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As much as Highsnobiety online has evolved in recent years, this print edition perfectly reflects that transition as well. We remain heavily focused on fashion while bringing you the best of other disciplines including art, architecture, interior design, tech, cars and other topics that matter. Of course the magazine is packed with exclusive product previews - all soon to be released in the coming months. And while that is one of our main focuses with Highsnobiety online, the print magazine really allows us to take a step back and focus on different aspects of our lifestyle in a more physical format. Yves Borgwardt traveled all the way to Thailand to give the iconic Hawaiian shirt the right setting. Kimi Hammerstroem is also back in this issue, this time having produced a colorful spread featuring up and coming It-Girl, Mimi Wade. Our creative team in Canada, Park National, met up with Boys Noize in Montreal for a shoot and a video production. They also produced a flower infused Vans editorial. The highlight of the issue is of course our cover story with Larry Clark. Not only did we interview the iconic American photographer and filmmaker, but Alessandro Simonetti, the Italian born, New York based photographer, produced a beautiful photo spread in Marfa, Texas with two actors of Clark's most recent feature film, Marfa Girl. Having followed Clark for such a long time, it was a true honor to work with him on the magazine. We want to especially thank Alessandro for going the extra

mile and making this fantastic project happen. Of course we continue to take a behind the scenes look at some of our favorite products. We visited the production of German premium watch customizer, Blaken, and took a trip to England to see how original Barbour waxed jackets are produced today. Seeing real people create outstanding and lasting product, still adds more value than one could ever imagine. We have always been big fans of illustrated work and set a little more emphasis on it in this issue. With Hedi Slimane joining Yves Saint Laurent and renaming the pret-a-porter line to Saint Laurent, we decided to take a look at the essentials by the designer and had them illustrated by Carine Brancowitz. In recent years we have seen a lot of moves by designers between fashion houses, yet it finally looks like we have a new reigning guard. Our talented editor Fritz Radtke therefore put together the "Most Influential Designers" of the last decade into a great illustrated and crafted spread. In terms of interviews you can look forward to in-depth conversations with Johan Lindeberg about his brand BLK DNM and with Lanvin menswear designer Lucas Ossendrijver, where we touch on the current state of menswear. As you can see, a fully packed and well balanced new print edition is waiting for you to read and explore. As always, feedback is much appreciated! Greets, David



read 38

14 oz


Home and Away




Johan Lindeberg


My Favorite Item



Lucas Ossendrijver



Marfa Kids





48 60

History of Camouflage





Saint Laurent





Most Influential Designers


Paradise Found


118 Rio

126 Mimi


Boys Noize








Theophilus London

contributors Winter 2013 / Issue # 6

ta s t e 26


Editor’s Choice




Tropical Activities

In The Focus








Curated by NJAL

Alessandro Zuek SIMONETTI New York-based Italian-born photographer Alessandro Zuek Simonetti photographed the cover story of this issue. Working with Larry Clark and traveling to Marfa perfectly fits his constant attraction and interest in niche cultures and subjects. The result is photography that's raw, real, and well composed. Page 98




Carine Brancowitz






Nike Flyknit Lunar1+


Paris-based artist Carine Brancowitz spent her childhood devoting her time to music and painting. She studied illustration, screenprinting, and lithography at the School of Arts & Graphics Industries, Ecole Estienne. Her illustration tool is a ball-pen. With a love for detail, she illustrates still lifes along with sceneries and people. Her list of clients include the fashion labels Céline, Converse, and Kitsuné, magazines such as dazed & confused and l'Officiel, and musicians like Sebastien Tellier and the band Phoenix, among many more. Page 67






Imprint 24

Born in Germany and currently living in Berlin, Yves Borgwardt has a short yet impressive career behind himself. After working as an assistant, he started his commercial photography career in 2008. We would like to congratulate him for receiving the »Lead Award« in 2012. For us Yves shot the »Paradise Found« story in this issue. Page 106

editor ' s choice

Th eS o lo I st x Oli ve r P eopl es


nike air max london pack


B eo P l ay A 9 S peaker




B& O

editor ' s choice

h u f x skate m ental clock



L e x d r ay B o u l d e r Backpack


Parabellu m 6 Card Wallet





editor ' s choice

A Bat hi n g Ap e x Cove r - it-A ll BAPE Ca m o uf l ag e Fib e r g l ass She ll C h a i r


so ny RX 1



M a r ce lo B u r lo n T-Shi rt


W rinkles of T h e City JR + josĂŠ parlĂĄ



editor ' s choice

mah arishi & bagjack for DISAR ONN O


WoodWood x E astpak i Pa d S l e e v e



Kenzo Hat


B l a k e n Day ton a M att e Se r i es Rol e x


in the foc u s

SS 2 0 1 3

Y oshio K u bo

Text Georgia Reeve

Designer Yoshio Kubo studied in the US and graduated from the Philadelphia University School of Textile and Science. He first worked for the New York haute couture designer Robert Danes as an assistant designer for 4 years. After returning to Japan he started his own brand ‘Yoshio Kubo’ in 2004. The theme for his Spring/Summer 2013 collection is ‘New York 1994’. Featured in the collection are large, triangular geometric patterns in vivid colors along with strong yellow and red prints. The unique paisley motif, the iron chain and the star shape play a leading role for Yoshio Kubo’s Spring/Summer 2013. Neon highlights accentuate the base color palette of dark grey and navy while models sport colored mohawks, clown makeup and Salvador Dali-style mustaches. Silky satin and modest lace are the key fabric and add the essence of elegance to the collection.


in the foc u s

SS 2 0 1 3

Undecorated M an Kubo is also the head designer of the label ‘Undecorated Man’ a label that combines elegant silhouettes with a focus on sophisticated sportswear aesthetic. Following up on their Fall/Winter 2012 collection; an overall sporty collection with a great amount of details in the choice of materials and patterns, the Spring/Summer 2013 Collection of Undecorated Man can be described best as effortlessly chic. The new styles show a wide range of bomber jackets, short sleeved shirts, cardigans, suits, trousers and shorts in a rich color palette that plays with tones of white, yellow and blue.



in the foc u s

SS 2 0 1 3

the river Jun Hagan born in New Zealand and raised in Japan, worked as a professional fashion model in Tokyo before launching his signature label HAGAN in 2008. The River was founded 2 years later with fashion coordinator Testsuya Omura as the creative director of the label. The River’s inaugural 2010 collection, ‘Timothy Island’, paid homage to the subversive American scholar Timothy Leary and set the foundations for the line’s future. Inspiration varies from season to season but always includes comfortable, intelligent, and relaxing clothes for the discerning gent. Entitled ‘Magic Color’ Spring/Summer 2013 will be the label’s 5th collection. The items feature colorful tie-dye, multicolor camouflage and broad stripes. A rich burgundy is the dominant color blended with blue and highlights in red and orange.



in the foc u s

T rove

Daisuke Kamide was born in 1977 in the Gifu prefecture in central Japan. In 1999 he graduated from Tokyo’s Bunka Fashion College and launched ‘Trove’ in 2004 with the ‘Newtrospective’ collection. During this time Kamide was designing stage costumes while working on his own label. In 2008, Trove participated in the Tokyo Collection and opened its flagship shop in Shibuya. Along with its flagship shop, the brand is carried in 40 shops domestically and 2 shops internationally.

‘Singin’ in the Rain’ is the theme for his Spring/ Summer 2013 collection. Kyohei Torii from Trove tells us: “It is inspired by a man having a song upon his lips, enjoying the sudden rain in the early summer.” The collection hints at the warmer, sunnier months to come while offering relaxing clothes for a man who has a calm, but strong mentality.



V isvim

V IS V I M F BT M o c a s s i n Text FRITZ RADTKE


t is admirable and downright scary, although in a good way, how Western-influenced Japanese fashion brands tend to outdo their original counterparts in terms of design, craftsmanship, and even authenticity. I say this though without meaning any offence. Without knowing any better, it appears that what we call American heritage is – as preposterous as it may sound - merely a cheap copy of a superior Japanese invention. Maybe it's time we look past those kind of labels and accept that nowadays progress is no more a matter of technology or design, but of simulation. Therefore, it has to surpass the original. Don’t get me wrong though, simulation is meant as the act of copying with the sole intent of improving. I don’t mean to talk down, but rather bow down in admiration to a devotion that spawns products of overwhelming workmanship. After all, this kind of effort is what keeps century-old wisdom and knowledge alive.

One of today’s biggest players hailing from The Land of The Rising Sun is without doubt VISVIM. For more than a decade designer Hiroki Nakamura, who humbly puts himself in the shade of his work by referring to himself as merely “a guy making products”, has been busy building his brand and travelling the world learning from the best artisans around. Citing American culture as one of his most significant influences, his past collections have always reflected this. Although Nakamura has lately turned to traditional Japanese Kimono inspired pieces, the Native American theme is still a strong driving force behind his designs. The above FBT moccasin, which is part of the upcoming Spring/Summer collection, perfectly embodies VISVIM's core design principles: creating organically inspired, comfortable, and authentic staples. 34

not j u st a label

Curated by NJAL Rachel Boston

Text Georgia Reeve

Not Just A Label (NJAL) has been a major building block in the construction of some of the world’s most progressive brands. Providing a platform for over 10,000 represented designers, NJAL helps them evolve into established businesses through extensive collaborations with fashion publications, leading brands, and various media. In 2011 the company won the Drapers Etail Award for Best E-Commerce Innovation. NJAL’s online showroom offers a unique selection of designer pieces and limited editions from a pool of emerging designers worldwide. Taking care of all administration and security to ensure successful transaction, NJAL’s designers offer their pieces directly from their studios around the globe. The commercial social community NJAL created is not only a revolutionary way of online retail, it’s also a venue for discovering new talent.

Rachel Boston graduated in Jewellery Design from Central Saint Martin’s College of Art and Design in London and continued to study at the Gemological Institute of America in New York where she received her diploma in Diamond Grading. Her signature aesthetic of pure and strong forms find inspiration from unconventional sources: looking to nature, contemporary culture and high fashion to celebrate both the beautiful and the damned.

Marius Petrus Marius Petrus is based in Antwerp, Belgium and studied at Artez Hogeschool Voor De Kunsten. Already determined to become a menswear designer from a young age he started designing menswear from the 2nd year of college. During his third year he had a full-season internship at Alexander McQueen. After shows in Arnhem, his collection was nominated for the ‘Frans Molenaar Award’, which included showing at Amsterdam Fashion week, and was awarded with an honorable mention.


not j u st a label

J ’ AI M AL À LA T Ê TE German designer Anja Pawlik’s menswear brand. “J’ai mal à la tête et à l’univers” is the basis, and namesake, for a label rooted in bucking the trend of fast disposable fashion. Pawlik’s credo is to design a collection with a connection on an intellectual level. Through avant-garde designs and functional wearability, her pieces offer a timeless aesthetic and a signature look that appeals to modern individualists. The Munich native represents a new wave of young experimental artists that are leading a design revolution.

HU M AN P OTENTIAL Yk is based in Seoul, South Korea where she also produces her collections. She studied design and technology at Parsons The New School For Design and was heavily inspired by installation art. She wants to express how she sees the world through her collection; analyzing the human life and believing that it is a very cold, dark, and a seemingly cursed journey. She likes to conceptualize all her collections -"Alien Puppeteers” and "Fish out of Water" - are all inspired by her take on the human condition.


1 4 oz .

