LUAM KEFLEZGY WORDS & PHOTOGRAPHY BY TREVOR UNDI —- “It’s really hard to pick the moment when you fall in love with anything, but when I fell in love with dance, I fell hard. And it was less about a moment, than it was about realizing that my life had become that.” Born in Eritrea, East Africa and raised under a traditional, cultural influence that emphasized the importance of formal education over artistic endeavors, Luam Keflezgy, one of New York’s most sought after choreographers, left home to study at the University of Pennsylvania with the intention of becoming a doctor. Moving to New York after college, Keflezgy spent her days working in the advanced technology group at Time Warner while simultaneously continuing her path in medicine. By night however, she trained at Broadway Dance Center and Djoniba Dance Centre, studying everything from jazz to West African, hip hop to ballet. Unlike most dancers who are trained from an early age, for Keflezgy, “it wasn’t until moving to New York that this second life emerged.” In 2000 she began teaching and then two years later she left her job in technology and medical career plans behind to pursue dance full time. Luam’s teaching career tipped with the early adoption of YouTube, her initial channel reaching over 28 million views. Prior to a time where the platform was utilized more as a marketing and publicity device, the purpose of these uploads was simply to share the work and content of her classes. The result, however, was exposure on an international scale that quickly saw the dance community at large tracking her movement. The spirit, honesty and inspirational energy in her choreography earned her a cult-like status and lead to jobs with major recording artists such as Beyoncé, Rihanna, Britney Spears, Kanye West, Kelly Rowland and other platinum-selling musicians around the world. While the recent boom of commercial dance programming has resulted in more widespread awareness of the artform, Keflezgy feels the work of a choreographer and that of a professional dancer is often misunderstood. The classic work of Fred Astaire, Ginger Rogers, Cyd Charisse and Busby Berkeley, from which she draws inspiration, brought about revolutionary concepts in the filming and presentation of dance choreography largely due to the creative freedom choreographers were given during that time. It is creative freedom as well as the acknowledgement of genre and history that she hopes to see a resurgence of in contemporary media and film. Take hip hop for instance, a genre with a heartbeat that lies steeped in the culture and history of the very streets where it began. Born in America, drawing a pertinent comparison to jazz, Keflezgy says, “We need to respect hip hop and treat it as our own. It comes from a culture, and with that culture comes a people, a way of life, music and sounds. It comes with a lot of things. I think we have a duty to recognize it and understand it and where it comes from.” Keflezgy defines the true process of dance no matter the genre as, quite literally, taking everything on the inside and putting it on the outside. “It’s there for people to see, if they know what they’re looking at. When you see someone dance, you’re not just seeing a step; you’re seeing who they are, how they grew up; their struggle; who they love; if they paid their rent. You can see everything.” Perhaps the most moving aspect of her work lies in her relationships with students and teaching experiences. “I have taught in practically every corner of this world,” she said, “and everywhere I go, I am met with such an overwhelming emotional response. It’s made me realize, as clichéd as it sounds, how much dance has the power to bring people together. It’s really the most universal language I’ve ever seen.” (Issue 05) More – www.luamworld.com Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.31.12 /09:00/♥ 1
Luam KeflezgyThe Lab MagazineTrevor Undi

