Hello Starworks readers. Today I write my final post for the Starworks blog. It’s been 4 years since we proudly launched this blog for all our Luxury brands, magazine clients, and overall friends in the industry. The years 2006 to 2010 have been a whirlwind of activity in the field of New Media, Advertising, Publishing, and Film — all topics you’ll hear me writing about on future endeavors at Sugar Barons, “All Things Digital, Film, Arts & Culture”.

As you know, my mind thinks in terms of music, so this has been the tune I’ve been humming all day…a joyful favorite — “Adieu, Adieu, to you and you and you”…. For my last post, I thought I’d cull together some flashbacks working for Starworks. Here ya go….

My Top 5 Memories at Starworks

(Spinning Costello Tagliapietra Fashion Show)

5- All the cool Fashion Week gigs I DJ’ed for Starworks clients and beyond — La Perla, Costello Tagliapietra, and Sue Stemp… in addition to the other Fashion Week days and nights backstage snapping pics for our blog with the most talented Starworks PR girls.

Read Fashion Week DJ post
Read Fashion Week post 2
Read about Colette Party / Fashion Week

(Underwater Model for Mnemosyne)

4- Shooting underwater in a pool at night at a Hollywood movie lot (where The Abyss was filmed) in order to film Daphne Guinness’ art short for Mnemosyne. Our entire crew was is scuba gear pulling an all-nighter, including David Parker and Kai Regan.
See the Making Of Video Mnemosyne
Read Daphne Guinness Q&A
See Behind the Scenes at Mnemosyne

(Director Brody Baker at Sundance Film Festival)

3- All the Sundance movie trips with Greg Krelenstein and Marni Golden, where we deliriously (yet blissfully) screened up to 5 movies a day trekking in the snow. My favorite year was when we cast the experimental art shorts for the New York Times website (T Magazine) entitled Take, Utah directed by Brody Baker.
Read about Take, Utah, series

2- My voyage to Art Basel last year to shoot a series of videos for New York Times website with 6 artists. The memory includes Director Crystal Moselle, Photographer Dan Martensen, several Scarface quoting in Miami, and pulling all-nighters editing the video for 24 hour turnaround on the website. Ahhh, the deadlines for New Media. We love the pressure.
Read about Art Basel series

and the #1 memory working at Starworks is… (drumroll please)

1- Strolling into the Rockstar Games headquarters in New York with Karl Lagerfeld on one arm and Daphne Guinness on the other — to discuss getting Karl’s image and voice into Grand Theft Auto IV. It was a “home-run” meeting. Pretty classic.

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Meet Zoe, an actress catching my eye this year due to her furious need to create, act, produce, write, and foster real art every second of the day. You can feel her presence on screen the moment she arrives. She is also pleasantly comfortable in her own skin, exhibits a compelling emotional range, and a true smart-ass timing when it comes to comedic delivery. Her IMDB page houses a plump filmography of 30 film and TV shows that she’s appeared in to satiate her appetite while sharpening her acting chops. Although her name is still unassuming and under-the-radar, pay attention to her diversity in a slew of upcoming films where she shares screentime with Angelina Jolie (Salt), Ryan Gosling and Kirsten Dunst (All Good Things directed by Andrew Jarecki), and James Franco (In Praise of Shadows).

(Zoe Lister Jones)

My favorite films to experience however are the ones that are pure labors of love… the ones created by an actors’ personal fever, and usually personal circle of friends. On April 2nd, we will be seeing Zoe do her own thing in Breaking Upwards, a film she co-wrote with her boyfriend actor/director Daryl Wein, and friend Peter Duchan. Zoe also wrote alot of the songs in the film too.

The premise of the story is based on an emotionally connected couple who orchestrate a breakup, and all the peripheral scenarios that abound in this futile task of leaving a “soul-mate-ish” existence. The conversations are frank, humorous and resemble the kookiness of a modern Woody Allen relationship, deeply rooted in intellectualizing something as simple (and complicated) as love. I stopped to ask Zoe a few questions about her craft, her music, taking risks, and the little film that could.

(Zoe Lister Jones. Actress, Co-Writer, Co-Producer for Breaking Upwards)

Jauretsi: First off, thank you for making a great film on the trials and tribulations of breaking up with your best friend. The film seems so real at moments — sincere suffering, blunt sex moments, piercing jealousies, and sometimes downright funny awkward dialogue between lovers who are “over it”. How much of the film is culled from real life experiences? Were there any scenes that were directly plucked out of real life?

