“I wanted to see what would happen if I worked with someone new. I feel like I could work with someone new everyday and something entirely different would happen. You just have to make a decision there and then, and trust your instincts,” she says. “That’s why music is so crazy, because it’s literally being in the right time and place and following your instincts and kind of accepting, maybe, something is meant to be.
(Originally published in the May 2013 issue of Status Magazine)
Singer-songwriter ELLIE GOULDING is breaking every barrier.With the release of her second album, Halcyon, she once again exposes herself to a new world, and embraces the unknown willingly.
“Between the songs is the time when I suddenly go back to reality and I realize it’s just me again.”
“Can I be on the cover?” It was an innocent question Ellie Goulding asked. The electro-dance music princess stood there, with her neck tilted casually in a very I-have-nothing-to lose stance. At this point, we would like to cue her song, “Anything Could Happen” to play over the speakers.
It’s Ellie’s first concert in Asia, and she’s doing this interview in between her other TV interviews and a sound check for her sold out concert in Singapore, “I’ve done so many shows that you end up being sometimes on autopilot. But doing a show like tonight is different.” It’s a sign of how far she’s come, stepping into the Asia circuit, after years of performing in the UK and America.
With all the possibilities being realized, her catchy, repetitive “Anything Could Happen” chant is set to be this year’s motto of hopefulness. We hear this song everywhere—it has been covered by the Glee cast, performed at Simon Cowell’s X Factor, was featured on the trailer of HBO’s Girls, and accompanied a Beats by Dre commercial. It is part of her second album, Halcyon, a title that refers to the mythical bird that has the power to calm the seas. Considering the context of this album’s creation, the title makes sense—Ellie has openly referred to this release as a break-up album following her split with BBC Radio 1 DJ Greg James.
Out of devastation emerges this brilliant work of art; Ellie’s lyrics are real, her voice is filled with emotion, her sound is mature, her message is wise. It’s the type that covers both the realities of heartache and the need for hope into one intertwined story, “I could be very self-indulgent and I could be a lot more expressive with the things that I write about, but I make sure that I say what I need to say to get across,” she says.
Ellie names Björk as one her main inspirations for breaking out of her shell, “She’s another artist who stopped me from being afraid of anything. I associate her music strongly also with feeling lonely and feeling like I had no one to talk to. I felt like there was something that I wanted to do but didn’t know what it was, and it turns out it was writing. It was sort of in me, but I didn’t know how to get it out. She just took me to another world with her music and it’s what I needed at the time.” Another influence in writing was Pearl Jam, “They got me through a lot of stuff when I was in my teenage years. I had new ways to discover things about myself and what kind of person that I was. I suppose it made me realize I could write a lot more emotionally than I ever had, and I shouldn’t be afraid of being honest.”
It’s not easy showing the world your wounds, but Ellie is a brave soul who chooses to be honest to her music rather than prettify her image, “At first it used to really bother me and irritate me, and I didn’t like people judging my music. It’s very hard for you to take when people don’t know your personal story and then they judge your music so easily. But that can be quite tough.” Ellie doesn’t care about looking perfect, but she does care about being herself, and the criticism she can get is just part of the job, “It comes with the territory. If you release stuff into the public, then you ask for it, really.”
“Music is being in the right time and place, following your instincts, and accepting something is meant to be.”
Ellie was discovered after winning a college singing competition, and was signed to Polydor records. But her love for music started when she was a little girl, playing the guitar and clarinet, and obsessively singing along to the radio. “It was dance music that made me want to sing,” she shares. “I grew up to electro music. My mom used to listen to it a lot and it just always seemed to be dance music playing in my house all the time. It was always drummed into me at a young age.”
Before her album officially debuted, she won both the BBC Sound of 2010 poll and Critics’ Choice Award at the BRIT awards (with Adele being the only other artist to win both awards in 2008). So did Ellie live up to her pre-album hype? Yes.
Her first album, Lights, got the top spot at the UK albums chart and her cover of Elton John’s “Your Song” also made it to the number 2 spot in the UK. Her success from Lights has brought her to several music festivals; tours with John Mayer, Passion Pit, and Katy Perry; and, most notably, invitations to perform for Prince William and Kate Middleton’s wedding reception, and the National Christmas Tree ceremony.
You would think she would be quite nervous going through all these performances, but Ellie does own her own onstage alter ego, “I am very different now than what I am on stage. I am still very shy in between songs,” she says. In fact, she is very soft-spoken in real life, “I think between the songs is the time where I suddenly go back to reality and I realize it’s just me again. Whereas, in the songs, I do lose myself quite a lot.”
Ellie is exploring what else she is capable of doing, “There was a world of stuff I could have done after Lights, and I chose Jim just because we made a couple of songs together and I absolutely loved him. I asked him if he wanted to do the record with me.” She is referring to Jim Eliot (of British electro pop group Kish Mauve who produced and co-wrote several of her songs on Halcyon.) “I wanted to see what would happen if I worked with someone new. I feel like I could work with someone new everyday and something entirely different would happen. You just have to make a decision there and then, and trust your instincts,” she says. “That’s why music is so crazy, because it’s literally being in the right time and place and following your instincts and kind of accepting, maybe, something is meant to be.”Her openness to collaborations have resulted in new material with Skrillex (who she also dated briefly last year), and Calvin Harris for another EDM favorite, “I Need Your Love.”
