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Cover by Jannis Tsipoulanis @ Model / Grace Guozhi

letter from the editor

S c h ö n ! 10: M o r e F u t u r e P l e a s e ! We’ve squeezed out the pips of 2010 for this 10th edition of Schön! Magazine, to bring you a fresh and juicy array of glistening talent. You’ll notice that we’ve dived into our dressing-up box to bring you an exclusive preview of the new shapes and silhouettes from the Spring fashion calendar. Inspired by our cover and accompanying shoot by Jannis Tsipoulanis ‘Mrs Indiana Jones’, Schön!’s dedicated team have picked up their bows and arrows to fire on target for the coming seasons ahead. Who better to appear in the first 2011 edition of Schön! than the fearless Roisin Murphy? She lounges in luxury in Fulvio Maiani’s editorial. Recognised for her alternative take on stage outfits and a lifelong attachment to costume, she heralds this issue’s playful affair with clothes. Let us cure your January blues with a first glimpse of Spring to lighten up these dim Winter days. Andrej Skok’s visionary styling in ‘The New Kids on the Block’ will get you warmed up. Inject colour into the dark with the extreme futurist layering in our ‘Escapism’ feature photographed by regular contributor Jannis Tsipoulanis’. And a first look at Spanish designer Amaya Arzuaga’s fantastic statement clothing will have you desiring a taste of them before the season is ripe. This tenth issue profiles strong personalities in fashion who have been altering perceptions of the industry through their work, including the woman behind international label H&M, Margareta Van Den Bosch, interviewed by our own João Paulo Nunes. Her pioneering collaborations have transformed the industry’s relationship with the high street. And as a regular contributor to Nick Knight’s SHOWstudio, fashion and celebrity manicurist Marian Newman’s career has carved the way for nail art to be appreciated alongside the regular hair and make-up mavens. Then there’s the couple behind the new London-based design house with global aspirations, ‘Bunmi Koko’, who are pushing boundaries to provide a more diverse and richer fashion community, interviewed exclusively for Schön! Continuing on our hunt for global talent, we’ve collected a passport’s worth of talent, from the new face of half French, half Norwegian model Nils Butler to established Croatian artist Dimitrije Popović. Read about Canadian ceramist France Goneau’s ‘Japon’ series and look to the East in Kyrre Wangen’s ‘Asiana’ shoot. Meanwhile blogger The Pessimiss takes a look at the health of South African fashion in ‘The Lay of the Land’ - where the outlook for this growing fashion destination sounds promising. Whilst traditionally the New Year is a time for others to reflect on the past, let Schön! whisk you into the months ahead looking forward to the new shapes, names and talent under the spotlight that you’ll need to know. Happy 2011! and stay kind and Schön!

Raoul Keil, Editor-in-Chief


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Jannis Tsipoulanis James Mountford Tiziano Magni

e s c a p i sm new kids on the block g o i n g to s i t a n d wat c h n e w y o r k c i t y

Danielle Dzumaga

bunmi koko

Matthew Lyn


Martin Tremblay Kyrre Wangen Andoni and Arantxa Leah Eynon

japon asiana viola polished

Giovanni Squatriti

almost violet

Jo達o Paulo Nunes

a n u n s to ppa b l e to u r d e f o r c e

Alvaro Villarrubia

amaya arzuaga


eric white glare t h e l ay o f t h e l a n d fibred nils butler sp e e d tat to o & ta b o o i n v i s i b l e e mp i r e dimitrije popoviĆ

Eric White Pierre Dal Corso Kate Chauncey Fulvio Maiani Jannis Tsipoulanis Dimitris Theocharis Saskia Reis Juha Arvid Helminen Soha Abbas

róisín murphy

Fulvio Maiani

we give you…

João Paulo Nunes

mrs indiana jones

Jannis Tsipoulanis


Previous page Crista is wearing / Jeans / Stylist’s own Nude skirt over jeans / BodyAmr Grey sweat shirt / American Apparel White t-shirt with print / Beyond Retro Nude top over t-shirt / Masha Ma Socks / Nike Shoes / Bernhard Willhelm for Camper Vintage glasses / Stylist’s own Hanalei is wearing / Jeans / Vivienne Westwood Anglomania Singlet / Model’s own Green Dress / Jean Paul Gaultier Belt /Vilsbøl de Arce Denim shirt / APC T-shirt over denim shirt / 5 Preview Nude Top / Masha Ma Socks / Nike Shoes / Bernhard Willhelm for Camper

Hadrien is wearing / Yellow jogging pants / Adidas Socks / Nike Secondhand baseball hat / Atlantis

Diana is wearing / Second hand red flannel shirt / Ralph Lauren Silver foil press on cotton crop jacket / Masha Ma Second hand baseball cap / Atlantis

Hanalei is wearing / Collar / Masha Ma 1st Shirt plaid flannel / Kiliwatch 2nd Shirt plaid flannel in red /Ralph Lauren Second hand t-shirt over shirts / Beyond Retro Printed silk top put over on one shoulder / TopShop Unique Black and gold lamĂŠ jacquard skinny trousers / Maxime Simoens Printed silk pants / TopShop Unique Socks / Nike Trainers / Bernhard Willhelm for Camper Second hand baseball cap / Atlantis

Hanalei is wearing / Printed jumpsuit / Limi Feu Flannel shirt / Kiliwatch Light mauve bodysuit / Vilsbol de Arce Pearl bra suspenders / Walter Van Beirendonck Silk coat over / Masha Ma Trainers / Bernhard Willhelm for Camper Socks / Nike Earrings / Stylist’s own Diana is wearing / Flowery maxi dress / Kenzo Silk printed, black and white trousers / TopShop Unique Checked flannel shirt / Kiliwatch Silver fabric layered over shirt / Stylist's own Trainers / Bernhard Willhelm for Camper Sock / Nike Earrings / Stylist’s own

Hadrien is wearing/ Black shorts / American Apparel Second hand t-shirt / Kiliwatch Hoodie / Abirato Second hand baseball hat / Kiliwatch

Diana is wearing / White jeans / Acne White denim shorts over the long jeans / Kiliwatch Dress / Elie Saab White/black plaid shirt / Kiliwatch Red plaid shirt put over and wrapped around / Ralph Lauren Silver crop jacket / Masha Ma Vintage baseball cap / Kiliwatch Shoes / Adidas

Hadrien is wearing / Shorts / American Apparel Second hand cap / Atlantis Vintage oversize trainers / Nike Black legwarmers / Felipe Oliviera Baptista

Crista is wearing / Purple sequined dress / Tolbot Runhof Shirt plaid flannel / Kiliwatch Red second hand shirt wrap around / Ralph Lauren Collar necklace / Masha Ma Jeans / Stylist's own Acid wash vintage Jacket / Levis Trainers / Bernhard Willhelm for Camper Socks / Nike Headband / BodyAmr

Hadrien is wearing / Black shorts / American Apparel Socks / Nike Trainers / Bernhard Willhelm for Camper Customised flag / Flea market

Diana is wearing / Trousers / Maxime Simons Vintage Christian Dior skirt @ Black and white plaid shirt / Kiliwatch Red plaid shirt / Ralph Lauren Secondhand t-shirt over shirts / Givenchy Animal print hat / Vintage Lanvin Secondhand baseball hat layer over leopard hat / Kiliwatch Trainers / Bernhard Willhelm for Camper Socks / Nike

Diana is wearing / Grey jogging pants / American Apparel Jumpsuit in silk / Issey Miyake Yellow and black flannel shirt / Kiliwatch Heritage print scarf vest in silk / DKNY Woven raffia shorts / Issey Miyake Black dress with gold trim / Masha Ma Leopard vintage hat @ Trainers / Bernhard Willhelm for Camper Socks / Nike

Hadrien is wearing / Black jogging trousers / Adidas Black cape hood / Anti-Sweden by Elin Almlid Jewellery / Model's Own

Diana is wearing / Denim shirt / A.P.C Stripe t-shirt layered over shirt / Comme des Garรงons Jeans / Vivienne Westwood Anglomania Bleached denim pleated shorts over long jeans / Gaspard Yurkievich Red mesh maxi dress over jeans / TopShop Unique Studded crop jacket / Paule Ka Trainers / Adidas Socks / Nike Black feathers as fringe / Stylist's own Double Second hand baseball caps / Atlantis Black rubber bracelets / Barbara I Gongini Sunglasses / Stylist's Own

Hadrien is wearing / Hooded top / TopShop Unique Hoodie jumper / Dolce & Gabbana Shorts / Dolce & Gabbana Socks / Nike Trainers / Bernhard Willhelm for Camper

Photographer / Jannis Tsipoulanis @ Styling / Andrej Skok @ Photo Assistants / 1st Assistant / Laurent Dubin 2nd Assistant / Grand Laurent 3rd Assistant / Lisa Styling Assistants / 1st Assistant / Lars Byrresen 2nd Assistant / Victoria Stapley-Brown, Jacquie Palmer Hair / Christian Attuly @ Make Up / Daniel Kolaric Make Up Assistant / Blondine @ Film Maker / Stephane Leguay Ginger 3D Studio Production Models / Diana @ Nathalie Crista @ Ford Models Hanalei @ Elite Paris Hadrien @ Bananas Paris Special Thanks to Thierry Laigle

Photography / James Mountford

Styling / Andrej Skok

Every year a bunch of designers graduate from art or fashion schools around the world, some of them go on to do internships, some of them are immediately offered a job and the rest walk directly into the lion’s den and start their own collection. These are the ten we believe to have major potential as newly self-employed designers – ten to watch out for – ten to take a look at in February during LFW.

