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Issue 5. Spring and Summer 2012.

Welcome. Front section.

Second section.


Editor’s letter.


Love box: Felix Bastions.


Right here, right now: Gavin James Bower.


Notes on camp: Megan Francis Sullivan.


Throwing green screens: John Walter.


Abstract expression: David David


Review: Weekend.


Review: Made in Britain.


Fire starter: Joana Seguro.


Brighter, later: James Long on Ethan Cook.


New wave


New skin for old ceremony.


Absurd encounters. Photography Brett Lloyd. Styling John McCarty.


Mimesis. Photography Rafael Staheling. Styling Rasharn Agyemang.


Todo cholo. Photography Thomas Lohr. Styling Matthew Josephs.


Trouble. Photography Mark Kean. Styling Annavelyan.


Directory. 3



Rokas wears shirt by Dunhill, leather cut out top by Dolce & Gabbana, check shorts by Comme Des Garรงons Shirt, tie by Lanvin. Photography Brett Lloyd. Styling John McCarty.


Rasharn Agyemang, Jaiden Jeremy James.

Editorial director

Jaiden Jeremy James.

Fashion director

Rasharn Agyemang

Art direction and design

Christopher Lawson, Marcos Villalba.

Copy editor

Ben Olsen.

Sub editor

Jamie Smith.

Arts editor

Maksymilian Fus Mickiewicz.

Font and logo design

Andrew Osman.

Contributing editors

Emer Grant, Iowenna Waters.

Senior contributing fashion editor

Simon Foxton.

Contributing fashion editors

Jack Borkett, John McCarty. Matthew Josephs, Anna Trevelyan.

Contributing photographers

Billy Ballard, Simon Harris, Mark Kean, Brett Lloyd, Thomas Lohr, Rafael Stahelin.

Contributing artist

David Saunders.

Assistant to fashion director

Dexter Dublon, Benjamin Johnson.

Associate publisher

White & Richardson.

Advertising and project enquiries

Main distribution partners

UK: G-Shock stores. France: Colette.


KTZ, Magma, Claire de Rouen, Artwords and selected boutiques, stores and bookshops across the UK.

Website 4 5




Welcome. Three years and five issues in, we approached launching a magazine with a naive ‘make it up as we go along’ approach. And even to do this day we learn more about the power of the media and how to adapt to the ever changing landscape with our audio / visual extension and YouTube channel, Re – bel TV. Going from strength to strength, with the ‘likes’ and ‘follows’ increasing, it shows that what we’re doing isn’t going unnoticed. In many ways this marks a new era for the magazine as we shake up the art direction and go for a sleeker and slicker look. Articles include chatting with the cast of Skins accompanied by a beautiful pictorial shot by Simon Harris with Sam Jackson. We shine a light on a new wave of stylists who are moving on from assisting the big names and making one of their own. Our arts editor asks a noteworthy individuals to select those who they respect and feel are emerging into their own. The Reviews seem to not be about debuts, but rather that tricky second piece of work. From Weekend, Andrew Haigh’s second feature and Made In Brit-

ain, a stellar second novel from Gavin James Bower, who is also interviewed in this issue. Interviews include the young artist Felix Bastian and the menswear designer ‘of the moment’, Matthew Miller amongst others. Whilst David Saunders from David David takes over the Curate section showcasing his dazzling use of colour and his ability to move from creative medium to medium, whilst still maintaining his signature style. In the Fashion section, Rasharn Agyemang shoots with Rafael Stahelin, and we welcome back Anna Trevelyan, who has appeared in the magazine on several occasions. We would like to give a warm Jaiden Jeremy James welcome to John McCarty, Matthew and Rasharn Agyemang, Re – bel founders. Josephs and Jack Borkett. Ends. 8



Helmut Lang, Autumn and Winter 2001, by Juergen Teller. Teller began documenting Lang’s designs in 1986. His strong individual voice expressed the soul of Lang’s designs. Lang entered into a partnership with Prada Group which eventually resulted in Lang’s departure from the label in 2005.

11 10

Issey Mikaye, Spring and Summer 1982, by Eiichiro Sakata. Sakata studied under Richard Avedon and went on to work with Miyake on his Body Works series in the Eighties, where garments were designed using alternatives to cloth. His most well–known photograph, Kamiko, shows a design made entirely of washi paper.


Front section. 14 to 93

Artist and author of poignant, provocative Tumblr page Loveviolence, Felix Bastians, on

Interview by Jaiden Jeremy James.

balancing the worlds of sex and violence, exploring the homoerotic and knowing just

Jaiden Jeremy James: What do you feel led you to choose the path and career of an artist? Felix Bastians: I think that being an artist was always inside me and I believe in destiny. I have a very visual mind, I think it’s my talent and I’m happy that I am blessed with it.

where to draw the line when it comes to self portraiture.

Love box.

Felix Bastians.


too much when I do my collages or when I draw. I just let it come out, and let the creativity flow, and leave behind any rational thinking.

JJ: Where and what did you study, and to what degree has your learning influenced you as an individual and the work that you now create? JB: I have not started with my studies yet and I actually don’t really know in which direction I should go, but it will definitely be something with art and film, but maybe I will be a furniture designer one day or a musician. I am still on the scout. I think that life is a big search for the right thing, the right job, the right partner, but that’s what’s exciting about it. Life always changes and surprises you.

JJ: There is a strong sense of the homosexual / homoerotic with an undercurrent of violence within your work, I believe an artist that demonstrates this is Derek Jarman, whom I know you’re a fan of. The majority of his films celebrate the love two men can share, yet one of his last visual films, War Requiem, showcased the horror and pain men can inflict on one another. What draws you to the tension and attraction of male on male? FB: I adore Derek Jarman, both his persona as his work. I love his films because they have simple imagery but at the same time there’s always this emotional intensity. When I first saw The Last Of England, it almost made me cry. And the attraction of male on male? I think it’s because I am gay – there’s nothing about it that I don’t understand.

JJ: What’s your main source of inspiration? FB: I mainly work with the internet. But I also do a lot of drawing and I always try to learn new things and techniques. I like it when you can do something in a very simple way, which is often not the easiest way, although it might look that way to some people. But at the same time there are also amazing opportunities to be had with computer technology.

JJ: You’ve featured in some of Peter De Potter’s work, how long have you been aware of his work and how did the two of you meet? FB: Peter showed me a lot of things and I learned a lot from him. He is such a wonderful and inspirational artist and a warm hearted person. We have a lot in common, we started to work together, he took pictures of me and we became good friends.

JJ: Your Tumblr,, uses mainly found images and some of your own to create a strong feeling of the acts of violence and sex that seems to be a strong part of your collage work, the juxtaposition between the two, what interests you most about these topics? FB: The internet inspires me. Books inspire me. Music inspires me when I’m doing my collages. Everything in a way inspires me. I like being in nature or being in a sex club, I get inspiration from everywhere. You just need to open your eyes and see the world in a different way. I don’t believe violence to be an exclusively negative thing. To me, love and violence is not a juxtaposition. I would describe my Tumblr page as a resource for my visual interests. It’s a little project that shows great pictures that have a special mood and atmosphere about them. Sometimes they connect visually or thematically, sometimes not. I always choose the images I find on the net carefully. They always convey a special feeling that not everybody understands, some people just see the violence, or feel nothing, looking at the picture. In general I try not to think

JJ: You readily incorporate yourself into your artwork, and – let’s be honest – you’re a pretty hot guy, so you easily fit in among the rest of the imageryused in your collage and video works. How important is self portraiture to you and do you ever draw a line in the type of portraiture you do as your work is overtly sexual? FB: I know where to draw the line when it comes to my own self-portraits. But then again, is there a line? My Tumblr is overtly sexual because I am a very sexual person. I already did one or two collages with pictures of myself. JJ: What mediums do you work in? FB: I am interested in doing different types of artwork, it can be collage, photography or painting. Regarding the portraiture in my artwork I don’t think it’s a necessity to include pictures of myself or to put myself as an object in it. JJ: How do you draw the line and make the distinction between porn and art? FB: With art there is a sense of distance, while porn is very direct – but porn can also be very distant in a way. I don’t


think there needs to be much of a separation between the two of them, provided that the work in case has quality. I think it’s always a matter of taste and what you are used to seeing ... Some media feel the need to use the shock effect of porn, for instance, to get a reaction. But it’s all down to interpretation. When you take Pasolini’s Salò for instance: to some people it’s nothing but a vulgar pornographic movie while to others it’s a beautiful masterpiece. Just like Teorema, that movie is above all a metaphor in itself to me. When you mention the word porn, most people think of American hardcore porn, which is too short-sighted. I prefer the term erotica. When it arouses you, touches you, it can be art. JJ: The web has been a strong part of your work and how you communicate not only your art to the viewer, but it also allows you to interact with them and is a platform for you to showcase your talent and newer works. How important do you feel the internet has been to you and your career and also the importance and significance of the net in art? FB: The internet and especially the Tumblr phenomena is a very fast thing and it provides you with a huge amount of pictures that rush through you, so you have to be quite selective about it. You get direct interaction and response from the people who look at your page. It’s a great platform that gives me the opportunity to show my stuff and find out what the reactions are. JJ: How would you describe your relationship with the art world at present? FB: To be honest, I can’t say there’s much of a relationship, because I’m just starting to show my work. It’s not a professional thing yet, but I definitely want to continue finding my way, and establish in the art world. JJ: What are your main goals for 2012? FB: To do more art, get education, learn. Meet new people, widen my circle of friends. Create. Materialise new ideas that I have. I think there’s a lot ahead of me and I can’t wait for it. There’s so much I already know but there’s even more I still can learn and discover. I think every artist feels the need to push boundaries, in order to do something new, maybe even to shock people. But I also believe there’s a way of making art that helps people to look in a different way, that guides them to see things in a new light.

