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PETRANA SEKULA My name is Petrana Sekula. As a young child, I moved from Croatia to Belgium. Every summer, I went back to my hometown Split. At the end of each holiday, I cried as if the world, and all of its beauty, had come to an end. Being away made me want to capture every possible moment as a memory until I would return the next year to my beloved Croatian summer. Three years ago I was given an analog camera and haven’t picked up my digital ever since. I have become a true lover of film photography. I love the feeling of how film is able to capture special moments with my loved ones. I try to capture them as naturally as possible. Nowadays, I take my camera almost everywhere; it’s like having an extra pair of eyes. The world through my eyes. photos/psmildred/







Rust in the Wound Written by June Tang

Photograph by Lisa Lelkova |


look at that — august is almost over. august is almost over and we’re shedding our winter stockings like snakeskin, only to find the same flesh underneath. the same hurt. the same unanswered questions. here, the seasons puddle into one another. it seems the only thing ever in flux is the temperature. i watch the yellow conifers and evergreens lining the sides of roads and laneways and wish they would lose their leaves so i don’t feel like the only thing constantly molting, cycling through seven stages of grief. everything is so static, so numb. the nights are too short, the chocolate is staining my teeth. i wake up with the same line on the edge of my tongue — “this is where the dusk begins”. this is where the dusk begins. it echoes through my head like a lost prayer, a secret written on the knuckles of a fist opening and closing. this is where the dusk begins - and i don’t know what to do with my arms. this is where the dusk begins - and i’m starting to forget the sugar of your skin. so give me the blood. the thunderstorm. the grit beneath your nails. the hurricane through my bones. lift up your shirt and show me your scar tissue, your gaping wounds. look me in the eyes - i know you’ve forgotten how to. i know we’re all forgetting how to.




My recent photos come from a place where I was feeling very disconnected with the world, a bit lost in my own head. I had previously been photographing people in these sort of fantasy scenarios, making my friends pose as models or do weird things. I started to feel like that way of working was very insincere. So I began working by myself, trying to forge a more viable connection with the world. I started thinking about the three different variables that make up our environment. First there is a person’s inner world, the thoughts and emotions that colour your experience. Then there is the world of human artefacts, the objects and spaces other people have created that dominate our environment. Lastly, there is the natural environment, or everything surrounding you that wasn’t created by another human. This work was really the process of trying to connect all three.















I am a 34 year old photographer from South America. I photograph all kinds of things (specially "the infraordinary") in a particular area of Argentina and Uruguay, defined as rioplatense (river plate: a mix of immigrants mostly from southern Europe with a bias original people of this land) I walk down the places that have to do with my personal and family history through the cities of Montevideo, Uruguay - Buenos Aires and Rosario, Argentina.










JEREMY MIRANDA My current work combines elements of landscape/seascape with man made architectural elements in an attempt to generate a fragmented, yet narrative experience much like a memory that has been distorted and rewritten over time. I am equally interested in the painting as a physical object and spend as much time laboring with the material and surface as I do the with the content and narrative. I use a myriad of techniques in a process that is both additive and subtractive employing sandpaper and scraping knives as much as brushes and paint. Ultimately my aim, through a love of the material, is to create paintings that are equally interesting up close as the are from a far and communicate a true love for the material and imagery.











SOUL SEASONS Written by Kelsey Danielle



Last night I had a conversation with the restless dark of June about the color of souls, and how they fade, how they bleed. They are mood rings inside our bodies, changing the color of our cores to the beat and hum of their own seasons. In the birth of spring, they are tentative and curious, blooming in small bursts of pinks and yellows, learning to be with the same clumsiness of a deer learning to stand In the heart of summer, they are sticky sweet, bright like Chinese lanterns. They leak out into the night like ink from jars, seeping into the beings they long to touch, be touched by. In the cooling fall, they fade like denim washed too many times. They no longer bleed rivers, slipping in beneath another’s skin like air, instead they hold their oceans close for fear of winter storms In the darkness of winter, they freeze becoming swirling indigos and blacks. They notice foreign streams of other colors, spindling webs of other souls left behind from the summer months See, this is how we love the rivers of our beings flooding those we hold close, our colors merging with theirs See, this is how we are loved their souls leaving trickles of pigments behindan amount small enough to fade, but large enough to been seen as we wring ourselves out again and again.



