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MADE This is American Apparel


Meet Anna Model from New York. She enjoys Tchaikosky, Hip Hop, and skinny boys with tattoos. She is wearing the limited edition Rockstar Skinny Jeans and the Boyfriend T-Shirt.

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STYLE TIPS 101 Throw On a Scarf

It’s the ultimate accessory according to a host of the best-dressed women we interviewed. Stash one in your purse or carry-on to transform simple Ts in the time it takes to make a knot.

Layer Your Necklaces

Coco Chanel’s more-is-more approach still makes a statement today. You can do multiples of the same material, or better yet, go for contrast: Try a femme piece with edgy chains, feathers with beads, or pearls with diamantes.

Accessorize in Brights

If you’ve got a closet full of neutrals—be they navy, black, camel, or gray—add energy with boldly hued shoes and bags. Not only is a hunter green satchel more lively than ho-hum black, but it’s also surprisingly versatile. Feeling really brave? Wear a neutral base with shoes and a bag in two different complementary colors.

Wearing White? Seek Out Light

Keep in mind: White clothes always look more see-through in daylight. Check yourself out in a bright setting to be safe.

Have you ever wondered, “What are the best music festivals in the world?” or “What is the most popular Music Festival?” Maybe you just wanted to know if there was an awesome music festival in a country you want to visit, or wanted to find the best music festivals closest to you. If you’ve wondered these things and come up empty handed in your searches for enlightenment, we have too. It’s incredibly frustrating that there isn’t an accurate and unbiased online source for real music festival rankings and reviews. Our larger goal with festival fling is to create a ‘Yelp’ or ‘Rotton Tomatoes’ of music festivals, concerts, and performances, but before we begin working on the complex API for such a monstrous task we have begun to compile a database of information on Music Festivals.




Ultra Music Festival used to be held in conjunction with the Winter Music Conference in Miami, Florida. UMF has since continued to establish itself as the largest and most respected EDM music festival in North America. Ultra is widely regarded as hosting nearly every relevant name in Electronic Dance Music on their roster. Ultra Music Festival is considered to be one of the best music festivals in the world for Electronic Dance Music.



Coachella has rapidly become the most notorious music festival in the world and is known for it’s trend setting music lineup and amazing sculpture and art displays. The festival, which is held in Indio, California over the 2nd and 3rd weekends of April, has sold out for the past 3 years. With nearly 1 million combined followers on facebook and twitter, Coachella is the undisputed #1 Music Festival in North America.



Burning Man is not the most attended music festival on this list, however it is one of the most notorious. The event is a gathering of more than 50,000 participants in the middle of the Nevada desert. It is almost as much of a social experiment in community, art, and radical self-expression as it is in its functionality as a music festival. By far one of the most unique and different festivals the world has to offer. One of the best music festivals in the US.

Lollapalooza bends more towards Pop-Rock, Alternative, and Metal. The festival was born out of the 90’s Alternative Rock craze and toured North America in the summer for a few years. It has since taken a hit in attendance and ended it’s multi-city tour after finding a good residence at Grant Park in Chicago, Illinois, where it has remained since 2005. Lollapalooza is one of the best rock festivals in the US.





Electric Daisy Carnival (also known as EDC) began in Los Angeles, but has since moved to Las Vegas after running into issues with hosting the event in LA. It has also expanded into a touring festival that covers East Rutherford, New Jersey, Dallas, Texas, Orlando, Florida, and San Juan, Puerto Rico. The music festival used to be the largest Electronic Dance Music Festival in North America, however Ultra Music Festival (held in Miami) has given EDC some stiff competition for that title over the last few years. EDC remains to be one of the best music festivals in the US.



Austin City Limits was actually inspired by a PBS TV series by the same name, which used to broadcast live music from Austin, Texas. The TV series focused mainly on folk, country, and rock. Today the music festival boasts some of the most popular artists across all genres. Austin City Limits is one of the best music festivals in the Southern US.




Bonnaroo has become the East Coast of America’s answer to Coachella. Bonneroo has a similar lineup as Coachella consisting of a mix of Indie, Electronic, and Hip Hop artists that draw huge crowds from the East Coast and South of the United States. The festival is held over 3 days in the 2nd weekend of June in Manchester, Tennessee. This festival has quickly established itself as one of the best music festivals in North America.

