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I S S U E 1 6 • J U N E 201 2 Ana Rajcevic • Boudicca • Robert del Naja • Die Jungen Paulina Otylie Surys • Dayne Henderson • Craig Green 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 fashion, music, art and culture, these elements blend to form the incomparable creativity that is If you would like to submit work for future issues please contact:


contents Welcome to the June issue of, we have a fantastic issue for you including a rare interview with the enigmatic man behind Die Jungen, we discuss graffiti art with Massive Attack’s Robert del Naja and his evolution to the frontline of political modern-art. We interview sculptor Ana Rajcevic and discover how sculpture and fashion can co-exist in harmony. Fashion designers Boudicca discuss mythical poetry and their commitment to passion and freedom, and we explore the brilliantly devastating macabre eroticism that is the imagery of fashion photographer Paulina Otylie Surys. In addition we talk to up and coming new designers Dayne Henderson and Craig Green about their collections and inspirations as well as showcasing some amazing fashion from around the globe.


ANA RAJCEVIC WHEN IS A SCULPTURE NOT A SCULPTURE? Text: EMILY PARKER Ana Rajcevic discusses how sculpture can co-exist within fashion harmoniously. Where does your interest in fashion originate? Did you always imagine yourself to be working in this field? I have always been drawn to art. It comes from my family. I grew up surrounded by artwork and art books. My father is a sculptor and I spent a lot of my early childhood in his studio playing around with clay, wood, pencil and paper. My university background is actually not fashion at all, but interior architecture. I graduated from a five-year design degree before entering the fashion / art world. I like fashion because of its immediate relationship with the human body. This constant body-object interaction is something which strikes me the most. The possibility of re-shaping the human silhouette and exploring new bodily forms through this interaction makes me challenge our ideas of “beauty” and “normality”.

In contrast with other more dark and controversial projects, Animal seems to stand out as being rather minimal and symbolic. What is the significance of the purely white colour scheme adopted in this collection? The whole project was developed around evolution and anatomy, and skeletons were the starting visual point, so an off-white color was something that came natural. White is the color of bones but also represents purity, divinity or innocence, as well as authority, heroism, goodness. Since these objects already display an image of strength and power, I thought that a subtle shade of non-intrusive white would be the perfect colour to match the designs’ impact, to set a tone of relaxed, understated elegance.

Animal: The other Side of Evolution by Ana Rajcevic

model: Anna Tatton

photos: Fernando Lessa

make up: Sarah Frasca

You describe a number of your pieces as ‘fashion artefacts’. How do you imagine these items to function if they ’re not utilised as fashion accessories? These artefacts are made to be worn, but they have a different aesthetic quality when removed from the body and exhibited in a gallery space. It’s not really a question of “function” but rather a different kind of visual expression these objects acquire as separate artworks. On the other hand, you wear them on your body and you may become an artwork yourself. Sensuality and sexualisation seem to be a recurrent theme in your work, from your ‘Unhuman’ collection, inspired by erotica and futuristic apparel, to the recent ‘Animal’ which deals with sensuality, strength and power. Why do these themes appeal to you? Do cultural ideals of sexuality inspire your practise? I love sex and I can’t hide it ;) But it’s all about power, isn’t it? My recent jewellery piece commissioned for Selling Sex exhibition at SHOWStudio in London was a life-size cast of my own lips in brass.

A pair of lips you can’t kiss and can’t talk to either. That was fun. You have recently experimented with the possibilities of fashion film. What was it that attracted you to working with this media? Is this an area you would like to pursue? Yes, I am planning a follow-up film for the ‘Animal’ collection. I love film because it obviously combines all arts together, image, sound, text, movement. It is a great way to showcase an artwork but also a way to ‘expand’ it. I believe in the power of image because I make things to be seen. Excluding other fashion designers, where do you find your main sources of inspiration lie? Are you inspired by other sculptors or find yourself more interested in the things around you? I love symmetry. It reflects beauty and perfection. How do you see your creativity and your work progressing in the future? Continuing to push my own boundaries.


DREAMS OF OUR PAST, PRESENT AND FUTURE Text: CHARMAINE AYDEN Turning their expertly tailored back on the high jinks of fashion, Boudicca is something of a one-off. Naturally underpinned with integrity, designers Zowie Broach and Brian Kirkby share the same tenacity and non-conformist attitude as the flame-haired Queen that came before them. Deluxx catches up with the London-based duo to discuss the ‘reality and the dream’. You’re named after the fearsome Queen Boudicca of ancient Britain; why did she provide you with such inspiration? We wanted to evoke a mythical poetry of what it is like to be British, with a passion and a commitment for freedom. The duality that exists between the factual and the mythical. The reality and the dream… In fact so little is known of Boudicca herself – only a few sparse facts documented by the Romans. It is indeed the fact that so little is known about her that we are both drawn to her myth. We live in a culture of information and fact and the idea that the myth of Boudicca allows the imagination to paint the picture of who she was and what she even looked like is intriguing. It is the very nature of this ambiguity that we decided to take her name for our work. Myths can be constantly reinterpreted, and this is the nature of our process of our approach to our work – a myth in flux – without ever meeting the conclusion… Open source, that is Boudicca’s myth – forever open for interpretation… as is Fashion, constantly open for reinterpretation. The other myth surrounding Boudicca became our

company name and website - ‘Platform13’. Platform13 at Kings Cross Station in London has been rumored to be either the site of one of Queen Boudicca’s last battles with the Romans or even her last resting place. We often refer to our clothes as armor. We are very interested in the construction of clothes, being tailors, yet always looking to achieve something new. We want to empower the wearer. We fight against conventionality. This is probably why we remain a small independent business, but we would have it no other way. Uncompromising and stubborn may our choices be, but they are ours. Ultimately, BOUDICCA is a set of tensions that climb in and out of masculine and feminine, history and future tailing all thoughts, referenced on multiple levels that when brought together form a new language that defines itself in the moment. Finally as Bruce Sterling states there are no secrets anymore. Our future will be fully mapped and only history, the past, changes in front of us. Add to all of that, our own personal journey as people, which is often less brave and at times, more fragile, human in error and occasionally humor plays alongside it all.

