LOOK issue
ONLINE content
ARBITERS
Pube King John Waters' Real Life Reality Show interview by Brandon Judell
Room with a View Ismail Merchant's World Travels interview by Brandon Judell
Under the Influence Publisher Delano Greenidge interview by Samuel Jamier
Hard Love Edmund White’s Dark Culture interview by Brandon Judell
French Lieutenant's Woman Author Christine Orban's Faithful Lover
BEAUTY
Beauty Illustrated photography by Olivier Rose
A Girl's Best Friend jewelry photography by Kimio Takeyama
BON APPETIT
Questions For Daniel Boulud by Jody Emmet
Questions For Thomas Keller by Jody Emmet
FASHION
The Idealizing Vision photography by Olivier Rose & Kustaa Saksi
The Perfect Form Chado by Ralph Rucci Essay and interview by Iké Udé
The Conformist photography by Calliope
The Large Glass Aprés Duchamp photography by Norman Watson
Pop photography by Norman Watson
KULTURE & ART CINEMA
Being Sissy Eternal Ingenue Sissy Spacek interview by Brandon Judell
The Seducer Actor Stuart Townsend interview by Brandon Judell
Loosed Woman Ascending Star Kimberly Elise interview by Brandon Judell
Still Pretty Christopher Walken interview by Brandon Judell
PHOTOGRAPHY
Hot Stuff 30 Porn Star Portraits by Timothy Greenfield-Sanders interview by Stephen Greco
Intense Attraction Photographer Patrick McMullan interview by Patrick McDonald
ART
Miami Heat Craig Robins interview by Odili Donald Odita
LEGEND
Je t'aime Icon, Activist, Handbag, Jane Birkin interview by Brandon Judell
Stories of O King of Color and Cut Stephen Burrows interview by Patrick McDonald
OFF THE WALL GREEN IS OUR COLOR
Luigi Leonard Polla
Kenneth Lubbock
Reginald Van Lee
REVIEW
aRUDE Comment by Iké Udé
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company interview by Da Costa Greenidge
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company by Da Costa Greenidge book reviews by Da Costa Greenidge
Corrections
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes.
SHELTER & DESIGN
Design For Living Joe Nahem interview by Cator Sparks
Floral Design K.J. Dinnhaupt
STYLE
Pardon Our Apparance Young Lad circa 1910
Pardon Our Apperance Luigi Ontani circa 1970's
15 Minutes Plus Perennial Deejay and Producer Jerome Sydenham by Anicée Gaddis
15 Minutes Plus Hat-Maker Extraordinaire Rod Keenan by Cator Sparks
Element of Style aRUDE's template for style
Style File Precious Jewelry Designer Mish Tworkowski
Fantasy & Simulacrum Timothy Greenfield-Sanders
look_issue.php
ONLINE content
ARBITERS
Pube King John Waters' Real Life Reality Show interview by Brandon Judell
Room with a View Ismail Merchant's World Travels interview by Brandon Judell
Under the Influence Publisher Delano Greenidge interview by Samuel Jamier
Hard Love Edmund White’s Dark Culture interview by Brandon Judell
French Lieutenant's Woman Author Christine Orban's Faithful Lover
BEAUTY
Beauty Illustrated photography by Olivier Rose
A Girl's Best Friend jewelry photography by Kimio Takeyama
BON APPETIT
Questions For Daniel Boulud by Jody Emmet
Questions For Thomas Keller by Jody Emmet
FASHION
The Idealizing Vision photography by Olivier Rose & Kustaa Saksi
The Perfect Form Chado by Ralph Rucci Essay and interview by Iké Udé
The Conformist photography by Calliope
The Large Glass Aprés Duchamp photography by Norman Watson
Pop photography by Norman Watson
KULTURE & ART CINEMA
Being Sissy Eternal Ingenue Sissy Spacek interview by Brandon Judell
The Seducer Actor Stuart Townsend interview by Brandon Judell
Loosed Woman Ascending Star Kimberly Elise interview by Brandon Judell
Still Pretty Christopher Walken interview by Brandon Judell
PHOTOGRAPHY
Hot Stuff 30 Porn Star Portraits by Timothy Greenfield-Sanders interview by Stephen Greco
Intense Attraction Photographer Patrick McMullan interview by Patrick McDonald
ART
Miami Heat Craig Robins interview by Odili Donald Odita
LEGEND
Je t'aime Icon, Activist, Handbag, Jane Birkin interview by Brandon Judell
Stories of O King of Color and Cut Stephen Burrows interview by Patrick McDonald
OFF THE WALL GREEN IS OUR COLOR
Luigi Leonard Polla
Kenneth Lubbock
Reginald Van Lee
REVIEW
aRUDE Comment by Iké Udé
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company interview by Da Costa Greenidge
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company by Da Costa Greenidge book reviews by Da Costa Greenidge
Corrections
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes.
