Sex meets fashion for a limited edition collaboration between artist Curtis Kulig, known for his iconic Love Me street art campaign and Reformation, a brand renowned for its repurposed fashion. Former lovers and longtime friends, Yael Aflalo of Reformation and Kulig have partnered to create the world's first sustainable sex kit. Aflalo's brand uses 80% reclaimed materials, as Aflalo is an advocate of sustainable fashion. Recycled material and a recycled relationship inspired the collaboration, which Aflalo and Kulig curated together.
Each SEX KIT ($195) includes a limited edition silk "Love Me" print thong, limited edition "Never Sleep" silk blindfold in the artist's hand tag, naughty temporary tattoos and "I Hate Myself" matchbook Trojan condoms in the artist's hand tag, as well as a "Love Me" branded MIA vibrator, distributed by the industry-leading vibrator manufacturer, Lelo. All the contents come inside a limited edition "Love Me" for Reformation bag made out of the highest quality reclaimed materials. The kit makes a sexy gift for a lover or yourself, as the bag can be reused for cosmetics or lingerie. All other items allow you to indulge in foreplay while saving the planet.SEXY! xoxo
As a nod to the auteur, indie film director Jeremiah Kipp keeps it real: (I resisted the reel pun, people) real ethereal and eerie, often making audiences uncomfortable with the juxtaposition of beauty and horror in his films. Unlike the slasher genre that sells tickets with misogyny, Kipp's films glorify the sexy, powerful, and disturbing side of women. Even his A/X commercial captures this aesthetic.
How would you identify yourself
primarily—as a director? And if so, what’s your genre? How would you describe
it? I’ve passed through a long apprenticeship as an assistant director on
various feature films, while at the same time directing my own projects on the
side. Over the past two years, I’ve strongly identified myself as a director
and haven’t looked back. As for genre, it’s a little nebulous. I get inspired
by guys like photographer Gregory Crewdson, painter Edvard Munch or fashion
designer Alexander McQueen, who have a toe dipped in the horror genre, with
elements of the fantastic or macabre—but their work is also aesthetically
beautiful.
Tell me about your most recent films. What is the aesthetic you’re going for?
For me, the recent films start with CONTACT
in 2009, which kicked off a series of collaborations with my director of
photography and good friend Dominick Sivilli.
That was an attempt for us to pare filmmaking back to the very
essential, stripping away plot, character, even color, so what was left would
be, we hoped, pure cinema. I was going through a very lonely time in my life,
and wanted to make a movie about relationships and the fear of
connection—ending in a grotesque image where the people kiss and their faces
fuse together. It takes an idea of
getting too close to someone, and makes that literal.
CONTACT was a stepping stone that
allowed us to tap into the melancholia of CRESTFALLEN
(a film about suicide), which we shot in widescreen (2:55 aspect ratio)—we
wanted to make it seem huge, because when we fall in love or hate or despair,
everything seems more epic and fantastic.
In our first feature film, THE
SADIST, a work-for-hire project, we took the typical “killer in the woods”
scenario and tried to shoot every scene as if we were running a gauntlet, in a
hyper-aggressive and energetic way. Dom
and I wanted to move from these quiet chamber piece short films into something
that felt like a spectacle even on our threadbare budget—where we were setting
cars on fire, smashing trailers into pulp with back hoes, and pushing all our
actors as far as they could go. The producers are re-cutting the film right
now, so we’ll see how it all turns out…
It seems your heroines are dark, sexy, and kind of fucked up women. What’s up
with that, and what’s the appeal of this type of character? It’s
probably because I’m interested in characters who take it to the limit, and
women often seem more emotionally available than men; you can’t really picture
John Wayne or Woody Allen walking the razor’s edge so closely. I also like
working with women, and it’s less interesting for them to play the good girl
holding the hand of the hero and passively following him on the adventure. I’ve been fortunate to work with actresses
that are willing to go for it—and they deserve all the credit. Zoë Daelman
Chlanda in CONTACT, Deneen Melody in CRESTFALLEN, Laura Lona in DROOL and Mackenzie Christine Hawkins in
THE SADIST, to name just a few, were
truly inspired and charismatic performers, willing to tap into their dark,
fearful and obsessive emotions. It’s worth pointing out that after we complete
shooting, there’s a sense of catharsis and accomplishment they (and I) go
through. It doesn’t feel sinister at
all; it feels jubilant and exciting.