I'm a freelance illustrator and textile print designer based out of New York. I studied fine art and illustration at Tyler School of Art and Virginia Commonwealth University, respectively. I am especially inspired by nature, architecture, and beautiful textiles.












These selection of photos revolve around the inherent life forms that surround our lives. I like to imagine energy characters or actual beings living within plants and spaces. Life is wild, and being Human is the ultimate vessel for fun, especially when you have pets to love ;-)












Often, my work becomes a character study in which I explore the faults and assets of a given personality in relation to my own. My satirical investigations reveal truths about insecurities and ego, often poking fun at myself in the process. Conveying insight through absurdity, these works frequently appear in the form of spoof. I am interested in the balancing act between illusion and reality and how humor is used as a device with which we can connect on the same level. I am engrossed in the hyperanalysis of the world around me; obsessively observing and mimicking my surroundings while placing an emphasis on bizarre nuances. I’m at once attracted to and repulsed by the idea of representing reality while I attempt to decipher what is in fact real and what is delusion.













THE RIVER AND THE ROAD It’s a bright, warm July afternoon at the Jack Poole Plaza - a big relief for The River and the Road and all of their fans who came to watch after the previous night’s seemingly never-ending thunderstorm. Keenan Lawlor, the band’s vocalist and banjo player, steps up to the mic: “Hi Mom!” he says, then greets his other family members that had come all the way from Campbell River as a surprise to watch the band perform. This set the tone for the rest of the afternoon, as TRATR filled the plaza with their infectious, heart-warming tunes. Later on, we frolicked around Stanley Park and Coal Harbour and had the best time getting to know them. TRATR consists of Andrew Phelan (vocals, guitar), Cole George (drums), John Hayes (bass), and Keenan Lawlor (vocals, banjo). How would you describe your sound? JOHN: This answer has been constantly evolving. In the most superficial sense, we play folk-rock. In the most playful sense, we play Jungle folk-core, a genre we’ve pioneer pioneered but in jest. Keenan and Andrew started in a the Folk/Americana tradition, blending strong harmonies over lots of traditional folk guitar and banjo styles. That’s really where TRATR finds its footing. Since Cole and I joined, the music has taken on a much fuller

sound and has gotten much more rock informed. We underwent an onslaught of arranging 19 new songs this month, and have experimented with 40s crooner type ballads, grunge elements, as well as several that still remain rooted in the Folk/ Americana tradition. What are the main influences for the band’s image and sound? COLE: We all come from drastically different backgrounds, but we definitely have a lot of overlap. Ryan Adams’ Heartbreaker was one of the first records Keenan and Andrew connected on, and it’s one of my favourites as well. John and I both grew up on classic rock, but he and Andrew will never turn down a chance to blast Everclear. Andrew and I will sometimes go deep into the career histories of session drummers, while John and Keenan will talk about guitarists. In terms of style and instrumentation, we have a pretty wide pool to draw from. I think being unafraid of that keeps things exciting, and keeps a band from being pigeonholed. KEENAN: We all come from very different musical backgrounds and it’s never something that we shy


away from in our own sound. I’ve always really connected with storytellers in the folk/ rock spectrum such as ‘CSNY’, ‘Ray Lamontagne’ and ‘Gillian Welch’. John grew up playing a lot of Classic Rock/Blues. ‘The Rolling Stones’, ‘The Doors’ and ‘Jimi Hendrix‘. Cole listens to bands like ‘Led Zepplin’, ‘Dave Matthews Band’, ‘The Beatles’. And Andrew listens to anything from ‘Ryan Adams’, and ‘Radiohead’ to ‘Queens Of The Stone Age’. We’re always exploring our musical tone. Which can at times be very challenging in terms of our abilities to confidently play different styles of music. But, in being open to different styles we have the opportunity to create something quite unique without creatively forcing it. What was it like to be a part of the Peak Performance Project? It was incredibly rewarding, the sense of community that the Peak Performance Project creates is invaluable. It also really helped us work on the business side of being an independent band,


