Lx Magazine, Illuminating Luxury » Fashion Spring12

An Interview with Stevie Boi

ashley — Mon, 18 Feb 2013 20:53:11 +0000

An Interview With Stevie Boi Through Rose Colored Glasses

Interview By Chelsie Roberts

Model MC Kato

Stevie Boi (pictured right) sits in his Baltimore loft where he has been preparing for fashion week. Even his casual sense of style is dashing. He’s wearing a red shirt with an “M” emblem and a cowboy hat.

C. I love your hat.

SB. Thank you. I got it from a thrift store.

C. Tell me a bit about where you come from.

SB. I’m originally from Georgia. My parents are military so I got to travel the world. I kind of grew up everywhere, but this is now my home. This is where I became independent, got my own place.

C. Why did you choose Baltimore?

SB. I was living in Bel Air in Maryland and I decided to move to the city to get more into the artistic scene, because I heard the art scene down here was crazy.

C. Were you already designing?

SB. No I didn’t know what I wanted to do. I was actually at the time in music, which was working really really well, but I just randomly got into design out of nowhere. I mean, I was designing beforehand but it wasn’t anything serious. I never physically sewed anything. It was done over the internet. It was shirts like this with the M (he points to the shirt he is wearing made by Rebel Youth.) Somebody made this for me. I was just doing stuff like that, screen printing online; then I decided that I was going to get into accessories and I created the eyewear.

C. You’re designing clothing now as well as eyewear?

SB. The clothing that I’m designing at the moment

—I’m doing work on a new collection entitled 54 which is basically staged after studio 54 and it’s really supposed to be club apparel—lots of glitter, lots of sparkles and spikes. It’s definitely like is very Grace Jones meets Richie Rich. It’s a lot of youthfulness and fun too.

C. Back to your early designs, what was your ah ha moment?

SB. I think honestly the first day I got my glasses featured in a magazine is when I knew that it was going to be something big, because it was on the person I always wanted it to be on. I was like, “I want to be on Eva Marcille Pigford.” Literally two weeks later it was on Eva Marcille Pigford. I had no connection with her; I knew none of her people. I just get a phone call overnight, literally as I was praying about it and someone was like “Hey, I’m doing a photo shoot. I want to use your stuff.” I sent it to him and he was like by the way it’s for Eva Marcille Pigford. On top of that, she was on the magazine cover with my stuff on.

C. Did it just blow up from there?

SB. It did. Everyone needed to know where to get them from. I had all of these random interviews and then Gaga contacted me and it went to a whole different level—hundreds and hundreds of sales just in one day.

C. Lady Gaga wears your designs. What other celebrities have worn them and who would you like to design for?

SB. I would love if Grace Jones wore my stuff. She’s my biggest inspiration; I just designed some stuff for Madonna, also Katy Perry, Elton John and Rihanna. I’ll always read the press and Gaga’s clearly the top person because she’s the easiest to work with in the aspect of letting me do what I want to do. and you have like rappers Mickey Manage, and Trina, Rick Ross. I have a whole list. Amber Rose, Kreayshawn, there’s lots of people.

C. There are many icons that are well known for their glasses: Jackie O, Iris Apfel, Carrie Donovan, have you thought about designing tribute glasses for anyone?

SB. I already have, especially Jackie O, I definitely did some of those but of course I added a Stevie Boi twist to it.

(A cat runs by.)

Oh look at my cat! She’s really fat. I rescued her from the shelter.” Her name is Kuro. It means black in Japanese.

(We talk for a bit about Kuro and then talk about the fact that he is very close with his family.)

C. Have you designed any pieces of fashion for anyone in your family? Do they wear your designs?

SB. I come from a very strict southern family. The answer is yeah, but you know they don’t really wear it. (He smirks) They don’t really have that factor that I have. Like I have that I’m not scared to walk down the street wearing a trash bag factor and I’ve done it before. They don’t have that.

C. Has fame affected you? Do you think you’ve blossomed from it or has it been difficult at times?

SB. I think my fame has affected other people. You know with fame comes so much. With the word fame itself people always just jump to conclusion of being popular when it doesn’t even really mean that. […] It’s just a lot of stress that comes with it. You lose a lot of great relationships. You lose bad relationships that you didn’t even realize were bad up until then. You learn a lot about yourself, but it definitely builds your character.

Everyone knows that I want several Lamborghinis. (He chuckles and smiles) I’ve wanted that car ever since I was living in Germany. As a little kid I would see them all the time. By the way a Lamborghini in Germany is like a Porsche to America, I’ve always wanted one, but any who—as you can see I just really love Lamborghinis. I want an endorsement with Lamborghini. God please give me an endorsement deal with Lamborghini. Diablo edition please! (He puts his hands up and closes his eyes and then looks upward smiling and joking.)

C. It seems like you’ve stayed very humble through all of this.

SB. You gotta be. I’ve been around a lot of successful people that don’t have anything. They are not humble. No one wants to see that. You can’t lose that humbleness, a piece of that humble pie.

You can learn more about Stevie’s designs at www.stevieboi.com

Behind the Lens with Fadil Berisha

ashley — Tue, 12 Feb 2013 16:28:41 +0000

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Behind the Lens with Fadil Berisha

Interview by Chelsie Roberts

He’s one of the most influential and iconic photographers of this era. Upon talking to him about beauty, it’s obvious to me that he gets it — beauty that is; not just beauty in the classic visual sense, but the vibrant beauty that shines from within his subjects. The kind that only they truly understand about themselves. Somehow he reaches into the subject’s heart, takes all of their inner beauty and uses it as his medium to create his artist’s color palette. Then from there, he uses their hues, tones and shades to paint a picture with his camera. The way he communicates his art through the viewfinder, to the lens, to the mirror and to the covers and pages of glossies and ad campaigns worldwide is simply stunning. Enjoy.

C: Let’s talk a little bit about you personally. What path led you to become an artist of photography?

F: My family is from Albania. I was born in Kosovo. At age 8 or 9 we left Kosovo to go to Italy then to New York. I graduated from Linden New Jersey High School and finished college at the Fashion Institute of Technology studying first, fashion merchandising, then showroom sales.

