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FREE 2016—Issue 5 #121

“Reach for the lasers.”

Glamcult worldwide underground


Issue 5 #121

The sun... 40 But I’m on the... 46 You’re born alone, you die... 54 It’s a sin to be... 60 Tiny particles... 68

Sies Marjan 6 Mary Reid Kelley 16 Communions 22 Adia Victoria 26 Open Letter

Matt Lambert

Visual Essays



Stockists 79


Talent 29

Colophon Editor-in-Chief Leendert Sonnevelt Creative Director Rogier Vlaming 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 Emily Vernon Kelsey Lee Jones Matt Lambert Photographers Ari Versluis Barrie Hullegie Brandon Thibodeaux Carlijn Jacobs Fernando Uceda Koers von Cremer Lottie Hodson Matt Lambert Ronan Mckenzie Sophie Mayanne Cover Photography: Ronan Mckenzie Styling: PC Williams—The Book Agency Hair: Takao Hayashi using Bumble and bumble. Make-up: Yui Sakamoto using MAC Cosmetics Model: Ben Blackmore—Models 1 Assistants styling: Kira Aberdeen and Misty Griffiths

Quotes Reach for the lasers. —Justin Kerrigan, Human Traffic The sun machine is coming down. —D avid Bowie, Memory Of A Free Festival But I’m on the guest list too! —Elmgreen & Dragset You’re born alone, you die alone, you get on stage alone. —Grace Jones It’s a sin to be tired. —Kate Moss Tiny particles of light. —Madonna, Masterpiece

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

Jacket Topman Design, jumper Christopher Shannon, jeans Christopher Kane


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



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Raumfeld multiroom wifi speakers #TheArtofListening Raumfeld brand store Van Baerlestraat 16 1071 AW Amsterdam 8-week home trial

By Leendert Sonnevelt Photography: Barrie Hullegie—HALAL

Styling: Caroline Fuchs—House of Orange Hair: Daan Kneppers—NCL Representation Make-up: Elise Haman—NCL Representation Model: Niki Geux—Paparazzi Models All clothing Sies Marjan A/W16 collection Rave accessories courtesy of The Makeover Factory

From zero to 100 in a matter of one collection, Sies Marjan’s debut this season was the ultimate case of come-and-conquer. Directed by Dutch designer Sander Lak, former head of menswear at Dries Van Noten, the NYC-based fashion house offers sophisticated but seemingly effortless clothes for “real people”. Talking colour, instinct and the rollercoaster that is fashion, Glamcult got to know the mastermind behind the label. “I’m not a tortured designer who’s complaining in the corner. Not at all. I love what I do.” 7

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Sies Marjan It doesn’t happen very often that a brand new fashion house makes a splash as big as that of Sies Marjan. But combine the creative vision of ArtEZ (BA) and Central Saint Martins (MA) graduate Sander Lak with the financial backing of former Ralph Rucci owners Nancy and Howard Marks, and a fresh establishment is born. Operating from the American capital, Sies Marjan—the name an amalgamation of the given names of Lak’s parents—entered the fashion sphere with a boost of colourful confidence. And, we should add, the welcome support of front-row influentials such as Anna Wintour. For Lak, who’s working on his third collection when he speaks to Glamcult, life has been “a little extreme” lately. As Sies Marjan’s creative director, his responsibility and perspective include both the clothes and steering the brand on to the right road as the face of the house. “I try to do it as 50/50 as possible, but sometimes the balance is completely off. Sometimes it’s completely right. Lately it’s been a bit crazy; we’re doing well and we’ve had a lot of success. But I can’t complain about it. I think every designer can agree on the fact that things go really, really fast. We’re all running behind the facts a little bit.” He pauses. “The difference is also that I used to always work for someone, and now I am the creative director of this company. But it would be stupid for me to complain about the effect of success; I’m having a lot of fun. I love my team and I love the company we have. I love all the people I surround myself with, it’s not at all a tedious thing. I’m not a tortured designer who’s complaining in the corner. Not at all. I love what I do.” For a 33-year-old designer, Lak boasts a confidence quotient that cannot be overlooked. But it’s exactly this confidence that brought the young designer to where he is today. “I can be quite extreme with doing or not doing things,” he admits. “I only do things I like, which sometimes doesn’t work in my favour. But I just like to do the things I like doing!” Right now, that’s Sies Marjan, a label built on a confident personal vision—and it’s working. Don’t confuse Lak’s poise for arrogance, however. “I really want to keep everything as real and as grounded as possible. We have a lot of work to do. You get very easily distracted, especially in New York, where things get very hyped up. That’s normal; your ego wants it, and everybody wants to be liked. But how we started this brand wasn’t about anything until the clothes were there. The clothes started speaking for what the brand is, and then people started to wonder who I am. I think

that’s the best way to do it, because it’s about this one strong message: ‘These are the garments.’ If you like them, that’s great. If you don’t like them, also great.” In line with that same sentiment, you won’t find Lak posting behindthe-scenes footage or selfies with his models on Instagram or Snapchat. Instead, the social channels of Sies Marjan simply show a beautifully curated, colour-coordinated collage. “The image that I use to put the brand forward is a personal one,” the designer explains. “But it’s not about me. The personal aspect of me and who I am is completely to be found in the work. That should be enough. I’m not doing this for recognition or fame; I don’t really care about that stuff.” Similarly, Lak’s work is not about a single muse—or a single (type of) woman—who embodies the Sies Marjan aesthetic. “I find that so old-fashioned,” he retorts, adding: “And that’s not a judgment, because everybody has their own ways. I see having a muse as very limiting, in the same way that I don’t really have one ‘inspiration’ for each season. When it comes to those things, I would hate to limit the viewer, the customer—whoever is looking at what we’re doing. I almost find that a bit offensive; it isn’t about one person. What I love is the total complexity and contradiction—I mean, a single woman can sometimes consist of ten people. I want real, real, real people.” With his visor wide open, Lak approaches a collection from various perspectives. “God, where does that process start?” he ponders aloud. “I don’t draw out a collection, not at all. I start by looking at things and talking with my team. Buying clothes, bringing clothes from my own closet, buying fabrics, starting to make things in fabric, draping things on an actual girl in front of you… it’s very much 3D.” It’s the seasonal timeframe of the fashion industry, often seen as restrictive, that in fact guides Sies Marjan’s design and production process, turning deadline stress into something positive. “The deadlines are really extreme, so I let them decide what I’m working on. We start with building the colour cards and fabrics because you need to order them first. Next up are knitwear and shoes because they need time, so it’s all very organic. I don’t go to an exhibition and come back saying: ‘Now we’re doing everything inspired by Picasso sculptures!’ No, that’s bullshit; you’re limiting yourself with that one inspiration. If you think about our process, it’s very unromantic, going by what needs to be done. But it forces you to think and consider, and it’s a fun way of working. Of course there’s always inspiration—a million things! But in the same way