which is so important. Just to be included in the top 20 was a huge honour for us. What parts of your tour are you most looking forward to? JOHN: We’re going across Canada in October, which means playing outside BC which is, as of now, the only Canadian province we’ve played in. We played all over the Australian East Coast for three months last winter, and now it’s time to see this big beautiful Canada that the four of us haven’t really explored that much. I think the other three guys are really pumped to see Toronto, and for for me that means going home to see friends from my high school days. We’re all really mystified by the Maritimes so that’s exciting for all of us. The combination of the bar and music culture there is obviously very alluring to us! What have been some of the greatest experiences while being in a band together? JOHN: Spending three and a half months together in

Australia was a massive baptism by fire in knowing how we interact day in day out and finding out we can get along in long periods of very close interaction. At that point, we’d only been a band for eight months and had never toured together. To boot, Andrew’s girlfriend came as well, which to most outsiders seems like a recipe prone for added drama, but if you know Hannah you know it’s going to be totally fine, and it was a bonus to have her there. Cole, Keenan and myself stayed together in Andrew’s Mum’s 1br apartment together, and as such we had a very tight living situation. Cole and I cuddled every night for three months! He has very warm leg hair. Aside from growing closer and finding out more about each other in very intimate ways, we were under the wing of Andrew’s family, who are all very cool and were very inclusive of us. We spent Christmas with them, and they put us up for a long period of time so that our Australian endeavour was financially feasible. As it stands now, I feel like I have an Australian family and lots of new friends thanks to Andrew and his family looking after us so well and bringing us into their life.




Andrew, you chose Vancouver over Montreal based on the price of flight tickets at the time of your move. Do you think this suited you the best? ANDREW: It feels like a really long time ago since I was sitting in a hostel in Chicago with a few people talking over which option I should take. It was a snap decision that meant I had to leave the city around 4am the next day and get to Portland via Phoenix before the train up to Vancouver. As soon as I landed in the cold, wet Vancouver weather with the mountains staring at me over the water, I knew I had made the right choice. Firstly, The River and The Road would not have existed and I would not have met the incredible people that have inspired the songs I have written over the past three years. And lastly, my French is terrible, Montreal would have eaten me alive. This Eastern Canadian tour in October means I can finally check out what I passed up.


What are some of the most prominent differences between the music scene in Vancouver in comparison to Australia? What made you want to come to Vancouver? ANDREW: The music scene where I am from in Australia, on the East coast near Sydney, is a hard nut to crack. When I was playing drums in heavier bands there, you would have to work so hard to prove that your show was worth seeing. Even though Sydney is close to four times Vancouver’s population, it’s a very close knit community, and getting to the inner circle where people start noticing and respecting what you do can be a big commitment. Perhaps it was simply the music we play now, but as soon as I got to Vancouver and met the boys, I felt like the music community was far quicker to respond. When we were constantly busking and giving a lot at live shows from the start, it seems like we got a lot back from the

people we were playing for. I think our second Australian tour will let me know if there really is any difference at all. Oh, and Australians drink a whole lot more and for a whole lot longer, so we definitely played more ‘Hootenanny’ style gigs down south. I think we’re going to try channel that more on the next record and into future live shows. TRATR’s Facebook page has a huge amount of photos of you guys just chilling all over the place. What have been some of your favourite adventures so far? KEENAN: In the winter of 2012/2013 (summer in Australia) we flew to Australia to tour Andrew’s home country in a trip that lasted just over three months. Most of our time was spent in Sydney with a few tours out to Melbourne and back. We bought a shitty van, met some great people, sold-out a few shows and did


a lot of busking. All in all a very fun trip. some of our highlights of this summer were playing festivals on Vancouver Island including Tall Tree Music Festival in Port Renfrew and a brand new festival in Ucluelet called Otalith. Being from Vancouver Island it’s always a treat to get to play there, especially with some of the most picturesque stage backdrops in the world.

songwriting approaches, it would be a very inspiring situation.There are so many incredible story tellers, past and present, that we would love to work with, though I think those two collective artist in regards to content and individuality would put them up the top of the list for us. Truth in a songwriter and a story is a very important thing to us.

if you had the chance to collaborate with any musician, who would you choose?

what's the band's dream show/tour? where would you go?

