Inside the soaring main gallery space of Dustin Yellin’s creative utopia Pioneer Works is Bosco Sodi’s otherworldly exhibition titled The Last Day. Created with Sodi’s signature mix of pigments and organic materials are his monumental alien landscapes, the largest of which is a site-specific 57 foot long polyptych. Conceptualized around the idea of impermanence, that all conditioned existence is in a constant state of flux the works embody this doctrine as if the deep rhythmic ridges are cracking before you. The installation is transportive and all enveloping, urging me to bring out my own alien by way of this Tod’s classic futurist ensemble. A pairing by two masters of materials, Tod’s of course is leather in the form of this laser cut metallic skirt and buttery powder blue blouse, a study of compliments and contrasts with the matte against the iridescent against the moon. Finished with this brilliant mesh headpiece sculpture by Cosma de Marinas, adding another layer of texture to elevate my extraterrestrial.

Tod’s leather blouse, Tod’s metallic leather skirt, Gianvito Rossi heels

Pioneer Works, Bosco Sodi, The Last Day

Hair & headpiece by Cosma de Marinas, Makeup by Phoebe Goulding, Photographs by Tylor Hou

Smoky Silhouettes


Ghostly and alluring is Claudio Parmiggiani’s show at Bortolami Gallery. At the core of the exhibition is his series Delocazione. These works depict the impression of what is left when the physicality of something is taken away. An idea that nothing is truly solid it is just what one makes of it, a memory, a fragment of what once was immortalized here in Parmiggiani’s smoke and soot paintings. The process itself reveals the subtle torment of these works, the installation is built then set on fire with a combustion of tires, when the objects are taken away, the negative outlines in soot are what remains. I love the subject matter as well, a library full of books, one of the most solid and eternal objects I myself could identify with, then the most light and fleeting, a school of butterflies. I decide to capture the eerie in between with this billowy Ellery dress, punctuated with the pierce of some cat eyes. It is only once a year that one can truly let their freak flag fly, here amongst good company.

Ellery bell sleeve dress, Alexander Wang sandals

Bortolami Gallery, Claudio Parmiggiani

Hair by Cosma de Marinas, Makeup by Samantha Dametta, Photographs by Tylor Hou

Hypnotic Layers

pari-dust-hypnotic layers

A favorite of mine in the Op art scene, Philippe Decrauzat’s pour tout diviser. at Elizabeth Dee Gallery represents an optical journey through space and perception. Rooted in the traditions of Op art and Minimalism established in the 1960s and ‘70s, Decrauzat is a true master of Moiré. Moiré is the effect of a combination of two systems, combining two graphic layers that vibrate optically. In this installation Decrauzat mimics the architecture of the façade by creating seven new gallery walls in which for his works spanning the complete width of its corresponding architectural intervention, to hang. Emanating my own hypnotic pull is a magic dress of cascading ruffles from Marc Jacobs. The swirling layers of organza in the realm of Decrauzat’s magenta and cyan paintings is all too mind-bendingly real.

Marc Jacobs organza gown, Marc Jacobs wool-blend leggings, Tibi alpaca/wool mules

Elizabeth Dee Gallery, Philippe Decrauzat, pour tout diviser.

Photographs by Tylor Hou

Expressive Vision

pari-dust-wesselmann expressive vision

Tom Wesselmann’s career was one of exploration and vision. He sought to give form to his own personal discoveries of what was beautiful and exciting to him. Here we focus on an overarching theme in his work, the celebration of female allure. Amongst Wesselmann’s striking large scale shaped canvases and freestanding paintings, I introduce another compositional layer through the provocative shades from the Nars Audacious Lipstick Collection. To me these works convey Wesselmann’s genius of composition and distinct ability to reinvigorate intimate objects through their portrayal at a grandiose scale. Representing the evolution of his work following his Great American Nude Series and collages incorporating advertising ephemera in the 1960s for which he became known as one of the founders of the American Pop Art Movement, Wesselmann’s work supersedes the term “Pop Art.” Truly unlike anything I’ve ever seen or experienced before is Wesselmann’s, Bedroom Painting #32, shown above. Continuing to explore the ideas and media that fascinated him in the sixties, the seventies marked his creation of these large multi-paneled works. Consisting of five freestanding canvases, the paintings move into sculptural space spurring a new level of interaction and contemplation with such elements that could be found on your nightstand, a striped vase and picture frame containing the artist himself. A rare beautiful moment allowed me to step into the composition as if in a surrealist dream, like a fallen petal in my red velvet Rosie Assoulin dress and dramatic Nars lipstick in Vivien. Once again conveying Wesselmann’s ability to represent a still life composition with a twist of abstraction is Black Bra and Green Shoes, playing on the intimacy of these two objects intertwined, I chose a 3.1 Philip Lim slip dress and a sweep of Nars lipstick in Julie. The experience I had here in the presence of the great artist’s work was a gift that relayed the importance of process and growth, one that caused me to reevaluate the conceptual underpinnings and evolution of my own work. This push I think can be seen directly in the realization of these portraits, where a new subtle emphasis is placed on elements of my own form, here a visually expressive attention to lip color through the super saturated rich matte shades of the Nars Audacious Lipstick Collection. I have to express my deep thanks to The Wesselmann Family for allowing me this transformative experience and to Greg Allen-Muller for providing deeper insight and in turn reinvigorating my own work. A must see retrospective of Wesselmann’s innovative body of work opens at the Cincinnati Art Museum on October 31st.

