Collection 3

1

www.kaltblut-magazine.com

COLLECTION 3

ICON.IC(AL)

2

www.muschikreuzberg.de

3

kreuzberg

IA 4

WORKING

MY WAY

DIVIN

AM 5

TOWARD

NITY. Bette Middler

6

Ya-Shi Emilie/ Shoes Addict

Editor-in-Chief Fashion Editor

Marcel Schlutt mschlutt@kaltblut-magazine.com

Charlie Makkos/ Photographer

Music Editor Art Director

Nicolas Simoneau nsimoneau@kaltblut-magazine.com

Art Editors

Amanda M. Jansson ajansson@kaltblut-magazine.com Emma E.K. Jones ejones@kaltblut-magazine.com

Movie Editor

Claudio Alavargonzalez Tera calvargonzaleztera@kaltblut-magazine.com

Uk Editor

Aiden Connor aidenconnor@kaltblut-magazine.com

Brazil Editors

Mariano & Aleesandro Lázaro brazil@kaltblut-magazine.com

Photographer

Basti Harting harting@kaltblut-magazine.com

Webmaster

Daniel Ellmenreich ellmenreich@kaltblut-magazine.com

Sales Manager

Alexander Danner danner@kaltblut-magazine.com

Translation / Proofreading

ya-shi@hotmail.com She is young, gorgeous, very talented and she lives in Paris. From times to times she takes us around in her world. Thanks to Ya-Shi you’ll get the chance to discover a bit more about Paris through her eyes.

Amanda M.Jansson, Amy Heaton, Bénédicte Lelong, Ya-Shi Émilie.

KALTBLUT MAGAZINE Grünbergerstrasse 3 10243 Berlin Germany

www.kaltblut-magazine.com KALTBLUT Magazine is published by KALTBLUT Media UG Nicolas Simoneau & Marcel Schlutt All Copyrights at KALTBLUT Media UG All of KALTBLUT´s contributors are responsible and retain the reproduction rights of their own words and images.

Reproductions of any kid are prohibited without the express permission of the magazine, editor and each contributor.

KALTBLUT Magazine is printed in Germany Möller Druck und Verlag GmbH Zeppelinstraße 6 | 16356 Ahrensfelde OT Blumberg www.moellerdruck.de

www.charliemakkos.com This is the second fashion editorial - „Granite“ from Athens/Greece based photographer Charlie Makkos for our magazine. Born in New York, he has a strong urban, skate and art background. „I am bored of studio photography, love to shoot out on location, the harder the better!“

Nelleke Strijkers / Founder of SPRMRKT

www.sprmrkt.nl Former model, founder of the accessory label Hunters and Collectors, agent of photographers agency NEL with offices in New York and Amsterdam. She even has her own fashion label SPR+ and is on the way to ruling the world. Nelleke has produced the fashion editorial „The Flying Dutch Man“ for this collection.

Biki John/ Stylist

bikijohn@kaltblut-magazine.com Biki John is a fashion stylist, writer and blogger. Her styling work is strongly influenced by music and film and she enjoys it when her work allows her to reflect this. Her editorial portfolio comprises of a wide range of commercial, high fashion and celebrity clients.

Currently, she is based in both Berlin and London.

Bénédicte Lelong/ Social Media Manager benedicte_lelong@kaltblut-magazine.com

A long, long time ago in a galaxy far, far away, a retarded stork messed up a delivery, resulting in an innocent tyke being dropped off in the wrong country...

She‘s the one who write our Music Laden section.

Special thanks to Herr Von Keil, Fleur Helluin, Magritte Jaco, Tim Brackmann, Winter Vandenbrink, Suzana Holtgrave, Alexandra Vial, Sky Bulatovic, Fashion PDG, Caroline Menges

COVER

Photography by Phil Jelenska Styling by Sabine Ortlieb Hair & make- up by Patrick Glatthaar Model: Sophie @PH Models Vienna

7

It was and still is a long and intensive journey from an online magazine to a printed 400 pages magazine. Oh yes, I can tell you. Some years ago we had the idea of starting something different and we had no idea where this would lead us. The idea was to create a magazine without an “attitude”. A place were artists can jump out of their comfort zone.

A magazine from the readers and artists for the readers and artists.

None of our team members had a lot of experience in making a magazine. We had to learn a lot and we are still in the process. But we love what we are doing and we hope you will like our work too.

Iconical is the theme of this collection. Yeah I know. Nearly every magazine has done an issue with icons. These days we are surrounded with wanna be it girls and pop „Icons“. So we thought: YES!! It is a good idea to do a full collection around this theme. Specially because everybody did it. Let´s show the world what artists and our readers have in their minds around ICONS. We have invited more then 50 artists to play with the word ICONICAL. We are more than proud to present the result. Artists from all over the world have worked hard to create Collection 3. Three months of production. And we are so touched right now to see my „baby“ growing up.

What is an icon to me? To be honest I think also about silly pop stars, or overrated movie stars. But after working on this issue I can say the real icons are all those people who helped me live our dream with the magazine. You guys are little heroes to us. The KALTBLUT team wants to say thanks to all the models, stylists, artists, writers, friends, flat mates, family, friends we lost during the working process, haters, supporters and everybody we forgot. You guys are real Icons for believing in a free spirit and an idea.

Have fun with our new collection and enjoy KALTBLUT for the very first time printed on paper. See you all soon in 2013.

Yours Marcel and the team

p.10 Granite p.26 Punk Fashion Story

Fashion Story

p.20 Rossy De Palma Interview

p.32 p.40 Brigitte Importance p.46 The of Being Dorian p.52 Marry Me p.60 Serena Cole p.66 Dear Bad Beg Bug p.68 Pavel Petel my Sweet p.74 Aline, Bombshell p.86 Iconicat Ironical p.90 Music Laden p.94 Dark Dark Dark Berlin Faces You Should Know

Interview

Fashion Story

Fashion Story

Portrait

Interview

Fashion Story

Article

Interview

p.98 Lucy Lane King Fashion Story

p.110 Top 5 p.112 Iconical Paintings p.120 King Size p.128 Franรงois Cadiere p.130 By The Sea p.140 Franzzz p.148 Herr von Keil Says p.150 Konstantin & Darya Article

Fashion Story

Interview

Fashion Story

Fashion Story + Interview with Caroline Bosmans

Column

Fashion Story

p.168 Werner Schreyer Interview

p.176 Must Have p.178 Peace Warrior p.186 Tate Modern p.192 Attila Richard Lukacs p.198 Suburbian Prep p.210 Marie Nasemann Fashion Story

Exhibition

Interview

Fashion Story

Fashion Story + Interview

p.226 p.232 Berlin‘s Best p.238 Laura Since 1989 p.246 Pam Ann p.250 Babushka p.254 Selim de Somavilla p.268 Décadence p.272 Hernan Bas p.282 Joachim Baldauf Interview

Christine And The Queens

Fashion Story

Interview

Photo Story

Fashion Story + Interview

Illustrations

Portrait

Photo Story + Interview

p.290 London Girl Fashion Story

p.298 Must Wear p.302 The Flying Dutch Man p.314 The X-Insider p.316 Unconscious Sinners Fashion Story

Interview with Gloria Viagra

Fashion Story

p.326 Paul Joyce Photo story + Interview

p.336 p.340 Van Zorc Swinton p.346 Tilda Up Close & Personal #ThingsWeLove dot com

Article

p.348 Glaw Fashion Story + Interview

p.360 Ornis p.364 November Skies p.372 Alexander McQueen p.374 Forsthays p.382 Twins p.390 Andreas Lohaus p.394 Art Around The World p.398 CrayZay Giveaway p.400 Imprint p.401 (End).itorial p.404 Label Index Interview

Fashion Story

Article

Fashion Story + Interview

Fashion Story

Interview

10

GRA

11

ANITE Photographer: Charlie Makkos / Concept and Styling: Nayo P (Iconizo) / Make up: Joanna Tav (Iconizo) / Hair: Christina Katrani (Iconizo) / Model: Lana Ross @ dmodel agency /

Dress from laminated leather: Stelios Koudounaris, Necklaces & bracelet: Frangos s.a

12

Leather dress : Vassilios Kostetsos, Shoulder pads, belt & gloves: Nayo P, Shoes: Nayo P

13

Wool trenchcoat: Gothstudio, Dress from tulle plisse: Vassilios Kostetsos, Necklace: Frangos s.a, Belt: Stylist’s own, Shoes: Nayo P

14

Bodysuit from laminated leather and metallic embroideries: Vassilios Kostetsos, Metallic fingertips: Nayo P, Ponytail holder: Nayo P

15

16

Feather jacket: Vasssilios Kostetsos, Dress from silk chiffon: Stelios Koudounaris, Chain belt: Nayo P, Shoes: Laura Biagiotti

17

Dress from silk jersey and laminated leather: Vassilios Kostetsos, Vest from wool gabardine and laminated leather: Stelios Koudounaris, Ring: Frangos s.a

18

Shoulder pads: Nayo P

19

20

ROSSY DE

PALMA

A true Icon.

21

22

Photos by Š Outumuro www.outumuro.com

23

I

t‘s hard to define Rossy de Palma in one word. She‘s a child of the so called „Movida Madrileña“, a cultural, creative, underground movement that happened in Madrid during the 1980‘s as a symbol of freedom after 40 years of darkness under General Franco‘s dictatorial government. A breath of fresh air in a very conservative and religious society who was still too afraid to express its own opinions. And a wake up call to Europe saying: „Here we stand!“.

During those years she met one of her best friends, universal Spanish director Pedro Almodóvar. It was love at first sight and they started a long lasting personal and working relationship shooting six films together including Kika, which gave her one and only Goya Award nomination for Best Actress in a supporting role.

Although she doesn‘t believe in borders, she‘s the best Spanish ambassador in France where she developed part of her career shooting films with Karim Didri or even Robert Altman. She‘s Jean-Paul Gaultier and Christian Louboutin‘s close friend. Fashion is part of her creative soul, and her close friends Jean-Paul Gaultier and Christian Louboutin plus many other designers on both sides of the Pyrenees often call on her to show their designs, maybe because of that „Cubist Beauty“ her friend Almodóvar used when describing her. If Pablo Picasso was alive, we‘re sure Rossy would have become his favourite muse.

Through the years she has turned a bit „Frenchy“, but she keeps that typical Mediterranean attitude with the air of someone who left her beloved Mallorca to explore the world without forgetting her roots. Her words express energy, passion and positivity.

She has done almost everything but she‘s willing to do much more.

Rossy told us about her passions and projects.

In this world of 15 minute fame she is a true survivor and she is definitely our icon.

Text and interview by Claudio Alvargonzález Tera

KALTBLUT: Actress, Model, Singer, Photographer and now also DJ. Is there anything else left to do?

ROSSY: There are so many things i would love to do that i will have to reincarnate a few times!

KALTBLUT: We especially like your role as an actress, but which of all your facets do you define yourself with?

ROSSY: All of them! The best thing for my health is to be an artist and enjoy with all kind of disciplines, always in a creative way.

Creativity is what keep us alive, curious, awake and sensitive!!

KALTBLUT: Let‘s talk about your passion for photography. Where does this passion come from?

ROSSY: From that curious eye that never rests. From that look we pose over what we look at. From that magic, inherent to a

photographic shot… and i can keep on and on and on…!

KALTBLUT: We have to admit that your DJ „moment“ surprised us at first but after five minutes we saw it like something very natural coming from you. Is it because of your passion for music or something else?

ROSSY: Yes, I also felt like an impostor for a moment, but I‘m not exactly a DJ, I‘m a Musical Selector! And music is part of my life since the very beginning. I lived the 80‘s with my avant-garde pop group „Peor Imposible“ (Worst Impossible) which is already History of Spanish Pop Music and a session is also about sharing musical happiness and a lot of fun pictures!!!

KALTBLUT: Let‘s go back to cinema. In Spain you are really loved but in France you are a true star and sometimes we‘ve heard you feel your potential a bit wasted in your own country.

Do you still feel the same way?

ROSSY: Well, i‘m not the kind of person who likes to complain. What happens, happens! And what never happens we can still dream about it, but maybe it‘s true i just showed only the „tip of the iceberg“, let‘s see if i have time to show the body of the glacier before i fade-out! (LOL)

KALTBLUT: ‘Les Femmes du 6ème Étage’ directed by Philippe Le Guay and featuring your Spanish mates Carmen Maura and Natalia Verbeke was a huge success in both France and Spain. As you share your time between the two countries, well in spite of the typical fights between neighbours, don‘t you think there is much more that binds us together than divides us?

ROSSY: I always repeat what my father told me, that i am „worldwide“. I only believe in gastronomic borders which are the only ones that have any sense to me.

KALTBLUT: What will be your next cinema projects?

24 ROSSY: I have a movie in progress in Spain, there‘s another one in France waiting to get financing and an imminent one in Mexico.

KALTBLUT: Let‘s talk about your great friend Pedro Almodóvar. You learnt to fly solo but we owe him part of your fame. How did you meet him?

ROSSY: During the 80‘s. All the artists milling around Madrid knew each other.

He came to our concerts and he began to be venerated. One day he called me to play a role in La Ley del Deseo and he wanted to immortalize my 80‘s look. In that first appearance I had to do my make up, my grooming and I was dressed by myself. That was the real me back in the days!

„I‘m not exactly a DJ, I‘m a Musical Selector!“

KALTBLUT: We love your role in La Flor de mi Secreto with the always stunning Chus Lampreave but, which one is your favorite Almodóvar role?

ROSSY: Yeahhh! I love that one too! It has the same spirit like ¿Qué he hecho yo para mercer Esto?, one of my favorite Almodóvar films… But, why do we have to choose if we can have all of them!

KALTBLUT: You don‘t work together since Los Abrazos Rotos where you worked with Penélope Cruz. Is there any other project together you can tell us about?

ROSSY: No, but I hope The Muses call him for something… Somehow, somewhere! In the meantime I enjoy all his films with great pleasure.

Photography by Álvaro Villarrubia www.alvarovillarrubia.com

25 KALTBLUT: We saw you just a few weeks ago at Madrid Fashion Week walking down the catwalk for the great Juanjo Oliva and you’ve featured many times as an image for Christian Louboutin designs.

How important is Fashion to you?

ROSSY: It‘s one of my favorite breeding grounds. Fashion unites almost everything I like: Friendship, passion, art, expertise, costumes, music, performance, attitude, drama, movement, plastic, etc etc etc!!

KALTBLUT: A lot of people consider you an icon. Do you see yourself that way?

ROSSY: I love to be an icon because icons are angels and immortal, and although it‘s not true, that is how i feel (LOL).

KALTBLUT: Let‘s talk for a minute about the most personal Rossy. Some parts of the press think you are unfriendly but everyone who knows you say you are just the opposite. Do you care about those who write about you without really knowing you?

ROSSY: I‘m ideal, kind, friendly, generous, but also human and by that i‘m not perfect darling!!

KALTBLUT: Do you ever visit your beloved Mallorca or is it easy to sometimes forget your roots?

ROSSY: I go there very often!! But it‘s better not to abuse, the food it‘s too good and that puts me in serious danger (LOL).

KALTBLUT: You have done almost everything but it‘s said creativity rises during times of economic crisis and you are especially creative. Is there anything left to achieve? Do you feel satisfied with everything you‘ve made?

ROSSY: I wish to be healthy & wealthy forever but you always feel a bit unsatisfied because the creative monster we have inside always asks for more and more and more!!!!!!

From KALTBLUT we would like to thank Rossy again for this lovely chat, her kindness and great sense of humor. It was a real pleasure having this interview with her and we wishes her all the best.

26

model Sophie PH Models Vienna photos by Phil Jelenska www.philippjelenska.com styling by Sabine Ortlieb www.styling.100und1.com hair & make- up by Patrick Glatthaar www.patrickglatthaar.blogspot.co.at

PUN

27

K

28

29

30

31

32

BERLIN Faces

“When it comes to the future, there are three kinds of people: those who let it happen, those who make it happen, and those who wonder what happened.”

John M. Richardson.

KALTBLUT wants to introduce you to some of the kind who make it happen. They are extraordinary, creative, outstanding, special, notable and unique and they will change the world soon. That’s why we have to keep an eye on these three people and you should better do the same.

33

By Fleur Helluin

Photo by Bastian Harting

A n t j e

M a j e w s k i

34

Photo by Melissa Hostetler

ntje Majewski is a fastwired artist that guides us through her body of work, that embraces painting, installations, photographs, videos and theatre, in a familiar yet peculiar world.

Tainted with progressive feminism her works explore existential questions (love, death, friendship...). In her paintings, surrealism meets costume party in a collection of symbols.

In a video of a conversation with Alejandro Jodorowsky, she says she’s a serious artist. She’s actually a bit more as she displays great clarity of brain, a taste for magic and a very accurate vision.

We had a little chat for Kaltblut.

KALTBLUT: What was your first esthetic shock?

ANTJE: The first esthetic shock was probably painting all over my body and my sisters and the walls and the bath tub and everywhere, with “finger paint”. I loved it!

There is a Super 8 film by my mother that shows us the three of us, so I could have taken the memory from there. But I also remember the “Mud Room” in my first kindergarden. My parents came from the ´68 generation and had founded an anti-authoritarian kindergarden in Münster. It had one room in which we could wash off dirt, but also play around with dirt. Great!

If you ask for art, it was a book with paintings by Botticelli, which my grandmother showed to me when I was a child. Whenever I went to visit her, I would look at the images again. I especially loved the dresses - of Venus in the “Venus and Mars” painting, or of Flora on the shore. Something about the flowers on the soft white cloth, and the golden embroidery around Venus breasts - they were so beautiful and erotic and otherworldly.

The paintings are even now like something very familiar to me , as if I had been in these gardens in my childhood.

KALTBLUT: What is the first image you have in mind when you think about art?

ANTJE: No image. More like a field, an

open area of intensity, that shines from within, very bright. It’s the best place.

35 KALTBLUT: How much of painting is not painting (but theoretical ideas about other things, or symbols etc...)?

ANTJE: How can you separate a painting from its content? Even “concrete” paintings contain their specific world of connotations.

A painting is always part of the world, adding to it a slightly different world. Enriching the world in possibilities.

But of course, a painting that will just try to illustrate “other ideas” will most of the times be rather boring. The ideas and symbols in it and its colors and all the rest should be a unity, as if it was a living organism.

KALTBLUT: Would you rather have foam teeth or foam arms?

ANTJE: I really don’t want any of these!

Especially not if the rest of my body is not also foam! Did you dream of this? Was it a nightmare?

KALTBLUT: Could you please explain us your personal visual (or not) traditions?

ANTJE: I try to follow a new tradition,

started by Pawel Freisler. It has to do with apples (and eggs). But he won’t tell me what the tradition is, he says he is too lazy. So I try to make it up as truthful to his ideas (as I understand them) as possible.

KALTBLUT: Who are the very most important teachers for you?

ANTJE: So many I cant count them. So I

will just name the important teachers that I learned from during the research for “The World of Gimel” in the last three years: Issa Samb, Alejandro Jodorowsky, El Hadji Sy, Guan Yin, Helke and Thomas Bayrle, Pawel Freisler, John Joseph Mathews, Chuang Tzu. Oh, and I also learned a lot from Adam Budak!

KALTBLUT: Making art, is it giving or taking?

ANTJE: Making art is giving, but in giving

you also receive. Of course I also take, for example what my collaborators in my paintings and films give me, but basically what I do is I involve them in the giving. We give together, which is much better than just a single person giving - and we receive together.

I have always been involved in a lot of group activities, like curating. Currently I take part in a feminist group, the “FF”s, and we plan a two months program in the space of Lisa Ruyter in Vienna. The giving part is fun, but it also means on a practical level that you meet all winter, and drive to Vienna four times, and do a group abstract expressionist painting workshop and discussions and a procession and a remake of a lost theatre piece by Leonora Cunningham - and all this for fun and for free! I hardly ever get payed, it seems…

But, as my great teacher Alejandro Jodorowsky puts it in a video that I was able to do with him and in which he ponders over a strange object that I had shown him, a clay hand that is a teapot: “The whole world can pass through an open hand. So that hand, which as a teapot is half-open, it’s the hand that gives. And what I give, I give it to myself.

To receive the world is to give to the world.”

www.antjemajewski.de www.neugerriemschneider.com

V i v i a n a

D r u g a

36 Romanian TV as it was considered a political scandal, not a nature love declaration. But after the waves chilled down I felt I could not work anymore in that kind of area: trying to change something that was not in my hands.

I guess I felt a bit like Pussy Riot fighting against an old system of thought. I flew before I was spiritually imprisoned. A more personal, poetic approach was asking itself to be expressed so I had to move to a neutral landscape and Berlin was just around the corner.

KALTBLUT: And when you thought you were exactly where you have to be?

eeting Viviana Druga happens when you’re ready for it. She’s a new kind of animal and powers the mystical energies as she ties up urban and natural landscapes in her photographs.

She was born and raised in Transylvania and she’s called Viviana, and that definitely has a touch of mystery. Starting her career as an activist, she then moved to Berlin in 2008 and continued to deepen her practice as a contemporary Shagirl (yes, from Shaman)..

KALTBLUT: Viviana, please tell us about your first esthetic shock?

VIVIANA: If I have to think about the first ever that would be Marilyn Manson. Long before Matthew Barney or any other contemporary image icon. He is there to shock that´s for sure and his aesthetic (his prosthetic tits and androgyn look) reached me when I was around 12. In the Greek orthodox environment - where I grew up - with my mother encouraging me to go to church and sit on my knees for hours, almost losing my consciousness because of the smells in there – it stroke me like a hammer. It brought doubt in the little religious universe but it also brought freedom. I have to add the second shock as I find it pretty relevant. I was 15 on a trip to Vienna with my classmates. I did not fit at all into the school activities at that time and escaped to visit the city by myself. I wanted to see Sigmund Freuds house (I guess because I needed to have a real idea about the one who wrote ‘The Interpretation of Dreams’) but it was closed, so I ended up in a museum of contemporary art. I remember seeing an installation with red water dripping from a fish tank on the floor of the gallery, and being recycled back into the tank and this would go on in a continuous cycle. I was extremely impressed to the point that I spent the whole

day there. In between the school teacher called the police so I got into serious trouble but it was worth it. The different approach on familiar objects opened up a whole new dimension of reality.

KALTBLUT: What is the influence that’s very old (in your life) and that still really matters?

VIVIANA: Being in nature and letting myself be governed by nature’s laws. I was born in Transylvania/Romania, and until the age of 12 would spend the summers in the mountains, playing with my sister by the river where my first little landscape installations happened. I lived afterwards quite a long time in urban environments but was always trying to integrate the nature dynamic back into my life. If I don´t, it will take revenge through my dreams and create a conflict so I have to pay my tribute to the earth spirit from time to time.

KALTBLUT: When was the last time you thought: never again!?

VIVIANA: I was in Bucharest after I finished Banana Republic – a photo-session with people posing half naked at almost – °C degrees with palm trees in the background planted by the city goverment with 30.000 Euros but which you were not allowed to approach or touch. It reached quite a big audience on

VIVIANA: I was traveling with a friend in Indonesia in 2010, and we were on the top of the mountain Kelimutu on Flores Island where I saw 3 different colored lakes: one light green, one dark green and one completely black. The people there believed that the spirits of the villagers would chose after their physical death one lake to rest in. I felt completely connected to the universe and with what my art mission was going to be: using art as a magical activity that can help other people discover new dimensions of themselves.

KALTBLUT: Would you rather have foam teeth or foam arms?

VIVIANA: I need my arms more so I guess foam teeth would be better as I can survive on a liquids - diet. Would try having foam arms for 24 hours if i would be blocked on an amazing island with my loved one.

KALTBLUT: What are your 3 favorite works of art?

VIVIANA: Bill Viola – Ocean without a Shore, Niki de Saint Phalle - Tarot Garden Alejandro Jodorowsky – El Topo (Psychomagic: The Transformative Power of Shamanic Psychotherapy)

KALTBLUT: Can you please tell us a little bit about what you’re doing at the moment?

VIVIANA: By the end of the year I am planning to have finished a series inspired by Le Tarot de Marseille that Julie (Tata Christiane) and me started together at the beginning of last year. Next card is The Lovers. I found the perfect lover girls (the card is composed of 3 characters: 2 girls and 1 boy) but the boy still has to show up. It’s a full time work for me as it’s not a usual photo-shooting. I prefer to wait till I find the right person that would fit the tarot card that we would like to represent.

The card so to say has to choose the model and this kind of approach takes time and dedication. Nothing happens without totally believing in it.This approach to photography is linked to my previous work called ‘Transformations of a young girl’ which I consider a photographic ritual by using art as a tool for transformation. When I met Natia (Rose Bertin - set design) and Masha (the model/ girl) this idea got shape. They used to visit me in my studio once a week and what we would perform in the studio guided by dreams and intuition mostly and what we would create there would then start to reflect in the daily life.

www.vivianadruga.com

37

Melissa Perales

elissa Perales is a very special actor in the Berlin scene.

She’s been living here since 1995 coming from the USA. Her GQ is the Schokoladen in Mitte where she’s been inviting bands in her concert series M:Soundtrack.

This is where I first met her in 2006, and she was one of the first ones to give us a shot with Plateau Repas in Berlin. In 2010 she became a member and curator for All2gethernow which in an independant platform and event series that looks for new strategies within the music business and it’s cultural landscape. This is a woman of ideas and of great generosity, and I was very pleased to talk to her:

KALTBLUT: What was your first esthetic shock?

MELISSA: HAHA. The first thing that came to my head is a Willie Nelson concert at the Ionia County fair in Michigan, U.S.A.

KALTBLUT: You’ve been living in Berlin for a long time. What is your key to surviving here?

MELISSA: The only key to surviving is to keep doing what you love. It has not lead to me being free of existential worries, but has helped me while making “the map” and connecting it over and over again with each new thing I do, whether that be film, music, festivals or food. The key for me is the creating and connecting parts and people that usually leads to other things and maybe even sometimes to employment ;) but mostly because of being a foreigner and having to “survive” differently than the “indigenous” I usually had to make my own ideas work rather than finding a job the traditional way which has been tricky at times when you just want to work for someone else and not be “The Boss”. They take one look at your CV and say this lady does not want to be part of the team she wants to lead the team. And well sometimes. I do just want to be part of something and not be the initiator, so that has been kind of difficult.

KALTBLUT: You’ve been giving a stage to many many, many artists over the years, which are the ones you are the most proud of ?

MELISSA: Oh that is really a tough question because I think that mostly people relate these kind of questions to fame .. And I’m more about putting things on that I think are

great and not so much about will the world look at me now if I put this artist here or there, I really have had with a few tiny exceptions, great luck and have been honored to work with (((many, many))) talented artists. I can say that I have had many artists over the years which have become friends because of music and the shows I have done or the films that I have shown. I am only now starting to be in the position after all these years to maybe help move some ground by offering yet bigger platforms which can help artists..

And that makes my job very enjoyable. So I guess (maybe you can tell I am trying to get around this question) I am proud of all of them ;) it is a very tough job being a musician or filmmaker so I do R. E. S. P. E. C. T!

KALTBLUT: What is the future of Berlin?

MELISSA: Hmm, well I think after all these years living among the BERLINERS I realize that they are pretty tough cookies! I think that we “Berliners” do not want to become a Hamburg or a Munich but maintain the identity which is very strong here and most likely why so many foreigners still land on its shores -- because somehow amongst all the struggle there is this laid back attitude which maybe comes from the city being pretty much what I

would consider working class folks who work hard and play harder.

KALTBLUT: What’s on your agenda for the months to come?

MELISSA: Well, you catch me in an extremely crazy time -- we just had Torstrassen festival (www.torstrassenfestival.de) in September that I organize with Andrea Goetzke (a2n) and Norman Palm (Fertig design Musician) and we are kinda flying high. But at the same time we have production stress on the next event during the Berlin Music Week. It´s with a2n -- we are an independent platform and event series that looks for new strategies within the music business and its cultural landscape. (www.all2gethernow.de) We organized a lot of great workshops and music making possibilities for musicians and those working in the field. And then I have many great shows in addition coming up. A film to find music with for “Supertape” the company that a friend and I and Sabine Steyer try to get off the ground: www.supertapeberlin.com and then -- Holidays!

www.supertape-berlin.com www.all2gethernow.de www.schokoladen-mitte.de

38

39

40

BRIGITTE In 2011, a certain Brigitte is getting known by the ancestor Myspace by a cover of the French rap 90’s success ‘My Benz’ by NTM, then blow the scene up with their first creation ‘ Battez-vous”. A path common to many new artists, but Brigitte is not a lolita filming herself singing in her bedroom.

In fact, Brigitte is a couple of two women who already had their own musical career.

Sylvie Aurélie has done a few singles at the beginning of 2000’s. While Aurélie Saada had a rock band named ‘Vendetta’, even asking the other one to compose some titles.

Years go by, a discreet success, artistic agreements, closed doors from the labels, but also love, children, and a truthful friendship between Sylvie and Aurélie.

Brigitte was born from this union, she symbolizes all the iconic French Brigittes (Bardot, Lahaie, Fontaine) and, before becoming a famous band, moreover Brigitte represents a pleasure between two musicians.

For this very first printed magazine edition, we got the chance to meet Brigitte. We couldn’t dream of a better meeting to illustrate our theme: Iconical.

Brigitte, simplicity, beauty, talent and especially the urge to share their passion.

Text and Interview by Nicolas Simoneau and Fashion PDG Photo by MarcelSchlutt

41

42 KALBLUT: Hello Brigitte BRIGITTE: Hello Nicolas

KALBLUT: We do know that your band name is a tribute to all the French

Brigitte: Bardot for the sensuality, Lahaie for provocation and Fontaine for her square songwriting or her hair madness?

BRIGITTE: (laughing) Both! Her madness, her fantasy, her talent and amazing texts… but ( about the Brigitte name) it wasn’t really a tribute; this name was a reference to a lot of thing.

In particular these women, it also has a flendish, outspoken, daring , free side; and at the same time : the girl next door from our mother’s time: Brigitte: it’s a mother, the baker’s wife, it is someone we know, it is a girlfriend… There was something like that, very familiar that we loved. It was very paradoxical, it wasn’t just an icon, it was in the end clearly the one-that cooks.

KALBLUT: And in Brigitte Nielsen’s case?

BRIGITTE: Not at all. Noone ever mentioned her, but Brigitte Fossey…

KALBLUT: And besides the Brigittes, do you have other icons?

BRIGITTE: I don’t really know if we have icons…we love a lot of things, and this is

where we found each other. Without being fans, we have been surrounded by a lot of things, from movies to music or art.

All this influenced our work: Jacques Demy’s characters, ‘Peau D’Ane’ or ‘ Lesdemoiselles de Rocheforts’, ‘Annie Hall’, ‘A Woman under the Influence’ by John Cassavetes, a Gena Rowlands moved us as much as a Klimt or Egon Schiele painting.

We do not have a model, therefore no icon.

KALBLUT: Brigitte is in a peculiar stage between singer and motherhood, do you have a definition for feminism?

BRIGITTE: A definition of feminism? Don’t know what to say.

KALBLUT: To sum up, in music, first you try to build a career and then you have children. You have succeeded with other assets.

„ We did not want to give up: femininity, motherhood,

love and craziness.

“

SYLVIE: Is it because we had aborted previous projects?

AURELIE: It is true…but at one point you become pregnant and it is not a reason to

stop working, you continue.

SYLVIE: Well, at least that is what we did AURELIE: I think we did not want to give up: femininity, motherhood, love and

craziness.

SYLVIE: Why haven’t we never used ‘ Giving up’? This is it.

AURELIE: We clearly did not want to give up the fact of being a loving mother and a fulfilled woman who takes care of her family […] there are things that might not be easy, but till today, we can say that we are multifaceted, a mix of all that. Being the mum and the whore, it is cool and possible. In the end it is not properly a definition of feminism but to accept all the feminine facets.

KALBLUT: Asking questions of your motherhood and singing, isn’t it a bit macho?

AURELIE: Of course, you don’t ask that to men.

SYLVIE: It is a normal question and at the same time sexist, do you ask the question to male artist (…Mick Jagger!?!)? But male and women journalists do ask us this question:

how do you manage your time? How are your children living it?

AURELIE: Isn’t it what we were debating of this morning in the bus? Isn’t the society changing? It did change the father’s part. We realized that despite all these, emancipations, changes, there are more women who do long studies. They have finally accessed it after years. In the suburbs men hang around but women they go to university and follow their path.

There is like a schooling Feminisation.

Women don’t either give up motherhood, what is the next women generation, who do everything at the same time?

SYLVIE: Brigitte is part of that move-

ment like an echo of it. A lot of women identify themselves to us, that our songwriting echoes their lives. I don’t know if a lot of artist get this response but there is something in the air.

AURELIE: However it is not only for

43

women, we do not do music for women or girly nights out. Our public is pretty heterogeneous. Neither of generation, we have kids and even old people. I love to see women in their 60’s at our shows. It moves me as they were at the beginning of the changes.

KALBLUT: Brigitte proud of being a MILF („Mom I‘d Like to F*ck“) ?

SYLVIE: Completely.

AURELIE: To be a MILF your kid’s friends have to look at you and think of “she’s hot” . Yes, cool, I am glad to enjoy my sexuality!

KALBLUT: By the way, Suzanne from ‘Big Bang’ is a pretty free women, just like your videos character from ‘Hou La La ‘ and ‘La vengeance d’une louve’.

BRIGITTE: Someone told us once that he was looking for the

KALBLUT: To close the femininity chapter, we also read that being a woman did affect your career with a bit of difficulties, what now?

SYLVIE: At the beginning it was not easy.

AURELIE: We wrote a movie theme and the film director was introduced to us. The producer said ‘ They are the singers’ but we WROTE the music!

The producer couldn’t get the fact that we wrote, composed and played the music, not only did he thought that we just sampled some randoms music but wearing nail-polish and musicians could not match for him.

From the very beginning we bear the fact of being women who do music, no tomboy attitude.

During our very first interview, the first question of this male journalist was: ‘ With your make up, dresses and high heels, aren’t you scared of being taken for idiots?’ What do you mean by this question?

album meaning. He sent us an email stating ‘we got it all with my daughter. This disc is Suzanne! It is Suzanne’s life’.

SYLVIE: We stayed very calm and smiley and said:

It is not that easy though we did not wrote it this way but she happens to be the inspiration.

AURELIE: But we did reply: ‘Aren’t you scared of being taken for a dumb on your side?’ It was clearly provocative from him but

‘We are musicians…’

44 in an intelligent way. It was to open the debate.

KALBLUT: Brigitte write a lot about Men, Brigitte is not

an avenger?

BRIGITTE: It is interesting to take your experience and do a work out of it.

KALBLUT: What part of Brigitte does not belong to

Brigitte?

AURELIE: We are two and two singers in the same band, it is the most personal project of our entire life (laughs) KALBLUT: You have dedicated your French music award to all the female losers; Brigitte the Loser became Brigitte the Winner?

BRIGITTE: For how long though? We cannot predicate it. It

is currently magic, we work. We are going to do a new album who might be out in a year and maybe we will be losers again.

