deluxxdigital.com
I S S U E 1 5 • M A R C H 201 2 Twin Shadow • Gary Numan • John Foxx Clare Whittingham • Tracy Turnbull • Eugene Lin • Liz Black
deluxxdigital.com is a unique online publication which offers a creative platform for the latest up-and-coming artists to showcase their work. With highly creative fashion photography, together with features and interviews on music, art and culture, these elements blend to form the incomparable creativity that is deluxxdigital.com If you would like to submit work for future issues please contact: info@deluxxdigital.com www.deluxxdigital.com info@deluxxdigital.com
creative director: STEPHEN J LEE contributors: CHARMAINE AYDEN KAREN BANWELL CHRISTOPHER HODGE front cover: YUJI INAGAKI back cover: CATHRINE WESTERGAARD
contents Welcome to the March issue of deluxxdigital.com, we have indepth interviews with musicians and icons Gary Numan and John Foxx. We talk to fashion designers Eugene Lin and Liz Black about their collections and inspirations. We discuss eerie illustration with Tracy Turnbull and interview rebel with a cause, Clare Whittingham. Plus music from Twin Shadow and some amazing fashion from around the globe.
TWIN SHADOW CLARE WHITTINGHAM GARY NUMAN TRACY TURNBULL EUGENE LIN LIZ BLACK JOHN FOXX YUJI INAGAKI DANNY BALDWIN SHUHEI SHINE ANTONIO PATRIZIO CATHRINE WESTERGAARD MITSUGU SAKAI CATHRINE WESTERGAARD
TWIN SHADOW Text: KAREN BANWELL A tasty secret bubbling just under your radar is the second album from Twin Shadow, due sometime in the summer months of 2012.
George Lewis Jr aka Twin Shadow was born in the Dominican Republic and grew up in Florida. Since then he has lived in various cities around the US (and some in the rest of the world) and is currently settled in Brooklyn. Hailed by Time Out as one of New York’s most stylish citizens, his hairdressers take anything up to four hours to achieve his unique hairstyles. A fitting interest for the self-confessed ‘troubled son of a hairdresser’ Twin Shadow does indeed have a twin sister in real life. The inspiration for the band name came from a series of photographs of the twins together – where he is always the shadowy figure in the background. The success of his debut album, 2010’s Forget, produced by Chris Taylor of Grizzly Bear, happily forced his emergence from those shadows. Forget was received with general rapture by critics and public alike: “ If you’ve fallen in love with the xx, Twin Shadow may also win your heart.” Sunday Times
into it, I love it. I’m a fan of Morrissey. I wasn’t a huge fan before people started calling me that.” The success of Forget also led to an opening slot on tour with Florence And The Machine and a number of higher profile US festival dates. These took up most of 2011, although he did manage to remix obscure band Bagarre’s Circus Is Gone – renamed Changes – which evokes the seminal 70s song Car Wash as well as Indian-flavoured Italian Disco (yes, really). Twin Shadow is currently in Australia, gigging alongside Anna Calvi and doing a few festival dates. Prior to that he was in L.A., writing and recording the eagerly awaited follow up to Forget. On the new album, he says: “…to me it is the next step, it’s still very much about synthesizers and less of an emphasis on drum machines and more on sampled acoustic drums. So the rhythm section will maybe be the biggest difference, but I’m not really sure. I think it’s just the next step from Forget.” and
“‘Slow’ stands tall but is matched throughout in a skyline of towering peaks. A rare find.” Clash
“It’s a lot louder, a lot more energy I think. It’s a bit simpler in certain ways, the arrangements I think are more to the point.”
“..both familiar and alien: think John Hughes via The Twilight Zone.” Independent
And that is all we know until his various publicity machines crank up again. But if Forget is anything to go by, the new album will be well worth adding to your ‘essential summer listening’ list. Especially if it contains more songs like Changes.
“Hazily new wave-tinged pop” with an “enveloping synth swoon” NME Twin Shadow himself says Forget is “a future lived in past tense” and indeed echoes of both the 50s and the 80s can be heard in this lush, dreamy set of songs. Morrissey comparisons have abounded, especially regarding the vocal on Slow. At first these comparisons surprised him, but now he says “I’m so over it I’m
Look out for the new album launch and hopefully UK tour dates later in 2012. In the meantime you can listen to Changes here and watch the videos from Forget here. www.twinshadow.net www.thetwinshadow.tumblr.com/videos
photography Alex John Beck
Rachel Freire SS12 photography Nathan Gallagher
CLARE WHITTINGHAM REBEL WITH A CAUSE Text: CHARMAINE AYDEN Clare Whittingham is something of a force of nature. A self-proclaimed nuisance, she dodged High School expulsion in favour of an engineering apprenticeship. Fusing metalwork with fashion and art, each satirical scrapheap sculpture offers an insight into her ‘bad ass alter-ego’; forget sitting on a chair and getting wet, female welding has never looked so good.
In your early career you undertook an engineering apprenticeship; how did this come about? And what was it that first drew you to this career choice? Well I wasn’t particularly good at school or complying with the rules. I spent a lot of time refusing to take off my coat, scarf, rings, nose rings in lessons because I liked to question how it could affect the teacher teaching, which would lead to a debate and in turn, resulting in me sitting outside of the class. The only lesson I didn’t kick up a fuss was design and technology; I loved working with tools and wood-turning on lathes. Around that time a new scheme came in to help kids on the brink of expulsions (which, at the time, I was one of) by placing them in an apprenticeship instead of causing more havoc in classrooms. (I’m sorry if your class was ever disrupted by someone like me, I do sometimes wish I’d kept my mouth firmly shut) luckily enough I had been referred by my tech teacher onto taking the engineering
apprenticeship at the engineering centre which had previously been based at the island docks but then moved to school grounds. It was a completely different learning atmosphere where you were spoken too and treated in a more mature nature. I could fully comply with the rule of no jewellery or scarf’s, as of course in a workshop they are a hazard. I enrolled there at 15 and stayed until I was 17 doing a year in engineering and then a year in welding. Being experienced in industry as a fabricator and welder, was it a natural progression to develop your work into sculptural pieces? Was there any particular event or moment that inspired this development? I had been told many times whilst being taught engineering and welding, that even though I’m good at it, I wouldn’t get a job working in that industry. This was due to the fact of me being a tiny 5ft (2) rake of a girl. Even though
The Dogs of War head photography Paul Dougles
it took me a year and half of being knocked back over and over I never gave up, I made it my mission to be accepted into that field but once I had been fully accepted, the shine wore off and found I hated the routine of mass production. Along with that factor and my ever pending need to achieve, I started mucking about with scrap metal. I liked the thought of something being one-off and special; metal in its robust nature, gave me hope in the way of something being everlasting and creating off the cuff, felt natural. Balance was restored and going to mundane routine of work was exciting again in the knowledge I could create and achieve something unique within an hour lunch break. Your designs reflect the dark fantasy of comic books and include militaristic and mythological references as well as featuring chest-plates, helmets and armour, is it your intention to transform the wearer into an alter ego or to empower them? Whenever I’ve been present when someone has tried on one of the pieces, they’ve said how empowered they feel, which gave me a great feeling. It is my alter ego that I openly express through the pieces, I think most people have a bad ass alter ego but are coy about sharing such thoughts. I wish I could have been around in the 70’s glam rock and disco fever; Women like Grace Jones, Patti Labelle, Siouxsie Sioux, and Tina Turner were all dressing with strong alter ego’s in mind. Where do you find the eclectic mix of materials that you use? Scrap metal bins. I am a Womble and cannot walk past a scrap metal bin without poking my nose in there. Wherever I’ve worked in the industry of metal production the same kind of item get’s scraped so it’s easy for me to collect duplicates and work from there. I’m open with my bosses about what I am doing as it’s a totally different world to them and can be easily misunderstood about what I’m trying to achieve. Without my job as a welder, I could not fund my creations, or source the materials I work with. So it’s important to keep that position. The people I’m working around are always giving/saving pieces too. Are there any musicians you would like to create for? I like strong characters so musicians like Juliette Lewis, PJ Harvey, Peaches, Viktoria Modesta, Alison Goldfrapp and Bjork.
