Page 1

FREE 2016—Issue 3 #119

“Are we going to prom or to hell?”

Glamcult Independent Style Paper


Issue 3 #119


Cult 4 Albums 9

Jacquemus 24


To the waters... 26 My blood is... 32

Visual Essays

Bernadette Corporation 10


Stockists 38


Rick Owens 12 Sharna Osborne 18 Empress Of 20 Flume 22

Colophon Editor-in-Chief Joline Platje joline@glamcultstudio.com

Art Director Marline Bakker marline@glamcultstudio.com

Creative Director Rogier Vlaming rogier@glamcultstudio.com

Graphic Design Glamcult Studio: Karen van de Kraats Rogier Bak

Fashion Editor Leendert Sonnevelt leendert@glamcultstudio.com Editor Kelsey Lee Jones kelsey@glamcultstudio.com Editorial Interns Maarten Heuver Michelle Janssen Sales sales@glamcult.com

Graphic Design Intern Mia Stevanovic Contributing writers: Emily Vernon Iris Wenander Jack Dolan Ruben Baart Photographers Ari Versluis Nick Helderman Rick Castro Sofie Middernacht & Maarten Alexander Sophie Mayanne Tonje Thilesen

Cover Photography: Sofie Middernacht & Maarten Alexander Styling: Vanissa Antonious Hair: Claire Grech Make-up: Thom Walker Model: Liene Podina—Fusion Models NYC Assistant styling: Deborah Cure Top Kenzo, sash Simone Rocha, tie Christopher Kane Quotes Are we going to prom or to hell? —Winona Ryder in Heathers To the waters and the wild. —W illiam Butler Yeats My blood is a flood of rubies. —Lorde

Publisher Rogier Vlaming / Glamcult Studio P.O. Box 14535, 1001 LA Amsterdam, The Netherlands T +31 (0)20 419 41 32 rogier@glamcultstudio.com www.glamcultstudio.com Distribution distribution@glamcult.com For all subscriptions please contact Abonnementenland P.O. Box 20, 1910 AA Uitgeest, The Netherlands T +31 (0)251 313 939 F +31 (0)251 31 04 05 For subscriptions www.bladenbox.nl For address changes and cancellations www.aboland.nl Seven issues a year The Netherlands € 37 Europe € 59,50 Rest of the world € 79,50 Prices subject to change


Subscriptions can start at any time during the year. Subscriptions need to be closed for at least one year and will be automatically renewed until further notice. Cancellations must be submitted written and at least six weeks before the expiry of the subscription period to Abonnementenland. Changes of address must be submitted written at least three weeks in advance to Abonnementenland. © All rights reserved. Nothing from this publication may be reproduced in any form without written permission from the publisher and other copyright holders. The publisher cannot be held responsible for damage done by incorrect provision of information in the magazine. The views expressed in the magazine are those of our contributors and do not necessarily represent the views of Glamcult or its staff. ISSN: 1874 1932




Polaroid Doll 1

S/S16 collection, photography: Jonas Lindstroem

S/S16 collection, photography: Bella Howard


Bas Kosters

Mimi Wade

Ferrari concept 4

Courtesy of Museo Guggenheim Bilbao, 2016

Film Orange, photography: Jakob Landvik


Bror August Louise Bourgeois 1

Anyone in some way or another connected to Dutch fashion will be familiar with the Netherlands’ most colourful designer. But even if you’ve seen a little—perhaps too—much of Bas Kosters’ work over the years, don’t let that keep you from seeing his first large retrospective at Museum Arnhem. I want it to be soft not only showcases the designer’s fashion collections, but proves his all-round imaginative talent by means of much more: textile art, videos, drawings and soft sculptures included. Glamcult is especially excited about the undiscovered gems: rawbut-sweet illustrations and a wideeyed family of handmade dolls— both of which you’ll want to take home directly. Adorable at first sight, this exhibition more than ever shows a deeper layer to Bas Kosters’ oeuvre: a bright and personal answer to a society that (unfortunately) isn’t nearly as cuddly. By Leendert Sonnevelt Until 4 September Museum Arnhem, Arnhem [NL]


You might have spotted these shades (or shirts) on super model Gemma Ward or young cult star Suzi Leenaars lately. If not, don’t miss this first chance to get to know Ferrari Concept. As timeless as the car, yet only one season young, the Berlin-born fashion label breathes “iconic” with a capital “I”. Showing at Paris Fashion Week for the first time, designer Paige Horinek and her crew— both models and strippers—presented red leather suits, sandy knitwear and leopard prints, among others. Horinek finds inspiration in the “functional forms of the mid-century”, forms that have endured over time. Ferrari Concept’s works are minimal, but don’t actually come across as minimal. They’re sexual, but never conventionally defined. Glamcult can’t wait to team up with the promising collective, whose afterparty with Marfa Journal was graced by the likes of Shayne Oliver, Martine Rose and Lotta Volkova. Stay tuned. By Leendert Sonnevelt


Young British-American designer and latest Fashion East recruit Mimi Wade has a wild Hollywood spirit in her heart—perhaps thanks in part to her grandma “Grammy” Pammy, who starred in 1958 cult thriller The Blob. Wade’s Central Saint Martins graduate collection was an homage to horror heroines like Pammy, taking inspiration from films like Creature from the Black Lagoon and The Thing. Spring/ summer 16 brings us kitsch designs made for girls on motorcycles—think: oversized crystals, lace and signature hand-painted prints that resemble “free-floating panels from a comic book”, all rocked by a hot line-up, including new favourite model on the block, Moffy. Hey, forget Hollywood, let’s take a ride down to Mimi-wood. By Maarten Heuver www.mimiwade.com



Remember when orange used to be a no-go? If anything, 2016 has replaced that with a (huge) “hell yes”, and Bror August is at the forefront. The NYCbased label, headed by Norwegian designer August Vestbø, emerges from the same community as Glamcult darlings Vaquera, Eckhaus Latta and Telfar—in fact, Vestbø interned with all three labels. A chip off the (not so) old block, Bror August’s first collection is a romantic coming together of transparent textures, ruffles, sequins, beaded—crotch—details and illustrations by the Norwegian artist Maria Storm Gran. A lookbook by Jakob Landvik provides the ideal context: an angelic group of girls huddles together on green forest grass, while all tones of orange are represented in a celebration of the silky and soft. Throw in a gust of wind and the dreamy faces on Bror August’s tops gently come to life. We can’t stop watching as they smirk and smile. By Leendert Sonnevelt www.instagram.com/broraugust

www.museumarnhem.nl www.baskosters.com


Guggenheim Museum Bilbao offer us the chance to play an instrumental role in organizing the largest survey to date of the series Structures of Existence: The Cells by renowned Franco-American artist Louise Bourgeois. Bourgeois produced approximately 60 (!) works in this series, assembling found objects and artefacts from her daily life (clothing, fabric and furniture) into sculptures within distinctive architectural enclosures that she calls “cells”. Each of these cells is a unique, individual microcosm encompassing a range of emotions and associations personal to the artist, often referencing her own childhood and its complexity to encapsulate the many motifs and interests. She once stated that her art is existentialist, and the she believes this is what has allowed her to make sense of everything. While these cells are beautifully elaborate, surrealist and tender, they also offer something darker, dealing each time with the concept of pain and fear; physical, emotional and psychological, mental and intellectual—oh, don’t you just love the drama? By Kelsey Lee Jones Until September 4 Guggenheim Bilbao www.guggenheim.org


Gc Update

PITCH 2016 PITCH is one of those festivals that doesn’t have loads of heritage, but in a few short years has become an essential on everyone’s must-do list. In the heart of Amsterdam, new and established quality acts from all over the (sonic) world come together for your pleasure—from the best of techno and J-pop to UK grime and hazy dream pop. The hype around PITCH is always well deserved, and tickets are sure to sell like hot cakes. If you got lucky, don’t miss our favourite acts.


