Wednesday, August 5th, 2009
IMAGES COLIN LANE
STYLING AND CASTING JAMES WORTHINGTON DEMOLET
HAIR ANTHONY CAMPBELL FOR CUTLER/REDKEN
MAKE-UP ALICE LANE FOR JED ROOT INC
FASHION ASSISTANTS JORDANA LONGO, JOSEFINA BALLESTA, ILEANA LAGARES
MODEL CAROLINE RIBEIRO
SPECIAL THANKS TO MICHAEL ARIANO AND MICHAEL ROSS
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Wednesday, August 5th, 2009
THERE’S SOME BIG THEORY BEHIND SEBASTIEN TELLIER’S ODES TO SEX
Words Paula Ayer Image Eduardo Hernandez Vaca
You might be forgiven for having certain preconceptions about Sébastien Tellier. The French singer and multi-instrumentalist first attracted attention with his gorgeous piano and synth-string masterpiece “La Ritournelle,” which had a series of successful remixes and even turned up on the soundtrack of Gossip Girl. But ever since the release of Tellier’s third album, Sexuality, his sleek electronic pop has been almost overshadowed by his reputation as a modern Serge Gainsbourg. Maybe that’s what happens when you create a themed album about sex that includes your girlfriend’s actual bedroom moans. Or when your Dionysian onstage behaviour involves swilling champagne, mounting pianos, and extolling bisexuality. Or maybe it’s that Spinal Tap-worthy album cover, which features the artist perched on a tiny horse atop the breast of a naked, reclining woman.
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Wednesday, August 5th, 2009
THE ART PHOTOGRAPHER’S POLAROIDS BRING VULNERABILITY TO A MEDIUM KNOWN FOR SLEAZE
Words Heather Watson Images Jeremy Kost
Jeremy Kost’s position in the art world is as unique as the range of subjects he engages with from behind that most anachronistic of photographic instruments, the Polaroid camera. Born in Corpus Christi, Texas, and holding a Bachelor’s degree in Marketing from Southern Methodist University in Dallas, 31-year-old Kost now resides in New York. His initial attempts to transpose his success as a club-night organizer in Washington, DC, to the East Village, where his friends all worked in bars, brought him early acclaim as a nightlife and celebrity photographer. The camera, he acknowledges, became “a vehicle for protection.” “I didn’t know this until later,” says Kost, “but that’s very much why Warhol took so many Polaroids: it was totally a social filter and guard for him.”
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