Zoe Lister: Thanks Jauretsi! Well, the film is loosely based on an open relationship that Daryl and I were in about two years into our now nearly 6 year long (holy ish!) relationship. We wrote it with a friend of ours named Peter Duchan so there’s quite a bit of his reality in there too. But you know the foundational aspects of the script, days on days off, polyamory, hyper communication, are all factual.

(Zoe Lister Jones with Daryl Wein, real life and onscreen boyfriend, and Director of Breaking Upwards)

J: You seem to be a true New Yorker with an intense knowledge in theater. Can you tell us a bit about your background, your childhood, and the influences that brought you where you are today as an actress?

I was raised in Brooklyn, my parents are both visual artists. Went to public school (except for 7th and 8th grade which at that time were a sort of educational void in the BK public school system). I was always interested in performing, and became part of an avant garde dance troupe when I was 12…sort of went that route for a while. And then in high school I slowly started inching my way into plays and realized how much I loved acting. But I was really apprehensive about committing to what I saw (and still in many ways do see) as a totally superficial profession. I got a scholarship to NYU Tisch and my mom said I’d be crazy to pass it up.

When I graduated from Tisch, I wrote a one woman show called Codependence is a Four Letter Word, in which I played 11 different characters coping with various forms of heartbreak. I raised 1,500 bucks and rented a theater at PS 122 in the East Village and put it up for 5 days. It got chosen as a New York Times Hot Pick and I landed an agent and manager from it. So early on in my professional life I began learning that there was big reward in making my own work.

In terms of theater, about a year later I was cast in the world premiere of a play called The Little Dog Laughed, which went on to Broadway and won a TONY for Best Actress for Julie White (who incidentally stars in Breaking Upwards!) She taught me a lot, and continues to, about acting. She’s a badass bitch and she slays every time and always slays on her own terms. My mom’s a huge influence too, not only because she’s smart and rad but because she’s always made video art that was fairly autobiographical and thought provoking. She was never afraid to take risks in her work, and really lay it all out there, which is a risk in itself.

(Zoe Lister Jones with Andrea Martin)

J: I noticed in the film Breaking Upwards, one of my favorite women of comedy appears, Andrea Martin of SCTV days. How did she get involved? Also, it seems some cameos were very familiar old-school respected thespians from New York acting circles. Can you enlighten us on any faces to expect in the film?

ZL: With Andrea Martin we just made a straight offer to her agent. Daryl and I were acting as casting directors in that respect, but our casting process was all direct offers, no auditions. Before I signed on to write, Daryl and our co-writer Peter wrote the role of Daryl’s Mom for Julie White (who’s probably most recognizable as Shia leBeouf’s zany Mom in Transformers and Transformers 2), who, as I mentioned, I had been on and off Broadway with in The Little Dog Laughed. She’s such an esteemed stage actor, so having her attached from the start really helped legitimize the project to the actors we didn’t know. I think for a film with such a miniscule budget, in other circumstances it would have been hard for agents to take our cold calls seriously. But we’re so proud of our cast, they’re the most amazing actors and criminally underused in Hollywood: Peter Friedman (Savages), Pablo Schreiber (The Wire), LaChanze (TONY winner, The Color Purple), Heather Burns (Bored to Death), Ebon Moss Bachrach (Damages), and Olivia Thirlby (Juno).

(Julie White)

(Peter Friedman)

J: It seems there’s some improvisation in the film? Is this a comfort zone to you, playing with raw spontaneity? Or are you glued to the letter of the script? What pulls out the best performance in you?

ZL: While there is definitely some improv in the film, it’s about 95 percent scripted. Julie White and Andrea Martin are such geniuses that once they start ad libbing it’s comedy gold. But we worked really intensely on the script, each character’s arc, strong dialogue, structure, etc. Because we were frustrated at the number of DIY films that were missing those elements. I do love improv and feel quite comfortable doing it, but only when there’s great material to riff off of.

(Ebon Moss-Bachrach)

J: I see you are responsible for creating some of the music in the film. On a whole separate note, what was the process for creating this body of work? Did you write these songs years ago, or was it created in sync with the development of the story?