If it’s not obvious by now, this “Anything Could Happen” attitude seems to run through a lot of Ellie’s recent creative decisions. While this song holds the flag for positivity, the music video makes us question twice, “The song has such positive connotation. It’s so happy on the outside, but I wanted the video to convey something a bit darker.” The video tells the story of a couple, Ellie and her onscreen boyfriend, watching the waves when a car suddenly slams into them. How’s that for an “Anything Could Happen” scenario? It ends with the couple reuniting on the beach, but in their next life. While you’re saying WTF in your seats, Ellie explains the meaning behind the madness, “There’s a darker side to fate as well. I could have easily done a really happy video, but I wanted to show that you need to make the most of everything.”
Story by Victoria Herrera
Images courtesy of MCA Music
elliegoulding.com
@elliegoulding
You just finished collaborating with Colette and Converse. What are the criteria of a good collaboration before you agree to become involved?
Collaborations are first and foremost all about the collaborators. I have to love and be a part of the brand I am collaborating with. I see a collaborating brand as a "friend of the family". In addition a "good" collaboration has to be around a product that I would want for myself. Something that gets me excited to work on.
Lastly, the brand I work with has to allow me a lot of freedom to be me. This is not easy to find. There has to be a lot of mutual trust involved. I think brands like working with me because I am a designer and an Art Director first and foremost. Not really an artist. So most brands know that I will be responsible and even if I am fucking with their brand, I will fully incorporate their brand into my designs.
If you were to bridge music and your art, which music artist would you draw a music video for?
I have always said that I am the Peanut Butter Wolf of the graphics game...the Back-Pack Hip Hop designer...it has stuck with me.
Mastermind group: pick 5 people you trust to bounce ideas off of.
Herb Lubalin and Saul Bass as a duo, Maira Kaulman, Rei Kawakubo, John Baldessari and Mike Kelley......and we're making frozen cookies.....
After doing it “all,” what other projects/dreams do you want to fulfill for you to do to take it further?
I am really interested in doing more personal work even if it is still with other brands. I am looking to develop other interests in cut n' sew and fabrication work. I am interested in bringing my work to life more in 3 dimensional form. Drawing even after all of these years continues to grow in importance for me. I am happiest when drawing and so I want to go there more and more. When I am not doing it, I am thinking about doing it.
You’ve also been a teacher to many, what’s the best golden advice you’ve ever given an art student?
DO YOUR OWN OUTSIDE WORK. Make prints, zines, t-shirts, a website, a blog. Do not show me a portfolio with a business card design in it and a designed history of the Frutiger typeface in it. Show me what you are passionate about. You can always learn to design and set type. You can not teach having an independent spirit and making work.
Sincerely, being brave, having fun, and making friends. You will change your career path many times, and you should not be afraid to do so. You are the company you keep. Make lasting relationships with good people and work with them. Collaboration and being entrepreneurial are keys to success.
(Originally published in the March 2013 issue of Status Magazine)
Creative director, designer, illustrator, and founder of clothing line Natural Born, KEVIN LYONS, just wants to “fuck around.” Embracing a metaphor that takes steps from restraint to self-indulgence, he is an artist who creates with guiltless freedom.
“I thought design was all about making out—now I think it’s more about fucking around,” says New York artist Kevin Lyons. Not all artists can compare ideas on past and present design philosophies like he does because not all artists have had the same extensive and notable career.
Lyons has held vital design roles that shaped our culture’s favorite brands identities: the art director of Spike Jonze’s Girl Skateboard, the US art director for Tokion, the senior designer for Nike, the design director of Stussy, and the former global creative director of retail heaven Urban Outfitters. Despite the changing business cards, the environment remains consistent. He says, “I have worked a lot of places but always kinda within the same culture.” The youth culture, that is.
But after years of helping other brands and winning Emmys and Cannes, Lyons is investing some of that creative energy in his own projects, with ideas that mean something more to him. His own clothing line, Natural Born, is a step in that direction. “It really became a place to put my most personal ideas and work—which did not seem to have a home anywhere else. It best represented the shit I wanted to see on the world,” he says, which brings us back to his changing opinion about design. “In the past, I thought design was all about doing something for someone else. Now I think it’s more about doing me for someone else.”
“In the past I thought design was all about doing something for someone else. Now I think it’s more about doing me for someone else.”
What changed in your style throughout the years?
I still approach each thing I do the very same way and with the very same thought process. I am constantly pushing my style away from what it was yesterday though. I look to always see how I can make it looser, simpler, funnier, more quirky, and more sincere. Much of what I have done in the past have been copied by other young designers, as it should be. Emulation and reverence lead to reference and imitation, so I put periods of my work behind me stylistically as quickly as commercially possible.
I think what has significantly changed for me of course is the rise of my characters affectionately known as “monsters.” For many years, my work consisted of many graphic styles, and I had very few iconic images or a signature style that screamed Kevin Lyons. The “monsters” now do that. People look for them now and they, in essence, become very empowering and allow people to better recognize my work.
