Book 2 - JAN 2014 - Preview Edition by deVour Magazine

deVour - Book 2 - January 2014

Wonderland Corsets CUSTOM CORSETS & COSTUMES

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1550 Sunkist St. Suite K, Anaheim, CA 92806

1550 S. Sunkist St. Suite K, Anaheim CA 92806 www.wonderlandcorsets.com 949-933-2990

deVour- Book - Book2 -I -January October 2013 deVour 2014

table of contents aesthetics

artistic mediums

editorials

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masthead creators Christine Lunday Creative Director Christine@devour-magazine.com

Toi Green (Lasha)

Artistic Mediums Director

Toi@devour-magazine.com

Irene Mar

Aesthetics Director

Irene@devour-magazine.com

contributors Jason Nicholls

Video Production

Amanda Rae Brattebo Copy Editor

Levan TK

Concert Photographer

Natasha Vi

Contributing Writer

Nadia Carmon

Contributing Writer

social media Facebook www.facebook.com/devourmagazine Twitter @bedevoured Instagram @devourmagazine Tumblr www.intothedarkuniverse.tumblr.com

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special thanks LEMG LIP SERVICE ELLIE SHOES F40 STUDIOS ALI LEVINE DESIGN SKULL KEY PRODUCTIONS PRIVILEGED BY JC DOSSIER PHILIP FAITH PHOTOGRAPHY MARIANNA HARUTUNIAN ZACK LO SHOES ALISON GOLDFRAPP MELINA DESANTIAGO TWOTWENTYTWO CLOTHING

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“When the fear of things staying the same exceeds the fear of failure.”

~ The Universe

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aesthetics deVour - Book 2 - January 2014

Photographer: Alanna Yu Model/MUA/Hair: Abigail Mitchell Makeup Asst.: Dominique Lerma

L R V e e i f o u l s e n t 10

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Golden Fawn

Photographer: J. Isobel De Lisle Model: TC MUA/Hair: Julianne Ulrich Headress: Oracles Arise Clothier 16

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W M & A F he re

N G EL S

A LL

A rt D i re cto r: Ch ri s ti ne Lunday Ph o to grap h e r: Je n n i f er Esteban Mo de l: Kody Klein MUA :Ir ene Mar Hai r: D i na Matson Lo cati o n : F4 0 Studios deVour - Book 2 - January 2014

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DONNA MEE

“I mean tears are rolling down my face. I have told this story so many times. But it’s so incredible and it’s something that so many people don’t experience. We take it for granted that we all just love makeup and that it’s fun. But no, to millions of women it can be life changing. You just have to find a way into their lives.”

~ An conversation with Donna Mee By Irene Mar & Sarah Anstead

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deVour Magazine: deVour Magazine’s mission is to expose people to different artistic mediums that they wouldn’t normally or otherwise be drawn to. So many of the people that we expose our readers to will be brand new to them. And with that in mind, who, or what, inspired you to become a make-up artist? Donna Mee: I started working in retail cosmetics. At one point I worked at Savon as a checker. I heard there was an opening in cosmetics. To me, that was so much more exciting than cashiering or whatever else I was doing. So I got up the balls to ask the manager. He laughed at me, right in my face. I was a kid, just sixteen or seventeen, and he goes ‘you can’t work over there’ and I was like ‘why not’? And he goes ‘because you don’t know anything about cosmetics’ and I said, ‘oh, I don’t’? I was just thinking, I’m a girl and I like makeup! I ended up quitting that job. Later I got a job at JC Penny’s and I didn’t even apply for cosmetics because in the back of my mind I heard Mr. Mays going ‘you don’t know anything about makeup’. So I was a floater. It means no manager wants you in their department. You just get put in whatever department they need you in. So one day someone comes up to me and says I have to go work in cosmetics. You would think I would have been really excited but I just panicked. I said I couldn’t and that I didn’t know anything about cosmetics. And they said they didn’t either. So they threw me in cosmetics and I remember being so afraid. I felt like so lost because I had no idea where anything was. Then this lady started yelling at me from across the counter. She goes ‘don’t you work here? Can you come help me?’ I just panicked. She wanted me to show her how to put on a brow pencil. I was so nervous because I had big old Brooke Shields eyebrows myself. I didn’t even know what a brow pencil was. I swear I think I blocked it from my memory because I don’t remember what I did. I don’t remember if I put brow pencil on her, or if I ran to the stock room and cried, or what. I completely blocked it out of my memory. I remember going home and crying. That was pretty traumatizing to me. The next day I had to go back to cosmetics, and there was another lady standing in the same place. I literally avoided her for twenty minutes. So finally the lady goes ‘I know you see me over here...’ And I was like oh no. So I went to help her and she says that she’s a Revlon sales representative and if I could give the Purchase Order to my manager? I was relieved, like oh cool, you’re not a customer, you don’t need anything. Then I just shoved something in her face and asked about it, and she told me it was the egg mask. After that I asked about how to use it, and she told me. Then I pulled something else off the shelf and asked about it. Twenty minutes later she’s over the Q & A.

