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tali fashions new daRLing Fannie Schiavoni chain mail couture natalie yuksel the fashion story teller Lucia Emanuela Curzi italian dreamer cerre making antiques for tomorrow

future faces of fashion


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editor’s page credits tali cover shoot team interviews tali noki aysher silk noriko takayama fannie schiavoni norwegian wood

22 rĂŠflection photoshoot 34 team interviews 34 35 36 37 38

axl jansen natalie yuksel vilsbol de arce ground zero cerre

40 the night shift photoshoot 46 team interviews 50 52 54 55 56

sigurd grĂźnberger noir - peter ingwersen christian schleisner mette thorsgaard ole fairytale king

58 madness of max photoshoot 72 team interviews 72 74 76 77 78 79

mark drew logan neitzel debra ginyard irregular choice bess marni burton

80 moments in history photoshoot 86 team interviews 86 88 90 91

agnieszka czyowska sunanda mesquita mawi/bjorg henriette lofstrom

92 illustrators 92 94

illustrator joanne peacock illustrator lucia emanuela curzi

96 stockist

photography axl jansen

from the editor

First and foremost I would like to say welcome to the very first edition of 1883 Magazine.

1883 Magazine is a fashion magazine about the Ô InspirationalÕ and the Ô ApsirationalÕ . A magazine that celebrates all that is new and exciting in the world of Fashion. 1883 shows you who and what is new, and who to watch out for in the future. Encouraging new talent in fashion, 1883 presents the brave, fresh and most of all talented new faces of fashion. Focusing on designers, models, photographers, fashion stylists, illustrators and hair and make-up artists, we work as platform to show case and promote the most innovative fashion talent around. Our team at 1883 have spent the last 6-months scouring the globe for talented Ô new faces of fashionÕ that we felt were not only talented, but also represented the true spirit of 1883. ItÕ s been a lot of blood, sweat and tears, but here at 1883 we feel that we have discovered some genuine innovative fashion talent. Take our ‘Réflection’ shoot (page 22) produced by photographer Axl Jansen and his very talented team, shot on the streets of Paris. AxlÕ s team have managed to capture through their imagery not only the essence of timeless Parisian sophistication, but also created a story that is contemporary, wistful and on trend. Then we have our cover girl Tali. A young model who at only seventeen yearÕ s old is taking the fashion world by storm, having already shot for international fashion bibles I.D magazine and Numero Magazine. An exclusive interview with Tali can be viewed on page 8. Finally, before I go, lets not forget some of the most significant individualÔ s of fashion...the designerÕ s. 1883 provides you with insider information and exclusive interviews with some of the hottest new fashion designers and illustrators on the fashion scene, including; Peter Ingwersen, the man who turned the traditionally homespun look of ethical fashion on its head with his socially conscious label Noir (page 52) and Joanne Peacock, the fashion illustrator from London with a love of Ô Roller DerbyÕ sÕ , who has produced some stunning one-off designs solely for our launch issue (page 92). here it is, 1883 Magazine, the 1st Edition. but most of all be inspired by it! Sincerely Yours Alicia Tomlinson Editor in Chief 1883 Magazine


Read it, enjoy it,


Editor in Chief alicia tomlinson

Creative Director paul krokos Director of Design jay mitchell Fashion Contributing Fashion Editors christian schleisner debra ginyard natalie yuksel Fashion Assistants jessica stewart hannah tomlinson olivia vaughan junior Fashion Assistant logan macdougall pope art & design Contributing Photographers axl jansen mark drew sigurd grunberger photographers Assistant ao nang peng maria moreno james burton Contributing Video Editor jill van epps Contributing Designer bonnie abbot Marketing and events paul rosenberg Contributing Artists aysher silk carole colombani koji takayanagi marni burton mette thorsgaard noriko takayama sunanda mesquita david delicourt Contributing Illustrators joanne peacock lucia emanuela curzi Contributing writers elle loveday rose lockhart fleur baxer katie rose penelope sacorafou sarah bonser sophie o’kelly sanchita nahar cillian o’connor Cover Photography photography paul krokos styling alicia tomlinson model tali at next london make-up aysher silk hair noriko takayama photo assistant james burton retouching robert mackenzie dress theory cage skirt norwegian wood photography

axl jansen


cover girl tali speaks to 1883 about shaman’s, moving to new york and what it’s like to be the ‘new darling’ of the fashion world.

photography paul krokos styling alicia tomlinson

1883 magazine | tali Tali, 17-year-old British model. I arrive at her agency and stifle a swift sigh of relief on hearing that she has not run late. Lithe and long-limbed, Tali greets me with a beaming, ear-to-ear smile that she somehow manages to make look chic rather than embarrassingly keen. A somewhat limp handshake follows which her winning smile succeeds in swaying me to ignore. Suddenly, I fully understand the appeal that’s been bringing her work from all corners of the industry. Having just left school in January of this year, she’s flung herself wholeheartedly into the helter-skelter world of the fashion industry. She loves the work and it loves her right back. With just five months modelling full-time under her belt she’s shot stories for everyone from Numero to i-D and doesn’t show any sign of slowing down. Clad in lace-up boots and a floral shift, it seems she’s channelling early 90’s grunge sans the unwashed connotations - her fresh-faced complexion and hair neatly tied-up ensure she steers well clear of raggedy C-Love territory. Add to that the fact that it’s water she sips periodically throughout our meeting. Fêted as much for her personal style as she is for her professional work, Tali is every inch the fashion-savvy ingénue with a serious penchant for all things vintage. An avid fan of all the arts, Tali is equally excited by Danny Boyle and early Tim Burton films as she is by the revered designs of the late Lee (Alexander) McQueen and Russian-born French artist and designer, Erté. She’s a touch nervous and yet it’s difficult to see why considering she’s nigh on skyrocketed since beginning her career just a few months prior to our meeting. As we begin one of the few interviews she’s granted so far, I

witness the slightly on edge adolescent immediately diffuse and the confident and competent style icon emerge. Spirited in conversation, she gestures animatedly as she proclaims her passion for everything from art, music to, well, shamans.

When and how, in modelling?





Well, I first got scouted by Next about a year ago. I was doing it part-time because of school but I didn’t really do much; I didn’t go to castings and stuff because I was focusing on studying. I left school in January but I’ve only been modelling full-time for about four months. At first, you have to start this process of getting to know about the industry because it’s quite difficult to go straight into it.

What was your first modelling job?

I took a weekend off school to walk for Costume National in Milan last September. It was crazy because it was in Duomo Square and there was like 30,000 people watching and it was on live TV so I don’t know how I walked! I must’ve looked like a crap walker! [Laughs]. It [modelling] is mad. It is worlds apart from school.

Has there been a particularly memorable job so far?

Well, there are two, really. Recently I did a shoot with Paul Smith for Numéro Japan. I did the look book afterwards and a short film with Paul as well. He’s the most amazing and generous man really kind. It was in the most random situation. We were in the middle of a field at two in the morning in the freezing cold. I was in a ball-gown having to climb over gates and windows and Paul was literally the nicest guy, he was bringing me tea and ice-cream! Really bizarre situation. Then, I also recently did a shoot with for i-D with Mark Le Bon and Sarah Richardson. That was really amazing because I working with girls who are pretty renowned in the industry. For me, it was a good experience, quite surreal.

You’ve got to maintain self-esteem?

Yeah. You’ve got to be really confident. You do have to believe in your work and you do have to be passionate about it.

How do you prepare yourself for castings and modelling jobs? Is there a particular ritual you engage in to prepare yourself for the camera?

There’s no particular ritual, really. I just turn up with washed hair and sometimes they like if it’s a bit greasy too! [Laughs]. Then, you get your brief and direction but I just quite like to go along with it. I’ve always been interested in fashion and I love acting as well so these interests combine and I can utilise that on a shoot.

So you’re acting during a shoot then? Becoming different characters?

Yeah! That’s what I like about it becoming different characters, and that’s what makes the pictures more real and not, you know, dead.

Has there been any particularly odd or surreal moment in your career so far?

Oh yeah. I once got tomatoes thrown at me from a high-rise in a council estate! [Laughs]. I also did a shoot for a magazine where I was sitting on top of rubbish mounds. It’s not extremely glamorous since a lot of the shoots are in really rough, dirty places!

You’ve been hailed for your personal style, how would you describe it?

For work I like to keep it all quite simple and chic, quite French. Well, I try to be chic! [Laughs]. Generally, I follow my mood. I’m obsessed with vintage shopping; it’s an addiction basically! I like a big mix of different decades: 20’s,


‘Personality counts for a lot more than looks..... it’s important for modelling, too. Your personality is reflected in your work’ 60’s, 70’s and then sometimes it’s all a bit Lolita or rock ‘n’ roll and grunge. I also have a massive collection of long vintage gowns - my room is a disgrace! I mean, my wardrobes are awful!

Where do you like to shop in London?

Quite recently I’ve got really into charity shops. There aren’t that many young shoppers there so there’s a really good selection. I love bargains. There are some really good select vintage shops like Blondie Boutique off Brick Lane and I sometimes go to this big vintage fair called Frock Me. I spent six hours there last time! I also really like Topshop and Urban Outfitters but I never buy anything too expensive there.

What’s the one item of clothing you can’t live without?

I don’t really have one. I wear my Topshop boots quite a bit and there are my vintage dresses which I’ve cut quite short because they’re usually quite dowdy and reach down to your calves. Then there’s my leather jacket, which I lost last night! I’m really really upset about that because it was such a statement jacket.

Do you have a style icon?

I don’t really follow anyone religiously. I’m inspired more by characters, moods, attitudes, music, and films. It could be anything from seeing someone on the street to watching a Sophia Coppola film.

Do you have Coppola film?




‘The Virgin Suicides’. Or ‘Lost in Translation’, really, but I love the styling in ‘The Virgin Suicides’.

What does your style says about you?

I’d like to think that it says I’m open and free-spirited. I don’t try too hard, the most important thing is not to try and fake it. It’s vital to wear what you feel good in but, ultimately, my style changes a lot and I don’t think it should define me. Personality counts for a lot more than looks.

page 10 Trousers FAke LoNDoN Crushed silk waist coat HARRIeTS MuSe Necklaces FAnnIE SChIovAnnI this page Bra WuNDeRvoLL Leather Jacket nokI page 12 Leather glove

uNCoNDITIoNAL Bra WuNDeRvoLL (BCPR) Elastic Harness NoRWegIAN WooD

tali credits photography PAuL kRokoS styling ALICIA TomLInSon model Tali at NexT LoNDoN make-up AySHeR SILk hair NoRIko TAkAyAMA photo assistant JAMeS BuRToN, retouching RoBeRT MACkeNzIe

1883 magazine | tali Substance over style?

Yeah! I’ve noticed it’s important for modelling, too. Your personality is reflected in your work.

Several models have tried their hand at designing of late. Is that something you might like to pursue?

I’ve always been really interested in fashion and I wanted to do fashion design when I was younger. For now, though, I’m just focusing modelling. I mean, I’m still pretty young and I’ve been lucky enough to get this experience so I’m enjoying that for now. In the future, though, if the opportunity presented itself it’s definitely something I’d be interested in.

What would it look like?

Like I said, I love characters so it would be based more around personalities rather than my own personal style. I guess I’d take reference from the past, especially the 20’s and the 60’s. I couldn’t really specify one genre. I’d want it to be a big, eclectic mix.

Do you have any favourite designers?

Most of my favourite pieces of clothing are vintage so I’ve no idea where they’re from. I do like Alexander McQueen, Biba, and Christopher Kane. I mean, there are so many! Dolce & Gabbana, Prada, Miu Miu, and Chanel is great, too.

You mentioned you’re influenced by music. What kind of music do you listen to?

I recently had my iPod stolen so that’s been driving me mad! But I like a mash-up of genres, just nothing too sugary pop. I just love being transported somewhere through a song. I love everything from grunge and drum and bass to folk and soul.

Any favourite bands?

I quite like Queens of the Stone Age, The Rolling Stones, Simon and Garfunkel, Jeff Buckley, Nina Simone, Ramones, Muse, and

‘You’ve got to be really confident You do have to believe in your work and you do have to be passionate about it.’

Elliott Smith

Have you met any personalities since started modelling?

interesting you have

Yeah, I’ve been lucky and made a lot of new friends. Certain people do have to follow that route from school and continue on to university if they want a certain job but I’ve been lucky enough to take a more unconventional path and keep grounded at the same time. I have a few friends who are girl models but I have a lot of friends who are guy models and not because they’re good-looking! [Laughs]. It’s great because as much as I’d like to talk about my work with school friends, it’s almost too different. All the guys have something else going on besides modelling like illustration, writing, music or poetry and it’s great to engage with creative personalities. Also, my friend Joe is in a really amazing band called Future Children and they’ve recently had one of their songs covered by Pete Doherty.

So you must be pretty busy at the moment with work and keeping up with friends. What do you during your spare time?

I like to spend a lot of time by myself, I’ve always been like that. Obviously I see my friends from school as well and spend time with my family. I love to just walk around London to be honest. It just feels really liberating and cleansing and helps me to relax. Recently, I’ve been trying to make more art. I really like doing portraits.

Any favourite artists?

I like quite surreal art so I love the photography of Diane Arbus and Frances Bacon Actually, the last art project I was working on in school was kind of weird. It was all about transformation so I looked at plastic surgery and took portraits of myself with sellotape all over my face and bits of ham as well. It was a bit grotesque and disgusting! Then, I also mounted them on cardboard but.... oh it’s really hard to explain!

How do you stay in shape?

Before I started modelling full-time I never ever exercised but, you know, in modelling your body is a uniform just don’t take it to extremes. So I just try to do like half an hour five times a week - just boring stuff like crunches and lunges. I’ve really got into health recently and not necessarily just for looks! All of the girls I’ve worked with are healthy. People think there are extremes but it’s not necessarily true. Most of the girls just have really good metabolisms!

What is a model?






It’s quite liberating and offers a variety of things to a variety of people. Some people want money from it and that’s fine; some people just want to have fun and travel and that’s cool, too, but for me it’s all about the experience something that I can take from and learn from. I mean, being a model is all a bit nuts, it’s not normal but I don’t really enjoy conventionality.

