NEVER LAZY
Spring 2014
Breathe Creativity
ALEXANDRA BANTI / ANTONIO BARRELLA / ATELIER DYAKOVA / CRISTIAN DAVILA HERNANDEZ ELEANOR TAYLOR / EMMA PILKINGTON / FEDERICO SORRENTINO / JACK VANZET / JOSHUA HIBBERT KEITH NEGLEY / KRZYSZTOF UBYCH / MORGANE KRISCHER / MOTHERBIRD / RUBEN BRULAT SALVADOR POZO / SAM FLAHERTY / SARA MELOTTI / ST. FRANCIS ELEVATOR RIDE
E D I T O R S A B B I E
C O H E N
Founding Editor Features Editor
J E S S I E
C O H E N
Founding Editor Art Editor
thirteen------spring 2014
C O N T R I B U T O R S
Alexandra BANTI Antonio BARRELLA ATELIER DYAKOVA Cristian DAVILA HERNANDEZ Eleanor TAYLOR Emma PILKINGTON Federico SORRENTINO Jack VANZET Joshua HIBBERT Keith NEGLEY Krzysztof UBYCH Morgane KRISCHER MOTHERBIRD Ruben BRULAT Salvador POZO Sam FLAHERTY Sara MELOTTI ST. FRANCIS ELEVATOR RIDE
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O N
T H E
C O V E R
‘Psyche’ / Joshua Hibbert
NEVERLAZYMAGAZINE@GMAIL.COM W W W. N E V E R L A Z Y. N E T • B L O G . N E V E R L A Z Y. N E T
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Editor’s Letter
New Year, spring, spring cleaning. All
We are also showcasing the stunning
the signs point straight at the idea of a
exclusive editorial pieces of Emma
new and improved NeverLazy Magazine.
Pilkington (p18), Federico Sorrentino
Newness does not necessarily mean a
(p50), Antonia Barrella (p60), Cristian
logo redesign, a reconsidered website
Davila Hernandez (p96), Sara Melotti
layout or new typographic decisions.
(p116) and Salvador Pozo (p164). In
Newness refers to something deeper,
this Spring 2014 issue, we are featuring
something interconnected with the way
portfolios from Melbourne to London
we communicate and collaborate with
and Milan to Los Angeles. It is this
our readers and contributors. When
multicultural aspect that keeps us going,
dealing with NeverLazy, one thing that
the fact that we are opening up worlds
never leaves our mind is the thought of
of creativity across all time zones, using
constantly bringing you inspiration in the
the power of digital technology to help
form of fresh, cutting-edge content, and
us reach our audiences. Over the past
that with each issue release and for all
two and a half years, as our content and
the moments in between. Presently, we
aesthetic have evolved simultaneously,
are gaining multifaceted and multicultural
NeverLazy has incessantly been
insight into the worlds of Jack Mussett
welcoming a bigger and more diverse
on behalf of Motherbird (p6) and Sonya
readership across the globe – and we
Dyakova of Atelier Dyakova (p188).
thank you deeply for this! JC
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06
72
140
Motherbird
Krzysztof Ubych
Alexandra Banti
18
84
152
Emma Pilkington
Sam Flaherty
St. Francis Elevator Ride
30
96
Jack Vanzet
Cristian Davila
164
Hernandez
Salvador Pozo
106
176
Joshua Hibbert
Morgane Krischer
116
188
Sara Melotti
Atelier Dyakova
128
202
Keith Negley
Ruben Brulat
38 Eleanor Taylor
50 Federico Sorrentino
60 Antonio Barrella
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MOTHERBIRD The art of minimalism meets brilliantly bold design with Motherbird, a design agency hailing from Melbourne, Australia. Created with little funding by creatives and close friends Jack Mussett, Dan Evans and Chris Murphy, Motherbird has nonetheless risen to success since its launch in 2009, thanks to the passion of its founders as well as a cool aesthetic through which it has earned considerable recognition. The agency seeks to communicate impactful messages through visually dynamic, mixed media designs bursting with influences of Melbourne’s city life and art and design scene. Discover more about Motherbird’s processes and aspirations through an awe-inspiring interview with Jack Mussett, exclusively for NeverLazy Magazine. >
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anyway and placed no major expectation
a terrific art and design culture that fosters
on ourselves. Months passed and people
the development of studios and creatives
The three of us met at high school while
began to take us seriously, and with every
like ourselves. The CBD is bustling and
studying Visual Communication and
new opportunity our game jumped to a new
there is always something interesting
Design. We formed a bond and followed
level. We became involved in the industry
happening. This greatly affects the way
our passion to the same University where
and had our name slung out there to great
in which we operate as a business and
we dreamt up the idea of opening a design
effect. Since then we’ve been building a
work as a creative studio – we are never
studio. We spent four years at university
body of work we are very proud of as well
starved for inspiration. Creativity is very
and as soon as we finished, we opened
as a strong reputation for the projects that
much influenced by the environment
Motherbird. Initially we began with nothing.
we undertake.
you surround yourself in, whether you
What is the story behind Motherbird?
We were offered a low rent studio space
like it or not. The nice thing about being
with little overheads, we bought two
Where is your studio? How does this
in Melbourne is that there is a general
computers and a couch and designed a
environment affect your work?
understanding and appreciation for design
website for our furniture. We started with
and art from the general public. This helps
no clients and no money. We saw this as a
Our studio is in the city centre of
form a dynamic and culturally interesting
minimal risk period given we had no money
Melbourne, Australia. Melbourne has
hub for us to work in. >
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What is your design philosophy?
Time differences are actually a lot easier to deal with than you’d think. By the
Foremost the essence of graphic design
time the day ends we have concepts or
is to communicate a message; without
something to present, and by the time we
this, it does not matter how good it looks.
wake up we have a set of concise feedback.
On top of this our design philosophy is very impact-driven. We strive to produce
How do you combine traditional and
graphics that are visually striking and
digital design processes?
engaging for the audience. We always aim to push boundaries and go into the
Given that we opened Motherbird directly
unknown. We believe it is our job to
from university, never previously dealing
explore the visual landscape and not be
with giant budgets, we have always been
content with producing the same routine-
rather resourceful. A lot of our work
driven design.
involves mixed media as opposed to purely generating this on screen. It isn’t always
What challenges do you face on a day-
appropriate, but it certainly gives a unique,
to-day basis as a creative team?
human element to the design. Many of our projects start from handmade objects
There are new challenges every day, some
or processes before we begin to add any
harder than others. However, given the
technology.
unique set up of our studio (3 Creative Directors) we usually share a lot of these
What projects are you most fond of and
challenges together. They’re mainly
what makes them unique?
administrative and business-related; we like to think we have a strong handle on our
We’ve always been very proud of our visual
creative process. Coming from education
campaign work for Billy Blue College of
backgrounds with very little business or
Design. This was a direct result of mixing
project management, we have had to learn
hand-generated and digital processes to
these things the hard way.
achieve a dynamic outcome. We created vibrant 3D scenes from folded coloured
How do you communicate with global
paper and then photographed them on
brands and their internal teams?
white backdrops. Initially the audience thought we had generated the images using
We’re very open in our communication
3D software and it wasn’t until we revealed
methods. Being such a small team, we’re all
the raw photographs of the process that
across every project that comes in and out
a greater appreciation for the project was
of the studio. We always assign a project
shown. We still often get asked which
lead for client liaison however, if they’re
programme we used to create the images.
not in the studio, any one of us can pick
There is an argument that you can create
the phone up and take on the role. We have
any image now using 3D software, but the
a couple of international clients who we
project and end goal was very much about
deal with via conference call or Skype.