Actress Daelman Chlanda in CONTACT
Actress Deenan Melody in CRESTFALLEN
I wish more
women filmmakers were telling stories about disturbed female characters…they
have far more to say about it than I do. I recently produced a film called IN MONTAUK for a talented filmmaker
named Kim Cummings whose central character has to choose between her art and
motherhood, and I think this came from the fact that when Kim had children she
had to put her filmmaking career on hold for five years right around the time
she was making a name for herself. Women have to go through trials that men,
myself included, cannot possibly fathom.
How do you get what you want from an actor/actress?
Sometimes I make them jump up and down and scream at them to lift up their
knees until they touch the ceiling—then throw them into the scene. Other times, I’ll have the actor voice out
the subtext until they’re exhausted—then throw them into the scene. When we’re not doing those physical
rehearsals, I tend to go for simple playable actions like, “You’re trying to
get her to leave the room” or “You want to twist the knife in him.” I’ve also worked with child actors where we
play “as if” games such as, “Play this scene as if you’re seasick” and it
produces a unique effect. Beyond that, I
try to get as much rehearsal as possible so when we arrive on set, the
performer is able to leap into any situation and play it.
Because of the troubled times we’re
living in, do you think people want to watch films that are fantastical, i.e.
transportive, or that reflect the struggles and trauma that we’re going through
ourselves?
Audiences aren’t interested in characters per se; they’re interested in
themselves. They project so much onto the films they watch, and somehow pick a
character to identify with even if they don’t necessarily like the movie. We
plug into movies and inevitably bring our own baggage to them. When I made THE CHRISTMAS PARTY, a film about a
little boy going to a holiday party run by Christians, the kind who want
everyone else to be Christian too, it had a very successful festival run.
Audiences around the world interpreted it differently. In New England, they
considered the film social realism; on the West Coast they hailed it as a
horror movie; in France they interpreted it as a satire on American “Norman
Rockwell” values. Christian film festivals viewed it as a cautionary tale. All of these are correct, because once a film
is completed, it no longer belongs to me—it belongs to them.
As a filmmaker, how does our cultural
context impact the material you take on?
It’s inevitable to be influenced by where we are
culturally; I don’t think it can be helped.
But I’m also influenced by looking at paintings, reading the newspaper,
people watching—it all feeds one’s inspiration.
What’s your latest project? I know you’re trying to get funding for
something, so perhaps talk about how people can contribute—or how your films
get funded. A friend of mine named Joe Fiorillo wrote a surreal short film called THE DAYS GOD SLEPT, which is a kind of
quasi-religious meditation about men and women, and takes place in an unusual
gentleman’s club. That sounds awfully
pretentious, but Joe’s writing taps into a kind of dreamlike raw nerve about
the sexes. I’m happy to say the
fundraising campaign for the project, run by our producer Lauren Rayner, was a
total success; they secured the entire budget through getting the word out
through social media and highlighting its more sensational elements. Every project gets funded in a different
way.
Still from DROOL
Still from CONTACT
CRESTFALLEN
was produced by a guy who saw and loved CONTACT;
THE SADIST was a job financed
entirely by two Connecticut producers who had never made a movie before. Lately I’ve been making movies with a
performance art group called The Mandragoras Project which have been doing
small experimental films as art for art’s sake, and enjoyed doing a movie
called DROOL with them that was made
with their few resources and a lot of creativity. Laura Lona, who runs
Mandragoras, gave us total support and artistic freedom. If anyone wants to pay
for another short film, I’d love to do a 60-second version of CONTACT that would feel more like a hand
grenade of kinetic energy. And I’m
speaking with a producer right now about putting together my second feature,
which would be a monster movie. I like to
work, and feel like work begets work.
For more on Director Jeremiah Kipp visit his IMDb page. XOX BG
If you skipped Art History
101, the significance of Sonia Agostino’s and Nicole Jordan’s fashion-forward
label, Tableaux Vivants might be lost on you. A tableau vivant or, “living
picture” was a popular art form in the 19th century, before film and
television could bring life and color to images. Costumed actors and artist’s
models theatrically lit in a drawing room, at a lavish wedding, or coronation,
would act out a famous painting, drawing, or sculpture for an audience. A
century later, Agostino and Jordan breathe new life into the idea of the
“living picture” with Tableaux Vivants, a line of luxe latex garments, each one
handmade. Says Jordan, “Our clientele is interested in having people look at
them, so they become a living picture. At a party, wearing one of our garments,
you’re elevated from being a human.”