What do you think you’d do if you weren’t modelling?

I guess I’d still be in school, which is ok. I mean, I went to a nice school and I didn’t plan to be a model. It is nuts for me! A year ago, I never thought this would happen. Aside from that, I’m quite interested in documentary filmmaking so maybe that. I’ve been wanting to film one for a while but I’m kind of too scared to do it at the moment. I’d love to do a video journal not about me but about the people around me.

What are your plans for the future?

I’d love to pursue something somewhere between art, writing, documentary filmmaking and maybe acting. I was really into therapy before, too.

Oh? That’s the mill....





I once went to the only shaman in England! She does acupuncture and healing and some of my friends swear by her. She just took my pulse and literally got me in a second. She said exactly what I was feeling - that I get inspired by people and that I like to just talk and get to know people, that I need quite a bit of time by myself...

She was exactly right then?

Oh she got me completely! There was more but the best thing was that she told my I didn’t need to go back; a) because I was a bit too young, and b) because she said I had my head on straight which is really really nice.

And in the nearer future? What’s next for Tali? Well I’m going to New York soon to meet with clients. When I was younger I always had this dream of moving to New York to work when I was 17 or 18 so it’s quite fulfilling. It’s my favourite city in the world so if I’m well received then that’s great but if I’m not then I don’t really care because I’ll be in New York!

Jealous. Who inspires you to work as hard as you do?

Once you build momentum you feel it kind of comes from within. I talk about everything with my mum as well because we’re really similar but she’s obviously older and wiser than me. She keeps me grounded.

What’s your motto?

Keep inspired and always go beneath the surface. It’s important not to judge from the surface but to go deeper in order to understand something. Interview by Cillian O’Connor


1883 magazine | tali



Sustainability has become one of fashion’s favourite buzzwords and club kid cum music industry stylist, Jonathan “JJ” Hudson, is all too aware. He’s proposing a revolution of sorts. Having established his avant-garde label, Noki (an anagram of IKON), in the late 1990’s, he’s been making the radical reconsideration of the contemporary fashion industry his sole mission over the past decade. Earning a cult following in the process. Born from a desire to rid the market of the ‘must-have’ item which draws its desirability chiefly from its ubiquity, the NHS (Noki House of Sustainability, not the health service, though ‘Dr Noki’ relishes the connection often referring to his studio as the ‘waiting room’) campaigns for the truly unique one-off item. Employing techniques of customisation and logo appropriation, this provocateur thinks nothing of adopting pop culture icons like Disney’s own Mickey Mouse and warping them to fit with his own askew aesthetic. With the aid of Fashion East, Noki took his fashion re-use and re-wear rhetoric to an international platform for London Fashion Week’s Spring Summer 2008 season and just recently presented his freakish fashion in the form of a catwalk show at London’s Lovebox festival. And there’s not a hemp shirt in sight. Unsurprisingly unable to meet me in person for the interview, Noki has chosen once again to maintain the anonymity he’s infamous for. Preferring to reject any and every opportunity for stardom, he’s known for giving interviews with everything from a garish mask to an old t-shirt concealing his countenance. This, coupled with his appropriation of NHS terminology for his own end, proves Noki is more than a flash in the pan fashion agitator with a semi-political agenda. He’s got a bloody good sense of humour, too.

What motivated you to become a designer when you started out?

Working as an artist for over thirteen years. I was motivated by the desire to jam the contemporary, brands and identity onto the humble t-shirt. Designing a oneoff collection was a natural conclusion for me. The NHS was inspired by Lulu Kennedy’s platform for international fashion talent, Fashion East. As long as one-off sustainability goes forth, Dr. Noki is happy. Keeping sustainability sexy is always a motivation.

Where did you study design?

I studied at Edinburgh College of Art from 1989-1993 and did placements with Owen Gastor, Witacker Mallen, and Helen Story. I went to New York in 1993 and moved to London in 1995.

Can you tell our readers about your professional background?

I worked for MTV from 1996 when Noki was created as a reaction to the commerciality


of my surroundings. Luckily, Nicola Formichetti bought samples from The Pineal Eye (RIP) in London. Then, stylist, Anna Cockburn, styled a 16-year-old Gisele in Noki and David Sims photographed her for i-D magazine in 1998. That kicked it all off and I’m grateful to them for that.

You’ve often been labelled as subversive as a designer. Would you consider your aesthetic to be an assault on the industry or merely intended as a playful way of making fun?

All good creators have a subversive side. Making a physical fashion creation is my form of therapy to parallel those who do smash the window! I’d say the Noki silhouette creates a passive-aggressive, directional, subliminal, subversive silhouette for the wearer.

What inspires you?

Rag factories piled high as the eye that you can poke a stick at. The NHS is a conscious effort to recreate a contemporary fashion house from the rag upwards.

So what would be sustainable fashion?




I like to use the word ‘sustainability’ lightly. I have my own take on it all, having created Noki over thirteen years ago as an artist rather than designer. The NHS is the physical fashion incarnation

of the hardcore Noki installations. I’d like to say the NHS is 95% sustained fun and 5% administration! [Laughs].

Can you describe customisation?




The NHS creates only one-off garments. The process involves silk-screen printing done by hand and all the techniques learned from thirteen years of experience in customisation!

What words of advice would you give to aspiring fashion designers?

Get a grip on your lack of fashion knowledge. Step out of the high street and the gossip rags and look elsewhere where nobody has treaded before.

What do you envision for the future of Noki?

The NHS now has fresh industry backing from London-based LMB Textile Recycling. So now the NHS has a huge second-hand shop to be inspired by. The NHS has also invested in a shop called 123store situated at 123 Bethnal Green Road, London where the NHS has its own ward in order to retail its precious one-off love. Walk-in appointments, aftercare services, and open customisation surgery are all available Interview by Cillian O’Connor

1883 magazine | tali

aysher siLk


once a self-confessed shy girl, 28-year old aysher silk has grown from unassuming fine art grad to one of the most exciting talents in make-up artistry. an alumnus of the internationally acclaimed glauca rossi school of makeup, she’s worked for a slew of magazines from glamour to company, and has styled models for some of the most coveted catwalk shows. on the stiflingly humid, sweat-inducing Friday afternoon (the kind that does no favours to general appearance) I’ve arranged for the interview, I notice that her virtue quite literally shows. All bright eyes, bold brows, and full lips, she’s been reaping the benefits of rest. or perhaps it’s merely a testament to her talent. Despite having started in the industry relatively late, Silk hasn’t lagged behind in securing opportunities of working for make-up artistry majors, whilst developing her own distinctive style that effectively straddles both extremes of the aesthetic spectrum, being equal parts captivating drama and unfussy chic. Having both expressed our chagrin for mispronunciations of first names (it’s Eye-sher, by the way, not Eh-sher), I waste no time in discerning just how she’s come this far.

Was it your childhood ambition become a make-up artist?


I’ve always been really arty, my whole family is, but no one’s really worked in the arts apart from myself. I just loved painting and that’s continued right up until now, my adulthood. I studied Fine Art in university and did a lot of sculptural work. My ambition varies but painting’s always been the main focus.

How did you start in make-up artistry?

I just started looking at courses to be honest. The course I did wasn’t cheap but I was in a full time job so I was in a position, financially, to do it and I had heard great things about Glauca Rossi in Maida Vale. Lots of leading make-up artists studied there like Charlotte Tilbury, Hannah Murray, and apparently Pat McGrath was going to go but she managed to get to Paris first. It’s really renowned in the industry and so that’s where I wanted to be. You know, you want to go somewhere that’s got a good reputation. So I trained there for eight weeks and boy was it intense!

What was your first make-up job?

After going to several agencies trying

to get assisting work, I finally got to assist at Glamour magazine and at Premier Hair and Make-up. I had thought the whole process of getting assisting work would’ve been a lot easier than it was! [Laughs].It was really tough to break in to because so many artists use assistants they’ve been working with for years. You’ve got to work really hard and be on your toes for them to ever consider using you again.

What’s been the career so far?




Working for this magazine, I think! Getting a cover is, you know, quite a big deal! [Laughs]. Also, just getting to meet so many different artists at the top of their game is great.

Let’s talk about your aesthetic. How would you describe your make-up style?

I get asked to do natural a lot and I hate it! I like to do quite strong make-up when I get the opportunity but that doesn’t always sell so it has to be placed within the right context, the right magazine, the right market. So my style is somewhere in between natural and very heavy. I guess it’s informed by the work of Pat McGrath and Alex Box – they’re really out there, really creative. With them, the face is a canvas that you can do pretty much anything with and that’s the kind of thing that I love. It really pushes you as an artist to create fantastic things with the face.

What to you is the best aspect of a make-up artist?

Just being able to create something that wasn’t there an hour ago – the creative flair. Also, you get to meet, and work with, so many different people. I used to be quite shy and in this job you can’t be because you’ve really got to sell yourself so, in that sense, it’s helped me to grow as a person and develop a thick skin.

And the toughest challenge?

Getting work and working for free! [Laughs]. And you get told that at the start, that it’s tough but what you don’t realise is just how many other people there are out there wanting to do the same thing.

What inspires you and your work?

Art – I go to a lot of galleries, architecture, and just going out on the street and seeing individuals. The Japanese are great for personal style. Also, going out clubbing is great because everyone’s really pushing the boundaries with their looks.

What iconic make-up style do you love? I think the 60’s look was really beautiful. The simplicity of the eyeliner and a beautiful lip. I love the look Audrey Hepburn had, her beautiful eyebrows, very clean, chic.

Is there a particular look you like to give models?

No, I just like getting the best look out of the model. You might be given a brief but you might not be given the right girl so you just have to focus on the model’s best features and bring them out. It’s all to do with the model.

What products do you love?

I use a lot of MAC. I love Laura Mercier and Giorgio Armani, too.

What is your most memorable job so far?

Yeah. I did one with photographer Paul Krokos for Company magazine. It was a black and white shoot, very simple, and we had a gorgeous model with the most amazing eyebrows. I did a gorgeous painted lip and the skin looked bleached out. Combined with the lighting the makeup made such an amazing contrast .

What are your plans for the future?

To keep on working hard, to work with really good make-up artists, and to be known for my attention to detail. Also, working for fashion week as I still haven’t broken in to the industry and done the really big shows. I’d love to work from Paris but I don’t know how feasible that is considering I don’t speak French and I don’t think that helps...

Does Pat McGrath speak French?

I don’t know! She must know some! Interview by Cillian o’Connor image from Aysher’s portfolio Tina Vershaguri @ Next London


1883 magazine | tali

Noriko Takayama hair stylist

noriko takayama loves london. having moved from her native japan to the world’s experimental fashion capital just one year ago, the hair stylist has already succeeded in garnering commissions from 10 men to luxsure magazine while still holding down the day job.

I meet her just prior to another evening shift and find her in surprisingly high spirits despite the impending slog. Gingerly entering the busy coffee shop where we’ve agreed to meet she smiles in my direction and proceeds to my table. In my naive expectation, much as the fashion ignoramus often makes the assumption that designers are undoubtedly all exceedingly well-dressed, I’m surprised to find her shoulder blade-length, pokerstraight, dark brown hair gathered in a simple ponytail and arranged to one side of her face which, although pretty, seems to also externalise this talented woman’s quiet but resolute determination. While sipping chilled drinks, we begin by sharing our mutual distaste for the cruel humidity that comes with spending the summer in the city. Despite the heat, Noriko is swift to underline the stark contrast between her native Japan and the artistic hotbed that is London, extolling the many benefits of living in the more liberal latter. Not wanting to re-emerge into the dead heat of the afternoon, we talk texture, Japan and why foodstuffs might prove best for fashioning hairstyles.

Growing up did you always want to be a hair stylist?

Not really! [Laughs]. I always wanted to pursue something related to art because I like drawing and photography but hair was the most obvious choice for me. And you have to stick to one thing first, right?

Exactly. How did you get started?

I first began styling while hairdressing at a salon in Japan. At first, I did hairstyling for the ordinary customers. Soon after that I became fed up with conventional hairstyling for customers and I wanted to move on to the more


creative things in the industry.

So you the shifted artistic arena?




Yeah. I started working in studios as well as in a salon. It was quite a natural shift for me.

Did you study to become a hair stylist?

Yeah. I graduated from a two-year course at a beauty college in Japan which taught me shampooing, make-up and styling as well. Then, once I had my qualification, I started working at a salon assisting hair artists. They were amazing!

So when did you move to London?

One year ago! [Laughs]. Yeah, just one year now. My teacher in Japan began hairstyling here so that’s why I decided to make the move. I was inspired by my teacher. In Japan, all the famous Japanese hair artists have trained in London – they leave to work in London and they come back and they’re treated like a star in Japan. So, I’m thinking...

What is it you love about hairstyling?

Well, it’s not only hairstyling that I love. I love working in a studio because I love seeing how various artists work together. The collaborative aspect really appeals to me – how different artists come together from different disciplines to create the artwork. The final photograph is like a jigsaw and each artist contributes a piece. If one factor isn’t good, then everything collapses. That’s the interesting part for me, how each artist conforms to the theme at hand be it with clothing, or lighting, or hair etc.

What inspires your work?

Textures. The textures of textiles, drawings, sculptures, and nature – things like water, thorns, leaves and fruit.

Everything! Everything can be incorporated into hairstyling. But the most inspiring thing for me is architecture.

So your work focuses on shapes, too?

Yeah, shapes and important for me.




What about people who inspire you?

There are so many! My teacher in Japan is really inspiring. He’s not renowned in Japan but internationally he’s quite well-known for doing London and Paris fashion weeks. He taught me how to work within a team which is quite different here compared to Japan.

How so?

It’s more hierarchical in Japan. You always have to be hesitant and careful with your work.

And, here, you feel it’s more egalitarian, more collaborative?

Yeah. Here, there are more chances for work so you have to prove you’re better than others in order to progress to a higher level. In Japan, though, you can work your way up without having to prove anything much.

Do you have a muse?

Well, I’m very much inspired by the characters in paintings. I love Elizabeth Peyton and Picasso and oil paintings in general.

Because of the texture?


What’s your favourite hairstyle?

I quite like a 70’s/80’s French classic style. Hair down, quite voluminous but also quite smooth. Natural and classic.