process and a journey of sorts. >
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It was important to us and the client that
one of the underlying elements that
be storytellers, themselves. We are all
the imagery had strong ties to both hand-
can often make our work stand out. Our
designing, writing, thinking and curating our
and digitally-generated processes. As a
story of three young designers opening a
lives more than ever before; the everyday
result the project has been one of our most
studio directly from university is always a
human is now a designer. This of course
well-received pieces, appearing in several
favourable topic that we are often asked
poses the danger of DIY design; however,
journals, books and magazines, even
to discuss. This can certainly play against
those needing high-end design advice and
winning an AGDA [Australian Graphic Design
us from an experience point of view when
strategy will always seek a professional
Association] Award.
aiming to work with bigger companies
to take on these roles. Design tools are
however, with almost five years of running a
incredibly accessible now and our visual
How do you make yourselves and your
studio under our belts, we can now almost
landscape is inundated with an enormous
identity stand out from the rest?
shed this idea of inexperience.
amount of work, so much so that it is often difficult to tell apart the hypothetical from
We never intentionally aimed to stand out
What do you think is the future of
the commissioned work. Nevertheless, it
from other studios. The fact that we have
design?
is an exciting time for design and creative
three Creative Directors, all with unique
appreciation. Designers have and always
approaches allows our work to stretch
The future of design is very bright.
will have this unique opportunity to give
across a broad spectrum of visual styles.
Business is now embracing design as
voice to those who need to say something,
We certainly have common threads in
one of the most important factors in a
and perhaps even have a say themselves.
our work, but we try not to take the same
successful organisation from both internal
road twice. Our work is often very visually
and external viewpoints. With the rise in
striking whether this is through image,
technology and social media, more and
typography or colouring. This is probably
more people are being encouraged to
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A word of wisdom to share with us?
Use that voice wisely. ∞
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Photography Emma Pilkington
Styling Megan Byne
Makeup Collette Thorpe
Model Eleanor at Boss Model Management
BLOSSOMING There may be nothing better than a refreshing fashion story to guide us towards spring and ‘Blossoming’, a series of soft-spoken images shot by Emma Pilkington, pulls off this feat with little difficulty – not without thanks to its feminine aura and to the unmistakable innocence which oozes from its beautiful, rosy colour palette. ‘Blossoming’, styled by Megan Byne, is a demonstration of Emma’s distinctively feminine aesthetic. It is both a perfect ode to spring, and a particularly endearing story told through some of the season’s richest and most attractive hues. ∞ AC
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Dress We Are Cow, shoes River Island
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Cardigan TK Maxx, shoes River Island, two piece skirt and top Topshop
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Coat Topshop, bag Zara, shirt and trousers We Are Cow, shoes River Island
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Dress We Are Cow, shoes River Island
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Coat Topshop, bag Zara, shirt and trousers We Are Cow, shoes River Island
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Jacket Mango, dress See by Chloe, top worn over dress Stylist’s own
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Jumper, top and shorts Zara, earrings Topshop, shoes River Island
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Cardigan TK Maxx, shoes River Island, two piece skirt and top Topshop
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Top We Are Cow, bangle Stylist’s own, earrings Topshop
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Jacket Mango, dress See by Chloe, top worn over dress Stylist’s own
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Top We Are Cow, trousers Mango, bangle Stylist’s own
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JACK VANZET
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If anything, the works of visual artist Jack Vanzet are an absolute treat to the senses: a combination of graphic art and animation, each piece is a somehow-harmonious explosion of colour, shapes and energy that rings true to Jack’s unique musical background. The Australian, Melbourne-based creative works with strong abstract concepts, which he mashes up with bold patterns and streaks of movement to send powerful, vibrant and particularly memorable messages out to his audience. Jack offers multi-sensorial experiences through works which are consistently distinctive, yet also always rooted in one strong visual identity and style. With the likes of Vice and Adidas up his sleeve, Jack is certainly set to impress – something nobody could deny, once they’ve experienced the sheer creativity and dynamism hidden within his body of work. ∞ AC
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ELEANOR TAYLOR
With her soft, beautifully-textured
How did you develop your interest
illustrations that appear drawn from
for illustration?
picture books, 26-year-old Eleanor Taylor possesses an innate ability
I was homeschooled until the age of 16
to strike up nostalgia in the hearts
and creativity was always encouraged.
of her viewers. Having grown up
I spent a lot of my time wrapped up
submerged in books, Brighton-based
in books and I think this nurtured my
Eleanor developed a love for stories
imagination and gave me a love of stories.
from a young age and has since
I went to art school in Norwich then I did
grown into a storyteller with unique
an MA at the Royal College of Art in London
tales of her own. Eleanor produces
and graduated in 2011. During this time
calming illustrations which, although
I experimented with animation, film and
the result of lengthy experimental
large scale drawings but always felt the
processes, stand out through their
pull of illustration.
simplicity and echo the quiet space within which she enjoys working. Here,
How would you describe your ideal
she speaks to us about her favourite
workspace? How does the environment
illustrators, her ideal workspace and
surrounding you influence the way you
her ambition to eventually illustrate
work?
her own book. I am pretty close to having an ideal Who is Eleanor Taylor?
workspace. I work from home in a tiny studio flat in Brighton. As everything is
I am an artist and illustrator from the
in one room, my boyfriend and I have
seaside town of Brighton, England.
spent a lot of time perfecting the space >
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to make it a good working environment. I now have a corner of the room with built-in shelves and all my important equipment like my scanner and lightbox to hand. Ideally I like to work in a calm and quiet space. It’s really important for my focus, especially at the start of a project when I am coming up with ideas. The flat is at the top of the building so we get lots of natural light and I can hear the wind whipping round the building and lots of seagulls. I like to to think I can also hear the sea but I think it’s probably just the busy road at the bottom of my street.
Tell us a bit about the thinking process, creative methods and techniques behind your work…
When I create personal work I like to follow my instinct. I usually get an image in my head – it could be inspired by something I have read or watched or a current obsession I want to build upon. I draw lots of little thumbnails and then start creating roughs. I go through sheets and sheets >
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of printer paper doing my roughs. It’s
the roughs and brainstorming.
probably a bit wasteful and sometimes the drawing might just last a few seconds, but it
Who or what inspires your creativity?
takes a lot of drawing for me to get it right! The lightbox is my most valuable tool. I
My inspirations change all the time. I think
stick my rough down and draw and paint all
it’s good to be fresh and look at new things.
the components of the image on different
My current obsessions are old picture book
papers over the top. I draw and paint
illustrations, like Gwen White’s and Sheila
everything by hand and layer up my images
Jacksons’s stunning lithographs. I also love
a bit like a screen print on Photoshop. I like
reading science fiction and J. G. Ballard’s
to use spray paint, conte crayon, brush pens
short stories always provide an amazing
and an ink roller to get different textures.
source of inspiration.
Everything is then scanned in and the colour is changed digitally.
How do you see your career evolving in the future?
What challenges do you face when working on live briefs? How do you
I think my work would lend itself to
overcome these challenges?
lithography and it’s something I really want to learn in the near future. However it’s a
I always get an initial moment of pure terror
pretty complex technique, so I would want
when I first read a brief. My head goes
to dedicate a big chunk of time to it. For
blank and I think ‘shit - I don’t understand
the moment I am concentrating on creating
this!’ Then I take a deep breath and read
some screen prints. I also want to carry on
it through carefully. The hardest part of
illustrating and maybe write and illustrate
any brief is coming up with a great idea,
my own book! >
so I like to spend most of my time creating
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What has been your most successful or enjoyable creative experience to date?
Perhaps my most recent enjoyable experience was creating the piece for Wrap Magazine. It was a really nice, open brief to create an image based around a folk tale. I chose a contemporary tale called ‘Lady into Fox’ and it was so much fun drawing the women hanging out in the countryside. When I saw the final piece all printed it was very rewarding, as the whole magazine is beautifully presented with superb printing quality.
