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P h o t o g r a p h y Tania Barajas


Edsa Ramirez.

Mark Indelicato chelsea Leyland abbi jacobson & ilana glazer monica menez ying gao homo consommatus Ilja ec twins rosco bandana votary zeynep tosun nakeya Brown JÖR by Guðmundur Jörundsson evan kafka effelle photography jen mann john noestheden sandrine pagnoux priscilla ainhoa ksenia schnaider sandor lakatos cole escola kyle kleiboeker moskva ninh tommy hottpants tony collins



autumn/winter 2012

addiction edition

Nu-Mode´ “ the addiction issue ”



Vivid Portraits Of Evan Kafka Pg. 13 Written By John Mark

Mississippi’s Sweethearts Rosco Bandana Pg. 141 Interview Andrea Boehlke

One Step Ahead Monica Menez pg. 17 Interview Latoya P. Henry

Cat Power’s Sun Pg. 142 Written By Kate S. Messinger

Jen Mann Mystery Pg. 25 Interview Latoya P. Henry

The Top 5 Albums We Love Pg. 143

Ying Gao Encounter With Time Pg. 29 Interview Irina Romashevskaya Photography Dominique Lafond & Despina Spyrou For The Capsule The Fusion Between Technology & Tradition Pg. 34 Interview Irina Romashevskaya Svrface Pg. 38 By Dominik Tarabanski & Mateusz Paja Edsa Pg. 57 Photography Tania Barajas Stylist Celine De Selva The Magnificent Lie Pg. 66 Written By Kate S. Messinger Ilja Conceptual Vision Pg. 69 Interview Irina Romashevskaya A Common Bond Pg. 70 Interview Latoya P. Henry La Danza Folklore Tapatio Pg. 77 Photographer Giovanni Maran Styling Wilford Agyness Lenov Color Blocked In Buenos Aires Pg. 86 Written By Irina Romashevskaya Photography Irina Romashevskaya Commes Des Garçons Pg. 90 Photography Žiga Mihelčič Styling Kate Carnegie

The Royalty Pg. 145 Written By Andrea Boehlke The Adventure is just Beginning Mark Indelicato Pg. 146 Written By John-Mark Photography Dana Scruggs Styling Matthew Anderson Gotham Girl Pg. 158 Photography Florian Mass Styling Matt Antasri Adicción Pg 173 Photography Élio Nogueira Lady Die Pg. 181 Photography Nelson N. Castillo Styling John-Mark JÖR by Guðmundur Jörundsson Pg. 189 Interview Irina Romashevskaya A Few Good Men Pg. 194 Written by John Mark Photography Betania Sikora Styling Raquel Zerbe Votary Luigi Bianco’s concept Of Design Pg. 198 Interview Andrea Boehlke Style Perspective Pg. 201 Interview John-Mark Photography Daniel Rampulla

Addicted to Loneliness Pg. 98 Photography Koty 2 Styling Różena Grey

A Broad City Story Pg. 202 Interview John-Mark Photography Nelson N. Castillo Styling John-Mark

Addicted To The Imperfect Sandrine Panoux Pg. 113 Interview Latoya P. Henry

What Lies Behind The Beauty Of Color Pg. 210 Interview Latoya P. Henry

Sandor Lakatos Structured Proportions Pg. 114 Interview John-Mark

Fuck Coney Pg. 215 Written By Georgina O’Reilly Photography Milton Garay

The Arrival Of Homo Consommatus Pg. 117 Interview Irina Romashevskaya Kaleidoscope Pg. 121 Photography Karoliina Barlund Styling Natalie Read The Ultimate Cool Chelsea Leyland Pg. 129 Interview John-Mark Photography Julie Guez & Kelly Kreye Styling Latoya P. Henry An Eye Candy Duo Pg. 138 Interview Andrea Boehlke Photography Mark Mabhout & Michael Cicchetti

An Uncovered Truth Pg. 221 Interview Latoya P. Henry Zeynep Tosun Refined Aesthetic Pg. 229 Interview Irina Romashevskaya Oh Jordan! Pg. 234 Photography Emily Abay Styling Connel Chiang Japanology Pg. 245 Photography Giangiacomo Feriozzi Styling Cleo Casini

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Edsa Wears Black Satin coat Valentino Graphic embroidered handbag from Nebaj, Guatemala PHOTOGRAPHY Tania Barajas STYLING Celine de Selva at Abel 14, Paris

Contributing Writers Georgina O’Reilly . Kate S. Messinger PHOTOGRAPHY Karoliina Barlund . Dana Scruggs . Tania Barajas Élio Nogueira . Emily Abay . Milton Garay Florian Mass . Koty 2 . Daniel Rampulla . Dominique Lafond . Despina Spyrou . Žiga Mihelčič Dominik Tarabanski . Irina Romashevskaya Michael Cicchetti . Julie Guez & Kelly Kreye Mark Mabhout . Nelson N. Castillo . Betania Sikora Giangiacomo Feriozzi . Giovanni Moran STYLING Natalie Read . Matthew Anderson . Celine De Selva Angelina Pavlishina . Connel Chiang . Matt Antasri Wilford Agyness Lenov . Różena Grey . Latoya P. Henry Kate Carnegie . John-Mark . Raquel Zerbe Cleo Casini . Wilford Agyness Lenov ADVERTISE ADVERTISE@NUMODEMAG.COM SUBMISSIONS & WEB ENQURIES INFO@NUMODEMAG.COM NU-MODE´ MAGAZINE PUBLISHER LATOYA P. HENRY BROOKLYN, NY 11238 T. 7 1 8 . 8 1 2 . 5 8 1 5

Mark Indelicato Wears Shirt Marco Santaniello sunglasses coco & breezy PHOTOGRAPHY dana scruggs STYLING matthew anderson

WWW.NUMODEMAG.COM WWW.TWITTER.COM/NUMODE WWW.FACEBOOK.COM/NUMODEMAGAZINE A Very Special Thanks To Omen PR, Rep Mode Pr, Blank Space NY, Agency V & Flora De tourney

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What’s Your Addiction ?

the team

Editor in Chief & Creative Director Latoya P. Henry

Enjoys working with creative individuals, playing fetch with her dogs Isabella & Juelz and dressing up in her cos play cat suit while chasing Fonseca around the house...

Fashion director & features editor John-mark

J.M. is a dance choreographer, journalist, creative director, and producer. When not working, he enjoys kissing, sushi, and Star Wars.

Nu-mode´Tv Director daniel rampulla

Born in San Francisco, Daniel Rampulla received his Bachelors of Fine Art degree in photography from The San Francisco Art Institute and his Masters in Art Education from The New York University. He is currently living and working in New York, New York.

Nu-Mode´ Tv Host emily drooby

Emily Drooby discovered her passion for hosting at an early age through pageants. Since then she has hosted events for NYTVF, Rachel Zoe, The Japanese Times, and many other companies. She loves hosting because it combines her two passions, hosting and fashion.

Contributing editor irina romashevskaya

Irina Romashevskaya is a Brooklyn based artist, writer and photographer amongst other things. A frequent traveler, Irina likes to explore new opportunities and is always on the lookout for an adventure.

assistant editor andrea boehlke

Hailing all the way from Wisconsin, Andrea Boehlke is now a New York actress, writer, and host. Even though she is currently recognized for her reality television stint--the CBS show, Survivor--Andrea has been pursuing the arts since she was young and is finding a way to blend all of her passions while in the big apple. Follow her on twitter @andreaboehlke

Production assistant Milton garay

Milton Garay describes himself as a small town kid from Texas, trying to make it in the city.


Karoliina Barlund She is a Finnish born London based fashion and portrait photographer who fell in love with photography at the age of 12 and it changed her world.

nelson castillo “I was born in San Francisco De Macoris, Dominican Republic, raised in Washington Heights New York.” Nelson Castillo studied photography at ICP. “I am extremely thankful to be a part of the Nu-Mode family.”

dana scruggs “I was born and raised in Chicago. Worked as a Costumer in LA. Back in Chicago, I piddled around for a few years. Now I’m in Brooklyn, doing more than piddling...I hope.” Dana Scruggs is a Fashion & Portrait photographer living in Brooklyn, New York.

ness Julie Guez & Kelly Kreye Ness... because every day we talk about kindness, we succeed and fail in our attempt to share and to be kind, we try to love all that is around us, this is where we find inspiration. We give many thanks for such a wonderful experience with the great people at Nu-Mode´. Much love... Ness

DOMINIK TARABANSKI I’m a photographer. I was born at 40 thousandths of Jarosław, a few dozen kilometers from the Ukrainian border. I am living in Cracow and studying photography at Lodz Film School’s Cinematography Faculty. I am also a lecturer at the Academy of Photography in Cracow. My interest is in people and, regardless of the moment in life that I witness them in, the ultimate form of my reflections is the photography. I want them to express my opinion on, and the attitude towards the topics I cover. My dream is for them to be a universal language with an impressive, a comment stimulating reflection that is active even when I am asleep. I do believe that one picture can tell more than a 1000 words.

emily abay I’m 27 and I’m an Australian Fashion Photographer. I first picked up a camera at a very young age, being as my mother and grandfather are both photographers, I knew what a Leica Camera was before I know what cable television was and all through my teens I carried the scent of stop fixer rather than expensive perfume. I’ve been actively shooting for the last 9 years I’ve been very fortunate to work with some very talented creative people, and I love that I’m constantly learning. Big thank you to my mother and grandfather.

Žiga Mihelčič I’m a 24 years old photographer from Slovenia. Graduated from the school Arthouse - College of visual arts. I fell in love with fashion photography completely by accident. My mother asked me to take some photos my sister who worked as a model by that time. One thing led to another and I was shooting her friends too. I soon realized how much I loved photography, and soon took a keen interest in fashion photography. Soon I began shooting fashion with teams and my folio grew exponentially. To this day, I continue to be as enthusiastic as I was about photography from day one. Currently based in Melbourne, Australia.

Élio Nogueira My name is Élio Nogueira, I’m 19 years old and I’m from Portugal. I started fashion photography one year ago, and in such a short time I have achieved a lot of good work. Everyday I try very hard to enter in this industry. This is my first publication in a magazine, it’s exiting because every publication takes me one step closer to achieving my dream of being a Fashion photographer. I’m very passionate about making it my job. As a 19 year old I still have a lot to discover...

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Editor’s Letter There are countless variations of addictions, whether it’s in the form of substance, shopping, work, food or emotions these are common characteristics we share. Personally my form of addiction is a combination of publications and shopping. I consider the two a deadly mixture however it’s not to the point that it’s detrimental to my health. This issue captures the essence of many things that contributes to addictions such as being in the limelight, crowd pleasers, capturing inner emotions or reforming old traditions. Additionally addiction can be considered as an obsession that stems from a form of rebellion or breaking a cycle and pushing limits to develop a stronger future, from my point of view. When people associate themselves with addiction it’s looked down upon as something terrible or life threatening but personally it plays a major role in society, contributing to aspirations and goals. In fact if addictions didn’t exist there is no prediction of where we stand in this day and age. “Probably a world with no form of order or sense of control, a world in immense chaos.” So I applaud our pioneers such as the motivators, inventors, scientists, doctors, designers, architects, teachers and even the local plumber with out your dedication and the addiction to your craft where would we be?


Latoya P. Henry Editor In Chief

Leather Clutch Kenneth Cole ; Leather Biker Jacket Zara Wool Hat Rag & Bone ; Watch Nooka ; Metal Cuffs Asos Calf Fur Wedge Platform Sneaker Jeffrey Campbell Metal Necklace Maison Martin Margiela For H&M PHOTOGRAPHY LPH

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vivid portraits of E V A N K A F K A WRITTEN BY JOHN-MARK


ecognized for his strikingly bold simplicity and hyper-realistic look, photographer Evan Kafka has shot magazine covers for Forbes, Reader’s Digest, Parenting, Fortune, Business Week, Metropolis, Wired, Money, Time Out New York and many more. While it may seem out of character to feature a commercial photographer in a fashion magazine, Kafka’s photography demonstrates a unique ability to capture extreme human and animal emotion in a way worth recognizing in all fields of photography and publishing. In early fall, I was granted the opportunity to get a personal tour of Kafka’s midtown hi-rise photo studio, a clean and conventional space often occupied by Kafka’s most popular kind of commission... babies. “They’re just so expressive and crazy. They look cartoonish,” he shared, “with kids, their expressions come out in their purest form. It can be really fun and also really stressful. For a big ad shoot, there’s a lot riding on these little shoulders.”

Nu-Mode´is proud to present six photographic works, hand selected by Kafka himself. In asking Kafka how he would represent his entire body of work in just a handful photographs, he answered, “A man, a baby, and a dog.” These three very different forms of life each highlight his ability to capture wild emotions in his work, no matter the subject. Whether shooting an ad campaign or a magazine editorial, Kafka attributes much of his success to bringing a photojournalistic mindset to all his work. His journalist edge is embodied in his determination to catch those candid fleeting moments of genuine emotion. This results in photographs that impulsively draw as much emotion from the viewers as the subjects themselves. Without further ado, enjoy a man, a baby, a dog, and more, by one of New York City’s top commercial photographers, Evan Kafka. NU-MODE´Addiction autumn/winter issue.13

“With kids, their expressions come out in their purest form. It can be really fun and also really stressful. For a big ad shoot, there’s a lot riding on these little shoulders.”

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one step A h e a d


Hors d’Oeuvre NU-MODE´Addiction autumn/winter issue.17

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ithout notice filmmaker and photographer Monica Menez use of fetishes fascinated us with her exhilarating characters, portraying their inner personal pleasures in an amusing fashion, which unfolds into bizarre yet propelling stories. Recently winning “best director” at ASVOFF 5 Fashion Film Festival, for her latest film “Hors d’oeuvre.” Menez showcases there’s more to the point shoot and record method, she manages to create engaging fashion films with a dedicated story line to capture the attention of any viewer.

Did you always visualize you would become a photographer and how did you get your first start? I was interested in styling and fashion from a very young age and always wanted to stage ideas. I looked for suitable forms of expression for a while and tried out different things like dance, graphics and fashion design. I was able to express myself best in photography because a combination of different creative arrangements is possible here: styling, make-up, fashion … Have you always had an interest in fashion photography or were there other genres of photography that caught your attention? Fashion photography has always interested me but I don’t see myself as a typical fashion photographer. My real love is staged photography: telling stories using design from the fashion industry. Everyone is huge fan “Precious” tell us how did concept of this passionate film come together and what did the production process consist of during filming? Precious was actually planned as a photography project: I’d worked on this project for over a year when I established that the story couldn’t be told photographically but had to be filmed. Nevertheless, it took me six photo shootings to come to this conclusion… Getting started in the film business was then really humbling as I also wanted to do everything myself at first and then noticed that a sensible production and division of tasks is worth its weight in gold. The experience of not standing behind the camera myself but having to instruct the cameraman was interesting and unusual. However, during the second film project, Hors d’Oeuvre, I was already able to put myself in the role of director much better.

“ What’s important to me is to surprise the viewer....” Is there a particular nature you try to express through your work? My productions are often about sexy women in unusual situations. They often deal with a humorous type of fetish, e.g. the secretary fetish in Secretary Cat or a food fetish in “Precious”. What’s important to me is to surprise the viewer.... Do you think there is a huge contrast between fashion photography and fashion film? Ever since fashion film has been around we have had the chance to show fashion in action, which is very appealing… And fashion film is the ideal form of expression for me to tell my stories.

Fashion films have become a major asset within the fashion industry. How do you manage to create a full story line and where do you find inspiration to create engaging films? Inspiration can come from anywhere. With Hors d’oeuvre it was a piece of music. Whilst researching music for my first film Precious I came across a piece of silly tango music and while I was listening to it I suddenly had the idea of a suspended woman with tapping, dancing feet, which later became an important scene in my second film Hors d’Oeuvre. The most difficult aspect you come across between photographing and filming? Film is more complex than photography: you work with a larger team and more logistics, editing is more difficult ... Apart from that, it is very difficult to find the right model for filming, as not every model can “act” and vice versa, not every actor can produce what is expected from a photo model. Stories such as Secretary Cat, Funny Games and Hors d’oeuvre remind of me of the sophisticated women with a bit of a wild side. Were you trying to evoke this combination of emotions through your images or was there a deeper significance behind your vision? Sophisticated women in situations of a fetish nature? Now I think about it I should urgently make an appointment with my therapist …

“ Ever since fashion film has been around we have had the chance to show fashion in action, which is very appealing… And fashion film is the ideal form of expression for me to tell my stories. ”

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“Fashion film is still cutting its teeth at the moment. Although many photographers are showing great interest in it, it is simply not enough to just film a photo shooting.”

Are there any legend photographers and directors that inspire you? If so who and why? My absolutely favourite photographer is Guy Bourdin, one of my favorite directors is John Waters. “Polyester”, for example includes all the ingredients I love: trash and a candy coloured set … Describe what is a typical day like for Monica Menez and what do you enjoy during your downtime? My typical day is very well structured due to my dual role as a photographer and mum to my six-year old son. But downtime is completely overrated anyway, isn’t it …? What is your take on the present state of fashion photography and film and do you feel that most photographers manage to push limits? Fashion film is still cutting its teeth at the moment. Although many photographers are showing great interest in it, it is simply not enough to just film a photo shooting. You can still see that a concept or story line is missing in many fashion films. I think there is still plenty of potential for development … One step emerging photographers should keep in mind when developing a specific photographic style? NU-MODE´Addiction autumn/winter issue.22

Don’t copy but be one step ahead

Secretary Cat

J e n M a n n m y s t e r y INTERVIEW Latoya P Henry

chromatic atrophy “ blue tree” 2012

chromatic atrophy “flora & fauna” 2012


inding serenity behind the many wonders of naturemost mysteriously captured by Jen Mann, who describes nature as soft, cruel, welcoming but definitely guarded. Mann illustrates the models she photographs in beautifully sculpted figures hidden behind nature’s natural elements, forming a sense of freedom and existence. Tell us what was it like growing up in a forest and what do you enjoyed most about living there? Though where I live seems and looks like it’s far from a large city, it’s only a 20-minute drive from Toronto. I had the benefits of living in nature and close enough to experience the city as well. Most of my childhood was spent climbing trees, catching fish, and going on explorations with my brother in the woods behind our house. I think I really enjoyed the freedom, and the fun that was had. Gathering most of your inspiration from your surroundings. Were you ever drawn to other materials besides nature? Not yet, the natural world still has so many wonders for me to explore.

