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Colofon ART DIRECTOR & DESIGN Attilio Brancaccio EDITORS Agnese Roda Anna Kelhu FASHION DIRECTOR & STYLING Marie Claire Liem FEATURED PHOTOGRAPHERS Attilio Brancaccio Went & Navarro Elias Wessel Íris Stefánsdóttir and Katia Nunzi FEATURED MAKE-UP & HAIR STYLIST Milena Prieto Birna Jódís Magnúsdóttir THANKS TO: Blupixel.it ADVERTISING hoopdoop@hoopdoopmagazine.com

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P6 • Went & Navarro • Cover Story

P64 • FUNKY INDIANS • fashion editorial

P22 • CHIARA VERZOLA • interview

P80 • BOUDEWIJN JANSEN • interview

P28 • I LIVE BY THE OCEAN • fashion editorial

P84 • LAURIE VAN HOUTS • fashion illustrations



P42 • ELIAS WESSEL • interview P60 • LA SHARK • interview


cover story


iN the tintype studio Interview by: Anna Kelhu • Photography: Went & Navarro • Model: Woody Voodoo

Went & Navarro are two Dutch designers and imagemakers, who are experimenting with an old photographic process called Wet Plate Collodion. An image produced through this method is in every way unique and personal and - as it is a positive - non reproducible. Therefore, for depicting objects or personalities, there is no hiding real characters or features. Every fine detail is visible. The result is always ultimately honest. Tintypes started for the couple as hobby and, although they insist it is still that, using the Wet Plate Collodion-process has become an art project of a kind in which they continuously keep experimenting and developing. In a conversation with Went & Navarro, we find out what the process is really all about.




t does require some practise, before you start getting the kinds of results you want. But the whole journey is fascinating.

How did you first become intrigued by this primitive method of photographing? Went: I participated in a daguerreotype workshop in New York City about 6 months ago where I was briefly introduced to the Wet Plate Collodion-technique. Consequently, I enrolled both of us for a workshop by Alex Timmermans. Workshops are really the way forward in this respect, meaning, you can learn it all from books and videos, but training with pros will always get you further. There are a lot of professionals like Sally Mann and John Coffer in the U.S. who work with this process, and also support themselves through it, as opposed to in Europe. Producing a tintype image requires a lot of effort. The whole preparation, getting the chemicals right, timing the photo, the entire process... and finally seeing the result, it all seems like an artistic and crafty process to me. Went: It does require some practise, before you start getting the kinds of results you want. But the whole journey is fascinating. Once all the equiptment and basic preparations are in place, making a photo takes around 5-6 minutes, not much different from polaroids in that sense. We’ve done a few hundred so far and are still learning. And next we’re gonna do prints of glass negatives... a whole different ball game! Navarro: In fact, this process isn’t as primitive as it seems. At the introduction of this method at around 1850, many boundaries were broken in terms of how serious photo taking was considered to be at that time. Due to the fact that this technique - using blackened iron as a carryer instead of the more expensive glass or silver - became a much cheaper and quicker method around 1880 than the ones before it, tintypes soon became something people could have fun


