the peOple ISSue
rAw SpIrIt cOry JOhnSOn lA feMMe Au chApeAu Volume 29.3
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AVA I L A B L E A T L I T T L E L I F F N E R . C O M & B A R N E Y S N E W Y O R K 2
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MEET YOUR COLOR MATCH Four Flavors Of Dry Shampoo aghair.com
The internationally acclaimed magazine of culture, fashion and the arts Publisher & Editor-in-Chief A. Ghanbarian Creative Director Timothy Petersen Art Director Managing Editor
Alberto J. Carvajal William Lankford
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Contributing Editor Music Editor Art Intern Social Media Intern Communication Intern Editorial Intern Contributing Editor
Jennifer Richardson Lily Moyari Claire Liang Taylor Kim Valerie Tsai Kella O’Leary Kat Smith
Contributing Writers Karena Akhavein, Zee Chang, Caitlin Clarke, Jonathan Cheung, Tess Collins, Kyle Thornburg, J. Poet, Morgan K. Stern, Emilie Trice, Jennifer Richardson, William Lankford, Sissi Johnson, Debra Winter, Katia Ganfield, Julie Albin Contributing Photographers Nigel Barker, Martin Vallin, Olivia Beasley, Kenji Toma, Sean Gelbaugh, Darian Zahedi, Sergio Kurhajec, James Russell, Mike Kobal, Peter Rosa, Mike Anderson Contributing Stylists Mark Anthony Bradley, M O S E S™, Allison St. Germain, Don Sumada Subscription Inquiries Only Send check or money order payable in USD for the exact amount to: SOMA Subscriptions, 649 Main Street, Suite 111, Martinez, California 94553, USA US Rates are $24 per year. Canada $75 USD. Europe $100 USD. Elsewhere $100 USD. Or send PayPal to email@example.com Or in the U.S. call 800 833 0159 International/National Distribution Hudson News, Lords International, The News Group, Whole Foods One Source, SOMA Distribution Advertising/Marketing Director Ali Tabriz Tel 415 777 4585 x14 Fax 415 777 2126 Email firstname.lastname@example.org
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Editorial Tel 415 777 4585 Editorial Fax 415 777 2126 General Email firstname.lastname@example.org Editorial Email email@example.com Website www.somamagazine.com SOMA Magazine Office 888 O’Farrell Street, Suite 103, San Francisco, California 94109, USA Submissions For writer guidelines, send a self-addressed stamped envelope to our Editorial Office. SOMA Magazine assumes no responsibility for unsolicited material. The opinions expressed within are the responsibility of our contributors and do not necessarily reflect those of SOMA Magazine. All rights reserved. Reproduction without permission is prohibited. All material Copyright 2006, SOMA Magazine, Inc. SOMA (ISSN 0896-5005) is published bi-monthly by SOMA Magazine, Inc. at 888 O’Farrell Street, Suite 103, San Francisco, California 94109, USA Periodicals Postage Paid at San Francisco, California and at additional mailing offices. Attention Postmaster Please send address changes to: 649 Main Street, Suite 111, Martinez, California 94553, USA © 2014 SOMA Magazine Inc.
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A Walk With Cory Johnson
The Influencers Soraya Darabi and Maxine Bédat of Zady Nina Mufleh
La Femme au Chapeau Photography by Sergio Kurhajec
Sheer Cover Photography by Peter Rosa
Binary Reflections Photography by Mike Kobal
Great Blue Yonder Photography by Ben Cope
future stars of fashion
Britt Moore Anna Metzel & Eleonore Santos
i - pose
Giorgio Moroder Planet Perth
84 85 86
Haley Guild Moore Abigail Ziaja Andrea Valenzuela
So what the hell does SOMA mean anyway?
Originally an ancient Indo-Persian word, representing an entity that transforms those who embrace it into ecstatic or transcendental realms. Soma eventually became a philosophical concept representative of ritual offerings, the contents of the material world, or the ‘life-force.’ The Greeks and the Romans used it to refer to the body. And of course Aldous Huxley described it as a holiday from the ordinary. We simply think of it as a magazine.
The Art of Jewelry text by arid chappell
What happens when you look at a precious stone set into an exquisite jewelry design? The international trendsetters who own an exquisite, one of a kind ARIDO jewelry piece know. They truly must understand that they are one of a very few who can even obtain this remarkable artistic expression. Each design is a spectacular confluence of artistry and inspired creative synergy to be worn on their finger, around their neck, gracing their ear, or dipping into décolletage. We recently met with two talented global citizens, Jesse Raphael and Arid Chappell, the designers and bon vivant owners of the highly exclusive jewelry brand ARIDO. They told us that have teamed up with a new protégé, the singer, actress and designer Adrianna Edwards, who is known as Dria Star, to create the luxury jewelry line “Cinq Etoiles”. Et voilà, the result is 10
a luminous collection , with its sparkling and edgy elegance to entice passionate jewelry enthusiasts worldwide. ARIDO is a favorite of the modern day “gyp-set”; the wanderer who is equally comfortable in high and low culture, and at home anywhere in the world. Through its artistry, the ARIDO collaborations and collections embody a deep passion for all of the beautifully unique color stones, pearls and diamonds from the earth. ARIDO‘s clients understand this passion and love to collect the trendsetting pieces. Clients from around the world contact ARIDO to make an exclusive appointment with Mr. Chapell and Mr. Raphael, who meet with the client in a private setting to discuss the stunning, bespoke jewelry that can be made exclusive to their desires. For More contact them directly at www.aridojewelry.com
Future Stars Of Fashion
Britt Moore text BY JenniFer richardSOn phOtOgraphY BY KriStina VaraKSina
Britt Moore is a promising freelance stylist and recent graduate of the Academy of Art University in San Francisco. It’s difficult to tell whether it was her early devotion to her favorite publications or her wildly elaborate imagination that’s responsible for this student’s large, bounding strides toward a significant and prominent styling career but regardless of the contributing factors, a fresh talent is emerging and photographers and designers alike should make note. Among the southern landscape of Georgia, Moore’s childhood can be clearly pictured with her young nose buried in her copies of Vogue, coveting the styling aesthetic created by then Creative Director, Grace Coddington. “I loved the fantastical aspect of it all, taking fashion and making a fairy tale or horror story out of it. Creating characters and giving them personality through their wardrobe is truly an art form and I wanted to be a part of it.” Moore wasn’t always on a clear path to vivid storytelling and aesthetic creation through styling. She admits to being somewhat wayward in her early years of college, resulting in the decision to join the Air Force for structure and the ability to contribute toward her eventual college career, though this turned out to be a trying experience. After being stationed in Fairfield, just outside San Francisco, Moore made a vital discovery about where she was and who she wanted to be. “The military is no place for free spirits and creative types. I felt like I was suffocating. In order to stay sane, I would spend my free time seeking out photographers in San Francisco and style shoots for them on weekends.” Says Moore. Upon her release from active duty, 12
Moore immediately moved to San Francisco to pursue her Bachelor’s degree in Styling from the Academy of Art University. It was there she was paired with styling instructor and eventual mentor, Flore Morton. “Under her mentorship, my styling skills and creative direction improved drastically. I took everything I learned in my classes with her and applied them to my own shoots outside of class. Just this past November my improving shoots and work ethic had garnered the attention of Look Artists Agency here in San Francisco and I am now represented by them.” Already Moore’s work can be found in national and international publications such as Tantalum Magazine, and, undoubtedly much to the delight of Moore’s fourteen-year-old self, Vogue Italia, as well as online, commercials and prominent ad campaigns. Today, Moore is among the talented graduating class for this spring and finds insurmountable pleasure in what she does. “My biggest inspiration for shoots lately have been the modern day, ‘femme fatale.’ It’s very obvious in a couple of my recent shoots that I am fascinated by strong female characters who are slightly ‘off,’ and exotic in personality. I love transforming a model into the person I imagine in my head. I’m working to bring my imaginations to life in a bigger way.” Moore models herself after stylists like Alex White and Edward Enninful who have styled for Vogue, Oscar de la Renta, W Magazine and Mulberry. Like these icons, Moore envisions herself eventually joining these prominent stylists and taking on an Editing role for one of her coveted publications.
