deluxxdigital.com I S S U E 1 9 • M A R C H 201 3
DANS LA VIE REIN VOLLENGA LITTLESHILPA INAISCE FAKE CLUB FEEDING PEOPLE DAUGHTER DIRTY BEACHES DAMIEN HIRST PAKPOOM SILAPHAN PAM GLEW PACKARD STEVENS PAOLO COPPOLELLA UTA SEELOS YUJI WATANABE LUISE HANNAH REICHERT
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[CONTENTS] D A N S R E I N
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L I T T L E S H I L P A I N A I S C E F A K E
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F E E D I N G
P E O P L E
D A U G H T E R D I R T Y
B E A C H E S
D A M I E N P A K P O O M P A M
U T A Y U J I L U I S E
S I L A P H A N G L E W
P A C K A R D P A O L O
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S T E V E N S
C O P P O L E L L A S E E L O S W A T A N A B E
H A N N A H
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design & art direction: STEPHEN J LEE f r o n t c o v e r : PA K P O O M S I L A P H A N deluxxdigital.com is a unique online publication which creative platform for the latest up-and-coming artists to their work. Wi t h h i g h l y c r e a t i v e f a s h i o n p h o t o g r a p h y, with features and interviews on fashion, music, art and these elements blend to form the incomparable creativit deluxxdigital.com If you would like to submit work for future issues please contact: info@deluxxdigital.com www.deluxxdigital.com
offers a showcase together culture, y that is
[DANS LA VIE] R I R A S U G A W A R A Ancient oriental opus adorns Rira Sugawara’s outlandish S/S 13 collection. Holding host to her infamously eccentric prints, her ‘Moving Print Bodies’ collection showcases an exciting array of colour, texture and chintz. Chequered cladding and printed peplums create exaggerated silhouettes as snake skinned panels meander their way around extravagant figures to conserve the oriental premise. Sugawara’s Japanese legacy governs this fiercely fabulous collection with bold yellow tones that under lay a painterly ancient warrior print. These zany manifestations come to light through the captivating juxtaposition of ancient oriental and modern art. Fusing these two classic movements forms a contemporary paroxysm, propelling her ideas into iconic printed designs. The ‘Moving Print Bodies’ theme has been cultivated from Sugwara’s previous collections ‘Clash Beauty’ and ‘Material Mode.’ Envisage figure-cuddling silhouettes, adorned with dramatic peplums, elongated necks and cinched in waists, provoking the wearer to deliberate the idea of patterns of ‘Moving Bodies’ and reminding us of ‘the Sexuality’ of Paradise Lost. Having skilfully unified the time-honoured Japanese dragon, wind, and thunder gods and infused these personifications with patterns of bamboo like floral illustrations, emphasizes the relationship between the body and the print; conceiving a refreshing style where the world transcends all four dimensions. www.danslavie.co.jp
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Rein Vollenga is a Duth born artist who now lives and works in Berlin. He is known for his highly visceral sculptures that show a fascination for the human body merged with a synthetic aesthetic. These opposites are reflected in his technique of combining found generic objects with traditionally hand-sculpted material, the craftsmanship being in stark contradiction to the sleek high gloss surfaces of the finished work. Vollenga’s sculptures have been exhibited in both museums and galleries. He has had exhibitions in Milan, Vienna, Oslo, The Hague, Berlin and Tokyo, among others.