Dress / Holly Fulton Tights / Jonathan Aston @ Mytights Name / Holly Fulton Nationality / British School / Royal College of Art Year of graduation / 2008 Prizes / the Swarovski Emerging Talent and the Scottish Fashion Young Designer of the Year

All clothes by Louise Gray Color socks / Falke Shoes / Barbara I Gongini Name / Louise Gray Nationality / British School / Central Saint Martins Year of Graduation / 2007

Print dress and military jacket / Eudon Choi Lace shorts / Stylist own Name / Eudon Choi Nationality / Korean School / the Royal College of Art Year of Graduation / 2006 Prizes / Vauxhall Fashion Scout’s Merit Award From where do you draw inspiration? Before I became a womenswear designer I worked for many years as a menswear designer in Seoul. So my first starting point for inspiration always seems to be looking back to the basic principles of Menswear. I tend to look at vintage menswear for the construction and detailing and I extract from this the essence and aesthetic beauty that I bring into my womenswear, using sartorial techniques and masculine cuts to shape the female form.

All clothes by Michael Van Der Ham Name / Michael Van Der Ham Nationality / Dutch School / Central Saint Martins Year of Graduation / 2009 Prizes / ITS#EIGHT Vertice Award, Winner of the L’Oréal Creative Award, London, UK
Recipient of the Barbara Dohman Bursary Award, London, UK
Recipient of the Netherlands Foundation for Visual Arts, Design and Architecture Scholarship, Amsterdam, the Netherlands

All clothes including accessories by Masha Ma Name / Masha Ma Nationality / Chinese School / Central Saint Martins Year of Graduation / 2008 Prizes / the Lancôme Colour Designs Award 2006, Chloé’s design competition, the Puma CSM Bursary Award From where do you draw inspiration? I prefer text more than visual images as it gives you space to develop stories into your own vision. As a rather new designer do you have any personal criteria for feeling successful? I don't want my clients to become the sacrifice of my fantasy. I want them to live their life in it and I see that as the biggest success myself.

Knitwear dress and bra by Craig Lawrence, shoes by Barbara I Gongini Name / Craig Lawrence Nationality / British School / Central Saint Martins Year of graduation / 2008 Prizes / the British Fashion Council NEWGEN award four seasons running. As a rather new designer do you have any personal criteria for feeling successful? When I can afford to pay rent for somewhere for me to live. What are your Goals for the future? To collaborate with a French fashion house. As well as high end collaborations to make my brand more accessible by collaborating with a high street brand like Topshop. Another goal is to dress Christina Ricci and Helena Bonham Carter, that would be another tick in the box of things to do, like I did with my college dream of dressing Bjรถrk!

All clothes by Anja Mlakar Name / Anja Mlakar Nationality / Slovenian School / Central Saint Martins Year of Graduation / 2010 From where do you draw inspiration? I try to interpret things of a darker nature in a way which retains their fundamental elements, while opting to see them in a more optimistic, soft and dreamy manner. As a rather new designer do you have any personal criteria for feeling successful? Everyone knows how tough it is for new designers in terms of breaking into the industry without financial support or backing, so I enjoy being able to convey my aesthetic and deliver collections despite the odds. I appreciate the small things too.

All clothes / Louise Amstrup Printed denim trousers / Costumised by stylist Vintage head band / stylist own Short tights / Jonathan Aston @, Shoes / Gianmarco Lorenzi Name / Louise Amstrup Nationality / Danish School / Akadamie Modedesign – won Year of Graduation / 2003 Prizes / the On/Off Visionary Award 2010, prize for the best final project collection at the Academy of Fashion Design in Düsseldorf. From where do you draw inspiration? I often get inspired by movies, which feature strong, individual women. I also love when “a story” has got more layers and play with innocence and “darkness”. In past seasons movies like, Badlands, Bagdad cafe and City of the Lost Children have been a source of inspiration. As a rather new designer do you have any personal criteria for feeling successful? It is very much down to achieving personal growth as a designer each season. I want to push myself technically as well as creatively, and there is always room for improvement which is my driving force. Receiving recognition by the industry sales and press wise is naturally also very essential to me, as that, in the end is a sign of my designs being understood and accepted in the industry. Goals for the future? For my company to keep growing organically in every way.

All clothes by Felicity Brown Name / Felicity Brown Nationality / British School / Royal College of art Year of graduation / 2003 From where do you draw inspiration? I am fascinated by old theatrical costumes, tribal textiles and at the moment, bedouin women. Goals for the future? Continue building a collection but making sure that the core stays truly creative and strong.

All clothes / Yang Du Shoes / Barbara I Gongini Name / Yang Du Nationality / Chinese School / Central Saint Martins Year of Graduation / 2008 From where do you draw inspiration?
 People, film, travelling, the story which touched my heart, I would like to share.
 As a new designer do you have any personal criteria for success?
 Being yourself!
 What are your future goals?
 Being able to Carry on doing what I do and doing it well.

Photographer / James Mountford Styling / Andrej Skok Make Up / Adam de Cruz @ using Ellis Fass Hair / Olivier de Almeida Waqued Photography Assistant / Justin Borberly Styling 1st Assistant / Lars Byrresen Petersen Styling 2nd Assistant / Shireeka Devlin Make Up Assistant / Holleigh Gallon Words / Lars Byrresen Petersen

editors raoul keil

Editor-in-Chief zohra bakhsh writers

Danielle Dzumaga Saskia Reiss Soha Abbas Ndapanda Shangula Leah Eynon contributing writer

Kate Chauncey

Assistant Editor-in-Chief graphics


l ay o u t

Fiona Hudson Ya Yun Cheng Ross Waters Matthew Clayton e d i to r - at - l a r g e

JoĂŁo Paulo Nunes

event manager

Sara Castillo Romero

c o n t r i b u t i n g fa s h i o n e d i to r s

Andrej Skok

global media sales

sp e c i a l t h a n k s

Zohra Bakhsh Andrew Collins

Luis Munoz-Rodriguez ♼ Jannis Tsipoulanis Fulvio Maiani Dimitris Theocharis Nicholas Hardy

g e n e r a l c o n ta c t


s u b m i ss i o n s

distribution print

Pineapple Media UK

Team Leader and Fashion Designer / Eleonora Esposito Fashion Photographer / Eugenio D'Orio 2nd Shooter Michele Cozzolino Graphic Designers / Luca La Greca, Ciro Zeno, Riccardo Romano. Video Maker / Didier Tommasi Make-Up Artist / Alessandra Riccio. Shoe Designer / Isabella Zocchi Styling / Serena Panebianco and Eleonora Esposito. Backstage Photographers / Marco Tramontano and 2nd Backstage Photographer / Diana Lauro. Models / Ava Bergman, Anna Bihas, Tina Corrado, Noemi De Falco, and Tiziana De Giacomo Copywriter / Elina Raiola. Project Assistants / Sara Cimino and Roberta Fusco Digital artwork by Benjamin @ FACTORY311 VISUAL PRODUCTION AGENCY +44 (0) 208 980 7541 | |

going to sit down and watch... New York City

photography / Tiziano Magni

Credits / Chanel No.5 Parfum & Shiseido Skincare Night Moisture

Photography / Tiziano Magni @ Camera / Canon Powershot S90

BUNMI KOKO Danielle Dzumaga meets Bunmi Olaye and Francis Udom

They treated London Fashion Week to a tribal ‘Leopard Masquerade’ but plenty more surprises are set to come from this new label. Danielle Dzumaga meets Bunmi Olaye and Francis Udom, the couple behind innovative new brand Bunmi Koko in their East London studio. “It’s amazing what you can find on the history and geographical channels” jokes Bunmi Olaye, creative director behind emerging brand Bunmi Koko. She mimics a yawn in my direction and then laughs as she knocks her husband and creative partner’s knee in what is obviously an in-joke. I respond by asking whether this ever presents any creative differences, which the pair brushes off - they are resolutely moving along on the same path. Domestic scenarios of fashion partners fighting over the television remote are rare in this industry, whereas fashion and family is not an unheard of concept. One half plays the business head and the other manages the creative heart. Valentino’s partnership with Giancarlo Giammetti, both professionally and personally, is well documented and other families in the industry include the Mulleavy sisters of Rodarte and twins Dean and Dan Caten of Dsquared2, all headed by the towering fashion dynasty: Missoni. It doesn’t seem all that unusual then to hear that a marriage is the driving force behind this growing brand. After work experience at Prada, Louis Vuitton and Alexander McQueen, 27 year old Bunmi Olaye established her company with partner Francis Udom in 2009. The pair have been busy ever since, collecting enough awards to make their shelving creak. Theirs is a refreshing approach to the fashion industry, a couple whose devotion to each other is such a strong part of the brand that it’s in the name. ‘Bunmi’ means ‘God gave me’ in her native dialect of Yoruba and ‘Koko’ means ‘my other half’ in Francis’ Nigerian dialect of Efik, “It’s a pet name, we actually both call each other ‘koko’, so if you’re around us long enough, you hear ‘koko…koko’ ringing across the studio”. Although they don’t necessarily finish each other’s sentences, when it comes to answering my questions they are attuned to what their other half is saying,

whether it’s about the business of the brand or the creative side. Despite being trained as an engineer, Francis confesses to me before Bunmi enters the room, how unexpected a career turn this was. But it is his practical side that keeps the brand’s machine running smoothly and encourages his wife to watch National Geographic it seems. He also has as much input when it comes to developing ideas and the story behind each season’s brief. Spring/Summer 2011’s ‘Matriarchy’ collection is a tribute to the Scottish missionary and nineteenth century aid worker in Nigeria, Mary Slessor. She is commemorated on the Scottish ten-pound note holding a Nigerian child who happens to be Francis’ great-grandmother. Essential to the brand’s fresh success is the pair’s unwavering collective vision for the future. Their dynamic is one of harmony and equality, just as the ‘ideal’ marriage compromises between whose turn it is to do the dishes.