phOtO BY Sarah BricKeY
Future Stars Of Fashion
Anna Metzel & Eleonore Santos text BY JenniFer richardSOn phOtOgraphY BY rOB currY
What does a suburb north of Chicago and San Diego have in common? Each locations are origins of two rising talents in textile and fashion design here in San Francisco. Eleonore Santos, garment designer and textile designer and Anna Metzel are both graduating from the Academy of Art University this spring and recently participated in their graduate fashion show where they exhibited their work, not separately but very much together in a singular and remarkable collaboration. Anna Metzel, who spent her childhood education buried in art classrooms in her hometown suburb of Chicago, was approached to collaborate with Santos and provide textiles for her Senior collection garment construction. The two were introduced in Fall of 2014 and reviewed tattered sketchbooks and various sources of inspiration in order to conceptualize their initial ideas and the aesthetic direction they hoped to take the collection before going their separate ways to dream up their own two parts of one collective work. Metzel says of the process, “A challenge I faced was to take the inspiration I had already received from Eleonore to an entirely new level.” Creating the bold, abstracted textiles themselves was an arduous process and labor of love according to Metzel. “I created the final textile images by recreating the essence/figures in selected Francis Bacon works, and burning these figures into receipt paper which is heat sensitive. I used an iron to create the line work in the paper and I also use a lighter to create dramatic smoke shapes. Although the original artwork for each look is only about 3” 5” when blown up on a large scale and positioned in an intriguing way it resonates quite nicely.” Santos says of Anna’s contribution, “I feel so fortunate to have been paired up with Anna because she not only understood and appreciated my vision, she brought her own 14
eye and artistic sensitivity to the table. She brought my collection to life, and for that I have nothing but respect for her as a textile designer.” San Diego-raised designer, Eleonore Santos says of Anna’s contribution, “I feel so fortunate to have been paired up with Anna because she not only understood and appreciated my vision, she brought her own eye and artistic sensitivity to the table. She brought my collection to life, and for that I have nothing but respect for her as a textile designer.” Santos’ successful Senior Collection of garment construction and designs for Anna’s textiles is attributed by Santos to her inspiration by painter, Francis Bacon. “I wanted each look to be dynamic and alive like the Bacon paintings that I’ve seen.” Says Santos. Her process began with collaging Bacon’s paintings on mannequins in order to find her initial silhouettes, outlined draping and highly detailed construction. Santos explains, “I pushed myself to make this collection as technically demanding as possible. There are so many elements that you don’t see unless you are up close because of the way I matched the prints, I wanted each print to blend together and appear seamless and wanted to create coats that didn’t quite look like coats, a dress that didn’t quite look like a dress.” Admittedly, the striking construction of Santos’ work could not exist without her textile designer, Anna Metzel. Following her graduation, Santos will relocate to New York where she’ll intern for the prominent designer, Yigal Azrouël. Metzel plans to continue seeking challenging freelance opportunities and eventually sees herself creating textiles for her own line of lingerie. It’s obvious what these two talents create together is extraordinary and we can’t wait to see what successes they embark on solitarily.
phOtO BY academY OF art
Chic Beat Design Contest Winner text by tAyLOR KIM
This April, SOMA Magazine proudly held a headphone design contest called Chic Beat. This challenged designers to create headphones for professional young women who have busy schedules and want products that are trendy and versatile to accommodate their busy cosmopolitan lifestyle. JC Kim, the first place winner in the Chic Beat design contest, surprised the judge with his sleek, metallic gold earbuds. I met JC at a beautiful San Francisco indie cafĂŠ that matched his black clothing and creative vibe. We chatted about his personal stories and career aspirations. Can you introduce yourself to readers? My name is JC Kim. I grew straight up in Korea and came to SF to study at Academy of Art University after finishing my military service obligation. At the university, I study Industrial Design. What is your motive behind entering the Chic Beat design contest? 16
Ali [Editor-in-Chief of SOMA] came to the class I was in and did a brief about the design contest. I was hooked by the idea of designing a headphone for young professional women. I also wanted to try a project that puts more weight on the design than the functions. Please walk us through the concepts and inspirations behind your Chic Beat design. I came up with this idea of designing a headphone that looks like a piece of jewelry. I thought of how young women love to wear chic jewelries, which are never too much but always stand out in their styles. I imagined that this Chic Beat design for young women should be something that can add on to those chic styles. I focused on creating a pretty look when the two earbuds are put next to each other. I wanted to design a whole package of aesthetics that would make the headphones a stylish piece that can be worn for any occasion.
What is your design philosophy? I always try to focus on the target users of products. I observe and study how the target users interact with products and [I] come up with a better design for them. I want to help people by solving the problems that happen when using various kinds of products. I aim for a human-friendly design. Who are your biggest role models? Dieter Rams taught me a lot. He is such a big figure in the design world that this may sound trite. He is also well known for being a teacher to Jonathan Ive, the Senior Vice President of Design at Apple. His â€œTen Principles for Good Designâ€? is very inspiring. Can you tell us more about what you study at the Academy of Art University? My major is industrial design, so I study the designs of everydaylife kinds of products that are very close to our human lifestyles. I learn many concepts and theories in lectures, but I spend most of my time doing research and projects. For example, in
my most recent project, I worked on developing a dog harness for the breeds that have [a] longer waist and shorter legs, like [the] dachshund. I once read an article on how dachshunds suffer from waist pains when they are walked with [a] normal harness. I am a huge dog lover and I wanted to save poor dachshunds. What are your career goals? I want to land a job at a studio for the start. I want to [a] have broad spectrum of experiences, from meeting clients seeking services on many different kinds of design projects. Eventually, I want to find what I want to focus on as a designer and pursue it as my long-term career. Last but not least, what is your favorite fashion style? I like [the color] black. This Red Wing walker I am wearing is one of my favorite items and I often style myself just to help the walker shine better.
Street Pulse: San Francisco text by William lankford PhotograPhy by mike anderSon 1. Occupation. 2. Favorite watering hole. 3. Favorite designer. 4. Longest you’ve gone without using Iphone. 5. Dolores or Golden Gate Park
Jessica de grasse
1. Art Director/Photographer 2. Trick dog.
1. Model/Founder Of Sexual Nature Clothing.
1. Lead Vocalist/Guitarist of Spectacular Spectacular.
3. Alexander Wang. 4. Two days. 5. Dolores.
2. Blackbird & Edinburgh. 3. Mega & BlackScale.
2. Radio Habana. 3. Balmain. 4. One week. 5. Dolores.
4. Couple of days. 5. Dolores.
1. Printmaker & Owner of The Polaroid Project. 2.
1. Photographer. 2. Harpers & Rye. 3. Filson & Opening
1. Director of operations for a local designer. 2. Oscar
RickShaw Stop. 3. Alexander Wang. 4. Three or four
Ceremony. 4. Five hours. 5. Golden Gate.