Ends .

Love box.

Right here, right now.

After having moved from Burnley to London, novelist Gavin James Bower’s work has often reflected his own personal experiences in the northern town, and chronicling what has often described as a lost generation. Here he talks about his inspiration ...

Interview by Jaiden Jeremy James Jaiden Jeremy James: Have you always wanted to be an author and was there a specific book or film that inspired you? Gavin James Bower: Of course not. I wanted to be a boxer, footballer, forensic psychologist (after watching Cracker) and so much more before deciding the only thing I’m reasonably decent at is writing. Turns out, I’d probably be a better boxer. I am quite lairy. JJ: Were you an avid reader and were there any books or novelists that you could say you admired and ignited the passion for writing? GB: I didn’t read much in my teens. It’s a running joke in my family that my brother, the successful accountant, was an avid reader growing up while I, the unsuccessful writer, didn’t read a jot. JJ: As an editor you must get to see a lot of young writers and your contemporaries. Are there any young novelists whose work you would look out for? GB: I’d actually rather not recommend the work of anyone, and instead encourage you to first read mine. It won’t take long. You’ll be able to find your own way from there … JJ: You used to write for Flux Magazine and interned at Dazed & Confused, which set off the chain of events that led to you becoming a model. Do you still read fashion magazines and how important do you feel the experience at Dazed was to your career of becoming a novelist? GB: The experience was important. It gave me the setting for my first novel, and (half) a title. I would’ve written a novel

Gavin James Bower.

anyway, but it wouldn’t have been anything to do with fashion. JJ: How has living in London changed your perception of Burnley? GB: Leaving Burnley has changed my perception of the town – not so much living in London. Nowhere in England compares to the capital. That said, I grew up desperately wanting to leave, feeling like I’d already outgrown it – even at fourteen, fifteen. I soon realised that I’m very fond of where I’m from, and I’ll never outgrow my roots. It was folly, or just immaturity, to think otherwise. JJ: Both of your novels draw from personal experience such as Dazed & Aroused and your days as a model, and Made In Britain from growing up in the northern area of Britain. How important was it to draw from these experiences? What’s a novelist without personal experiences – whether real, imagined or simply borrowed? The picture painted of the north of England seems to be bitter sweet, one much like a Ken Loach or a Shane Meadows film, it’s bleak but this is life and people get on with it, life beyond what those in power and the media call ‘under class’ and ‘benefit scroungers’. The stories of all three of your characters are human and humane and touch the surface of what it is like to be young and living in a small town. Apart from your own experiences of growing up, and to some degree leaving, where else did you find inspiration for the book and did the Alan Clarke film in which Made In Britain shares its name, influence the novel in anyway? GB: The Clarke film wasn’t an influence – other than its title, and the year it was


JJ: Could you tell me how you came about the title? As many things are no longer in Britain and it’s the small towns in England that are affected by this and the age of post industrialisation? GB: Irony abounds... JJ: How would you describe your book and what was your main concern when writing? GB: My main concern was that it not be shite. I think that’s every writer’s concern when writing. Unlike Dazed, Made In Britain’s reliant on plot – three narrators and a load of plotlines. I find it easier to make a premise work – to realise an idea – than to weave a readable plot. The editing of Made In Britain was all the more difficult for that, though.

made (the same as my birth year). Other than my own experiences of growing up, I drew on the stories of my family and their perceptions of the place I’m from. Much of the book is anecdotal and documentary – apart from the bits that are just made up. JJ: Do you think that being at an age not too distant from the characters helped when relating to them, and not allowing for the book to read like a cautionary tale? GB: I needed to grow up and move away from the town, and that was the experience of growing up – but not to the extent that I’d forgotten what it was like to be a teenager. It was serendipity, too, as I’d moved back up north for a winter after getting a deal for book one. Writing about that time in my life, while I was living there, seemed obvious in a way it hadn’t before. JJ: How do you feel your novels have been received by the public and press and how do you measure success? GB: Made In Britain seems to have been received well – by all sorts, too. It’s a relief to be told that the dialect reads well (especially by other northerners), and that the teen voices seem authentic (especially by young people). It’s had good reviews and done okay. Dazed was a difficult one for me and the publisher, I think – readers as well. Perhaps one day it’ll be received anew. JJ: You’ve gone from chronicling the fashion world to the wider world of northern teens, if there were things you could change about the both of them what would it be? GB: The point is not to change the world, the point is to chronicle it.

JJ: The short story you wrote for 3am is being converted into a short film, both Dazed and Made In Britain have a cinematic quality to them. If they were to be made into films who would you wish to direct them and play the leads? GB: I’d play the lead in Dazed and Vincent Gallo would come out of retirement to direct. Made In Britain could be done by Shane Meadows, I suppose – though I’d want someone who was up for tackling the here and now, rather than making a period drama. Not that I disliked This Is England ... JJ: Some books that are turned into movies really and truly never work or do justice to the vision the author paints within their work, what film adaptations would you say are justifiable realisations? GB: Fight Club ’s as good as the book – apart from pussying out at the end. The Godfather ’s by all accounts better than the novel, not that I’ve read it – have you seen the films?! And anything by Austen works better on screen, because it takes less time to get through. I’m attempting humour here – Sense & Sensibility is actually my favourite bourgeois novel, of all time. JJ: You’re an active tweeter and launched a Tumblr to promote Made In Britain, how important do you think the internet has been in helping you market both novels? GB: I don’t see my tweeting as marketing at all, though plenty of people have unfollowed me on the grounds of ‘self-promo’. #idontgiveatwit JJ: For any modern novelists the idea of the reader reading from a book is becoming more outdated as more people turn to and embrace e-readers, how do you feel about the supposed death of paperback ? GB: Don’t believe the hype.

JJ: Hayley seems to be like every other girl dreaming of fame with no clear idea of what she wants to be famous for, and Russell is smart but socially awkward. It’s Charlie who seems to be the most complex and multilayered of all the characters, his future also looks to be the bleakest, yet I related to Charlie more than the others and I’m sure there is a character for every reader to emphasise with more than others. Who would you say you relate to the most? GB: It was very difficult to render the voices distinct – and writing as a teenage girl wasn’t as much fun as I’d hoped. All three characters are versions of my experience growing up. But Charlie’s the only one who’s stayed with me. JJ: Charlie notices gay men and comments here and there with the lead up to a very brief sex scene where he notices other males’ bodies. Could you tell me, the reason behind keeping Charlie’s sexuality uncertain and the sex scene so brief, with it mostly left up to the imagination and so ‘laboriously deprived’? GB: ‘Laboriously deprived’? I like that. I have been accused by my editor of writing obliquely, to be fair. See what I did there? JJ: Those within the book are all waiting for something to happen, much like the real life inhabitants of Burnley in which you only have to read about the failed attempts to regenerate an area. In many ways these kids seem to be the ‘lost generation’ in ‘broken Britain’ where family is the main anchor for the kids and the thing that is trapping them, from Russell’s depressed mother and Charlie’s abused mother, to some degree these adults had opportunities in their time. This could also be, to some extent, the representation of the lost generation that the media has painted, the jobless youth of this era. What did you most want to say about the generation gap? GB: Another reviewer suggested that the characters are all trapped, not just by circumstance (class, the place they’re from, etc.), but also by their families. I didn’t experience that sense of feeling trapped – or held back – but I did grow up somewhere where I didn’t feel like I belonged. That’s what I wanted to capture. Anything more would be beyond the sort of preoccupations a teenager experiences. All that stuff’s for you. JJ: I like where and how it ended, you begin to feel and hope the best for each character. Do you think you would ever return to the book with a sequel? GB: Nope. Well, maybe with Charlie ...


JJ: The issues beyond the issues of those that the teenagers suffer are problems that wider Britain suffers, such as council estates in London and small post-industrial towns across the UK, racism, underemployment, single parents, benefit dependency, homophobia, violence, drug taking and selling, underage pregnancies. They all form the backdrop and basis of what people in this country have to face, they are the main issues in their lives, but like those in the book they get by and get on. Your book is a timely portrait of that and very in tune with the times and many have said this due to the riots, but this has been going on before and will go on after. It’s what the government has got to deal with in order to move society forward and without being overtly political Made In Britain is steeped in politics, what would you do or change if you had the power to influence the system? GB: I would abolish capitalism and dismantle its iniquitous social relations. Can I do that as PM? JJ: Your first book was less hard hitting and dealt with a world within a world, the fashion industry you started in by interning at Dazed & Confused, and then moved on to becoming a model. What did you learn most about the publishing and magazine industry and about being a model during that period and what would you say your highs and lows were? GB: For that, you’ll have to read the book. Not really. Really. JJ: You’ve always been good at playing around with titles with Dazed & Aroused you take on the magazine you interned at, it must have upset a few people, where did the idea come from? GB: I think describing the mag’s proprietor as not that impressive upset them more than the title thing. JJ: Beyond the third book, what would you like to see next happening in your career? GB: I’d like to learn and one day write in French. JJ: How long did it take to write Made In Britain and was there a character that came first to you and one whose story you finished before the others? GB: Eight weeks – the same as Dazed . Though, it took a lot longer to redraft. Russell’s voice came first, but the stories came about as one – only, divided into three. If that makes sense. (If it doesn’t, you should try redrafting that shit).

Ends .

Right here, right now.