I ended up working for a photographer and I became a stylist. I started this amazing shoot with two twin male models. She was not into shooting that day. She was in love with this guy and she was not focusing on the pictures at all. I was behind her getting all excited because every time the model would turn a certain way she’d miss the angle. I saw myself jumping and yelling and getting really upset with everything. All of a sudden, I said to myself, you know she missed every angle. I can’t believe that this happened. I wish I had a camera — I would have taken the pictures myself. At that moment something lit up in my head. I went wow, could I be a photographer? Talk about finding yourself. In that moment it was like a light bulb. I said, can I borrow your camera for one second? I had never looked into a camera before. I never thought I would be a photographer. I’ll never forget this; I directed the model and I snapped the picture and found the power. The next day I packed my bags and moved back to New York and switched my courses to photography. I think it’s about your eye, not about the camera. You’re born with talent. I don’t think you can just become an artist.

After that I started to work in restaurants in New York waiting on tables and bartending. I started shooting all the waiters and waitresses. Everybody was an actor or model, so I started to book that way. Finally one day I said I can’t do this anymore. I went to work in New Jersey for photographers cleaning walls and floors and doing things to be around photography. That’s when I finally got my own small little room.

One of my first models was Denise Richards at age 16 and I’ll never forget those big blue eyes of hers. It was Rebecca Gayheart the same day in Jersey. Then I started Diana Ross’ daughter, Tracy Ross and Troy Beyer; all these first faces, all from New York. Wilhelmina models contacted me and I started testing for Wilhemina. I’m still friends with the bookers there and work for them now as a client. It came all the way around. It’s the same as far as my studio goes in New York City, it’s funny how the world works. I was nervous to move back to New York because I was so famous in Jersey. I would come to New York and become like a little mouse and run back with my tail between my legs because I would meet the other artists and would feel not so great. I would want to go back again where I was more famous. It took a lot of nerve to come back to New York, to actually make it here. The story is amazing because I went on the balcony of my studio and looked across the street and said, Oh my God, my first studio was on this block right across the street. It was a small room and twenty years later I come back with three floors and I said to myself, it is funny how the world works. I came back full circle and took a whole building.

C: You say that you didn’t feel as famous in New York compared to New Jersey. Did other artists influence you? Did they push you to be better?

F: I think you can’t be scared – you have to be able to be ready for change. I wasn’t challenging myself anyway. I wanted to be as good as they were. You almost feel like, oh my God, maybe I’m not good enough to be here, but then once you move in and start moving up the ladder, you become like them, even better. That’s the great part of being in America. It’s a great story because I started shooting to make money. Either you work in a restaurant or you start shooting things like children and weddings. I always tell everyone it’s okay to do that. It’s probably the best thing to do, because it makes you stronger for something else later. I shot the first large size model for Ford Models. America was not used to seeing large sized pretty. I remember someone saying to me how do you see this as beautiful? I said, look I’m not trying to make her look skinny – I’m only seeing her beauty and bringing that out. Photographers made fun of me. A few of them said, I can’t believe you’re shooting large size models. Those same photographers, quite a few of them ended up selling me their lights to pay their bills. In reality you can take a sixteen-year-old girl and make her look beautiful. She’s already beautiful, but can you take someone else, find the beauty within them and bring their beauty out?

C: Your work stands out from other fashion photography. There’s a playfulness and happiness from your personality that shines through when you are shooting. Would you agree?

F. Absolutely. My work is about beautiful feelings inside a person. I feel that when I am shooting I’m actually inside pulling all of these great feelings out. I hate to see anything that is sad. I like to see beautiful things and make people feel good. That relates in the photos. It has to have feeling. If there is no emotion then there is no picture for me. Even if you look at the heroin chic time; it was a very sad time to see fashion for me. It just destroyed me because I don’t want to see life that way. It’s really sad and I think sometimes that probably comes from the artist of photography them self. The unhappiness – the darkness within them translates into the other person and that’s how they see it. That wasn’t who I was. We were trying to be fashionable in those times… it was a fashion thing. I tried to do it and it never worked. I would do heroin chic and do it too pretty. It defeated its purpose.

C: Do you think that our society has seen so much of younger and more standard form of beauty that it’s going to start taking a turn?

F: It has to take a turn; because you have to understand in this world, who has the money but the older women? The older woman certainly doesn’t want to see a young 16-year-old on a runway with a dress, because she can’t be realistic. It won’t look the same. She wants to see an older woman that has kept herself well. She can relate to her. She’ll buy that dress. I think the Rolex campaign — that’s exactly how the job came through. I get the chance to shoot a campaign for Rolex and they give me a watch that was worth $85,000.00 and they asked me, how would you sell this watch? I thought about it for a week. And I’m thinking, very few young girls will have the ability to buy an $85,000.00 watch. We must find a beautiful older woman that’s well kept, that looks young, thinks young. Even the watch itself was kind of funky. It had beautiful classic diamonds, then it had a rubber band with diamond studs in it. It was kind of cool and hip, so I’m thinking that even the older woman has be really young thinking. Right away I thought of our famous beautiful Carmen. I went back to them and I said, okay I came up with this woman, she’s an older woman. They said, we really adore you but we don’t want to look old, we already have that clientele. I said, but she’s not old, she’s only 15… in her mind. [He laughs] So, once we put her picture up, it was like, okay she’s really cool looking, lets try her out. It became one of their biggest campaigns. It became so successful that she got a second year. We shot the young girls, just in case, but she beat them and got it. It became an inspirational campaign all over the world not just for the older people but also for young people. The young people were saying, look at her, we’re not afraid to get older. The older ones were saying, it’s about time. One of their friends called them and said, the last thing I needed was another watch. I bought the watch just because you used that beautiful older woman. And that’s when they gave me a contract.

C: You work with the Miss Universe organization to photograph the title holders. What is it like to work with the pageant queens?

F: Maybe it’s been 10 to 12 years I think I’ve been with Miss Universe. I was working in Puerto Rico for a few years and the fashion there wasn’t that big at that time, but I somehow got mistaken to go there for a job. They hired me thinking I was Spanish because of my name. I got to Puerto Rico and it’s El Nuevo Dia one of the biggest newspapers. They had a fashion section in their newspaper once a year. They booked me for a two-week shoot. I ended up becoming really good friends with them and working with them for years. In 2002 Miss Puerto Rico Denise Quiñones won Miss Universe. They called me immediately to do their cover. I had never really thought about pageant stuff. I said, you know this girl is so pretty, why should we make her so boring, too commercial? She gorgeous., lets make her a little more high fashion. No no no, they said, we’re very conservative, nothing too sexy. I said, come on, this girl is so beautiful, this is a fashion magazine. We’ll do the safe stuff and can I do some for myself, a little bit more edgy?

