Bradford Shellhammer : Interviews

meera sethi

2011-04-17T21:33:58Z

I stumbled upon the work of artist Meera Sethi at Bombay Electric in Mumbai. I love her use of colors and her modern take on Indian garments. The Toronto-based Sethi answered some questions for me while she traveled India and as I returned from my third trip to that nation.

Your Firangi Rang Birangi series of paintings really caught my eye. Can you describe them to me?

The Firangi Rang Barangi -- Hindi for "colorful foreigner" -- works are a series of acrylic, pencil, and ink paintings on paper that foreground themes of femininity and hybridity through dress. In them I combine Eastern and Western textiles, garments, and jewelry in order to reimagine identity across borders.

These paintings make use of bold colors and patterns, layering cultural history with personal style. While the surface of these works draws us in, the bodies that they adorn are barely revealed -- an inversion that suggests the role of sartorial expression in creating a sense of self, particularly one rooted in a diasporic, transnational experience.

Who are the women in the paintings?

The women are imagined characters who love clothing and style. Bold and confident, they are equally at home in Mumbai, Toronto, or New York.

Part of the inspiration for the work comes from my own desire while growing up to see South Asian names represented on jewelry and art in a Western context. I remember going to the mall as a child in Toronto and always looking for the key chain or ring with my name on it but never finding it. This work responds to that experience of invisibility and to the experience of being a woman of Indian origin growing up in the West, struggling to express my many identities.

They're being shown at Bombay Electric in Mumbai. How did Priya [Kishore, the proprietor of the boutique] discover your work?

Bombay Electric is a sort of aesthetic home for these paintings, in that their energy is so wonderfully aligned with Priya's store. The bright, fearless colors in my work match the fun, funky feel of Bombay Electric.

The first time I visited Bombay Electric was as a customer. I was blown away by the store, by the designers, artists, and craftspeople represented. Three years later, I was delighted when Priya expressed such enthusiasm toward my own work. We both felt a sense of discovery, each at different times.

You're Indian-born and live in Toronto. How do India and Canada affect your work?

Each home impacts my work in significant ways. I think the loud colors and layering of patterns comes from an urban Indian aesthetic, where the predominant sense of style is one of "more is better." This contrasts sharply with the heavy use of black, grays, and neutrals in the harsh Canadian climate. And while I don't use a lot of these darker or flatter colors in this series, I think it is the contrast between the two cultural and geographic environments that makes for a very interesting perspective and provides the inspiration for these works. Beyond this, however, I am interested in encouraging new ways to dress, to express oneself through clothing to those who find themselves rooted in two distinctly different cultures. Because of this, I don't think these works will ever neatly fit into any one place.

Which fashion scene is more exciting: Mumbai or Toronto?

At the moment, the Mumbai fashion scene is very exciting to me because there are numerous others who are bringing together two vastly different design sensibilities in their garments. I do not know about the Toronto fashion scene as much as I would like to.

Your personal style is fun and colorful. Do you intentionally dress in a similar style/color to your artwork?

It is definitely not intentional, but you are right in that it is similar at times. I love clothing, dress, fashion, and style. I love playing with garments and accessories and creating new ways of wearing old things. I think about what I wear and enjoy the effect my clothing has on my mood and my day. To me, clothing is as significant an expression of culture as the language we speak or the food we eat. It is the telling of past, present, and future in motion.

Your favorite Canadian designer?

I'm still on the prowl.

Indian?

I like what Karishma Shahani is doing with layering and color.

Finally, can your work be seen in the U.S.?

Not yet, but I hope to be shown at the MoMA soon!

stephen burks

2011-04-17T21:24:26Z

I ventured to Stephen Burks' "Man Made" exhibit a few days after returning home to New York City from a trip to India. The colors and textures of Indian culture, though not directly referenced, were present in Burks' show, a mix of modern shapes and materials with age-old tradition and craftsmanship. He calls this work--which couples diverse cultural influences with design--"hybrid." After a studio visit in Williamsburg, I sat down with Burks to discuss his concept of a hybrid, his world travels, and the one brand he wants to work with more than any other.

How did your show "Man Made," now at The Studio Museum in Harlem, come about?

Design in my mind is not separate from art or fashion or architecture. There is no line anywhere. My world view shapes everything around me. It always has. I met Thelma Golden nine years ago. Thelma is the Director and Chief Curator of The Studio Museum in Harlem, which is an amazing institution. The museum has been in existence since 1968 and showcases artists of African descent and the time just felt right to showcase design in the space.

"What has been the local reaction to your exhibit?

It's been phenomenal. A friend told me that my designs are "easy work." Someone might say that is a back handed compliment, but functional objects--baskets, tables, lights--should be easy. They should communicate function and form, and how they were made. "Man Made" does have larger ideas at work though, too, like the use of recycled materials and the perception of repositioning craft.

"You've traveled the globe and these journeys are referenced in "Man Made." What countries did you visit?

Senegal, South Africa, Rwanda, Haiti, and Kenya. In 2009 I went to Dakar with Moroso and now I work with basket makers there.

"And there will be weaving in the exhibit space in Harlem too?

Yes. We're transporting our studio into The Studio Museum and will be demonstrating and hosting a master class, inviting the community into the space.

"You use the word hybrid to describe your work. What do you mean by that?

Hybrid for me means pluralistic, culturally diverse and made up of different influences. I truly believe that the most important ideas, people, places and things have to be hybrid in nature. It's definitely where the world is headed. We are finally looking outside of Europe for other influences in design!

"What else are you working on now?The Museum of Arts and Design has asked you to curate a new show, "Stephen Burks: Are You A Hybrid." What will you be pulling together for that show in May?

The show illustrates the influence of the developing world on design. Included will be works by Girard, Noguchi, and Charles and Ray Eames. Current designers like Patricia Urquiola and Jasper Morrison will also be included. It will showcase the hybrid culture and features photography, art, design, and even animation.

