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magazine


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paper-loving perfectionists to our fingertips, it’sbrengen not every AlsBeing Als echte echte perfectionisten perfectionisten metmet eeneen passie passie voor voor papier, papier, brengen weweday we are launching a new uncoated papier paper. With Kristall, niet niet elke elke dag dag eeneen nieuw nieuw ongestreken ongestreken papier op op deMunken de markt. markt. Met Met we expand your creative universe by adding atoe fourth toDesign the Munken Munken Kristall Kristall voegen voegen wewe eeneen vierde vierde tinttint toe aan aan hetmember het Munken Munken Design Munken Range. Kristall, with its high white shade Gamma Gamma enDesign en bieden bieden wewe je nog jeMunken nog meer meer creatieve creatieve mogelijkheden. mogelijkheden. gives an extra dimension and tonaltint contrast to images, whilst the Munken Munken Kristall Kristall heeft heeft eeneen hagelwitte hagelwitte tint en en eeneen typerend typerend zijdezacht zijdezacht smooth surface adds abeeldweergave very natural feel the printed material. oppervlak, oppervlak, voor voor heldere heldere beeldweergave ento en een een elegante elegante natuurlijke natuurlijke uitstraling. uitstraling. Ontdek Ontdek Munken Munken Kristall Kristall in de in de uitklapper uitklapper in het in het midden midden Discover Munken Kristall in the foldout in the middle of this van van ditdit magazine. magazine. magazine. Explore the complete range and find your favourite shade at arcticpaper.com Maak Maak kennis kennis met met hethet volledige volledige gamma gamma en en kies kies je favoriete je favoriete tinttint opop arcticpaper.com arcticpaper.com

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contents

08 A new course Turbulence overcome within the organisation

12 Grand luxe

Portfolio for lovers of the good life

04 One for all - and all for one Working on the future together

33 Splendours

of the Subcontinent

Between art and history

28 Cocktail

sommelier Every gin is unique

14 Pleasantly disturbed Godfather of punk sings jazz

Bookscatalogues & to win Many of the books featured in this magazine can be won! Don’t delay and browse to www.graphius.com/contest for a chance to win numerous books, magazines, catalogues, vouchers and tickets!

42 More than

World Heritage Peace starts in your head

52 Like a puzzle Fashionable and elegant

Cover photo: Š Daniele Barraco

PUBLICATION INFORMATION: Members of the Graphius Group: Geers Offset, Sintjoris, New Goff, Druk In De Weer, De Duurzame Drukker, Deckers Snoeck, Boone-Roosens, Etiglia, Dereume Printing, Stevens Print and GuidoMaes.Printingdeluxe.***** Publisher in charge: Denis Geers, Eekhoutdriesstraat 67, 9041 Ghent, Belgium. Editor-in-chief: Thomas Dewitte. Editorial board: Sarah Claes, Sven De Potter, Magali De Reu, Thomas Dewitte. Design: Arnout Nilis. Subscriptions: Free subscriptions can be obtained via magazine@graphius.com. Graphius, Eekhoutdriesstraat 67, 9041 Ghent, Belgium. Tel. +32 (0)9 218 08 41. info@graphius.com, www.graphius.com Printed with vegetable-based organic ink on a Heidelberg XL 106 10-colour press with a 250 LPI hybrid screen. Cover: Invercote Creato double-sided 300g. Interior: Arctic Volume Highwhite 1.12 150g. Split cover: Munken Kristall 170g. Blistered in starch-based biodegradable foil.


books

the difference is

in the detail MR. BLUE Butch Tailors In Mr. Blue, Dominique Vindevogel emphasises the importance of the bespoke suit, sharing his experiences, personal anecdotes and sartorial tips & tricks with the modern gentleman. The book by the tailor from Bruges provides information for fashion-conscious gentlemen on such topics as appropriate lapel width and the proper etiquette for buttoning a coat. Of course, Vindevogel would not be your flying tailor if he failed to teach his travelling adepts how to fold a suit into a suitcase for a guaranteed wrinkle-free result. As for us, the inspirational quotes strewn throughout the book have produced their desired effect: we will certainly be dressing up in our Sunday best this evening. Ted, suit up!

VINYLIZE! Concerto and Shop Around Amsterdam record store Concerto and production house Shop Around invited 45 visual artists to create new record covers for their favourite LPs. As part of this project, the magical music of Michael Jackson’s Thriller and Fleetwood Mac’s Rumours were provided with creative new jackets. An amusing reference to current events and the new US President is, of course, always inevitable in assignments such as these. Or whose name would you otherwise have expected to see on the cover of Pink Floyd’s The Wall?

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MIJN KEUKEN VAN GALICIË Terra A pilgrimage to Santiago de Compostela is not for everyone, but what better motivator for your servant than the prospect of a Galician festive meal? In this cookery book – bound in Swiss hardcover to enable it to lie perfectly flat when opened to the recipe you are making – Isabel Meniño transports her readers to the region of her father Manolo’s birth. Their passion for polbo á feira, empanada de bacalau y pasas and pimientos de Padrón virtually drips off the pages like fine olive oil marinating the ingredients in sweet memories of childhood summers spent with abuela Divina. ¡Bo proveito!

LES VOYAGES D’ULYSSE Arts Graphiques – Daniel Maghen Tell me, O Muse, of the man of many devices, who wandered full many ways after he had sacked the sacred citadel of Troy. Jules Toulet, the young painter and principal character of this graphic novel, would certainly never have suspected that the prologue to the Odyssey would indirectly seal his fate. For this modern adaptation of Homer’s verses, we bound sheets of chalk paper with extracts from the epic poem. This publication struck a nostalgic chord among the 88 reviewers of the Association des Critiques de BD (the Association of Comics Critics and Journalists), who awarded the book the renowned Grand Prix de la critique ACBD 2017.

MANNEKEN-PIS CFC-Éditions For every visitor who allows his gaze to rest on this little bronze boy with tenderness, there will be another who is disappointed by his size. Weighing only 20 kg, Manneken-Pis is pound for pound the most illustrious tourist attraction in our country and far beyond. Not averse to a little self-mockery, the citizens of Brussels have embraced the chubby cherub and his unashamed, trivial activity since the beginning of the 17th century, dressing the pocket-sized statue in a wide and continually expanding array of clothing. As a matter of fact, the wardrobe of Brussels’ calling card currently contains over 900 outfits! And none of them are even a bit too wee!

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connversation

One group, one goal The world is constantly changing; nothing remains as it was. With the printing companies Boone-Roosens and Dereume Printing on board, the Graphius Group is resolutely expanding its gamut of services. Dereume will soon be leaving its premises in Drogenbos for the fully renewed Boone-Roosens printing company in Beersel, in which the agencies will merge to become Graphius Brussels. In anticipation of the new situation, we are meeting with the managing directors of these companies and the CEO of Graphius, Denis Geers, to discuss the present, the past and the future. 4


DENIS GEERS, CEO OF GRAPHIUS: “In the past few years I have

think twice about travelling a considerable distance, but a customer who has to go from Brussels to Ghent, that’s an entirely different story.” GE E R S : “Most customers attach considerable value to proximity, certainly when there are short and strict deadlines involved. You have to be able to respond to that adequately.” N A U M A N N : “Right. Proximity and commitment.” R OE S E M S : “The division in Brussels creates an opportunity in which all parties emerge the winner. These days, growth is not matter-of-course for medium-sized companies such as Boone-Roosens and Dereume. Each of the capital injections we are currently making are all perfectly justifiable: we are building a new site and investing in new technologies. The investments are spread out among the three partners. This is the best and most viable solution with a view to the future.”

noted a strong wave of consolidation in the Belgian – and by extension the European – printing sector. With Boone-Roosens and Dereume on board, we will not only be gaining in expertise, but will be able to tap into a market we would formerly not have been able to access as e­ asily. This will bring the Graphius Group some wonderful opportunities in Brussels and Wallonia and enable us to cover the entire country.” MARC NAUMANN, MANAGING DIRECTOR OF DEREUME PRINTING:

“Still, it’s very exciting. Relocating will only bring us advantages. Boone-Roosens and Dereume have always been perfectly complementary. Although we will be moving, the actual distance is only three kilometres. This will make little to no difference to our ­customers or our staff.” LUC ROESEMS , MA N A G IN G D IR ECT O R O F BOON E - R OOS E N S :

Nothing but advantages

“It is remarkable that Graphius, Dereume and Boone-Roosens have no shared customers. People still tend to choose a printing company that can serve them in their own language. International customers don’t

GR A P H I U S M A GA Z I N E : “Customer loyalty has been an important

aspect of each of your business operations ever since you were founded.