“The way we work right now, is that we don’t take shortcuts, whatever we do” I wasn’t about to let this show of marital bliss, the room cosily furnished like a daytime television studio or their cumulative warmth deceive me. If the burgeoning trophy display wasn’t enough to suggest that this pair are single-mindedly determined to bringing their brand global success, then the fact that I was in the ‘Conference Room’ would do it. “The way we work right now, is that we don’t take shortcuts, whatever we do”, explains Francis purposefully, “We’ve set goals for Bunmi Koko and I’m pleased to say that we’ve achieved some of them. We have a stockist in Aberdeen called ‘Zoomp’ and we are still working with Harrods, so there is a great future for the brand”. The luxury department store, known for fostering young luxury brands has been monitoring their progress and expressed even more interest after their ‘Matriarchy’ collection was presented at London Fashion Week last September under the Vauxhall Fashion Scout scheme, “Now it’s just a case of us delivering, meeting their expectations as well” says Bunmi.

This is a fashion label that is steadily moving towards a global market, but whilst happy to talk about the health of African fashion and the changing perceptions of their home continent, they are less keen to label or limit themselves as an African brand. 'I studied here and I grew up in the U.K.’ Bunmi asserts, ‘So essentially our base for Bunmi Koko is actually in Britain’. Instead they are eager to impress upon me that they are an international brand, or at least that this is the direction in which they’re headed. Their success in African Fashion Week, which ran during the 2010 World Cup in South Africa, attracted numerous business offers as well as the obligatory swarm of footballers wives, and led to Bunmi Koko setting up their first South African showroom - another project they’re working towards. A dedicated following is

This is a new kind of power dressing, the likes of which plays up to the female body, rather than succumbing to feminising the suit. I flick through the rail at the

“If you look at powerhouses, all these big brands, like Louis Vuitton or Marc Jacobs you find that everyone’s reaching further away from what’s close by” beginning to grow in the emerging fashion capitals, with a concession in Sao Paulo, Brazil and the privilege of appearing on the line-up as an emerging designer at iD Dunedin Fashion Week in New Zealand was breaking news, announced on the same day as this interview. Bunmi Koko aims to show at Paris as well as London next season, “because if you don’t move around, no-one’s going to see your stuff” she sums up deftly. Across the water at the East-end docklands where they’re based, the sound of planes from London City Airport taking off from the tarmac runway act as a reminder that the rest of the world is never hard to reach.

“If you don’t move around, noone’s going to see your stuff” she sums up deftly. “If you look at powerhouses, all these big brands, like Louis Vuitton or Marc Jacobs, you find that everyone’s reaching further away from what’s close by”, says Bunmi on how designers have become reliant on discovering an unexpected muse for each season. So far, Bunmi Koko’s opening two collections, A/W10 ‘Geisha’s Reform’ and ‘Matriarchy’ S/S 11 have linked the brand’s identity with strong female characters both close to home and from further afar.

far end of the conference room, and pull out a wool crepe navy jumpsuit with shoulders as sharp as Joan Collins, the generous bishop-sleeves fall elegantly from this shelf. The team have successfully tackled a difficult concept to pull off: they have created clothes that are universally alluring to women. Designs for the season ahead are closely guarded in the next room. Francis and Bunmi cautiously issue an intake of breath when I inquire about their next collection, I’m cryptically informed that it’ll be about ‘light and science’ and if that wasn’t vague enough, the two of them laugh when Francis assures me that “it’s going to be very hot”. My attention is fixed upon what appears to be an oversized pompom that has taken up residence in a corner of the room. This big raffia ball is part of the performance that opened their London show. Bunmi explains how the ‘Leopard Masquerade’ outfit is

derived from the secret and elitist men’s-only cult of the Ekpe tribe in the Calabar province of Nigeria. It is worn as an oversized ruff around the neck and usually accompanied by a horned helmet and staff. The dyes in the raffia lent them a colour palette for the collection in which olive black, oily yellow and fiery red dominated. Translating the cultural gap, she sums up the national dress: “I suppose it’s the art of costume”. Now the Ekpe masquerade is only seen at festivals, “It’s a bit like Brazilian carnival, it’s all very colourful and you see all the raffia. It was great to put that into London Fashion Week”, says Bunmi. I ask whether her inclination towards spectacle was developed whilst working under showman Alexander McQueen. I’m learning that their response is a typical reply to my comparison: she recognises his influence, but Bunmi clarifies that “there’s Alexander McQueen and there’s also Bunmi Koko”. This designer holds firmly onto her own brand’s emerging personality.

“It’s a bit like Brazilian carnival, it’s all very colourful and you see all the raffia. It was great to put that into London Fashion Week”

“It’s just such a shame that there’s not much of that in the fashion industry. We hope that people can see what we’re trying to do” correctness or move away from attaching themselves to such impacting statements in order to later escape criticism. There is much about this couple that works against the grain of fashion, they feel it is needless to talk in the cryptic ‘fashion speak’ of other designers and claim that to work for them is to be part of the family. Like their name suggests, this willingness to openly wear their heart on their sleeve could appear too saccharine for the hardened heart of the fashion industry, but it is a misnomer you forgive them for instantly upon meeting them. Their enthusiasm is infectious, and with the personal blessing of Nelson Mandela and his wife, there might be something to their unusually personal approach. Unlike the masked warriors they set on the catwalk, there is nothing covering the faces behind this successful young brand.

Less than a week before this interview, Naomi Campbell criticised the fashion industry once again for the retrogressive steps made in the name of ethnic diversity whilst picking up her Special Recognition award at the British Fashion Awards. In contrast, Bunmi Koko’s mission statement boldly promotes multiculturalism within all levels of the brand: ‘At the heart of diversity and inclusion is respect for people of all backgrounds’. “It’s just such a shame that there’s not much of that in the fashion industry. We hope that people can see what we’re trying to do”, says Bunmi, looking to Francis for recognition of a mutual understanding, this is a simple and nonnegotiable expectation of a company that is “trying to change these perceptions” he adds. Growing up, Bunmi’s mother would bring her back Vogue and Harper’s Bazaar from travelling, but she learnt quickly that the width of the spine was not always in direct relation to the variety of the content, “There weren’t any other black designers that I could see anywhere” she tells candidly. Is this too heavy a responsibility for the shoulders of this fledgling design house to bear? Their vision is more than the optimism of youth, it is the foundation to all their work. Bunmi Koko is prepared to metaphorically ‘bare all’ where other designers avoid political

Words / Danielle Dzumaga

Photography / Matthew Lyn

w i t c h c r a f t

Previous page White tunic / Siki Im Leather pants / RAD by Rad Hourani Boots & Nylon backpack / RAD by Rad Hourani Cardigan / MB999 Bird headpiece / Erik Bergrin Tuxedo pants / Philip Gaboury Horse hair necklace / Black Sheep & Prodigal Sons Sunglasses / Alexandre Herchcovitch x Mykita

Leather & chiffon skirt / Mandy Coon Horse hair bracelets / Black Sheep & Prodigal Sons Boots / RAD by Rad Hourani

Pleated skirt / Erik Bergrin Piano necklace & ring / Black Sheep & Prodigal Sons

Zippered Pants / A.F. Vandevorst Leather boxing shorts / Travis Taddeo Striped top & shoes / RAD by Rad Hourani Bracelet / Black Sheep & Prodigal Sons Cross ring / Pamela Love

Pants / Risto Bracelet / And_I Shoes / Demoo Park Choon Moo Ring / Black Sheep & Prodigal Sons Gloves / BESS Headpiece / Erik Bergrin

Beige turtleneck / Maison Martin Margiela Next page Leather top / Mandy Coon Pearl & horseshoe crab claw necklace / Erik Bergrin

Photographer / Matthew Lyn Model / Dennis Johnson @ New York Model Management Stylist / Angelo Desanto @ Make up / Hair / Tina Georgy Location / New York City

photography / Martin Tremblay words / Danielle Dzumaga


France Goneau’s celebrated ceramics show their versatility, hanging off the human body instead of the gallery walls.

You could be mistaken for thinking that France Goneau was a jewellery designer and that her latest collection ‘Japon’ was intended to dangle around a model’s neck. Instead, the CanadianFrench ceramist is simply open to viewing her work from another angle. These images ‘give the pieces an all new artistic expression’, says the artist, which should satisfy Goneau’s liberal attitude for nurturing individual interpretations of her own work. She deliberately wants to alter your perspective of the ceramic arts, a mandate that echoes qualities of the material she works with. Clay has the potential to be continually remodelled before it is set to fire in the kiln; the form is only fixed after it has been heated. The relationship between art and its mutable and fickle cousin, fashion is comparable, as the possibility for shifting appearances in both are limitless.