De la Renta. 3. The tipsy pig. 4. For a day. 5. Dolores.
days. 5. Golden Gate.
kaitlyn fitzpatrick 1. Student/model. 2. the lab by napaology. 3. Celine. 4. five days. 5. dolores.
Raw Spirit text by Karena Gupton aKhavein
To truly look at one of Russell James’ iconic photos, be it a portrait of a beautiful girl or a moody shot of a stunning landscape, is to be awed by the very real sense of intimacy that emanates from the work. An interesting factoid is that the Australian photographer, perhaps best known for the lush images of gorgeous women he shoots for Victoria’s Secret, is also infamous for his habit of going barefoot whenever possible. After all, what more literal manner is there of grounding ones’ self, of experiencing the land in which one happens to be standing at any given moment? Fantastically well executed lingerie shots aside, Russell’s most evocative works, and those that reflect his life’s passion, are far less commercial. Russell embarked on what he calls his “Nomad Two Worlds” photography project in 2001. Since then, he has continued developing the subject through collaborative works—namely photographs painted over by indigenous artists—that have been exposed in prestigious spaces and events all over the planet. Initially, the “two worlds” referred to the Australian photographer’s home continent: torn between an until-recently covered up aboriginal past and the tensions of the present day. Soon, Russell expanded his concept to include other countries and cultures, such as Haiti and the Seminole tribe native to the South Eastern United States. The project intends to act on a global scale, and its collaborative nature is meant to aid in working together to enable a culture in flux to heal and to move forward. The Two Worlds series now also includes video, as Russell explores other art forms as a means of getting his message across. Next, branching out even more, Russell furthered this ideal of creative collaboration with Raw Spirit, a growing collection of unisex fragrances—there were six at press time—devised in part with the help of Dr. Richard Walley, artist and spokesperson of Western Australia’s Noongar people. More recently, collaboration with the Native American Chumash Indian Museum in California furthered the Raw Spirit journey. Considering Russell’s background as one of the most accomplished photographers of our time, it comes as no surprise that the images that accompany the fragrances’ marketing materials would be integral to the project. Namibian supermodel Behati Prinsloo, who has worked with Russell on Victoria’s Secret shoots, was chosen for her natural beauty, energy, and, yes, spirit, and was shot in the dramatic natural setting of the Seminole Tribe Lands in Florida. Also shot on the Seminole Tribe’s land are an arresting collection of grainy, moody, sepia-toned art 20
photographs. The series was the result of Russell’s meeting James E. Billie, the Chief of the Seminole Tribe, and being given full access to the Tribe, its lands, and its traditions. This project previewed at the CameraWork gallery in Berlin this past spring. The Raw Spirit business model, which truly aims to be collaborative and have a long-lasting beneficial effect on indigenous tribes, is quite impressive in its own right, but the scents themselves are even more so. Technical collaborations with experts, such as the well-known “nose,” master perfumer Harry Fremont from top fragrance house Firmenich, have obviously paid off. This is not a mere fashion-world experiment or random fundraining effort using sub-par products that are expected to sell because of the cause to which they are purportedly attached. Even if Raw Spirit were not so committed to being socially responsible, the highly evocative, high quality scents would stand for themselves. Fire Tree, the first Raw Spirit fragrance, derives its unique smoky-sweet nose from wild-harvested, extremely precious Fire Tree oil, which is collected with the approval and aid of the Noongar tribe. There are two other scents inspired by Australia: the first, Wild Fire, is the driest, woodsiest scent of the collection. Wild-harvested Australian sandalwood goes on subtle and then builds, with floral notes rounding out the bouquet, like a haunting afterthought. Desert Blush, the most floral of the Raw Spirit fragrances, contains heady notes of Australian boronia, but the inclusion of sandalwood keeps the scent safely in unisex territory. The next fragrance, Bijou Vert, was inspired by Haiti, and contains premium Haitian vetiver sustainably sourced by local farming communities. This fresh yet warm scent marries notes of citrus and woods. A second Haiti-inspired scent, Citadelle, again employs the Haitian vetiver, but this time to a clean yet subtly musky and spicy effect. Winter Oak, a warm scent inspired by the oak-studded Chumash Lands, is the first of the scents to be inspired by Russell’s experience there. The notes of aged American Oak are front and center here, but rounded out with saffron, vetiver, and musk for an intriguing bouquet. All six of these fragrances are incredibly original and truly work together as a complete—but readily expandable collection. Possibly the best way to experience them is by buying the smaller, 7.5 ml samples of the entire collection, in a well-packaged rollerball format that allows more precise application to specific pulse points. Choose a single one or use several to create an olfactory journey on your body.
Kenji Toma text by emilie trice
How do you describe your work and passion? I believe every person has a platform in which they express and convey their life. Photography just happens to be the medium in which I decided and have been blessed to do it on. Through photography and challenging myself from shoot to shoot, I feel I learn something new about myself everyday.
Kenji Toma is no stranger to introspection. The Tokyo-raised photographer believes that everyone should be asking the eternal question of “why are we here?” and should never be satisfied by any simple answers. Toma moved from Tokyo to New York in 1990, currently dividing his time between the city that never sleeps and Paris. He has been awarded with the Society of Pu blication Designers’ Annual Print Award numerous times and has done work for almost every glamorous brand, from Chanel to Saks Fifth Avenue but despite his high end work, he’s not above a little controversy. Having lived and worked in such a global way, Toma has developed a taste for pushing the envelope and seeing what topics are more sensitive to which group. His photos can be seen in the book Body-Chic Simple written by Judith Newman as well as magazines like InStyle, Vogue, and of course, SOMA.
What do you try to communicate through your photos? It’s about exploring my own mind and sharing it with others. Through reactions and responses I learn more about myself. At times they betray me. Other times they validate me. You need to be open to criticism; you don’t always need to agree with it but it is important you listen. Photography is a medium to be shared. If you just create and enjoy it yourself, to me that is the same as masturbation.
What would you tell a young photographer trying to make it in the industry today? This is just not for photographers but you need to Think and ask yourself “why was I put on this earth and given life? Why do we work so hard when we all eventually die?” That will open doors to ideas and explore territories you are not comfortable with. The question is a catalyst to more knowledge and even more questions. In this way we can always feel like a student and continue to grow. You can feel fresh and adventurous at any age.
How did growing up in Tokyo, Japan influence your work? Did it change when you moved to New York? Growing up in Japan definitely had a great impact on me. Japan is a very mysterious country. It is very isolated and volatile, so it’s easy to get stuck in its ways. That’s both good and bad. One habit I developed was to be very careful and meticulous with everything I do. Some things did change when I moved to New York. I had to be more sensitive about certain topics but at the same time I enjoyed pushing the envelope.
A sensuous toucher. This is not necessarily sexual.
Does not instinctively attune to the needs
He pets animals really well – they will love him for
of others and will miss signals, but he
this. He enjoys the textures of things and sees as
wants very much to be considerate. Will
much by touching as by looking.
learn to take care and pay attention to
A combination of practical, phlegmatic and high-strung characteristics is seen in this hand. He approaches life with vast enthusiasm tempered by good common sense, but startles easily.
compensate for this.
