1|100PHOTOGRAPHED BY ERIC MAS, LOS ANGELES, 2010.

o c t o b e r 2 0 1 0 / n o v e m b e r 2 0 1 0

armando branco, rogerio cavalcanti, michelli provensi, marco van rijt, gracie wink, kristina wilson, iris, yves klein, blue, sohrab vahdatnobuyoshi araki, raf simons, marco van rijt, larissa felsen, eric mas, andrew, larry clark, lygia clark

i s s u e 8 3

2| 100

1|2 kIDS (1995)

When

you’re young, not much matters. When

you find something that you care about,

then that’s all you got.

When you go to sleep at night you dream

of _____. When you Wake up it’s the same

thing. it’s there

in your face.

you can’t escape it.

sometimes When you’re young the only

place to go is _____. that’s just it - ______

is What i love. take that aWay from me

and i really got

nothing.

in

de

X

3|100

2|2 OCTOBER/NOvEMBER 2010

andreW BY ERIC MAS nobuyoshi araki + pablo ne-ruda | michelli provensi BY ROGERIO CAvALCANTI gracie Wink BY JOSEFINA BIETTI iris BY kRISTINA WILSON

dasha BY SOHRAB vAHDAT inge, justin, sebastiaan, nienke, maureen, tessa, Wouter, nadine &

lucas BY ARMANDO BRANCO trickZ or treats BY LARISSA

FELSEN raf simons gosha rubchinsky larry clark RETROSPECTIvE leather everyWhere BY MARCO vAN

RIJT AND STYLING BY JEAN-PAuL PAuLA

i s s u e 8 3

4| 100

__

__

__

WEI

RD D

AN

CIN

G I

N A

LL-N

IGH

T co

mpu

ter-b

anki

ng l

o-bb

ies.

una

utho

rized

pyr

otec

hnic

disp

lays

. La

nd-a

rt,

eart

h--w

orks

as

biza

rre

alie

n ar

tifac

ts s

trew

n in

Sta

te P

arks

. Bu

r-gl

ariz

e ho

uses

but

inst

ead

of s

teal

ing,

leav

e Po

etic

-Terr

orist

ob

ject

s. k

idna

p so

meo

ne &

mak

e th

em h

appy

. Pi

ck s

omeo

-ne

at r

ando

m &

con

vinc

e th

em t

hey’

re t

he h

eir

to a

n en

or-

mou

s, u

sele

ss &

am

azin

g fo

rtun

e--sa

y 50

00 s

quar

e m

iles

of

Ant

arct

ica,

or

an a

ging

circ

us e

leph

ant,

or a

n or

phan

age

in B

omba

y, o

r a

colle

ctio

n of

alc

hem

ical

mss

. La

ter

they

w

ill c

ome

to r

ealiz

e th

at f

or a

few

mom

ents

the

y be

lieve

d in

som

ethi

ng e

xtra

ordi

nary

, &

will

per

haps

be

driv

en a

s a

resu

lt to

see

k ou

t so

me

mor

e in

tens

e m

ode

of e

xist

ence

.Bo

lt up

br

ass

com

mem

orat

ive

plaq

ues

in

plac

es

(pu-

blic

or

priv

ate)

whe

re y

ou h

ave

expe

rienc

ed a

rev

ela-

tion

or h

ad a

par

ticul

arly

ful

fillin

g se

xual

exp

erie

nce,

etc

.

go

n

ak

ed

f

or

a

s

ign

.

Org

aniz

e a st

rike i

n you

r sch

ool o

r wor

kpla

ce o

n the

gro

unds

th

at it

does

not s

atisf

y you

r nee

d fo

r ind

olen

ce &

spiri

tual

bea

uty.