photography: Warren Du Preez & Nick Thornton-Jones. UNKLE “ Where did the night fall?”

photography: BOUDICCA

photography: BOUDICCA

We love that you’re notorious for an ‘anti-mass attitude’ and shunning the frivolities of fashion, how do you separate yourself from ‘that’ world? By strength of conviction, our approach to our work has always been one of an obsessive nature, you have to completely enter into your thoughts and language and live within the convulsion/curse of the process, you have to have the bravery to allow yourself to find the core of your thoughts and emotions. It’s not that we shun the frivolities of the Fashion world; it is where we are totally engulfed in our own language and process. We have always had a very personal biographical approach to our work and the idea of mass and its economic rules does not sit well with the concept of making pieces which have as little if no compromise attached to them. How has Boudicca evolved since it was established in 1997? Still learning that you know more now but knew better then. You’ve been described as ‘Cristóbal Balenciaga meets Factory Records’; is this an accurate depiction? When reading this question this morning it made us smile; humbled and honoured by such a comparison. Emotive, intensive, and powerfully present to its

moment, momentary unless supported with an ocean of understanding to its core. Cristóbal Balenciaga was an amazing cutter and an artist who responded to the questions of social image and identity, and we too use contemporary social issues and developments combined with historically related ideas. And Factory records represents the glorious idea of freedom of ideas without compromise – they created something that didn’t make heaps of money, but became a modern myth, and became one of the 20th centuries greatest British movements… ‘Some Men make money and some make History…’ Tony Wilson (Cultural Catalyst) You maintain a strong involvement in the arts, undertaking diverse projects and collaborations in film, sculpture and design; how important is it for you to merge these disciplines? We have ideas and make them! We have always found the concept of operating within one discipline a form of creative claustrophobia, better to let your imagination and ideas have no boundaries… We are polymaths governed by our dreams… We have always welcomed the idea of collaborating on diverse projects – we seek to learn to gain knowledge of other processes to ask questions of our own… We are ‘Jack of all trades makers of one’.

You’ve previously shown collections in London and Paris, what prompted the decision to move away from this arena? Financing the shows was becoming almost impossible for us to sustain, coupled with an ever-growing desire to slow things down and to develop ideas over a longer period than every 6 months. We kept being confronted by the question of who was the show for, and the compromise and conformity of making a presentation. We soon realised that not showing a catwalk presentation, was allowing us time to engage in other types of presentation be that collaborations or special projects… We started to enjoy our work more, and found that our ideas flowed with a more fulfilling rhythm allowing a deeper investigation. We still produce Two RTW collections a year, which are sold, through our showroom in Paris. Boudicca garments are designed for a lifetime of wear; does this alter their manufacturing process? Absolutely. The edges, the outline of a garment can be sewn in many ways that creates longevity or throwaway. We consider this and in fact the way the garment is constructed is about how it draws the idea the best and as we are tailors at heart, it often means a complicated series of tests and trials that leads to the best way of construction. BY tailored we refer to a considered cut, line, form and fit. The belief that with this consideration

the wearer feels that sense of construct and belief in the idea and also in turn the garment survives for longer becoming not a trend to be thrown away or embarrassed as an idea but something that belongs as a part of a collection of ideas for the identity of the wearer. That of course we change and alter, of course each day or year. The identity of each of us alters, part by social, part by age, part by imagination and so it should; but the core of any person, individual, art piece or dress remains the same and it is in this collection around that ‘same’ that we offer what we do. You have strong opinions on capitalism and politics; do you hope that the women that wear your clothing hold the same values? We have never tried, nor will we, to preach via our work, as mentioned in an earlier answer, our work and how we work is completely entwined with our interests and thoughts and values. We have been involved in many protests and political lectures, our opinions and political views are motivated by a need for fairness and a future of individual freedom and not one of large corporates making a banal landscape. With a hope that the world shares similar values not just our customer. They are simple values based upon respect for ideas, creativity and then in turn that of course holds up first and foremost, man and nature.

photography: BOUDICCA

photography: BOUDICCA

photography: BOUDICCA Sian Murphy & Thomas Whitehead courtesy of The Royal Opera House

Each Boudicca piece is personally titled, where do find inspiration for these names? Names are from the world that develop and educate them. The dreams of our past present and future. Honestly though sometimes it is plain and simple and direct, it depends on the time, the idea and the moment. You’ve experimented with science and technology, both with your perfume and your collections; is this important to you? Every day. Digital Technology has always been very important for us, learning how to write code and work in 3D. Lots of experiments with how to make image and how to re-examine our process. We seek knowledge from every avenue, be that within History or a totally new technological development, currently playing with a Kinect and 3D film – but also researching Etienne-Jules Marey and his beautiful Chronophotography. Making films and writing code – then dragging all these different time-frames into one process… …with a wish and a dream to be further involved with other creatives who we could collaborate with. Imagine being given that residency at MIT for example or work with the team at Honda or at AIST in Tokyo. With more at our fingertips we could involve technology daily but as technology moves so fast and that it’s an expensive game, we have begun to build homemade scanners and machines that swing between the ages from old to new technologies. This is exciting and experimental and we have only begun to use these, we began to feel that a new way for us to comprehend the image was to begin to understand the capture, the camera itself and the way to understand that, was to make the camera. You’ve recently returned from installing an exhibit at the Art Institute of Chicago ‘Fashioning the Object’; can you tell us a little

more about this? Do you have plans for any further exhibitions in the near future? This is a moment where fashion within the framework of the museum should really be seen as the forerunner. A simple question and answer; an examination of 3 designers who are not owned or invested in or by European corporatism and with this comes the struggle or survival, but it is this survival that defines each of the brands and really shows with all its errors and all its possibilities of what each label still has to offer. It is the wealth of energy that comes from each room that we find again humbling to be part of... BOUDICCA is shown through film, the moving still with a few objects that seem to aid the defining of the film. It is a room of clues, keys, fragments that take you on a path through our history and our label. A collision of coincidences that revealed themselves only when the full exhibition was up; a cross referencing of data that still makes sense. Here Zoë Ryan the curator talks about the 3 designers and the exhibition. We are also seeing this exhibition possibly move to other cities, not as yet fully confirmed but Tel Aviv, Moscow, and we hope for Tokyo. On going we are in the middle of new ideas, new thoughts, new struggles as the liquidity of all of our futures brings good and bad. How we manage and manoeuvre through this rapid, is exciting and breaking new paths open for us. Listening and looking out for the invisible to arrive. Boudicca pieces for sale: Boudicca Facebook page: Boudicca Twitter feed:!/BoudiccaWord

