FREE 2016—Issue 1 #117
“Our best machines are made of sunshine.”
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Issue 1 #117 Update
Cult 8 Albums 13
Spring/Summer 2016 32
Andrea Crews 36
Thomas Tait 16 Celia Rowlson-Hall 22 Ho99o9 26 Neith Nyer 28 Beach House 30
Your body... Fuck your politics...
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Cover Photography: Sofie Middernacht & Maarten Alexander Styling: Steve Morriss Hair: José Quijano— D+V Management Make-up: Zoe Taylor—Jed Root Model: Martha-Rose Redding— Select Model Management Assistant photography: Straton Heron Tie Thomas Tait
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TRIGENIC FLEX C R A F T E D
I N N O V A T I O N
Cremaster 5: Lánchíd: The Lament of the Queen of Chain, 1997
S/S16 collection, photography: Brendan Owens
The Misrepresentation of Representation: Arabia, 2014
Untitled #315, 1995, courtesy of Metro Pictures, New York
Autumn Trees—The Maple, 1924
If we had to name the artists who played a key role in shaping the art language of the Nineties, San F ranciscan multimedia artist Matthew Barney would be up there. His b iological fictions—rendered through the use of petroleum jelly— and his distinctive blend of video, performance art and sculpture placed him at the forefront of the exploration of postmodern identities and bodies. Now the Astrup Fearnley Museum in Oslo has dedicated an exhibition to his work, on display until 15 May. In the self-titled exhibition B arney has set up a new narrative to present some of his most influential works: Transexualis (decline) from 1991; the memorable video series C remaster Cycle, developed by B arney into five chapters and eight years of work from 1994 to 2002; and his latest video project River of F undament, a six-hour film produced in collaboration with composer J onathan Bepler and inspired by the novel Ancient Evenings by American author Norman Mailer. All hail! By Ilaria Lorio Albarin 26 Feb until 15 May Astrup Fearnly Museet, Oslo www.afmuseet.no
Cindy Sherman 2
Despite her young age, Londonbased photographer Nadine I jewere is currently blooming like a flower—much like the colourful flora that populate her pictures. Don’t let that put you off. What Ijewere searches for in flowers is their sym bolic meaning, the raw elements of beauty that can only be created by nature itself, and which no man can re-create. Through her fashion portraits, Ijewere shows us the endless variety of faces, women, cultural diversity and beauty that—again, like flowers—cannot be c reated by just anyone. Her photo series The M isrepresentation of Representation, which is centred on the concept of Orientalism, explores staged stereo types, Western ideologies of beauty and the representations of identity that are displayed in contemporary visual culture. Her images beautifully (but painfully) show how identities are forced into square frameworks, all too often representing an exclusively Western view of society. By Ilaria Lorio Albarin www.nadineijewere.co.uk
“After the internet consumerism” is what New York label YtinifninfinitY ( infinity spelled backwards then forwards— but yeah, we’re not sure how to pronounce it either) is all about. Mexico City-born Victor B arragan—the designer behind the label—s tarted out with his mini Big Cartel e mpire and a sell-out Leonardo D iCaprio ‘MS-DOS folder tears’ g raphic tee. Since then he’s found himself drawn to more a uthentic fashion design with the launch of his own label. With early collections zooming in on techy i conography, YtinifninfinitY takes it from cyber-to-n ature for S/S16. Fruit and vegetables abound, as if an a fter-hours party has broken out at the grocery store. Fittingly, at the l abel’s fashion week presentation a bent mix of superm arket sounds, cashier blips and a mbient crowd noises comprised the soundtrack. G iant hoop earrings and metal studs pierced kiwis and star fruits, with an eggplant purse as the standout piece. Barragan uses his IG account to showcase the ongoing project of pierced masterpieces; expect everything from dazzling oysters to raw flesh—a real feast for the eyes! By Kelsey Lee Jones
Flowers are a proud assertion that a ray of beauty in nature out-values the utilities of the world. When renowned artist Georgia O’Keeffe (1887-1986) first started painting, she decided that if she could paint a flower on a huge scale, it would be impossible to ignore this beauty. A ptly, just as the flowers come into full summer bloom, London’s Tate Modern will s imultaneously take us on a retrospective journey through the artist’s seven-decade career. Of course, the notion that O’Keeffe was a “simple painter of flowers” is a misconception, and her works will be presented as multi-layered images, relating to her engagement with abstraction, i ssues of form and composition, to her complex relationship with gendered imagery (she was claimed as an i mportant pioneer by feminist artists of the 1970s), bodily analogy and Freudian interpretations, as well as to her spiritual engagement with the landscape. “Nobody sees a flower—really—it is so small it takes time—we haven’t time…” Do make sure you find the time to see this one-of- a-kind exhibition. By Kelsey Lee Jones
Although the genius of legendary chameleon Cindy Sherman shouldn’t come as a surprise to anyone, a little reminder certainly can’t hurt. The rise of the one and only selfie goddess began in the ’70s, when Sherman’s cinematographic portraits of herself as a villain, hausfrau and sex symbol caught the eye of the art world. Since then, her work has spun into numerous pastiche-like dimensions, with everything from grotesque fable creatures, Botoxed unreal housewives and nightmarish clowns forming the subjects of her photographs. Cindy Sherman—Works from the Olbricht Collection features 65 of these motifs, carefully selected from the artist’s awe-inspiring oeuvre, i ncluding her first series, Untitled Film Stills, and her most recent, Society Ladies. Because of her adoption and dismantling of stereotypes, the way she played with power and challenged the male gaze, Sherman should unquestionably be considered one of the most significant artists in modern herstory. And we, for one, can never get enough Cindy. By Iris Wenander
6 July until 30 October Tate Modern, London
Until 10 April me Collectors Room, Berlin
TRIGENIC FLEX C R A F T E D
I N N O V A T I O N
S/S16 collection Children of the Damned
Sculpted human skin in rock II, 2014, courtesy of Cinnnamon
S/S16 collection, photography: Thomas McCarty
Rachel de Joode
Surfers’ Paradise, 2013
Joe Hamilton 6
This young brand has only been with us for a few seasons, yet it has already caused quite the stir. Being part of the newish underground New York scene, Vaquera (that’s Spanish for cowgirl) celebrates diversity and a no-gender approach to fashion. The A/W15 collection featured street farmers and raving businesspeople transported from the ’70s, as a sort of ode to Gaia. S/S16, on the other hand, unveils a highly political agenda filled with religious and societal references. During the wholly holy presentation, one model wore a printout portrait of Edward de Lacy Evans (born Ellen Tremayne, also known to some as Australia’s first transperson) as a necklace. Another had a train of dollar bills, much like a bride of capitalism. Little is known about Patric DiCaprio, the designer behind the brand, but one thing is for sure: he’s a master of drama and deconstruction, quickly making many true disciples. By Iris Wenander
Blaise Cepis 7
As if looking down into the abyss, one browses through indirect.flights (2015) and feels an overwhelming sense of vertigo. Existing online, the latest work by Australian artist Joe Hamilton simulates an aerial view of a hybrid landscape through which the viewer navigates with ease, Google Maps having become so natural to us. Accompanied by an aural comp o sition that transits along as you pan over the surface, the multidirectional panorama combines elements of found footage with visual material the artist gathered during his travels. Hamilton often c reates interconnected patchworks that exist on a range of platforms; whether it’s on Tumblr, a one-minute video or a website that works perfectly on your cellphone, Hamilton’s fragmented landscapes depict our relationship with the physical e nvironment and challenges how, through mediation, our conception of it has changed. It’s a good cure for wanderlust: Hamilton’s work offers the destinations we’re dreaming of. By Ruben Baart
The notion that we see as many images in a single day as one would see in a lifetime in medieval times is something that influenced the work of Dutch-born, Berlin-based artist Rachel de Joode. As we live our lives online, De Joode explores the intersection between the life o ns creen and the one that takes place in real life—pics, or it didn’t h appen. In De Joode’s case, the picture transforms into a sculptural event wherein materialization evokes p erformativity. De Joode combines elements of p hotography and sculpture to create an uncanny worldview in which the s ilhouettes find their origin in dough, clay, stone, soap and foundation make-up. Her multilayered objects, constructed in a skin-tone palette, seem to withhold a certain naivety, yet the works, in their fragile state, o ffer a powerful approach to the investigation of the artist. By Ruben Baart www.racheldejoode.com
