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Call us now to subscribe: 786.515.1130 or fill out your info below to send you more info!

[accesskey] => [locked] => 0 [lft] => 7 [rgt] => 8 [parent_id] => 9 [scope] => 1 ) [changed:protected] => Array ( ) [has_one:protected] => Array ( ) [has_many:protected] => Array ( ) [belongs_to:protected] => Array ( ) [belongs_to_many:protected] => Array ( ) [has_and_belongs_to_many:protected] => Array ( ) ) [left_column:protected] => lft [right_column:protected] => rgt [parent_column:protected] => parent_id [scope_column:protected] => scope [_scope:protected] => 1 [table_prefix:protected] => nikki [validate:protected] => Array ( ) [auto_save:protected] => [class:protected] => node [table:protected] => nodes [select:protected] => [where:protected] => [object:protected] => stdClass Object ( [id] => 6 [mode] => article [title] => About Nikki Style [body] =>

Nikki Style is a bi-annual lifestyle publication produced by Nikki Beach Publishing, a dynamic Miami-based firm who seized the opportunity to publish a smart stylish magazine for their already captive audience, a unique group of tastemakers who patron the Nikki Beach locations. A launch pad for creative concepts, Nikki Style reflects the lifestyles, attitudes and images of the world’s urban communities from a contemporary perspective captured by both dynamic verbage and striking visuals. Nikki Style bridges the gap between fantasy and reality pairing cutting edge editorial on art, entertainment, design and technology with marquee coverage of fashion, beauty, and travel to readers who indulge in the latest products and destinations in which to live their lives.

Check out our latest issue!!

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Oh Boym!
By David Sokol

Constantin Boym and Laurene Leon Boym have a knack for keeping one step ahead of the rest of us. Before adaptive reuse seduced designers sensitive to overabundance, the Boyms had transformed thrift-shop tea cups and dishes into the beautifully mismatched towers of Salvation Ceramics for Moooi, and reconceived modest plumbing as vases for Benza. The sense of Americana that has yielded a preponderance of antlers in design is a spirit that first percolated through the Boyms’ blood, yielding projects like Upstate Plates and the “Searstyle Furniture” exhibition.

While such second looks at common elements of American life are still refreshing, the Boyms have since shifted their laser-beam focus onto new subjects. The Ultimate Art Furniture collection, in which paintings comprise furniture, quite literally deciphers the realignment of the design world with the art market. Another self-produced project, Souvenirs for the End of the Century, offers a truly modern contemplation on cognitive memory and the compulsion to collect. A more recent iteration of the souvenirs series is the, still-evolving, Buildings of Disaster collection that surged into the public consciousness after September 11, when the Boyms were inundated with requests for their bonded-nickel replicas of the Twin Towers, even by survivors of the World Trade Center disaster.

The way in which Buildings of Disaster transformed from ironic commentary to beloved memento approximates the Boyms’ own trajectory. “The margins have moved,” Constantin explains, “design has become a much more inclusive discipline and that now includes more extravagant pieces.” Laurene adds that consumers have widened their scope to embrace narrative-based and conceptual design, too. “Now you can do an object that doesn’t refer to design itself, but to a subject like death or souvenirs, and people understand these objects because they’re acclimated to society.” Although the Boyms continue to make provocative designs, the times are catching up to this power couple. Once considered left-of-center visionaries, they are now comfortably ensconced as deans of a new American design.

Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

Laurene Leon Boym: We’ve had enormous success doing independent projects before anybody [else] had that idea. It was new for designers to say, “I’m going to get out of the loop and produce my own thing.”

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

Constantin Boym: I don’t think it’s the only way, but it’s the way we chose for ourselves, and we are continuing to move even further in this direction. I think being your own client and promoter gives you more creative freedom and actually speeds up production. One of the most intoxicating aspects of the Art Furniture is the fact that three or four months after I conceived something, it was on the shop floor at Moss.