Megan Francis Sullivan’s latest project re-appropriates nude male pin-ups with a serious intent but playful aesthetic, subverting the original titillative force of the models from Germany’s first legal gay porn magazines by covering their exposed cocks with large colourful letters, in what may appear to have no logical purpose other than to bring a perplexed smile to the viewer’s face but in fact goes much deeper in an investigation of how subcultures strengthen their identity through a use of language, in particular, visual language, which the Berlin based artist understands all too well, having co-created the magazine Mat.

ISO (International Standard), 2010 Digital print 119 × 85 cm

Notes on camp.

Interview by Maksymilian Fus Mickiewicz. Maksymilian Fus Mickiewicz: Could you tell me a bit about Mat , the magazine you produced? Megan Francis Sullivan: It was an arts magazine in a very broad sense. We would always start with a topic and then out of a topic or a conversation things would start to appear. One thing would lead to another. That was very much what the magazine was about. We only did four issues, after that we said ok this is it, we don’t need to do anymore. MM: The magazine takes on a life of its own doesn’t it … MS: Yes, in the end it almost became something which created itself. It gets a bit scary when a magazine gets beyond four issues it almost becomes a travelled road in the sense that it is projected what form it has, who is going to write, and what to expect. At one point it shifts and takes on its own identity. MM: How did you become interested in gay publications? MS: I just thought it was a nice thing to check out. I first loved Butt magazine, which was one of the best magazines because you’d have this famous director talking about his movies, and then suddenly the interviewer would ask: ‘so, what types of guys do you like to screw?’, which was very funny and immediately stopped any conversation about film. Then I started to look for other gay magazines

Megan Francis Sullivan.


and I found ones like Boys / Kerle / Männer (1972) on eBay. It was a real treasure to find because of how beautiful it was. All of the images were very special and there was very little text. It wasn’t about writing and it wasn’t even really a contact magazine it was somehow just trying to give an image to this way of life. MM: Did you get in contact with those people originally involved in the magazines while working on the project? MS: Yes, the thing about these early magazines was they were created by people who used pseudonyms. So I went to the gay museum archive in Berlin, where they have copies of all of these magazines, to look them up. I found a city planner from Berlin, who’d written a book on some of the gay movements in Germany and was able to give me the name of Jens Reimer, who published some early magazines. I met Jens and was able to get all the juice on who the people behind the pseudonyms actually were. But funnily enough Jens actually found the images in the magazine completely unbearable. Can you imagine? He thought anyone who is an artist could not be interested in these images because they were so poorly photographed. MM: How did your interests turn into an art project? MS: Well I found these images interesting because they have no function. There is no real definition as to what they are for. They’re not even really that well made for pornography. It was very sweet talking


with Jens because we both laughed at the fact the guys in the photos don’t really even look sexy. Jens said back in the day they actually used to use the Quelle catalog for looking at men in their underwear, in order to jerk off. MM: In a way by placing letters over the nude portraits you made them even less functional but then again you gave them a different function … MS: Yes, it’s taking away a bit of the readability because in part you can only read them as images of half nude men. But the blockage is also something to read. A lot of the time people think it’s about the content of an image, for example: ‘oh, you’re very interested in gay men’ or ‘you’re very interested in masculinity.’ In part I am but it’s really about how we look at images, how you look at images, how I look at images and how images look at us. How images create meaning and how what we look at is also transferred upon us as the viewer in the interchange. To me that is ultimately more exciting then just thinking about the representation of masculinity. MM: Some critics try to pin you down as a feminist on a mission to reverse the male gaze and empower the female gaze onto men. You’d reject that then? MS: Yes, that is rather off the mark. The first time I saw Richard Hawkins’ work for example I totally loved it, not because I identified with him as a gay man but because I can identify with his work on

Notes on camp.

… gay magazines were really just a moment of searching. And that’s what a magazine can be …

many different levels. For instance in his portrayal of desire for an absent but imagined subject. I think to class my work as feminist is almost a way of not having to think about other levels. It’s not about being a man or woman, it’s really about the function of the images and the possibility of their deconstruction. MM: I first thought you were especially interested in language. Firstly because of the nude portraits covered with letters but also because you asked ballet dancers to re-create the nude poses (in Dance Session I, 2011), which in a way is a method of understanding a visual lexicon. MS: Yes you have to understand these are formally trained dancers and not just actors. Everything they do is completely controlled and defined and so how they move their bodies is also a very much defined language. MM: You’ve worked on a project about an equestrian group called Die Hunterklasse. Was there any crossover between the two projects? MS: Well it’s very much about infrastructures. When I did this book on the Hunterklasse, I had to communicate very much with the German Equestrian Federation and in order to do that you have to be very knowledgeable about what types of language and aesthetics are used. I think with Boys / Kerle / Männer it was also about that. How they formed an infrastructure as they created the magazine. It’s connected because you see how they

Megan Francis Sullivan.

gave vision to an idea. They are giving vision to the Hunterklasse in Germany in the same way these guys are with their own magazine. MM: A magazine can visualize groups’ ideas, and re-format them so that they can reflect on them. Almost like looking into a mirror … MS: It’s almost like they try to create or form a notion of ‘we’. As in ‘we are a group and we are going to show others in this group that they can identify with.’ What also is interesting though is at what point they actually become a group … MM: You said that after four issues of Mat magazine it felt finished because it had taken on its own identify. In a way that’s also telling because when there is a stable identity the need for a magazine can disintegrate … MS: Absolutely, that’s precisely why we did not want to go on. It’s at that point when it declines to be a formation that’s interesting. The gay magazines were really just a moment of searching. And that’s what a magazine can be. MM: What do you think you were searching for with Mat magazine? MS: Well with Mat it was very much about a friendship with the co-founder Francesca Lacatena, things that we were talking about that excited us and how they would take on a form. The third issue, called Cat’s Eye Nebula, was kind of questioning what’s inside of a circle and how


Brown and Prison, 2011 MDF and lacquer 176 × 126 × 20 cm, 176 × 126 × 20 cm

people perform within circles without necessarily becoming a part of the circle. MM: When you say circle you mean a group of people? MS: Yes, a group of people or even a discourse. How do you operate in discourses and remain interested in things without having them dictate to you what you’re thinking and how you are behaving. I mean we’re all contained within boundaries, in what we do and who we speak with, we never really get out of it and often if we do it’s just a posture. So I’m interested to think about how to digress or perhaps get over these ideas of boundaries of self. MM: Magazines become a mass-communication technology people used to lure people into these circles … MS: It’s useful to look at how different sub-cultures create infrastructures. Like you say, it’s similar to a technology. Even more than that it’s about how these technologies form, disintegrate and un-form themselves at the same time. I’m also very interested in a misreading of these languages because images can be read in many different ways. These guys posing for nude portraits would often take on stereotypical poses: a warrior or a Roman. It’s fun because these are very strong images associated with patriarchal power and now they’re subverted in order to be sexy and cute. I love that misuse of them.

Ends .


Notes on camp.

Untitled, 2011 Oil, gesso, fabric dye, mineral spirits, acrylic, pigment and bleach on 45 × 60 inches

activity from our solo work; a way of taking risks; a place to test things out with support; a way of giving the other ‘permission to make madness ‘ as we say. Cian has skills and approaches that I don’t and vice versa and we get off on what the other does to what we gave them. I might send him a vocal or he send me a tune and then we work on it and send it back and it’s a surprise and a joy. Take a recent song ‘Where’d You Go Pam Ewing?’, it has a kind of wonky, Fisher-Price sound (we might call the genre Paedo-Electro) and then these stupid lyrics about Dallas that are sung intensely passionately; this juxtaposition of sounds but also of ideologies is what is successful and addictive about our work together.

Throwing green screens into the mix and getting away with murder.

Interview by lowenna Waters.

lowenna Waters: Your work is an investigation into your own subconscious and the disparate elements that make up the self, is it a form of self-portraiture? John Walter: Yes, but I worry about that. When I was a teenager, and starting to understand that I was an artist, all I did was make hundreds of self portraits; and even at that stage I knew this might be a problem, that I needed to go into the world and gather more information, images and subjects. I do this by living vicariously through the voices of others to begin with, in other words appropriation, and as time has gone on I am less of a narcissist, a more adventurous and less conservative human being and more able to quickly take on ‘the new’. Self-portraiture in itself is boring; I am a boring subject. However, my viewpoint on the world is idiosyncratic one and I have grown to take my reactions and tastes seriously as I see they differ from others. That takes self-confidence.

John Walter’s work is constructed around a juxtaposition of an investigation of the macrocosm of the external world and the microcosm of his own imagination. Absurd and surreal, it combines slapstick with tragedy and utilises the freedom elicited through vulgarity: employing bad taste as a device to open up territory that is usually off limits. He appropriates elements of both popular and high culture which he then synthesises through a syntactic visual lexicon into his trademark psychedelic neon bright ‘maximallistic’ aesthetic. Alter-egos, including the tastefully named Shitney Cuntstone and collaborative work are central to his practice. A prolific worker, his approach is interdisciplinary combining painting, drawing, storytelling, song and performance. After studying for his MFA at The Slade, Walter was awarded The Sainsbury Scholarship that allowed him to complete a two year residency at The British School in Rome. The influence of Italy has entered his practice not explicitly, but through a gradual osmosis. In conjunction with his recent solo show Double Exposure at The Vitrine Gallery in Bermondsey, Re – bel caught up with him to discuss his subversive show, described by one viewer as ‘a spanglier ruder version of The Mighty Boosh .‘

John Walter.