Putting West Berlin Back on the Fashion Map Text: Fritz Radtke

Fashion-wise West Berlin was for a long time considered to be living under a rock. With an impressive interior concept and the usual unchallenged brand selection, the recently opened 14 oz. store in Cumberland House is about to change that for good.   We squeeze our way through as the masses of tourists and Berliners are eager to spend their hard earned money in one of the many shops on Kurfürstendamm, or as the locals call it “Ku’damm.” Located in the district of Charlottenburg, stretching 3.5 kilometers, and lined with flagship stores of high-street fashion chains and exclusive designers, the avenue is considered by some the ChampsElysees of Berlin.   After a brief yet exhausting 10-minute walk we arrive at number 193/194. Here stands the Cumberland House, an elaborately restored turn of the century building which is now home to one of the most exciting concept stores West Berlin has seen in years.   Succeeding the already well-established store in Berlin Mitte, multi-brand store 14oz has recently opened its second branch on Kurfürstendamm - breathing new life into a long standing, however quite predictable, if not downright boring, shopping area.   Rumors were circulating that Karl-Heinz Müller, founder of Bread and Butter and owner of 14 oz., was going to abandon the Berlin Mitte location for good, following Andreas Murkudis, who relocated his nearby concept store from Münzstraße to Potsdamer Straße in the Tiergarten district.   The area around Hackescher Markt, where the original store is located, is without a doubt past its creative peak. Small, independent, and above all, exciting shop concepts have moved away leaving room for generic brand stores. 38

Despite all of this the 14oz Mitte store will remain open - though you can tell by a mere glance that the new Kurfürstendamm location is where Müller sees his priorities.   As we enter the store and are about to meet store manager Daniel Werner, a sales assistant greets us with cautious courtesy, leading us up an antique spiral staircase to a secluded lounge on the upper level. The room is noticeably tastefully decorated. We take a seat in heavy leather chesterfield armchairs. Vintage black and white photographs adorn the surrounding, bare, unplastered brick walls, and at our feet lies a slightly battered Persian rug.   “We have 3 unique features, which are of tremendous importance to us: our range of goods, our employees, and the location, which also includes the interior design,” says Werner while fixing us Gin Tonics. The latter point becomes instantly clear on entering the store. Once again Müller spared no effort or expense to create an environment that underlines 14oz’s unique mix of brands.   Werner refers to them as “product brands”, which in contrast to “marketing brands” tell a story – a rather authentic story. Among them are brands like Nigel Cabourn, Red Wing, and Tricker’s, all of which impress with a long and rich heritage and the quiet sublimity of genuine craftsmanship. “We like to think of it as a kind of sustainability, in the sense of providing timeless garbs which can easily be worn by people of all ages.”   Those who are quick to judge might cast doubt on his words, as the shop's entire concept seems to point to the past. The striking cast-iron spiral staircase and the adjoining balustrade, which sits enthroned over the

1 4 oz .

spacious 600-square meter retail area was originally part of Palais Lichtenstein’s archive library in Vienna, Austria. The library now acts as the focal point and foundation of the store’s custom made furnishings. Individual parts find use as clothing hooks in the dressing rooms or as the cashier desk's wooden panels.   The walls and the wonderful patina of the cathedral-like arched ceiling have been skillfully applied by plasterers, who normally restore baroque churches. The classy atmosphere is topped off with large-scale black and white photographs, original prints from the 1950s and 1960s by renowned German fashion photographer F. C. Gundlach.   The devil, however, is in the details. Well played eclecticism, a keen eye for details and strong contrasts keep the shop grounded in the present. Take for example the crystal chandeliers dating back to the 1860s – without a doubt the interior’s crowning pieces which are placed right next to a raw concrete wall, making for a surprisingly harmonious combination.   The employees themselves even contribute to the overall contemporary impression. By West Berlin standards they all look quite exotic. Werner himself sports dark blue denim jeans, a skull shaped brass buckle holds his necktie together, and the sleeves of his work shirt are rolled up revealing his tattooed forearm. “They also come to eye the sales clerks,” he laughs. “They” are mostly long established West Berliners. “Old West Berlin money,” Werner adds.   “Arm aber sexy.” “Poor but sexy” - the famous phrase coined by Berlin Mayor Klaus

Wowereit referring to the city’s rather bleak financial situation may apply to grimy, yet extremely hip neighborhoods popular amongst young expats such as Kreuzberg or Neukölln. The city’s western part on the other hand is a whole different world. Just count the Ferraris parading up and down the boulevard. West Berlin has money and is willing to spend it, but it is not exactly what you might call a hotbed for avant-garde trends. It is still deemed fashionable to pop the collar of your Ralph Lauren Polo Shirts. Clubs of little or no significance to the city’s (techno) music scene still require a table reservation. It’s all about showing off your assets, which is far from East Berlin’s restrained economy of cool.   Contrary to the young fashion crowd in Mitte who keep track of the latest trends on fashion blogs, the customers at Cumberland House need and also expect a premium service before they shell out cash. “We can operate on a whole different price level,” says Werner. “The store is in immediate vicinity of the likes of Chanel, Prada, and Saint Laurent Paris. Nobody who comes here frowns upon a €2,000 parka or a pair of €250 jeans. You need to provide a unique shopping experience.” The average customer is not only solvent, but also older than those of the Mitte store, which usually means more conservative and thus more reluctant to take the journey to the city’s center. “They will rather just fly to Paris or New York. So If the mountain won't come to Muhammad, then Muhammad must go to the mountain."



C onverse

C onverse

Pro Leather and Pro Leather VulC Text georgia reeve Photo Robert wunsch

The Converse Pro Leather was originally released

sole, laces, and the Star Chevron Logo create a

as a basketball sneaker in 1976 and quickly beca-

clean contrast in bright white, while a premium

me a favorite among legendary basketball players

leather finishing enhances the sleek design wit-

like John Havlicek, Michael Jordan, and Julius Er-

hout losing the sneaker's sporty feel.

ving. Since then the Pro Leather has made its way from the courts to the streets and has become a

The heritage-basketball theme lies within the

legend itself. Today, the Pro Leather is a lifestyle

DNA of Converse. Developed over 30 years ago for

sneaker featuring the same iconic silhouette that

the court, the Pro Leather is a timeless sneaker

represents the history of basketball like no other.

that’s always in progress. The new innovative Pro Leather Vulc combines the

For the Fall/Winter 2012 Collection the Pro

classic silhouette of a Pro Leather with a vulca-

Leather's classic design is emphasized with bold

nized sole and brings variations in suede, strong

colorways. Next to typical winter colors like black

summer colors, and a new low profile for women.

and navy, bright reds and greens pop out. The cup

Well Worn AND proudly Imperfect Converse was and still is a signature brand for

tensively treated to produce the perfect broken-in

rebels, people who think outside of the box, and

look while the distressed effect gives the snea-

those living life to its fullest. Converse sticks to

kers history and character. A new Chuck is great; a

the concept of staying true to itself, always being

Well Worn Chuck tells stories from festival week-

authentic, and never following superficial trends.

ends, party nights, and city trips. The dominating materials are vintage twill and washed canvas

For Summer 2013 the Chuck Taylor All Star is

with a subtle used look, featured in the styles of

“Well Worn” and “Proudly Imperfect.” The collec-

mid-, ox-, and hi-top.

tion features selected styles that have been ex-


Nike FLYKNIT LUNAR1+ Text Peter Williams Photography Park National

Nike's critically acclaimed Flyknit technology made an incredible impression on the footwear world in 2012 with the Flyknit Racer and Flyknit Trainer, and heads into 2013 with great momentum with the introduction of the Flyknit Lunar1+. Sporting a build similar to what was seen on the initial (and very rare) HTM Flyknit, the Flyknit Lunar1+ mates Nike's cutting edge knit upper with the sportwear label's ever popular Lunarlon outsole for a super light, amazingly comfortable and great looking piece of footwear. Hitting shelves this February in a plethora of energetic colorways, the Flyknit Lunar1+ is set to light up the streets throughout the rest of the year and will likely go down as one of the defining footwear styles of the era. 42

N I K E F L Y K N I T l u nar 1 +

F ootwear

adidas Originals by 84-Lab

foot wear

New Balance 996

FilLing Pieces

Vans Vault by Taka Hayashi


F ootwear

Stussy Deluxe for BePositive

foot wear Ronnie Fieg x Grenson Fred Boot

Cole Haan LunarGrand Wingtip

converse x missoni


adidas originals B L U E

HOME and AWAY with adidas originals B l u e and J osefine A berg

Text Georgia Reeve


didas Originals Blue is a collection designed with understated styling and quality tailoring in mind, innovating classics with modern character. Created for those who have a fondness for balancing pareddown aesthetics with a hint of design detail, the apparel-driven label is all about premium everyday wear, letting impressive materials and construction speak for themselves. For Spring/Summer 2013 patterned fabrics are used on simple shapes for both, men and women. Overall, graphics have played an important role, subtly used on t-shirt pockets


and heavily used on tops and dresses. Outdoor influences are found across the menswear range, from the utilitarian jacket silhouette to the shockcord laces on shoes, while women’s pieces are kept feminine with cut-out details. Adidas Originals also brings back the ‘90s silhouette Tech Super after 20-years hiatus in contrasting colorways. We interviewed Josefine Aberg, the design director of adidas Originals Women and adidas Blue, to talk about the overall image that adidas Blue stands for, as well as the collection for Spring/Summer 2013.

adidas originals B L U E

How do you get your inspiration for a new collection each season? From different cultures, people and, of course, from our archive.

What is the concept of the adidas Blue Spring/Summer 2013 collection? For spring summer, the concept is based around the idea HOME and AWAY. In short, ‘home’ is about familiar things, things that are in your comfort zone, whilst ‘away’ is about the unfamiliar, it´s about exploring new cultures. Can we expect something new in the choice of fabrics, shapes and styles for Spring/Summer 2013?

What does blue stand for? With the blue collection, I always want to keep one foot in our heritage and what we stand for; but at the same time, I also challenge the process and create products which people didn't know that they needed. There is no other brand, in my eyes, that has the unique archive and toolbox that adidas has. My goal is to continue designing products that serve a purpose but that also excite people – and I try to do this with both new silhouettes and with archive pieces. What part does the blue collection play in the adidas universe? It's an in-house design collection, which sits at the top of the adidas Originals pyramid.

Pattern, colors and how we are combining colors are key in the collection. As it's summer we are using more light weight and washed out fabrics to water repellent boned cotton and 2 layers seam sealed reversible windbreakers. The footwear offering includes premium soft leather and suede and lightweight nylon and mesh. Also on footwear, pattern and colors plays an important role. What are the highlights of the collection? Definitely, the Tech Super - a running model from the 90’s that we offering in both men's and women's executions.

mer wants subtle branding and can appreciate the quality and heritage of adidas, while still being open to new ideas. What is next, is there anything special coming up that we should stay tuned for? There is always new things to stay tuned for. My vision is to take adidas Originals Blue collection to be the number one sport lifestyle brand, by being both respectful and disruptive simultaneously. I hope to manage our history and create new icon pieces that someone in ten years' time will use to create the next icon pieces.

Who would you say is the typical adidas Blue shopper? It's an open invitation to people that respect the brand and who are now looking for products beyond track tops and track pants. This consu-

You are the chief designer of adidas Originals Blue. Do you have a team of designers working for and with you? Yes, I have one footwear designer, one apparel designer and one design assistant. How does a “day at the office” usually look like for you? A day at the office depends on where we are in the season. But I like to work on things with the mind that everyday should be an investment for the brand and me.


V ans

V ans

Empire Of The Sun Vans Castaway Text Kingston Trinder photo Rupert Lamontagne

Golden sunsets, palm trees, coconuts & parasols. There’s nothing quite like the sultry goodness of tropical island life. Sail away then to that land beyond the sun with Vans’ SS2013 collection. Hibiscus flowers, slow pastels, Hawaiian shirts & seashell sneakers, summertime’s not the only time for watching those lazy tides go by.


V ans

Creative Agency Park National Producer David Oliva Conception Kingston Trinder Art Director Danny Demers Photographer Rupert Lamontagne Stylist Julia Lurie Make Up Isabella Forget Models Alex B, Audrey Price, Karelle (Montage)


V ans

T ropical A ctivities


Saturdays Surf NYC


iseo yacht by riva

Dom Perignon Oenotheque blanc 1993


T ropical A ctivities

BEST MADE Famous Red Board Short



RadarLock Blood-Orange Fire Iridium Polarized



T ropical A ctivities

SAS Survival Guide 2E



GPS Eton Raptor


T ropical A ctivities

Hollis F2

Occhio Plus E Corsica

spearfishing geronimo elite mimetico

scipiofullsuit 3MM



The print master stamps the face of the watch



Blaken Text Brock Cardiner

The excess printing ink is wiped off of the printing block


laken was created in Germany after founder Hendrik Jßrgens had the chance to attend dinner parties with the likes of P. Diddy, Gloria Estefan, and Donald Trump while living on South Beach’s Star Island in 2009. During them he noticed everything from their ties to their cutlery was personalized - everything that is, except for their high-end luxury watches. After almost 2 years of product testing, prototype building, and technology research, the end result was the elegant design Blaken is known for today. Each watch is customized >

A Blaken 1432 GMT-Master II is tested for water resistance up to 100 meters / 10 bar



Different watch pieces scattered about waiting for assembly

Detailed assembly work of the movement mechanism

A Blaken GMT-Master II laying next to tweezers, a Sea-Dweller dial by Blaken, and a Rolex Daytona wristband by Blaken

down to the last detail ensuring complete individuality in line with their motto, “One man, one watch”. Each watch is created using 2 multiple-patented hi-tech procedures and later coated in diamond-like carbon. Together these expensive and complex processes take anywhere from 16 days to 8 weeks and at the present time are only possible in Germany. In the standard collection, 6 iconic Rolex watches from the Submariner to the Milgauss have been outfitted by Blaken for a personal, handmade article that’s 100% “made in Germany”. Personalization is possible for all high-end luxury watch brands and come in a variety of choices from engraving on the casing to the replacing of luminescent markers.