We're about to launch a new collection for Swarovski called "Inside/Out." We only used crystals in a functional way. Unlike many chandeliers, we did not use the crystal for decorative purposes. The lights are metal and the crystals are inside. You can only see them when looking into the lamp. The light filtered through the crystals create an optical effect, a prismatic effect. I also recently did a light called "Chantal," named for my friend. That was for Ligne Roset.

I'll also be showing in a group collection honoring Tobias Wong in May. The work is called Convex Concave and it illustrates my design process. Much of Toby's work had a duality, like his Perfect Lovers clocks and his Killer Diamond ring, and mine too often have that duality.

"I love the graphic treatment of The Studio Museum show, your website, and pretty much everything you do. It is clean and colorful. Do you have a hand in that part of your business/identity?

Yes. I've worked for five years now with Alex Lin of Studio Lin. He's really taken off, but he started with me! My website gives my work and press and everything I do equal weight. There is no distinction. It's a timeline of my work. Almost like a design blog.

"You've collaborated with a myriad of manufacturers and brands: Moroso, Swarovski, and Cappellini, among others. Who is your dream company to work with?

It's actually Hermes! I'd love to work with those leather cords. Hermes is one of the last true luxury brands. They're all about authenticity and how being authentic connects to tradition, culture, and people.

raja/sutan amrull

2011-04-17T21:20:16Z

Sutan Amrull is a famous makeup artist who sometimes goes by the name Raja, the drag queen who is the clear favorite on the current season of RuPaul's Drag Race. I chatted with Sutan/Raja about Rick Owens, why he puts up with L.A.'s douchebags, and "smart" drag.

Who came first, Sutan the artist or Raja the performer?

Raja came first, but it took Sutan (the vessel) to fully embody her and fully realize her as a supreme entity.

All right, that's all bullshit! Sutan came first, I guess.

Why did you go on Drag Race?

I went on RuPaul's Drag Race to showcase my work as an artist, and to hit the refresh button on drag. I felt that drag was starting to lose its edge and younger queens needed an education on the possibilities of drag. Above and beyond those reasons ... I'm an attention whore!

You eschew drag trends and embrace fashion and costume. I'd call it "smart" drag, with references beyond typical fashion editorials and gay iconography. Do other queens embrace this, or are they like "What the fuck?"

I love the term "smart" drag! Art begins with conceptualizing, taking an idea or emotion, and bringing it to fruition, breathing life into something that once existed only in the artist's mind. Many queens don't take time to think about why they wear particular looks or why they chose certain songs to lip-synch.

My connection to drag has always been because of my fascination with fashion and personal style. I am attracted to ideas that break rules, and fashion constantly challenges people to think outside the box. Gender-bending in fashion is the perfect way to introduce the new and different to those who would never experiment otherwise. I think many queens today think they are featuring "fashion," but all I see is a regurgitation of looks shown on the "best dressed" list of ridiculous tabloids.

Tyra Banks or RuPaul: Who spends more on wigs?

Tyra.

What designers inspire you?

Sutan loves Rick Owens, Ann Demeulemeester, Jeremy Scott, American Apparel, Number Nine, Martin Margiela, Hedi Slimane.

Raja loves Gareth Pugh, Alexander McQueen, John Galliano, Stephen Sprouse, Christian Dior, Thierry Mugler, Jean Paul Gaultier, Vivienne Westwood, Marc Jacobs, Junya Watanabe, Elie Saab, Valentino ... to name a few.

I think drag is the most underrated art form. What drag artists deserve more respect and recognition, past or present?

Sylvester and Little Edie (of GREY GARDENS).

You seem so New York. Why do you live in Los Angeles?

I lived in New York for two years! Fuck, it's cold! I heart NY so deeply, to the point that I feel actual yearning when I'm away, but L.A. is my home. I respond best to sunny weather and "legal" pot-smoking. What else could you possibly ask for when you're flat broke and digging through your couch for coins to buy that Rick Owens tank top on sale at Maxfield's?!

L.A. is the greatest balance of beautiful nature and cosmopolitan living. Douchebags I can ignore, but frigid winters not so much!

Your house is on fire. You can grab only one pair of pumps. Which pair do you save?

If there were a fire, I would leave the pumps and run out with an amazing oil portrait by a Russian artist/ex-lover and my poster of an adverisement for a circus I ripped off the wall of the subway at the Vatican.

gilson martins

2011-04-17T21:11:27Z

Gilson Martins makes bags from vinyl in bright colors that honor his native Rio. After snatching up several for myself a few weeks back in Brazil, I tracked down the designer to ask him about his designs and his inspirations.

What was the first bag you designed?

My first bag was a backpack that I made in art school out of strips of leftover laminate that came from my dad's work. At the time, this material was a huge novelty for the students and faculty of the school.

Your work reminds me of Matisse cutouts. What was your initial inspiration when creating it?

The images on the bags are inspired by the memories of childhood in Santo Cristo. I grew up surrounded by some of the most important icons of Rio de Janeiro. In my bags, I try to represent these icons simply and obviously, almost to the point of naive art. Perhaps in that sense it is a bit reflective of Matisse's work.

They capture Rio's spirit, but with a modern, fun twist. Who wears your brand?

People with strong personalities who wish to pass the messages represented by the bags. The messages are simple, clear, and strong, so much so that whoever wears the bag also wears the ideas. Nationalistic, humorous, daring, and innovative. I have many clients who are artists from the world over, and people involved in culture in general.

You work with many iconic images: Christ the Redeemer, Sugarloaf, the Brazilian flag. Are there others like them you'd like to design bags around?