Do you find that you’re misunderstood when conveying particular attributes? Maybe, but I’m not very concerned with making sure my specific ideas are understood, I think whatever people get out of a piece is personal to them, if its not what I get out of it I totally understand because art is a personal experience, and its very subjective. Once you finish a piece you have to sort of let go and detach yourself from it. What are the difficulties you discover illustrating emotions on canvas so viewers understand your vision? I think emotions are easier to convey than specific concepts, if you really feel what you are painting about or have a good sense of the mood you are going for, it usually comes across. Having your audience understand your work is that an important factor or no? It’s not the most important thing to me. I would rather people had their own personal experience with the work, than to tell them “this is what it means”. NU-MODE´Addiction autumn/winter issue.25

gathering of thepsyche “self reflection” 2012

fera “binary stars” 2009

chromatic atrophy “geometric hearts” 2012

How you prepare for a new project and what is your time frame to compose a piece? I take a lot of photos, and I collect them, and constantly comb through them, looking for inspiration, ideas, etc. I also write a lot, and somewhere between taking photos, writing, and sketching out ideas, I come up with a concept that I feel strongly about. Then I work in Photoshop with images, playing around, and when I have some pieces that I like in Photoshop I solidify my intent by writing up a summery statement, so that I have something to base my ideas in my head on as I keep going. I typically prime and under paint multiple canvases or panels at once and then when the under painting is dry I transfer the image, and then NU-MODE´Addiction autumn/winter issue.26

paint in the backgrounds. That takes another couple of days to dry, and then I work on the image, that can take up to a week to finish this part or longer depending on the subject and the size of the piece. Describe how you feel when you release your emotions on canvas? Most of the time my head is a mess of thoughts... you know when you’re driving home and then all of a sudden you are in your driveway and you don’t remember driving there. You just auto piloted your way home. Well painting is a lot like that, but not at all like that, so maybe I made that more confusing. Ha ha, my brain just goes somewhere else telling stories, dreaming awake sort of. I’m actually pretty sure I talk to myself.... But at the

“I’m always working on multiple series at once, I cant stick to one thing, my mind is always bouncing from ideas and moods and I may be feeling one image style one day and another the next.” same time I’m constantly very aware of the most acute details, and focusing on painting. Its stressful exciting relaxing and calming all at once it’s complicated to say the least. The majority of human subjects you illustrate & paint are females. What attracts you to create mainly women and is there a specific reason behind it? I am a woman, so I relate most to female imagery, it’s the way I see the world, so I guess I am naturally attracted to this sort of imagery to express my world in my head. Are these women actual beings or based on fantasies? All the women are based on girls that I had the opportunity to photograph in my studio. One of your latest series “Chromatic Atrophy” this was a departure from your past work. Why the transformation and what are you seeking with this new development?

toxic love “milk weed” 2011 - 2012

I’m always working on multiple series at once, I cant stick to one thing, my mind is always bouncing from ideas and moods and I may be feeling one image style one day and another the next. Chromatic atrophy was this way for me to just explode with colors and destroy some old paintings and re-love them. Do you have any exhibitions or series we should look forward to in the near future? I recently have been working on a series with a lot of multicolored smoke, also I have been diving in to this other series closely related to the smoke one which sort of orbits the idea of fringe society, or the circus, or something beautiful of something strange / wrong. I have a show coming up at NSC in Toronto in early 2013 and a couple of group shows with Prisma (a collective that I am a part of) What does art signify to you? Freedom. That would be the most concise way to sum it up. - Jen Mann

gathering of thepsyche “sleep walking” 2012

ying gao encounter w i t h t i m e INTERVIEW IRINA ROMASHEVSKAYA Photography Dominique Lafond & Despina Spyrou for the capsule


nternationally acclaimed Montreal-based fashion designer Ying Gao is known for her keen eye for detail and multimedia approach to garment construction. Using statistics and social criticism, programming and philosophy, along with traditional tailoring and dressmaking techniques, she creates some of the world’s most conceptual and artistic clothing pieces. What is your fashion background? Do you consider yourself a fashion designer or an artist working in fashion? I’m a fashion designer, not an artist. I graduated from both HEAD (Haute École D’Art et de Design de Genève) and Université du Québec à Montréal. I’ve been working as a fashion designer for over 15 years. I started to be interested in new technologies and media arts while I was completing my Master’s Degree in Interactive Multimedia 13 years ago. I believe that fashion in order to be meaningful needs to be both radical and deeply experimental, and consequently my designs elicit interest in the field of avant-garde fashion as well as in the art world. In the past 6 years my work has been shown in the museums worldwide, alongside renowned designers such as Issey Miyake, Hussein Chalayan, and Helmut Lang. The art collector Dakis Joannou has recently acquired the Playtime piece, which was featured in the film The Capsule and later in the Deste Fashion Collection, installed in the windows of Barneys New York’s Madison Avenue flagship store. I often say that fashion is an “encounter with time”. The future belongs to those who use the technologies of their time. But both technology and fashion embody the most fragile and ephemeral aspects of our culture in a way that, what is cutting-edge today will be old news tomorrow. Fashion designers have known for a long time that they are working with a fleeting material that will never be timeless. However, the integration of electronic technology seems to modify the creative process, both in terms of the surface and the structure of garments.

“The challenge, in terms of fashion design, is to construct garments with free-flowing dimensions, affording the potential for numerous shapes unlike the fixed measurements of so-called traditional garments.” What inspired you in the first place to move towards creating a mixed media approach in your work? How did you start on that path? I’m a designer on the borderline of media arts and fashion design. I use two distinct methods of integrating technology with fashion design. The first method is direct, meaning that microelectronic technology is physically integrated into garments. The challenge, in terms of fashion design, is to construct garments with free-flowing dimensions, affording the potential for numerous shapes unlike the fixed measurements of so-called traditional garments. My interactive projects propose an in-depth study on the garment’s adjustable structure and the integration of pneumatic and interactive technologies. These garments appear vivid, ephemeral and fluid in shape. One of the dresses vibrantly unfolds when triggered by a ray of light, another one breathes gently as it’s touched by a gust of air. The variety of physical shapes emerges from the art of folding paper, giving a poetic aesthetic form to the ethereal and intangible. It forms a creative framework in which media devices (sensors, cameras, microprocessors) become components of the garments.

Secondly, I use a more indirect method where technology is used as my source of inspiration; it is the base of my creations, but it’s invisible in the garment. Some works are also based on the unconventional application of software. For example, in the Indice de l’indifférence project I used the data of an online survey to modify the pattern, angle and width of a man’s shirt according to the indifference of voters participating in a survey. There is a lot of philosophy behind each of your creations. How would you describe your design aesthetic? I’m best known for my view on fashion design: It’s radical, experimental and slow. You also teach at UQAM, Université du Québec à Montréal, which seams to be a perfect addition to your work since all of your pieces are as much about concept and creative process as about finished product. When did you start teaching? I’ve been teaching since 2003. I love it. I hope to encourage my students to consider the importance of innovation in fashion design. The world evolves only when we innovate. What inspires you in your work and gives you pleasure? My biggest hobby is Instagram. What a pleasure and what a waste of time! I had never thought I could be a photographer but over the last 8 months on Instagram, my 650 followers have proven to me that, indeed, I am quite capable of wasting time on yet another social network! My second hobby consists of documentary films, which I watch voraciously, encompassing a whole range of subjects. The subjectivity of documentary filmmakers fascinates me. I love to look through the eyes of a stranger and to understand the world from his or hers perspective. My third hobby is to feel anxiety for several hours every day. Gilles Lipovetsky defines “hypermodern times” as a contemporary period NU-MODE´Addiction autumn/winter issue.29

“Slow wear is a current trend that’s appeared in response to the abundance of products and images created by the fashion industry; its promoters think we should own less, but better-designed pieces. ”

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the capsule photography Despina Spyrou

that reflects a radical intensification of modernity, including its obsession with finance, science, democracy and individualism. Each aspect of existence includes excess and a certain duality, where more than ever frivolity masks a deep anxiety. This anxiety is something that I see and I live through every day. Paradoxically, it makes me feel alive and pushes me forward. What motivates me the most is incertitude and failure. What can you tell us about Slow Fashion (Wear) concept? What is your relation to it? Would you consider yourself a participant in the Slow Movement altogether? Slow wear is a current trend that’s appeared in response to the abundance of products and images created by the fashion industry; its promoters think we should own less, but better-designed pieces. My past and upcoming collections are created with the clear goal of presenting slow wear as an alternative to the fast-paced production cycle of contemporary fashion. How did you find out about sensory technology? What moved you to create interactive clothing? The origin of the Playtime project, for instance, can be traced to one of my favorite films, which bears the same name. I often think of this

piece as the transformation of one unique vision into another unique vision. The cinematographic masterpiece that Jacques Tati created in 1967 was described by the French author François Ede as a “feat of haute couture”, which is particularly fitting when you consider that the film Play Time is really the main source of inspiration for this project. Playtime exists at the intersection of fashion design and media arts. It references five key scenes of Tati’s film. The two garments, reactive and photosensitive, create an interactive experience that encompasses the garments themselves, the spectators and their environment. The work focuses on the idea and the conceit of coats that can physically metamorphose. In addition, I have outlined a new possibility for experimental modular construction of garments through the integration of electronic and digital technologies. Mixed media content, such as image projections, will augment the work, becoming an integral component of the garments. The work thus becomes a reflection about the function of garments as being untethered and dislocated (Augé,M., 1992) within our hypermodern society, a concept, which the film encapsulates before its time. This project proposes a “mise en abîme” of the garment, the spectator and the built environment. The echoes, resonances and auditory superposition’s of Tati’s film inspired me to create garments that react

to light and then become visually unfocused. When one attempts to capture an image of the dress using a photo or video camera, for instance in the context of a runway show, the garment transforms and fragments; it deconstructs and becomes vague and unfocused. Sensors and motors concealed within the garment, as well as custom software running on a microcontroller, create the system that analyses the movement of light and the movement of bodies in space, establishing an interactive dialogue between the garment and the camera. Do you think there is room for sensory technology in everyday fashion? Do you see a future for interactive clothing? I’d like to think that my garments are not gadgets, but rather design objects that have been extensively reflected upon and have a conceptual and esthetical “life”, corresponding to their technological mission. As for sensory technology in everyday fashion, I think that in certain areas, such as extreme sports, military, and medicine, it’s already there. And in the future it’s possible that our everyday clothes could become communication tools (although it could take some time) as methods are developed to facilitate the integration of these devices.

“I’d like to think that my garments are not gadgets, but rather design objects that have been extensively reflected upon and have a conceptual and esthetical “life”, corresponding to their technological mission.” How would you describe your experience participating in the film Capsule? Can we expect more film collaborations from you in the future? The experience should be described as “unique”. Being in Hydra, living and working with 20 incredibly talented and inspiring people for a week -- that’s something I’ve never done before! And I do hope it’s not my last film collaboration. Which projects are you working on right now? In addition to my design projects (a new interactive project for instance: ), launching a bio-sensing collection with a Montreal-based tech startup company and being a professor at Université du Québec à Montréal, I am also in the process of signing a private label collection as lead fashion designer. NU-MODE´Addiction autumn/winter issue.33

T h e f u s i o n b e t w e e n


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senia Schnaider is a minimalist European brand founded just over a year ago by a Ukrainian fashion designer Ksenia Marchenko and a Russian graphic designer Anton Schnaider. With just a couple of collections under their belt this creative duo is successfully combining art, fashion and technology, creating beautifully constructed clothes and developing new ways of sharing their vision with a worldwide audience. How did the idea behind the brand come about? When and how did it all begin? It was 2010 when we decided to create simple yet elegant clothes which would not mask individuality but instead reflect the present without predicting the future or copying the past. I remember our long talks about fashion and the things we thought had changed in the world. What are the challenges of being a design duo? How would you describe your work process? Anton is responsible for branding, technology, visuals and concepts, and I concentrate on cut, colour, fabrics and garments. We never argue because we have the same sensibility about what’s cool and what’s not. We have the same vision and share the same strong opinions. Your clothing is almost monastic in its simplicity. Do you see yourself staying true to your minimalist aesthetic in the future? How do you see you brand progressing? That’s the question we were thinking about! We want to keep our concept but we also want to make it work for a bigger audience. For your S/S 2012 collection you used web cameras to show your collection to the viewers worldwide. What is your take on combining technology and tradition? Do you think fashion should be accessible to everyone? Not necessarily to everyone, but to those who are really interested in it. Anton is always thinking about bringing the future into the present; about new technology applications that are accessible to everyone. There are a lot of historical and religious references in your work. Is spirituality something that inspires you? I like the idea of simple, quality clothes that can look elegant in any situation. I also admire people that don’t really care about material things: fashion, trends, pop culture or money. I always think about people like that when I design and I would be happy if they decided to wear Ksenia Schnaider. But I would also really love to see our garments on Moscow’s “it’’ girls. I like the unexpected balance between these two opposite worlds where Ksenia Schnaider is in the middle like a bridge between technology and tradition, between spiritual and material. Tell us about your collaboration with the graffiti artist Vova Vorotniov. KM: Vova has a very strong voice as an artist and that is why it was such a pleasure to work with him. However, my role in the project was less significant, I only gave him our collection, clothing and

“ I strongly believe that fashion is only a reflection of the times, so I’m afraid I cannot give any fashion prognosis.”

accessories, and he did everything else. He used clothing instead of paint and created 9 beautiful art installations, which we presented during fashion week as an alternative to the usual runway show. Would you say you found the right balance combining fashion and art in your work? For me everything we do at Ksenia Schnaider is art! But it is only my personal feeling. What are the key elements of your S/S 2013 collection? Shirt dresses, soft camouflage prints on top of jersey suiting, unisex shorts and organza hats.

Are you currently participating in any art projects that you’d like to tell us about? We are currently working on a lookbook, which Anton decided to create using a new app for 3D modelling: How do you see the future of fashion? What would we all be wearing in 10, 20, or 50 years from now? I strongly believe that fashion is only a reflection of the times, so I’m afraid I cannot give any fashion prognosis. Of course I can tell you some beautiful nonsense but it’s not my style to gloss over. - Ksenia Schnaider

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svrface Photography dominik tarabanski garments Mateusz paja

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Photography dominik tarabanski print designer & art director Mateusz paja make up artist & hairstylist gabi gnat Photography assistant bartek porszke

Edsa PHOTOGRAPHY Tania Barajas STYLING Celine de Selva at Abel 14 Paris

Black turtle neck top Hugo Boss Hand-embroidered flowery silk shirt Tzotziles indigenous community in Chiapas, Mexico Long black stretch trousers Max Mara

Black mesh lycra bodysuit American Apparel Hand-embroidered flowery bag Tzotziles indigenous community in Chiapas, Mexico NU-MODE´Addiction autumn/winter issue.57

Black lycra bandeau-bra Calvin Klein Underwear Hand-embroidered flowery silk saruoal pant Tzotziles indigenous community in Chiapas, Mexico Suede stiletto shoes Giuseppe Zanotti Vintage bakelite bracelet Yume NU-MODE´Addiction autumn/winter issue.58

Graphic embroidered handbag Maya community in Nebaj, Guatemala. Black satin coat Valentino

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Hand-embroidered flowery bustier Tzotziles indigenous community in Chiapas, Mexico Black pleated skirt marc jacobs shoes Stuart Weitzman

Graphic embroidered dress Tzeltales indigenous community in Chiapas, Mexico White gold and fish skin ring Berger PHOTOGRAPHY Tania Barajas STYLING Celine de Selva at Abel 14 Paris make up artist Daniel Avilan hairstylist Gerardo Maldonado model Edsa Ramirez at Paragon Model Management NU-MODE´Addiction autumn/winter issue.65

T h e M a g n i f i c e n t L i e John Noestheden Creates The Universe at Jayne H Baum Gallery WRITTEN BY Kate s. Messinger

Burnham One 2010

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here are times when a sunset is just too beautiful to do a photograph justice, a meal just too epic to be truly represented on Instagram, and a feeling just too complex to be captured with a camera. When we look at pictures of space, of the Milky Way and the earth from afar, or even looking up at the stars at night, we know what we are seeing is only a representation of the universe, and that those stars have already changed drastically before the shutter has even closed. John Noestheden, a painter born in Amsterdam, spends most of his day analyzing star charts, observing NASA photographs, and searching through history books to try to capture the essence of the universe on paper, knowing perfectly well that his work, like a photograph of a sunset, will always be a “magnificent lie”. At an opening of his recent work last week at the Jayne H Baum Gallery in New York City, Noestheden traveled among guests observing his large scale pieces, happy to discuss the scientific and historical origins of his work to anyone who asked. On the walls are enlarged black and white photocopies of actual star patterns throughout history, combined to make fictional constellations. The other pictures shine next to the mat photocopies, glittering canvases of precisely clustered Swarovski crystals modeled after specific star formations. Even before reading the artist statement you can tell these crystal drawings are portraying something epic, that feeling of looking into a star filled sky and feeling both very large and very, very small.

“ There is a theorem, that says our bones and our bodies are composed of the same minerals of the stars. That we are made of star dust. ” Milky way 2008

Noestheden speaks with a soothing enthusiasm, becoming hushed at times like a professor you’ve run into in the hall ways, eager to share a secret about something you never knew you didn’t know. He tells me about one of the crystal pieces that consist of varying sizes of circular orbits, different constellations that he created based off a picture from NASA. Noestheden sometimes spends months creating one piece, gluing each individual crystal to create his representation of a galaxy or star pattern. He admits that he gets obsessive about the process, but believes it’s how he survives. The end product is a “fabrication of reality” on paper, but what makes Noestheden’s work interesting is that it is inevitable that his unique combinations of stars will exist, or already have. “Anything that I make could be out there.” He reveals, “It’s a little mind skrew-y.” The most captivating of Noestheden’s work here is a piece that itself cannot be captured by a photograph. 32,000 crystals are glued in a dense spiraling pattern within a rectangle frame, creating a reflecting, glittering “mirror” that is based off of a close up view of the Milky Way. It is nothing but a sheet of reflected rainbow flashes on film. The piece is almost hard to look at, blinding with the overhead lights, but there is something captivating when you are in front of it, some addicting like looking at the sun. Noestheden tells me to stand in front of the mirror and look at myself in its reflection. “There is a theorem,” he slowly explains, “that says our bones and our bodies are composed of the same minerals of the stars. That we are made of star dust.” Looking at the shining surface it’s hard to tell what is an actual reflection of me and what is just light bouncing off my retinas and confusing my brain. That obscured reflection staring back looks like a person, but altered, perhaps a version of me existing in another galaxy, a version made up of stars. Or maybe, like Noestheden’s renditions of the universe, it is all just a magnificent lie.

starry starry 2008

John Noestheden’s work will be on display until January 3rd at the Jayne H Baum Gallery at 31 Howard Street, second floor, in New York City.

