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FREE 2016—Issue 4 #120

“I disagree with everything I used to say.”

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Marques’ Almeida Chloe Wise Big Sean Wolfgang Tillmans

Issue 4 #120

Open Letter

Anohni 7

18 26 32

Visual Essays

Billion dollar... 48 Cashmere, cologne and... 56 I am terrified... 64 Normally, I never dress up... 70



Autumn/ Winter ’16 6 Talent 38


Stockists 79

Colophon Editor-in-Chief Joline Platje Creative Director Rogier Vlaming Fashion Editor Leendert Sonnevelt Editorial Intern Lottie Hodson Sales Art Director Marline Bakker Graphic Design Glamcult Studio: Karen van de Kraats Rogier Bak Graphic Design Intern Jordi Theler

Contributing writers: ANOHNI Emma van Meyeren Kelsey Lee Jones Iris Wenander Photographers Barrie Hullegie Carlijn Jacobs Hugo Comte Jasper Rens van Es Kat Slootsky Lucie Rox Masha Mel Mattias Björklund Cover Photography: Mattias Björklund Styling: Vanissa Antonious Hair: Claire Grech using Bumble and bumble. Make-up: Linda Andersson using MAC Cosmetics Model: Ellen de Weer— Viva Model Management Casting: Emilie Åström—CREARTV Set design: Mattias Björklund and Vanissa Antonious Assistant styling: Julie Velut Assistant photography: Thomas Alexander

Quotes I disagree with everything I used to say. —Vivienne Westwood Billion dollar bay, trillion dollar baby. —Alice Cooper, Billion Dollar Babies Cashmere, cologne and hot sunshine. —Lana Del Rey, Old Money I am terrified of being bored. —Marie Antoinette Normally, I never dress up. —Roberto Cavalli

Publisher Rogier Vlaming / Glamcult Studio P.O. Box 14535, 1001 LA Amsterdam, The Netherlands T +31 (0)20 419 41 32 Distribution 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 For address changes and cancellations Four issues a year The Netherlands € 37 Europe € 59,50 Rest of the world € 79,50 Prices subject to change

Total look Andreas Kronthaler for Vivienne Westwood


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

Open Letter

write this in simple block letters. that is my contribution.


—Anohni 2016

Swanlights, from my current exhibition at Kunsthalle Bielefeld in Germany, 2016, ©Anohni, Photo: Philipp Ottendörfer


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Earring Delfina Delettrez

Autumn/Winter 2016 Acne Studios

Shoes Loewe, earrings Charlotte Chesnais

Autumn/Winter 2016 Stella McCartney

Boots Balenciaga, left earring Charlotte Chesnais, right earring Uncommon Matters, vintage corset

Autumn/Winter 2016 Chin Men’s

Shoes Acne Studios, vintage corset, left earrings SMITH/GREY and Charlotte Chesnais, right earring Stella McCartney

Autumn/Winter 2016 Kenzo

Earring Charlotte Chesnais

Autumn/Winter 2016 Andreas Kronthaler for Vivienne Westwood

Shoes Acne Studios, earrings Slim Barrett

Autumn/Winter 2016 Christopher Kane

Boots Balenciaga, left earrings Charlotte Chesnais, right earring Uncommon Matters

Autumn/Winter 2016 Loewe

Boots Balenciaga, left earrings Dior and Delfina Delettrez, right earring Uncommon Matters

Autumn/Winter 2016 Sacai

Earrings Uncommon Matters

Autumn/Winter 2016 Craig Green

Photography: Mattias Björklund Styling: Vanissa Antonious Hair: Claire Grech using Bumble and bumble Make-up: Linda Andersson using MAC Cosmetics  Model: Ellen de Weer—Viva Model Management Casting: Emilie Åström—CREARTV Set design: Mattias Björklund and Vanissa Antonious Assistant styling: Julie Velut Assistant photography: Thomas Alexander

Boots Acne Studios, vintage corset, left earrings Slim Barrett and Charlotte Chesnais, right earring Charlotte Chesnais

Autumn/Winter 2016 Preen by Thornton Bregazzi

By Iris Wenander and Leendert Sonnevelt Photography: Masha Mel

Styling: Tess Yopp Casting director: Svetlana Benz Models: Nips—Lumpen, Sasha V—NIK Management, Sofiya Muntyan—Look Models, Varvara—Lumpen, Yanush—Lumpen All clothing Marques’ Almeida A/W16 collection



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Known for their iconic denim inspired by the effortless attitude of the Nineties, fashion mavericks Marques’ Almeida are undoubtedly striking out in a new direction this season. Inspired by the mix-’n’-match style of their fan base— ranging from Rihanna to the girl next door—A/W16 features fake fur, patent leather, blown-up jackets and plaid patterns in all the colours of the rainbow. “It’s our most random collection to date…” 17

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Marques’ Almeida Despite both being of Portuguese descent, CSM alumni Marta Marques and Paolo Almeida’s relationship with the Big Smoke has come to influence how and for whom they design, inadvertently defining the brand as a whole. And yet their meticulous Portuguese work ethic—work, work, work—hasn’t been lost in the process. Glamcult caught up with the designer duo in the midst of pre-fashion week madness with several deadlines lurking just around the corner from their Hackney studio. “When we started the company, we never dreamt that this would be happening now—it’s quite surreal,” says Marques, the more talkative of the pair. She’s referring to the recent five-year anniversary of their eponymous label, founded in 2011, which they celebrated with 16 employees on a lavish Greek holiday. “We worked really hard and I think we’re lucky enough to have had the right support at the right time,” she shrugs. But modesty aside, the brand’s success is nothing short of meteoric, having grown from a rebel into a full-on institution in those few short years. While it’s no secret that dedication and artistic vision can take you anywhere, Marques and Almeida seem to have poured their lives and souls into becoming the brand they are today. Living just ten minutes from the studio, they rarely leave their creative safe haven—and when they do it’s for some quality time at the local library or a bit of vintage retail therapy to inspire the creative process. Excursions aside, it’s in the studio where the magic happens and these two great minds collide: “At some point it just becomes very studio focused. We spend a lot of time here.” Still, as we are all no doubt aware, teamwork is not always a walk in the park, and dealing with diverse personalities can sometimes feel like a full-time job. But on rare occasions, being different equates to being complementary, which appears to be the case here. The pair’s seemingly natural work dynamic springs from their individual skill sets as well as personal inclinations. “I do most of the management and the financial side of things, and Paolo does most of the actual making of the end product,” Marques explains. Given that Almeida appears to have a hard time sitting still for more than two minutes at a time, this division seems more than apt. “I don’t meddle in patterns, construction and trim because I know it’s not my place. [Likewise,] Paolo doesn’t meddle too much in spreadsheets and HR and things like that…” When it’s time to create a new collection, however, the division of

