THE UNTITLED MAGAZINE VOYAGE ISSUE 4

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MAGAZINE XXXX | 4

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VOYAGE ISSUE

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ISSUE 4 XXXX

VOYAGE

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12 Paradise Row Gallery 18 Sabine Roemer 20 Gazelli Art House 24 Jan Taminiau Haute Couture 28 Ford Projects 32 International Runways 38 Alec Monopoly 42 The Wanderer, Dior Homme 46 Copyright Copycat 50 Phoneography 52 Kristian von Hornsleth

REPORTAGE

58 The Year of Unrest 74 Moorings 76 Horizontal Suspension 78 The Dark Night 80 Storm 82 Tribal Dreams 84 She Dreams 86 Bangkok High 88 Salvaje 90 Black 94 International Beauty 114 The Pond 120 Galatea 124 Quixotic Essentia 128 Blue 130 Backstage Beauty

Voyage 142 Time Warp 148 Let’s Get Lost 164 Color Blast 174 The Last Memory 184 Idillyc Days 190 Girl Friday 200 River Girl 208 Heaven 222 Planet Earth 226 Loner 236 Transitions 242 Season of the Witch 248 Hypnic Jerk 256 Auto Erotica 264 Additional Videos In The Voyage Issue 272 276 XXXX Magazine at the Metropolitan Museum of Art 278 Frieze Art Fair London 282 XXXX Magazine Big Screen Plaza, Premiere of Voyage Issue 284 Richard Hambleton Retrospective, New York 286 XXXX Magazine at La Villa, Paris fashion Week 288 Cannes 64th Film Festival Days & Nights with Indira Cesarine 294 Stockists 296 Subscribe

WATCH THE TRAILER FOR THE VOYAGE ISSUE: www.untitled-magazine.com/video/gallery/voyage-issue-trailer xxxx 5

MASTHEAD

INDIRA CESARINE Editor in Chief

DIRECTORS & ARTISTS Andrea Tese, Bell Soto, Brian Gonzalez, Christian Witkin, Daniel Arango, Delaney Bishop, Diana Le Quesne, Diego Corredor, Dominique Polambo, Indira Cesarine, Iris Brosch, Jordan Doner, Kaelen Ohm, Michael Daks, Patricio Guillamon, Paul Windridge, Peter Philip Luckner, Sean Capone, Sophia Deininger, Elkelv & Theodorakou, Zaiba Jabbar

CONTRIBUTING VIDEO EDITORS Ben MacGregor, Bernice Gonzalez, Emily Pelleymounter, Frederica Nucci, John Paul Zuviate, Karc Chan, Michaela Vatcheva, Riccardo Servini, Tom Jones

MUSIC 00 Newchair, AGF, Andreas Wolter, Brett Hammond, Chaitanya Modha, Circlesquare, Cobra Killer, DJ Kye Lee, Fujiya & Miyagi , Gorillaz, GR†LLGR†L, Jordan Doner, Joseph Fraili of JAFBOX Sound, Many Fingers, Marco Lannelli, Moby, Nicolas Neidhardt, Nicole Renaud, Noah York of Ego Death, Riccardo Risi, Son Lux, Sophia Denininger, The Wilfred Brandingham Experience, Tim Hecker, Zoe Keating

FASHION DIRECTOR Indira Cesarine

CONTRIBUTING FASHION EDITORS Kay Korsch, Holly Chaves, Lindsay Sutton, Masha Mombelli

ASSOCIATE ART DIRECTOR Louise Roberts

CONTEMPORARY ART CONTRIBUTING EDITORS Shana Mason, Daria Williams, Emma Corbett

XXXX MAGAZINE BLOG CONTIBUTORS Aniko Berman, Amy Tabarly, Caitlin Louise, Daniel Herendi, Daniel Picado, Daria Williams, Darrel Chandler, Don Frasco, Easton Schirra, Emma Corbett, Heidi Lee, Jeffry Gamble, Karc Chan, Marta Colli, May Mansour, Olivia Hart, Rena Silverman, Shana Mason

EDITORIAL ASSISTANts & INTERNS Caitlin Louise, Christie Madley, Easton Schirra, Emma Corbett, Ginger Gentili, Karc Chan, Karen Potter, Kathy Ruiz, Kristian Pirotta, Lalique Martinez, Olivia Beresford, Olivia Hart

sPECIAL THANKS Tim Hart of Hart Films, John Parkinson Agency, Richard Haines, Sunbeam Studios, K&M Camera NY, The Big Screen Plaza, Gloria Martinez, Sabine Roemer, Kristian Von Hornselth, Harrod’s

CONTACT indira@untitled-magazine.com info@untitled-magazine.com

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The Untitled Magazine “Voyage” issue features photo and video editorial productions from a wide array of international contributors coming from locations as varied as Argentina, France, England, Peru, Greece, United States, Italy, Holland, Canada, Germany and Sweden, each with their own take on what the theme “Voyage” means to them. Contributors include Andrea Tese, Bell Soto, Brian Gonzalez, Christian Witkin, Daniel Arango, Delaney Bishop, Diana Le Quesne, Diego Corredor, Dominique Polambo, Indira Cesarine, Iris Brosch, Jordan Doner, Kaelen Ohm, Michael Daks, Patricio Guillamon, Paul Windridge, Peter Philip Luckner, Sean Capone, Sophia Deininger, Elkelv & Theodorakou and Zaiba Jabbar. Throughout 2012 do not miss XXXX Magazine, The Untitled Magazine movies screening almost daily in collaboration with the Big Screen Plaza in Chelsea, Manhattan.

THE UNTITLED MAGAZINE xxxx 7

2012

c o nt r i B ut o r s

CHRISTIAN WITKIN - BLUE www.christianwitkin.com

Artist and photographer Christian Ryder Witkin has a ceaseless and constant desire to explore the unknown and eliminate boundaries.

After assisting for four and half years, in 1993, Christian launched his independent career receiving instant recognition as an important voice in the photographic community and the art world. His work immediately began to bring him critical and editorial acclaim.

Christian’s continuing desire to deconstruct his world to its most basic parts has much to do with his search for truth. He strips things down of all artifice until what is before you are the pure essence of the subject. He aims to explore the strange and dark places of the human psyche.

BELL SOTO – THE POND www.bellsotofilm.com

Photographer & director Bell Soto from Peru is currently based in New York & London. His work has been featured in several international publications and has shot exclusive collections for designers such as Yohji Yamamoto, Walter Beirendonck, Romain Kremer, Alexander McQueen and David Koma. Soto’s film work has evolved as a natural development from his photography. His elegant cinematography and ability to create simple narratives through unique, complimentary elements of fashion and moving image drives him as a successful filmmaker.

ZAIBA JABBAR - Loner www.zaibajabbar.com

Zaiba Jabbar, a self-taught filmmaker living in London, has only one love and that is for moving image. She has worked with a number of commercial brands and fashion labels, which include Aquascutum, Mulberry, Levis, Hermione De Paula, Bordelle, and Charlie Le Mindu. Zaiba’s work is often featured in Vogue Italia, Vice Style, Fashion 156, Dazed Digital and ID Online.

KAELEN OHM - Heaven www.kaelenohm.com

Kaelen Ohm is an AMPIA award nominated Director, Model and Musician living in Canada. In the last five years she has spent time in East Africa, North America, Australia and Europe creating fashion films, music videos and short documentaries.

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PAUL WINDRIDGE - The Dark Night www.paulwindridge.com

Paul Windridge is a video artist, short film and music maker. He explores what we perceive to be reality then presenting it as something completely different. His moving image works are multi-layered, atmospheric and distorted voyages. The music of his alter ego DJ 00 Newchair is powerfully rhythmic and atmospheric - made up of layered beats mixed with hybrid synthetic sound and original soundbites recorded from the everyday. Become immersed in a schizophrenic adventure reverberating through an alternative universe.

DELANEY BISHOP - 307 www.delaneybishop.com

Delaney Bishop is a filmmaker and photographer based in Los Angeles. After attending NYU and graduating from Art Center, Pasadena, Delaney’s twenty minute short Death of Salvador Dali and his Pinatas Revenge films have played festivals and events around the globe including LAFF, Seattle International, and SXSW, cumulatively winning over a dozen awards. Signed for film and photography with production company Current Content in 2010, Delaney has won numerous Promax and Advertising Age awards for promos and music videos. As a photographer, Delaney was named a Surface Magazine “Avant Guardian” in 2006.

MICHAEL DAKS - Girl friday www.michaeldaks.com

English Photographer & Director Michael Daks has worked for the past 25 years as a fashion and portrait photographer in London, Milan, Paris and New York. He is also Director of Photography for 5th Character magazine and currently based in London after 15 years in NYC.

DOMINIQUE PALOMBo - TRANSITIONS (WINGS, MANoeUVRES & SEEING RED) www.dominiquepalombo.com

French born photographer and filmmaker Dominique Palombo is currently based between Paris and New York. The current push in the industry towards motion has thoroughly fascinated Dominique. The ability to edit has proved to be his most powerful tool, shaping the viewing experience to such an extent that it has more to do with his films being great or terrible. Along with that, Dominique has had the opportunity to work with dancers in his recent projects, opening his mind to new ways of seeing movement and discovering how riveting it can be.

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Paradise R ow G allery S abine R oemer G ra zelli A rt H ouse Jan Taminiau H aute C outure F ord P rojects I nternational R unways A lec M onopoly The Wanderer - D ior H omme C opyright C opycat P honeography K ristian Von H ornsleth

CON V ERSATION xxxx 11

“Avenue des Gobelins” by Magarita Gluzberg xxxx 12

The London art scene is talking about Paradise Row, the latest gallery to move to the artsy hub of, none other than, the West End. Founded by art critic Nick Hackworth in 2006, the gallery was named after a road in Bethnal Green where the inaugural exhibit, “Welcome to Paradise” took place. In 2010 they moved from their previous occupancy on Hereford Street in Shoreditch to settle in a high-end location on Newman Street where the spotlight shines brighter on the galleries’ long-standing, London-based group of artists: Shezad Dawood, Diann Bauer, Margarita Gluzberg, Douglas White and Eloise Fornieles. The move coincided with Hackworth’s desire to ‘get more people to see the work…it was getting increasingly difficult to get people to the East End.’ In forming a strong alliance with this group of artists, Paradise Row’s ambition is to engage with the ‘general and fundamental themes that culture has historically dealt with, displaying an interest in aesthetics and a willingness to engage with the poetic as well as the critical and the political.’

PARADISE ROW GALLERY Over the past few years, Paradise Row has risen to the ranks of one of the most cosmopolitan, diverse and influential contemporary art galleries in London. Contemporary art followers thrive on the way in which it deals with a variety of contemporary concerns through the lens of the five returning artists. Since its tactical move, the gallery has attracted an avid new audience without losing its long-standing regulars. Seemingly overlapping with its move is Paradise Row’s increasing interest in politically focused exhibits and perhaps the adoption of a more serious, intellectually complex standpoint.

Recent exhibits held by the gallery include a group show entitled ‘The Pavement and the Beach’ which showcased the work of twenty-three artists between July and August 2011. Defining a historical moment in time, the protests that took place in ‘68, the emblematic phrase, Sous les pavés, la plage - ‘Beneath the pavement, the beach’ acted as the starting point for the exhibition’s creative standpoint. On one side, the exhibition critiqued a society so exhaustingly contingent upon the manufactured world of power, efficiency, subjugation, work, consumerism and regulated thought, symbolically represented as the ‘pavement’.

On the other, the exhibition’s ‘beach’ stood for the opposing utopian world of radical leisure, freedom and imagination.

The task set up for the artists was to attempt to regain notion of freedom in their work by providing a critique of the causes of its

loss. As the exhibition’s description pointed out, ‘The sphere of leisure and entertainment has become an arena in which power insidiously dreams itself into new disciplinary forms.’ Whether engaging with the phrase directly or with a symbolic approach, the exploration of perceptions of capitalism lodged itself in the forefront of the exhibitions aims. Some highlights of the exhibit included the iconic image of Queen Elizabeth II’s head present in Finch’s piece ‘Constellations 3,’ as well as the ransacked supermarket shelves photographed in Jean-Michel’s piece ‘Super #1.’ Bold slogans present in Guillaume Paris’ ‘Kids’ and Steven Le Priol’s ‘Yes We Can’, stood out as forthright propagandist works with a critical message against the exhibition’s metaphorical ‘pavements.’

An earlier exhibition in the year marked the inaugural European show of work by Iranian artist, Hesam Rahmanian. Presenting a body of works which responded, with a mordant and mournful wit, to the repression and violence inflicted by the current theocratic regime in Iran on the country and its people. Rahmanian’s work pictured uprisings, riots and revolutions, which have taken place in the Middle East in spectacular forms. Choosing to refer to his subject matter as ‘Arab Springs’, Rahmanian used the free, imaginative space afforded by painting to construct visual collages, allegories and metaphors that provide an alternative critical response to that provided by documentary. Rahmanian’s fictive spaces allowed for the symbolic debasement and abuse

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of those in power. Fluid, gestural and painterly, Rahmanian’s style manifests the spontaneous energy of popular discontent.

interested in the world, rather than limiting their interest to the internal concerns of art.

In a similar vein, dealing with political challenges and events through art, Paradise Row showcased exhibitions at the start of this year by Diann Bauer entitled, ‘The Enemy is Everything That Might Happen.’ Prior to this year, Paradise Row focused on the exploration of less politically charged exhibits including an installation show by Eloise Fornieles which toyed with the concept of ‘creating a series of spaces that co-exist at once, physical and aesthetic, psychological and emotional, that amount to an expanded portrait of the human body.’

IC: So you’re saying that many artists make art about art?

Magarita Gluzberg’s “Avenue des Gobelins” opened on November 17th. While it’s less obviously political, it still concerns itself with power relationships, articulated through the lens of desire and the economics of consumerism. The painter and illustrator presented a stunning series which presented photographs and slide projected imagery with a fashion aesthetic. The exhibit included a series of classically framed prints which seemed to channel early Man Ray with their tonality and subject matter, as well as a series of several slide projections on graphite. Her work mixes themes of consumer culture with reflections in windows, shadowy portraits and fashion iconography, creating timeless and somewhat glamorous images.

The following quote, “Everywhere I go I dress up and I go out I got lots of gwalla, let me show you how I show out Everywhere I go I dress up and I go out I got lots of gwalla, let me show you how I show out Gucci, Louie, Prada, man I’m all about my dollas I be all up in the mall ballin like it’s no tomorrow Gucci, Louie, Prada, man I’m all about my dollas I be all up in the mall ballin like it’s no tomorrow” is featured on the website about the show that borrowed its title from one of Eugene Atget’s iconic 19th century photographs of Parisian shop fronts. ”Avenue des Gobelins is a meditation on the mystical, ritual nature of material desire and consumption… It is the black gleaming lacquer of Chanel, reconfigured by the chaos of a Saturday afternoon at Primark…

In Gluzberg’s hands, the camera becomes the interface between the consumer-voyeur, and the constantly changing, spectacular display of commodities. She creates images that seem to echo an age when consumer fictions were being invented for the first time, and brings them back to the present, a present where such fictions are becoming increasingly unsustainable.”

The Untlted Magazine’s Editor In Chief, Indira Cesarine, met up with gallery director Nick Hackworth to talk about the gallery’s premise and some of the recent exhibits that have been titillating the art world.

IC: What do you think defines Paradise Row as a gallery?

NH: A gallery is defined by the artists in their stable. A common thread that runs through the work of our artists is their conceptual and intellectual rigour and that, though this is something of a generalisation, we represent artists that are fundamentally

NK: A lot of artists make work that only makes sense within a web of references that you can only understand if you’re steeping in the culture and history of contemporary art. That work has its value and place but I’m interested in artists that make work that basically speaks to concerns that culture has always had… the existential problem of existence, morality, suffering, war, love, beauty… these kinds of very fundamental topics which always come. That’s what I think distinguishes the artists at Paradise Row, an irrepressible desire to intelligently interrogate the world.

IC: I’ve noticed that quite a few of the artists have a political point of view, which I see more at Paradise Row than many other galleries.

NH: Well a lot of contemporary artists deal with politics but that’s a reflection of what I was talking about.

IC: That they interrogate the world?

NH: An interest in the world does not necessarily mean one has to be political, it can be manifested in the aesthetic or all sorts of things...

IC: I have noticed a distinct political thread running through your curatorship.

NH: It’s alongside an interest in the poetic. I’m very interested in artists who engage with poetic alongside the political. These are not words that I think are often used in the art world anymore because these are phases with a little bit anathema. The art world is still very much dominated by the legacy of modernism, and then more recently the legacy of conceptual art of the sixties and seventies, and there’s a style and an ethos that goes with that, that runs counter to the aesthetic and is suspicious of beauty or the romantic but I see the poetic and the political are kind of two sides of the same coin really, they stem from an engagement with the world, an interest in human relations and how that constitutes it. I am a supporter of political art, but I am also very skeptical and pessimistic about the ability of political art to actually change anything.

IC: Your background came from journalism. You were working at the Evening Standard as an art critic and as an art editor at Dazed & Confused. Can you tell me a little bit about your transition into being a gallery owner and curator?

NH: I was a Contemporary Art Critic for the Evening Standard, for about six years and founded Paradise Row in 2006. The transition was pretty easy because basically I represent a number of artists; the core of the artists that I show are people that I’ve known, some of them since I was quite young; I went to school with them, I went to university with them, I wrote about their work for years

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“I think What distinguishes the artists at Paradise Row is an irrepressible desire to intelligently interrogate the world...�

Nick Hackworth

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and I even, with many of them, got involved in the process of the creation of their works - like helping them out, being there during photo shoots or whatever. So just after six years of being a critic I was a bit frustrated just writing about them. I’m naturally quite commercial and I enjoy promoting people so running a gallery was the perfect combination of everything because you still have a political voice. The nicest thing is that I’ve had some creative conversations with some these artists for over the last decade, from being a critic to being a gallerist. But these conversations have been going on for over ten years. It’s amazing to be part of that process and to be on this journey with them.

IC: What do you think of the merging of fashion and art? There are a lot of people in the art world that have a reflex action when they hear the word “Fashion”. They’re like “oh my god forget it I’m not interested”. They think Retail. They immediately think it is commercialisation, with a lack of soul, and tend to rather poopoo the fashion world as superficial. Do you think that Fashion and Art can in any way shape, or form, collaborate with one another and compliment each other?

NH: I think these are two questions; one of them is about the relationship between art and commerce and then the second one is more specific about the relation between art and fashion.

Between art and fashion I think anyone who polices those category distinctions too closely is probably just insecure or a little bit worried. I think good creative work, in whatever field it emerges, is interesting and cross-cultural collaborations open up all sorts of possibilities. I think probably people are likely worried when we’re talking about big businesses with large amounts of money getting involved with artists.