Yes. After selling a few bags in Greece, I was invited to design a collection inspired by Greek images. The idea interested me greatly -- and I don't think it would be difficult to do. Unfortunately, the current crisis in Greece delayed the project.

Tell me about the bag with legs!

The bag with legs is a part of a concept and reflection about design of an object. The parts are assembled with components that have varied functions such as auto parts and decoration. With this work I was recognized by the Brazilian and Carioca society for an innovation that questioned the sense of design and the transition between art and function.

Can your line be found in the U.S.?

At this time you should still be able to find a few pieces at the MoMA store in New York, where my work has been on sale since 2009.

You work with a rainbow of colors. Of all of them, which is your favorite?

I was born in Rio, a city where the colors are real loud and constant. I studied in art school and I worked for years with many colors of Samba schools. This is a very difficult choice, because I really like the mix of them. But I think I'm at the blue stage.

The three things one must see or do on a trip to Rio?

Just three things? There's so much to see and even more to do here in Rio. It's enough to just be here with your eyes open and take in the hills inside the city. It's really just a matter of picking where you want to see the sunset from.

Sugarloaf Mountain, Corcovado, and Two Brothers Hill are unforgettable images. Visit Ipanema Beach; it's always a party. Drink beers in the bars and traditional samba houses in Lapa.

And the three words best used to describe your work?

Simplicity, sensuality, and humor.

billie ray martin

2011-04-17T21:07:57Z

Billie Ray Martin is a dance-music icon.

She's also a fashion force, with a unique style that matches her unique voice. I caught up with the German singer to chat about fashion and her new record, Sweet Suburban Disco.

Looking back at your career, and the different looks and photo shoots that have accompanied your record releases, which have been your favorites?

Always the current ones. I think the whole Deadline for My Memories and "Your Loving Arms" shoot worked, as I was clear that I wanted the Marlene kind of image and that's what I got. So in that sense, it worked. I wanted the old Hollywood look and really went for it with those gowns and hats. I designed them all myself. Everything you see in all those videos -- I designed the clothes of myself and the dancers and actors. Not many people know that. Other than that, I like the current stuff most. Being an independent artist, I can explore what I like and not fit into conventions. I can be as avant-garde as I want.

Who are your fashion icons?

Pierre Cardin to me set standards from the '50s all the way through even the '80s. Incredible. So whether it's the '60s beat look or the French look -- he set the tone. As far as individuals go, my icons would be people like the French chanson singers from the '60s. They carried a style through many years and remained consistent.

A big influence on me to this day is the original film ROLLERBALL, incredible in terms of content but also makeup, hair, clothes, style, design.

And your music ones too?

Too many to mention.

Berlin fashion. How is it, Ms. Martin?

I'm the worst person to ask. I don't really involve myself in Berlin. It ain't no London, as far as I know. There is a lot of talent now. Berlin has nine fashion schools. Amazing. So it's in development, let's say.

You're friends with Sherry Vine and once took me to see Varla Jean Merman. Do drag queens dress better than most women?

Not many people know that I grew up in the red-light district of Hamburg. I grew up with trannies and drag queens and with men who looked like women and women who looked like trannies. Hence my rather particular affinity to glamour. Half of the women in my family looked like a cross between Jayne Mansfield and a tranny. My aunt, my mum ...

I carry the tradition proudly.

Tell me all about your new record. There's a high heel on the cover?!

It's an X-ray of a leg and foot in a high heel. Getting to the bottom of things. The picture reflects what I talk about in the lyric. A perfect match.

And about collaborating with Vince Clarke (who dissected his style in Depeche Mode, Yazoo, and Erasure here previously).

Yes, when he agreed I was so thrilled. Who better to have a go at mixing?

What's one thing you absolutely refuse to wear?

Birkenstocks, casual shorts, anything by the Gap.

FUR!!!!!!!!!!!!!!!!!!

And I have to ask, as I am dying to know: Your thoughts on Lady Gaga?

She looks beautiful. I love her unique beauty. The music ...

You're sitting at dinner in my dream. It's you, Pepper LaBeija, and Andy Warhol. Who has the best wig?

Pepper LaBeija for sure. She'll have the best lines, too ... as in quotable lines.

Any parting fashion advice for our readers?

Don't wear fur, no matter what you do.

laura lobdell

2011-04-17T21:06:03Z

Laura Lobdell makes adorable jewelry that is sold at her adorable West Village boutique. She chatted with me about her line, her shop, and her adorable dog, too.

Laura Lobdell, who are you?

An artist, traveler, and collector of vintage textiles and clothes, and just about getting to be a real New Yorker. I'm not unlike my imaginary muse, Freebird ("bird" as in the Cockney slang for girl) -- she knows Rome, eats candy, and plays with matches.

When did you open your adorable little West Village shop?

I got the lease for a tiny space at 183 West 10th Street at 2 o'clock in the afternoon on the Wednesday before Thanksgiving 2008, and painted into the night with two good friends to open Friday. Since then, I've added a 1/8. So it's 183 1/8 West 10th Street.

You take everyday objects and turn them into jewelry. What was the first object you re-created?

Though I had made the key to my Nana's chocolate safe for my first trunk show at Madeline Weinrib Atelier at ABC Home in 2004, the Guitar Pick was really the first piece in the way I work now. I'd listen to friends play acoustic gigs, and they would lose their picks and call out to the audience for a quarter or nickel to use instead. One night, I realized I could make them picks to wear and play with -- ending the quarter/nickel call and resulting in a necklace that girlfriends stole from the guys and so on ...

Have you ever attempted to make an object into jewelry that just did not work?

Oh, of course! My favorite failure is the whole lobster claw from a pre-summer-thunderstorm dinner, which I tried to make in sterling silver in life size..

I adore your champagne-cork ring. What inspired that? How did you create it?