Rock in Rio is the largest music festival held in the Latin world. The festival originated in 1985 and was held in Rio de Janeiro, Brazil. Rock in Rio has since expanded across the atlantic to Lisbon (Portugal) and Madrid (Spain). In 2013 the festival is scheduled to expand once again to Buenos Aires, Argentina. Rock in Rio is widely considered to be one of the best music festivals in the latin world.

Glastonbury is a music festival in England and is held the weekend of June that falls closest to the Summer solstice (Mid Summer) and was founded in 1970 making Glastonbury one of the oldest mega music festivals that is still being produced. It is regarded as one of the best music festivals in Europe.





ENVER — The Meadowlark isn’t exactly the big time. It’s a brick-and-stone-walled basement club, capacity 72, with a bar occupying half the room and a barely raised stage where three’s a crowd. Sipping a $2 Bud Light during a happy hour in January, Wesley Schultz, the singer and guitarist in the Lumineers, fondly looked the place over. Not so long ago, in 2010, he recalled, the Lumineers would play the Meadowlark’s open-mike night “every Tuesday religiously.” At that point the Lumineers were the songwriting team of Mr. Schultz on guitar and the drummer Jeremiah Fraites, usually just shaking a tambourine. (Mr. Fraites had already begun wearing his trademark suspenders.) The Meadowlark was a gathering place for the musicians in Denver’s closeknit music scene — a place where the Lumineers would run into local folk-pop heroes like the songwriter Nathaniel Rateliff and the band Paper Bird. And there, two songs at a time, the Lumineers were building the local following that would begin the band’s momentum toward its current Top 10 single, “Ho Hey,” and two nominations at Sunday’s Grammy Awards, for best new artist and best Americana album. A few days later the Lumineers were in New York, rehearsing for “Saturday Night Live.” At NBC’s Studio 8H Mr. Fraites dismissed the band’s chances at being named best new artist; the other nominees are Alabama Shakes, Fun., Frank Ocean and Hunter Hayes. “We’re not going to win,” he said, though he was slightly more optimistic about the Americana nomination. “But the exposure will help sell more tickets to shows, and hopefully people will hear the whole album and give us a little bit more longevity in this business.” With its folksy guitar and its foot-stamping, tambourine-driven beat “Ho Hey” arrived as a startling anomaly in the pop Top 10, where it’s surrounded by Auto-Tuned voices and electronic beats. Mumford & Sons, the English band that decisively re-established folk-rock as a commercial force with their 2009 album “Sigh No More,” didn’t breach the pop Top 20 with that album’s biggest hit, “The Cave.” But “Ho Hey,” with its chanted hos and heys and its deceptively upbeat chorus — Mr. Schultz wrote “I belong with you/You belong with me” in the unhappy aftermath of a breakup — has reclaimed pop radio for the acoustic and the hand played. It’s one more hint of a pendulum swing back toward naturalism in pop. “It’s really short and catchy, and people can remember it after they’ve heard it once or twice,” said John Ivey, senior vice president for programming at Clear Channel Media and Entertainment and program director of KIIS-FM in Los Angeles, which was among the first Top 40 stations to pick up “Ho Hey” after the song conquered the radio format called alternative. “We obviously do research, and it was a really popular record, and we felt like it was worth a shot just to see if it was palatable with our listeners. Top 40 has always come down to the song, and this is just a cool song.”

The Lumineers’ self-titled debut album was released in April 2012, and over the last nine months the Lumineers — now a five-member band — have been almost continuously on tour as their gigs have grown from club dates to the opening slot at Dave Matthews’s arena shows. When the Lumineers headlined the New Year’s Eve show at the Ogden Theater here, the governor of Colorado, John Hickenlooper, was in the audience. “Wes Schultz had them completely in the palm of his hand,” the governor said in a telephone interview. The Lumineers’ success — their album has sold about 900,000 copies — leveraged Denver’s cozy, supportive local scene with East Coast ambition. Until Mr. Schultz and Mr. Fraites picked up and moved to Denver, the Lumineers had been, in Mr. Schultz’s blunt term, a “failure.” Mr. Schultz and Mr. Fraites grew up in Ramsey, N.J. and have been writing together since 2005. Along the way, Mr. Schultz said, he changed from being a wordy singer-songwriter to prizing melody first. “Your melodies make people want to hear what you’re saying,” he said. “They’ve got to be open to hearing it, almost hum it. And if they want to go deeper there is something there.” Trying to get noticed they played open-mike nights in New York City and aspired, in vain, to move up to the small clubs on the Lower East Side. “We always wanted to play the Living Room, or Pianos, or the Mercury Lounge, but we never got anywhere close to that,” Mr. Fraites said.