ARTWORK BY MARK WHALEN

Featured in Issue 05

Mark WhalenThe Lab Magazine
05.30.12 /09:01/♥ 2
LAKE BELL INTERVIEW BY KATE BOSWORTHPHOTOGRAPHY BY JUSTIN TYLER CLOSESTYLING BY JAK (JESSICAANDKELLY.COM)MAKEUP BY KAYLEEN MCADAMS AT THE WALL GROUPHAIR BY MARCUS FRANCIS AT THE WALL GROUPLOCATION PROVIDED BY JOANSCHECKEL.COM —- KATE BOSWORTH—What is the composition of the recently discovered new planet, known as Kepler-22b? LAKE BELL—It’s composed predominately of regret and chia seeds. KB—While we’re on the subject of rocks – how was your experience on our film Black Rock? LB—The first thing I think of regarding my experience shooting Black Rock is the amount of urine our cast (including you) and crew collectively deposited on the land mass where we shot, an isle called Flint Island. That, and how I almost died. The story goes like this: A wetsuit works if it’s wet. A wetsuit does not work if, while filming in the most northern tip of the United States, you’re plopped into the ocean at night, and as the boat speeds away it sits dry underneath your heavy wardrobe allowing snakes of freezing water to avalanche down your back and chest, shocking you into a full-blown asthma attack. Lesson learned: you gotta ease into that shit. And ideally, urinate right off the bat. (Sorry for all the pee talk.) KB—Do you find more creative freedom on lower budget films like this one? LB—“Creative freedom” is a euphemism for “cool solutions due to budgetary constraints.” There is no doubt lower budget films breed innovative thought, inspiring creative freedom. And all in all, if you’re making a film for pennies, it’s likely you don’t have to answer to anyone. KB—Did you encounter the Ixodes scapularis, also known as the deer tick while filming? LB—Yes, but thankfully they stayed away from my private areas. I’ve never been unfortunate enough to be a victim of the evil Ixodes. Inevitably, I’ll have to tick it off my list one day. KB—Black Rock was a very close-knit production. We all lived under the same roof. What was it like sleeping with the director? LB—You tell me. I was on the bottom floor. By the way, do all the readers know you eat macaroni and cheese everyday for every meal? Call me and let’s discuss. KB—Speaking of directors, you are a brilliant one. Did you always know you wanted to direct or was it something you became aware of through your love of acting? LB—I appreciate that compliment, Kate. I take back the whole macaroni and cheese exposé thing. I always wanted to direct but was incredibly private about my aspirations as I wanted something to show for it before I came clean. KB—I very much admire your short film, Worst Enemy. It’s so wonderfully specific in tone. I’m curious to know how you came up with the idea. LB—I wrote Worst Enemy as an experiment, really. I had written a full-length feature called In a World that I wanted to direct but felt ridiculous trying to take on such a mammoth feat without cutting my teeth on something. The short film was an opportunity to express the comedic tone and style that I had been conceptualizing in theory for ages. I used my protagonist, Wooly, as the center of a small universe of female insecurity, craving for human connection but handicapped by her own social devices. Ultimately, I think the idea of people getting in the way of themselves is funny, especially women who have no reason to be insecure. KB—Do you own a sword, dagger, or rapier? LB—Yes, yes, and duh, who doesn’t? KB—What is a rapier? LB—A rapist who speaks French. Easy, next question? KB—Who has had the greatest influence on your life? LB—My rapier. KB—By the way, do you love acting? LB—I do love acting. I will do it forever. (Issue 05) Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.29.12 /08:59/♥ 2
Lake BellThe Lab MagazineKate BosworthJustin Tyler Close
GRETA GERWIG INTERVIEW BY ADAM BRODYPHOTOGRAPHY BY JODY ROGACASSISTED BY AMANDA HAKANSTYLING BY NATASHA DEVEREUXASSISTED BY WASEEM CHEEMAHAIR BY ANNA SCHNEIDER MAKEUP BY CYNDLE STRAWHECKER PHOTOGRAPHED AT SUN STUDIOS, NEW YORK CITY  —- GRETA GERWIG—Today was sort of a typical New York day in some ways. I went and got a pastrami sandwich from Katz’s [Delicatessen]. They are so good.  ADAM BRODY—I really like Katz’s. The only thing I don’t like about it is the theme park element to it. You can be waited on but the way they do it is so for show. GG—The pastrami is good, but I feel like they are trying to perform for you. I do like a bunch of pastrami on rye though; it’s a good way to do things. They don’t complicate the sandwich. It’s a lot of meat on two pieces of bread. AB—So you still live in Chinatown? GG—I do. I’m going to move in the spring. There comes a time in every woman’s life where she needs to not live with two men. [My roommates] are like two platonic husbands. AB—Do you have your eye on any neighborhoods? GG—I have a range. I’m going to stay in Manhattan and I would like to live below 14th Street, above Houston, and between Avenue A and West Side Highway. It encompasses Alphabet City, the East Village, the West Village… Everything in that rectangle I’d be happy living in. AB—And when are you looking to do that? GG—In June. Moving is such a drag. AB—It’s a pain in the ass, but it’s a nice way to minimize all your shit. GG— That’s the nice thing about living in New York, you don’t accumulate so much shit because you don’t have anywhere to put it. You don’t have an extra couch where you’re like, “I hate this couch, why do I still have it?” So that’s the next big life move for me. (Excerpt from Issue 05) Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.28.12 /08:57/♥ 2
Greta GerwigAdam BrodyJody RogacThe Lab MagazineNatasha Devereux

