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nandoesparza:

Open Lab Magazine Editorial

Photographed by Nando Esparza

Henrietta Hellberg @ NEXT

PAG - THE LADY IS DEAD


director: Roy Raz http://www.facebook.com/raz.roy 
producers: Roy Raz and Eitan Tal
cinematography: Roman Linetsky
editor: Ornit Levi
styling: Gustavo Matias Franco
make up and hair: Tomas Shemesh and Noga Tamir
post production: Assaf Yeger

Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara Marnix Van Uum Open Lab: You’re quite young, 20 years old. How and when did you get into photography? Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day. OL: Do you have any formal training or are you self taught? MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational. OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else? MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph. OL: Who are some of your favorite artists? MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so.  OL: How are your shoots conceptualized, most of them seem very candid and intimate. MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes. OL: Post production? MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop. OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both? MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film.  OL: How big of a role do colors play in your photographs? MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important. OL: If you could collaborate with anyone dead or alive, who would it be? MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry. OL: Any other talents beside photography? MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent. marnixvanuum.tumblr.com -by Delwin Kamara
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Marnix Van Uum

Open Lab: You’re quite young, 20 years old. How and when did you get into photography?
Marnix Van Uum: I started photography about three years ago with the help of a great friend of mine who introduced me into film photography. Since then I’ve developed a passion for photography that is still growing every day.
OL: Do you have any formal training or are you self taught?
MVU: I’m mostly self taught, but I’ve followed an internship with Paul Kooiker for a while. That was really educational.
OL: Your work is very unique, do you get allot of your inspiration from your environment, film, music, or something else?
MVU: Thanks, it’s really hard to be unique these days since there are a lot of (online) platforms where photographs are shared. I’m still not sure where exactly I get my inspiration from, but I think from things around me, things I see or hear that struck me immediately. I usually take that home and work it out more so I can capture those feelings correctly in a photograph.
OL: Who are some of your favorite artists?
MVU: It’s strange, but I’m not really into having a favorite artist. Of course I prefer one over the other, but that can change within a week or so. 
OL: How are your shoots conceptualized, most of them seem very candid and intimate.
MVU: Well, I only use my closest friends for portraits and other images that show people, so it’s logical that they seem candid and intimate. It’s great to work with friends, since they understand my way of thinking better than anyone else, although some ideas are found odd. Next to that, I think the flash, which I use in most of my photographs, helps creating that feeling. To me the flash makes an image more real, more raw, it’s like the story behind the image happened in front of the viewer’s eyes.
OL: Post production?
MVU: A lot of tweaking in Photoshop. I know lots of people have a growing distaste for photographers who use Photoshop, but I think that it’s a shame to let a photograph be what it is instead of adding more value to it in Photoshop.
OL: You shoot mostly with film and quite beautifully. How did you decide between film and digital or do you do both?
MVU: I shoot mostly with a digital compact camera, actually. I’ve worked with film for a long time, but it became too expensive and too time-consuming that I had to stop using film. 
OL: How big of a role do colors play in your photographs?
MVU: They play a major part in defining the meaning of my photographs. I think colors have connotations that words really can’t describe, so yeah, they’re important.
OL: If you could collaborate with anyone dead or alive, who would it be?
MVU: I hate to collaborate, because I’m really easy to convince of ideas that I don’t really share. Other than that, I’m too shy. So I guess no one, sorry.
OL: Any other talents beside photography?
MVU: No not really, I’m really glad I found photography since I was scared I failed as a modern human being for not having a talent.

marnixvanuum.tumblr.com

-by Delwin Kamara

Rita’s Opening

An original piece for Open Lab magazine.


Open Lab:  What was the original inspiration for your latest video?

Rita Lino: My inspiration was all of the work that I’ve started until now. I want to know why, why I need to make these things, shoot myself, see myself all of the time… This inspiration started when I was traveling, listening to music on shuffle. “Michael’s Opening” from the soundtrack of Mister Lonely started, and at that moment I “saw the light,” and said “yes, that’s me!” I needed to make something with those phrases, those words.

OL:  How do you feel new media fits in with contemporary art?

RL: I can only say: thank you new media and all blogs, online magazines! Contemporary art is everywhere, and it is amazing! Everyday I see and I know different artists, thanks to the new media.

OL:  What kind of new projects do we have to look forward to from you?