Reassembly of an upgraded Rolex GMT-Master II wristband


BAPE a bathing ape in human made water

To stay at the top of your game in an increasingly crowded streetwear market is an achievement in itself. BAPE's dominance over the decades comes from a combination of great design and a desire to always move forward and stay fresh. Just when you think you've got the measure of the Japanese label they introduce something inventive and imaginative, always keeping their eager audience on their toes. Interestingly, much of what keeps BAPE innovative and forward-thinking is inspired and referenced from the past. The Spring Summer 2013 collection a great example of this coming together of old and new. Nigo's vast collection of vintage clothing is the stuff of legend. A collector in the truest sense, his ever growing archive is the result of an obsession that began in childhood and now forms the basis of his various labels and sub-labels. Introducing United States Marine Jacket cuts, reinventing Ivy Madras, breathing new life into a military 'Daisy Mae' hat or taking the classic loafer to another level. What sets the label apart from the rest is this attention to detail and an understanding of what has gone before. As always with BAPE, nothing is quite as simple as it seems on the surface. So, with a little help from label friends Human Made and Ebbets Field Flannels, we take a closer look at the collection.






Photographer Elliot Kennedy Stylist Lena Dystant Grooming Sophia Singh Model Earl James @ Nevs Photographer's Assistant Tom Johnson Stylist's Assistant Glenys Johnson

Clothing Bape, Human Made, Ebbets, Birkenstock


L evi ’ s

from Bottles to jeans Text Brock Cardiner


he original jeans brand introduces the Waste<Less denim collection made from at least 20% post-consumer recycled content. Available for both men and women as part of their Spring 2013 collection, the jeans utilize over 3.5 million recycled bottles while maintaining the same quality, comfort, and style Levi’s is known for. Included in the men’s collection is the 511 Skinny jean, a new 504 Straight Fit jean, and

the classic Trucker jacket. The women’s collection features the Boyfriend Skinny jean in a progressive fit. In each piece the color of the recycled bottles adds a beautiful undertone to the denim fabric creating a unique finish in the final product. The new Waste<Less collection continues the company’s commitment towards a sustainable future with each garment including, on average, eight 12 to 20-ounce bottles. 66


ately there have been some major changes at the house of Paris-based YSL. The label, with its iconic logo taken from the initials of the founding designerâ&#x20AC;&#x2122;s name Yves Saint Laurent, dropped the Y in favor of SLP, short for Saint Laurent Paris. The change is part of a large-scale exercise in rebranding with designer Hedi Slimane at the helm. After working as the ready-to-wear director of the men's collections for YSL in the past, Slimane returned in early 2012 and debuted his first womenswear collection at Paris Fashion Week in October of the same year. His return has been enthusiastically welcomed in the fashion industry where Slimane is often referred to as a cult figure. Chosen from the core items of the menâ&#x20AC;&#x2122;s ready-to-wear collection and set against characteristic leopard print, Paris-based artist Carine Brancowitz illustrated an exclusive editorial for Highsnobiety Magazine. Her style is clean, yet organic and congenial. The illustrations exist within the limits imposed on by her tool of choice - the ball-pen. The result is a series of works that combine the purity and passion of adolescent anxiety with an obsessive attention to detail and the uncluttered elegance of lines.

Y ves S aint L a u rent

Y ves S aint L a u rent

Y ves S aint L a u rent

Y ves S aint L a u rent

Illustrations carine Brancowitz represented by Text & Art Direction Georgia Reeve

blk dnm

A Conversation With

Johan Lindeberg D e s i g n e r A n d C r e at o r Of BLK DN M Text Georgia Reeve Photo johan lindeberg

blk dnm

The Swedish designer Johan Lindeberg has an impressive history in the fashion industry. Going from marketing director of »Diesel« to CEO of Diesel’s US company between 1990 and 1996 to creating his own label »J. Lindeberg«. Running the label successfully as creative director until 2007, Lindeberg moved on to take a position at Justin Timberlake’s fashion brand »William Rast« in New York. After this episode he created a high-end brand called »Paris68« with his then wife. Today he is the heart and creative spirit of »BLK DNM« (Black Denim). Read our interview with Johan to find out why he chose to live in New York over all other cities and what he considers to be the perfect pair of jeans and the perfect leather jacket.

blk dnm

You have years of expertise in the fashion industry. What is the most important thing you have learned along the way? To create clarity. Be very true to you own taste and follow your intuition without being too influenced by your environment. People need to really understand who they are in order to create something different. How much of the Johan from Diesel, William Rast, and J. Lindeberg is still left inside of you and does that affect BLK DNM? My life has been a journey. You are born pure, then you are influenced by your environment over many years. Then you work really hard to be pure again. I think I'm in the best moment of my life and career so far, just because I'm more pure in my taste than ever. BLK DNM is a manifest of everything I've done. There are jeans and leather jackets from 90's Diesel, tailoring from J. Lindeberg and so on; but overall packaged in the way I choose to live. You ended up settling down in New York after many years of work-related travel. Why did New York win over all the other cities you've lived in and traveled to? In NYC I can be myself. I always tell my daughter Blue that it’s a great gift to be a New Yorker. There is nowhere you can express yourself like you can here. NYC also makes me stay in the present, to live minute by minute. It's so engaging that you have no time to live in the future. BLK DNM’s signature is a focus on denim, tailoring, and leather. Why so ‘basic’? I don't think it's basic. It's rather real. I decided to create a brand that is inspired by my life. Menswear is inspired by my wardrobe. Womenswear is inspired by how I like a woman to dress. I'm not a minimalist. I want shape and attitude.


blk dnm

blk dnm

blk dnm

What makes the perfect pair of jeans and what is the perfect leather jacket? The perfect pair of jeans is one you want to wear everyday for a year without washing. And the perfect leather jacket is a jacket you want to wear everyday - even to sleep in. The visual output of BLK DNM like the lookbooks, campaigns, and your blog feel very personal. What is your approach to the shootings? Photography is my new passion. I choose to shoot people that I connect with. I like to portray the woman rather than the model. I use BLK DNM to explore new areas of creativity. I can curate the way I see and feel things. Who is the typical BLK DNM shopper? Someone who is conscious but not too influenced by quick trends. When you started BLK DNM you decided to sell almost exclusively from your online shop, at very few select retailers, and from your store on 237 Lafayette in Manhattan. Why choose this strategy? I thought is was a great challenge to be a digital born brand. But now we are in 25 countries. Overall I like to stay as pure as possible and to communicate directly to our customers. Is BLK DNM your personal perfect and timeless look? Definitely. BLK DNM is the most personal Iâ&#x20AC;&#x2122;ve ever been. I live it. I really love what I'm doing. And I'm more inspired than ever in my life. What is the one must-have piece from BLK DNM? Our high-waisted Jeans 6. They are really flattering and cool. I get massive feedback from great women in Jeans 6. What are your future plans? To find a woman that can really inspire me.

my favorite item


brock C ardiner



Many of us have a certain item - be it a piece of clothing, car, bike, record, or toy â&#x20AC;&#x201C; that we wouldn't trade for anything in the world. Oftentimes these pieces are created by our favorite designers, artists, and musicians as a combination of their own creativity and inspiration. We started wondering what some of our favorite creatives revere in their own lives and traveled as far as New York and Paris to find out. For some that item turned out to be something they created themselves, while for others it was a simple accessory bought elsewhere that plays a convenient and integral role in their everyday life. Join us over the next few pages as we find out what these creatives couldn't live without, and head over to Selectism as we travel around the world to bring you future installments in this new series.


my favorite item

S C O T T M O R R I S on

Scott Morrison - the creative force behind Paper, Denim & Cloth, Earnest Sewn, and now 3x1 - shared with us his special Moscot Lemtosh eyeglasses. He began with a brief history of the eponymous optician which includes the original design being based off of government-issued lenses for those needing them. Wanting something a little more striking than the classic colors offered, he collaborated with Kenny Lemtosh on a pair that were originally released as a run of 30. The color they came up with was a variation on Tortoise shell named ÂťBlondeÂŤ which can now be purchased straight from Moscot.


my favorite item

M ark E cko

Mark Eckoâ&#x20AC;&#x2122;s favorite item is a product of his own labor from years before. He picked out a pair of vintage airbrushed sweatshirts he had made in his garage during his junior year of high school in 1989. At the time he was able to fetch between $100 - $150 a pop - a healthy precursor to what his business would soon become. The sweatshirts carry a personal touch and serve as a reminder to him and his company to move forward with the same love and dedication as he had during those formative years in Lakewood, New Jersey.


my favorite item

G ildas L oec

Gildas Loec, manager of superstar musical act Daft Punk and co-founder of music/fashion label Kitsune, shared with us his prized “Discovery” record along with the album’s artwork after it was certified Platinum in France. The platinum record is a testament to his unwavering belief in the French duo’s phenomenal success which inspired him to found Kitsune as a hotbed for upcoming talent in both music and fashion.


my favorite item

E mile H aynie

Grammy Award-winning producer Emile Haynie, often credited simply as Emile, introduced us to his beautiful 1969 Steinway & Sons grand piano which sits unassumingly in his Chelsea apartment in New York City. He'll wake up early in the morning to come up with chord progressions that later make their way to the studio where they are fleshed out into hit songs by artists like Lana Del Rey, Kanye West, Eminem, and A$AP Rocky.


my favorite item

J esse V illan u eva

Jesse of ALIFE shared with us his 1978 Triumph Bonneville. He acknowledged the motorcycle was his first “grown man project” which he worked on with his brother who had moved up from Florida. Working on the bike everyday for nearly two years allowed him and his brother to work together like they used to in their childhood. Besides the invaluable time spent working with his brother, the focus and dedication required to restore a classic bike like the Bonneville lets him forget about the stresses of working life – at least until the next day.


my favorite item

matt kliegman & carlos Q u irarte

New York club owners Matt Kliegman & Carlos Quirarte presented a tote bag by Opening Ceremony and a modified Masi bike, respectively. The tote acts as Kliegmanâ&#x20AC;&#x2122;s mobile office since he is always commuting between their 4 different joints and admits heâ&#x20AC;&#x2122;d be out of business if he were to lose it. Kliegman tends to burn through totes quickly, so it's no wonder his Opening Ceremony tote is his favorite as it has survived many seasons and shows no signs of wearing down.

Quirarteâ&#x20AC;&#x2122;s bike is a matter of convenience and allows him to zip in and out of traffic with the added bonus of being able to leave an engagement at anytime by simply hopping on and disappearing into the night. His current Masi is actually the bike's second iteration as the original was stolen several years before. Needless to say, Quirarte liked the bike so much he had another made with almost the exact same specifications.



Text ALICE PFEIFFER Photos: copyright Lanvin Photography by James Bort

LANVIN T e a w i t h L u c a s O s s e n d r i jv e r


Tucked in a plush couch at Paris' Hotel du Crillon, Lucas Ossendrijver seems unaware of the sartorial storm he has created in the menswear market. The creative director of Lanvin's menswear line since 2008, his work has now reached cult status among those in the know. He is a master of adroit hijacking, turning classical male suits on their heads by injecting sneakers, contrasting textures, and a solid dose of accessories. After cutting his teeth at Kenzo and Dior Homme under Hedi Slimane, he is the new shining star in men looking for urban sensibility into their daily lives.