LLB: The thing is that designers have dropped the ball. The idea of the authority of the designer, from the days of Charles Eames or Paul Rand, doesn’t exist anymore, because designers are so not sure about their own opinions. I think it’s very important for designers to take the reigns and start making decisions for the public. Basically, designers should know what people want before they know they want it. That should be a designers’ role in society—not just a tool of capitalist culture.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

CB: You make things in this country not for cheaper or more convenient labor, but for the uniqueness of the skills that are available here. We saw this chair at the Cooper-Hewitt made from Texas longhorns, a piece from the 1920s; those masters are in El Paso, still probably making chairs like this. All it takes is research and effort and it’s possible to get these people to make new, avant-garde pieces.

LLB: This is the tip of the iceberg, too, and the beginning of a new era for design. We still use the usual channels in China, of course. We produced our Babel Blocks in China; I coordinated the whole production over the Internet.

NS: Designers have followed you into the production business, but they’ve also appropriated themes, such as material salvage and souvenirs, that ostensibly trace to you. Is that frustrating?

CB: When I did [the collection] Recycle in 1988, the statement was so unusual that older people were actually correcting me, saying the word “recycle” doesn't exist. But ideas are part of a culture, and I’m very open to other people taking them over.

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

CB: When something has been taken over and explored thoroughly by a new generation that gives us not just an opportunity, but a necessity to move forward. The Art Furniture was still about recycling, but of paintings that had been disposed to flea markets and yard sales, brought over and reconfigured in a different way. That was new. But maybe even that will be overtaken soon — that’s how the creative process works.

LLB: I think that’s how our work and agenda as designers is characterized—by this curious moving forward, this quest for the ultimate expression of what’s inside us and what’s there in society. We keep seeing things differently and framing things differently, and the fact that our design is not driven by a formal methodology gives us a lot of latitude.

NS: Speaking of Art Furniture, it is a cunning commentary on the art market’s embrace of contemporary products—at exactly the moment that Marc Newson breaks seven figures on the auction market. Since your work forecasts and responds to cultural phenomena, what occurrences do you foresee broaching in the near future?

CB: The convergence of art and design. It’s very much a new thing. It’s still emerging and I think this is what’s going to be around us for the next five years or so. What was exceptional, now, becomes the norm and even the stodgiest companies are producing limited editions. It’s interesting to see how objects and art come together.

Another area of interest is something we’ve been exploring for years, and that is the design object that’s not functional in the direct sense. You cannot hammer nails or brush teeth with the Buildings of Disaster series, yet people buy complete collections. Collecting as a function is little understood in the 20th century, but I think it’s going to be more important. People collect “stuff” and that’s reason enough to produce collectibles.

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: We are planning to open a gallery of design arts in New York, near the New Museum. The gallery would show our own work, but also that of like-minded designers. Boym Space is the tentative title. It’s a space in the physical sense but also the mental—it’s our point of view, our humor, our paradoxes, our investigations, which characterize our, and others’, work with curated stories and different events.

LLB: It’s a cultural destination.

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

LLB: Both of us have always done quite a bit of public service. I think it’s time to take that ability to connect with other like-minded designers and bring it into a different realm. Also, we have such a rich cultural history on the Bowery; we’re really interested in championing that legacy of cross-pollination with other cultural disciplines, through the channel of design.

Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

Lights, Camera and Non-stop Nikki Action
By Bela Heitz

The jet setting Nikki Beach brand made its return to the South of France, where its signature beach club concept took up residence on La Croisette to produce one of Cannes Film Festival’s most exciting event spaces. As glamour, sophistication and the international party scene came alive, capturing that exclusively chic ambience that attracts celebrities and global A-listers to Nikki Beach around the world, the Cannes installment of the famed venue presented ten days of the hottest movie premieres, concerts and fashion shows from May 14^th through May 25^th.

One glimpse at Nikki Beach Cannes, and the telltale crisp teepees, customized bamboo furniture and custom white linens assured attendees, guests and film industry elite that the week’s celebratory hotspot was sure to be in full effect this year. The new daytime venue, situated at the modern four-star hotel Le Grand Hotel Cannes, featured a stunning beach club that faced the sparkling blue waters of the Mediterranean, only steps away from the red carpet action of the official Festival center, while the late-night Club Nikki is the epicenter of Cannes entertainment, and was located across from Le Grand Hotel Cannes inside the Palais Stephanie.