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Also, Vollenga’s so-called wearable sculptures - objects that can occasionally be worn as sculptural adornments - have been commissioned by several fashion labels, artists and performers. His collaborations include Mugler, Lady Gaga, New Power Studio, Cassette Playa, KTZ, 2NE1, Hanayo and M-Flo Verbal. The wearable sculptures have been shown during the London and Paris Fashion Weeks and featured in various magazines around the world, and featured on Showstudio and Style.com. www.reinvollenga.com reinvollenga.blogspot.co.uk
photo: Jonas Lindstrรถm model: Ash Esfarani
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Littleshilpa’s latest SS13 collection untitled ‘Suki’ is as entrancing as her previous work, Shilpa Chavan the master mind behind the label, never fails to impress. This season was inspired by the American animated television series Avatar: The Last Airbender. Set in an Asian influenced world, it features a mixture of anime style and American cartoons. Little Shilpa was particularly influenced by one of the young warriors in the story. Suki is tough, assertive and independent on the outside but tender and soft on the inside. The collection focuses on Suki’s diverse characteristics, her softer side is represented by flowers and her stronger side by sharp mirror fragments. It features headbands with abstract fragments of mirrors teamed with beautiful, soft and delicate flowers. The combination of sharp and hard lines with the fluid floral strands creates unique and exquisite headpieces. Her signature style of clean and simple lines in the designs work beautifully. The arrangement of the flowers and mirrors makes the pieces perfect for editorial and the contemporary use of pale tones and colours including creams, whites, pale greens, pink and yellows works impeccably. Shilpa Chavan the designer behind Little Shilpa was born in Mumbai, India. She studied millinery and jewellery design at London College of Fashion and Central St Martins. She also apprenticed with Philip Treacy. She draws her inspiration from travelling the world and embracing the different cultures she encounters. She is recognized all over the world for her exciting and innovative creations. Her work has been worn by the likes of Lady Gaga and has featured in key publications around the world. www.littleshilpa.com
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Offering a window into worlds of the ancient past, distant future, and spiritual transcendence, we speak to Jona the d e s i g n e r b e h i n d t h e N e w Yo r k - b a s e d c l o t h i n g l i n e I n A i s c e Since your initial launch in 2010, when you debuted your first menswear collection, you were designing clothes that you would ultimately wear yourself. Are you still able to approach your work in the same way? Or does designing for a wider clientele influence this? Everything is still fundamentally my personal aesthetic but I make a lot of things now that I don’t wear myself. In fact I usually just pick a couple items and order multiples of them so I don’t have to think much about my wardrobe. I really enjoy designing for other people - ultimately it’s more satisfying to create garments that others enjoy than garments that are specifically tailored to my own taste.
Your designs are quite androgynous in quality which has created a strong following amongst women. In response to this you have added a womenswear capsule collection, do you envisage InAisce expanding more into womenswear in the future? Is it difficult to adapt your design process to accommodate this? I absolutely want to expand the women’s collection. It is still a challenge for me technically so I have to take it little bit at a time. I have recently removed a blockage in my creative process that was restricting the output and I hope to slowly get inside the mind of a woman... We are also fortunate that our assistant designer, LE, is a woman and wears the clothes very well.. How important is it to you to be inspired by other aspects of culture outside of the fashion industry? And do these inspirations have a direct affect on your collections? It’s very difficult for me to be inspired by anything within the fashion industry. Almost all of the inspiration for the collections comes from external, non-fashion sources - culture, music, architecture, nature...
For your SS13 collection “Columna Cerului� that centres around the spirit of the inner soul, how did this thought process transcend into the structures of this body of work? I applied the disciplines of certain spiritual practices to the creation process, following a rigid structure which resulted in the cohesiveness of the collection. Your AW13 collection is currently being presented to the world and is also accompanied by a short preview film, do you see this medium as a way of conveying your ultimate vision of InAisce to a wider audience? I definitely hope to do more film in the future. But it really needs to be done properly so I have to research and experiment more and I must be ready to allocate the proper budget. www.inaisce.com photography; Jeff P. Elstone II
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Fake Club are the antithesis to a modern brand of music. Their music will make you tingle in places that were left behind when rock n roll was a lifestyle. To the accidental tourist they are the Spice Girls with instruments. To their peers they are a threat. And to the general public they are their new favorite band. Birthed from a society obsessed with fakeness and augmented reality, Fake Club take that attitude and turn it on its’ head, mocking and feeding from any negative associations and creating a refreshing culture of their own. Born in the late 80’s / early 90’s and sick of the values of our current generation: celebrity worship, glorified karaoke contests and “flawless” faces on the cover of every magazine.