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Sies Marjan that a muse is that kind of absolute voice, I don’t work like that. I need to be looking at things 24/7. Otherwise I’d get bored in no time.” With expectations raised in an incredibly short amount of time, and the likes of Beyoncé and Hari Nef showing their support, the pressure is on. But then again, Lak’s feet are firmly on the ground. “I really appreciate the good reviews, but I’m also very aware that is now. You have to enjoy it while it lasts, because as we all know, things move along really fast. Especially in fashion, nothing is eternal. Next year you might be speaking to me and everything might be shit, with reviewers saying: ‘Sies Marjan is the worst fashion brand in the world.’” [Side note: Glamcult highly doubts it.] “We all have our ups and downs, and sometimes we’re going to do a bad collection. After that we’re going to do a collection that’s good—you have to be aware of the bigger picture.” Perhaps all of this makes Lak sound like a pragmatist—perhaps even too straightforward for fashion’s dreamers. But don’t be fooled; a single glance at the Sies Marjan runway reveals Lak’s success. Standout pieces are drenched in vibrant colours, their wearable silhouettes at first sight turning out to be subtly twisted surprises at second sight. There’s a laid-back, joyous sense of cool, an authenticity that doesn’t need to be forced. So what makes a Sies Marjan truly a Sies Marjan? “I do everything by gut feeling,” is Lak’s emphatic answer. “Most of the time I feel that something’s right. That doesn’t mean I’m always right; I make mistakes left and right, and sometimes things come out horribly. But I still trust my gut feeling as the one thing to rely on. I think that’s also where the authenticity of the collections comes from. There’s no formula—no, thank God there’s no formula. Otherwise I wouldn’t be interested either. I love being surprised by things I love, it’s very much about the process of the choices and mistakes you make. Sometimes a good mistake is a beautiful thing in the end.

A good collection just means that all elements were in the right place.” With gut feeling also comes Lak’s sense of colour, which shouldn’t be underrated as Sies Marjan’s other major success factor. Not just within each look—styled for the catwalk by Vetements and Balenciaga favourite Lotta Volkova—but also within the collection as a whole, there’s a refined colour scheme to be discovered, bearing witness to the designer’s distinct talent. “There is this one moment in my childhood I always think about,” he discloses when asked where this passion was born. “My father used to work for Royal Dutch Shell so we lived all over the world. At some point, when I was seven or eight years old, we lived in Gabon, on a compound surrounded by the most lush, tropical environment— everything was green, green, green. So what my mum did is dress my two brothers and I in head-to-toe, monochrome blue. That way she’d look out the window and be able to see us immediately. From that moment on I started being aware of colour working with its environment, contradicting it and complementing it. Not only as something we surround ourselves with, but also something that has an effect and catches your eye. Or it doesn’t. I’ve always been very aware of colour, and see it very strongly; it can make me feel really disgusted or really happy. It has a big emotional, even physical effect on me. I can be immediately happy when I’m in a room where the light and colours are exactly what I want it to be. Or really depressed if they aren’t.” For Lak, asking for his favourite colour (much like asking for his favourite model or muse) is asking for the impossible, as the designer once more avoids imposing any limit on the creative input and output of Sies Marjan. But also, because for this designer it’s simply a new colour every week. “It’s like having a family and someone asking: ‘Who’s your favourite child?’”


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Sies Marjan


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By Kelsey Lee Jones

Mary Reid Kelley with Patrick Kelley, Mary in Maenad Costume, 2015, work on paper, courtesy of the artists and Pilar Corrias Gallery

American video artist Mary Reid Kelley and long-term collaborator Patrick Kelley invite us into artificial worlds. These are black-and-white realms where drawings are alive; the Minotaur meets Minaj; language reflects upon language itself and rhymes exist inside the line (with a lil’ help from Lil’ Kim). 17

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Mary Reid Kelley

Mary Reid Kelley with Patrick Kelley, The Thong of Dionysus, 2015, video still, courtesy of the artists and Pilar Corrias Gallery

Speaking to Glamcult from their home in Olive Bridge, upstate New York, are video artist Mary Reid Kelley and her long-term partner—in art and in life— Patrick Kelley. It’s the eve of the 2016 US election, and one can’t help but feel curious about what these sophisticated American artists have on their minds ahead of such a momentous day. Like many, both Mary and Pat forecast a Clinton presidency. Patrick distils his thoughts for us the best he can: “It’s really disturbing, this revelation of how far gone much of society is in terms of perception of reality. I feel so much of the damage has already been done.” Mary expands: “The ugly facets of American life—the alt-right, the racism, the misogyny. These things have been let out of the bag and legitimized in a major way, and it’s not going to change tomorrow.” And yet the pair remains doggedly hopeful: “You have to believe that something good will prevail.” These two artists have long been intrigued by moments in history, both real and mythological. Their work, which combines painting, drawing and dramatic performance, is often based on cataclysmic moments that engender seismic societal shifts. Restaging such moments, they play with them freely, moving between the comic and the tragic, interpreting taboos, traumas and changing gender roles, most often from a feminist

perspective. “When we look into the past we are also looking for these other pivots and other places in time where an idea comes powerfully to the forefront,” explains Mary. Drawing on another political example, they made a film in 2011 called The Syphilis of Sisyphus, based on a hysterical Parisian grisette and taking place in Paris around the mid-19th century while the city went through a series of revolutions. Mary claims this is the historical context of “art, for art’s sake”. Through headlong dives into what she was reading at the time she discovered that, by the middle of the century, many artists and writers had gone from being supportive of the revolution to being cynical and low. They no longer believed that politics could come up with a solution. They had lost faith in art and in poetry, in the belief that anything they could do would have any effect at all. “We go from art for the sake of the political good, where art has a job to perform in society, teaching us how to be better people, to a point after where people withdrew and made art, now for its own sake.” One of Mary’s most notable early works was an imagined WWI story, You Make Me Iliad (2001), which sought to reconstitute a prostitute’s experience that may otherwise have been lost in history. It was followed by a triad version of the Greek myth

