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Colofon ART DIRECTOR & DESIGN Attilio Brancaccio

Sound made when transitioning from a sitting to a standing position.

EDITOR Agnese Roda


FEATURED MAKE-UP & HAIR STYLIST Milena Prieto Selmor Dennis Naomi Augusteijn

THANKS TO: TIGA-TIGA Sepehr Maghsoudi Christina Guseva






P6 • EDLAND MAN • cover story

P70 • WARRIORS • fashion


P92 • SHOPPING BAG by Marie Claire Liem



P30 • Visions of Trees • interview P34• Dret en Krulle - Bilmer Style • interview P42• SHADES by Selmor Dennis • fashion P54 • CODE • interview




onestly, I never really thought about myself being a photographer but the direct contact with the fashion world led me to consider photography as a profession.

When did you start taking pictures? First, I went to the Art Academy in Groningen in 1981. For the first two years, I studied Graphics and Publicity, but it was boring, because of the lack of figurative subjects, so I decided to change and go to the Arts Department, in Dutch, Vrije Afdeling. There I found a total teaching anarchy and total freedom. You could decide yourself which materials to work with and which professors to discuss your work with. In that context which I realy liked, I did mostly model drawing, photography, and I was following drawing and moulage lessons at the Fashion

© Edland Man

department. Honestly, I never really thought about myself becoming a photographer but the direct contact with the fashion world led me to consider photography as a profession. Photography has one central meaning for me: It`s a reality which often invites me to put it in a different perspective. My approach is very different from the real photographer; I see photography as a brush. Why then did you become a photographer? In the beginning of the 80’s, I worked the all summer in Ibiza, for a disco called KU. I was in charge of interior design and graphics. That experience was the first catch with the music and glamour world. Later on, during wintertime, I started watching the first videos on MTV, where new wave music was approaching art from the fashion world. That was an inspiration for me. During those years, I bought international fashion magazines, instead of reading them; I started to cut them up, to make collages. But I also decided I wanted to become part of that world mix of fashion, design, and music.

I was in the fourth year of the Academy, when I decided to spend the Easter holidays in Milan to try to promote my work. I managed to get a meeting at one of my favorite fashion magazines of that time, Vanity. The magazine, at that time directed by Anna Piaggi and Antonio Lopez, gave me the possibility to work as assistant art director and fashion illustrator, next to Luca Stoppini, creative director of Vogue Italia today. I still had to finish Art school, when I decided to make a permanent living in Italy. I will never forget the feeling of freedom I experienced leaving only with my backpack, camera, paintbrushes, pastel crayons, some clothes, and a toothbrush. Milan in the 80’s was “The Creative Icon” for design and fashion. A year after my arrival in Italy, I started also working for Spanish Vogue as their illustrator, When I was asked to do an illustration series in an extremely hot July, My pastel crayon technique did not work under extreme heat. The pastel became greasy and the paper rubbed. I decided to make a series of photomontages, in a technique that I


had developed by cutting out photo`s and depicturing them in a new perspective. From that publication on, I started working as a photographer. I created several advertising campaigns for brands such as Fiorucci, Caractere, Sony, Renault, in which I managed to consolidate my style. What would you like to express through your works? I grew up with my mother and my sister. I`ve never met my father. The female family  environment helped me in developing my creative side.  Missing a male figure increased the focus on myself, looking for my presence, my figure. My drawings and paintings were representing myself, in an androgynous, tall, female way. It took me years before saying this. I felt attached to the fashion world because I was familiar with female magazines  since my  childhood, and I also recognized myself, in the minimalistic and stretched fashion sketches that fashion designers often made.  Financially speaking I was also never  linked to the  art world; therefore, I could always be free and creative.  Could you list your major source of inspiration? Beside myself, another big inspiration is music. Entering the art school in the early eighties, the period in which MTV became Europe–Wide, New Wave bands showed new hair cuts and played Casio instruments instead of electric guitars. There were loads of things changing in those days. Also in art. My aim was to show how the rather classic world of fashion and publicity could be turned into a creative playground. When in 1994,  the Museum of Modern Arts in Groningen bought twenty of my art works; I realized that I had become part of a little movement. Which kind of music do you like? The new wave and the 80’s. music was the music