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“Graphius is a cooperative printing company, in which the individual printing companies strengthen one another” Denis Geers, CEO Graphius

To what extent will this change, now that the group is growing? Won’t things become a little more impersonal?” GEERS: “Certainly not. Graphius has always wanted to present itself as a cooperative printing company, in which the individual printing companies strengthen one another. Boone-Roosens and Dereume will retain their own identities. The faces will remain the same, as well as the contact ­persons, the telephone numbers, and so on. The personalised approach will not in any way disappear. We will not become an anonymous online printing business. To the contrary.” NAUMANN : “Everyone will remain actively engaged in his own company. Although we will be setting to work in a new environment, the only changes affecting our customers will be positive ones. The structure and possibilities will increase, but the spirit of Dereume will remain unaltered. Our employees will need a ­little time to get adjusted to the new situation and another way of working, but they are very happy with the development. Several of our staff have already started working at BooneRoosens and responded with great enthusiasm.” RO ESEMS: “One of the challenges facing the future is getting young people aboard. Technological advancements have been taking place so rapidly in the past few years that schools are unable to keep up with the wave of investments. As a result,

young people are trained using old material. This is giving them an inaccurate picture of what working at a printing company actually involves. We are tremendous advocates of training on the job, about which so much has been written in the media but which has proved not to be as easy to organise.” GE E R S : “We are actively involved in searching for the right profiles. We recently recruited an HR manager who will be allocating 70% of his time on recruitment and selection. The printing sector is, however, still struggling with an old-fashioned image. That is completely inaccurate. And something that we, of course, would very much like to see changed. We are opening our doors to visitors, schools and organisations. Additionally, we offer work placement positions. We have recently launched quarterly training programs in collaboration with VDAB and GRAFOC, for example. N A U M A N N : “Young people take a great interest in the digital aspect, but haven’t an inkling when it comes to operating a press.” R OE S E M S : “However, they are learning faster than in the past. This is a commendable development. We are no longer looking for people with experience who can, by way of speaking, dismantle an entire machine and then put it back together. They do, however, have to know what to do when a machine malfunctions. But today’s machines are much smarter than before.”

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Luc Roesems, managing director of Boone-Roosens.

Marc Naumann, managing director of Dereume Printing.

Digital revolution is a misconception

N A U M A N N : “Students find it easier to retain information pre-

GEERS: “In the past ten, fifteen years a lot of print work has

sented on paper than on a computer screen. Your attention span is greater when reading a book, and you are less distracted. It is also easier to learn a language by reading books.” R OE S E M S : “Additionally, the use of paper does not produce any adverse effects on the tree population. This is another typical misconception. The pulp factories in the Scandinavian countries are engaged in forestry to benefit paper production. Not a single tree from the Amazon rain forest, for example, is lost for the production of paper. Boone-Roosens has been using exclusively bio-­ certified products for years. And everything is recycled.” GE E R S : “Paper versus digital, online versus offline ... When online printing companies first started to appear, the prophets of doom were lining up, so to speak. At Graphius we responded to this with iQuest, our B2B ordering portal tailored to customer demand. Customers can select, edit and order products via iQuest. It is a procedure that allows standard print work to be executed much faster than in the traditional way, where someone first has to send an email, request a quotation, get it approved, and so on. Graphius Group has simply joined in the online revolution, but it is not our core business. Offering people the service they want, is.” 

been digitised: numerous technical manuals and encyclo­ paedic publications can only be found online nowadays. At the same time, we are seeing an increasing demand for high-quality print work with added value. The budgets freed up today in the corporate world are allocated for more attractive paper and/or a deluxe finish.” RO ESEMS: “The balance has come to lean too heavily towards the digital side. Nowadays, people receive so much email that the majority of it disappears into the spam folder. However, there are advertisements in this email that they never see, but which would catch their eye in a paper version. GEERS: “Many people get the wrong idea when we talk about how digitalisation is a threat to paper. Recently, a ­customer visited us who is specialised in publishing ­syllabi for ­university courses. The advent of e-books caused his sales figures to shrink by no more than only 2%, while everyone around him was proclaiming that paper textbook ­material was over and out. They believed that students ­prefer to study using their tablets and computers. However, as it h ­ appens, they were wrong.”

7


Š Phile Deprez

8


interview

Wind in the sails NTGent, the Netherlands Theatre Company of Ghent, has had to brave some turbulent seas in recent years, but was nevertheless able to keep its head well above water. While the city theatre was in the midst of renovation, the company’s members decided to set course for the future with a new captain at the helm. On the horizon: nothing but cultural highlights. At the Royal Netherlands Theatre on SintBaafsplein in Ghent, we are interviewing Pablo Fernandez Alonso, head of communication and corporate development at NTGent. The CV of this Spanish-born Belgian is brimming with outstanding references from the world of opera and theatre. After a brief intermezzo in Brussels he has returned to his familiar theatre, prepared to tackle the challenges tat confront every brand-new artistic leader.

to contribute to setting out his artistic course. It is a very democratic approach to take within an organisation. Everyone is entitled to contribute his or her own input, while respecting the qualities and expertise of others.

His first project Oresteia in Sinjar, which will be performed during the 2018-2019 season, is based on a very hot topic, taking into consideration the Kurdish conflict, the Iraqi troops and the Islamic State. It seems to fit Your new artistic director, the Swiss Milo in perfectly with NTGent’s mission to spur its Rau, wants to bring the theatre closer to the public towards self-reflection by confronting population of Ghent through programming it with opposing world views. It’s a match? international productions. How can you Absolutely. As a municipal theatre, we aim to Pablo Fernandez Alonso © Dimitri Buyle explain this paradox? take in a position at the centre of the world that I do not consider this to be a paradox. The population of Ghent is takes a critical view of and reflects on the world. This does not mean composed of a diversity of nationalities. Stepping into the world with that we are constantly looking at the world through a dark, philosophic the products that you create with this city as your foundation is only pair of glasses. There is also ample room for amusement on the stage, ­logical. Milo Rau and his team aim to create theatres based on universal sometimes even in very serious productions. We are currently playing themes. Actually, most artistic directors wish to discover and conquer Submission, based on the novel by Michel Houellebecq, about how the the world from the place where they have their roots. Milo succeeds in Muslim Brotherhood will win the 2022 elections in France – delivering presenting things that are very locally-oriented in ways that they speak the first Muslim president – and the changes that this will impose on for the entire world. French society. It is a serious, topical and polemic subject that addresses our society, politics, Islamophobia and the position of the woman and Another quote from Mr Rau: “You are not a theatre nation. man, yet a great deal of laughter can be heard during the performance And I mean this in a positive sense!” He wants actors to join in of this production. Sometimes you must be able to put a message across the ­discussion and, by doing so, collaborate in giving shape to the by inciting self-reflection, by placing things in their proper perspective ­productions. Is the modern actor no longer exclusively a performer? and with a touch of humour. This has actually been so for quite some time, of course. Milo Rau’s background is in the German theatrical tradition: an institutionalised What can NTGent do to extend its audience with new target groups group of people with a clear hierarchy and task description. In this to guarantee the future of the theatre as an inspirational art form? sense, Flanders is fortunately not a theatre nation. Milo means that This is a difficult balance-beam exercise. I can’t give you an actual recipe all members of the theatre company, from all divisions, should be able for this, because Milo Rau’s programme will not be published in detail

9


Submission © Phile Deprez

for another year. However, I think we need to make more efforts to reach our audience. There is no need for us to drag them away from in front of the television, but we will have to organise activities, counters, picnics and festivities in various districts and youth centres, at all possible locations in Ghent and the surrounding area, to introduce the general public to us and what we do. We have to venture out of our ivory tower. Besides this, we have to make some changes in our communication methods; to our printed matter, for example. Of course, all printed matter must be of a good quality, but the texts we write have to be not only informational but also understandable to the broadest possible group of people. As head of communications, I think we should take a more commercial approach. That we should highlight those aspects of our production that appeal, in first instance, to the general public. Of course, we are thoroughly familiar with these classical marketing techniques!

of culture, the public in Ghent has a distinct preference for certain institutes. People who are passionate supporters of de Vooruit (ed.: centre for the arts in Ghent with socialist roots) will be less likely to visit our theatre, and vice versa. They are less likely to hop about from one cultural institute to another in comparison to the inhabitants of Brussels, where due to the city’s size and scale there is more on the cultural menu than in Ghent. There is large-scale renovation going on at the Royal Netherlands Theatre, NTGent’s home base. How will this modernisation impact the agenda of the municipal theatre? I would actually have preferred the renovations to be even more d ­ rastic. Currently, the renovations are restricted to technical upgrades. A number of technical facilities will be replaced on the stage, and we will be getting a new system for the loading and unloading of sets, which will improve the safety of this process. The backstage facilities for the actors will also be improved. Nothing will change on the side of the audience, which I find regrettable. The last renovation to the hall itself took place 40 years ago. However, financial resources are always ­limited. Nevertheless, the work currently being done will also have a great impact for our audience, because this will make it possible to present productions that have not been seen in Ghent for many years. One of the most important theatre companies that operate in the Dutch language is still Toneelgroep Amsterdam. In the past few years, this t­ heatre company has performed in Antwerp and Brussels, but was unable to find a theatre in Ghent where its sets could be built up and taken down under the same circumstances. This will once again be possible.