IC: A lot of artists have sponsorship and corporate commissions How is that perceived?

NH: There’s not necessarily a problem I think it’s a case-bycase basis. Artists have their brand and in a sense it is actually a branding issue, if you want to look at it cynically.

IC: Art can be consider retail - galleries sell artists work as a commodity, a product.

NH: Yes but it might be very simply that an artist can easily undermine their own brand by being too involved with other brands. However if it’s done well and tastefully, and for example a fashion brand picks up a creative talent and wants to work with them to do say, video art, that crosses the border between marketing and art, I see absolutely no problem with that but I think it’s up to each individual artist to make sure that they produce something that’s really still quality work and means something as well. And also isn’t ashamed to act in that kind of commercial aspect. Equally, the worst thing is to pretend it is something that it isn’t. If you take someone’s money you’re part of their marketing process and I think you should at least be very explicit about that. So essentially, in principle I don’t think there’s any issue at all I think it’s really just a case by case situation. Part sensitive to the brands and on the other side how the artists deal with each particular commission.

IC: Can you tell me a little bit about some of the artists that you have recently exhibited?

NH: Right now in London we have Douglas White. In November we show an artist called Margarita Gluzberg, who is Russian born and moved to the U.K when she was ten. We are doing a show of her work called “Avenue Des Gobelins” that draws on a series of photographs by Eugene Atget. He was a pioneer photographer about a century ago in Paris. The exhibition is inspired by a series of photographs he took of emerging consumer culture.

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The photographs are of fashion shops, arcades and window displays. This was a really crucial time when consumer culture was in the process of being developed. He took very dream-like photographs of these fashion stores. Margarita is making a cowork which she called “Consumistic”; a configuration of the words Consumer and Mistic. The work is almost hallucinatory, confused, a look at the rituals of desire and consumption. What she’s done is made a series of projected slide and video works, using films that she’s put through the camera three, four times. She’s going to add some shots of window displays, of the architecture of the consumer environment, as well as images from marketing and advertising. What you get out of these amazing over-load images where you have the ghostly face, maybe of a model, or of some kind of advertising display and that face is floating in some kind of consumer display with the clothes, with the shoppers. It’s almost like high fashion and modernist architecture reconfigured through the chaos of Primark on a Sunday afternoon. She’s got all those things together, and we’re displaying these using slide projections, video and some very beautiful platinum prints. What is fascinating about her work is that she’s interested in economics and how the world of economics, which seems to us so rational, you know, if you go to the economics section or the finance or business section in the newspaper it’s facts and figures; the world pretends that this is an arena that is logical. In reality all these things are basically driven by desire, you know it’s like a libidinal economy that Gluzberg came up with, so that’s what her work is about.

IC: I heard you also opened a new gallery in Germany?

NH: We opened a new space in Dusseldorf, Germany in September, and this German space is showing Adam Broomburg and Oliver Chanarin. They’re two photographers who have been

working together for over fifteen years. South Africans based in London. They’re fascinating because they’ve been disengaging from the position of documentary photography for five or six years now; they kind of lost faith in the medium. So all their work since basically almost questioning what photography is and how it works; what images mean, how we conceive them, how they circulate and operate. They are doing a show called “Poor Monuments”, and it’s based on a book that Bertolt Brecht published in 1955 for the War Primer. Brecht basically took a series of images, named it “Conflict In War”, and he published these as photo-epigrams.

The book is 85 pages of images of Nazi Germany from the Death Camps, Hiroshima, from all the fronts, from the home fronts as well. What is interesting is how images manipulate us, how people use them, how power uses images as propaganda, and what he wanted his book to be, hence the word “Primer”. It is almost like an education on how to read an image, or how to pull it apart. They physically bought 100 copies of Brecht’s original work and they created “War Primer 2”, and they super-imposed literally just using printing and sticking on top a contemporary image for every single image of the Forties and Fiftees that Brecht used; an image that will carry the same sense. So there’s one image that is an arial shot of a city being bombed from very high up. It was probably taken by one of the bombing planes, and it has a wonderful line in it something like “these were sons of fire they came out of the light” etc and the have super-imposed a 9/11 image on top of that. They went through the entire book doing that. The point being is that obviously these images are portrayed exactly the same way; essentially nothing has changed.

Article and Interview by Indira Cesarine Assisted by May Mansour & Emma Corbett

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Jewelry and Falcon Hood by Sabine Roemer Dress By Ralph and Russo

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sabine roemer sabine roemer the jewellery artist, is one of the best kept secrets in luxury bespoke jewellery. Each piece is meticulously hand crafted using the timeless techniques of a trained goldsmith, with intricate and delicate details that demonstrate a true perfectionist.

Sabine chose her path from an early age, training and exploring the craft from just 15 years old. Seven years later, she graduated as the youngest female Masters student from Germany’s Pforzheim Goldsmith and Watchmaker school.

Sabine’s work is inspired by nature and her surroundings. Every part of her life brings something new to each design. Whilst running through a park, her mind will find inspiration and see a bespoke piece of jewellery, or a beautiful sculpture come to life from the most unexpected, mundane objects that most of us choose to ignore.

The discerning goldsmith, Sabine’s jewellery is decadent and attention grabbing with a thick patina of 18 carat gold. Each piece in her first bespoke collection, Arabian Nights, details her love for animals and their folkloristic ornaments. The main inspiration of the collection comes from Sabine’s childhood memories of the fauna that populated the stories of Arabian Nights that her grandmother used to read her. The Shahryar Falcon Hood, a black leather hood in 18 carat white gold with pave diamonds and large centre-piece emeralds, is a stunning work of art to represent the majestical properties of the Falcon. The Scheherazade Horse Ring in 18 carat gold decorated with white and black diamonds, pink sapphires, green tourmalines and rough diamonds; and the Parizade Camel Ring in 18 carat gold with white pave’ diamonds, rubies, pink tourmaline and green peridots both form miniature sculptures to be worn and adored.

Whilst the organic and holistic premise of ‘nature’ is prevalent in each piece, particularly in the Arabian Nights collection, Sabine has an acute desire to add ‘laughter’ to her designs. She cannot simply create something beautiful, it needs to have life and it needs to make the viewer appreciate the complexity of the craft but also delight in the pieces. She is determined to take the reverence away and make luxury jewellery and art feel fun, charming and engaging.

In a world of diamonds and gold, where it is easy to become swept away by bejewelled luxury, it is refreshing to come across Sabine’s low-maintenance glamour. In 2010, Sabine led an expedition to the Himalayas for an artistic collaboration with local traditional craftsmen in the Ladakh area. However, this trip unfortunately coincided with the Pakistan floods. Caught in landslides, the team raced against forces of nature, sleep deprived and panic-stricken, for four days until reaching Kashmir

and finding air transportation. Throughout the journey, the team were overwhelmed by the level of support and generosity bestowed upon them which only heightened their determination to help those who supported them by founding the ‘From You With Love’ charity. Sabine designed the ‘From You With Love’ bracelet from which proceeds will help orphans and vulnerable children in the Ladakh area.

The trip to Ladakh mirrored an earlier visit to the Kalahari desert in 2010. Sabine’s passion for original, organic craftsmanship led her desire to collaborate with local bushmen in support of the local trade. Together, they created a collection of jewellery using a combination of original and modern techniques. The pieces are now available at Dover Street Market and Browns.

These are just some of many philanthropic projects that Sabine is passionate to support. For the past five years, Sabine has collaborated with the Nelson Mandela Foundation, creating unique, one-off pieces for auction, one of which is the jewelled sculpture of Mandela’s hand that Morgan Freeman bid for in 2009. Freeman went on to commission a diamond and emerald set 46664 bangle (Nelson Mandela’s prison number) which he wore when attending the Oscars as a nominee for his role in the movie Invictus. After the red carpet, Freeman wore the piece on The Jay Leno Show before it went to auction at the South African Football World Cup. Not one to stand still, Sabine has recently travelled to Edinburgh to support The Elephant Family Charity by unveiling a unique hand-painted Hornbill sculpture, for auction, finished with a hand crafted sterling silver mask set with feathers, pearls and a 383 carat ruby. The next stop was Milan to finish her piece for the 2011 Elephant Parade - the world’s largest open-air art exhibition. Each year, the Elephant Parade is hosted in different countries across Europe, this year taking place in Milan and Singapore to raise awareness for the Asian elephant. In 2010, the London exhibition featured Sabine’s ‘Emerald Queen’ in Selfridges.

Sabine’s remarkable ability to bridge creativity and philanthropy is her gift to the world. Her love for nature moves her in multiple directions, with her intricate craftsmanship and attentive eye for detail. Her art gives so much more to the viewer. Her designs are one’s to watch and wear.

Article by Mia Grewel Photography by Indira Cesarine

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gazelli art house LONDON

Throughout 2011 Gazelli Art House

presented a five part thematic series of exhibitions based on the “five classical elements of Fire, Earth, Water, Air and Ether”. The first two exhibitions, “Fired Up” and “Down To Earth”, revolved around the elemental themes of Fire and Earth, while “Still or Sparkling” examined “Water in all its mercurial beauty... the intuitive emotional qualities associated with water and the special place it was believed to inhabit between air and earth in classical symbolism.”

Each individual show takes place in a different, independent venue with the aim of encouraging viewers to interpret art in a bespoke space removed from the typical “white cube” exhibition space of the conventional art gallery. To this end, Gazelli Art Houses’ Director, Mila Askarova, presents her viewers a unique experience. Mila Askarova is an internationally prominent figure in the art industry, having worked at Sotheby’s, curated exhibitions in Baku and Istanbul, studied Collecting Contemporary Art, Independent Curating and Art Business at Central St. Martins and Christie’s Education and co-ordinated the Azerbaijani pavilion at the Venice Biennale, 2011.

Set over two floors of an elegant Georgian town house in Belgrave Square, “Still or Sparkling” showcased a range of artists whose creative diversity produced a spectacular display of works examining the “intuitive emotional qualities associated with water.’’ Artists featured in the group exhibition included Kyung Woo Han, Henry Krokatsis, Mike Calway-Fagen, Hyo Myoung Kim and Noguchi Rika. Gazelli Art House had selected the perfect space for the exhibit. The venue presented spacious, light and airy rooms with ornate fireplaces, large bay windows and worn wooden floorboards into which an eclectic mix of works were flatteringly exhibited.

Guests were enchanted by the work of Henry Krokatsis whose distinct pieces, ‘Leaded Windows’ and ghostly gossamerlike smoke paintings, caught the attention of every viewer for their originality. His sculptural glass piece, “Leaded Windows,” constructed from reclaimed and re-worked glass conjured a mystical quality. Redolent with spiritual symbolism, when lit up, the sculpture reflected beautiful, stained glass window like shafts of light around the room. As Mila Askarova, the exhibition’s curator sated: “Krokatsis conjures up both a magical and spiritual quality from re-working these aged materials into deceptively familiar

objects such as leaded glass windows.”

Another highlight of the show was Kyung Woo Han’s installation, “Green House,” which, having been built from chairs and tables placed in unnatural positions, appeared to float in mid-air. The installation made the room look very surreal; as though it had been half-submerged and turned into a pool of floating and distorted objects. Filling the whole room, guests were able to walk amongst the floating objects and immerse themselves in the fantastical scene.

Noguchi Rika exhibited a suite of ethereal new works titled “Maruba”, created with a pin hole camera technique. She uses light to evoke dreams of flying and space travel in her first London exhibition. Rika’s dreamy and sublime stripped-down images are evocative of watercolours and emotionally owe a direct succession to the works of the 19th century Romantic painters.

In contrast to the beauty evoked in Rika and Woo Han’s pieces, Mike Calway-Fagen’s installations were both humorous and quietly disturbing. Featuring taxidermy and subverted found objects, he aimed to provoke the viewer into building their own story of interpretation. Works on show included “Progression of Regression” which featured a taxidermy Alsatian at rest on the flattened and skinned pelt of a wolf. He also presented a ‘ghost’ installation derived from objects found in and around Belgrave Square. These secret items were placed around the study in situations and places where their weight left an impression, for example on the carpet. Over the course of the exhibition period the clarity of these impressions and the record of their existence would fade from view. Finally, Hyo Myoung Kim presented chromophotographic works from his series of light and sound-sensitive digital works. Having only recently graduated from the Slade MFA programme, Hyo’s work certainly came into prominence in

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Gazelli’s show. One key observation to take from the exhibition was the extent to which each artist had worked in dialogue with the elemental theme to produce individual and diverse works. The range of artistic methods and conceptual ideas showcased were all individually inspiring.

The penultimate exhibition in the series, “Air I Breathe”, opened on August 24th at the Rochelle School in London. The exhibition celebrated the “contradictory nature of this most divine and pure substance” by looking at the work of five ambitious artists.

The exhibition’s location was kept under wraps until the night of the opening reception when Gazelli’s confidantes sauntered into the Rochelle School in London for a private viewing of the exhibit. This time, the creative inspiration behind the show came from the elemental qualities of “air”. The venue certainly offered limitless possibilities to the show’s artistic talent. Set across two airy, high-ceilinged floors with expansive windows offering an influx of natural light into the exhibition space, the school provided an ideal space for a show grounded upon installation based sculpture.

According to the Art House, Air is “seen as both superficial and representing the intelligence of the soul, Air was also believed to own the twin properties of heat and moisture in ancient Greek medicine and was associated with blood as one of natures ‘humours’.” Although presenting a mouthful of information to fathom, with all things said and done previously, the exhibition succeeded in providing its viewers with an intriguing collection of works by both established and emerging artists who, for the first time in the series constructed site-specific installations.

Mila Askarova, CEO and founder of Gazelli Art House, curated the show with the aim of it being ‘at turns provocative and simply beautiful.’ As she stated, ‘Air I Breathe will be a thoughtful counterpoint to our usual concept of what a commercial gallery exhibition can be.’

Among the artists exhibiting their works in the collaborative group show were Craig Little and Blake Whitehead who have worked together under the title of “Littlewhitehead” since their academic years at the Glasgow School of Art in 2007. With an artistic track record of producing a simultaneous blend of provocative and humorous works, which have, in the past, fixed them a solid place amongst the Saatchi Gallery’s greats, guests had high expectations. ‘We want to beat you up visually’ is the phrase that Littlewhitehead use to describe their desired reaction to their work. ‘Beat us up’ they certainly did with an installation piece of a hyper-real figure of a man’s corpse lying on a pile of ‘gyrating sand.’ Playing with illusions of reality, Littlewhitehead’s piece provoked its viewers with feelings of curiosity and uneasiness.

After a few moments, however, the piece does become, perhaps wrongly, amusing.

Each artist responded to the show’s conceptual source in an individualistic way, offering a diverse display of works and ideas.

Reputed for being the first sound artist to exhibit in the Saatchi Gallery, John Wynne’s sound installation was certainly the highlight of the show, providing resonating sounds of high and low frequencies throughout the exhibition space making guests aware of the ‘air’ around them at all times. John has a PhD from Goldsmiths, his award-­winning work has been exhibited and broadcast widely around the world. Kate Terry’s intricately constructed thread installation dramatically transformed the same space into a visually rich scene that echoed and complimented Wyanne’s reverberating sounds with an appearance sprung from harp strings. On the floor below, Yoonjin Jing showcased orientalinspired paintings and wall sculptures alongside a flickering light installation piece that tricked its viewers into different modes and degrees of ‘seeing.’ ‘Yoonjin attempts to aid the viewer to an appreciation of the ‘unseen’ and to stimulate a discovery of what lies between the fragile boundary of invisibility and the visible.’

Underlying each piece was the sense of how each work both

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responded and interacted with the air, whether through the use of sound light or movement, the exhibition’s airy space was successfully played upon.

Gazelli Art House presents its five-part exhibition series in order to offer an introductory insight into the work of the Gallery, which will establish itself as a permanent gallery space in London in 2012. In

an interview on Gazelli Art House, Askarova stated: ‘Gazelli Art House, a new approach to commercial art organisation, was found on the premises of providing a new setting for the understanding and creation of art.’ We look forward to viewing the final part of the inaugural series, ‘Bodhi’ and to the opening of the exhibition space in June next year.

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Jan T A M I N I A U H AU T E CO U T U R E

Since launching his first collection “Jantaminiau” in 2003, Jan Taminiau’s designs have received glowing reviews and international acclaim. From showcasing his latest designs during Haute Couture week in Paris to being worn by, none other than, international style icon Lady Gaga in her latest hit music video, ‘You and I.’ Known for her brave, extravagant and often highly provocative style, Gaga has worn everything from pieces of meat to plastic bubbles.

Taminiau’s experimental use of cork poses another box for Lady Gaga to tick off in her eccentric and wonderful wardrobe.

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As a person, Jan Taminiau is refreshingly modest, unassuming and level-headed. As a designer, his skill is pure, raw and untainted by society’s consumerist, increasingly sex-driven direction. At the heart of his designs are notions of purity and beauty. Having watched his recent show at Paris Fashion Week, it is evident that Taminiau’s forte as a designer lies in his seemingly natural power to manipulate materials and his innate ability to conceive designs which are not simply beautiful or evocative pieces, but art forms in their own right.

Born in the Netherlands in 1975, the Dutch, self-described ‘artisan’ has been coined the next big haute couture designer by a number of leading fashion critics. Jan Taminiau’s design career first received recognition on an international scale in 2005 after he exhibited his “Mailbag” Collection at The Fashion Institute of Technology. Prior to this, Jan Taminiau studied at the Academy of Art in Arnhem and completed a master’s programme at the Fashion Institute of Arnhem in 2003. After completing his studies, Taminiau took on traineeships in Paris with Olivier Theyskens,

Hubert Barrere, the corsetier of Dior, and Yves Saint Laurent, during which time he developed his strong affiliation with romantic styles. Previous collections include ‘Equilibre,’ ‘Reflections’ and ‘Polstak.’ In October 2008, Jantaminiau launched his first preta-porter collection which came into stores, under the name of ‘Passe-Partout,’ in 2009.

In 2012, the Jantaminiau label is set to enter into an alliance with World Horticulture Expo, Floriade 2012. Taking his designs even higher into the public eye, he takes on the task of creating five unique designs for the Expo and organising the Floriade Fashion Week in May 2012. The two brands will make an interesting alliance as both represent ‘Dutch icons’ with international appeal. Like Floriade, Jan Taminiau shares a passion for culture, nature, quality and sustainability as well as timeless expressions of contemporary beauty. Many of Jan Taminiau’s design have been known for incorporating recycled materials, showing huge respect for nature and the environment.

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“What I find interesting as a designer is trying to visualise or entreat the dialogue to where it could go or where we are going...”