Gra

fitti-

art lo

aned

som

e gr

ace

to u

gly

subw

ays &

rigi

d pu

blic

m

omum

ents

--PT-

art c

an a

lso b

e cr

eate

d fo

r pub

lic p

lace

s: p

o-em

s scr

awle

d in

cou

rtho

use

lava

torie

s, sm

all f

etish

es a

band

o-ne

d in

par

ks &

rest

aura

nts,

xer

ox-a

rt u

nder

win

dshi

eld-

wip

ers

of p

arke

d ca

rs, B

ig C

hara

cter

Slo

gans

pas

ted

on p

layg

roun

d w

alls,

ano

nym

ous

lette

rs m

aile

d to

ran

dom

or

chos

en r

eci-

pien

ts (

mai

l fra

ud),

pira

te r

adio

tran

smiss

ions

, wet

cem

ent..

.Th

e au

dien

ce

reac

tion

or

aest

hetic

-shoc

k pr

oduc

ed

by P

T ou

ght

to b

e at

leas

t as

stro

ng a

s th

e em

otio

n of

ter

-

ror--

pow

erfu

l di

sgus

t, se

xual

aro

usal

, su

pers

titio

us a

we,

su

dden

in

tuiti

ve

brea

kthr

ough

, da

da-e

sque

an

gst--

no

mat

ter

whe

ther

the

PT

is ai

med

at

one

pers

on o

r m

any,

no

mat

ter

whe

ther

it

is “s

igne

d” o

r an

onym

ous,

if

it do

es

not

chan

ge s

omeo

ne’s

life

(as

ide

from

the

art

ist)

it fa

ils.

pt

is

an

ac

t i

n a

th

ea

te

r o

f c

ru

el

-t

y

Wh

ich

h

as

n

o

st

ag

e,

no

r

oW

s o

f s

ea

ts

, n

o t

ick

et

s &

no

Wa

ll

s. I

n or

der

to w

ork

at a

ll, P

T m

ust c

ateg

oric

ally

be

divo

rced

from

al

l co

nven

tiona

l st

ruct

ures

for

art

con

sum

ptio

n (g

alle

ries,

pu

blic

atio

ns,

med

ia).

Eve

n th

e gu

erill

a Si

tuat

ioni

st ta

ctic

s of

st

reet

thea

ter

are

perh

aps

too

wel

l kno

wn

& e

xpec

ted

now

.A

n ex

quisi

te s

educ

tion

carr

ied

out n

ot o

nly

in th

e ca

use

of

mut

ual s

atisf

actio

n bu

t also

as a

cons

ciou

s act

in a

del

iber

atel

y be

autif

ul lif

e--m

ay b

e th

e ul

timat

e PT

. The

PTer

roris

t beh

aves

like

a co

nfide

nce-

trick

ster

who

se a

im is

not

mon

ey b

ut C

HA

NG

E.D

on’t

do P

T fo

r ot

her

artis

ts,

do i

t fo

r pe

ople

who

will

no

t rea

lize

(at l

east

for

a fe

w m

omen

ts)

that

wha

t you

hav

e do

ne i

s ar

t. A

void

rec

ogni

zabl

e ar

t-cat

egor

ies,

avo

id p

oli-

tics,

don

’t st

ick

arou

nd t

o ar

gue,

don

’t be

sen

timen

tal;

be

ruth

less

, ta

ke r

isks,

van

daliz

e on

ly w

hat

mus

t be

def

aced

, do

som

ethi

ng c

hild

ren

will

rem

embe

r al

l the

ir liv

es--b

ut d

on’t

be s

pont

aneo

us u

nles

s th

e PT

Mus

e ha

s po

sses

sed

you.

dr

es

s

up

. l

ea

ve

a

f

al

se

n

am

e.

be

le

ge

nd

ar

y.

th

e b

es

t p

t i

s a

ga

ins

t

th

e

la

W,

bu

t

do

n’t

g

et

c

au

-

gh

t.

ar

t

as

c

rim

e;

cr

ime

a

s

ar

t.