It’s no wonder that some of
Tableaux Vivants’ celeb clients, including the fashion house VPL, Kate
Lanphear, and Lady Gaga are often described as otherworldly. “We’re fashion,
not fetish,” adds Agostino. “Latex is a sexy fabric, but this is high fashion,
not street wear.” The designers like it when clients mix their latex garments
with other fabrics in their wardrobe. “This type of styling makes it easier to
incorporate latex into everyday wear,” says Agostino. “It looks totally sexy to
pair some latex leggings with a casual shirt. Add some heels and viola!”
One look at the label’s FA 11
and SP 12 lines, and you’ll see that the aesthetic is on par with Givenchy or
McQueen and not something you’d find at a sex shop. And although by nature,
latex is made to fit the body, not all pieces are skintight. In fact, many
include elegant drape work or are takes on classic fashion staples, like the
trench coat Tableaux Vivants made for VPL’s FA 11 runway show finale, which
Tilda Swinton was photographed wearing in W Magazine.
Graduates of The Fashion
Institute of Technology, Agostino and Jordan started Tableaux Vivants in 2009.
They were able to finance the operation themselves because they had low
overhead costs due to the special way the garments need to be constructed – by
hand. “Because everything is handmade,” explains Agostino, “I was able to
transform my dining and living room into our studio when it’s time to work.”
They work with suppliers for materials in the UK and throughout Europe,
sourcing the best suppliers for the intense labor they put into each latex
garment. There’s no factory, just the two designers and their avant-garde
fashion-forward aesthetic. Once word hit the streets about their label,
stylists like Keegan Singh, Joe Zee, Patti Wilson and
Victoria Bartlett started pulling pieces. Bartlett was so taken with the design team that she commissioned 8 latex garments that were shown on her FA 11 runway for the finale.
In addition to being the avant-garde darlings
of top stylists, Agostino and Jordan made savvy collaborations early on with
talent that fit the label’s aesthetic. One of their first projects was
commissioned by US Elle Style Director, Kate Lanphear, who asked Agostino and
Jordan to participate in Lane Crawford’s Heritage Collection“Tribute to the Trench.”
“We worked for five straight days on those hand-rolled tubes for our coat,”
explains Jordan. “When Kate came to our studio, here is this fashion icon, and
we hadn’t slept for days!”
Then came an unlikely client:
Disney. The duo was commissioned to create pieces for a TRON LEGACY pop-up shop
in Los Angeles that was open for a month before the movie came out. “This was
to get people excited about the movie,” explains Agostino. “Furthermore, Disney
felt that incorporating women’s fashion would get a larger female clientele
interested in the movie.” Along with designing 7 garments for the pop up,
Agostino and Jordan created a fashion film to showcase the designs as they had
interpreted them – commissioned by Disney.
In addition to being a client-based
fashion label, the designers hope to make Tableaux Vivants a “go-to company for
custom costumes and garments for TV, movies, and commercials.” Video lookbooks,
which are all the rage these days, are a perfect vehicle for houses like
Tableax Vivants, because viewers can see how the garments move on the body.
Recently, the designers teamed up with stylist Tom Van Dorpe for VMan Magazine
to create items worn by Adriana Lima; the shoot was documented in a fashion
video that’s candy for the eyes.
But you don’t have to be a
supermodel or Gaga (who has made it her mission to promote her favorite
up-and-coming designers) to wear Tableaux Vivants. Says Jordan, “Everybody has
that feeling when you’re out and about and you feel like you’re in a music
video doing something for the fabulous moments in life.” Agostino adds, “And there
are so many opportunities to have a surreal day in New York City.”
When wearing your latex garment, the
designers suggest applying Eros Bodyglide
because it goes on clear, and
is kind to the latex, although baby powder works as well. To care for your
garment, they recommend washing it in a tub with lukewarm water every time you
wear it, especially if you use a lot of lotions or self-tanner. People can view
the designers’ guidelines for caring for their latex on their website.Agostino
says, “Our garments require you to love and care for them, but if you do, they
will love and care for you.”