Your piece ‘Plague Boy ’ with its anti-playboy/ playmate culture has caused a lot of debate, what prompted you to create it? Ah my deep hatred for Playboy *cough* fashion line, whenever a wearer of that little pink bunny is within distance of me I burn up. It amazes me what they haven’t stuck a stupid bunny on and branded it “Playboy” I’m surprised they haven’t tried a nappy range yet! Plague Boy is the nemesis of that. You collaborated with Fashion Designer Rachel Freire on her SS12 collection, how did you find the collaborative process? Well we share the same vision from which we like to create from, so the process was mainly built around the sharing of ideas and finding a coherent way of fusing them together. Rachel, like me was working with scrap. Rachel’s in the form of a by-product of leather. A by-product like many others had never known about (nipples) which were a great eye opener. All in all the process was quick and a geek fest. Was the move from sculpture into fashion an easy one? I don’t feel I’ve moved from sculpture to fashion, I make sculptures’ and wearable pieces of art. I also weld road sweeper chassis as a day job. Just focusing on one thing is not what I’m about, they all seem to cross over in one way or another. I have to move between many different mediums on a day to day basis which helps to keep the ideas flowing. You recently contributed to surrealist exhibition ‘Modern Panic’; can you tell us a little more about this? Modern Panic brought together a unique and powerful collection of over 50 surreal, controversial and provocative modern artists from around the world. This had the likes of Charles Bronson, Iris Schieferstein, Gastón Ugalde and a heap of strange yet amazing live performances. I exhibited The Dogs of War a take on the Pink Floyd song which describes politicians orchestrating wars, suggesting the major influence behind war is money. What does the future hold for Clare Whittingham? If I were named Clairvoyant Whittingham I may hold the answer to this question, but the great thing about the future is that it’s unknown. I hope the opportunities to work in film will arise, but I take each day as it comes. www.clarewhitt.com
Rachel Freire SS12 photography Nathan Gallagher
GARY NUMAN THE ART OF NOISE Text: CHRISTOPHER HODGE With a career spanning over three decades, electronic noise wizard Gary Numan discusses his motivations, creative processes and the constant battle to push forward just outside of the musical zeitgeist. But more so how sometimes it’s reward enough just to be in the band!
Being inextricably linked with a genre of music, which has seen a rapid and radical physical evolution since its inception; can you describe your personal acoustic journey? I think I fought hard against being inextricably linked to electronic music for quite some time. Unsuccessfully in many respects I hasten to add. When the electronic scene first exploded in 1979 after my ‘Are Friends Electric’ single went to number 1, I soon began to worry that being so closely linked to a genre was a precarious place to be. In my experience almost all styles of music have an up and a down period and many vanish without trace soon after they emerge. The danger of that from an artist’s point of view is that most of the bands associated with that genre tend to vanish with it. For that reason I didn’t want to be linked to anything, not a style, a movement, a fad, a fashion, anything at all. I wanted to sail my career along beside whatever became the new flavour of the month, with clear separation, and so do my best to avoid being dragged down by things outside of my control. The flip side of that is that you are almost eternally NOT the flavour of the month and so can become extremely unfashionable, to such a degree that the damage to the career is almost as bad. I tried many different styles along the way, but almost always they were simply exotic flavours sprinkled on
top of a core that remained electronic. This was probably why I never really shook off the electronic label. Something that I am now grateful for strangely enough. Thirty three years after that first number 1 and I find myself very proud and happy to be seen as an icon of electronic music. The career started well obviously, chart topping albums and singles, sell out tours, all the love and hostility that comes in equal measure when you become very successful. That soon began to falter though and I began what would be a long and slow slide down to the point where, 10 years later, I thought I was finished. I had no record deal and no real chance of getting a new one. My sales had all but dried up, my ticket sales for shows were an embarrassment. I was massively in debt, my songwriting had become way too focused on the problems I was going through and so lacked any experimentation. It was utterly demoralising and I could see no way out of it. Then I met my wife and over the course of the next year, and many arguments, she slowly helped me to look at myself, and my history, differently. She helped me to find a confidence in what I did that, despite the success, had never really been there before. She introduced me to bands that had completely passed me by without my noticing. It changed everything.
I went back to work as a different person, with a very different set of reasons for being there, and different ambitions. I rediscovered my love for making music, for simply being in a band. Success became a nice thing to dream of but largely unimportant. It went back to being something I did because I simply loved doing it, not as a means to buy a bigger house and a faster car. I fell in love with music again. SInce then I have stayed true to that. I do not think commercially at all and I think my music proves that. It’s far too heavy to be played on radio which is a career killer right there for most artists but we do quite well if truth be told. It’s difficult to reach out to people and get them to hear what I do these days but that doesn’t matter to me. I reach enough, I’m excited by trying to reach more, but most of all I enjoy everyday. I’m proud
of what I do, successful or not. Luckily for me things have gone from strength to strength for many years now and I am very much back on my feet. I don’t think I’ve ever enjoyed being in a band more than I do now. As technology has evolved and as each new development outmodes the last, how have you been helped, inspired, frustrated or hindered by the ever-changing technological world? I think helped, inspired, frustrated and hindered sums it up very well. I must confess to having significant periods where I’ve struggled to stay on top of the technologies as they’ve come along. It’s made more difficult in that I not only write music via ever changing technologies but record and produce it. Those three disciplines all have steep learning curves at times as new technology is released. Quite often they all seem to take giant steps
forward at the same time and then it gets very demanding. At those times it feels like being back at school. Manuals for homework. Despite that though, and the inevitable frustrations that come through things not working quite as they should, if at all at times, electronic music remains a very inspiring genre to work in. The technology that can create such high workloads simply to understand it, can also deliver an incredible amount of powerful tools. Tools that make writing and recording a constantly exciting process. It really is a double-edged sword. I often find myself grumbling about the sheer amount of choice on tap for any given part. Thousands of snare drums for example, but which is the right one? Thousands of amp simulations, in virtual rooms of infinite shape and variety, with countless mic positions to try and discard until you find the one that works best. And yet having those choices available is a fantastic thing to have. It just requires a realistic degree of discipline to know when you’ve searched enough. But, it goes way beyond something as simple as the number of sounds and variations at your disposal. Some new technologies require a complete rethink in the way you work and so it’s a constantly evolving process. That is also amazing, exciting, frustrating and challenging in equal amounts. It feels like we are entering a musical period where once again there is a lack of fear to be seen as “experimental”, maybe a time reminiscent of the late 70’s and early 80’s in that respect. I hope that’s true. I see some signs of that, Dubstep being a key player, but I also see too many examples of blandness and mediocrity being praised as though repetition was a virtue and a great gift. It is not. Simply recreating the same old sound, covering the same old songs, dancing the same old steps, is not acceptable to me and I have no time for it. What is needed is a place, a vehicle of some kind that genuinely allows the unconventional to have its opportunity. I have faith that many people would be open to a far more diverse range of music if only they were exposed to it. I think it would be a very healthy situation for everyone. Radio, in my opinion, has done little to help. Commercial needs have drawn in the boundaries of what gets played to such a degree that anything outside of that narrow little MOR framework struggles to get heard at all, let alone on high rotation. Radio is stifling the public of choice. For me 6Music stands proud as the champion of musical choice. I have huge respect for the DJ’s and programmers who run that station as it is one of the very few who are still refusing to sit within the tight confines that most of the others operate within. With 6Music you don’t know what you are going to hear, with the others you only have to listen for an hour and you will probably know what the other 23 will be like. Exactly the same. For a new era of experimentation to flourish bands need somewhere to go, someone that will help their music reach out to a wide audience, and then let the public decide. TV and radio could make such a huge difference to the quality and variety of music that people are aware of. I won’t hold my breath though waiting for that to happen.