The quintessential locale to see and be seen, Nikki Beach’s always exclusive repertoire of events included a daily lineup of private parties, press junkets, high-energy sets and touring events headlined by world renowned DJ’s, and celebrity appearances in addition to the daytime/nighttime around the clock celebrations that makes the beach club the ultimate entertainment destination. Kicking off the week was a performance by Macy Gray, where partner L’Oreal’s spokeswomen Eva Longoria and Eva Mendes were spotted amidst a crowd of chic attendees. F*** Me I’m Famous, DJ David Guetta’s legendary touring club party, made a stop off at Club Nikki, joined with live performance by Chris Willis. The internet’s famously private group “ASMALLWORLD” celebrated on Friday night with a private event, while Wyclef Jean turned up the heat with an incredible concert that rocked the Croisette. Saturday and Sunday featured ultra exclusive fetes for HBO, Petra Nemcova, Europa Corp with Luc Besson, the cast of Indiana Jones and a live set by Birdy Nam Nam. A private celebrity poker tournament, dinners and cocktail parties, where guests ranged from Roman Polanski and Sean Penn to Dennis Hopper, Benicio Del Toro, Bijoux Phillips and Abel Ferrara, were scheduled through the rest of the week, while late night parties included Soiree Censored by John and Michael Roger, Video Jockey Micha Klein, Defected in the House, Le Bisou Party, Dj Gregory and more.

Yet another element to the overall Nikki Beach Cannes experience was the gifting lounge, which has put Nikki Beach Cannes on the map as one of the most coveted Swag spots for film starlets and celebrities to get pampered for their parties and premieres. This year, the “Riviera Lounge Gift Room” was produced by The Escape Group, and was open daily from 11:00am-5:00pm to offer on location product, servicing styling, and gifts to A-listers, award nominees and presenters, top stylists and media. Positioned as “gifting with a purpose,” proceeds from the lounge were donated to amfAR—an organization founded in 1985 that is dedicated to ending the global AIDS epidemic through innovative research.

An incredible list of week-long participants, including Grey Goose Vodka, Piper Heidsieck Champagne, Cointreau, Remy Martin, Motley Bird energy drink and Zeelander Yachts rounded out a platform of posh sponsors whose involvement enhanced the Nikki Beach experience from cocktails to chic cruises along La Croisette. Each partner capitalized on the creative energy circulating in Cannes, uniquely expressing brand creativity through custom integration. Cointreau showcased their new "Cointreau Teese", a violet “flower cocktail” created by the liquor brand’s new spokesperson Dita Von Teese using Monin violet petals and the Cointreaupolitan, while Grey Goose erected a sleek, fully functional customized ultra lounge complete with chairs that glowed with the signature Grey Goose logo and mirrored cocktail tables, serving libations with Caviar and fresh mango. Remy Martin was highlighted as the official cognac of the Cannes Film Festival, while Piper Heidsieck Champagne, the official champagne of the Cannes Film Festival, released a new "vintage" bottle at Nikki Beach and served their famous “Piscine” champagne cocktail on the rocks. Event the festival’s A-list was treated to a preview of new Dutch luxury yacht company, Zeelander, who offered the ultimate boating experience of their mini-superyacht that represents speed, glamour and technical expertise that appealed to Cannes sophisticates. Throughout the Cannes Film Festival, three Zeelander Yachts served as relaxation points and luxury taxis that ferried VIP’s to their desired destination- from glamorous film premieres and screenings to A-list parties and events.

Over the past five years, Nikki Beach at the Cannes Film Festival has catered to an incredible clientele, including Woody Allen and Scarlett Johansson hosting the premier party for their movie "Match Point,", the "Trophee Chopard," hosted by Penelope Cruz and Sir Elton John (two years in a row), an Alicia Keys private concert, Sharon Stone hosting her press conference for "Basic Instinct II," Natalie Portman and George Lucas's press conference for the latest "Star Wars," The Valentino Cocktail party and many others. As the festival and festivities came to a close, it was a wrap for the sixth consecutive year of Nikki Beach Cannes, once again setting the bar high as the ultimate jet set party scene on the Croisette.

