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New Faces (1) Model: Julien Drapier Agency: Dominique Models, Brussels Chosen by photographer Christian Aschman Agency: Phom, Paris


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Budgies by Luke Stephenson

Getting excited Some say that the best thing about magazines is creating them; others hope that their publication will endure to be the decade’s big success. The fact is, there are more magazines launched in recent years then ever before. Many of the new titles - “the style press” (Angelo Cirimele) are a response to “mainstream disappointment” (Jeremy Leslie). Because of this, they are “getting better and bigger” (Samir Husni). Yes, it is possible that “paper will be the preserve of the boutique magazines” (David Renard). But as long as some readers “buy one or two meters of books and magazines per week” (Horst Moser) the menace of “the end of print” still seems far away. Lucky us. For Nico’s “issue one”, Madrid based writer Andrew Losowsky spoke to five of the world’s leading experts on magazine culture and industry: Angelo Cirimele (Paris), Samir Husni (Mississippi), Jeremy Leslie (London), Horst Moser (Munich) and David Renard (New York). Andrew is part of Nico’s international collective of journalists, photographers, stylists and illustrators – a dedicated and ambitious team, both inspired and inspiring. As an independent publishing group based in Luxembourg (one of Europe’s smallest countries) it was only natural that we should look outwards for collaborations and provide our readers with thoughts and talents from around the globe. Besides the “cultural phenomenon” of magazines, you’ll find honest interviews on product

design (5.5 Designers by Merel Kokhuis), the economics of the art and museum business (Judith Benhamou by Angelina A. Rafii), unique fashion journalism (Diane Pernet by Catherine Callico), a creative management agency (Dutch Uncle by Mike Koedinger), character art (Pictoplasma by Lars Harmsen) and a fashion event cum family gathering (Jean-Pierre Blanc by Justin Morin). The second part of the magazine is a veritable playground for photographers and stylists. Nico has commissioned fashion shootings worldwide and is proud to present exclusively the works of Claudio Edinger (Sao Paulo), Amber Gray (New York), Anoush Abrar and Aimée Hoving (Switzerland), Serkan Emiroglu (Paris), Lyn Balzer and Tony Perkins (Sidney), Zoren Gold & Minori (Tokyo), Gaëtan Caputo (Brussels) and :mentalKLINIK (Istanbul). The result is a 252-page magazine that will be distributed all over Europe and exported to Australia, South Africa, USA, Tokyo and Hong Kong. At the end, we don’t know if creating a magazine is the best part of the story, or if one should aim to launch one of the decade’s big successes. The reason why we’ve created this bi-annual is simple: we deeply love magazines. We still get excited discovering new titles, flipping through their endless pages and reading the features. This is our contribution to your excitement. Enjoy! Mike Koedinger Publisher

Angelina A. Rafii Fashion Editor


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9:15:54 AM








OPEN NOW! Deadline for entries 31 August 2007



INTERNATIONAL MUSEUM COMMUNICATION AWARDS (IMCA) - FOR THE BEST IN VISUAL COMMUNICATION FOR MUSEUMS, ART INSTITUTIONS AND GALLERIES BRUSSELS, NOVEMBER 29 2007 These are the first communication awards for museums, art institutions and galleries, organised by IMCA in partnership with The Art Newspaper, Agenda and Bizart. Entry is open to all non-commercial, non-profit museums, art institutions and galleries. Private museums and foundations can also participate. Biennales and art centres which do not have a permanent collection may also enter. Commercial organisations and art fairs, and commercial galleries cannot participate. Advertising and design agencies can only enter under the name of the museum or institution with whom they have worked. The awards will be presented in Brussels on 29 November 2007. The President of the IMCA-Awards is Damien Whitmore, Director of Programming at the Victoria and Albert Museum in London. The IMCA-Awards will recognise the best in design and communication in 4 categories: Corporate Design, Exhibition Campaign, Integration and Innovation.



Interviews Family Gathering Jean-Pierre Blanc by Justin Morin


Figures with plenty of Character Lars Denicke by Lars Harmsen


The Power of Art Judith Benhamou by Angelina A. Rafii


Looking for a voice Dan Chrichlow by Mike Koedinger


An art gallery in two dimensions Angelo Cirimele by Andrew Losowsky


Professor Magazine Samir Husni by Andrew Losowsky


The mainstream disappointment Jeremy Leslie by Andrew Losowsky


The pages of history Horst Moser by Andrew Losowsky


The end of paper David Renard by Andrew Losowsky


A glance at fashion Diane Pernet by Catherine Callico


Making the impossible possible 5.5 Designers by Merel Kokhuis




Colophon 2007 Picture Report

244 N

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Projet1:Mise en page 1



Page 1

Fashion The Bubbles of Love


by Amber Gray

Guest Editors’ Cuts


by Angelina A. Rafii



by Anoush Abrar and Aimée Hoving

Enjoy the silence


by :mentalKLINIK

Play the game


by Angelina A. Rafii and Joanna Grodecki

Girls of Ipanema


by Claudio Edinger

Suicide Blonde


by Serkan Emiroglu

Nature, to be commanded, must be obeyed


by Lyn Balzer and Tony Perkins

Belle de Jour


by Mizo

Sweet Dreams


by Gaëtan Caputo

Fashion Stockists

248 N

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Masthead Cover Illustration by Christina K.

Published by

Managing Editor & Creative Director: Mike Koedinger Fashion Editor & Coordination: Angelina A. Rafii Art Direction: Elisa Kern, Guido Kröger Interviews by Catherine Callico, Lars Harmsen, Mike Koedinger, Merel Kokhuis, Andrew Losowsky, Justin Morin, Angelina A. Rafii. Portraits Photography by Valerie Archeno, Eric Chenal, David Laurent, Andres Lejona, Thomas Mailaender. Fashion Photography by Anoush Abrar & Aimée Hoving, Lyn Balzer & Tony Perkens, Gaëtan Caputo, Claudio Edinger, Ahmet Elhan, Serkan Emiroglu, Amber Gray, Zoren Gold & Minori. Style by Sandra Bittencourt, docu:mentalklinik, Rie Edamitsu, Sébastien Goepfert, Sandra Herzman, Yana K, Maia Liakos, Elena Rendina. Fashion Collage by Joanna Grodecki. Illustrations by Christina K., Elisa Kern, Estelle Sidoni. Conbritutors: Christian Aschman, Eric Chenal, Christina Chin, Stephanie Dumont, Joanna Grodecki, Karena Gupton Akhavein, Jeanette Hepp, Peter Kellet, Karen Langley, Kimberly Llyod, Rachael Morgan, Luc Praet, Irene Rukerebuka, Robert Serek, Pekka Toivonen, Victor Zabrockis. Production and editing: Mary Carey, Rudy Lafontaine, Angelina A. Rafii. Layout produced by the studio xGraphix 10 rue des Gaulois, L-1618 Luxembourg (Europe) Phone: 00352 – 29 66 18 Fax: 00352 – 26 18 74 77 Write to: PO Box 728, L-2017 Luxembourg (Europe) E-mail: Advertising TEMPO – Associate Manager: Aurelio Angius Associate Sales Manager: Francis Gasparotto Phone: 00352 29 66 18-1 Fax: 00352 26 29 66 20 E-mail: Subscriptions Annual subscriptions (2 issues/year): 20€ (Europe), 30€ (USA, Japan), 35€ (Australia, South Africa, Asia, South America) Printed in Luxembourg by Victor Buck ( Papers: Eurobulk 250 grs (Cover), Eurobulk 115 grs (interior), Tauro 120 grs (interior). Types: Mrs. Eaves, Janson Text, Thesis (The Sans). Printed in six colors. Worldwide distribution: © Editions Mike Koedinger SA 2007 Luxembourg (Europe)

Call for entries – writers, photographers, creatives visit and submit your work.


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Illustration by Elisa Kern

Anoush Abrar & AimEe Hoving, Switzerland ValErie Archeno, Paris Lyn Balzer & Tony Perkens, Sydney Catherine Callico, Brussels GaEtan Caputo, Brussels docu:mentalKLINIK, Istanbul Rie Edamitsu, Tokyo Claudio Edinger, Sao Paulo Ahmet Elhan, Istanbul Serkan Emiroglu, Paris Joanna GRODECKI, Luxembourg SEbastien Goepfert, Paris Zoren Gold & Minori, Tokyo Amber Gray, New York Lars Harmsen, Karslruhe Christina K, London Merel Kokhuis, Amsterdam David Laurent, Luxembourg Andres Lejona, Luxembourg Kimberly Lloyd, Wiesbaden Andrew Losowsky, Madrid Thomas Mailaender, Paris Justin Morin, Paris Elena Rendina, Switzerland Estelle Sidoni, France



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Lyn Balzer & Tony Perkens Photographic duo, Lyn Balzer & Tony Perkins, rely on a 12 year collaboration. They are regularly featured in Australian and international fashion and photography publications as well as exhibitions around the world. Their true passion for the female form and the Australian landscape was explored in the exclusive shooting for Nico: “Nature, to be commanded, must be obeyed”. Catherine Callico Catherine Callico lives in Brussels where she has been working as a freelance journalist. Published in the European and Belgian press for a decade, she predominantly focuses on design, fashion and arts. For Nico she interviewed Diane Pernet and gave us “A glance at fashion”.

Anoush Abrar & AimEe Hoving Anoush from Iran and Aimée a Dutch national started working together as a team in 2004 after finishing art school. The Swiss residents’ work has been exposed in several museums and galleries, including: Musée de l’Elysée, in Switzerland, Harold’s Gallery, in LA and Maison Européenne de la Photographie, in Paris. Presented in several photo competitions such as: Festival des Arts de la Mode et de la Photographie, in Hyères, 2003, Art + Commerce 2004 Festival of Emerging Photographers and ReGeneration, 50 Photographers of Tomorrow, 20052025, their photographs have also been featured in W magazine, French and Japanese Vogue, Vogue Hommes International, L’Officiel, Slash Magazine, New York Magazine, Tokion Magazine, Colors, Libération, Frame Magazine, Die Weltwoche, Das Magazin, Frog, and Bolero. For Nico the talented duo shared their beautiful photographic vision in “Cosmic”. ValErie Archeno A photographer based in Paris, Valérie, has worked with Mademoiselle, Dealer de luxe and Upstreet and has produced numerous CD covers. She likes to create special atmospheres for fashion or photo exhibitions. For Nico, Valérie shot Jean-Pierre Blanc’s portrait.


GaEtan Caputo There are some photographers who are artists above all. Their work transcends time, fashion or trends, yet is an inherent part of it, Gaëtan Caputo is one of those photographers. In his shooting for Nico, “Sweet Dreams”, he reveals a dreamy atmosphere and a playful world for shoes. He is based in Brussels. docu:mentalKLINIK is a form of documentation seeking to explore, point out, and remind one of certain concepts and contexts pertaining to emotions and behaviours, form and content, culture and identity. docu: mentalKLINIK can locate itself in and can take its viewpoint on a journey in magazines, web sites, CDs, publications, newspapers, etc. For Nico, the Istanbul based creative team shaped a unique point of view on fashion in “Enjoy the Silence”. docu:mentalKLINIK and semi:mentalKLINIK are sub-headings of :mentalKLINIK. Its members are Yasemin Baydar, Birol Demir and Ayse Draz Rie Edamitsu Rie started working as a freelance stylist in 2001 focusing mainly on advertising, fashion, and music. She also likes making custom made accessories and small props for photo shoots. Nico used her styling talents in “Belle de Jour”. Claudio Edinger Born in the great Rio de Janeiro in 1952, Claudio Edinger’s photographs have appeared in major magazines around the world, including Stern, The New York Times, London Sunday Times, Vanity Fair, Frankfurter Allgemeine, El País, Time, Paris Match, Newsweek and

many more. His work has been exhibited at the ICP New York, the Pompidou Center, France, Photographer’s Gallery, England, Perpignan Photo Fest, France, Higashikawa Photo Fest, Japan, Museu de Arte de São Paulo, Museu de Imagem e do Som, Museu de Arte Moderna de São Paulo, among others. Twice he’s been awarded the Leica Medal of Excellence, The Ernst Hass Award, Pictures of the Year Award (1996) and the Higashikawa Award in 1999 for foreign photographer of the year, among other honors. His work is in the collection of the International Center of Photography, Museu de Arte de São Paulo, Centro Cultural Banco do Brasil, Itau Cultural, Pirelli Collection, Museu de Arte Moderna de São Paulo, Higashikawa Photo Fest, Metronom Barcelona, among many others. He lives in São Paulo, Brazil. Nico is very proud to present Claudio Edinger’s first fashion shoot which he produced exclusively for our magazine, “Girls of Ipanema”. Ahmet Elhan Ahmet is a graphic design graduate from the Istanbul Practical Fine Arts College. He has participated in many group and solo exhibitions and has won seven awards. He works in Istanbul as a multivision designer, photographer, and director of advertising films. For Nico he put his many talents to use to realize an unusual fashion shoot: “Enjoy the Silence”. Serkan Emiroglu Serkan Emiroglu is a Paris based photographer. His editorials have been published in Marie-Claire, Ikidebir, Harper’s Bazaar, Nico and Arena and he is an award winner of this year’s PDN 30. Serkan’s unique vision was brought into play in “Suicide Blond”, a shooting for Nico. SEbastien Goepfert Sébastien’s passion for fashion and decoration drew him to Paris a few years ago, where he started working in collaboration with various famous photographers in ads and magazines such as Lodown, Celeste, Harper’s Bazaar, Soon… A self-taught talent, Sébastien hides behind no defined style, but as in his work for Nico’s “Suicide Blond”, defines styles as being multiple. Joanna GRODECKI Freshly graduated in visual communication, Joanna is now working in the fields of editorial design and illustration in Luxembourg. For Nico she’s created the collage featuring our favourite items for spring/summer 07.


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Christina K Christina is a London based illustrator and screen printer renowned for her unique depictions of contemporary culture which sit at the forefront of the London art movement. Her illustrations have been snapped up by international record labels, magazines, fashion houses, and TV companies. Christina also produces screen prints which have been exhibited in spaces around London. She created Nico’s dreamy cover.

Zoren Gold & Minori The Tokyo based photography and art duo Zoren Gold & Minori began their creative partnership in 2000. Their shared interest in blurring the boundaries of photography has led them to experiment with photography in combination with different mediums. Their first book Object that dreams has been released by Die Gestalten. For Nico they realized their voyeuristic view on fashion in “Belle de Jour”. Amber Gray Born and raised in the doldrums of suburban northern California, Amber Gray decided to start creating her own version of reality through her photography. Focusing on surreal scenarios of dark romance, Amber shifted her attention to the world of fashion and beauty. She is now based in New York City, where she lives with her multitalented boyfriend Julian, and their devil-dog, Ivan. With “The Bubbles of Love” she let Nico exclusively peak into her surreal world. Lars Harmsen Lars Harmsen, CEO at Finest/Magma Design & Communication in Karlsruhe, focuses on creative direction in the field of corporate and editorial design. He founded the font label Volcano Type with Ulrich Weiss in 1996. In 2004 he created the web-blog Slanted. Lars is also an active member of Starshot in Munich, where he edits the biannual catalogue Useless, an independent sport and lifestyle magazine. Nico used his interviewing skills for “Figures with plenty of Character”.

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Merel Kokhuis Merel studied Interior Styling and Media & Information Management in Amsterdam. She graduated as editor/ production manager and is now working for Frame magazine. For Nico she put her design knowledge into practice by interviewing 5.5 designers. David Laurent David Laurent’s roots go back to publishing. Presently, his work is focused on editorials, advertising and fashion. In 2006, he created 52drive in Luxembourg, a company, specialized in developing photographic solutions for clients. For this issue, Nico asked him to shoot the portrait of Judith Benhamou. Andres Lejona This self-taught photographer has lived in Spain, Luxembourg, Colombia and Portugal. His interests span through documentary photography, portraits and editorials. Andres is currently preparing projects and exhibitions in portrait and architectural photography. His work has been exhibited in Museo de Arte Moderno de Cartagena and Museo de Arte Moderno de Bogotà, Colombia, and in the Grande Halle de la Villette in Paris. He currently lives and works in Luxembourg. For Nico he shot portraits of the five leading magazine experts. Kimberly Lloyd Kimberly Lloyd, founder of Lloyd & Associates, publishes Qompendium and M Publication a magazine that has won numerous awards for its distinguished use of design, typography and innovation in printing and finishing techniques. Kimberly splits her work between Germany and the USA. Recently she received the title of “Visual Leader of the year 2006”. She used her creative vision to produce “Nature, to be commanded, must be obeyed” for Nico.

Andrew Losowsky Andrew Losowsky is the editor of the book We Love Magazines, and co-curator of Colophon2007, an international event for magazines from around the world. He is also editorial director of Le Cool Publishing, and author of The Doorbells of Florence. He lives in Spain. For Nico Andrew interviewed five leading magazine experts. Thomas Mailaender Thomas Mailaender splits his time between Paris and Marseille. Documentation marks the starting point for his work. Using a slightly scientific way of working, he registers insignificant, incidentally grotesque moments that possess an abrupt and unexpected monumentality. For Nico, 5.5 designers clearly relied on their long term collaboration with Thomas to shoot their clever portrait. Justin Morin When he is not busy preparing an exhibition, Justin dedicates his time to writing. That’s why he jumped at the opportunity given to him by Nico to conceive a piece on Jean-Pierre Blanc. “Jean-Pierre is the first person who gave me the chance to showcase my work in embroidery, so I am really happy to reconnect with him for this interview!” Justin lives in France. Elena Rendina Born 22 years ago in Italy, Elena decided to move to Lausanne, where she has remained, to study photography. Fashion and style have always played an important part in her photographic world but are not limited to it. Elena loves to turn everything she finds into something wearable, for her styling work in Nico’s “Cosmic” shoot she was able to do just that. Estelle Sidoni Estelle Sidoni is a young illustrator who has her particular universe, with an affinity for story telling. For the project that Nico gave her, she let her fantasies and imagination run free in “The Power of Art”. She was first published in Luxembourg’s city guide Explorator in 2006.

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new AREA



he alth + be au inter






MAGAZINE + books

jewellery + SHADES station




…the Art of making unexpected & surprising findings…



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New Faces (2) Model: Geoffroy Jonckheere Agency: International Model Management, Brussels Chosen by photographer Luc Praet Agency: Claudia Trucco, Brussels


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Illustration by Elisa Kern

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Jean-Pierre Blanc

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Family Gathering Jean-Pierre Blanc has succeeded in putting Hyères, a small town in the south of France, on the map of “Planet Fashion”. The director of the Villa Noailles is the man behind the remarkable Festival International de Mode et de Photographie. Twenty years of experience and a lively curiosity have forged him a critical and reflexive eye in a milieu which, in the space of two decades, has undergone numerous upheavals. Let’s meet the celebrated Monsieur Blanc.

Remerciements à Bless Paris.

Interview by Justin Morin. Photography by Valérie Archeno.

Something which has become a bit of an annual tradition well-loved by the regulars is the story of Jean-Pierre Blanc. At the end of the festival, Léopold Ritondale, the mayor of Hyères, tells those assembled about the young man who, when he was in his twenties in 1986, came to see him with the idea of creating a venue for the exchange of ideas so as to help designers who were just starting out. In an unassuming and independent manner this man, together with a team of faithful collaborators, was able to make his dream a reality. He built this festival with flair and determination; a fresh fashion event squeezed into three days and a far cry from the elitism found in Paris. Twenty years after the first edition, the list of personalities who have supported the Festival International de Mode et de Photographie (International Festival of Fashion and Photography) – its name is constantly being changed – is impressive. Ann Demeulemeester, Jean-Paul Gaultier, JeanCharles de Castelbajac, John Galliano, Helmut Lang, Karl Lagerfeld, Hussein Chalayan as well as Nicolas Ghesquières have judged the work of around 250 designers. Amongst the awardwinners, Viktor and Rolf, Sébastien Meunier,

Alexandre Matthieu, Marc Le Bihan, Xavier Delcour, and many others have preceded Anthony Vaccarello, the main winner of the 2006 edition. This name dropping may be impressive, but JeanPierre Blanc is the first to admit that it started out less spectacularly: “The first ten years can’t be compared to the next ten. Our first catwalks were very amateurish, whereas now we are working with people such as Frédéric Sanchez for the music and Thierry Dreyfus for lighting, two people who are used to international podiums. For me, the festival really became interesting from the moment when the students of La Cambre, a school in Brussels, began to take part. It was through the Canette d’Or, a Belgian competition that no longer exists but which established many designers who are recognised today, that we received our first international designers. With the arrival of the Belgians, the Festival managed to avoid becoming an outlandish Mediterranean event. At the time, in France, an enthusiasm reigned which favoured this type of initiative. Things are different today. The participants’ expectations have changed. The festival acts like a sort of platform; it’s become a real occasion for the designers and companies to meet. The quality of work of our award-winners has awakened the interest of new partners. An example worth noting is the 1,2,3 channel, which we are hoping to enlist to produce and advertise a mini-collection for one of our award-winners. It’s an opportunity for them to learn what the market is really about. Let’s add that since 1996, photography has naturally found its place alongside fashion design. This has allowed us to build some proper links between the different players in the industry. Because that’s what it’s really all about. Fashion, beyond its glamorous capital, is an organised and stratified sector. It is, above all else, factories, style agencies, federations, buyers (for multi-brand shops), journalists, and agents. Very specific roles that we find notably among the members of our juries. It’s difficult for young graduates to enter into the network and to meet these people; the festival plays the role of an intermediary.” The frontiers of planet Fashion La Cambre might have made its mark on festival-goers and continues to swipe the prizes, but it’s not the only school that knows how to win. In 1993, the now famous duo Viktor & Rolf, from the Arnhem Academy, made an impression at the Festival. Then followed a period of five years dominated by Dutch trend-setters.