Music is tricky you never know. The public will decide.

Album: Et vous, tu m‘aimes?

Artist: Brigitte Out: NOW

Tour November/December 2012 13/11: D - KÖLN / Luxor 14/11: D - SAARBRÜCKEN / Garage 17/11: D - MÜNCHEN / Ampere 18/11: D - BERLIN / Frannz 22/11: CH - ZURICH 23/11: CH - GENEVE 28/11: F - CLERMONT-FERRAND 29/11: F - LE CANNET

KALBLUT: As mother where did the inspiration come for the title „Je veux un enfant“ (I want a child)?

AURELIE: I tried during 3 years to get pregnant and was not the only one in this case. As previously mentioned it is interesting to use your own experience and do something out of it, even years after.

KALBLUT: You have your very own style, looks, do you have any fashion references?

AURELIE: A lot!

SYLVIE: All of them! We do not have any icons nor for

music nor for fashion. We love a lot of things, a bit edgy. All the things that I never dared to do, wrote, played in my other bands or wear…even before doing music! I have always loved buying vintage pieces, but I did not dare to wear them, and now I have succeeded in wearing them!

AURELIE: When I met her, she was always wearing a jean with a tee shirt and her yellow paddington coat.

SYLVIE: I always had something tough.

AURELIE: During shopping spree she would say ‘this? I can’t, I won’t wear it’ and I would nod and say ‘you have to’ and Bang, at one point it happens. You have to feel free and enjoy yourself.

SYLVIE: In music I started in a men environment so in order to reinforce my position, you know I couldn’t…

AURELIE: Funny nowadays, I think it is the contrary SYLVIE: Back in the days, I though this way AURELIE: In your younger days… […]

KALBLUT: At the beginning of your tour, you said that

45 your were thinking of a new album for 2013, is it still on? Did the tour inspire you?

BRIGITTE: Still for 2013 but we would love to hit the studio by this Spring.

KALBLUT: Next question was supposed to be ‘ how was the tour’ but as you just came back from a month of vacations…

SYLVIE: The vacation tour was great.

AURELIE: The tour was awesome. It is fun. We live like a summer camp with all the musicians and technicians that we love, all together in the bus.

KALBLUT: And precisely after 6 months, is it still fine and fun with the team?

BRIGITTE: Not a single fight, never. You should see our team.

Everyone is beautiful! It seems fake to hear “ no tensions, we get along very well’ but it is true. We even take nap together. The other day we talked about our vacations till 4 o’clock in the morning, it was like being back with your dudes.

KALBLUT: Tonight you are playing in Berlin. Is it your first time in Berlin? What does this city remind you of?

AURELIE: No it is the third time with Brigitte. The first time, I stayed a bit longer with our guitarist as we did not know the city.

We couldn’t miss it we had to stay. There is an insane cultural life and each time the weather is absolutely beautiful, is there a micro climate on Berlin? You feel that there is some sort of freedom, people dare, it is fun, creative… Too bad that the big Squat [the Köpi ] closed down.

KALBLUT: In your videos, there is a common esthetic.

The look and the environment remind of the great American myths, am I right?

BRIGITTE: YES, we shot all the videos over there.

KALBLUT: Still in the American references, the title „Ne me lâche pas“ sounds like the Anrew Sisters with „Rum and Coca Cola“.

BRIGITTE: YES!!! Sometimes people says we sound like these

singers sent out to cheer up the troops during wars. We would have loved to be them once.

KALBLUT: What image do you have of the American dream?

AURELIE: To me it is a great illusion. It is an adventure that starts well and finishes badly.

KALBLUT: To me it is starting from scrap and building it up to somewhere

BRIGITTE: Then, we are our own American dream! It would be nice it lasts as long as now, just like love stories!

KALBLUT: We have a lot of American readers, a little call for a US career?

BRIGITTE: We would love to do something over there but

we do not really handle that. Working with other countries, but if you sing in a very specific language, it means investing your time and yourself…some bands succeed in it. We are in an independent company.

We would like to do shows there but also love going to the United Stated for vacations. The States we can visit it.

We prefer to come here [in Germany], doing things there, it is great as we have a label who takes care of us and it is just next door. We still do shows here and there: Lebanon, Russia, Norway…We are going to tour Canada soon and so the USA as well…

(Ninja talking) It is a big audience the USA!

KALBLUT: And so which American is Brigitte, East or West

Coast?

BRIGITTE: Both, we cannot choose.

KALBLUT: We noticed that during your interviews or in your videos Aurélie was on the left side and Sylvie on the right, for?

BRIGITTE: We are an old couple, we have our own side in the bed (Laughs), But you are sleeping on my side tonight…no wait, all my stuffs are still on the night table!

Shirt - Burberry available at Fashionation P&C Leather Coat - Weinmann Archives 1920‘s Suit Jacket - Weinmann Archives Tie - Paul Rosen Heritage available at Fashionation P&C Pants - Ute Ploier Hat - Mühlbauer Gloves - Marc Jacobs available at Fashionation P&C Berber Fibula worn as nose ring - Stylists own

46

„The Importance of Being Dorian“ Photography- Andreas Waldschütz/ Creative director/styling - Adia Trischler Hair&make up - Patrick Glatthaar/ Photo assistant - Marlena Koenig Digital imaging - ChristianFriedrich/ Model - Benedikt Angerer @ Wiener Models Special thanx to Mikki Fidanzia @ f6 The open factory, Macho Style, Seilerstätte 18-20/ 1010 Vienna and Tiberius, Lindengasse 2, 1070 Vienna

47

Shirt belt and gloves - Ute Ploier Corset - Northbound Leather available at Tiberius Pants - Paul & Joe available at Fashionation P&C Antique walking stick - Weinmann Archives Boots - Original Gailtaler Trachtenstiefel

48

Shirt - Empire‘s Union available at Mühlbauer Cardigan Sweater - Commes des Garcons Tie - Giorgio Armani Marine Jacket - Weinmann Archives Hat - Mühlbauer

49

Shirt - Marc Jacobs available at Fashionation P&C Suit - Vivienne Westwood available at Mühlbauer Socks - Stylist‘s Own Skull and crossbone house shoes - Tricker‘s of England Leather tie, pocket watch, glasses and vest - Weinmann Archives

50

Shirt - Givenchy available at Fashionation P&C Leather tie - Weinmann Archives Corset - Northbound Leather available at Tiberius

51

Scarves, pants, and shirt - Ute Ploier Shoes - Jimmy Choo availabe at Steffl 6th Floor Vest - Denham available at Fashionation P&C

Marry me! Marry me! Marry me! Marry me! Mar me! Marry me! Marry me! Marry me! Marry me! ry me! Marry me! Marry me! Marry me! Marry m Marry me! Marry me! Marry me! Marry me! Mar me! Marry me! Marry me! Marry me! Marry me! ry me! Marry me! Marry me! Marry me! Marry m Marry me! Marry me! Marry me! Marry me! Mar me! Marry me! Marry me! Marry me! Marry me! ry me! Marry me! Marry me! Marry me! Marry m Marry me! Marry me! Marry me! Marry me! Mar me! Marry me! Marry me! Marry me! Marry me! ry me! Marry me! Marry me! Marry me! Marry m Marry me! Marry me! Marry me! Marry me! Mar me! Marry me! Marry me! Marry me! Marry me! ry me! Marry me! Marry me! Marry me! Marry m Marry me! Marry me! Marry me!

Marry me! Mar Photography & DA : Bérénice V. www.berenice-v.com me! Marry me! Marry me! MarryAssistant me!

Marry me! : Jerry Dominique Model : Deila Vogur ry me! Marry me! Marry me! Marry me! Lancelle Marry m Styling : Angélique MUA : Stéphanie Jacquet Hair : Raphaël me!

Mariage Mar Marry me! Marry me! Marry me! Marry Location: Paris Mise en Cage me! Marry me! Marry me! Marry me!

Marry me! www.misencage.com ry me! Marry me! Marry me! Marry me! Marry m Marry me! Marry me! Marry me! Marry me! Mar me! Marry me! Marry me! Marry me! Marry me! ry me! Marry me! Marry me! Marry me! Marry m Marry me! Marry me! Marry me! Marry me! Mar me! Marry me! Marry me! Marry me! Marry me! ry me! Marry me! Marry me! Marry me! Marry m

Marry

rry 53 ! Marme! rry ! Marme! rry ! Marme! rry Marme! rry Marme! rry Marme! rry Marme! rry Marme! rry Marme! Gia harness, Harness thong, Bondage cuffs, all by Bordelle at Mise en Cage

54

Nouvelle Justine bra, Harness thong, Bow suspenders all by Bordelle at Mise en Cage

55

Open harness bra, High waist brief, Leather nippies, Leather suspenders with pearls all by Bordelle at Mise en Cage

56

Leather harness by Tamzin Lillywhite, Harness thong by Bordelle, Headpiece by Jackie TadÊoni, all at Mise en Cage

57

Spell dress by Murmur at Mise en Cage

58

Web harness by Bordelle, Headpiece by Jackie Tadéoni, all at Mise en Cage

59

Marshmallow harness bust by Murmur, Nouvelle Justine bra, Bondage waspie by Bordelle, Headpiece by Jackie Tadéoni, all at Mise en Cage

S e r e n a 60

C o l e 61

62 I realized that it had been a long time The second I saw the work of Selena Cole, since I had seen something so beautiful.

There is something very profound about her work. I love how detailed her portraits are. The mix of materials that she uses makes her images extremely „powerful“.

Serena lives in Oakland, California. When she is not painting and drawing, she is working as 2D Studio Manager at the school she graduated from, the California College of the Arts.

Her work focuses on „Images“, and I can totally relate to that. Nowadays, images are everywhere : in magazines, fashion, advertising..

Fashion Magazines are Serena’s main sources of inspiration.

She paints and draws with watercolors and colored pencils but she also uses photo transfer, ink, gouache, ..... „I am a media nerd“ she says about herself.

So instead of doing an interview or a portrait, I just asked Serena to tell me about her relationship with the

„ ICONS“.

Text by Nicolas Simoneau

63

I was once asked to be part of a show called „The Icon and the Iconic“ at a small gallery located inside a Catholic church.

I was intrigued by the curatorial plan to show my contemporary figurative paintings alongside both works of Catholic imagery and icons made

by Orthodox „icon writers“. At the opening I was able to ask one of these iconographers where the images come from- they are „written“ through them by God- and what happens if they somehow create a likeness of a person they know while they are painting the faces of figures whom no one really knows what their faces looked like - it‘s a problem. How fascinating!

What I love about this religious form of iconography, (the more accurate, historic concept as opposed to the Warholian idea of a pop culture „icon“), is that it predates the contemporary idea of an icon but basically parallels our current notion of worship and reverence. Through super-flat, jewel-encrusted, gilded images of saints, we have an idea of a person that is larger, more beautiful, and more glorious than life. Then and now, we don‘t want the real thing: We didn‘t want the Virgin Mary to be regular, homely, or in a simple cloth sack. People in the past wanted Fantasy Mary, fitting the Russian beauty ideal for Russians, another fitting French ideals for the French. A perfect woman, capable of Immaculate Conception, but also totally exquisite. What did they need to depict space for? These visions of venerated figures were intended to represent an idea, not an identity or a reality, (and I‘m going to hell for this), nor even a truth.

Opening Page: Burning Down the World I, 2011, Watercolor, colored pencil, and ink on paper, 22“ x 28“ Left page: Black Mirror III, 2012, Colored pencil and gouache on paper, 40“ x 30“ Right page Top: Death is Not the End, 2006, Watercolor, colored pencil, dye, and gold leaf on paper, 32“ x 21“ Right page Bottom: Onyx, 2008, Watercolor, colored pencil, and dye on paper 50“ x 42“ Next page left Top: I‘m Dead I‘m Dead I‘m Dead, 2011, Watercolor, colored pencil, ink, gouache, photo transfer, and gold leaf on paper, 46“ x 36“ Next page Bottom: Ecstasy Face I, 2010, Watercolor, colored pencil, and gouache on paper, 24“ x 20“ Next page right: Search and Destroy, 2011, Watercolor, colored pencil, ink, gouache, photo transfer, and gold leaf on paper, 48“ x 36“

In the days of Lady Gaga, we have the same thing, but in photoshopped form.

We have elaborate visions of our dreams come to „life“. Avatars of ourselves which walk and talk and act and sing, just like we see ourselves doing in our grandest fantasies.

We need that distraction, that satisfactory knowledge that beauty is out there and we tell ourselves it‘s attainable, even if we know that‘s really not true. Icons don‘t sweat, they don‘t eat, they don‘t sleep, and they can always carry our burdens and desires.

The visions of airbrushed pop culture icons around us are satiating while we walk past all the reminders of a mundane or depressing life. Before it was church during the Black Plague, now it‘s the billboards at the mall as we bypass the human feces on the streets of San Francisco. www.serenacole.org

65

66

DEAR BAD BED BUG Amanda M. Jansson & Emma E. K. Jones

67

PAV E L 68

69

PETEL

Name: Age: Profession:

PAVEL PETEL 32 Creative director, artist, showman, designer

KALTBLUT: Hello Pavel. Welcome to KALTBLUT. We are big fans of your work and for sure of you as well. How would you describe yourself?

PAVEL: Salut! Thank you, nice to hear! I’m Pop Art. I get inspiration from the world around us. I try out everything that are attracting me and catching my attention, then I look at these things through my characters on pictures and video.

KALTBLUT: You are particularly well known for the pictures you take of yourself , most of the time in public, wearing high heels, half naked. How did you come to that?

PAVEL: I‘ve always been this way. Just in the Internet era it’s easier to publish pictures and videos via Tumblr, Flickr and Youtube.

Youtube always blocked my videos, for this reason I decided to concentrate my attention on photo stories. But now I’d like to fit in censorship and try TV – it’s a very interesting perspective!

People’s reaction is very interesting every time and not less spectacular than my looks – it’s a fact! So I love to play with public. People force me to open up, they come into the creative dialogue with me. Usually an audience is very positive towards me. Despite the provocative images I try to be liked by people on the street, to excite positive emotions. Women and men, grannies and grandpas smiling, taking pictures, asking for autographs. They all understand the international language of humor, beautiful body and self irony.

KALTBLUT: How is the reaction from the people on the street?

When you do your photos? I can guess there are some funny moments. Tell us some. :-) PAVEL: Indeed. I’m well known in Russia, it’s more and more difficult to

astonish people. If I go out everyone‘s waiting for something extraordinary…

When I come to an especially empty place to do a new shoot, immediately people show up from anywhere! Dead streets turn to crowds of people.

When I was skating on roller blades in Yalta (I was naked in golden chains), I got a thermal shock by the sun - my heart got sick, my eyes saw nothing, my body was feverish, but you can’t see this on the pictures… That moment I understood – there is this only one chance, because I’m going to another part of the world in a few hours. I need to smile and skate… And ohhh… It was my first time on roller blades!

I did everything to look spectacular!

KALTBLUT: Is there a political message behind your pictures?

And if so what?

PAVEL: Politics? Are you kidding? I don’t know any country in the world with

a real democracy!

Because of European bureaucracy it’s difficult to get a visa to Europe. On the other hand Europeans can’t pay for my show because of the economy trouble of the European Union.

In Warsaw’s center few nationalists tried to beat me up, yelled out that I’m “Turkish”, insulted to me, but I’m an ordinary dark-haired Ukrainian.

I have no complaints to political regimes in this world. All my pictures are positive and not containing political ideas or protests. If I’d like to change something I would have to be a president. I would be a dictator – it’s a fact! LOL! Russia pays me well. This is a rich country, where I feel happy and free now.

I plan to go on tour around China – there is a lot of money, which I need to realize my creative ideas.

on a fountain

shooting

did a naked

„When I

politely

policemen

Russian

city’s center,

in the

70

the

break

to not

me

asked

fountain.“

71

72 KALTBLUT: Did you ever get in trouble with the police?

PAVEL: Never. Policemen are usually smiling. When I did a naked shooting

on a fountain in the city’s center, Russian policemen politely asked me to not break the fountain. That’s all. In Europe I would have been arrested probably…

KALTBLUT: Personally I really like the funny dimension that you add to some of your shoots ( the wigs, the underwear...) Are you working alone on these photos?

PAVEL: I work as a duo with my partner Sergey Ostrikov. He is always by my side, he takes most pictures of me in real time. Sergey is a talented designer, famous blogger, makeup artist and photographer. All ideas and outfits we discuss and create together. Our duo is also known as design studio PETEL/ OSTRIKOV – we do graphic design, prints, SMM and other things.

KALTBLUT: What is your creative process during a shoot?

Or you just do it very spontaneously?

PAVEL: The most important is “to find” and “to realize”. I know, that “to-

morrow” will never come. If you haven’t done something today and now, you haven’t got any chance tomorrow!

Usually we just go out and look for something interesting. I always have tons of ideas, but any street detail or people around emphasizes the idea and adds some pepper to my vision!

KALTBLUT: Where do you find your inspiration, what are your references?

PAVEL: I told you, my inspiration is the world around us, fashion, sex, music, pop culture…

I love to catch people’s attention. I know my powerful sides, I try to play with the contrast of masculinity and femininity.

KALTBLUT: There are some really sexual pics of you on your page. You are with a hard cock. You cum. Have you ever thought about doing porn as a professional performer?

PAVEL: Hahaha! Porn? For what? I know, this business is low budget. Porn industry won’t allow me to realize my creative ambitions. Or am I not right?

KALTBLUT: People can easily think that you like to show off, are you an exhibitionist or is it a character that you‘ve created?

PAVEL: I love myself and attention to my person. I love clothing, fetish things, expensive accessories. I work hard on my body, I spend thousands and thousands of dollars. If every exhibitionist looks like me – I will build a golden monument to each one of them. I try to be the ideal man on my pictures, but I’m not just naked – background and each part of my look are very important.

Some time ago I was 140 kilos, I was a fat ugly freak. You know… I made myself and I‘m proud of this. A beautiful naked body is a priceless divine masterpiece. It’s my gift and I share this. For free on the Internet by the way.

KALTBLUT: How did you get there?

PAVEL: Not there yet! I’m still trying to get there!

KALTBLUT: How many times a week do you work out?

PAVEL: It depends on the period. Usually I go to the gym 5 times weekly,

twice I go to stretching classes and the same to choreography. I love cycling and skating.

KALTBLUT: You are a special kind of DJ, since you are naked during your sets. Can you tell us a little more about it?

PAVEL: I own a show. I love music, but I’m not a classical DJ. For me it’s not interesting to just stay and play music. I dream about my own music material, but now I’m in a NAKED DJs project with my partner Sergey. The NAKED DJs show is a unique 1,5 hour performance including stage numbers. We turn to Nicki Minaj and Madonna, then start to fight with pillows, change outfits, dance booty shake, etc. During one show we change 10 or more outfits, talk with the audience and may sing. One of the numbers… Muscled and half-

naked I sit on a chair, my legs are in openwork stockings, feet on 20 cm high heels, and I sing Lana Del Rey – Video Games. Could you imagine? LOL!

KALTBLUT: Has the music somehow influenced your work as a photographer? In what way?

PAVEL: I love modern music, I always do everything on the beat! My obsession is Nicki Minaj, Diplo, Lady Gaga, Calvin Harris, Lil Wayne – I mix all these sounds with retro music… And it’s really cool!

KALTBLUT: What kind of music do you like to play? How did you come to music?

PAVEL: When I was in high school, I played on the school disco. Madonna and Prince, Nirvana and Michael Jackson. Every time I looked extraordinary and dressed up like hired go-go girls.

I love dance music. Remixes by The Magician are perfect for bars, and for big clubs I prefer Skrillex and Dj White Shadow‘s sound.

KALTBLUT: What we would like to know is who is Pavel in private? What are you doing in normal life?

PAVEL: I dream a lot and fantasize.

Sometimes I feel sad that I can’t buy glasses by Alexander McQueen or a skirt by Givenchy and that I can’t travel around the world.

Everyone has personal priorities. I spend all my money on my creative development. I spend my time on our fashion blog, on prints for t-shirts, on preparation for our shows, on creation of new looks. I go to the gym, I go to the grocery store, I cook each meal for me because of my strict dieting.

73 KALTBLUT: I guess you have a lot of fans. Men and girls. Are you single or do you have a partner?

How do you handle your fans?

PAVEL: I love to communicate with

people, but I haven’t much time for that. When people recognize me in public places, I get embarrassed and confused, but people think, that I caught star fever. Recently, I was beaten because I didn‘t paid enough attention to my fans. Sometimes people want more than you can give them.

People think to be famous is the same as to be rich. I feel shame that I have a huge wardrobe of designers outfits for the stage and I have nothing for real life. If money comes to me I invest it all on my show.

KALTBLUT: Being an Icon is not an easy life. And you are on your way to becoming an international icon. Are you afraid that people only see you as a naked DJ, a Pin Up Boy?

in the pop market now.

PAVEL: People see what they want to

brightest man on Earth. When he was diagnosed with cancer, my family didn‘t have any money. We couldn‘t help him... He asked my mother: „Give me some poison... I can‘t suffer from this pain anymore!“. That was the suffering of a saint man who spent all his life for other people...

see. I deliberately generate my image.

You know few years ago I started to wear classic costumes, smokings and ties - my audience was shocked, but not for long - people get accustomed to everything quickly. It‘s difficult to attract and to hold people‘s attention in the era of Lady Gaga with a state of stylists and designers. But I do it successfully without money and a whole state of assistants - my secret weapon is unhidden sexuality which is unavailable

KALTBLUT: Do you have any Icons you look up to? Who is your personal hero?

PAVEL: It‘s my father. The kindest and

KALTBLUT: Pavel have you ever been to Berlin? The city would be the perfect place for your photos.

PAVEL: No, I‘ve never been to Berlin.

I haven‘t got money for this trip. European nightclubs haven‘t got the budgets to buy my show - they pay less than I need for food. Maybe I‘ll move to New York, I have a few friends in the USA. Nowadays American designers send me a lot of presents. Now I‘m waiting for special silver jewelry for my penis... It should be stunning!

I‘m happy that RUFSKIN company calls two new models with our names - Pavel and Sergey. We take pictures of designers‘ pieces, these images go to blogs around the world - everyone is happy with the result.

KALTBLUT: Thank you very much for the interview. We can´t wait to see more of you in the future.

PAVEL: Thanks! I love you!

Interview by Nicolas Simoneau & Marcel Schlutt

www.pavel-petel.tumblr.com

74

ALINE,

MY SWEET BOMBSHELL Photographer – Josefina Bietti @Abamgt, Fashion Edition – Mauricio Mariano & Alessandro Lázaro@Abá mgt, Beauty – Liege Wisniewski @ Icon Mgt, Photo assistant – Weslei Torezan, Fashion Production – Luanda Jabur and Fernanda Fuini, Model – Aline Zanella @ Ford

75 LEFT PAGE: Necklace – Opto Bikini – Gata Bacana Rings – Balonè Bathrobe – Zelo RIGHT PAGE: Jacket – Balmain for Mares Bra – Janiero Wide belt - Cori Belt – Waltão Boots Shorts – NK Store Thin belt – Arezzo Shoes – Fernando Pires

LEFT PAGE: Necklace – Arezzo Dress – Duo Style Bracelets – Shoes4you Pillow and Bathrobe – Zelo RIGHT PAGE: Necklace – Espaco Fashion Maillot – Dalai Shoes – Fernando Pires

76

77

78

79

LEFT PAGE: Dress – Dolce Gabbana for Mares Corselet – Gisele Bunchen for Hope Thin bracelet – Waltão Boots Wide bracelet – Opto Shoes – Christian Louboutin RIGHT PAGE: Maillot – Lòer Cinto – Waltão Boots

80

LEFT PAGE: Earrings – Spazio Vintage Bikini – Jo de Mer for Hope Bracelet and Belt – Waltão Boots Pants – My Place RIGHT PAGE: Necklaces – Spázio Vintage Dress – Wolford Shoes – Schutz

81

LEFT PAGE: Coat – Balmain for Mares Panties – Duo Style Shoes – Christian Louboutin RIGHT PAGE: Sunglasses – Evoke Bikini Jeans – DTA Skirt – Tigresse Belt – Cavendish Shoes – Christian Louboutin

82

83

LEFT PAGE: Bolero – Pat Bo Bikini – Lygia e Nanny Skirt – Strass Wide belt – Cori Thin belt – Arezzo Bracelets – Opto Shoes – Miezko RIGHT PAGE: Pillow – Zelo Earrings – Spazio Vintage Bracelet – Waltão Boots Panties – Janiero

84

85

86

ICONI

87

IRONICAL F

rom Bastet to Nyan cat via Bubastis, the felines have been ruling the human kind but how did we let this happen?

Egyptians might have understood before everyone what cats were standing for besides rats, cobra and friskies, they want power! Supposedly known as a divinity of protection and fertility, cats managed to be treated as equals as human when « devoted workers » were still building pyramids for i assume a very good price! Are cats evil or just a magnificent living tool of capitalism?

Cats were here first so let‘s go back to where we were, the beginning of the cult of cat, the Kittycism!

Originally known as creatures from the desert and night hunters, cats were celebrated as keepers of the sun because the structure of their eyes was reflecting the sun light in the darkness. But according to the « Chariots Of The Gods» of Erich von Däniken, Egypt had already discovered a way to light pyramids with a mysterious technology. Fake or freaky? If this theory is right then cats are just living designed lamps and don‘t deserve to embody the universal lack of social life of the planet.

Humans and cats used to live as equals sharing fish and bed. Sorry for the other species but as a matter of fact the world has never meant to be fair. An animal and a human were considered an equal value even regarding the law. If a cat appeared to be found dry and stone dead, on purpose or even by accident, the judgement would directly lead to the Death by Cat! For each hard time comes its fashion, in that case the mourning style was not to hide your face under a transparent piece of fabric but to show up and shave your eyebrows!

This style was pulled up by Kirsten McMenamy and Karen Elson in the 90‘s grungy years and had an interesting come back more recently on the most exquisite catwalks. Even though the trend tend to go for bleaching

instead of shaving the result is quite similar: it is ugly and you get to be a lost-cat-look-a-like. Even the style editor of Marie Claire observed this fashion phenomenon and confessed that bleached eyebrows are not advised to do « if your face is round, long or if you are hungover ».

The pagan devotion to the cat kind, was getting too much attention and people were probably looking funny mourning their pets. Two very good reasons for the Church to use this amount of faith for their own trend and to turn cats into the ultimate new Black: EVIL! The more they got chased, the more the idea of their presence in daily life became domestic.

Even though they were immured alive for good luck, cats remained popular and got locked in our homes for good. This was a call for revenge and the beginning of the LOLCAT era.

Once again cats got extremely bound to technology but this time not as a light keeper but as the favourite leg warmer for a specific class of the human kind, the graphic designers! Literally considered a daily life muse, cats are our best sellers !

Maru is one of the most famous furry fierce superstars of the nippon blogosphere. Awkward, fat and funny Maru definitly deserves its own cult. Acknowledged by the lack of critics, Maru is perfect, modern, it is a cyber cat that has probably never walked on the grass nor killed a bird. It is a dream ! The public interest for the Digicat is not phony considering the number of articles published about how Maru survived the tsunami.

Once again cats are raising a cult of timeless cuteness. They go hand in pawn with their innocent Webmasters and invite you to share an abyssal emptiness of a digitalized state of nature.

Virtual wild would defines how we socially we react and take part in to our mega media life style!

When lol sounds like evil it Meowwwws !

Text and illustartions by Marianne Jacket

88

MY RELIGION IS

VERY

SIMPLE.

89

MY RELIGION IS

KiKinndness dness Dalai Lama

90

MUSIC Album preview by Bénédicte Lelong Iconic American guru of pop Dick Clark once said „Music is the soundtrack of our lives“.

Music IS everywhere. We eat it for breakfast, breathe it on the dance floors and live it 24/7, MP3 players firmly glued to our ears.

An eclectic listener‘s paradise, our Musik Laden‘s motto is simple: „Open ears, open mind“.

Satisfaction guaranteed.

Interpret: Breakbot Album: By Your Side Genre: Synthpop Label: Warner Bros Origin: France Released: September 2012 Members: Thibaut Berland

 Breakbot aka Thibaut Berland has announced his debut album ‘‘By Your Side‘‘ in September 2012. For us this album is a little master piece. Breakbot takes you on a journey back in time.  By Your Side is crammed with soulful, robo-disco and emotive ballads. Retro/future funk at its best.  I can´t stop listening to the full album. By Your Side is an album you can play from the first to the last song without getting bored.  “I do everything myself except the vocals. I just fiddle about, I couldn’t play a classical part, I do what I can.

There are pieces of guitar samples, friends drop-in and play over my instrumentals.

I love pop and funk, so I try to take that direction. That’s where that hybrid sound comes from. Breakbot is a dude in a basement looking for melodies”, says Thibaut.  First impressions: I feel like in a 70´s porn movie or in front of the TV and watching some classic 1970´s shows. LOVE IT.  If you are a fan of Michael Jackson, Prince, Stevie Wonder, Air and Daft Punk, you should get this album. The track „Why“ sounds like Michael Jackson is sending us his love from heaven.  The track „Fantasy“ features the vocals of L.A. based vocalist Ruckazoid - an astonishing discovery whose honied pipes are a dead ringer for the late, lamented King Of Pop.  The perfect sound for the winter time.

The perfect sound for a long night with your lovers. The perfect sound to forget reality.  Must-hear tracks: Fantasy, Why, Baby I´m Yours

91

Interpret: The XX Album: Coexist Genre: Indie pop Label: Young Turks Origin: UK Released: September 2012 Members: Romy Madley Croft, Oliver Sim, Jamie Smith  It took them three years (some might say an eternity!) but The XX are finally back with their sophomore album, making our music-hungry hearts and ears more than just satisfied.  Coexist is about entangled relationships, raw emotions dripping from its every pore.

The dark, atmospheric beats, the spellbinding guitars, the soulful and sultry voices of its leading duo: it all falls perfectly into place.  Yet the success of this second album wasn’t evident from the get-go.  First impressions, even though they might not always be correct, are oftentimes lasting ones, especially in the music industry.  When the band’s first album came out in 2009 it was groundbreaking because it was unlike anything else we had ever heard at the time.  It sounded different, bold and new, so of course the natural reaction after three years of absence was “how the hell are they going to be able to live up to their debut album?”

Easier said than done, right?  A bare, introductory track like “Intro” had set the tone forever and will remain one of the most beautiful songs of the past couple of years. Needless to say that the bar had been set very high.  But in the end the trademark guitar and ambient house beat on “Swept Away” for instance achieve to remind us why we fell in love with these Londoners in the first place.  So lie down, close your eyes and let yourself be transported by the British trio’s latest musical effort. You won’t regret it.  Must-hear tracks: Try, Tides, Swept Away

 I will confess that I was kind of new to Dragonette prior to listening to Bodyparts, their new album.  As a matter of fact I had only heard and downloaded one of their songs (“Okay Dolore”) many years ago just because it featured one half of my favorite indie rock band, namely Sara Quin of Tegan & Sara. Needless to say that I was ready for some more.  If you wanted additional proof, stop right there: Canadians do indeed do it better. Metric, Peaches, Lights, The Organ… need I go on?  What can I say, I happen to be a real sucker for good old electro-infused pop. Like many children of the eighties, I wish I was born a decade earlier: your ears might bleed the second you hear a synthesizer, I for one get an eargasm.  I do need my regular fix of New Wave / synthpop. And as it happens, Bodyparts does the trick with its contagious beats and catchy lyrics, especially on songs like “Run Run Run”, “Let It Go”, “My Legs” or “Rocket Ship”.  Martina Sorbara’s voice does sound a bit like Metric’s Emily Haines at times, and “Right Woman” reminds me, for some strange reason, of Kylie Minogue. Go figure.  In the end Dragonette is Dragonette, 100% original, and if you’re looking to start a riot on the dance floor, look no further. Bodyparts will make you wanna tap your feet. Mission accomplished.  Must-hear tracks: Right Woman, My Legs, Rocket Ship.

Interpret: Dragonette Album: Bodyparts Genre: Electropop, synthpop Label: Universal Origin: Canada Released: September 2012 Members: Martina Sorbara, Dan Kurtz, Joel Stouffer

92

Interpret: Carly Rae Jepsen Album: Kiss Genre: Disco pop Label: 604, Schoolboy, Interscope Origin: Canada Released: September 2012

 First off, let me answer THE burning question that’s on everyone’s minds: does the album live up to Call Me Maybe?  Does it live up to that (annoyingly catchy) song that’s been pursuing us all summer, the song that’s been played to no end over and over again on radios everywhere, the song that you’d have to be living on Mars not to have heard?

Short answer? Yes, it sure does.  The saying “third time’s the charm” never rang quite so true than in Carly Rae Jepsen’s case. After releasing her first full-length Tug Of War in 2008 and an EP earlier this year mainly to announce her album, Kiss does hit the spot.  I confess I approached this album with open ears and an open-mind. I didn’t know what to expect. Britney? Katy?

Miley?  As it turns out, she’s a bit different.  True, her sound is polished with simple lyrics and teen sensibilities. Nothing new here. It’s about bows and arrows, crushes and heart strings (but then isn’t every album?)  The thing with Kiss is that it’s girly bubblegum pop but with a little twist called “electro”.  Indeed adding a bit of electro to that mix really tickled my inner Guetta fan, especially on songs like “Tonight I’m Getting Over You” that’s most assuredly dance floor anthem material.  We should keep an ear out for Carly Rae Jepsen. I can totally picture her in a couple of years, doing featurings for big shots like Tiesto or Guetta. She’s got the pipes for it.  Must-hear tracks: Tiny Little Bows, Beautiful, Tonight I’m getting Over You

 Let’s be honest: you can always count on P!nk for calling a spade a spade. And her sincerity is refreshing in an industry that has taken a tendency to manufacturing artists and hits en masse.  She tells it like it is. Ladies, have you ever wondered why when a guy sleeps around he’s just a guy, and when a girl does she’s a slut? We’ve got news for you gentlemen! If you sleep around and I do too, I’m a “Slut Like You”.  Some will say that P!nk’s nothing but an obnoxious loud mouth … the truth is, she’s one of the most consistent artists in the biz and her new album is definitely testament to that.  The Truth About Love is solid, pop rock goodness that will seriously make your ears beg for more. Turn it up loud.

Real loud.  And yet it could have gone either way. Why? She’s got a baby now, haven’t you heard? Ask around, it changes a woman. Alanis Morissette just released what might be the most boring album of the decade. Apparently that’s what becoming a mom can do to you. Unless you’re P!nk. Phew.  So welcome to Love / Relationship 101 courtesy of the absolute Queen of Badassery herself. It hurts SO good.  Who else was gonna have the balls to tell you “The (whole) Truth About Love”? It’s “the smelling of armpits”.

There. You’ve been warned.  This album’s a killer that makes us pine for her European Tour. Hurry. Please?  Must-hear tracks: Are We All We Are, Slut Like You, Where Did The Beat Go?