Thanks, Tableaux Vivants! (to
all my readers, J’adore the boned corset and pink pencil skirt from SP 12 … and
my birthday is coming up) xox BG!
My rule of thumb for giving gifts ... Give something the recipient would love, but wouldn't normally get him or herself
Here are some of my favorite picks
women
Mink Earmuffs from the Fur Salon at Saks … A little luxury for the ears
Agent Provocateur … Fantasy lingerie with ranges for all tastes, naughty and nice
J.Crew Cashmere Socks … Warm tootsies are a must
Kate’s Paperie Eco-Friendly Letterpress Journal … For taking stock and saving trees
Fresh Sugar Body Polish … The best body scrub for all your parts
Ernest Sewn Custom Made Jeans … The perfect fit guaranteed
Judi Rosen Unearthened Large Necklace … Because crystals continue to rock, and this one comes on a 24-inch silver chain
Diana F Lomography 1960s Cult Camera … So retro! (don’t forget the 35 mm film)
Illustrado: A Novel by Miguel Syjuco … This prize-winning novel about art and identity is seductive, lushly written, oh, and brilliant
Jo Malone Bath Oil Set … A talc-free fragrance that as earthy as it is luxe
men
TOMS One for One – New Eye wear Collection … Not only cool shades, but this is philanthropic gift giving
The Art of Shaving Travel Kit … Because he loves his baby face when he’s on-the-go
iPhone 4 Birdseye Maple Custom Case … 300 limited edition cases by a fantastic artist – not your ordinary skin
Ricky Powell’s Public Access: Ricky Powell Photographs 1985-2005 … Just cause
Chrome Soyuz Waterproof Laptop and More Bag … Women aren’t the only ones who carry their wares around the city
Ben Sherman Achilles Boot ... Because Jay-Z is over Timberland
Mad Men Seasons 1-4 Disc Set … Every man dreams of being Don Draper, and Season 5 doesn’t premiere til March
WeSC Voodoo Revenge Te-shirt … Because you LOVE his friends
Tribe Skateboard … Follow the Tribe, the finest wood from this Brooklyn-based company
Dave’s WEAR House Cheap and Unique Valve Caps for Your Bike Rims … Stocking stuffers with style and function
unisex
ecofö synthetic-fur Belgium made Bearskin rug … Faux fur never felt this good first thing in the morning on cold feet
Chic Shop by Hillary Thomas Design Large Telephone Wire Platter in Rainbow … Never lose the car keys again
Photo Session with Fashion/Portrait Photographer, Charity de Meer
Photo Session with Photojournalist/Candid Portrait Artist, Peter Pabon
petit h by Hermès … Upcycled discards from the fashion house’s production facility turned into offbeat, whimsical collectibles
We-Vibe … Because adults like unwrapping toys just as much as kids, and this one has guaranteed “buzz”
IN GOD WE TRUST Crosley Spinerette Turntable … Plays records and easily converts vinyl into digital audio files; software suite and audio editing available
s[edition] … This online art shop sells prints of today’s most notable artists’ works, like Shepard Fairey’s Peace Guard
This Saturday, 12/3 from 3-6 PM, Check out artist/jeweler/designer Pamela Love's Trunk Show at the LES REFORMATION, 156 Ludlow.
New York native Pamela Love received her BFA from New York University Tisch School of the Arts, majoring in film production with a concentration in art and public policy. After graduating, Love applied her studies and creativity as an artist’s assistant and as an art director and stylist for photo shoots, music videos, and films. Throughout these projects, Love often had difficulty finding jewelry that suited her taste. As a result, in 2006, she began making her own pieces, working primarily out of the basement of her own Brooklyn apartment.
It wasn’t long before her innovative, distinctive creations caught the attention of trendsetters worldwide, and her newfound passion became a full-time business. Now working from a studio on 29th Street in New York, Love works with an in-house team who manage all production, public relations, online, and retail sales.
Pamela Love draws her inspiration from many of her favorite artists, including Joseph Cornell, Lee Bontecou, Hieronymous Bosch, Alejandro Jodorowsky, and Francesco Clemente. Her creativity is further fueled by her passion for nature and science, as well as astronomy, astrology, religion, magic and folk jewelry. Her deep connection to the American Southwest also continues to be a driving inspiration behind her artistry and craft. Passionate about both her design and practice, she continues to experiment with unique and exotic materials, while exploring new techniques to make her challenging and extravagant designs a reality. Love defies traditional categories of fine or costume jewelry through the use of materials ranging from brass and leather to 14-karat gold and precious stones. Her collections, like Love herself, blend mystery with romance, reminiscent of stories both whimsical and dark.