Many artists are outputting more cross platform projects, drawing on wider frames of reference and incorporating different ideas and skills. I think the reason for that is twofold. Firstly, the ability to output projects cross platform is now easier and more affordable thanks to advances in technology and so it opens up a huge range of creative opportunities. Secondly, I feel it’s a necessary move to try and fight the competition. Music is only a small part of the various ‘entertainments’ on offer to people these days and the share of disposable income heading in the music business’s direction has been shrinking rapidly year on year for quite some time. Music has to branch out, it has to offer more than just listening to an album. I think the future is very exciting in that artists and those around them are coming up with a flood of new ideas in how to present music and build on it as an experience. I’m glad to be a part of that, it’s added so much to what we can offer, and what the fan can enjoy. What are the exciting new genres? Where are your influences now coming from in comparison to before, and to what extent are you aware either aurally or spiritually of your influence by and on other mediums and artists? I think Dubstep is a very exciting development and I think it’s only just getting going despite the enormous success of artists like Skrillex. I’m keen to play a small part in that in the coming months and years. Influences are harder to pin down as they can come in from any direction, any source. I think anyone that’s creative is probably quite sponge like. You soak up things around you and then you squeeze back out the things that didn’t get used. The things you soak up however are more fragments of half ideas, a snippet here and there, a spark of something looking for something else to ignite. It all comes in, gets added to the ideas already there, reshaped, remixed and out it all comes. Trying to list influences is a very hard thing to do as much of it is absorbed without even knowing it’s coming in. For me influence is everywhere, from the sound an underground train makes as it slows, to the site of a grass covered valley sweeping away into the distance. A tower looming out of the darkness to a fog horn warning ships in the night. I read constantly, I try to see beauty and wonder everywhere. I do not take a blue sky and a few scattered clouds for granted. It moves me in a variety of ways. I stand looking out to sea and I feel the vastness and darkness of it. The beauty and the power, the menace and the secrets. You just have to keep yourself open, stay like a sponge and let it all come in. Gary, where do you perceive the boundaries between projects to end or indeed to blur; sci fantasy fiction, music, spoken word, art, film/ video, graphics and performance have all figured in your previous outputs and indeed feature in your contemporary repertoire. It should all overlap. In fact I think it can only truly work if it overlaps. You should be able to slide from one to the
other seamlessly, without causing so much as a ripple. I’m not saying I succeed in that because I don’t believe I do very often but that is always what I’m attempting. I think some of my efforts are actually very clumsy and I put that down to a very variable degree of skill from one area to another. I do enjoy the attempts though and each time you learn from your mistakes and the overall package improves with each new project. Apart from that, it’s fun to do, fun to try. Are these all facets of you as a greater whole or do you have more fixed compartments of culture that you handle with separateness or conversely how organic can your creative process be? Can we tie the notions of digital and organic together? No fixed compartments as such but a reasonably clear idea of my strengths and weaknesses in different areas. The ongoing process of improving through creating new things is always fascinating and challenging. I don’t think in terms of organic and digital, to me everything is valid and has its place. If things are well placed then the transition from one to another shouldn’t be noticed as a step, but as a flow. How fine are the lines of definition between the perceived creation and facilitation of noise/sound and the composition of music? I am not a trained musician so to me music is all about the creation of noise and sound. I have often talked about myself more as a generator of noises than a musician. I have always been slightly embarrassed when people refer to me as a musician, I don’t deserve that title as I haven’t really put the work and effort in to justify it. What I do is different in that I don’t know what will work with any given starting point. It feels to me as if I stumble forward, every step is a step into the unknown. I gather pieces and put them together in a variety of ways until they fit, building a picture along the way. It feels clumsy at times but it is always unpredictable and that keeps it exciting. To what extent is your output imagined or pre-determined prior to putting in the plug or is it more of an evolution of experimental electronic wizardry and magic? As far as ideas and concepts are concerned things are often well thought through before actually playing anything. I always start with a framework of ideas, a reference point that the things that will follow need to hold to. This is not as limiting as it may sound as things are still able to wander along the way. But, the music itself is a total evolution, very little is pre planned. Sit down, make a noise, see where it takes you. Let the feelings, the mood of the sound itself, take your thoughts to places new and then look for something that works with that, then drift again. It can be a very frustrating and demoralising process, or it can be exhilarating and very rewarding. Part of the stress that comes with the job is never knowing whether your day will be fun or a nightmare. It’s a never ending series of little adventures, some good, some bad.