Do you wear mostly, only or rarely what you create? I wear what I create, but not head to toe. I like being eclectic, the idea of playing, distorting a uniform, of mix and match. I like to feel free in clothes. I find it difficult to wear full suits. A shirt or a jacket alone, sure, but the full attire, complete with a shirt and tie is not my thing. Do you feel the world of menswear is changing, loosening up? Absolutely, the world of menswear is already changing, becoming a little looser. I see less and less men with ties for example. A masculine liberation? Well, regarding womenswear, women have options, they can wear heels and therefore completely alter their silhouette. I try to offer lots of tennis shoes for this reason, and focus on developing a great range of choices for footwear - although mens' heels not quite yet (he laughs) What is the difference between working for Lanvin and Dior? Lanvin is more family-like, it is human-sized. Everybody is reachable, things are more fluid, even in my relation to Alber. There is a dialogue between men and womenswear. Its not the same product of course, but the same universe. I'll come to the womenswear fittings and he will ask for my opinion. He'll come chat about menswear and ask what I have in mind for the season, texture, fabric, color wise. It all happens very naturally. We have very different personalities, almost opposite. I come from the North, he comes from the South and we meet somewhere in the middle. This dialogue makes us strong. Today, what is the Lanvin identity in a nutshell? I like the idea that our identity is a flexible one: you can be poetic one season, and strict the next. There are no real tabboos, it's all instinctive. At the end, the clothes have to be both desirable

and comfortable. Clothes that function in real life, for real people. By respecting this basic idea, you always remain close to the brand's DNA. It's about comfort and tradition. You're not French, what impact does this have on your designs and overall outlook on fashion? When you're not French but working in a French house, you have a different gaze, you look in from the outside - which i think is very positive. My team is incredibly international, they come from England, Sweden, Austria, Denmark. By being always slightly outside, you never stop observing. I look at people in the street here, at what they are wearing, and there is still a part of fantasy in it for me. I never stop thinking about what a French allure, Parisian elegance is, what it means. I didn't grow up around it, so it doesn't feel 'normal' or natural. Talking of allure, what is French male chic to you? Masculine French chic is made out of accidents, mistakes, imperfections, things that don't necessarily look good together. It's about not looking overly put together, constructed nor controlled. Of course, that's just an illusion, because in order to reach that result, everything must be tighly controlled. To look like you havent tried too hard is hard work! Who is the Lanvin man, what does he like, dance to, have for breakfast? The Lanvin man isn't a single kind of man but a multitude of men, who all share the same open mindedness, Â who enjoy fashion, getting dressed, making a statement about who they are, and having fun with clothes. When you see someone wearing one of your designs in a way you hadn't intended, or creating a totally different result, is that upsetting or on the contrary, thrilling? The biggest compliment is seeing someone wear one of my designs in an unexpected way. I was taking a walk with friends in the 6th 87

arrondissement, and I saw a man wearing a coat that looked familiar. I realized it was a piece of my third collection at Lanvin, six years ago. It was wonderful to see that it was a piece the man had obviously bought a long time ago, but that he kept wearing, and that the designs remain alive. But no, an unexpected twist on a garment never upsetting, I don't want to be a dictator of who may or may not wear Lanvin, nor how. Are you proud of everything you have created for Lanvin, or are there pieces you wished were forgotten? One always makes mistakes, we're not perfect and don't always do perfect things, thats just human, some things don't turn out as we had planned them. But you grow, and never cease to evolve. Working for an old house is a real challenge: you have to stay true to its core yet cannot ever afford to be repetitive. How do you stay fresh yet coherent? I push myself each time-  it's a question I ask myself constantly, and try to start somehow with a clean slate. But the truth is, you never is something is good or not, repetitive or not, and these moments of uncertainty, of simply not knowing, are the best ones. These instants of drifting, of pondering are vital because you listen to your intuition. Notions of good or bad don't come into the consideration, you just listen yourself. What is the starting point of a collection? Texture, color? My creative process always starts with fabric, color comes later. I don't have a palette I develop endlessly but rather, every fabric has it own adapted colors. A navy shade can be lovely in cotton but less so in wool so you cant purely base yourself on color. In the show, we have a variety of tones, which give a certain richness to the fabrics.



Where do you generally find inspiration? Inspiration can come in any place or at any time, but it usually comes to me when I'm bored, when I'm not thinking of anything. But these are very concrete ideas, of necklines, of specific constructions I want to try out. I'm not a mood board kind of guy. My studio is usually pretty messy. It's filled with sewing machines, we make samples ourselves, we take photos, focus on fabrics. I never know why or how something lands there but it somehow always ends up making sense. Being surrounded by elements makes me think. Do you give your team an overall direction? I give my team a theme - for example this summer was rather black and white and abstract. Nevertheless, it is about having a dialogue with my team, who bring plenty of suggestions to the table; then, it's an editing job. But a key part of the work begins when the garments are made. You have one thing in mind, but once the clothes come to life, it's a whole new story, you often have to start from scratch. Is it good, comfortable, meant for the show, fitting in daily life, are the questions I always ask myself. Today, the majority of your audience will see the clothes on a screen and therefore miss much of the details. Does this reality impact on your designs? That's a real aspect of today's fashion. When we're preparing the show, we check on the screen or on photos how the clothes look, because we know that's how a lot of people are going to see them. But what I don't want to lose is my love for clothes. I don't want to work strictly for, that's not my ultimate aim. You're being judged for six months work, it lasts for ten minutes but the second judgment comes six months later, from the clients, who are as important as So you have to find an equilibrium between the two.

Lanvin might be based in Paris, but your audience is broader than ever before and stretches over all continents today. How do you involve the new markets' needs in your design process? Fashion is more and more international, and a luxury clientele is one that travels. Nevertheless, local needs remain- Â some are very concrete, for example regarding the weight of the fabrics. In the Middle East, clients don't want wools and flannels but linen and lighter fabrics. Also, different colors fit different skin shades...things like that. But in terms of style, I don't see much difference. Today, the Middle East and Chinese markets are just as demanding and cutting edge as America and Europe. What is the role and place of accessories in your collection? Something complementary to the clothes, or with a life of it's own? Accessories are more and more important, more people have access to them. Trainers and bags are more easy to understand and to wear than a suit. Accessories are not a complement to the clothes but a full entity within the show. Different clients come for trainers and t-shirts than the ones who come for the suits. I hope each can find something for one's needs.



At what point does an accessory become ostentatious? Fashion shouldn't take over someone's personality. It should highlight it, not suppress not dictate the wearer's true identity. Therefore, you shouldn't wear a piece that you feel is overbearing. Your sneakers are a great success- what is their origin, and what is the reason for their success in your opinion?

Any style advice for men, who don't necessarily have a budget for luxury shopping? Focus on good sturdy quality pieces, pea coats, good wool. Quality never goes out of style. How have your designs evolved since you first arrived at Lanvin?

Sneakers came within a broader proposal to offer a full wardrobe to men, for all moments of the day. At that time, there were no tennis shoes at Lanvin, and from that point I tried to create a shoe both luxurious and still sportswear-inspired, with mixed fabrics.

My vision of menswear evolves constantly, but today I feel a lot freer than at the beginning. I initially wanted to develop the Lanvin universe, but in a more classical way. Today we allow ourselves a freedom we wouldn't have before, and that freedom will keep growing, but in a coherent, respectful way.

Has masculinity evolved much in relation to fashion?

How has recession affected your designs?

Men today are far less scared of shopping, they allow themselves to enjoy shopping. It used to be the mom or the girlfriend shopping for men, but today, the return to sportswear elements allows men to guiltlessly enjoy fashion. You don't feel like a fashion victim because there is an element of functionality, of necessity. Thats why my trainers sell well I think.

Recession has put a new perspective on everything, you wonder if the prize of a garment is truly worth it. At the same time, fashion makes people dream so within a recession, it has a dual role. Style-wise, fashion has become less ostentatious, more personal. True luxury to me is something for oneself, something intimate, not for the rest of the world. Linings, finishing, all the invisible aspects that will only be known to the wearer that's what luxury is all about.


most infl u ential designers

Text & Illustration F rit z R adtke

As you may have already noticed, at Highsnobiety we are always on the lookout for burgeoning fashion talents to feature in our magazine. The past issues have seen a vast amount of young skilled creatives hailing from all over the world, currently challenging fashionâ&#x20AC;&#x2122;s status quo. However, fashion is also a tough playground and newcomers almost always have a hard time establishing themselves. Let me set the record straight here - talent and creati-


vity are a dime a dozen. Besides unwavering ambition and perseverence it sometimes just takes, as arbitrary as it may sound, a bit of luck to rise to the top. As the preceding yearâ&#x20AC;&#x2122;s developments have shown, the game is still run by household names. The following four designers in particular have made a lasting impression, once again raising the bar a little higher for the upcoming seasons.

most infl u ential designers

â&#x2020;&#x201C; Christopher KANE *1982

Christopher Kane


most infl u ential designers

â&#x2020;&#x201C; Hedi SLIMANE *1968

Saint Laurent


most infl u ential designers

â&#x2020;&#x201C; Riccardo TISCI *1974



most infl u ential designers

â&#x2020;&#x201C; Raf SIMONS *1968 Dior


larry clark


…Just do it, I don’t need any preamble, no explanation, nothing’…I’ve done this 10,000 times at least. Its like Taxi Cab Confessions… Turn it on, let’s roll…Rolling… are we rolling, Bob? Yes…

A Conversation With

LAR RY CLA RK by Jules Kim

Photographer Alessandro Simonetti

An acclaimed filmmaker, Larry Clark, pursues his inspiration to Marfa, Texas in his latest winning film Marfa Girl. Clark weaves stories from neglected towns and busy cities worldwide, always portraying the raw and unspoken beauty living there. This discovery has become the pinnacle of his artistic voice and stands to outlive not only the characters he brings to life, but also our judgement of them and their element. Larry revisits this sleepy Texan province, with photographer, Alessandro Simonetti and I in tow, to delve deeper into his work and ultimately reiterate his quest for hidden perfection. Larry Clark and I shared a true New York Taxi Cab Confession upon our return from Marfa to his Tribeca home in the following conversation:

Marfa Girl won Best Picture at the Rome Film Festival this year. How did you feel when they announced the results? When we won the Rome Film Festival, Marfa Girl- it really was a shock because I knew they were going to give me something because they asked me to come wearing a suit. So I figured it would probably be “Best Director” because I’m old and it would be for a body of work. I never expected to get “Best Film” because we came in at the last moment, kind of spur of the moment. Marco Mueller, the director of the Festival, came to New York and saw the film and asked us to be in the competition and so we had to scuffle to get subtitles made. It was a total shock. It really was. It was a surprise. Were you prepared with a speech or just adlibbed it? I just kind of took off and just started talking. I had one piece of paper in my pocket and it was this high school principal’s name on it. It was funny. That was all I had. Can you tell our readership exactly what went down when you did that? Well, the star of the film…the adolescent ingénue character that walks through the film and everything happens around him and happens to him, 16-yr old Adam Mediano from Marfa,Texas who I met down there a year and a half ago, was kind of who inspired me to make this film about this town because I saw what was going on. So anyway, he was supposed to come to Rome and he got permission from his mother and everything and everything was cool and at the last minute the school wouldn’t let him come. The principal of the school thought he shouldn’t have been in the movie and that I was some kind of pervert. She was slandering me and I have never met the woman. In return I called her out when I did my acceptance speech. Which, let me tell you, that acceptance speech was moreorless the coersion that led Alessandro and I to contact you because in our opinion, the movie was brilliant and your reaction was even more poignant, given being an artist, you finally had this air to say exactly what you wanted to say. Exactly, everybody can see the acceptance speech at and also the film. You cant download it but it streams for $5.99- 6 bucks and you can see the film. So its cheaper than even going to the movie theater. Its better. 99

larry clark

Exactly, because you control it. Where are these viewers watching? On their computers and mobile devices, yes? That was my idea. I saw everybody under 35 seeing all their media on their laptops and I said, why not go straight to them?? They are downloading TV shows; they’re watching all the movies…they’re meeting friends and finding where all the parties are; they’re hooking up with girls or boys and it’s all on the computer, on the web…on the information highway. It’s new for me. It’s a new phenomenon for everyone I guess. And it’s incredible, so why not just go to them so my whole idea was to make something for the Internet and I made a feature film and now I’m going to make a trilogy. I’m going to follow these kids , Mercedes Maxwell, who plays Adam’s girlfriend, she’s 16. They were born one day apart, they’ve known each other since they were 8 years old. We actually filmed on their 16th birthday. He was born March 8, she was born March 9th. So I’m going make a second film when they’re 17 and when they’re 18 so it’ll be a trilogy. In Marfa Girl, I kind of painted myself in a corner because this isn’t their story, I just made this up. But so much happens to them in the last ten minutes of the film that the film ends and we wonder what happens to them next.

card. I give them my films and DVD so they know. They understand that they can trust me and I trust them and it’s all about trust to be able to make a film like this.