labour disappears. Then it’s all about an organic, side-by-side collaborative process. “The creative part is really what we love to do,” Marques professes. “I will be doing different things—that could be spending the whole day doing research and looking at pictures or printing hundreds of pictures and drawing on them, pinning them on the board. At the same time Paolo will be sketching and kind of looking at the images that I’m putting out, and sketching according to them.” The outcome of this symbiotic partnership is accessible pieces of exceptional quality, which evolved as a reaction to the tedium of the sophisticated glamour of high-end fashion. “It came, I think, from the necessity of doing something that felt relevant for us as, you know, kind of youngish people,” Marques says, laughing. The goal was to create something wearable but still progressive, with nothing too “precious” to handle. “That was always in the back of our minds, it was never a conscious kind of goal but it was kind of what drove us to do this label. We need to do this because we need to do this for these young girls.” With this solid manifesto, Marques’ Almeida rapidly gained recognition among London’s fashionistas. “They started saying things like: ‘This feels like it’s actually made for me; I feel like I could wear it every day. It’s a super special jacket and it’s a super special T, but I feel like wearing it every day until it falls apart.’ That’s exactly what we wanted.” Now more comfortable and secure as a brand, Marques’ Almeida is pushing forward this belief, all the while maintaining the integrity at its core. “How can we go in to different fabrications, different ways of designing, different ways of thinking about this girl, and still create the feeling that you can pick a piece up and wear it the next day and every day after, until it falls apart?” Marques ponders of the brand’s future. Looking at the autumn/winter—certainly the brand’s most Technicolor collection yet—one can’t help but think that this aspiration has already been achieved. Transitioning from the quiet, stripped-back expression of the past to this bold array of colour, pattern and silhouette, this season without a doubt marks an important turning point for the brand. With honest confidence and ample growth, Marques explains, the duo have been able to develop their aesthetic expression and show greater range on the runway this season. “Since season two or three we’ve been thinking about some kind of jackets and outerwear,” Marques confesses. “I think what


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Marques’ Almeida allowed us to do it this time was that the company has grown, which means that we have a bit more help on a lot a things, which means we can now afford ourselves more time to design and do collections.” But it’s not only the vital resource of time that has sparked new ideas; this collection marks a complete new outlook on looks and styling. “We were thinking about this wardrobe being an unrestricted thing. We weren’t thinking about looks and we weren’t thinking about the catwalk effect of it, we were thinking about shirts, trousers, puffer jackets and wool—in the end, these groups were all just mixed together. In the last week before the show it really allowed us to think about new categories without being restricted to what a look would be.” While discussing the conception of the new collection, Marques reveals that it all began with a seemingly simple thought: “We just started thinking about girls.” Two of these girls specifically were regular Marques’ Almeida collaborators— and Glamcult darlings—Masha Mel and Tess Yopp. “It was just thinking about this kind of giant wardrobe of all these girls and how different they are, and it developed into this completely different collection in a sense where everything was layered and mixed and had this kind of personality,” Marques elaborates. “It was amazing to actually have these real girls walking in the show, wearing the clothes and helping to style the outfits, getting their point of view on things. It was all about what matters to them and their wardrobe—and how different they are.” This obsession with “real” girls is not a recent phenomenon, but rather an evolving source of inspiration in

which said girls not only inspire but become a part of the process. Another recurring source of inspiration is not a person, but a decade: “I think what we got from the ’90s was an ethos, kind of thing. It has more to do with this approach or obsession that feels believable and effortless, and that’s what we identified with. It didn’t necessarily have to do with anything specifically aesthetic,” Marques ponders aloud. Looking at the autumn/ winter collection, however, and knowing that the 1994 documentary Wildwood NJ is dear to the designers’ hearts, one can’t help but put two and two together; maybe some ’90s aesthetics managed to sneak their way into the designs after all. But in the end, attitude is all that matters, says Marques. When asked about the brand’s signature denim obsession, she’s quick to counter: “It was never denim because it was denim; it was denim because of what it represented.” Denim, in this case, being the antithesis to the unattainable. “You wash it and you shred it and you distress it; that’s what makes it feels like something that has personality,” Marques explains, yet again highlighting the duo’s spontaneous approach to design. And by persisting to not play by the rulebook of the fashion industry, they will persist to inspire for years to come.


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By Kelsey Lee Jones

Sweater J.W.Anderson


She’s got us hungry for some Greek salad (on a leash), she’s the self-dubbed fastest painter in the world—she’s Chloe Wise. As Glamcult gets ravenous with the NYC artist and self-proclaimed “nice Jew-ish Girl”, we speak food fetishism, the female gaze, classic portraiture and the power of satire. 25

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American Classic, 2015, oil paint, urethane, and hardware, 6” x 6”, photo by Paul Litherland courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist

Pancakes No. 5, 2015, oil paint, urethane, hardware, 14” x 12”, photo by Paul Litherland courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist

Moschino English Muffin, 2015, oil paint, urethane, and hardware, 6” x 4”, photo by Paul Litherland courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist

Belgian Moschino Waffles, 2015, oil paint, urethane, and hardware, 6” x 6”, photo by Paul Litherland courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist

Chloe Wise

I Remember Everything I’ve Ever Eaten, 2015, oil on canvas, 52” x 76”, photo by Annik Wetter courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist

It’s kind of funny, calling up Canadianborn artist Chloe Wise for a Skype conversation. You have the unshakeable feeling that you know her somewhat already. And then you realize that her face has been omnipresent since you updated Instagram’s story feature… It’s Wise’s uncanny knack for parodying our consumerist world of desire and narcissism (whilst gregariously and unapologetically engaging in it) that has brought about internet notoriety. Naturally voguish, visually hedonistic, it’s easy to see why the art-/fashion-world troupers are fascinated with her. She can be found firmly on the scene, showing her face at as many fashion shows as art openings, and is pally with some of NYC’s hottest new-wave young designers—including Eckhaus Latta, Adam Selman and Bror August. Though these connections by no means make her shy about partaking in a little “fashion trolling”: her initial foray into the art-fashion amalgamation came back in 2014 and involved, um, fake baked goods. Lampooning one of the world’s prime fashion houses with her notorious Chanel spoof “Bagel no.5” bag, Wise created a hilarious paradox whereby the fashion world somehow came to embrace and endorse one of its wittiest—and fiercest—critics.