Photographer: Leea Haeger MUA: Donna Mee Hair: Noogie Thai Model: Yeung 30 Mandy deVour - Book 2 - January 2014

I started doing makeovers before there were even makeover chairs. I would make people stand there for like two hours because I was slow and didn’t know what the hell I was doing. But it was fun. I actually did a client and I didn’t

Photographer: Dan Santoso MUA: Donna Mee Models: Stephani Downey & Heather

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RYAN BURKE

“I’m an introvert so I tend to be very shy when I first meet people. I have found that photography and dressing up have been ways for me to connect with people without relying so much on conversation at first. The great thing about it is that I have become much more confident from what I do and I no longer rely on dressing up as a social crutch.”

~ An Interview with Ryan Burke By Christine Lunday & Toi Green (Lasha)

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deVour Magazine: Can you explain your Portraiture to us? Do you only shoot yourself in this manner? Ryam Burke: My portraits tend to be documentary with an editorial flare to them, something that gives the portrait some extra magic, such as movement or rhythm. I shoot myself in this same manner. I always try to convey some element of emotion of feeling so that every photo feels like a different character in a different setting. dM: What do you feel is your strongest medium? Is it Photography? Makeup? RB: I don’t know that I have a medium that I’m particularly stronger in at this point. I do still consider myself to be a photographer first and makeup to be an extension of my portraiture work. dM: Many artists admit to creating art that satisfies them. That excites them.What turns you on? RB: Transforming myself is a really empowering and exciting process. Every bit of creating portraits of myself and others excites me. I used to freelance more, doing head shots and weddings, but I would much rather shoot what I want to these days. I produce better work when I am passionate about the subject matter. dM: How long does it take you? From concept to actual execution? RB: Most of the time I start with an outfit I want to wear. Then I conceptualize my looks, either right before I fall asleep, on the subway, or when I am in garment and flower districts. Usually my ideas start off with a color scheme, motif, or material I want to use. I gather materials that relate to the original concept and begin turning them into headpiece/ face designs. I rarely have a precise idea of what I want the headpiece to turn into or what I want my makeup to look like in the end. The outcome is always a surprise to me. I think that working in an environment of spontaneity allows for more originality and creativity. dM: Without giving away anything, Is there a concept that you’ve been wanting to do for a long time? RB: There are so many! I have been wanting to do a look based off of fast food. I want to do a look that is head-totoe flowers. Like one big bouquet but designed in a very fashionable way. I want to do a look where I am wearing a gown made out of burlap and netting materials with a beehive style hairdo that is made out of rope. I want to do a look in a gold dress with a collar that covers most of my face while the top of my head is covered in long gold spike pieces. When I lie in bed at night I get an almost infinite number of ideas. My biggest challenge is focusing on one idea at a time and executing it to the fullest extent without over embellishing.

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dM: What is it inside of you that makes you feel the need to connect with the public?

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NICOLE MCCORD

“The difference between tattooing and painting is pants. I have to remind myself that I can’t just roll into the shop sans pants, with a bottle of red wine in one hand, and my cat in the other. I haven’t achieved that level of eccentricity yet though I am hopeful.”