A word of wisdom to share with us?
Never regret the past. Always learn from your past experiences, even if at times things have been a bit rubbish! It sounds mega cheesy but they make you who you are, and nobody else can ever be the same or have your own individual take on the world. ∞
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Federico Sorrentino’s passion for the
working as a photography assistant to have
fashion industry is such, that he happily
been an invaluable learning curve, as it is
expresses how keenly he teaches it to his
what taught him to ‘understand the work
students at Marangoni Fashion School: ‘I
and world [of photography]’.
teach the fashion styling course [there], and I like to teach the passion for this work to
Now 27 years old, the Milan-based teacher
my students’. A true fashion photographer
and artist holds on to a firm belief in the
at heart, Federico sees beauty in reality,
importance of humility and in trusting one’s
simplicity and spontaneity and applies
own identity as a professional creative:
such values to his editorial work, thus
‘Milan is a big city with a lot of influences,
bringing out the vibrant and lively spirit of
so it is easy to fall into a common style. I’ve
fashion with amazing ease. His work in fact
learned that the important thing is to create
resembles impromptu snapshots more than
a personal identity and style and to believe
posed photographs, an aspect that remains
in that. It’s hard but we need to believe in
key to his individual aesthetic: ‘The more a
our personal work’.
picture is genuine, the more real and strong it will be,’ he says with conviction.
For his new editorial story ‘Spontaneity’, Federico drew from his love for old
Federico has honed his interest in
photographs and films which he combined
photography for seven years and continues
with colourful stylings, inspired by the 50s,
to develop his love for the practice,
60s and 70s and given a chic, contemporary
both through fashion editorials and
twist. Shot using a film camera, this
inspiring shots of his daily surroundings:
story provides one with a refreshing and
‘Photography for me is very important and I
evidently spontaneous burst of fun and
live every day to take pictures,” he tells us.
flair; it appears to us as a lovely means for
“I can’t walk around the world without my
moving towards the warmer and brighter
camera’. He deems his five-year experience
season ahead. ∞ AC
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Dress Frankie Morello, scarf Vivienne Westwood, hat H&M, shoes Sebastian
Photography Federico Sorrentino
Styling Clara Vayola
Spontaneity
Hair & Makeup Giuly Valent
Model Ludovica at BoomTheAgency
Video Maker Gabriele Renna
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Shirt Frankie Morello, headband Vintage, pants Vivienne Westwood
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Shirt Vivienne Westwood, skirt Frankie Morello, bracelet Gedebe, bag designinverso
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Dress Frankie Morello, coat Vivienne Westwood, coat Vintage
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Dress Frankie Morello, necklace Lolita Lorenzo
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Dress Vivienne Westwood, jacket Frankie Morello
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Shirt Frankie Morello, headband Vintage, pants Vivienne Westwood
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Shirt Vintage, necklace Lolita Lorenzo, jacket and pants Vivienne Westwood
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Dress Frankie Morello, coat Vivienne Westwood, coat Vintage
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Photography Antonio Barrella
MIDNIGHT METAMORPHOSIS Styling Lucia de Grimani
Hair & Makeup Valeria Orlando Model Katia Kan
With his brand new editorial story ‘Midnight Metamorphosis’, Antonio Barrella introduces one to a seductive world which oozes with mystery and drama. The fashion photographer joined forces with stylist Lucia de Grimani and make-up artist Valeria Orlando, to create one of his strongest stories yet – a compelling collection of images that presents itself with force, spunk and dark elegance, as it makes use of an intriguingly rough setting and a deep, monochromatic colour scheme. We couldn’t be more excited to present ‘Midnight Metamorphosis’, a story exclusive to NeverLazy Magazine. ∞ AC
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Dress Elena Leone
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Skirt Gattinoni Couture, body Repetto, bangle Bulgari vintage, shoes Designer’s own
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Dress Elena Leone
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Dress Elena Leone, jewels Casato Roma, socks Gallo, shoes Sergio Rossi
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Sweater Pinko, culotte Intimissimi, legwarmers Repetto, makeup V)or
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Jacket Muubaa, top Cut It Out, shorts with suspenders Intimissimi, shoes Jeffrey Campbell, socks Calzedonia
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Jacket Muubaa, top Cut It Out, shorts with suspenders Intimissimi, shoes Jeffrey Campbell, socks Calzedonia
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Dress Tankus, vest Zoe Paris, jewels Kenneth Jay Lane, shoes Zara Collection, socks Golden Lady, mask Luna Veneziana
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Kimono Vintage, necklace Breil
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KRZYSZTOF UBYCH The works of budding photographer
colour palettes, detailed wardrobes and
Krzysztof Ubych are truly refreshing
compelling settings, which he brings
breaths of elegance and darkness within
together with breathtaking portrayals
the world of fashion. With their demure,
of the female figure to create stories
polished and absolutely mesmerizing
brimming with emotion and dark glamour.
appeal, the artist’s works stand out
We’re excited to present pieces from
through their professional quality –
some of his most memorable series ‘In
a rather formidable trait, in fact,
the Darkland’, ’Insomnia’ and ‘The
considering the fact that Krzysztof is
Symbiosis’, amongst others. Keep a
new to his trade. Already a keen talent
close eye on this photographer, whose
with a vision of his own, Krzysztof
path in the industry we’re sure is set
expresses himself best through rich
in stone. ∞ AC
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Styling, hair and makeup Wioletta Maciejowska, corset designer Nika Danielska Design, model Barbara Kozłowska, studio Attic 29 Studio
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Styling and makeup Wioletta Maciejowska, hair Sebastian Szymański, dress designer Małgorzata Motas, headpiece/collar designer Joanna Dorosińska, model Angelika Kwiatkowska
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Styling and makeup Wioletta Maciejowska, hair Sebastian Szymański, designer Sebastian Szczepański-Siccone
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Hair and makeup Klara Margas, model Justyna Uboska at SPOT Management/2Morrow Model, fashion designer Małgorzata Chara
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Styling and makeup Wioletta Maciejowska, hair Sebastian Szymański, dress designer Małgorzata Motas, headpiece/collar designer Joanna Dorosińska, model Angelika Kwiatkowska
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Styling, hair and makeup Wioletta Maciejowska, dress designer Gosia Motas, model Barbara Kozłowska, studio Attic 29 Studio
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Hair and makeup Klara Margas, model Justyna Uboska at SPOT Management/2Morrow Model, fashion designer Małgorzata Chara
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Styling, hair and makeup Wioletta Maciejowska, corset designer Nika Danielska Design, model Barbara Kozłowska, studio Attic 29 Studio
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Hair and makeup Klara Margas, model Justyna Uboska at SPOT Management/2Morrow Model, fashion designer Małgorzata Chara
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SAM FLAHERTY
One to appreciate work spaces in which
Who is Sam Flaherty?
he can hear himself think, Sam Flaherty
creative spaces certainly inspire you to be creative. I think the best way to instil
describes himself in a way which
I’m a graphic designer, an art director, a
a creative atmosphere is to have creative
underlines his pensive character as
part-time meditator, a basketball-lover,
people around you. Personally, I like to
well as his focus. At 29, the United
a caffeine-avoider, a serial airplane
involve other people in my design process;
Kingdom-based graphic designer and art
ticket-buyer, a pale-ale drinker, a slowly-
feedback and suggestions (nearly) always
director produces designs that speak of
improving cook and a (pretty good)
benefit a project. It’s helpful to have other
his unfaltering know-how and identity,
boyfriend.
creatives who can give you that feedback
yet that still constantly remain
in the same area as you. I also like wooden
innovative and thought-provoking. In an
In what workspace or atmosphere do
floors and plants. For some reason, I always
exclusive interview, Sam lets us in on
you work best? How would you say your
come up with my best ideas when a plant is
the work methods and ethics behind his
surroundings influence the way you work?
