the creatures of light and darkness issue
enfants terribles - the creatures of light and darkness issue céline hallas søs uldall-ekman editor in chief + art direction céline hallas layout
Cover shoot: Photography: Søs Uldall-Ekman Model: Ella Elvira Fur bonnet: Little goodall
Styling: Josephine Jeannin - Photographer: Olivier Jeannin
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None of the content in the Enfants Terribles issues may be used without written permission from Enfants Terribles Publications. This also goes for any content posted via social media. We claim all rights to the name Enfants Terribles Magazine and all written words and photos surrounding the magazine. All questions regarding the content of the issues should be directed towards the editorial office of Enfants Terribles. In case you were wondering, that doesnâ€™t mean we donâ€™t want you to pin our content and share our pics for personal use on your blog for inspiration. On the contrary, we would be very honoured if you found our content worthy of sharing. If you do use our pictures on your personal blog or social media, please remember to credit us, link to: enfantsterriblesmag.com or @enfantsterriblesmag #enfantsterriblesmag
Pattern Design: Furnish Delights, @furnish.delights
EDITORS LETTER...07 TRENDS - AWOOLY WINTER WONDER LAND...14 BOOKS...16 EDITORIAL - DARK/CLEAR...20 ILLUSTRATION feat. AMANDA HOFFNERA...28 FATHER FIGURE feat. MARCEL VAN LUIT...30 LITTLE LABEL LOVE...36 THE EXPERT - on talking to kids about life...44 CHILDREN’S VOICES - on life and death...46
THE EXPERT - on talking to kids about death...60 EDITORIAL - FAIRYTALE FOLK...62
NATURE MORTE feat. JOSÈPHINE JEANNIN...80 EDITORIAL - SLEEP BLESSIN...82 ART feat. CAMILLA ENGMAN...94 DECOR - NORDIC NOIR...106
EDITORIAL - WE EXIST IN UNKNOWN PLACES...112 ILLUSTRATION feat. MARIA TROLLE...122 INSTAGRAM feat. @JESSOPER...124 EDITORIAL - SEEMINGLY DIFFERENT..134 THE STORY OF KNAST BY KRUTTER...144
NATURE MORTE feat. JOSÈPHINE JEANNIN...152 STORYTELLERS - MARIUS SCHULTZ...154 EDITORIAL - BLINDING NOSTALGIA...166 PAPERDOLLS - STAYING WARM IN STYLE...180 FAMILY PORTRAIT - THE LOEKS...186 FOOD feat. SIGNE BAY...198 DIY - SHADOW THEATER...204 THANKS FOR READING, NOW GO PLAY... 208
M A G I C PA R A D E
Creatures of Light and Darkness. A strange and mysterious title that this 11th issue of Enfants Terribles Magazine bears. It sparks a darker part of our imagination, that we felt we had yet to explore in depth in the magazine’s history.
We guess with the timing of our last issue of the year, you might have expected a more festive theme than this one, but the thing is that we’re probably all burried up to our necks in happy family traditions and jolly, good, merry and busy times these days. This is why we thought it might be good to take a closer and curious look at that dark something that lies beneath it all. Lurking under the surface of all this light and glory and celebration of life lies that big and scary truth; that it will all be over one day. Death. The end. Also the new beginning. The good and the evil. Our highest hopes and our darkest fears. All this cheerfulness is the celebration of the fact that we are here, now, alive and together. But without darkness there can be no light. These are the darkest times of the year, when the contrasts and dualities are felt the strongest. Wether it be between light, darkness, life, death, togetherness, loneliness, endings or beginnings, the wish to dive deeper emerges. If we dare to stare back into the dark and scary face of Death with the innocent hearts and curious minds of a child, just maybe we can learn something. Children are forever our go to source for inspiration when creating and exploring new worlds, so this time our Voices of Children feature is about this weird business of living and dying. The kids have answers. Don’t be affraid. We are all Creatures of Light and Darkness. We hope you’ll enjoy our 11th issue and thank you for being here. Søs and Céline
Pattern Design: Furnish Delights, @furnish.delights
CONTRIBUTORS REGULARS CÉLINE HALLAS CHRISTEN NOELLE DANIELLE CHASSIN DEBORAH DEWBURY-LANGLEY HEIDI KORSGAARD INGER MARIE HAHN MØLLER KATHRINE MARIC MAAIKE POSTMA MARIEKE DAS POLLY GEAL STINE ALBERTSEN SØS ULDALL-EKMAN
THIS ISSUE AMANDA HOFFNER ANJA ØSTERGAARD BIRGITTA SONN CAMILLE CHANDÈZE LONGUÈPÈE CARLOTTA BORGOGNA CAMILLA ENGMAN IRMELA SCHWENGLER JULIE A MARTIN JESS SOPER JOSÈPHINE JEANNIN JULIE POMMERENKE KIM WOODS STEPHANIE MATTHEW MARIA TROLLE MARCEL VAN LUIT MARIUS SCHULTZ MEGAN LOEKS SILVIA COLUCCELLI SIGNE BAY
Sunday 24th to Tuesday 26th Paris, France
The international children’s & maternity trade show
illustration Anne Laval
Fashion Gift Home Baby gear
January 24 - 26, 2016
February 14 - 16, 2016
TOKYO February 23 - 25, 2016 www.playtimetokyo.com
ChIldREN’S & mATERNITY TRAdE ShOWS WORldWIdE! For proFessionals only
A WOOLY WINTER WONDER LAND RECOMMENDATIONS FOR YOU BY KATHRINE HOUE
Is there anything cozier than going outside to play on a cold winter day all dressed up in wooly sweaters, hats and scarfs? And then afterwards come back home, get in your PJ, maybe a knitted cardigan and a pair of woolen socks? Some hot coco and a candle? For me, wintertime means wearing a lot of wool and so every time the temperatures start to drop I start collecting warm and soft wool for my little ones and myself. Here are some of my absolute favorite wool brands who are all paying a lot of attention to design, production and quality.
Pattern Design: Furnish Delights, @furnish.delights
1 // Babaa knit, T 2 // Shirley Bredal, The most beau 3 // Lille Lova Knits, These baby knits 4 // Pierrot La Lune, Thereâ€™s 5 // Waddler, I lo 6 // FUB, The Danish 7 // Gudrun & Gudrun, This compa 8 // Nieva, I love the si 9 // Misha and Puff, All pieces are kn 10 /
This Spanish brand knows how to play with colors and shape. utiful hand knitted childrenâ€™s clothes made in Nepal where Shirley Bredal lives. s by this little independent company run by mother and daughter are the cutest. s nothing softer than cardigan and sweaters from this Danish company. ove the story behind this brand and all their amazing knits. h brand who has specialized in delicate and easy wearable knits. any run by two Faroese women does the most amazing hand knitted sweaters. imple and beautiful products from this new Finish knitwear brand. nitted in Lima, Peru by a group of woman who Misha and Puff works closely with. // Esencia, Simply design in the highest quality.
recommendations for you by inger marie hahn møller
“Creatures of Light and Darkness” haunts us with its magic and slightly eerie beauty - and the world of literature is full of books that do the same. While reading with my kids I love the stories that have slightly more depth and maybe even touch subjects normally untouched by children’s literature and hard to talk about unless you find a key to lead you into the right track. Death and loss is one subject - but so is fear and the darkness we keep inside of us. For me as a mother stories and books is a way to loosen up for these subjects - and to get into those talks with the little ones we might not find time to on a daily basis but that are nonetheless a truly important and most beautiful part of parenthood. These are a selection of books that for our part have spurred these moments of serious talk and insight - be it the wonder of winter, the feeling of loneliness, the fear of the dark, or the many many questions about death and life. Books that are perfect for winter reading and time spent together inside. We hope they will inspire and lead to lots of fantasies and plays in the realm of light and darkness.
THE DARK by Lemony Snicket, illustrated by Jon Klassen The dark lives in the same house as Laszlo. Mostly, though, it stays in the basement. All day long it hides in a distant corner. But the dark in Laszlo’s house is not just any dark — it has a will of its own. And one night it comes to Laszlo’s room. “The Dark” by mysterious and renowned Lemony Snicket is a wonderful little book about the fear in all of us - and how to conquer this universal fear. The boy Laszlo is afraid of the dark, and yet he speaks to it. The story of Laszlo who explores the dark (and his inner fear of it) is illustrated with great emotional insight by Jon Klassen - a master of light and dark, the shady and the dim. The shadows are prolonged in just the right manner, and we truly feel the loneliness of Laszlo as he passes through the empty and huge house during nighttime on his symbolic search for the dark: ”You might be afraid of the dark, but the dark is not afraid of you. That’s why the dark is always close by.” In the end, Laszlo experiences that without the dark everything would be light. “And the dark kept on living with Laszlo, but it never bothered him again”, ends the story.
CHRISTIAN BOLTANSKI by Didier Semin, Tamar Garb and Donald Kuspit Light and darkness have with their powerful effects and symbolic meanings been integrated by many artists throughout art history, but especially French artist Christian Boltanski (b. 1945) leaves a strong impact in me. His poetic and thought evoking installations combine dramatic illumination and darkness, flickering lights and shadows, all-encompassing, totally surrounding the body of the viewer. In the 80s and 90s Boltanski made a series of works with found photos, often with kids. Barely lit and with an undertone of something sacred, strange and slightly uncanny, these anonymous, black and white photographs of children long since lost to adulthood, make us aware of the fleeting and ephemeral character of life. Another series use portrait photos of Jewish schoolchildren taken in Vienna in 1931, and in Boltanski’s installations serving as forceful reminders to us of the mass murder of Jews by the Nazis. Today Boltanski still works with the thematics about death, light, darkness and nature in decay. In one current installation the floor of the exhibition space is covered with hay and flowers, slowly going into decay, and another work consists of a clock that will stop the minute Boltanski’s life does. The book from Phaidon gives a good introduction to Boltanski’s work via interviews, essays and a selection of the artist’s own writings.
MOOMINLAND MIDWINTER by Tove Jansson We have written about Tove Jansson before and she does seem to be a master of capturing the feeling and the psychology of a season. In “Moominland Midwinter” from 1957 Jansson captures the darkness, the loneliness, the silence and the introspective mood of wintertimes. Our little Moomintroll awakes from his hibernation and finds himself overwhelmed by darkness as if the whole world was gone in this deep, wet, white that covers everything. He is unable to get back to sleep but also to awaken the rest of the family who are deep down in their winter slumber. Moomin feels alone in the whole world and somewhat lost. But he isn’t alone - outside in the dark other creatures are living their lives, ohh so different from the friendly summertime, that Moomin is familiar with. Throughout the story Moomin learns about winter and its creatures - and he experiences that winter do also provide serene and crystalline beauty. A story to embrace the darkness and to remind us about the complexity embedded within it. Moominland is indeed the home of creatures of light and darkness.
DOM SOM Är KVAR 7 THOSE WHO ARE LEFT by Karin Saler, illustrated by Siri Ahmed Backström “Dom som är kvar” [”Those who are left”], cleverly written by Karin Saler and beautifully illustrated by Siri Ahmed Backström, both from Sweden, is about the loss of a beloved person, and how those who are left have to handle grief, anger, despair and the incomprehensible. This book hit us very strong in all its simplicity, straightforwardness and honesty. The preciseness of Karin Saler’s text overwhelmed us and gave us tears in the eyes, but it opened up to good talks about death and sorrow. Siri Ahmed Backström’s illustrations with colourful crayons are everyday like and just as honest as the text. They don’t glorify the theme of loss and grief but depict it in a touching way which is very readable, also for small kids. Along with the serious topic the book maintains a positive and poetic message through all the familiar everydayness that surrounds those who are left. It reminds us about the life that is still going on. Unfortunately not yet translated into English the book is still important to mention - I have never read such an unsentimental story about death and loss. It could be read by all in Scandinavia because of the simplicity in the prosa - and the strength of the illustrations allows readers from outside Scandinavia to “read” along as well.
