It’s no surprise Anthony Gonzalez, the main man behind M83, grew up in Antibes -- a small town in the South of France. The majestic area -- known for panoramic views of snowcapped mountains, placid oceans and balmy sunsets -- fits the mood of M83’s ambient music. Not to mention a few Hollywood starlets from time to time: Cannes is just around the corner and things become a tad busy in May for the film festival.

Gonzalez has recently been quite the globetrotter – venturing around the world in support of his 2008 release of Saturdays = Youth (Mute Records). It’s M83’s fifth album, with a more optimistic, bright sound. Sure, while on the road, Gonzalez is like every other musician and enjoys exploring different cultures and environments -- but Antibes is truly where he seems to draw most of his inspiration. Perhaps that’s why the title of M83’s newest album reflects back to his years of blissful innocence.

Right before a show at Irving Plaza in New York, Gonzalez chatted with psychoPEDIA and spoke about all things Antibes:

Have you lived in Antibes your whole life?
I was born there, and it’s about 20 kilometers from Cannes in the South of France. My whole family lives there still. However, I moved to Paris and lived there for about four years, and just recently moved back to Antibes.

What made you move back?
Well, I was walking in Paris one day and just decided that it was time to move back. I wanted to focus on my music and put all my energy back into my music.

I guess there are a lot of distractions in Paris?!
Oh yes, there are many! Also, to live in Paris you must make a great deal of money to live a really nice lifestyle and to own an incredible apartment. It’s less expensive to live in the South of France. It was clear for me to move back to Antibes and focus on my music and live an easier lifestyle.

What’s your favorite Antibes restaurant?
There’s this very very very good restaurant called La Cafetière Fêlée. It’s sooo great. I love it there and eat there very often. They have all these different, weird kinds of food to choose from – really unique options. The atmosphere is really cool – very quiet and simple.

How about bars?
There is this one bar that I love where its specialty is Absinthe. I’m sure you know that Absinthe is special to France. It’s a hidden bar called Absinthe Bar La Balade. It’s really cool and it’s in a basement. There’s no name to it, to the locals-– it’s just known as Absinthe Bar.

If I were to stay in a really nice hotel in Antibes, where would you send me if money wasn’t an issue?
Well, every year in May the Cannes Film Festival takes place. It’s only a short distance from Antibes. All of the movie stars come in and stay at Hotel Du Cap-Eden-Roc. It’s really expensive and really fancy hotel. It’s quite beautiful too. Everyone comes and stays there from out of town during that time period for the festival.

What’s really unique about Antibes?
The atmosphere. All my friends and family live in Antibes so that alone makes me happy to be home. It’s not stressful at all. We have the beach where you can go and be with friends to lay out and enjoy. The weather alone is beautiful-– just taking in the sunshine while at the beach, and at the same time looking up to the mountains.

What are the colors like?
It’s really bright, especially when it’s sunny. The sun makes everything bright. We have palm trees too, so there are splashes of green everywhere. Lots of colorful flowers all around the beach, with the backdrop of old city.

That’s up on a hill, right?
Yeah, it’s up high on a hilltop. It’s a really beautiful view.

Tell me a little about some unique town history…
A lot of famous artists and painters have spent their summers in Antibes. They’ve owned houses here and come year after year, like Picasso when he was alive. There is a great museum in the Old City called The Picasso Museum-– I like to go there often. I guess these artists get a lot of inspiration from coming to Antibes.

What’s your most vivid childhood memory of your home city?
Playing football a lot and riding my bicycle around town. Everyone gets around on bicycles here. Swimming in the sea, going skiing on the weekends, lots of wonderful times…

~Jessica McMenamin

Posted by psychoPEDIA at 03:16 PM | Permalink

In its inception three years ago, Current TV set out to hire about 50 rotating hosts for the channel. When the network, whose “spiritual leader” is Al Gore, came across two film students at the University of Miami, they stopped that search and hired two guys -- Max Lugavere and Jason Silva -- to be the face of the station, which aims to be the “HBO of the YouTube generation.” The duo moved to L.A, became roommates, and on January 12th, launched their first daily show for the network.

“Al Gore has said that the Internet is the most participatory medium of our time,” says Silva. “What he wanted to do was bring that level of participation to television -- to embrace user-generated content and news journalism.” While some co-host situations seem forced, Max and Jason are actually best friends in real life. “Our friendship is based on the fact that we have similar taste in food,” says Lugavere. The two self-proclaimed health nuts, who love sneaking away from set for lunch, met us at the recently-opened healthy restaurant Natura Mediterranean Foods, to discuss ethnic comfort food and dating in L.A.:

JS: The name of this place stood out for us. The best Lebanese comfort food with brown rice and everything organic. We try to eat really healthy. We live above an organic supermarket.

So you cook?
ML: We can toast bread – that’s in our domestic skill set. But we don’t cook. We’re in the studio a lot. But for lunch we like to run out to a quick healthy restaurant. L.A. has the best affordable delicious restaurants. This place has the best Lebanese comfort food.

A plate of hummus and thin pita is served.

JS: The hummus tastes like it was just ground. It’s so pure. Doesn’t taste like supermarket hummus. We are both obsessed with ethnic food: Thai, Indian, Brazilian, Venezuelan. We’ve been known to come to the same restaurant twice in one day. The attention to detail is what we love about this place.
ML: We both love really old ethnic comfort food. Like Ethiopian food. L.A. has the largest Ethiopian community outside Ethiopia.
JS: We really appreciate it when an ethnic restaurant takes the time to give it that new-wave healthy twist. Old comfort food reexamined.

A plate of eggplant layered with onions, tomatoes and peppers is brought out.

What do you do when you’re not in the studio?
JS: We have several fun activities. Max is really into guitar. I like indoor rock climbing. I hike, go to Malibu. If I can discover some new place to see in L.A. every weekend, I’m happy.
ML: Wow. This looks amazing. Very exciting. A lot of my free time is not spent exploring, unfortunately. It’s spent writing songs and exploring that side of myself. Shall we? (he digs into the eggplant) I want to explore the Griffith Observatory. Maybe bring a bottle of wine, bring a girl. Wow, look at this. Really good. I’m not a huge fan of eggplant but this is delicious. A nice combination of garden-like flavors.

Chicken kabob and beef kabob are brought out with grilled veggies, brown rice, Tahini sauce, and yogurt cucumber sauce.

ML: We love LA. It’s a town that nurtures the feeling of expression. Everybody is here to do something. The entertainment business is ultimately a creative business. And everyone here is in it. This kabob is the shit.
JS: Our experience here has been anything but shallow. We came here to work for a meaningful network with a meaningful mission behind it. I feel like everywhere I turn there’s something to see. The other day I went to the Getty Museum. I was like, are you kidding me? No line, no wait. I can come here and have a glass a wine. In many ways this is the birthplace of the culture of the world, and I like that. You can go to Morocco to see posters of the movies that were made and conceived here.
ML: I love that you can get brown rice here. We won’t eat white rice because brown rice is so much better for you. We don’t eat in the studio because it’s all white bread and Skippy peanut butter. We carry our vitamins with us. Gotta be healthy. They make a great lentil meatball. Could we try one of those?

You’re both single. What’s dating like in L.A.?
JS: That’s where we sometimes tend to agree with the L.A. stereotype.
ML: We do put in a lot of effort.
JS: I’ve had the L.A. experience where I’ve been dating a girl and we go to a party and we can’t be holding hands at the party because there’s some producer there.”
ML: I’ve been single for ten months and enjoy being single. I’d like to meet a special somebody. I think that to some degree I enjoy the times I wish I had a girlfriend. I think that being romantically unhappy helps me write better songs. They say that Kafka ended four marriages because he couldn’t write. I love this sauce (pointing out the tahini). These are tasty, hun.

~Sara Costello


Natura Mediterranean Foods, 8250 W 3rd St. (323) 655-5551

Posted by psychoPEDIA at 07:40 PM | Permalink

“Anything that is easy to look at is easy to remember,” Ed Cooke says, his British accent pouring thick into the microphone he’s holding, filling the Upper East Side high school auditorium in which he’s standing. At 27-years-old, Cooke has the 10th-best memory in the world (a rank, he tells his teenage audience, that’s the result of his being “drunk” during the annual competition last year in Kuala Lumpur). Cooke, the author of Remember Remember, a book of memory exercises released on Penguin UK this past fall, is not yet a household name. But, chances are, he will be soon.

A former memory protégé, Josh Foer (brother of Jonathan Safran Foer, who wrote Everything Is Illuminated) has sold rights to Moonwalking With Einstein, a memoir documenting his tour on the memory champion circuit, to Penguin for $1.2 million. The book is likewise being considered for a film adaptation; not to mention, Cooke is in the process of developing revolutionary memory-advancing software (based on individualized memory exercises), and considering a launch into the American market. PsychoPEDIA caught up with Cooke during his recent stint in the U.S. to talk about memorization techniques, the memory champion community, and more:

How did you get into memorization?
I was always interested enough in memory to pay attention to it. But, when I was 18, I had a form of juvenile arthritis, which meant that my joints swelled up as the result of a virus. I was in the hospital for about 3 months and all of my friends were traveling and going off to university, so, I was like, ‘damn it I’ve got to do something useful here.’ So I got a bunch of books on learning to remember stuff, and experimented, and spent my time doing that. By the time I came out I could learn a pack of cards, so I thought that was cool.

Do you ever use it for gambling?
I do a bit. I use it as a party trick very often, and that’s actually a more effective way to make money.

When did you start training and doing the competitions?
About four years afterward, my friends were fed up with me repeatedly claiming that I was the fastest card memorizer in the world. They were like, ‘just go to the championships and shut up.’ So I went to Kuala Lumpur in 2003 for the World Memory Championships and came in 10th. That was really fun because I met the rest of the memory community, which is a hilarious bunch of characters from all over the world. They’re very varied. Basically, once it gets to competition level it’s ridiculous because it’s an arbitrarily specific task—knowing numbers, cards. There might be an event with random abstract images, and there’s a specific format where you get 5 images a line of random patterns and you’ve got to learn the order of the images in the line. And you’ll get 250 images total and 15 minutes to learn them.

