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magazine of the amsterdam fashion institute

stefanie suchy

dario natale

tania martins

peter stigter

frans ankoné

liesbeth in �t hout

sanja marusic

odd encounters

TEA WITH VIKTOR & ROLF

FASHION WEEK UNDERDOG masters of styling

7th edition: 2010/2011

stories on creative life PSYCHEDELIC PORTRAITS

the netherlands/belgium €10

six degrees of fashion


www.chanel.com

La ligne de CHANEL - Nederland Tel 0900 519 2005 (0,15/min., incl.BTW)

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ve of your life is never far away. Yo u r b i g g e s t i d o l , y o u r l o n g l o s t c o u s i n o r t h e l o

e p a r a t i o n . I s n ’t t h a t o d d ? We a r e a l l c o n n e c t e d b y o n l y 6 s h o r t d eg r e e s o f s

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MEET US the odd contributors

E d ito r s i n C h ief Frank Jurgen Wijlens, Charlotte Lokin E d ito r s a n d G r a p h ic d esig n Nicole Huisman, Meghan Hutchens, Sandra de Kuiper, Sophie Peeters, Mackenzie Yeates Y ea r b oo k A M F I – Fas h io n C o n n ectio n s Corissa Bagan, Lisa Dymph Megens, Florence Mes, Femmie Mulder, Christian Schiebold Odd Magazine has been

made possible thanks to

our wonderful sponsors

and advertisers!

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On all offers, tenders and agreements made by Amsterdam Fashion Institute the conditions of Dutch law apply. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Although the highest care is taken to make the information contained in Odd as accurate as possible, neither the publisher nor the authors accept any responsibility for damages, of any nature, resulting from the use of this information. The editors of Odd Magazine and AMFI - Fashion Connections 2010 have attempted to abide by all copyrights. If someone believes they have copyrighted to any part of this publication, contact AMFI – Amsterdam Fashion Institute.

Stay connected with us at www.thisisodd.com

C o p y E d ito r s Meghan Hutchens, Frank Jurgen Wijlens, Mackenzie Yeates, Anneloes van Gaalen (Proof), David Hutchens (Proof), Andrew Kerven (Proof), Felicity Rhodes (Proof) M a r k eti n g Puck Landewé, Michael Pronk, Lars Tibben, Katarina Vuletic, Marjolein van Wijck, Eric de Boer (Coach), Kim Schaafsma (Coach) E x p e r ie n ce Liza van Duyn, Davida Latupeirissa, Mirthe van der Schoot, Tamara van der Valk, Anna Wagner, Janneke Gaanderse (Coach) t h isiso d d . com Sophie van Leeuwen, Sarah de Man, Emmi Ojala, Anne-Britt Visbeen, Jelle de Weert, Casimir Morreau (Coach) P r o d uct Kathy Beking, Edith Beurskens, Yudi Gunawan, Olga Vokalova, Sauling Wong, Linnemore Nefdt (Coach) A d v e r tisi n g ma n age r Yma van den Born C o n ce p t O d d Kathy Beking, Sandra de Kuiper, Sophie van Leeuwen, Florence Mes, Sophie Peeters, Katarina Vuletic P r i n te d b y robstolk® amsterdam, www.robstolk.nl

O d d a n d A M F I Fa s h i o n C o n n e c t i o n s a r e p u b l i s h e d b y : Amsterdam Fashion Institute Hogeschool van Amsterdam Mauritskade 11, 1091 GC Amsterdam T: +31 20 595 4555 www.amfi.hva.nl


AD YARN UNIT

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ODD ENCOUNTERS unexpected connections

Welcome to Odd. Where we explore six unique connections between seven different people in the creative world. As technology advances, the world becomes smaller. Before you know it, you have 400 ‘friends’ on facebook – most of whom you will barely know. We have made networking an unconscious priority - and knowing the right people is extremely important - especially in the Fashion Industry. Thanks to our generation and the cultural trend to online self-disclosure, the ‘Six Degrees of Separation’ theory has never been more plausible. We decided to test it out on ourselves. You are now holding our first issue, proof of how we work in 2010. It is the coincidence of technology and greater personal contact that makes this generation unique. We run photo shoots in Toronto via Skype, interviews in Melbourne via email; collect images of Rio de Janeiro via our friends on facebook and run madly through the streets of Amsterdam in all the wrong shoes to catch famous designers. We twitter, we text, we speak, we create. Thirty students of AMFI have connected with each other and many different people worldwide, including the seven intriguing people who make up this all-too inquisitive and madly personal fashion magazine. Odd goes against all the odds; you never know where you’ll turn up. We like it Odd.

Cover: photography by sanja marusic hair & make-up by irene peeters styling by odd model imme visser @ name models imme wears a top from POP@ganbaroo PR PR

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AD ROB STOLK


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chapter 1 Meet Stefanie ..................... page 19 Lust for Life ......................page 24

Item: Knapsack .................... page 30 The World of Stefanie.............. page 31


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chapter 2 Meet Dario ........................ page 39 Item: Bowler Hat .................. page 46 Spin me Around .................... page 47

Brand New World ................... page 55 Odds of Blogs ..................... page 56


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chapter 3 Meet Tania ........................ page 59 Collective Consciousness .......... page 64 Item: High Waisted Knickers ....... page 66

La Garรงonne ....................... page 67 Practice Makes Perfect ............ page 74


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chapter 4 Meet Peter ........................ page 79 Fashion Week Underdog ............ page 99 Dear City ......................... page 85 Item: Bandana .................... page 103


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chapter 5 Meet Frans ....................... page 105 If the Shoe Fits ................. page 113 Item: Velvet Bow Tie ............. page 118

A Double Date with Viktor & Rolf . page 119 Fake It ‘Til You Make It ......... page 124


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chapter 6 Meet Liesbeth .................... page 131 The Art of Fashion ............... page 136 Visual Stories ................... page 142

Item: Red Lipstick ............... page 146 Fifty/Fifty ...................... page 147


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chapter 7 Meet Sanja ....................... page 154 Psychedelic Portraits ............ page 162 Character Cameras ................ page 170

Item: Heavy Rings ................ page 172 De Tout Coeur .................... page 173


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In this photo:

odd editors


PHOTO OF STEFANIE SUCHY Photo 1 out of 14 starting connection • person 1

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In this photo:

stefanie suchy

o d d we first met Stefanie at the Amsterdam Fashion Institute. 8.54am • Report


MEET STEFANIE by meghan hutchens

As a fresh face emerging from so many new fashion hopefuls who are straining to make it big in the industry, Stefanie Suchy is focused on a path of discovery to explore real life. An untitled creative; specializing in photography, fashion, connecting people and conquering the world. And not only the world of fashion.

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She is a fan of bathroommirror-self-portraits. Likes cycling home at 5am after a party, feeling as if she rules the city at that particular moment. Really likes stereotypes and does not eat things that come out of tubes. She likes Transformers because they can transform. She speaks German, English, Spanish, French, Dutch and can pretend to speak Catalan. Eight out of eight times she has gotten out of train tickets and once managed to get out of a speeding ticket. Fashion and Branding student Stefanie Suchy can make things work. In the midst of her internship at Nike in Berlin, we dropped by to chat about her journey, obsessions and free styling her way through life. odd: Your photography seems to capture the emotional high point of a moment, that split second when it

turns into a very intimate connection with a person. Where does the fascination for this kind of photography come from? Stefanie: [s t a r t l e d s t a r e . . . ] odd: [l a u g h s ] It’s a very specific question! But I want to bite into the core of what you are about. Stefanie: No, I am actually really glad that you asked the question. The fact that you thought to means that what I am trying to capture is actually coming out in the images. I am always out to capture the moment, whether that be a ray of light, a movement, or the emotion of the person where they are not controlling it. People fascinate me. When I am shooting it is like I want to transform the situation into something you can look at and remember. I think about the fear of forgetting that moment. So to escape that I try to really bring it out and take it a bit

closer to the person. odd: Is this a major consideration for you, or does it happen organically? Stefanie: People do need some direction, it is intimidating to be in front of a camera! I try to get to know the intimate side of them that comes naturally. It is important to me that people will feel good about the shoot. That it brought out something within themselves that they do not instantly recognize. So I will ask some to sit comfortably, look in the camera as if it was a television, or maybe try to fall over, or stand on one leg... Something to start people off. Then the challenge is to photograph what happens in between. Those things that just fall out of the moment and that are organic. It comes from the people that I photograph, after a bit of direction to get them started. It is a kind of a


staged reality that I am into. odd: The distorted positions, the crazy outfits, is it your own initiative, theirs, or a collaboration? Stefanie: I aim for a natural exaggeration of what is obvious to make the obvious more special and outstanding. It is a shame that nobody captures the normal or weird situations in life whereas you get millions of the same looking party pictures on facebook with the fake smile. The lomography movement is huge right now and I like those happy snappers. I like wideangle lenses because they show the environment the person is moving in and you literally have to get close to shoot a portrait. Typical fashion poses are not interesting to me. I find it really irritating to flip through magazines and keep seeing the same posed,

sophie peeters There’s some amazing stuff from Stefanie on page 31.

4.45pm • Report

meghan hutchens Don’t forget to come back, she still has so much to say.

9.17am • Report

florence mes Did you see her Berlin pics on page 96 & 98?

9.15am • Report

boring images. I find that the more something is free and a bit strange the more it makes you look closer and wonder. odd: How do you find the people in your images? Stefanie: I look for a character quirk. I like weird people. There has to be something strange and freaky that catches my eye. I do not photograph the standard 08-15 [a German expression for ‘very plain or ordinary’] person. I like obsessions and passions and visions. The people I find are able to give something back to the photograph. odd: One of your quotes is “You should come in my head, it’s funny in there.” Can you take us on a tour? Stefanie: [l a u g h s ] I cannot remember where I found that quote, but I do remember thinking how well it suited me. I often catch myself thinking about how strange my thoughts could sound to

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everyone else… For instance I eat food not because of the taste, but for the sound that it makes in my mouth while I chew. For example those Schuimblokjes, I love them. Strange ideas like this form my way of living, and I love to see the beauty of destruction.

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odd: How would your Mum and Dad describe you? Stefanie: Restless. From a young age I was always the girl who refused to dress in skirts or wear pink. When I was four I asked my Mum if I could shave my head. So she thinks I am quite shocking and I’m sure I irritate her with all of my grand plans. I’m always calling and saying, “I’m going to be this, or move here, do that and next year I’ll do something else” So they definitely see my personality as quite extreme and worry a lot, lately they get used to it though because they see I’m fine. Sorry mum. But they still love me tons. odd: Are they right? Stefanie: I think that when you compare me to what sort of character is familiar to them, I am extreme. But here in Berlin, everyone is a punk, an artist or a creative. Trying to be more shocking than the next person. In comparison I think I am pretty normal. odd: So you grew up in Dusseldorf, living now in Berlin and many places in between. Having travelled and lived in a variety of cities how would you describe your ideal place to live? Stefanie: Berlin is still a developing city, a creative centre, and with that comes a very open minded attitude. Everything is affordable and you are able to take risks. If you want to open a shop you can do

it easily and quite simply close it and move on when you feel you want to, unlike most other cities. I would use Berlin as a core with key ingredients from other cities. For instance add the surf, sun and skating lifestyle of Barcelona, the freedom that comes with it and positive attitude, a bit of Rock’n’Roll and Nasty Mondays. Combine that with the flair and openness of Amsterdam and the politeness of the people in Düsseldorf. That would be my city.

‘I am a firm believer of not doing the thing that you love most as a career. Once you depend on it you will start loving it less’

odd: So is there a special connection with Berlin? Stefanie: After leaving Düsseldorf to live in Amsterdam and Barcelona I realized how easy it was to move to Berlin. In a foreign country you can often just live in a little bubble, for instance when you are on the train or in any public space, and simply let the people around you exist in their own language and you can just stop listening. After moving back here I realize now I can understand everything everywhere I go and this was almost a shock at first. I am still like ‘Whoa there are Germans!’ sometimes. This is my culture, my language, and adapting came quite easy for me. The best part of Berlin is that it is one of the few European cities where you can buy Thai and Vietnamese food for 3 euro. Let’s get fat in Berlin! odd: Speaking of fat, what is your thing with fashion? Stefanie: Well fashion is obvious. It is the most easy and visual way to express yourself. You can play with it depending on your mood and change it when you feel the urge. It has the ability to boost your self esteem and also to work the other way around. You can tell a lot about a person by their


fashion choices and it can also keep you guessing, I like that game. odd: What is your opinion on the state of this ‘game of fashion?’ Stefanie: People need to stop flying around and start doing things. There are so many people who simply talk. They like to build stories of what is happening, what they can do, or are going to do, judging the whole time what other people do. Stop talking and actually go for it fashion world! odd: How important do you think connections are in the fashion industry? Stefanie: Connections are one of the most important things for anyone in fashion, whichever way you look at it. As a photographer it is possible to become well known and make a really good living taking pictures if you have the right connections to do so. Networking needs to become your number one hobby if you want to make it, but I am not the biggest fan of small talk. odd: Do you see yourself making photography your main career goal? Stefanie: Career? No, I am a firm believer of not doing the thing that you love most as a career, because you are not going to love it as much once you depend on it. For me it’s my little art thing and I would like to keep the luxury of having an escape from time to time. odd: What would you say has been your proudest moment so far? Stefanie: I think you can be really proud if you simply wake up in the morning and feel happy about what you are doing. So far that is the best feeling, there is no one special moment.

‘I like obsessions and passions and visions. The people I find are able to give something back to the photograph’

odd: What is the most enjoyable thing in your life right now? Stefanie: Friends, family and love - they always come first! odd: If you were an article of clothing or accessory what would you be? Stefanie: A pair of Nike Patta AM1 trainers (limited edition). I just really love them and it always feels nice to be loved. odd: What are you working on right now? Stefanie: Currently I am at Nike focusing on the look book for the new range. We are creating a supporting movie and photography projects to go with it and I am also doing some freelance work for magazines and blogs. odd: Would you be able to sum up your work in a formula? Stefanie: I am more intuitive, so my best work comes out when I do not formulate anything. Creating a plan provides a framework and preparation, but for me frames are like boundaries and they can be restricting to work within. I am too restless for that and too lazy. I like free styling! ...And so we leave Stefanie to carry on where she left off. With a few last thoughtful words on her current project, the latest stylebook for Nike, she is finishing her internship and moving back to Amsterdam. Exploring, creating, and making things work.

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LUST FOR LIFE photography by nathalie odette styling by odd

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“Have you really read all those books in your room?” I asked. She laughed. “Oh god no. I’ve read maybe a third of ‘em. But I’m going to read them all. I call it my Life’s Library. Every summer since I was little, I’ve gone to garage sales and bought all the books that look interesting. So I always have something to read. But there is so much to do, cigarettes to smoke, sex to have, swings to swing on. I’ll have more time for reading when I’m old and boring.” -John Gr een, Looking for Alaska


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Blouse Lady Day, Shorts American Apparel. T-shirt Kimche Blue, Shorts Lady Day, Shirt Cheap Monday, Jeans Levis, Boots Invito.

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T-shirt and shorts Zipper, Shoes Converse. Sweater Rogues Gallery, Tank American Apparel, Shorts Zipper.


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Sweater Non by Kim, Shorts Zipper, Shoes Vans. Sweater and pants American Apparel, Shoes Alexandre Herchcovitch by Melissa. T-shirt, Rag and Bone, Belt stylists own, shorts american apparel, boots Boefjes. Bodysuit Acne, Leather shorts stylists out, wedges Hennes & Maurtiz.


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Cropped T-shirt Hennes & Mauritz, Suede Shorts bintage Thierry Mugler. Lace top, vintage from Courage my Love, Striped Bodysuit American Apparel, Leather Pants Gestuz, Bracelet Odd Product line. Models: Rob Polmann, Ryder Darcy, Jessy Nolte, Edith Beurskens, Mirte van der Lugt.


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There are times when all that you crave is comfort and familiarity. For instance, when you’re in Dusseldorf after a long haul flight from Melbourne, and discover that you’re luggage is on a holiday of it’s own in Manilla. Enter the leather rucksack. Your worn, kicked about, carry-on sack of god-knows-what is now your new best friend. It doubles as a pillow, something to hug whilst sleeping in the departures lounge, and like a good friend, you can always rely on it containing a stray extra euro when you need it most.


THE WORLD OF STEFANIE photography by stefanie suchy

“Why record the obvious? It’s all about the small moments in life, that you see everyday and forget to capture, because you don’t realize how special they are until you freeze them.” Stefanie Suchy Welcome to the world of Stefanie. While Odd questions in text, she speaks in pictures.

What does fashion mean to you?

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What makes you happy?

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do you turn bullshit into pralines?


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What is your favorite colour?


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In this photo:

stefanie suchy


PHOTO OF DARIO NATALE Photo 3 out of 14 connection 1 • person 2

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In this photo:

dario natale

s t e f a n i e s u c h y Dario and I met when while he was taking photos in the flea market in Berlin. 3.17pm • Report


MEET DARIO by mackenz ie yeates

Dario Natale is one half of the brains behind streetstyle blog Stil in Berlin. He travels to international fashion weeks, gets job offers from magazines like Vogue Italia, does shoots for Urban Outfitters and gets interviewed by Swide.com. Still he remains completely himself, untainted by the fashion world, which has yet to convince him to stay.