SINGING AWAY THE DARK by Caroline Woodward, illustrated by Julie Morstad The author Caroline Woodward grew up on a homestead in British Columbia, Canada in the 50s and 60s. No roads led to the farm house and the family didn’t own a car. So the little Caroline had to walk her way through the dark and remote winter landscape to catch to school bus and go to school. “Singing Away the Dark” is a wonderful story about these childhood memories and how a 6-year old girl finds strength all in herself to encompass her fear and the danger (imaginary and real) luring behind those tall black spruce trees. She starts singing and she keeps her song going all through that dark passage leading her to the lights and the warmth of the school bus. Singing brightens the dark, calms the howling wind, outshouts the looming nearness of the uncanny - the creatures of darkness awaiting just behind the spruce. Singing keeps her warm and makes her thoughts wander. Julie Morstad wonderfully captures the feeling of this rural child’s long journey to the school bus in her beautiful illustrations - the loneliness of the girls and her strength. Having a long way to school might not be everyday life for our kids today - but the idea of conquering something through such a simple and wonderful gesture as singing is universal for all of us.
THE BROTHERS LIONHEART by Astrid Lindgren, illustrated by Ilon Wikland How can we not include a title by wonderful Astrid Lindgren when touching this theme of light and darkness? It could have been other titles from her oeuvre but “The Brothers Lionheart” is the book I have read the most times throughout my own life. In the beginning, together with my sister and my mother, then on my own, and today together with my own daughter. I simply love the way this story gently adapts heavy and serious themes, normally unusual and slightly tabooed for children’s literature: Death, loss, darkness, war, tyranny, betrayal and the truly “Unheimlich” fill the pages of the book. But so do: Life, light, hope, love, revolution, courage, pacifism, liberty, fraternity and equality - important subjects in all times. Herself being deeply engaged in politics and marked by the dark periods of both the 2nd World War and the Cold War, Astrid Lindgren was not afraid of including these subject in her children’s literature - all in her own magic way. Besides all this, “The Brothers Lionheart” is a real adventure, quite hard not to fall in love with - adventures that filled my childhood with plays and fatasies about Nangijala - the land of the “campfires and the storytelling days”.
ONCE UPON A NORTHERN NIGHT by Jean E. Pendziwol, illustrated by Isabelle Arsenault A sweet lullaby for the youngest about the wonder and the beauty of a Northern winter night. While the young child sleeps, cozy tucked under the warming downy blanket, the first snowflake falls, and after that more and more. Through Jean E. Pendziwol’s poetic poem we follow the winter’s secret and magic nighttime life outside the cozy slumber of the bedroom. We meet the great owl drifting and the snowshoe hares playing, along with other of the nighttime animals. It is dark, yes, but most of all it is magical and the darkness is illuminated by the twinkling stars, the falling snow crystals and the Northern lights. The rhymes are accompanied by Isabelle Arsenault’s beautiful black and white illustrations - empowered by tiny spots of colour. The story is perfect for talking about the change of season and the first snow - but most of all is it a poetic and dreamy way to guide you child into fantasies and dreams about this magic winter world - and maybe into peaceful sleep.
DARK/CLEAR by Stephanie Matthew
Bathing suit // Molo Dress // April Showers by Polder from Shan and Toad
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FATHER FIGURE FEATURE MARCEL VAN LUIT
FATHER FIGURE FEATURE MARCEL VAN LUIT @this_cool_dad
Interview by Deborah Dewbury @larksnest
Marcelâ€™s photography has a distinctive style that challenges the norm of portrait photography. It leads to a raw image laden with emotion and a beautiful result. My name is Marcel van Luit (33) and together with my wife Ashlee (28) and son Otis (2), I live in Groningen. Groningen is a city in the northern part of the Netherlands. We have a nice mix of city vibes and lots of na-ture around us.
Describe your family. We are a family of three. Me, my wife and our son Otis. I met Ashlee four years ago in Groningen. She was still living in Amsterdam at that time and came to Groningen once a year for a family reunion. We met that night at a party and she never left. Ashlee works as an account manager at a commercial company. She is an ambitious young woman who used to work in fashion when she was living in Amsterdam. Next to her busy job she owns an online shop in kids clothing and accessories. Our son Otis turns 3 in February. He is a very active, happy kid who makes a party out of every day. He is the cherry on our cake. I photograph next to my full time job at this moment. I am working for the Ministry of Justice. I counsel man who just came out of custody. We try to spend as much time as possible together as a family,
because for all of us that’s the most important thing in life. When did you choose a career in photography and do you have commercial and artistic sides to your career? I started photographing almost three years ago, when Otis was born. Before that taking pictures has been a hobby, but never really with a greater cause. Addicted to all the love for my newborn son, I took more then 100 photo’s a day. To share with his grandparents of course and sometimes I shared some photo’s on Facebook. Just to show how wonderful Otis was, because I was so proud of him. I guess every parent would recognize that. Quickly friends and family started to comment on my pictures. How they loved that I captured all these unique and real emotions of my son. But it was after I switched to Instagram when the real attention for my photo’s started to grow. Within a few
months I had 5000 people following me. Because of the massive support and attention of the last months I started to get serious work, from portrait shots to fine art. Also, many of my portraits of Otis are used by artist from around to world to draw or paint. Many artists tell me that they love my work because they feel it really lives and has a lot of emotion in it. An Austra-lian painter is working on a big painting from one of my black and white portraits. This painting will be on a exhibition in Australia, isn’t that cool? The series of pictures of Otis with his best animal friends is also very popular at the moment. I would love to work on a children book or making advertisements or editorials for kids brands. Let’s see what the future brings!
You have very interesting images of children on your Instagram account, how did you choose this style and describe what you expect it conveys. First of all I think it’s important my son will never be forced to pose for a picture. He is a kid and not an object. I actually always take pictures wit-hout him even noticing. The best part for me is to edit a picture and give it a real meaning. I try to use the imagination of my son as much as pos-sible. Otis is not a boy who plays with cars and lego. He is completely in love with animals. Animals are a common theme in my photo’s because of that. My style is often described as dark, but very warm. You see all these white and bright pictures on Instagram all the time, I am doing the opposite. Maybe because I’m a dad. I try to only show the important elements in a photo. The rest I’ll remove in a subtile way, just so the fo-cus will be more on the emotion. I think it’s important to show all kind of emotions. When Otis is happy, his emotions melts my heart. But, a stubborn look on his face can make a real fun picture. He
is a kid, a hu-man being. Sometimes he is happy, sometimes he is sad, sometimes he is angry and everything in between. I want to show real pictures. It is as it is. Tell us about how you balance your photography career with your family. I try to tell a story trough my Instagram page. I attache a quote to every photo. For me, this is a really important part of what I do. It makes the picture stronger, more alive and it’s also part of our parenting journey. I hope Otis will look back at this with love and maybe even learns some-thing from the things I try to teach him when capturing his life in photo’s. It might also be a nice document to show his friends and loved ones about his childhood. Because it’s real, it’s us and it’s our vision to life combined with his look at the world. Full of fantasy and possibilities. Photography is really starting to get a more serious part of my life. So-metimes it’s dif-
ficult to combine this with a full time job and our family life. The whole proces from taking a picture to posting it on Instagram will cost me approximately around 2,5 hour. I am lucky to have such a supporting wife, who gives me all time and space I need for this. She really believes in me. Favourite family moment A sunday morning in bed with my son and wife. Cuddles, telling stories and don’t have to do a thing but enjoying time with each other. Favourite photography moment Outside in nature, in the forest. I love the contrast between my little man and the great high trees. ’He took a walk in the woods and came out taller than the trees’. Favourite photograph and why The first photo on this page. When I saw this one on my camera I instantly knew this was going to be a great photo. He looks so satisfied and sur-rendered to the moment. This pictures shows me sereneness and I
can look at it for hours. Any tips for photographing your children or someone else’s children? Just let a kid have fun. Make photographing them something very cool and be inspired by their imagination. You don’t have to ask a kid to smile or to pose. Just take as many pictures as you can. I know photographing a two-year-old is not always easy, sometimes it’s like having a blender that you don’t have the top for. Because I make a lot of pictures I always look at them a few times before deciding which one I’ll use. By looking at them a little longer, sometimes a story just pops up which can be turned into a great fairytale.
LITTLE LABEL LOVE interview by kathrine houe maric @littlekinjournal www.littlekinjournal.com
LE PETIT GERMAIN PARIS By Camille Chandèze Longuépée @lepetitgermainparis www.lepetitgermain.com
What’s the story behind your brand? Before starting Le Petit Germain Paris, I was working as a costume designer on films for more than 10 years. I still do sometimes, if the project I get offered is good enough. When I had my 2 children, I realized that a constantly changing job like costume designer was hard to combine with a family and social life. Creating is for me a real need, like breathing or eating, and the compromises I always had to do with production, director and the actors also became a heavy weight on my shoulders, and I felt I needed to be able to breathe my own crea-tive air! Children’s clothes seemed like a greet opportunity to be creative. For me, desig-ning clothes for kids is more an exercise in love more than it is you trying to fol-low some certain trends or colors. I imagine my self as a baby or a child, and I try to think what I would like to feel on my own skin. What’s the story behind the name of the brand? The name comes from Saint Germain des Prés, a famous area in Paris, which symbolises the intellectual, artistic and bohemian side of Parisian life in the 20th century. Here there is a touch of vintage everywhere and space for free thinking and living which is all the more meaningful today.
Because we love small and independent brands created by people who devote themselves 100 percent, and companies that has a good story to tell, this time Enfants Terribles Mag has fallen in love with the Parisian brand Le Petit Germain Paris and the American Willaby clothes.
How would you describe your designs? I always work with observing and feeling the child who will wear my designs. I follow my gut feelings as a mother and I always go for something that I think my own children would be comfortable wearing. I carefully choose the materials and always go for the softest I can find, and I keep all shapes as simple as I can, to give the body a maximum opportunity of movement. Where do you find your inspiration? My inspiration is my kids, the kids I see around me, colors, sometimes a material, a fabric, the light, the atmosphere of the season, my friends. I have a lot of creative friends who work with architecture, photography, home designing, styling and journalism, and it’s always stimulating to meet and discuss things like life, design and kids with them. I love furnitures, wood, the 50’s pure lines and pictures. Everything is a source of inspiration for me, even cooking is a creative process in my head! What story do you intend to tell with your designs? I love telling stories. I imagine children playing and running, falling in the grass, family and friends hanging out and enjoying each others company, discussing and laughing and being happy together. I want children to forget about the clothes they wear, it’s like a gentle caress on their delicate skin that accompanies them into their own little world, into their stories, they can move the way they want, even get their clothes really dirty. Clothes shouldn’t be anything for them to wor-ry about , because it’s life that matters. They need to be able to focus on explo-ring and discovering the world.
Could you tell a bit about yourself? I’m a French mother who lives in Paris with two children aged 8 and 4. I love life, my kids, my man, my friends, sharing good home-made food, walking the streets of Paris and let my eyes wander around and see the colors, the shapes, the light, and the people. My grandmother mad all her clothes herself and she taught me to sew and knit as a child. She taught me the first stitches, and then I learned the rest by myself. I still remember the first thing I ever made myself. It was a piece of clothes for my dolls and I was 4 years old. I started to make accessories like purses, and then when I turned 12 I started to customize my own. I still do so, and it drives my husband crazy, because I never buy anything
that actually fits or has the perfect shape. If I like a fabric or a color I’ll be like: “perfect, I just need to cut here, and make a split there, and shorten it here.” He still doesn’t understand why I don’t just buy clothes that fit me in the first place! Creating is what I was made for, and I couldn’t live without it. I barely sit on my sofa more than 5 minutes, because for me that’s 5 minutes wasted. I always have so many things to do, but I always do them all with such a great pleasure. Every-thing I do, I do it with passion, otherwise I don’t do it at all. Everything you see, every person you meet, every place you go is a new source of inspiration. My husband has to be a really patient man to live with me!