In the past, you worked for cultural institutes in Brussels, where you lived. What are the principal differences between Brussels and Ghent as socio-cultural incubators? The population of both cities is highly diverse. This applies even more to Brussels, even if this is only because of the language aspect and the presence of a large number of international institutions. Besides this, Brussels is still coping with the aftermath of a number of traumatic experiences. I live in Molenbeek. Looking out the window this morning, I saw four ­military men on patrol. You get used to that, but this is not something you will see in Ghent. You notice things like that. Therefore, there is a difference in perception and urban dynamics. With regard to the consumption

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Milo Rau, the new artistic director of NTGent © Phile Deprez

Wilfried de Jong and Wim Opbrouck in We free kings © Stephan Vanfleteren

Towards the end of last year, students of the dramatic arts at KASK communicated their dissatisfaction about working with NTGent, which also received a criticism from its own ranks. Has the wind died down with regard to this? The students at KASK (ed.: the Royal Academy of Fine Arts) benefited from the fact that one of the two largest cultural institutes in the city was caught up in a crisis. And they were absolutely right to do so. In their place, I would have done the same. They claimed their position at a point in time and in a manner that made absolute sense. The students literally moved into the theatre for a few days. One of them actually holds a seat on the advisory council that is currently collaborating on a new artistic policy – a new DNA, so to speak – for NTGent. This collaboration will continue for some time, but the council aims to grow even stronger in the future. I believe that this is inextricably intertwined with our quest to expand our audience. The internal turbulence, when will this calm down? Every ship that sails through a storm is liable to suffer at least some damage. The damage can be repaired, and the ship will set sail once again, but it needs the support of its crew to do so. They have to collectively choose their next call of port. This port has now been chosen, and its name is Milo Rau. In the next few weeks and months, everything that has been restored by 90% will need to be fully restored. We aim to embark on the 2017-2018 season with a team that has undergone a few changes in composition and keeping in mind a few basic principles for which we will all be putting our shoulders to the grindstone, with the links to KASK and other young rebels, who are right to believe that they should have a say in things.

What does the programme for the coming season look like in terms of content and creativity? Next season’s programme was composed without input from Milo Rau because theatres like ours tend to complete their programming 18 months or so in advance. We will present seven new productions, some of which will be entirely our own work, and some of which will be produced in conjunction with other institutes. The first production will take place in Antwerp: Cosmopolis, the last theatrical production to be directed by Johan Simons and the third part of his trilogy that was premièred in Ghent with Accatone and Die Fremden. Other new productions include Menuet by Louis Paul Boon, a play addressing the gender issue whose working title is FMX, Poquelin, JR in the Hall of the Ghent Floralies floral festival, Koor and Urban Prayers / Urban Mirrors. In addition to this we will be presenting several reprises of existing works, and just like every other year, there will be a series of guest performances: productions and ensembles that we invite here to perform their productions for the public in Ghent. 

Graphius prints season brochures, magazines, posters, brochures and flyers for NTGent. The theatre company has made five sets of two tickets available to readers of Graphius Magazine for the reprise performance of Dit zijn de namen (directed by Philipp Becker – after the novel bearing the same title by Tommy Wieringa) at de Vooruit on Thursday, 2 November. Flip to pg. 1 to participate in the competition.

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magazines

Top-class magazines on the ground and in the air “The know-how and experience we gained in in-flight magazines served us well when we started publishing luxury magazines. We always set the bar high for ourselves. The production quality has to be absolutely tip-top and perfectly in line with the high-end products and designs that are currently in demand”, says Charlotte Tenot, Associate Manager of 18 Editions Belgium. The history of 18 Editions harks back more than a quarter of a century ago to the French island of La Réunion, located far away in the Indian Ocean between Madagascar and Mauritius. A customer of the first hour, Air Austral, wished to publish a high-quality in-flight magazine for its passengers. The publication was a great s­ uccess and 18 Editions soon gained a solid reputation in the aviation ­industry. In virtually no time at all, almost all French airlines – as well as a number of strong brands and leading players in the tourism industry – started making use of the agency’s services. Air Austral is still one of 18 Editions’ loyal customers.

started on their projects very quickly. That is our philosophy. We can start up a magazine from scratch within two months if necessary. This is another advantage for our customers of course.” A recent newcomer to 18 Editions’ customer file is Restauration Nouvelle, abbreviated to RN, renowned for its dozens of brasseries and events at exclusive venues and an absolute top-class representative of the luxury catering segment. RN magazine – ­containing 100 pages – is dedicated entirely to culture, gastronomy, travel: l’art de vivre (the art of living) in all its guises. Of course, the magazine’s primary focus remains on high-level gastronomy. The origin of a luxury product such as the oyster, renowned wineries or chef’s secrets: authenticity combined with a healthy dose of savoir-faire. “Still, it is not the magazine’s intention to limit itself to articles about cooking and fine dining. Under the direction of our customer, Pamela Michiels, we choose tasteful lifestyle themes, such as leading Belgian names from the cultural, design or fashion worlds and paradisical escapes. In brief: everything that enthrals lovers of the good life!” 

After opening a branch on Mauritius, 18 Editions decided to expand its services to Europe. An important step. Charlotte Tenot explains: “We opened our first European branch in Paris, and our second in Brussels. The work we did for Aston Martin gave us a chance to show off our know-how. From that point onwards, we were commissioned for numerous ultra-deluxe magazines for premium brands.” This enabled 18 Editions to put itself on the map at the top of the luxury market segment: luxury real estate, private banking, private jets, ­luxury cars, high-end jewellers, watchmakers and restaurant-owners. What does 18 Editions do to make a difference for these top-level ­customers? “Our strength lies in our full-service approach. Where other agencies leave such aspects as the publication, ­editing and financing to other parties, we handle the full range of services, from start to finish”, continues Charlotte Tenot. “We adopt a flexible attitude towards our customers and get

The luxury magazines published by 18 Editions Belgium are printed by Graphius. On pg. 1 we will be giving away five packages to fans of high-end print work.

13


photo book

Innocent

maniac Pharaohs don’t wear shirts, so neither does Iggy Pop. The logic behind this may seem strange to us, but the frontman of The Stooges doesn’t need any excuses to be himself. Pop is simply Pop.

James Newell Osterberg Jr. was born in April of 1947, 70 years ago. The child of parents with American-European roots, he spent his boyhood living in a trailer park in Michigan. His ­parents were so supportive of his quest to find the real Jimmy that they went so far as to give up their own bedroom to him: the only room in the trailer big enough to accommodate their son’s drum set. The young musician played drums in several bands, including The Iguanas, the band from which he got his stage name: Iggy.

t­erribly and in such a recalcitrant mood that he refuses to sing. Pressured by the band, he finally concedes, pitching his voice to a high Betty Boop squeal. The audience is pissed off, and even some of the band members decide to quit early. Complete anarchy reigns, but there is one special young man in the audience who is clearly impressed by the contempt exuded by Morrison: Iggy Pop is born. From that moment on, he would do everything to out-Morrison Morrison.

Two years before his début performance with The Stooges, Iggy is in the audience at a concert given by The Doors. Visibly under the influence, singer Jim Morrison is ­misbehaving

The proto-punk band The Stooges was not an overwhelming success initially. Disappointing sales soon meant a temporary end to the band. However, they were far ahead of their time.

Borne on the hands of his fans

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They wrote messed-up songs, lived a messed-up life and ­created the messed-up foundation for the punk explosion in the 1970s. Several of the band’s members shared an apartment aptly named Fun House. Besides writing and recording music, the young punks spent the majority of their time taking heroin, spraying the blood that fills a syringe after injecting the drug onto the walls and the ceiling. Ron Asheton, the only Stooge to stay clean, recalls: “Such degradation. I wish I had been smart enough to take pictures of it, because it would have been a master­piece, but I was so disgusted.”

Too much of ought is good for nought – or not

Despite (or perhaps because of) these questionable practices, Iggy Pop the performance artist will go down in the history of live music as the inventor of stage diving. And, because this is not spectacular enough in the opinion of our rough punk hero, he smears peanut butter all over his naked chest while surfing on the hands of his fans.

After The Stooges go through a second break-up, Iggy Pop is voluntarily admitted to a neuropsychiatric ward. David Bowie, who has become a close friend of Iggy Pop, is reported to have visited him there – bearing gifts, of course. The glam-rocker who, inspired by Iggy, has taken on the alias of Ziggy Stardust, brings his old mate a huge dose of cocaine “because Iggy probably hadn’t had any for days.” Hey, that’s what friends are for!

These concerts and the photo shoots firmly establish the ­reputation of Iggy Pop: the young bare-chested rebel wears

However, Bowie genuinely believes in Pop. He encourages the singer to do better, takes him on tour with him and becomes a

dresses, elbow-length gloves and dog collars, plays on instruments of his own invention, vomits on stages and rolls around in broken glass, mutilating himself with the shards. At the Whisky a Go-Go in Los Angeles he pours molten candle wax all over his midriff. Ed Caraeff, the photographer who captured the iconic shot of Jimi Hendrix and his burning guitar, records the spectacular images with his camera.