with (the name ‘tintype’ possibly referring to the iron material cans and tins were made of in that time as the plates are not actual tin). Everyone could afford to have their photo taken now. We see a lot of fooling around with it in photos from around that time... These photos also became the first business cards. And before phasing out, they became a carnival and funfare-thing in the 1930s. How did you manage to acquire all the necessary equiptment? W&N: The cameras and lenses are all out there, to be purchased or even on offer for free. Collectors hunt them down and restore them. The lenses are the most expensive part of the lot. And the chemicals can be tricky to acquire, of course you need to register before ordering them from a chemical company. But if you’re into making it happen, it’s not too difficult. So tell me, how does the process go exactly? Went: First, you need to have a high level of focus and caution for getting mixes of the chemicals right. Once that’s done, you can use them over and over. You can make both negative and positive prints - we’ve mostly made positives, which we’re very fond of. Start with the black lacquered aluminum plate, pour a sticky layer of collodion over it. Then place it in a silver nitrate solution for 3 minutes to make it light sensitive. After this, the plate is put in the camera’s plateholder. If the plate dries at any point, it loses its sensitivity and using it for a photo won’t work anymore. Taking of the photo requires a still pose of about 6 seconds, after which the plate is brought back into the dark room and treated with a solution of iron sulfate, acetic acid and alcohol in water. The developing also has to be done before the plate dries. Altogether, at most, you’ve about 15 minutes for the entire process, from start to end. Afterwards, the process is finished off by treating the photo with a natural varnish over a burning flame. (You can also see the process in a 5-min video clip on the website.) Navarro: Blurriness is typical of these lenses, the lense swirls and twists on the sides. A lot of light is needed for taking the photo. On the other hand, one of the exciting aspects of this tech-

nique is that you can apply it using almost any type of a camera, if you’re willing to make some adjustments to it. And where do these images end up, are you setting up a show or making a business by it? Navarro: So far, this is really a way for us to balance out the work we do behind the computer most of the day. Through our own entrepreneurship, we do a lot of digital work. This hobby with the wet collodion presents us with a more practical way of creating images, using our hands. It is still a hobby - albeit one we spend plenty of time on. We’re not thinking about it in a business-kind of way. We’ve done a few gigs, first one of which had us doing mug shots at the Dutch Design Week 2011. This was loads of fun! There is of course the opportunity to build a concept, create a background and a story, and make use of this technique. On April 14-15th, we have been asked to take part in the first European Collodion weekend at Eindhoven. This is a free event for all visitors and a great opportunity to get to know more about the wet plate process! Hoopdoop is a fan and wishes Went and Navarro a lot of success! For images and more information on Went & Navarro’s works, please see www.tintypestudio.nl www.wentennavarro.nl













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THE ACTOR’S LIVING. HOOPDOOP meets Chiara Verzola. Chiara Verzola is an Italian contemporary theatre actress. She is currently living in Milan. Interview by: Agnese Roda • Photo: courtesy of Laura Chiarotto and Sabrina Flocco




he ones who make it are coming from years of non-stability and inner strength. Acting is also difficult on a personal level. It is a continuous challenge: staying open, in an eternal search, never quiet and settled.

How and when did you start being an actress? I graduated from a nationally famous theatre school in 2005 and there began my professional career. How was that experience? Did the school teach you how to be an actress? The school is called Scuola di Teatro Alessandra Galante Garrone, based in Bologna, and it is the only school in Italy which is led by the French master Lecoq, specializing in pedagogy of masks, from neutral to commedia dell’arte mask of a clown. At this school, I had the opportunity to try both classic acting methods and those more experimental… For instance, “research-


ing” the essence of theatre through dancing. It was a good education. The focus was on the diversity of the students and we were given the right concepts to tackle any kind of theatre. Did the school also teach you how to face the hard life of an actor in Italy? I believe that any school will teach you to face life, actor or not. But the experience comes through practice, living and working, meeting other actors who share the path with you, living an economically unstable life... A school can provide you with useful tools, but the rest comes from a spirit of adaptation and inner strength. What are the difficulties of doing this job? Today there are more difficulties than ever. For sure, the government does not help; young artists are the ones who manage to survive in the difficult Italian theatre scene. The ones who make it are coming from years of non-stability and inner strength. Acting is also difficult on a personal level. It is a continuous challenge: staying open, in an eternal search, never quiet and settled. We must stay firm and in balance with ourselves. What is the role of an actor in the contem-

porary society? That’s a good one! We have to make a distinction between the actor in movies or in television, and the theatre actor. Theater is like an old man, while film and TV are his sons. Why hasn’t the theater then been completely swallowed up by new media? People spend an impressive number of hours in front of a screen, but at the same time feel a primordial need to meet with others, with a community. A theatre show is the primordial need of community. It’s live, like concerts. That is why it is so important for the contemporary society: theatre gives you the opportunity to see people experiencing life in flesh and bones, performing, creating connections, failing, making mistakes and then keeping on with living. The actor is also a communicator and through the years always has to adapt to new ways of communication, transforming himself into a Performer, a Visual artist, a Musician, a Writer... In this historical period you must rely only on yourself, you must be like in the Commedia dell’Arte, a “factotum”1: writing, reading, and managing promotion, selling. Do it yourself.