Above left: Tom Wesselmann, Bedroom Painting #32, 1976-78 x Nars Audacious Lipstick in Vivien, Rosie Assoulin dress

Above right: Tom Wesselmann, Black Bra and Green Shoes, 1981 x Nars Audacious Lipstick in Julie, 3.1 Philip Lim slip dress

Above center: Tom Wesselmann, Bedroom Painting #32, 1976-78 x Nars Audacious Lipstick in Vivien, Rosie Assoulin dress

Cincinnati Art Museum, Beyond Pop Art: A Tom Wesselmann Retrospective, October 31, 2014 — January 18, 2015

Hair by Cosma De Marinis, Makeup by Samantha Dametta, Photographs by Tylor Hou

All art is © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY

Masters of Form


One must look back to look forward. My experience at the Art Gallery of Ontario was the first of its kind. Although up into this point I’ve focused on the works of contemporary artists, here I collaborated with the Canadian luxury retailer Holt Renfrew to recontextualize the works of two great masters for AGO’s Michelangelo: Quest for Genius. As part of Holt Renfrew’s Italian Immersion celebration, Michelangelo’s intricate drawings and Rodin’s elegant sculpture were paired with the stunning Fall 2014 pieces of six great Italian designers. Playing on elements such as form, texture and scale, the graceful compositions that result reflect the essence of timeless design. An honor to be a part of this homage to Italian art and fashion, the rest of the fairy tale story unfolds here on Holts Muse.

Above left: Michelangelo, Man with Crested Helmet, c.1504 x Valentino dress

Above right: Auguste Rodin, Adam, c.1881 x Dolce & Gabbana dress

Lower right: Michelangelo, Studies for the Head of Leda, c.1630 x Michelangelo, Studies for the Staircase of the Library of San Lorenzo, Column Base and Figures, c.1525 x Stella Jean shirt & skirt

Lower left: Auguste Rodin, Eve, c.1883 x Fendi jacket, pant & shoes

AGO, Michelangelo: Quest for Genius, October 18, 2014 — January 11, 2015

Hair & Makeup by Simone Otis, Photographs by Chris Nicholls

Master of Composition & Color: Tom Wesselmann

pari-dust-master of composition and color tom wesselmann

An experience that left quite an impression on me, I had the privilege of spending time in the studio of great American artist Tom Wesselmann. The excitement I felt from seeing his works pulsating with color and almost exploding off the wall was paralleled by the desire to create a portrait series that would convey the constant reinvention and experimentation that was characteristic of the artist himself. In his work Wesselmann sought to make figurative art as thrilling as abstract art. As seen here in his Sunset Nude with Palm Trees, radiating lush exoticism, enveloped in tropical vegetation and lit by a sanguine sunset. In honor of his explorations in elemental beauty and the 20 year anniversary of Nars, a line that captures the same modern classic aesthetic, I created a series of vibrant pairings each with a different shade from the Nars Audacious Lipstick Collection. My own explorations in the relationship between beauty and art begin here, in the studio of Tom Wesselmann, with luscious layers of visual intensity created through the provocative shades of Nars.

Above center: Tom Wesselmann, Seascape #10, 1966 x Nars Audacious Lipstick in Lana, Givenchy dress

Lower right: Tom Wesselmann, Sunset Nude with Palm Trees, 2003 x Nars Audacious Lipstick in Janet, Cushnie et Ochs teal dress

Lower left: Tom Wesselmann, Dinner at the Museum of Modern Art, 2000 x Nars Audacious Lipstick in Liv, Cushnie et Ochs dress

Cincinnati Art Museum, Beyond Pop Art: A Tom Wesselmann Retrospective, October 31, 2014 — January 18, 2015

