Issue 4 - Cover 1

ALICE.D ISSUE 4

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ALICE.D EDITOR-IN-CHIEF AND CREATIVE DIRECTOR: KRISTIE KLEIN DIGITAL EDITOR-IN-CHIEF: HANNAH TEMPANY MUSIC EDITOR: RYAN SMITH PODCAST DIRECTOR: CASSIE MAGRATH AND JEBEDIAH SHORTEN ALICE.D

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“THAT’S WHE KNOW YOU H FOUND SOM SPECIAL. WH CAN JUST SH FUCK UP FO AND COMFO SHARE SILE - Mia Wallace 6

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EN YOU HAVE MEBODY HEN YOU HUT THE OR A MINUTE ORTABLY ENCE.” ALICE.D

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ALICE.D ISSUE 4

ALICE.D ISSUE 4

PLUXURY

BAKER BOY

COVER SHOT PHOTOGRAPHER SAM WONG STYLIST: KRISTIE KLEIN HAIR + MAKEUP XENEB ALLEN ASSISTANT NIALL ALLEN

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COVER SHOT PHOTOGRAPHER: MARIE LOURIER MODELLED AND STYLED BY SALAVAT KYPERE

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ALICE.D BAKER BOY...............................................................................................................................10 PLUXURY...................................................................................................................................24 A -ADDICTION AINSLEY HUTCHENCE............................................................. ..........................42 PHOTOS BY A MAN...................................................................................................................44 TORA........................................................................................................................................56 SKYFALL...................................................................................................................................60

ANN DEMULEMEESTER: POETS UNIFORM ................................................ ................................74 BEAUTÉ X RMIT.........................................................................................................................76 POSTER SERIES BY ROY CRANSTON.........................................................................................86 THE PORTAL..............................................................................................................................98 A -ADDICTION RYAN SMITH.....................................................................................................108 SHOT ON AN IPHONE.............................................................................................................110 A -ADDICTION HANNAH TEMPANY...........................................................................................128 PHOEBE’S ANGELS X ATILIER_372..............................................................................................130 ART SHOULD COMFORT THE DISTURBED AND DISTURB THE COMFORTABLE.....................144 KYRAN X KLEIN .......................................................................................................................146

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photographer sam wong stylist kristie klein hair + makeup xeneb allen assistant niall allen

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JACKET BY GESTUV FROM THE WOODEN HANGER

Our editor Kristie Klein catches up with Baker Boy. Congrats on the release of your new music video ‘Meditjin’.

Thank you. Yeah it was really cool, we filmed at the NGV! That must have been an incredible experience filming at the NGV. How was it?

We were lucky enough to have a contact at the NGV and Jess B was in town for the Red Bull music festival, I performed there too. We had a rough schedule, we finished performing at Red Bull then the following day was the shoot. Jess B was leaving that night, and I hit her up to stay for one more day to do a quick shoot, and she did! It was awesome, I had an amazing time, it was so nice of the NGV to let us use the space.

That’s pretty epic making the whole thing happen so quick. You had so many people involved in the production!

Yeah I had my bother and cousin come down to be a part of it. At first they were like we will just sit and watch. Then I pestered them a bit and finally they said ok we will do it! So they did and they really enjoyed it.

Wow that must have been a crazy experience for them!

I love the positive, raw energy ‘Meditjin’ brings, what does meditjin mean?

Well It’s just a borrowed word. So it’s medicine in Yolngu Matha language, meditjin is in the Yolngu accent. It’s the way it’s pronounced. “Music is the Meditjin”, it brings everyone together and makes you want to dance, love, laugh, vibe and feel.

I’ve actually never heard of the term borrowed word. Feel free to educate me.

So it’s similar to the word but it’s more an accent. We had a lady come and study with the elders, who came and wrote the dictionary of Yolngu. There is also different tribes that speak Creole which is more like broken english.

The Red Bull show at 170 Russell St was killer, we took some live shots for the last issue and sent a 35mm backstage!

Yeah mad!

Do you incorporate the didgeridoo in all of your shows?