nearby.
us a bit about a collaborative project
I can work anywhere where you can hear
Do you face any particular obstacles as
of his that we can look forward to.
the sound of your own thoughts. However,
a graphic designer? If so, how do you >
clean and spotless designs, and tells
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How do you normally approach a
a project without intention. It’s in the
creative brief? How do you combine your
minor details; typography, colour palette,
Graphic design has its share of obstacles.
aesthetic with the needs and desires of
language. Designers have to be able to
One of the major obstacles is self-
your clients?
create outside their comfort zone; not every
go about overcoming them?
satisfaction in your work; I don’t know many
project requires a beautiful typographic
designers who are ever completely satisfied
The one thing that I do consistently when
poster as a solution. But sometimes, when
with their portfolio. Finding inspiration in
approaching a new brief is to talk to the
you get a project that suits your aesthetic
times of pressure can be an issue, and can
client, to really get an understanding of
and the desires of the client are aligned
result in chewed fingernails or overdoses
their needs. This is foremost - if you don’t
with your own, it all comes together.
of heart palpitations. Overcoming obstacles
do this properly, you’ll likely struggle
is a constant process of bettering your
throughout the project. Then research,
technique and work; there’s nothing that
research, research. You have to have a
can’t be countered by taking a bit of time
grounding in the area that you’re working
I like working with no pre-determined
away from the desk and reading a book,
in before you can put pen to paper.
guidelines, existing branding or visual
going for a walk, or drawing silly faces.
How would you describe your ideal brief?
language. Building something from scratch Often your aesthetic will be stamped on
is the ultimate creative challenge – that’s >
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why often my favourite briefs are small
I think being young and fiery and working
horizon. My girlfriend, Jessie Bush, is a
start-up projects that require a face.
on Fluro magazine has been my most
photographer, fashion blogger and digital
memorable project to date. Fluro was a
strategist. We’ve decided to combine
What do you strive to achieve or
little self-published magazine myself and
our skill sets under the roof of a new
communicate through your work?
a group of friends ran in New Zealand.
agency. We’re going to be working with an
It lasted for about 4 years before we all
existing network of fashion, beauty and
A sense of clarity is important for me.
decided to go either travelling, grow up or
lifestyle brands to deliver brand strategy
I aim to reduce noise by removing all
do our own thing. We released 10 issues
that encapsulates identity design, digital
unnecessary elements; stripping bare
which, for all practical purposes, were
strategy, social media – all the buzzwords.
a design can often leave the clearest
excuses to have epic launch parties up
We’re about to launch our site, and have
message. To voice the heroic words of
and down the country. Looking back it was
just completed a photo shoot for our first
Antoine de Saint-Exupéry: “Perfection is
an avalanche of experiences, creativity,
client.
achieved not when there is nothing left to
technical design and networking.
add, but when there is nothing left to take away”.
A word of wisdom to share with us? Are you currently working on any ongoing or upcoming projects?
overhead, don’t look up. ∞
What has been your most memorable creative project to date, and why?
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When you notice a group of pigeons fly
I’ve got a very exciting project on the
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DECEPTION Photography Cristian Davila Hernandez Post production Milou van Mook, Cristian Davila Hernandez Designer Jivika Biervliet Styling Felicity van Dam Makeup Peter Dwars Hair Eldridge Mullenhof Retouch Cristian Davila Hernandez Model Tomas Rabbering at Tony Jones Model Management
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‘Deception’, an editorial story by
and being what he calls an ‘intuitive
up-and-coming fashion photographer
photographer’.
Cristian Davila Hernandez, presents an entrancing atmosphere through its
Who is Cristian Davila Hernandez?
play with textures, its monochromatic
What first sparked your interest in
hues and its extraordinary use
photography?
of solarisation. Aided by stylist Felicity van Dam and make-up artist
We want to answer this classical question,
Peter Dwars, the Netherlands-based
‘who am I?’ It’s really hard to tell exactly
photographer has created a conceptual
who I am… I think that nothing of me
series of exquisite quality, which
is original. I am the combined effort of
points at his limitless imagination
everyone I’ve ever known.
as much as it masks the fact that he is merely 20 years old. On top
I always wanted to buy a DSLR, so two years
of sharing his experience shooting
ago I bought one. I started to shoot mostly
‘Deception’, Cristian talks about both
what I saw as great and on my own terms.
his attachment to fashion photography
It began as a hobby, but nowadays >
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photography has become my passion. I’ve
also surrounded by photography every day
been studying since last year at the Photo
because of my studies.
Academy in Amsterdam, to step up my skills. Lately I have been really focused on
What creative achievement(s) are you
fashion photography; I have always been in
most proud of so far?
a fashion environment so that’s why I really like to shoot editorials nowadays.
What I usually say is that I’m happy, but not satisfied. And that is enough to keep me
As a photographer based in The
motivated.
Netherlands, how would you say your lifestyle and surroundings affect your
What is the concept or story of this
work or creative thinking?
editorial, ‘Deception’?
The Netherlands is so small and there is so
The concept of my editorial ‘Deception’ is
much creativity around me. Unavoidably,
that of breaking up the visual boundary of
photography, fashion and art are the main
an object. This usually involves colouring
creative sources that I am surrounded with
and blending the camouflaged object – in
on a high level – that influences me to push
this case the model Tomas – with the same
myself to become one of the best. I am
colours as the background against which >
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the object will be hidden. In the realm
worked out really well because I love the
of deceptive half-truths, camouflage is
minimalism in Jivika’s latest collection.
realised by ‘hiding’ some of the truths that you can’t see directly.
When I was researching people whom I wanted to work with I also came across
Tell us a bit about the process behind
Milou van Mook and the collage art that she
‘Deception’ and how you worked with
made for her graduation project at Willem
your team to bring the concept to life…
de Kooning Academy. The make-up artist Peter Dwars is one of my favourites – I had
Last summer I came up with the idea to
worked with him before and knew he would
shoot four different editorials in one day
be a good part in this project as well. He
with two models. ‘Deception’ was one of
had the idea of drawing a little bit from the
the four editorials, in which I have put a lot
style of Hubert Givenchy by creating dark
of time to make happen. I have also put a
eyes and using minimal, nude tones.
lot of time and research in finding people I wanted to work with and I am really happy
The model I worked with – Tomas Rabering
that I found the best people for this project.
– is from Tony Jones model management
One of them is stylist Felicity van Dam;
based in Amsterdam. I wanted a strong
she came up with the great idea of using
storytelling face and Tomas was perfect for
garments by designer Jivika Biervliet – it
this. He told me that he had just started >
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modelling, but he did a stunning job! I was
mind is one step beyond [everybody else’s].
really satisfied with his strong looks and
How do you see your career evolving in
poses, which is what gave the most power
future?
to my series. Firstly, I want to finish my bachelor’s degree In what atmosphere or context do you
at the Photo Academy in Amsterdam. I
work best? Who or what influences your
am young but I already know that I want
work?
to develop my fashion photography and become known for that.