~ An Interview with Nicole McCord

By Natasha Vi

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deVour Magazine: It’s the beginning of the zombie apocalypse and you can only select one weapon, what it is? Nicole McCord: Strangely, I already have my weapon of choice, a good friend of mine, Kay Townsend, brought me back a almost solidly rusted out Machete from a post apocalyptic party called Wasteland Weekend. I have decided to name her ‘ Tetanuschete’... hopefully it’ll serve dual weaponry purposes and also give the zombies lockjaw. dM: You are not only a tattoo artist but a traditional artist as well. Which occurred first; the love of art or the love of tattoos? NM: I’ve been defacing the inside of Dr. Seuss and Silverstein books with crayons since i was three, drew on all my friends during class in high school, and stole their souls in graphite on a pilfered illustration board that I got from the art room during lunch hour. So I think you could say art has been a bit of a compulsion ever since I can remember. I don’t even go on vacation without my art supplies. I get separation anxiety. dM: How difficult do you find translating your artwork 56

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into tattoos? What is particularly tricky about this process? NM: The difference between tattooing and painting is pants. I have to remind myself that I can’t just roll into the shop sans pants, with a bottle of red wine in one hand, and my cat in the other. I haven’t achieved that level of eccentricity yet though I am hopeful. Transitioning between painting and tattooing is tricky because with painting I have unlimited time to refine and change, if I want to take it in a different direction, and there isn’t a possibility I will make my canvas/watercolor board/archival paper bleed or cry. It’s a difficult thing when you’re an extremely empathetic person who hates hurting people. dM: You have a beautiful ability to capture the female form; is this natural talent or the result of extensive study? NM:I wish I could say I took a ton of schooling and study so I could pretend to know what I am doing, but the truth is, I’m just exorcising random images that are constantly popping up in my head rather inconveniently, and most of those images are female. I am extremely fortunate to have a bevy of offensively sexy friends that don’t mind when I steal their photos and force them into being muses.

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COLLIDE

“When I make music, I open myself up inside and then pull something out which is a combination determined by what I am feeling and how the music makes me feel at that moment. After that, I am done and I don’t ever go back and listen.”

~ An Interview with kaRIN & Statik

By Toi Green (Lasha)

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deVour Magazine: You are a band that has been missed. Some would even say there is a hole in the space in which you used to occupy.What have you been up to? And can we expect to see an album from you in the near future? kaRIN: We have been together as a band for a long time now and have released quite a lot of music. We have also been lucky to work with a lot of amazing people. This is the first time in 18 years that we are not actively working on a new Collide CD. I think after 18 years it’s okay for us to take a break and step back. I’m not sure that we have really been gone long enough yet to be missed, but I am happy to think that we have a space that we fill and that we would be missed. As for when we will be working on a new Collide album ...sometime in the future for sure... although I can’t say exactly when. Statik: It’s one of those things that requires timing. When the time is right, we will know. It’s good to get some perspective for now. dM:Your music has been featured on shows like True Blood, Vampires Diaries, NCIS, and in the Underworld franchise. Which has given you the biggest boost? How much do features like these actually help your project? kaRIN: We have been really lucky to have had our music licensed in quite a bit of TV & Film. Every bit helps get the word out there and it is deeply appreciated. I would have to say though that it all feels like a drop in the bucket as far as actually changing anything. dM: kaRIN, if you could exchange voices with another artist for 7 days, who would it be? kaRIN: Hmmmm... I have never been asked that question. Maybe I would like to take Sinead O’Conner’s voice for a spin. She has a depth and a power that is haunting. If not her...Nina Hagen because her voice is so “out there” and she does so many fun things with it. dM: Out of all albums released, which holds the most memories? Why? kaRIN: Definitely Chasing the Ghost. That was written at a very emotional time in my life. My Mom had just died of breast cancer and I had been taking care of her for the previous 5 years. Chasing the Ghost was my way of dealing with all the emotions that I was going through. It was very cathartic for me. Writing, for me, is always self soothing, but this was done at the time that I needed it most. dM:What musical collaboration besides The Secret Meeting has been the most memorable? kaRIN: We have worked on some really cool things and with some really cool people. We were both fans of Curve and

