A Smudge-Free Glittery Eye to Ring in The New Year

The end of 2014 is fast-approaching and we can think of no better way than to express our optimism for the 15th year of the millenium than to ring it in with gleaming, glittery eyes. Sparkly makeup as metaphor–what a concept!

However, we’ll keep the glitz to our eyes because glitter dripping down our face, or stuck to our clothes, etc. etc. is not so cute.

K, let’s go.

Step One: Prime

Have some fun (because it’s just the base) applying eyeshadow primer.

primer eye

Urban Decay Primer Potion in Eden is good for a bit of illumination underneath everything else and Nars Smudge Proof Eyeshadow Base is good for staying power. You could even combine the two to reap all the benefits.

Now, for the fun part…

In our holiday beauty series, we’ve discussed eyeliners that can handle tears, lipsticks made for making out, and skin that glows no matter how low the temperature drops–but our NYE eye installment is our most artistic yet. Think of your eyelids as little canvases with an infinite number of possibilities. Dark and smokey, bright and colorful, or pure, pure glitz. All are a GO for this particular debaucherous evening.

Step Two: A Smooth, Shimmery Lid

No matter how many layers and colors you plan to pile on (it’s fine, the more the merrier for this evening) you need a solid shimmery base. The options are countless, so I’ve picked favorites based on application method, because once you find what works for you, it’s smooth sailing forward.

Here are some of our favorites:

You can see (below) just how creamy Tom Ford’s Platinum Cream Color is, making it a perfect base.

tom ford

If powders are more your game, then there are endless palettes to play with. Plus, nothing like a gorgeous palette in hand to make you rock being your own glam squad.

gold 2

Estée Lauder’s Pure Color Envy Sculpting Eyeshadow 5-Color Palette in “Infamous Sky” has a perfect light base shade as well as two darker metallics.

esteeChanel’s Les 4 Ombres Multi-Effect Quadra Eyeshadow in 226 TISSÉ RIVOLI also has 4 super shimmery neutrals, any of which can stand alone or work as a dramatic first layer.


Step Three: Add Depth, Smoke, or Color

Of course, both above palettes have darker colors for adding depth but because more palettes=more fun, here are my favorites for adding the smoke-factor.

charlotte burberry

Charlotte Tilbury’s Fallen Angel palette is star-studded (literally) and clutch-sized. If you’re going for the tawny side of smoky, Tilbury’s palette is a perfect pick.

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Burberry’s Smokey Eye palette is classic smokeshow–the kind of palette I like to imagine Alexa Chung keeps on hand. It ranges from that illuminating neutral to its deep but shimmery grey and matte black.

Screen Shot 2014-12-30 at 1.17.49 PM

…If Powders and Creams Aren’t Doing it For You

One of my favorite makeup discoveries of the last year has been the almost foolproof dual-use eyeshadow/liner sticks made best by ByTerry and Trish McEvoy. I’ve been hoarding these and they’ve made me feel far more capable of the multi-colored looks seen in glossies for nights that call for our most skilled makeup artistry.

I love these things:


Depending on the shade you pick, these can be used as a base or a detail.

Screen Shot 2014-12-30 at 1.27.13 PM

ByTerry’s Ombre Blackstar in Frozen Quartz is an easy base color, but the addition of a quick stripe of the same product in Blue Obsession takes the look instantly into nighttime territory.

Screen Shot 2015-01-05 at 9.59.01 AM

Trish McEvoy’s 24-Hour Eye Shadow and Liner in Crystal Grey is one of the easiest and fastest routes to a more complicated looking smokey eye I’ve discovered.

…And for the Glitter Girls

If all of the above seems downright tame for you, hold tight, because we’ve got you covered too.

For those of you who’ve committed to sparkle tomorrow night, the obvious choice is Urban Decay’s Moondust eyeshadow (pictured here in MOONSPOON) for unadulterated glam (what we’ve come to expect from the brand).

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For a touch of glitter in it’s purest form, try Urban Decay’s classic Heavy Metal glitter liners.

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OK–flick on some mascara, bat your eyes, purse your lips, and get ready for the ball to drop! Happy 2015! 

Photographer: Justin Bridges

Makeup Artist/Hair Stylist: Ashley Rebecca

Fashion/Beauty Editor: Alyssa Shapiro

Location: Ammon Carver Studio

Jessica Chastain & Oscar Isaac on Collaboration, Women in Hollywood, and ‘A Most Violent Year’

“I’ve always been such a cheerleader of who he is and his work,” says Jessica Chastain of her co-star and friend Oscar Isaac when we sat down with the two stars earlier this month to discuss their new film A Most Violent Year. “Even on set I felt like I was, and I was so happy to be in a scene and watch him soar in his character.” And for the Juilliard alums, who’ve known each other for over a decade now, their first on-screen partnership comes at the hands of filmmaker J.C. Chandor, whose directorial versatility and command of his subjects immediately attracted their attention. Echoing the supportive and firmly grounded friendship they share, in Chandor’s latest, Chastain and Isaac play Anna and Abel Morales, a mutually beneficial power couple doing everything they must to preserve the life they’ve built for themselves. 


As the follow up to 2013’s All Is Lost, Chandor brings us into a chilly world of corruption, as seen through the eyes of a familial drama and set amongst the crime-infested oil industry in the 1980s. But for its quietly teeming undercurrent of violence and the looming threats overhead, the core of Chandor’s film lies in Abel and Anna’s struggle to stand their moral ground and defend what their personal honor, while navigating what that means for the dynamics of their marriage—and it’s the subtly powerful performances from Chastain and Isaac that give the film its vigor.