I think there is always another cast of characters and that cast of characters is not the personalities but its more the places that you travel to. We find your work originating in places. The place provides a background for the characters and explains away most of their behavior. Do these places and stories come to you or do you seek them? They kind of happen. I look at my work and I see that it’s almost always about people that you wouldn’t know about otherwise. If I didn’t show you these people then you wouldn’t really know about them. So it’s always groups of people that people don’t pay attention to. They are just people like everybody else but when they are in films- like Latinos, they are stereotyped. People are afraid of them for no reason at all because they don’t know them. They are like on the margins. Actually, they’re not even on the margins, but they are marginalized by bigger society, I think. Sort of like you are exposing the underexposed…

Sorta like life, isn’t it? Yeah, yeah- it’s like life. So we’ll find out what happens to them… I’m writing the second one now. I’m having fun.

I also wanted to comment that its amazing to me that you find beauty in certain subjects like sex, drugs, and violence; whereas most identify these subjects as inappropriate. How did these everyday themes affect your narrative in your work?

Well yeah…I’m just doing what I’m interested in and I’m interested in these people. I’ve always been a storyteller so it’s kind of what I do. I’ve been doing it long enough that I trust myself. And Marfa Girl was a magical film that way. Everything happened and it worked out and if something didn’t work out, it worked out anyway. It was better if everything crashed and burned. It was better if there were mistakes made…if something happened that was unexpected. Life is unexpected. Kismet in a way, this whole circumstance, this whole film…

Well, I mean it’s just life. And I’ve been around; I’ve been making images for 50 years and longer. I know how to make an image and I’ve seen a lot. I’ve met a lot of people. I’ve lived a lot of life. So I just drew in all this to write this screenplay for the film and I kind of made it up as I went along. I was flying by the seat of my pants. I’ve never had so much fun in my life. Some of the actors in the film I found in Austin, Texas at a casting agency. Then I found real people in Marfa like Adam Mediano and Mercedes Maxwell, who are 16. Mary Farley plays Adam’s mother and she lives in Marfa…she used to live in New York. I’ve known her for about 21 years. But everybody, even the professional actors and the first time actors just gave me everything. They were fearless. Whatever I came up with or wanted to do, they did. There are some amazing performances and I think it’s my best film. Do you think they are fearless because of you? Well, I don’t know. I directed them so I convinced them. I trusted them and they trusted me. I have a body of work. It’s not like I’m some guy walking in and saying- I want you to do this…you know- I can give them my films, my books, my photographs, so its kind of like a calling


You being an artist, the way you speak about your work and also the way you treat your actors, screen play and whole process…there’s an extreme amount of integrity in your process and its been a long, productive and prolific career. I wonder, the cast of characters and places…they aren’t acting as themselves but they are acting out these underdogs. Yesterday when we were shooting, it was beautiful to me to see the way you interacted with your actors. You were tender and genuine with them. I’m pretty confident that will endure for the rest of your relationship with them. Since you built this family of eccentric characters, it seems the talent from your work is not only a cast but more like a family. Do you feel a responsibility to helping build a future for them? Well, you know, I do. I’m not just there to make the film and walk away or make a photograph and walk away. I’m in for the long haul. I’m interested because I like the people. I like all of them. I like Mary, I like Jeremy St. James who plays the bad guy, the Border Patrol guy…

larry clark


larry clark

He was a really good bad guy…

That you’ve reached it...

I kept putting more and more into him and asked more of him and he was really fearless and terrific. Mercedes and Adam are 16-year old kids and I’m really beating them up pretty good. I was telling them yesterday when we talked for your camera, that you really find out who your friends are after this because people get very jealous. When I first started making this film, the talk all over town was “Why are you using these kids? Why doesn’t he use good kids?” As if to say that these kids weren’t good because they weren’t model kids or they were rebels, they went their own way. The town is a conservative throwback to the 50’s where they pretend that everything is OK. That nothing is going on. Its funny, I’ll make a reference here that no one will understand. This town is so, you know, phony. They think they are better than everybody else. This town is like a Peyton Place. I said that everything that is happening in this town, they try to deny that it is happening, they’re trying to cover it up. I mean, they didn’t even sell condoms in this town. There’s no abortion, but kids are having kids all the time there. All this stuff is happening. They just pretend it doesn’t happen, I actually thought to myself- I’m not a young man, “I’m gonna do Peyton Place”…that kind of went into the mix. After I made the film, in the paper, a couple of months after we wrapped the film, a teacher in middle school had sex with a kid in Room 8. It was a 15-year old boy and the teacher was like a 27- year old woman and of course, the kid told his friends immediately! So it was all over the school, one of the kids told another teacher and one teacher got really suspicious because they were always together. I thought that every kid that goes to this school in Marfa, from now and forever they will think of Room 8 as the room where sex with a teacher happened. They pretend nothing is going on in this town but then here it is. I’m always early. I always make some work and people say that I’m the crazy one and then wait a minute, look what happens.

Maybe because of that low self-esteem I had, I never thought that I was doing anything and I do have a big body of work and maybe that’s what drives me. Like “I gotta do more, I gotta do more” and I will do more. I’m going to make a bunch of films.

Well, Larry – from a personal level, not only a professional level…your passion is really inspiring. Thank you very much and it was fun to go down there. And I’ll see you guys soon!

Larry, given your personality you are a leader, not a follower, that is for sure. Clearly its obvious, even their headlines are starting to change now since your film has been produced. Do you think that Marfa is going to change? Everything changes. I mean you have all these kids with access to the Internet and they still have a curfew at 11pm. The Border Patrol is there and if you’re Hispanic and you’re out past curfew, the Border Patrol tackles you and asks you for your papers. You’re a school kid; you got your backpack on! That’s ridiculous. The Border Patrol has no authority except for that. They also have corporal punishment in school for kids, they paddle kids in kindergarten up to highschool! That’s like in most states a felony! That would be assault or child abuse and you get arrested for that but in West Texas, it seems to be ok… but its interesting what you said that I have been prolific and done a lot of work. I’ve always felt that I haven’t done anything, you know? And it’s always like everything I do is like a comeback for me in my head. It’s funny that way. This is the first time with this film that I’m enjoying it and thinking that I’ve done something.



Photographer Yves Borgwardt


Photographer Yves Borgwardt using Leica S2 Model Maurice Styling Saskia Schmidt H&M Ocean Styling Credits Shirts paradisefound Pants & Jackets Herr von Eden Shoes Vans Sunglasses Lunettes

RIO Photographer Luise M端ller-Hofstede










Mister Freedom



Repro Text Lena Dystant

In a market preoccupied with heritage and storytelling, repro brands continue to demonstrate what true authenticity means. Bridging the gap between old and new, the devil is in the detail and itâ&#x20AC;&#x2122;s the attention paid to the little things that allow knowledgeable makers to resurrect beautiful garments from the past.


s it important that each piece of clothing you wear carries a history? No, not really. The appeal of pulling a tag from a crisp white oxford or a new pair of jeans is universal and undeniable. 'Newness' is the driving force behind consumerism in fashion. You have one chance to wear something for the first time and much of its attraction is tied in with slipping into something unsullied and unworn. However, the reverse, the opposite, holds an equal appeal for many. Vintage collectors, beginners and professionals in the game, will understand the appeal of picking up a piece of clothing that has lived a life. A stenciled US Navy N1 jacket, a pair of faded 1960s Big E Levi's, the broken in leather of a well-used wallet. Grown men and women have spent many hours and much cash chasing these broken in relics, on a mission to hunt down something unique. So, perhaps itâ&#x20AC;&#x2122;s the desire for both the shiny and new and this obsession with the clothing

of the past that fuels the Repro market. The number of brands using very specific references from days gone by to recreate a piece of 'new' history is growing. The very best command a loyal following who hang on news of the latest release and, while their audience is somewhat niche, the internet's ability to leave no secret ntold means that interest is growing every day. Take for example one of the best. Eastman Leathers, a British label headed up by Gary Eastman, blurs the line between fashion, vintage and historical garment. Eastman's decades of knowledge recently lead to the release of a reference manual entitled "The Type A2 Identification Manual." Each model of that legendary leather flying jacket (Gary owns at least one of every single version made) is broken down into its constituent parts. Zippers, manufacturers, leather type and date of contract are examined with the kind of geek like precision more associated with trainspotters. Basing his collections on these very details, it's this ability to create



something even more precise than the original that has Eastman fans hooked. Another man with an encyclopedic knowledge of his chosen subject, Christopher Loirin, heads up a brand with an equally dedicated following. While Mister Freedom may have found its way onto the backs of Johnny Depp and the like, its real achievement is winning over those hardcore vintage fans who wouldn't consider wearing anything pre-fifties. From the Old West to French 'Apache' criminals from the 1900s, much of the collections originate from a single swatch of beautifully aged original fabric or a set of ox-bone buttons found in an antique market. Breaking each item down to its smallest parts, fixating over the smallest stitch, means that the finished product is something very special and very much the sum of its parts.

For anyone with an obsession with vintage, the thrill of chasing down the impossible item is part of the attraction.

A while back I sat down with Neil Starr of London based brand North Sea Clothing. An obsession with World War 2 movies, specifically ‘Das Boot’, lead him to research the incredible all-weather knitwear worn by British and American sailors. Never interested in making ‘a version’ of what he saw in old films and photographs, Neil spent months looking for a British mill that could handle his very exact list of specifications. He now offers a selection of these pieces knitted to a very specific weight and pattern built off of original items.  A small business with a considerable following, it's the absolute attention to detail that is central to its appeal. Of course, the fact that wearable pre1950s knitwear is almost impossible to find, thanks to those pesky moths, wouldn't have done NSC any harm.


When it comes to recreating and reproducing, the most fascinating market has to be denim. Another great example of new brands filling in the gaps for collectors in place of that elusive original. Denim was made to work hard in the twentieth century, consequently vintage collectors are left with beautifully aged blue with a ten inch gaping hole at the knee or a bust out crotch too far gone for repair. The perfect pair of good condition midcentury jeans exist but in such small numbers that most ordinary folk are priced out of the market. Luckily there are more brands then you could name on these pages willing to step in. From Sugarcane to Warehouse Duck Diggers - Many of the best hail from Japan and it’s years of research and testing that have perfected denim that fades in a truly authentic way. Back in America, denims spiritual home, old becomes new in the truest sense. Michael Allen Harris, best known as ‘The dude who digs for denim in dusty mines’ deals in antique jeans from as far back as the 1800s, collecting mainly scraps and remnants as opposed to anything near wearable. Piecing together various sections, Harris recently joined forces with Swedish brand PACE to create a pair based on nineteenth century Neustadter Brothers denim found whilst exploring. All those idiosyncrasies in tact; single back pocket, donut suspender buttons, buckle-back, this is as close as we'll ever get to wearing true miner’s denim. So, while the idea of 'Heritage' continues its march forward, a term much overused, losing its meaning along the way, there's something about Repro garments that as a consequence ring as true as ever. For anyone with an obsession with vintage, the thrill of chasing down the impossible item is part of the attraction. That unique quality of used clothing can be replicated but never recreated. However, with so many knowledgeable makers out there attempting to bring the old back to life, archives at the ready, each detail painstakingly refined, something both new and familiar is produced and a more than willing audience is ready to snap it up.