Santigold Aristophanes

London grime of the first magnitude It’s difficult to write about Skepta’s without using a dozen of Shutdown clichés. But whether he performs at a fashion week after party or at a major festival, a shutdown is exactly what you can expect from the London grime master. Promise: you will not stand impassively by. Skepta keeps sending new hits into the world as if he somehow has an inexhaustible supply. The former Roll Deep member is now backed by Boy Better Know and at each concert has a crowd of fans that raps along, word for word. Even unsuspecting visitors cannot escape his power. Scream yourself a sore throat.

The goddess returns We can all do without certain musicians. In the case of Santigold, however, the loss we felt during her big sabbatical was too much. One should never be deprived of that amazing voice and those quirky, wonderful songs for too long. But the drought is over. It’s like she’s never been away, and the cherry on top is that she’s treating us to a tour. Loving Santi = wanting to see Santi play live—not only for her new material, but also for classics like L.E.S. Artistes, Creator and Disparate Youth. This goddess has a body of work to fill a long, ecstatic evening.

Taiwanese rap Bùnéng hou chūlái nà jiù tūn xiàqù… Don’t ask us about her lyrics, because we don’t understand them either, but Aristophanes is sure as hell our new fav Taiwanese rapper. Checking out her SoundCloud, we completely understand why Grimes (who also graces the PITCH line-up) asked her to collaborate on SCREAM, one of the standout tracks on Art Angels. Aristophanes raps and talks over crazy beats, rapidly winning hearts outside Taiwan in the meanwhile. Still wondering what that catchy hook stands for? “If you can’t scream then swallow it down…” Enough said.

DJ Paypal

Kero Kero Bonito

Hyperactive footwork Nobody knows what this young man looks like, only that he’s from North Carolina, now lives in Berlin, and used to hang out with the late and great DJ Rashad. He makes idiosyncratic footwork and juke, is part of Chicago’s Teklife crew and has since been established by FlyLo’s acclaimed Brainfeeder. His music is a fast, funny, ADHD-driven, bouncing and genius form of mindfuck—a serious case of bringing humour back to serious music, aka the return of the space race.

PITCH takes place on Friday 1 and Saturday 2 July 2016 at Cultuurpark Westergasfabriek in Amsterdam. Amsterdam is not exactly known for its parking facilities. That’s why we advise everyone to use public transport and/or a bike to get to the festival site. You can find travel information on the PITCH website. The festival site is open on Friday 1 and Saturday 2 July from 2.30pm until 3am. This is the full festival line-up for PITCH 2016: Santigold, DJ Shadow, Grimes, Skepta, Odesza, Stormzy, Anderson .Paak & The Free Nationals, Lunice, Jamie Woon, Snakehips, Yung Lean, David August (live band), Floating Points (live), Ta-ku, DJ Tennis b2b Job Jobse, Dusky (live), Jungle by Night, Goldlink, Weval, Tourist, Sam Gellaitry, Shades (Alix Perez x Eprom), Tom Trago, The Field,

J-pop dancehall Manga, video games, karaoke, J-pop, Harajuku; nothing can compare to the sensory overload of Japan. Yet it’s nice that we have Kero Kero Bonito to introduce us to it, at the intersection where British and Japanese culture meet. Producers Gus Lobban and Jamie Bullet got Sarah Midori Perry to sing in English and rap in Japanese, creating music that shows incompatible worlds do sometimes meet. And smoothly, too—as if the pieces were made for each other. It all results in happy, playful, quirky music, with catchy choruses and poppy electro. Be prepared for intense colours, music for short attention spans and lots of kawaii.

Dave Harrington Group, Haelos, Tom Misch, Whilk & Misky, Cinnaman & Jan van Kampen, DJ Paypal, Yung Internet, SG Lewis, Aristophanes, Jameszoo Quartet, Dollkraut, Sofi Tukker, Klyne, Kero Kero Bonito, Beesmunt Soundsystem, Vic Crezée, Elias Mazian, Colin Benders, Cubicolor, Sjamsoedin, Tsepo, FS Green, Kane West, Aardvarck, Hana, Casper Tielrooij, Jeff Solo, Mairo Nawaz, Mr. Wix, Boye, Love over Entropy, Arif & Luc Mast, Pieter Jansen & Bob Verhoeven, Woody, Polynation, Robert Bergman, deadHYPE, 751 and AfrikaBoomNada

Yung Internet Amsterdam inner city rap Connoisseurs of the Amsterdam nightlife scene show their insider prowess via the lyrics of this hip-hop trio, who mostly rap about pony packs and getting shitfaced. But even the non-initiated will enjoy the mad antics of Mau and Yelli, who are set to build an almost cartoonish party together with DJ Hyperlink. Not to be underestimated, success has come quickly and their fans go mental. If anything, Yung Internet’s Amsterdam-devoted lyrics and scrumptious tummy tattoos prove there’s hope for the Dutch capital. Revel in it.

Check www.pitchfestival.nl for the latest updates, more information and tickets. Tickets also available via www.ticketmaster.nl.


GcGc Interview Festival



SMG||OY||H-8, courtesy of Sophie Maree Gallery

Tomorrow Is The Question, Rirkrit-Tiravanija


Tomorrow Is The Question

Osamu Yokonami 9



Janet (pearls)

Cult fairies Orcunt, 2016


Stephanie Sarley

Mark Fitton 6

We all remember school assembly, that gathering with your fellow pupils, often seated on the floor cross-legged, listening as Mr or Mrs So-and-So revealed the news of the day. Kyotoborn photographer Osamu Yokonami takes these school rituals as inspiration for his latest series, entitled Assembly. His photographs look specifically at teenage schoolgirls as they come together naturally in small groups. They roam around in uniform (and in unison) against striking landscapes, looking as though they lost their way while out on a school trip. Yokonami achieves a striking simplicity, forcing us to consider the power of dress—wearing school uniforms, the girls’ individuality dissolves and the expression of the group comes to the fore. Although maybe delicate things, through Yokonami’s framing the girls’ group dynamic is captured in a strange light— almost eerie and horror movie-esque. Think: The Sound of Music meets The Virgin Suicides, with children donning geisha costumes. Put it this way: you’d be chilled to find them while out on your cliff-top hike. By Kelsey Lee Jones www.yokonamiosamu.jp www.sophie-maree.com


While we await the Summer Olympics with baited breath, ping-pong players and enthusiasts are invited to step up their game by partaking in Tomorrow Is The Question. Thai artist Rirkrit Tiravanija presents a series of chrome ping-pong tables in public spaces, challenging the boundaries between life and art. Tiravanija is interested in socially engaged works that enable human interaction. By blurring the line between artist and audience, the latter are expected to take an active role in the work of the former. Previous works include serving green curry to gallery visitors and inviting strangers to drop by and drink tea in a replica of the artist’s home. “It is not what you see that is important, but what takes place between people,” Tiravanija says. The installation Tomorrow Is The Question is commissioned by the Holland Festival and the Stedelijk Museum Amsterdam, and is freely accessible this month. By Ruben Baart


Pictures with Janet—a more honest person than this princess probably doesn’t exist. Mark Fitton, the 22-yearold American photographer behind the series, originally hails from a small suburban town in Massachusetts, but currently lives and works in Brooklyn, New York. His practice explores familial relationships, using photography to dive beneath the surface of everyday associations. It’s all focused on engaging and collaborating with members of his own family. Together, they reveal certain aspects of themselves to one another that we don’t normally see in the every day; secrets are told, clothes come off, hidden desires and fantasies subtly surface. They begin to transgress and break down the roles and hierarchies that are assumed within the unit also known as a family. By Maarten Heuver www.markfitton.com

Until 26 June Museumplein, Amsterdam [NL] Borrow your ping pong bats and balls at the Stedelijk Museum Amsterdam.