Your color palette is absolutely amazing. What does colors mean to you? Colors are everything. all my collections always start with the colors. I start with thinking about the colors and materials and then comes the shapes. Iâ€™m very pre-cise with colors, and the man who does the dying here in Paris knows that some-times he has to do the coloring 3 times before Iâ€™m satisfied with it. He does such an amazing work! I normally collect things in different colors that speaks to me, and then I put to-gether my color palette by looking at all these things. It can be paper, cups, wood, stones, wool, flowers. I doesnâ€™t matter what it is, as long as I like the co-lor.
Could you tell a bit about your production? The collection is designed here in Paris. Some of our products are hand-made in france, the hand knitted ones, another parts are made in Portugal and in Spain. After sewing and knitting the whole col-lection is dyed here in Paris. What do you love the most about your job? The creative process! Meeting my adorable clients is always a great pleasure. We talk about our children and seeing a happy child wearing my clothes is a true re-ward for me. It really gives me the energy to keep on working.
By Kim Woods @willabyclothier www.willabyshop.com
What is the story behind you brand? For me, there was something about turning age 35 that motivated me to take the leap. I had been teaching art, but hadn’t yet hit on my true passion. During that time, I’d been making sewn goods on a smaller scale, first selling handmade pillows and then children’s accessories. I quit my job as a teacher before my son was born, and after his birth, my husband became unemployed. I decided at that moment that I would work on my branding, and take the risk to start manufacturing. I had been feeling like I wanted to go further at that point in life, and coupled with the practical necessity of earning an income, it seemed like the right time to go for it. When my son was about 5 months old, I started working on my branding. I remember nursing him in one hand, and writing notes about my logo to my graphic designer with the other. That is a good metaphor for what it was like then. It’s still similar to that now. (Oh, and my husband did land a job after that long, difficult year.) What is the story behind the name of the brand? The name of my brand, willaby, is after a favorite book from my childhood. The main character, a girl named Willaby, has a similar disposition to mine, and loves to draw. My dad called me Willaby for awhile, and when I thought of what to call my brand, that nickname immediately came to mind. It’s meaningful to me because I think that we are our true selves as children. Using that name for my brand name reminds me on a constant basis of what a I valued as a child (independence and creativity), and keeps those passions front and center for me.
What is your background, how did you get into doing children’s clothing? I’ve simply always loved children’s clothing, and especially anything designed in miniature. I knew all of the good children’s brands inside and out before I was even pregnant with my son. The interest was always there. I remember, as a kid, studying old baby photos of family members and memorizing the clothing. I still do that. As for how I got started, I’m self-taught. I focused on painting and drawing in art school and sewed on the side. After art school, I got more interested in designing, sewing, and having my own business. From there out, I learned from doing and asking questions, and forming relationships. I definitely had some missteps along the way, which were meant to teach me. I’ve learned so much, and I’m still learning every day. Where do you find your inspiration? I love vintage children’s clothing, and minimal design in any form. When I find time, I look at what other children are wearing around the world, too. The differences as well as the commonalities are fascinating. What story do I intend to tell with your brand? Minimal, practical, yet out of the ordinary. I’m a color person, so I like to tell a unique color story as well. Could you tell a bit about yourself? I live in Georgia with my husband and my 3 year-old son. I grew up on a farm in the Midwest, and you’ll sometimes see my trips back there on my Instagram account. I’m a Virgo through and through: a details person. I tend to stay very committed to projects, and see
PHOTO: Logan Potterf
things through to the very end. In a similar vein, I strive to be loyal and honest with myself and others. It’s my number one goal to always depend on my instincts whether the situation is family, friends, or business. Waiting to deliver my son until he was 16 days beyond his estimated due date (yes, you read that right) changed the role that instinct played in my life. I’ve found it so useful to drown out all the noise, and sit in silence with my own voice. Why dId you choose to do children’s fashion? I just simply love it! It’s hard to put into words something that is a gut decision; it was never a calculated one for me. Children’s fashion feels
playful and important at the same time. Childhood is such a magical time, and celebrating children by dressing them well just feels right. Where and how do you produce your clothes? I work with a local team of makers to create my goods. It’s my top priority to keep production local, to have a relationships with the makers, and to know their working conditions. I’m very involved in every step of the production process, from pattern making to samples to production. It’s a team effort that requires a great deal of communication, blood, sweat and tears. At the end of every production season, despite
PHOTO: Rachel Iliadis
all of the work put into it, there is always a feeling of magic when I look at the final product. What do you love the the most about your job? I am lucky to have found what I love to do. I wouldn’t want to be doing anything else, and knowing that is my biggest source of contentment. I love brainstorming new ideas and finding ways to make them a reality. I love being able to execute a vision, to see it take form, and then see it live out in the world on the most precious little people.
What’s the biggest hurdles? Echoing the sentiment of so many other moms, my biggest challenge is balancing family and business. I have such a soft spot in my heart for my son, so it’s easy to feel guilty that I’m not doing enough for him. At the same time, I’m thankful that I can chose to take him to an activity and reschedule a task for another time. That is the freedom that comes with being the captain of my own ship.
THE EXPERT on talking to kids about life (birth of new baby)
I have been a Perinatal Support Practitioner and Parent Educator for over twenty years. I am a Mama to three beautiful adult children and a wife and partner to my husband of twenty five years. I educate and support families in the perinatal period and through their parenting journey. I have taught prenatal classes, attended over 1000 births and provide postpartum and breastfeeding support to families. As families grow and change, it is important that they have support and through my parenting classes I walk alongside them and help them to keep the relationship with their children strong and connected. The transition to parenthood is so much more than most of us are prepared for and I believe it is really imperative to understand how much of an affect it has on our lives and on the lives of children anticipating the arrival of a new sibling. Children (or tiny humans as I call them) are completely conscious and aware and therefore incredibly intelligent! I believe it is crucial to be transparent with them and very inclusive with them in the process through the transition of welcoming a new family member. To involve the older sibling in the prenatal process is very helpful in what can seem an abstract concept for them. To have a baby grow in one’s tummy may seem very foreign for a child to grasp
at the onset of their understanding of how their family is changing. There are some wonderful resources for parents to help prepare the child. I love There’s Going to Be a Baby by John Burningham and Helen Oxenbury as well as I’m A Big Sister and I’m A Big Brother by Joanna Cole. As the books describe, it is important for the older sibling to understand that his/ her parents will still have time for him/her and that the baby is not taking their place…the baby will be a part of the family and everyone’s love will grow. For new again parents, it is important to not place too much responsibility on the older child. Children are hard wired to be attached to their parents and it is not uncommon for the child to feel that the attachment may feel shaky in the new transition period. Not focusing on the older sibling’s behaviour as much as the underpinnings of the behaviour will help navigate what can be the stormy seas of expanding a family. In my work with clients I tell them not to attach a story to the child’s behaviour because children shouldn’t “know better or act like the older sibling”- in most cases they are a toddler or preschooler whose lives will have completely changed. I teach parents the HEART acronym when it comes to understanding what is going on with their children. In their interactions with us, children need to feel Heard, Empowered, Acknowledged,
CAROL PEAT Perinatal Support Practitioner & Parent Educator Babies Naturally BraveHeart Parenting
Responded To and Trusted. We can achieve this with practice by listening to their needs so they feel secure in their attachment with us. Being consistent in routine before and after the new arrival is crucial for the older child as it reduces anxiety for them and helps them with the adjustment. We can prepare an older child for what a day will look like with their new sibling and we can help them participate in developmentally appropriate tasks or “helping ideas” to let our older child understand we trust them. The completion of these tasks may happen on some days and may not on others and that is completely alright. Letting an older child know that “The baby cries very loudly, doesn’t he?” and “I know that I am holding the baby a lot…would you like to come sit with me too?” will allow for acceptance of the older child’s feelings and the range of emotions they will experience. You will naturally find yourself being inclusive as you go. As parents we too can prepare ourselves for what this family expansion will look like because each time we welcome a new child we are very different people as well! Our lives change as each baby enters our worlds and we learn new skills, have new challenges that arise and our situations may have changed since the birth of our first children. Understanding our own emotional landscape and
having our partner’s support will definitely help us navigate our new roles (again!) as parents which will in turn enable us to better support our first born children. I adore Elly Taylor’s book Becoming Us as a fantastic guide to better understanding parenthood. It is a wealth of information for parents on every level and helps to normalize the family’s transition on this new adventure. It is important to understand what life with a new baby will look like and what supports will need to be put in place for every member of the family. Ask for help, carve out down time and unpack expectations. Be kind to yourself and your tiny humans will only flourish in their attachment with you. Be patient in your new roles (again) as parents and your tiny humans will adjust more readily. Know that there are stumbling points but together, as a family, you will be stronger as you overcome them. Look at yourself as learners, not experts, and your tiny humans will feel more ease and less tension. Laugh at the antics you will get up to and cry when life feels hard. Together, you will get to where you need to be and I wish you love along the way. xo
CHILDRENâ€™S VOICES ON LIFE AND DEATH EDITED BY DANIELLE CHASSIN BY MARIEKE DAS, MAAIKE POSTMA, DEBORAH DEWBURY-LANGLY AND DANIELLE CHASSIN We have interviewed 6 children about their understanding and views on life and death. Get inspired and refreshed from their knowledge and perspectives on how life begins and ends, how to say goodbye when someone dies, and whether a robot is alive.
a skeleton of which the parts are spread as that happens in the earthâ€? And a way you could die, in a gunfight..
Fin, age 6, The Netherlands How do you think life began? With dinosaurs. They were the first and when they died there were cavemen and then there was war and then peace and that’s how it started! What is your experience with death? Our cat died and I was sad. He is buried under our treehouse and that way I can think of him sometimes. When is something dead? Then you cannot move and think or walk. You just lie on your spot. You cannot do anything anymore. What do you think happens to their thoughts when someone dies? They disappear in the nothing. What do you think is the reason plants and trees die? Trees can die when their leaves don’t take care of them anymore.
What could be a reason people die? When they are very old! What would it be like to live forever, what if you were the only one? Awesome! Because I can grow old and don’t die and play all the time and have lots of fun! But when I will be alone I don’t like it, it will be boring! How could life, in general, ever end? When a meteorite explodes on earth! How do you say goodbye when someone dies? Very sadly.. Is a robot that can talk alive? Why? Yes because he has electricity and electricity is their live, if they don’t have that they are dead.
Old womanâ€™s spirit reincarnated into a young girl.
Ro, age 10, Canada How do you think life began? There was bacteria and then it evolved into trilobites and then the trilobites evolved into amphibians and then the amphibians evolved into lizards and so on and so on.
What do you think is the reason plants and trees die? A plant can get sick and die. They could die from the wrong bugs in them. They could be chopped down. All of which are sad.
What is your experience with death? Well...in the window wells beside my house there are toads that live there in the spring time and so each year I name them. And I named my favourite one Jelly Bean. My neighbours were renovating their house and they had a wheelbarrow full of debris, and they were rolling the wheelbarrow and didn’t notice Jelly Bean and they ran over her. And they didn’t even notice they killed her. I was very sad. I cried a lot of days.
What could be a reason people die? They could be very sick. They could be old. They could be shot by a bullet or in war.
When is something dead? When it’s time for it to be reincarnated and create new life. What do you think happens to their thoughts when someone dies? Nothing happens to their thoughts, because thoughts carry on into the person’s spirit, which never dies.
What would it be like to live forever, what if you were the only one? Terrible. It’s true! If I was the only person alive it would be very lonely. How could life, in general, ever end? From global warming. How do you say goodbye when someone dies? “See you in the next life.” Is a robot that can talk alive? Why? No, it is not alive. It doesn’t have a heart or a soul, therefore it’s not alive.