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Yeah it’s pretty much part of the show because some of the songs have the Yidaki in it. Yidaki is the traditional name for didgeridoo. It’s really cool to play it live on stage and bring in the culture.

Is that something you learnt at a young age?

I used to practise as a kid, I’d find a pipe and all the kids would mess around with it and see who would play the coolest rhythm, or the most crazy beat, we would freestyle. You also learn from celebration, corroboree, and traditional dance. I started playing it again when I moved down to Melbourne. I just love sitting in my room playing around with it, i just love the sound.

When did you decide then you wanted to be a hip hop artist?

Since I was a kid. My dad and uncles were the original Baker boys. They travelled around remote communities doing hip hop dance. When I was growing up they would

When I started dancing at a young age everyone started calling me little Baker boy. Then I went to a performing arts school in play different types of hip hop & funk. I used to sit and watch them dance.

2014 and studied dance. We learnt ballet, jazz, hip hop, and contemporary. I moved to Melbourne after that and was offered a job doing dance hip hop workshops in remote communities throughout Australia. I’ve been to more than 150 communities around Australia teaching dance and showing them there is opportunities and you can choose to move out of the community, take the next step and chase your dreams.

Wow that’s really empowering and powerful for those kids…

It is. Because i’ve grown up seeing so much potential and talent and admired so many other kids because they were really good at basketball, football and other sports. And they didn’t use their talent, they didn’t have the confidence to move out of their community or take the next step. When I came to Melbourne I

realised how difficult it really was to move out from a community when you have come from a completely different world. It’s intense

and crazy but you learn to adapt slowly, it gets easier and then you evolve living in two different worlds.

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JACKET + SWEATER BY P.A.M., PANT BY SONG BY THE MUTE, SHOES BY NIKE

Your artwork on the ‘In Control’ cover caught my eye, the detail is incredible.

so I called my dad and asked him to do a traditional painting. I sent him an image and he sketched over it.

Thank you. Universal Music asked me to create a cover,

You have had a pretty massive 2019, you won Young Australian of the Year award. Congratulations…

Yeah it’s pretty crazy. I get to go back to the ceremony, do a speech and present the 2020 award and chat to all the nominees. I can’t wait to hear all their empowering stories and achievements. When I was there I was so nervous, I was in Canberra in front of so many people, so I’ll make sure I make them feel comfortable.

Highlights of 2019?

Of course Young Australian of the Year, being awarded Artist of the Year at the National Indigenous Music Awards. Becoming an uncle and meeting my nephew for the first time. He is so cute and very cheeky. I spoiled him with Christmas presents, I bought him some Timberland shoes, the little baby ones, they are so cute.

Oh how cute are they! Anything small especially shoes is amazing.

And I guess the Meditjin release and Red Bull music festival because it was the first show with a full band and new choreography. Falls Festival was amazing. There’s so many that come to my mind but those are the main ones.

What’s three words to describe 2019?

It was DOPE!

So what’s coming up for Baker Boy? Coming up is Great Escape in the UK mid year. Also a couple of singles and an album. I’m looking forward to it, I have nothing on until March so a lot of studio time.

I might be in the UK mid year, Great Escape could be a thing! Thanks for hanging out with us today, we are looking forward to your album release!

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LEFT: JACKET BY GESTUV FROM THE WOODEN HANGER, TOP BY P.A.M., PANT BY SONG BY THE MUTE, RIGHT: JACKET + SWEATER BY P.A.M., PANT BY

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SHIRT BY GUERRILLA THEATRE BRAND

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JACKET + SWEATER BY P.A.M., PANT BY SONG BY THE MUTE, SHOES BY NIKE

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JACKET BY GESTUV FROM THE WOODEN HANGER, TOP BY P.A.M.

