Executing a perfect 180-degree turn, Newt Gingrich, one of President Donald Trump’s top media surrogates, has begun attacking the legitimacy of Robert Mueller, the special counsel who was appointed to oversee the federal investigation of Russia’s involvement in the 2016 presidential election.“Republicans are delusional if they think the special counsel is going to be fair,” the former speaker of the House wrote on Twitter early on Monday. “Look who he is hiring. Check FEC reports. Time to rethink.”
Blame it on ath-leisure’s lockdown on fashion, the global political upheaval, experiential marketing or just plain thirst for escapism, but many consumers are giving extreme sports a closer look.While most won’t be rushing to play a game of Bossaball— a mash-up of soccer, volleyball and gymnastics played on an inflatable court — there are other more attainable pursuits for adrenalin seekers and less-daring athletes alike. Whether via smartphones or actual participation, a range of daring activities are attracting consumers’ interest, though many of the elite athletes excelling at them don’t have the support of major athletic brands.For the first time this summer, ESPN’s X Games will feature Moto X QuarterPipe High Air, though only male athletes will be competing this time around. While slack lining, sand kayaking, wing walking and drone diving — parachuting from the top of an oversize drone — require some serious bravado, there are also more where-there-is-a-way pursuits like ultra trail running, Flyboarding, ice swimming and the Arctic ultra, which gives runners the option of a 120-mile run followed immediately by the start of a 350-mile one.Even Bossaball has an eye for design considering a Piet Mondrian-inspired Bossaball court is expected to be used for the first time during the FIVB Beach Volleyball World Championships in Vienna in July. Talks are under way for an apparel sponsorship for the event as well, according to Bossaball International’s Flemming Sörensen. Created in 2005 by Filip Eyckmans, a former music manager who got hooked on capoeira during one of many business trips to Brazil, the sport will soon start its summer season in Europe with many matches scheduled for Belgium and The Netherlands.In the three weeks since the Latvian company Aerones executed the first human flight and parachute jump with a 28-propeller drone, a number of technology and entertainment companies have approached executives about potential collaborations. Chief engineer Janis Putrams, who piloted the 28-propeller drone for skydiver and wind tunnel flyer Ingus Augstkalns’ May 12 jump, noted that in addition to sports and entertainment, the drones can be used for firefighting, rescuing people and civil defense. “We have been approached by tech and entertainment companies but not any apparel brand so far,” Putrams said.This summer’s X Games in Minneapolis will feature Moto X QuarterPipe High Air for the first time.Matt Morning/ESPN ImagesAs Red Bull, ESPN, Vans and a slew of other household brands have proven, marketing tie-ins to cliff diving, street-style skateboarding and the like are Instagramgold. This summer’s X Games Minneapolis will get rolling with Harley-Davidson Flat Track Racing at Mall of America where racers will rev their high-performance motorcycles around an oval track at speeds of up to 130 miles an hour. Fans and followers may be surprised to find Fruit of the Loom, a brand that is more associated with 9-to-5ers than freewheeling thrill-seekers, is on board as an event sponsor. A Fruit of the Loom-sponsored athlete will be on hand and product freebies will be doled out to some fans.Extreme sports are a worldwide phenomenon fueled by women and men who “are anything but irresponsible risk-takers with a death wish,” according to a new research paper coauthored by Eric Brymer, aQUT adjunct professorwho is based at Leeds Beckett University.Asked about the uptick in interest in extreme sports, Brymer saidWednesday “because extreme sports are not bound by predetermined rules and regulations or artificially set boundaries, they facilitate creativity, exploration, responsibility, and a direct experience of relating to the [usually natural] environment in ways that other sports cannot provide. The experience is described as freedom in a deep sense that resembles mindfulness and profoundly meaningful and life enhancing. There is also an important ineffable aspect that transcends words…or at least those in the English language.”He added,“The aesthetic aspects also mean they potentially transcend gender norms.”What some might consider to be a different kind of extreme training — the Ultimate Fight Club kind — is the impetus for a Reebok initiative. The Boston-based company is selling a limited selection of its training apparel in 16 UFC Gyms in the U.S., including one in Boston. “The goal is to expand to a wider portfolio of UFC Gyms nationwide