PLATINUM LOREM LOREM IPSUM
S P R I N G S U M M E R 2 0 13
FOR THE MOST GOLDEN
A Manifesto of Mediterranean Contemporar Culture
EUROPEAN EDITION
V O L ume 2 edition num b er 7
THE
PL ATINUMLOVEMAGAZINE.com
DECON STRUC TION ISSUE WITH
MATT LAMBERT WINTER VANDENBRINK SAM SEAGER KARINE + OLIVER BENJAMIN MALLEK ROXANNE GATT MARCO VAN RIJT
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The experimental, forward thinking, highly exclusive & collectable magazine. Pushing fearless fashion, design popping editorials & culture frenzied texts for pop culture maniacs. V O L ume 2 edition num b er 7
The Team
CONTRIBUTORS
CONTRIBUTORS
PRODUCTION
Matthew Attard Navarro Editor in Chief & Creative Director
Jean Paul Paula Fashion editor
Marco Van Rijt Photographer
Art Direction
Anna Peftieva Fashion editor
Matthew Attard Navarro Photographer
Advertising Sales
Isabella Kavanagh Fashion editor
Winter Vandenbrink Photographer
Platinum Innovation platinum-innovation.com
jackson.f@platinumlovemagazine.com
Patricia Villirillo Fashion editor
Benjamin Mallek Photographer
Daniel Pires Platinum Journal Editor
A誰cha Laenen Fashion editor
Karine + Oliver Photographer
Ash Esferani Fashion editor
Matt Lambert Photographer
Make up artists Alexandra P, Carmen Procopiuc Maria Papadopoulou, Kym Nagyos Karin Welter,
Sam Seagar Photographer
hutch@platinumlovemagazine.com
Fabrizio Mifsud Soler Editor-at-Large
fabrizio.m@platinumlovemagazine.com
Jackson Frederick Digital Project Manager
daniel.p@platinumlovemagazine.com
Tom Vino Digital Fashion Features Editor
fashion@platinumlovemagazine.com
Iggy Fenech Sub Editor
ignazio.f@platinumlovemagazine.com
Fellipe Pigatto Intern
Werk Design Agency werkdesigns.com
Davinia Hamilton
Publishing House Platinum Innovation Co Ltd
Roxanne Gatt Artist & Photographer
Thiago Pigatto Intern
Hair stylists Cristian Pignatta Yura Do Kazua Deki
Reproduction in blogs & press
Publisher details
Advertising contacts
Reproduction of any content in the magazine is only allowed in blogs & press media on the condition that the content lifted is credited with a link to platinumlovemagazine.com & all the credits in the editorial are listed down appropriately.
Platinum Love Magazine is owned & published by Platinum Innovation Co Ltd, 27, Savannah Triq Ill Fuhhar Tarxien TXN1211, Malta, Europe
UK, Malta and Rest of Europe www.platinum-innovation.com
info@platinumlovemagazine.com www.platinumlovemagazine.com
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PLATINUM SOCIETY GUEST PHOTOGRAPHERS
Marco van Rijt, has been photographing for several years. He is mostly based in Amsterdam, however as a true child of its generation he sees the whole world as his hometown. Before becoming a professional photographer, he finished his studies at Grafisch Lyceum Rotterdam. He was then quickly signed at Eric Elenbaas Agency to look after his interests.
London based photographer Winter Vandenbrink studied at the Royal Academy of Fine Art in The Hague/ The Netherlands, where he got his degree in 2003. Since then he has been working as a freelance photographer for commercial clients as well as doing editorial photoshoots for several fashion and lifestyle magazines. He created iconic images for artists like Juliette Lewis, John malkovich, 50 Cent, Moby, Peaches and many others. In 2005 Winter cofounded Blend magazine, to which he has contributed many portraits and fashion shoots and took care of the magazine’s creative direction until 2012. Winter is recently starting up a new publication from London to be released in spring 2014.
