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Issue 12 Change pyper america photographed by nikko lamere






Welcome to the twelfth issue of KNEON Magazine. Join us in an exploration of our generation, and conversations with fierce creatives who dare venture beyond the expected. Victoria jin

editor-in-chief & founder



contributors Zoe Hancock / stylist Current location: Manchester 'Change' is: less about the future and more about taking the past and reconstructing it into something new that relates to the now. favorite things right now: I am currently obsessed with the Petite Meller Baby Love video, Coach's SS15 collection, and Mark Bridges' costume design in the film Inherent Vice

AIMEE HAN / photographer Home is: Where you are not questioned Current location: Traversing New Zealand 'Change' is: To evolve favorite things right now: Astronomy, chutney making, running

dasha pliska / illustrator Home is: Ukraine Current location: Odessa 'Change' is: Striving for the better favorite things right now: drawing, nature, pizza

stephane sb / photographer & graphic designer home & Current location: Paris 'Change' is: To stop eating Nutella and Mcdonald's for more than 3 months in a row. favorite things right now: My bed, my pillow and my comforter.



Danner Milliken for kneon magazine




Editor-in-Chief & Creative Director VICTORIA JIN

Editorial Assistant

Lucy henshall

Music Editor

Harry Fisher Jones

Film Editor

James roberts

Advertising Director



krystalina tom, Miki nathan, nyree waters

Contributing Photographers

Eric Yun, Daria Svertilova, Stephane Sb, Vins Baratta, Ysa Perez, Franey Miller, Aimee Han, Nikko Lamere, Sean Trayner, Ana Mercedes, Carmen Rose, Helen Kirkbright, Rupert Kaldor, Valeria Mitelman, Lauren Engel


KNEON Magazine





Part one:


8 Dasha Pliska for kneon magazine issue 12






A close-up with the Head of Visual Content at M&C Saatchi London. Interview Lucy henshall Photographed by Vins baratta

At just 26, Lydia Pang manages the infiltration of some of the biggest names in art and photography coming into one of the most famous advertising agencies in the world — all whilst rocking socks and sliders. Lydia shares insights and reflections on her fast-paced kick-ass lifestyle with KNEON; how she made it, where she’s going and what keeps her moving. 11




"I am drawn to and respect strong women with bullish conviction and unforgiving opinions."

What advice would you give to your 18 year-old self? Stop eating fried noodles for breakfast you greedy cow. Buy an eyebrow pencil. Be nice to this boy you’re dating because you’re actually still with him 9 years on. Get your little nut head down and keep working so hard because I promise it all pays off. Oh, and, fuck them all. Healthy eating and exercise seem to be important to you, we would love to know more about how you manage it with your work. It’s very tricky not to eat every doughnut that casually surfaces around 3pm daily in the office, I’m not gonna lie. I do absolutely love food. I love eating out, and it’s a big part of my social life and part of networking, you know, attending boozy private views and events. When I’m at work I eat food that fuels me and I never just thoughtlessly grab something shit and quick, I always plan my meals and make time to have a proper breakfast, lunch and dinner. I also love spinning; I’m completely addicted to Psycle London. It’s hardcore spinning but in the dark and to R&B tunes so dare I say, it’s actually fun! My weeks are busy and I do often feel

the hours just disappear and so I try and mix exercise with seeing friends I want to catch up with. My bestie and I will do a Saturday morning class and then have brunch after. So for me exercise becomes a positive part of my week, not a painful ugly necessity I need to make time for. I avoid all naughty food in the office, I just shut my eyes and pretend it isn’t even there. Portfolio breakfast meetings are tricky when agents bring in Gails bakery treats, delicious savoury morsels casually covered in melted cheese and I’m literally stood there eating a plum like..’NAH I’m good’ *ironic thumbs up* I’m one of those people who eat super healthily in the week and then I go wild on the weekend! That’s how I roll and it works for me. Looking sleek and fierce everyday is a strong statement about identity. How would you explain your personal style and the value of identity in the creative industry? This is such a massive question! My personal style is a basic uniform of black minimal tailoring and layering. Androgyny mixed with flirty textural accents. I’m just an old emo kid and art history geek obsessed with the Surrealists, so I basically endeavour to look like a Man Ray photograph every day of my life. I love

getting dressed in the morning and I am a big believer in the self brand, I think that you only get one shot at each day and so why not show who you are on your literal sleeve and put the best version of yourself out there every day. Make that day matter. I was brought up by a woman who puts heels on to hoover, do you know what I mean?! My mother is incredible. She applies flawless makeup every single fucking day even if she isn’t leaving the house. She is a really strong presence in a room, she commands people’s attention because she is so individual and she always encouraged me to express myself through clothes. I used to get told off the whole time in school but she’d always have my back. I make an effort to dress in clothes that represent who I am because it gives me confidence. You just never know who you’re gonna meet or where that day is going to take you. I dress for opportunities and chance meetings that haven’t happened yet, but i’m always ready, with my ridiculous eyebrows on! I’ve managed to get myself into a lot of the right rooms and I swear I wouldn’t of done so well so fast had I not dragged my arse out of bed every day, no matter how fucking tired, and put my slap on and curated a outfit that represented my mood, a trend and my skills. What you wear is one of your



"I like people who are better than me, I think it’s really important to work with people you respect and can learn from because then you grow."

most powerful silent tools. It takes no explaining and can assert you as someone who is engaged and confident enough to wear your mind.

Fashion icon?

A few questions. Tea or coffee?

What qualities do you look for, and/or admire in the people you work with?

Flat white with Almond milk ideally. Best thing from the 90’s? My sister being born, the rise of the puffa jacket, the band Hole and the film The Craft. Favourite city? Don’t make me choose! New York, London, Hong Kong all mixed into one. Something that’s so terrible it’s amazing? Anything made from PVC paired with fake nails. You can have any pet in the world, what is it? My boyfriend and I are desperate for a little dog, but we both work such long hours it’s impossible. But in a dream world I want either a mini pinscher or a mini italian greyhound. And I’d call him Nori.


Rei Kawakubo because she is modest but badass.

I look for people with a naturally good eye, who know their art history, know their trends and know the cool people out there we should be commissioning. I cannot stand moaners, I need people with morale at 3am on a Sunday when we are working on a pitch. It’s those people who put on Ashanti tunes and make cups of tea to rally a tired team that are the best. I admire people who use their initiative and seek out opportunities to better the work we create without worrying what people think of them. I like people who are better than me, I think it’s really important to work with people you respect and can learn lots from because then you grow! Creativity is all about challenging the idea and each other and pushing things as far as they can go and so to work with brave people, who know themselves and what they’re about, is the ideal. When you finally have some time off, where are your favourite places in London to roam?




London is such a strange beast, it’s constantly changing, which means this answer will likely be different by tomorrow. However, at the moment, I like nothing better than wrapping up warm and going for a Saturday morning walk through Maltby Market - near where I live in Bermondsey - and having a coffee and a Monty’s Deli salt beef sandwich. Roo - my boyfriend - and I like going for a bike ride along the river and meeting friends to walk their dogs along the canal. Favourite watering holes at the moment are Bermondsey Arts club, Hix Soho, The Ape&Bird, Bob Bob Ricard - who also do an epic Beef Wellington - or Lounge Bohemia. I would love to have all the time in the world to go around all the galleries and have a quiet jasmine tea in DSM while I admire the beautiful unaffordable things. And I generally love anything that pops up at The Vaults in Waterloo and my mates project FORZA WIN. Also a big lover of trashy emo shopping in Camden followed by dim sum in Chinatown, but I’m not gonna tell you the best place because it’s my secret. Could you tell us about any up and coming photographers or artists you’re excited about right now? This is by far the best thing about my job, scouting amazing new talent. Discovering the people that are gonna shape how things look in the next few years is really satisfying. And I swear you can just feel it in your gut when you meet them and see their work that they’re gonna be massive. You almost get addicted to watching their work develop and seeing what projects they do. I obviously have a million die hard favourites


and I like different people depending on the brief or the project or how I’m feeling that week, but to answer your super hard question, I am currently obsessed with Hill & Aubrey, Maisie Cousins, Maurizio Di Iorio, Andrea Wan, Thomas Prior, Sevda Albers, Mystery Meat, Mark Sanders, Adeline Mai, Philippa Rice, Raul Romo, Andrew B Myers, Bobby Doherty, Tara Dougans, Charlotte Wales, Ren Hang, Aleksandra Kingo, Daniel Shea, Pippa Toole, Lena Emery... oh and I also really like what ZUT ALORS! and Fourteennineteen are about. It is really inspiring to see someone so young running a department in a big Ad agency! What have been your biggest hurdles in making it so far, and how do you overcome them? You are your biggest hurdle, I know this sounds completely wanky, but it’s the truth. Believe in what you know and believe in your ability and just graft and put in those long-ass hours. It wasn’t easy to get where I am now, I was the intern, I shovelled shit like all interns but I also grabbed every opportunity I could. Sadly advertising is still very much a boys club, so I strap on my metaphorical balls every morning and get on the ‘banter train’ because you’ve gotta give as good as you get in this industry. When I got a job in Art Buying I realised that having knowledge was the ultimate power and the more you research and study visual trends and stay on top of talent and movements in the industry, the more you can speak up in meetings and create impact. It really is about getting up every morning and being bothered to put all you have into everything you put out there, be it your outfit, your attitude or how you approach the day. I