Wise sees the art and fashion worlds as inextricable from one another: “Costume is a real part of portraiture,” she asserts. “There’s always been dialogue between garments and the person.” Trusting that one of the purposes of art is to reflect a moment, to enter a conversation with a paradigm, Wise considers it “hard to dismiss fashion when you are recording people and presenting a narrative”. Beyond fashion elementals, in the course of our conversation we indulge in the true essence of Wise’s practice: inspirations in paint, portraiture and a deep love for art history. “I’ve basically been an artist since I was born!” she confesses, citing Alice Neel, John Singer Sargent, J.W. Waterhouse, Kees van Dongen and Antoon van Dyck (among a list of many more) as some of her painterly inspirations. But that’s not to say her practice is limited to painting—she’s multidisciplinary, moving between drawing, sculpture, video and installation too. Speaking to Glamcult directly from her Brooklyn studio, Wise is working on a new piece as we speak. She hints at potential concepts for her upcoming show at Divison Gallery back in her home city of Montréal: we can expect lots of “drippy stuff” and new custom frames—“with shelves!” she

adds, audibly excited. Judging by her series Literally Me (a succession of daily selfie portraits) along with a studio full of new works, Wise seems to be churning out creations like there’s no tomorrow. “I like to be productive and accomplish a lot of stuff in a week,” she confesses. She recently named herself “the fastest painter in the world”; so how long did her quickest painting take to finish, we wonder? “That would be two hours,” she says, holding up said portrait. It’s one of herself wearing a (not red, but) “goji berry beret”. If her influences are well known, beloved friends are Wise’s primary muses. “I like to paint people that I love dearly, and whom I find really beautiful,” she says of one of her standout portraits featuring model/ actress Hari Nef. Throughout (art) history, women have always existed as the subject of paintings—or, perhaps, as the object. The male gaze has influenced how they recline or the way they appear naked. Wise uses nudity in her own work, but in such a way that the subjects become, in her opinion, “strong and in control of their own presentation”. She adopts “cheesy poses”, millennial semiotics and uses product placement to “redefine” traditional painting. It’s essentially painting about the history


of painting. It’s questioning, What’s the use of painting and capturing moments in this archival way? Why do we portray each other in this way? What does it mean?” Amidst all the oil paint, Wise lives in a food-centric, satirical world, trusting that satire is “one of the most proven, powerful takes on societal critique—an important vessel that can be used without the need to point a finger”. Basically, Wise is comedy gold. She’s often thinking about the hilarity of food and is always pulling new tricks. “I introduce tiny food into my paintings, like a single cracker. I think about what our interactions are, and what women’s relationship with food has come to be.” From her shows we’ve seen super-realistic (non-edible) urethane sculptures of everything from sexy salad— Greek Salad on a Leash (2016)—to faux-bread goods like the Ain’t No Challah Back(pack) (2014), a highlight of NADA represented by Galerie Sebastian Bertrand, as well as a crispy-bacon Jew(ish) Star of David and lots of messy spaghetti. And Wise, it seems, may not be the only artist down for the feast. Glamcult has recently spoken with a number of emerging artists/designers who also embrace new angles on

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food: juicy vagina/fruit fingering c/o Stephanie Sarley; meat piercings c/o Barragan or veggie accessories c/o Vaquera. And most recently we saw Maryam Nassir Zadeh host a sit-down buffet for her NYFW S/S17 presentation. While Wise’s work could read like an exaggerated commentary on our most current visual landscape—or on the banality of trends, even—Wise herself explains that her food fetishisms really come from a deep interest in art history and its recurring themes, particularly those found in still life painting. “Still life for me sets an interesting set of values, in that it represents life and death, mortality, femininity, abundance, sexuality, consumerism and the mutability of youth.” Through her eyes, so many things can be represented through an array of food on a table, in the supermarket or in a food hall. She makes the everyday strange again, and uses the everyday to talk about something that’s a little more complex or difficult. “Food is this fleeting thing, which you consume. And then it’s gone. You have this desire attached to it, there’s so many affections and feelings regarding food,” she explains. Right now she’s really into painting brightly coloured food, constantly reaching for the peach (and papaya). Her favourite

veggie to eat? Eggplant. And if she were a sandwich? She’d have to be something suitably conflicting, like a “gluten-free, lettuce wrap… with bacon and mayo.”


A Fantastic Ignorance, 2016, oil paint, urethane, piercing, wood, 46” x 18” x 17.5”, photo by Logan Jackson courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist

A Magnificent Forgetting, 2016, oil paint, urethane, parsley, wood plinth, 44” x 17.5” x 17”, photo by Logan Jackson courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist

Chloe Wise

Above All Things, Be Glad, and Young, and Relatively Irreplaceable, 2016, oil on canvas, 36” x 48”, photo by Logan Jackson courtesy of Galerie Division, Galerie Sébastien Bertrand, and the artist


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By Emma van Meyeren and Leendert Sonnevelt Photography: Carlijn Jacobs—UNIT

Styling: Imruh Asha—House of Orange Hair: Milton C Echteld Make-up: Celine Bernaerts—House of Orange

Sweater J.W.Anderson via Van Ravenstein


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Just hours after his opening gig for Rihanna, Glamcult sits down with Sean Michael Leonard Anderson in Amsterdam. Scouted and signed by Kanye in 2005, the artist you know as Big Sean is one of today’s leading rappers—responsible for new club classics like Clique and IDFWU. Taking influence from sources as diverse as Deepak Chopra and Eminem, with his boyish affability, the Detroit native reveals how today’s hip-hop game is won through a self-assured mix of talent and optimism. “I’m against anybody who hates any type of love.” 31