How would your describe your aesthetic as a hairstylist?

Well, textures are the most important thing. Working on texture is the most subtle way of making an impact. Hair that’s very sculpted makes a very obvious statement so it’s easy to fool people into thinking you’re doing something ground breaking. Texture requires a greater level of technique. I can create textures using anything from eggs to sugar.

Wow! Let’s talk about that...

[Laughs]. Well, if models don’t mind I can even paint their hair using oil paints! Mad yellow, mad orange, blue, or something like that. With eggs, you add the egg white to get a silkier, shinier texture that makes you look like you’ve just emerged from the sea! Sugar sticks your hair together so it’s useful for gravity-resitant styles.

Any other foods that you’ve used?

I’ve used a pudding! At first it’s just a powder...

Like Angel Delight!?

Yeah! You mix it into the hair and it gives your hair a texture that makes you look like you’ve come from outer space! I’ve also used movie make-up. You dry it out and apply it to the whole of the head for a cracked texture. But I can’t apply most of these things to the models’ hair directly since most of them don’t like it so I apply the materials to a wig or extensions.

You don’t do that in the salon then? No no no! [Laughs].

Do you have any favourite products?

I use Bumble and Bumble a lot. Their thickening spray is really good. Some of the cheaper products in Boots and Superdrug are good, too. I like the ownbrand sea salt products.

At first, I depended on products a lot but now I think it doesn’t really matter what you use. I can do a lot of styles with just a tail comb. I think that’s what a hairstylist should be able to do – make at least one or two styles without any product. You need to subtract the elements you think you need to craft a style, not add them on.

Has there been particularly bizarre moment in your career so far?

There was one job – I think it was for a L’Oréal product - a while ago that was really odd because I was sticking hair on a ceiling with glue! At first I was unsure how I was going to do the job but then I figured out I could have the model wear extensions and then stick hair to the ceiling. The model was hanging from the ceiling by wires!

Any favourite job so far?

Yeah, it was for Sony Ericsson back in Japan. I did one hundred hairstyles for just one girl in three days. I couldn’t sleep for three days! It was horrible but also amazing.

What are your plans for the future?

I’d love to style the hair for mannequins in shop windows! Here, the displays are so creative. Maybe most people don’t notice the hair styles but I’m always amazed by them.

Do you want to stay in London?

Yeah! I love London, I want to stay here forever. It’s more human here compared to Japan.. In Japan, you always have to consider someone else’s feelings and opinions before expressing your own. You always have to be careful and say something after you’ve thought about the potential consequences. Here, I can breathe and be human. Interview by Cillian O’Connor

1883 mAgAzine | tAli

faNNie ScHiaVoNi designer

AcclAimed for her tough Accessories imbued with strong yet subtle scAndinAviAn chic, i find thAt fAnnie schiAvoni Almost embodies her work when we meet. prior to thAt, of course, there wAs the obligAtory cAll to the publicist in order to locAte her outside the interview venue. “Just look for the long blonde hAir” i wAs told.

mathematics, physics, and chemistry - all of that crap...

Where did you study fashion?

I studied Fashion Design Technology at London College of Fashion. Tailoring first and then moved on to fashion design.

Did you work with other houses/brands before establishing your own label?

I interned at Hussein Chalayan, Giles Deacon - about six different designers. I did quite a lot of interning and then set up my own label one month before graduation.

Was your graduate collection based on your now renowned chain accessories?

There were a few chain pieces and these were the elements of the collection that were noticed by Browns Focus. They liked the accessories and encouraged me to develop them so I created a small collection and started selling just before graduation.

How would you describe your aesthetic?

Androgynous and dark. I want to say subtle but that just applies to the clothes because obviously IÕ m making quite bold jewellery. But although my jewellery is bold, itÕ s not something crazy that, you know, screams at you. I like to think itÕ s more structural design.

Does your Swedish heritage influences your designs and the way you work?

Yeah, in everything I do. [Laughs]. In my work ethic. In my colours, too, obviously and in my aesthetic of simplicity.

What is the highlight of your career?

Receiving NEWGEN sponsorship for the second time - because I was really scared I wouldnÕ t get it this time around. [Laughs].

Sure enough, I glance to my right and there she is. All long blonde locks, chiselled cheekbones and swathed in flowing black fabric, Schiavoni seems a physical example of her eponymous label’s juxtaposition of strong and soft.

What is the toughest challenge you face as a designer?

Now working seven days a week on her third season, sheÕ s tired but greets me with warm enthusiasm regardless. reluctant to permit fatigue to hinder progress, she informs me of the impending work back at her new studio in Bloomsbury while sipping on a glass of cold water. But sheÕ s quick to assure me itÕ s all worth it, and who could disagree? having established a line thatÕ s garnered interest from everyone from pop idols to the cream of the blogging crop, Schiavoni is on top and relishing every moment.

So youÕ d prefer to be responsible for design only in the future?

what I take for a woman somewhat austere and just ever so slightly disinterested gradually reveals herself as anything but. her calm and assured demeanour is every so often offset by brief bouts of infectious giggling, which I find difficult not to reciprocate. We exchange stories of blogs and London rents and, eventually, she orders a cappuccino. With allnighters on the horizon, sheÕ s in need of the caffeine.

Describe the moment you decided you wanted to be a fashion designer.

[Laughs]. I wanted to be an architect and I realised that if I was lucky, I would be able to build one house in my lifetime that would be exactly the way I wanted it to be. It didnÕ t really suit me. Fashion was the second best thing. But architecture was my first love.

Did you ever study architecture?

No, I studied Technical Design in Sweden. So I was taught a little engineering and I took all the foundation courses like


Having to do everything myself right now from sales and general organisation to sending my work out to stockists and all of that. Too much!

No! I like it. I enjoy doing the sales. I just donÕ t have the time! [Laughs].

What inspires you?

Goodness. Everything, to be honest. I donÕ t like constructing big concepts because it just restricts you too much. Anything from my mum to architecture, especially the work of Todd Saunders. Recently, IÕ ve been looking at Greta Garbo, too. But, you know, IÕ m looking at all these people and you canÕ t readily see it in my work - theyÕ re just sources of inspiration. Right now, though, IÕ m looking at samurai for Spring Summer 2011.

Their armour?

Yeah, exactly. A trip to Tokyo is coming up soon! That kind of inspiration is evident in my work.

Do you have a muse?

No, not really, but at the moment I like the look of Coco Sumner. Her style is effortless, which is cooler than anything. Also, I naturally think of Swedish people when I design. I always tend to have blonde models in my lookbook which is a bit embarrassing...

Sticking to your roots?

Yeah! [Laughs].

What inspired your AW/10 collection?

It was really all about the work process. I design the mannequin first and then I figure out the ‘patterns’ for the chains.

So youÕ re designing on the form?

Yeah. I was taught the technique by a woman who recreates medieval armour for museums. The technique is all based on the work, so that as you work on the mannequin the design evolves through the process. I come up with ideas while IÕ m actually making the design so the inspiration for the collection isnÕ t set at the beginning of the whole process.

What is the best aspect to having your own label?

Getting to avail of opportunities like going on tour with Rihanna for almost two months which I would never would have been able to do if it werenÕ t for having my own label. ThatÕ s when I started to see the benefits! [Laughs].

Rihanna recently wore one of your designs in her Ò RockstarÓ video. How did it feel to know such a star was wearing your design?

It was really cool. I was on set so the design looked even better in real life. SheÕ s just an amazing performer and she wore my work in such a way that itÕ s all about the chains so I couldnÕ t be happier.

How did it all happen?

Well, I was in LA working on her world tour. While I was helping another designer out with one of her opening outfits, Rihanna pointed at me while I was wearing one of my designs and said, Ò ThatÕ s what I want.Ó . [Laughs].

So you were given a brief then?

Yeah, a very brief brief and I was told to have it ready by the next day.

Are there any other musicians youÕ d love to work with?

Florence and the Machine. I want to cover her in chains. I want to make a whole dress and a headpiece. A headpiece would be cool with her hair.

What are your plans for the future?

Goodness. I want to stay in London and possibly start making clothes as opposed to accessories exclusively. IÕ m working on my SS/11 collection now which will be exhibited in Somerset House during London Fashion Week in September.

If your background is in traditional fashion design, what motivated you to move from this area to accessories? I made the shift because my design aesthetic when making clothing was so clean, so subtle that it didnÕ t get noticed. And in the fashion industry you have to do something that makes a strong statement in order to get noticed.

YouÕ ve received a lot of attention from bloggers. Has the blogging community has been instrumental to your success?

Definitely. Even to the extent that it might have had something to do with the fact that buyers took interest in my work. Susie Lau of Style Bubble has been really supportive and has featured me a lot over the years.

WhatÕ s your chief ambition?

I suppose my main ambition would be to be creative director of another established company - like everyone else! That would be my dream. I would say Hussein Chalayan or Martin Margiela but theyÕ re smaller companies and so don’t have specific creative director roles. IÕ d love to work for companies like Aquascutum and that probably stems from my love for good structural design, good tailoring, or if I worked really hard, Balenciaga! [Laughs].

WhatÕ s your motto/philosophy on life? Sleep is overrated. [Laughs].

Interview by Cillian OÕ Connor

image from fannie schiavoni A/W 2010 lookbook

1883 mAgAzine | tAli

NorwegiaN wood designer

Angie Johnson is A devotee of eclecticism. from the sources from which she drAws her inspirAtion to the designs she creAtes for her own montreAlbAsed lAbel, norwegiAn wood, her Aesthetic is more A dynAmic mix thAn muted And monotone. And it’s one everyone’s frenziedly hAnkering After. feAturing boldly clAshing pAtterns And odd but intriguing colour combinAtions, norwegiAn wood strikes the fine bAlAnce between weArAble And AestheticAlly edgy. Famous for her cage skirts and penchant for fringing, Johnson now counts superbloggers, Susie Bubble and Tavi, and rock goddess, Courtney Love, amongst her legion of fans and it’s not all that hard to understand the hype. But things weren’t always so high profile. From the humble beginnings of Etsy shopkeeper to fashion designer, Johnson has grown immensely since the days spent toiling for other companies whilst keeping her online shop afloat. And now she’s late for our Skype date. No, she’s not rushing from a meeting with a potential stockist, nor is she fleeing from her studio having just completed that all important toile Ð sheÕ s snatching any moment she can to finalise plans for her wedding to her illustrator beau. I sit, wait, and eventually conclude that a thirty minute delay doesnÕ t seem all that long in comparison to a lifetime so all’s forgiven when she finally arrives online. Although tempted, I decide against asking for a lengthy description of the bridal dress, opting instead to chat raves, bloggers, and Todd Oldham’s boyfriend.

So what first motivated you to become a designer?

IÕ ve known I wanted to be a clothing designer for many, many years. I started sewing at a super young age and started my very first line around age 16; just a small thing that was sold in some local stores. But it made me realize it was definitely what I wanted to do and I havenÕ t stopped since.

So I guess your first experience with design was the line you did when you were just 16. Did you train formally?

This sounds super cheesy but I think IÕ m living it every day! IÕ m so happy to have finally started my own line. It seems like so many amazing things have happened since I started and itÕ s only been just over two years; working with amazing bloggers (Susie Bubble, Tavi, Michelle from Kingdom of Style etc.), I also recently had a mention in British Vogue which was pretty great, Courtney Love bought some leggings from me just before the one year Norwegian Wood anniversary, and my very first sale on Etsy was to Todd OldhamÕ s boyfriend, so itÕ s all been pretty amazing!

What would you describe as the toughest challenge you face with having your own label?

Sounds good! Actually, I was just going to ask you about bloggers. Do you feel the blogging community has been instrumental to your success?

Yes, I went to the University of Manitoba (where I grew up) and received a degree in Clothing and Textiles. My first sewing experiences were with my mum when I was young, though. After graduating from university I worked for Silver Jeans, where I had worked part-time during my degree. After four years there, I moved to Montreal and worked as an assistant designer for one company for a year and a half, then at another company for four years as the head designer.

I would have to say finding really great local production facilities. IÕ ve been making all my designs myself, by hand, in my studio, but now the line has grown to a stage where there literally arenÕ t enough hours in the day to do it all so IÕ m trying to grow my list of local resources. Quality is very important to me so IÕ m quite picky about my suppliers. I also donÕ t have huge quantities yet, so itÕ s quite a challenge.

And whatÕ s the best point about having your own label?

The absolute best part is being in charge i.e. deciding exactly what fabrics I want to use, what designs to create, how it should be branded, what the photoshoot will be like, what hours IÕ m going to work etc. When you work for a large company you may have a say in some of those points, but never all of them. When you work for yourself you get to decide for yourself, and itÕ s amazing how much that can improve your quality of life! That feeling of having the power to shape it the way you want.

LetÕ s talk about inspiration. What influenced back when you were 16 and starting your first line, and what inspires you now?

Back when I was 16 I was going to raves and parties and making clubwear. The crazier the better, and often with a bit of a 60’s/70’s vibe. Nowadays I’m inspired by interesting things I see around me, be it in film, books, or even just something I notice walking down the street. Fabric also inspires me a lot. IÕ m building my entire Spring Summer 2011 collection around an amazing vintage fabric I found recently. My Spring 2010 collection was inspired by a group of women I saw heading to church every Sunday in a neighbourhood I used to live in!

Ok, and how would you describe the signature Norwegian Wood aesthetic?

Well, mixing of patterns has become a signature element, as well as layering I suppose. I also like to make clothing that is a little surprising. Interesting colour combinations have become a strong element as well Ð I love playing with, and mixing, colours in unexpected ways.

Cool. On to your career - whatÕ s been the highlight so far?

Absolutely! I always think that there are probably a million talented designers out there but if no one can see your work or learn about what you do, then it doesnÕ t really matter. These lovely ladies [Susie, Tavi, and Michelle] have given my work a voice and allowed people all over the world to see what I do. TheyÕ re also showing people that itÕ s ok to experiment with fashion and have fun with it.

WhatÕ s next for Norwegian Wood? What do you envision for the future of the brand?