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Photographer Sam Wong , Stylist Kristie Klein, Hair + makeup Xeneb Allen, using Kevin Murphy products kevin.murphy kevin.murphy.australia fentybeauty narsissist Assist. Niall A Featuring P.A.M., Gestuv from The Wooden Hanger, Guerrilla Theatre Brand, Shag + Nike Check out Baker Boy’s latest work: Meditjin (Behind The Scenes) ft. JessB Youtube Universal Music ALICE.D

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PLUXURY Photographer: Marie Lourier Model and Stylist: Salavat Kypere

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OVERCOAT: ROMA UVAROV DESIGN, SHOES: ZARA, EYEWEAR: LESPECS, HEADCLOTH: VINTAGE

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OVERCOAT: ROMA UVAROV DESIGN, SHOES: ZARA, EYEWEAR: LESPECS, HEADCLOTH: VINTAGE

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OVERCOAT: ROMA UVAROV DESIGN, SHOES: ZARA, EYEWEAR: LESPECS, HEADCLOTH: VINTAGE

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FUR COAT, HEADCLOTH: VINTAGEPANTS, SHOES, EYEWEAR: GUCCI ACCESSORIES: TOP SHOP

PANTS, JACKET, SHOES: ZARA, SHIRT: VINTAGE, EYEWEAR: GUCCI

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FUR COAT, HEADCLOTH: VINTAGE PANTS, ALICE.D SHOES, EYEWEAR: GUCCI ACCESSORIES: TOP SHOP

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FUR COAT, HEADCLOTH: VINTAGE PANTS, SHOES, EYEWEAR: GUCCI, ACCESSORIES: TOP SHOP

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DRESS: SOLACE LONDON, BELT: MARGIELA BERET, EYEWEAR: GUCCI, SHOES: ZARA

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SKIRT, JACKET, SHIRT, EYEWEAR: ALL GUCCI 36 ACCESSORIES: MARISOFI

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SKIRT, JACKET, SHIRT, EYEWEAR: ALL GUCCI ACCESSORIES: MARISOFI

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DRESS: SOLACE LONDON, BELT: MARGIELA 38 AND EYEWEAR: GUCCI, SHOES: ZARA BERET

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DRESS: SOLACE LONDON, BELT: MARGIELA BERET AND EYEWEAR: GUCCI, SHOES: ZARA

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A-ADDICTIONS Ainsley Hutchence Creative Director / Sticks and Stones agency 1. Michael Jordan & the 90’s Bulls starting lineup, 2. Rennie Ellis Australian photography, 3. China town market smiley basketballs (we collect them), 4. Any Kate Moss & Johnny Depp photo, 5. Brittany Spears & Justin Timberlake double denim entrance at the VMA’s, 6. Ashley Smith (photo by Filthy Mouth Creative for Sticks & Stones), 7. Marius Sperlich photos, 8. Johnnys Bird Blog, 9. Sophia Hadjipanteli #unibrowmovement , 10. Sticks & Stones hardcover “hair” issue book - Shelflife Vol1. & just coffee table books in general, 11. Heath ledger in ‘Lords of Dowgtown’, 12. Debbie harry, 13. Australiana Film photography (Ronnie Ellis good example), 14. 90’s film photography - especially skate pics, 15. John Travolta & Samuel L Jackson in Pulp Fiction

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16. Ellen Von Unwerth photography, 17. Gwen Stafani, 18. Nick Thom art, 19. Larry David (writer/comedian/creator of Seinfeld), 20. 70’s/80’s/90’s Skate photography, 21. Ula Coco (my daughter - photo by me), 22. Modern Russian photography (everything that is submitted to our platform from Russia is gold)!, 13. More Debbie harry pics, 24. Another pulp fiction pic - John Travolta, 25. Feminism/equal rights, 26. Joan Jett, 27. Vintage film photography

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A SERIES OF MAN PHOTOS 44

Photographer Laura Biziou

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This series was shot over the course of last year, in many locations including Berlin, Baltimore, IJmuiden, Amsterdam and Reno. All shot on black and white film and processed by hand, they reflect a stillness, a silence borne of the absence of humans, animals, often the images are devoid of anything alive. Yet the subject matter is always the result of human activity, industrial or commercial structures.

Often, they are traits of an industrial past, or indeed an industrial or commercial present that most of us don’t spend much time thinking about, beyond our own narrow personal interaction with it. Abandoned or unloved places are a consistent theme. We are reluctant to engage with the manner in which manufacturing is conducted, or the workings of the infrastructure we rely on and generally take for granted. Or indeed of the workings of our society, of our economy.

