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Instagram. JustinAnthonyNY Facebook. Photography David Weinberger


Accessories/Beauty Amanda Beaudoin, Courtney Kobren Art/Photography Vitor Oliveira, Caroline Granoff Business Vicky Ding, Catherine Gao DIY Marcy Huang Entertainment Caroline Bologna, Shannon Sotomayor Fashion Features Layout Design Anna Weyant, Grace Yoon Menswear Shavon Bell, JoVaun Holmes Music Editor Jason Mandel Social Media Editor Ana Col贸n Womenswear Sarah Bochicchio, Gizem Sabanci Web Editor Ragnar J贸nsson Web Manager Diego Morales

Contributors Jessica Novak, Tim Woulfe, Jake Mason Moffett, Terri Travato

Special Thanks Everest Isles, Bib + Tuck, Noah Emrich, Hunting Season, Dandy Project, STARRED, Sara Rara, Justin Anthony, Shoppe Pioneer

Cover Photography:Lissette Emma Model: Nika de Carlo





















Sophomore slump? Think more stepping stone – this publication is rising and improving. Each cycle bring fresh ideas from minds farther from home and thoughts more provoking than the last. Don’t expect anything less. For the first time we have crossed borders to offer you photo shoots from the empire state, executed by professional photographers, professional models, and professional vision. This is our new standard. This took many hours of labor and love to complete, so cherish this publication and hopefully you won’t have to search too deeply to feel the potential nesting among its pages. If you haven’t gotten the idea by now then go read, young man! The future awaits you.

SARAH RARA Sarah Rara is an internationally acclaimed independent artist and one half of both lucky dragons and sumi ink club. The brown class of 2006 comparative literature graduate has succesfully relocated to los angeles and established herself in a variety of


mediums. Here is our talk with Sarah Rara.

Unhemmed: Give me the brief summary of who you are and what you do. Sarah Rara: I’m an LA based artist, working primari-



U: Tell me more about these rules.

U: How was your time at Brown?


S: -

U: You engage in so many types of art; do you have a favorite medium to work with? Do you approach each differently? U: What were some of your favorite classes? S: -

S: U: How was your transition from Brown to the art world? S:



U: Tell me about Sumi Ink Club – how did it start? U: And what about Lucky Dragons, your music outS:

let? S:





U: Where do you get your inspiration? What other artists inspire you? Slimane use some of the art for Saint Laurent?

S: S:


U: Who have been some of your mentors? S:

U: What makes a “successful� work of art? I guess artistic success, and what aspects of your work or



U: Where do you see your art going in the future?




As college students, extravagant makeup items aren’t always in the budget. However, that doesn’t mean extravagant looks can’t be worn. These two looks, my two favorites, a dark dramatic lip and a mod inspired heavy eye makeup were completed on a budget. Items don’t necessarily need to be expensive in order to be effective. The most crucial aspects of the looks, the mascara, lipstick and eyeliners, didn’t cost more than ten dollars each. The Elf eyeliner used in both photos actually costs one dollar. I don’t buy it because it’s inexpensive. I actually believe it’s one of the best liquid eyeliners I’ve ever used.

black and white eyeshadows used work for virtually every eye color and skin color. A white eyeshadow is used on the entirety of the eye lid while just a little bit of black eyeshadow it worked into the crease. The best part, the winged eyeliner, is heavy, dramatic, and makes a statement. The rest of the face is kept neutral with peach blushes and lip gloss in order to let the eyes stand out.

The second look, my all time favorite, can serve noir, classic, etc. The look as a whole didn’t cost viously a less dramatic application, was used. The most important part, the lip, is an NYX lip creme that acts as a stain, a really long lasting form of lipstick. The NYX lip creme is a win-win: not only is it inexpensive, but a lip stain means less application and thus a longer lasting product.


By: Jake Moffett

Photography: Jake Moffett, Sally Luu

An onyx-colored triangular stone, set in a braided copper bezel, is the current placeholder for where my wedding ring one day will go. For nothing more than pure aesthetics, I always adjust the apex of the ring to face outwards. The ring is bold, prone to getting caught on loose thread in my sweaters, and from a bazaar-esque stand in the Arab Shuk on Shabbat morning. My Israeli friends told me the best time to go to the Arab Shuk to haggle would be during Ramadan on Shabbat. Sales would generally be lower, and because fast isn’t broken until sunset, right before that time are the best hours to shop. I wanted just a small piece of jewelry to mark my last few months in Israel. It could have been a bracelet, or a watch, but a big black triangle shouted at me from a stand draped with tapestries. The man asked for 400 Shekels, which is over $100. The stone was clearly not real, nor the band. Regardless, I only had 70 Shekels in my pocket.