Mother nature, symbol for life and death
Runa Raven, age 7, The Netherlands How do you think life began? I think there was a little clump of bacteria and small stuff holding all things that now exist. And then it grew. I think so because scientist say that the universe is expanding. What is your experience with death? My cat died. Frankie. It could be she will get a new life, maybe become a guardian angel. When is something dead? Such a hard question. If you stop moving and your heart stops beating… Or when things stop growing… I am not sure about other things like nature. I haven’t experienced it myself. What do you think happens to a person’s thoughts when they die? At first it stops. But after a while they start again, but you have forgotten about your life. They maybe keep on living as a dream or such. What do you think things die? Because, they make room for new things to experience life. What would it be like to live forever? It wouldn’t be nice, maybe your thoughts will stop, and you turn in o some kind of mummy
Why would your thoughts stop? Even if your thoughts would stay, living would be awful, because all the hurt and diseases will make life hard and lonely. What if a comet would come and destroy everything, would you have to live on the moon?! How could life ever end? It couldn’t. There will always be bacteria and energy. In space. Space is ever expanding. How do you say goodbye when someone dies? You bury them or people burn them [cremate] and put ashes in a pot. By grieving and crying I said goodbye to my cat. [But it still makes her sad…] Is a robot that can talk alive? No…. [thinks about it for a while] because it has batteries. But if you have half a man, like someone with a robotic limb, he would be alive…. Maybe when a battery dies, you can put a new one in. But if something is really alive, if it dies, you can’t bring it back.
Dead canâ€™t be drawn
Sen, age 4, Canada How do you think life began? When I popped out of your tummy and saw you. The first life started, which was Earth, when Earth popped out of her mama’s tummy. What is your experience with death? The time when we saved a dead bird at my friend Veevee’s cottage. We put it in a hole and decorated it with flowers and rose petals and then it was okay to leave it. When is something dead? When it gets shot by a missile or a bullet. When it’s heart stops. For a tree it’s when someone chops it down. For a flower it’s when somebody picks it. What do you think happens to their thoughts when someone dies? They stop and are gone forever. They never have thoughts again. What do you think is the reason plants and trees die? Because a person killed them and, so, they are dead.
What could be a reason people die? Because they were shot by a bullet. Or if they get shot by a missile. They can die if they have cancer. People can die sometimes if they fall in a dangerous deep river. What would it be like to live forever, what if you were the only one? Awesome! Because you would never die. But I would be really sad if I was the only person. How could life, in general, ever end? If the water in the ocean rises too high from pollution. Like all the way to the moon. Then even the fish and sea animals wouldn’t live. How do you say goodbye when someone dies? “Goodbye,” but, very sadly. Is a robot that can talk alive? Why? A robot is not alive. It’s a machine. They talk because someone invented their talking, it’s not their own talking.
Molly - 8 years, Canada How do you think life began? When I was born. Charlotte (Little siister 6 y): When God made us. What is your experience with death? When our cat Skylar died. She was my kitten and I used to play with her. Once she walked by the camp fire in the backyard and she got burnt whiskers, we woke up the next morning and her whiskers were allcurly. Then she died one day when my mom ran over her in our truck by accident. I was just sad. Charlotte: Lucy died. She is my best friend. She is a cat. Molly: My friend Paige’s dog Riley died too and Grandma and Grandpa’s dogTao. My sister Charlotte’s cat Lucy died too but I will let her tell youabout it. When is something dead? When it’s life is over. You can’t breathe, you can’t think,you can’t really do anything. You are just lying on the ground or insomething. Sometimes people die when they are sleeping but sometimes you can just all of a sudden die, like you can have a heart attack and die. Or you could get sick and die. Or you could even be out on a bike ride and all of a sudden feel really sick and you could die. What do you think happens to their thoughts when someone dies? They person who is dead doesn’t think anymore. The people whoknow them are very sad.
What do you think is the reason plants and trees die? Maybe because they don’t have carbon dioxide. Or maybesomeone is cutting them down. Or sometimes in the winter spruce trees can die. What could be a reason people die? Well, you could have a heart attack or you can get sick. You could have problems in your life like an accident that makes your bodystop working. Like maybe someone is cutting down a tree and suddenly you get cut too. What would it be like to live forever, what if you were the only one? It would be sad and I think God would be sad too because I know God treats people and pets in heaven really well. I think nobody wants or likes to die but maybe it is better up in heaven? How could life, in general, ever end? Some people might live to be 90 years. How do you say goodbye when someone dies? I put a whole bunch of notes in my room about Skylar and Lucy so I can remember them. I have a picture of Skylar that I put under my pillow every night and I say a prayer to her before I go to bed after I read. Is a robot that can talk alive? Why? No. A robot is mechanical. A machine is just a bunch of pieces of metal put together with a microchip inside them.
Lifecycle - Baby to Adult
Noah age 6, Canada How do you think life began? By someone creating life, or by a person being created. What is your experience with death? That you go up to heaven and that’s all I know. They throw your body in a big pit. When Opa died he went into a big pit. You set them in a big pit and then you set the gravestone for them. When is something dead? When they get shot. When they are very sick. When they are not breathing. What about trees? When trees are dead they have no leaves or branches. What do you think happens to their thoughts when someone dies? Their thoughts leave their mind. What do you think is the reason plants and trees die? I don’t know the answer to that one. Maybe by a chainsaw cutting them? Beaver teeth! Oh ya, one more thing…by an army tank! (makes explosion noises) Blows up!
What could be a reason people die? By very dangerous stuff like holding a gun the wrong way. Or by accidentally shooting yourself. By being hit by an army tank because soldiers sometimes get hit by army tanks. This is another reason, you can sometimes be very sick and die. Or because you are very old. I know a baby that died too. My mom told me her name was Catherine and it was Emily’s sister. What would it be like to live forever? I don’t know. How could life, in general, ever end? Um, I’m not sure. The whole earth would be dirt. Because someone at my school said when everyone is dead on earth the whole earth will turn into sand. So do you think that what my friend said is true? How do you say goodbye when someone dies? I don’t know. Good bye. Au revoir, because that’s how you say goodbye in French, en francais. Is a robot that can talk alive? Why? No because they are just built with metal. They are just metal things.
THE EXPERT on talking to kids about death
As a Child Life Specialist I am trained to prepare children for challenging experiences - medical procedures, a new diagnosis, or experiences around death. For the past 7 years I have had the privilege of walking with a number of children and families through death. I have learned a few lessons along the way that I’d like to share. Children are intelligent, curious and insightful human beings. For much of history death was a normal, natural part of the human experience. It was something that usually happened in and around home; only more recently have we institutionalized death, with most happening in hospital or hospice. As this transition occurred, we have separated children from the experience and even conversations around death and dying. As adults, we often find it challenging to experience two emotions simultaneously, whereas children have a unique ability to balance deep sorrow and joy at the same time. Therefore, it is important to note that talking about an impending death does not remove a child’s ability to hope. When talking about death with children: 1. Be concrete - use simple language, avoid euphemism (say death or dead or dying - not asleep, lost, or in a better place).
Use definitions that are clear. For example “dead means that a body has stopped working and will never work again. The body cannot move, breath, think, feel, see, smell, or talk. The body does not feel pain or hunger or fear.” (Andrea Warrick) 2. Be truthful - start will simple truthful statements. And add more detail as necessary. 3. Leave room for questions - it’s ok not to have all the answers, but allowing children to ask questions validates their feelings and experiences. It helps them to know that no question is too big or scary for you to handle. When you feel stuck or are unsure of the answer take time to ”wonder together” or find someone that might know the answer. 4. Children interact with the world in a sensory manner, help them understand their new world. If they will witness a loved one dying help to prepare them for what they might see, hear, touch, taste and smell. 5. Give children a job - maybe they have a wish for the person that is dying or has died, maybe they’d like to speak at the funeral or choose the pictures for the casket or have artwork or special mementos displayed. Give children a voice and have
KAREN GROENEWEG Certified Child Life Specialist
Emergency Department & Critical Care Unit Children’s Hospital, London Health Sciences Centre
a safe, supportive person present if they need a break or feel overwhelmed. 6. Prepare children and give information along the way. This helps to promote better coping over the long-term. 7. Use natural opportunities to talk about life and death. If a goldfish dies talk about what death means, don’t just secretly buy a new one. Children and adults tend to express grief differently. Both experience a wide range of emotions related to the loss or separation in a relationship. But children tend to grieve in chunks; they experience short, intense bursts of emotion one minute and can be happily playing the next. ”For adults grief is like wading through this enormous river whereas for children it’s puddle jumping, but when they’re in that puddle it’s no different to the river” (Julie Strokes, Winston’s Wish) Our job is not to protect kids from the harsh realities of the world, but rather give them the skills to navigate difficult circumstances. “The greatest gift you can give your children is not protection from change, loss, pain or stress, but the confidence and tools to cope and grow with all that life has to offer them” (Dr. Wendy Harpham)
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NATURE MORTE feat. JOSÈPHINE JEANNIN
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Photographer Céline Hallas Day is over and night has come, Today has gone what’s done is done. Embrace your dreams all through the night. Tomorrow comes a whole new light. Sweet dreams.
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ART FEATURE CAMILLA ENGMAN
ART FEATURE CAMILLA ENGMAN Interview by Inger Marie Hahn Møller www.finurlig.net @finurlignet @camilla_engman www.camillaengman.com www.studiomorran.com Shop: studiomorran.bigcartel.com
Camilla Engman paints life. And not only one side of it, but the whole spectrum of life - also it’s reverse, it’s underside, what we normally tuck away, what is absurd and obscene. For her life and art is one - how could it be otherwise? Her paintings are hauntingly double sided - disturbing and yet with a luring beauty and depth. With their strange and complex web of dreamlike characters and settings they make us want to see and know more.
of open questions - so full of life itself? Get a peek into the thoughts of Swedish artist Camilla Engman and read about her work and her artistic approaches.
Sweet doll-like figures, puppies and characters from stories that we somehow recognise, suddenly seem strange and not so familiar at all. What used to be safe and wellknown is now slightly uncomfortable and “Unheimlich”. The sceneries Camilla Engman paints often seem like arrested moments in time and space - we do not know what just happened or what will happen - but we are evidences to strange little pockets in time as in a filmic su-spense. And the stories that are told are always many facetted and open ended and could not be reduced to a single interpretation. They could be read in many ways, depending on the eyes that see.
I wonder who made these arrested moments so full of dualities, complex narrations, exi-stentialist thoughtfulness and lots
My imaginary is life, wishes, struggles, thoughts, losses, failures and memories.
Camilla Engman lives and works in Gothenburg in Sweden. She studied painting at Dômen Art School and graphic design at College of Arts and Crafts in Gothenburg. Find a selection of her graphic work in her shop.
When did you know you wanted to become an artist – and what led you to the imagery, you are working with today? I can’t remember that there was a decision of mine. Drawing was what I did best, being creative was my skill. It was a way out from where I came from but not deliberately. I had to move from my town to another to be able to go to art school. In the same time my surrounding transformed from working class to cultural middle class. I didn’t think about that then but I can see it now. Being an artist took me to a new city and a new place in life.
Your paintings seem like a dense web of dream-material, traces, existential questionings, the darker sides of life and what we only vaguely know and maybe try to suppress - and still they are hauntingly beautiful and very human. How do you tie this complex web?
I draw them, again and again, until I feel they are right. I want them to be not some-one but still special. There is something with being a human and what is â€?goodâ€? in animals, their honesty and characteristics (even though given by us, humans).
I think that it is all those things that make us human and inhuman too. We struggle a lot to be humans, to live, to be. It is hard work. It is not hard work for me to tie the web, the only thing I have to struggle with is to let go. To not think too much, to feel and to float along. To trust in what comes up and in my work process.
In between your paintings you also work with objects and sculptural works - and it seems that you have quite a collection of tiny objects, found bits and pieces, mosses, sticks and strange formations from the nature. Tell us how you use and integrate this collection in your work?
How do you come up with your different characters - some of them seem dolllike, dream-like and other very strangeâ€Ś?
I usually use them in between work, to get started and to get inspired. It is very fascinating how things get another meaning in a new surrounding or context.