2|3 ExTRACTED FROM HAkIM BEY CHAOS BOOk

an

d t

he

re

Wa

s a

be

au

tif

ul

vie

Wb

ut

no

bo

dy

co

ul

d s

ee

.

ca

us

e e

ve

ry

bo

dy

on

th

e i

sl

an

d

Wa

s s

ay

ing

: l

oo

k a

t

me

! l

oo

k

at

me

!W

hy

?

po

et

ic

te

rr

o-

ris

m

Problem Girl«, 2001 by DAMIEN HIRST.

5|100

3|3 lANGuAGE is A virus≠

an

d t

he

re

Wa

s a

be

au

tif

ul

vie

Wb

ut

no

bo

dy

co

ul

d s

ee

.

ca

us

e e

ve

ry

bo

dy

on

th

e i

sl

an

d

Wa

s s

ay

ing

: l

oo

k a

t

me

! l

oo

k

at

me

!W

hy

?

Meurtrière (Dolomites)«, 2009 by NICOLAS MILHé.

6| 100

1|1 POETRY

PERH

APS

NO

T TO

BE

IS T

O

BE W

ITH

Ou

T YO

uR

BEIN

G,

WIT

HO

uT

YOu

R G

OIN

G,

THA

T C

uTS

N

OO

N

LIG

HT

LIk

E A

BLu

E FL

OW

ER,

WI-

THO

uT

YOu

R PA

SSIN

G

LATE

R TH

ROu

GH

FO

G

AN

D

STO

NES

,

WIT

HO

uT

THE

TORC

H Y

Ou

LIF

T IN

YO

uR

HA

ND

THA

T O

THER

S M

AY

NO

T SE

E A

S G

OLD

EN,

THA

T PE

RHA

PS N

O O

NE

BELI

EvED

BLO

SSO

MED

THE

GLO

WIN

G

ORI

GIN

O

F TH

E RO

SE,

WIT

HO

uT,

IN

TH

E EN

D,

YOu

R

BEIN

G,

YOu

R C

OM

ING

SuD

DEN

LY,

INSP

IRIN

GLY

, TO

kN

OW

MY

LIFE

,

BLA

zE O

F TH

E RO

SE-T

REE,

WH

EAT O

F TH

E BR

EEzE

:

AN

D IT

FO

LLO

WS

THA

T I A

M, B

ECA

uSE

YO

u A

RE:

iT fo

llo

ws

fro

m ‘y

ou

ArE

’, TH

AT i

Am

, AN

D w

E:

AN

D,

BEC

Au

SE O

F LO

vE,

YO

u W

ILL,

I W

ILL,

WE

WIL

L,

CO

ME

TO

BE.

POEM

BY

PA

BLO

N

ERu

DA

, PH

OTO

GRA

PHY

BY

N

OBu

YOSH

I A

RAk

I

perh

aps

no

t

to

be

is

to

be

Wit

hout

your

be

ing.

7|100

PERH

APS

NO

T TO

BE

IS T

O

BE W

ITH

Ou

T YO

uR

BEIN

G,

WIT

HO

uT

YOu

R G

OIN

G,

THA

T C

uTS

N

OO

N

LIG

HT

LIk

E A

BLu

E FL

OW

ER,

WI-

THO

uT

YOu

R PA

SSIN

G

LATE

R TH

ROu

GH

FO

G

AN

D

STO

NES

,

WIT

HO

uT

THE

TORC

H Y

Ou

LIF

T IN

YO

uR

HA

ND

THA

T O

THER

S M

AY

NO

T SE

E A

S G

OLD

EN,

THA

T PE

RHA

PS N

O O

NE

BELI

EvED

BLO

SSO

MED

THE

GLO

WIN

G

ORI

GIN

O

F TH

E RO

SE,

WIT

HO

uT,

IN

TH

E EN

D,

YOu

R

BEIN

G,

YOu

R C

OM

ING

SuD

DEN

LY,

INSP

IRIN

GLY

, TO

kN

OW

MY

LIFE

,

BLA

zE O

F TH

E RO

SE-T

REE,

WH

EAT O

F TH

E BR

EEzE

:

AN

D IT

FO

LLO

WS

THA

T I A

M, B

ECA

uSE

YO

u A

RE:

iT fo

llo

ws

fro

m ‘y

ou

ArE

’, TH

AT i

Am

, AN

D w

E:

AN

D,

BEC

Au

SE O

F LO

vE,

YO

u W

ILL,

I W

ILL,

WE

WIL

L,

CO

ME

TO

BE.

r a f > > >

iT

is

15

yEA

rs

siN

CE

rAf

sim

oN

s lA

uN

CH

ED

His

m

EN’s

fA

sHio

N

liN

E iN

A

NTw

ErP,

A

ND

o

vEr

TH

AT

Tim

E H

E H

As

Pro

vED

To

bE

THE

mo

sT

TAlE

NTE

D

mEN

swEA

r D

EsiG

NEr

o

f o

ur

Tim

Es;

i sA

y TH

is

Co

Nfi

DEN

Tly,

w

iTH

N

o

HiN

T o

f Ex

AG

GEr

ATi

oN

.

8| 100

His collections (menswear

only) are strongly influen-

ced by youth culture albeit

in an indirect way. He

often combines strongly

cut classic menswear with

baggy streetwear-influenced

items. simons’ style has

been described as highly

i n f l u e n t i a l .

h e i s c i t e d a s

b e i n g o n e o f

t h e m o s t i m -

p o r t a n t i n -

n o v a t o r s i n

c o n t e m p o r a -

r y m e n s W e -

a r b y t h e i n -

t e r n a t i o n a l

p r e s s

ra

f>

>>

9|100

h e p r e s e n t s h i s

c o l l e c t i o n s t W i c e

a y e a r , u s u a l l y i n

p a r i s , BuT WORkS AND LIvES

IN ANTWERP, BELGIuM. IN HIS EARLY

YEARS, his runway shows were un-

conventional: models running down a

street or walking in a parking lot, on a

bridge, around a photography studio.

< < s i m o n s

x

ja

nu

ar

y

12

th

1

96

8

10| 100

(28 April 1928 – 6 June 1962) was a French artist considered an important figure in post-war Europe-an art. New York critics of Klein’s time classify him as neo-Dada, but other critics, such as Thomas McE-villey in an essay submitted to Artfo-rum in 1982, have since classified klein as an early, though enigmatic, postmodernist.

“ c o l o r

i s s e n s i -

b i l i t y i n

m a t e r i a l

f o r m ,

m a t -

t e r i n

i t s p r i -

m o r d i a l

s t a t e . ”

kl

ein

;yv

es

1|2 YvES kLEIN

11|100

p le a se s a ve m y ea rt h > >

When i was young, I watched this animation so many times.. and

again, i watched this movie few weeks ago. this is the best animation so far. i dont know why but i guess, ive always been thinking about kind of this story. and the peaceful music

always makes me feel lonely. but i like that feeling. it feels like there is no one but me and then i finally understand the excessive fondness

of him and of me..

2|2 EARTH

12| 100

the

1950

s,

Whi

ch

saW

the

con

stru

c-ti

on

of

braZ

il’s

neW

uto

pian

cap

i-ta

l,

bras

ilia

, an

d th

e fo

rmat

ion

of

the

são

paul

o bi

e-na

l, W

as a

per

iod

of d

emoc

racy

and

re

lati

ve e

cono

mic

pr

ospe

rity

in

th

e co

untr

y.