felt so lucky to work with Dean. I would have to say one of the coolest experiences for me was going over to our friend cEvin Key’s (Skinny Puppy) and doing some guest vocals for his side project Plateau. Lets just say he makes the best coffee, there was a little smoking involved and a ghost...so it was awesome! Statik: In the early 90’s I worked with a lot of different other people as a programmer. I got to work with Prince for 3 years, and I was a big fan of his music. I also did some work with Michael Jackson after that which was interesting as well. I’ve done programming on a couple of Tool songs, and we’ve been lucky enough to get Danny Carey to drum on a couple of our songs. dM: You are a band that has chosen not to tour. Do you feel like you may be missing out on an important piece within the “Fan Experience”? Do you ever crave the live performance aspect? kaRIN: I feel that there is a difference between being an artist and a performer. I like to make things but I don’t necessarily crave attention. If it wasn’t for Statik I would just sing forever and nothing would be released. I would probably rather have a drink and hang out with someone than entertain them. When I make music, I open myself up inside and then pull something out which is a combination determined by what I am feeling and how the music makes me feel at that moment. After that I am done and I don’t ever go back and listen. I am a creatively driven person and there is only enough time to move forward. I am so glad we had the live experience but creating is what I love the most. I was a sensitive child and creating is my ultimate escape. It allows you to make your own world. Statik: Do I think that touring could be a great experience? Sure. I had a great time when we did our little string of shows. Even at that level though, it was hard. I felt like I was kind of the musical director, and had to make sure that everyone was ok, and from their monitor mixes, to the gear, and everything else. If I could just play my parts, and just be a “player” that would be great. Our setup was fairly complicated so there was a lot to keep track of. It wasn’t just a couple of dudes plugging in their guitars to an amp. I guess I wanted to see if we could do it to the level we did. The answer was yes, but it wasn’t easy. dM: Alternative Celebrity affords you the luxury of still having a somewhat private life. To some that can be seen as both a blessing and a curse. Most interviews end up strictly being about the music. Do you ever wish that a journalist would dig a bit deeper and get more personal? Would you be opposed to that? kaRIN: I am a private person, but I am open to anyone asking more personal questions. It is still my decision to answer them the way that I want.

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REBECCA TAYLOR

“From the start of my career path as a stylist, I always knew I wouldn’t just want to be average. I dreamed of doing hair for runway, creating avant garde editorial work, educating, hair shows, etc. I’ve had a lot of ups and downs along the way. The ups are amazing and make you feel like you’re really doing big things and ‘have arrived’.”

~ An Interview with Rebecca Taylor

By Natasha Vi & Toi Green (Lasha)

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deVour Magazine:You wake up late and have only enough time to get dressed. As you are running out the door, you only have enough room left in your hand to grab one hair related item; what do you choose? Rebecca Taylor: First of all, I will not leave the house without filling in and arching my brows. That’s hair related right? Besides that, I go several days between shampoos because I have purple/magenta hair and I don’t want it to fade too quickly, so I’d say my dry shampoo. Love that sh**! Smells amazing, volumizes and mattes it with just a few sprays. I’m partial to Joico Instant Refresh. dM: What prompted your entrance into the world of hair? RT: You know, I wish I had a better story, or could remember that specific moment when I just ‘knew’, but it didn’t happen like that for me. When I was a kid, my mom said I would always cut my She-ra dolls and My Little Pony’s hair. In high school, I would always cut and/or color my friends’ hair, as well as my own. I still didn’t see the vision that would be me when I grew up. I did a little of this and a little of that before cosmetology school. Things like selling the New York Times, working as a travel agent, going to culinary school, studying marketing and finally ended up deciding to look into hair school. After that first day, eight years ago, I knew this profession was my calling. I have strived for perfection, and one day hope to become a wellknown and talented force in this industry. I’m not exactly there yet but I’m working on it. Every day is another chance to accomplish something new. That’s how I look at it. dM: Please tell us a bit about your background, training, and experience in this industry.

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RT: I went to Pensacola State College for Cosmetology (here, in NW Florida) and graduated early on the Dean’s List, with a 4.0 GPA. I am incredibly competitive, but not in the sense that I’ll scratch and claw my way to the top at another’s expense. I’m hard on myself and I’m somewhat a perfectionist when it comes to doing hair. After school, I went right to work at a Regis here in my area. At the time, I figured it would be a great place to build a clientele and start really honing my skills as a stylist. I watched every DVD I could find pertaining to hair, went to every class or hair convention, started collaborating with local photographers and models for session/creative styling and took on special ‘side project’ color clients that would let me experiment. I started marketing myself on good ‘ol Myspace at the time (later Facebook), posting pictures of my work, and building a reputation for myself as a colorist and session stylist. After a year at Regis I responded to a classified ad on Behindthechair.com for a national educator’s position with Joico. I got the job, began to travel for work and went from Regis to becoming a booth renter. At this point I’ve been with Joico for about five and a half years. I’ve traveled all over the country getting educated from some of the most talented, well known, industry icons (Beth Minardi, Damien Carney, Sue Pemberton, Tabatha Coffey, Vivian McKinder, Robert Cromeans, etc). I’ve been on set in NYC with Damien Carney (world renowned, avant garde,

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SHINING (NOR)

“It’s easy for me to hit what I aim for. But I do feel there is still something that I don’t have control over. It’s something inside me that really dictates what I’m going to do. I might think that the next album will be this or that, but when I sit down that’s when the decisions are made. So I have no idea...”