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hijack the industry machine and use it to their advantage whilst promoting a positive and intuitive message that actually means something. Fake Club don’t think they are better than everyone else, they just want to change the way things are done. Fake club want to inspire the young generation, show them that there is a bigger picture, its ok for girls to cut their nails and play the guitar, and for young boys not to be computer gamed into oblivion. Look out for a Fake Club night near you soon.
Fake Club are going to initiate the Fake Revolution through their music.
The girls have also just appeared in, written songs for and curated the soundtrack for a new film featuring Sheridan Smith, Jaime Winstone and Kate Nash. It’s based on the award winning play ‘When Woman Wee’ and will be premiering at Cannes film festival.
Frustrated by the mass of generic manufactured artists that are swamping the airwaves, Fake Club are determined to
You can have a look at their debut video here: http://bit.ly/FC-DWYGD-Vid facebook.com/fakeclubband
[FEEDING] P
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Beyond the real deal is the unreal deal, and therein lies Feeding People: Jessie Jones (vocals) and Louis Filliger (guitarist) are teenagers making some of the heaviest psychedelica around, decades after the 13th Floor Elevators declared their hallucinatory sense of purpose. Feeding People’s founder, Jessie Jones, is a nineteen- year-old channeling the raw power of Jefferson Airplane’s Grace Slick and Janis Joplin at her most primal. With strong, almost vicious vocals - bellowing blasphemies as if possessed by spirits – masked with a sweetness reminiscent of Billie Holiday. Jones’ siren call reeled in Chris Alfaro of Free the Robots, who produced some of the band’s earliest recordings, all of which were recorded in a single sweaty take in drummer Michael Reinhart’s parents’ 6’x10’ walk-in closet with a 4-t rack and mic stands made of broom handles. After playing only a couple shows, Feeding People became the second rock band ever invited to play storied electronic music club Low End Theory, where they shared the stage with Radiohead’s Thom Yorke. Island Universe is Feeding People’s debut album recorded and produced by Jonny Bell of The Crystal Antlers and fellow Innovative Leisure artist Hanni El Khatib and is released on the 18th March 2013 by Innovative Leisure. http://www.innovativeleisure.net http://www.facebook.com/feedingpeople https://twitter.com/feedingpeople
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photo: Eliot Lee Hazel
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Daughter is a London-based trio consisting of Elena Tonra (vocals, guitar), Igor Haefeli (guitar) and Remi Aguilella (percussion). Daughter started life in 2010 as an outlet for Elena’s musings. After recording a ‘Demos EP’, Elena joined forces with Igor, then fellow classmates studying music at college. A four-track EP, His Young Heart, was selfreleased in April 2011, and with Remi completing the line-up soon after, The Wild Youth EP was released in late-2011. On the strength of these releases alone they have gained a loyal fanbase, which continues to grow as public and media alike discover their charms. If You Leave is Daughter’s debut album. Recorded over a period of months at home and in various spaces around London, it was produced by Igor with additional production from Rodhaidh McDonald (The xx, Adele) and Jolyon Vaughan Thomas, and mixed by Ken Thomas (Sigur Ros, M83) at High Bank Studios. Less of a statement of intent, these songs are more a snapshot of a year in Daughter’s short life. Lyrically, Elena plumbs the depths of her psyche to reveal her innermost thoughts, finding catharsis in expounding those internal demons. There may be little light relief here, but the personal themes have universal appeal; tales of doubt, insecurity, fear, anger and loneliness all take centre stage. Musically, Daughter balance an intricate interplay between vocal, guitar and rhythm section. Elena’s vocals are fractured, often delivering savage words with a smoke-tinged whisper. Igor wrestles his guitar to build up a stark and brutal landscape, colliding with Elena’s more structured rhythm guitar. All are punctuated by the jolts of Remi’s minimalist drums. If You Leave is a bold first move for an act still in its infancy, and yet the songwriting displays a maturity that belies their youth. Darkness may prevail on If You Leave, but the future looks extremely bright for Elena, Igor and Remi. www.ohdaughter.com www.facebook.com/ohdaughter www.4ad.com/artists/daughter