You work in many different medias and with many different techniques - from paper cut-outs to collage-like set ups, clay and classic canvas and paint. Could you tell us a bit about your approach to your different medias and techniques? It’s easy, I use the kind of media that I think will fit my purpose at the time. But there is also the fascination of being a ”beginner” at something. It’s like learning a new language - you are so happy to be able to say ”thank you”, ”good day”, ” a cup of coffee, please” in the beginning. Soon you will realise that you need a lot more to be able to actually talk to someone. The ”wow!”-feeling of a beginner is good! You have also illustrated several children’s books - how do you balance and switch between your different projects?
I like to try new things, so when an Italian publisher asked me if I wanted to illustrate a children’s book I said yes, of course. I don’t find it hard to do both illustration and art. For me there is a clear difference. In my art it is all up to me, no one else. When I do illustrations there is a receiver and most of the time a client. The only thing is time. Art needs a lot of time, not only to work but also to not work. And since illustrating mostly includes a client it usually comes first in my time schedule even if not always in my heart. What is important for you in your creative processes? That it is me you can hear, my voice. That I am trying to be honest. To find something what that is I do not know.
Do you work with a project at the moment that you feel like sharing? My life has been messy these last years, but now I feel like I am on some kind of track again. I’m going to relaunch Studio Morran and work more with my own illustrations, not only art (but that too, of course). And I am very much looking forward to that.I am also working with a project that I never get time to but I really love, we call it Memoire no 1. It is a stop motion film and so much more, I hope. You’ll see. If it turn out to be half as great as my feeling is for it it will be fantastic! How do you balance life and work? Is it the same for you - or are you good at finding pockets of time to switch off and tune out?
For me it is the same. I am not sure if that is good or bad, maybe both. I am working with what I love and what I am interested in. Everything is work. Everything is life. It’s a luxury, I am very much aware of that and very grateful that this is what I do. I love it.
INSPIRATION Where do you look for inspiration? Music, film and life Who do you admire artistically, and why? I don’t have any artists that has a golden star. I am mostly interested in working and the working process. It changes all the time from what I am working with at the
moment. Of course there are many many artists and illustrators who’s work I admire and that inspires me, the list would be too long.
From your blog it seems as if traveling and nature is also a big part of your life - how do you integrate these sources of inspiration in your work?
Favourite magazines, favourite blogs, favourite websites – any special place you look for inspiration…?
I haven’t been reading anything for quite a while, no magazines, no blogs, nothing. I’m lost there. I’ve been listening to a lot of music, making playlist mixes. I love Black Keys. My latest concert was with Jon Spencer & the Blues Explosion. I had four songs that I listened to every morning for 6 months. ”Feeling good” by Nina Simone, “No Regrets” by The Von Bondies, “Corporate Cannibal” by Grace Jones and “I can see clearly now” by Johnny Nash.
You live in Gothenburg, Sweden – could you name a few favourite spots in your city that inspire you? Everything I do inspires me, life, good or bad. So a spot that inspires me doesn’t have to be a good place. I will give you places I like instead. First it has to be Konstepidemin, where I have my studio. It is an old epidemic hospital area, now with over 120 artists, galleries and a restaurant.
The neighbourhood I like best is the Linné area and that just happens to be situated between Konstepidemin and my home. My favourite café is Kastello in the same area. Kino is a good place for tasty cheap vegetarian food. A great way to see Gothenburg is to take the ferry (Älvsnabben) from Lilla Bommen (close to the Opera) to Klippan and stroll to Röda Sten for example. In the city it has to be the area around Magasinsgatan.
CREATURES OG LIGHT AND DARKNESS Our current theme is light and darkness. Do you work consciously with light and darkness in your work technically? It seems like I am always struggling with colours. I love colour and that seems to be my problem. So after a while my paintings turn darker and darker or lighter and lighter and the colour disappear and I have to start over. To do something dark you need light and vise versa. And what about the symbolic overload enclosing our understanding of light and darkness - life versus death, good versus evil etc. - do you integrate these thematics? I find in my paintings that everything has two sides. Always. It is never that easy. Darkness, not just as a colour - but as a feeling, seems more absorbing. And light more airy. Not necessary good or bad. Do you think that living in the North gives us an intensified sensibility towards light and darkness and the change of season? Yes, I do. It is a big thing in our life. I hate it and I love it at the same time. I can’t imagine how it would be to live without it.
Though I wish summer could be sunnier and longer. The different seasons gives us different things and maybe even emotions. Winter gives me more time to think and to work, things slow down a bit. Summer makes me dream and want to be awake all night, it gives me energy. Well you know all that.
FUTURE What do you dream of? To get time to finish the film for “Memoire no 1” and to show the film and make an exhibition around it. Take Memoire no 1 out from the film and create an art piece out of it. I can’t explain it better right now. Do you have any goals artistically? My goal is to evolve. To keep working and that my work will take me to new places, mentally and physically.
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We Exist in Unknown Places by Julie A Martin
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Dress // A.Bird - Collar // Project 6NY Top // A.Bird - Pants // Kids on the Moon
Top // Kids on the Moon - Necklace // Modern Queen Kids
Dress // A.Bird - Capelet // Tutu du Monde
Dress // A.Bird - Collar // Project 6NY
ILLUSTRATION feat. MARIA TROLLE
WWW.MARIATROLLE.SE - @MARIA_TROLLE
INSTAGRAM FEATURE @JESSOPER
INSTAGRAM FEATURE Jess Soper @jesssope
Interview by Polly Geal @polly__loves www.littlekin.co.uk Jess Soper, a mother of two boys and a photographer from Essex is full of wit, charm and intrigue - the latter perhaps because she is so humble about her work despite being so ridiculously talented. Jess’s photography is heart achingly beautiful. Her pictures stop you in your tracks and force you to take a second look. There’s no denying she is a natural storyteller behind the lens, her clever use of light and shade create a palpable mood in each image she makes, drawing you in as the viewer and making you want to unravel each photo.
Her boyfriend, Dom, describes her as the tallest short person he knows. ”I’ve never met a more beautiful, stubborn minded individual. You’re never quite sure if she’s going to hug you or kill you”. This hint at contradiction runs beautifully through our interview - she accepts she wears two cloaks - one of light and the other of dark. Both seem equally important to her soul and her very being and inspire her creative work wholeheartedly. When I ask what her loves are she talks in pairs: ”going to sleep, waking up, technology, simplicity, books, films, getting older, acting young, wood fires and the changing seasons”. I like this quirky side to Jess, who doesn’t love technology but appreciate simplicity after all. We talked motherhood and photography...
How did motherhood change you? I feel like becoming a mum, was the making of me. It sounds slightly over-dramatic but I honestly feel like it liberated me in a way that nothing else has. I can’t really explain why, or when the turning point was, but it just gave me a sense of worth, and a feeling that life is so transient, that we have to give it all we’ve got before it’s gone. I didn’t even think I wanted kids. I found out I was pregnant, on a small island in Thailand and I remember just crying with my boyfriend, as if our whole lives were over. I look back on that now and I think, what a pair of idiots! I’m so glad we ended up with our little boy, it isn’t always easy but I think we’d both agree it’s overall been pretty bloody amazing. What kind of mother are you? Laid back, forgetful, hands off, grateful.
What do you love about being a mother? So much! Raising kids is like being a mad-dictator, in that you’re given this blank canvas, that you can mould with your own values and beliefs. You’re sort of playing at making your favourite kind of people! That generally means you like them quite a lot. What about the hardest bits? The demands! Willful, tantruming kids who won’t listen. And not enough time, ever! I never thought I’d have to make so many bowls of porridge. Part of me would love, super quiet passive kids, who obey my every command - but of course I’d hate that in reality. I’d love more time for just me and Dom, but in a few years I know that’ll happen, so I shouldn’t wish this time away. I also find that nagging sense of nostalgia quite hard. You give so much to your chil
dren but in reality they’re just going to go out that door one day and that’ll be it. Which is exactly how it should be but sometimes my heart struggles with that. What’s your approach to raising kids? Mostly I just want them to have fun, I want them to look back on these years and remember all the love and laughter. For me and Dom, being outside having adventures was a big part of our childhoods, so we definitely make sure that we raise our kids that way. Plus it’s free! We are very un-materialistic and I feel passionately about installing that value in my boys. If you don’t get sucked into buying tonnes of pointless crap, you can have a lot more time to pursue the things you love. We spend a lot of time camping, exploring, swimming in rivers and just generally mucking about outside. I think that will become
a big part of their personalities as they grow older. I also want my kids to feel free and untethered by a lot of the social pressures that surround us. Especially in the school system here, I think there’s way too much pressure to meet targets, act a certain way, conform to a certain way of thinking. That’s the last thing I want for my kids! I was brought up to believe that ‘fitting in’ was good. But I never felt that in my soul. I’ve been so much happier since I stopped trying to do what I thought I ‘should’ do! So how did you become a photographer? I’ve no idea how I got this lucky! It’s like a dream. I’ve always wanted to do something creative but always felt useless at all my creative endeavours. The only thing I could do was write, but it always felt slightly like a
chore for me. Then, over time, I guess my photography got better and then it snowballed into a slight obsession. Earlier this year I decided to put myself out into the world, not really expecting anything to happen and I managed to get a few bookings. Once I had that taste of what could be, I realised I HAVE to do this. What or who inspires your photography? I guess my boys are my main source of inspiration, not just as subjects, but also through their free-thinking and creativity. They led my photography onto a path that I’m happy with. Dom has also been a huge inspiration, he is a music producer (Attaque) and has the best approach to things, which is just to get on with it! Work at something, don’t worry about what other people think and just thrown yourself into it. That to me is hugely inspiring.
There are some hugely talented photographers out there too, who inspire me constantly. I’m especially drawn to artists you don’t like to conform. I love a sense of darkness or rebellion in people’s work. Speaking of darkness, your instagram images are real story tellers – raw and unpolished and often have a real split of light and dark in the image. Tell us about your style? I love how people’s photos can’t help but reflect their personalities. For me that sense of light and dark, is an intrinsic part of how I see the world. Even as a child I was fascinated by those elements. I’d collect up skulls and bones and think they were so beautiful, but also so sad. I used to be drawn to images of decay and morbid scenes, I remember I loved looking at Black Sabbath album covers! I don’t consciously set out to photograph light and dark images but I’m a realist and I
want my photographs to reflect real life. Life isn’t all pretty bows and fake smiles, sometimes the solemn parts can be equally as beautiful. Happiness isn’t always the most beautiful emotion. Tell us a bit more about your light and dark side? I love that I was featured in this issue as it feels very much part of my personality. I’m mostly very laid-back and content. I’d say my outlook on the world is mainly optimistic, I don’t like to take things too seriously and always look for the good in people and situations. Life should be enjoyed! On the other side of that I am sometimes gnawed at by a crushing sense of depression and sadness in the world. The world is dying and we are just standing on the sidelines watching. I find those emotions overwhelming sometimes. The other day I just got out of my car, in the middle of nowhere, on
my way out to dinner, the rain was lashing, the wind howling and I just run, in the pitch black, down a road. I just had too much in me that needed to escape, all that great pit of emotion suffocating me. The darkness and the light, it’s what push and pulls me, always. I used to think it was wrong to flip between the light and dark, that I should be mainly in the light, but as I’ve got older I’ve learnt to embrace those feelings, there’s nothing wrong with feeling sad, or noticing the moodier things in life. That’s part of being human. When you are in darkness, you will notice the light shine more brightly. What does photography mean to you? Everything! I’d be incomplete without it now. I just yearned to have a creative outlet for so long, something that felt right for my soul. Being able to tell stories, create new things, have something to constantly learn and challenge me is essential to my happiness, I don’t know what I did without it.