He tries to save money, though he isn’t natu-
Likes to lead in all that he does. He
rally good at it. There is a sign of protection
can be manipulated by being con-
on his finances however, though he doesn’t
vinced that something was his idea.
always trust it and will tend to fret about money matters.
He is naturally monogamous in his mating, but able to love many people deeply even if he doesn’t marry them. In fact, due to circumstances, he won’t find his monogamous mate early in life – it will be later when he mates for good, but he will love deeply and truly before then!
Easy to anger and easy to forgive. Don’t This is a marvelous storyteller. He catches the
let the occasional yelling bother you – it
right details to bring his stories and anecdotes
blows over fairly quickly and he doesn’t
alive. There is a slight tendency to overwork or
overwrite his material, but nothing a good editor can’t deal with.
He will have mixed feelings about travel. Likes the idea of it,
Likes security in the basic necessities
Strongly family-oriented and loves with
but doesn’t like the expense of it. When he does go places, will
of life – housing, food, shelter, etc. Will
a very deep heart. He will grieve deeply
tend to be a budget travel who splurges on experiences that
tend to worry overmuch about how to
enough to injure his body when losses
are highly sensual or tactile.
get it. Fortunately, this is the only area
of loved ones occur. To him, pets will be
in which he tends to overdo the fretting.
people too – they are loved ones just as much as humans are.
Model Carlos Cortez Posing as Clint Eastwood Occupation: Visual Director “I always liked the deep strength in his eyes and, as time goes on, the strength in his work. I remember those nights at home with my mom watching Spaghetti Westerns on a very big and fat black and white TV, and dreaming about having those crazy, rude and dusty adventures. I was eight or so years old then. I’ve realized that I obsessed with ponchos and hats; I always wear them. I should blame Clint Eastwood for that.” Stetson hat Tommy Hilfiger tweed vest and belt Diesel black leather tie Ben Sherman white shirt Levis black jeans Miansai jewelry Gypsy boots
Model Jennifer Pugh Posing as Tom Petty Occupation Model “When I think inspiration I think of influence, most of my early influences came from the VHS tapes of music videos I would rent from Blockbuster. I would always come home with either David Bowie, Tom Petty or Michael Jackson. I always loved Tom Petty’s style in his music videos. I think my favorite is still the “Don’t Come Around Here No More” music video.” David Michael print shirt Assembly NY black pant Vintage leather coat Eric Javits black hat Stylist’s own sunglasses
Model Emma Dvarick Posing as Robert Mapplethorpe Occupation: Illustrator at Happy Hour & Co. “Robert was fiercely himself in every aspect of his art/life and he never backed down.” Urban Outfitters leather jacket Theory black shirt Stylist’s own red leather tie & studded belt AG black jeans
Model Louise Sturcken Poses as Anaïs Nin Occupation Stylist/Manager of Illesteva Flagship “Anaïs Nin’s philosophy that ‘life shrinks or expands in proportion to one’s courage’ inspires me.” Zara black turtleneck sweater
Drew Villani poses as Robert Rabensteiner Occupation Designer Dreu pants Alex Mill button down shirt Stylist’s own painter’s smock jacket
Model Javier Moleda Posing as Serpico Occupation: Publisher “He was the ultimate loser but he was true to himself to the end.” APC grey wool turtleneck sweater Vintage army jacket Model’s own sunglasses
Model Madison MacAllister Posing as Francesca Woodman Occupation Student â€œFrancesca Woodman has always been an inspirational artist and woman to me because she was so intensely and passionately focused on taking unique photos that depicted her exact visions. She used textures and movement in a way that was unseen in her time, and even 35 years later her work is still so beautiful to me and so relevant to a lot of fashion photography today.â€? Vintage printed dress and sandals Chicos pants
Model Desiree Kong Posing as Ana Mendieta Occupation Student “The symbolism portrayed through her art speaks of displacement, of standing out in a world that tells us to blend in. She found a way to counter that societal force by addressing issues that needed to be addressed.” J Crew maroon wool turtleneck sweater Model’s own hoop earrings
Model Naomi Edmondson Poses as Frida Kahlo Occupation Artist, Figure Model, Receptionist “I’m inspired by Frida Kahlo because she lived a very difficult life with lots of strength, character and color. I think that’s an amazing goal to work towards.” Zara white eyelet blouse Eric Javits flowers pieces in hair Stylist’s own striped shawl Model’s own jewelry Makeup by Bernadine Bibiano at Judy Casey using MAC Cosmetics Hair by Bernadine Bibiano at Judy Casey using Oribe Styling by Don Sumada at Bernstein & Andriulli Photography by Sergio Kurhajec Studio: Shoot Digital
Adam Thorpe text by talia Page PhotograPh by Marc olivier le blanc
Adam Thorpe is a Master Carver whose ability to create contemporary, original pieces and restore antique masterpieces, garners commissions from galleries and fine art museums alike. His work is currently on display at Velvet da Vinci and The Legion of Honor in San Francisco. Thorpe’s exhibition at Velvet da Vinci, Flowering, is a powerful show that was inspired by roadside memorials. The 25 foot high installation consists of ornately carved flowers (both wilted and in bloom) on a chain link fence. Flowering is a reflection on modern-day culture and is in sharp contrast with Thorpe’s project at the Legion of Honor’s French neoclassical period room, The Salon Doré, which is restorative in nature. In this interview with SOMA Magazine, Mr. Thorpe discusses his experiences working in a wide range of styles and the importance of design. How did you get your start in woodworking? I was fascinated by the ornamental woodcarving I saw around me when I was young, growing up in England. Even the simplest village church has carving in it, often very old. When I was about 10, one of the teachers at school read The Carved Cartoon aloud to the class. It is a story about the English seventeenth-century carver Grinling Gibbons, and I was captivated by it. I was also fortunate that my father was a very good woodworker. I was encouraged to use woodworking tools from an early age and he took me to buy my first chisels when I was 13-years-old. What inspired Flowers, the exhibition at Velvet da Vinci? I see roadside memorials around where I live, in East Oakland. There was a particular one on a fence right by the on-ramp to 34
the freeway. The flowers would die and it would look uncared for. But occasionally the flowers would be replaced and it would come alive again. I thought it would make a good subject for a piece. Tell me about your experience restoring the Salon Doré at the Legion of Honor. I have always admired that room. I remember the first time I saw the Salon Doré over twenty years ago. I felt incredibly fortunate to be able to work on the project. There were some bad repairs from previous restorations, which had to be replaced and large areas of missing carving to recreate. The best part was that I could get close to the work. I saw things that really made an impression on me, technical and stylistic things that maybe only a woodcarver can fully appreciate. I also worked on a reproduction console table. The museum bought an antique console table of the period, but needed another to make up the pair. There is a lot of carving on the piece, typical Louis XVI style. It was challenging, as the original was complex in design and beautifully carved. Your work ranges from ornate Grinling Gibbons-esque decor to pieces like Marquetry Boxes that feature graffiti/ tag-like writing and skulls. Tell me about your style and what inspires you. Anything that is wholly traditional in style is effectively a reproduction. I don’t consider that to be my style. I am more interested in designing and making pieces that belong in the world we live in today. I have always been influenced by the traditional, classic
styles of ornament, whether it is Gothic, Baroque, or whatever, and I like to reference them in my work. However, I consider imitation to be weak. I have more respect for originality. I get inspiration from my immediate surroundings. I love the textures of the city, graffiti tags, electrical wires, city numbers on electrical boxes, and so on. I see them as ornament in a way. I try to use techniques and skills that I admire from the past to make pieces that look like they were made in 2015, not 1715. You’ve been a Master Carver for decades. What keeps you excited? What’s new, changing, and interesting in the world of woodcarving? Designing and making pieces for myself keeps me excited. I enjoy experimenting with new techniques and I have recently been exploring marquetry, which is a very involved and precise inlaying technique. The most recent change that has affected woodcarving is the use of the computer and digital technology. Now there is the ability to design more efficiently — and often more creatively — using programs like Photoshop. Also, there are CNC machines that are used to shape wood. Although there is a great deal of
hideous so-called carving turned out by these machines, I am interested in their potential and am thinking about getting one to see how I can use it. What advice do you have for young artists (or woodcarvers in particular) who are just getting their start or exploring the field? I put a lot of emphasis on design. It’s the aspect of carving that interests me most. It doesn’t take too long to learn how to use and sharpen the tools for carving. It takes far longer to understand what makes a good design and how to effectively interpret that design in wood. A beginner can make a very good carving from a strong design. However, no amount of virtuoso technique will save you if the initial concept is weak. Never lose sight of the fact that you are working in wood. The design and treatment of the work should always reflect that. If you are carving a flower, never forget that it is a woodcarving of a flower, and not a real flower. Draw a lot, especially from nature.