Beyond the success of her own individual line, Pamela Love has collaborated with designers such as Marchesa, Twenty8Twelve, Yigal Azrouel, Frank Tell, and Zac Posen for their runway shows and presentations. She worked with Opening Ceremony and Spike Jonze to create a jewelry line inspired by his film Where The Wild Things Are, and has produced custom jewelry for HBO's hit TV show, True Blood. In an effort to become more eco-friendly, Love has worked with designer Rogan Gregory to create the sustainable jewelry line Rogan vs. Love.
Someone bumped me and I spilled champagne down the front of my dress.
"Beasts in here," said Vincent Frand, dabbing my chest with a napkin. "That's putting it mildly. This 80s downtown art scene of ours is a miraculous disaster. But you..." he paused to take a drink. "You," he began again emphatically. "You just have to be a part of it. Don'r you?"
"The whole star bit -- I'm not playing into that."
BG: You wear so many hats: Producer, Director, Writer, Web and Graphic Designer, Marketing/PR Guru. Which is your favorite?
LR: I can't pick just one hat?! I like to pile them all on top of my head, even if it's not really a good look. This is an unhealthy conversation. However, if I had to choose, I would say "Producer" because a producer really needs to be able to take on any aspect that might happen. And I love the challenge. For example, on set of Moving Forward our make-up artist had something come up mid-shoot and unfortunately had to leave us and I had to take on her role make-up the actors until we could hire someone new for the next day. And then half of our art department had other commitments during the shoot (Hey, it's New York! We have 9 lives...) so I took on those responsibilities mid-shoot as well: pulling props and dressing the set. Producing, especially in regards to film, has to be my favorite because I can't pigeonhole myself with this position. It's everything and anything you make of it. Producing is hard though ... sometimes I like to be the director or writer and just purely create without the other pressures of producing.
BG: Can you explain your role in the short film Moving Forward?
LR: I was one of three core producers on this film. Joshua Weber was the Executive Producer (as well as the writer and director), Trisha Solyn was a producer (and also the cinematographer), Jason Van Der Brand served as an Associate Producer, and I was what I would call a Managing or Line Producer for this project. A few responsibilities included handling hiring crew and casting, (all in collaboration with Josh and Trish of course) fundraising/marketing, location scouting/securing/permitting, SAG short film agreement contracting, petty cash wrangling, and keeping the actors and crew happy by working to ensure we had nutritious meals and proper transport on set for the entire seven day shoot. Honestly, the best part about producing this film was that we were such a dynamic team and worked really well together. We accomplished a lot with very little resources available to us.
Producer Lauren Rayner on the set of Moving Forward with Writer/Director Joshua Weber
BG: How did you raise money?
LR: Ah yes. That is always the quandary. Fundraising is one of the most difficult aspects of any venture, but this is was mostly a passion project, meaning that it was largely self-funded by the writer/director and a small, focused group of investors/donors. Fundraising for a short film is a tricky business because it is unlikely to generate much of a revenue stream which makes it a hard pitch to investors. Our plans for this film was for it to take the festival route as a short film entry, which nonprofit donors can find very intriguing and a great project to be a part of. We also held a small fundraising open bar party with a raffle a few months before the shoot so we could drum up some support for the film which helped us cover some initial start up costs.
BG:Tell me about the story of Moving Forward. Do you think in light of the Occupy Wall Street grassroots phenomenon, Moving Forward will especially resonate with audiences?
LR: In a nutshell, Moving Forward is about bringing political corruption down from within. After years of playing by the rules and getting nowhere, Thomas Adder is about to make a name for himself overnight. Four years ago as young, ambitious strategist at the forefront of a winning New York City gubernatorial campaign, Thomas believed he was working to elect a man that wanted to change the face of the city he loved. All too soon he realized he was wrong. Following the triumphant campaign for Reese Jennings, Thomas was given a swift pat on the back before being cast aside with knowledge that in the political world you are either working to fight corruption or part of the problem. Thomas chose to leave the team and now, four years later, he will face the newly re-elected Governor, he has come to despise. With renewed vigor, Thomas is the only man that still believes in their original campaign slogan, “Moving forward to make a difference,” and is willing to do whatever it takes to remove the corrupt Governor from office.