Coming across a unisex fashion label that shields it website with an 18+ warning, Glamcult of course couldn’t resist hitting the ‘ENTER’ key. And r ightly so, as behind the adult alert we found the home of a young French label that shouldn’t be missed. 9-1 PPM doesn’t give away much about its designers, origin and/or i nspirations. What we discovered in its l ookbook, however, is a delightful clutter of tech materials, oversized shapes, seductive cut-outs and s eethrough fabrics—always strongly referencing the ’90s. Describing 9 -1 PPM is ‘a very difficult task that only a few people can achieve,’ according to the brand itself. ‘I am nobody and everybody at the same time. No words in the dictionary would be able to define me. At least without vulgarity, that seems impossible to me.’ Somewhere on the extreme edge of too much and not enough, say hello to an outspoken newcomer that probably doesn’t need a verbal description at all. By Leendert Sonnevelt www.9-1ppm.com
‘Another round of strawberry for me and my friends…’ Judging by the amount of followers on Instagram, this New York City-based photographer is doing something very well. Glamcult is definitely one of the 37k humans e njoying his daily feed, whether it consists of colourful, Tumblr-esque still lifes or contorted explorations of the human body. Moving from Philadelphia to study photography and design at Parsons, Blaise Cepis worked as an art/creative director in advertising for over a decade, before deciding to make his personal efforts a full-time job. What we especially value in the artist’s work is the way he lifts the natural to supernatural, for instance by cleverly garbing an oddly twisted body in a hardwood suit on a hardwood floor. Creating optical illusions by means of composition and colour, the work of Cepis is often a mix of nature and n urture—often somewhat questionable and at all times bliss for the senses. By Leendert Sonnevelt www.blaisecepis.com
VISIONS OF YOUNG FASHION TRAILBLAZERS SHAPING THE FUTURE SYSTEM
By Kelsey Lee Jones
In a proclaimed “hedonistic and performative” approach to picture making, young Londoner Maisie Cousins (b.1992) takes a close-up look at what girls are really made of—and that’s gaudy not girly, fleshy femininity. Amid the ongoing struggle to reclaim the female body, Cousins creates womanly wonder in acid tones, vibrant portraits full of indulgence that make a real statement for female empowerment. Effervescent and evocative, her images tackle themes of nature, feminist expression, objectification, sexuality and body image—all with the objective of “making the viewer feel an energy”. Cousins studied photography at the University of Brighton, but art was something she picked up from a young age, giving her something to escape to while struggling at school. “Photography was one of the most accessible things for me as a teenager because I shared a bedroom and didn’t have much
space for bigger-scale projects,” she tells Glamcult. During those formative years, Cousins was surrounded by books on outsider art: “I always liked things that were obsessive, like people who collect. Martin Parr was my favourite photographer when I first started looking at other photography. I love his gross food close-ups. I’ve always been more interested in the everyday art you find by accident rather than historical art and theory.” Causing quite the scene with her oh-so-arousing imagery, Cousins has already scored some major projects in spite of her tender years, including a digital commission (alongside Britart alumnus Tracey Emin) for the November edition of Late at Tate Britain, an exhibition curated by 15- to 25-year-olds. Her brief was to reinterpret Sir Nathanial Bacon’s 17th-century oil painting Cookmaid with Still Life of Vegetables and Fruit, bringing a traditional cook maid
into the 21st century in vivid and vivacious style. Cousins imagined what the most hidden and peculiar rudiments of Bacon’s veggie market scene might be: mud, moisture, snips, snails and their slime trails. These elements where then clashed with her favourite subject: the naked (moist and fleshy) female body. Cousins has also been tied with Canadian portrait photographer Petra Collins’ girl gang, having contributed to her recent book, Babe. Organic elements picked from nature always make an appearance in Cousins’ work. When Glamcult asks what draws her to all things Mother Nature, she reveals: “It comes from a yearning to be around those things. Being in the city and on a computer a lot I naturally crave more organic things to play with. I also love taking them out of context from their natural environment. Things are weird, I find them fascinating.” Nature as naked-
ness, too, is central to her aesthetic: “I don’t have much interest in clothes. Personally, I have a bad relationship with them and I feel they just get in the way. I think people are more interesting naked.” A recent photo series is simply dubbed Grass, Peonie, Bum—featuring, yes, a bum, decorated with peonies and grass. Cousins is as literal as they come. It’s this kind of charming honesty that comes through in her aesthetic; she’s not interested in polishing things up. Her interest is in being human, and all the delicious (and gross) things that come along with it. It’s also clear that she feels much less comfortable when asked to describe her work than when behind the camera, preferring to let her images do the talking, to work viscerally, rely on her own instinct and ignore any planning. “I love following my feelings and exciting myself. When it’s just me and a space and some stuff to make a mess with, I get really into it.
I go shopping at a market and see what I can get first, usually that dictates what I shoot.” (Over)grown, oozing, wet: Cousins sets out to confuse and fascinate with her use of slimy textures, leaking bodily fluids and ambiguous liquid. These moist womanly fluids that we’re led to believe are disgusting. But Cousins offers space to discuss our bodily taboos. Like most people, she’s dissatisfied with what her eyes are shown on the regular, and with Western culture’s creepy obsession with our bodies. “I consider myself a feminist and also an artist. My work is a personal reflection, so feminism is a theme in many of my works.” Although we won’t describe Cousins as a feminist artist, as we think she’d prefer it this way, we do strongly believe she’s serving the greater good. www.maisiecousins.com
Is the Is Are
Leave Me Alone
With a name like Lion Babe, it’s easy to believe (mistakenly) that this extraordinary NYC neo-soul duo is all about wildcat front woman Jillian Hervey. Yet partner Lucas “Astro Raw” adds a certain something—not unlike Chris Stein did in Blondie. Following their huge track Where Do We Go, written by Hervey with additional production from Mark Ralph (Years & Years, Clean Bandit), Lion Babe recently released their hotly awaited debut record, Begin. It’s 14 tracks of synergy, with Lucas’s electric funk backdrops coming together with Hervey’s soul-fuelled bravado. Input comes from the likes of Pharrell, C hildish Gambino and Andrew Wyatt. Ultimately, it’s an eclectic infusion of soul, dance, hip hop and pop, with lyrical positivity and messages of empowerment. We’re ready to begin! By Kelsey Lee Jones
Dreamy indie-rock outfit DIIV’s second album has been a long time in the making. In exchange for the long wait the band (lead by Zachary Cole Smith) have blessed us with a king-sized a lbum of no less than 1 7 tracks. Is the Is Are ranges from the catchy and melodic like on lead—and drug- infused—single Dopamine to the deliberately discordant and uneasy verses of tracks like Bent. As on their previous album all of it is shrouded in washy guitar tones and reverberating drums. At its highest peaks the record evokes a woozy euphoria that is in one breath both colourful and dark. However, the album does drive on for over an hour and not all the tracks are as intoxicating as others. As is o ften the case with double albums, you can’t help but wonder if a more concise version would result in greater impact. Still, Is the… does deliver some impressive moments and for those die-hard DIIV fans (of which there are many), plenty to sink one’s teeth into. By Jack Dolan
What does it sound like? Not sure, but it does smell like jet fuel—that’s according to Eliot Summer herself. After a few years spent working anonymously on the underground scene, Sumner is back, having abandoned her former “Coco” moniker to reimagine both her self and her sound. New album Information is full of dark undertones and hints at both Kraftwerk and krautrock, presenting a marked sense of maturity—with some stalker songs thrown in for good measure. Tracks remain in the electronic realm—think: a throwback to Nick Cave, her teenage love, with a rush influenced by the propulsive motorics of Kraftwerk and the lustre of their 1980s synths. Textually, the album is made up of sombre and defiant l yrics, with occasional thoughts on gender and u ncertainty. But it’s the eponymous t itle song, Information, which sums up the fineness of the whole album. By Kelsey Lee Jones
What gives Hinds (formerly Deers) such appeal as a band is their c omplete disregard for perfection. This debut album, which includes the peppering of singles released in the two years leading up to it, is u nbridled fun. Leave Me Alone represents a breath of fresh air at a time when densely layered production and complex conceptual song writing seems to be the order of the day. The Spanish four piece’s m usicianship is certainly not particularly accomplished and the music itself doesn’t set out to break new ground, but the slapdash garage-rock ethos is not something you can fake—and as such is very compelling. The album is recorded in a way that is very careful to capture this spontaneity. So there are some jarring dips in tempo and chaotic vocal harmonies, but to iron out the creases on Leave Me Alone would be to take the joy right out of it. By Jack Dolan