THE LAB TV - WU LYF

Featured in Issue 05

WU LYFThe Lab MagazineJustin Tyler CloseJeremy Power Regimbal
05.26.12 /09:00/♥ 3
THE SHEEPDOGS WORDS BY DANIELLE SIPPLEPHOTOGRAPHY BY JUSTIN TYLER CLOSE —- “Gonna see my smiling face, on the cover of the Rolling Stone” – Shel Silverstein’s lyrics, as performed by Dr. Hook & The Medicine Show, have forever captured what is often regarded as one of the biggest dreams and highest accomplishments of any band’s career. Now, in a time when the saturation of musical groups provides a thick sea of unknowns who remain unseen and unheard, The Sheepdogs have risen above the crest. Thanks to an unprecedented contest win, decided purely by audience vote, they became the first ever unsigned band to grace the cover of the coveted music magazine. An experience they described as “exciting and surreal. It was a nice bit of publicity too.” This classic Canadian rock band, whose name was randomly drawn out of a hat, consists of Ewan Currie, Leot Hanson, Ryan Gullen and Sam Corbett. With the noted publicity of their Rolling Stone cover, and all the lifestyle changes this brings, these Canadian musicians have not let the fast-paced notoriety go to their skulls. “Life is definitely busier,” said Currie, the band’s frontman, “but it’s also more successful and full of new things, people and places. It feels good to be a full-time musician.” With incoming tours, media explosions, and a newly signed contract to Atlantic Records, The Sheepdogs are maintaining large portions of their humbled presence. This simple act is a feat in itself for the mere fact that within a year of release their album Learn & Burn attained Gold Record Certification in Canada and they toured with Kid Rock and Kings of Leon. In a mainstream ripple effect, The Sheepdogs have also tapped into a wider audience with some well-placed TV appearances; they were featured in an episode of reality show Project Runway. The show’s contestants were charged with the task of designing new outfits for each member of the band and the boys had the chance to show off their modeling skills while jamming. Rather than see it as selling out, the band look at appearances such as this as a way to share their music with more and more people. “We want people to hear us and there are all kinds of different ways you can do it,” Currie said. Despite an attempt at restyling their already classic country fashion, these four artists have stayed true to their roots. Their main desire is to create music the way they like it. Leaving Auto-Tune to the multitude of pop singers, these Canadians make rock ’n’ roll music through and through. The Sheepdogs are dead set on keeping their sound true to themselves no matter how bright the spotlight shines on them. This New Year sees the band prepare to take on two main feats: recording a new album in Nashville, Tennessee and giving their fans, old and new, the chance to see them tour on a major scale. No matter how big they become or where they travel to, their music will always be this band’s top priority. “Our recorded music will hopefully be our lasting legacy,” Currie said. “We hope it’s memorable and it makes people feel good.” The Sheepdogs have redefined the idea of feel-good music to that of “sweet sounds and tasty jams that warm the heart.” When asked to reference their music to that of a home-cooked meal, The Sheepdogs jokingly responded in unison: “a taco salad.” At least their well-deserved fame has not ruined their sense of humor or their appetites. (Issue 05) Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.25.12 /08:55
The SheepdogsDanielle SippleJustin Tyler CloseThe Lab Magazine
ELECTRIC YOUTH INTERVIEW BY MICHAEL SCHINDLERPHOTOGRAPHY BY MILES JAYASSISTED BY MAX CHIN ART DIRECTION BY ZAZU MYERSSTYLING BY MONIKA TATALOVIC HAIR & MAKEUP BY ERIN WINN —- MICHAEL SCHINDLER—How much does your relationship come through in your music? AUSTIN GARRICK—Our relationship plays into the songwriting on the lyrical side at times, for example in the song Right Back to You. BRONWYN GRIFFIN— That song was meant to capture the universal feeling of love, desire, and finding a way to be together. We had a long-distance relationship for many years, when I was away at university, and we constantly had to muster the willpower to leave each other when