The collection is the product of Goneau’s time as an artist in residence at the Shigaraki Ceramic Cultural Park in Japan, and displayed back at home at ‘À table tout le monde’ gallery in Montreal, Quebec. Normally she thinks bigger, working with larger murals that cover the expanse of a wall, for which she has won accolades. One of her tiles achieved first prize at the Elit-Tile International Ceramic Tile Triennial 2010, a major exhibition featuring more than 350 tiles from 91 countries. ‘Japon’ is an experiment in smaller forms, as she ‘wanted people to appreciate the work from closer’. The pieces are flexible, in her own words, they are ‘objects with an unpredictable and moving dynamic’, attached to the gallery wall by only two nails.

Photographer / Martin Tremblay for Pinch @ Art Ceramist & Styling / France Goneau Make Up / Julian Cargnello Hair / Raphael Estrella Photo Assistant / Carlos Viani Retouch / Pinch Words / Danielle Dzumaga

Within them is the potential for a different combination than the one the artist has produced. Inspired by the mobility of the pieces, it was the decision of photographer Martin Tremblay to feature the ceramic wall art as jewellery, with Goneau playing tailor to help pin and secure her art to the body, the heat of which transforms the clay once again. Long before, in the artist’s studio, allusions to fashion and a ‘wearable art’ were being formed as Goneau began to feed black and white ribbon through her handcrafted ceramic breezeblocks and sewed them secure. She played with the two materials together, searching for a balance between ‘their forms and shadows’ to eventually create what appears to be her ‘human ornaments’ of fabric and porcelain. But for Goneau, the allusion to fashion is inevitable, given her predilection for all forms of adornment. Talking about this collection, she reveals how she developed ‘methods of decoration on the unglazed surface’ to produce a ‘luxurious’ finish to each of her small creations. The height of her new decorative method is in the bronze lacquer on whitewashed porcelain that appears to gleam like a sand dollar. Each handcrafted piece comes hot off the kiln like a batch of rough gems, combining the elegance of natural pattern and the coarseness of urbanised landscapes. Taking up Goneau’s invitation to look closer at these works, I can see the detail of marbling veins in the recesses of one wall hanging, others look pockmarked by the weather or have a biscuity texture and there are glimpses of a ruddy sandstone beneath one piece. It’s hard to mark the point at which the art becomes fashion, and where they collide. But references like this, where clear definitions are hard to muster, are essential to the artist’s strategy. Not your usual gift shop porcelain, the value of this work is in its ability to stimulate your curiosity. The small sculptures are reproductions of what we can see in both natural and manmade forms. But before you imagine a collection of miniaturized landmarks of the snow-globe variety, her work is far more than mere imitation. Primarily, Goneau deals in implication as delicate as the material she is working with, she takes elements that inspire her, and applies a process of ‘extracting and reconstructing’ until the source is reduced to a hint of a shell or the shadow of a window frame. It is like reading in a foreign language and coming across a word that resembles one of your own. Subtlety is everything to her: ‘my goal is to communicate such ideas, thoughts, or feelings without revealing everything. I like it to be ambiguous’. Ultimately, viewing Goneau’s work is not a passive process. Instead it requires the viewer to sort through the jigsaw of references and enter into a guessing game to which she welcomes the myriad interpretations that are drawn up. France Goneau is due to appear on the line-up for The Artist Project first in Toronto, Canada and then New York City, USA in March 2011.

asiana photography / Kyrre Wangen

Previous page Jacket / Kinder Aggugini Bracelets with fur / Maria Francesca Pepe Headpiece / Little Shilpa Gold ring with leather straps / KTZ from Kokon To Zai Dress / Falguni & Shane Peacock Black sleeves with lace / Meadham Kirchhoff Leggings / Just Cavalli Gold necklace / Maria Francesca Pepe Crown, rings and kneecaps all KTZ from Kokon To Zai Shoes / Stylist’s own

Sleeves with sequins / Sarfraz Top with print / DKNY Black skirt / Jaeger Necklace / Miss Bibi Antique Afghan covered with silver coins / Pebble

Dress / Jean Pierre Braganza Jacket / Jaeger Head piece / Little Shilpa Glasses / KTZ from Kokon To Zai Bag / DKNY Chain bracelet / Maria Francesca Pepe Leather bracelet / Felder Felder Shoes / Yamamoto archive stylist own Next page Dress / Shao Yen Chen Metal neck piece / Andy Farrow Ring and jewellery on the hands / KTZ from Kokon Tozai Hat / Stephen Jones for Kinder Aggugini Tights / Wolford

Photographer / Kyrre Wangen Stylist / Masha Mombelli Hairstylist / Roku Roppongi using Kiehl´s Make Up artist / Yin Lee @ Premier Hair and Make Up using YSL cosmetics Model / Dinara @ Premier Model Management Photography assistants / Tom Moran and David Adams Styling assistant / Fernanda Goulard Retouching / Thanks to Nigel at Curtain Road Studios and Simon at ProLighting

viola photography





Previous page Dress / Margherita Presti Dress / Vanilia Jacket & Hat / Alina Kritskaya Necklace / Stylist’s own

Sweater / Gianni Serra Cape / Pasquale Marino Hat / Borselino Scarf / Stylist’s own Shoes / Dr. Martens

Dress / Gianni Serra Trousers / Gianni Serra

Sweater / Gianni Serra Skirt / Gianni Serra Hat piece / Alina Kritskaya

Dress / Margherita Presti

Scarf / Mauro Grifoni Sweater / Gianni Serra Skirt / Vanilia Hat pieces / Alina Kritskaya Necklace / BINGLAB:ART Shoes / Dr. Martens

Sweater / Mauro Grifoni Scarf used as hat piece / Mauro Grifoni Next page Cape / Antonio Neroni Underwear / Dolce & Gabbana Hat piece / Stylist’s own

Photographer /Andoni & Arantxa @ Styling / Ellen Mirck Hair / Andrew G. @ Close-up Make Up / Thais Bretas Model / Kseniya @ Elite Milano

polished leah eynon gives an insight on marian newman


Björk “Homogenic” cover design 1997 / Nick Knight @ Dior campaign 2004 / Nick Knight @ Times Style Cover April 2003 / Darren Feist Nails / Marian Newman

Q: You trained as a forensic scientist with the Metropolitan Police after leaving school, and have described yourself as more of a ‘science head’. It isn’t a typical shift from that to becoming a nail technician, how did you end up moving across? It isn’t typical at all but there is a logic to it. After my last child I did some courses in the beauty industry as a possible part-time occupation that could fit in with ‘kidsworld’. I ‘discovered’ an emerging nail industry but there were very few answers to all my questions. The whole ‘nail thing’ drew me in by that route and I stayed hooked! Q: After opening your first salon in 1987, how did you go about becoming more involved with the fashion world? I was asked to go to a studio to do some nails for a photo shoot. It was there that I met Nick Knight. A few weeks later I worked on my first Vogue cover with Kate Moss! Q: Your first fashion show was for Alexander McQueen’s ‘Eclect/Dissect’ show for Givenchy Haute Couture in 1997. The nails were out of this world, tell us how you prepared for that and where the idea for spiraling 12” nails came from? Thank you. The show was out of this world! Alexander McQueen had the idea for the spirals as part of the ‘dark natural world’ that was a big section of the show. He drew a sketch of what he wanted and I just worked out how to make them. I still have the sketch, the program and all my designs. There were 50 models and around half of them needed different and bespoke nails. Q: How would you compare that experience to covering hundreds of Minx nails for McQueen again at Paris Fashion Week S/S 2011, you must enjoy working under that sort of pressure? Yes I do love the challenge! I have learnt a lot over the years though. There was just me and my partner in our salon and a few spiral nails. We made it up as we went along. S/S10 for McQueen was carefully planned and my team and I prepared around 1,000 nails using bespoke Minx designs so we had every possibility ready. Lee McQueen hadn’t seen the nails until we arrived for the show, so I wanted him to have choices. Also the nails ‘grew’ as the show progressed so we needed many sizes. I have a great team who know how I like to work and we always ‘pull it out of the bag’. For McQueen S/S11 all I had were some options of Minx designs and lots of blank tips. Once the choice was made, we made all the nails at the show. Sarah Burton (McQueen designer) told me that the nails seemed to ‘magically appear on all the girls’. Just how I like it to be, no obvious drama, but plenty bubbling under the surface.