"I endeavour to look like a Man Ray photograph every day of my life."






always think it’s super important to embody and project the person you want to become. I am drawn to and respect strong women with bullish conviction and unforgiving opinions and so, although I may not be to everyone’s taste (and believe me I am not), I put myself out there and I don’t worry too much about what people think. If you’re really good at what you do then people will respect you, you don’t need to shout. They’ll just know, don’t fuck with her.

people you love and by the dreams you aim to fulfil. My boyfriend, my family and my best friend, the people that have known me forever, making these people proud is what drives me every day. I love pushing myself. My best friend and I always say, if you’re not scared then you’re not living the fullest life you can, and so I guess I like to be scared.

What was the best experience you had, that prepared you for what you do now?

On a good working day I get to brainstorm with the Creatives and we curate an idea, the client loves it, that idea is fucking cool and we set about making it. This is the best. Or I’m on a shoot and it’s all coming together and everyone seems really proud of how it looks. Or when I approach an up and coming talent for a big campaign. That is such an exciting feeling, to give someone a big campaign and watch them thrive and rise to the challenge. And also, a good working day can easily be defined by my appointments. I see two artists a day (illustrators and photographers) and if I meet someone wonderful and see a brilliant portfolio I’ll feel energised for the rest of the day. It’s what I get up for!

Best experience? Interning incessantly during school and uni, it taught me how hard it was out there and launched me straight into the belly of the beast. I believe interning and placements are really valuable and if you’re lucky you’ll shadow someone who will really show you what it’s all about. I knew what I wanted to study and go into because I eliminated what I thought I wanted at a young age, it saved me a lot of time and bother. Also, walking into a big building age 15 with a monobrow you didn’t know you had, wearing your new Doc Martens and a nervous smile, will toughen you up and make you grow the backbone you need to drive you forward. Nothing is scarier than that day. I studied Art History at the Courtauld and I loved my degree course, I had the best time just soaking up all that knowledge and training my eye to deconstruct imagery. I’m lucky that my job demands these skills and that I can use my brain bank of Art movements every day! What motivates you to succeed in all areas of your daily life? It’s that wonderful nervous feeling of bubbling potential and adventure. I’ve always been very focused and ambitious, my parents pushed me to do what I was good at and what made me happy and for that I am really grateful because that passionate mind-set has stayed with me. I think it’s the same as everyone isn’t it? You are motivated by the

What are the three best things that happen on a good working day?

Do you have a plan of where you want to be in 10 years? I’d like to have my own creative agency that specialises in artist management and creative collaboration. I’d like to have a workshop studio and a gallery. I want to be living and working between New York and London. I want an Eames chair. I want to create something for social good, something beautiful and noteworthy. I want to discover an incredible talent and launch them. I want to be really fit and own a house with brushed concrete floors. I want to be full to the brim with experiences and regrets and life wins. I want all of it.

Follow Lydia on Instagram @Lydia_Pang_





GIRLS WHO WORK AND PLAY Edited by victoria jin



A new series dedicated to THE Girl WHO IS PROUD TO BE CHARACTERISED by HER WORK AND VISION. SHE paintS HER destiny with dreams fuelled by tALENT AND determination. 22


in partnership WITH we dressed four such girls. get inspired by their vision and ability to combine work with play — ALL WHILE rePpING SS15. #KNEONXREISS 23



Photographed by eric yun


23-year-old Chinese-Canadian Alyssa Lau is the founder and buyer of New Classics Studios, a new sustainable e-commerce store. Alongside blogging at and constantly supplying stunning visual eye candy on Instagram, she never fails to be a babe-boss whilst running her multitude of digital projects.

KNEON Leone Trousers, Leone Jacket, Maya Black bag all REISS.



"When it all comes down to it, social media is a critical and paramount utensil in the world of branding."

Leone Trousers, Leone Jacket, Gem Piping top in white, Maya Black bag, Wayland heels - all REISS.



How do you balance your blog with running New Classics?

comprise your identity, Instagram is exactly the tool you want to use.

I'm currently a creative director and social media consultant, PR coordinator, style blogger, and everything else for New Classics! I've always found myself to be much more productive and motivated when I'm surrounded with all sorts of projects, so multi-tasking is almost natural for me at this point. As for a sense of balance, just taking mental breaks and grounding myself every once so often is a great way to put everything back into perspective.

Tell us about your routines and daily life habits.

Any productivity hacks to share? Answer your e-mails and watch TV at the same time. What are ambitions?



My main focus and long-term ambition at this point in my life is to grow New Classics Studios, and in doing so, continue sparking conversations about sustainability within the fashion industry and how we can better the environment and social standards of garment workers around the world. Your #GIRLBOSS idol? My mother, Verna Yiu. Can you share your thoughts on the importance of establishing an online visual identity these days? When it all comes down to it, social media is a critical and paramount utensil in the world of branding, and in order to showcase who you are and all the minuscule details that

At this moment in my life, every day is different. But in a typical creative day for me, I'd probably wake up at ten in the morning, lay in bed for an hour to answer e-mails, head to the studio to develop content for either New Classics' website or social media channels, meet up with my boyfriend, Eric, to discuss new marketing strategies, and throw in a quick outfit shoot for the blog. What items of clothing should a girlboss definitely have in her closet? A strong pair of black ankle boots with a low heel, a stylish briefcase or structured tote that fits just about everything, a great pair of sunglasses, and an oversized coat to throw on when you're running late for meetings. What do you do when you're not roaming the Internet or shooting? Enjoying some card games with my friends, exercising, or playing video games. Where do you see yourself in 10 years? Hopefully running a successful business while still being challenged creatively every day. Instagram @alyyyssalauu


In 2009, Laura Karasinski started ©housemaedchen, a Facebook blog featuring the doodles from her moleskin. Six years later, she is a creative power-house and art ‘directrice’ of her own Vienna-based creative agency, eponymously named Atelier Karasinski. Photographed by VICTORIA JIN

KNEON reiss Fifi full flared skirt, reiss Kumi shirt, reiss Pari concealed button coat, REISS Brina cutout point toe heels



Fifi full flared skirt, Kumi shirt - both reiss


Being active and getting response over the internet equals power. We never lived in a time like now, where we can reach a bazillion people so easily.


Tell us about how you work with your team. Over the years I've established a small trusted team, which has allowed me to delegate tasks and understand my clients better. Service is one of our key points: always pick up the phone, be human, build bridges and get help if you need it. What is Vienna like in terms of creativity? Vienna is definitely one if the most beautiful cities in the world. I love the details and coziness. Pastel colors, hand lettering and traditions are everywhere. It's a good and calm place for work, but sometimes I need some buttering up. That's when I pack my bags and head to fasterpaced cities like London or New York. Some advice I often forget to take myself: drink water, especially when its quality water coming from the taps of Vienna. It keeps your mind and body fluid, and prevents you from getting sick.   For a while you were studying at the University of Applied Arts in Vienna while balancing freelance work. How did you cope? I did not think too much about what I was doing, I just did it. I took every opportunity I got to work on projects with different people. I must admit studying became harder and harder each year as my schedule got tighter, but I managed to get my MA in the end. You post actively on Instagram. What are thoughts on self-branding?

your your

Being active and getting response over the internet = power. We never lived in a time like now, where it's so easy to reach a bazillion people.

