Like A Virgin

Seiji Fujimori's spread, 'Like A Virgin' is punctuated by drama, sexuality, and recognizable signature Madonna moments -- it rises above the usual clichéd visualizations.

What’s up!?

Allaire Heisig - Ford Models. Seventeen-year-old model Allaire Heisig appeared in our premier issue featured editorial entitled ‘The Icons’.

A hair story with Laurent Philippon

I’ve had the pleasure to interview world-renowned French hair stylist Laurent Philippon for us to get a better understanding of his career in hair-styling.

Japan Earthquake Relief Fund

Japan Society has created a disaster relief fund to aid victims of the massive earthquake and tsunamis that struck northeastern Japan.  The Japan Earthquake Relief Fund will work with Japanese and American nonprofit organizations that are on the frontlines of disaster relief and recovery in Japan.  The fund will take advantage of Japan Society’s expertise in bringing together American and Japanese experts to collaborate on social issues, including disaster relief.  One hundred percent of tax-deductible contributions to the fund will go to organizations that directly help victims recover from the devastating effects of the earthquake and tsunamis. Click here to learn more.

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Like A Virgin

Photography by Seiji Fujimori
Written by Corey Scott Arter

“Life, like art, is a collaboration, and I did not get here on my own — and why would I want to?”  -Madonna

Very few icons have had the scope of vision and longevity that Madonna has — and of those icons, even fewer are still relevant.  Over the greater part of three decades, going on four, the Queen of Pop has stayed at the top, breaking world records over and again with each successive year.  She is undoubtedly the most successful female pop artist of all-time; and she is arguably one of the most powerful women in the world.

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Ready. Set. Virgine.

By Corey Scott Arter

Just as its name suggests, VIRGINE is indeed something ‘pure’ and ‘new’.  After years of conceptual development and planning, the premier issue is at long last available to magazine aficionados everywhere.

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Maximilian Hecker

By Daniel Kent

As Maximilian Hecker’s synthetic croon permeates the room, feathered piano and velvet strings pulsing below his skyward voice, one can hardly help but feel their otherwise prosaic surroundings cinematically transform into a scene from a romantic melodrama that could transcend even the most sentimental of daytime television. This is not to say that German-born Hecker’s starry-eyed balladry is a construction quite as simple as that of the troubadours who have come before him.
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Fashion in Seoul

By Hyojin Jun

Seoul’s fashion scene is about to be shaken up. With the beginning of spring, change is coming, along with a whole lot of fashion news.

Scott Schuman from the Sartorialist visited Seoul not so long ago to take in the real style of the city (though it was a collaboration with brands). Soon the Robert Paolo exhibition will open at 10 Corso Como Seoul, as well as the “Art Lecture at Artsonje” at Sonje Art Gallery, sponsored by Tiffany Korea.

This year’s first hero is Jens Hoffmann, Istanbul Biennial Curator and Director of CCA Wattis Contemporary Art Institute. Gaia Repossi-designed accessories will be launched at Zadig-et-Voltaire and fashion icon Alexa Chung is in the news for DJing at the Mulberry Party on the 23rd of March.

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Ana De La Reguera

By Rony Shram

After wrapping his photo shoot with the Mexican actress and CoverGirl spokeswoman, our photographer trades his camera for a pen and paper as he sits down with his subject to probe below the surface.

Charlie Sheen has been all over the news with all his various rants and theories. Many believe they are just seeing the live version of the character he’s played all these years. I always felt that many actors play some sort of version of themselves; would you say any of your roles are an extension of Ana?

Certain things are an extension of you, because sometimes you improvise a little bit and many things come from your life. I’ve been very lucky to play very different characters. I’ve played the love interest many times, but I’ve played different roles. You put a little bit of yourself in every role and you develop that. Sometimes when you play a role that is close to something in life, it works very well. Sometimes I get a role that has nothing to do with me, and those are the hardest roles, because you feel a little bit lost. You ask where shall I go, and you work it out with the director and do a lot of research.
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Azzedine Alaïa Interview


By Eric Waroll
Translated and edited by Carlotta Morteo

Azzedine Alaïa’s showroom / shop / workshop / office feels timeless. The floor is covered in parquet; the rooms are filled with natural daylight from the large windows. The walls and brick towers supporting the ceiling are a dazzling red. Neither too retro nor too futuristic, the creations of the Tunisian-born designer are set out in harmony with the design of the room.

Holder of two fashion Oscars, Alaïa doesn’t have to worry about his place as one of the greatest in the history of fashion. But skills come withhardships, patience, and enduring passion. Since a young age, he was fascinated by the creations he discovered in the copies of Vogue. At Guy Laroche, Alaïa launched his first collection of ready-to-wear for Charles Jourdan in the ’70s. It was in the ’80s that Alaïa impressed the fashionworld by focusing on perfectly fitted fabrics that embraced the shape of bodies and exposed the chic and sensuality of his subjects. The creator isseen as both a designer and an architect.

Photography by Txema Yeste

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A Conversation with John Baldessari

By Max Fierst

John Baldessari’s art is a panoramic theater of painting, photography, text, and video. His promiscuous use of many media was rare in the early 1960s when Baldessari began making his groundbreaking work. Multi-media studio practice has become commonplace among contemporary artists, at least in part because of the pervasive influence of the 80-year-old Californian, the poet of verbal images and visual puns.

Baldessari said he hates categories. He is a “conceptual artist,” a term to which any conceptual artist will object. In the purest sense, conceptual art is an oxymoron, since all artists make things no matter how “conceptual.” Even performance artists, whose work is temporary, living sculpture, leave some evidence behind of their “happenings.” Otherwise, without some object to live on after the art event is over, all would be forgotten.

Portrait of John Baldessari, Photography by Sidney B. Felsen, 2007

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