So with A Most Violent Year’s theatrical release tomorrow, I sat down for a roundtable discussion with Chastain and Isaac to discuss their intimate process of collaboration and the lack of competition between them, the dearth of equal marriages on screen, and the state of women in Hollywood.

Having had a long-time friendship prior to making this film, how did you two collaborate and work together to create the dynamic of your characters’ relationship?

Oscar Isaac: We got together before even meeting with J.C. and just went through every scene, every line, and talked about it. We started talking about possibilities of where this whole relationship started, when it started, how we met, what year we decided to get married, when we bought the business, how we bought the business from her father, and all these different possibilities just to create the context.


This way when we were doing those scenes we had that bedrock, and that was great because often you don’t get the chance to do that. Even if you have the time to do that, that’s not necessarily other actors’ process. Everybody has their own way of coming to things and some people don’t like talking about anything and that’s fine, but the fact that we have the same training and went to the same school and we’ve been friends for such a long time, we talked about everything. There was no fear that we were going to offend one another, we could ask each other anything and it just saved so much time and made it way more fun when we got on set.

Jessica Chastain: Even when going through a scene when we’d rehearse, it’s not like we say the lines of the scene and act it out over and over again. For example, the scene we had in the kitchen, it had in there that she hits him, so he and I talked and said, “Has that ever happened before, has she ever hit him before?” Because if we make that decision together, then when it does happen, we can both respond to it—is a normal thing or this is the first time she’s ever laid hands on him? And all of those choices, when you make them with a partner, it’s very clear, and here it’s very clear Anna and Abel are on the same team. It’s them against the world, and working with an actor who we have the same vocabulary, we have the same theater training forever, and have been cheerleaders of each other’s work, it gives you so much you don’t feel like you’re tip-toping around another actor trying to have them join you.

OI: It doesn’t matter if the viewers are like, “That’s the first time she hit him!” or “Oh, clearly she’s hit him before,” but for us, just the idiosyncratic little things that happen when we have that history. It just creates specificity and ultimately you just get the sense that there’s real intimacy.


What was your experience like working with J.C. Chandor?

OI: It’s pretty intense because the script itself was already quite dense and filled with so many details. But it’s also mysterious because it’s not filled with a lot of details about his past or even their past and how they got to where they are. In a very great way you learn by the action, by little hints that get thrown out, and by the cumulative effect of the whole film you get to know who he is and who they are together. But it was definitely challenging, and he’s not the most forthcoming—and purposely so I found out—with details, but he’s got such an incredible mind and he’s very quick.

He ping-pongs back and forth between so many things, and he’s just a little bit all over the place, but when it comes time for shooting, all that goes away. I ran into Robert Redford before we started shooting, and I said, “I’m about to shoot this thing with J.C. Chandor,” and he’s like, “Oh he’s great, he’s fantastic.” And I said, “Yeah, he talks a lot right,” and he goes, “Won’t shut up, but once you get on set it’ll be great, you’re going to love it.” Sure enough that’s exactly what happened. All of a sudden all that stuff just focuses in and concentrates and he bangs it out. I found that he was very gracious and gave us a lot of room to play.


JC: I really wanted to work with him because he’s so versatile. I’d seen Margin Call, which is all about relationships and dialogue, and then of course All Is Lost which is the opposite. I thought, if those are your first two films, this is a filmmaker and a writer/director that’s versatile and takes risks, because he’s not repeating himself. He didn’t say, Okay I need to do the same thing I did when I had some success with my first film.

So he sent me the script and it was great. What Oscar said, he really left it free for us to explore. Sometimes a writer/director wants you to do what they saw in their head when they’re writing, and to be honest, that’s only how they would act the role. So he wants to forget about it and we’ll ask questions, but sometimes he won’t even fully explain things to us because he doesn’t want to taint our natural instincts, and that’s what was exciting for me to work with.

J.C. mentioned that you that there was a competitiveness or a one-upsmanship on set between the two of you—

JC: That’s actually not true at all. J.C. has said this a couple times, but I no competition with Oscar. In fact, if I’m acting in a scene with someone who is soaring, it’s only going to make me be even better. I don’t want to do a scene and have someone fail because I’m acting terribly in the scene. I have been so supportive of Oscar, and I’ve always been such a cheerleader of who he is and his work. Even on set I felt like I was, and I was so happy to be in a scene and watch him soar in this character. I think in his mind he thinks it’s more fun if there is some competition like that, but I didn’t feel it.


OI: What he might be referring to is, for instance, we would push each other within the scene.

JC: As the characters.

OI: As the characters. And so he becomes a viewer—

JC: Oh Anna and Abel are fighting, so Jessica and Oscar are fighting.

OI: No, that’s acting!

Putting the word “violent” in the title of the film really fools the audience into thinking they’re going to be seeing a much different film. What you’re actually watching is a subdued character study about the struggle to maintain a marriage and an internal battle with morality.

OI: J.C. did say, in a slightly crass joking way, it’s a gag movie. The gag is that you think it’s a gangster movie and it ends up not being one, it actually ends up being about a pacifist.

JC: It’s a morality tale.

OI: So that is an interesting perspective, but that’s the overall thing. As an actor, I can know that, but that’s not really helpful necessarily in how you’re going to play each thing. So as far as me playing Abel, there was the idea that he doesn’t want to be a  gangster and he has never wanted to be one and he’s afraid that if he starts down that path he will just be dismissed as one, and also possibly that if he starts down that path he will really like it. He has the propensity for violence, I think that maybe Anna wouldn’t be with him if she didn’t sense that maybe he had the potential to do those kinds of things as well. So the tension that J.C. creates by calling it A Most Violent Year, it plays with the audiences expectations.