How much of your eternally distinctive “sound” comes from your innate personality and how much from external influence and evolving taste, perhaps reflecting and reinterpreting other musical genres or cultures? I think anyone that has a distinctive sound draws much from themselves, from their own personality. But, I also think that anyone that is truly creative finds it impossible not to recognise and appreciate the creativity in others. And that has to seep in to what you do. I make no secret of the people I admire, it feels only right and proper to praise and acknowledge them because some of what they do will undoubtedly find its way in to what I do. It’s a natural process. I have read many interviews by different artists over the years that have talked about my influence on them and yet I rarely hear it at the forefront of their work. Influence well used is not an obvious thing, it’s
sometimes little more than a spark that fires your own imagination. But, that spark is a vital part of the process, and that came from someone else. I see and hear things everyday that kick my own thoughts into overdrive, not just musical but from absolutely anywhere. Creative people are not just full of their own ideas, they are like a sponge, soaking up everything around them, be it a lyric, a painting, a cloud or a beautiful sunset. I think it’s why so many creative people remain childlike, moody and awkward. We never really grow up. My children see wonder everywhere they look, and I’m right there with them, seeing the same things in the same way. I guess we are referring to the old conundrum of nature versus nurture. How much of what you do involves a conscious choice? From a creative point of view I choose the framework
of each project but the content itself simply evolves. But, things can evolve in many different ways and so there comes a point at which you need to choose what path you wish to take from the many options laid before you. From a career point of view, no career, especially a long one, can ever proceed for any length of time without making some very serious choices. How esoteric are your external influences? Can it become easy to fixate on an idea when you feel a positive resonance from it or from its reception? I think that’s a danger that most artists need to be aware of. A positive reception to something should not be the reason for repetition. In fact, it could be argued that a positive reception to something should be a very good reason for doing something different next time round. It gets a bit more complicated than that though because it’s not just about stretching yourself as an artist, it’s also about enjoying your life and what you do. Sometimes simply stepping back and enjoying success is a good tonic and helps you to move forward at the right time, when you are ready for that move and not when you feel forced into it. On the other hand, some people seem happy to repeat that one good idea for the rest of their lives, as long as people still enjoy it. It’s not for me to say what’s right or wrong with that, but for me moving forward and trying new things, at the risk of alienating an existing and satisfied audience, is very important. If you personally feel a positive resonance from an idea then it can be harder to move on in the short term but I still feel that any genuinely creative person would get bored fairly quickly, no matter how positive things felt, and look for something new. There is often a rather epic “filmic” quality to your music. Does the idea of creating narrative film scores appeal? Perhaps joining peers such as Trent Reznor and the Dust Brothers in creating acoustic narratives. Very much so. In fact, one of the primary reasons for my moving to Los Angeles is to explore the opportunities there for doing just that. Coincidentally Trent Reznor wrote a testimonial for me which has helped enormously with the immigration process. I have always felt that my music lent itself to film and TV, arguably more than it ever has to pop and rock areas, and it is something that I feel I could do well at. Getting into the film / TV musical world is not easy though and I have no illusions about the task ahead. It’s a big heavy door to push open, even more so from an armchair in England. Being in Los Angeles will at least put me in the right place to start the battle. Having said that, it’s not something I want to do right now, I still love touring and making albums and I hope that continues for some time. It’s all about looking to the future and putting the pieces in the right places. What kind of fulfilment do you find in collaboration, referring specifically to your work with Ade Fenton? Is it a kind of acoustic
soul mate situation or like all productive relationships a challenging partnership? I would put it somewhere in-between. We have similar tastes in music but we do have obvious differences that flare up from time to time. Generally speaking it’s a very good and constructive relationship and whatever frictions exist from time to time only make the music better so they are worth it. Ade is very creative, very hard working and also technically very savvy so he’s a great person to work with. He’s also my closest friend so we are able to talk out any problems without it getting silly. Collaborations in general are good experiences but I am very careful about who or what I get involved with. A collaboration should take you out of your comfort zone but not so far that it terrifies you. Looking again to the future, tell us about Splinter, what will we learn about Gary Numan in 2012, and where are you taking us on this leg of the journey? Splinter was intended to be a huge riff fest of darkness and aggression. I’m not sure it’s going that way though. I’ve written a lot of it now and it has much greater variety than I’d originally planned. It still has some huge moments but it also veers towards the haunting at times, pretty but odd. I have a lot still to do so it’s hard to be too specific about how it will turn out. Before that we have an album and DVD called Machine Music which is a Best Of release. We will be touring that in May and June in the UK. Later in the year we are hoping to take the recently released Dead Son Rising album to America and tour that over there. Splinter itself may be out at the end of 2012 but we may hold on to it until early 2013 and then tour that album worldwide for the following 12 to 18 months. My move to Los Angeles this year is complicating things quite badly unfortunately. As for learning something about me I think the most obvious thing people will see is that my love for making music, for touring, for just being in a band has never been greater, and my willingness to work hard at it has never been stronger. www.numan.co.uk
TRACY TURNBULL LITTLE MISS SUNSHINE Text: CHARMAINE AYDEN With a loose, visionary style that captures the impervious beauty of ordinary people, Tracy Turnbull’s illustrations radiate a charming awkwardness that makes them so intriguing. Deftly sketching the world of fashion and its relationship with everyday life, each of her penciled expressions offer an insight into a mood, story or character that is as genuinely interesting as the woman herself.
What first excited you about the world of illustration? I was always obsessed with drawing when I was young, I was happy to sit for hours with an art pad and pencil making up characters and sketching them out. When I began to take notice of clothing and fashion I linked the two so I suppose it all started back then. I discovered two fashion illustrators whilst studying Fashion Design at Newcastle Polytechnic; Zoltan and Tony Viramontes. There was something different about their work; it had a contemporary feel. I remember being inspired and heavily influenced by their style at the time. Is there usually a narrative behind your work? I’m constantly collecting imagery, anything I can draw inspiration from. I tend to pick a theme and illustrate the story or a character around it. I find it can be anything; it depends on my mood at the time.
There’s a beautifully eerie quality to many of your illustrations, is this intentional? Eerie or miserable? I get comments that my illustrations always look grumpy. I prefer to describe them as atmospheric. I really enjoy drawing people who have attitude or unusual features, I suppose I’ve always liked dark illustration and am inspired by modern artists and illustrators such as Robert Knoke, Mark Ryden, Julie Verhoeven, Laura Laine and Liselotte Watkins, so I suppose it is intentional. In your opinion, what or who makes an interesting fashion illustration subject? Someone with character; strong featured who isn’t necessarily a stereotypical model. I tend to draw ordinary people or models wearing no make-up so you see blemishes and freckles. Street-style images are fantastic for this; you can find some very unusual characters.
I’m also lucky in that I teach at Northumbria University so I have the opportunity to snap (with their permission of course) the design students who always look stylish and cool. How has design and illustration progressed since you first began your career? Hugely. Both fashion design and illustration is far more accessible today. There has been a big rise in the number of fashion illustration books, blogs and web sites in recent years so it has been brilliant to be able to view work by illustrators from around the world. I remember when I was studying there were only two contemporary fashion illustration books available to draw inspiration from, now I have bookshelves full of them; I’m an obsessive collector! The Internet has also had a massive impact, being able to access websites and blogs. When I began my career as a designer, the Internet didn’t exist. I only had forecasting houses and trend magazines to use for inspiration. Do you have any dream design collaborations? When it comes to collaboration on illustration, I’d probably choose Consuelo Castiglioni (Marni). I love her bold use of colour, textiles and silhouette. She has a quirky style to her design work that can be exaggerated really well for illustration; a dream to draw for an illustrator. What mediums and tools do you tend to gravitate towards when illustrating? I work in a couple of different ways. I draw by hand, scan the drawing and apply colour and texture using the paintbrushes in Photoshop. I also add quite a lot of collage when I use this style. I also draw in Illustrator using the freehand pencil tool. I tend to use this software for my more graphic illustration style. Either way I use a graphics tablet to enable me to work in more detail. What’s your attitude towards digital illustration? I’m a huge fan of working digitally. When I started, personal computers and Adobe software didn’t exist and everything I did was hand-drawn. Now, I’d say 85% of my work is created or developed using digital software. I think there can be a negative, old school attitude attached to using digital software, particularly in fashion illustration. You have to think of Photoshop as an art-box full of tools, and just like working by hand, it’s all about experimentation. I love the fact that I’m still finding new techniques even though I’ve been working digitally for years. Are you currently reading, watching or listening to anything that’s inspiring you? I’m into my music and I love to listen to music while I work. Currently I’m listening to Girls, Other Lives and White Denim. Oh, and I like to throw on a bit of Fleetwood Mac – not sure if I should be admitting to that! www.tracyturnbull.com
EUGENE LIN Text: TAMARA CINCIK Singapore-born London based designer Eugene Lin talks exclusively to deluxxdigital.com about creative cutting, intelligent design and immaculate craftsmanship.