Andrew; When Keenan and I first met, we were listening to a lot of Gillian Welch, David Rawlings and Ryan Adams. That story telling Folk-Americana style was something that we both related to really strongly outside of our very different listening practises. I think that even if it wasn’t to perform with them, but to sit and talk over a drink about their individual


JOHN: Europe. We have friends in other bands that have done it, mostly UK, Germany, and Italy, but I’d love to play Spain and Scandinavia. Cole actually played as a session drummer on a three show, two country showcase tour for a Canadian singersongwriter last July, so he’ll be our gig guide for a couple places in Germany and Italy. We’ve been working with a UK based manager since last March, so

Photographs by Ting Shuen & Shanene Lau

hopefully once we’ve achieved some other more immediate goals, a European dream tour will become reality. I just hope he’s got contacts in Barcelona! That’s the top of my list. any advice for achieving goals and dreams? I think just knowing that it won’t be easy, and not expecting it to be. We’ve achieved things already that, growing up, we probably would have called dreams. Once you cross a couple off the list (make a CD, go on tour), it’s important to keep making new ones to replace them. Those big dreams, some of those will take a lifetime. And the only way to cross those off is to create and accomplish 1000 along the way. I guess, just realizing that it is all feasible. People have done it. And if they haven’t, there’s no reason we couldn’t be the ones to. Take away the mystery: touring has so much

mystique until you’ve done your first one. You just have to go do it, and find out how much of your dream you can make reality. what's next for The River and the Road? JOHN: A second album sometime this winter, likely early 2014, and A Cross Canada tour in October 2014. Stay tuned, and follow our movements on social media. #tratrCANtour is a good way to track us across Canada in October.






How would you define your style?

Sartorially awkward, elderly inspired.




was there a particular image or person that influenced your taste in style or have you always gravitated towards menswear?

I have always gravitated to “menswear”. I think I’ve always just wanted to be ready for anything in what I wear, able to handle whatever gets thrown at me. I think femininity is beautiful too. Then again, what I find feminine is how Balenciaga used to don his clients - with power, grace and elegance. Another big influence was growing up with my Grandpa Tony as my best friend, and I loved the simplicity in which he did everything. That resonates with me always. I think what people now call “menswear” is just clean dressing, with tailored elements. Even though it’s called menswear, women have been dressing that way for as long as the men have. who's your favourite sartorial female or female look?

It's tough to pick just one. I think there have been some really incredible women, who had so much substance in the way the carried themselves. Katherine Hepburn, Lee Miller and Valentina, come to mind. Women who dressed with strength and were thoughtful in every way they allowed people to see them. what are the best sources of inspiration for menswear inspired womenswear?

Observing the elderly of New York.

what would you say is your favourite piece in your wardrobe?

I love my coats. I don’t know if I can pick just one, but my coats are very special to me. Almost all of them


have been bought second hand and have a unique look. I think coats are the greatest, they cover you completely, yet make you feel strong. It’s not like hiding, but then again maybe it is. the move to nyc seems inevitable for artists, but what’s one thing you can say about style in vancouver?

I’m not sure if the move to NYC for artists is really inevitable. However, it is a great community of people who aren’t trying to follow what’s popular at the moment, rather who aspire to create what they think is important. As far as style goes in Vancouver, I grew up there, but it has changed quite a bit in the last 10 years since I moved to New York. That said, it has always been full of different styles and backgrounds, and I love Vancouver and the people there. I really hope that the city can find its own voice, stylistically and artistically. It has so much talent and potential. I really look to my home-city and want to see more from it. what era do you think was the most prominent in terms of people taking care in quality over quantity? are there any you feel you’d go back to live in?

Before the Post Modernist movement people took care of their things. Throwaway culture has developed only in the last 100 years or less. We’ve lost understanding of where things come from and have become so used to buying products from the mass market industry. Despite this, I don’t want to live in any other time, because I think it’s important to question the way we consume currently. I enjoy being in our current time, and hopefully, I can help with that conversation. if you could travel to the past or future to witness any one event, what would you want to see?