I will never forget the picture. The stylist had brought all dark clothing. I didn’t want dark clothing and that’s where my training as a stylist really came in handy. I saw this huge lime colored lizard belt and I wrapped it around her front and it became the top of the dress and did the hair really wild on top. Everyone went, oh my God, that’s Miss Universe? Apparently those photos went back to Miss Universe and they saw a whole new look. They called me and said, can you do more of that stuff your doing for yourself? We shot her again and the rest was history. They invited me to work for them. Then, they gave me the next challenge. They said, you are doing the winners so beautifully that now all the other states want your work. We don’t know if it’s possible, but we have two days to shoot 51 girls. Can we do it? I said, let’s try. The first girl showed up the way they were trained with bright red lips, quaffed hair, gloves on. It was very tacky. I remember — Oh no no no, this can’t happen. I said, can I just re-change her? We took the makeup down, stood her against the wall took the gloves off and messed up her hair. This gorgeous sexy animal came out of that picture. Paula Shugart came later and said, are we going anywhere with this? She went to the first picture and literally went, wait a minute, that’s the same girl from before and after? You got the job. She said, Fadil, it’s not about yes you’re talented, but what’s important to me is when the girls are leaving, that they’re flying. They feel so beautiful that even if they have no chance to make it they think they do. They’re giving it their best shot to win. That’s more important to me than anything else. It’s been that job since; recreating and changing the look, making them more modern. They used to make fun of it. Now I’m like, keep laughing, these girls are getting campaigns. They’re getting cover girl. That was my ultimate challenge, to have them respected in fashion. They’re getting that respect now.

C: You were featured in the exhibit BeautyCULTure in LA. How did you get involved ?

F: I think it was with the MET. They had this beauty thing and they had asked me for Carmen’s pictures — Look at the good deed that was done. I took this woman from love and did the campaign. And everything is coming back to me because of her beautiful face. I was invited to participate in this exhibit in Los Angeles. Actually, out of all of the photographers they chose my picture of her and promoted the whole event. All through Los Angeles were banners with my name and her picture. I just held a wonderful lecture. Beverly Johnson came up and said beautiful words after the show. Many people at the lecture said, we’re so thankful you are doing this because no one else is. CNN also did a piece on me; all of that thanks to Carmen. It was a brave thing to do choosing her for the campaign, but you know what? When you feel something in your heart it’s always good to go for it.

C: What’s new? Do you have any plans or projects in the works?

F: I really feel that these older models have become such a great part of our lives in fashion. I want to keep them forever and respect their talent. With Carmen I’m doing a book on her and the last 20 years we’ve been working together. She’s in her 80th birthday this year. I’ve done quite a few campaigns with her… she really loves working with me. She did a show with Barbara Walters on longevity and looking beautiful. It was her and Paul Newman, a year before he passed away. I remember them asking her how is it to work with Fadil? She said, when I work with Fadil it’s like a beautiful dance between us and it’s two energies together. It’s really beautiful the way she worded it.

C: Those are amazing words. Would you say that she’s your favorite subject?

F: You know what it is for me? The excitement when you put a model in front of me — I go into a trance and it’s amazing. It’s almost like two cobras. We’re moving around and we’re creating this energy. She has so much talent, so much emotion that it makes you crazy. I wish that every model could learn from her and make a photographer that excited to shoot more and more.

Honey, The Moon and the Stars They Shine For You

ashley — Mon, 28 Jan 2013 22:41:26 +0000

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Honey, The Moon and the Stars They Shine For You.

Photographed By Monica Eng

Interview By Chelsie Roberts

C: When you are photographing a subject what kind of transformation happens in you? How do you become part of the artistry that you are creating and how is it different, or the same as who you are in regular day to day life?

M. I am curious by nature. Whenever I meet someone interesting, get caught in a unique situation or watch a really nice movie. I often wonder how it feels to be in someone else’s situation—imagining the multitudes of emotions surrounding that situation. I later translate them into little stories through my lens.

C: Other than the art of photography, what other art forms do you incorporate into your work, or what meaning do you derive from other art forms?

M. I love music and dance. Whenever possible I try to incorporate them into my works. Almost all the time, I will have a certain song in my mind that I would almost play on a loop during my shoot to get everyone into that mood during the shoot; Sometimes we all get so sick of that song after the shoot we never want to hear it again. I have done shoots based on the ballet, Giselle and the Moonlight Sonata, all with my own interpretation from a different view point. Next, I would love to do a shoot based on Tango. It’s the one dance I find absolutely enchanting. I would love to be able to master Tango one day and translate it into my photography.

C: Describe how you feel about color and light?

M: Colours and light are inseparable, to see a full spectrum of colours you’ll need an adequate amount of light. To set the right mood and message in an image, you’ll need to understand them well. Metaphorically speaking, colour and light is basically like a life partner to a visual artist. You have to understand every intricate aspect to make the relationship work as you would understand your life partner…what makes them tick, what makes them happy or sad.

C: How do you feel about love, life and one’s mark that they make on the world through imagination and imagery?

all photography by DAVID FIELD
interview by JENNIFER JOSEPH

One of my favorite directors from the 1950’s is Jacques Tourneur, who directed the films Cat People, I Walked with a Zombie and Night of the Demon. Tourneur created a trademark style of alluding to a particular scene rather than showing it. He knew the only way to actually show it would’ve involved serious compromise—thus looking corny. Instead, the audience is left to infer the whole thing. Not knowing whether the monster ever actually existed is so much scarier than seeing it. In Cat People, all you ever saw was the cat’s shadow on the wall. In Night of the Demon, the whole occult-like plot revolved around whether or not a demon actually lived on Earth. Tourneur’s vision was to never show the demon, thus making the audience come to their own horrifying conclusions. Unfortunately, the producer inserted some scenes with a cheesy rubber monster, and the entire effect was lost.

As a fashion photographer, David Field is engaged in an exploration of the dark side of fantasy—the velvety beauty of the shadow, both formally and in a symbolic sense. Painter and installation artist Jennifer Joseph explored the imagery of his work and what influenced it in a series of interviews with Field in August 2008.