“Jack and Jill went up the hill to fetch a pail of water, Jack fell down and broke his crown, and Jill said fuck this and became a lesbian separatist.” In #ItGetsBitter: Poetry Show, multifaceted South Asian trans duo DarkMatter have given the classic nursery rhyme a decidedly queer twist. Through performance art, Alok Vaid-Menon and Janani Balasubramanian take on the painstaking task of demolishing white supremacy and exterminating gender. The key to doing so is a kickass toolbox of love, knowledge and aesthetics. Thus the duo tackle—with a great deal of activism and a touch of stand-up comedy—xenophobia and fashion alike, discussing not only the ocean of possibilities of a nonbinary existence, but also showing us how to look fab while facing all the grey conformists of the world. We, for one, would like to join DarkMatter in the fight to make oppression a thing of the past, and we kindly request that you please check your privilege today. By Iris Wenander www.darkmatterpoetry.com


Shaping a new archive of genital art, Stephanie Sarley is taking on controversies. The artist from Berkeley, currently based in Oakland, focuses on female empowerment through vagina art, trying to accustom the world to the image of female genitalia, just because, y’know, vagina. While there are plenty of dicks all over the world, there seems to be less focus on doodling lady parts for fun, but are they really such a serious matter? Decorating the world with “Orcunts” or “Crotch Monsters”, Sarley’s sexual humour-fuelled fruit videos went viral on Instagram and were even celebrated by NY art critic Jerry Saltz, who praised her fruit-fingering videos, saying: “You. Are. Genius.” Ever since she’s been getting recognized for her sexually charged art. Saturated with visual connotation, she brings fascination and lust through the single act of motion. There’s an underlying question on what is defined as sex or sexual, and the multi-gifted artist makes us reflect on a weighty message via a light-hearted medium. By Michelle Hèlena Janssen www.stephaniesarley.com



Gc Update




Image from the series La Belle Heure, 2016, courtesy Of Tomorrow Gallery, New York

Image from the series Over and Under, 2016, courtesy of monCHERI

By Iris Wenander


Image from the series La Belle Heure, 2016, courtesy Of Tomorrow Gallery, New York

Louisa Gagliardi


Fingers caressing each other like tongues. A woman bent over naked, trapped in droplets of water. Another woman smoking while the clouds of smoke form an estranged reflection. With soft airbrushing, sharp digital layering and ever-so-delicate colouring, Swiss artist and illustrator Louisa Gagliardi manages to both titillate and intrigue. And by skewing perspectives—as well as by mastering the play between light and dark— she creates intimate yet esoteric bodily landscapes. While studying graphic design at ECAL, Gagliardi began developing her toolbox and perfecting her craft, all the while growing into the role of artist. Her most recent series, La Belle Heure, began as an inner conflict, the kind that may occur when classical training meets creativity: “This new body of work happened at a moment when I started to feel restrained by my own aesthetic. All

my images were planned, very constructed and controlled; from the beginning, I knew how they’d turn out,” she tells Glamcult. The 27-year-old’s work often addresses interpersonal relationships as well as our desire and yearning for materialistic “happiness”. In her images, Gagliardi captures not only the emptiness of her subjects, but also their acute need to co-exist. They are, although utterly surrealistic, still highly relatable. For haven’t we have all glared with lonely stares, lit by the light from one or several of our multiple screens, wondering if there may be more to life? This is ever so present in La Belle Heure: “The series represents stolen moments of loneliness in social situation, putting emphasis on the need of consumption (alcohol, cigarettes, checking your phone) as an attempt to find comfort and relief. Or how in social situation the subject never feels alone and is always in

representation, how they feel the urge to look busy to avoid awkwardness, and the specific body language of that scenario.” Apart from portraying this human condition of arrest, Gagliardi also, more often than not, deals with the sexualization and flesh of the body. And while some would argue sex is a human right, we can at least all agree that it is a large part of our lives. On the flipside, though, it can most definitely be a catalyst for anxiety, emptiness, loneliness, alienation and what have you. And while viewing Gagliardi’s oeuvre, this could not be more apparent, from the vergingon-hardcore-porn aesthetics of the series Over and Under, where smooth and pierced bellies, nipples and labia are almost literally in your face, to the more subtle longing and caresses in La Belle Heure. From where precisely these images stem, only Gagliardi knows—although her source for


inspiration is indeed tightly knit in real life: “The subjects often come from the pictures I’ve made during openings or social gathering, or even social networks.” Although the bulk of her work is created on-screen, Gagliardi tends to add a physical or tactile element to her prints such as nail polish, latex or even jewellery. This additional material is not only for aesthetic reasons, but also made to highlight or accentuate certain objects or traits: “These artificial products made to either embellish (nail polish) or change the appearance (the use of latex or even the gel used to add texture) somehow have the same role as alcohol and cigarettes, a means for the subject to increase confidence, find comfort in superficiality, blending in by fashionably standing out.” While highly prolific in her personal work, Gagliardi has also been commissioned by Kenzo, Nike and

Wallpaper*, among others, to illustrate their concepts and designs. And with exhibitions in both Paris, Berlin and New York this year as well as a residency at Fondation Suisse in Paris, it’s safe to say that 2016 has been—and will most probably continue to be—a good year for the young artist. And although we’re not ones for speculating, we do think that Gagliardi will continue to speak to our humanity and amuse our innermost kinks for years to come. www.louisagagliardi.com

Albums Anohni

Kristin Kontrol






Light Upon the Lake



Sub Pop

Rough Trade Records/Secretly Canadian

Secretly Canadian

Mixpak Records

!K7 Records

At Glamcult, we’re long-time fans of Dum Dum Girls; everything they’ve ever released has been met with our love and tears. Now DDG’s leader Dee Dee, aka Kristin Kontrol, has released her solo debut, leaving behind a trail of demos on MySpace and years of kicking ass with badass girls. X-Communicate takes on European new-wave, synth-pop and experimental disco, with the lyrics exploring the possibilities of love and laying bare the mysteries and contradictions of emotion: “I hold the highs and lows of your life”; “should we excommunicate our love?” With Kontrol’s versatile voice, half of the album sounds like pure Dum Dum while the other reveals bits and pieces of her more vulnerable side. In any case, turn the volume up loud, put on your roller skates and skate away that punk nostalgia. By Michelle Janssen

Leave it to Anohni to cover surveillance politics, environmental destruction, the death penalty, terrorism, drone warfare, patriarchy, trans rights, capitalism (and so on and so forth) on a single record. On Hopelessness the artist formerly known as Antony tackles pretty much everything currently wrong with the (Western) world. Much like her recent interview with The Guardian and her publicly broadcast decision not to attend the Oscars, Anohni’s first album as a reborn spirit confirms one thing: she’s livid. But whether her arrows— underscored by the sounds of HudMo and Oneohtrix Point Never—are directed at Barack Obama or the NSA, her always otherworldly voice counters fire and brimstone with a seemingly weightless—but, in fact, crushing— honesty; often strong, often fragile, often hurt and sometimes witty. Which is exactly why Anohni’s Hopelessness is an extremely sad but awfully beautiful listening exercise. By Leendert Sonnevelt

Oh no—not Houston. The members of Whitney don’t want to be seen as a weird concept or to have a typical band name; they just want to have a real name. Their new album, Light Upon the Lake, sounds like it could have been written at any time in the last 50 years: classic, modern and melancholic at the same time, with thorny emotions that don’t have perfect names. The songwriting partners and Californian ex-roomies emerge as an imaginative and insightful duo, impressive in their scope and restraint as they mould classic rock lyricism into new and personal shapes without sounding revivalist or retro. Formed from the core of guitarist Max Kakacek and singing drummer Julien Ehrlich, the resulting band is something bigger, something visionary, something neither of them could have accomplished alone. By Maarten Heuver