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“I like music that’s more offensive. I like it to sound like nails on a blackboard, get me wild”

source of inspiration to him. The two pioneers decide to move to Berlin, where David helps Iggy with writing and producing. At that time, the German city was suffused with punk rock; the ultimate backdrop for working on The Idiot and Lust For Life. The two début albums made by Iggy Pop as a solo artist make a flying start, also tremendously boosting the popularity of the original Stooges records. In 2010, Iggy & The Stooges received definitive acclaim for their ground-breaking work, when they are included in the Rock ‘n’ Roll Hall of Fame.

naked torso intends to take things a little easier from now on: “Stages are getting higher and higher, and I’m getting older and older.” Throughout the years, the punk rocker developed an interest in other genres, or was at least influenced by them. This year in April, just before his 70th birthday, Iggy sang three songs on Loneliness Road, a jazz album by the Jamie Saft Trio. The softer side of Iggy Pop confirms what observers have already perceived for some time: deep inside, James still believes that he is innocent and misunderstood. His intentions are good, even when his behaviour isn’t. 

Iggy Pop is revered as the godfather of punk. Although not entirely to his liking, the title nevertheless draws a parallel with some other godfathers: Little Richard and Chuck Berry (rock) and James Brown (soul). Although these gentlemen may not have invented the genres with which they will forever be linked, they were the true driving forces in defining this music.

Ed Caraeff captured the energy, frenzy and brute force exuded by Iggy Pop’s showmanship on camera. His photographs were bundled in Iggy & The Stooges: one night at the Whisky 1970. Graphius printed the

Unfortunately, icons – just like mere mortals – are unable to withstand the test of time: or in any case, their bodies aren’t. Iggy Pop may have invented stage diving, but the man with the

book, and the ACC Publishing Group has made available three copies to give away. Take part in the contest on pg. 1.

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Adriana Lima voor IWC Schaffhausen

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photography

All about

respect Daniele Barraco is drawn to faces, eyes, wrinkles and stories, he says. The thoughtful Italian is making a name for himself in entertainment, celebrity and portrait photography: “I aim to capture a sort of individual freedom, with an iconic impact.”

Even though he has only been taking pictures since 2008 – he never even owned a professional camera before then – Daniele has been attracted to strong imagery for as long as he can remember: “I still have a vivid memory from my childhood, playing in the living room with a stack of diapositives that my father made during our holidays. It didn’t matter that they weren’t the greatest pictures in terms of quality or composition; the idea that I could see a window into the world through that small backlit rectangle sparked a special emotion in me. From that moment, the need to see the world through a viewfinder was planted within me; I guess it just took a while to surface.”

Before I put the camera to my eye, the most important thing is to make a connection. You could think of it as a sort of psychological journey. I started on that journey by working to overcome my shyness with others. Then, after I built up my confidence, the next step was to make sure that all of my subjects were taken care of and felt comfortable, understood, cared for. You are a former drummer. As a musician, do you look differently at the artists you capture on camera? I’ve never idolised or followed anyone in my career, which is a reflection of my personality. I prefer an unfiltered, natural approach. This helps to prevent me from feeling intimidated, no matter who is in front of my lens, even if it’s a legend like Mr Iggy Pop or Mr Christopher Walken. At the same time, I’m pretty sure that music has played a crucial role in contributing to my sensitivity about the arts and people in general. Music has helped me to develop a curiosity that has moved

Tell us a little more about your personal style. When or how do you make your best work? Speaking for myself, portrait photography can be heavily influenced by empathy. You can take a great portrait in about five minutes if you have the ability to connect with others.

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Christopher Walken

Willem Dafoe

me in a singular direction, which satisfies my desire to know people deeply.

of your birth, Italy, where the ‘made in Italy’ label is ­basically a quality mark, something to be proud of. Italy had some great opportunities to create its commercial ­history in the beginning of the 20th century. Italy’s manufacturing and design legacy was built through a standard of excellence similar to the work that these artisans perform. Small-scale craftsmanship gave birth to internationally ­ renowned companies; a lot of world-­famous Italian brands have their roots in this simple, but unique approach. Our legen­ dary ‘made in Italy’ reputation is vanishing as big brands increasingly seek to outsource their labour to foreign countries. Decades of irresponsible government and poor political strategy have only served to fuel this tragic decline. The individuals portrayed in the Artire project are effectively living legends that are sadly disappearing from our culture, and for what reason? Progress? Social status? I feel we have reached a critical point in history where we just need to take a step backward and learn from our past, in order to be projected into a brand-new and inspiring future.

Is there a muse in your professional life, someone who brings out the best in you and your photos? Alice, my wife, is the person who pushed me to jump into the world of photography. I met her just before my career in portraiture started. She has a great aesthetic sense and a wonderful eye. You could say my wife is my catalyst, my right hand and chief collaborator. Sometimes she also acts as an art director in special projects. Her vision has an incredible influence on my life and my career; it’s as if she knows the path to take long before I do. If this is not love, I don’t know what love could be …

“Portraits provide a wonderful excuse to meet and get to know people”

You often work with leading names such as Christopher Walken, Sir Patrick Stewart, or Willem Dafoe. In the Artire project, you have chosen resolutely to photograph lesser-known faces, or more specifically: craftspeople in all trades. Perhaps this choice was influenced by the c­ ountry

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Sir Patrick Stewart

Pierfrancesco Favino

Out of all the people you have photographed, who deserves a special mention, positive or negative, for the way they have posed for or collaborated with you? I was very surprised by the conscientiousness and the kindness of Mr Iggy Pop. He was two minutes late for our scheduled shooting time and the first thing he said to me was: “I’m very sorry, I’m late.” I never expected this from a punk ­legend. He has a great human touch!

Iggy Pop

The photographs are just the final result of this relationship and exchange. Photojournalist Mary Ellen Mark used to advise her students to tape the screens of their digital cameras. Do you have any advice that you want to share with aspiring photographers? My advice is to find your unique inner voice. Finding a way to your own path and expressing yourself in a creative way is freedom. But how can you achieve this? It’s simple: just by living your own, authentic life. Reading books, watching films, travelling, observing other photographers, going to exhibitions, eating good food and drinking great wine; it all helps! So the best way to learn photography, in my opinion, is to feel photography, without even taking pictures. Technical aspects aren’t the mark of great photography. Creativity and emotions are all about the life you live, and they will inevitably influence your photography. If I can go further, sharing some good advice to aspiring portrait photographers, I would say this: have sincere respect for your subjects, because ultimately, portrait photography is all about respect. 

Imagine you were given the opportunity to bring one person back from recent or less-recent history, anyone, at a certain moment or during a certain period in his or her life, and you could use your photographic talents to capture them in a certain way: who would you choose, how would you photograph them, and why? No doubt: Jimi Hendrix would be my perfect subject. His revolutionary way of playing a right-handed guitar as a lefty, plus the use of amplifier distortion, caused by high-volume saturation of valves left an indelible mark on rock music. Following him on his worldwide tours, we could have taken pictures on stage, backstage, posed portraits and so on. I would have loved to know him deeply and this is basically the curiosity that resonates in my photography. Portraits provide a wonderful excuse to meet and get to know people.

www.danielebarraco.com – info@danielebarraco.com

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gallery

Freely accessible art Ronny Van de Velde opened a new gallery in Knokke five years ago. Lovers of art and Belgium’s coastal region can visit the gallery every day of the week to take in regularly changing temporary exhibitions of work by contemporary artists. This May, Van de Velde and his wife Jessy are introducing the public to the work of the Antwerp artist Josef Ongenae, an exponent of neoplasticism who was inspired by the work of Picasso, Braque and Mondrian.

“I like to have direct contact with the printer”, explains Ronny Van de Velde. “These are, after all, art books, which means that the ­artists’ works must be displayed to their best advantage. If you were to choose a printer located a few thousand kilometres away, this would mean relinquishing quality control. Which is something we don’t want. We publish five books a year; each of which must be out­ standing in terms of quality.”

Rendez-vous address: Zeedijk 759, Knokke. Despite it being spring, there are not as many visitors flocking to the seaside promenade as usual. An icy cold northern wind is keeping everyone indoors. From behind the glass windows on the third floor, the sea and the beach look just as captivating as ever. Shades of grey, light blue and white, with a brightly-coloured dot appearing here and there in the distance: a red anorak, yellow sneakers, a blue handbag. These are also the colours to which your eye is instantly drawn when you step inside Galerie Ronny Van de Velde. The natural light that enters the gallery through the tall glass windows causes Ongenae’s work to just about jump off the canvas. The air is charged with the atmosphere of Mondrian – and the aroma of freshly brewed coffee. A hot cup of joe is exactly what you need on a chilly afternoon like today. And, if that fails to warm you up, Jessy Van de Velde’s enthusiasm will! Her passion for modern art can be felt in every word she speaks. “We are the first to dedicate an exhibition exclusively to the work of Ongenae; you could sort of consider him an overlooked artist”, she says, a smile lighting up her face.