IW: Cuntstone And Clown is a collaborative project forged between you and Cian Donnelly in 2010. What are the key areas of the work you do together? JW: Cian and I met at The British School in Rome in 2007. Our friendship germinated and we found a kind of Venn diagram overlap that became Cuntstone And Clown . It has become a displacement


producing a colour world in which space is homogenised. What is the significance of these collaged paintings? JW: This is an ongoing investigation with colour, which is at the centre of my work, and began whilst I was a postgraduate student at the Slade. I am interested in making paintings and I do this in an apparently diversionary way in comparison to other painters; avoiding painting for periods, making paintings as a way of ridding myself of wrong ideas, as a way of getting to the thing I want to make. I made some very layered paintings in 2006 called ‘Merge Visible’ and I am trying to go further with this in the Double Exposure paintings, which I am beginning to think of as the ‘Multiple Exposure’ paintings. How do you make the most layered painting ever? And how is it legible still? This is concerned with metaphysics, with Lari Pittman, with Matta, it is concerned with the digital beside the analogue, there is a new colour space that can be invented… new colours even… and I am structuring these investigations around organza and resin.

IW: There is a duality to your work: a simultaneous investigation of your internal mental psychoanalytic landscape and the social anthropological investigation of the external world. Can your work be seen as an externalisation of your imagination? JW: I hope so. My work comes from both the ‘interne’ of, say, Roberto Matta – an internal world; I have used human anatomy frequently as a setting for the dramas I explore; this setting literalises the emotional content of my work. It also sets it in something standard, something shared, and this is the duality; that I don’t only want to dwell on my own position but in trying to frame for you the viewer what I might be talking about and so I try to use stuff from the culture that is familiar to everyone as a mid-point as a point of departure.

IW: Your work is an explosion of neon bright psychedelic colour, a ‘maximallistic’ aesthetic. How did this style develop? JW: With difficulty, and ease. I gravitated towards the absurd because it helped but also in colour I find a kind of release that elates me. I love hot colour. One of my favourite things was the Jardin Majorelle in Marakech – a cactus garden with rich red soil and a cobalt blue house. I have never seen colour like it. It’s that colour because of the light. We live in the North and the light is weak. I have lived in Italy and the light and colour was better and life was good. However, I am from here and I like the culture of here but I need to light and the colour. This sounds simplistic but in a profound human way I need to be immersed in colour; my flat is the same, my clothes too. The emotional effects of colour are misunderstood and clichéd in what has been written about them.

IW: In the collaborative film Epitome, you filter and synthesise disparate elements of high and low culture such as Geordie Shore, Super Mario and Yoda. Are you an appropriative artist? JW: Yes and no. One lineage of my work grows out of appropriationism, particularly eighties New York painting such as that of David Salle. What always interested me about this painting, and about Rosenquist, was not the Pop imagery, although that is an element, but in how they take Metaphysical Painting and deChirico and go further with it to create a dissociative space, a re-associative space. I am motivated by my observations of the world (like a stand-up comedian) and as in a conversation I would find shared reference points in painting or art, these are images or existing fragments of the culture. This is the way my mind works – humorously – and not for its own sake but because there is tragedy in humour. In recent years the uber-appropriationism I have practiced has given way to collaboration, which is to my mind more mature and negotiates the world in a more nuanced way.

IW: Absurdism and Surrealism combine in your work to a highly comic affect. Does the absurd represent a foundational philosophical position for you? JW: Yes. Simply put, YES. I love the absurd; I operate from a fundamentally depressed and confused starting point and it is through humour that I can cope with the nightmares that I see. The same goes for colour. I can enter into the world if I can ridicule the pedantry, bureaucracy, idiocy and crassness I see before me. This is not to say that I am a negative or spiteful person, quite the reverse; I describe myself as having ‘an over-empathy gland’ because I am always worrying about ‘the other’ more than ‘the self’. I found in the surreal at an early age an intellect that resonated with me. It makes sense. Ends .

IW: Your Double Exposure paintings are described as ethereal,


Throwing green screens into the mix …

Gnasher, 2011 Acrylic and ink on shaped canvas with metal eyelets 200 × 180 cm

Channel 4 Island, 2011 Acrylic and collage on shaped canvas with metal eyelets 220 × 180 cm

Lozenges, 2008 Acrylic and Oil on Canvas with metal eyelets 132 × 137 cm

Interview by Jaiden Jeremy James.

Abstract expression.

Jaiden Jeremy James: Have you always drawn and do you feel that you’ve always been drawn to colour? David David: Yep I’ve always drawn; I think most kids do, right? I quite often find myself subconsciously doodling on something I really shouldn’t be. I look down and freak when I realise what I’ve done. I doodled on a handful of contracts through the years much to the bemusement of whom they were for. JJ: What artworks or artists do you think inspired you to become an artist? DD: Um … Mr Men, if you’re talking way back. I spent hours every day drawing Mr Men. My walls were covered with drawings, so I started sticking them on my sister’s wall when I ran out of space – that didn’t last long. Now I find inspiration anywhere as most people do, whether it’s in a gallery or a book I’ve picked up. I guess Andy Warhol was very inspiring both in his aesthetic and the way in which he created a brand; I also love the Memphis movement and how they brought fun back into interiors. JJ: Where and what did you study? DD: I studied Fine Art painting at Chelsea College of Art. JJ: You started off as an artist; at what point do you believe led you to move into the world of fashion? DD: It was by accident: I was eager to make a mark, and I went to a couple of parties, I had nothing to wear so I knocked up T-shirts with my paintings on and the crowds went wild! Ha. It appeared that my painting was more widely appreciated on clothes. I still consider myself an artist or, should I say, creator rather than a ‘fashion designer’.

Artist David David talks to Re – bel on Mr Men, Memphis style and being a ‘visual mathematician’. David David.


JJ: Colour plays an important part of your work, such as the relationship one colour has to another. What do you believe makes you so drawn to using the diverse palette that appears in your work? DD: I don’t really have a favourite colour; I prefer colour combinations. I like to start with palettes that are generally accepted as unpalatable, then tweak them just enough so they start to make sense. It’s about being aware of the colour wheel and how you can challenge it and break its rules in favour of finding a new, unfamiliar essence. I’ve always been interested in clashing colours, I don’t use clashing palettes but they come out of opposing tones. I like to marry colours that would otherwise turn their noses up at each

other. Maybe I’m the ‘buddy movie’ of colour. (The buddy movie is a genre where two opposing characters – think 48 hours – become friends through the events that occur within the synopsis.) JJ: What do you believe is the starting process behind your work and how would you describe your own art? DD: I make marks and put them together. I like building symmetry. There is something enjoyable about perfect symmetry and battling with degrees and numbers until everything snaps into place. Even with my patterns, which don’t appear so complex, there has been a great deal of work put into them to find the right balance. I hated maths at school but I have an affinity with numbers and shapes. I think I am a visual mathematician – I don’t think there is such a thing but now I’m talking about it… I guess my work could be described as geometric focused and colour challenged.

ing a home and place to buy into the David David brand, but also a place where individuals could go and be engaged in many things from talks and parties. How did you come up with the idea behind it? DD: The idea behind the events was to offer people the opportunity, outside of an educational building, the chance to listen to their peers and idols talk. I always hear of great lectures in colleges that I’d love to go and listen to but can’t because I’m not a student there. So why not get them into my shop to talk? Plus, having a space is the biggest gift in the world, you can do what ever you want in it, and if you only made use of it as a shop that would be a shame. I’m a bit of a closet megalomaniac. I have lots of dreams but I rarely

get them done, so I thought it would be about time to put my money where my mouth is, open a shop, do some events, curate some exhibitions, get a band in to play, throw a party, etc. JJ: You’ve showed at fashion week at Man, do you think there will be a return to the catwalk at any point in the future? DD: The catwalk is great but I’m a lover of longevity and the catwalk is over minutes after it starts. I’ve only done a couple of catwalks and I was so sad when the curtains fell. Six months of sweat and tears and the come down is too much. I am a man who works slowly and surely. I would return to the catwalk though as part of a project rather than the whole. Ends .

JJ: You’ve collaborated with clothing companies such as Topman and Fred Perry. What do you feel you learnt most f working with such a big name on the British high street and a cult British heritage brand, and do you think you will ever collaborate long term with a brand that allows for you to meet a wider audience with more accessible price points? DD: I love collaborating; I like the idea of seeing how other designers can reinterpret my work. It can be hugely frustrating working with the high street when corners are cut and the product doesn’t appear as how you had hoped, so I’m aware now that you must be prepared for that. You must draw contracts, you must be persistent, you must push to get what you want. I’d like to collaborate long term with a brand but it’s just about waiting for the brands on my wish list to be ready to work with us. JJ: You’ve also worked with Glass Hill, the furniture maker, designing pieces for them, which must have been another step into translating your art. How did you approach creating home ware and is this something we will be seeing more of? DD: I love home ware and furniture. I’m the kind of creator who enjoys reaching out to everyone, so if you cant wear my clothes then maybe you can relax on one of my chairs. I love functionality so seeing your work come to life, to offer your audience a utility object is great. Plus it was great to work with Glass Hill: we are on the same page, which is really refreshing. JJ: Your pop-up shop is an interesting concept where it went beyond just provid-

Above: Built to last, it stands to reason; first sketch. Pencil crayon on paper. 21 × 29.7 cm. Opposite: David David × Glass Hill, Chair ; solid white beach. Originally made in Southern Yellow Pine on commission from Phillips De Pury & Co.


Abstract expression.