JJ: In looking at your work, I sense that you are really engaged with the shadow—which speaks on a variety of levels. What does the shadow represent for you?

DF: You point out my obsession with shadows. Most photographers are fixated on how they light a particular scene or subject. After all, the definition of photography is the art of light. However, I’ve always been preoccupied with what isn’t being lit. It’s the shadows that I’m interested in, because after all, the unseen is the ultimate manifestation of mystery. Shadows are mystery. What lurks in the darkness is only insinuated, so one is forced to use imagination.

JJ: Also, your work has been pegged as “surreal,” which I kind of disagree with because I see more of the influence of Romanticism…sort of the struggle of man in the face of nature.

DF: You’re absolutely right about that. Other people have described my photographs as surreal, but it’s usually because they’ve only seen a narrow selection of my work. On the whole, I would rather go with your definition, which is a romantically sinister version.

JJ: What artists do you look at and how do they inform your imagery?

DF: My appreciation for this aesthetic principle stems from the early days of filmmaking. Before Alfred Hitchcock and before “The Twilight Zone” and going farther back to the age of silent films, and to a particular era known as the German Expressionist movement. In the 1920’s, Europe was in competition with Hollywood to fulfill the public’s desire for the silver screen. Unfortunately, they lacked the budgets of Hollywood films, so they were forced to cut corners. This led to some very creative approaches of alluding to a particular effect rather than creating it. Much of this was done with shadow play. There is a scene in Nosferatu, where the vampire is creeping up a staircase. Instead of spending money on building the actual staircase and having the actor climb it, they insinuated it by casting shadows with cardboard cutouts of the entire scene. Twenty years later, this method of filmmaking would lead the way to the age of film-noir.

DF: I digress. The whole point of saying all of that was to illustrate my appreciation for shadows, and how they elevate a sense of mystery and imagination. On a conceptual level, most of my influence comes from music. I feel like music is the most pure and expressive form of art. It bypasses anything visual and allows the listener to unlock many doors in their subconscious mind. For years now, I’ve been drawn to the work of 20th century avant-garde composers such as George Crumb with his piece entitled “Black Angels.” This piece evokes many of the same feelings that I try to convey in my own work. It is a bizarre and purely emotional portrayal of the Vietnam War. Without any words, this piece brings you to an exact place and time in which an unbridled chaos is unfolding.

JJ: Digression is welcome. I also see an examination of “the dark side” in your work.

DF: Some people wonder where my “dark side” comes from. My photographs are often mysterious, but as a person I’m the exact opposite. It stems from my childhood, when my dad would read bedtime stories to my sister and me. Being older, my sister had more influence on the types of books that my dad would read. For some reason, she always made my dad read us the most terrifying ghost stories and mystery novels. Immediately afterwards, I would lie in my bed, surrounded in darkness, and alone with my imagination. I would drift into sleep with creepiness lurking through every thought. This is probably why my imagination developed the way it did.

JJ: In looking at the models in your images, there is a sort of numbness, blankness, distance and disconnection. Do you direct them in that regard?
If so, why? What is it that you are trying to convey in your work?

DF: When I am in the planning stages of my work, I use certain pieces of music as a starting point for my ideas. I’ve been in the habit of collecting film scores to movies that I have yet to see. This takes me on a complete mental journey where I’m able to devise my own plot and visuals to the soundtrack. Some of my favorite musical scores are Pan’s Labyrinth, The Exorcism of Emily Rose, The Fountain and recently, The Dark Knight, which is surprising for an action film.
uring a photoshoot, if I want the model to act a certain way I’ve discovered it’s best to find a particular soundtrack for that emotion and just play it. Words can only do so much, but music has the power to transport anyone to anywhere at any time.

JJ: Have you ever looked at the work of Caravaggio? His paintings remind me of your work in terms of content and fascination with shadow, both literally and metaphorically. Now that I think of it, Caravaggio probably would have been a photographer if he had been born 400 years later.

DF: I definitely agree that Caravaggio would’ve been a photographer had he been born in modern times. He had such a good eye for light and for capturing a specific moment. His attention to detail and refined color palette would’ve been valuable assets as a photographer. Even though he rendered his paintings with great realism, I think his strength lay in directing his models and constructing the scene. Many photographers have taken influence from Caravaggio. If anything, they share the same aesthetic. Interestingly, these photographers are often the ones I most admire.

JJ: Can you name a few photographers that really blow you away? I see a little of Helmut Lang in your work.

DF: One of my favorite artists is a Spanish photographer named Eugenio Recuenco. Besides having a very painterly eye, he has an incredibly creative mind. Looking at his work, I know it’s also the product of a very strong team working alongside of him. The ability to pull together a brilliant team is a feat unto itself. Other photographers that have inspired me are Erwin Olaf, Gregory Crewdson and Gottfried Helnwein. All of these guys incorporate the talent of a master painter but apply it to real life, which is more impressive in my opinion. ρ

Jennifer Joseph is an installation artist
and painter living in Santa Fe, NM.

www.jenniferjoseph.com

The Lost Boys

LX — Fri, 30 Oct 2009 14:25:58 +0000

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CREDITS

photographed by GERD BAYER
fashion editor SONJA
stylist RODNEY HALL
makeup SONJA
makeup assistant TONY
hair ANDREAS SCHONAGEL
models ALEXEY Q Model Management, JACOB Q Model Management, STEPHEN THOMPSON Ugly Models
story concept SONJA
all makeup products by MAC COSMETICS

Green Practices Meet Modern Styles

LX — Fri, 30 Oct 2009 14:23:56 +0000

In an age of environmental awareness, individuals and companies alike are looking for ways to make their eco footprint less conspicuous and less harmful. Words such as “green,” “environmentally friendly,” and “carbon neutral” have become common references to the way we all strive to exist. With the global attitude shifting toward an efficient means of sustainability, it seems that no one can stand out in the crowd. However, John Hardy does, and for that, it is set apart from its competition in the jewelry arena.

“We have vowed to make our company ‘greener every day,’” said Chief Executive Officer Damien Dernoncourt. “The Bamboo collection is a way for collectors of John Hardy jewelry to participate in one of our efforts to contribute to the environment. A portion of the proceeds of the sale of each piece is set aside for planting bamboos. We call this program ‘Wear Bamboo, Plant Bamboo.’”