To call MMOTHS’ debut full-length the sequel to his former EPs—while chronologically correct—is inaccurate. Lunescape has its own identity and story. Having spent a month in the tiny spare room of a friend in Los Angeles, this album is the result of several i ntense 12-hour night-time recording sessions. Ear shattering and e motionally raw tracks like Para Polaris exude that sense of isolation, while also providing uplifting percussion and brightly lit synths amid the brutal noise. The s erene chanting and beautiful ambient on a song like Eva is, on paper, something of a reprieve, but surrounded by the grainy strokes of electronic, b roken-sounding equipment, the darker visions of the artist come bubbling to the surface again. That’s not to say Lunescape is depressing or even m elancholic; no, it’s the sonic interpre tation of how good it can be to be completely alone every once in a while. By Sander van Dalsum
That Thing Reality
More Than A Facebook Friend
Field Mates Records/Purple Noise Record Club
Rough Trade Records
Just in case you haven’t noticed, here at Glamcult we have a policy of new over established talent—so even when RiRi’s ANTI is on heavy office rotation, you won’t find it here. But then again, rules are made to be broken, especially when the new Prince Rama arrives with the Mona Lisa gracing the spandex-clad thighs of the Larson sisters. Produced by Alex Epton (Björk, The Kills, Gang Gang Dance), Xtreme Now is a party album for the “now age”. Or as Taraka Larson perfectly describes it herself: “In the year 2067, I witnessed an aesthetic landscape where art museums are sponsored by energy drink beverages and beauty is determined by speed. I saw a vision of ancient tapestries stretched across half-pipes and people base-jumping off planes with the Mona Lisa smiling up from their parachutes. I wanted to make the music that would provide the score.” Pass the ’shrooms, please! By Leendert Sonnevelt
We all know how difficult it is to d iscover true and transparent tracks these days. Heather Boo and Emma Rose, collectively known as Beau, d eliver debut album, That Thing Reality, to alleviate our modern ailments. The New York born-and-bred outfit combines ’60s and ’70s folk rock with youthful narratives, unadulterated by overly modern references or digital effects. The bouquet of tracks is as a lluring together as each is individually. It’s as though every song is an opportunity to hear the duo explore both vocal ranges and sonic assortments. Must listens—from C’mon Please to One Wing, Mosquito and Animal K ingdom— pay testament to the album’s everlasting quality and welcome variety. Upon first listen, you’re transported to stories of chance encounters, being alone and getting lost. Take it on your next walk through the city or indulge during a night in, #metime. By Emily Vernon
She’s been evenly compared to Sade, James Blake, Solange, The xx and Jessie Ware—but who’s that girl? Growing up in a countryside artist family, the now 25-year-old Rosie Lowe played six (!) different instruments and performed with various bands and orchestras. The singer-songwriter found her distinguishing voice and sound, however, while studying at Goldsmiths College in London. Lowe’s very vocal debut album, Control, a ttests to incredible musicianship, with single songs layering over 100 vocal tracks. Lyrically, the artist touches on the highs and lows of relationships, on feminism and womanhood and on the pain of losing a good friend. Overwhelming? Not at all. Much as Lowe doesn’t remember how she wrote the 11 “synth-soul” gems on her first record, her tracks work on a subconscious rather than a conscious level—touching you while lightly passing over, leaving a quiet but hypnotic mark. By Leendert Sonnevelt
At first glance unpolished, but in reality carefully stylized, Yuko Yuko’s album cover says much about what to expect from this emerging talent. More Than A Facebook Friend follows up a wide range of DIY, analogue-inspired videos and light-hearted, almost ironic songs that make us all wonder if we’re not taking life a bit too seriously. Psych-pop wünderkind Elias Elgersma experiments with out-of-tune guitar riffs, drum machines, weird vocal interventions and noisy psychedelic electronics, all blended into the typically catchy and uplifting Yuko Yuko sound. The soundtrack for a group of cool kids whose biggest concern seems to be how to “move down to 058 to have some sweet MDMA”, the band’s energetic and meticulous live performances prove that Yuko Yuko isn’t here to just joke around. Expect to get your shoes dirty. By Daniël Heijl
The Prettiots (pronounced pretty + i diots): no, it’s not a new entry in the U rban Dictionary—although this dark, lo-f i pop duo comprising Kay Kasparhauser (ukulele and vocals) and Lulu Prat (bass) probably wouldn’t mind if their band name was appropriated. Their combination of bubbly cute and abrasive wit (plus the u kulele)—as personified on debut a lbum, Fun’s Cool—starts conversations: either you’re a lover, or a hater. If you appreciate Courtney Barnett’s humour and don’t mind being confronted with your awkward teenage experiences, then you’ll probably fall into the former category. Their lyrics about make-out memories, worthless boyfriends and self-deprecating ratings—they give themselves a four out of ten—override Kasparhauser’s otherwise average voice. See: stand- out tracks Boys (That I Dated in Highschool), Stabler and Suicide Hotline. The Prettiots’ h ipster jukebox tracks with a hint of countrytwang and ’90s indifference makes the duo difficult to place (hint: NYC), but will still make you smile. By Emily Vernon
Levi van Veluw, Natural Transfer, 2009, courtesy of Galerie Ron Mandos
Campaign image: Ruud van der Peijl, featuring Zhu Tian, Babe, 2013
By Kelsey Lee Jones
HAIR! Hair here, hair there, hair everywhere! A few months ago, Centraal Museum Utrecht got bushy with Glamcult Studio and photographer Ruud van der Peijl to visualize its soon-to-beopened exhibition, titled— you’ve guessed it—HAIR! In an exploration of the significance of human hair and how it winds its way through fashion history like a connecting strand, three tonnes of human hair will feature in the form of 200 pieces by selected artists. Expect furry stilettos, long locks as frocks and, um, pubic hair as work wear.
A piece of 19th-century jewellery made of the hair of a loved one was the catalyst for the exhibition HAIR!, and also prompted Utrecht’s Centraal Museum to explore the use of hair in fashion more generally—revealing, of course, that hair in fact forms an enduring theme throughout history. After all, hair is an essential part of society, an essential component in the art of styling ourselves: intentionally or not, your coiffure and body hair communicate your position and identity to the world. Throughout the centuries, people have treated their head hair as one of the most precious expressions of themselves. No wonder, then, that a lock of hair became a cherished memento in the 19th century. It’s fascinating to notice the complex relationship that we have with our hair: we both adore it and revile it—we style it to perfection, or shave it all off. This contradiction between appreciation and revulsion forms the focal inspiration of the exhibition. Hair is both an intriguing and controversial
subject for us—not least because it is literally so close to humankind. The museum’s ambition is to demonstrate hair as a versatile material that can also be used to create new and intriguing objects. Have you ever thought about embroidering your diary with your own locks? Sticking some pubic hair to your new stilettos? Maybe thought of wearing your own long locks as a necktie or scarf? No? Well, HAIR! may leave you wanting to do just that— or it will at least ensure you leave with a very different and much more nuanced view of human hair. The exhibition will take over “The Stables”, Centraal Museum’s 1000m² exhibition hall. The exhibition concept came from the curator of fashion, Ninke Bloemberg, and the design by Harm Rensink and Niek Pulles. Over (wait for it) three tonnes of human hair, in the form of approximately 200 art works by some 45 artists from the Netherlands and abroad are featured in the exhibition. The artists include Julien d’Ys, Charlie
Lemindu, Shoplifter, Zhu Tian (with her standout Babe hairy pumps), Studio Swine, Adelle Lutz, Levi van Veluw, Helen Pynor, Jenine Sheroes, Masako Takahashi and many more. There’s also an ode to hair stylist Christiaan Houtenbos, whose notable achievements include Grace Jones’ “blockhead” do, with the first ever glimpse into Houtenbos’s extensive personal archive. HAIR! is on view at Centraal Museum [Utrecht] 20 February until 29 May.
Julien d’Ys for Comme Des Garçons S/S16, photography: Ilker Akyol
A series of portrait photographs by Dutch artist and ArtEZ alumnus Levi van Veluw, derived from the notion of transforming the face through the use of a material that is already present, as opposed to using external elements. By simply applying hair to the contours of the head, we see a portrait transformed, and the associations conjured up by the material—hair becomes bizarre and macabre, with an almost claustrophobic effect.
Considered “one of the most revered hair masters working today”, legendary hair stylist (as well as photographer, set designer and painter) Julien d’Ys (pronounced dees) is a long-term collaborator of Comme Des Garçons. For S/S16, d’Ys came together with the brand once more to realize the vision (top half) of the Homme Plus show—where hair became a blank canvas for surreal sculptural creations in the form of neon yellow bouffants, dubbed by the coiffurist “chignons in a storm”.