RL: “These series are not over. They will accompany me until I can no longer imagine.” My project is my life, so I just only have to live on.

www.ritalino.com

-by Katherine Nonemaker

Within the past decade, the Fashion world has emphasized pushing the boundaries of the way collections and brands can be presented to the world, through film and moving images. In 1988 however, Jean Paul Gaultier, in his true enfant terrible style presented a dance single titled “How To Do That”, with an equally marvelous video to accompany it.  Models dressed in Jean Paul Gaultier designs, sketches coming to life, and dancing scissors present the viewer with what is possibly a glimpse into the mind and world of Jean Paul Gaultier.

-Lauren Snyder

Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough. www.topman.com by Lauren Snyder
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Topman Design’s SS12 collection was a collection for a young dapper english man, or an equally stylish gal who likes to steal from the boys.  The first look had the the model clad in a soft grey double breasted suit, with trousers hitting just above the ankles, and patent leather loafers, in a matching shade.  Elements of silk pajama pants, both long and short were also mixed in, as were paisley prints in deep burgundy shades printed on sweaters, a bomber jacket, and pajama pants.  A favorite look was a double breasted black jacket shown with silk paisley shorts aligned with ochre stripes along the edges, and loafers on the feet.  Spring can’t come soon enough.

www.topman.com

by Lauren Snyder

Ellen Durkan by Katherine Nonemaker

I had the pleasure of being part of Ellen Durkan’s thesis show at Towson University a  few years ago; this meaning that I was painted up, given pink extensions for my hair, and had my naked body encased in metal as part of the exhibition - a  collection of sculptures, drawings, and metal-works whose totality resembled something like the high-fashion fantasies of Alexander McQueen, if he had been obsessed with medieval torture devices and possibly insane.     

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The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns. www.cosstores.com by Meghan Butler
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The beauty is often in the details, and in the COS SS12, the details are deliciously simple but as always, beautiful. Favoring a palette of pale blues, crisp whites and a pop of bright green, each piece has structured feel yet tailored for a more feminine look. Shift dresses containing simple but interesting details such as slight, structured cutouts near the midsection and interesting shorts with well-placed pleats.  Each piece begs to be mixed and matched across colors and patterns.

www.cosstores.com

by Meghan Butler

‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker ‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker ‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker ‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker ‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker ‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker ‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker ‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”                                                                                             João Ruas João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.   Exhibition runs until Nov 26 Thinkspace Art Gallery 6009 Washington Blvd. Culver City, CA 90232 (310) 558-3375 by Katherine Nonemaker
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‘“Yore’ is an ode to echoes, to beliefs and lost truths waiting to be discovered.”

 

                                                                                          João Ruas

João Ruas’s show at Thinkspace gallery showcases new paintings, drawings, and etchings from the 28-year old artist, including a mural that was created on site the week before the show.  Also, for the discerning viewer who were waiting patiently for Fabergé eggs to merge with contemporary art, Ruas has three incredible painted Ostrich eggs on display as well. In this new body of work Ruas displays a masterful handling of any medium he touches, with graceful line-work and beautifully bizarre imagery.  

Exhibition runs until Nov 26

Thinkspace Art Gallery

6009 Washington Blvd.

Culver City, CA 90232

(310) 558-3375

by Katherine Nonemaker

Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook   Rodarte for Opening Ceremony Fall 2011  For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance. By: Lauren Snyder *View the complete lookbook  
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Rodarte for Opening Ceremony Fall 2011

 For their sophomore collection with Opening Ceremony, Kate and Laura Mulleavy of Rodarte gathered inspiration from the Nordic romance of Scandinavia.  The sister’s incorporated tiered maxi dresses, peplum tops, printed blouses and pants in a soft palette of blush, blue, and ochre, alongside deeper hints of burgundy, brown and yellow.  Shown with bits of fringe, leather skirts, fairisle sweaters, and mohair as well, the Mulleavy’s have done again what they do best, unconventional romance.