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However, certain important schools seemed to shirk the opportunities the festival could offer. “I don’t know how to explain it, but it’s true that certain schools play the game while others don’t. Let’s take the example of Belgium. La Cambre is very often represented, but it’s worth knowing that the body of teachers encourage their students to compete. We only have very few candidates from the academy in Antwerp, the other pool of Belgian talent, and more often than not they are very spontaneous, and their presence emanates directly from the students’ own initiative. But things are changing. Especially thanks to the abolition of geographical borders due to the internet. This year, we have received applications from Spain, Greece, and even Austria. These new candidates stem from schools which are less prestigious than the famous Parsons (New York), Bunka (Tokyo), Saint Martins (London) or the more discrete Marangoni (Milan) or the University of Applied Arts in Vienna (where of note, the duo Wendy and Jim teach), but they also enjoy a very good reputation. We should bear in mind that each of these institutions promotes its students through the

Teaching fashion design in a country like England or Belgium is integrated into fine arts type school. Students are led to explore other sectors of creation.

A preview in images from the world’s leading fashion design schools and the emerging talents of tomorrow. For contact information of the

individual designers please refer to the Links page (249)


year-end catwalk show. Not only is it a marvellous tool for communication with the public, but it’s also a professional meeting to which head-hunters are invited. These last, being fairly limited in numbers, are very much in demand. It’s almost impossible for them to go to all of the schools’ catwalk shows. If our festival has existed for so many years, it’s no doubt because it is available for all the designers to see.” Is France a naughty pupil? As he lists the different schools, Jean-Pierre Blanc doesn’t slip a single word in about the French case. Is this a purposeful omission? “There are many schools in France, but I think that we can really do better. Teaching fashion design in a country like England or Belgium is integrated into fine arts type schools. Students are led to explore other sectors of creation, or at least, to interact with other people. It’s not a closed circuit. It’s a richer strategy which has proved itself. What people object to about us, perhaps the most, is the decorative arts section which has selected Gaspard Yurkievich to teach the subject of fashion. And finally, we should also salute the Institut Français de la Mode – run by Francine Pairon, the same person who launched the La Cambre fashion workshop – even if it does concern post-diploma training. Today, solid training should not only bring out the students’ creativity, but also prepare them for the economic reality of fashion. How to work with industrialists, how to manage the distribution of your collections, how to communicate about your image… Many schools require their students to carry out some sort of training during their course; it’s a good way for them to get a taste of the real world. But coming back to France, its real problem is that it doesn’t know where to class fashion. Should it be affiliated to the Ministry of Culture or to that of Industry? The fashion landscape has changed. Our country is lucky enough to have a rich past, but it’s this same past which handicaps it. Anyway, nowadays it is becoming incongruous to think of fashion in terms of the nation. The big French fashion houses of Givenchy or Dior have had the cobwebs blown away by Italian (Riccardo Tisci for Givenchy) and English (John Galliano for Dior) designers. There are really only Italian labels like Versace or Prada, ‘family’ enterprises, which remain within this national logic.” The global system of luxury If you ask any design student, the large majority of them are hoping to enter a fashion house rather than release their own label. There are a few winning combinations such as Hedi Slimane + Dior or Nicolas Ghesquières + Balenciaga. Independent designers, whether Japanese or Belgian, inspire respect but are not often what dreams are made of. It should be mentioned that nowadays you need solid economic capital just as


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Central St. Martins College of Art and Design, London clockwise:


shemena kemali, TATIANA KATINOVA A preview in images from the world’s leading fashion design schools and the emerging talents of tomorrow. For contact information of the

individual designers please refer to

the fashion stockist pages (248 & 249)

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much as a good dose of recklessness to launch such a venture. At the end of the 80s, after the French designers such as Thierry Mugler and Claude Montana, came the Belgians, the famous band of six from Antwerp (Ann Demeulemeester, Dries Van Noten, Marina Yee, Dirk Bikkembergs, Dirk Van Saene and Walter Van Beirendock) and the conceptual and poetic Japanese (Rei Kawakubo for Comme des Garçons, Issey Miyake as well as Yohji Yamamoto). At the end of the 90s, “virtual” fashion – fashion created from strong images difficult to reproduce in the shops like that of Viktor & Rolf or Jeremy Scott – experienced their final moments of glory. The economic upheavals of September 11 spared nobody, and fashion designers had to face the crisis. Alliances with the big luxury groups, purposefully aggressive marketing, a multiplication of licences: this became the development strategy

which until then had remained “semi-handmade”. Now it wasn’t leaving any margin of error. The big luxury brands tend to leave little space for the smaller labels. Talent is no longer enough to make yourself a name. Jean-Pierre Blanc qualifies this, and explains, “there do exist, however, alternative networks promoted through the media, especially in England, but in these cases expansion is uncertain. To understand it, you only have to look at headlines in the press of the country concerned. ID or Dazed & Confused fill their pages with names that we hardly know in France. Here, we have Numéro or Vogue, two magazines which essentially communicate about our established values. That said, France has other advantages. Notably, young houses are given opportunities through mixing with their elders during the catwalk shows of Fashion Week.” If you look at the history of fashion you can see that a new trend emerges every ten years. Designers

Perhaps Hyères is so successful because it gives us the impression that we too belong to the big family that is fashion.


are subjected to the natural cycle of life and death. Some of them just fade away; others establish themselves and continue along their path. The next revolution will surely come from somebody who will navigate their fashion against the current. A different way of looking at fashion Every year, the Hyères Festival organises round tables on dilemmas which design is confronted with, its inherent commercial reality and industrial constraints. It’s one method of thinking in concrete terms about the future of an industry assailed by counterfeiting, and also the lassitude of consumers. “Actions should be devised so that the system can work differently” concludes Jean-Pierre Blanc. “I don’t understand why such talented people as Martine Sitbon or Jean Colonna today find themselves at a dead-end. Fashion sucks the blood out of creation; it’s a very tough system which claims a lot of fresh meat. Moreover, the very expression ‘young creation’ shows it well. It’s a term which doesn’t really make sense; we’d do better not to use it any more.” Hyères 2007 It would be unforgivable to talk about the Festival without a mention of the sumptuous Villa Noailles where it has been held since its renovation. You really have to admit that the para­ disiacal venue of the cubist building by Robert Mallet-Stevens, cradled by the heat of the Mediterranean, is like a magnet for the main players on the fashion scene, who are usually trapped in the grey of Paris. The highly prized parties, notably the final event, are a cocktail of arty chic and charm, worthy of the Villa’s history. The Festival is a little pre-taster of the holidays, with the perfect artistic excuse, as the numerous exhibitions taking place here show. This year, the guests of honour are Mr Jean-Paul Goude for the photography and Mr Christian Lacroix for fashion. Lacroix called on the protean choreographer Christian Rizzo and designer David Dubois to present his fashion. Another guest designer Christian Wijnants, award-winner of the Festival in 2001, is returning to show us how his work has evolved. It’s a charming tradition that Jean-Pierre Blanc and his team have instituted: festival-goers are often brought news about former champions. “One year after his plebiscite, Anthony Vaccarello finished his journey at La Cambre, and left for Rome to collaborate with Fendi. He will return this year to show us the research that he has undertaken with fur.” Finally, the Hyères Festival International de Mode et de Photographie goes further than simply arou­ sing curiosity; perhaps it is so successful because it gives us the impression that we too belong to the big family that is fashion.


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Istituto Marangoni, Milan clockwise:

admir batlak, armando costa, giulia bedoni, giulia bedoni

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Royal College of Art, London Hai Yan Wang



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Parsons The New School for design, NYC

clockwise: mutrok and Garth,

Photos: Dan Lecca

dennett, Peter Sohn, Lu Liu

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Ecole Nationale Superieure

des arts visuels de La Cambre, Brussels Anthony Vaccarello

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Institut Franรงais de la Mode, Paris clockwise: Alexandre Blanc,

Anna-Liza Ganguly, Wowo Kraus, Sophie Dulaurent


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ArtEZ Academie voor beeldende kunsten, Arnhem

clockwise: Eefje Frankenhuis,

Photos: Louise te Poele

Inge Konijn, Rob Velker, Lenn Cox

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Universitaet fuer angewandte Kunst Wien, vienna Ajla Karic

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Koninklijke Academie voor Schone Kunsten, Antwerp Peter Bertsch



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Koninklijke Academie voor Schone Kunsten, Antwerp Demna Gvasalia


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Gary Baseman

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Figures with plenty of character Character design is becoming more and more important in the form of figures, for advertising purposes, in street art or even as toys and costumes. It is not just the possibilities for media that are interesting, but also the very basis of the characters, their inherent life-like quality, that is so fascinating. The Pictoplasma conference has established itself as a renowned and popular platform for character design professionals. We spoke with Lars Denicke of Pictoplasma, Berlin, about the trendy and outlandish figures. Interview by Lars Harmsen. Photography by Andres Lejona.

Lars Denicke studied cultural sciences, with a major in media, at the University of Berlin. In 2003 he teamed up with Peter Thaler, who three years earlier had founded Pictoplasma. Thaler was an animation film draughtsman who wanted to know “what was happening out there”. He thought there must be more than Brösel, Mickey Mouse and the Michelin Man. He founded a website initially as a collection of characters and artists. Today, the site’s archive comprises over 6,500 contemporary character designs from over 1,000 artists, designers and companies around the world. Its catalogue permits a range of search functions, cross-referencing and comparisons etc. As a result, the first book, published by Gestalten in Berlin, appeared in 2001. But the duo’s idea of to hold a conference where

artists could gather and meet, proved to be even more popular than a publication. The first Pictoplasma took place in Berlin in 2004. Over 60 percent of the participating artists and visitors arrived from abroad for this celebration of character design. The conference was repeated in 2006 and the next rendezvous is provisionally scheduled for 2008. The list of speakers at the first two conferences was quite similar (e.g. Rinzen, Friends With You, Gary Baseman, Doma Collective). How is the selection process carried out? Since the 2004 conference, a sort of family of designers and artists has emerged. Pictoplasma 2006 was a happy reunion. A Revisiting Friends section allowed everyone to deliver a brief update of what they had been up to during the past two years. In addition, it made the experience easier for new speakers, given that everyone introduced someone else. Let us first talk about character design. What differentiates them from designer toys? Designer toys – that is, figures created by artists in vinyl – are simply one production aspect of character design. Personally, I am not a fan of designer toys. Maybe it is the material, which is primarily plastic. These figures are made for glass showcases, they are cold and do not display so many emotions. Even if I don’t play with characters, their expression and tactility have a foundation in something living; in other words they have character. You could even call it an almost romantic look. Designer toys simply represent a manifestation, so they possess a certain sculptural quality. Characters, on the other hand, have many faces. They can express emotions and posture. The faces of characters differentiate from those of people in film, in that they are static, abstract and reduced. Character design is based on a whole range of influences. Obviously, comic figures were a great model, but so were the mascots of the burgeoning advertising industry in the 1930s and 40s in the USA. However, figures such as Donald Duck or


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Clockwise: Shoboshobo, Akinori Oishi, Dennis Tyfus, Ana Bagayan



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Mickey Mouse always had background narratives. This is not the case of characters. Of course, a figure like Hello Kitty fulfils commercial requirements and can easily be marketed on purses, bags, t-shirts etc., even though there is no evident story or narrative. How have characters developed over the last 20 years? Is character design something new, or is it simply an old-hat that has been redefined? We really only deal with contemporary Character Design. The growth of network communications has clearly played a major role in this. Characters have become a means of communicating beyond language barriers on the Internet. Now, image creation has taken a bit of a u-turn; that is to say from the shaping as a two-dimensional picture back to the reality of a three-dimensional figure. How do you see this interchange? Characters are not simply one-off things and should not be compared to advertising mascots. They have a life of their own, with their own character. They are independent and essential. The question of whether a figure speaks to us is decisive. Boris Hoppek’s Bimbos, for example, are wonderfully humorous. Image anthropology theory suggests that image derives from the sight of a corpse. Pictures of dead bodies inspired image production, first as dolls, then as a painted picture; almost in an attempt to bring the dead back to life. If we transpose this idea to characters, then one can argue that two-dimensional figures are brought to life when they are transferred to three-dimensional figures. They are reduced to a form that represents contact, mostly by means of staring at the observer. At the last Pictoplasma conference, we even took this concept to another level, by suggesting that figures are shells, costumes that humans can slip into. It is clear however, that the possibilities for creation are limited. The material used has simply too many irregularities that are not as easily controlled as the smooth images on a computer screen or in print. But this also provides us with a great challenge.

handicaps, namely the narrative and the exploitation. That means we can create a figure without having to think of a story right from the start. Figures are also independent of any utilisation. Whether a figure is well-known or can be used as a mascot depends entirely on whether it speaks to us. Often the boundaries are blurred. Miss Van could be described as a street-artist, even though her figures really are characters. Is that right? Many character designers do, indeed, come from the street-art scene. And many return to that field without any problem. Street-art is, for us, simply another area that characters can infiltrate and in which they can develop. But pictoplasma is not a street-art project. Street-art themes such as the appropriation of public spaces or the codifying of respect do not really interest us. They have already been done to death.

What can be described as avant-garde character design these days? Everyone who comes to Pictoplasma... Akinori Oishi (Japan) for his playful simplicity, Jerry Dower (Australia) for his fantastical beings, Ana Bagayan (USA) for her fantasy worlds, Motomichi Nakamura (Japan) for his excesses in black-white-red, and then we have the masters of line drawing Shoboshobo (France), Dennis Tyfus (Belgium) and Ian Stevenson (UK). And of course, Boris Hoppek. He is somebody whose work one could say operates at the very edge of dilettantism. He really botches things together, sticking bits of paper on cardboard - at first it all looks really terrible, but eventually he creates a superb robot. His work is a mix of perfection and chaos. Many character designers do not live in central Europe – Tim Biskup, Gary Baseman, Friends

Characters have become a means of communication beyhond language barriers on the internet.

The Michelin Man distinguishes itself from the HB Man [German cigarette mascot] in that it is unhindered by a story, and yet still has a life of its own. How important, or unimportant, is the history, or the narrative, that is linked to a Friends with you character? The story is irrelevant, even if there are examples in which stories have been developed. Pictoplasma liberates its characters from two


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Tim Biskup

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With You (USA), Doma Collective (Argentina), Nathan Jurevicius, Rinzen (Australia), Furi Furi (Tokyo). Is there simply a lack of fertile ground in Germany for such designers? Apart from eBoy, what worthy names are there in Germany? Well, Boris Hoppek, whom we have mentioned, comes from Germany, too. But it is true that there are few who stand out from the crowd; Stefan Marx, Moki, Juju’s Delivery or Kathi Käppel all do great work. In the rest of Europe there are some others worth mentioning, such as Shoboshobo, Dennis Tyfus and Ian Stevenson as well as Jon Burgerman (UK) or Doudouboy (France), just to name a few. The work of these artists is distinguished by its very wilful style. The first few all draw with pen, in a very free style, whereas Doudouboy creates simply amazing 3D figures. Characters are very popular in Taiwan. They are even used in elections and defeat or victory can often depend on characters. How can that be? In Asia, painting has historically been very flat. Just think of Japanese landscapes. They work very differently with perspective and body. Everything looks as though it has been cut out. It was only under the influence of the Americans, during and above all after the Second World War, that it became spacious and therefore three-dimensional. The trauma of Hiroshima led to figures like Godzilla, born out of the post-atomic world as “revenge” and “response” to the atom bomb. Asia strongly rejected the pop culture invasion, which manifested itself in flat space. But I cannot really answer the question as to why these figures became such a strong symbol of identity that can even work in politics. That is a cultural context that I do not have.

selling-out? Do Character Designers lose their credibility through such liaisons between industry and underground? From my perspective, this was a big challenge for Boris Hoppek as well. He really put his characters on the line. Can they survive this kind of commercial marketing? Initially, I was fairly irritated, too. But the passage of time has allowed me to appreciate his combining art and commerce. There is, after all, still something subversive about it. There are people who have allowed themselves to be photographed in front of Opel showrooms, not because they like the cars but because of the Bimbos. Pictoplasma itself has created a connection with industry via the Nike Spirit Room (Wayne Horse / Airmax sneaker). How did that project come about, and what were its results? Nike wanted to support Pictoplasma and offered us the opportunity to present them with one artist. What was surprising about the project was

Tim Biskup’s character Helper is a means of representing various themes such as loneliness, disorientation, and even terrorism or US history.

Character design flirts with art. They are often personal statements. Real artistic standards are rarely called upon. How strong are the artistic requirements? Character Design often lacks conceptual understanding. The artists are in love with their figures and closer to design. Some, however, do succeed in managing to deal with concept. Tim Biskup, for example, is not an artist because his paintings are sold in the art market. Rather, his character Helper is a means of representing various themes such as loneliness, disorientation, and even terrorism or US history. Character Design and commerce are increasingly working together – Boris Hoppek and Opel, for instance. Especially in his case, does that not leave a nasty taste of betrayal and Doudouboy


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Clockwise: Boris hoppek, Friends with you,

Photography: Achim Hatzius

Genevieve Gauckler, Friends with you



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how much freedom was given to Wayne Horse. And the result speaks for itself. Many artists are trying to be internationalists. Globalisation is becoming something elitist. You work with someone in New York or Tokyo, meet others in Berlin, Barcelona etc. Is the scene hyped through its international nature? I wouldn’t see it like that. Pictoplasma was, in fact, an attempt to bring together this scattered and disparate global scene. People meet up elsewhere mostly on a regional basis. Exchanges seem to be very important. Jon Burgerman (UK) and Sune Ehlers met through the Internet. The principle of one person starting something and the next person carrying it on appears to be very fruitful. Is this really the right recipe for creating something new? I really think so. Jon and Sune are a great example, because they create a really open world. At Pictoplasma conference 2006 they also initiated a workshop in which all visitors drew common worlds. A similar effort was made at the 2004 Pictoplasma. On that occasion Rinzen (Australia) focussed on dolls: each visitor worked on sewing, embroidering and characterising over 100 dolls – it was a constant remix. The best were then presented in a really great book Neighbourhood (Victionary ISBN 978-9889822859).

personal connection. The characters write letters to their sponsor and proudly invite them to a big event. At the same time this financed our project and covered the costs of material for the costumes. Final question: what is your favourite design character? As always, that is impossible to answer. But today it is Bad Boy Lens Flare from Fons Schiedon (Netherlands). And what is the new book about – Pictoplasma: The Character Encyclopaedia? This is already our third book that catalogues characters. The exciting thing about this encyclopaedia is that we don’t categorise the characters according to their technical style (Pixel, Vector,

3D, Freehand etc,), but rather as an evolutionary system. Our encyclopaedic system has its own unique logic. We do not use terms that are illustrated by pictures, rather the pictures are their own, language-free, definition, and are sorted accordingly. What Websites would you recommend? PICTOPLASMA, Pictoplasma Publishing, ISBN 978-3-9810458-3-3

Characters are more than just lifeless dolls.

Performance, dance and theatre all represented the expansion of character designs at the last Pictoplasma. How did this manifest itself, and what lessons were learned? We strive to maintain the image, liveliness and body of character design. Characters are more than just lifeless dolls. This perspective allowed us to develop a cooperation between costume design students from the UdK Berlin and dancers. Jared Gradinger from the Dorky Park / Constanza Macras group gathered together an amazing ensemble of ten dancers. The figures were given texture and form by a costume designer, and then the dancers experimented with them. How do they move? How do they react to each other? This led to a 45-minute piece that was performed at Pictoplasma. What is the thinking behind the sponsorship programme? We just wanted to push everything a little bit further? The project is defined by bringing the characters to life, but because we didn’t want to create a family of character designers, costume Fons Schiedon designers and their respective characters, we developed a sort of SOS Children’s Village. The sponsorship programme was an opportunity to establish a


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The Power of Art When admiring the Mona Lisa at the Louvre or a Giacometti piece at the MoMa one hardly thinks about finances. After all, art is supposed to be a source of cultural enrichment, an awakening of our senses. Hidden behind this pleasure however, is a real business that has chosen marketing as its new best friend. Judith Benhamou, experienced critic and writer, is familiar with the art of the market. Interview by Angelina A. Rafii. Photography by David Laurent. Illustrations by Estelle Sidoni.

In your book Art Business, published in 2001, you explained that there are seven main factors that influence the price of an art piece, namely: the buyer, the intermediary, the seller, the place of sale, the artist, and finally the power of the piece itself. Do these factors still apply today or have some lost their influence in the changing market of the past six years? Even if I have to admit that placing the piece itself, and its power, last in the list you just named is quite provocative, all those factors still apply today. In fact, more than ever. One can see that all the phenomenon which were observed at the end of the 90s - when the market was stronger - are still true today, as the market is excessive about fashionable or high quality pieces. The art market has become part of a lifestyle, which means that to belong to one of these “elite clubs” of art collectors you need to consume some special kind of work of art. Marketing has never been so important. So the idea of value, in relation with criteria which have nothing to do with the work of art itself, has never been so important.