Q: I imagine that it is more satisfying to work with clients like McQueen, Gareth Pugh or Lady Gaga so you are able to really push your creative and technical ability to the limit. Do you enjoy that more than having to do more ‘everyday’ nails? I love being pushed to come up with new and ‘never been done before’ designs. I think I have my own style where ‘less is more’ is the key. However, there is the difference between catwalk and high street. I wouldn’t get the opportunity of the catwalk if I wasn’t happy and able to produce good ‘everyday’ nails. Q: Which work are you most proud of and what would you say was your favourite job? One of my proudest moments was on a Dior shoot when there was a close up of the nails and the light played on them in a most unusual way. The team, including John Galliano and Nick Knight, were thrilled to show me the result. I am very proud of being such a long-standing team member of one of the best photographers in the world, Nick Knight. Q: What is in your kit at the moment that you are really keen to use? I have my own range of Minx designs that aren’t launched yet. I have some unusual things that I’ve found in craft shops but haven’t used yet (but they are a secret). I am planning a fabulous fashion film with Alex Fury of SHOWstudio and I’m collecting ready for that. My exciting things are always the unusual, like beetle wings I used for an Italian Vogue shoot. Q: Having manicurists credited as part of fashion shows is relatively new. Your long time collaborator, Nick Knight is obviously a huge fan of your work and believes that nails add a real finishing touch to shoots, do you think that nail technicians will go on to have the same recognition as hair and make up artists? And what do you think is the future of the nail industry? In most areas of fashion, nails are an accessory so play a smaller part in creating the overall ‘look’. And holds third place after hair and make up. However, there are more and more designers and stylists that like the nails to be a major accessory almost replacing jewellery in the overall statement. A favourite saying of mine is ‘the devil is in the detail’. In fashion the details are as important as the whole. In general, nails will always be that. In special instances, the nails are the ‘whole’. Nail technicians will have the same but different recognition. It is the fastest growing sector of the whole of beauty. The sales of nail products are beating sales of all other cosmetic products. What other future can there be but ‘sparkling’?

Words / Leah Eynon

ALMOST VIOLET Photography / Giovanni Squatriti

Previous page Shirt / Prada Pants / Raf Simons Shoes / Prada Shirt / Prada

Total look / Ann Demeulemeester

Jacket / Dior Homme Pants / Prada, Shoes / Neil Barrett Watches / De Grisogono

Shirt / Lanvin White shirt and blue gilet / Raf Simons Tie / Prada

Hat / Federica Moretti for Borsalino Leather jacket and pants / Ann Demeulemeester Jacket fabric / Neil Barrett

Trench and jacket / Jil Sander Pants / Louis Vuitton Sandals / Neil Barrett

Photography / Giovanni Squatriti @ Styling / Giuseppe Ceccarelli @mks-milano Grooming / Rosario Belmonte @mks-milano Digital Assistant / Matteo Maiocchi Stylist Assistant / Gioele Panedda and Mariachiara Ragazzoli Model / Nick Rea @Fashion Model Milano Special Thanks to Wanda Negri, Rosa Fanti and Matteo Mazzi

Previous page Swimwear / Emporio Armani Jacket / Viktor & Rolf Watch De GRISOGONO Instrumento N° Uno, steel bracelet, automatic, dual time;    Watch "Novantatre" automatic, quantième annuel de GRISOGONO, steel with black crocodile strap.     Burnished white gold cufflinks "Teschi" with 40 white diamonds,  pavè with 216 black diamonds  and for "eyes" 4 black diamonds , 6 carats in total


FASHION TOUR DE FORCE M a r g a r e t a Va n D e n B o s c h I NTERV I E W E D B Y J o ã o Pa u l o N u n e s

For anyone with the slightest interest in the fashion industry, the name Margareta Van Den Bosch dispenses introductions. Since joining Hennes & Mauritz, (better known as H&M) in May 1987, this designer supervises all the collections that reach some 2,000 shops in 38 countries on a daily basis, overseeing the creative direction of a richly diverse and profitable fashion empire that in 2009 alone employed 76,000 people and generated sales worth €13 million. Owing to her indefatigable work ethos and dynamic creativity, Van Den Bosch is a much admired personality whose creative and business decisions are almost obligatory key references for fashion admirers, designers, consumers and producers worldwide. We were delighted to have the opportunity for our Editor-at-Large João Paulo Nunes to interview her for Schön! at H&M’s headquarters in Stockholm and find out what makes this inspirational woman tick. Words / João Paulo Nunes A special thanks to Margareta van den Bosch and the team of H&M

Q. You have mastered a silent revolution in the democratization of the sartorial world by bringing high fashion names to the high street and developing exciting and extremely successful partnerships with designers. How did this idea come about and how did you choose the designers? A. At H&M we work as a team and we all discuss different ideas between us: which designers would we like to surprise our customers with, what fits in with our own collections, and so on. Q. How easy was it to persuade personalities and brands like Lagerfeld or Lanvin to work with H&M and for H&M bosses to see the benefits of the partnerships? A. We see the designer collaboration as a process that strengthens our brand. At the same time, our business idea to offer fashion and quality at the best value gives our customers the opportunity to buy designer items at H&M prices while allowing the designer a lot more focus, and attention on the creative process. In the end, I think it’s a win-win situation for everyone. Q. It seems clear that you see the value of fashion partnerships with famous designers and celebrities, yet you seem to eschew being portrayed in the media as a celebrity, preferring to focus on your work and let it do the talking. With that personal perspective in mind, how do you see the future of the alliance between celebrity culture and fashion evolving?

A. Celebrity culture is interesting at times, and can have a huge influence and inspiration in individual and collective behaviours, but I also think people should look to their own personality and dress according to what they feel is right for them.   Q. Much has been written about these collections and numerous financial reports have been produced about their success. More importantly, this model has influenced other high street chains such as Topshop, GAP or Uniqlo, leading them to partner with established designers. In an industry where the exclusivity of a look, brand or designer is key to attract consumers, how do you think that the partnerships with established designers will evolve in order to keep consumers interested? A. There has to be a different angle to each project. At H&M, each collection that is designed and produced as part of these partnerships must be interesting and surprising for our customers and result in a good and commercial collection.


Q. Your reputation as a formidable hard worker precedes you. Rumour has it that you used to work 12-hour days while you were design director at H&M. How has your work routine changed since you became creative advisor at H&M nearly two years ago? A. I love H&M and working here, but with more space in my agenda I also have the opportunity to do other things both professionally and personally.  


Q. You have had a remarkable career overseeing the creative output of a global brand like H&M for nearly 24 years after working for fashion labels in Italy. What is it that has kept you so faithful to the company for such a long time? A. I did a lot of things and had several jobs that provided a lot of invaluable experience in the fashion industry before I joined H&M. For 22 years I worked as a fashion designer and during 11 of those years I lived in Italy. During that period, I consulted and worked for several brands. When I came to H&M I felt that there was a lot to do, but I also liked the atmosphere, and I have enjoyed working with many different people.

Q. With so many talented designers coming out of fashion schools every year, some people may feel that working with already well-established designers could hinder future generations of designers. What does H&M do to support new talent in the fashion industry? A. We are actually very supportive and nurturing of the future talent of the fashion industry. At H&M, we have over 120 in-house designers and we have around 30 trainees a year. Also, we give prizes and awards to students at different design schools, some on our own but also in collaboration with magazines. Q. H&M has had a basic, yet extremely successful recipe for success: under the brand’s umbrella, you have managed to produce different lines (such as ‘Divided’, ‘L.O.G.G.’, ‘BIB’, etc) that appeal to both older and younger generations. This must stem from tremendous input from a large team of designers with whom you work. What is your role in the creative process of all these lines and how do you work with the designers? A. The process is extremely interesting and focussed on producing great fashion: each department has its own team of designers, pattern makers, buyers and controllers that create the collections that arrive at our stores every day. We work with overall trends, colours and key items that are then translated into fitting the different customers within each concept.

Q. The quick purchase demands for large markets, the increase in production costs and the depletion of the world crops because of natural disasters have caused a significant increase in the price of cotton over the last six months. Some companies have admitted that they will need to resort to more man-made fabrics to keep prices down whereas others have established that their prices must go up. Bearing in mind that H&M has a good value-for-money reputation in the face of such troubled times, how do you see the future of fashion?

A. It is true that cotton prices have been increasing since last summer. However, our view is that, as it stands presently, this is a relatively neutral factor for global competition. The way we see it, there are a number of other factors that could offset the impact to the consumers. For H&M, the customer’s perspective is always the most important thing. For commercial reasons we do not comment on our pricing policy but, in the end, for us it is more important that the customer should always be able to enjoy the designs that they buy and feel that they made a good deal at H&M. Q. As you moved to an advisory role to the creative process, what has changed in the way that you perceive fashion from a personal point of view? A. Absolutely nothing. Fashion plays as important a role to me as it did when I started in this extraordinary industry.   Q. As someone who has worked so tirelessly for decades, it is hard to picture Margareta Van Den Bosch slowing down to the point of stopping working in fashion completely. What plans are you making for your future? A. For the moment, I am enjoying working as I do, and have no specific plans for the future. As long as I have my good health and spirit I have no problem filling my days with interesting and inspiring things.

Amaya Arzuaga photography / Ă lvaro Villarrubia


“ or me photography is a major art. Fashion is not” states Amaya Arzuaga. One of Spain’s most successful designers, she has shown at Barcelona, Madrid, Paris, New York and in 1997 became the first female Spanish designer to be chosen to take part in London Fashion Week. Her predilection for miniskirts, subtly accented sci-fi shoulders and enveloping 3D spirals continue to be seen in her new lines: AA pret-à-porter and AA Maille. Thanks to her work we have learned to appreciate the role of joints and volume in the creation of clothes, “Every season the shapes in my designs change. In the last one I was inspired by the chrysalis and the butterfly and the duality on the front and side.” These designs unveiled during the Cibeles Madrid Fashion Week spring/summer 2011 offer urban and daring designs based around geometry and weightlessness.