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Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

Lights, Camera and Non-stop Nikki Action
By Bela Heitz

Not Over Yet
By Drew Hinshaw

Let’s say that you’re a middle-aged trance DJ, a Brit. Back in your 20s, you went from spinning records on London’s West End to an A&R desk where you signed two rap duos that didn’t amount to a hill of beans. One was called something like Jazzy Jeff & The Fresh Prince, and the other was named maybe Oil and Vinegar or Salt’N’Pepa, or Garlic and Mashed Potatoes... something along those lines. Anyway, you went on to be a big remixer, producer, DJ, and label mogul—and you’re wondering what’s left?

So, you start exploring other outlets—scoring films and co-authoring biographies rich in wisdom for the aspiring DJ. Maybe you starred as a raging un-dead mutant in an English dystopian film, or even if you didn’t, your Wikipedia entry steadfastly claims you did. Whatever. You’re Paul Oakenfold and you’ve done a lot in your 44 years on earth.

Nikki Style: Are you scoring any films or games right now?

Paul Oakenfold: Yeah, I got a movie coming out that I scored called Noble Son. Then I go back to L.A. to work on a movie called Humboldt Park.

NS: So you’ve kept busy then.

PO: Yeah, I enjoy the movies.

NS: What made you get into scoring?

PO: I got a chance to score a movie called Swordfish, which was a John Travolta and Halle Berry movie. I really enjoyed the process, so I just continued to do it.

NS: Who were your big inspirations as you started getting into film scores?

PO: In terms of composers and conductors, I like Harry Gregson-Williams. I like John Williams’ work. I think Hans Zimmer is really good. They’re the kind of guys who I always look out for their scores. I think that John Powell does good work.

NS: You played a zombie in 28 Weeks Later, right?

PO: No, that’s not true.

NS: Damn. I saw that on Wikipedia.

PO: Yeah, I was given a chance to do it, but I turned it down.

NS: Why’d you turn it down?

PO: Well, it’s because I don’t want to be in front of the camera.

NS: What else are you currently working on besides film scores?

PO: That’s it really. I just got my greatest hits album. It’s just come out, it’s doing really well. I’m just supporting the album and the book.

NS: I meant to ask you about that. You’ve got this biography out.

PO: Yeah. It’s with Richard Norris.

NS: Did it take a long time to write?

PO: Years. Three years.

NS: Did you guys just meet up and talk about your life?

PO: Yeah, but it’s also to give younger DJs an idea how to achieve certain things because that is always the biggest question you get asked.

NS: So what’s your advice for younger DJs?

PO: Buy the book. (Laughs). Yeah. Buy the book.

NS: Which younger DJs do you see a lot of promise in?

PO: I like Kenneth Thomas from Detroit, Robert Vadney from Greece, Adam White from England, Liam Shachar from Israel. I see a lot of international DJs, but they’re just a bunch of my favorites.

NS: Do you consider your personal sound the product of a particular place such as England, New York, or Spain?

PO: No, not really. My sound is pretty much a melodic trance sound, and people around the world can relate to that sound because it brings good feelings out of them.

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Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

Lights, Camera and Non-stop Nikki Action
By Bela Heitz

Nikki Style: Are you scoring any films or games right now?

Paul Oakenfold: Yeah, I got a movie coming out that I scored called Noble Son. Then I go back to L.A. to work on a movie called Humboldt Park.

NS: So you’ve kept busy then.

PO: Yeah, I enjoy the movies.

NS: What made you get into scoring?

PO: I got a chance to score a movie called Swordfish, which was a John Travolta and Halle Berry movie. I really enjoyed the process, so I just continued to do it.

NS: Who were your big inspirations as you started getting into film scores?

NS: You played a zombie in 28 Weeks Later, right?