of the Minotaur: The Minotaur Trilogy, comprised of three films, Priapus Agonistes (2013), Swinburne’s Pasiphae (2014) and The Thong of Dionysus (2015). We see cameos by Ariadne, Venus, Priapu and the Minotaur, now depicted as a woman, as well a (shocking) account of bestiality in the form of a horny Pasiphae cursed with the urge to fuck a snow-white bull. Rappers like Nicki Minaj and Lil’ Kim become the God-like inspiration. “They taught me how to rhyme, inside of the line,” declares Mary. Take Lil’ Kim’s Jump Off: “Bacardi, Black Barbie, Bvlgari, Ferrari...” “I couldn’t have written the Dionysus script without having studied their lyrics.” Mary’s most recent video work, This Is Offal, takes inspiration from an epic poem by Thomas Hood dating from 1844, in which the narrator grieves the apparent suicide of a young woman, whose body was pulled from the River Thames. Mary and Pat have also found themselves expanding their practice, acting out (live) performances at the Tate “Performance Room” and Playground Festival, for example. On the aesthetics of their films, Mary explains: “It’s not an everyday world, it’s a very artificial world.” The most prominent aspect of this artificiality is the highly wrought sets, schematic in style, and the costumes, which are fashioned entirely by Mary’s


own hand. The covering of the eyes— “the windows to the soul”—with masks or eye patches, turns the performer (who is almost always Mary herself) into a drawing or something flat. “Removing the eyes is a visual estrangement, we’re actively pushing away naturalism but when we remove the eyes, we also push away a sense of humanity from the characters.” It’s also that the eyes are fixed—not merely covered—unable to look around independently of the face. “You’re fundamentally altering the way in which the entire character has to express itself, it means you have to work much more broadly as an actor,” explains Mary. The use of black and white is also meaningful: “A world without nuance is much like the idea of ‘thinking in black and white’. We have a world full of polemical people who cannot see the perspectives of others.” The hyper-literate aspect is a frontal layer of all the films and cannot be ignored. The scripts are dense with word play, particular punning, as well as visual anagrams and hyperbole. Mary, a long-life lover of literature and poetry, found herself inspired by many poets and wordsmiths— Lewis Carroll, A.C. Swinburne and Alexander Pope, to name but a few. She’s most interested in the idea that “language can be used to make one aware of language itself”. She seeks

Mary Reid Kelley

Mary Reid Kelley with Patrick Kelley, Nicki Minaj, 2015, work on paper, courtesy of the artists and Pilar Corrias Gallery


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Mary Reid Kelley

Mary Reid Kelley with Patrick Kelley, Three Picasso Heads, 2015, work on paper, courtesy of the artists and Pilar Corrias Gallery


Mary Reid Kelley

Mary Reid Kelley with Patrick Kelley, The Thong of Dionysus, 2015, video still, courtesy of the artists and Pilar Corrias Gallery

to conjure an array of allusions and highlight how we find ourselves lost in language “in a struggle to be understood”. Mary is the chief of the pun, and her repetitive use of literary tropes will send you into a whirling, seasick state. It’s delightful to see that the art world has caught on to this repartee. In a bout of Instagram, ahem, pundemonium you can witness Mary and Pat fans respond to a recent comment regarding the removal of a performance photo. The replaced image showed a clip from This is Offal with a bundle of bodily organs on display. They removed the photo and the response was: “You’ve got to be kidney.” “It’s great, it’s really fun when something like that happens; you realize how there is a punster in everybody and we’re all living with these meanings. Everyone is aware of the fragility of language, we all know it’s a faulty, leaky vessel,” replies Mary when we ask how she felt when the audience responded in this way. Yet Patrick squirms just a little at the mention of the platform. “I won’t give you all my thoughts on Instagram, other than it’s not helping anyone.”

Mary Reid Kelley with Patrick Kelley, Priapus Agonistes, 2013, video still, courtesy of the artists and Pilar Corrias Gallery Mary Reid Kelley with Patrick Kelley, Priapus Agonistes, 2013, video still, courtesy of the artists and Pilar Corrias Gallery


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By Emily Vernon Photography: Koers von Cremer

No one questions cliché quite like Communions. Instead of cowering in the face of tried-and-tested themes—youth, romance, boy-meets-girl—these Copenhageners redefine “cliché” as “classic”, focusing on authenticity in place of expectation. And if the experimental—and oftentimes obscure—Mayhem scene didn’t throw the quartet out upon first listen, then perhaps there’s something more to Communions than their honesty… 23

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Today, our midday nachos at Café DS (situated in Amsterdam’s expansive venue concept De School) came with a side of matter-of-factness. Glamcult sat down with Danish band Communions to unravel the upbeat-yet-practical worldview that informs their vibe. We quickly discovered that Martin Rehof (lead singer, guitarist), Mads Rehof (bassist), Jacob Van Deurs Formann (guitarist) and Frederik Lind Køppen (drummer) remain youthfully unbound by Europe’s cynicism or Denmark’s gloom. It’s been a long journey since Communions’ debut EP, Cobblestones, came out in 2013. They’re set to drop their debut album, Blue, next February on Fat Possum records, home to the likes of Sunflower Bean, Youth Lagoon and fellow Danes, Yung. And while most critics will inevitably focus on the band’s introduction of an emotive, pop-rock sound to Copenhagen’s underground Mayhem scene as Communions’ star ascends, the boys deserve much more credit for their no-nonsense originality. An abandoned warehouse of bleak splendour, chaotic nights and evolving

subcultures—that’s what we’re talking about when we say “Mayhem” in the Danish context. The hard-to-find venue and rehearsal space has played host to some of Copenhagen’s most influential power electronic, noise and underground groups, including Iceage, Lower and Lust For Youth. In its golden age, Mayhem wasn’t on Yelp. “It was a movement. It’s not just a place, it’s more like an idea,” Frederik clarifies. Here, Communions found a space accepting of the placeless—a catchall for outcasts, perhaps. Upon returning to Copenhagen after more than a decade in Seattle, brothers Martin and Mads Rehof navigated the full spectrum of not fitting in. Nowhere felt like home, their culture, upbringing and ideologies misaligned with those of their high school contemporaries. “Forming the band and being a part of that whole thing definitely helped make us feel at home,” Martin explains. The brothers navigated their way through the Mayhem chaos under Jacob and Frederik’s guidance— “very much like older brothers,” Jacob (himself the younger brother