it

Was

W

ithi

n a

clim

ate

of

incr

ease

d in

tern

a-ti

onal

ism

tha

t th

e di

stin

ctiv

e fo

rm

of

geom

etri

call

y ba

sed

pain

ting

and

sc

ulpt

ure

call

ed

conc

rete

art

Was

es

tabl

ishe

d. s

Wis

s ar

tist

max

bil

l, W

ho h

ad e

xhib

ited

his

Wor

k at

the

mus

eu d

e

arte

de

são

paul

o in

195

0 an

d re

turn

ed t

he f

ollo

Win

g ye

ar t

o W

in a

maj

or p

riZe

at

the

firs

t sã

o pa

ulo

bien

al,

had

insp

ired

man

y yo

unge

r ar

tist

s in

bra

Zil,

suc

h as

lui

s sa

cilo

tto,

to

Wor

k in

a s

tyle

rel

ated

to

his.

amon

g th

e ai

ms

of c

oncr

ete

art

Was

the

dis

tanc

ing

of

visu

al e

xpre

ssio

n fr

om f

igur

ativ

e ar

t, W

hich

had

pla

yed

such

a s

tron

g ro

le in

the

pas

t. c

oncr

ete

arti

sts

Wou

ld b

e at

tune

d to

con

tem

pora

ry t

heor

ies

of c

yber

neti

cs,

ges-

talt

psy

chol

ogy,

and

the

opt

ical

exp

erim

ents

of

inte

rna-

tion

al a

rtis

ts s

uch

as v

icto

r va

sare

ly a

nd b

ridg

et r

iley

. W

hile

con

cret

e ar

t fi

rst

foun

d ex

pres

sion

in s

ão p

aulo

, rio

de

jane

iro

Was

the

sit

e of

som

e im

port

ant

in-

nova

tion

s in

the

lat

e 19

50s.

the

art

ists

Who

had

bel

onge

d to

the

fir

st W

ave

of c

oncr

etis

m W

ere

dism

ayed

to s

ee a

less

enin

g in

the

rig

or o

f co

lor

and

form

in t

he W

orks

dis

play

ed. a

rtis

ts f

rom

rio

de

jane

iro

such

as l

ygia

cla

rk, h

élio

oit

icic

a, a

nd l

ygia

pap

e, b

ecam

e m

ore

and

mor

e in

tere

sted

in e

xper

imen

ting

Wit

h a

Wid

e ra

nge

of c

olor

and

inse

rtin

g a

grea

ter

sens

uali

ty o

r po

etic

fee

ling

into

the

ir a

rt.

ulti

mat

ely,

som

e of

the

mem

bers

of

the

neo-

conc

rete

gr

oup,

esp

ecia

lly

clar

k an

d oi

tici

ca, W

ent

on t

o de

velo

p m

etho

ds o

f cr

eati

ng a

rt t

hat

embr

aced

not

ions

of

per-

form

ativ

e in

tera

ctiv

ity

betW

een

the

art

obje

ct a

nd t

he

spec

tato

r.

—ed

Wa

rd

j.

sull

iva

n

LYGIA CLARk, THE I AND THE YOu: CLOTHING-BODY-CLOTHING SERIES, 1967. INTERACTIvE OBJECTS. MuSEu DE ARTE MODERNA DO RIO DE JANEIRO, CLARk FAMILY COLLECTION. PHOTO COuRTESY OF MuSEu DE ARTE MODERNA DO RIO

13|100

the

1950

s,

Whi

ch

saW

the

con

stru

c-ti

on

of

braZ

il’s

neW

uto

pian

cap

i-ta

l,

bras

ilia

, an

d th

e fo

rmat

ion

of

the

são

paul

o bi

e-na

l, W

as a

per

iod

of d

emoc

racy

and

re

lati

ve e

cono

mic

pr

ospe

rity

in

th

e co

untr

y.