I found out that even though I have a concept in my head, I really am an intuitive
Are you currently working on any ongoing
photographer and that’s why I always say
or upcoming photographic projects?
that ‘only intuitive knowledge is eternal’. I work best with feeling and seeing things
Yes, of course – a lot of editorials will be
right at the moment when I am shooting.
published soon. I am also working hard now on many ongoing editorials. I can’t say that
The person who has a lot of influence in my
much; all I can say is… keep an eye on me!
work... is myself. I make my own decisions to work things out. Of course, however,
A word of wisdom to share with us and
I get inspired by great photographers. One
budding photographers?
of my favourite [photographers] is Nick Knight – he is one of the few innovators
As an artist, your only concern is to shoot/
who does both photography and motion
create to achieve some kind of perfection,
pictures at this moment. I also admire his
on your own terms and not on anyone
different view on art and that his creative
else’s. ∞
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JOSHU Abstraction and surrealism blossom
practice, and about how his curiosity
in the art of Joshua Hibbert, whose
towards science and philosophy feeds
digital pieces reveal his underlying
into his everyday work.
interests in both psychedelic and enigmatic themes. A former graphic and
Tell us a little about yourself...
media design student, Joshua is drawn to interactive design and shines his
I’m a sea-driven acoustic surrealist based
brightest through the experimental edge
along the south of England. I graduated
that characterises much of his work.
from the University of Arts (London) in
Although a fresh graduate, the 23-year-
2011 with a BA (Hons) in Graphic and Media
old creates eclectic and atmospheric
Design, where I specialised in interactive
pieces bursting with colour, through
design, creating projects with furniture and
which much of himself and his passions
sonic space design. I enjoy researching and
permeate. Joshua talks to NeverLazy
creating philosophical theories, developing
Magazine about how he intertwines
soundscapes, collecting nature and
music and visual art in his creative
importantly, playing tennis. >
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HIBBE
UA
ERT
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Tell us about your work: what creativity
and destruction is vital in the making of
or Holy Celeb project, required me to be
processes do you follow and what themes
my works. The recycling process allows my
more esoteric whilst keeping a same idea.
do you tend to explore?
work to bring the new into the past.
With my celebrity project, I created many different types of design – typography,
My work embraces many approaches
Throughout the years my influences have
fashion, packaging, moving image, sound
depending on the concept and value of
flickered, but I’m always intrigued by art
design and 3D sculptures. It also pushed
a project. It can be described as logical
movements such as Gutai, Dada and early
my limits of thinking within our daily
psychedelia infused with conceptual,
surrealism. Science, philosophy and realism
context, and has definitely affected the way
deep minimalism. I love to use a whole
also infiltrate my subconscious and allow
I work with imagery since.
complex of technologies – mainly digital
my work to be a direct reflection of the
but blending it with initial handmade
changing world.
techniques, providing the work with
What have you learned from being a visual artist?
authenticity and humanism. Hand-found
What is the most ambitious project
and old leftover resources inspire me
you’ve undertaken?
through this process; I’m driven to bring
The main reflection of being a visual artist has allowed me to challenge my thoughts,
discarded objects to life whether a digital
Every project is challenging in its own
be honest and persevere with anything I do.
image, a sound sample or an old object
unique attitude. I feel my more conceptual
I feel it has changed my whole perspective
on the beach. The link between beauty
projects, such as my emotional furniture
of the visual world we live >
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in, the dangerous and soothing elements
found this new way to explore ideas. It’s
That’s a tricky one; [there are] so many
of it. Vitally it lets me express, focus and
now a ritual for me to make music weekly;
different minds. Personally, I’d love to
accept failure as a positive bridge to
I feel it complements my journey of image-
work with someone [who does something]
progression.
making.
completely opposite from what I do, and then the work would have a new voice:
Aside from visual art, you also
The leftover process can be seen through
Emmanuel Kant, Magritte and Da Vinci or
experiment with music. How do these
my tracks, the aura, spiritual energy I
on the contemporary side, Issey Miyake,
practices feed into each other? How
consume. In the near future I aim to merge
Derrick May, Vangelis, Sagmeister and really
present is your musical identity within
my sounds with digital imagery through
recently, Karborn.
your digital art?
movement, dance, fashion, and also sound spaces. I’ve previously worked as a VJ so I
As an artist, what are your resolutions for
Music is something I began doing
have made moving images for other music
2014?
by accident, really: I aimed to build
projects.
soundscapes for a communication project,
Trying out new processes, finding new
but the electronic layering process inspired
Who from within the digital arts and
contexts to work in and pushing my visuals
me to build musical atmospheres or places,
music spheres would you most want to
forward in a 3D state. “Carpe Diem.” ∞
as I call it. I’ve been joyful ever since I’ve
collaborate with?
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Photography Sara Melotti
LACED SENTIMENTS Styling Marita Virgillito
Hair & Makeup Erika Ginevra Meyer Model Katalina at Woman
‘Laced Sentiments‘, a new story by London- and Los Angeles-based fashion photographer Sara Melotti, is nothing short of graceful as it welcomes the change in season with open arms. A luscious cocktail of creamy colours, delicate knits and form-fitting lace garments, ‘Laced Sentiments‘ reintroduces both the vintage trend and floral pattern as it seeks to explore the beauty of simplicity. Styled by Marita Virgillito, this story is a quiet and heartwarming reminder of the natural charms and sensitivity that come with the brand new season. ∞ AC
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Shorts Individuals, lace shirt Tug Store Vintage Selection
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Top Sartoria Vico, underwear Individuals
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Bra Individuals, skirt Tug Store Vintage Selection
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Shorts Sara Loi, bodysuit Individuals
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Underwear Individuals, cardigan Sartoria Vico
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Bra Individuals, skirt Tug Store Vintage Selection
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Top Vintage, pants Sartoria Vico
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Underwear Individuals, cardigan Sartoria Vico
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Top Vintage, pants Sartoria Vico
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Bra Individuals, skirt Tug Store Vintage Selection
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Shorts Individuals, lace shirt Tug Store Vintage Selection
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The soft playfulness and nostalgia
for dessert. I grew up Wisconsin, and moved
that perspire through Keith Negley’s
to Seattle when I was 23 I think. I moved to
collage-inspired illustrations are so
New York for a couple years and just now
raw, it’s almost unfathomable that
moved back to Seattle last summer. I’ve
whoever happens upon them wouldn’t
been working as a freelance illustrator full
immediately feel connected to them.
time since 2002. I like tattoos, vintage drum
Such height of emotion is a rare
sets and fresh air.
quality amongst contemporary works of art, and it says much about Keith’s
How did you develop your interest for
creative strengths and character – one
illustration? How formal is your training?
that, as we discovered, is grounded, steady and latched onto his passion
I earned my BFA from the Milwaukee
for illustration. As we catch up with
Institute of Art and Design in 2000 and
the American visual artist, we come
my MFA from the School of Visual Arts in
to appreciate his deeply engrossing
New York in 2013, so I guess you could say
personality and the little details
my training is pretty formal. I initially got
of his life that make his world so
interested in illustration when I realized
fascinating.
early on I would never cut it as a comic book artist. I had dreams of working for DC
Tell us a bit about yourself and your
or Marvel in high school and those dreams
background…
were crushed when I went to my first comic convention and saw all the other artists
I live in Seattle, Washington. I’m married
waiting in line to get their work reviewed
and we have a five-year-old son. I eat
and it was light years ahead of mine. Turns
peanut butter toast for breakfast and cereal
out I actually enjoy editorial illustration >
KEITH NEGLEY
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much more than I ever enjoyed drawing comic book characters.
How would you describe your ideal workspace? How does the environment surrounding you affect the way you work?
My ideal workspace would have cement floors so I can make a mess. Natural light of course, a table for getting messy, and a table for being clean. Studio mates who are close enough for me to bounce ideas off of, but magically disappear at will. Also in this fantasy I’m wearing my pyjamas and no one minds. Oh, and there’s a cleaning service included in the rent… and they clean brushes. It’s also down the street from my house.
I can’t say my environment influences the way I work overtly. I will just say that having talented creative people in your vicinity is paramount. I’m competitive by nature as most artists are and seeing people more talented than I working their butts off certainly lights a fire under mine. >
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What are the thinking process, creative
Do you face any particular obstacles
methods and techniques behind your
when working on briefs? What would you
work?
say is the best way to overcome these challenges?