ROBERT DEL NAJA SO MUCH TO HEAR, SO MUCH TO DO Text: CHARMAINE AYDEN Massive Attack founding member 3D, aka Robert del Naja has evolved from Bristol’s Dug Out to the frontline of political modern-art. 3D talks exclusively to Deluxx about evolving from anti-authoritarian musician to sought-after artist. You initially gained notoriety as a graffiti artist, who or what were your early inspirations or influences? In terms of graffiti, the thing that probably influenced me first was the punk era; stencils by bands such as Crass and The Clash, and then later Stiff Little Fingers and UK Subs. People would paint on the walls in those days, which was interesting as the graffiti art was very symbolic, and even slightly political. During the changing era of the 70s and 80s, exposure to the hip-hop scene in New York started to become apparent in the UK, but it was difficult to get hold of stuff in those days. Obviously with The Clash and their video ‘Radio Clash’, and also ‘Buffalo Gals’ from Malcolm McLaren, we began to see glimpses of graffiti art and that really tantalized me. Also, I suppose the spirit of what hip-hop represented as an independent musical movement, resonated with me in the same way that punk did for me as a kid. At 18, you became part of the Wild Bunch sound system, a loose collective of MCs, graffiti artists and vocalists; do you have fond memories from this time? Absolutely, yeah. It was an interesting time because I had come from just sitting in the park and listening to punk music, to getting into a bit of reggae and visiting alternative record shops; through that and through my mates exploring the ‘electro thing’ that was emerging we sort of had this ‘intro’.

You tended tocongregate in the same places if you had ‘that’ interest I guess. There were a couple of record shops, in fact Revolver Records where I first met G, which sold alternative music. There was also this one club called the Dug Out in Bristol, which we all congregated in. Back in the day, it was the only place that had a video so we’d watch movies and all the new MTV music videos that were getting imported from America. The guy that ran the club used to get all these really interesting electro and early hip-hop videos sent to him, that otherwise we’d never have seen; it really influenced us. The [Dug Out] guys started doing a ‘night’ on a Wednesday that I auditioned for. I learnt how to put lyrics together and rap, so got accepted into the group and pretty much used to spend all my time creating new lyrics for a Wednesday night at the Dug Out. It was a very simple kind of era. I was pretty much on the dole, living with my Mum and Dad who ran a pub, sleeping all day and then waking up at 2pm to write lyrics and sketch graffiti. We then started doing our own parties and making our own flyers. It wasn’t too difficult being at an illegal party and painting on the walls of these places; we’d draw Wild Bunch logo’s and images around the city, just to get the our idea ‘out there’ I guess.


So your artwork and music went hand-in-hand with each other? Absolutely. Like punk, it was a very visual movement. Everyone used to customise themselves; people would have the most amazing murals and various adornments on their jackets. At the gigs there was a lot of video art, lots of backdrops, flags and political stuff. It was always very interesting, you know, the artwork from the sleeves. The Mad Professor and Scientist album sleeves feature this kind of really interesting cartoon anarchic imagery; all that stuff had an influence on us. Growing up, you described yourself as “very unacademic” and “hated working for anyone else” – did this spur you on to become a success? I was a total daydreamer at school and didn’t really have an academic brain; I couldn’t sit still for long. I even tried post-school youth opportunity schemes, and applied myself to a little bit of art here and there, but it didn’t progress into a profession such as graphic design or illustration. I think I was quite a lazy kid and graffiti seemed like and exciting and anti-authoritarian thing to do. Doing it at night, learning how to use a spray can and taking those minor risks was fun, adventurous and a little bit cheeky. That was really what it was about, because for all of us guys it seemed like a much easier option than getting a job [laughs].

Bristol has often been described as a cultural melting pot, is this something you were aware of growing up there? Do you feel this still holds true today? Do you think it’s the same mentality and atmosphere? I think yeah, absolutely. It’s always had a very multicultural sort of base to it. Particularly back in those days, you had mainstream nightlife down in the centre of town, big clubs – not like the big franchises now, but in that time there was big independent clubs that you would want to go to on a weekend. Then you had a few alternative places where you would go to gigs and listen to music. Some were real throwbacks, places like the Western Star Domino Club, which was an old Jamaican domino club where you still had that sort of scene going on, but you could still rent out and put club nights on. Places like the Blue Mountain Club, blues clubs in St. Paul’s and the Dug Out, these were all venues where you’d congregate. Notorious graffiti artist Banksy has cited you as an inspiration; as new graffiti styles continue to emerge, how do you feel about the evolution of this artform? It’s [graffiti] changed a lot. It’s so much more sophisticated than it used to be, but that’s part of evolution in any art scene I guess. It still has very strong and very proud roots in calligraphy, but graffiti’s got a lot more illustrative and figurative than it used to be. I feel that the social and political message is less prominent with most