JC: And their thirst for violence.

OI: The audience gets a little bloodthirsty, and it’s an interesting play that he does.


One of the best elements of the film is Abel and Anna’s relationship and the equal balance in their marriage. Jessica, how did you go about approaching the role as a woman unafraid to stand her ground and as a wife and mother?

JC: I’d known J.C. and we talked in Cannes about the film and then he sent the script to me. I read it and I had this very strong instinct for this one thing. So we sat down for a long lunch, and I said to him that, for me, she was Dick Cheney, that’s what I wanted to do with her. She is the person that does what she feels is best, and she’s doing the dirty work so he can remain clean and he can believe what he’s doing it is the easiest and the best, but she’s the one actually doing what they need to do to survive. I like that this is a character that you completely underestimate in the beginning.

Most of the time a female character doesn’t get to be like this. I loved that he’s created this story where it’s 1981, and it’s a man’s world, and she is aligning herself with the most powerful man in the room. She wants to be with someone who’s like her father. She believes her husband is a king and anyone who disrespects them she will personally kill. That scene with the gun is really interesting because that’s when a lot of things start to bubble to the surface for her. She’s a girl who grew up in a household where her father was well-versed in criminal activity and she knows how to shoot a gun, so that’s when she starts to become more bold—with the cop, with the gun—and she now feels like she needs to step forward and take charge.

There’s been a lot of talk about your next project, working with Xavier Dolan’s on The Death And Life Of John F. Donovan. How did you meet him and had you been a fan of his films?

JC: I have a thing now whenever I go to a film festival, I always make it a point to see other movies, because the first year that I went to festivals I realized they don’t schedule that. They expect you to go and talk about your film and then you leave. So I will now I will only go to festivals if I can watch other people’s film, because that’s the reason I like to be in this business because I love films. Someone had told me about this 25-year-old filmmaker, Xavier Dolan, who was incredible, so I went to see his film and I was absolutely blown away by what he did.


I’m new to Twitter and all I wrote was like, “Mommy’s incredible, this film’s fantastic!” and I guess someone told him, “Did you know Jessica Chastain tweeted about your film?” And then he started tweeting at me, but like, “Will you be my beard?” and like sending me Justin Bieber music videos. I loved him immediately. I was like, we’re going to have a good time this guy and I. Then we had a conversation on the phone, he sent me a script, and we planned to meet for dinner. I opened the door and he was standing there with a huge bouquet of flowers in front of his face, and it was just love at first sight. I’m excited to work with him and I think he’s such an important new voice in cinema.

You’ve always been very vocal about women in Hollywood and the lack of opportunity for great roles. How do you see these challenges affecting others and what do you want to see change for women across the Hollywood landscape?

JC: When I speak about that, I don’t speak from a selfish point of view because I know I’m in a very lucky position. I get sent scripts that are incredible and I can work with the directors to make the characters even more interesting and rich. There’s a collaboration there. I’m speaking as an audience member going to the movies and not seeing films about woman. I don’t see Asian American actors on screen, I don’t see women in their 60s on screen, and it’s a huge problem.

I find it absolutely disgusting, to be honest. It’s really upsetting to me. I love cinema, and I love European films because I love diversity and there’s more diversity for some reason in other countries. French cinema celebrates women of all ages. So I’m speaking for other actresses I want to see in films. I think Lily Rabe and Sarah Paulson are such incredible actresses and I never see them in movies. We just need to get more characters going, and female characters are just as interesting as male characters.

In Interstellar my part was originally written for a man and Chris Nolan changed it to a woman. I don’t think he had to do anything different to change the part to a female character and it actually made me realize men and woman were not that different at the end of the day. [laughs] I’m going to start going through scripts and finding what male characters I can change to women. 

Rainer Judd Opens Her Journal to Houston Street

Book No. 11, Greek Ledger, August 16, 1992 – Sept 1, 1994
© Rainer Judd 2014
Photography © Henry Leutwyler

When we heard the name, “Rainer,” coupled with the word, “journal,” our minds turned to the sole novel written by the poet, Rainer Maria Rilke. He’s one of our all-time faves, and his only novel, The Notebooks of Malte Laurids Brigge — an epistolary work consisting of journal entries — is a dark and deep gem. Page by page, it unveils the complex and dynamic mind of a melancholic young writer living in Paris in the early 1900s. Precisely the sort of character we love to death.

Anyway, we hushed and ushered away those somber thoughts as nothing more than the product of a nominal coincidence as we made our way down to Rainer Judd’s journal project on Houston Street. Yet those pesky name-driven associations refused to let up. They came rushing right back when we witnessed what the artist is doing. She is posting her journal from 1992, one page per week, on the outside wall of the Rag & Bone store on Houston Street.

The first post was deceptively mundane: the front cover of a notebook signed with no name, stamped: VOID. The hashtag for the project is #ThisIsNotAComputer, and we felt a clear sense of crestfallen techNOlogical negation, with no perceivable alternative to what was always already in our hands, a distinctly postmodern predicament. It nevertheless intrigued us in that, “when you stare at an abyss it stares back at you” sort of way. So we gazed at it for a bit while Googling the artist’s statement, which we read aloud: “For me, journals are a place to dialogue with myself, a testing ground for ideas, a pal, a repository for the stuff of the highway of my heart.”

That sparked a conversation on the frozen street….