You like to collaborate and draw for your daughters, True and Lulu. Is there anything you learned from them about their approach to creativity?
I have always seen art and design through youth. I think I made that observation really early on. That design and art are about physical, mental and artistic expression. It is about fucking around and really not adhering to a set of rules. I mean there are basic design principles that I follow, but it is not like I am laying out and setting type, so I feel that the more playful I am, the better the result. I have always believed that the more fun you have, the more it shows in the work. I guess my daughters have reinforced that. I mean my youngest daughter, Lulu, draws my Monsters better than me. She thinks less about what they are supposed to be, and more about what they can be. True writes dark and really imaginative stories that go off the rails of reality. They do not labor over stuff or overthink stuff. They just do.
All youth movements throughout the history of time are reactive. Graffiti, skateboarding, surfing—these are reactive activities. They were rebellions to something else. They are all done as part of a natural process… I still love graffiti because it is done under a time restraint. In fear of getting caught… what can be more kid-like than that?
“You will change your career path many times and you should not be afraid to do so. You are the company you keep.”
What was the last thing you doodled for fun?
Literally, I doodle for fun all day. When in doubt, doodle. Drawing can really answer a lot of your questions.
You’ve also been a teacher to many, what’s the best advice you’ve ever given an art student?
Do your own outside work. Make prints, zines, T-shirts, a website, a blog. Do not show me a portfolio with a business card design in it and a designed history of the Frutiger typeface in it. Show me what you are passionate about.
Punk, hip-hop, reggae and dancehall music have affected your work in the past. What are you listening to in 2013, and what do you think this reflects?
I am always listening to music. It is so ingrained in my life. It informs everything I create. In many ways, it has always been my muse…To ask me what I am listening to now is a pretty open-ended question…but sitting in my studio right now in front of me is the new Nosaj Thing record, the Miss Lily’s reggae compilation, the new A$AP Rocky (“1 Train” is my shit right now), the about-to-be-released Karl Hector EP, the reissue of X-O-DUS on Factory Records, amazing reggae mixed CDs by Deadly Dragon in NYC, and about five or six newly reissued albums by the Black Jazz label. It’s a lot. It’s rap reggae and roots!
“All youth movements throughout the history of time are reactive. Graffiti, skateboarding, surfing—these are reactive activities. They were rebellions to something else.”
Why “Natural Born,” and what makes this different from the other brands you’ve handled in the past?
Natural Born was started back in 1998 when I was working at Girl Skateboards but has its roots in my long collaborative relationship with Russell Karablin of SSUR. The name even tells a lot about me as I am a combination of the land and the city and this idea of giving birth to new ideas and new revolutions. It was political, thought-provoking, funny, and aggressive. Beautiful and revolutionary. It became a place where all of my extremes could co-exist. In this brand, I had no real customer or consumer that I was speaking to. It was the simple reflection of the ideas that spoke directly to me. Not the best way to maintain a popular brand, but it’s funny how many people actually really responded to it and still crave it today.
What do you think is the most important ingredient to success?
Sincerely, being brave, having fun, and making friends. You will change your career path many times, and you should not be afraid to do so. You are the company you keep. Make lasting relationships with good people and work with them. Collaboration and being entrepreneurial are keys to success. I am blessed to be around the very best in the industry, and I owe a lot of my career to those who I have been friends with since art school.
What projects do you have lined up in 2013?
The biggest is being in an artist series with Stussy… I also have a collection coming up with Hall of Fame which will include an installation. I will also have another solo show at HVW8 Gallery in LA—a long-time favorite place for me to show. Near the end of the year, I have two biggies: one is a DC Shoes collab that is around apparel—that should be super fun. And the other is around the upcoming Girl Skateboards 20th Anniversary in August. In the meantime, toys, zines, and posters.
www.naturalborn.com
@natbornklyons
Story by Victoria Herrera
by Victoria Herrera
Posted on 04/29/2013 10:04 PM | Updated 05/01/2013 6:23 PM
All photos by Ed San Juan
MANILA, Philippines - Reese Fernandez-Ruiz started her social enterprise, Rag2Riches, in 2007 when she discovered the need to help the women of Payatas, once one of the biggest garbage dump sites in the Philippines.
From creating foot rugs to stylish bags, Rags2Riches has successfully opened up job opportunities that extend far beyond the Payatas community. Reese has attracted strong supporters with her entrepreneurial mindset, creativity, and passionate heart.
Rappler talks to Reese about how this journey began and its positive evolution in both the fashion and economic scene.
Rappler: What is Rags2Riches all about?
Reese: What started out as a small livelihood project grew into a platform for artisans to get out of poverty. Rags2Riches, Inc. is committed to improving the quality of life of Filipino artisans living in less advantaged communities.
We provide a fully integrated and sustainable livelihood platform to communities who desire to increase their incomes, gain access to social services, and build a roadmap for them and their families to get out of poverty. Our platform consists of 3 basic building blocks, the key success factors to achieve scale and sustainability: design intergration, skills training, and market access.
Through design integration, we are able to transform scrap, organic, and indigenous raw materials into stylish and functional home and fashion accessories by partnering with a team of renowned local and international designers (Rajo Laurel, Amina Aranaz-Alunan, Oliver Tolentino, Olivia d'Aboville, and soon, Kenneth Cobonpue). The infusion of creativity and innovation into our materials and techniques creates value for our products and our brand.