Here is a shot of the kitchen area on the John Hardy compound. The structure is made of bamboo; one of many others on the compound.

Inspired by nature and the global movement to become more earth-friendly, John Hardy created a line that not only depicts nature, but also promotes its development through monetary contributions to local projects involving bamboo.

“At John Hardy, preserving our environment has always been our priority for more than 10 years,” said Guy Bedarida, creative director and head designer of John Hardy jewelry. “The Bamboo Collection is a tribute to the beauty, strength and versatility of bamboo.”

These pieces are from the Bamboo Collection. The top image is the front view of the Kick Cuff; the next image shows the inside of the Kick Cuff—the stamp showing the number of bamboo seedlings is visible; the bottom image features Dome Rings of various hues.

Based in Bali, John Hardy is immersed in a culture that is very in touch with its environment. To support the local culture, the company decided to promote bamboo in a unique way: for each piece of jewelry in the Bamboo line sold, a specific number of bamboo seedlings are planted on Nusa Penida, a small impoverished island off the coast of Bali. On each piece of jewelry is a stamp that indicates how many bamboo seedlings were planted with the piece’s purchase, which gives consumers a way to quantify their purchases in terms of economic growth and sustainment.

“Through this collection, we offer an unprecedented opportunity to our customers to take part in John Hardy’s important environmental program while purchasing jewelry,” said Bedarida.

Bamboo, a native plant to the Balinese islands, is used for a variety of purposes, one being an alternative to timber. Bamboo is a very fast producer and can be harvested in only five years, while timber is a slow producer that takes twenty or more years before it can be harvested.

Along with replacing timber needs, bamboo also assists in the overall betterment of the ecosystem: with a high capacity for carbon dioxide, it helps purify the air; its dense foliage encourages rainfall and gives wildlife a prosperous habitat; also, its roots help prevent erosion of the soil.

With so much ecological benefit, it seemed natural for John Hardy to embrace bamboo’s beauty as well as its usefulness. In the Bamboo Collection, each piece depicts bamboo in an elegant way; whether the stalks or leaves are more prevalent, the representation is unmistakable. Beautiful sterling silver bracelets accent eco-conscious consumers’ wrists, while subtle earrings drop from lobes to display an individual’s support for green practices. No matter the piece, the statement it makes is unmatched in environmental awareness and ecological revival.

To keep the Collection current, John Hardy strives to find unique perspectives of bamboo for the new pieces each season.

“ Bamboo is a never-ending inspiration, and because of the symbolism, it will never go out of style,” said Bedarida.

“To make a collection new and fresh, we introduce new interpretations of the bamboo concept each season.”

Aside from the “Wear Bamboo, Plant Bamboo” program, John Hardy promotes the use of bamboo in its own structures. “It begins with our factory and design center in Bali where most of the buildings are made using Bamboo, mud walls and straw roofs,” said Bedarida. “On our compound, we have a beautiful organic farm whose products are cooked daily in the traditional way of Balinese cooking; the kitchen even features an open fire and serves a daily lunch for the 550 people working there, as well as for our visiting guests,” added Bedarida.

Overlap Ring from the Palu Macan Collection

Along with John Hardy’s Bamboo Collection, there is a new collection—Palu Macan—inspired by an antique painting of a tiger. Macan (mah·chahn), which means “tiger” in Balinese, is a symbol of courage, passion and triumph over the impossible. This new collection is inspired by the “guardian of the west,” which is the tiger in Japanese mythology.

“While traveling in Japan, I came across an antique painting of a mythical white tiger with Kabuki style eyes,” said Bedarida. “Macan symbolizes triumph over the impossible, something everyone needs to believe in today. Our tiger is particularly interesting: it is a Kabuki tiger with a very special expression and unique eyes.”

Overlap Kick Cuff from the Palu Macan Collection

The collection portrays a cohesive inspiration and represents a tiger in each piece. Whether it’s just the stripes or the eyes, the energy each piece emits is the same: strong, courageous and passionate. It takes a confident individual to wear tiger-inspired jewelry, but John Hardy’s new collection allows everyone to feel the empowerment of this courageous animal.

Kick Cuff from the Palu Macan Collection.

“This season’s collections are exceptional for the structural quality of the new shapes—voluptuous forms, fine detail, delicious highly polished surfaces—which bring out the special character of silver,” said Bedarida. “All of the pieces in the Macan line are unique and carry a different interpretation of the main inspiration; however, the Macan Kick Cuff with its figurative head takes our technique to a higher level of craftsmanship with the hammering of the tiger stripes,” he added.

Photo courtesy of the Smithsonian Institute

Diamonds have been around for ages and have been used for everything from crown jewels to ransoms to industrial machinery, but most people find the diamond so alluring for one purpose: the expression and embodiment of love. Though many deeds and gifts have the ability to match the diamond in terms of love, nothing can out-shine this truly romantic symbol. It is for good reason, too, that the diamond has remained such an enduring symbol of love and commitment: they are as rare as they are beautiful. A perfectly cut, magnificently colored diamond is among the most rare finds in the world.

Truly an investor’s dream, big and beautiful diamonds are difficult to find. Size is not the only consideration that matters when determining the value of a great investment, however; four distinct characteristics of the stone can greatly influence its value and desirability: color, cut, clarity and carat weight. These four C’s are crucial to anyone preparing to purchase such a precious item. Each plays an integral part in the value of the diamond, and investors who ignore these guidelines do so at their own peril.

The First C: Color

Possibly the most important determinant of a diamond’s value is its color, or lack thereof. Diamonds are graded on a system set by the Gemological Institute of America, which is the standard for most of the diamond market. The grades range from D to Z: D being the most desirable and Z being the least. According

to the GIA, “The color of the diamond is all about what you can’t see.” Diamonds graded D-F are of the highest quality: these stones are perfect or as near to perfect as you can find. G-I gems are of a lower quality, but the imperfections are invisible to the amateur’s eye. The lower the letter goes, the more imperfection in color is perceived. A diamond classified as Z, for example, will exhibit a very noticeable yellow coloration. To some, this coloration is pleasing, but a diamond with a Z classification will sell for much less than a diamond classified as D. To determine the classification, the jeweler will compare the gem to a set of stones distinguished at each possible interval. If there is a slight variance, the jeweler will always round the grade up, making it more expensive to the investor. When contemplating the purchase of a diamond it is also important to consider the setting in which the diamond will be placed. For example, a diamond with the grade of D would appear much more vibrant in a platinum setting than one with the grade of H. This is because the slight discolorations in the H grade will show more dramatically against a silver polish, while if it were set in gold it would not be as noticeable, if at all.