Well, the next step is to continue to grow the clothing line and to really get into the flow of having seasonal collections, as well as core items that repeat from season to season in new fabrics each time. IÕ m also thinking very strongly about adding denim to the collection, as well as possibly working on some footwear. ThatÕ s most likely a very long-term project but you have to dream!

Absolutely! Speaking of dreaming, what advice would you give to aspiring fashion designers?

Well, this is slightly boring but I would really suggest they work for at least a year for a large-ish clothing brand. They will learn so much that will come in useful in the future. When youÕ re just starting out as a small designer you pretty much need to do everything yourself, including shipping, graphic design, patternwork, labelling, etc. So if you have a bit of knowledge about those other aspects of running a business, you will do much better. I was working for Silver Jeans while I was doing my last two years of university, and I really think I learned more at my job than at school! You just cannot get that hands-on day-to-day experience any other way.

Also, more personally, motto/life philosophy?

whatÕ s


You can do anything if you want it badly enough. You can find a way to make it work. Work at night, throw away your TV, go back to school, do whatever you have to do - you wonÕ t regret it!

Wow! ThatÕ s a rousing one! Good!

Interview by Cillian OÕ Connor


rĂŠf -lec -tion

photography axl jansen fashion natalie yuksel

current page Leather jacket CErrE Viscose dress with pearl collar INGrID VLASOV Leather brogues thE OLD CurIOSIty ShOp

next page Cape en croute de cuir et maille CErrE Cotton t-shirt IkOu TSChuSS Metal and swarovski crystal earrings DELphINE-ChArLOttE pArmENtIEr Cotton cigarette cut trousers BACk tO NOISE Leather belt JuuN J Leather court shoes ALAIN GuLICI

previous page Leather jacket CErrE Viscose dress with pearl collar INGrID VLASOV Cotton socks DIm Leather brogues thE OLD CurIOSIty ShOp

current page Satin origami detailed jumper Arzu kAprOL Suede shorts mES DEmOISELLES Metal and swarovski crystal earrings, DELphINE-ChArLOttE pArmENtIEr Leather platform boots ALAIN GuLICI Wool tights StyLIStS’ OwN

previus page Cachemire cardigan SANSOVINO 6 Coton t-shirt BZZ Leather leggings mES DEmOISELLES Leather sash (worn as a bustier) EVA mINGE Leopard tie up pony skin ankle boot ChArLOttE OLympIA current page Cotton jacket DAmIr DOmA Cotton t-shirt GrOuND zErO Velvet trousers LAItINEN Suede high heeled derbies tABIthA SImmONS Plexi clip on earrings mArION GODArt Leather belt JuuN J

next page Leather Jacket BArNAB Š hArDy Backless Knit T-Shirt VILSBOL DE ArCE Metal and Ribbon Braided Necklace CArOLINE BAGGI Wool Skirt AurOrE thIBAuLt Wool Tights StyLIStS OwN Leather Platform Boots ALAIN GuLICI Head Piece Aganovich J-SmIth ESq

current page Asymetric hat ChrIStOphE COppENS Metal and swarovski crystal earrings DELphINE-ChArLOttE pArmENtIEr Wool and angora jumper IkOu TSChuSS Leather shorts FAtImA LOpES Leather lace up boots tABIthA SImmONS

next page Cotton shirt Ek thONGprASErt Leather and metal cravate AND-I Crepe trousers ALExANDrE VAuthIEr Laced leather shoes thE OLD CurIOSIty ShOp

make-up CArOLE COLOmBANI @ AtELIEr68 hair DAVID DELICOurt @ CALLIStE model JuLIA LEBOVA @ mAJOr pArIS photographic assistant AO NANG pENG stylist assistant OLIVIA VAuGhAN

1883 magazine | Réflection

Axl JAnsen


Sacrafou speaks to the man behind 1883Õ s “Réflection’ story.

Please tell me a bit about your self, when did you first take up photography?

Originating from Berlin, Paris based photographer Axl Jansen has been experimenting with a photography since he was eight, when he stole his fatherÕ s camera. With a strong background in photography (his father was an ardent photographer), Axl has always maintained confidence in the field and challenged himself to experiment further. Although he studied philosophy he quickly changed direction to pursue his initial dream.





photography ao nang peng



At the age of eight I borrowed my fatherÕ s camera - he was quite a passionate hoppy photographer. I started to take pictures of my family and my pets and ever since then I have become addicted to photography. I started to spend a lot of time experimenting with photography and over time developed all kinds of ideaÕ s and techniques. When I left school I took a number of internshipÕ s in the film industry and one at a still life photography studio, before going to study philosophy and media. But I came back to photography. Then four years ago I decided to move from Berlin to Paris, hoping to make that step towards the international fashion market.

What inspires you and what was your inspiration for your 1883 Shoot?

I would say for me, the most inspiring aspect in photography is the model. I like to work as if I am taking portraiture as opposed to just a fashion shoot. Developing the direction of a shoot always has different aspects for me. There is in general, a certain kind of mood or atmosphere that I will follow,

however I also have a big inspiration book and archive, which helps me to stay on track with my ideas. If I am working on a submission story for a magazine, then I will talk with the stylist.

In fashion photography what is the relationship between a photographer and stylist?

The photographer and stylist are dependant on each other. You need to work closely together during the preparation of a shoot to find the right direction. The shoot for 1883 Magazine was the first time stylist Natalie Yuksel and I had worked together, but it will not be the last time!

As a fashion photographer what do you think is the most important aspect to bear in mind whilst shooting?

For me personally I always want to see some truth in the shoot. I want it to be natural and original.

Do the clothes compliment your photography or would you say it is the other way round?

I think it is in betweenÉ

To view AxlÕ s work go to Interview by Penelepe Sacorafou

1883 magazine | Réflection

natalie yuksel


Story telling is what Natalie loves, and styling is the means to do this. She brings together groups of photographers, make-up artists and models to help tell these stories. For 1883, Natalie tells the story of a girl that met a boy. And though romance is the dominant element in the story, there is a definite gothic edge to it. In her interview with Penelope Sacrafou she tells 1883 what inspired her, her moods and most important who Natalie, the stylist/story teller really is.

How long have you been a stylist and what inspired you to become one?

I have been styling my own shoots for

photography ao nang peng

about four years now. I was inspired by the notion of telling a story and conveying an idea through the choice of clothing, hair, make-up and model.

What is the most important thing to keep in mind while styling?

Focus. Not only on the clothing but the focus on the overall direction, as hair and make-up are also vital elements of the whole idea. That’s why it’s important that everyone understands the direction from the onset.

How do you define the relationship between a stylist and a photographer?

Essential, because it is the understanding of these two people that makes the story what it is. A stylist has to make the right elements work together so that the photographer is inspired by what she/he sees and therefore want to shoot it. If it is the contrary, it normally shows in the photos.

In ‘Réflection’ what feelings were you aiming to evoke?

Modern gothic elegance. I was quite inspired by the character of Estella in Dickens ‘Great Expectations’. Static, beautiful, understatedly elegant but at the same time vulnerable. There is an eeriness, which I wanted to convey. The idea was to have our girl modern, cold but at the same time elegant, hence the hair.

What clothes helped you achieve this?

The colours were of great importance. The main focus was on black clothing with touches of white encapsulating the gothic

mood. Clothing wise, I would say the cape and leather jacket with the back detail from Cerre helped the most.

In this shoot you used Cerre, is the label a new discovery of yours? What’s their style and how did their leather creations work for this shoot?

I discovered Cerre while on my shopping appointments for the ‘Reflections’ shoot. The style seems uncomplicated but with attention to detail; the cut and use of beautiful fabrics. Cerre creations worked superbly for this shoot, giving the gothic theme a subtle twist.

Similarly accessories are always vital in a woman’s outfit. How did your choice of accessories help transmit the image of the woman you had in mind?

Well for example, the two pairs of earrings I used by Delphine were perfect for the story. They reiterated the whole elegance element that I really wanted to convey. I have seen so many gothic inspired shoots, which is why I wanted to add the austere cold elegance, and the earrings polished this off nicely. One of the shoe designer’s I used was Alain Gulia, who once again I discovered on one of my shopping appointments, which just shows how important appointments are as opposed just emailing shopping requests! I liked the hardness of his designs and thought that they could toughen up the overall shoot. Interview by Penelepe Sacorafou


1883 magazine | Réflection

Vilsbol de Arce


With “a myriad of creative expressions” designer duo Prisca Vilsbol and Pia De Arce are challenging traditional fashion conventions with their latest collection “Anatomy”. They have explored the depths of the human form giving us inspiration from muscle formations and ligaments to skeletal structures. It’s raw, extremely playful and oozing promise. Their colour palette focuses heavily on neutral and tonal shades to allow their wonderful tailoring and shapes to come alive and take the main stage. Since August 2008, their collections have hit the big time, globe trotting


to fashion hotspots including Paris, Rome, Hong Kong, Sydney, Moscow and New York. Worldwide recognition has come hand in hand with a celebrity following including Lady Gaga and Rhianna; top magazine spreads in ‘Dazed and Confused’ and a well-earned victory this year for “Danish Talent of the Year” at the Danish Fashion Awards. If you’ve got some extra cash to splash around, expect to pay around £200 for trousers and £400 for footwear. Why not check them out at What a banger of a year. Vilsbol De Arce- we take our hats off to you. Written by Elle Loveday Rose Lockhart

1883 magazine | Réflection

Ground Zero designer

They are amongst my favourite designers in the fashion game at the moment. Creative duo, brothers Eri and Philip Chu graduated from design school after majoring in Graphic Design with a vision to start a full frontal style pandemic in the fashion world. Whilst Eri worked for a classic tailoring shop and learnt the basics of cutting and production, Philip graduated from Middlesex University with a BA in Fashion Management. Together they were ready to shake up the industry. They have emerged with a style that is edgy, raw, and soulful providing a shattering colour surge combined with truly considered and great designs. With playful ironic prints to strikingly tailored jackets, if you haven’t heard of them now you will remember them for their designs. Ground Zero has a cheeky

twist; the brothers Chu are adamant they do not want this brand to limit itself as just a fashion line – They are eager to explore installations, graphics, music, and video, leaving no stone unturned. Eri and Phillip have pulled out all the stops for our very own “Reflexion” shoot, and you can see how powerful the outcome was. With tees starting at around £38, you can purchase their little explosions of gorgeousness at “I DON”T LIKE MONDAYS” and Selfridges in London. Written by Elle Loveday Rose Lockhart



1883 magazine | Réflection

Cerre designer

super chic, los angeles label cerre was founded in 2005 by husband and wife designing duo flavie and clayton webster. a luxury leather brand, combining simple, straight cuts and classic designs with an elegant sexy twist, cerre clothing and accessories has become instantly recognizable as objects of exclusivity. Each piece is painstakingly created in very limited editions by the couple, along with a small team of craftsman under the guiding phrase: “Beauty is Sacred, Craft is Ritual, Quality is Law,” a philosophy deep-rooted in mysticism and nostalgia, a reminder if you will, for older, more decadent times when mastery of the craft was paramount, ‘...a message to the future to not forget the past’. Cerre’s 2009 collection paid tribute to the Gothic era, an era usually perceived to be harsh and dark. Nonetheless, inspired by Gothic architecture and particularly the arches of French Cathedrals, Cerre designs caused frenzy. Items from the collection have featured in fashion shoots for the likes of Vogue and BMM Magazine.

In 2010 Clayton and Flavie took Cerre back to it’s birth place of Paris (the couple met and received their fashion education while modelling there) showing their collection for the first time during the Autumn/Winter 2010 – 11 Paris Fashion Week. The notorious ‘sex’ oozing backless leather jacket from the 2010/2011 collection shown in Paris and featured in 1883’s ‘Reflections’ shoot, embodies the ‘contemporary traditionalist’ design and personifies the ethos of the company ‘making antiques for tomorrow.’ The leather dresses; always combined with softer materials such as silk and satin perfectly exudes the romantic vibe that Cerre leather designs carry. Converging modernity with the past is something that Flavie and Clayton ensure resonates with all things ‘Cerre’. In April 2010 the Cerre store was opened. Located in Old Hollywood, the store was made with material over a century old and restored by the couple themselves. The location choice was chosen as a tribute to a bygone glamorous era whilst the shop itself as a thrilling new one. Once again Cerre’s obsession with all things nostalgia is upsetting fashion’s chronological order and we love them for it! For further information check out Written by Penelepe Sacorafou


the night shift

photography Sigurd Gr端nberger fashion christian schleisner

page 42-43 Dress mALENE BIRgER Shoes cuSTOm mAdE BY ThE STYLIST current & previous page Dress OLE YdE Shoes cuSTOm mAdE BY ThE STYLIST

previous page Dress OLd YdE current page Dress mALENE BIRgER Shoes cuSTOm mAdE BY ThE STYLIST next page Dress mOONSPOON SALOON

previous page Dress wackerhous Sleaves noir Shoes custom made by the stylist current page Dress lanvin Shoes custom made by the stylist

hair & make-up mette thorsgaard model josephine @ unique


photography sigurd grunberger

1883 magazine | the night shift

Sigurd grünberger


fanatical about photography and a genius behind the lens, denmark’s finest image making export sigurd grunberger talks toys, charlie chaplin and shooting film. Can you summarize your life so far?

I grew up in the countryside and moved to the big city Copenhagen at 18. Here I am still with my two kids and girlfriend but now living as a photographer and get to travel around the world. LifeÕ s great!

How did your career start?

I worked in a photographic store and that started my initial interest in photography. At 19 I decided to enrol in photographic school and following that, went on to assist various photographers.

What do you like to shoot most?

People! It doesnÕ t matter if they are models and wearing designer clothes. PeopleÕ s faces and gestures interest me.

How has your style as a photographer evolved since you started out?

When I started out everything was film and Polaroid. I try to keep that same approach to photography, I like it to have that same feel. But I guess when I started out I wanted everything more clean, more perfect. Now I am not afraid of the ugly and the random.

What do you want people to feel when they look at your photography?

I want them to feel that they are looking at something real. I want them to smile and get inspired.

Did you always know what you wanted to do?

No! I had no idea growing up actually and realized late that I wanted to be a photographer. IÕ ve always expressed myself creatively and felt really at home when I got into photography.

If you could shoot anyone, (living or dead), who would it be?