Thank you! I was at a party in France, several languages were swirling around, and I was feeling tired from skiing and in my own head. I started playing with the cage to an opened champagne bottle. I fashioned it into a ring and saw the formal beauty of something I had always associated with celebration, romance, and happiness, and decided it would make a fantastic ring in precious metal. Back in New York, the Champers Ring came to life with a combination of sculpting and lost-wax casting.

Where do you make your jewelry?

All of my precious-metal pieces are artisan-crafted right here in New York, which is something very important to me. I've done projects made internationally -- for example, Amicita peace bracelets in Nepal -- and seek more ways to work on textile-based designs with craftspeople of communities in need.

What is the must-have piece in your collection for women?

The Champers Ring! It's a signed, copyrighted piece and so much fun to wear. My collectors tell me that when people see that it's a champagne cage, they're asked for the ring to try on. They're wonderful gifts, which we can hand-engrave to personalize them with initials, crests, dates -- like "Vintage 2011" for anniversaries, baby birth years, anything.

I asked a girl if her gift, given to her Parisian mother, was well received. And the answer also answers how to wear it: The Parisian was so thrilled with her present that by the next day, she had her nails painted silver to match the champagne ring, worn with a stack of Hermès enamel bangles. I should send her a bottle of Laura Lobdell 183 nail polish, made to wear with my designs! So, as with all of my jewelry, the appeal is to personalize it, mix it, and go casual-chic or put on a party dress.

What is the must-have piece in your collection for men? Any advice on how to wear jewelry?

The Guitar Pick is a men's classic, but the Old School Pull Tab worn as one, or as the Six Pack Necklace, is a favorite. I found a case of beer cans in the sand dunes in Montauk on my way to sunset cocktails -- they'd been there so long the paint was entirely stripped and the cans were a beautiful color of gunmetal. I've since used the cans in some of my art. So that's the Old School Pull Tab story. It looks great on a man worn with a crisp T-shirt or a button-down shirt with the ball-chain or a raw leather cord.

Finally, tell me about your dog. His photos on your website are priceless!

You mean Xiao! His name is Chinese for "little" -- I studied Chinese painting and calligraphy while living in Hong Kong and have a mysterious affinity for Asia. With his masked face, East-West eyes, and black and white, he's always dressed for a party. In fact, he has been known to host a few -- his Black & White Ice Cream Social brings a fun crowd for a sidewalk party, with my neighbors joining: Bobo (cocktails), Café Condesa (gelato) ... and live music from Small's Jazz Club. He's a cover boy -- as seen on the book Dog Palaces. But most of the time, he's perched in the Zebra Chair at the shop, ready to help and greet visitors. He works for treats.

nick gentry

2011-04-17T21:03:49Z

Nick Gentry makes portraits using discarded remnants of technologies past. The results are visually arresting and unique in style and materials. I asked the Central Saint Martins grad a few questions.

When did you first start using discarded floppy disks, cassettes, etc., in your artwork?

About two years ago. I saw the floppy disks as a way to embed dormant information and identities into my artwork.

On your website, you ask for donations of these items. Do strangers really send you boxes of old media?

Lots of people I have never met before send me disks. I think people like to feel part of the creative process, and it's better for me, as I like to feel like it's a collaborative process. The work is not about me but about the public.

What's the biggest challenge to painting on these materials, as compared with a traditional canvas or paper?

The physical material of the disks ranges from paper and plastic to metal. The paint flows differently off these surfaces and adds a nice challenge. The disks also have to be placed in precise places in order to capture the tonal range of the figure.

How many discarded disks, Polaroids, etc., do you have in your studio?

I must have a few thousand disks now. I could always use more, though, as I am looking to make some large-scale pieces.

Who are the people you paint? Do you know them or are they imaginary?

I don't know them, but I do use people and images that I find for reference. Sometimes they are imagined as well, or a combination of both.

Of all the discarded media of the '80s -- VHS, 8-track, Beta -- which is your favorite?

VHS is the only one I ever really knew. I like Beta, though, as it was the outsider -- technically better, but it never really made it as a popular format.

What other artists and designers inspire you?

I like the work of Brazilian artist Vik Muniz and his use of media. Damien Hirst and Andy Warhol are also an inspiration for the way they redefined what an artist can be.

Some artists cannot be bothered by fashion and trends, while other artists really embrace fashion. Are you in either camp?

I do my own thing and work on the ideas that interest me. I am interested in the speed of fashion trends and life cycles but don't consciously subscribe to any in my work.

Where can your art be seen?

In the USA, my work is on show at Art Modern Gallery in Miami. In the UK, my work is on show with the ArtRepublic gallery in London and Brighton. I have also got shows coming up later this year in Berlin and Shanghai.

nicolas petrou

2011-03-18T08:54:28Z

Nicolas Petrou makes clothing for men who want some color in their lives. Bradford Shellhammer tracked him down to answer a few questions.

Nicolas Petrou, who are you?

I guess I am someone who is looking to have great and memorable experiences in life while enjoying the process and building character on the way.

And who is the guy who wears your clothes?

Anyone who buys designer clothing can wear pieces from the PETROU\MAN collections. The actual clothes are about precise tailoring, texture, interesting hand applications, and unique details (like the 1940s vintage Guatemalan hand-embroidered inserts). The whole collection is based on classic menswear shapes with new details. The styling and the makeup of the show are just an escape from everyday realities. It's always nice to be transferred momentarily to another world during the presentation and dream a little.

I discovered your line from my friend David Gómez, whom I have interviewed here. The makeup of your last show was very similar to his art. Who came up with the concept?