I often seek out industrial areas, partly because I love the aesthetic of the industrial landscape, partly because it is interesting to see the relationship industrial zones bear to the rest of a city. The stillness of these mostly deserted areas is unnerving when you’re used to cities, an uncomfortable silence.

An abandoned Baltimore industrial building gives no indication of what it was, or why it’s boarded up. A bunker in Schoneberg, Berlin, has housing built around it, as though whoever built the housing is wilfully trying to ignore the existence of the massive WWII-era concrete structure, which remains because it is too robust to demolish.

For the photos taken in more populated areas, the structures are decontextualised, the focus is on the form, as opposed to the function. Images of casinos in Reno yield no indication the buildings are filled with people.

The structures featured loom over the viewer in an imposing manner. Some of them are relics of a bygone age, crumbling with the weight of a story they cannot tell except in the broadest way. Others are presented as something like that, silent and still, perhaps a glimpse of what’s to come when they, too, are abandoned, relics of another era, of history few concern themselves with.

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they re the ab images subject activity

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eflect a stillness, a sile sence of humans, anim s are devoid of anything t matter is always the re y, industrial or commerc

MODELS: ALEXANDER BEATTIE, EZRA JANETSKI

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Often, they are traits an industrial or com don’t spend much ti own narrow persona ALICE.D

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ics of a bygone age, t of a story they cannot dest way. Others are g like that, silent and 54

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TORA

16.01 Interviewer: Ryan James Interviewee: Jo Loewenthal /Â Tora

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I’m Ryan James from Alice.D Magazine and I’m sitting down for a moment with Jo from Tora. Thanks so much for your time man. Just wanted to say a huge congratulations on the success of your second album Can’t Buy The Mood.

Are you loving the response you’re getting from the industry and your fans?

Yeah, it’s been overwhelming at times but we are super pleased with how the album is received. Not only in Australia but Globally as well, we have had pretty amazing result looking over Spotify, Apple Music and Instagram stats and seeing that we are starting to reach people in places we weren’t expecting.

Can’t Buy The Mood has been on repeat in my household since it was released in August and Deviate being one of my favourite songs of 2019. What is the song about?

Deviate is basically a reminder to humanity to not forget or lose what’s important. In moving into this world of misinformation and everybody is getting into their own worlds online it’s becoming easier to manipulate society, so it’s about being aware of that and making sure we use technology to take things into a positive space.

And you’re releasing a deluxe version of Can’t Buy The Mood on the 24th of January. What was the inspiration for wanting to release a deluxe version?

Well we know that our music took some time to feed out to the world in the past, it’s always been 6 to 12 months after the release of body of work to see the real impact. With this album we wanted to wait a bit longer before we went on the world tour and so we thought it would be a great idea to revamp this extended version of the album, so everyone has had time to absorb the music and really get it. The deluxe album is an extended album of what we have already done.

The crayon remix of paramount is a real sick summer tune. How did the collaboration with Crayon come about?

Crayon has been a mate of mine for a few years now. I met him in Paris when he come to one of our shows, we were chatting and we become mates immediately.

Whenever I’m in Paris or he’s in Amsterdam we try and get together and jam. I was in Paris earlier this year in his studio listening to some music and sharing our ideas before the album was released and he said he loved paramount and that he really wanted to remix it. So I sent him the track and that’s what he did.

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With Can’t Buy The Mood primarily made in Byron Bay but also bits in L.A and Europe. How do you find the locations of where you are creating, influence the sounds and lyrics for the band?

I think definitely! The place you’re in affects the mood you’re in and that effects the music you like. So yeah definitely 100% relative and relevant. I find myself, to make an album there has to be diversity. Obviously there needs to be a cohesive layer to the sound, we like to take little bits of inspiration from the world, it helps with that and allows the album to go through different stages and takes the listener on a journey. We have drawn influence from all parts of the planet that we enjoy.

With tunes that are serious ear drugs, do you feel pressure to produce a music clip that is just as beautiful and impactful as the song?