Photographer / Álvaro Villarrubia Make Up & Hair / Álvaro Villarrubia Words / Álvaro Villarrubia Clothing & Shoes / Amaya Arzuaga Model / Ema Busson @

A Gentleman's Mistake 2008 oil on canvas 36 x 36 inches

A veteran in the art world and a favourite among celebrities, Eric White’s paintings are caught in a time warp. A graduate from the Rhode Island School of Design in 1990, White is greatly influenced by metaphysics and the idea of different points in time occurring simultaneously. He often combines subjects and ideas from different eras. His vision of the world inhabited by 1940s heroines is perplexing, their gaze is always turned away towards objects and planes beyond our perceptive reach. This challenges us to think what lies beyond. Using photographs as a starting point, White works with their negatives to create multidimensional scenes that defy reality. Distancing viewers with his pieces, he puts them in the position of a peeping Tom. In these scenes, the eerie mood pervades reality and conveys the surrealist influence in his work. Don’t miss out on Eric White’s group exhibitions in New York, Bologna and Holland, Michigan in 2011.

ERIC WHITE artwork / Eric White words / Ndapanda Shangula

No Neutral Thoughts 2008 oil on canvas 24 x 24 inches

The Drifter

2009 oil on canvas 40 x 60 inches

The Big Foist 2010 oil on canvas 36 x 36 inches

glare Photography / Pierre Dal Corso

Previous page Black feather coat / Alexandre Vauthier Black dress / Commuun Asymmetric jacket and shoes / Jantaminiau Orange chiffon dress / Commun High waisted trousers / Junko Shimada Fluorescent red silicone necklace / Ek Thongprasert

Metallic top / Jantaminiau Top on hair / Visbol de Arce Metallic skirt / Zac Posen archive Yellow silicone necklace / Ek Thongprasert Fluorescent yellow culotte / Pawaka

Black jersey jacket / Visbol de Arce Blue satin dress / Yi Qing Jin White sarwell pants / Jun.j Black wood and leather shoes / Amaya Arzuaga Blue silicone necklace / Ek Thongprasert

Strawberry satin dress / Amaya Arzuaga Geometrical print skirt / Josep Font Couture Black leather shoes / Alain Quilici Silicone pink fluorescent necklace / Ek Thongprasert

Black and white dress / Paule Ka Necklace / Ek Thongprasert

Beige fur coat / Paule Ka Embroidered skirt / Josep Font Couture Fishnet bodysuit / Mal AimĂŠe Destroyed red tights / Falke Shoes / Alain Quilici Fluorescent yellow bra / Pawaka

White leather dress / Junko Shimada Black feather skirt/ Lie Sang Bong Geometrical print pants / Estrella Archs Black belt / Alexandre Vauthier

Black jacket / Tsolo Black wood and leather shoes / Amaya Arzuaga Black chiffon dress / Barbara I Gongini Glasses / Celine

Gold dress embroidered with sequins / Alexandre Vauthier Black dress / Talbot Runhof Metal necklace / Paule Ka Next page Dress and skirt / Estrella Archs Neckless / Ek Thongprasert

Photographer / Pierre Dal Corso Stylist / Laure Tardy-Joye Hair Dresser / Franck Nemoz MakeUp / Corinne Gues Models / Nane & Crista @ Ford Paris Photo Assistant / Claire Digital Operator / Sam Special thanks to UpperEast Studio, Paris

The Lay of the Land The global fashion landscape has shifted. London, Paris, New York: the sleek, synonymous capitals that glide into mind when one thinks of fashion week. But what of Sydney, São Paolo, Istanbul, the new ones to watch? And where does Africa fit into this re-imagining of the fashion map? Kate Chauncey reports on the changing face of South African fashion. South Africa, often referred to as the Crown of Africa, is rapidly preparing its fashion talents to step into place alongside the likes of Turkey, Scandinavia and Brazil. Spurred on by the encouraging success of fashion weeks in other developing countries and a diverse cultural history that is now giving rise to potent creative expression, the country’s metropolitan centers, Cape Town and Johannesburg are thriving with unique design. A relatively young fashion democracy, the South African industry only began to see a rise in independent designers in the late 1990’s. The politically fraught decade feeds into the work of this new generation of designers. It is no wonder then, that this new guard of fashion democrats is reexamining the notion of a so-called ‘African aesthetic’ in their work, trying to find innovative ways to carve a space for South African fashion on the map. Winner of African Fashion Week’s Best Menswear Designer in 2010, Stiaan Louw says that ‘The perceived and very real limitations of the country we live in have become a catalyst for original design and thinking outside of the box’. As a developing nation, South Africa occupies a uniquely liminal space between the First and Third World. With access to a Western influence and infrastructure that its continental neighbours still desperately lack, but with all the political and social complexities that African nations are infamous for, the country is in an interesting space. Set against the backdrop of the severely beautiful local Karoo landscape, Louw’s latest menswear collection is a visual expression of this diversity. Its spare, sculptural quality, set against the jagged slope of low mountains and shrubbery, becomes an analogy for the country’s myriad conflicts between poverty and wealth, city and nature and conservative and liberal values.

Stiaan Louw @ Revealing contrasts in her designs, Suzaan Heyns says that the influence of the local in her work is not ‘plain or overt to the average eye’. The complexity of South Africa’s heritage mingles with Western and Eastern influences to produce work that has the industry talking. She describes her work as a ‘fusion of avant-garde and wearable classicism,’ a fitting paradox for such diverse influences.

Suzaan Heyns @ Cape Town-born designer David West likes to combine playfulness with a sense of nostalgia in his work. ‘Looking at clothing in a new way; trying to a do a new thing, even if it is a small new thing, and turning the traditional on its head while maintaining a respect for tradition’ is his design project. In a city like Cape Town that is brimming with ideas, collaborations and creatives hungry for the next new thing, this ingenuity is being well received.

David West @ Johannesburg-based fashion photographer Brett Rubin says that ‘learning to innovate with the materials available to you’ is an energy and a resourcefulness that is unique to developing countries. Having shot lookbooks and campaigns for leading local designers like Louw and Heyns, Rubin is fast becoming the visionary of choice when it comes to illuminating things in the darkroom. Inspired by ‘the delightfully conceptual and the unapologetically intellectual,’ he attributes the recent surge of interest in all things South African to a renewed fascination with ‘new narratives, aesthetics, approaches and cultural portrayals’ that are unfurling in different parts of the globe. But are South African fashion creatives being seduced away from the promising groundwork back home, driven by a quest to make it big overseas? Capetonian design duo, Christopher Strong, say that ‘There is a perception that once you have made it internationally, you have made it’ and Stiaan Louw agrees, saying that ‘International success is a dream for most designers’. But this pool of talent believes unanimously in investing in and building their local bases, with aspirations to see their brands succeed firstly as South African brands,

and later, as South African brands in a global context. David West reaffirms this patriotic enthusiasm: ‘There seems to be a focus on getting it right here first, and initiatives like South African Fashion Week and The Cape Town Fashion Council are doing incredible things to support young designers’. The rising popularity of locally made artisan goods and artisan markets offers this movement even more momentum. South African consumers are finally wisening up on a broad scale to the idea of a kind of African or South African cool, one that is not dictated or derivative.

Christopher Strong @ Another factor that is steadily boosting interest in South African fashion and design is a marked boom in the use of digital media and social networks throughout the country. Still relatively far behind the First World in terms of access to technology, fashion-conscious consumers have taken to the web with a voracious appetite over the past few years. With this development comes the evolution of buying trends, as South Africans become more confident online and start to look further afield for their purchases. But the fashion forward are still faced with challenges that other global consumers are not. The simple fact that many international brands do not yet ship to Africa is an obvious obstacle. Innovative consumers are finding other ways to get their fashion fix, through sites like, a UK-based online store started by a South African living in London, who sources clothes from the likes of Zara and Topshop for shoppers back home. This more discerning attitude does not mean, however, that there is any less support for local designers. In 2010 alone, the country saw a remarkable mushrooming of online stores such as Spence and 36 Boutiques, which focus on stocking local designers only. Support for these initiatives has been hugely encouraging, and more local brands are developing their online stores. It is clear that the borders of the global fashion map are shifting, nudged into new positions by ambitious, up-and-coming design talent from nations that previously had little or no global presence. Designers like David West, Stiaan Louw, Suzaan Heyns and Christopher Strong have an interesting challenge set out before them: to continue to define the South African fashion industry in a way that both pays respect to a troubled past and finds ways to break new ground that are both sincere and evocative. The world should definitely keep watching.

Words / Kate Chauncey - The Pessimiss @ Photography / Brett Rubin @

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FIBRED photography / Fulvio Maiani

Previous page Gillet / Drome Pants / Ter et Bantine Red - blue piece / M. Thiela Belt / Ilaria Nistri Ring / Sharra Pagano

Skirt / Brioni Gloves / Alpo Red piece / M. Thiela Collant / La Perla

Dress / M. Thiela Collant / American Apparel Belt / Ilaria Nistri Ring / Sharra Pagano

Top / Byblos Pants / Byblos Ring / Sharra Pagano Shoes / Mila Schรถn

Bolero / Tara Jarmon Bra / Rosamosario Pants / Byblos Brooch / Angela Caputi Gloves / Alpo Shoes / Mila Schรถn

Next page Shoes / M. Thiela

Photographer / Fulvio Maiani @ Styling / Dafne Kim Hair & Make Up / Lorenzo Cherubini @ Face to Face Photo Assistant / Alessandra Distaso Digital Retouch / Alessandra Distaso

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Q: If you had to choose between acting and modelling, what would you go for and why? “I would choose acting, because it's something I wanted to do for many years and it's more complex and fascinating than the rest. I'm working on it.” Q: How does your acting background influence your work as a model? “I think it can be helpful to be more at ease and to behave easily in front of the lens, to give more expressions and emotions. That's the most important thing.”