Until recently, the reins of the auction world were exclusively held by the two competing auction houses - Christie’s and Sotheby’s. Then emerged Phillips de Pury, a house that largely took advantage of the antitrust allegations against the two former auction houses to lure away some of their clients with big money promises. The emergence of new competition tends to stabilise prices, but in this case the players saw their margins shrink. The result was an inflation of prices, it seems, on all ends. Will the bubble burst? Do you see the market stabilising in the future or is there already a breath of stability? The emergence of Phillips de Pury is not the result of antitrust allegations but rather the consequence of the personal involvement of Simon de Pury in a firm under his name. He knows what he does and he does what he knows best. He has one of the best address books in the world. He is a person who is able to feel the trends in society, as can only a few. He tried to create a new general­ist auction house but failed. Instead he formed something which he is really able to control in terms of selling, buying and ultimately in terms of having a good feeling for the consumption trends in the art market: jewellery, contemporary art, design and photography. This auction house has become a Zeitgeist firm. It means that he seeks to identify the newest trends in the consumption of art. Previously, cutting edge galleries around the world carried out this job. Now he even dares to sell shoes and paintings belonging to the same person, in the same catalogue, as part of a presumed “jet set”. The idea is to sell a story, a story about people, which will create a desire to possess a certain work of art and what it represents. The competition between the two big auction houses creates an increase in prices. In fact, when they are in competition to obtain a lot, the best strategy is to give a high guarantee to the seller, a high reserve price and thus, a high estimate of the work. The risk is that the object can be “bought in” as they say at auctions, which means “not sold”. But in fact, as Christie’s and Sotheby’s behave like that for works of art that generate a high desire in the context of our time, it is a strategy that works. This means that for a


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list of selected works of art that are fashionable now and which the market supports, the prices increase more and more. The phenomenon is obvious for what one can call “easy” works of art. By this I mean paintings that are affordable in intellectual terms for the new buyers or for the valeurs sûres known from the 70s or 80s such as Cy Twombly, Richard Prince or even the great Bruce Nauman. I have no idea when all this will collapse but when it happens, it will certainly be a consequence of a crisis in the stock market. The art market is psychologically very fragile and influenced in different ways by the atmosphere in the economy, which means that the bubble will explode as a consequence of some outside phenomenon. Also, art in a way is a fashionable phenomenon. Many people now interested in art would not normally be, it just gives them social assets and perhaps a vague idea of understanding our complex time. One can imagine that many of the contemporary values could change after the explosion. What role do big corporations such as LVMH and PPR play in the art world today; in the way that art is perceived and bought? LVMH owns the auction house Phillips de Pury. PPR owns Christie’s. Both have had a great influence on the

What is popularity in art? Success? Good sales? The real question aught to be whether the work of art is relevant or not.

The Louis Vuitton Foundation for Creation, Model by Frank Gehry


way auctions are publicised, and their PR work is conducted via large budget increases, but how far does their influence really reach? As a French citizen I will first say that the fact that two of the big players in the art market are French is a good thing. In this country, there is a kind of guilt attached to buying art and above all contemporary art. François Pinault, followed by Bernard Arnault, are both so involved in the art of their time that they have in a way made people feel more legitimate about taking an interest in contemporary art. Having said that, one has to bear in mind that Pinault and Arnault are two very different cases. Pinault is very involved personally in contemporary art and is perhaps also very fascinated by the art market. He is also the owner of the first auction house, Christie’s. Arnault has advisers to buy contemporary art and seems to have more of a vision about the relationship between his firm, and more precisely about Louis Vuitton and art, than anything else. The Louis Vuitton Foundation, dedicated to modern and contemporary art, built by Frank Gehry and directed by Suzanne Pagé, former director of Musée d’Art Moderne de la Ville de Paris, could have a real influence on the international cultural scene. But there are a lot of prominent buyers all over the world and above all in the US. People like Eli Broad in Los Angeles who are giving money (I think 70 millions dollars last year) to the LA museum of contemporary art, and buying art regularly – such as large collections of Cindy Sherman, Damien Hirst, Jeff Koons etc, have a huge influence on the art scene and on the art market. There are also, less “famous” buyers who influence in their own way, I mean more privately, the tastes of the present period. For example, Anton Herbert in Belgium is considered a key person and has a huge collection, which he showed in Barcelona last year. He has been buying works by conceptual artists since the end of the 60s but has only been buying works by Baldassari for seven or eight years. Many influential curators and collectors speak to him and visit him. Luckily, the market is not only led by those few highly publicised persons that the newspapers speak about. In recent years, we have seen how pop culture has had an influence on the art world. The bounda­ ries between disciplines become more and more blurred. Movies that portray a certain epoch have started to influence purchasing trends, socialites who used to show up at fashion shows are now trying to buy themselves credibility by


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attending high profile auctions. Does this intermingling influence the rites of passage that an artist has to go through in order to gain recognition? Does the popularity of a young artist today boil down to whom he knows and where he is seen, much like these other “disciplines”? No, this is a new effect of civilization. Artists create fashion and fashion designers want to create art. At the same time designers create chairs that are not really made to be sat upon but rather to be looked at like sculptures. There are no limits, just interchanges between different subjects. But at the same time there are so many painters who are just painters and who are successful… there is not a real formula to have success, not in those terms anyway. And we have to think that during the Renaissance there were many touche à tout like Leonardo Da Vinci. In our time it’s possible to be multi-faceted or very specialized. That is fascinating. That is what one calls “post moder-

Miami is about sun, glamour, luxury, big hotels, friends and finally talking about art and buying art.

nity”, a word that I hate. We need to invent a new one. But the real question is: what is popularity in art? Success? Good sales? The real question aught to be whether the work of art is relevant or not. But the art world is like any other microcosm, which means that if you see a work of art by a young artist exposed in a pre-eminent museum you feel more secure to buy. And if you see that such a famous collector as Charles Saatchi, a professional in collecting, is buying a young artist’s work, you think, perhaps, if you don’t have experience, that it is a good choice and anyway that he will promote the artist. A good recent example is a Peter Doig painting sold for 8.7 million euros at Sotheby’s, London. It was bought by a young Georgian man who apparently wanted to be on the same path as Charles Saatchi. The value of a work of art is made up of tangible points (which gallery promotes it, who are the collectors, the art critics, is the work aesthetically affordable, etc…) and more intangible points which deal with the pertinence, or the idea that you have of the pertinence, of an artist at the beginning of the 21st century. How has a fair like Art Basel so strongly established itself that it can launch a franchise in Miami? What is the aftermath of such a fair? What movements happen in the market after such an event takes place and does the fair itself make art more accessible to the general public? What other fairs are comparable in terms of status with art connoisseurs? Miami is not really a franchise. It’s the same name used in another place with the Swiss savoir faire to create a new fair that just deals with art and lifestyle. Miami is about sun, glamour, luxury, big hotels, friends and finally talking about art and buying art. In Basel you still have a lot of classical modern galleries showing Picasso, Giacometti or unknown artists, dedicated to the connoisseurs. Miami has been invented for consumption of art under the sun, as the weather is so bad in Europe and New York. In a way it makes art affordable to a kind of larger public, a public who has big resources and no culture. Why not? Society itself is more and more elitist in terms of money. The art world with all its grading of VIP and super VIP and super super VIP cards is just an expression of this phenomenon. The only other fair comparable to Art Basel is Maastricht but it’s above all the epicentre for the dealing of old masters, even if, for example, Hauser & Wirth participated in the 2007 fair. Art is now largely being promoted as an investment. Similar to the way you would invest your money in a portfolio of stocks, now you can invest



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in art. You yourself have mentioned the Ganz family who bought The dream by Picasso in 1941 for 7,000 US dollars, and sold it for 48 million US dollars in 1997. Stories like this obviously feed the dream of closing a one of a kind deal. Although in this case it was more of a long-term investment, do you think that there is speculative side to art as an investment? Is there a growing trend? The story about the Ganz family is that art was their life. They really had a wonderful eye and no money or little money. They recognized very early the good artists who would last. This is not

The role of the museum is to dare to go further. If you want to please your trustees, partners and to secure them, even in their investments, you can lose some of your basic aims.

MoMa The Museum of Modern Art


at all about speculation. This is about understanding the history of art and the future of art history. Very few people have that ability, especially today. The fact is that now you can make so much cash by selling your Warhols, that many collectors have the temptation to become dealers, just for the pleasure of making money. Because of this the contemporary art market has lost its common sense, due to the large number of new very rich big buyers. An article published in the Opinion Journal from the Wall Street Journal Editorial Page states that a study was conducted to evaluate MoMA’s economic impact on New York City. According to this study MoMA ‘adds 600 million US dollars to 700 million US dollars to New York City incomes each year for a 2 billion US dollar total, while boosting tax revenues and creating more than 4,000 jobs.’ On the other hand, the Louvre has just closed a one billion euro deal to build up a satellite museum in the United Arab Emirates. Can you describe the economic role of a museum such as the MoMA and its counterparts? MoMA has become a very special institution under the direction of Glenn Lowry. Previously two heads, one for the management, and one for the curatorial work drove it, now it is driven by one person who has a precise and commercial idea of the firm, MoMA. It means less experimental and more effective – in terms of money- exhibitions. I’m not sure that the exhibition of Gordon Matta Clark at the Whitney that opened in February 2007 could have taken place at the MoMA. Matta Clark was very avant-garde, very experimental. There is no strong art market for him and he is not representative of any collection of a big trustee or a potential big trustee of a foreign country. What’s interesting about art is to project society further. When art is just an echo of what society wants to look like it means less, it has less value. The role of the museum is to dare to go further. If you want to please your trustees, partners and to secure them, even in their investments, you can lose some of your basic aims. The great idea about the Louvre in Abou Dhabi is the whole project of Saadiyaat Island. To create a huge and ambitious complex of museums and to believe in art in such a way, giving billions and billions just to have the possibility of having good art and good architecture in this part of the world. The Sheikh in charge of the Emirates dares to give money to occidentals and occidental art to obtain Guggenheim and Louvre projects. It’s the best way to reject Islamic fanaticism. A very strong message. This is the greatest project of the century, for sure.


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Finn Campbell-Notman



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Looking for a voice What are today’s hot markets for illustrators? Do illustrators need to be good storytellers? We caught up with Daniel Chrichlow from the brand new creative management agency, Dutch Uncle to discuss these topics as well as the important stages in illustration over the last decade. Along with co-founders Helen Cowley, Henrik Riis and Mikiharu (Miki) Yabe, Dan Chrichlow currently runs the London-Copenhagen based agency with strong links to the Japanese market. Read on… Interview by Mike Koedinger.

“A Dutch Uncle insists on candour, honesty, truthfulness, and asks the tough moral and ethical questions – before anyone else does. You can be a Dutch Uncle if you care enough about other people and they know you care.” This initial statement is from your website. Both artists and clients certainly appreciate this vision, but what is the daily life like at Dutch Uncle? Well – at the moment there’s a lot to fit into a day. Day to day tasks involve managing our present commissions, dealing with new enqui­ ries and promoting our artists to get more jobs. We have many commissions for our Japanese artists so the days are starting early and ending late to fit in with the time zones. I generally start the day with a walk to work, it’s a rare thing in London. I’m usually in work by 8:30am. I deal with clients from about 9:30am and before this is a planning meeting with my col­ league Helen about the jobs that day. Each day is very different according to the deadlines and enquiries we receive.

Working globally with today’s technology is easy, but what’s the secret of a good (virtual) briefing? A good brief outlines the foundation of a com­ mission – a schedule for delivery of rough and final images, the usage details, image sizes and a brief describing what is expected from the images required. We aim to get these three things out­ lined at the earliest stage. From a client, most artists expect both: a clear briefing and enough freedom. How does that work together? If an artist understands exactly what the client is trying to achieve from the illustration then they know how much artistic freedom they have. The artists we represent give at least a couple of rough options for the client to choose from. Every brief is unique. While one client wants something very directed another gives a title and leaves the artist the freedom to go where they want with it. Does distance make it more difficult? It’s no more difficult to brief and work with an artist in another country than it is working with an artist based in London. It’s just a matter of working around time. We have a clock in our stu­ dio for every artist we work with in different time zones. It looks a bit like the beginning of the movie Back To The Future. The only problem we encounter is when we have an unrealistic turn­ around on a job, like an image needed the same day. It happens. This is obviously a problem if the artist chosen for the job is from a time zone ahead of us, like Japan, and they are already out partying or when they are behind us in time, say in San Francisco, and they are still asleep. When this happens we are honest about the situation and try to help find a solution. This problem only happens on very quick 24 hour turnarounds. Cul­ tural distance needs to be considered with certain jobs. This just requires more visual reference and better explanations. In the mid-nineties, the early Wallpaper* introduced the beautiful gouache works by Barcelona based illustrator Jordi Labanda. For many, this was the starting point of the comeback of trendy illustration. In your opinion, what have the important steps in illustration been during the last decade? The past ten years have seen a lot of change in illustration. The use of computers as a medium


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and the internet has changed the illustration indus­ try forever. Trends in illustration still come and go overnight. What is cool today is challenged tomorrow. I think the most important steps have been in artists having websites of their work. This has increased the client’s ability to research a very specific illustration style, browse for styles when they don’t know exactly what they want and gener­ ally expand their knowledge of what is available. Illustration is now a worldwide marketplace. A big step is the fact that clients in London are now using artists from all over the world from Helsinki to Hawaii. They no longer have to stay local to find the perfect person for the job because the limita­ tions which existed ten years ago, such as the deliv­ ery of original artwork, are no longer a problem. In the same period, there has also been a new interest for adult comic artists / illustrators such

as Robert Crumb or Eric Stanton. Interest for eroticism seems timeless, but other subjects are more trend related. I think of romanticism, nature or patterns. Do you think the emergence of those trends is related to current values in society? And, is eroticism really timeless? Sexual imagery is, as they say, still the best way to sell a product. So as long as there are hungry minds and products to sell I guess eroticism and a sexually fuelled imagery, whether it is in photo­ graphy or illustration, is essentially timeless. On an agency website where I used to work it was interesting to see from the statistics that the most common word hit was for the subject “sex” and the second was “fashion”. Pencils, wax crayons, colour spray, chalk, acrylic, oil pastels, paint brushes, dip pen, markers, collage, computer software… today the techniques

A big step is the fact that clients in London are now using artists from all over the world from Helsinki to Hawaii.

are numerous and often mixed. What’s the life­ span of a style or a technique? The lifespan of working in a single technique is dependent upon what the artist’s specific mar­ ket is. A trendy technique is limited to the life­ span of the trend but can generate a lot of money for the artist during that period if they are riding the forefront of that wave. Again, as soon as a style or technique becomes popular, it’s not long before it is challenged and the opposite style starts to rise. Does the variety of techniques leave any place for trends? I think we are at a point where trends are rising and crashing much quicker because of the avail­ ability of so many techniques. Dutch Uncle is based both in London and Copenhagen, and also represents a wide range of artists from Tokyo. Do trends nowadays exist merely in geographical markets or by sectors of activity? Trends go on journeys around the world. What might start as a trend in London I sometimes see a year later elsewhere in the world. In Japan trends rise and crash within the blink of an eye. It’s impossible for me to keep up without becom­ ing a slave to it. Today, illustration is everywhere: in the museums with artists such as Gary Baseman, in the galleries and streets with artists like Miss Van, Boris Hoppek and Banksy. Formal boundaries seem no longer to exist. Is the difference, from art to illustration, only in the substance, in the meaning? The boundaries are certainly blurred nowadays between art and illustration. I guess the big differ­ ence I see between the two is in who calls the shots. If an artist produces their own work starting from personal viewpoints and feelings, I class it as an art­ work. If an artist starts a piece of work with the primary aim to convey another person’s point of view I class it as an illustration. I think artists think that a personal piece of work, without any outside direction, falls into being an illustration just because it has been published. I see a lot of space in independent magazines for artist’s personal work as opposed to a directed piece of illustration.

Izumi Nogawa


From Chaumont Poster Festival to Le Book Connections -the place we first met- where are the places to be for an artist or an agent? The perfect place for an agent is in front of potential clients. Speaking for ourselves, we try to get around to as many exhibitions, events, and meetings as we can and talk with as [>>ù65]


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Kustaa Saksi


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Lyndon Hayes


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Aesthetic Apparatus



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[>>ù60] many people as possible. Not only cli­ ents but artists. After all, illustration is a collabo­ ration process, so as an agent we like to be out there to spark those relationships, create aware­ ness about the artist we rep, and then help main­ tain those connections. Exhibitions are a good way for us to meet an artist or client in a more informal way as well as the LeBook events where we first met. It is definitely a relief for artists not to have to make the financial negotiations with the clients, but an agent does more as he generally manages to increase the fees through his market know­ ledge and understanding. We have worked with artists in the past who just see an agent as an extension of their accoun­ tant – or someone to invoice a job on their behalf and chase money for them. We do this as part of the agency, but we do so much more. When it comes to increasing fees, we have worked on thousands of commissions and quotations so with that experience we understand the leverage avail­ able in demanding higher fees. What are today’s hot markets for illustrators? Books, music industry, advertising, magazine edi­ to­rials, posters, t-shirts? The illustration industry is as wide open as it ever has been. Illustration is being applied in every way that any product can carry an image and in a wide variety of styles. I guess the hottest markets are always where the money is. Advertising is gen­ erally the top dollar but there are lots of other pro­ jects we work on which not only enhance the bank balance but ones richness of life too. Every artist we represent appreciates their work on products such as book covers, album covers, toys, t-shirts etc.

an A+ with only 1 hours revision before the exam. It’s not going to happen and at best you will just scrape a pass. To have a successful long-term career is to have continual awareness of the market, to adapt and develop. Each artist should find the time for personal work and to experiment. Keep yourself excited by your own work. It translates as enthusi­ asm for what you do. For longevity, it’s simply keeping your existing clients interested and happy and finding new clients to expand your market. It’s from these happy clients that you get good word of mouth advertising which is priceless in devel­ oping a long term career. I’m afraid there is no sure-fire strategy for longevity that will work for every artist. We keep our agency numbers man­ ageable so we can have reviews and strategy meet­ ings with each artist at regular periods to work out what is working and what isn’t. I think every artist

Each artist should find time for personal work and to experiment. Keep yourself excited by your own work.

Can you please give us a brief outline of how a work gets its price? What are the key elements for setting the fees of commissioned works? The bottom line is – the more an illustration is going to be seen the more money an image should be worth. This translates as usage. It sounds sim­ ple but licensing is a massive area full of contracts and small print. In this area there is definitely no substitute for experience. As the connection to the market, the agent is also the artist’s first adviser regarding strategic, long-term career choices. What are the mistakes to avoid? To be honest, the biggest of mistakes can come from an artist’s lack of effort on a job. With every client you really are only as good as the last illus­ tration you produce. Submitting a rushed through execution is like trying to pass your exams with Stuart Daly


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should remember to invest in themselves and their own advertising such as a website. What do you hope and expect to find in a young illustrator’s portfolio? I’m looking for self-belief, self-discipline and talent. I have seen very talented artists fail because they don’t have that self-belief or self-discipline. I’ve seen less talented artists become very success­ ful because they have a lot of self-belief. When searching for an artist I’m looking for a voice – an individual personality. It’s also important to me that an artist has some commercial work in their portfolio. It shows they have self-confidence in what they do to go out there and get some work. Every commission is a recommendation to me as an agent. Especially if I know who the person is who has commissioned the work. I’m not looking for any specific education but seeing a degree or masters tells me that this person has invested in their career. Does an illustrator need to be a good storyteller? The artist needs to be able to tell a story because a client at some point or another will ask them to do this. Whether it’s to illustrate an arti­ cle about a kid being bullied at school or a guy on a vespa taking off into the sunset with the girl of his dreams. Most things have a story and a back­ ground. Even illustrations that are purely decora­ tive have a sentiment to convey.

but there are other mags which pay less but might add to an artists kudos. I always check through the Saturday and Sunday newspapers and their maga­ zines because I have the space and time on a weekend to read the articles as well as look at the pictures. Bo Lundberg’s work can be seen on cups, Wilfrid Wood creates 3D type, Joel Holland does Letterings and Dragon does live painting. Dutch Uncle calls itself a “creative management agency” and not an “agency for illustration”. Is it a sign of the times that Dutch Uncle’s illustrators enlarge their fields of activity to other disciplines? Each artist we rep is doing totally different projects. We love working with a wide range of clients so the more diverse the artists we rep the more diverse the projects we get to work with. We call the agency a “creative manage­ ment agency” because not everyone we repre­ sent has their main discipline as illustration. Link:

The hottest markets are always where the money is and advertising is generally the top dollar.

How important is personal work in the development of an illustrator’s own style? If we consider that style is like an artist’s voice, taking space and time for experimentation is inte­ gral for the artist to find and then train their voice. Personal work offers a platform for experi­ mentation in an artist’s subject, styles, techniques, disciplines etc. Seeing personal work is equal to seeing commercial work for me as an agent. Self published compendiums such as The Hungry Zine in Australia showcase personal works. What other magazines do you consider relevant forums for an artist to be published? Anything that displays the artist’s work to the public is relevant. Whether it’s a zine like The Hungry Zine, a full page in Oyster Mag or getting their website and profiles on design engines like Lounge72, Pixelsurgeon, Netdiver whatever. Just so Bo Lundberg long as they are spreading the word. Who are the leading magazines for commissioned work? There are so many. The ones that pay the most money are obviously good for commissioned work


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Handsome rints



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You’re holding in your hands a cultural phenomenon. From quirky one-offs to Vogue, magazines are a unique record of the way we live and the things we love. Here, five of the world’s foremost magazine experts discuss the mainstream, academia, bespoke publishing, the biggest archive in the world and electronic paper. Photography by Andres Lejona.