Well that’s interesting you ask that because we haven’t put much emphasis on the visuals in the past and focused that energy on the music itself. We have never really put too much pressure on ourselves until Can’t Buy The Mood where we put more of our time and more budget into it. We spent more time with the videographers and really focused on building out the story lines and the concepts.

Mother Forget is such a visually intoxicating music clip. I was mesmerized from start to finish.

Well the crazy thing about that clip is that was actually the house we were living in while we were in Berlin over the summer. It was one of those moments where the stars aligned. We had a videographer over there who wanted to create a real highly resourced video. He was really enthusiastic about it and managed to pull a few strings and produce an interesting video. We were really lucky to have so many people jump on board, get involved and produce something really magical.

The 30th of January you are kicking off your National Tour. Are you looking forward to connecting with the fans and touring again?

Yeah definitely, we have been spending the last few weeks reworking the set and changing the set order. It feels like a fresh energy for us and we are excited to get back in front of the audience again and give Australia a solid goodbye before we

We have decided to move over as a band and really build up the market that’s calling to us.

move to Europe.

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I’ll definitely be seeing you in Melbourne at the Corner Hotel for your Melbourne goodbye! When the National Tour is over in February, when do you kick start your world tour?

This one is going to be a really special one. We have got some unannounced opportunities which are going to take things to the next level, which is really positive.

With this being your third world tour, are there any cooked or wild stories from your tours? Any crazy fan situations that have happened?

Man, there are too many crazy stories! It all depends on how PG the interview is (laughs)

(laughs) This isn’t PG its Alice.D magazine.

We were at Best Kept Secrets Festival in the Netherlands we ended up getting pretty deep into the hallucinogen truffles backstage. They’re obviously legal over there and we bought them in Amsterdam.

Yeah, we only do them in Amsterdam (laughs)

(laughs) Yeah of course. That was pretty interesting because I was wearing a green cloak and wrapping myself around this tree and just disappearing into this tree (laughs) (laughs) yeah in your mind.

Yeah exactly man (laughs) Cooked!

Jo it’s been a pleasure. Again, congratulations on all the success that’s been and about to come. Looking forward to seeing Tora at the Corner Hotel in February.

‘CAN’T BUY THE MOOD’ DELUXE ALBUM - OUT NOW WEBSITE FACEBOOK INSTAGRAM TWITTER POSITIVE FEEDBACK

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SKY FALL

Photography: Boa Campbell Hair & Makeup: Maria Nova Model: Laura Venafra

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MODEL: ALEXANDER BEATTIE

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ANN DEMULEMEESTER: Poets Uniform Words by Rufus Elliot

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Black eyeliner, a quiet asymmetry, the poets uniform. Patti Smith, friend of, patron to and muse of Ann Demulemeester exemplifies the artistic and idiosyncratic work of the Belgian designer whose aesthetic defined a new woman of soft sensuality and hard edged anti-glamour. A draped knit with a dagger combat heel. Demulemeester’s work, like the work of the best artists and designers, is full of dichotomy, the constructed and deconstructed, light and dark, soft and hard, white and black. Her monochromatic colour schemes and raw hemmed garments fell in line with the Japanese designers who stormed Paris in the years before her brand launch, and her Belgian sensibilities and introduction with the famed Antwerp 6 revolutionised woman’s fashion, relying heavily on androgynous dress uncommon for the time. Her women, armed with the now ubiquitous combat boots and slim fitting jackets tore up conventions of 80’s flashy glamour and dressed a confident, beautiful and disheveled look. The house codes of ribbons, slashes, feathers and soft knits continue to permeate fashion long after Ann’s departure from her namesake brand, now helmed by the equally poetic Sebastian Meunier, and her graphically grunge look is reiterated as social unrest grows. Her approach to design remains integral to the dress of many women, Patti Smith included, as Ann represents one of the few seminal women designers to launch a namesake brand which has carried on without her. The combination of elegance and edge, sensuality and sobriety is continually cool, influencing other Belgian designers such as Haider Ackermann in the quest for effortless clothes, to make a look which can be thrown on or perfectly styled, and still seem spontaneous yet thoughtful. The beauty of her clothes are such, the feeling of looking good despite the amount of effort, the sense of coolness, real luxury. Her knits feel sexy, her jackets stylish, the pants special without looking overdone and all in the soft coloured choices of a subdued, something harsher in the details, the monochrome. Ann Demulemeester is an icon of fashion, holding her place among heavy brand hitters while remaining financially independent, a feat even her peers like Dries Van Noten could not maintain. Demulemeester the woman, and the brand, walk to their own drum, their own poetic tune.