Although known for their fire and colorless qualities, diamonds do not come only in one hue. Fancies, or diamonds of other colors, have proven to be more and more valuable in the past few decades. In fact, colored diamonds are much more rare than their standard counterparts, with one found in every ten thousand diamonds. The most common hues found in fancies are brown, blue and pink, although diamonds have been recorded as green, yellow, peach, black and other distinctive colors. These diamonds get their rare coloration from carbon atoms mixing with other elements, from natural radiation, and from pressure while the diamonds are forming. Fancies also have their own grading system based on their hue, tone and saturation. The grades are given the names of Fancy Light, Fancy Intense and Fancy Vivid, to differentiate them from standard diamond grades.

The Second C: Cut

The second most important consideration when selecting the perfect diamond is the cut, which is critical to the success of the gem’s presentation.

Not all jewelers are equally skilled at the delicate art of diamond cutting; therefore, not all diamonds are of the same quality. The GIA has outlined a grading system that ranges from Excellent to Poor to express the differences.

The cut affects how the light is reflected and refracted within the stone: a properly cut diamond will take in light from the top, reflect it from one pavilion to another and then straight up, creating a scintillating effect. A poorly cut diamond may be too deep or too shallow and will diminish its ability to reflect light properly. A deep cut diamond will reflect the light out the pavilion of the diamond, while a shallow cut will reflect out of the bottom. Both will deter the fire that characterizes a perfectly cut stone.

Different shapes will also produce different light reflecting attributes. The standard shape of a diamond is round, but other shapes exist including pear, heart, oval, emerald, cushion, radiant, marquise, and triangle, to name a few. Proportion, symmetry and polish are also important considerations when investing in a diamond and determining the quality of its cut. These factors establish how the diamond looks as a finished product. Proportion is how the diamond’s size ratio looks from top to bottom. Symmetry is determined by how nearly identical the diamond’s facets are. Finally, polish is defined by the exterior shine of the stone itself.

Jewelers realize the importance of the cut and do not take their job lightly. When the Millennium Star Diamond – found in 1990 – was sold to DeBeers, it took three years to perfect the pear cut. DeBeers’ cutters practiced and modeled fake diamonds before starting on the stone itself.

The Third C: Clarity

Whether the diamond is round or marquise, clear or pink, the clarity the gem possesses plays an important role in its value. Diamonds can have two types of imperfections: inclusions, found on the interior of the stone; and blemishes, found on the exterior. Either can cause the diamond’s value to decrease.

Imperfections are a common occurrence, however, and finding a perfect diamond is nearly impossible. The GIA formed a grading scale to describe and classify the level of imperfection, which ranges from Flawless to Imperfect and includes eleven specific levels: Flawless (FL), Internally Flawless (IF), Very, Very Slightly Included (VVS1 and VVS2), Very Slightly Included (VS1 and VS2), Slightly Included (SI1 and SI2), and Imperfect (I1, I2, and I3). The position, size, color, nature and quantity of the imperfections when magnified ten times determines the diamond’s rating.

Most diamonds retail between the VS and SI range. However, to find a FL, IF, or VVS diamond is not impossible, just expect to pay a higher price for it. In 2003, for example, a 63.93-carat flawless diamond sold for nearly $4.2 million.

The Fourth C: Carat

The final “C” is the carat weight of the stone. Diamonds are rated by their weight, and as the weight of the diamond goes up, the price increases dramatically.

The carob seed was used by traders centuries ago to measure the weight of jewels.

One carat is equal to .2 grams, or one carob seed. Centuries ago traders used the carob seed to measure precious gems. Because this seed was known for its uniform size and weight, it was extremely useful for this purpose. Carats the world over are now measured in exactly the same way.

A precise measurement is important as carats are measured in terms of thousandths but sold in terms of hundredths. For example, a diamond weighing .99 carats will cost appreciably less than a full one- carat diamond simply because of the status and demand a full carat commands. The carat-weight of a diamond can also be described in terms of points. For each carat there are 100 points. Therefore, a half-carat has 50 points and a quarter-carat has 25.

After a history of many changes, the Hope Diamond is now a beautiful 45.52-carat mixture of blue and gray set in a beautiful necklace among countless white diamonds. The diamond’s curse is said to have begun when Henry Philip Hope inherited the stone in 1839, and all those who touch the stone are said to bring bad luck to themselves and their families, including death and debt. Today, the Hope Diamond is kept safely behind glass in the Smithsonian Institution.

Images courtesy of The Diamond Room

Profile: Heike Jarick

LX — Tue, 02 Dec 2008 04:23:06 +0000

New York based designer Heike Jarick is known for her unusual and luxurious fabric choices and off-kilter cuts revealing sensuality in unexpected places. At red carpet events celebrities like Halle Berry, Lisa Marie Presley, Lucy Liu, Natalie Cole, Mandy Moore and Kate Hudson can be seen wearing Heike Jarick designs.

Heike defines today’s woman: ageless, sleek and sensual. She is a cultured and active workingwoman who is a world traveler and lives in New York and Los Angeles. She loves to spend time in Berlin, Paris and London.

The concept of the Fall 08-09 collection is one where futuristic modernism meets 1940’s silhouettes; the heikejarick design focus is on new tailoring, sculptural shapes and structured seams, combined with deconstruction and draping techniques that flatter a woman’s body.

The Heikejarick Collection exploits a range of luxe fabrics in metallic and in black/white domino quilting coating, soft herringbone knit, sumptuous cashmere coats, sleek silver eel skin statement pieces and architecturally sculptured stretch suiting. All fabrics allow for comfort, ease and elegance.

For evening, heikejarick has redefined “the little black dress,” a neo-modern classic. From the Front Ruffle Empire Dress to the Tacked Shift Dress, black lacquered silk enhances the figure with modern allure.

Brilliance and luster of metallic materials create shine and shadow. The Flared Back Double-breasted Patina Raincoat flatters all women. Hammered, studded beading combined with draped jersey and organdy take evening to a different dimension.