I begged the man, “Please, no one will buy a triangle ring anyway! How long has it been here? Weeks? Months?” The best tip of haggling is to just spew unsupported facts—an Israeli friend’s tip. “It’s such a weird shape, a black triangle? My friend bought a ring here a week ago for 70 shekels!” With bushy brows raised, the man shakes his head no. I try the ring on and admire it, really showing a love for this ring. I look at my friend and she tells me she loves it on me. I tell her I do too. The final moment of haggling is the most crucial. It’s necessary to show a real eagerness for the object at large. A definitive “I love it” usually does the trick. And then you begin to walk away. And then the man will chase after you. “Wait, wait! Okay, 70 shekels, give me 70 shekels and it’s yours!”




e have all heard the stationary classic handbag companies namedropped: Chanel, Louis, Prada, but do we ever stop to think about the companies that have been around for years, that are less well-known, but equally incredible?

Coco Chanel is so incredibly infamous and respected that her fans strive to visit her residence in Paris, France to get just a glimpse into her prosperous life. Her fashion brand has been so well-known for so many years, and it is highly respected by everybody in the industry. We never fail to hear about the newest Chanel styles, or the newest takes on the classic shoulder bag. Louis Vuitton’s logo is spotted literally anywhere and everywhere: it is nearly impossible to go a day without seeing the familiar “LV” design dominating handbags, scarves and everything in between. Prada has been around for decades, and still completely dominates our markets and media. From movies such as The Devil Wears Prada, to the classic black Prada over-the-

As we researched classic handbags, in the hopes of securing the perfect vintage purse, we stumbled across KORET new york, an extension of a handbag company that has been were a staple of our favorite princess, Grace Kelly. Additionally, more recently, KORET new york has been featured in well-known publications such as Cosmopolitan: Russia, Self Magazine and InStyle.

c l assic vs. conte Handbag Style

by Amanda Beaudoin and Courtney Kobren

In order to understand the massive success of Koret in the industry, it is crucial to look into an accessories staple among powerful women, such as Grace Kelly, as previously men-

but monogrammed handbags. This innovation led to Koret quickly becoming established as a main contender in the fashion industry. This success caught the eyes of the some of the most respected retailers in the industry, such as Saks Fifth Avenue, Bloomingdales and I Magnin, and Koret was featured in the leading fashion magazines, Vogue, Glamour and Harper’s Bazaar. This immense publicity led to the soliciting of Koret to work in conjunction with well-respected designers, such as Louis Vuitton, Christian Dior, Hubert de Givenchy and Pierre Cardin. After these huge accomplishments, Koret settled down again, before being featured in Koret decided to stray from the norm of advertising and reach out to contemporary artists, such as the graphic designer Vladimir “Bobri” Bobritski, who was one of the leading artists at the time in New York City. Together, Bobri and Koret created bold, innovative and elegant advertisements that appealed very well to the contemporary women of the time. Once again, making a contemporary appearance in Vogue, Koret was featured in a black

emporary :

Coco Chanel in her prime

colorless photo, with a burst of red appeared for Koret in Glamour handbag, which was groundbreaking in that it had multiple compartof many patents for Koret. The next few years were successful ones as far as the publicity of Koret goes in major fashion publications. Koret was on the mind of every fashion expert. Koret was featured in Vogue incorporating Van-

supervision of Creative Director, Louis Brown III. KORET new york strives to carry on the legacy of Richard Koret in maintaining a contemporary style for the women of today. Today, KORET new york offers an extensive collection of shoulder bags, clutches, totes and satchels. KORET handbags are seen sported by many in New York City today, in view of the fact that the classic, yet contemporary handbag company has such an impressive history, and even more impressive style.

KORET new york’s handbags are a little bit out of the range of the to strive for. Ranging in color from white, to bright yellow, to a classic camel, KORET new york offers something for every woman, modern or traditional, studying or working.

contemporary touch. KORET new york’s spring line in stores shows -

Our personal favorite KORET new york style for this spring is the Leopard Tudor Top Handle Clutch that is available for purchase at koretnewyork. classic handbag company!

KORET handbags are the perfect mix of classic and contemporary,

Edgy, modern, minimal, practical. Those are the words that came to Sarah Law, KARA is an exciting, contemporary accessories label also based in New York City. Born in California and raised in Honk Kong, Sarah Law began her ating from Parson’s School of Design. Law did her senior thesis at Parson’s with Roopal Patel, the concurrent fashion director at Bergdorf Goodman. It was through Patel that Law met Patrick Robinson, graduating college. However, Law had always aspired to design her own line: “I’ve always been interested in creating things. In school I got really excited about projects. I have memories of actually skipping school to work an interview with Noah Adler of Racked, Law revealed, “Everybody wants their own clothing line, everybody talks about becoming a designer one day. You sort of roll your eyes at yourself.” Law clearly never lost the spark and ambition she demonstrated in seventh grade though. She went on to say, “You just have to do it,” and that Gap to the beginning of her own line of accessories.