Earphones in, Patti Smith on, combat boots, dress shirt, feather necklace, black eyeliner. A woman ready to stand up, fight back, with powerful poetry.

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RMIT HAIR / MAKEUP DIRECTION / NOTES BY XENEB THANKYOU TO KEVIN MURPHY FOR THE SUPPORT FOR HAIR PRODUCTS

kevin.murphy kevin.murphy.australia

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POSTER SERIES

By Roy Cranston

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THE PORTAL Roi, photographer of The Furies and co-art director for ‘Off The Record’ talks with Alabama Blonde, also known as Emma Fleming in the world of casting.

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Having worked together o projects, including films Cry’, Roi wanted to brea and bewildering process goes through in order to a role. Blonde (known Emma Fleming) is a truly casting director and act was one of 15 acting te alongside the National All of America with highly f r o m Ya l e , N Y U a n d 102

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on numerous Melbourne s ‘Matrimony’ and ‘War akdown the often elusive s that a casting director o find the right actor for in film and TV land as y gifted and sought-after ting coach. In 2018 she eachers invited to work liance of Acting Teachers y accomplished faculty USC. ALICE.D

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Roi, specializing in photography and the still image, wanted to investigate the moving image with someone who has worked in the film and television industry for close to 10 years.

Roi: With any creative medium, there is no much in the lead up to the actual creation itself, every industry has its process, what happens in film?

Emma: There’s so many moving parts in film. The part I am most familiar with is the audition, the actor and the audition process. There’s something so beautiful and raw that happens in the moments before an artist enters that place that we often define as the ‘performance space’. There’s a focus, a last thought, a reminder of intention…a breath. As an audience, we rarely have the privilege of seeing these moments of preparation.

In your case Roi, we see the finished photograph, in my case we see the edited scene of the finished film etc… but there is so much artistry in preparation - and in the aftermath even… I don’t think the work happens in the moment, that’s when you let it all go. I think the work is in the preparation. You don’t want to see an actor working in performance, because then they’re not 100% living out the experience completely.

Roi: The character work is done internally by the actor in the anticipation to sharing the space with other artists, is this something you are able to look for when casting? Is there an instinct about it?

I know for myself, the anticipation of seeing those beautiful moments of vulnerability, which come from an actor’s preparation to audition, it is why I simply adore what I do. The moment of decision to drop ego and expectation and interference - and be with the reader opposite them, living out an experience with another actor. All the way to the moment you call cut & they come out of that

experience and back into their everyday self. For me, it’s a privilege. When the work is there and an actor takes all the attention off themselves and onto the other actor, they trust in their preparation, I definitely look for that in an audition. Because then you know on set they are going to be the same way. You know the director and the other actors will get the best performance out of not only themselves, but each other.

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Roi: There is definitely magic when the team is all on the same page! We are all playing roles, but I feel the with film and theatre there is more of a demand for authenticity. Images create a moment, film and theatre demand that emotion be lived for longer. What do you find the most magnetic in the process?

I mean for me it’s those off-moments, which can be quite electric - and those moments are often the moments when I see the person in the role – because they

There’s always moments and beats that must be hit in order to tell the story and the relationship between the characters – but when something unexpected happens & a moment is interpreted by the actor authentically…

That’s exciting to me. That’s what maks the hairs on the back of my neck stand up. reveal parts of the character that I didn’t know existed…

There’re these unpredictable moments where the actor is stepping into the character and into the scene – when the as the ‘lines’ disappear… the magic happens. You still have the actor there, present, in their body, in their character - continuing to tell the story for a moment after. Or in an audition when they drop a line or stumble, but are in the character and in the moment with so much commitment they respond to the other actor in an unexpected way, but still grounded in their character’s intention… and respond in the truth of the moment. I was a reader in the casting room for a number of years, working opposite an actor who was truly with you, is special.