Born in Germany, Jarick expressed an early interest in becoming a fashion de- signer. “I always loved from a little girl on to create clothes for myself, to manipulate clothes I had, and aspire to the latest fashions,” she says. “I was an artist with pens and crayons from early years on and used this ability to design clothes. My inspirations were long walks in the hilly romantic countryside I grew up in and mysterious fairy tales lying in the several castles surrounding my home.”

At the age of 18 Jarick left her homeland for Great Britain and the St. Martins School of Design in London, where she graduated with honors. On the recommendation of her professors, Jarick moved to Milan and worked for almost 10 years designing for Luciano Soprani, Krizia and Trussardi.

Relocating to New York in the early 90’s, Heike fine-tuned her craftsman- ship at Anne Klein and Searle and consulted for Work and Friends, a collection which was subsidized by Yohji Yamamoto in Tokyo, Japan.

“I really felt that my calling was to do my own brand because I could never really quite realize my vision while I was working for other people,” said Jarick. So in 2000 she launched her own label, heikejarick, and in fall 2006 the men’s line, heikejarick men. For fall 2008 the younger more casual diffusion line heikejarick blue label will be introduced to the market. “It has a quite significantly lower price point with the same kind of design content and fabrics,” explained Jarick. And it’s blue because “that’s my favorite color.”

Through freelance designing, specializing in coats, Jarick finances her own label. She started small, at first sharing space with others, then having the studio to herself, then moving to a somewhat bigger space. “It’s been a very slow growing process, but at least it’s a steady one and it’s going up rather than being a winding road.”

Jarick spends the first half of her day with her freelance work, the second half in her mid-town atelier. “It’s always a small team, always under 10 people.” Jarick works away from the influence of other fashion designers crafting her style somewhat in isolation from “the taste of the moment.”

Asked about her sources of inspiration, Jarick said “It really comes from daily life and whatever is around me. Particularly when I travel, I get very inspired, but also when I read an interesting book or I see a good movie or when I see a fabrication that I particularly like—it’s feeling the mood of the moment.”

For spring people want nice little separate pieces, some cute dresses. You have to make smart separate pieces that are needed in every-body’s wardrobe, essential pieces that travel and are easy to wear. I think it’s more about separates now than ever.

Jarick thinks the fashion industry is in difficulty “because the consumers don’t have money. Everything has gone up. The last thing that people are thinking about is to buy themselves expensive new clothes, which is why it’s the right idea to come up with a secondary line. That’s what people are looking for, and they are willing to maybe spend some money on an investment piece, but they also want to layer in less expensive pieces. You have to keep a tight control on everything, to be very careful how the samples are made, to be extremely detail oriented with everything. I think that is how we increased the business.”

“In the spring/summer 2009 I’ve expanded the secondary line, and I’m making the heikejarick label a little smaller. For spring people want nice little separate pieces, some cute dresses. They are not going to spend as much money as when buying a beautiful winter sheerling coat or a holiday outfit. You have to make smart separate pieces that are needed in everybody’s wardrobe, essential pieces that travel and are easy to wear. I think it’s more about separates now than ever.”

Known for her soft draping, Heike Jarick displays her extraordinary skill for tailoring in her jackets and coats. Jarick mentioned that a successful item in the Fall 2008 blue label was the raincoat. “It’s like a parka, a transitional piece which goes from the early fall to late spring. It’s a nice packable raincoat, which also has a modal fleece lining so that it gives you a cozy comfort.”

Modal, made from beech wood, was developed by Lenzing Fibers and is harvested from sustainable plantation forests. “It’s a very forgiving nice fabric. I’ve been running it on the collection for many, many seasons,” said Jarick. “I would say it’s almost my best selling fabric so that I have now taken it to the next level, to the secondary line, and I could find the fabrication in China, a manufacturer which works with us and wants to build the business with us.”

For Fall I have been using mainly a modal jersey which is 95% modal and 5% lycra, a very nice transitional fabric. It feels beautiful on the body, it is very forgiving, and when you buy a size 4, or even a size 2, a size 6 will fit into it.”

Jarick spends considerable time on fabric choices, which she researches all over the world. “Right now I have in mind to use a new jersey which is made out of milk protein. It is supposed to have very positive effects on your skin and your general well being. An innovative, organic and healthy yarn derived from milk amino acids, it’s called Milkofil.”“I’m working with it now,” said Jarick. “I can’t really relate when people say ‘Oh, it’s kind of hip to go green.’ I think that if you can work with fibers which are actually beneficial to the human being that’s something to look for.”

Jarick said that they are finding that stores are buying both the heikejarick couture pieces and blue label line, displaying it together. Key stores include Vivaldi, New York; Rouge in New Jersey; Gilda in Massachusetts; Uri Boutique in Illinois; Inago, Fred Segal and Sienna in Los Angeles; Betina and Paparazzi in San Francisco; Haut La La in Canada; plus a temporary showroom in Berlin, Germany.

The heikejarick blue label collection is a trans-seasonal experimental line of young, dress-up and dress-down pieces that intermix with the black label collection. This label caters towards the clientele who are fans of the heikejarick styling and the sensual cuts and drape but are looking for a lower priced garment.

LX — Mon, 01 Dec 2008 06:38:29 +0000

It is appropriate that the headquarters of H. Stern and Company is in Rio de Janeiro. The colors of the gems it proffers are reminiscent of the colors of Rio itself, its sunrises and sunsets, its lucid tropical waters at Ipanema and Copacabana, its flora in the nearby Tijuca rainforest, its parti-colored ices and sorbets (pitanga, tamarindo and jabuticaba) and its dazzling nighttime sky evocative of the poem “The Starlight Night” by Gerard Manley Hopkins:

Look at the stars! Look, look up at the skies!
O look at all the fire-folk sitting in the air!
The bright boroughs, the circle citadels there!
Down in the woods the diamond delves!
The elves’-eyes!
The grey lawns cold where gold,
where quick gold lies!

02-elements-of-life

The poem might have been inspired by a visit to the H. Stern Workshop and Gemstone Museum at the company’s world headquarters. Stern means star in German, and Stern’s jewelry is all adorned with its signature stars. I’m not sure when I first became aware of this exquisitely designed jewelry. It may have been at a party in Beverly Hills when a lovely blonde actress showed me a golden ring whose inner surface exhibited a constellation of tiny stars—or at another party in San Francisco when my eye was drawn by a male guest’s sapphire watch, its gems part of an eye- catching medley of glittering gold and stainless steel.