Jan Taminiau

Designing since 2004, Jan Taminiau believes in a return to traditional craftsmanship and prefers to move away from the synthetic concepts of mass production. ‘I leave the fast-moving and fickle world to return to what is nowadays almost a nostalgic source: security, respect for craftsmanship and an awareness towards the importance of transience...’ forms the make-up of his creations.

seemed more suited to the stage of an opera or in a museum than worn in real life.

The Untitled Magazine had the chance to cover Jan Taminiau’s 7th collection at Paris Fashion Week entitled “Nature Extends”.

Transporting his audience into a fantastical natural world, 7ft tall heeled models appeared as part human creations, born from the undergrowth of a mythical forest. Soft, metal chimes rang and echoed as flashing, branch-like lights dropped down from the ceiling and lit the room to create a dim, mysterious atmosphere.

The models walked across the stage in a bird-like manner with glowing eyes, appearing like sirens in their golden wonder.

JT: The inspiration of the show was extending nature and what would happen if we could extend nature more because we can do more, like we could do more with cloning or plastic surgery and all these kind of things. What is the story, what would happen if I could do anything? That is why we had all the muscle tones showing. What would happen if we took off the skin? What is underneath would show. The same idea is behind the boot straps which looked like animal legs that grow out of you. It is so beautiful so that is why we used all of these materials – it is all tall, long and proud.

Taminau’s latest collection beautifully merged art with fashion creating other-worldly creatures of fantasy and beauty. Spiralling flowers blossomed, forming high, intricate collars around the models’ necks. Legs appeared covered with a supple, cork-like material. The models wore sky-high, heel-less platforms which gave them hoof-like shaped feet as if they were a creature of mythology, a centaur come to life. Nature Extends pushed the boundaries of wearable materials by incorporating cork. Other pieces were steeped with shimmering gold to silver fading sequins. The dress that added an ultimate sense of grandeur to the collection was the floor-length silver-yellow toned dress with feathery details and magnificent wing-like shoulders. Romantic and dramatic all at once, Nature Extends wonderfully moulded itself out of the other-worldly origin from which the inspiration from the collection was conceived. It left the audience positively inspired by the beauty and creativity of the collection which

Indira Cesarine interviewed the much appraised designer-of-themoment backstage after the Nature Extends Runway Show.

IC: Can you tell me about the collection and the inspiration for the show?

IC: There seemed to be some shapes of birds and elements of trees, what exactly was the material that you used because it had a bit of a wood/cork-esque kind of feel to it?

JT: Yes it was cork, we boiled it and made strips out of it and re-attached it again to get this whole woody kind of feel and we made these flowers to get the whole, I don’t know what it is in English but you have these really beautiful flowery shrubs growing against the trees so those elements we all used and mixed up for the collection.

IC: It is a stunning collection, there were lots of beautiful golden tones, was there anything behind that?

JT: I had these beautiful golden nails we used that came from the gold tones of the sun and nature. When the sun hits gold it lights

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Looks from the “Nature Extends” Fashion Show July 2011, Paris

up beautifully and is just such a stunning colour. We used an aged gold which on the long dress went from silver into brightening gold tones and the short dress also, slowly tonally moved up to gold. It is the same as morphing – one colour becomes the next until it all becomes one.

IC: This collection was very different from your last collection with the grey, woollen pieces. Was there any reason why it has such a different feel? The visual direction and the colour palette has more of a fantasy effect, and seems a lot more romantic in this collection, can you tell me about that?

JT: The last collection had also the fairy-tale but the fairy-tale was more about the whole world we are in. You can’t not be physical anymore so that was what I really wanted to show there but because that is a really harsh and scary thing. In the sense that you are not able to be visible, we had all of the covering of the faces and platforms in a more fragile shape and all the heavy

material was glowing or reflecting in the dark so you would always be visible, so more or less, it has the same basis. What I find so intriguing in the vulnerability of being in the now and being visible everywhere and knowing you are visible or knowing you are not visible so you are kind of like a bird – hunted in a way by the camera. Very interesting feeling. What I like about being in the now is that anything can happen. What I find interesting as a designer is trying to visualise or entreat the dialogue to where it could go or where we are going and how we can cope with that or not.

Video by Indira Cesarine Photography by Pascale Vincent Marquis

WATCH THE VIDEO:

www.untitled-magazine.com/blog/jantaminau-haute-couture

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F OR D PRO J E CTS Having launched itself as a unique venture at the start of this year, the newly founded fordPROJECTS opened its gallery doors to a sprawl of New Yorkers for its inaugural exhibition in January. Since then, the gallery has presented over 6 different exhibitions in collaboration with leading curators and contemporary artists.

Located above Ford Models at 57 West 57th Street, in an airy, dual-level penthouse, the gallery was conceived by Creative Director, Tim Goossens, former member of MoMA PS1’s curatorial department, and Rachel Vancelette, former manager of the Domus Collection Beijing/NYC and Director of both Barbara Gladstone and Yvon Lambert galleries. The venture itself was founded by Altpoint Capital Partners, Ford Models’ parent company. Adopting an ambitious plan to curate and showcase an exhibit every 6 weeks with different curators and themes, Goossen stated: “fordPROJECT will serve as Ford’s commitment to the arts and artistic expression. Unlike a traditional gallery format, in which a stable of artists is represented, fordPROJECT’s compelling approach engages the global art community in exploring cutting-edge practices while working with both top leaders in the field and emerging voices.”

The Untitled Magazine’s Editor in Cheif, Indira Cesarine, attended two of the gallery’s first wave of exhibits. The inaugural showing, launched on January 19th presented a promising exhibit entitled, When the Fairy Tale Never Ends. Unsure of what to expect from a company most known for its modelling agency launching a contemporary art space, it was a pleasant surprise to see that the artwork on display, as well as the crowd at the event, were, for the most part, rather unfashionable! Perhaps unexpectedly, no skyscraper-tall models were present, sending all the attention from the serious artsy crowd toward the artwork.

Curated by Lara Pan, the innovative and styled gallery space featured the work of both established and emerging contemporary artists. The concept of the exhibit, according to Pan, revolved around the “evolving nature of fairy tales in modern society,” as well as “the colliding myths and youthful fantasies that permeate cultures throughout the world.” The exhibit itself addressed

‘overarching themes of beauty, intrinsic value, the transgressive quality of fairytales in contemporary culture and the often unrealistic adolescent expectations for an idyllic life.’ Among the works featured in the show was an unassuming 26-minute video piece by Eleanor Antin, in which the artist explored the physical manifestation of the sociological pressures which women face in modern western society. This was done by picturing the artist dressed in a tutu in 1975, trying to capture the gallery audience with a monologue explaining her strategy for becoming a famous ballerina. Carabello-Farman’s video installation, Midnight, figures the story of Cinderella in reverse at high speed, urging its viewers to question the naivety behind her transformation.

Other pieces, such as Gretchen Ryan’s Girls in Peril and Panni Malekzadeh drew parallels between youthful feminine notions of an idyllic life and the harsh realities faced by many women in the world. Malekzadeh’s piece, Peep Show, attracted a lot of attention.

A large pastel coloured canvas, the painting depicted the interior of a brothel with an overlay of neon advertising signs which brought to light the sordid realities of the sex industry. Creating a more light-hearted response was Kenny Scharf’s Junglasia, which presented viewers with a colorful painting, allowing direct access into the artist’s fantastical imagination. Painted in a surrealist style, consistent with many of his more recent works, the jungle inspired scene generates positive feelings relating to childhood memories. Other artists in the exhibit included Michael Aerts, Valentina Battler, Henry Darger, Braco Dimitrijevic, Wim Delvoye, Enright & Eagleton, Kent Henrickson. Amongst the captivated crowd were the likes of O. Aldon James Jr, the President of the National Arts Club, Heather Dell, director of Cristin Tierney Gallery, David LaChapelle and Daphne Guinness.

Returning to the gallery for the third exhibition entitled, Heading

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for a Fall: the Art of Entropy, was refreshing as the gallery had taken on quite a different concept. Exploring “the tendency of matter to move from order to disorder,” the group exhibition featured artwork by four emerging New York based artists: Lisha Bai, Lucy Indiana Dodd, Alexander May and Naama Tsabar, who are “linked together by notions of entropy, alteration, deformation and the use of natural materials.”

The exhibition offered individual interpretations of entropy – the concept that matter moves naturally from order to disorder – through distinctive and imperfect works of sculpture, painting, drawing and installation. Naama Tsabar’s installation, Sweat 2, which was meant to literally fall apart while on view, served as inspiration for the themes and mechanisms of alteration, deformation and use of natural materials seen throughout entropy. In her paintings, sculptor Lucy Indiana Dodd distorted canvasses that projected from the wall. Dodd created the works by wetting a stretcher and then bending it into a new form. She then painted the surface with a mixture of sand and pigments from natural materials. Lisha Bai played with ideas of gravity and erosion in a series of rammed earth sculptures. These sculptures were constructed from columns of varying heights and seemed to decay before the viewers’ eyes.

Other exhibits at the gallery this past year included Involuntary, curated by Neville Wakefield, which was also part of the 2011 Armory Art Fair’s VIP program, and was based on “the premise that most of our interactions with the world are governed by restraint and decorum but others are involuntary and beyond our control”. Summer Affair, which opened at the end of June, featured a group exhibition of works by Alessandro Belgiojoso, Winston Chmielinski, Shin il Kim, Virginia Overton, Manuela Paz, Christopher Saunders, Stephen j Shanabrook/Veronika

Georgieva, and Zdravko Toic. Reflections was brought together in collaboration with one of Japan’s leading contemporary Art Galleries, Tomio Koyama Gallery, from Tokyo. The group exhibition which took place between September and October showcased three young Japanese artists, Hideaki Kawashima, Makiko Kudo and Toru Kuwakubo. “A new generation of Japanese artists is emerging with a unique vision that provides an innermost perspective of the “self” when seen through the looking glass of Japanese society. The paintings selected for this exhibition can be characterised as a glimpse into the souls of the people as seen by the observer.”

Through their exhibitions and collaborations, the gallery pushes the boundaries of the traditional role of a gallery and its relationship with collectors. The current exhibition Name. Date. Title., which opened November 7th and will continue until December 21st, 2011, was brought together in collaboration with BLACKLOTS, a new online art auction platform. The exhibition includes works

by Jason Gringler, Benjamin Martins, Vargas-Suarez Universal, Virginia Inés Vergara, Panni Malekzadeh and Helena Kauppila.

“By incorporating BLACKLOTS’ art inventory into fordPROJECT’s curatorial program the companies are creating a new hybrid art buying experience. The collaboration between auction company and commercial gallery partnership creates a new perspective marking the future of how a viewer can experience and acquire an artwork… Name. Date.Title. These seemingly blank, spare words capture gallery and exhibition signage the world over; the discrete labels of uniform size, colour and typeface. In the late modern age of international art fairs and biennales, they have become part of the curatorial lingua franca which has helped to shape the experience and reception of art practice for a generation of spectators.”

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I N T E R N AT I O N A L

R U N WAYS

New York first wrote ‘Fashion Week’ into their event calendar in 1943 in order to draw attention away from the then elite French fashion scene. A week-long event devoted to fashion may have seemed extravagant for some in the 1940s, in the midst of World War II, but in today’s commercially driven culture, and the fashion industry now accounting for a huge proportion of the worldwide economy, it seems just a single week or the renowned ‘Big Four shows,’ will no longer suffice for our fashion fraternity at large. Each year, fashion followers from all over the globe flock to soak up both word and sight of the next new designer, the season’s musthave trends and the whose-who on the front row. Fashion weeks have now become glorified hubs for publicity. The event stretches beyond the field of fashion at times, celebrating the aura of the celebrity, the latest advancements in technology, the influential status of magazines and the creative minds of hundreds of designers. Fashion Week is now a year-long phenomenon, with the hype from one event lasting up until the next ‘big’ event worldwide.

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I ND I A / C O PE N H AG E N / Ber l i n b ue n os aires / to k yo / k iev

Designskolen Kolding - COPENHAGEN

Trash Couture - COPENHAGEN

For years, four fashion capitals, Milan, London, Paris and New York have set the pace, each competing for the top position in the industry. However, in the last decade alone, the industry has witnessed a huge shift and the competition has become just that little bit greater as ‘Fashion Week’ inspired events have surfaced as annual events in Turkey, Malaysia, Iceland, India, Russia, Germany and many more countries. With such diverse cultures, these emerging fashion capitals are bringing a fresh look to fashion through the instillation of their traditional practices into the industry. The Untitled Magazine went further afield for its dose of Fashion Week this year.

First runway: Lakme Fashion Week. With Fashion Week catwalks cropping up in countries and continents around the globe, fashion lovers can now follow runway collections throughout the year.

Lakme Fashion Week presented an explosion of Indo-Western colour, culture and tradition. Conceived in 2000, with a vision to integrate India into the ‘global fashion industry,’ not just as a contributor or a new-event-on-the-block, but as an event which would lead fashion trailblazing into new, Indian-inspired areas of creativity, Lakme Fashion Week has become an established event

HTW - BERLIN

on the annual fashion calendar. Now in its 11th year, and having gained a firm international reputation, Lakme set out to welcome the arrival of S/S by celebrating traditional Indian craftsmanship in many of its designer shows.

Lakme showcased the skill of India’s most prestigious and emerging designers internationally and shed light on the talents of make-up artists, models, stylists, producers and photographers.

Organised by one of the largest cosmetic brands in India, Lakmé and IMG, The Grand Hyatt in Mumbai hosted catwalk shows for a record 87 designers, amongst which were the likes of Manish Malhotra, Neeta Lulla and Prajwal Badwe.

What clearly sets LWF apart from ‘the Big Four’ is not only its unwavering support of fresh, emerging talent but, most sagaciously, the attention it shows towards upholding a strong national identity to excite Indian consumers without brushing off international alliances and influences. Indian designers, such as the renowned Manish Malhotra, took to the catwalk last season merging celebrated Western shapes and Parisian couture designs with Indian street style and Sari silhouettes. Designer

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Neeta Lulla showcased a collection based on the Kalamkari art form. Elaborating on her designs, Lulla stated: “It uses a form of Kalamkari called Sri Hastakala, which is married with velvet and French lace to create a contemporary look.” Other designers to fuse Indian art forms with Western inspired designs included Shashank Raj and Prajwal Badwe. Badwe’s collection combined Indian royalty with the romance and extravagance of the Elizabethan era. Payal Singhal merged traditional Indian costume with the futuristic world of stage fashion and Pallavi Goenka used heritage textiles to create layered designs rich in surface texturing. Footwear designer Rohan Arora stated, “the trick lies in fusing the benefits of modern style with a design which makes you go back to your roots.’’

The international praise received by such designers speaks volumes for the event’s emerging success. With such a traditionally unique and, for the most part, internationally unexplored textile heritage, it was refreshing to see Indian designers introducing traditional, yet cutting-edge, high-fashion techniques, to an international audience. In a consumerist society so reliant upon mass production, the rich display of Indian craftsmanship certainly took the international fashion scene by a hold.

Fashion journalist, Sophie Bak flew to the Ukraine to report on the second wave of its newly introduced, Kiev Fashion Days, last season. Having fostered private atelier designers for the length of its existence, the Ukraine has been notably slow to emerge internationally in previous years. This was the case up until recently, when Kiev’s Old Military Factory, situated in the heart of the city, became the meeting point for a gathering of its most talented designers in the Ukraine’s first international fashion event, Kiev Fashion Days. Aiming to ‘provide a platform for the integration of the Ukrainian fashion community into an international context and promote Ukrainian designers to the world fashion scene,’ KFD saw the rise of several designers after its inaugural show.

This Autumn/Winter, KFD showcased an even more ambitious wave of designers with a line up of hot-to-know names, including Lilia Pustovit, Fyodor Vozianov, Vitaly Pavlishin, Igor Kikot, Sasha Kanevsky, Valery Kowalska, Ksenia Marchenko and Maria Reva.

Kiev-born designer, Sasha Kanevsky whose designs were inspired by safety and work apparel presented a collection which incorporated synthetic fabrics mixed with wool and jersey to construct versatile garments for both women and men. Sheer tops and leather backpacks also hit the runway to create an interesting contrast. Representing international fashion was British designer, Ada Zanditon who stunned the audience with her ‘Jupiterinspired’ collection, Cryoflux. Arctic explorer jackets were teamed with long flowing skirts in a variety of prints and colours. Zanditon later presented an influential lecture on the sustainable fashion movement. Swiss Ethical Fashion 2010 Award winner, Wassilissa Bock, and young Kiev designer, Phil Bananov, added to the trend of sustainable style with their eco-conscious presentations.

Pustovit’s show was dominated by an autumnal take on pastels married with greys and an occasional splash of intense orange.

Flowing pleated skirts, layered with knitwear, jersey and rainwear left a sentiment of femininity and fortification. Valery Kovalska’s catwalk closed KFD with a spectacle of translucent t-shirts, draped skirts, shiny-finish coats and geometric tops. Stars of the event included the supermodel Alla, who returned to her native soil to become the face of KFD and walk for Valery Kovalska.

Male supermodel, Lamberto Petri returned to Kiev with La Maison du Couturier. Commenting on the event Petri stated, “I think KFD is the perfect place for development of any European fashion brand.”

An important part of the KFD venture, on top of the official calendar shows, is the introduction of a program of lectures, master classes and workshops for the public and press. These micro-events gave KFD a unique, educational edge which, without dulling down the glamour and pizazz of the fashion, enabled fashion lovers from near and far to engross themselves in, well, MORE fashion! International experts from the fashion sphere, including photographers, designers, critics, magazine editors and press representatives, appeared on stage to spill their wise words. Amongst such figures were Joerg Koch, creative director of the art and culture magazine 032C, Alena Doletskaya, former editor in chief of Vogue Russia, fashion journalist, Godfrey Deeny and Zimbabwe Fashion Week Founder and Director, Priscilla Chigariro. As Bak revealed, ‘It was a sight to see young fashion students mingling with international guests, members of the press and designers – all with one thing in common.’ Photo-projects and exhibitions, by the likes of TOP 10 and LomoFest, alongside visually stunning, off-schedule installations with big poem boards

by Velar jewelry, helped make the event the most diverse to date.

KFD organisers are evidently from a certain layer of the Ukrainian fashion scene; they avoid East-European clichés and focus on cutting edge fashion from all over the world. “Our main goal is to educate, provide an outlet for expression and self-realisation for the new generation of talent in the areas of fashion, photography, art and journalism,” says Daria Shapovalova, the host of KFD. She later added, “KFD was created as an event where young designers from all over the world have a chance to be inspired by each other and expose their work to international press.” In a post-event interview, Shapovalova addressed the important shift that had taken place in the development of the Ukraine’s textile industry for the event to advance in future years: “We need to develop our textile industry, and if Ukrainian designers continue working just with private clients then we will never be able to grow and achieve influential status worldwide.”