Never be afraid to try things out. Also: selfies are amazing! Take every opportunity to take pictures of yourself. You will never be as young as right now. Who is your ultimate #GIRLBOSS idol? Tough one! I admire Lena Dunham for just being herself, Leandra Medine for her unique style and humour, can't even cope with Nicky Minaj's or Kim Kardashian's tushie (thanks for making big booties trendy again!) and of course: my beloved mother. What is your morning routine like? I typically wake up at like 10 or 11 am, turn off my alarm, check emails in bed, stand up, forget to stretch, turn on my coffee machine while brushing my teeth, shower, get dressed, wing my eyeliner, sit in front of my computer for the next 10-12 hours or so. What items of clothing should a #GIRLBOSS definitely have in her closet? Her invisible crown that she should never forget to wear each day. What are some of your long-term ambitions? Always keep on swimming. Getting a bigger office in Vienna someday. Resolution for 2015? As ASAP Rocky said: 'I am doing whatever the fuck I wanna do this year'. Instagram @laurakarasinski



Based in New York City, Ysa PĂŠrez is a freelance photographer specialising in 35mm and 120 film. Her traditional technique of portraiture and story telling has captured some of the most renowned personalities in film and music alike.

Photographed by Morgan Kondash




reiss BROOKE wrap jumpsuit

reiss Lillia leather biker jacket


My portraits and stories look as if I were a fly on the wall, and that's because I like to document, I don't like to get in the way.


You have photographed with the likes of A$AP Rocky, Cassie, and Andrew Garfield. How do you go about shooting someone with an already-established public persona and brand? I go about shooting an artist or personality the same manner I shoot someone who is unknown. It's no different to me and the last thing I care about is ego. I keep it casual, I'm personable, I keep the pressure to a minimum. I try and capture a part of them not easily seen, don't like to force anything. And for that to come out, the environment has to be relaxed. There's trust to be established. Mostly anyone can look good in the correct lighting, a strategic pose, but I'm into old school portraiture. I like to take my time with the subject, talk to them, get a feel going, not just "do this, do that, sit here." I have conversations and leave with photographs. Whether it's vulnerable, calm and collected, I aspire for a certain truth in my photographs. My portraits and stories look as if I were a fly on the wall, and that's because I like to document, I don't like to get in the way. Let's start with when you wake up - what happens on a typical working day for you?

access to the team and their insight. It was very valuable to understand why they picked certain photographers, why some assignments were better suited for certain people, why this photo with the tie had to specifically work in this shot, basically I learned a ton of politics. It was great. Definitely a very special time in my life post grad. Then quite honestly, I was just very keen on shooting again, most of the photo editors could see the turmoil in my face and were like if you're going to do it, you can't do both, you're good so go for it. So I made the jump. How do you manage your own schedule as a freelance photographer? What stops you from burning out? It's not difficult as long as you remain organized and that's key. Consistently marking down important dates on a calendar, making sure Monday-Friday are work days, whether that be editing something immediately due, or looking at past work for my Tumblr/side projects, always keeping yourself 'in it.' Yoga and Seinfeld stop me from burning out. You can only stare at the computer for so long without melting. What are some of your long-term ambitions?

Soon as I wake up, I’m heating the kettle. Tea activates my brain, it accompanies reading emails and managing my schedule for the day. Maybe there’s a deadline for final images to be sent to a client, maybe I need to get back to someone about logistics regarding a possible upcoming shoot. Freelance is naturally structured that way, everyday is different. But typically? I'm hanging out in Photoshop and listening to a shit ton of Memphis rap. You’ve worked as a Photo Assistant at GQ before. What did you enjoy about working there? Why did you decide to go freelance? I loved working at GQ, it was actually my first and full-time job after graduating photo school. It opened so many doors for me, but most importantly gave me a strong understanding of the editorial world. I worked in the photography department alongside photo editors as well as the Photo Director, so I had quite a lot of

Being able to see the world through my work, wherever it takes me. Who is your ultimate #GIRLBOSS idol? Amy Schumer, any woman that doesn't care. What items of clothing should a #GIRLBOSS definitely have in her closet? A great jacket that can virtually work with any outfit and always a solid pair of boots. Instagram @ysaperez



#KNEONXREISS With an extended list of clients the like of Topshop, Nike, NYLON Magazine and SONY, Jasmine Solano is a girlboss on demand. From touring worldwide as half of the DJ duo Electric Punanny to hosting her own MTV series ‘Scratch the Surface’ to curating music at Beyoncé and Wiz Khalifa’s special events, she's moulded a multi-dimensional platform for the arts. Photographed by gioia zloczower


reiss evey heels, Radzi Tiramisu trendchcoat, and Eliza dress.

"Stay fearless. stay idealistic"

What advice would you give your 17 year-old self now? Stay fearless. Stay idealistic. And don't be scared of heartbreak, it will make you stronger in the end. You hosted your own MTV series ‘Scratch the Surface’. What’s the best thing about hosting? Hosting to me is the same as having a conversation with a friend. I enjoy bringing people into my world whether it's in person or through a lens. Traveling a lot on the job, which has been your favorite city to collaborate in? This is not an easy question! Each city around the globe is different and has unique characteristics. However I'd have to say Berlin. That's a mecca right now for creatives. The cost of living is cheap and art/music is celebrated intensely. You’re based in NYC. What’s the city like to live and work in? NYC is hilarious. You can literally time travel and float between worlds in a matter of hours, in a course of a few blocks. It breeds hustle and attracts talent. You are always stimulated living here. And many a time you are thrown on your ass, only to see if you can stand back up. You started DJing at 17 on radio. What pushed you to start so early on? You should have seen me at 16! I was doing spoken word, dancing in


a break-dancing crew, putting on hip hop & political fusion events, performing at open mics and sneaking into clubs in Philly to hear the DJs. Your #GIRLBOSS idol? Gwen Stefani. Ska Girl to Media Mogul, a.k.a. everything to me. As a big multi-tasker working across various media platforms - do you have any productivity hacks to share? Label everything! We all download and create so many files per day. The key is to have your own digital filing system. Even if it seems tedious, it will save you in the long run. Tell us about your long-term dreams. To be sippin' on a raw ginger infused drink, on my yacht that is big enough to hold all my family and friends. In the Mediterranean. What’s on your agenda today? Today I had two photo shoots, then headed to Miss Lily's to DJ a House of Marley event in which Bob Marley's son, Ky-Mani performed. What item of clothing should a girlboss definitely have in her closet? A high-waisted skirt. Instagram @jasminesolano





I CARED Photographed by Nikko LaMere Starring Pyper America & Neels Visser Stylist Scarlet Moreno Make up Marygene Rose Hair Kyle Hennessy


Pyper wears Stockroom/Syren Latex top, Mango dress and shoes, Luxury jones ring.

Neels wears BC Ethic sweater, Vintage leather pants, Bar III boots.



Neels wears I.N.C International Concepts jacket, American Apparel leather shorts, Brooks Brothers shirt, Stockroom/Syren Latex stirrup socks, Skingraft shoes.


Pyper wears Mango black trench coat, Stockroom/Syren Latex thigh highs, Topshop heels.


Neels wears Mango sweater, Gucci pants, Saint Laurent shoes.




Stockroom/Syren Latex, Nasty Gal skirt, Mango booties



NEELS WEARS Helmut Lang jacket, Gucci pants, Vintage fishnet top, Saint Laurent shoes.

PYPER WEARS Vintage Neiman Marcus jacket, Vintage fishnet pants, Steve Madden Shoes.



NEELS WEARS Stockroom/Syren Latex trench, SkinGraft shirt, Bar III boots.

PYPER WEARS Stockroom/Syren Latex, Nasty Gal skirt, Mango booties


Pyper wears Vintage fishnet dress, Minimale Animale bathing suit, Underground creepers.

Neels wears Stockroom/Syren Latex polo, Mango jacket, American Apparel shorts, Skingraft shoes.




Pyper wears Stockroom/ Syren Latex top, Mango dress and shoes, Luxury jones ring. Neels wears BC Ethic sweater, Vintage leather pants, Bar III boots.






Dress shirt Issey turtleneck Donna earrings Army of

Miyake, Karen, Rokosz.


WINTER BLOSSOMS Photographed by Stephane Sb Starring Rhiannon at Rad Kids Stylist Deanna Palkowski at Lizbell Agency Make up and hair Helen Dao for Nobasura


Dress shirt Issey Miyake, turtleneck Donna Karen, earrings Army of Rokosz.




Jacket Maison Martin Margiela, shoes Surface to Air, dress Mandula, stockings American Apparel.


Crop top Minting Die, Die, socks American

pants Ports, ring Minting Apparel, shoes Vintage.






Coat Sonia Rykiel top Obakki shoes Senso rings Minting Die sunglasses Le Spec


Jacket Maison Martin Margiela, shoes Surface to Air, dress Mandula, stockings American Apparel.