I could not have imagined then that I would one day find myself touring H. Stern’s headquarters in Rio. The 15-story building is in Ipanema with a clear view of one of Rio’s colossal rocky and cloud-topped mountains. This is where, in addition to jewelry on display for sale, are located Stern’s workshops, technical and art departments, quality control administration and personnel departments. Today H. Stern has more than 335 sales outlets in more than 30 countries—all the result of Hans Stern’s $200 investment in 1945 and his insight that colored gems such as aquamarines, topazes, amethysts, and tourmalines could compete in popularity with rubies, sapphires, and emeralds. It was an insight that anticipated a new generation’s taste in jewelry.

Today H. Stern has more than 335 sales outlets in more than 30 countries—all the result of Hans Stern’s $200 investment in 1945 and his insight that colored gems such as aquamarines, topazes, amethysts, and tourmalines could compete in popularity with rubies, sapphires, and emeralds.

The Workshop Tour reminded me of scenes in The Wizard of Oz in which Dorothy and her companions have just been welcomed into the Emerald City and are being given VIP treatment by guides showing them the metropolis. The headquarters building houses a workshop, a museum with more than 1000 stones on display and a store that contains a cutting and polishing factory. Customers are shown merchandise over cafezinho, small cups of zesty Brazilian coffee. Both the tour and the museum are free, and more than 10,000 visitors a month watch as a rough stone is turned into a radiant jewel with signature design. The tour features elements of creation and design, cutting, polishing, gold working, gem classification, and setting. The list of celebrities who have visited here upstages the guest list for Truman Capote’s legendary masked ball, including an extraordinary variety of kings and queens, princes and princesses, musicians, movie stars, writers and sports celebrities.

A closer look at some of Stern’s gems will make clear their increasing appeal over the years.

A closer look at some of Stern’s gems will make clear their increasing appeal over the years. Ninety per cent of all aquamarines come from Brazil, and the word’s meaning, “from the sea,” is dramatized by the aquamarine’s 35 shades of blue from the clearest sea and sky blues through vivid and intense shades of indigo and ultramarine. The topaz, which Egyptians associated with their sun god Ra, steals the fire of the Brazilian sun and dazzles the eye with shades that range from pink and peach to incandescent red and yellow. Tanzanite expresses bravura nuances of blue that seem almost mystical. Tourmalines upstage the rainbow with more than 1000 hues, making them a favorite of artists. The citrine, with its shades ranging from yellow to honey, has a reputation for representing money and prosperity. The amethyst, traditionally thought to serve as a link with the spiritual world, is a study in contrasting shades of violet and purple.

The evolution of design in Stern’s World Collection over the years has been guided by five creative concepts. These are self-gratification, expressed in the individual’s knowledge of a piece’s little secrets such as the signature of stars or a detachable element; versatility, with jewels that suit different lifestyles and varied occasions; signature (those tell-tale stars that signify a jewel as an H. Stern World Collection piece); comfort, which is self-explanatory; and design, the nature of a piece’s form. Among H. Stern’s recent collections to appear at

Baselworld 2008 are Celtic Dunes, Hera, and Golden Stones. The Celtic Dunes pieces are

distinguished by interconnected Celtic tribal symbols; the cut-out earrings, rings, and cuff bracelets give an impression of infinite

sand dunes in textured 18k yellow gold. The Hera collection, a tribute to the gods and goddesses

of Greek mythology, emphasizes in its design the leaf crowns worn on Mt. Olympus. And the Golden Stones collection,

which is characterized by the organic shapes of pebbles found in riverbeds, features a limited edition series whose new entries—two styles of earrings, ring and pendant—are made of 18k Noble Gold pavé-set with black diamonds. In addition, a lively collaboration has led to a variety of jeweled watches in the Diane von Furstenberg by H. Stern Watch Collection. There also are Diane von Furstenberg charm bracelets, chains, and earrings adorned with new talismans.

H. Stern continues to be adventurous and innovative, with the recent additions showing multicultural and transhistorical influences from Indian, Portuguese, Celtic and Greek to medieval and 17th century France. All that glitters here is definitely gold, with a sparkle that comes from gems whose colors and brilliance surpass the stars.

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Credits

by Larry Tritten
photos courtesy of H. Stern

Lx Magazine, Illuminating Luxury » Fashion Spring12

An Interview with Stevie Boi

Behind the Lens with Fadil Berisha

Honey, The Moon and the Stars They Shine For You

Eccentric

CREDITS

In My Dreams

CREDITS

The Shadow Realm of David Field

The Shadow Realm of David Field

The Lost Boys

CREDITS

Green Practices Meet Modern Styles

“ Bamboo is a never-ending inspiration, and because of the symbolism, it will never go out of style,” said Bedarida.

Girls, Girls!

CREDITS

So What

CREDITS

Michael Jackson | Still Thrilling

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Pop Child

Credits

Wassermädchen

Credits

Alien

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Diamonds: Our Obsession

The First C: Color

The Second C: Cut

The Third C: Clarity

The Fourth C: Carat

Profile: Heike Jarick

For spring people want nice little separate pieces, some cute dresses. You have to make smart separate pieces that are needed in every-body’s wardrobe, essential pieces that travel and are easy to wear. I think it’s more about separates now than ever.

Credits

Haunted Glamour

Credits

My World

Credits

A Gathering of Stars

Look at the stars! Look, look up at the skies! O look at all the fire-folk sitting in the air! The bright boroughs, the circle citadels there! Down in the woods the diamond delves! The elves’-eyes! The grey lawns cold where gold, where quick gold lies!

Today H. Stern has more than 335 sales outlets in more than 30 countries—all the result of Hans Stern’s $200 investment in 1945 and his insight that colored gems such as aquamarines, topazes, amethysts, and tourmalines could compete in popularity with rubies, sapphires, and emeralds.

A closer look at some of Stern’s gems will make clear their increasing appeal over the years.

Credits

Look at the stars! Look, look up at the skies!
O look at all the fire-folk sitting in the air!
The bright boroughs, the circle citadels there!
Down in the woods the diamond delves!
The elves’-eyes!
The grey lawns cold where gold,
where quick gold lies!