PO: No, that’s not true.

NS: Damn. I saw that on Wikipedia.

PO: Yeah, I was given a chance to do it, but I turned it down.

NS: Why’d you turn it down?

PO: Well, it’s because I don’t want to be in front of the camera.

NS: What else are you currently working on besides film scores?

PO: That’s it really. I just got my greatest hits album. It’s just come out, it’s doing really well. I’m just supporting the album and the book.

NS: I meant to ask you about that. You’ve got this biography out.

PO: Yeah. It’s with Richard Norris.

NS: Did it take a long time to write?

PO: Years. Three years.

NS: Did you guys just meet up and talk about your life?

PO: Yeah, but it’s also to give younger DJs an idea how to achieve certain things because that is always the biggest question you get asked.

NS: So what’s your advice for younger DJs?

PO: Buy the book. (Laughs). Yeah. Buy the book.

NS: Which younger DJs do you see a lot of promise in?

PO: I like Kenneth Thomas from Detroit, Robert Vadney from Greece, Adam White from England, Liam Shachar from Israel. I see a lot of international DJs, but they’re just a bunch of my favorites.

NS: Do you consider your personal sound the product of a particular place such as England, New York, or Spain?

PO: No, not really. My sound is pretty much a melodic trance sound, and people around the world can relate to that sound because it brings good feelings out of them.

"Q" For Quirky
By Kit Bowen

No one could ever accuse Zooey Deschanel of playing it straight. Playing it perfectly deadpan, perhaps, but never safe. The 28-year-old actress always adds her own certain eccentricities to everything she does, making her work onscreen endlessly fascinating to watch.

Take, for example, her breakout role as Anita Miller, the free-spirited older sister to 15-year-old aspiring rock journalist William Miller (played by Patrick Fugit) in Cameron Crowe’s semi-autobiographical Almost Famous. Deschanel infuses her character with just the right amount of rebellion and sweetness, so that when she looks her brother in the eye and tells him, “One day you’ll be cool. Look under your bed, it’ll set you free,” you’re completely sold.

Born into a showbiz family— dad Caleb Deschanel is an Oscar-winning cinematographer; mom is actress Mary Jo Deschanel; sister is actress Emily Deschanel of TV’s Bones— Deschanel is named after the main character in J.D. Salinger’s short story collection Franny and Zooey. That should tell you something right there.

From her first co-starring role in the cult indie film Mumford, to getting notice in Almost Famous, Deschanel has turned in equally idiosyncratic performances in films such as Elf (in which we also discover the actress can sing), The Hitchhiker’s Guide to the Galaxy and Failure to Launch, costarring with Sarah Jessica Parker and Matthew McConaughey. Deschanel also recently starred in the family drama Bridge to Terabithia and as “DG”, a re-imagined Dorothy, in the Sci-Fi Channel’s original mini-series Tin Man, a take-off on the The Wizard of Oz.

Heading To The Dark Side

Now, Deschanel is headed into decidedly dark territory in environmental thriller The Happening, the latest film from director M. Night Shyamalan, in theaters June 13. Although Shyamalan is notoriously tight-lipped about his plotlines, Nikki Style can reveal that Deschanel will play Alma Moore, a woman forced to go on the run with her estranged husband (played by Mark Walhberg), after a devastating global event threatens to destroy civilization as we know it. The cast also includes John Leguizamo, Spencer Breslin and Ashlyn Sanchez.

Apocalyptic event? We wouldn’t expect anything less from the eclectic direction of Shyamalan—and from Deschanel. Whatever the situation her character may find herself, you can be certain the actress will bring something unique to it.

“I don’t want to go to another rollercoaster ride of a movie. If I want that, I’ll go to Magic Mountain,” Deschanel once described as her reasons for doing movies off the beaten path. Adding, “I’m really interested in the young directors that are doing different things in cinema. I think the movies people will hold onto are the Rushmore (1998)s and the Being John Malkovich (1999)s. Those are the kind of films I want to do; that’s what I’m passionate about.”