that supported the beginning of my creative career. That`s why it became important to me. I love artists such as Sade, David Bowie, Grace Jones, Talking Heads. I see them as a logic follow up from one of my favorite 70`s band Roxy Music (Bryan Ferry has been my only music idol). Today I listen to a little bit of everything from death metal to classical music, all depending of my moods or the time of the day Music moves me, and can make my models move too!

How is your workday? I have no routine. It differs much depending on the period and mood I am in. I prefer to do technical work during the day, and dedicate myself to creative work during the night. I like to work at night, I am much more at ease, and it reminds me of when I was working in Milan in those exciting times. How would you describe your style? I cannot really define it, I prefer people to define it. My work is an ongoing search for something new. Artists like Man Ray, who based their work on the trial, challenge, and surrealism, always have inspired me. Regarding the techniques, I still mix handwork

and digital techniques for my personal projects, Among all your works, which is your favorite one? From the last projects, I like LIQUIDS, a photographic project begun about three years ago, presented last February in an exhibition in The Hague. Before that, METALS (2001), focused on studying the human body through a surrealistic vision. These are both series inspired by computer techniques. They are “cold” and clean, connected and inspired to the world of design. They reflect my personal state trough those years. FEATHERS, instead, is a project from 1994. with top models like Naomi Campbell, Karen Elson and Nadia Auermann, carried out without using a computer. Is more introvert and expresses my deeper inner feelings. Playcards (1993) a series of 54 and publicated as a big size carddeck was a very succesfull and often coppied work. Since 2001 I`ve also worked a couple of years on a serie called “Dreamdaddy”, The father that I had never known had died, and through the unknown family part I`d got 40 boxes of slides with beautifull landscapes which my father had photographed on his travels. He turned out to have been a serious amateur photographer, and I combined his photo`s in my works. GIRLS WITH BALLS is a non stop project that I started in 2000. The photos show androgenous figures just wearing, out of date, men’s underwear.I presented a parts of the project at Galleria Cappelletti in Milan in 2006, and in galerie Adler in Paris last January. Today the serie contains nearly 2000 shots, and I am still working on having more!

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lost in the land of forgotten dreams Photography: Attilio Brancaccio Styling : Marie Claire Liem Make-Up: Naomi Augusteijn Models: Melisse Lis, Josephine Appia


Dress & Boots: Sepehr Maghsoudi


Pants: Christina Guseva Shoes: TIGA TIGA


Dress & Boots: Sepehr Maghsoudi

Dress : Sepehr Maghsoudi



Dress : Sepehr Maghsoudi

Top: Christina Guseva



Dresses & Shoes: Sepehr Maghsoudi




VISIONS of trees Interview by: Agnese Roda


don’t know. I think we could be making this music anywhere in the world, we’re not tied to london and certainly not part of any sort of scene here.

How did you start making music and when? I started playing guitar in metal and punk bands when i was about 11 or 12. I was in a noise band just before we started this band which was late 2009. Where does the name “Visions of Trees” It’s a reference to my childhood which i spent quite isolated in a small town surrounded by forests.