ThereÕ s so many. If IÕ d have to mention one it would be Charlie Chaplin.

What are you working on at the moment?

Right now I’m finishing a big portrait story I did for elite London.

WhatÕ s your greatest inspiration?

The classics. Books, moviesÉ But I actually also get very inspired from shooting. From doing one thing, you get inspired to do something different and so on.

How do you filter your influences?

ItÕ s something you canÕ t explain, but itÕ s important to give everything you do your own personal touch. There is nothing worse than a bad copy. It comes naturally. what is the best advice you have ever been given? DonÕ t worry about what everybody else is doing, do what you want to do.

What does fashion mean to you?

ItÕ s a fascinating thing that allows people to express themselves by wearing it, designing it, hating it, shooting it and so on and so on.

Are you able to sum up your style in three words?

Yes, no, maybe.

Do you have any other creative outlets?

I used to paint and play music, but havenÕ t got time for that anymore...

What motto do you live by?

All your dreams can come true, if you have the courage to follow them.

Finish the sentences... Style is...

What you believe it is

When I look in the mirror I see... Myself

itÕ s not fashionable but i love... Shooting film

All my money goes on... Toys

In ten years time, I hope to be...

An amazingly well known and recognized photographer

interview by sarah bonser


1883 magazine | the night shift

nOir PeTer ingWerSen


in the world of fashion few associate ethical with luxury and the words natural and ecosustainable don’t exactly inspire sexy-cool connotations. until now. pioneering Ô fashion with a heartÕ and blazing a trail in the organic market since 2005 peter ingwersen has turned the traditionally homespun look of ethical fashion on its head with socially conscious label noir. proving that stylish and humanitarian can go hand in hand ingweresen is one of the main engines of ethical innovation in our times. a master of classic brilliance, he’s reconfiguring the future fashion landscape, supporting the environment and disregarding crunchy fabric convention one diaphanous dress at a time. bridging the gap between moral and debauched apparel, and sending out the responsible luxury mantra to everyone in the industry, the danish designer is literally saving the world one cotton field at a time. creating meaningful consumption with illuminati ii noir« s own organically grown and fair traded cotton from the heart of africa Ð and black noir, a younger diffusion line with a racy rock-and-roll edge.

distribution. Once you get this right; you can add the ethics and this is what we did. We did not believe that people wanted to buy our designs if it only was build on the Ô tentÕ preconception alone; it would then become a intellectual consumption. That is why we played the fashion game first followed by the ethics.

What are the biggest challenges when adhering to socially ethical criteria?

How long is a string? There are all the pitfalls you can think off and many more. However what is important is to decide which part of the supply chain strategically matches your brand DNA and then start investigating the options, testing, evaluating and then implementing and correcting. This is not done within a year but can take up to 2-3 years. there seems to be a growing consciousness about how we shop. why do you think that is? Trends can be divided into many categories but the most important trends are the Ô zeitgeistÕ trendsÉ the big trends that influences how we think, design, live and consume. Ethics and sustainability is a Ô zeitgeistÕ trend that is dominating right now as the financial crises has created a clear niche for a new way of living and consuming and as a backlash to the overconsumption five years ago. The rule being that Ô every trend creates a counter trendÕ .

What can green fashion do for people?

Hopefully green fashion should be able to evoke the same practical and emotional needs like any traditional fashion would do. However it will do more as the environment and the social ethics will provide an added sustainable benefit to the environment and workers in the supply chain. Finally; it can also help to strengthen your self esteem as you are consuming with a clearer conscience. The old letter of indulgence thoughtÉ

Do ethics dictate Noir’s style?

No. Style comes first and then ethics. But these themes can go hand in hand today.

How did Illuminati II come around?

In 2005 we could not find organic and fair traded cotton fabrics that looked stylish. We could only get granola Ò hempÓ fabrics so we had to invent a stylish fabric base inspired by cotton that was organic and fair traded. We found this in Uganda, Africa and today we weave our own fabrics to the above specifications involving local community. We call the supply chain and final fabrics for Illuminati II because it is the second time of enlightenment and this time with a focus on how we consume.

What’s the idea behind Black Noir?

The idea behind BLACK NOIR was to offer the ethos of NOIR but in a more democratic design and price alternative.

There is always homage to the strong woman in your collections. Why is that?

if youÕ re looking for precision tailoring, elegant after-dark looks or crisp cotton shirts, noir is the go-to brand. though virtuous to itÕ s clean sourcing core, thereÕ s nothing goody-two shoes about leather micro-minis and seductive silken shirts and noir stays true to itÕ s s&m inspired roots with fetish suggestions and lashings of pervy propositions. the man behind the magic talks crystal balls, psychological predestination and going green.

Because I believe that women are naturally stronger leaders within the ethical zeitgeist trend. This due to the psychological predestination that women are mothers and thereby care for the offspring in a stronger sense than men which means that they would like to see their kids growing up in a healthy world. That is why the collections are dedicated to strong women in the music, arts and business world.

When you developed Noir, eco sustainability was far from mainstream. What inspired you?

As Noir’s pioneering spirit continues, where do you plan to take it?

When NOIR was conceived in 2005; it was conceived on the notion of constant media alert to climate changes and CO2 emissions rising. I could then either react to the challenge or ignore. I chose to take responsibility and develop a line that strived to take a sustainable approach where we could in the supply chain. Secondly; previous areas of sustainability in the fashion sector looked a lot granola carrying fabrics that you could smoke. From a strategic positioning here was an area to be explored and potentially redefined and reinvented. This inspired me too.

People generally don’t associate ethical with luxury. How did you move away from the ‘granola and tent’ preconception of ethical fashion?

When reinventing a category you need to play by the rules but add innovation. If you want to sell to the fashion industry you need to create beautiful clothing with the right fit and the right price in the right

There are many areas I would like to explore but for now I have build tree brands; NOIR, BLACK NOIR and Illuminati II in five years, so it is time to see them growing stronger by the day and stay focused till they can sustain themselves.

What does the future hold for ethical fashion?

I would like to think that the future is bright for ethical fashion. I do not have a crystal ball but I think that ethical supply chain management will become compulsory and reinforced by law within the next 5-10 years.

What is Noir’s message? How do you want the brand to be known?

I would like that NOIR is known for turning ethical fashion sexy and relevant. interview by sarah bonser


1883 magazine | the night shift

CHriSTiAn SCHLeiSner


can you summaries your life so far? I was born and raised in a little town H¿ rsholm near Copenhagen where I spent the first 19 years of my life. About ten years ago, my career as a stylist began to take off.

make it harder for un-serious people to work in fashion.

All my money goes on...

What are your wardrobe staples?

The shop I can’t walk past...

How did your career start?

What does fashion mean to you?

As I have been in the fashion industry for a number of years fashion naturally has become a part of who I am. It is my career and a dear hobby and yet fashion is not the most important thing in my life.

I wish I’d never worn...

I started assisting the talented stylist Karina ¯ rnstedt which helped me get to know the industry. I slowly started to get my own jobs and editorials about a year after assisting full time.

Did you always know what you wanted to be a stylist?

No. But I always loved fashion and aesthetics and when the opportunity came, it seemed evident that styling was going to be my career path.

What is work your process before a big assignment?

Often it begins with a meeting with the client where we discuss the product. It can be for a big commercial movie or a fashion campaign. Sometimes I will make a trend or mood-board, which allows the client and me to get to a full understanding of how the visual outlook will be.

If you could style anyone, (living or dead), who would it be? Madonna, no doubt about it.

Do you have a favourite styling memory?

I have a ton of favourite styling memories. I especially love the memories that involve beaches and almost naked people!

What influences you more than anything? People that are beautiful on both the inside and the outside, great food, movies, friends and familyÉ or just being in a good mood.

If you could change anything in the fashion realm, what would it be? I love the industry as it is, but if I could change something it would be to


Acne Store.

Black, simple - yet not boring.

How do you define style?

Style is very personal. It is important that you remember to be true to what you like and not be a fashion victim of the newest trends in magazines and on the runway. Its good to pick up a few trends for every season and combine those with your own signature style.

Are you able to sum up your style in three words? Unpretentious, slick and quality-based.

Is there a key to networking getting your name out there?


Always do your best so people will talk nicely about your work. And remember to attend tons of fashion parties.

Do you have any other creative outlets?

I love interior design, which I have fun with in my free time.

What are you working on at the moment?

At the moment I am taking some days of, as I have just finished working on the popular television programme, DenmarkÕ s Next Top Model. For the job I have been travelling a lot between Paris, London and Copenhagen. So I am now looking forward to catch up on family and friends Ð before a new, exciting assignment.

Finish the sentences: It’s not fashionable but I love... Chick flicks.

The nicer things in life.

Light orange.

In ten years time, I hope to be...

Ten years older but look ten years younger.

Check out Christian’s interview by sarah bonser



1883 magazine | the night shift

Mette Thorsgaard

make up artist

Inspired by her own creativity and living her childhood cliché, Danish make-up artist and hair stylist Metter Thorsgaard loves eyebrows, the 1950’s and being where she belongs…

something different?

No, I’m where I belong

which starts in a week, that I worked on back in April and May of this year.

What’s your greatest inspiration?

Finish the sentences:

Can you summarise your life so far?

There are many talented and creative artists, however, I like to be my own inspiration.

I started my Education in hairdressing in Varde in Jutland (Denmark), and then I went to Odense (Denmark) where I trained as a make up artist. Then came the move to Copenhagen to work for Tv2 (Danish television,), following that I started to assist as a make up artist while I also worked as a hairdresser at Gun Britt Coiffure. Since April I’ve been fully represented by my agency ‘Unique Look’ in Copenhagen, where I work as freelance make up artist and hairstylist.

Did you always know what you wanted to do?

A bit cliché, but yes, since I was a little Girl. I started at hairdressing school when I was 15, and when I was 19 I was trained and then enrolled at make-up school.

What is your work process before a big assignment?

My agent takes care of nearly everything. But I receive call sheets and mood boards. I look through it all and then focus on the direction I want to take for hair and make up from there. I will also clean all my brushes for the shoot and sometimes make my own inspiration boards for guidance.

If you could get your genius hands on anyone living or dead, who would it be?

hmm, I love the 1950’s, so it could be, Marilyn Monroe








My own creativity .... and then world wide magazines

Do you have a grooming ritual?

Beauty is...

Truly beautiful when it comes from within

Yes, filled with secrets and tricks.

When I look in the mirror I see...

What other hair and make-up artists do you admire?

The best invention ever...

Are there any particular jobs that you have done?


The one of my most memorable jobs was when I gave a make-up lessons for a 26 year old girl with incurable cancer.

Do you ever have a bad hair day? YES...But I’m everyone has.




My self.

Tweezers (I love eyebrows)

I wish I’d never...

There is nothing I regret, take it as an experience

In ten years time, I hope to be... A Mum.

Interview by Sarah Bonser


What’s your best beauty tip?

Beautiful skin, you can create beautiful skin, but it comes mainly from within. Lot of water and sleep.

What does fashion mean to you?

Fashion is a part of my job, and where I can be creative, sometimes. It’s about be innovative and about good style!

Are you able to sum up your style in three words?

Oh, it’s not easy to answer this question because it depends on the task, but this Editorial (1883’s Night Shift shoot) is: simple, feminine, delicious

What’s the best part of what you do?

No 1...I love it, No 2...each day is different

Do you have pipeline?





Not some big projects, but I do have some editorials and advertising jobs. And I’m look forward to Next Top Model (Denmark)



1883 magazine | the night shift

Ole Yde Fairytale King


reincarnating classic femininity and shedding some monochromatic light on the elegant woman, ole yde has 1883 positively salivating with his distinctive fashion-meets-18th century-artin-a-dark-danish-fable aesthetic… Born out of a “dream of attempting to bring back the gentle, strong and above all elegant woman” Yde is the industry’s unhinged, dream designer, sending the world of apparel into a modernromance tailspin. From polar ends of the fashion spectrum, Yde has been representing the extremes of Danish fashion since 2005, churning out demi-couture juxtaposed with clothes for every woman, causing a mass breakout of contagious excitement with each innovative collection. It’s always been a rocky road for fashion and fantasy, but Yde has easily smoothed the path and lead the way for an ultramodern, ultra-sophisticated union of reality and the fantastical. When the Dane designs, it’s about more than just clothes. There’s a multitude of twisted yet tantalizing universes created in relation to each collection, generating a unique fashion fusion of nostalgic retro with a contemporary spark. Focusing on elements of history and tradition could be a recipe for fashion

regurgitation disaster, but not when Ole Yde is at the wheel, steering the brand above and beyond the realms of convention. “The goal is not to make a nostalgic copy of the past, but to have the light of the past shine upon both the present and the future.” Whether it’s a fur-stoled moll in her gangsters sharply tailored jacket and oversized velvet trilby, a vulnerable private eye in a sleeveless skirt-suit, or a femme fatale in a sensuous silk evening gown, there’s always a character straight from a storybook with an elaborate Yde twist. Standing up against the trend bullies with seasonless creations, Yde has filled a void in womenswear, turning the banal humdrum of tanks and t-shirts into untamed silhouettes and matchless intricities. But it’s not all enigmatic film noir inspiration and folk tale musings. There’s timeless staples, clean lines and empowering precision tailoring too. And with a boutique as unconventional as his label, a collaboration with George Jensen and an Illum Design Award under his career belt there’s seemingly no end to the Copenhagen resident’s talent. Exceptionally minimal or extremely complicated, Yde is bringing femininity to the forefront of fashion in an elaborate couture manner – think Marlene Dietrich glamour meets Marie Antoinette promiscuity in an enchanted forest after dark. An uncompromising pallet of black and white might intimidate most multihue enthusiasts, however, elaborate embellishment, exquisite draping and splashes of brushed gold and burnt orange are enough to penetrate the gloom. With bordering-on-fetish leathers, dangerous micro-mini’s and sensuous sheer blouses, the fairy tale king has proved that femininity doesn’t stop at twee and fantasy doesn’t have to look like Alice in Acidland. Long live the king! Interview by Sarah Bonser


photography mark drew fashion debra ginyard

previous page Studded leather jacket bess current page Black leather neck piece logan neitzel Black Nylon coat dot.snookie Black wide leather belt logan neitzel Denim & sheer leggings logan neitzel Studded boots bess

Lamb fur shrug logan neitzel Silver & leather neckless logan neitzel Leggings logan Leather wrap scarf logan neitzel

Lamb fur shrug logan neitzel Silver & leather neckless logan neitzel

Black & silver neckless ben amun Black sheer tank logan neitzel Black denim pants dot.snookie

Lamb shrug logan neitzel Silver & leather neckless logan neitzel

Black & silver neckless Ben-Amun Black sheer tank LogAn neitzeL Black denim pants Dot.Snookie

previous page Brown leather shoulder pads LogAn neitzeL Black chiffon dress worn as a top BeSS Black leather shoes with suede tip irreguLAr ChoiCe current page Brown leather shoulder pads LogAn neitzeL Black chiffon dress worn as a top BeSS

Sleevless hooded top LogAn neitzeL Studded bracelets trASh & VAuDeViLe

Studded leather jacket BeSS Skull knit scully LogAn neitzeL

Leather neck scarf LogAn neitzeL Jewel shrug geStuz Black leather arm bands LogAn neitzeL

make-up & grooming mArni Burton model miSCheL eLLern @ next miAmi photographic assistant mAriA moreno

Sleevless hooded top LogAn neitzeL Studded bracelets trASh & VAuDeViLe

photography linda wellons

1883 magazine | madness of max

Mark Drew


Fashion photographer Mark Drew’s meteoric rise to success had modest beginnings and here he tells us about his life, his work and the joys of shooting for 1883...of course. What was it that first made you want to get into fashion photography?