How would you describe the memory competitors?
They’re terrific fun; there’s German patent attorneys, a Danish clown, a Chinese guy who has learned the entire English-Chinese dictionary verbatim, a few Australians and South Africans. Loads of guys from places like Sweden and Norway, and a really beautiful girl from Mexico. It seems there are more men than women, which doesn’t seem to have to do with talent really. Girls seem to find the necessary training aggressively boring, and I think men tend to have an autistic sort of ability to focus or whatever. It’s quite a young person’s game. There’s no obvious reason why you shouldn’t win it at the age of 60, but it’s not that fun training to that degree. A lot of it has to do with imagination and lack of inhibition. By our age, we become quite good at eliminating socially unacceptable stuff. As a child you’re less concerned—you have a less fully-worked-out capacity for inhibition. You probably feel guilty if on a Tuesday afternoon you’re not doing something that promotes your career, but, as a child, you feel guilty if you’re not doing something that doesn’t enhance your social life and capacity for story-telling and so forth, all of which are integrally linked.

What are some techniques you recommend the average twenty-something practice with?
I think use of imagination is key. Memories are just associations from one memory to another. So, when we talk about a memory, I see a face that triggers another memory that triggers another memory and your name is sort of linked to that. So, it’s one memory feeding into one another. So, in concocting a memory you have to think of two things: one is the object that you’re trying to remember. What’s your surname for instance?

Gould-Simon…
So, that’s kind of a vaguely easy to remember: I would maybe remember Simon of Simon and Garfunkel fame, made out of gold, sitting by your side. And you might have him on a leash, for Alisa. You don’t end up remembering the images necessarily; it just forces you to consider that it’s Gould-Simon, rather than Gould-Derrick, or Gould-Stein. That’s the first thing: focused attention on the details. And, attention is not a power of will. People normally assume and think of attention as a kind of downward force upon yourself—a discipline or concentration. Instead of thinking of attention as the subject and object being somehow linked, think of enchanting the object so as to engage the subject. So, you’re decorating your environment and engaging with it and being interested in it in a way sufficient to call your attention towards it.

There are good attention games you can play. One of my favorite ones is a conversational, one that actually comes from cognitive behavior therapy. It’s an attention game where you’d be talking to me and I’d listen very hard for one minute and, aggressively, in the context of a game, thrust everything from my mind and listen to everything you’re saying, allowing nothing else in. Then, after a minute, you carry on speaking and I spend a minute being deliberately distracted. By playing that on-and-off, on-and-off, you provide yourself with the information of what it’s like to be attending and what it’s like to not be attending. People don’t normally notice. By ritualizing that, you mark the difference more clearly in your mind.

~Alisa Gould-Simon

Posted by psychoPEDIA at 05:01 PM | Permalink

While bike riding may have once just been seen as a popular pastime amongst the athletically-inclined, outdoor lovers, and the eco-friendly, in recent days, cycling has risen to prominence as one of the choice modes of transport in major cities worldwide. Besides the fact that bicycles are now conveniently offered in inexpensive city-wide bike share services from DC to Barcelona and in collapsible formats ideal for urban dwellers that provide simple transport and storage, the fashion world has also recently embraced the phenomenon and given biking a new and improved look.

From resurrecting bicycle shorts with a chic twist in the collections of Alexander Wang, Miu Miu, and Abaete, designers like DKNY have also utilized bicycles as part of its campaign (placing bright orange logo-emblazoned bikes around New York City), and fashionistas have created blogs featuring stylish cyclists. Lately, designers have even gone so far as to create limited-editions of their own favorite two-wheeled accessory.

Highlighting some recent and upcoming releases, psychoPEDIA brings you four fashionable bikes that would look good on the street or in your garage:

Acne x Bianchi Bicycle (Price TBD)
Swedish style-makers Acne have made a name for themselves by being at the forefront of high quality denim. And besides recently participating in a collaboration with Albert Elbaz of the French fashion house Lanvin for a limited-edition denim collection, the Stockholm-based line now joins forces with Italian bicycle manufacturer Bianchi to create editorial-worthy racing bikes-– which comes as no surprise since Acne’s Creative Director Jonny Johansson explains the inspiration behind the most recent “New Standard” collection as the image of a well-dressed working girl biking on her way to the office. Similar to the style of their apparel, the Acne bike focuses on a simplistic, classic frame. And while based on Bianchi’s original Pista bikes, Acne adds their contemporary touch in both bicycle models, offered in a men’s and women’s version, the first of which comes in a pink frame with drop curved handlebars and black suede seat, and the other (a bit smaller with straight handlebars) in a frame color of one’s choice from yellow, green, orange, pink, and chrome with a brown suede seat. Releasing at New York’s Acne Studios, both versions will be available in March by special order.

James Perse Cruiser ($2200)
LA-based designer James Perse, purveyor of mens and womenswear basics, creates West Coast-appropriate attire known for being the ultimate in comfort. And no different from his apparel essentials, his limited-edition Beach Cruiser bike provides the ideal complement to his casual wear. Modeled after the vintage frame first seen in the '50s and popularized in Southern California, this no-frills bike combines features like a hydroform steel frame, aged-leather seats and handlebar grips, coaster brake hub, and wide tires meant for treading sandy terrain. The single-speed cruiser is offered in four solid-color matte models-– black, burnt orange, gray, and white–- and are custom made by request in limited availability from James Perse boutiques in New York and Los Angeles.

Hermes x Batavus Bicycle ($3500)
Known for creating covetable leather goods– the likes of which even celebrities will join month-long wait lists to obtain-- the French fashion house now brings their fine craftsmanship of luxury goods to two-wheeled transport. In a collaboration with Dutch bike brand Batavus, Hermes has spruced up the traditional 3-speed “Old Dutch” frame– which still evokes the spirit of old world Europe-- with their trademark rich tan leather detailing on the seat, handlebar grips, and center tubes to complement the sleek frame. The bike’s features include a fully-covered chain case, front and back lights, as well as a rear cargo rack, suitable for setting groceries, books, or even the essential Birkin bag. Not only designed with the quality and function of a standard Batavus built to last, the classic Hermes touch also ensures that this accessory won’t go out of style.

Comptoir de Cotonniers Single & Tandem Bicycles ($813 and $1284)
Comptoir de Cotonniers may have only recently made their stateside introduction when setting up a US store five months ago in SoHo, but the French casual clothiers who focus on mother-daughter fashion are already known internationally for their street chic looks that combine "modernity and timeless sophistication." Now offering another product bound to look chic in the streets of New York to London, Comptoir de Cotonniers have created two bicycles, in a single and double-rider version that would make even non-cyclists want to convert to the healthy habit. Seemingly taking a direct cue from the famous sing-a-long, “Daisy Bell” when crafting their tandem bike, the charming bicycle built for two seems fit taking movie-moment-worthy rides down the cobbled streets of Paris while singing mother-daughter duets. And in both the tandem and single-seater alternatives, the bike features a bright red frame with a woven front basket that offers a traditional yet timeless look.

Posted by psychoPEDIA at 10:30 PM | Permalink

Angela Boatwright’s first brush with photography came through watching her mom take photos and develop them in their homely ‘DIY’ darkroom. The self-confessed Glen Friedman fan soon moved on to taking shots of her pals and all her favourite bands. Angela is now an accomplished photo-editor and curator, who has shot for clients such as Vice, Nylon and Urban Outfitters. She also runs her own company, interestingly titled ‘Killer of Giants.’ We got some info on that name, and a lot more:

Who has been your biggest influence?
Glen Friedman was such a huge influence on me in the beginning. I’ve always adored his work. I still love his photography. However, these days, I’ve dug myself into a slightly different aesthetic.

Who else inspires you?
There are a couple photo editors who have really pushed me out of my comfort zone. Rebecca Fain, formerly of Revolver magazine, hired me to photograph ‘Children of Bodom’ in Helsinki a few years back. I brought maybe 5 rolls of 3200 b/w film and a ton of color. She made the entire edit out of the grainy 3200, and to this day that’s almost entirely how I shoot all my personal work. She was a huge influence.

There are a lot of people over the years who have influenced my work more loosely. SF photographer Dennis McGrath got me into Jim Goldberg and Joseph Szabo. My first assistant, Jimmy, has introduced me to a handful of incredible lighting scenarios that I use all the time. Jimmy Hubbard, photo editor at Guitar World, showed me how to light really creepy-ass photos and got me into using fog machines. I pick up things from all sorts of people, all the time.

Can you tell us more about Killer of Giants and where the name came from…
I started Killer of Giants a few years back as an outlet for various projects. In the beginning, I represented 2 photographers and one artist. I dissolved the repping part of the company 2 years ago to concentrate solely on my own photographic career, because I was getting a lot of work, and trying to sell other photographers was becoming a conflict of interest. KOG just showcases any art shows I curate or any magazine features I might produce. Oh, and the name came from one of my favourite Ozzy Osbourne songs!

What do you love about being a photographer?
Travel. I love to travel. I love to get up and go whenever I want, for the most part. I love being able to incorporate my side passion i.e. music, into my work. Going on tour with bands is definitely one of the perks.

What is the worst aspect of your job and why?
Trying to drag money out of people. Doing taxes. Anything to do with straight-up business work and all that. Working for myself is the absolute best, but when shit hits the fan, it can end up all on my shoulders. It’s all made me quite a tiger, which I enjoy. However, I hate it when I have to bust balls to get paid.

Who was the coolest celeb you ever shot?
Most people I’ve photographed have been really cool, celebrity or not. Sandra Bernhard was really great. Totally normal and incredibly smart. The guys that play guitar for Lamb of God are really awesome guys. Very down-to-earth. I’ve been lucky enough to have worked with Phil Collen and Vivian Campbell from Def Leppard. Def Leppard are one of my all-time favourite bands and I’ve never, ever been that star-struck in my life!

We first started talking on the wondrous social network that is Facebook. Do you think it’s ok to dump someone by e-mail or Facebook?
Fuck no. Have some balls.

What’s the best way to dump somebody without hurting their feelings?
God, I don’t know. The timing on this question is really crappy.

Is sex on a first date OK?
Yes, totally.

Can you tell us about your upcoming projects? In photography, not sex…
I have some things on the horizon but nothing I can really talk about yet! Fingers crossed!

~Donald Crunk @ Styleslut

Posted by psychoPEDIA at 03:05 PM | Permalink

A cursory glance at Tucson native Feng-Feng Yeh, returning from her day job in sales at YSL finely dressed in a tailored jacket and high heels, one wouldn’t assume that her former work attire consisted of everything from sequined bandage tops and vinyl garter belts. However, the petite 27-year-old, a former member of NYC’s Six Six Sick nightlife collective, first gained attention not only for the popular Tuesday night party at Chinatown’s Happy Ending, but for the outrageous high fashion and pop-culture-inspired ensembles she designed for the trio to wear at each weekly event. “I already had the initial interest in fashion, then I was part of this youth culture we created which was so exciting,” Yeh explains of her inspiration to transition from party hosting to designing her first independent label, Savant.