Despite this forewarning, KFD had the look of one of the world’s top fashion weeks, with striking catwalk shows, exhibitions and events. The event excelled in its own Ukrainian way by bringing innovation to the already thriving international stage and progressed closer, once again, to stamping international credit onto its exclusive atelier identity.

Germany raised its bid this year to match Paris and London with

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Daniela Sartori - BUENOS AIRES

Alpana & Neeraj - LAKME

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Shida Tatsuya - TOKYO

Banal Chic Bizarre - TOKYO

Poustovit - KIEV

a promising display of designers at its bi-annual Fashion Week in Berlin. Other European ‘Fashion Week’ hosts to watch out for this year included Denmark and Iceland. In March 2011, the Buenos Aires city government hosted the first edition of Buenos Aires Runway at the Metropolitan Design Center (CMD), located in the neighbourhood of Barracas. Designed to showcase local designers, the inaugural edition put some of the finest Argentinean styles on display for the Fall-Winter 2011 collections.

Buenos Aires Runway served as a project platform to celebrate Argentinean fashion as a new creative field, as well as reinforce its integration into the industry and economy. Among the designers who participated in the first edition of Buenos Aires Runway was Argentinian born and based, Marcelo Senra, whose collection brought ethnic and tribal designs onto the runway.

Senra’s designs took her Argentinian upbringing and influences abroad last year when she was selected by the Argentina Ministry of Foreign Affairs to show her collection at Mercedes Benz Fashion Week in New York – an achievement which brings to light Argentinian’s inspiring fashion scene. Min Agostini, who studied architecture at Buenos Aires, brought her construction inspirations into her collection which combined short miniskirts with volumized dresses and urban coats. Like Senra, Agostini also contributed to New York Fashion Week in 2009. The many layers upon layers of silky, sheeny, heavily sculpted material in Fabian Zitta’s designs, accompanied by Mariano Toledo’s leather infused, virile collection worked in dialogue with fashion trends on

Facetasm - TOKYO

an international scale without dismissing the richness of their own South American culture.

On November 3rd, 2011, the second wave of Buenos Aires Runway was presented, featuring designers Pablo Ramírez, Cecilia Gadea, Daniela Sartori, Rodrigo Abarquero, Andrés Baño and Luz Ballestero. In all future editions of Buenos Aires Runway, new talent will continue to be selected, with the goal of offering these emerging designers the professional tools and base to establish adequate connections within the local and international market. With help from prestigious IMG Fashion, Buenos Aires Runway seeks to become a part of the international fashion calendar while also establishing the city of Buenos Aires as a symbol of design and fashion.

The close of the 11th Annual Edition of Japan Fashion Week S/S 2010 brought Tokyo’s fashion industry swiftly buzzing back into the press in 2011 in anticipation of its 12th Annual ‘Japan Fashion Week.’ Preparations for the city’s leading fashion event were well under way with the event’s website packed to its html brim. Daily updates of designers set to feature in the shows, commentary on the schedule for the shows as well as pre-event interviews and carefully refined press releases were broadcast to prepare the fashion industry.

After witnessing spectacular S/S 2011 collections, from designers such as Yuki Torii International, Yukiko Hanai and Matohu, fashion forecasters were on the case of predicting what fresh looks and

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“Our main goal is to educate, provide an outlet for expression and self-realisation for the new generation of talent iN the areas of fashion, photography, art and journalism...”

Daria Shapovalova

trends would crop up on the catwalk for A/W 2011. However, such energy subsided when, on March 11th, just two weeks prior to day one of the A/W event, the planning subsided when worldwide attention shifted towards the sudden, catastrophic events of the Eastern Japan Earthquake. The earthquake and following Tsunami which killed just under 16,000 people was the most powerful earthquake to have hit Japan and the most fifth powerful in the world, reaching a magnitude of 9.0. In the wake of such a catastrophic event, due to the multiple concerns regarding current electricity shortages, unreliable transportation, and general safety the “Japan Fashion Week in Tokyo,” that was scheduled to take place towards the end of March, was cancelled. The JFW committee posted the following statement online: ‘Despite this unprecedented national disaster, we will do whatever we can to keep the business flame burning in order to promote new fashion business, and we deeply appreciate your understanding and support.’

This fall JFW came back bigger and better than ever. “Japan Fashion Week” was relaunched as “Mercedes-Benz Fashion Week Tokyo” (also sponsored by beauty giant Maybelline) and from October 16-22nd, presented the Spring / Summer 2012 Collections. British designer Paul Smith opened MBFWT. In a show of support for his Japanese customers, Smith presented the collection at Tokyo Midtown. He closed the show wearing a t-shirt with “I Love Japan” printed on the back with the Beatles “All You Need is Love” playing to the applauding audience. With a line up

of more than 45 runways shows scheduled, designers to show their collections at MBFWT included InProcess by Hall Ohara, Yukiko Hanai, Kamishama Chinami, and Theatre Products. Some up and coming designers that are worth keeping an eye on include Yasutoshi Ezumi, who graduated from Central Saint Martins, and worked as an assistant at Alexander McQueen before returning to Japan to launch his own brand. Edgy Banal Chic Bizarre is another emerging brand that does not shy away from provocative and eccentric styling. Ambell, designed by Bunzo Kadono, who has worked with Anne Valérie Hash and Véronique Leroy before starting his own label and A Degree Fahrenheit designed by Yu Amatsu who cut patterns for the likes of Marc Jacobs and Jen Kao before launching his collection in Fall of 2010 are two other labels worth noting.

It seems the never ending merry-go-round of world-wide fashion weeks will continue to grow, as an interest in international brands and the internet bring the world closer together. It is refreshing to watch so many culturally inspired collections see the light of day, and markets which would have previously been considered irrelevant have the chance to give their talented designers a voice in the international fashion scene. Not only does it promote cultural awareness, it helps promote international identities and trade, making the world a far more interesting place. The more international runways take off, the more we can look forward to the availability of clothing designed by artists with a unique and colorful vision.

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ALEC MONO P O LY

T H E CO N T ROV ERSI A L ST R EE T A RT IST I N T ERV I E W ED AT H IS LO N DO N ST U DI O

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New York street art sensation Alec Monopoly opened his first London exhibition at Graffik Gallery, Notting Hill in June 2011. Known for his Monopoly Man mascot, Rich Uncle Penny Bags, Alec has made a name for himself as one of the most up and coming street artists, with sell out exhibitions now on both sides of the Atlantic.

At his packed London solo show, he presented iconic portraits of Jack Nicholson and Twiggy juxtaposed with his mascot Monopoly man. The exhibition was tightly presented, with a multitude of impressive pieces. Many of the canvases were coated in archived copies of the Wall Street Journal and sealed with resin, others had a glow in the dark neon effect that was presented in a hallway of black light. Splashes of color were splattered over many of the canvases breaking up the black and white theme he is known for.

In the back garden the walls were covered with massive renditions of his Monopoly character mixed with his other favorites. Guests drank beer and wine in the garden while a DJ spinned in the main exhibition space, which didn’t start thinning out until past 10pm.

landscape in the Big Apple & Cali as his canvas. Arrested on numerous occasions for his street works, he insists on remaining anonymous to avoid arrest. ”This international debut will in fact be the very first time that his show will warrant an appearance by the legend himself as in the last few weeks leading up to this latest New York exhibition, uniformed and plain-clothed police officers made enquiries at the studio and gallery with intent to discover his whereabouts.” It is well known that graffiti artists have been locked up, with their artwork confiscated and destroyed, as to this day it is considered a highly illegal activity, despite its high esteem in the contemporary art world, and the value of the works to society.

“Alec’s work translates from an expletive gesture towards the invisible bureaucratic juggernaut into a multi-faceted array of Pop culture icons interspersed with financially-apocalyptic newspaper clippings. What separates his efforts from other high-profile graffiti artists who have effectively transitioned into the commercial art sphere (a.k.a. Banksy and Mr. Brainwash) is a deeper attraction to the ‘anti-hero’ personas of Jack Nicholson and Robert De Niro.”

The Untitled Magazine’s Indira Cesarine interviewed the artist at his London studio pre-show to talk about his iconic Monopoly Man and what we should expect from the artist in the future:

Mr. Monopoly notoriety has become explosive since it was announced he was wanted by the NYPD for utilising the urban

IC: What’s the story with your name? Tell me a little about it, how this Monopoly thing came about.

AM: I started doing street art a while ago, I started doing a lot of graffiti, I wrote under the name of A2 and when the economy tanked in about 2008 I did some drawings and paintings of

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Bernie Madoff and kind of some cartoon versions of him and I was playing Monopoly one time and saw some cartoon versions of him on TV and I kinda just clicked that the corporate guy is the Monopoly man and I kind of use him as a meta-narrative and a symbol for what is happening in the economy and stuff like that. Around 2008 I started doing the Monopoly guy in the street and painting him and doing paint stubs and I didn’t think people would see me as the Monopoly guy I just wanted to go out there and throw him about and make people think about what was happening in the world.

IC: Tell me a little about where you grew up, and how long you’ve actually been doing this?

AM: I grew up in New York. Growing up in New York and skate boarding, the whole culture of graffiti goes hand in hand with it. My mother is actually an amazing painter; she is more of a classical oil painter. She taught me to draw when I was really young. Painting and skate boarding didn’t really click at first to put art in the graffiti but when I started to do the Monopoly guy it just opened my eyes to the fact that you don’t have to be doing something negative like writing your name which I think is narcissistic just writing your name on something. Most people think that galleries are boring and pretentious so when you are putting art on the streets it is really an attempt to bring art into people’s lives that wouldn’t usually be looking at art.

IC: What is the story with all the arrests? Everybody’s talking about how you’ve been arrested a few times and the controversy surrounding some of your artwork and the police.

AM: When you start to do graffiti you totally accept that it is illegal and that you are going to get arrested and that isn’t the goal, the goal is to get away with it. In cities like New York, they have special detectives called the vandal squad who chase after graffiti artists and pursue us. They are called the vandal squad and they work out of subways. It is fucked up as some of them are graffiti artists themselves. You know the Monopoly guy like stands out of everything as it is immediately recognizable. One day I was walking to my studio and they had found out where it was and

there were two cops standing outside and I was really lucky as my studio was downstairs under a hotel so I could sneak into the hotel. I am really lucky they didn’t get me at my New York show but they did get me later, if the cops are out to get you then you know they will get you.

IC: Are you excited about your show coming up in London?

AM: I am super stoked about my show coming up here in London.

It is my first show coming up out of the States so it is going to be really good. I have been working a lot in the States and I think people all over the world will be able to relate to my work and enjoy my work so I think it is only right that I am showing my work here. Hopefully my next stop is Berlin - I would like to show there, so I am working on that. It is really good to get out of the States and expose my work to a whole new group of people.

IC: Any particular inspiration as far as other street artists, or any artists that you would consider your role models?

AM: I love Keith Herring’s work and Basquiat’s because Keith Herring was the first person to do a cartoon character and that gave me the license to do my Monopoly man, as although it is a simple image there is a lot behind it.

IC: Where do you want to go from here? What do you see yourself doing in 10 years?

AM: Well the whole idea of the street art thing, and the Monopoly man was kind of a joke to me. I was just doing it for fun. I knew growing up that I wanted to paint everyday as I love painting. I want to be an artist, that is basically what I want to be doing. I have a couple of other more classical styles and names that I work under, I am not going to say what, but I would like to build and refine those ideas and hopefully one day combine the two styles.

Video Interview Directed by Indira Cesarine Edited by John Paul Zuviate

WATCH THE VIDEO:

www.untitled-magazine.com/video/gallery/alec-monopoly

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THE

wande r e r

D I OR H O M M E xxxx 43

“The Wanderer”, Shot by photographer Willy Vanderperre, is the latest multimedia editorial campaign by Dior Homme.

The project was specifically conceived by Dior Creative Director, Kris Van Assche, and is oriented to the “new connected generation that gets its fashion and trend information from online magazines and blogs.” The “alternative communication endeavour” consists of a series of nine photographs of the Fall/ Winter 2011-2012 collection shot with an editorial point of view, as well as a fashion film titled “The Wanderer”. The images present a rather mysterious and isolated suburban landscape juxtaposed with streamline cuts of the dramatically lit silhouettes from the fall collection. Slim tailoring and monochromatic tones are juxtaposed with flashes of red. The radically modern aesthetic of Dior Homme is unmistakable, with the photo and video series encapsulating the nonchalant elegance Kris Van Assche is known for. Aside from giving a new insight into the collection, the project promotes Dior Homme in an alternative way to the plugged-in generation. Dior has blasted the images featuring model Victor Nylander to select magazines and blogs, creating buzz for the striking collection and edgy imagery, as well as their ultra modern, viral marketing approach.

WATCH THE VIDEO: www.untitled-magazine.com/blog/dior-homme-the-wanderer xxxx 44

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Top: Run DMC Photographed by Glem Friedman 1985; Bottom: Thierry Guetta’s (AKA Mr Brainwash) versions of the image. xxxx 46

C COPYCAT OPYRIGHT

In our current era of fast-forward information exchange, instant publishing, super-speed blogging and instant screen grabs, intellectual property protection has become as precious as diamonds. These days with a few clicks of the mouse all the original ideas of the most famous artists and creatives around the globe are available at your disposal and protecting good ideas has become close to impossible.

There has been a dramatic rise over the past few years of copyright infringement cases - in particular since the internet explosion of websites and blogs facilitated access to the masses of the latest designer collections straight off the runway, creative industry portfolios and digital music downloads. The limits of creativity in contemporary culture have been challenged on numerous occasions in the past six months as both fashion and art industries have racked up multiple copyright infringement cases that have made the headlines internationally.

In March photographer Glen Friedman filed a suit against streetartist Thierry Guetta, AKA Mr. Brainwash, over an image of rap group Run DMC. According to Friedman, Guetta reproduced his well-known 1985 photograph without permission and used graffiti-art clones to produce artwork, promotional pieces and prints for his debut public exhibition, “Life is Beautiful.” Guetta in fact downloaded off the internet the iconic image of Run DMC, considered to be one of the most famous images ever produced of the band. He projected it onto a piece of wood and painted the image as well as glued 1,000 pieces of vinyl records to the piece, although the image itself remained clearly recognizable. He also did several other renditions of the image as limited edition screen prints.

Friedman’s lawyer, Douglas Linde demanded a percentage of the indirect profits from Guetta’s exhibition as compensation for his infringement based on the terms that, in copying Friedman’s image, Guetta diverted trade away from his business and diluted the value of its rights and that he was a “blatant plagiarist.” It was alleged that Guetta profited from the artworks and that the image was distributed in acts of “widespread self-promotion”. In response to such claims, Guetta claimed his actions were protected by fairuse laws and freedom of speech.

The California federal judge Dean Pregerson dismissed Geutta’s argument, ruling that transformative fair use law was not a legitimate defense in the case. “To permit one artist the right to use without consequence the original creative and copyrighted work of another artist simply because that artist wished to create an alternative work would eviscerate any protection by the copyright act,” said Judge Pregerson in his ruling. “Without such protection, artists would lack the ability to control the reproduction and public display of their work and, by extension, to justly benefit from their original creative work.” The decision will most certainly impact the art world, as it will limit artists the ability to freely use manipulated images in art, which has previously been successfully defended with the transformative fair use law.

The case also flags up warning signs to the street-art industry’s common use of iconic imagery, which has remained a fairly undercover practice. This under-ground status has been lifted in recent years as street-artists, such as Alec Monopoly and Thierry Guetta, led by the likes of Banksy, have started exhibiting their work formally.

This shift, along with an increased price tag on their works, has changed the status of both their work and their roles as artists.

Many street artists have been pre-disposed to use popular images in their artwork, like the Monopoly man, which, when brought into the context of formal exhibitions, extinguishes the artist’s previous anonymity and, with the added effect of a hefty price-tag, opens their practice up to previously unregistered copyright accusations.

Photographer Janine Gordon has not been as fortunate with her copyright infringement accusations against fellow fine art photographer Ryan McGinley. Gordon accused McGinley of copying over 150 of her photographs over the course of nine years, notably for various commercial campaigns including Levi’s.

From the onset of hearing such an accusation it seems that either

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Right: Photography by Janine Gordan, Above: Shoes by Christian Louboutin

McGinley is some form of creative stalker, with no creative originality to his name, or that Gordon deems herself the only photographer able to photograph certain poses. However, on taking a closer look at the ‘evidence’ for the case, one can certainly determine similarities in some of their photographs and understand, to an extent, why Gordon has brought the case to court. Both artists have exhibited at the same museums and galleries over the years, including the Whitney Museum of American Art, Schirn Kunsthalle Gallery, Ratio 3 Gallery in San Francisco, Peter Hay Halpert Fine Arts and Team Gallery. Gordon claimed McGinley’s proximity to Gordon’s work “during the preparation and display of the Whitney exhibition in which he participated,” gave him “total and complete access to view and examine the Gordon images featured in the 2002 Whitney Biennial.” According to the 50 page document, McGinley was accused of copying Gordon’s ‘original’ signature style. As her supporter, Julio Mitchel, Gordon’s former photography teacher at The Cooper Union School of Art, asserted, ‘it is true that one artist’s work can overlap in idea or style with another, but I have rarely seen, as I do here, such a consistent overlap of a series of works created by one artist over years with the works of another […] I can identify an obvious and latent similarity parties’ works as well as in their themes and energy. Changing the direction of a head, a background setting, or a slight color shift, does not constitute a new vision where the lighting, content and composition are the same.” Former New Museum curator Dan Cameron supported Gordon’s case in an affidavit. “My longterm expertise as a critic and curator gives me, I believe, sufficient authority to say, without hesitation, that Ms. Gordon’s work is completely original, in concept, color, composition and content, and that Ryan McGinley has derived much of his work from her creations,” he writes.

Despite such support from art world authorities and having works in the permanent collections of the Whitney, SFMOMA amongst numerous other museum and gallery exhibits internationally, Judge Sullivan deemed the case ‘not a serious dispute’ adding, “you know you can go to the MOMA and have this conversation […] I really do think this is as basic as it gets and I don’t think this is copyrightable.”

Quite ironically, the Judge relied heavily upon Gordon’s own visual evidence in dismissing the case, “the Plaintiff’s apparent theory of infringement would assert copyright interests in virtually any figure with outstretched arms, an interracial kiss, or any nude female torso’s.” Gordon’s case did in fact take the infringement accusation

deeper than simple compositional copy. Unfortunately for creative people within the realms of fashion and art, copyright laws do not protect ‘ideas, principles or explanations.”