Interpret: P!nk Album: The Truth About Love Genre: Pop rock, dance rock Label:RCA Origin: USA Released: September 2012

93  If you’re feeling a wee bit depressed or blue, I wouldn’t recommend this EP… unless of course sad songs are a catharsis for you. Which, come to think of it, is probably what End Of Daze is all about.  This being said one (obvious) question remains once you’ve listened to the 5 tracks that comprise the 4th EP of this California noise pop band: End of Daze or End of Days?  I won’t lie to you, this here is a pretty depressing album.

No bows and arrows. It’s about numbness, emptiness, tears, and hell. There’s even talk of a eulogy.  It’s humanly impossible not to feel the deep sadness behind lyrics like “There’s nothing left, there is no light / Pull me out to the other side” or “What can I do, now without you / I feel nothing”. We’ve all felt that low at one point or another.  And so if you’ve suffered a break up or have been hurt in the name of love recently, you’ll feel (rightfully so) that End Of Daze hits close to home.  Crying guitar, slow, burning, insistent rhythm reminiscent of the shooting pain you might feel when the blade of deception penetrates your lovesick soul. It hurts. But in a good way.  The magic of this EP is that you’re completely hanging on Dee Dee Penny, the lead singer’s every word. Something about her voice really draws you in.  Not surprisingly, the band’s cover of Strawberry Switchblade’s “Trees and Flowers” sounds less cheesy than the original (released almost 30 years ago), but also a lot more heartfelt and yes, painful, like the rest of this very good EP.  Must-hear tracks: Mine Tonight, I Got Nothing, Lord Knows

Interpret: Dum Dum Girls Album: End of Daze Genre: Indie rock, shoegaze Label: Sub Pop Origin: USA Released: September 2012 Members: Dee Dee, Jules, Sandy, Malia

Interpret: Michael Jackson Album: Bad 25th anniversary edition Genre: Pop, dance, rock Label: Sony Legacy Origin: USA Released: September 2012

 Writing this review, I promised myself one thing: that I would stay the hell away from clichéd superlatives like “legend” and “classic”.  But hey, you know something? Michael Jackson IS a freaking’ legend and “Bad” is an all-time classic. So there.

My bad (pun intended).  They sure went all out on this release, with no less than 3 CD’s (40 songs total), shock full of Michael Jackson gems, AND a Deluxe version that includes a DVD.  On CD 1 you’ll find 11 newly remastered tracks. I guess the die-hard fans will hear the difference, I will admit that I really didn’t, but it’s always a good excuse to listen to MJ for the thousandth time, am I right? I, for one, can never get enough of songs like “Dirty Diana”.  CD 2 comprises 13 tracks, most of which you’ve probably never heard before, including one song about abortion that’s bound to be talked about for years to come and “Je Ne Veux Pas La Fin De Nous” (the French version of “I Just Can’t Stop Loving You”), which by the way for the French-speaking music fans among us, is a pretty awkward-sounding title. Whatever. It’s Michael singing in French. Did you say sexy?  As for the third CD, it’s Michael’s 1988 live show at Wembley (16 songs). Those were the good times, when he was at the height of his fame. Before things went a little south.  If you’re a self-proclaimed “true” fan, you’ll want the Deluxe box set which includes a 40-track DVD of his Wembley performance. You know what they say, go big or go home.  Must-hear tracks: Song Groove, Je Ne Veux Pas La Fin De Nous, Dirty Diana (Live at Wembley).

94

95

DARK DARK DARK Photos by Guillaume Anselin Interview by Amy Heaton

This month I had the pleasure of catching up with Dark Dark Dark as they begin promoting their 3rd LP „Who Needs Who“ which sees the band breaking away from their previous sound and catching a new wave. Due to be released on October 1st they take some time out of their hectic tour schedule and talk to KALTBLUT about taking their heads out of the clouds and facing emotional truths about themsel- ves and their music. The truth may hurt a little, but it also makes for a gorgeously rich and impressive body of songs not to be missed.

96 KALTBLUT: For our readers who haven’t yet discovered your music could you tell us a bit about how the band got started?

DARK DARK DARK: We started in 2006, with only the intention of a short tour

to New Orleans. We ended up driving around the US for two years. Our first CDs were made on a digital dictaphone. We organized everything ourselves, burned copies of our CDs as we went, and played wherever and whenever we could. Often it would just be Nona and Marshall, sometimes a different formation of the band would happen. Something that was practical and fun in the beginning became a passion and a chemistry that had to be pursued. But because we played on the streets, in bars, in cemeteries, wherever, we definitely came out of a traveling folk scene, passing a hat or busking. That style describes what we do now, but it is part of our history. We have always been a touring and working band. Our first trip to Europe was on an invitation from a small French label who we met on the internet. What A Mess! Records put out an EP called “Love You, Bye,” and brought us on a two week tour in France, after one of our art collective’s projects finished at a museum in The Netherlands. Since then we’ve been finding ourselves in Europe almost as much as we’re in the US.

KALTBLUT: There’s been some time between your last release “Wild Go” and “Who Needs Who” how do you feel writing the new record compared to before?

Album: Who Needs Who Artist: Dark Dark Dark Out: October 2012 www.brightbrightbright.com

Tour November/December 2012 27/11: F - RENNES / L’Antipode 28/11: F - POITIERS / Le Confort Moderne 29/11: F - LAVAL / Le 6/4 30/11: F - ORLEANS / L’Astrolabe 01/12: B - BRUSSELS / Autumn Falls @ Botanique 02/12: F - PARIS / La Maroquinerie 03/12: F - LYON/FEYZIN / L’Epicerie 04/12: F - STRASBOURG / La Laiterie 05/12: F - REIMS / La Cartonnerie 06/12: UK - LONDON / Forum 07-8-9/12: UK - CAMBER SANDS / ATP 11/12: F - AMIENS / La Lune Des Pirates 12/12: NL - AMSTERDAM / Paradiso 13/12: D - HAMBURG / Hafenklang 14/12: DK - COPENHAGEN / Lille Vega 15/12: D - BERLIN / Bi Nuu

DARK DARK DARK: The time happened because of staggered releases in the US and EU for Wild Go. In the meantime, we found solid line-up for the new record, and played together A LOT, all over the place, and became better friends and listeners. Since we tour so much, it is difficult to find time to stop, take time, and find the head space that the songs come from. Some of the work can happen on the road, but most of Nona’s writing happens when she’s had time and space to be alone and work everyday. That alone can take a couple months, and it is tricky to have expectations on a period of time, or expectations on “production,” so these things have to happen a little bit organically.

KALTBLUT: “Tell Me” is already gathering momentum online, what made you choose that over the other tracks as your first single?

DARK DARK DARK: Tell Me is a departure for us, so we wanted to experiment with it. For some of us it feels fun and obvious to let it go as a single, for some a risk. It is upbeat and more immediate than our slower-burning arrangements. It’s the internet! Tell Me is more “rock” than we’ve ventured into in the past. Officially, it’s “avant pop.” With the reasoning that the internet-attention-span is short, our „slower-buring“ second single, How it Went Down, didn’t lose any attention online.

We don’t mind experimenting, and possibly straying from our “strengths,” as that is often where we learn and grow, and how we continue to have fun. That said, all of the songs on the record are singles, aren’t they? How do you choose?

KALTBLUT: What about your intriguing movie venture “Flood Tide”?

How did that experience differ from writing a studio album?

DARK DARK DARK: Oh, the soundtrack that is pending for Flood Tide is one

of my favorite recordings of Dark Dark Dark, EVER! We even had to do it over.

I’m also happy that Todd Chandler, the director, and a founding member of DDD, are beginning to write another movie. As a band, we were very intimate with that project, directing it, “acting” in it, building the sculpture and performance that it is a document of. It is a very layered project that has taken many incarnations, and years! The writing was more collaborative, less rooted in singer/songwriter approaches. Any member could have an idea, call it a “theme,” and tell us to work on it (I would never say “jam” out loud). The result is so gorgeous, we are very excited to share it in some way. It was performed live in select cities, but that is finished. The final edit of the film will be available in the next 10 minutes to a year.

It is very close.

KALTBLUT: Your videos, especially “Daydreaming” from the last LP reflect a kind of familiar nostalgia that flows through your music.

97 DARK DARK DARK: Arranging is a group effort. Sometimes one person will focus on a song. “Adam, you want to do ‘I Collect Things?” So Adam arranged that and pretty much told us what to do. That is less common. Most often we listen and do what “our part” is, or try to push that idea around. Since we work together so much, we have a set of rules that is a starting point, and then we have to break them or honor them, depending on the song.

Do you create the video concepts yourselves?

DARK DARK DARK: Well, if Todd gets

the last question, then Jonathan gets this one. He is (a founding member) responsible for wanting to make the Daydreaming video, learning Super 8 and Final Cut, and directing it. It was really fun to trespass on the side of the highways in Minnesota, and to drive a moving truck with a baby grand piano in it to the mall. No one said anything about us bringing a grand piano to a parking lot, and setting up shop there.

The only comment we got was, beep beep beep! “Faggots!!” I think we waved and clapped.

KALTBLUT: What about the cover art for the album, it seems to contrast with your previous imagery, do you feel like you’re staking out a new chapter for the band?

KALTBLUT: It’s always a challenge to record certain instruments, the piano being one, how did you go about producing the album?

DARK DARK DARK: Yes. We

„We started in 2006, with only the intention of a short tour to New Orleans.

We ended up driving around the US for two years.“

DARK DARK DARK: Not to be contrary, but I think the Who Needs Who art is part of the progression and fits in with our photography-based, fairly minimal approach. I suppose when you see the digital version, you don’t get to see that it has gold foil on it, modest, and that there is a full spread photo inside. But it is still subtly weird, layered in meanings and references, and gentle. I’m glad that none of our older record covers have come back to haunt me as terrible decisions, yet. BUT, regarding our new chapter, YES. The new chapter is one of growth, confidence, and risk taking in our music, without sacrificing our honesty or integrity. I mean, I just made that up, but it makes sense.

KALTBLUT: The lyrics are expressive and personal but definitely not always transparent, is it a conscious decision to keep things abstract?

DARK DARK DARK: That’s a good way to word it, thanks. The abstraction is where all the space for layered meaning and personal interpretation happen. The space where each song becomes yours, if you want it or relate to it. We strive for that spaciousness in all the aspects of the music and visuals.

KALTBLUT: You weave expressively between genres, would you say that’s due more to your instrument choices or the musical influences you share?

DARK DARK DARK: Instrument choices and interests. Somehow we do it without

becoming inconsistent and incoherent, that’s because we limit our palette, the instrumentation, the sounds we make with them. Each member has such a strong influence on the decision making, each person has a pretty specific set of influences themselves, “we listen to everything” seems to really take on a new meaning.

It’s more and more common to have access to everything, and since we are in the van listening to something all the time, we go a lot of places with it. At any time the van could go from Mozart to Neil Young to Tinariwen to Aesop Rock to Iggy Azalea to Meredith Monk to some Japanese mix tape. .. it really doesn’t matter anymore.

KALTBLUT: On that note, how do you go about composing as a band, is it a shared effort?

recorded on a beautiful Young Chang in New Orleans, that had, not long before, lived in Houston. Since almost all of our takes are live, the piano looked like it was wearing a sleeping bag, in order to isolate it from Nona’s vocals a little bit. We track everything live to 2” tape and go from there. Tom Herbers is our recording engineer, he did our Bright Bright Bright EP, Wild Go, and the Flood Tide soundtrack.

KALTBLUT: After three quite different releases, what does this new album mean for you?

DARK DARK DARK: The first full-length (Snow Magic, 2008) is the most different, a sort-of document from a different incarnation of the band, but through the Bright Bright Bright EP, Wild Go, and now Who Needs Who, we’ve been focusing, or zeroing in on essentially the same work.

Who Needs Who feels like a culmination of ideas and choices, a nice way to settle and understand our roles and take charge of them. I think we’ve succeeded more in making the coherent, solid album that honors the writing and sounds that we want to.

We’ve come closest, to date, to making a music we want to hear.

KALTBLUT: The experience of touring can really test a band to it’s limits but has been central to your journey, how do you feel that that’s affected your music?

DARK DARK DARK: I have no idea. We are good friends on the road, where a lot

of bands have lost it, or members have lost their minds... not that we haven’t, but you have to know how to lose your mind, but keep bringing your body to the show and keep playing. Just show up, the rest happens. That’s a quote from Mark Trecka, our drummer. “Well, that definitely happened.” It could be regarding anything.

KALTBLUT: Talking of touring, where are you heading next? And do you have any shows lined up for Berlin in the coming months?

DARK DARK DARK: We just posted some German dates. Let’s see, looks like Bi Nuu on December 15. There is a Hamburg date there as well. The November brings us to Australia for the first time, and Dec has us back here! By the time this issue is out, our new website should be launched at www.brightbrightbright.com and you can keep up with us on our Twitter and Facebook, too, both simply darkdarkdark.

LUCY LANE 98

KING Photography by Simone Schneider Production by Sven Arnold Styling by Ellen Tschelebiew and Mathias Hilner Hair and Make-up: Kerstin Hajdu Model: Monroe Alvares @ Wilhelmina Models LA

99

The Ghost of Calico Three miles north of Interstate-15, midway between Barstow and Yermo, California sits the historic and restored ghost town of Calico. It all began in 1875 when roving prospectors first found silver on the south slope of the Calico Mountains.

One of the most often sighted spirits is that of Lucy Bell King Lane, a woman who spent nearly seventy years of her life in Calico. When Lucy was just ten years old, she moved with her parents, two brothers, and a sister to nearby Bismarck, which overlooked the town of Calico.

When she was 18 years old, she married John Robert Lane and the two opened a general store that provided not only provisions to the mining population, but also cloth, nails, and hardware.

The couple left the town in 1899 and returned in 1916, making their old store their home. Four years later, they moved into the old courthouse and post office building. Her husband John died in 1934, but Lucy would continue to live a long life, staying in the same house until she died in 1967 at the age of 93.

Lucy died four decades ago, she is evidently fond of her old home town as she is frequently still sighted there. Most often she has been seen walking between their old store and the home that she lived in until her death. When she is spied on, she is described as wearing a long black dress, most likely the very lace one that she was buried in.

Macrame collar - CHRANQ, Fringe white sweater - Ginatricot, Skirt - Bonnie & Buttermilk

100 Sweater - Converse Sequin pants - CHRANQ Bumbag - Vintage Chain - Pieces Shoes - Nelly

101 Macrame collar - CHRANQ Ethno dress - Vintage Studded belt- Forvever 18 Shoes - Nelly

102

103 Cardigan - Outfitters Nation Dress - Selected Femme Chain - ethnoladen.de Macrame chain - CHRANQ Sneakers - Vagabond

104

Cardigan - Takko, Sequin dress - C&A, Chain - Nelly, Macrame collar - CHRANQ, Wedges - Nelly

105

106

Fur collar - Vintage, Silk caftan - Grand Bazaar Istanbul, Sequin hotpants - Vintage, Chain - ethnolade.de, Belt - Boss Orange

107

Sequin collar - C&A, Print-Sweater - Only

108

Macrame collar - CHRANQ, Fringe white sweater - Ginatricot, Skirt - Bonnie & Buttermilk, Shoes - Nelly

110

TOP

5

Selected by Claudio Alvargonzález Tera

If we try to get an agreement about the most iconic TV Show of all time we would get hundreds of (maybe thousands) results so the task would be just impossible.

Some would say, Mad Men, LOST, Game of Thrones, or even Golden Girls, Murphy Brown or Absolutely Fabulous (Kaltblut Team‘s favorite) and some others would simply choose one from their own country. All the results are possible. From Kaltblut we have selected some of our favorite 5.

You may not like all of them but they changed the way of making Television.

And we tell you why.

The Sopranos (1999 - 2007) This is indeed the most loved and hated of all. Some people consider it a masterpiece and some others think it’s boring as hell but it’s in fact one of the most successful TV shows of all time, winner of 21 Emmy Awards (Including awards for James Gandolfini and Edie Falco) and 5 Golden Globes.

This morality tale created by David Chase about New Jersey mob boss Tony Soprano, as he deals with personal and professional issues in his home and business life and his special relationship with his therapist (Lorraine Bracco).If HBO is what it is today, it is partly because of The Sopranos. It’s the first TV show filmed like a real film, hiring cinema writers and directors and most of the TV shows nowadays like Mad Men, Homeland or Boardwalk Empire owe part of their success to the way of filming The Sopranos started and it is considered a modern love letter to one of the best films ever, The Godfather..

Twin Peaks (1990 - 1991) Even when its second season was a mess because David Lynch was busy shooting Wild at Heart and gave the power to some other directors who added alternative plots making it too bizarre and confusing, the first season and the season finale directed again by Lynch are simple masterpieces.

The mysterious murder of a young girl and the following investigation by an extravagant FBI agent played by Kyle Maclachlan in his probably best role are the beginning of a bizarre sequence of events full of weird and mysterious characters (like a young David Duchovny playing a tranvestite DEA officer), impossible plots and underground places showing all what was hidden behind the facade of an apparently normal small American town called Twin Peaks in the State of Washington.

The soundtrack by Angelo Badalamenti is as good as the plot and still creeps us off and what is more important: After more than 20 years we are still 100% not sure why Laura Palmer was killed.

Married with Children (1987 - 1997)

If there is a beginning of the dysfunctional family comedy sitcom that is Married with Children. Al Bundy (Ed O’Neill) is the prototype of a loser, a women’s shoe salesman with a miserable life. He hates his job, his wife (Katey Sagal) is lazy, his son (David Faustino) is also dysfunctional (especially with women) and his daughter (Christina Applegate) is idiot and promiscuous.

After 11 seasons and 259 episodes it is still the longest-lasting live-action sitcom on the FOX network and it was listed as one of Time Magazine’s 100 Best TV shows of All-Time. The show was known for handling non-standards topics for the time period which could sound a bit naive nowadays after watching shows like Shameless, Hope, Weeds or even Modern Family also with Ed O’Neill but to speak freely about teenage sex, lack of future or miserable people with a corrosive humor during the 80’s in a very conservative TV channel like FOX wasn’t easy and that’s why Married with Children deserves to be on this list..

111

The Simpsons (1989 - today) It’s really difficult to define in two words a TV show which has won 27 Emmy Awards and is still on TV after 23 years but in this case those words would be: Homer Simpson. This portrait of a middle class American Family has crossed borders all over the world.

This satirical parody of the working and middle class American lifestyle has created its own universe where everything is possible and Homer Simpson is the main center. He’s a non qualified worker in a nuclear power plant. He’s a loser but he’s happy. He finds everything he needs in Springfield a place that can be anywhere.

A complete universe in which characters can explore the issues faced by modern society: Rubbish work, the state of the environment, controversial issues in the field of education, religion or deep critic of the entertainment industry and that so called “American Dream”. If today we have a town called Quahog and that fat loser Peter Griffin in Family Guy it is because Matt Groening created Springfield and the Simpson family who are in our lives since they appeared for the first time on TV as shorts in The Tracey Ullman Show on April 19, 1987.

V (1983 - 1985) If there‘s an iconic TV show for those of you (like us) who were born during the 70‘s, that might be V. V started in 1983 as a two-part miniseries, written and directed by Kenneth Johnson with more than 40 million viewers. Its success spawned a sequel: V: The Final Battle, which was meant to conclude the story but in spite of the apparent conclusion, this was then followed by a weekly television series, V: The series, from 1984 to 1985 that continued the story a year after V:The Final Battle.

The story became a Nazi allegory, starting with the emblem used by the Visitors and their SS-like uniforms, 80‘s style, of course (those huge sun glasses). But also, there is a youth movement called „Friends of the Visitors“ with obvious similarities to the Hitler Youth, the Visitors‘ Propaganda and The Resistance movement by humans who used the famous blood-red letter V (for victory) as a symbol against the space lizards invaders. If Commander of the Visitors Diana (Jane Badler) was human, she would be closer to being a younger Angela Channing in Falcon Crest but unlike Angela‘s exquisite taste in wine Diana had different culinary pleasures. The image of Diana eating a live guinea pig is still ranked as one of the most shocking Television moment of all time.

Iconical

Paintings 1. An image; a representation.

2. An important and enduring symbol.

3. One who is the object of great attention and devotion; an idol.

We begin with a definition of the word “icon�, but long before the photographers or personalities of our modern day culture adopted the term iconic art and beauty existed in it‘s own simplistic form. We look at a selection of iconic paintings to find out what it is that makes them into the icons they are.

By Amanda M. Jansson & Emma E. K. Jones

112

113

„Whistler’s Mother“ by James McNeill Whistler This well-known arrangement in black and white, often referred to as the Victorian Mona Lisa, is an example of the brilliance of accidents.

When the original model for the painting didn‘t show, and the mother wasn‘t comfortable posing standing, Whistler created the most famous painting of a mother known today. First rejected by the Academy of Arts in London, but loved by critics and audiences, it found its way to becoming an icon. Despite its austerity and neutral tones, there is a strange familiarity and comfort in the image itself. The artist knows the subject so well, that the audience feels as though they also know the subject from somewhere. It‘s a painting lacking all pretence, but with such beautiful simplicity it‘s like a fresh breath, in spite of it‘s the strangeness, this works perfectly for captivating the eye and creating a lasting impact.

114

„Guernica“ by Pablo Picasso Few may know the real town, but even fewer know this, one of the most famous paintings in the world. It was created after the bombing of the small Basque town during the Spanish Civil War. The tragedy which is also depicted in the painting is the wasteful death of civilians and the general consequences of war. Ugly to some, this painting doesn’t care about the beauty of the world but touches one of the ugliest subjects of all, making it one of the most important and most recognisable anti-war symbols. An image not unknown to the 20th century, the Guernica is a monument to violence, chaos, oppression, destruction and death of humans, animals, buildings and dignity. The symbolism in this painting is so extensive and intense that it constitutes one more proof of the genius of Picasso. In this frightening grey, black and white chaos nothing is random, everything has a meaning affecting everyone.

„The Scream“ by Edvard Munch Originally named ‚The Scream of Nature‘ this is actually not one painting but a set of 4 similar paintings. It is one figure screaming out in complete agony against an angry red sky.

The painting powerfully embraces all of Munch and the agony and pain of human existence, the suffering, the despair that people have experienced and still do. As a child Edvard Munch had to battle with illness, madness and bereavement, feelings that are not unknown to most humans.

The scream is a man’s scream in a modern godless world, it’s universal and it’s as unheard as it’s frightening. The human state and anxieties of late 19th century Europe are present as ever in this strange avant-garde figure that has so greatly influenced pop culture, and will always be haunting our minds.

115 „The Magic Circle“

by John William Waterhouse A lone witch is drawing a ritualistic circle on the ground.

A typical Waterhouse painting, the background, hazy, dreamy and unreal makes the enigmatic rather than malevolent figure of the witch stand out as the one important thing in the painting.

The witch’s body in perfect symmetry forms a triangle that is central to witchcraft and satanic imagery. Enhanced by the smoke over which she has complete power and the flowers that represent her own beauty, the ravens and frog surrounding her remain outside the circle.

Waterhouse’s Hekate is a powerful mystic woman, dangerous and electrifying, a female figure uniting myths and symbolism that are present in all cultures (Greek dress, MiddleEastern complexion, Anglo-Saxon hairstyle) and so subconsciously feared but also strangely familiar all at once.

„The Persistence of Memory“ by Salvador Dali One of the most famous surrealist pieces to date, it is the very definition of the surrealism movement. In a vague landscape, strangely melting pocket watches, some ants and a monstrous figure that can’t be pinned down. A nightmare, a distorted Freudian world, it is the exact depiction of the situation of modern man. A relativity of time and space, the perception that everything is instable and impossible to be defined, forever changing under the hot nightmare sun, surrounded by death symbolised by the ants. This image of such a common and recognisable object, in such an alien environment and decaying state sums up the surrealist theory surrounding the collapse of all our notions and the non-existence of a given cosmic order.

116

„The Birth of Venus“ by Sandro Botticelli A famous Neoplatonic painting depicting the goddess Venus emerging from the sea.

According to Greek mythology she was born fully grown and majestic, however the precise content of the painting remains unknown. Apart from the stunning detail and the incredible beauty of the slightly unrealistic form of Venus, the very symbolism of Venus is the key to understanding why this painting puts such a spell on the viewer, always keeping in mind how it is influenced by ancient Greek style and philosophy. For Plato there are two aspects to Venus: the human and the spiritual. In her extreme physical beauty she holds inextricably the key to spiritualism and intellectuality.

Botticelli has created the birth of the perfect human being, whole, superior and uniting: the hope and secret ambitions of most humans, the ideal godlike beauty inside and out.

117 „The Last Supper“ by Leonardo da Vinci This mural depicts one of the most important moments in the Christian religion, The Last Supper, and was intended to be the central piece of a mausoleum.

The magnificent technique and detail, and the vivid expressions of the moment, bring this painting its well deserved status; every apostle is a little work of art in himself.

There are many “Last Supper” paintings, but none so realistically depicting the attendees as they appeared in the flesh. Of course, for a painting to be featured on this list there has to be some symbolism behind their work and here there is plenty.

The number 3, for example, crucial within Christianity as well as in the occult is foregrounded, with many more messages and prophecies hidden within this legendary painting. In fact there are more readings and legends here than in any other painted work known to man, not just because of the subject, but because of da Vinci as well. „Starry Night“ by Vincent Van Gogh Painted from memory during the day, and shortly before his breakdown, this is the view from Van Gogh’s sanatorium room window. It is the painting in which his unique style really began to shine, even though he didn’t seem to be very pleased with it at first.

One of the factors that explain the popularity of this work is how emotionally charged the painter was while creating it, something that is clearly passed on to the canvas and then on to the spectator. The very subject, burning stars, alight in the night sky, is a beautiful idea in itself- known to everyone. At the same time what is known to most is also the feeling of seclusion and isolation that can be found in ‚Starry Night‘, aided by the distance from the village as well as the darker, ominous part to the left. The split, the anxiety, the fever, the insanity, the loneliness, it’s all there stronger than ever in one painting.

118 „Boy With a Pipe“ by Pablo Picasso The second Picasso on our list and one of the most famous Rose Period paintings, ‚Boy with a Pipe‘ is a quite different story. Painted by a very young Picasso it simply portrays an obscure nameless boy holding a pipe, a garland of flowers in his hair. For some it’s only important for its art history value but for others it is a small painting of equal importance to the biggest ones.

The androgynous character of the mystery boy as well as the colour contrasts are no accident. The nature of the painting as well as the young boy with the indifferent look are both feminine and masculine, pipe and flowers, blue and pink, the boy’s girl like features create one perfect being existing in the back of our heads: an angel, perhaps.

No wonder it is one of the most expensive paintings ever valued.

119

Art Director NICOLAS SIMONEAU Photography FRANÇOIS CADIERE Model FRANZ Styling CORINNA BECHTLE | nude-agency.com Hair & make-up ROMULO CORREA using MAC | nude-agency.com Editing POISSON ROUGE | poisson-rouge.fr

i K

z i s g n 120

Dressing Gown: Jeremy Scott for Adidas, Socks: American Apparel

e z

121

122

Pants: Tata Christiane, Shoes: Julian Zigerli

123

Cardigan: Tata Christiane, Pants and Collar: Starstyling, Socks: Falke, Shoes: Jeremy Scott for Adidas

124

Collar: Weekday, Pants: Jeremy Scott for Adidas, Glasses: Mykita

125

Scarf: Starstyling, Shorts: Julian Zigerli, Socks: Falke

126

Coat: Henrik Vibskov, Collar: Weekday, Pants: Jeremy Scott for Adidas, Shoes: Y3

127

Vest: Y3

128

François CADIERE A little man from France is making „King Size“ art. Francois Cadiere is a multitalented artist. He is a designer, photographer and illustrator. His work has been shown in all the big fashion magazines around the world. We at KALTBLUT, we feel honored that he had some time to produce this editorial for us. Francois Cadiere, the little man from France who lost his heart in Berlin some years ago. His work is part of public collections. He is a fan of Nina Hagen.

I had a little chat with Francois. (A little man with a big heart.)

KALTBLUT: Bonjour Francois! We have to say thanks to you for this great editorial. The theme of this Collection is : ICONICAL. So, please tell us: What was your inspiration for this shoot?

FRANCOIS: Thanks to you Marcel. First I thought: I love all kind of icons, from a superstar to my neighbor. Then I spoke with your creative team and together we had the idea about kings and survival fight and attitudes. It was fun to create it.

KALTBLUT: You are a photographer, designer, illustrator and the list goes on and on. But how do you see yourself?

Who is Francois Cadiere?

FRANCOIS: Big question. I see myself as a worker who does not work. I just follow my own imagination. Sometimes it is heavy but sometimes it is marvelous.

KALTBLUT: France is your home country. I would love to know how you grew up in a beautiful place like France?

FRANCOIS: I grew up in a very sunny part of France near Provence. My childhood was quite nice and full of fantasy. Later I became crazy. It´s a joke Marcel. You know what I mean. And then I went to Paris. There I learned a lot about photography, life, fame and all those important things.

KALTBLUT: A lot of designers and photographers have dreamed of being an artist as children already. What was your dream when you were a child?

FRANCOIS: When I was a child I wanted to be an animal doctor, a vet. As a teenager I was a rebel: I wanted to do nothing. Nowadays I am sure I will work to the end.(He laughs) KALTBLUT: Let´s go back to your work nowadays. I am a big fan of your illustration-fashion-editorials. You have a very special unique style. How do you create this kind of style?

FRANCOIS: I was bored with my own photography and the collages I have done. During this time I started to draw and then I mixed all together. It was a long process. But I can say: yes this is really me.

KALTBLUT: Your work for the fashion world: big labels and magazines. You do collages for hotels, your design is printed on garments. And the list of your exhibitions is stunning. Do you ever relax? What are you doing in your free time?

FRANCOIS: In my free time I am on Facebook. Ha ha, I am jo-

king. I love dancing and I meet people. But what I really love to do is doing nothing. That is a big luxury like a day on the beach.

KALTBLUT: Berlin and Paris. Two different cities and you work in both. From your point of view: How is Paris inspiring you and which part is Berlin playing in your life?

FRANCOIS: It is a book, Marcel. I love and I live in both cities.

Paris and Berlin. Both capitals have a totally different energy but together it is the perfect mix for me. Berlin is very represented in my very french style. Since I am in Berlin I am more free in my work.

KALTBLUT: You live in Berlin now for some years. Do you think the cliches about Germans are true? What are your experiences with us?

FRANCOIS: I have just good experiences, Marcel. But I cannot speak about Germany in general. I can just speak about Berlin.

Cause I‘m having a very good life here. The cliches about the Germans: They are not always funny and normally I feel hurt with all kind of national cliche. But this is the iconic issue: So, I love Marlene , Nina Hagen and Hape Kerkeling and Loriot too. And I love the word komisch. And the German line: Und ich esse auch Currywurst. (He laughs!!)

KALTBLUT: Back in 2006 you had a cool job. To be honest I want that to. Guest lecturer at the University of Arts in Berlin. I would love to teach students. Did you enjoy it? Working with the next generation of artist?

FRANCOIS: Marcel, you can not imagine what a good question that is. During this time I was prepared to travel to dangerous places as a reporter. The university asked me to make workshop about mixed techniques and it was a very wonderful time in my life.

I gave a lot to the students and they gave me a lot back.

KALTBLUT: Your work is also shown in public collections.

Like: Ucad, Union Centrale des Arts Décoratifs, Paris.I guess all the artists would love to show their art like that. How proud are you of yourself and your work?

FRANCOIS: I am proud that they people recognize my work and my way of thinking.

KALTBLUT: As I told you before, I love your fashion-illustration work. Where can I buy it? And how expensive is your art?

FRANCOIS: We‘ll speak later about that Marcel.

(He laughs again). Thank you very much for this very Woaww interview and a long life to Kaltblut Magazine.

www.cadiere-art.com

Interview by Marcel Schlutt

129

„Paris and Berlin.

Both capitals have a totally different energy

but together it is the perfect mix for me.“

Photograpy by Michael Mann www.michaelmann.info

Sea

BY THE 130

Photographer: Rut Sigurdardottir - www.rutsigurdardottir.com Stylist: Anna Clausen - www.annaclausen.tumblr.com Make up / Hair: Rakel Asgeirsdottir using M.A.C Cosmetics Models: Olof and Isabella @ Eskimo models Iceland Special thanks to Hotel Budir, Iceland

131

Snaefellsjokull, Iceland.

132

133 Left page: Isabella (left) wearing wool coat and belted red curtain dress by Orlygsdottir, Olรถf (right) wearing boucle jacket with sewn on bracelets, green wool, shorts with attached skirt detail by Orlygsdottir, cotton vest from Weekday, earrings by Hildur Yeoman, necklace from Nostalgia and shoes from Top Shop.a.

This page: Olof (left) gold leather biker jacket and jumpsuit by Bjorg Skarphedinsdottir, Isabella (right) pink oversized leather coat by Eva Bra Barkadottir, purple gloves vintage from Frida Fraenka.

Hellnar, Iceland.

OlĂśf wearing customized dress, silver cross choker, silver cross earrings, white hot pants, sports bra and garland halo all by Hildur Yeoman, silver bracelet vintage from Frida FrĂŚnka.

134

135 Isabella wearing net dress with christmas garland detail and blue garland halo by Hildur Yeoman.

136

137

This page: Isabella (right) wearing net dress with christmas garland detail and blue garland halo by Hildur Yeoman, Olรถf (left) wearing customized dress, silver cross choker, silver cross earrings, white hot pants, sports bra and garland halo all by Hildur Yeoman, silver bracelet vintage from Frida Fraenka.

Left page: Olรถf (sitting) wearing velvet laser cut dress embellished with wood neck piece.

Isabella (standing) wearing long evening silk dress all by Steinunn Hrolfsdottir.

138

139

Isabella (b&w) wearing suede jumpsuit with slash detail and halo made in wood by Bjorg Skarphedinsdottir,vintage gloves and bag from Frida Fraenka.

140

F R A N Z Z Z

aroline Bosmans is the creative mind behind the kids collection FRANZZZ. I have to say that this is the best children’s collection I have seen in my life. As a mother of 4 children herself she’s been passionate about kids fashion for a while, starting 5 years ago at the fashion department at SASK, Belgium and FRANZZZ is her 5th collection. A special mention from the fashionjury (represented

by Jurgi Persoons, Enya Vandenhende, Tiany Kiriloff and Raf Vandersmissen) is just the first step for her unique designs. I had the pleasure of having a little chat with Miss Bosmans, and I am convinced she’s Belgium’s upcoming fashion star.

141

142

143 KALTBLUT: Congratulations on your stunning kids collection FRANZZZ. It is maybe the best children’s collection I have ever seen! Where did you get your inspiration from and what does the name FRANZZZ mean?

made it labor intensive. The piece in Smyrna took over 150 hours to complete. Combining work, kids, taking care of the household and being pregnant means that I have put blood, sweat and tears into these pieces.

CAROLINE: Thanks! The collection is based on the novel ‘Die Verwandlung’ by Franz Kafka, in which a man metamorphoses into a bug. I focus on the different parts of the human body and transform them into a bug… and finally it all will dissolve. The name FRANZZZ refers to Franz Kafka, I felt like the name represented this collection.