Mark: Could that “highway of the heart” be like an alternative to the information superhighway? Remember when people used to say that…I think there was even a commercial with the girl from The Piano, Anna Paquin, for one of those old telephone companies, like MCI. I wonder what sort of highway is this highway of the heart? Is it an I-95 type artery with rest stops and all sorts of Bob’s Big Boys?

Felicity: Right, or is it replete with tolls, congestions and funky smells — like a veiny New Jersey Turnpike?

A week later, the heavy-hearted dialogic framework we had established was pumped along by another page.

Book no. 11, Greek Ledger, August 16, 1992 – Sept 1, 1994
© Rainer Judd 2014
Photography © Henry Leutwyler

Felicity: Is it a red blotch of blood with something that looks like a shut eye?

Mark: Yeah, you know, it looks a bit like the cover of My Bloody Valentine’s Loveless. Have you heard that album?

Cover of My Bloody Valentine’s

Felicity: I’ve heard of it, but I don’t think I’ve heard it all the way through — isn’t that the band that did some songs on the Lost in Translation soundtrack?

Mark: Yeah, but just Kevin Shields. Loveless is different. Darker, deeper. It’s an album I can only listen to sometimes. That’s almost one of those shoegazer jokes that’s meant to be acknowledged but not laughed at…

Felicity: Joke? Well, consider it acknowledged, with no risk of laughter.

Mark: It’s a joke because “Sometimes” is the only song on Loveless that I listen to sometimes. So it’s kind of an inside joke for an audience of one, myself.

Felicity: Sometimes I get your ‘90s references. Sometimes I don’t.

Mark: You don’t want to get that part of the ‘90s. The early ‘90s — this journal is from 1992, right? I feel like that was one of the most superficially dark times in the history of western civilization. In New York, especially.

Mark Googles “My Bloody Valentine Sometimes Lyrics.”

Mark: Ok, this is the last verse.

“Close my eyes

Feel me now

I don’t know, maybe you could not hurt me now

Here alone, when I feel down too

Over there, when I await true love for you

You can hide, oh now, the way I do

You can see, oh now, oh the way I do”

Felicity: Well it’s certainly not “Ode to Joy.”

Mark: No, but it’s also not weltschmerz-y. It’s almost frivolously nihilistic. It’s nihilism that hates itself because the very conditions of its rage, anger, depression, hopelessness, are so personal and feel so globally trivial and irrelevant, so out of sync with the world, which the consensus felt had achieved “progress.”

Felicity: You mean because there was no terrorism, no real wars, and everyone had grown bored and cynical of anything resembling a social movement, and the industrialized world was on postmodern autopilot?

Mark: Right. So those were the sorts of lyrics kids were writing in notebooks in 1992, the year this journal was written. I don’t even want to think about it. All that stuff in the world, sure, and the end of the Cold War, and AIDS. The end of history and all that. What interests me now is what a uniquely bleak time it was in the history of personal communication — total connectedness had been promised, yet it was being stubbornly withheld. You had seen car phones and cellphones, and some people had pagers, but you still spent hours waiting for someone to call, fighting with your parents about your phone line, getting busy signals when you tried to log on to services like Prodigy, Compuserve, and AOL, endlessly wandering around the mall because you thought you were supposed to meet your friends at one spot but they thought you were supposed to meet at another. And the perpetually broken promise of connectedness made you feel so deeply alone.


Thursday December 18, 2014

On Houston Street another page has turned.

This one says:




We were tempted to ask our phones what it means.

But we couldn’t. And we weren’t sure why. Had our will to digital knowledge been drowned in irony? Were we too cold? Or had we moved from Googling the writing on the wall to gargling with the freezing mouthwash of the Lethe?

Against this wall, outside of Rag & Bone, it felt nominally better to turn back to Rilke:

“Is it possible that despite inventions and advances, despite culture, religion and worldly wisdom one has remained on the surface of life? Is it possible that even this surface, which at any rate might, after all, have been something, has been covered over with unbelievably boring material so that it has the look of drawing-room furniture in the summer holidays?

Yes, it’s possible.”

Hollywood Outsiders: Jason Schwartzman on Auditioning for Tim Burton & His New Film ‘Big Eyes’

Photo by the author

Jason Schwartzman has always harbored a deep love for Tim Burton. When we sat down last week at the Park Hyatt Hotel, he told me of a MTV News Special he saw on the director when he was young that has long stayed with him. “It was bright, sunny California and he was dressed in all black with big sunglasses and saying he didn’t really feel like he could fit in,” Schartzman said. “I wasn’t young enough to totally feel like an outcast, but I remember watching it and thinking, oh you can not fit in and it’s okay.”

And now years later, the actor and producer finally had the chance to work with the fantastical and iconic Burton on his latest film Big Eyes. As the story of painter Margaret Keane and her husband Walter Keane, who committed one of the biggest fraud’s in art history when he rose to international acclaim after taking credit for her entire body of paintings, Schwartzman plays rival gallery owner Ruben. Mustachioed and modernist, Schwartzman’s character represents the portion of the art world who never understood the uniqueness of Keane’s work and failed to see the darkness lurking behind those overwhelming, sad eyes.

Having been in some of the year’s best films, such as Wes Anderson’s The Grand Budapest Hotel and Alex Ross Perry’s Listen Up Philip, it’s certainly been a good year for Schwartzman, who continues to be one of the most warm-hearted and collaborative actors working in both mainstream Hollywood and independent cinema. So before the theatrical release of Big Eyes on Christmas, I chatted with him to dive deeper into his audition anxiety, his affinity for experience, and the ghost worlds of Tim Burton.