in the very near future,” a Reebok spokesman said.While Puma is keeping its focus on running, training and team sports, Smith Optics — a brand popular with snowboarders and cyclists — is developing performance-enhancing products such as the $350 Lowdown Focus glasses. Out in October, the sunglasses use the Mpowered by Muse app to help jocks with cognitive training to improve energy management and game-day focus.Wetsleeve is designed to help athletes stay hydrated.Matt Morning/ESPN ImagesUltrarunners now can try to pick up the pace with the Sensoria-powered Vivobarefootsmart shoe that uses microelectronics to monitor in real-time speed, pace, cadence, GPS track, foot landing technique and time on the ground. A more adventuresome way to cover some ground can be found with Onewheel, essentially a motorized skateboard with one wheel that is popular with commuters and weekend warriors. Users can dress the part in Onewheel T-shirts and socks. After two years of development with the award-winning Swiss design company Development Never Stops, Wetsleeve aims to start delivering its adjustable hydration device in October. Equipped with a 12-ounce “liquid reservoir,” the forearm device is designed to let kitesurfers, mountain runners and a range of other athletes drink while working out.As more travelers are determined to not only keep working out on-the-road but also test their mettle with more adventurous sports, hotels like Westin are tying into their athletic interests. Building upon the success of its Gear Lending program with New Balance, Westin now offers guests the option of reflective accessories, as well as activewear and sneakers in 204 of its properties. Interestingly, the Westin Grand Central in New York generates the most requests — nearly 2,000 annually.At the Omni Mount Washington, overnighters who are willing to spend a little extra don’t have to pack their boots, crampons or ice axe to climb Mount Washington in the winter with a Bretton Woods guide. And at the Montage Deer Valley, guests can splurge to board a private jet for a day of mountain biking or another outdoor adventure at Moab, Zion or Bryce Canyon. Guests at the Hilton-owned Boca Raton Resort & Club now can try the lesser-known water sport — maneuvering a hydro-propelled Flyboard high above the water.Yogis, meanwhile, are taking to goat yoga — quite literally going through sun salutations and other poses outdoors amid goats — in Oregon, Arizona, Maine, Wisconsin and other states. Lainey Morse trademarked goat yoga to sell goat yoga pants, shirts, mats and other items online. A $48 zip-front “Let It Goat” hoodie and a $40 sleeveless “You’ve Goat to Be Happy” poncho are among the options. Morse is not alone in the field, considering that Arizona Goat Yoga founder Sarah Williams also created goat yoga-themed T-shirts.“I haven’t heard of any specific designers getting into goat yoga, but our shirts sell really well — usually 30 to 40 per class,” she said.You're missing something!
Never mind that it’s been more than a year sinceBeyoncé’s “Lemonade” was released — the album still is the talk of the music industry. On Monday morning the nominations for the 2017 BET Awards were unveiled, and the superstar leads the pack with seven total nominations. “Lemonade” was released in April 2016.Beyoncé leads Bruno Mars, who received five nominations, as well as her sister Solange, who received four.The nominees for album of the year are:Bruno Mars, “24K Magic”J. Cole, “4 Your Eyez Only”Solange, “A Seat at the Table”Chance the Rapper, “Coloring Book”Beyoncé, “Lemonade”Best female R&B/pop artist nominees:BeyoncéKehlaniMary J. BligeRihannaSolangeBest male R&B/pop artist nominees:Bruno MarsChris BrownThe WeekndTrey SongzUsherVideo of the year nominees:Beyoncé, “Sorry”Big Sean, “Bounce Back”Bruno Mars, “24K Magic”Migos featuring Lil Uzi Vert, “Bad and Boujee”Solange, “Cranes in the Sky”Best female hip-hop artist nominees:Cardi BMissy ElliottNicki MinajRemy MaYoung M.ABest male hip-hop artist nominees:Big SeanChance the RapperDrakeFutureJ. ColeKendrick LamarBest collaborationnominees:Beyoncé featuring Kendrick Lamar, “Freedom”Chance the Rapper featuring 2 Chainz and Lil Wayne, “No Problem”Chris Brown featuring Gucci Mane and Usher, “Party”DJ Khaled featuringBeyoncé and Jay Z, “Shining”Migos featuring Lil Uzi Vert, “Bad and Boujee”Rae Sremmurd featuring Gucci Mane, “Black Beatles”Beyoncé’s attendanceat the awards show seems unlikely, given her pregnancy was enough to prevent her for performing at Coachella this year back in April.The 2017 BET Awards will take place June 25 in Los Angeles.Related Links:Marni Senofonte: From Norma Kamali’s Assistant to Beyoncé’s Head StylistBeyoncé’s Longtime Stylist Ty Hunter Talks Her Pregnancy AnnouncementBeyoncé Wants $20M ‘Formation’ Copyright Suit NixedBeyoncé Reveals Her Second Pregnancy by Way of a Stylish Photo ShootYou're missing something!