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Benjamin Mallek feels strongly about truthfulness in fashion photography. Mallek attempts to grant the everyday more prominence in his pictures and has applied this philosophy to taking photographs of a whole array of unusual subjects within as well as outside of fashion such as ballet dancers, Viennese Ballrooms & Roma people. His work has ended up being published in various publications over the past few years. Austrian and British by origin, he has been based in London as well as Vienna. After studying at Goldsmiths, University of London in 2010 he is currently pursuing a Masters degree in photography at the University of the Arts London.
Matt Lambert, who often works under the name dieLAMB is a Berlin-based filmmaker, photographer and artist. Matt’s actiondriven photography, similar to his film work, captures candid, subtly subversive moments of youth and merging them with those of hyper-real, abstract lens. Born and raised in LA, Matt now spends much of his time on the road, having lived and worked as a director, artist and creative in LA, NYC and London before settling in Berlin. Matt also acts as head of video for the London-based multidisciplinary art collective, Bare Bones.
PLATINUM LOVE WESTERN EDITIONS VOLUME II
PLATINUM SOCIETY EDITORS LETTER
Platinum Love has changed. We are now a manifesto to Platinum Institute, which is only the start to something bigger and better than ever expected from ‘just an online’ publication. We believe that with hard work and dedication we will induce the cultural change needed. The real V18 will happen through influencers independent of any ties and frienships yet successful in their own thinking. This is the Platinum Society. This is what will bring change.
Dear platinum reader, I am yet unsure as to how many of you actually read the editorial introduction to a magazine anymore, or as to whether or not magazines are just not flicked through for beautiful imagery over text in such a day and age, but nonetheless this is always the best way to introduce an edition to you. You, the reader must have realized changes over the past few months on our digital home on Platinum Love, we have tried to tie in more than one project to the Platinum family, essentially Platinum Love has become a vehicle to promote new ideas, change and rebellion. Six years ago when we launched the first issue we faced a rebellion of thoughts from corporate identities, proposing that we’re too ‘new’ now we face a rebellion of effort and help within a narrow-minded island where this magazine was born in. So from this issue onwards we will be fighting to ensure a new contemporary connection of Malta with the outside world, Platinum Love is our manifesto, Platinum Institute will become our education model, and Platinum Foundation due to be launched this year will become the spark of changed needed to hopefully drive Malta out of it’s cultural abyss into a new modern dimension. To do this we’re going to reduce the editions to two a year and focus on our digital home, whilst increasing our circulation within all continents as of September. Finally Platinum Love will make the move, independently from any Maltese based public help, to help it’s own mother country to move into the future. Matthew Stone always used the phrase Optimism as Cultural Rebellion. However we will offer that rebellion to the people who actually want it. From now on the Platinum Group will be there for the most golden, and that is what you will find on our masthead for the coming years. We hope you enjoy this issue, and please keep your eyes tight on our digital home for we’ll be deconstructing contemporary culture for you digitally byte by byte.
Matthew Attard Navarro
THANKS I would like to thank the following for being so supportive over the past few months. Jeff Steep at God&Man and his amazing growing team of photographers, our new amazing digital project manager Jackson Frederick, Fabrizio Mifsud Soler for driving our new direction and last but not least Davinia Hamilton our new media development manager at Platinum Innovation.