KALTBLUT: What are your plans for the future? Will you go on surprising us with your designs? I really hope so, you are a true talent.

KALTBLUT: As a mother of 4 kids and a psychotherapist by day your career as a fashion designer is very unusual for the fashion world. What drove you to start studying fashion design at SASK Belgium?

CAROLINE: As a kid I was already very interested in fashion. When I finished high-school I wanted to start an education at the Fashion Dep. at the Antwerp Academy, but in the end I ended up doing something completely different. The fashion bug never went away.

When I became a mother, the passion moved to kids fashion. Then I finally decided to do something with it.

KALTBLUT: How old are your little “monsters”? Don’t get me wrong, but I don’t really have any connection with kids, though looking at your designs I’d definitely want to dress mine with your work! Do you think that the fashion market is ready for your designs?

CAROLINE: My kids are between 10- 12, and 3 - 5 years old, and the youngest one is 1 month at the moment. It’s lovely to have kids of different ages. They are my biggest inspiration, and also my biggest fans! They love my work!

I still have the impression that current children’s fashion always needs to be sweet, childish, colorful, clean with no risk, but I don’t agree.

I’m not sure if the market is ready for this kind of innovation yet, but I hope it will be someday.

KALTBLUT: Do you dress your own children in your designs? I guess some “regular” mothers are not getting it.

How is the feedback on the fellow mother front?

CAROLINE: My kids wear pieces of my collection and I love it! I would like to design more pieces for them, but but I don’t really have enough time.

They do stand out in school. Some mothers love it, but only if other kids are wearing it. But most of them find it weird or don’t understand it.

KALTBLUT: You also got a special mention from the SASK jury for FRANZZZ. Are you proud of that? What does it feel like? But more importantly: Where can we buy your collection?

CAROLINE: I’m very proud! It’s great when you get positive feedback from great people from the fashion industry! It feels great when someone like Jurgi Persoons likes your work! Currently the collection is not for sale. I will start working on a new collection in September and hope to bring that one out.

KALTBLUT: How do you work? I mean, your collection looks like it needs a lot of commitment to produce. How long do you need for one piece?

CAROLINE: On the collection FRANZZZ I worked almost 6 months. It’s a long process that starts with drawings , prototypes, till the final pieces like you see them now. I used different techniques that

CAROLINE: Plans are to release a commercial collection soon.

I hope that everybody else will like it as much as you do! THX!

144

145

146

A COLLECTION BY Caroline Bosmans, Interview by Marcel Schlutt, Photography by Kurt Van de Velde www.kurtvdv.be, Special thanks to de Malt www.demalt.be And special thanks to the kids models Leonie, Jules, Dries, Boaz and Nio.

147

148

C O L U M N : H E R R V O N K E I L S AY S

“Icons of the row.”

“So who’s that?” says the young girl and points at my badge, the one I wear on my lapel.

The young girl’s name is Anika and she is a good quarter of a century younger than I am.

My budge presents a picture of Freddie Mercury in his best years: muscle shirt, macho pose, the completely iconic mustache (upper lip beard??). An image that would ring a bell for every person that has spent their past 30 years on this planet. Every person but Anika.

Text by Magnus Von Keil

www.vonkeil.com

“This is Freddie Mercury:, I say and when I witness the momentary cluelessness in her face, just to be sure I also shoot: “Singer of Queen.”

“Don‘t know them.” says Anika and shrugs.

“You can‘t be serious!” I say. “The band?”

Anika pulls her heavily made up face to a a clownish mask and seems petrified and speechless in horrifying ignorance.I am trying to help her see: “Bohemian Rhapsody? We will rock you? We are the champions??”

“Ah, yeah, right – this I know from somewhere.” And after some seconds of spiritual slack she says: “Ah but he looks kinda gay...”

At that moment, I decided to end this discussion. And even if the thing I would love to do best, this very second, was to go after her garishly made up throat, my initial outrage is haltered by a feeling of forbearance. After all, she doesn‘t know better. How could she even?

We live in extremely fast moving times. We live off fast food, have our caffeine free soya milk -latte strictly “on-the-go” and easily skip whole evolution cycles, to keep up with the times. If you are 8 and do not have at least one aborted pregnancy behind you, you are simply not up to date – as simple as that. Nowadays, a hair dye alone is grown out faster than you can say “Marilyn Monroe”. And amidst all the rush, who is supposed to remember a name like Hildegard Knef, David Bowie, or well Freddie Mercury? There you go.

So much more practical it is, to have plenty of trendy-hippie companies, that will take over the tedious task of forming the cultural general knowledge. Just like this, you only need 10 Euro to grab an H&M T-shirt with a John Lennon stamp, to prove that you are not only fashionably it, but also possess of comprehensive fact knowledge. “Rad tee! Who is that?” -”No idea. The bloke from the Citroen ad I think.” -

149 Old and tired like a wilting Marlene Dietrich, in her wheelchair, locked up in her sombre apartment, not wanting to know anything from anyone anymore.

“Cool! So retro!”

Maximum effect for minimum expense – nothing seems to sum up the new century‘s attitude towards life better than this.

Thus, it‘s easier for kids of today.

You just have to think about it: how many endless hours of irrecoverable life time are wasted away forever in front of the television or the record player!

How much valuable time wasted back then to discover one‘s heroes – and eventually pieces of one‘s own identity -looking for all this for yourself!

Time, that could have been put so much better to use – to straighten your hair for example, or to probiotically monitor your digestion.

Yep, it‘s easy on the kids of today, no doubt. The question, that almost nobody bothers asking however is: what do we people feel, when the 21st century gloatingly pisses on the heroes of our youth?

Honestly, I feel just tired.

Just because she has actually seen everything.

Sure we could be accused of vanity and bitterness -but please, be my guest.

At least we don‘t loose face while at it.

At least...

My train of thought is being interrupted, as Anika reappears hopping into my field of view.

“This is so ace!”, she screams and means the music obviously, the tune in the background.

Petty – monotonous contemporary dance-trash.

Real crap.

“Don‘t know it”, I say.

“For real?”, wonders Anika, “this is XY, he is married to YZ, so popular in the States!”

“Really?”, I say.

“But sounds kinda gay though.”

After all, you don‘t have to put up with everything!

Illustration: Tim Brackmann

150

Konstantin

&

Darya

Photography by Marat Mukhonkin www.mukhonkin.com Styling by Olga Nemka www.olganemka.com Models Konstantin Vesnin and Darya Usova @NF Model Management

Corset Nikitin Leggings Hilchenko Yana Mask Stykist own

n

151

152

153

Left: Girl Blouse and skirt Alexander Shabanov Boy Leggings Hilchenko Yana

154

155

Gloves Alexander Shabanov

156

Accessory property of the stylist, Right: Accessory OMUT

157

158

Girl Dress Hilchenko Yana Boy accessory property of the stylist

159

160

Gloves Alexander Shabanov, Mask property of the stylist, Right: Accessory Nikitin

161

162

Accessory property of the stylist

163

Accessory OMUT, Mask property of the stylist

164

Accessory OMUT

165

166

Dress Hilchenko Yana, mask property of the stylist

167

168

WERNER SCHREYER Real Male Topmodels are few. Nowadays boys are just faces. But there is one who has been sticking out from of the masses for over 3 decades.

He is THE WORLD MALE supermodel. Werner Schreyer. Born in Austria, he is model, actor, painter, a muse and one of my personal icons. In his rich career, he has worked for almost every important fashion house.

Versace, Armani, Gucci. Photographers like Herb Ritts, Bruce Weber and Richard Avedon are the ones that set the smart Viennese into the scene. Werner is one of the most recognizable faces on this planet.

Photo by Gilles Marie Zimmermann

169

170

Photo left & right side by Wolfgang Pohn

B

171 ut he is so much more. An artist, even a stuntman and above all a real professional. I had the honor to talk to him about his life, the fashion world and his dreams.When I first started KALTBLUT I could never imagine I would work with Werner Schreyer. An icon, a man that has achieved so much and still has so much he still wants to do..

KALTBLUT: Hello Werner. Thank you very much for your time. While you are answering to my questions where are you at the moment and what are you doing?

WERNER: I am in Paris right now, just done with my first personal photo shooting – meaning me as a photographer. Now it’s time for editing and working on the images.

KALTBLUT: Icons are the theme of this issue You are THE Male model. And you are now in the 3rd decade of your career. How, where and when were you discovered?

WERNER: Well, when I was 16 I began with Flair agency in Vienna and they advised me to try Milan and London.

In Milan things really started to move, but in London I was discovered by Mario Testino and he pushed me -next was Herb Ritts for the Levis campaign, then Bruce Weber for Guess with Drew Barrymore.

KALTBLUT: When I’m looking back at the beginning of my modelling career, I can say it was anything but easy. How were your first steps in the fashion world?

WERNER: To be honest, in the beginning I always thought of quitting. It was really hard. There were so many beautiful people and I was in the middle of this, a small frail Austrian/half German (my dear dad is born in Berlin)... and on top of it I was completely broke.

I have slept on hard floors with whoever, among with cockroaches. I had to share my money with the room mates in order to manage to get something to eat.

KALTBLUT: In the 90s you have worked for almost every important fashion label.

Versace, Prada, Guess, Armani, Gucci and so many more... Fashion and designers were blooming in the 90s. What is yor experience from this years? I can imagine the rush, it must be something you never forget, or?

WERNER: Yeah, it was unique! It was just happening. The people were in such a creative and artistic rush. Nothing was that strict. As long as the ideas, the look and the feel matched. Today it’s much more about the business...

KALTBLUT: This decade has created topmodels like Claudia Schiffer, Naomi, Kate and Nadja Auermann. And you were in the middle of this. Any friendships came to rise that still hold strong?

WERNER: When I meet Naomi nowadays she is still so happy, every time. But everyone has their families, goes their ways, and has their own goals for every part of their life. I am better friends with men usually – so Tony Ward (he was with Madonna) and with the photographers, stylists etc I am still close – Mario Testino, Michel Comte, Francois Matthys, Gilles Zimmermann and other new ones like Philip Gay, Ram Shergill – I can’t count them all, there are a few.

I get along best with photographers and stylists, because them and the model are a creative unit.

If that doesnt fit, the photos can’t be good.

KALTBLUT: Since I’ve been involved with fashion and can remember there has always been one name: Model Werner Schreyer.

What’s your secret? The secret to your success? How do you stay in the business for

so long? Hats off!

WERNER: Yes, I am surprised myself. I don’t kn ow really. I guess, I do some thinking before.

Who the client is, which poses I could do, how I could bring the brand across best, what new stuff I can do. I’m just really creative and I like living it, acting it out.

KALTBLUT: Besides you, there are 2 more male Topmodels. Tony Ward and Marcus Schenkenberg. Is there some sort fo competition going on?

WERNER: No, not really – Tony is a cool guy – but he is a very different guy to me and Marcus also.We have totally different clients and bookings. I love working with a touch of art and that’s

172 what comes across on my photos and campaigns also.

KALTBLUT: All the greatest photographers of our times have photographed you. Who has impressed you most and why?

WERNER: A tough question – there are some really brilliant ones, that I love so much and every one of them has a personal style.

And if I name some now I will leave out some others that are equally good... but well OK – out of those that I’ve been knowing the longest: Mario Testino (he has an unmatched and trademarked style, he has an ultimate aesthetic and a great eye for talents), Herb Ritts (he captures you and the right light, as if you come from a different star), Richard Avedon (he was amazing – a very fine person, with an exact visual image

„I was young, successful, and i felt invicible“

and idea, a Shakespear fan), Francois Matthys ( a friend of mine, underrated photographer but he always wants to bring the beauty to the front and would never let anyone look ridiculous).

From the new ones: Philip Gay, Alasdair McLellan, Ram Shergill, Jean-Francois Carly, Toni Thorimbert…all of them very fast, clear and creative visions, and fun.

KALTBLUT: Is there something like a favourite image – campaign or editorial of you? If so who is it by?

WERNER: Yes of course – right now Louis Vuitton and Cycle Jeans and Paoloni. From the older ones D&G, Cacharel pour Homme and naturally Hugo Boss...

KALTBLUT: I can only imagien what it must be like being so world famous.

Women as well as men like you just. The fashion world has become your home.

How do you deal with such fame? How do you manage to keep your feet on the ground?

WERNER: Yeah, as everybody knows in the beginning I couldn’t deal well with fame. I was young, successful, and i felt invincible. Anyone would feel the same if you get from 0 to 1000...

After I fell flat on my face, I had to begin from scrap and then you understand how to stay firm on the ground. You learn that it can be over so soon. But you have to live it in order to live it.

KALTBLUT: You were born and raised in Austria. What had little Werner wanted to do?

WERNER: I wanted to be a professional athlete.

Skier – like Herman Maier...

KALTBLUT: You have graduated from the European College in Business and Social Economics in Wien. A theatre training with Gerard Vergez in Paris, Methodacting with director Robert Cordier and Arthus Lessac in Los Angeles. Plus a stuntman training. So I have a question: Who is Werner Schreyer? So multi-faceted.

WERNER: Werner has two passions – art and sports. And I have to totally go for them both.

KALTBLUT: There is this thing I’m really jealous of. WELL YEAH! You have worked with my personal goddess Vanessa Paradis and Gerard Depardieu in Elisa. I want to know everything. How was it working with such big stars? And how is Vanessa?

WERNER: Vanessa is totally cool and an amazing businesswoman – but we would never „hurt each other“????. Gérard Depardieu is an amazing actor and very, very funny. It was all in all a great team and a part, that was fun to me.

KALTBLUT: I have also tried it with acting. Well. I have experienced that as a Photo by Herb Ritts for Levis

173

Photo by Francois Matthys

174 model you often have to deal with prejudice and you have to prove twice as much. Have you experienced something similar?

WERNER: Not really. I have started acting at the same time as modelling kinda. And you can see this in my photos also. I am always playing something without lines.

After a while I just didn’t get any parts that I would have loved and I had also made the mistake myself because I was not in an acting agency. But you can’t do everything at once and be the best at it. And it is often the case that actors are not such good models and the other way round. It is somehow the same but it is not.. For me it just happened that way.

KALTBLUT: Back to the present. You are painting! That sounds so plump now But I was really surprised and I have to tell you I really like your paintings. The colours, the style.

I Like! How come such a move to painting?

WERNER: Thank you for the compliment. Which one do you like best? Painting began when I had moved to a big appartment and I wanted to add some colour by myself. And then came friends and guests and they were like: heh, where did you get this painting from, it’s superb!

That’s how I sold a few and I grew the confidence to follow this path and attend an artschool. The school has really helped me into developing my style.

KALTBLUT: I read somewhere that you are also doing painting as a form of therapy. How do you explain this? I can imagine that it also springs from a persona inner urge

Photo by Wolfgang Pohn

175

„I plan to continue making art, behind the camera as well as on canvas.“

to create something yourself.

After all the years of being „beautiful“ and just reduced to the looks?

their personality. Especially for men, because they have so much less support than women and also earn really less.

WERNER: Just like you said it!

I have discovered that painting is a way for me to just let it all hang out.

KALTBLUT: Werner, thanks a lot for the interview. We wish you all the best. Ah, Last but least. You are a time witness as it is. How was working with Gianni versace?

A genius, a master, an icon. Do you get close to people like this as a young model, and how does a person like that impress you?

And the best is, with the paintings people ask – what have you been thinking of while painting it, what is behind it?

And not wow, you still look so good, and just a few wrinkles.

KALTBLUT: Is painting a direction in which you want to move in the future?

Planning any artshows? You have already exhibited in Wien.

How does it feel seeing your work in the gallery? Better than the first cover?

WERNER: Yes I plan to continue making art, behind the camera as well as on the canvas. Working on new exhibitions.

KALTBLUT: When you are looking into the future. Where do you see Werner Schreyer in 2032? What are your goals?

WERNER: My goal is to be an established artist. Both painting and photography are my goals.

I would also like to pass my know-how on to younger models. How to pose – depending on

WERNER: I haven’t worked directly with Gianni, but with Donatella Versace. She is just as amazing. Of course this was a one of a kind experience and a very important campaign,since I was leaving in the States it really gave my carrer a lift.

KALTBLUT: Thank you very much.

Lots of greetings from Berlin. Marcel

www.wernerschreyer.com

Interview by Marcel Schlutt Translation by Amanda M Jansson

MUST 176

You certainly can live without these ITEMS, but life is so much More Beautiful with THEM. Selected by marcel & SKY

T-shirts with print

Topman Topman is one of our favorite online shops. If you don´t have much money left by the end of the month you will find a lot of items for just some Euros. Like the red and grey all in one Pyjama or a green, red, white and black multi-coloured patterned laptop case in a woven fabric or the blue printed pattern snapback.

A white T-shirt with a black graphic print fit s every men and girl. And we will never ever get tired of that. Even in the winter time you will need a nice shirt for clubing.

Our favorites are from TRINITAS and APOLLO KRIEG. Check the webpages, there are a lot of more shirt you may will like. www.trinitas.soleils.org/shop and www.apollokrieg.com

www.topman.com

Del Toro Polka Dot Sunbrella Alto Chukka The next NIKE Air Force 1 Pearl Collection

100 Contemporary Fashion Designers A highlight from TASCHENs Fashion Now-series. One of the best A-Z books about modern fashion design.

A Must have for each fashionasta out there. www.taschen.com

Nike Sportswear proudly pays homage to a limited edition Nike Air Force 1, the latest release in the Nike AF1 XXX Pearl Collection.

Gold speckled laces and pattern on the AF1’s upper combined with premium construction details bring to life the performance-meets-style versatility of this iconic silhouette. The shoe is launched as a limited edition. www.nikeinc.com

Marshall Home Audio

Del Toro has released yet another eye-catching colorway of their Alto Chukka model. This time around the shoe features a water repellent polka-dot upper crafted from Sunbrella fabric. Coming in a navy color way with white polka dots, the upper sits atop a red margom sole and also features rawhide leather laces as well as a red leather heel tab and leather lining inside. www.deltoroshoes.com

Marshall Headphones and Marshall Amplification proudly announce the very first home audio product.

This active loudspeakers are turning your home into a big stage with Marshall´s legacy of loud. www.marshallheadphones.com

177

CASIO watch Get transported back in time with the retro DBC-610GA-1 watch by Casio. It is classic and simple aesthetic which has remained authentic and fashionably relevant since its original design more than 20 years ago. www.casio.co.uk

H&M for girls Xmas season is close and we all know: gifts are expencive. But every girl wanna look sexy on Xmas evening.

H&M will help you to find a good looking dress for just some money. Like this green short sequins dress or the green ankle boots with a zip. www.hm.com

Leica X2 Edition Paul Smith

Ewald Jacket Navy/Y ellow

The new Leica X2 special edition in co-operation with fashion designer Paul Smith is a WOW Must Have item.

The color line is retro and a big eye catcher.

For those who love their Leica and want to add another to their collection: hurry up cause the Paul Smith Leica is limited at 1.500 units. www.leica.de

Santiago Gonzalez Crocodile Backpack

Yves Saint Laurent N ° 18 Bleu Majorelle Lloyd Simmonds, makeup creative director at Yves Saint Laurent, has created a new Nail polish line inspired.by the artistic legacy of the fashion house. One of the 30 shades of the iconic La Laque Couture‘ collection includes ‚N ° 18 Bleu Majorelle‘, a brilliant cobalt blue

CUBE ROYAL

by Lala Berlin Lala Berlin is one of the leading fashion labels here in Berlin.

The printed scarves a more then just an eye catcher.

A Must Have for the big city girl 2013 www.lalaberlin-onlineshop.de

Just Pure Body&Bath milk

This olive-green crocodile backpack from Santiago Gonzalez is very beautiful. Inspired by street style, this piece will be an investment in hard-hitting flair and is crafted with the luxurious precision the brand is known for. The leather is designed to look better with use. www.mrporter.com

Navy/Yellow is a great combination for a jacket.

This one is from the FW 2012 collection. With a lot of extras, we thing it fits every guy. www.shop.turbokolor.de

Just Pure is a fitness, beauty and health cosmetic line which we love a lot.

The honey body and bath milk is perfection pure. There a so many products from Just Pure that we couldn´t decide which one we like the most.

Check it by yourself. www.justpure.de

178

PEACE WARRIOR Model Natasha Kulakovskaya @STAR SYSTEM KIEV www.starsystem.com/kiev Photo by Sonia Plakidyuk @moiSofism www.moisofism.com Style by Evgen Primachenko Make-up by Slava Chaika Hair-do by Vitaly Datsuk

179

Shirt / skirt: ARTEMKLIMCHUK shoulder-belt: Kireeva ring: Velar

180 Coat / pants: ANOUKI BICHOLLA cap: Kireeva shoes: Stylist‘s own

181 Cape / dress / skirt: Litkovskaya ring: Stylist‘s own

182 Coat/ top/ belt: LitkovskayaÂ

183 Blouse / pants: ANOUKI BICHOLLA ring: Stylist‘s own

184 Dress /Â woolen helmet: Anton Belinskiy/Marchi brooch / ring: Velar

185

186

Tate Modern Bankside London SE1 9TG United Kingdom www.tate.org.uk

This exhibition explores the relationship between the work of William Klein (born 1928), one of the 20th century’s most important and influential photographers and filmmakers, and that of Daido Moriyama (born 1938), the most celebrated photographer to emerge from the Provoke movement in 1960s Japan.

Taking as its central themes the cities of New York and Tokyo, it traces the influence of Klein’s landmark 1956 photobook, Life is Good & Good for you in New York: Trance Witness Revels, on Japanese photography, using Moriyama as a focus.

It brings together for the first time, vintage photographs from Klein’s New York work, as well as those taken in Tokyo and Paris, with work made by Moriyama in the same cities, including landmark projects from the 1970s such as Moriyama’s Another Country in New York, and Farewell Photography. In addition to exploring the central role of the photo-book in the history of avant-garde art, this exhibition examines the use of film and photography in the representation of urban experience and political protest.

WI L L I A M KLEI N D A I D O M ORI YA MA Tate Modern London: Exhibition till 13January 2013

187

Admission Free entry Admission to Tate Modern is free, except for special exhibitions.

Become a Tate Member or Patron and get free entry to special exhibitions.

Opening times 10.00–18.00, Sunday – Thursday Last admission to special exhibitions is at 17.15 10.00–22.00, Friday – Saturday Last admission to special exhibitions is at 21.15

188

W I L L I A M William Klein (born in New York, New York, USA, on April 19, 1928) is a photographer and filmmaker noted to for his ironic approach to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography.

He was ranked 25th on Professional Photographer‘s Top 100 Most influential photographers.

Trained as a painter, Klein studied under Fernand Léger and found early success with exhibitions of his work. However, he soon moved on to photography and achieved widespread fame as a fashion photographer for Vogue and for his photo essays on various cities. Despite having no training as a photographer, Klein won the Prix Nadar in 1957 for New York, a book of photographs taken during a brief return to his hometown in 1954.

Klein‘s work was considered revolutionary for its „ambivalent and ironic approach to the world of fashion“, its „uncompromising rejection of the then prevailing rules of photography“ and for his extensive use of wide-angle and telephoto lenses, natural lighting and motion blur. Klein tends to be cited in photography books along with Robert Frank as among the fathers of street photography, one of those mixed compliments that classifies a man who is hard to classify.

The world of fashion would become the subject for Klein‘s first feature film, Who Are You, Polly Maggoo?, which, like his other two fiction features, Mr. Freedom and The Model Couple, is a satire.

William Klein Bikini, Moscow, 1959 © William Klein

K L E I N

189

Piazza di Spagna, Rome 1960 Š William Klein

190

Marine Accident (Premeditated or not 5) 1969 Tokyo Polytechnic University  Š Daido Moriyama

191

D A I D O

M O R I Y A M A Daido Moriyama, born October 10, 1938) is a Japanese photographer noted for his images depicting the breakdown of traditional values in post-warJapan.

Born in Ikeda, Osaka, Daido Moriyama studied photography under Takeji Iwamiya before moving to Tokyo in 1961 to work as an assistant to Eikoh Hosoe. He produced a collection of photographs, Nippon gekijō shashinchō, which showed the darker sides of urban life and the less-seen parts of cities. In them, he attempted to show how life in certain areas was being left behind the other industrialised parts. Though not exclusively, Moriyama predominantly takes high contrast, grainy, black and white photographs within the Shinjuku area of Tokyo, often shot from odd angles. Moriyama‘s photography has been influenced by Seiryū Inoue, Shōmei Tōmatsu, Andy Warhol, Eikoh Hosoe, the Japanese writer Yukio Mishima and Jack Kerouac‘s On the Road.

Daido Moriyama published a lot of books since 1972. Solo exhibtions all around the world. The Japanese artist is a master in his own league

Daido Moriyama Yokosuka (Small Colour Portfolio) 1970/1999 Tokyo Polytechnic University © Daido Moriyama

192

ATTILA RICHARD LUKACS Interview by Emma E. K. Jones and Amanda M. Jansson www.attilarichardlukacs.com

193

Y

194 ou probably know Canadian artist Attila Richard Lukacs, or at least some of his work since it is impossible to not notice one of his paintings or polaroids when you see it. Whatever he works on at the time he always manages to create his very own distinct style and to remain inimitable. He is known for choosing to depict male nude bodies, often of skinheads or other gay fetish groups, in both photographs and paintings, and recently has also impressed the art world with his amazingly powerful abstract work. Read on about just everything.

195 KALTBLUT: By now you are a very iconic artist. But how did it all begin? How easy or difficult was it for you to get recognition?

Attila: It began “… where all the ladders start, in the foul rag and bone shop of the heart” - ‘The Circus Animal’s Desertion’ W.B. Yeats.

I graduated in ’85 from Emily Carr College of Art in Vancouver, the same year I was in my first museum show at the Vancouver Art Gallery called The Young Romantics that received a lot of attention in Canada. Soon after I moved to Berlin to meet Canadian ex-pats Michael Morris and Vincent Trasov. Michael showed me around the scene in Berlin. I was working on big canvases and was as fascinated with the Dahlem Museum and Nationalgalerie collections as the porno stands. By then AIDS had already devastated a generation and HOMO – CORE artists wanted a dialogue. If the paintings had been small they would perhaps have gone to the private salon, but they were of a scale that wanted attention.

KALTBLUT: Your work is often considered controversial. How do you view it?

Attila: I made some great paintings that I’m proud of, but I think like a lot of artists, when we look at our work all we can see are the mistakes we made. If the work had been small intimate pieces, perhaps they would not have had that controversy about them. Some say I’m a history painter. A colleague in Berlin, Martin Von Ostrowski, once said I was the ‘boot painter’ of my generation, a reference to an obscure Prussian artist whom he admired. My language was always painting, and sometimes art also had a mandate to ignite debate.

KALTBLUT: How different are paintings and polaroids? Or are they similar?

Attila: Soon after starting to use polaroid, once I got the lighting right I wondered how similar they were to the paintings of Caravaggio I was looking at; the polaroids delivered the flesh tones and darks that he used to compose. I thus used Caravaggio and the polaroids hand in hand to develop my palette and composition in my early figurative paintings and portraits. As I moved on to other references, the polaroids being my instant source for a multiple image, became adaptable to the work I was doing. The painting was sometimes decided in the making of the polaroid.

KALTBLUT: Some of your new works are abstract but still very strong. Do you see a connection to the older work, or is it something totally new?

Attila: The last shows I’ve done have been of the abstract. There was a place where all my paintings came from and I wanted to reach back to that. Of those abstracts, I have a painting called ‘EXUTE; to strip oneself bare of all their preferment’. There is a foundation of fast paint and making the mark in the figurative works, that becomes part of a grand composition. I’m interested in the layers in between right now.

In the black and white polyptychs, I use a bitumen suspended in polyurethane, the use of this bitumen goes to the very first paintings I did and have been using since. The abstracts remain part of the process of the studio, and the language that I grow.

KALTBLUT: The colours are an important part of your work, through their presence or through their absence. How important is colour symbolism to you?

Attila: Colour has divided my work. Early on, I liked doing abstracts in black and white. Bitumen replaced black. The large skinhead paintings were of a palette of bitumen, whites, enamels, blacks and reds mainly. I was looking a lot at Caravaggio, his colour schemes, his blankets I replaced with bomber jackets, boots, braces and indigo jeans. I also have an ongoing love for Indian miniature painting, this is the exotic home for my painter‘s heart. I have done several bodies of work that are of the garden, it’s to miniature painting that I turn my love of colour. I’m currently looking at some books I found, on tantric and Jain painting, on my last trip to India.

196

„I made some great paintings that I’m proud of, but I think like a lot of artists, when we look at our work all we can see are the mistakes we made. „

197 KALTBLUT: Your gay skinheads are legendary. Did you expect the status they have reached?

Attila: I am surprised. Especially with the mainstream appeal that they have.

But paintings can be windows, I opened mine onto a stage. And when I arrived to Berlin in my kit, there were about ½ a dozen gay skins that formed a crew. It sometimes was not without incident that I wore my boots and Fred Perry’s into a leather local, despite the ongoing and rich gay skin scene that was happening in London. Today that uniform has come to identify a part of gay culture in Europe and Berlin.

KALTBLUT: You are an icon and inspiration to many. Which are the artists that have inspired you?

Attila: The muse inspires a timeless dialogue since the discovery of painting, Cimabue and Giotto. Too many to name, but this year I have been looking at Michael Buthe. He passed early and I don’t think he was recognized as much as he would be in today’s dialogue. Herbert Achternbusch was a great painter of the outsiders. Emil Nolde, the early de Kooning’s and Ellswoth Kelly’s, Richard Pousette-Dart, Indian miniature and Jain and tantric painting of the 16th-19th centuries, Ivan Hitchens. Music is the medium for the pigments of my mind, lots of Dub, Dub Reggae, electronic/house, Global Dance Floor, Bollywood and Sufi in the mix.

KALTBLUT: Are you working on anything new? What are your new projects or ideas?

Attila: Once in a while I sit down to do some still life. They have been an occasional part of my repertoire, for family and friends. This year’s theme is Apricot Jam. They are of a genre completely different in nature than the paintings I usually do. My next challenge is to bring them back to painting.

I will be showing a new body of paintings in January, with Winsor Gallery in Vancouver. It’s a show that I have been excited for because it goes to answering the abstracts with the figurative. I’m using the polaroids again for my paintings, as a source for composition. Sculpture has been a recent reoccupation, in addition to being a process of the studio.

I have learnt that not every idea I invested my time in was worthy.

www.attilarichardlukacs.com

198

Suburbian Photographer – Sam Wilson www.samwilsonphoto.co.uk Photographer Assistants – Tom Chapman and Lydia Garde Stylist – Siouxsie at OB Represents www.obrepresents.com Stylist Assistants – Daisy Bunyan, Dawnn Lee Mitchell and Nicola Chisnall.

Props – Natalie Bird Hair Stylist – Herman Ho www.hermanho.com, using Loreal Professionel.

Make up Artist – Julia Wilson www.juliawilsonmakeup.com using MAC Models – Sadie Phelps at M&P Models, Oliver at AMCK

Sadie wears, Blue, red and green tartan Jacket with waist boning, by Corrie Nielsen.

Nirvana T-shirt, Models own. Oliver wears, Bright orange and brow stripe cardigan, by PRPS. Grey waistcoat by Beyond Retro. Grey sweatshirt and Dark Denim jeans by Minimum.

199

200

Oliver wears, Bright orange rain-caot, by Schott (Perfecto). Aztec bright orange and blue jumper, jeans and backpack by humor.

Socks and sleeping bag Stylists own. Bright yellow suede brogue shoes, by Grensons.

201

Sadie wears, Jumper and cardigan by Leutton Postle. Black tights and gold rope belt, Stylist’s own. Gold pattern high waisted shorts, by Negarin.

Bright orange sequin earrings, made to order, by Artless. Pale blue lace up brogue shoes, by Grensons.

202

Oliver wears, White shirt by All Saints. Ochre cycling cape, Vintage - Stylists Archive. Knitted print leggings, by Horace. Knitted aztec gloves, Stylist’s own.

Black leather backpack, by James Hock. Desert boots, by Beyond Retro.

203

204

Sadie wears, Two tone, nude and black Mohair Jumper, by tba. Aztec pastel shorts, by Negarin. Purple fringed neckpiece, by Jennifer Morris.

White collar and pale grey tights, Stylist’s own. Purple thick socks, by Happy Socks. Blue and tan leather wrap bracelets, by Fabel. Leather and canvas rucsack by Lost Property Of London. Pale blue lace up brogue shoes, by Grensons. Oliver wears, Aztec bright orange and blue jumper and bright blue jeans, both by Humor. Socks, stylists own. Bright yellow suede brogue shoes, by Grensons.

205

206

Sadie wears, Lilac marble print, sheer dress shirt by Bill + Mar. Black bra, Models own.

Burgundy blazer, with neon pink tassles, by Maison Scotch.

Fuschia pink print Scarf (worn as waist band) by Lara Bohinc.

Purple and oxidised metal chain necklace, by Fiona Paxton. Digital storm print pencil skirt, by Eugene Lin. Magenta sparkle loafer shoes, by Melissa. Hat and white ankle socks, Stylists own.

207

Oliver wears, oversized orange check Jacket by Agi & Sam. White thermal all in one, Stylists own. Desert boots, by Beyond Retro.

208

209

Sadie wears, Burnt orange shirt with embroidered birds, by Spijkers en spijkers. Earrings and Necklace by Ayala Bar. Bright teal and blue high waisted shorts,

by Negarin. Orange wool coat with fringing, by Jennifer Morris. Brown worn belt and black tights, both Stylist’s own. Pale blue lace up brogue shoes,

by Grensons.

210

costume/shoulder harness parts/ eyes flap by Degenerotika

211

M AR IE N AS EM ANN Interview by Marcel Schlutt Translation by Amanda M Jansson Concept & photography Suzana Holtgrave Styling by Sky Bulatovic Hair and make-up Einat Dan Special thanks to Kiko headpiece by the-t-shirt-issue.com

212

costume/shoulder harness parts/ eyes patch by Degenerotika

213

Marie is Germany‘s Fräulein Wunder. Some years ago she successfully joined Heidi Kulm‘s TV show: Germany‘s Next top model and since then she has been booked by all the major German Fashion magazines and is a star of the red carpet in Germany. Marie is a role model for many girls, she unites beauty, diligence and heart. We are really happy that we had the chance to shoot an editorial with her - our own photography star Suzana Holtgrave has set Marie in Berlin backdrop. 3 icons all in one.

So meet Marie Nasemann, a young lady just at the beginning of her career.

214

mirror ears by Alisa Zillmann costume by Thierry Mugler Vintage 80´s photographers own

215

dress by RAYAN ODYLL

216 KALTBLUT: Hello, Marie. Many thanks for this great Editorial with you and Suzy Love. I am really proud to have you in our new issue. Did you liked the day with our KALTBLUT team? And which outfit did you like most?

MARIE: The shooting was great! Suzy

Love and Sky are an unfathomably strong and nevertheless, feminine team. The three of us laughed a lot and we had a great time. On top of that it was great for me to get to know the nicest sides of Berlin. Unfortunately If I am in Berlin for work there‘s usually no extra time to discover the highlights of this wonderful city. And my favorite outfit, this is quite easy: It was the one with the pink vintage blazer and the glittering ears.