By: Lauren Snyder

*View the complete lookbook

 

Brenna Youngblood’s new show is up right now at the Honor Fraser Gallery in Los Angeles, CA.  The Mathematics of Individual Achievement features paintings, sculptures, and assemblage pieces that display lovely complexities of color and design.   Exhibition runs until Dec. 18th. Honor Fraser Gallery 2622 S. La Cienga Blvd. Los Angeles, CA 90034 310 837-0191 honorfraser.com  by Katherine Nonemaker Brenna Youngblood’s new show is up right now at the Honor Fraser Gallery in Los Angeles, CA.  The Mathematics of Individual Achievement features paintings, sculptures, and assemblage pieces that display lovely complexities of color and design.   Exhibition runs until Dec. 18th. Honor Fraser Gallery 2622 S. La Cienga Blvd. Los Angeles, CA 90034 310 837-0191 honorfraser.com  by Katherine Nonemaker Brenna Youngblood’s new show is up right now at the Honor Fraser Gallery in Los Angeles, CA.  The Mathematics of Individual Achievement features paintings, sculptures, and assemblage pieces that display lovely complexities of color and design.   Exhibition runs until Dec. 18th. Honor Fraser Gallery 2622 S. La Cienga Blvd. Los Angeles, CA 90034 310 837-0191 honorfraser.com  by Katherine Nonemaker Brenna Youngblood’s new show is up right now at the Honor Fraser Gallery in Los Angeles, CA.  The Mathematics of Individual Achievement features paintings, sculptures, and assemblage pieces that display lovely complexities of color and design.   Exhibition runs until Dec. 18th. Honor Fraser Gallery 2622 S. La Cienga Blvd. Los Angeles, CA 90034 310 837-0191 honorfraser.com  by Katherine Nonemaker Brenna Youngblood’s new show is up right now at the Honor Fraser Gallery in Los Angeles, CA.  The Mathematics of Individual Achievement features paintings, sculptures, and assemblage pieces that display lovely complexities of color and design.   Exhibition runs until Dec. 18th. Honor Fraser Gallery 2622 S. La Cienga Blvd. Los Angeles, CA 90034 310 837-0191 honorfraser.com  by Katherine Nonemaker
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Brenna Youngblood’s new show is up right now at the Honor Fraser Gallery in Los Angeles, CA.  The Mathematics of Individual Achievement features paintings, sculptures, and assemblage pieces that display lovely complexities of color and design.  

Exhibition runs until Dec. 18th.

Honor Fraser Gallery

2622 S. La Cienga Blvd.

Los Angeles, CA 90034

310 837-0191

honorfraser.com

 by Katherine Nonemaker

Photography: Vlada KrasilnikovaMake-up: Larisa ChivlikliModel: Yulia @ Al ModelsStyle: Lena Kholkina Photography: Vlada KrasilnikovaMake-up: Larisa ChivlikliModel: Yulia @ Al ModelsStyle: Lena Kholkina Photography: Vlada KrasilnikovaMake-up: Larisa ChivlikliModel: Yulia @ Al ModelsStyle: Lena Kholkina Photography: Vlada KrasilnikovaMake-up: Larisa ChivlikliModel: Yulia @ Al ModelsStyle: Lena Kholkina
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Photography: Vlada Krasilnikova
Make-up: Larisa Chivlikli
Model: Yulia @ Al Models
Style: Lena Kholkina

Wishing our Fashion Director  Nickque Patterson a very happy birthday! swag!

Our current issue contains interviews with Justin Passmore(Red Citizen) & Henrietta Hellberg(Next). With Photography by Nando Esparza and styling by TJ Gustave, the stunning duo gave us an insight on how their modeling careers were prompted in an interview by Benice Atufunwa. Check out Justin’s shots on the Fashionisto.

Art is most definitely not dead.  Art is, in fact, sweeping up storms of fog and glitter and whirling around with acrobatic grace to the accompaniment of pipe organs while wearing face-paint. 

“The Forgotten Circus” is the pilot film for the “Forgotten Trilogy,” which stars Gerard Bell as a dying ringmaster of a shadowy group of acrobats, jugglers, clowns and contortionists.  Experimental filmmaker and artist Shelly Love spent two weeks working with the students of Circus Space, a circus arts school in London, and teamed up with musician Jamie McDermott and “The Irrepressibles” for the soundtrack.  The film seamlessly blends music, motion, space and color to create a visually stunning piece of work that is both beautiful and heartbreaking. 

You’re probably going to want to watch this video over and over again, but when you’re finished, you can check out the full 20-min video on Love’s website. 

www.shellylove.co.uk

by Katherine Nonemaker