“Daddy was a pastor, mummy was a pastor. Son was a pagan. Lono, I don’t give a fuck.” Seeing these lyrics on paper, you’d be forgiven for thinking them irate, rebellious or indifferent at least. Nothing could be farther from the truth; on his debut album, PAGAN, British artist Palmistry declares sweetness to be the cure. Built on his signature (electronic) dancehall beats, always both warm and minimal, Keating transports the syrupy and sensual to the dark side. Timing is key, as his melancholic vocals roll over, under and on to the stripped Jamaican sound, with even a drawn-out “LOL” making you gasp. For his debut artwork, Palmistry teamed up with Cottweiler, the British fashion designers brilliantly combining the synthetic and natural—a match made in heaven, if you ask us. Whether you label PAGAN as watery slow trance or poignant dancehall pop, there’s always a dark, sugary ritual you’re invited to. Great shall be your peace. By Leendert Sonnevelt

After a decade of dedication to dance music, Matthew Dear breathes life back into Audion with Alpha, his first album under the techno alias in 10 years. The 13-track album sounds both elegant and sophisticated, with pulverizing metallic synths and smooth 4/4 drums that push the limits from the purest techno to simple sonic elements. For the album artwork, Dear teamed up with his long-time visual collaborator Will Calcutt, to create a work that is complementary on both visual and sonic levels. His SoundCloud states the collective body of work is “born from modular synthesizers, drum machines, computers and a good old-fashioned head-nodding to the beat in a latenight daze”. Sonically rising from the shadows, Alpha is the answer to everything that’s Dear in the world of dance. By Michelle Hèlena Janssen

Bat for Lashes




Fear of Men

The Bride



Nothing’s Real

Fall Forever


Memphis Industries

Fog Mountain


Kanine Records

Natasha Khan opens her fourth record with the most romantic instrument of all, the harp, chaperoning her frail voice on first single, I Do. Oh, how we’d love to be joined in holy matrimony with this bride and star in her dusty romance— all vintage wedding dress, dewy eyes and lashes long. The Bride is a collection of 13 radiant love songs immersed in Bat for Lashes’ signature sadness. Beginning with the promising I Do, the song titles on this concept album reveal a darker side of amorous commitment (Honeymooning Alone, Widow’s Peak, I Will Love Again). This marriage sounds like a neon-lit Ennio Morricone Western soundtrack full of bittersweet passion and haunted love. But still. ’Til death do us part. We do. By Joline Platje

Combine, clash, craft, repeat; combine, clash, craft, repeat. The process behind Weaves’ self-titled debut album extracts intrigue from dissidence. Members Jasmyn Burke (vocals), Morgan Waters (guitar), Zach Bines (bass) and Spencer Cole (drums) get along by not getting along. Their disagreement and difference concocts a marvellous melee any listener will get drunk on. Praise has been rolling in from Noisey, NME, Rolling Stone and FADER—and for good reason. Their infectious tracks flirt with both pop and alternative rock, all while sipping from a glass of novelty-turns-chromatic. The flashing of Waters’ head-winding guitar with Burke’s magnetic voice in tracks like Tick or Candy is a sonic kaleidoscope, while other standout tracks, including Two Oceans or Coo Coo, deserve to be heard out loud, not through headphones. With their debut, the indiepop band of the future have proved they’re worth checking out. By Emily Vernon

The title of ZES’ new album says it all, really. Fans of the Dutch producer’s spacey sonics will recognize his fingerprints but they might not have been expecting his radical change in demeanour. It’s subtle at first, but as you get further into the record you start to notice everything is way more serious than on 2013’s Love Will Take. Tracks like More, with its brooding deep-synth noises, conjure a Burial-esque eeriness. Continuum and Broken Glass, despite being two of the shortest tracks, are definite highlights with their moody, soulful chord progressions. The latter could do with being a minute longer but instead it gives way to Embrace with its fluttering arpeggios—another stand out. Darkened comes off as an engaging and immersive experience on the whole. It seems highly likely that as ZES continues to take his music more seriously, the world will follow suit. By Jack Lucas Dolan

When a track listing includes song titles like The Space Tapes, White Light and (i), you know there’s something extra-terrestrial going on. And although we feel like Shura’s artwork could’ve / should’ve undergone some further evolution since her launch to fame in 2014, we’re still head over heels with this sonic odyssey. Nothing’s Real, the artist’s debut album, sees Shura at her best, as synthesizers and sincere song-writing are the shining stars of her universe. Anyone who has seen or met the Moscow-born Aleksandra Denton, however, knows how downto-earth, vulnerable and thoughtful the musician and her art truly are. Which is exactly why we can’t help but love her. Don’t expect a change of direction on Nothing’s Real, but do hold on while Shura brings together the ’80s and ’10s in the—surprisingly warm and nostalgic—environment that is outer space. By Leendert Sonnevelt

What happens when two British art students come together and make music under the name of a rare anxiety disorder? Fear of Men is the Brighton-based band that rains on your Hollywoodmovie-perfect parade with new album Fall Forever. Formed in early 2011 and currently comprising Jessica Weiss, Daniel Falvey and Michael Miles, their previous album, Loom, featured lead singer Weiss’s voice adrift above a distortion of sounds. On Fall Forever, however, the band has fallen down a totally different rabbit hole, giving us insight into the depths of loneliness, melancholia and self-reflection. Travelling to rural Kent, the band got away from all distraction to create distorted dream pop, unflinchingly examining the awkwardness of imperfect relationships. They’re what we learn the most from, after all. By Michelle Hèlena Janssen


Gc Update

From the series Untitled Fashion Shoot, 2000, Collection Stedelijk Museum Amsterdam

1997, exposing the fashion industry’s appropriation of marginalized subcultures. There followed three issues of a dysfunctional fashion magazine, Made in USA (named after “the worst movie Jean-Luc Godard ever made”), placing hardcore French philosophy alongside fashion ads for H&M. Using fashion imagery allowed BC to destabilize the industry’s image, therefore refuting it conceptually. During the following decade, two major events morphed the Corporation into its second-phase identity as neoSituationist provocateurs. Travelling to Genoa in 2001 to take part in the anti-G8 demonstrations, BC found protesters being violently repressed by Italian state police. During the riots BC shot the footage for what was to become their “anti-documentary” Get Rid of Yourself. Edited in the aftermath of 9/11, it recomposes the recorded sounds and images and combines it with the smoking towers and a mumbling Chloë Sevigny. In 2005, BC crowd-sourced their first novel, Reena Spaulings, followed by the publication of their screenplay Eine Pinot Grigio, Bitte in 2007. The screenplay was the result of the unfinished Pedestrian Cinema project that took place in Berlin. Proposed as a temporary underground film factory, the project

explored the possibility of “borrowing cinema as an instrument of propaganda”. Although the ambitious project was never filmed, Pedestrian Cinema upholds the BC ideology, set out in a series of short film clips and poster announcements. Last year the Stedelijk Museum Amsterdam purchased an important group of works by the Corporation: videos, photos, fashion designs from their autumn/winter 97 collection, and a floor sculpture from Pedestrian Cinema. These acquisitions are presented as part of the museum’s 2016 not-to-bemissed programming. Built around the idea of the seductive façade, the exhibition is presented in an installation together with other work from the same period, in the form of reproductions. Expect a society-reading machine built on the premise that beyond the façade lies a wide, empty space, a place we can all disappear to. Until 28 August Stedelijk Museum Amsterdam www.bernadettecorporation.com www.stedelijk.nl

Among the works on display are images from the fashion film Hell Frozen Over (2000) and the series Untitled Fashion Shoot (2000), partially shot on the same set. “And then what? I was looking for some matches or a lighter. And? I could hear them moving around in their room. Were you upset? I was looking for matches or a lighter. Where? Nantucket, Mexico, Barbados, Minneapolis, Rome... You’re so beautiful.” —from Hell Frozen Over.

