women have represented a unique beauty especially in the modelling and fashion industries are the most beautiful women in the world. My first exhibition titled, ‘’Czech. The Women’’ is a personal tribute to the true soul & essence of the Czech woman, ‘’ added Wehbi. For the future, Hikmat plans to continue capturing beautiful women from across the globe in their natural surroundings and is already in the process of curating his next exhibitions in Toronto, Berlin and New York. ‘Czech. The Women ’ exhibition will be held from January 27 –30, 2014 at The Empty Quarter Gallery Dubai, Gate Village Building 2, Dubai International Financial Centre.

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’ve always been fascinated with the latest exercise routines, sold on those late night infomercials, promises of a massive change in your body in only a few short months with no dieting. I also get a kick out of the latest fitness fad products promising a tighter butt and thighs and a trim waistline from exercising only 5 minutes per day. But many of these exercise products and routines do nothing more than drain your bank account and leave you with that flabby waistline you’ve been trying so desperately to get rid of. So shimmy into that spandex, dust off the Ab Rocker, and we’ll explore some fitness fads from the past — some of which actually work and are still around today!

Some of my earliest memories of exercise programs center around the Charles Atlas program, developed by Angelo Siciliano, which I saw advertised in various comic books at the local grocery store. His program promised to turn “a 98 pound, scrawny weakling” into an Atlas-like figure, using dynamic tension and various strength training exercises. Siciliano (who legally changed his name in 1922 to Charles Atlas) pioneered this program that appealed to masses of teenage boys in the ‘20s and is still seen today. Around 1969, Judy Missett pioneered the Jazzercise exercise program. This program was based on a 60 minute session that combined jazz dance, resistance training, Pilates, yoga and kickboxing movements set to the latest popular dance tunes. Today the company has more than 7,800 instructors in all 50 states and 32 other countries. If you want a program that gets you sweating in a fun group environment, then this is it! My friend’s mother worked wonders with her body when she combined Jazzercise with a sound nutritional regimen. One piece of equipment that I’ve seen gathering dust in a garage on more than one occasion is the Bowflex Home Gym. Pioneered in the early ‘90s by Nautilus Inc., this home gym used tension bands in place of free weights or pulleys. It was touted for its space-saving ability and was supposed to give you a better workout. Due to a series of recalls of various Bowflex models from 2004 to 2009, this particular piece of equipment has declined in popularity in recent years. I’m not a huge fan of the original Bowflex, as I sustained a shoulder injury in the mid ‘90s while playing beach volleyball, and the ‘tension bands’ on this machine always seemed to aggravate it. 126

I am, however, a fan of the SelectTech adjustable dumbbells and the TreadClimber.

Who can forget Billy Blanks, the creator of Tae Bo, which is a combination of Taekwondo and boxing that rose to huge popularity in the ‘90s? This fitness craze was so insanely popular that many gyms nationwide began offering cardio kickboxing classes, and Mr. Blanks even went on to develop a series of boot camp videos. This is another gem of a program that actually gives you a great workout for your time and can help you burn a lot of calories. I’d be remiss if I failed to mention the sexy Suzanne Somers and her ThighMaster infomercial from the ‘80s and early ‘90s. The product was created by Joshua Reynolds and the informercial was a staple of late night TV for quite a while. While the ThighMaster really doesn’t do much in terms of strengthening the thighs or hips, it managed to sell in very high numbers. One hilarious fitness fad that’s captured the attention of the public in recent years is the Shake Weight. This piece of exercise equipment that looks like a simple dumbbell, actually has a type of ‘counterweight’ that you’re supposed to shake up and down to “tone your abs, core and arms.” The slightly suggestive motion that people make while using this thing is comical, to say the least. Its design also made it the butt of jokes on Saturday Night Live, the Late Show, and other TV shows. My cousin got me one for Christmas two years ago, and the face I made when I opened it must’ve been priceless. Thank goodness she saved the receipt so she could return it! Whether here for several years or a few decades, some of these fitness fads are actually fitness gems and deserve a second look. Make sure you do your research before spending your hard-earned money on any flops, and remember there’s no substitute for sound eating habits and sweating your butt off in the gym with your peers or your trainer. Thanks for reading! - Tony Edge, Model Photographer MUAH Assistant

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