Through skills training, we equip community artisans with the necessary skills and tools to create the products launched in the market. As their capacity to create increases, so does their earning capacity. Furthermore, we also provide training for life skills, values formation, basic business management, and financial literacy.
Market access means we build access for the artisans’ products in the formal economy by penetrating both retail and corporate markets with a brand positioned as stylish, sustainable, and handmade
STYLE AND SUBSTANCE. Rags2Riches promotes the eco-ethical lifestyle
What situation was happening in Payatas that made you start Rags2Riches?
One of the most popular means for livelihood in Payatas is rug weaving. Around 15 years ago, a group of stay-at-home mothers discovered scraps of cloth thrown in the dumpsite. They wove these scraps into foot rugs that they sold in the market or along the streets, while their husbands worked in factories and as contractual workers in companies.
When the world economic crisis happened, a lot of the factories and companies in the Philippines closed down or transferred to other more cost efficient countries, leaving a lot of Filipinos jobless. The husbands of the Payatas women took fewer jobs because of this and the earning pressure fell on the women.
However, the rising unemployment also gave birth to another set of informal workers: the middlemen. These enterprising but often-unscrupulous middlemen and women sourced the scraps of cloth directly from garment factories. They sold the scraps from one person to another and by the time it reached the Payatas women, the price of the scraps already quadrupled. Another set of middlemen and women would then purchase the finished rugs from the Payatas women for a few cents, and sell to another set of buyers before the item reaches the market. Because of this unfair trade, the Payatas women earned less than US$0.20 per day. This is barely enough to feed one person for one meal, let alone to sustain a family.
The Payatas situation is not unique to Payatas alone. There are millions of enterprising Filipinos with raw skills who do not have the opportunity to rise above poverty even through hard work and determination. They are the 50% struggling and vulnerable Filipinos who are mostly self-starters, hard workers, but disenfranchised and excluded. Their situation is tipping on a balance. Thus, most of them are left with little choice but to participate in illegal activities, informal markets, and even unfair trade.
What steps did you take in response to this problem?
The first thing Rags2Riches did was to take out the middlemen/women and link the Payatas mothers straight to the garments factories and the market. We initially collaborated with 3 Payatas mothers to highly improve the quality and value of the foot rugs they were already making. We all wanted to go beyond “pity buy” and not sell the products only for the cause. When we started getting small successes in bazaars and fairs, using our donated US$200 start up capital, more mothers joined us. After 4 months, the group grew to 30.
THREE GOOD PEOPLE. Reese Fernandez-Ruiz, Bianca Gonzalez, and Rajo Laurel
Why did you decide to start making bags instead of sticking to foot rugs?
It was quite serendipitous! We knew that we wanted to improve the value of the scrap cloth and the artisan skill. But none of us had any design background or experience. So we approached one of the best designers in the Philippines, Rajo Laurel. He opened up the possibilities and re-imagined scrap cloth into fashion accessories.
Bags are statement pieces. They do not just complete an outfit, they can also tell good stories. We wanted to tell ours in a fashionable way. Our bags are thus stylish social statements. This partnership resulted to more income for our Payatas mothers, their exposure to the market, and their appreciation for their own craft.
How many women have you helped so far, and what communities are they from?
We have trained 800 community artisans. They are actually home-based artisans who can work while taking care of their homes and children. Some of our artisans are fully employed in the Rags2Riches workshop as well. All of these artisans come from different parts of Metro Manila such as Tondo, Payatas, Caloocan, and Sucat.
Whenever we can, we also try to source other materials from communities and other social enterprises as well. Because of our efforts to source from some communities, we are also directly providing livelihood to more communities.
What were some of the challenges when setting up Rags2Riches?
There were lots and the challenges are really part of working for a social enterprise. We have to balance our 4 bottom lines of People, Planet, Profit, and Positive Influence all the time. That it in itself is a challenge.
But one of the less obvious challenges is our own perception of how it is like to work with the poor. We learned along the way (and not the easiest way) that we don't have all the solutions and we don't always "know better." We have to learn to listen, to be more humble, and to unlearn.
Switching on to the positive side, tell us about your proudest moment with Rags2Riches.
The challenges are positive, too! Without them, we will never learn.
My proudest moment in Rags2Riches? It happens every day when I witness the dedication and passion of the entire team to be partners of our artisans. It also happens twice a year when we hold our fashion shows and launches and we see our artisans, team members, designers, and advocates together in one place, rallying for the same cause and eco-ethical lifestyle.
I honestly cannot name just one. It is not possible when you are with inspiring people every day who hold on with so much passion even if the going gets tough.
Last March you collaborated with celebrity Bianca Gonzalez for your Spring/Summer 2013 line called “Newel.” How did this collaboration come about?
I've known Bianca for about a year now and she has been a friend and a person I really admire as one of the positive influencers of the country today. So when our Sales and Marketing manager Bernadette Lindres presented this vision to us of collaborating with Bianca Gonzalez and engaging her as a style advocate for our Spring/Summer 2013 collection, I had no doubt that it would be an awesome partnership.