it was time to go our separate ways. I think in some relationships the circumstance of distance is a little more extreme – it was the thought of situations like those that was further inspiration for the song. AG—Our lyrics are more indicative of our relationship. But with the music, the inspiration comes from a more basic feeling in my mind. The chord progressions and the sounds are really done on a more subconscious level whereas the lyrics are a lot more deliberate and intentional. MS—You’ve made it known that you’re a couple to the public – is that something you’re comfortable with? BG—We’re definitely comfortable with it to an extent and don’t mind talking about it, but at the same time we value our privacy and plan to maintain it as things progress. AG—It’s a big part of who we are but we’d never want it to become an exploitative element that’s talked more about than our music. I think aside from being romantically involved with each other, we’re also good friends and that’s more the side that shows on stage. MS—What’s it like working together, creating together, living together and being a couple? BG—It’s an adventure! We tend to be pretty good at taking time out for ourselves as individuals and we are good at being open about that fact as well. One thing we have learned is that the more we communicate the easier things get. AG—As much as we do spend time together, we are still very much individuals with our own interests and lives outside of one another. I like to collect vintage arcade machines and I do quite a bit of movie watching on my own. BG—I love going for long runs or going to Bikram Yoga to clear my mind, and I also love to watch movies by myself. But I really look forward to those times when we are in a creative zone together, which tends to happen sporadically. We will be sitting at the piano playing around and then something really cool comes out of it, a new melody or lyrics that we can use for a new song. That feeling is so cool! (Excerpt from Issue 05) Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.24.12 /08:55
Electric YouthThe Lab MagazineMiles JayMichael Schindler
WU LYF WORDS BY AIDAN WEINRIBPHOTOGRAPHY BY JUSTIN TYLER CLOSESHOT ON LOCATION IN VENICE BEACH, CALIFORNIA —- Considering how little WU LYF are talking, everyone’s talking about WU LYF. Arguably, the most chatted-about new British band of 2011, these four lads from Manchester sparked a rumor mill by trying to remain anonymous, refusing to do press interviews, and turning down offers from record labels. Anonymous no more, the boys took a break from “Sittin’ on our asses in Manchester, sleeping in Manchester, moving in with our girlfriends in Manchester, and writing a manifesto for the new world in Manchester,” to hone their unpracticed interview technique with The Lab. After knowing each other for 10 years, the quartet banded together in 2009 with the desire to make the music they hadn’t heard before. A single strum of guitar and a powerful organ chord established the foundation for what would become Heavy Pop, the group’s first single and self-proclaimed sound. WU LYF makes music that could soundtrack delinquents running from authority, skinny-dippers free-falling from cliffs, or anyone willing to “go run blind and free” outside of the domestic and digital realm. Listening to any song on their debut album, Go Tell Fire to the Mountain, it is not hard to imagine their shows where “kids go wild.” The sound begs to be heard live in a delirious moshpit of sweaty youth, surging to the unique guitar reverbs, fast-pounding drums, barely distinguishable lyrics and gritty, wailing vocals. It is their ‘fuck-you’ attitude and unique method of maneuvering the well-worn path that has garnered them so much attention. Instead of getting carried away by the initial online buzz after their first releases, members Ellery Roberts, Thomas McClung, Evans Kati and Joseph Manning wanted to build a foundation and establish their music without distractions or egos getting in the way. Their sound speaks for them and beyond it “I have nothing to say, so I’m saying it” said Roberts, which they make clear by responding to many questions in interviews by quoting their own lyrics. Their attempt to avoid the mainstream media backfired and turned into hype that snowballed and earned