A Walk With Cory Johnson text by SHINMIN LI pHotograpHy by MIke aNderSoN
On a sunny Thursday morning with clear blue skies, I met Cory Johnson in front of the Bloomberg office at Pier 3 on The Embarcadero. He had on a crisp blue checked Sports coat, with a satin origami handkerchief tucked into his breast pocket. His hair was perfectly in place. I saw a light coat of powder that tamed the shine on his forehead and nose. Cory was in between shoots in his role as editor-at-large of Bloomberg TV. Despite the gentlemen’s club jacket and his towering six foot five frame, Cory has the energy of a high school teenager trying out for the basketball team. When we initially planned this interview, I had imagined that it would be accompanied by a couple shots of espresso and perhaps in a café with views of the bay. To my pleasant surprise I was greeted with, “Let’s walk.” In fact, Cory often plucks CEOs, and many others from intense meetings, out of the office to join his walking meetings. He believes that the change of scenery and fresh air, breaks people of their rehearsed pitches and allows a more natural discussion. Before I was able to start asking some of the questions I had prepared, Cory said, “Tell me something about you.” He listened with trained ears and responded with appropriate feedback. He’s a good listener. Walking along the water, I asked Cory about his start in journalism. The philosophy of his work principles was largely shaped by his mentors. He has a few, but one that stands out is Gil Rogan. More than anything in the world, the young Cory wanted to write for a magazine. Gil was the editor at Time inc. when Cory worked on FYI, the company’s in-house biweekly newsletter. Cory said that Gil was “loving and harsh, and a brilliant writer”. He recalled entering into Gil’s office, and seeing the many coffee cups on his desk filled with freshly sharpened pencils. As Gil made corrections to the articles or notes presented to him, he stabbed into the paper with such force that the tips of pencils would snap. Without breaking his stride, Gil 36
would grab another pencil and toss the broken one to the floor. Gil was a man who disliked numbers ending in zeros, meaning that if you reported to him that 30,000 people attended a game in Yankee Stadium, he would scream, “It would be a MIRACLE if there were exactly 30,000 attendees at a stadium!” Gil insisted on precise details, not estimates. From Gil, Cory learned to develop an intense demand for details. He learned to avoid brushing over the narratives. He does not accept a smoothed number as a fact. He learned how to ask the questions that rendered the often overlooked truths. This is the foundation to his investigative journalism. We made a left turn off The Embarcadero and onto Francisco Street. We ascended steep winding steps that led to Grant Avenue. Cory talked with ease. His breathing and speech cadence were completely unaffected by the steps. He began to explain about how his career led to fraud investigation. With a penchant for spy novels, Cory spent much of his career digging up the hidden stories behind neglected equities, solid but unloved companies and, conversely, stocks undeserving of love—what he calls the three F’s: fakes, frauds, and failing businesses. Spending so many years training his eyes to find fraud and corruption I asked if he sees the world through cynical eyes. “Not cynical,” he told me, “critical.” The former leader of the NSA passed a bit of advice from his father to Cory, “When you think you see a conspiracy, don’t dismiss the possibility of incompetence.” But Cory’s cautious mind goes deeper than that. His approach to conspiracies is,”Before you dismiss an irregularity as incompetence, explore every possibility of conspiracy. Doubting is thinking.” We circled our way to Washington Square Park. Groups of women were dancing with fans to Chinese music. Dogs were leaping for Frisbees. I asked Cory if he has noticed cultural differences between San Francisco and New York, where he is from originally. Cory said that San Francisco has been defined for the
last 200 years by people who want to start over. He thinks that the Bay Area is teeming with people who believe that an empire can be created out of an idea. San Franciscans say, “Right on!” New Yorkers say, “Forget about it”. And “Forget about it” in New York can be used as words of commiseration, or words of encouragement with a sense of false gruffness. Rounding the corner from Washington Square Park, we walked into Caffe Roma on Columbus Avenue. Cory knows everyone in the café. The owner, Tony, wanted to debate about a topic from one of Cory’s recent Twitter posts. Staff and customers walked by to greet him. I heard “Hey Cory” at least five times while we were waiting for our cappuccinos. Sitting down at a round, marble table, I asked Cory to explain his process of research in more detail. He grabbed a pen and paper and started drawing small circles and crisscrossing arced lines. He explained that the visual layout of his investigations are hugely influenced by the late artist Mark Lombardi who was known for his large scale pencil drawings that documented alleged financial and political abuses of power. Even Cory’s quick illustration on a scrap of paper was elegant and detailed. The circles represented the main players from one of his earlier investigations. The connecting lines showed the relationship between the circles and how they worked together. On a diagram 38
such as this, it’s stunning to see all lines directing back to one or two individuals or corporations. Cory showed me pictures of his original diagrams on his iPhone, some of which took many months to lay down on paper. Cory’s obsession with detail and truth, reveal a more quirky side to him. He admitted to being so intrigued with Lombardi that he found a photo of his Williamsburg apartment. On noticing a bookcase in the photo, he zoomed in, and noted the titles of every book. He spent years collecting nearly all the same books from that photo and read each one. He only has a few more books left to complete this curious collection. Additionally, he arranged all the books on his own bookshelves in the order in which they appear in the photo. Then Cory’s phone rang and he was told he would be back on air in just a few more minutes. We walked briskly back to his Bloomberg office. He told me that he was recently promoted to the position of “Bloomberg editor-at-large” from his previous title of “Bloomberg West editor-at-large”. Along with the substantial increase in TV airtime in his new role, Cory also launched a daily three-hour radio show, Bloomberg Advantage. The long and short—Cory said, “I’ll never sleep.” We parted with a firm handshake and circles and lines in my head.