The case is currently under appeal, which was due to be heard on December 2nd, although Gordon petitioned the U.S. Court of Appeals for the Second Circuit for a 60-day extension because of the holidays and so she has time to “educate myself in the law,” as she will be defending herself. McGinley, as well as co-defendants Levi’s, Team Gallery and Ratio 3 Gallery, are cross-appealing for legal expenses, asking for $106,000 which is “substantially less than the actual fees incurred.” They offered to forgo suing Gordon for legal expenses if she agreed not to appeal. Gordon has refused to consider canceling her appeal stating, “I will take this to the bitter end with them.” It is clear that she feels her style and works have been exploited by the obvious similarities in his work and campaign imagery, particularly in subject matter, composition, stylistic direction and lighting, and that he is profiting grossly off of her ideas. “This is an art world travesty, when artists can freely steal from another artist for 10 years and be praised, paid and dance in the sun all day,” Gordon said in an email to Artnet News, adding that her prints go for $5,000 while those of her younger, more successful counterpart might go for more than $20,000. “They eat lobster and drink champagne and I eat beans and soup for dinner.”

On the fashion front, the case of Christian Louboutin vs Yves Saint Laurent made massive headlines after Louboutin sued YSL for copying his signature red-soled high heels. After seeing redsoled platforms in YSL’s summer cruise line collection, Louboutin swiftly elicited a hefty lawsuit which barred sale of the shoe. YSL’s lawyer defended his client stating “no designer should be able to monopolize a primary color for fashion.”

The Louboutin trademark, obtained in 2008, which consists of a lacquered red sole on footwear, notes that the color red is a feature of the mark. Despite that the presiding judge, U.S. District Judge Victor Marrero, decided that maybe Louboutin’s trademark wasn’t even valid and that the case was dismissible as one designer shouldn’t be able to have a ‘monopoly’ on a color. “Awarding one participant in the designer shoe market a monopoly on the color red would impermissibly hinder competition among other participants,” Marrero wrote. “Louboutin’s ownership claim to a red sole would harm competition not only in high fashion shoes, but potentially in the markets for other fashion articles as well, putting makers

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of dresses, coats, bags, hats and gloves in fear of lawsuits.” The judge said the trademark was unlikely to survive legal challenges “because in the fashion industry color serves ornamental and aesthetic functions vital to robust competition.”

Louboutin is currently appealing the decision, with his counsel’s argument emphasizing that “the red sole is too vital to the brand’s identity and allowing other companies to use it would be harmful to the company.” The latest appeal reiterates Louboutin’s initial argument and takes it a bit further, accusing the judge of making “errors of law in determining that Louboutin’s red outsole mark was likely invalid.” The case itself put Louboutin in danger of losing his

trademark on red soles, leaving the floodgates open for any shoe company to put red soles on their designs, and thus completely destroy his brand identity. Other companies, notably Tiffany and Co, could also be in danger of their trademarks being invalidated, as they include particular colors as part of their signature.

The fight remains to be resolved in these latter cases, and in many respects all of them represent challenges in the legal battle to protect intellectual property. The battle is just beginning, as information exchange evolves, it will become harder and harder to protect against our current copycat culture of plagiarism and piracy.

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PHONE

OGRAPHY The rise of camera phone photography has struck the masses, and now has even risen to the art world. Of late there has been a trend of camera phone photographic exhibits and books with stunning imagery and often a candid perspective.

The Exhibition “Pixel This” which opened in London on November 29th, presented a series of camera phone images (dubbed “phonegraphy”) selected from over 3,000 entries including those from celebrities such as Stephen Fry and Ruby Wax. A select number of images are to be sold at auction to benefit charity.

New York based photographer and filmmaker, CB Carter Smith has been creating waves with his photo journalistic essay, “Phonebook”. The book presents a glimpse into the personal life of the artist, through photos taken on his camera phone and his text messages, these are then montaged into a thoroughly modern layout that keeps you turning the pages. Images of girls on the loo juxtaposed with shots out of airplane windows, and even a chicken at sunrise lingering on a New York street captivate with their realism and rawness. Carter said he never planned to create the book, it was only after reflecting on the images and texts that he realized where he could take it. After breaking up with his wife of 12 years

he spiraled into a period of self proclaimed debauchery... “To put Phonebook in context, it all began after a calamitous breakup, when my life was thrown into a fragmented mess. This leads to the proverbial “lost weekend”... A two-year descent into debauchery and adventure. I know Phonebook might not be for everyone, but this was my life, take it or leave it.”

The hardbound capturing his life in the fast lane has been so popular, Smith has found himself jetting around the world on a multi-city tour and exhibiting the work in numerous international cities. Über trendy Parisian boutique Colette is featuring the book for sale on its e-store.

PhoneBook Images right, and video courtesy of CB Carter Smith.

WATCH THE VIDEO: www.untitled-magazine.com/blog/phonebook-by-cb-carter-smith

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KRISTIAN

VON HORNSLETH The London art scene has a new, foreign contender. He is Dutch. He is self-prescribed crazy and perhaps shockingly for the British, very controversial. The Untitled Magazine presents Von Hornsleth F.Y.A.I. Over the last few months, Hornsleth has been refused exhibition space by galleries in London and censored by his own clients.

His work has been criticised by some and hailed by others. Whilst the manager of London’s Playtime bar, Robert Blake and Morgan Motoring Company have taken a liking to his distinct graffitiesque style, Hornsleth has struggled to connect with his British audience. Is it because we just don’t get it? Is his work too crude for our British codes of conduct? The questions could go on.

Let’s take a look at his projects.

the artist. We’ve interviewed him, chatted to him, photographed his work, filmed his Morgan car, visited a presentation at his studio and one of us has even had our hands tattooed (in permanent pen) with his signature – the outline of which still faintly remains!

It is time to deliberate.

After his arrival into the UK both Playtime bar and Morgan cars commissioned Hornsleth to splash his creative mark on their prized businesses. Since its ‘Hornsleth makeovers,’ the success of the ten customised 4/4 Morgans has rather wained; with one failing to sell at auction at Bonham’s in July. A similar story follows the anti-climactic success of Hornsleth’s painted murals at the Playtime bar where the content proved quite a stir amongst customers, leading Manager Blake to have to censor much of the artwork. Reporting on the artist, Blake stated, “He’s very controversial, but at the same time, what he says is the truth. What’s OK for Denmark is not necessarily the same for London […] He’s maybe too much in your face for some, but he touches quite a lot of people. He’s just trying to make people more aware of what’s going on around them.” What status do these mixed responses grant Hornsleth and his artwork on the London art scene?

On May 28th, The Untitled Magazine attended the closing party of his latest exhibit at the Barge House in London. Featuring a rather eccentric variety of works by the Danish artist, the exhibit seemed to be driven predominantly by themes of sex, death, branding and an unavoidable critique of political and monarchical institutions. With the name ‘Hornsleth’ emblazoned over much of his work like a designer logo, two men posed with machine guns at the entrance added a level of gangster chic to the event.

Guests toured through the exhibits various rooms, each one a capsule into another part of Hornsleth’s creative mind. Paintings featuring reworked celebrity images from magazine imagery were juxtaposed with a porn movie where the actors could only say “Hornsleth.” A series of photographs of a re-enacted high school massacre went in for shock value with their realism, and the images of Africans who were willing to change their name to “Hornsleth” in exchange for livestock only made one wonder how far he could possibly push the Hornsleth branding. These are the types of works which epitomise Hornsleth’s zany, innovative and captivating style.

The Untitled Magazine has had several interesting ‘run-ins’ with

In August, Quintessentially Art presented a talk with the artist at

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his W10 Art Studio. The gathering was intimate with around thirty guests huddled into his spray paint covered studio. In between discussion-led statements by the artist, Hornsleth fans/supporters/ inquisitors questioned the artist on the morality/immorality behind some of his key works, namely his Ugandan Project and his highschool massacre photograph series. Hornsleth’s responses to the accusations which arose were articulated in a confident, forthright manner, “I’m not controversial, it’s the audience who have become brainwashed, bored and sedated by political correctness and the consumer market.” The penny is always double-sided it appears: “I’m a primitive and instinctive artist with no agenda other than screaming out from the corner of total confusion. I hate therefore I am, I react therefore I am...”

his practical skill as an artist. His projects often involve him using members of the public, whether in the form of blood samples or the photography skills of high-school students, to form the main constituents of his pieces. This is not to say that Hornsleth’s work lacks creativity, far from it, his projects display creativity in a raw, idea-stage form. Constantly questioning, ‘What is art?’ and ‘What makes art?’ in his work, when asked how he first started practicing contemporary art, Hornsleth replied self-satirically and with all seriousness: “I have no idea how I started, I studied Geology and Architecture and became intrigued by the idea that ‘a painting must drag you in, manipulate you and then kick you in the balls!” – A notion which seems to be at the heart of his own work.

Describing his work, on more than one occasion, as ‘weird, interesting experiments,’ Hornsleth’s creativity seems to lie embedded in the experimental concepts behind each project rather than

Most of Hornsleth’s artwork is based around an art form which he invented (of course) and named “Futilism”. Of the many ‘isms’ that have existed in art history, it is hard to say whether this one

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“I’m a primitive and instinctive artist with no agenda other than screaming out from the corner of total confusion. I hate therefore I am, I react therefore I am...” Kristian Von Hornsleth will become a bonafide art movement in the future. However, in order to give Hornsleth credit for his attempts, Indira Cesarine caught up with the artist in between filming his Morgan car in a fashion film shoot for the The Untitled Magazine’s Voyage issue.

wanted to create the most excessive confusion as possible on this limited space and of course a very thick lacquer to tone it up as much as possible. The meaning is to make the colours as confrontational as possible. It seems to be very popular.

IC: Tell me about the Morgan Car project and your inspiration behind your art.

KVH: I call it “Futilism” and it is about taking things out of the futile, we are surrounded by noise and things we think we don’t use and dragging it into an art pass and suddenly seeing that there is a lot of unused information that we can use which we would normally never use because we are caught up in an ideal where we only use squares and rounds. If you look between the shapes, it could be a possibility to go this way.

IC: Where can we see your work?

KVH: My work is mostly in Scandinavia. But I also have work in the GGGalley in Notting Hill, at the Hay Hill Gallery on Cork Street.

I also have pieces in Germany and Copenhagen where I used to live.

IC: Can you tell me about the art motif behind your art of “Futilism”?

KVH: Well the starting point is the tradition of abstract expressionism from Pollock etc but now it is trying to join the noise of society where nothing is up and down. The basic idea of my approach to art is my concept called “Futilism”. I work with the idea of taking things out of the futility around us and emulating it into a process and making something that is non-futile out of it, something useable out of it because usually we are taught to use triangles and squares and round shapes and use the official building stone of making art. This way I can produce a piece of art and an art style which has no immediate relation to human culture. There are lot of things we don’t use around us, like the whole idea about white noise. It also related to the political situation which isn’t up and down anymore. There is a very big pack of information in the noise. It is also about playing around with abstract expressionism after the big boys, such as Pollock. You don’t see abstract expressionism very much anymore so this is a possible way to take the movement forward in art.

IC: And what about this spectacular car? It is quite something…

KVH:This is my Morgan car which I have been working on with the Morgan Motor Company. We are going to put up for auction at the Bonham’s auction for the Goodwood speed festival this year. It presents a clash between contemporary art and a very classical car.

IC: Any exciting projects coming up in the future?

KVH: The big worldwide project I am working on right now is called the Deep Sea Storage Project for which I am currently collecting five thousand blood samples from people, art lovers, all over the world. These blood samples will go into a 30 foot large sculpture which will then placed on the bottom of the Atlantic Ocean as a monument for the future. The sculpture will contain 5000 blood samples and the idea is that in thousands of years to come, when humanity is under risk of extinction, the Deep Sea Storage Project presents the opportunity, for an alien perhaps in 2000 years, to regenerate our identity.

IC: How does the sampling work?

KVH: We give you this form to fill out, take some of your hair and a blood sample and put it in a container which will then go into the sculpture. The whole idea is to try and make a capsule for the future. There is also the idea that part of you is under the ocean and if god’s work doesn’t work then this is here - so it is a backup plan. The sculpture will last fifteen thousand years according to the engineers. So there could be another Indira in year 6011!

Whether selling shares in arms to eager investors for thousands of pounds, collecting blood and hair samples from thousands of people around the world or naming hundreds of Africans after his self-celebrated brand name, one thing is for sure: Hornsleth certainly likes to do things in mass and be as controversial and as challenging as he can be. Good press or bad press, to Hornsleth it is the press he wants to provoke.

Article by Emma Corbett, Interview & Video by Indira Cesarine IC: How long did it take you to paint the car?

KVH: I think I spent about 4 weeks on it, but I can’t work it all the time because you go crazy as all the patterns are interacting. I

WATCH THE VIDEO: www.untitled-magazine.com/blog/artist-kristian-von-hornsleth

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Reportage

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The YEAR OF

UNREST xxxx 59

2011 will be remembered as a year of unprecedented rioting and protests in Western countries, with the London riots and later the Occupy Movement leading the headlines since it’s onset in September. By October 9, The Occupy protests had taken place or were ongoing in over 95 cities across 82 countries, and over 600 communities in the United States.

The London riots shook up the UK in the aftermath of the royal wedding, which had taken place only a few months prior. People were at a loss for words about the massive destruction, vandalism and violence that tore up many of London’s districts and eventually spread north to other UK cities such as Manchester, Birmingham and Bristol. The riots exploded in Tottenham after a relatively peaceful March on August 6, 2011, protesting the fatal shooting of Mark Duggan by Metropolitan Police a few days prior. Over the next several days the riots spread throughout London to Hackney, Camden and even areas that are considered rather affluent such

as Notting Hill. Londoners feared for their lives after sundown, as despite riot police trying to control the situation, nightfall brought on outbreaks of arson and rampant looting from packs of youths roaming the streets in search of destruction.

With the majority of parliament and even the Prime Minister away on holiday, they were forced to come back to London early to recon with the mass destruction which tallied close to £200 Million in damages after 4 days.

The riots have been the source of significant debate as to why

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they occurred amongst social and political circles. With reports indicating that 50% of the rioters were under the age of 20, the Prime Minister responded to the rioters “You will feel the full force of the law. If you are old enough to commit these crimes, you are old enough to face the punishment,” as he condemned “sickening scenes of people looting, vandalising, thieving, robbing”. Many others blamed a “Broken Britian”, including David Cameron who called it a “broken society in moral collapse”. Many insisted it was just youths gone wild, totally out of control, and destructive for no other reason than that they are anarchists and thugs with no respect for society. “This is an equal-opportunity crime wave. The lawbreakers are not from any distinct ethnic group, and attempts to explain this behaviour on these ground are baseless and poisonous.”

It has equally been widely recognised that areas in which the worst violence and rioting took place happened to be areas

with significantly below average income and the highest levels of unemployment. Reports have also since disclosed that record breaking amounts of young people are out of work or not in school in the UK. The English government responded to the economic crisis with mass social spending cuts, including for education.

England is currently rated as one of the lowest countries worldwide for upwardly mobile succession. Most likely as a result of the rioting and protests that have struck a country when they were least looking for it, government officials have recently announced the “Youth Contract” plans. The £1Billion incentive plan focusing on youths between the ages of 16-24 will promote continuing education, finding employment, and includes paying employers 50% of the minimum wage to take on work experience candidates.

“The aim of the youth contract is to get every unemployed young person earning or learning again before long-term damage is done,” according to Deputy Prime Minister Nick Clegg.

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“We Are The 99% that will no longer tolerate the greed and corruption of the 1%...”

Occupy Wall Street

Across the pond in New York the Wall Street protests, (or “Occupy Wall Street”) gained momentum spreading throughout the US and internationally to include additional protests in countries throughout Europe, such as Italy, Spain and Germany. On the Occupy Wall Street website it is posted: “Occupy Wall Street is a leaderless resistance movement with people of many colors, genders and political persuasions. The one thing we all have in common is that We Are The 99% that will no longer tolerate the greed and corruption of the 1%. We are using the revolutionary Arab Spring tactic to achieve our ends and encourage the use of nonviolence to maximize the safety of all participants.This movement empowers real people to create real change from the bottom up. We want to see a general assembly in every backyard, on every street corner because we don’t need Wall Street and we don’t need politicians to build a better society. The only solution is World Revolution”.

Demonstrations began on September 17th in Zuccotti Park located in the Wall Street Financial District. The protests focus on social and economic inequality, high unemployment, greed, corruption, and the undue influence of corporations on the government. The slogan “We are the 99%” refers to the massively growing inequality of the wealthiest 1% and the rest of the population. Massive internet and social network campaigns helped to spread the protest thought America and abroad. Shockingly the United States is actually rated lower than even the UK in upwardly mobile succession despite the popular myth of the “American Dream”. The internet group “Anonymous” encouraged protesters to “flood lower Manhattan, set up tents, kitchens, peaceful barricades and occupy Wall Street.”

The hope generated by the election of President Obama subsided with a growing unrest, as unemployment rates in the US continued to increase. CBO has shown an increasing disparity, with figures noting that in 1980, the top 1% earned 9.1% of all income, while in 2006 they earned 18.8% of all income. The majority of middle and working class household have had a significant decrease in annual

earrings with the top 1% seeing their income increase 392% between 1992-2007 and their average tax rate reduced by 37%.

Since the onset of the “Great Recession” in 2007, “the share of total wealth owned by the top 1% of the population grew from 34.6% to 37.1%”. According to Bloomberg Businessweek, protesters want “more and better jobs, more equal distribution of income, bank reform, and a reduction of the influence of corporations on politics.”

Mayor Bloomberg of New York was initially supportive of the protest, stating “People have a right to protest, and if they want to protest, we’ll be happy to make sure they have locations to do it.” Over the past several months patience has worn thin for the protesters, with the owners of the privately owned Zuccotti Park insisting on ejecting the encampment for reasons of “sanitation and hazardous conditions”. On November 15 the New York Police Department came in riot gear, forcibly ejecting the protesters and making over 200 arrests including of journalists covering the situation.

Interestingly national polls and surveys have shown that the larger majority of Americans approve of the movement, with the Wall Street journal publishing in October a report that “37 percent of respondents tend to support the occupy movement, while 18 percent tend to oppose it.” President Obama responded to the protests stating, “I think it expresses the frustrations the American people feel, that we had the biggest financial crisis since the Great Depression, huge collateral damage all throughout the country…” Celebrities including Kayne West, Sean Lennon, Susan Sarandon, Rosanne Barr and Mark Ruffalo have voiced their endorsement of the protest. Susan Sarandon spoke at one of the demonstrations stating, “”I came down here to educate myself.... There’s a huge void between the rich and the poor in this country.” Despite the eviction on November 15th, the protest has continued, with restaurants around New York donating 3,000 Thanksgiving meals to the protesters on November 24th.