…you won’t buy from Pakis. Unless it’s a pint of milk, or a chicken tikka masala…

Made In Britain by Gavin James Bower.


which involves asking about their shared encounter, hook up and the sex that follows. They soon find they have more in common than they would have previously thought, each helping one another to overcome some sort of issue within their lives. It offers an optimistic look at a gay relationship, but it’s much more than that, it’s an love story where those falling in love happen to be of the same sex. Haigh is able to perfectly capture those awkward moments of getting to know someone as the walls fall and you let another individual in. Beautifully shot in Nottingham, and finely written, Weekend is an intimate piece of work that shines in all the right places. Ends .

Much hype has been made about Weekend, it’s one of those films you hear loads about before you see it. It has had an extended run on the festival circuit and now finally after hitting its home screens it’s on DVD. The story focuses on Russell and Glen, Russell is more reserved with his sexuality and Glen is more out and proud. It seems the two are polar opposites at first, meeting in a club and subsequently spending the weekend together, bonding. Glen is a budding artist, and gets Russell to participate in his project,


a pint of milk, or a chicken tikka masala.‘ There seems to be so much more to Charlie, this is where the book takes its depth and he becomes an antihero. Falling into bad situations only to try and help others, repressing his sexuality and resolving most situations with a fight. This is a world where those who are supposed to protect, ultimately neglect. From erratic and abusive parents to teachers who prey on their students, there is nowhere for these teens to turn except to drink, drugs and each others’ beds. Their future is bleak with an ailing economy and a place where the recession has well and truly hit. All three are bound by their families, which for some reason or another seem to be trapping them. Hayley feels trapped by her father, who’s never around due to work, yet she is the only thing he has as her mother died, resulting in guilt built up about leaving him alone. Charlie feels he needs to protect his mother from his father, who abuses them both. Russell is also restricted by his mentally unstable mother who tries to seize from her son the only opportunity he may have of a better life. It touches upon the many problems that the North and possibly the wider country has, such as rising unemployment, racism and a forgotten generation of youths. Made In Britain is an interesting read from a young author who may have just found his voice.

Painted in part as a humane tale of the struggles of those not only less fortunate than most, but of those in a place where nothing ever happens or goes on, job opportunities have dried up, and as the title suggests when things stop getting made in Britain. It’s bleak but this is life and people get on with it, life beyond what those in power and the media call ‘underclass’ and ‘benefit scroungers’. The book is split into chapters told by three protagonists from the same town, and of the same age, at the same school. They all know of each other and are interlinked in some way or another through Russell – who likes Hayley and Hayley who longs to lose her virginity to Charlie. Russell is the smart one who is often alone, socially awkward, he writes letters to a dead friend and is shunned at school. Russell has a chance of escape, offered by a cousin in the nearby but more happening city of Leeds, yet guilt seems to trap him in the form of his mother. Hayley is like every other girl – dreaming of fame yet having no specific talent in which to excel. She craves attention in some shape or form, and attempts to seduce whoever she can in a bid to get better grades. Then there is Charlie, who seems to have the most to lose and the least to gain, he gets mixed up with the wrong crowd. He is smart yet doesn’t apply himself fully, and is recruited by the local Pakistani gang because they need someone to run around for them who isn’t of an ethnic minority: ‘you won’t buy from Pakis. Unless it’s

Ends .



Joana Seguro is probably the person responsible for bringing raves into museums.

Brought up in Portugal, soon ensnared by UK counter-culture, she swapped Lisbon for

London, enrolled as a pharmacology student at Kings College but found it hard to resist

listening to promos instead of reading journals. Writing for her university paper put her

in touch with seminal record labels like Warp and Mute and being in touch with major

record labels meant new bands were in touch with her. Maybe it was all that lab testing,

maybe it was all that ‘acid house’ but something clicked. Experimentation across visual

arts and music came together to form her manifesto which began as she became Rough

Trade’s first gig organiser, progressed through collaborations with the Victoria & Albert

museum, Hayward gallery and the Royal Opera House, and culminated in London’s first

electronic music festival, Ether, which recently celebrated ten years of ‘innovation, art,

technology and cross-arts experimentation.’ Re – bel caught up with her ahead of col-

laboration with Yoko Ono, for a satellite view across the digital arts scene.


Interview by Emer Grant. Emer Grant: How did you start doing what you do? Joana Seguro: Its just happened naturally, I just started putting on events and the events ended up in galleries and from galleries ended up in museums, in the beginning I was working in plays and theatres, I had an interested in the arts, or in culture in general and any opportunity that presented itself I grabbed it and that’s sort of what happened. It was a matter of deciding that I liked an artist, I wanted to work with them and I did it. EG: Did you ever have a vision for the arts or create cultural manifestos for yourself? JS: Well I did and I didn’t, as a scientist, when I studied Pharmacology for five years at university, I was always a bit of a geek and was spending a lot of times in labs, working with machines and technology and materials to experiment. I was always very keen on being collaborative and mixing things up. I was using this incredible technology in the lab and wanted

Joana Seguro.

to do the same in the arts. When I was growing up I remember specific turning points in becoming culturally aware of certain performances, watching theatre like Fura del Baus and Pinabausch in Portugal, this is what I found exciting. It wasn’t because I wrote some sort of manifesto, this just happened to be the things that I loved. EG: You are a curator and producer that is known for working with artists that use technology, what’s your opinion of the UK landscape in this field? JS: I have found that the arts is always slightly ahead of the everyday life, so artists will start using tools and they permeate to everyday life, nowadays this has reversed slightly. So throughout Europe you will see people daily using their smart phones or have a computer, so people are consuming culture and art though a computer, yet the large institutions still haven’t embraced technological practices, they are using technology as a tool for communication. It could be better, there are people conducting exciting experi-



ments, but perhaps in the establishment, it hasn’t quite caught up as fast with other areas that it supports. EG: Where would you see the boundaries become defined between the more traditional arts and the projects that you are producing? JS: At present, the artists using new technologies as tools within the cultural sector are in a minority. In everyday life, technology has become a part of culture, in every day culture, technology has not fully become part of the equation. EG: Why do you think that is? JS: Success, the artists are producing something that people find valid, so they see no reason to change. The second thing is there is something in the visual arts sector also that is still wrapped up in long lasting objects, technology has a temporal nature to it where things keep changing, in the financial view to practices, it doesn’t make sense to purchase something that is temporal versus a sculpture or a painting, something that depends on a changing

technology could mean that it is no longer relevant in a few years, so it becomes of less value. There is an economic question, a success question and a resistance to change, when you don’t have to.

artists were more of a reference to the work I was excited about and pushing more of the boundaries, or trying to do something innovative as opposed to more established or commercial artists.

me, trying to get a mathematician, an artist collective, a pattern cutter and a sound artist to collaborate for a performance. Eno Henze based in Berlin is an exciting artist.

EG: Would you say that object based practises within the visual arts are supported then though primarily economic and conservative motives? JS: I don’t think it’s primarily conservative, it is what it is, and it works for objects. I just think that an alternative needs to happen, it doesn’t have to be out with the old and in with the new, it just needs to be that there is a new system in which sustainable digital work can be generated and there is a market to support it.

EG: What about Sound Art in the UK? JS: Last year with the Turner prize people thought Sound Art was the nex big thing and people got really excited about it. There is good work out there, artists such as Ray Lee and Siren, Siren is a beautiful piece, I saw it in the Royal Opera House at the Wayne McGregor Deloitte event, I work with Felix’s Machines and it was important in terms of sound sculptures, people like Jem Finer and Longplayer are exciting works, Jon Wynne’s work is fantastic, I would love to do something with him.

EG: You’ve done a lot of work at festivals such as Sonar. Have you got any festival plans for this summer? JS: This summer I’m producing a digital work for Yoko Ono at the Serpentine gallery. There are plans for work in Brazil and France, but it’s at the talking stage at the moment.

EG: Why has sound art been a theme in the shows you curate? JS: It’s just happened, I have a passion for things experimental and artists that don’t respond to traditional commercial formats, I was attracted to artists that might have a commercial career but were trying to do something different. Sound

EG: Who and what is inspiring you at this moment in time? JS: I work on this project called symmetry with Farmers Manual, Russell Haswell. Marcus du Satoy and Richard Rhys this week which has really inspired


EG: Do you have any tips for aspiring curators / producers? JS: Just try stuff, don’t try to over plan or over think, just try it out. EG: Finally, apart from digital arts, what else do you love? JS: I like to read a book. Sit and read quietly and not talk too much. The opposite of sitting in a room with a lot of noise.

Ends .

Fire starter.

For James Long, Ethan Cook is not simply a heartfelt abstract-minimalist painter. An oddball artist born in Texas and raised in Brooklyn who uses milk instead of acrylic paint. He has invented devices that push the odds of non sequential patterns across canvas, he is also a collaborator, close friend and the man responsible for the Pollock-esque spills across white leather shorts, apocalyptic khaki and dip-dyed knitwear that we revelled in Long’s Spring and Summer 2011 relaxed hallucinogenic catwalk show.

Brighter, later.

Interview by Maksymilian Fus Mickiewicz. ‘We first met in New York,’ remembers Long. ‘I went to Ethan’s studio, looked at the pieces there and really liked the colour, process and the texture.’ In next to no time they began to exchange interests and ideas. ‘I learnt a lot about American artists that were influencing Ethan. I liked how abstract it was, the experimentation and chance elements.’ Their shared interest in texture came together, Long’s rich knowledge of fabrics and Cook’s colour palettes and prints. Maksymilian Fus Mickiewicz: You’ve said you, ‘work with the canvas, not onto the canvas.’ Can you describe that process? Ethan Cook: I am interested in working with the canvas, not exclusively on top of it. The canvases undergo a process of boiling, folding, dyeing, staining, bleaching, drying, painting and general ‘working’. The materials seep into the canvas’ weave, changing and becoming one with the fabric.