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PLATINUM SOCIETY INTRODUCTION
Introducing our new Editor-at-Large
Desperately seeking beauty - that’s what I find myself doing most of the time, and I promise, finding it whilst living in Malta is no easy task. Sure, you may head to the beach and just stare out at the big blue teasing the sand with your toes, but what happens once the winter chill hits? I can’t deny how often I wonder how, 13 years into the noughties, such an aesthetic desolation still envelops the islands more vehemently than the Mediterranean itself. If I had to make a list of things that just must go, it’d probably have 2-22 things on it (and then some). I wish there was a way for us to go back to basics; deconstruct and find an answer in that which is yet unspoilt. Above all else, I wish we’d come to discover a beauty seemingly buried so deep and far away. I’m extremely happy to have at long last, joined the team of Platinum Love Magazine. Even in the bleakness that is the world today, there is style, grace and taste out there left for us to admire, appreciate and clutch on to, and it is our duty and honour to showcase them. It’s a famine of beauty honey, it sure is - but not if we have anything to say about it. Fabrizio Mifsud Soler
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PLATINUM FASHION WINTER VANDENBRINK
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Choker with chain Namoi Oman, white net vest Beyond Retro, black vest Namoi Oman
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Construction Again Time
Winter Vandenbrink Fashion editor Isabella Kavanagh
PHOTOGRAPHED BY
Maria Papadopoulou with MAC Cream Colour Base Make Up for Jake Kym Nagyos with MAC Prep + Prime Hair Cristian Pignatta at Neville hair Models Jake Gill at Nevs & Karen Wills at Next London
Make Up for Karen
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Coat Vigin Lo, white dress Absolute Vintage, sandal stylist own
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Mouthpiece & earring Roxanne Farahmand choker Namoi Oman
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Jumpsuit Ben Bertram
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Shorts QASIMI, leather straps Roxanne Farahmand
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Choker with chain, Namoi Oman, white net vest, Beyond Retro Black, vest Namoi Oman, black trousers Adidas, white denim trousers Levi
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Bodysuit Namoi Oman, leather strap with rhodium plated rod Roxanne Farahmand, sandal stylist own
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Dress and choker Namoi Oman, shirt worn as skirt Ben Bertram, bodysuit worn as trouser Namoi Oman
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Dress and choker Namoi Oman
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THE NEUE MODERN
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Sweater Ying Pie Shirt Ken Fong Trousers Ying Pie Shocks tabio Shoes FiNSK
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MATTHEW ATTARD NAVARRO Fashion editor ANNA PEFTIEVA
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Shirt, sweater and trousers by Ying Pie Shoes by FinSK Beanie Stylist’s
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Dress by Rejina Pyo
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Shirt and Trousers by Rejina Pyo
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Top and trousers by Ying Pie shoes by FiNSK
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Top and shorts by Ying Pie
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PLATINUM FEATURE TOMORROWISANOTHERDAY
TOMORROW IS ANOTHER DAY PHOTOGRAPHS COURTESY OF TOMORROW IS ANOTHER DAY
TEXT BY
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TOM VINO
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Never has the world of fashion been so open to new and adventurous talent as it currently stands, never have we seen so much creative expression and modern approach to fashioning the future of our generation. However, in marketing themselves the designers have in recent years come to struggle with representing their works in a way that connects with the audience beyond the theatrical spectacles. This has been increasingly more visible across men’s fashion the triviality of which has been treaded on yearly by the ominous international fashion weeks showcasing some of the greatest womenswear designs. However the establishment of Men’s Collections is now an important and a well-respected event that not only creates jobs and nurtures new talent but also inspires a generation of followers – the establishment of which has been significantly supported by an ingenious mind that runs a model agency in the heart of Dusseldorf. Tomorrow is Another Day is that agency and Eva Gödel is the heart, sole and all of the working arms of the business in one. Since establishing the agency in 2010 she has deconstructed every preconception of men’s contribution to modelling, she has torn, shredded and re-built every aspect of the classical male protagonist and has rebranded the teenage dreams of urban culture in her translation of men’s modelling – and these dreams have landed nowhere less spectacular than runway shows of Lanvin, Alexander McQueen and the campaigns of Balenciaga to name but a few. PLATINUM LOVE WESTERN EDITIONS VOLUME II
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JOHANNES
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We meet the mind that has altered the future of men’s modelling. You’ve previously co-founded the model agency 9 Daughters and a Stereo, is this where Tomorrow is Another Day stemmed from? I studied graphic design with Bazon Brock and Uwe Loesch and as the diploma for my studies I had set up the agency Nine Daughters and a Stereo. At that point it was not meant to be a real business, it was just my work to get my final degree as a graphic designer. After scouting models for Raf Simons, Stephan Schneider and Rick Owens more and more clients paid attention and started booking, so it became a real business. I did Nine Daughters and a Stereo together with a friend and partner and when the friendship split up we shut the agency. I learned sometimes you just have to let go and move on, so I founded Tomorrow Is Another Day.