Part two:




Dasha Pliska for kneon magazine issue 1257


Photographed by Daria Svertilova Stylist is Lordan Konstantinidi Hair stylist, Jeanne Veremeenko Featuring Vasiliy Pimenov



Jacket by Damir Doma



✌ cap Stylist’s own


overall Tommy Hilfiger




Sweater Alexander McQueen, jeans Model’s own



t-shirt Boris Bidjan Saberi, shorts Rick Owens, cap stylist’s own


t-shirt Boris Bidjan Saberi

shorts Rick Owens

capstylist’s own





❈ Sweater alexander mcqueen

ˬ 65




✌ Jacket Damir Doma






Interview Victoria jin Photographer CĂŠsar Segarra

From actualizing an intellectual-futuristic-technologic concept in his latest 10-song album Neon Future part I, to running Dim Mak records - which counts The Bloody Beetroots, Bloc Party, and Felix Cartal as part of its talent roster - Steve Aoki demonstrates again and again his invaluable contribution to the future of electronic dance music, while hosting some of the craziest dance parties in the world. KNEON caught up with the Miami-born producer after his show in Beijing - part of the Neon Future Asia tour - on smoky Beijing clubs, combining genres, and the pursuit of happiness. 69




"my tastes and sound have not only changed but have collected into a more multi-layered experiential world in my head."

VICTORIA JIN – Why dance music?

start DJing?

STEVE AOKI – Follow your passion – wherever it leads you. At one point it was punk, at one point it was straight edge hardcore, at one point it was rock n roll, at one point it was alternative. I mean I’ve been running [label] Dim Mak for 18 years and I’ve signed so many bands and become immersed, engulfed in a certain culture. For me, myself, as an artist, dance music called to me. I just followed the vibes.

SA – There’s kids that produced tracks that destroy the dancefloor – kids that started producing 6 months before. Literally, they didn’t know a single thing about how to produce music and then in 6 months time they’re producing a song that a whole class of DJs are playing. Some people get is faster than others. At the end of the day, it’s all that’s in your head. Obviously experience and knowledge goes a long way, but you can figure it out, find a signature sound that defines who you are and then you go down that path.

VJ – So chapter one, beginnings. Was there a starting point where you were converting between punk bands and DJing, where you maybe thought, this isn’t what I should be doing? Was there a tipping point? SA – That’s more like chapter three. Chapter one is more like the origins for me – why music became my lifestyle, and my community and culture. And that was more on the punk side of things. When I first picked up an instrument and was playing in bands. That gave rise to me having the courage and the self-determination to actually be active and do something creative. So that was very crucial in the role of me as a DJ or producer or as an artist. Because without those tools, I would have never actually furthered my career. So, chapter two is more like college for me – that was a really big part of my life. Chapter three was finding DJing and eventually starting to produce music, and that was actually pretty late in my life. I started DJing at 22-23. Most start DJing when they’re in their tweens. The culture is really young. The culture of kids who come to the shows and listen to the music, who want to be the DJs – they’re in high school, college. The older generation already have jobs and shit – they don’t think about this kind of stuff. VJ – Do you think there’s a difference between someone who’s 14 and making dance music and someone who’s actually partied and knows the scene who then decides to

VJ – You collaborate a lot of different genres – there’s Fall Out Boy on your latest album. Has your signature sound changed over time? SA – Of course. My tastes have changed. The way I see it is that my tastes and sound have not only changed but have collected into a more multi-layered experiential world in my head. It’s not like I change then I discard the past. It’s all multi-layered and colourful – like Neon Future. I mean, I come from a non-dance background so bands and other non-dance genres were a really big impact on my life. So working with Fall Out Boy was really awesome for me. VJ – That’s my favourite track from the album. SA – That’s awesome. It’s really great to work with dance writers because they understand the flow and context to writing a dance song. And that’s great, I love it. I’ve worked with Nervo plenty of times and they’re fucking veterans in this world. I wrote a song with Matthew Koma for the next album Future II. It’s great to work with them because they just get it. And then even Will.I.Am, he’s a veteran too. He understands how to a write a dance song versus how to write a radio record. The record we did together ‘Born To Get Wild’ is a radio record too. But the Fall



Out Boy record, that was an awesome collaboration. We had the whole band involved. I never worked with the live instrumentation first hand, I only worked with the vocals – I had Patrick and Pete come into the studio to do the vocals, and they ended recording a track with their guitars and drums. They were on tour too so I was able to grab them quickly, get the vocals nailed down and then it was a long process to finish that song – it took over a year and a half. VJ – What does success mean to you? And what motivates you now? SA – I think success really equals finding happiness because success comes in all forms and it’s not financial – it’s part of it but it’s not the most important part. I guess wherever you find happiness – some say you can find happiness in money because you have the power to do more. VJ – Can you describe such a feeling of happiness that you experienced lately? SA – Well right now I’m really happy. I just had a great show in Beijing. There are cons to the show, for example, I can’t even breathe deep right now because I’m not used to inhaling so much smoke. Inside the club, everyone’s smoking. I had to get the fuck out of the club because every time I was inhaling deep, it was hurting my chest. VJ – You can smoke inside all Chinese clubs – SA – Yeah I don’t like that! That’s not my style. I wouldn’t be hanging out in clubs because of that reason. But besides that, everything else was fucking beautiful. The crowd was awesome. Especially – and I have to give it up to a crowd that can turn it up in a very conservative environment. I mean, this is a bottle service environment, and you have to get dressed up. There are so many components that don’t allow you to turn up, that don’t allow you to rage, or sweat and not about what you look like. And people are still getting caked on,


with their beautiful dresses and shiny shirts and shit – they didn’t even care. So when I see that, that means more than if you come in your rave attire and you’re ready to go fucking nuts – of course I love it when people do that. VJ – Do you see it as a kind of sacrifice? SA – Yeah, yeah. Going above and beyond, and really showing that they’re fucking down with the music – I love that. So you gotta give it up for the Beijing crowd. Also, for me, I love the idea that this culture is growing and I’ve been coming to Beijing since 2009, and I remember when I first came out here it was like 90% white people – like expats – but not many Chinese people. So when you see more Chinese people embracing this culture and being part of it, it’s fucking awesome – it makes me happy. VJ – It’s like the Neon Future of China happening right here – it’s changing. SA – Yeah it is, there’s a transcendence. VJ – Ok, last question. How do you pick someone to cake? SA - I honestly always try and hit the people that want it the most. So you want to give it to the person that shows you energy. So if someone’s like this [hides under arms] I’m not gonna give it to them. It happens where I miss people by accident. Ever since I first started 3 years ago caking people, there’s always one crazy fucking dude or girl that wants the cake. Always at least one, and then it grows. It’s like jumping off a cliff – you might not wanna do it first, but once that first person has the balls to do it – not to jump off to die, to jump off the cliff into the water – you’re like ‘Ah cool, I can do it’. You let your guard down.






I'll GROW MY OWN WINGS Photographed by Ana Mercedes Collage by Ben Giles Starring Falcon Potts Hickey Styled by Shari Gerstenberger Hair Kristi Drake Clothing by Charm School Vintage
















KNEON Sophie wears pullover Filippa K, coat By Malene Birger, leather trousers Avelon, sneakers Nike

GIRLS Photographed by Valeria Mitelman Styled by Aude Jamier Hair Sofie Uehla Hair assistant Friederike Letzin Makeup Carina Wittmann Starring Shanay at Iconic Mgmt, Lisa at model mgmt, Sophie L at Izaio mgmt, Nora at Vivamodels



Shanay wears shirt by Tiger of Sweden, pants and coat Drykorn, bomber jacket Julie Eilenberger, shoes Converse


shirt Replay, pullover and jacket Mads Norgaard, trousers Laia Berlin, ear cuff Akkesoir, rings Maria Black and Sabrina Dehoff, shoes are model's own




pullover Joseph, grey pullover Desigual, Bermudas Odeeh, shoes Monki, glasses Sand



Lisa wears a pullover from Acne, skirt Drykorn, earrings Sabrina Dehoff for Maialka Raiss, shoes Lala Berlin



shirt Sand, sweater Markus Lupfer, skirt Mads Norgaard, socks Weekday, shoes Monki.





â?š Nora wears a top from Anvil, pullover Julie Eilenberger, skirt Filippa K, socks Urban Outfitters, shoes Sand, rings Sabrina Dehoff.



â?° Nora wears a blouse by julie Eilenberger, trousers and jacket Lala Berlin, shoes Lala Berlin, hat Jeonga Choi Berlin, earrings Maria Black.