~ An conversation with Jørgen Munkeby

Photos by Levan TK

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By Nadia Carmon

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deVour Magazine: There seems to be a movement, in extreme metal, towards experimentation and genre blending. Metal bands are becoming more avant-garde and progressive but you guys, on the other hand, seem to have done the opposite, starting out as a jazz ensemble and then moving to incorporate a harsher more metal sound. How did this come about? Jørgen Munkeby: First of all, I agree with what you’re saying. That it seems like there’s a movement in the metal scene towards more experimental stuff, or at least the last five years. I’ve seen loads of bands going that direction. Bands that experiment with jazz elements in their music. We have, like you’re saying, gone the other direction and it might seem weird. To me it’s not that weird because I personally grew up with metal music before I was into jazz music. When I was young I listened to Pantera, Sepultura, and the Swedish band, Entombed, and all that kind of music. I listened to them long before I listened to jazz music. Then I eventually started playing jazz music and spent fifteen years playing and studying jazz music. dM: Who were your influence and inspirations in jazz? JM: I wasn’t really into jazz or what my idea of jazz was. Obviously jazz, like many other genres, has a wide variety

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of types. As there are different types of hip hop. You know metal might be the world champion in sub genres. I thought I didn’t like jazz because I, obviously I hadn’t heard that much jazz but I wasn’t really into checking it out either. After a while, I started playing the saxophone. I have no idea why I chose that instrument. It was not because of jazz music. I was still listening to metal music at that time. I was nine years old. Then I started playing the blues harmonica a bit. Then I played in some rock bands while also playing some guitar. Part of my education, my natural saxophone education, would be to study jazz music even though I wasn’t really into it then. I studied Charlie Parker and one time I bought an album by John Coltrane. Honestly, I didn’t really get it. I tried to understand it and then, after half a year, I bought another album. That new album really opened my eyes. From that point on, John Coltrane was my kind of leading star, my biggest idol for ten years. So it was John Coltrane, Miles Davis, and Michael Brecker from the 90’s. A New York guy called George Scarzone, and a bunch of people, but John Coltrane was my main guy. dM: So how has it been going from music, with no words for the most part in your early career, to having to write? How is that transition?

JM: I choose what to write. But, I also feel that since I have focused so much on the words, it’s been a very slow transition. On the newest album there are a lot of words. We might focus a bit more on the instrumental parts on the next one. I don’t know. I recently wrote a piece for saxophone and string ensemble. It is for twenty-one string players and I am going to perform that piece for a festival in Norway. That piece was purely instrumental. While creating that piece, I found myself missing the lyrics because, to me, words and music, if done correctly, can elevate each other. It’s an interesting thing to be able to put music to lyrics or vice versa. It can also be very awkward. That’s the thing with words. A bad piece of music isn’t really that awkward, but bad lyrics can be very awkward. So there is some risk to it also. I feel when it’s done correctly it makes the whole thing better. dM: The right lyric can create a movement. Some people are moved to acts of greatness just by music alone, which makes the combination of music and lyrics a more grand concept.

dM: Non-fiction? JM: Non-fiction, yeah. Mainly about music, composition, philosophy, and whatever else interests me. I have tried to read the most important pieces of literature in our history but that’s more to fill in the holes and to make sure that I understand certain references in other writings. dM: That’s good. Is your personal music collection as eclectic as your sound? JM: More I think. It depends on what you think our sound is. I’ve tried to kind of limit the eclecticism of it in our newest album. I’ve tried not to throw in too many different things. That’s just because I feel it needed some kind of enhanced focus. If you look at Shining’s total output, even with the first two albums, which were acoustic jazz albums, I would say my musical taste is even wider than that. I listen to everything from Brad Paisley to Jay-Z and there’s not much country in our music and there is not much hip-hop either. It’s pretty, pretty…