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“It’s a massive system we are taking on and some say we are not achieving anything, but people are talking about it...”

Tammy Samede, protester

The London equivalent ‘Occupy London’ started on October 15th, and has been the subject of serious debate in the UK, with their main encampment taking over the highway of St Paul’s Cathedral with hundreds of tents. The controversy over whether or not they should be allowed to protest at the location has caused several departures of the highest ranks at the Cathedral, with the Rt Revd Graeme Knowles, the Dean of St Paul’s, resigning over his Chapter’s resolution to evict the protesters as well as Dr Giles Fraser, Canon Chancellor of St Paul’s. Despite being significantly smaller in numbers than the New York protest, with anywhere from 150-250 people camping in front of the square, the protest still has had major impact as it forced the closure of St Paul’s Cathedral on October 21st, and the potential protest eviction has divided many political and religious leaders. The future fate of the protest camp will be officially questioned on December 19th, when the case goes

to trial, with 33 year old protester Tammy Samede, a mother of four, representing the protesters in court. If they lose the case, she has vowed to take it all the way to the European Court of Human Rights. “I consider this volunteer work. It’s a massive system we are taking on and some say we are not achieving anything, but people are talking about it...”

Article by Indira Cesarine Photography and Video of the London Riots by Jamie McGregor Smith Occupy New York Photography by Jeffrey Gamble Video interview and photography of Occupy London by Indira Cesarine

WATCH THE VIDEOS:

www.untitled-magazine.com/video/gallery/the-year-of-unrest

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video art

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v M oorings H orizontal S uspension The Dark N ight S torm Tribal D reams S he D reams B angkok H igh S alvaje B l ack

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MOOR CREATED BY ANDREA TESE Moorings (2:59) created by Andrea Tese, features Maya Baudoin. Presenting a voyage into a young girl’s mind, it combines the playfulness of a child’s fantasies with the haunting nostalgia of an adult’s memories. The video art film has the eerie quality of a dream in which everything is confused yet ripe with unknown meaning, evoking mixed feelings of fear, frustration, calm and relief.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/moorings

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OORINGS xxxx 75

H OR I Z

SUSPE xxxx 76

O N T A L

NSION CREATED BY SEAN CAPONE Horizontal - Suspension presents the work as an elegy to the landscape of the artist’s childhood. The video art film (5:06) is a single video image expanded to create a panoramic visual music score, featuring music

by Joseph Fraioli of JAFBOX Sound.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/horizon-suspension

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T H E DARK NIGHT CREATED BY PAUL WINDRIDGE The Dark Night presents a sublime dark, disturbing and enveloping world. The video art film (4:36) sets your imagination free to explore the mysterious thoughts inspired by a full moon. Featuring music

by DJ 00 Newchair.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/the-dark-night

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CREATED BY BRIAN GONZALEZ Storm features dancer Maria Bruun. The fashion performance film (7:02) presents a lone woman expressing a vibrant dance to summon the memory of a man’s touch, a memory that ultimately destroys her. Music by Many Fingers, Son Lux and Zoe Keating.

WATCH THE VIDEO:

www.untitled-magazine.com/video/gallery/storm

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TRI BAL

DREAMS CREATED BY DANIEL ARANGO Tribal Dreams features artist Daniel Arango and Charles Badu. The self-directed video art film (10:40) presents the juxtaposition of reality and fantasy. The viewer is presented with a journey of a man’s mind as he escapes in his dreams to an alternative reality, in which the bizarre merges with the ordinary.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/tribal-dreams

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SHE DREAMS CREATED BY DIEGO CORREDOR She Dreams features the creator’s muse, dancer Alison Woodward. The video art film (2:55) presents a woman’s desire for a new life. In her dreams she leaves behind her urban concrete reality and finds true beauty, magic moments of happiness, decadence and fantasy. The dream fades as the reality of her life reveals itself; the voyage is fleeting... until she dreams again. Featuring music by AGF and Cobra Killer.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/she-dreams xxxx 84

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BANG KOK HIGH CREATED BY INDIRA CESARINE

Bangkok High is a video art production (3:21) filmed in Bangkok, featuring visuals of night-time traffic that are transformed to create an orchestra of light that becomes a dance of order and chaos. The movement of headlights envelops the viewer in a cacophony of fleeting images evoking a hypnotic and surreal vision created out of the ordinary hum of traffic. Featuring music by Moby.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/bangkok-high

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S A LV CREATED BY PATRICIO GUILLAMON Salvaje presents the juxtaposition of the daily commute in a metropolis with the rawness of nature. The video art film (7:01) encounters the human struggle of cosmopolitan routine with a quiet longing for a connection to what is wild. Shot in Buenos Aires and the unpopulated silent sierras of Cordoba, Argentina. Featuring music by Moby.

WATCH THE VIDEO:

www.untitled-magazine.com/video/gallery/salvaje

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VA J E xxxx 89

BLA xxxx 90

ACK CREATED BY BRIAN GONZALEZ Black features Steven Vega and Rachel Wheeler. The video art film (4:05) presents a dry, desolate world, where two figures find one another, one blind, one silent. As they embrace, their kiss grows into a dark, addictive disease that neither can separate from. Music by Tim Hecker.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/black

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I nternational B e aut y The P ond G al ate a Q uixotic E ssentia B lue B ackstage B e aut y

Beauty

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INTERNATIONAL

BEAUTY DIRECTED BY INDIRA CESARINE International Beauty features 14 international models each from a different country, with their own look, their own story. They wear the latest collections from the London catwalk by designers such as Maria Gravchvogel, Bora Asku and Aminaka Wilmont. Models came from locations as varied as Kurdistan, Trinidad, South Korea, Wales, Holland and Moscow.

The photographic series & video (4:32) features makeup by John Christopher and hair by Keiichiro, with styling by Indira Cesarine and Kalee Hewlett. Photography and cinematography

by Indira Cesarine with music by Moby.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/international-beauty

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Michelene Auguste, Trinidad Models 1 Management Dress by Felicity Brown

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Anna Smirnova, Moscow, Russia Profile Model Management This Page: Dress by Maria Grachvogel Opposite Page: Dress by Bodyamr

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Lucie Nontha, Wales Models 1 Management Dress by Fyodor Golan

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Luma, Brazil Premier Model Management Dress by Falguni & Shane Peacock

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Jennifer Folley, Cork, Ireland Union Model Management Dress by Falguni & Shane Peacock

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Yeon Han, South Korea Profile Model Management Print leggings by Eugene Lin Necklace by Fannie Schiavoni Grey sheer dress by Yasmin Kianfar Opposite Page: Dress by Felicity Brown

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Ali Whitfield, England Select Model Management Dress by Ionannis Dimitrousis

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Elina Mitrofanova, Kurdistan Profile Model Management Dress by Kristian Aadnevik Necklace by Maria Francesca Pepe

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Michelle Van Hollander, Holland Select Models Dresses by Aminaka Wilmont xxxx 107

Joy McLaren, Leeds UK Models 1 Management Dress by Bora Aksu

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Fifi Newbery, London Models 1 Management Top by Fyodor Golan

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Vanessa Lee, England/Taiwan Storm Model Management Dress by Eleanor Amoroso

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Lisa Akensson, Sweden Union Model Management Headpiece by Pretapo Aobello xxxx 111

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Elena Sudakova, Russia FM Model Management This Page: Dress by Ionannis Dimitrousis Opposite Page: Dress by Falguni & Shane Peacock

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THE POND

CREATED BY BELL SOTO

The Pond features twins Augusto & Bernardo Dahinte as well as Shaun Haugh. Two mermen brothers live in a pond with their father. The stop-motion photography video (1:58) is a fantasy tale, portraying fear and excitement as the brothers start a new adventure leaving the pond to discover unknown lands. Featuring music by Andreas Wolter. Styling by John Tan, with hair by Heather Packer and makeup by Anna Bernabe.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/the-pond

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A

GAL xxxx 120

A

TEA DIRECTED BY IRIS BROSCH

Galatea features Audrey Tchekova. The fashion film (7:42) presents Galatea, the sea nymph. Her poetic journey juxtaposes the spirituality of the sea with the decadence of ancient Venice.

Cinematography by Pierre Dal Corso, with sound and voice by Nicole Renaud. Styling by Petra Bohne.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/galatea

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QUIXOTIC xxxx 124

ESSENTIA CREATED BY SOPHIA DEININGER Quixotic Essentia features the artist with Elke Van der Steen and Daniel Munoz. The video art / beauty film (3:05) presents the meeting of minds after a long journey culminates in a ritualistic offering that leads to a transfiguration of ego. As the transformation evolves a higher self-existence is realized through spiritual emancipation. Styling, hair and makeup by Sophia Deininger and Elke Van der Steen.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/quixotic-essentia

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CREATED BY CHRISTIAN WITKIN Blue features the female dancers of Frueza Bruta who portray a subculture of modern mermaids. The performance art film (1:20) presents underwater abstract movement. Edited by Ian Mayer, featuring the song “Empire Ants” by Gorillaz.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/blue

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UE xxxx 129

Backstage at Manish Arora F/W 2011-2012 Photography by Sarah Skinner xxxx 130

BACKSTAGE BEAUTY THE UNTITLED MAGAZINE TAKES YOU BEHIND THE SCENES OF THE CATWALK

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Top Left & Bottom Right: Vivienne Westwood S/S 2012, photography by Cameron Smith. Top Right, Andrew GN FW 2011, photography by Lorenzo.

Opposite Page, Bottom Left, Manish Arora FW 2011, photography by Sarah Skinner

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Middle: Devastee FW 2011-2012, Photography by Lorenzo. Top and Bottom: Manish Arora FW 2011-2012, Opposite: Talbot Runholf F/W 2011-2012 Photography by Sarah Skinner. xxxx 134

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This Page: Pam Hogg S/S 2012 Photography by Pascale Vincent Marquis.

Opposite Page: Peechoo & Krejberg FW 2011-2012, Photography by Lorenzo xxxx 136

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Backstage at Amaya Arzuaga F/W 2011-2012 Photography by Joanna Zielinska xxxx 139

F xxxx 140

FASHION Voyage Time Warp L e t ’s G e t L ost C olor B l ast The L ast M emory I dylic D ays G irl F riday R iver G irl H e aven P l ane t E arth L oner Tr ansitions S e ason of the W itch H ypnotic J erk A uto E rotica

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VOYAGE xxxx 142

CREATED BY INDIRA CESARINE Voyage features model Joy McClaren from Models One in jewelry by Sabine Roemer with the falcons of Harrod’s. The video art / fashion film (2:08) was created as the cover movie for the Voyage Issue, with the falcon representing the desire to be free and travel the world. Shot in London the video also features original footage from Cambodia, Thailand, Spain, Canada and France among other international locations. Clothing by Temperley, Ralph & Russo and Kristian Aadnevik. Photography, Video & Styling by Indira Cesarine, Makeup by Philippe Miletto, Hair by Elliot Bssila.

WATCH THE VIDEO: Jewelry and Falcon Hood by Sabine Roemer Dress by Kristian Aandevik

www.untitled-magazine.com/video/gallery/the-voyage-cover

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Jewelry by Sabine Roemer, Dress by Ralph and Russo xxxx 144

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Jewelry By Sabine Roemer, Gold Pantsuit by Temperley xxxx 147

TIME WARP

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DIRECTED BY INDIRA CESARINE Time Warp features Model Hannah Samokhina. The fashion film (9:08), presents the voyage of a girls mind as she wafts between dreams and consciousness. As she sleeps she transcends time to another era, with the history of Woodchester House and the spirits within it possessing her dreams. The film features clothing and accessories by designers including Bernard Chandran, Victoria Grant and Georgia Hardinge. Make up

by Philippe Miletto with hair by Bianca Touvi. Photography, video direction and styling

by Indira Cesarine, with music by Nicolas Neidhardt.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/time-warp xxxx 149

Long Grey Dress With Gold Bodice by BodyAymr Gold Chokers by Maria Francesca Pepe Nude Suede Heels by See by Chloe xxxx 150

Long Woollen Knit Dress by Bora Aksu xxxx 151

Long black dress by Ashley Isham, Hat by Victoria Grant. Black leather gold studded wrist gloves by Corlette. Black jewel studded heels by Kurt Geiger xxxx 152

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Black Strapless Suede Dress With Silver Studs by Kristian Aadnevik. Headpiece by Pam Hogg xxxx 154

Leather Strap Waistcoat & Black Train by Phannafig. Thick Leather Waistbelt by Corlette Black Jersey Dress by John Pierre Braganza Ring and Cuff by Pyrha Thigh High Black Boots by Michael Kors xxxx 155

Leather Dress by Fyodor Golan Opposite Page: Dress by Kristian Aadnevik Boots by Underground xxxx 156

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Dress by Aqua, Red Leather accessories by Una Burke xxxx 158

Black Silk & Nude Mesh Dress by Jacob Kimme Crown hat by Victoria Grant Studded Wrist Gloves by Corlette Rhinestone Ring by Lang xxxx 159

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Long Skull Patterned Skirt and Black Suede Ruffle Jacket by Georgia Hardinge. Silky Black Tunic by Jena Theo Opposite Page: Black Dress and waistcoat by Bora Aksu xxxx 161

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Black Coat by Pam Hogg, Red Lace Dress by Bernard Chandran, Rhinestone Star Ring by Lang xxxx 163

LET’S GET DIRECTED BY JORDAN DONER Let’s Get Lost journies through the terrains of Eastern Europe. The fashion film (5:48), allows the imagination loose to discover the unforeseen in locations such as Prague, Chisinau & Transylvania. Featuring styling by Honza Pokorny, Oxana Kohana and Ana Nechita and fashion by designers including Viktor and Rolf, Christelen B. and H&M. All Clothing this page by H&M xxxx 164

LOST The video features original music by The Wilfred Brandingham Experience Vs. DJ Kye Lee. Vocals and Lyrics by Jordan Doner, produced by DJ Kye Lee and iLLshim.

WATCH THE VIDEO: xxxx 165

www.untitled-magazine.com/video/gallery/lets-get-lost

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Vintage Dress Fringe necklace by Jakub Polanka Belt by HermĂŠs xxxx 167

Dresses & shoes by Christelen B xxxx 168

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Shirtdress by Viktor & Rolf xxxx 170

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Orange feather dress by Bernard Chandran White leggings by Bryce Aime Shoes by Rupert Sanderson Gold cuff by Maria Francesca Pepe xxxx 174

COLOR BLAST DIRECTED BY INDIRA CESARINE

Color Blast features models Cecile Sinclair and Nastya Sviridenko. The video (2:17) merges fashion and art in motion, showcasing the latest color-infused designer collections, with models accelerating through London in a classic Morgan 4x4 sports car customized by contemporary artist Kristian Von Hornsleth. Styling by Indira Cesarine and Kalee Hewlett, hair by Keiichiro & makeup by Angela David Beacon. Photography

by Indira Cesaribne, Cinematography by Indira Cesarine and Sam Heasman, video editing by Emily Pelleymounter with music by Moby.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/color-blast

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Right: on Cecile: Orange/White print blouse by Nina Jarebrink Dress & Yellow tee by Louise Gray Shoes by Finsk Black leather beret with crystal detail edge by J. Maskrey Left: on Nastya: Dress, Blouse & Top by Louise Gray Black/gold wedge shoes

by Rupert Sanderson Tights by American Apparel Fortuna gold knuckle-duster

by Maria Francesca Pepe xxxx 177

Multi-Colour Bodysuit by Pam Hogg xxxx 178

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Red/White Stripe Top, Skirts, Gloves and Bangles by Kokon to Zai (KTZ) Black Leather Waistcoat by Khrysalis Shoes by Finsk xxxx 180

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Orange bodysuit by Pam Hogg Studded collar by Lina Osterman Chainmail glove by Fannie Schiavoni xxxx 182

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THE LAST

MEMORY

Black Trousers By Comme Des Garรงons xxxx 184

CREATED BY DIANA LE QUESNE The Last Memory features Storm models Emily TrimbleThompson, Vanessa Lee and Gemma Sanderson. The fashion film (3:17) presents the final memories of a girl as she is dying. The flickering memories of her favourite moments are juxtaposed with the surreal reality of her life’s journey and her last party. Cinematography by Tom Turley, edited by Frederica Nucci with music by Marco Lannelli. Styling by Diana Le Quesne with makeup & hair by Jay Pinxie Turnbull.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/the-last-memory

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Striped T-Shirt By Izzue Black Trousers & Jacket By Comme Des Garรงons Jewellery by Bjorg Bespoken Hat by Prangsta Costumier xxxx 186

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IDYLLIC DAYS DIRECTED BY INDIRA CESARINE Idyllic Days features Aneley Varela Elizondo and Cynthia Antonio.

Shot on location at Punta Gallera, the fashion film (4:40), presents the surreal landscape of a hallucination, as two muses on a hypnotic journey delight in their sacred place. Features tribal-chic looks by designers including Ingrid Vlasov, Shiatzey Chen, My Asho and Ashley Isham. Photography, Cinematography, Editing and Styling

by Indira Cesarine, with music by Riccardo Risi.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/idyllic-days

Dress By Shiatzy Chen, Silver Cuff by Pyr ha, Necklace by My Asho xxxx 191

Black and White Jumpsuit By My Asho xxxx 192

Dress By Ashley Isham xxxx 193

Dress By My Asho xxxx 194

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Dress By Ingrid Vlasov

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Dress By Ashley Isham xxxx 197

Dress By Falguni Shane & Peacock, Black Belt by Una Burke xxxx 198

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GIRL

FRIDAY DIRECTED BY MICHAEL DAKS

Girl Friday features model Lucie Nontha. The fashion film (8:11) presents Julie Crusoe’s voyage on her yacht “Girl Friday”. After a few days at sea she spots a deserted beach.

Is it the isolation or the animalistic motifs that inspired what happens next? The film features swimwear by Handsome and fur by Stolen Girlfirends Club. Edited by Ben MacGregor and Michael Daks with original music by Brett Hammond. Styling by Holly Chaves with hair & makeup by Sarah Abbott.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/girl-friday

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Panther Swimsuit by Handsome Fur Jumper by Stolen Girlfriends Club Necklace by Erickson Beamon, Earrings by Lucy Hutchings, Glasses by Vintage General Eyewear

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Striped Tee by Alpha60, Pants by Handsome Earring & Bracelet by Lucy Hutchings xxxx 203

Horse Swimsuit by Handsome, Bracelet by Erickson Beamon, Ring by Nazia Mughal @ Wolf and Badger xxxx 204

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Wolf Swimsuit by Handsome Necklace by Erickson Beamon Glasses from General Eyewear xxxx 206

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RIVER

GIRL

CREATED BY INDIRA CESARINE

River Girl features model Julia Shvets. The fashion / video art film (6:03 / 9:46) presents the story of the river goddess Belisama, as her spirit embodies the riverbanks of Chiswick.