An interesting footnote is that Van de Velde treats his publications as if they were business cards. Visitors are often invited to take a book with them, at no charge. “I sometimes see people wondering whether or not they should buy a book”, says Van de Velde, “and then they decide not to. I think that this is a pity, because they will regret not having done so, and the artists will remain unknown. We are not the only ones who think like this, though.” Although Galerie Ronny Van de Velde has always charted an unusual course for itself, this has always been based on a passion for artists and their profession, and on the idea that art must be distributed as broadly as possible. Their decision to open a gallery in Knokke is directly related to this. “You could call it a permanent trade fair”, explains Jessy Van de Velde. “It has a much lower threshold than our gallery in Antwerp. Lots of people come through our door, particularly Belgians, many of them senior citizens. Anyone who thinks a visit to our coast is incomplete without taking in a little art will now know exactly where to quench his thirst. 

Charting an unusual course Just as he has done for numerous other artists, Ronny Van de Velde has compiled a monograph for Josef Ongenae. The Van de Velde family breathes art, and has done so for over 40 years. Panamarenko and Fabre were permanent fixtures here for years. Currently, Van de Velde is focusing on the work of Willy De Sauter, Veronica Janssens and other contemporary artists. Van de Velde compiles a book for every exhibition. This year, he will almost have reached the milestone of his 100th publication. The majority of these books have rolled off the Graphius presses.

Graphius printed the catalogue to accompany the Josef Ongenae exhibition and numerous other books for Galerie Ronny Van de Velde. Flip to pg. 1, you will find an opportunity to become better acquainted with the work of Ongenae.

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iQuest

Print automation on the rise

Countless businesses today are struggling with the efficient management of their print work. It’s not just a matter of ensuring that your house style is presented in a consistent manner on all your print work; it’s also a question of implementing a process that makes genuinely efficient use of time. With this in mind, Graphius introduced iQuest last year: its web-to-print module. The tool has undergone substantial developments since its launch. iQuest is a simple web solution that enables players of all sizes, from small businesses to leading companies and organisations, to independently manage their demand for print work. The tool guarantees the spotless automatic processing of business cards, stationery, printed invoices, envelopes, brochures, catalogues, etc. Of course, it goes without saying that offline and online go hand in hand in this.

Its ­continuous flawless operation is an absolute priority. If we notice that the application is struggling with a bug or delay, we consider it our duty to ensure that the system is functioning perfectly again as quickly as possible. Moreover, Graphius is constantly keeping its ear to the ground for new trends that could be important to the company and to iQuest. If we identify any specific movements or developments on the market Constant improvements that would require additional training for one of our staff members, In many cases, automation is the same as efficiency – a ­pressing need we will make sure this is taken care of immediately. among most of today’s organisations. Through iQuest, Graphius At Graphius, flexibility and versatility are a top priority, which is aims to fulfil their expectations: businesses no longer need to spend reflected in its iQuest offering. In concrete terms, businesses can time on the layout, ordering and follow-up of the print work – from choose from three modular packages: Gold, Platinum and Diamond. If business cards to envelopes or even a customer needs a few extra functiongreeting cards. After all, print work travalities or products on top of the chosen els through multiple departments and formula, this can easily be arranged. divisions before it finally ends up at the It is our intention to further expand printer’s. iQuest aims to break once and iQuest into a fully automatic applicafor all with these superfluous steps and tion, for which several new functionaliensure that no more is printed than necties are already being developed. Based essary. Time savings and maximum effion the positive feedback provided on ciency: these are the primary objectives the initial version, Graphius is thinkof the iQuest project. ing about expanding its iQuest prodFor this reason, we go in search of uct range with other digital services. Ghent University improvements every day. The provision of Earlier, we had already announced that end-to-end services takes precedence. Thanks to its user-­friendliness, “­digitalisation is actually compelling traditional sectors towards this.” the threshold should be so low that almost every department in We aim to continue to respond to the increasingly stringent demands of every business enterprise can easily and quickly set to work with the market through a proactive approach. Each of our customers must this tool. iQuest is the product of smart and complex ­programming. have their every wish satisfied: that is our mission.

“Simulation of the chosen print work may be one of the greatest advantages offered by iQuest”

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iQuest

Warehousing completes the picture

The ­manager acts as the point of contact between the warehouse and the ­customer. The new warehouse also provides iQuest with tremendous added value due to the increased speed and improved administration. Every action is logged, which enables us to retain a convenient overview.” In addition to this, the physical organisation of the warehouse has undergone some major changes. Every product or brand now has its own stock location and all products are stored more efficiently in the warehouse. “This has many advantages. Our order pickers only need to cover short distances now. This translates into substantial profits”, adds Tony. 

Within the context of digitalisation and related efficiency, Graphius decided to improve its warehousing. “Our brandnew warehouse corresponds perfectly to the new values that 2017 brings with it”, says quality control officer Tony Bunneghem. “It took a lot more than just a coat of new paint. Internal staff no longer submit their requests for print work in the traditional manner via the order manager, but have started to use our Intranet for this, which has sped up order processing considerably. Please note that the order manager still remains our customers’ contact person.

Ghent University as a fervent user Ever since iQuest was launched, a diversity of organisations and business enterprises have been using the application. One of these is Ghent University, whose decision to start using iQuest ran parallel with the launch of their revamped house style. “Previously, we used a basic module in our SAP software package to order our general print work”, explains project coordinator Laurens Beke. “The only problem was that you could not see which details would actually appear on the chosen print work. Graphius copied and pasted these details onto the desired print applications, and we communicated back and forth quite a bit about this.”

Considering that Ghent University always needs a huge ­quantity of envelopes, greeting cards and business cards printed, the ­institute was struggling with the lengthy procedure from concept to ­execution. “Simulation of the chosen print work may be one of the greatest advantages offered by iQuest”, adds Laurens Beke. “We find it extremely convenient to see the visual result in advance, which in turn has considerably reduced our error margin. This solution also has numerous advantages in terms of user-friendliness and ­efficiency. The ability to automate all your print work at the touch of a single button, so to speak: this is tremendous added value.”

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books

Mixologist to the core

Gin & tonic and other cocktails: you could call them Manuel Wouters’ dada, but even that would be an understatement. As a master mixologist with more than 30 years of experience under his belt, he is an absolute expert. He enjoys sharing his love for the profession: through consultancy and workshops, on TV and, of course, in his books. All the better for us! How do you become a master mixologist? It was not my intended profession when I was young. Mixology was hardly considered a profession here, although it was in America. Just think of Jerry Thomas, who published A Bartender’s Guide as early as in 1862. At the hotel school, knowledge of beverages was not part of the curriculum. At the age of 21, I took a job on a cruise ship, where I started as a waiter. When I ended up behind the bar, I soon developed a taste for bartending. Watching the barmen: those precisely measured proportions and the garnishes, to infallibly achieve the right taste, every time. And every cocktail had a name of its own! It overwhelmed me. I spent 12 years as a barman, perfecting my skills. With this experience, I wanted to establish my own cocktail bar. Seventeen ears ago I opened SIPS in Antwerp.

Is there a big demand for consultancy? Of course. Lots of restaurants and bars ask me for help. I set to work for them like a sommelier: we take a look at the menu, discuss the concept, etc. Usually, I recommend that they keep things simple. Put one or two really good gin & tonics on your menu, and excel at this. Make sure that your staff knows not only how to prepare them perfectly but can also provide explanations when asked. This way, you can really be of help to your customers. You need know-how. You really do. But more than anything else, you have to put your heart and soul into it. In conclusion, do you still enjoy drinking gin? Aren’t you getting a little tired of it? I’m not a big drinker, but I do still enjoy it, yes. Particularly in hot weather a nice, tart gin & tonic hits the spot! 

Where do you get your inspiration from? Everywhere! When you immerse yourself in flavours like we do, you get new ideas almost every week. This is why we also make our own bitters and gins. Many gins have a strong aroma of juniper berries or resin. We want to refine this scent, and started using the young buds of fir trees. And of course, we derive inspiration every day from our local as well as international customers.

Manuel Wouters acts as a mixologist for njam! You will ­ find all his recipes on njam.tv. In Gin & Tonic: Around the world in 80 gins and Gin & Tonic:

Can you tell me what caused this gin hype? Actually, it all started with Hendrick’s Gin. Their gin with roses and cucumber was an eye-opener. Previously, multinational companies all made the same products. Now, people are discovering all sorts of options. Similar to wine, gin lets you play around with taste palettes. After all, every gin is unique. Aside from this, a gin and tonic is easy to make because you need only very few ingredients.

Pocket Guide (both printed by Graphius) Manuel reviews no fewer than 150 gins, including background information, taste description and best combinations. Are you a budding ­mixologist? Enter the contest on pg. 1 and win a copy!