Makeup by Julio Sandino, Photographs by Tylor Hou

All art is © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY

Shifting Perspectives

pari-dust-shifting perspectives

The horizon line has always done something for me, in perspective drawings, in nature, and here at Jack Shainman’s The School. My mind always seems to frame objects or people in the context of their surroundings, be it a built or natural environment. Here at Shainman’s group show, Mise en Scène I am constantly brought back to the beautiful tension between the raw and pristine. The works, the space, allude to the obsessive creative process, constant reinterpretation, reappropriation, with hopes for a fresh arrival. Moving across the wall with promise is Yoan Capote’s epic seascape ‘painted’ with fishhooks and nails, while downstairs El Anatsui’s aluminum and copper wire piece drapes in one monumental poetic gesture. Entranced by the tactility and movement of the work swirling around me, I paired this textural wool flared Bouchra Jarrar pant with a faded yellow and heather grey striped sweater from Gap. My story concluded with a simple classic elevated by a forward dramatic shape. While I am fully seduced and transported by Jack Shainman’s space in Kinderhook, at the last moment Enrique Martinez Celaya’s painting of two figures on a dock against the sea is a much-needed reminder of where I stand.

Gap striped crew neck sweater, Bouchra Jarrar flared wool pant, Delpozo sandals

Jack Shainman Gallery: The School, Mise En Scène

Photographs by Tylor Hou

Schoolgirl Classic

pari-dust-school girl classic

Rarely does a building strike me as this. Jack Shainman Gallery: The School, is quite possibly perfect as far as my architectural ideals. A small journey outside Manhattan in Kinderhook, NY lies this beautiful gem, home of the former Martin van Buren School. Renovated by the Spanish architect Antonio Jimenez Torrecillas, the design is a genius incorporation of the school’s original Palladian bones, pared down to what I would call a machine for viewing art. Compressed space leads into the grandeur of the former gymnasium, classrooms are transformed into intimate gallery spaces. In keeping with the concept of an indigenous architecture is Shainman’s current group show, Mise En Scène, with such masters of reappropriating material as El Anatsui, Kay Hasan, and Tallur L.N. Works that nod to the past while looking forward, hence my modern schoolgirl ensemble. A look focused on simple classical lines and prints, composed of this primary red Gap mock turtleneck and Harvey Faircloth tartan skirt. Unable to cover all subjects in one go, more school in session after the break.

Gap mock turtleneck sweater, Harvey Faircloth tartan tulip skirt, Maison Martin Margiela leather wedge sandals

Jack Shainman Gallery: The School, Mise En Scène

Photographs by Tylor Hou

Modern Baroque Details

pari-dust-modern baroque details

Details are everything as evident in the magic of Jacob Hashimoto’s multi-colored collaged kite elements and the exquisite moments such as the concrete tiled beading seen in the Chanel Fall 2014 Couture Collection. Channeling the vibrance that is derived from beautiful juxtapositions I carry this through every detail. Here I document the complete look journey, through makeup, hair, and nails. I fell for the delicate heavy metal makeup look that Andrew Sotomayor for Chanel Beauty gave me, a modified version from the Fall 2014 Haute Couture runway. Staying Chanel through and through, manicurist Gina Viviano recreated Jacob’s mosaic patterned kites on my nails using Chanel’s Frenzy nail color as a base and then layered on the graphic shapes with Eastern Light and Orage. Lastly, my beloved friend and hair stylist, Cosma De Marinis drew inspiration from the giant floating cubes in the installation and built a geometric sculpture on top of my head by way of a tea box. Full detail disclosure of all things beauty below.

Andrew Sotomayor (Chanel Beauty): I adapted this look from the makeup for the Fall 2014 Haute Couture show and tweaked it to suit Pari. To get the look yourself, follow my tips below.

Since the look involves a very shimmery lid, I chose to start with the eye makeup first. First, I applied the silvery-white Illusion D’Ombre in Fantasme across just the mobile part of the lid using Large Shadow Brush #25. I added some into the inner corners as well using the Large Tapered Blending Brush #19. To help the cream shadow stay put, I pressed the lightest and the medium shades from Quadra Eyeshadow palette 93 Smoky Eyes, right on top. Using a patting motion helps to press on layers of shadow and increase the shine.

To get the winged cat eye effect, I used the La Ligne De Chanel Noir Lame cake eyeliner, three different ways. First, I wet the Precision Liner brush #13, picked up some liner, and swept it across her lashes. I used Contour Shadow Brush #14 to smudge the liner into the roots of her lashes. Then I used the liner again and a “press-and-drag” motion to create the wing, starting from the outer corner of the eye and pulling towards the center. Finally to create that deep dark line on the inner water line, I applied liner through the entire lower line on both eyes. I had Pari “squish” her eyes shut nice and tight to transfer liner to the top eye, then repeated the action once more. It stayed through the entire shoot without touching up, and it’s still the easiest product to remove at the end of the day.

