If you love Charli as much as we do, don't forget to check out our photo shoot and video with her! —Katie
Get the look:
Jersey Turban Headwrap
Layered Jersey Headwrap
Denise Knotted Headwrap
Della X UO Woven Headwrap
Hawaiian Silk Headwrap
Cooperative Cococabana Silky Headwrap
Hi! I'm a Women's Web Stylist for UO.
Can you tell us about what you're wearing? Because we are loving those jellies.
Haha, yes! These jellies are from Urban, actually. They're the best. They're super comfortable and go with almost everything. I'm really into this color for the summer, too. The dress was given to me by a friend.
Jellies are taking me back to 1995. What was your favorite thing to wear when you were a kid?
I was dressed pretty ridiculously as a kid, but one thing I never wanted to take off was this skirt I called my "Pretty." It was a mustard yellow circle skirt that flared out when I spun around. It was awesome and I definitely wore it with everything.
What's the best part about being a stylist? Do your friends like to come to you for fashion advice?
I'd have to say one of the best parts about being a stylist is seeing what will be trending in upcoming seasons. It's cool to see the trickle down effect from the runway. Also, working with new clothes and shoes all the time is a pretty sick bonus. Sometimes my friends will come to me for fashion advice, but I'd have to say my mom comes to me the most; she's pretty cute.
What's your favorite color nail polish currently?
There's so many colors out there! But I'm recently obsessed with any blues/greens. Also, there's something about a clean white nail polish that I love.
What are you most excited to wear this summer?
Mesh and sports bra! Athletic look for sure this summer.
Where can we find you online?
Instagram and Tumblr :).
Interview by Ally Mullen
Hi Elaine! To prep for this, I just got done doing an Elaine overload on the internet.
That must be an incredible overload, I feel like there is a lot of me on the internet.
But all good stuff! I was surprised to see you had a role on Mad Men! How did that happen? [Note: They probably saw her Joan impression]
Well, I auditioned for it and it was a role of a call girl in season four and it was really, really fun.
Other than that, you usually do comedy. Can you tell me a little bit about how you got started in the comedy world?
I got started in comedy probably when I was in college. It was always something that I was interested in. I was TOTALLY that kid who came home from school and turned on Comedy Central and watched The Kids in the Hall, then watched Monty Python movies over the weekend and Saturday Night Live.
In high school and elementary school, I performed in plays, but when I got to college I started writing sketches, and my own material. So it was really in college when I began to consider myself a comedian.
Did you take any classes for it?
Yeah! I took classes at the Upright Citizens Brigade in both New York and Los Angeles—improv classes and sketch classes.
You seem to do a lot more of sketches now, but do you ever go back and do improv?
I also do improv but do more sketch than improv.
I watched an interview where you mentioned that in your CollegeHumor series, Very Mary-Kate, the episodes are scripted. Is there any wiggle room for improv?
Of course! There’s actually some episodes where we just improvise a few takes and those are the ones that end up getting in. For instance, the actor that plays “Fat Professor” in the series is an improviser in New York named Will Hines and we often let him go off script because of the things he ends up saying improvised are a lot funnier than what we’ve written. And also, in the episode “Drinking Game,” there was one line that I could just not remember—even though I wrote it [laughs]—so we ended up improvising that one. Otherwise it’s pretty heavily scripted.
You do a lot of work with CollegeHumor. Are you an employee or do you just do sketches with them?
I don’t work for them, I don’t go into the offices everyday, but I’ve been working with CollegeHumor pretty regularly for the past five years.
So if you wanted to, you could just go in and pretend to work there?
Yeah! I go in, I pretend that I work there, I sit at a desk, and nobody asks questions [laughs]. Yeah, I sneak in there and steal the candy from the ninth floor.
Ooh, what’s your favorite kind of candy?
Um, oh gosh, I really like Reese’s Pieces!
So, like E.T.?
Yeah! Like E.T.
You do so many impressions in wigs. How many do you own?
I counted once and I have 42 wigs. But I counted this like, a year ago, and I have since acquired more wigs. So I have 42+ wigs.
Do you ever wear them outside of work, à la Britney or Amanda Bynes?
Oh god no, no no no. I leave that to the professional lunatics.
Since you do celebrity impressions, would you ever consider an Amanda Bynes impression?
No. It’s a little sad; I just feel bad. I just want to buy her a cup of coffee and give her life advice. Take her under my wing and let her crash on my couch for the week. But I just want to be sensitive to that. With Mary-Kate it’s not so much making fun of her, but it’s a caricature that’s loosely based on her life. I feel like also with Mary-Kate, she’s not in the limelight the way that Amanda is all over Twitter and the gossip magazines.