Dasha Pliska for kneon magazine issue 9312



Zara beige coat, Carla Zampatti lace bandeau & skirt, Sophie Cox fluffy clip’s worn as earrings.

Photographed by Rupert Kaldor Stylist Sarah Maggie Ibrahim Stylist Assistant Victoria Smith Make Up Chloe Langford Starring Chloe Lecareux at Priscillas

dress Kaylene, jacket Zara, leather clutch Morrison, ring Pushmataaha






Carla Zampatti lace bandeau & skirt, Sophie Cox fluffy clips worn as earrings, Senso lace up heels, Country Road grey leather gloves.



Ginger & Smart cape, Finders Keepers dress, Senso slides, Sophie Cox fluffy clips worn as earrings, Country Road clutch, Pushmataaha rings.




Cooper By Trelise stripe pantsuit, Sophie Cox heels, Chloe fold over clutch, Chanel pearl earrings.


Sportmax coat, Cameo pinafore dress, Keepsake lace jumpsuit worn underneath, Zara mules with Sophie cox fluffy clips, Molten Store clutch, The Dark Horse pearl earrings.



Zara stripe top, Carla Zampatti white pants, Sophie Cox heels, The Dark Horse pearl studs, The Vintage Clothing Store fur jacket, Carla Zampatti sash worn as head bow.


KNEON Ellery biker jacket, Richard Nicoll top, Shona Joy pants, Sophie Cox heels, Country Road leather gloves, Mania Mania ring, Pushmataaha ring, The Dark Horse pearl studs.


Staple the Label grey fluffy coat, The Dark Horse pearl neck cuff, Ae’lkemi one piece playsuit, Sophie Cox heels, Pushmataaha rings, Mania Mania ring.








Persuaded back into the studio together by producer Rick Rubin after a three year hiatus, Angus and Julia Stone are now on tour promoting their new self-titled album. KNEON catches up with one half of the duo near the end of their American tour. ‘We have one more show in Philly before we head to Barcelona,’ says Julia. ‘I’m catching a train from Penn Station

right after this.’ Her brother Angus and other bandmates have escaped the press junket, having caught the early train to make the most of their remaining time in the U.S. Julia seems unfazed about holding the fort here in downtown Brooklyn, talking baking, sibling dynamics and drum & bass between sips of coffee.

Interview & photographER aimee han Makeup ROMANA LAI





What’s not enjoyable in playing music is the insecurity and doubt of what you’re contributing.

AIMEE HAN — Why is Angus so elusive with interviews?

senses are getting to experience these new things.

JULIA STONE — I think… it’s hard to talk about your art in a way, it’s a strange thing. Particularly as Australians, talking about breaking things down, or why you’ve recorded stuff, it feels a bit unnatural. He prefers not to do that. He’s funny and charismatic amongst all of us, but to the audience, he’s more: here’s the music. You like it or you don’t. He says things when he feels like he has something to say. I’ve learnt a lot from Angus because he participates when he feels the need.

AH — You both have lived in many different places, where’s home for each of you?

AH — Any interesting things on tour so far? JS — It’s so nice here in America. Cool audiences. We get to see the country by bus. We have tomorrow off, so we’ll get to wander around. It’s always different when you get your day off and wherever you are you get to see something interesting. Every three shows we get a day off. When we were in Denver—we went for a walk one morning, and seeing the snow capped mountains, it’s not a familiar sight to being in Australia. I love that about this type of life, all your

JS — Home is always where we grew up on the northern beaches. It’s where mum and dad live. I guess home is where you feel really settled and happy. I’ve just moved to Melbourne and I really enjoy going back there and being a part of that community. We’ve also been living between Australia and Venice Beach LA, and we really love Venice, and there’s a great community life, especially outdoors. I guess home is an ever changing thing, but mum and dad always give us familiarity. And you sound Australian. AH — I’m from Melbourne. JS — Wow! Yeah, Melbourne feels like the Australian version of New York, there’s ease in getting around and it’s interesting artistically and culturally. Just locally in St Kilda, a lot of live music, a lot of group art. I get the sense that within the people I’ve met there,there’s an energy to go out and get amongst it—go out and live and dance


KNEON and listen to music. I love that feeling, that really suits me, waking up and not knowing where you’ll end up. I mean, you have Cherry Bar on Thursdays. AH — The dancing. JS — I love it! AH — Ever thought about exploring another genre of sound? JS — For sure, I think about my voice and I would really love to hear it in more electronic or dance music. I don’t know what for or who with, I get this feeling I’d love to collaborate in that sort of world. I think it’s because so many people remix our songs. I love hearing drum and bass with the ethereal vocals. I’d love to create a record like that—that from the get go— making dance music for people to dance to. I absolutely love to dance. I’d also like to make big band music, like old school and classic big band, and sing to that. Maybe I’ll do that when I’m older and want to do more sit down venues. AH — Does the artistry, songwriting, and production qualities get easier as you get older? JS — I’d say you don’t question yourself as much about what you’re creating. Whether it’s good or bad. It’s just this is what feels natural to me, and there’s less judgement on yourself. I think that makes it easier. Just to be in it and enjoying it. What’s not enjoyable in playing music is the insecurity and doubt of what you’re contributing. It’s become less about that and more this is what I’m doing. I enjoy it more now. AH — Do you think about the audience during the process? JS — You need to have a relationship to the audience, I can’t imagine not having a relationship, but when it comes to writing songs or recording, I’m not thinking about ‘is this what other people are going


to like’ at all. I can’t think about that. Unless it’s a love song writing for a lover, and you’re thinking about that person. AH — How did your dynamic change, or improve, from when you last worked together, to this new album? JS — There’s a lot more openness to hear each other’s ideas. My experiences of working together this time was: I felt really willing and wanting to hear his thoughts about the ideas I was coming up with. When he said what he thought— and quite directly—in the past I would have become offended or defensive about my creative choices, but this time around I was really so happy to hear it, and could see how the song would benefit from that change, or even the attempt to try it. I think that’s having the time a part and growing up, and feeling less needing to prove myself as an artist and sister. AH — Is it easier working with a sibling? JS — In the past it’s been more of a challenge, because we didn’t have that openness. There’s was still that strong dynamic of being brother and sister. Family can be super challenging and we’re very different people. There were definitely times where we clashed when working together. But the side of it that was really positive and the reason we do keep coming back together—is to work with someone who knows you so well, knows what you’re thinking, there’s a sense of relief and relaxation. Angus knows me better than any person in the whole world. I find that incredibly enjoyable to be around. He also never bullshits me. Not to say other people do, but when he says something he means it. He cares about me, and I know what comes out of his mouth, whether it hurts me or makes me feel good, it’s the truth. Ultimately I’d say working with your family is a great thing if you can get past the superficial limits of family.


AH — What do you do outside of making music? JS — I just started becoming interested in baking. Obviously it’s not the best thing to practice on the road. Occasionally we stay in service apartments. Our grandmother is an incredible cook, I think it’s because she’s getting older, I really want to learn the recipes and make these things. I got her to send me her recipes, which is in beautiful

handwriting and all in fahrenheit. I started baking n Australia on the tour there, Just making stuff for the crew and band. Aside from that, if I can’t bake, which is most days on the bus, I like to read. I like to read a lot. AH — Currently reading? JS — Raymond Carver—Call if you need me.



Photographed by Sean Trayner Styled by Cassy Meier Starring Nick Keding & Lauren Koehn at Mode Models Stylist's Assistant Genette Salgado Hair & Make up Christine Jairamsingh



Nick wears Kenzo sweater, Stephen Schneider shorts, Aldo shoes. Lauren wears Kenzo sweater, Jean Paul Gauthier skirt, Aldo shoes





Nick wears Maison Martin Margiela suit, jacket & Dress shirt, Naked and Famous jeans, Aldo shoes. Lauren wears Victor & Rolf dress, Aldo shoes.





Nick wears Kenzo sweater, Stephen Schneider shorts, Aldo shoes. Lauren wears Kenzo sweater, Jean Paul Gauthier skirt, Aldo shoes




Nick wears Paul Smith shirt, Jil Sanders trousers, Aldo shoes. Lauren wears MM6 vest, Trisha Pasnak trousers, Aldo shoes.


Nick wears Maison Martin Margiela suit jacket & Dress shirt, Naked and Famous jeans, Aldo shoes. Lauren wears Victor & Rolf dress, Aldo shoes.



Nick wears Rag & Bone sweater, Gstar shorts, Aldo shoes. Lauren wears Alexander Wang dress, Aldo shoes.