This film will definitely resonate with audiences, especially during these turbulent political times. It does not subscribe to any particular political party; we really tried to leave that part ambiguous and make the story very character driven rather than promoting a specific political agenda. The film is a character study about right and wrong. It's right to bring this Governor down, but by the time the main character Thomas figures out how to do it ... well, has he grown just as evil as the man he has in his sights to take down? That will be for the audience to decide!
BG: Did you feel that as a woman you experienced any obstacles in the film making process or do you feel certain female gender qualities enhanced your experience as a filmmaker?
LR: I don't think I faced any particular obstacle that I wouldn't have already faced as a woman in everyday life anyway. Although, I will say, except for the two actresses, Trisha (director of photography/producer) and me made up the only females on set. I do not wish to make any generalizations, but the film industry is still very much so a male-dominated one with men writing and producing most more than two-thirds of the major films released today. However, independent film is so different. The team usually really knows and trusts each other (because in NYC the film world is much smaller than LA) and many of the people have all worked on many shoots together before! At least this was my experience with the team for Moving Forward; and it was a great one.
BG: Your production company, Lauren Rayner Productions, states in its mission, that "Narratives can be created out of anything: stage, film, dance, music, web-design, visual art, and any combination thereof. These art forms are innovative and they are genreless; these stories are linear and they are emotional."I feel like that versatility/flexibility is totally in sync with our postmodern catering economy. So,what's next for your production company?
LR: Next up, I am on the producing team for DELUSION a new feature by TreeFa Films about a struggling actor who gets into the underground world of massage and ends up in Budapest (we're still in pre-production and shot some preliminary scenes in May 2011). Also, I will be fundraising throughout November for a short film directed by Jeremiah Kipp called The Days God Slept, an ethereal, almost dream-like piece set mostly in a strip club. Looking forward to location scouting for that!
Last weekend, I was lucky enough to visit artist Alexander Eagleton's Williamsburg studio. This bi-coastal painter/sculptor/3D artist was in town for the invitation-only Creator's Project in collaboration with Vice Magazine and Intel. The highly anticipated event took place in DUMBO, and was a showcase of art that combines music, interactivity, and multimedia visuals. Eagleton, whose company Dynamite Laser Beam provides music and sound for high-profile advertising and entertainment conglomerates, is prepping for a personal studio tour later this year. Here's a sneak peek of some of his latest works.
NYC isn't only renowned for beautiful women. It's arguable the fellows here are unlike any others in the world. More than swagger, style in this city is constantly evolving, with men and women taking it to the next level. Here are five of my favorite NYC men ... men whose style always stood out to me. They share nuggets of personality, aesthetic reflections, and let us peek into their wardrobes and/or suitcase. Feast your eyes ... Know a NYC man of style? Message me. Episode II is in the works with some super cool men who've already signed on. I smell a calendar coming on ... it's a hard job, but someone's got to do it. XO BG
Chris Daish: Model/Philanthropist
BG: You're a Ford and Wilhelmina model. How did you break into the industry?
CD: Before heading off to the States for college I was in a sex shop in Kings Cross (Red Light district of Sydney) having a booze- infused argument with my then partner. I left the store to get some air, and the sales assistant turned out to be a scout, and suggested to my girl that I get into modeling. Reluctantly, my girl gave me his card the next morning and encouraged me to give it a shot. After a couple of weeks I called him, and started shooting in the few months before leaving for college. Cast forward a few years, I got scouted along my travels to NYC and London and decided it was meant to be. Modeling has provided a great opportunity to travel and compliments my other career pursuits in life. I was signed with Ford from 2002-2009 in NYC, then moved over to Wilhelmina in 2010.
BG: Who do you admire as a designer? As a muse? What's your favorite designer-muse combo?