Koret’s advertisement with artist Bobri

Beckman Crossbody

Tudor Shopper Tote

Law shows off three stowaway bags in black pebbled leather, maroon shearling, and lavender shearling during her interview for Opening Ceremony

Sawah Law with the Pebbled leather backpack in black

In an interview with Alice Newell-Hanson of “Opening Ceremony,” Law shared the anecdote behind the name KARA: “It comes from the Japanese word karaoke. When I was starting the line I had dinner with a family friend who is a former Harvard professor for Korean and Japanese studies. He asked me what I like to do in my free time and I said, ‘Karaoke!’” Following Law’s declaration of her love for karaoke, her family friend explained the kara means empty or open. Her family friend went on to reveal the “oke” part means orchestra; thus “Karaoke” means “empty orchestra.” Law proceeded to say, “When you do karaoke it’s a bit of a joke, but the meaning of the name is so epic!” Although the name may have come easily, transitioning from her work as a designer at Gap to creating her own line was no easy feat. Law emphasized that the main difference was that her work at Gap was team based: “It was myself (the designer), as well as a production assistant, a sourcing assistant, a CAD parson who was developing my prints, and one person for each division.” In September of last year, Law revealed the multitude of tasks she was managing as the designer of her own brand: “Now, I’m working on developing Fall/ following up on production for Resort…At Gap…you’re not privy to the whole process.” Although KARA’s customer is different from Gap’s, Law’s time at a big company like Gap gave her valuable experience that she has been able to use in the launch of her own brand. Law revealed that one items sell.” When designing bags for KARA, Law shared, “I’m still thinking through how [each bag] will be used.” Law’s designs beautifully exemplify her consideration for functionality and style. When asked what she looks for in a bag, Law answered “quality and craftsmanship.” Law’s bags don’t fall short of those two criteria. KARA mentioned in an interview for The Thread, “I would it falls apart.”

A signature KARA backpack in black pebbled leather

Sarah Law with two textured shearling backpacks and one pebble leather backpack

Backpack with iridescent white

Double-date bag in summer navy, pebble leather

Law also shows pride in her choice of materials. Typically working with textured materials such as shearling and pebbled leather, Law shared, “I love the idea of taking natural things but using them in a really poppy way.” As a young and modern designer, Law is always looking for ways to push boundaries and reach new levels of innovation: “I’ve also been looking at materials that can do something like heat-change or glow in the dark.”

are signature to KARA, including black, navy, light blue, sand, white, and white featuring classic handbag, dry bag, “double-date bag,” and stowaway bags, but also features small versions of those styles.

The Dandy Project Editors JoVaun Holmes, Shavon Bell, Quinn Li O’Shea Photography Quinn Li O’Shea

Please tell us, generally, about yourself and your work in the fashion industry. My name is Izzy Tuason. I am a consultant and graduate of the Master of Science program in advertising at Boston University. I am also a freelance fashion writer and stylist for various print and online publications. I have previously worked in media, advertising, and fashion branding. Off-duty as a marketing professional and blogger, I am an Ashtanga yogi, a foodie, a poet, and a constant tweeter. I am based in New York City. What drew you to blogging? How did you get started as a blogger? I had so much to say about style and the way men dress and I wanted to create an outlet to voice out my thoughts. How do you define the initiative of “The Dandy Project.”

I was a bowtie fanatic at the inception of the blog, so I thought it befitting to name this little project of mine “dandy.” I’ve since grown out of traditional manifestations of dandyism, but have kept the name to signify a looser, more modern interpretation of the style sensibility. The Dandy Project, a fashion and style blog for the modern dandy, embraces dandyism through the appreciation of fine craftsmanship, finding joy in taking on different personalities through clothing, and dazzling everyone away in the details. We would say that TDP is one of the more prominent menswear blogs available to the public. How have you found success in building your network of associates in the fashion/ blogging community and capturing the attention of fashion enthusiasts? I don't like the term networking, but I keep in contact with people in the industry who share similar interests and beliefs about style and fashion.

It's about the reaction sparked within me when I see something or put it on.

On TDP you have curated a beautiful collection of images and apparel from around the world. What qualities do you deem valuable in fashion, style, and visual aesthetics? How does an item of clothing capture your attention? It's not one particular thing--it's about the reaction sparked within me when I see something or put it on. That being said, I appreciate luxury, balance and restraint, and things with an offbeat sense of humor. The primary impetus behind this interview is a concern on our part that accessorizing in menswear, particularly jewelry, is an area lacking in creativity and diversity on a mainstream level. Men are often relegated to a very homogenized selection of goods. What are your opinions on the selection of accessories made available to men in the broader public through popular retailers? Retailers are starting to offer a broader set of options in terms of accessories for men, which is a good sign. But I personally don't restrict myself to what is marketed to men. A lot of my accessories are women's or custom, and I repurpose certain things in different

ways (e.g. kimono belts and belly dancing belts as necklaces). Would you agree or disagree with the opinion that artfully crafted menswear accessories are out of the reach of the broader pubic due to their largely costly nature and locational exclusivity (i.e. high-end stores in cosmopolitan urban centers)? Possibly, but as I said previously, I don't let that limit me. Options can be found in unlikely places, and with a little resourcefulness, you can make your own accessories too. Do you believe that it is possible for men to compile a nice collection of accessories in a cost effective way? Yes. Be resourceful in your search, and go for quality and design integrity, not quantity. How to you go about acquiring accessories for your own wardrobe? I typically shop with something in mind that I'm looking for, sparked from an idea or an inspiration

I got from somewhere. It might take a while to find whatever it is I'm looking for, but patience pays off. In some ways, if something is too readily available, I take it as a sign to move on.