Nick wears Maison Martin Margiela suit jacket & Dress shirt, Naked and Famous jeans, Aldo shoes. Lauren wears Victor & Rolf dress, Aldo shoes.




















Part four:


Dasha Pliska for kneon magazine issue 12





A TEAM OF TWO Jean-Philippe Pons and Pierre P. Marchal of jppm

Words & Interview victoria jin Portrait Marion Kotlarski

I first became acquainted with creative-duo Jean-Philippe Pons and Pierre P. Marchal through - you can guess - the Internet, Instagram to be more specific. I was drawn to the perfectly imperfect collages on their handle which curated content from across Instagram. In a closer dialogue, I learn that both have backgrounds as varied as the word ‘creative’ itself: Arles-born Jean-Philippe made his start at the Ministry of Culture and Saint Laurent, and later branched out to curating exhibitins, set-design and working closely with one of France’s most celebrated designers, meanwhile Pierre studied design at the L’Ecole de la Chambre Syndicale de la Haute Couture in Paris and worked in the fashion department at Harper’s Bazaar France, later launching his own art direction agency. Now after ten years of friendship - and almost double that time living in Paris - the two have teamed up build up a multi-faceted creative concept and label, JPPM. 129

KNEON How did you both meet? Jean-Philippe Pons—Few years ago, I saw a drawing that PPM uploaded to Facebook of a printed green dress. I immediately knew I had to meet the artist behind it. PIERRE P. MARCHAL—We met ten years ago, just before I attended l’Ecole de la Chambre Syndicale de la Couture Parisienne. I uploaded a drawing onto Facebook and tagged a friend of his. Quite funny, how we met through social media and our work. Pierre, I know you used to work at Harper’s Bazaar. Can you both tell us about your backgrounds? JPP—Classical Studies at the Law Faculty, and an early career in fashion. I now work alongside a designer who I assist on various projects. PPM—I learned how to think with garments at l’Ecole de la Chambre Syndicale de la Couture Parisiene. I graduated and started working for an art direction agency. That’s how I discovered how to organize beautiful things around garments. During Harper’s Bazaar I developed a prospective on new talents, designers, as well as photographs and stylists. After that, I started my own artdirection company. What is important when choosing a creative partner for a project? JPP—The alchemy of the meeting, which makes working with Pierre a nobrainer. PPM—It’s important to be aware of your strengths and weaknesses. Also to trust your partner 100%. After 10 years of friendship and observation it was obvious and necessary to create something together; we do have the same sensibility and vision about Creativity with a capital C. Jean, what is it like working with Pierre?

exiting and stimulating experience. It’s easy, opulent and clear. Pierre, what is it like working with Jean? PPM—It’s a daily pleasure. We used to see each other quite every day, so now it’s just adding work on top of our friendship, things we both love. Tell us about your working habits. What happens after you wake up? Morning rituals? JPP—I turn on the radio at 6am, and listen for a while in bed. Then I have coffee and decide on my outfit for the day.

"Paris is not just a museum city, you really need to keep your eyes up and looking around you to rediscover"

PPM—I’m definitely more of a night person. All I need is a packet of cigarettes and some good music - then I can stay up and be efficient all night long. How is Paris as a city to live and work in? JPP—Paris is ‘the most beautiful city in the world’ in both positive and negative ways. Paris is not just a museum city, you really need to keep your eyes up and looking around you to re-discover, which is a never-ending personal journey. PPM—I was born and raised in Paris. It’s funny because I know the city by heart but at the same time I discover new places every day. My favorite moment of the day is riding Vespa home, listening to music on the banks of the Seine. What’s the best advice you’ve ever received? JPP—I’m definitely the one giving the advices. PPM—If you don’t find the job of your dream, make sure to create it by yourself - my ex-director Céline Toledano at Harper’s Bazaar told me that.

JPP—Working with PPM is the most


JPPM for kneon magazine issue 12






JPPM for kneon magazine issue 12



Words & Interview harry fisher jones Portraits lauren engel

I first met Trevor last summer at Para Site art space in Hong Kong, where his latest creation was currently on display. I was immediately intrigued by his application of natural materials, which he told me derived from his personal interest in botany, aquariums and aquatic horticulture. As one in a close-knit


crowd of visionary youngsters at the forefront of the city’s contemporary art scene, it is his humble personality and rare appreciation of life’s simple pleasures that make him unique. Trevor has an ability to find beauty in the most unusual places, even amongst the rubble of the Hong Kong metropolis.






Can you tell us a bit about your childhood, and when you first became interested in art? I was born in China and moved to Hong Kong around the age of three. Every summer I would go back to China for vacation. When I was a kid my grandparents gave me some chalk and I started drawing. I always used to draw on the floor. I bet they loved that. Not especially. But the floor at their house was tiled so once I had finished drawing all over it my grandmother would just clean it and I could start again. My grandfather was a doctor of Chinese medicine and I would spend the whole day sat on the floor next to his desk drawing and drawing. Later in life, when I was in primary school in Hong Kong, all the kids would go play in the playground. My mother told me that I

didn’t want to play basketball with them all, so I would sit indoors and draw. I kept practicing and eventually I went to art school. In Hong Kong art school is very traditional, just drawing and painting. I didn’t really understand art at that stage. I didn’t really learn about what art is, what art means, or the concept of art as a mode of sharing until I got to university. There I tried everything, even jewellery, but I really got into installation work and photography. And when did your fascination with nature and wildlife first start? I’ve kept fishes since I was in primary school. Plus every summer I would go back to China, to a village in Dongguan, to stay with my grandmother who would always have little pets for me to play with - pigeons, rabbits, anything. Well, anything you can eat anyway. I remember one summer we had a grey rabbit. But when we went back in autumn it had disappeared. So, I asked



my mum “Where’s the rabbit?” and she just said, “It’s gone.” I thought it had just died but later I learnt that it had gone into a soup… Maybe you ate it. Maybe I did… Oh and even worse was when my grandmother gave me a pigeon as a pet and then later I found it tied up like she was going to use it in a soup or congee or something (pigeon is really delicious in congee). I told her, “It’s so beautiful. You shouldn’t cook it you should keep it! Look at the wings, they’re beautiful.” And so, she just cut the wings off, cleaned them, and gave them to me like a toy! I didn’t feel bad at the time but as I got older I realised how crazy that was. There was a pond in front of the house too with frogs and dragonflies. In Hong Kong there isn’t the same opportunity to connect with nature; so when I came back I just longed to return to China.

aquarium in my room. There was a moment in secondary school when I had seven aquariums in my bedroom! They filled my bookshelves. For me, dealing with animals and plants is easier than dealing with people sometimes. Especially when I was younger in university, and when I first entered the art industry. Dealing with new people was very tiring. My fish and my plants were an escape for me. When you deal with people, there are some people you don’t want to talk to but, for whatever reason, you have to. Human relationships can be so chaotic, especially you get to university and you meet a lot more people and some of them want to be friends with everyone. Relationships can be very complicated and often I felt like I was caught in the middle. Everyday, after everything, I would just spend one or two hours just taking care of my plants and my pets. I still have a lot of pets actually – right now I have fish and two Lovebirds.

Is there a particular sentiment that you’re trying to communicate in your use of natural materials? Is there an underlying message?

But it’s not just about human relationships. I think Hong Kong can be a very oppressive environment. I’m lucky that around my home there are a lot of parks, and I can see trees out of my window. But the overall feeling you get here is that you don’t have any privacy. Maybe in other cities where there is a lot of space, if you really want to get away from people or the system of humans you can just go somewhere quiet. But in Hong Kong it’s harder. Wherever you go you can never really be alone.

In Hong Kong everything is very small: my home, my bedroom, everything. But still I have a lot of plants and a small

That’s why I think pets and plants are important. They allow you to create a system of leisure in your home, and merge into

And so you began to incorporate this appreciation of nature into your work. Exactly. At university you really have to combine your interests to get the most out of it. The first work I did where I used plants as a medium was ‘I Could Be A Good Boyfriend’ (2011).