KALTBLUT: I don´t wanna talk with you about the TV show „Germany‘s Next top model“ so much. Only one question...

How did you cope during the casting show? To fight with so many girls for the title? Ufff…

MARIE: It was a fantastic and thrilling

time. In such a short time we saw so many unbelievably great places.

I wouldn‘t like to have missed the experience which I gained within the scope of this show by no means. At the beginning we were nominees, maybe still competitors, but the more time we spent with each other, we became the most intense friends and we still are friends.

KALTBLUT: You live in Munich. The town is not exactly a fashion cosmopolitan city. Why don‘t you live in Berlin, London or New York? What makes Munich the place to be for you?

MARIE: At the moment I live in Germa-

ny, simply because the circumstances are great for me here and I can use my name recognition well. My fashion customers for example Gil Bret and Bauer and the German magazines like Jolie and INSTYLE book me regularly and I feel fine. Also my family and my friends live in Germany and I enjoy having them around. Besides, from September I am presenting “Eins Plus Charts” every two weeks. The broadcasting is taped in Baden-Baden in the SWR Studios. It would be very impractical to always fly me in from New York.

KALTBLUT: How about your childhood?

Was being a model always a dream of yours?

MARIE: I had a great childhood. My

wings by the-t-shirt-issue.com top by GLAW trousers by Karolina Preis shoes by LaLa Berlin

parents allowed me many things and I am infinitely grateful for that.I had an early musical education, I took piano lessons, and ballet and tennis lessons too. Later on in high school I also had a

217

218

219

„I admire strong women“ corsage by Mary OH dress by Lavin for H&M photographers own shoes by Jeffrey Campbell sytlist own

220

„My family is always supportive of me and I must say that everybody deals very calmly with my fame.“ wide choice of possibilities: School choir and theatre, school parties organisation. I have properly blossomed!

The mother of a friend had really good contacts with photographers and provided both her daughters for photo shoots now and then. I found this really exciting and begged my parents so long until I could go along with my friend. So at the age of 10 I stood for the first time before the camera for Tschibo, Focus, S. Oliver child fashions and many more....I still love it now.

KALTBLUT: How do your friends and family handle your fame? Do you still have contact with old friends from before your career began?

MARIE: Yes of course! My old friends

ground me. It is incredibly important to me to have these contacts, even if it is difficult sometimes on account of how much traveling I do with my work. My family is always supportive of me and I must say that everybody deals very calmly with my fame. Only my father cannot believe it sometimes. If we go for dinner together in a restaurant and people come by to say hello, then he is a bit surprised.

KALTBLUT: You maintain an active and good contact with your fans over Facebook. Do you do it all by yourself? Or an agency? How important are your fans to you?

MARIE: I run my Facebook fan page by

myself because my job often brings a lot of waiting around with it, in the dressing room or before a fashion show, I can do this easily. It gives me pleasure to work on pictures with the help of Apps and upload them. And I like to post funny comments. Moreover, it is great that so many people can see my work and I have contact to them directly.

It is also important to me to use this channel to draw attention to social issues: Organ donation is one of them!

Also articles all about meat consumption are posts I often love, because I don‘t eat any meat myself and believe that all people should consume less meat for the environment‘s sake.

KALTBLUT: On the Internet there is a lot of gossip, stories. Have you ever read things about yourself that you had no idea you‘d done?

If so, what was there? And how do you handle something like that?

MARIE: Oh yes, many rumours circulate on the internet and they are going around faster than one can look! The biggest rumour: I left Germany‘s Next Top Model by myself! I take it with humor and clear it up, no matter how it goes – I believe this is the only way to deal with it.

KALTBLUT: What is your secret to being so successful?

MARIE: I have never rested on success

or fame and I always try to do a good job as a model. Moreover, I have never counted on others, never sat there and waited for new emails and offers.

I have been on events and have used the possibility there to collect contacts.

I think in this lies the secret: One makes his own luck. (or: Man is his own fortune!)

KALTBLUT: You are a role-model for many young Girls out there. Who are your personal icons and why?

MARIE: I admire strong women who

have dreams and women who are able to find their own way . Florence Welch is one of my icons because she sings fantastically and she has created her own success with her band Florence and the Machine. She is incredibly confident stylistically speaking. I also really admire Diane Kruger and Heike Makatsch.

KALTBLUT: We have more and more young, professional designers here in Germany, and you are regularly wearing great designs at events and on the red carpet. Who are your two favorite designers?

MARIE: At the moment I wear many

creations by the Berlin label GLAW. They are very much feminine and rock´n´roll at the same time. Perfect for the red carpet. Otherwise I often wear Miriam Schaaf‘s label Schaaf. It is all

about cool and black basics.

KALTBLUT: Are you a political person?

And do you use your fame also for other projects like charity?

MARIE: I am again and again part of

different charity projects, for example Buy My Dress or the kid‘s camp of the German Bahn. If I am moved by a cause I always try to draw attention to it and of course I can use my fame for that. I post pictures and info and try to stir the consciences of my fans. I find it very important to present subjects that matter.

KALTBLUT: Modeling is no job for eternity, or let´s say just a few girls have a really long career. What are your plans for the future?

MARIE: Some new doors have already

opened for me. I am very stretched on these experiences and am glad that I have the possibility to try out what I can do. On the other hand If all cords tear, there still is the distant university of Hagen. I study there (at the moment a little bit slowly) Art Sciences with a main focus on Literature.

KALTBLUT: You also made an excursion to the pop music world for a few years.

You were part of the band: The Rio Girls.

Is there more coming in the future? I have to say I was a fan of your sound.

The connection of fashion and music was very exciting.

MARIE: As you already said, it was an

excursion. Although a very funny and exciting one! Indeed, money can´t be earned in Germany with music, to tell you the truth. It was fun to do it, however it remains only a hobby for the moment.

KALTBLUT: Many thanks for the interview. We wish you all the best for your future. And have a great winter time!

MARIE: Many thanks to you! I am glad about the great editorial and I hope that we will shoot together again one day.

www.marie-nasemann.de

221

chain by Marie Oh dress by Karoline Preis shoes by Jeffrey Campbell

222

223

jewelry by Nico Sutor dress by GLAW shoes by LaLa Berlin

224

Lucian Matis www.lucianmatis.com Photography by: Greg Swales, Production Assistant: Ashley Gesner, Hair & Make-up: Anna Nenoiu-Csiki P1MÂ , Model: Leigh Hoby Ford Models

225

226 Photo by Héloïse Letissier

Tour November/France 2012 15/11: F - Figeac / La Chapelle 16/11: F - Toulouse / Connection Café 17/11: F - Villefranche-sur-Saône / Festival Nouvelles Voix 20/11: F - ORLEANS / L’Astrolabe

227

CHRISTINE AND THE QUEENS Thanks to a really good friend of mine (may I say BFF), I had the chance to meet the delicious Christine & the Queens.

It was not the first time that I had heard of her. I had listened to some of her songs, but I wasn’t addicted just yet.

So when I saw that she was coming to Berlin for a gig, I bought a ticket and said to my friend, ok so you like what she does, how about I go to the concert and you help me with the interview, deal? Well of course when you put it like that it may sound a bit unfair, but the concert was in Berlin, where I happen to be living whereas my friend lives in... Paris! See? It’s not like we had a choice.

8

PM. The show was about to start and here I was at the Lido standing in the first row, waiting (if you’ve read my other reviews you‘ll know that I NEVER go further than row 5 anyway).

Christine finally appeared on stage, alone, with as sole companion… a computer (I won’t indulge into the usual product placement BS), antlers, a beautiful tux, and the most amazing, sparkly shoes I had EVER seen, and believe me I do know a thing or two about sparkle. Or shoes for that matter.

During the first two songs I was kind of getting acquainted with her, you know, it was more low tempo, I was basically observing. Then she came up with more up tempo beats, and it was really impressive to witness the effect her little show had on the crowd. She was communicative and interacting with them. But what made the difference wasn’t so much what she said to the audience, it was her dancing. When she started dancing (and OMG can that girl dance or WHAT? She’s got some serious swag going on, I swear, just like a nigger, no offense I am black, m’kay), people started yelling, and the two front rows got caught up in the music and started dancing in sync with the rhythm.

Let’s take a moment to talk about one particular song, „Kiss My Crass“: the lighting, her undeniable presence on stage, and the GLITTER, made for a SUPERB PICTURE. Christine does own the stage but not like a rock star or anything, no, just like it is genuinely her space. She takes place, and then evolves inside that space like it is her own, like she owns it.

There was a really intimate aspect to the show, especially as Christine invited us into her world, gesturing us to „come on, do it with me“.

She might not be headlining just yet, but give her a few years (months?). When Christine & The Queens is opening for another band, you realize that she is the kind of artist who will make you swear you’ll never skip an opening act ever again.

She’s THAT good. Opening acts can be boring, and damn it after all you’re not really here to see them. Opening acts are “that other band”, the one that makes a whole lotta noise and whose performance you often have to suffer through. The band whose name you never catch and rarely remember.

Not Christine & The Queens. You’re bound to remember her.

The girl has one hell of a set of pipes. Talented, funny, weird, she oozes charisma.

After about 30 minutes (it was a festival after all) her performance was over, and I had the pleasure of meeting her for a bit, and we confirmed our interview the following morning at 10.30AM. And so here I am, sitting with the lovely Christine in a small café in KREUZBERG. Before you start reading, I’d just like to say a few words: this (HUGE) interview really made my day. Héloïse (her real name) is so funny. We had such a great time. I am totally talking on her behalf here, BUT I’M PRETTY SURE SHE FEELS THE SAME WAY, or maybe not, well whatever. It was magical. We “clicked”.

We laughed a lot, and in the end this interview felt more like a nice conversation with a friend.

So keep an eye out for her. Because when you get a chance to see Christine & The Queens perform live, don’t even think: GO! This won’t sound like anything you‘ve ever heard and I can assure you that it will not look like anything you‘ve ever seen either. Take my word for it.

One more thing, because we love you guys so much, we’re giving you a chance to win TWO copies of her latest EP (Mac Abbey) on page 398.

Text & Interview by Nicolas Simoneau & Bénédicte Lelong www.christineandthequeens.com

228 KALTBLUT: On stage, you’re not only a singer, but also an actress. How was Christine born?

CHRISTINE: Christine is a character that I created a year and a half ago. I used to do a lot of theater so that’s probably where my acting on stage comes from. And I was at a moment in my life when I didn’t really know what I wanted to do artistically. I was trying to find myself.

And that’s when I went to London. At the time I used to go to London a lot. I was going out a lot at night, alone, because I was trying to find things that I liked. And this one night I went to a club, Madame JoJo’s where drag artists would put on a show. There was no lip-synching, and they were really playing music. It was awesome!

They were so beautiful! I loved it. And that’s when I thought to myself that I would love to have a band of drag queens on stage with me.

So of course I went up to them at the end of their set and told them how amazing I thought they were. “How would you like being in a band with me?” I asked. They laughed, probably thinking “WHO are you, honey?” We spent some time together in London but they told me they couldn’t be in a band with me because they had jobs.

So it didn’t work out but when I got back to France I decided that I would keep the aesthetics, this queer aspect that I like, and the image of the drag queen that I find particularly touching. I don’t know why but I find their stories incredibly moving. So I came up with the name of that imaginary band, and I started composing alone in my apartment.

I posted my songs on MySpace. I never thought for a second that it would come to this. I had plans in theater. And I ended up practically overnight on Les Inrocks’s website (a French cultural magazine) and soon people were asking me to do gigs. So Christine really comes from this encounter I had with drags.

KALTBLUT: Why did you invent this character? Did you do it consciously? Hiding parts of yourself by becoming someone else, is that part of your transformation on stage?

CHRISTINE: Having a theater background, I was naturally interested in being somebody else on stage, in finding alter egos. And I met drags who were already doing that, using this aspect of themselves for a very specific purpose.

We talked about it and they said “you can never be a drag because you’re a girl!” [LAUGHS] I was like “yeah, OK!” KALTBLUT: You could have been a Drag King!

CHRISTINE: Right. In London they told me I could be a “Faux Queen”. Did you see the film Victor Victoria? The lead singer is a girl who pretends that she is a drag.

Christine is one of my alter egos. I don’t think she’ll be my only alter ego. I’ll have several of them. I don’t know if I’ll keep them all.

She is sort of a Faux Queen. I don’t think that’s what people think about when they see me perform, “Oh, that girl’s met Drag Queens!”

but that definitely helped me be comfortable on stage.

KALTBLUT: Who are your Queens?

CHRISTINE: There are five of them, but I only met three real Queens that inspired Miséricorde, Motus and Mac Abbey. I created two more just for fun.One of them is supposed to be dead [LAUGHS]. Yeah, I’ll admit it, it’s pretty twisted! And the 5th one is a complete fantasy, because 5 is a number that I like.

I created my Queens listening to them telling me their life stories, a girlfriend they had that had AIDS, you know it’s a whole different universe. And so I took this material and made it my own and used it as an inspiration to create my Queens. I re-drew them. They’re not the girls that I met, they’re simplified versions of reality. They each have a very distinct trait of character. Miséricorde is the one who’s always sad, Motus only thinks about fame. And they’re all facets of my own personality.

KALTBLUT: So it’s basically five different personalities that are part of you…

CHRISTINE: There are different ways to

interpret things but yeah, pretty much. I get a lot of questions from people who are like “we would love to see the Queens with you!” so it can be a little frustrating. And I do remember wondering whether or not one day I’ll be able to have them perform with me.

KALTBLUT: That’s what I was wondering: you’ve played in Paris, in Berlin, if one day you happen to be performing in London, wouldn’t it be possible to have some kind of a reunion with you and the (real) Queens?

CHRISTINE: I would love that. That would be awesome. But I only have one fear, and it’s a very girly one: I’m scared that these girls would completely steal the show [LAUGHS] They’re 5’6”, gorgeous, and they play an instrument.

Next to that, it’d be like “Bye-bye Christine!” I’m kidding. I mean, only half-kidding [LAUGHS] Still that would be awesome.

KALTBLUT: When we hear “Christine & The Queens”, we’re expecting to see at least 3 people on stage, yet it’s just you and a computer. It’s rather unusual. You are your own band. Doesn’t it get a little complicated? Don’t you wish you had a band sometimes?

CHRISTINE: Right now it’s not something that bothers me. But I do get a lot of questions and comments about that.

KALTBLUT: Negative comments?

CHRISTINE: Not necessarily, no but people wonder what it’s all about, especially in France.

I didn’t do a lot of shows outside of France, but I went to Poland, Germany, Italy and over there people don’t ask me about that. In France people are always like “It’s really good… but…”

There’s always a “but”: “But when will it become a band? And doesn’t it bother you?”

Personally it doesn’t bother me. I don’t mind being alone on stage. I wouldn’t be able to do all these shows otherwise. It’s exhausting. YOU need to be there 100% every step of the way, you can’t let loose for even a second.

And logistically speaking when you’re starting in the business like I am, it’s much easier to travel when you’re alone. The practical aspect is nonnegligible.

What I would like though is putting on a big show with lighting effects, a stage with different levels, interactive videos. I was a little disappointed to not be able to do that in Berlin. It’s a work in progress. Maybe one day I’ll get bored and want my performance to be livelier. Maybe then I’ll get my own band. But right now this is something that works for me.

And I understand why people ask about that.

They’re not aggressive or anything. But I get it, I do. Plus I’ve been doing this for less than a year, so everything’s possible! [LAUGHS]

KALTBLUT: Christine & The Queens is sort of a one-woman-show, have you been taking dance lessons, because your dancing is amazing!

CHRISTINE: Thank you! [LAUGHS] I’m so flattered! When I was very young I danced a lot.

But it was ballet.

KALTBLUT: I mean seriously, let’s be honest: except for blacks, very few people can bust a move like you do!

CHRISTINE: [LAUGHS] Well, a lot of people tell me that I have a black guy’s swag!

[LAUGHS] I’m like thanks! The truth is, I LOVE dancing. Whenever I can, I go to Voguing Parties in Paris. It’s in my blood, even when I’m alone composing, I immediately feel that urge to dance. Also I confess, I DO watch a lot of Michael Jackson videos.

KALTBLUT: Tell us a little bit about the props that you use on stage: the antlers, the glitter, the sunglasses, the scissors… are they symbolically significant?

CHRISTINE: They are. When you’re alone on stage you need to find something to make your show livelier especially in between two songs.

I’m French but I sing in English and sometimes I can see my French audience go “OK. WHAT are you talking about?”

The antlers came first. I’m only 5’2” so they make me taller [LAUGHS] It’s also a way to introduce Christine. I’m letting people know that they can throw conventions out the window. It’s gonna get wild!

And then it dawned on me that I could play with objects, like in Object Theater. The scissors I unfortunately couldn’t bring to Berlin with me because they were confiscated at the airport.

I like to find funny objects, so for example I introduce the scissors as my boyfriend. I play with them a lot on stage. They help me dance. I like playing with codes and conventions. The glasses are a reference to celebrity, to fame.

As for the glitter it has to do with “Kiss My

229

„I’m at a point right now where I’m willing “ to challenge myself

Crass”. In that song I say that I am filthy and I thought I needed something to illustrate that, like dust. Then it came to me: glitter! Plus it interacts with light. It’s very kitsch I know, but oddly enough when I talk to the audience after a show, that’s usually what sticks with them, the scissors, the glitter.

KALTBLUT: Now tell us about your writing process. Do you have a method: first the lyrics, then the melody… how does it work?

CHRISTINE: In my case, there’s really no rule. Sometimes I just have a sentence that I want to use somewhere so I need to come up with a song. But usually the lyrics come last. I can’t imagine writing lyrics without at least some kind of a musical structure. To me, each word needs to have its own music.

There’s one constant though: I always start with the rhythm and the bass line. To be honest, I’m kind of obsessed with the bass line. When you have a good bass line, you can build something that’s really swag.

KALTBLUT: Are you in character when you’re writing? Who’s composing?

You Héloïse or Christine?

CHRISTINE: At the beginning, I needed to be Christine in order to compose, because in my songs at the time I was building this world, this universe, Christine’s universe: who is she? That gave birth to manifesto songs like “Be Freaky”.

Now I’m a lot more prolific, and I noticed that it’s a mix of me and Christine. I will use feelings that I have about certain things but then I will try and think how Christine would talk about these things. No, I’m not schizophrenic [LAUGHS] I used to see it as a role. I was writing like you would write theater. Now it’s a little different.

But I’ve been living with Christine for over a year. The line between Christine and me is getting blurry, so the things that I write are a lot more personal now. This being said I could never just write as Héloïse. I need Christine.

KALTBLUT: You sing in French and in English, sometimes both like on “Be Freaky”. When you’re writing songs, does it come to you in French or in English?

Photo by Guido Engler

CHRISTINE: Honestly when I’m composing and I’m working on a melody it’s utter gibberish.

But it generally sounds English. So most of the time, I’ll do it all in English. It’s easier to write pop songs in English. But then on a number of songs, what came out of my mouth sounded a bit Swedish [LAUGHS] so I thought maybe I could try doing this in French.

At first I only wrote in English, and in a sense I was protecting myself. If I had been singing in French the audience would have seen right through me: drag queen, transformation. In English, if people want to find out what it means, they can but I won’t be “in your face” about it.

I started writing in French not that long ago.

230

„I’m interested in characters that break away from the norm.

There’s something so flamboyant and at the same time incredibly moving about their stories.

It’s like their humanity and charisma are exacerbated.“

Photo by Héloïse Letissier “Chaleur Humaine” was my first song written exclusively in French. It was liberating in a way. I realized that I could do it. Yes, we can! [LAUGHS] And now French comes to me more naturally. But I still find it quite hard to write a song in French that has good rhythm. It becomes very cheesy, very fast. So I’m still experimenting in that department.

KALTBLUT: This past summer you collaborated with The Name, a French electronic band, on two tracks Distance and Wasteland.

How did this collaboration come about?

CHRISTINE: We did a show together. I was sharing the bill with them one night. We just exchanged hellos and that was basically it.

Then they were working on their album and looking for featurings and that’s when they emailed me, asking me if I’d be interested in collaborating. They told me I’d have to come to the studio.

I had an “Eeeeek!” moment there because that’s something I had never done before, singing in a studio. I work out of my apartment.

I was scared I would screw it up. People looking at you while you sing, I had done it once on a featuring for Amnesty International, but that was it.

I said why not, but can I do it at my place? You email me the track, I’ll record the vocals and email it back to you. They were really cool about it.

So we did exactly that. It was easy. I liked it. Next I’d like to really collaborate with someone, write a song together.

231 KALTBLUT: You’d really be interested in doing that? For a lot of artists, collaborating doesn’t come naturally. It is challenging being able to open up and work hand-in-hand with someone else…

CHRISTINE: I would like that. I work alone all the time. So yes, it’d be curious to know how it works. I’d love to collaborate with Nick Cave for instance. I’d like to collaborate with someone as weird and magnetic and crazy as him [LAUGHS] I’m at a point right now where I’m willing to challenge myself. Like on my first album, which I’m working on right now, I might work with a producer who wouldn’t just produce, but with whom I’d be able to exchange ideas, to collaborate. And that in turn would allow me to grow as an artist.

KALTBLUT: So it’s not a rumor, you WILL eventually release a full-length album?

CHRISTINE: Yes! I’m in the process of signing with a label. The reason I am signing with a record label is because it gives you the (financial) means to keep working. Up until now I was self-producing my music. Now I want to take things up a notch.This being said I admire people who choose to remain independent but I for one don’t think I’m cut up for it.So if things go as planned my 12-track album will come out in September 2013.

I know, that’s a long time BUT I will definitely release an EP before that to announce the album, kind of like a mix tape with one track that will be on the album, but also covers and a couple new songs. And hopefully I’ll have a nice video clip ready by January 2013.

KALTBLUT: You’ve covered Michael Jackson (“Who Is It”), Madonna (“Helliday”), Yves Simon (“Amazoniaque”). Why these artists, why these songs?

CHRISTINE: I’ve had a crush on Michael Jackson ever since I was a little girl. I just HAD to cover him. The problem is, I love everything he did so it was hard for me to pick a song. On “Who Is It” I adored the melody but the arrangement not so much so I thought I could do something with it. Plus it was a breakup song and I was kinda going through that myself at the time, so it was perfect!

The other covers I did, it wasn’t because of the artist and it wasn’t necessarily songs that I loved, it was just songs that I could see myself toying around with. You don’t want to touch or alter in any way your favorite songs anyway.When I cover a song, I try and make it mine. I take it and try to go somewhere else with it, I try to bring something new to it.

KALTBLUT: You’ve done a number of festivals, you’ve opened for Austra, Sébastien Tellier, Selah Sue. Do you prefer intimate venues or big festivals?

CHRISTINE: This summer I did an outdoor festival on the square in front of Paris’s City Hall. When I got on stage, there was like 10 million people out there and I was like “Oh, hel-looo!” The stage felt huge and empty behind me.

I like to adapt myself when I’m on stage. I like small venues because they are intimate. But I love big stages as well. For that festival I did in Paris, people were asking me if I was scared. And I was like “No, it’s awesome!” I like the challenge of having to conquer an audience. I’m 5’2”, and it’s just me on stage. You do have to be a bit of a kamikaze to do this.

Afterwards when I saw videos of my performance that night, I realized that I looked positively insane. The rush of seeing thousands of people cheering you on, it gives your confidence a boost.

KALTBLUT: Facebook, Twitter, Tumblr… you are social media savvy. Is it important for you to keep in touch with the people who like your music?

CHRISTINE: I like being in charge of these things. The tweets are mine, I answer comments and messages on Facebook. I’m not in over my head yet. I’m not Lady Gaga! Although it is time consuming, I think it’s normal for me to put some time into this because in the end these people with whom I am interacting are the ones who support me and come out to my shows. So I like giving back. Besides, they’re usually very charming.

KALTBLUT: You did theater, played the piano and whether it be on stage, on your website or on the cover of your EP’s you have artistic sensibilities that seem to go way beyond just making music (drawing, cinema, photography).

CHRISTINE: I did theater for 10 years. I was good at the comic stuff, but the tragic roles not so much. I wasn’t a good tragic actress because I couldn’t open up. Music helped me do that. I just hadn’t found the right way to express myself.

I wanted to direct plays, so I’ve always been interested in different techniques.I didn’t receive any particular training though. I learned by doing. I take my own photos, I arrange my own lighting. The album cover for Mac Abbey was an accident: the self-timer on my camera didn’t work but the photo turned out OK. You learn as you go along. Take my website for instance. I fiddled with it with my boyfriend at the time who was a graphic designer.This one time I had a photo-shoot with a professional photographer, and he was just telling me what to do, there was no dialogue. That’s not what I want. I’m a DIY kind of girl.

Being young and a woman in this industry, when you’re working with people who have 20+ years of experience, they’re trying to mold you, even though you’ve told them “I want to do this my way.” The photographer will be like “I’m the photographer, you do what I tell you to do.” It’s hard to impose your vision, your universe.

It’s my project, I know what I want. It’s pretty hard to make them accept you for who you are. I’ve had meetings with a couple of Art Directors who’ve had a hard time because I was bringing my own universe to the table and they didn’t know how to handle it or what to do with me. I wasn’t “just” a singer, I was also composing my own music, so they didn’t have to start from scratch with me and to them that was upsetting. One of them told me “You’re gonna be the French Lady Gaga! You will wear a sequined leotard!” [LAUGHS] The best Art Directors accept you just the way you are, they’re not trying to mold you into someone you’re not.

KALTBLUT: The “freak” seems to be a common thread running through your oeuvre. The cripple, the drifter, the narcissist, many of your characters stray away from the norm and find salvation on stage. Are you attracted to this culture of the strange, the freak, the queer?

CHRISTINE: Absolutely. Queer to me is the acceptance of what’s outside the norm, of what’s different. We’re very queer friendly in my family.

I’ve read Judith Butler’s “Gender Trouble” at a very young age. It helped me be open-minded. I’m interested in characters that break away from the norm. There’s something so flamboyant and at the same time incredibly moving about their stories. It’s like their humanity and charisma are exacerbated.

This message “Be Freaky” goes hand in hand with pop music. It appealed to artists like David Bowie and Lady Gaga, even though today it is being exploited to no end, so much so that it’s hard to see whether it’s sincere or not. The message tends to lose its meaning.

“Kiss My Crass”, my song about personal hygiene and filth, usually draws intense reactions from certain people who come up to me at the end of a show and tell me very personal things about themselves. I think the real taboo right now in society isn’t being different, it’s poverty.

I understand people’s reaction to the song because it’s easy to identify with it. If you look at the media today, we have to be clean, good-looking and perfect. Sometimes I don’t feel clean enough, or tall enough, or presentable enough, or thin enough. The freak aspect is being exploited in fashion, and it is gradually being accepted by society but filth is still very much provocative.

KALTBLUT: You sound like you lack a little self-confidence…

CHRISTINE: Oh I totally do. What’s funny is that with “Kiss My Crass” I took a negative song and subject matter and made it into some kind of statement: “I’m flawed, but I’m pretty!”

And this idea is in a way at the heart of my project: taking your insecurities and turning them into something that you can share with people. In doing so, I put myself on equal footing with my audience. The people who come up to me after my shows are adorable because the song awakens something in them.

232

BERLIN‘S Best

Selected by Nicolas Simoneau Photography by Bastian Harting

233 I own 45 pairs of shoes, I mean 45 sneakers.

Well, some of my friends are freaking out when they come to my place, but I don‘t think that it is that many pairs. I mean seriously when girls have a lot shoes it‘s no problem but when a Dude does, so what?!

Anywhooooo, I don‘t see myself as a collector, you know, I just go to stores and think , oh these are Niiiiiice, let‘s buy them.Ok I have to say that when my apartment is clean I like to line up all my shoes and just look at them (crap, this sounds really weird, but whatever).

I can‘t really remember when I bought my first pair or what model it was, but I can say that the price was never a problem for me, meaning that I never really think that sneakers are expensive you know, of course some of them are but I just look at the price and think, „they are nice“. But when I go to American Apparel and I see that a V-neck t-shirt costs 14 euros I‘m like WHAT THE FUCK! I MEAN C‘ME ON, WHO IS GONNA PAY THAT MUCH MONEY, it‘s just a fucking V-neck. ( I think my most expensive pairs cost me 200 euros or so, and I can swear that it‘s not that much for sneakers, you know).

Well I‘ve been living in Berlin for five years now, almost 6. I would like to share a little something with you: all the places where I like to go to when I want to buy some sneaks.

Illustration by Alexandra Vial

www.funghii.com

234

Ok this one because it was my first love, like it was the first place I found , and they have this huge wall-sized display shock full of sneakers, amaaaaaazebaaaaaalls. Here you‘ll find a lot of new models, and all the brands. But seriously you have to go there even if it‘s just to check out how they designed the place, plus you‘ll always find something that fits.

Best souvenir: My Reebok Voltron Pack.

Kö p e n i c ke r S t ra s s e 1 9 5 A 1 0 9 9 7 B e r l i n K re u z b e rg w w w. o v e r k i l l s h o p. c o m

Name: Marc Leuschner Position in the shop: Manager What is your favorite brand of sneakers and why?

It is difficult to name one No. 1. In my collection there are many good styles from different manufacturers. Most stuff I consist of Adidas & Nike beyond that I have a fine selection of limited edition styles of New Balance, Asics & Kangaroos.

What is the most expensive pair that you ever bought?

An Adidas EQT Guidance from the second (Equipment) series in the beginning of the 90s, the color was red which is very rare nowadays. The price I paid at the time was 650 €.

How many sneakers do you own?

That‘s not to say that simple.

Estimated to be about 450-600 pairs.

What is, in your opinion, the all-time classic sneaker?

I have various „all-time classics“ for each manufacturer in the head, according to the manufacturer here my favorites: Adidas: Zx 8000, Asics: Asics Gel Lyte 3, Kangaroos: Coil R1, New Balance: 1500, Nike: Air 180, Air Max 1, Air Max 90, Puma: Disc, Reebok: Pump Fury.

What model will you never wear?

K-Swiss, Sketchers.

Any collectors pieces that you own and that you cherish more than anything?

I have for a number of styles Collabo in my collection, I have a passion for special materials. Everything which is a little more fancy makes my collector‘s heart beat faster, examples: Adidas Zx 9000 VA Consortium Series New Balance A01 Cyberblue Nike Air Max 1 Supreme „Animal Pack“.

How many references can we find in your shop?

14 Sneaker Brands: Adidas, Asics, Bagua, Ellesse, Hummel, Jordan, K1X, KangaROOS, New balance, Nike, Onitsuka Tiger, Puma, Reebok, Saucony.

Tell us about the name of your store.

What‘s the story behind it?

The term ‚Overkill‘ originates in the graffiti scene. It describes the reaction of a sub-cooled spray, for example during the winter time, when if the pressure gets too high the spray can practically explode.

How do you select the different pairs that can be found at your store?

Mainly we have sneaker brands that can you can trace back in time, we think about how so many manufacturers are something we remember distinctly from our childhood. We‘ve always got our eyes open for new brands which could bring new trends, and you shouldn‘t ignore the brands that have made classic sneakers in the past but sometimes they cool off for a few years and then they return with new power. We aim to always stock mix of everything.

What is the most exciting pair of sneakers coming out this year?

This year we had some „Special Releases“. Personally I would say we have a good memory about a „double release“ that happened at the end of June. The Saucony Collab celebrated their 10 year anniversary with a Sneaker-freaker with a „Grid 9000“, almost simultaneously there was another tidbit in the form of a Collab by Asics x Woei Store (Netherlands) called: „Gel Lyte 3 Cervidae“. Both shoes are a very good example of a popular collaboration. People camped 2 days before the release in front of the store!

Do you have „regulars“ at your store? „Sneaker maniacs“ who love sneakers and that you see on a regular basis?

We offer an interface for the Berlin sneaker scene and also the tourist who is looking for hot sneaker stuff here in Kreuzberg . Of course, we have a lot of loyal regular customers who are an integral part of our success. „Support your Local Dealer“ is the slogan that we often benefit from. We are often working to the limit for our customers to show our loyalty. We have regular customers who come practically everyday to our store. It should stay like that forever.

235

Well usually I‘m not so much into second hand shops, but WATCH OUT for this one! Picture this: Ali Baba‘s cave, only full of Sneakers. There you go. The selection is really good, from Converse to Adidas or Reebok, with a lot a collectors models which is a good thing. Keep in mind that it‘s second hand so don‘t expect to find a new pair, BUT they are all in really good condition. AND one other thing (non-negligible): ok I‘m pretty tall so i have pretty big feet, I am a 12 and guess what, no problem here to find some shoes that fit. Paul‘s boutique for me is like a box of Cracker Jack‘s: when I go there I don‘t know what i‘m gonna find, but I know I‘ll leave with something.

Best souvenir: My Adidas by Jeremy Scott JS 3 Tongue Attitude pinto.

O d e r b e rge rs t ra s s e 4 7 10435 Berlin w w w. p a u l s b o u t i q u e b e r l i n . d e

Name: „Paul“ Frank Radermacher Position in the shop: Owner What is your favorite brand of sneakers and why?

I personally like Adidas, Nike and Vans and Converse best because I feel personally connected to their brand history.

Those were the sneakers I most wanted when I was a kid, the sneakers my favorite bands were sporting, or my favorite players were wearing when they played and so on....

What is the most expensive pair that you ever bought?

I think I spent 200.- Euros on the the Adidas Gazelle Berlin when they came out, because they were combining my hometown, one of my favorite sneaker models and they looked good. I think that´s by far the most.

I don´t really care much about limited editions and collaborations. Mostly it´s just a total rip off marketing strategy and there are way too many out there now.

My favorite pairs are just regular clean models.

I usually don´t spend insane amounts for sneakers. Luckily I work with them now, so I get most pairs I want without spending too much for them.

How many sneakers do you own?

Hundreds of pairs, which is way too many. I try not to count, it only makes me feel bad.

I think everything over 20 pairs is just collector madness and nothing to be proud of.

Who do you want to impress with it anyway.

You think girls like you better because of the size of your sneaker collection?

What is, in your opinion, the all-time classic sneaker?

There´s quite a few: Nike Air Jordan 1, Adidas Gazelle, Americana and Nizza, Ewing, Adidas and Nike 80s Runningshoes are also very nice.

What model will you never wear?

Most models actually, but Nike Shox are probably the ugliest of them all.

Adidas or Nike?

I´m glad I don´t have to choose between them.

Any collector‘s pieces that you own and that you cherish more than anything?

Definitely!

I have quite a few pairs from the 80´s I would never sell, Jordans, Ewings and I also cherish my really old Adidas stuff from 60´s and 70´s.

How many references can we find in your shop?

I think that´s impossible to answer.

There are literally hundreds of toys, pictures, posters and other memorablia that I collected in the last 12 years on the wall and they all reflect, what I like, what I grew up with or sometimes just my sense of humor.

Tells us about the name of your store. What‘s the story behind it?