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Dirty Beaches, a.k.a. Alex Zhang Hungtai, started off as a one-man band in 2005 in Montreal. A trans-Pacific nomad and genre-hopping sound-smith, he has released music ranging from drone instrumentals to film scores, and possesses a fascination for dissecting popular American music like blues, rockabilly, soul, R&B and hip hop, often rendering it to a point where it has become something else entirely. Hungtai’s new album, Drifters / Love Is the Devil, is a sprawling double-album that chronicles the musician’s life on the road over the past two years—through the labyrinths of Berlin, Belgrade, Paris, and many other cities; through heartbreak, rebirth and masochistic, existential self-reflection. Recorded between Montreal and Berlin in the winter of 2012, the two halves of Drifters / Love Is the Devil are separated only by aesthetics, as they are tightly woven together thematically as one conceptual piece. If 2011’s Badlands was an exercise in exorcising past ghosts in a semi-fictional world, then Drifters / Love Is the Devil is a reflection on the fragility of reality—that of the outside world in which the artist explores the nightlife of bright neon temptations and hedonistic values, and that of the inner world, one of remorse and lovelorn tragedies. You can catch Dirty Beaches on tour throughout Europe during May and June. http://dirtybeaches.blogspot.co.uk/ https://twitter.com/dirtybeaches808
[HIRST] ENTOMOLOGY CABINETS AND PA I N T I N G S S C A L P E L B L A D E PA I N T I N G S A N D C O L O U R C H A R T S White Cube Hong Kong is currently presenting an exhibition of new work by Damien Hirst. This exhibition features cabinets and paintings from the ‘Entomology’ series, begun in 2009, as well as ‘Scalpel Blade Paintings’ and ‘Colour Charts’, which form some of the artist’s newest work. Hirst is known for his use of uncompromising materials to directly address profound and fundamental questions about existence and this exhibition furthers his investigation into such thematic dualities as life and death, desire and fear, beauty and horror.
The ‘Entomology Cabinets and Paintings’ employ one of Hirst’s most iconic and familiar motifs – the butterfly – and represents them interspersed with thousands of highly coloured insects and spiders. Hirst was drawn to them because, like butterflies, they embody the fragility of life, retaining an iridescent beauty even when dead. In the cabinets, beetles, butterflies and other insects are placed in precise, vertical or horizontal rows inside minimal and reflective, wall-mounted
stainless steel frames. With each species arranged in separate rows, the overall effect is one of scientific ordering or industrial production. However, on closer inspection, this is undone by the slight mis-registration of their placement and small, subtle variations within each group. In the ‘Entomology Paintings’, Hirst has used similarly colourful insects in intricately patterned symmetrical compositions on Hammerite gloss paint. Like the cabinets, these vivid and colourful tableaux allude to both the opulent patterning and symmetry that exists in the natural world and to the ‘cabinet of curiosities’, or Victorian-era Natural History displays where decorative visual effect was as important as scientific categorisation. The ‘Entomology Paintings’ relate closely to Hirst’s earlier ‘Kaleidoscope Paintings’ – where thousands of butterfly wings were arranged on canvases shaped like gothic stained-glass windows – but are altogether darker in theme, alluding to zoological collections and titled after characters and locations from the Divine Comedy (c.1308-1321), Dante’s torturous vision of the underworld.