of Lower’s guitarist) explains. While Martin and Mads shrug off a conscious influence from living in the States, their dad’s playlist anchored the brothers’ musical sensibilities. Artists like David Bowie, Bob Dylan, Scott Walker and Roy Orbison taught chord, melody and vocal range. Martin praises Orbison, with his trademark sunglasses and multi-octave voice, for his remarkable singing style, while holding to Bowie’s belief that lyrics merely dance along to the more expressive qualities of chords and melody. In addition to the oldies, bands like Stone Roses and The Smiths—with whom comparisons are often drawn— also influence the Communions sound. Sure, the topics Communions explore are as common as rap interludes in pop songs or the fake walk off stage that “ends” most concerts, but as much as we may not want to… we like their music. “You just have to do what feels natural, even though maybe it’s not so original,” Jacob begins, explaining that trying to be original can be the barrier to an impactful sound. For Communions,


authenticity equals playing with what works for them. Allowing the situation to drive creativity—in this case, four musicians with varying backgrounds taking the time to produce a cohesive sound—is already enough. “I don’t think that just because you make something original it’s necessarily good,” Mads maintains. Martin is quick to point out that their overall concept is nothing groundbreaking. Their name was picked from a list in a hurry before their first show to satisfy the event’s advertisers, the members’ only criterion that it wasn’t a “one-night-stand” kind of name. The band structure— singer/guitarist, guitarist, bassist, drummer—is formulaic and their approach arguably sensible, focused on “simple good melodies”. For Communions, there’s no second-guessing, ulterior motives or mind games in music; only focus. This idea of (stylish) simplicity manifests in two complementary ways within Communions. From their font to the album imagery, there exists a certain “clean”, “slick” and “less is more” aesthetic echoing a Scandinavian


design philosophy, while their music is “much more bright, and warm”. To achieve their desired vibe, they prioritize melody over all else—including lyrics. Contrary to what we might assume, this approach allows lyrics to manifest rather than languish. Their lyrical liberation results in “spontaneous impressions rather than thought-out narratives,” Martin explains, as heard on such tracks as Come On, I’m Waiting from their upcoming album. Let’s unravel this track a little further. Imagine what Come On, I’m Waiting could be about: possibly a time you lingered over a potential romance or regretted a lost love. However, Communions don’t offer a specific instance or storyline, but venture to create a vibe through a “juxtaposed, scenic kind of impression” Martin explains. “The song is these different emotional states of mind, more inspired by film than narrative literature.” The emotions Martin refers to are typical for any teenager or twenty-something—which even he admits could be considered cliché. “There is a reason why things are cliché: because it just works,” Jacob retorts.

While many regard clichés as predictable, unimaginative and expected, Communions use its universality to their advantage. Staying true to their group’s process brought Communions from their debut EP to debut album. The band members look back at past releases with mixed emotions around production styles and messages. Jacob,on the other hand, considers each a testament to where they were. “You think, ‘This is cool,’ and then later you think, ‘This is cool’,” he explains. “It’s just part of a natural flow, the flow in life.” These flows manifest cyclically throughout a lifetime, where we often attribute our moods to the seasons. Living in a city where the longest and shortest day differ by ten hours of sunlight, the Communions boys understand seasonal effects, dedicating over four minutes to slowly waving goodbye to the sun before winter. This 2014 single, So Long Sun, isn’t meant to be a death march toward darkness and an endless, snow-covered landscape, but rather a celebration. “As much as I love the

summertime, people are way too happy in the summer,” Martin elaborates. “It always kind of annoys me.” This kind of comes across in their music, which has an inexplicable vulnerability and joy to it, which recognizes the need for contrasting emotions. “I just think sadness is often more authentic than happiness,” Frederik agrees. With 2017 mere weeks away, Communions’ debut will be here soon enough, so we talk about that album and the tracks that define it. “It’s probably one of the best songs that we’ve ever written,” Frederik says of It’s Like Air. “It’s very timeless as well. It’s sad, but true.” Today stands out for Jacob and Mads, representing where they are now as a band. When Frederik hears Today, he feels a sense of joy that many creatives get when experiencing their visions as a sharable product. Finishing off the list, Martin explains how She’s a Myth, a track ditched two years ago, became a rare project for the band, process-wise. “I wanted the song to sound totally from the heart. It sounds very—again—


cliché,” he admits. “It wasn’t trying to be anything. It was totally itself.” Unlike other songs that were predetermined by the overall vibe or atmosphere, She’s a Myth had only one goal: to be. It is perhaps an all-too-human trait that we stop to analyse what doesn’t work, but many times forget to consider what does. “It’s therapeutic to talk about it,” Martin acknowledges. This Copenhagen-based band recognizes that we should all question originality. Everything today is either remixed, remastered, borrowed, repurposed, suggested or implied. Flowing together, like Communions, under a single vibe will always be exceptional.

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By Lottie Hodson Photography: Brandon Thibodeaux

Adia Victoria The age of Trump, societal constraints, insidious racism: there is nothing Southern Gothic musician Adia Victoria is scared to sing about. Breaking free from conformist expectations, the refreshingly bold Nashville resident is paving the way for music that’s simultaneously unsettling and comforting. Employing the art of singing as a direct release of emotion, Adia Victoria creates soulful sounds, deeply influenced by the blues and her exasperation at small-mindedness. “You can’t go through life being everyone’s friend.”

How would you describe your sound—and yourself as an artist— to someone who hasn’t heard your music before? I would describe it as honest and curious, and the same holds for my person, because it’s me who’s making the art. I never wanted to be tied down to one genre or one label of music—I don’t want to be branded as a person. I would say my album, songwriting material and my approach to writing these songs is deeply seeped in the blues, but from there it just sort of branches into its own flower. As a person I am someone who likes to travel and question myself, and question everything I have been told and taught. I think you have to question everything; that’s going to lead to a fuller, richer life. Of pop music you have said: “We sacrifice a lot of truth to get a more marketable product.” In contrast, the music you create always carries a powerful meaning. How important do you think it is to be honest in music? I can only speak for myself, but for me it is the ultimate goal to be able to take an honest look at myself because I find that so hard to do in day-to-day life. There are a lot of expectations to be a certain way, but when it comes to art it’s a way of peeling past all of that. Sometimes in music like pop, people are marketed as a product. I think we lose some of our edges, the rawness on our outer edges that makes us more interesting—we become all smooth and fit into a pre-cut mould. Do you think going to a Seventh Day Adventist Church in early