Untitled, 2011 Oil, gesso, fabric dye, mineral spirits and bleach on canvas 45 × 60 inches

Ethan Cook.


MM: A lot of people call your work experimental. This may seem an odd question but how do you allow yourself to be experimental? EC: I allow myself to be experimental with the materials I use and I trust intuition and process. I am open to using traditional and non-traditional art materials in traditional and non-traditional ways.

Each piece is started without a clear idea of the finished product, the process leads the way.

textures will have to be interpreted via vision but I am trying to incorporate scent into my work.

MM: Is it true you have rigged machines to control the dripping process? EC: I have made various contraptions in an effort to mediate chance, some disastrous! One was a large propeller system. Now I mainly use dye baths and am much more hands-on, working directly with the materials.

MM: Why do you now feel the need to include scent in your works? EC: I am interested in adding a new dimension to the work. Scent is strongly tied to memory and nostalgia.

MM: How did you first start working with unusual fluids like motor oil, soap or milk? EC: I was interested in making art without having to step into an art store. I would gather my supplies from hardware stores, dollar stores and delis. I wanted to have textures and colors with a different workability than paint. The dollar stores in Brooklyn have some great hair gels. MM: Do the materials themselves carry a significant meaning? EC: The materials do not carry a significant meaning; meaning can be assigned by the viewer but it is not intended. MM: You’re a visual artist but there’s an incredible amount of texture in your work. Would you ever want your canvasses to be treated like objects that could be touched? EC: My work is very textural. I like to play around with textures. For now the


MM: None of your individual artworks are given titles but your latest show was called All the tired horses in the sun, how am I supposed to get any riding done? Why a Bob Dylan song quote for the exhibition? EC: I usually title each series. The Dylan song has to do with rethinking the intent and utility of art fundamentals: canvas, gesso, stretcher bars. It’s about working with those fundamentals to create new forms. I also really love Seventies Bob Dylan. MM: What did it feel like to collaborate with James Long on a collection, when you knew the pieces would be worn? EC: James is a natural collaborator. He is really great at filtering information. He could instantly see what pieces would work well as patterns and which ones stood better as they were. The designs were gone over and the chosen ones were made into repeats and printed. It was really exciting to see an 11 × 14 inch work on paper turn into something wearable on the runway. Ends .

Brighter, later.

Ethan Cook.

Untitled, 2011 Oil, gesso, fabric dye, mineral spirits and bleach on canvas 16 Ă— 24 inches

Untitled, 2011 Oil, gesso, fabric dye, mineral spirits, acrylic, pigment and bleach on canvas 45 Ă— 60 inches



Brighter, later.

Ethan Cook.

Untitled, 2011 Oil, gesso, fabric dye, mineral spirits, acrylic, pigment and bleach on canvas 45 Ă— 60 inches

Untitled, 2011 Oil, gesso, fabric dye, mineral spirits and bleach on canvas 16 Ă— 24 inches



Brighter, later.

New wave. Britain has always been a breeding ground for fashion talent on a multitude of levels from design, stylists and editors with names such as Christopher Kane and Gareth Pugh to the Gallianos and McQueens of earlier years as well as Anna Wintour and Glenda Bailey. Yet it is the stylists who truly fly the flag for Britain and there are an overwhelming number of English stylists whose talent is at the forefront of the global fashion industry. One such example is Katie Grand, Editor in Chief and founder of the Condé Nast style publication Love, who also founded Bauer’s Pop and who works for a variety of luxury houses such as Louis Vuitton and Loewe, and the darling of the UK’s high street, Topshop, on its high-end line Topshop Unique. Another would be Nicola Formichetti, who’s worked with Uniqlo and Dazed & Confused, in which during his time as creative director, he defined an era and created a roll call of male supermodels from Luke Worrall to Ash Stymest. Formichetti then moved on to conquer America, and conquer it he did, by collaborating with one of the biggest stars of the moment, Lady

New wave.





fashion beyond fashion – but on

Text Jaiden Jeremy James.

a level of popular culture stylists

Photography Billy Ballard.

can only dream of. Formichet-

Styling Jack Borkett.

ti didn’t stop there, he took the

Opposite: Melissa wears

reins of the iconic Parisian luxury

all clothes by Riccardo

house Mugler and has breathed

Tisci for Givenchy.


New wave.

life into the men’s and women’s ready-

ing positions at Dazed & Confused

Opposite: Melissa

to-wear. Edward Enninful is another

before moving on, in Trevelyan’s case

wears shirt by J.W.

breaking boundaries as a black man to

to working with musical talents Lady

Anderson, tracksuit

work at places that people of colour

Gaga and Jessie J and magazines like

bottoms by Adidas.

are seldom seen, shooting for Amer-

Another, Tush and Bullet with photographers Ellen Von Unwerth, Hedi Slimane, Malcolm Pate, Daniel Sannwald and Nick Knight. Trevelyan then became fashion editor of Untitled magazine in which its ethos is to champion new talent – an ethos that couldn’t be better suited to a young stylist as Trevelyan strongly likes to support newcomers in her many fields of work, such as her previous job as a consultant for the store Machine A and styling shows for Charlie Le Mindu and Jaiden rVa James. Voulters who worked alongside Trevelyan is now Fashion Editor for Vice / Vice Style and starring on the hit web series Dalston Superstars. Voulters chooses to not use models for the majority of his shoots – many with added humour behind them – he chooses to also work with many new names and rising stars in photography like a Re – bel favourite, Cameron Alexander. Howells styles for a wide range of new name designers such as Fred Butler, Noki and David Koma and has shot campaigns for clients such as sportswear giant Puma and contributed to V and Husk . Jack Borkett and Hanna Kelifa have assisted Edward Enninful while Kelifa has now left to work on her own career in which she has shot for magazines such as i-D, Zoo, Metal and W. Jack remains working with Enninful yet has shot for i-D with superstar models such as Jourdun Dunn and has shot some exclusive images for this magazine. John McCarty has worked with Panos Yiapanis and now styles for a range of magazines from Hero, which champions talent rising in both the modelling industry and photography and styling-wise to Rika and Dazed & Confused. Another alumni of Dazed

ican and Italian Vogue, and doing shows and campaigns for clients like Emporio Armani, Mulberry, Dior and Versace, and moving on recently from Fashion Director at i-D to W Magazine. His entry into the industry is one of fairy tales, after being spotted by the stylist Simon Foxton and appearing in one of his shoots, Enninful soon took over as Fashion Editor of i-D, the same magazine that he posed for as a model. Simon Foxton too has created many iconic images in his day and has helped push menswear from the Eighties buffalo stance into the Nineties, Noughties and now 10 s, working with a range of talent over his three decade career, consistently helping to break new names into the industry from photographers to stylists. Foxton has shot for various magazines i-D, GQ Style and Fantastic Man, amongst many others and works as a consultant for Stone Island. Panos Yiapanis is a quiet talent, his unique gothic style has seen its way onto the catwalks of both Givenchy and Rick Owen clients, in which he styles and consults as well as on the pages of Arena Homme and V where his names sits on the mast head. All of the above are established in their own right and have had an overwhelming contribution to fashion but it’s their assistants who will lead fashion forward in the future and they are the ones that are rising up and carving Opposite: Magda

out a career and making a name and

wears dress by JW

building brands of their own.

Anderson, white

Anna Trevelyan, Sam Voulters and

hoodie by Adidas and

Kim Howells all started out as as-

fishnet knee socks by

sistants to Nicola Formichetti with


Trevelyan and Voulters both obtain40


New wave.

and Hero is Elizabeth Fraser Bell, who assists Robbie Spencer in his position at Dazed and also styles for the magazine Hero in which she has shot with Pierre Debusschere and Hero cofounder Fabien Kruzelncki. In a strange case of history repeating itself with the Foxton / i-D connection is Elgar Johnson who is a model turned muse to assistant

i-D full time as its menswear editor. Already Johnson has worked and shot three i-D covers with Alasdair McLellan and George Harvey and ad campaigns for Moschino with Matt Jones, and also supported emerging talent such as Thomas Lohr. Rasharn Agyemang is another who has collaborated with Simon Foxton on several shoots and projects such as Nick Knight’s living portraits for his 10th anniversary exhibition for Showstudio, styling an array of models every day and also helping out on various magazine editorials for Wallpaper, i-D, Arena Homme Plus and Re – bel. Agyemang who is Fashion Director of Re – bel has shot with Jason Evans, Rankin, Daniel Sannwald and Ben Weller, with clients ranging from Nike, Casio and Diesel. In an industry where change is ever present from season to season in the collections and clothes, yet one where faces and people in power rarely change, it can be hard and disheartening to try and break out on your own, but these are a few of the names that will help to propel the industry and move it forward. The individuals who will one day help Above: Maja wears define and create the future mood of all clothes by Riccafashion and with their talent, in some rdo Tisci for Givenchy. cases still raw yet evidently fresh and Opposite: Melissa unique, it’s these names that will one wears all clothes day be a top of mastheads and behind by Courtney MC. ad campaigns. Ends New wave.


Melissa, Maja and Magda at Next. Hair: Mari Ohashi. Make-up: Lucy Bridge at Jed Root using Mac Pro. Nails: Rebecca Jade Wilson using OPI.

to Simon Foxton and now works for


New skin for the old ceremony.