While it no doubt helped that Yeh’s events drew in some of downtown’s best-dressed characters, as well as a collection of industry contacts, the FIT grad also gained a wealth of experience interning at esteemed fashion houses-– including Narciso Rodriguez and under Francisco Costa at Calvin Klein, as well as her biggest influence, friend and mentor, designer Benjamin Cho.

Having debuted her first collection for S/S 09 at New York Fashion Week, Yeh’s thoughtful, refreshing approach to design emphasizes shapely silhouettes and cage-like pants and skirts–- earning the collection’s apt name and loosely explaining the concept as: “a reflection of ourselves skeletally, making note of the structures of everyday life and comparing it to our structure.”

Joining the former party girl and hard-at-work designer at her Greenpoint studio, psychoPEDIA spoke with Yeh about her formative Southwestern hometown experiences:

What’s the first thing you would say to describe Tucson?
Tucson is such a beautiful place to go, because when the sun sets, the sky gets tie-dyed in purple and pink, and the different layers melt into each other. The mountains turn purple, too. There’s something really crisp about the air. And when you’re in the desert, it’s really quiet except for little noises from animals.

What were your first fashion inspirations there?
I used to hang out at these places in downtown Tucson when I was growing up. That’s what really pushed me to go to New York to pursue fashion. One of my first jobs was interning at a vintage clothing store called Mr. Lulu’s when I was 14 or 15. It had vintage Yves Saint Laurent, Chanel, and the Kim Gordon label X-Girl. The owner had a little chihuahua called Mr. Lulu who would run around the store. And there were a few other vintage stores down the block where I came to know the owners— like Kanella's, which is similar to [New York’s] Trash and Vaudeville.

Any cultural influences?
Tucson had Downtown Saturday Night—where people would come from all parts of the city and appreciate the downtown historic district. All the stores would stay open really late. On those nights, I window modeled vintage clothes—wearing an electric blue bob with space-age vintage stuff from the ‘70s and just sit in the window and read Italian Vogue.

What were your favorite hangouts?
I would go to Hotel Congress, which has so much history. It’s famous for John Dillinger, the outlaw. They burned down one of the floors in the hotel trying to smoke him out. It has that old school feeling, and I think some of the rooms are haunted.

Were you active in Tucson nightlife and youth culture back then?
Tucson has a huge music and arts scene. My friends and I would go to Scooter Ally at Hotel Congress and try to talk to 25-year-olds. The uniform in Tucson is flip-flop, shorts, and a t-shirt. Nobody dresses up there, because it’s hot all the time. It’s not a fashion place. But to see people there, dressed in three-button, skinny suits before Hedi Slimane even started doing the super skinny suits was amazing.

Best bars?
The Mint Cocktails-– they have an old-school grabbing machine where you crank it and an arm pushes toys into a hole. All the stuff in it is disgusting, like gold-casted dogs. And right next to it they have crock pots with chili. There’s another place called The Shelter, in an old bomb shelter. It’s stone outside and really beautiful. But there’s a crazy place called The Meat Rack. This guy who owns the bar legally changed his name to “God.” All the photos inside are of his famous friends. He has a room to the side that’s a sex room with weird chairs and devices, and there’s another room with a bed. It’s gross, but so interesting. And if you want to get discounted drinks for life, you can get branded with the logo.

Most unique aspect of Tucson?
The mixture of people that are there—a lot of conservatives, but also a rich Mexican culture, since it’s so close to Mexico. You can never find better Mexican food anywhere else. There’s Casa Molina, Mi Nidito (which is probably the best), and then really nasty places exclusive to Tucson that you go to at 1 am after all the bars close, called Los Betos. It’s disgusting, yet so amazing because you’ll never get this disgusting-ness anywhere else.

Quirkiest spots?
There’s an amazing wig store, Wig-O-Rama, that’s survived all these years, on the corner of Congress Street. They have every kind of wig you could imagine, and it still looks like it’s from 1951.

Most picturesque places?
You can just drive to the end of Skyline Road to a spot that’s part of the foothills, but on a higher level so you can overlook the city. I’ve driven so many guys there to make-out, so it’s a memorable spot for me. Mount Lemmon is this peak of a mountain and has a diverse ecosystem, where there are pine trees, mountains, and desert. You feel like you’re in a national park. There’s a church called the San Xavier Mission that’s a great destination, and not too far away from Tucson is Tombstone.

Is there something you appreciate more about Tucson now?
I appreciate the energy, because it’s so laid back. You take your time to do things there. Even going to Walmart is something I miss.

~Leann Peterson


The Savant collection will be available at Henri Bendel, Woodly and Bunny, LA’s Ooga Booga, and online at I Don't Like Mondays.

Posted by psychoPEDIA at 04:25 PM | Permalink

Ultra-healthy haute cuisine is a very difficult combo to find on the Upper East Side. If your New Year’s resolutions specify no butter, cream and cheese, that would generally mean the end of fine dining above 59th St.-- don’t bother leaving the penthouse. ‘Til now… a New York outpost of the Brussels restaurant Rouge Tomate has opened in the now-defunct, ultra-mod bi-level Nicole Farhi store space-– and the colossal restaurant serves up a big menu of ultra-healthy organic foods at a four-star presentation level, price point and ingredient deck, courtesy of chef Jeremy Bearman.

Did I mention the space is big? It’s huge, almost bank-like in its expansiveness, with light wood surfaces, and many cream-colored and orange-red panels adding a very-Euro type of liveliness. But it’s expansive, with no space dividers, so if you’re having an affair, or a romantic date, this is not the place. But for a see-and-be-seen lunch or dinner in an ebullient setting, you’re good to go.

My friend and I tested it out for lunch, and came hungry. We went to the upstairs café – no reservations required and a little more affordable than the downstairs café. Upstairs is a better way to dip your toe in. One of our starters was a beet flatbread ($12), a special that day, with chopped red and yellow beets, fresh crumbled feta, fennel and parsley-- altogether, it made for a flavorful starter – fresh and vibrant. Another starter we had was the baby carrot terrine ($15) with peekytoe crab tabouleh, almond vinaigrette and mango. It was also a thumbs-up… the four disparate flavors danced very nicely together.

My entrée was a cauliflower risotto ($19)-- it’s usually a very heavy dish, and quite fattening; here, it comes with roasted garlic, and lemon confit. I asked the waiter what the secret to its healthfulness was – normally risotto has more butter and cheese than almost any other dish. He said it’s fennel stock and fennel puree that “keeps it all together.” That is admirable and interesting. But I was yearning a bit for the butter and cheese, as this dish, while pleasant (the lemon was a particularly nice twist), had an un-creamy quality that was, well, un-Italian. It was just OK. My friend chose a pasta dish-– angiolotti with delicate squash, watercress, warm mushroom vinaigrette, and an egg on top ($16). This was another flavor foursome, but none of the flavors in this one rose above bland. It sure tasted fresh – just not exciting.

Dessert, though, was the saddest affair. In theory, a Cara Cara Orange & Earl Grey Crème Caramel ($9, with frozen chocolate milk, candied oranges and chocolate butter cookies), sounded great. In reality, the little lump of crème caramel looked like poo. And it didn’t taste much better. Dessert is one place where you’ll really feel it when fat and sugar are cut out – and you’ll feel that here. A special way to sidestep this, though, is with the fresh juice drinks: My citrus punch, with a base of blood oranges and a range of berries, was refreshingly sweet.

Rouge Tomate is uneven-– but you gotta give it points for being ambitious-– it’s truly innovative in following a huge list of health and diet guidelines, and the presentation manages to be high-end and befitting the quite-high price point. Unfortunately, the uneven food, overly-sprawling atmosphere and corresponding spotty service (our waiter seemed very busy running back and forth to give true personal attention) keep this health shrine from reaching the top level yet.

~Stephen Milioti

Rouge Tomate, 14 E. 60th St., between Fifth and Madison Aves. (646) 861.0842

The Verdict:

Taste- 7/10
Looks- 7/10
Value- 6/10
Service- 7/10

Overall ... 27/40

Posted by psychoPEDIA at 05:51 PM | Permalink

Whether sitting front row at fashion week or staying outfitted in the season’s latest pieces, editors of major publications from V to Vogue live and breathe fashion. So, it’s seems completely rational when these ultra-informed figures start to venture beyond prepping the glossy pages and get a hand in behind the creative process: consulting, even designing for, fashion brands. Many fashion editors of late have been coming down from their Columbus Circle and Times Square towers and began consulting for renowned fashion houses, including W editors Alex White and Camilla Nickerson, for Louis Vuitton and Burberry, and YSL and Narciso Rodriguez, respectively, as well as Brana Wolf of Harper's Bazaar for Michael Kors and Versace. Meanwhile, other editors have completely crossed over, such as former Interview stylist Victoria Bartlett of VPL and V fashion editor Patrik Ervell of the eponymous menswear line.

Following suit, former Nylon Fashion Features editor and Washington Post “EcoWise” columnist Eviana Hartman also found herself switching to the other side— trading in her per and paper for a pair of scissors and a sewing kit. Having met co-founding designer Samantha Pleet after being set up on a "blind friend-date," together they developed the eco-friendly line Bodkin, which Hartman now exclusively designs. For having once been called a dilettante, majoring in English at the University of Virginia and dabbling in areas from science and policy to architecture, the winsome brunette has now combined her multi-versed experiences and knowledge of fashion and sustainability to become an Ecco Domani award-winning designer.

In the midst of preparing her next collection for New York Fashion Week, psychoPEDIA spoke with Hartman about meeting her goals and making the transition:

Why do you think many magazine editors have turned designers lately?
Sifting through and curating the work of other people requires a strong eye and distinct sensibility.

Are you more satisfied designing your own collection than being an editor— being on the other side for once?
I am a lot happier right now. This might not be true for everyone, but it started to feel parasitic. For a while that was a great way to learn about the world and where I might fit into it, but after a while it felt like, as Nora Ephron said about magazine journalism, "being a fly on the wall at someone else's orgy." I wanted to be the one actually creating something. I have a palpable sense of industry now, whereas before I spent way too much time on blogs, over-thinking things.

Do you think editors have a better grasp on consumer needs having seen work from a gamut of designers season after season?
When you see a lot of clothing lines, you learn quickly how to separate the wheat from the chaff. But I'm not making things based on an idea of what I anticipate consumers to want— it's very much about what I want, or wish I could find.