It isn't as pronounced in accessories as it is in clothing. But I do see changes happening somewhat. Men tend to be a little more liberal with jewelry, and the proliferation of the clutch for men also says a lot.

Where do you think are some of the best places for men to find accessories?

Please share styling tips or personal protocol that you feel would be useful to men when accessorizing.

Online boutiques, eBay, thrift stores, and young designers.

Take a look at what you're wearing, and if it feels right, it's right. I don't really believe in taking one item off before you leave the house, but a sense of restraint and subtlety is always healthy. Ultimately, wear what makes you happy!

Are there any young artists or designers that you feel show promise in the area of menswear accessories? Cold Picnic Stephen Einhorn Tom Wood Jewelry Autoctona Langoliers How do you feel accessorizing in menswear has evolved along with perceptions of gender and gender stereotypes in the West? Would you agree or disagree that line distinguishing quintessentially masculine and feminine styling is progressively being blurred?



DANIELLE CORONA Article by Amanda Beaudoin and Courtney Kobren

A few weeks ago, Unhemmed Magazine had the privilege of interviewing Hunting Season’s Danielle Corona about her career. Here’s what we learned: How did you gain the courage to start on your own?



wearing a bag and someone would ask for it, which enabled me to engage a

Hunting Season.

ping, and with a costume designer as well as with some people who worked


Where do you do your best work?

We have read that you draw your inspiration from global travels: can you elaborate on that?

the city of Cartagena. A lot of the color scheme came from the colors of the building on the streets in the town. Additionally, a lot of the names for the bags came from things in Cartagena: things on the streets, architecture, and music all by means of colors and names. How does your brand differ from the ones currently on the market? make the brand feel a bit younger. My goal in creating a collection is for it to feel timeless, but still have a bit of an edge, where it would be more interesting for know that you are purchasing a timeless piece. Do you have advice for students looking to become involved in fashion?


to learn all aspects of the business.

nizing and designing the collection, it can take a bit of time because there are of-

Emerald Python Hobo

Brown Snake Clutch

Canary Chiqui Tote

own line?

able to simply clock in and clock out. All of the problems are yours, all the responsibilities

mitting a certain amount of designs and getting to work on time.

get my skins from different tanneries in Spain, France and the United States as well. Who is your target market?

our collection that my grandmother could buy and wear, and that my sister in law, who’s 24, the same bag currently. Our bags work across the board: they work for anybody. When did you know that you wanted to work in fashion? -

cessories design program, and through that

My roll clutch and compact clutch are both very structured. Some of my clients, and my-

now started making ashtrays, trays and small pieces for the new collection, which is made up of the same materials. How would you describe your personal style?

up sometimes. What’s your favorite bag in your Spring 2014 Collection?

and shape of the bag works for me because

of a neutral, and a color.




New York City STREET



NORMCORE: THE T By Terri Trovato If you haven’t heard about the rise of ‘normcore,’ that’s probably because it doesn’t want you to. It’s the trend to end all trends. The anti-vogue. The anti-cool cultural emergence that’s taking a public stance against all things “unique” and “edgy.” For those not even remotely interested in fashion, it could be seen as nothing short of a miracle. Those old blue jeans from Gap, those basic T-shirts you bought in a pack, any type of trainers, the normcore uniform. Basic pieces of every-day clothing, which have stood the test of time against every fashion mood swing, are now symbols of a public stance against fashion snobbery and elitism. The idea of blending in as opposed to the popular idea of standing out has now begun to take its place in the fashion world. Announced in early 2014 by trend-forecasting agency, K-Hole, as a “liberation in being nothing special,” and later for those who know they’re one in seven billion,”


basique, and the absurdity of following fashion trends. British writer and philosopher, Alain de Botthings that are perfect as they are. says. “The perfect t-shirt, like the perfect pencil or table, doesn’t need to be constantly updated because it has latched on to the essence of what god, one partner...we are quite monotheistic. one type of t-shirt. The ultimate example of this is the uniform. The better the design, the less it needs to change.” While normcore sells the idea of practicality, it also denounces high fashion and our cultural obsession with labels. Spending a month’s in the street makes one question their priorities.