Damien Hirst Tityus 2012 Entomological specimens on Hammerite paint 60 x 48 in. (152.4 x 121.9 cm) Š Damien Hirst and Science Ltd. All rights reserved, DACS 2013 Photo: Prudence Cuming Associates Ltd Courtesy White Cube
In the ‘Scalpel Blade Paintings’, Hirst continues his use of scientific and medical iconography, placing thousands of different types of scalpel blades in spectacular, mandala-like patterns. Some of these paintings are starkly monochromatic; their surfaces accentuated by the light that refracts off each carefully-angled blade, while others are intermittently layered with brightly coloured gloss paint, reminiscent of the psychedelic imagery and freedom of colour more associated with folk art. With the material transformation of a standard medicinal tool, these works relate to Hirst’s early medicine cabinets from the 1990s, in which thousands of precision-tooled surgical instruments were arranged in a formal and aesthetically pleasing manner, to create works whose beauty masked the inescapable futility of medicine in the face of our own mortality. this page: Damien Hirst Concertina 2012 Scalpel blades and household gloss Ø 48 in. (Ø 121.9 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2013 Photo: Prudence Cuming Associates Courtesy White Cube opposite page: Damien Hirst Supreme Being 2012 Scalpel blades and household gloss 72 x 48 in. (182.9 x 121.9 cm) © Damien Hirst and Science Ltd. All rights reserved, DACS 2013 Photo: Prudence Cuming Associates Courtesy White Cube
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While both the ‘Entomology Paintings’ and ‘Scalpel Blade Paintings’ use assemblage and formal arrangement as their leitmotifs, the ‘Colour Charts’ rely on colour theory as the organisational tool for their compositions. Like Hirst’s infamous ‘Spot Paintings’, these works optimise the energy created by colour juxtaposition and employ a systematic approach to its application. Precisely executed in brilliant gloss paint, using primary, secondary and tertiary colours, these bold, Pop-like paintings harness the power of colour to create canvases with a vibrant energy and optical beauty. Entomology Cabinets and Paintings, Scalpel Blade Paintings and Colour Charts 21 February – 4 May 2013 50 Connaught Road Central Hong Kong +852 2592 2000 +44 (0)20 7930 5373 www.whitecube.com
[PAKPOOM] S E
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text: Melissa Digby-Bell This is the third solo exhibition by Pakpoom Silaphan at the Scream gallery, entitled Empire State. Silaphan’s practice examines notions of globalisation, mass consumerism and the universal reach of cultural icons across the world. Primarily using foundobjects such as old metal advertising signs collected during his years living in Thailand, and showing a new body of sculptures made with vintage wooden Pepsi and Coca-Cola crates, reminiscent of Warhol’s Brillo Box installations; Silaphan re-works these objects to create a fresh interpretation of Pop Art and opens a discourse on the effects of advertising and mass consumption. The infiltration of western imagery and ideology had a profound influence on Silaphan’s understanding of the West and on his artistic practice. Using his favoured artistic icons, such as Warhol, Dali and Frida Khalo, he collages and paints over these branded advertising signs and crates, implying the artists’ identity as a recognised global brand itself. Silaphan creates an engaging dialogue between the relationship between East and West, and the universal language of signs and symbols that is accessible to all and has been imprinted on to the universal collective consciousness.