Skins blasted onto our screens more than six years ago, its portrayal of British teenage life was refreshing and it gave an unflinching insight into growing up in the modern-day world. Yet uniquely not within the capital city of London, but in the smaller yet fast-paced Bristol. Unlike most shows that make stars and cling onto them, Skins has renewed its cast every two seasons, using mostly unprofessional actors allowing those who watch the show to become a part of it and in some cases involving new writers and directors. Skins has become a breeding ground for new talent on a multitude of levels, and over time it has launched the careers of several individuals, including cast member Nicholas Hoult, who unlike the others was a child actor acting alongside Hugh Grant in About Text Jaiden Jeremy James. Photography Simon Harris. Styling Rasharn Agyemang.

Opposite: Sam wears trainers by Jeremy Scott for Adidas, jeans by McQ, T-shirt by Maison Martin Margiela.


A Boy and post series working with Tom Ford on both his film debut A Single Man which led to being featured in Ford’s advertising campaigns. Who could also forget series one’s Dev Patel, a nonactor prior, who went on to work with Danny Boyle in Slumdog Millionaire and M Night Shyamalan on The Last Airbender. Similarly Daniel Kaluuya, who also directed an episode and has become a fixture on BBC shows Fade and Psychoville appeared alongside Rowan Atkinson on Johnny English Reborn. Series three which was the second generation, made stars out of Jack O’Connell who was an actor prior to Skins , yet it’s no doubt that the show helped showcase his talent, and Kaya Scodelario, who played supporting roles in the previous generation even before the show’s end. Kaya had worked with directors such as Duncan Jones on his breakout film Moon and alongside talent Liam Neeson, Ralph Fiennes and Gemma Arteton on Clash of the Titians and recently taking 45

New skin for the old ceremony.

This page: Sam wears belt and hat by Paul & Shark, trousers by CP Company, sleeveless vest by McQ. Opposite page: Sam wears trousers by Missoni, T-shirt by Tween.



New skin for the old ceremony.

a starring turn in Andrea Arnold’s Wuthering Heights. Series five launched the third generation of young talent. One name, Dakota Blue Richards, may ring a few bells, an actress beforehand who has shared the screen with actors Daniel Craig and Nicole Kidman in the blockbuster Golden Compass. The third generation will star in the sixth series and consists of Freya Mavor, Laya Lewis, Jessica Sula, Alex Arnold, Will Merrick, Sean Teale, Sebastian De Souza and series six newcomer, Sam Jackson. The cast arrived to photographer Simon Harris’ studio and were surprisingly humble. Although it felt like a trip back to college it was clear the cast were confident around each other and enjoyed one another’s company. The team was intrigued with the new face that was Sam Jackson and based the following fashion story on him and his character. Each had their individual story about how they became a part of the show, told with glee and somewhat disbelief, as if they were still pinching themselves. Lewis recalls, ‘The director came to my sixth form and I was like yeah I can do it.’ Jackson remembers, ‘I went down to London for a first audition and got called back for a second one and then they told me that I hadn’t got it, and then they rang me up again saying I’m back in the frame and then they rang me up again saying I got the part.’ One thing all the cast members do agree on is which series was their favourite so far, which in turn was series one. Mavor says ‘They’ll always be like the Skins characters and we’re like the kind of shadows’. Ends. 48

This page: (from left to right) Alex wears leather jeans and vest by McQ, vintage leather jacket. Freya wears black leather dress by McQ. Sam wears T-shirt by Maison Martin Margiela, gorilla trainers by Jeremy Scott for Adidas, jeans by McQ. Jessica wears leather dress by Maison Martin Margiela. Sean wears his own trousers, jacket by Nike. Laya wears black jumpsuit by MM6 Martin Margiela. Dakota Blue wears black safety pin sleeveless jacket by McQ, wool vest by Maison Martin Margiela, leggings by Adidas Originals. Opposite: Sam wears T-shirt by Maison Martin Margiela, Jacket by CP Company, shorts, stylist’s own. Make-up: Lucy Bridge at Jed Root using Mac Pro. Fashion Assistant: Molly Nicholas. Hair: Kieron Lavin at LMC Worldwide using Bumble and Bumble. Assistant to fashion director: Benjamin Johnson


New skin for the old ceremony

Q and A.

Rachael Baker 1



What does a normal day in your life consist of? Get up, put my face on, head to IPR and get some breakfast on my way to work. I always have a coffee and a cigarette. Around twice a week I’ll go on a breakfast with press – I like the Albion or Dean Street Town House. After work I usually go out or have dinner with friends. How would you describe yourself? I’m a massive softie with a moody face. My friends are so important to me. I believe that you should make everyone feel like the most important person in the room. I love my job but I don’t take fashion too seriously. I think when you work in an industry like this you have to remember that they’re only clothes! How would you describe your personal style? My personal style: black. I only wear black. I have done so for the past five years. I’m the only person I know that

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wears Kickers, Stone Island and Prada in the same outfit. I can sometimes look like a sportswear goth with random bits of New Power Studio, Christopher Shannon and J.W. Anderson mixed in! It takes me two minutes to get dressed, I really don’t think about it. When you do, it’s not your style anymore. What do you prefer boys or girls? Depends what for… What do you do to pay the rent? I work at IPR, I look after a lot of the menswear clients. I love my job. I have an amazing team. Who do you think will be a good successor to take over Galliano at Dior? The best successor would be… Raf Simons. Take him anywhere and you’ve got the best collections. Or Hedi Slimane could make a comeback, he’s insane. I love all of his work. What kind of music do you like? I love punk, ska and Nineties Hacienda stuff. My favourite band is the Clash. What films have inspired you?


I get inspired by people. 10 Do you have a favourite director? My favourite director is David Lynch. Blue Velvet is one of my favourite films. 11 Do you have any favourite books? American Psycho by Bret Easton Ellis. His writing is so powerful. Lolita by Vladimir Nabokov was the first book to ever make me cry. 12 Which magazines do you read? I read hundreds of magazines a week, I usually I don’t have time to sit and properly read them. My favourites are Arena Homme Plus , i-D and Fantastic Man (and Re – bel obviously). 12 Which designers’ work do you admire? Raf Simons and Riccardo Tisci (at Givenchy) for repeatedly producing the most amazing menswear. And Jean Paul Gaultier for leading the way back in the Eighties. 13 Are there any contemporary artists whose work you like? Wolfgang Tillmans maybe… Does Ellen Von Unwerth count too? 14 How did you get into your job? I decided that I didn’t want to write about fashion, I like just talking about it, so I turned to PR. Talking to Alasdair McLellan once made me realise I should do menswear, because it’s why I like fashion. One of my favourite brands is Stone Island, so I hunted down the PR that represented them, and I just begged for a job! I got it, then shortly after went to work for Oki-ni, freelancing in between, then onto Adidas, then to IPR. 15 What are your future ambitions? I would love to consult for an amazing menswear designer, or be a part of a magazine that I love. I want to have my own PR agency with the most amazing, relevant brands and the best PRs. I also want a house in Farringdon full of nice furniture. Mervyn Boriwondo 1



What does a normal day in your life consist of? Depending on what’s happening in the week, if I’m shooting, the day usually starts with emails, breakfast – I’m big on breakfast – followed by phone calls, then more emails, appointments, always seem to skip lunch somehow, but make up for it by cooking a massive dinner, followed by watching way too much reality TV. How would you describe yourself? Random, on the edge, excitable and temperamental in equal measures. How would you describe your personal style?

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9 10 11 12 13



I have a thing for big coats, like my shoes, and T-shirts. What do you prefer boys or girls? Going with the boys on this one. What do you do to pay the rent? Work a shop job. Who do you think will be a good successor to take over Galliano at Dior? Marc Jacobs. What kind of music do you like? I’m into a bit of everything, I like a bit of pop, R&B, hip hop, electro, a bit of classical, though I must say I’m going through a disco moment right now. What films have inspired you? Any films by John Waters starring Divine. Do you have a favourite director? John Waters. Do you have any favourite books? Harry Potter books. What magazines do you read? Self Service, i-D, 10. Which designers’ work do you admire? It has to be Alexander McQueen. Are there any contemporary artists whose work you like? Jacky Tsai. How did you get into your job? Growing up I was obsessed with magazines, so it almost seemed a natural thing to start something of my own, I started Hysteria magazine in 2009. What are your future ambitions? To continue to work and challenge myself within the creative realm, and to get the opportunity to work with individuals whose work I admire. Jack O’Brien




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What does a normal day in your life consist of? Wake up late. Ponder life. Paint T-shirts. How would you describe yourself? I’d say I’m a true optimist, seeking opportunity rather than waiting for it to come. How would you describe your personal style? Nineties Madonna meets Michael Caine. What do you prefer boys or girls? Boys, they’re basically girls. What do you do to pay the rent? Sometimes I end up painting some shitty commission of something obscure, which pays. I also paint T-shirts and make glasses, anything seemingly pretentious – I’m on it. What are your thoughts on the recent London riots and looting?

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12 13 14



I was shocked and saddened by both the events and reaction to them. What kind of music do you like? From Janelle Monae to Crystal Castles. What films have inspired you? Love Kids and Gummo, also I watched a fabulous film called Cinema Paradiso. Do you have a favourite director? Harmony Korine, also my good friend Joe James is a promising contemporary film maker. Do you have any favourite books? Currently I’m reading a book called Bel Ami which is interesting, it changes regularly. What magazines do you read? Dazed, i-D, Re – bel and Dust . Which designers’ work do you admire? Gareth Pugh and Hussein Chalayan Are there any contemporary artists whose work you like? Love Rosson Crow’s work. How did you get into your job? By doing what everyone else did. I still don’t have any idea what I’m doing. What are your future ambitions? Really push SYN[ACT] and get some good contributors on board. I’d love to host a few extravagant parties, paint some masterpieces, you name it.