What does influence your music and your life? Isolation, fear and alienation. and each other. How much does your music get influenced by the environment you live in? I don’t know. I think we could be making this music anywhere in the world, we’re not tied to london and certainly not part of any sort of scene here. Which are your musical inspirations (pastpresent-future)? I still listen to black metal and noise music like I did when I was younger as well as rap. We’re both into some modern r&b and commercial pop music. Does technology help music to be magic? I’m not massively into technology to be honest. it’s just means to an end for me really. All my gear

is pretty basic and beat up. I’ve got no sentimental connection with it. it’s just stuff. Tell us a bit about your Tour, your shows In Italy and your participation to Glastonbury Festival? How is playing “live” in different countries? How do you feel the audience respond to your music? Yeah, we’re going on tour in the UK to promote our single which drops on the 3rd of october. We did a tour in italy quite recently which was cool. we met some really nice people. we haven’t really played that much abroad yet but it’s always been great when we have. we wanna play everywhere in the world. we had some technical issues at glastonbury and had to cut our set half way through which sucked but that happens...

mixtapes, young jeezy, waka flocka and some old nicki minaj stuff. Zomby, Araabmuzic. Pictureplane’s new album is good too.

Your music playlist of the moment? At the moment, i’ve been listening to a lot of


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dret en krulle


style A story of amsterdam rappers

Interview by: Agnese Roda Photography: Attilio Brancaccio




f you meet somebody from Bijlmer and you ask him where does he come from, he is not going to tell you, I am from Amsterdam, he is going to say, ”I am from Bijlmer”.

represented us. VLT was my cousin’s project, it was never meant to be big… When I had Krulle “under my wing” we started performing all together. More people started to follow the project. But, it wasn’t making money. My cousin had responsibilities so they were doing it only for fun… but people wanted to have more…

What’s your name, where do you come from, how did you become a rapper? I am Dret, I am 25 years old and I come from Bijlmer. Amsterdam South East. Neighbourhood Kraaiennest. I was always interested in music, and with music I mean all music. I don’t know when it was; I think I was 10 or something, at that time I already listened to some hip-hop tunes… A friend of mine showed me some CDs from No Limits Records he was bringing them almost every week… I went so deep into them… I was almost like a collector; I had to have everything from them. I was really into hip hop, I like it very much but at that time I wasn’t even making my own music until my cousin brought me to his project team. I was 14 or 15. This is cool, I thought. I started joining him and then we made a group called VaderLozeTroepe. We were five guys. I was always with him; we are cousins and he is also my best friend. Later on I met Krulle via an ex of mine. He looked older than me. Already when he was 13 he had a beard and a big moustache! When I am with Krulle, people think I am the young one. But he is now 21, while I am 25.

Then when did you arrive to De Grote Prijs van Nederland on your own? It happened when M.O en Brakko won De Prijs in 2008. I thought if he can do it, we also want to do it. We liked to try it, we didn’t have anything to lose, so why not… How are we going to do this? We thought. We had to make things clearer for people. Was it Dret en Krulle, or VLT? So we gathered all the guys and explained them we wanted to try to participate, under the name Dret en Krulle. They agreed. The duo began with De Grote Prijs. If you look at the videos before that, you see video from VLT with Dret en Krulle rapping. Our first independent video was “Verder”. De Grote Prijs is a performance battle and they look at how many people you bring, if you rock the crowd. In 2009 we won and our story changed. We didn’t start this to go big, but it turned out like that. And I really like it. We just said… Fuck, we give it a shot, and until the first final we didn’t take it so seriously… the sound wasn’t perfect… but they gave us the benefit based on the feel for the potential we had. When we arrived to the final, we took care of all those things, we mixed all the beats, and we went practicing… We had never practiced before! Never in life, maybe just few minutes before the show… The final helped us to make this all thing serious and professional… If we can go to the finals, we can go big, we are good… we said to ourselves, if we can get that chance we are going to rock… and we are going to win… I remember the last seconds of the performance, when we felt we were going to win, it was such a good feeling!tv

So it is more than 10 years you rap together? Yes man, we go back 10 years. When I met him he was already rapping and I heard a song from him, it was about his teacher and he was kind of brutal in the tone. I thought “you filthy mouthed little boy”…you are good, I like that. I felt we were the same… If I want to say something, I say it, and if you don’t like it: Fuck it! I told him I am going to take you and you are going to rap with me.I brought Krulle to VLT. We were always linked to them; it happened they