What kinds of roles do you like? Any preferences? I generally prefer strong personalities, a bit masculine, revolutionaries, or fools. I prefer characters from contemporary drama. I wrote my Master thesis on the contemporary English dramatist, Martin Crimp. I love authors like him, who write for a today’s audience, trying to synthesize, through their work, our time, trying to portray something about it. Some classics of theatre literature still speak to me with vivid voice, though. Life experience and time always come back. Is there a little bit of you in the characters you play? There is more than a little bit, every part of me, actually: my body, my voice, and my vision. Our individual personalities have so many nuances; we are able to understand all feelings possible. We can somehow be our characters and at the same time be ourselves. What do you do every day? Do you only work when you have a show? I have my own theatre company, a newly formed and dedicated team that focuses on the organi-

zational and production part of theatre life. This kind of a job takes quite a bit of time during the day. I rehearse when I can with my group and at the same time I try to do some casting for commercials, some auditions. When you are not working on a show, you are busy working to get a job! Music, art, and photography are all artistic disciplines you love, but what kind inspiration do they bring to your life as an actress?I Music is the most inspiring one. It’s absolutely the most powerful emotional vehicle, no need for translation or learning; it is a universal language and gives a voice to each inner movement. What kind of music do you listen to? Here are my favorites: Anna Calvi, a young English musician; Broken Social Scene, a very eclectic Canadian group; Micah p. Hinson, a young/old singer/songwriter; Cat Power, Black Keys, and another group of Americans I recently discovered called Tune Yards.

see you next? I will be on stage in February in Milan, in a theatre space Linguaggicreativi, with a performance inspired by Crave by Sarah Kane. The title is “No.” I consider it as a concerto for solo voice and footage sound. Soon we will be touring with “Twelfth Night” by William Shakespeare, adapted by a promising young writer Davide Carnevali and directed by Sandro Mabellini. Then I will be touring around various international Film Festivals (Tribeca, Edinburgh, Milan) with the short movie “The red box,” filmed in the Veronese countryside by a New Yorker Chris Hamilton and produced by an Italian girl, Anna Baraldi. With my theatre company, we are applying for a scholarship to support our productions. Fingers crossed!!

How about future projects? Where can we


I live by the ocean Photographers: Íris Stefánsdóttir and Katia Nunzi Stylist/Art director: Friðrik Árnason Hair and Make up: Birna Jódís Magnúsdóttir Model: Kristín Liv Svabo Jónsdóttir @ Eskimo Models Iceland


“I live by the ocean” is an editorial project made in Iceland during the end of December, the cold could not be avoided, as a result the concept for the fashion story came alive. It would be a story of a girl coming from cold Russia, that somehow ended up at the shores of Iceland and has accepted that there is where she belongs and shall live. So the fashion is very much inspired by ethnic Russian wear, a dash of 70s , wool and vintage furs all over to keep the cold at far. Most all the clothes used in the editorial came from the personal wardrobe of two very inspiring fashion designers in Iceland. Their names are Svava Magdalena and Sara Arnarsdóttir, sisters and friends that have endless love for vintage style, extravagant patterns, platforms and fur. They have collected these items from vintage markets in Paris,Denmark and last but not least Iceland. A nice pair of leggings made of 100% Icelandic wool are used in the editorial which were made by Ingibjörg Jónasdóttir who works for Ullarselið at Hvanneyri in Iceland, but they specialize in handmade woolwear and have recieved many rewards for their work. Two pieces of accessories are made by Birna Jódís Magnúsdóttir who also goes by the design name “Rattus Rattus”, these are the birdskull tiara, and the 3 skull ring. The location itself is called Grótta and it was the first idea to make the shooting there, as it is a short distance from the Reykjavík Center and holds this wide spaces over the sea and shore. The pictures inside are taken in a independant theatre called Norðurpóllinn (North Pole) using the props already there which fitted perfectly into this project.