North Sea

Mister Freedom

Michael Allen Harris


B oys





‘You know, I have problems with melodies. My music is not about writing songs. Or writing the perfect melody. It’s more about finding good sounds; the sound of the human voice is not something I’m too excited by. And I don’t play around man, I love to fucking party!’ Boys Noize

Text Kingston Trinder Photos Park National


lexander Ridha needs coffee. Good, strong coffee. Now. skedaddled off a plane, just up from New York City, he and his entourage have arrived here,in Montreal, for the far North American chapter of his Out Of The Black tour. Naturally he’s somewhat weary. We go get coffee. We have him marvelously well dressed. We take a portrait or two; and then we have ourselves a quiet word. Alexander’s tongue is thick with Germany. He’s unexpectedly tall and his forehead is cleaved by an unforgettable mono-brow. He is 31-years of age, immensely affable, and rather fond of almond tarts. Beneath the villainous gaze, Boyz Noize is somewhere in the blackened depths of Montreal’s New City Gas.

Ridha spoke to Park National about narcotics, collaborations, record labels & memo- ries, & how he adores the voice of Marvin Gaye. PARK NATIONAL: What an audience projects can often compel a performer to adopt a persona. Do you find you adapt or alter your character, on & offstage, unconsciously or otherwise? BOYS NOIZE: No to be honest, I pretty much just really be myself. I’m happy when I play out, & that is something really strongly connected to the crowd. They feed off that, they see I have a lot of fun. And I dance myself when I play. I really love what I do. I don’t have to go on & be like ‘its Showtime!’ And I don’t have to do this weird performance. It’s not like that. I never feel like this.

PN: And what do you do with that crowd’s immense energy & adulation? Where does all that energy go? How does it affect your performance? BN: Sometimes you realise it way after it happened, because in the moment, when you really play in front of those huge crowds, thousands of people, it’s kind of a surreal moment. If you really think about it, that’s ten thousand people listening to what you’re doing. And they look at you. Ten thousand people! And they all react to what I do. I realise way after, or even years after, or a year after, that, this was actually pretty incredible. That I was able to control, basically control the emotions, of so many people.



PN: Memories of a Boys Noize performance could live on, long after your death. What do you think about the idea, of your immortality? BN: I’ve had so many moments where people were telling me, ‘I’ve never seen this crowd before’, ‘I’ve never experienced that kind of night’, ‘this was the best night of my life’. But then recently I started to be like, ‘all right, but then next weekend, you know, you’ll be listening to someone else’. I’m still doing albums, because I believe that the idea of the album, is to capture a moment in your life. And that’s just the music I want to do. PN: You use an immense amount of samples in your music, & collaborate with a variety of musicians. What, however, is the one genre of music that resonates with you least? And why?


BN: I don’t listen to country music really. But I don’t have anything against it. Maybe Trance. I really don’t like Trance. As a producer, as a musician. I can’t connect with it emotionally. Its cheap emotion. I listen to anything, except Trance. I can’t deal with those most simple chords, that most simple way of creating a melody, with the cheapest sounds.

that’s what I love about electronic music too. There are no real rules, there is no rule like, that this sound has to be like this, & this has to be placed here, like, in a rock band where the drums & the guitars here, & the vocals here. You can do whatever you want. I can sample the interview now & make a beat out of it. You know, & that’s why I love this music.

PN: You taught yourself a number of musical instruments when you were younger. Do you believe not having a formal knowledge of music is an asset, when it comes to creation?

PN: And when you come to creating your music, where do you find inspiration? Where does a Boys Noize song begin to germinate?

BN: My favourite musicians have always been autodidacts. I think there’s always something very special, very magical, in when you create something, & you don’t really know what you’re doing. You’re a lot more free in a way. And

BN: Well, I can’t go into the studio & tell myself, I want to make this today, I want to make this today. I don’t have a concept, have a template, I just start with anything. I think inspiration comes from many things you know. Its not like there’s just one thing that inspires me. And I’m


happy too, to inspire people with my music, with my shows. And I’m happy when people come up to me & are like, ‘Yo, I did this track, its inspired by you’. I love all that. PN: Waking by day, sleeping by night, that natural cycle is known as the Circadian Rhythm. Disrupting that rhythm over long periods of time is proven to both alter perception, & lead to clinical depression. Being nocturnal as you are, where has that lead you creatively? Has it altered your perceptions at all? BN: I’m not a person that is like this, because I’m so happy with what I’m doing. I think I can’t be depressed, because, you know, I’m just so lucky to do whatever I want, & make a living out of it. It’s just, the most incredible thing. So how can I be altered? Even if I wasn’t successful, still, music would give me everything I need.

PN: You’ve been performing for nearly a decade now. What on earth keeps you touring, creating, collaborating & producing? BN: Oh, there’s many things, I mean, first of all, I just love to be on stage. I love to be in front of people. And, make them happy. I love, love music & sounds. I’m always inspired by new productions, & new records. That’s why I love to DJ because; I just have so much fun listening to that stuff for hours. It all sounds a bit cheesy, but it’s really that way. Otherwise I couldn’t do it. And I love to travel; I love to meet interesting people. I probably couldn’t really stay in one place for so long time either. Yeah, that’s it maybe. Pretty simple.

Boys Noize is Alexander Ridha. Out Of The Black is available now.

Interview notes: Boys Noize interview was conducted on 6/12/12 at New City Gas, Montreal, Canada, by Kingston Trinder, on behalf of Park National Inc.


A hundred years in disguise Barely any other pattern had such a tremendous impact on global popular culture than camouflage. Approaching its 100th anniversary we take a look back on its fascinating history.


C'est nous qui avons fait ca!” - “It's us who made this!” uttered Cubist colossus Pablo Picasso when he eyed a cannon covered in a conspicuous pattern being pulled through the streets of Paris during World War I. “Us” referring to the Cubist art movement and “this” referring to the all-over pattern which would later be known as camouflage. Approaching its 100th birthday, the pattern has long since transcended the confines of military garb and become a pop culture phenomenon. One can only imagine how Picasso would react to the sight of fashionistas rushing down Rue St. Honore clad in vintage M65 field jackets, clutching their Dior Anselm Reyle Camouflage handbag; or to the dapper gentleman in front of the Fashion Week tent sporting an immaculate double-breasted camouflage-patterned suit. Despite Cubists claiming the invention of camouflage, its origins can be traced back at least a half century before. From the late 17th century until the 20th century, the majority of British soldiers sported a madder red (later scarlet red) uniform; hence the term “Redcoats” during the American Revolution. In the wake of the 19th century's technological advancements, muskets – in use since the 16th century – were dropped in favor of more accurate and reliable rifles. The bright redcoats which initially

helped distinguish between allies and enemies on the battlefield, now provided an easy target for enemy gunfire. Forces operating in British India and Africa had already adopted khaki uniforms, which not only suited the region's climate but blended in with the landscape as well, ensuring better protection from enemy eyes. It wasn't until the beginning of the 20th century, however, that the entire British army followed suit. The turn of the 20th century is characterized by a never-before-seen speed of technological progress accompanied by equally significant cultural developments, not the least of which was the fine arts. Beginning with Art Nouveau in the late 19th century, artists were heavily influenced by the seemingly unstoppable and technical advancement which came to a sudden halt with the onset of World War I. In the years preceding the war, a number of artists and designers were particularly drawn to the machinemade environment as a source of inspiration. Most notable is the Futurist movement which expressed a strong admiration for the beauty of machinery as a symbol for freedom, speed, and progress. Futurist painter Giacomo Balla, anticipated what could be labeled an early form of camouflage. Decorated with drawings of asymmetrical circles, triangles, ellipses, cones, and spirals, his “anti-neutral” suit was specially

designed to be worn by his friend and fellow Futurist Francesco Congiullo during demonstrations in support of Italy's entry into World War I. Enthusiastically welcomed by artists from every movement, the war proved - despite its gruesomeness - highly inspiring, eventually spawning the modern camouflage pattern. The French army was among the first to employ intricate patterns, developed by cubists such as Picasso and Georges Braques, but most notably Andre Mare, to disguise large and heavy military equipment like trucks and cannons. Serving in an especially established section of the French army called the “camoufleurs”, the aforementioned artists were developing patterns for the French, as well as other allied armies. Around the same time, Lieutenant Commander Norman Wilkinson of the Royal British Navy invented a pattern that changed the course of sea warfare significantly. Reacting to the devastating attacks by German U-boats on British military and merchant fleets, Wilkinson created a bold pattern comprised of contrasting, colorful, and dynamic shapes. Although making the ship instantly recognizable, the pattern disrupted its actual form making it nearly impossible to determine the ship's size, position, and direction. As a result, ships covered in the

bold pattern were difficult to target. This tactic, however, proved obsolete with the emergence of radar technology. During the interwar period, especially during the 1930s, the German military spearheaded the development of camouflage. The infamous Waffen-SS alone distinguished between five different basic patterns which looked somewhat similar to those invented by the U.S. military. To prevent confusion on the battlefield, U.S. soldiers serving in Europe sported the standard khaki and olive-coloured battledress, while those fighting the war against Japan in the Pacific were issued camouflage uniforms. It wasn't until about 25 years later that camouflage transcended the military sphere and become a rather ambivalent symbol. The Vietnam War was the first military operation that faced major opposition among the U.S.'s citizens, creating an unprecedented anti-establishment culture. The “Love and Peace” generation could be seen chanting phrases like “make love, not war” while wearing camouflage (or more likely olive drab). All of a sudden, a garment, which like no other symbolizes uniformity and obedience to authority, revealed its mixed, subversive nature. It allowed the wearer to hide and stand out at the same time and provided a means of segregating oneself from the authority and its violent methods. Above all it provided the anti-war 149

movement with visibility and credibility, as the uniform distinguished the wearer as one who experienced the war firsthand. It didn't matter if the wearer was a veteran turned protestor or merely a sympathizer, camouflage united them in their cause. As jeans and t-shirts did in the 1950s, camouflage in the 1960s and 1970s provided the rebelling youth with a means of opposing not just the ruling system but the fashion establishment as well. A fact that contributed to the emergence of streetwear as an authentic fashion alternative. Pop-artist Andy Warhol is often credited for paving the pattern’s way into mainstream. It was, after all, his large format camouflage canvases that inspired New York fashion designer Stephen Sprouse to use the pattern in his Fall/Winter 1987 and Spring/Summer 1988 collections. The beginning of the nineties saw camouflage exploding into everyday fashion. Lead by musicians ranging from the polemic rap group Public Enemy to the radio-friendly British boy group East 17, camouflage soon became a staple of global youth and club culture. The pattern became - and still is - a recurrent theme in collections of the likes of Supreme, Maharishi, and 150

A Bathing Ape, among many others. However, with the line between high and low gradually blurred over time one must take into account that streetwear and camouflage is now largely devoid of its initial subversive character - especially with regards to the mainstream coverage and celebrity endorsement these brands enjoy nowadays. Throughout the 1990s fashion designers like John Galliano and Jean Paul Gaultier followed Sprouse's example further establishing camouflage's pseudo-functional chic, replacing obedience to military rank with obedience to fashion labels. Soon, the pattern's ubiquity and its overuse - from toddlers' shoes to toothbrushes – led to it falling out of favor among the fashion crowd. The pattern was left to bloodthirsty African warlords, trigger happy rednecks, and dangerous terrorists like Osama Bin Laden whose most memorable appearances include him wearing, besides his traditional outfit, what looked suspiciously like a U.S. woodland pattern field jacket. Only recently a court rule granted admitted 9/11 plotter Khalid Sheikh Mohammed the right to wear camouflage garb in the courtroom provided it is not American. The common practice of Mujahedin and Guerrilleros to wear the enemies' “hide” in order to

obtain their powers might be considered an archaic practice. However, it is still an integral part of contemporary fashion mechanics in which the power is derived from the (right) label or style worn. Just like the leopard pattern in womenswear, camouflage can be considered the epitome of manliness in men's fashion. And just like its female counterpart, camouflage's popularity is very much prone to sudden changes, ranging from “wouldn't be caught dead wearing it” to one of “Paris Fashion Week's Top 10 Trends”. The recent renaissance of camouflage in men's fashion only emphasizes that deep longing for authenticity and an image of manliness - a longing indicated by a return to traditional craftsmanship and the reemergence of heritage brands. Camouflage conjures up or simulates a rugged and outdoorsy image of manliness, a rarity in secure and predictable urban environments where men spend their days at their desks staring at computer screens instead of chopping wood and shooting deer.