The beginning. It would answer a lot of questions, right?




It’s mostly a mixture of vintage and Ralph Lauren pieces, I just put on what feels comfortable.


we see that you've moved around between a lot of different places (sydney, new york and hong kong). what are some of the main differences of everyday life, as well as your favourite aspects of each city you've lived in?

Sydney is where I grew up and it is such a beautiful city with a great charm about it. New York is my second home, it’s cliche but it’s where I felt most comfortable and happy because of the people I have met there. Hong Kong is where I currently live, it’s familiar and I've been here before, only this time it’s for a little longer. Hong Kong is very eclectic and a very vibrant city. It plays on many contradictions, East meets West. you have a lot of different practices and talents (painting and designing to name a few). do your separate practices and intuitions with creating these works translate into your sense of style?

I just do what comes to me naturally without too much thought. I don't like to over think how it all goes together.

can you tell us a bit more about what you design? what’s your process and inspiration?

Lately I’ve been designing clothes, My inspiration is always vintage garments from the 1940’s and 50’s. I just pick the fabrics I like and I find a couple of different vintage garments then I combine them to create something which may have been.


a large part of your blog is filled with black and white photos. does history inspire you?

Historical images inspire my imagination and I live vicariously through these images. They take me to places Ive never been and to a time I’ve never known. what compliments or comments do you usually receive on your outfits and things you make?

In New York I was approached by a lot of street style photographers, it was never something I got used to.


Marisa Zupan HTTP://THESIGOTHER.TUMBLR.COM how would you describe your sense of style?

Currently, I'd describe it as comfy luxe. I like to wear things that are easy to wear but extremely well made and have details that put them on another level of quality/design. Like a pony hair trim on the lapels of a simple wool blazer. Or gold studs that elevate your standard black short boot.



what's the most interesting inspiration you've seen for a collection so far? what made it out of the ordinary?

Thom Browne's 2013 RTW women’s collection remains the best show I have ever seen ever hands down. It was inspired by the German artist Oskar Schlemmer, who was part of the Bauhaus movement. His work was very sculpturally oriented (so I suppose it is no surprise Browne took a shine to him), and at times dramatic - using choreography and theatrics as much as painting to express his vision. The way Browne brought Schlemmer's work to life in the actual collection was masterful, but the show itself was an utterly flawless performance. who would you say is one of the most underrated/underappreciated designers?

Perhaps not underrated, but just up-and-coming, are Ryan Lobo and Ramon Martin of Tome. They have been in the industry for years working with some of the worlds best fashion houses and their latest SS14 collection shows the value of that experience. The designs are more mature than what you would expect for a fledgeling brand. They are 2013 CFDA finalists and deserve every bit of recognition they can get. I can’t wait to see what they do next. what’s something you’re dying to experience?

Japan. Love. Maybe both at the same time.


what's the finest made item you've ever seen?

A pair of Celine tuxedo trousers I recently aquired. They're beyond perfect in design, construction, fit and fabrication - inside and out. Trousers are so challenging for designers to get right, especially for women. These are like the Ferrari of their kind. did you splurge on anything this summer?

I usually splurge the most in Fall. Recently I pulled the trigger on a pair of Isabel Marant wedges that I have coveted for over a year. They are divine. what’s something you would consider to be timeless in fashion?

A black tux.



Luke Edward Hall how would you describe your sense of style?

English, colourful. I can’t imagine not wearing lots of colour (hence the green glasses). I do own two pieces of black clothing but I hardly ever wear them. Black doesn’t suit me at all. I like Autumn and Winter most in terms of what I can wear – I love rich colours – forest greens and ruby reds and lots of tweed, good knitwear, thick wool, scarves, boots. In Summer, everything gets a lot simpler and whole lot more Talented Mr. Ripley. I wear crisp shirts in pastel colours and lots of stripes.



photos from luke’s debut collection Endymion.