By Leendert Sonnevelt Photography: Sofie Middernacht & Maarten Alexander
Styling: Steve Morriss Hair: José Quijano—D+V Management Make-up: Zoe Taylor—Jed Root Model: Martha-Rose Redding— Select Model Management Assistant photography: Straton Heron Assistant styling: Ogun Gortan All clothes Thomas Tait S/S16
A conversation with Thomas Tait does not involve personal inspirations, juicy anecdotes or private ins and outs, as you might be used to from generic fashion interviews. Instead, the LVMH Prize winner likes to talk about, well, fashion— without ever getting boring. Glamcult had the honour of discovering the acclaimed designer’s practice. “I’m just a 28-year-old who likes to sketch.” 17
All shoes Dorateymur
Thomas Tait Looking into the oeuvre of Canadianborn designer Thomas Tait, which currently spans a little over five years, you’ll find one concept over and over again. Time. Whether it’s in a (must-see) recent interview with SHOWstudio’s Lou Stoppard or speaking to the Business of Fashion back in 2010, Tait continuously points out the value of doing things minutely. When Glamcult chats to the Central Saint Martins alumnus, the youngest student to ever graduate from the lauded school, he has just officially announced his decision to no longer show on the catwalk of London Fashion Week. Considering that the designer is known for his thorough runway shows, that comes as a surprise. But then again, fashion is ever accelerating… Talking to Tait straight off the bat, we ask him whether fashion moves too fast. “Well, things are obviously speeding up,” he answers openly. “That’s a fact. But it’s also a really broad statement. There are so many different areas of the industry. Look at the high street, think of Topshop; that’s fashion. Then you think of couture; that’s fashion too. Rather than saying that things need to slow down, I think I’m an advocate of understanding how much time things deserve. It’s not a case of me wanting loads of time to fiddle away at something for ever and ever. I actually like the speed of things, I like the adrenaline. What I don’t like is when things are done badly, just because there isn’t enough time to do it properly.” Doing things well—very well— is unmistakably at the core of Tait’s work. Hearing the eloquent designer speak, it is this passion that leaves the deepest impression. In fact, a healthy indignation boils to the surface when Tait mentions a fashion critic who (mistakenly) described one of his designs as being constructed from PVC. “A lot of the time people walk away from the show and don’t understand what you’re trying to do, it goes completely over their heads. Or they are distracted by the show and aren’t completely paying attention to the clothes. You think of people not touching the clothes or not seeing the inside of the garment, which is equally as important as the outside of the garment. That’s how a gorgeous Italian laser-cut patent leather boils down to being a PVC jacket—which is completely inappropriate! So yes, for now the show isn’t the cleverest way of communicating what I do. On a more personal level, I like to be able to speak to people in-depth, and to get direct feedback.” For autumn/ winter 2016, Tait will present his collection in an intimate setting during Paris Fashion Week.
However, he can’t disclose much yet: “I think it’s extremely important to give people the best opportunity to familiarize themselves with the clothes and to create a physical connection.” Although Tait’s spring/summer collection still saw the light on the catwalk, his ideas on clothes and intimacy had already surfaced. With the front row situated as close to the fast-walking models as possible, the audience and the clothes brushed. “It was a lot about circularity,” the designer reflects. “I was interested in creating portholes and windows into garments. It was also a lot about trying to manipulate intimacy, and focusing on creating clothes that wouldn’t necessarily be something that is entirely legible from a distance. If the wearer is too far away, you can’t really tell what you’re looking at, but you can see that something is happening. That’s the most obvious in the circular, digital embroidery. I wanted to encourage people to get closer to the garments, to see the artwork and to understand how things work.” Regarding his choice of materials, Tait speaks just as enthusiastically. “You know the leather belted dress that has a sort of cheetah print? That’s actually the skin of a buffalo fish, which can only be found at the bottom of the ocean. It’s very rare and fascinating. The skin is translucent at first, and it’s only in the process of skinning and drying that the colours come out. I find that really interesting.” This past summer, Tait was selected to present his work at Milan’s Pitti Immagine Uomo, alongside Jeremy Scott for Moschino. He redeveloped a number of key items from previous collections, including the colourful animal-print boots from his S/S15 collection. “It was a really nice time to speak to people face to face, for people to go up to the garments, to take them off the hanger and to try them on. I walked away from Pitti feeling very good about that creative conversation.” The redevelopment of Thomas Tait staples was largely made possible by the LVMH group, the same group that granted him an inaugural €300,000 last year. Living up to the expectations raised by this incredible amount doesn’t seem to bother the designer too much. “They actually didn’t come to me with a bag of expectations! I’m happy to say that they selected me for my creative perspective. The experience of winning the prize is amazing, it came at a crucial time and it really helped me out. Obviously, the media attention that goes with it is a different thing. Despite your earlier work, you realize many people are hearing your name for the first time, and everyone
interprets your work differently. Having as many people humanly possible like what I do isn’t my goal. If you dwell on that too much, it gets in the way of your actual work.” Whenever asked by press to position his aesthetics or personal signature, Tait seems to hesitate or even pull back a little. When Glamcult asks him why, he answers lightly: “I think people read into that so much more! It’s as if they like to think that I have this creative strategy knocked about in my head. To be honest, I usually don’t have any idea and people don’t understand how that’s possible. My work is not all about minimalism, textiles, or all about femininity. No, it’s not about one thing. Somehow it’s very difficult for people to understand that things come by instinct. I trust my gut feeling to do something I find interesting. I’m just a 28-year-old who likes to sketch.” With that same intuition, the designer often surprises even himself. “There are definitely many times when I don’t know why I’m doing something,” he laughs. “The circle, for example, came back as a subconscious ingredient to so many different facets of developing
my S/S16 collection. Pattern designers would ask me: ‘Why so many circles?’ I really didn’t know why, there was no symbolic meaning, like a circle of life. It’s not like that! For some reason I just went circle crazy…” www.thomastait.com
By Kelsey Lee Jones All film stills taken from MA, 2015
Known for her offbeat moves and working magic with MGMT, Chromeo, Sleigh Bells and Girls (HBO), NYC choreographer Celia Rowlson-Hall recently turned her prodigious talents to film, approaching cinematography as a dance of its own. Her first feature, MA, explores gender identity and the fluidity of femininity/ masculinity on screen—revelling in both strength and softness. “I think we’re going into wonderful landscapes…” 23
“Dance has always been my place,” award-winning choreographer/ filmmaker Celia Rowlson-Hall tells Glamcult. A graduate of the North Carolina School of the Arts and a respected dancer and choreog ra pher in her own right, she’s recognized for her distinctly quirky, impromptu style. “I’ve always been the one who doesn’t make the sexy dances, so if they want that style, then they come to me.” Rowlson-Hall is linked with d irectors including Gaspar Noé and (crowd favourite) Lena Dunham, c horeographing for film, television and a number of great indie music acts. Formerly working in New York City concert theatre, her entrée into film came when she was asked to choreograph a music video. “The moment I walked on set I had a strong
feeling that I was home, and fell in love with the process of filmmaking immediately.” In her first film feature film, Rowlson-Hall wanted to tell a story about all mothers, but as expressed through the mother: Mary. MA became the t itle. “I was travelling in India while conceiving this film, and while in a temple I saw ‘MA MA MA’ written out in pebbles. I thought to myself, MA is definitely the name of the film. And then I learned that Ma (間) is a Japanese word which can be translated as ‘gap’, ‘space’, ‘pause’ or ‘the space between two structural parts’,” Rowlson-Hall explains. This discovery turned out to be sere ndipitous and true to the meaning of her film, dubbed “a desert-bound biblical ode”—a re-imagining of Mother Mary’s
pilgrimage. The narrative of a woman crossing the scorched lands cape of the American S outhwest is told entirely through movement, using unspoken language as language— yes, it’s a modern- day silent film. The director trusts that words are not a lways necessary: “I aim to create films where the movement is full and clear, so that words are not needed.” Rowlson-Hall boldly cast herself as the protagonist of MA, which premiered at the Venice Film Festival and has been screened at MoMA PS1, among other places. “I had such a specific vision for this film. I knew how hard I wanted to push the character, and that I would get the best results using myself.” Her vision was to beautifully deconstruct the role of every woman entering this world
and her experience of going through it, as Ma crosses paths with char acters ranging from a succession of uniformed men to tired old showgirls and prostitutes. Feminist inclinations shine through, and Rowlson-Hall confesses her disappointment and sadness about how women are represented in film. “The representation is so often superficial, image-based and devoid of any depth, truth or messiness. I think a lot of dance is sexu alized to the point where it’s so b latant that it becomes uncreative, and it’s not being performed for the performer’s enjoyment, but rather for the male gaze.” MA is also based on the director’s own experiences in her twenties, and the feeling of needing to strip away a lot of femininity in order to be taken seriously by men.
Despite taking many years to reclaim that femininity and find power in vulnera bility, she’s now learnt to embrace “another side of femininity”, understanding that there is equal power in being a woman, especially working in a male-dominated field. “MA is all about what I struggle to give up, to win. Or what I can’t give up, because it is me…” In a pivotal scene of the film, Ma takes on the identity of a man— the only man she ever knew—in a metaphorical hint at this being the only way to get to the finish line (that “line” being Las Vegas). Rowlson-Hall d escribes the act of playing a man as very easy: “I simply needed to listen to and access the masculine energy that I posses.