From Fashion Shows, 1995-97, Collection Stedelijk Museum Amsterdam

Art-slash-fashion-slash-club kid collective Bernadette Corporation (BC, BCorp, B-Corp) was founded back in 1994 when Bernadette Van-Huy, an economics graduate, was randomly asked to host a club night in New York City. Being new to the scene, she was approached by Peter Gatien to host the VIP area of Club USA alongside Michael Alig, the notorious nightlife legend. Van-Huy hastily assembled what would go on to form the basis of the endlessly mutating collective, currently comprised of Antek Walczak and John Kelsey, with Bernadette herself at the core. The corporate persona—together with the BC logo—was created as a façade and has cultivated (intentional) mystique by adopting its forms and tactics. “We call ourselves a corporation because corporations are everywhere, and it impresses people…” In their various activities—a fashion label parodying the industry, staging “secret” events, a DIY fashion zine, a collaborative novel, a so-called “anti-documentary”—BC addresses the ways in which personal identity is compromised, using collectivity to counter depoliticization and to make activism through art. Soon after they were unceremoniously fired from their club night Fun, BC launched an eponymous women’s fashion line that was in production until

From the series Untitled Fashion Shoot, 2000, Collection Stedelijk Museum Amsterdam

By Ruben Baart

Bernadette Corporation From mock legal incorporation to anti-artistic explorations of crass commercialism, New York art provocateurs Bernadette Corporation use slick production to expose hidden networks of expertise from the demilitarized zone between high and low culture. And they mean business.

Under the creative direction of Thuy Pham, BC established itself as an underground New York fashion label, and introduced bear mascots and cheerleaders to the runway. The documentation of these shows can be seen in BC: Fashion Shows.

“An attitude, a mood, lounging around. Inapproachability, distance, leisure to the point of boredom. Revolutionary languor. An insular world. The moment before siesta: TV, a stack of books, a cigarette, playing with a ball or a toy, a nap. Some bohemian decoration. The mid-afternoon winding down of activities. The weight of time.”—from Hell Frozen Over.


Gc Platform


12 Rick Owens and Rick Castro talk sex, tea, clothes and kittens. 18 Sharna Osborne: “We forget how to look... we just wait to be told.” 20 Empress Of: “Pop is so open-ended!” 22 How Flume was born with a CD on a box of Fruit Loops.

Edit by Leendert Sonnevelt Photography and production: Rick Castro

Hair and make-up: Sasha Spurill Models: Andrew Diego, Bo Toxicuh, De ‘Ephraim-Manuel, Lukas Beyeler and Sasha Spurill All clothes Rick Owens Cyclops S/S16 collection Photographed at Antebellum Hollywood



Gc Interview

Rick Owens As the end of spring approaches, it’s somewhat futile to talk about Rick Owens’ spring/summer 16 collection—yes, the one with models toting models. From the media frenzy surrounding his “human backpacks”, how­ever, rises a statement on womanhood that lasts. Shining a new light on the much-debated designer, Glamcult was happy to arrange a virtual meeting between the famed Californian and photographer Rick Castro. A conversation between former lovers, common collaborators, long-time friends and radical cult icons. 13

Gc Interview


Gc Interview

Rick Owens

Rick Castro: Hello Rick, it’s Rick. When you approach designing, is it a reaction to the times and your surroundings, or do you want to create your own world? Rick Owens: Very much both. Creating my world is my reaction. RC: For S/S16 I really enjoyed your fabrics, especially the snakeskin. What kind of snakes were used and how are they harvested? RO: Xenopeltis unicolour [or sunbeam] snakes are hunted in Indonesia for the meat and the skins. The transparent processing is done in Italy though. We did some long gloves in this snakeskin that are super fragile, utterly impractical and gorgeous. Actually, very fetish.

RC: Are you moving away from leather and animal skins and going more into synthetic fabrics? RO: I’ll always, always do leather. But I love metallized fabrics that look like car crashes. Would metal be considered synthetic? I also use nylon every season... RC: What do you think of fabrics and clothing created by 3D printing? RO: I haven’t seen enough of it to really judge, but I’m not attracted enough by the idea to investigate… sounds like it could be great for fast fashion.

RO: It would be smug of me to make any kind of prediction, and fashion is such a weird and wonderfully unpredictable thing. Being surprised in fashion is what we’re all looking for. RC: What’s your all-time favourite item you’ve designed? RO: I like my monster body bags a lot, but that’s probably because they’re recent. I like how they erase everything: sex, detail, the history of fashion—they just create a monolith supporting your head. Kind of like a concrete kaftan. RC: What’s the sexiest thing a man can wear? RO: Kindness.

RC: What kind of fabrications/ clothing do you see as the future?


RC: What’s the sexiest thing a woman can wear? RO: Kindness. RC: Do you believe in fetish? What does fetish mean to you? RO: I believe in complete immersion in and exploration of one’s personal interests. I believe in taking the simplest of life’s joys and elaborating on and celebrating them. Be it sex, tea or kittens. RC: Where do you spend the majority of your time? RO: I split my time between Paris and Venice, Italy. RC: So what’s your current favourite city? RO: I just got a butt-ugly rooftop

Gc Interview

Rick Owens

condo on the Lido Beach in Venice that has a 360° view with the Adriatic Sea on one side and Piazza San ­M arco in the distance on the other side. This part of Venice is very provincial and quiet and next to the sea, but being seconds away from major art is pretty great. RC: Have you spent much time in Amsterdam or other parts of the Netherlands? RO: I haven’t. Maybe I’m afraid of too many distractions and temptations. RC: Tell me about your installation with Huma Bhabha for ­J ason Jacques Gallery. RO: Jason Jacques is someone who has the most exquisite taste, he’s

a New York dealer who specializes in obscure art nouveau stoneware and I’ve bought some of my favourite things from him. He asked me to curate his booth and Huma Bhaba is someone I know and like. It just seemed like a perfect mix. RC: Tell me about the plans for Les Deux Café in Venice. RO: You know hun, she [Michelle Lamy] has so many scenarios that we just have to wait and see what happens. Your guess is as good as mine.

RC: I always thought you hated cats, now you have one. What made you change your mind? RO: Who on earth can resist a kitten? Her name is Gaia but I like shrieking “pussy” in a cringey falsetto.

and The Divine David. RC: Where will you spend your golden years? RO: Venice. www.rickowens.eu

RC: Will you change your mind and be drinking tea and doing yoga soon? RO: Change my mind about what? Instead of tea I do green juices and instead of yoga I do weights and stretch, but I think the goals are the same: serenity and being able to spread love.

RC: What do you miss about Hollywood? RO: Hustlers on Santa Monica Boulevard.

RC: Now that Bowie is gone, are there any icons left that are worth idolizing? RO: I am idolizing Christeene


Gc Interview


Gc Interview

Still from the film MARTINE ROSE A/W16 FASHION FILM, 2016

Still from the film MARTINE ROSE A/W16 FASHION FILM, 2016

By Michelle Hèlena Janssen

Sharna Osborne


Still from the film PRADA RETROSPECTIVE 2005-2015, 2015

Sharna Osborne Taking London’s cult scene by storm, Sharna Osborne is best known for her hypnotic videos. Shooting for the likes of McQ, Topman and the dearly departed Meadham Kirchhoff, her work is distinguished by a tantalizing analogue quality and a Jan Švankmajer-like allure. For Osborne, filmmaking is about something more than just face value.