What is your line’s ethos and what you’re hoping to provide consumers with Bodkin?
It's important for businesses to make the products and services people use more sustainable, which is why I am starting one. Being alive requires resources, products, services. No matter how much they're saving the world, people need clothes. And often, they need nice clothes as a part of their jobs. My aunt works in Africa for the UN, helping governments care for the disabled. When she came to a meeting at the New York headquarters, she was told that she needed to buy some nicer clothes at a place like Prada. No joke.

What are some of the sustainable and socially conscious materials you utilize in your line?
Organic cotton and wool, recycled PET plastic, recycled polyester, kapok, and bamboo blends. I have used a seaweed blend, as well.

Do you also employ sustainable practices in your day to day life?
Living in New York— where everything is concentrated, local businesses thrive, and it's easiest to get around on foot and by subway— is already a more sustainable way to live. I try to make good choices, but I also don't get preachy, because the onus also lies with business, government, and the energy industry. The "go green!" zeitgeist can mislead people. I buy organic and local food as much as possible, recycle, drink tap water, don't buy household or personal products made with chemicals, and try to avoid buying things that are disposable. I have my power bill designated for renewable energy development (everyone can do that through Con Ed). But I also take hot baths, travel, and sometimes buy new things.

Do you find it difficult to survive in this economy as an up-and-coming designer?
If it weren't for Ecco Domani, I probably would have gone back to having a normal job. I suppose the advantage of starting now is that expectations won't be unreasonably high. But I'm also trying to make clothes for the Obama era— things that are useful and not putting forth an idea of trends or vapid consumption, and not about creating a different look each season or making people feel insecure. I do find that in this economy, buyers want things that have a bit of a “wow” factor, so it's about trying to strike the balance between utility and special-ness to make things that will make getting dressed easier and fun, and a way to contribute to sustainable economic development.

What are your biggest fears and goals in being a designer?
I hope to be able to support myself, and a family someday, by having a viable business that fosters sustainable economic development and positive change in the world. I hope to have the quality and detail improve as I learn more about the business, and to be able to hire people full-time to help execute that vision. My fear is that I have absolutely no idea what I'm doing!

~Leann Peterson

Posted by psychoPEDIA at 04:25 PM | Permalink

During times of economic hardship, like the current one, there are a handful of products whose sales skyrocket rather than suffer. These products are typically dubbed ‘mood enhancers’ because of their inexpensive nature and the ease with which they can enhance one’s disposition. The tried-and-true trend is called the Lipstick Index: lipstick is not pricey, and makes you feel good. But these days, lip color isn’t the only accessory flying off shelves. Hosiery sales are following suit. That’s a good thing for the likes of Hannah Byun, the LA-based designer behind Hansel from Basel.

Reared in Orange County, Byun studied studio art and art history at UCLA before launching her own line of, you guessed it, socks. From short, brightly colored, pom-pom-adorned pairs, to thigh-highs of which Blair Waldorf would surely approve, Hansel from Basel is full of covetable legwear. PsychoPEDIA caught up with Byun to talk Hansel the elf, brand expansions and what mismatched socks say about you:

What inspired you to create the line?
I’ve always kind of worked with hosiery — my father used to manufacture mass-market hosiery lines. I was so frustrated with the bland, repetitive stuff going on. There was no creativity involved. Being someone who is interested in design and fashion, it only made sense to make a unique line that was different from anything else out there. I saw this scarf with huge pom-poms and I thought, ‘I want to make socks with huge pom-poms.’

Where did the name ‘Hansel From Basel’ come from?
Hansel was a character I made up when I was in school. It was a character I would more or less illustrate… he was kind of my alter ego. He was this little elf who did crazy things and went on wild adventures. I thought he would perfectly represent the lighthearted personality of the line. I’m obsessed with Switzerland. It’s one of my favorite countries, and I love the idea of a little elf from a Swiss village, who eats chocolate all day and wears a lederhosen. It’s a general umbrella; when I’m stumped, I’ll ask, ‘What would Hansel from Basel be wearing?’

How has growing up in Orange County and subsequently living in LA informed your fashion sense?
I love the West Coast, the casual elements of it… there’s something about LA that allows me to explore nature. It’s not just an urban-scape; I see a lot of natural, very organic things — plants and flowers — happening around me. Those types of things inspire me so much: the colors when I go hiking, being outdoors really inspires textures and smells that I figure up for a collection.

Do you judge people based on their socks, say, if they’re mismatched or holey?
I’m a sock nerd, but I don’t have very strict sock etiquette. I’m all for people doing their own thing. I love it when people wear mismatched socks; I think it’s really cute. Especially when boys do it, I think it’s endearing. But, holey socks I don’t think I can get down with. That’s just uncomfortable. And socks aren’t that expensive. You can buy another pair.

What is your least favorite style of socks?
I hate those general white socks that people wear: the thick cotton ones. I don’t like cheap socks in general. It’s because I’ve been exposed to the way they’re manufactured. People don’t seem to care about socks. It’s one little thing you can care about and it makes such a difference to have good socks, and not just ones with the gold toe. I’m always interested in something unique and special. I just wish more people were.

Accessories often fare pretty well in recessions. Have you seen this pan out in the hosiery industry?
I have seen that. It’s interesting because all of my fall socks that are on the market now have done extremely well. People really do buy them; we’ve had our stores calling continually to restock. The economy has definitely been helpful… people would rather buy a $30 pair of socks over a $400 dress.

What kind of advice has your father given you in terms of the line?
His specialty is production and manufacturing, so he taught me how to work well with your factories and to create joint ventures — working with them to get the best quality, and to benefit the quality in every way so their workers are happy… keeping a good business face. He really pushes me away from being a shark about pricing, because he’s always been on the other end where American companies approach him and they’re getting their full margins and they really squeeze him. He always lets me know that’s not the way to do it. Working with your factories—I’ve really taken that to heart.

What additions or expansions can we expect in the future?
I’m currently expanding the line to include winter accessories like scarves. They’ll be out this winter, for the holiday collection. I’m reintroducing patters I’ve made in previous season into this season’s winter accessories. If I find something I want to design, I’ll do it regardless of whether it’s a trend or not.

What would you most like to design that you haven’t already?
I’ve always loved hats and headbands, so I would really love to do fun headbands. Things are always changing and I’m definitely looking to expand the line, so… maybe. I’m open to it.

What are your resolutions for 2009?
My new year’s resolutions are very mature this year. I’m trying to save my money for a house to buy in 3-5 years. That’s my goal. I’ve decided this year it’s not about losing weight, it’s not about going to the gym; it’s saving money and getting my life in order and becoming an adult.

Where would you buy a house?
If it were anywhere it would probably be Paris or Switzerland. I would love to live in a beautiful house in LA too. In the Hills.

~Alisa Gould-Simon

Posted by psychoPEDIA at 06:17 PM | Permalink

“Where did all the weirdness go?” the emperor posed upon attending the International Center of Photography's (Avenue of the Americas at 43rd Street, NYC) current show, Weird Beauty: Fashion Photography Now, on view from January 16th through May 3rd.

ICP is holding a cultural, fashion history exhibition of mainly the last two years, as shown in tear sheets and photographs from fashion’s leading magazines. The most notable trend is the prevailing digital coating on so many photos: the possibility of a single hand at play, a unifying sensibility found in very dissimilar artist/fashion photographers. Most of the exhibition’s photos proclaim their creative differentiation while dressed in fashion’s status quo. It is more than a fashion photo exhibition. It is a pictorial study in the relinquishment of responsibility, a willingness to part with sole credit for their work. Paradoxically, the images are created to promote model/product recognition.

A degree of psychological compassion is engendered when the photo displays that old battle of the obfuscated self from the one already defined. Here art is the black hole that pulls one out of an already accomplished terrain. ICP rather well, if not intentionally, documents where fashion photography lies in regard to artistic work and how it is weird that addressing the assigned task -- promoting the magazine in question’s advertisers -- is not the primary concern.

However, when the artist moves to the fashion photographer’s slot, the repositioning has a pragmatic credibility: financial benefits, but the “I am an artist” still holds, for “look at my other work” is always scrawled in one corner of the photo.

When fashion photos show their own identity, not revamped as self-portraits, the artistic-fashion photographer emerges, not as crossover, but one immune to trends: nothing weird about his images, but all so very beautifully clothed.

The exhibition rather cleverly divided the show into many sections, designated with roman numerals, but no material is provided to explain the reasons for the respective divisions, nor why such seemingly gratuitous titling was used. None of the numbered sections has any distinctive components; in fact, each part is a metaphorical compliment of another section: all are different, but do not warrant divisional placement: the analogy to the digital trend is curatorially shown.

~Alan Nadler

Posted by psychoPEDIA at 12:38 AM | Permalink

Boulder, Colorado is as bucolic as one can get without fully retreating to rural America. Thanks to its exceptionally fortunate location (where the Rocky Mountains meet the Great Plains), it’s breathtakingly beautiful. But Boulder’s eponymous creek and iconic flatirons are just a couple of the destination’s many attractions. In fact, it’s home to quite a bit of culture, which enticed artist Dawn Spencer Hurwitz to move from Boston to Boulder with her boyfriend.

In addition to working as a painter, Hurwitz has made a career as a perfumer. Owner of the parent company Parfums des Beaux Arts, she recently opened Essence Studio–- a 1,600-square-foot space, which includes retail, fragrance blending, production, and room for a perfume museum (slated to open later this year). Under the umbrella of Essence Studio, she has conceived a handful of fragrance lines, including a limited-edition and a namesake collection (the latter of which sells at the likes of Barneys New York). PsychoPEDIA caught up with Hurwitz to discern why Boulder consistently tops ‘Best Of’ lists, its most picturesque spots, and the city’s best-kept secret:

What brought you to Boulder?
I actually came for a couple of reasons—one was my health. I’m asthmatic; Boulder is much dryer and there’s a lot more warmth and sun. Also, both my husband and I are artists and we had a number of other artists we knew that were moving here.

How would you describe the city to someone who’s never been?
It feels like a big small town. There’s this height restriction—the largest building is five stories—so no one has an obscured view of the mountains. A lot of attention is paid to quality of life and natural beauty. It’s a really great melting pot: there’s a lot of NYC and California influence. Most people are from the coasts; it’s a town full of transplants. It’s really rare to actually meet someone from Boulder.

What is the best thing about living there?
It’s a geographical phenomenon: we have on average 320 days of sun a year. But we still have change of seasons, which you don’t find in southern California. And, because of that, people are really friendly; people have a sunnier disposition where it’s sunny.