I l j a Conceptual vision interview irina romashevskaya


lja, the haute couture line created by Dutch designer Ilja Visser, has all the elements of a quintessential European tradition of custom clothesmaking: It’s exclusive, artistic and has a flair for the unexpected. Made to measure quality of couture allows the designer and his team to concentrate on conceptual vision and refined craftsmanship, producing a limited range of equally unique and astounding showpieces. What can you tell us about the woman that wears your clothing? The woman that wears ILJA has a desire for quality and individuality. She wants to express her feminity with class and charisma while experiencing the joy of luxury. She feels confident, no matter what age she is, and her look conveys knowledge and sophistication. What are your favorite materials to work with? ILJA is concentrating on fabric and fabric manipulation. We like to experiment with fabric and enjoy working with new innovative materials. In some of your collections you presented matching shoes and accessories. Are you involved in the design of your accessories as well? Shoe design is an integral part of the house of ILJA, which we are planning to expand in the future to include a wider range of accessories. However, we love to exchange ideas with other artists and designers. And for our Fall/Winter 2013 SKINFONIE collection we collaborated with Germany-based BJORG accessories to create coordinating jewelry.

How would you describe your creative process and where do you draw your inspiration from? The creative process starts with an intuitive feeling or trend. This trend or feeling is then concentrated and filtered until there is a clear direction. From there on we start to draw and test with fabric. It is a long work process between the atelier and the design team until all the sketches are finished and approved. What was your inspiration for you last collection? For our last collection we drew our inspiration from expressional dance (e.g. contemporary ballet), and the study of emotional responses to music and sound in general. We called it SKINFONIE: It shows how sound evokes emotions and makes you want to dance. We assembled an in-house print design team that worked specifically with sound frequencies. As a result, nude tone garments were printed with graphics arranged in symmetrical waves in dramatic shades of grey and black. We wanted to show the contrast between emotions and rhythmical sounds, which consequently actualized in refined, elegant dresses, juxtaposed with bold, constructed showpieces. What should we expect from you for Spring/Summer season 2013? Again a collection that’s inspired by “the arts”. This time -- fresh, crisp and lightweight, with a touch of modern elegance.

“ We wanted to show the contrast between emotions and rhythmical sounds, which consequently actualized in refined, elegant dresses ”

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A Common B o n d interview latoya P Henry


inimalism and playfulness are two primary elements Effelle Photography applies when developing a story. Since the moment Laura Garcia and Filippo Del Vita met, while studying in Florence, they’ve devoted their attention to art photography and exhibiting their pieces across Europe. Simultaneously they started working on fashion and still life projects, incorporating their art background into their imagery. Tell us a little about how you and Filippo came to the decision that you should work together and how Effelle Photography was founded? We met at Photography School in Italy. Pretty soon we realized we had many interests in common and so we started collaborating together on small personal projects. We then got closer to fashion photography and the transition was quite natural. Essentially photographers have a way to distinguish their work. How would you identify your signature style? We like to keep it clean and easy but when we can, colorful and playful are our favorite way to go.

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“We love and admire all the early photographers from the end of the 1800’s to beginning of 1900’s. We’ve always been amazed by their technique and tenacity in a time when taking photographs”

Are there mediums you want to pursue but haven’t? No, we’re working in photography and stop motion video now, that’s what we want to do at the moment. One person you enjoyed photographing and find the most inspirational? No one in particular Is it difficult collaborating on ideas with a client? How do you approach a story they want to tell without loosing your signature? It can be difficult sometimes, but we think conversation and good communication is the key for a successful story. We always bring many proposals to the table but we’re always open to new ideas.

It’s brilliant that you combine your editorials with mix media, color and geometric shapes to create fascinating images. What obstacles do you come across when combining these elements together without making the image look overdone? It’s a thin line… Not exaggerating is the secret! Have you considered venturing into additional forms of art? We have a background in art photography and so we’ve never stopped working on personal art projects. Filippo does only photography, I do that and also collage and painting. Do have any historical figures that motivate your vision that remain relevant today? We love and admire all the early photographers from the end of the

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“My work is often ambiguous, the limits between real and unreal, natural and constructed, are always blurred. Nothing is what it seems, everything is staged.”

1800’s to beginning of 1900’s. We’ve always been amazed by their technique and tenacity in a time when taking photographs was not just pushing a button but something way more physical and complicated. They’re very inspiring to us. The Other Landscape, Wonder Rooms or Wunderkammern and Dark Crimes carry a mysterious agenda. Tell us what was your inspiration and in what way you wanted to communicate with the audience through the indicated series? All these were personal art projects. Although they were done using different mediums, like collage, painting and photography, I’d say that what they all have in common is that they communicate a certain mysterious and unreal atmosphere. My work is often ambiguous, the limits between real and unreal, natural and constructed, are always blurred. Nothing is what it seems, everything is staged. The most important step aspiring photographers don’t take into consideration when turning a basic concept into a story? We believe an important step is keeping things simple, not going too complicated. Professionally, what’s your goal? Our goal is to be able to do more projects that will allow us to develop our ideas and style.

Blouse custom Belt Stylist Own Earrings Alexander McQueen Skirt Melissa Mashimoto Dancers Regional Sinaloa & Nayarit Dance Costumes

La Danza Folklore Tapatio Photographer Giovanni Moran styling Wilford Agyness Lenov

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Red Flower Bomb Custom Belt Bebe Shoes Norma Lopez Accessories on Models and Dancer Outfits Regional Yucatan Dance Costumes

Colored Top, Shorts and Pancho Cape Norma Lopez Gold Plate Headpiece Custom Dancers Regional Skirts for Jalisco Costumes

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Head Piece Folklorico Regional Dress Shirt and Leggings American Apparel Shoes Custom

Head Piece as Head Cover Foklorico Regional Dress Photographer Giovanni Moran styling Wilford Agyness Lenov Creative Director Jonathan Storm Make up Artist & Hairstylist Model Jeff Jones Make up Artist & Hairstylist Dancers Linda Ly Model Olga Benenson at Next Models Dancers Elvia De Anda, Julianna Rodriguez, Katia Hernandez, Lizzet Macias Cal State University Fullerton Folkloric Dance Company

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uenos Aires, a multicultural city that stretches from south to north along Rio de la Plata, is full of adventures, unexpected encounters and pleasant surprises. Porteños, as the city’s residents are called, will gladly show you around and might even tell you a tale or two about the history of their engaging city. With all the available activities and sights in Buenos Aires, what caught my eye the most, however, was not the city’s exquisite European architecture, numerous theaters and restaurants, but its abundance of vivid colors. Buenos Aires is a city of murals, graffiti, street art scenes and colorful buildings, and it could be better described as a mosaic of kaleidoscopic shapes, forms and sizes.

Take for example the world’s first outdoor pedestrian museum of El Caminito (little camino or little street), located in the barrio (bor ough) of La Boca. Built by Italian immigrants that worked in the port and could only afford leftover shipyard paint, Caminito is the most colorful neighborhood in Buenos Aires and, perhaps, one of the most colorful in the world. This open air museum is one of the main tourist attractions in Buenos Aires; it clearly depicts the life of the early settlers in a comic yet endearing way: life-size painted caricatures are peering out of the windows as if its inhabitants never left their conventillos (shared housing). Caminito is also named after a popular piece of tango music written by one of La Boca’s locals back in 1900s. Originated in Buenos Aires around 1870’s, sensual and vibrant, tango symbolizes many facets of Argentine’s culture: the struggle, pride and passion.

Another colorful spot located nearby is Alberto J. Armando stadium or La Bombonera (chocolate Box) as it’s widely known for resembling the shape of a box of chocolates (bonbons). The stadium’s exterior and indoor chairs are painted in yellow and blue to represent the official colors of the local home team, Boca Juniors. Housing one of the most successful football teams in Argentina, the stadium –known for its superior acoustics -- is also a concert venue for some of the biggest visiting international artists. Buenos Aires’ graffiti is one of many interesting aspects of the city and a result of 30 years of turbulent modern history. Graffiti here can be found anywhere from city walls, trains and subway stations to cars, skateboards, tables and chairs. Graffiti is a major part of Buenos Aires urban art scene, and this art form is not taken lightly here. There are many different styles of graffiti and even more graffiti artists, majority of whom get commissioned work from locals and visitors alike. There are numerous graffiti and street art competitions, stencil workshops and live painting sessions; there are even centers providing color filled activities for children living in the slums. A few local companies are known to support and nourish creative talent by providing collaborative opportunities to young artists, artist collectives and galleries to showcase their work. That kind of forward thinking is one of the things

that paints Buenos Aires as truly unique. It is a common fact that Buenos Aires has some of the best red meat and wine, but only a few know the city’s well kept secret -- its icecream! The many flavors of countless ice-cream parlors -- they also make home deliveries till 2 am in the morning -- will make you drool and hunger for more. And if you are an avid shopper or like to eat out, you’ll definitely appreciate the trendy district of Palermo, with its colorful shops, bars and restaurants. Furthermore, there have been a recent influx of local designers in the area of Soho Palermo and you will be sure to find a fashionable pair of colorful shoes, accessories or a bright colored throw made from the softest alpaca, that will keep you warm in the years to come. Whatever you decide to do, or wherever you decide to go while in Buenos Aires, this city will enchant you, surprise you and make you want to relocate. With its many colors, flavors and things to do and experience, Buenos Aires is a feast for the eyes and senses; and I’m sure you’ll be able to create your own colorful memory when you come here. - Irina Romashevskaya

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COMMES des garçons Photography Žiga Mihelčič Styling Kate Carnegie

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Shirt Edgeley Pant Camilla & Marc at Fame & Agenda Tie Jack London Sunglasses Roisin Murphy

Bomber jacket Jack London Shirt Jack London Pant Zara GLOVE ST YLIST OWN

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TOP Bec & Bridge at Fame & Agenda Pant Jack London BELt Edgeley SCARF Gucci Sunglasses Charlotte Olympia NU-MODE´Addiction autumn/winter issue.94

Jacket & Pant Zara Scarf Hermes Shirt Edgeley Belt Yigal Azrouel Sunglasses Cheap Monday Shoes Jeffrey Campbell

Shirt & Jacket Neo Dia Boe Tie Jack London Pant Fame & Agenda

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Addicted To


Photography Koty 2 Styling Różena Grey

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blouse ZARA hat VINTAGE

blouse ZARA hat VINTAGE necklace H&M

cardigan PAWEŁ ISAAC ANDROSIUK hat VINTAGE NU-MODE´Addiction autumn/winter issue.109

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rench artist Sandrine Pagnoux presents emotions of fragility and power. Preferring to work with models with strong attributes, the manipulations of Pagnoux engaging images showcase the beauty of imperfection from a darker perspective, attracting the attention of publications internationally. Though Pagnoux doesn’t classify the style of her work, she believes content is more important than technique when communicating a form of expression with the viewer. When was the moment you realized illustration was something you wanted pursue? As soon as I started I knew I was on my way. You once mentioned you try to create a visual impact, to emotionally upset people. Why upset viewers and what emotions are you trying to pull from people? I try to communicate with people through my images. So, emotion is all that matters. Do you have a muse? Not really. But I love to work on models that have a strong personality. Strong glances. From your perspective in the importance of creating an image, would you say it’s the technique or the content? Content. Technique is not really important.


“I think I don’t define my work because I feel I am constantly evolving in different ways.” Tell us a bit about the creative process behind your work, do you share different feelings when illustrating? When I work I am really into my work. I am completely focused. I need to be on my own. I can’t really work around other people. I need to be alone. So, I completely gave my soul into it. I feel like time doesn’t exist. All is very intense in my head and I feel immense joy in creating. I just follow my heart and my instincts. I feel free. Would you define your work as abstract expressionism if no, how would you define it? I think my work is not abstract. Human is still present. I think I don’t define my work because I feel I am constantly evolving in different ways. Past artist that mostly influence the direction of your work? Expressionist artists. I’ve never seen art so charged with passion. They were an endless source of inspiration. In consideration of your career path, what do you think is your greatest achievement? I don’t know. Perhaps my drawings. They are very personal. As an artist what type of mark would you like to leave on the world? An imperfect mark (because I have an addiction to the imperfect)

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s a n d or l a k a t o s

S t r u c t u r e d p r o p o r t i o n s Interview JOHN-MARK

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ocated in the heart of Europe, Hungarian based designer, Sandor Lakatos became an instant success after starting his brand in 2005. Exhibiting his collections in London and having become the subject of several photo shoots in New York City, Lakatos continues to create timeless garments that could be worn by any gentleman. With an attention to detail, Lakatos defines menswear by transforming the traditional suit into sleek modern pieces, preserving the overall classic appeal. How do you feel you have grown as a designer since your first collection in 2008? Fortunately I didn’t have to exert myself, everything came to me on it’s own but of course there is always something to do all over the world. We love your choice to cast more mature male models for your latest collection’s lookbook? Tell us about the process of putting together that shoot? I wanted to show in this collection the masculine side of my brand. I dreamed this concept and called my friends to be my models, but they didn’t work in fashion. “I didn’t need styling because they were the style for my clothes.”

“ I wanted to show, in this collection, the masculine side of my brand.” How do you feel your heritage has influenced your work? I grew up in a textile manufacturer family, but I can say they didn’t influenced me, because my line is very different. What has been the greatest experience of your career thus far? I love all steps that I have taken from the beginning till now. The famous people, who buy my clothes; the fashion shows; the colllection, that I designed for TIGI; the fashion awards in Hungary and a lot of publications… What has been your greatest challenge? To coordinate the fashion night life with my family and my 2 little children. What can we look forward to seeing from Sandor Laktos in the future? I am starting my new collection, the conception is ready, but it’s a secret… ;-) Of course it will be the same, extravagant and timeless. - Sandor Lakatos

The Arrival

of Homo consommatus interview irina romashevskaya Photography Tima Sergeev


omo Consommatus is a new womenswear brand founded by Russian-born Alexey Sorokin in 2011. After only a couple of collections, the brand managed to generate a lot of buzz in Russian and European press alike. Additionally, its multi-media presentation of Spring/Summer 2013 collection during New York Fashion week was a breath of fresh air and a long-awaited departure from the usual format of today’s runway shows. Your Spring/Summer 2013 collection presented during NY fashion week was highly conceptual, a rare occurrence in a commerceminded New York. What made you decide to present your collection here instead of Paris, Milan or even your hometown of SaintPetersburg? After presenting our Fall/Winter 2012 Collection in St. Petersburg last season we got the proposition to participate in NY Fashion Week. We compared it with our strategy and decided to be a black sheep in highly commercial New York. Who knows what could have happened in Paris or Milan or even somewhere else. How did the idea of Homo Consommatus come about? What stands behind the name? 
 Нomo Consommatus was the name of my graduation collection, created in June 2008. This play on words bore my interest in sociology and the study of consumerism in society, which up to this day still holds my attention. As a thinking man -- Homo Sapiens -- I’m interested in the global development of modern society. Consumerism, as an important part of that process, allows me to stay in touch with the times and look far into the future. This is why I decided to keep that name for my brand.

“Russian designers have an air of authenticity; they differentiate themselves from the rest of the world. Stereotypes like these are created by European society as well as by Russians themselves.” What can you tell me about your hometown? Would you say it played an important part in your development as a fashion designer?
 The place where we spend most of our life has certain limitations. And since I don’t like limitations of any kind my personal world consisting of my close friends, colleagues, my interests and travels plays an important role to me. The feeling of freedom when choosing my next destination on the map or in life is the most important thing for me. There is a number of young talented European designers emerging to the scene right now. In your opinion, what separates Russian designers from other European designers? Russian designers have an air of authenticity; they differentiate themselves from the rest of the world. Stereotypes like these are created by European society as well as by Russians themselves. I hope I don’t appear to look so different or authentic myself. NU-MODE´Addiction autumn/winter issue.117

“I only concentrate on things that are truly important to me: I don’t spread myself too thin.” IR: How would you describe your own aesthetic? Neo-futurism. The main features of Homo Consommatus are: the juxtapositions of lengths, mini to maxi; volumes, slim to over-sized, as well as architectural cuts, natural color palette and an abundance of textures that bring to mind a variety of tactile associations. What’s involved in your creative process and where do you get your inspiration from?
 My inspiration comes from my habit of thoughtfully picking fabrics and coordinating them with each other by the way they feel, rather then the way they look. More than that, I find my inspiration from friends and my team, without whom my job as a designer would be impossible. And I also pick up a lot of visuals from books and travels. Do you have anything in mind already for your next collection? Where would you present it?
 The idea for each following collection is born before I have a chance to show my previous one. And it is kept in secret till the day it’s shown. We are planning to present our Fall/Winter 2013 collection again in New-York, although we received a few offers to show in Europe. NU-MODE´Addiction autumn/winter issue.118

You collaborated on a couple of theatrical productions with Mariinsky theater and Temporaere Theater in Berlin. What can you tell us about this experience? Is costume design something that interests you as well as fashion design?
 Collaboration with theaters gives you an opportunity to enter a new world with its’ own laws, traditions, freedoms and limitations. This new world exhilarates and fascinates, but you can’t escape a feeling that you are just a guest, and sooner or later you’d have to go back to your day-to-day activities. Are there any new artistic projects in the works? How do you see Homo Consommatus in the future?
 I only concentrate on things that are truly important to me: I don’t spread myself too thin. I would like to experiment with video installations, or participate in a commercial collaboration without loosing the concept or philosophy behind the project itself. But the development of my own brand is definitely a priority. I would like to bring it to another level while sharpening my skill, like in a parable about Japanese butcher, whose knife’s blade only became sharper with years and whose movement improved to perfection.

Photography Tima Sergeev make up artist mary lee hairstylist Tony & Guy Models Kseniya Timofeeva & Olga Timofeeva LMA models

Kaleidoscope Photography Karoliina Barlund Styling Natalie Read

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dress maria grachvogel embellished bodysuit beberoque neck piece custom made by stylist NU-MODE´Addiction autumn/winter issue.122

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The U l t i m a t e C o o l

Chelsea Leyland

Photography Julie Guez & Kelly Kreye styling Latoya p Henry Interview JOHN-MARK

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he name Chelsea Leyland should have a familiar ring for anyone passing through the fashion industry’s nightlife over the last two years. Regarded by many as “Fashion’s DJ,” since her quick rise to success just three years ago, Leyland has been spinning for the likes of W Hotels, Valentino, Vogue, Burberry, Fendi, Channel, Missoni, Vogue, and countless other brands, magazines, and high end clients. Commonly a subject of TV commercials and documentaries, Leyland’s talent coupled with great style and personality, has made her the ultimate cool chick. Let’s start from the beginning. How did you first begin spinning? I moved to America to actually go to acting school, and so in a weird way DJing is something that I fell into, it was never something that aspired to do. I was sort of DJing for fun, and my boyfriend encouraged me to take it seriously. I basically started taking classes with another DJ, who is amazing. I had a lot of friends that worked in the fashion world, who kept saying, “You should learn to DJ because then we can hire you for these events.” It was something that I never thought was going to be a serious thing... it all happened quite quickly. I was lucky I think, because there was a lot of people that I knew. It was never really something that I thought that I would do so well at, it just happened like that. I feel very grateful. What was the moment when it felt real for you, that you were really taking it on. I think it was more when I was making money doing something that I enjoy, and I was like “Wait, I’m making money and I love doing this. This is amazing.” I remember one of the first bigger gigs I had was DJing for the Paper Mag Beautiful People issue, I was DJing fucking Duran Duran. That was when I was like, “Wait a second, this is quite a big gig.” Then they just started getting bigger, really. Then MTV had contacted me and wanted to do this documentary on female DJs and include me in that. Even now, I still get that feeling... I still find it hard to believe that I’m doing the things that I get to do. How many years has it been now since you started? I think it’s been three years now. Three years! That’s amazing. You must make a lot of other DJs very envious. I would even venture to say that you’ve quickly become the fashion industry’s DJ. Awh, thank you. Do you think your experience as an actress has influenced the way you DJ or your relationship to the market? I think in a way, especially working in the fashion industry, it’s playing a role almost. So yeah, it’s not like I can just show up wearing my sweat pants and DJ. I think the designer dresses and the outfits, you play the part, and kind of curate the music around that and the kind of people that are going to be there or even looking at the clothes and being inspired by the clothes. I think it’s all a big package and I definitely think my acting experience has helped me conduct myself in the right way. I’m definitely in front of people and cameras a lot and I think if I was really shy, it would be a difficult job to have.