painting: 3D - Minstrels

straightforward graffiti artists; it’s more of an illustrative movement in most places, especially in the developed world. When I was painting ‘that way’ [politically] and was arrested a couple of times, my name was known to the police, so it was difficult to keep playing ‘that game’ unless I was going to completely change my identity. I had already been done twice and the third time I was going to get locked up. So I started thinking, I had always also worked with stencils, you know early on, and I guess I saw it as a shortcut to creating an image quicker than having to draw it slowly. I think I was always an impatient kid, so the stencil form was very appealing to me. I soon realised that it was too risky to paint a ‘real piece’, so I moved into stencil painting and worked more as a screen printer. Again, the influences came from the ‘hip-hop thing’ where I’d seen a lot of graffiti art and also had been exposed to people like Futura 2000 and then Jean-Michel Basquiat and Keith Haring. Through people like Jean and Keith I discovered Pop Art, which I’d not really taken enough notice of; Warhol screen printed massive areas and became a huge influence on how I used stencils and colour. At the time, a lot of Bristolbased artists were really anti it [stencilling]. It was all about the free hand, free spirit ideology and it took a long time for people to understand that stencilling was innovative and exciting. What sorts of things were painting at that time? You have quite a political head, has that always run through you work? Most of the time it became a bit of a game, with us painting on the street with masks on, until I got arrested. It was still all a game until the second arrest, community service, fines and a “next time you’re going down for it”. I was keeping my head down became it had gotten a little bit more serious as the time went on. Because there was a giant amount of damage done to buildings by taggers, the Police were trying to create examples out of people, so it wasn’t so much political, but more a slightly childish cat and mouse game that served its purpose at the time I guess. After being caught a couple of times you moved into a more ‘controlled ’ setting - how did it differ from having the streets as your canvas, compared to a more guarded environment? To earn a bit of cash, I did some things for mates; working on their restaurants, café’s and stuff, I kept working in a mural form as opposed to making that snap to canvas. At the time there wasn’t an urban art scene where my work would have had any value. What was happening in the New York art scene at

the time didn’t really translate to the rest of the world; everywhere else was just an imitation. My first pieces were all over a room in a pub called the Montpelier Hotel, where the local young villagers used to hang out. That was where I did my first painting and they [the owners] let me use the garage in return for it. That garage became my studio for about four years. What I was doing then, informed what I did on the first Massive album, because at that point the Wild Bunch had sort of like split off and moved on. Me and Mushroom started working with Neneh Cherry and Cameron McVey on some tracks for Neneh’s album and they encouraged us to get into the studio and make our first record, which became Blue Lines, so that was obviously a big distraction from the art scene at the time. I’d gotten into this stencil thing and I’d done a couple of shows, but the music became the main flame for me, but when the record was nearly finished we started talking about the [album cover] artwork. Everyone seemed really keen on me creating the sleeve artwork. I was inspired by an old Stiff Little Fingers logo from the Inflammable Material album as the sleeve image for Blue Lines; that particular flame logo is punk lineage for me. It’s funny you should just mention Blue Lines, because you have two Massive Attack tattoos; one of the Blue Lines “flame” on your left arm, and a larger one similar to the beetle on the cover of Mezzanine; why these and do you plan anymore? The first one was of the Blue Lines flame, the second was from Protection, the third on my back is the Mezzanine beetle, and the forth is the 100th Window exploding glass figures, which I wasn’t sure would translate onto the skin as tattoo art. It’s one of those things that feels a bit odd having your own [art on your body]. I don’t have any of my own pictures on my walls at home, only other people’s art that I like. I just try to collect lots of different pieces that feel a part of a whole; to me that’s an evolution of when the pieces of art has come from, but I would never have my own stuff on my body. Your music encompasses a lot of collaborations, whereas you work independently when creating art, do you have a preference and does art provide you with a ‘sanctuary ’? Which is more enjoyable? I’ve got a show to do next year, and I need to get my arse into gear, but I’ve not really been that inspired. I’ve been more excited about planning what we’re going to do on stage [on tour] rather than the actual music. It’s [being on tour] like shooting your own movie, a way to share information and translate your ideas. A lot of the artwork that we’ve been working on has incorporated LED strips, and molding them into a standalone piece; it’s been a distraction for me, an easier option than standing and painting for hours. It’s bizarre,

because when I do paint, I absolutely love it. It feels like the only time on my life when I’m completely absorbed in something. Do you feel an equal amount of creativity and passion towards art and music? I think my music takes precedence much more than the art, as I’ve gotten older. There’s a social and communicative aspect about the creative challenge of trying to do something different. I think challenging myself in the pretty crowded world of music gets more and more exciting; so much to hear, so much to do. For some reason, I thought that it was going to be the other way around? Art really ‘happened’ for me in 2003 when I was really into Japanese artist Tatsuo Miyajima. He works with LED, creating Japanese numerical sequences that are almost Buddhist-like. The art was really spiritual and related to the time that we have on the planet and get to know ourselves as human beings. I really wanted to work with him on our tour, but it was going to be pretty expensive to create one piece, so Mark, our manager and I found a company called UDA, United Digital Artwork. Working with LED onstage became totally absorbing, and for the last decade, during every single gig and tour, we found a new way of presenting LED work. The work really evolved on tour, we were dealing with environmental and social concerns, financial equalities, the war in Iraq and a financial meltdown, as these issues would change, we’d update the artwork. As I said, I’ve got this show coming up and I really need to get my shit together and refocus (laughs). It’s widely known that you were opposed to the War in Iraq and have created series of paintings inspired by September 11th – do you maintain a political stance throughout all of your work? Everything that you’re reading and observing, without sounding too profound, will influence your output. Every now and then I produce something that’s usually a bit more political, and like with art, political music rarely works well, but when it does it’s a beautiful thing. Banksy does it very well, serious and surrealist yet very political

and cutting edge, striking a brilliant balance between humour and point. I think that I’ve recognised my limits, with the LED on stage I try to transmit a lot of ideas, some in harmony and some in disharmony, it’s the most intriguing way to show a point of view. Is it important that the audience completely understands the messages that you’re trying to communicate, political or otherwise? Absolutely yes, and I think at gigs they do [understand]. From what people say after the show, everyone has a different idea of what they feel is important. You’re providing them [the audience] with music and a mood for the night, mashing all these different ideas that people instill within themselves and then takeaway something unique. It’s really intriguing, sometimes people will get it and sometimes they won’t. You’ve exhibited as part of War Paint, which was a collaborative exhibition inspired by the UNKLE album War Stories; do you have any more exhibitions or art collaborations planned? I want to create a piece for the next Outsiders show at the Tunnels in October; I would love to do something for that. Then again, it’s my own show that I’m working on next; it’s not at all about going back in retrospect, but more about the stuff I’ve been doing over the past few years and the stuff that I’ve been inspired by, such as the War Stories show and the Heligoland artwork. It’s going to be a mixture of those influences, with the LED work hopefully becoming a feature of it too. You’ve kind of answered my last question, which was, how do you see your art and music developing in the future? The ‘development’ will be the next show in 2013, in terms of how the stage works and what it feels and looks like. I think stand-alone pieces probably aren’t where my heart really lies. The gigs are something more like making a travelling film, almost like making a movie that’s being translated every night into each space, or being adapted each night to each city, which I think is really exciting.