with one’s self saying, “There’s a lot more to me than what I wear,” instead of, “Look what I can buy.” If nothing else sells you on normcore, how about just the idea of less effort and stress over what you should wear every morning? But still, even with all of normcore’s liberation, you can’t avoid the irony. While normcore is the anti-fashion trend, it is still at the end of the day, just a trend. Plum Sykes believes that normcore’s shelf life is inevitable because, “any woman who’s spent too long in her day-to-day uniform starts yearning for a pretty dress after a while.” Anti-normcore movements are already on the rise as the anti-fashion trend is already too fashionable. But still, to those dedicated to not caring about fash-

are already over normcore, we’ll see you in the next fashion trend

Concept Sally Luu Photography Lynn Tachihara Models Katy Strutz, Lynette Lim Stylists Sheryl Shiqi Wu, Cathy Yoon, Ash Natarajan

Items from the photoshoot 1. Faux leather shorts by Urban Renewal 2. Infamous destroyer baseball jacket by Nike 3. Oversized iridescent rainbow and blue windbreaker, Vintage 4. Denim shorts by Levi’s 5. Stripe Bell Pants by Alice and Olivia Model Nika de Carlo Photographer Lissette Emma Concept Camille Coy, Gizem Sabanci Makeup Lissette Emma, Camille Coy Styling/Fashion Directing Lissette Emma, Camille Coy, Gizem Sabanci

THE FOLLOWING ARE THREE SEWING DIY NECESSITIES: HOW TO TAKE BODY MEASUREMENTS, HOW TO SEW ON A BUTTON, AND HOW TO SEW AN INVISIBLE HEM. THESE THREE SKILLS ARE CRUCIAL USEFUL IN CASE OF EMERGENCY AS WELL AS IN EVEN THE MOST BASIC SEWING PROJECTS. There are three standard measurements for measuring a woman’s body for patterns or other garments: Bust, waist, and hip. It is important to note for patterns that sizes on patterns are NOT the same as normal dress sizes. Consult the pattern for the exact sizing. While taking all these measurements it’s important to breathe normally and not suck anything in.

B U S T Measure around the fullest part of your bust, usually at the nipple, with the tape measure straight across the back. W A I S T Measure the smallest part of you. If you are having trouble Your body will crease at your natural waist. H I P Measure around the fullest part of your hips, which is usually about 7-9 inches below your waist.

Looking at these three measurements is the easiest way to grouped into a few distinct groups: straight, pear, apple, and hourglass. The straight body shape is a more athletic build, with similar measurements for bust, waist, and hip. The pear body shape is bottom heavy, with a fuller hip than bust measurement. The apple shape carries the most weight around the waist and usually has a larger bust than hip measurement. The hourglass body shape has similar bust and hip measureStitch a small cross on the fabric to anchor the thread and indicate where exactly the button should be. EDITOR MARCY HUANG





Begin sewing on the button by bringing the needle and thread through one of the button holes.




Stitch a small cross on the fabric to anchor the thread and indicate where exactly the button should be.

for this, hold a pin onto the front of the button and stitch over it. This will provide the thread with enough slack to make the button work while still being securely attached to the fabric.

Continue sewing the button on until secure.


Pull the thread up through one of the holes in the button and then back down through another one. The thread will now be coming from the back of the garment.

Tie a knot in the back to secure the button on and you’re done!


Flip your garment inside out


and fold the fabric up so the hem is as long as desired. Start sewing by pulling the


thread through just the top layer of fabric so it doesn’t

the garment.


show on the front side of Although


the chosen thread should match the fabric you are using, we used thread in a


contrasting color to make the stitches easier to see.


Carefully grab just a tiny bit


of the back fabric with the needle. Remember that the stitches made on this back fabric will be showing on


the front of the fabric, so be sure to keep these stitches


small and even.


Make the next stitch about 1/4 to 1/2 an inch after the

both pieces of fabric with the tip of the needle.

Pull the needle so the thread is tight but not pulling at the fabric.

Repeat the stitch until the length of the hem is completed.

Flip the garment back to its right side and you’re done!

urban maritime infrastructure.

S/S 2014


Model Austin Renato Altman

If there is one major impression of Noah Emrich’s work, it is that it feels super-saturated. This isn’t just in regard to the consistently rich color and tone, which is reminiscent of William Eggleston and Stephen Sahore (one of Emrich’s major inspirations), but also applies to the tone of the imagery itself. Regardless of the subjects in his work – whether they be professional models, über-hip friends, an expansive patch of sky, even raw eggs frying on an Arizona road – Emrich’s work has a certain casual voyeurism that gotten the privilege to snatch a secret, uncommon peek at the subject at hand. With both a careful eye for artistic trends as well as raw talent, Emrich captures the often hidden aspects of the subjects before him and present them in the loveliest way. This unique style has certainly contributed to the twentysomething photographer’s success. Citing clients that include international publications such as GQ, Men’s No-no, and The New York Times, as well as major labels like Van Cleef &Arples, one can see that Emrich’s bold and unvarnished aesthetic has proved almost universally appealing. Though, while he enjoys his commissioned work, Emrich seems to prefer the times he is more free in his photography, and able to take on the ambitious act of shooting without an agenda. Luckily, even without a plan, his work is striking.