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‘Splendours of the Subcontinent’ on display at Cartwright Hall, Bradford. Royal Collection Trust / © HM Queen Elizabeth II 2017

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catalogue

Majestic

grandeur An exceptional location of A few decades later, in 1843, majestic splendour in LonQueen Victoria decided that don: that is The Queen’s this same location would Gallery in a nutshell. Featurbe the perfect spot for a priing an impressive collection vate chapel. Unfortunately, of paintings, prints, photothe chapel was completely graphs and decorative arts destroyed almost a century from all corners of the globe, later during an air raid in the Royal Collection Trust / © HM Queen Elizabeth II 2017 there is a lot to discover in Second World War. this unique British gallery. The Royal Collection itself consists of over a million objects on display in temporary exhibitions at At the suggestion of the current Queen, Elizabeth II, and The Queen’s Galleries in London and Edinburgh, as well as in The Duke of Edinburgh, the site was redeveloped again in some 15 royal residences and former residences across the UK, 1961, this time as a gallery to house the Royal Collection. including Buckingham Palace, Windsor Castle and The Palace This would allow public access to the Collection, p ­ roviding of Holyroodhouse, and as part of long- and short-term loans everyone with an opportunity to enjoy and gain insight to museums and galleries across the world. into this continually growing historical collection. In 1997 the decision was made to expand and modernise gallery The site of The Queen’s Gallery, London, on the south-­ ­further, and following a small-scale competition among western corner of Buckingham Palace, was originally the several architects, John Simpson was chosen to enhance location of one of the Palace’s three identical pavilions. It the ­gallery’s grandeur and accessibility. This resulted in a must have been idyllic then, too. Just imagine: a delightful renovation that would ultimately take five years to comafternoon tea, served in a pavilion in the style of an ancient plete and cost approximately £20 million. The intention Ionic temple, with splendid views of the Palace ­garden. was to design a gallery with state-of-the-art environmenThe architect was John Nash, the same creative spirit who tal controls to protect the art works, to improve access built numerous edifices throughout Regency London, and public services and to provide a more flexible series including Regent Street and Piccadilly Circus. Nash was of exhibition spaces, allowing for at least three times as also the a­ rchitect who transformed Buckingham House into many objects from the Collection to go on display. The misBuckingham Palace, at the order of the then Prince Regent, sion was accomplished and in 2002 The Queen’s Gallery later George IV, between 1825 and 1830. re-opened to celebrate The Queen’s Golden Jubilee.

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Upon entering The Queen’s Gallery, visitors walk beneath a portal decorated with friezes and relief panels by the Scottish sculptor Stoddart and which bear reference to the reign of The Queen and the British patron saints. As soon as you leave the robust entrance hall, you enter the world of the royal families of yore. This is witnessed, in first instance, by the majestic, brightly coloured hall with Ionic pillars that gives way to the staircase, and featuring a ceiling decorated with green and red palmette motifs and scagliola: a type of plasterwork resembling marble.

On the website www.royalcollection.org.uk over 250,000 works in the Collection may be explored online. If you are planning a visit to The Queen’s Gallery soon, you will have an opportunity to take in an exhibition dedicated to the eighteenth-century Venetian painter Canaletto, on display until 12 November. Immerse yourself in the gran­ deur of Venice, from the Canal Grande to St Mark’s Square. Canaletto and his contemporaries were able to capture its magnificence on canvas: from its colourful masks and wooden gondolas to its grand festivals. An exhibition of irresistible allure, which can now also be enjoyed in a beautifully produced, highly-illustrated catalogue, printed by Graphius.

Simpson has paid tribute in various ways to the nineteenth-century palace interior of his predecessor John Nash, inspired by the classicism of the ancient Greeks. This can particularly be discerned in the Nash Gallery. Since the expansion, the various galleries – the Nash, Pennethorne and Chambers Galleries – can be used in various combinations as exhibition venues. Simpson was also able to integrate high-tech systems and security into the neoclassicism of his design.

An even more exotic part of the Royal Collection can be admired at the exhibition ’Splendours of the Subcontinent: A Prince’s Tour of India 1875­6’, currently on display at Cartwright Hall in Bradford, and due to tour to New Walk Museum & Art Gallery, Leicester. This exhibition is dedicated to the travels of the Prince of Wales, later Edward VII. Between 1875 and 1876 the Prince travelled through what is now India, Nepal, Sri Lanka and Pakistan to meet with more than 90 leaders of these countries, with a view of strengthening their ties to the British Crown. During this journey, he was welcomed with traditional ceremonies, receiving numerous exquisite gifts from local maharajahs. From gem-encrusted turban and earornaments, to enamelled salvers and boxes, mother-of-pearl trays and beautiful gold perfume holders, these unique pieces are displayed for everyone to enjoy. A colourful book of the same title was printed by Graphius for Royal Collection Trust.

The works in the Royal Collection are held in trust by The Queen for the nation. Royal Collection Trust care for and conserve the Collection and make it more widely known and accessible. Works from the Royal Collection frequently travel the world, on loan to other museums and art galleries: at present more than 3,000 objects are currently on long­term loan. The paintings, books, prints, furniture, sculptures, photographs and items of jewellery and weaponry are all significant pieces that bear reference to British and European history: a history that is fascinating to many people. Not only will a visit to The Queen’s Gallery and royal residences tell you more about the personal tastes of the reigning monarchs, you will also find information about their travels, the era in which they lived, the subjects that interested them, and more. Numerous members of the British Royal Family have contributed to the Collection throughout the centuries, including Charles I, Elizabeth I, George IV, Queen Victoria and the reigning queen, HM Queen Elizabeth II. Each of these monarchs has left his or her own mark on this extensive and therefore extremely varied and fascinating art collection. A surprising collection of works of art by Michelangelo, Leonardo da Vinci, van Dyck, Vermeer and Warhol, as well as a collection of Fabergé eggs and animals can be admired at the Gallery as part of a programme of changing exhibitions.

Graphius recently printed Portrait of the Artist, Canaletto & the Art of Venice and Splendours of the Subcontinent for Royal Collection Trust. The gatefold on the following pages features a brilliant selection from this book.

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Splendours of the

Subcontinent Royal Collection Trust

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Graphius printed Splendours of the Subcontinent for Royal ­­Collection Trust, just like Portrait of the Artist and Canaletto & the Art of Venice. Read more on pg. 30 and enter our contest on pg. 1 to win the entire collection. Royal Collection Trust / © HM Queen Elizabeth II 2017; Photographer: Simon Broadhead

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news MACHINERY EXPANSIONS IN BRUSSELS Graphius is investing in new printing presses for Graphius Brussels in Beersel. In addition to the Heidelberg XL 106 five-colour press with a ­coating unit currently in use here, the machinery will be expanded with a Heidelberg XL 106 ten-colour press and a Heidelberg SM52 five-­colour press with a coating unit. Through these acquisitions our branch in Brussels will also have a high-performance composition of presses and machinery at its disposal that can be flexibly deployed to accommodate a wide range of high-quality printing.

BEST PRINTER AT THE GOURMAND WORLD COOKBOOK AWARDS GuidoMaes.Printingdeluxe.***** and the book Food+Design were put in the spotlights at the Gourmand World Cookbook Awards. The Graphius Group’s new printing division was awarded the international award in the category Best Printer. Edouard Cointreau, chairman of the jury of the Gourmand Awards, lauded GuidoMaes for its high-quality printing: “For the ­second time we nominate this printer for its focus on high-quality books, exemplified for instance by its work for Minestrone Cookbooks.” www.minestrone.be

NEW EXTENSION FOR THE GRAPHIUS BRUSSELS BUILDING Construction work is currently being done to enlarge the Boone-Roosens building in Beersel. Dereume Printing will be moving into this building next summer, after the new printing presses have been installed. The two ­printing businesses will merge into Graphius Brussels.

NEW FULL-SERVICE SEWING LINE AND FREQUENCY-CONTROLLED COMPRESSORS The sewing department at Graphius will soon have a new showpiece at its disposal: a new sewing line that can achieve a speed of up to 300 strokes. This is a big step forwards from the machine currently in use, which is still fast enough at 200 strokes to keep up with the amount of work on hand. We are also investing in four frequency-controlled compressors in Ghent, and two in Brussels. These machines enable us to us to make use of centrally supplied compressed air exclusively when needed. A complementary compressed air pipeline network will further heighten efficiency, in line with our belief in a sustainable strategy.

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sustainability

Building bridges for peace

Anyone hearing or reading the name UNESCO will immediately establish a mental link with the phrase: World Heritage. However, UNESCO does much more than just that. The organisation has been campaigning for world peace ever since 1945. And this starts in the minds of people. Numerous projects throughout the world must help to disseminate this idea or conviction. “UNESCO formulated its objectives views and religions. You will find Roman, clearly when it was established in 1945.” Christian and Islamic elements here, a We are interviewing Vincent Defourny, combination that is not unusual in the UNESCO’s Director of the Division of Middle East. UNESCO wants to act in this Public Information. “Just as it is with as a protector, so that future generations war, the seed for peace germinates in will be able to discover the message of our heads. UNESCO’s basic principle is interweaved destiny. However, this is a founded on this precept: building peace thorn in the eye of fundamentalist movein the minds of men and women. Shortly ments such as the IS, who wish to destroy after the Second World War, the first sites such as these. To them, it’s not so UNESCO member states wanted to coopmuch about demolishing the buildings, erate in the field of education, science, Akumaa Mama Zimbi and the Hikpo Widows Alliance (Ghana) but about destroying the ideology.” © REZA/Webistan culture and communication. The idea had already been born: if we succeed in understanding one another better, Blowing up historic sites must make UNESCO’s heart bleed. How we will lay the foundation for peace.” does the organisation cope with this? DE F OU R N Y: “Fortunately, we can – and are even authorised – to take action against this. There is a law against the illegal trade If you were to ask a random passer-by if he knows what UNESCO of culturally significant artefacts. It is thanks to international is, you will be pretty sure that he will give you an answer that cooperation and the existence of certain treaties that Ahmad contains the phrase ’world heritage’. That is an extremely narrow al-Faqi al-Mahdi, the man behind the attacks on the mausoleum in definition of what UNESCO does. DEFOURNY: “People sometimes confuse world heritage sites with the Timbuktu, was brought to trial and sentenced. The majority of the seven wonders of the world, or with a competition for the most beau- population of countries at war, such as Iraq, want to preserve and tiful sites in the world. The places, buildings and cities on the world protect their cultural heritage. In Baghdad, the students were very heritage list satisfy a similar function: allowing the past to communi- upset after the attacks on the museum in Mosul destroying their culcate with the present and the future. World heritage is important to all tural heritage. They set up a social media campaign in collaboration of humanity. Palmyra in Syria, or historic sites and Iraq, are extremely with UNESCO. Through the worldwide Unite4heritage campaign, valuable, because they demonstrate a connection between different life we aim to disseminate the idea of cultural diversity and unity.”