My wedding dress was made my Roksanda Ilincic and I worked for several seasons as stylist for Ashley Isham, so Eugene I think we share a common ground! What skills and aesthetics do you think you learnt from these two amazing designers? To me they both love and appreciate female beauty and strength, and obviously they know how to drape, which I can see in your work too, I wonder what you have taken from your training to then inform your own designs? It was a privilege to work as a freelance pattern cutter for both Roksanda Illincic and Ashley Isham, as they have different aesthetics to myself. Working for them pushed me to cut and drape new silhouettes and pieces I would normally not attempt, but I do not feel that my line is influenced by their work. While we all appreciate female beauty, I feel my woman has a tougher edge to her and has an interest in print and evolving fabric combinations.
Singapore has a bit of a buzz right now, with its own fashion week and a booming economy, which must be exciting. Are you planning to show there? How important is your Singaporean culture to your designs? I have previously presented in Singapore (Autumn/Winter 2010) but I currently do not have plans to show there again. Yes, there is a lot of buzz and the economy is booming there, but having conducted thorough market research on my annual visit, have reached a conclusion that it is only the massive global labels and international high-street chains which are reaping the rewards of both press and sales. There is little support or interest in independent labels, regardless of their origin. However, if and when things change and the right opportunity comes along, I would definitely love to present in my hometown as it is always an honour. At present, I am focused on showing at Paris Fashion Week according to the
All photography Paulo Zerbini
international calendar in order to meet the right stores at the right time when they are spending their budgets. I received my formal training in London and I only began noticing fashion when I was 18. Back then, Singapore had very, very few places to access high fashion, and the local scene was nothing more than a dress-making service. Singapore has a rich culinary history and scene, which I do not believe translates into fashion. While its Peranakan (Straits-born Chinese) heritage is very colourful, the last thing I want in my work is souvenir Orientalism. A bizarre assumption people seem to make is that just because I am of Asian descent, that the brand is automatically ‘Asian’, whatever that concept may mean to them. I am very proud to be Singaporean, but my work has been described by buyers and press as firmly Euro-centric – combining the edgy prints London is known for with the sophistication of garment construction that Paris loves. One does not see Alexander Wang or Philip Lim making ‘Asian’ clothes, do they? (This brings into the conversation a discourse for what Asian clothes are in this day and age) I believe my work is not bound by geography or cultural lines, as good design has an international audience. The only thing I reckon I bring from my culture is the hard-work ethic I take in working
on my collections where I still personally cut and fit each piece, while managing the many other aspects of the business. Who to you sums up your dream client? While it would be tempting to draw up a celebrity list for ease of understanding, the very idea of celebrity has never interested me and has never been a focus of the brand. A key point of my work is that they are impeccably cut, real clothes for real women. So far they have been patricians between 25 and 45, who enjoy the craftsmanship of the label and its quiet sophistication. Where would you like your brand to be in 5 year’s time? I would like to be presenting seasonally in an intimate presentation format or catwalk, and have a larger number of stockists internationally. If you had 5 words to sum up your label, what would they be? Chic, slim, sophisticated, immaculately crafted. www.eugene-lin.com www.hprlondon.com www.tamaracincik.com
LIZ BLACK Text: LUKE MILEY Avant Garde - Empowerment - Luxury
You are a London based Venezuelan designer. How has this had an effect on you/your designs? I was born in Venezuela but have lived in London for more than 10 years. Venezuelans place a great importance on being well dressed and presentable, and this influence can still be seen in my designs, with their clean and well defined lines. I combine the aesthetic that I brought with me from Venezuela with the artistic diversity and tolerance that there is in London, where anything and everything is possible. What are your sources of inspiration? Most of my influences come from the world of art, architecture, literature and film. I visit galleries and
museums whenever I have the opportunity, and try to approach everything with an open mind. Sometimes the smallest element of a piece of art will be the seed of an idea and will end up inspiring a whole collection. Who/what has been the greatest influence on you as a designer to date? The Spanish designer Cristobal Balenciaga has been a great influence on me. His insistence on maintaining extremely high standards is something that I also feel strongly about, and I am a great admirer of his style – especially his mix of avant-garde sculptural pieces and tailored ready-towear collections. He continually created new silhouettes for the female form, something which I also strive to do.
Can you talk us through your design process? After each collection is finished I try to clear my mind by relaxing on a warm beach, and then I can come to the design process fresh. I might start by visiting galleries and museums, and often I will see an abstract detail in a work of art, from which I will make lots of sketches, often developing them into geometrical shapes that will later become one of my show pieces. Further down the line, the core elements of these pieces will be developed further to become the ready-to-wear collection. What are the ideas behind your SS12 collection? My SS12 collection, ‘Ready to Board’, takes much inspiration from angular design and interiors, such as the modern glass and metal architecture of Zaha Hadid, and includes many ideas attached to the concepts of movement, power, travel and speed, including luxurious leather luggage and the dynamic design work of Markus Benesch. The collection reflects the motion and drive of the busy woman as she struts through the city. How would you describe the Liz Black woman? The Liz Black woman is cosmopolitan, independent and empowered. She is daring and fashion-forward, www.lizblack.net www.hprlondon.com
JOHN FOXX THE SHAPE OF INTERPLAY Text: CHRISTOPHER HODGE With a career that bridges several decades and has defined and re-defined the genre of electronic sound, John Foxx takes some time to synthesise a discourse with deluxxdigital and muse a little on the nature of organic acoustics vs fortunate accidents and the trapdoor that is Formica logic.
COLLABORATION You seem to find reward in working with other artists in a range of different genres, why is it necessary or desirable to work in this collaborative style? It’s not strictly necessary, but it does have benefits, for both parties. For instance, you both get the other’s audience – and reactions can be informative. It also brings fresh ideas and perspectives to the work of both participants – so long as fighting doesn’t break out. Personally I enjoy The Third Mind emerging – a sort of entity that is not either of the participants, but a new presence – the sum of their interaction. It can often feel as though there is someone else in the room. Slightly disorienting, but I always enjoy that. To what extent do these relationships become symbiotic or parasitic? Only if anyone is daft enough to attempt to dominate, become dependent or possessive. Then you disengage gently via email. Is there room in the creative process for compromise? Not really. You agree on the parameters, jump in the water, then rely on instinct and intelligence to navigate. At worst you might reinforce each others’ prejudices, rather than questioning them. Or get inadvisably crosschemicalised.
At the end of a period of collaboration do you leave the relationship with a feeling of completion or are they a conduit to new solo, or further collaborative creation, which fills the gaps created in the original project? Can’t say I find many gaps. Ideas breed, and a bit of crossbreeding maintains genetic health. It’s too easy to become ingrown or self referential and self-protected via your own clichés. When you do get back to your own work, you value the silence and autonomy, while also realising that you’ve been reminded of some of your original intentions. Recently Benge reminded me of the sheer fun and treachery of wonky analogue synthesisers, allied to some good art school thinking. That was where I started, over thirty years ago. Full circle. RE-INVENTION The advent of electronic musical technology in the 8o’s seemed to introduce a period of great experimentation with artists collaborating in a very free cross-platform way. Can it be observed that we are entering a similar era now? The Maths is a good example – it’s going to change form shortly, with a new singer, plus other new members, (apart from Benge, of course), while I finally get to finish another couple of projects. The new singer is absolutely stellar – transcendental, incandescent, she’s going to make quite a stir.