Yet despite his c o m m e rc i a l s u c c e s s e s , Emrich goes about his work firstand-foremost as i n d i v i d u a l e x p r e s s i o n and exercise. No matter how unfocused or “vague” each image may be, Noah Emrich’s goal is quite clear; to explicate the world around him. WHAT HAS YOUR EXPERIENCE BEEN LIKE WORKING AS A FASHION PHOTOGRAPHER? DO YOU PREFER THAT TO OTHER TYPES OF WORK THAT YOU DO? I guess my experience has a fashion photographer has been pretty good in that, uh, the kind of work that I’ve taken has always been…pretty open, as far as me still being allowed to control the direction of things and so I like that aspect of the fashion work that I’ve done. But I personal work, over it.

WHEN YOU TAKE PHOTOGRAPHS, WHO ARE YOUR INSPIRATIONS? WHAT KINDS OF SOURCES DO YOU GET YOUR INSPIRATION FROM? Well, I’m always looking at stuff, whether it be online at contemporary photographers my age or a little older, or photo books of photographers that I really look up to, like Alex Soth or Stephen Shore, so it’s like a mix. And then I’m constantly just seeing whatever the hot trends are as far as clothes, image making, and aesthetic go, and kind of just seeing that on an every day basis. IN REGARDS TO MAKING YOUR BOOK (BOUNTIFUL, USA), WHAT WAS THE IMPETUS FOR THAT? AND, ITAL AGE, IS IT IMPORTANT THAT YOUR WORK GETS PRINTED? I kinda went about making the book because I couldn’t figure out a good platform to show my work on, and I knew that I wanted to show my work as a collection of images rather than as single images, so the book in that sense made sense…I grew up on the web, so usually, I make work and I put it online, and I make more work and put that online, and all the stuff gets pushed farther down [the webpage], and for me the idea of the book is that once you make the thing, it’s its own object, so it doesn’t really need to have a relationship to either a) me, or b) my other work, so it can kind of just stand alone, which I really, I really appreciate about the book form. And then the physical versus the digital aspect; I don’t think [printing is] neces-

sary. I think it depends on the kind of work you’re making, one, and two, what you want to do with that work. For me, it kind of became necessary because I wanted a place for it to live offline, where it…didn’t need people looking at it to exist, it could just be a book. SO, WHO IS THE AUDIENCE FOR THIS BOOK? OR FOR YOUR WORK ONLINE? AND HOW DO YOU WANT THEM TO UNDERSTAND YOUR WORK? The audience is whoever happens to find it, I guess. I don’t really…I think it’s kind of hard to make work with a specific audience in mind. I guess just because my current audience is a personal bias towards where I was born, I guess it’s sort of an English speaking, western audience. But it’s not proprietary towards that at all, I guess it’s just

in my head I think there is a little bit of a bias towards what I know a little better. My other book, my older one, wasn’t very…it was pretty…I mean, it was called I’ve Got Nothing to Say, so it was pretty vague in any sort of message it held. I don’t really ever have any set intentions of what I want a viewer to kind of get from it, I’d rather them be able to construct that for themselves. But I’m also working on a new book [Bountiful, USA] that I’ve actually been trying to put together for a number of months now with material that I shot over the summer when I was traveling around the United States by car for sixty days. And that one has a little bit more of a theme to it than the previous book. But again, that’s the image. It plays with the idea that there’s this difference between what we know as an idealized America, and then a more immediate reality

of America. And so, it’s constructed as sort of a way for Americans to see their own landscape in a different light than they would normally when they hear “America” or “bountiful” or “prosperous,” what they think of.

picture of it, and the composition and the content of the photo have a dissonance, have like a two-sidedness.


OR PLANNING ON STARTING? I’m putting together a little booklet, like a little zine, along with my friend…it will be like a twin zine. We took a trip together to Italy, and then we traveled to Austria and Slovenia. We’re going to sell it as an object, as two things you get together, photographs from two different people of the same place. But, I’ve got to figure out what I’m doing this summer. I don’t really have any plans yet.

Depends on what I myself am doing. I used to walk around a lot and shoot, which is sort of what my first book was, an every day experience of shooting. But now it’s kind of turned into only shooting when I’m going out to shoot specific things. So in part, choosing content within the frame is specific to whatever project I want to be working on. But then, that’s always kind of secondary to something that I think is a little two-sided, something like, I’ll take a