painting: 3D - Heligoland

DIE JUNGEN Text: KAREN BANWELL The Deluxx music feature for this issue is a rare interview with the enigmatic Klaus Von Barrel of Die Jungen (The Youth) and The KVB. The “hazy, lo-fi, nostalgic laments” of Die Jungen’s excellent debut album At Breath’s End have been described as utterly hypnotic and haunting and superb, subtly realised fifties/sixties hypno-pop. Klaus answers Deluxx’s questions below: How did you choose the name Die Jungen? It came about after going on a trip to Berlin in February 2011, shortly before I recorded the first Die Jungen songs. I liked the way it looked written down and knew I wanted to use it for a title at some point, so when I needed a name for the songs I had just recorded, I figured it fitted them well - as most of the songs are about a lost/ forgotten youth. Die Jungen is a side project of your original band, The KVB. What is the difference between the two concepts? Up until now, Die Jungen has been completely based around re-appropriating songs from the 50’s/60’s and turning them into hazy, lo-fi, nostalgic laments - whereas The KVB is more based around noisier, darker, original compositions. This is why I decided to split the 2 projects, although I think there are a few similarities in the projects. E.g in the vocals, melancholic feel and instrumentation of the tracks. Your latest album, At Breath’s End, is an obvious homage to the songs of the 50s and 60s. Why does the music of those decades attract you? When I was around 15/16, I wanted to discover all the music I possibly could and everything I listened to at the time seemed to be influenced in some way or other by the music of the 1950’s/60’s. I was already familiar with a lot of the artists I found, as it was the music I had grown up with thanks to my family, films, television etc. There is a ghostly feeling about the whole album – both melancholy and disturbing. How was this achieved? Sound wise, with lots and lots of reverb! Also, the way the samples were slowed down and looped gives it a hypnotic

vibe, I think. The lyrics are all very personal too; about love, loss, friendship, narcotics and false memories. Why did you decide to inject darkness into the usually bright and poppy sounds you’ve appropriated here? I didn’t initially plan to turn the sounds dark, but as I began to manipulate the samples and think of lyrics and melodies, it all just seemed to go that way! The influence of the music I’ve made with The KVB probably helped to nudge it that way too. What can you tell me about the making of the great video for I Pray To You? Its similar to the other videos I had previously made for Die Jungen, all made from ‘found’ or film footage, but on ‘I Pray To You’ my girlfriend Kat (who is also in The KVB and a video artist) helped me give the footage a twist by applying some data moshing to the clips. I’m glad you like the end results! You’ve been around Europe with The KVB. Do you have any tour dates forthcoming for Die Jungen? The only confirmed upcoming date is currently at Incubate festival in The Netherlands in September - although new dates are likely to be added soon, so keep a look out for those! Die Jungen’s debut album, At Breath’s End, is out now. More about Die Jungen here. More about The KVB here.

PAULINA OTYLIE SURYS THE DARKROOM OF FAIRY-TALES Text: CHARMAINE AYDEN Depicting a hazy reality reminiscent of Alice in Wonderland meets the sordid backstreets of Victorian London; Paulina Otylie Surys shoots acid-etched elegance. So romantic that you can almost hear the Philharmonic Orchestra striking chords in each unsettling image, Surys is renowned for a macabre eroticism that is brilliantly devastating. When did your interest in photography begin and was it ignited by a significant photographer? I have been fascinated by photography and still images since I can remember. As a child I would spend days browsing my grandparent’s family albums. The photographers were unknown, it was the softness of the light, the wonderful sepia hue of albumen prints and hand colouring that made looking at these images one of my sweetest memories. The way they felt in my hands, thin and precious, with decorative edges and the smell of old paper mixed with the leather covers of the albums. Also, our house has always been filled with art books, being raised in post communistic Poland in the 80s I did not really have much chance to waste time watching TV. Instead I would escape into books; especially reading or admiring art albums (the photographers who particularly caught my attention was Witkacy, Nadar and Jan Saudek). So that was how the passion was ignited, learning from ancient photography and master painters combined with inspiring trips going walking in the countryside (I tended to leave the house without telling my mother or grandparents, silently sneaking out). From these

interests I evolved a desire to capture the things I saw myself by the use of photography. I certainly agree with Brooks Atkinson’s comment that “The virtue of the camera is not the power it has to transform the photographer into an artist, but the impulse it gives him to keep on looking”. However, photography at this time was an unrealistic prospect since we did not even have a camera in the house (I had my first analogue camera when I was at university). Your images are a hybrid of vintage and modern techniques, toners and inks; how do you strike a balance? I try to keep a balance between the present and the past in my work; the ideal results are timeless hybrids, combinations of the old and the new, photography and painting, fairy tale and nightmare. The results may be slightly disturbing and yet, however weird it may sound, I think it is really important to take the viewers outside of their comfort zone and common aesthetic expectations. Viewing the photograph should be a spectator’s very own journey.

There’s a strong relationship with classic photography and art that’s evident in your work - is this something that you’ve studied in the past and do you hope to convey a certain time in history? I was raised being surrounded by art. Studying fine arts and painting at the Fine Arts Academy in Poland gave me some insight into classic and abstract art. I am a strong believer that good, classic portraits are a very strong base for every artist of every technique. I have a large selection of reference photos and images ranging from Ancient Egyptian death mask portraits, through to abstract portraits by Bacon, via, of course, many 19th century photographs. It is 19th century photographic techniques that I have started exploring; techniques such as wet plate collodion. All of your work encompasses a hauntingly beautiful and dreamlike atmosphere; can you ever see yourself creating something more minimal? As noted by Jerry Uelsmann, “the camera is a fluid way of encountering that other reality...”. Photographers are naturally divided, according to their own inclinations, into those who wish to accurately document the world as it really is...and those who wish to create their own worlds.