SHELTER & DESIGN
Design For Living Joe Nahem interview by Cator Sparks
Floral Design K.J. Dinnhaupt
STYLE
Pardon Our Apparance Young Lad circa 1910
Pardon Our Apperance Luigi Ontani circa 1970's
15 Minutes Plus Perennial Deejay and Producer Jerome Sydenham by Anicée Gaddis
15 Minutes Plus Hat-Maker Extraordinaire Rod Keenan by Cator Sparks
Element of Style aRUDE's template for style
Style File Precious Jewelry Designer Mish Tworkowski
Fantasy & Simulacrum Timothy Greenfield-Sanders
aRUDE comment
Encounting a William Morris wallflower immediately evokes a Victorian aspect. There is the Edawardian look; the Massai look: there is the Biedemeier look; the Napolean look: the flapper look, the hippie look, the Black Panther look, disco, punk, Hells Angels, generic everyday, Wall Street, bohemian, and an infinitive variety of others.
Beyond the physical manifestation of the look, of course, are underlying elements that actually inform the outward manifestation. That said, it is the outward appearance of things, the visible world, that stays our fancy for better or worse. What would we make of the Pope, with sanity and ecclesiastical ensemble intact, were he to be seen in Savile Row attire or hip-hop gear? Or a respectable sitting White House President cheerfully prancing about in his First Lady's gown?
Looks serve as hard currency, signigiers of our mutable indentities, worn to conceal or reveal what its author desires to express. To this end, our private and public selves, which we construct, display and impose upon, become the very theatre of life, the only ticket in town.
In this Look issue, we have seats to a great show, starting with a Timothy Greenfield-Sanders' suite of Hollywood simulacrum: Marilyn Monroe, Humphrey Bogart, Michael Jackson and Elvis, Elizabeth Taylor, Robert DeNiro, all impersonated by lively Madame Tussaud "actors." In this hall of mirrors, the line between actors and "actors," between celebrity and "celebrities," becomes confusing. Timothy's actors, excellent in their roles, seem more interesting than the original copy.
Calliope, ever the sensualist, delightfully quotes the voluptuously nuanced atmosphere of Bertolucci's The Conformist. There is Jane Birkin, the eternal ingénue, talking alternately seriously and lovingly about all things with that soft smile of hers. There is the worn-chic look of Christopher Walken that defies retirement. Sissy Spacek shows up rather, rather lady-like, in case we have forgotten her potential glamour. John Waters conceals with his glasses, yet somehow reveals his signature agenda.
Ralph Rucci, the American-born, international haute couture impresario, ppassionately espouses his aesthetic hard-line, relieved to find his public is finally tuning in.
As I write, I have the fortune of listenting to Dusty Springfield's "The Look of Love." How perfectly delightful in our loveless age of crying games.
- Iké Udé
Encounting a William Morris wallflower immediately evokes a Victorian aspect. There is the Edawardian look; the Massai look: there is the Biedemeier look; the Napolean look: the flapper look, the hippie look, the Black Panther look, disco, punk, Hells Angels, generic everyday, Wall Street, bohemian, and an infinitive variety of others.
Beyond the physical manifestation of the look, of course, are underlying elements that actually inform the outward manifestation. That said, it is the outward appearance of things, the visible world, that stays our fancy for better or worse. What would we make of the Pope, with sanity and ecclesiastical ensemble intact, were he to be seen in Savile Row attire or hip-hop gear? Or a respectable sitting White House President cheerfully prancing about in his First Lady's gown?
Looks serve as hard currency, signigiers of our mutable indentities, worn to conceal or reveal what its author desires to express. To this end, our private and public selves, which we construct, display and impose upon, become the very theatre of life, the only ticket in town.
In this Look issue, we have seats to a great show, starting with a Timothy Greenfield-Sanders' suite of Hollywood simulacrum: Marilyn Monroe, Humphrey Bogart, Michael Jackson and Elvis, Elizabeth Taylor, Robert DeNiro, all impersonated by lively Madame Tussaud "actors." In this hall of mirrors, the line between actors and "actors," between celebrity and "celebrities," becomes confusing. Timothy's actors, excellent in their roles, seem more interesting than the original copy.
Calliope, ever the sensualist, delightfully quotes the voluptuously nuanced atmosphere of Bertolucci's The Conformist. There is Jane Birkin, the eternal ingénue, talking alternately seriously and lovingly about all things with that soft smile of hers. There is the worn-chic look of Christopher Walken that defies retirement. Sissy Spacek shows up rather, rather lady-like, in case we have forgotten her potential glamour. John Waters conceals with his glasses, yet somehow reveals his signature agenda.
Ralph Rucci, the American-born, international haute couture impresario, ppassionately espouses his aesthetic hard-line, relieved to find his public is finally tuning in.
As I write, I have the fortune of listenting to Dusty Springfield's "The Look of Love." How perfectly delightful in our loveless age of crying games.
- Iké Udé
aRUDE past issues
BRIDAL issue
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Fashion, Photography, Style, Lingerie, Kulture & Art, Off the Wall, more...
BRIDAL issue
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Fashion, Photography, Style, Lingerie, Kulture & Art, Off the Wall, more...