After graduating from art school in her native New Zealand, Sharna Osborne quickly embarked on the journey that led her to the successful career she has today. Her work developed during her travels and she eventually settled in London, where she still lives and works. Shooting with our beloved Kit Harington of Game Of Thrones fame and with Mean Girls’ Lindsay Lohan didn’t satisfy her, though. Instead, she ended up working with just about the biggest names in any self-proclaimed cult-insider Londoner’s vocabulary. From Claire Barrow to Martine Rose to Meadham Kirchhoff—Osborne is part of an influential artistic environment currently making tons of insanely good stuff. And she’s humble about it: “When I first arrived in London I spent lots of time with Ben and Edward from Meadham Kirchhoff and Nasir Mazhar while working at gay bar Dalston Superstore with my bf Hermes as a chef. I feel like that was a really special time for me, and I learned so much about myself and felt really at home for the first time. Things change and ‘scenes’ evolve, and now I think things are healthier but less immersive. The stuff I did with MK was really

me learning as I went… they were supportive and generous and gave me a place to start with film again, which I really needed but perhaps didn’t result in the best film work. I think one of the most resolved films I’ve made was the one I made with Martine Rose recently. It feels like my voice and was easy to make as I felt like we ‘got’ each other.” Starting out as a fine art student, Osborne’s work has always been in some way story-based: “At art school I always worked in a series: a series of sculptures, prints, drawings or photographs that I almost felt needed a story or explanation to get my point across—they were incomplete on their own. When we did a moving-image module for a couple of weeks I realized timebased media is what I was missing all along.” She would later make a video called Lady + Fruit / ({}) + B===D, a drawing-based stop motion. “I never learned proper filmmaking so I learn as I go in a weird stumble upon stumble.” Explaining the stop-motion appeal further, she continues: “There’s always so much more to see and understand and appreciate about things—generally we’re travelling

too fast or are too stupid to see it. I feel like stop motion has decided its job is to highlight magic in the mundane, and I think moving images can help. We seem to forget to look now… we just wait to be told.” At the core of Osborne’s work you’ll find the method of film being examined again and again, as she reclaims the polish of analogue videos. “It’s a process I just need to keep repeating because it’s like an exercise for my brain. The process is more important in most cases than the outcome, and it’s about mastering that process for each situation and myself at that time.” Filming with an old VHS or Super 8, she’s definitely mastered the analogue quality. “I enjoy the tangibility of it and pulling a camera apart and fucking with it. I love nuances where light discrepancies confuse the crappy sensors and add weird artefacts, and dead pixels kind of act like each camera’s own signature. It feels more fluid for me.” A fan of the odd corners of pop culture, Osborne flourishes in mixing the esoteric with the universal. She points to her fascination with Mariah Carey—loving her sense of ridiculousness, her self-referencing and her


sense of humour: “You can’t see her genius.” However, she’s even more obsessed by Czech artist Jan Švankmajer, sporting a tattoo of him on her arm and about a million drawings of him and his wife Eva—which Osborne mostly did herself. She reveals she’s engrossed by his ability to animate the inanimate, both physically and emotionally: “I spent so much time in my head and in nature growing up I can really relate to this and I almost need it to get by. But the kind of stillness and thoughtfulness that is needed to find such magic is something I have trouble finding for myself when I’m in a city like London. Švankmajer reminds me of it.” It’s exactly this mixture of weird pop and tantalizing darkness that describe Osborne’s charm and deeply moves us. www.sharnaosborne.com

Gc Interview

By Michelle Hèlena Jansen

Photography: Tonje Thilesen

Empress Of


Empress Of Imagine Lorde, Banks and FKA twigs performing some witchcraft and birthing out a sonic lovechild. That kind of sums up what Empress Of, aka Lorely Rodriguez, sounds like: a fairy with a catchy tune, who sure knows how to bring the quirky future-pop. Her latest EP, Me, feels both experimental and raw. Glamcult caught up with the Brooklyn-based singer-producer to talk about her battlefield strategy.

Without a hint of false modesty, Brooklyn-based Lorely Rodriguez simply but emphatically proclaims her genre “me”. And as a self-reliant powerhouse producer, her whole record breathes the same distinct signature sound—the “me-ness” of Empress Of. Adopting an experimental, minimal-yet-dance-floor-friendly approach, it certainly doesn’t feel like the term “pop” does Rodriguez justice, even though she loves the genre: “It’s so open-ended and a lot of sounds can fit into that word— as long as the song is there,” she explains. “You can even get a little crazy and call my music ‘electronic pop’ if you want!” Back in 2012, our alarm bells rang over a series of anonymously released, 60-second tracks called Color Minutes. Titled 1-15, the songs were colour-coded across a palette from painfully bright yellow to blood red. Listening to Color Minutes is a cleansing experience, slowly rinsing you of everything that you are, leaving behind the sound and lyrics alone— which people have found vicariously relatable: “I just like writing songs about my life,” says Rodriguez, “and sometimes they happen to be universal

themes or experiences that a lot of people can relate to. People have come up to me on tour and said, ‘Your record is called Me, but I feel like it’s about me.’” Particularly obsessed with The Criterion Collection and Janus Films, film noir and Czech movies of the ’70s, Rodriguez is the hybrid manifestation of her quirky influences. On her celebrated debut, she tackles gender perceptions in Woman is A Word, explaining: “I’m interested in making my own definition of what a woman should be, not what that word means to society already,” acknowledging that she doesn’t conform to the codes the world gave to her for being a “woman”. Her distinct wild head of lion hair proves that she is definitely not someone to be messed with, as she whips it across the stage. It is her most favourite part of performing and dancing as well, as though she were possessed by an evil spirit on stage “I used to hate my hair growing up and wanted to have straight hair so bad. When I came to terms that it was actually a beautiful thing I should be proud of, I never stopped shaking my hair from left to right!”

An anthology of vulnerability in some ways, Me eases into a collected attitude while candidly tackling the highs and lows of relationships: “I think there are all kinds of relationships, and there is no right or wrong way to love. Something that is really important to me, though, is respect.” And we have nothing but respect for Rodriguez. She may have collaborated with Blood Orange’s Dev Hynes and Kimbra in a session organized by Yours Truly—“Dev is a really good friend, and he’s someone I trust musically. It’s really easy for me to make music with him”—but she wrote, performed, produced and recorded every song on Me herself, working her magic and gaining a legion of fans in the process. A good mind possesses a kingdom, and a self-produced EP with the intellect and quality of Empress Of rules our world. Rodriguez challenged herself to reflect upon what Me really meant to her, artistically growing on all levels. She dipped her toes deeper into the water by the lake house in Valle de Bravo, Mexico where she produced most of her songs, and challenged herself by opting for an unfamiliar, isolated


setting: “I wanted to get far away from the day-to-day life I knew. I discovered that getting out of my comfort zone does interesting things for my music,” she explains. “It’s hard to write a good song, something that you can stand to listen to for months and months. Maybe that’s why people say my album is pop, because I took a lot of care in writing lyrics that I believed in and melodies I could sing almost every night…” www.empressof.com

Gc Interview

By Kelsey Lee Jones Photography: Nick Helderman

Flume From cereal to serious—it all started with a CD on a box of Fruit Loops, and now this young Aussie is a dance music chart-topper. Flume made his award-winning records from his humble bedroom in his mum’s Sydney home before getting picked up by the Future Classic label in 2011. Glamcult gets the lowdown from Harley Streten ahead of his world tour and the release of his new album, Skin, talking style, musical influences and what he dubs “Flume-step”.