eten met kwaliteit

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HoopDoop meets

elias wessel

fashion photographer Interview by: Anna Kelhu

Elias Wessel (*1978 in Bonn - Bad Godesberg, Germany) is a fashion photographer living in New York City. Wessel studied Art History, Visual Communication and Photography in Germany. He did his masters at the University of Art and Design Offenbach am Main. Already during his studies he worked for numerous renowned photographers, studios, advertising agencies and design bureaus in Hamburg, Paris and New York.


His activities in street art were the first medium to inspire Wessel to work in the visual arts. Meeting with Sigmar Polke in Bonn 1997 had him drawing and painting before he persued photography. Wessel’s images are described as intersection between fashion and fine art photography. His work is a particularly elegant blend of stylization, magical realism and an intense color palette. A sophisticated blend of opposites – sexuality and innocence, pop and noir, dynamism and control – telling infinite stories.

Elias Wessel has already worked with models such as Omahyra Mota, Lydia Hearst, Camilla Alves, Myf Sheperd. Amanda Lepore and Iekeliene Stange, cooperated with MNDR, Betsey Johnson, Naeem Khan, Cynthia Rowley, J. Walther Thompson, Stefan Sagmeister and Paola Antonelli among others. His work can be found in art- and fashion magazines, advertising campaigns, celebrity portraits, booklets and exhibitions.

“I think fashion is an instrument to show things, a decor in a picture.�


You have a background in street art, drawing and painting. Most recently you’ve focused on photographing models. How did you become to shoot fashion? What has driven me into the fashion industry is not fashion. I think fashion is an instrument to show things, a decor in a picture. Coming from street arty, design and a fine art background I am more into the image itself. I like to call fashion the vocabulary of an image, and to create pictures that talk.



The use of opposites in your photos create striking effects. There is a lot of movement in the pics, and in a very artistic approach, you use vivid colours and metallic shades. Is there a path of development, from where you started to where you’re now headed? I never really thought about style but I am aware of what surrounds me because it influences and inspires. It is more about what I want to say and which feel I want to translate. The concept behind things interests me the most. I was always attracted to style and colors but that just happened, and it might change. I never want to limit myself by thinking about how my style should look like.



What do you look for in a model? Are there specific features or characteristics which define the photo you want to make? Authenticity! Authenticity mixed with sophisticated edginess, something petite, subliminal sexiness and elegant innocence.



Some of your photos are quite provocative and can be interpreted as projecting political messages. Are you aiming to express your inner thoughts or opinions through the images? In your profession, do you feel there is such an obligation between you and the viewer, to provoke ? For me it is about developing and elaborating my visual language. To gain a fresh regard on things. At first this is an inner process which has a lot to do with psychology and oneself. And because I have a very personal view on the world, I take the risk of not being “successful� in the moment of development. But if I am capable of formulating my language in a way in which it gains symbolic character, the door to a new and interesting beginning opens: the possibility that this language is also readable for others. Of course I want to communicate, explore and overstep boundaries. There is always moral, ethics, and sense, but no tabus. Those would just limit me.