I was introduced to David's work by a common friend, Brian Kenny, who is also a great artist and whose work was another inspiration of mine. Brian did the artwork for the invitation for this presentation, so before the actual event I contacted David via e-mail and expressed my admiration for his work and also wrote that I am presenting my collection to the press and wanted to introduce myself to him, as I will mention his beautiful work as one of my inspirations -- especially his tribal faces, which inspired the makeup and played tribute to his work. David responded with a friendly e-mail and also featured some photos of the work and the presentation on his blog and forwarded me the link. I hope to be able to buy one of his tribal faces one day, as I love his art.

Your clothes are colorful, with a lovely mix of texture and pattern. Do you dress this way?

I design clothes that I wear myself. The collection is quite commercial, with special details in mostly Italian and Japanese fabrics. There are elements that cannot be reproduced in a mass-production environment, and that is my aim with PETROU\MAN: to create a collection that is different from what's out there, a collection that cannot be mass-produced. There is no reason or logic for me to be designing and trying to sell a plain plaid shirt that's made in New York. The competition is enormous, and there is no way to produce a basic shirt at a price point where consumers can justify or be willing to buy it from PETROU\MAN. We have to create more exclusive items in order to survive and prosper.

Why do fashion people wear black so much?

I guess it all has to do with the influence from celebrities, mostly rock stars, and what they wear. It's part of creating an identity with your clothing. It's darker and more mysterious in a way, and that always attracts people. It's also easy for people to wear ... slimmer-looking.

Who are your design heroes? Kindred spirits?

I like so many different designers and their work, but my biggest influence in fashion since I was at Saint Martins was the Japanese. I fell in love with their work, their discipline, proportions, aesthetics, and culture. But being born in Cyprus, going through military service, then studying in London and eventually moving to New York and traveling to so many other places, I have a world of influences and heroes that is so vast, I guess. There is beauty to be found in almost everything, and I really like adventure and exploration of different cultures and people.

And who is on your iPod?

Almost 17,000 songs from really everywhere. Air, Alexander Balanescu, Antony and the Johnsons, Bajofondo, Bebe, Gorillaz, Belle & Sebastian, Camille, Cat Power, Cesária Évora, the Cure, Pink Floyd, Goran Bregovic, Klaus Nomi, La Lupe, Leonard Cohen, Radiohead, Zola Jesus, Diamanda Galas, Depeche Mode, Manu Chao, Stereo Total. The list is endless.

Finally, the three things needed in every guy's wardrobe?

A brilliant white shirt in a piqué fabric to give it texture and the right volume, a great one-button blazer with narrow lapels and double back vents, and a great pair of trousers in Japanese denim.

nomi ruiz

2011-03-18T08:25:40Z

The best dance record out right now is Jessica 6's "White Horse." I caught up with the band's sexy chanteuse, Nomi Ruiz, to ask her a few questions about being New York's newest It girl.

Who the heck are you, Ms. Nomi Ruiz?

I'm just a simple Puerto Rican girl from Brooklyn.

And why did you name your band Jessica 6?

Jessica 6 is a character from the movie LOGAN'S RUN. She rebelled against the underground world, because she believed there was something beyond the surface. I think it's quite poetic for what we do and represent.

Your new record "White Horse" is infectious, moody, pulsing. I keep listening to it. Is it really about cocaine or something else?

It's about indulgence. About losing yourself in order to find yourself -- an effect I think nightlife seems to have on certain people who feel trapped or lost in their daily lives. It can mean losing yourself through drugs or simply dancing.

The video, shot by Marco Ovando, is very '80s and very sexy. It's convinced me you're the sexiest woman in New York City. Do you feel that way?

Yes indeed. But all girls in New York do. I learned how to feel it from the best.

What designers inspire you? Who do you wear?

I shop at Patricia Field a lot. I'm also a fan of shopping at sex stores. I hope to be endorsed by Leg Avenue someday.

What was the biggest lesson you learned growing up in Brooklyn?

How to be really real and full-on with whatever it is you do and believe in, with whoever you are and dream to be. And how to carry a razor blade under my tongue.

Your voice is deep and smoky and sounds like nothing I've heard before. Which vocalists do you love?

I love Sade, Nina Simone, Amy Winehouse, Donny Hathaway, Lauryn Hill.

Are you still working with Hercules and Love Affair?

I only sang with H&LA for a year. I've been working on music since I'm a child and had to get back to my personal works which incorporate my songwriting.

You're going out tonight in New York. You're going to dance till morning. What are you wearing? And what records do you want to hear?

I'm wearing something liquid and dangerous, something that frames my body like a shadow, with a red, swollen lip. And I want to hear techno in the large room and hip-hop in the small room.

maria dahlgren

2011-03-18T08:15:21Z

In her graphic wooden serving trays, Swedish designer Maria Dahlgren deftly takes on the "tacky souvenirs" of the world. Her delightfully bold, retro-inspired designs feature the names of some of the most-favorite tourist destinations--like London, Stockholm, and Helsinki--alongside "cityscapes" comprised of things that each place is known for (like Big Ben, Christopher Wren's St. Paul's Cathedral, the Tower Bridge, and umbrellas for London). Maria chatted with me about about the cities she loves, the designers who inspire her, and Sweden's foremost national treasure: ABBA. Here's what she has to say.

You mentioned that you're in "cold, dark winter-Stockholm" right now. How does Sweden's extreme weather affect your work?

The coldness is okay, but the short days and the darkness are really depressing. I escape to the sun and warm climate somewhere south for a couple of weeks during the winter to recharge.

Swedish design by Metagram art AB, www.metagram.se

Which designers inspire you most?

Olle Eksell, Alexander Girard, Stig Lindberg, Paul Rand, Terence Conran, Paul Smith and lots of great artists like Picasso, Miro, Matisse, Juan Gris, Sonia Delaunay.

Your trays depicting cities have achieved great attention. Which design is your favorite?