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odd: You’re from a small Canadian town originally, and there you studied… Chemistry? Dario: Well that was the plan, but I kind of rebelled against my parents. They wanted me to get a PhD in chemistry or something and I wanted to study film theory instead and that was that. Now I’m thinking, well not that it was a mistake or anything, but that maybe I’ll go back to it one day. I was this big math and science nerd in high school. I just switched one day to the more creative side instead of the analytical side. odd: How did you make such a drastic switch from chemistry nerd to fashion blogger? Dario: Studying chemistry all the time felt sort of limiting to any sort of creativity. I’m able to do these analytical things, but it is not a passion for me. So I chose to do something that I was a little less sure of, but that felt better. odd: So you have lived in Berlin for the last few years now. Why did you decide to move there? Dario: I moved from my hometown to Toronto and had been living there for three months. Nothing

was really happening for me there. I got a job at Urban Outfitters and then at American Apparel, the really Toronto things to do. I then got an offer to work in Berlin for one month during this fashion festival. Of course I said yes and when I arrived, everyone there was immediately happy to meet me and happy to help me out on any projects that I was working on. Connecting with people in that way and that quickly is quite difficult in Toronto because the society there isn’t as supportive of young creatives. odd: What was the job offer that you got? Dario: Berlin has this fashion festival that they do every year during fashion week. There is a designer showroom and also spaces created by young artists. The concept changes every year. When I got hired to do something there they gave me my own room which I was able to design as a gallery space. When I was in Toronto I was running this blog called Street Clash, it was kind of a street style blog, but I didn’t take any of the pictures, I just set up these around the world tournaments. odd: It was a battle of international cities where people could vote on who

had better street style, correct? Dario: Yeah exactly, so that is why they were interested in me and flew me to Berlin. I just set up a temporary gallery and during that time I fell in love with the city and the people who live here. odd: Why did you want to blog about fashion? Did you always want to be involved somehow in this industry? Dario: No and I still don’t think I want to be part of the industry to be honest. The reason I got into it was just to meet interesting people. It is an amazing way to have that initial conversation. Especially in Berlin. I’ll take a photo of someone and then I’ll often meet them a few more times on the street in the next month and so you kind of build a relationship with them. In terms of fashion, I’m not so much interested in the clothes themselves, more the way that people express their identities through fashion. It is more of a sociological thing. odd: What is Stil in Berlin to you? Dario: I don’t really see the blog as a fashion blog so much because Berlin is not a really fashionable city. We try to have a fashion focus of course


because that is kind of the point of it, but it will never compare to the street style blogs of Paris or London, it is more about inspiration. I think if you are looking for inspiration you have to look not just at the clothes that people are wearing but the people themselves and the whole vibe that that person is giving off. odd: Yes I agree. When we met in Milan you told me that you thought taking street style photos was a great way to meet people in real life. It really stuck with me. It is funny because blogging is this digital thing where you sit alone in your room with your computer, but you use it as a tool to meet people in the real world. Was that one of the reasons that you started or was that a benefit that you discovered after? Dario: No it’s not like I was really desperate to meet people. I liked the concept of street style. I met Yvan Rodic from Facehunter in London and he took my picture. That was the first time I had ever even heard of this and then I wanted to start doing it myself. There was not really an opportunity for me to take my own street style photos because I was not even in Toronto at that time. That is why I only started taking my own photos when I moved to Berlin. Before that I had just been organizing the street battles because I thought it was cool to see how people were dressed around the world. odd: How do you keep up with new trends when everything is being constantly updated online. How do you make sure that your content is fresh? Dario: I don’t even think about that. I just photograph what I like. I

‘I’m still not sure if I want to be a part of the fashion industry’

am not really into trends, I just think “Does this look good or does it not look good?” Of course that is a personal matter but I like to think I am more or less in touch with what is happening, even if it is subconscious. odd: Why did you start traveling to Milan and Paris fashion week? Dario: The first time I did it I felt like it was something that I needed to do, to be there at the pinnacle of fashion. It is important for me to be there to make contacts so I will continue to go, but in terms of the actual photos and the people I am meeting I won’t be as focused on taking fashion photos as I will be on promoting what I am doing. odd: Why are you not as easily lost in the glamour of fashion week the way some other young bloggers are? Dario: It is just a bit too much of a frenzy, and on top of that it is not very accessible. I for instance feel very poor at fashion week. Most of the time the people I see outside of the fashion shows are not really demonstrating a personal style so much as they are showing how much money they have. Most of the people there, the stuff that they are wearing is ok, it is nice, but it is just nice in and of itself, it is not a master work of styling that they have done. They have just bought some really nice pieces and put them on. So for me that is not really being stylish, just to wear something that looks good but does not necessarily add anything to your own personality. odd: What do you think of people who work in the industry? Do you think

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Photos by Dario Natale, Stil in Berlin

Stini, Berlin

Pablo, Paris 42

Dimitri, Copenhagen

Roberta, Milan

Aleks, Berlin

Livia, Berlin


the stereotypes about evil fashion editors are true? Dario: I don’t think it is that black and white. It can get elitist when the entire industry is based around the way people look. So I don’t always find it to be the most sincere place but I am sure that when you meet these people outside of their fashion context they are entirely different people. I think you just have to adopt a certain attitude when you are at these shows.

goes to the shops and it is just hanging on a rack it is no longer art. In some instances people can turn a piece of clothing into art again based on the way they style it and the way they carry themselves in it. Again, I think people have this negative connotation of rich people buying expensive clothes when they could be spending their money on more important things. I just think you have to think about it a little bit more.

odd: Do you ever wonder what the value is in fashion? Do you feel like people ever look down on what you do? Dario: Well, of course, the idea comes into my head, but I think of what I am doing more as portraiture with a fashion focus. I know I’m not saving lives with this so people could look at it as being a bit frivolous, which at the end of the day I think it is. It is something I enjoy doing though. As long as I’m enjoying it I will continue doing it and not really think about whether or not people are criticizing me. I have many people who appreciate what I do so even when I have these kinds of thoughts, it does not really impact me that much.

odd: How do you feel about bloggers replacing editors in the front row? Do you think it is a positive or a negative thing for the industry that there are bloggers like thirteen year old Tavi reporting on trends? Dario: I have not really thought too much about this. Fashion labels know that it is good publicity for them to put bloggers in the front row because they are generally very positive about what they see and not so critical like a fashion editor might be. They cost less money, financially speaking they are so much cheaper than editors. It just depends on the image that the label is trying to put across. It does not really help the brand that much for Tavi to be blogging about Balenciaga because her readers do not have the power to even buy that stuff. So I guess it is difficult to say.

odd: Why do you think fashion is considered more frivolous or shallow or materialistic than say painting? Dario: It is kind of a hard sell to say that fashion is art. odd: Because it is a business? Dario: Yeah, but I guess art is also a business. I think of fashion more as design than art. You need a context for fashion to turn it into art. When you see a fashion show or presentation at that moment it is art, but as soon as it

odd: How do you make a blog that stands out from the rest in the sea of millions of blogs? Dario: You just have to take what you are doing seriously and be consistent. There is a niche for everything so you have to be as unique as you can be. I know lots of successful blogs that I don’t like at all, but they

have their own niche market. odd: Is dressing well and being photographed yourself an important part of promoting your blog? Dario: I used to think that it was, but the blog has gotten quite big now. I don’t normally do interviews like this and when I get photographed on the street it often doesn’t even connect me with Stil in Berlin. It is nice of course, but I don’t really see it as a publicity stunt. I don’t have an interest in being a blogging superstar. I enjoy doing it but I don’t really need to be seen as the guy behind the blog. odd: What is your oddest piece of clothing? Dario: Let me just think… Umm…I am just looking in my room. I actually don’t have any new clothes. I think maybe you’ve seen me wear them, these blue neoprene pants, they are like diving pants. odd: No I haven’t seen them, I definitely would remember if I had! How would you describe your own style? Dario: I don’t know if anyone else sees it, but whenever I buy things I think I have some sort of a new wave style. I don’t wear a lot of colour. The way I use proportions are more new wave and the colours more goth, so I guess my style is somewhere between those two. odd: How do you find the time/money to blog? What sacrifices do you have to make to maintain it? Dario: It is at the point where I can survive off it, but in Berlin, which is an incredibly cheap city. It is a full time job because people are demanding that we post every so often and we also have contracts with companies like Urban Outfitters and

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with advertisers that we have to work on. If we were busy doing other things the quality of the posts would go down. So we have to take it as a full time job. That is what I have been trying to do for the past year and a half, which has really benefited the overall quality of the blog.

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odd: So you consider blogging your occupation rather than just your hobby? Dario: Well yeah, it has turned into that, for the time being at least. I really don’t know how long I will continue it for, but at the very least I will get great connections out of it. If I want to switch to something else in the fashion industry it might be an easy transition because people know my website and my name. There are people who can live from blogging and I don’t know if that will be me or not. At the very least I think it will act as a really helpful tool for getting another job in the future. Blogging is sort of like a university degree for the fashion industry. odd: How do you see the future of blogging? Is it just a passing fad or is it a lasting medium? Dario: I think it will last but they are going to continue to change and develop. Maybe we will see more online media sites rather than just blogs. Already there are bloggers who have assistants and interns. It is turning into a real media platform rather than just a journal. odd: I saw on facebook that you started a new blog called dead pop stars? Why did you start that? Dario: That is more of a personal thing. I think people tend to think of a blog as something that is

meant for the public. I’m in no way hiding this blog, it is intended for the public but I have no expectation of it becoming a big thing. It doesn’t need to be popular to show someone and have them respect it. For instance if I wanted to apply for a job in the music industry, I could show them this blog. Even though no one may read it they could still be impressed by what I was doing. odd: So is music a big inspiration? Dario: Yeah, it is much more interesting to me than fashion is because I don’t regularly read many fashion blogs or magazines. It is music that I am more interested in. odd: What do you see yourself doing in the future? Something to do with music? Dario: No, I don’t think anything to do with music because it is more of just a personal interest. I don’t know what I see myself doing. I absolutely have no idea. It is all so tenuous at the moment. What I am doing right now is all going really well, so I am just going to continue and when I get an opportunity to do something else that I like, through the blog most likely, I will go with that. There are some days when I think I should just give it up entirely and go back to studying chemistry, but I don’t think that will happen. Who knows if Dario will end up in a top job in fashion or if he will go back to pursuing his high school dream of working in chemistry. Whatever happens he will have a happy life filled with interesting friends because for Dario that’s what life is about!

“I know I’m not saving lives with my blog. People could look at it as being a bit frivolous, which at the end of the day I think it is. It is something I enjoy doing though”


Louise, Paris

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Emre, Berlin

Mads, Copenhagen

Adina, Berlin

Andy, Paris

Jean Paul, Paris


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Such a small item loaded with meaning. The Bowler hat is a confusing fashion accessory unless intended as irony or insult. It is so often associated with characters that are slightly out of touch with normality. From Charlie Chaplin to John Steed, in film, we saw the revival of Bowlers teamed with overalls in the cult movie- Clockwork Orange. Bowlers and overalls don’t mix well, but this cult accessory is your excuse to grab a cane, carry a teacup or wear a ridiculous amount of eye make up without logic or reason- it just works.


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SPIN ME AROUND photography by joris bruring styling by odd hair & make-up corinne van der heijden

Odd shares with Dario a love of music. We love classic pop and guilty pleasures. We hang old vinyl covers on our walls because we love their square shape and the way that they yellow with age at the edges. The faces that stare back at us each morning inspire the way we dress. Style elements of musical icons of the past make us feel like singing aloud.


Jacket Vintage, Dress Teenflo, Tights American Apparel, Shoes Martacoll.

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This blonde, bee-hived beauty is as sweet as honey. Frills and florals define the ‘blue-eyed soul’ style that this 60’s British sensation created. Her album ‘The Look of Love’ was one of Dusty’s earliest albums and made the world fall in love with her and her look.


Jacket De Mago, Jeans Levis, Shirt American Apparel.

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Bob mixed created became

Dylan’s buttoned-up style with his unkempt curly locks a new look. His laid back cool the ultimate beatnik uniform of the sixties.


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Jacket Jens-Peter Schmidt, Shirt Martin Margiela, Pants American Apparel, Belt Vintage, Shoes Converse. Oppostie Page: Jacket Viktor & Rolf, Pants American Apparel, Shoes Converse.

The king of Rock and Roll made girls around the world faint with one swift thrust of his trouser clad hips. This sexy songbird wasn’t all glittery jumpsuits and blue suede shoes. Elvis Presley created a whole new suave style with his unbuttoned shirts, peg leg pants and sharp suit jackets.

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Leather Jacket Goose Craft, Zebra Jumpsuit Hennes & Mauritz, Shoes Zara, Fur Collar Stylist’s Own.

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Blondie’s Debbie Harry was the ultimate fierce flashy and fabulous rock chick. Leather, denim, slinky animal prints, and baby t-shirts created a style that was hard edged and sexy.


Shirt James Perse, Sweater Jan Lensen, Jeans Ksubi, Boots Chronicles of Never.

How can you not love Bob Geldof’s casual eighties style?! Acid washed denim and striped t-shirts with some chunky lace up boots are perfect for a city bike ride and a beer in the park.

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Sequined Jumpsuit Vintage Laurent, Fur Collar Stylist’s Own, Shoes Zara.

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Her androgynous but overly sexual style launched Grace Jones from her home land Jamaica straight into the gay discos of underground New York. She became one of the greatest fashion icons of our time influencing some of the greatest pop artists such as Andy Warhol and Keith Haring. “I wasn’t born this way,” she once said, “One creates oneself.”


BRAND NEW WORLD by mackenz ie yeates

Friday Morning - 10.45am:

You wake up in your bed, still wearing black eyeliner from the night before smudged, but not in that “by accident on purpose” way. Recalling Thursday night’s events, you remember that boy. Although most of the conversation has become foggy, due mainly to a few too many “pre-drinks,” you distinctly remember his dark eyes and how he touched your face when he put you in a cab outside the bar and said goodnight. “I wonder if anything could come of this,” you think to yourself. Still hopeful, you throw on a robe, turn on the coffee pot and grab your MacBook. Facebook. Log-In. New Friend Request. Your heart skips a beat when you see the name glowing in blue type on your screen, but as you begin casually clicking you notice a few too many pictures of him wearing Abercrombie and Fitch t-shirts, and his favourite music includes Fall Out Boy, Bon Jovi and... Nickelback? What was the possibility of a new crush only mere seconds ago is now completely, well, crushed. With the use of facebook, Twitter and blogs we as individuals are really just branding ourselves. Carefully picking a profile picture, listing our

interests and strategically untagging in a way that is meant to give others a little insight into who we are, or who we hope to be. Through these social media sites we are expected to offer a constant stream of information about what we do in our personal lives and the things that we like. The majority of my 1,068 facebook friends see me more often online than they do in real life. So what happens to real life then? We find ourselves spending so much time each day just thinking of clever status updates, and uploading new profile pictures to paint a picture of what our exciting lives are made up of. So much time where we should be leading these documented exciting lives is in fact spent behind a camera or with our heads down updating our Twitter status, blithely unaware of what is actually going on all around us. Like the age-old tree falling in the woods mystery, I’ve begun to wonder, if it’s not on facebook, did it really happen? If we don’t continuously update with information that keeps us current and interesting than the only other option seems to be committing facebook suicide and deleting our online personas completely. To just leave your profile full of dated, boring

content can lead people to establishing wrongful judgements about who you are. And realistically, facebook suicide just isn’t an option. I know just two days later I would be drawn back in like a drug addict without her fix. In a world where your online persona is such an important first or second impression of who you are, what happens in your life when you are “logged out”? I have spent time with bloggers or facebook addicts who are very well known in certain web circles, but when met in a face-to-face situation they lack the skills to have a real conversation or connect on a deeper level. Having an effective online personality is an important communication tool for anyone of our generation to survive in modern society. Online has its place but next time you are with friends in a park or sipping Mojitos at the local Cuban bar, just put your phone and your camera away for a minute. Or an hour. Or a day… Notice the cute freckle on your friend’s nose, have a feminist debate, gush over that new crush or laugh so hard, you pee your pants. You’ll be surprised at your natural ability to create memories without the use of an iPhone or a Canon G10.

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THE ODDS OF BLOGS by emmi ojala

They come from all over the world – One who loves bright colours, while black is somebody else’s cup of tea. An insight into the world of these bloggers reveals some of the most inventive and original styling ideas. An affection for collecting coffee mugs or even a love for wearing wrinkled dresses? Anything goes. The one thing that they do have in common is a distinct style and thousands of online followers who they inspire.

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shan shan

webblog.tinytoadstool.com

2.

Osaka, Japan

3.

nadja seale

nadjaseale.com

Juan is hooked on cardigans and skinny jeans, embraces clashing colour, and is not afraid of a splash of floral. He has a vivid imagination, which he reasons for his hypochondriac tendencies, he is known to Google even the mildest sniffle or headache symptom.

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Pretoria, South africa

charles matthews

pinstripeprince.blogspot.com

tahti syrjala

tahtisyrjala.blogspot.com.

Tideland, Ireland

Nadja is a fashion enthusiast and a daylight connoisseur, who loves waiters, neighbours and other everyday people. She is free spirited in style, prefers loose fitting clothes and details inspired by nature that make you feel like dancing around holding your hem.

5.

mrjuancocco.blogspot.com

Madrid, Spain

The drawers of Shans wardrobe are filled with hundreds of strange socks and stockings, in more colours than you can imagine. She wrinkles her girly party dresses, likes to wear them with Doc Martens, and cherishes a pair of green hunter boots as her most favourite fashion item.