I was born in Los Angeles and grew up in New Jersey and I always had an interest in photography. I would dress up my brothers and take pictures of them but my plan was to move back to LA, make my fortune as a gigolo and open a fine art galley. Instead I ended up homeless, sleeping in a friend’s upholstery shop after hours. But I got my life back on track and returned to my first love, photography.

What is your proudest achievement to date?


I had taken some pictures of a homeless man in New York and offered them to a small gallery. They found them interesting and accepted them to exhibit. A few weeks later some of the pictures had been bought by a collector and I managed to find the homeless man and give him the money. I was pretty hard up too but his need was far greater than mine.

Who or what inspires you?

Life, I love it all! The perfect, the imperfect, movement, romance, music, paintings, sculptures; so many things. At the moment I’m inspired by: Estelle, Jay-Z,Sade, Duffy, Hedi Slimane, Franco Fontana, Sante D’Orazio. Of course tomorrow it may be different.

There are many opinions offered on a fashion shoot, what is the biggest challenge when working with stylists, make up artists, editors or clients?

I treat everyone I work with respect and I expect the same in return. It’s a collaboration of talents and it’s all about achieving something beautiful we can be proud of. I’m very easy going and laid back and for me a good working atmosphere at a shoot is very important. If we all do our best we can walk away with something exceptional and it doesn’t get any better than that.

What did you do in the lead up to the Madness Of Mad Max shoot and what was the actual shoot day like?

The actual planning for my photo shoots usually take place weeks ahead, as this helps with any unforeseen issues on the actual day. Mischel Ellern, the model, had a call time of 2pm and the grooming took approximately one hour. Debra Ginyard took care of all of the outfits and the order of the looks in the lead up to the day. We chose a desolate location because of its natural, beautiful light - we had to work fast because low lying clouds were floating about meaning we lost natural lighting fast! My fantastic assistant Maria Mareno made

sure the shoot ran smoothly. We moved seamlessly from look to look changing the lighting from on camera flash, strobe and reflective natural lighting. As we moved towards the final shot, we lost so much light I decided to use headlights from a vehicle to achieve the desired effect. The result was f***ing beautiful! It turns out Max wasn’t so mad after all.

Do you prefer studio or outdoor work?

Different circumstances warrant different outcomes. I try to work with natural light whenever possible but I’ll go for whichever is going to give me the best result for the project.

The shoot took inspiration from the 1979 film Mad Max. What element from this iconic movie did you as the photographer take as the starting point to your personal creative thought process?

It’s about a man’s separation from life and meaning. Everything he loved is torn away from him. He has nothing to live for after the love of his family is taken from him by a gang of hooligans. He is searching for a way back to what is meaningful in his life. These were the elements which were my starting point and I asked everyone to do a character study for the shoot.

Are you happy with the results of the shoot? Would you do anything differently, if anything?

I never quit until I get the shot I want so consequently I am very happy with the shoot. I wouldn’t do anything differently.

Where do you year’s time?





I hope to be progressing as an artist/ photographer with continued success. I’m talking to a number of agents and I’m getting responses from magazines which I would only have dreamed about a short time ago. I look forward to helping others along the path and accepting the good and the bad. It’s important to enjoy the ride.

What tips could you offer to people thinking about getting into the photography industry?

As in everything you have to believe in yourself, in your own ability. Talent is something you have naturally but skill is something which is developed over years and years of shooting. You have to work on your skills daily and have a clear vision of what you want to achieve. Don’t think you can have it all tomorrow, don’t rush your development.

Interview by Sophie O’Kelly


1883 magazine | madness of max

Logan Neitzel


Logan Neitzel designs for those who prefer to be individual, those with the discerning eye. His compulsive designs are made mystical with the kind of flourishes that toughen up the simplest of styles. Structure, aging, aggressive materials and perfectly placed zippers all added a unique flourish to the Madness of Mad Max shoot, with the stunning designs as eyecatching as they are picture perfect. Logan Neitzel is a New York based line of womenswear and androgynous pieces that debuted at New York Fashion Week SS/11. Neitzel’s interest in fashion design started when as a child, in Blackfoot Idaho, he sat alongside his mother copying from fashion magazines. He went to design school at the Art Institute of Seattle and became an inveterate traveller, visiting China eleven times in four years. This while developing designs for an international knitwear company.

Now based in New York and still just 26 years old, Logan Neitzel takes his inspiration from fabric, a muse and the street. His style icons include Karl Lagerfeld — “If Karl Lagerfeld were to adopt me, I would let him” — John Galliano and Tom Ford. Logan’s philosophy is simple, ‘when it’s done, it’s done even if the edges are raw.’ He favours aggressive material; leather, hardware and drape are constant themes. Structure and longevity are his bywords. Interview by Sophie O’Kelly

Recognition grew as he produced a collection for New York Fashion Week and his reputation rapidly increased via appearances on the Lifetime television show, Project Runway.


1883 Magazine | MaDness oF Max

Debra ginyarD


Fashion stylist Debra ginyarD Feels it was her Destiny to Do what she is Doing now. she haD helpeD a Fashion MoDel FrienD to put together a portFolio anD suDDenly she was in DeManD by Magazines anD DepartMent stores. The Philadelphia native now lives in New York where she has worked with the great and good including singers Lauren Hill and Alicia keys and actresses Monica Bellucci and Helen Matarazzo. She has styled for top fashion magazines and is in constant demand. But to Debra it has come about because it was meant to be. Ô My career is very strong and like anything in life, if it your purpose it comes easy. Like breathing.Õ Debra Ginyard says her greatest achievement in life is to do what she loves doing every day and to get paid for it. Working on 1883 magazine is another piece of the jigsaw which is her remarkable success story. Ô I really enjoyed working on the Madness of Max story for 1883 Magazine and it was a real pleasure to collaborate with photographer Mark Drew.Õ Written by Sophie oÕ kelly


photography mark drew

1883 Magazine | MaDness oF Max

irreguLar ChoiCe


the Fairy tale theMe oF irregular choice crosses over to the MaDness oF MaD Max shoot perFectly, coMpleting the outFits by oFFering unusual anD original Footwear styles. Focus on the shoes anD see how these unusual anD original Designs oFFer the story a strong Finishing touch. Designer Danny Sullivan had a vision of what shoes could and should be like. He wanted to design shoes inspired by everything from foreign cultures, to fairy tales and he gave his imagination total freedom of expression. DannyÕ s quirky design style was also hugely influenced by his own upbringing and surroundings. His parents owned the well renowned Transport store on London’s Kings Road in the 70’s, working with the likes of Red or Dead and Katherine Hamnett, back when fashion was about being distinctive and making a strong statement. In August 1999, from the seaside town of Brighton, on the south coast of England, Danny launched his first line of shoes under the label Irregular choice. The result? His own take on the Japanese split-toe look. Quirky maybe but stylish and comfortable were fellow keywords. This split toe look still often reappears appears in his collectionÕ s today. Since those early days Irregular Choice has grown in size, stature and scope. 2004 saw the launch of Men’s, followed by Irregular Choice Clothing and Babeezz in 2006. In the same year the website became transactional and international and in 2007 a store was opened in Soho, New York. The latest success is a store opening in LondonÕ s famous Carnaby Street in 2008. With collaboration with Heatherette, Hollywood design duo Richie Rich and Trevor Rains; labels such as Ô The Lifestyle Choice of Fashion Footwear’ by Super Super mag and even Ô The Viagra of the shoe industryÕ . Irregular Choice is fast becoming the shoe of choice! Worn by international celebrities Agyness Deyn, Katy Perry, Taylor Swift and many others, Danny SullivanÕ s dream has become a reality, the fairy tale continues. Written by Sophie oÕ kelly


1883 Magazine | MaDness oF Max



bess is not aFraiD to explore all possibilities, to expanD the bounDaries oF iMagination. their strong aesthetic workeD perFectly For the MaDness oF Max shoot, with the authentic rustic styles coMpliMenting the Desolate lonely atMosphere eDge oF the iMages. capturing a tough exterior to hiDe lonely vulnerability - bess helpeD portray this beautiFully. In 2000 BESS began life as a jewellery and accessories line with husband and wife Douglas and Bess Abraham at the helm. Success came quickly and a year later the line was being sold at Barney’s NY, Bergdorf Goodman, Fred Segal and Harvey Nichols. 2002 bought about a BESS jewellery shop on East 7th Street, NYC and that same year their jewellery was being designed exclusively for Ralph Lauren for both his runway shows and his worldwide boutiques. By 2006 Bess relocated to Keith Harings (famous 80’s artist) historic former Pop Shop in Soho, NYC. Inspired by the newly acquired square footage, Doug and Bess, expanded Bess into full line that includes custom embellished vintage apparel and footwear as well as vintage works on paper and ephemera. The eclectic mix extends from diamonds to combat boots, classic punk ‘zines to mid century furniture. It really is a high/low mix of everything through Victorian flourishes to Goth Grunge tendencies . It is this mix that has attracted many a famous fan including Marc Jacobs, Editor of French Vogue Carine Roitfeld, Alexander Wang, and Mary-Kate Olson . Bess personifies all that feels right for a/w10. Written by Sophie o’kelly


photography Jeffery Kilmer

1883 Magazine | MaDness oF Max

Marni burton

MaKe Up artist

a native oF new york, Marni burton was a Fine art Major at the university at buFFalo. It was there that she discovered her love for makeup and started to realise that it could be an art form in its own right. Seeing makeup she had applied come to life through photographs became her ultimate pleasure. But it has become more than that, she loves the energy generated by talented people coming together to create something fantastic and beautiful. Her career is spiralling upwards and she is being recognized at the highest levels. Ô I had the honour of doing Anna WintourÕ s Makeup this year and that has been my best achievement so far.Õ Marni worked with photographer Mark Drew on a number of shoots in Miami and she became part of the Madness of Max 1883 Magazine project through him. She enjoyed the shoot immensely. Ô Mark is one of my favourite photographers to work with.Õ Written by Sophie oÕ kelly

photography george hamilton


moments IN HISTORY

by paul & alicia

page 81 necklace camilla james previous page necklace mawi pendant bjorg current page necklace mawi

current page necklace just silver next page necklace henreitte lofstrom

make-up sunanda mesquita hair Koji taKayanagi model agnieszKa czyowsKa @ fm london photographic assistant james burton retouched by robert macKenzie

1883 magazine | moments in history

AgnieszkA CzyowskA


Blonde hair, Blue eyes, 5”9, waist 23.5”, Bust 32.5” can you guess who it is yet? agnieszka czyowska is our star lady from our very own “moments in history” shoot. she is the “new face” from fm agency and she’s here with us today enlightening us on the wonderful world of modelling and her love of cake Baking. check it out. So Agnieszka, can you tell us a bit about yourself?

Well I’m twenty years old and I come from Poland. I live in the centre of Warsaw with all my family. Last year I finished my first year at the technical college where I studied environmental protection. I’m very normal really; a little crazy, healthy, and I don’t smoke. Oh I love to bake cakes too.

When and how did you start in modelling?

Mrs Agnieszka from my agency stopped me while she was on holiday. We started talking about modelling and the fashion industry. She made me very interested in the industry, so I decided to call the agency, made an appointment and here I am.

What was your first modelling job?

It was for a London magazine. The pictures were taken during the winter high up in the Polish mountains. All the photos were taken in the open air but the clothes were for Spring/Summer, so I was freezing!

Any favourite/embarrassing moments?

I had one embarrassing moment at the Bridal Fashion Week in Barcelona. It was my first show there and I was put in a very uncomfortable dress and given these huge towering shoes, which I couldn’t walk in. During the show I ended up slipping up twice! Everybody started clapping, and I was so terribly ashamed.

IsnÕ t there a large element of acting involved in modelling?

I guess it is acting to a certain extent. With any shoot there is room for your say, and your personality. You need to be able to say how you feel because often shoots are very long, everyone needs to understand one another and be comfortable.

Obviously there is the on going debate of size 0, is there a lot of pressure on you to stay in shape and fit into certain size clothes? If so how to you deal with this strain day to day?

you overcome this, is there a ritual?

Sometimes I feel like that but I try not to think about it. I have only had one day off work since I’ve been modelling and that was because I was sick. You just have to carry on.

What do you do to kick back and relax?

I really like reading books and watching movies. I download them all the time. Sometimes I play computer games. I especially love car and shooting games - I know it’s not glamorous but it’s definitely a good way to take the pressure away from work.

Is it true you get quite a lot of freebies from shoots? (Must be amazing IÕ m still saving up for my Louboutins!)

It’s depends on each client. Everyone is different. Honestly I think I’ve only been given a free suit from a shoot that’s it!