Do you find it hard to balance work and family? My business has really picked up recently and I’m finding my feet, which means a bit of trial and error and a lot of figuring things out on the way. I still have a pre-schooler at home half the week so I’m always stretched for time. But I feel like I’m getting there slowly! I’ve started to stick more strictly to a set working time, as I’ve realised my work will never be done! Once I’m done and I’ve got the kids, the phone and computer are off, and we try to go out of the house quite a bit. Doing yoga in the morning helps me take control a bit more too. I’m also limiting the amount of weddings I shoot, so I’m not booked up all summer and only working with people that I connect with and I love their attitude. What makes a great shoot? Great people, with an excitement for life, who are confident in their own skin. Peop-
le who trust me to get on and do my own thing, even if it’s not conventional and mostly a whole load of love. Nice light is an added bonus. What do you like about instagram? There is such a lovely community of creative people out there. I used to hate social media, now I love it! I honestly can’t believe how genuinely welcoming people are. There are so many talented individuals out there, I’ve met a lot of female photographers who continually inspire and motivate me and I am forever grateful to them. I love seeing people’s art change and grow and the support is invaluable. I think it can be hard to find a balance, where it doesn’t encroach on you life too much and you keep everything in perspective. But 90% of the time it’s a force for good!
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THE STORY OF KNAST BY KRUTTER
THE STORY OF KNAST BY KRUTTER @knastbykrutter www.knastbykrutter.com www.facebook.com/knastbykrutter interview by søs uldall-ekman @thegirllikesrainbows www.thegirllikesrainbows.com
THE STORY OF feature is about sharing the personal story behind children’s fashion brands that inspire us. Behind each label lies a dream, which took shape in the mind of creative souls who devoted themselves to making clothes for children. We aim to give you personal insight and to make it possible for you to know the story behind the different children’s fashion labels, when buying clothes for your little ones. This time we place the spotlight on the Danish childrens wear label KNAST BY KRUTTER and ask them to tell their story on how it all came to be and what they value when making clothes for kids. KNAST by KRUTTER is a Danish children’s fashion brand established by the talented and hardworking designer and entrepreneur Birgitta Sonn in 2012. The collections are always very playful at heart mixing circus details with a cool and casual nordic approach to children’s wear. It’s fun, acrobatic and a little crazy - and you know we like crazy! PASSION AND PURPOSE The company was created by Danish designer Birgitta Sonn, a 34 year old mother of two, who lives with her husband i Aarhus, Denmark. Birgitta trained as tailor and when she graduated in 2005 she thought she would be making haute couture and bridal gowns. However, after working with this for
half a year, she quickly realized her passion was elsewhere. Having become a mother around the same time she got her diploma, she started to sew children’s wear in stead of haute couture. And this is where the STORY OF KNAST BY KRUTTER begins. EARLY BEGINNINGS Birgitta rented a small working space in a small backyard in one of the small cosy streets in Aarhus. From here she was creating and selling her tiny collections of childrens wear size 0-18month. After a while her business started growing and she began selling to more shops and went on to open her very own shop in the heart of Aarhus: ”I remember having so much fun building my business from the ground and KRUTTER, which was the name of my first label of children’s wear just continued to grow and grow” says Birgitta. NEW IDEAS As Birgitta’s first business stabilized on the market she was eager to do something more, something new and different that would allow her to work in more directions and with more inspiration from the adult fashion and the Nordic trends. So in 2012 she decided to launch her second venture: KNAST by KRUTTER.
TEAMSPIRIT Today Birgitta Sonn is designer and CEO of KNAST by KRUTTER, however, they are a team of nine girls working on making magic happen. ”I have eight wonderfull girls working with me. Monica is my multifunctional staff that helps out with office stuff & brainstorms for innovative to do’s. Joan is my design assistant and then I have six girls working in my physical shop in Aarhus. Ida and Mette Marie handle the every day at the shop, Line is on maternity with her lovely little daughter, and Mette, Rikke and Anne Birgitte, are students. The company holds both the multibrand shop KRUTTERHUSET, the brand KRUTTER and last but not least the brand ”KNAST by KRUTTER. KNAST BY KRUTTER When Birgitta launched her second label KNAST by KRUTTER she needed a name with attitude and edge, something that would set it apart from the motherlabel KRUTTER:
”KNAST in danish means ”cam” the hard and graphic spots on a piece of tree. These cams are fascinating, strong and with a beautiful graphic structure” Birgitta explains. ”To me, KNAST BY KRUTTER is about making stylish and magical childrens wear with an attitude. I want it to be easy and comfortable to wear and to bring in a little spark of magic to the every day life of children. We asked Birgitta what the secret ingredient in the KNAST BY KRUTTER prints and styles might be and she replied: ”I guess it must be the desire to design something that contains both fashion, magic & play in a simple Nordic way. Always to keep the mind open and allow yourself to be childlike while experimenting with fashion too.” DO IT YOURSELF ”When I was a teenager I used to sew a lot of clothes for myself and it would always be just 30 minutes before going out. The results
were ok on the outside, but on the inside they looked awful, ha ha ha, I have to laugh at it now. Back then my mom thought it was too much rush and told me to put more effort info it. When I left my parents home, I still wanted to work with creative projects and I wanted to prove, that if I wanted to make the workmanship proper, then I could. So in 2003 I signed up for a private tailor school in Aarhus and after 2 years I got my diploma. This was the beginning of the work I do today. After my graduation I went on maternity for 1 year and directly after that I went self employed and have been so since.” KEEPING THAT INNER CHILD AND NEVER STOP PLAYING When asked why she choose to work within children’s fashion, Birgitta replies: ”I wanted to create and design MY thought and vision for how kid’s wear should be. In many ways I’m still just like a big child inside and hope I will never grow to old for that to change
- the childlike mind, I think, is worth gold, because it is open and direct in its way of comminicating. It’s most important to me to keep the mind open and to allow all the happy thoughts to run free and be spontaneous. Why you may ask? Because it leads to new ways and inspires me in directions, that I never knew. I would end up in. Many designers will build up a theme from the beginning of the creation of a new collection. I start looking at colors that I fall in love too, then I create some series and then more and more series come along. Sometimes it ends up in one big theme and sometimes it shows many directions & opportunities that shows the versatility in the everyday mood. It’s the same for me as the way I dress: it’s never just one direction - it always depends on the mood I’m in. I never lock myself to one thing and get addicted to one way of dressing. I say, why not just be able to wear whatever the mood of day desides?”
THE CLOTHES Birgitta decided from the beginning of the launch of KNAST BY KRUTTER to be involved in the proces of making the clothes, as much as possible: ” This is afterall my little brainchild, that I fostered and grew from my heart and imagination. Most of the fabrics that we use are woven according to our requests and we make our own prints for it. Doing it this way is a long and slow process and it takes a lot of time, even to make samples, when you cover the whole procedure this way. Weaving the fabric, treating the fabrics, printing the fabric, dying the fabric... and then you can cut and sew. Almost all of our garments are Oeko-tex Standard 100 to minimize the use of unnecessary chemicals. Productions are made in Europe, where I have visited the workers myself and seen then working conditions. This means a lot to me, that I can go and visit easily. We manufacture in Europe - more specifically in Greece and Turkey. I started out working with my manufacturer in Istanbul in Turkey in 2008 and I still work with them - they are like family to me now, and the close relationship and trust that we
have is worth everything. Greece came along after few years, which is a very good match. They are very good at producing woven articles as fx my bodies, jumpsuits etc. Today KNAST BY KRUTTER is available worldwide. Mostly inside Europe, but also in a few shops in Australia, USA, Japan and Korea. And Birgitta’s hopes for the future of her labels is to spread them even more and get into more special shops around the world. THE PROS AND CONS OF WORKING WITH CHILDREN’S WEAR We asked Birgitta to share with us some of the pros and cons of working with the design and making of Children’s fashion: The Pros: ”It’s fantastic to be able to design freely with no limits! The signature of my brand allows me to make experiments in styles, colors and prints - and I love that challenge. Another huge pro is that Nordic design has been so well requested that we grow for each year we exist... and hopefully we will continue with this for many years. I love my job and my office is located on my home ad-
dress, which makes it very easy and nice for me with my children in my everyday. They can go direct from school if they wish - so the hole team knows them very well. I feel blessed when new existing and new shops buy my brand - they complete my dream so I can continue to do what I love the most! Designing kids fashion.” The Cons: ”KNAST by KRUTTER is daring and not everybody dares to let it in - but again if everybody would, then it probably would not be special. Also, One of my biggest challenges has been to explain people what the difference is between my 2 brands. And I cannot say it more simple and clear than : they are 2 different labels with each own signature: KNAST (NORDIC // STYLISH //COOL // MINIMALISTIC // GRAPHIC) KRUTTER (SCANDINAVIAN // NOSTALGIC // PLAYFUL // VINTAGE LOOK) Best moment working with this so far? ”Too hard to choose! But in generel I feel
very blessed to be able to see and learn and develop in collaboration with my manufactores every season. It is a gift to see and learn how the fabrics are woven, dyed and so on. Learning about my manufacturers background, culture and way of living - takes up a lot of my time as well, when working with the design and I love to be gifted with the whole package.” Biggest mistakes made? ”We make a lot of mistakes all the time, but I believe that it also makes us stronger. One of the things that might have been wise to do, was to take a course in being self employed ha ha... I love to learn by myself, but the road is usually longer and a lot more rocky this way and I think I could have saved many hours and efforts. So there you have it, the story of KNAST BY KRUTTER and BIrgittas way into the world of children’s fashion. We think this little label will go far and with such a fun and ambitous woman in charge of the adventure, we can only assume it will be quirky, different and playful all the way, just the way we love it!
NATURE MORTE feat. JOSÈPHINE JEANNIN
WWW.OH-JOSEPHINE.CH - @OHJOSEPHINE
photographer: olivier jeannin
STORYTELLERS MARIUS SCHULTZ
STORYTELLERS MARIUS SCHULTZ Interview by Søs Uldall-Ekman
@mariusschultz www.mariusschultz.com www.facebook.com/marius.schultz.50
THE STORY OF THE WORLD TOLD BY TREES
The ”STORYTELLER” feature is about finding people who are eminent at telling stories, wether it be in images, art, movement, music or words. We want to learn what sparked the interest in telling stories and share inspiration that may lead us all to tell our own stories. In this issue of Enfants Terribles Magazine we meet Norwegian artist Marius Schultz, who has spellbound us with his visual storytelling. In most religions, trees are central to the idea of wisdom: the Tree of Knowledge or the Bodhi Tree for example. Trees are also essential to the idea life and the circle of life. In Genesis, there is the Tree of Life and in Norse mythology there is the world tree, Yggdrasil. But what do trees see? Did you ever think about that? Maybe not. But Artist Marius Schultz has made it his project to see. To discover and explore the story of trees by watching them grow, letting time pass and life flow by. The result is a collection of intriguing images, that tells stories we can’t hear or even grasp, but somehow only sense, by giving in and sensing with our hearts the tales of trees. This is the story of Magnus and how he came to tell the story of trees.
ABOUT MARIUS SCHULTZ Marius Schultz (53) Artist lives in Oslo, Norway, with his family of 3 kids and girlfriend.
BECOMING A MAKER OF IMAGES GROWING UP ”I grew up in a big family. My mother was a single mother, and I had all my relatives around. We lived in a big wooden house, near Oslo. With a large garden. My grandmother used to play Chopin one floor under my bed. In summertime we moved to our summerhouse, where grandparents took care of me. It was safe. But there where few children to play with. So I spend a lot of the time by myself. And It was all very beautiful, nartural and idyllic. From birth to 13 years old – I grew up in a large wooden house. It was Oslo West only 10 minutes with the train to Oslo Center. We had a large garden. We lived on the third floor. My grandfather was a doctor and had his doctors practice on the 2. floor. My mother worked for him as a nurse. 1. Floor lived my uncle and aunt. And In the basement we had a kindergarten. My mother got married again when I was 10 – and he had a house outside Oslo by the sea. Which was very nice. My new friends where all sailors - and a much better place for me.” PHOTOGRAPHY ”I was interested in photography from a very early age – about 11 years old. My uncle was a trained professional photographer – with education from USA. And he loved to take pictures of our family – for private portraits – in black and white.