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juan cocco

Tahti has porcelain doll skin and flaming red hair. She hangs the keys to her secret diary on her pearls, loves rosary beads and plays around with ruffled skirts and minimal black dresses. Alongside fashion, she has an fixation on incredibly sour lemon tarts which – as she tells the world, no-one can make as well as she can.

6.

kerstin nylander

ropade.blogspot.com

Glos, United Kingdom

Gothenburg, Sweden

Charles is a country boy at heart, who loves grandma cars and quirky mugs. He is drawn to city lights at night. Charles is all about bohemian drapes and earthy colours, grunged up with eclectic and electric influences.

Kerstin is a preppy rocker, who draws inspiration from the 60s and the 80s. She likes to mismatch everything in the same colours and has 25 different shades of lipsticks to coordinate with her outfits.


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2.

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3.

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6.


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In this photo:

dario natale


PHOTO OF TANIA MARTINS Photo 5 out of 14 connection 2 • person 3

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In this photo:

tania martins

dario natale

Carte Blanche is one of my favourite stores in Toronto.

1.48pm • Report


MEET TANIA by mackenz ie yeates

There is a rare breed of impossibly cool girl, who effortlessly walks her own walk through a world of others following the well-worn path. Tania Martins is one of them. This young Canadian designer stands a diminutive 5’2” tall, and yet she never seems to get lost in the crowd.

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Tania Martins designs her Pink Cobra collection for herself and her friends, and anyone else who wants to come along for the joyride. Tania’s store, Carte Blanche, which she operates with her partner Daniel Augustino, has become a sort of ‘mecca of cool’ in downtown Toronto’s hip Queen West West neighbourhood. On May tenth I caught up with Tania over skype in the midst of her busy schedule back in my hometown of Toronto. odd: Hey Tania! How are you? Tania: Good! How are you? How is it there? odd: Amsterdam is amazing! How’s Toronto? I heard it snowed?? I know people tend to think Canadians live in igloos but snow in May is crazy! Tania: Ya! I didn’t see any snow, but I heard about it as well! It’s pretty nice out now though, a little cold but bright.

odd: So you are a fashion designer who owns her own store, Carte Blanche, in Toronto. Have you lived their all your life? Tania: Actually I was born in Portugal and I moved here when I was 8. So 20 years now. odd: What was it like moving to a new country and having to be the first in your family to breach the cultural divide? Was it hard for you to intigrate when you first arrived in Canada. Tania: Well I went to an all girls’ catholic school. You can imagine, not the most exciting., but it was still lots of fun. Since it was a Catholic school i guess I connected in that way because all of the girls came from Catholic backgrounds. We did a lot of religious things, like retreats and what not. I kind of wish I went to a public school though. odd: What do you think would

have been different if you were in public school? Tania: I guess partly because of my parent’s culture they felt like they needed to protect me when I was a child, and as a teenager. I felt like I was very sheltered but maybe if I had gone to public school I would have experienced more things and a wider variety of people. odd: Who or what inspired you to begin a career in fashion? Tania: When I was in high school there was a co-op program that I participated in. I started doing an internship with a Canadian designer and that is what encouraged me to go into fashion. odd: Wow, what a great experience for a teen who knew what she wanted to do. Who was the designer? Tania: Catherine Curtis. She’s been in the industry for probably 20 years now.


and moved back to England. When he returned to Toronto, he decided that he really wanted a Pink Cobra label. He knew that I wanted to start a line, but I just kind of needed a push. And that was that. I’m thankful everyday that I met him.

She’s a real perfectionist, so I learned a lot from her. Her designs aren’t really to my taste, it’s not exactly what I’m into, but everything she made had to be absolutely perfect. I was really fortunate to intern with her. I find that with a lot of Canadian designers, the ideas are there but the execution isn’t that great which always leads to the collections having that home-made sort of feel. I think it’s hard to teach creativity, so I was fortunate that the main education I got from Catherine wasn’t about designing beautiful pieces as much as it was about realizing those ideas. odd: Did you go to school for fashion? Tania: I went to the International Academy of Design for two years. But Catherine hired me after high school, so I worked for her for four years. I got to have real experience in the industry while going to school so that was a great opportunity. odd: How did you decide to take your passion to a professional level and start your own label? Tania: I met Dan Augustino who is a very very inspiring person because he’s not afraid to take risks to get what he wants. He had a store at our current location for about two or three years and I met him because Catherine also had a store on Queen Street. His store was called Pink Cobra and he always wanted to have his own brand, but at that time he was only carrying Canadian brands and designers from London. He knew I went to school for fashion design, and we just hit it off. He actually shut the store for a while

‘I’ve realized that you have to go out there and do it yourself and try to talk to everyone, and tell them what you’re doing’

odd: In the last few years you have become a fixture in Toronto’s fashion and creative scene. What do you think about fashion in Toronto? Do you think you will continue to work there? Tania: Six months ago I was dreaming about moving somewhere else. I go to Paris a lot. Dan mostly goes to London, so I’ve been there a few times as well. Traveling is always really inspiring and exciting but it also always reminds me that Toronto is pretty cool. It doesn’t have the population and history that other cities have but there are so many really interesting and talented kids in Toronto. There is a lot of inspiration to be found here. There are a lot of young, talented artists who are willing to experiment and work together. So right now, at this moment in my life I feel like I want to stay here because Canada is a pretty amazing place to live. If I didn’t travel maybe I would want to move somewhere else but at the moment I love this city. odd: You are known as a collaborator around town. You seem to love tapping into your large network of creative friends in Toronto. What importance do you think networking has on the success of a young designer’s career? Tania: I just try and do creatives with people. I know quite a few young photographers like Sarah Blais and Randi Bergman,

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of course who is a great writer. My friend Tammy Eckinswiler is an amazing stylist. She moved to New York a few years ago but she was working in Toronto for a while. Tammy is convinced that I need to move to New York. I need to do more reaching-out to people to do collaborations. I want my work to speak for itself and I want people to come to me. But I’ve realized that that’s not really the way to do things. I’ve realized you have to go out there and do it yourself and try to talk to everyone, and tell them what your doing to meet more and more people. If I want my dreams to come true, that’s what I’ve got to do.

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odd: For your Fall/Winter 2010 campaign a few of your friends created a very Odd campaign video called ‘Maneater’ which was three minutes of a glamazon eating steak. How did you come up with the concept? Tania: That was all Carly and Derek. They are two friends who I can completely trust with a project. I could just hand it over and not worry about it because I knew they would come up with something great. Do you know them? odd: Ya, I know Derek. Tania: Ya he’s a sweetheart. During fashion week, Dan was having a launch party for his new collection, Cult de Laissez Faire and he suggested that I do a Pink Cobra video. I approached Carly and Derek and they were really into the idea. They asked me what my collection was about and I explained that it was about a woman who is really strong, independent and fearless but also very sexual. I just left it up to Carly to come up with something and I said if it looks great we’ll use it.

‘Getting off-the-street feedback from people is sometimes hard to hear because not every customer is into your work’

There was NO budget and they just figured it out. We found this girl Leah who works at American Apparel who is adorable. She’s this tiny tiny girl who came across on screen as this powerful woman. We worked with a great makeup artist, and she made Leah transform on camera. Carly and Derek really did all the work. I was there and gave some opinions, but they were the ones who really made it what it is. odd: Who is the Pink Cobra woman? Tania: Androgynous but sexually charged. She is kind of masculine, has that strong independent look and feel, but she will always go for what she wants. odd: It’s obvious that your designs are very sexually charged and that they make the women who wear them feel sexy as well. The silk bustier that I have that you made always makes me feel so confident. How do you define Sexiness? Tania: Not necessarily by how much skin you show but the feeling you get from someone and their charisma. I know lots of beautiful people who aren’t sexy, I think sexiness comes from the inside. My whole goal is to complement a person’s character with my clothes and help that sexy personality come out. odd: Who do you think of as a very sexy woman. If you could dress anyone who would it be? Tania: I’ve never thought about that! I’ve always just wanted my clothes on everyone. I’d say the fashion editor of French Vogue, Carinne Roitfeld because she has this unparalleled rock and roll edge. She is definitely a muse.


odd: Do you design for yourself? Would you or do you wear all of the pieces that you make? Tania: Yes I do. I can’t wear everything because I’m five foot two. Something that looks great on a girl whose six feet tall just doesn’t translate the same way on a five foot two body but I definitely try. odd: What has been your most exciting fashion experience so far? Tania: Opening the store was pretty amazing. It was just amazing to see the dream of having my own store and collection realized. odd: How long has it been Tania? Tania: Going on five years ago. My first press was pretty exciting. That was in Fashion Magazine. Fashion Mag is one of the most popular fashion glossies in Canada. It was exactly the kind of thing I really wanted. It was a full spread and it kind of blew me away to see my work in print like that. That was thanks to Tammy. She was the first to say your stuff is awesome and I want to use it. odd: It was so brave of you to not only start your own collection but also manage a store where you buy labels from other designers. ON top of it all you manage to throw great fashion week parties! What has been your biggest challenge in opening and running your own store and in creating your own label? Tania: Because I work the shop sometimes, it becomes trying to explain to people my look and how things work. People will come in and give me their opinion. I don’t always tell people, “oh I make this”, I just talk about the clothes in general. Getting off-the-

street feedback from people is sometimes hard to hear because not every customer is into your work. And I wonder, “why not, I don’t understand”. But being in the store also allows me to discover what people want. They’ll try things on and say things like, “this is great but I wish it was cut like this or fit like that.” That immediate customer feedback really helps me grow as a designer. I have to get my point across that it’s a Canadian product, made here and sure its not as inexpensive as something made in China but it’s very good quality and its original and fun. The feedback can either make me feel really good or make me feel a little depressed. odd: Do you sew all the pieces yourself? Tania: I used to, but now I have a sewer. She’s had fifteen years experience and she’s really fast and efficient. I’ll sew a sample but for the rest of the merchandise, it’s all her. odd: What do you consider when choosing other designers or items to carry in your shop? Tania: Whether or not I want to wear it. I like crazy stuff. We carry KTZ and Jeremy Scott, those clothes are wild. I do pretty much look for three basic things: longevity, quality and whether or not I want to wear it. odd: What is your oddest piece of clothing? Tania: Oh! I have a Gareth Pugh vent dress. That one is out of control! odd: That’s the one that looks like armor or a skeleten. I remember touching it at the store and sighing because it was so beautiful. It stands alone,

like a piece of sculpture. What is your master plan for the future? Tania: I would like to take my spring/summer collection to a trade show in New York. Just to get it out there and get other shops’ reactions. odd: What is something that you have always dreamed of? What would be the ultimate success for you? Tania: Having my own factory. That would be pretty amazing. But that would mean that I would need a lot of orders. I would be careful about mass producing my collections though, because I really believe in quality control. I think my pieces are pretty seasonless and I know that for myself, when I buy something, I don’t mind investing in a piece, but I want it to last. Having a lot of orders, a factory to supply them, and people to help me ensure that the quality is retained would mean that I had everything that I want.

femmie mulder Where can I see Maneater?

2.15pm • Report

jelle de weert I found it on garbagemuseum. blogspot.com

3.00pm • Report

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Collective Consciousness by randi bergman & meghan hutchens

Thomas F/W 2010 Collection

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The collective consciousness of the creative class is one of the fashion industry’s biggest mysteries. A shared state-of-mind between artists, designers, editors and creators can likely be linked through common influences, environments and life experiences.

odd: What do you think is particularly strong about the up-and-coming scene in your city? Do you think you can lean on anyone else’s creativity to become greater as a whole? Drew & Michael: Any innovative Torontobased artist carries an advantage. It is easy to stand apart from ‘the rest’ here. It is a lack of inspiration. Toronto is not a fashion capital. It is a very receptive place. I do believe there is a collective of individuals in Toronto trying to make

a change, and I believe this September will be ground-breaking for Toronto fashion. We tend to lean on other artists for support as opposed to designers. Nadia and Cami: There is definitely a well-established local design scene here, although at this point our label exists solely online, so most of our community is based there too. We’re lucky to have found friends that appreciate and support our work through the internet. In terms of supportive creative collectives, we can definitely vouch for this existing in the online

fashion community. Veronica: The creative people I’ve met in London are extremely energetic and love to collaborate with other passionate people. London is a diverse and open place and I’ve felt a very strong sense of collective living and working while in this city. Most of my friends are very different in style but unified through their ideals and optimism. Merel and Kim: Hell yes, we need each other badly; we have a long way to go. Together we learn much faster, learn from each other’s mistakes and each other’s experiences. As


a group we create a larger platform and a greater voice, so everyone must hear us at least once in their life!

Merel Wicker and Kim Leemans are the Amsterdambased design duo behind LEW. The two met while at the Rietveld Art Academy and have since embarked on seven arty collections.

odd: Why do you think the same trends emerge from completely separate designers? Do you believe in a collective artistic consciousness?

Drew and Michael Thomas are the Toronto-based design duo from the label THOMAS. The two launched their second classic, yet grungy and modern collection together for A/W 2010.

Veronica: I’ve been working at a trend forecasting and research company for the past few months and the first thing you realize is that fashion is just another part of a culture being influenced by bigger events. Creative people are especially sensitive to shifts like this; to changing moods and the visual images that come with it Merel and Kim: What happens on the catwalk works its way down to the streets and what happens on the streets makes its way to the catwalk. We all live in the same world, with the same needs and patterns and media. In the end we all want to belong to a group, to be able to feel safe and understood so that we can calculate the next step...we are prepared and have the clogs ready when we need them! Nadia and Cami: It’s like a train ride, the train keeps moving forward and more people get on board. The view from the train is the same for everyone; it’s just that each person sees it differently and interprets it their own way. Some might step off and take a different route or catch a different train. In the end though, each ride has a single destination, a final outcome. This is where the trend is born. Of course there is a collective consciousness - we share the same planet and the internet is constantly evolving and influencing the ease with

Nadia Napreychikov and Cami James are the creators of DI$COUNT -not your conventional young fashion label. Graduating from RMIT in Melbourne in 2009, they are currently based across the Asia Pacific region. DI$COUNT is an online brand, a dialogue, a strategy, a transformation, a design, a blog, a motion picture, a label, a personality, a website, an emotion and an evolution. Veronica So is Silicon Valley born and raised, Central Saint Martin educated and now a London based tech-nerd-comeeditor upstart who has also launched her own magazine L_A_N.

puck landewe It’s amazing how designers use the same sources for inspiration

1.22pm • Report

lars tibben Duh, ever heard of the internet?

1.23pm • Report

which this consciousness is accessed. Drew & Michael: There is a small insurgence of designers right now who are designing trendlessly and fluidly. When you stop designing with trends in mind, two artists who are very far apart can still come up with something quite similar. odd: What do you think are the main factors which will influence how you get ahead in your career? Nadia and Cami: Being lucky enough to do what you love with absolute conviction and never compromising your beliefs and dreams is the easiest way for you to feel ahead. You have to realize that every day you spend working towards your dream is actually a day that you are living your dream. Drew and Michael: Creative expression with strict focus. We believe in building on previous collections, perfecting patterns, until we are satisfied. Stay true to your vision regardless of the criticism, never abandon it. Otherwise you are pretending and you will never be successful. Veronica: I’m most interested in meeting creative people with their own unique vision. I like doing bespoke research for fashion designers, art directing look books and editorials of their work, collaborating and inspiring them to achieve even more interesting and exciting outcomes. This provides the best and most satisfying rewards for me at this point. Merel and Kim: Keep going, keep focused, stay critical, keep reflecting, don’t forget to be practical and organized and of course, try not to be too serious.

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Whoever said that good things come in small packages was definitely missing out on one of fashions biggest exceptions. Our Grandmas pioneered these beauties in their true ‘squeeze the life out of you’ style, which are nowadays comfy enough to wear under flippy skirts whilst biking. More effective than a utility belt for storing extra necessities for a big night out, and in the correct shade of beige, will scare away any unwanted advances. Gaga is onto a good thing... why waste your time wearing trousers at all?


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LA GARÇONNE photography by sarah blais stying kenia avendano hair & make-up tami el sombati

They say it’s still a mans world, but women don’t even need to wear the pants anymore, they just need a perfect latte and a huge desktop - a brain full of confidence and charge, and an intimidation that is capable of seduction.


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Black top Pink Cobra, Chain Bra Vintage, Bracelet Stylist’s Own, Leather Rings Kenia Avendano.


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Black dress Pink Cobra, shoes Camilla Skovgaard. Grey dress Pink Cobra, Leather Harness The Leather Man


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Tank Top and Trousers Pink Cobra by Tania Martins, T-shirt Petar Patrov, Hat from Flashback in Kensington. Shirt, Vest and Skirt Pink Cobra, Tights Wolford, Bracelet Stylist’s Own


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Black dress Pink Cobra, shoes Camilla Skovgaard, Leather rings Kenia Avendano. Grey dress Pink Cobra, Harness The Leather Man, Shoes Camilla Skovgaard.


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PRACTICE MAKES PERFECT By AMFI Individuals Students

The process from idea to runway is a long and complicated one. Inspiration flies in from all directions. At times the hardest thing is to translate the core of the concept into the medium of the message. Through fashion illustration, the beauty in the concept emerges; this is when fashion turns into a fine art. Previewing the Individuals S/S 2011 Collection. A work in progress...

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drawings by Blรกthnaid Geoghegan, Doortje van den Heuvel,


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Steffi Dekkers, Lisa W hittle, Selina van Grondelle.


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In this photo:

tania martins


PHOTO OF PETER STIGTER Photo 7 out of 14 connection 3 • person 4

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In this photo:

peter stigter

tania martins week in Paris.

