Layout magazine fashion editorial "FAKE"

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FAKE is the new indipendent and emerging magazine of 2019 Designed for a public who wants to see a new creative and different image of the word of fashion that goes out of the usual classes of preseted fees. with a different eye “FAKE” proposes a unique vision of a redesigned world Reversing the codes and breaking down the borders to reinvent the classic image of the fashion all imbued with a unique note of humor. with his eclectic and unusual style he wants to differentiate himself from the crowd to amaze and impress the reader, making him immerse himself in an explosive world of uniqueness and creativity, but always with a modern and avantgarde style.

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INDEX 7-20 FASHION CONTRYSIDE

21-27 99 RED BALOONS

29-42 FLOWERS POWERS 6

OPEN MINDED 44-47 STILL life

48-53 INTERVIEW WITH MILES ALDRIDGE

54-65 striped illusion 7

fashion coUntryside

by Jonas Eriksson

Photographer Janna Tode shot this editorial with Lotte at a farm, showing the playfulness contrast between the high fashion garments and the curious animals, fields of gold and farm house serenity.

Photographer: Janna Tode Styling: Fabian Williams Hair & Makeup: Mira Hake/Kult Artists Model: Lotte/Ulla Models

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Coat: Tatras by Lucio Van Otti Knit – Top: Elisabetta Franchi – Bag: Pinko – Skirt: Vintage 10

Coat: Tatras by Lucio Van Otti Knit – Top: Elisabetta Franchi – Bag: Pinko – Skirt: Vintage

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Dress: &Other Stories – Blazer: H&M – Shoes: Tommy Hilfiger 12

Dress: &Other Stories – Blazer: H&M – Shoes: Tommy Hilfiger

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Body: Pinko – Skirt: Elisabetta Franchi – Earrings: Elisabetta Franchi 14

Dress: Wunderkind – Blouse: Whyred – Bag: By CCD at Living Standards – Rubber boots: Aigle

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Jacket: Beatrice B Knit – Sweater: Tommy Hilfiger – Pants: Tommy Hilfiger – Cap with pearls: Elisabetta Franchi – Shoes: Tommy Hilfiger 16

Jacket: Beatrice B Knit – Sweater: Tommy Hilfiger – Pants: Tommy Hilfiger – Cap with pearls: Elisabetta Franchi – Shoes: Tommy Hilfiger

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Dress: Beatrice B – Dress with sequins: Elisabetta Franchi 18

Dress: H&M – Jacket: Tommy Hilfiger – Bikini: H&M – Brooches: Pinko

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Dress: Wunderkind – Skirt: Pinko – Harnet: Marina Hoermanseder – Earrings: Stylist’s own 20

Dress: Wunderkind – Pink leather dress: Marina Hoermanseder

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colors of baloons Photographer Janna Tode shot this editorial with Lotte at a farm, showing the playfulness contrast between the high fashion garments and the curious animals, fields of gold and farm house serenity.

A story with baloon Fashion story for FAKE magazine Antonia Yordanova, styling Momchil Hristov, photography Anna Andreeva, make-up Dani Molchovska, hair styling Evelina T.@Ivet Fashion, model Special thanks to Joro Petkov ;-)

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Alberta ferretti skirt with belt Pinko animalier shirt

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LEFT Gucci orange cardigan Missoni etnical orange dress

RIGHT Pinko dark purple dress Gucci scarf multicolor

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LEFT Moschino green shirt Moschino black lace dress

RIGHT Missoni cardigan multicolor Missoni camel long skirt

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Missoni cardigan multicolor Missoni camel long skirt

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Pinko black skirt Lanvin patterned sweater

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floWer poWer Photography Viviane Sassen Styling Katie Shilingford

Viviane Sassen takes to the colorful outdoors for her latest work in Dazed & Confused’s July issue. Capturing Lisanne de Jong in fashion editor Katie Shillingford’s vibrant technicolored selects, the designs of Rag & Bone, Jil Sander, Sonia Rykiel, Gucci and more get layered up for a dynamic and energetic effect.