Since those images were around me – and in very good quality. I think this inspiration was very important . He also helped me to load film into the camera – and develop the film afterwards. Since I was little I knew nothing about the technical side of photography. So a lot of film was wasted. But he was always nice. And he said I took nice pictures. However, to get that kind of interest I have for photography, I think it must be within you from the beginning. So its a combination of interest and influence.” FIRST CAMERA ”When I was 15 – I got some money for my confirmation – and I used it all on a new camera and developing equipment. I had no plan. I just did it. I took a lot of selfies. I got up early in the morning – to get he best kind of light. Experimenting. I was shooting everything – trees, people, animals, ocean, parties. Everyday life. I thought It was fun and magic. In my teens I loved shooting video – too. I was very much inspired of music videoes – and new digital technics. I made my own art videoes – and learned a lot from editing work. This was the 80´s with U2, Madonna, Police. EDUCATION 23 years of age I started a long journey around the world. I got a crew job on a large sailing yacht – and It took my all the way to California. Where I by coincidence met a girl who went to a photo school. That changed my life. I made that school a visit - and they told me- „If I could have the paper ready, I could attend the next semester“. Which I did. So I stayed 2 years in Santa Barbara – learning everything about photography. The School, Brooks Institute – was very tech-
nical – that bothered me a lot – but the alternative –to go to an art school – in the eightees – was not so good. On the other hand – I got some techical skills at Brooks – that made me very secure about the craft. Luckily, my brother was a art student at Parson in NYC. I got a lot of good art influence from him and all that happened in the NYC when I visited him in school breaks. Later my brother has stayed in New York, and I have continued visiting him every year. It has clearly shaped me as an art photographer and a artist. Now my brother lives in Paris. Which is perfect - since the new main photography scene is in Paris.”
FINDING YOUR STORY AND TELL IT FROM THE HEART THE ONE THING PHILOSOPHY ”My approach to photography today – is very different from the early days. But something remains always the same. I have the same camera, the same lens and the same film. Only natural people, no artificial light, no studio, no retouch. This “one thing” philosophy is an approach. It narrows what I can do. Since I have been traveling a lot – and have been a lot of places. I have found out – that I take the best images in my own garden – so to speak. It is strange. That photography can be so sensitive. But people notice what’s from the heart. So that narrows my subject matter too. I look at things that I am close to every day. The nature, my kids, the water, skies – weather, flowers – everything within close range – that I feel related to.”
EXHIBITIONS ”Since I started to have exhibitions I think it is more and more important – to set words and titles to what I am doing. Because everything is done for a reason. Why did I choose this subject ?– and why did I choose this particular image? To answer that – you have to go inside yourself and search for answers. Like: I am aesthetic person. I am a vulnerable person, I hate violence. I love beautiful things. I like to wonder. Creating images for an exhibition - creates new stories. “Waves” was my first exhibition. The working title was “waves of life”. It was images from all over the world from Bali to New York and Norway. It was all black and white. The story idea behind it – was like “one world – one face”. No matter what kind of race or color – our emotions are always expressed the same. And People seem so disarmed - when they are near by the water. They feel better. So most of the images are people close to water in that series. 3 years later I had a new exhibition – this one I called “Reeds”. Now for the first time in Color. The Reeds were shot near the families summerhouse I grew up – with my grandparents. I had no idea – why I chose the Reeds. The only thing I can think of – is that I love the place – and I know when I love it the most.” THE TREES ”My third exhibition had the title “This is where I am”. I was a father again – and I had to go out with the stroller – all the time. I started to take pictures of trees and flowers as I passed gardens in my neighborhood. The boat was sold. So that was were I was. By the garden – in the garden, with new life, new sun, new wife. I remember pre-showing it to an audience – and I
got all kinds of reactions. Somebody liked it. Somebody thought it was to easy – like postcards. I loved it. Especially the trees caught my interest. And that is when I started questioning – what is it with the trees? Why are Trees such important story teller in our world? What do trees do? By researching, investigating, asking questions, reading – I found out many things. And maybe the most important – trees carries food. Its fire – heat, we can build things, houses, chairs, boats . And trees are everywhere. They can be old. The oldest tree in the world is over 10000 years. It a necessity for human life. Just think about how it absorbs CO2. The last thing I heard is that you live longer if you have trees around you. So from “waves” – I was looking at the whole world. Then Reeds. I chose a plant. And third. “this is were I am”. It acceptet – the fundamentals. I am from somewhere. And what started by photographing my backyard – ended up in fundamental questions like this. One philosophy I have – is to discover “a new thing in the forest I walk in every day”. Like with the reeds, the trees, the people, the flowers. I have to find something new in it. ”
WORKING WITH NATURE IS A CONVERSATION Water plays a special role to you. Can you tell us why? ”Our summer house was by a lake. And I had a lot of time there. But that doesn’t explain it all. My mother and the rest of my mothers family are not sailors. When I found my camera 11 years old – it was meant for me. At the summerhouse – we
had a small wooden boat. And it was the same. It was meant for me. I found the sail, I found the oars stored away: and I was able to learn have to sail – and if there was no wind – I rowed everywhere. I am from Norway – the coastline and sea are in our veins – from our ancestors. It must be. Sailing and water has been very natural to me.” Why is nature so strongly featured in your work? What do they represent as narrators or otherwise in your work? ”I think it may be, because I come from Norway. Norway is sparsely populated – and even if you live in the city – the forest and the sea is close by. The mountains are high. The waves are big. That affects me a lot. And I enjoy silence. I get stressed by a lot of noise. City noise. People noise. There is no better feeling in the world for me – than sailing. The big ocean is fantastic. And the sound of the wind and the sea – makes my happy and alive. And I only do art or images that fulfill me. That makes me happy. Nature become narrators as time goes by. Everything is organic. Everything is changing. It’s maybe the strongest advantage photography has – compared to other media – the ability to freeze time – catching the moment. In early days – my main goal was to capture that decisive moment. The ultimate picture. I was the one picture guy. That changed when I started to exhibit. All the nice “one images” didn’t complete the story. It became fragments. Like in the waves exhibition. The people by the water – where to far from each other – because of the light and the environment. The one from Bali was to different from the one
from Norway. It was actually Martin Parr, who made me aware of it – If you know him? So I had to change – and think different to create better stories.” What are the insights do you get from working with nature? ”Last year I visited Arles in Southern France for the Foto Festival. I didn’t know that Van Gogh once was living in Arles – and that he painted from some locations there. So I visited this locations – and took some pictures. Because back in my head – Van Gogh once said “you can find everything in the cornfield”. Looking at the paintings of Van Gogh – seeing what he has seen – and interpreted. His knowledge of light, seasons, best time of the day to capture moods - and of course skills, gives me the insight in how he looked at the nature and what he valued. Working with nature is a conversation. Why is winter difficult to paint or photograph? Is it because its cold, the colors few, and everything is to naked? The answers is within yourself. And sometimes it’s hard to answer? Maybe because there is no sexual reproduction? Everything freezes - even in our hearts? These are the kind of insights I get. The tree are for me most beautiful in spring, and in the fall. Like the young and the dying. I have to experience it, use photography – to see it, feel it – to tell you - it is like that.”
A STORY OF THE UNIVERSE TOLD BY THE TREES Tell us about this project? What is it about? ”The title of this project is ”First There Was Nothing.” I was first inspired by a Zen analogy which asks you to try and discover new things in the same forest that you pass through every day. Thus, many of the images were taken in the same place — practically in my backyard — but at different times, in different seasons, over the course of years and years. Besides trees, I have always been fascinated by water. Whenever I am seeking calm, I return to the Norwegian waters. My images of the reeds and the water points to nature’s pictorial qualities. I think of the waves and the reeds as nature’s brushstrokes on the canvas. The randomness and abstraction of my water photographs combine the playful and poetic that is present in nature. Even though nature itself always changes, it also remains the same — there is an eternal playfulness in it’s being, which I love. In the end, whether photographing trees or water or people, I am trying to engage with the fundamental wholeness of nature, the way that things are linked together.” Who are the girls? What role do they play? ”Seven years ago – I saw two girls passing my kitchen window – and said “wow”. The next day I saw them again. And I had to ask if I could take their picture? Their mother replied – “of course – you have such beautiful children”. I didn’t have a camera
– so the mother took care of my own two children at 1 and 2 year – while I ran home for a camera. We didnt know ech other at all. That was the start of a relationship – that have lasted until today. I take their picture – one or two times a year – to discover their growth. The red haired girls somehow represent organic human growth. They are like angels – because of their white skin and red hair. Thus, the red haired girls represent the relationship between time and human reproduction (the human circle of life). Although trees are very important to me, a tree alone cannot speak without human presence.”
BLINDING NOSTALGIA photo // Silvia Coluccelli styling // Carlotta Borgogna
hair and make up // Mary Cassano protagonist //Anita thanks to La Favia Four Room
dress // Lu LĂš - fur collar // Il Gufo - vintage menâ€™s cardigan - hat // Borsalino
total look // Il Gufo - socks // Calzedonia
shirt // Miss Grant - pants with suspenders // Cuc첫 Lab
jumper // L첫 L첫 - shirt and headband // Gusella - shorts // Il Gufo
coat + dress + pants // Cuc첫 Lab - shirt // Miss Grant
dress // Cucù Lab - vintage woman’s cardigan - socks // Calzedonia - vintage daddy’s eyew
STAYING WARM IN STYLE ILLUSTRATION feat. CHRISTEN NOELLE
WWW.CHRISTENNOELLE.COM - @ CHRISTENNOELLE.COM STYLING: SØS ULDALL-EKMAN & CÉLINE HALLAS
These wonderful paperdolls were created especially for the Creatures of Light and Darkness issue of Enfants Terribles Magazine. Our editors in chief CĂŠline Hallas and SĂ¸s Uldall-Ekman styled the looks and our favorite paperdoll illustrator Christen Noelle worked some of her magic around them and gave them life. Ready for you to print, cut and play - download here!
FAMILY PORTRAIT THE LOEKS
FAMILY PORTRAIT THE LOEKS Interview by Danielle Chassin @hippieindisguise @meg_nlo www.megloeks.com www.facebook.com/megloeksphotography
Through our family portraits we like to introduce our readers to inspiring, yet normal and everyday families, especially playful, creative families. Recently we came across the beautiful photographic work of Megan Loeks. Megan works as a family portrait photographer in Michigan, USA. All photographers like to play with light, but the way Megan plays with light and darkness is particularly unique, and especially when it comes to how she captures her own family. We are so happy she agreed to share pieces of her family’s story and some of her gorgeous photos with us for this issue.
EARLY LIFE What is your background ? Where did you grow up? I grew up outside a small town in Michigan. I have had a deep appreciation for nature since I was a little girl, and it is mainly because of my parents. For most of my young childhood the only television we had in the house was a tiny black and white television. Around lunch time we were allowed to watch Andy Griffith (show) which was basically our only screen time for the day. My parents took my younger brother and I on numerous road trips across the country. We never flew. We always drove, and I suppose that is why I would rather drive to vacation destinations with my family now than fly. We always camped too, typically in remote areas...sometimes in a tent, teepee or camper. I also suppose that is why I would rather camp than stay in a hotel, and rather vacation in a remote area over a tourist destination. We lived on 5 acres surrounded by woods and wetlands.
My parents still live on the same property which I love. I think growing up in a small community out in the middle of nowhere is why I have such a strong desire to have the same sort, or at least similar sort of childhood. What did you study in school? I studied advertising and public relations in the School of Communications at Grand Valley State University.
WORK What do you do for work? How do you balance family and work? I am a photographer by profession. About a year ago I left my communications job at a startup company to be a stayat-home mom. My husband and I were expecting our third child. I launched a photography business around the same time. One of the challenges I have faced this year is balancing work and family life. It’s one of those things I wasn’t sure how
much I could juggle ‘til I was thrown into it. I’m still working on a better balance. I’m grateful to have had such a busy first year running my own business, and I’m looking forward to another year with a better understanding of what I am able to manage.
we stayed up almost the entire night talking. We talked about everything including our future and what we hoped to achieve. Our goals have changed so much since then, and I suppose that is pretty typical. We were babies then!