childhood has had an influence on your music and your development as an artist? The first opportunity I had to sing and perform was for my congregation at church, so it introduced me to the idea of performing and how that was kind of a different world from the normal world that I existed in, so I’m very grateful for that. However, there is a lot of fear and anxiety about my Christianity, about my salvation, about the demons that I struggle with. I was trying to fit into this mould of a good Christian girl and that kind of drove me crazy. You talk a lot about how you wanted to escape your hometown of Spartanburg County (South Carolina) when you were younger because of the racism you experienced. Is this what initially inspired you to start creating music, to give yourself a voice? I felt like it wasn’t just racism that led me away, it was small-mindedness. Racism makes up a part of that, it’s a symptom of that. The music gave me an out from that pipeline of school, college and family life. It’s just a big loop and music gave me a chance to step out of that and look at it from a different point of view. You’ve previously said growing up in a small town was both difficult and dull. Were you still creative back then? How did you manage to spark your creativity and keep it alive? Definitely, it gave me something to push against. I think that as an artist you constantly need something pushing

you. As a kid I would write poetry and short stories, and I would just create safe spaces for myself within my art. What inspired you/gave you the confidence to start singing in front of people and getting your opinion out there? I think I knew that I had no choice; if I was going to make art, it was going to be based on the things I was feeling. I only wanted it to be about my experiences going through this world. It just required a lot of bravery from me to say: “I’m going to let people see who I am.” It’s empowering but there is vulnerability there because you’re showing who you are. Can you tell us a bit about the song you recently wrote for the “30 Days, 30 Songs” project about contemporary politics and the age of Trump? What fuelled you to write it? The project reached out to my label and asked if I wanted to be a part of it. At first I said, “No, I don’t want to give him that much energy and thought.” After the debates I started to really think about how we are being pulled back into the past. That’s the whole tagline of his campaign —“Make America great again”. When you start really pulling apart what Trump is saying, it starts to get a little scary. Where are you trying to take us back to?

trying to stay politically neutral, which means they’re basically benefitting from a system based on oppression, and they’ve decided not to speak out against it. So in a way, they’re giving it their approval. They are scared that they might alienate people. But you can’t go through life being everyone’s friend. You’ve spoken about the continuing prevalence of racism in America. Is there a difference in responses to your music in America and Europe? I think there’s a reason why a lot of black Americans come over to Europe to create. I think people have a more open ear, a more open mind to music. There’s such a huge burden on the black body in America to assume a certain social position, to read it a certain way. It’s nice to come over here and have journalists ask me different kinds of questions—more curious questions—about the more sociological aspects of my music.

Do you think music should be used more often to address current affairs? Nina Simone said: “It’s important that artists reflect the times in which they live.” You see a lot of pop stars


Gc Interview

Raumfeld multiroom wifi speakers #TheArtofListening Raumfeld brand store Van Baerlestraat 16 1071 AW Amsterdam 8-week home trial

(Retro) Rave CUT_ Electro-pop power couple Electronic pop duo CUT_ (mind the underscore) first went viral with a Stromae cover, but nonetheless stands strong on its own four feet. When giving a show, the Amsterdam-based twosome make a point of doing everything live. But even on your headphones, Belle and Sebastiaan —hmm, sound familiar?—are the real deal. (Retro) Rave: “The sign said ‘eat me’ so we did. Doors turned into tiny little holes and the ceiling pushed down on our shoulders, then we had the next one. We drowned in our tears, into a new story that took us far beyond.”


Melanie Bonajo Healing image-maker / questioner of society

Uninterested in conforming to stereotypical ideals of photography (and beauty), Melanie Bonajo has a confidently adventurous attitude towards art, creating valiant and somewhat mind-boggling imagery. Entirely in line with her unusual charm—now on show at FOAM Amsterdam—Bonajo would love to party with her nine-year-old self. (Retro) Rave: “At its best a free zone of human creativity and normative exorcism, a place of gathering where we can overcome the oppressive ideologies we have invisibly internalized…”




(Retro) Rave Rutger de Vries Abstractor of art and alphabet A resident of Amsterdam’s acclaimed Rijksacademie, Rutger de Vries is set to leave a mark on the art world—literally. Whether the multidisciplinary designer applies hit-and-run art under overpasses or presents abstracted words in the confines of a gallery, his (typographic) statements never fail to leave an impression. (Retro) Rave: “Illegal tekno/hip-hop parties, as well as the graffiti writing after those nights, put a huge stamp on my teenage years—later becoming very influential on my practice as an artist.”


Tsar B Dark blue R&B songstress

Sasha Melnychuk Carefree Insta queen

At just 22 years old, Justine Bourgeus is no newcomer to (indie) music; she formerly played the violin in School is Cool. Now drawing you into another dimension as Tsar B, the Belgian musician designs “dark blue, otherworldly R&B”. With her latest video featuring a glowing supermodel in Dries Van Noten, we feel this talent is definitely on the right track.

It’s safe to say this Ukrainian/Czech model has mastered true blasé aesthetics with her raw and natural style—sporting outfits that scream “zero fucks given”, and regularly switching the colour of her hair from white to pink to black and back again. The fresh face has walked for labels like Vetements and Koché, and boasts a 47K following on Instagram, proving her nonchalant outset is a big hit.

(Retro) Rave: “I’d die to dance with River Phoenix and Toetanchamon.”


(Retro) Rave: “I don’t have bad nights out.”




(Retro) Rave Nattofranco Unorthodox logo maniac Half-French, half-Japanese designer Noemie Sebayashi merges quirky aspects of her dual nationality into each bright and sporty collection she creates. The young fashion maverick offers an ultra-authentic concoction of cultures and assembles it into one of the most dynamic, comicinfused aesthetics we’ve seen lately. (Retro) Rave: “In Paris I danced with a cute guy—wasted and having fun. In the cab on my way home, I realized he’d stolen my wallet…”


Daniel Del Valle Flower power comeback kid

Employing flora + fauna as his medium, Daniel Del Valle constructs visionary creations that break through binary gender stereotypes—unifying femininity with masculinity as he covers his muses with delicate flower-based designs. Repeatedly teaming up with familiar designers (Palomo Spain) and photographers alike, he’s forming an entourage where only the most beautiful outcomes are generated. (Retro) Rave: “Whenever you are with friends, music surrounds you, and the atmosphere is so dense that you could be in heaven.”