them unsought notoriety and mythical status. It was not until the spring of 2011 just before they released their LP that they emerged from the shadows to set the record straight. WU LYF still maintains control of their media presence by only agreeing to select interviews and appearances. Their aim is less political and more personal. The band uses obscure and metaphorical rhetoric to maintain a universal voice that engages the imagination of their audiences; they do not want to be preachers. Openly against Wikipedia-esque fact summations, Kati said they try to keep their life and the side of them “that wakes up at 4pm and is constantly dazed by post-tour fatigue,” private, while their devoted followers can still have a personal relationship with the band and their music. For $20 you can buy the album and become a member of Lucifer Youth Foundation (LYF). “LYF ain’t for fans, it’s for the committed,” said Roberts. “They get a few symbols to treasure, but the membership addresses a wider support structure [working] towards an alternative.” Rejecting comparisons to a cult, the LYF is meant to create a community surrounding the band that makes them more than the flavor of the week. While other musicians zig into the industry, WU LYF chose to zag and it is clearly working in their favor. After selling out shows throughout Europe and North America, Roberts said they’re currently in the “same ol’ town, singing the same ol’ songs,” with a stronger sense of belonging than in the past. “We thought [Manchester] was a boring city that was culturally and musically stagnating,” said Kati, “but after travelling all around the world, Manchester is growing on me, it adopted me and I am grateful.” For this group of young and restless youths, the home that they long for in their lyrics is all the more closer to being felt. (Issue 05) Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.23.12 /12:40/♥ 29
WU LYFThe Lab MagazineJustin Tyler CloseAidan Weinrib
WILLEM DAFOE INTERVIEW BY WES ANDERSONPHOTOGRAPHY BY JAKE CHESSUMASSISTED BY DAVID ROSENZWEIG & DOMINIC NEITZSTYLING BY MARK HOLMESGROOMING BY AMY KOMOROWSKI AT CELESTINE AGENCY PHOTOGRAPHED AT SUN STUDIOS, NEW YORK CITY —- WES ANDERSON—There’s a very dance-like aspect to this work [plays] that is often the opposite of movies, which are generally about naturalism. You’ve always had this other part of your acting life – a whole range of experiences – that allows you to use all your muscles. WILLEM DAFOE—I think I trust my body more than anything else. When I’m in movement I’m happiest, so I think even in movies I’m attracted to things that require me to be pretty physical and sometimes adopt a performance style that isn’t naturalistic or isn’t filled with manner and normal psychology. Those are often the movies I appreciate more and I think you have a greater possibility of tapping into what’s great about movies that way. Movie language is not about close-ups or naturalistic acting; it’s about a series of pictures and sounds and rhythms that you can really play with on a big old screen, whereas in TV they’re much more dependent on writing and psychological timing. WA—I can definitely see that. When we did The Life Aquatic together, I feel like the overview of the whole thing is not realistic at all, it’s a complete fantasy, but I still think with movies moment to moment you’re looking to make it feel like it’s really happening. WD—Yes, you’re not just doing abstract moving, so the way you connect with anything is you give a psychological motivation to it. I guess what I’m talking about is the language of everyday gesture and manner and charm, and it’s nice to get away from that in movies because I think there’s a better world to be had. WA—Definitely. The exciting thing in movies is figuring out if there’s another way to do this that we’ve never thought of or that we’ve never seen. WD—For me the best thing about movies is the shift of seeing. It’s not so much to reassure you what you already know but to remind you of what you’ve forgotten or kick-start your imagination in a way you didn’t think of before, whether it’s a fantasy or a gritty realistic style of movie. (Excerpt from Issue 05) Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.22.12 /17:25/♥ 7
Willem DafoeWes AndersonThe Lab MagazineJake Chessum