So how does one become a part of a Tim Burton movie?

Well I just got a call from my agent saying that Tim Burton was holding auditions. I was really nervous, but at the same time I thought that it as really exciting just to be auditioning. 

What about it made you nervous?

I’m a really bad auditioning. There are people who are really good, and I’ve been to auditions where you can hear another actor through the walls. I remember for one movie, I could hear this guy screaming and crying and I just thought, “I have to go in after that?!” It’s a really hard thing to do. For instance, if I have an audition in a few days, it will be the cause of a lot of anxiety ad my mind will be thinking about it a lot. But for this movie, it all happened very quickly so that was good and I didn’t have too much time to over think it.

I wore a suit to the audition and shaved my beard because in the script it said the character had some facial hair. I talked to my friend Tosh Berman who is a book publisher, writer, and all around artist who knows a lot about the art world. He knows a lot about dealers and once I got the part he helped me look for books on curating, so that was fun. Tim Burton wasn’t actually able to be there for the audition though, so that probably took a little stress off.

Was Tim Burton someone you’ve always admired as a director and have been waiting to work with?

Of course he’s an icon to millions, but personally, those movies he made that were coming out when I was young, were a really big influence on me. Pee Wee’s Big Adventure is a masterpiece, and those movies, there was nothing like them—at least what I was seeing as a kid. I loved them and loved the feeling. Also, he was just one of the first directors I was aware of that I thought, this is a director! The movies I was seeing were the opposite in a lot of ways and his just resonated with me.

What I found interesting about the film was that in anyone else’s hands this probably would have just gone the way of dark familial drama, but with Burton’s directorial touch it was able to morph right into his world.

There’s an odd claustrophobia to the movie. Margaret is trapped and there’s a Hitchcock-type feeling to it that he created in his own way. It was so cool to be on set though. I remember landing where we were shooting and I’d grown out my beard because I didn’t know what he wanted for my facial hair, so I figured I’d give him a lot of marble and let him chisel. He was like, “Look at you, you’re a mountain man!”

One day they were shooting in this big park and there were other people just enjoying the park, but as you got closer you realized that it looked like some moment out of time, like a ghost world appearing…like Brigadoon. So what I observed that day and what I felt while shooting was an enthusiasm. Tim was always laughing in rehearsals, just a really positive energy and enjoyment. I like anyone that’s interested in things; it’s really hard for me to relate to anyone that’s over it. Even though I feel that way sometimes, you know that nothing on television feeling, it’s natural but it’s always exciting to be fascinated by your work and to see someone at that level continue to draw so much pleasure form their work.

You seem to be attracted to working with directors who have very strong and specific visions—is that experience something you look for when choosing roles?

As I’m sure you know, with a movie you really can’t predict anything because it’s such a collaborative experience. It can become so many things and you can go see a movie and it could literally be recut into something else entirely. But when I read a script, I’m not so much focused on the character as I am the experience. The character is of course part of it, but the first thing I’m thinking is: who’s directing, where is it being shot, how are they going to make it, and then being excited by certain scenes and moments that I’d love to watch myself.

So a big part of it is the experience. I tend to not be an optimist, but for some reason with my work, when I’m doing it, I can be optimistic about it and find the good. Like “I broke my ankle…big at least I broke it in Jamaica!” So work puts an unusual spin on it where I really do embrace things. Michael Cera is one actor who I really feel connected to and is a real friend and although I don’t see him very often, I love him deeply. But one of the things I really admire about him is that he’s all about the experience.

How was acting opposite Christoph Waltz? Does that manic energy of his rub off?

They were already working on the movie when I came to join them, so when I got there there was a real momentum and I was just trying to get in and feel it. Christoph was so gracious to me and always smiling. We had a scene together and what I noticed was a real focus and relaxation at the same time. Everyone can work in the way they want and I’m up for however you want to do it, but I noticed that he seemed to be very focused but also very loose.

Some people can be focused and it’s like, “Don’t talk to me because I need to stay in a place and if you talk to me it could puncture that,” and I totally understand that. But with Christoph, I felt like he was like, “I’m in a space but there is no bubble to puncture, so you’re in the bubble.” In between takes we would talk about music and then the second we started back up he’d be right in it. I’ve also never seen someone so good technically and physically. Movie acting is such a skill and he’s amazing, just so good at everything.

The Rise of the Moneyennials?

Courtesy of Money.net

The influential Pew Research Report on Millennials lists three defining character traits of the generation: Confident, Connected, and Open to Change. Not surprisingly, “Money Hungry,” didn’t make the list. Nope, Pew pretty much parrots the lore that the next big generation harbors a positively Panglossian view of financial affairs. “Despite struggling (and often failing) to find jobs in the teeth of a recession, about nine-in-ten either say that they currently have enough money or that they will eventually meet their long-term financial goals.”

But could that mentality of acceptance and hopefulness be giving way to a ruthless, self-directed focus on making it rain? Could the very generation that was caught “in the teeth of a recession,” as Pew puts it, be trying to bite back with full financial force?

Last week, the webernet went wild when New York Magazine and the New York Post reported that a high school student at an elite public high school in New York City and his group of friends had made 72 million dollars trading futures and stocks! The news caused many a mouth to mutter, “I thought these kids were too busy Snapchatting to be making snap decisions in the markets.” Well, we quipped, you thought wrong, old person.