Woodland and Tigerstripe. In comparison, these classic patterns appear nostalgic and downright antique. Ongoing efforts in camouflage research even suggest the pattern's eventual obsolescence. Wired Magazine cited a technology which would give military vehicles “invisibility cloaks” as one of their “125 Must-know Trends and Ideas for 2013”. Designers though remain unimpressed by these technological developments. As recent fashion weeks have confirmed: camouflage is here to stay. Dries Van Noten, Valentino, Comme des Garcons, and Pringle of Scotland all anticipate an upcoming summer of camouflage, honoring the pattern just in time for its upcoming 100th anniversary. As the fashion bohemian he was known for, I'm pretty sure even Picasso would approve.

The avant-garde, however, can still be found among the military. In the late 1990s the Canadian army switched to an entirely computer generated pixel pattern called CADPAT (Canadian Disruptive pattern), which seemed rid of the outdoorsy romanticism evoked by 151

B arbo u r F actory V isit



barbo u r


barbo u r

Text Brock Cardiner Photos David Fischer,


ow synonymous with waxed cotton jackets, Barbour was originally founded in 1894 by John Barbour in South Shields, England as an importer of oil cloth. Since then, the British brand has passed many milestones and become inseparable from certain eras and pastimes while looking toward a future full of innovation and originality. The first milestone came in 1917, 9 years after the company's introduction of the first mail order catalogue, when Barbour jackets were being shipped as far away as Chile, Hong Kong, and South Africa â&#x20AC;&#x201C; countries known for their wet, humid, unpredictable climates. 1934 saw the introduction of the iconic motorcycling jacket that would later become an integral part of both national and international motorcycling. In fact, virtually every British cycling team wore Barbour suits until the company pulled out of the motorcycle clothing market in 1977. During the Second World War, Barbour worked in conjunction with Captain George Philips of the Ursula submarine to develop a standard issue outfit for the Submarine Service aptly titled the Ursula Suit. The groundbreaking suit introduced technical innovations unheard of in Submarine wear until that point; now the unprecedented suit is highly sought after by

history and clothing buffs alike. 35 years later, in 1974, Barbour received its first Royal warrant from the Duke of Edinburgh for providing timeless clothing to the royal court and certain royal personages. By 1987 the British clothier had received 2 more warrants from Her Majesty the Queen and the Prince of Wales. Fast forward to today where Barbour has stores in over 40 countries with 11 in the UK alone. With its long and storied history, the English brand is no stranger to international clothing that's both functional and fashionable. There are now over 2,000 products across the 2 seasons with collections catering to Men, Ladies, and Children. Broadening out from its countrywear roots, the heritage and lifestyle clothing brand now produces clothing that is designed for a full lifestyle wardrobe. Exploring this new territory in full is Daniel Craig as James Bond in Skyfall with the Barbour x Tokihito Yoshida Sports jacket â&#x20AC;&#x201C; the perfect symbol for Barbour's constant fusing of tradition with ingenuity. Eager to learn more about the clothier's unrivaled legacy we hopped on the opportunity to visit the factory in South Shields where over 100,000 Barbour jackets are manufactured by hand each year. Join us for a look inside the factory to trace the creation of a Barbour jacket from concept to completion.


G - S hock







G - S hock

G-SHOCK history


ith G-Shock's presence stronger than ever you'd never guess the iconic watch debuted 30 years ago in 1983. Tired of flimsy and unreliable electronic watches, Casio engineer Kikuo Ibe had the ambitious idea of creating a watch able to withstand his triple-10 concept - 10 bars of water pressure, 10 years of battery life, and droppable up to 10 meters. Each G-Shock produced since lives up to these standards, although Ibe walked down a long road of trial and error to get there. He and his team began with various metals, each stronger than the last, in hopes of protecting the watch's precious innards. After tossing over 200 prototypes from the thirdfloor window of the Casio headquarters to no avail, Ibe happened upon the right blend of materials on his way to work. Watching a few kids mess around with a bouncy ball, the Casio engineer was struck by the idea of protecting the delicate digital workings within a cushioned sphere. A few prototypes later, the first Casio G-Shock was born. Text Brock Cardiner

Embraced in the blink of an eye by active youth, the G-Shock allowed urban youngsters to bike and skate without fearing for their watch. Since then, G-Shock has continued pushing the limits of activewear with hundreds of different models produced for the most extreme activities. Both the DW-5600C and 5600E were Flight-Qualified for NASA space travel while the GB-6900 was one of the world's first Bluetooth-capable watches. The latest models include atomic clock synchronization and Tough Solar functionality giving G-Shock watches the most accurate form of timekeeping possible. As a testament to this, the Cockpit Series G-Shock was named the official timekeeper of Nismo Racing. Heading into the new year, the watch continues to be popular amongst mountaineers, firefighters, police officers, and even movie directors like Ron Howard and Francis Ford Coppola due to its unrivaled resilience and unwavering precision.


G - S hock

G-SHOCK Anniversary




o commemorate the watch's 30th anniversary, G-Shock has teamed up with Medicom Toy to release a limited edition timepiece featuring Medicom's well-known Be@rbrick. The DW-6900MT-7 incorporates the Be@rbrick's â&#x20AC;&#x153;@â&#x20AC;? symbol on both the back and display of the watch while stars of red, blue, and yellow dot the strap. In addition to G-Shock's famous shock resistance the watch includes an EL backlight, water resistance up to 20 bars, flash alert, multi-function alarm, 1/100th second stopwatch with countdown timer, and 12/24 hour formats. To complete the concept and design, the limited edition G-Shock comes packaged in a special Be@rbrick case for safekeeping and display.

Continuing its anniversary, G-Shock will open a handful of pop-up shops across Europe called G-Sessions. Each shop will offer an exclusive selection of limited, unusual, and rare models along with a comprehensive 30th Anniversary Collection. Weekly events, panels, and workshops take place at each G-Session giving great insight into the brand and its cultural environment. With concerts by both well-known artists and up-and-coming talents, each shop turns into a meeting point for the urban and creative community. Designed in collaboration with the legendary graffiti artist Mode2, the shops communicate a unique design language that fuse the world of timeless watch design with the world of street art.

Text Brock Cardiner


G adgets


The home video game market has been dominated by a handful of big names until now. Enter OUYA, an open-source console built on the Android mobile OS designed to bring the openness of mobile and Internet platforms to console games. Simply plug the device into your TV, download or stream a game, and start playing. Headed by industry veteran Julie Uhrman with design by Fuseprojectâ&#x20AC;&#x2122;s Yves Behar, the Ouya brings a whole new approach to the home video game market.


G adgets

Form 1 3D Printer Formed as a spin-off from the MIT Media Lab in 2011, Formlabs developed a high quality 3D printer for designers and engineers which allows for 3D printing at the touch of a button and at an affordable cost. Using a process known as â&#x20AC;&#x153;additive manufacturingâ&#x20AC;? in which material is added layer upon layer, the Form 1 uses a fraction of the material required in traditional fabrication and with equally impressive results.

G adgets

M a r s h a ll H a n w e ll Sp e a k e r Marshall enters the home speaker market with the Hanwell: a powerful standalone unit featuring dual long-throw woofers for those deep lows; and 2 hi-fi tweeters for those crisp highs. The speaker attains that trademark Marshall sound behind some of the 20th centuryâ&#x20AC;&#x2122;s greatest tunes. Powered by a 100 watt PWM amplifier, the Hanwell resonates with the power and presence of live music.

G adgets

Leica M The Leica M as in “Milestone” delivers a whopping 24-megapixel, 35mm sensor in addition to a new CMOS sensor allowing for the use of both M and R lenses. The 3” display with 920,000 pixels gives a precise assessment of the subject seen through the lens and makes for a rich monitor when playing back videos recorded in 1080 pixel full-HD.

Pebble E - pa p e r w at c h Funded by a phenomenally successful Kickstarter campaign, the Pebble E-Paper Watch is a customizable watch featuring an e-paper display, the ability to connect wirelessly to your smartphone, and a comprehensive app store. Glance down at the watch to see who’s calling, skip to the next track, or record your metrics while running.


B ec B rittain – S H Y L ight Text georgia reeve

Born in Washington, DC in 1980, Bec Brittain mo-

the spare beauty of thin LED tubes to define the

ved to New York to study industrial design at Par-

edges of its shape. In this way the function of the

sons. Sh then earned a BA in philosophy from New

piece is created by its form. It is also inspired by

York University, follo-wed by an architecture de-

crystalline structures; both by the shapes they

gree from The Architectural Association in London.

take as well as their growth. The modular hardware that comprises the SHY light can be recon-

Brittain’s expertise is as varied as her education,

figured in a myriad of different ways, taking new

gaining work experience before she started her

shapes according to what the space demands.

own product design studio in 2011.

Like crystals, each can be different while sharing the same structural foundation.

The SHY Light (which takes its name from the initials of the designer’s grandmother) is made of

T I N 164



Aluminum, Brass and LED tubes. The light uses


G u stav D ü sing – S paceframe S eries


Gustav Düsing (born 1984) studied architecture

cross-bracing which can also be used as a diago-

at the Architectural Association in London and

nal shelving system. Through the adaptive qua-

currently works at Barkow-Leibinger Architects

lities of these structures, the table comes as a

in Berlin. Throughout his research and practical

single unit as well as a multiplied version of two,

work, he has focused on digital fabrication and

four or more.

application of material systems in various scales



with 2 3 D C hair

The formal design concept of the Chair 23D is In his Spaceframe Series, Gustav Düsing created

based on the natural form of a vertebrate: a cen-

furniture largely influenced by his architectural

tral backbone element defines the overall shape

background. The unique form-language clearly

of the chair and branches out into a set of ribs,

reflects structural logic and cutting edge fabrica-

forming the seat. The legs are designed to provi-

tion technologies.

de a stable. The single elements of this chair are planar and designed to be slotted into each other,

The coffee tables are a direct translation of

without the necessity of any glue or screws. To

downscaled architectural elements. The princip-

maintain their position, all joints are defined as

les are based on ‘Space-Frame Structures’ which

an interlocking system.

can often be found in large scale infrastructural buildings such as airports and train stations. Stability is provided through three-dimensional



A lbertine van I terson T he H eptagon L ight





Albertine van Iterson graduated from the Academy of Fine Arts Maastricht. Living and working in Berlin the Dutch product-designer was inspired by artificial lights all around European cities and especially in the Germanys capital. The shape of the Heptagon Light references the geometric aesthetics of the 7 sided Heptagon polygon, rarely used in objects within our common surroundings. Van Iterson chose this shape to stand for the 7 days of a week. The geometric frame around the light source makes it possible to capture light in a different, more focused way. The flat surfaces that are made of 2mm museum-carton guide the light and turn it into straight lines that emphasize its focus in a subtle way.



L oftmen - B ird F eather /


The Bird Feather series is designed and built by Brooklyn based studio Loftmen. The dresser and night table are made from white oak with a white oil finish and pigskin pulls.



dresser and night table




Smart for jeremy American fashion designer Jeremy Scott, known for his attention seeking and colorful designs, recently got to work reinterpreting Smart fortwo. The outcome being the Smart forjeremy featuring amatte white outer with shiny silver accents, the two oversized rear wings - both signatures of the designer and without a doubt, the highlights of his new Smart creation. The Smart forjeremy arrives in a limited edition in 2013.



2014 Porsche Cayman Presented for the first time at the 2012 L.A. Auto Show, the new 2014 Porsche Cayman is lighter, faster, more efficient, and more powerful than its predecessor. The Model S will come with a 325 hp 3.4 liter engine, that should satisfy any car enthusiast and Porsche fan.

BMW 4-Series Coupe Concept Officially replacing the much loved 3-Series Coupe sometime in the future, BMW introduces the all new 4-Series, which takes the best from the 3-Series and the 6-Series into exciting new models. The 4-Series Coupe Concept is a first detailed hint at the future of this category for the German car maker.

2013 Range Rover Land Rover recently unveiled the all new version of its flagship off-roader, the 2013 Range Rover. Overhauled from top to bottom, the new Range Rover impresses with a new engine, new interior, and a plethora of futuristic updates that ones again position it at the very top of the luxury 4x4 market.