CD: In all honesty, my fashion savvy is close to zero. The roaring 20s was such an elegant period, permeated by social decadence with the appearance of a woman's knee due to shorter skirts. For men, the classic suit cuts of the debonair gentleman were pretty cool. Chanel's vision of the Breton stripe conceived from the uniforms of sailors and fishermen of the time makes perfect sense to me. As for today, any young designer who has a social conscience by honoring local producers and eco-friendly products, and has the guts to create something entirely new and innovative, for me, that’s inspiring. My favorite muse of all times has to be Edie Sedgwick. Andy and the Factory days created a visual evolution with a continuum of dialogue between bohos and intellectuals, and was just plain cool. So Warhol/Sedgwick is my combo!
BG: Female models are criticized for their weight, skin, hair and nails. Are male models under the same physical pressure?
CD: I guess the young runway/editorial guys feel the pressure to stay unrealistically thin, but being a seasoned clean cut catalogue guy, my personal pressures are limited. I grew up playing sport and living in the ocean and feel best when I have meat on my bones. Working out of Germany, Australia and South Africa is ideal because there is a large market for bigger blokes … so my daily dose of Ritta Sport dark chocolate in Hamburg is an asset. After living in a library and drinking Red Bull for two weeks for my finals at Berkeley, I worked in LA for a couple of months. My agent there told me immediately to get a tan and go to the gym (she was on the money). Other than that, the only criticisms have probably come after I've left the building. Ha!
BG: In addition to modeling, you're an active philanthropist. Tell me about your philanthropic work.
CD: I spent a period throughout college volunteering in the kitchen of Glide Church,which is a radically inclusive non-denominational church offering services to the homeless people of San Francisco. Through Housing Works, I worked as a volunteer outdoor therapist in East NY, coordinating and leading weekly cultural and leisure activities throughout NYC. The idea was to get my clients out of their comfort zones and expose them to a multitude of possibilities and experiences. I’m a freelance consultant to Seeds of Africa where I help develop and put together fund raising events. Every holiday possible, I volunteer at the local church or do my own food runs around Manhattan, because not every person is in the mental or physical state to make it to the shelters/churches to get fed or embrace another loving human being. I myself am a long way from my family and know how it feels to be alone on these special days.
BG: In a city like New York, where self-indulgence is pretty much unavoidable, what motivates you to stay involved in humanitarian work?
CD: I hail from Australia, a relatively functional social democracy, and since moving to America at the age of 20, I’ve had every possible opportunity a person could have bestowed upon him. I’ve had amazing people come into my life and, consequently, have never felt truly alone over here. At the end of the day, I have two arms, two legs, and can manage an uninhibited smile (most days). There are too many glaring discrepancies within the education and health care systems in the U.S., and too many homeless and disenfranchised citizens to ignore. It’s my duty where possible to help those in need and be part of the solution.
BG: Favorite spot to EAT/DRINK/RELAX:
CD: Blue Ribbon Bistro, (still the best!) ... oysters at the bar at Balthazar, coffee at Blue Birdor Mud Café.To relax: a walk over the Brooklyn Bridge to powerHouse Bookstorein DUMBO and some sun in that little park. A trip to the New York Public library at Bryant Park to research an artist or something entirely new to me. Writing poetry in Central Park and skyscraper gazing.
BG: Describe your personal look:
CD: Repetitive. Old jeans, block color t-shirt, my Nikes or Converse. I’m a creature of habit; was given a Saint Christopher necklace by my best friend as I’d just endured a rough patch. I’m not a jewelry guy, but wearing it diligently. Let's see just how saintly this guy really is!
BG: You're always traveling. What's in your suitcase?
CD: Shoe bomb, box cutters, plastic explosives … you know. I travel light. Stuff that I can part ways with if I see the heat coming around the corner. Always some reading material. The New Yorker and a good book. Four undies, four socks, two jeans, three t-shirts, a nice suit. One sweater. One pair trousers. One pair dress shoes. Minimal toiletries. Chocolate. Very military indeed.
BG: Asides from beauty, you've got brains – Berkeley-educated brains. What's the last thing you read?
CD: I’m currently based out of Newport Beach, CA, so if I decide to stick around, flip flops, a t-shirt and a pair of jeans … got to love So Cal! My beloved NYC how I love thee … but maybe my skin just ain’t thick enough for your brutal ways this winter round (insert - walking down Broadway in the dead of February).
BG: What's one item a woman can rock to look sexy as hell?
CD: I like girls who have their own sense of style. Elegance and grace cannot be discounted. A girl with compassion, a head on her shoulders who can look good wearing a potato sack is my kind of gal.
BG: Would your mom approve of your look?