So what’s the styling like for Very Mary-Kate?
Well, when it first started out, I acquired a whole lot of cheap but fancy looking baggy clothes, kimonos and a lot of jewelry from the downtown New York stores. The styling, I would say, is layered… lots of baggy sweaters, accessories and jewelry—so much so that it makes my hands heavy.
So the Very Mary-Kate hands are as real as the joke?
I’m legitimately struggling to lift my hands.
So off camera, what is your personal style like?
I would say… lacking (laughs). My style is probably wearing the same jeans three days in a row and I like to be comfortable so whatever it is that I’m wearing will be more comfortable looking than fashionable looking.
So, tell me about your new CollegeHumor series, Precious Plum. It’s a take on Here Comes Honey Boo Boo, which I love.
I’m also a huge fan of Honey Boo Boo and Toddlers & Tiaras… I kind of have terrible taste in television. So we wanted to parody it in some way so the series is between Plum and Mama on their way to and from pageants all over the country. So it’s watching them try to get there on time and struggle to live the most fun and adventurous lives as they do it, and not making the best decisions along the way.
How long does it take Josh Ruben, who plays Mama, to get into his outfit?
It’s kind of a long process. The main part is getting his face one, because it’s a prosthetic, so I would say maybe two hours in the make-up chair. And then the fat suit feels like a heavy mattress that he has to kind of step into.
So at the office, are these types of props just laying around for you guys to use?
Yes, there's a lot of foam wig heads and badly organized closets and all sorts of things on hangers.
Sounds like a dream to me! Well, Elaine, thank you so much for your time and I can’t wait to see your career take off. Just don’t forget about me.
I won’t forget you Ally!
Watch the Episode 2 of Precious Plum here and shop Elaine's picks below!
Kimchi Blue Silky Sabrina Shirtdress
I have this dress in red. I'm obsessed with it. It's super cozy and I kind of want to get it in all colors and wear it all the time always.
Lucca Couture Lattice Waist Dress
I have this dress in purple and I'm also obsessed with it.
Chelsea Crew Armor Lace-Up Ankle Boot
These shoes are maybe the coolest thing I've ever seen.
Staring At Stars Diamond Border Romper
Gotta love a romper.
Gemma Correll Cats Of The World Tee
I ironically (and unironically) love cat shirts so this...
BDG Sheer Burnout V-Neck Tee
I have this top and I get a lot of mileage out of it.
Chelsea Crew Nirvana Heel
Red shoes always and forever.
Magical Thinking Bright Star Duvet Cover
Magical Thinking Large Woven Hammock
A hammock built for two is what life is all about.
Money Bean Bag
And finally.... because a house is not a home without a beanbag money chair.
Kimchi Blue Smocked Dress
WeSC Floral 5-Panel Hat
Kimchi Blue Cutout Waist Jumper
Nuco Island Fever Flower Short Sleeve Shirt
Kimchi Blue Hawaiian Floral Saddle Bag
CPO Captains Chino
(Hell yes she stitched that beetle on there.)
We really NEED to know: What did you all think of Season 4 of Arrested Development?! #ad2013— Urban Outfitters (@UrbanOutfitters) May 29, 2013
Noah Emrich’s new photo book I’ve Got Nothing to Say is a telling illustration of modern American youth: surveyors in a land of surveillance eternally in conflict between our responsibilities to society and our responsibility to not take shit too seriously. I’ve come to know the Brooklyn-based photographer over the past few years and in that time have been continually surprised and inspired by his photographic point of view.
Emrich gained notoriety for his fashion photography, shooting for the likes of Esquire, The New York Times and Gant Rugger all before his recent 20th birthday. Now, with his first publication released, Emrich hopes to turn his lens toward more prescient environmental and political subjects. It’s a turn I might be wary of if I hadn’t witnessed first hand Emrich’s willingness to venture out of the orbit of his comfort zone to make great images. Besides, he’s got time to explore the outer limits of his photographic interests. I spoke with Emrich about balancing work and school, photography in the Internet age and seeing his face on NYC cabs. —Angelo
When did you decide to make a book and why?
The book came about in a pretty casual way. I started putting together this book about 6 months ago. The photos are mainly from the last year or so, with a few exceptions. I wanted to make a book because growing up in this age means we don't necessarily need a physical copy of something to know about it, or to experience it. The majority of the experiences we have now are through a screen. Beyond just the idea of having a physical object, I think there is something especially engaging about the book form — having the control to flip back to front or front to back, to go directly to specific pages and not have to deal with the forced sequence, holding one spread open and going through the book to pick out another it may remind you of. I like the definitiveness, that it contains only what was put inside its covers and will never be more than that, that it can act as its own isolated collection and object independently from its creator or subjects.
