2012 February 11
Patrick McMullan View Gallery
Gabbing with the homme behind Organic by John Patrick, who has far more free time than Chic due to his lack of a TV.
Who are your non-fashion contemporaries?
Ellsworth Kelly and M.I.A.—both radicals!
You used a material made from old TV trays. When was your last TV dinner?
Probably in the 1970s. It was considered luxury food!
What do you like to watch on television?
I don’t own a TV!
What’s the last thing you did outdoors?
I like to yell in the street. About my work, usually!
2012 February 10
Designer Kevork Kiledjian tells Chic...“Every morning when I was a kid in the south of France, I was always five minutes late for school. Why? My budwig cream! It takes five more minutes to prepare than your everyday breakfast, but it’s the most amazing thing ever. Here’s how to make it!”
• 4 teaspoons of cream cheese
• 1 small ripe banana, or 2 teaspoons of honey
• the juice of half a lemon
• 2 teaspoons wheat germ oil, cold-pressed
• 2 teaspoons of sunflower or sesame seeds, or 6 almonds or hazelnuts, coarsely chopped
• 2 cups of oats
DIRECTIONS: Soak the seeds and fruit first. Cook the oats separately before adding all other ingredients. Bon appetit!
2012 February 10
Giorgio Niro View Gallery
Imagine a gig where you can drink Johnnie Walker, smoke in your office, and publish 12 features a year. Sounds like something from the seventies, right? Not to Paris Review editor Lorin Stein! Join us for a lovely jaunt into publishing’s genteel past, where words still matter, smart still sells, and creative freedom reigns. They even have Wi-Fi!
For the benefit of everyone in fashion who isn’t Sally Singer, what is the Paris Review, exactly?
It’s a quarterly journal that was founded by a group of expats in 1953 devoted entirely to literature and a little bit to art—never politics, never polemics, never the debates of the time. Under my predecessor, Philip [Gourevitch], that changed a little bit, but we’ve taken it back in that direction. It’s known as the place that discovers young writers, and as a laboratory for original writing. It discovered Philip Roth, it discovered Jack Kerouac, it discovered David Foster Wallace. I don’t know how much these names will mean to people…
I was kind of kidding.
Right! So was I. Actually, let’s not say ‘discovered.’ I hate that word. How about ‘published early works by?’
Sure. Walk us through the submission process.
We get thousands of stories and poems a year, and we look at them all. Some are from agents. Some are not. We have interns who read them, and volunteers who come in and read them, and I also read them.
You’re the industry slush pile, basically.
Well, that’s been the traditional model, but we’re less of an industry filter today because everyone gets the same things. Also, more and more of the authors we publish already have agents. In the cases where they don’t, usually within a day of publication they’ll get a call from at least one.
What percentage of your readers work in publishing?
The percentage is small, but the percentage of the literary corner of the industry is large. But that’s still a very small group of people. Basically, we’re the biggest of the little magazines. Given our druthers, we’d all love to publish writers no one has ever heard of, and I get to do that more often, proportionately, because I only have to publish about a dozen a year.
Well, plus essays. We won the National Magazine Award last year for Best Essay, in fact. But the essays are not reportage. They’re more personal. They tend to have a lot of the qualities of fiction, though they’re scrupulously factual. One advantage that we have over The New Yorker and Harper’s is that we can run as long as we want, and we publish for a very small, literate readership. They have to please a million, or at least a significant chunk of them. Our readers will follow our cues, so we can take more chances. We can serialize a novel if we want, we can run a novella, we can use bad words, we can publish graphic sexual content. All of that stuff makes it fun. And while we only publish quarterly, I should mention we also publish an online magazine. Last week we had 165,000 unique readers. It’s a gazette devoted entirely to first-person accounts of culture, so we’ll have James Franco on going to the movies, or this guy that did this fantastic post about the art of airplane safety manuals.
Sounds like you’ve got a lot of freedom.
Total freedom. The board is great. They’re very game.
They’re probably just happy it’s still around!
Well, there was a question when [Paris Review founder] George [Plimpton] died—a reasonable question—about whether to keep it going. In fact, if someone were to have asked me at the time I would have said, ‘Fold it! It was George’s magazine.’ But George put stuff in place from the very first issue that turns out to be really, really useful, like the interviews. He invented a new kind of interview—what George called ‘An Essay in Dialogue on Technique’—meaning that the interview subject always rewrites the interview, and it’s a collaboration between interviewer, subject, and editor to come up with the best possible formulation. We were trying to figure out why this issue had sold out within two days at McNally Jackson and then I thought, ‘Oh, yeah, we have Jeffrey Eugenides on the cover and he’s got a best seller!’
Do you follow fashion at all?
Do you know anything about fashion?
No, sorry. But if you give me some sensible views, I’ll be in your debt.
What about men’s fashion? I read in the Times you’re a bespoke man.
Kurt, who makes my shirts, was one of GQ’s whatever of the year. But I don’t really think of that as fashion.
Do you feel like you’re manning the barricades?
We’re very lucky in that we have patrons who support us. We have time to think. It’s also true that in a year-and-a-half we’ve grown our web readership by six or seven hundred percent and increased our subscriptions by a third. I really want the Review to establish itself in the larger culture, and I don’t think we have endless time to do that. I thought it was going to be leisurely, and it has not been leisurely. But I do get a chance to read a lot!
2012 February 10
Patrick McMullan View Gallery
Dree Hemingway gets giddy over a good (and exorbitantly priced!) truffle mac, opts for pie in lieu of cake, used to get "whacked out" and a since-discontinued sugary treat. Oh, and the surprising challenges of moonlighting as a designer for Sandro...
What’s your birthday cake of choice?
What’s your guilty pleasure du jour?
Truffle macaroni and cheese. The Waverly Inn has that locked down, but it’s just so expensive! I always think, ‘Oh my God, don’t tell my credit card I’m buying this right now!’
What’s the best NYC meal you’ve had lately?
The Fat Radish. And Acme—they have weird cauliflower concoctions with foam and stuff.
What was your favorite treat as a kid?
I loved Magic Mini pancakes in strawberry shortcake flavor. I don’t think they exist anymore. I’d go through a bag a night, and I’d be whacked out of my mind.
What was it like to design for Sandro?
It’s not easy! I sort of thought prints would just fall into my lap. It’s tricky to design things you want to wear—and that other people want to wear, too.
What do you wear at your house in Idaho?
There is no style. It’s more about being outdoors and submerged in nature.
2012 February 10
Billy Farrell Agency View Gallery
Wondering why you’re so hungover? A virtual ocean of Belve is to blame!
Number of bottles served: 1,380
One-liter bouteille ice luges: 1
Total drinks mixed: over 27,000
Belvedere/Milk cocktails to be mixed at Made: 0
Parties fueled by free-flowing Belve: 27
Chanel is taking quite a trip for its next showing: Karl Lagerfeld...
Calling all go-getters: Last eve, Glamour celebrated its 2014...
WHAT: Missoni Necklace...WHY: All of the Spring 2014 collections...