A Fashion Designer’s Muse

And speaking of off the beaten track, Deschanel hasn’t just stopped with acting. She has also attached herself to up and coming designer Erin Fetherston, known for her loose-fitting, baby-doll styles, with a touch of a ‘60s flower child—a vintage look that suits Deschanel perfectly.

“I love old music, old movies, screwball comedies, vintage clothes and basically I’m an old-fashioned gal,” Deschanel once confessed.

Fetherston has enlisted Hollywood beauties Zooey Deschanel and Kirsten Dunst, a childhood friend, to star in her latest fashion film, which premiered at Los Angeles Fashion Week in March. According to Nylon, the movie, debuting exclusively at the West Hollywood hotspot Villa, showcases Fetherston’s latest Shakespearean-inspired collection, which the designer describes as: “Representations of Juliet throughout pop culture.”

But Deschanel’s artistic diversity doesn’t end there. The actress is also broadening her vocal talents as part of the cabaret act If All The Stars Were Pretty Babies with Samantha Shelton (sister of actress Marley Shelton), and teamed up with alternative rocker M. Ward under the moniker She & Him, for the release of her debut album, poignantly titled Volume One, earlier this year.

Though acting remains her first love; up next, she’ll star opposite Jim Carrey in the romantic comedy Yes Man, a story about a guy who challenges himself to say “yes” to everything for an entire year. Does that include saying “yes” to Deschanel? We have no qualms about that.

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Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

Lights, Camera and Non-stop Nikki Action
By Bela Heitz

Nikki Style: Are you scoring any films or games right now?

Paul Oakenfold: Yeah, I got a movie coming out that I scored called Noble Son. Then I go back to L.A. to work on a movie called Humboldt Park.

NS: So you’ve kept busy then.

PO: Yeah, I enjoy the movies.

NS: What made you get into scoring?

PO: I got a chance to score a movie called Swordfish, which was a John Travolta and Halle Berry movie. I really enjoyed the process, so I just continued to do it.

NS: Who were your big inspirations as you started getting into film scores?

NS: You played a zombie in 28 Weeks Later, right?

PO: No, that’s not true.

NS: Damn. I saw that on Wikipedia.

PO: Yeah, I was given a chance to do it, but I turned it down.

NS: Why’d you turn it down?

PO: Well, it’s because I don’t want to be in front of the camera.

NS: What else are you currently working on besides film scores?

PO: That’s it really. I just got my greatest hits album. It’s just come out, it’s doing really well. I’m just supporting the album and the book.

NS: I meant to ask you about that. You’ve got this biography out.

PO: Yeah. It’s with Richard Norris.

NS: Did it take a long time to write?

PO: Years. Three years.

NS: Did you guys just meet up and talk about your life?

PO: Yeah, but it’s also to give younger DJs an idea how to achieve certain things because that is always the biggest question you get asked.

NS: So what’s your advice for younger DJs?

PO: Buy the book. (Laughs). Yeah. Buy the book.

NS: Which younger DJs do you see a lot of promise in?

PO: I like Kenneth Thomas from Detroit, Robert Vadney from Greece, Adam White from England, Liam Shachar from Israel. I see a lot of international DJs, but they’re just a bunch of my favorites.

NS: Do you consider your personal sound the product of a particular place such as England, New York, or Spain?

PO: No, not really. My sound is pretty much a melodic trance sound, and people around the world can relate to that sound because it brings good feelings out of them.

Heading To The Dark Side

A Fashion Designer’s Muse

“I love old music, old movies, screwball comedies, vintage clothes and basically I’m an old-fashioned gal,” Deschanel once confessed.

Cool + Sublime
By Carlon Morgan

   It’s hard to believe that we live in Olivo Barbieri’s world. One portrayed through photographs that reverberate a unique and unimaginable calm. They force us to stop, and stay a while. A peaceful, protective layer envelops his people and places, effortlessly glorified, void of crime, poverty and chaos. Each frame is a moment, frozen in a quieting stir. Barbieri makes our overwhelmingly large, frantic world look and feel oh so small.