3.54am • Report

Peter and I met briefly at fashion


MEET PETER by sandra de kuiper & sophie peeters

Twenty-two years since finding his calling in the world of catwalk photography, Peter Stigter is now shooting over six hundred high profile shows each year. Immersed in the glossy world of the fashion industry, Stigters success extends beyond photography into business, where together with his wife (fashion journalist Jetty Ferwerda) he runs the creative agency ‘Fashiontalk’. 80

A testimony to the power of intuition and trust in the creative process, season after season he returns to his home in the small town of Tilburg, NL. An escape from the chaos of the fashion world, and a return to peace and his biggest loves in life. The perfect meeting place for Odd to visit and talk about his job, experiences, his family and his dog. Peter: Have a seat! Odd notices the huge dog in the corner of the room Peter: Yes, I have a dog and he likes young girls! And you are sitting on her couch, so I’d leave her alone for now. odd: We’ve heard you just arrived back in Holland, where have you been?

Peter: I’m just back from Paris. Before that I was in Milan and New York and even before that I was in Paris and Milan too… I also visited Berlin for a day and I worked a week at the Amsterdam Fashion Week. I never see that much from the cities I visit, because I seldom have a day off. When I leave Paris after a fashion show to attend another show in Milan, I always travel by train with a colleague – that feels like a mini holiday. We sit together in a small compartment talking boys stuff. odd: What are you working on at the moment? Peter: We are working on inspiration books for magazines like Elle and Glamour. We provide extracts and highlights from the shows. Meanwhile we are

always busy retouching and selecting catwalk visuals. odd: Do you like being out of town or do you prefer being home in the Netherlands? Peter: I love to travel and I love my work, but I prefer being home. I’m a typical Scorpio. odd: Why do you live in Tilburg? Did you grow up here? Peter: [l a u g h s ]. Nope. I was not even born in Holland. Jetty, my wife, was studying here. In the beginning I went to Tilburg often in the weekend. We met just before I was about to leave for a year for my work. When I came back, we decided to live together. I like it here; it is so relaxed and peaceful. When I’m in Amsterdam, I always bump in to people that I know – or


people that know me. I like it that this never happens in Tilburg. I’m never leaving this place.

mar jolein van wijck

odd: So where were you born? Peter: In Australia - but I have Dutch parents. As a child I spent many years in Doetichem in the Achterhoek, just like Jetty. She was a journalism student and I worked for the navy those days. I quit that when I was 25 and I studied in Eindhoven at the Design Academy. I always liked photography, but at some point I decided to just go for it.

michael prnok

odd: When did you discover that you had talent? Peter: Actually - in the beginning. I did not recognize that myself, but other people did. At the Design Academy, you start photography studies in the first year. At that time Jetty worked for the ’Brabants Dagblad’, a newspaper in Tilburg. Thanks to her I did some assignments for that newspaper. I started publishing my photo’s at the same time I started photography. Now I am 45 – yikes! At the Academy I originally wanted to become an industrial designer. Photography was fun and nice to do beside my study – and profitable as well. I’m very restless; I like it to be home, but after a few months the travel itch begins. Seasons come and go, but I always have to travel. After a few weeks you are back home and before you know it, that’s the pattern of work for 22 years. odd: Do you want to do this work for the rest of your life? Peter: I think I’m never done with my work and with fashion. It’s always interesting, but physically

Wow! Peter shoots over 500 catwalks a year

4.45pm • Report

I didn’t even know there were that many fashion shows

5.45pm • Report

‘I prefer making mistakes. You can’t learn if everything is going well’

very hard. Now the team I’m working with is growing and I’ve discovered that I need to lead and mentor new people. I can see myself as just an overseer of others work down the track. I’ve got plenty of experience and it is nice to share your knowledge. Again, I’m not done with my work, but it comes with a lot of stress and pressure. I’m not sure for how long I can handle it. Maybe five years, maybe ten. I don’t know. odd: Why did you choose for catwalk photography? Peter: It just happened. Catwalk photography picked me. When Jetty worked for the newspaper she visited fashion shows in Paris and I was a first year student that time. Jetty always told me ‘It is so cool, you have to come with me!’ The season after she told me that I joined her. Those days you could just walk in, nowadays it is much harder to gain admission to a fashion show. There was no Internet in those days, so when you had pictures from Paris, you really had something special in your hands – now you just can upload your pictures on Twitter for instance. I liked making catwalk shots in Paris, but I didn’t have a thing for fashion. Thanks to Jetty I do now; I love fashion. A lot of my colleagues don’t have a fashion sense. They are good photographers, but they don’t see the difference between Chanel and Dior. odd: Do you? Peter: Haha, I do! That makes my work more easy and it distinguishes me from other photographers, because I know what I’m looking at, I understand the context. I’m really into new influences for a season. Fashion is in the most personal design area and it

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is always in development. Fashion is never dull. odd: Who is your favorite designer? Peter: That was someone that just died… odd: Mc Queen… Peter: And Galliano, Victor & Rolf and Marc Jacobs are favorites.

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odd: What do you think of Dutch fashion talent? Peter: When you compare Dutch designers with international design, they are not visible. But in the last ten years, a lot is changed in a positive way. Holland has a real fashion scene. Fashion is alive; see television programs like Project Catwalk for instance. The funny thing is I don’t even have a television connection. This house was an old small factory with no cable connection. We thought that it would come, but now we are 15 years on and we still don’t have one. odd: You don’t need it? Peter: No, I fulfill my needs in other ways. When I stay in a hotel in Holland and watch television, I think to myself; how can people look at this? Don’t they see how bad it is? It’s not that I don’t like moving visuals, I love movies for instance. And the news is faster by the Internet than by television. I still read a lot of newspapers and magazines – I think I’m the only straight guy in the Netherlands who reads every woman’s glossy. I read three newspapers a day. I grew up with them and I worked for them. Now, after 20 years we are at the end of the life expectancy of the newspaper. odd: Do you think it will all disappear and everything will be removed to Internet?

Peter: I wonder. The greater readership already read the news on the Internet. Although I think the printing would not disappear. Nowadays there is a serious thing going on, you can say that it is bad, but on the other hand it’s good. I think it opens opportunities for other things. I work for a couple of big daily papers, and I see how dire it is. Journalism and the freedom of expression we know nowadays in newspapers will probably disappear. Also the quality, often there’s a lot of wrong information on the Internet. Twenty years ago, daily papers were really sophisticated. Now you can say literally: it is all yesterday news that you read. I worked for ten years with tapes, and for the last twelve years I have worked with digital. I know both sides of the coin very well. That’s interesting. The way we communicate with each other is something that we reinvent every day. Like Twitter, two years ago it did not even exist. Nowadays it became a major media form. We have started Twittering over the past year, and it has become a useful function. To use it only because you have the opportunity is no good reason. We have been blogging for two and a half years, and at the beginning I wondered: Why am I doing this? We already have two websites. Ultimately we went through with it, to see how it would work and it proved to be a good decision. odd: What is another benefit of your job? Peter: It is not a regular job; you constantly see beautiful things. I think an office job would make me very unhappy. That’s also the reason that I didn’t want to be a designer anymore. With

this job, I never know what a day is going to bring. For me, the biggest advantage is to be challenged all the time. I never have the feeling: I can do this. Challenge yourself again and again to achieve something – it’s the best remedy against boredom. Another advantage is that I don’t have fixed working hours. Besides, I see beautiful things. Not every single day, but every season there is five/ten things that make me think: WOW! odd: What makes you dissatisfied? Peter: For me it’s never a problem to make mistakes. Or when people in my team make them, I can even say, I prefer making mistakes. You can’t learn if everything is going well. It bothers me when don’t show willingness. In my world, you need devotion/passion. If you don’t, I have kind of a sensor. I know where to find you! It irritates me when people are taking something for granted, and don’t want to work for it. odd: Are there any disadvantages? Peter: The waiting part. On the other hand, the whole secret of waiting is that you can learn from it. You have to deal with people that think they know how fashion works. But actually, they don’t know what they are talking about. That makes me impatient. Traveling is a disadvantage but also an advantage. It gives stress and pressure, but in the same time it gives me satisfaction. (Still thinking) odd: Being disconnected from the world? Peter: [s m i l e s ] I heard there was a big earthquake in Chili and I didn’t even know!


odd: Traveling all over the world, but at the same time being disconnected? Tell me! Peter: We work almost twenty hours a day. Work is the only thing what you are doing, what really matters. odd: How do you prepare? Peter: Well! You have to start on the right foot. If you don’t, it’s in your way immediately. When the season is coming to an end, I’m already starting preparing myself for the next season. When the show begins, you have to be ready. You only get one chance. There’s no possibility to do it again. What I see, especially at the beginning of a season, people need a wake-up-call. I don’t have that. Of course I also have my ‘off-days’, but to be honest, you can’t allow this. But on the other hand, I shoot 500/600 shows a year - for twenty years now. I won’t say I can do it with my eyes closed. But based on my experience I can say that I can do it right. I don’t mess up. Do I? (To be sure, Peter asks the rest of the team) Lisa: [ p o s e o f c o n s i d e r a t i o n ] Peter: You can be honest! Lisa: [ l a u g h s ] No, and when it happens, you know the risk was always there and you try to avoid it. Peter: Well, you have to make choices. During big fashion shows you sometimes take photographs with three other photographers. You have to be aware of risks. You never know how things turn out. As a team captain you have to know where you place yourself. It’s also important for the rest of the team. For example, at the shows of Chanel you never know what is going to happen. It is such a big setting. It doesn’t make any difference if you’re standing in the middle, on the left or right. And concerning the technical

part, also things can go wrong. One wrong bit or byte and you already have a problem. Technologically, it is very advanced what we are doing. There is a lot of information that has to be generate/produce every day. That’s not easy, believe me! It is very important to keep up with technical developments, work with the newest and fastest computers and cameras. But it is always nice to buy a new one! odd: Definitely! What does creativity mean to you? Peter: It’s like everyday drinking and eating. It is the basis, the foundation. But it is not just for photographers or other creative professionals. Creativity is the driving force behind my existence; to me it is like breathing. It’s part of the deal. It makes life worth it. Because otherwise you are a machine. Creativity is an unknown factor. You don’t write it with a capital.

‘Creativity is an unknown factor. You don’t write it with a capital’

odd: And what does success mean to you? Peter: Success is challenge. It’s much easier to gain success than to keep it, and it is easy to draw the wrong conclusions out of it. The path to success is always much more fun than what is there when you arrive, because you realize it neither defines nor comforts you. You get used to it and before you know it, you are a grumpy little man. You don’t need success to feel happy. odd: Do you have other passions or hobbies next to photography? Peter: I really love cooking. When I’m here, I cook every day. I enjoy life. My two daughters, my family life, the dog. Being cosy all together, I love

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that. And what else? Old guys hobbies. [Laughs]. Like sports cars! odd: Are there things that make you cranky? Peter: [asks Jetty for an answer] Jetty: Putting together IKEA closets or shelves. Peter: [laughs]. There are a few things that make me cranky. I hate amateurism. Even though everyone starts out as an amateur. Especially the amateurs who think they are already professionals. I am actually wondering if I have any reason to be cranky. I don’t think I do. I have everything going for me. I have a great wife, great kids, I have a career. What else would you want?

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odd: What would other people consider typically Peter? Peter: You should ask other people Lisa: Well, the ‘radar thing’ is typically Peter! odd: Radar thing? Peter: I have a bullshit detector. Lisa: He can look right through people. Really extreme. Peter: Well, I don’t know about extreme, but it comes from 25 years of experience. Actually 46 years. But if that’s typically Peter Stigter… odd: You don’t like that? Peter: [laughs] I was more thinking ‘awesome, great, creative and nice’… But no. A bullshit detector! Lisa: But of course you are also hard working, especially in chaos, and always know how to pick out those crucial elements in your work, the right moments and the right photographs. I think that’s a really strong character.

‘When the show begins, you have to be ready. You only get one chance. There’s no possibility to do it again’

Peter: That’s experience. I learned only to look at the important things. If that goes well, then everything else will follow. But unimportant things take up much of your time. In my profession it’s not only important to be a good photographer. There are so many aspects that need to be embedded in you to succeed. Photography is maybe 10 percent. It’s about being personable, being able to listen to other people and being able to feel what it is that they actually want. Next to that you should also need to be because else it won’t work. odd: If you could swap lives for a day, with whom would you want to swap? Peter: That’s easy. Then I would like to be an astronaut in a space shuttle. I really wanted to be an astronaut when I was little! But well, how do you get to be an astronaut? How do you get to be a photographer? You have to make decisions. Being an astronaut won’t happen anymore in this life. Unfortunately we ran out of time but Peter could go on for hours. He offers us a ride to the train station, and of course we happily oblige. In the car he offers more philosophies of life Peter: You must always try to stay curious. What is the asphalt we now drive on made out of? And how is it made? We drive on it everyday, isn’t that interesting? Sandra and Sophie are thinking that they will appreciate the asphalt a little more from now on.. At the station we shake hands with Peter and thank him for his time, beautiful words and the ride.


DEAR CITY... by our facebook friends abroad

The world of fashion is fleeting and the times that we stop to take it all in are few and far between. There is only so much of this world that can be seen with our own eyes, so we make contact with our Odd friends in the most stylish cities on earth, to capture what goes on beyond the catwalk. Peter, this is for you...

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Jermaine Reawaruw, Hong Kong


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Hannah Sider, New York 87

Hannah Sider, New York

left page: Jermaine Reawaruw, Hong Kong


Marina Novelli, Ipanema

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Marina Novelli, Ipanema


Marina Novelli, Ipanema

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Felipe Raposo, Ipanema


right page: Marcelo Frankel, Rio de Janeiro

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Leticia Gicovate, Rio de Janeiro


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Leticia Gicovate, Rio de Janeiro 92

Marina Novelli, Ipanema


David Hutchens, Australia 93

Hannah Sider, Muskoka


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Hannah Sider, Toronto


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Carol Ozzy, Rio de Janeiro


Stefanie Suchy, Berlin

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Jermaine Reawaruw, Hong Kong

right page Sophie van Leeuwen, Liverpool


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Stefanie Suchy, Berlin 98

Merrill Moskal, New York


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If you want to make a fashion statement that is loaded with class values and the brightest baggage of political history, a bandana is essential. Bandanas once had a practical value – a worker’s protection against dust and sweat. On the streets it masked the freedom fighter from junta spies, gave relief from tear gas, and offered solidarity with other comrades. However these days, they are more useful for masking a bad hair day, or pretending you’re Rafael Nadal on the tennis court.


DIARY OF A FAS HION WEEK UNDERDOG by mackenz ie yeates

Twenty years old and off to Milan and Paris to conquer fashion week alone. Attempting to make H&M look high end, stalking people on the streets, hanging with the bloggers and making it onto the homepage of style.com. This is the diary of an underdog and how I survived fashion week.

Thursday 8.50am: I wake up

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to the sound of silence, a rare occurrence, as the first noise that usually starts off my day is a robotic alarm that sends my cell phone vibrating across the bedside table. This morning I wake in advance of the annoying buzz because of course, today is not just any day. I am in Milan and today is the first day of fashion week! As an international fashion week virgin I could not be more excited than if it were Christmas morning.

10.00am: The first show is

Just Cavalli and I head out, map in hand. Once I find Corso Italia I whip out my camera and take on the role of fashion paparazzi, snapping pics of everyone who walks by. I am here to document what is happening on the streets at fashion week for Barbara Atkin, VP Fashion Director of Holt Renfrew. A tall boy named Yvan with great hair and an even greater accent asks to take my picture.

11.00am: After 25 minutes of

waiting outside Cavalli has ended and all the editors start streaming out. After a few minutes of searching for an available cab I am en route to D&G. This is where the real thrill begins as I start to notice all the editors who are regulars on the street style blogs, I so avidly read, come to life. Anna Dello Russo casually strolls by in five inch heels and Fashion Editor Giovanna Battaglia pulls her phone out of her peach leather bag to send a text. While the show goes on inside I make friends with fellow Torontonians Tommy Ton of Jak and Jill and Dario Natale of Stil in Berlin. Dutch street style photographer Joris Bruring makes me feel instantly at home with his warm smile. I end my first day feeling excited and ready to take on the rest of the week.