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Pakpoom Siliphan Pollock Drips on Coke 2012, Mixed media on vintage metal signs Dimensions: 133.1 x 94 cm (52.4 x 37�)
The Everybody Project is a new body of work where Silaphan creates large grids reminiscent of periodic tables or world maps. The charts are populated with multiple, small found images of faces from the vast pool of every day mass media, including celebrities, politicians, cartoons and sports people. Each of them is painted over with another symbol or iconic global reference, these range from Mickey Mouse ears, Batman masks, Warhol fright-wigs, or Basquiat’s spiky hair style. This is one of the side-effects of globalisation; images or concepts can often become lost in translation, or begin to take on additional or different perspectives. In works such as ‘Three Times Warhol on White Coke Button’ and ‘Dali and Flowers on Pepsi’ we see a further development in Silaphan’s signature advertising sign works. Sourcing vintage metal advertising signs of soda brands such as Coca-Cola, Pepsi and Fanta, Silaphan re-works these signs with collage and paint to incorporate the figures of his revered artists. This series highlights the artists’ global profile and elevates the status of these brands into high-art, with this cultural juxtaposition. These signs clearly show signs of rust, discolouration and age that become almost sculptural and imply the passing of time and the history of advertising and its global reach. The Identified Flying Object is a clever appropriation of Lichtenstein’s iconic painting ‘Whaam!” from 1963. Silaphan presents a two metre high aluminium ‘paper’ aeroplane that appears to have been made from Lichtenstein’s dynamic work. This sculpture is a beautiful realisation of Lichtestein’s desire to integrate life and art and continues Silaphan’s investigation into cultural symbology and its democratic reach. Pakpoom Silaphan Basquiat Sits on Thai Pepsi 2013 Mixed media on vintage metal signs Dimensions: 174.4 x 137 cm (68.6 x 53.9”)
Since the 1960s, artists such as Warhol and Lichtenstein used brands, comics and elements of the mass media to remove the formal artistic boundaries of what was considered Art and made it democratic, relevant and accessible to all. In an age of “multinational capitalism”, Silaphan’s ‘neo-pop’ pushes these ideas further by creating a new Pop vernacular, using the icons and imagery of his predecessors and the tradition of the ready-made. Jean Wainwright comments,“we have the canon of art history literally repositioned on obsolete advertising signs, provoking the double recognition of brand on brand, the shared global language and the currency of art”. Pakpoom Silaphan’s Empire State is currently on display until 6 April 2013 www.screamlondon.com 27–28 Eastcastle Street London W1W 8DH this page Pakpoom Silaphan Warhol on Pepsi Sign 2013, Mixed media on vintage Pepsi sign Dimensions: 117.1 x 117.1 cm (46.1 x 46.1”) opposite page Pakpoom Silaphan Frida and Birds on Fanta 2013, Mixed media on vintage metal signs Dimensions: 183.6 x 204 cm (72.2 x 80.3”)
All images courtesy of Scream and G. Schwendinger
[PAM] G
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Pam Glew is a contemporary artist who is best known for her unique bleaching technique on fabric. She uses dye and stitch to paint, deconstruct and distress vintage materials in her own breed of painting. Heavily inspired by film, her strong cinematic paintings often reference contemporary culture with portraits of cult icons and the artist herself. By painting directly onto vintage textiles with bleach and dye, the artist plays with our notion of idols, patriotism and the culture of heritage. Vintage flags, brocade and antique American quilts provide a unique surface to paint on. By dyeing the fabric black and painting freehand with bleach, the portrait slowly develops in the painting process. The fabric is bleached many times to create contrast and the material is washed each time to remove the chemicals. The result is a ghostly timeless image, which emerges from the cloth. As a British artist she has shown widely in the UK and showcased in Europe, USA, Asia and Australia in over 80 group exhibitions and 6 solo shows and her work is keenly collected worldwide. Glew has exhibited in urban, traditional and site-specific exhibitions alongside such diverse artists as Hirst, Emin and Shepard Fairey to HRH Prince of Wales. Commercial clients include Ralph Lauren, Armani, Red Bull, Wagamama and Mitsubishi Bank.