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There is definitely something that has happened recently. The DJ used to be more of a man or woman behind the curtain situation and now we’re coming out with all these personalities and DJs are even popping into the music videos and shows. Yeah, it’s really exciting what’s happening right now. I think that this wasn’t around so much before, and now [DJs] are becoming personalities. Almost like a singer or an actor, people are like, “Oh okay, who is this DJ? What are they like?” rather than just, “What is their music like?” When people ask you to describe how you work, what would you tell them? To be honest, I never like to be put in a box too much, because I do DJ so many different types of events and parties, and I like to think that I’m constantly growing. When I first started DJing, in terms of music, I wasn’t playing such a wide variety of genres. I like to challenge myself and play to different audiences, sometimes it might not be so enjoyable and you feel as though you’re not succeeding… and as a DJ you don’t always succeed. Try to be different. I like to think that I’ve developed a style. I got quite well-known for doing a whole 50s thing when a lot of people weren’t doing that. I like a challenge of trying to entertain to different audiences and constantly being taken outside my comfort zone What have been some of your favorite events that you’ve done? Some of my favorite events… I DJ’d in Berlin a couple times and to me that’s been amazing. It’s one of my favorite cities in the world. I DJ’d for Damien Hirst. He did an exhibition in Gallery Weekend, in Berlin Soho House. That was an amazing party and then the following year I was asked to DJ for Tim Noble and Sue Webster, two amazing artists, for their exhibition launch in Berlin as well. Those two gigs have been two of

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“To be honest, I never like to be put in a box too much, because I do DJ so many different types of events and parties, and I like to think that I’m constantly growing. ”

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my favorites. I had a weird wacky gig in Monterey, in North Mexico, which I really enjoyed. There is so many that it’s hard to say. It’s really an unfair question. Yeah, it’s amazing when I get to work with a brand like Chanel and Valentino, I’ve done so many amazing things like that. I think my favorite gig recently was I DJ’d with Diplo and then Santigold performed. That was definitely one of my favorite gigs I’ve ever done. It’s certainly a very collaborative profession. Are there any artist that you’re like,”I would love to collaborate with that musician.” Yeah, so many. To be able to DJ for someone like Prince would be amazing. Also, in terms of new artist I love Azealia Banks, I would love to DJ for one of her shows. That would be pretty cool What’s your favorite venue in New York City? My favorite venue in New York City, I just went there a few minutes ago it’s 5 Bleecker St. I went for the Margiela H&M event and I think that venue is absolutely incredible. I’d say that right now, it’s my favorite venue in New York. If I could DJ anywhere, it would be right there.

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Do you enjoy to travel a lot? Is it something that you’ve become accustom to or are you a home body? I really love traveling, I’m the kind of person who get very restless if I’m not traveling, but at the same time there is nothing better than coming home from a trip or coming home from doing a lot of traveling and just being able to sleep in your own bed and have a bath in your own bath, so I think I’m a good mixture of the two, I love the excitement of traveling but I’m a home body as well. Are you the first of your family to venture into the fashion/entertainment industry? My Dad was quite a legend. He ran the Playboy Club in London back in the 70s. Then my dad went to own a well known restaurant in London, which Gordon Ramsey ended up buying from my Dad, so I think I’m the second. What advice would you have for our readers who are interested in pursuing a career in being a DJ?

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Just believe in yourself. It’s often hard and everything seems impossible when you’re [starting]… also developing a style, your personal style or how you conduct yourself. I think trying to educate people is important not just playing what they want to hear. I’ve been fortunate enough to play different crowds of people. I say that developing your own style that’s different from other people would be a good piece of advice I would give others. That’s really wonderful to hear that you’ve taken into account how much influence you have. Music is such a powerful tool, it’s such an emotional tool, and I think to really appreciate that is something beautiful. Thank you so much. I think that music is such a big thing in everyone’s life, and that’s what makes it so incredible. It’s not just saying “Well I’m a stage actor and really only explore interest in theater and appreciate that.” I think that music is something that everyone can appreciate and can alter anyone’s emotional state and that’s why it’s such a powerful tool.” ombre LEather jacket Muubaa romper asos Rings Sabrina Dehoff & chelsea’s own

LEather dress Muubaa Necklace Sabrina Dehoff Bracelets Sabrina Dehoff Ring Sabrina Dehoff Photography Julie Guez & Kelly Kreye styling Latoya p Henry Art Direction John-Mark Make up artist Amanda Markoya Hairstylist Keila Sone styling assistant Andrea Boehlke

Special Thanks Eduardo Morales& Kelly Millions

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An Eye Candy Duo The EC Twins interview andrea boehlke

Photography mark mabhout


he EC Twins are trouble. How do I know this? Well, first of all, they were late to our scheduled interview. So there I am sitting in a hotel lobby and not sure what to do. I’ve called their PR person several times and I even went as far as to publically tweet them asking where they were. I’m relentless; I won’t give up without getting this interview. Then, just as I’m wondering if I should just peace out, I see these two handsome British DJs staggering towards me from the elevator.

Yes, I had to give them that. They were currently on tour and last night they rocked out a late gig. I guess I could let this one slide by. Either way, now that I finally got the twins in my possession, up to the hotel rooftop we go! I know you’re on tour right now, how do you guys like New York?

“It’s about time!” I say. “I was about to leave!”

Allister: We love New York. It’s great, you can walk around, you can get a deli sandwich at 6 in the morning that tastes awesome. We’vealways liked New York. When we came to America it was one of the first places we got booked for a public gig.

“Hey, we had a late night!” The twins proceeded to each give me huge hugs, completely ignoring my tag-along camera guy. One of them (which I would later find out to be Allister) explained, “And then we went to a deli, and I got not one, but TWO deli sandwiches. Two was a bit much.”

Marc: It’s exciting in New York because it’s a little bit behind West Coast in terms of electronic music, so when you come over here you still feel like you are pioneering the scene. People are still excited about this music and still think it’s new.

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So how does one become an EC Twin? I mean, it doesn’t happen overnight! Allister: (grabbing mic from me) I’ll explain. Mommy and Daddy… how old are you? Old enough. Mommy and Daddy have sexual intercourse. This is strange, I shouldn’t explain this. Alright, alright. So I know you guys started out as flyer boys. My question is: How do you go from being flyer boys to being international sensations? Marc: A series of errors. No, we were just really good flyer boys. We were really good. People payed us like 50 bucks. And for us at the time that was a lot of money, and we really loved the club scenes so we worked super hard. I don’t think for that kind of money you could have got anyone else filling the clubs that we were flyering for. Allister: Now electronic music and house music is huge in America. That’s a great thing, because it is completely different then how it was when we first arrived here. I don’t know if people understand what we did for the scene. That divide between Deep house, which was a very small scene and Trance, which was the bigger club scene-that whole thing in between was something we really drove forward. Marc: What we found America to be based on, which was different than the rest of Europe where you’re talking about ticket sales mostly, was this odd sort of table service that we were presented with. At first we didn’t understand, but we quickly cracked the code on that one and were able to have these millionaires and billionaires spending ridiculous amounts of money-- for whatever reason--on big bottles of champagne and pouring them over their heads to house music. And that’s when finally the rest of America decided to pay attention. When people started to get the calculators out and go “hey, the EC twins Photography Michael Cicchetti are making money” –well we weren’t making the money, but we were making the money for the clubs—that’s when the rest of America started to say, “Money? Money? Did I hear money? Yeah, House Music, great.... but Money? Okay House music is fine!” That’s basically what happened.

“ Personal life is just not important. What is important to us is the music, the scene and our careers. If you ask me my 5-year plan or my 10-year plan it’s just more of this.” It feels like it’s probably hard to balance a personal life with all this go-go-go. Girlfriends, single--what’s the scoop? Allister: Personal life is just not important. What is important to us is the music, the scene and our careers. If you ask me my 5-year plan or my 10-year plan it’s just more of this. A personal life is never something I really wanted to be honest with you. My personal life exists behind the DJ booth and other than that I just watch TV and go to sleep and get on flights. You know what? It’s an amazing time.

Marc: I have to say that there are certain people out there, especially in this new generation who just simply don’t want to get married or have kids. And I’m one of those guys. I just don’t think the world needs any more of me. I don’t have this biological clock ticking where I’m out there looking for love. It’s not really what’s going on. So your actual names are—you’re Marc and you’re Allister? Marc: Do we have to talk about this? Can I just say that “Dre Dre” asked, before the camera was on: Do I feel bad that he’s got a bettername than me? Isn’t that an opinion? Isn’t that like, “I prefer chocolate, I prefer chips? “Some people like the name Marc. Evidently someone did. Allister: As I’ve said before, the question was: Are you jealous that I got a better name than you? And the answer from you was “yes, a little bit.” Marc: I want to list some statistics: America, show of hands: who is called Marc out there? Who is called Allister? Right off the bat, there’s clearly something that’s going on with the name Marc that’s good. Second of all, I’ve heard that Marc is a name where there are not very many poor Marcs. Now I can testify that there was at one time, one very poor Marc. Allister: He’s very touchy about this. Just get over it. You’re a little bit defensive. “Ye protest toomuch.” It’s just a name, okay. Mine’s cool, yours is average. Get over it. Marc: Whatever. I like the name Marc, and personally I don’t think Andrea is that good of a name. What does E.C. stand for? Allister: It stands for many things. The night club that we took the lease on when we were 18-- the name of that club-- it’s the initials. We carried the initials because it took us from the poor house to an average life style and it meant a lot to us. Isn’t it Eye Candy? Marc: Then why’d you ask the [expletive] question? (laughing) Because I wanted to hear you say it! Allister: The club was named Eye Candy. Thanks for dragging that out of me, even though I thought I was making it perfectly clear that I didn’t want to say it. Yeah, they are the initials of the [expletive] club. It’s okay; I think you guys are eye candy. I like it. Thank you guys so much. One last thing—how can your fans follow you? Allister: Just google E.C. twins. Twitter, Facebook- I will warn you that we do post some incredibly obnoxious things and we’re almost cartoonishly obnoxious yet some people still think we’re serious. We thought we were being so cartoonishly over the top that it was obvious we were joking but some people just don’t have a sense of humor. So if you don’t have a sense of humor, don’t follow us. If you do, welcome, let’s have some fun.

So after the teasing, the mic-grabbing and playful banter the interview turned out to be success. The EC Twins may be trouble, but it’s the good kind of trouble. So check them out, follow them on twitter and facebook—but remember: they’re joking! Also, check out the actual filmed version of the interview on Nu-mode TV and Youtube.

Mississippi’s sweethearts

Rosco Bandana interview andrea boehlke


f you like country music or music with a little bluegrass/rock/southern flare, you have to check out Rosco Bandana. This band, hailing from Gulfport, Mississippi was the first to be signed by Hard Rock Records and they are making a statement across the country. I was excited to be able to chat with five of the seven band members at the Mercury Lounge. Check out these Mississippi sweethearts: Can you tell me a little bit about starting the band? Jason: Well it all basically started with a group of friends getting together and wanting to play music. We all grew up together and just started collaborating. How do you describe your sound? Jason: It was just on the charts as #1 debut album for all of Country and Americana on Amazon, so we’ve kind of been given that title as of now.

Jackson: It has that influence to it, but I would say Roots music be cause it’s such a broad ambiguous title. We have a lot of different influences: we like blues music a lot, bluegrass, and all country, so it’s really a full spectrum. Can you tell me a little bit about your label with Hard Rock Records? How did you get involved with the Hard Rock battle of the bands? Jennifer: Jason was actually the one that got us involved in that. He used to work with these little ole ladies that were very sweet. What were their names? Jason: Janelle and Miss Jones. They’re two old ladies that I used to help take care of. And they said that we have to do it. “For me, do it for me,” was what Miss Jones said. We’re not hard rock but we agreed to join the competition, and sure enough, people liked us. One thing led to another and the next thing we know we’re in London playing at High Park, and then we’re on the record label and it’s all been a big blur. It’s very surreal.

So I know you guys are from a small town in Mississippi and New York can be pretty shocking. Anything crazy happen to guys here? Jason: Well we’ve almost killed a few people! Emily: With the van. Not our weapons….which we don’t own. Jason: When we first got here, we turned the wrong way on a one way street, with the van and trailer. It was my fault, I was driving. Jackson: I was in the very back and saw all the people on the street point and yell “one way, one way!” Jason: But it got people’s attentions. They were all like, “who’s that?” And we’re like “hey guys, we’re Rosco!” Emily: Yeah, In Mississippi we are more shy with our horns. Just now, this guy in a truck laid on his horn for at least a minute. Jackson: It was a pretty epic horn blast. So who writes the songs? Jackson: Jason does, for the most part. We have a couple that are more collaborative and we also play a few covers. Patrick: I believe everyone in the band does write. Jennifer: Yeah, we’re all writers and I think that’s why we are who we are. We put all of our thoughts and designs into this music. It has a little bit of all of us, and that’s why it works. So Nu-Mode´ is also a style magazine. Where do you guys get your style inspiration or buy your clothes? Patrick: Well, Jason obviously tries to be Woody from Toy Story. Jason: “There’s a snake in my boots!” (Note: Jason is indeed dressed just like Woody, it’s completely adorable.) Emily: Jen and I like to do the Eisley sisters. Pretty much anything vintage; we do a lot of thrifting and stuff. Jason: Thrift stores! Because we are all broke musicians! Patrick: The coolest clothes come from vintage and thrift stores. Hand me downs too, we were all raised on it anyway. What is the reaction from back home? Patrick: Nothing but support. Love and support. Our fan base back home is ridiculous, it’s amazing. How can your fans follow you and be updated? Jennifer: We have Facebook, Twitter, and we have Instagram too. We’re about to get Tumblr. There you have it. Rosco Bandana is a group of humble, extremely talented, good ole country people. Make sure to check out their unique sound, especially if you like a little bit of country, a little blues, a little Americana—basically if you like music in general you should check them out.

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s u n

WRITTEN BY Kate s. Messinger


usic is more then just sound, it hits us as memories, feelings and scenes, becoming an experience of the body and mind rather then a receiving of the ear canal: It gets physical. Cat Power’s distinctive deep crooning voice is one of those sounds that gives me Proustian chills, opening up a whole Pandora’s box of memories set to the soundtrack of her earlier albums, especially The Greatest. I remember listening to that album on my big, clunky iPod, sitting on the Fung Wah bus as it traveled slowly back from Philadelphia, watching that approaching New York skyline standing just as much on young aspirations as thick old steal. I had escaped college in the city for the weekend to a place where beer was cheep and dudes were easier to lay, either because they found me an intriguing “New Yorker” or because they knew they’d never see me again. It was my first one night stand and here was my sister Chan Marshal, aka Cat Power (I never had a real sister before and she seemed weird enough to be of some relation), whispering me acoustic advice that seemed to sooth the morning after burn and build calluses to protect against relationships ahead. Cat was pushing a poor, cold college girl on a urine scented jerky bus back to a town she knew she loved but didn’t know why yet: Cat understands. Years later, now that I’ve learned to fend for myself (kinda) and not make up fake siblings (or at least keep them to myself), Cat’s voice still brings back a distinct physical pressure, that constriction of my tootight college jeans, a heavy feeling of not knowing that sits restlessly on a young adult’s chest. I didn’t know if I was ready to hear the new album, Sun, her first in 6 years, if I could go back to those dark years NU-MODE´Addiction autumn/winter issue.142

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in college, slip into those vivid sensory memories her music prompts. Guess what, Nostalgia? Cat’s not in college any more, and Sun is not your regular trip down walk-of-shame lane. She’s cut her hair and added a bass line, some synth and a whole lot more funk. This is not cry-in-your-dorm-room music, this is grind-up-on-a-Philly-dude-inthe-back-of-a-house-party music. The first single released off the album, Ruin, is far from the Cat we knew, the electronic Latin beat starts in your hips and crawls up your spine just before that voice comes and punches you in the gut. It’s her, you know it, but something is different: she’s more mature, less sentimental, and actually hip. The songs have grown in the past years to something much more upbeat, standing strong next to similar lady artist like Grimes. Even with these new back beats, Cat Power’s iconic voice is still the leading force, evoking emotion in a place you never thought you could hide it: an electronica track. It’s not hard to imagine making new memories to these songs. The whole album is what I want to imagine running into an old college girlfriend feels like. Here you are just getting a regular burrito at that place on corner and bam, there she is eating one of those salads in a taco shell bowl. She’s almost unrecognizable with those perfectly tailored pants, and it looks like she actually has her shit together after six years. But once you guys start talking, you can tell it’s the same girl who sang you to sleep in that twin bed, who maybe has a bit of a drinking problem, but looks good doing it, and who will always take the Fung Wah back from Philly, even if she can afford the train.