It’s not unusual for a career to be born out of social media nowadays, and Flume is next up on the list of stars who’ve made it through sharing sounds via Soundcloud. Upon entering (and winning) a dance music competition hosted by the Future Classic label in 2011, it all took off. Now, topping the charts, it’s hard to imagine the Australian dance music industry without him. Flume tells Glamcult that he’s been making music since he was a young teen, and his introduction to dance music production came to him almost serendipitously. “It’s a funny story. I was in the supermarket with my dad, and I came across a musicmaking CD on a cereal box; it started right there. I found out how music worked, and how it was made in layers—it blew my mind. I just wanted to find out more. It’s been a part of me ever since.” Flume is sure making waves. He’s on the brink of releasing his second album, titled Skin, and is about to embark on a world tour at the age of 24. He’s hot on the festival scene,

having played at almost every popular one you could imagine, has warmed up for the Chemical Brothers and worked infectious remixes for the likes of Lorde, Disclosure, Onra and Ta-Ku. Understandably, his daily routine is pretty different to the life he was living back in 2011: “I fall asleep on a bus, wake up in a new country. It’s amazing.” But there are still plenty of checks and balances: “I have another life with my friends at home in Sydney—we hang out as usual, they still give me the same shit.” Oh, and he’s managed to move out of his mum and dad’s place now, and has bagged his own recording studio on the Sydney coastline. Flume names early ’90s trance, the French electro movement and artists like Moby, The Prodigy, J Dilla, Justice, M83 and Flying Lotus as his formative inspirations. Oh, and happy hardcore (though he’d rather not dwell too much on that phase). Though he does confess (and it’s hard to believe) “a lot of my samples from my debut album came from a

happy-hardcore sample pack”. The Flume sound we know and love is ever evolving and experimental: “I take a lot of influence from hip hop, experimental and, of course, dance music. Even some EDM stuff—I love the energy. I try to pull this energy from dance and incorporate it with classic rhythmic elements of hip hop.” He likes to create his own genres too ( just for laughs), dubbing them Flume-step, hyper-step—you name it (please— before he does…). Four years spent touring and working in his sunny studio since his self-titled release in 2012 have shown an update on his familiar sound for his new album. You may have noticed earlier that his Never Be Like You track, which was released back in January as a teaser, relies on its vocal layer (which comes courtesy of vocalist Kai), unlike much of Flume’s previous work. He illuminates: “It’s a much wider spectrum of sound compared to the last one—some intense tracks, some ambient.” What’s more, some exciting collaborations:


“There’s lots of people I wanted to collaborate with for a long time, and I’ve ended up doing so for this album.” We can’t wait to dive in! www.flumemusic.com

Gc Interview

Lowlands Section Paradise 2016 Anderson .Paak & The Free Nationals

This year’s “camping flight” to Lowlands Paradise will be a solid highlight in every serious festivalgoer’s agenda. 19 to 21 August is dedicated to reaching new levels in art and music as always, but also to rediscovering classic acts such as British headliner power trio Muse, the band you used to—or still—whisper and scream to in the shower. Besides the regulars, you can explore this pop-up mini village in your better-than-Coachella outfit and fill your schedule with overwhelming choice. Because we’re always here to help, here are some of our favourites.

Urban rapper winning the game. Anderson .Paak stunned everyone last year with no less than six contributions to Dr. Dre’s last album, Compton. Until that point, only initiated rap enthusiasts knew the rapper’s husky, calm flow. A true all-rounder always on point, .Paak sings, raps, drums and bakes and rustles the most excellent beats, and now is once again live with his regular band, The Free Nationals. With a growing posse of enthusiastic collab-partners, including The Game, Madlib and Flying Lotus, he just as easily serves smooth, danceable funk, soul and rock & roll.

Keith Ape Korean trap rapper Ape and his crew The Cohort guarantee packed clubs in their native South Korea, which typically hosts a bubblegum-coloured ocean of readymade, box office-ready K-pop. Having emerged last year with the track IT G Ma, Ape raps distressed Korean and Japanese verses over crispy ATL trap beats. The same online-only single put Ape on the radar of American colleagues like Waka Flocka and A$AP Ferg, who eagerly cooperated in a big breakthrough remix.

Charlotte OC Possessed pop/rock goddess Charlotte OC preaches gospel, soul, house, rock and dark R&B with a church bell of a voice. The singer-songwriter has been name-checked as the new pop crown queen for a few years now, and it seems she once and for all is definitively claiming that title with her third EP, Burning. The British singer distinguishes herself from contenders to the throne with her self-possessed stage presence, which adds a unique personal edge to O’Connor’s raw poetic lyrics and melodic future soul.

NAO Funky future R&B British singer-songwriter NAO graduated as a jazz singer, but put a very promising career on hold for four years to teach singing in an elementary school. That surely shows some self-control, as immediately after her collaborations with Disclosure and Mura Masa it became evident that NAO is unstoppable. Like contemporaries FKA twigs and Kelela, the London artist has an instantly authentic sound; warm-blooded soul and swing-beatgrooves from the Eighties and Nineties merge with abstract UK bass and deep house. But be on time: NAO’s damn funky future R&B fills the floor fast.

The Internet Odd future soul The Internet began as a spin-off of the renowned hip hop collective Odd Future, when core members Syd Tha Kid and Matt Martians came together to make sultry future soul and R&B. The two producers met via—humour us—MySpace, where they found a connection over life. Their third, widely acclaimed album, Ego Death, includes Janelle Monae, Vic Mensa and Tyler, but at Lowlands you’ll see The Internet as a hot-blooded, six-piece live band.

LCD Soundsystem Pop/rock We thought we’d waved a permanent goodbye to James Murphy and his band after their 2010 pitch-perfect Lowlands show and the subsequent global farewell concert at New York’s Madison Square Garden. But miracles do happen: earlier this year the elusive all-rounder Murphy casually announced that his LCD Soundsystem will tour like old times and even release a new album. It’s no half-baked cash grab, but simply the inevitable result of an attic bursting with ideas and recordings that only deserve the name LCD Soundsystem. And that usually covers a whole load, in which dance, rock, disco, punk, indie and tons of obscure equipment get equal airplay. Long story short: fist in the air, get your feet up off the ground.

Whitney Country soul on cruise control Thanks to the track Golden Days, Whitney has all the alarms ringing out loud. That’s twice now: after their first demo track No Matter Where We Go, the American band instantly secured themselves a spot at winter festival Where The Wild Things Are. We recognize core members Julian Ehrlich and Max Kakacek from Smith Westerns and Unknown Mortal Orchestra, which certainly holds many ears pricked. Yet Whitney is a tad sunnier: trumpets, guitars and Ehrlich’s falsetto behind the drums predominate. Sunglasses and radio on, direction beach, forest or park with summer country soul on cruise control. Golden days.

Lowlands will take place on 19, 20 and 21 August at event site Walibi Holland in Biddinghuizen. Tickets for Lowlands Paradise are €175 (excl. €10 service charge); for groups of 10 people it’s €165 (excl. service charge) per person. A festival ticket gives you access to three days at Lowlands, camping and a bus ride from the station. In addition to the above-mentioned, Lowlands has also confirmed the following acts on the line-up: Andy C, AURORA, Biffy Clyro, Børns, Brian Fallon & The Crowes, Caravan Palace, Causes, CHVRCHES, Charlotte OC, Collabs ft. Chris Liebing & Speedy J, Damian Marley, Disclosure, De Staat, Doctor Krapula, Dua Lipa, Dub inc, Eagles of Death Metal, Edward Sharp & The Magnetic Zeros, España ­C irco Este, Flatbush Zombies, Foals, Frank Carter & The Rattlesnakes, Giraffage, Ghost, Hans Teeuwen, Highly Suspect, Islam Chipsy & Eek, Jack Garratt, Jake Bugg, James Blake, Jamie Woon, Kamasi


Washington, Kaytranada, Keith Ape, M83, Mick Jenkins, Noisia, Oh Wonder, Oscar and the Wolf, Parkway Drive, Paul Kalkbrenner, Pumarosa, Philip Glass Ensemble – Koyaanisqatsi Live, Rag ’N’ Bone Man, Recondite, RØDHÅD, Ry X, Sevn Alias, Sigur Rós, Sleeping With Sirens, Soom T, STUFF., Sum 41, Tale Of Us, The Academic, The Black Madonna, Thee Oh Sees, The Kills, The Last Shadow Puppets, The Neighbourhood, The Rumjacks, Tiga Live, Tiggs Da Author, Tourist LeMC, Travi$ Scott, Wakrat, Warpaint, Weval and Wolfmother. And more names to be announced! The official websites to get your tickets are www.lowlands.nl and www.ticketmaster.nl. Check www.lowlands.nl for the latest updates and more information.