GOLD & YOUTH - TIME TO KILL

Directed by Natalie Rae Robison

05.22.12 /10:10
GREAT BLOOMERS WORDS BY BRADEN LOADERPHOTOGRAPHY BY CHAD JONES —- In the wake of everything indie, rarely does a band mark itself with distinctive independence. Great Bloomers have raised a fist to the boundaries of folk rock – emphasizing a sound that yields to something more. From their humble EP in 2007 to the release of a much-anticipated full-length album later this year, Great Bloomers seem to be sprouting in the same fashion. Most recently seen cruising the Canadian countryside on tour with Library Voices and Yukon Blonde, lead vocalist and guitarist Lowell Sostomi admitted his modest appreciation for their opportunities. “It’s nice because we’re playing for people who don’t know us… who are here for other bands. The whole thing is about exposure for us and, for starters, we love the other two bands.” Even with an almost-complete band switch-over in 2010 (Sostomi is the only remaining original member), Great Bloomers have come together to redefine the group with a collective focus and ideal. “It was a process of finding people who wanted to do this seriously,” said Sostomi. “Basically, through music, we all found each other.” Coming from diverse backgrounds and varied genres, Tim Moxam (lead guitar, backup vocals) recalled his decision to lay waste to past endeavors and pursue the sound of Great Bloomers. “It was time to throw in the Epiphone and jazz guitar and fucking step it up a little bit – at least from a professional standpoint. In my perspective, it was a huge education. Stepping up to the plate and being part of something bigger.” And bigger they are. Signing with Dine Alone Records (Alexisonfire, The Lumineers, Marilyn Manson) in 2012, the band now stands on a precipice of opportunity. “It was a no brainer,” stated Sostomi. “Dine Alone is making serious moves and is such a hardworking label. It actually feels the way I think labels might have felt when it made sense that [bands] were all together and felt like a family.” Taking inspiration from label-mates and individual muses alike, Great Bloomers are proud of their diverse tastes and use them to their advantage. “I think the broader the spectrum of our musical influences, the less limitations. I think that really helps shape a lot of our songs.” said Moxam. And with crowds salivating at the release of their newest and uncharacteristically heavy single, Something More, it looks like their combined force has pulled the plug on traditional folk rock. Pairing commanding guitar riffs with directive lyrics, the band mates have found themselves in a place unexplored by their indie brethren.   With plans for an August 2012 release, Great Bloomers’ Distant Fires promises two things: a stronger tone and a cohesive vision. “It’s a lot heavier and darker… heavier across all fronts,” commented Sostomi. “It’s a bit of a rollercoaster ride of highs and lows and that sort of thing, and we feel that all of our favorite albums are that way.” Optimistic for the road ahead, Great Bloomers have set their sights on things bigger and better. Already booking tour destinations for late 2012, their current trajectory reflects the band’s unwavering commitment to their music. With Distant Fires on the horizon, one can’t help but look forward to whichever road they take. More – www.greatbloomers.com Enjoy more of this on thelabmagazine.com, coming summer 2012!
05.14.12 /17:00/♥ 1
Buy Issue 05 of The Lab Magazine here.
03.14.12 /14:50/♥ 5
LAURA MARLING INTERVIEW BY SEAN TYSON PHOTOGRAPHY BY KRISTIINA WILSON —- SEAN TYSON—And you must have felt quite comfortable working with Ethan [Johns] as producer again? Does he push you in certain directions or does he just let you do what you do? LAURA MARLING—I think I’d be a fool to say that he lets me do what I do because I think his whole thing is that he’s doing stuff all the time that you don’t notice. His imprint on that album is so massive but so subtle that 
I wouldn’t be able to tell you exactly what he did, but I’m absolutely sure he did a lot. And the sounds he gets and the atmosphere he can create is what makes it so special. ST—Did he surprise you in any way when you first started working with him? LM—Before I met him for the first time I was under the impression that he was American, because I’d heard he’d done a lot at Sunset Sound in Hollywood and he’d pretty much only worked with American artists.
I also thought he’d be quite rude, although I’m not sure why and I had nothing to back that up. I met him at a train station in the UK and he was as English as they come and a total sweetie. He’s a really lovely guy who’s very talented. I had this amazingly off-centre preconception of him. ST—I know it was a while back, but tell me about this show you were supposed to play in London a few years ago, where you were too young to be in the venue and ended up playing for fans on the street. LM—It was going to be the launch of the first EP I ever did. We arrived at the venue, Revue Bar, set up and had already done our sound check when one of the bouncers came up to me and pointed at something in this newspaper. There was a little piece saying 17-year-old Laura Marling is due to play solo gig at Revue Bar. And Revue Bar is not really a venue; it’s a gay strip club, so you absolutely have to be over 21 to be in there. And the manager came over and asked me for ID and I didn’t have any so that was it and we were asked to leave. I think they were pretty pissed off. We ended up playing on the street outside, I don’t know why. But then we found a bar down the road that was willing to let us set up our instruments and we ended up playing the gig there. (Excerpt from Issue 04) Enjoy more of this on thelabmagazine.com coming summer 2012.
09.17.11 /14:46/♥ 30
Laura MarlingThe Lab Magazine

Initiation fashion shoot now available in full on The Lab TV

Featured in Issue 04

InitiationThe Lab MagazineJessica and KellyJAKJuco
09.17.11 /14:41/♥ 11

Photograph by Justin Tyler Close

“My environment has always been important to me. Even as a child I used to like to arrange my room in a particular way. When I started having my own places as an adult I started to make my own furniture because I couldn’t find a certain aesthetic that I was looking for.” - Lenny Kravitz, featured in Issue 04.

Lenny KravitzThe Lab Magazine
09.17.11 /13:16
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