Our Board of Advisers member and partner designer Rajo Laurel helped us put together the collaboration and the collection. Through his guidance, the dedication of the team, and the passion of Bianca, we were able to come up with an amazing in-house design collection that will be the first of many.
Bianca Gonzalez for Rags2Riches // Final Cut from Ed San Juan on Vimeo.
When it comes to design, who inspires you?
I believe that fashion is not an end in itself. It is about self-expression; it is about expressing one's values and beliefs to the world. Thus, fashion is not just about style. It has to be about substance and sustainability.
I really look up to our partner designers Rajo Laurel, Amina Aranaz-Alunan, Oliver Tolentino, Olivia d'Aboville, and Kenneth Cobonpue (soon!), because they not only make beautiful products come to life, they also make lives more beautiful. I also follow the designs of Stella McCartney, the Campana Brothers, Maiyet, Anthropologie, and a lot of other indie designers and stores from all over the world.
You’ve chosen to make your business help the community, what do you think other businesses can learn from your model?
We want to be one of the proofs of the concept that it is possible to have a business that is doing well and doing good at the same time. - Rappler.com
SINGAPORE - It's an accomplishment to dictate the pages of a top fashion magazine in Singapore, and editor in chief Giselle Go dictates 3: Style:, Style:Men, and the privately circulated bilingual magazine High.
She moved from Manila to Singapore over 5 years ago, and previously held the reigns of the Singaporean edition of Harper’s Bazaar. Giselle combines great taste, business skills, and humility in one intelligent package.
Rappler talks to Giselle about working in the fashion industry, hard work, and what it means to have true style.
Hi, Giselle! What exciting things have you been working on recently?
We just finished closing the May issues of all 3 magazines and my digital team will be translating and animating Style: onto our iPad app once these issues hit the newsstands.
My fashion team just completed the rounds in Milan and Paris for the women's and men's shows for Fashion Week, and are now gearing up to head on to Basel in Switzerland for the annual Watch Fair.
We're also planning some exciting story lineups to cover the big fashion events happening in Singapore in May. Some of the most beloved designers from Paris are making their way down here so it's shaping up to be a big year.
Dipping briefly into your background, how did you start working in fashion media in Singapore?
I was approached by both the former editor and editorial director of Harper's Bazaar Singapore 5 and a half years ago after a chance meeting in Beijing. A few months and a couple of interviews later, I was offered the job of (chief) editor at Harper's Bazaar.
I didn't even think about it — I just packed everything and moved to Singapore for the job despite being very green at the time. Knowing what I know now, I had no idea what I was in for back then, which was probably a good thing or I would have been too intimidated to make the move.
I learned everything on the job; having one of the most talented team and a very supportive international editions team from Hearst New York definitely helped. I was editor at Bazaar Singapore for 4 years until I was approached by another media giant here in Singapore, Mediacorp, in 2012 to take on my current portfolio with them.
Image courtesy of Giselle Go
Leading Harper's Bazaar Singapore at 26 years old is no easy feat. What were the biggest challenges you had to overcome when you joined the team?
My main challenge when I first took on the editor's role at Harper's Bazaar was learning how the market and the business model is set up here in Singapore. It's very different from the one I was used to in Manila so I quickly had to learn and adapt to the market here, especially since I held a leadership position. At the time, I had no track record to speak of so all eyes were, understandably, on me.
A lot of the things I had to educate myself on had little to do with the daily technical operations of producing a magazine, which I was already well-versed in. That comprised a tiny fraction of what my job scope as chief editor entailed. I had to hit the ground running with zero training on other aspects of the role.
I honed my own soft skills and applied them to managing and nurturing client relationships, bringing out the best in an already immensely brilliant creative team — more senior than I was in both age and experience — and keeping the fine balance between editorial integrity and supporting the needs of our advertisers. I consider these to be some of the most important parts of the job.
It was also about keeping my eye on the bigger picture and figuring out where I'm steering the brand, considering its position against other strong fashion titles in the market. Quickly learning how the Singapore market worked and strategizing to be different in an already saturated market was a challenge.
To tell you the truth, looking back on what I had to do in those 4 years at Bazaar, I couldn't even articulate for myself the things I just mentioned above — this is all hindsight for me. I made a lot of mistakes along the way, but it was the only way I could have learned. I really had no time back then to even think about anything. I just pulled up my sleeves, got into the trenches, and worked my bottom off to get things done.
Today you hold the reigns to 3 magazines: Style, Style:Men, and High Magazine. How do you balance all of them?
I have an excellent and extremely talented team both at Style: and Style: Men. It's the combination of both that also runs High. My teams are well-oiled machines and the camaraderie among them helps the production process run smoothly.
One of the keys to running magazines successfully in the fast-paced fashion world lies with the people you work with. I can't stress that enough: teamwork and complementary skills will get this massive job done.
Image courtesy of Giselle Go
Who are the women you admire in terms of strength, independence, and inspiration?
Growing up, my main role model was Liz Tilberis, who was the editor of American Harper's Bazaar. She was my biggest inspiration because of her vision for the magazine. I just fell in love with Bazaar and how she communicated the world of fashion to her readers. Her personal life was also inspiring to me: she battled cancer during her final days, but the legacy she created in her work made her existence truly special — it taught me that finding your purpose is truly the best thing you can do for yourself.