“We thought that was like Madison Square Garden.” At the city’s coldly competitive open-mike sessions, “everybody comes in and sees their friend’s band and shuffles out,” Mr. Schultz said. “It was impossible to build, to break through that.” Mr. Schultz, now 30, was living in Brooklyn and scrambling to pay the rent. When Mr. Fraites, who is 27, graduated from college, they decided to move elsewhere. They considered London, Philadelphia and Boston. “And then,” Mr. Fraites said, “we said, in our ignorance and naïveté: ‘Let’s move to the middle of nowhere. Let’s go to Denver.’ The idea was to eliminate distractions. It wasn’t necessarily Denver.” Denver, it turned out, had been nurturing its own music. The city is isolated from the standard rock tour circuit; it’s a long drive to the next big city — eight hours to Salt Lake City, nine to Kansas City — and more than 1,000 miles to Los Angeles. That left room for homegrown music.

One influential local figure was David Eugene Edwards, playing dark roots-rock with his 1990s band 16 Horsepower and its successor, Wovenhand. More recently Denver has been the starting point for radio-friendly anthem builders like the Fray and OneRepublic, as well as the indie-rap of Flobots. And the Lumineers’ folky ditties found receptive ears in a city that prizes the intricate folk-pop of Mr. Rateliff and Paper Bird, who started as sidewalk buskers and were recently commissioned to score a ballet. Denver has a public-radio station, OpenAir, that features local bands, and a large record store, Twist & Shout, that prominently displays local albums. Clubs like the HiDive encourage new bands to play their own material. And local musicians, across genres, have been more cooperative than cutthroat. “What made the Denver community really strong was that everybody liked everybody, and everybody was supporting each other,” Mr. Rateliff said during a visit to the home studio he built in his attic.

“That helps create great art if you’re all a part of it. We kept raising the bar for each other.”

Governor Hickenlooper bought 180 copies of Mr. Rateliff’s 2010 album “In Memory of Loss,” a set of finely harmonized songs that move between sorrow and solace, as thank-you gifts for his campaign team. He cited a historical precedent for Denver’s arts scene. “The wagon train is what really opened up the West, where everyone helped each other, everyone had a role,” Mr. Hickenlooper said. “There is a history in the West of collaboration.” The Lumineers arrived in October 2009 and shared a house. “Those guys went to that open-mike night like it was their job,” said Esmé Patterson, a singer from Paper Bird who released a solo album, “All Princes, I,” last year. “They went there every week and showed up in clean shirts and just played their hearts out. That’s why this city immediately latched on to them.” But Mr. Schultz was initially suspicious. “People would come up, they’d give you feedback or talk to you about what you were doing.” he said. “I was just so used to having my guard up, and someone wanting something if they were going to be that nice. I didn’t understand the social norms.” Before moving here Mr. Schultz had sent messages to dozens of Denver musicians he’d searched out on Myspace. One, the keyboardist Stelth Ulvang from the band Dovekins — now a member of the Lumineers — offered help and contacts. For the Lumineers’ first Denver gig, they joined the Dovekins at a common event in Denver: a house show, a party with live music. “You just sing in the open air, stomping on the floor,” Mr. Schultz said. It was a spirit the Lumineers would maintain as they started to tour more widely. They recruited a cellist and harmony singer, Neyla Pekarek, through a Craigslist ad, and they released a home-recorded EP. At clubs, house shows and do-it-yourself spaces, partway through a set, the Lumineers would carry their instruments into the audience and begin stamping and chanting to start “Ho Hey.” It was a “tactic,” Mr. Fraites said. “We drove through the night, and we had to make our mark, and we had 45 minutes to do it. ‘Ho Hey’ was our ace of spades.” It got people’s attention and, eventually, a booking at the Living Room in New York — now that the Lumineers were a touring band from Denver — followed by a return engagement with a weekly residency in March 2011. There they were courted and eventually signed by Christen Greene from the management firm Onto Entertainment; a tip from a Seattle waiter had led her to watch a YouTube video of “Ho Hey” from a Denver house show. Soon the band was fielding offers from labels large and small, some of them no doubt looking for the next Mumford & Sons. The Lumineers chose a one-album deal with the independent Dualtone label. They weren’t expecting to be in the Top 10.