What are you favorite outdoor activities there?
Hiking, even in the wintertime. My two favorite trails are Sanitas and Chautauqua. At Chautauqua, where the flatirons—the icon for Boulder—are, there’s a clubhouse that was started in the late 19th, early 20th century. It houses concerts, poetry readings… it started as an artists’ community. Now you can rent rooms there. It’s ton of open space and all these trails for beginners and intermediate hikers. You can do rock climbing. And there are bike trails. And Senitas is relatively close to town, so you don’t have to go that far. It’s a simple trail. But it’s in the mountains so you can get up to the continental divide and see the high mountain terrain.

What is your favorite indoor activity during the winter?
Going to the Dushanbe Tea House. It’s unlike any other teahouse in the area. Boulder has a lot of sister cities, and it was a gift from Boulder’s sister city in Tajikistan. You can feel the appreciation of the artisans who made it. You can choose from 40 different exotic, beautiful teas that are always changing.

What cultural landmarks shouldn’t be missed?
The Boulder Museum of Contemporary Art is next door to the Dushanbe Tea House, so you can kill two birds with one stone. The Boulderado Hotel—they’re celebrating their 100th anniversary this year.

Which hotel would you recommend for overnighters?
The Saint Julien. The Boulderado is really beautiful, but the Saint Julien is new and is really beautiful and posh. And it has incredible spa services. The Saint Julien also hosts lots of events; they’re very supportive of local musicians. In the summertime, they do BBQs outside and have a dance floor. It’s great.

Where else do you go to see live music?
The Boulder Theater is probably my favorite place to see live music and movies. They’ll play cult films like the Big Lebowski and you can have drinks. And the Fox Theater. Both do bigger acts, but the feel is totally different. The Fox is on the hill where the University is and has more of the college crowd. It’s louder and more raucous. Boulder is a little more laid back, with a bigger dance floor. And the Laughing Goat is a coffee house where you can find more avant-garde poetry readings and really great musicians trying out new stuff.

What’s your favorite restaurant for a luxurious meal?
For a really indulgent meal, John's on Pearl Street. I think it’s one of the only five star restaurants in the area. It’s in a small cottage and feels very exclusive and cozy. They cater to Colorado cuisine like dishes with elk and buffalo. I’ve had ruby red trout there that was spectacular. For a totally different kind of luxurious meal, Organic Orbit is a relatively new restaurant that specializes in local and organic food. They do a lot of living and raw food. Their portions are smaller, but their flavors are really amazing and the setting is luxurious.

What is one thing you can only get in Boulder?
Fresh Boulder Ice Cream: when they’ve just made it and before they freeze it down. It’s so soft and delicious and completely unlike any other texture.

What are some of your favorite smells in Boulder?
On the Senitas trail there’s wild mountain roses that grow. At the right time of year the blossoms of the Poplar tree—that’s another incredible smell that I’ve only smelled in Colorado. There’s also the smell of the Boulder Creek. It’s fresh water that rushes; so, even in the winter it has the smell of the mountains—an earthy, muddy, grassy smell.

What is Boulder’s best-kept secret?
I really love Sushi Zanmai. We have friends there, and they have really great fish. It’s really traditional sushi. For more unusual, more modern sushi, I like Hapa. Boulder has some of the best sushi in the country.

~Alisa Gould-Simon

Posted by psychoPEDIA at 09:04 PM | Permalink

Burton Snowboards is a great example of doing one thing very well: The Burlington, VT-based company has been pumping out snowboards for over 30 years, and has acquired a following of successful athletes like Olympic gold medalist and Burton poster boy, Shaun White, who soar out of the half-pipe at record heights with custom-made decks.

The company, which deals in snowboards and related gear, outerwear and accessories, has the celeb cred. They carry over 50 different types of boards. But is it hype, or true quality? We set our intrepid road-tester up with the new 2009 Malolo ($549.95), and got the scoop:

The reason I choose the Malolo is mainly due to my current level and mind set of snowboarding. Gone are my 22-year-old days of hiking the half-pipe, like my buddy Shaun, or taking on a huge jump in the park at every waking breath. I still like to hit the pipe, yet my love now is powder, powder and more power. Steep and deep mountains, preferably in Jackson Hole Wyoming, Lake Tahoe or Canada.

The Malolo’s length and shape fuses a hybrid of freestyle and freeride performance – allowing me to either take that jump if it comes up or drowning in waist deep powder. The model comes in five different size options; a 149, 154, 158, 162 or 168cm long. Standing high at 5’11 and, um, well….girls don’t disclose their weight, I settled with the 154. Due to the board’s tapered shape I also sized down a few cm’s versus my normal size of 156. (A tapered board is where the width of the board’s nose is wider than the width of its tale.)

Recently, Mt. Snow Resort in Vermont hosted a huge snowboarding contest called the Winter Dew Tour. The top male and female snowboarders converged together in hopes to gain momentum for the 2010 Olympic Games in Vancouver, BC. I decided to make the trek from New York City and see how my board would do in various conditions considering the Weather Channel told me it’d dump about 10 inches of snow over Saturday night, making Sunday a chance to see how the board performed in both fresh tracks and on groomed corduroy trails.

What I found is the Malolo is brilliant for powder days and good for non-powder days. I learned, for my style of riding, I’d prefer another Burton board, a Custom X 56 for fast and icy conditions on the East Coast. That’s not going to prevent me from not riding the Malolo on the “right side”, but to me, it’s made for days epic conditions where a helicopter is involved – whisking me away on my dream experience.

The cost of the board is reasonable too, considering you get more bang for your buck in its versatility. I wasn’t crazy about the graphics, but that can be fixed too! Burton has a custom made online buying option, Series 13 at Burton.com, where you can select any of its models and create your own board graphics, all for around $300 more than the board’s original cost. It’s tres tres chic couture, yet for snowboarders!

At the end of the weekend, I was happy, because all that matters is snowboarding down the mountain and having fun with friends.

~Jessica McMenamin

Overall Rating:
Value – 9
Looks – 7
Quality – 10
Performance – 10

Total ...36/40

Posted by psychoPEDIA at 08:14 PM | Permalink

At the wide-eyed age of two, Benjy Ferree received a Peter Pan Golden Book from his grandmother, never knowing the fantasy figure would remain a permanent fixture in his imagination. “The Darling children, and Peter on top of the cloud looking at Never Never Land— that’s the first imagery I remember,” he expresses nostalgically. Subsequently, he spent his childhood days chasing after neighbors he believed were Captain Hook, and jumping off garage roofs in attempts to fly. While the now-32-year-old, DC-based artist may have given up his aerial pursuits, he now puts his effort into making a rousing blend of Americana and blues-infused folk music.

His debut record Leaving the Next first offered a nod at his childhood hero— featuring cover portraiture of Ferree donning the iconic Peter Pan feathered cap. But more recently, Ferree’s sophomore album Come Back to the Five and Dime, Bobby Dee, Bobby Dee crafts itself as a poignant eulogy to the original Peter Pan, actor Bobby Driscoll, who provided the voice for the character in the classic Disney film. After discovering Driscoll’s tragic story— a child actor dropped from Hollywood’s radar once he grew older, who eventually died alone without a dime due to considerable drug use— Ferree explains, “I just had a feeling in my soul that I was going to make a tribute.”

In tow with the release of his newest album, dropping February 3 on Domino Records, and an upcoming tour with fellow folk-crooner Tim Fite, psychoPEDIA spoke with Ferree to find out more about the imaginative artist:

What moves you most about the life of Bobby Driscoll?
I didn’t know that he died the way he did until less than a year ago. It really puts things in perspective about your own life. It’s a little too close to home, and you realize you’re lucky to be alive.

Are there similar figures you've been intrigued by?
I can’t deny that when River Phoenix passed away, it had a huge foundational effect on my life. I used to study acting when I was young, and I believed of all the boys on the cover of Tiger Beat, he was the one with the most soul. And Heath Ledger— that was a tragic accident. He didn’t want to leave this world. There’s a song on the record called “Pisstopher Christopher” about a friend of mine who died of cancer. The record has a lot to do with life and how we could be gone tomorrow.

Do you feel that the music industry is as hard on young hopefuls as Hollywood?
I don’t really know much about the music industry or much about Hollywood. I just know about people. I moved to Los Angeles to try to be a movie star. It has a serious place in my soul, because it beat me to death— beat the nonsense out of me. But it’s ironic with the economy, there are many artists being dropped from labels, and I’m not. So, the music industry has been good to me.

How do you feel about the phenomenon of child actors?
What if a four-year-old bartended? You’d be dealing with adults swearing or farting, or doing whatever is weird to kids. You have to deal with very selfish adults. For kids like Macaulay Culkin— they have something special, and have a lot of soul. That soul moves people on film, and adults want a piece of them. Don’t get me wrong— if you’re touched by something, maybe you’re supposed to be a star at four. For kids that become celebrities, it’s like they’re destined by the movie gods. But I have no idea what it’s like to be a breadwinner at the age of 10 or 15.

Can you personally identify with Bobby's story?
I’ve never been a movie star before, but the one thing I can relate to is that we were both Peter Pan at one point in our lives.

Do you ever hope to achieve a similar level of fame in your music career, or would you steer clear knowing the trouble that comes with it?
I just want to take this show on the road if I can travel and have enough money to put gas in the car. I can’t afford bio-diesel right now, but as long as I can pay for the shows and make a living at it, I’m not going to turn anything down just to be “indie rock” or “punk.” You can’t be exclusive about who listens to your music. You’ve made it, so you either give it or share it. Otherwise, why are you on stage at the first place? I don’t know how people could get snobby to an audience, because you wouldn’t have a show without them. If people drive a few miles or even walk half a block to see you, you better give them a show. It could be your last day on earth, or theirs, so you might as well make it good.

~Leann Peterson

Posted by psychoPEDIA at 01:06 PM | Permalink

Do twins have ESP? Though not scientifically proven, rock bands featuring a set of twins playing instruments or singing together seem to produce perfectly harmonious music that could very well stem from twin-telepathy. Baffling, yet time and time again, ever so true.

Notable acts such as The Watson Twins, Blonde Redhead, Tegan and Sara, The Breeders and School of Seven Bells all have monozygotic (identical) twins in their posses. The latter group is currently on a worldwide tour in support of their first full-length album, Alpinisms, out on art-infused label, Ghostly International.

School of Seven Bells -- comprised of twins Alejandra and Claudia Deheza and guitarist Benjamin Curtis (formerly of Secret Machines), are known for producing a cosmic-psychedelic zeal of electronic-laden rhythms. Prior to forming the band, the girls played in On! Air! Library!, where they perfected their melodic synch. The twins’ siren-like voices blend as if only one sister is actually singing. Time and again, many are fooled.