After couple of decades, which have been dominated by “the Guitars” what is the ‘new agenda’ for electronic music? Oh, same as its always been – Outdo every other form, in every essential way – Five dimensional presence, illusionistic universe design and manifestation, prime identity accessory – allied to the development of efficient techniques of varietal noise creation, with contrasting tranquillity transport and involuntary trance induction. No Mercy.
of the present is circumscribed – yet we have to travel forward – it’s like driving a car using only the rear view mirror).
SOFTWARE
Are there songs and sounds waiting to be conceived when the right software becomes available? Oh, absolutely. Frank Sinatra couldn’t have operated in that form in Bach’s time, any more than Bach could remain unaltered by aural synthetics. Everything is formed by a response to context.
To what extent do you think that developing technology and the rapid evolution of new digital applications and software shape the landscape of electronic sound? Completely - always has. Just as cheap guitars made the 60’s possible and cheap synths made the 80’s possible. The fundamental desire to make effecting noise to each other means we co-opt everything ruthlessly – in the past it was even the gut of cats and bits of tree. Later it was a ribbon of, solidified petroleum derivatives, with magnetised iron ore and two bits of vibrating cardboard. Now it’s stored sunlight driven electrons. Humans will use absolutely anything to hand to make fascinating noises to each other. Inextricably bound up with this is our innate love of ambiguous codes and ingenious hallucinogenic devices of all kinds, dancing (either standing up or lying down), exchanging money for fun – and most of all, we truly delight in throwing crafty surprise disorientations at each other. That’s why we work so damn hard at developing technologies that will do all these things. Why else? Do you think that the musical evolution and writing process ever outrun the technical development of software or synthesised sound equipment? No. In fact they’re almost always some way behind. For instance – it’s taken hundreds of years to evolve orchestral instruments to their current state of ossification. The only way forward – in this era – is to embrace the potential afforded by recording studios – after all, so called ‘classical’ music is now accessed via digital media – most people listen to it in that form. Yet very few new ‘classical’ composers have really grasped the huge potential of recording studios – yet. The concept of a synthesiser is relatively new, so we’re only at the beginning of composing for it effectively. And there are inevitable conceptual pitfalls – even now, digital designers are attempting to imitate analogue instruments, in much the same way as plastics manufacturers initially attempted to make Formica resemble wood. Kitch, glorious misjudgement and misperception – plus Formica logic – are always with us. It seems we can only assess the new through comparison with the past. (Brings to mind McLuhan’s great analogy – humans can’t see the future at all, and even our view
So composers of all kinds will almost always lag behind any potential offered by the technology, because they are still reacting to a vanished past. Once you realise this, if you are at all ambitious, you can make a cool assessment of just where to position yourself in order to do good, pioneering work.
LO-FI HI-FI We are fascinated by the re-invention of apparently retro or lo-fi sounds and ‘sights’ by far more evolved technology using digital apps to re-create cine film or Polaroid photographic effects. Oh yes – me too. Is there a case for an actual return to the original media or is the advance of technology essential or inevitable? Well, I suppose the point is – you can now have both. Great luxury. Digital is a container and a vehicle capable of accommodating all previous analogue media. One interesting side-effect I’ve observed of new technologies replacing older ones is the swift revaluation and recovery of the superceded technology. When colour photography became available it almost eradicated black and white film – until people began to realise that something had been lost. Now monochrome is seen as equal to colour – just another aspect of imagery, with its own aesthetic. Since film of all kinds was superseded by digital, you have a generation that longs for lost film textures – then if you’re lucky, you get organisations such as Lomography reacting ingeniously to this loss and rebalancing. Same goes for analogue sound. We can now begin to see the beauty of its intrinsic imperfections and regard them as qualities – in digital media, scratches – either sonic of photographic – become patina or visual evidence of authenticity, for instance. The fact that these previously despised imperfections are now carried in an intrinsically texture-free digital medium, means a change of context and a revaluation has taken place and a new aesthetic is being developed. (Watch out for Formica Logic though. It took years for plastics
designers to make designs that allowed plastics to look like themselves). And we still don’t know what digital media sound like – the visual aspect is more apparent at this point. We know what Photoshop and CGI can do, and most of what they look like. Perhaps because music depends largely on unconscious illusions of various kinds – for instance, the fact that there’s no singer present and their performance pattern has been temporally removed and displaced into our living room, re-simulated via electrons and digits and a couple of bits of vibrating cardboard – is endlessly fascinating, yet we’d always prefer to believe we are listening to the singer, rather than listening to electricity and card. So perhaps a true appreciation of what we are hearing may rely on the realisation of re-witnessing an irretrievable electrical moment – a sort of ghost apparition. I think that strange displacement is even more wonderful than the miracle of someone singing. Equally, in other sorts of recordings, we may gain appreciation of the artifice required to make an aural hallucinogenic of vast complexity in a recording studio. I believe that many despised pop records contain as much – if not more – ingenuity and art and complexity of manipulated temporal and spatial dynamics and events – as well as neurotic psychic displacement, illusionistic contrivance and cultural code complexity – as a symphony, for instance. We may be well post-pop and post ‘classical’ – in the forms we now know them – before we come to appreciate all this with any sort of dispassionate clarity. RE-MIX RE-INVENT RE-RUN We seem to make constant reference to the past and have developed an obsessive nostalgia when it comes to re-mix, re-interpret and re-invention. Where does the balance lie between re-working existing material and moving forward with genuine newness and innovation, and indeed can this ever truly happen? All you do is interrogate the new, by asking what it can do that the previous media or technology cannot – or what it can do better. Then you design accordingly – and design ruthlessly – while still allowing your instincts and intuitions full play. (I also believe that Eroticism is an indispensible ingredient of intelligence – you must make full erotic and visceral engagement with any medium or technology in order to understand it fully). As for moving forward and genuine innovation – I suspect these may be by-products of fun, engagement and accurate surfing of the moment. Perhaps music is really a sort of conversation, rather than an art where originality is the expected outcome. (This idea of art and originality can get right in the way
– I suspect it may be some sort of puritanical religious leftover).
actually does become effortless and spontaneous, and the framework then becomes invisible.
Of course, as all conversations will, this one may veer into the past as well as possible futures. It will drift and ebb and flow and become enlivened by challenging, funny, sarcastic, ingenious, sparkling or tantalising contributions, just as any good conversation will.
Now, If you apply this to a lifetime’s recording, you have a situation where your recorded gestures might appear rough and spontaneous, but they have actually taken thirty years of distillation into that moment. That is why that recorded moment will crackle with latent energy for one artist – and remain flat as a hat for others, who may not have been through the process. May not even be aware of it. It’s how you turn lead into gold.