The goddess is caught between two universes; that of the modern desolate world and that of a time long gone, when the river was a still a sacred place. Contemporary looks by designers including Louise Gray, Emma Cook and Felicity Brown are layered with costume crinolines, creating a modern romantic look. Styling by Kay Korsh with makeup

by Phyllis Cohen & hair by Deborah Brider. Photography, cinematography and editing by Indira Cesarine with music

by Moby. Watch the short or extended version.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/river-girl

Dress & Trousers by Jena Theo, Stone Dress by Obakki, Costume Crinoline, Shoes by Converse xxxx 209

Plastic Shorts by Louise Gray, Costume Crinoline, Oversized Patterned Shirt by Emma Cook, Brown Shirt by Pyrus xxxx 210

Long Dress by Krystof Strozyna Patterned Dress by Georgia Hardinge Leather Jacket by Robert Goodwin xxxx 211

Pale Pink Structured Dress by Anja Mlakar, Large Pink Shirt by Teatum Jones, White Costume Corset. Shoes by Converse xxxx 212

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Black and White Layered Dress by Felicity Brown, White Woollen Waistcoat by Obakki, Costume Crinoline, Shoes by Converse xxxx 215

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Plastic Shorts by Louise Gray, Oversized Patterned Shirt by Emma Cook, Brown Shirt by Pyrus, Costume Crinoline, Shoes by Converse xxxx 217

Pale Patterned Dress by Obakki, White/Grey Waistcoat Dress Viking Wong, White Dress With Black Lace by Katyakatya Shehurina, Shoes by Converse xxxx 218

Oversized Grey Patterned Shirt by Emma Cook, Grey Skirt by Viking Wong xxxx 219

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Grey Draped Coat by Jena Theo Blue Shirt by Teatum Jones Pale Patterned Dress by Obakki xxxx 221

HEAVEN DIRECTED BY KAELEN OHM

Heaven features Johanna Stckland and Emmett Schoenals. The fashion film (4:16) presents a girl who receives an unexpected package that delivers a journey through a beautiful dream. Cinematography by Tyler Stalman and video editing by Kaelen Ohm. Styling by Lindsay Sutton featuring the clothing by Canada’s luxury department store, Holt Renfrew. Hair by Richard De Los Reyes and makeup by Ren Beau with music by Noah York of Ego Death.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/heaven

Clothing by Holt Renfrew

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PLANET EARTH DIRECTED BY INDIRA CESARINE

Planet Earth features Sadie Phelps. The fashion film (6:27) presents the journey of girl who awakes in a new world, and has to rediscover who she is and why she is there. She is faced with the emotional struggle of discovering her new environment, and the future that awaits her. Featuring clothing by designers including Pam Hogg and Fyodor Golan. Make up by Philippe Miletto with hair by Bianca Touvi. Photography, cinematography and fashion styling by Indira Cesarine, with music by Moby.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/planet-earth

Long Blue Wetsuit Dress by Fyodor Golan xxxx 226

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White Shoulder Ruffle Shirt by Fam Frill, Cream Shorts by Georgia Hardinge xxxx 228

Orange and black patterned dress by Krystof Strozyna xxxx 229

Silver Dress by Christopher Beals xxxx 230

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Black Cat Suit by Pam Hogg, Thigh High Black Boots by Michael Kors

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Pink Spiked Silk Dress by Christopher Beals xxxx 233

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White Ruffle Dress by Georgia Hardinge xxxx 235

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LONER DIRECTED BY ZAIBA JABBAR Loner features model Elina Mit. Exploring the delicate and alluring psychosis of an abandoned girl, the fashion film (2:15) exposes the decadence of her loneliness. Featuring clothing by Gabriella Marina Gonzalez and styling by David Motto. Hair and makeup by Nelson Catarino and music by GR†LLGR†L.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/loner

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All Apparel by Gabriella Marina Gonzalez xxxx 238

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TRANS xxxx 242

DIRECTED BY DOMINIQUE PALOMBO Transitions features three vignettes exploring themes of dance, movement, space and time directed by Dominique Palombo. The perfomance art video Wings (2:31) features dancers Leah O’Donnell and Brandon Grimm. Night starts to fall on a dirt road in the middle of nowhere; a couple interacts with fierce emotional intensity as they battle through their emotional journey. Styling by Jacqueline Azria-Polombo with hair by Yoichi Tomizawa and makeup by Kim Weber. Cinematography & editing by Dominique Palombo with music by Moby.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/wings

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Manoeuvres (3:22) features dancers Frankie Gorils, Felix Burgos, Valentine Norton, Jason Santana and Jeremiah Haynes. The performance inspired video presents surreal and dynamic movement evoking interacting machinery, set against the urban environment of New York City.

Styling by Jacqueline Azria-Palombo with hair by Yoichi Tomizawa and makeup by Kim Weber. Cinematography

by Domique Palombo with music by Circlesquare.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/manoeuvres

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Red Silk and Rinestone dress by Tarvydas xxxx 246

Seeing Red (1:52) features dancer Gaelle Henry. The 3rd performance art film directed and edited by Dominique Palombo in the Voyage Issue depicts a lone woman in a red dress engaging in a hypnotic and emotional dance on a rooftop in Paris.

On her own, with the world beneath her feet, she battles her own demons. Styling by Indira Cesarine with music by Moby.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/seeing-red xxxx 247

SEASON

OF THE

WITCH DIRECTED BY INDIRA CESARINE Season of the Witch (6:06) features model Veronika K. The video art / fashion film presents a voyeuristic journey of a girl lost in time. Dimensions become entangled as she flickers between moments. The elevator becomes a symbol of her descent between realities of time and space, as she searches for the meaning of her existence. The various shades and textures of black garments reveal waist defining silhouettes by designers such as Lafayette 148, Thierry Mugler and Leifsdottir. Styling by Jonathan Rackleff, with makeup

by Roberto Morelli and hair by Alberto Guzman. Photography & cinematography by Indira Cesarine with music by Moby.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/season-of-the-witch

Vintage Hat Jacket By Leifsdottir Shirt By Alexander Berardi Necklace By Zoo Chicc xxxx 248

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Top By Rifat Ozbeck, Leather Bustier by Lafayette 148, Skirt by Leifsdottir, Tights by Wolford, Heels by Walter Steiger xxxx 250

Hat by Victor Osbourne, Jacket by Silk Brocade Edwardian, Dress Vintage Ballgown, Shirt Dress

by Lafayette 148, Belt by Karen Walker, Bracelet

by Zoe Chicco xxxx 251

Jacket by Logan Nietzel, Lace Top by Cynthia Rowley, Belt by Nina Ricci, Shirt by Leifsdottir, Skirt by Alexander Berardi xxxx 252

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Shirt by Alexander Berardi, Dress by Thierry Mugler, Cape by Gianfranco Ferre, Belt by Balenciaga, Tights by Wolford, Shoes by Anyi Lu xxxx 254

Dress & Belt by Thierry Mugler, Shawl by Frank Tell, Shirt by Leifsdottir, Tights by Wolford, Lace Fringe by Only Hearts, Jewelry by Chrishabana

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DIRECTED BY IOANNA THEODORAKOU & MONICA ELKELV Hypnic Jerk features Victoria K-C. Exploring the possibilities of body and mind separation in a state that is often recognised as an ‘out of body experience’.

The fashion film (2:53) presents the “hypnic jerk”, which occurs in a voyage of the mind through time and space.

Features armour inspired jewellery and studded leather accessories by designers Fannie Schiavoni and Maria Francesa Pepe Edited by Tom Jones with music

by Chaitanya Modha. Styling by Masha Monbelli with hair by Mari Ohashi and makeup by Megumi Matsuno.

WATCH THE VIDEO: www.untitled-magazine.com/video/gallery/hypnic-jerk

HYPNIC

JERK xxxx 256

Leggings By Bryce Aime, Shoes By Marjan Pejoski, Bracelets On The Arms By Dean Sidaway, Leather Straps On The Hand And Leg By Mint Siren, Jewellery By Maria Francesa Pepe, Fannie Schiavoni, and Mint Siren xxxx 257

Leather Knitted Dress By Eleanor Amoroso, Arm Sleeves With Tassels By Issever Bahri, Collar With Studs By Lina Osterman, Boots Lara Jensen For Belle Sauvage, Metal Ring Necklace As Headgear By Pebble London, Necklace With Spikes By Fannie Schiavoni

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Knitted Dress By Ioannis Dimitrousis, Leather Top By Bora Aksu, Shoes By Sarenza, Bracelet By Bjorg, Ring By Imogen Belfield xxxx 260

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Jewellery By Maria Francesa Pepe, Fannie Schiavoni, Mint Siren xxxx 263

PHOTOGRAPHY BY SEBASTIAN SMITH Auto Erotica features Taylor Warren from Fusion Models. Styling by Anouk Beguery with hair by Alexander Tome and makeup by Michelle Coursey.

A U T O xxxx 264

Waspie And Bra By Bordelle, Shoes By Louboutin, Gloves By La Crasia

E RO T I C A xxxx 265

Zipper Neckpiece by Autumnlin Atelier, High Waisted Garter Panty by Lascivious, Stockings by Wolford, Shoes by Louboutin xxxx 266

Leather Harness By Fleet Ilya, Shoes By Louboutin, High Waisted Girdle By Wolford xxxx 267

Shelf Bra By Bordelle, Gloves By La Crasia, Skirt By Autumnlin Atelier xxxx 268

Cage Dress By “Chromat”, Tulle Skirt By Autumn Lin, Shoes By Christian Louboutin

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Leather Dog Ears by Fleet Ilya, Dress by Autumnlin Atelier xxxx 270

Corset Dress by Autumlin Atelier, Leather Harness: Fleet Ilya, Shoes by Louboutin xxxx 271

ADDITIONAL

VIDEOS

FEATURED IN THE VOYAGE ISSUE

307

CREATED BY DELANEY BISHOP 307 (1:31) features Felix Monet and Ana Jenkins. The fashion film presents two unidentified women in a time warp as they walk down a hallway. Styling by Vanvan Alonso with makeup by Lindsey Rivera and hair by Maxi.

WATCH THE VIDEO: www.untitled-magazine.com/video/ gallery/307

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PARIS DIRECTED BY ZAIBA JABBAR

Paris (3:05) features Anne Pigalle, fashion doyenne Zandra Rhodes, style guru Judy Blame and Princess Julia to name a few, in collections by designer Piers Atkinson. It focuses on capturing intimate moments in time amongst friends, celebrating the visionary ‘creatures of the night’. Featuring music by Fujiya & Miyagi Rhodes, with styling by Kim Howells.

WATCH THE VIDEO: www.untitled-magazine.com/video/ gallery/paris

BOAT CREATED BY PETER PHILLIP LUCKNER Boat (2:19) presents an animated painting featuring boats full of trees that become entangled in an urban landscape, Nature has lost against the throngs of modernisation, as only the artificial can survive.

Artwork, video and original music

by Peter Philip Luckner.

WATCH THE VIDEO:

www.untitled-magazine.com/video/ gallery/boat

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E VENTS XXXX M aga zine at the M etropolitan M useum of A rt F rieze A rt fair L ondon XXXX M aga zine / B ig S creen P l a z a P remiere of Voyage I ssue R ichard H ambleton R etrospective, N ew York XXXX M aga zine at L a Vill a , Paris fashion Week Cannes 64th Film F estival

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XXXX Magazine at the

Metro politan Museum of Art

On September 12, 2011, XXXX Magazine, The Untitled Magazine, presented 19 video art productions from the magazine at the Metropolitan Museum of Art “Facets of Figuration” Benefit Art Exhibit presented by Rodman and Renshaw and curated

by Gary Krimershmoys.

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Over 2200 guests entered the Metropolitan Museum with the XXXX Magazine videos projected simultaneously over four of the massive walls of the main exhibit hall in a looped 40 minute presentation of the 19 video art productions, while they were served champagne and canapés. “The exhibition Facets of Figuration… highlights an exciting group of artists exploring the contemporary permutations and possibilities of figurative art… From XXXX Magazine, “The Untitled Magazine”, you will see beauty, art and fashion intermingled... The featured directors that are showcased at the exhibition walk the line between art, fashion and film, embodying the new directions of the video medium. Showcased are Paul Windridge with I Turned and Walked Away, Indira Cesarine with The Spell, The Kiss and Live Art Series: 3 Videos, John Paul Zuviate with The Face, Blind Mice with Apollo and Daphne and Patrick Andersson with Fire Dancer and Daughters of Black Dahlia...”

Additional artists and directors in the XXXX Magazine screening at the exhibit included Iris Brosch, Zaiba Jabbar, Phantasmic TV, Bo Sul Kim, Peter Phillip Luckner and Benjamin Marlowe.

Creative Director and Founder of XXXX Magazine, Indira Cesarine, worked with curator Gary Krimershmoys to select and present the screening for the exhibit and represented the magazine at the event.

Other artists featured in Facets of Figuration included Alexander Melamid, Joseph Wolf Grazi and Amir Baradaran who were featured at the XXXX Magazine Voyeur exhibit at Art Basel Miami, December, 2011, as well as Andres Serrano, Paco Cao, David Kramer, Anya Rubin, Beata Drozd, Xiaowei Chen and Aitor Lajarin.

“Even during pre-historic times, primitive cave-dwelling humans wanted, even needed, to express the world around them. From

the prehistoric art of Baden-Wurttemberg in Germany, Chauvet, France and even Bradshaw art of Western Australia, humans have been depicting the people and animals around them. Fast forward thousands of years and we still find artists exploring the figure, with a range of inspirations, from Renaissance’s classical depictions to post-modern distortions using a wide range of materials and techniques.

After the advent of photography artist started questioning the need for representational drawing, as the camera would render an image more precisely. As Modernism and Post-modernism questioned the relevance of figuration, the contemporary art world reaffirmed a firm place for the inherent interest and relevance of artists’ representation of the figures around us. This exhibition shows that the figurative practices are varied, probing, visually and intellectually stimulating and a key component of artists’ dialogue in our contemporary discourse.The artworks for this exhibition come from an eclectic range of artists, from world renowned impresarios to emerging talent, that all have a figurative resonance within their practices.”

Following the exhibit guests made their way via the grand staircase accompanied by trumpeters through the halls of the museum while admiring the priceless art on the walls of the permanent collection, to a gala dinner in each wing of the museum. Following dinner award winning singer Mary J Blidge performed as guests anjoyed desert in the grand hall.

The event raised funds for The McCarton Foundation to help further their mission to increase the educational opportunities for children with autism and make a better life for them and their families.

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F r ieze

A r t Fai r Lo nd o n

Alive and kicking for almost a decade now, the Frieze Art Fair was as diverse as ever for its ninth year in London, UK. Situated in Regent’s Park, the art fair annually recruits over 170 galleries from around the world. Some of the attendees included Calvin Klein, legendary photographer David Bailey, Gwen Stefani, Valentino, Super Model Eva Herzigova among many other celebrities, PR professionals as well as fashion & art icons.

The main section of the art fair included 1522 artworks within the well established galleries. White Cube held the most offerings with a massive crowd of over a thousand attendees, while the Frame section included single artist presentations in 26 galleries that are less than 6 years old. There was an outdoor sculpture park, a high caliber talk program, and an education program. Over all it was a great success, although some of the galleries didn’t fare quite well, not to mention the innumerable complaints about the admission tickets, this year at £27. Most of the serious collectors admitted not being as amused with the works and contributions of this year as they were in the previous ones, but for the common arts enthusiast “The Frame” section which included bold and daring artists from London, Argentina, Japan, Cambodia, Poland and Israel, and the sculpture park, both were pretty impressive.

Thomas Dane Gallery held a studio display of the works of some worthwhile artists, along the incredibly notable “Credit Card Destroying Machine” by London’s Michael Landy. A lady assistant attaches either blue, red, black or green pens (according to the

volunteer’s preference) to a sketch book, and once presses on a floor button the machine made up of scissors, stuffed toys, levers, saws, and cogs comes into life to produce a Spiro graph like sketch to any member of the very intrigued crowd who’s willing to throw their credit card into the machine’s wood chipper to be shredded into a hundred pieces! A very symbolic and beautiful concept in today’s capitalist world; to abandon our financial and economic security in return for mechanic, and artistic productivity.

It was certainly an astonishing, and exciting demonstration by Landy.

Christian Jankowski on the contrary reminds the fair (and the world) that with hopeful anti-consumerist gests comes the counteraction of extravagant financial wasters. “The Finest Art on Water” was a 10m lavish motor yacht unduly exhibited a space by the moderate stands and was being sold for €500,000 as a motor yacht or for €625,000 as an artwork; Art Critics-be-damned to not condemn such a display that triggers discomfort among the ethical, moral art world.

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On another note, The “Frame” section in general is always the most to look forward to, with new and exhilarating works by humble artists always willing to talk you through their works. They were quite diverse offerings that hardly ever play it safe; audacity at its finest! The RAMPA Gallery held the modernistic photography and collage works of Nilbar Güres. Cultural isolation, freedom seeking and post-feminism sentiments were expressed. Her works were viciously attractive. Singapore’s favorite Indonesian artist Nyoman Masriadi was exhibited for the first time in London, comic-like/ political spoofs were displayed, using acrylic on canvas.

Exhibitors Hauser & Wirth sold the 3 editions of Thomas Houseago’s huge Hermaphrodite sculpture in Regent’s park at $425,000 each, to private European collectors; one of the grandest sales at the fair. Other larger sales were by exhibitor Anthony Wilkinson who sold a triptych a large painting by George Shaw; a Turner Prize candidate, at £55,000 and rarely exhibited artist Mark Alexander’s incomplete triptych based on “The Garden of Earthly Delights” only named “All Watched Over By Machine of Infinite Loving Grace” at £95,000. Another active exhibitor was Alison Jacques who sold the works by Ana Mendieta, Catherine Yass, Klara Kristalova, Ryan McGinley and Ryan Mosley for up to £20,000 each.

The Frieze art fair was busiest this year, disregarding the economical meltdown we have witnessed recently that has clearly

affected the venues. The galleries were cluttered accordingly unlike the previous years where the works of artists were spread freely and spaciously among various galleries. Nonetheless it was inspirational and reflective as always to what the world is going through in general; of politics, cultural issues and social suggestions. It is as massive and entire as anything the universe has to offer, it is injected with virtue and inspirational musings, poisoned with offense and transgression, and it inevitably progresses with the world and with time. Surely an event to praise and engage in, as an artist, an arts devotee and supporter, as an individual and a thinking, feeling human being.