I try not to limit myself to one medium, and use whatever I feel would be the most
A constant obstacle I face daily when
interesting at the time. I compose my
working on an assignment is doing what
pieces on the computer first and tend to
I think is best for the assignment versus
think of it as cut paper, building shapes on
doing what I think the client wants me to
top of shapes, not using line for anything.
do. Without realizing it I will censor myself
And then I’ll paint the parts and pieces by
out of fear the client will think what I’m
hand and scan that in and assemble it in
doing is too unusual, or not similar enough
Photoshop, collage style. I use charcoal,
to the work in my portfolio. It’s easy to play
tempera paint, pencils, watercolour, cut
it safe and just repeat yourself, but that
paper, and things I’ve run through a Xerox
makes for very boring work. Boring to look
machine. A typical piece could easily
at and boring to make. I have to consciously
consist of one of those things or all of
choose to take risks and surprise myself
them, depending on where I think it wants
in the process of creating a piece and not
to go. I’m always focused on good design,
be concerned with whether or not the
first and foremost, and after that it’s about
client will like it. How do I overcome this
letting the different media and layers
challenge? I muscle through it when I’m
interact. It’s half hyper control with the
lucky. >
computer, and half complete improvisation with the traditional media.
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Who or what inspires you, creatively?
‘Enjoy’ is a strange word. Most of my favourite pieces required a lot of struggling
Tragedy inspires me. Heartbreak, anxiety,
and frustration. The fun part comes after
the human condition all inspire me. I also
it’s finished, seeing it printed, or online.
get inspired by work that is brazen, work
And that feeling of accomplishment, no
that doesn’t appear to take my needs as a
matter what it is you accomplished, is
viewer into consideration, and work that is
very fleeting. But I will say I love working
revealing something intimate. I also love
for the New York Times Op/Ed with
imagery sync’d to music; it’s a powerful
Matt Dorfman. The time constraints are
combination. Music videos, film trailers,
intense, no time to second-guess decisions,
when done well, can be works of art.
no time to explore every option. No other jobs get me as pumped, and few art
How do you see your career in illustration
directors are as fun to work with. That and
evolving in the future?
it’s in print the very next morning. If you bomb it no one will remember, but if it’s
I would love to get into teaching illustration
great it can live forever.
in some capacity someday soon. I’d also like to work on children’s books and get
A word of wisdom to share with us?
into other facets of publishing. I’d also like try getting involved in animation studios
Surprise yourself with your work; if you
creating key frames.
don’t surprise yourself, you won’t surprise your audience. ∞
What has been your most successful or enjoyable illustration project so far?
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Once an aspiring illustrator with a fondness
Although she has set her sights on honing
[about] your personality then it will not
for drawing, Alexandra Banti took a rather
her photographic skills, Alexandra still
be as good as it can be’.
different turn when she realised the
clearly retains a devotion to traditional art
possibilities that photography, as a unique
and expresses this through her admiration
As she speaks of her most interesting
form of expression, could provide her
of 19th century painters and culture: ‘[The
artistic experience to date – a series
with: ‘During my graphic design studies, I
19th century] was a very sophisticated and
inspired by Gian Lorenzo Bernini’s
took some photography lessons. Not very
elegant period. I’m very inspired by [it],
sculpture ‘Apollo and Daphne’ – Alexandra
interesting ones, but they forced me to
especially the Pre-Raphaelites. I feel very
unveils her creativity as much as she
discover the camera and photography,’ she
close to their topics, and I really like the
shows just how heavily old art practices
says. ‘I fell in love with it. I can go much
fact that women are the main characters in
influence her: ‘I wasn’t a photographer
further in my ideas with photography than
their paintings,’ she says, following which
[when I first discovered the sculpture] but
with drawing’.
she unavoidably confirms her interest in
a few months ago, I remembered it again
photographing women, in particular.
and decided to make a photographic series
Currently a graphic design student based
around it. It wasn’t very easy, but it was
in Toulon, France, the young artist has come
Combining the female figure with rich
a great experience. I think I can say that I
to find her niche within the photographic
colour schemes, Alexandra fills her
fell in love with [the sculpture]; there was
world, as a creator of what she terms
painting-like work with allure and passion
such emotion [in it], it was such a perfect
‘romantic, dark and out-of-time’ pieces.
without robbing it of its confident and
masterpiece’.
Much like the ideal workspace that she
powerful attributes. She allows much
describes – ‘an ancient room with ancient
of herself and her passion for old art to
An explorer of complex themes inspired
furniture’ – Alexandra’s work is a breath
seep through her work, in a way which
by the beauty and intricacy of fine art,
of timelessness and detains a certain old,
encapsulates her belief that ‘your creation
Alexandra is currently working on two
glamorous charm.
has to be a part of your personality.
projects inspired by Alfons Mucha and
You don’t have to try to imitate someone’s
Dante Rossetti’s ‘Proserpine’. ∞ AC
style because, in my mind, if it’s not
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Photo, headpiece and makeup Alexandra Banti, model Kim-Lou Monnier
ALEXANDRA
BANTI
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Photo, styling and makeup Alexandra Banti, model Graziella
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Photo, styling and makeup Alexandra Banti, model Ines Kozic
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Model and dress Aria-Ă„slinn
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Photo, headpiece and makeup Alexandra Banti, Dress Clara Maeda, model Sirithil
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Photo, styling and makeup Alexandra Banti, model Ines Kozic
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Photo, styling and makeup Alexandra Banti, model Lyn Agrume
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Dress Caroline Barral, makeup Suzanna Rieu, assistant Jérémy Delphin, model Aria-Äslinn, location Raray Castle
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ST. FRANCIS ELEVATOR RIDE There’s something about St. Francis
I didn’t want to use my name for my work.
disconnection, more as an extension of
Elevator Ride’s work that entrances
I wanted to be a personality or a brand,
my sense of humour than anything else.
– the impressive levels of detail,
something that could evolve and be its
I like finding the dark corners lurking
colour and attention, perhaps, that do
own entity outside of my personal life. It’s
within ideals and shining a light on the
more than merely hint at the artist’s
a way for me to work with ferocious
weird stuff hiding there. The key is trying
drive; the versatility of his portfolio
intimacy but present the finished products
to bring inherently uninviting imagery
which features animated work, designs,
with some detachment or distance. St.
and transforming them into something
collages and mixed media pieces; or
Francis Elevator Ride is a gallery show
attractive and eye-pleasing. Also, girls.
maybe the quantity of personality which
and a body of work; it’s a freelance design
Lots of girls.
the American artist displays through
company and a clothing and keepsakes
his craft and not merely through his
brand. I felt like tying something highly
You work with a variety of mediums -
quirky pseudonym. These assets are
conceptual to my given name would be
how do you adapt your visual identity
nothing less than admirable and they
limiting: thus, St. Francis Elevator Ride.
to each medium, and which do you think
transpire through our exchange with the
best suits you?
artist and art director, who gives us
How would you say your personality is
a fascinating snapshot of the world in
reflected through your work?
which he lives.