Soraya Darabi and Maxine Bédat of Zady text BY JenniFer richardson photographY BY Mike koBal
Two halves of one very important whole are Soraya Darabi and Maxine Bédat, Co-Founders at the uniquely innovative lifestyle brand, Zady. Before Zady, Soraya graduated from Georgetown University and went on to be the Manager of Digital Partnerships and Social Media for The New York Times. Maxine, who graduated from Columbia’s Law School with honors, had cultivated a strong background in diplomacy through her experience working at the United Nations. The two joined forces to create a retail brand setting a new standard of ethical transparency, offering sustainable goods for the discerning and conscious consumer. Soraya, can you describe what the process was like taking your degree, which was focused in the arts, and cultivating a prominent career in Digital Media management? I minored in art history and majored in English with a concentration in journalism. My internship at the WashingtonPost.com helping journalists learn to use digital tools, led to a great job with Condé Nast Digital and later with The New York Times, partnering with leading social networks. That led to friendships with founders who showed me that I, too, could start a company with the right network and focus. My career unfolded naturally, as most do. I’d say that you could major in just about anything, but get internships in the area you think you’d like to work. Far too few college students intern, but I wouldn’t be anywhere without that first job at the Post. I’m still grateful to my mangers there for hiring me. What about your role at The New York Times? What was the single biggest lesson you learned during your time there? The biggest lesson I learned at The New York Times is that a prestigious brand is built on the back of a best in class team, but a best in class team must be continuously humble to produce excellent 40
work. You will walk around the café there and spot three or four Pulitzer Prize winners, but at the end of the day, everyone views themselves as a Times staffer, and feels proud to wear that badge everywhere and anywhere they go. I learned there that I’d only like to create or join companies with the same humble attitude going forward. Maxine, was law always something of an inevitable pursuit for you? I was always focused on social justice. Law is about process, which I enjoyed and it has become helpful in my role today with knowledge of contracts and the like. My experience in law was also a great resource in developing the Bootstrap Project before I came to Zady, which is a platform for enterprising artisans to learn new skills, expand their businesses and share their customs. Maxine, do you feel the retail landscape has always been lacking in integrity or have we evolved to become ready to embrace the model of Zady? Our grandparents wore simple, timeless garments that were made in America. Their closets were small and modest and contained a handful of pieces that offered comfortable, practical wear. Following the mid century dawned an era of lesser quality synthetic materials. Society has begun to raise the question of value and what it is they’re paying for. What’s the average workday look like for you, Soraya? My day is centered around meetings, and high-level strategy discussions, but working alongside leaders of industry is what I love most about a business-centric career. Partnerships and networks are what make the world turn.
What’s the most gratifying part of this day? Cracking jokes alongside Navah, our Relationships Manager. She always cracks me up and leaves me with a line that I later want to tweet or share with friends. But truthfully, the most gratifying part of the job is feeling like we are impacting an industry. We are shaking things up and folks are changing their shopping behavior thanks to our growing brand. Maxine, what does the future look like for Zady? Continuing to attract major talent. We’ve already been so fortunate in our success with cultivating and acquiring brands concerned with something more profound than the next trend. We’re committed to maintaining this momentum. 42
Soraya, what kind of advice do you have for entrepreneurial young women? My first bit of advice for entrepreneurs, women or men, is to believe in yourself. There are far too many people on this planet who won’t believe in you, so starting with self-confidence is fundamental. Peter Druker said “entrepreneurship isn’t a science, it’s a practice,” and I believe that to be true. The best way to be entrepreneurial is to test out your ideas, small and large, and to see as many of them through to completion as you possibly can. Completion may be a fort in the backyard, solar panel power, or it may be an IPO. Chip away at your idea, one day at a time.
The Influencers Nina Mufleh text by Kyle thornburg photograph by Shaz Khan
Nina Mufleh, 32, is an experienced marketer and social media professional. A California native, Mufleh spent the last decade in the Middle East where she worked for Queen Rania of Jordan to spearhead her presence in the digital space. Mufleh went on to co-found The Online Project, which is the Middle East’s leading social media agency and one of the top 40 worldwide. In May 2015, she launched www.nina4airbnb.com, a social media experiment and an unusual appeal for job at Airbnb that garnered worldwide attention. Like a breadcrumb trail, you’ve made international impact from Amman, Jordan to San Francisco, California. How has your global background aided you as a professional? I’ve been very lucky to have the opportunity to work on global campaigns from the beginning of my career. My first job out of college was in the communications department at the Office of Queen Rania of Jordan. She is a high profile international figure, and working as part of her team taught me to think strategically. What aspects of your time in the Office of Her Majesty were most formative for you? It’s rare to work in a government office that fosters a culture of entrepreneurship and autonomy. I was extremely fortunate to be exposed to that, and to top it off I had an amazing manager who encouraged me to test out all of my unorthodox communication ideas. The one that had the biggest impact on me was when I lead the Queen’s first social media experiment. Celebrities and government personalities didn’t use social media platforms then the way they do today, so not only were we working on something unconventional, but it was focused on using social media tools to bridge communication gaps and cultural misunderstanding. How did the idea of The Online Project come to fruition? After working at Queen Rania’s office for three years and developing a deep understanding of the potential impact of social 44
media technology, I wanted to experiment further. A friend of mine saw the opportunity to capitalize on this by working with brands in the Middle East. So, the two of us, along with a third co-founder, began offering campaign ideas to Fortune 500 companies. Within a few months we had signed on the region’s largest telecom conglomerate and several globally-recognized brands. That’s when we realized that our experiment was turning into a full-fledged agency and a successful business. Airbnb has been the recent subject of your professional ambitions. Describe how your modern approach to capturing the company’s attention has unfolded for you. My strategy was to utilize my skills as a marketing professional to sell myself as a product. I had to create a campaign that people would want to talk about and that meant doing something bold and valuable. What idea of yours have you been you most fulfilled by? After a year of continuous professional rejection, I began to doubt some of my own abilities. Seeing this experiment capture the attention of millions of people felt like a great accomplishment. The real fulfillment of it though came in the form of the thousands of messages I’ve received from strangers telling me this has inspired them to go after their own dreams. Do you have a mantra to keep you balanced as a high-performing young woman on and off the clock? Celebrate the successes, learn from the failures, and push yourself to new limits. Who are the women who inspire you most? I’ve worked with many inspirational women in my career. At The Online Project, our team of 52 people was predominantly women, and I learned so much from each one of them.
Michael Kors sweater Christian Dior sequin turtleneck Eric Javits hat Right page: Miu Miu jacket, shorts, shirt, and hat Christian Dior turtleneck top
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Isabel Marant vest, and skirt Stetson hat Model: Mayara Rubik at IMG. Casting by Chad Thompson. Makeup by Bernadine Bibiano at Judy Casey using MAC Cosmetics. Hair by Bernadine Bibiano at Judy Casey using Oribe. Studio: shootdigital.