Keep a look out for “Frieze Masters”, an international art fair launching in London, October 2012, with more focus on historical art with a contemporary perspective, for the classical arts enthusiast. Presenting works made before the millennium, ranging from old masters and antiquities to art of the 20th century.

Approximately 70 of the world’s unique and leading galleries are already confirmed to be present.

Article by May Mansour Video Directed by Indira Cesarine Video Edited by Ric Servini

WATCH THE VIDEO: www.untitled-magazine.com/blog/frieze-art-fair-london-2011

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XXXX Magazine

Big Screen Plaza Premiere of Voyage Issue

On September 13, 2012, XXXX Magazine, “The Untitled Magazine”, premiered over 30 new fashion film and video art productions from the forthcoming Voyage Issue, No 4 in collaboration with the Big Screen Plaza (BSP) in New York during NY Fashion Week.

BSP strives to enrich the cultural center of Manhattan through the screening of video art. The videos are presented on a massive 30’ x 16’ LED screen overlooking a 10,000 square foot Plaza in Chelsea, Manhattan.

The XXXX Magazine “Voyage” Issue 4 premiere took place at Bar Basque, the glass fronted restaurant / bar space facing the Big Screen Plaza’s screen in Chelsea. The Voyage issue featured films from a wide array of international contributors, coming from locations as varied as Beunos Aires, Paris, London, Greece, New York, Canada, Greece, Sweden, and Los Angeles, each with their own take on what the theme “voyage” means to them. Directors and artists included Andrea Tese, Bell Soto, Brian Gonzalez, Christian Witkin, Daniel Arango, Delaney Bishop, Diana Le Quesne, Diego Corredor, Dominique Polambo, Indira Cesarine, Iris Brosch, Jordan Doner, Kaelen Ohm, Michael Daks, Patricio Guillamon, Paul

Windridge, Peter Philip Luckner, Sean Capone, Sophia Deininger, Elkelv & Theodorakou and Zaiba Jabbar.

Over 500 guests previewed the latest series of video art and fashion film productions for the new issue at the event, hosted by Creative Director Indira Cesarine. Guests included Lady Victoria Hervey, Jackie Astier, Gary Krimershmoys of Quintessentially Art, producer Jennifer Eatz, video artist Sean Capone, Jim Deutch, Jeffrey Dread, Jewelry Designer Paris Kain, Beverly Camhe, artist Amir Baradaran, Carter Smith, designer Suzanne Rae, Andrew Misko, and contributing directors Kaelen Ohm, Jordan Doner, Christian Witkin, Brian Gonzalez and Patrik Andersson among many others.

The Voyage issue will be available to the public on the Big Screen Plaza’s official schedule from December 2011. Check the schedule online at www.4x-magazine.com/blog.

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RICHARD HAMBLETON

RETROS

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PECTIVE

NEW YORK

On Friday, September 9th, Vladimir Restoin Roitfeld and Andy Valmorbida, in collaboration Pury & Company, presented the opening of Richard Hambleton: A Retrospective.

The opening, which took place at Philips de Pury’s uptown location on 57th Street in Manhattan, was literally wall-to-wall with the art and fashion crowd admiring the latest exhibit of the legendary artist. Guests included Carine and Julia Roitfeld, Stephan Gan, Lauren Hutton, Ellen Von Unwerth, Anthony Haden-Guest, Indira Cesarine, and Alessandra Ambrosio among many others.

with Giorgio

Armani and Phillips

de

of New York. He gained the most recognition from his series of paintings “Shadowman” and “Crime Scene”. As of recent he is fondly being referred to as “The Godfather of Street Art”.

Curator Vladimir Restoin Roitfeld believes “Richard Hambleton’s brush stroke as an artist is genius and is in a league of its own.

Most significantly, he is the most important and influential living street artist in the world today, with a story and career that is unparalleled.”

Hambleton is the last surviving member of the East Village Art Movement and leads a relatively reclusive life in the Lower East Side of Manhattan. He continues to create and his works can be seen at The MOMA, the Brooklyn Museum, The Houston Museum of Fine Art, The Andy Warhol Museum, The Austin Museum of Art, The New Museum of Contemporary Art, Harvard University, The Queens museum, The Check Point Charlie Museum and the Zellermeyer in Berlin.

Hambleton rose to fame in the early 1980′s for his arresting art work displayed on the walls of buildings throughout the streets

Event Photography by Jeffrey Gamble

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XXXX Magazine AT

LA VILLA

Paris Fashion week On October 1st, XXXX Magazine, The Untitled Magazine, teamed of Made in NYC to celebrate Paris Fashion Week with a screening La Villa in Paris.

Managed by Cyril Peret, the venue on Avenue Friedland in the 8th arrondisement recently relaunched itself as a restaurant / nightclub with some of the top DJ’s in Paris. The evening started out with a dinner and video installation/screening featuring many of the movies for the forthcoming Voyage Issue.

The Voyage issue features films from a wide array of international contributors. Coming from locations as varied as Beunos Aires, Paris, London, Greece, New York, Canada, Greece, Sweden, and Los Angeles, each have their own take on what the theme “voyage” means to them. Directors and artists in the issue include Andrea Tese, Bell Soto, Brian Gonzalez, Christian Witkin, Daniel Arango, Delaney Bishop, Diana Le Quesne, Diego Corredor, Dominique Polambo, Indira Cesarine, Iris Brosch, Jordan Doner, Kaelen Ohm,

Karim Amatullah, Dimitri Hyacinthe and Unik XXXX Magazine fashion films, Dinner and Party at

up with of

Michael Daks, Patricio Guillamon, Paul Windridge, Peter Philip Luckner, Sean Capone, Sophia Deininger, Elkelv & Theodorakou and Zaiba Jabbar.

At midnight the DJ’s turned up the volume and the party kicked off Parisian style with guests dancing under the ceiling projected video installation and champagne flowing. October 1st is the celebrated “Nuit Blanche” in Paris, a special night once a year in which many Parisian stores and venues stay open all night long, and the party kept going late into the night. Definitely an event and evening to remember.

Event Photography by Jodie Talbot

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CANNES 64TH FILM FESTIVAL

DAYS & NIGHTS WITH

INDIRA CESARINE

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The 64th Cannes Film Festival, which took place May 11-22, 2011, is being called one of the best in recent years, with a stellar selection of judges presided by the one and only Robert De Niro (who once said he would never return to France), the jury included actors Jude Law and Uma Thurman. Everyone was talking about the strength of the films in competition, such as Terrance Mallick’s The Tree of Life starring Brad Pitt (which won the Palme D’Or despite being booed by the audience at the premier), Lars Von Trier’s Melancholia starring Kristen Dunst (who won for Best Actress), Pedro Almodovar’s The Skin I Live in with Antonio Banderas, Woody Allen’s Midnight in Paris with Owen Wilson, Lynne Ramsey’s psycho-horror We Need to talk About Kevin starring Tilda Swinton and Restless, Gus Van Sant’s latest which was in the Certain Regard selection. It was also a special year for me to be at the festival, as my documentary short, In Face Of Disability, produced for XXXX Magazine’s launch “Kaleidoscopic” issue, was featured at the Cannes Film Festival Short Film Corner.

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I arrived in Cannes on Thursday, May 12th, and after dropping off my bags at my host Richard Haines’ boat, The Rose Of Kingston, the first thing I did was go to pick up my black Cannes director’s badge at the festival headquarters, which conveniently was located across the street from the port. As a director with a short film at the festival, I was able to access the majority of screenings of films in and out of competition. Being the first to arrive on the boat, I spent most of the day reviewing the catalogue of films, and selecting the must-sees. Tilda Swinton’s movie was high on my list, being one of my favorite actresses. I also wanted to see Pedro Almodovar’s film as he is such a brilliant director, and as well as Woody Allen’s movie, which was far better received than his film at the festival last year.

Later that evening, after dinner on the boat with my host as well as the brilliantly fun artist Jeffrey Dread, who keeps everyone laughing, we headed out to Cathy and David Guetta’s Fuck Me I’m Famous party at Baoli. The venue was packed with fanatical dance club starry- eyed raver types, all with video camera phones pointed at the DJ booth in case they missed a moment of fame.

The hype surrounding DJ David Guetta has clearly reached fever pitch, now that he one of the top DJ’s in the world, even celebrity guests were acting like star struck fans. I ended up running into my old friend Evan Hainey, a talent manager from Untitled Entertainment, who I met many years back in New York, who was partying away with Rosario Dawson at Cathy Guetta’s table by the DJ booth. It was a fun start to the Cannes festivities, despite the slightly overwhelming crowd.

On Friday, May 13th, my host Richard organized lunch at the famous Eden Roc Hotel, also known as the “Hotel Du Cap”, which is the place to see and be seen during the festival. Aside from his business ventures, Richard is well known for his book Cameleon, which he plans to produce into a feature film, and is a huge supporter of the arts, always with a very entertaining crew in tow. It was a perfect day for lunch at Du Cap, as the clouds had finally cleared. As we sat down, Antonio Banderas sat at the table to our left, and joining him was his wife Melanie Griffith and the legendary Jane Fonda, who was looking fabulous despite her 73 years. Tarrantino producer Lawrence Bender popped by the table to say hello, and I chatted with the lovely Amy Perfect, wife of restauranteur Livio Alvaro Bisterzo of London’s hot new restaurant 5 Pollen Street. I couldn’t resist later having a chat with Melanie Griffith, who was very sweet with her whispery voice, I loved her in Working Girl.

Afterwards we met up with Rob Hersov for sunset drinks in the port on one of the many super yachts lining up. I chatted with the fascinating Yanou Collart, known for her fabulous Moulin Rouge hats, and film producer Tova Laiter. Somehow I ended up eventually at Cannes hotspot VIP, where I ran into New York nightlife’s ringleader Unik, who was in town for his Haiti fundraiser with Sean Penn, as well as Fawaz Gruosi from Grisogono, and Mads Kornerup from Shambala Jewels. After a near fatal foot crush under Lawrence Bender’s SUV, I managed

to make my way back to the boat for some much needed sleep!

The Pirates of Caribbean premiered their latest sequel On Stranger Tides, starring Johnny Depp, Penelope Cruz and Geoffrey Rush, which opened on May 14th in Cannes to much fanfare. We had a perfect view of the excitement right from the upper deck of the boat, as the actors left the theater. Johnny was literally dragged away from signing autographs of his fans by his security, and Penelope looked fabulous in her blue dress as she calmly walked by, not stopping for fans. The Pirates latest film, which was not actually in the competition, but was a big commercial draw to the festival, wasn’t considered a masterpiece. Lacking a love story, the film focused on a hunt to find the Fountain of Youth, with all the sword fights and typical pirates fare we have seen in the previous 2 films, thus not really a surprise, but entertaining nonetheless if you like that sort of thing. Penelope was considered by most to be rather wooden in her performance, while Johnny Depp adeptly performed his role as to be expected, yet without any new twists to his character. It was the one of the biggest budget films to be screened, but was not necessarily the one most spoken about.

On Saturday evening we decided to check out the Cannes Popup restaurant Nobu, which was situated on top of the Hotel 314, and had brilliant views overlooking Cannes. Owned by chef Nobu Matsuhisa and Cannes Festival Head of Jury Robert De Niro, the Pop-up Nobu was created for the 2 weeks of the festival, and did not disappoint. Many of the top restaurants and venues from around the world open up their pop-up versions for the festival, including Nikki Beach Club and Parisian haute boite Le Baron.

Apparently next year The Box is planning to come to Cannes, which I imagine will be extremely well received, and will certainly spice things up.

Monday evening after drinks with Louise O Riordan, who was hosting a cocktail on the boat next to us, I went with Victoria Hervey to Noami Campbell’s Fashion for Relief event. Hosted at the historic Forville Market, the catwalk show featured Jane Fonda in a Marchesa Dress, Yasmin Le Bon, Karolina Kurkova, Novak Djokovic, Victoria Silvstedt, Rosario Dawson, Barbara Becker, Robert De Niro’s wife Grace Hightower, as well as of course, Naomi Cambell herself, who wore dresses by YSL and Alexander MqQueen. The event raised funds for victims of the Japanese earthquake and tsunami, with proceeds going to the Japanese Red Cross. The afterparty was at restaurant / nightclub Baoli, where I ran into director Peter Martin and chatted with festival judge Jude Law. On Wednesday evening, the Swiss Luxury Jewelry brand Di Grisogono threw their fabulously fun 10 Year Anniversary at Cannes event at the Eden Roc Hotel. The Gypsy Glam themed event was by far one of the most fun events of the week, with over 800 guests invited to the celebration. The Gypsy Kings as well as The Black Eyed Peas performed. Outside on the terrace they unveiled the de Grisogono X Maybach 62S Saloon diamond encrusted, bulletproof car. Naomi Campbell, Leonardo Di Caprio,

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Rosario Dawson, Bianca Balti, Rob Lowe, Goldie Hawn and Boris Becker were some of the guests at the event. Leonardo held fort in a booth by the stage with Di Grisogono owner Fawaz Gruosi and Naomi Cambell, and a posse of glamorous guests / fans surrounded the table, hoping to be part of the excitement.

After the performances and fireworks, a group of us headed back to Leonardo’s villa for an exclusive after-party, which carried on until sunrise.

On May 18th, Replay threw their much-anticipated Cannes launch party of their new label, White Seal. The upper-market range of evening dresses, jeans and leather jackets for men and women features a lot of one-off looks and assymetrical cuts. Victoria and I had stopped by the Cannes showroom the day before to pick out Replay looks to wear to the event, which was at the Martinez hotel. I picked out an asymmetrical black silk dress with silver beading on the shoulder. It was a hard choice as the new collection has some great pieces; the leather jackets are also brilliantly cut. We headed to the party on Wednesday evening after the Roberto Cavalli store opening & cocktail. Rumour has it that they were so strict at the door, they didn’t even let actress Misha Barton in. After a rather slow start, the evening picked up once Jamaroqui came on stage to perform to the packed space.

They did a 2 hour performance of some of their best tracks and keep the party going until well after midnight.

One of the final hurrahs of my 10 day Cannes experience was the amfAR benefit, which was also held at the Hotel du Cap. This year at the Cinema Against Aids Gala they raised over $10 Million for the Foundation for AIDS research. In it’s 18th year at Cannes, the stars always come out in full force to show their support for the cause. Event chairs included amfAR Chairman Kenneth Cole, Janet Jackson, Patrick Dempsey, Milutin Gatsby, Caroline Gruosi-

Scheufele, Milla Jovovich, Ryan Kavanaugh, Karl Lagerfeld, Michel Litvak, Freida Pinto, Carine Roitfeld, Brooke Shields, Gwen Stefani, Donatella Versace, and Harvey Weinstein with many celebrity guests including Robert De Niro, Sean Penn, Goldie Hawn, Jane Fonda, Jude Law, Kanye West, Naomi Campbell, Uma Thurman and Kirsten Dunst. At the gala dinner there was a live auction with several items donated to commemorate the late Elizabeth Taylor, who was the founding chairman of amfAR, including a limited edition Herbs Ritts photograph of her which sold for 150,000 Euros and an Andy Warhol Liz lithograph that went for 400,000 euros. HSH Prince Albert of Monaco and his fiancée Charlene Wittstock raised 1 Million Euros for a chance to play tennis with the prince and a swim lesson with the Olympic swimmer Charlene. Even Karl Lagerfeld threw in his services by donating 2 private portrait sessions with him (plus a Couture Chanel Jacket) that were auctioned off for 180,000 Euros each.

Following the gala there was official amfAR after-party at the Eden Roc, which this year was sponsored by L’Oreal Paris, and was hosted by Patrick Dempsey, Milla Jovovich, Freida Pinto, and Gwen Stefani.

The amfAR After-Party is always one of the more glamorous at Cannes with everyone dancing on the terrace wearing their gala gowns and black tie suits. I ran into Julia Restoin-Roitfeld with her boyfriend Robert Konjic as I arrived at the party, and chatted with them about the short film we did together for XXXX Magazine’s Voyeur Issue, The Crush. It was impossible not to dance, with DJ’s Samantha Ronson, Sebastian Perrin, and Michelangelo L’Acqua playing music late into the night.

It was a brilliant and memorable Cannes event, with a few days to wind down before returning to the realities of the city.

Photographs and article by Indira Cesarine

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STOCKISTS A

Alexander McQueen

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Eun Jeong Hong

Alpha60

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Falguni & Shane Peacock http://falgunishanepeacock.com

American Apparel

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Aminaka Wilmont

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Fam Frill

Anja Mlakar

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Fam Irvoll

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Fannie Schiavoni

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F

Anna Levintza

B

C

D E

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Fam

Anyi Lu

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Bernard Chandran

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Frank Tell

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Bjorg Jewellery

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Fyodor Golan

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Body Amr

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Georgia Hardinge

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Bora Aksu

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Gianfranco Ferre

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Bordelle

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GMG

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H&M

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Calvin Klein

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Handsome

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Cherry Chau

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Hermés

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Christelen B

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Christian Louboutin

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Chromat

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Ingrid Vlasov

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Dean Sidaway

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Diana Orving

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Eleanor Amoroso

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Elisabetta Franchi, Anima Tua

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Erickson Beamon Eugene Lin

G H

J

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Jena Theo

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Karen Walker

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KatyaKatya Shehurina

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KG / Kurt Geiger

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N O P

Piers Atkinson Prangsta Costumier

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Pret a Portobello

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Pyrrha

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Pyrus

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Reem Alasadi for Wolf and Badger

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Rifat Ozbek

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Kokon To Zai

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Lako Bukia

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Lang

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Lanvin

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Robert Goodwin

Lara Jensen for Belle Sauvage

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Rokit

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Lascivious

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Rupert Sanderson

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Leifsdottir

Lina Osterman

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Sarenza

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See by Chloe

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Logan Neitzel

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Shiatzy Chen

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Louise Gray

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Simeon Farrar

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Lucy Hutchings

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Stolen Girlfriends Club

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Maria Francesca Pepe

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Swedish Hasbeens

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Maria Grachvogel

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Teatum Jones

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Marjan Pejoski

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Michael Kors

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Thierry Mugler

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Mint Siren

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My Asho

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Una Burke

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Underground

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Victor Osborne

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Victoria Grant

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R

S

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T U

The Item

Nazia Mughal for Wolf and Badger

Nina Jarebrink

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Nina Ricci

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Viking Wong

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Obakki

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Only Hearts

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Viktor & Rolf, Obsession

Oscar de la Renta, Obsession

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Vintage for General Eyewear

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Pam Hogg

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Walter Steiger

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Patrick Matamoros’ Chapel Vintage T’s

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Wolford

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Yasmin Kianfar

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Pebble London

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Zoe Chicco

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Phannafig

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