I went to school for design but also had a lot of studio art classes, so it seemed
A lot of my work has been informed by
natural to me to combine physical and
What is the story behind the name ‘St.
personal narrative, as well as the
digital mediums. I would have to say the
Francis Elevator Ride’?
experiences of close friends. I tend to
medium I find myself using most often is
explore themes of morbidity or
digital collage-illustration. There’s a lot >
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more freedom when I’m working on my
movement allows me to emphasize a
computer versus working solely by hand.
message more effectively than I would
Some of my source images would not work
otherwise be able to through static imagery.
effectively compositionally if they were just cut and pasted without the aid of digital
What do you aim to achieve by
touchups. Analog techniques, such as
combining vintage imagery with a surreal,
cutting, gluing and painting, make the work
contemporary aesthetic?
much more precious when I’m trimming space stations from astronomy journals, but
Old things are good. Really good. New
Command-Z has saved my ass more times
things are good, too, but they lack a certain
than I can count.
charm or interest simply by default because they are new. I think each subsequent
How do you use animation in your work,
generation has pangs of artificial nostalgia
and what does this communicate?
for the relics of the generations who came before. It’s natural, and it’s always been
Working digitally creates opportunities
that way. I like to capture that widespread
for animation. Looping cinemagraphs
feeling each generation has that makes
or animated GIFs gives me the chance
precocious teenagers reference “the good
to embellish particular elements of a
old days” they were never a part of in the
composition. Sometimes, having several
first place. >
frames to illustrate a hand or eye
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How do you maintain your originality
You’ll notice some of these are musicians;
and vision? What is it that keeps you
I strongly gravitate toward working with
inspired?
them because different forms of music have had a profound influence in shaping my
Mostly through a panicked mixture of
sense of aesthetics and general interest in
constant second-guessing and self-doubt,
design.
working and reworking the same pieces for hours on end. Also, the following sources
Tell us about your one, biggest dream...
serve as wells of inspiration that never seem to run dry: surrealism, postmodern
My dream is not to have to worry about
pop art movements, clean typefaces and
the value of a dollar or let it get in the way
contemporary design, hand-me-down
of my artistic endeavours. Also, I’d really
Gentlemen’s Quarterlies circa 1960 to
love to Scrooge McDuck a giant vault of
1980.
Frankenberry cereal.
Which artists would you most want to
A word of wisdom to share with us?
collaborate with? Never settle in your work. Always look for I do not collaborate often, but if I had
ways to improve artistically, whether it be
to pick a few it would be Jacob Whibley,
subjectively or technically. Always strive to
Ashkan Honarvar, Aaron Draplin, David
be better in your craft. ∞
Carson, John Cale, Sam Flax and Kate Bush.
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Photography Salvador Pozo & Peter Versnel
Concept & Styling Marlou Schreurs & Samantha Top for Stream Styling
Hair & Makeup Dainora Dulcyte Model Tessa
CAUGHT BY THE SEA Sensuality, strength and confidence reign in ‘Caught by the Sea’, one of the latest projects by talented fashion photographer Salvador Pozo. With the help of amazing stylings by Samantha Top and Marlou Schreurs, the Netherlands-based creative has crafted a lively and dynamic editorial story which packs a punch and which well and truly has one wishing for warmer days. Using the boldness and textures of a beach setting, Salvador brings an undeniable dynamism to this story, in ways which give the latter bursts of colour and character that one can only stop to admire. ∞ AC
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Dress Ana Alcazar
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Jacket Mink Pink, top Individuals
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Jacket Mink Pink, top Individuals, trousers Jeans by Timo
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Dress Hunkydory
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Jacket Black Lily, dress Tony Cohen
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Dress Ana Alcazar
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Body Simon Perele
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Jacket Ted Baker, trousers Angelina, necklace Mique Jewelery
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Dress Ana Alcazar
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Photography Anthony Arquier, model Karina Women Agency
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Photography Anthony Arquier, model Pavlina Women Agency
MORGANE KRISCHER A balance of refinement, structure and elegance, Morgane Krischer’s garments incorporate intriguing elements and materials together with the sophistication of haute couture. At the ripe age of 21, the young fashion designer and Atelier Chardon Savard graduate has already developed an exceptionally strong creative identity for herself, as she bases her work on her architectural and artistic influences and creates immersive stories. She tells us of her fascination for experimenting with new materials and of her dreams to gain experience as a designer around the world, as she shares with us previews of several of her imaginative and polished collections. >
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First and foremost, tell us a bit about yourself...
I’m Morgane Krischer. I came to Paris four years ago to study fashion at L’Atelier Chardon Savard. I chose this school because I could really develop my own universe and expand my creative sensibility. Every year I can also present two or three outfits at the final show, which is great professional experience to step into the fashion world with. But I have hesitated between interior design and fashion for a while – in fact I’m still thinking about it.
How would you describe your work?
My inspirations are eclectic but more focused on design architecture and the arts – such as photography and literature. Everything could be an inspiration. >
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Photography Chochana Rosso, model Nicolas Hau
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Photography Josh Caudwell, model Alexandra Velia
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Photography Anthony Arquier, model Karina Women Agency
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The arrangement of a pavement in the
menswear. Right now I feel more attracted
universes. Every internship I have done
street, the draping of a curtain, light
to menswear: I think there is a lot to do and
has given me so much in such different
reflected on metal. I love working with
to offer to it. Creating clothes for men is a
ways. Traveling is really important for me
unusual materials and recycling items. For
passion of mine; making a man feel elegant,
as well. I’m more attracted to Scandinavian
instance, I work with boat sailing materials
subliming his personality and revealing his
countries and I would like to try [working
or medical X-ray sheets. What I like most
virility, all through clothing, is a real source
there] soon. But my final goal is to launch
is the research, how to turn a material into
of inspiration.
my own ready-to-wear and haute couture
something else; seeing different results, the
brand for both womenswear and menswear.
transformation of materials and how they
What are you most curious to experiment
match.
with?
What has been your most memorable experience so far as a young designer?
What other materials do you most
I would like to develop new technologies
enjoy using?
for clothing alongside scientists, and find
I’m really young and I haven’t had many
out how to make these [technologies]
experiences, but all my experiences so
I love experimenting with a lot of materials;
match with our contemporary lives – for
far have been really nice. My internship
I don’t have a favourite one. On the
instance, new intelligent fabrics or ways of
at Iris Van Herpen was one of the most
contrary, I love looking for new things to
sewing. I’m also attracted to researching
memorable, maybe because it was my first
work with and trying to model those. But I
materials. New technologies have already
one. I lived in Amsterdam for three months,
love working with natural and noble fabrics
given us a lot but they could give us so
with an amazing team. I met a real family
such as silk and linen.
much more, especially in the area of
and wonderful people. Also, working with
clothing.
Iris Van Herpen was a huge experience and I learned so much about precision,
You’ve worked on both menswear and womenswear. Which do you prefer,
What is your biggest ambition right now?
about completely new ways of constructing garments; I also found
and which is most challenging to you? For now I would like to gain experience,
new sources of inspiration, new ways of
Both are more than challenging. They’re
travel and work for a few brands all over
imagining garments, of combining dreams
completely different, and I like to mix them
the world; learn different ways of creating,
and reality. Everything was new, >
and seek inspiration from womenswear for
working, getting inspired from several
from the pattern-making to the creation of
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Photography Chochana Rosso, model Nicolas Hau
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every material. In a way, we had to forget
ne me les fait pas regretter et je reconnais
everything we learned at school about the
ainsi qu’elles étaient bonnes. Après tant
classic way of making clothes. I also did
d’années, elles durent encore aujourd’hui,
a longer internship at Balmain in Paris.
quelque part dans ce cœur aux fidélités
It was a completely different thing. I got
pourtant difficiles. Et je sais qu’aujourd’hui,
a lot from this experience as well about
sur la dune déserte, si je veux m’y rendre, le
embellishment, embroidery, and very
même ciel déversa encore sa cargaison de
feminine and sensitive ways of creating.
souffles et d’étoiles. Ce sont ici les terres de l’innocence.
A word of wisdom to share with us?
[In the warmth of dawn, having passed the first few waves of darkness, a new being
Here are two extracts from novels which
cleaves through the heavy waters of the
mean a lot to me, and that I want to share
night. Remembering these joys does not
with you:
make me regret them, and I know then that they were good. After so many years and to
“Chaque homme doit inventer son chemin.
this day, they still exist somewhere in this
[Each man must build his own path.]”
heart of mine that usually isn’t so loyal.
– Jean-Paul Sartre, Les Mouches.