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floWer poWer MODEL: Ariann belle STYLIST: Edward klifford MAKE UP ARTIST: Ellen jasmin All dress are Zuhair Murad hight couture ss20

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sweet emotions fashion food

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RIGHT

LEFT

Etro pink buttefly mini bag 465$ Etro white and camel butterfly mini bag 500$ Michael kors mini satchel camel 300$ Michael kors mini satchel dark green 300$

Prada pink leather wallet 475$ Photographer: Nina Alles Stylist: James Curry

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RIGHT

LEFT

Moschino leather black classic elegant bag 480$ Moschino Mc Donalds capslue collection bag 900$

D&G floreal crystal high heels 575$ Photographer: Armando cameron Stylist: James Albert

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SPECIAL INTERVIEW

Having arrived at a 15-year sweet spot in his fashion photography career, Miles Aldridge is continuing to do what he likes to do; eschewing pretty images of pretty women in pretty situations. His is an intensely personal story: a life spent surrounded by model sisters, a successful yet wayward illustrator father, and a glamorous but suffering mother.

Through the lens, he constructs a graphic, deep dream world, wholly focused on his fascination with the “mystery” of women; a discontent and bewilderment that belies their seemingly perfect universes.

“I am the very best person to take my pictures,” Aldridge says.

In London, at least, this month belongs to Aldridge, with celebrations thrice over town: “I Only Want You to Love Me,” a retrospective put on by Somerset House; a monograph by the same name, published by Rizzoli (with a foreword by Glenn O’Brien); and a small gallery exhibition of limitededition works at Brancolini Grimaldi.

All three reveal his inimitable ability to create cinematic pictures, which chart a place between attractiveness and unease, in what O’Brien classifies as “high glamour photo fiction.”

Aldridge’s is a tale well told: the pictures he took of his first model girlfriend kick-starting his career by way of British Vogue in the ’90s, and a long list of intimidating supermodel names— Linda Evangelista, Anja Rubik— succeeding. His is a postmodern universe, “apt for now,” where his colourful, couture-clad subjects, photographed in playgrounds, supermarkets, showers, or in fast cars, is a place where more is still more.

A strange beauty, which sidesteps all the clichés, suggests beneath their “vacant” stares that endless consumerism is merely a short-lived antidote that can’t erase the inner doubt behind their external beauty.

For this celebratory retrospective, Aldridge includes previously unpublished photographs, drawings, scribbled notes, casual tears, storyboards, and Polaroids.

Though he still calls himself an “amateur” player “shy” with women, the book is reflective of the maker himself: direct, dynamic, engaging, imaginative, inquiring, sophisticated, considered, and complex.

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THIS CONVERSATION TOOK PLACE OVER THE PHONE AT NIGHT IN LONDON, WHEN ALDRIDGE HAD JUST ARRIVED BACK FROM SHOOTING A COUTURE STORY IN PARIS, A COUPLE OF DAYS BEFORE THE RETROSPECTIVE AND EXHIBIT OPENING.

DAVINA CATT: So this marks 15 years for you as a photographer. How does it feel—like a summing up, even a reckoning, maybe?

MILES ALDRIDGE: I feel fairly satisfied and that the direction of my work has been a course worth pursuing, I suppose. I think the book is a very good manifesto of the last 15 years of my work, and hopefully a testimony of the times I live in.

When I began in the late ’90s, I felt quite lonely. We were coming out of the grunge era; it was the time of Corinne Day, The Face, the height of the YBAs, where models had to be “real,” on real locations with no lighting. I rebelled against the grungeys—I didn’t find the faux naturalism to be representative! I had been reading a lot of J.G. Ballard at the time and was fascinated by the idea of the vapid

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consumer society, the erotic charge of modern life, where the consumerist things we are coveting are just another form of destroying oneself—a modern world of uncertainty, where lost souls are trying to grab onto something for sense of contentment. I did a series of dark, desperate women based on it—there was resistance to what I was saying, my exhibitions weren’t being well received, and then 9/11 happened, and I said to myself, “Have I gone too far?” Now I look back and realize going out on a complete limb at the time was right—well, people seem to be really responding to my message now, anyhow!

CATT: Will you miss anything about working towards this point, or is it a relief to be finished?

ALDRIDGE: Having a book is actually like a great master—helping to build a universe and unify work—especially in my pictures where there is such a strong signature, yet with a set of rigorous rules to it.

I’m always working in this universe—whether picturing hamburger joints, Virgin Marys, domestic scenes— using these “vacantfaced” women as a medium to question universal truths.