The point is to be involved at all – then to gain sufficient respect through your previous contributions, so that people will begin to listen – later, even eagerly anticipate – the next thing you might have to say. MATHEMATICS What is the invisible, unpredicted influence of mathematical chance when it comes to the creation of computer-generated music? Can mathematics be seen as the other band member in the room? Ah – not quite mathematics – but chance certainly can. A couple of fortunate accidents usually mean things are well on course. INTERPLAY You present your outputs as a very connected cross platform package. How do you interpret the interplay of sound, craft, digital and graphics? They all operate from very similar principles. What you learn in one medium can almost always be applied to working with another. It’s the fun of pattern recognition. A basic survival skill, really. How co-reliant are these elements within the scope of your work? Well – you get perspective and refreshment by switching around, also it’s a real thrill when you discover new principles of operation in one medium, then apply them successfully in another. I need that shift of perspectives in order to crossreference and gain all these little realisations – the real reward of this kind of work. How have the different facets of your creativity combined to create the new album ‘The Shape Of Things’? Forgive the pun, but can you outline the elements involved and how they ‘interplay ’ with each other? Phew – bit of a tall order, that – there are so many. I’ll try to outline just one instance, as some sort of illustration:Realising that an overworked painting is a painful thing to look at, when I was an art student. Then discovering that a painter like Degas – whose work seemed to be so effortless and gestural – would actually rehearse, by doing dozens of preliminary paintings, until he got the gestures just right – like an actor rehearsing so the gesture
There are dozens – thousands – of these little crossmedia, cross-discipline lessons and principles you can discover and apply, all along the way. They are embedded in everything you do. Not everyone wants to be bothered even thinking about them, of course, but for me, this is one of the main reasons for pursuing the activity. THE FUTURE We think that we have always presumed that technology and the future go hand in hand. Is electronic music by its very nature future looking? Perhaps an awareness of the potential of new technology is more important to electronic music than some other genres, but from an outsider’s point of view, it may also seem a bit typecast by images and connections with Sci Fi, etc. Plus, of course, there’s as much dull, formulaic crap around as in any other medium or genre. Personally, I’d like electronic music to have the job of inducing technology to sing – making a joyous quasihallucinogenic game through the constant surprising co-opting of any and all new possibilities – a sort of technomedia Banksy. I also like the idea of a kind of music suitable for the practice of everyday life, capable of periodic selfregeneration, carrying thousands of useful, eccentric and engaging interart and culture connections. And some good dance music. Perhaps this is asking a bit much of something that generated Popcorn, but you can dream. We often try to get artists to define themselves. Electronic artist? Graphic musician? Acoustic installationist? Where does John Foxx fit? Um…. Scarred Sonic Wrestler on the reboot. www.metamatic.com www.blog.thequietman.co.uk www.blog.johnfoxxandthemaths.com www.duck-artshop.com/acatalog/John_Foxx.html
THE MELANCHOLIC AFTERNOON PHOTOGRAPHY: YUJI INAGAKI STYLING: TATSUYA SHIMADA
Jacket: TOGA Pants & skirt: YOHJI YAMAMOTO
this page Coat & pants: TOGA Jacket: THE RARITIES Belt: YOHJI YAMAMOTO opposite page Jacket & skirt: YOHJI YAMAMOTO Shoes: TOGA
this page Jacket: YOHJI YAMAMOTO Dress: CHRISTIAN DADA opposite page Dress: CHRISTIAN DADA Shoes: UNDER GROUND
this page Coat & pants: TOGA Jacket: THE RARITIES Shoes: UNDER GROUND opposite page Dress: MAME Belt: YOHJI YAMAMOTO Neck belt: DUMMYHEAD DEPAYSEMEN Shoes: UNDER GROUND
this page Knit: TOGA Skirt: MAME Belt: YOHJI YAMAMOTO Shoes: UNDER GROUND opposite page Coat: STYLIST’S OWN Skirt: ARAISARA Shoes: UNDER GROUND
this page Dress: CHRISTIAN DADA opposite page Dress: SOMARTA Musk: JOINTRUST Shoes: UNDER GROUND
photography: YUJI INAGAKI styling: TATSUYA SHIMADA hair: JUN GOTO make-up: INA model: YUAN (BELLONA MODEL AGENCY)
“THERE IS NO RIGHT
AND WRONG. THERE’S ONLY FUN AND BORING” PHOTOGRAPHY: DANNY BALDWIN STYLING: ALEXANDRA SAUSHKINA
Lewis wears t-shirt: AQUA leopard jacket: ROKIT Hooded jacket and leggings: AGI&SAM Shorts: ESEMPLARE Alex wears panda headpiece: TOUR DE FORCE @ 39-39 Shop t-shirt: LAZY OAF www.lazyoaf.com Leopard parka jacket: B-SIDE Bomber jacket: EUDON CHOI Shorts: AG ADRIANO GOLDSCHMIED Kit wears t-shirt: LAZY OAF www.lazyoaf.com Jacket: MARTINA SPETLOVA Shorts: GUILIANO FUJIWARA Capris: NIKE Waist tie: COCO RIBBON
this page Body suit: ASLI FILINTA, Jacket: MALENE ODDERSHEDE BACH, Shoes: F-TROUPE opposite page Headpiece: THE VELVET VILLAGE, Top: BEYOND RETRO, Jacket: SCHOTT, Skirt: AMBER SAKAI, Shoes: STYLIST’S OWN
this page Dress: BILL AND MAR, Bra: LASCIVIOUS, Skirt: EUDON CHOI, Jacket: MARTINA SPETLOVA opposite page T-shirt: EUGENE LIN, Knickers & suspenders: LASCIVIOUS, Tartan under garment: DANIELLE SCUTT, Stockings: CETTE @ www.tightsplease.co.uk
Lewis wears t-shirt: AQUA Waistcoat: SCHOTT Leggings: AGI&SAM Shorts: KTZ Kit wears dress: JAMES HOCK Tights: OROBLU Watch: BABY-G @ 39-39 SHOP
this page Alex wears: t-shirt LAZY OAF www.lazyoaf.com, Bomber jacket: EUDON CHOI, Leggings: ASLI FILINTA, Socks: VOGUE, Wedge creepers: UNDERGROUND @ 39-39 SHOP Kit wears: Body suit ASLI FILINTA, Necklace LAZY OAF www.lazyoaf.com, Shoes: F-TROUPE opposite page T-shirt KTZ, Shorts: HUMOR, Socks: LAZY OAF www.lazyoaf.com, Shoes: J.W. ANDERSON