I have never been able to capture the real world; I capture feelings, moods, that which is under the surface. It is a yearning for the unknowable. The most minimal shoot I have done was the editorial “Sever “ for Volt magazine, last year. I also, really enjoyed it. . Do you tend to manipulate a lot of your photography? It depends of the subject, commission and project. Working on personal projects gives the most freedom to any artist, however my upcoming book project is fantastically fulfilling for me creatively too. My publisher, Emmanuel Durand from Editions, gives me a wonderful and total freedom but, at the same time, he helps with building my creativity. So technique is always something that depends on the overall feeling of the shoot. Sometimes I like to have the images pin sharp and just in black and white silver gelatine, showing off the shapes and composition, the light and greyscale. Another time though, I might dissolve the image in bleach and with abrupt streaks of toners, blurring the sharp symmetry of the image and creating areas of white out. Too much light creates its own blindness. The subject is now abstract, displaced and disfigured. Colour also creates its own inner composition, it is capable of changing the overall mood of the work.

Can you tell us a little more about your latest work for Collaborative papier? The Alpines and Chloe Kerman from Garage magazine took me on board for this project. I shot the editorial campaign for Mother of Pearl and for their new magazine, Collaborate. The paper is a creative platform for www.; a project we did when Mother of Pearl had a pop up shop at SHOWstudio (they asked many fantastic artists to take part, such as Pierre Hardy, Polly Morgan, Alex Fury, Damien Hirst and David Bailey). Theatrical outfits are often used in your images, would you agree that they make your photography feel more like stories than editorials? I treat outfits as part of the composition and, yes, sometimes they will even inspire a story. But shouldn’t an editorial be a story? Shouldn’t it take us outside of reality for even a short moment and let us dream? Theatrical outfits naturally imply this idea and will automatically awaken romantic notions in viewers so disposed. Photographs should certainly bring forth an emotional response. You’ve previously mentioned that you have a fascination for death; when did this interest intensify, and what draws you to the macabre? “Death is a mother of all beauty”, photographs are not about life but about the remains of it. They are about the disappearance or destruction of objects, lands and people. Looking at photographs, we are not viewing the present, just a captured moment from a time that is no more. You can almost see the annihilation following in time’s wake. Death is the most natural of occurrences, yet people fear what they do not understand. I believe I have carried this interest since I was a child; I once came across some post mortem photographs of children in the family album (in my country we had a morbid custom of photographing before burying them). That is where I came eye to eye with death for the first time. What shocked me was the emptiness, the lack of, quite obviously, life. The first time I discovered art inspired by Death was in a museum in Avignon; Ives Lambert was holding a beautiful exhibition featuring artists such as Andre Serrano, Nan Goldin and Levit Sol. Also, being introduced to Works of Joel Peter Witkin and Sally Mann (what remains) added to my pursuit.

You exhibited as part of the Mythologies exhibition at the Rivington Design house with Wendy Bevan, Stefan Milev and Jordan Sullivan, how did you approach the theme of surrealism? Taking a photograph is like an elaborate treasure hunt. It is not the physical object hanging on the wall in a frame that makes a photograph what it is, but the subjects captured in it. Even the slightest distortion of the subjects, any small abnormality, can give them a beautifully surreal effect that is sometimes disturbing. The choice of pose, colours and the position of the subjects can utterly change a simple scenario. Would you consider branching into other creative disciplines, such as music, fashion, art or theatre? As I have mentioned, I used to study fine arts and painting before I moved into photography and my next project is more focused on art and will be more conceptual. We hope to get some great sponsors for such a large task. As for other disciplines, I have already had proposals made to me to work on projects as an art director. One project was supposed to be huge, a contemporary opera (National Polish Opera), an extremely talented and good friend of mine, a composer, requested me yet I declined. I simply felt it wasn’t the right time, it felt too early in my career for me to handle such a project. However, I am growing more confident in my abilities and am perhaps nearing a time when I will take up such challenges. Do you have any future projects or collaborations planned? Yes, I have been working on my first book, a Monographic album which will be published by Paulsen in October 2012, a compilation of works (A2 hard cover, with one loose print which can be framed). I am also working on my exhibition projects and have an exhibition with Italian Vogue 19th July - 10th August at the 10 Corso Como Gallery in Milan ( There is another book project to come after the first album is published, a collaboration with the brilliant sculptor, Pascale Pollier home.html It will be a project about the worldwide and timeless act of mutilating or deforming the human body, of which countless methods have been devised over time, in the search for beauty. The project will be finalised with a series of photographs and, later, an installation and possibly a short video.

DAYNE HENDERSON FETISHISTIC FASHION Text: LUCY TOPPING Playing with proportional juxtaposition and an industrial aesthetic, Dayne Henderson has recently graduated with a BA in Fashion Product and Promotion from University of Sunderland and an incredible final collection which showcases an undeniable talent. Henderson talks to Deluxx about working with latex, the importance of good music and experimentation with fetishistic facial coverings… You have an incredibly clear design vision when it comes to the aesthetic of your work. Where do you look to for inspiration? All sorts of places, when it comes to looking for inspiration I don’t research too much into it as I feel you can get a bit lost. It’s generally quite concise, designers that I turn to every time for inspiration would be Gareth Pugh and Thierry Mugler, I also look at a lot of stuff on the Trend Hunter website. A few photographers like Patrizio Di Renzo and Nick Knight, that kind of visual style.

The fabrics you use lend a real theatricality to the designs. What made you want to experiment with the use of rubber in your garments? I wouldn’t say I had a fetish with it, but the properties of it as a fabric means I’ve always had a keen interest in its look and how it looks when used in a garment. My final collection was the first chance I had to play with the fabrication and work out how it can be used. There are not a lot of people using latex right now so I figured that would be my niche, a distinct channel I could pursue in my work.