Friday morning 8.25am: My

phone rings. It is Barbara Atkin my boss and the top of the Canadian fashion

pyramid. “When can you be here?” she asks, “I have an extra ticket to DSquared!” “I’ll see you in half an hour!” I reply, already stripping out of my pj’s. 8.30am: In a stressful fit of “What the HELL do I wear???!!!” I send articles of clothing flying in a multicoloured shower across the room. I settle on a striped sweater and a black skirt with my FLAT over the knee boots, since my feet still ache from yesterday’s torturous footwear choice. I throw my camel coat over the top and button it right up to the neck. Magenta lip liner is the final touch in an attempt to make myself look pulled together. I grab my camera and run down the marble staircase and out the front door. I can almost feel my hair expanding in the rain as I desperately attempt to hail a cab. 8.59am: Without a minute to spare I meet up with Barb in front of the venue, give


her two swift kisses and she hands me my invite. “I found a few more,” she says and passes over invitations to Blumarine and Alberta Ferretti. 9.05am: I cannot believe I

am actually inside my first Milan fashion week show! It is thrilling and I am happy to be seeing Dean and Dan’s Dsquared collection two boys from my home town who came to Milan and made it big. Barb introduces me to some people and then we part as she takes her seat in the front row and I find mine in the third. It is dark except for the glowing blue lights and I am wide-eyed and awestruck by the bustling mob of people. Looking down at my boots next to the slightly pointed leather shoes of the polished Italian man beside me, I realize the importance of a good shoe shine. 9.20am: The show begins with

a huge glass elevator with half naked men dancing on either side. Expecting references to the Vancouver 2010 Olympics and Canadiana, I am shocked when the collection is all out glam: red and black with fur, leather, rhinestones and chains. The hair and makeup are totally Helmut Newton circa 1970. It is grown up vamp, quite different from the sexy sportswear we are used to seeing from Dean and Dan. 9.57am: The show has ended and Barb and I head backstage to say hi to the boys. Suddenly she is mobbed by an army of camera crews. She turns and yells over her shoulder, “Mackenzie, go to Blumarine or you’ll be late! I’ll meet you there!” I wave goodbye and jet down the street, my Blumarine invite clutched tightly in my hand, slightly

‘Looking down at my boots next to the leather shoes of the polished Italian man beside me, I realize the importance of a good shoe shine’

disappointed I didn’t get to meet Dean and Dan but too excited to get to the next show to really care. 10.10am: Frantically flailing

my right hand in the air I realize that every cab in Milan is currently filled with international fashion editors, journalists, photographers and buyers. I seriously contemplate paying an Italian man to drive me there on his motorcycle, but before I have a chance to create a great story like that, a cab pulls up and I hop in. Unfamiliar with the streets of Milan, I don’t realize that the Blumarine show is at the opposite end of town.

11.00am: I arrive exactly

one hour after the scheduled 10:00am start time, and luckily for me the show is only just beginning. Supermodels parade down the catwalk in animal print layered with glitter layered with chains layered with animal print. “It was pure pornography!” Yvan Rodic exclaims as we catch up after the show.

11.45am:

I meet up with my best friend for a cappuccino, panini and a quick flip through the new Lula. We let the warm Italian sun beat down on our faces.

12.40pm: After our pit stop

the two of us are off to Alberta Ferretti. Seated in the second row, we’re rubbing shoulders with the likes of Kate Lanphear and Garance Dore. I feel self conscious in my big glasses and messy pouf of hair amongst all of these fashion glamazons. Suddenly I spot from across the runway that perfectly groomed bob and those intense eyes. There she is, the famed Anna Wintour. I can’t believe

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Sometimes Fashion Week can get a little hairy.

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what I’m seeing, as I stare at her seated there, in the flesh. That sighting alone is enough to make my week. Saturday 10.30am: After a bit

of extra sleep I am ready for a full day of shooting people on the streets. I find myself at the mecca of fashion and the people on the street express the full spectrum of style. I am standing at the centre of the universe for any fashion voyeur.

11.45am: Outside Etro I

compare the editors and the bloggers. It is inspiring to see how some people put together incredible, quirky, original looks on a shoestring, and stand shoulder to shoulder with the most beautifully constructed fashion pieces, worn by the most recognizable fashion icons in the world. I am greener than just my emerald tights with “Anna Dello Russo envy” over her beaded Miu Miu

dress. I definitely can’t afford that one. 12.02pm: I spot Barbara’s

thick blond hair. She jumps out of her car, grabs me by the arm and we walk through the doors. She hands me a pearlized invite with a tassle hanging from the end.

12.10pm:

I opt for diet coke over free champagne, find my place in the back and the show begins. It is all military suits and silk capes. My favourite show yet. Seems the perfect wardrobe for a dinner party in a tent with Peter Beard.

1.10pm: Next: Armani, Moschino, and Gucci. Here it is all about who is outside, which is convenient since I don’t have invites to these big name shows. A sea of photographers mob a blogger with a bright red dress and hooded camel sweater. A girl who looks to be around twelve years old wearing a tailored

jacket and a Chanel bag is snapped on all sides. I stand on the street with Dario, Tommy, Scott and Garance. Tommy is listening to Miley Cyrus on his iPod, Garance starts singing along and Scott films it all on his 5D Mark II. I laugh from the sidelines. 5.45pm: “Want to go to a bourbon party with me?” Dario Natale asks. 6.05pm: We show up to a tiny Italian gallery. The walls are covered with Blue Logan’s beautiful fashion illustrations. Four Roses Bourbon and warm Coke Light flows at the makeshift bar in the back. They are out of ice but Dario and I down a few drinks anyway. 6.45pm: We realize the gallery has no washroom and we are forced to find a back alley where we block one another with our long trench coats. Pure fashion week class.


7.15pm: I talk to Blue and discover that he actually knows all my best friends, having met them when they were visiting New York City. Such a small world. Talking with him about my “bestie” Merrill gives me a pang of homesickness, but it is soon washed away by another beverage and a new location.

replacing the button on my ruffled red dress I bought on sale for 60 euros in Paris. Maybe it is actually cool that my jacket is “vegan” leather…I mean “green” is the new black right? 4.00pm: Barb gets me into

Missoni and I swoon over the chunky knits and the perfection of the colour palette. When no one is looking I snag a Missoni notebook off of a seat. I rationalize this felony by the fact that I will surely treasure it more than any editor or buyer would anyway.

10.30pm: We dance into the

night at the “Punks wear Prada” party.

1.30am: My cheap green Mary Jane wedges that I just bought yesterday are already ripping and my feet are killing me. I am a party pooper and beg my friends to come home with me.

5.00pm: I walk all the way home from Missoni in the rain and I couldn’t be happier. Looking back on the excitement of the last few days makes me grin and skip down the street.

2.15am: The soft bed feels wonderful and I am instantly asleep. Sunday 8.00am: I wake up and first things first, flip open my macbook. Firefox opens to my homepage, style.com. There I see a caption that reads: “Specs Appeal,” and a familiar pair of cat eye glasses and a high collared camel coat. HOLY CRAP…. Is that me? I shake my best friend Jillian awake. “Oh my god, oh my god, oh my god,” Is all I can say. The picture that Tommy Ton had snapped of me yesterday at Armani ended up on the homepage of style.com… Dreams really do come true. 9.30am: I inhale an Italian pastry so fattening I might as well have just spread it onto my thighs, drink two cups of espresso and review my free copy of T magazine. 12.45am: I head out into the

pouring rain with a renewed sense of self confidence. If I can make it onto style. com maybe these people won’t notice that my heart print tights are from Zara and that there is a safety pin

Monday 10.30am: I get into

‘When no one is looking I snag a Missoni notebook off of a seat’

the car with two friends and start the 10 hour drive back to Amsterdam. I sleep and I dream about the people that I met, the things that I did and the outfits that I saw. This is where the story is supposed to end but it doesn’t…

Sunday 4.30am: I lie in bed and I can’t sleep, thinking about all the exciting things that are probably happening right now at Paris fashion week. Open Macbook. Search: high speed trains, Amsterdam to Paris. Found. Booked. The fashion week bug has struck and 13 hours later I am on my way to Paris to do it all again.

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In this photo:

peter stigter


PHOTO OF FRANS ANKONÉ Photo 9 out of 14 connection 4 • person 5

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In this photo:

frans ankoné

p e t e r s t i g t e r I met Frans years ago during fashion week in Amsterdam. 9.10am • Report


MEET FRANS by meghan hutchens

Meet Frans Ankone. One of the fashion industry’s most celebrated stylists. He has shared his creative vision with the world through beautiful imagery for decades. Some of his most famous work was created while he worked for Dutch magazine ‘Avenue’.

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Currently taking a break in Amsterdam mentoring students in the Honours program at the Amsterdam Fashion Institute, Frans is also in his element working with big names and surrounded by haute couture. As flamboyant and outspoken as ever, he sits down with odd Meg and odd Christian to share some of his most memorable pictures, his favourite shoots and other Odd moments along the way. odd: It seems that so many people classify themselves as stylists. What exactly defines a professional and successful ‘stylist’? Frans: There are different ways to define that, money for example. That is something that can define a person, but it is not the most interesting element. As a stylist you can only hope that there are one, two, maybe three images that you’ve made in a lifetime that will last. I think the success that you achieve can only really be measured by how you make

sandra de kuiper Frans told us Lillian Bassman had a big exhibition in Hamburg last year. She was 93 years old by then and again came by herself, did interviews and was absolutely fantastic.

4.45pm • Report

memorable pictures. Even more important to me is the experience and those very few wonderful moments that you have with a great photographer. To finish a shoot and know that the entire process is stunning and as wonderful as it can be. That should always be your goal. odd:: Tell us, did this happen for you often? Frans: Maybe, maybe, there were maybe one or two experiences. I made a series with Thierry Mugler where we travelled to the glaciers of Greenland and for me it was fantastic, a truly memorable experience. The team, photographers, makeup, all of the assistants, Thierry and I, we flew all the way there. It was a very expensive trip as it was so very far therefore we had to do a lot of shoots at the location. I did one for myself for Dutch magazine Avenue and those were absolutely stunning pictures. At the time we had 24 hours of daylight


and we went out on big boats and then had to go onto tiny dinghys to reach the right positions on pieces of ice as big as this table (gestures) in the middle of the ocean. During the first few days the guide we had on the bigger boat said: “You must be out of your mind. You are crazy to do that!” Every day he was taking it a step further though, just like we all were. By the end of the shoot he was pushing mountains of ice out of the way just to get a better view. It was dangerous, anything could have happened, but it was absolutely fantastic! odd: [s p e e c h l e s s ] Frans: There was another time, with a wonderful photographer named Lillian Bassman, you should look her up on the web. odd: We will! Frans She was a big photographer in the 1950’s and 60’s and I heard from someone that she was still alive. So I called her up and asked if I could talk to her. She was at the time, I think, 83 years old. I visited her and asked if she wanted to work with me. She laughed and said: “But I haven’t been working in that way in such a long time. No, no, no. I don’t think I could do that because I want to be the star, but these days the models are the stars. odd: Did you convince her in the end? Frans: A week later I called her up again and said: “You had better say yes, because otherwise I’m going to come to your house every week until you do.” So she decided to do a shoot with me which turned out nice, but not as fantastic as I’d hoped.

odd: So it wasn’t the experience you hoped for either? Frans: I asked her to fly with me to Paris to do a haute couture shoot and she came. Imagine this 83 year old woman, all on her own, no assistant, no nothing. I was so stupid I hadn’t even organised a business class ticket for her, nor even thought about it! She arrived in Paris and I brought her along to the shows. Of course there were many people who recognised her and so it all became somewhat of a tribute. In Paris I made the most delectable, the most beautiful pictures with her! It was a wonderful experience with Lillian, because she prints her own pictures herself, she burns them, she dyes them she bleaches them, she’s wonderful. odd: You mentioned before that it is the photographer and models who are the stars. Did it used to be that the stylists were more prominent than they are now? Frans: The funny thing is the stylist, or the fashion editors are the ones who, most of the time, come up with the subject, they think of the idea, and then they find the photographer who is most suited to the subject. So they have a very big role, only it was that their names were never known. It was always the photographer, then it became the models whose names were first in the credits. However now some of the stylists are becoming stars. It is all beginning to change, with name recognition and everything. Some things will not change - the rights to the pictures will always belong to the photographers - and if you want to re-use it you have to pay the model and the photographer, but you never

have to pay the stylist. odd: Why do you think that is? Frans: Before, years ago, it was the fashion editor from a magazine who went to the shows, they came up with the idea and chose the photographer. It was the traditional way of working and I suppose it still is. odd: While working with huge names, whether it was styling clothes for very big designer names or magazines, what sort of pressure and responsibilities do you have to consider? Frans: That is not in your head when you do it. I don’t think of the responsibility, because in your mind you get an idea and you just want to make it as wonderful as possible. I’m a bit of a romantic and also a dreamer, so for me every shoot, I would dream about it, I would think about it, I would fantasize about it and I would just do it! I wouldn’t think about the risks involved and what comes after. When I worked at the Times of course I knew that there were two million readers looking at my work, however it didn’t impress me, it wasn’t on my mind. It is later through the reactions that you receive that you realise the number of people who see it. You don’t realize that during a job, then you are just trying to visualize your little dream. The job becomes boring if you only think of the consequences odd: Is this how you think you were able to continue being successful for so long, by maintaining your own vision? Frans: That is the only strength you have, when all is said and done, and maybe your vision is not that strong, but that is what you have to work with.

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odd: What was one of your favourite shoots? One that was your own vision and concept that you brought to life and remains vivid in your mind? Frans: There was one that took pieces from international collections that resembled elements of Dutch heritage. It was a shoot that we did in Zeeland, which is in the south of Holland, on the coast. It was all built on the idea of fisherwives’ clothes, but we used Yohji Yamamoto, Romeo Gigli, lots of different names and that was also, a very Dutch thing to do.

went to Istanbul was right in front of me, the pictures had to be made! One of the gypsies brought the bear into town for the shoot. Due to to the weather we couldn’t photograph outside, so I said: “We’ll go inside and the model will sit together with the bear at a table at a café and they will have tea together.”

odd: Have you had any huge and memorable mistakes along the way? Frans: Sure!

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odd …That you would like to share? Frans: Let me think, aside from the technical mistakes? I think they are not so important, because that happens and then it is just reshot. There are times where you come up with an idea that you want to do and it totally doesn’t work out. I remember one photoshoot and there were two reasons it didn’t work... We went to Istanbul, as I remembered from long ago that they had the dancing bears. This in my mind was a very romantic situation, so I envisioned a model there, dancing with the bear in the streets. The moment we found the bear, somewhere in the mountains, I already felt bad. You could tell that it was unwell. He had this big iron thing (collar and chain) around his neck, so already I felt totally ill at ease. odd …that was it? Frans: No, because my romantic idea was still there. The reason why we

‘Know that the entire process is stunning and as wonderful as it can be. That should always be your goal’

odd [b i g g r i n ] Did they let you in with a model and a bear? Frans: Of course only a very few cafes would let us in. The one that did had only one demand for us to do in return: we had to pay for tea for everyone in that café. Which was fair. So we bought tea for everyone in the bar and the whole experience was wonderful. In the end there was not enough good light in the café so the pictures never turned out well. The whole story that I had hoped to build was ruined and the minute I was there I did not want to make the picture, especially when I saw the gypsy pulling at the ring in the nose of the animal. It was terrible. odd That would definitely kill the romance… Frans: The idea you have in your head is always more beautiful than what you get in reality, but this was totally killed. odd Did you always try to incorporate your own interpretation and vision of beauty? Frans: Not always. I was the one who selected. There are many times where you are influenced by the work of a designer and because you are a fashion editor you have to show the collections. Sometimes it is Gaultier that brings a wonderful idea to you and sometimes it is a movie. So it is not always your own vision, although


1. Compliments of the House Photography by Sarah Moon Styled by Frans Ankoné Dress by Karl Lagerfeld for Chanel Magazine New York Times march 16 1997

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2. Zeeuw Meer minnen Photography by Maarten Schets Production Frans Ankoné Magazine Avenue september 1991 Ballonrok Callaghan, ajour truitje Callaghan, kanten panty Yves Saint Laurent, schoenen Grenson, omslagdoek Romanov, kapje Elisabeth van der Helm.

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3. Zeeuw Meer minnen Photography by Maarten Schets Productie Frans Ankoné Magazine Avenue september 1991 Halssnoer Lyppens, organza blouse Chloë, blazer Vormani, boerenrok Waterlooplein, hoge schoenen Grenson, handschoenen Romeo Gigli, hoedje Elisabeth van der Helm.

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4. Sky High Photography by Thierry Mugler Production Frans Ankoné Magazine (?) Avenue All clothing and accessories by Karl Lagerfeld

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5. Vorstelijk Photography by Thierry Mugler Production Frans Ankoné Magazine Avenue Dress Thierry Mugler 6. Vorstelijk Photography by Thierry Mugler Production Frans Ankoné Magazine Avenue Dress and accessories Thierry Mugler

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1. Night Bloom Photography Lillian Bassman Styled by Frans Ankoné New York Times Dress Christian Dior 2. Compliments of the House Photography by Sarah Moon Styled by Frans Ankoné Dress by Karl Lagerfeld for Chanel Magazine New York Times march 16 1997

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3. Duizend-en-één Geur Photography unknown Styled by Frans Ankoné Bathingsuit by Gianfranco Ferré for Dior, legging Papillion, skirt Prada, accessoires Karl Lagerfeld, sandalen The Headshop. Publication unknown

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4. Sky High Photography by Thierry Mugler Production Frans Ankoné Avenue All clothing and accessories by Thierry Mugler

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5. An Upward Spiral Photography by Javier Vallhonrat Styled by Frans Ankoné Bracelet Patricia von Musulin Hair Renato Campora for Atlantis/Paris, make-up Fred Farrugia for Velvet/Paris, model Ines Rivero

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6. Night Bloom Photography Lillian Bassman Styled by Frans Ankoné New York Times Dress Christian Dior

* We have attempted to abide by all copyrights. If someone beliefs they have copyright to any part of the production, contact AMFI-Amsterdam Fashion Institute. We do thank all creatives involved for their beautiful work.