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Suit Chalayan, turtleneck Y/PROJECT, rings Big Sean’s own


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Sweater J.W.Anderson via Van Ravenstein

Big Sean

When positivity is fully engrained in a person, you’re sure to find that mindset in every aspect of their being. Such is the case with Big Sean, who doesn’t let his 24/7 team of managers, assistants, bodyguards and creative advisors give you the impression that he’s grown beyond the personal. On the contrary: the Kanye protégé’s chart-topping music has evolved to become exactly that—more personal, and more, um, spiritual? “Yeah, I’m definitely spiritual,” he tells Glamcult. “I’ve been meditating a little bit and reading books by Deepak Chopra. You may not know that from my music —” He cuts himself off, quick to qualify: “Wait, I’m not saying I’m gonna make a ‘spiritual’ album!” Joking that we’ll write this story to seem as if he is, the artist laughs light-heartedly. “What I’m saying is that I want to make an album that’s uplifting.” Eventually signed by Kanye after rapping just 16 bars for him at a local radio station some ten years ago (there was a two-year limbo between the two events that doesn’t appear to have deterred Big Sean in the slightest), GOOD Music finally became the home of the young rapper and his debut album, Finally Famous (2011), preceded by a number of official and unofficial mixtapes. That album accomplished just what its title implies, with Big Sean more

than holding his own among guest turns from the likes of Chris Brown, Lupe Fiasco, The-Dream, Rick Ross, John Legend and, of course, godfather ’Ye himself. But don’t be fooled by Big Sean’s current status—or by his famous (ex-) girlfriends: he’s probably the most laid-back, cheerful hip-hop artist out there, driven by a tireless optimism. “I feel like any music, whether it’s a break-up song, deals with death, or losing somebody close to you, as long as somebody can relate to it and it feels like a therapy to them, it’s positive." Um, but what about the (in)famous lines You little stupid ass bitch, I ain’t fucking with you, we ask? “Ha,” he counters with a grin. “I think that’s positive! People scream that song with the biggest smile on their faces. They like to get emotions out on that…” Despite his dogged good cheer, it was RiRi’s ANTI tour that brought Big Sean to the world’s biggest arenas this year—causing Glamcult to wonder: Is there anything the artist himself opposes? “Yeah, anti…” he thinks for a minute, then answers, suddenly resolute: “I’m against the bullshit. I’m against the fake shit. I’m against anybody who’s ill minded. I’m against anybody who hates any type of love. I’m against people who just aren’t positive, you know?”

It’s not just the world’s favourite bad gal who can be found on Big Sean’s speed dial, but a host of other top-tier hip-hop stars, too. “I’ve probably collaborated with just about every rapper I dreamed of collabing with,” he confirms with a smile. The most famous fruit of these joint efforts is perhaps Clique, the club anthem by Jay Z and Kanye for which Big Sean gave up his beat. When Glamcult asks whether the rapper places collaboration over his own career, he laughs: “If Kanye came to you and said, ‘Yo, Jay Z wants to have you on this song,’ would you be, like, ‘No, I’m gonna keep it to myself?’” He pauses a beat. “My first ever concert was the Hard Knock Life tour. I snuck in because I was too young to go. Jay Z and Kanye were my favourite artists before I met them, and they still are. Of course, then it’s an easy thing to let go of.” Similarly, the beat for All Me, a collaboration with Drake and 2 Chainz, was originally destined for a Big Sean solo project. “It’s a bigger and better thing when people come together. It’s what the fans want and it gives you more variety, a different flavour. I think that’s what hip-hop is all about sometimes—mixing it up. Not just from the beat and sample side, but also in terms of artist collabs. It shows unity.”


Currently working on his fourth studio album, as well as GOOD Music’s forthcoming Cruel Winter compilation (more collaborating!), touring the world offers an unexpectedly welcome contrast. “My engineer and studio [people] are all out here, so we can work while on the road. When I was in the studio I was, like, Man, it sucks that I don’t get to finish my album before I hit the road. But then I figured, actually, this might be the twist that I needed to get it done properly! I think it’s going to be my best album.” And Europe is not without its charms for the rapper—the Dutch capital especially: “I do love it here, literally top five ever!” Judging by his Snapchat story, it’s the Dutch bikes and health-conscious lifestyle—“there’s no fat people here!”—that enthuse Big Sean the most. But more than that, he claims, it’s the Red Light District. “Not because I like to fuck any of the girls or anything like that, but I like the vibe of it. The neon lights, the smoke shops, the water, the people, the boat houses…” And the collabs continue, with another that recently shook up Big Sean’s routine: coming together with R&B singer Jhené Aiko under the Twenty88 moniker. Their self-titled debut of eight slow-burning tracks, released at the beginning of 2016, gave a glimpse of a more gentle,

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Jacket Maison the Faux, shirt Saint Laurent, trousers Xander Zhou

Big Sean

pop-tinged and sensual side of the rapper. Describing their EP as “telling the story of the highs and lows of a relationship, with insights into conflict, memories, love, sex, and more”, rumours about a more-than-musical relationship have been circulating ever since. But if anything, working on the EP has provided Big Sean with a bright new energy, he says: “It gave time to take a break from working on my album, as I was sort of hitting a creative wall. So then I started that group with her, and it inspired me to keep working on my stuff.” Listening to Big Sean’s records, you’ll repeatedly hear him refer to the “west side”—an homage to his hometown, Detroit. It’s when this topic comes up that the artist becomes more serious, earnestly espousing his passion (and concern) for the city that raised him. After all, “the hometown love is the biggest”. In May 2012, the rapper founded the Sean Anderson Foundation, a non-profit primarily working to improve the quality of life in Michigan’s “ghost town”. “Last week we donated to help end college homelessness,” he tells us. “That’s a real big issue, especially in Detroit. We help out in ways that some people wouldn’t even think to help out. In public schools, for instance, there are kids who can’t wear uniforms, while the

only reason you have to wear a uniform is so you don’t get made fun of for not having new clothes. So we donated 5,000 uniforms to kids who can’t afford them, or backpacks full of school supplies. We also organize after-school programmes for high-school students, introducing inner-city kids to jobs they may not know exist.” Big Sean’s music and philanthropic work collided at the end of last year, when he hosted a largescale Detroit benefit show (“I didn’t make one dollar off it, we donated all proceeds to the foundation”). Taking place at an old downtown arena, the concert was a poignant moment for the rapper: “I used to ride past it every morning going to high school. You can just imagine what it was like to play that… Eminem came out! That was the only time he touched a stage that whole year, so it was real major. Lil Wayne came, Mike Posner, Dej Loaf and Bryson Tiller. But Eminem definitely killed it.” Detroit is where Big Sean grew up under the wings of his mother and grandmother, the latter of whom inspired One Man Can Change The World, the personal elegy featuring Kanye and John Legend that was recently honoured with a BET Hip Hop Award, an MTV Music Video Award and a Grammy nomination.