I always idolized the Beastie Boys. When I was 20 they were just the coolest dudes to me, 3 pale jewish upper middle class kids making hip hop and not looking like a total joke is quite an achievement. Also how they evolved from „You Gotta Fight“ to „Pauls Boutique“, musically, a very smart sample orgy that was really brave and encouraging. I thought, If THEY can pull all this off, I can pull off some shit too, even it‘s just a nice store.

Thank you for that Beasties. I‘ll always be grateful.

How do you select the different pairs that can be found at your store?

I´m buying everything I like and or at least everything that doesn´t hurt my eyes and what I think will sell.

After 12 years of doing that I can usually trust my instincts.

Do you have „regulars“ at your store? „Sneaker maniacs“ who love sneakers and that you see on a regular basis?

Hell yes! We have a lot of regulars and some of my best friends were customers at the store at first.

There are also a lot of collectors that come by quite often.

236

I really like this store, first of all because when you get there it‘s all very clean, and they also have a really good selection where everything‘s brand new and there are special, colorful models. If you‘re looking for something a bit different, a bit selective, this is the right address. The staff are really nice, and really into sneakers too, which is always a good thing for me: when you‘re going to a store it‘s always good to know that there will always be someone there who understands your needs.

Best souvenir: Limited edition Nike Air jordan Spizike Infrared

Name: Howy Position in the shop: Owner What is your favorite brand of sneakers and why?

Nike, cause I spent my first own money for a Nike Air Jordan, good memories.

What is the most expensive pair that you ever bought?

Exactly that Jordan in 1991 (300 Deutsche Mark).

How many sneakers do you own? ...more than 2 football teams.

What is, in your opinion, the all-time classic sneaker?

The Nike Air Jordan 6.

What model will you never wear?

Nike Air Yeezy.

Adidas or Nike? Nike.

Any collector‘s pieces that you own and that you cherish more than anything?

There‘s some, not only one.

How many references can we find in your shop?

A few.

Tells us about the name of your store.

What‘s the story behind it?

It`s a weird track by De La Soul, I used to play it and when I was about to find a name for the store I heard that track...and it was done.

How do you select the different pairs that can be found at your store?

Customer needs and collector needs.

What is the most exciting pair of sneakers coming out this year?

Definitely the vintage edtion of the Air Max1 OG & Air Max 90 OG on December 12!!! It`s the bomb!

Do you have „regulars“ at your store? „Sneaker maniacs“ who love sneakers and that you see on a regular basis?

Oh yeah, these customers are very special and important to the sneakerbiz.

G i p s s t ra s s e 2 3 10119 Berlin w w w. s t i c k a b u s h . c o m

237

238

laura since 1989 Photography by Lucio Aru & Franco Erre Concept & Styling by Lucio Aru, Franco Erre & Laura Pignatti Make up by Isabella Sarti Model : Laura Pignatti

239

pink lace dress by Betty Blue

240

241

top by Nike, jeans by Levi´s 501, coat by Tvscia, vintage hat

242

White dress by Betty Blue, Gilet levi´s re-made with basket shirt in the back, hat by Boy London, belt by Moschino vintage, socks by American Apparel, boots by Dr. Martens

243

244

Top by Chanel vintage, leather perfecto by Versace for H&M, necklace by Versace hat by Alexander McQueen, Lipstick by EstĂŠe Lauder

245

246

W

247

hile Easy Jet and Ryanair try to rule airspace, there is a woman with a very ambitious plan: To bring glamour back to this “low cost” world and teach the rest of the airlines how it’s done. But don’t get confused with her charming looks, this woman is tough, loves vodka, she’s not afraid to tell the truth and she gets straight to the point as you will see in this exclusive interview for Kaltblut. Australian comedian Caroline Reid a.k.a.

Pam Ann will be flying around Europe this fall with her new show “AROUND THE WORLD” so don’t miss the chance to see her live on stage. But just one advice: Be sure you fasten your seatbelt because we promise it’s going to be a bumpy ride!

Interview by Claudio Alvargonzález Tera

„ „

248 KALTBLUT: Hi Pam. Welcome to Kaltblut Magazine.

Where did Pam Ann come from originally?

flights?

PAM ANN: A bottle of Absolut Vodka

KALTBLUT: Any tip to other flight attendants to keep annoying passengers under control?

PAM ANN: We put ketamine in babies milk

KALTBLUT: After so many years and shows, is there any part left of Caroline or Pam Ann has kidnapped her forever?

PAM ANN: Nail their hands to the arm rests

KALTBLUT: As Pam Ann Airlines do not fly from every airport, If we wanna be treated like real bitches which airline would you recommend us or are we simply doomed?

PAM ANN: Pam has kidnapped Caroline and put her in a cellar in Austria

KALTBLUT: What do you hate the most about economy passengers? Do they simply deserve to die?

PAM ANN: Lufthansa or KLM for different reasons. Lufthansa have slings in First class and they fuck you on KLM you get a Delft house

PAM ANN: YES.

KALTBLUT: We think we hate Ryanair as much as you do, but what do you hate the most and their „dazzling“ ideas?

PAM ANN:They say they are flying you to Vienna and they actually touch down in Bratislava and you have to get a bike from there. Where’s the Al-Qaeda when you need them?

KALTBLUT: Is it everything lost or is there any way we can bring glamour back into airlines?

PAM ANN: You can still smoke on Pam Ann Airlines and we have spiral staircases. The glamour has not gone on Pam Ann Airlines

KALTBLUT: What will we find in Pam Ann Airlines (apart from vodka) that they worth the money?

PAM ANN: We have dark rooms which are included in the price of the ticket

KALTBLUT: Are we allowed to have sex in the toilettes or directly in the cockpit?

PAM ANN: We have double beds and jacuzzi‘s

KALTBLUT: We‘re sure you‘ve heard about the needle found by a passenger in one of Delta Airlines meals, but would Pam Ann do it in purpose in one of her

KALTBLUT: What‘s next for Pam Ann? Have you reached all your goals after becoming the most powerful woman in the Airline Industry?

PAM ANN: A Pam Ann Movie is in the making. I’ve only just started

KALTBLUT: And what about Caroline? Are there any other places to fly alone without her glamorous bitchy alter ego?

PAM ANN: Mykonos

KALTBLUT: From Kaltblut we want to thank you again for welcoming us on board like the vicious bitches we are. Are you going to land again in Europe soon?

PAM ANN: I touch down on the 13th Oct and will be flying around until the 8th December all over Europe, so buckle up Bitches!

www.pamann.com Photo by JAMES AND JAMES Make Up by Toby Salvietto

249 Tour Dates DĂźsseldorf @ Savoy Theater Nov 6th Amsterdam @ De la Mar 8th, 9th & 10th November Hamburg @ Schmidt Tivoli.

12th, 13th & 14th November Copenhagen @ Bremen 17th November Oslo @ Latter 18th November Stockholm @ SĂśdra Teatern 20th November Helsinki @ Savoy 23rd November Warsaw @ Teatr Kamienica 25th November Zurich @ Bernhard Theater 1st & 2nd December Paris @ Alhambra 4th December

Babushka

250

Babushka Photography by Varvara Lozenko www.lozenko.com

251

252

253

254

Selim de

255 Born and based in Barcelona, Selim de Somavilla is formed as a fashion designer in this city and London. In 2005 he graduated in the Catalan capital and becomes a part of Martin Lamothe’s team during two collections. The British capital offers a new look, maturity and perspective for his future projects devoted to men’s fashion in his studies in LCF and work at The Rodnik Band brand. The man that he dresses knows no limitations.

He’s a man with refined tastes that likes to be well dressed with a certain air of melancholy without losing virility despite the important unisex influence. De Somavilla gives essential importance to a “TOTAL” outfit idea in his collections designing also bags, shoes and jewelry.

His latest collection entitled MAELSTRØM was showed at the last FallWinter 2012/13 edition of Valencia Fashion Week. MAELSTRØM means overfall, whirlpool. It’s a collection full of contrasts: cold and fire mix. Men come from cold to dress up with certain delicacy. Red, orange, gold …mixed with grey and black.

Maelstrøm is a solitary cottage surrounded by woods on a quiet and dark glimpsed by red dawn sun. he is one of our favorite designer nowadays. We are happy that he had a little chat with KALTBLUT.

Somavilla Designs by Selim de Somavilla www.selimdesomavilla.com Photography: Alejandro Brito Make Up & Hair: Meritxell Seva Make-up Assistant: Jordi Perez Martin Models: Carolina Mejias & Mario Sanchez Interview by Marcel Schlutt & Sky Bulatovic

256

257

258 KALTBLUT: Hey Selim. Congratulations to your great collection!

You had a fashion show some days ago. Tell us where? And which collection have you shown there?

SELIM: Thank you very much. Just two days ago was the catwalk so we can say is „fresh out the oven”! KNOCKOUT is the new S/S ‘13 collection that was showed in an art gallery called Deebee Lab here in Barcelona where the brand is based.

KALTBLUT: We love your design. How was the reaction of the crowd for your new collection?

SELIM: It was nicely received by the people who attended the event. I think they got surprised with the new proposal. I am very happy and thankful for that!

KALTBLUT: What do you think makes your design so special? Is it the material? The colors or your design in general? Who is Selim as a designer?

SELIM: Following the characteristic menswear design that the brand always shows I think textured fabrics, prints and colors.

Selim as a designer is someone that loves dressing daring men that like different clothing.

Can’t choose just one.. They just need character, strength and freshness KALTBLUT: Can you name 3 must Have items for the next winter season?

SELIM: For the guys I designed: metallic copper color clothes, bomber jacket and lots of color!

KALTBLUT: What kind of fabrics are you using?

The international trend is going to organic materials.

Are you working with those to?

SELIM: A mixture of organic and others but more following personal tastes.

KALTBLUT: Who is your ultimate fashion icon of all time?

A designer? Or a model and why?

SELIM: There are lots of icons! If I have to name one, I love all the work that makes RiccardoTisci for Givenchy.

KALTBLUT: It would be interesting where do you get your inspiration from for your designs. How do you work?

KALTBLUT: You do mens and women‘s wear. What we think is great, cause your work should be worn be all the human beings out there. Who is easier to dress? A man or a woman?

SELIM: I start working with the concept doing some research.

Then I go for the fabric that inspire the designs of the garments and the future prints.

SELIM: From my point of view day after day men are more “open-minded” for wearing new designers proposals a little more daring. It’s still a field a little more difficult for innovative design than womenswear.

KALTBLUT: What is the most difficult aspect of running your own fashion label? The production, sales, advertising or all the new „ friends“ you have when you started to be successful?

KALTBLUT: Being a fashion designer is not an easy job. When did you realized this is my world - I wanna be a designer?

SELIM: When I was around 13 years old. I realized that there was stuff inside me I needed to express creatively and I found that it would be through the clothing.

KALTBLUT: When we saw your winter collection, we fall in love with the color line. What are your favorite colors to work with?

SELIM: Always love the black and grey as a background. But I love to make contrast with intense colors. No preferences.

Sometimes I use colors I never imagined I would use. Each collection makes you feel the color it needs.

KALTBLUT: You also have a great taste of choosing models.

Do you have a favorite model you love to work with? Who is it and what needs a good model to work with you?

SELIM: The model is what gives you the perfect final brushstroke to the collection. He/She expresses exactly the aim and the attitude of the brand.

All of the guys I’ve worked with have been amazing!

SELIM: It’s so difficult to produce nowadays. You spend so much money in it and it becomes a bit difficult to maintain sales and keep on moving on.

KALTBLUT: Who was the first person you have ever done a dress for? Your Mum? Or Granny? And what was it?

SELIM: The first person I ever dressed it was my mum.

KALTBLUT: If you have the chance to give young designers an advice. What would you say to them? It is your chance now: SELIM: I would tell them to follow their own feelings and instincts and never lose their own style. There’s always a place for every artist. The difficult things is to find it but it happens one day!

KALTBLUT: Selim, one last question. If you can dream big, where is your fashion label based in 5 years? What are your dreams for the future?

SELIM: Wow! That’s too much to be dreaming of! Would love to try abroad. Somewhere like Stockholm, Berlin, EEUU or going back to London again.

259

260

261

262

263

264

„I love make contrast with intense

“

265

266

267

Êcadence Madame Chän and Nicolas Simoneau decided to start a new project together.

For over a year, they tried to picture their favorite Icons and then proceeded to make them live forever on paper. They are the perfect team: she is tiny, he is pretty tall, she is right-handed, he only uses his left hand, she likes bright colors, he prefers dark ones.

They work with pencil, watercolor, pastels and charcoal. Without further ado, let‘s meet a few Icons we would love to have dinner with...

269

270

Illustrations by Madame Ch채n & Nicolas Simoneau

271

272

Pop studies on dandyism Text by Amanda M. Jansson and Emma Elina Keira Jones

A Devil‘s Bridge, 2011-2012 acrylic and airbrush on linen 72 x 84 inches 182.9 x 213.4 cm Courtesy the artist and Lehmann Maupin Gallery, New York

273

274

275

H

ernan Bas is an artist born in Miami, Florida in 1978 and based in Detroit, Michigan.He‘s also is one of our favourite painters ever.

If you have a look at his work you will know it couldn‘t be otherwise.

Bas and his paintings represent everything we would be looking for in an artist. First of all he manages to create his own secular world, with his unmatched style and subject choice.

His universe is filled with melancholy and romance, references to Wilde, Huysmans and de Lautréamont, 19th century decadence and aesthetics and androgynous young boys in classic poses. Unlike with the queer vocabulary in English, there are no limits to the visual pleasure his canvases evoke. His canvases are small, and intimate and that surely adds to the feeling created, that of paintings best appreciated in a private collection, in a strangely lit, filled with voyeurism guilt and desire and heavy with opium.

To understand Bas‘ paintings and cosmos best, it should be looked at as a mix of a fin-de-siecle and Arcadian idyll, laid bear for the eyes of a contemporary viewer who is not less prone to scrutiny than his ancestors were. The viewer is not necessarily asked to be part of the painting, if he doesn‘t get the artist‘s universe, if he is not longing to be part of it, then he is not invited in the first place, this is the sensation you get by looking at these mystic figures put together in such sinful colours.

Contemporary as he might be, however, Hernan Bas has got his roots deeply set in the questioning of sexuality and identity of the nineteenth century and in the boys of Von Gleoden‘s photographs. In the occult and in mythology. In the iconic paintings and themes of masters of old, which he does not hesitate to re-approach under a different light. And all this in a world that is becoming progressively sterilized, dry and straight and strictly stripped of any magic or grandeur.

A big contrast to the genuine explorations and fascinations of the bohemians of the nineteenth century burning with a flame for their forbidden lusts, which read into opium, absinthe and boys.

Bas is not lecturing and he doens‘t need to because his message goes out to an elite group who can understand it anyway. The ugliness of the world constructed around us, mechanical, colourless despite the pathetic efforts at colour, tedious, righteous and productive is plain to see, especially after a contrast that strong.

A Satanist on a Tuesday (or, The Key Master), 2012 acrylic, airbrush, silkscreen and block print on linen 84 x 72 inches 213.4 x 182.9 cm Courtesy the artist and Lehmann Maupin Gallery, New York

276

The Expulsion (or, The Rebel), 2011 acrylic and silkscreen on linen 84 x 72 inches 213.4 x 182.9 cm Courtesy the artist and Lehmann Maupin Gallery, New York

277

278

A

nother aspect of Bas‘ work that cannot be overlooked, as it becomes obvious because of all the above, is the symbolism in his work. Everything is to mean something. This is not fashion or something you just hang on your living room wall to make it look pretty. Every colour chosen, every detail is to mean something. The eery nature of the languid boys surroundings is to stand for a world of old and unknown, mystic, filled with wilderness. The water often present is to signify the rites and the passage, passage of time, passage into a new state of knowing, change, while it also stands for the unconscious and its demands, just as much as sleep does, always showing up in his paintings.

So, as his works work on so many levels, it surely can be considered classic. His pop understanding of obscure references translates into some of the most iconic paintings we have seen in a long time. Well, first of all because they are so loaded with suggestiveness and then also because there is no possible way to stop looking.

Hernan Bas‘ work has been shown as part of numerous collective exhibitions but also as solo exhibitions or at international institutions and private collections. Some of them include: The Moore Space -Miami,, Deste Foundation -Athens, Museum of Contemporary Art -North Miami, Aspen Art Museum -Aspen, The Saatchi Gallery -London, Schirn Kunsthalle -Frankfurt, Haifa Museum of Art -Haifa. Also, his work is part of the permanent collections of Museum of Modern -NY, San Francisco Museum of Modern Art -San Francisco, Museum of Contemporary Art -LA, The Brooklyn Museum -New York, Museum of Contemporary Art -North Miami and many others.

Special thx to Lehmann Maupin Gallery 540 West 26th Street / 201 Chrystie Street N e w Yo r k C i t y 10001/10002 w w w. l e h m a n n m a u p i n . c o m

Jack of the Lantern, 2011 acrylic, airbrush, silkscreen and block print on linen 96 x 108 inches 243.8 x 274.3 cm Courtesy the artist and Lehmann Maupin Gallery, New York

279

280

281

The German 282

EMPEROR

Joachim Baldauf Interview by Marcel Schlutt www.joachimbaldauf.com

283

I

am a big fan of German photographer Joachim Baldauf. When it comes to fashion and people photography here in Germany Mister Baldauf is one of the most important artists of our time. He is working for over 20 years in the business and has worked with every big name. I had the pleasure to be in front of his camera some weeks ago and I´m more than proud to have had the chance to do an interview with the German Emperor.

KALTBLUT: Hello Joachim and welcome in our KALTBLUT universe. The theme of our 3rd issue is: Iconical. You are one of Germany’s most well known fashion and people photographer and also one of my personal icons. I am more than happy to ask you some questions.

What is an icon for you?

JOACHIM: Thanks for nothing… An icon for me is someone you can admire, someone who can inspire you. An icon for me is a human being who is special at various levels, someone who enriches your life.

KALTBLUT: You grew up in the countryside in Germany. Allgäuer Land. Sorry to say but that is really really countryside.

What have you done as a child there?

Did you already have a creative influence there? Where does it come from?

JOACHIM: Don’t be sorry when you tell the truth. I grew up in a mountain village with just 500 inhabitants and probably the triple amount of cows. My biggest creative influence there was nature and still is as I spend my summer break there every year. The nature is amazing down there. As a child I spent most of my time outdoors and that is why I still love to be outdoors.

When I go to an opening for example I make my round and spend the rest of the evening on the street. As I grew up in a holiday area the people from big cities made an interesting contrast to the farmers and their outfits sometimes felt surreal in nature. Imagine a golden coat in front of snowy mountains.

That is why my work is full of contrasts.

Childhood influence is very strong.

KALTBLUT: After school you studied textile design with a focus on photography.

How much have you influenced yourself with the study and do you have the feeling today that it has paid off?

JOACHIM: Sure.

When you work with fabric, texture, material it is very helpful when you change sides. You know how important the third dimension is for your images and how important it is to respect and understand fashion when you do fashion photography.

KALTBLUT: Is there any human being or project: you’d like to do before you die? If so, who? Or what kind of project?

KALTBLUT: In the early 1990s you worked as an art director. For magazines such as “Wallpaper”. The Bible at that time for design, interior and ... What was it like as fashion, art and design the big thing? Being the creative mind for such a magazine? Exciting I guess?

KALTBLUT: A work day with you on a set. Is it an easy day or hard work?

How do you work?

JOACHIM: This is a misunderstanding. I haven’t been art director for Wallpaper. I just photographed for Wallpaper for 4 years. I did several covers for them and dozens of editorials. As an art director I worked for example for Adidas or Levis and the music industry.

KALTBLUT: When did you start to focus on photography? Was there a special moment, situation? Why the step behind the camera?

JOACHIM: I started to focus on photography as more and more people worked with me. It was a natural process.

It all started at the agency Sucrow-Barthel. Dagmar Sucrow-Barthel did the corporate identity for Helmut Lang and I worked with her in her studio. She discovered my talent for photography and gave me a big benefit.

KALTBLUT: OK let´s go back to the ICONS! You had them all in front of your camera. Claudia Schiffer, Alek Wek, Shaun Ross, Eva Padberg, Rick Genest just to name a few. Tell us some secrets: Who is easy to work with and who is a pain in the ass?

JOACHIM: To tell the truth: If I am authentic and open minded the people in front of the camera are the same. What goes around, comes around.

JOACHIM: Kate Moss and Vanessa Paradis kissing on the cover of Vogue Paris.

JOACHIM: I think working with me is not complicated as I am always well prepared and my team is professional and easy. Good teamwork for me is the best way to come to good results. I like to work concentrated and in a good at atmosphere. Noisy, hysteric people or people on drugs during work for me is a no go.

When people respect each other’s work and personality working is the best. Show-offs I abominate.

KALTBLUT: How does the perfect picture look like for Joachim Baldauf?

JOACHIM: A perfect picture is a picture you will never forget. Because of its content, beauty or impact.

KALTBLUT: You have also worked for every major magazine in the world. From Vogue to Elle, or Vanity Fair. Plus you publish your own magazine “Vorn”. Are you proud of your own success?

JOACHIM: I am not that vain. Lets say that I am thankful that life is good to me.

KALTBLUT: “Cover of the Year“, “Lead Awards“, “Art Directors Club Awards“ and “Distinctive Merit Award“ .

You are collecting Awards.Which one is the most important one for you and why?

JOACHIM: The “Distinctive Merit Award” as Peter Lindbergh got one, too, as the only German photographer but me. 1999 this was good recognition for my work as I just started with professional photography in 1997.

284

285

286

„Photography is not enough anymore as the world is turning faster. Be open minded for communication,

design, art as the

future is the

hybrid

artist.

„

287

KALTBLUT: I had the pleasure to be in front of your camera a few weeks ago.

Nude. Looking at your portfolio I can see you like nude photography.

Do you have a fascination for this genre?

JOACHIM: Was my pleasure, too! I love nude photography as it is so honest when you do it honestly. You are not so much trapped in time as if you do fashion photography.

KALTBLUT: Internet, Blogs, Facebook etc etc, curse or blessing for photographers?

use them. One hour per day there means 15 full days in a year. That is too much of my precious life time.

KALTBLUT: There is a book coming by the end of the year. What kind of book?

What can we expect?

JOACHIM: There are two books coming. One with my best editorial work and one with male nudes I did for over 10 years.

What do you think about the copyrights discussion. Is it ok for you if the web world is using your work?

KALTBLUT: You also teach students in photography. Do you like to work with young people? And do you tell someone if he has no feeling or no eye for being a photographer?

JOACHIM: The internet is something democratic and sometimes anarchistic. I like it when my images are there. Facebook and other social networks take too much of my time so I don’t

JOACHIM: I love it! And thanks god I had no one without a feeling for photography yet. The professors did a good job with the entrance exams.

Photo credits: Published in Traffic Magazine Model: Rick Genest & Shaun Ross Izaio Models Styling: Dirk KrĂźger Grooming: Karla Neff and Acacio da Silva

288

289

290

291

LONDON

GIRL Photographer - Elliott Morgan Styling - Aiden Connor MUA - Emma Broom Hair - John Mullan

Special thanks to Kerian James Brown at UBERLAND for the location

Printed cravat - Ziad Ghanem, Trousers - Bernard Chandran

292

Dress - Ziad Ghanem, Hat - Rokit, Pants - Libidex, Shoes - Bernard Chandran

293

Jacket - Tierry Mugler from Relik, Skirt - Libidex, Handbag - Emmanuel Katsavos, Gloves - Libidex, Belt - Ziad Ghanem

294

Jacket - Gianni Versace @House of Liza, Bodysuit - Escada @House of Liza, Shoes - Bernard Chandran

295

296

Dress - Bernard Chandran, Bodysuit - Agent provocateur, Sunglasses - Emmanuel Katsavos

297

Jacket - Yves Saint Laurent @House of Liza, Printed cravat - Ziad Ghanem, Trousers - Bernard Chandran

H e n r i k

V i b s k o v s s

Selected by Sky Bulatovic & Marcel Schlutt

MUST

298

Perry Ellis by Duckie Brown

299

Christopher Shann

J u n n J

R a g

B o n e

M e n

300

B a l m a i n

J e a n

P a u l

G a u l t i e r

K e n z o

301

M a r y

K a t r a n t z o u

Theyskens‘ Theory

D a v i d e l f i n

THE FLYING

DUTCH

MAN Photography concept by Winter vandenBrink www.wintervandenbrink.com Styling concept by Nelleke Strijkers @SPRMRKT Grooming: Aga Angelique Hoorn Photography assistent: Olya SPRMRKT is a 450m2 concept store based in Amsterdam.

All clothing is available on www.sprmrkt.nl

303

Alain Clark

Singer, songwriter & producer Cardigan: SPR+ Shirt with hoody: Boris Bidjan Saberi Jogging pant: SPR+ Sneakers: Boris Bidjan Saberi

304

Djavan Anderson

Football player Ajax Amsterdam Sleeveless sweater: Y by Yohan Sarfati Jogging pant and sneakers: Boris Bidjan Saberi

305

Douwe Bob

Singer & songwriter Cardigan: SPR+ T-shirt: Boris Bidjan Saberi Pants with leather details: Y by Yohan Sarfati Neckless paperclip: Monique van Heist Sneakers: Boris Bidjan Saberi

306

Jasper KrabbĂŠ Painter

Hoody scarf knitted with wool and chains: SPR+ Overall: Boris Bidjan Saberi Legwarmers knitted with wool and chains: SPR+ Sneakers: Boris Bidjan Saberi

307

Jean Paul Paula

Fashion editor at WAD magazine Jean Paul Paula, Knitted wool chains: Gilet Skirt: Area Barbara Bologna Leggings: Silent by Damir Doma Leather gloves: Individuals Amfi Sneakers: Boris Bidjan Saberi Earrings: Givenchi ( models own)

308

Jordi Ariza Gallego

ULTRASEXI Nightlife icon Jacket: Y by Yohan Sarfati Singlet: Boris Bidjan Saberi Leggings: Silent by Damir Doma Mongolian lamb hoody scarf: SPR+ Sneakers: Boris Bidjan Saberi

309

Maarten Spruyt

Stylist, curator, icon Cardigan wool with chains: SPR+ Shawl wool with chains: SPR+ Pants cotton coated: Boris Bidjan Saberi Legwarmer wool with chains: SPR+ Sneakers: Boris Bidjan Saberi Hat and rings: models own

310

Manuel Broekman Actor & model

Sweater with hoody: Y by Yohan Sarfati Jogging pants: Â SPR+ Sneakers: Boris Bidjan Saberi

311

Rens Ciggaar

works at Wieden & Kennedy Cardigan inside out: SPR+ Shirt with hoody: Boris Bidjan Saberi Jogging pants: Boris Bidjan Saberi Scarf: SPR+ Sneakers: Boris Bidjan Saberi

312

Sonny Groo

Stylist & Editor in chief MYKROMAG Mongolian lamb gilet: SPR+ Leather knit cardigan: SPR+ Jogging pants: Silent by Damir Doma Sneakers: Boris Bidjan Saberi

313

Winter van den Brink Photographer

Jean Paul Leather knitted cardigan: SPR+ Leather knitted scarf: SPR+ Leggings: Silent by Damir Doma Sneakers: Boris Bidjan Saberi Winter vandenBrink Overall and sneakers: Boris Bidjan Saberi

The Insider

314

Some girls have attitude. Well I had the chance to meet Gloria for the first time some years ago, and I can swear that she is the sweetest thing around. Accessible, easy going, authentic. And if you meet Gloria once, you can be sure that she will remember you (ok maybe not if it‘s after 4.pm).

She is not only known for her Dj sets and performances, she is also always here when it come to defending LGBTQ rights. And when there‘s a demonstration, you can count on her. She‘ll be there.

Front row. Please let me introduce you to... Miss Viagra!

Text and Interview by Nicolas Simoneau Illustration by Amanda M. Jansson

„I was raised very politically, so I‘m just saying what I think and use my publicity to put the focus on things.“

315

KALTBLUT: For how long have you been in the drag scene?

GLORIA: Baby, I‘m born with sequences!! So forever!!

KALTBLUT: How does it start?

GLORIA: I did a show with friends for a local-TV show. And after that I didn´t want to get out of it.

KALTBLUT: As a drag queen who is your model, your inspiration?

GLORIA: Oh I dont have a special icon. I love a little bit of everyone. Like the selfconfidence of Divine, the goodness of Sherry Vine, the no-limits life of Lee Bowery and the diva Joey Arias.

KALTBLUT: Why did you choose the name Gloria?

GLORIA: Cause of the same named movie with Gina Rowlands. Gloria - she protects a kid from the mafia.

KALTBLUT: Is it in total contrast with your real name? Can we know it?

GLORIA: Gloria VON Viagra!

KALTBLUT: How do you define GLORIA VIAGRA? GLORIA: As a sensitive rock-girl, as a glamourous party-pig, as a political nightlife-queen.

KALTBLUT: You used to perform a lot with Squeeze Box, now it seems you focus more on deejaying and promoting parties. Do you have any news from this project?

GLORIA: Well we used to do our Concert-Party more often, but it will come again. We just have to get my tit sister Sherry Vine here more often. We just appeared on the German X-Factor! In December we will play some concerts in Berlin and Leipzig. Be aware!

KALTBLUT: You are also known to be politically engaged. The benefits from your parties (like your successful event „PartySane“ the 2nd!! friday of each month at Schwutz) are given to active associations in the LGBTQ community.

What achievement are you most proud of so far?

GLORIA: We only take a percentage of the benefits for queer/politics projects, not all of it !

What makes me proud and happy is when people start getting active and changing things. That is what counts for me. We had a lot of great projects. Maybe the girl-division of a turkish soccerclub, it‘s sooooo all in one!

KALTBLUT: You are also very active in any civil rights demonstration, you are one of Germany‘s strongest LGBTQ‘s spokespersons, how do you cope with this role/public image you have?

GLORIA: I was raised very politically, so I‘m just saying what I think and use my publicity to put the focus on things.

KALTBLUT: What do you think about German politics concerning Gay right?

GLORIA: I think they are very conservative. Even the gay-lobbyists are mostly very bourgoise. And they are fucking slow, but with German thoroughness.. hahahahaha.

KALTBLUT: What do you think about the gay scene in Berlin?

GLORIA: It‘s the most diverse one in the world. You will find the right place for EVERY taste in Berlin. And when the different scenes get mixed, even better so. It‘s the best gay scene in the world and I am proud being a „giant“ part of it.

KALTBLUT: Of Berlin evolution?

GLORIA: Berlin is what New York used to be. A hotspot for new people, ideas and energy. I love that!! But there is this hype about Berlin around the world which makes me fear that we will have to pay for it one day. Rents are rising, subculture is kicked out of places and events. But Berlin is a rebelious girl, we always keep on fighting.

KALTBLUT: Your personal Icon of all time?

GLORIA: Nelson Mandela !!!!

And in drag: my mother !!!

316

Unconscious Sinners Photography by Sasha Lebedeva Styling by Olia Sadovskaya Accessories/design - Marina Rybalko Make-up/hair - Olia Svarga Models - Yasya Ch. Katia G. Christina M.

Fur coat, shorts, accessories - Marina Rybalko, shirt, dress, cape - vintage

317

318

Capes - vintage, shorts, accessories, hats - Marina Rybalko

319

Dress, cape - vintage

320

Fur coat - Marina Rybalko, shirt - vintage

321 Shoes, jacket - vintage, leggings - H&M, accessories - Marina Rybalko

322

Shirt - vintage, skirt, accessories - Marina Rybalko

323

324

Dress, cape - vintage

325

Fur coat, shorts - Marina Rybalko, shirt - vintage

326

PAUL JOYCE T-shirt by Andrea Crews, giraffe mask at So High Soho.

L

327 ondon based Paul Joyce is a world of his own! You have read about him on KALTBLUT before and this is because we believe there is nothing this man cannot do. He surely is one of our favourite stylists, most talented and with a signature sense of fashion. However it wouldn’t be fair to limit him to that since we also adore his photography, his ideas, his film making, just about anything he does is so raw and so real that we can’t help loving it. He keeps reinventing himself, always remaining breathtaking and he was brave enough to recently skydive for Shelter from the Storm. Paul has shot something for us and we were able to ask him some questions.

328

329 KALTBLUT: This issue is all about icons. We know that many people consider you iconic.

What do you feel are the qualities of an icon, how would you define the word?

Paul: I know that many people consider me to be the absolute opposite of iconic.

Neither bothers me, as I don‘t feel that I have done anything iconic... thus far. There are many people, both dead and alive, famous and unknown, that I consider to be icons, whom I idolise completely. Many have qualities that are entirely different to the other, but I suppose they all give me the will and inspiration to try and achieve. It’s a difficult word to define, especially because it can be a word that is thrown around so easily... but I would say that an icon is something or someone that through their work/time/ideas/message/image have created a path in which people can try and follow, a pioneer of their craft.

KALTBLUT: Your styling in photos is always a signature. We don‘t think anyone could even try to imitate it. Is it similar to your own style?

How would you describe your personal style?

Paul: I think that people who know me, would say that I have changed myself a lot, and keep changing, and this I think can follow through into work, sometimes deliberately and other times naturally and unknowingly. This is greatly down to my own personal mood swings. My ever-changing state of mind seems to dictate both the way I dress myself, and the way I style in photographs. Either way, I’m always trying to perfect an image.

Underneath the constant changes in my personal style, always remains a utilitarian way of dressing.

KALTBLUT: You told us once that you love to have men wearing skirts and other traditionally female pieces of clothing. Can you go a little into that? Why is that so? What potential does it offer you?

Paul: I used to have a great fear of working in menswear, and after being forced by a photographer years ago to start shooting boys stories, I found that everything I could use on a body, pleased me more aesthetically on men than it did on women. Not necessarily how I like to see men walking around the street, or what I find attractive as a male form, but as an image.

KALTBLUT: We have written several times that you are actually an artist. And we stick to that.

Which forms of art do you feel will allow you to express yourself and capture what you see best?

Paul: I am limited by what I can do in this industry and this is something I want to work on breaking through. I feel tightly placed within boundaries to which I have to stay within, in order to make money in this business. This is something I resent as I can feel trapped from Jeans by Gareth Pugh, belt model‘s own, cap by NEW ERA, necklace customised by Stylist, rings by Maison Martin Margiela.

330

Boots by Rick Owens, socks by Nike, shorts by Sunspel..

331 time to time.

There are many stylists that are comfortable in being a walking wardrobe, as that is what the job can require, especially in the commercial field; however I don’t care about being a stylist and feel so limited by the name... all I want to do is contribute to an image and styling is just one way that I have found to do this, but I feel the time has come to try and stretch myself.

I’m starting to take more of my own pictures and I’ve just completed my first short film, however I would never dare to call myself a photographer or videographer. I have no idea what I am, apart from someone who appreciates many forms of beauty, and wants to try and capture it in any way that I can.

KALTBLUT: What do you want to capture most?

What is it that leads you to the desire to take a photo or draw something?

Paul: People inspire me, obsession drives me, and my own inner disciplinarian forces me to try and do something with the two.

Ultimately, all I want to capture is what I feel when I feel something and to create an audience for my mind.