the Top 5 Albums We Love 1. Jessie Ware - Devotion London raised singer-songwriter Jessie Ware, born Jessica Lois, makes a memorable debut with her album Devotion. Starting out as a backup singer, she became frustrated with where her career was going; however after doing a song with SBTRKT and a series of fortunate events, she released her first single, Running, in late February of 2012, starting her career with a powerhouse ballad. Her album mixes a smooth, soulful atmosphere with strong bass dance music. The album has other stand out songs like Wildest Moments and Sweet Talk, and gives a feeling of the late Whitney Houston in songs like Taking in Water. In the crowd of new female vocalists, Jessie Ware is definitely a stand out. - Milton Garay 2. The Royalty - Lovers I have a girl crush on Nicole Bourdreau. After listening to The Royalty’s album Lovers, I think you will too. This lead singer has a sassy/sexy sound and some amazingly catchy lyrics. The song “Bartender” is a great one, and she lets us know in her soulful way: “I’m in love with the bartender/Whenever I see him he plays the old rhythm and blues.” Yet, although Nicole is a great frontwoman of the band, she is backed by a solid handful of electric players: Will Daugherty on bass, Jesus Apodaca on guitar, Daniel Marin on keyboards and Joel Quintana on drums. The Royalty has been deemed indie-rock, indie-pop, retro and reminiscent of 1960’s sound, but I definitely put them more in the feel good rock category. The music immediately makes me bob my head and want to dance and sway, and I can’t say that of a lot of bands. Perhaps my favorite song of the album is “Mr. Hyde.” Here Nicole sings about taking a guy out to see a band and demanding him to show another side of himself: “You work too hard, you know? / Don’t wear that tie no more/
I’ll take you out so you/
Can be a rock ‘n roller” and then she belts into the chorus, “Show me your other side and I’ll show mine/ Oh, c’mon Doctor, give me Mr. Hyde.” This song, like much of the album is fast paced, catchy and sexy. The Royalty is a band you must check out and Lovers is an album that does not disappoint. -Andrea Boehlke




3. Ari Shine - Songs of Solomon Once upon a time, people sipped cups of coffee in sparsely populated cafes across Greenwich Village. On chilly autumn days, they listened to folk singers tucked on a stage in the corner; the rugged sounds from Ari Shine’s Sounds of Solomon evoke that feeling of yesteryear. Marty Rifkin, a frequent collaborator of Bruce Springsteen and Ryan Adams, gave the album a distinctive metallic feeling, playing pedal steel and lap steel on seven tunes. The album was funded by a Pledgemusic campaign, true to Shine’s roots on the road supporting acts like Mindy Smith, Lucero, the White Buffalo, Linda Perry and Mike Peters of the Alarm, among others. For those that dream of a simpler time, this album is a great choice. For a free sample of Shine’s style, the song Ninety Nine, inspired by the Occupy Wall Street Movement, is available for free download on Noisetrade. - Clark Rahman 4. David Byrne & St. Vincent - Love This Giant Being weird can get you far, but making that weirdness relatable is what gets you remembered. And when two strange souls like 80’s new wave rocker David Byrne and guitarist/vocalist Annie Clark, performing as St. Vincent, come together to make an album, you know it’s all gonna get pretty weird. Love This Giant is more of a concept album than a combining of styles, sounding almost nothing like their individual projects in the most intriguing way. Each of the artist’s obscure, iconic voices stands out against the backdrop of an unexpectedly pleasant band of brass and horns. The song “Weekend In The Dust” sounds as if you got stuck somewhere between a new Orleans street band and an Indie rock open mike, it’s strange, but it feels good. In the video of the single “Who”, Byrne brings his ability to make the strange cool, the bizarre marketable, and Clark follows suit with her obscure and tantalizing beauty, movements and voice. The song is the perfect representation of the album: a multi genre story with distinctive characters, non-sequitur plot twists, and an unexpected clashing of beauty and obscurity. The concept feels as if it should be unrelatable in its strangeness but, like waking from weird dream, you’d rather fall back asleep and enjoy the freak show than continue with mundane normalcy. - Kate Messinger



5. Rosco Bandana - Time to Begin Hailing from Gulfport, Mississippi, Rosco Bandana is the first band to be signed to the new Hard Rock label. After winning the 2011 Hard Rock Rising Battle of the Bands, this seven piece act rose up from their small town and are now receiving national recognition. When you hear that Rosco is the first band to be signed to the Hard Rock label, you immediately assume that their sound will be... well, hard rock. Instead, you get a more down-home, country, folk/rock feel, which all blends into a nice sound for their first album. Lead singer and writer Jason Sanford brings a beautiful country twang reminiscent of Woody Guthrie. Add in some gorgeous female harmonies by Emily Sholes and Jennifer Flint as well as a mandolin, slide guitar and drums and you got yourself a pretty darn good album. I highly recommend taking a listen to Rosco’s album; the songs Woe is Me and Time to Begin are catchy enough and make you feel you’re dipping your feet in a good ole Mississippi creek. -Andrea Boehlke

T h e ro y a l t y Written by andrea boehlke


f you’re looking for an indie-rock band with a captivating style and sound that won’t get out of your head, check out The Royalty. Hailing all the way from San Antonio, Texas, this five person band played at the Bowery Electric on September 21st, 2012. The lead singer, Nicole Bourdeau blew me away. Nicole not only has a great look and an astonishing voice-- she has that wonderful thing called stage presence. She knows how to work a crowd; she knows how to light up a room. Most of all, she knows how to have fun. Nicole was having a blast and this showed through the entire set. Other cool things to note: Dang, this band has style! Pleasing to both the eyes and ears, every member of The Royalty has a great energy, and you can easily find yourself lost in the music. Additionally, unlike the bands before them, the crowd (which had doubled at this point) was rocking out. The Royalty isn’t a band to listen to when you want to snuggle up and go to bed. You want to listen to them when you’re in a head-banging- I- want- to –party-and-swayto-the-music- kind-of-mood. You can check out this cool group at and make sure to take a listen. You’ll be hooked- I promise.

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The Adventure Is

Just Beginning

o t a c i l e d n I k r a M Photography dana scruggs styling Matthew Anderson WRITTEN BY JOHN-MARK

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ow that I’m back in New York, I feel I’ve taken on this 90’s style,” said Mark Indelicato, who sat across from me in an east village coffee shop. Dressed in a loose black top adorned with silver chains, purple short shorts, and a flannel wrapped around his waist, Mark confidently embodies the 1990’s aesthetic with some personal flair. “I don’t like to look like I’m dripping designers when I walk out of the house. I think that’s such a turn off. I hate when people try so hard to look fashionable... it’s how you carry yourself.” It’s still quite warm out when we meet on the corner of East 12th and Avenue A. I mention how self-conscious I am of my sun burnt face from the beach. Mark responded, “Some of my friends live in Rockaway, so I went out there two days ago. It was really fun. It was my first time out there, so I went with a group of friends and just laid down and smoked on the beach.” Mark has moved into a discreet Soho studio apartment and is truly on his own. As he put it, “I’m done with high school, I’m living my life, and going to NYU.” A recent high school graduate, having relocated to the Big Apple from Los Angeles, he welcomes the transition from show business. “I’ve wanted to step out of the acting world for a bit.” While Mark’s hard work as an actor is undoubtedly justified in his 85 episodes of Ugly Betty and guest roles on numerous television shows, Mark is much more than an on-screen personality. All while balancing his role as a principal member of a hit network television show, at fifteen years old, Mark began an internship at Teen Vogue. Mark then started his own popular blog called The Fashion Gangster. He is now thrilled to be attending the undergraduate journalism program at NYU.

“ It’s like a cut throat game with the interns, especially at a big publication, because everyone wants to get noticed, everyone wants Amy Astley to talk to them..” “Dream job would be creative director at a magazine I really like... Purple, ID, or Dazed, something like that, something edgier and obviously European. I don’t really want to work here in New York at an American publication. I just feel there’s so much censorship [here],” he shared. “I really just want to do journalism.” I asked Mark how being on such a fashion-oriented television show affected his knowledge of style. He answered, “I was playing a character that was fashion obsessed and knew everything about fashion... in order to understand the character, I had to understand fashion. I began exploring and reading, and became a bit more aware. We shot the first two seasons in L.A. and then for the last two seasons in New York, that’s when Patricia Field started working with us. Working with Pat Field was a dream come true, her and her team... she is so iconic, so talented, and her team was absolutely amazing. I remember walking into fittings, and Pat would always pull up a chair and sit in front of you and just watch you.” Next came the internship at Teen Vogue, which Mark enthusiastically shared, “I actually really enjoyed it. Andrew Bevan is one of my close friends, and he’s the associate editor there. Everyone was really nice. I think if I had to say anything negative, it was not about the editors. It was more about the other interns. It’s like a cut throat game with the interns, especially at a big publication, because everyone wants to get noticed, everyone wants Amy Astley to talk to them.”

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With exposure to top fashion editors, designers, and producers, Mark has been in an advantageous position to learn about the industry, but he still hasn’t let it get to his head. We related about fashion week, and having attended many shows as both a journalist and a personality, Mark shared his surprisingly humble philosophy on runway’s notorious front row. “I feel like there needs to be less people that go to fashion shows just to sit there and watch. I mean, I’m lucky that I’ve been one of those people I’m talking about that’s sat in the front row just because they wanted you to sit there, but I enjoyed it so much more when I was there to do coverage. It’s so wasteful, these celebrities who sit in the front row, who don’t give a fuck about what they’re seeing, and then there are journalists in stands, trying to do their job. I don’t think I’ll ever go to a fashion show again and not write about it or interview the designer. This is people’s livelihood, and I think that celebrities and actors take advantage of it.” “The idea to start his blog came on a whim.

I was covering fashion week for Teen Vogue. I was taking all these photos of models on the runway, kind of trend spotting, and trying to write something that was creative...”

With an adolescence immersed in fashion, I asked if Mark was the first of his family to be so fashion savvy. “My great aunt’s husband used to work in textiles here in New York, but other than that my family is from outside Philadelphia, just suburban. Fashion wasn’t really pushed ever in my house... I’m Italian, so it’s more about food, family, and just being together.” On the night of his shoot, Mark’s comfort in a community environment was apparent with the presence of an entourage. Three adorable girls sat quietly on Mark’s couch, while Nu-Mode’s editorial team prepped Mark for our outdoor street shoot. As Mark sat getting makeup done on his kitchen’s low windowsill, I jokingly threatened to have the makeup artist paint a David Bowie lightning bolt across his face. Mark’s three lady friends immediately exclaimed, “Mark loves David Bowie!” I had yet to notice the David Bowie books on his shelf, but I was not the least bit surprised to learn of Bowie’s evident influence in Mark’s life. “The Man Who Fell to Earth is my favorite Bowie movie,” he shared. Much like David Bowie, Mark takes command of his personal style. He first garnered our attention at Nu-Mode´ after we came upon his blog, The Fashion Gangster, a fearless photo diary of Marks own wardrobe. The idea to start his own blog came on a whim. “I was covering fashion week for Teen Vogue. I was taking all these photos of models on the runway, kind of trend spotting, and trying to write something that was creative... and I really enjoyed it. I didn’t even think about blogging at the time. It’s kind of funny and superficial, but there were a ton of pictures of me with a camera and people were like, “Is he blogging now?” and I thought maybe I could just take that and run with it.” Mark’s blog has sat inactive for a couple months now, but it remains an archive of a fashionisto’s coming of age. With his network television contract complete, Mark is excited to take the city by storm. “On the track that I’m on now, I’m going to be partying for a long time... I’m just happy that I’m not in the public eye that much any-

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“I didn’t even think about blogging at the time. It’s kind of funny and superficial, but there were a ton of pictures of me with a camera and people were like, “Is he blogging now?” and I thought maybe I could just take that and run with it.”

shirt marco santaniello pant army of me boots dr. martens sunglasses coco & breezy hat MArk indelicato Photography dana scruggs styling Matthew Anderson art direction john-mark make up artist & hair stylist Jennifer Millan style assistant flora de tournay special thanks daniel rampulla

“ On the track that I’m on now, I’m going to be partying for a long time... I’m just happy that I’m not in the public eye that much any anymore, because I actually want to have a good time.”

anymore, because I actually want to have a good time, and it’s sad to see people that can’t do it.” As Mark posed for photographer, Dana Scruggs, on the streets of Soho, a woman walked by and abrasively exclaimed, “It’s Justin Beiber!” then after a moment of further observation she corrected herself, “No, he’s cuter than Justin Beiber.” Mark smiled and continued to pose with grace and professionalism. Having spent the better part of his life in an intense working environment, he’s not your typical college freshman. Superficially, Mark is cute, confident, and severely fashionable, but in all seriousness, this young man possesses all the right talent, drive, and connections to become the next big anything. Eighteen years in, the adventure is just beginning.

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gotham girl Photography Florian Maas styling Matt Antasri

bodysuit Maliza belt Cristallo Nero necklace Dirk Bikkembergs

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top La Perla leggings Balenciaga bracelets Emillio Pucci Photography Florian Maas styling Matt Antasri make up artist & hair stylist Jamal Musa retouching Johannes Weirich & Florian Maas model Elena Maslyuk at M4Models

Jacket Bershka Earrings Blanco

Adicción Photography Élio Nogueira

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“Smoking a Cigarette Keeps me Alive.. Keeps me Alive Until I Die.”

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“Pearl Is The Queen Of Gems And The Gem Of Queens...” NU-MODE´Addiction autumn/winter issue.178

Bracelets Ana Sousa Earrings Chanel Necklaces C&A, Aldo & Zara Photography Élio Nogueira Production Élio Nogueira Model Angelina Pavlishina

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i Photography Nelson N. Castillo styling John-Mark


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skirt olivier green shirt olivier green shoes guess photography nelson n. castillo styling john-mark make up artist anya sinclair hairstylist rosteme cherchali style assistant andrea boehlke photo assistant anthony tudisco Model Diandra Forrest at Angels & Demons

J ร– R by

Guรฐmundur Jรถrundsson interview irina romashevskaya


fter 2 successful years as a head designer for local menswear brand Kormákur & Skjöldur and just over a year out of school, the immensely talented young Icelandic designer Guðmundur Jörundsson has launched his own menswear brand, JÖR by GUÐMUNDUR JÖRUNDSSON. His love for natural fabrics, use of traditional tailoring and obsession with research, translated into a collection of well-crafted three-piece slim fitting suits in conservative menswear fabrics, offset by a few pastel options, subtle prints and textures. The overall mood of the collection was eclectic with a slight futuristic touch. You graduated from Iceland Academy of Arts just earlier last year. Why did you choose to study in Iceland and not abroad? What helped you to make this decision? I knew that the Iceland Academy of Art’s Design Department was excellent, and I decided to take it from there. Besides there is a lot happening in the Reykjavik fashion scene right now. My original plan was also to get a Master’s degree abroad, but then my plans changed when I got the urge to start my own brand.

Have you always wanted to design menswear? Are there any other design areas that interest you as well? I started out focusing on menswear, and it is still my main passion. But we will be adding womenswear in the near future -- that’s for sure. So I am very interested in pursuing that also. If I wouldn’t have been in fashion, I would’ve studied industrial design. Which design projects were you involved in previously and what are you working on right now? I am the co-founder of a namesake collection we launched for menswear shop Kormákur & Skjöldur in Reykjavik, Iceland; I had been working there since the store reopened in 2006. Then a few weeks ago, along with my friend Gunnar Örn Petersen, I started my own brand, JÖR by GUÐMUNDUR JÖRUNDSSON. JÖR will be focusing on the international market, while Kormákur & Skjöldur is focusing primarily on their shop in Reykjavík, Iceland. Our new brand JÖR is more high-end, futuristic and experimental than the Kormákur & Skjöldur; although in its core it is still based on traditional tailoring. For JÖR we will be concentrating on making something fresh yet wearable. NU-MODE´Addiction autumn/winter issue.189

“I knew that the Iceland Academy of Art’s Design Department was excellent, and I decided to take it from there. Besides there is a lot happening in the Reykjavik fashion scene right now.”

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“I spend a lot of time thinking and listening to music, perfecting my vision, creating an entire world around my future collection and getting inspired by it.” How do you usually get inspired? Can you describe your creative process?

glass tower, on the penthouse floor 70 meters high. It was great. The show was packed, with around 400 people attending.

Usually I obsess about something right before I start researching -- I am obsessive – and often I include my obsession into my research to create a clear picture of my next collection as a whole. Then, when I have the mood board in front of me, I spend a lot of time thinking and listening to music, perfecting my vision, creating an entire world around my future collection and getting inspired by it.

What do you enjoy doing on your days off? What are your interests outside of fashion?

The moment when everything comes together usually happens just before I fall asleep. Suddenly, I have every aspect of my next collection: location, music, lighting, make-up and a rough image of all the looks and silhouettes. What would you say is the current trend in menswear right now? The turtle neck is huge at the moment and I am very happy about that. How did you celebrate the launch of your first collection for JÖR? We launched our first collection a couple of weeks ago in an industrial

I have a son and wife and I like to spend time with them! But then I also enjoy fly fishing and skiing. What is your favorite city? Are you planning a trip to New York in the near future? I was in Paris 2 months ago and I really, really liked it. Berlin is wonderful also. Hopefully I can come to New York soon! If you could travel anywhere in the world, where would you go for your next vacation? Mongolia, Mongolia, Mongolia. NU-MODE´Addiction autumn/winter issue.193

A F e w G o o d M e n WRITTEN BY JOHN-MARK PHOTOGRAPHY Betania Sikora


hey are bright. They are talented. They are emerging. From the phenomenal stage presence of Cole Escola and Tommy Hottpants to the perfectly tailored garments of designer Ninh Nguyen, Nu-Mode´ Magazine highlights a few good men for you to handle who have caught our attention as breakout stars in their fields.

DESIGNER: NINH NGUYEN In the profession of fashion design, the speed and acceleration of Ninh Nguyen’s career is extremely out of the ordinary. Emerging and new designers typically experience a decade of hardship before reaping the benefits, which is why we are simply floored by the growth of Nguyen’s NINH Collection over just two short years. Since 2011, NINH Collection has shown during New York Fashion Week twice, been distributed to boutiques on the east and west coast, been featured in countless editorials, and on various celebrities, most recently Tony Vincent for his performance on NBC’s The Voice. Nguyen attributes his swift success to his industry community, “I’ve met wonderful people in the industry, amazing photographers, creative stylists, talented models, and great hair & makeup [artists]. Without the help of the remarkable individuals that I have crossed paths with, I would not have been able to make NINH Collection a success. [They] have given me great feedback, made me more creative as a designer, and gave me the strength and encouragement to strive.” After attending Nguyen’s most recent presentation at New York Fashion Week SS13, I am convinced he is a designer here to stay. A bit rocker NU-MODE´Addiction autumn/winter issue.194

and a bit James Bond, his collection was both classic and futuristic, a balanced aesthetic in which Nguyen specializes with his delicately tailored menswear. In addition to his great skills, Nguyen’s key to career longevity is in his open attitude to change, “As a designer, you have to learn how to change with time, develop a new profound fit to the clothes, and adapt to the new technology that has been strongly influencing textile factories and fabric.” On the day of his shoot, Nguyen arrived photo-ready with a hairstyle he described as his “personal look,” which he cut, trimmed, and styled himself. The outfit he wore was from his FW12 collection, a coat with removable sleeves and quilted pants with silk piped outseams. Always dapper, Nguyen is a walking representation of his ability to clothe the well-dressed man. When speaking on a few of his inspirations he shared, “Christopher Bailey, Frida Giannini, Heidi Slimane, and Tom Ford. They are simply incredible creative directors, each with their own aesthetic for their own fashion house.” We at Nu-Mode would not be the least bit surprised if Ninh Nguyen created the next great fashion house of his own. It is not uncommon for NINH Collection pieces to pop up daily in the media. Recently, garments by NINH have appeared in Rickstar’s music video, “Hanging On (Let Go),” a steamy editorial in NIF Magazine, and in an upcoming action flick, The Densely Hollow. Readers can also see NINH Collection in Nu-Mode´ ’s Issue #4 editorial, “Troika.” Did we mention he’s also a real chill guy? When Nguyen is not designing, he enjoys cooking dinner at home with a glass of wine, absinthe, or cognac.