Mumford & Sons, Mr. Schultz said, “kicked down doors, and they allowed radio to receive a band like us because we somehow slightly resemble what they’re doing.” But Mumford comparisons rankle the Lumineers. While both bands wrap moody lyrics in toe-tapping melodies, Mumford & Sons pile on instruments in massive buildups. The Lumineers, by contrast, stay sparse, barely getting around to using an electric guitar on “The Lumineers.” And if Mumford provided an opening for the Lumineers, perhaps they’ve returned the favor regarding Top 40 radio. Mumford & Sons’ new single, “Lover of the Light,” may well be on the way to the Top 20 despite the presence of a banjo. And Ed Sheeran’s sad, folky tale of a woman in a self-destructive tailspin, “The A Team,” has already slipped into the Top 20. The Lumineers had completed a home-recorded album in Denver. But they were persuaded to hold it back and remake the songs in a professional studio. And what may at first sound like arrangements tossed together on a back porch actually, on closer listening, reveal careful choices about how instruments, vocals and effects are deployed. “It’s very minimal,” Mr. Schultz said.

“We always just hated clutter. If there’s a sound on the record it’s meant to be there.” The band almost left “Ho Hey” off the album. “Recording it took months and months and months, and we didn’t like any of it,” Mr. Schultz recalled. At one point he and Mr. Fraites were about to use a two-man version recorded in a bathroom for the reverberation of the tiles. Instead they tried again and came up with what Mr. Schultz calls “a layered stomp thing” that he compared to Queen’s “We Will Rock You” — not exactly a folk ditty. At the “Saturday Night Live” rehearsal the Lumineers were set up like a house show, on a stage hung with lampshades. They stamped and grinned their way through “Ho Hey” and their new single, “Stubborn Love,” for an audience of cameramen and technicians. Between run-throughs Mr. Ulvang turned to his band mates. “I was doing some quick math in my head,” he said, and went on to estimate that the Lumineers had played “Ho Hey” some 2,000 times over the last five years. It wasn’t a boast or a complaint, just a measure of how long it took the Lumineers to become an instant sensation.

“ The Lumineers’ selftitled debut is a perfectly formed collection of rustic folk type songs, slotting in nicely amongst the current roots revival”

5 Minutes with Alexa Chung.


lexa Chung is a British model and presenter, who is also a contributing editor to British Vogue. Born November 5, 1983, Chung grew up in Privett, Hampshire, raised by her English mother and Chinese-English father, a graphic designer. When she was 16, Chung was scouted as a model and, despite having been accepted by King’s College London to read English and by Chelsea College of Art and Design to do an art foundation course, she signed with Storm. After four years - and campaigns for brands including Fanta, Sony Ericsson, Sunsilk and Tampax - Chung quit modelling with the intention of attending university. Instead, in 2006, Chung began her presenting career at Channel 4, appearing in shows including Popworld, Vanity Lair, Big Brother’s Big Mouth, 8 out of 10 Cats, Gok’s Fashion Fix and Frock Me - as well as co-hosting numerous T4 film and music specials. In July 2007, Chung began dating Arctic Monkeys frontman Alex Turner. In August 2008, she starred in the video for My Mistakes Were Made For You, a song by Turner’s other band The Last Shadow Puppets. In 2008, now a recognisable face, Chung returned to modelling, fronting campaigns for Antipodium and Oxfam Revamped. In 2009 she became the face of New Look and DKNY Jeans - and in 2010 fronted the Pepe Jeans London campaign. In April 2009, Chung moved to the US to present It’s On with Alexa Chung for MTV. The live show featured celebrity interviews and live music, but was cancelled in December 2009. In January 2009, British brand Mulberry released its Alexa bag, frequently sported by stars including Olivia Palermo and Chung herself, and it became an instant sell-out. The satchel-style bag was reordered in a range of fabrications and colours and Mulberry credited it with a positive year’s trading. Having written for the Independent from November 2008 to June 2009, Chung was made a contributing editor of British Vogue in June 2009. In February 2010, she appeared on the magazine’s cover for the first time and during the same month, whilst the March issue was on sale, documented her daily fashion and style choices in the VOGUE.COM feature Today I’m Wearing.

Spring Trends

Go from laidback gal to Boho chic in an instant with these outfits. Don’t be afraid to try new things.



Designer: Max Miedinger, Eduard Hoffmann Foundry: Haas , Linotype Release Year: 1957 Country of Origin: Switzerland Distributor: Linotype, Adobe

Designer: Dino Dos Santos Foundry: DSType Release Year: 2007 Country of Origin: Portugal Distributor: Fontshop, MyFonts

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