and visions. Stylists, casting directors, designers, photographers and artists who believe in your eye and in a boy can make him a part of their creative process and vision. Where has the interest in model agency spurred? Since I was 16 I used to work after school in a skateboard and clothes shop and we decided to photograph our customers with the Polaroid camera and then hang their pictures in the window. I recognized that I enjoyed that very much and then a photographer came in and asked me to find models for him. I got paid 50marks per model that I found for him at that time! Before I started the model agency I had already founded the graphic design studio chewing the sun with 2 partners and we are still running that on the side. When I had to find a subject for my diploma I thought lets go back to my roots and I went back to the scouting.
You’re known for scouting talent on the street, do you feel talent is shy to walk through your door? The boys I scout mostly do not consider themselves as models at all. They are surprised when I approach them on the street. They are not always the ones considered conventionally beautiful by the general public. Most often they are then curious and come by the agency to see what its like and give it a try. I like this nonchalance on boys. Also what I like about beauty and youth is that it is not permanent but a process of change. That makes it more interesting. As time progressed, how involved do you remain in the scouting process? I scout nearly all of the boys for the agency myself. This is still what I enjoy most and also what I am most good at – finding people on the street. Do you feel your agency has deconstructed the view of stereotypical male model? I am happy that I can give the boys that I find the chance to experience something new and travel the world with modeling. To establish new faces and set new trends for models you need people to cooperate, you need people who share your ideas PLATINUM LOVE WESTERN EDITIONS VOLUME II
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THAN FOR BARN A N O J & endrik
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MATTHEW
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ROBERT
BENJAMIN
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MARCEL
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ER PHILIP IN ANOTH
MAN MAGAZINE
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MATTHIAS
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ANDREW
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Philip
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You seem to have an eye for gaps in the market, how do you plan to sustain the longevity of the agency. I never thought about the market, I just scouted people I find interesting and contacted the designers I liked and found inspirational. There are always new faces to find and great designers and artists to work with, so that will keep it going. You’re an inspiration and a role model to the youth culture, has this morphed who you are today? Art, Music and Film have always inspired me and I really like people. I like to watch people and so it comes very natural for me to approach and scout them. It makes me happy if I find a new interesting boy. When I was a kid I was often with my parents in the forest searching for mushrooms. On the street when you find a great boy, it feels a bit like suddenly finding great mushrooms in the forest.
Eva has reconstructed the importance of men’s modelling; her ability to draft talent out from the pool of scattered society has established men’s fashion as a direct competitor to women’s and no longer it’s forerunner. She has created jobs, created dreams and almost
Due to the success of the agency will you be looking at expanding into new markets?
most importantly she
I am always interested in collaborating with new and interesting people. I am interested in the people I work with – not the market.
that feels starved of
has created a market men’s fashion – in
Your agency is world renown, designers depend on you, do you feel you’ve achieved what you set out to do?
turn allowing the
I am happy and also proud when I see someone I scouted walking the runway for a great designer or shooting with a photographer and stylist. I always enjoy seeing how in the end it all fits well together: the collection, the styling, the casting – how it all makes sense and forms an outstanding image. I always tell the boys to take full attention and enjoy how it feels to be a small part in an amazing team for a show or any other production.
designers to fashion the
What advice would you give to young entrepreneurs who are thinking of starting their own businesses?
fashion marketing?
international array of dreams of fantasy for you, for me, and for the world to endure. After all, what’s modelling but a vice of astute
I think it is most important to find out what you are really good at and then of course enjoy working hard.