I also love Diana Vreeland, another former Bazaar editor. She was one of the legends. I loved her spunk and her fearlessness. The fashion world we have come to know today wouldn't have been possible without her pioneering spirit and unique voice. That's the type of woman I look up to: brave, talented, and intelligent. A woman who lets her presence be known and felt.
I'm still learning to be just as courageous. We all need to be more assertive despite what cultural mores for women may dictate. I think the global discussion that women like Facebook's Sheryl Sandberg are bringing to the table, especially with her book Lean In, is important to women like me who are pursuing a fulfilling career.
Your job has brought you to so many countries and introduced you to unique individuals. Who is your favorite interview so far?
Every person I've interviewed is special. I love meeting new people and learning what makes them tick. It's one of the perks I love about my job.
Some of the most articulate and intelligent personalities I've been lucky to interview are Marc Jacobs, Donna Karan, Michael Kors, and Frida Giannini. The most personable and just lovely interviewees have been Tod's Diego Della Valle, Diane Von Furstenberg, Amanda Harlech (Karl Lagerfeld's muse at Chanel), Roland Mouret, and Hermes' Christophe Lemaire.
The most memorable, though, has to be Imelda Marcos.
The Internet has changed how a lot of people get their fashion information. As an EIC, what do you hope to bring to the table through your print magazines?
Our visuals are pure eye candy. It's tough to beat print when you want to be inspired visually. Our shoots take a month to produce and the production value is pretty solid because of the time and budget spent on them. I think the way print magazines will evolve is that they will become more specialized visual experiences; think of them as monthly coffee table books. Paper brings a tactile experience.
When I was in Tokyo for a Chanel event last year, Karl Lagerfeld was talking about his obsession with paper growing up. He loved — and still does — to draw on beautiful paper so much that when he was a kid, he used to ask his father to bring back paper or stationery from his travels because he was afraid he'll run out of it. I love that anecdote; it's a lovely sentiment that may be odd to some people but it absolutely made sense to me.
Image courtesy of Giselle Go
Finish the sentence: True style is not only about clothing; it’s about __________.
Authenticity.
Whose style do you admire the most?
Being as immersed in this industry as I am, I find that I'm less drawn to style as I am to personality. If you go to Fashion Week, you'll see all of the world's most stylish women in one venue. It's so much fun and takes people-watching to a whole different level.
But because of that ubiquity and because I'm exposed to it a lot, I find myself drawn more to people with amazing personalities and a great sense of self. That's more of a rare thing for me. That's something I admire these days.
After all your success, what else would you like to accomplish?
A lot more. I want to write a book, build a website, support indigenous craft, and create something that is socially responsible.
Nothing concrete yet, but I still have a long way to go before I'm ever satisfied with what I've accomplished. - Rappler.com
Originally published on March 17, 2013 on Rappler.com
SINGAPORE - Top Model Philippines is one of the most anticipated shows launching in 2013. Based on the reality show America’s Next Top Model created and hosted by Tyra Banks, this version will also discover, train, and produce a model deemed to have "Top Model qualities."
Rappler talks to photographer Sean Armenta who will be judging the show alongside host Sarah Meier, model mentor Rissa Mananquil Trillo, and former America’s Next Top Model producer Mike Carandang.
Sean shares with us his love for photography, tell us about his inspirations, and gives some advice for aspiring models and photographers.
What keeps you busy in California right now?
Well, working as much as I can. I’m very much a workaholic, and since I basically live, eat, and breathe photography, I’m perfectly happy being totally consumed in my work, whether it be shooting or retouching, or planning the next great project! I’ve been shooting a lot of editorials lately, peppered with some lookbooks, catalogs, and campaigns. I’ve also been doing a lot of personal work which helps me re-evaluate what I’m doing now and bring it to new directions.
You’re flying back to Manila soon to judge on Top Model Philippines. How did you get the gig?
I can’t even begin to express my excitement about this new adventure. It’s so crazy because I’ve been a fan of America’s Next Top Model ever since cycle one when it aired here in 2003, which was a little bit after I started my career as a photographer. I feel as though I’ve kind of grown up with the show! I recall thinking how cool it would be if I ended up being a guest photographer on the show.
Last fall, a good friend of mine moved back to the Philippines from California. He used to be one of my photography assistants and had set up shop in Manila. Apparently, he was good friends with Mike Carandang, who as you know is not only the producer but will also be on the panel of judges on TMP. They were at dinner one night, and Mike expressed his concern that they were still trying to cast the role of the resident photographer/judge. After hearing what the requirements were, my friend suggested me for the role, and showed Mike my work. I guess, as they say, the rest is history.
I heard you used to model in Asia. How was this experience for you?
I used to model many moons ago — mostly in the Philippines, but I also got to travel throughout Southeast Asia. It was such an amazing experience for me, honestly. It enabled me to encounter different cultures and discover things you would only get to see while traveling overseas. Most importantly though, it introduced me to the industry that I have fallen in love with and now work in! Working as a model also prepared me for my career as a photographer, because many of the same things apply: putting a portfolio together, approaching clients, marketing yourself, and basically hustling!