Ezra Klein has a career trajectory that would have been impossible to imagine just two decades ago. The 33-year-old editor in chief of Vox, the flagship site of parent company Vox Media, got his start in journalism by blogging about politics as a college freshmen and became part of a coterie of generally liberal Internet pundits in Washington, D.C. In 2007, his blog moved to the American Prospect. Two years later, he was hired by The Washington Post, where he created and ran Wonkblog. While at the Post, he also wrote a weekly column for Bloomberg View and was a regular contributor on MSNBC. Now, as the editor in chief of Vox, Klein hosts two podcasts, writes for the site and manages its 85 editorial employees.WWD met with Klein at Vox Media’s freshly painted new digs in New York’s Financial District. For Klein, who is based in Washington, his brief trip to Manhattan was his first time in the new offices. He was dressed in a uniform standard for men in news media: a button-down shirt tucked into dark wash jeans, glasses with a square frame and a neatly trimmed beard. WWD: What was the idea for Vox when you started it in 2014?Ezra Klein: We started Vox with this idea that we could use modern publishing technologies and an emphasis on explanation and context to create a new kind of product. The sort of underlying idea was that one of the compromises we had to make as an industry with the technology of print paper was that we couldn’t tell people everything they needed to know to give people all of the context for all the news stories that were in the newspaper. You would have needed a truck to deliver a single issue. But digitally, you didn’t need that. So the idea was to figure out how could we attach context to the stories in ways that allowed people to come in midstream more effectively. WWD: What has changed since you started three years ago?E.K.: When we started, we thought we would do that through a product we called “card stacks,” which were these attachable collections of information you could expand and swipe through. They were very cool. But as the platform space fractured — card stacks couldn’t appear in a Facebook Instant article or on Apple News — one thing we found happening was that it wasn’t actually any one product, but an ethos that infused everything we do. WWD: Considering how diffuse news sources are now, is it a challenge starting and branding a new media property?E.K.: I have found, a little to my surprise, that when you get into these platforms where everything is faster and it’s more mixed up, people’s desire to know who is talking to them has become more significant. When I started this, I think a misconception I had was that people don’t care where they get their information from. But people care deeply. The audience that follows you on Facebook is a loyal audience. We have people who subscribe to us on Apple News and read us every day. They have alerts coming to their phones. I think more than a million people have signed up to let us be on their screens in that way. We have people who get a notification every time we publish a new YouTube video. They are new audiences and in some cases they are different. But they want information they can trust. WWD: Has Vox changed covering the Trump administration? And how did you deal with not having explained the election?E.K.: We were, like other people, surprised by Trump’s win. But in terms of how we reacted, we have put a lot of resources in trying to really be able to explain policy in the Trump era. One thing that I believe was a lesson from the campaign for the media industry is that we were so focused on what was unusual and aberrant about Trump that we missed a lot of what was normal and basic about him. People had so much more of a sense of his indiscretions and his tweets and Hillary Clinton’s, I think somewhat overblown but nevertheless, e-mail scandals. I don’t think we had a good sense of either candidate’s health care plan or tax plans. My background is as a policy reporter, and we are a place that takes policy very, very seriously. At the same time, we have moved into this period of very intense scandal and investigation, where the story is not just what Trump is doing or failing to do, but what is being uncovered about him and what he did behind closed doors. So we are reorienting ourselves to cover that better, and we will probably do some of that through hiring. We don’t know what will happen yet — I want to be very careful about saying that — but we are in what might prove to be a very precarious period, which we have not seen that many times in history. The news is challenging right now. One hard thing about it is that often things don’t lend themselves to good explanations or we don’t have enough information. So we are sometimes in pretty murky waters, as everyone is. But it’s an era where people’s anxiety about what’s going on and need to