I think everyone shares both energies inside themselves, but there is a fear in acknowledging it because it challenges stereotypical gender identity.” She embraces opportunities to express the duality of femininity and masculinity on screen, whilst adding significantly to the conversation on gender identity. In fact, the director very much identified as a boy in her younger years: “My mum used to buy me small tank tops. I would rip them off and run around, pretending that I was Hulk Hogan. There was a moment when she was, like: ‘You can’t do that any more, because you’re a girl.’” As a child, Rowlson-Hall also came to realize that although, she wanted to be, she could not be Jesus. Jesus was a boy, and she was a girl—matter of fact, end of story. “I couldn’t be Jesus;
I thought gender meant everything. I feel that all people struggle with gender expression, whether they’re aware of it or not, because societal norms and stereotypes are so deep, so marbled into the psyche of our culture that it’s hard to uproot and examine them.” Fluidity: the word itself is a beautiful one, according to Rowlson-Hall, implying all that is not stagnant but moving. “In our lives, maybe we change a million times,” she ponders. “We come in, and we’re expected to be one thing. I deal with this a lot in my work. The more that we question, the more we break down. It’s like once the walls are down, there is fluidity.” The artist holds a strong belief that if a woman is very strong, that’s just as feminine and female. “I love when
men move with such softness, too. I think we’re going into wonderful landscapes, in terms of film and expression.” The artist talks about fluidity in sexuality, too: “I don’t know why we need certain terms: straight, gay, bisexual—using them as containers. Those can start to break away as well. We can just unders tand that we’re always shifting.” She talks of a pendulum that swings, both on a personal and cultural level. “We want to know things, we want to know that they’re here, or there, and when we don’t, it scares the hell out of us. But that’s also when we can learn the most about ourselves. The not knowing is the scariest, but also the most life opening…” www.celiarowlsonhall.com
By Kelsey Lee Jones and Leendert Sonnevelt Photography: Jasper Rens van Esâ€”House of Orange
Ho99o9 Turn the Devil’s digits upside down, multiply them by two eccentric New Jersey boys and you get Ho99o9. These punkmeets-rap showmen, also known as Horror Death Kult, get their “eternal boner” from screaming in your face and destroying the stage, sweaty and naked. Not surprisingly, these antics have paid off with a cult following. It’s anything goes for these guys, who channel classic punk, thrash, hardcore, shock rock and hip hop through a (dirty Jerz) filter. Glamcult met them in Amsterdam, hot and sticky after their Red Light Radio session with Converse. “This shit is far out, far left corner—stuff that nobody wants to fucking touch…”
How did the two of you meet? theOGM: Through mutual friends. He [Eaddy] went to high school with some homies that I later started hanging out with; they became some of my best friends back in New Jersey. We just all happened to link up. We’d go out to parties in the city—we got close. We’ve known each other for a good eight years now. And then how did Ho99o9 come about? theOGM: It came about randomly. It was crazy, the evolution of it. We never made music together before. I rapped, but it was a different style, a different approach, and I was a lot shyer then, too. Eaddy is a dope-ass illustrator, so most of the artwork we do (the T-shirts—anything that you see) he does most of it, even our posters. We were going to shows, feeling inspired by punk, rap and art shows. Every time we went to New York, we would be bumping out shit in the car on the way. One day in the car, I was like, “Yo! I’ve got this idea for a project.” It started from that. We thought about jumping straight on a hook. Wrote a little chorus to see what it sounded like—it was some dope shit! So we wrote a couple more verses—man—it just happened. Eaddy: We dibbled and dabbled, and tried some shit basically. Our confidence built up, we found faith in ourselves. It just came out. It takes confidence. Do you feel like you’re more a live act than a studio act? theOGM: We are both. We’re
not doing what the normal crowd in music is doing, on the radio or in videos. That’s not this shit. This shit is far out, far left corner—that stuff that nobody wants to fucking touch. I guess nobody’s got balls enough to do what we’re doing. So do you listen to the radio and “Top 40” kind of music? theOGM: Well yeah, you can’t get away from that shit. It’s everywhere. Though we’re not saying Top 40 is whack! We’re just saying that’s not where we are. There’s a formula for a Top 40 track, and how you get pop music popular. We don’t go by that formula. We just create music as we feel it. We don’t care about that shit; we just want to have fun. You’re originally from New J ersey but based in LA now. What’s the music scene like there? theOGM: We go to all types of shows in LA. Whether it’s rap shows, punk shows, DJ sets. There’s a punk scene in LA, sure — a lot of really dope shit. There are Latino punks in the neighbourhood of Downtown and East LA. It’s pretty gnarly! Just like New York, all the music comes there. You were once quoted saying that you’re out to “make p eople feel uncomfortable” with your music… theOGM: Y’all got to. That’s our approach. Though it depends what kind of crowd it is. Some crowds might feel uncomfortable if they’ve not been exposed to that sort of
xpression. We’re not aiming to make e people uneasy. We’re just aiming to express ourselves. Fully going hard, giving it our all. Eaddy: We just want to have fun, to be honest. It’s meant to be fun. Jump around, lose your mind—don’t get too comfortable in your comfort zone.
Eaddy: They will either call you gay or weird, it’s always those two things. It’s like: “No, actually. I’m just comfortable with who I am. I can do whatever the fuck I want to do. You’re laughing at me for being me. We’re laughing at you because you look like the rest of these motherfuckers.”
Could you tell us about the p roject you did with the MOCA? How did you hook up with such an important institution? Eaddy: As we often release zines and photo books, I came up with a photo gallery concept. I was working on this “blue” project (blue is my favourite colour). We got the offer b ecause we played a show at the Museum of Contemporary Art Los Angeles for a book fair the year b efore, and they were really into our performance. They came up with a really dope conceptual thing. It was a ten-minute set and it worked perfectly. Coming from such a leftfield place, it was amazing to perform somewhere like a museum. We actually got people to mosh at a museum!
How would you describe your vision or aim, if you have one? theOGM: We’re in this universe, concentrating on making sounds that people don’t usually hear every day. We’re combining a bunch of genres and subcultures that a lot of people are into—bringing a new sound to the table. We’re just destroying everything and anybody in our way. Just aiming for the top! Eaddy: Firstly we want to evolve as people, that’s our everyday thing. We want to evolve as artists, too. We live in the now. I don’t know what the future is, I can’t see it, and I don’t know what it holds. I know that right now, we’re off our heads. We’re doing what we’re doing right now—and that’s it. www.ho99o9.com
Is your visual identity something that’s important, as many people seem to think? theOGM: This is us, we don’t know how to do it any other way. Eaddy’s always been drawing. The way we dress, it’s always been this way. We’ve never cared what people say, no matter how many fucking dirty looks we get. We get dirty looks all the time; we’re from New Jersey—where motherfuckers don’t wear tight jeans, nail polish or wigs.
By Kelsey Lee Jones Photography: Carlijn Jacobs—UNIT
Styling: Leendert Sonnevelt Model: Saadi—Elvis Models Hair and make-up: Dennis Michael— Angelique Hoorn management Assistant styling: Steven Pul
Neith Nyer Grandma’s boy, global nomad and Givenchy alumnus F rancisco Terra’s label—or self-proclaimed “fashion statement house”— is founded on those things closest to his heart: colliding cultures, love and Brazilian heritage. Neith Nyer takes us into S/S16 with “girls and boys ready to rumble”: an eclectic mix of French erotica, American bank robbers, teenage vandalism and “slutty” Russian slang.
By the age of seven, Francisco Terra had already discovered his eye for fashion. The sewing machine—in all its wonder and mechanical m ystery— was his first playground. Staging his own plays in the luxurious gardens of his countryside home in Brazil each summer, Terra would start planning what to wear months in advance, imagining outfits and creating costumes. Designing clothes became an enduring preoccupation, and some two decades later, 2013 saw the launch of his very own label—or “fashion statement house”, as he likes to call it—under the moniker Neith Nyer, named for Terra’s grandmother. Perhaps Terra’s sense of style was predestined, for both of his grandmothers were seamstresses, and throughout his childhood he shared a deep connection with them—his maternal grandmother in particular, who taught Terra the art of sewing. Neith Nyer, which we now see stitched inside the collars of all Terra’s modern designs, is a tribute to that grandmother’s name. “She was a free woman, with a very young spirit—appreciated by all,” Terra says. Like all matriarchs, she was— and still is—the spirit of his family, and having put a lot of thought into what he would call his label, Terra eventually settled with her name: “I didn’t want to use my own name. It is a life project, I had to find something that was meaningful and that would also influence the mood of my collections.” For that reason, he also determined that in each collection he would create a piece linked to his grandmother’s personal wardrobe.