GcGc Interview Festival

Words by Leendert Sonnevelt Kathia Nseke wears Jacquemus A/W16

Embody by Ari Versluis

Jacquemus Graphic, bright, endearing, French— we doubt you need any other words to call Jacquemus to mind. The lauded label, founded by LVMH Prize winner Simon Porte Jacquemus some seven years ago, has the worldwide fashion radar ringing season after season. As much a realist as a dreamer, the Frenchman behind the house regularly has the web swooning over his IG account, where selfies of the white-clad friendly giant alternate with popping bursts of carefully arranged colour. The designer is his work; the picture perfect epitome of grown-up innocence. “I love waking up early,” he tells Glamcult and photographer Ari Versluis in Paris. “I’m not a night person; I don’t like focusing on issues like drugs or sex. I love the sun, parents, nature, family… the things I like are little.” A careful look at Jacquemus’s

social feed sees him celebrating all kinds of women; from his grandmother and his best friend Marion to superstars including Rihanna, naturally garbed in his eponymous label. Yet it is a young, inexperienced model from the banlieue whom the designer takes to the set of Embody when we ask him to be photographed with someone who epitomizes his practice. Her name is Kathia Nseke; Simon met her “in the easiest possible way”, while casting for his spring/summer 2016 presentation. “The moment I saw her, I completely fell in love,” he reminisces. “She had this sort of innocence and naivety in her eyes, and didn’t know anything about fashion. I said: ‘You’re going to open the show!’” Then adding, with a smile: “She thought a Jacquemus coat would maybe cost €100!” Negativity has no place in the Jacquemus universe. “What else can I say about this?” he thinks aloud when we ask him to elaborate. “It’s about

believing we can do something. Yeah, to really believe.” Growing up in the south of France, Jacquemus was always barefoot, surrounded by what he dubs a “peasant” environment. Think: sunflowers, soil, solitude, horses and donkeys—elements that still mark his work today. Don’t call it utopian, however. “It’s not,” the designer states adamantly. “I just think that colour can make you smile. Ah, that sounds like a bad line…” Jacquemus’s vision is a (consciously) naive one, with Nseke perfectly portraying that search for sincerity. “I see my fashion as filmography. When I design I imagine a scene, a full story. I see light, I see music, I see it all together. I don’t just do clothes, that’d be boring. Well, I love making clothes, but I don’t wake up for making a skirt.” Presented on and for adults, the work of Jacquemus is an ever-maturing take on refusing to grow up. “When I design, I always imagine a woman child,” the designer


discloses in his thick-but-charming French accent. “It’s never someone chic.” And although “woman child” could here easily be replaced with the ordinary or actual translation of le fille, it is exactly that which describes Nseke and any Jacquemus collection best. Thinking about what’s next, it is the most innocent of desires that forms Jacquemus’s future. “I always think: Wherever I will be, I will be happy. That might sound so simple, but it’s hard. It’s not an easy dream.” 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.ariversluis.com www.jacquemus.com

Gc Embody


26 To the waters and the wild. Photography: Sophie Mayanne

32 My blood is a flood of rubies. Photography: Sofie Middernacht & Maarten Alexander

Jack: jacket McQ Alexander McQueen, dress Phoebe English Edwina: jacket Vivienne Westwood, hoodie Astrid Andersen Marcus: jacket Comme des Garรงons, top Phoebe English, choker O Thonghtai

Jack: jacket McQ Alexander McQueen, dress and skirt Phoebe English Marcus: jacket Comme des Garรงons, top Phoebe English, trousers Karl Lagerfeld, choker O Thonghtai

Edwina: scarf Mimi Wade, ring Pamela Love

Jack: jacket John Galliano, trousers Katie Eary Marcus: jacket Maison the Faux, trousers Katie Eary

Edwina: shirt Matthew Miller

To the waters and the wild.

Left: Edwina: dress Preen by Thornton Bregazzi, choker O Thonghtai, ring Pamela Love Marcus: turtleneck John Galliano Right: Edwina: trench Vivienne Westwood, vest Hugo Boss, dress and necklace Peet Dullaert, scarf Mimi Wade

Marcus: shirt Ed Marler

Marcus: shirt Ed Marler Edwina: jacket Gyo Yuni Kimchoe Jack: dress PASKAL, choker O Thonghtai

Edwina: dress Acne Studios, scarf Mimi Wade

Edwina: dress Acne Studios, scarf Mimi Wade Edwina: shirt Matthew Miller, trousers Ed Marler Right: Edwina: jacket Gyo Yuni Kimchoe, top Cottweiler, trousers Peet Dullaert

Photography: Sophie Mayanne Styling: Ekaterina Razgonova—Eric Elenbaas Agency Hair: Terri Capon using Bumble and bumble.—Stella Creative Artists Make-up: Ksenia Galina using MAC Cosmetics Models: Edwina Preston and Marcus Sivyer—Select Model Management, Jack Ireland—MiLK Model Management Assistant styling: Ali Javaid

Dress Christopher Kane


Jacket VETEMENTS, top and skirt Acne Studios


My blood is a flood of rubies. 33

Gc Interview

Bodysuit Y/PROJECT, trousers Undercover, vintage coat via Rokit London, earrings Slim Barrett, all tiaras Vanissa Antonious



Gc Interview

Bra and trousers Balenciaga, black shorts stylist’s own



Gc Interview

Dress VETEMENTS, tie Christopher Kane



Gc Interview

Top Ellery, trousers Kenzo, earrings Slim Barrett


Photography: Sofie Middernacht & Maarten Alexander Styling: Vanissa Antonious Hair: Claire Grech using Aveda Make-up: Thom Walker using MAC Cosmetics Model: Liene Podina—Fusion Models NYC Assistant photography: Tom Green Assistant styling: Deborah Cure


Gc Interview


12/05/16 10:43


I want Glamcult

Acne Studios www.acnestudios.com

Jacquemus www.jacquemus.com

Peet Dullaert www.peetdullaert

Astrid Andersen www.astridandersen.com

John Galliano www.johngalliano.com

Phoebe English www.phoebeenglish.com

Aveda www.aveda.com

Karl Lagerfeld www.karl.com

Balenciaga www.balenciaga.com

Katie Eary www.katieeary.co.uk

Preen by Thornton Bregazzi www.preenbythorntonbregazzi. com

Bumble and bumble. www.bumbleandbumble.com

Kenzo www.kenzo.com

Christopher Kane www.christopherkane.com

MAC Cosmetics www.maccosmetics.nl

Comme des Garçons www.comme-des-garcons.com

McQ Alexander McQueen www.mcq.com

Cottweiler www.cottweiler.com

Maison the Faux www.maisonthefaux.com

Diesel www.diesel.com

Matthew Miller www.matthewmillermenswear.com

Diesel Black Gold www.dieselblackgold.com Ellery www.elleryland.com Frame Denim www.frame-store.com Gyo Yuni Kimchoe www.gykimchoe.com Hugo Boss www.hugoboss.com

Mimi Wade www.mimiwade.com O Thonghtai www.othongtai.com Pamela Love www.pamelalove.com PASKAL www.paskalclothes.com

Rick Owens www.rickowens.eu Simone Rocha www.simonerocha.com Slim Barrett www.slimbarrett.com Undercover www.undercoverism.com VETEMENTS www.vetementswebsite.com Vivienne Westwood www.viviennewestwood.com Y/PROJECT www.yproject.fr

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 don’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

happening on the frontlines of avant-garde (youth) culture. Sign up now to get every issue sent straight to your doorstep! Go to www.facebook.com/ glamcult to subscribe!

meet the new


time to pose


Profile for Glamcult

GLAMCULT / 2016 / ISSUE 3 / #119 / EU  


GLAMCULT / 2016 / ISSUE 3 / #119 / EU  


Profile for glamcult