who are some designers and artists that always have your attention? Carven is my current favourite label for men. Guillaume Henry designs beautiful clothes – colourful, fun and actually quite classic, but with clever, interesting details; clothes that you’d want to wear over and over again. how do the clothes you design differ from the clothes you wear? I don’t think there is any difference. I always design with myself in mind (unless of course I’m working on a project for somebody else, but even in those situations it’s always a collaborative effort). Selfishly, I can’t imagine designing clothes that I wouldn’t want to wear myself! what did you find yourself getting lots of wear out of this past summer? Blue and white stripes and pairs of cotton shorts in mint green. But as I say, I really do prefer dressing for the colder months. what was it like designing costumes for Patrick Wolf? how did the opportunity arise? Patrick and I started collaborating on outfits a few years ago after I sent his stylist at the time an email. Patrick has been one of my favourite artists since my teenage years, and I’d always had it in mind that I wanted to design clothes for him. I grew up with his music, so it was a great experience to be able to work with him. We created a few special outfits together, which he wore on tour, in videos and at festivals. colourful, whimsical and illustrative patterns have appeared in many of the photos on your blog & website. do you have any favourites so far? I do love good patterns. I particularly like those associated with the Arts and Crafts style – William Morris is a hero. I’m currently having a bit of a wallpaper moment – I’m into block prints, lots of colour, bold designs.


what are some favourite publications for interior design? The World of Interiors – always. where's one place in your city that you love the design of? There are many (the British Museum, all those lovely Georgian terraces), but there is one place that’s quite special: All Saints, a church on Margaret Street in central London. The grade I listed building was built in the High Victorian Gothic style by the architect William Butterfield and completed in 1859. It sits behind the busy and hideous Oxford Street, but you could easily miss it. The British architectural critic Ian Nairn claimed that 'this building can only be understood in terms of compelling, overwhelming passion', and he’s absolutely right. The red brick walls, banded and patterned with black brick, the richly patterned interior with inlays of marble and tile, the heady smell of incense, the absolute peace and quiet that you experience as soon as you cross the threshold... I always like to pop in for a few moments when I’m in the area, and I buy my Christmas cards from there every year without fail. last winter, you released your debut collection Endymion. what was the experience like? was there a part, an experience or a piece you were most proud of? It was great fun producing my graduate collection, but a little stressful at times because I was finishing school at the same time. I wanted the collection to represent my style, a style that I have been developing over the past couple of years. It needed to be very romantic, very colourful (of course) and very, very English. I wanted to achieve a good balance of sophistication, boyishness, romance and playfulness. I came up with a sort of humorous backstory for the muse who inspired this collection - he is the eccentric son of a Duke, who grew up in a crumbling Jacobean manor house, constantly at rowdy dinners and parties. He became tired and bored of his somewhat meaningless life and escaped to the Cornish coast where he transformed himself into a free-willed poet and forager, living off the land alongside gypsies and seabirds. You see, when I design, I like to tell a story. Was there an experience or a piece from the collection that I was most proud of? Well, I enjoyed the process of creating the wicker crowns very much. They were made by a nice couple up in the Lake District – I sent them drawings and they started working on them right away, sending photographs every now and again to show how they were progressing. I love the crowns; I sometimes still like to wear one at breakfast. I really like the idea of making clothing and accessories completely by hand, or with old machinery. My knitwear was made by hand, as were my leather backpacks, and my bespoke tweed was completely handwoven by a mill in the Outer Hebrides. It’s all very romantic…




1. Window - The Album Leaf

2. Popular Mechanics For Lovers - Beulah 3. West Coast - Coconut Records 4. Modern Drift - Efterklang 5. Mimizan - Beirut 6. French Navy - Camera Obscura 7. On The Table - AC Newman 8. 7/4 Shoreline - Broken Social Scene 9. Graveyard Girl - M83

10. Higher Than The Stars - The Pains of Being Pure at Heart 11. Elevator Love Letter - Stars 12. Born - Starfucker 13. Age of Consent - New Order 14. Lovefool - The Morning Benders 15. I Sing I Swim - Seabear 16. This Girl - Tortoiseshell 17. Too Young - Phoenix 18. Blister in the Sun - Nouvelle Vague 19. Afterlife - Arcade Fire 20. Orange Sky - Alexi Murdoch

Photograph by Lizzy Gadd |



Freckled Summer 2013  

The eighth issue of Freckled Magazine, Summer 2013.

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