So do you choose to work exclusively with plastics or do you also use more conventional fabrics in your designs? Not really, that’s just something I’ve come into lately, I like a harder look in my work and plastics allow me to achieve that. I have worked in other fabrications previously such as denim and leather. I don’t mind using other fabrics, but having worked on this collection I feel as though I’ve found my medium. With more and more designers harnessing the power of fashion film to promote their work, digital platforms are becoming an essential step in the design process. Having already created one short film for your work, is this something you plan to pursue further in the future? Definitely, when it comes to my design process the key part for me is music. I work backwards in the sense I visualise it on a catwalk and so I decide on what music would accompany it and I listen to it repeatedly. The collection then gets built around the track. This collection is not shown on a runway and so getting the right music as a backdrop for the film was so important for the overall ambience. The use of video was the perfect way in which to showcase the collection. It works as a behind the scenes feature, so I had a girl with a camera who captured everything in quite a dark way, meaning the editing had to be suited to this kind of content. It was all about showing off the silhouette and the cut of the garment and this was the best way to achieve that. Some designers, especially those of a theatrical persuasion, are known to send their designs elsewhere when it comes to the art of construction. How did you learn the act of

pattern cutting and how important is it to you as a designer that you create the garments yourself ? It is a huge part of the process for me, pattern cutting is something I actually really enjoy doing. I went to Northumbria University before coming to University of Sunderland and so I had the chance to learn that technique. I think once you’ve had that opportunity and learnt the basics you can then evolve to do your own thing. It’s something that I’ll always stick to and something that I will always do myself. Due to the nature of my accessories, it was necessary for those to be sent away, so it’s then a case of working really closely with the manufacturers to make sure they are as true to my own designs as they can be. In regards to the accessories you have already created, the plastic masks made to complement your designs have already triggered the attention of the international press. Do you have any plans to design more accessories in the future? I’m very much interested in masks; if I had my own way then every look I ever sent out would have a mask accompanying it. I like to play on identity, take the emphasis away from the model and focus the attention more on the clothing and my aesthetic as a designer as opposed to the beauty of the model or how they look. I would also love to work on extreme footwear, anything which looks a bit obscure. Where do you hope to see yourself in the next five years? I’m hoping to complete a Master’s degree, learn my trade a bit more and then set up my own label, that’s what I want to ultimately achieve. contact:

CRAIG GREEN Text: EMILY PARKER Through an exploration of sculptural shape and form, Craig Green takes male fashion to a whole new level of creative. Discover how unorthodox material preference and experimental practise led the Central Saint Martins graduate to produce his striking MA collection...

On occasion the distinction between fine art and fashion can become difficult to define, as fashion begins to incorporate much more than simply designing clothes. Coming from a fine art based background, what informed your decision to study fashion? Does your interest in fine art influence your practice? When I’m looking for inspiration I look a lot at art and sculpture. I think studying art previously has enabled me to incorporate varying outside influences instead of the normal fashion imagery. I think it’s always important to have some form of fantasy in what you design and art is all about that, aimed to make you feel and think about what you’re seeing. It is true that the lines between art and fashion are quite blurred but I think it’s always been the case, unless you are making clothes completely for commercialism and function.

You initially studied Womenswear during your BA, why did you decide to progress to Menswear? Do you think your understanding of Womenswear affects your current designs? It was kind of a natural progression I guess, the women’s clothes I was attempting to make had nothing feminine about them, which I know isn’t the be all and end all in womenswear. I think I just felt more natural around exploring men’s clothing and playing with ideas of masculinity. Structure and form seems to be prominent in your work. Where do you draw your inspiration from when designing the cut and shape of your more tailored pieces? I love shape and form and I’m obsessed with sculptural structure. I always look at sculpture and take a lot of

All photography Morgan O’Donovan

inspiration from it. In terms of the clothing side of my work I look a lot at religious dress and workwear, I think there’s a lot of a similarity in them and what they represent. Is there a particular reason why you prefer the ‘do-it-yourself ’ approach to design? I’ve always been surrounded by D.I.Y and building materials, so I guess that’s where my interest stems from. I love experimenting with materials and developing fabrication techniques and use a lot of wood and paint when I make stuff. I also believe in the idea of making stuff yourself, I think a lot of designers and places rely on out sourcing in a lot of what they do, and it’s something I want to develop further in my work. Your MA collection features a very minimalistic colour scheme, highlighted with flashes of bright hues. Is there a significance to the colour palettes used in your designs? Do you consider colour a means of cementing the concept of your work? I think colour is so important in everything, the choice to use it, the tone or even the places that colour isn’t used can change the feeling of the design so drastically. In my last collection there was a lot of reference and inspirations from ideas of light and dark and I used a lot of coloured projections to place and line up the prints. The use of sections of colour to support these ideas that were born out of accidental developments. I do believe colour is an amazing thing and when used well can have huge impact, but then at the moment I seem to be doing a lot of monochrome and minimalist colour palettes in my work, which can also be equally as impactful. You tend to make use of unusual substances in your designs, which may seem unorthodox to

some. How do you source these materials and what qualities do you feel they bring to the design process? Materials and their use is something that has always interested me, like I said in the previous question, I was always surrounded by building materials when I was young. I think this added to always having a curiosity of what a material can do or be, I guess this has lead me into using unusual materials in my work. I think the experimentation of materials help to push things a bit further and make people think, although a lot of the time they can come across as un-commercial and impractical. Currently there seems to be a gap in the market for avant-garde menswear. As a designer of quirky, bespoke clothing would you wish to see unusual men’s clothing become more readily available to the public? I think men are very stuck in the way they buy clothes and the way they dress, I don’t even think the large majority of men go by seasons either. I think they just want interesting quality pieces and this is something I’m planning to develop in what I do whilst still having strong visuals, props and ideas. I do think it’s important to keep the ‘avant-garde’ element to my work but want to develop how I can translate my interests into clothing. How do you see yourself, your visions and your practice progressing in the future? Is there anything in particular you aspire to undertake? I hope to develop what I do further and try to build a business out of it, by still keeping the same visions and inspirations I’ve always had with a focus on more accessible and wearable pieces.