Sheer Cover Peter Rosa Mindy Saad
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Giorgio Moroder Back In Business text by LiLy Moayeri photography by rCa reCords
When Giorgio Moroder enters a room filled with music industry folks, his appearance is met with a standing ovation. The genteel Moroder, who with thinning white hair and a bushy moustache looks like a kindly great uncle, receives the applause humbly, smiling, his eyes sparkling. For the layperson, Moroder’s presence means next to nothing. And why should it? The 75-year-old Italian (by way of Germany) music innovator has been dormant for a good 30 years. That is, until Daft Punk decided to rustle him up and stick him in front of a microphone so he could tell his life story on their track, “Giorgio By Moroder” on the duo’s 2013 game-changing album, Random Access Memories. On the track, Moroder, in his sing-song Italian/German accented English, quietly tells his tale while Daft Punk plays a backing track that pays tribute to Moroder’s hefty body of work. The bulk of Moroder’s success happened from the mid-‘70s to the mid-‘80s when he looked like the prototype “Mr. Ka-tear” of the popular ‘70s television show, Welcome Back, Kotter. During that time he invented disco, marked by his work with Donna Summer on the enduring “Love To Love You Baby.” He made smash hits for Blondie and David Bowie. He set the standard for soundtracks with Midnight Express, Scarface, and Flashdance. He wrote the official song for the 1984 Olympics. And that only scratches the surface of his accomplishments. In his collection of knick-knacks, he has three Academy Awards, four Grammys, and four Golden Globes. There are more awards, as well as select framed platinum and gold records, littering Moroder’s luxury high-rise apartment in the affluent Wilshire Corridor in Los Angeles. Moroder has sold millions upon millions of records. He has been comfortable for a long time. During his “retirement,” he has indulged himself in his artwork and had time to help design an Italian sports car —the Cizeta-Moroder — and a cognac bottle. He has also worked on an idea to build a pyramid-shaped apartment complex in Dubai. He moves in circles of the wealthy and influential that outsiders are unaware of existing. He wasn’t expecting to become an in-demand DJ, not at his age, let alone be releasing an album of brand new material, Déjà Vu, where top-name collaborators clamored to be featured on his songs. “When I was asked to DJ 10 years ago, I thought, ‘I’m a producer, I’m a composer, I’m not a DJ.’ At the time, DJs were just DJs. Now, DJs are superstars,” says Moroder who aligns himself with that elite group. After a brief appearance for Louis Vuitton and another in Cannes for Elton John and amfAR, Moroder’s first real gig was for Red Bull Music Academy in 2013. Since then Moroder has become a regular name on big festival bills and major clubs worldwide. 80
“An hour is great, an hour and 15 minutes is ideal,” says Moroder of his DJ sets, which are pulled from his wealth of productions and programmed using Ableton Live for more creativity. “It’s quite tiring. You have to dance. You have to move.” On Déjà Vu Moroder taps into the abilities of his A-list collaborators: Sia, Britney Spears, Charli XCX, Kelis, Kylie Minogue, Matthew Koma, Mikky Ekko, Foxes, and Marlene to make a very current album that is in step with the EDM megastars with whom he is lumped. “The original idea I had was disco songs,” he says. “Then I thought buyers are young, they are used to EDM dance, so I tried to combine modern sounds with guitars and strings to give a feel of the old disco times, but not emphasize it too much.” What people will buy is at the forefront of any of Moroder’s creations, music or otherwise. “You still have to live,” he points out matter-of-factly, more interested in quantifiable success than critical. With the singles released from Déjà Vu hitting tops of charts internationally, Moroder still has the touch. There are glimmers of his synthesizer-driven, robotic yet filmic arrangements throughout the album, as much as there are bold and shiny beats and drops that match today’s sounds. Says Moroder of his 40+ year-old recordings versus his fresh ones, “You could do it as good as you could, but when the session was over, you could not change a note or do a thing, so it was more natural. Now it has to be perfect because people are expecting it. You have to have every instrument at the same volume. You can use the computer to make intentional little mistakes, but it doesn’t sound human. That makes things, especially in EDM, a little mechanical.” Like all of today’s music, Déjà Vu, has multiple musical inputs. A song travels around the world for input before it comes back to Moroder. This is very removed from his beginnings in Germany, holed up with lyricist Peter Bellotte and Donna Summer, just vibing. “The vocal is the most stressful thing,” Moroder points out. “I’ve worked with major acts like David Bowie. What am I going to tell him? That high note was not good? The other thing is, when people are in the studio you never know if something is final or if you could do it better. On the other hand, you’re more objective if somebody sings without you. You know immediately if you like it or not. But then, Kelis wrote the lyrics and top line for ‘Back & Forth’ with me in the studio, sang it two or three times and that was it. I didn’t touch her voice at all.” “I must say, it is unusual to be back in pop, “he continues. “Sometimes I think, ‘Is it really me they are talking about?’ I’m 75, I’m back in business, and I love it.”
Planet Perth text by Nick AMies
The imminent release of Tame Impala’s third album, Currents, has many admirers of the Australian psych-rock outfit’s panoramic soundscapes panting in breathless anticipation, while the expectancy among those who consider each new release to be the dawning of an epochal musical age is bordering on unbridled fervour. Refreshingly though, Kevin Parker – the man behind the music – remains genuinely baffled by this level of adoration despite being the recipient of almost unending acclaim ever since his bedroom project went global with the release of 2010’s Innerspeaker, Tame Impala’s expansively trippy debut. The success of his Grammy-winning sophomore effort, 2012’s Lonerism, only added to Parker’s sense of amused disbelief that a college drop-out from one of Australia’s most remote cities could become so universally lauded for delivering thrillingly unfashionable retro-futurism to the plastic pop masses. “We don’t dance about, we don’t play music that you can really get down to and some of the songs go on longer than a Pink Floyd epic so it kinda confuses me as to why people actually like it,” Parker says with surprising honesty. “Don’t get me wrong, I’m glad they do but we don’t really fit in with what’s supposed to be popular. I suppose that’s part of the attraction.” Popularity, fame and fortune were never the reasons Parker and his cohorts and comrades began making music. Ensconced as they were in the shabby confines of the notoriously Avant garde Troy Terrace commune in the Daglish district of Perth 82
before destiny came calling, they revelled in the detachment from reality where their musical experiments brought them. Success was never the goal because no-oneno one from Perth – and even fewer from the Troy Terrace collective of misfits and outsiders - ever expected to make it. As a result, a rich counter-culture developed free of artistic expectations and industry pressure. “To be honest, none of us thought anyone outside of Perth was going to hear our music,” says Shiny Joe Ryan, one of the original quartet of Troy Terrace tenants alongside Parker, Nick Allbrook (Pond) and Jay Watson (Tame Impala, Pond, GUM). “We made it for ourselves. It’s amazing that people over the other side of the world have heard and enjoy our music, but if none of that had happened, I have no doubt that we’d still be making music in one form or another and probably together still.” “Being isolated spatially and culturally – us from the city, Perth from Australia and Australia from the world – arms one with an Atlas-strong sense of identity,” says Nick Allbrook, Pond’s frontmanfront man. “Both actively and passively, originality seems to flourish in Perth’s artistic community. Without the wider community’s acceptance, creative pursuits lack the potential for commodification. There’s no point in preening yourself for success because it’s just not real. It’s a fairy tale, so you may as well just do it in whatever way you like, good or bad, wherever you like.”