JM: Yes. It’s very natural because we use words all the time. I’m not saying that music has to have lyrics, but to me I’m in the frame of mind now that I find it really positive to have words-lyrics within the music. dM: It could just be a natural progression for you. A lot of people evolve into something bigger and greater. I mean, this is just your journey. JM: Yeah, yeah. dM: Where do you draw your inspiration from lyrically? JM: The themes are from my every day life. Some people have lyrics about dragons and shit.. I’m not really into that personally. So the themes I pick are important to me. I have studied other bands and other lyrics just see how it works. For instance, Dave Grohl, he’s a great lyricist in the way he twists words, repeats words, and has words that sound kind of similar but are not similar. I find that really fun; to sit and twist the sentences. But that’s more on the technical side of things. dM: Are you an avid reader? JM: I do read a lot, but read mostly manuals. dM: A lot of people, don’t read as much since the invention of the internet. I haven’t actually read a real book in maybe a year and a half to two years.Which is sad. JM: There is a lot of good writing on the internet. I read more than manuals. I kind of tend to read more of the… What’s it called..?

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editorials deVour - Book 2 - January 2014

BURDENED B EA UTY P h o t o g r a ph er : To r i Lan e M o d e l : Cl a r a Rae M UA: R eb ekah Veen Ha i r : E r i n Gr ah am Wa r d r o b e Styl i st: M a rcu s No r va n i J e w e l r y : Gi sel l e Ga tsb y

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Shirt: H&M Bowtie: Marcus Norvani

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Blazer: H&M Pants: Urban Outfitters Necklace/Rings: Giselle Gatsby

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P h o to g r a ph er : Jen n i f er Est eban M o d el s: Jen n i f er Thompson Ni ch o l as Mcleod B r ett Van Haaster Grisw ald M UA : Kath y Oâ&#x20AC;&#x2122;Driscoll Desi g n er /Styl i st: Ch enoa Faun Lo ca ti o n : VisionLab

I Was In Love...

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clipped wings

P h o t o g r a p h er : So ph i e E l l en L a ch o wycz M o d e l s : P al o ma @ P r o f i l e M o d el s M UA / Hai r : A d el e San d er so n Wa r d r o b e S t y l i st: Ch r i sti an n e Lu ci an n e S t y l i n g A ssi stan t: Jay Si n g h P h o t o g r a p h y A ssi stan t: Ni co l a Na yl o r

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H THE AUNTING Photographer: Irvin Rivera Model: Kira Conley @ LA Models MUA/Hair: Carly Ryan Wardrobe Stylist: Malcolm Joris Bacani & Bei Lautchang Photographer Assistant: Darwin Abad

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E C H O Photographer: Jonathan Roberts Models: Victoria Raemy @ Next Model Management Adam Lee @ Models Direct Management MUA: Irene Mar Hair: Amber Nichols Wardrobe Stylist: Nichole Lumpkin Wardrobe Assistant: Torii Rurup Photographer Assistant: David Ramirez 133 Accessories: LZZR Jewelry deVour - Book 2 - January 2014

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La Douleur Exquise Photographer: Magic Owen Model: Ruby True MUA/Hair: Sabina Yunusova Designer: Sasha Louise

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subspecies Photographer: Philip Faith Models: Chloe Gilbert-Morin Joanie Darveau MUA: Dangerously Elektra Hair: Alexandra Apple

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Red Photographer: Raisa Kanareva Model/Designer/MUA: Alex No

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The Hunt...

Art Director: Christine Lunday Photographer: René Salvador Models: Karin Hallén MUA: Des Arellano Hair: Abigail Nuezca Wardrobe Stylist: Ali Levine Retoucher: Melina DeSantiago

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Gown: Olcay Gulsen Shoes: Ellie Shoes Harness: Marianna Harutunian Gold Bracelet: Stylistâ&#x20AC;&#x2122;s Own

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Gown: Bariano Face Mask: Marianna Harutunian Shoes: Ellie Shoes 195 deVour - Book 2 - January 2014 Stylistâ&#x20AC;&#x2122;s Bracelet: Own

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deVour - Book 2 - January 2014

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deVour - Book 2 - January 2014

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deVour - Book 2I -- October January 2013 2014