D N A E M e S O d n a G R M n N D o I s a A J T y b M N O U C A H TH I W


rBe a d an yed e , s e la nc tly p rcha ch a r i u , F ecen Y P , wh ns k r N se cia R Yo w crew at SU Noi musi clud e f N e sed set ay o ther ts in h T ba ht he D n o artis T g t i . n n li rs t all ou ntee tal to e e t n h i g t n n la sin o e up we here y m d i o d l n r e g c tur pe n ng ma M an :30 w goin x a gu vvi e e d f e P 1 n e R lo , a at 4 ast rowd nd k hin exp d n a is c o p c i a 08 e too ir s rted ell i d e m e e i n V h t 8 e m le h sk ali t sta to w ept rom an th es dro wit assic er b ulin sD d k a n r a y e m el o L my ats cl ev wa rome om beg sphe rum Co C be and Whe Tot ark ncud . o d . the mad ey ms aul ion 0 an atm ing mes by a d ter i g in n s i o s o f l e u h V y z C :0 dr t dr y P oca s lik . A urin roali at 1 ating bla g rh roug f d d o b s v D k t n a a f ns ltry rac ou ile om and m age cre and terin s th s o s o t s h r o u i f C r f st set ise blis ead one ine s h s ve o ct w e, ates Ber e e t o n h i t v e no ith e thr d z ly sh itled w led wa roj sce e d in’s ma k r k i an real ent ers da dar d w anc ve ious the p use us liv s Ste . Co EP e s i of s t rform mpo oup rack listen nse ter ting lin ho ero arku urch new deo r m line e pe t te he g ing t kes inte meba Ber nu on M IYCh ith a w vi Th feren s. T lister h ta ore EP ore the held a set ow D dy w a ne m s a e dif rkne ir b whic nd e the er m tory n m yed d sh w re and w e da h th ine,” ker a whil oth terri ge do i n pla base s no ricks RK. e d t i s i v w et M dar und, some mier id e lin me oth B SNA dri r o a d i n l a h o c d a “G oug of s ugh dre . lu dro d G by rre nted Roa road a nce r u d d o e s l h r s n t t e g u a d ti ect a n w th e lm s a st ha ollo . Th ry an e ea ers eric taini rform i r dir r o h H o n d e d an osp mai he p ide e m eet Islan enda The ng v . i h t g t e w atm spite out Th e of a, S ong e le isery ound low L l h r t de ough on eric ton ide nt M sur Ho ont s c thr Am nting ngs Mou end wee ans lego Hu s al ous s leg nd S eric ther ngs i run ster ntles ry a e Am hile o peni the my cou Mise Nativ oo, w hap long 0’s are unt ocal tab rious rea a 170 the a Mo ad. L are yste the a n the lt on uale i o R er th nd m d in ad. I s bu vent nts e sid ds a curr d ro wa hat e patie oint en e oc ode ylum ery with lso c y in v s o s ha rk w ne a t Mi und his a Lad een o da insa Moun e gr e. T of the be s g. an e of to th l insid end still livin sid urnt ff stil e leg d can f the b ta o i ly s ith th is sa alm d e t an es w ho i he r cid ite w in t g Wh erin g lin






DEAN WAREHAM: GALAXY 500 MAN SHOOTS FOR THE STARS BY TIM WOULFE We thought that Dean would never do it - we thought that he would never go solo - we thought that he was stuck in a permanent duet, forever riding off into the Yo Gabba Gabba sunset on a tandem bicycle. What a surprise it was last year then when all of a sudden there were two releases under the pure and simple “Dean Wareham” and there he was singing about cats and mices and all of their vices. And it was good! Great, even! And after I saw him play a genuinely fantastic set on New Years Eve he put his hand on my shoulder and said “You should buy everything at the table” and I said “I already have” and we started to talk until some Jamaica Plains jankwad jabbed his beak in between us and (at least I assume) tried to invite Dean to his next farm-to-table dinner party. Ok ok, I’ve digressed too far - but what I’m trying to say is that as enjoyable as Dean and Britta was it wasn’t Galaxie 500 and it wasn’t Luna. And, to be honest, neither is his solo work. But it doesn’t have to be! In fact, this album is probably his best in years for so many different reasons. The most impressive aspect of the album is Dean’s lyrics. In the past they’ve always tended to trip me up, like in the Luna song Renee Is Crying when he sings “I could look at your face for oodles and oodles,” or when he sings “Maybe tonight will be the night / I can see your fuzzy wuzzy” in uhm, Fuzzy Wuzzy (a lyric that, according to his autobiography, he stayed up all night to come up with!) It’s endearingly sweet and obviously comes from a good place, but it’s also a little unsettling because such saccharine lyrics don’t really mesh with what the band’s playing behind them. Here though, there’s nothing cringe-worthy! Not a single word! There are even times where I’ve genuinely laughed out loud, like when he sings “Kansas, Boston, Toto, Journey” in Holding Pattern. Something really clicked for the guy here and he got past his Lisa Frank innuendos and managed to sock the pattern of musicians writing worse lyrics as they get older CLEAN in the JAW. Musically too, this is a fantastic step into new territory. The electric guitars so heavily relied on during past releases are replaced by organs! pianos! synths! and it all works so well at creating this beautiful textured album, the kind you put on late at night to just sprawl out or drive around aimlessly to. And when the guitars do come in they’re beautifully subtle and intricate - like the oscillating octaves in the chorus of Heartless People. Then there’s the basslines! The basslines! Britta is some sort of subterranean goddess on this record and runs the whole show with her propulsive rhythms, making all those dudes who called her the new Yoko really regret all those forum posts they made back in the mid 2000’s (also come on guys let’s stop using “Yoko” as a pejorative term, she never did anything wrong!).