KALTBLUT: If we spent one average day in Paul Joyce‘s head, what would the day look like?

And what would the world around us look like through your eyes?

Paul: The only average thing in my head would be the erratic changes in mood, the cataclysmic differences between one hour and the next. I’ve had many years of struggling with mental health and right now, am trying to eliminate chaos around me wherever I can, this has in recent months, made me see a day as less threatening and my little world can seem a little lighter in weight, but my head works like a washing machine; constantly throwing more things into an already full space, going round and round.

My head very much aims to recycle and refuel chaos. My eyes however, mostly wear rose tinted glasses. Together, the world can be a pretty interesting picture.

KALTBLUT: Which artists‘ (painters, photographers, poets, writers, directors) work has influenced you in the way you view things and why?

Paul: Their names are sacred to me, I see artists as my teachers, my ambassadors of learning.

The only people that managed to successfully teach me anything in school, were all creatives who described how they felt through their work.

I can be so sure of the world around me, what I see and how things work, but certain artists can make me see things so differently, can make me understand clearly when all I felt was confusion and without them I couldn’t function the way I do today. I owe all my peace to them.

332

„There are many peole, both dead and alive, famous and unknown, that I consider to be icons, whom I idolise

completely.“

Geek‘ t-shirt by Valentin Puyau, dress [worn underneath] by Millie Cockton, zip up jacket by Nike AIR, shorts by Sunspel, boots by Rick Owens, socks by Nike, rings by Maison Martin Margiela.

333

334 ‚Clint Eastwood‘ Jacket by Vivienne Westwood at Rellik, shorts by Sunspel, boots by Rick Owens, socks by Nike.

335 KALTBLUT: You are in Paris a lot these days.

How does this city affect you? How does Paris influence you compared to London?

Paul: For me there is no comparison between the two; I love Paris deeply, and relish the times that I’m there... the city has a calming effect on me, but in terms of influencing me in work, and sustaining my desires, London is the place for me, I find method in madness and passion in chaos.

www.paul-joyce.com Interview by Amanda M. Jansson and Emma E.K. Jones

‚VALENTIN‘

BY PAUL JOYCE ‚Geek‘ t-shirt by Valentin Puyau, dress [worn underneath] by Millie Cockton, zip up jacket by Nike AIR, rabbit mask at So High Soho.

336

#ThingsWeLove

dot

Selected by Nicolas Simoneau

If we spent as much time doing (productive) things as we did surfing the internet, well... LIFE WOULD BE SO BOOOORIIIIIIING! You know, i have to check my Facebook profile, comment posts on different blogs, re-tweet my friends, and watch my Klout score, keeping it from going down #CRAZY. Surfing day and night, we always find things that NEED to be shared. And yes, we are so #connected here @Kaltblut-magazine that we want to share with you what we find everyday on the world wide web #ThingsWeLove dot com.

I find Mu Pan‘s page really interesting. He works with different types of media: watercolor, oil, and he is filling up a lot of sketchbooks with his drawings that look like they were done using a simple Bic pen.

Mu Pan is showing his work in Germany at the gallery KunstRaum H&H. www.mupan.com Shinsengumi Blood and Wind. watercolor on paper, left 50“ x 76“

337

Crazy Horse . 2006. drawing on paper

338

339

Small Book

340

VA N Ph

ZO

oto ww grap Ph w.f her oto ede Fe Ha i r S Mo an ty ass ricar deric is l o a d Ja els d ma ist C tant nca Ro na Ma ke hri ldi nc A le er al @ r u st Sp ie @ p ar ina v x Wo .com dier len Ic tist an hlr a did oni M Z e I c M em on b nte an o S rna ag ch tio em ma na en ge lM ta od nd els

RC Ja

: Top na:

,

wn ts o

lis Sty

Sk

ir t

:M

on

ki

,C

ap

:W ee

kd

ay ,B

oo

ts

:M

on

ki

341

op: ie: T Mar

&M, s: H g n i e gg

ts:

Boo

ki, L

Mon

Sun

glas

ses

: Ra y Ba n

ap Che

day

Mon

342

i

nk s: Mo

oot ald, B va N a S : s Dres

Suit: Sebastian Ellrich, Shoes: United Nude

343

Dress: Monki, Watch: Philippe StarckÂ

344

Marie: Top: Monk i, Pants: Weekda y, Shoes: Weekda y, Necklace: H& M

345

Dr

s:

es

ed nit :U

es

ho ,S ay

kd

e We

e,

d Nu

ki

on :M

ce

la ck Ne

346

Tilda SWINTON Up Close & Personal Letter by Claudio Alvargonzález

ved in acting. Like all good British actors you started your professional career in the theater, working for Edinburgh‘s Traverse Theatre and the Royal Shakespeare Company, probably two of the world‘s best companies.

But soon came Orlando, The War Zone and The Beach, where you stole every single minute you shared with Leonardo DiCaprio and that French-Spanish boring actress, Virginie Ledoyen but specially The Deep End where you showed the great actress you are.

ear Tilda, Let‘s take one of your most popular films The Chronicles of Narnia: The Lion, The Witch and The Wardrobe and let‘s change a few things to get a film about your life. The result would be The Chronicles of Katherine Matilda: The Scottish, The Toyboy and The Wardrobe. Yes, for obvious reasons I have to keep the wardrobe.

Orlando. I met you there. Not the city but Sally Potter‘s film version of the novel by Virginia Woolf. You were an androgynous young nobleman who made a deal with Queen Elisabeth I: Not to fade, not to wither, not to grow old. Maybe it‘s the same deal you have made with the new Queen since you turned 51 and we don‘t see any signs of fading in your face or your career.

Orlando gave you that androgynous look you have developed through the years but what Orlando didn‘t give you, because you already had it, is your noble ancestry. Behind that alternative actress who joined the Communist Party while she was in college, you can‘t hide the real Lady you are. Yes, I mean Lady.

You were born in London but the Swinton family is an ancient Anglo-Scots family that can trace its lineage to the Middle Ages. In fact, I‘ve never seen anything more Scottish than BRAVE‘s Princess Merida or kilts. You are too tall, too pale, too red-blonde to not be Scottish or a royal. Your father is Sir John Swinton, Lord Lieutenant of Berwickshire and your mother, Lady Judith Balfour. Now I understand where your strong but light manners come from.

You attended three private schools were you met Lady Diana Spencer, the late Princess of Wales. Of Course, your father is a Lord, and posh girls meet posh girls. You graduated from Cambridge University, where you received a degree in social and political sciences but you soon became invol-

It‘s said you are cold and distant, but two of your best friends in Hollywood, Keanu Reeves and George Clooney say you are warm, tender and fun. I‘m not sure about Keanu but I used to trust what mister Clooney usually says. You shot four films together, Thumbsucker and Constantine (your once again androgynous role as Archangel Gabriel is by far the best in the film) with Reeves and Burn After Reading and Michael Clayton where you showed what to do best: Being a cold, controlling bitch which gave you an Oscar and a Bafta. I honestly think it wasn‘t your best role.

Don‘t get me wrong, the movie is great and you are stunning but comparing to what you do in The Curious Case of Benjamin Button, We Need to Talk About Kevin (Bad movie, great role) and specially Io sono l‘amore where I couldn‘t help falling in love with you.

I have to admit I felt a bit shocked when I heard how you started your love story with your former toyboy now partner Sandro Kopp. I actually don‘t really care about it but it‘s also true we all have a little voyeur hungry for filthy gossip inside. Like in a good movie, the story talks about a long term relationship with John Byrne, father of your twins, a young German artist who follows you everywhere and a house in Nairm, a seaside resort town in Scottland. But the story continues with an intriguing ménage a trois that lasted a while and an ABBA song. Like in real life, „the winner takes it all“ and we have a young German winner.

But I guess nothing is what we expect in Matilda‘s life. You are a posh Scottish woman, daughter of a Lord, who doesn‘t have a TV at home so the kids can play freely and read. Who joined the Communist Party and hates capitalism but who loves Dior, who never wears earrings and who is an icon for avant-garde fashion designers.

You left everyone with their mouth wide open when accepting the Academy Award in that underrated Lanvin black dress. You surprised everyone. Cate Blanchet was the favorite that year for her role in I‘m Not There but your name was

347 the chosen one. She can‘t complain.

Cate is almost perfect and she won it for her role in The Aviator. And friends like to share. So there you were, tall, white and with your bright red hair accepting the award and joking with George Clooney like you didn‘t care.

Maybe you haven‘t realized yet but you were part of a very rare Hollywood moment. It was the first time in History that four European actors won the Oscar at the same gala beating their American mates. And there you were, standing next to Daniel Day-Lewis, Marion Cottiliard and Javier Bardem.

That was the moment I realized an icon was born. Designers found a muse.

And you knew it. Editors from every magazine found a gold mine and you started to fill some of the best magazine covers. I still remember this year‘s Candy Magazine Summer issue, the living proof of what an icon looks like.

I met you in Madrid last year at a fashion awards gala where you were honored together with one of your favorite designers and friend Haider Ackermann. You looked calm, shy but a bit of a rebel. Exactly the way I knew you had to look. And I understood the way you defend your own style choosing brands like Lanvin, Jil Sander, Dior, Celine or Pringle of Scotland.

There are only two more actresses who can wear a white blouse and a skirt at the Academy Awards with almost the same sense of pride: Uma Thurman and Sharon Stone.

You led the jury at the Berlin Film Festival.

You are ranked as one of the best actresses by TIME Magazine and you are shooting your second movie with Jim Jarmusch after The Limits of Control and some more in preproduction apart from being „used“ by the best designers so I guess you are a busy woman but why don‘t you find some time to be on our cover? I promise we don‘t bite.

Think about it. We have time.

Like you, we‘re here to stay.

Illustration by Tim Brackmann www.timbrackmann.de

348

349

I

n every Collection we wanna introduce you to a young fashion label. This time we wanna present you GLAW. The newcomer label is based in Berlin/Germany. Founded in 2010 the young label is on the best way to be a big seller.

The German VIPs are addicted to GLAW. The labels stands for femininity, elegance. GLAW is one of our favorite labels from our hometown Berlin. We had a little chat with Jesko and Maria, the creative minds behind Glaw. We also had the pleasure to shoot a great editorial with the S/S2013 collection. Starring the Hamburg based model Leyla Buka @M4 Models Hamburg. GLAW a fashion label you should keep in your mind. A label with a bright future.

Photography and Interview by Marcel Schlutt Styling by Sky Bulatovic Hair&Make Up by Selina Reimann Model: Leyla Buka @M4 Models Hamburg Production assistent Christian Kirchner Special thx to Sabrina Baumgarten, Hunter Reitschule Gatow and all the horses and girls

350

351 KALTBLUT: For each issue of KALTBLUT we present a young fashion label. This time we decided to go for GLAW because you understand like no other how to dress women like modern goddesses. How would you describe your own style? And what does GLAW stand for?

Jesko: GLAW is versatile, it can be combined, it‘s diverse and special.

Maria: GLAW stands for femininity, elegance, chilled with cool details. GLAW offers wearability.

We want to dress, not dress up.

KALTBLUT: Before we talk more about your designs, here is something that interests me: where are you from, what is your background? Was it always clear to you that you wanted to do fashion?

Jesko: I was born in Berlin and I grew up here.

Actually, I ‚ve always wanted to do something artistic. Since my childhood I have received ballet, music and art classes. During school time I‘ve tried out a lot, wanted to join the State Ballet School of Berlin or Dresden Palucca School to become a professional dancer. But after an internship at the Comic Opera Berlin I wanted to be a costume designer or fashion designer. Then, immediately after graduating I started studying at ESMOD Berlin.

Maria: I‘m originally from beautiful Dresden and now I‘ve been living in Berlin for 4 years.

Since my childhood it was certain for me, I had to be a fashion designer. What started as a childhood dream had in my youth developed into a serious career choice.

I planned this way of life at 13 and during school I worked into this direction with various internships. After my Secondary school I trained as a ladies seamstress. With the apprenticeship I got my diploma in design and applied subsequently at ESMOD Berlin.

KALTBLUT: You‘ve both studied at the School of Fashion - ESMOD. Have you met there? And how have your studies influenced you as designers?

Jesko: Mary and I have gotten to know and appreciate each other during our studies. Many late nights we spent together. The ESMOD has influenced me in terms of style and sense of fashion and art and has taught me to hang on and to be courageous. Also, I have learned how to bring my fashion vision and my ideas into my designs, to improve, and not to design for the set fashion trends.

Maria: Yes, we got to know each other at ESMOD. Only at ESMOD, I developed my own style. The school also helped me to build up a good resistance against stress, you definite need this in this profession.

KALTBLUT: In 2011 you have both successfully completed your studies. How did you come to the decision to start a label together to? For practical reasons? Or just the right chemistry and also the sense of beauty in you?

„ If you allow fearto take over, you are in the wrong profession.“

Jesko: I never thought that I would have my own fashion label some day. My plan was actually to go to study abroad, to Paris or London. But during the last academic year we had the idea of our own fashion label. After graduating it all happened very quickly and GLAW was born. The chemistry between us was right from the beginning and we now understand each other without words.

Maria: The idea was born during one of our many common night shifts. We eventually just started working at the model bust together. The result was something completely new. We realized that we not only harmonize perfectly as humans but that our styles fit together so well. The idea became more and more serious with time and before we knew it, we were already writing our business plan next to our thesis.

KALTBLUT: Who is the responsible for what?

As a team of 2, I can imagine, there are now and then some problems. How do you meet important decisions when one wants something and the other does not?

Jesko: We never fought or had major problems.

Sometimes we have different views, but then we can always find a good way that both of us like.

Decisions are only taken together and discussed, but we are ticking alike so it goes pretty fast and without much stress.

Maria: Actually, we do everything together.

We always try to reach an agreement. Even if we have different views sometimes the one gives in, sometimes the other. It works perfectly. In the end we always find a way, and we‘re both happy with the decisions. I am a very assertive person and just had to learn that my opinion is not always the right one. But since I trust Jesko 100%, I don‘t find it so hard anymore when I have to give up. And hat is mutual.

KALTBLUT: It is remarkable what you have achieved in such a short time. The German VIPs love your style. You have no fear that success might be coming too soon? As Heidi Klum always says: In fashion, one day you are in and the next day you are out. Do you feel pressure to succeed?

Jesko: Pressure to succeed has always been there, since I started studying. After all, if you don‘t hold out and don‘t tolerate stress you are in the wrong profession. Of course we have to improve our performance with each collection, but we have so many ideas and visions that I‘m not too worried.

Maria: Of course, last year everything went pretty fast. Especially when you consider that we had our label‘s first birthday on 08/08/12 and first went public in January 2012.

But of course we are not complaining about it.

Now our job is to maintain the status and increase it. If you allow fear to take over, you are in the wrong profession.

KALTBLUT: For this issue we photographed your S / S 2013 Collection. I love it. The colors, the cuts. What inspired you to this collection?

352

353

354

355

356

357 Maria: The main inspiration was Marrakesh. Combined with our

traditional leather details. Not to mention the batiks. We are constantly raving about this city and that we absolutely must travel there together. So it was obvious this had to be brought in as a main source of inspiration.

Jesko: We were particularly into the typical Marrakesh colors like warm beige and brown shades and cool old rose and strong turquoise and soft nude tones. These colors can also be found in our whole SS13 collection.

We have also tried to build in the embroidery with mosaics and carvings.

KALTBLUT: You work a lot with silk, leather, sequins, etc. Are those your favorite fabrics? Or is it just because you like to develop and try out a lot?

Jesko: We love leather. And we are looking forward to the next collection, we have a lot of it. Let‘s see what comes from our experimenting.

Maria: Leather definitely one of our favorite materials. This has also been noted independently while we were still studying. The contrast of leather with delicate fabrics and sequins is just exactly what GLAW embodies.

KALTBLUT: The strong feminine woman seems to be your theme. Are there women who inspire you? And how does their image apply on the modern women in 2012?

Maria: I don‘t think there is a current image of women. Everyone is an individual. But of course, I/we are impressed by strong women.

Women with both their feet on the the ground, making their own decisions and prohibiting their own success.

It‘s the picture of the woman in in which I also see myself and that I had as a child in mind.

KALTBLUT: I think with your flair for beauty, you should also clothe us men. Are there any plans in this direction? If not, why not?

Jesko: There are plans for a men collection. I am particularly looking forward to this.

KALTBLUT: As a photographer and editor I have a lot of icons.

How does it look for you? Which designers are your heroes?

Who inspires you and why?

Jesko: There are many people that impress me and inspire. It doesn‘t always have to be only designers or celebrities.

But of course I‘m a big fan of Marlene Dietrich and Co. Beautiful and strong women from history.

I love Givenchy and am always excited about Riccardo Tisci‘s new stuff. Otherwise, I let myself get inspired by everything I see, hear, and feel. This can sometimes start pretty messy, but when I describe my thoughts to Maria, we always find a way to make something beautiful out of it.

Maria: There are many designers who I think are great, but really no one by which I measure myself, or really inspires me. GLAW should stand for itself and embody our own style, with admiration for other labels as well as the necessary distance to other brands.

Personally, I am of course a big Chanel fan, not because of Karl, but because of Coco / Gabrielle. I devoured her biographies and admire that she is definitely a visionary who has contributed to the image of women that we so admire.

KALTBLUT: Can each one of you name 3 MUST HAVE ITEMS for the upcoming fall / winter , what should be in every woman‘s wardrobe?

Jesko: I see a thin blazer with leather detail, a pair of cool leather

pants and a hot blouse.

Maria: A biker jacket, coarse knitwear and of course a delicate blouse or dress to make the perfect combination.

KALTBLUT: Designing, tailoring, fashion weeks, PR, booking models etc etc. Life as a fashion designer is exciting. What does a normal working day at GLAW look like? You have your own studio? Shop?

Jesko: Most of the time we are answering e-mails and phone calls.

By the side we are looking for ideas for the new collection, measuring and planning shoots. Our own studio, as well as a GLAW shop are planned. But first of all we start with our online shop very soon.

Maria: We are working in my living room. Almost every day, from morning till late into the night. Mainly throughout the day it is all about design, accounting and e-mails.

KALTBLUT: Is there a reason as a label you are based in Berlin? And not in London, Milan or Paris? What makes Berlin: The Place to be? And how much of it is in your creations?

Jesko: Berlin is my favorite city. It‘s exciting here, on every corner you will find interesting people and places. But well in terms of fashion, Berlin still needs a bit of effort.

Maria: Berlin as our base has simply practical reasons, we are staying and living here. GLAW is not really so Berlin and this is probably our advantage.

KALTBLUT: One last question: Where and what is coming for GLAW in let‘s say 10 years? What are your dreams and goals?

Jesko: I can‘t answer this at all, I just know that I‘m curious and see how it is evolving. I myself am very excited and looking forward to the times to come. Let‘s GLAW. Maria: We want to establish GLAW firmly as a brand, both nationally and internationally, with its own shops. At the moment it is not clear whether this project will take 10, 20 or even 6 years. Time will show.

KALTBLUT: Thank you!

Maria: You‘re welcome.We thank you.

„There are many people that and It doesn‘t always have to be only designers

impress me inspire. or

celebrities.“

358

359

360

Newcomer: ORNIS

„Search within your depths find a treasure and bring it out find a light to make it shine a beautiful creature only yours and they like it, they love it, they crave for it, because there is honesty held true, dim yet inexhaustible.“

www.ornisband.tumblr.com Interview & Photos by Marcel Schlutt Styling & Design by Nico Sutor

361 Some weeks ago when we published the theme for the ICONICAL I got an email from a young and for me unknown band from Berlin, introducing themselves with a poem for our issue.

And I fell in love with the lines and the voice of lead singer Aude. So it was an easy decision to meet Aude, Amy and Louis. And I fell in love with them again. The 3 berlin based artists are a big inspiration for me. Talented from head to toe. KALTBLUT is more than proud that Ornis have produced the song „Iconic“ for our magazine based on our theme. May I introduce you to Aude, Amy and Louis.

KALTBLUT: Hello Amy, Aude and Louis. Welcome to our KALTBLUT world and a big big thanks to you for the great track “Icon” you have produced for our collection. I am totally in love with the track. Can you tell our readers how this co-operation with us happened?

ORNIS: Hey, thanks for having us! It was quite easy really, we caught sight of the promo video for the theme featuring some of the imagery from Tashaki Miyaki calling for artists and were really drawn to this simplistic black and white style, it resonated with us somehow, simple, powerful atmospheres, and we knew straight away it could be something interesting for us to explore.

KALTBLUT: I was so surprised when I opened my email some weeks ago and found your lyrics. It was the perfect match for our theme. What is an icon for you guys?

ORNIS: We liked the theme “iconic”, also the idea of exploring

what it is to be an icon for an emerging band, how do you launch your project without the intention of achieving a certain status? it’s not possible. So of course we thought about it, but for us it’s always been more about being sincere, professional, choosing a direction on our own and defending it to the last. We’ve found we end up in lots of interesting situations that way.

KALTBLUT: A few weeks later we met up and I had the pleasure of listening to the first version of the full song. My first impression was: WOW. Your sound and how the song is produced, reminds me of Tiefschwarz and early 1990s electronic music.

How would you describe the sound of ORNIS? ORNIS: Yeah there’s a bit of debate about that.. It’s kind of Trip-

Hop, but we take the beats from UK Bass Music rather than from Hip Hop. Aude’s voice lends itself towards a more melancholic atmosphere and with the violin always comes some drama, a cinematic touch. We don’t like to pin our sound down into any one genre if we can help it, well, as long as we’re not described as “witch house” we’re happy!

KALTBLUT: You are a band of 3 artists. Who is doing what in the band?

ORNIS: Aude is vocals and lyrical composition, Amy on violin and Louis production and drums.

KALTBLUT: One of you is French and the others from the UK. Do you think that this mix is bringing a special touch to your music?

ORNIS: For sure the final product is a mix of our styles and influ-

ences but it’s not a conscious effort. Louis has lived in Berlin for over 10 years so there’s definitely some Techno influences lurking in his productions at times, and Louis and Amy both like exploring genres like Dubstep and Garage that are generally more prominent in the UK than here. Aude’s background is in classical and jazz music, and her French accent is really integral for our sound because it’s the first thing people usually pick up on. Mainly it’s just cool that we listen to lots of different styles of music as individuals so we can put fragments of our inspirations together.

KALTBLUT: What does the name ORNIS mean? And how did you come up with the name?

ORNIS: It’s our abbreviation of the word ‘ornithology’ which is the

scientific study of birds, we liked this idea of flight, leaving behind one musical direction in search of another. It’s also a name that’s easy to pronounce in the three languages we live through.

KALTBLUT: How and where did you meet each other?

Was it love at first sight – in a musical way.

ORNIS: Pretty much! Originally Louis and Aude met on a separate

project and had this immediate spark, musically and also a friendship – kindred spirits. In hindsight even though the other band folded it led to a deeper understanding of each others strengths, weaknesses, boundaries, it was an important chapter anyway. Amy and Aude met on a non-musical level at the same time, there was an instant friendship, but the idea of making music together came later when we joined a couple of indie folk projects and then realised we were totally wasting our creative abilities being additional extras in other people’s bands, we wanted to do our own thing. Louis was still looking for a way to continue working with Aude so the timing was right. For Amy and Louis it wasn’t hard either, coming from the same area of England it was easy to bond over a bit of northern banter.

KALTBLUT: How do you produce your music? What does a normal day look like when you work on your music?

ORNIS: We all have hectic lives so there’s no real routine at the

moment, but usually one person brings a raw skeleton of an idea and then Louis is arranging, producing and bringing the beat, then we add textures and finishing touches together. We all have our own areas of interest, so we play our strengths when needed and there’s no competiveness within the band. We also have some working days, more intense, like when we’re recording, these sessions are the best, when it’s just pure energy between us as the tracks evolving. We’re all total perfectionists though, so it’s not always an easy ride!

KALTBLUT: In 2012 you published your first EP “Awakening” a dark electronic masterpiece of music. How was the reaction of friends and fans? I like the EP a lot. Well done!

ORNIS: Such a nice description, thank you for that. Actually in the beginning we had these mixed reactions, nobody really understood where it came from, where it could lead, what were we doing, had we lost our minds!? Luckily everybody was supportive and intrigued anyway. We know there wasn’t any connection between our initial tracks but that was kind of intentional, we weren’t secretive or mysterious we were just playing around with ideas and hoping to make something interesting rather than have this whole moody back-story planned out. After we worked on the production, started to have bigger shows, began moving towards a more concrete concept, that’s when people started to really get into it.

KALTBLUT: You also work together with Berlin based fashion designer Nico Sutor. I think : a perfect match. Her design fits super great with your sound. How did you guys meet?

ORNIS: Amy picked up on Nico’s work on a blog and sent it over to Aude as an inspiration for our look for the band and we just thought we’d connect with her directly and see if she was interested in collaborating with us. When we finally met to give her a listen to our first track, even though it was just an idea, she was interested in making some designs together. Really it’s Nico’s attitude that we love so much because it totally fits to our own, she cares about creating something based on quality and it’s not pretentious at all.

362 Even though her designs are quite moody she doesn’t take herself so seriously, and that contrast between darkness and light well, we totally share that.

KALTBLUT: How important is a stage look for a music act?

Do you think about this kind of stuff?

ORNIS: Of course, but only so far. For any performance art all of

the different elements have to work together because if they’re not they might start compromising each other, the attitude, the music, the audiences perception, the clothes, they need to blend, but for us our music comes first, and the styling is more of something fun to play around with. We want our live show to be more of an experience so costume and lighting all comes into that, we’re currently working on experimenting with that side of things, but we’re still planning to keep our imagery clean and simple.

KALTBLUT: You have played a lot of gigs here in Berlin what do you like the most? The work in the studio or performing?

ORNIS: That’s a toughie, it’s two totally different kinds of kick, two different kinds of adrenalin, there’s something really unique about working together in the studio in an isolated way, sharing something special as a band, but then to take that energy onto the stage, that’s also a really great feeling. That’s what we want our audience to feel when they see us play live, it’s not just about the music it’s about the energy in that moment, so we take what we can from all our shared experiences, inside and outside of our musical relationship, and put that into the band.

KALTBLUT: The music scene in Berlin is soooo creative and you are part of this new fresh scene. Are there any friendships to other artists here in town and if so who?

ORNIS: Absolutely, the social interaction is a lot more direct here so it’s easier to come to a point where you feel like you’ve chosen the right people around with no bullshit. Of course every scene has it’s cliques which flair up when there’s newcomers around but we’re really lucky to have friendships with other artists who share our laid back approach. The guys from Aniaetleprogrammeur, for example, and Steve Morrell (Pale Music Records) have been supportive of us right from the beginning. We feel that by keeping things relaxed we’ve attracted the kind of people that are really interested in getting to know us but they’ve also been in positions to help us.

Our logo was produced by our good friends of ours, Luise Brandenburger (Obscure concerts and booking) and BLO (blo-paintings) and also for this track we ended up collaborating with a few people, producer and composer Nirto Karsten Fischer (Forced Media) who recorded Aude’s vocal with a digital microphone, and the violin was also recorded at Trixx studios in Kreuzberg with a great set up, we had the track mixed by Henrik Miko (Marteria/Marsimoto) a friend of Louis. We’re totally grateful to have such lovely people around us.

KALTBLUT: What makes Berlin a good place for young artists? Do you get any inspiration here?

ORNIS: It’s inspiring in the sense that there’s such easy access to

this wide variety of quality art, and also the large number of people who are making such interesting use of the space that Berlin has to offer, that makes everything else possible. You need this headspace to be creative and it’s reflected in the quantity of high quality work in the cultural scene here. It’s okay for your work to be more minimal in the beginning and build over time without anyone pushing you or expecting more, especially compared to say England, which is more crowded and competitive and everyone’s clamouring over each other all the time.

KALTBLUT: I guess you guys can’t survive normal life right now with making music what are your normal day jobs?

ORNIS: Yeah for sure, well Louis does make his way with music actually, he has a separate label for his own musical endeavours.

Aude is a music teacher and Amy’s doing an internship, it doesn’t restrict our creativity though, sometimes it’s hard to find a balance, but we do what we can, and luckily we still enjoy our jobs that pay the rent.

KALTBLUT: So I think it is time for a record deal for ORNIS!!

Are you looking for a label or do you prefer to be an independent music act?

ORNIS: To be

honest we’re pretty happy being independent for now, maybe in the future we’d think about it but we like being in control of our material and how we work.

Fortunately for us the internet and the decline in the market for recorded music means that the advantages of having a label are becoming smaller and smaller, it’s not always necessary. Mainly because we’re doing something that we really love the progression is happening naturally, having high standards and expectations we set ourselves is proving to be enough for now.

KALTBLUT: Amy, Aude and Louis what are your dreams for? Where do you see your group in a few years?

ORNIS: Well in the short term we’re going to be focusing on

finishing our first album and getting the project sounding exactly how we want it. We figure just continuing down the same path and seeing where it takes us is a good plan, it’s brought us this far in one year so who knows where it could take us next! We’re putting all our efforts into creating something that we are really happy with and hopefully we’ll be able to get to a point where we’ll just have more and more time to dedicate to the project rather it just

being in and amongst the rest of lives, that’s the dream. For now we’re going to take what comes our way and see where the wind blows us.

KALTBLUT: Thank you very much for your time, the work together. Love! Marcel

363

A m y

H e a t o n L o u i s M c G u i r e Aude Gouaux-Langlois

Amy originally hails from Manchester, UK but has been living in Berlin for the last 2 years. Like her bandmates she was musical from a young age, playing classical violin and piano, but always saw it as more of a hobby than a vocation. After finishing university she moved over to Germany and started working as a teacher with kids, running a small scale education project for teaching English through music, exploring the culture and nightlife scene in the city on the side and DJ-ing with her eclectic mix of electronic music at different local venues. Recently she‘s taken a change of direction and is dipping her toe into journalism with an internship at Exberliner magazine. After playing with various different projects in the last year and half she‘s happy to have found a place for her instrument and style. „The violin can be added to so many different kind of projects as an extra touch, but with Ornis we give it it‘s own voice“

Moving to Berlin nearly 10 years ago, Louis has been working in the Berlin music scene as a session drummer, Producer and DJ, and has been lucky enough to play all over Germany and Europe with a variety of acts and many world class musicians. Since starting to produce electronic music he has been looking for a way to combine his passion for drumming and electronics into a unified project, and collaborating with Amy and Aude has afforded him that exact opportunity. „The space we give each other as musicians in Ornis is something I have been dreaming of since I started playing in bands.

We trust each other, and that‘s what makes it worth doing.“

Having been musical since her childhood, Aude´s musical intuition took it‘s first form when she began turning off the radio on hearing sounds she didn‘t like, or trying to play an old untuned guitar before she‘d even began to study music at all. Following her ears she received an intense classical music education that concluded with studies in music and musicology at La Sorbonne, Paris, where she also discovered ethnomusicology, jazz and electroacoustic styles. Even though she was singing in choirs for more than 10 years, covering beloved folk or rock songs with her guitar, and was the voice of alternative electronic project Talovka she moved to Berlin 2 years ago deciding „It was time to consider my voice as the truest channel of my creativity and emotion, and to start sharing that“ Now, with Ornis, it‘s time to take flight.

364

Art Director: Duncan Stevens www.duncanstevens.com Photographer: Jacquin Botha www.jacquinb.tumblr.com Styling, hair and make-up (using MAC): Natasha Kruger Assistant stylist: Lehasa Cooper Malloyi Models: LEATITIA ROSSOUX & TAMZIN LESTER at BOSS Models Johannesburg

Tamzin wears Tube Dress & Tassel Waistcoat both By AVANT; Hat Stylist‘s own.

365

366

Letitia wears Trench By AVANT; Gladiator Ear Cuff & Valkyrie Brooch both By DUNCAN STEVENS; Ace 15 Black High-Shine Belts THE SUMMITÂ

367

Letitia wears White Dress By AVANT; Valkyrie Ear Cuff By DUNCAN STEVENS

368

Letitia wears wears Geometric Dress By AVANT; Two-Tone Suede Shoes By Melissa Tamzin wears White Silk Blouse, Sportswear Mesh Dress, Hand-braided Fringe with Obi all By CLIVE RUNDLE

369

Letitia wears Melton Cape By AVANT; Sheer Skirt and Shirt both By Clive Rundle; Two-Tone Suede Shoes By Melissa Tamsin wear Box Zip Coat & Paper Bag Pants both By AVANT; Auge Cocktail Ring By Duncan Stevens; Ace 15 Black High-Shine Belts THE SUMMIT

370

371

Letitia wears One Shoulder Evening Dress By AVANT; Aluminum Cuffs & Valkyrie Coat Chain both By DUNCAN STEVENS; Ostrich Shin Waist Belt THE SUMMIT

372

MC Text by Luanda Jabur Illustration by Emma E.K. Jones

373

Alexander

QUEEN

I

t‘s frustrating to look at fashion and only be able to see clothes. Emotion, art, music and the sickener are missing. The current fashion scene lacks the association from images to names, from clothes to respective creators. There are missing icons, Alexander Mcqueen is missed.

At the age of 16, Mcqueen dropped off school and went to learn the art of tailoring in Savile Row, he had important clients as Mikhail Gorbachev and Prince Charles.

Before showing breathtaking collections to the world he worked at Angels and Bermans (a giant company in the costume business), in his 20‘s started to work for Koji Tatsuno and then Romeo Gigli. He graduated with honors at the reputable Central Saint Martins College of Art and Design with a degree in fashion, and his graduation college was entirely purchased by the fashion editor and avant-garde woman, Isabella Blow, who was capable to see his artistic vision even when he was just a student.

With wisdom and a wide repertoire, he learned to print his own feelings onto clothes, he knew how to show his darker and also his most romantic sides, and people would observe and absorb the unforgettably pieces.

Responsible for famous fashion items as the not so loved “bumsters” pants (that contributed a lot with the low rise jeans trend), and the skull that became a total hit: scarves, clutches, heels that were in everybody‘s wish list. He would love to watch science-fiction programs at TV as inspiration, and after watching Alien he had the idea of constructing a shoe that would look like it grew right out of the foot. “Sick, ain‘t I?” - he said.

We can see nudity, profanity and amazing hairs since his early collections.

Named head of Givenchy in 1996, despite not admiring the founder (and letting it clear in a Vogue article) he made remarkable shows while in charge of it. How can we forget Shalom Harlow in a white dress being painted by two robots? Theatrical and meaningful. The show where the beautiful and blond Aimee Mullins, an amputee model, participated with a carved wooden leg and the introduction of indian models at the fashion week. But his mind was set for something bigger and brighter, in 2001 he left Givenchy, and got back to his own brand, to make a more personal and authorial job, he had the guts and cleverness to leave his own mark in fashion history.

Without fear, he brought originality and unforgettable clothes in the Voss Fashion Show, where he placed a mirrored glass box in the middle of the catwalk, then he said: „Ha! I was really pleased about that. I was looking at it on the monitor, watching everyone trying not to look at themselves. It was a great thing to do in the fashion industry—turn it back on them! God, I’ve had some freaky shows.”