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An art gallery in two dimensions Angelo Cirimele is the publisher and editor of Magazine, a bi-monthly publication based in Paris that contains articles and interviews about the independent (or “style press”) magazine sector. Interview by Andrew Losowsky. Photography by Andres Lejona.

Why magazines? I was a cinema critic in the 60s and 70s, when interesting things were happening in cinema. One way to understand our world was to look at the cinema. Right now, I don’t think that there are interesting things happening in cinema, except perhaps in countries such as Argentina or the ex-USSR. But magazines are unique. They come from everywhere in the world, and although everyone talks about globalisation, a magazine made in Finland and one made in Japan are really very different. They can circulate reasonably easily. Magazines are the place where you can see photo­ graphy, artists, fashion designers, and more, showcasing their work. Magazines are places where things happen. What are independent magazines about? It’s a paradox - everyone thinks that magazines are about information but these niche magazines are not.

Or rather, they are about information in the same way that literature and art are information. The way it is done tells you a great deal about the moment and the place you live in. An art gallery and a style press magazine are the same thing - one is a 3D space, the other a 2D space. You make a layout, you create a space, and you fill it with creativity. Take the magazine Yummy from France, I didn’t think a magazine about fast food was a good idea - but they did it anyway, and I look at it, and I think, merde, how did they make me change my opinion? It’s a way of life for the creator of the magazine. When he travels around the world, the only thing he collects is junk food. The important thing is that he does it. He doesn’t care so much whether the magazine sells out or n>ot. It’s a journey – and we need these stories to tell us about ourselves. A lot of these magaiznes don’t sell more than 200-300 copies. They – and we – just need enough money to print. That’s because it’s about a way of life, not working just for the money or for a sponsor. What makes magazines exciting? Some people think that paper is not fast. Paper is the fastest thing there is. With a magazine you change every issue, and yet you don’t change. When you look at an important style press magazine, it’s always the same familiar magazine and yet it’s never the same. Newspapers are always the same design, but the information changes. In Magazine, all of it changes. Take the next issue of Magazine for example, I don’t know who will be in it or what it will look like. But I do know that it will be the way that I want it to be. We put ourselves on the line, and I hope that that’s how we continue being relevant.


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Will magazines lose their relevance one day? Probably. We don’t know what will happen as technology advances. Twenty years ago, I wouldn’t have been so fascinated with magazines, because back then there were not so many interesting publications. It was so difficult. You couldn’t make personal magazines because it cost so much. No new media kills off old media, it only makes it change. Just as photography has changed art. The classic newspapers and mainstream magazines don’t understand what is happening with technology. As a result, they don’t make good

The way a magazine is done tells you a great deal about the moment and the place you live in.

decisions when faced with free dailies and the internet. We, in the style press, are the ones inventing new ways of doing things. Because we are small, we can change, reinvent ourselves, change our shape. If you want to know the result of the football match, you look on your phone, your ipod, your computer, whatever. But if you want to see great photo­ graphy reproduced, you won’t get that quality on a screen. That is where our strength lies. How do magazine people think? A magazine is an ego trip. For a magazine maker, nothing exists except the magazine. We are all crazy and convinced that we are doing the best magazine in the world. I get a little bored when people say “I have problems with distribution, money, advertising...” Everyone has problems. The interesting thing is how you see your content, and what you are inventing? Does the mainstream learn from the style press? Advertising agencies learn a lot from the style press, and they buy everything they can find. But here’s another paradox: the big media companies don’t understand that the style press can offer another way of doing things. Their magazines have been done in the same way for 30 years. It’s easier to invent something from scratch than to change a huge thing like that. If the world were as it should be, we would be asked to work on the supplement in Le Monde, which is shamefully bad right now. The mainstream should ask the style press to work for them, but I don’t think they realise it. In advertising, 5% of the budget goes to research, but in media, we are the ones doing the research by being more adventurous. We are at least five years ahead of the mainstream, in the ways we deal with pictures and stories. Is there no crossover at all between the main­ stream and the style press? Brand magazines are more and more interesting. Take American Apparel’s magazine, it’s great, and the content is created by the same people behind the magazine Celeste. You can say a lot with a brand like that behind you. Maybe you wouldn’t pay for such a magazine, but as it’s free, you’ll pick it up. Then you’ll search for the next issue yourself. What are your favourite magazines? 032C, Fantastic Man, Self Service is well done, Another Man is well done too. I think Monocle will be good, as it develops too - they’ve found something interesting to explore.



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Professor Magazine Samir Husni is chair of journalism at The University of Mississippi, USA. Better known as “Mr Magazine”, each year he produces the Guide to New Magazines (currently in its 22nd edition). He has a collection of 23,000 first editions of magazines from around the world. Interview by Andrew Losowsky. Photography by Andres Lejona.

Why teach magazines? I discovered a long time ago that, if I’m an outside observer, I can put my hands on every magazine I want. I can call people and ask them to send their prototype issue, their media kit, and the next day it will be on my desk, because I’m not looked upon as competition. If I worked for a magazine, no matter how small or big, I would become the competition. And once you’re the competition, no-one’s going to send you stuff. How do you teach magazines? I teach three courses, Anything by Design, Maga­ zine Publishing and Magazine Management. Firstly, the design - I really believe that in this day and age, packaging, visuals and presentation are so important. I caution people from the very beginning, although we spend a long time on packaging, you have to have the Godiva chocolates to put in the Godiva box. Whatever we are packaging, it has to be in a package that is suitable for that product.

For the magazine publishing course, each student develops an idea for a magazine and creates a business plan for it. They have to come up with the concept, how it is going to survive, the competition, the advertising market, who’s going to be reading it, who’s going to be advertising, how they’re going to take it to the market, and the budget. They also have to create at least a year’s worth of content, to make sure the idea is sustainable. Then they create a prototype issue, 68 pages that the students have to design and execute, based on their plan. The final course is Magazine Management, where they learn everything about distribution, advertising and subscription. They create a direct mail piece to solicit subscription, they create a newsstand plan and a media kit to solicit advertising. When they graduate from the program, they have a good solid knowledge of, not only the editorial side, but also the business side of magazines. Has anyone made their magazines for real? One of my big success stories is Golf for Women magazine. It was started by two students in my class, a husband and his wife. They did the business plan and the prototype issue, and were then able to raise enough money from a small town in Mississippi to make it happen. However, there isn’t really a good golf course there, so they rented a PO box in Florida. They made it look like the magazine was made close to where all the best golf courses are, even though it was completely created in Oxford, Mississippi. After eight issues, they had reached a circulation of about 10,000 subscribers, and then the Meredith Corporation became interested in it. They bought the magazine, employed my former students and kept them on it for five years. Then Meredith took the magazine to New York, and then sold it to Condé Nast. Now the magazine has a circulation of half a million.


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I’ve been teaching this course for 23 years, and many of my students are now editors-inchief and art directors on magazines around the country. Has your course changed much over the years? Definitely! That’s why I don’t use textbooks. I tell my students “You can take my course again and again, because every year you’ll see different things.” Some of the basics never change, of course. The four cornerstones will always be reporting, writing, editing and news judgement. However, our business always changes. Change is our only constant. I remember when I came to the Universisty of Mississippi in 1984, I was the first person to bring in a Mac computer with

If a magazine cannot survive the present, there’s no use in talking about the future. The biggest mistake today in magazines is that we’re focusing so much on tomorrow, we’re forgetting about today.

Pagemaker. People were coming from across the whole state, and from the local newspapers too, to see “desktop publishing”. Now the students can come in and teach us about desktop publishing, blogging and everything else! What do you think about the future of maga­ zines? If a magazine cannot survive the present, there’s no use in talking about the future. The biggest mistake today in magazines is that they’re focusing so much on tomorrow, that they’re forgetting about today. We need to put the blinkers back on, focus on what we are doing. We’ve become so distracted – like a kid in a candy store – by all the other media: TV channels, internet, blogs, you name it, when all you need to ask is, how can you make your magazine relevant? The magazine is the best laptop ever invented. It will never burn your legs, its batteries never fade and it will always be compatible with every system. We need to remember that. What state is the magazine industry in today? We have more magazines now worldwide than any other time in history. They’re getting better and bigger. Technology is making it such that you can even print one single copy. The whole definition of an audience of one has come true. New printing methods and digital photography help to make better magazines. Is it harder than ever to make money from magazines? It was always hard. Right now, the whole concept of selling less for more is taking place. We have more magazines than ever before but are selling less of each one. The publishers have to put the commercial cap on their heads and admit, “I’m in this business to make money.” No matter how good your magazine is, if you can’t survive, it’s not a success. Death is failure. What is your favourite magazine? It is so hard to differentiate between my children. If I see a volume one, number one, it becomes my favourite magazine for that minute. Someone once said that the joy of conceiving a magazine is much greater than giving birth to it. I view myself as the doctor who catches the baby. I’m not involved in the pain. I just get the joy of that first cry. A new magazine puts me on a high. If I don’t find a new magazine on my visit to the newsstands, I feel like shaking the man and saying “Where’s my drug?!”



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The mainstream disappointment Jeremy Leslie is the creative director of John Brown, the UK’s largest customer publisher. He is also the author of the books MagCulture and New Issues in Magazine Design. He designed the book We Love Magazines, and co-curated Colophon 2007, an international magazine event. Interview by Andrew Losowsky. Photography by Andres Lejona.

Why magazines? I’ve worked all of my career in magazines. Once or twice I’ve tried to move away into other areas, and it just proved to me that magazines are where my heart is. As a designer of magazines, you are involved in both the content and the design, because a magazine is the collaboration of strong words and strong images, and the combination of the two on the page. In a sense, it’s like advertising – you’re working together with others to create a united piece. What do you think about mainstream maga­ zines? I think there is a problem facing most mainstream magazines today, and that is that both content and design are pretty homogenous. There are very few magazines striking out and doing something that can be described as different or new. Over the last 40 years, magazines have become more and more commoditised. They are understood, researched and quantified to the point where there’s very little difference between the market leaders in any given sector.

That’s a disappointment to me, because if you go back to the 50s and 60s, even the big successful magazines were doing things that were much more innovative. One of the biggest launches constantly referred to in recent years was the UK edition of Glamour magazine, where the story was that it was a different format. And that for me is a victory of marketing over creativity. It was a very clever idea but there wasn’t really anything different to distinguish Glamour from every other women’s magazine that was already out there. It was market-research led, rather than coming up with a new form of content or a new type of presentation. Where are magazines heading? There is an ongoing feeling of doom in the mainstream market. There are still some good things happening, but overall there is a sense of being on a treadmill and having to keep selling. There is a generally accepted fact that there are more individual magazines out there, but the total volume of magazines sold remains static. That’s because the same readers are being split into smaller and smaller groups. Someone said recently, “Standing still is the new selling more.” In both the US and the UK, the weekly magazine is what keeps the sales up, and that lets the publisher produce four times as many magazines, and so get four times as much ad revenue. Where do you go from there? Daily magazines, is that what’s going to happen? Maybe newspapers and magazines are heading to meet together. The big pressure right now seems to be to speed that up, but I’m not sure where things could head from there. Occasionally, genuinely innovative and exciting magazines do come through. The most recent one I’ve been a big supporter of was Grazia. It takes the slightly older, more mature, grown up approach of magazines like Marie Claire, and puts it into a weekly. It’s designed and made in a very strong manner - a genuine innovation that’s now rolling out to other countries.


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Where is print innovation coming from? If you’re working in fashion you have more scope to play. If you look at an international product like Vogue, the British edition is a fantastic magazine for its audience. It’s not scary and not “überfashion” oriented but it is about clothes and it has a history of recording the creative arena in Britain. The American edition is much more mainstream and a day-to-day high street fashion bible. Then if you go to France, it’s more about haute couture. It’s a trade publication. Italian Vogue’s the same. French Vogue has had some great designers – M/M and now Fabian Baron. They really contribute to what magazines can look like, building on the history of Vogue, and also taking it forward.

There is a generally accepted fact that there are more individual magazines out there but the total volume of magazines sold remains static. That’s because the same readers are being split into smaller and smaller groups.

And of course there’s the independent microzine style press. A lot of them are pushing what a magazine can be. Regardless of talking about the independent, or mainstream, or customer publishing (which is where I’m working now), the magazines that interest me are those that play with the magazine form and test what a magazine can be. Is there a big split between independent maga­ zines and the mainstream? I do think that most people involved in magazines of all kinds, especially the designers, are conscious of each other’s work. But mainstream publishing as an industry is a much harder thing to influence. Increasingly, the influence comes from the commercial side, not the creative side. A lot of people who work in smaller magazines are people who have escaped from, or have been repelled, by the commerciality of the mainstream. Some broad themes have emerged. The return of mainstream illustration, and the rise of vector illustration, came about in the early 90s through Wallpaper*. Wallpaper*, despite its fame, has always been a very niche magazine. Subsequently, Carlos [the former publication for Virgin Atlantic Upper Class] did the same with hand drawn illustration. Neither created something totally new, but they were the ones to put these types of illustration into print, reflect what was happening, and sub­ sequently influence the mainstream. In terms of what we do here at John Brown, Carlos was a very niche and esoteric publication, and entirely appropriate for what it was doing. The magazine we produce for Sky TV is a big brash product that is absolutely right for Sky - and if you swapped them over, it would be a fascina­ ting project for a designer, but it would be absurd. The mainstream is locked into its ways, and in a sense so are the independent magazines. If either becomes too much like the other, they’ll fail. If there’s a schism between independence and the mainstream, customer publishing is the obvious thing to sit in the middle. The question is, how does it relate to the two? What opportunities are there to work with independent magazines, to develop relationships with brands where they’re creating a new product to communicate with brands? What are the magazines that you always grab? Carl’s Cars, Frame, TIAM, Yummy, Karen, Marmalade was but isn’t any more, Draft, Kasino A4... and the magazines that I haven’t seen before. I see them randomly and if I don’t know what they are, I’ll usually just pick it up and put it in the shopping basket.



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The pages of history Horst Moser owns the largest private collection of magazines in the world. Born in 1951, Moser lives in Munich where he works as art director of the award-winning design agency Independent Medien-Design, overseeing Leica World, among other publications. He was also the author of Surprise Me – An Art Director’s Handbook. Interview by Andrew Losowsky. Photography by Eric Chenal and Andres Lejona.

How many magazines does your archive contain? I don’t know the exact number, but it’s around one million magazines and newspapers. How did the archive come about? We wanted to get an international overview of what was happening in magazines for our design studio in Munich. If you look at other fields, scientists around the world - be they biologists or physicists or chemists- know what is happening in say, Japan right now. They have to, in order to do their job properly. But that kind of communication has been impossible for magazines. Magazine specialists such as art directors, editors and designers simply don’t know what is happening in their own field in, for example, Holland and Italy. They don’t have an international overview to assist their work. When did you start the archive? I started seriously collecting 15 years ago, because I wanted to write some pieces for Leica

World about classic art directors and how they used photography. So I travelled to Berlin to visit the archive of German Vogue to get hold of copies from the 1920s. When I got there, it was closed. I decided it would just be better to buy the magazines myself, and photograph them in the way that I wanted. That’s how it began. Soon, as I travelled around the world for my work, I started buying up old magazines, though they were often quite expensive. This was during the time when eBay was just starting up – and that’s when I got most of my magazines. At that time, it was fashionable to say that it was the end of print, and lots of people began to sell their old magazines. The Institut Français decided to sell its back issue collection of Le Monde, and then someone else sold a big collection of Die Zeit. The expensive bit was not the magazines themselves, but the transportation, which is why no one was buying them up. I was able to get a hold of entire collections of some publications, as well as single editions of classic magazines. You can’t really do that any more because people are more aware of what is valuable. You no longer find such bargains. How often do you add to the archive? I buy one to two metres of books and magazines per week. It’s not about copying or stealing ideas from others. Instead, it’s a case of understanding other people’s work and having an overview of current trends. I don’t collect for the sake of it either. I collect for research purposes, and to write books like Surprise Me. I want these magazines to be available for my own designers in the studio. My goal has always been to showcase what is possible, to movitate people and to raise the level of creativity emer­ ging from independent design. There are more than a hundred ways of designing a contents


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page, for instance. If people can refer to some of these, then their work will be stronger. I always find it interesting to see what others are doing, and what people did before. There are often interesting topics that you can explore. Are there any themes that particularly interest you? One such topic is illustration. I have an enormous collection of current trends in illustration. I’m currently sharing that section of the archive with an institute that teaches reportage

I buy one to two meters of books and magazines per week... it’s a case of understanding other people’s work and having an overview on current trends.

illustration in Germany, so that the students can use the collections themselves, and do research on the theme. Reportage illustration is interesting because you have to be subjective like an artist, but also objective, to present things as they happened. It’s much better than a photograph. A photograph is just one moment captured, whereas an illustrator can summarise a great deal more in the way they draw something. How do you arrange the archive? The archive isn’t very well ordered. I order the magazines according to different criteria. I might want to find a variety of interesting covers, or different papers, or a selection of car magazines from around the world. There is no single cate­ gory that I can sort the archive under. How do you use the archive? We do corporate publishing as part of our work. In that industry there are many people involved in the decision-making process who have no idea about publishing. If you are trying to do something interesting with the design, and can present examples of where designers have done something similar before, it helps you a lot. The archive is filled with formulas for presentations that don’t age, because they can easily be reinvented to make them current. It’s like music and theatre - although the tunes or the plays may be old, they are always being reinvented and adapted to the modern age. What are your plans for the archive? I want to turn it into a museum, an archive with an exhibition hall plus a huge cafe containing the current editions of magazines from around the world, like a centre for the press, both present and historical. I’ve been speaking to different people about it, like the mayor of Munich, but it’s difficult. It needs a big space, such as an old railway shed. The space needs to be accessible and welcoming for the general public, not just archives crammed into a small space as we have now. Are you writing any more books about maga­ zine design? We’re launching the paperback verison of Surprise Me in the UK this year. I also have two or three new books about editorial design currently in the planning stages... but we have a lot of work right now at the studio. We don’t earn any money from book design, so it’s difficult to find the time for such things. The work always goes on.



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The end of paper David Renard consults for established and independent publishers, wholesalers and distrbutors of magazines. He authored The Last Magazine, a book that argues that the future of mainstream magazines is purely digital, and that paper will be the preserve of the style press. He lives in New York. Interview by Andrew Losowsky. Photography by Andres Lejona.

What has happened to magazines? At one time, magazines and newspapers were the only source of information available. Magazines were where you could find more refined and thought-out information with better images. But over the last 20 years, that’s changed. The arrival of cable TV, the internet and other visual media means that magazines and newspapers have lost some of their lustre for the masses. People are moving away from magazines because they are looking for something that’s quicker, that can be tailored to their specific needs, and that can show not just static information but information that moves. But there’s a growing niche of style press magazines. It used to be extremely costly to create a magazine. People could create newspapers in the 60s and 70s that were relatively inexpensive, and the “‘zine movement” became very powerful, but to create a glossy magazine on the newsstand was always out of reach. That’s why now, you have a resurgence of boutique, high-end magazines, because people who grew up with glossy magazines see that they can produce one themselves

for a lot of money, and produce something as good as, if not better than what’s in stores. And so the style press has an affection for paper in the way that vinyl has a following in the music industry. Where will magazines go? Publishers from the massmarket world – that is, 95% of magazines today - are currently bound to paper because that’s all they know, and they’ve not been forced to change. However, book and newspaper publishers have started incorporating technology in what they do because they’ve been forced to. A year and a half ago, book publishers had Google and Yahoo and Amazon saying that they’re going to scan in every book that’s out there - and they’ll control how it’ll be sold too. The publishers were looking at dramatically falling margins and so started to face up to the possibilities of new technology. Newspapers also saw their livelihood disappearing online, and have had to figure out what their business model is going to be in the future. Magazines don’t see that. Magazines say “the experience of reading the articles is not the same online. My magazine is more about analysis and giving advice and strong images”. Truthfully, the experience of images and design online is still nowhere close to that of print. When I read the New York Times on paper, I’ll read maybe an article or two every spread, 18 to 20 articles. When I read it online, I’ll read four, because everything is just there on the home­page and it’s not taking me through an edited process where I discover something new on the way to what I’m looking for. The internet is not yet geared to answer the needs of magazine readers. That will change. E-paper is going to change that. Multi-touch technology, the ability to manipulate data a bit like the film Minority Report, so that you can manipulate data as you would items on your desk. These kinds of technology are going to be able to replicate the


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experience of a magazine, and to change the magazine industry for good. Publishers know that, but they’re thinking more about what they can do to stay on par and not go out of business in the next four to five years. What will an e-paper magazine be like? E-paper is really a digital version of paper, and not in the sense that a screen is like paper. It will look and feel more like paper. But a magazine in its essence is going to change. If you look at the digital magazine Monkey made by Dennis Publishing in the UK, every page has

By 2015-2020 you’ll have an e-paper solution that will compete effectively with a magazine. And that’s being extremely conservative about the timing.

a combination of video, static visuals and text. Though that magazine isn’t for everybody, it’s a really good example of how a magazine will need to evolve to stay competitive with other media. If you look at what’s happening in Japan right now, young kids are reading full-length books on their cellphones. The writing and the way that words are constructed in Japanese makes it easier to do that. But younger generations are having their minds formed to read in a different way, not in terms of length but in terms of scanning multiple data sources at the same time. If you know anything about how the mind works, the connections that are created are based on your experiences. If your experiences are made of continuous multi-tasking between a large number of sources – reading a short newsflash or article, and at the same time there’s a TV blaring and you’re listening to your favourite music, you’ve got three conversations going on at the same time and IM flashing as well – in essence the interaction between people and information is entirely different to what we grew up with. A magazine does not need to be defined by the medium it is read on. A magazine is a set of information that is designed, edited, metered or paginated and authenticated, meaning it has a time stamp, and is permanent. You can’t go back and change it. That definition is not going to change, whether it’s in print or bits and bytes. I came up with that definition with people who worked on my book, and we spent 15 hours creating it. But the magazine industry itself does not have a definition of what a magazine is. People say “our blog is a magazine” or a website is our visual magazine, but no-one actually has defined it. When will the technology be good enough for magazines to make the switch? In the next two years, we’re going to see A4-sized semi-flexible e-paper. It will flex a bit but not really fold or roll up. It’ll still be black and white, or maybe 256 colours. By 2010, you’ll start having much better colour, by 2012 you’ll have colour that competes with a magazine, and the flexibility will improve so that, by 2015-20, you’ll have a solution that will compete effectively with a magazine. And that’s being extremely conservative about the timing. Companies working on this include Phillips and Sony, plus Amazon is hoping to bring out an e-reader. Any major technology company that has a link to media, Sony, Phillips, Epson, Hitachi, Fujistu, HP, is looking at hardware solutions in this field. Everybody wants a stake in defining what the future will be, and how we’ll interact with information on a digital scale.