Despite the family’s humble origins, Terra recalls that Neith had high tastes, and always had her head in French magazines; she was always “on fashion” and her style ever evolving. Her looks in the 1980s and ’90s inspire all Neith Nyer collections, and her passion for Hubert de Givenchy brought about Terra’s obsession with becoming a designer for the label, a dream he accomplished in 2011. While his Brazilian roots are defining, Terra is something of a global nomad, having dwelled in New York, Paris and Switzerland; travelled to Africa for work and spent much of his time in Asia: “Travel is important to me to feed my imagination and creativity.” He speaks passionately of Brazil’s rich underground pulse, New York’s aggressive urban energy, the attitude of the French (especially Parisians), cold professionalism in Switzerland, the vivacity of South Africa and the m ysterious yet sharp psyche of many Asians. Neith Nyer is all about making those cultures collide, “blurring cultures by mixing them together”. While he journeys, Terra is mindful to remain sensitive to the world around him: “a song in a place, a woman that walks by in the street— it’s all about telling these stories”. Having travelled around the world and back, Terra has found himself within more than his fair share of professions, too. Originally bagging a degree in business, he moved on to study cinema and video while in New York and even worked for the United Nations for some time, where he was a researcher in textile development
for the services market of African francophone countries. Thankfully for us, Terra found himself blossoming amidst the fashion world, starting out as womenswear designer for major fashion houses Givenchy and Carven, before launching his Neith Nyer l abel. “When working for another house, your mind is set to translate the i nspirations of someone else; with Neith Nyer I can be 100% myself,” he tells Glamcult. But of course, with full control comes full responsibility, a lthough Terra takes it on with aplomb: “I am confident enough—I am b uilding something I believe in.” Terra is already on his fourth collection, and he sure dipped his toes deeper into the water for A/W15—both metaphorically and literally (check out the fish-filled paddling pool featured in the video look-book). The happening hip cutouts of the Setena Pants proved the new way to sneak a look at sexy angles of the body. The story of the campaign is a bored Brazilian housewife in the ’70s. Discontented with her life, she spends her days lounging naked in her room, smoking and drinking gin, her only entertainment the gorgeous young escort boys and girls who come to visit her daily after the sun sets in the Brazilian desert. For S/S16, Terra’s theme is “girls and boys ready to rumble”, evoking the characters of a trashy horror movie who decided to dress up. Terra explains that what he has in mind when designing is not the clothes, but the person who’s going to wear them: “I thought about a young Bonnie Parker, Lily-Rose Depp
and the delinquent stories of Marine Feuillade.” Other eclectic references include French erotica (oh là là!), American bank robbers and teenage vandalism. While Terra’s boyfriend walked in their neighbourhood one afternoon, he came across a closing down bookstore, its owner giving away old magazines on the sidewalk. Riffling through he came across a few issues of Plexus magazine, an erotic French publication from the ’60s. “I already had in mind a collection about those gangs of bank robbers and very young delinquent girls during the American great recession. I though that teenage vandalism would clash really nicely with those erotic girls from Plexus and its surrealist i llustrations.” Collaborations came from B razilian designers Helen Rödel for the knitwear and Vinícius Dapper for the shoes; Jean Paul Gaultier on eyewear duties; and Russians Corporelle Lingerie manufactured the undies. Of the printed slogans featuring in his S/S16 collection— “Kalash, Kalash”—Nyer enlightens us: “It’s a sort of slutty Russian slang”; Kalash stands for Kalashnikov, and that’s a firearm if you didn’t know, more widely known the AK. A graphic of said rifle also featured on Nyer’s RSVP show invites. While we’re sure Nyer isn’t endorsing manslaughter, he’s certainly killing it with his overwhelming look and attitude… See www.glamcult.com for the full visual essay on Neith Nyer. www.neithnyer.co
By Leendert Sonnevelt Photography: Shawn Brackbill
Beach House On the heels of releasing two critically acclaimed records, Glamcult once again caught up with Victoria Legrand during her latest world tour with long-time partner Alex Scally. Because there’s always more—wisdom—to be found in anything signed Beach House.
While preparing this interview we came across your recent fan Q&A on reddit. God, they know so much about you! I know! We really appreciate our fans; I think it’s cool to have that sweet relationship. It’s interesting how much people get into something they really like. They enjoy knowing about stuff and knowing about the music. It’s overwhelming and eye-opening as a musician. There are people caring about what you do, which is really wonderful. Especially in this world with a lot of hatred coming from everywhere, when anybody shows love on any scale—small or large—that’s beautiful. Love is beautiful. Beach House has been going strong for a long time now and what we see is your beautiful act with a beautiful product. But how do you and Alex keep each other inspired? I think that’s our friendship in general. We really are best friends; we click on many levels. We keep each other challenged; we support and surprise each other. I think that any good friendship is like that. The reasons that bands don’t last long is because they grow apart, and I think that with our band it’s really just about becoming closer and closer. While you get closer on all levels, your understanding of each other deepens. There is openness, there’s exchange— the creativity doesn’t suffer with all these levels of understanding.
And, you know, tension. Not all good things come easily, there has to be consonance in order for drama to occur. Things must be difficult for things to be good. As we grow closer and closer, our work continues to thrive and exist. The centre isn’t falling apart; it’s becoming stronger. We just released two albums in a year because we keep going. After we finished Depression Cherry we just kept writing. We didn’t ask why. Are you hoping your music will only get stronger as your friendship grows better? I don’t know about stronger; I don’t want to put pressure on anything ever. I want things to be able to exist and not put too much seriousness on them. We don’t make a commercial product. Like every other bit of music, it’s here for people to either enjoy or not, to find something in there, to help them understand living or dying. It’s music, you know, it’s free in a lot of ways. It doesn’t have to be part of all of the ugliness and bullshit. It’s a place where all humans can exist and feel things. So I don’t know what will happen in the future, I just try to take everything on a day-to-day basis. We really enjoyed the talk that you had with C hristopher Owens for HERO. You described yourself as being quite punk and that’s interesting, coming from you. I forget what exactly happened in that interview but I think it’s the
not giving a fuck. For us what makes sense is doing what we do, not overanalysing it, and there is a DIY aspect, of course. We don’t want to have a super comfortable existence and we enjoy the control of our own aesthetic. In that sort of expression or gesture, I think we echo a punk mentality. Also, I think we were talking about Depression Cherry being more immediate. There’s something mildly political but also mildly confrontational. There’s a lot in there—a lot of human things and n arratives. We insist on doing things our way. We really can’t be bothered with caring about what people think about it, then the art will be d amaged and we’ll be damaged. We’ll be messed up and not be ourselves. The most b adass thing you can do is just be your-fucking-self.
Is there a specific story that i nspired the song Common Girl? No, but there is a specific feeling, like a character in a movie. There’s some cruelty in there. There’s sarcasm and commentary: a kind of ugliness about people who are empty inside. It was a specific feeling, like a bite in my mouth. A raw feeling that was more direct than Depression Cherry songs. All songs on Thank Your Lucky Stars are like that, always addressing something that seems more direct. There is loneliness, there is ugliness, there is evil, there is taking advantage, there is sadness, there is the city, there is the downtown, there is a lot of things that form a narrative. But I am a writer, so I just follow a specific feeling. I follow the taste in my mouth. Every song comes out differently.
One might expect a Beach House concert to be gloomy or dreamy, but there’s actually a lot of power in your shows. P erhaps that’s that punk q uality too. Yeah, it’s not all dreamy! The whole thing about ‘dream pop’, I don’t really care about that peculiar classification. In feeling our music, I feel many things that are not ‘dream’ or ‘pop’. Some of it is so physical; there’s much more than just two words. I appreciate you saying that because it shows you’re open and observing. You’re using your facilities as a human being, processing stuff—not just going to the show and being, like: ‘Awwww, this is chill.’ Because it’s not! [Laughs]
Thank you so much. Is there anything you’d like to leave us with? Thank you for having this interview with me. It’s a little hard on tour sometimes because of the crazy schedule, but I’m glad we got to talk. If I only have one thing to say, it’s that at this time in history we need to really be sensitive to one another, love one another very much. I’m very grateful for all the love and support, I hope more people can feel that way.
Mama sexy! NYC’s freshest label, Moses Gauntlett Cheng, presents a collection i nspired by spicy mature Italian women. D esigner Esther Gauntlett, one third of the trio that makes up the label, describes the ladies she met while travelling through Italy as “sun-drenched, jewel-encrusted hotties”. Maxing out on this all-Italian vibe, models of all genders walked the walk to a bumping version of Andrea Bocelli’s Time to Say Goodbye. Highlights included the sunburnt effect make-up, (extra high) string whale tails, sassy frocks and lots of nipple on the exposé. One of our favouri te full sheer looks was modelled by G auntlett’s own “jewel-encrusted hotty” mum. La d olce vita, baby.