Foil swimsuit: OMO NORMA KAMALI Studio earrings & heels: STYLISTS OWN

this page Vintage skirt: AMARCORD Pumps: ALDO opposite page Collar necklace: AVANT GARDE Vintage cape: AMARCORD

Swimsuit: DKNY

Hat: GIOVANNIO Scarf as top: BLANC DE CHINE Studio tap pants: STYLISTS OWN Bracelet: SWAROVSKI

this page & opposite Cover up: GOTTEX Swimsuit: ITSYKINI Aviators & men’s black diamond bracelet: DAVID YURMAN Ring: AVANT GARDE




Dress: NOMIA

this page Dress: OAK SILK Rope belt: STYLISTS OWN opposite page Dress: NOMIA Porcupine pin: STYLISTS OWN

this page Top: FACTORY BY ERIK HART Trousers: OAK SILK Shoes: JEFFREY CAMPBELL Silver Choker: STYLISTS OWN opposite page Coat: OAK NYC Trousers: HARMON NYC Latex bra & underwear: ATSUKO KUDO

this page left, Coat: OAK Trousers: HARMON NYC Latex bra & underwear: ATSUKO KUDO right, Jacket: OAK FACTORY BY ERIK HART Trousers: H&M Shoes: WON HUNDRED Latex Underwear: ATSUKO KUDO opposite page Dress: FACTORY BY ERIK HART Blazer: VINTAGE

this page Dress: NOMIA opposite page Dress: FACTORY BY ERIK HART







this page Vintage: RICK OWENS Tights: EMILIO CAVALINI opposite page Top: EGGREAM NYC Panty: AGENT PROVOCATEUR Shoes: MARNI





this page Jumpsuit: TWIN COUTURE Shoes: RIVER ISLAND opposite page Jumpsuit: BLUE BLOOD

this page Jacket: H&M Jeans: PAIGE opposite page Blouse: KUYICHI

this page Top: PRIMARK Skirt: BAS KOSTERS Shoes: STYLIST’S OWN opposite page Jacket: KUYICHI Short: WHITE SEAL BY REPLAY Shoes: H&M

this page Top: PRIMARK opposite page Blouse: REPLAY




Gold angel ring: BEYOND RETRO

The moon ring & lip ring: ORAH LONDON

The snow leopard ring & lip ring: ORAH LONDON

Gold spider & gold earring: PEEKABOO VINTAGE



Jacket and trousers: TWEEN T-shirt: TWEEN Shoes: ORIGINAL PENGUIN Bracelets shown throughout: MODEL’S OWN


this page Jacket and Trousers : LIBERTINE Vest: UNCONDITIONAL Belt: AMERICAN APPAREL Boots: ORIGINAL PENGUIN opposite page Vest just seen: UNCONDITIONAL Waist coat: UNCONDTIONAL

this page Knit top: UNCONDTIONAL Underwear: MODEL’S OWN Boots: ORIGINAL PENGUIN opposite page Jacket and Trousers: DAY BIRGER ET MIKKELSEN Jumper: UNCONDITIONAL Boots: ORIGINAL PENGUIN



Sweatshirt & shorts: MONEY Shoes: MODEL’S OWN

this page Pants: TRINE LINDEGAARD opposite page Top: WEEKEND OFFENDER Shorts: HUMOR Socks: STYLIST’S OWN Shoes: MODEL’S OWN

this page Top & shorts: HUMOR Socks: STYLIST’S OWN Shoes: MODEL’S OWN opposite page Shorts: TRINE LINDEGAARD Socks: STYLIST’S OWN Shoes: MODEL’S OWN CUSTOMIZED BY STYLIST

this page Shorts: TRINE LINDEGAARD Hat: ROKIT: Socks: STYLIST’S OWN Shoes: MODEL’S OWN opposite page Sweater: HUMOR Pants: AG

this page Shorts: TRINE LINDEGAARD Jacket: SCHOTT opposite page Shorts: HUMOR Socks: STYLIST’S OWN Shoes: MODEL’S OWN



White dress: RIONA TREACY White head vale: STYLIST OWN Necklace: PRANGSTA Black boots: MO-SAIQUE

this page Black dress: KORLEKIE Head Piece: PRANGSTA Black boots: MO-SAIQUE opposite page Navy blue dress: ANDREW MAJTENYI Black boots: MO-SAIQUE Metal spike necklace: PRANGSTA

this page Black dress: KORLEKIE Head piece: PRANGSTA opposite page Black lace long sleeve top: TOPSHOP

this page Embellished cream bodysuit: PRANGSTA Boots: STYLIST OWN opposite page Black head vale: STYLIST OWN Black bodysuit: KORLEKIE Black cut out dress: RIONA TREACY Black boots: MO-SAIQUE

this page Black boots: MO-SAIQUE Black transparent dress: RIONA TREACY Necklace: PRANGSTA Black leather gloves: STYLIST OWN Black leather hot pants: KORLEKIE opposite page Black dress: GERLI LIIVAMAGI Black leather gloves: STYLIST OWN Black boots: MO-SAIQUE

photography: JOCHEN BRAUN styling: PRISCILLA OMISORE hair & make-up: ANNAM BUTT model: NASTYA P @ MODELS 1


Coat & skirt: Sweatshirt & shorts: KARMATIQUE MONEY Shoes: KOBE MODEL’S HUSK OWN

this page Suit & bodysuit: ZIMMERMANN Necklace: GALA Shoes: KOBE HUSK opposite page Dress worn underneath: GUCCI Dress worn on top: ROMANCE WAS BORN FROM CAPITOL L Necklace: MS FITZ

Shirt & skirt: JUST CAVALLI Necklaces: MIU MIU Shoes: ELLERY

this page Dress and jacket: SARA PHILLIPS opposite page Jacket: SARA PHILLIPS Red matt lips: ILLAMASQUA

Kimono & trousers: STEELE Shoes: REPETTO

Dress: LISA HO Black necklace: MS FITZ Gold chain necklace: GALA