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there are moments where you can make it totally your own. odd: What happened when you didn’t like the clothing or the collections at all? Frans: Oh well, I simply wouldn’t take them. Wouldn’t use them. odd: Were you always that free? Frans: At Avenue we were always that free, but when you’re at a magazine such as Vogue, where they also have a lot of advertisers, then you are obliged to use their garments. The biggest problem is that when you are very free, mostly smaller magazines, you don’t have too many obligations, but small magazines also don’t always get the big name clothes. In most collections there is only one sample piece and if Vogue wants it then you can forget about it! So your choice is limited. The most free you can be is working for a big magazine where you have the choice of the best photographers and the best people in the business to work with, using your own vision. For example someone like Grace Coddington has a lot of freedom. odd: Were there ever moments you felt fed up with the fashion industry? Frans: No, no, no. There have been moments, after 6 weeks of fashion shows, where you couldn’t be bothered going to another boring fashion show, then (clicks his fingers)… one sparkle and your in it again! Happier. I don’t care about the hierarchy in the industry. Perhaps because I started standing and ended up sitting in the front row, so you know all the difference in between. And you know what? It

doesn’t really matter, who cares where you sit? odd: With growing older and working with a generation that is so different to your own, what are the differences and what is the dynamic? Frans: I don’t feel it as being so different because the work has not changed. Making a fashion shoot is the same as it was 20 or 30 years ago. What has changed a lot is the pressure. It is higher now. There are more people, maybe it has become less fun. Of course there are all of these new people that have online blogs. That is a totally new phenomenon. odd: Do you read the blogs? Frans: Not so much. I would rather follow the fashion than the people who say something about it. odd So how do you follow? Frans: TV, the Internet, and I am an magazine junkie of course. I know exactly where American Vogue comes out first, so that I can immediately have it. That is in my system, I will bicycle in the other direction just to get it. odd: It is in your nature? Frans: Really. Happily. Odd: Are there regulars that you look forward to every month? Frans: I always look at all of the Vogues, all every month, not that I like all of them. Also ID, Numero, 11, Purple. In principle I look at most of the magazines. I don’t’ buy them all because that would be totally ridiculous, but I do get an overview. odd: Is there any particular title that you see as more of a breakthrough recently? Frans: There is this English magazine, with the nude

covers. I forget the name… odd: Love? Frans: Yes, Love Magazine. I think it is super interesting and there are also the Dutch guys who do Fantastic Man, but that is my style and it is absolutely fascinating to look at. I also like magazines when they have very good writers and that is a very rare thing as there are so few fashion writers. That is a pity because I also like to know more about the background of the fashion. Being a writer is different to being a critic. There is a brilliant fashion writer called Sally Singer who works with American Vogue, not like Suzy Menkes. The latter is a critic, a very good fashion critic. odd: What makes a good fashion critic, is it a journalist background? Frans: I think it is having a journalistic background, but then you have to also love fashion. However if I want to know about clothes then I will read Suzy Menkes. She is one of the very few where I can also read between the lines. She is sometimes obliged to write more favourably, but it is also good when she is tough. She can kill someone in a review if she wants to! Fashion writers should come up with a different point of view, go deeper into the background. odd: With all of the magazines that are now being translated online do you feel forced to join the world of facebook? Frans: No odd: Are you resisting? Frans: I’m resisting. I am on Facebook but I don’t do much. I look at a lot of other things on Facebook,

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but I don’t want to be part of it or put things up about myself.

mackenz ie yeates

odd: What is your view on the importance of facebook in relation to networking? Frans: Well when you can send anything to anywhere and anyone at any minute there is also a danger. When there is so much to see it becomes an overload. Everyone needs to make a choice. It is like watching 50 hours of television. If there is only one hour that is interesting, then that is your choice and your decision to watch it.

5.45pm • Report

odd: How did you network before the Internet? Frans: It was so different. I didn’t really network. Luckily I got asked for a lot of jobs. By the time a few seasons have passed and you’ve been to a few shows… If you are interested, then you will know who the people are, and who they work for without even realizing it. You can then talk more easily to people who are doing good things and, with a bit of luck, it works. I have had a bit of luck. I don’t consider myself to be the most talented person, but I have much more stamina than most. I would always give up everything to take the next step. odd: So you really live out your passion? Frans: Of course, but when I was comfortable in a job, then I would leave. I would always want another challenge and I am sure there are so many very talented people who get lost because they don’t have that sort of a drive. odd: What is it now, your next challenge? Frans: Well… [t h i n k i n g ] I have no idea. I need to know! I am thinking about

the Greenland shoot became iconic in Dutch fashion photography

another challenge. For a long time I’ve wanted to work for museums, and make interesting exhibitions, but that is not so easy to do. So, I don’t know. Maybe something in another country, so that I can try something new and different. odd: It is a real tribute to your determination that you continue to find such new and ambitious projects, you’re able to keep evolving… Frans: I think that is the only thing you should do. It is your idea, your vision you have to realize. It doesn’t always come easy, its not always that wonderful. There are hard times and stressful times, but that belongs to it as well. In the end it gives you a feeling of satisfaction. odd: Is it also part of your character to just do it, just go for it? Frans: I have very little patience, so I go for it. I don’t think too long, I just go for it. odd: So you are also not afraid that it could go wrong? Frans: When you get older you worry more, unfortunately. When you are younger you have an air about you and you just do it, with the attitude that everything will turn out fine.

odd: Is that why you are now working with students? Frans: That came naturally. I used to teach in Eindhoven (Design academy), although that was twenty years ago. I like the contact with young people, especially when they are talented and have bright ideas. I think it is really fun. odd: So what would be the one thing that you can pass on? Frans: The only thing that I want to pass on is enthusiasm and passion. If I can get people after such a small period of time to know and feel a bit more about fashion then I’m happy. It doesn’t matter if you do long/short/no sleeves on a garment that is not the point. I want to tell them as much as I know and be enthusiastic and hope that they get a bit of that energy. We visited Frans Ankone at his home a few days later to collect images for this article. It was a magnificent and inspiring space with an amazing sense of otherworldliness and intrigue that leaves you wanting more. The pictures, like his stories, are completely captivating and speak for themselves.

‘Front row, back row… Who cares where you sit at a fashion show?’


THE SOULS OF S HOES photography by kamila stehlik art direction by emmi ojala & olga vokalova

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Boot Noordermarkt, Stockings ASOS.


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Wedges I love Vintage, Tights American Apparel


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Boot Asadei Socks American Apparel


Shoes Jan Jansen, Tights Stylist’s Own

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Shoes I Love Vintage

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History is made up of winning combinations: Sonny & Cher, Marmalade & Brie, Viktor & Rolf, Vodka & Tonic. But it’s the marriage of the most sensual of fabrics and most dashing of neckccessories* that is one of the most underestimated fashion adornments in history. With it’s ability to transform the wearer from bland man to modern day dandy, we recommend The Velvet Bowtie as a remedy to relieve mundane dressing and as a statement of frivolity in general. Neckacessories* - Patent Pending


A DOUBLE DATE WITH VIKTOR & ROLF by meghan hutchens & mackenz ie yeates

If the six degrees of separation can connect you to anyone in the world, who would it be? We love Odd concepts, fashion icons, strong catwalk messages and gravity defying garments. We want our designers to come as look alike duos, with their own iconic eyewear and the unconscious ability to finish off each other’s sentences.

Viktor Horsting and Rolf Snoeren are self-confessed ‘fashion outsiders’ known for their theatrical shows, concepts, contradictions and their non-conformism. In the boardroom of their historic Amsterdam Atelier, they arrive together - dressed down and looking relaxed – an aura that denies any between-meetings constraints during what is the busy season. We sit down with them to find out about their beginnings, their middles and the somewhat neverending stories behind their collections. Getting started Viktor: We started by doing a project together right out of college - thinking that we would actually be going to look for a job afterwards. Rolf: (interjects) It was a contest that happened in the south of France at the beginning of the nineties. Viktor It’s a contest that still exists;in Hyères. Rolf: Now it’s really big

Viktor: We thought ours would be a one-shot collaboration, so we didn’t plan anything further. We thought that if we entered, we would meet people and it might be like a foot in the door. But we liked working together very much, we were successful, had some odd jobs on the side initially, but then our own brand became more important, quite quickly.

establish our brand DNA. There was a very difficult period of about 5 years, where we didn’t know exactly where we were going, or what we wanted to do, but looking back, these years were a very important time for us. We were able to find our way. Nowadays, when people enter the system right away, there is no time to think. So I believe, in retrospect, it is better to have time to build your foundations.

Finding your way into the industry

I think now that it would have helped enormously to work for another brand- to see how other people worked and designed. Since we just started on our own right away from school, and school was very abstract, it took us a long time to understand the industry – and not just the business side.

Rolf: After we won the contest, we had a lot of interest from the art world. This gave us the freedom to

yudi gunawan The Festival International de Mode et de Photographie à Hyères is directed by Jean Pierre Blanc and held every year. 4:09pm • Report

Being outsiders in the fashion industry Rolf: we always felt a little bit like the outsiders, and we still do, even though you know you’re a part of the system. We aren’t very close to many people in fashion, so that’s

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why we like to live in Amsterdam. It’s removed from everything in the industry Their place amongst the Dutch fashion crowd Viktor: We tend to escape from it. Fashion is an international language that we all speak, and that’s the great thing about it. Dutch fashion can be very provincial in outlook. We don’t feel we are ‘Dutch’ Designers; we are International Fashion Designers, which is why we present in Paris.

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Rolf: We moved to Paris for three years after graduating. It was important for us to gain an international outlook. Once established, we moved back to Amsterdam because we found it more ideal to live here and work in Paris seasonally.

‘Nowadays, when people enter the system right away, there is no time to think. I believe, it is better to have time to build your foundations’

On the catwalk Viktor: We like to use the medium to say something. Our approach is to see fashion as showing both a performance and a medium by which we communicate. Then there are the collections - several per year. The catwalk communicates a much more complex message than simply the look of the season. There is a transformation going on. It’s not just about showing clothes. We like to convey a different message every season. It can be something emotional, interpretative, even political – and it becomes a point of difference from other designers. On fast fashion Rolf: In recent seasons, there is no real innovation – just ...

Viktor: ..this avalanche of products and images and.. Rolf: .. just an overdose of.. things! And working with H&M Viktor: Even before H&M started doing designer collaborations, we thought it would be exciting to use such a monster as an outlet. Rolf: That part of (fast) fashion is so different. The H&M world is so big and to work with them is a great way to gain brand recognition. It was great - mainly because it was just a oneoff thing - an experience, a revelation in some ways.. Viktor: Yes, to see the way that they do product development, how production is handled, their PR system - obviously it’s a multimillion dollar campaign. It’s not something that you wanted to say no to! Rolf: .. and we could do whatever we wanted, creatively. Talking about web platforms Rolf: The fact is that Viktor: and I… Viktor: We’re on the wrong side of the digital divide (laughs)

liza van duyn The exhibition “The House of Viktor and Rolf’ was held at the Barbican Art Gallery from June-September 1998 11:56pm • Report

Viktor: Maybe we’re not aware of innovation when it first comes to the internet, but eventually we embrace it as a tool, and like any other medium you can use it to communicate but u still need a message and it’s got to be the right message. Rolf: The nice thing about our Internet show is that we thought - If we do an Internet show, make something that isn’t


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possible in real life. So we decided to do a show with a single model, and have all of these layers of clothingEverything had to be filmed 5 times to make it work, but these ideas are what get us going. The design process Rolf: We start with the idea of the catwalk show, and then we design from that. Viktor: every collection has it’s own technical challenges. We always think we have seen everything, yet there is always something new to discover. Rolf: Our patternmakers tell us that we have no idea of the concept of gravity. Which is true - when we design we don’t really consider these things. 122

Viktor: It’s the same with our perfumes. We need to have a name, or else we cannot continue. Which for a company like L’Oreal might be a bit strange, but in our work it all starts with language, and then we start visualizing. Rolf: In a way it is quite abstract, Viktor: but in terms of mood it is always related to everything that we have done before. Sometimes it’s hard for people who work with us to understand, but it’s all about the atmosphere that comes with it. On growing as a brand Viktor: When we did a retrospective exhibition in London a few years back it was nice to see that everything went together well – there was no discord. Of course, things do change, but overall the aesthetic is the same.

Rolf: We’re not people who enjoy throwing away things we did last year. On the contrary, we’re very unfashionable, because we want to review and analyze what we did, stick to it and think it over. Very analytical! - and the exhibition in London with the dolls was a way of seeing the unity of our work - whether contemporary or 15 years old. It’s all part of the one great theme.

are assessed and critiqued regularly. It’s not just one show. But when things don’t work out, you must re-evaluate, re-invent and try again. Talent aside, perseverance is a key attribute for today’s designers. Viktor: We have always persevered, even when the Odds weren’t with us!

Working as ‘one’? Viktor: We’ve known each other for such a long time that a lot of things go without saying. However, we are two different people, with different opinions. If we don’t agree, then the creative process is still incomplete. Rolf: It’s a very natural process after while, because you use a common created language. Viktor: We play on the fact that we look alike, and that we wear the same glasses. Sometimes – but not today. Sometimes we found that nobody could tell us apart, so we thought - let’s have fun with it! There is a theatrical element to our shows and our creative world - and also to our public life. As a public duo, Viktor and Rolf play a role which is fun and engaging. And some encouraging last words Rolf: When we won that contest back in 1993, it was a big lesson: Do what you believe in. I think that’s a big thing in the fashion industry, because the demands are so constant and stressful. You have to keep going. It’s easier said than done, because you

‘The catwalk communicates a much more complex message than simply the look of the season’


FAKE IT ‘TIL YOU MAKE IT photography by bob van rooijen styling by mirjam de ruiter

Razor sharp and hard as nails. Experimenting with structure and extreme shapes that create a Haute Couture allure, with an unexpected selection of labels. Our desire for what lays at the top of the fashion food chain versus our own reality is now a battle easily won.

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Top New Look, Ruffled skirt Hennes & Mauritz. Pearl necklace worn as bracelet Hennes & Mauritz, black latex mask Albert Cuyp market.


Black shirt with chains Zara, Black bikini shorts Seafolly, Belt with black bows River Island, Belt with Coins Vintage Market, Black wedges Zara.

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Striped Bodysuit Hennes & Mauritz, White Nylons American Apparel, Black wedges Zara. Diamond earrings and Diamond panther ring Jutka & Riska.

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Long black dress and fringe T-shirt both River Island, Customized hat stylist own.


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Pink dress Maryam Kordbacheh, Black tule head accessory stylist own.


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In this photo:

frans ankonĂŠ


PHOTO OF LIESBETH IN ‘T HOUT Photo 11 out of 14 connection 5 • person 6

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In this photo:

liesbeth in ‘t hout

f r a n s a n k o n é I met Liesbeth in the eighties when she invited me to judge a competition for corporate fashion. May 21, 2010 at 11.37am • Report


Meet Liesbeth by frank jurgen

Liesbeth in ’t Hout is, for the time being, the director of AMFI - Amsterdam Fashion Institute. As a fashion and education authority, she flies all over the world, but she doesn’t stand on ceremony; for her, being true to yourself and using your gut feeling are the greatest goods. “You have to work out for yourself how to do things in a way that suits you best.”

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We find Liesbeth in her stately dean’s room at AMFI, where she looks completely at home. She is sitting at the end of a large table, going through a pile of papers. A tall figure, her grey hair cut in a low bob, trademark red lipstick and... dark glasses? odd: Good party? Liesbeth: I wish! odd: So what’s with the dark glasses? Liesbeth: These are my normal glasses, I’m not wearing contact lenses today. I find it so ugly when glasses give you those ridiculously big eyes, so I wear these dark ones. Sometimes I can see people thinking: what a poser! But I can put up with that… (followed by a loud peal of laughter) odd: So the glasses are a good example of your saying that design is important for daily life? Liesbeth: Definitely, and I believe that. You choose good things, beautiful things, interesting things – simply because you can. odd: Does that apply to fashion too? Liesbeth: Certainly! I’m not a trendsetter, or a trend follower either; I look for people’s personal choices. That’s what I find so

fascinating about fashion. If it is not personal, it is not interesting. odd: Doesn’t fashion itself depend on passing, impersonal trends? Liesbeth: That’s within a time frame, and it changes the choices you have. It doesn’t mean you have to wear designer clothes or surround yourself with expensive things. There are so many options now; design has become part of daily life. People have more money to spend, too. In this plethora of clothes and things, everyone wants to make their own choices, which leads to all sorts of trends and fads. So trends are basically about personality; that’s where they come from. odd: Then again, young consumers who slavishly imitate every little fad... Liesbeth: …don’t show their personality. I’m not saying that fashion is tremendously personal. I’m saying, that’s the aspect I find the most interesting. The girls you see outside in the street, you might not even recognise from behind. You might not recognise them from the front either; even their faces seem to adapt to every trend. That has everything to do with being

young. Teenagers don’t want to stand out, they want to belong. A lot of young people have that problem. On that note, most people have that problem. odd: Is fashion sense innate? Liesbeth: A feeling for quality is innate, in my view, and so is an interest in fashion. I can trace my own passion for fashion back to when I was two. I can still remember exactly which dress I wanted to wear for my third birthday, and why. As far as clothing went I was stubborn as a mule, a real pest. “Mum, I don’t think this is a very nice dress.” It drove my mother crazy, of course, so I would be given another. If it didn’t work I would simply put my favourite dress on over everything else: “Look, mum, this is nice too!” At home we had a costume history book and that was my absolute favourite. I looked at the pictures every day, and as soon as I could read I read it from cover to cover. I was also fascinated by descriptions of clothing in fairy tales: ‘a dress as beautiful as the sun.’ I read those passages hundreds of times: what it looked like, what colour it was, what it was made of. And


when I was three I wanted to be a fashion illustrator. odd: That young? Liesbeth: I just drew clothes and fashion shows for dolls. So with me, yes, it is innate. The strange thing is, you’d have expected me to do more. odd: Well, you did graduate as a fashion illustrator. Liesbeth: And immediately said: “No way am I doing this for a living” (another peal of laughter). odd: What happened at the academy? Liesbeth: Oh, that had nothing to do with the academy or with drawing – it had to do with the high speed of the fashion world. I’m much too deliberate for it; I need time for everything. That is why I never follow trends; it is not in my nature. I am much more suited to fashion education. Here I can deal with the fashion world in my own way; more contemplative, more strategic. It is funny, now I think about it, because I can see that the issue of pace often influenced on the choices I made. For instance, I worked in industrial clothing for quite a long time. It was fashion, but it wasn’t fashion. odd: Designers are trying to escape that kind of pace more and more. Liesbeth: I think that is wonderful. It would be the first time its ever happened; those designers are going back in time. odd: How so? Liesbeth: Naturally, twiceyearly collections came with the rise of industrial production; before that everything had been made by hand. The more technology makes possible, the faster everything happens. People have more money to spend on things, so more things have to be created. Brands want to hold on to their

customers, so they find out what those customers want, and make even more things. It stands to reason that real designers are increasingly unwilling or unable to go along with this. Behind every design collection lays an enormous amount of thought, and that is not how today’s fashion industry works. A fashion designer isn’t going to make five collections a year, that’s just impossible! A twice-yearly collection is almost old-fashioned now. odd: Some brands make twenty collections a year. Liesbeth: But those are brands, they’re not... Viktor & Rolf. Although they have become known too. Actually, it’s rather remarkable that the fashion houses still have such prominence. odd: You once said that the fashion hierarchy had changed enormously. Liesbeth: Yes, it has. These days you never know whether those designers are setting a trend or following it. That is also because we are much better at tracking what is happening in society, on the street. Strangely enough, the brands also get all sorts of things going, so as a designer you have to go that way too. It is all connected.