What are you working on right now? I just finished “There Must Be More To Life” which turned out to be a fantastic project with Amanda Lepore and can hopefully be seen in an exhibition at some point. Now I am co-operating with an unbelievable artist in Taipei... but I don’t like talking about future projects. Not out of secrecy but discussing them extensively robs me of the desire to actually do them. www.eliaswessel.com






LOTTAROX AGENCY is a professional booking, event and promotion company based in London (UK), Florence (Italy) and Stockholm (Sweden) whose first aim is to introduce the best emergent and unsigned UK artists to the Italian Indie Market by booking the best Club Nights, In-Store shows and Exhibitions of the various countries it works in, soon in Amsterdam as well.

check out the roster and the info here :



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HoopDoop meets

la shark Interview by: Anna Kelhu



Badly executed mainstream pop, Egotistical


modern music.



How did La Shark happen? What does La Shark mean? We found eachother with metal detectors.... ‘’LA SHARK’ is a mock Fashion label/Corporate Brand. Having just seen your video I know what you did last summer, I found it shit scary and somewhat freaky. Was this your intention? Do scary films in some way relate to your music – or are you just taking the piss? We are inspired by Shocking forms of art , and we ofton try to create imigary and music that is instant and alarming, we are planning on doing a childrens video with pixar soon though involving a CGI Pegasus flying over the Amazonian rainforest.

How would you describe the music you do? Badly executed mainstream pop, Egotistical Synth/guitar based modern music. To my ears, La Shark’s music echoes the sounds of the 80s, especially those of bands like The Specials. A sort Johnny Rotten-attitude is also strongly present. Would you admit these artists having had an influence on you, or where do you absorb your biggest inspirations from? We are all strongly influenced by many different Icons and personalities , and the idea of ‘celebrity’ and fame in general. PIL had a direct influence on us when we designed our Logo and both terry hall and John Lydon i regard as Incredible front men, (‘Tunnel of Love’ ) by Fun boy Three is one of my favorite songs at the moment, however i would stress that music from other decades has just as strong an influence on us , me and Lewis are obsessed with the production and sound of early 90s - Aaliyah/TLC Era mainstream RnB at the moment- and Nick is more into the Beachboys then any other band.

You’ve already gained a reputation as quite an eclectic and unpredictable live act. Is there anything specific you’re aiming to communicate to the audience? If there’s one thing you’d want them to feel or think about when leaving a gig, what would it be? We are basically just trying to get as close to a Public orgy as legally possible in the form of Music and well executed dance manouvers, i hope everyone comes away from our shows a little less serious and stuck up, if you can’t laugh at yourself you are doomed. Being as active a band as you are, you must spend a lot of time together. How do the dynamics work between you guys? Is it a democracy or a dictatorship? Its a Democracy, but i do make them suck me off sometimes. Have you any plans to swing by The Netherlands anytime soon? Yes. As soon as humanly possible.



funky indians

cio rancac ttilio B aphy: A m Photogr rie Claire Lie Ma nk Styling: e Verdo Daniqu ilena Prieto Model: :M p & Hair Make-u


Top animal, River-Island Jeans indian, River-Island Shoes, United Nude Necklace gold, River-Island




TSkirt ethnic, River-Island Swimsuit, American Retro Necklace art object, Marie-Claire Liem Shoes , United Nude


Dress, by Borre Shoes, United Nude




Top, Monki Short, River-Island Necklace gold multicolor, Forever 21 Shoes, United Nude



Denim jacket ethnic, River-Island Blouse silk, Fillipa K Bow tie, Hugo Boss Legging chain print, River-Island Shoes, River-Island


Jacket , River-Island Jeans leopard, River-Island Hair art object, Marie-Claire Liem




Dress as shirt, Monki Jeans, Ilja Visser ready to fish




BOUDEWIJN JANSEN Interview by: Anna Kelhu

Boudewijn Jansen is the artistic leader for Het Nederlands Concertkoor (The Netherlands Concert choir) and Toonkunstkoor Amsterdam. He also conducts the ambitious VUKK (Chamber Choir of the Vrije Universiteit) and works as an assistant conductor at De Nederlandse Opera (The Dutch Opera). Hoopdoop sat down with the busy conductor to find out how it all started and what it takes to keep all together.




efore a concert, you’re running around being busy, consuming your energy. Right before a performance you have to build up energy. People expect a lot from me and I have to be able to deliver. Music appears out of silence and before a concert, I need silence.