understand what’s happening around them has created a real demand for news coverage that’s dedicated to filling that need. Ezra Klein (center) and Sarah Kliff interview President Obama at a Town Hall hosted by Vox in 2016.Kainaz Amaria/Vox MediaWWD: How do you react to all the breaking news and the sped up news cycle?E.K.: That is the job. It’s always been the job. This is just more intense. You find out what the story is, you use the tools you have to get clear on it, you bring the knowledge that you’ve built up over the past however long. Part of the trick is just having people who know what they’re doing. In terms of the pace, yeah, it’s exhausting. I feel for all of us in the media, and in the White House and in the country. I mean, this is not a fun time. WWD: Do you think people have become more aware of the importance of journalism? E.K.: This is a very proud moment for journalism. I think The New York Times and The Washington Post are genuine champions in this moment. The role that they are playing in democracy is the role that you hear about journalism playing in civics classes. Other people are doing great work, but the Times and the Post have really been leaders. The public is watching, and they are hungry. They know something is wrong, there’s a lot of anxiety out there. There’s a real sense that the mission of journalism is very clear. WWD: What do you read? E.K.: I read Vox. I try to make my way through my InstaPaper and look at Nuzzle. I read the Post and the Times. I get things recommended to me on Twitter and over e-mail and in Slack. I try to read books in the morning. I really think it’s important right now to pull your head out of the news stream. One of the hardest things right now is keeping any sense of perspective. There’s never too little to read. WWD: So what books are you reading?E.K.: I’m spending a lot of time reading books about Watergate and other extreme periods in our history, because the dynamics are very different. I mean, I haven’t lived through this before. “Washington Journal” by Elizabeth Drew is great because it’s a contemporaneous diary of the Watergate period. She doesn’t tell you a clean story, she tells you what it was like to live through it. “Final Days” by [Bob] Woodward and [Carl]Bernstein is extremely good on the dynamics inside an embattled White House. I think the question of that book is how do you persuade yourself you are the hero of the story when you are the villain, or at least working for the villain. WWD: You started as a blogger and even though it wasn’t that long ago, a lot has changed. How would you start out now?E.K.: When I started blogging, I didn’t do it for a purpose. I did it because I was bored. I didn’t think it would amount to anything. I was a freshman in college. One thing I wonder is whether I would just be spending time on Twitter. I think Twitter incentivizes things that aren’t always great. Although f–k it, early blogging wasn’t always great either. WWD: What’s it like hosting a podcast?E.K.: The two podcasts I host remind me, in the best possible way, of my background, which is blogging. They are so much more personal and so much more unfiltered than the more polished, socially packaged work we do now. Which isn’t to say it’s better or worse. But when I’m writing for the site, I really don’t want to be wrong. I’m not going to try something on. But on a podcast, people can hear that you are just a human being speaking extemporaneously, so there is a little more awareness that you are trying on ideas and working through ideas. It’s something I used to like about blogging.WWD: Do you miss blogging?E.K.: I do. I write three or four pieces a week, I do two podcasts, I make some video. So I am out there. But what I miss is having the time to report what I used to. It’s not that I can’t find a couple hours to bang out a piece or a reaction to something or some thoughts. But I don’t always have the time I wish I had to understand something I don’t understand. So I’m trying to do a little bit less of the quick pieces and a little bit more of the “here’s how the Singaporean health care system works” kind of stuff, because to be good at my job, I have to keep learning. The thing that I fear the most is becoming one of those journalists who is still trying to apply the thinking of the decade in which they started three or four decades later. WWD: Was there a journalist who you wanted your career to look like when you were starting out?E.K.: The time in which I came up has had so much tumult and disruption, that it’s a little hard to look at someone and say I want my career to look like that. Because there is no “that” anymore. Read more:The Washington Post’s Marty Baron on the Importance of Investigative JournalismMedia People: Vox Media’s Jim BankoffMedia People: Dean Baquet, The New York TimesMedia People: Bloomberg Media’s Justin B. SmithYou're missing something!