I think it's London, which is such a fantastic city. The city finds its way into millions of hearts every day, for a million different reasons. London is loved for exciting culture, for 2000 years of history, shopping, international cuisine, cozy town houses, and modern architecture. Plus its multi-cultural population that contributes so much to the vibrancy of this great city. Long live London and its diverse soul!

What city do you want to tackle next and what do you think the biggest challenge will be?

The Big Apple! I have already done a huge carpet in virgin wool on New York celebrating my friend Christine, whom I met at Columbia University 1981. There's so much to capture (like high buildings) in a small area like a tray or tea towel.

I love that you're taking on the "battle against tacky souvenirs." Why do you think most city-specific souvenirs are like that?

Wherever there are lots of people there will be people trying to make money and pricing battles are common. So there are lots of products that are produced in countries like China, India, etc., which all have low manufacturing price points. Poorly designed plastic elk or Viking souvenirs are found [in Sweden]. How "Swedish" is that? I want my Swedish modern souvenirs to be well designed, in good quality, with a practical function, fit into any cabin bag, not fragile, and work as representative expression for the country.

I love the letters you create. What fonts are your favorites?

I often create my own letters in my designed products. But when I work as an art director I am very conservative and like good old fonts like Futura, Gill Sans, Helvetica, Univers, Garamond, Bodoni etc.

Do you think we should also take up the cause of ridding the world of bad fonts, like we should be rid of tacky souvenirs?

Why not?

What's your favorite color?

Every single one in the right place!

You did graphic design work for Benny Andersson of ABBA. Do you ever wish--like I do--that they'd get back together and do a world tour?

Everything has its time and I think they are wise enough to manage their own time with things that enrich them in life. The rest of us can always enjoy listening to their fantastic music which is eternal!

nice collective

2011-02-06T15:38:08Z

Nice Collective's Joe Haller and Ian Hannula have been fashion darlings among rock's elite for a decade now, dressing the likes of Chris Martin and Gavin Rossdale. I caught up with the San Francisco duo after the launch of their first store, Mobile Supply Unit.

First off, let me just congratulate you on a remarkable career. I first interviewed you almost ten years ago, and it is impressive how you've consistently done your own thing to great success. What's been your biggest accomplishment this past decade?

We are proud of enduring the long, hard road that was necessary to make Nice Collective a reality while still staying true to the initial intent of building an ingenious brand with honesty and integrity. We are happy to have done so without compromise. Growing a label to this point while remaining independent and without external financing was no small feat. While we do occasionally question our sanity, it gives us a feeling of great accomplishment to have done so. We are really proud of the incredible people and projects we were lucky to be a part of.

You have opened a mobile store in San Francisco. How did that come to life? Where will the next one open?

There will eventually be multiple Mobile Supply Units moving throughout the U.S. For now, MSU #1 will be deployed at a few festivals next summer and will also have a nice renegade moment in a well-chosen back alleyway. The next location for extended occupation has not yet been chosen.

Your line is coveted by rock musicians. Why is that?

Music remains our No. 1 source of inspiration when designing. There is very little separation between experiencing music and designing for us.

Besides Nice Collective, what designers/brands do you wear?

Levi's has always been a staple brand in both our wardrobes, and the majority of the time you can find me wearing a hat by a great label called Heathen.

And since there is such a synergy with the music world and your designs, who are you listening to now?

Our taste cover a really wide range. Aside from a schizophrenic playlist of punk, house, metal, Balkan beats, etc., the last couple days we've been listening to a lot of Panty Raid and James Blake.

What collection are you working on now, and how do you intend to show it?

We just finished designing fall 2011. It's entitled Gravity. It was inspired by how the forces of the universe work together and a study of new quantum gravity theories. Lots of hybrid function, casual pieces clashing with formal, and lots of hidden functionality. It was really an exciting collection to work on and propagated some great design ideas. It will be shown through short video pieces and an interactive installation.

Finally, what are three must-haves for any man's wardrobe?

A reversible blazer that can serve in different environments depending on which way it is worn. A non-denim pant that wears just as easy so it can break the "go to" habit of jeans. A lightweight layering sweater.

paul v

2011-02-06T15:34:59Z

I had the chance to ask the man behind my new favorite blog, Born This Way, some questions.

Who the heck are you?
My name is Paul V. (aka DJ Paul V.), from Los Angeles. I'm a longtime club and radio DJ, music reviews writer, and general music biz "Promosexual." You could also say I'm a bit of a Facebook activist and outspoken mouthpiece for gay rights and equality. Also, "Born This Way" is my first ever official blog.

What made you create the blog?
The idea had been brewing in my head for about 3 or 4 years, after seeing the original pic of the little boy in the plaid jumpsuit. Who I finally located - it's my friend Dennis Skeen, from Long Beach, CA. After originally seeing his pic on his MySpace profile, my immediate thought was: If there's any doubt that gay people are born that way, this pic absolutely proves them wrong! And that's when the idea of a coffee table book featuring pix and stories just like his, was hatched. However, what prompted me to get the blog going has been more recent current events, like Prop 8 passing here in CA, the gay marriage debate in general, and most importantly - the terrible news of all the suicides of those gay kids last year. Dan Savage's It Gets Better project was a major inspiration too, for my blog to be another place to try and help gay kids struggling now, who might see themselves in these pix and stories.

Who were your first submissions? How have they grown?
The blog started on 1/9/11 with me basically begging my gay Facebook friends for submissions (and about 6,000 page views on 1/12/11), to now 286,000+ page views! In just 7 short days, the response has been astounding - like, of TSUNAMI proportions. It also means I have to open and close the submissions every few days, just to be able to catch up and get people's pix and stories posted up. It's a bit overwhelming, but I'm doing my best to get on some kind of set schedule that I can devote to the blog.