During a brief stop in their hometown of New York City, Alejandra and Claudia sat down with psychoPEDIA to share a slice of what makes being musical-twins so profound. In their own words:

You’re both multi-instrumentalists, playing guitar, keyboards and more… when do you first remember playing instruments and singing together?
A: I think I remember the first little organ we had, we must have been three?
C: Yeah, that sounds about right.
A: The first thing I figured out was the vocal line for The Sound of Music! I played that over and over again and tried to come up with this really dramatic and killer melody. It was so funny. I’m sure I annoyed everyone who heard me!

When did you first realize you had a special bond through music as sister-twins?
A: We’ve been singing together since we’ve been really little, so it was one of those things that was never forced – it was completely natural. There was always an air of spontaneity and creativity. We didn’t judge each other. We always played together and at one point we were our only playmates for a while. My dad was an opera singer so there were always tons of classical music records in the house as well. Claudia and I also had flute and French horn lessons for years. It wasn’t ever forced on us. It was always natural.

I’m sure there are moments when you’re performing or in rehearsal where you just have that “look” and something in the music changes?
A: With On! Air! Library! there was definitively a quick, natural and unspoken communication. Then we weren’t in a band in awhile. We were doing our own thing. When we started School of Seven Bells, I had to relearn the dynamism. It comes quickly, but I really feel as though it’s a muscle. It’s something that comes back and you have to focus on it.

When did School of Seven Bells really begin to come together?
A: We didn’t start writing, the three of us together that is, until 2007. That’s when Claudia came up from Florida. That was the real beginning of it. Benjamin and I were working things out on our own, but we really wanted Claudia to be involved and didn’t think it’d be right without her.

How do you write your music? Together? By yourselves?
A: We write things and approach things very differently. I might give Claudia a vocal melody and she’ll put a harmony on it that I could never think of doing – my brain doesn’t even go ‘there’, where and what she’s doing with it. We write so differently, but everything mixes well. The same way, our voices are so very different – we have sound people say all the time when we sing together: ‘Whoa, are both of you singing?’
C: They think it’s only one voice!
A: They’re always so tripped out about it, they freak and say, whoaaa, what’s going on?

School of Seven Bells is good friends with another twin-band, Blonde Redhead, and have toured with them often. How’d that relationship develop?
A: They were really good friends with Benjamin when he was in Secret Machines. When we started School of Seven Bells, we gave them a CD and they liked what we were about. They took us under their wing, bringing us into their practice space.
C: They played on our album when we did the official recording.
A: It’s a mutual respect with them. We really love what they do and they’re really supportive of us and continue to be a part of our lives.

~Jessica McMenamin


First photo by Tim Saccenti
Second photo by KCRFM via Flickr
Third & fourth photos by Natasha Ryan via Flickr
Fifth photo by Guillermo Herren

Posted by psychoPEDIA at 10:18 PM | Permalink

When a sensitive vampire in the midst of a twilight rendez-vous misconstrues an intended love object and kisses instead an Elizabeth Peyton puckered lip painted representation, his normal reaction is “I know you.” That should not surprise any viewer of her work, for the presumably unacknowledged symbiosis between Peyton’s oeuvre and the current teen heartthrob movie money maker, Twilight, screams shared dessert.

This subliminally bill boarded mutualism was well illustrated in the just closed (January 11) one hundred work survey at the New Museum in NYC’s LES, a collection of her work that would hold its own in a fictional double-featured presentation. Peyton is acclaimed as a unified phenomenon: young, hip, connected in the fashion, art, music, moneyed zeitgeist, successful--average selling price being $600,000--yet cautiously aloof in a framed genteel sensitivity, encapsulated in centered edginess.

If Kurt Cobain, the subject of one of Peyton’s countless portraits, went the vampire route or at least contemplated such after a Twilight screening, he would be up to read the exhibition’s title, Life Forever. Cobain’s opulently accentuated red lips mirror Edward, Twilight’s vampire come-on with his finite self-indulged configured moodiness: the clichéd Peyton rendered hypersensitivity does induce an appreciative comfort setting. However, her so very, very Fauve inspired colors, and their inability, even when masterly applied, fail to shake the implied tragic stagnancy from the suggested considerable contemplative capacity her portraits’ subjects are subject to, as they trespass Twilight’s formidable sodden terrain. The difficulty lies in the hackneyed thematic setup, the light FM easy listening beauty of it all and the willingness to like this stuff.

Sensitive, young, sexy, good looking people, smart, even if only so alluded – resultant substantiation, an outer space expectation – are, of course, always welcome by all. Nothing unusual in the film or paintings’ appeal, nothing thematically unique to our time: caught in a bleakness, the sensitive ones only could fathom, held to the fence of sexual want. In Peyton’s case, her subjects are immobilized by an unwarranted roadblock: well dressed malaise, and in Twilight, the misty despair glows in the immediate affiliation between Edward and his never to be loved Bella. No-cavity Edward, the nice well meaning vampire, and Bella, attract arduously to a diligent handshake sexuality, presumably geared to activate consummation, a condition, that is passion, antithetical to vampire logic: if he bites her, his only sexual path as corporeally defined, she is finished, if she sleeps with him, he is root canal. They look good, are singular in their realizations of their uniqueness; however, competition is unknown in their dumpy polluted psycho-tropic drug needy town.

Sexual tease and unrequited want permeate Peyton’s work and yet not a dangled tooth is in sight. A financially secure oversensitivity conveys the disavowed correctness of it all. Their thoughtfully focused lethargy provides a syntactically accepted autoeroticism, if they are lucky. These paintings state they hold firmer ground than a cult teeny bopper vampire film. Peyton unwittingly pictures the viewers’ and her own dissolution in their ease to hold the composite attractiveness, a groupie reciprocity: a blurred twilight continence.

~Alan Nadler

Solo Exhibitions, 2009
Walker Art Center, Minneapolis, MN; February 14 - June 14
Whitechapel Art Gallery, London, UK
Irish Museum of Modern Art, Dublin, Ireland; April 1 - June 21

Peyton is represented by Sadie Coles HQ, London, UK

Posted by psychoPEDIA at 06:53 PM | Permalink

"NYC is probably the most fascinating on the sidewalk; you can say that for Saigon too," says Huy Bui from his apartment in Williamsburg. The Paris-born, US-bred and educated architect's ancestry is Vietnamese. But, it wasn't until a college trip 11 years ago that he first encountered the bustling metropolis that is Vietnam's most populated city: Saigon. The latter, officially called Ho Chi Minh City, is a whirlwind of intoxicating colors, flavors and sounds, to hear Bui describe it.

"I would move to Vietnam just for the food," Bui adds, which is fitting considering he is in the process of putting the final touches on An Choi, an authentic Vietnamese eatery he'll open with his brother in the Lower East Side at the end of this month (ideally in time for the lunar new year). Channeling Anthony Bourdain, we dove in food first to the best Saigon has to offer, with Bui as our guide. Also on the itinerary: touring the Viet Cong's underground tunnels, a water puppet show, and uncovering the city's best-kept secret.

First off, do you say 'Saigon' or 'Ho Chi Minh City'?
That's a great question I refer to it as Saigon, but technically you can say Ho Chi Minh City. In the backdoor and underground everyone calls it Saigon.

What were your first impressions of Saigon?
I'd never seen a city so dense in my life. In New York, you feel that it's dense. But a lot of people are underground so it's [partially] invisible. Everyone and everything is on the surface in Saigon. Nothing is underground; people, motorcycles, cables are all in your face. And, Saigon doesn't go up really high in terms of buildings, so everything is at eye-level, which I find really fascinating. And, each time I've visited, I don't recognize it. It changes before your eyes.

What's the best way to get around the city?
The two things that define Vietnam are the scooter and the street food. So, a scooter is definitely the best way to get around.

Do you need a license?
No, you don't. It's laissez-faire. Anything goes. It's insane, so scary, and so much fun.

What's a good place to start?
The Ben Thanh Market is a tourist trap, but it's a great place to enter into Saigon. You have everything in this market— street vendors selling antiques, lacquer wares, food… it's just one chaotic outdoor shopping mall. If you're a tourist they will charge three-fold the price. So, if you do go there, bargain like crazy.

What are your essential dishes and staple restaurants in Saigon?
One is called Quan An Ngon, which means delicious eatery. The décor is French Vietnamese tropical, but they invite all these street vendors to come in the restaurant and share different dishes. It's street food, but it's served in an elaborate setting. You'll see a lot of beautiful people here – models, Viet Q or Gov. officials. It's very reasonable. You have to have beef noodle soup, also know as pho. That's the most celebrated food in Vietnam, but, at the same time, it's the cheapest and the most peasant-like food. It's so simple and so tasty. There is this amazing restaurant, Tib… I hate to brag about this, but even George Bush went to this restaurant. It's high-end Vietnamese, imperial-style cuisine influenced by Hué—the old capital city of Vietnam. I love the Ca Kho Tho—a traditional clay pot with fish simmered in caramel sauce. They have like 30 line cooks and they have 2 people who are just dedicated to heating up the clay pots and serving them right at the perfect temperature. It's so authentic, and it [is decorated with] a lot of beautiful old artifacts and ancient Chinese scripture.

How would you describe Saigon's nightlife?
There's a lot of stuff to do; Saigon has lots of bars and clubs. The Q Bar is pretty popular, especially with ex-pats and Vietnamese Americans. The local Vietnamese have a label for Vietnamese that are overseas: 'Viet Q.' If I were to walk in, they'd call me a Viet Q, which is where the Q bar gets its name. There's also this new one I like that's called XU Restaurant and Lounge. It's a bar-slash-lounge on the ground floor. That's a great, chic place. It attracts a lot of local business people, and there's a model agency that's not too far away, so it attracts the flair of Saigon.

What's a good place to stay?
I've stayed in that's very French is the Majestic Hotel. It's in District 1, which is kind of like the downtown of Saigon. They have their own version of Rodeo Drive. It's touristy, but it kind of reminds me of Nolita. There's also a cute place, which is kind of a boutique hotel, called Indochine. It's really, really cute. There are only like 10 units in that building.