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Quito (Ecuador) © Anton_Ivanov/Shutterstock.com

One of the focus points of your medium-term plan is Africa and equality between men and women. With regard to gender ­equality, the world still has a long way to go, considering the recent occurrences in Chechnya where homosexual men were prosecuted and sent to internment camps. DEFO URNY: “The most obvious way to take action against something like this is to invest in education. What we are doing currently is empowering girls and young women. We are giving them tools with which they can claim their position in society. The best example of this is the life story of Malala (Ed.: the Pakistani children’s rights activist who survived a Taliban attack in 2012). She is now one of the most inspirational examples for young women in all corners of the globe. She symbolises the battle against the oppression of women through a strong focus on education.”

In the meantime, we are joined by Rudi Swinnen, Chief of the Documents Section. “It is often difficult for an international organisation to pursue a coherent ’greening’ policy,” he explains. “Every country has its own priorities: We may be perfectly familiar with concepts such as FSC and PEFC, but in other parts of the world these are completely unknown. UNESCO intervenes in large-scale projects, through such actions as supplying schoolbooks to millions of children. In this, we endeavour to place an emphasis on local production and the ecological aspect. Printing schoolbooks for use in Afghanistan or Chad is only possible if you adapt your Western criteria in such a way to minimise your ecological footprint. You need to look at quotations pragmatically. Neither should you forget that the cost of printing a schoolbook is equal to the cost of its delivery to the pupil for whom you are printing it.”

Education is one of the 17 Sustainable Development Goals, a series of objectives that the United Nations wishes to see implemented by 2030. Climate action is also an important goal, which is also endorsed by Graphius. How difficult is it to remain positive about this when the president of the USA reverts tom using “clean” coal? DEFO URNY: “Bringing the agendas of 195 member states in line with one another is a tremendous challenge. UNESCO was not directly involved in the climate treaty, but is engaged with the member states. In this, UNESCO bases itself on an important motto: changing minds, not the climate.”

Ecology and sustainable production are very important aspects in this. S W I N N E N : “We look for suppliers, and more specifically for ­suppliers of printed matter who are pioneers in innovative practices to promote ecological printing. This, however, has to go beyond the standard ­practice of listing your certificates. Graphius, for example, has switched to ecologically-friendly film wrapping. This is a laudable initiative.” One of the most important themes of the past year is migration. Countless people are fleeing their countries, but are not always received with open arms.

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‫ﻣﺘﺤﺪﻭﻥ_ﻣﻊ_ﺍﻟﺘﺮﺍﺙ‬

UNITE4HERITAGE

DEFOURNY: “One of our current focus areas is to create sustainable

government, for example, has committed itself to reporting which of the SDGs is furthered in every law approved by the parliament. This is a commendable development.”

cities that embrace a policy of welcoming. What can UNESCO do to make it easier for cities to bid refugees a warm welcome, and what can we do to eradicate racism? These are problems that we address in a worldwide network. There is an amazing exhibition in Paris, at the Museé de l’homme, with the title Nous et les autres. (Ed.: in English: We and the others). How do we perceive the other, and vice versa.”

UNESCO is a 73-year-old lady with a lively spirit and a twinkle in her eyes. DE F OU R N Y: “You could put it that way. A perfect example illustrating what UNESCO stands for is a story told by Ban Ki­moon, former Secretary­General of the United Nations, about his childhood. He grew up in Korea in the 1950s, when the country was engaged in a war. As a six­year­old boy, he was given a book by UNESCO and was able to learn a great deal from it, at a time when education was not readily available to the population. Thanks to the engagement of UNESCO in promoting education, culture and science and its core values, South Korea was able to evolve out of its dark ages, so to speak, over the course of 60 years. The testimony of Ban Ki­moon shows how this has come full circle. It shows how one little book can ensure that not only knowledge is disseminated, but also the idea of worldwide solidarity.”

I sense a great deal of optimism in what you are telling us. DEFOURNY: “You see, UNESCO has to do great things with a rather

small budget, approaching only 500 million dollars. This includes vol­ untary donations and the dues paid by our member states. You mustn’t forget that not all member states pay – or want to pay – their annual membership dues. The United States, for instance, has not paid its mem­ bership dues for five years, because UNESCO has recognised Palestine as a sovereign state. This has a direct effect on our budget. However, there are also member states that wholeheartedly support UNESCO, like the Scandinavian countries, and Sweden in particular. They have multiplied their voluntary contribution by five, because they want UNESCO to be able to contribute to important projects in the future as well.”

Several of UNESCO’s reports, books, manuals

There is still a lot of work to be done. DEFOURNY: “Yes, of course. The international community has set down what we aim to achieve for the future through these 17 SDGs. We have noticed ample support for these SDGs. The Austrian

and brochures are printed by Graphius. Recently, we printed Culture Urban Future, a global report in which the United Nations’ Sustainable Development Goals are a key topic.

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www.ryhove.be

RYHOVE, a sheltered workshop founded in 1963, has always focused on the manual finishing of printed products. Our employees have paper running through their veins. At GRAPHIUS, we work with our team in house, which leads to a warmer inclusion.


multimedia

Traditional communication channels are still important

Many a traditional publishing house has learned to embrace digitalisation, of which multimedia publishing house Rekad is a prime example. “You need, above all, to provide relevant added value, regardless of the channel in which you are operating”, asserts managing director Lieven Hemschoote.

BINNEN- EN BUITENZWEMBADEN

Magazine voor oUTDoor Living tuinarchitectuur / buitenmeubeltrends / vlechtwerk / puzzelpoefs en cosy kussens strandstoel de luxe / het betere buitenleven / 3d tuinen / zwembaden en –vijvers kleur van het jaar / royaal groen / poolhouses en overkappingen / subtiele sfeermakers

HET NIEUWE BUITEN KOKEN

LifestyLe speciaL

België € 9,50 - Nederland € 9,50 adviesprijs Bijlage cg concept. editie 1 2017. p 203976

TOTAALPROJECTEN

1/2017

POOLHOUSE

chic gardens

The art of outdoor cooking

magazine voor outdoor living

TUINEN

BF

chic gardens

From agricultural engineers and florists to senior citizens: despite operating in a distinct niche, Rekad caters to a wide and varied public. “This means that we need to embrace a healthy mix of media channels”, confirms Hemschoote. “We use digital newsletters for topical, hot news items. However, we know that the target audience for our luxury gardening magazine Chic Gardens prefers traditional printing. A few years ago, we thought that smartphones would be taking over, but in practice things have not changed. There is still quite a large target audience for traditional magazines and paper media. This is why we firmly believe in an omnichannel approach.”

Rekad organises several events every year in support of its magazines. “An ideal opportunity to promote our magazines and professional journals, and vice versa”, says Hemschoote. “To bring our events to the attention of the public we appeal to other media and printed matter. We still produce quite a lot of flyers and posters, which are given an extension on our social media channels. This proves once and for all that traditional and digital media can easily go hand in hand!” BF

Publishing house Rekad has its roots in a journal for the agricultural industry. Today, it publishes a broad range of consumer magazines and professional journals in the gardening, floristry and agriculture sectors. “We aim to stand out in this niche as a relevant and unique publishing house whose main interest lies in the sharing of knowledge”, explains Hemschoote. “We distribute specialist information for the agricultural sector that cannot be found surfing the internet, and we publish one of the few high-quality magazines available today for floristry professionals. Above all, we aim to act as a high-quality spokesman for this audience who is also happy to serve them in word and deed.”

Voorteinde 85Be | 2260 Westerlo | t +32 14 54 75 73 | f +32 14 54 81 83 | tekenbureel@ludo-dierckx.be

www.ludo-dierckx.be

WWW.OFYR.BE

cover CG Vlaams.indd 1

6/03/17 13:49

Graphius prints a diversity of professional journals, posters, flyers, programme brochures and badges for Rekad.