In such an image-saturated culture, what can you say about influence? Is it hard to distinguish between original and influenced ideas? I always return to that Basquiat quote “Influence is not influence. It’s simply someone’s idea going through my new mind.”
I like that quote. It's not framed in the terms of “stealing” like the ever-quoted Picasso saying. I think anyone who is a maker relies to some degree on the re-interpretation of the world around them, and the things they see and interact with on an everyday level. As an image-maker in such an image heavy time, I feel acutely aware of that. I think influence is a necessary step in process of making, and a greatly diverse and rewarding step at that.
It is how that influence manifests itself in the work that matters. If an influence affects only aesthetic style, or surface qualities, it's probably not a very rewarding influence, especially because the end result of that equation leaves the artist with nothing less than a cheap variation — a knockoff. The influences that affect how you approach a subject matter or medium in a certain way, or change how you see the world or various aspects of everyday life, those are the worthwhile influences. An influence should act like a lens toward a new perspective not a diagram to be followed.
What are you working on currently?
I'm gearing up for summer right now. I hope to be traveling a lot and taking pictures all along the way. As far as making work, I've just been shooting during my day-to-day life mostly. I've been interested most in our relationship with artifice, our relation to the natural world, and how those two things completely surround us and interact with each other.
How do you balance personal projects and client work?
Most of the time with client work it's pretty clear what the final outcomes will be. I know what I need and how much I need of it. My personal work has always been more fluid wherein I kind of just keep shooting and editing groupings until I'm somewhere I like.
What about juggling school and work? Are you doing a lot more "real work" than most of your classmates?
This semester it ended up being almost all school and a little work. My mindset is that if I'm in school, paying for it, I should commit and not distract myself. But yeah, I definitely have much more work experience than most of my classmates. There are a few kids I know that are similar self-starters, but for the most part it's pretty foreign to most kids. They don't understand what I do.
What goals do you have for the rest of 2013?
I'd really like to expand my work into doing more editorial style work — not fashion editorials, but shooting real stories. I have a huge amount of interest in the forces that shape our culture, societies, and planet. Everything from environmental concerns and issues, through technological advancements that are changing the way we relate to each other and function within the world, to ideas of production and consumption and the dissonance created by that system in its current model.
Who is on your top-5 "want to photograph" list? What about places?
I don't really shoot a lot of people, so I'm having trouble trying to think of even one person. I guess I'm not in that mindset right now. I'd probably really get into shooting other artists; if they were people I really admired that would be the most interesting. As far as places: everywhere really. There are some places on my list solely for their beauty: Iceland, Patagonia, Peru, China etc. But I'd also like to work in the forgotten places, the places we try to sweep under the rug. Places we don't want to think about. It's important to bring the plight of all the other humans we share the planet with into the mind's eye of our comfortable lives.
You’ve developed a significant Tumblr following over the years. Is Tumblr good, bad, or neither for photography, young photographers?
Probably some of both. I think it's an effect that mainly stems from the internet itself. Tumblr is the tool we're using right now but it was Facebook and Myspace before that. Tumblr offers its own individual services and functionalities. I think the overwhelming good aspect is the ability of an individual to be able to build their own audience and use that as leverage to work their way into the professional world. Now you don't need a PR and marketing budget. You can create your own hype. This is all helped through the greater access to things like online portfolios, blogs, and the instant global networking ability offered by the internet.
The bad is more of a wish-wash. For one, there's a ton of photos now, more than ever. I'm sure you know. That brings up all kind of problems: What does it mean to make an image now? What does it mean when you take a photo of something? What is the value of a photo? What function does the photo serve? You could go on and on and obviously way deeper. There's also the issue of sourcing and crediting. Again, this stems from the nature of the internet. Someone will probably post an image you made without your permission or credit, but watermarks are ugly, so please just no. There's a big handful of problems Tumblr/Internet has caused for photography but I really would rather just make new work instead of think about the bad. Another awesome thing I forgot was the ability now to look at so much awesome work; back through the history of photography but also like right now. Tumblr specifically is a great tool when it comes to being able to see new work regularly from people you really admire just by following them.
On the lighter side, how was it seeing your photo on billboards and cabs around NYC [in Gant Rugger’s “Team Americano” campaign] ?
It was totally weird. My one regret is never riding in one of the cabs.
Props too for keeping the price point [of the book] affordable
Yeah, keeping the price as low as possible was one of the main goals.
I’ve Got Nothing to Say is available from Done to Death Projects for $25