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Another glance at fashion More than a fashion icon, Diane Pernet has been an important player in the fashion universe since the 80s. A top fashion designer in New York for thirteen years, she moved to Paris where she worked as a costume designer, and then as a journalist.

Interview by Catherine Callico. Illustration by Christina K.

Since 2005, she has been developing her own projects, such as her famous blog a shaded view on fashion, and the first international short Fashion Film Festival, You Wear It Well. We met her at Toraya, a Japanese tea-room near La Concorde. True to form she is dressed in black, like a Sicilian widow. It is a timeless look that suits her so perfectly and sets her far from conventional fashion codes. Can you describe your personal journey since you moved from New York to Paris 17 years ago? I arrived in Paris in October 1990. I used to love New York, but the last four years I was there, it had become like a scene out of Blade Runner but not in a good way. Crime, drugs, people sleeping in the streets, and fifty percent of my neighbourhood who had died of AIDS. It was so depressing. The last collection I did in New York was like a group collection, with Isabel Toledo, a famous American designer. I decided to move to Paris, anything could happen. I wouldn’t go to London. It wasn’t exotic in comparison with New York. I could have also gone to Milan, it is one of my favourite cities but it is too small. Paris, as a centre of fashion, is more interesting. I knew only one person, an old friend. I didn’t want to be a fashion designer and have to start from scratch again. So my first

job was designing costumes for the film Golem, made by a famous director but an unbearable person, Amos Gitaï. My job was too stressful, but it was a wonderful experience. I did a couple of films but realized that it really wasn’t my thing. You can work until 3am and be back at 7am. I needed more freedom. Then I became a journalist by accident. I became the fashion editor for Joyce magazine, then I worked for and then I spent three years at and made videos. In February 2005, I decided to give life to my online magazine, How do you perceive fashion in New York and in Paris? It is really different. New York is more like Milan, except that Milan has better fabrication and better fabrics. It’s big business on the one hand and minimal interest in creativity on the other. There is a true appreciation for creativity in Paris, not because the designers are French, they are from everywhere: they are Belgian, American, Japanese, British… If you do a show that is rather dramatic and eccentric, some people will see the show in Paris and appreciate it but wouldn’t understand it in New York. The big difference, I suppose, is that here, creativity is more interesting. It’s another mentality. I think what is interesting now, is to see how many European designers want to go to New York: Kim Jones, Bruno Pieters, and these are just two new names I heard a couple of weeks ago. There is this fascination with New York. There are some European designers that go there and it doesn’t work for them, they later come back and are much more successful. And then there are these American designers, who are directors of European houses that work very well. Of course, Tom Ford is no longer there but he is the epitome of what it was all about. Certainly, many American designers are successful in Europe. For example, Marc Jacobs for Louis Vuitton is one of the biggest success stories of an American in Paris and, before that, Tom Ford for Gucci. I don’t think there is an equivalent in the United States.


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Angelo Flaccavento and Catherine Baba

Miguel Villalobos

Marc Jacobs

Bruno Pieters

Kim Jones

Dino Dinco and Diane Pernet


Martin Webb

Rafael Jimenez and Diane Pernet

Kelly Cutrone and Jeremy Scott

Paolo Andersson

Christian Lacroix (Hyères)

Robin Schulie and Maria Luisa of Maria Luisa


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What are the major differences between fashion now and 20 years ago? I think that fashion in the 80s was much more open, more exciting and less regurgitating as it is now. Fashion now should be something new and not just a copy of something we have already seen. I don’t get pleasure out of seeing so much vintage clothing copied. I think that’s a pitfall now. You can’t tell the difference between one designer and the other... The shows aren’t the same, but the clothes are similar. It is not the most inspiring moment in fashion. I was talking to a woman from Vogue and she was telling me that in the 80s you didn’t have to have a really big name behind you. Designers had a look and people knew who it was. In the 80s, there was also a boom with money. I was designing in New York and there, independent designers were never supported. Big business was the main

I like black. I like its sensuality. Also, I grew up catholic and I always had this attraction for nuns, priests and religious orders.

focus. Nonetheless, I think there were more people ready to expand with young talents, especially the Japanese. For me, as for many designers now, if I hadn’t had a license with a department store in Tokyo, my business would have been practically non-existent. It was the same situation for many designers, whether it was Bernard Wilhelm or others. Now, you have Saudi Arabia and the Middle East which are supporting new talents. They’re like the new Japan. Your look is timeless. Where do you get inspiration for it? It’s my look. It is not like I looked in a book and said  “ok that’s the look for me”. It is something that evolved. I had a fascination towards Sicilian widows. I like black. I like its sensuality. Also, I grew up catholic and I always had this attraction for nuns, priests and religious orders. My first husband died young, and I think that added one aspect to it – not that I’m in mourning. Black is a strong colour. I feel strong in it. I feel good in it. You constantly meet a lot of people in your work. Can you relate some of your favourite fashion moments? One of my favourite fashion moments was meeting William Klein in Paris, at the 50 year anniversary of photography for Vogue Paris. There was an older man with a little camera. He kept circling around me and taking pictures. He had a twinkle in his eye. I felt like a butterfly. It was so unobtrusive and pleasant. I was walking around looking at pictures and suddenly from behind me I heard, “I took that picture”. I turned around and there was William Klein. I talked to him for a short while and that was magic because I have so much respect for him. He is one of my highlights. On a different level, the guy who is now taking the creative director position at Chloé, Paolo Andersson. I met him when he was studying French at the Sorbonne, twelve or thirteen years ago. He had never studied fashion and he wanted to really know it. Paolo had some talent and we met for lunch. He showed me his sketches and I said the talent and creativity were there. It probably needed more discipline. But he pursued it and now he is creative director at Chloé! I met him recently in Paris at the Crillon and he asked me when we could meet for lunch so he could show me his sketches. It was an inside joke. Which contemporary artists do you really admire? Vincent Gagliostro because I find his photographs and drawings penetrating. I love the sense of humour of Matthieu Laurette, and his


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Fashionation by Ruben Toledo (You wear it well)

Manish Arora Show


Vivienne Westwood (exhibition at the Young Museum, Valentino show. Photographed by von Sonny Vandevelde San Francisco)


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view on society. Also the artist Maurizio Cattelan because he does not take himself seriously. I like the way he combines sculpture and performance. You recently launched your project You wear it well, a Fashion Film Festival. How did the idea come to you? The idea for the festival came from a film I made on Gumball3000, an 18 minute long roadmovie. I sent it to my friend Dino Dinco in Los Angeles. He said we should do one in L.A. Nothing happened. Then, one of my contributors from Mexico City sent me a film of his. I really liked it and posted it on my site. Dino saw it and said, “what do you think? Let’s put together a fashion film festival. We’ll start it in L.A. because no one thinks of L.A. in terms of fashion”. So we want to make it a yearly event that always starts in L.A. You Wear It Well is a travelling festival that will go around the globe for

Let’s put together a fashion film festival. We’ll start it in L.A. because no one thinks of L.A. in terms of fashion.

one year and then be born again with the next edition. The highlight of all of that for me was on 30 November. My films were screened at the Guggenheim Museum, in Bilbao. We have been invited back to screen our films during their 50th anniversary in 2008. This Festival has the ambition to gather big filmmakers from all parts of the world. Today, I am working very hard on making the second edition of the Fashion Film Festival in July 2007 absolutely the best ever. And of course I’d like some people like Pedro Almodovar, David Lynch, and Wong Kar Wai. We are calling for films to be 30 seconds to five minutes long. For the first edition, the first person I thought of was Ruben Toledo because 3-4 years ago, I was in New York doing videos for Galeries Lafayette. He was showing his half hour film, called Fashionation, a brilliant animated film. I immediately sent him an email, saying I wanted him to show his film at my festival. I told him we could do it in Los Angeles and he immediately said, “wow”. The other person was Marcelo Krasilcic, a Brazilian filmmaker, so I also sent him an email and asked him to make a film for the festival. He answered me, “I think I would love to do it but I would have to be at the same place at the same time.” On 29 June I got a phone call from him; he called to say that they had made the film. “We did it for you, and we shot Chloé Sévigny.” Then, we asked Jeremy Scott, Nick Knight and others. But I need good sponsors to do it, and a good assistant, a nice intern who works for the experience. There is no money in this. What about the new website Iqons that you are partnering with? One of the co-founders is Rafael Jimenez. He worked for eight years at Comme des Garçons in sales and marketing. This fashion website aims at creating a platform for everyone in the global fashion industry and gathers designers, retailers, models, fashion PR professionals, photographers, stylists, financiers, show producers, magazine publishers... anybody with an interest in fashion. The aim is for people to connect, to show their work and to start alternative networks across the world that invigorate fashion globally.

Chloé myself 2M by Marcelo Krasilcic (You wear it well)



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Making the impossible possible When I meet these young talented designers it seems they didn’t just start their own design studio by accident. It looks like they have big plans and always had them. I get the feeling they want to conquer the world and might even have a big chance to succeed. The truth is that they planned nothing. The company was born out of naivety: 5.5 designers. Interview by Merel Kokhuis. Photography by Thomas Mailaender.

It all starts in the summer of 2003. Vincent Baranger (1980), Jean-Sébastian Blanc (1980), Anthony Lebossé (1981) and Claire Renard (1980) start an independent project (Réanim) with the help of two friends. This project is exhibited in a gallery in the south of France which leads to publicity in a couple of magazines and newspapers. I want to find out how this results in the success and fame they have only 3.5 years later. What is their secret? Your name is very strong and easy to remember. It reminds me of Chanel No 5. How did you come up with this name? We wanted a very generic name. The Réanim project took two weeks. The first week we were six people, the second week five. 5.5 is between five and six, it’s as simple as that. Now that we use the name we notice it’s very good because we are always first in alphabetical lists. That can’t be the main reason for your instant success. Do you have any idea why everything goes so smoothly?

I think it’s all based on our naivety. When we started we didn’t think of the risks and we didn’t know where we were going. We just live day by day and accept an assignment if we think we have a solution for the challenges we face. Is this the philosophy of 5.5 designers, finding solutions for challenges? It’s hard to define a philosophy, but we think we are not traditional product designers. We don’t think in shapes, colours, materials and dollars. We always want to tell a story. The concept is always more important for us than the result. We try to make existing good products even better, and then with a twist. We disturb and rebuild. For us, aesthetic isn’t the main subject, the concept is. And if you do this properly in the end the result is aesthetic as well. Aesthetic is the conclusion of the concept. Because we use existing things, the shape, colour or material is not an issue. We take the challenge to make something good even better with little smart changes. We want to offer a new view on existing things. A good example is the cooperation with Bernardaud. We spent days in their factory to give the traditional ceramic products a new dimension. I find it easy to recognise a 5.5 design but at the same time you don’t have just one style. Can you explain this? We don’t have a style like Zaha Hadid or Matali Crasset. Every product of Zaha’s hand has the same kind of shape and everything Matali makes has rounded curves and bright colours like green, pink, turquoise and purple. The similarity in our projects/products is our philosophy. I think you are member of a new generation of designers. Not just because of this philosophy, but also because of your age. When 5.5 designers was established you were only 22 years old. Isn’t that far too young to start a company? Absolutely not. We think there are only benefits. We were not experienced but that’s positive. We were not afraid to lose. We develop ourselves and learn every day. We neither had a mortgage


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nor children yet, so we had no big responsibilities. That’s why we had the opportunity to take risks. Besides, we are all very independent persons, which makes it probably more difficult to work for a boss than in our own company no matter how inexperienced we were in the beginning. Another benefit of starting so young is that we are not copies of the designers we learned from. We are self-made. Does owning your own company at such a young age interfere with the dreams you had in college? Not at all. We didn’t have well-thought-out dreams, except for the need to travel. Owning this company only answers to that need instead of blocking it. We now get the chance to travel a lot and to learn about other cultures. This gives us more and more inspiration every day. “If design were not my profession, I would have been an adventurer”, says Claire Renard.

We know we can design bigger things, like a plane for example. Hopefully other people will soon realise this as well.

I presume your age is part of your success. People find it interesting. Another interesting part is the fact that you are a group, just like Front Design from Sweden, Rita Rita Rita from Canada and Big Game from Switzerland. I can imagine that’s not the easiest way to work for creative people like you. It’s not more difficult than working alone. Perhaps it’s even easier. I think our synergy makes our work richer. Working together so closely makes us get to know ourselves better. We now know our own strengths and weaknesses. We do feel people’s curiosity about a split up. They think this cooperation can’t last forever so they keep an eye on us. Working in a group normally requires strict tasks for everyone. How do you manage this? We force ourselves to do everything together. We don’t want 5.5 designers to be a one man show. Of course we have our own qualities, but we want to keep the roles vague. In the beginning we had trouble finding our own place in the team, but now we accepted our personal disabilities and we are like an oiled machine. Can you describe the design process if we take the wall stickers for Domestic as an example? We received the briefing, talked about it shortly and took the time (two weeks) to think about the concept individually. Afterwards we sat together for a brainstorm session and made an idea book. We presented our work to Domestic together. The person who was most interested in this project and the person with enough time took care of developing the stickers. But we always made sure everybody was involved in every important decision. You don’t just work with Domestic but also with Ligne Roset (lamp), Baccarat (glass), Arc International (tableware), La Corbeille (accessories), etc. What did you do to get these assignments? The funny thing is; we don’t do anything. Every time we finish a project/product we get free publicity and after that new companies call us because they want to work with us. We realise we are in a very luxurious position and are still surprised that we don’t have to contact manufacturers or editors ourselves. The only reason for this must be that people recognise our philosophy and find it interesting. They always contact us because they like our previous projects, not because they give us a strict briefing. We enjoy complete freedom.

Murano glass for a contest in Venice, 2007.


You start a project and afterwards your selfdesigned products from the project [>>ù101]


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Wall and floor stickers for Domestic, 2006.

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Exhibition of the Bernardaud project at Droog Design in The Netherlands, 2007.

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[>>ù98] become autonomic products we can buy. Smart thinking or coincidence? We are very happy with this. We didn’t design something that exists forever, yet. It’s always for an event or exhibition. By selling the used products, we can give our work a longer life. We leave tracks/traces. Why do you always design temporary things? This is not our choice. We would love to design something that lasts longer. The bigger the better. We can’t wait to do the interior of a restaurant, hotel or shop. We know we can design bigger things, like a plane for example. Hopefully, others will soon realise this as well. So one of your future dreams for the studio is to design an airplane. Ambitious! What else do you see for the future? We have no clear vision for the future. Time will tell. We only know what we don’t want, for example to become a big studio and do ordinary work like packaging design. We hope we can continue working with companies because they choose our philosophy. Hopefully we never have to accept unchallenging work. We think other people can do this better than we can. The difficulty for us is that we need to keep finding the balance between design studio and creator. We don’t want to specialise in one area. After the project with Arc we started working with Bernardaud. People thought we were tableware designers, but we are multitasking. We want to propose our ideas to companies, no matter what kind of product they are specialised in.

source of ideas will be empty one day. The work we do never stops. We not only work 24/7, we also trust we’ll discover new inspiration every day, it’s everywhere. Creation never ends. And we don’t see the studio just as a job, it’s a passion, a way of life. One last question, just because it’s so much fun to ask. Who’s your favourite designer? We don’t have one favourite designer. We will always admire the work of Droog Design, the institute from the Netherlands. They inspired every single designer in Europe or even worldwide. We do have a favourite design, though. But it’s not what you expect. It’s a paperclip; so brilliant. One will never design or invent a new paperclip. But a new way to put paper together is possible. 5.5 designers won the following prizes: Grand Prix de la création, 2006. Heart of Venice, 2007.

One will never design or invent a new paperclip but a new way to put paper together is possible.

Is it true that you want to start the brand 5.5 editions? Yes, we think 5.5 can be a brand because of the recognition that people have with our products. That way we can give our work the longer life we wish. Another reason is that we always present a lot of ideas after a briefing. Most of the time only five out of 30 get produced. If we can produce and sell our own products as a brand, we can develop all the ideas that are not used by the companies we work with. Companies think commercial so they never choose our craziest proposal. We want to give the crazy proposals a chance. Are you never afraid the source of ideas will dry up one day? We still feel the urgent need to express our ideas. We would become very unhappy if we were simply asked to design a chair. We want to solve problems. We don’t want to design a new chair, we want to design a new way to sit. There is no fear the Scenography at Centre Pompidou, 2005.


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Les Objets ordinaires, independent project, 2005.

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Wallpaper games, 2006.

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Illustration by Elisa Kern

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White lurex bodysuit with neck bow PHILLIP AND DAVID BLOND

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Silver blue top SUE STEMP Grey latex bodysuit STAERK by CAMILLA STAERK Latex belt STAERK by CAMILLA STAERK Tights SOCKMAN NEW YORK


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Guest editors cut Ten inspiring magazines’ fashion editors with a unique take on fashion have been invited to showcase their favourite item out of the spring / summer 2007 collections. Thanks to A4 (Poland), B East (Estonia), Carls’ Cars (Norway), Dansk Magazine (Denmark), Dazed & Confused (UK), Kasino (Finland), Plastic Rhino (UK), Rant (UK), S Magazine (Denmark) and Sleek (Germany). Edited by Angelina A. Rafii.



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Christina Chin / S Magazine Christina Chin, fashion editor of S Magazine (Denmark). After graduating from Parsons School of Design with a Fashion Design Marketing degree, she worked along side stylist Patti Wilson for three years, assisting on shoots by Steven Klein, David LaChapelle, Paolo Reversi and others. Christina Chin contributes regularly to Arena Homme Plus, Tank, Vogue Taiwan, Spanish Harpers Bazaar, Squint, Neo2. She also works regularly as a stylist for actors and musicians such as Nelly Furtado, Scarlett Johansson, Matt Dillon, Joseph Gordan Levitt, Paul Bettany and Heather Graham.

Shoes by Pierre Hardy (Photographed by Cameron Krone)


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Karen Langley / Dazed & Confused Karen Langley, fashion editor at Dazed & Confused (UK) for the past two years, previously held the position of assistant to the current Fashion Director, Cathy Edwards. Karen studied fashion at Central Saint Martins, and is living in London. “Favorite Spring / Summer 2007 piece? This is easy! The snake skin Azzedine Alaïa heels with ankle straps. I love them!”

Heels by Azzedine Alaïa



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Karena Gupton Akhavein / B East Magazine Karena Gupton Akhavein has been fashion editor of BEast Magazine (Estonia) for a year and a half. In her past life she worked in fashion and luxury goods PR in NYC. Currently living in London, Karena is also a painter, a writer, and a children’s clothing designer. “This Spring/Summer we at BEast Magazine are all about technology: it’s the way of the future. Metallic theme: Snap up American Apparel’s lamé leggings, which come in gold, silver, and copper, for that luxury cyber look. Get the reversible necklace from Paris-based label Shaoo, in silver, black and gold leather: designs reminiscent of lace or Chinese latticework, creating a piece that is both super modern and traditional. And finally the most sinfully luxurious accessory you could ever want, a perfect combination of nature and the best science has to offer: Zagliani’s metallic snakeskin or crocodile overnight bags and satchels. How do they get the skin so buttery soft, you ask? They inject them with silicone, of course. This handbag will age better than you could ever hope.”

Bags by Zagliani


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Peter Kellett / Plastic Rhino Magazine Peter Kellett, creative director of Peppered Sprout – the publisher of Plastic Rhino Magazine (UK), Polished T and Artvandalay, established Peppered Sprout 3 years ago with business partner Chris Morris. Peppered Sprout has studios in both Liverpool and London. “We would be delighted to offer our/my item for s/s 07. It’s got to be the Puma GV re-launch! Hooked with slacks (charity store) and any pull.”