Mcqueen had many stores around the world and was stablished as one of the best designers of his time, led the audience to madness as if his fashion shows were rock concerts, a star between the boring, always bringing the unexpected. People would be stunned with the clothes he‘d make for “modern customers”, that wanted crazy stuff and didn‘t took life or fashion too serious.

“I let you see what I am going through. It’s biographical, but all my work is biographical in some sense. It has to be, otherwise there is no soul to it”. His 2010 spring/summer fashion show would give the idea that opposed to Darvin‘s theory that we came from water, people would come from the land and return to the sea. A screen showing Raquel Zimmerman lying in the sand with writhing snakes over her naked body, video-images by Nick Knight, two robotic camcorders recording the models in overly high heels walking in the catwalk, mixing fashion, art and technology, making another amusing show, unfortunately, his last one.

Lee, as he was called by intimates, was very connected to his own feelings, had really close relashionships with the ones he loved, and after hard times and the big loss of his mother in 2010, the world would have one less genious soul.

Bringing scandal, exploring the romance that exists in sadness, Mcqueen established himself not only as a designer and creator of icons that represents his brand, but also as the creator of his own art, as an agent provocateur from the depths of those who watched. He knew how to make a name an icon of desire, learned how to link his name to what was brilliant in the world. Contributed immensely to the fashion industry but also transcended insurmountable boundaries as death, and left everlasting memories that could have only been left for someone as iconic as him.

374

375

One to Watch Forsthays

Photography by Emmanuele Contini Interview & Styling by Biki John www.bikijohn.com Photographer’s assistant Luca Andriollo

Polka dot scarf- Tiger of Sweden Herringbone tweed jacket- Cheap Monday Purple Corduroy trousers- Monki Purple watch- TRIWA

376 It is safe to say that Darren Dominique Davis- aka Forsthays- has travelled a long way to launch his debut solo album. In 2011, the Minneapolis native, best known for his work with the electronic band, Dearling Physique, travelled from Brooklyn, New York to explore the electronic music scene of Berlin, Germany. It is here that he intends to reside whilst he shapes and pours his experiences into his much-anticipated solo debut.

Forsthays’s vision to show people his ‘personal bombastic interpretation of pop culture’ led him to form the seemingly experimental band, ‘Dearling Physique’.

With him fronting the band, the group created an amalgamation of distinct fresh sounds (which Forsthays describes as, ‘industrial R&B music mixed with Shoegaze tendencies’) and highly conceptual videos which earned high acclaim and recognition from sources such as, Metromix’s “Artist To Watch”, MTV Iggy’s “Artist of the Week” and OUT magazine. Kaltblut catches up with the singer/songwriter/ producer that is Forsthays, to learn more about his new journey into sound.

Multi-coloured chain link necklaces- Shokay Light Grey shirt- Cheap Monday Beige trousers- Cheap Monday

377 Kaltblut: How are you today?

Forsthays: I feel great! And how are you?

Kaltblut: Presently, I can’t complain. So, being the lead singer of the critically acclaimed band, Dearling Physique which you founded in 2006, why have you now decided to go it alone?

Forsthays: Well, I feel in the last two years Dearling Physique accomplished so much, at least within our own expectations- that is, mine and the other present two band members. We reached a level where we had achieved our major goals by doing and saying everything we wanted to say with the project for the time being.

So I made a decision to step out of the band, move to Berlin and see if some of the things I had learned during the creative years of Dearling Physique would now render me more able to finally make this solo debut that I had always envisioned doing, but maybe years ago I wasn’t mature enough to do.

Kaltblut: How is your debut solo album coming along?

step inside another character and mind-set, and I feel that if I can convince myself of my ideas, and manifest this then I can convince other people, and for me fashion is a medium to do this.

Kaltblut: Who are your favourite designers?

Forsthays: I only started paying attention to fashion in the last four years or so, and I find myself drawn to designers with an avant-garde appeal like Alexander McQueen, Gareth Pugh and Henrik Vibskov.

Kaltblut: In videos such as Dearling Physique’s, ‘Discipline Your Hand’, one can see a charismatic, theatrical element as well as a strong sense of movement emanating from you, did you study dance, theatre or film?

Forsthays: I studied all of the above. I studied contemporary dance via different private coaches and small institutions in the States. My background is actually in theatre and film/television, and this is what I did from the age of seven until I was eighteen.

So with my singing career, I have always tried to combine all the methods of expression I learned to create one big, beautiful thing.

Forsthays: It has been a long process because as well as having my own ideas, I have worked collaboratively in trying to figure out what ‘Domino’ would sound like and what the concept of the album would be.

Kaltblut: Are there any music producers you would love to work with in the future?

However, within the last three months I’ve finally hit it right on the head with what I’m trying to achieve with the album.

Forsthays: Yes there are, I’m really impressed by everything that Trent Reznor and Atticus Ross do. I also have this hope that I will be at a place where I can work with Nigel Godrich, who is famous for the work he did with bands like Radiohead and Beck.

Kaltblut: How would you describe the sound and direction of your forthcoming album?

Forsthays:The music is still very much rooted within pop, but the older I get, the more I gravitate towards R & B sounds vocally. My music has always had traces of R & B in it because of my style of singing. So with my solo album, the music is leaning towards a quirkier sound of R & B with some interesting poststep production techniques which references bands like Subtract or Burial.

Kaltblut: You mentioned that your style of singing has always had traces of R & B. Growing up, which R&B artists did you listen to?

Forsthays: I grew up with a lot of Motown music playing in my household, so everything and including artists like Gladys Knight & The Pips, Earth, Wind & Fire, Al Green and Aretha Franklin.

Kaltblut: Dearling Physique is very well known for its strong visual videos; this time around, what kind of relationship would you want your videos to have with the music from your debut album?

Forsthays: The strong visuals and high concepts are still going to be present but what I will be doing differently with the music videos is I will be placing myself right in the middle of everything.

So with me being intrinsically at the center, there will be some changes, like for instance the fashion will be a bit more grounded and real-to-life. Overall, I would say the videos will look a lot more ‘raw’.

Kaltblut: Speaking of fashion, from your music videos like, Dearling Physique’s, ‘Terrible Mind’, one could say you are a, ‘man of stylish and experimental tastes’.

When it comes to fashion, how important is your visual appearance in videos?

Forsthays: Fashion for me is such an important thing in music

videos as it helps to convey additional subtleties within the music that maybe one is not able to express with the voice or with an electronic beat. Also fashion has always been a way for me to

Kaltblut: Are you writing all the tracks on your solo album?

Forsthays: Yes, I am doing all of the song writing and I am sharing production responsibilities with Michael Robb.

Kaltblut: Do you find it a challenging process having the responsibility of writing and being accountable for all the tracks on your solo album?

Forsthays: Absolutely not, I feel like whatever I want to say is going to come out one way or another. I think that there is no way of pleasing everybody, so I just continue writing with the knowledge that at least, what I am trying to say will come out and if people choose to accept it, then great, and those who don’t perhaps will in the future.

Kaltblut: When is the anticipated release date for your debut album?

Forsthays: Right now, I feel the industry has reverted to the mindset of thinking in terms of singles, so we are planning the single first which will be launched globally in November 2012. The full length album will probably be released in Spring/Summer next year.

Kaltblut: The theme for this Kaltblut issue is ‘iconical’, what does the word mean to you?

Forsthays: I think iconical means a good awareness of oneself and I think the more aware you are of yourself, the more capable you are of empowering yourself and others.

Kaltblut: In your mind, who is iconic?

Forsthays: I like that question and it requires some thought. I’m going to get flack for this but I have to say Michael Jackson is iconic because his theatrics, stage productions, dedication to his craft and everything that he did was what inspired me to become an entertainer when I was a kid. Also I have to put David Bowie

Black shaggy cardigan- 5 Preview Leopard print trousers- Cheap Monday Black vest, boots- Domino’s own Acid- green belt- Cheap Monday Purple and mustard headphones- Urbanears Purple watch- TRIWA

378 on that list, because what Bowie did in the 70s with his Ziggy Stardust concept and bringing it to people and taking it to the East Coast was incredible, so he amazes me too.

Kaltblut: Growing up, did you always want to be a singer?

Forsthays: No, even though I grew up singing, I never thought that I would eventually pursue it as a career. Growing up I was really into theatre and dance, I also loved cooking and for a time I flirted with the possibility of becoming a chef.

Kaltblut: Which do you prefer, recording and jamming in a studio or the public performance of a live gig?

Forsthays: Performing live for sure, because of the exhilaration and instant gratification.

Kaltblut: Out of all the cities you could have chosen to work on your debut album, why Berlin?

Forsthays: Berlin is a city that has always fascinated me because of the electronic music scene and because of the kind of music that I make, I really wanted to come and jump into the city to see what new influences I could take from it and how it would change my thought process.

Kaltblut: How would you say Berlin has influenced the assembling of your album?

Forsthays: Well the one thing I would say about that is the pace of Berlin has forced me to relax a little bit and I think that when I relax, I see things differently because I am slowing down to a different pace and rhythm. And this affects the album because it changes my thought pattern, the words I have to say and with new experiences come new sounds.

Kaltblut: What do you think of the music scene here?

Forsthays: I think Berlin is a very special place for music and there is a great advantage for DJ’s here. But from a live performance point of view/music that includes vocals, I feel that there isn’t a music scene here. There are lots of musicians and people who play instruments here, but to me this does not foster a music scene. In my opinion, it’s also definitely not a city for pop music which is interesting to me as this is the music that I am most familiar with.

Kaltblut: Which track can’t you get out of your head at the moment?

Forsthays: Grandloves by Purity Ring Kaltblut: When you are not working,

379

„I flirted with the possibility of

becoming a chef “

Assortment of knit & metal necklaces- Shokay T-shirt- Cheap Monday Leather jacket- Domino’s own Navy blue jeans- Cheap Monday Black and silver belt- Scotch & Soda

380

381 what do you do to relax…legally?

Forsthays: I like to cook, and the ingredient I enjoy using most is sweet potato.

Kaltblut: Could you tell us something about you that nobody knows?

Forsthays: I am Obsessive-Compulsive about some things and it’s always a new thing that’s dependent on the environment I am staying in.

Kaltblut: Really? So since moving to Berlin, what are you newly ObsessiveCompulsive about?

Forsthays: I need to always make sure that the stove top is turned off.

Kaltblut: I do that too! Yesterday I went all the way down four flights of stairs in my flat only to come back up and check my stove because I was so paranoid! Apart from music, what inspires you as an artist?

Forsthays: Film, I get a lot of inspiration from actors who are wholly rooted and committed to their craft, who can make you believe the theme of the movie no matter how far-fetched the plot seems. I’m also really moved by cinematography, for instance the Diane Arbus exhibition I went to was incredible.

Kaltblut: Which three musicians dead or alive, would you like to have seated with you at your dinner party?

Forsthays: David Bowie, Karen Dreijer Anderson (from The Knife) and Aaliyah.

White kaftan shirt- Weekday collection Black waistcoat- Weekday Black trousers- Cheap Monday Black hair and moon necklace- Bjorg Black and silver belt- Scotch and Soda Black watch- TRIWA

www.forsthays.com

382

383

Photography | Neda Rajabi Models | Jaike / Ilka Make Up & Hair | Maria Ehrlich using Armani Make Up Styling | Mahtab Soleymani

TWINS Jaike: Chain by Bala BoostĂŠ

384

Ilka: Blouse by Monki

385

lka: Skirt by Jane Norman, Bluse Monki, Chain by Bala Boosté

386

Jaike: Blazer by Monki, Panties Wolford, Chain:Vintage

387

388

Jaike: Blazer by Monki, Ilka: Dress by Monki, Kette Weekday

Ringier Publishing Publisher of “Monopol – Magazin für Kunst und Leben” Enquiries: Melanie Jaworski, mj@gallery-apps.com Friedrichstr. 140, 10117 Berlin, T +49 [0]30 981941-162

www.gallery-apps.com

W W W. B R U M N J A K . C O M

Custom, top-quality apps for galleries and museums.

At a fraction of the cost of a dedicated programmer.

Developed with the world’s leading galleries.

390

Andreas Lohaus KALTBLUT is invited at the BLOOOM 2012. The world’s first interdisciplinary fair for convergent art in Cologne. BLOOOM takes places at the same time as the 10th ART.FAIR Cologne.

THE fair for modern and contemporary art. We had the chance to spend 2 days with the director and creative mind behind both events . Andreas Lohaus. We spoke about the differences of BLOOOM and ART.FAIR, about his work and how he finds a way to relax after 10 years of art. May I introduce you to Mister ART. FAIR: Andreas Lohaus!

Interview by Alexander Danner & Marcel Schlutt

KALTBLUT: Hello Andreas. How are you? We had two lovely days with you in Berlin. You took us to the Preview Art-Fair and we had the pleasure of talking to you about BLOOOM 2012.

But can you tell our readers: What is the concept of BLOOOM? ANDREAS: BLOOOM is the world’s first interdisciplinary fair for convergent art. The fair devotes itself to the moving of different artistic forms of expression on each other, meaning how they converge. BLOOOM presents artists who play with genre boundaries. Again in 2012, young international gallerists and art projects will emphasize, with impressive interdisciplinary art presentations, that young artists do not only make use of traditional forms of expression from the fine arts. By the way BLOOOM takes place within the same time frame and space as ART.FAIR | Fair for modern and contemporary art.

KALTBLUT: Congratulations from us, cause you celebrate this year 10 years of ART.FAIR. How do you celebrate that?

10 years is a lot in our very busy times.

ANDREAS: Thank you very much. We celebrate our jubilee with a great fair full of exciting art of course. But since a great birthday needs a great party we will have that as well with the CITROEN Vernissage Party. Additionally, people should prepare for an outstanding fashion show which we prepare together with KALTBLUT magazine.

KALTBLUT: What is the difference between BLOOOM and ART. FAIR? ANDREAS: ART.FAIR is a traditional art show in comparison to BLOOOM. During the last ten years it has developed to an established platform of well reputed artists and galleries from all around the globe. BLOOOM is more colorful, younger and represents young galleries and emerging artists. Last year, the most expensive artwork sold at ART.FAIR was about 11 million Euros. At BLOOOM you can buy works of street art artist for about 200 Euros. The fair gives the opportunity to experience artistic borderlands like design, fashion, photography, street and urban art.

KALTBLUT: How has the concept of ART.FAIR changed during the last 10 years?

ANDREAS: ART.FAIR has grown from an Off-Show to one of the biggest art fairs in Germany. So the program of the fair has been cautiously enhanced. But we have always been sticking

to our roots as well and focusing on the presentation of young extraordinary artists.

KALTBLUT: Doing this kind of job must be very stressful.

But you are full of positive energy. Where do you get this from?

What are you doing to relax?

ANDREAS: My profession might be one of the best jobs in the world. I am always looking for great art. I don‘t feel any stress.

KALTBLUT: This year, the BLOOOM Award by WARSTEINER was announced internationally. I find this step very important not only for art, but for all artists of all disciplines.

What fascinates you about the diversity of the symbiosis of art, design, fashion, architecture and literature?

ANDREAS: Stepping beyond borders always demands bravery and an individual style, which works as your guidance when you dare to explore something new. That’s what’s really tempting me and that’s what BLOOOM Award by WARSTEINER is about: Being brave in order to create something new off the beaten track.

KALTBLUT: The idea of our magazine is mixing art, fashion and media. We invite young artists to be creative as much they want with each theme. And we are always surprised with the fresh energy. Do you think there is a market for a magazine like us?

Without rules and attitude?

ANDREAS: Definitely. Print market is a highly competitive one.

The one who is exchangeable will be exchanged by time.

So it’s necessary to have your own style and profile – just like successful art.

KALTBLUT: Art is not easy to understand for each person out there. What does art mean to you? Do you think art can change someone‘s point of view?

ANDREAS: Art is a reflex of the presence. It is more about the idea than about the result of artistic work. Great art is an idea which stands for itself, which can`t be used for second purposes. By the way, this is one of the reasons why we founded the ART.FAIR agency this summer. As an agency we provide our ideas for our customers in order to position them in the exciting context of the art market.

KALTBLUT: Andreas, thank you very much for this interview.

391

392

KALTBLUT is calling all artists!

Theme is: Ice-land – Nature, Legends and Myths!

The 4th issue will be focused on Iceland, Norway, Sweden, Denmark and Finland. The north, it is all about nature, legends and myths.

What inspires you?

What are your visions when you think about the north?

Do you want to share your vision with the rest of the world?

Be it fashion, articles, photography, art, if this theme speaks to you, if you play with this theme, contact us!

393

Artist from Iceland, Norway, Sweden, Denmark and Finland are more then welcome to work with us. But if you live in Spain, China, Australia or somewhere else in the world and you get inspired by the theme you are also welcome.

BE PART OF COLLECTION 4! collection4@kaltblut-magazine.com

Photo by Rut Sigurdardottir

ART 394

We have selected 6 events we would kill to go to. We can’t afford travelling the globe but there’s surely something near you that you will get excited about.

Thoughtfully selected by Amanda M. jansson & Emma E.K. Jones

New Yorkers and visitors you have the unique chance to view the pastel on-board version of one of the most important and haunting paintings in the 20th century history up close. Lent by a private collector, the painting will prove that overexposure does not touch it. Everyone who has experienced it being exhibited will certify that the hairless agonizing screaming figure on a bridge, is portraying the angst of modern life like no other painting will probably ever manage to. It will be installed and displayed along with a variety of prints by Munch and MoMA is known to possess some of the best when it comes to this Norwegian symbolist genius.

MoMA, fifth floor, October 24.2012 – April 29.2013 -Edvard Munch: The Scream.

The Museum of Modern Art 11 West 53 Street New York, NY 10019 www.moma.org The Museum of Modern Art, designed by Yoshio Taniguchi. Entrance at 53rd Street. © 2006Timothy Hursley

Berlinische Gallerie. Museum of Modern Art, October 05.2012 - January 28.2013 -The Shuttered Society: art photography in the GDR 1949-1989 Berlinische Gallerie. Museum of Modern Art Alte Jakobstr. 124-128, 10969 Berlin www.berlinischegalerie.de/ You might think this is something you‘ve seen before but it really isn‘t. This is the first complete and comprehensive Erasmus Schröter, Young man with glasses , Leipzig 1985 exhibition of art photography as it defines tradition, trends, and identity in the GDR. The photographers‘ work filled with © Erasmus Schröter, Sammlung Berlinische Galerie, Berlin different strategies, cultural policies, and techniques seeks to allow the viewer to discover the character, motivation and language of every picture. Apart from pure art and pure photography you also get a taste of life in the GDR as it truly was, depicting real social and personal conditions. Several generations of artists are on display allowing you to notice the change in use of the medium, the change in subjects and the gradual disillusionment and reinvention.

T

395 Tate Britain, September 12.2012 - January 13.2013 -Pre-Raphaelites: Victorian Avant-Garde Tate Modern, Bankside, London SE1 9TG www.tate.org.uk Ford Madox Brown, The Pretty Baa-Lambs 1851-9 Birmingham Museums and Art Gallery, purchased 1956

One of our very favourite movements in art, Britain‘s first true moderns are represented with over 150 paintings, sculptures, and even photographs. Combining beauty, rebellion and precision the Pre-Raphaelites rebelled against the norm of the dull Victorian art world. The links with the avant-garde are obvious: unorthodox, reinventing art. Some of the paintings are more than well known but some of them are rare masterpieces that have remained hidden for some time. A strange secular world is letting you in, to experience the real meaning of fine art, but also have a glimpse at the fast changing religious and political background of the fin-de-siecle in Britain.

Grand Palais, Galeries nationales, September 26.2012 – January 14.2013 -Bohemias Rmn-Grand Palais , 254/256 rue de Bercy 75577 Paris CEDEX 12, www.rmn.fr/english Claude Monet „Sunrise“ 1872 Bohemia is a modern myth that has acquired iconic status, no doubt about that. The Bohemian first appeared in the mid-19th century coming to it‘s peak in towards the end of the century and its decadent movement. Poets such as Baudelaire, Rimbaud, Verlaine and painters like Van Gogh, Picasso, Courbet helped define the notion of Bohemia. It is just perfect to view this movement in the place it would call home, in Paris. In this exhibition the evident link between the Romani people‘s lifestyle and that of Bohemian artists is explored. Over 180 works that should work better than absinth, accompanied by entrancing sounds.

Bohemias, a mix of misery and glory, of youth and eternity, are bound to be constantly resurrected one way or another.

396

Los Angeles LACMA, October 21.2012 - January 06.2013 -Drawing Surrealism LACMA, 5905 Wilshire Blvd, Los Angeles, CA 90036 www.lacma.org Alfonso ossorio Untitled 1944 Ink and water on paper Š 2012 Alfonso Ossorio Estate. Photo Š2012 Museum Associates/LACMA

This show includes about 200 works representing 90 artists from 16 countries. Obviously it is about surrealist drawings, some of them by icons like Dali, Miro, Ernst and some of them by lesser known Western and Eastern artists, from Japan, and America, where surrealism had an equally big impact. Surrealism, the movement of reinventing, redefining, experimenting, breaking through, is presented through the most ground breaking medium, that of sketches and drawings, the actual birth of ideas, even though they often go wrongly unnoticed. The magic of surrealism and many of the art fields related to it (such as exquisite cadavers, collage, decalcomania etc) are most alive in these basic drawings, that wont fail to trap you into their realm.

THE T-SHIRT ISSUE Shanghai Italian Pavillion, since March 2012 - January 31.2013 -Tradition and Innovation: Italy in China Shanghai Italian Center 989, Chang Le Road, Shanghai www.triennale.org

So you might be wondering what Italy and China have in common and you might think well, nothing. Yet these two ancient civilizations do share a lot and this amazing exhibition is going to prove it. Hosted in the Italian Pavilion, this exhibition, that is organized in partnership with the Triennale in Milan will present parallels between these cultures and civilizations so far apart by showcasing Italian fashion, designs, artifacts, and technology that are somehow also related to China and its culture. There are seven sections in this exhibition and Italian excellence is presented in all its glory.

397

CRAY

398 Christmas time is coming, betch!

You like it, you get it. Just pick the item you would like to have, write a nice-crazy-funny letter (ho yes we‘re a bit old-school, we love snail post!) with your name, your address, and the thing you want.

Zay

JUST ONE ARTICLE PER PERSON.

And we will pick the winner. Good Luck.

Your Kaltblut Team. Write to : Kaltblut Magazine, Grünbergerstrasse 3, 10243, Berlin,Germany.

Muschi Kreuzberg

4x Print T-Shirts 2 x Chantal + 2 x Bandana blue, unisex www.muschikreuzberg.de

Christine and the Queens

Just Pure

1 x Just Pure „Homespa Set“

2x Ep:„Mac Abbey“ www.christineandthequeens.com

www.justpure.com

Canon

1x IXUS 510 White www.canon.com

399

Dark Dark Dark

2 x Albums: „Who Needs Who“ www.brightbrightbright.com

Marcell Von Berlin

1 x Shopper Bag BrainStorm www.marcellvonberlin.com

SPR+

1x Light grey jogging pants XL www.sprmrkt.nl

Umlala

2x Albums:„Stand Go Show Out“ 2x Hand signed lithography by the band www.umlala.com

MYKITA

3x Lit Sun Bo Sunglasses

www.mykita.com

400

KALTBLUT Magazine Grünbergerstrasse 3 10243 Berlin Germany www.kaltblut-magazine.com www.facebook.com/kaltblut.magazine www.twitter.com/kaltblut

Info info@kaltblut-magazine.com

Press press@kaltblut-magazine.com

Adverstising advertising@kaltblut-magazine.com

Events events@kaltblut-magazine.com

KALTBLUT Magazine is published by KALTBLUT Media UG (haftungsbeschränkt) CEO: Nicolas Simoneau, Grünbergerstr. 3, 10243 Berlin, Germany

400 pages. Here we are. The End. Really? Is that so? The end of the Icons.

But does an Icon ever die?

Someone you idolize, someone you look up to in your daily life. An Icon is like a God, an Icon does NOT disappear. The face, the behavior, the attitude will always remain. The body might die, but the soul is forever.

You live through this person, somehow wishing that you WERE him or her.

But why?

For each Icon that we create, we lose a bit of our self-esteem. It might take some time, but we have to learn to love and accept ourselves for who we are, we need to learn to respect ourselves.

We can’t always live vicariously through other people, famous or not.

Role models? Yes i have a lot of them. Some famous, others not at all. People that i respect, people that i admire. But looking back in time, I can say that I do admire myself too.

Collection 3, Iconical, is now officially done. I wanted to wrap up this edition by talking about “Twilight of the Idols”, a sublime novel written

by Friedrich Nietzsche, but the truth is, I didn’t read it. No time. I initially wanted to talk to you about Britney but really, Britney?

These past three months my Icons were my computer, black coffee and cigarettes. Needless to say that right now i look like a zombie.

This thing, that you’re holding in your hands right now, (I am NOT talking to you, online readers! Just kidding), this paper, this Magazine is the culmination of so much hard work, so much energy, so much talent, so much love, so much Inspiration, so much passion and so many tears. I will never be able to thank all the persons who made this possible and without whom this could never have happened, enough: from the photographers, to the models, the writers, the young (and not so young) talented Artists and of course my friends who where nice enough to bring me food while I was sitting at my desk working.

All of these feelings make this Magazine so special.

THIS is only here because of you, and will only live thanks to you.

This is a magazine for readers by readers.

Thanks.

401

402

www.kaltblut-magazine.com

BUY OUR FIRST PRINT ISSUE 404 pages - 1,4 kg - 24 cm x 33,7 cm - 32 euro Delivery time 1-2 weeks

403

You want a magazine with content?

You’ve just been served: more than 20 Fashion editorials, 17 interviews, plus articles, photo stories and portraits.

This is what you’ll find in our 404 pages XL format around the theme ICON.IC(AL) More than 50 contributors from all around the world.

Be a part of our history and get your KALTBLUT-MAGAZINE first print issue.

Click here to get your copy: http://www.kaltblut-magazine.com/collection-3-print-order/

404

A

C

F

www.agentprovocateur.com

www.c-and-a.com

www.falke.com

CARI

FABEL

CASIO

FERNANDO PIRES

CHEAP MONDAY

FRANGOS S.A. FRIOA FRAENKA FOREVER 18

AGENT PROVOCATEUR AGI & SAM

www.agiandsam.com ALEXANDER MCQUEEN

www.alexandermcqueen.com ALEXANDER SHABANOV

www.notjustalabel.com/ alexandershabanov ALL SAINTS

www.allsaints.com ALISSA ZILLMANN

www.alisazillmann.de AMERICAN APPAREL

www.americanapparel.net AND_i

www.and-i.net ANOUKI BICHOLLA

www.anouki-bicholla.com APPOLOKRIEG

www.apollokrieg.com Area Barbara Bologna

www.lab-area.com AREZZO

www.arezzoco.com.br ARTEMKLIMCHUK

www.artemklimchuk.com ARTLESS

www.artless.co.uk AVANT APPAREL

www.avantapparel.co.za AYALA BAR

www.ayalabar.com

B

BALANÉ BALA BOSSTÉ BALMAIN

www.balmain.com

C&A

www.houseofjazmin.com www.casio.co.uk www.cheapmonday.com CHRANQ

www.chranq.com CHRISTOPHER SHANNON

www.christophershannon.co.uk CRISTIAN LOUBOUTIN

www.christianlouboutin.com CLIVE RUNDLE

www.cliverundle.com COMMES DE GARCON

www.comme-des-garcons.com CONVERSE

www.converse.com CORRIE NIELSEN

www.corrienielsen.com

D

DALLI Damir Doma

www.damirdoma.com DAVIDELFIN

www.davidelfin.com DEGENEROTIKA

www.notjustalabel.com/ degenerotika DEL TORO

www.deltoroshoes.com DUCKIE BROWN

www.duckiebrown.com DUNCAN STEVENS

www.duncanstevens.com DUO STYLE

BASSO & BROKE

www.duostyle.fr

BERNARD CHANDRAN

www.dolcegabbana.com

BETTY BLUE BEYOND RETRO

www.drmartens.com

www.bassoandbrooke.com www.bernardchandran.com

DOLCE & GABBANA DR. MARTENS

BILL + MAR

E

BJORK

emmanuelkatsaros.com

BJORK SKARPHEDINSDOTTIR BORDELLE

www.empiresunion.com

Boris Bidjan Saberi

ESPACO FASHION

BOSS ORANGE

ESTÉE LAUDER

BOY LONDON

EUGINE LIN

BURBERRY

EVA BRA BARKADOTTIR

www.beyondretro.com www.billandmar.com www.bjorkjewellery.com www.bordelle.co.uk

www.borisbidjansaberi.com www.hugoboss.com www.boy-london.com www.burberry.com

FALKE

www.fabeldesign.com www.fernandopires.com.br

www.forever18.de FIONA PAXTON

www.fiona-paxton.com

G

GATA BAKANA

www.gatabakana.com.br GOTHSTUDIO

www.gothstudio.wordpress.com GIANNI VERSACE

www.versace.com GINA TRICOT

www.ginatricot.com GIORGIO ARMANI

www.armani.com GIVENCHY

www.janenorman.co.uk JEFFREY CAMPBELL

www.jeffreycampbellshoes.com JEREMY SCOTT FOR ADIDAS

www.adidas.com JENNIFER MORRIS

www.jennifermorris.co.uk JIMMY CHOO

www.jimmychoo.com JOE DE MER

www.jodemer.com.br JULIAN ZIGERLI

www.julianzigerli.com JUNN J

www.juunj.com JUST PURE

www.justpure.de

K

KAROLINE PREIS

www.karolinapreis.com

www.shape.com

KIREEVA

GLAW

L

www.glaw-berlin.com GRENSONS

www.grenson.co.uk

H

HAPPY SOCKS

www.kofta.co.ua www.kireeva.com.ua

LARA BOHINC

www.larabohinc.com LAURA BIAGIOTTI

www.laurabiagiotti.it

HENDRIK VIBSKOV

LAER LALA BERLIN

HILDUR YEOMAN

LAVIN

Individuals Amfi

LEICA

HORACE

LEUTTON POSTLE

HOUSE OF LIZA

LEVIS

HUMOR

LYGIA E NANNY

H&M

LIBIDEX

www.happysocks.com www.henrikvibskov.com www.hilduryeoman.com www.individualsatamfi.nl www.notjustalabel.com/horace

EMPIRE´S UNION ESCADA

www.hm.com

www.eugene-lin.com

JANE NORMAN

GISELE BUDNCHEN FOR SHAPE

www.humorclothing.com

www.esteelauder.com

www.jameshock.co.uk

KOFTA

EMMANUEL KATSAROS

www.espacofashion.net.br

JACKIE TADÉONI JAMES HOCK

www.givenchy.com

www.houseofliza.co.uk

www.escada.com

J

www.lalaberlin.com www.lanvin.com www.leica.de www.leuttonpostle.com www.levistrauss.com www.lygiaenanny.com.br www.libidex.com LITKOVSKAYA

www.litkovskaya.com LOST PROPERTY OF LONDON

www.lostpropertyoflondon.com LUCIAN MATIS

www.lucianmartis.com

405

M

P

T

Y

www.scotch-soda.com

www.patbo.com.br

www.tatachristiane.com

www.y-3.com

MAISON SCOTCH

MAISON MARTIN MARGIELA

www.maisonmartinmargiela.com MARSHALL HEADPHONES

wwwmarshallheadphones.com MARY OH

www.maryoh.com MARY KATRANTZOU

www.marykatrantzou.com MARINA RYBALKO MELISSA

www.melissa.com.br MÜHLBAUER

www.muehlbauer.at MARC JACOBS

www.marcjacobs.com MURMUR

www.murmur.ro MIEZKO

www.miezko.com MILLIE COCKTON

www.milliecockton.com MINIMUM

www.minimum.dk MYKITA

www.mykita.com MONKI

www.monki.com Monique van Heist

PAT BO

TATA CHRISTIANE

PAUL ROSEN HERITAGE

TAKKO

PAUL & JOE

TASCHEN VERLAG

PERRY ELLIS

TAMZIN LILLYWHITE

PHILIPPE STARCK

TBA

PRPS

TERRY MUGLER

R

THE SUMMIT THEYSKENS´ THEORY

www.paul-rosen.com www.paulandjoe.com www.perryellis.com www.starck.com www.prpsgoods.com

www.takko-fashion.com www.taschen.com www.tamzinlillywhite.co.u www.ilovetba.com www.mugler.com www.theyskenstheory.com

RAG BONE

TIGER OF SWEDEN

www.rag-bone.com

www.tigerofsweden.com

RAY BAN

TRICKER´S OF ENGLAND

www.ray-ban.com

www.trickers.com

RAYAN ODYLL

TOPSHOP

www.odyll.com

www.topshop.com

RICK OWENS

TOPMAN

www.rickowens.eu

www.topman.com

ROKIT

TRINITAS

www.rokit.co.uk

www.trinitas.soleils.org

S

TRIWA

www.triwa-watches.nl

www.savanald.de

www.tuscia09.com

T-SHIRT ISSUE

www.t-shirt-issue.com

www.moniquevanheist.com

SAVA NALD

TVSCIA

Mise en Cage

www.misencage.com

SCHOTT (PERFECTO)

MOSCHINO

www.moschino.it

SEBASTIAN ELLRICH

MUUBAA

SELECTED FEMME

U

www.muubaa.com

N NAYO P.

www.nayop.com NELLY NEGARIN

www.negarinlondon.com

www.schottnyc.com www.sebastianellrich.com www.selected.com

UTE PLOIER

SHOKAY

www.sprmrkt.nl

V

SPIJKERS EN SPIJKERS

www.vagabond.com

www.selimdesomavilla.com www.shokay.de SPRMRKT

www.spijkersenspijkers.nl STARSTYLING

NOSTALGIA NICO SUTOR

STRASS

www.nicosutor.com NIKE

www.nike.com NIKITIN

O OMUT

www.klimovaaccessories.blogspot.de

www.unitednude.com

SELIM DE SOMAVILLA

NEW ERA

www.neweracap.com

UNITED NUDE

www.starstyling.net www.strass.com STELIOS KOUDOUNARIS

www.uteploier.com

VAGABOND

VALENTIN PYAU VASSILIOS KOSTETSOS

www.kostetsos.gr VELRA

www.velar.com.ua

www.stelioskoudounaris.com

VIVIENNE WESTWOOD

STEINUNN HROLFSDOTTIR SUNSPEL

VITORINO CAMPOS

www.sunspel.com SO HIGH SOHO

www.sohighsoho.co.uk

www.viviennewestwood.co.uk www.vitorinocampos.com.br

W

OUTFITTERS NATION

WALTAO BOOTS WEEKDAY

OPTO ONLY

WEINMANN ARCHIVES WOLFORD

www.outfittersnation.com www.de.only.com ORLYGSDOTTIR

www.orlygsdottir.com

www.weekday.com www.wolford.com

Y3

YANA HILCHENKO Yohan Sarfati YVES SAIT LAURENT

www.ysl.com

Z

ZELO ZIAD GHANEM

www.ziadghanem.co.uk

1

100UND1

www.100und1.com 5 PREVIEW

www.5preview.de

406