When did you decide to pick up a camera and be behind the lens?
I learned photography from my mom, actually. Photography was her hobby, and she used to take wonderful portraits of me and my cousins. I think I was around 5 when I first became fascinated with all her camera equipment… She taught me the basics of operating a manual 35mm camera.
Photography was something I grew up with. The only formal training I received was a black and white film developing and printing class in high school which I absolutely loved. Other than that I’m completely self-taught.
I ended up moving to Manila to continue my education. Serendipitously, I fell into modeling and was exposed to a completely different type of photography that completely captivated me. After a number of years, my mom passed away quite unexpectedly. I had to drop everything and fly back to the US to take care of her affairs. Once things started to somewhat stabilize for me, I had found that I was at a crossroads in my life — I had to decide between becoming a doctor or doing something I truly had a passion for. Not knowing what that was just yet, I somehow fell back into photography shooting events for nightclubs.
After about a month or two of doing that, I literally woke up one day and decided I wanted to become a fashion photographer. It was not only a way to make a living doing something I loved, but also a way of honoring the memory of my mom and her gift of photography to me.
What are your favorite types of shoots to do?
I love shooting beauty and fashion the most, without a doubt. There’s something about working in a collaborative environment with artists of other disciplines towards a common goal that I absolutely love. It’s what makes beauty and fashion photography unique from any other types of photography.
Aside from the photographer, there is a makeup artist, a hairstylist, a wardrobe stylist, and a model all contributing their respective talents in order to produce a beauty or fashion photograph. Together, you create something out of nothing, perhaps just an idea or a notion. You are limited only by your own imagination, and you are able to create a completely fantastical environment through the use of makeup, clothing, and lighting.
Oddly enough, ever since they’ve been able to put high resolution cameras on phones, I’ve just used my iPhone for travel photos and other snapshot types of situations. Technology is ridiculous right now.
How do you create an awesome mood during a shoot?
Music. You have to have the right music throughout the day. I don’t think there’s any other form of art out there that can change your mood as quickly and efficiently as music can. The right song can make you happy, make you sad, or make you remember experiences from decades ago.
I have a few playlists I’ve put together myself for photo shoots, and I like to play different playlists for prepping and setting up, to actual shooting, to wrapping up for the day. I like to use different types of music to control the energy on set and get everyone through the day. That and coffee.
You're going to be giving out a lot of advice to aspiring models on the show... To get a head start, what 3 tips can you share with Rappler readers?
Tip #1: Relax
Being on set at a fashion shoot can be a nerve-wracking experience for new models. It’s a lot of pressure being in the spotlight or the hot seat. Not only is the photographer looking at you, you also have a crew of 10 to 20 people waiting for you to do something spectacular.
The key is to let go of your tension and nervousness and just... relax. Breathe. Your mental state, whether you’re nervous, sad, angry, happy, will show up in your photographs. The more relaxed you are, the less tension you hold in your body — the better the outcome of the pictures.
Tip #2: Listen to the photographer
The photographer is there to guide you through it. Because there are so many people on set, oftentimes you will hear suggestions of what to do from everyone. This can be very confusing for new models because they’re not sure who to listen to. There are only two people on set you should take direction from: the photographer and the art director.
Tip 3: Have fun!
I know, it sounds crazy, but sometimes people just forget to have fun with it. Don’t be self-conscious; don't be afraid to look silly. Believe it or not, the more self-conscious you are, the sillier you will look. Let go of your inhibitions and embrace the role you are given to play. How cool is it to get pampered, play dress up, and have pictures taken of you all day? Enjoy it!
What about advice for aspiring photographers?
The best advice I can give photographers just starting out in their careers is to really have a strong, solid foundation in the basics of photography, practice your craft as much as possible, and don’t try to rush your progress.
It takes years to develop a body of work, and throughout your career you will go through numerous changes in your work and aesthetic. Only by having a strong grasp of the basics will you be able to prepare yourself for your evolution as an artist.
Finish this sentence: A great picture makes you feel __________?
Inspired.
Speaking of inspiration, what inspires you daily?
Life. Everything. Seriously, inspiration is not hard to find if you just allow yourself to see. I think I just have this weird appreciation for everything, and I can see the beauty in most anything. I’m sure that sounds cliche and pretentious, but I really draw a lot of inspiration from the world around me, whether it be nature, color palettes, movies, music, fine art, literature, song lyrics, objects, textures, fabrics... I could go on and on.
I’m a huge fan of photography and other photographers, so I also get inspired from looking at other people’s work.
The first thing I check right when I wake up is Instagram. Then I catch up on what I’ve missed on my Tumblr feed. Pinterest is also a recent addiction of mine and it’s great for finding inspiration. I also love sites that upload entire fashion editorials, such as Fashion Gone Rogue and The Fashionisto. Those have saved me thousands of dollars by not having to buy magazines anymore.
What’s the one picture you’ll keep in your wallet forever?
Aside from the picture on my driver’s license? Do people still keep pictures in their wallets? Isn’t that what iPhones are for? Okay, a picture of my mom. God, I’m such a mama’s boy. I would totally keep a picture of my significant other in my wallet. I know you said one, but I would keep two.
What other projects do you have in store for 2013?