Your photography plays with light and darkness, how does light or its absence inspire you? I only recenly feel like I found my photography style. I love low light. I love the moody feel of it and the fine art aspect of it. I think low light has a magical feel to it, and that is something I typically strive to achieve in my images.
How many children do you have and what are each of them like? I have 3 boys: Leonidas (Leo) age 4, Woodrow (Woody) almost 2, and Archer (Archie) 5 months. Leo is incredibly independent. He’s also my cautious one. He loves to read, and take things apart to have a better understanding of how they work. Leo loves to be outside. Woody is my tender-hearted child. He loves to be held, and give hugs and kisses. He adores music and to dance. Woody loves to pick flowers. He’s also a bit mischievous.
FAMILY How did you meet your partner? I met my husband in college. He was studying history at the time. On our first date,
Archer’s personality is still developing, but he has a wonderful smile. The kind that lights up a room. He’s always wide-eyed and loves to be sung to. How would you describe your family in 5 words? Adventurous. Ambitious. Loud (with the exception of my husband). Caring. Openminded. What is at the core of your family’s values? To be open-minded and caring. I think it crucial to learn and be respectful of different cultures and rituals. What is your favourite family activity? Hands down that would be hiking. We love to be outside in general whether it is hiking, camping, at a local park, or playing in our backyard.
Does your family have any rituals or special rhythms? Our daily ritual is to try and always eat dinner together. That is pretty easy to do right now since our children are so little. Some of our yearly rituals are to always try and take one big vacation a year...even if it is within our own state. It is important for my husband and I to set some time aside to explore a new area together for at least a week unplugged. Another favorite ritual is on Christmas day (which we always spend at home). We stay in our pajamas all day. In the evening we pop some popcorn and drive around town looking at Christmas lights. As a mother, what words do you live by? As a mother, I constantly remind myself of these words: ”The cleaning and scrubbing will wait till tomorrow, for children grow up, as I’ve learned to my sorrow. So quiet
down, cobwebs. Dust go to sleep. I’m rocking my baby and babies don’t keep.” - Ruth Hulburt Hamilton Do you and your partner parent differently? Yes, we do. I tend to be more stern with our children. I’m also a bit too ambitious at times. My husband is much more patient and tender-hearted. I think we have both learned a lot from each other on parenting. Because we are so different in our parenting styles I think we have a good balance. One thing we try to be very consistent on is supporting each other.
LIFE and DEATH What have you learned from your children about yourself? About life? I have learned that I can love more than I ever thought possible. I’ve learned that I need to work on my patience and remind
myself that my children are young and learning, and to remember to not ask too much of them. I’ve also learned how important it is to spend time with them, and to help guide and shape them into kind, compassionate individuals. Do you view birth, life and death differently now that you are a mother? Yes, I definitely do. The births of my three children, along with finding my husband, have been the highlights of my life. It’s truly a miracle I do not take for granted. As for how I view life and death, I think in general I’ve become more compassionate because of my children. I’ve also developed more anxieties and fears. We have all experienced loss at some point or another. I’ve felt panic at the loss of my grandfather because I didn’t know how to explain to my young children that their great grandfather had passed.
It’s something you don’t necessarily think about ‘til you have to. Have you talked about life and death with your children? We have talked about it some... mainly to my oldest son Leo, but not much. We recently visited a cemetery on Veteran’s day and placed flowers on some of the Veteran’s graves. My husband and I tried as best we could to explain not only what Veteran’s day is, but why we were at the cemetery and placing flowers on their graves. I don’t know how much was understood by my oldest, and that’s ok. It’s a pretty deep topic. However it’s something we will continue to do every year, if possible. Eventually, they all will have a better understanding of life and death, but for now I do treasure their innocence.
MAGIC and MYSTERY What have your children taught you about magic and mystery? They’ve taught me so much! They make me feel young again. There is nothing quite like viewing the world through your children’s eyes and watching them experience firsts...first snowfall, first time riding a bike, first taste of ice cream. I will never forget a recent moment with my middle child, Woody. We were driving down a dirt road towards my in-laws home when I drove right through what appeared to be a cloud of butterflies right in the middle of the road. He didn’t notice it but I obviously had. I quickly parked the car, we got out and started walking back to the spot where the butterflies were. He was running ahead of me not even realizing what was up ahead. When he reached the spot where all the little, yellow butterflies were
they flew up and around him. He immediately stopped and stared in awe. It was such an amazing thing to see. My children have taught me how precious these types of moments are. How much is to be treasured in this world. And it has taught me that the little things are the typically the most important things in life.
CIRCLE of LIFE What was your childhood like and how has it influenced how you raise your children? I always like to share this story because I feel it sums up my childhood perfectly. When I was little, if it was raining on a warm summer day, my family would quickly put on our swimsuits and go outside and play in the rain. We would play soccer, run and jump through mud puddles, and simply just play. Those were some of my favorite memories as a kid. We had nerf
guns too and would often get into play fights around our house. We tried to take a couple vacations a year if possible. It was nothing ever extravagant. It was always simple and we rarely made plans. We just decided what to do on the day of vacation. One of the best vacations we ever went on was on my grandparents catamaran in the Florida Keys. They owned a campground and in the spring, summer and fall worked tirelessly seven days a week. In the winter, they would take off to The Keys for a few months and we were fortunate enough to spend time with them for part of one winter on their boat. We watched dolphins swim alongside the boat, we caught fresh food from the ocean almost every day, and we explored remote islands. It was truly magical. But the best part of the entire trip was just spending time with my grandparents. I was pretty young so a lot of the
memories have faded, but I will never forget the time spent with them on that trip. We seemed to always be rescuing animals too. We once had a ”pet” raccoon named Roy. A friend of ours found a baby raccoon in their basement. The mother was nowhere to be found. We took her in, but were never allowed to pet her. She always stayed outside. My dad was basically Roy’s mother, and fed her everyday till she became an adult. She used to follow him around our yard. Once she was an adult, we released her out in the woods. It was a hard thing to do because we had grown attached to her and we worried whether she would survive. I think all these childhood experiences of mine have shaped my parenting and my desire for adventure and play.
What did you want to be when you were a child? It changed so frequently... just about every year, but I distinctly remember wanting to be an astronaut, a DNR officer (conservation officer), and a National Geographic photojournalist. What are your dreams for your family? My dreams are that we always make time for each other and that each of my boys knows how much they are loved. I hope that they have a deep appreciation for nature and it’s delicacy. I hope and dream that they have an understanding of how much they matter, not just to my husband and I but to the world and that one person can have so much influence. Lastly, I hope that whatever path they end up choosing in life, that they are happy.
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FOOD SIGNE BAY
FOOD FEATURE SIGNE BAY @signebay
THE CAKE OF LIGHT AND DARKNESS Signe Bay is a visual aesthete, who works in the field of food and lifestyle photography, styling and recipe developing. She is a great collector and always to be found in old vintage stores, flee markets and garage sales in Italy and Denmark in search of treasures. Signeâ€™s aesthetic sense is consistent in her work. She is drawn to all things beautiful and makes an effort spotting, creating and communicating beauty to people. Cooking in her kitchen to the tones of jazz music, creating gluten free cakes, cooking good, green and healthy food, styling and photographing it all, is pure magic to her. Signe Bay is blogging on Instagram and her website will soon launch.
The Cake of Light and Darkness: Gluten-free Chocolate Gingerbread Cake with Cream Cheese Mascarpone Frosting This cake is a mysterious meeting of tastes, light and darkness. The dark, soft gingerbread mixed with chocolate makes a gorgeous duo taste with an undertone of maple syrup and ginger, oh so good, and combined with the light, yet heavy cream cheese-mascarpone frosting, it will awaken your senses and lift you up, ready for the holiday celebrations.
• 100 g butter (room temperature) • 50 g chopped dark chocolate • 150 g ground hazelnuts (hazelnut flour) • 150 g rice flour • 50 g cornstarch • 50 g Dutch-processed cocoa powder • 2 tsp. baking powder • 1,5 tsp. ground ginger • 2 tsp. ground cinnamon • ½ tsp. kosher salt • 50 g granulated sugar • 150 g brown sugar • 7 tbsp. maple syrup • 2 eggs, room temperature • 2,5 dl warm water • 2 tbsp. olive oil
• 350 g cream cheese • 250 g mascarpone • 200 g butter, room temperature • 3 dl confectioner’s sugar, more if you prefer the frosting very sweet • 1 tsp. vanilla powder • Confectioner’s sugar, for sprinkling (optional)
DIRECTION • Preheat your oven to 180° C. Line two cake pans with parchment paper, and set aside. • In a small saucepan, put in the butter and chopped chocolate, and melt over medium heat, stirring in between intervals, until melted and smooth. Set the mixture aside to cool. • In a large bowl, place the flour, cocoa powder, baking powder, cinnamon, ginger, salt, and granulated sugar. Whisk to combine well. Add the brown sugar and whisk to combine. Add the maple syrup, eggs and water, mixing well after each addition. Add the oil, and the melted chocolate and butter mixture, and blend well. The batter will be smooth, and thickly pourable. Careful not to mix too long and too much. Now pour the batter into the prepared cake pans. Remember to bang the pans on the counter a few times to remove any air bubbles. • Place the pans in the center of the preheated oven, and bake until a toothpick inserted in the center comes out clean, about 20-25 minutes. (Careful not to over bake, as it otherwise gets dry). Remove from the oven and allow cooling in pan - about 10 minutes. Turn the cake out onto a wire rack to cool completely. Once the cake is cool, carefully cut through the two cakes in able to get four layers. Don’t cut the cakes, if you prefer two thicker layers.
• While the cakes bake, make your frosting. In the bowl of a stand mixer fitted with the whisk attachment, beat butter and confectioner’s sugar until combined. Add mascarpone, cream cheese and vanilla powder and mix just until combined, no more than one minute. (Be sure not to overbeat, or frosting may separate and/or become too loose.) • Now combine the cake layers with plenty of frosting in between the layers, using a spatula, and then on top and a thin layer all around the cake, if you prefer a less rustic look. • Decorate on top with winter leaves or small fir branches (note: only for decoration, they are not edible). • Then sprinkle it all with some snowy confectioner’s sugar and enjoy! Love, Signe Bay
DO IT YOURSELF created for you by heidi korsgaard
SHADOW THEATER There is something magical about performing and watching a shadow theater, both as a child and a grown up. Let your imagination run, and make beautiful silhouettes, glue them on sticks and invite a small audience into your imagination. Here Iâ€™ve made a small DIY, about how you easily can make a shadow theater.
WHAT YOU NEED: You can draw your own figures or cut the templates of a town, moon and sun here A wooden box or cardboard box without a bottom Sticks Double sided tape Baking paper Tape and scissors A lamp Black cardboard
WHAT TO DO: You can draw your own figures or cut the templates of a town, moon and sun here. Put the baking paper on the bottom of the box by using double sided tape. Cut the silhouettes and place the sticks with tape or glue. Put the lamp behind the theater. Turn off the lights and let the show begin.
THANKS FOR READING, NOW GO PLAY...
Photo: CĂŠline Hallas
enfants terribles on-FONT terr-EE-bluh
Terrible children. One who acts unconventionally. French expression traditionally referring to a child who is terrifyingly candid by saying embarrassing things to adults, especially parents. However, the expression has drawn multiple usage in careers of art, fashion, music, and other creative arts. In these careers, it implies a successful "genius" who is very unorthodox, striking, and in some cases, offensive or rebellious. Classically, one who "thumbs their nose" at the establishment, or challenges it.
DECEMBER 2015 issue #11
Enfants Terribles Magazine #11 - the Creatures of Light and Darkness issue Creatures of Light and Darkness. A strange and mysterious title...
Published on Dec 9, 2015
Enfants Terribles Magazine #11 - the Creatures of Light and Darkness issue Creatures of Light and Darkness. A strange and mysterious title...