Broadway Performer: KYLE KLEIBOEKER “Honestly, I’ve been performing as long as I can remember. There is a home video of me at two years old trying to sing and act out The Wizard of Oz.” It’s not a surprising origin story for a man who has spent the better part of the last few years immersed in show business. Having performed on the national tour of Hairspray, The Wedding Singer, and many other vocal showcases, this Prairie Village, Kansas native is something of a small-town hero. In talking about the experience of working on the road, Kleiboeker confessed, “Being away from the ones you love is never easy, but with new places come new opportunities and experiences. On tour, our schedule was grueling at times, but I was fortunate to do what I love every day. I also got really great at packing my suitcase under 50lbs.” It is no secret that being a working actor in the United States requires thick skin and a competitive hustle. In addition to his Broadway career, Kleiboeker’s talent and hard work has landed him a role of NBC’s Lipstick Jungle and many other rewarding off-broadway shows. His success in short, is due to his resilience. As Kleiboeker put it, “Each day in this industry you face multiple challenges. The most difficult has to be experiencing the uncertainty and the constant rejection. I’ve heard it all from ‘You’re too tall’ to ‘Your voice isn’t strong enough’ to ‘I don’t like that song you sang.’ It’s all subjective. Not everyone will appreciate your talents and what you offer. You learn to not take things personally... tomorrow could be my greatest achievement or my most epic fail. You must prepare your heart, mind, and spirit to stay motivated and keep going.” A handful of Kleiboeker’s vocal performances as well as a fun behind the scenes look at the Hairspray tour can be enjoyed by visiting his youtube channel: NYC062287. He is currently working on a new musical project and appearing in various concerts around New York City. He is also writing music in hopes of coming out with original songs in the near future. With a career to be proud of and an undying optimism, Kleiboeker said, “The rest is unwritten and the possibilities are endless.”

Personality: TOMMY HOTTPANTS Tommy Hottpants is what they call a cool dude. A professional personality, Hottpants has been most recently noted for hosting Wednesday nights at The Box alongside Darian Darling. “Darian and I just sort of decided we we wanted to do a night there and asked. As a result, Wednesdays have become a wild, stylish, fun night,” he shared. Wild, stylish, and fun, are also words that can be used to describe Tommy Hottpants. When meeting him in person, there is no doubt as to why Hottpants is a working personality. With scienceexplosion-hair, an infectious smile, and an all-black ensemble, Hottpants had the editorial team, men and women alike, swooning. As a rocker, he has been a part of many musical collaborations. Years earlier, his band Machinebird shared evenings with Lady Starlight & Gaga. Today his latest musical force, Shadow Lover, is soon to release an EP via Jetboy Records. In addition to being a personality and a rocker, Hottpants has also worker as a DJ and a bartender. This is a man who lives and breathes nightlife. “I think a certain amount of balance is important. Working in New York City nightlife is not for everybody. Personally, it’s been a great way to do my music and support it financially,” Hottpants shared. To refer to The Box as notorious is an understatement. Reopened in 2007 by Simon Hemmerstein, shows at the box feature the strangest oddities NYC has to offer. The Box goes beyond burlesque to feature fire breathers, dwarves, clowns, contortionists, and full fontal nudity in all shapes and sizes. The Box also demands that its guests dress up, black tie preferred. The venue is decadently adorned with chandeliers and sculptural fixtures. Between the performances and the venue itself, it is arguably the most personality NYC has to offer after dark, so one can only imagine the personality Hottpants must posses as its host. At first glance, he seems a caricature of a person, but a moment longer and you realize, it’s just Tommy Hottpants.

Comedian: COLE ESCOLA “I think I started [in Comedy] when I was four. I would bang my head against the wood paneling of our trailer any time I sensed tension between my parents. It always got a laugh. Now I’m essentially trying to make a career out of what feels like banging my head against wood paneling to break tension.” Humble words for a master of comedy. With impersonations of Bernadette Peters, self-made characters like Joyce Connor, and his own show on the Logo Network, Cole Escola is recognized for bringing a hilarious breed of dark humor to the comedy community. “Pain, anxiety, and emotional trauma inspire me to create. Not like as an escape. More as a way to cope. Was it Nietzche who said, ‘No artist can tolerate reality?’ I don’t know shit about Nietzsche, I just saw that on facebook... my point is that when life gives me lemons, I try to make lemon art,” he shared. Escola’s miraculous ability to juice humor from topics like depression and suicide have given him an edge in the comedy community that’s rare to find. It’s a kind of funny that’s deeper than a cheap awkward laugh. Escola has a way of expressing a humanity that we all can relate to. Soon, Escola will being rehearsals for a new musical being developed in North Carolina. He also has been filming a short guest appearance on NBC’s Smash and performing live one-man cabaret shows around Manhattan and Brooklyn. When asked about the content of his live work, he explained, “I sing Taylor Swift songs, show tunes, and 60’s girl group numbers. In between, there’s a lot of talking. I talk about whatever is on my mind... lately it’s been the numbing depression I’ve felt caused by a difficult breakup... he had a great bone structure and it’s really hard to walk away from that. I usually do some incest material (at least I try to), I yell at my Dad because I don’t know where he is, and I tie it all together with this experience I had seeing Brooke Shields on 4th avenue recently. It really got me thinking about morality.”

Musician: TONY COLLINS Tony Collins began his music career singing hooks for rappers at the age of sixteen. The versatility to both rap and sing has been a great advantage to the Brooklyn grown performer who also writes his own lyrics. “I write all my music from personal events in my life. Songs like Fall in Love, and Want You Back I wrote with the emotions I had at that very moment.” When asked about the greatest memory of his music career thus far, Collins shared, “It had to be the radio play I got for my record, Get Into You. I remember getting out of my car and dancing to my own music on the radio for the very first time. I can’t compare that feeling to anything else. It was one in a million.” This was only the beginning for Tony Collins, who has also been part to some notable collaborations, including tracks with Precious Paris, TEV, and rastafarian great, Junior X. “Working with Junior X is always a pleasure. We both share the same love for the music and have really good ideas. In the future we may come out with an entire collaboration album.” An infectious sound, Collin’s collaboration with Junior X, “Turn Me On,” is a playlist favorite at Nu-Mode, so we can only imagine what such an album may bring. In the over saturated New York market of Hip-Hop/R&B artists, what sets Collins apart most of all is his personality. As a heart throb with a fan base, he is presented with the opportunity to be a womanizing douche-bag, but Collins remains to this day one of the most kind and gentle men that I’ve met in his industry. His shining personality is apparent in his great stage presence and the way he interacts with his audience. Upon request for his inspirations Collins confessed, “I’m inspired by song writers like Baby Face Edmonds, love groups like Boyz 2 Men, and Michael Jackson. However, I’m always open when listening to music. I listen to almost everything.” PHOTOGRAPHY Betania Sikora ; styling raquel zerbe Make up artist amanda markoya ; hairstylist desiree lynn Art direction john mark ; special thanks lucas hazlett

DJ: MOSKVA “I became a DJ after being a frustrated Classical composer. I realized I was writing string quartets that were trying to get the audience to dance or drop acid, and it was a whole lot easier to do [that] by DJing.” Fair enough, but if his hair is any indication, Moskva is crazy. Moskva is one of our favorite emerging DJ’s because not only does he know how to spin, but he’s an original composer as well. With a heightened sense of rhythm and a mad sense of sound, Moskva is the kind of DJ you invite to your party if you want the roof brought down. In his own words, “This is not a refined art form, alcohol and sex is in its blood. You should play what gets the crowd higher and higher, not what your soundcloud page says you play,” he later shared, “I played a SantaCon party last year that ended with several elves passed out on the door of the DJ booth. It combined my two loves: Christmas and Alcohol.” Moskva specializes in electronic music and he is overtly pleased with the market that’s opened for his favorite kind of sound, “The market for DJs is the best it’s ever been. Creators of electronic music can play to enormous crowds and there is a high level of public knowledge of a lot of electronic tracks.” Moskva is currently working the Bang On! NYC party circuit in a duo with his friend Timothy called the Golden Pony. I had the pleasure of witnessing Moskva working first hand earlier this fall at a warehouse party in Brooklyn. I was delighted to see him clad in nothing but his underwear, dancing wildly with a cigarette in his mouth, all while working his hands over the sound equipment. If that’s not sexy, I don’t know what is.

Photographer: DANIEL RAMPULLA There is a wall of hooks in Daniel Rampulla’s apartment on which cameras old and new, polaroid and film, hang as a testament to a timeless photographer’s dichotomized aesthetic between classic and modern photography. Rampulla, best known to us at Nu-Mode Magazine as one of many photographers we have used for celebrity commissions, best demonstrates this personal artistic viewpoint in a stack of polaroids near these hooks containing shots of beautiful men in natural lighting. The men appear seemingly relaxed, mostly in their own homes, presenting expressions that Rampulla considers to be “deep in thought or in the moment.” They are images that are each a thousand wordsworth of Rampulla’s philosophy on an evolving idea of masculinity from past to present, a theme that is central to his work as a photographer. Originally from California, Rampulla made his was to New York City after attending the San Francisco Art Institute, following a similar path taken by some of his favorite photographers Peter Hujar and Mark Morrisroe. Much like his idols, Rampulla is interested in his subjects as unique individual people whose gender and sexuality are often central to his work. “I like what people would call the androgynous look though I am not interested in androgyny,” Rampulla explains. “The men I photograph may not have very much body hair and they may look good in flowery outfits, but they are still men and I never try and hide that. If anything I want to make that more clear. The men I photograph are masculine despite the fact that they are not muscular and hairy, and they are beautiful because of it.” A man of many talents, Rampulla is also known for his video work. As a filmmaker, Rampulla has been a part of many productions both commercial and fine art. His first commission with Nu-Mode Magazine was a video titled Le Fashion Danse, a short comprising models and dancers moving around in flowing garments by local designers. With his artistic eye, he has found a way to see fashion, dance, and music with a beautiful synergized perspective. It’s safe to say that no matter what the medium, whether digital, film, or polaroid, Rampulla has a way of making magic. His latest project, a video collaboration with Project Runway alumnus, Olivier Green, is due for release later this year. NU-MODE´Addiction autumn/winter issue.197


Luigi Bianco’s concept of Design interview andrea boehlke


ow does one go from being a lawyer to becoming an owner of a highly successful knitwear label? Well, it certainly isn’t easy and it doesn’t happen overnight, but somehow Luigi Bianco—founder of the highly esteemed Votary scarves and blankets—has managed to pull it off. This go-getter, who believes in making a lasting first impression, has wowed many with his fashionable oversized American knitted pieces. I had the opportunity to speak with Luigi himself and learn a little bit about his journey in founding Votary and his visions for the future. Hello Luigi! So, can you tell me a little bit about how you went from being a lawyer to starting your own scarf and blanket company? I was working as a real estate lawyer for a big firm in Manhattan and ended up working there for a while. I actually enjoy law, but the stuff I was doing wasn’t a good fit for me. So I was thinking about leaving and then the economic crisis happened, so I knew I would probably get laid off and that was the case. When that happened, I took some time to travel a bit and tried to figure out if I wanted to stay and practice law or do something else. There were so many lawyers getting laid off left and right because of the economy, so I decided that trying to start my own business would be a good idea. I didn’t know what I wanted to do exactly, so I decided to take a few steps back and start an internship. I was lucky that a friend of mine in London has a company, and they manufacture clothing for retail shops like Topshop and Topman and others of that nature. So I took that opportunity to move to London, which was a big change because I had been in New York for nine years at that point. I was lucky that my family is from Italy

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originally and I was born in the United States, so through that I was able to get an Italian passport as fast as I could and I moved to London and started at the bottom of the totem pole. The company I was working with did a lot of outerwear, so I got experience with that. I eventually moved back to New York and was left to juggle with whether I should go back to law or do something of my own, but at that point I thought, “I have this good idea, I should go for it” and then was just hoping things would turn out well. Wow, what a journey. How did you come about choosing the name Votary? How it happened was that I made a list of probably 200 names, and I just couldn’t find anything that I thought resonated, that sounded good, looked good, nothing that I really wanted to marry myself to. It seriously happened by pure fate. One day I looked over the names on the list and I hated them all. So that day, I took out the dictionary and I opened it up and I landed in the V section, and that first page I opened was the page that the word Votary was on. I came across the word Votary, and I had heard the word before but hadn’t heard it used often. So I looked at the definition and thought that it was really perfect because I was taking this leap of fate, and something my parents had always said was that if I was going to do this I really had to believe in myself. It has a few definitions. The second definition, the one I was interested in, is someone that is a firm believer, and I thought that was really great in terms of what I was doing. I also wanted to create votaries in what I was doing, create believers in what I was doing. I thought it was the perfect name so I checked and it wasn’t trademarked and I said, “This is it!”

So I know that right now the Votary collection is mainly scarves and blankets. Do you have any plans to branch out into any other articles of clothing in the next few years? Yes. Right now it’s just scarves and blankets. It started out just with scarves; I wanted to do something that was eye catching and an accessory. I really love layering—my favorite things are jackets, cardigans and scarves. I feel like you can really mix things up that way. I feel that scarves are one of the first things that people see when you are walking down the street. For me, they are really important things. So I started out with scarves and I was showing friends and buyers and a lot of people were giving me really good reactions and said that my scarves would work really good with blankets as well. So that’s where that came from. In the future, in terms of winter wear and fall wear, I think the next step is cardigans. Where do you get your inspiration? I’m really, really observant. I’ll be walking down the street and I’ll get inspiration just standing on a street corner and I’ll see something. Whether it is something somebody else is wearing, other clothing or

a design you see on a wall. My inspiration just comes from living and walking around. I feel like the collection appeals to a lot of different people and different lifestyles. Also, I got a lot of inspiration for the scarves through moving away and living somewhere else and wanting to come back. Any advice to other designers who may have a dream like yours? My advice would be that if you did have that dream, work hard at it and take a leap of faith. This last year, I’ve worked harder than I ever had and I’ve been more stressed than I ever have. At the same time, oddly it’s a happy stress. When you’re doing something completely for yourself—I mean, I’m not working for anyone-- your motivation comes from the drive and the will to succeed. Nothing is more motivating that the fear of failure. So you just have to put your head down and work as a hard as you can and come up with a plan. I thought a Kickstarter was a great way to get to get people from around the world involved and keep them interested. So there you have Luigi and his magnificent scarf and blanket collection! You can check out his Votary Kickstarter online and make sure to like him of Facebook, follow him on Twitter and pin him on Pinterest!

S t y l e


Interview JOHN-MARK Photography Daniel Rampulla

Seven Questions with Fashion Stylist, Angel Yang Greatest styling challenge? Styling for a New Years Eve event held by a modeling agency, utilizing a costume warehouse. The possibilities were endless! Your styling philosophy? Confidence, it’s not just what you wear it’s how you wear it. Favorite NYC lunch spot? SUPPER Restaurant (156 East 2nd Street) Favorite NYC coffee shop? Café Amrita (301 West 110th Street) Dream celebrity date? David Beckham If you could work as a stylist for any TV show, which would it be? Sex and the City, the show exemplifies contrasting ideas of beauty in each of the characters and allows the audience to appreciate each women in her own right. If you could picnic with any three industry illuminates who would choose? Kelly Cutrone, Bill Cunningham, and Anna Wintour. I’m inspired by each individual’s passion. I’m also intrigued to gain advice on building a career and gaining insight to their philosophy on life. NU-MODE´Addiction autumn/winter issue.201


Broad City


PHOTOGRAPHY nelson n. castillo styling john-mark

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peaking over sandwiches and salads, lunch with Abbi Jacobsen and Ilana Glazer was like lunch with old friends. Our Thursday afternoon conversation was first dominated by events that had transpired the night before. Glazer’s parents had their first introduction to her boyfriend and a giddy Glazer shared a post-evening text from her father: “My dad texts me, By the way, [He] has a sweet smile.” Jacobson laughed, “Your dad is such a feminine man... so is mine actually. Like feminine, sensitive... when we were growing up and my parents got divorced, my dad was like, I have to cook, I have to have a house. My brother and I would spend every other week with him and he used to get Men’s Health and my brother attached a W.O. to the front end, because he would be all about having flowers so it feels homey and what recipes-” “Your dad is so cute... oh my gosh,” Glazer chimed. After clearing her plate, Glazer puffed out her belly and decided she wanted to take a “prego” inspired Instagram photo. I couldn’t help but enjoy the dichotomy between Glazer’s obese caricature and her natural grace and sexiness on the set of Nu-Mode´’s editorial shoot the week prior. Ten days earlier, as the Broad City duo were fitted for their second editorial look in Nelson Castillo’s Brooklyn studio, a mutual decision was made to leave Glazer’s shirt unbuttoned and tied at the bottom. Clad in ADEEN and skinny leans, like true actresses, they jumped into the embodiment of the Brooklyn banshee styling. Never has an editorial team had so much fun, as Glazer and Jacobson danced and posed their way through one of the most expressive Nu-Mode editorials to date.