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book

Pioneers

in healthy pots and pans Ten years ago, GreenPan conquered the international market with its revolutionary, healthy ceramic Thermolon non-stick coating. Tasty and healthy cooking in high-tech pots and pans? It’s possible, thanks to the Cookware Company. To design cookware that is ecological, The next step was to introduce the healthy, practical and smart: that was world to this high-tech product. The the challenge that long-time friends Wim use of PTFE and PFOA had been a topic De Veirman and Jan Helskens wanted to of discussion in the USA for some time. tackle. In 2005 - 2006 the first non-stick De Veirman and Helskens therefore coatings with PFOA and PTFE (perfluoro­ decided that the American market octanoic acid and polytetrafluoro­ was ready for a better alternative. And ethylene, respectively) became a news they were right: the product launch at item when they were reported to emit Home Shopping Network unleashed toxic fumes when overheated. Although a ­veritable ceramic revolution. Within neither De Veirman nor Helskens had just four hours, viewers purchased a background in culinary equipment, Wim De Veirman, CEO of The Cookware Company at least 100,000 GreenPan skillets. the friends decided to go in search of an Thanks to television sales, GreenPan alternative for traditional non-stick coating. More specifically: could be introduced with its background story. Viewers at they wanted to find an alternative without PFOA, without lead home knew instantly why they simply could not do withand Cadmium, and without toxic substances; one that was better out these healthy pots and pans. The name GreenPan soon and safer. A non-stick pan of superior quality that is also an eye- became a household word, and its name recognition received catcher in your kitchen. A good idea, but where to start? an unprecedented boost. “We invested in R&D, and an intensive search yielded Thermolon, a ceramic non-stick coating derived from sand, or more specifically: silicon dioxide”, explains Wim De Veirman, CEO of The Cookware Company. A team of experts set to work and within six months GreenPan was born: pans that were not only safe to use, but also user-friendly and attractively designed.

What’s so special about Thermolon? “Thermolon can withstand temperatures of up to 450°C. If a traditional non-stick pan is exposed to a very high temperature, the coating can start to blister and emit toxic fumes. Thanks to Thermolon these concerns are history. The ceramic non-stick layer is also an excellent conductor of heat and performs perfectly at low ­temperatures.

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You can be assured that your food is always cooked uniformly”, adds De Veirman. The Cookware Company did not stop at Thermolontechnology, however. In the past decade, the company continued to evolve with a view to retaining its ecological and technological advantage and to continue to produce even more userfriendly cookware for foodies and professionals alike.

friendly pans do not satisfy the same conditions and requirements that we impose on our products. We focus on healthy cooking as well as innovation. Nowadays, sustainability is a keyword, but we attach just as much value to a love of cooking and eating. GreenPan is green in name as well as nature. Our 60% reduction in CO2 emission and innumerable international fans prove our point.”

A cookery book to celebrate GreenPan’s 10th anniversary

The newest generation Thermolon, Infinity Professional, is even reinforced with diamonds. Diamond is, after all, the strongest material in the world: ideal if you are looking for an extremely scratchproof coating. Even metal spatulas do not leave a trace. Thanks to Magneto induction and Evershinetechnology, the pans are neither subject to warping nor discolouration when exposed to high temperatures for long periods of time. After all, everyone wants their cookware to look like new for years on end: another bonus The Cookware Company has incorporated into its products.

If you aim to cook food that is genuinely healthy, it’s not only the ingredients you use but also your pots and pans that will help you get the most out of your recipes. In celebration of its tenth anniversary, GreenPan selected 100 delicious and healthy recipes. Each of these tasty dishes can be prepared with the pots and pans in the GreenPan collection. Sub-divided into ten themes, these recipes from all around the world include brunch dishes, food for athletes, comfort food and scrumptious desserts. Just reading them will make your mouth water and send you running into the kitchen! 

It is no surprise that GreenPan is still The Original, even after a full decade. Today, this healthy cookware can be purchased in more than 90 countries, distributed through The Cookware Company’s headquarters in Drongen and its branches in New York, Tokyo, Hong Kong and London. The company currently employs a workforce of more than 5,000.

10 years of healthy cooking was printed by Graphius. GreenPan is giving two

Now that sustainability is gaining even more in interest, numerous companies have avidly marketed their ecological innovations. How to stay ahead of the competition? “Other so-called ecologically

­copies away to the foodies and culinary artists among our readers. Take a chance on pg. 1!

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fashion

Pure Belgian fashion Gigue is a family-owned business whose roots hark back to the year 1991, when it was founded by Jo Wyckmans. Nine years later, he transferred the business to his daughter Audrey, a designer in her own right who brought a new, ultra-feminine touch to the fashion brand.

What is the state of affairs at Gigue in 2017? Our brand is positioned in the better high-quality middle segment. Although we do have mothers and daughters among our clientèle, we cater mainly to the 40 plus ­category. You know: the woman who dresses smartly throughout the working week, but opts for a casual, sporty look on the weekend. Despite this focus, we have a wide ­target audience – our clothing runs from size 36 all the way through to 46. What I find truly remarkable is that ladies come to us for entire outfits. They like to mix and match several pieces. As a brand, we aim to respond to this by incorporating a wide range of themes and colours into our collections. This way, our customers can be guaranteed plenty of choice.

more commercially-oriented than we are – and therefore appeal to a wider ­audience. We aim to consciously differentiate ourselves from the leading chains by focusing integrally on the type of woman who we in Belgium define as “bon chic, bon genre”. This is something that we can only do successfully by being continually on the lookout for new trends and developments within our segment. To do this, we visit numerous trade fairs, participate in workshops, etc. Of course, we don’t mind the additional demand this places in us as long as we receive as many incentives to spur our crea­ti­vity as possible. Everyone in our styling team actively participates in these events. There are four of us, and all our decisions are taken democratically. In fact, we do almost everything together to ensure that we continue to be on the same wavelength. We certainly do not believe in silos and separate islands – at Gigue everything has to fit together like a jigsaw puzzle. The people who work at our company all have numerous years of experience in fashion. It is wonderful to see your business develop together with the same team.

Is this what makes Gigue stand out from other fashion brands? Actually, our primary aim is to make our statement on the market by retaining our own style. We are a purely Belgian fashion brand, and proud of the fact that the entire creative process takes place exclusively in our own country. Of course, there are many brands that are

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To what extent are you responding to the current ­digitalisation wave? I believe that every brand should think along with its ­customers. For us, that meant setting up a webshop – it really was our only option. Although the webshop represents the smallest percentage of our sales figures, we have noticed that online sales are in the lift. Apart from this, it has helped us gain other, interesting insights. For instance that although there are fewer physical Gigue shops in Brussels we have noted numerous Brussels residents visiting our website. This has brought about some interesting interactions.

Can you tell us anything at all about your plans for the future? What I can tell you, is that we have far-reaching ambitions. Currently, we are selling to other retailers and also have a few boutiques of our own. There is certainly ample space for further growth in the latter category. In addition to this, we have started operating internationally, and believe that we could certainly strengthen our position on the international market. However, you should not underestimate this: there are numerous aspects involved in the internationalisation of a fashion brand, ranging all the way from finding an export manager to keeping up with international trends. Fortunately, everyone on the staff is dedicated to our success. At Gigue, we have plenty of enthusiasm aboard (she says with a big smile). 

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“We focus integrally on the type of woman who we in Belgium define as bon chic, bon genre” Graphius prints Gigue’s seasonal brochures. The clothing brand has provided us with a voucher worth €100 to raffle off among the readers of Graphius m ­ agazine. Flip to pg. 1 for a chance to add some stunning pieces to your wardrobe.

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small-scale and fine print work

Finesse

as an added value

We do everything in our power to establish and maintain valuable relationships with our customers. They appreciate our drive and our approach, just as much as they value the quality and design of our books, catalogues, magazines and brochures. After all, Graphius is renowned for its meticulously printed publications, and has been for years. Our high standard of quality is a determining factor for our identity.

announcements, and more. We can deliver suitable and beautiful print work for every type of printed matter, always produced using the latest printing technology and finishing methods. A soft business card with a velvet coating? Subtle, laser-perforated printing? A suede envelope? An attractive announcement with a shiny finish in cold foil? Spot­UV paint? The sky is the limit.

But did you know that Graphius can also be an outstanding choice for small­scale and fine print work? Business cards, flyers, brochures, save­the­dates, envelopes, invitations,

In brief: you don’t need to have a gigantic budget or be a leading publisher to make use of Graphius’ outstanding services. We also like small­scale and fine printing!

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Equipment

Speedmaster. Get inspired. The key to our customers’ success lies in the perfect interplay between people, machines, materials, and processes. Speedmaster technology creates impressive business models that in turn yield a crucial competitive edge. SpeedmasterGetinspired.com

Heidelberg Benelux bvba Kareelovenlaan 5, 1140 Brussel, T +32 2 727 31 11 info.bnl@heidelberg.com, www.heidelberg.com/bnl


THE FINE ART OF PRINTING

Printing is an art form From Ghent we reach the world of art, Paris, New York, London. The SMAK, the Louvre and the MoMA all enjoy our high quality printing. Graphius makes every effort to meet your high expectations with our legend “The fine art of printing”.

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