Glew has recently reworked photographs taken by the legendary bassist of The Rolling Stones Bill Wyman of Mick Jagger and Keith Richards for the ‘Bill Wyman Reworked’ exhibition at Rook and Raven Gallery, which runs until 31 March 2013. www.rookandraven.co.uk Pam Glew will also be showing work at the Affordable Art Fair in New York with Alicia David Contemporary Art from April 3 – 7 2013. Deluxxdigital.com has a limited number of exclusive tickets to giveaway for this special event, please click here or email: info@aliciadavid.com with the subject ‘Send me tickets’ www.pamglew.co.uk
Keith & Mick on Bus photographs by Bill Wyman reworked by Pam Glew
www.pamglew.co.uk
molecular photography: PACKARD STEVENS styling: SS13 COLLECTION BY MATH
photography: PACKARD STEVENS www.packardstevens.com styling: SS13 COLLECTION BY MATH http://thestylecolumn.com/london-fashion-week-ss13-math/ hair: JOHN BILES make up: VIOLA BEA models: RIO DEBOLLA @ MODELS1
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photography: ELENA JIMÉNEZ clothing: PAOLO COPPOLELLA art direction & graphic design: SIMONE GIARA & MARTA MODENA
photography: ELENA JIMÉNEZ art direction & graphic design: SIMONE GIARA & MARTA MODENA models: AMELIA YAO, ÁNGELA GIL, AXEL PEIRÓ AND SAINTBEAU SAMBOU (CARMEN DURAN MODEL AGENCY) www.paolocoppolella.com Shoes: DOLFIE
constanze photography: UTA SEELOS styling: SABINE FISCHER
Bustier & panty: VINTAGE Shoes: PRADA Socks: WOLFORD
this page Dress: KAVIAR GAUCHE Bow tie: PAUL SMITH opposite page Jacket: KAVIAR GAUCHE Dress: KAVIAR GAUCHE
Bowler hat: MAYSER Dress: MALAIKA RAISS Tie: STYLISTS OWN
photography: UTA SEELOS www.seelos-photodesign.de stylist: SABINE FISCHER hair & make-up: MARION NERLINGER model: CONSTANZE @ PMA this page Jumpsuit: TIGER OF SWEDEN Jewelry: STYLISTS OWN opposite page Dress: KAVIAR GAUCHE Bow tie: PAUL SMITH
sometimes photography: YUJI WATANABE styling: NAOKO SOEYA
Cotton blouson, cotton short pants: JULIEN DAVID Multi-colour round neck sweater: DAMIR DOMA
this page Cotton print single breasted blazer, wool plain short pants: JIL SANDER Camouflage printed shirt, round neck sweater: DRIES VAN NOTEN Leather shoes: DR. MARTENS opposite page Cotton shirt with embroidered collar, strip sweater: KENZO Camouflage cotton tacked pants: DRIES VAN NOTEN
this page Short sleeve cotton top, tapered camouflage pants, printed scarf: KENZO Cotton shirt: DRIES VAN NOTEN Leather shoes: DR. MARTENS Sun glasses: ACNE opposite page Washed nylon jacket, cotton short pants: ALEXANDER WANG Print parka: LACOSTE Cap: TILLMANN LAUTERBACH
photography: YUJI WATANABE stylist: NAOKO SOEYA hair: HIROKAZU ENDO make up: AYAKA SONODA model: THOMAS MONNIER @ MAJOR MODELS this page Cotton camouflage short sleeve shirt: DRIES VAN NOTEN Cotton animal camouflage print shirt: KENZO Leather short pants: DAMIR DOMA Leather shoes: DR.MARTENS opposite page Sleeveless jeans blouson: LEE KVA Single breasted jacket, netted sweater, short pants, print cap: KENZO Cotton print shirt: DRIES VAN NOTEN
magnolia photography: LUISE HANNAH REICHERT styling & creative direction: RAFFAELA LOEBL (ERELLE) Hat: JUJU
Dress: FEMME MAISON Earrings: TOPSHOP Shoes: FEMME MAISON
Dress: FEMME MAISON Shoes: FEMME MAISON Earrings: STYLIST’S OWN
Coat: ANTE Hat: LEDERLEITNER Shoes: FEMME MAISON
Dress: SPANISH MOSS Shoes: FEMME MAISON
photography: LUISE HANNAH REICHERT styling & creative direction: RAFFAELA LOEBL (ERELLE) hair & make up: OLIVER DORFNER model: DOMINIKA @ EXIT MODEL MANAGEMENT, BRATISLAVA Dress: FEMME MAISON Shoes: FEMME MAISON
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