By Kelsey Lee Jones and Leendert Sonnevelt
Moses Gauntlett Cheng
Spring/Summer 2016 As summer finally rolls around, fashion opens up the dirty windows. Perfectly illustrated by John Galliano’s “low-tech, high-tech” duality, S/S16 sees designers celebrating Mother Nature’s essentials while simultaneously reaching far beyond our galaxy. Freedom is the key word, with the nipple being liberated for good. So while we’re waiting for Instagram to pick up on that, enjoy some of our favourite new-season looks.
The words “bashful” and “coy” spelled out in sequins above the brows have us wondering—because this Hood By Air collection is a far cry from shy. Parisian Gay Pride took place in the city a day prior to this show, which is pretty apt given that this S/S16 catwalk looked something like the (more interesting) tail end of the parade. Joining the list of stars to grace the HBA floor was Glamcult favourite Arca, making his catwalk debut. The overall look was about subverting the charms of childhood, altering pacifiers into padlocks or pin cushions, cheek retractors, bow hair clips in tresses—call it infantile glamour.
If you think working a couture jacket backto-front is a wardrobe fuck-up that should be left with Céline Dion back in 1999, think again. Rapidly established Parisian label Vetements (honouring our trend pages once again ’cause we can’t get enough) shows us how to do it right, with a collection featuring a stand-out blue coat in reverse— plus killer looks that set the vibe for the rest of the year. Never disappointing, Demna Gvasalia took us down to Chinatown (Le President in Belleville, Paris) for the show, keepin’ it real with a model line-up of his own mates, blowing minds with insane drums by Silvester Anfang mid-walk, and ensuring timeliness with Star Wars silkscreen. Fashion, there’s been an awakening.
Big up to the feted J-Dubs (once again) for RTW S/S16. In this collection he brings forth “an odyssey oscillating between galactic Olympics and empowered femininity”. The voice of Fran Lebowitz musing about art and whatnot (cut from a Martin Scorsese documentary) made the voice-over for the show; her words “opened up my eyes about creativity”, said Anderson. The vibe he dubbed “modular and galactic”. Models with the aura of beautiful space cadets alighting from spaceships wore slip d resses in crinkly and wet-look fabrics, paired with lace undershorts, teeny-weeny wire bras, leg-of-mutton sleeves and jewellery inspired by sculptor Richard X Zawitz and his tangle creations.
When she’s not out saving the planet (or parking a white tanker on David Cameron’s front lawn) Dame Viv, the gallant mama of punk, manages to fit in a fair few collections each year. Her latest Gold Label show was one of the last to be seen at Paris Fashion Week, which meant a real opportunity to make a statement—and Viv did so in splendour (of course). In line with her new activist focus, Mirror the World campaigns to save a sinking Venice from the effects of climate change. Like a Saint Mark’s masquerade, it was a carnival in its choices of colour, fabric and make-up. Also featuring: Schiaparelli surrealism, bursting bouquets— oh, and Colby Keller (ex-gay porn star) modelling the official lookbook shot by Juergen Teller. Yum.
Walter Van Beirendonck
Ready for a post-gender all-night bender? The MM6 (by Maison Margiela) models were geared up to set the new standard, their clear plastic handbags filled with all the obvious party essentials: cola cans, beer and bananas. The runway is their throwback to an industrial techno hideout of London’s club scene—a little tinkering with the sound buttons as they walk by, as if to play out their own soundtrack, makes for a hypnotic show. Highlights: Ziggy Stardust-style two-pieces, extra long-line knits and lots of light-wash denim. MM6: the place where Galliano likes to get lost in the dress-up box of recent history.
As we pick our favourite looks each and every season, not a Walter Van B eirendonck collection leaves our hearts cold. Not s urprisingly, it was the just-as-constant s uper power named David Bowie who, b efore leaving Earth too early, inspired the iconic designer’s efforts this spring. Named after Moonage Daydream, the Electric Eye collection saw overly innocent colours and toy-like prints clash on the runway with doom and gloom. Antwerp’s friendly giant once again reacted to (negative) current events and the media frenzy to which we’re continuously exposed. It was the a mbiguity of this beautiful suit that once more landed him between our favs: childlike, but nowhere near innocent.
There’s no way around it: Alessandro Michele is Milan’s newly risen Messiah. We said it last season and we’re simply going to say it again: Gucci is the cutest thing presently on the runway. With a model cast geekier than the entire population of Hogwarts, Gucci’s “new” head designer manages to look into the (bohemian) past, invent clothes that are contemporary and infuse them with sex. Make sure you don’t miss the label’s current campaign by Glen Luchford, starring these dazzling pieces— as well as a peacock and a skateboard— in Berlin’s most beautiful spots. La grande bellezza.
Does this French sobriquet not ring a bell? No need to feel embarrassed: S/S16 a ctually marked Koché’s fashion-week debut. The young label, initiated by designer C hristelle Kocher just over a year ago, adds to the big breath of fresh (non-conformist) air sweeping through Paris lately. No longer exclusively the home of somewhat elitist fashions, the French underground is c laiming its well-deserved space. With an eclectic mix of streetwear, intricate embroideries, straightforward silhouettes, tech materials and digital prints (designed by Glamcult contributors Pinar &Viola), Koché’s first fashion-week excursion was a convincing one. Shantay, you stay.
Seventies flower children may have been rampant on the runway just a season ago, but Jonny Johansson has moved on big time, speeding up with a supersonic S/S16 collection. If Acne Studios still equates to cuddly Scandi clichés in your mind, pause twice. The more and more conceptual a pproach, complemented by brilliant ad campaigns, is lifting the established S wedish house to higher and higher levels. It’s not hard to imagine both Grimes and Grace Jones in these electro-infused pieces, strongly referencing both the ’80s and ’90s. Seeing how these power women—as well as this dress, obviously—are equally glam and cult, we’ve said enough.
Comme des Garçons
Is there anything Rei does wrong? This s eason, the Japanese wizard underscored her womenswear collection with a compilation of David Lynch’s neo-noir Blue Velvet. Witches were Kawakubo’s starting point, described by her husband and business partner Adrian Joffe as “women that are often misunderstood by the world”. W hether they came in black, blue, leopard print or wholly white, the Comme Des Garçons enchanters were both noble and experimental, their impressive silhouettes adorned with velvet, feathers and crimson h airpieces. Really, we don’t have to say much about this visual spectacle/obscure feminist parade. The world might still not u nderstand, but we think you do.
“You look like a drug addict but in a good way…” Judging by the prints blotted across his S/S16 designs, Bernhard Willhelm knows just what we like. Well, (not just) bees and bananas, that is. Never afraid of being evocative and/or provocative, the LA-based artist’s new collection—titled Caramelised Banana with Toffee Sauce—could be the upbeat array of a utopian, inexplicable and somewhat loco cult. It’s also just what we need for a sizzling pool party this s ummer. Or how about a combination of the two? I beez in the trap, bee beez in the trap.
You may not have seen Kenzo on these pages for some time, true. To be completely honest, the commercial fever of the French house—alongside many others, we suppose—had Glamcult a bit discouraged. This changed radically last season, h owever, which saw Carol Lim and Humberto Leon reaching out to fresh, far-out, arguably more left-field territory for inspiration. Hello, outer space! Kenzo’s second extra-terrestrial menswear show came in dry and n atural tones, with bright colour accents here and there. Our ultimate look from the sandy collection is surely this cactus-like attire, which is in fact a raised knit. Don’t let its d efiant structure scare you; according to Lim h erself “you can hug someone wearing it”.
Well, well, look who made his way on to these pages more than once! With a self-described “lo-fi, sci-fi” collection for Maison Margiela, John Galliano leaves much more than just a personal mark this season. The director’s dainty creatures (skinny boys in skirts!), which we e ndearingly like to call “cult fairies”, carried an array of references impossible to even examine on an entire page. From cyber textures and fishnet stockings to kimono prints, glitzy make-up and traditional Asian knots, there was an extravagance that only Galliano can present as one. To sum it all up, we’d like to add just one more (ancient) reference. There is no great genius without a touch of madness.
Dries Van Noten
Nope, this is probably not the subversive, post-gender or radically recent kind of fashion you expect us to feature. The extent to which we love Dries Van Noten, however, is pretty obvious from the amount of times we’ve featured and spoken to the Antwerp master. He might be established, but this faded form of glamour is once again right up our ally. The ’30s silhouettes, the rich and royal materials (sequins!), the glamorous shades—clashed with a gloomy industrial backdrop—they all scream Glamcult. We’re especially fond of the skin-like dress and tattoo-print combination, reminding us of last season’s brilliant Comme des Garçons menswear line. For ever a favourite.