Has there been any theme to the photos you've received? Anything repeating in the images?
Some things repeat in the pix, such as Halloween pix (usually of young boys doing some kind of drag), as well as just simple family or "class pictures" - where there's just something in the subject's eyes, smile, pose or energy that's revealing. But it's the stories that seem to share the most themes, such as "I was a 'different' kind of kid whose parents always encouraged me to just be myself" kind of thing. But there's also sadness too, about bullying and pain. I think both those positive and negative things (and all each person wants to share about their experience) is really important to see. One great commonality is how even the kids who were bullied or very unhappy as gay kids, are now very happy, healthy, and vibrant gay adults. And that's what I hope gay kids of 2011 can take to heart in the blog.

Something charming about your site is its simplicity: the layout, the images, all of it. Was that intentional?
Yes, pretty much. I knew the blog needed to be easy to read and navigate, and that each submission needed to solely be that person's picture and their story, which seems to be the biggest resonance with people who've discovered the site. I added the "Famous First Crush" element just for fun, and to see if there's any themes or patterns on that level too. Apparently, actor Robert Conrad stirred many a gay boy's "imagination" back in the day!

What do you hope to accomplish with Born This Way?
On a small scale, I'd love to see the original idea of a book version to come true. Or perhaps, maybe even some kind of a gallery presentation. On a much bigger scale, I'd like the blog to save some lives of gay kids, to finally help end the notion that gay people "choose" their sexual orientation (ahem - they don't!), and to just be another sledgehammer that helps to knock down the wall of homophobia and inequality against gay people.

Lastly, do you still have a love for plaid?
Haha! You need to ask Dennis that question, not me!

tim palen

2011-02-06T15:31:56Z

Tim Palen is responsible for some sinister and moody Hollywood imagery. I recently asked this creative force about his collaborations with Slick It Up, his movie posters for the SAW series, and his favorite movie posters of all time.

How did you meet David Mason?

I bought some clothes from his site for a project I was working on. Then my friend Billy Beyond told me that he worked with Dave on SEX AND THE CITY and thought we would click, so he made the introduction and we've been buddies ever since.

Explain to me the concept for the new Slick It Up videos you directed.

Fashion-forward future by way of old-school simplicity. Dave is really a visionary and a true artist -- the concept of the commercials came out of his big head. We collaborate really well, and the whole process was a big art project (with Slick It Up as the excuse for us to nut up in tandem).

What exactly do you do at Lionsgate?

President of marketing for the domestic theatrical division. I love my job, and Lionsgate is an amazing and inspiring place to work.

It appears you're both a movie executive and someone who photographs and designs. Do most movie execs get their hands dirty like you?

I've been at Lionsgate for nine years, and my job has evolved/shifted/settled to become a perfect fit for me. Lionsgate not only embraces my creative "hands dirty" nature but celebrates and supports it. I have a very special relationship with the company, and I don't think it could (or does) exist anywhere else.

Speaking of dirty hands ... your SAW movie posters are gruesome yet sexy. They're very high-fashion. What were you thinking when you conceptualized the SAW visuals?

We marketed seven SAW movies in seven years. That's something I'm very proud of, but it was challenging to keep the franchise fresh and relevant year after year. ... Mostly we tried to inject a sense of fashion and fine art into the campaigns ... and from the very beginning we vowed to never make fun of the brand (serious as church).

I really liked your portraits for last year's FOR COLORED GIRLS. They're very sad. Was that the point?

Since this movie was a huge departure from the previous efforts of Tyler Perry, I wanted the campaign to immediately put him in a different light. I knew some people would have a hard time separating him from "the man who brought you MADEA," so I knew the campaign would have to work extra hard in that regard. The posters evolved out of the "living portraits" that I did of the women, and because I included audio of some of the dialogue from the film/poem, the end result was naturally and organically on the serious side.

Of all the visuals you've created for movie projects, what are your favorites?

I hate looking back, so it's easier for me to appreciate work that's more recent. The BURIED Saul Bass-inspired poster, the COLORED GIRLS watercolor, and the EXPENDABLES teaser poster are a few that I'm particularly proud of. All simple and graphic and not dependent on talent likeness to communicate the message.

And what is your favorite movie poster that you did not create?

I always loved the poster for ROSEMARY'S BABY. The ALICE IN WONDERLAND posters this year were pretty jaw-dropping, and I remember losing my mind when I first saw the SILENCE OF THE LAMBS poster hanging in a theater lobby ...

Who inspires you?

I'm constantly/often/regularly inspired -- usually by beauty or talent or vision. People like Gareth Pugh, Lindsey Wixson, Nick Knight, François Sagat. There's inspiration everywhere.

Finally, what's next? What are you working on now?

I just got back from Bulgaria, where I shot the campaign for the new CONAN THE BARBARIAN (Jason Momoa as Conan), and I'm working on a graphic-novel project with Tom Hardy that's in the early stages of development (very exciting).

alex calderwood

2011-02-06T15:29:09Z

I am a huge Ace Hotel fan. Whether you're in New York or Palm Springs, there is always someone interesting and stylish to meet/stare at in the lobby. I tracked down Ace co-founder Alex Calderwood and asked him a few questions.

How did Ace start out? What made you open a hotel?

It really came out of love of travel and the fact that hotels are a great platform to pursue a variety of cultural pursuits, like music, art, literature, design, etc. We wanted to make a space that felt less like a hotel and more like a cool friend's apartment.

I must say I am obsessed with the Ace in Palm Springs. That place is magical. When you decided to open there, what was the original concept? And has it lived up to what you'd imagined?

We were inspired by the ruggedness and elements of the desert, and we wanted to reinterpret the idea of a desert resort -- to bring fresh elements to the classic mid-century architecture and create a sort of bohemian but "new luxe" experience. We focused on making interesting details to create an atmosphere rather than gratuitous luxuries. Ace Palm Springs presented an opportunity to translate our aesthetic from hotels to dining environments, pool culture, and a spa, and to create something less urban that made sense in the desert.