Roi: As artists to be authentic, we must surrender to the craft in its entirety. Do you feel the same?

Absolutely. It’s a decision. It is a conscious decision you must make as an artist to step out of your everyday self and step into your artistic self. And these two selves do exist, they must exist, for every artist. But you have to have the mindset of an actor in your daily life, being a sponge to life, to human experience. The discipline it takes to be a truly great actor is like that of an athlete. An athlete cannot compete at the olympics if they are not training daily. Every choice should be for you craft.

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Roi: As a casting director when do you know who has the role?

For me, they are often the moments in-between, before and after, which tell me who has the role. For example, the moment after the lines disappear, the scene we are ‘meant to see’ ends… but the actor is still there, the actor is revealing an extended private moment of their character, the actor continues telling the story. That’s the magic and that’s when you know. For me it has & always will be the moments inbetween. The subtext. The internal thoughts that take an actor from one line to the next. There’s definitely moments in every scene which must be hit with authenticity - that is very important. But I think that for me in an audition I want to see that the actor in grounded in a place where they are able to still play and discover parts of the character. So ultimately when they meet a director, they are able to shape the performance to serve the story.

Roi: As artists to be authentic, we must surrender to the craft in its entirety. Do you feel the same?

Absolutely. It’s a decision. It is a conscious decision you must make as an artist to step out of your everyday self and step into your artistic self. And these two selves do exist, they must exist, for every artist. But you have to have the mindset of an actor in your daily life, being a sponge to life, to human experience. The discipline it takes to be a truly great actor is like that of an athlete. An athlete cannot compete at the olympics if they are not training daily. Every choice should be for you craft.

Roi: As a casting director when do you know who has the role?

For me, they are often the moments in-between, before and after, which tell me who has the role. For example, the moment after the lines disappear, the scene we are ‘meant to see’ ends… but the actor is still there, the actor is revealing an extended private moment of their character, the actor continues telling the story. That’s the magic and that’s when you know. For me it has & always will be the moments in-

The internal thoughts that take an actor from one line to the next. There’s definitely moments in every scene which must be hit with authenticity - that is very important. But I think that for me in

between. The subtext.

an audition I want to see that the actor in grounded in a place where they are able to still play and discover parts of the character. So ultimately when they meet a director, they are able to shape the performance to serve the story.

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A-ADDICTIONS Ryan Smith Music Editor / Alice.D Magazine 1. Golf Wang FW16 Collection 2. Rayinthemix for Ello 3. 2017 Summer SUGAR HILL 4. Chicken Originals by Paul Fuentes 5. unknown 6. Arielle Bobb-Willis Photographer 7. Keith Harring in Studio 8. Editorial: ‘Flying Colors’ for WWD Magazine 9. Pharrell Williams for Chanel Menswear 10. Augusta Alexander for Versace 11. Paris Hilton 12. unknown 13. Neon Cowboys 14. Tyler The Creator IGOR 15. Mirror Balls 16. Unkown

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1. Never in the orderly fashion by Planet X 2.Golf Wang Collection 3. Unknown 4. Unknown 5. Unknown 6. Jozi Boys Dapper Boys 7. runaway bride by @ lincolnlinfeb 8. Portraits by Parker Day 9. Open your eyes to the tory lies 10. The Blonde Salad 11. Adidas and Yohji Yamamoto 12. Acid House by Sober House 13. POPLAR AND INSPIRATIONS 14. Unknown 15. Next Magazine - Kaleb 16. unknown 17. unknown

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SHOT ON IPHONE 112

Photographer: William Hason Stylist: Thomas Townsend Hair and Makeup: Sam Harrod Model: Grace Cameron