Nils Butler was discovered by Ford Models Europe in Paris in 2008. The 22-year-old didn't believe that being a male model was a profession - at first. Q: Nils, you say that “modelling is a good way to transit to that world”. Please tell us more, what do you mean by that? “Modelling is an unstable job, things come and go away quickly. Also it's an industry where you can meet a lot of different people who are already in the entertainment business and it's very enriching.” Q: You started to model full time after signing with Trussardi. How was it? “Trussardi was really a good experience for me, my first real work experience as a model. I met an amazing creative team. I love Milan Vukmirovic's work and his way of conceiving fashion and photography.” Q: Tell us more! “Well, I think I entered the industry this way because most of the time it's much better to start with a massive campaign. I was brand new at this period and it was fun: shooting, acting, posing in front of the lens, instead of walking and changing in general for any shows. I hate routine!”

Q: After being born in France your family moved to Norway and you returned to Paris when you were 19 to go to Business School. Why did you initially make this decision? “I chose a Business School for many reasons. I am someone who likes to travel and to manage things. I was 19 and it was very funny how the French school (before graduation) put so much pressure on you and on what you want do for the rest of your life... I mean at 19, everything was still pretty “vague”. Business School offered me a larger choice of jobs.” Q: Your mother is Norwegian, your father is French. Which of these backgrounds do you feel closer to? "French for sure. I live in Paris and I'm considering myself as a real Parisian, open to other cultures". Q: What is your definition of success? "For me, success is what keeps me going. It is what makes us happy when we get up in the morning. We are happy to go to work." Q: In 2010 one of your projects included the "D&G" Fall Campaign. What is on your wish list for 2011? “My only wish is to be happy. I fancy having a real stability in my life. I take time for the things I like, spending more time with my mother and to make the best of what I get. I want it to carry on next year.” Photography / Jannis Tsipoulanis Models / Nils Butler @ Ford Models Europe

Previous page Watch / Franck Muller Pewter and crystal necklace / Adele Marie Eel skin clutch bag / Heidi Mottram All clothing by Unconditional

Belt / Stylist's own Gold bracelet / Imogen Belfield All clothing by Unconditional

Crystal Earrings / Jean Francois Mimilla All clothing by Unconditional

Stringed multi skull necklace / Tobias Wistisen All clothing by Unconditional

All clothing by Unconditional

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Photographer / Dimitris Theocharis Styling / Callum Vincent Hair / Vernon François Make Up / Martina Luisetti Models / Iris Van Berne @ Next London Oliver Cheshire @ Select Model Management Fashion Assistant / Mario Mendez Photography Assistants / Sohrab Vahdat Chris Malliapi Special thanks to/ Unconditional London, Philip Stephens The Sanderson's Hotel NCP Carpark and Suzanne Kingston, Lawyer


Artist Kim Joon asks “Is it possible to deny our hidden desire?”

When I was younger I always dreamed about skin on skin. Bodies were closely connected through touch. I remember this picture as a celebration of physical variety and beauty. As an art school kid it just seemed natural to me to experience my own body by experimenting with colour. To feel a wet brush dipped in bright dye all over my corpus is the first sensual experience I can remember and maybe this is the reason why I was intrigued by South Korean artist Kim Joon’s work from the first moment I saw it. Kim Joon, born in Seoul in 1966, is a professor at the Department of Cartoon and Animation at Kongju National University and a former soldier in the South Korean military. He decided to become a painter as an undergraduate student and it was during his time in the armed forces that he started tattooing. He talks about his vision of a “social tattoo” with images of whole bodies covered in body-paint tattoos. His hyperrealistic images are similar to photography: they are metaphors for our consciousness as a mode of life, represented by symbols of capitalism and consumerism. The texture of the skin in the prints look very realistic, but for Joon it is not about resemblance. His focus is on the subject of human bodies. In his opinion, it is the subject of an artist’s artwork that makes him serious, “We can not live without our body. Therefore, I decided to choose the body as the issue in my art,” he says. In his late thirties he got a tattoo on his shoulder. “I hated the view that related tattoo with crime,” the artist remembers. In order to promote tattoo as an art-form he created an exhibition: “Korean Tattoo Shop”. He moved tattoo - which could be done only illegally – from the backstreets to the public view of the gallery: “The intention was that I wanted people to see tattoo as an art.” The exhibition was made with real tattooed people.

For Kim Joon, the practice is above physical beauty, it has a special spiritual meaning beyond decoration. He finds it fascinating that “there are individual stories between the tattooed body and the tattoo engraved on the body.”It is a “charming form” which can coexist with body and spirit, individual and society, reality and dream. The Korean creates his artwork as a mode to express the world he experiences: “I pursue the tattoo that is engraved in our consciousness – the tattoo in our mind”. His latest series “Tattoo and Taboo” was shown in Hong Kong and Beverly Hills. In the exhibition he reflects on how sensual imagery is a critique on our desire to achieve perfect bodies. Joon’s fascination for the tattoo is affected by opposite meanings but it always resembles a way of life. In his opinion, individuals tattoo themselves with a spiritual meaning gained through education or media or to either adapt themselves to, or distinguished from a particular society. I ask whether he thinks that “occasionally, they tattoo themselves to depart from an insipid and monotonous daily life?”, Joon responds with another question: “Is it possible to deny our hidden desires rather than criticizing our concealed wants?” Even though he works with nudity, he does not intend to create primarily erotic notions with his images. His artistic intention was, and is still, shaped by the will to show various ways and expressions to understand the world through the tattoo. Within Kim Joon´s approach, tattoo is understood as a social phenomenon and a uniquely human act: “The social tattoo” he explains, “is the tattoo which society engraves onto individuals. It is painful and causes a desire to get out of the pain.”. In South Korea, even nowadays, tattoos are still a taboo. It is an illegal practice unless considered as a medical treatment, and legally performed by a doctor. When it comes to the link between tattoo and taboo,

Joon does not only mention the conservative society which bans tattoos: “I have this terrifying idea. It is not “the tiger” that is tattooed on the whole body but a fixed idea, a stereotype of materialism made by capitalism”. But he observes a change in society and its public perception on tattoos. “This situation will have an effect on the legal situation as well,” he hopes. To look at Kim Joon´s artwork certainly does raise questions about the artist’s intention. His images accompanied by the question “Is it possible to deny our hidden desire?” invite us to leave the comfort zone and to identify or to re-assess our secret wants and needs. What are our hidden desires and is it possible to disclaim them? Kim Joon´s work touched me so deeply because it reminded me of recurring sexually connoted scopophilic pleasures (scopophilia can be described as pleasure through looking, in this case at naked bodies) from my childhood accompanied by my earliest sensual experience: bodies and paint.

We can always go deeper and confront ourselves with the nature of our aspirations and why we try to hide them. To admit those questions to touch our inner self gives us the opportunity to develop and to grow. This works for both individuals and societies in equal measure. Kim Joon helps us to bring out what usually tends to seethe under the surface: desires, pain and taboos.