   Holding that world in his hands, through the use of a tilt-frame camera, Barbieri shifts the plane of focus so that it is out of alignment with the film. Ordinarily, this allows wide-angle aerial views to be captured in proper perspective, though used incorrectly, as he does intentionally, an optical illusion occurs.

   Aside from creating visually dynamite images, Barbieri’s photography utilizes complete control over the way our society is projected. The artist often captures images of scenes that are very familiar to us, like Rome, Los Angeles and Las Vegas, yet, through his lens, these normally monolithic structures become toy-like and innocent. His technique does not capture true shallow depth of field, based on the distance of the subject from the lens. Instead, it merely simulates the effect by tilting the lens’ angle to the back plane of the camera, creating a gradual blurring at the edges. The loss of detail makes objects appear even more model-like; even more ideal and imaginative than could be expected.

   Olivo Barbieri now divides his time between Rome, Capri, and Modena, Italy, where he was born. Inspired by a photographer uncle, he began taking photographs as a child, going on to study photography at the University of Bologna. And though there’s no question that he has mastered the technical aspects of photography—expertly using the view camera to “destroy” perspective, as he describes it—a keen sense of imagination is elemental to his work. All too often do we see photography that is overexposed, overworked or overdone. Barbieri’s work is a refreshing revival of the very essence of good photography—playful and engaging imagery with an intelligent message.

   When they were built, the preponderance of places Barbieri has photographed was intended to be the biggest and most spectacular, but in his photographs, they are merely small pieces of this imaginatively grand puzzle. His style aims to give a sense of the proportions of a building to its surrounding environments, and to highlight, dispassionately, its design. His work not only destroys a sense of scaled perspective, but it destroys our preconceptions—about how cities look and how they feel, as well. Barbieri’s photographs are deliciously smooth and accessible. For the audience, it’s a deconstruction of the regular way of seeing. And it’s about time that an artist gave us that kind of perspective on our very large world.

Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

Lights, Camera and Non-stop Nikki Action
By Bela Heitz

Nikki Style: Are you scoring any films or games right now?

Paul Oakenfold: Yeah, I got a movie coming out that I scored called Noble Son. Then I go back to L.A. to work on a movie called Humboldt Park.

NS: So you’ve kept busy then.

PO: Yeah, I enjoy the movies.

NS: What made you get into scoring?

PO: I got a chance to score a movie called Swordfish, which was a John Travolta and Halle Berry movie. I really enjoyed the process, so I just continued to do it.

NS: Who were your big inspirations as you started getting into film scores?

NS: You played a zombie in 28 Weeks Later, right?

PO: No, that’s not true.

NS: Damn. I saw that on Wikipedia.

PO: Yeah, I was given a chance to do it, but I turned it down.

NS: Why’d you turn it down?

PO: Well, it’s because I don’t want to be in front of the camera.

NS: What else are you currently working on besides film scores?

PO: That’s it really. I just got my greatest hits album. It’s just come out, it’s doing really well. I’m just supporting the album and the book.

NS: I meant to ask you about that. You’ve got this biography out.

PO: Yeah. It’s with Richard Norris.

NS: Did it take a long time to write?

PO: Years. Three years.

NS: Did you guys just meet up and talk about your life?

PO: Yeah, but it’s also to give younger DJs an idea how to achieve certain things because that is always the biggest question you get asked.

NS: So what’s your advice for younger DJs?

PO: Buy the book. (Laughs). Yeah. Buy the book.

NS: Which younger DJs do you see a lot of promise in?

PO: I like Kenneth Thomas from Detroit, Robert Vadney from Greece, Adam White from England, Liam Shachar from Israel. I see a lot of international DJs, but they’re just a bunch of my favorites.

NS: Do you consider your personal sound the product of a particular place such as England, New York, or Spain?

PO: No, not really. My sound is pretty much a melodic trance sound, and people around the world can relate to that sound because it brings good feelings out of them.

Heading To The Dark Side

A Fashion Designer’s Muse

“I love old music, old movies, screwball comedies, vintage clothes and basically I’m an old-fashioned gal,” Deschanel once confessed.