WhatÕ s the most youÕ ve ever spent on a fashion item?

Actually I don’t spend a lot of money on clothes. I can get a lot of discounts on clothes because of my job, which is great

IÕ ve just checked out the latest shoot looks great, I hear there was a religious and historical theme linked through here?

It was such a good shoot. The theme was about different cultures and religions. The main emphasis was on the styling and accessories; the make up was great and the jewellery was gorgeous.

So what are the advantages and disadvantages of being a model, are you happy with your career at the moment?

Honestly, it’s hard work and sometimes you can be working ridiculously long hours but that’s how I make my money so you have to do it. It’s part of the package. Overall I am really pleased at the moment. I’m getting more and more work which is great. I love what I do and that’s what gets me up every morning.

Of course this is a consideration for any model and staying in good shape is very important. I always try to eat regularly and healthy and I do enjoy sports so that helps a lot. I don’t diet because in my case they don’t work. In general though, I don’t worry too much about my figure.

What are your top 3 tips for anybody considering modelling, and what should they avoid?

Do you ever get off days? Do you ever feel I donÕ t look great today? How do

interview by elle loveday rose lockhart


Be healthy, lots of sleep and have fun.

you can czyowska

see on

more of agnieszka


photography kerstin bittermann

1883 magazine | moments in history

Sunanda Mesquita

make up and hair stylist

with so far in your career?

After just finishing the make up and grooming for the shoot on our ‘new face of fashion’ Tali, Sunanda tells us all about life in the fast lane, her home in London town and how it all works in the fashion industry. We have huge love for her deep inky eyes for 1883’s Moments in History’ shoot, with her everyday smattering of natural and pure skin tones. For all you upcomers watch out for Sunanda’s top tips for styling. Enjoy.

I think it’s going more into the development of sustainable and greener make up. At the moment it’s hard to find ecological make up companies that specialise on professional photography or catwalks. I really hope that it is going to change in the next few years!

Can you tell our 1883 readers a bit about yourself?

Do you have a style that people recognize and use for you that reason?

A couple of weeks ago I shot the image campaign with the amazing photographer Jork Weismann for Ute Ploier Spring 2011. I enjoyed working with him a lot and also with the upcoming men fashion designers team.

What direction can you see make up heading in the next few years?

You’re a hair stylist as well. Is this a consideration when your doing make up? Do you compliment the two?

I think it’s very important to consider both. Make up and hair always need to compliment each other to create the perfect overall look, but I’m mainly a make up artist and that’s what I’m emphasized on.

I’m originally from Vienna, in Austria. I migrated to the UK a bit more than a year ago to expand my network and to work on my portfolio. My family is quite big- spread out all over the world- India, Switzerland, Portugal, and Kuwait etc.

Well, yes I do have my own style but I think it’s not just the matter of thatIt’s very important to be flexible to accomplish the ideas of the photographer and stylist!

Is make up something you’ve always wanted to do? How did you fall into it?

I’ll give you three words that work most of the time for me. Less is more!

When I prepared my final project for the fashion college I went to, I had to find the perfect make up and hairstyling for the graduate fashion show. I didn’t know a lot about make up at that time so I wasn’t completely satisfied with the overall picture. That’s why I started a make up course and from then on I couldn’t stop!

How did you get started in the industry, what college did you study at?

I studied at Modekolleg Herbstrasse in Vienna fashion design and I did my make up and hair courses at face design Vienna! I graduated from a make up artist course at face design in Vienna in 2006. As soon as I finished my course I got in contact with some creative newcomer photographers to build on our portfolios. I think the only way to get into the industry is to work hard and find the right people to collaborate with.

What was your first make up job?

It was for a Viennese artist and was a really good experience! It was very natural make up and hairstyling and a little bit of body painting. The photographer was really patient but also a complete perfectionist so we got along very well!

Who is your best client you’ve worked

How would you describe your style?

Any big or interesting projects you’ve just finished?

This month Kurv magazine is going to be out with an editorial featuring Tali (1883’ s Cover girl) shot by Teneshia Carr- which should be great! And I just did grooming for the cover of Fiasco magazine with Ash Stymest and Luke Warrell. Another shoot should be out soon for Notion magazine with Holly Marie and Daisy Lowe...

The beauty shots from the ‘Moments in History’ shoot look great what was your inspiration for the aesthetics in this project?

I work most of the time for fashion and music magazines doing editorial shoots. The jobs that pay most are commercial fashion shoots and advertisements.

Who inspires you and why?

That’s a hard question to answer, because nearly everything can be inspiring! Especially in London where everyone is so unique with their many different styles and looks!

What process do you go through to achieve “a look”? Do you work with a team of people to get this done?

Yes its definitely teamwork! First team has to decide which look we going for and most important is photography, styling, make up and compliment the whole look.

the are that hair

So what are the advantages and disadvantages of being a stylist/ artist, are you happy with your career at the moment?

Yes I’m really happy with my career! It gives me the opportunity to meet new creative people every day and see places that I wouldn’t see normally. For me the biggest advantage of being a freelance make up artist is the freedom you have. You are free to decide which jobs you want to do - you are your own boss (most of the time) and you have the opportunity to travel a lot as well...! The disadvantages are that you don’t have the same security as people who are not working as freelancers - if you are sick no one is going to pay you, you have to be very flexible, work very hard for long hours - sometimes even without payment. But inspite of all these negative aspectsthere is nothing else I would rather want to do!

How would you describe your own personal fashion style away from work?

Colourful, but also a lot of black and white, weird leggings and worn off sneakers.

So what’s next for you? Where can we see you in the next few years? Where would you like to be?

Well our model had perfect features for the strong eye make up I wanted to use. It really reflected the powerful, independent look we were going for!

I would like to travel around the world- hopping from one fashion capital to another. Learning a lot from other fashion people with different cultures and inspirations.

What kind of jobs do you do the most? Does styling pay well?

What are your top 3 tips for anybody considering to be a make-up artist?

Well I think if money is the most important thing for someone they shouldn’t think of starting a career in fashion industry! The first let’s say 5 years are not going to pay for a 5 star holiday on a Caribbean island. It’s more the idea of having the freedom of living in your creativity, working as a team and producing great fashion stories - that keeps me going. That’s why

I think they need a talent and patience!



ambition, Interview by Elle Loveday Rose Lockhart


1883 magazine | moments in history



“it’s aBout defying conventions, finding the Beauty in imperfection and creating something that not only looks good, But also resonates certain thoughts, opinions, emotions, or even humour” – Bjorg

its own story, there’s a tale, there’s a secret, a hidden meaning. No two pieces look the same and each piece is totally unpredictable. If you’re into gothic heirlooms with a modern twist you have, without a doubt, found it here. If it’s a personal touch you crave, purchase these with ease, as many pieces having engravings or quaint concealed messages. The characters chosen for the themes of the jewellery are unique with symbols such as skulls, daggers, hearts, and serpents.

Born in December 1966, in the depths of Northern Norway, surrounded by raw Nordic nature, Bjorg has created the genius balance of design that is universal to both men and women.

All things I love, but they can be tricky to find out on the high street so it’s refreshing to know we can get our hands on these now. It’s all a little bit Harry Potter, we can kind of imagine some of these characters nestled in a secret garden or in a revolving room in Hogwarts; it’s definitely got that surreal and mystical vibe!Price wise, it’s really what you are willing to spend. Designs start from about £40 and reach as far as £700. If you wish to find out any more info on this up and coming designer try out her website which I found a real treat.

With gorgeous links of silver and golds, her jewelled playfulness has ultimately led to pieces that are striking and inventive. In her latest collection, reportedly inspired by evolution, and the works of Charles Darwin, it delivers a stinging blend of Man Ray and Alice in Wonderland. There is also a huge vision of time and travel behind these designs; each piece is a little keepsake of a particular time and place. Each chunk of love tells


It’s really well executed and easily signposted at written by elle loveday rose lockhart


“we look… we think… we consider… we make….”

This was a cheeky snippet taken from the company’s blog I found a few days ago. It encapsulates what they are about so effortlessly. Mawi has spent many a year on the move taking memories as well as small pieces from each diverse culture they’ve travelled to. Tim, the son of an antiques dealer, spent his life in and around trade. With this genius blend of a business mind and a pure creative they have ultimately produced eclectic and timeless collections of jewellery. It reminds me of when I was younger and used to trawl through my mum’s ornate and wonderful jewellery box discovering hidden beauties. Who am I kidding; I’m still doing that now! Sorry mum! I always thought I was a silver girl but I am overwhelmed by the designs in gold now and Mawi is the reasoning behind this sudden transition for me. There was a time when gold was unbearable and more importantly unwearable, a bit chavy, down market. Reminded me of a


geezer with a fat gold plated bracelet in the East End trying to flog me three punnets of strawberries for a squid. It’s all changed now. Gold is back and with a vengeance. The beautiful thing with Mawi’s collection is that it’s so seasonal, no matter where you are, who you are, whether your 18 or 80 these collections are totally universal. It reeks of class, an insane blend of Christmas, Bollywood glamour, Cleopatra, and Mr T. The Punk Rajah and Deco Noir collections are by far my favourite, the build up of very simple lines and shapes create an overall outstanding yet intricate piece of jewellery design, which essentially becomes extremely architectural. Heirloom Punk Nouveau is another ridiculously loud bundle of gorgeousness. It’s the type of jewellery that gets ruined by clothes. The best way to wear these trinkets is to swathe yourself with as much of it as your budget will allow and go out naked. Perfect! At a quick glance something that appears so classic and traditional on closer look, is actually completely outrageous, modern, fearless, and eye poppingly fun. If you’re after the Midas touch you’ve found it with this collection. written by elle loveday rose lockhart

bracelet bjorg

1883 magazine | moments in history

HenRiette LofstRoM


danish Born henriette lofstrom is a london Based jewellery designer, renowned for working in multiples and her deep jewelled shapes of repetition. she is someone you need to keep any eye on. immediately as soon as i speak to her, she has a warm quality to her, effortlessly cool. very pleasant, seems laid back but by same token totally on the button. calling her was like getting hold of an old friend. with a gorgeous danish accent, i tell her about the magazine and she listens intently. her work is fabulous and in some ways i can imagine exactly what this girl looks like. i pull her picture up from her PrÕ s blow on the net and I wasn’t far off…

Hi Henriette, can you tell us a bit about yourself and your background?

I come from Denmark, I moved away a long time ago to live in Spain, where I was at college studying contemporary dance in Barcelona. I needed a bit of extra money on the side so started creating some fun pieces. Then I came to London and my work changed drastically.

When and how did you get started in jewellery design? Where did you study?

Well, after Barcelona, I decided to move to London to pursue my jewellery, where I enrolled at London Metropolitan University. It really improved my understanding of working with metal and it opened up a new way of creating for me.

Tell us about your first design job?

It really all started out in Spain. I started making these pieces and people wanted to buy it! Suddenly I was selling pieces to New York, Germany, Switzerland, worldwide. Not worldwide but you know what I mean. I only started really creating and producing a year ago once I graduated.

IÕ ve checked out your latest collection Ò JurassicÓ Black triangles, sculptural jewelled pyramids. I love it. What was your inspiration behind this?

I’m fascinated by geometry and symmetry and the idea of repetition. It Ô s almost very architectural. I love the process of using one component and watching how it mirrors and reflects. It’s a huge aspect of this collection.

How would you describe your signature style? Is it important to have one?

necklace henriette lofstrom

It’s a tricky one. You need to be recognised for one style I guess. For me it would have to be clean shapes. Having said that the collection I’m currently working on is very different to “Jurassic”. I need to be excited, and designs do need to

change. Designers that produce the same thing every time – I don’t understand how they entertain themselves!

Do you have a process you go through in order to get a piece of work finished??

I just start by playing around, looking at new materials, seeing how things work and fit. It’s quite a long-term process. Creating is very up and down, a roller coaster of self-criticism. The design process can be hard, but you have to just keep on working.

What kind of jobs do you do the most? Does jewellery design pay well?

I make money on sales. I also do freelance work to pay the bills. However before I started, I met an established designer who told me don’t expect to make any profit in your first ten years! They’re right. So no, I’m not making a lot of money (laughs). All the production is done in my studio and I have interns who will help me finish pieces off, so production costs are kept fairly low anyway.

What designers or artists are you digging? WhoÕ s currently sticking out?

For me its Blow (Henriette’s PR Agency). I’m so happy to part of this agency. All the designers there are so original and interesting. And Maison Martin Margiela. The way he produces work is very respectful and he has great design concepts. He creates the most wonderful glamour.

What are you wearing right now?

Denim jeans, you know those washed out 80’s kind. A long tweed jacket, mint coloured t-shirt, and these second hand white leather shoes.

All time favourite piece of jewellery you own?

To be honest I’m not a massive jewellery fan. (Laughs). I only ever wear my own jewellery and I think of them more as sculptural objects.

WhatÕ s the worst job youÕ ve ever done?

When I was really young I had to do a paper round and I absolutely hated it! I used to just throw all the newspapers in the dumpster.

So what are the advantages and disadvantages of being a designer, are you happy with your career at the moment?

Advantages. Either you’re a designer or your not. If you are an independent designer like me you don’t have to work for anyone else. You can totally do your own thing. Disadvantages are being organised, managing your time. There’s a lot of work to be done. A lot of sacrifices to be made. Overall though I’m extremely happy and feel very fortunate. I’ve received a lot of press and the jewellery is being received well, which is great.

So whatÕ s next for you?

I want to focus on larger pieces, aiming more towards the catwalk side of things. That’s really where I’d like to take this. Crazy, one off designs. Make completely exclusive pieces that take a long time to be perfect!

What are your top tips for anybody considering becoming a designer?

It’s simple really. You’re a designer if you love designing and you do it without even thinking. Have fun and make your designs stand out. Networking, meeting people, make sure your showing people your things all the time. Make a presence. Be determined and expect lots work! interview by elle loveday rose lockhart


JoAnne PeACoCk

1883 magazine | illustrations

joanne is a twenty two year old illustrator and fashion designer Based in london. her clients include chicks on speed, oxfam, and the BBc to name a few. with work travelling to hong kong, Barcelona, israel and germany if you haven’t heard of her By now its time to get involved. i have arranged to meet her in a swanky little bar i know in hammersmith, iÕ m not sure what to expect. i order a drink and walk over to a girl whoÕ s so in the zone itÕ s untrue, drawing all over an old fashion magazine. of course itÕ s joanne. she appears very gracious, extremely nervous, but ready to make an impression with me. sheÕ s got a huge suitcase with her and thought i should joke and ask her long she thought the interview was going to last, but thought better of my awkward jokes at this stage of the game. maybe later.