How did you first get into music? Growing up, it was a part of my education to do instruments. Early on, I chose piano and quite quickly playing became something I wanted to do all day. During my studies at Utrecht Conservatorium I realized the beauty in making music with others, this wonderful sense of togetherness as opposed to solo playing. I had already been active since high school in founding a choir and an orchestra, working in all kinds of projects, and started to orientate myself in new ways, concentrating more on conducting.


I love the craftsmanship of bringing a piece alive. The texts, languages, the whole drama of it… I am an all-rounder. I got into the field hardly knowing a single opera, focused on combining the best of m skills and, ever since, have been constantly developing myself. On top of your daily work at the Dutch Opera, you currently lead three other choirs as well. How do you divide your time between everything? In my line of work, there is no daily routine to follow, thankfully. This creates a sort of sparkling feeling for me, even though the irregular hours and seasonality of the work present some obvious challenges. Fitting all schedules together is something I’m still learning to do as I have a tendency to focus on just the first thing coming up. For the Opera – and also for the choirs – I have to make plans a year or two in advance and have to be careful not to create clashes. I also need to find as much time for my family as possible. Free time is very unevenly distributed. Working schedules around the Opera is crucial

as when we’re in production, it’s more than a full-time job. Connecting networks helps. For instance, currently the men from Het Nederlands Concertkoor are involved in the production of Rimski-Korsakov’s Legend of the Invisible City of Kitezh and the Maiden Fevroniya. This way, the choir and the Opera both benefit each other. Do you have any set routines when preparing for a concert? Before a concert, you’re running around being busy, consuming your energy. Right before a performance you have to build up energy. People expect a lot from me and I have to be able to deliver. Music appears out of silence and before a concert, I need silence. And how does one become a great conductor? Is there someone you look up to as a role model? I admire the way Mariss Jansons, the chief conductor of the Royal Concertgebouw Orchestra, makes his way ahead. He is very detailed, focused, and gives people the feeling that they’re part of something special. He’s relentlessly push

ing towards the goal, whilst always maintaining a friendly, positive spirit. It’s about respect. Can you name a favorite composer? (Johann Sebastian) Bach. For me, his music represents the perfect balance between ratio and emotion, a brilliant construction of both. I get the feeling he’s making the rules instead of being led by them, like so many others. The personal touch he puts in his pieces is communicated in a beautifully organized language. All of this makes his music universal. How about Dutch composers – any great ones you’d like to name? Holland has had many good ones, but none to be included in the league of the greatest. This may have something to do with the Protestant church, they certainly didn’t help. To name a musical genius, I’d name Jan Pieterszoon Sweelinck. Although he lived 500 years ago, his legacy still prevails. How do you see the current state of the per-

forming arts in the Netherlands? Has the recession had a noticeable impact on your work? Thankfully, the Opera hasn’t been majorly impacted by the recent cuts and the lowdown. In the choir we have about 60 regular singers and the major Dutch orchestras take turns in participating in projects. The circles in the Netherlands are small and it certainly helps to know people. And through my work I have the pleasure to meet and work with many amazing professionals.

For info on forthcoming concerts and events, please see: www.dno.nl www.nederlandsconcertkoor.nl www.toonkunstkoor.nl www.vukk.nl

Having said that, I know many musicians who are in serious trouble at the moment. The cutbacks in funding are in many ways very short-sighted. It’s comparable to burning a painting because it gives temporary warmth. Where do you see yourself in 10 years time? I hope to always keep getting better, and to be wise enough to spot the qualities that need developing. Also, to be important to others both professionally and personally. I hope to be able to guide others in achieving greatness in what they do best.


laurie van houts fashion illustrations









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