I took the darker shade of Ombres Constraste Duo in Taupe Delicat through the brows using Angled Brow Brush #12, then made the brow crisper by sweeping the lighter shade across the brow bone using Concealer Brush #10.

To make Pari’s lashes look even fuller I used my favorite Chanel mascara, Inimitable in Black. I applied one coat, curled, and then applied a second coat. The trick is to press the narrow half of the brush right into the roots of the lashes. When you pull it away, it appears that you’ve applied eyeliner right between the roots of your lashes. I haven’t found another mascara that can do this.

To perfect the skin, I misted her lightly with Hydra Beauty Essence Mist and a pea sized amount of Hydra Beauty Gel Creme. Then, to give the skin brightness, and help the foundation apply more easily, I applied a Hydra Beauty Gel Creme all over using Foundation Brush #6. I wanted to just add some warmth, and a bit more polish without excessive coverage, so I used the same brush to apply Perfection Lumiere Velvet #40 Beige all over. To ensure that the makeup was perfectly blended, I went over it again with a clean Blending Foundation Brush #7. Not only does it make sure that the product disappears into the skin, it also gives it more of a glow. It’s the same effect as polishing a jewel.

Even the best of us needs a little concealer and I find that most of the time, one shade truly isn’t enough to look like you’re perfectly rested. To appear perfect Photoshopped even in real life try this! Apply Lift Lumiere in Apricot just to the inner corners to color correct any grey areas, then sketch Eclat Lumiere in 10 Beige Tendre under the entire eye and swept out across the cheekbones. Magic.

With a strong eye look like this, I like the face to be neutral, so I swept the Soleil Tan De Chanel Bronzing Makeup Base under the cheekbones for just a little warmth and a sculpted effect. I enhanced her cheekbones further using Les Beiges #50 for subtle contour. It was rainy outside that day, and I wanted to make sure her skin glowed without being too dewy, so I chose to highlight her cheekbones using Illusion D’Ombre in Emerveille using Blending Foundation Brush #7. It looks like dewy skin, but this technique ensures you shine only where you want to.

I love a nude lip, when it has just enough color to define your pout, and just enough pink to still look healthy. In this case, I applied Rouge Coco in Beige Felin, topped with Rouge Allure Extrait de Gloss in Insouciance for fullness with a creamy shine.

Cosma De Marinis: To create Pari’s sculptural updo I began by drying her hair upside down. I started to give the hair some texture and brushed it into a high ponytail. I then put a cardboard tea box on top of her head, the two opposite sides of the box were cut out so I was to able to secure it firmly to the top of the head with bobby pins. Then I sectioned a thin veil of hair from the ponytail, sprayed it with Elnett Satin Extra Strong Hairspray and began creating the shape around the box continuing to section and wrap the hair until it was covered completely. I used the flat iron to smooth the hair and define the edges. Lastly, I used Kiehl’s Crème with Silk Groom for added luster and smooth texture.

Chanel Fall 2014 Couture

Mary Boone Gallery, Jacob Hashimoto, Skyfarm Fortress

Hair by Cosma De Marinis, Makeup by Andrew Sotomayor for Chanel Beauty, Nails by Gina Viviano for Chanel Beauty, Photographs by Tylor Hou

Couture in the Sky

pari-dust-couture in the sky

In my perfect world all collisions of art and fashion would come together as this. Here at Mary Boone Gallery, I found that glimmering pairing, one which holds a sense of possibility and pushes all things surrounding it towards inventiveness. At the heart of Jacob Hashimoto and Karl Lagerfeld’s creations is an evidence of the hand marked by an obsessive attention to detail delivered with flawless execution. That to me is perfection, modern and whimsical yet calculated so once put forth in its surroundings it can be set free. My heart can’t help but smile, at Karl Lagerfeld’s description of his Chanel Fall 2014 Couture Collection, “the whole thing is actually a journey from Corbusier to Versailles…” a magical one at that, where here we have his ruby red sculpted gown, laser cut and embellished with plastic rosettes. In a moment that is decidedly fresh, the molded dress is set free with a chic flat finished with ankle ribbons. Allowing me to glide amongst the landscape of floating cubes that is Jacob’s Skyfarm Fortress. Brutalist and light, architectural and wild, the juxtapositions that spur intrigue are represented on high. Explorations in the union of art and couture continue in my interview with the artist with more details into my bird like inspired look to come.

Chanel Fall 2014 Couture gown & sandals

Mary Boone Gallery, Jacob Hashimoto, Skyfarm Fortress

Hair by Cosma De Marinis, Makeup by Andrew Sotomayor for Chanel Beauty, Photographs by Tylor Hou