Sneakers by Puma GV



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Rachael Morgan / Dansk Magazine Rachael Morgan is the executive editor of Dansk Magazine, Denmark’s first and leading international fashion magazine. Since 1998, Rachael has worked as head booker for Elite Copenhagen. She also previously worked as a journalist and editor at an English language Danish newspaper and as a freelance copywriter and consultant for Danish and international fashion, advertising and lifestyle based companies. “I love Scorah Pattullo’s fabulous chocolate lambskin Helen heels, Danish designer By Malene Birger black leather knotty belt, Julie Sandlau’s set of 5 bracelets in gold and anything from Noir’s collection!”

Clothes by Noir


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Jeanette Hepp / Sleek Magazine Jeanette Hepp, fashion & art editor for Sleek Magazine (Germany), lives in Berlin where she settled in 2002 to study fashion design. During her studies she worked with Wendy & Jim in both Vienna and Paris. She has been part of the editorial team of Sleek Magazine since 2005. She has been published /  contributed in magazines like dealer de luxe, collezioni, b-guided, the room and vice magazine.

Sandals, pumps and summer boots by Anita Moser



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Stéphanie Dumont / Carl’s Cars Magazine Stéphanie Dumont, creative director and co-founder of Carl’s Cars Magazine (Norway) since 2001, also happens to be the French champion in speed skating and was a member of the French speed skating team during the Calgary Olympic Games. In the nineties she was art director and creative director of advertising agencies in Oslo/London. “My style has been somehow influenced by the fact that a third person has been growing in my stomach for the last months. I therefore tend to wear a lot of variations of the short baby-doll dress, in different colors, fabrics and patterns. Thankfully I’m very lucky with this season’s collections of tunica and short dresses, from A.P.C. to Stella McCartney. Combined with either flat ballerinas, wedges or stiletto sandals, it always works. Bliss!”

Bubble dress by Hussein Chalayan N

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Irene Rukerebuka / Rant Magazine Irene Rukerebuka started Rant Magazine (UK) in 2003 and has since been working as its editor, director and designer. She also works as a photographer, stylist, writer and freelances for Topshop. She is currently designing for the singer Corinne Bailey Rae at EMI records. Irene also styled for Selfridges and organized large scale shows in abandoned buildings with support from Levi’s.

Knitwear by Tommy Hilfiger Denim Striped Shirt by Tommy Hilfiger Denim Swimwear by Henrik Vibskov Golden Leggings by American Apparel Buttons by Starstyling (Photographer: Anselm Woesler, Stylist: Ana Salgado de Los Angeles, Art direction: Mascha Roos.)


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Pekka Toivonen / Kasino Magazine Pekka Toivonen works as the editor of the international style magazine Kasino A4 (Finland) which was conceived in 2005. This black and white bi-annual magazine is based in Helsinki and mixes modern ideas with classic style. Kasino A4’s attitude is aggressive melancholy. “Kasino’s Spring/Summer theme: Expand it! SS07: everything’s getting even more confused. Styles are collapsing together, and measures have never been more insane. The more you exaggerate the better. From hoodies (Daniel Pallillo) to coats & bags (Tiger of Sweden), everything is huge – except your average indie band’s pants. A little bit of this and that still exists as the main thesis, so don’t forget to mix across genres and gender. This season, everybody can have a bow – wherever they want to.”

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Robert Serek  / A4 magazine Robert Serek started his collaboration with A4 magazine (Poland) four years ago and has been its fashion editor for the past three years. In 2004 he started his journey with high fashion opening a Comme des Garçons guerrilla store in Warsaw, where he has lived for the past 14 years. Since then he has brought other mavericks of fashion to Poland such as: Undercover, Martin Margiela and Raf Simons. After 2 editions in Warsaw he opened the first guerrilla store in Kracow in March 2007. In the past he almost finished his PHD in demography and was an academic teacher of statistics and demography for 10 years at the Warsaw School of Economics. His travels have taken him to many places across the globe.

Golden Boy Shoes by Comme des Garçons


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Cosmic Photographers Anoush ABRAR & AimEe HOVING Stylist Elena RENDINA

Make-up Francis ASES

Model Catarina ALBISETTI (Unique Model Agency) Shoes Zazazou

Clothes Globus & AthlEticum

Special thanks AthlEticum, chip store, Globus, Zazazou

Customized hockey shin guards CALF WARP

Black stockings FOGAL Arm protection NIKE Elbow pads ADIDAS


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Customized hockey top NIKE Bathing suit SPEEDO Vintage belt



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Tennis dress ADIDAS by STELLA MCCARTNEY Cycling gear 12UMI PEARL


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enjoy the silence...



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a point of view on fashion shoots rather than a fashion shoot Fashion... first conceived as an idea and then translated into an image in the mind... finally transferred onto the page as an image... the object of fashion photography?... the model... the space... the choreography of the image... the situation portrayed in the framing... fashion items... an attempt of the photographer to transform photography into an art work... fashion image?... a particular expression of a particular person in a particular space through the use of particular fashion items... a ceaseless yearning of the viewer to copy, to imitate what can never be achieved... to be in that exact setting, to be that exact person... or… personalizing the expression reflected by the fashion items... to imagine... “images” of the background locations... presence of an absence in the “images”... to “imagine” the presence of the fashion items ... to cognitively interact with the fashion items... placing in the foreground what is pushed to the background... “to read” fashion in the text... unfolding layers… revealing… the viewer personalizing the expression created by the fashion items through imagination...

fashion of the twenty-first century?...“clothes should be different on each person: sometimes too small, often large enough to let the air flow between the body and the garment leaving the imagination free to guess the shape of the body inside.” Yohji Yamamoto… melting together the trends of the past and of the future into the present… present tense… real… virtual… surfing on the internet… e-bay……… google images… hyperlinks… surfing in pages… magazines… books… catalogues… fashion boutiques… wardrobes… silent colours… the absence of silence... mute… whispering… spaces in-between… silence hidden in the “ma” between the objects… invisible light… reposing… silence that knows too much… bringing together… layering… encounters… intimate spaces… breathing spaces… enveloping air… inflating… floating… introverted… rounded… linear… fading… open forms… sensuous… sensing… expressing quietly… wiping out traces… acceptance of absence… sound of absence… liquefaction… transformation… Spring / Summer 2007… enjoy the silence…

Styling, make-up, hair styling, texts docu:mentalKLINIK | | Birol Demir, Yasemin Baydar, Ayse Draz

Model Ayse Orhon | Photographer Ahmet Elhan | Thanks to Sevil Parfumeri / Evren, Murat Goven, Buket Baydar


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Imagine... she is there standing sideways on the right of the two-storey rectangular object... facing

left... she is leaning her body‘s front side softly on the object’s right plane as if lying on a perpendicular bed... her arms are hanging loose by her sides... her head reposes on top of the object as if on a pillow, facing back... there is a mute inter-space left between her body and the object... she is wearing a strapless dress which reveals only the curvatures of her left arm and shoulder... her neck is covered by her ponytail... the dress she is wearing looks at first sight like a green balloon deflated in time... the complexity of this dress is suspended in its plain look... fluid and elegant... she is wearing the Jill Sander Spring/Summer 2007, strapless full-length one piece dress... the dress leaves her arms and shoulders bare... the dress is bright fluorescent green… its colour dissolves in the colour of the space as the lights suppress the green... the dress is made of thin but heavy weight material with a silky touch on her skin... the surface of the dress‘s material is smooth... its fabric is pleated on the front and the back centre of its strapless belt with invisible stitches... it hangs loosely inflating the dress as its downfall tapers at the ankles... this voluminous dress conceals her body‘s curvatures only revealing a soft and rounded silhouette... the volume of air enveloped inside is in constant change... only a whispering sound of the dress is heard vaguely in the silence of the space...



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she is there lying on her back... inside the concave space between the objects in the

centre... facing left with her body… her face remains hidden… her right arm reaching up… right hand holding onto the high corner of the object on her right... the soles of her feet on the floor... her knees bent... her body is covered under a “Turkish sea” blue sheet... it is a multi-functional piece by Yasemin Baydar 2007... made of midweight cotton knit fabric... the front and back pieces of a sleeveless xx-large sweatshirt are attached to each other by a single rib knit ribbon on the hemlines... they are not stitched to each other on the sides or on the shoulders... a flat, open form... the hemlines of the front and back pieces are stitched along the centre of a very long ribbon... the ribbon has a small horizontal incision in the centre... the incision is shorter than the hemlines’ length... ribbons of the same fabric run along the necklines of both the back and front pieces... the ribbons exceed the necklines and become straps... the surface of the fabric on the back piece is sliced horizontally with a single cut... rending the fabric’s skin... breaking the membrane of two dimensionality... highlighting the space behind... the space between the body and the garment... Z is slashed on the surface of the front piece like Zorro’s trademark... Lucio Fontana encounters Maurizio Cattelan who pays an ironical homage to Fontana... 60s encounters 90s in 2000... the piece silently salutes both artists...


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Imagine... she is there on the floor by the right wall... she is leaning her back on the wall... her legs are stretched in front on the floor side by side... her right arm rests closely by her right side... her body is slightly tilted

to her left... she looks like a lifeless doll that is captured motionless in the moment just before it falls down on its left side... the surface of her left forearm and her hand on the floor hold the whole tension of her body‘s weight... she is wearing an evening dress which appears to be floating in the air… it is as if this dress is pulling her body up from the floor but she is suspended in this silent tension between the gravity of the floor and the floating of the dress... she is wearing the Lanvin Spring/Summer 2007 halter-neck dress... the hemline of the dress falls just below her knee... its fabric is a mixture of silk and lurex with silver tinsel... some parts of this lamé dress dissolve into darkness, while some parts on its surface glitter... a zip fastening runs down its back... the dress is so light that even where it touches her skin she feels vulnerably exposed rather than covered... its straps are made from the same fabric and they tie at the back of her neck... a tightly pleated panel is placed on the dress’s low slit v-neck which is pulled up by the straps... this rather stiff panel with a futuristic Greek draping around it, curves up and away from her bust... along with the panel, the tapering of the dress at the hemline creates a 3-dimensional volume inside the dress’s surface on the front... this 3-dimensional space holds the secret of her body’s form... when she moves, a low trembling metallic noise is heard from the dress...



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Imagine... she is there in the centre... standing sideways facing right... she is bending her torso down

from her waist in a 30Âş angle... her right arm above the elbow is parallel to her torso while her forearm hangs down... her left arm is wrapped around her head... she is holding one end of a rope in her left hand just above her head... the rope is wrapped around her waist, passing through the space under her right armpit, reaching up to her left hand... there are rectangular pleated pieces of cloth in varying sizes sewn to the rope... a small rectangular piece with three layers hides her face while another covers her chest... it is a piece by Bruno Pieters, 2004... this piece is a long waistband with many buttons and buttonholes... pleated paper-like cotton pieces with varying widths and lengths are layered on each other in bundles along the waistband... it has a balm like “after darkâ€? black coating... the waistband and the pleated pieces are of the same rigid fabric... she feels safe... it wraps air inside and keeps it safe, covered with multiple layers... it always leaves a breathing space between the pleated folds, between the overlapping layers... the pleats are very disciplined... sharp... clean-cut edges... the top layers lift up as the piece gets wrapped around... this uncommon piece mutters something but the words are inarticulate...


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Imagine... she is there sitting on the first level of the dark platform... in the centre... facing front... her

body above the waist is tilted to her right side... her head is resting on top of the platform behind her... there is something bundled like a pillow under her head... some fabric... her hands on her knees... her calves hanging down... her right sole touches the floor, while her left is perpendicular to it... there is a reluctant tension between the right and left halves of her body... her shoulders appear bare... her cleavage down to almost her bellybutton appears bare... yet she is wearing a shirt... cloud dancer white... it is the Viktor&Rolf Spring / Summer 2007 shirt... with tricky zigzags, a transparent flesh coloured lycra fabric around the collar and down through her cleavage suggests nudity... but this fabric is holding back a white shirt from its downfall... nudity is silenced and it is rather her body’s silhouette that appears to be pushed down along with the white shirt... sharp... frivolous but complicated... elegant and romantic... romanticizing modernity... under her head in a bundle is the Viktor&Rolf Spring/ Summer 2007 pants... it is another piece creating a dreamy illusion... straight-slim cut cotton trousers that disappear towards the legs... fading from peat black to castor grey... from castor grey to elephant skin... from elephant skin to flint grey... from flint grey to silver cloud... dissolving into air... foggy and dusted... the vision gets blurred... the absence of sound gives an illusion of silence...



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Imagine... she is sitting sideways on the right corner of the object... facing right... she is slightly lean-

ing down... it is as if she is trying to look at something... only her right arm and her right leg as it reaches down to the floor can be seen... her profile and her torso are covered under what appears to be a caviar black armour... with her left arm stretched up she is holding the hemline of a skirt... the skirt prolonged along the straight line of her back and her arm, comes down in a half circle... through the waistband of the skirt, her right arm is coming out... it is a tailor-made, flare ballroom skirt from the 40s... hemline just below the knee... fitted waist, the skirt is made up of more than 100 triangular silk taffeta fabric pieces sewn side by side... while the skirt makes a round silhouette, its fabric creates sharp forms in space... there are hidden but clean and careful stitches... in the absence of an original belt, the skirt now has a raw cut waistband... this absence is intensified with traces of stitch-holes... it has a zip fastening on the side... motion is arrested inside the rigid folds of the skirt... the straight lines of the skirt layer on top of each other creating ruptures... deconstructionism silences constructionism... only a low rustling sound is heard...


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she is there lying over the pile in the centre... she is lying on her right side... her body is

twisted... her legs are not seen... only her torso... her left shoulder... her right arm and head pulled down by the gravity of the empty space... the rest hidden behind the pile... her left shoulder is partially covered with a black cropped cloth... it looks like pieces of different black clothes are thrown over her in a bundle... as if to terminate the convulsion of her body... it is the Comme Des Garçons 2004 black jacket... its black ranges from night shade to raven... this 40s style cropped cotton jacket has silk insets and sheer ethereal shawl bits... the jacket closes at the waist with a hook and eye... it has a slightly asymmetrical fit... though very subtle around the bust... the jacket is an encounter of three different models... its backside has different styled jacket cuts layered on top of each other... leaving graphical traces of the stitches... its backside is made up of only one fabric... cotton... on the front side of its sleeves there are asymmetrical silk fabric pieces... the combination of different fabrics and shades of black gives the jacket an animated appearance... however it is introverted... the jacket looks tailor-made... unique... its front piece is slightly longer than its back piece... different collars made from different fabrics are layered on top of each other... shiny, matt, transparent... sometimes like a shawl... sometimes very geometrical... shades of black wipe out the jacket’s sound... no form can be identified...



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Imagine... she is there sitting on the upper right corner of the low platform... her weight suspended on

the edge... she is facing backwards... staring at the reserved darkness... her arms are lifted up slightly from the shoulders... fingers pointing to the floor... it is as if she is surrendering to eternity... only her back is seen through the phantom black chiffon... no zip line is seen on her back... she is wearing the Martine Sitbon 2002 batwing sleeve chiffon blouse... the front side of the blouse is covering her back... revealing her flesh through the black transparency... the blouse has a round neckline... soft silky fabric borders the neckline and makes a small upsidedown rounded triangle on the front of the blouse... the silk is opaque matt... thick lines of the same fabric stripe down both sleeves... there is a hidden zip fastening down the blouses’ back... the hemline tapers and fits just below the hips... the chiffon fabric sewn to the epaulet-like panels on the sleeves, hangs down like drapery... loose chiffon batwings... inside this fragile blouse, the wind falls asleep...


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Imagine... she is there behind the dark horizontal object... standing sideways... facing left... her knees

slightly bent... her head levelling the height of the other object on the left... a stagnant profile... her neck and her left arm just down to her elbow are seen... the rest hidden behind the darkness... it appears as if she is wearing an off shoulder t-shirt... covered with a transparent layer... the t-shirt inside is bundled on the shoulder under its transparent cover... it also makes her appear hunched as it bundles at her back... the t-shirt comes down to her hips... it fits tightly trapped inside the transparent layer... she is wearing the Martin Margiela 1994 piece... it is a combination of two pieces... a moon mist grey sleeveless t-shirt... and a “sand-shell� long sleeve, tightly fitting fishnet body on top... the fishnet body with small patterns, while trapping the cotton t-shirt inside, leaves breathing space through its tiny pores... the over size t-shirt has a wide rounded collar... it fits her body wrinkling and bundling here and there... searching for a place to rest trapped inside the fishnet... its loose left shoulder is arrested by the fishnet on her arm... the t-shirt is transformed into an off shoulder t-shirt... wrinkled irregularly inside its cage, it gives an impression of a faulty creation... the fishnet body on top has a smooth and fine surface... the fishnet surface fits tightly on her body... her body’s silhouette is transformed with wrinkled fabric inside the transparent shell... this mismatched layering creates mute shadows...



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Imagine... she is there just behind the pile... on the right corner... standing upright... facing front... her

arms slightly open from the shoulders... forearms lifted up... on both hands she is holding the ends of a white

cloth... her head is bowed down... the cloth is caught in the centre under her chin... she is pressing her chin tightly on her chest... the cloth falls down irregularly... the irregular white form and her arms appear like the wings of a seagull... there are blue shades on the cloth... the blue ice cubes strung around her neck are melting... she is holding in her hands the white wrap around Martin Margiela 2000 skirt... made up of two different fabrics... satin and viscose... it has a wide satin waistband... down the waistband there are rectangular viscose fabrics in varying lengths and widths stitched to each other... as it is wrapped around, different shapes layer on top of each other... long and short... wide and narrow... it has a raw cut hemline... an irregular downfall... sometimes below the knee... sometimes above... it is voluminous... quivering waves appear on its surface... the skirt is playful but speechless... the Martin Margiela 2006 ice necklace on her neck is made up of ice cubes with blue textile dye... cyan blue... the melting of ice leaves its blue traces on the skirt... one expects to hear the cracking of ice as it melts, though only a shiver is felt and no sound heard...


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enjoy the silence... Making of

Model selection

Make-up team is making choices for the shoot

choosing the clothing

setting up the studio

Photographer: Ahmet Elhan

Preparing the credits


Wardrobe for the shoot

Model: Ayse Orhon

Reviewing the pictures


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she is 30 years old... she has a tall

and slender but robust figure... the bone structure of her face is what initially catches your attention... she has a long neck and an oval face... fair, pastel rose complexion and straight ash brown hair with natural shades of dark blonde... above her slant up cocoa brown eyes, she has curved medium eyebrows, a tone darker than her hair... thick curled eyelashes... there is an intense but soothing expression in her eyes... she has a small nose, convex but soft... the strongest feature of her face are her high cheekbones... her full

Hair... -Alterna- Hemp line products are used

down-turned peach blossom lips... her jaw is vaguely wide... she has a narrow chin and on the left side of

for hair styling... her hair is pulled back in a tight but

which there is a tiny scar... small, high ears... a muscu-

low ponytail... no hair band is used... the base of her

lar, up-right figure... long muscular arms and legs...

ponytail is dyed with shades of shocking pink... her

rather broad shoulders... slightly flat chest... narrow

hair on the neckline is shaved... along the left side of

waist and hips, hips tapering only slightly from the

her forehead her hair is shaved irregularly in small

waist... when she moves, it is as if her body silently

triangular shapes...

envelopes the space around her...

Make-up... -Shiseido- The Skincare Foam,

Hydro-Refining Softener, Visible Luminizer Serum, The

Skincare Day Moisturizer, Matifying Stick and BOP Eye Contour Cream are applied oh her face in order of appearance as preparation for the make-up... her make-up is done using -Uslu Airlines- airbrush makeup system air(o)pack, liquid colours, loose powders and concealers... the make-up achieves an effect of varying sun-tanning on the face... her face has a gradient colour with ranging shades of exposure to sun (Pantone 699, Pantone 170, Pantone 169, Pantone 204, Pantone 501)... the same make-up is applied on both of her arms... ‘Pantone 3145’ liquid colour is airbrushed on the inner side of her eye socket... -Shiseido- after make-up Soothing Spray is used for finish...