(Retro) Rave Olaf Hussein Must-wear minimalist Originally initiated as a denim brand back in ’13, Olaf Hussein’s eponymous label has swiftly transformed into a refined, all-round style experience. Minimal but never boring, the Amsterdam designer is ready for world domination. All hail ØLÅF! (Retro) Rave: “Imagine being with Basquiat in the legendary club Area. He’d probably be behind the decks, and as always you’d see Madonna, Grace Jones and Sting go crazy on the floor.”


Yulya Shadrinsky Paparazzo of Parisian (party) nights Crafting high-flash images that bring to mind late ’90s fashion photos, this Russian creative—who describes her very best party outfit as “heels and glitter”—produces portraiture with a majestic fashion aesthetic. Capturing the hottest happenings of the Parisian club/fashion scene, her IG feed provides X for the eyes. (Retro) Rave: “My soundtrack? Infected Mushroom’s Elation Station.”


Tom Blesch Skewed new-gen portraitist

Mix eccentric composition, obscure angles and a lot of colour, and you find yourself looking at Tom Blesch’s breathtaking fashion photography. Never once creating a run-of-the-mill image, the Berlin creative practices what he preaches— describing raving (in his favourite cut-outs and mesh) as breaking free. (Retro) Rave: “Every night like Jersey Shore. Passed out on the floor. And now you wanna be a whore.”




(Retro) Rave Yulia Yefimtchuk Politically powered designer This designer is much, much more than “another fashion talent inspired by Eastern Europe”. Originally from the Ukrainian countryside, Yulia Yefimtchuk sees Kiev—and its politics/revolutions—as a key source of inspiration. But most of all, her must-have pieces are born from a powerful inner voice. Make sure you’re listening. (Retro) Rave: “The most interesting person for that occasion would be Sigmund Freud. Why? What would he say after the party?”


Lusha Alic Advocate of divergent beauty

With her bold attitude towards image making, this London-based photographer isn’t afraid to push the boundaries of her medium. With estranged body positions and an anomalous definition of beauty, Lusha Alic is paving the way for new, future forms of fashion. We follow! (Retro) Rave: “I’d really like to party with Jesus because he’d turn all the water into wine. LOL.”




I take selfies from my watch

By Lottie Hodson Photography: Jordi Huisman

Lucas Hardonk Join Lucas Hardonk on his visual journey through space and time. A passion for experimenting and an instinct to cross the boundaries of his discipline inform every aspect of the Amsterdam photographer’s captivating imagery. They also make up the work ethic that made Hardonk the proud inaugural beneficiary of the Ace & Tate Creative Fund, which supports original and innovative individuals taking creative risks to break new grounds. “I have discovered a photo is never the end result.”

How would you describe your practice in a few words? Photography is my starting point, rather than a photograph being the end result. I’m always taking pictures outside my studio, when I’m travelling or on holidays, but what I’m working on really takes shape in my studio. Everything is created there through experiments and physically working with the photo. My work is analogue, so there’s no digital enhancing except scanning. Can you tell us about the concept you submitted for Ace & Tate Creative Fund consideration? The starting point of my concept was the question: How does time influence a space and how do we perceive a space? Does a space change with the changing of time or is it our own perception that’s changing? The way we look at a space is influenced by memory, events and time. I wanted to create a body of work that could translate this question by showing spaces within different times, allowing the viewer to see the shifting of connotation. My series of tableaux seeks to suggest a richer interpretation of perspective and the viewer’s

relationships with space and time. By applying multiple layers of “time” in the form of transparent filters at different projections in space, I am able to present the same picture across different timelines, simultaneously. My work is not about what you see, but what you experience and what you think or want to see. I like that it’s open to the viewer for interpretation. You’ve previously said that you want to visualize the boundaries of photography. Could you elaborate on that? Having not made work for a long time, two years ago I decided to rent a studio to reinvent myself within the medium of photography. I always had a difficult relationship with photography; I liked the medium but found it hard to make it my own. This resulted in experimenting with the boundaries photography has, such as time and framing. Photography became more of a tool than an end result. I’m trying to incorporate more timelines in my work by using black and coloured transparent filters— so a space can be seen in different times within the same work—and not depict the world as it is, but as we generally see/experience it.

Ace & Tate Creative Fund What makes a signature Lucas Hardonk photo? I guess in the last two years of experimenting, I have discovered that a photo is never the end result in itself. I have to add extra layers in any form to create a new work but I always start with photographs as a base. Much like an analogue collage, my work must always challenge the viewer. We understand there’s a work by Lex Pott on your living room wall. Do you feel drawn to (threedimensional) design, also in terms of your own work? Actually, the work I have by Lex Pott is 2D, but I’m drawn to 3D objects in general. In my new body of work, I try to get out of the boundaries of 2D photography by placing filters on my photographs, which creates a sort of extra dimension in my work; it becomes more of a framed object than a 2D photo. Who do you look up to most in the world of photography and art? Taiyo Onorato and Nico Krebs as young artists; I like how they explore the medium of photography and always find a new and interesting approach to present it. Also, Maurizio Cattelan as a sculptor, because there’s always something disruptive in his

work and it’s very open to all sorts of interpretation.  ow do you envision your (near) H future as an artist? Good question, I have no idea… I started working again because I felt I had to do and create without thinking about what comes out of that. To be funded by the Ace & Tate Creative Fund for my first new project was unexpected, but it gives me a good opportunity to show my work and gives me a drive to continue. Of course I feel incredibly honoured and proud to have been chosen by the board members of the Ace & Tate Creative Fund to receive this great incentive. Hopefully it’s the start of something good, like creating new work and getting exposure. I’m not really thinking of what it will lead to; having my work seen is the most important thing right now. I hope to be part of more exhibitions and get into an artist residency to create new things, in a different environment and with other artists.

The Ace & Tate Creative Fund was established to support emerging artists and to bring brilliant new ideas to the forefront of the industry. The fund supports individuals or collectives anywhere, in any medium, as long as they are breaking new grounds. Lucas Hardonk will be exhibiting at Amsterdam’s Bright Side Gallery on Saturday, 26 November from 11am until 5pm. Stop by to see his work in the flesh, and join us for Creative Talks by renowned speakers from the (creative) industry. Head over to the Ace & Tate Creative Fund website to sign up—or to apply for support for your own exciting ideas.