“I think I’m probably a lot weirder on the inside than I’ve let out, so maybe this is the beginning of letting the freak flag fly.” Let it be known, Anne Hathaway is a freak. The Oscar winner was fielding questions from reporters on the red carpet at AMC Lincoln theater for the premiere of “Colossal” on Tuesday night. In the dark comedy, most easily summed up as “Godzilla”-meets-“Silver Linings Playbook,” Hathaway is an unemployed alcoholic living in Maine. She begins working at the local bar of a childhood friend and, soon after, discovers that her drunken antics have caused a monster to attack Seoul.“I’ve gotten a lot of questions from people being, like, ‘this is a departure for you,’ and I feel like it’s more of a coming-home,” Hathaway continued. “She’s like a lot of us, nobody has it together all the time,” she said, referring to her character in the film. “I liked that she was selfish and caring at the same time, self-absorbed but also totally accessible. She just really spoke to me; she felt like a version of me.”The Nacho Vigalondo-directed film left little room for on-set play, although costar Jason Sudeikis found some time to loosen up off-set.“For independent films, there’s not enough time to screw around; there’s not much money to spend,” he told reporters. “We went out a little bit. The World Series was going on at that time, and the Kansas City Royals won. I’m from Kansas City and I was cheering them on. That actually made for a good time.”Tim Blake Nelson, who has a supporting role in the film, walked the carpet with a guest: his youngest of three sons, Eli, who showed his age on his fingers. “I take anyone who will go with me,” Nelson said. @sheiscolossalA post shared by Anne Hathaway (@annehathaway) on Mar 28, 2017 at 4:51pm PDTYou're missing something!
“The two kids that are downstairs right now, I have no idea where we met them,” Kevin King explains from the light-filled dining room of his new restaurant, Esther &Carol, a few hours before its friends and family debut. He’s referencing the two young musicians currently tinkering with instruments set up in their coordinating downstairs lounge E&C Studios. “They’re straight from Berklee music school, so we let them rehearse for free,” he continues. “We want to build a community of people, build a space downstairs that is for everyone. From if Lenny Kravitz walks in and he wants to grab the Gibson guitar off the wall and play, great. But then when the 22-year-old kid down there now comes in and wants to rehearse, do it.”It’s not too unlikely a scenario — between King and E&C co-owner Cordell Lochin, the two have amassed an impressive contact list through their decade-plus years working in the downtown nightlife and restaurant scene. King spent 13 years working as maître d’ at Balthazarand, most recently, at The Standard Hotel’s Narcissa; Cordell was heavily involved with La Esquina and cabaret The Box during its buzzier years. “We want everything to slowly build — I believe in longevity of a place,” King adds. “We wanted to build a place where you don’t have to go anywhere else but here. Anything you would want from a night out, we have in one space.”The space is split between the full-service dining room, a fast-casual takeout window and downstairs lounge, which has a rock ‘n’ roll vibe and is equipped with a small stage of instruments and studio recording facilities. While they aren’t planning to advertise use of the studio located within their downstairs lounge E&C Studios, they’re open to opportunities that arise organically; they think of the space as a living room that guests can visit pre- and post-meal.Inside the dining room.Joshua Scott/WWDThe menu at Esther & Carol leans toward healthy options without being explicitly “healthy” fare. “Thinking about food culture, right now you see so many restaurants where they focus so much on health, but then at the end of the day what you really want to eat is that gluttonous comfort food. So we decided lets put something in the middle,” King says. “We’re not looking to scream to the world, ‘Hey, we’re farm to table, we’re organic.’” The fried chicken, for example, is fried in expeller pressed sunflower oil; fried artichokes pepper a Caesar salad in place of croutons.Caesar salad with crispy artichokes.Joshua Scott/WWDThe dining room is situated on a sunny corner of Bowery and Broome, which the floor-to-ceiling windows take advantage of. The room was designed by their friend Antonio Tadrissi of Prototype Design Lab in Toronto and is reflective of the turn of the century, which Lochin references as “an important time for our nation to define to the rest of the world American culture.” The room features design elements reflective of both the Art Deco era and Industrial Revolution, with a curved wooden sculptural bar splitting the room. Lithography metal prints of important personalities from the early 1900s. “It’s also around the time when a lot of these dishes were invented and popularized. We wanted to rethink those dishes from that time period an modernize them,” Lochin continues. “It’s all a modern take on what originally made America great.”Their official opening date of May 14 — Mother’s Day — is particularly fitting: The restaurant is named for their mothers.“We were actually sitting in [Lochin’s] apartment one day just throwing names back and forth, and this epiphany came, like, ‘Let’s call it Esther &Carol.’ We just decided to name it after our moms,” King says. “Two strong women bringing up two guys in New York.”Esther & Carol 341 Broome Street New York, NYMore Feast for the Eye Coverage From WWD.com:Du’s Donuts Opens in the William Vale HotelBevy Opens in Park Hyatt HotelMario Batali Reinvents Manzo at EatalyChefs Club Counter Opens in SoHoSouthern Diner 33 Greenwich Opens With Fashion Blogger FlairClover Grocery Opens From Café Clover’s Kyle Hotchkiss CaronYou're missing something!