ZL: The soundtrack for the film is all original (with the exception of one song by my friend Jack Lewis which is rad). I wrote the lyrics and my friend, the brilliant Kyle Forester, composed the music. He also composed the entire score. The songs were written specifically for the film, in part because I love making music, but also because we couldn’t afford to license any of the bands we love. It was a shit ton of work, but writing lyrics is so much fun for me, and so is producing songs, figuring out the vibe and tone of each… it’s the best. Kyle and I had collaborated on a covers album of piano ballad versions of pop and rap songs in 2004 called Skip the Kiss. So we have a great working relationship. We recorded them all in the basement of a house in Ditmas Park, Brooklyn with Gary Olson of The Ladybug Transistor. We all sing on it, (Daryl too!) as well as the lead singer of Guster, Ryan Miller, who’s a good friend.

J: What projects are coming up next for you? You seem like a self-starter and constantly surrounded by creative collective of multi-talented friends.

ZL: Yes! I’m lucky to have such a great community of creative friends! We couldn’t have made Breaking Upwards without them. In terms of what’s next, Daryl and I have 3 feature length screenplays we’re trying to get off the ground. We got signed with writing agents in LA so they’re circulating them, seeing what sticks. But we’re indie to the core, so anyone out there looking to invest, we’re ready to go.

In theaters April 2 in New York, and April 9 in Los Angeles. The film will expand to more cities thereafter. Also available via VOD, check your local listings.

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(Monique Lhuillier Fall 2010. Starworks Fashion Closet)

Every time I stroll downstairs in our showroom, I can’t help taking a deep sigh whenever I pass the Monique Lhuillier ballgowns. The quality, weight, and craftsmanship in each dress is something every woman lives to wear. Here’s a taste of elegance.

To view these dresses in action on the runway, go to Style.com / Fashion Week / Monique Lhuillier /Fall 2010 or visit Monique Lhuillier Official Site.

Contact Catherine Fieldcamp in LA (Catherine@starworksla.com) or Hally Toia in NY (hally@starworksny.com) to view the entire collection in person.

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(Dana Lee in her studio editing her Lookbook of Polaroids)

For the last few months, I have been bumping into this very striking woman in the elevator where the NY Starworks office is located in Soho. Her name is Dana Lee and she has been incubating a stunning menswear collection for that last 6 months. I’ve also discovered that her name has been uttered in several impressive circles as a Designer to watch this year.

(Zafiro, Dana’s trusty companion found in Costa Rica)

After a few coffee chats in the elevator, I was invited to enter her office to take a peek at the goods myself. Her office vibe is warm, austere, minimalist with antique wood pieces, industrial steel tables, and classic Parker Jotter ballpoint pens. Her Autumn / Winter 2010 collection is a body of work that includes cozy sweaters, strong pants, sturdy plaid shirts, and perfectly cut longjohns — basically, it’ll be the uniform for every hip man with taste that I know in New York right now.

(Sweater from Dana Lee’s AW 2010 collection)

I found myself being asked to be one of the subjects in Dana’s Lookbook. I didn’t object being photographed simply because I love men’s clothes, plus this is the type of collection I imagine girlfriends will snag from their honey’s closet. After visiting her studio, getting shot with an apple on my head, and meeting some creative New York individuals (see Lookbook below), I took a few minutes to ask Dana some questions about her line, her inspirations, and the idea behind producing in America.

(Photographer Jody Rogac shooting Lookbook)

Jauretsi: Congratulations on the latest collection of Dana Lee. Your first collection was a menswear line called A-Z that was picked up by Opening Ceremony and secured a Gen Art Fresh Face nomination in 2007. How do you feel your designing style has evolved over the years now that you have your eponymous label?

Dana Lee: My design style has definitely evolved thematically and quality-wise, partly because of gaining experience and understanding, and partly because of circumstances and resources. When first starting menswear, I was afraid to disclose my name and gender, choosing instead to build brand concepts, designing clothing to fit those brand parameters: A-Z Collection was my first commercial brand. It was based on the concept of celebrating everyday things (basic shapes, ubiquitous fabrics, and amusingly straight forward clothing) to contrast the dark gothic asymmetrical fashion that was becoming prevalent. I approached A-Z as a brand director, choosing styles and fabrics that supported the A-Z theme. It was a fun, timely idea, but after a 5 seasons I began to foresee more limitations than possibilities. At the same time, better fabric and production resources began to accumulate which presented wider aesthetic possibilities, and I also began to gain more confidence in the idea of using a personal name, personal style, and about being a women designing menswear.