We were thrilled to hear about a kid beating the crap out of the market. We started kidding about how the new “SELLfie” will be a snap of a tech savvy Darien Gecko smiling while she’s shorting some overvalued stock in Gramma’s IRA. (In case it’s not immediately apparent, here’s how we named our model millennial trader, “Darien Gecko”: We made a Wall Street portNAMEteau by fusing “Darien Taylor,” the name of the ultimate ‘80s femme fatale played by Daryl Hannah with “Gordon Gekko,” the name of the ultimate ‘80s ruthless profiteer played by Michael Douglas.)

And then it turned out that the story was made up. Yesterday, the New York Observer reported that the investment returns were fabricated and merely the outcome of simulated trading. But when the dust settles, we think the real story will be that millennials are interested in financial markets enough to engage in simulated trading. He was, in effect, playing a videogame based on the real stock market.

Around a month ago, when we spoke with Morgan Downey, founder and CEO of Money.net, a financial information platform that provides the same real-time information used by traders, hedge funds, investment banks for a fraction of the price, he described what he views as an epic expansion of interest in financial markets and information. “People you wouldn’t traditionally associate with ‘Wall Street’ are now interested in the financial markets and now want real-time access to sophisticated financial information — people like students, creatives and retirees — and I believe it’s happening for two reasons: First, it’s extremely empowering, and in some cases essential, to have that information for making investment and trading decisions and monitoring the decisions of others. Plus, in the age of real-time feeds, people are just no longer comfortable waiting. Imagine if you had to wait 15 minutes to see what your friend had just posted on Instagram? Perhaps ten years ago maybe that was acceptable, but now everyone wants everything in real time. Second, new technology has made the cost of providing access to the information dramatically cheaper. I mean, at Money.net, we provide access to information that costs professional traders as much as $24,000 for only $50 a month. I’ve seen jaws drop at that difference in price,” said Downey.

But that doesn’t address our own jaw-dropping cultural question: Do the children of Zuccotti Park now think that money is cool? We may have to wait a couple of years to uncover the answer to that question. But, for now, we can read the green tea leaves by analysing the fantasies of gifted high school students and the pecuniary shift in messaging of the quintessential platform for ephemeral millennial self-expression, which recently launched a new product that’s, literally, called Snapcash.

We Went to Every Party at Art Basel Miami Beach & These Are the Best 10

Many moons ago, we came across this untranslatable proverb in Esperanto: “Navigante inter du aŭ tri arto partioj en sola tago estas formidable kapableco, sed tuj ĉiu unuopa partio ĉe Art Basel Miami Beach estas granda arto.” Now here’s what that means in English: “Navigating between two or three art parties in a single day is a formidable skill, but going to every single party at Art Basel Miami Beach is a high art.”

So, in the late fall of 2014, when we heard that Art Basel Miami Beach would be bigger and better than ever, and that UBER was finally coming to Miami, we jumped at the chance to make the finest work of art party coverage the world has ever seen [cue the evil laugh] —  which just so happens to take the form of a listicle…or, if you will, a #Basellisticle.

That’s right. We sipped and dipped at Basel’s finest cocktail parties; we dined and dashed at Basel’s best dinners; we darted for doors at enough Baseliscious bashes to make Jonathan Cheban blush; and we hopped from pop-up club to pop-up club like two horny roommates from Saskatchewan who just so happened to be simultaneously turning twenty-one and throwing their joint bachelorette party down at Art Basel Miami Beach (tiaras not included).

Why did we do it, you ask? You know why. Because we love you, silly. And when you love someone as much as we love you, you want to serve them Art Basel Miami Beach, raw, on a gilded platter. #NoFilter. Straight from the party horse’s mouth, in as many words as the party horse decides to use, because you know that your beloved’s got nothing better to do than listen to you blab about parties. So relax and let us feed you 10 choice cuts of uncooked and super spicy steak tartArt Basel.

But hey — enough of our yakkin’ — let’s boogie!

1. Artsy Dance Party at the Moore Building

With one epic Chanel-powered bash on the beach at Soho House in 2012 Artsy was launched into the rarified upper echelon of #ABMBPTFTBRW (for those of you who may not be familiar with our ARTbreviations, that’s “Art Basel Miami Beach Party Throwing Force To Be Reckoned With”), long before they had even launched their website!

Ben Rosser/BFAnyc.com

Wendi Murdoch, Ivanka Trump, Carter Cleveland, Lauren Remington Platt. Photo: Ben Rosser/BFAnyc.com

Here’s Felicity In 2012 Pretending They Handed Out Chanel iPhone 5Ls (L for Lagerfeld)

Now that the Artsy app is getting thumbed around in just about every place where art hangs — from the halls of the Louvre to the caves of Lascaux — the Artsy party has become the sort of event that can make your whole Art Basel in just one night. So it should come as no surprise that this year’s fête justified the trek down to Miami’s Moore Building.

As the intelligentsia fixed their gaze upon the dance performance choreographed by Shen Wei (whom the Washington Post has called “one of the great artists of our time”) and tech world elites debated whether Artsy’s founder Carter Cleveland is the “Jeff Bezos or the Steve Jobs of the Art world,” a handful of sexy plebes gawked at the likes of “Jessa from Girls!” (aka Jemima Kirke) and Ivanka Trump (who is “so nice and completely down to earth”) and asked questions like, “is that Theophilos guy actually from London or is it just a name?”

2. Miley at the Raleigh

While we’re on the topic of “greatest artists of our times,” we wish to deposit our two cents: Miley Cyrus. And those aren’t even cents — they’re not even words. They’re a Movement. We’re proud to declare that we’ve been on #TeamMiley since “Party in the USA” (and before that even, but one of us has insisted that we stop mentioning that because he’s been repeatedly warned that it sounds creepy for him to say that he was “really into Hannah Montana.”)