And I know that today, if I were to go to the deserted dune, the same sky would pour
“Dans la petite aube tiède, passé les
down its breaths of wind and stars. These
premières vagues encore noires et amères,
are the lands of innocence.]”
c’est un être neuf qui fend l’eau, si lourde
– Albert Camus, L’Été ∞
à porter, de la nuit. Le souvenir de ces joies
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Photography Anthony Arquier, model Pavlina Women Agency
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Photography Chochana Rosso, model Nicolas Hau
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ATELIER DYAKOVA
A contemporary artist of fine-tuned
Who is Sonya Dyakova?
skill, award-winning Russian graphic
to apply the same principle to all projects. I try to be thoughtful about what the task
designer Sonya Dyakova impresses with
I was born in Ukraine, grew up in Siberia,
is – and the solution comes from that. My
simple and sleek, yet also boldly
spent my teenage years in California and
work is about communicating by various
expressive designs. The 38-year-old
here I’ve been, living in London for 14 years means, using typography, colour, space and
visual artist, art director and owner
now.
of multidisciplinary studio Atelier
the tactile aspects of printing, or digital [mediums] if the project is an app, for
Dyakova draws from the lives and
I moved to London because I liked the level
stories of people who surround her, to
of creative work here. I bought the book
communicate the truth and essence of
‘Process’ by Tomato and thought I should
What is the story behind Atelier
things through her work – a feat which
come to London and work for them. When I
Dyakova?
she accomplishes beautifully, through
arrived I immediately felt right – this is my
classic designs which she always
kind of city.
structures and finishes to perfection. In an exclusive interview, she takes a
example.
I worked as a designer for studios like Frost Design and Kerr Noble when I first came
How would you describe your aesthetic?
moment to talk to us about the London-
to London, before my six and a half-year period at Phaidon Press. My role there
based Atelier Dyakova, her opportunity
I don’t know how to describe my aesthetic,
started out as a design manager, art director
to join Frieze Magazine and her
perhaps it’s better done by someone else?
and eventually design director. I was
ambitions for the year ahead.
I don’t have one approach; I don’t tend >
working under the creative direction >
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of Alan Fletcher, and am so thankful I got
How does being an artist in London differ
People’s stories. I get really inspired by
to know him. Two and a half years ago I
from your experiences in Russia and the
meeting interesting people: hearing where
was asked to re-design Frieze Magazine. It
United States?
they are from, what they love, what they
was my chance to go solo, and I did just it.
My experience in Russia was one of a
do, their travels; their resilience, their work
I just got a new studio space in Shoreditch
teenager so I never worked there, really
ethic. And I love watching documentaries
(London), so that’s really exciting.
– apart from a logo design for a bank in
on the BBC [British Broadcasting
Siberia, in the very early days. London is
Corporation]. Recent favourites are about
The studio’s projects include:
the most motivating, inspiring and lively
Judith Kerr, children’s author; [Mstislav]
Ron Mueck monograph for Fondation
place; when I got here it felt just right.
Rostropovich, a Russian cello player; and
Cartier
One of my motivations is a fear of being
photographer Vivian Maier.
Edmund de Waal monograph for Phaidon
mediocre, a fear of being a bad or lazy
Press
designer. It’s looked down upon to be
I recently had the most fantastic
Design and art direction for Frieze
fearful of something, but honestly to some
conversation over dinner with David
Magazine, app + marketing campaigns
degree it pushes me.
Gentleman and was very much in awe:
photography book for Aperture, NY
85 years old, working every day... wow.
Hayward Gallery publication & exhibition
What inspires and motivates you as an
This was my first meeting with Alliance
graphics
artist?
Graphique Internationale (AGI). I also
FutureSpace digital magazine for iPad
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love film and music, another form >
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of storytelling or expression, and I draw a
subject at hand. It’s not about me; I am
lot from both.
communicating stories and messages, summing up something or someone.
What achievement are you most proud of now?
As a creative, what are your resolutions for 2014?
For me it’s not about big achievements; it’s about many smaller things that happen.
So many goals this year; [I have] big
Nothing is achieved solely by myself. I’d
expectations for myself... To expand my
rather say I am thankful for things, like
practice, allow my studio to grow. To widen
being a mother to a beautiful daughter,
my clientèle and vary the nature of projects
becoming a member of AGI, being blessed
I take on. To keep meeting fantastic people
with many wonderful friends.
and exchange ideas, have a conversation.
What do you want people to see through
A word of wisdom to share with us?
your work? Be genuine in every thing you do. You’ll The story, the truth, the essence of the
never regret that. ∞
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There’s an admirable simplicity in the
and of his most enjoyable project to
work of Ruben Brulat who, although
date, answering our questions in a way
merely 25 years of age, possesses a
which keeps to his simple yet deeply
striking thoughtfulness and assurance.
secretive and charming aesthetic.
A self-proclaimed nomad, the Frenchborn artist photographs natural
How did you develop your interest
landscapes with all the grace and
for photography? How formal is your
wisdom of photographers whose years
training?
of experience stretch much farther behind them than do his – a thought
It started in early 2008: I simply took a
illustrated, if anything, by the degree
camera and started shooting. Over the
of sensibility and the emotional
months, this grew slowly into something
qualities contained within his work.
much bigger and brought me so much more
By exploring the connection between
than I would have expected.
mankind and nature, Ruben captures the vulnerability of the human figure
How would you describe your ideal
and the power of nature with a raw
workspace? How does the environment
and delicate beauty. Here, he speaks
surrounding you influence the way you
of his beginnings as a photographer
work? >
RUBEN BRULAT
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The environment brings me inspiration. For
Challenges are great, and every time one
now, as I travel most of the time I do not
comes up I am always very intrigued on
have a ‘home’, so [my ideal workspace] is
how to go past it.
ever-changing. What has been your most successful or Your portfolio is sophisticated and
enjoyable creative experience to date?
intriguing. Tell us a bit about the concepts and ideas behind your work…
‘Paths’, the latest project – [it was about] discovering cultures and the challenge of
Since the beginning, my work has been
photography in unknown places and with
a sort of quest to find this relationship
unknown people. This project lasted for
between us and Nature, what surrounds us.
months. It was magnificent.
Embrace or be embraced. How do you see your work as a Who or what inspires you creatively?
photographer evolving in the future?
Everything. Everyone. But of course, more
I see it as work that will bring me towards
specific subjects or feelings taken out of
more of the unknown.
the moments that mark me the most. A word of wisdom to share with us and How do you perceive a challenge and how
budding photographers?
do you overcome it? Ways leads to other ways. ∞
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Credits Alexandra Banti http://www.alexandrabanti.com
Keith Negley keith@keithnegley.com http://www.keithnegley.com
Atelier Dyakova sonya@atelierdyakova.com http://www.atelierdyakova.com
Krzysztof Ubych https://www.facebook.com/ KrzysztofUbychPhotography
Cristian Davila Hernandez http://www.visualsbyhernandez.com/contact http://www.visualsbyhernandez.com
Eleanor Taylor http://www.eleanortaylor.co.uk
Morgane Krischer http://morganekrischer.tumblr.com
Motherbird http://www.motherbird.com.au
http://eleanorsvisions.tumblr.com
Ruben Brulat Emma Pilkington emma@emmapilkington.co.uk
hello@rubenbrulat.com www.rubenbrulat.com
http://www.emmapilkington.co.uk
Salvador Pozo Federico Sorrentino
http://www.salvadorpozo.com
info@federicosorrentino.com http://www.federicosorrentino.com
Sam Flaherty http://www.samflahertycreative.com
Jack Vanzet jackvanet@gmail.com http://www.jackvanzet.com
Sara Melotti saramelottiphotography@gmail.com http://saramelotti.com
Joshua Hibbert joshuahibbert@live.com http://joshuahibbbert.blogspot.com
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St. Francis Elevator Ride http://www.stfranciselevatorride.com
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