“The Late Late Show” host James Corden had more outfit changes than normal on Thursday’s “Carpool Karaoke” segment. Harry Styles — who is in promotion mode, having dropped his solo debut album last week — capped off his weeklong residency on the late night talk show by hopping in the front seat and belting out his latest tunes next to Corden as the pair drives around.“Can we talk about fashion for a moment? You’ve started to make some quite bold choices in your life,” says Corden, likely referring to Styles’ recent outing wearing heeled loafers and a red-and-white tartan suit by Vivienne Westwood. For the start of the “Carpool Karaoke” segment, Styles opted for a comparatively tame flowered short-sleeved button-up shirt.“But here’s the thing, it’s quite annoying because you can pull it off,” Corden continues of his copilot’s look. “If I was wearing that shirt, I’d just look like I was on my way to a barbecue, you know what I mean? I don’t know if I could wear that.”“There’s only one way to find out,” Styles replies, before swapping the top for Corden’s blue polo. “I mean, I look like I should be at a Miami Vice convention,” Corden remarks of his new look. The pair continue to swap three more shirt styles — an argyle sweater, tight gold lamé T-shirtand, finally, a black mesh tank top with leather vest.Earlier this week, it was revealed that Corden will host the Grammy Awards ceremony in 2018, when the show returns to New York for the first time since 2003. Corden hosted the Grammys for the first time in February, but has plenty of awards show experience — he hosted the Tony Awards in 2016 at New York’s Beacon Theatre and has served as emcee of the Brit Awards several times in past years.Who knows? Maybe the former One Direction band member will get an opportunity to carpool with Corden to next year’s Grammys, set to take place at Madison Square Garden.More from WWD.com:Keri Russell Loves Shopping Online While Lying in BedEmma Roberts on Leaving ‘Scream Queens’ Look Behind and Being a BookwormFreida Pinto, Juno Temple AttendDior Cruise Welcome Dinner in L.A.Beyoncé Leads BET Awards NominationsLeToya Luckett on Moving Past Destiny’s Child and Playing Dionne WarwickYou're missing something!