Our readers would be very interested to know your background, tell us a bit about yourself, family life any brothers or sisters?

I come from Essex, not the most glamorous of places, doesn’t sound amazing does it? So I normally say I’m from London, sometimes when you’re in this business it can leave a bit of an impression if you know what I mean. (Laughs) I have brother but no one else in my family is creative really they all work standard, normal jobs.

Is illustration something youÕ ve always wanted to do? If not how did you fall into it?

I always really wanted to do art and design, but I honestly didn’t realize there was an option, a myriad of jobs inbetween art a design…. I always thought you could either be an artist or a designer, nothing in the middle of. It was really only at the end of college I fully grasped this idea that you could specialize.

When and how did you get started in illustration, what college did you study at?

I went to my local college in Essex called Havering College (Laughs), where I then went onto DeMontefort University in Leicester, where I studied Fashion Design, but concentrated a lot more on the illustration elements. I was blending a lot of illustration with garments I was designing so it was the best of both worlds. My friend asked me last night what do I consider myself as, a fashion designer or illustrator? I’m kind of on


the fence still but I think my heart is more in illustration. There’s more scope to be creative in illustration I think.

Can you tell us illustration job?




Whilst I was at uni, I was commissioned by ASDA to create some illustrations to be put up in the George at ASDA design house. A little bit random but quite cool and a great opportunity!

Any favourite and embarrassing moments so far?

My favourite moment to date has to be this. I knew a photographer who lived with the lead singer Anat Ben David from Chicks on Speed. She said Anat might like my clothes. Anat emailed me and asked for some of my clothes for her tour. So I leant her my clothes, showed her some of my designs and I ended up getting commissioned to make a very over the top dress for her European Tour. I made it with bone that you get in corsets and when you put it in little sleeves the fabric goes crazy. We used water pistols with dye and basically just filled these pistols and shot her with it for a bit and that was the design. She wanted a really seriously crazy dress so we had to do it. I remember leaving her studio and thinking damn that was cool.

If you werenÕ t an illustrator would be your 2nd choice?


(Laughs nervously) I’d really like to be a photographer, I bought a Nikon camera yesterday that I have no idea how to use! I do really love photography but I’m still learning. But maybe in the future I can integrate photography with illustration – who knows!

Do you have a style that people recognize and use for that reason?

Yeah of course, I think that’s why people choose you. My work is pretty eccentric, nothing to commercial, I think to think I’ve found a niche. Most of my work is fashion illustration for editorials. I’m doing my own stuff but am also in about four or five galleries at the moment selling prints which is exactly what I want to be doing at the moment.

Do you have a ritual you go through, a process in order to get a piece of work finished?

Yeah make a mess! If its being set for me there’s a rigid route I go through. I’ll do drafts and send it back and work from the feedback. However for my own work, I’m always making notes. Something cool will inspire me or a political thing will happen that’s really annoyed me and ill run with that. I write loads down too. I usually start a project with quotes, and build on that.

For our readers out there at 1883 can you tell us what happens in the every day process of producing work for either a client or project. How does it all start?

To be honest it isn’t very interesting, most illustration jobs work on email. They will usually send you the article over they are covering so you can get a feel for it. Sometimes they don’t even talk to you because they’re too busy, so all your contact is dealt with electronically. A lot of jobs will give you a tester, to see if they like your stuff and you can perform to their needs, email can be bloody risky though. Sometimes you’re sitting there swearing you sent it over

but you haven’t heard anything back! Then you’ll get a submission date where you show the client what you’ve achieved so far to review with them. If your selling work you need to meet the client with your portfolio.

So come on - if I came and ransacked your house on a secret burglary mission and I could leave you one thing you couldnÕ t possibly live without what would it be and why?

This is going to sound so pathetic. (Pauses, then bursts out laughing). My portfolio. It so valuable, my whole life is in that folder. All my originals everything! Other than that, photos and my vintage clothes.

Obviously illustrating is a full time gig, but have you currently got any projects on the side, any hobbies, and some side interests 1883 should know about? Well obviously the photography aspect is something I’m getting into. More fashion designs, styling a few shoots, what else? We are keeping it under wraps at the moment but my friend Martina (who’s at Central St Martins) and I are collaborating on a new collection, it’s going to be playful with undertones of surrealism, but it’s all to be confirmed really.

the high street. I love mixing menswear and kids clothes. Just playing around with the proportions of outfits, mixing it up a bit without looking too crazy. So baggy t-shirts with some little leggings. I like hats as well; I’ve always got a hat on but I had a meeting before this so couldn’t wear one today!

So whatÕ s next for you? Where can we see you in the next few years?

I would love to do a few exhibitions focusing on illustration. I want to produce something different, a collection full of illustrational garments. To get into some great magazines like Dazed and Confused and I.D. Oh, and of course get an agent!

What do you do kick back and have some down time?

Just chilling out in Shoreditch (East London) really. I love football, and play for my local team; I’m really into sports actually. Tonight I am going to skating as part of the London Roller Girls Roller Derby. (Now I realise why she’s got the big suitcase). Its effectively skating in

circles and bashing the other team out of the way. Its really competitive and aggressive and a bit pointless. (Laughs) Aim of the game is just to knock the other team over.

Finally, what are your top 3 tips for anybody considering illustration?

I would say it’s very easy to lose yourself in this game. It’s so easy to lose your style and do what other people want you to do. It’s good to find a niche, but at the same time have some commerciality, have some extra elements and dimensions to yourself so you can create opportunities and ultimately more work. Basically just keep harassing people. There are so many knock backs in this job, just because you don’t get one job your work will be right for something else. All I can say is stay positive, and keep your own essence. check out joanneÕ s work on interview by elle loveday rose lockhart

WhatÕ s your main inspiration(s)?

It sounds a bit deep but all my work is based on love. All my characters usually stem from real people. Friends and lovers. My work plays completely on my own experiences with people. Its funny some people will be like is that drawing supposed to be me? I always shrug it off but yes it is them! I think this is why the illustrations work so well because of the personalities behind them. I love Egon Schiele a lot of expressionist works, and surrealism, especially the work of Dali.

Do you own a graphics tablet? If so do you prefer hand rendered or using more digital approaches?

I have used one but for me hand rendered is so much better. It really annoys me actually, that a lot of illustration is produced digitally now, and the art of hand drawn is being lost. It’s a real shame. With digital work, I always think you could study how to use the software for three years and anyone could produce the work that’s in magazines now. Where as hand drawn really relies on you to be good at what your doing!

So what are the advantages and disadvantages of being an illustrator?

The advantages of being an illustrator is doing what you want and what you love and having a lot of freedom creatively regardless of the job restrictions. You are left to your own devices, so you can semi dictate how things are going to end up. The down side with it is that it is extremely competitive and you can get snowed under with so much work. This is why I’d love an agent, because sometimes you’ve got four or five jobs on the go and other times there’s nothing and your like what’s going on!? But I guess that’s all part of working freelance. One day you are eating baked beans the next you’re in some lush restaurant, the whole thing goes from one extreme to the next. I am really pleased with how things are going at the moment. Sometimes I do think this is getting desperate, I need to do something else, but I soon realise this is what my passion is.

How would you describe your own personal fashion style, just every day, away from work?

I love vintage because it’s got a history to it. Anything unique really that perhaps wouldn’t be found necessarily on


LuCiA eMAnueLA CuRzi

1883 magazine | illustrations

lucia emmanuela is an illustrator, artist and filmmaker Based in london. recognised for her signature heavy lines and Black ink strokes, i was interested aBout chatting to her aBout her work. it was 11am, chilly wind, dark clouds, standard english summer. I was sitting outside finishing the last of my finest rolling tobacco ready, not sure what for, but was ready all the same. all of a sudden this very slender, boho blonde haired european came to me. our eyes met immediately we knew the score, it was interview time. with the most gorgeous italian accent youÕ ve ever heard in your life and sipping on her noir glossy americano, i was sucked into her words and her world and this was how it went….

Our readers would be very interested to know your background, tell us a bit about yourself, family life any brothers or sisters?

I come from a small city in the centre of Italy on the top of the hills from a normal middle class family with my sister Kristina. I am youngest. We were born in the same year, me in December and her in January “ we are quite twins” (Laughs). I grew up in the country. All I could see from my window was hills and the sea. I grew up with a lot of animals; it’s a wonderful place to live, so peaceful…. I moved out to Milan when I was just eighteen.

Is illustration something youÕ ve always wanted to do? If not how did you fall into it?

I would not say I fell into it. I started drawing when I was six. Everyone always told me I was a great talent, but in Italy there are not a lot of illustration courses. I originally started out in advertising as a video editor, but I felt I needed to quit my job and follow my passion. I finished my BA in Advertising and Media Design at NABA, Italy and then I started my BA in illustration.

Can you tell us illustration job?




A year ago I was working with “Sketchbook” magazine, which was a new fashion and


illustration magazine. I made up these two stories, just invented these crazy situations on Vivienne Westwood and Steven Jones. It was totally up to me. I was commissioned to draw these fairy tale drawings for the magazine; I had so much fun with it because it was so free.

Any favourite moments so far?

One of my favourite memories so far has to be when I was working for “Sketchbook” Magazine. I produced a live animation and set design for the V&A in London, one of my favourite museums, there was even a DJ playing to my work. It was very emotional to see it there. Another great time was where a shop in Carnaby Street had all my work up in the window. There were a lot of journalists and press there it was great.

Do you have a style that people recognize and use for that reason or do you produce whatever for whoever?

I generally produce work for myself. I am an illustrator. People are choosing me for my style. I get commissioned to do what I do. I produce work through my instincts… build and create as I go.

WhatÕ s your artistic style? Describe your style in five words. Black ink, colourful, fairytale, dreamer.


Do you have a ritual you go through, a process in order to get a piece of work finished?

I start with lots of research looking at hundreds of things around me and on the internet. From this I do anything from painting to photography. I start to think about my character and start to create them. I start to draw the right character, find the right lines. I use mistakes and grow from them to achieve the best characters for the job. I then

build colour into them to develop them more and continue from there.

Do you ever get off days? Do you ever feel I canÕ t draw; IÕ ve lost my touch.

(Laughs) Yes all the time! It’s very intense it’s a lot of focus you have to have. A lot of the time I draw and I am not happy and think I’ve lost my touch. Clients say what they are after; sometimes it’s so frustrating because my mind needs to be free.

What kind of jobs do you do the most? What jobs pay the most?

In the last year I have worked for a lot of fashion magazines, Company magazine, and Ballad Of, Aurora, Sketchbook magazine, its about me being recognised and moving on from there.

For our readers out there at 1883 can you tell us what happens in the every day process of producing work for either a client or project? How does it all start?

You need to show your portfolio, present it in the right way! The client will then choose the illustrations they like the most. After that meeting you work on your own and contact them via email, sending them work. They won’t really ask you to change it, just to tweak certain aspects here and there. Most of my jobs I work alone and just send bits through via email.

So come on - if I came and ransacked your house on a secret burglary mission and I could leave you one thing you couldnÕ t possibly live without what would it be and why?

The ink I draw with. I can’t draw without it! It drives me crazy. Don’t ever take that!

WhatÕ s your main inspiration(s)?

So many things, French films, I love a

lot of expressionist paints like Schiele, fashion photography, I look at thousands of painters everyday as part of my research. I feel a big connection with surrealism also.

What designers or artists are you digging at the moment? WhoÕ s currently sticking out?

I love Prada and Mui Mui. I love contemporary fashion. Victor and Rolf are really inspirational; every dress is a piece of art. They have such stunning collections. They just make what they want despite the market, totally independent they live in their own world where anything is acceptable.

WhatÕ s the worst job youÕ ve ever done in your whole life?

When I was in university in Italy, I worked part time in bar, a bit of waitressing. I was stressing, you know we are Italian and they were all complaining they didn’t like their coffees.

Do you own a graphics tablet? If so do you prefer hand rendered or using more digital approaches?

All my work is hand drawn. If I’m going to experiment with certain aspects of a piece of work I will use computer programmes like Photoshop. I also use this programme to clean up my drawings. As a rule though for my professional portfolio everything is done by hand I just re touch in Photoshop.

So what are the advantages and disadvantages of being an illustrator,

are you happy the moment?





(Smiles) I am honestly really happy at the moment since March it’s really been picking up. Unlike being a designer where you have to fit a certain criteria, and you will always be working to a brief, illustration is so different. People contact you because no one can draw like you. Your style means everything in illustration. That’s your fix. People will contact you because its you and your thing not someone else’s. There’s no pressure to be something different. You are who you are. Its’ very difficult because there are thousands off talented people you are up against.

How would you describe your own personal fashion style, just every day, away from work?

New York and then take trips back to my hometown in Italy.

What are your top 3 tips for anybody considering illustration, and what should they avoid?

Firstly, be a good social net worker, be everywhere you need to be. Use the internet to help you and allow people to know about your work as much as you can. Secondly I would say find a particular field you are strong in. Avoid the change. So many people will try and change you. Never believe people. You will be the only person in life who can believe you can do well and do it! interview by elle loveday rose lockhart

A little bit Parisian, modernistic, a dream style.

WhatÕ s the most youÕ ve ever spent on a fashion item?

(Laughs). I was in New York and spent $180 on this tiny bag. So little! Used all my money on it. I couldn’t even afford a taxi home! When I was younger I used to spend money without thinking, now I’m a bit poorer! (Laughs)

So whatÕ s next for you? Where can we see you in the next few years? Where would you like to be?

Well I would love to be commissioned for Prada! I’d love to be work with fashion designers or draw for a really good fashion magazine. I want to live in



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1883 magazine Issue 1  

1883 celebrates all that is new & exciting in the world of fashion, music, film & arts. We show you who & what to watch out for in the futur...

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