Then when did you arrive to How did you

career change? It is Holland, so it is not that big like the US, but people around recognize us. In 2 years we made Holland recognizing us! 2010 was a lot of gigs, every week a show, especially in the South of Holland, Tilburg, and Eindhoven, Den Bos all the big venues. What about the choice of rapping in Dutch? It is our language, we never rapped English. When I talk, I talk in Dutch. Any other influences? In the neighbourhood we have the so-called Bijlmer Style. Robbert Coblijn made it possible. When we were with VLT we met him, he had the Bijlmer Style cds, merchandising… This guy doesn’t make music; he only invests money in projects from Bijlmer. He said, “I want to work with you guys”. Now we are Samen Sterk with Marvin Fonseca. Those two guys made things possible; they first brought music to Bijlmer to make people aware of it and then invested on it. If you were from Bijlmer you wanted for sure to be in the cd. District 7 we were in! Now we are still working with the same people. What do you listen to? Hip-hop, reggae, dubstep, drum and bass UK grime. How is your album going to sound? For our album we don’t try to sound like anything else. There are no rules; only it has to sound good! It doesn’t have to be like something, it has to sound like us. Of course there are influences, mainly dubstep and drum’n bass, but also hiphop. Anybody featuring you? We try to keep it “us”. The featuring’s are for vocals, something we cannot do ourselves, like reggae rapping… We have collective projects but those are different than albums, maybe more for Internet. How is your neighbourhood? We love it! If you meet somebody from Bijlmer and you ask him where does he come from, he is not going to



tell you, I am from Amsterdam, he is going to say, ”I am from Bijlmer”. It is a Stadsdeel promotion. When I am abroad I never mention Amsterdam, I say I am from Bijlmer. Is Bijlmer different from Amsterdam? Yes it is. First of all it is a different mix of black ethnic groups. I was born in Suriname and my parents came to Holland when I was 3 years old, directly to Kraaiennest. At that time there weren’t too many people living there, there were Surinamese, Antillean later, then Dominican and the last one to arrive are African. That is Bijlmer. In the early years you couldn’t see white people and if you saw them they weren’t the typical white people. All the white people we met we were like” Wow man, what happened to you?’ Now many different people live there, many flats were torn down. People left for places like Almere. Is Bijlmer different from Amsterdam? A little bit. When I was young it was. Now it turned into a lovely area, not dangerous at all. 20 years ago, that was a different story. Netherlands was nice, Bijlmer was … no words! Even Amsterdam was looking at us a bit scared. If you were in Bijlmer people started looking at you, Hey nice shoes man, nice hat… I even like your shirt and suddenly you were naked. Take it off… and you were not going to say no. I was very young and I got robbed once. I was maybe 8 years and they guy looked so big, he was probably 20. I just got a new bike, Kraaiennest was very big. The Arena didn’t even exist. I was biking when this guy came “Stop. Give me the bike”. And I was “ Are you fuckin serious?” Give me the bike… and he was serious… he took it and he went away. Then I was alone and I thought “Fuck, now I have even a bigger problem, I have to say it to my mother”. I thought I would have preferred to be arrested by police, so I could stay out for a reason, instead of going home and say to her my bike was stolen. But that was the only time. If you grow up in an environment that is tougher than the rest, it will also make you a tougher person.

How are people from Bijlmer? People in Bijlmer don’t go out of there. If I go out, I go to a coffeeshop and go back. Aren’t there coffeeshops in Bijlmer? No. It is not possible. If you are from Bijlmer you don’t want to go out of Bijlmer, and if you are not from Bijlmer you don’t want to go to Bijlmer. We maybe don’t have very high-level education, diplomas, and stuff like that, but we are very talented in music, in art, theatre, sport, and bikes. People here don’t have much and they try to get the best out of it. We are also very passionate, no matter what we do. When somebody is happy we share it with everybody. When we went to Paradiso for the Final performance, all Bijlmer was there, full of emotions. Things like discrimination don’t really exist. We just look for honesty. You can be white, a nerdy dude but a cool guy, then you are for us a nerdy dude and cool guy. We see it. If you come to Bijlmer and you try to be someone you are not. Then it doesn’t matter if you are big or not, we are going to fuck you up!