“I think comedy has become more prevalent in society as a legitimate form of expression,” When asked about her first comedic influences Jacobson shared, “I don’t see his movies, but growing up I was so into Adam Sandler’s comedy album. That was so influential. Each track is like him playing a character. In middle school I listened to that all the time... and Gilda Radner. I read her book in middle school about when she got cancer. I was really into Gilda Radner.” For Glazer the answer was short and simple, “Dave Chapelle, I really love.” In addition to their early influences, as young adults Glazer and Jacobson spent time at the Upright Citizen’s Brigade, where Broad City is still realized monthly in a live show. From web show to stage show to pilot, the public can not get enough of the Glazer/Jacobson hilarity, but as highlighted by the press, their impact goes beyond laughs and smiles. The Wall Street Journal described Broad City as “sneak attack feminism.” While Glazer and Jacobson wouldn’t necessarily consider themselves feminist martyrs, their presence in the entertainment industry as “real” women is undoubtedly refreshing. Body issues were a common topic in the Broad City web series, where the duo fearlessly made commentary on breasts, butts, sex, dating, and everything in between. This content, for them, is not a contrived political agenda, but simply the facts of life. “I think comedy has become more prevalent in society as a legitimate form of expression,” Glazer stated. “I don’t think of [Broad City] NU-MODE´Addiction autumn/winter issue.205

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“I don’t think of [Broad City] having a political platform, as in writing on the Elections, but like living a certain politic, [saying] just like dudes we want to just fuck people sometimes, and we have gay friends, and we have friends of different colors. Just living it, not saying or selling it, but representing it.�

“I do feel your outside is a transparent reflection of your inside. I like myself the most at this time in my life. I feel hottest... than before in my life.�

PHOTOGRAPHY nelson castillo styling john-mark make up artist jennifer millan ; hairstylist keila stone style assistant flora de tournay ; Production assistant daniel rampulla wardrobe courtesy rena reborn special thanks sam saifer

having a political platform, as in writing on the Elections, but like living a certain politic, [saying] just like dudes we want to just fuck people sometimes, and we have gay friends, and we have friends of different colors. Just living it, not saying or selling it, but representing it.” That is not to say that the duo is without ideology. Jacobson added that when an issue arises, she wants to take a stance on it. “Amy [Phoeler] is a perfect example,” Jacobson said, proudly mentioning the Upright Citizens Brigade matriarch and executive producer of their upcoming television show, “She uses who she is and her opinions about issues and vocalizes it.” On speaking about the female image, Glazer shared, “I do feel your outside is a transparent reflection of your inside. I like myself the most at this time in my life. I feel hottest... than before in my life.” In an industry wrought with freak diets and plastic surgery, Glazer and Jacobson’s comfort in their own skin both in and out of their characters is part of what makes Broad City so special. Jacobson added, “We’re trying to be a little healthier, but these characters are also really normal.” Normal may be a relative term, but the content and events that transpire on Broad City do remain as relatable as the girls themselves. Speaking volumes to big city life, and their particular comedic sensibilities, Broad City finds its voice by exaggerating mundane moments on the subway, in grocery bodegas, and on the streets of New York

with genuine hilarity and a way that keeps it from being just a woman’s kind of show. As Glazer divulged, “Our target audience is 18-45 year old men and women. Men like our show, and men like the show, Girls. The winds are changing.” It’s true. The timing is just right for Jacobson and Glazer, and if the final episode of their web-series is any indication, Broad City is a destined hit. Following their rushed journey from an L Train stop to a west village coffee shop, the web-series finale is a comedic thriller. The Broad City girls find themselves playing guerrilla basketball, running from creepers, jogging with Amy Phoeler, and being accosted by another comedic idol of theirs, Bob’s Burger’s and 30 Rock’s Kristen Schaal. Titled “I Love New York,” the finale short is a fantastic representation of the series as a whole and makes for a charming close to their transition from web to television. We at Nu-Mode´, as well as much of the NYC comedy community, feel a true duty to see that Broad City continues to grow and thrive. While a pilot deal from Comedy Central with a producer like Amy Phoeler paints a bright future for Broad City, the truth is, Ilana Glazer and Abbi Jacobson have already given us a legacy of quality comedy worth praise. Both the actresses and their writing are raw, uninhibited, and as real as sandwiches and salads. NU-MODE´Addiction autumn/winter issue.209

What lies b e h i n d t h e b e a u t y o f c o l o r interview Latoya p henry


he New Jersey native, Nakeya Brown, digs deep into her personal culture by capturing timeless portraits. You could identify Brown’s work as having a sense of realism, focusing on current events, family, friends and travels. A humble, confident, and articulate woman, I’ve had the pleasure of working with Brown on several projects. She gave me my first start as a wardrobe stylist, teaching me the basics of photography and inspiring me to create Nu-Mode ́. Though Brown’s transitioned from fashion into portraiture, she is constantly evolving into an influential photographer of our time. Who is Nakeya Brown and what is definition behind her work? Color. Skin color defines my work. I look in the mirror and I see a young Black woman. My work is very self-reflective of that. I think it’s important as a creator, you maintain a level of honesty with one’s self. NU-MODE´Addiction autumn/winter issue.210

“Accidents are beautiful. You can explore with double exposure and light leaks. Overall it feels very organic and natural.” shooting slower and more conceptually. I’m starting to explore the ideas of beauty and identity shared amongst a lot of young Black women like myself. You recently made a conversion from digital to only film cameras. How does film compare with digital? It costs a lot more in the long run because film is so disposable. It really slows you down and forces you to compose the picture. I’ve had terrible luck with crashed hard-drives. With film I feel a larger sense of security. My negatives won’t crash. Photographing with film does it have a major quality difference than shooting digital?

and around Newark. In one image you’d see a makeshift memorial on a fire hydrant in another image a homeless man just trying to buy his next drink. Since then I’ve lightened my work a bit and prefer to focus on ideas and concepts versus emotions. Do you always manage to capture those emotions? It wasn’t hard to capture those emotions. I was immersed in a city that held all of them. Culture, family, friends, fashion & self-portraits are a few things you enjoy capturing behind the lens. Do you friends and family enjoy being photographed?

It feels more timeless. Accidents are beautiful. You can explore with double exposure and light leaks. Overall it feels very organic and natural.

I’ve met so many new people through photographing them. A lot of my friends are kind of enough to be my subjects. I recently gave birth to a beautiful little girl in May. She is my new muse and one of my new favorite people to photograph.

Exactly what emotions you’re seeking to express through your images?

How do you select a subject to photograph and how often do you photograph?

In my earlier work the emotions were very melancholy, sort of depressing even, but real and raw. I’d document a lot of my sights in

It all depends on what I am shooting. If it’s fashion I’ll look for someone whose more ‘industry’ standard. If it’s a personal project it

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The photographs and my process have certainly changed over the years. I used to shoot only documentary work, then it grew into fashion and portraiture. Currently I am going through another change and depends on the concept I am exploring. If it’s a portrait it’s going to be someone with an interesting personality, character, or story. I usually shoot a few days a month. I do a lot of pre-planning prior to shooting. A few things that inspire you? Traveling is by far the most inspiring activity I’ve had the pleasure of experience. It’s exciting and excitement is very necessary. For daily inspiration I follow a number of photo blogs and even Instagram accounts. Photo books and magazines are wonderful tools. I can’t forget simple conversation and keeping a close creative circle of colleagues inspire me as well. Most artists go through a transitional period. How has your work transitioned from the beginning of your career into the present? There has been a change in my process. I shoot film exclusively. I experienced one crashed hard drive to many in my day. I also felt a need to set myself apart from the majority. Digital photography is accessible and commonplace in this day and age. Shooting film gives a one-of-a-kind feeling. It’s not often that you come across someone who own only film cameras. I am one of them. What’s your proudest achievement? One highlight of my photographic career has to be pulling together a large photo exhibit at the McKenna Museum of African American Art in New Orleans this time last year. Displaying your work in a gallery or museum feels almost as good if not better than selling your work. It was a collaboration with another talented photographer Mariana Sheppard. We spent three months flying back and forth between Louisiana shooting like mad girls on weekends. It was a long and intense process creating a large body of photographic work and a sugarcane installation. After the red eye flights, the late nights editing & scanning, the design meetings, the creative calls, and long days shooting we created work and share it with others on a large scale. That is so incredibly rewarding. For emerging photographers, what are the qualities a photographer should possess in order to become successful? Diligence is so important. It’s important to constantly be creating new work, updating your personal websites, and marketing yourself. Success is 99 percent hard work and 1 percent luck. Final thoughts? Right now is such a good time to create and explore. We have the Internet, which is such a powerful and vital tool to sharing out thoughts, creations and ideas. Don’t be afraid to utilize its reach to the maximum potential. You never know who might fall in love with your process. NU-MODE´Addiction autumn/winter issue.213

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Fuck Coney... WRITTEN BY Georgina O’Reilly Photography Milton Garay


he French cliché wake up ritual of cigarettes and coffee commences. Dark, nostalgic notes of Lana Del Rey play out of Natalie’s flat lining laptop; lyrics of PBR, video games and Coney Island prance about her bedroom whiles she sits cross legged, a cigarette hanging on her dry lip, picking through her pile of unwashed laundry. The ringing from an incoming Skype call drowns out Lana’s sad Hollywood voice. “Hello?” “Hi love!” “Hi Mum” “How you doing?” “I’m ok… erm-” “Do-” “Yeah, I’m ok” “Good. Do you have money, you eating?” “Yeah, yeah I’m eating don’t worry” “Better be careful with those burgers they got there. Careful you don’t get fat” “Mum! First you’re worried I’m starving and now you think I’m getting fat.” “Americans have big portions don’t they” “I’m not American mum, Goldilocks and the three bears remember” “What?” “Nothing. So how is everyone?” “Yeah good. Not seen much of Sam, know how she is. Boys are same as ever; Harry’s been over a bit” “Yeah?” “Yeah, keeps turning up drunk after fighting with his girlfriend. Had to say to him after three nights of it; not being funny Harry but you’ve gotta go home, can’t have this again.” NU-MODE´Addiction autumn/winter issue.215

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“Yeah, be strict Mum” “You and Sam found your own way alright din’t ya?” “Exactly. How’s granddad?” “He’s ok, has his down days, you know. Misses her when he’s alone” “When I’m back we can all have a Sunday roast or something” “Yeah that’ll be nice. Get everyone together, well except for Bill obviously.” “It can be my welcome home dinner!” “Yeah, everyone can bring a little something. Sam could get the veg and-” “A little bag of broccoli, from Tesco’s, off the reductions shelf” “Well we’ll figure something out. Not long now” “What?” “Four weeks now?” “Yeah” “You alright?” “Yeah I’m fine, just tired” “What’s the time there then?” “Err, about 2.30, in the afternoon” “Bloody hell and you just woke up?” “No I’ve been up for a bit” “What you doing now then, gonna have something to eat?” “No I’m watching my weight” “Make sure you eat something!” “I’m joking, I already ate. Ok, I’ve gotta go” “Where you going then?” “To the beach, Coney Island.” “We can get the… R, or the J. No, the R”, said Roxy sweeping her red hair off her face with her fake ray bans, squinting at the torn MTA subway map.

“Ok” “What’s wrong, Natalie?” “Nothing, just hanging” “Oh yeah, what did you do last night?” “Met up with Trey at some dive bar in Williamsburg” “Have fun?” “Yeah”, said Natalie lighting another Marlboro. “I was at this really cool jazz party with Eli. So fun! He got me free drinks all night so I didn’t spend anything yesterday. So today I can spend 20 dollars!” “10 dollar a day budget’s working out then” “Yeah dude! You should do it as well!” “Yeah, I just need 10 dollars to start” Natalie rested her weight on one of the platform boulders while Roxy regaled her with the evidence of last night on her camera. “Oh that one’s blurry” “Yeah, really blurry. I need to sit down”, said Natalie, trying to grab one of the rising tiles at her feet. Either she was growing or the subway was shrinking. Don’t fall Alice, don’t fall. The seat fooled her in to sitting two inches from its usual position; and thus she was dubbed the afternoon drunk girl by the subway mannequins. “She’ll be fine, she just needs to get on the train and cool off” Natalie focused on breathing whilst Roxy focused on deterring prying eyes. Natalie’s salvation pulled up at the platform; except it wasn’t only hers. After only a few minutes of clinging to the carriage hand rail the rabbit lured her down the hole once again. She awoke to outstretched arms baring Snapple, peanut butter biscuits and ice packs. Ironically an old man gave up his seat for her. She gripped her hands and eyes to the Snapple bottle. “You ok?” said the stranger sitting to her left. Natalie nodded smiling meekly. NU-MODE´Addiction autumn/winter issue.217

“That was really scary; I thought you were having a seizure”, the stranger continued. “What?” Natalie poked her bleeding lip and rubbed her bruised arms. “Yeah babe you were like convulsing. You’re arms were caught in the hand rail and you were biting on your bottom lip really hard. You ok?” Roxy added. “What, yeah I’m fine. I just-” “Drink the Snapple. The sugar will make you feel better”, ordered Roxy. Natalie listened. Natalie drank. Natalie counted how many stops it was to Coney Island. A flock of beach visitors emerged from the Coney Island subway. Amongst the shining faces embracing the hot sun Natalie and Roxy’s squinting eyes searched for a place to eat. “I’m feeling a lot better now, seriously. I will stop if I feel I’m gonna faint again” “Ok please, because I don’t know what I could do if you collapse NU-MODE´Addiction autumn/winter issue.218

again Natalie. I can’t carry you by myself and there’s no one here to help us” “Don’t worry I’ll be ok. I’ll eat something and then lay down; I can cool off in the water when I need to” “Ok let’s get a hot dog over there.” Roxy links Natalie’s arm with hers. “Better be a nice fucking beach!” Sure enough the beach checked the expected boxes. Sand; check. Sun; fuck! Check. Sea; check. And a few unexpected boxes too… Irritating obease children running past and kicking sand at faint British girls; check. Sun burnt faces draped in seaweed stumbling out the water like a Friday the 13th sequel; check. “I’m ready to go soon”, said Roxy. “Yeah me too”, Natalie confessed. “You wanna go now?” “Yeah. It’s only been 40 minutes, but what the fuck else is there to

“Coney’s full of brats, cigarette butts and seaweed. And I nearly died fucking getting here!”

see?” Natalie digs up another cigarette butt from the sand. “I prefer Rockaway” “Me too” “Coney sucks!” “Yeah, fuck Coney” They brush remnants of the beach ash tray from their torsos and shove their towels in their bags. “Coney’s full of brats, cigarette butts and seaweed. And I nearly died fucking getting here!” They ridicule the beach throughout the journey home. “So what you gonna do now?” Roxy questions Natalie. “I’m just gonna sleep, relax. Recover from today’s excitements” “Yeah just stay in your house. Nothing will happen to you in there”, Roxy jokes. “Right. I’m like a fucking hurricane when I go out in to the world” “And people say I’m like a tornado!” “Fuck, so we’re just colliding girl. Shit always happens when we’re together” “I know”, Roxy laughs. “Well, I’m gonna be at LES tonight, so if you wanna meet me later, text me or something” “Yeah, maybe”

Roxy kisses Natalie’s cheek as the train pulls up at Myrtle-Willoughby platform; and exits. The Myrtle-Willoughby letters blur in to a line as the train’s windows approach darkness. Walking home from the subway Natalie looks at the photos on her phone to solve last night’s jigsaw; the usual, stupid people pulling stupid faces with a PBR in hand. And then she flicked through last weeks activities of chasing tequila; and the she flicked through another week, another week, another week, and her friends, her mum, her home; and paused. Natalie dropped her bag to her bedroom floor, sounding a loud clank. She digs through her bag, rooting for the sound; and finds the empty Snapple bottle. She smirks, ornaments it on her shelf and then collapses onto her mattress on the floor. She turns on the flat lining laptop and starts the Lana Del Ray dominated play list… “Maybe we could go to Coney Island, maybe I could sing the national anthem” - “Fuck Coney Island.”

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an Uncovered

T r u t h the expressions behind Priscilla Ainhoa Illustrations interview Latoya p henry

Chimera 2012


iscovering her art niche at an early age Priscilla Ainhoa illustrates self-portraits of intimate emotions within her characters. Driven on a continuous search of spirituality and existence, Priscilla’s apparent use of clean lines reflects an intense alternate atmosphere that slightly presents her illustrations in an abstract and surreal manner. Priscilla tell us about your passion for art, how did you know art was your calling? One can say that my passion for art was, and remains to be innate, because I have been drawing from as far back as I can remember. My parents and old school friends all seem to recount stories about how enamored and dedicated I was to art at a young age. They say that I had a good hand at drawing from the very start and claim that the creative side of me was always alive. Personally however, I became strongly convinced that art was my calling at the tender age of 7. I was first inspired when I did a line drawing of a horse, which is quite simple to look at today, but was quite challenging for a 7 year old to create. I remember this great urge of wanting the image to come to life on paper, and can recount in perfect detail every moment of its creation. However aside from my visual recollection of it, my greatest memory lies in the emotions I felt when I had first created it. The drawing started off with a strong line in pencil, dragged firmly across the paper with great force and precision as though I were incising into a hard material. Without being concerned with its final representation, yet controlling it with absolute confidence, I freed my mind of all thoughts and my pencil began to travel as though being driven by a higher source. From start to finish, I had not once taken the pencil off the paper. It resulted in a flowing and continuous line that began from point A, of which its end had once again reached its point of departure. As though taking a full circle of perfection and moulding it into the desired image that I had concealed in my mind, I found myself at the end of what had initially appeared to me as an impossible journey, feeling as though I had somehow been magically driven there. Rather than seeing myself as the owner of my talent, it was in this moment where suddenly felt like I was the manager of my talent, directing it where to go but not having full control over it, as it seemed to have stemmed from a much higher source. This overwhelming feeling was my very first recollection of a powerful inspiration, and that was when I knew with complete certainty that art would be something I will always love doing. You work with several art categories. Why did you choose to work with more than one? From my perspective, working in more than one category is not so much one of choice, as much as it is one of a natural progression. I am driven by a continuous search for truth, so dealing with a variety of materials and subject matter continues to pave the way for further exploration, giving me a clearer vision in my aim towards self-discovery. In my opinion, experimentation should be continuous. I believe that by being versatile in subject or media, allows for the work to be fresh, new and exciting. When I set up a completely novel idea, I am faced with a great challenge. It sets me on a new journey that evokes diverse emotions, allows me to discover more ideas and continues to lead me to an unknown destination. It is also a question of surprising oneself. If one constantly sticks to the same media/style/subject, then the finished

product tends towards becoming predictable, both for the artist himself and the viewers. Thus, I seek to persistently challenge my mind and imagination by not knowing what to expect from the finished piece. Novelty intrigues me. Dealing with different subject-matter in art is just like speaking about different topics of conversation, it is never boring when you are constantly questioning and seeking to discover. Although the questions may be incredibly diverse or contradictory, I believe that the aim is inherent and the true essence of that which you wish to discover remains the same. Thus, I never felt the need to stick to one particular style and say, this is mine. Life has so much space for exploration, so why not diversify in one’s search for truth? I personally feel that by sticking to one personal style and not stirring away from it would be to limit myself and therefore stop from growing. It is for this reason that my artworks fluctuate between realistic, expressionistic, surrealistic and even abstract forms of creation. Ultimately, because all the aforementioned styles were all created by the same hand, it doesn’t matter how different they are from each other because there will always be something unique and characteristic that will unify all of them. Hence, when working I strive to liberate my unconscious, let the emotions run freely and allow space for the medium to dictate. By leaving my soul free and tackling the work with confidence and fearlessness, I continue to shock myself with the final result. Over the years I guess I have become addicted to reinvention, kind of like an actress that seeks completely diverse roles to be played. What do you enjoy most about illustration, mixed media, design and photography and how do you manage to distinguish one from the other? The beauty of using a variety of different media or genres is exactly that of NOT being able to distinguish one from the other. The medium is not what is important, but the message that you wish to portray, and the clarity of that message is of significance. It is all about the energy and spirit that moves the image and not the actual image itself. I have always found that my techniques and styles stemmed out of the sentiments and feelings it took to create them and it is impossible to translate this into words because they are a result of a feeling driven by a higher source. I work in various media including pencils, inks, pastels, charcoals, oils, and acrylics, amongst many others. I try not to limit myself in any way, and very often mix and match different media and styles. I work on illustration, design, collage, photomontage, I sculpt in clay and take photographs, amongst other things. I hardly ever put limits or restrictions on the subject and technique because ultimately art is free. It is not the materials one uses that make a good artwork, but the message behind it and how powerfully it is expressed. Hence, the medium/technique/style is rendered useless because the main concern is to achieve one goal, one expression, one final image. Therefore, if the medium, technique, and at times even the subject matter is obliterated, then all is lost and fades into the background and what the viewer is left with is the forceful ‘soul of the artwork’ that remains alive and ever-changing. Thus, because my focus is solely on expressing this ‘soul’ if you may call it that, then my target remains very direct and my goal very consistent. Because of this aim, I have photographs that look like drawings in charcoal, I have works in pastels that look like they have been painted in oils, I have pencil drawings that are akin to vivid photographs, I have designs that tend towards sculpture, and the silhouettes of my sculptures resemble precise line drawings. Furthermore, I don’t distinguish one art form from the other either, simply because very often my illustrations move into abstract expressionism, my designs into surrealism, my realistic paintings into NU-MODE´Addiction autumn/winter issue.221