Words by Leendert Sonnevelt Delphine wears Koché A/W16

Embody by Ari Versluis

Koché With the Parisian fashion sphere in an undeniable moment of flux, Glamcult couldn’t wait to meet one of the young designers spearheading change. Together with photographer Ari Versluis, we travelled to Paris to meet Christelle Kocher, the young woman in charge of—the almost eponymous—fashion label Koché. Founded in 2015, Kocher, a former designer at Armani, Chloé and Sonia Rykiel, has presented five collections to date. And no matter how formulaic this sounds in a market where democratization has become a selling point, “diversity” is written all over her work. From the largely streetand subculture-inspired clothes to the mix of club kids, top models and street-scouted faces storming its (public!) runway, Koché is a plea to the multiplicity of Paris—and to French fashion in general. “It may seem like I’m standing up against the French elite,” the de-

signer ponders aloud. “But really, I’m just doing what speaks to me and my friends; creating something that’s generous.” By Kocher’s side stands her friend Delphine Rafferty, DJ and supporter since the dawn of the label. “My boyfriend and I were walking down the street to scout models, and he spotted Delphine first. He said: ‘Christelle, I’ve fallen in love.’ It was very funny. She came to the casting, and Delphine and I found out we have a lot of things in common. At the end of the day, she had become a good friend.” Now unofficially part of “the group”, Delphine can’t quite be considered a model or “muse”—a term that Kocher doesn’t much like. “It suggests putting someone on a pedestal. I don’t like to work that way, or only work with one person. I just really appreciate her creative mind, the ways she thinks...” In the Koché universe, clothes are created for more than one persona. “It’s not one vision that I want to impose on people. That’s why we

adjust the styling, hair and make-up for every girl that walks my show; I want to keep their own personality and background, whether someone is Japanese, Arabic, Indian, one-metereighty or one-meter-fifty.” What summarizes this vision better than anything is the finale of the latest Koché presentation; the formation of a giant tableau of people. “It symbolizes Paris—the diversity, creativity and the people who inspire me. Of course, yes, I do include top models—because I love that part of fashion too! But that’s not where it stops. I want to address people beyond fashion and catch their energy.” What Kocher looks for in people is a sense of boldness. “A lot of my clothes are quite creative and colourful, I think you do need a bit of character for them.” Although her given name and label are not one and the same, her traveller’s instinct and 14 years of experience in the fashion industry—moving between Milan, London and New York—do strongly


influence the brand. Just as growing up in the ’90s, and having danced for days in a row still channels into the collections. No surprise, then, that Kocher and a DJ wearing Koché are a match made in heaven. Unfortunately, these days the designer doesn’t have much time left to dance. “I wish I could!” she sighs. “I’m not doing it nearly as much as I’d like to. But my brand is very young and I don’t have investors, so I have to do a lot myself.” She concludes, on a brighter note: “I do think going out gets better when you don’t go as often; the less you go, the more you appreciate it.” 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.

Gc Embody

Visual Essays

40 The sun machine is coming down.

46 But I’m on the guest list too!

Photography: Fernando Uceda

Photography: Ronan Mckenzie

54 You’re born alone, you die alone, you get on stage alone. Photography: Carlijn Jacobs

60 It’s a sin to be tired.

68 Tiny particles of light.

Photography: Duy Vo

Photography: Sophie Mayanne



Gc Interview

Xander: jacket and trousers Peet Dullaert, shirt Issey Miyake archive, earrings model's own Alexandra: dress and neckpiece Simone Rocha



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Katie: dress Acne Studios, turtleneck Peet Dullaert, trousers via Serotonin Vintage Maddy: dress, boots and neckpiece LOEWE

Alexandra: top Sharon Wauchob, vintage Dior trousers Sam: jacket and shirt Sonia Rykiel


Photography: Fernando Uceda Styling: Xander Ang Hair: Daniel Dyer—David Artists Ltd. Make-up: Terry Barber—David Artists Ltd. Models: Alexandra Moncreiffe—Select Model Management, Katie Neels—Elite London, Maddy Rich—Select Model Management, Sam Collet—MiLK Model Management, Xander Ang—Tomorrow Is Another Day Assistants styling: Karine Touati, Tim Brooks


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Carvell: top Agi & Sam, trousers Liam Hodges Clement: trousers Tonsure, jogging bottoms worn underneath Joseph Ben: trousers E. Tautz, jogging bottoms worn underneath Andreas Kronthaler for Vivienne Westwood


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Carvell: jumper, trousers and boots CMMN SWDN, hoodie Berthold, gloves J.Lindeberg



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Ben: tabard Casely Hayford, black trousers McQ Alexander McQueen, yellow trousers QASIMI


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Carvell: hat Issey Miyake, jacket House of Holland



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Clement: total look Craig Green



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Clement: shirt James Long, body piece Alex Mullins



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Ben and Clement: total look Alex Mullins


Photography: Ronan Mckenzie—Cadence Image Styling: PC Williams—The Book Agency Hair: Takao Hayashi using Bumble and bumble. Make-up: Yui Sakamoto using MAC Cosmetics Models: Ben Blackmore and Carvell Conduah—Models 1, Clement—Wilhelmina Models Assistants styling: Kira Aberdeen and Misty Griffiths Special thanks to Ace Hotel London Shoreditch


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Foundation: Chanel Les Beiges, mascara: Chanel Le Volume de Chanel Mascara 10 Noir, eyes: Calligraphie de Chanel 65 Hyperblack, Inglot Cosmetics Freedom System Eye Shadow Matte 320, blush: Chanel Hyperfresh 360, highlight: Madina Chic & Shine, lips: Chanel Gloss Volume Dress Dolce & Gabbana via Salon Heleen Hulsmann, boots Acne Studios, earring LOEWE via De Bijenkorf

Foundation: Chanel Les Beiges, powder: Chanel Universelle Libre Loose Powder, mascara: Inglot Cosmetics Perfect Length & Define Mascara, right eye: Chanel Illusion D’Ombre 126 Griffith Green and Chanel Les 4 Ombres 244 Tisse Jazz, left eye: Viseart 12 Eyeshadow Palette, Inglot Cosmetics Freedom System Eye Shadow Matte 370 and Inglot Cosmetics Freedom System Eye Shadow Matte 364, lips: Chanel Rouge Allure 145 Rayonnante, nails: Chanel Les Vernis 641 Tenderly Blazer Escada via @camille_anais, earrings Wini vintage

Foundation: Chanel Les Beiges, mascara: Chanel Inimitable 10 Noir-Black, contouring: Inglot Cosmetics Freedom System Eye Shadow Matte 370, lips: Chanel Hydra Beauty Nutrition Dress Marni via De Bijenkorf, earring Wini vintage