Close-up shot with different shading


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06.04.2007 15:59:56 Uhr

Art Director Joanna Grodecki


Zadig & Voltaire



Jasper Conran


Patrizia Pepe

Filippa K

Designers Remix

Elie Saab


Fashion Editor Angelina A. Rafii


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Elie Saab

Paule Ka



Pepe Jeans


Miss Sixty

Frankie Morello

Bora Aksu

photo Ian Gillet

Christian Lacroix


La Perla


Baby Phat



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Š2007 by claudio edinger/group M35

n n Stretch bathing suit POKO PANO n n Metal hoop earrings ACESSORIOS MODERNOS n n Shoes FERNANDO PIRES



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n n Photographer Claudio EDINGER

Photography Assistants Patricia STAVIS & Jorge SATO Stylist Sandra BITTENCOURT

Hair Agnes MAMEDE (Molinos & Trein)

Make-up Agnes MAMEDE (Molinos & Trein) Model Nathalia BEBER (Way Model) Executive Producer Marina PRADO

Represented by Group m 35 (NYC) n n

Girls of Ipanema


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©2007 by claudio edinger/group M35

n n Neoprene bathing suit ADRIANA DEGREAS n n Hat DAISY E RUTH n n Metal hoop earrings ACESSORIOS MODERNOS n n Shoes FERNANDO PIRES



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Š2007 by claudio edinger/group M35

n n Stretch Bikini with cotton bow ROSA CHA n n Metal hoop earrings ACESSORIOS MODERNOS


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Š2007 by claudio edinger/group M35

n n Stretch bikini ADRIANA DEGREAS n n Metal hoop earrings ACESSORIOS MODERNOS



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Š2007 by claudio edinger/group M35

n n Chamois bikini ADRIANA DEGREAS n n Metal hoop earrings & bracelet ACESSORIOS MODERNOS n n Shoes FERNANDO PIRES


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Š2007 by claudio edinger/group M35

n n Embroidered bathing suit MOVIMENTO n n Metal hoop earrings ACESSORIOS MODERNOS n n Shoes FERNANDO PIRES



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Š2007 by claudio edinger/group M35

n n Stretch bathing suit AGUA DE COCO n n Metal hoop earrings & bracelet ACESSORIOS MODERNOS


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n n Sparkly bathing suit ADRIANA DEGREAS n n Metal hoop earrings & bracelet ACESSORIOS MODERNOS n n Shoes FERNANDO PIRES


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06.04.2007 15:44:28 Uhr

Š2007 by claudio edinger/group M35

n n Stretch bikini with metal threads ADRIANA DEGREAS Metal hoop earrings & bracelet ACESSORIOS MODERNOS n n Shoes FERNANDO PIRES



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Š2007 by claudio edinger/group M35

n n Silk smock top NeON n n Hat DAISY E RUTH n n Metal hoop earrings & bracelet ACESSoRIOS MODERNOS n n Shoes FERNANDO PIRES


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06.04.2007 15:45:12 Uhr


Serkan EMIROGLU Production

Gina OLAFSON Stylist

SEbastien GOEPFERT Hair

CEline EXBRAYAT (labo-m) Make-up

William BARTEL (labo-m) Special thanks

Mairie de Paris


Suicide Blonde


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Necklace By Malene BIRGER

Vintage range coat GIANFRANCO FERRE for CHRISTIAN DIOR (Didier Ludot)

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Black shirt LIe SANg BONG Silver cat hat REPETToO


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Silvered pants DIOR HOMME

Silk purple blouse MY SELF

White summer underwear FATIMA LOPEs




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Purple lycra combinaison REPETTO Silver “tutu” REPETTO Vintage silver jacket



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05.04.2007 15:42:33 Uhr

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Silver body AMERICAN APPAREL Multicolor jacket KENZO Bracelet SONIA RYKIEL


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05.04.2007 15:42:57 Uhr

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Silver leggings AMERICAN APPAREL Vintage yellow dress

COURREGES (Didier Ludot) MĂŠtal necklace LANVIN Shoes SONIA RYKIEL


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05.04.2007 15:43:24 Uhr

05_contributors3.indd 21

13.04.2007 10:50:13 Uhr

AequilibriumFINALpfade.indd 1

06.01.2012 16:24:32 Uhr

AequilibriumFINALpfade.indd 2

06.01.2012 16:24:55 Uhr

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06.01.2012 16:28:36 Uhr

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Stylist Model

Represented by


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Vintage Suit CORDIA


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White lace dress POTTO

Vintage sandals DOG

Vintage corset EVA

Vintage sandals EVA

Short jacket POTTO



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Leather necklace SHAOO Silk cape POTTO

V-string LA PERLA BLACK LABEL Pumps stylist’s own



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Garter belt LA PERLA Pumps POTTO

Panty stylist’s own



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Vintage Suit CORDIA


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Halter dress POTTO

Jacket HELMUT LANG Pumps stylist’s own



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Vintage Suit CORDIA


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Vintage corset EVA

Vintage sandals EVA Short jacket POTTO



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Photographer Gaetan CAPUTO

Stylist Sandra HERZMAN (c’est chic agency)



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Illustration by Elisa Kern

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April 2007 Exhibitions



18-23.04. Pitti Living

27-30.04. 22e Festival International de Mode et de Photographie A HyEres

The dynamic, lively atmosphere so typical of laboratories, ateliers and research centers, a vessel filled with stimuli and entertainment, plus the best Italian and international creatives – up-and-coming designers and wellestablished companies – taking the stage in front of an audience of operators and enthusiasts who are highly responsive to experimentation, originality and product quality. Milano (Italy) Web:

Through parallel fashion and photo­ graphy competitions, the Festival International de Mode et de Photographie à Hyères, directed by Jean-Pierre Blanc since its creation 20 years ago, gathers every year under the spotlight ten young fashion designers and ten young photographers under the patronage of an international jury. An observatory of trends as well as an international launching pad, the Hyères festival has show-cased, more than 300 first-time collections by new fashion designers from all over the world and exhibited the works of over 80 young and innovative photographers. Hyères (France) Web:

May 2007 21.04-27.05. Dysfashional

Dysfashional, devoted to fashion, is not a traditional exhibition. It displays not clothes, but all the elements that make fashion a means of representing oneself and of displacing one’s identity. To tackle an area that is as frivolous as it is essential, it brings into play a vision of fashion by artists from various backgrounds. In a streamlined design, the installations of Hussein Chalayan, Martin Margiela, Bless, Sissel Tolaas, Jerszi Seymour and others will be exhibited. Luxembourg (Luxembourg) Web: dysfashional.htm


Graphic / Typo 18-23.04. Salone Internazionale del Mobile

Milan International Furniture show will be an extra special edition, not just because of the quality of the goods being showcased, but because it will also see the return of Euroluce, together with three high calibre collateral events. Of the three collateral events, two will be devoted to light – in synergy with the exhibition itself – and will involve the city of Milan, and the third will be dedicated to the metaphor of the home and living. Milano (Italy) Web:

17-19.05. Typo Berlin 2007 – 12 th International Design Conference

The largest design event in Europe, it is interdisciplinary, open-minded, and outward looking. It offers an annual focus, and a combination of presentations, lectures, and panel discussions. It is a showcase for graphic, motion, web, game, typography, sound, corporate and boundless design, from all over the world, compacted and condensed into a 3-day program, in three parallel series of discussion themes. Berlin (Germany) Web:

20-25.05. International Poster and Graphic Arts Festival of Chaumont

After acknowledging the work of major 20th European figures of graphic design, the 2007 Festival crosses the Atlantic to present Paul Rand’s work, one of the modern American designers. He elaborated numbers of posters, children books, logos, visual identities that have become international standards such as for the American computer company IBM, Westinghouse, ABC broadcast or the international shipping company UPS to name a few. Each year the presentation at the Garage is dedicated to discover the novelties of the European graphic field. After London, Arnhem and Berlin, the Festival will highlight the French scene. Etienne Hervy and Vanina Pinter have selected a large panel of studios and free-lance graphic designers to present the energetic and eclectic French scene throughout an unusual setting. Graphic design is a collaborating art, mixing all sorts of disciplines from contemporary art to fashion and performing arts. For the 2007 Chaumont Poster Festival, Alex Jordan (co-artistic director) explores the contemporary poster collection of Chaumont and highlights the privileged relationship between graphic design and photography. Seven Ateliers-Workshops, also dealing with the social issue “Global Warming”, will welcome 105 students from all around the world. Chaumont (France) Web: festival-affiches


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Design Exhibitions 08-11.05. Interzum Design Fair

Interzum 2007 will present the latest developments and visions in a unique show. On display will be everything from materials and supplier parts for furniture production and interiors. Cologne (Germany) Web:

10-13.05. Copenhagen International Furniture Fair

The fair will place the focus on international and Scandinavian design. The entire city of Copenhagen will be swarming with design during the fair, as Copenhagen Architecture & Design Days is taking place at the same time. Copenhagen (Denmark) Web:

Ends 28.05. Marimekko – the story of a Nordic brand

Fashion 02-06.05. Fashion Week Zagreb

The only international fashion event which presents designer collections for the next season, gathers most of eminent Croatian designers and foreign guests. Zagreb (Croatia) Web:

03.03.-03.06. David Lynch: The Air is on Fire

An exhibition dedicated to the multifaceted visual art creations of David Lynch. It is the first time the film maker has made his photographs, drawings, alternative films, sound productions available to the public. Installed in an environment designed by him, it is complemented by a series of nomadic events, including concerts and projections that he created. Paris (France) Web:

Marimekko is Finland’s famous textile and design company. Marimekko’s colourful textiles for furniture and fashion design has been known all over the world and contri­buted to the 1950s – 1960s revolution of modern printed textiles and fashion design. The exhibition presents the development of more than 50 years and shows designs from the entire period. Copenhagen (Denmark) Web:

Ends 20.05. Is this fiction?

19-22.05. ICFF-Int. Contemporary Furniture Fair

More than 600 exhibitors will display contemporary furniture, seating, carpet and flooring, lighting, outdoor furniture, materials, wall coverings, accessories, textiles, and kitchen and bath for residential and commercial interiors. This assemblage of national and international exhibitors affords the chance to experience the most selective scope of the globe’s finest, most creative, individual, and original avant-garde home and contract products – handily and temptingly showcased in one venue. New York (USA) Web:

Ends 04.05. Australian Fashion Week

AFW is an industry only event, made accessible to registered buyers, media and other fashion industry representatives. Sydney (Australia) Web:

27-29.05. Moda Prima

Fashion and accessories shows, gathering international exhibitors. Fashion Cube is an area dedicated to future trends. Milan (Italy) Web:

The selected video works by Simone Aaberg Kaern (Denmark), Narda Alvarado (Bolivia), Esra Ersen (Turkey) and Johan Grimonprez (Belgium) propose a reflection on how we understand and deal with social realities when trying to document them. We all determine our own ways of reading and understanding reality. What, then is a document? Can art possibly represent certainty? Is truth purely a matter of context? Is reality just a matter of observation or is observation itself producing reality? The selected artists and projects shown here raise these and other relevant questions about the purpose and status of photographic and video images and put into question our common acceptance of them as factual proof. Istanbul (Turkey) Web:

24.05.-24.09. Tomorrow now: Design & Science fiction

Conceived by Alexandra Midal and Björn Dahlström in collaboration with Pierre Bismuth and Michel Gondry, Tomorrow Now investigates the subject of science-fiction not merely associated with the omnipotence of anticipation and futuristic predictions, but in its coincidence with the emergence of furniture design discipline. The exhibition, homage to Hugo Gernsback, inventor of science fiction, explores decoration elements as well as design itself, the standardized products as well as conceptual architecture, the most contemporary forms in art as well as the most daring innovations in design. Luxembourg (Luxembourg) Web:


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10.04.2007 11:30:53 Uhr


15-16.05. Contemporary Art

The Contemporary Department at Sotheby’s focuses on a diverse range of artists and schools from early Abstract Expressionism through today. The sales typically include fine paintings, drawings, photographs, sculptures and installations from nearly every notable Contemporary movement of the 20th and 21st centuries. New York (USA) Web:

01-02.05. Prints & Multiples

Christie’s offers original limited edition prints by leading artists, such as Picasso, Chagall, Matisse, Miro, and Warhol. Sales in New York feature major 19th and 20th century prints and books and threedimensional multiples. The London sales also include Old Master prints. New York (USA) Web:

04.05. 20th century decorative arts

The 20th Century Decorative Art and Design Department sells a range of property including furniture, sculpture, ceramics, metal works, and lighting from the Art Nouveau, Arts & Crafts, Art Deco, Modernist and Contemporary movements. London (UK) Web:

08-09.05. Impressionist & Modern Art

Impressionist and Modern Art auctions offer European art from the late 19th century to the end of World War II. London and New York sales include the work of artists from all major movements - Impressionism, postImpressionism, Cubism, Fauvism, Dada and Surrealism, German Expressionism, and Italian Futurism. New York (USA) Web:


Sotheby’s sales feature works made in the early 20th century or earlier for ritual or ceremonial use within the traditional cultures of sub-Saharan Africa, Australia, Melanesia, Polynesia, Micronesia and Indonesia including masks, figurative sculpture, architectural fragments, amulets and jewelry, ancient metal work, and functional objects such as furniture, house posts, terracotta and wooden vessels, staffs, and some weapons. New York (USA) Web:

21.05. Post war & contemporary art

16-17.05. Post war & contemporary art

The post-World War II period from 1945 until 1970 is recognized as one of the most creative periods of the 20th century, spanning movements from Abstract Expressionism in New York in the 1940s to Pop Art that was popular mainly in England and the Untied States (from late 1950s to early 1970s). Works of artists who flourished in the late 1940s, 1950s and 1960s are typically featured in Christie’s twice-yearly sales in London and New York. New York (USA) Web:

The post-World War II period from 1945 until 1970 is recognized as one of the most creative period f the 20th century, spanning movements from Abstract Expressionism in New York in the 1940s to Pop Art that was popular mainly in England and the Untied States (from late 1950s to early 1970s). Works of artists who flourished in the late 1940s, 1950s and 1960s are typically featured in Christie’s twice-yearly sales in London and New York. Milan (Italy) Web:

The Impressionist & Modern Art Department offers paintings, sculptures and works on paper by the foremost artists of the late 19th century and first half of the 20th century. Artists included are Cézanne, Giacometti, Matisse, Monet, Picasso, Van Gogh and all those who forged artistic movements such as Impressionism, Fauvism, Cubism and Surrealism. New York (USA) Web:

The 20th Century Decorative Art and Design Department sells a range of property including furniture, sculpture, ceramics, metal works, and lighting from the Art Nouveau, Arts & Crafts, Art Deco, Modernist and Contemporary movements. Paris (France) Web:

14.05. Contemporary Art

17-18.05. Contemporary Art

16.05. 20th century decorative arts

New York (USA) Web:

24.05. Design & Design Art

New York (USA) Web:

27.05. Modern & Contemporary Southeast Asian Art

The Modern and Contemporary Southeast Asian Art sale offers a diverse visual aesthetic representative of the myriad cultures within the region. A contemporary visual language is rapidly developing, in which artists are constantly exploring and creating their own unique vocabulary across all disciplines. Hong Kong (China) Web:

22.05. Modern & Contemporary Art

The Contemporary Department at Sotheby’s focuses on a diverse range of artists and schools from early Abstract Expressionism through today. The sales typically include fine paintings, drawings, photographs, sculptures and installations from nearly every notable Contemporary movement of the 20th and 21st centuries Milan (Italy) Web:

23.05. 20th century decorative arts

09.05. Impressionist & Modern Art

New York (USA) Web:

17.05. African & Oceanic Pre-Columbian Art

The 20th Century Decorative Art and Design Department sells a range of property including furniture, sculpture, ceramics, metal works, and lighting from the Art Nouveau, Arts & Crafts, Art Deco, Modernist and Contemporary movements. Amsterdam (The Netherlands) Web:

24.05. Contemporary Art

The Contemporary Department at Sotheby’s focuses on a diverse range of artists and schools from early Abstract Expressionism through today. The sales typically include fine paintings, drawings, photographs, sculptures and installations from nearly every notable Contemporary movement of the 20th and 21st centuries. Paris (France) Web:

30.05. Film Entertainment Memorabilia

Entertainment memorabilia is a diverse category that ranges from film props and costumes worn by Hollywood icons, vintage guitars and handwritten lyrics by music legends, to animation art and film posters. Such items have contributed to the delight of generations, and helped build a worldwide collectors’ market. In the last two decades, Christie’s has sold memorabilia ranging from Bette Davis’ Academy Award for Jezebel to the sled from Citizen Kane. New York (USA) Web:

30.05. Un regard sur la photographie

Unrivalled expertise, a close awareness of market trends and exceptional client care have made Christie’s the world market leader in the field of photograph auctions. Capturing over half of the global auction market in 2005, the Photographs Department is led by Philippe Garner and Joshua Holdeman who share over 47 years’ experience. Paris (France) Web:


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06.06. – 02.09. All in the present must be transformed: MATTHEW BARNEY & JOSEPH BEUYS

31.05. Photographs

Unrivalled expertise, a close awareness of market trends and exceptional client care have made Christie’s the world market leader in the field of photograph auctions. Capturing over half of the global auction market in 2005, the Photographs Department is led by Philippe Garner and Joshua Holdeman who share over 47 years’ experience. London (UK) Web:

31.05. Daniel Brush 30 years’ work New York (USA) Web:

June 2007 Art

Matthew Barney and Joseph Beuys’ will examine key affinities between the two artists, who, though separated by generation and geography, share many aesthetic and conceptual concerns. The exhibition will focus on their metaphoric use of materials, their interest in metamorphosis, their employment of narrative structures, and the relationship between action and documentation in their work. Venice (Italy) Web: inglese/exhibitions/prossimamente.html

Auctions 02.06. Saturday @ Phillips NY

New York (USA) Web:

04.06. Photographs

New York (USA) Web:

01.06. Latin American Art

Christie’s sales have represented the vibrant palettes of such masters as Fernando Botero (Colombia); Frida Kahlo (Mexico); Claudio Bravo (Chile); Candido Portinari (Brazil); Emiliano Di Cavalcanti (Brazil); Wifredo Lam (Cuba); Roberto Matta (Chile); Joaquín Torres-García (Uruguay); Diego Rivera (Mexico); David Siqueiros (Mexico); Rufino Tamayo (Mexico); Remedios Varo (Mexico); and many others. New York (USA) Web:

05.06. 20th century decorative arts

13-17.06. Art Basel 38

The international art show features about 300 leading art galleries from 30 countries on all continents. Art Basel is the world’s premier modern and contemporary art fair. 20th - and 21st-century art works by over 2000 artists will be on display. 55000 art collectors, art dealers, artists, curators and art lovers attend the annual meeting place of the art community. Basel (Switzerland) Web:

The 20th Century Decorative Art and Design Department sells a range of property including furniture, sculpture, ceramics, metal works, and lighting from the Art Nouveau, Arts & Crafts, Art Deco, Modernist and Contemporary movements. Amsterdam (The Netherlands) & New York (USA) & London (UK) Web:

06.06. Prints & Photographs

Christie’s offers original limited edition prints by leading artists, such as Picasso, Chagall, Matisse, Miro, and Warhol. Sales in New York feature major 19th and 20th century prints and books and threedimensional multiples. The London sales also include Old Master prints. London (UK) Web:

06.06. Islamic art & Oriental paintings

The first appearance of this exciting new category was at the inaugural sale of Christie’s Dubai in May 2006, where it exceeded all expectations. Christie’s Dubai sales feature works from across the Arab world and Iran, including artists from countries as diverse as Morocco through to Sudan and from Syria to Saudi Arabia. If the geographical scope is immense, so too are the variety of styles and influences - from works of art based on the Arabic or Persian letterform to abstract and figural paintings through to contemporary photography and sculpture. With increasing interest both from within the Middle East and globally, this category is certainly one to watch. Paris (France) Web:

07.06. 20th century Fashion

The Textiles Department features items from all over the world, including European, Islamic, Indian and Asian Costume, textiles and accessories. Islamic and Indian sales in the autumn and spring include fine Cashmere shawls, Persian, Central Asian, Greek and Turkish textiles. Chinese and Japanese costume and hangings feature strongly in distinct sale sections. The European sales include lace, costume, textiles, fans, needlework, quilts and samplers dating from the 16th to the 20th centuries. Collectors and fashion aficionados make sure not to miss our sales, which also include vintage luggage by Louis Vuitton and haute couture by the most famous European designers from the 1920s onwards. London (UK) Web:

11.06. African & Oceanic Art

Christie’s sales of African & Oceanic Art feature important sculptures, artifacts, ceremonial clubs and shields and costumes from many countries. Paris (France) Web:

19.06. Impressionist & Modern Art

The Impressionist & Modern Art Department offers paintings, sculptures and works on paper by the foremost artists of the late 19th century and first half of the 20th century. Artists included are Cézanne, Giacometti, Matisse, Monet, Picasso, van Gogh and all those who forged artistic movements such as Impressionism, Fauvism, Cubism and Surrealism. New York (USA) Web:

19-20.06. Auction: Contemporary Art Part 1 London (UK) Web:

20-21.06. House Sale

Choose, mix and match European furniture, Asian decorative arts, postwar and contemporary art, 20th century decorative art, porcelain, rugs, silver, glass, decorative paintings, drawings, photographs and prints. Christie’s monthly House Sale in the saleroom at Rockefeller Center, New York is designed to provide a one-stop shopping opportunity to dress up an empty space, change the décor of a room, enhance an existing collection or start a new one. New York (USA) Web:


Ends 03.06 Photo-London, Int. Photography Fair

Photo-London 2007 will take place at Old Billingsgate Market, the stunning 19th century hall in the heart of the City of London. Designed by Sir Horace Jones and renovated by Richard Rogers in 1988, the Thames-side venue will play host to around 60 international galleries, dealers and publishers. Photo-London will focus on photography from the 1970s to the most contemporary work, mixing a selection of photography galleries and contemporary art galleries. London (UK) Web:

Fashion 20-24.06. 7 Festival

Festival for Fashion, Music and Photography Vienna (Austria) Web:


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29.06-03.07. Paris Men’s Fashion Week

Designers present their Spring/Summer 2008 collections in the French capital. Web:

21.06. Vienna University of Applied Art Fashion Show

20-23.06. Pitti Uomo

The old Fortezza di Basso plays host to one of its biggest yearly fashion exhibitions dedicated to men’s fashion. Florence (Italy) Web:

08-09.06. Show 07 – La Cambre mode(s)

One of the leading fashion schools in Belgium presents its final year show. The aim of the event is to provide a platform where students can showcase their talents in front of an audience of fashion connoisseurs and industry professionals. Brussels (Belgium) Web:

The prestigious University of Applied Arts’ Design Department showcases the fashion student’s final year show. Vienna (Austria) Web:

29.06.-02.07. Tranoi Fashion Fair-mens

A chance for designers to showcase their men’s collections to the trade at the Palais de la Bourse. Paris (France) Web:

Graphic/Typo 07-10.06. Tage der TypographieNoblesse Oblique

24-29.06. Milano Moda Uomo

Designers present their Spring/Summer 2008 men’s collections in the Italian fashion capital. Milan (Italy) Web:

01-09.06. Rio de Janeiro Fashion Week

Get a look at Brazil’s leading names in the fashion arena and take the opportunity to engage in some networking. Rio de Janeiro (Brazil) Web:


A platform of exchange through workshops and seminars for graphic designers, design students and anyone else in the field. Lagehörste (Germany) Web:

14-16.06. Show 2007 Fashion Department Hogeschool Antwerpen The Fashion Department Royal Academy of Fine Arts Fashion Department’s annual fashion show is a celebration of fashion, bringing together some 6,000 spectators from all over the world, not only to judge and/or admire the collections of the students, but also for the unique atmosphere of their grand defilé. Once a year, the building is filled with friends, fashion enthusiasts, manufacturers, former students, fashion designers, styling agencies, culture buffs and the press. Their interest and appreciation are the reward for the continuous efforts of both students and teachers, year after year. Students from all four years show their work on the catwalk. The jury composed by national and international fashion and art people, judge their collections and installations. Antwerp (Belgium) Web:

04-06.07. Bread & Butter Barcelona

Tradeshow for selected brands: Pioneers who revolutionized the traditional tradeshow landscape thanks to a new concept: No generalists, but specialists with a clear definition of their segments, who are resolved to present progressive, contemporary clothing culture right through to the top. Visionaries, who recognize market needs and put them into action. Courageous to come up with unorthodox solutions. Professing sensitivity and passion for the culture in which they are at home. Barcelona (Spain) Web:

July 2007 Fashion 12-14.07. ITS SIX – International Talent Support

03-06.07. Paris Haute-Couture Fashion Week-Fall/Winter 2007/08 haute-couture women’s collections. Paris (France) Web:

ITS stands for International Talent Support and is a platform for creative minds from all over the world. ITS the way to support young talented people, giving them the opportunity to voice their creativity and to showcase it using the medium they are more keen to or doomed with. ITS a network, made of students, teachers, business people, opinion leaders, the international press. They will come to free creativity from its golden cage. A wide selection of prizes will be awarded to support talent and our contestants who will be put to the test. Trieste (Italy) Web:


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Photography 02-07.07. Voies Off Photography Festival

As an experimental photographic working area, the Arles Fringe Festival promotes various artistic practices. Each Fringe Festival allows a sharp look on Photography’s new trends. Every year, the Fringe Festival Prize awards one photographer for his contemporary artwork Arles (France) Web:

Graphic/Typo 05-07.07. Vision Plus 12 10-13.07. Hong Kong Fashion Week

The event includes a constant stream of fashion ideas through the runway shows and exhibitions. It’s a meeting point for buyers as well as international media. Seminars cover the latest predictions in fashion fundamentals from styles and colours to fabrics, as well as business-specific topics targeted at the fashion industry. Hong Kong (China) Web: http://hkfashionweekss.tdctrade. com/

August 2007 Fashion 09-12.08. Copenhagen International Fashion Fair

With more than 42,000 net square meters of exhibition space filling Bella Center’s halls, the numerous permanent showrooms and the new 5,000-square-metre tent, CIFF has now grown so large that we want to give visitors a better overview. Copenhagen (Denmark) Web:

Information Design Conference The International Institute for Information Design (IIID) is proud to announce Vision Plus 12 at Schwarzenberg, a multi-disciplinary international conference devoted to exploring one of the most critical issues facing communicators today - how to measure the impact of informational communications. Schwarzenberg (Austria) Web:

30.08-05.09. Japan Fashion Week

Japan Fashion Week in TOKYO is an event that brings together the government and the private sector to effectively transmit Japanese high quality, delicate fabrics and fashion creations to the world. On a single base combined of three elements, Creation, Craftsmanship, and Business, the aim is to strengthen Japan’s textile and fashion industries ability to compete internationally, as well as strive to create a source for vitality in a wide range of industries related to lifestyle and culture. Tokyo (Japan) Web:

15-21.08. Oslo Fashion Week

Oslo (Norway) Web:

29-31.08. Living Room Tokyo Fashion Fair

International design fair for fashion and accessories brands geared to penetrating the Japanese market. Tokyo (Japan) Web:

Ends 29.07. Design Life Now: 2006 National Design Triennial 25-30.07. Amsterdam Fashion Week

AIFW is steadily establishing itself as a young and directional alternative to the world’s more traditional fashion weeks. Focusing on Amsterdam’s reputation as an inspiring city, the AIFW program combines commerce with creativity. Alongside the catwalk show schedule our program includes fashion events, lectures, exhibitions, retail initiatives and parties. As well as a showcase for Dutch fashion, AIFW provides a stage for the growing New Luxury segment, which so far was stuck between existing mainstream trade events and traditional couture weeks. Amsterdam (The Netherlands) Web:

The National Design Triennial is an ongoing exhibition series at the Smithsonian’s Cooper-Hewitt, National Design Museum. Inaugurated in 2000, the Triennial seeks out innovative work from across the fields of product design, architecture, furniture, film, graphics, new technologies, animation, science, medicine and fashion. Called Design Life Now Triennial presents experimental projects, emerging ideas, major buildings, and new products and media created by 87 designers and firms from 2003 to 2006. The exhibition features work by designers of any nationality who are producing work in the U.S. as well as American-born designers who are working abroad. New York (USA) Web:

27-30.08. POOL Tradeshow

POOL began as a minimal rail trade show designed for the directional boutique market. POOL showcases many emerging designers each season, featuring new product ranging from women’s and men’s apparel, to shoes and accessories, and including a variety of lifestyle products, from art, to music, to home. POOL carefully curates each show, balancing fresh talent with established brands. Each line participating at POOL is pre-screened to allow buyers more time to place orders. Las Vegas (USA) Web:

September 2007 Fashion 06-09.09. Who’s Next

Innovative fashion fair dedicated to creative forms of promotion for designers. Help foster a climate of growth for brands by creating a unique platform of exchange. Paris (France) Web:


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04-07.09. CPM-Collection Premiere Moscow, Fashion Fair

International trade fair for womens-, mens-, kidswear, ingerie, accessories and young fashionfairground. Moscow (Russia) Web:

16-23.09. (provisional) London Fashion Week

London, one of the world’s most vibrant and creative capitals, holds one of the most important events in the fashion industry. Expect a large attendance of UK buyers, international press and photographers and broadcast crews. Check out who the newest designers are to make a name for themselves during one of the most vital fashion events. Also check out Margin London for Fresh Brands & On|Off. London (UK) Web:,

31-02.09. Madrid Fashion Week

46th edition of the biannual trade fair in Madrid. The main Spanish design and promotion platform. Entry by invitation only. Madrid (Spain) Web:

11-13.09. Shanghai Fashion Week-Fall/ Winter 2008

For the 10th session in September 2007, the New Pudong Expo Centre will host the expo and is very much like a contemporary Museum of Modern Art. While this will be a new departure, it is still linked to what already existed: it is a change in the sense of an evolution. This new site will gather all the exhibitors onto the same floor, in a sophisticated and modern setting. They have chosen to illustrate the season’s trends by applying the same evolving path that the fair itself has followed to material, colour and product developments. In the course of 5 themes you shall see the birth, development, affirmation, life and excellence of the products through an explosion of colours that matches the effervescence of commerce and industry in China and Asia in general. Shanghai (China) Web:

27-30.09. Touch Neozone Cloudnine

Touch! is the most up-to-date look at contemporary women’s fashions. NeoZone for contemporary chic and the most sophisticated sportswear and cloudnine with the most creative accessories which can make fashion trends on their own. Milan (Italy) Web:


18-21.09. Premiere Vision

The must fabric fair for trade and to get a peak at what the new innovations are in the realm of fabric production. Paris (France) Web:

22-30.09. Milano Moda Donna

Spring/Summer 2008 collection for women Milan (Italy) Web:

Photography 16.09-28.10. Noorderlicht Photography Festival

In one guise or another, religion currently pervades discussion. In a fire fanned by fear of Islam, resorting to religion has become acceptable in the West too. Faith is back with a vengeance - as a source of certainty and stability, a safe haven, a refuge with its own norms and values, closely connected with the idea of a closed society that is based on tradition and brotherhood. But what happens when this faith comes in contact with the surrounding world, an open society that is continually changing, based as it is on dialogue among various opinions? Ultimately the separation of church and state is one of the basic principles of Western society, and a globalized world, with its free exchange of goods and ideas, is a source of heresy. God and Allah, the Vatican and Washington, Holy Scriptures and law books, global and local, love and resentment: The Noorderlicht Photofestival 2007 investigates what happens when faith meets the world around it, where the collisions of different value systems lead to friction. Act of Faith is an international group exhibition that will be accompanied by a special catalogue. Act of Faith is the main exhibition of the festival. Previous main exhibitions have drawn enthusiastic responses and are now touring all over the world. Groningen (The Netherlands) Web:

13-14.09. EPDE07 International Conference on Engineering and Product Design

Shaping the Future? The 9th International Conference on Engineering and Product Design Education will be organised by the School of Design at North­ umbria University, Newcastle upon Tyne in participation with the Design Education Special Interest Group (DESIGN) of the Design Society, the Institution of Engineering Designers (IED), in collaboration with the British-HCI Group, and endorsed by the Design Research Society (DRS). New Castle upon Tyne (UK) Web:

Art 15.09-4.11. International Istanbul Biennial

The biennial will focus on urban issues and architectural reality as a means of exposing different cultural contexts and artistic visions regarding the complex and diverse forms of modernity. Therefore, instead of imposing any definite concept on the event via fixed exhibition format, they decided to open up the Biennial as a platform of imagination, dialogue and production. Istanbul (Turkey) Web:

October 2007 Fashion 13-18.10. (provisional) Los Angeles Fashion Week

Los Angeles is slowly gaining importance in the American fashion scene. Los Angeles (USA) Web:


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16-24.10. Russian Fashion Week

11-14.10. Lisboa Fashion Week Lisbon (Portugal) Web:

End of the month Prague Fashion Week

PFW is an international festival of fashion designers. PFW is offering the presentation to the Czech and foreign designers in the way of catwalk shows. The expert authority of the PFW Fashion Academy – awards to one of the participating designers the prestigious title Designer of the Season. The Organizer announces also the special contest categories to support the starting and up-coming designers: Junior and Talent of the Season. The exhibition Fashion Photo is accompanying the program. After-Sale open for public is being organized after the official program. Prague (Czech Republic) Web:

The concept of Fashion Week in Moscow is based on the organization of Fashion Weeks in Paris, New York, London, and Milan. Fashion Week is organized to support multiple daily runway shows from various designers, traditionally attracting a lot of journalists. Several designers present their new collections at the same time in different exhibition showrooms. Through this style of presentation, Fashion Week also attracts hundreds of buyers and representatives from industrial companies, including producers of fabrics, trimmings, accessories and prêt-a-porter clothing. As a result, Fashion Week has become a place for business meetings and the signing of numerous contracts. Moscow (Russia) Web:

04-07.10. Tranoi Fashion Fair-womens

A chance for designers to showcase their women’s collections to the trade at the Palais de la Bourse. Paris (France) Web:


18-22.10. FIAC – Foire Internationale d’Art Contemporain

Annual Contemporary art fair held in Paris. This year it will be held at the Grand Palais and in the Court Carrée of the Louvre. It is an important gathering for those who want to collect and see contemporary art. Paris (France) Web:

November 2007 Photography 15-18.11. Paris Photo

This 11th edition of the leading fair is characterized by the demanding nature of each of the exhibition projects. Created specifically for the event, the projects highlight works or groups of works that are rare, exceptional or new. Through the numerous countries represented from around the world, Paris Photo is undertaking to support and promote the very best photography. This year Italy occupies a special place at the fair. Paris (France) Web:


11-14.10. Frieze Art Fair, Contemporary Art Fair

09-12.10. Semaine de la Mode de MontrealMontreal Fashion Week

The mission of Montreal Fashion Week is to promote designers to the fashion industry, buyers and journalists. From its very launch, the event has allowed the fashion press and buyers to discover emerging labels. Sensation Mode seeks to position Montreal as a fashion hub on both the national and international scenes. To do this, it showcases the know-how, creativity and diverse commercial offering of the city, increasing visibility by coordinating initiatives and targeting a common goal. Montreal (Canada) Web:


The Frieze Art Fair takes place every October in Regent’s Park, London. It features over 150 of the most exciting contemporary art galleries in the world. As well as these exhibitors, the fair includes specially commissioned artists’ projects and a prestigious talks programme London (UK) Web:

12-17.10. 40 Years of Paul Mccarthy’s Work

S.M.A.K. is presenting the first retrospective exhibition to span the whole 40 years of McCarthy’s work. Head Shop/Shop Head situates a number of the more recent works in the broader context of McCarthy’s oeuvre, thereby creating a wider and deeper view of this complex and challenging artist. Ghent (Belgium) Web:

29.11. IMCA – International Museum Communication Awards

The purpose of the IMCA is to recognize and stimulate imagination and best practices in communication and design in European museums. IMCA wants to raise the standards of creative excellence in the museum industry, and encourage art organizations to find original and inventive ways to communicate their positioning and their values. It is a great opportunity to increase awareness of museums’ efforts in communication on a local and international level. The awards are open to all museums and galleries in Europe. Brussels (Belgium) Web:

Fashion 25-27.11. Moda Prima

Fashion and accessories shows, gathering international exhibitors. Fashion Cube is an area dedicated to future trends. Milan (Italy) Web:

December 2007 Art

06-09.12. Art Basel-Miami Beach

The international art show in Miami Beach (Florida) is the American sister event of Art Basel in Switzerland, the most important annual art show worldwide for the past 37 years. Art Basel Miami Beach is a new type of cultural event, combining an international art show with an exciting program of special exhibitions, parties and crossover events including music, film, architecture and design. Exhibition sites are located in the city’s beautiful Art Deco District, within walking distance of the beach and most hotels and restaurants. An exclusive selection of 200 leading art galleries from North America, Latin America, Europe, Africa and Asia will exhibit 20th and 21st century art works by over 1500 artists. The exhibiting galleries are among the world’s most respected art dealers. They will be showing exceptional works by both renowned established artists and cutting-edge newcomers. Special exhibitions will feature young galleries and video art. The show will be a vital source for discovering new developments in contemporary art and rare museum-calibre art works. Art collectors, artists, dealers, curators, critics and art enthusiasts from around the world will participate in the event. Miami (USA) Web:


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© photo : Albrecht Tübke, Twins, Berlin, 2000, 37 x 47 cm


E X H I B I T I O N : M A I 2 4 T H TO A U G U S T 1 9 S T 2 0 0 7 S T E E LW O R K S D U D E L A N G E L U X E M B O U R G Johannes Backes Eva Bertram Elina Brotherus Thomas Chable Ad van Denderen Véronique Ellena Joakim Eskildsen Patrizia di Fiore Moreno Gentili Claudio Gobbi Lori Grinker Rip Hopkins Anthony Haughey Jean-François Joly Pelle Kronestedt Nicoletta Leonardi Gilles Mora Cristina Nuñez Gabor Ösz Gilles Peress Mark Power Anne Rearick Victor Sira Alexey Titarenko Albrecht Tübke Ute Wrocklage Marco Zanta Thomas Zika CNA Centre national de l’audiovisuel +352 52 24 24-1

Opening hours: Tuesday through Sunday 10 am to 7 pm and Fridays 10 am to 9 pm

This project is labelled "Luxembourg and Greater Region, European Capital of Culture 2007", placed under the High Patronage of their Royal Highnesses the Grand Duke and the Grand Duchess of Luxembourg.

We Love Magazines “Luxembourg and Greater Region, European Capital of Culture 2007” held “Colophon 2007 – International Magazine Symposium” earlier this year. Over 2,000 professionals from 25 countries (Europe, Australia, South-Africa and America) attended the three day event curated by Jeremy Leslie, Andrew Losowsky and Mike Koedinger (the publisher of Nico). The Casino Luxembourg – Forum d’art contemporain hosted five exhibitions dedicated to magazine culture on three floors, 25 hours of talks and 4 workshops. Photography by Eric Chenal



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m Angelina A. Rafii

m White Cube: Yummy (Paris)

m Oli Peters

m White Cube: Rojo (Barcelona)

m Luis Mendo

m White Cube: (Milan)



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12.04.2007 13:55:50 Uhr

m Alexandra Jean (Yummy)

m The Room with a View temporary magazine store

m White Cube: S Magazine

m Boz Temple-Morris and Gino Ricca

m Caroline Mart

m Imca Awards Conference

m The Eclectic Electro Pop Party

m Casino Luxembourg


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12.04.2007 13:56:39 Uhr

Fashion Stockists


3.1. Phillip Lim 6267


AcessOrios Modernos Adidas Adidas by Stella Mccartney Adriana Degreas Aganovich Agent Provocateur AGua de coco American Apparel Anita Moser Anna Sui Annemie Verbeke Aquascutum Arash Alam Gur Armand Basi Azzedine Alaia Tel. +33 (0)1 42 72 19 19


Baby Phat Barbara Bui Basso & Brooke Biba Bora Aksu Boudicca By Malene Birger bruno Pieters





Cacharel Camilla Staerk Carolina Herrera Cathy Pill Celine Chanel Christian Dior Christian Lacroix Christian Louboutin Comme des GarÇons CourrEges

Heatherette Helmut Lang Henrik Vibskov Hugo Boss Hussein Chalayan

Maison Martin Margiela Manish Arora Martine Sitbon Tel: +33 (1) 48 87 37 47, +33 (1) 42 03 91 00 Miss Sixty MOVIMENTO My Self MYSELF by Kai KUEhne

D Daisy e Ruth Designer Remix Dice Kayek

E Elie Saab Emanuel Ungaro Erin Fetherston

F Fatima Lopes Fernando Pires Filippa K Fogal Footjoy Frankie Morello

G Glovedup

I Issey Myake

N NEon Nike Noir

Jasper Conran Jean Louis Scherrer Jean Paul Knott Jil Sander Julie Sandlau

K Keita Maruyama Kenzo

L La Perla La Perla Black Label Lacoste Lanvin Lefranc Ferrant Leonard Lie Sang Bong Longchamp Louis Vuitton

O Own

P Patrick Cox Patrizia Pepe Paule Ka Pepe Jeans Pepper and Pistol Phillip and David Blond Piazza Sempione Pierre Hardy Poko Pano Puma

R Repetto Ritratti Robert Normand Roger Vivier Rosa Cha


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Links S Sabrina Dehoff Scorah Pattullo Shaoo Sockman New York Sonia Rykiel Speedo Staerk by Camilla Staerk Starstyling Sue Stemp

T Thierry Mugler Threeasfour Tiger Of Sweden Tommy Hilfiger Denim Tsumori Chisato

V Vanessa Bruno Versace Viktor & Rolf Vivienne Westwood

W Wolford Wood Wood

Y Yumi Katsura Yves Saint Laurent

Z Zadig & Voltaire Zagliani

INTERVIEWS 5.5 designers David Renard Diane Pernet Dutch Uncle Festival d’HyEres Horst Moser Jeremy Leslie Judith Benhamou Huet LARS DENICKE Samir Husni husni.htm

Fashion A4 magazine Agnes Mamede (Molinos & Trein) ArtEZ Academie voor beeldende kunsten Arnhem B East Magazine Carl’s Cars Magazine Central Saint Martins College of Art and Design Christian Aschman Claudia Trucco Dansk Magazine Dazed & Confused Magazine Dominique Models Group M35 Institut Français de la Mode International Model Management Istituto Marangoni

Kasino Magazine Koninklijke Academie voor Schone Kunsten van Antwerpen La Cambre Ecole Nationale SupErieure des Arts Visuels MadE Agency Marina Prado Nathalia Beber (Way Model ) Parsons The New School for Design Phom Agency, Paris Plastic Rhino Magazine Rant Magazine Royal College of Art www.rca. Sleek Magazine S Magazine UniversitAet fUer angewandte Kunst Wien William Bartel Contributors Amber Gray Anoush Abrar & Aimee Hoving Christina K Claudio Edinger David Laurent docu:mentalKLINIK Gaetan Caputo Justin Morin Karena Gupton Akhavein Lars Harmsen Lyn Balzer & Tony Perkens MEREL KOKHUIS Serkan Emiroglu Thomas Mailaender XGRAPHIX Zoren Gold & Minori


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Jeanny Back (1952)

Next Issue out in October 2007 Editorial Contact Mike Koedinger Advertising Contact Aurelio Angius



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The essential

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Artwork by Mio Matsumoto

Edited by Andrew Losowsky Designed by Jeremy Leslie


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Nico fall-winter issue: october 2007  

The Idea: To publish a European bi-annual style magazine with a strong editorial content focussing on emerging talents in the fields of fash...