Riva Text Brock Cardiner

In 1842 a terrible storm wreaked havoc on Lake

2011 saw a collaboration with Gucci on an exclu-

d'Iseo leaving nothing but damaged boats and

sive made-to-order “Aquariva by Gucci” to cele-

disheartened fishermen with no means by which

brate the fashion house's 90th anniversary. This

to work. Almost miraculously, a skilled young car-

unique collaboration between two of Italy’s most

penter arrived from Laglio on Lake Como and ma-

renowned design houses celebrated the era of La

naged to repair most of the boats, earning himself

Dolce Vita, when a joie de vivre, glamour and ele-

the esteem and admiration of the townsfolk.

gance defined an attitude and a lifestyle.

This skilled young carpenter was Pietro Riva

Looking toward the future, the Italian shipyard has

whose legacy lives on today. After settling down

introduced the Riva 122' Mythos, the company's

in Sarnico, Riva opened his shipyard and built

first aluminum planing mega yacht. The model

the very first Riva yachts, the likes of which no

successfully transfers the flair and clean lines

one had ever seen before. Riva quickly became a

of all Riva models to a new line made entirely of

well-known, respected shipbuilding company and

light aluminum alloy. The planing aluminum hull

continued to flourish under the management of

reaches a peak speed of 27 knots, with a cruising

Ernesto Riva, who succeeded his father.

speed of 25 knots, due to two MTU 12 V 4000 M 93L engines. Both the interior and exterior afford

The years following the Great War saw Riva boats

spacious areas ensuring an exceptional cruising

veering away from transportation towards mo-

experience. The main deck features a large and

torboating, still in its infancy at that time. Under

comfortable sun pad and table next to a salon and

Serafino Riva, these advanced ships broke seve-

dinette offering amazing panoramic views. The lo-

ral records in national and international compe-

wer deck, amidships, hosts the owner's suite and

titions. By the 50s, Riva boats had become syn-

the guest cabins while the crew area is located to

onymous with elegance, status, and perfection

the bow. The platform has been designed with an

preferred by royalty, celebrities, sport champions,

electro hydraulic system which allows users to

and businesspeople.

safely plunge into the water or dive from the aft area. The sun deck, which can be accessed from

Today, Riva continues their tradition of excellence

an external ladder, was designed to offer the ow-

with outstanding craftsmanship that combines

ner and his guests the utmost comfort; featuring

the artisan craft of shipbuilding with the allu-

a Jacuzzi swimming pool surrounded by wide

re and beauty of luxurious design. In 2010, Riva

sun-bathing sofas, with a dinette area and fold-

collaborated with Mark Newson and Officina Ita-

able table.

liana Design to reinterpret the classic “Aquariva” speedboat first introduced in 2001. The result

The Riva 122' Mythos proudly carries the iconic

was the “Aquariva by Mark Newson” featuring a

Italian ship company into its 170th year, uniting

textile-based laminate along the deck area and

lasting custom with groundbreaking and modern

instrument panel. The material's organic feel


and aesthetic paired perfectly with the anodized aluminum used throughout the exterior, echoing Riva's desire to constantly fuse tradition with innovation.



T h e o p h i l u s L o n d o n

Text georgia reeve photo Robert wunsch

Rapper Theophilus London was born in Trinidad and grew up in in the US. His first album, Timez Are Weird These Days, was released in July 2011, and, as I found out during our conversation, his second album is in the making. London, however, is not only a musician but a designer and entrepreneur as well, having run his own company since 2008. With a love for fashion, he and his friends started the creative group and brand LVRS, best known for their capsule collection snapbacks featuring the logo in large white lettering against a black background. On a Saturday afternoon we sat down to talk about fashion collaborations, his plans in Berlin, and Karl Lagerfeld.


Your name is Theophilus, what's the story behind your name? It's Greek and it’s my great grandfathers name, so I am Theophilus the 2nd. So he was Greek? No. I don’t think so… »he laughs out loud« At the moment you're touring Germany supporting SEEED. What's that like? I like the tour a lot. It’s one of the most backto-back tours I've done and the first arena tour. There’s healthy food, fresh fruit, and there’s no girls…. »laughs« Peter Fox is a very good lyricist and I like how they put on a big show every night. It's kind of reggae and they cover a lot of American songs. It’s my first time hearing about them and they seem pretty huge out here. The lyrics are all in German though… Yeah, so I don’t know what’s going on. Doing some research I found this very eclectic definition about your music style: “London's genre-bending approach draws from a range of ­ styles, from soul-pop and post-punk to electro and contemporary R&B, citing influences that include Michael Jackson and Prince as well as Kraftwerk and the Smiths.” I think that’s a bunch of lies. »we both laugh« I think I just like to make progressive music and progressive music is what I aim for. That’s one word: progressive.

I got my hands on the book The Little Black Jacket by Chanel which you're featured in. What is your relationship to Chanel and to Karl Lagerfeld?

years that will work. Until then I will make it the most taste making thing on the market. Do you do the designs yourself?

Chanel has been a special relationship because from what I know they don’t really work with artists, but they really treat us nicely. We’ve been doing a couple of events for them in New York and Australia and we’ve done events for them in Paris. We’re just friends with the brand and it's great to say that. If I need any Chanel I can just call up and say, “Hey I need that,” and I can get it – that’s cool. Karl admires me and I admire him as well and it was good to work with him on the book. I am a fan of what they do. How was the shooting for the book? It was great. I remember going there and Yoko Ono was there and Karl Lagerfeld was there… yeah. You are very involved with fashion and have teamed up with Surface To Air and Stussy among others to release capsule collections. What draws you to fashion? Well I started a brand in 2008 called LVRS – the Lovers. And then did some collabs here and there; like with Cole Haan I did some loafers and I’ve done a hat and I’m working on a trucker for Surface To Air. I think its cool and it’s a good side project. I like to design; I like to make things better. The kids like to wear what I wear, and I want them to be able to get it so I put it out limited for them. I think that's cool. One day I’m gonna sell the company for like 5 billion dollars, but maybe in a couple of

I have a team and do maybe 79% myself. That’s precise! Totally. Are there any fashion collaborations planned for 2013? Just Surface To Air; doing a limited edition jacket and that’s about it for now. Maybe there’s more to come but I’m working on my album right now and that’s my focus. You're working on your second album, who are you working with? There's a lot of cool people that are gonna be on the album. I’m actually starting to write here in Berlin in a couple of days, so I’m excited. Are you going to work with some German artists? Maybe… maybe. Sounds like a big secret. »He moves his head like saying yes but then saying no, smiles broadly and gives me a high five«.



M i x ed m u sic

A$AP Rocky - "Rakim Mayers, better known by

The Harlemite caught up with WiLD 94.9’s Nessa to

his stage name A$AP Rocky, made headlines when he

discuss his new single ""Fuckin' Problem,"" featuring

announced that he would be releasing his major-label

Drake, 2 Chainz, and Kendrick Lamar, and the delay

debut on Halloween, 2012.There was only one problem;

of his highly anticipated major-label debut.“The issue

the album never saw the light of day. The Holiday came

with my album is I got things on it that’s so out of this

and went, yet there was no album. If you're a hip-hop

world that it’s taking so long to get mastered. That’s

fan this may not come as a surprise, as delays occur

the issue, and I refuse to take anything off,"" Rocky told

more often than not, but this is Rocky’s debut, and the

Nessa. ""I want to say it’s looking like top of the year,

fans wanted some answers.

first quarter because it makes no sense to put out a album in December.” "

Kanye West & Jay-Z - Back in May, producer

creatively," Jay told MTV News. "You might see a Jay,

Mike Dean confirmed that there would be a Watch

then Kanye, and a Throne album next year . . . We really

the Throne 2 album from Jay-Z and Kanye West in an

found our zone."

interview with Quiet Lunch. "I'm working on the G.O.O.D. Music album [Cruel

Dion Wilson, better known as No I.D., also spoke to

Summer], of course," said Dean, "and Watch The Throne

MTV News regarding the recently released compilation

2 – it's not started yet, but it's coming." The multi-

album Cruel Summer and the possibility of West’s sixth

Grammy winning producer, Mike Dean, co-produced

solo album, "I’m not working on that [Cruel Summer]

Watch the Throne and added production to Kanye

album, I’m working on his album. This is Kanye. You

West's albums Graduation and My Beautiful Dark

know what to expect from the family. He hasn’t missed

Twisted Fantasy. Rumors of a Watch the Throne sequel

yet; so don’t expect him to miss. It’s what you expect

began circulating last December when Jay-Z spoke to

and everything you don’t expect."

MTV News regarding the possibility, "We – I say 'we' because I'm in Throne mode – we're in a great place


A new year, a new sound.

M i x ed m u sic

Daft Punk - French music duo Daft Punk, com-

February that the band was working with disco legend

prised of Guy-Manuel de Homem-Christo and Thomas

Nile Rogers who eventually confirmed the collaboration.

Bangalter, will apparently be releasing their fourth

Rogers isn’t the only disco legend with his hand in on the

studio album, No End, on March 13th, 2013. Rumors

album, Daft Punk also reached out to Giorgio Moroder

began when French band Yelle tweeted the official

who recorded a spoken-word monologue for the project.

cover art, which included the release date, back in early

Rogers spoke to Mixmag regarding his recent work with

September. Daft Punk hit their commercial peak with

Daft Punk, “Spiritually and artistically working with them

Discovery back in 2001, the album marked the shift of

was as good as anything I’ve ever done. It’s as great as being

their sound from Chicago house to disco, or post-disco.

in a studio with Bowie, it’s as great as being with Bernard

The duo is set to return to their disco/post-disco roots

Edwards, and it’s as great as the best stuff I’ve ever done

for their forthcoming LP, rumors began circulating in

with Duran or Madonna.”

Justin Timberlake

- It's been six years

in the studio with long-

be scoring his first film:

since Justin Timberla-

time friend and world-

The Devil and the Deep

ke released his second

renowned producer,

Blue Sea, starring his

studio album, FutureSex/

Timbaland, working on

wife, Jessica Biel, and

LoveSounds, and the

some brand new music

Kick-Ass actress Chloe

multi-talented Mickey

in Los Angeles. "He has

Mortez. The film is sche-

Mouse Club alumni is

some crazy, crazy stuff,"

duled for a 2013 release.

ready for his next release.

Beanz told Digital Spy.

According to producer

It has also been made

Jim Beanz, JUSTIN: been

public that Justin will

not halted the rappers

ding the album are nil.

collaborative efforts with

and I was blown away with her talent as both a

the team. In late October

Eminem also announced

songwriter and vocalist,"

the Detroit Tigers and

that he would be the

said the rapper in a press

Eminem announced the

executive-producer for

release. "This album is

release of an Eminem

label mate Skylar Grey’s

really going to give her a

Baseball Tribute Hat,

debut album, Don’t Look

chance to connect with

Eminem - Although

in which the caps side

Down, which is scheduled

the fans who probab-

the San Francisco Giants

panel is dedicated to

to arrive next year. "When

ly know her music but

swept Eminem's home-

“landmark Eminem solo

I was working on Reco-

might not know her yet.

town Detroit Tigers to win

albums,” and includes the

very, I was introduced

I think they will be as im-

the World Series, it has

year 2013. Details regar-

to Skylar by Alex Da Kid

pressed as I am."


Fa s h i o n D e s i g n e r


i mp r i n t

Editor in Chief David Fischer

Creative Director Robert Wunsch

Photographers Yves Borgwardt, Alessandro Simonetti, Kimi Hammerstroem, Robert Wunsch, Luise Müller, Johann Lindeberg, Park National, Rupert Lamontagne, Elliot Kennedy, James Bort, David Fischer Tai Lückerath, Mathieu Vilasco

Art Direction Jens Adamaszek, Nina Emmerich


Design Friedemann Albert, Mirko Merkel, Thomas Blankschøn

MARketing & Advertising Saghar Yazdani

Illustrators Carine Brancowitz, Fritz Radtke

PubliSher David Fischer

Highsnobiety Editors Jeff Carvalho, Pete Williams, David Fischer, Brock Cardiner, Lena Dystant, Georgia Reeve, Brian Farmer, Fritz Radtke

Headquarter Address Highsnobiety Titelmedia UG Torstrasse 78, 10119 Berlin Germany

Contributing Editors Alice Pfeiffer, Jules Kim, Kingston Trinder

Contact & Feedback

We want to thank everybody who helped make this issue happen.



Highsnobiety Magazine 06 - Winter 2013  

Larry Clark’s "Marfa Girl."

Highsnobiety Magazine 06 - Winter 2013  

Larry Clark’s "Marfa Girl."