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PLATINUM CULTURE MATT LAMBERT
DECONSTRUCTING L1FE MATT LAMBERT FASHION EDITORSASH ESFERANI wearing GOSCHA RUBSCHiNSKY PHOTOGRAPHED BYS
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PLATINUM FASHION SHAUN SAMSON
SHAUN SAMSON MARCO VAN RIJT FASHION EDITOR JEAN PAUL PAULA Model JACO PHOTOGRAPHED BY
Text by ERIN CARRINGTON All fashion by Shaun Samson A/W 13
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PLATINUM FASHION SHAUN SAMSON
Hashing out a strong aesthetic based around sports-influenced streetwear as high-fashion and a structured yet oversized silhouette straight off the bat, Shaun Samson has earned his place as one of the most stand-out members of the new generation of London menswear designers. A holder of four fashion degrees from his native LA, and two from London’s fashion hit-machine Central Saint Martins, is as renowned for his strong US cultural and sports influences aesthetic as his brilliant textile techniques. Samson has been a hit with fashion critics since his MA degree show was noticed by Fashion East’s Lulu Kennedy in 2011. Since then, having picked up fans including A$AP Rocky along the way, Samson’s first collection away from the MAN showcase was another featured oversized hockey-inspired jerseys, earmuffs and prayer blankets. I caught up with Shaun to talk about working with Jeremy Scott, the pressures of striking out on your own and wearing his sister’s clothes…
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PLATINUM FASHION SHAUN SAMSON
I found the AW13 collection to be very Rothkoesque in terms of the colour palette broken up with bold stripes, do you ever take inspiration from art? I’d say I get more inspiration from street art than high art. Did winning International Talent Support Prize’s collection of the year for your first collection affect you, did you feel under more pressure with your second collection than if you hadn’t won? The collection i entered for International Talent Support was my MA graduate collection. There was no specific intention to do anything with my graduate collection other than hopefully get into the Central St. Martins press show, and fulfill my degree. Thankfully I did get into the press show, and when I entered the ITS competition, the collection won the top prize. That really motivated me to do my next collection. If anything, designing my first collection outside of being in school was surreal. It’s like life handed me a giant red velvet cake and a side of Crème brûlée. Kinda too good to be true. Where do you see yourself in 10 years, would you follow in the footsteps of other London designers such as Christopher Kane at Versus and design under a large house? In university, this is actually the path i thought I’d take; to work for a design house. I’d love to be able to be creative director for a house one day. I’d love to be part of the house’s history and legacy. Your first collection featured tartans and argyle knits, how did moving from LA to London affect your aesthetic, did the move influence you towards a more ‘British’ look or did it make you focus on influences from your home? The tartans in the collection were workwear plaids, sponsored by American heritage brand Woolrich, so they’re essentially classic American. However, the Aran knits are more the UK influence that I would have only known about by coming to London. I think doing my MA at Central St. Martins helped me figure out who I was, and to push that forward with new information that I come across everyday.
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LA is not a fashion city when you compare it to New York or Paris. But the weather there is great, and if you want to be a movie star, definitely go to LA. It’s Hollywood!