And although our interview is officially over already, Big Sean takes his time to tell her story: “My grandma was one of the first female black captains during World War II, stationed in Europe. She was also one of the first female cops in the city of Detroit, back when they couldn’t even wear uniforms. She was a teacher, she was a counsellor; she was so many different things. She got her master’s, she was smart. She came from nothing— the dirt and rubble of West Virginia— and moved to Detroit with her mum. In Detroit I always go to her house on Outer Drive. That was one of her goals in life, to have a house on Outer Drive, the same street Marvin Gaye used to live on— you know, when Marvin Gaye was Marvin Gaye, not before he was Marvin Gaye.” He continues: “My grandma and granddad built a life together, you just have to respect it. She came from an era in which nobody had anything. She would wash paper plates— do you know what I mean? She would wash Saran wrap and aluminium foil to reuse it. Even when she’d made money and bought a house, she was still doing that. So this is all out of respect to her for being that person. She saved her whole life to give me and my brother a better life. It allowed me to go to private school


when I was younger, and that school I give a lot of credit to for me being a rapper. They made us do poems, art, write our own stories… It taught me how to use words at an early age, since I was four years old. I appreciate her for doing that so much.” Like many a grandparent probably wouldn’t, Big Sean’s grandmother didn’t initially approve of his rap career. “I did the opposite of what she wanted me to do. I didn’t go to college, and to her college was the way to a better life. Instead I used a lot of that money on recording studio sessions. She was very mad at me, but at the same time she still supported me. You know, I think that takes true love; to really support something you don’t necessarily believe in. She made a lot of major moves in her lifetime… I did buy a house for her and my mom, right before she passed away. She got to see me be successful, and now I feel her presence all the time. I still feel her presence for sure—or at least her consciousness.”

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Top J.W.Anderson via Van Ravenstein, necklace Big Sean’s own


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(Destroy) Decadence Esmay Wagemans Viral visual artist

Wearing one of her latest latex experiments, the Amsterdam-based visual artist examines prevailing concepts of clothing and pushes normative ideas of the naked female body. (Destroy) Decadence: “Sometimes it’s more effective to provide people with a reflection of society than to shout out your discontent to actually make a change.”


Blondage Airy electro-pop duo

Copenhagen’s electro-pop duo Esben Andersen and Pernille Smith-Sivertsen dream of a world where Habermas, Thomas Piketty, Trey Parker and David Bowie’s ghost have the upper hand. (Destroy) Decadence: “Both a symbol of the ugliest side of human nature and a way to express fantastic creativity capable of taking humanity to new places… It’s amazing what we do to get laid.”



(Destroy) Decadence Frances Therapeutic singer-songwriter This London nymph, posing with her Reggie, is in the business of invoking lumps in throats all over the world with husky harmonies and honest song writing. (Destroy) Decadence: “Indulgence can become addictive. It’s important to find satisfaction in smaller, more mundane things. My dog is pretty inspirational: he eats the same food every day, chews the same dirty toys in the garden… but he exudes happiness!”


GIRLI Bubble-gum pop princess

If she had all the money in the world, this Cockney pink rapping fright would build her own massive spaceship to get the hell off this dumbass planet with all the safe, non-dicky people. (Destroy) Decadence: “The widespread patronization of young people in society and politics, institutional sexism, racism, homophobia, cuts, Brexit… I love a good protest.”




(Destroy) Decadence Jones Electronic soul songstress While she crafted Indulge to hit the heart, the luscious voiced London vocalist always refrains from excess. Her rhythms, sounds and beats are unmistakably Millennial, but her hopes and sentiments ageless. (Destroy) Decadence: “With my music I’m trying to unify rather than divide and hopefully empower people along the way.”


Ben Elliot Self-reflective visual artist

The silk-faced French creative is both the art of the party and the party of the art—unashamed to promote himself, his image and a fresh Parisian scene. (Destroy) Decadence: “I felt a lil decadent when I dipped a bunch of profiteroles in the chocolate fountain after sleeping for three hours. Quite guilty, but well it’s done now, LOL.”



(Destroy) Decadence Fortie Label Girl power fashion mansion

Inspired by 19th-century girl gangs and made famou$ by Rihanna, Fortie Label’s excessive fashion would flawlessly grace Lil’ Kim, Marie Antoinette and Fran Drescher alike. (Destroy) Decadence: “I’m still waiting for that moment to happen, to be honest!”


Florian Mecklenburg Multidisciplinary image-maker

Trapped in a feedback loop of post-reality, power inversion, super abundance, narcissism and masculinity, this Amsterdam-based German is set to penetrate the art universe—decoding social stereotypes along the way. (Destroy) Decadence: “The daily riot takes place in the virtual world.”




(Destroy) Decadence Gilleam Trapenberg Photographer of fact and fiction With a painstaking mix of stark portraiture, graphic compositions, faultless timing and a sultry colour palette—soft sun by day, neon by night— Curaçao native Gilleam Trapenberg’s images shimmer somewhere between real and romantic. (Destroy) Decadence: “I’d rather be influential than famous; those two are often confused as being the same thing.”


Matty Bovan Bright and brilliant new-gen designer

We reckon you’ll recognize the CSM graduate, Miu Miu-collaborator and Fashion East designer from his holographic IG account, but we couldn’t help but request one more selfie by Matty Bovan. True beauty queen. (Destroy) Decadence: “Fear and ignorance are taking over ever more strongly today. It’s very depressing in one respect. In another respect, I guess we can only hope that young people will form their own ideas and inform their own opinions.”