Let’s just put it this way: If one says that an artist has “killed it” when said artist puts on a good show, then one could call Miley’s performance, featuring Flaming Lips frontman, Wayne Coyne: “pure genocide.”

Some rude oligarch had the nerve to remove what looked like the wood-paneled Bentley of electronic cigarettes from his mouth to ask us the following question from behind a plume of bacon-flavored vapor: “Did you understand this? You look like you have fun, but I don’t think that you understand this.” And here’s how we responded, in unison (in Children of the Corn Voices): “No, sir. We didn’t. But neither did the first people who saw The Persistence of Memory? Yet they too had witnessed something sublime.”

Courtesy of Miley’s Instagram


Andre Saraiva talks to party guests

Post concert shoe-mosphere

3. Horse Meat Disco + Yabu Pushelberg in the Basement of the Edition Hotel

The Basement of the new Edition Hotel was the place to be at ABMB. Wait, before we go any further, we just want to clarify that by, “New Edition Hotel,” we don’t mean that Ricky Bell, Michael Bivins, Ronnie DeVoe, Johnny Gill, Ralph Tresvant, and Bobby Brown got the old group back together and started a hotel. Oh no. #CoolItNow.

The Edition — the venue for a whopping 30% of the parties on this list — is Ian Schrager’s new project. And his is a name that makes us say “ho-tell us more” because he just so happens to be the hotelier who put South Beach on the map of greatest hotels in the world (such a map does in fact exist, and we’d love nothing more than to link to it and submit if for your review, but it’s actually only available in a single physical copy that’s kept under lock and key in a vault in Lausanne) with his launch of the renovated Delano in 1994. So it t’was a bit of high drama with him coming back to town and going fête-a-fête with his O.G. Grand Budapest, which had some exclaiming, “oh DelaNO he didn’t!” We haven’t experienced Schrager drama like this since over 10 years ago when he teamed up with artist Julian Schnabel to launch the Gramercy Park Hotel like ten blocks away from his original hotel with the Morgans Hotel Group. And he pulled out all the stops with this one. It’s got a bowling alley. But we said all the stops. This hotel, in Miami, has an ice-skating rink. That’s the sort of move that might prompt Andre 3000 (whose OutKast tour jumpsuits were on display just a few blocks away): to ask: “What’s cooler than cool?” And respond: “Ice Skating in Miami.”

But back to the Basement. It’s the diametric opposite of Rose Bar. This place is gritty, and flashy, and dingy, and dark. Very dark. Did we say sexy? No, we did not just say, “sexy.” But that’s illustrative, for this is a place that perfectly captures that sort of “I’m not exactly sure what’s going on but I’m having so much fun and may have just whispered the word ‘sexy’” sort of vibe. It’s apparent that Schrager really dug deep into his formidable oeuvre of canonical east coast clubs to cook up this one. Long before the Gramercy, before the Delano, before the Last Days of Disco, Schrager, alongside Steve Rubell (his soon to be partner in Studio 54), opened a disco in Douglaston, Queens called “Enchanted Garden.” Of course we’ve never been there! We weren’t born. Heck, we’re not even sure if Steve Lewis has ever been there! Yet, for some reason, a space as raw and amazing as this Basement somehow nevertheless brings to mind all those enchanted disco infernos of yesteryear.

And the space and the crowd was brought to a salt-sprinkled boil by Horse Meat Disco. “Ebullient.” That word literally means “boiling over.” It’s an important concept for the medieval mystic, Meister Eckhart. And it’s the perfect word for expressing the primal fecundity of pure orgiastic abandon experienced in this blessed basement.

Hannah Bronfman + Brendan Fallis. Photo: Joe Schildhorn/BFAnyc.com

Harry Brant. Photo: Joe Schildhorn/BFAnyc.com

Harley Viera Newton, Atlanta de Cadenet, Leigh Lezark. Photo: Joe Schildhorn/BFAnyc.com

HorseMeatDisco4Sargent-Molle selfie

4. Snarkitecture + Alchemist + Alfa Romeo at 1111 Lincoln Road

At the end of Lincoln Road — or at the start of it, depending on which way you’re facing and perhaps whether you’re an optimist or a pessimist — stands 1111 Lincoln Road, a masterpiece by Herzog & de Meuron. Yes, it’s a parking garage. But let us question you thusly: were it not a parking garage, would you have as much fun making fun of all those philistines who don’t seem to “get” its status as an iconic building? We dare say: no.

But now we can’t help but suspect that you wish to question us thusly: dearest Felicity and Mark, amidst all the pedantry and posturing that undoubtedly permeates the architecturally exceptional parking spots of the plutocracy, could it really be a fun party? A fine question. A fair question. And here’s your answer: beeb beeb, beep beep, yea!!!

Especially when the party is being thrown by Snarkitecture — the project of Alex Mustonen and art world wunderkind, Daniel Arsham — and features massive NBA Hoops Basketball Arcade Machines (a project called AIRBALL) and truckloads of appetizers the were — from what our eyes, noses, and taste buds were telling us — bomb ass Bosco Sticks.

5. Roger Vivier at the Edition

If there were a French expression for expressing the cheerful enjoyment of a fashionable life, it would be: Joie de Vivier!

While some revelers cling to the position that parties and lovemaking are best enjoyed when it’s dark, we say, “lighten up! It’s so much fun to do it in the daytime!” That’s our pervy way of declaring that this was the best daytime party at Art Basel this year.