“It didn’t really matter if you were crap or silly or unbearably and a lot of bands being recognised on a much wider basis.” offensive, you wouldn’t get much further doing something difClinton Oliver, vocalist and guitarist with garage rock group ferent anyway,” adds Allbrook. “This helps to preserve a magical Gunns – another band on the rise thanks to in part forto the interpurity because it’s executed with love – with necessity. And est in all things Perth – agrees: “It gave everyone huge confidence what’s more, when these artists keep going and practising and seeing bands like Tame and Pond succeed,” he says. “They advancing – which they must – somehow their crassness coagu- really put this city on the map. I feel like people are paying a lot lates into something brilliantly individual and accomplished.” more attention to bands in Perth now. So yeah it does make you It could be argued that because Tame Impala, Pond and, to wonder if your chance is coming.” a lesser degree, the spin-off projects from those bands’ interWhatever the impact these Perth bands have had internachangeable personnel have successfully taken that ‘coagulated tionally, back home the laidback attitude that provided them crassness’ onto the international stage, those artists now devel- with the environment in which to thrive remains mostly intact, oping in their wake back in Perth will be denied the freedom – which gives hope to all those still searching for their own voice that the Troy Terrace set enjoyed. However, Peter Bibby, a in this creative melting pot at the end of the earth. “Back in Perth, people don’t treat me differently, I’m still just contemporary of Parker, Allbrook et al, who is among the leading acts from the next wave of Perth bands, believes that Kevin and no-one attaches any of this bizarre, constructed rock while the inevitable wave of Tame Impala copyists that swelled star status to me or any of the other guys,” Parker concludes. after Innerspeaker’s breakthrough initially diluted the creative “That’s why Perth is a sanctuary. I can go home and be with my well, Perth is now benefitting from the exposure enjoyed by friends or disappear into the crowd like I used to. Out in the its wayward sons. world, people stop me outside venues and stick cameras in my “Perth seems to have a pretty good reputation for music on face and want autographs, and I’m like – whoa, okay dude…I’m a worldwide basis now and the boys, along with Spinning Top just this fucking guitar nerd who makes music in his bedroom… Records, have definitely helped with that,” he says, name-check- but hey, that’s cool!” ing the label associated with nurturing the city’s underground talent. “They’ve been flying the flag high and proud for a good few years now all over the world and that has helped with myself 83
Haley Guild Moore Message In A Bottle text by Gabriel Cothes
“Champagne and French fries, yes please!” Haley declares when delving into her favorite food and wine pairing. “Old white burgundy paired with white truffles, also amazing,” she continues. Haley Guild Moore can take you in any direction. She has affection for things that are at once playful, decadent, grand and often rare. It is her deep understanding of taste that makes one listen up when it is her turn to talk. Her accolades are endless and her achievements are many. Mrs. Moore landed her first wine directing role at the tender age of 24. From this position at Bacar in San Francisco she launched into a career that has not slowed for even a breath. In 2009, as a lead sommelier for the renowned restaurant, Spruce, The Wine Spectator recognized her wine list of 2,800 selections with it’s ‘Best Award of Excellence.’ Currently the wine and spirits director for Stock & Bones, Haley now oversees five restaurants, all varied in concept and unique in their needs. For Moore, this is more opportunity than challenge. “Each restaurant is a chance to showcase something different. Wine selections become puzzle pieces. You move around the puzzle pieces and complete each picture.” Haley does not settle for the trendy, crowd-pleasing wines that are readily available to a top tier wine buyer. She searches for grapes of distinction, 84
for wine that is unique and true to itself. Wine can always be an accompaniment to food but when the bottle becomes a portal into the culture of the people who produced it, then Haley Moore will take notice. Mrs. Moore tempers her love for the grape with an equal affection for the actual experience of it all — when the good stuff is all balled together. “Mind blowing moments,” she declares. “All of the ‘ahha!’ moments.” These are the direct result of staff, food, and wine swirling around in perfect harmony. Haley recalls New York’s Jean George and dinners at Septime of Paris, places versed in the art of perfection. These snapshots of the ideal serve as standard when training her staff back home. Every year she takes part in multiple festivals and symposiums — L.A. Food and Wine as well as Pebble Beach to name a few. These events give exposure to the best of the best. She encourages wine travel and education and insists that these are a gateway to go beyond the surface of simply selling wine. A bottle of wine can be truly unique. There are so many ranges of style, and expressions of ideas that lie just within the confines of glass and cork… and who better to let them out than Haley Guild Moore.
Abigail Ziaja The Fire Starter text by Gabriel Cothes
Walk with Abigail for just a few paces and see if you can keep up. Her world is dizzying and demand for attention is high. She’ll put out a fire and start a new one all in the same fell swoop. This is what she does, but also what is expected when running one of the busiest, top notch restaurants in a city known for it’s culinary highs. A New York transplant and well seasoned in the hospitality game, Abigail began her affair with San Francisco and The Salt House three short years ago. In this breadth of time she has mastered both a city and the house she has chosen to call her home. Abigail brings with her a wealth of experience from around the world. Chat for just a few minutes and you may find yourself waxing poetic about the coastline of Naples or listening to a declaration as to what hour is best to wander the streets of Paris. “There’s a time of day, around five o’clock, that everyone goes and buys a baguette and then they eat a little, walk a little, and meander on to wherever they’re going. They’re is something beautiful about simplicity, when an experience is true to exactly what it is, and it’s all reflected.” She then quips, “Or, maybe it’s just because I love bread so much, who knows!”
When asked about what draws her to the industry, she responds: “The tactile experience is addicting.” Every night, the Salt House cannonball’s along in a beautiful state of controlled chaos. It is, as if all of the exposed brick and massive steal beams are needed to hold the place down. “Life is happening all around you, wonderful things, tragic things all in real time.” Mrs. Ziaja says. “There is something about gathering over food and wine that is inherently human,” she continues, eyes flashing with genuine adoration for just such an experience. She loves to make a connection, to feel the intense satisfaction of touching every table. For this mild addiction, she places blame squarely at the feet of storied restauranteur Danny Meyer. Abigail often uses Meyer’s book, an industry standard, Setting The Table as a blueprint for service. She smiles wide when recounting Danny’s theory of finding “nuggets” (little shards of a guest’s experience) which can be spun into gold and given back to them in an unforgettable way. At this, Abigail Ziaja is a natural. In actuality, for her, no book is needed. 85
Andrea Valenzuela The Natural text by Gabriel Cothes
The restaurant business is brimming with people who love to talk themselves up. They are their own heroes and they would crown themselves king or queen if they could. No one is to blame; it is a perk of a highly social and energized industry. After all, I have been one of those people for years. Some, however, are just not that way. Andrea Valenzuela is cut from a different cloth. Highly successful and ever humble, this girl has always been short on talk and long on action. We meet at Serpentine, a local haunt for the Dog Patch crowd. Andrea has lived in this up-andcoming, industrial swath for almost two years. Her roommate and best friend tends bar across the street. She feels right at home. Oysters arrive just as I sit down; we are cozied up to the bar. Today is her day off, and high on her list of priorities are food and drink. “Oysters, tons of horseradish, and beer! Such a good way to go!” She declares with a little grin. “I love everything about it, never sitting still. The mix of it all. The fact that it becomes a lifestyle,” Ms. Valenzuela declares. This woman has not left a single industry stone 86
unturned. She has even waded through crowds of rowdy Giant’s fans, serving food and drink to the loudest bid. Andrea perfected craft cocktails while behind the stick at the highly respected Town Hall. She has been a server, a manager, and now, simply put, she is the top dog. After joining the highly successful restaurant team of Anna Weinberg and James Nicholas, her ascension was quick. After spending brief stints at Cavalier and North Beach’s Park Tavern, Andrea was tapped to reopen and run Marlowe. Marlowe requires a special touch. A SOMA neighborhood bistro that opened in 2010, this restaurant has a devoted following and has been critically acclaimed. Keeping up with it would challenge the most seasoned of staff, and Andrea would not have it any other way. “This wouldn’t be fun if it all went right, all of the time. Finding ways to work it all out, that’s what I love.” Andrea shakes her head a bit and smiles. “I don’t know any other industry. This is me. This is what I do.” And believe me, what she does, she does very, very well.
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