I suppose I like to set myself projects that are tight, focused, and then challenge myself with how broad I can go within that limited aspect. I think to Helmut Newton and film director, Federico Fellini—the added

level of eroticism, the arousing message— and how it was possible for them to keep their signatures over so many years.

CATT: Looking at these troubled, wounded women—I know there is always an autobiographical element in your fascination and vision of them, but you specifically cite your mother as muse for “I Only Want You to Love Me.” ALDRIDGE: Yes, she died very suddenly when I was in my mid20s. It was like she there was there and then gone. There is this line from a song by The Cure, which says it best: “No one ever knows or loves another.” I was left with an enigma as to who she really was. I suppose she paved the way, the first of many enigmatic women who have gone onto be part of my life. Fifteen to 20 years later, I found myself really thinking who she was; it is like being left with detritus and you need to put the puzzle pieces together, so yes, she is in the women in my pictures.

I look at my women with a Shakespearean element too—the variant of emotions they are capable of—it’s not all completely dour, there is a bit of humor in there too! I actually think the whole Shakespearean world is wrapped

up in every human being, from beauty to destruction and everything in between.

CATT: Are there any other autobiographical elements woven in?

ALDRIDGE: Yes, I think in two ways. When I look at the women, it’s from a male gaze of being fascinated, because beyond my mother, I’ve been around notorious women all of my life, and then, secondly, when I look at women and try and create fictional stories around them. I’m inspired heavily by film influences—Lynch’s Blue Velvet, Fellini, Hitchcock, Almodóvar, and what I see in the cinema—so there is

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a linking, an interweaving between memory, cinema and contemporary life, which the women in my pictures encapsulate.

Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of—I could take control and CATT: As a viewer, your direct the work. It’s amazing images certainly draw you in. how if you turn up at a studio without an idea, a picture will ALDRIDGE: I think the power take itself from momentum, and of image is in mystery—I you quickly can lose control. endlessly create mysteries, by way of this dystopian CATT: What is your personal message, to initiate intrigue. favourite image featured?

I want the viewer to be like a voyeur—look at the power ALDRIDGE: It would have to be of old Hollywood actresses, “Immaculée”—Alana Zimmer who sometimes weren’t even as the Virgin Mary [above, at making eye contact—but beginning of slideshow]. The unlike film, an image can concept was very actually catch the combination of how very simple; a combining of a we are and how we want to be. sexual ecstasy and religious CATT: You also include ecstasy in the picture—but unpublished material and for the whole collaboration just the first time the drawings—your really clicked. There is a initial starting point for work. chapel especially designed Why did you decide on this? as part of the Somerset House retrospective for those five ALDRIDGE: I like the drawings. images alone. I’ll always And as a photography fan remember Jean Paul Gaultier, myself, I would look at Newton who did a project based on or Penn and like to see the Madonnas, remarking on the initial notes or drawings, to see images, “Yours are much where the ideas grew from. better.” Gaultier is really

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smart, so it’s good getting a compliment from him! [laughs] CATT: So where can they go from here, now they’ve got everything they’ve been chasing after?

me—and I will always find that point where people are lost in thought, observed but lacking self-consciousness, the most beautiful.

ALDRIDGE: It’s a big mystery.

I’ve been so deep in thought about this book and this point, I really haven’t thought about the next move. After this I am going to have to pause, sit down and really consider it. In a way, though, the work is never finished because women forever will be eternally mysterious to

CATT: And how do you see the next 15 years as a photographer?

ALDRIDGE: Well, all work included in the book and exhibitions is shot on film which I haven’t found to be the case on digital. I’ve stuck with film but am curious if that will still be the case in 15 years. I might not still be riffing on the same sarcastic message—they could end up actually happy!

You never know! [laughs]

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OPTICAL

Photographer: Alex Milan Model: Ivana Jacline Stylist: Kevin Wen

STRIPES

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Tommy hilfinger pink dress

Tommy Hilfinger blue jacket

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Missoni suit

Celine striped skirt and shoes

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Celine sweater

Celine striped skirt and shoes

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Max mara yellow bag and orange jeans

Zuhair Murad high couture dress

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GRAPHICS DESIGN SARA DELLA PUTTA TEACHER FRANCESCO PASTORE COURSE FASHION AND LUXURY GRAPHIC DESIGN

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