BY SELORM DENNIS Photography: Attilio Brancaccio Model: Dion Pinas Shades & Make-Up: Selorm Dennis













Interview by: Agnese Roda • Photography: Attilio Brancaccio 54



rt is a tool by means of which I display an idea or a concept , my thoughts.

Tell us a bit about you. How did you start with Street Art? I started in 1989 doing graffiti mostly along the side of train tracks . After getting arrested for doing trains in 1994 I got into canvasses and more into art and different media What is the relationship in between your artistic message and the space? Most of my graffiti is quite site specific , so the space plays a vital role. I do say there is more of a social /political message than an artistic one . art is a tool by means of which I display an idea or a concept , my thoughts. Why do you use cameras instead of faces, in your art work? I used to and still do film a lot of footage for my visuals and the use of a camera or a camcorder gives me the idea of being a spectator watching events and not really participating in a way .looking from a distance , which is the way I feel sometimes so the use of cameras instead of faces kind of symbolizes and represent that and myself. My work is mostly about myself in a way and my reaction to places and situations . A face is definitely the most expressing part of our body but it s also what most people do because I think of lack of imagination . I always tried to incorporate camcorders in my designs in one way or another so using camcorders as faces I tried to create this character who I could easily place in any context to create situations or to express any idea. Where do you get inspiration from? IThe inspiration for an initial project or single work comes from my daily life or a particular event or place . according to the project I always do research look up historical information and images to elaborate and create the design and in most cases involves travelling to other countries . Street Art as form of art. What do you think


about it, how do you live it in terms of work and artistic expression? How is working as a street artist? I think it would be quite silly not to consider graffiti / street art a form of art if that is what it s used for. The thin line between legal and illegal gives it different shades . I m quite lucky in the sense that I can pretty much base my work on what I want unless I get a specific commission What is your opinion about “Street Art� in this last years? There s a lot of really good and interesting works out there , definitely more than ever . The commercialization or rebranding of graffiti into street art made it a lot more accepted to the public creating new and bigger projects opportunities but also got the attention of people who got into doing it for the wrong reasons which results in having a lot of insignificant stuff on the walls . How is your daily life at work? What do you do? Daily life is pretty chilled . I work from my studio in west London . I mostly make videos for projections or painting , at the moment I ve been involved into a few festivals doing paintings and projections, I m organising a group show in September with some other people and getting together a solo show possibly before Christmas and creating more design for some new walls I found.












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check out the roster and the info here :



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Photography: Attilio Brancaccio Styling : Attilio Brancaccio -Marie Claire Liem Make-Up: Milena Prieto - Naomi Augusteijn


Models: Peter Jozefzoon, Manuel Spoel, Josephine Appia, Ramon Heinhuis, Melisse Lis. Paper shapes and Helmets: Woody



Top: Christina Guseva



Skirt: Christina Guseva





Skirt: Christina Guseva • Shoes: Tiga Tiga





Top: Christina Guseva • Shoes: Tiga Tiga



Top: Christina Guseva






bon esprit amsterdam WHO WE ARE

Bon Esprit is a motley crew of designers, entertainers, artists and people connectors. Believes in a Punk Chic attitude. We like to break social barriers, we don’t care if you’re native or foreign, rich or poor, gay or straight. We believe in few things: the power of entertainment, the ability of everybody to appreciate talent, and the necessity of fun.


Take over spaces and make them its own. Transform spaces. Whether it’s a bar, club, shop, art gallery, or a private venue, BE brings out the best of the venue by creating a unique and tailored experience. 90

photo: Monyart

That’s why there is no package on offer. Every event is à-la carte.


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Hoop Doop Magazine issue 4


Hoop Doop Magazine issue 4