Cool + Sublime
By Carlon Morgan

Nikki Style: In order to push some of your experimental designs beyond the prototype stage, you’ve become your own client.

NS: I’ve heard other designers say that now, manufacturing on your own is the only way to realize progressive concepts in America.

CB: The Internet made it possible to reach a great amount of potential consumers without leaving your own studio.

NS: U.S.-based designers feel compelled to go into manufacturing just at the point when this country boasts more choreographers than metalsmiths—what’s the state of fabrication here?

LLB: That’s what makes it interesting. We’re not talking about plagiarism, but about creative interpretations of the same ideas. To be sure, I think it’s interesting to be out in front.

NS: How do you stay there?

NS: Are there any specific forthcoming plans you can reveal to Nikki Style readers?

CB: And I think our studio would essentially merge into that. The creativity would be expressed through the studio: This will be our client and our exposure to people at large.

Lights, Camera and Non-stop Nikki Action
By Bela Heitz

Nikki Style: Are you scoring any films or games right now?

Paul Oakenfold: Yeah, I got a movie coming out that I scored called Noble Son. Then I go back to L.A. to work on a movie called Humboldt Park.

NS: So you’ve kept busy then.

PO: Yeah, I enjoy the movies.

NS: What made you get into scoring?

PO: I got a chance to score a movie called Swordfish, which was a John Travolta and Halle Berry movie. I really enjoyed the process, so I just continued to do it.

NS: Who were your big inspirations as you started getting into film scores?

NS: You played a zombie in 28 Weeks Later, right?

PO: No, that’s not true.

NS: Damn. I saw that on Wikipedia.

PO: Yeah, I was given a chance to do it, but I turned it down.

NS: Why’d you turn it down?

PO: Well, it’s because I don’t want to be in front of the camera.

NS: What else are you currently working on besides film scores?

PO: That’s it really. I just got my greatest hits album. It’s just come out, it’s doing really well. I’m just supporting the album and the book.

NS: I meant to ask you about that. You’ve got this biography out.

PO: Yeah. It’s with Richard Norris.

NS: Did it take a long time to write?

PO: Years. Three years.

NS: Did you guys just meet up and talk about your life?

PO: Yeah, but it’s also to give younger DJs an idea how to achieve certain things because that is always the biggest question you get asked.

NS: So what’s your advice for younger DJs?

PO: Buy the book. (Laughs). Yeah. Buy the book.

NS: Which younger DJs do you see a lot of promise in?

PO: I like Kenneth Thomas from Detroit, Robert Vadney from Greece, Adam White from England, Liam Shachar from Israel. I see a lot of international DJs, but they’re just a bunch of my favorites.

NS: Do you consider your personal sound the product of a particular place such as England, New York, or Spain?

PO: No, not really. My sound is pretty much a melodic trance sound, and people around the world can relate to that sound because it brings good feelings out of them.

Heading To The Dark Side

A Fashion Designer’s Muse

“I love old music, old movies, screwball comedies, vintage clothes and basically I’m an old-fashioned gal,” Deschanel once confessed.

Cool + Sublime
By Carlon Morgan

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By Lauren Lynn

JPEGS

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Call us now to subscribe: 786.515.1130 or fill out your info below to send you more info!

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Check out our latest issue!!

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INTERVIEW

“Q” for Quirky

Zooey Deschanel—a force to be reckoned with

Not Over Yet

International DJ Paul Oakenfold takes spinning to new heights

DESIGN

Oh, Boym!

Boym Partners reuse of life’s common elements is anything but second best

ART

Olivio Barbieri

Barbieri’s aerial photographs are miniature marvels, a refreshing view in our super-sized world

FASHION

Still Life

Photography by Nicholas Routzen

TRAVEL

What’s Hot Marinas of the Mediteranean

Dock your yacht here

Bazaar Finds: St Tropez

Bold prints and bright sandals are perfect for exploring the picturesque city streets and seaside shops of St Tropez

TOYBF

Star Struck

Nikki Beach celebrates its third year in Cannes.

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