this page Lewis wears: Jumper: AGI&SAM, Jacket: ROKIT, Trousers: THE ONLY SON, Necklace: KTZ Kit wears: Jacket: THE ONLY SON, Trousers: PAUL AND JOE SISTER, Bag: H BY HARRIS opposite page Lewis wears: T-shirt AQUA, Leopard jacket: ROKIT, Hooded jacket & leggings: AGI&SAM, Shorts: ESEMPLARE Kit wears: T-shirt: LAZY OAF www.lazyoaf.com, Jacket: MARTINA SPETLOVA, Shorts: GUILIANO FUJIWARA, Capris: NIKE, Waist tie: COCO RIBBON
this page Neck collar: JAMES HOCK, T-shirt: ASLI FILINTA opposite page T-shirt: LAZY OAF www.lazyoaf.com, Jacket SCHOTT, Shorts: AG ADRIANO GOLDSCHMIED, Socks: VOGUE, Shoes: F-TROUPE
photography: DANNY BALDWIN, styling: ALEXANDRA SAUSHKINA, hair: VESA PERAKYLA, make-up: JENNIFER LOUISE CADWALLADER, models: LEWIS GRANT @ STORM, ALEX ROSE @ SELECT, KIT REEVE @ ELITE
SILENT SHADOW PHOTOGRAPHY: SHUHEI SHINE STYLING: ALEXANDRA SAUSHKINA
this page Long sleeved shirt: PAUL & JOE Shirt: AQUA Shorts: KTZ Jeans: MODEL’S OWN Boots: ROKIT opposite page Jacket: THE ONLY SON Shirt & trousers: BREAKS Shoes: J.W. ANDERSON
Tartan shirt: BRUTUS Shirt: RELIGION Trousers: BREAKS
Jumper: PAUL & JOE Shirt: BREAKS Trousers: MAURO GRIFONI Shoes: J.W. ANDERSON
photography: SHUHEI SHINE styling: ALEXANDRA SAUSHKINA hair: KAZU make-up: MIYUKI ISHIZUKA model: TOBY @ ELITE MODEL stylist assistant: MEGAN TAYLOR
SOULFUL PLEASURE ? PHOTOGRAPHY: ANTONIO PATRIZIO STYLING: ANNIE MARKITANIS
Cuff: MARIA PIANA Gloves: RACHEL FREIRE
Carbon fibre choker: ELSA SMITH Jacket: MARTINA SPETLOVA Gloves: RACHEL FREIRE
Cuff, hand piece and bracelet: MARIA PIANA
Silver chain: CULIETTA Brass necklace: JAMES HOCK Leather choker: MARTINA SPETLOVA
Vintage dress with voluminous shoulders: HUNKY DORY Latex bottom undergarments: HOUSE OF HARLOT www.houseofharlot.com
photography: ANTONIO PATRIZIO styling: ANNIE MARKITANIS make-up: CLAIRE LOUISE DAVEY model: KRISTIN LARSDOTTIR DAHL @ MANDPMODELS AGENCY
UBER UBAH PHOTOGRAPHY: CATHRINE WESTERGAARD STYLING: MIA TUCKER WILLIAMS
Stripe applique reversible dress in multistripe: RAQUEL ALLEGRA Polka dot tights: BETSEY JOHNSON Gold coin belt: VINTAGE Ring: CIRCA SIXTY THREE
this page Biana “Aldana” dress: DANA-MAXX, Leopard print calf hair bootie: TOPSHOP, Black & pearl drop earrings: CIRCA SIXTY THREE, Silver bracelets: LARUICCI opposite page Red & White stripe maxi sundress: SWITCH, Multi - colour bangle: CIRCA SIXTY THREE, City high sneakers: MICHAEL MICHAEL KORS, Ring: MODEL’S OWN
Royal blue trouser: DOUGLASS HANNANT PINK Yellow short sleeve dress (worn as a top): LARK AND HAZEL Crazy lacy: UNITED NUDE
this page Zoe “Damingo” jacket: DANA-MAXX, Meora “Valencia” shorts: DANA-MAXX, Red multi strand beaded necklace: CIRCA SIXTY THREE, Ring: MODEL’S OWN, Purple suede platforms: STYLISTS’ OWN, opposite page Pinkfishnet gloves: STYLISTS OWN
this page Short sleeve patchwork jacket: JULIAN LOUIE, White anchors away shirtdress: SWITCH, Navy & white stripe mini skirt: SWITCH opposite page Drape dress in citrus & black: KAROLINA ZMARLAK, Gunmetal earrings: LARUICCI, Elastic remix mid: UNITED NUDE
photography: CATHRINE WESTERGAARD www.cathrinewestergaard.com, styling: MIA TUCKER WILLIAMS www.miatucker.com, hair: ERIC WILLIAMS www.ericrwilliams.com make-up: MARI SHTEN www.marishten.com, model: UBAH HASSAN @ Women Management, photo assistant: JONATHAN MC PHAIL styling assistants: DANIELLA BORDES, MARIA CRAWFORD
Headdress: Made by PASSION YOKO (Yoko Kawakami) Choker: (ALCATROCK) Pierced earrings: PRIVATE PROPERTY Long sleeve teddy and stocking: LEG AVENUE
LA FLEUR PHOTOGRAPHY: MITSUGU SAKAI STYLING: PASSION YOKO (Yoko Kawakami)
this page Black belt, black pants and black leather leggings: (ALCATROCK) opposite page Rope accessory: Kouichi Yamanaka
this page Headdress: NOBUKI HIZUME Black leather harness: LANVIN (ALCATROCK) Necklace: PRIVATE PROPERTY Black pants: (ALCATROCK) Boots: NINE opposite page Headdress, chain necklace and red dress: PRIVATE PROPERTY
this page Headdress: NOBUKI HIZUME Black coat: PRIVATE PROPERTY Black pants, black leather belt and earrings: (ALCATROCK) Jumbo net garterbelt stockings: LEG AVENUE STOCKING opposite page Headdress: NOBUKI HIZUME Black dress: DOUBLE STANDARD CLOTHING Earrings: YVES SAINT LAURENT (ALCATROCK) Necklace and black lace gloves: PRIVATE PROPERTY
this page Headdress: NOBUKI HIZUME White pants: PRIVATE PROPERTY opposite page Fur: PRAHA (AGOSTO SHOP) Shoulder armor: (ALCATROCK) Black pants: (ALCATROCK) Earrings: (ALCATROCK) Bangles: PRIVATE PROPERTY Stockings: LEG AVENUE STOCKING All private properties belong to: PASSION YOKO (Yoko Kawakami)
photography: MITSUGU SAKAI styling: PASSION YOKO (Yoko Kawakami) hair & make-up: kazue model: YUAN (BELLONA MODEL AGENCY) special thanks: headdress: NOBUKI HIZUME
Bradley, vest: ODYB VOVK Paisha, vest: Michael KORS
DARK SIDE OF LOVE PHOTOGRAPHY: CATHRINE WESTERGAARD STYLING: PAGE SCHULTZ
this page Bradley, vest: STYLIST OWN Paisha, t shirt: STYLIST OWN Pants: RALPH LAUREN Suspenders: MARC JACOBS opposite page Bradley, t shirt: OAK NYC Pants: KRIS VAN ASSCHE Paisha, jacket: DAMIR DOMA Tank: ALEXANDER WANG Leather pants: TOPSHOP Shoes: JEFFREY CAMPBELL
this page Bradley, t shirt: ALL SAINTS Paisha, Jewelery: CHRIS HABANAS opposite page Paisha,top: MICHAEL KORS Shoes: TOPSHOP
Bradley, t shirt: ALEXANDER WANG
this page Top: BORIS BIDJAN SABERI Pants: ANN DEMELEMEESTER opposite page Jeans: CHEAP MONDAY Boxers: CALVIN KLEIN
this page Top: COMPLEX GEOMETRICSR opposite page Beanie: OBESITY AND SPEED Jacket: ALL SAINTS Pants : HENRIK VIBSKOV
photography: CATHRINE WESTERGAARD www.cathrinewestergaard.com styling: PAGE SCHULTZ www.pageschultz.com hair: AVERIL HULL www.averilhull.com make-up: SABRINA ZIOMI using MAC COSMETICS models: BRADLEY SOILEAU @ RED NYC PAISHA @ SILENT MODELS NY
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