really focusing on the lyrics. It’s a 50/50 process


creating art together. I grew up where the moun-


tains meet the prairie, in a cross-section of wil-



Starred: I (Liza) met me Matthew through my

Liza: Americana is deep to our heart. It’s a rock

ex-boyfriend Chris Owens (formerly of the band

and roll band that’s kinda country but in New

Girls). I was living in San Francisco and Matthew

York City 2014. An American rock and roll band,

was working with us as a producer, recording

dipped in acid. I love Gram Parsons, Townes

a song for our band called Grimes. I then left van Zandt, and the Velvet Underground. San Francisco and moved to Los Angeles while Matthew moved to New York City. I called him

Matthew: Regarding the name we both sorta

up one day, saying the band didn’t work out. I

came up with it. Liza wanted something that was

was writing songs, doing demos, and called just lucky. Starred is light, it’s about being lucky and we think we’re both pretty lucky. Liza and I like New York to come get him and dragged him to

to play dice, both being a bit of gamblers, and we like games that have nothing to do with skill.

apartment of this beautiful antique hotel we were living in. The Call from Paris video was shot HOW DID YOU GUYS GET YOUR START IN there. We then decided to move to New York MUSIC? WHAT WAS THE IMPETUS? City by accident, feeling that we should do a Liza: It’s an endurance test, you don’t choose it, and this opportunity to move came up. It was all

it chooses you. Experiences like reading Please

part of Matthew’s plan to get back to New York

Kill Me, starting a punk band in San Francisco


when I was 17 made me realize this is it for me, this is what I do. I look back on my life and it’s

Matthew: Living in New York City is living art.

what I’ve been doing. It’s what I have to do and how I express myself as an artist.

but only on living the top level and bottom level. The band is about minimalism, songwriting, and

Matthew: I’ve spent so much time on it, playing

music my whole life. Around college-age I spent a lot of time going to concerts, working in live mu-

out how to make money with it.

Liza: You have to really do it and love it, and it’s really an endurance test.

Liza: L. Ron Hubbard - people who create religions. For me it’s (Starred) a religion, I want people to believe in us fanatically. I’m trying to be more like John Lennon and Jesus Christ.

Matthew: Robert Anton Wilson, tinfoil hats, and crazy conspiracy theories. We saw a UFO once, and talked to a guy who runs MUFON in LA. He was totally down to earth about it WHAT DOES THE NEW ALBUM SOUND LIKE? WHO WAS IT INFLUENCED BY? DOES IT

Matthew: The new record sounds fucking great. We’ve been working on it for the past year. It’s just us. Writing songs and experiencing music is magical, but talking about it isn’t. We spent a as we can. The songs are about leaving Los Angeles, going to New York City, and love. I only write about things I know about. Liza is the most talented person on earth. ond time. One song, called “Fall into Light” is dedicated to Lou Reed. He died on Matthew’s



birthday. We had a surprise party or him that WHAT DO YOU WANT TO BE REMEMBERED day and we had been working closely with his BY/AS? management, setting up an introduction to him. That sadly never happened. Liza: I don’t want to be remembered, it’s a mythology. TELL ME ABOUT YOUR RELATIONSHIP Matthew: I want to be remembered as a good WITH COURNEY LOVE. tipper, that’s the joke right? I don’t have anything Liza: She contacted me via private message on to prove to anyone, I just like writing songs. I’m twitter. She told me Dave Navarro sent her my having a great time, for all the ups and downs video and told her I look like her. She asked if I life throws at you I’m enjoying myself. live in New York City and that we should hang out. I went over to her house, we talked about Liza: Integrity comes through in the end. rock and roll; she’s so smart, so generous, and Matthew: We will never stop doing what we’re so kind to us. We opened for her on tour, it was doing. If we can get through what we got a lot of fun and we feel very protective of her. It’s through then we will make it. Every fucking situa John Lennon -Yoko Ono level situation. She’s ation has gone on between us, and all the worst still on her feet, still kicking ass. We have a lot in possible things that could’ve happened have common, both being from San Francisco, and happened. We’re good. we went shopping and shared stories. WHO ARE YOUR LISTENERS? Liza: Construction workers, the guy who sweeps up the garbage - I just try to create music. Matthew: I get a lot of inspiration from the feedback we get from fans, especially established like Genesis P-Orridge, and other likeminded people. I want everyone to listen to it. TELL ME ABOUT YOUR CONNECTION TO GOING TO HIS DEBUT SAINT LAURENT SHOW? Liza: Hedi is just the sweetest and coolest guy. He’s shot us a few times in LA, and once at Courtney Love’s house in New York for a Saint Laurent campaign but I don’t think it ever got Paris for the show, all-expenses paid, and not knowing what to expect. I was seated front row, right next to Marc Jacobs.








ISSUE II features an exclusive shoot with Everest Isles, Bib and Tuck, interviews with STARRED, The Dandy Project, Hunting Season, and more.