A few hours before the Hell’s Kitchen location of The Meatball Shop and its accompanying bar Sidepiece opened their doors to the public in Manhattan, co-owner Daniel Holzman was eager to show off the artistic touches of the new space.He pointed out a neon sign hanging in the hallway connecting the two establishments, which lights up to depict a pig being turned into meatballs. (It’s cuter and less morbid than it sounds.) He also stopped to discuss the elaborate dollhouse diorama inserted in the wall of the hallway, positioned several feet below eye level. Some guests may miss it as they walk by — which would be a shame, since it’s a rewarding detail for anyone who peeks inside.“I got really excited about dioramas,” said Holzman, stooped and peering into its many rooms, decked with furniture and various animal figurines. “[The artist] is just so great, and just took it to the next level — there’s all kinds of weird stuff. There’s an octopus in a spaceship serving meatballs,” he continued, gesturing to a whimsical scene in the miniature attic.An elaborate diorama is installed in the wall connecting Sidepiece and The Meatball Shop.Lexie Moreland/WWDLocated on 9th Avenue, the seventh location of The Meatball Shop takes an airier, lighter approach than some of the more cavernous spaces. After a burst of rapid expansion, Holzman’s team took a step back to reflect on what they’d built. “We took a couple of years off and decided that we really needed to regroup and concentrate on making sure that we were happy with the teams, and not moving too quickly and losing sight of what our goals were,” Holzman explained from Sidepiece. “People get burnt out when you open restaurant after restaurant.”The Meatball Shop sits on a corner of the south-facing avenue, a dream location for a restaurateur. “I’m always looking for real estate everywhere I go,” he said. “It’s the funniest feeling, you walk into a space and you immediately know. You find a place that would work and you walk in and are like, ‘This feels like a meatball shop.’”The team approached their new location with the mentality of if starting from scratch; what would a meatball shop look like? “The idea was let’s just throw away our inhibitions and really try and reinvent the whole thing,” Holzman said.“What would we do if we could start from scratch, knowing what we know?” Reevaluation of the menu led to them removing less popular items, but aesthetics and menu changes aside, the vibe of the establishment restaurants is still intact. “I feel very strongly that what makes a meatball shop feel like a meatball shop are the people, the culture of the place, the food and the fun that we have,” he added.With the new location and Sidepiece, they’re hoping to appeal to the wide demographic of the neighborhood, which isn’t a stretch given the versatility of other locations. “We’ve had 80-year-old birthday parties, 5-year-old birthday parties, and hipsters who are still drunk from the night before, and everything in between at our restaurants, always,” Holzman said. “I’m hoping that we have all of the people that make this neighborhood really exciting and vibrant.”At Sidepiece, the menu features bar food through the filter of the meatball — meatball nachos, meatball sloppy joe sliders, meatball fondue for two. As Holzman showed off the menus, he pointed out the illustrated meatball characters decorating the white space. “This little meatball character is terribly cute. We call him ‘Z.’ And it secretly is inspired by me,” he said, popping over to the bar’s door to pose with one arm akimbo to mimic the drawing.It’s been seven years since the original Meatball Shop location opened on Stanton Street onthe Lower East Side. In that time, what’s the foremost lesson that Holzman has learned?“Meatballs are a pain in the ass to roll.”The bar at Sidepiece, with art by Holtzman’s mother.Lexie Moreland/WWDThe Meatball Shop798 9th Avenue, New York, NY, 10019(212) 230-5860www.themeatballshop.comYou're missing something!
Charlotte Jansen believes in the power of the front-facing camera. “It really allows you to control the picture more if you’re dealing with the self or the body,” she says over the phone from London. The editor at large of contemporary art and culture publication Elephant Magazine has compiled a photo and essay book with the work of selected female photographers, titled “Girl on Girl: Art and Photography in the Age of the Female Gaze,” out now. WWD spoke with Jansen about photography in the age of Trump politics and the pornographic roots of her book’s title. WWD: Why make this book?Charlotte Jansen: Well, I’m an art journalist, so I look at a lot of art and I am particularly interested in photography — and of course in women. Obviously there’s been a lot of attention in the last few years on this group of young photographers who have come up through the Internet. In the book I’ve got some of those artists like Mayan Toledano and Petra Collins and Monika Mogi and Maya Fuhr, and I think I was interested in their practice, but also, like, the wider effect of that and also how we’re treating those kind of images. Often when we read about those artists I think it’s quite simplistic how it’s contextualized, so I wanted to get a bit deeper into the practices of those artists and also to explore how they compare with other photographers, and how they’re being influenced through the good and the bad in the media.Isabelle Wenzel, Field Studies 1, 2014Laurence King PublishingWWD: Is their popularity through the Internet sort of a theme for the book?C.J.: No, not all — [but] that’s definitely represented in the book. There are a lot of artists who people will recognize from the Internet, because a lot of these images have really been prevalent. But I definitely wanted to look at artists that