No one in particular. 13 Are there any contemporary artists who’s work you like? Not especially. I am weak-kneed for modern artists like Picasso and Van Gogh 14 How did you get into your job? By knocking on a lot of closed doors 15 What are your future ambitions? Pickup a traditional craft such as wood carving or stone cutting.

Rafael Stahelin


What does a normal day in your life consist of? Sitting down mostly with a personal computer. 2 How would you describe yourself? W.A.S.P. 3 How would you describe your personal style? Amorphous. 4 What do you prefer, boys or girls? Both. 5 How do you do to pay the rent? I make photographs. 6 Who do you think will be a good successor to take over Galliano at Dior? Galliano. 7 What kind of music do you like? Beck and Leonard Cohen. 8 What films have inspired you? Korean thrillers of late, for their sheer violence. 9 Do you have a favourite director? Brian de Palma’s Scarface is the most memorable tragedy I can remember 10 Do you have any favourite books? The Big Short by Michael Lewis about the sub-prime market that created the mess we are in. 11 What magazines do you read Newsweek , Time and Vanity Fair. 12 Which designers’ work do you admire?

Curly Thomas 1

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What does a normal day in your life consist of? To-do list; shower, meeting with the boss Harris Elliott, work, collect images / materials for an idea I have. Holler at my boy, Alex about this idea. Bed. How would you describe yourself? Hustler. How would you describe your personal style? Streetwear / sportswear / secondaryschool nostalgia. What do you prefer boys or girls? Girls. What do you do to pay the rent? Student loan, H by Harris. Who do you think will be a good successor to take over Galliano at Dior? A$AP Rocky. What kind of music do you like? The Drums, Skream, Ramadanman, M.I.A., LaShark, Kanye West and A$AP Rocky. What films have inspired you? No films. Recently … some videos by the Merce Cunningham dance group. Do you have a favourite director? Nope. Do you have any favourite books? Raf Simons Redux . Which magazines do you read? Dazed & Confused, Arena Homme Plus and WAD magazine. Which designers’ work do you admire? Carri Mundane, Raf Simons, Katie Eary, Alex Mattsson, Nasir Mazhar. They’re artists not just designers. Are there any contemporary artists who’s work you like? Phyllis Galembo! She has had a great influence on the way I work. Also as a space; Saatchi. How did you get into your job? Met Harris at London fashion week. Stalked him at L.C.F. What are your future ambitions? To do creative consultancy for fashion brands. Get paid. Style and make art. Ends

Q and A.

YSL, Autumn and Winter 1978 by Adolphe M. Cassandre. Born in Ukraine to French parents in 1901, he became famous for his posters and typefaces on the eve of WWII. In 1963 he designed the famous YSL logo. However a lack of commissions resulted in bouts of depression which led to his suicide in 1968.


Back section. 54 to 93

Rokas wears shirt by Dunhill, tie by Lanvin, leather cut out top by Dolce & Gabbana, check shorts by Comme Des Garçons Shirt. Opposite: Jumper by Jil Sander, trousers by E Tautz, belt stylist’s own.

Absurd encounters. Photogaphy Brett Lloyd. Styling John McCarty. 54


Wilson wears leather T-shirt by Dior, leather trousers by Neil Barrett, polo shirt by Fred Perry, pen by Smythson. Opposite: Arran wears jacket by Versace, vest by Calvin Klein, trousers by Diesel, belt stylist’s own.



Rokas wears shirt by Dunhill, tie by Lanvin.



Wilfred wears shirt by Levi’s, denim shirt by Wrangler (underneath), jumper by Raf Simons, leather vintage trousers by Versace, boots by Grinders. Opposite: John wears shirt and trousers by Lou Dalton, boots by Grinders, tie by Topman, gloves stylist’s own.


John wears shirt by Woolrich Woolen Mills, trousers by Raf Simons, tie by J Lindeberg Opposite: Tomek wears jacket by Moncler, shirt by Christopher Shannon, T-shirt, shorts and shoes by Jil Sander.



Wilfred wears denim shirt by Wrangler, trousers by Versace, boots by Grinders. Photographer’s assistants: Peter Fingleton, Jocelyn Allen. Hair: Mark Hampton at Julian Watson Agency. Hair assistant: Josh Pickett. Skin: Ciara O’Shea. Stylist’s ssistants: Harry Lloyd and Emily McGuinness. Casting: Eddy Martin, File and Parade. Production: Sergio Pacini. Models: Arran at Models One, Wilson at FM, Tomek at Nevs, Wilfred and John at M+P, Rokas at Elite.




Photogaphy Rafael Stahelin. Styling Rasharn Agyemang.












66 – 67: Fredric wears jacket by Stone Island, trousers by American apparel, boots by Voltaire. Rokas wears Boots by Voltaire, shirt and trousres by Stone Island. 68: Lili wears top Y-3, bra by American Apparel. 69: Lili wears dress by James Long, heels by Christian Louboutin. 70 – 71: Kristoffer wears jeans by Dsquared2, shoes by Bally. 72: Duncan wears trousers by Dsquared2, underwear by Polo Ralph Lauren, trainers by Adidas Slvr. 73: Pau wears white lace bra by American Apparel, jeans by Adriano Goldschmied. 74 – 75: Pau wears dress by Dsquared2, heels by Victor & Rolf. 76: Fleix wears jacket by Dsquared2, T-shirt by Zadig & Voltaire. 77: Rokas wears jacket by Mother of Pearl. 78: Kristoffer wears jacket and trousers by Richard James. Pau wears heels by Christian Louboutin, bra by American Apparel, trousers by Adriano Goldschmied. 79: Lili wears bra by American Apparel, shorts by Karl Lagerfeld. Hair: Lok Lau using Bumble and Bumble. Hair assistants: Lucy Hamilton and Tomoyo Sakai. Make-up: Anita keeling at Jedroot. Make-up assistant: Josie Heighton–Towers. First photo assistant: Rob Oades. Second photo assistant: Matt Healy. Digital operator: Freddy Lee. Stylist’s Assistants: Dexter Dublon and Benjamin Johnson. Models: Pau Bertolini at Viva London, Lili Sumner at Storm, Duncan Pykerokas Zilionis, Frederik Tölke, Kristoffer Hougaard, Rokas, Felix at Elite Men London.


DJ wears jacket and shorts by Astrid Andersen, hoodie from Beyond Retro. Opposite: Theo wears vest by Alex Mattson, MA-1 jacket by Ben Nevis.

Todo cholo. Photogaphy Thomas Lohr. Styling Matthew Josephs.



DJ wears T-shirt by American Apparel, shirt and shorts by Martine Rose, brooch by Chanel, bandana stylist’s own. Opposite: Theo wears MA-1 jacket at the Contemporary Wardrobe, shirt and zip top by Christopher Shannon, bandana by Nasir Mazhar.


Theo wears jacket from the Contemporary Wardrobe, zip top and iPod holder by Christopher Shannon, bandana, stylist’s own. Opposite: DJ wears jacket by Vivienne Westwood at the Contemporary Wardrobe, T-shirt by American Apparel, shorts by Martine Rose, bandana stylist’s own.



DJ wears Jumper and shirt by James Long, T-shirt by American Apparel, trousers by Dickies, watch by G-Shock. Opposite: Theo wears top by JW Anderson, zip top by Christopher Shannon, trousers by Martine Rose. Hair: Takeshi Katoh. Make-up: Tomohiro Muramatsu. Models: DJ at Select and Theo.



Trouble. Photogaphy Mark Kean. Styling Anna Trevelyan.

Opposite: Vika wears jacket, top and skirt by PPQ, shoes by Christian Louboutin.


Above: Michelle wears dress by Paco Rabanne. Opposite: Vika wears dress by McQ, bracelet by Butler and Wilson.


Opposite: Ruby wears dress by McQ. Above: Vika wears top by Craig Lawrence. Hair: Ali Pirzadeh.Make-up: Andrew Gallimore at CLM using Mac. Nails: Sharon at The Book Agency. Stylist’s assistants: Joe Mills, Ben Schofield. Make-up assistants: Anna Priadka and Magda. Models: Vika and Michelle at Models One, Ruby at Profile.



Calvin Klein: Chanel: Christopher Shannon: Comme des Garçons Shirt: Craig Lawrence:



E Tautz: Fred Perry: Lanvin: Levi’s: Lou Dalton: G-Shock: Givenchy:


James Long: Jil Sander: J Lindeberg: JW Anderson:


Karl Lagerfeld:

M Moncler: McQ: Martine Rose: Maison Martin Margiela: Missoni: Marni: Nike: Nasir Mazhar: Neil Barrett:

Dickies: Dsquared2: Dior Homme: Dolce & Gabbana: Dunhilll: Diesel:



Paco Rabanne: PPQ Clothing: Polo Ralph Lauren: Christian Louboutin:


Raf Simons:


Adidas Slver: Smythson: Stone Island:


Topman: The Contemporary Wardrobe Collection:


Versace: Viviennewestwood: Viktor & Rolf:

W Woolrich: Wrangler: Y


Adidas Y-3:

John McCarty

ist’s own. Photography Brett Lloyd. Styling

Calvin Klein, trousers by Diesel, belt styl-

Bally: Beyond Retro: Butler & Wilson:

Issue 5. Spring and Summer 2012



Arran wears jacket by Versace, vest by American Astrid Andersen: Alex Mattsson: Adriano Goldschmied:

Re – bel