(Destroy) Decadence Palomo Spain Fashion for (fallen) angels

Not afraid to explore sexuality and the gender spectrum through his designs, the indulgent and refined work of Alejandro Gómez Palomo reads much like a bombastic, time-travelling fairy-tale. Its seductive undertones, however, are far less innocent. (Destroy) Decadence: “Is there anything more decadent than sweeping pearls?”


Salute Heartfelt funk-meets-dance producer

Describing his music as the most decadent thing he’s ever done, the work of rising artist Felix Nyajo is reminiscent of ’90s R&B and ’70s funk, as well as music from the early Noughties, coming together in a bumping electronic sound that’s most of all now. Please, keep indulging! (Destroy) Decadence: “What makes me want to protest? Injustice. I am a young black man; I am extremely susceptible to danger. I know, it’s weird—but that needs to stop.”





Gc Interview

By Leendert Sonnevelt Photography: Kat Slootsky

Wolfgang Tillmans When one of the world’s most visionary photographers starts making techno, you know it’s time to tune in. Unexpectedly shared by Frank Ocean ahead of its official release, the music of Turner Prize winner Wolfgang Tillmans—in line with his viral anti-Brexit campaign—more than ever asserts the artist’s sharp-eyed, unifying outlook on humanity. “I increasingly felt a need to involve myself as a body, a voice, an entity.”

Returning to music after such a long time, we love that you’ve chosen techno as your go-to medium. Was this an obvious decision? How would you describe your personal relationship to the genre? It’s ambiguous, as after 25 or more years I must say that the loss of lyrics in techno is not all great. House music just about pre-dating techno had inspirational lyrics and actively sought to forge community between people. Techno has always been the less aspirational sister of that—more reflecting of the cold reality than the warm utopia of Joe Smooth’s Promised Land. I love both. But in general the mechanical beat of techno is so soulful, and only cold to those who are not open to it. The contradiction that lies within it is surely the source of its lasting success. Cold and hard, yet soulful. Both Device Control and the accompanying video deal with the relationship between humanity and technology. Could you describe how and in what— mental or physical—place this track was born? Over the course of the last couple of years I have with great curiosity observed how smartphone ads promised endless power and control at your fingertip. In particular, the power over recordings and live interactivity. It is portrayed as just a simple human right that’s a fact now, I guess. But of course it’s so incredible; the thought that life is lived and at the same time recorded or streamed in a quantity that can never be consumed or digested. This creates deeply philosophical questions that would have been truly “science fiction” just 20 years ago. I took that assumption of a natural new reality at face value and made up fake ads and promises in one inspired, slightly hung-over, morning session in my kitchen getting ready.

Aside from the release of your new music, your most visible project this year is probably the widespread anti-Brexit campaign. Is there a direct or indirect relationship between the two, besides coming from the same creator? There has been a gradual shift inside of me, from implicitly outspoken, which I have been all along, to bringing my first-person voice to the fore. I increasingly felt a need to involve myself as a body, a voice, an entity. Maybe the video Instrument last year was the watershed moment. In it I perform a kind of dance, just dressed in white underpants. It is useless yet shows as well to live and carry on—to a rhythm that I’m making myself with the stepping noises of my feet. Cause and effect are closely looped. Since then I knew I wanted to be a more personal voice. My anti-Brexit campaign was born out of a less conceptual origin. Having lived in the UK for the last 25 years I sensed a lack of love for the European idea. I hate the idea that Brexit creates an instinct of competition in people; now we need to prove that we were right. This stupidly popular sign “Keep Calm and Carry On” is really part of the problem. “We know it’s wrong but let’s do it anyway.” Could you share a little bit of your vision on the work of Frank Ocean and your first reaction to your music being featured on Ocean’s latest album, Endless? As you may have read, my first introduction to Frank was via my Dutch friends Jop van Bennekom and Gert Jonkers , who thought they had secured an exclusive story with him. It turned out that he had other plans, and a year later he got in touch with me to ask if he could use some of those pictures, originally destined for Fantastic Man , for his magazine and album. During the course of our conversation I mentioned that I was about to release a second EP of my

own music. Frank showed interest in that and I sent it to him. He sent me a message [saying] how much he liked Device Control and [asking] if he could sample it for his record. The next thing I knew was that my whole song was seven minutes of his Endless album. I see it as a huge compliment, no matter how weird the antics were of not telling me about the full inclusion. It was genuinely absurd; here I was with a fledgling music career, finding myself on the most anticipated release in American music this year. Angered Son touches on the homophobic background of the Orlando shooter without further interpreting the cited line from the New York Times—turning it into a haunting loop. Why? What does this song mean to you? I have always been interested in the idea of surface. That the surface tells a lot about the content, as opposed to merely being superficial. One thing illustrating that so clearly is the reaction two men kissing in public get. It should be a harmless act, but in fact it is a ground-shattering act for some and a tender moment to others. I have always been interested in the idea of the victimless crime. So the intolerance of the visibility of Muslims and the intolerance towards homosexuality in public are the same side of the coin. It’s about holding on to belief systems that are nothing more than that: made up by humans and there to be challenged. A lot has already been said about your new EP, but not much can be found regarding the artwork. What does it represent? That’s true and I didn’t draw much attention to it myself, wanting the focus obviously to be to my new endeavour: music. The artwork of the EP picks up the great tradition of New Order ’s designer Peter Saville , who developed the graphic idea of the new 12-inch out of the previous one.


Half of my Device Control EP is actually a remixed 12-inch of my first release, Make It Up As You Go Along . So I thought it’d be interesting to connect the first and subsequent release by inverting everything into the negative, making yellow into blue. Reading through a random selection of YouTube comments any day, you’ll often find people saying that artists should stay away from politics. How would you / do you normally counter these sorts of sentiments? I would have said the same a year ago, by and large. But I realized that no one else is actually raising their voices, and that according to the old cliché, artists actually do have a power to say things that others wouldn’t do. That’s why I chose to call my next exhibition—which opens three days before the US presidential election— Only the Americans have the power to stop Trump . I can’t vote in the elections, and I’m sad because of it. What’s next for Wolfgang Tillmans? Can we expect more meaningful music? I feel like I do what I can do best in a meaningful way; it has to work in the medium of choice. Fame is a bad excuse. This summer has been all about music but the activism of earlier in the year will continue. We have a huge task ahead of us, to stop the sense of permanent crisis. Yes, we’re in a crisis, but white Europeans are still not the victims of it. I want to work on a positive outlook, that we can make this work out fine. But as Neil Young said, “it needs a lotta love”. Wolfgang Tillman’s Device Control and 2016 / 1986 EP are out now on Fragile.