You count Rihanna as one of your fans. Would you ever do a womenswear collection? No Streetwear labels such as Hood by Air now stage full catwalk shows, how do you feel the recent popularisation of streetwear as ‘serious fashion’ will progress? Will this be a trend that major labels will pick up or do you think that it will remain niche? All us kids that listened to Hip Hop and Gangster Rap in the 90’s are all grown up and working in the industry now, so it makes sense streetwear is coming up. Hopefully this will stay niche to keep it’s street cred. i’d be completely offended if Dolce & Gabbana did a Gangster Rap collection. Technique and fabrics play a key role in your designs. How much of the production process do you personally have a hand in? Is there any technique or fabric that you’re interested in that you’ve yet to try? EVERYTHING. Because the techniques I do are really specialised, I need to do all the needle punch felting and any other treatment in my production studio with my trusty production team. I’d love to experiment more with technology... like lasers. In LA you worked on four of Jeremy Scott’s collections, your aesthetics, although both quite obviously influenced by LA, are very different, what drew you to working with Jeremy? Jeremy’s work is AMAZING. That’s what drew me to working with him. He was such an inspiring person to work for! He has such a great spirit. When you started in 2011 you showed as part of the MAN collective, how was that experience? What lasting influence has it had on you since you left? As previously mentioned, it was surreal. No one knew who i was, yet all these people were at the show. i’m grateful that I had the help of my stylist Matthew Josephs and art director Rob Meyers
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from the beginning. In retrospect, I don’t know if i’d still be around without their help.
All us kids that
Who do you admire within the industry? Any long-standing heros?
Hop and Gangster
Raf Simons. Riccardo Tisci. Martin Margiela. Basically everyone A$AP Rocky raps about. You’ve said previously that “It’d be great to see more guys taking risks”. What do you think of your London contemporaries such as JW Anderson’s take on menswear, such as his skirts? I can appreciate what he’s doing. Not everyone is going to like it, but at least he’s making you question what design is, and more deeply, what gender role’s play within design. It’s pushing the industry forward. You’ve said your love of oversized clothing stems from a preference for it as a child in America, your youth obviously a big influence in your design, do you think this will be a constant throughout your career? We all have experience wearing oversized clothing during that odd stage where we no longer fit into kid’s clothes, but don’t quite fit into adult sized clothing yet. I’d borrow my older sisters clothes, which were actually her boyfriends sports jerseys. I thought I was hot shit. Maybe some of us have stayed with this oversized aesthetic because it subconsciously brings us back to a time when we first thought we were cool. Moving from LA at such a young age must have been quite a culture shock, what influenced your choice to show in London rather than LA, or New York?
listened to Hip Rap in the 90’s are all grown up and working in the industry now, so it makes sense streetwear is coming up. Hopefully this will stay niche to keep it’s street cred. I’d be completely offended if Dolce & Gabbana did a Gangster Rap collection.
at MAN in London. I went to university in London, so it only kinda makes sense the I show in London as well. Do you think America would play such a large role in your aesthetic if you’d never moved abroad? Probably not. We all want things we don’t have, so maybe my collections have such a strong California influence because i miss it - especially the Mexican food. How did you start working with Matthew Josephs? We went to Central St. Martins together, so we’ve seen each other at school. We have many mutual friends, so that’s officially how we met. I only started working with him when my label started. When you’re not working what do you do to relax? Do you get much time to go back to LA? Having you’re own label, there’s no time to relax. You can only do things to take your mind off work like read or exercise. My production studio is in LA, so I go there quite often. Having grown up in LA and around the skating subculture, what do you think of the popularisation and resurgence of grunge and the 90s LA influences in fashion (such as Saint Laurent Paris)? It’s the fashion cycle. Next will be early 2000’s.