‘When you work in fashion you are never taken seriously’

odd: I just saw a bus stop advertisement: dress, €6.95. Critics are saying that fast fashion has pushed fashion down-market. Liesbeth: Yes, that advert has been around for a while. It’s terrible, because you know what is behind it. The critics are right. odd: So why not adopt another approach, work against that kind of speed? Liesbeth: At AMFI we do, here and there. When your starting point is personal talent, then you see that one person is suited to that fast world while another is not. The industry exists, that’s just the way it is, and people have to find work. There are enough students who can bring in innovative ideas. There are also students who want to develop a very personal talent and perhaps want to work in a different way. Since we represent the entire fashion world, we want to deliver people for every possible segment. Some students are deep thinkers, others have the greatest consideration for their designs, and we want them all. We’re not here just for the fashion circus. I think it is important that you teach people to think about their own profession. All students should know about ethics and sustainability. All students should know what their professional world looks like and what they want to do in it. And as a school you have to be a step ahead. The world needs to change, and we have to deliver people who can bring those changes about. odd: Still, it’s the fashion circus that gets all the attention. A lot of people think that fashion is all about celebrities and trends. Liesbeth: Yes, that’s a nuisance, and it has always been the case. When you

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work in fashion you’re never taken seriously. Thankfully things are changing. Crisis or not, people are still buying a lot of objects, their personal choices are very important to them, and their interest in design is growing. odd: In the street they look more and more uniform. Liesbeth: You can buy anything now! Everything is there, and nothing is left to your own imagination. That’s one of the worst things about it. You used to have to dig around for a special scarf you could do something with. Now you just throw your clothes out after a year and buy something else. odd: In that case, what is the good of creativity? Liesbeth: Because we have to find a way out of this, too! We will always need innovation; creativity can save the world. Creative training is the only useful education you can provide. odd: Really? In times of financial crisis, the first areas to be cut back are design and creativity. Liesbeth: That is a bad mistake. This isn’t about the form, of course – I’m talking about a way of thinking. If you have a creative mind, if you can be flexible and innovative, you can get anywhere. If things fossilize – that happens in a lot of study programmes – and you force people to think in just one way, then you are going to be badly off target. I am very glad that I was educated at an art school; it means that I will always be able to design my own life. odd: Literally? Liesbeth: That’s definitely how it feels. My time at the art academy was incredibly important, although I didn’t always like it, and it was not easy going. Nothing is tougher

‘We will always need innovation; creativity can save the world’ than a creative education, because everything has to come out of you. You have to learn to be critical of everything you make. There is no need for that if it is just an exam where all you have to do is answer the questions correctly. You can learn everything by heart, forget it afterwards just as quickly, and still get somewhere; but what have you actually learned? odd: People often look down on creative study programmes. Liesbeth: I am convinced that good economists are creative people too. Economists will agree with me. You are better off with a doctor who goes beyond the book, who makes his diagnoses with a clear vision. You need creativity to be able to think about the world and to find answers. odd: Fashion is not just about creativity. There is lots of glitter and ‘peoplelike-us.’ Liesbeth: Fashion is basically about ‘showing yourself.’ Making things attractive. Of course, you don’t do it for nothing; you want your efforts to be seen. It doesn’t mean we all have to wear the

same clothes. Our students buy their clothes in the same shops, but they all look different. That’s when it gets interesting. And designers often don’t make their own clothing; sometimes they are introverts who have no interest at all in the fashion circus. odd: If they don’t have the contacts, they’ll never make it. Liesbeth: That’s always been the case. You need those six steps, and not just in fashion. It is a mistake to suppose that you don’t need connections. Use them, that’s what I say... odd: Sometimes fashion seems to be more about who you know than what you can do. Liesbeth: It’s about the combination. If you are useless, you will get nowhere… though I must say... (roars with laughter) Some people are very important, even though everyone asks themselves what it is they can actually do. Clearly they are good at noticing and networking, and those are talents too. I remember a student who had made an excellent graduation collection. He wrote dozens of letters and then sat next to his clothes rack for a year, waiting for somebody to answer them. It didn’t work, of course. If you’re the kind who sits and waits, you’d better get out of the fashion world. odd: For lots of creative people, hawking your wares is not something that comes naturally. Liesbeth: Yes, it’s almost against their nature. Those kinds of people need a partner who does the hawking for them. We try to set that up here at school, so they can find a partner who works with them and handles the business side of things, because you seldom find both talents in a single person.


odd: You are always described as an authority in the area of education, fashion and design. How does one become an authority? Liesbeth: I never planned my career as such; after the academy, I always ended up working at a place because someone had asked me to. I never dreamed that I would become a managing director, as I was for the Design Academy, for instance. Apparently my real talents are in working with people. I never saw that myself, but others did. I remember that my geography teacher couldn’t understand why I was going to the academy. He thought I should do something with people. I had no idea why he thought so; I was very shy. When I look back, I can see that the social side of my character got me into lots of jobs. Clearly, it is what people see in me. Naturally, I learned a lot at the academy, and the following ten years that I worked at the art department of the Dutch Post and Telegraph Company were a sort of masterclass. I have always had a wide range of interests, and authority is something you slowly accumulate. odd: And then we have the Tavi phenomenon. How can a 13-year-old girl suddenly be declared a fashion authority? Liesbeth: That is the crazy side of fashion again. She’s a hype, although she’s not the only talented girl out there. It is a media thing and she clearly has a feel for it. So we’d love to have her here (grins). It’s typical of our day and age – Andy Warhol’s fifteen minutes of fame – though I’m not sure whether it’s good for the girl herself. She might turn into a wonderful fashion communicator, but I’m not that preoccupied

with Tavi. It’s nice that she’s getting so much attention, but she’s being spoiled to bits and that’s never helped anybody. odd: You often hear it said that the teachers at creative programmes are failed professionals. Would you agree? Liesbeth: I just followed a different route. I soon stopped drawing, because I didn’t think I was good enough. odd: So the saying is true? Liesbeth: No, because I often think I’m not good enough, so I could have pushed myself through that problem too. I was made an offer and in that discovered that there was something I did better than drawing... Though I do think about it sometimes… odd: Regrets? Liesbeth: None, but my life would have turned out very differently. If I’d had another boyfriend, my life would have turned out differently too. I just didn’t see myself as a fashion illustrator. Although, I could certainly have made something of it, because I’m an ambitious enough person. That’s another character attribute, I always want to do firstrate work and I find it hard to cut corners. I don’t see myself as a failed illustrator; I see myself as a successful educator! (laughs) You often see people getting into education as parttimers and then becoming more deeply involved in it. They realise that they enjoy helping students to get the best out of themselves,

sauling wong “I <3 Liesbeth” 6:09pm • Report

and it is wonderful to discover that you seem to be able to do this well. I can achieve much more here than I ever could have with those fashion drawings. For that matter I can understand that people think that way, because the education system is often dreadfully mediocre. I see so much weariness. Teaching only works when you really want to involve people in your passion, and want to see young people profit from your experience. I am pretty sure that 80% of the world’s population doesn’t feel this passion. And that’s very sad. These are people who take no pleasure in their work, or who were never given a chance to do so. odd: You think that 80% of the world’s population never found their talents? Liesbeth: I’m certain of it, and education is largely to blame. That’s a vicious circle that I can’t abide... (bursts out laughing) Perhaps I should become minister for education?! Seriously, I find it sad that so many children are put into a straitjacket of a mediocre education program – it’s a real disaster. You have to be deeply grateful for every good teacher you get; everything depends on it, everything depends on the inspiration and enthusiasm of whoever’s in front of the class. odd: So what do you do if that teacher isn’t there? Liesbeth: Then you have to do it for yourself, and hope that there is someone around who can help you. You don’t have to be born in the right place in order to get somewhere in life, but you do need to meet people who inspire you, people who make a real difference. That applies to everyone, not just students. Without inspiration you can become a very unhappy person.

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the art of fas FAShion HION S HOOT photography by michel mรถlder art direction by anne-britt visbeen

A handmade story of four AMFI Craftsmen.

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Blouse & Trousers Bram Bekker, boots Jan Jansen.


SILVER SCISSORS

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FAS HION S HOOT

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Trousers and chains Bram van Diepen, boots Jan Jansen.


SILVER SCISSORS

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Knit bodysuit Merel Groebbe, Bram van Diepen, shoes Jan Jansen.


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Jacket Laura Kirchner.


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Jacket and Shorts Bram van Diepen, Shoes Jan Jansen


VISUAL STORIES text by meghan hutchens

Communicating the nature of fashion. Four young creatives from AMFI share their visions and explore the ideologies and meaning of fashion and culture through photography.

a n n a m a r s For most of us this would be just a picture of some chairs, sitting in an empty room. But see it differently, get triggered by the idea that somebody one day chose them, placed them there, touched them and sat on them day by day. They shared time. And now this person has passed, will they live another life? 142


j e r m a i n e r e a w a r u w The door swings open. Hallway light shines in. No one to protect me. No one who can save me. The shadow falls across. The feeling of your cold fingers all over me. I constantly try to wash away. From my scarred skin. I am tumbling in your hallway. Like an echo. 143


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k a t e b r a y b r o o k e Inspired by a book titled ‘The Grown up Girl’. A story about a young girls desire to grow up too quickly. The picture is symbolic of loss of innocence and childhood that can never be recaptured. The ‘Grown Up Girl’ was an inspiration for the film ‘Anna’ which I wrote and directed for the Visual Culture Minor at the Amsterdam Fashion Institute.


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n i e n k e s i n n e m a If life was really about ending in a draw, donâ&#x20AC;&#x2122;t you think we would have stopped playing by now? How do you make a connection between two old women at the hair salon, an out of focus banana peel, and other strange and random objects combined? The answer, somehow, was this.


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The day that you wear Red lipstick for the first time has almost the same feeling as when you walk out of the hairdressers with a questionable cut. You feel tentative, but at the same time exhilarated; itâ&#x20AC;&#x2122;s a small personal change with a large public impact. Best of all, you have an excuse to don a beige trench coat and ray bans and strut down the street, humming the Pink panther theme tune and ducking and weaving every so often for effect. Be prepared for a long-term commitment when people start to question your identity with an unpainted face. The power of the red lip is not to be reckoned with. You have been warned.


FIFTY/FIFTY photographs by our grandparents

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James Dean, Marlon Brando, Marilyn Monroe and Jackie O... We look back in time for inspiration. Fashion is repetition; it forms a pattern and leaves behind a trail. Garments with a history can be read from front to back, inside and out. And piece-by-piece we take elements of them to reinvent the time.

Why look for inspiration in magazines and online when we can search through our own family albums, and be guided by the style of the generations before ours? We turn back the clock to the 1950â&#x20AC;&#x2122;s and meet with our grandparents, living with the attitudes that are mirrored by us today. The freedom of an upbeat, post-war society, where the youth ruled the streets, dressing up and going out with friends. Rebels without a cause, in baseball jackets, full skirts and three-piece suits that we hope they are still hiding away for us to find. Knitted bathing suits and twinsets are all the rage. So call your granny, spend a day drinking tea, hearing stories and convince her to let you take a few pieces of her most treasured vintage clothing for a test run. Is it old transformed into something new, or something new inspired by old?


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In this photo:

liesbeth in â&#x20AC;&#x2DC;t hout


PHOTO OF SANJA MARUSIC Photo 13 out of 14 connection 6 • person 7

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In this photo:

sanja marusic

liesbeth in ‘t hout

I first noticed Sanja’s work when she won the Elle Talent Call.

8.54am • Report


MEET SANJA by sandra de kuiper, sophie peeters & meghan hutchens

Sanja is a twenty year old dreamer who is madly in love with her boyfriend Tim. She is young in spirit with buoyant energy and a girly fun-loving sensibility. She has her two feet firmly planted on solid and familiar ground, but she has an imagination and a creative talent that could take her far beyond what she knows.

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Sanja lives in a small Dutch village with her parents and her younger siblings, sister Dajana and brother Jure. She enjoys drinking tea, staying up late and watching ‘my super sweet sixteen’. Sanja loves to talk. She likes to tell stories about her life, photography, fashion and love. Sandra and Sophie met her in a café in Amsterdam as Sanja often comes to Amsterdam to catch up her friends who study there, on the weekends. Earlier in the day, she asked if she could bring along her little brother, as they were visiting the NEMO museum the night before. Of course, the more the merrier! After we all ordered and got comfy in our seats we started the tape for the official part of the interview.

just arrived walked from Central station just now.

odd: Have you explored much of the city today? Sanja: Not so far- we woke up late today, so we’ve only

odd: What ever suits you... A high note or a song from the Kings of Leon? Sanja: Oh! Well, I guess A

odd: Have you always lived in Wormerveer? Sanja: I was born in Amsterdam. My family lived in an apartment that was much too small for the whole family. We moved to Wormerveer when I was five years old. So as far I can remember it has been my home odd: Where do you go to school? Sanja: I am studying photography at the Koninklijke Academie Beeldende Kunst in Den Haag. odd: Let’s have a few quickies to get to know you better. If you were a sound what would you sound like? Sanja: Do you mean like a beep, or music?

French chanson or an old (gramophone) record. Or I would sound like The Mama’s and the Papa’s. odd: Inside or outside? Sanja: Ehh.. Outside. odd: High or low? Sanja: High. odd: Richard Avedon or Mario Testino? Sanja: Richard Avedon. odd: Black/white or colour? Sanja: Tough one! But I’ll have to pick colour. odd: Digital or analogue? Sanja: These questions are so hard! I think they both have advantages. Digital has more options but analogue is more beautiful. Okay, I’ll choose digital because I work the most with digital cameras. And with digital you can also create an analogue effect. odd: Okay, some easy picks


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Photography by Colin Hill, a 17 year old student from Florida, USA


Sanja: Stubborn and headstrong. I also have a strange sense of humour. Sarcastic is definitely a word they would use to describe me! I am very strong minded - always with my own set opinions and I refuse to budge. I am glad I am not them because I would find me very annoying sometimes! I should compromise more and possibly just shut up more often. However, I also have a positive side. People often say I am nice to be around and I always have stories to tell.

then. Coffee or tea? Sanja: Tea! odd: Breakfast or dinner? Sanja: Dinner. odd: Morning or night? Sanja: Night. Definitely. odd: PC or Mac? Sanja: Mac. odd: Leader or a follower? Sanja: A leader. odd: Pants or skirt? Sanja: A skirt. odd: Stilettos or Uggs? Sanja: Excuse me? Uggs? Never! So I’ll go for stilettos.

odd: Do you agree? Sanja: Yes, I also see myself that way, but my friends would probably also tell you things I don’t realise.

odd: Shy or audacious? Sanja: I would have to say audacious. Shy doesn’t get you anywhere.

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odd: MTV or Discovery channel? Sanja: MTV. I love ‘My Supersweet 16’! odd: Concerts or sporting events? Sanja: That is easy. I played the piano and the guitar but not anymore. I love old music. The Smiths and The Mamas and The Papas are my favourites. I’ll always go through phases I also really like Joy Division. I just love old music. odd: If you were an animal what would you be? Sanja: [looks a bit disgusted] I really don’t like animals! If I had to choose though, I would want to be a fearless animal. I think it would really suck to be a bunny. The animal world would be really scary. That is: If you’re not at the top of the food chain. odd: So that was Sanja on Sanja. How would your friends describe you?

‘ Photography is the only thing that really suits me and moves me’

odd: Where do you see yourself in 10 years? Sanja: I would love to be successful in photography and own a beautiful big house on a canal with my own photo studio. Or perhaps New York? I think living in a capital city, a metropolis. It would be exciting to live in New York as well, or somewhere in America. Paris also seems nice. Of course it would be with my boyfriend. He will be a top model and I’ll photograph him. No babies. I’m only twentyeight in ten years! odd: What does success mean to you? Sanja: To work with big fashion designers and international fashion magazines like Vogue or Elle. I would feel then that I’d have made it. Sanja began photography two years ago when she was sixteen years old. However, when she speaks about her work it seems like she has been doing it for decades.


satisfied with your work? Sanja: Well... If the image is very personal then I can see the beauty in it - if everything is exactly in place, if the colours are right and the model looks pretty. Of course I also digitally alter my pictures, but lately I have been trying to concentrate on taking better photos so it is not needed as much.