it

Was

W

ithi

n a

clim

ate

of

incr

ease

d in

tern

a-ti

onal

ism

tha

t th

e di

stin

ctiv

e fo

rm

of

geom

etri

call

y ba

sed

pain

ting

and

sc

ulpt

ure

call

ed

conc

rete

art

Was

es

tabl

ishe

d. s

Wis

s ar

tist

max

bil

l, W

ho h

ad e

xhib

ited

his

Wor

k at

the

mus

eu d

e

arte

de

são

paul

o in

195

0 an

d re

turn

ed t

he f

ollo

Win

g ye

ar t

o W

in a

maj

or p

riZe

at

the

firs

t sã

o pa

ulo

bien

al,

had

insp

ired

man

y yo

unge

r ar

tist

s in

bra

Zil,

suc

h as

lui

s sa

cilo

tto,

to

Wor

k in

a s

tyle

rel

ated

to

his.

amon

g th

e ai

ms

of c

oncr

ete

art

Was

the

dis

tanc

ing

of

visu

al e

xpre

ssio

n fr

om f

igur

ativ

e ar

t, W

hich

had

pla

yed

such

a s

tron

g ro

le in

the

pas

t. c

oncr

ete

arti

sts

Wou

ld b

e at

tune

d to

con

tem

pora

ry t

heor

ies

of c

yber

neti

cs,

ges-

talt

psy

chol

ogy,

and

the

opt

ical

exp

erim

ents

of

inte

rna-

tion

al a

rtis

ts s

uch

as v

icto

r va

sare

ly a

nd b

ridg

et r

iley

. W

hile

con

cret

e ar

t fi

rst

foun

d ex

pres

sion

in s

ão p

aulo

, rio

de

jane

iro

Was

the

sit

e of

som

e im

port

ant

in-

nova

tion

s in

the

lat

e 19

50s.

the

art

ists

Who

had

bel

onge

d to

the

fir

st W

ave

of c

oncr

etis

m W

ere

dism

ayed

to s

ee a

less

enin

g in

the

rig

or o

f co

lor

and

form

in t

he W

orks

dis

play

ed. a

rtis

ts f

rom

rio

de

jane

iro

such

as l

ygia

cla

rk, h

élio

oit

icic

a, a

nd l

ygia

pap

e, b

ecam

e m

ore

and

mor

e in

tere

sted

in e

xper

imen

ting

Wit

h a

Wid

e ra

nge

of c

olor

and

inse

rtin

g a

grea

ter

sens

uali

ty o

r po

etic

fee

ling

into

the

ir a

rt.

ulti

mat

ely,

som

e of

the

mem

bers

of

the

neo-

conc

rete

gr

oup,

esp

ecia

lly

clar

k an

d oi

tici

ca, W

ent

on t

o de

velo

p m

etho

ds o

f cr

eati

ng a

rt t

hat

embr

aced

not

ions

of

per-

form

ativ

e in

tera

ctiv

ity

betW

een

the

art

obje

ct a

nd t

he

spec

tato

r.

—ed

Wa

rd

j.

sull

iva

n

LYGIA CLARk, THE I AND THE YOu: CLOTHING-BODY-CLOTHING SERIES, 1967. INTERACTIvE OBJECTS. MuSEu DE ARTE MODERNA DO RIO DE JANEIRO, CLARk FAMILY COLLECTION. PHOTO COuRTESY OF MuSEu DE ARTE MODERNA DO RIO

14| 100

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PHOTOGRAPHED BY

ERIC MAS

STYLING BY

MARCO ANTHONIO

PRADO

FEATuRING MODEL

ANDREW H. AT NExT LA

15|100

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16| 100

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26| 100

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STYLING BY

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MCCLENAGHAN

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33|100

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34| 100

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35|100

36| 100

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37|100

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42| 100

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43|100

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PHOTOGRAPHY & CONCEPT :

ARMANDO BRANCO

STYLING : JOOR @ 77MODELS

HAIR : HARM JAN

STOuWDAM @ COLOuRFOOL

AGENCY Bv

MAkEuP JOëLLE ROMITA @

COLOuRFOOL AGENCY Bv

MODELS : INGE, JuSTIN,

SEBASTIAAN, NIENkE,

MAuREEN, TESSA,

WOuTER,

NADINE, LuCAS @ 77MODELS

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46| 100

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48| 100

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52| 100

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58| 100

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64| 100

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PHOTOGRAPHY:

JOSEFINA BIETTI

STYLING BY:

CESAR CORTINOvE.