Gc Interview

Ace & Tate + Jordy van den Nieuwendijk Section

By Lottie Hodson Photography: Patrick Sijben

If you fancy a bit of eye candy, Ace & Tate’s new Antwerp store is the place to be. Dutch illustrator-slash-painter Jordy van den Nieuwendijk is the creative mastermind behind the revamp of the new Belgian hotspot, co-designed by Standard Studio. With aspirations of foregrounding the “painter” in that slash career, we believe this mural will prove he’s more than worthy. Classic, minimal eyewear and liberal amounts of multi-coloured illustrative genius—we have high hopes for this dreamy collab. We caught up with Van den Nieuwendijk to discuss his inspirations, motivations and love/ hate relationship with Frank Zappa.

Jordy van den Nieuwendijk for Ace & Tate Antwerp

Could you tell us a bit about your collab with Ace & Tate? What motivated this partnership? It started with Mark [De Lange], the founder of Ace & Tate, showing an interest in one of my prints. We started emailing a year ago to see if some kind of collaboration was possible, but we kept cancelling each other’s appointments because we were travelling or out of the country. Now that Ace & Tate is opening new stores in Europe, for each store they’re working with a different artist. They had me in mind for the Antwerp store, so this was a great opportunity to finally work together on a project. What can we expect to see? How would you describe your vision for the space? They asked me to do a mural, and I also did little pops of colour all over the store. The shop is based in Antwerp, and just as many cities have a symbol, Antwerp has the hand. So I made two hands that form the shape of glasses. That’s the sort of theme that’s running through the store in different places. It’s simple but fun.


The setting provides a much larger canvas than you’re used

to working with. How did you alter your working process to adapt to this? As a teenager I did a lot of graffiti so I’m used to doing murals! It’s nothing new; I’m not scared of a size like that. Does this hint at the possibility of future interior design prospects, or is this strictly a one-off project? I wouldn’t r eally call it interior design—although I wish I were in charge of the plants and the tables too. [Laughs] I enjoy that you can walk around in a physical space; I like seeing my work in 3D instead of flat. I’m always working with depth to make the work pop out, and if it really pops out in a space—that’s exciting stuff to play with. Everybody has dreams, and one of mine is to design sets for a stage play in a theatre. Maybe in the tiniest way possible, this is an entry point to that… When we tried to reach you earlier this week, you mentioned that you were teaching. Can you tell us a little bit about that and whether it influences your work? Helping and teaching students

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Ace & Tate + Jordy van den Nieuwendijk Section

to learn their strengths and weaknesses is interesting for me. I think when I was studying graphic design at The Royal Academy of Art in The Hague I wasn’t the best student. I had talent and I used that talent in the way that I did my assignments the night before deadline—we’ve all been there. Teaching at the KABK now is an opportunity to make up for not being an excellent student. I mean, I’ve used all the excuses; it’s very hard for students to come up with new ones that I haven’t used myself, so I enjoy that bit too. [Laughs] We hear you’re a David Hockney fan. What is it about his work that you find so inspiring? When I was studying graphic design, I had teachers telling me loads about websites, typography and basic composition, but slowly in my spare time I started to discover the work of Hockney. I bought a book of his and thought he was so articulate, so good at storytelling, and it was just a pleasure to read about him, his work and his interests. He sort of became a mentor without knowing it. I might have overdone it a little bit; I think I now own 56 of his books. He’s definitely an influence on my work,

obviously I try not to copy but if you stare at someone’s work all the time, it must influence you and your way of thinking. Do you listen to music when you work? Yes! Right now I’m working on 40 new paintings for an exhibition at Kunsthal Rotterdam, which is opening 1 October. I must admit, Frank Zappa is back again. I love his music and I hate his music; sometimes it’s just fucking annoying. Some songs are on repeat all the time—like Peaches En Regalia. That can be on repeat all day; I’m just really going strong on that one. If there were one thing you’d like to achieve with your work, what would it be? At this moment I’m an illustrator who also paints. In ten years from now, I would like to be a painter who also does illustrations. Changing my focus to painting—I think that’s the next thing that I am really diving into.

Find the vibrant work of Jordy van den Nieuwendijk at the Ace & Tate store, located on Steenhouwersvest 15 in the creative heart of Antwerp. Ace & Tate’s first Belgian venue opens in the first week of October.


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AWARDS DUTCH DESIGN AWARDS 2016 celebrates the best of Dutch design 2016

EXHIBITION DURING DUTCH DESIGN WEEK 22 October - 30 October Location: Veemgebouw, Torenallee 80, Eindhoven





2016 AWARDS SHOW 29 OCTOBER Do you want to celebrate the best of Dutch design with us? Buy your tickets here:

Visual Essays

Fern: coat Anne Sofie Madsen, underwear Fern’s own, cap Jenny Holzer, boots New Rock

Pablo: corset from stylist’s archive, choker and earring Pablo’s own


Hazel: dress Meadham Kirchhoff archive


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Pablo: corset from stylist’s archive, trousers Martine Rose, choker Pablo’s own


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Yasmina: coat Philip Ellis, T-shirt Martine Rose, bra American Apparel, collar from stylist’s archive

Wilf: bodysuit American Apparel, trousers Sadie Williams

Jermaine: trousers Won Hundred, briefs Jermaine’s own

Wilf: bodysuit American Apparel, trousers Sadie Williams


Jermaine: apron and trousers Chin Men’s, shoes from stylist’s archive


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Yasmina: vest Martine Rose, shirt Meadham Kirchhoff archive, trousers NHORM, belt Yasmina’s own, boots Helen Lawrence