What's a good way to bide one's time in between meals?
There's the Opera House: it's kind of a like a mini version of Notre Dame. It's so cute. The Reunification Palace, which was the equivalent of the White House back in the day. It's a little bit of art deco, French imperialist; it's beautiful and has been preserved since the fall of Vietnam. It's the biggest tourist trap, but so worth it. They've kept it exactly the way it was. The Water Puppet Show is something you have to see. I've never done it but people always say you have to see it. There's a really amazing pagoda in district 10 called the Vietnam Quoc Tu Pagoda. There's a rather sizeable Buddhist community there. It's a great place to go. There are also the Cu Chi Tunnels. They're about 45 minutes outside of Saigon and really cool. If you do one Vietnam War-related experience, this should be it. You actually get to go inside this labyrinth of tunnels that the Viet Cong dug to smuggle goods and weapons. You can go through some of the tunnels and see the tactics that the Viet Cong employed. It's very scary, but, when you think about fighting a war on foreign turf and someone saying, 'home team advantage,' this is what they're talking about. Besides that you can actually shoot a couple of rifles or an AK-47 there, which is frightening. But, if you want the experience, you can get a ream of cartridges for $3 or $4.

Did you shoot a gun there?
I did. I shot an AK-47. It was like death. You just felt something so powerful in your hand and when you shoot it, it happens so quickly. It was a really eerie feeling to shoot a gun, and one that was used by the Vietnamese against the Americans. I just can't describe it.

What is Saigon's best-kept secret?
Getting the courage to rent a motorcycle or a scooter and to drive it at night. Don't drive during the day because you're going to get killed. You can rent a Vespa for $5 to $10 a day. Overall, it's a pretty safe city, and you can really cover a lot of ground in the evening. It's so pristine and quiet [then]. That's my favorite thing to do. That's when you can find all the street food vendors—late at night. They're open 'til 4am and they'll serve all these backdoor, street soups. You really feel the pulse of the city. You'll see the kids going out. They'll get drunk. They'll try to cure their hangover with soup. You can hear motorcycles racing. The evening is a great time to experience Saigon.

~Alisa Gould-Simon

Posted by psychoPEDIA at 06:03 PM | Permalink

In order to understand The Libertine – the stuffily-named new restaurant at the new Gild Hall hotel on Wall St. – you need a little backgrounder on the hotel itself. It’s owned by Thompson Hotels, a company whose first venture, 60 Thompson, was a testament to late-‘90s tech-driven moneybag chic, with its private passkey rooftop lounge and velvet rope outside.

Times have generally changed since then, and things have toned down. Gild Hall reflects that in its general look – it’s more grown-up than 60 Thompson ever was, with less focus on show and more on details. And the design has also matured, courtesy of designer Jim Walrod: bright red walls contrast with huge white wall moldings for a Federalist-goes-mod look; the rooms have thick, substantial leather bed headboards and a splashy mix of prints; and a bi-level library bar featuring stately wood tones contrasted with swoopy seating surfaces, for a perfect yin-yang.

The restaurant lies within this style, with a tony-pub feel – though, as it’s Thompson’s wont to attract celebs, they got about as big a food star as you can to run the place: chef Todd English (responsible for tons of big restaurants in the U.S. and throughout NYC, most notably in big hotels, like Olives at the W Union Square). And it’s no small operation – it’s a bi-level space meant to recall swinging-‘70s London clubhouses with its ironically-old-school portraiture on the walls, rubbed-bronze accents, velvet chairs, and red leather banquettes over trippy Oriental rugs. And lots of bookshelves with books that look frequently-read and tattery-eared.

While he’s extremely attractive and TV-photogenic, and a brilliant businessperson, English is not known for taking huge culinary risk in his menus, and this place is not an exception. But what’s there is fun: cheeky, high-rent takes on hangover food, courtesy of executive chef Eben Leonard. Two really tasty examples of that are caviar sliders ($20) with quail eggs and crème fraiche, and a Kobe hot dog ($18) – both of which were expertly rendered. These smaller bar-style plates are the draw.

Sadly, the main course wasn’t as much of a hit. After chowing on the above, my friend ordered a rack of lamb and Moroccan shepherd’s pie ($28) for an entrée, and I had the roasted sea bass with grilled corn and salsa verde ($24). The lamb was bland and the Moroccan shepherd’s pie a little too minty-tasting, and the sea bass was just fine but very forgettable, with the salsa not enough to float it above average.

The service was OK. When we asked what a good wine might be to complement our meals, the waiter said “It really depends on your mood” – and he wasn’t being playful. He was serious. I asked him if he meant before or after my daily anti-depressant pill. That sort of started things downhill, and he did not really say much after that.

The overall verdict is that this is not a place I’d recommend people cab specifically down to the Financial District to have a full meal at. But if you’re down there and you want a “reinterpreted” pub snack and a cocktail, it’s more than good enough for that – and if you’re a design buff more than a foodie, you’ll be downright pleased.

~Stephen Milioti

The Libertine, 15 Gold St. (at Platt St.), 212.785.5950

The Verdict:
Taste- 7/10
Value- 7/10
Looks- 8/10
Service- 6/10

Total ... 28/40

Posted by psychoPEDIA at 03:02 PM | Permalink

Melissa Coker is the ethereal, delicate-featured blonde who, besides being easily mistaken for Calista Flockhart's younger sister, is the creative force behind the LA-based label, Wren. It’s a collection of sophisticated silhouettes with sunny California whimsy, seen on the likes of Katie Holmes and Kiera Knightly.

For a line still in its infancy (recently passing the year and a half mark) that was first snatched up by taste-making boutique Opening Ceremony and has since made its way to Barneys and Neiman Marcus, it comes as no surprise that before starting her own label, Coker packed a wealth of fashion-industry experience into her 29 years: interning at Helmut Lang, recruited to be a trend forecaster, styling photo shoots and working in editorial at Details and Vogue (where she assisted Andre Leon Talley, who now sits front-row at her shows), and designing for major commercial markets at Old Navy and Forever 21.

It also doesn't hurt that Coker also has the support of her friends-– singer Sarah Sophie Flicker, model Karen Elson, art director Julia Restoin-Roitfeld, socialite Margherita Missoni, and DJ/muse Harley Viera-Newton-– all style mavens who star in her lookbooks.

To find out more about this bird-like beauty, psychoPEDIA got behind the scenes with this over-achiever:

Seeing that you have immense fashion-industry experience, from which did you take the most influence and skills?
I try to have a mind for the editorial in the way I present things, so that has always been a big influence. The time I spent doing trend forecasting was probably the most formative. I traveled all over the world, worked with amazing and inspirational people, and learned so much about everything from graphic design to color to finishing.

Being that you've worked in both designer houses and mainstream brands, where does your line fit?
I hope somewhere in between. I like the idea of having a refined aesthetic but still being accessible.

You use many of today's style-setters in your lookbooks. Are they also muses for the clothing you design?
I have chosen specific girls to be a part of what I'm doing because I like that they have their own, very defined aesthetic. They are all characters, and I really respond to that. I am inspired by the childlike fantasy in the way that Sarah dresses or Karen's other-worldly, Victorian beauty. Tennessee Thomas, an early Wren model, has definitely been a big inspiration on the latest collection I've been working on. I love her quirky, winsome English charm and style.

Who are some of your own style icons?
As a teenager, Kate Moss was certainly the biggest. My grandmother has always been a big influence, as well. Other than that, I've liked specific movie moments. Catherine Deneuve in the Umbrellas of Cherbourg, Goldie Hawn and Julie Christie in Shampoo, Mia Farrow in Rosemary's Baby, Auntie Mame for being so over-the-top. To color-coordinate your rooms to your clothes...sigh. I just watched Desperately Seeking Susan again recently. I've always loved how Madonna looked in that movie.

Do you find that being LA-based gives your clothes a different attitude than New York designers?
The attitude of my clothes is playful, with lots of color and quirk. New York has such varied talent that I feel like those sentiments are reflected by a few designers there as well.

As your line is named after a doll dressmaker in a Dickens novel, would you ever design clothes for dolls-- especially now that Louboutin is making special shoes for Barbie?
Not so much dolls, but I'd love to have a children's line. Suri Cruise as the lookbook model.

What's the inspiration behind your next collection?
Birds of Britain.

Since you once acted as a trend forecaster, can you tell us what styles will be big in '09?
Shine for day, and pretty, ladylike textures like lace. More high-waisted things and lots of skirts.

Do you have any New Years' resolutions?
I'm a bore. All the old standard things: try to exercise, eat right, work harder.

~Leann Peterson


All photos courtesy of Melissa Coker

Posted by psychoPEDIA at 01:33 PM | Permalink

Los Angeles is chock-full of iconic hotels. But few are as legendary as the soon-to-debut Andaz West Hollywood, which is the fourth incarnation of a hotel long known for housing raucous rock n’ roll legends. The Sunset Boulevard seated sister location to the Andaz's Liverpool locale began as the Gene Autry Hotel in 1963, before being sold in 1966 and subsequently leased in 1976 as the Continental Hyatt House. During those two decades, countless guest escapades helped establish the lore than eventually lent the hotel its nickname - the Riot House. During Led Zepplin’s stay in the mid-to-late 1970s, drummer John Bonham reportedly took to riding a motorcycle down the hallways. Keith Richards dropped a TV out of the window of room 1015, Little Richard took up residence in room 319 for much of the 80s and 90s, and Jim Morrison lived there until he was evicted for hanging out a window by his fingertips. Robert Plant once screamed “I am a Golden God!” from a hotel balcony, inspiring the memorable scene in Almost Famous (which was likewise filmed in part at the hotel). Even This Is Spinal Tap filmed its tour finale scene on the hotel’s rooftop.

While rock n’ roll history runs thick throughout the walls of the hotel’s 257 rooms (20 of which will debut as suites this Thursday), the new Andaz West Hollywood is significantly more high fashion than flophouse chic. For instance, take the staff’s attire, which comes courtesy of LA-based designers Vince and Velvet by Graham & Spencer (think sumptuous fabrics and form-flattering styles like a flowing, open-back black dress with a bow at the small of the back—a refined take on 70s rocker style). The hotel’s restaurant, RH, likewise pays homage to the spot’s infamous past with its name, but, inside, the digs are more fine dining than dive. French-trained chef Sebastien Archambault, who trained with the likes of Alain Ducasse and Guy Savoy, is at the kitchen’s helm, while architect and interior designer Hal Goldstein is responsible for the metal, stone and glass-accented interior.