Foundation: MAC Cosmetics Studio Face and Body, mascara: Chanel Le Volume de Chanel Mascara 10 Noir, eyes: MAC Cosmetics Eye Shadow X 9 Runway Worthy, lips: Chanel Rouge Coco 54 Boy, nails: Chanel 665 Vibrato Dress Gucci via Salon Heleen Hulsmann, earring Y/PROJECT

Foundation: MAC Cosmetics Studio Waterweight SPF30, blush: Inglot Cosmetics Freedom System Eye Shadow Matte 320 and 379, lips: Chanel Rouge Allure Ink 148 Libéré Top Acne Studios, earrings LOTT Gioielli via De Bijenkorf, eyewear stylist’s own

Photography: Carlijn Jacobs—Unit CMA Styling: Imruh Asha—House of Orange Hair: Siko van Berkel—House of Orange Make-up: Kathinka Gernant for Chanel—UNSPOKEN Manicure: Salwa Kassi Model: Robin—A Models Amsterdam Assistant styling: Finn van Tol

Top and body Acne Studios

Coat Marta Jakubowski, top and trousers Ignacia Zordan, shoes Arpent

Jacket Y/PROJECT, top Peet Dullaert, trousers Kenzo

Top, skirt and trousers LOEWE, vintage boots, glasses Acne Studios

Vest and top Marques’ Almeida, skirt Lacoste, vintage boots



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Sweater and trousers Y/PROJECT, turtleneck Liselore Frowijn, shoes Kenzo, earrings Wouters & Hendrix



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Coat and top Y/PROJECT, earring Weekday



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Jacket and body Caitlin Price, trousers J.W.Anderson, shoes Arpent, earrings Wouters & Hendrix

Photography: Duy Vo Styling: Leendert Sonnevelt Hair: Hester Wernert-Rijn for Mogeen—UNSPOKEN Make-up: Kathinka Gernant for Chanel—UNSPOKEN Model: Nirvana Naves—CODE Management Assistant photography: Romy de Vries Special thanks to House of Orange Studio


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Jacket Xander Zhou

Jacket and trousers Acne Studios

Jacket MISBHV, shirt Daily Paper, trousers Kenzo, shoes Maison Margiela, necklace Steven’s own

Trousers Topman Design, ring O Thongthai

Singlet and trousers Maison Margiela

Singlet Maison Margiela

Boiler suit Kenzo, boots McQ Alexander McQueen, necklace Steven’s own

Kimono Edward Crutchley

Photography: Sophie Mayanne Styling: Leendert Sonnevelt Hair and make-up: Yokaw Pat— Angelique Hoorn management Model: Steven Pul

The Many Homes of Raumfeld

Photography: Lottie Hodson

What happens behind closed doors? In collaboration with Raumfeld, Glamcult took a curious glance into the homes of six Amsterdam-based artists, responsible for a new wave of inspiration. Welcoming us into their imaginative cribs, all talents revealed their personal—and audible—worlds. With six online episodes to indulge in, here’s our favourite shots from the photo series by Lottie Hodson. More on!

Bonne Reijn, stylist and owner of Bonne Suits

Yokaw Pat, make-up artist and food blogger

Cata Pirata, frontwoman of SKIP&DIE

Carlijn Jacobs, photographer and art director

Raumfeld was founded in 2008 by Berlin-based audiophiles Stephan Schulz and Michael Hirsch. When most people were still marvelling at MP3 players, Schulz and Hirsch were already thinking of ways to improve the quality of digital music playback. They developed a wireless multi-room system that could stream high quality audio files and reproduce them the way the artist intended. In 2010, Raumfeld’s advanced software was joined to premium audio components following its acquisition by the Berlin Acoustics Group. Home to the German loudspeaker manufacturer Teufel, Raumfeld was given access to over 35 years of experience in creating state-of-the-art audio systems. The Raumfeld smart hi-fi system brings together cutting-edge networking technology with quality audio hardware. A free app for iOS or Android smartphones and tablets allows the entire system to be intuitively and centrally controlled—ensuring that what you want to hear is always a finger tap away.

Sabrina Meijer, editor of intoIT magazine

Fossil Q Smartwatch Section Say “hello” to the future of the touchscreen timepiece. Packed with the freshest, most up-to-date technology out there, the Fossil Q Smartwatch is the ultimate hybrid of form and function, with tastefully classic styling hiding an array of impressive (near futuristic) functions. And it all comes with changeable faces—so there’s zero chance of getting bored.

With cutting-edge technology and contemporary design, Fossil’s latest offering enables you to control your music, track your fitness and receive phone notifications. Oh—and tell the time. This is a watch, but not as you know it.

As if that wasn’t enough, the complementary Android Wear App connects your smartphone to your watch, so you can easily control the settings. But Fossil didn’t stop there on the journey to discovery, furthering its “must-have” factor with the Google Now feature, an application that forwards traffic alerts, weather news and notifications of incoming texts straight to your wrist.

Boasting interchangeable straps and watch faces, the Fossil Q Smartwatch provides a unique versatility, giving you the freedom to mould the aesthetic of your watch to any #ootd. Described as the place “where stylish sensibility meets modern functionality”, a microphone and speaker have been discretely installed to facilitate voice-controlled commands (for Android users).


Offered in stainless steel, silicon and leather designs—for both men and women—the Smartwatch caters to anyone and everyone looking for the most current technology and the most exceptional style. Feel smart, look smart.

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Stockists Acne Studios

Diesel Black Gold


Miu Miu

Agi & Sam



O Thongthai

Alex Mullins

Dolce & Gabbana

Liam Hodges

Peet Dullaert


Edward Crutchley

Liselore Frowijn



E. Tautz


Sharon Wauchob

Bumble and bumble.


LOTT Gioielli

Sies Marjan

Caitlin Price


MAC Cosmetics

Simone Rocha

Casely Hayford

House of Holland

Maison Margiela

Sonia Rykiel


Ignacia Zordan



Christopher Shannon

Issey Miyake

Marques’ Almeida

Topman Design


James Long

Marta Jakubowski

Vivienne Westwood

Craig Green


Matthew Miller


Daily Paper


McQ Alexander McQueen

Wouters & Hendrix

De Bijenkorf



Xander Zhou





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GLAMCULT / 2016 / ISSUE 5 / #121 / EU

GLAMCULT / 2016 / ISSUE 5 / #121 / EU

Profile for glamcult