I moved to London when i was 23, so I wasn’t that young. But moving to a country i’ve never been to before is still quite culture shocking, and something that i don’t think i’d ever do again. LA is not a fashion city when you compare it to New York or Paris. But the weather there is great, and if you want to be a movie star, definitely go to LA. It’s Hollywood! I would have been pleased to show in any city that offered me a show, but i’m extremely grateful that Lulu Kennedy offered me a place to show
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R E H T A LE S T C E T I ARCH CHRIS & TIBOR INTERVIEWED BY
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GOLDEN LANE was founded in 2012 by Chris Liu and Tibor Matyas - the two London based designers behind the men’s accessories brand CHRIS&TIBOR. Their deconstructive approach to creation is as juxtaposed as their involvement in the field of fashion, the design duo have worked together with some of the most exciting names in fashion, music and art world since 2008. From collaborating on an art installation with Dries Van Noten to creating an installation at the Tranoi show in Paris. The design duo have held back none of their creative energy, what seems to have been a means of expressing their talent transuded into a journey that has endorsed their creativity morphing seemingly effortlessly into a collection that is taking the world by storm. There is something special about Chris and Tibor and the new collection, the notion of creativity is balanced so delicately by meticulous marketing and merchandise management, the theatre of dreams that produces the eye wateringly sculpted handbags actually has methodology and a diligent production management behind the scenes too. And it is all of this work behind the scenes that truly separates Chris and Tibor as great artists from the great showmen of today. We meet the minds behind the brand to discuss their label and see how they are getting on
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Tell us about the label Golden Lane, what does it stand to represent? Tibor: Chris and I wanted to create a unique and versatile satchel, by bringing together high quality leathers with contemporary design, combined with our shared interest in London architecture and style. Chris: We used to talk about the area that surrounded the Barbican in London, and how great it was architecturally and socially. It’s one of our favorite places to visit – its so inspiring. The light bulb moment arrived soon after that and we thought: why don’t we design a women’s collection inspired by the area? That was the start of Golden Lane’s journey! You have recently delved into the women’s market with Golden Lane, do you have muses? Chris: Our mood-board every season has a lot of people who we find very inspiring, from fashion, to music, to literature. It is hard to pick just one. There are people who we call our ‘Golden Lane girls’ whose style we really love; inspiring women like Olivia Palermo, Alexa Chung, Kate Bosworth and Diane Kruger. This is a fresh start and brand new territory for you, what do you hope to achieve with this collection?
“Our mood-board every season has a lot of people who we find very inspiring, from fashion, to music, to literature. It is hard to pick just one. There are people who we call our ‘Golden Lane girls’ whose style we really love; inspiring women like Olivia Palermo, Alexa Chung, Kate Bosworth and Diane Kruger.”
Tibor: We had always wanted to design a women’s accessories collection, but it was a case of finding the right time to pounce! I think the women’s accessories market is a really exciting thing to be a part of at the moment. There doesn’t seem to be so many boundaries when you’re designing for women – it’s a lot of fun! Chris: It is also one of the most competitive markets to get into. That’s why we spent so long making sure our Golden Lane bag shapes were unique. We wanted to stand out from the crowd, and offer something different. Your work shows a lot of deconstruction - how important is this to your methodology Chris: Oh very. When we started to work on Golden Lane, we actually spent almost a year perfecting what was to be our signature satchel 96
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shape. We wanted to make it look completely unique, but for it to be practical and versatile too. So it could be a bag that every woman could use. We held focus groups and really listened to what the women who took part looked for in their perfect bag. It meant that we could really deconstruct what a bag’s purpose should be.
Tibor: We really wanted to incorporate our love of architecture with this collection too. It is interesting that you use the word deconstruction there. We always think of designing a bag in a similar way to how an architect designs a building; they consider structure, practicality, space, and design. The same applies to designing a bag.
practical too. I suppose you could call us leather architects! What is on the horizon for the company Chris&Tibor, will we get to see a stand-alone store? Tibor: You never know! Our main focus at the moment is with Golden Lane. We really want to expand our stockists and see our bags in all corners of the globe! We’re really excited about Golden Lane’s future – we have had an amazing reaction to the collections so far. It makes the hard work all worthwhile! We have other ideas in the pipeline for Chris & Tibor too so watch this space! I admire the passion and stride with which Chris and Tibor have approached their adventure, it is really inspiring listening to them talk about their collection, they’re protective and eager at the same time and they know their craft too. Their merchandise is sold worldwide, their collections are seen on catwalks at fashion weeks and their designs grace prevalent magazines around the globe. The design duo that is Chris and Tibor have found something we often end up looking for a whole lifetime – they have found their call in life. I’d wish them luck, but seeing the hard work that has created Golden Lane first hand I can assure you all - luck is something that belongs on a roulette table not a runway.