Although she is not abstract or conceptual, she just wants to create beautiful images. Modestly she says she is not really unique as there are a lot of people who photograph like her, but as long as she is making what she likes she is happy. odd: Why did you choose the KABK (Royal Academy of Art)? Did you always want to be a photographer? Sanja: Yes! Well, since I was 15 or 16. I don’t know anything else, if I would quit now I really wouldn’t know what to do. This is the only thing that really suits me and moves me. Of course there are other things that I kind of like, but right now there is no place that I would rather be than here. odd: What was it that sparked your passion for photography? Sanja: I had an urge to create my own every time I saw a beautiful image. I’m a very visual person, I want so see beautiful things. That is what I like so I started to play with the idea to see where it would take me. odd: When did you notice you were good at photography? Sanja: I had reactions from people all over the world, on my website and on my Flickr account. That is when I thought: Hey, people like what I’m doing! odd: Do you already have a personal style? Sanja: I’m focusing on small experiments and trialling many styles to see what I am capable of. I love images that are summery, warm, colourful and nostalgic. People often say I have a very clear style that’s typical ‘Sanja’. It is becoming very recognisable. odd: When are you most

lisa dymph megens I love the girl in the white dress standing in the water by Anna Hatzakis 5:10am • Report nicole huisman Did you see that she is only fifteen years old? 5:15am • Report olga vokalova None of them are older than eighteen! 5:17am • Report

odd: What inspires you? Sanja: Lately it has been photographers. In the past I never really looked at other photographers so I admit that this is something that was instigated by my studies. In general I get inspired during my daily activities. Sometimes when I ride my bike I suddenly see an image in my head. A plain old tree can inspire me, but I will also go to a photo shoot totally ‘empty’. When I don’t know the location and I have to figure everything out on the spot. Tomorrow I have to do a photo shoot and I have no idea where it is going to be. That does make it a challenge and sometimes you come up with things you normally wouldn’t think of. odd: Who or what do you like to photograph? Sanja: People who look pure. Freckles, long wavy hair, people who are not too made up. Somebody that looks very natural. I love this and to also capture beautiful landscapes. odd: Do you think you are photogenic? Sanja: Not really. I find it very awkward to pose as a model. I really admire people who are good at it. It is hard for me to take direction. The pictures that I have on my website I made with the timer on my camera, but that was before I was brave enough to approach

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Photography by Anna Hatzakis, a 15 year old teenager from California, USA


people to ask if they would pose for me. I enjoy shooting other people much more! odd: Who do you look up to? Sanja: There are a lot of photographers I admire. From The Netherlands Annemarieke van Drimmelen. We have a similar style. Just Google her and you’ll see! I also really like David Bellemere. He is a French fashion photographer and he creates perfect images. Also Tim Walker. That’s not the filmmaker right? (She becomes a bit confused) odd: You mean Tim Burton? Sanja: Yes! No! I always get confused with their names. So, yes, I mean Tim Walker, not Tim Burton. He creates fairytales in his pictures. He puts beds in trees and stuff like that. It is so beautiful! 160

odd: You won the Elle Talent Call for best fashion photographer at the age of 17. What does this mean to you? Sanja: Well a girl from my class in high school told me about it and so we did a shoot together. She was beautiful, a natural girl with freckles and red wavy hair. I always thought it would be cool to photograph her. As a result, two pictures from this series got published in Elle, and I was thrilled! I never thought I’d win. odd: Why not? Sanja: Well, I had read on the Elle Girl forum that other contenders worked with a whole team of stylists and make-up artist, or in a professional studio. I didn’t. I just grabbed some clothes from my closet and let the model stand in a corn field. So I never thought I would win! Winning was really an honour. I

received emails from people who saw my pictures in Elle which was exciting because I felt so professional! Some even asked me to collaborate on a shoot.

a different perspective because she is always unexpectedly inspired: ‘You see things you wouldn’t come up with yourself when you work with a stylist.’

odd: Who do you admire? Sanja: I think I really admire my boyfriend for what he does as a model. Travelling to all of these cities alone and performing for all these important people. I could never do that. I know how hard it is to model. I also admire that his ego is not growing from all of the glamour and attention!

odd: What does fashion mean to you? Sanja: I see fashion as being very similar to photography as we use it to create beautiful images. You can make yourself beautiful with clothing. I love creating outfits. It can turn out like a work of art. Some people see fashion as just garments, but I see it as a creative outlet. It is another of my passions.

odd: You also have quite a few photographic series that include your boyfriend. Sanja: Yes! I do photograph him a lot. He is a professional model now so it is really nice to do a shoot with him. I was actually the catalyst in his early days as a model, as I secretly sent his pictures to different modelling agencies, which I picked at random from the internet. Tom Jones immediately called him from Paris that was really cool. He did some shows for Burberry and he was in Madrid and Barcelona for fashion week. He has some exciting jobs, but eventually he wants to study architecture. Before the interview officially started Sanja asked about our school, AMFI-Amsterdam Fashion Institute. She tells us that she had previously worked with a design student from AMFI. She also thought about going to AMFI as she would love to be able to make her own clothes. She really enjoys working together with a stylist so that the fashion and the photography are equally strong. She likes seeing style come from

odd: Do you follow trends? Sanja: Yes, subconsciously. I do try to give it my own sort of twist and because of the photography I’m now much more into fashion than I used to be. I see catwalk pictures and then try to recreate the looks with a ‘Sanja twist.’

anna wagner We met with Sanja a week later to create the cover shoot, Psychedelic Portraits 6:23am • Report


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Photography by Connor Creaghan, a 18 year old talent from New York


PSYCHEDELIC PORTRAITS photography by sanja marusic styling by odd

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Blouse Eva & Delia.


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Dress & bra Individuals, underwear Chantal Thomass, shoes Ash.


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Blouse Individuals.


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Blouse Eva & Delia.

opposite page: Bodysuit POP.


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Top Pink Cobra, Pants Coco.


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Bodysuit POP, Pants Mario Matteo @ Jan Lensen.


CHARACTER CAMERAS by marieke gras

My name is Marieke Gras and I have an addiction. I’m an analog junkie. In a time where everything is turning digital, I am deserting technology and embracing the past. I started analogue photography to learn more about photography techniques. With a digital camera I found I was less involved. If I didn’t like the picture, I just pressed ‘delete’ instead of seeing how I could improve the image. At some point, I got an analogue SLR camera from my dad. Well, ‘got’ is actually not the right word. I just took it, along with the rest of his photography equipment. Sorry, dad! Meanwhile, I have already collected 15 analog cameras through eBay and flea markets. Below a few of my favourite cameras. 1. minolta XE-5 from 1975 This is my dad’s camera. A SLR, where you can adjust the shutter and diaphragm. You have the opportunity for auto exposure and you can change lenses. Technically, this is a handy camera. All the things that I learned on this unit, I can use again on digital. With this camera I learnt about several kind of films, including DIA film. What I like about DIA are the awesome color effects (especially with a film that is long past its expiry date) you can achieve through ‘crossing’ the film during developing. ‘Cross processing’ is intentionally developing film in the wrong chemicals. It’s an intuitive, creative way of photographing.

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2. minolta XE-5 from 1975 The Diana F+ is not that old. The original Diana’s were legendary in the 1960s because of the dreamy, shiny lo-fi images they produced. In the beginning of the 1990s the Lomographic Society reproduced them due to renewed popularity with amateur photographers. When I discovered lomography, I immediately liked it. Lomography’s motto - don’t think, just shoot! - is all about spontaneity. I also like the pinhole function on the Diana. Pinholes are picturesque photos. Remove the plastic lens and you have an opening - a very small diaphragm - which allows you to photograph without a lens using longer exposure times. 3. dacora dignette Produced in the 1960s in Germany. When I bought this camera on eBay, I didn’t know anything about it. I just liked the vintage feel. It’s a camera with a big history. It’s very easy to use - autofocus, a few options in aperture, subjects and composition… just start shooting! 4. polaroid spectra Polaroid is instant fun. I love Polaroids. The aim is to capture a spontaneous moment, and then the moment after. To be able to hold a peice of the immediate past – something that happened two minutes ago - makes it so special to me. Polaroid photography is not about technique. There’s no aperture or shutter priority. All cameras mentioned here are vintage. You can see this in the pictures as well. The camera plays a role, but it is merely a tool. After you choose the right sort of camera, many more factors come into play to realize the final result. Location, model, subject, composition, film, shutter and diaphragm or aperture opening. The most important element is the personal and individual eye. To me, photography is emotion. Working with vintage analog models makes this happen.

m i r t h e v a n d e r s c h o o t More photography from Marieke on www.photographybymarieke.blogspot.com 10.15am • Report


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A must for gypsies and fortunetellers, useful for stallholders and refugees and an ID for crime figures who are torn between hiding and displaying their wealth and importance. Laden you fingers with mismatched antique silver rings, and you suddenly attain an air of mystery and worldliness, looking deep in thought as you sit in dark cafes re-arranging them. When everyone around you at fashion week is wearing black and oversized glasses, you need some sort of badge of rank.


DE TOUT COEUR photography by sanja marusic text “moi je joue” g.bourgeois/j.m.rivière)

Her love, her life, her passion...

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Moi je joue Moi je joue à joue contre joue Je veux jouer à joue contr e vous Mais vous, le voulez-vous? De tout coeur Je veux gagner ce coeur à coeur Vo u s c o n n a i s s e z m o n j e u p a r c o e u r Alors défendez-vous


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Joue contr e vous

Le voulez-vous?

Moi je joue


Vo u s ê t e s m o n j o u e t

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Moi je joue


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In this photo:

sanja marusic


concept for sale It’s Oddly contagious. If you like what you see in our magazine so far, please let us know. We are interested in your fantastic feedback, all your compliments and especially your everlasting friendship. If you want to donate a fortune to get the second issue of Odd Magazine up and running don’t forget to give us your personal details.

edith beurskens A second issue of Odd would be nice @ 03:29am *

report

christian schiebold … A donated fortune would be even better! @ 03:30am

* report

sophie flore van leeuwen So should I leave my credit card number on this page? @ 03:32am * report katarina vuletic I don’t think that’s necessary @ 03:33am * report emmi ojala Anyone that who gives us money we should meet in person @ 03:35am * report anne-britt visbeen Yeah, all of our contact details are at thisisodd.com @ 03:36am * report corissa bagan There is more fab content on our website: our blog, more reports and great movies @ 03:37am * report

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Where Odd went s hopping Acne @ Spice PR +31(20) 489 10 31

Alexandre Herchcovitch by Melissa www.melissaaustralia.com.au American Apparel +31(20) 624 66 35 By AMFI +31(20) 525 81 13

Bij Ons Vintage +31(6) 11 87 12 78 Carte Blanche +1(416) 532 03 47

Camilla Skovgaard www.camillaskovgaard.com Cheap Monday www.cheapmonday.com

Chronicles of Never www.chroniclesofnever.com Converse @ Unlimited PR +31(20) 626 61 76 Cream PR +31(20) 421 21 24 Di$count

www.nodiscount.com.au

Episode +31(20) 626 46 79 puck landewe Too bad we had to return all the clothesâ&#x20AC;Ś @ 08:15pm * report

Eva & Delia @ Ganbaroo PR PR +31(20) 684 81 11 Gestuz @ Cream PR +31(20) 421 21 24 Hennes & Mauritz +31 0900-1988

I Love Vintage +31(20) 330 19 50

Individuals @ Cream PR +31(20) 421 21 24 Jan Lensen +31(20) 489 37 73 michael pronk You should have told me before. I could have tried to make a deal

@ 08:17pm * report

Jan Jansen +31(20) 625 13 50 Ksubi www.ksubi.com

Lady Day +31 (20) 623 58 20

Laura Dols +31(20) 624 90 66 LEW

@ Ganbaroo PR PR +31(20) 684 81 11

Mario Matteo @ Jan Lensen +31(20) 489 37 73 emmi ojala You can have the stockings from page 114? @ 08:26pm * report

Maryam Kordbacheh www.maryamkordbacheh.com NON by Kim @ Cream PR +31(20) 421 21 24 Petar Patrov www.petarpatrov.com

POP @ Ganbaroo PR PR +31(20) 684 81 11 Rag and Bone www.rag-bon.com

River Island +31(20) 330 26 40 olga vokalova I already re-used them for my next project, sorry! @ 08:27pm * report

SPRMKT +31(20) 330 56 01

Spice PR +31(20) 489 10 31 Teenflo www.teenflo.com

Vans _+31 (20) 427 62 87

Velour Amsterdam +31(6) 48 15 03 33 Viktor & Rolf +31(20) 419 61 88 mar jolein van wijck Do you want an Odd t-shirt? I can give you a small discount on that @ 08:29pm * report

Zara +31(20) 530 40 50

Zipper +31(20) 623 73 02

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A special Odd thanks We could have just said “thanks to everyone that helped us making it Odd”, but we want to mention some of you by name. Big thanks to:

Toon Agterberg, All students of By AMFI, Angelique Hoorn Agency, Frans Ankoné, Corine van Arragon, Jacqueline van As, Joachim Baan, Zelda Beauchampet, Merel van de Beek, Randi Bergman, Koos de Boer, Petra Boers, Yma van den Born, Bert Booisma, Rob van Bracht, Joris Bruring, Janne Coolen, Elmer Olsen Models, Margot Erlings, Anneloes van Gaalen, Helmke van Geel, Mirjam Goedkoop, Le Select Restaurant, Lisa Goudsmit, Cora Grote, Leslie Holden, Liesbeth in ’t Hout, Gert Jonkers, Orpheo Jungst, Jeremy Kenna, Inge Kleijn, Nannet van der Kleijn, Bregje Lampe, Luis Mendo, Name Models, Noorderlicht Restaurant and Bar, Nathalie Odette, Tracy van Oosten, Joyce Overklift, Pont 13, Esther Ram,Jan Ramautarsing, Eric Reiman, Anneke Reijnders, Peter van Rhoon, Ralph de Rijke, Camiel de Roover, Mirjam de Ruiter, Willem Schouten, Sander Schellens, SPOT 6 mananagement, Kamila Stehlik, Studio 13 Amsterdam, The Exchange Hotel Amsterdam, Narda van ’t Veer, René van der Velde, Eeke van Velzen, Belinda Visser, Marja Vreeswijk, 77 Models. An extra special thanks to everybody at robstolk® amsterdam for your help & hospitality. An extra, extra special thanks to all the photographers, journalists, copywriters, make-up artists, models, model agencies, brands, designers, illustrators and everyone who shared their creative talents with Odd. Cheers to all of the students and faculty from the minor Independent Fashion Magazines.

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Odd Goodbyes So now you are almost at the last page of our first issue, and we hope you have enjoyed your journey between our personal connections. Making this magazine and building the Odd brand has been a roller-coaster ride, but it has been amazing to see what 30 young creative people can do when they are given an assignment to make the magazine that they have always wanted to read. We first met as 30 individuals and competed within smaller teams to create six different magazines. After nine weeks Odd was chosen as the concept that would turn us into colleagues and an odd group that bonded for life. Beside the magazine and the yearbook, ‘AMFI - Odd Fashion Connections’, we have made movies that promote the Odd brand online, we built a Odd website, designed a range of Odd products and created a totally Odd experience. While writing this we are looking forward to our launch - Three Days of Odd. davida latuperissa Is this really is our last page?

@ 04:56am * report

tamara van der valk Woohoo!! @ 04:57am

* report

kathy beking

No hard earned tax money was harmed in the making of this magazine as the Odd company was marketed by ourselves and we broke even. The entire magazine program at AMFI reflects what has become AMFI’s philosophy: creativity first. We were all given the opportunity to explore the world of magazines, to discover our personal talents and succeed in combining those talents into a one-off independent magazine and have the experience of an Odd lifetime! Life is good. Life is Odd.

I can’t wait to see it

in print @ 05:03am

* report

sarah de man Umm… If you’re reading this then it must have been printed!

@ 5:05am * report

Keep in touch with AMFI Amsterdam Fashion Institute

www.amfi-alumni.nl

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charlotte lokin

Hey! The credits on the Item pages seem to have gone missing! @ 07:02am * report

frank jurgen

Florence Mes did the styling & photography and Meghan Hutchens wrote the blurbâ&#x20AC;Ś just text them to squeeze it in somewhere? @ 07:26am * report


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By AMFI is the Statement Store of the Amsterdam Fashion Institute that exhibits and sells products of our talents; students, teachers, alumni and friends. A community working together with the industry and society. Every theme is organized and realized by our young AMFI professionals.

www.byamfi.nl

Spui 23 Amsterdam


Credentials: clockwise starting bottom left: Red Light Fashion Amsterdam window Jan Taminiau, photography Mylou Oord; illustration Petra Lunenburg; And Beyond, photography Peter Stigter; winner Lichting 2009 Ann Boogaerts, photography Kees de Klein.

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odd magazine  

Completely conceptualized and realized by a group of 30 students of the Amsterdam Fashion Institute, Odd magazine explores six connections b...

odd magazine  

Completely conceptualized and realized by a group of 30 students of the Amsterdam Fashion Institute, Odd magazine explores six connections b...