KNEON that system of leisure. Just for example, if you have a fish tank. You can control everything in a fish tank; it’s your own little world. When you look into that black sand at the bottom, your whole self really merges into it. I remember when I was in secondary school and my exams were approaching, I had totally forgotten about them. All I remember is gazing into my fish tank and listening to music. I can still remember those songs. What’s been your favourite pet? I’ve had a few piranhas. I find the relationship between piranhas and humans really interesting. It was the inspiration for my piece Piranha Department (2013). A lot of my friends would complain about the office politics, and all the gossiping that goes on in Hong Kong. I’ve heard a lot of stories about office culture and I hate the sound of it. In nature, piranhas are similar. As a team they find a target and attack it. And if anyone gets injured they become food. The teammate gets eaten. That’s the reality here… Is there any other way you think Hong Kong has affected your work? Hong Kong is so compact. Even my studio is very small. This means all the artwork produced in Hong Kong is much smaller compared to other places. Even in the big commercial galleries the work is not huge. You will seldom find artists making anything large-scale. And if they do, it has to be able to be broken down into smaller pieces. There’s just not enough space to produce anything else. In 2012 you hosted an exhibition in your bedroom. How did that come about? My first gallery show was a solo exhibition, and the gallerist wanted to know the meaning of my work but I just didn’t want to tell her. She didn’t even see the work before she asked me. I want people to figure it out for themselves you know? Instead of me telling you the story. I


don’t mind discussing it once you have seen it and you have your own feelings. It is about interaction; it is about dialogue. So I said, “I’ll tell you later. After you see it.” And she said “If you want to do that why don’t you just have the exhibition in your bedroom?” And I thought “Why not?” So that was how it started. The other inspiration was privacy. I used to share a bedroom with my sister, which meant we got the biggest room in the house and the largest closet. After she moved out I had the room to myself but my parents would still keep their jackets in there. This was a problem because I like my privacy and if I’m getting changed or something obviously I don’t want my parents to see; even if I was just half naked not totally naked. But every morning my parents would come in, even if I locked the door. They had a spare key so they could just come in whenever they felt like it. When I wanted to do a bedroom exhibition I thought why not use this opportunity to take back my privacy, so I asked my parents to give me the key for the exhibition. I took it and I made twenty copies so I could invite twenty friends and post them a key to my bedroom with the address. To see the exhibition you had to go to my house and use the key to get in. I was making my bedroom my own again and, at the same time, sharing it with those whom I chose to. What do you like to do when you’re not in the studio? I love travelling, especially on my own. In Hong Kong you make friends all over the world, so now wherever I go I always know people I can visit. I really like going to Europe. Last year I went to Brazil and stayed with friends, it was really amazing. One of them is opening a lesbian bar. He’s heterosexual but he just got divorced and had a dream about opening a lesbian bar, which is very interesting. Unfortunately I didn’t have a chance to go.




Pets and plants are important. They allow you to create a system of leisure in your home, and merge into that system of leisure.



When you’re in Hong Kong where do you like to spend time? I go to Gough Street or the bird garden. I like the flower market as well, there’s a really nice café there that I adore. Actually it’s a plant shop but they use half of it as a café. It’s kind of hidden so only people who are really into the flower market or plants know where it is. Have you found it difficult to get recognition as an upcoming artist in Hong Kong? Do you think Hong Kong supports young artists? I think I am one of the lucky few in Hong Kong. The art scene is very small here; it’s a very small circle. I think that makes it easier to get noticed than in a lot of places. People say, “Why don’t you just go to Berlin, or New York?” But as a young twenty something, even if you’re doing something creatively amazing and innovative there will be thousands of others just like you. You can make a name for yourself here. If you want to be an international artist in Hong Kong then that’s a different story, but I don’t concern myself too much with that. When I started my goal was just to keep doing what I love to do. But after working at a Para Site for three years, I met a lot of artists from all over the world. It’s amazing to use art to connect with different people all over the globe. I want to keep the relationships and the friends I have made and if that means I have to be an international artist then that’s what I aspire to do. Art is a means to connect with people. How would you describe the art scene here? Hong Kong is one of the biggest art centres in Asia, along with Beijing and Shanghai. But Hong Kong is special because the artists here are all really close. We are proud to be Hong Kong artists and whilst we might aspire for international recognition, we are all happy being local artists. We all just enjoy each other and each other’s work. As a city I think the art scene could be more developed. For example, we don’t have the same museum infrastructure that Europe does. There isn’t such a long history of art appreciation in Hong Kong. Art education used to be very simplistic too, but nowadays it is changing and getting better. In the past no one wanted to do art but more and more people study art now. It takes time to build a scene but we are getting there. Everything is changing.



After many years apart, old school friends Ed and Rachel reunited in Brighton to form minimal electro-folk duo GAPS. Since the release of their first track ‘The Void’ in early 2013, they have teased us with a steady-stream of hazy, acoustic melodies – a beautiful synthesis of hypnotic beats and haunting vocals. We sat down with Rachel to find out more about one of Brighton’s most exciting acts.


GA Interview Harry Fisher Jones Photographed by Vic Lentaigne


S P 145




Your “Folktronica” sound has been compared to the likes of Four Tet and The XX. How would you describe it? It’s really hard to describe your own music, but we’ve been blessed with some great descriptions written by others. I think ‘folk mathgaze’ and ‘spacious melancholic electronica’ seems about right… How do you think living in Brighton has influenced you? We both moved down the same year by chance, 2008. I love living here by the sea; it feels like my spiritual home. In terms of influencing the music, the songs start out as a reaction to life events and experiences, some of which have happened here. Production wise you can usually here a bit of Brighton in there as we record ‘found sounds’. Lots of seagulls! How do you think GAPS has changed and evolved over the past couple of years? Our writing process has stayed the same but playing live has been a really interesting challenge. We’ve been honing our live set up over many gigs – bringing in new gear, chucking out old gear and re-voicing some of the vocal harmonies. Who are you listening to at the moment?

therefore adjusts to fit the market and one that enjoys making music for the pure thrill of it. I’ve been in both types but happy to say GAPS is a purely selfish endeavour. It’s ace if people like it but I would be curled up over my guitar in a dark room writing songs even if no one was there to listen and I think Ed feels the same. You recently released a collaborative EP with award-winning DJ/producer Maya Jane Coles; how did that relationship form? We met by chance at a house party in my home in Brighton the first year I moved down. She seemed like a real good egg and very passionate about making music. I remember walking into the post office and seeing her on the front of Mixmag a few years later and thinking, ‘Amazing! Girl done good!’ It was so nice to see someone so sound doing so well. Another few years past I realised I was dancing to her set on the last night of a festival so I got in touch to say ‘well done, you rock!’ After that we stayed in touch loosely and when it came to releasing our first single and looking for someone to remix it I sent her a cheeky message to see if she would be interested. And if you could collaborate with any other artist who would it be? Kate Bush. What is your New Year’s resolution?

I’ve been going deep with Tango In the Night [Fleetwood Mac] recently, such a great album! Anything by them is gold. This year I have fallen in love with Angel Olsen, ‘Burn your fire for no witness’ and GOAT. Love GOAT. In an industry that is in a constant state of flux, do you feel pressure to adjust as artists in order to stay relevant?

Eat more greens.

GAPS will be on tour in the UK this April. Their debut album In, Around the Moments is out in March.

Definitely not. I think there are two types of bands, one that wants to ‘be’ something and







NOT LIKE THE OTHER GIRLS Photographed by Franey Miller Styled by Karina Sharif Starring Peri at Wilhelmina Hair by Matthew Tuozzoli Stylist Assistant, Estèe Page



Top by Asia Wysoczynska, Skirt by Andres Caballero



Button down dress by Cres E. Dim, Bondage Lingerie by Bodybinds, Shoes by Zara






Leotard by Antonia Patterson, Sweater by Soon Il Kwon


Top by Big Park dress is vintage by Jill Stuart, Shoes by Zara



Dress by Madeline Gruen, OuteRwear by Lovelene


Top by Yunan Wang, cape by Cres E. Dim, fur capelette by Sati Bibo






let's have long conversations in french Photographed by Carmen Rose Stylist Chantelle Ascia Make up Sheran Azmi Hair Barney Gleeson Starring Rose at Chadwick models



MLS Stripe shirt



MLS white trench, GUSTO AND ELAN white shirt, GORMAN skirt, PRESTON ZLY shoes.



Gorman turtle neck and dress.



MLS Pink snake one shoulder dress, Gusto and Elan skirt.


KNEON Gorman jumper, MLS silk pants, white shirt and blue blazer, Preston ZLY shoes



Gusto and Elan shirt, Kahlo gold jacket, Preston ZLY shoes. background designed by Danner 165 Milliken.


MLS white trench, GUSTO AND ELAN white shirt, GORMAN skirt PRESTON ZLY shoes


KNEON GORMAN turtle neck and dress





LEE MARSHALL Lee is a young artist, living and working in London, whose mashup aesthetic resembles a modern remix of surrealism, cubism and 60s Pop art. Predominantly a painter, Lee also produced skateboard editions of his work, a series of combined installations titled after acts of play, in collaboration with artist Alex Strachan, and is currently working on a new digital concept. KNEON asked Lee to introduce us to some of his favourite pieces.