Golden Lane’s signature satchel has quite a structured shape as you can see – they feature two separate compartments, which not only looks different, but also makes the bags very versatile and PLATINUM LOVE WESTERN EDITIONS VOLUME II
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Leather bodysuit by Jitrois, shirt by 22/4_Hommes_Femmes and leather trousers by Kristofer Kongshaug
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MAKE UP
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Sleeveless tweed jacket and skirt by Glenn Martens and shoes by Alain Quilici
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Asymmetric top and Poncho by Isabel Benenato and mask by Zana Bayne
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Dress by Benjamin Le Prince, necklace by EK Thongprasert and sunglasses by Cast Eyewear
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Leather dress by Jitrois and shirt by 22/4_HommesFemmes
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Necklace by Uriel Salas and satin jacket by Benjamin Le Prince
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The ongoing project, Lost Villages, has so far involved 6000km of travel on local trains around the country to photograph remote communities there. Sustained by tradition and a love of tea and pickling things these places are on the verge of being lost to nature due to their inhabitants advancing age. After the earthquake and tsunami of 2011 Sam spent time in the affected area and images from this trip are collected in the recently self-published book ‘Broken Things’. PLATINUM LOVE WESTERN EDITIONS VOLUME II
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WHAT’S YOUR INTERPRETATION MATTHEW ATTARD NAVARRO MODEL TOM MIDDLEHURST AT MANDP MODELS ILLUSTRATIONS BY
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Jacket RICK OWENS
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Full outfit VERSUS VERSACE BY JW ANDERSON
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Full outfit RAF SIMONS
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Shirt JW ANDERSON
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Dress RICK OWENS
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Shirt, trousers and Jacket RAF SIMONS
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The Spring Debut Benjamin Mallek FASHION EDITOR Patricia Villirillo PHOTOGRAPHED BY
Carmen Procopiuc MODEL Isaac at Elite MAKE UP
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PLATINUM ART ROXANNE GATT
Just finishing studies at Central Saint Martins,
Roxanne Gatt is a Maltese
contemporary artist to watch. Her work is inspired from people watching and admiring, religion, smaller people in society, confused minds of little boys and girls, the free newspapers, men’s magazines, old children’s books, sixties & seventies guest houses, music, movies and the beauty in the ugliness of people and objects. She deconstructed a selection of her work for this issue.
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Acne
Comme des Garcons
Maison Martin Margiela
www.acne.se
www.comme-des-garcons.com
www.maisonmartinmargiela.com
American Apparel
Damir Doma
Manolo Blahnik
www.americanapparel.net
www.damirdoma.com
www.manoloblahnik.com
A.P.C
Dior Homme
Marc Jacobs
www.apc.fr
www.diorhomme.com
www.marcjacobs.com
Arielle de Pinto
Emporio Armani
Missoni
www.arielledepinto.com
www.armani.com
www.missoni.com
Armani
Givenchy
Miu Miu
www.armani.com
www.givenchy.com
www.miumiu.com
Balenciaga
G-Star
Prada
www.balenciaga.eu
www.g-star.com
www.prada.com
Balmain
Gucci
Proenza Schouler
www.balmain.com
www.gucci.com
www.proenzaschouler.com
Bottega Veneta
Haider Ackermann
Saint Laurent Paris
www.bottegaveneta.com
www.haiderackermann.be
www.ysl.com
Calvin Klein
Hermes
Valentino
www.calvinklein.com
www.hermes.com
www.valentino.com
Celine
Jil Sander
Versace
www.celine.com
www.jilsander.com
www.versace.com
Chanel
Kenzo
Y-3
www.chanel.com
www.kenzo.com
www.y-3.com
Chloe
Lanvin
www.chloe.com
www.lanvin.com
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FASHION MEANS BUSINESS