MODEL:

GRACIE WINCk

(WAY BRASIL)

65|100

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91|100

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92| 100

93|100

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95|100

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96| 100

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97|100

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100| 100

101|100

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102| 100

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a

d r e a d e d s u n n y d a y s o i m e e t y o u

a t t h e c e m e t r y

g a t e s k e a t s a n d y e -

a t s a r e o n y o u r s i d e

W h i l e W i l d e

i s o n m i n e

6|8 TRICkz OR TREATz

PHOTOGRAPHY:

LARISSA FELSEN

STYLING & MAkE-uP BY:

GABRIELA BECCARI

MODEL:

DIEGO WENzEL

(L̀ EQuIPE AGENCE)

105|100

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you sAy : “’ErE loNG DoNE Do DoEs DiD” worDs wHiCH CoulD oNly bE your owN AND THEN ProDuCE THE TExT from wHENCE wAs riPPED (somE Dizzy wHorE, 1804)

107|100

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7|8 LEATHER

PHOTOGRAPHY BY:

MARCO vAN RIJT

STYLING BY:

JEAN-PAuL PAuLA

HAIR AND MAkE-uP:

DENNIS MICHAEL AT

ANGELIQuE HOORN

MODELS:

RAJ AND DARRYL

AT TONY JONES MODEL

MANAGEMENT

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113|100

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114| 100

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s o y o u

g e t e n g a g e d

a n d h a v e a p a r t y

o n l y 1 7 W h e n t h e W e d d i n g

b e l l s c h a n g e r

a r o o m W i t h a v i e W

a n d a k i d o n t h e W a y

h o p e y o u m a k e

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c h u r c h

o n t i m e

PHOTOGRAPHY :

kRISTIINA WILSON

STYLING:

MARTIN WAITT

HAIR & MAkEuP:

JOEY MAALOuF

MODEL :

IRIS @ SuPREME

STYLIST ASSISTANT:

HILLARY GLuCk

8|8 POLAROIDS

125|100

JACkE T BY DSQuARED 2 , TOP BY DONNA k AREN. BR ACELE T BY SEQuIN. PANTS BY MICHAEL kORS.

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DRESS BY MICHAEL kORS

COAT BY DEREk L A M, NECkL ACE BY ROx ANNE ASSOuL IN FOR LEE ANGEL

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DRESS BY MICHAEL kORS.

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136| 100

la

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la

rk

“ h o W e v e r , i t ’ s

e a r l y i n t h e

s e a s o n , s o W e

a r e s t i l l s e a r -

c h i n g f o r o u r

s t r e n g t h s a n d

W e a k n e s s e s .

W e ’ r e l o o k i n g

f o r W a r d t o

b u i l d i n g o n

t h i s . ”

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c r e a t i v e d i r e c t o r & e d i t o r

ROMEu S I LvE IR A

c o n t r i b u t o r s > >

kRIST I INA WILSONMARTIN WAIT T

JOEY MA ALOuFHILL ARY GLuCIkIRIS @ SuPREME

ARMANDO BR ANCOMARCO vAN RI JT

JEAN - PAuL PAuL ADENNIS MICHAELR A J AND DARRIL

GABRIEL A BECCARIDIEGO WENzEL

MICHELL I PROvENSIROGERIO CAvALCANTI

CHIALIN CHIANGGR ACIE WINk

JOSEFINA BIET T ICESAR CORTINOvE

INGLEJuSTIN

SEBASTIA ANNIENkE

MAuREENTESSA

WOuTERNADINE

LuCASHARM JAN

JOORSOHR AB vAHDAT

vICTORIA MCCLENAGHANANASTASIA BOROvIk

DASHA @ NExT LONDONERIC MAS

ANDREW H.MARCO ANTONIO PR ADO

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