Words lucy henshall Artwork Lee Marshall

Dusk Study

2014 Acrylic on Canvas 35 x 45 cm



Geology Juggle

2013 Acrylic on Canvas, Custom Painted Frame 55.7 x 67.1 cm

The repetition of visual elements within this painting makes them fall into a loose pattern but also begins to resemble a scene, animated by the presence of the two disembodied arms, which could be read as the same arm in two stages of throwing or catching a rock. Are we seeing a sequence and not a single moment? After making the collage study for this piece, the combination of graphic pattern and implied sequential composition struck me, along with the contrast between the material qualities of the subjects.


Stone, flesh, plastic and pixels: a medley of synthetic and organic matter. The title may refer to the act of juggling, as implied by the hands in the painting, or the sense of all of these things being juggled within the composition. It is playful, entertaining. When making each painting, my aim is to allow it to develop it’s own logic, in a curious and somewhat playful way - I’m not looking to construct prescribed narratives, but to discover surprising juxtapositions of visual elements and subject matter.



2014 Acrylic on Canvas 81 x 56.7 cm

Several appropriated images are altered and layered here to create a sense of space, which is then disavowed by the flat graphic qualities of the composition. This simultaneous affirmation and denial of space and form in order to emphasise the pictorial space is a recurring theme within my paintings. As with 'Geology Juggle', found imagery is doubled and manoeuvred within the painting to generate a pattern, with the arrangement in this instance resembling letters, providing the almost onomatopoeic title, a garbled

message hidden in the painting that says something and nothing at the same time, representing an attempt to communicate visually what can’t quite be said through words. The cut-out form overlaying the majority of the painting is from a book of Modernist sculpture. After cutting out the sculpture, the negative space became more interesting to me, in that it provides the possibility of the void left by an absent object being able to make a new image.


KNEON U/T (in Blue)

2014 Acrylic on Linen, Mounted on Panel 35 x 50 cm

‘U/T (in Blue)' began as an experiment in mapping the pictorial space of a composition before beginning to take on a resemblance to the layout of a video game level, with obstacles and platforms for an unseen character to traverse. This again ties in to the playful nature of the development of each painting. Similar to the 3D line that cuts across ‘Projections' the pipe-like forms within ‘U/T (in Blue)’ become diagrammatic in the painting yet retain their sense of materiality with a glossy surface sheen, which is contrasted by the coarse rendering of the graphic cloud-like forms punctuating the piece. As with ‘OOMM’, things presented within the painting recall letter forms or stylised typography, yet their message remains intangible. The ways in which languages are developed and evolved is fascinating, particularly languages made up of pictograms and symbols, and throughout my work there is a constantly growing and changing vocabulary of visual elements, which can be combined in a myriad of ways.





Midnight/ Spooky Study 2014 Acrylic on Canvas 35 x 45 cm

These two paintings [current page and the painting on p. 174] began as studies for larger pieces that are in development and mark a return to drawing in my practice, in that the compositions were drawn out directly on to the canvas without any references, instead using only the “visual vocabulary� I mentioned previously to build up the various pictorial elements and symbolic forms. Although the work is purely hand-made, the presence of digital imaging processes is still felt through the aesthetic qualities of the rendering of the forms within the paintings and the Photoshop-like logic of their layering and positioning. In each piece the colour palette is reduced to three colours, a self imposed rule that had the pleasantly surprising effect of


creating atmosphere through the way in which each part of the painting is illuminated by complimentary colours. This approach made me think of how each painting would be lit with only two light sources if it were being rendered within a 3D modelling program and so began to imply the atmosphere of different times of day and night. Taken all together, the aesthetic of each painting along with their individual colour schemes is evocative of neon lights, alongside fairground rides and arcades, strange places of spectacle and entertainment that hold a weird nostalgia and have a sense of artifice about them, similar in some ways to the paintings themselves.



Photographed by Helen Kirkbright Hair & Make Up Rebecca Anderton Â

Stylist Zoe Hancock Starring Ellie Watkinson at IMG



Dress by Rikya, Vintage parka We Are Cow, socks Topshop, trainers Vans, e a r r i n g s models own.

Suit by Topman, Vintage Le Coq Sportive cap We Are Cow, vintage Adidas trainers and tracksuit, top We Are Cow.



Jacket Topman, Vintage t-shirt We Are Cow, Polo neck sweater Zara, Trousers ASOS, Vintage trainers We Are Cow



Jacket Topman, Vintage t-shirt We Are Cow, Polo neck sweater Zara, Trousers ASOS, Vintage trainers We Are Cow

dress by The White Pepper, socks Jaguar, Vintage Adidas trainers We Are Cow, Earrings models own.



jacket by Rikya, vintage jumper We Are Cow, Tracksuit bottoms Adidas Originals, vintage Adidas trainers We Are Cow, Earrings models own.

jacket by Rikya, vintage jumper We Are Cow, Tracksuit bottoms Adidas Originals, vintage Adidas trainers We Are Cow, Earrings models own.


KNEON Grey knit snood & jumper Les 100 Ciels, Culottes Lola May, Wood block heel boots Dear Frances




Photographed by India Hobson Stylist and collage Sophie Benson Hair and Make-up Zoe Peplow Starring Darcy at J’adore Location 156 Arundel St



Green space dyed knit jumper dress & gilet Les 100 Ciels



Black and white print jacket & dress Dioralop



Grey cropped jumper, coat & trousers Emma Bradstreet



Black and white print jacket & dress Dioralop, Black zip up pumps Dear Frances



Grey jumper, black knit vest & jumper tied around shoulders Les 100 Ciels, Black and white print culottes Dioralop


Black shirt dress Dioralop, Grey cardigan (tied around waist), Les 100 Ciels, Black loafers Dear Frances



KNEON WORDS lucy henshall Photographer Ysa Perez


It’s all about Weird-cute-shit-Jew-pop, as young NY based mixedmedia artist Chloe Wise personally defines. Her famous prank piece that sent the online world into frenzy was the bagel/Chanel bag, inducing a tabloid headline “Chanel Debuts Bagel Bag, Much to the Shock of Gluten-Free Clientele”. Fashionistas from across the world debated the authenticity of the new design after actress India Menuez was seen holding it at a dinner celebrating the premiere of Baz Luhrmann’s Chanel No.5-inspired film The One That I Want. Chloe’s raw and intelligent humour is a breath of fresh air. Her artistic virtues and ability to inoffensively direct critique at matters


of controversy within our society has a charming way of ridiculing the ridiculous. Her particular interest lies in the doctrines of consumerism, identity, social conventions and the art world vs. the fashion world. Other works by Chloe include tampons, made from a variety of unlikely materials including Oreos and quinoa, branded as Irregular Tampons. The LOLing continues with packaging printed with selling points such as ‘100% natural fiber’, ‘locally harvested’, ‘very nice’ and ‘great gift’. And of course, there are nipples on pizza.

DIRECTORY Adidas Alexander mcqueen Alexander wang Acne Aldo American Apparel Anvil Army of Rokosz Asia Wysoczynska Avelon Big Park Bodybinds Brooks Brothers Chanel Chloe Carla Zampatti Converse Cooper By Trelise Country road Cres.e dim Damir Doma Dear Frances DKNY D squared Dioralop Drykorn EMMA BRADSTREET Filippa K Gorman Gucci G-star Gusto and Elan Helmut Lang Issey miyake Jeonga Choi Berlin Jean paul gaultier Jill Stuart Just cavalli Joseph Kahlo Kaylene Kenzo Lala Berlin Le Coq Sportif Les Specs Les 100 Ciels Lola May Luxury Jones Madeline Gruen


Mads Norgaard Mandala Mania mania Maria Black Maison margiela Michaellosordo Minimale animale Minting Die Monki Morrison Naked and Famous Nasty Gal Neiman Marcus Nike Obakki Odeeh Paul smith Ports Preston Zly Pushmataaha Rag and Bone Rick owens Riyka Sabrina dehoff Sand Sati bibo Senso Skingraft Sonia rykiel Sophie Cox Stephan Schneider Steve Madden Surface to air Syren latex The Dark Horse Theory The White Pepper Tiger of Sweden Topshop Trisha Pasnak Urban outfitters Vans Viktor & Rolf Yves Saint Laurent We Are Cow Weekday Yunan Wang





Issue 12

pyper american photographed by nikko lamere

KNEON Magazine #12 'Change'

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