Having a namesake label is different in that allows for change and evolution. I’m very excited about that expansiveness and long term potential. Also, working with a small design team (after 4 years of solo management) has evolved the collection in a broader, more stabilized and more saleable direction.

J: I hear you had a wonderful childhood raised on a mountainside. Tell me about how those memories inform your work, and why you chose menswear versus womenswear as a career?

DL: My father was an architect and planner and introduced his kids to the possibility of developing a style and manifesting ideas. We lived in a series of post & beam houses that he hand-built and designed — the first two constructed over a shady overgrown creek. My earliest memories are the sounds and smells of cedar planks being sanded and sawed. Growing up in North Vancouver also provided us forests, ski slopes, oceanfront, and some beautiful rivers and canyons- all within 10 minutes driving. The constant rain and outdoor activities (skiing, hiking, fishing) outfitted our lives and wardrobes with really practical clothing. I wore a lot of casual boyish clothes, and at the same time was very picky and experimental about how those boyish clothes looked. Later in adolescence, my preoccupation shifted more towards international fashion and culture, but as time goes by, I realize more and more how these early Canadian experiences have uniquely influenced my work and values and perhaps led to choosing menswear.

J: Can you share with us your wonderful decision on designing all the clothes in New York City, and producing it with authenticity in US and Canada?

DL: We are a small company and want to create reliable, attainable, yet special clothing. Local production is more expensive but offers easier management, face-to-face communication, quick turnaround, less importation challenges, and most importantly less inventory. In addition, I believe it is important to support local economies and small businesses whenever possible, which is also a pleasure. No doubt, high quality manufacturing can be found overseas, however our current collection range fits beautifully within the realms of classic North American production.

J: What was the inspiration for this particular line called “Favorite Things” and what can we expect as the overall vision of the brand?

DL: The AW10 collection can be traced back to a few single favorite items that permanently reside in our studio: a rare vintage tie made from rustic pheasant feathers, an old pair of Canadian Stanfield’s natural wool long johns, a set of colored enameled plates rescued from the recently-closed Syracuse China Factory, and some fresh rag cotton mittens. I wanted the collection to feel wholesome and eclectic. Forward yet unassuming.

The overall brand vision is to develop fashion and clothing that feels poignant for the moment, yet which can be endeared and worn for seasons to come.

J: Where can one purchase this collection?

DL: SS10 is available exclusively at Opening Ceremony locations. FW10 stock-lists will be confirmed shortly, but will include a wider distribution in USA, Canada, Europe and Japan.

Our current retail community includes Opening Ceremony (exclusive retailer of the SS10 collection), and coming up, some great stores in the US, Canada, Europe, and Japan for this new AW10 collection.

Mat Bushell (Painter and member of Yale Graduate Program)

And now for the Lookbook (just released). Styled by Cory Gromberg, Dana put together a cast of creatives including moi… a real bunch of people who will most likely live in this clothes for real.

Colin Tunstall (Art Director)

Jauretsi (Filmmaker)

(Jimy Seitang of the Psychic Ills)

James Wilson (creator of the blog SECRET FORTS)

One final thought. My favorite piece in the collection are the longjohns which I find super versatile — be it with cinched belt and heels, or the more casual look rocked with ballet flats or sneakers.

For sales or press questions, contact mail@danaleenewyork.com. To view Dana’s online journals or previous collections, go to DanaLeeNewYork.com

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Available now on the smartly curated Iconoclast website, 2 pieces from some of my favs — Geoff McFetridge and David Shrigley. Get them before someone else snatches them up.

David Shrigley
Don’t make wild promises which you can’t keep, 2004
Offset print on archival paper
22.8 x 15.7 inches
Edition of 100
Dated and signed by the artist
($150.00 USD)

Purchase David Shrigley piece

GEOFF MCFETRIDGE
Recent Work, 2009
Softcover color offset book
10 x 7.5 inches
First Edition
($14.00 USD)

Purchase Geoff McFetridge piece

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