“Delving deeply into spirituality, in my opinion, does not only drive a truly spiritual person blindfolded towards the light. In order to truly believe in something, one must question the opposite, in order to prove its validity.”

fashion design and my photography being transformed into collage. There is a part of me that wishes to express all of my being into one image. What do I enjoy most about each art form and/or its media? Each gives me a personal satisfaction, in its own unique way, including their limits which are challenging to break. Illustration gives me a feeling of storytelling and narration, and is very much linked to the beauty of line and the figurative. Design provokes the imagination greatly because it is a question of relentless invention. Photography carries its own beauty because it challenges the eye to see with the mind. Using mixed media opens the door to many contrasting emotions, and is infinite in its results. However, all of these are relative and are one in the same. There is a beauty behind your work that is very dark and obscure. Describe your artistic vision and the atmosphere you create with your illustrations? I believe that my artistic vision stems from anything in nature or in art that carries a mystery of not knowing, a striving to discover more about life and to continuously grow spiritually. Intrigued with spirituality as I am, I persistently search for inspiration through my soul, by inner self reflection and also by searching to discover precisely that spirituality in others. It is for this reason that I am strongly linked to the figurative in art. I feel that my artworks are in continuous evolution, and can never be fully realized or fully evolved. I would like to think of my artworks just as ideas, glimpses, fleeting moments of the imagination and not fixed moments, but carry within them a true emotion that continues to change with the times. Delving deeply into spirituality, in my opinion, does not only drive a truly spiritual person blindfolded towards the light. In order to truly believe in something, one must question the opposite, in order to prove its validity. In order to have a strong faith one must enter into many shadows of doubt. It is for this reason that I am sometimes led to produce artworks that are not only imbued with light and positivity, but also with darkness and obscurity. A room that is populated with white light loses its intensity. In order to truly gain light’s strength and profundity one needs to create an atmosphere of great darkness to make the white emerge ever-more powerfully. Although many of my images tend towards that which is linear, graphic, and figurative, it is now taking a radical turn in the opposite direction, moving closer towards expressionism and abstraction. My art works began as very graphic simply because my artistic vision of life NU-MODE´Addiction autumn/winter issue.222

tended towards lines, rather than colour. Through my eyes, clear-cut lines and images of great clarity, gave much freshness to my imagination and were quickly absorbed into my visual memory, and all this intrigued me. With time, as my vision matured, images that included fog, mist, shadows or blurred figures began to take a hold of me. I realized that the haziness of life equally started to intrigue me, perhaps even more than vivid images because they left more to be desired and much more areas to be explored. Through obscurity one enters deeper into the realms of the imagination, where fantasy and illusion come into play, and where walking through mists and shadows one is able to venture into dreams and nightmares. With time I began to realize that there was as much profundity and mysteriousness in blurred images that is equal, if not to say greater than graphic lines or vivid images. Are your pieces based upon your personal emotions or desires? Most definitely. Through art, I am able to study all parts of my physical, psychological, spiritual existence and beyond, and that is why most of my artworks are self-portraits or reflections of myself, because I seek to achieve a greater and deeper understanding of myself in order to then learn how to understand the rest of the world. In order to understand the universe, we must look deep inside ourselves, because we are a part of the universe and it lies within us. Art allows me to study and explore that which I am, as well as that which I am not. Ultimately, I feel my best expression would rely in self-analysis and introspection because it is what I know to be the closest form of truth from my perspective. The more direct and specific one is in their search, the more one can expand. Thus, the more personal one’s artwork is, the more universal it becomes; it is only when an artist delves into the depths of his soul in an honest confrontation with himself that others can truly relate and possibly find a reflection of themselves in the artist’s work. Unleashing my unconscious without having any fears or inhibitions holding me back would definitely unlock the doors to my many personal emotions and desires. Very often I display my artworks around me in my studio and leave them hanging there for quite some time, in order for me study them and come to a better understanding of myself both as a person, and as an artist. With time and after looking at them for countless hours, that which lies hidden in my artworks (that is also a reflection of my inner self) slowly begins to surface. Like reading a book for which your interpretation of it will always be different, I still look back on artworks I created years ago and contemplate over them, where I continue to derive new meanings from them and relive the emotions I felt at the time they were created. Ultimately most of my artworks will carry a mystery within them that I will never understand, but perhaps it is that same mystery that I hope will someday give them the key to being inexplicable and timeless. I believe that the moment an artwork cannot be explained will be the moment when it becomes a masterpiece, because the art form will speak for itself alone and no words can successfully describe it. In “Enter the Void” you used distinctive names for each image, what do they symbolize and how were you inspired to create this series? Last year I had worked on a long series of illustrations dealing with various subjects that revolved around human emotions. Out of this series, a select group of illustrations stood out amongst the rest and I decided to place these under the name of “Enter the Void”. At the beginning of the series I had started representing my subjects with great intricacy and detailing, until “Enter the Void” surfaced. To me this group of illustrations had reached the peak of all the other drawings, in their simplification. Undoubtedly I believe that the most powerful ideas are the simplest ones, because they carry the most direct of expressions. When an

a il ritorno 2011

a la danse 2012

artist reaches maturity, in whichever project he undertakes, he is able to visually explain it in the simplest fashion because he has grasped the main essence that moves his subject. If one cannot speak about a topic simply and in a few words, then he hasn’t understood it well enough, and the same can be said of art. Thus, this series shook me to my core, when I found out how clear and simplified my work had become and how it had arisen out of so many other drawings. “Enter the Void” was a natural evolution that led to great simplicity, whereby in subtracting the obvious and removing all the unnecessary details, the strong and more powerful lines had prevailed.

Herbert Read once said, “Sculpture is an art of palpitation – an art that gives satisfaction in the touching and handling of objects.” Clay personally gives me this unlimited liberation which I seek. Working in clay creates a mutual relationship between the sculptor and his material, acting as a ‘language’ that metaphorically speaks to the artist who in turn must ‘listen’ to its structural requirements.

“Enter the Void” began moving slowly towards minimalism, as it continued to eliminate all details leaving only that which was essential even if it resulted in crude and vulgar images. The main concept behind this series revolved around discarding the ‘superficial’ to select and keep only that which felt profound in its portrayal. Each illustration in this series had a distinctive name simply because I felt that each one was so unique in its meaning, yet all of them fall within the same phase and time frame. It is their simplification that groups them. These works were inspired by my inner conflicting emotions, where the drawings acted as a personal self-analysis. As with many of my other drawings I am left with this insatiable curiosity to understand further about one’s diversely infinite emotions, for which I feel words are inert and inadequate to explain. Thus, I attempt to continuously study them through my art. Have you planned on venturing into sculpting or installations? I work very often in clay sculpture and have also worked on installations. With regards to sculpting, I have always had a strong affinity towards the clay material. Clay has a miraculous almost healing quality to it, where in its handling it takes one back to his/her childhood.

Through acquired experience one learns to adapt to the clay’s needs whilst still successfully expressing one’s idea with strength. Since a lot of my work is the result of a liberation of the unconscious, I hold strong to my powerful vision but also allow myself to be guided by the language of my media, in this case clay. Very often I leave space for the clay material to unravel, and allow for the animation of its surface to guide my fantasy. In this way, there is a kind of ‘dialogue’ between myself and the clay, an interchanging of inspiration between the message I wish to deliver and my response to the natural flow of the material. I have also created some installation pieces in the past. In 2007, I formed part of a workshop called ISIDEM that was held by the internationally renowned installation artist Sancho Silva. This was an EU project that strove to create an artistic link between Malta and Sicily, and brought 45 Sicilian and Maltese artists together in a workshop that created a healthy interchanging of artistic ideas, which then led to the fruition of a collective exhibition of installations entitled 60x60x60 at Biagio Steps in Valletta, Malta. Portuguese artist Sancho Silva used 72 tons of plywood to create a huge wooden structure that included a tunneled passageway and a balcony for his installation. On impact, this created an entirely surreal architectural environment that housed my installations as well as those of 8 other Maltese artists. The installations were placed in 23 boxed structures each measuring 60x60x60cm, hence explaining the title of the exhibition. NU-MODE´Addiction autumn/winter issue.223

The_Nightmare 2011

“I believe that my artistic vision stems from anything in

nature or in art that carries a mystery of not knowing, a striving to discover more about life and to continuously grow spiritually. ”

Silhouette of her mind 2011 private collection

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absinthe 2012 private collection

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There I exhibited two video installations and another installation that included my photography. One of my installations was intended as a black and white video projection to be shown on a massive wall on the inside of a fortification, that revealed myself as the artist dancing as though in a spiritual trance. In the video projection I held a large canvas that I had painted on, where the video revealed the whole process of me destroying the canvas in an artistic fashion. This ‘performance’ carried many concepts; one that sought to erase the distinction between reality and illusion; it also showed that everything in life is temporal and transitory; it created this physical link between the artist and her work; and also put forward the concept of creation and destruction. Having created this video and also having done this performance evoked a very emotional reaction in me. It felt like a purely ecstatic experience of power, by holding something you have created and destroying it in front of the camera. I’ve noticed you created a shoe series. Will you consider bringing those shoes to reality, If you could collaborate with a designer on your collection who and why? Since I was very young, I was always interested in design. I remember being intrigued by fashion design even from the age of 11. About a year ago, I started a series of shoe designs as a personal project that emerged as an extension of other ideas that I was dealing with at the time. Many ask me: “Why did you choose ‘shoes’ as your subject?” The thing is, it’s not about the shoe per se, but about its form. I could take any form at hand and continuously strive to reinvent it, the more constricted I feel, the more challenging it becomes. My main concern is one of design, where each of my shoe designs has a sculptural quality to it and with a few alterations can easily transform itself into a chair, a desk lamp or a surreal sculpture. Thus it is purely about the idea behind the image, rather than the subject itself. Many people have asked me if I plan on bringing these shoes designs to reality. From my perspective, if I would be working on them threedimensionally I would make them even more fantastical. The aim is not for the designs to transform themselves into a product, but rather into a work of art. Perhaps if I were to create actual shoes, they may be too surreal and impractical to be worn, and may be used for theatrical performances for example. I create for myself and do not look at the commercial aspect of it, since I would never create artworks with the intention of pleasing others. If I were to bring my shoe designs to life I would make the figure wearing them become the work of art. The shoe and its wearer would complement one another. For me it would not be a question of style or fashion, but of pure artistry.

velvet 2011

If I planned on collaborating with a fashion designer on this shoe series, honestly and truly, one person comes to mind. If it were not for his unfortunate passing in 2010, it would without a doubt have been Alexander McQueen. The reason being that I feel we would have collaborated successfully as I feel that we share a very similar vision. I believe that his designs, as well as mine both revolve around this urge to express fashion through biomorphic and surreal invention. Furthermore his body of work truly carries a deeply emotional quality to it that greatly surpasses the aesthetic alone which is something I also strive towards – design that steps out of the realm of fashion in order to enter the realm of emotion. What should we look for next from Priscilla Ainhoa Griscti? Perchance, the unexpected. ladybugs 2011

Zeynep Tosun

Refined Aesthetic interview irina romashevskaya


eynep Tosun is a young Turkish fashion designer with so much potential it would make an established designer jealous. Zeynep’s refined design aesthetic, deep connection to her country’s heritage and the ability to present 2 collections (ready-to-wear and couture) every season make her one of the top up-and-coming fashion designers to watch. Your biography as a designer is already pretty impressive; having worked for Alberta Feretti’s Philosophy line and consulted other known fashion brands, how different is it for you to have your own clothing line? Having a brand of my own was the ultimate dream all along. I had two options: staying abroad and working for a top fashion brand and eventually getting promoted to a creative director position, or establishing my own label and competing with those top fashion companies. Both options would’ve equally taken a lot of time and effort to accomplish, so establishing my own brand was a natural choice. My current goal is to make Zeynep Tosun brand into one of the world’s most renowned.

You started your label with a couture collection in 2008 and now you have both couture and ready-to-wear lines. Is it difficult to manage both? Which line do you enjoy working on the most? It is a lot of fun but at the same time extremely difficult to handle both -- after all there are only several designers in Turkey who can

manage to do that. You have to be an “establishment” to pursue this kind of work. But the process of creation is so exhilarating that I enjoy every bit of it. I actually prefer working on my ready-to-wear line more than on a couture one. Couture clothing is created for one person and for one night only, whereas ready-to-wear is a lot more comprehensive. However, in Turkey one can earn a significant amount of money designing couture. In 2007 you participated in ITKIB fashion contest with other young designers from Turkey. How would you describe Turkish designers? What sets them apart? Turkey is known for its textiles, but not so much for its fashion designers. We have really limited opportunities in terms of creation and execution. Textile mills are not willing to supply us with fabrications hence we are not doing large-scale manufacturing. Designers in London or Paris, however, don’t have that problem. Do you think you’ll continue working in Istanbul or would you consider moving abroad to gain global recognition? What is the advantage of working in Turkey? I have been showcasing my collections at London Fashion Week for the past three seasons, and I attend Paris Fair every year. I am also doing all my research abroad; I keep up with the exhibitions and I read a lot of books. But I will always manufacture my clothing in Turkey. It’s a lot more convenient and, besides, I like to contribute to my country’s economy. NU-MODE´Addiction autumn/winter issue.229

“ I actually prefer working on my ready-to-wear line more than on a couture one. Couture clothing is created for one person and for one night only, whereas ready-to-wear is a lot more comprehensive. However, in Turkey one can earn a significant amount of money designing couture.”

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“I also get a lot of direction from vintage clothing, especially from the designers such as Yves Saint Laurent, Gianfranco Ferre, Gianni Versace, Christobal Balenciaga: the designers who shaped the fashion of today.” Your last few collections where a bit more colorful than when you started, you currently use a lot of embellishments and prints. Would you say you are getting back to your roots? It is really important to me to integrate some part of Turkish culture into my collections, especially the tradition of Turkish hand craftsmanship. Actually, this was my approach since the beginning: In my first collection I used traditional Turkish tulip motifs but never showcased it anywhere other than Istanbul. This ethnic touch and appreciation for tradition matures with every collection I create and materializes in a variety of unexpected ways. What is your favorite color palette? Which fashion period inspires you the most? Who are your major influences in fashion? I love being colorful but my favorite color is ivory. 1970’s inspire me the most in terms of style. My major influence is my life: the exhibitions I have visited, the people I have met, the music I’ve listened to. I also get a lot of direction from vintage clothing, especially from the designers such as Yves Saint Laurent, Gianfranco Ferre, Gianni Versace, Christobal Balenciaga: the designers who shaped the fashion of today.

What was the thought process behind your SS13 collection? For my Spring/Summer 2013 collection I got my inspiration from the Phoenix, which -- Persian legend has it -- witnessed the end of the world 3 times and therefore is known for its wisdom. I combined the feminine yet bold look of the Phoenix with couture sportswear pieces of the collection. A fetish aura created by the legend translated into tight pleated dresses and low rise skinny trousers. The collection reveals a strong, mature woman and consists of crew neck shirts with metal stud details on the collars; dresses and capes that symbolize the power of the Phoenix. Some of the important details include: kimono shaped voluminous sleeves, leather bras and quilted jackets, all paired with metal accented helmets, pointed toe heels and silver bags to accompany the mood. One of the main pieces of the collection is a hand-embellished shirt with metal mesh made by local Bartınese women and placed over my signature Phoenix print. With Spring/Summer 2013 collection behind, you are probably thinking about Fall season 2013. What’s pinned to your mood board right now? That’s a surprise! NU-MODE´Addiction autumn/winter issue.233

Oh Jordan ! Photography Emily Abay styling Connel Chiang

suit Cambridge shirt Calibre NU-MODE´Addiction autumn/winter issue.234

suit Gibson

Bomber jacket autonomy t shirt calibre pant joe black

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jacket autonomy NU-MODE´Addiction autumn/winter issue.238

Bomber jacket autonomy t shirt calibre pant joe black

Shirt autonomy pant calibre

sweat shirt autonomy underwear calvin klein NU-MODE´Addiction autumn/winter issue.241

jacket autonomy jeans nobody shoes zara NU-MODE´Addiction autumn/winter issue.242

jumper autonomy pant & shoes zara Photography Emily Abay styling Connel Chiang at hart & co grooming justin henry at 2c management model jordan barrett at emg models sydney

Japanology Photography Giangiacomo Feriozzi styling Cleo Casini

jacket Jil Sander shirt Au Jour Le Jour necklace Schield rings Bernard Delettrez

leather coat salvatore ferragamo metal bib anaikka rings vintage NU-MODE´Addiction autumn/winter issue.245

Sweater maison martin margiela skirt marco de vincenzo necklace valentina brugnatelli rings Bernard Delettrez NU-MODE´Addiction autumn/winter issue.246

coat costume national metal bib anaikka

jacket roberto fragata shirt marco de vincenzo leather harness fleet ilya

coat costume national metal harness anaikka Pant maison martin margiela wedges charline de luca NU-MODE´Addiction autumn/winter issue.249

jacket albino skirt jil sander NU-MODE´Addiction autumn/winter issue.250

dress costume national metal bib anaikka leather belt fleet Ilya Photography Giangiacomo Feriozzi styling Cleo Casini make up artist & hairstylist sabina zanzotterra model haijin ye at 2morrow model, milan

Photography monica menez Secretary Cat


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Au Jour Le Jour

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Ann Taylor

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Fame & Agenda

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Nu-Mode´ Magazine Issue 7 “Addiction”  

A/W 2012 “Addiction” Cover By Tania Barajas Featuring Mark Indelicato . Chelsea Leyland . Broad City Abbi Jacobson & Ilana Glazer . Monica M...

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