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NYLON BUCKET HAT: PRADA, NYLON NECKERCHIEF: PRADA, BLAZER: SAINT LAURENT, BERMUDA SHORTS: BOTTEGA VENETA, SHOES: SHADY

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BLAZER: HUGO BOSS, DRESS: ARCHIVE ESCADA, STOCKING: SAINT LAURENT, SHOES: SHADY

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BLAZER: HUGO BOSS, DRESS: ARCHIVE ESCADA, STOCKING: SAINT LAURENT, SHOES: SHADY

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There is something familiar yet uncomfortable about shooting an editorial entirely on an iPhone-disturbing the contemporary conventions of the fashion industry's 'institutionalised artform'

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HAT: A.P.C, BLAZER: HUGO BOSS, TRENCH COAT: LONDON FOG, SHOES: PRADA, JEWELLERY STYLISTS OWN

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TANK TOP: BONDS, BLUE STRIPE SHIRT: DIOR HOMME, ECRU STRIPE SHIRT: AMI PARIS, RUFFLED ECRUS SHIRT: ARCHIVE YVES SAINT LAURENT BLUE POPLIN SHIRT: A.P.C, SHOES: PRADA

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A-ADDICTIONS Hannah Tempany Digital Editor / Alice.D Magazine 1. Raf Simons Spring/Summer 2010 Campaign by Willy Vanderperre, 2. Sonic Youth poster, 3. Helmut Lang NYFW/17, 4. Source unknown, 5. Source unknown, 6. Saint Laurent mens campaign by Collier Schorr, 7. Massimo Nota, 8. Off-White FW19 fashion show Paris, 9. Source unknown, 10. Ray Gun Magazine, 11.

Issey Miyake, 12. Ray Gun magazine, 13. Nature(s) Exhibition catalog, 14. Ray Gun Magazine, 15. Stefan Thorsteinsson: Lettre Internationale No. 20, 16.

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17. Acne Studios SS/16. 18. Paranoia! Paranoia! for Sedition Magazine, 19. Carlo Dedalus, 20. Source unknown, 21. Raf Simons AW 2001-02, Riot Riot Riot, 22. Source unknown, 23. Anton Reva for Coeval Magazine, 24. The Art Of The Straight Up for i-D Magazine, 25. Raf Simons fall/winter 1999, by Steven Klein for V Magazine, 26. Concrete Rep. LTD – Napa by Martine Rose SS19, Heji Shin, Rollacoaster Magazine, 27. Source unknown, 28. Andy Chen

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PHOEBE’S ANGELS X ATELIER_372 Garments by Phoebe Pendergast-Jones and Vanessa De Bono Photographer: Mia Rankin Model: Mattea Marnika-Lee Makeup Artist: Rose Letho 130

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ART SHOULD COMFORT THE DISTURBED AND DISTURB THE COMFORTABLE Words by Alessandra Salviani

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All my life, I have been moved by art.

The captivating vision of expression through textures, film and other materials that encapsulate the creative world.

Contemporary culture and a psychedelic fantasy of being a creator. Moving into a dream, of something wilder, more daring than what is present in your existence.

My nose is powdery by the music that I consume with a hungry lure of a groove and I pull back a cigarette when I sit in silence, so comfortable with the uncomfortable.

At times, I play with the stars behind my eyes as I call to my lover and dream of my life in film.

I admire their glow as I talk to them about art and the way it disrupts a waking gaze.

A smooth soft palate with a cough drop lolly in between my teeth as Monday comes and a new week arrives, to be something more than I was the week before.

Tight neck and apple eye cinnamon, the colour of my red wine pierces my chest with an agony of you.

When my paint brush reminds me of the way your hands felt, half drunk on your frame and the bottle that sits on the dining table.

Empty from our conversations, we fill up our glasses with the deep violet liquor that makes us forget of why we were afraid of our creative expression.

So, I tell you reader, the free flow of your creative rebirth is too wild to be tamed. Let

go of your comfort and disturb the art in yourself so that you may find heaven behind your eyes and hell at your hands, when you collide the complexity of what art means for you and bring that to your own existence.

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Ph o to g r a p h e r Kristie Klein, Musician Ky r a n Daniel

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