We swim in high heels there. And it's pretty much encouraged. That's pretty awesome. Have you ever swum in heels?

Not to date, but I wouldn't rule it out.

The Ace here in New York is a frequent haunt of mine, too. What an incredible energy. Who is responsible for the events and vibe there?

Our atelier staff in Portland accomplish this masterfully in collaboration with the NYC events team.

And how do you partner with such unique folks -- Buttmagazine, Isaora, and Levi's, to name a few? Do you seek them out? Do they come to you?

We just like to work with our friends and people whose work we admire. It always develops naturally out of feeling inspired by each other, sitting around having ideas together, and wanting to create something new and interesting.

Who designed each of the hotels?

Roman and Williams and Ace worked together to create Ace NYC. We worked with Commune Design to design Ace Palm Springs, and landscape consultant William Kopelk to cultivate the plant life there. Portland and Seattle were our first, and we did them both with the Ace team and friends.

Where are you opening next?

We're always looking for opportunities, but nothing is set in stone yet.

When not in cities with Ace hotels, where do you like to stay? What are your favorite hotels?

It's hard to pin it down; there are things I like about many hotels. I always prefer a place with a sense of the culture around it -- whether that's really new or heritage culture. And details that feel spirited and earnest, not generic or pretentious.

Finally, what's the craziest thing that's happened in one of your hotels?

Swimming in high heels sounds pretty crazy to me.

trey speegle

2011-02-06T15:27:05Z

Trey Speegle's art is fun and colorful. The New York artist recently chatted with me about his upcoming show, his paint-by-numbers collection (the largest in the world), and his collaborations with fashion people like Stella McCartney.

So, tell me all about your new show Thursday Feb 10th with Benrimon Contemporary.

The title is "It's Not About You". Every painting has the word you in it. Hopefully, the works have dual if not multiple meanings, and the title piece points that up. I always hesitate to explain the work too specifically. Hopefully people will come see for themselves. As with anything, it is much different in person, but the work is made during and for the digital age, so if you aren't in New York, it looks pretty good online too.

You and I both share our time between Manhattan and upstate New York. If you had to choose just one, where would you live?

Fortunately, I don't have to choose. Right now, I'd say Manhattan, but in the future it could be upstate. I really love being in the country and having space. I have a converted barn that's about 3,000 square feet. What I love the most is the contrast between the two. And also that every week or so I have to physically move the energy around in my life. That's very healthy for me. So I'm going to continue to do both until I get "kicked off the island," so to speak.

When I bought my house upstate, it was filled with framed paint-by-numbers paintings. Had I known you, I would have gotten them for you. How many do you have in your collection?

That's nice, thank you. Well, mine came empty and I filled it with them. I have about 3,000 at the moment, but that's just a guesstimate. I recently got 275 from one source that will be part of a large installation in the show, so I use them as raw material sometimes too. They are all mostly in the entryway, organized by subject and whether they are framed, unframed, or unpainted, in their original boxes. I have a pretty good idea of which ones I own, but I forget sometimes and buy duplicates.

How do you know it's the world's largest collection?

Oh, I don't really know that it is. Someone wrote once that it was "one of the largest," and it probably is. When I hit 5,000, I may call Guinness to have it verified. That would take some real effort, though. Someday I'll archive and catalog everything. That's a lie! If it gets done, I'll hire someone to do it. I don't have the time or patience.

Do you collect anything else?

Other artists', mostly friends', work. I probably have 250 framed pieces, more in flat files. Photographs, collages, drawings, paintings, etc. I also have a small collection of busts and heads, the most rare being a wax bust from France with glass eyes from the early part of the last century on a marble base. She was used as a store-window wig model, I think.

You've collaborated with some well-known designers and retailers. Can you tell me a little about your work for Stella McCartney?

Well, Stella knew my work, I guess, and got in touch to ask me to create a backdrop for her Paris runway show in '09. We talked about her collection, which was very colorful for her, and I proposed a few ideas. She liked one based on a '50s paint-by-numbers of the Arc de Triomphe with the word YES blocked out. It was huge: 18 by 32 feet. I painted it in London and added LA MCCARTNEY on a shop awning in the painting. The venue, the Palais de Tokyo, was just blocks from the actual monument. There are people in the painting with umbrellas, and the streets are wet, and the morning of the show it rained, so life was doing its best to imitate the art.

Jonathan Adler?

Jonathan has my works on paper in a dozen stores across the country and also online. My work was a good fit in his shops; I think his audience can appreciate the colorful, vintage nature of the work.

Anthropologie?

That was fun. I worked for about six months with different buyers and created a lot of different items for them based on my work: soap sets, plates, wallpaper, puzzles, etc. The throw pillows, bedding, and rugs are still available online, and some of the sold-out items will be in the RePOP shop, a pop-up store that will be inside the gallery during my exhibit.

Who are your favorite artists?

Of all time? Warhol, Twombly, Rauschenberg, Ruscha. They are giants. But I love Koons, Hirst, Maurizio Cattelan, and Tom Sachs, among others. I like really pop, as in "popular," art. The most successful art, to me, reaches the most people. My work isn't about paint-by-numbers per se, but rather, I use it as a visual vocabulary and "entry" point to meet the viewer halfway. I don't go for snobby, snarky, "figure out what the hell I'm trying to say because I don't have a clue" art.

The press release for your show says your work questions the notion of "The world is as you see it." How do you see the world?

Well, I think the work doesn't really question the idea so much as nudge you toward its meaning. I personally see the world as a moment-by-moment choice, and most people are only as happy as they choose to be. On one level, this work is about prodding the viewer into examining his own worldview. The title of the largest piece in the show (which is 19 feet long) says, It's Later Than You Think. And you never know. So let's get on with it!