CD: More like my lack thereof … yes, my MUM (I’m Australian and we do things differently down there) would love me any way, shape, or form without restraint … and would love to see me for that matter; it's been a while.
NYC isn't only renowned for beautiful women. It's arguable the fellows here are unlike any others in the world. More than swagger, style in this city is constantly evolving, with men and women taking it to the next level. Here are five of my favorite NYC men ... men whose style always stood out to me. They share nuggets of personality, aesthetic reflections, and let us peek into their wardrobes and/or suitcase. Feast your eyes ... Know a NYC man of style? Message me. Episode II is in the works with some super cool men who've already signed on. I smell a calendar coming on ... it's a hard job, but someone's got to do it. XO BG
Alex Corporan: Marketing Consultant/Editor/Photographer
Photo Credit: Peter Pabon
BG: You're a marketing consultant for several urban and skate brands including 5boro,Chrome, X-Large, and Etnies. *P.S. I just heard about this amazing X-Girl shoot and I’m really excited for the new stuff. Back in the day I was obsessed, but I think that’s because I had a huge crush on Kevin who used to work at the shop on Avenue A ... but I digress. What's a marketing consultant exactly?
AC: It’s someone who helps brings direction and recognition to a brand. It’s someone who cultivates relationships and seeds out product to tastemakers and influencers for different brands. The list could go on forever; there are so many variations of this title.
BG: Last fall, through the amazing powerHouse Books, you published FULL BLEEDa collection of NYC skate photography that got rave reviews from skaters and art folk for being raw and legit. Tell me about your involvement in the process and how you made it happen? It's hard to get a book deal these days!
AC: It came from the one question that people who don’t know much about skateboarding always ask me, which is, “Where do you skate in NY?” One day, the idea just popped into my head; why don’t I show people by doing a book of photography? The idea is that NYC as a whole is our skate park, especially because we never had proper skate parks back in the day. So, I started calling photographers I’d known from 25 years of being in the skate industry. It was a four-year project, and by the third year, I realized that I needed help; the project had become bigger than I’d imagined. So I teamed up with my partners, Ivory Serra and Andre Razo, and they helped me knock it out. The next step was to get it published. We had a list of publishers to meet with, and the first one in line was VICE. We showed it to them and, instant connection. We didn’t even bother going to the other publishers because it just felt like a perfect partnership. Little did VICE know it’d take 19 versions of FULL BLEEDbefore the final version went to print! It was hard to pick through thousands of photos and get it right, but I believe we did it. VICE/powerHouse has been extremely supportive, promoting FULL BLEED to its fullest.
BG: Do you think in terms of fashion, anyway, skateboarding has changed over the past decade, and if so, how?
AC: It has changed a lot throughout the years. It went from super vibrant and baggy in the 80s to even more baggy and colorful in the 90s. In the mid-90s the colors turned more earthy, and the form got more fitted. In the last decade, I don’t know what the hell happened with guys skating in their girlfriends’ jeans. But currently, I see it going to form-fitting work wear clothing with neutral colors.
BG: What other projects do you have in the mix-up?
AC: Recently, I helped put together a pocket-sized magazine called Wrenched: NYC issue. It's the second installment of the Wrenched magazines. I'm also working on a project with my personal photo archives, which span the last two decades. I have a couple things up my sleeve. They will surface soon enough ...
Photo Credit: Peter Pabon
BG: For men, Fall/Winter 2011, what's the look to go for?
AC: Form-fitting military look and stylish suits.
BG: And For men on-the-go like you, how do you combine practicality with style?
AC: I just know what would look good together depending on the day.
BG: What's the one essential item all dudes should rock?
AC: Belts.
BG: Favorite place to eat:
AC: My two favorite restaurants are Ideyaand Mekong.
BG: Tell me about some of your style influences.
AC: For casual wear, I’m a fan of Ben Sherman and Marc Jacobstops and jackets. Most of their stuff is not too loud and fits really well.
BG: What’s one item that a woman can rock to look sexy as hell?
AC: Altered men’s t-shirt
BG: You'd never rock:
AC: Spandex jeans. “YIKES.”
BG: Greatest vice.
AC: Anything fried.
BG: To sum up NYC fashion in a phrase or two you'd say:
AC: There’s never a dull day in NYC fashion; everyday is a surprise.