Hazel: harness Bordelle, trousers Billionaire Boys Club, shoes Hazel’s own

Fern: collar J.W.Anderson archive, bodysuit Paige

Photography: Lucie Rox Art direction: Joseph Delaney Styling: Matt King Set design: Penny Mills Hair: Jonathan De Francesco Make-up: Molly Portsmouth Models: Fern—SUPA Model Management, Hazel, Jermaine, Pablo—Nii Agency, Wilf—Wilhelmina Models, Yasmina

Top Petra Dudea, dress Diesel Black Gold



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Coat Sofie Nieuwborg, belt and dress Petra Dudea, trousers Alissa NicolaĂŻ, boots H&M Studio



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Dress Alissa NicolaĂŻ, boots AGL



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Top Alissa NicolaĂŻ, skirt VETEMENTS via, round belt Dilara Findikoglu, vintage belts via Alternatief Kostuum, earring Gogo Philip



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Dress and belt Petra Dudea, trousers Alissa NicolaĂŻ, gloves Dries Van Noten via



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Coat Weekday, belt VETEMENTS via, boots H&M Studio



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Top and trousers BOSS, shirt Magda Butrym, vintage corset and belt via Alternatief Kostuum



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Dress, top and gloves Chanel


Photography: Barrie Hullegie—HALAL Styling: Suze Kuit—House of Orange Hair: Daan Kneppers—NCL Representation Make-up: Elise Haman—NCL Representation Model: Luka—Rebel Management Assistant photography: Thijs Jagers Assistant styling: Wouter Rave


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Kicking off the new season, Glamcult and Diesel introduce an exciting new Dutch generation of offbeat talent—ready to spread its wings far beyond borders.

Benjamin Aerts, stylist “I want to go to mermaid school and learn how to swim like a proper mermaid.” Jeans Diesel, jewellery Ben’s own

Davey Oldenburg, model “My hidden talent? Sleeping.” Sweater and boots Diesel, trousers Raf Simons

Tim Schaap, illustrator and model “My life motto: seize everything!”

Lara Verheijden, photographer “Biggest talent: Instagram.”

Hoodie and sweatpants Diesel, jacket Daily Paper, shoes Vans

Sweatpants Diesel, vintage choker



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Angel Esajas, model “Most of my inspiration comes from my grandma.”

Charlene Chua, model “I can actually impersonate the singer Duffy.”

Dress Diesel

Jacket and boots Diesel, dress Duran Lantink


Photography: Jasper Rens van Es—House of Orange Styling: Leendert Sonnevelt Hair and make-up: Mascha Meyer—House of Orange Talents: Angel Esajas—Elvis Models, Benjamin Aerts, Charlene Chua—Amazing Faces, Davey Oldenburg—Elvis Models, Lara Verheijden, Tim Schaap—Elite Model Management Assistant photography: Marrith Kuiper


Shop the new Diesel collection soon on

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Top stylist’s own, jeans and boots Valentin Parnetzki, necklace Veronique Leroy

Dress Neith Nyer, boots Valentin Parnetzki Right: Dress Kenzo, earrings Y/PROJECT

Top, trousers and earrings Y/PROJECT, shoes Acne Studios Left: Dress and boots Kenzo, earrings Y/PROJECT

Dress Acne Studios, boots Valentin Parnetzki, earrings Y/PROJECT Right: earring Y/PROJECT

Photography: Hugo Comte Styling: Juan Corrales Hair and make-up: Camille Baçao Models: Lusy Zakharova, Marion—Ford Models, Maya Coline—Premier Model Management, Romy Kettiger Assistant photography: Celine Bischoff

7 OKT 8 OKT 9 OKT 10 OKT 15 OKT 16 OKT 18 OKT 20 OKT 20 OKT 21 OKT 21 OKT 22 OKT 22 OKT 22 OKT 22 OKT 24 OKT 25 OKT 27 OKT 28 & 29 OKT 31 OKT 1 NOV 2 NOV 5 NOV 6 NOV 6 NOV 7 NOV 10 NOV 13 NOV 13 NOV 14 NOV 14 NOV 18 NOV

BJ The Chicago Kid Beaty Heart / Konono No. 1 Dansé Dansé special Bayonne / Matt Woods Holy Fuck Progress Bar met o.a. Amnesia Scanner, Malibu, Toxe Felabration: Jungle By Night e.a. Sarah Ferri / Mild High Club Den Sorte Skole / Teebs Fat Kids Cake met o.a. Lil’ Silva, Monki ADE LIVE met o.a. Jessy Lanza, Salute, Sofie Winterson ADENONSTOP met o.a. Tiga, The Martinez Brothers Eurabia met Acid Arab, Cairo Liberation Front Klear met o.a. Snakehips, Lunice, Sam Gellaitry Enchufada Label Night Ticket To The Tropics Red Light Radio presents Dark Entries Special Arc Iris Jamie Lidell GOSTO London Calling met o.a. Allah-Las, Explosions in the Sky, Porches, Wild Beasts, Silversun Pickups Daniel Norgren + Amanda Bergman Blossoms Warpaint / Aristophanes / Crying Boys Cafe Samm Henshaw Mayer Hawthorne Angel Olsen Ryley Walker Phantogram Local Natives Whitney Nao How To Dress Well Amber Arcades


Stockists Acne Studios

Delfina Delettrez

Maison the Faux




Marques’ Almeida

Sofie Nieuwborg

American Apparel

Diesel Black Gold

Martine Rose

Sophie Bille Brahe

Anne Sofie Madsen

Dilara Findikoglu

McQ Alexander McQueen

Stella McCartney



Neith Nyer

Valentin Parnetzki

Billionaire Boys Club

Dries Van Noten

New Rock



Duran Lantink


Veronique Leroy


Gogo Philip




Helen Lawrence

Petra Dudea

Vivienne Westwood


H&M Studio

Philip Ellis


Charlotte Chesnais

Jenny Holzer

Preen by Thornton Bregazzi

Won Hundred

Chin Men’s


Raf Simons

Xander Zhou

Christopher Kane




Uncommon Matters


Sadie Williams

Craig Green

Magda Butrym

Saint Laurent

Daily Paper

Maison Margiela

Slim Barrett

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GLAMCULT / 2016 / ISSUE 4 / #120