don’t even have an Instagram or social media. If you come across their work in a gallery, because we’re so used to seeing photographs on the Internet by certain female photographers, does that then affect how we interpret and understand work by other artists, for better or worse?WWD: What was your criteria?C.J.: My main criteria was that they would be working most prolifically in the last five years, and I kind of wanted to look at what correlates with the introduction of the front-facing camera onto iPhones, because that, for me, is quite an interesting moment in women’s photography and photographic practices that have evolved since then.WWD: What is it about the development of the front-facing camera that interests you?C.J.: Obviously, in tandem with that, you’ve got all of the platforms for sharing and publishing images which have also had a massive impact on the kinds of images that women are making, and the level of exposure they get. Until then, and still now, a lot of media and magazines are dominated by the male gaze. I’m not saying that it’s all men in charge necessarily, but that’s the kind of imagery that tends to be in the foreground. So now you’ve got publishing platforms that allow women to have just as wide exposure, but without having to wait to be published.At the same time, we talk a lot about how the camera is democratic and accessible for everyone, and the technology is, like, cheaper and more available now. Specifically for women I think that the front-facing camera really enables them to kind of have more control over the image. I think a lot of the women, they’re not all using that technology, but I think they [are] turning the camera on your inner world, and like photographing your world at home, or the world that you want to see — creating it or constructing it or staging it, rather than going out into the world and photographing “reality,” in quotation marks. That’s definitely something that I think is very clear in the book, that is very strong now. There are a lot of women doing that.WWD: What sort of conversation do you hope this book is going to start?C.J.: I don’t think that many people feel very content with that situation. I think in a very small way this book is trying to survey artists at their best — they’re able to visualize a better world, or at least an alternative world, or to imagine something else, something different. And I think we’ve never really had that image come from women before because our whole history and the whole way the world is constructed has been done by men and for men. I mean, women have not even been considered in most social-political systems for a hundred years. So we’re still finding our place. I think this [book], in a very small way, hopefully allows people to see beyond these labels of, like, “feminist art” and “femininity,” and just see the female gaze as something that’s not only for women or something that can only be understood by women. It’s just an alternative way of viewing, like an alternative way of seeing. And I personally think women are more able to imagine fluid and flexible social structures, and are able to connect more easily with other people and I think that comes through in a lot of their work.WWD: With regards to the title, obviously there’s the very literal meaning, but it also has sort of a provocation — was that the intention?C.J.: The title came really early on — it just seemed really obvious. Obviously, that comes from porn and considering the topic and theme of this book it seemed really right to sort of reclaim that. I think it’s a statement and it’s empowering, and it’s also, obviously, a bit tinged with humor, so hopefully that comes through. I mean, there havebeen some funny moments with it already — people just wondering how they’re going to Google it, or having to explain why not to Google that.Cover for “Girl on Girl: Art and Photography In The Age Of The Female Gaze”Laurence King PublishingYou're missing something!
NEW WAVER: Kris Van Assche is marking his 10-year anniversary at Dior Homme with an ad campaign that includes some of his favorite things — such as Eighties pop stars — yet also marks a departure from his signature stark and sober aesthetic.He tapped British photographer David Sims to shoot the advertising images, which feature Depeche Mode singer Dave Gahan and American actor Lucas Hedges, alongside models Dylan Roques and Christophe ‘t Kint.“Spanning generations and disciplines, they plot an evolution of style that subverts the classicism of Dior Homme today,” the brand said in a statement.In recent years the label’s campaigns have featured faces including Robert Pattinson, Boy George, A$AP Rocky and director Larry Clark, often shot in crisp black-and-white.Gahan and Hedges — the latter seen recently in the Oscar-nominated drama “Manchester by the Sea” — were photographed in color in a studio against criss-crossed tape bearing the slogan “Hardior,” mirroring the set of Van Assche’s fall runway show, which featured Depeche Mode on the soundtrack.Lucas Hedges (right) in the Dior Homme fall ads.David SimsThey are dressed in pinstriped and deconstructed tailoring, which contrasts with the clubbing-inspired outfits worn by the models in the opposing image. Against a backdrop of opulent drapes and classical furniture, Sims pictures them in items including a fur bomber jacket and intarsia knitwear emblazoned with slogans like “They should just let us rave.”The campaign is set to break in the July-August issue of L’Uomo Vogue today. A video titled #intothenight, directed by Sims, will be released on dior.com this week.More news on Dior Homme:Robert Pattinson Smolders in Night-Themed Dior Homme CampaignDior Homme Taps Boy George for New Ad CampaignA$AP Rocky, Larry Clark Pose for Dior HommeYou're missing something!