We sipped sinfully potent cocktails that made it all but impossible for our lushy American tongues to pronounce the names of our hosts, Ines de la Fressange and Ambra Medda.

Translation: pure Joie de Vivier!

Ines de la Fressange, Ambra Medda. Photo: Joe Schildhorn/BFAnyc.com

Freida Pinto, Bruno Frisoni, Ines de la Fressange. Photo: Joe Schildhorn/BFAnyc.com

Felicity with party favor fan

6. Nordstrom Dinner at the Standard Hotel

We laughed so hard during this waterfront dinner, and cracked so many silly jokes about the fleet of drones Nordstrom had hired to capture our festive faces — “that one’s married to a roomba!”; “That one’s last job was delivering pizza!” “That one’s momma was a snowblower” — that we almost forgot to eat. Which was unfortunate because all the grub was off the chain — from the burrata to the branzino.

And just when we thought our night was all about food, folks and drones, Nordstrom’s Olivia Kim, architect of the “pop-in” store at the Standard, announced that we were about to munch on some serious swag! Nordstrom had arranged for a raffle! Mark won a bright blue french press. Felicity won DJ equipment, and therefore will likely be a DJ by next year’s ABMB. And then the big celebrity sitting next to us (who begged us not to reveal her identity) won a freaking kayak. #SoJelly.

Dinner atmosphere with photo Drone in background

Dinner party gifts

7. Moschino Party at the Thompson Hotel

Here’s the Miami party truth that no one likes to admit: Down here, Paris Hilton is a great DJ. Especially when she’s inside a Moschino-designed Barbie house. Let’s just say she was in her element.

But this party, we must concede, did not feel like it was set in vintage Miami. It channeled some hauntingly auspicious Miami-of-the-future vibe — the Miami of Herzog and De Muren, Zaha Hadid, the Faema Art Center, that New Institute of Contemporary Art, etc., etc., unabbreviated etcetera. If we had to represent that not-too-distant land geographically, we’d plop it somewhere betwixt Havana and Milano.

Moschinomosphere: Barbie House


Moschino Barbie Box photo booth

The back of Jeremy Scott inside the barbie house

Moschino pool mosphere

8. Visionaire 64 ART + John Baldessari at the Edition

Ain’t no party like a selfie party. With John Baldessari. It’s the sort of party you don’t even have to describe, and you can just drop celebrity selfie name bombs like a Samsung B-52, son: James Franco, Gisele Bündchen, Neil Patrick Harris, Drake, Lupita Nyong’o, and Marina Abramovic.


Mickalene Thomas, Klaus Biesenbach. Photo: Benjamin Lozovksy/BFAnyc.com

Cecilia Dean, James Kaliardos. Photo: Benjamin Lozovsky/BFAnyc.com

The Visionaire Chamber Ensemble, Craig Hartley, performance. Photo: BFAnyc.com 

9. Triangle Walks at the Delano

The Delano’s backyard — from Bianca to the Beach — is about as long as a football field. Or at least that what it feels like when hotel security is hot on your tail chasing you away from the pool that’s for “guests only” (not that that’s ever happened to a certain Hannah Montana fan). So when you throw a party in that large a space, it tends to feel relaxed and restrained, even if hundreds of people are sipping some new cognac next to Philippe Starck’s oversized flower pots. In other words, it’s the perfect spot for a pre-party that requires the appreciation of art that generates stimulating thoughts.

And on the level of thought-stimulation, this party was a cut above the rest.  For the occasion, a fully restored house, designed by modernist architect, Jean Prouvé (whose pièce de pre-fab résistance, Maison Tropicale, Andre Balazs purchased in 2007), was constructed on the grounds of the Delano’s garden. Inside the house, we discovered Bally’s “Function and Modernity” exhibition, which showcased the artwork of the French art due, Kolkoz, the Brooklyn-based artist, Zak Kitnick, and celebrated the worlds of Swiss and French modernist architects and designers in Bally’s private collection (Robert Mallet-Stevens, Charlotte Perriand and Pierre Jeanneret).

We were so deeply engaged in exhilarating discourse that we barely noticed that the party was being DJed by Harley Viera Newton, and our little modernist house on the Delano prairie was, literally, rocking with celebrities.

Harley Viera Newton. Photo: Angela Pham/BFAnyc.com

Photo: Angela Pham/BFAnyc.com



10. Le Baron Ten Year Anniversary at the Delano (FRD)

Ten years in and Le Baron’s pop-up game is stronger than ever. We’d give them a perfect 10 if it weren’t more appropriate to hand out a Mr. A.

After a couple of years of nomadically roving between an assortment of clubs, it was nice to see Le Baron back at what we view as its rightful temporary home at the Delano’s Florida Room (aka FDR). This low-ceilinged, nooky space just makes more sense for Le Baron’s aesthetic and vibe than some of the massive Miami venues where it has, de temps en temps, popped up over the years (club in point: Nikki Beach in 2012).

The veteran crew ran this show like a well oiled white glove machine. Fresh off his road trip down from New York City, doorman extraordinaire, Julio Montero, managed the teeming crowds at the 17th Street entrance with the grace of Chopin conducting a nocturne.

Inside, the beats (frequently spun by the very hands connected to the very shoulders connected to the very mohawked tête of the head of the Tête D’Affiche transcontinental DJ mafia program, Greg Boust) were energizing and sexifyingly jouissance-inducing, yet they maintained just enough avant-garde edge to remind revelers that art just so happens to be the reason for this party season.