There’s been plenty of whining about this collection for it being too similar to prior seasons. Hey, come on, quit that jabba! For us, there’s so much joy found in the familiar, as Craig Green takes bounding energy from last season with a re-imagined vision of a neo-romantic scene. His carefully d eveloped signature features—the workwear coat and Zen-imbued martial arts garb—were reworked in new colours reminiscent of Carmen Herrera’s artworks, and the most glorious shade of green we ever did see. Highlights: circular cut-outs—at the n ipples, of course; an undeniable trend for the whole of S/S16—and female models w alking the floor for the first time.
Gracing billboards for Louis Vuitton this summer is Xavier Dolan, the Canadian actor and director we’ve come to love for i ndie staples such as Les Amours Imaginaires, Laurence Anyways and more recently Mommy. Shot by Alasdair M cLellan in Kim Jones’s menswear highlight for this season—the satin souvenir jacket—how could we not fall in love all over again? But whether it’s Dolan, Zayn Malik or Sol Goss that’s spotted in the jacket, we’re pretty sure this candy-coated piece, especially in pink, will make any boy an object of your/our appetite…
Words by Leendert Sonnevelt Crew: Elie Nakache, Kesse Donkor, Lauren Auder, Leo Hoyten_Egan, Mawen Moandal, Paul Samb and Saeio
Embody by Ari Versluis
Andrea Crews It’s already been over a decade since Maroussia Rebecq established the statement label Andrea Crews. The transcultural, trans-generational Parisian brand has been producing much-debated clothing ever since, always inspired by a wide range and clever mix of urban tribes. Struck by the importance of cultural codes that direct both the input and output of Andrea Crews, Glamcult and photo grapher Ari Versluis got together once more to explore the relationship between the designer, the people who influence the designer, and— in this special case—the alter ego. “I do believe I really don’t like a tall, thin, blonde sort of girl,” an
exhilarated Rebecq tells us minutes after her autumn/winter ’16 presentation in Paris—surrounded by a troop of good-looking boys in raw, shiny looks. “I look for something different, a kind of beauty that is unexpected. Can I say t hat? It’s very difficult to define what I love in a model, but it’s more of an attitude. Sometimes you like a guy, but you don’t know why. But then at some point he starts dancing on his head, and you’re like: ‘That’s why I chose you!’ It’s a kind of behaviour and culture that is fun, strong, free and full of life.” With her latest collection being inspired by (the population of) the Parisian neighbourhood Barbès and its famed Boulevard in the 18th district, Rebecq intends to show a real picture of her city. That picture echoes a ’70s block party in the Bronx, but also the
multiplicity of contemporary Paris. “We’re talking about Paris as a mixed city: a part of the French style that people don’t talk about so much.” Andrea Crews signifies a melting pot, according to Rebecq, but she insistently adds: “I always take a next step. Which is why things are complicated or disputed sometimes.” Adding, as just one example: “I’m making mini shorts from Persian rugs...” Endlessly bringing art, fashion and personal activism together, Rebecq and her second self almost seem inseparable. Could it be that Andrea Crews is actually the designer’s muse, Glamcult wonders. “That’s a hard question!” she laughs. “I don’t know. The best part for me is actually when I can escape from Andrea Crews. And for Andrea Crews the best part is when I really give myself to her.”
It’s complicated definitely applies to the bond between Rebecq and her super-strong alter ego. “Sometimes she’s heavy,” the designer reveals. “She can be very heavy. It’s like a big bag, filled with a lot of things—and you always have to carry that backpack with you.” Embody is an ongoing collaborative project by photographer Ari Versluis and Glamcult, exploring the relationship between influential contemporary fashion designers and those who influence their work. Stay tuned for more. www.andreacrews.com www.ariversluis.com
Isabella: jacket McQ Alexander McQueen, trousers Y/PROJECT, shoes Dior, choker Jessie Harris
Lydia: jacket Y/PROJECT, trousers McQ Alexander McQueen, shoes Ashley Williams x Kat Maconie
Lydia: dress Marquesâ€™ Almeida, top Ming-Studio, skirt Toga, earrings Jenny Sweetnam
I sabella: coat Marquesâ€™ Almeida, trousers Loewe, shoes Dior
Isabella: coat Dior, dress J.W.Anderson, earrings Jenny Sweetnam
Lydia: silicone top Hannah Williams, skirt A.W.A.K.E
Photography: Daisy Walker Styling: Tess Yopp Hair: Nathalie Shafi using Bumble and bumble. Make-up: Mona Leanne using MAC Cosmetics Models: Isabellaâ€”M+P Models, Lydiaâ€”Models 1 Set design: Sabrina Lee Hammon Assistant styling: Misha Tasha Analogue services by Photofusion
Left Julia: jacket Cielle Marchal, bodysuit Di$count Universe Danny: top and skirt Minnah Byron, shoes Dannyâ€™s own Right Danny: dress Rose Church
Danny: jacket and jeans: McQ Alexander McQueen, top Andrea Crews
Julia: dress Yan Zhou, boots Maison Margiela Danny: top Rose Church, trousers VFILES Sport Plus, jewellery stylistâ€™s own
Julia: jacket Acne Studios, trousers Yan Zhou Danny: jacket McQ Alexander McQueen, top Andrea Crews
Julia: jacket Acne Studios, trousers Yan Zhou, boots Maison Margiela
Photography: Agnieszka Chabros Styling: Jamie-Maree Shipton Hair: Luke Harris Make-up: Janice Wu Model: Juliaâ€”Chadwicks Models, Danny Assistant: Hannah Alexander Special thanks to Distal Phalanx
Say hey to the Trigenic Flex, one of the most remarkable sneakers weâ€™ve seen in a long while. Occupying the film studio with filmmaker Barrie Hullegie and rising soundscaper Sevdaliza, among others, we explored movement and contrast with this sneaker by Clarks Originals. But before you watch the short film, make sure you discover the fresh design innovation here.
A mixture of cutting-edge shoe engineering, craftsmanship and design, the Trigenic Flex actually syncs with the natural sequence of motionâ€”looking flawless at the very same time. As Glamcult found out on set with professional dancers Romario and Natascha, this sneaker is all about natural movement. The asymmetric last, hand-carved from hornbeam, perfectly aligns to the shape of the foot.
Modern styling, a classic moccasin construction, as well as a pioneering attitude define the Trigenic Flex, a modern take on the Clarks heritage, inspired by the iconic Clarks Wallabee. Whether you’re falling, fixing, flipping or flexing—the sneaker at all times follows the foot’s natural shape and enhances motion with a unique, decoupled, three-part outsole.
Art direction: Glamcult Studio and Barrie Hullegie Photography: Barrie Hullegie—HALAL DOP+Edit: Marlon Bos—Orfixmedia Styling: Thomas Vermeer Hair and make-up: Sandra Govers—Angelique Hoorn Management Dancers: Romario, Natascha Choreography: Jeffrey Mack-Nack Styling assistant: Lauren Roberts All shoes: Clarks Trigenix Flex Visit www.clarks.com for more information about Clarks Trigenic Flex and watch our series of short films on www.glamcult.com
I want Glamcult
3.1 Phillip Lim www.31philliplim.com
Jenny Sweetnam www.jennysweetnam.com
Acne Studios www.acnestudios.com
Jessie Harris www.jessieharris.co.uk
VFILES Sport Plus www.vfiles.com
Andrea Crews www.andreacrews.com
Yan Zhou www.yanzhou.space
Ashley Williams www.ashleywilliamslondon.com
Kat Maconie www.katmaconie.com
Kriss Soonik www.kriss-soonik.com
Bumble and bumble. www.bumbleandbumble.com
Cielle Marchal www.cllabel.com
MAC Cosmetics www.maccosmetics.nl
Maison Margiela www.maisonmargiela.com
David Koma www.davidkoma.com
Marquesâ€™ Almeida www.marquesalmeida.com
McQ Alexander McQueen www.mcq.com
Diesel Black Gold www.dieselblackgold.com
Minnah Byron www.minnahbyron.com
Di$count Universe www.discountuniverse.com
Neith Nyer www.neithnyer.co
Eudon Choi www.eudonchoi.com
Hugo Boss www.hugoboss.com
Thomas Tait www.thomastait.com
Glamcult is released eight times a year, providing a platform for rising and established talent from the realm of fashion, music, art and film. We donâ€™t tell you what to wear, what music to listen to, or which parties to attend. We simply give a unique impression of what is
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