I am looking forward to connecting with clients in Manila and doing a lot of work there. I think that’s what I’m most excited about. I’ve been shooting a lot more celebrity work lately, so that’s something I plan on continuing to do this year. I will be doing a lot more traveling, which is really what I’ve been wanting to do from the start: travel the world doing what I love doing the most.
Here are some of Sean's fashion editorials:
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
Courtesy of Sean Armenta
- Rappler.com
(See more of Sean Armenta's portfolio on www.seanarmenta.com and www.seanarmentablog.com. Twitter: @armenta_photo. Instagram: @seanarmenta.)
The only path is through focus and genuine passion for what you do. Part of that is learning all the facets of the industry and challenging and pushing your self daily to grow and become even better.
By Victoria Herrera (Published January 22, 2013 on statusmagonline.com)
IVY KIRZHNER greets me with a warm, friendly hug as I enter her suite at the Empire Hotel. We are in New York, where this Filipina shoe designer beams with eager excitement for her big moment—she is launching her very first shoe line.
“I have always been cognizant of my eclectic worldview which never really had yet a chance to come out to full fruition aesthetically in my work until now.”
Set up all around the suite is her collection, consisting of Art Deco-inspired heels, flats, and sandals for Spring/Summer 2013. Definitely something for the “Girly girls,” the collection is extremely wearable and a work of art on its own. It is evident that Kirzhner has global influences. “Being a Philippine-born and New York City-bred American designer who constantly travels throughout Europe and Asia, I have always been cognizant of my eclectic worldview which never really had yet a chance to come out to full fruition aesthetically in my work until now,” she says.
This talented and humble artist has designed shoes in the global shoe industry for over ten years. “I am currently the Creative Director of Footwear for all BCBG brands, as well as the designer of Herve Leger footwear at the Camuto Group.” She has launched over 25 international and contemporary shoe brands like Dolce Vita and BCBG Max Azria. Yet despite her long experience, she is embarking on a whole new adventure. She says, “Earlier this year, I finally launched my own design and lifestyle branding house called Saint & Libertine New York LLC with my own eponymous contemporary-luxury line.”
“…a great designer needs to be able to take on any brand, find a way to relate to its perspective, create amazing designs, and progress with the times while staying true to the brand’s DNA.”
The decision for her to bravely create her own line seemed organic, “I won’t deny that I’ve always wanted to have one just to test and push my growth further as a designer and an entrepreneur. I’ve always been cognizant of the direction of my creative and career growth.” And speaking of growth, that is one of Kirzhner’s challenges when it comes to design. “Though I have always managed to be versatile as a designer, where I am in life has its way of manifesting through my work. I need to be able to relate to my designs and my product,” she says. “However, a great designer needs to be able to take on any brand, find a way to relate to its perspective, create amazing designs, and progress with the times while staying true to the brand’s DNA. This is incredibly hard to do for any growing designer.” With mentors from Steve Madden, Dolce Vita, and Vince Camuto grooming her, Kirzhner is very grateful for the people who taught her a lot about the industry and craft. “They are all very different from each other, each representing a certain facet of the business… The one thing that ties them together is each of their own passion for shoes and for the business… I could only hope to make all of them proud with what I do.”
“There’s no need to rush.”
Kirzhner keeps herself inspired by surrounding herself with the right people: “Good people who are incredibly kind, self-sacrificing, dedicated, passionate, generous and humble,” she says. From her husband, to her business partner and even down to her interns, “I’m in awe with all of them and people like them inspire me to work even harder—they’re worth all the effort as well as all the best out of me.”
For up-and-coming shoe designers, Kirzhner has this to say, “The only path is through focus and genuine passion for what you do. Part of that is learning all the facets of the industry and challenging and pushing your self daily to grow and become even better.” She also stresses patience. “There’s no need to rush.”
“If there are rules, learn to break them…”
We can take one look at Kirzhner’s designs to see proof that she is the real thing. This brand is an honest expression of Kirzhner’s artistic soul combined with her skilled training. Already gaining much appreciation by worldwide retailers, her designs will be sold in boutiques like Kitson in LA, Havery Nichols, and online store Shopbop. She will also be collaborating with more designers under her Saint & Libertine Company with jewelry and handbag projects in the works. She is definitely an inspiration to watch as she continues to grow in the global fashion scene.
Favorite Art “eras” which inspire your work:
1) Art Deco- it’s the reinterpretation of ancient aesthetic of Neo-Classical, Greco-Roman, Egyptian and Aztec origins, culminating into a modern movement that influenced not only art, but also fashion, architecture and industrial design in all parts of the world. Also, New York’s own rich aesthetic reached its height during this era.
2) Baroque and Rococo, especially Chinoiserie – the mixture of Western and Eastern design elements that sprung during that era. They all have fun stylistic elements that I love to play and incorporate into designs.
Favorite places you love to travel to:
Paris, Florence, London.
Top 3 rules for style:
1) There are no rules.
2) If there are rules, learn to break them so you can… (jump to #3)
3) Be original in expressing yourself.
ivykirzhner.com
@ivykirzhner
Interview and story by Victoria Herrera
Profile photo courtesy of Ivy Kirzhner
Product photos by Victoria Herrera
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