While the Andaz’s UK location has garnered headlines for unique features like its “Reader In Residence” program (where Damian Barr, a journalist for The Times, will quite literally read you a bedtime story in his pajamas), as well as for its “Silent Cinema” program (movie projections where viewers wear headphones). The Andaz West Hollywood is working on a slew of different initiatives—though they’re not saying ‘never’ to bedtime stories or silent movies just yet. Specifically, the hotel’s focus is on showcasing local talents, be it established or up-and-coming. In other words, the hotel will double as a live music venue and an art exhibition space once open. While the Andaz won’t reveal any confirmed acts or artists as of yet, one can rest assured the roster list won’t be anything to scoff at.

Meanwhile, to those eager to get a taste of Andaz’s amenities but not LA or London-bound: don’t fret. Subsequent stateside properties— Andaz Wall Street and Andaz Fifth Avenue—are slated to open later in 2009, while the Andaz Austin is expected to be up-and-running come autumn 2010.

~Alisa Gould-Simon

Posted by psychoPEDIA at 08:50 PM | Permalink

Ask any fine artist what their subject matter relates to, and often, the answers range anywhere from nudes and abstracts, to landscapes. So, when we found out that Nicole Momaney's chosen oeuvre was pet portraiture, our interest was piqued.

Momaney, who received a BFA from the Massachusetts College of Art, has taken the genre further than we ever imagined, producing exquisite multi-tiered compositions of animals in her Painted Pet Menagerie collection. Anything but going the trite Hallmark route, her imagery has an edge to it, recalling Henri Rousseau with a (loving) splash of Francis Bacon. The fact that these works merit being displayed in galleries is liberating pet owners, who now can publicly declare their unabashed love for their pets on something other than a cheesy collectible plate.

Nicole recently located to the West Coast from Brooklyn with her cat Panda, and was kind enough to shed some light on her chosen field:

Before we came across your awesome work, pet portraiture called to mind commissions by stereotypically crazy and demanding cat owners. How did you get into such a specific genre?
It started out as a joke, actually. In New York, I worked for a home decor company called Jay Strongwater. While I was there, I painted a lot of animal figurines and I totally loved it. One day I was blathering on, wondering how could I possibly make money by painting animals outside of this particular job? Well, I could paint people's pets! Ha! That would be hilarious, right? Well, my friend Grace thought it was a genius idea and went on to tell me about a woman in the West Village who had a studio on Hudson. She was clearly making a fine living as a pet portrait painter, so I thought I'd give it a shot.

How many portraits have you painted of your cat Panda? Was she 'your first?'
I've only done one portrait of Panda and she was my third painting. I had two commissions right off the bat and I couldn't wait to finish them so I could paint her. Panda definitely lends herself to imagery I genuinely like and she's totally beautiful. I haven't done a second one yet because I'm a really SLOW painter...like 40 hours to finish an 11"x14" painting ... so I need a good chunk of time for it. Plus, I just got Dakota (my new lovely American Eskimo dog) so a painting of her will come before a second Panda.

We've seen a picture of your new puppy Dakota who is ADORABLE and incredibly photogenic. When you were picking her out, was that something in the back of your mind?
Of course! It wasn't entirely the basis of my decision, but I wanted a dog I found attractive. It was also important to me that I adopted rather than bought a dog. Craigslist brought us together. The family who owned her felt she wasn't getting the attention she needed living with them, so now she's here getting all kinds of attention from myself and my boyfriend!

Are there other artists who inspire you? I really saw a little Bacon and Rousseau in your work…
There are a TON of artists that inspire me! I'm actually slowly but surely working on my own personal paintings these days and I think the influences are more obvious there than in my pet portraits. But some artists I love are Schiele, Bruegel, Durer, van Eyck, Vrubel, Sargent, Klimt, Caravaggio, and Mucha...and yes, definitely Bacon and Rousseau. Current artists I love include Liz McGrath, Joe Sorren, Colette Calascione, Korin Faught, Scott Musgrove, Lola & Chris Berens.

Do you listen to music when you paint?
I do and I like the moodier stuff like Sigur Ros, Earth, Max Richter, Tindersticks, Spiritualized, Nick Cave, Dead Meadow, Six Organs of Admittance, Slowdive...do I sound dated yet? It's easier for me to focus with music that is less vocal driven (yeah, I know, but Nick Cave & Tindersticks are like home to me so they don't count). I also like to listen to This American Life and Joe Frank, who was a radio personality for a long time. He's my favorite...a lot of sex, religion, dark humor, stream of consciousness story telling. Sunday nights WNYC AM station at 11 PM they rerun his shows. Genius.

Are you in touch with other animal portrait people? Is there a community?
Ha! Well, I actually reconnected with an old college friend and his girlfriend was getting into it. She's awesome, we run into each other at parties and chat. I tried to give her some advice on the "business," whatever that means. Besides her, there's a girl named Alexis Trice who lives in Brooklyn and went to Pratt. I've never actually talked to her but she seems really cool and I like her portraits. I'm sure people who do it are aware of one another, but not necessarily communicating. I'll have a reaction along the lines of "Wow, you're cool and you do this too?! Let's be friends!" when I come across someone like-minded in pet portrait painting. But usually when I look at people's websites...well, let's just say pastels & cray-pas are major tools in their art box.

You've incorporated Milk Bones and tennis balls into your paintings. What is the strangest item a client has asked you to include?
The strangest item wasn't exactly an item, it was an outfit. I did a painting of a puppy dressed in baby pajamas! The dog, a whippet named Zipper Jet, was wearing a onesie that was light blue with little bears all over it! It was totally hilarious. I actually really like that painting.

What's the most unusual animal you've been asked to portray?
Nothing out of the ordinary yet, but I look forward to a potential bird or lizard. My only house rule is no guinea pigs. I should probably put that on my website.

You recently moved to the West Coast from New York City. How's that been?
Well, today it was 70 degrees and sunny, does that answer your question? Honestly, it took about a year, but I quite like LA now, although I miss New York so so so much. I think of it like a long-lost love. Others come after and you like them, but you always come back to the one that got away. I'll move back eventually and in the meantime I'm enjoying the weather and the friends I've made here.

Do you have a dream celebrity pet client?
Paris Hilton, because I know I would get so much work after doing a painting for her. Plus, she'd want some glitzy pink sparkly stuff and I think it would actually be kind of fun. It's not exactly about high-mindedness.

Oh, and what the hell, I'll never get a better opportunity to ask this question in an interview: What sort of dog should Obama get?
I think he should get a Puli. They are totally crazy looking and smart. Either that or a deodorized skunk, I'm pretty sure skunks are hypoallergenic.

~Abbey Braden

Posted by psychoPEDIA at 03:33 PM | Permalink

When most people think of Holland, they think Amsterdam, tulips and prostitutes. It’s very likely those folks have never heard of the Dutch town Arnhem. That is, unless you know fashion. Because ever since Arnhem Academy of the Fashion & Arts (artEZ) graduates Viktor & Rolf had their breakthrough in the fashion industry, all eyes are on the town -- and there’s a lot more to the place than the geeky designer duo.

The Arnhem-based artEZ arts academy has the highest standard and selection of talent than any other Dutch art institution. Spijkers en Spijkers, People of the Labyrinths, Viktor & Rolf -- all have their origins in Arnhem. So does fashion designer Maaike Mekking. She spent five years at artEZ and left Arnhem for London soon after graduating. After four highly-anticipated catwalk shows during London Fashion Week, gaining international press coverage in i-D, Nylon and Zoo, this lady is set to rock the world as Arnhem’s latest fashion darling.

psychoPEDIA got Mekking to confess what she misses most about her time in Arnhem and where to bump in to the next Viktor & Rolf:

How would you describe Arnhem to an outsider?
Unlike London, it’s green and in the summer you can cross the bridge to cycle to the lakes and swim with the cows! And although Arnhem is fairly small, there is great creative energy. I really liked the intimacy of the town, and the fact we created our own events if nothing was happening. It sometimes seemed a bit too small, though that is what makes it charming and it increases the focus on the arts.

What is your favorite part of Arnhem?
I loved swimming in the Meinerswijk, the lake I mentioned before. Or going to Sonsbeek Park to read. I also loved going for pizza at De Blauwe Hoek on their discount evening with classmates when working late. Most of all I loved the shared house on Boulevard Heuvelink I lived in. We shared it with an amazing mix of people that studied music, graphic design, dance, fine arts... Herman Brood used to live there too.

How would you describe the fashion scene in Arnhem?
It’s small, but oh so refined. Thanks to the brilliant fashion department at artEZ it attracts new young people each year and is the home of many talented designers such as Spijkers en Spijkers, and the amazing shops Humanoid and Coming Soon [by Yohji Yamamoto]. And although Viktor & Rolf are based in Amsterdam now, they once were notable locals. So was Alexander van der Slobbe, Spijkers en Spijkers and Jan Taminiau, who were actually in my year.

What are you currently working on?
My A/W09 collection: designing, fabric selections, pattern cutting and preparing for fittings. I am also working on a project called ‘N O W’, which is a platform for young designers. We are currently in the process of preparing a presentation for A/W09 London Fashion Week. The result is completely different from the conventional catwalk presentation, an ongoing theme in my work.

Tell us something about Arnhem that tourists may not know about.
The Museum of Modern Art is worth a visit, and the permanent artwork on the bridge over De Rijn is nice to see at night when it’s lit up.

Where do we go to spot the newest local designers?
You should go to the monthly parties like Konijn 2000 and Luft, or local nights when DJs Tricky Disco spin their vinyl. Or visit the canteen in the art school during lunch hours.

What should culture vultures take in on a trip to Arnhem?
Visit the Fashion Biennale coming up this year -- you will spot all the new designers! But otherwise eat the best homemade Dutch “appeltaart” apple pie in Vrijdag, check out the music selection in record shop De Waaghals, walk along the river, go to the museum and Sonsbeek Park. Humanoid and Coming Soon remain my favorites for clothes shopping, as well as Super Duper Vintage on the Rijnstraat.

Tell us more about the Fashion Biennale.
It’s a well-known international fashion event, set up by artEZ and the council of Arnhem. Every two years you can spot the newest cutting-edge talent during an exciting event where fashion is presented in unconventional ways. The next Biennale edition is in June 2009, you have to go visit it!

Other than clogs and windmills, Holland is famous for its cheese – where do you find it?
There’s one really good cheese shop: Het Zuivelhoekje on the Steenstraat.

Do you miss any typical Dutch stuff now that you’re based in the UK?
I miss the Hollandse Nieuwe! It’s a Dutch specialty, raw herring typically eaten with raw onions. And there’s the swimming outdoors in the summer, which seems to be impossible in London. I miss the green surroundings, after living in East London for so long.

~Freddie Janssen

Posted by psychoPEDIA at 06:10 PM | Permalink