Words / Saskia Reis Artwork / Kim Joon @ Translation / Debbie Oh



Black Wedding Dress / Suvi  Alalantela & Saara Honkanen Cone hat / Ella Zlobina


Danielle Dzumaga interviews

Juha Arvid Helminen Describe what you do: I am a photographer, recently graduated from the Lahti Institute of Design. In my personal production I mainly deal with my fears and the negative side of the world. I want my pictures to provoke more questions than give answers. Atmosphere is the most crucial part of my images. Power has always wanted to entangle its emptiness in ever more beautiful surfaces, this fascinates me. I cannot handle directly the evil that the world contains, like my documentary photography colleagues do. These black pictures are the distance that I need between me and the subject. What makes art valid? What a question. Shit. Go and Google it! Voltaire claimed that: ‘History is little else than a long succession of useless cruelties’ Do you think your work reflects this view? The real irony of history is that the ugliest things that men have done, they’ve done in the certainty that they are doing something good. In my pictures there are figures that ponder, doubt, but they are not capable of comprehending. If a nation that has a history of great tragedy is committing violence against other nations, it is often accused of not learning from the past. The truth is, that if we all look in our own nation’s history, we see that we have made the same mistakes over and over again. In my images, everything happens again and again, but under different dogmas and so there is no need for symbols. I hope that a little bit of doubt will come to the mind of the audience. I hope they start to think. There are no wrong interpretations, just us reflecting ourselves when they are looking at the images. Why do you cover the faces of your ‘Invisible Empire’? Facelessness is at the core of many forms of oppression. When a person is stripped of his face, he often becomes just a pile of flesh without feelings. It is easier to mock, beat and in general treat him badly. When the pictures of the Abu Ghraib prison came out, many of them shared humiliation and violence. It was also noticeable that the Iraqi prisoners were stripped of all personality and self-esteem. In most of the pictures the victims had a black sack on their heads, which made it easier for the torturers to torture. This helped the oppressors to give up their own moral resources and treat the prisoners in a way that they would never approve of at home. Soldiers forgot their humanity and submitted to the will of the mass, as well as hung onto their belief in their authority. They were treated like animals. We must remember the words of Emmanuel Levinas on the importance of the face and its first message from human to human: “thou shalt not kill me”. Hate, fanaticism is our common history. I wish that we in our minds will fill the void that is in my images. We see the horror of bad ideas. We see the bad side of us humans. There is no us and them in my images, for in the end we are all the same. Without the bandages and tightly laced masks the characters would fall apart like the religions and ideas that they stand for. Don’t get me wrong, religion in its secular form can be beautiful and give solace to many. But if it puts itself above criticism it can do ugly things. Under the veil of ideology that is the surface, they are just primates, lost and confused. How do you expect people to feel when they see your work? I have tried to turn ugly things, such as religious and political fanaticism, into beautiful pictures. I want the audience to admire the pictures but also maybe ask themselves if the admiration of such pictures is allowed and what it is that they truly admire in these pictures. I want to seduce with the surface like the totalitarian ideologies and show how perverted the admiration of this surface is. To me a decorated book or a glossy uniform is the same thing – a way to sell excuses for violence to the people that still doubt their leaders. Insanity inspires me more than the achievements of science and reason. Humanity in all its diversity never ceases to amaze me. The good, the bad and all the shades of grey in between. Are you afraid of the dark? I am afraid of the dark and irrational side of us humans. In my images I fool myself, I try to control the bad side of us humans. Control what I cannot really control. What is the importance of hats in your work? Hats and my masks are status symbols. Crowns. What are you going to do next? I have ideas but let’s finish this series first.


Faith II Burka /Â Ella Zlobina

Faith Mitre / Suvi Turkia

The Herd

The Grand Admiral

Queen of the Invisible Empire Dress / Suvi  Alalantela & Saara Honkanen Cone hat / Ella Zlobina

The Idea of Individuality Next page The Invincible Police Cone hat / Ella Zlobina

Photographer / Juha Arvid Helminen Styling / Juha Arvid Helminen Costumes / Juha Arvid Helminen Models / Queen /Jenni Juntunen. The Idea of Individuality / Black Wedding / Simo Karisalo The Invincible Police / Sascha Bombboutique Feet / Ilona Partanen A Moment / Faith / Juha Perä Faith II / Päivi Merviö The Herd / Onni Johansson & Ilkka Kelaranta Dogma / Mikko Kaario Hesitation / Saara Salmi Grand Admiral / Evelina Mustonen Child of the empire / Emilia 

Dimitrije Popović artwork / Dimitrije Popović

Previous page Judita from the Judith collection This page Dante from the Omaggio a Dante collection Next page Corpus Separatum from the Eros e Thantos collection

There is no escaping religion. Religious themes penetrate art, as people say “art is the religion of the modern world”, Croatian based artist Dimitrije Popović’s work is a daring and obscure take on man’s fascination with God. Popovic certainly carries out this saying as his exhibitions are his altar. He made an impact with his projects inspired by complex Biblical figures, the series of “Salome” “Judith” and “Omaggio A Dante” are some of his most famous works in which he chooses to focus upon the tragic nature of human consciousness. The painter finds the religious models fascinating, especially biblical women who are marked by their controversial stories. He uses photography as an expressive medium to show a biblical figure as a modern woman. Interpreting the beautiful characters he manages to embody and express their holiness, nevertheless these are not wholly virtuous women, as they are seen as humanly flawed. He challenges the traditional depiction and his interest in their existence is real and tangible. Truly the element that binds to all femme fatales and the truly mythical, there is a fine profusion of eroticism, beauty and death that these characters bring forth. The exhibition’s concept taps into current sentiments and reflects the increasing prominence of holy figures, or perhaps more accurately, the entwinement of historical depictions and our modern sensibilities. Other paradoxes are brought forward with a startling boldness: the sensual and aesthetic, real and mystical, profane and sacred. These aren’t just historical figures, spiritual and religious role-models they are ‘flesh and blood’.

“Salome” is the inspiration behind Oscar Wilde’s play and Richard Strauss’s opera, his art possesses a clear sense of cultural heritage. Despite his profane approach to religious icons Popović was one of fifteen artists, art critics and philosophers that were invited to reply to Pope John Paul II’s “Letter to the Artists”. His masterpieces carry a dose of scandal: a recipe to attract the audience’s thoughts and views. A graduate from the Academy of Arts in Zagreb, Popović describes the characters in “Salome” in a specific way, determined by the complexity of eroticism and death, the theme is determined by the movement of the female body. For example he draws attention to the female torso, the part of the body that in its formal beauty contains symbols of the so-called primary and secondary erotic zones. To really accentuate this motif, he uses three methods of expression: drawing, painting and painted photography and to a lesser extent assemblage and objects as his medium. Traditional techniques of pencil, pen, brush, dry needles, or mixed media, collage and collection are utilized in the service of the artist’s creative ideas which are applied to his graphic works and sacred phases. Other pictures are treated individually, although the most common motifs that resonate throughout are of the human figure and the human body. His work is extreme and pushes the boundaries of the human body, which makes his work wholly human rather than divine. He says, “Movements of the human body are limited by physical possibilities of those motor skill potentials that can be pushed to sheer limits of endurance”. His drawings suggest the projection of the soul, he expresses grace and transforms the reality of these symbolic scenes, the main characteristics of his art. Popović places his work in the tradition presenting a modern and irreverent take on these stories: a dedication to the great cycles of world history. Artwork / Dimitrije Popović Words / Soha Abbas

BiÄ?evanje Krista from the Corpus Mysticum collection All Artworks by Dimitrije Popović @



photography / Fulvio Maiani

Previous page Dress / Prada Shoes / Rupert Sanderson for Karl Lagerfeld Dress / Gucci

Dress / Thread Social at Necklace and ring / Lara Bohinc

Coat and dress / Gareth Pugh Crystal necklace / Peter Lang Australia Leather necklace / Erickson Beamon

Dress / Viktor & Rolf Necklace / Erickson Beamon Ring / Lara Bohinc

Dress / Gucci

Dress / Viktor & Rolf Necklace / Erickson Beamon Ring / Lara Bohinc

Jacket & culottes / Vivienne Westwood Shoes / Ala誰a at Necklace / Erickson Beamon

Photographer / Fulvio Maiani @ Fashion Editor / Michael Dye Model & Artist / Róisín Murphy Fashion Assistants / Huma Humayun & Camilla Colombo Make Up / Rozelle Parry @ Joy Goodman using Mac Hair / Jonothon Malone @ Models 1 Creative using Paul Mitchell Words / João Paulo Nunes Location / The Town Hall Hotel & Apartment With special thanks to Adam Kempton - Conference & Banqueting Sales Manager at The Town Hall Hotel & Apartments   Production and Special Thanks to Nicholas Hardy and Valerie Ugarte at FACTORY311 @

Ladies and Gentleman: We Give You Roisin Murphy!

It is hard not to notice Róisín Murphy in a room full of people. From a distance, she has an enchanting and radiant personality that shines intensely through her flawless smile and infectious laughter. When speaking to her face to face, and before slowly falling in love with her lovely Irish lilt, one cannot avoid becoming captivated by Murphy’s effortless sense of style. Born in Ireland in 1973, Róisín Marie Murphy seemed to have always had a wandering relationship with style. Her family moved to Manchester, in England, when she was 12 but when her parents divorced and returned to Ireland three years later, Murphy had already fallen in love with English eccentricity and chose to stay in Manchester alone. As a teenager, she explored the appeal of fashion and dance music in alternative clubs in Sheffield. She met Mark Brydon in 1994 and started a relationship with a shared appreciation for the dance scene, which evolved into the formation of the band Moloko. Known to music lovers for highly accomplished pop songs such as Moloko’s 1999 acclaimed club anthem ‘Sing it Back’, Murphy has become an unavoidable figure in the international style scene. Her passion for fashion is rumoured to have started at an early age when she accompanied her mother to jumble and car boot sales. Inevitably, these early experiences shaped the young Róisín’s knowledge of contemporary and vintage fashion while stressing the importance of researching and adopting individual styles and trends. During her teenage years, and while most of her school friends sought style advice from pop magazines, she precociously showed unique and eccentric styles and commanded a solid knowledge of alternative fashion. It was at this time that she became an admirer of designers such as Vivienne Westwood. Years later, her connections to fashion as a creative performance art became more than just tenuous.

Words / João Paulo Nunes

From the early days of Moloko and throughout her solo career, Murphy’s music videos and concert performances have been renowned for their exuberant style, high production values and dramatic outfits. In 2005, a few tracks from her album ‘Ruby Blue’ were made available as limited editions featuring paintings of her by artist Simon Henwood where she was portrayed wearing various sequined outfits. And in 2008 her rendition of Bryan Ferry’s “Slave to Love” featured in a Gucci advertisement with actor James Franco. In a way, the combination of the visual languages of cinema, music video and fashion was a selfevident process of creative synergy that could only be led by someone that could command style as effortlessly as Murphy. She is a regular presence on the front rows of fashion week and her knowledge of fashion trends and admiration for established and emerging fashion designers is visible in the outstanding choices of outfits for red carpet events and collaborations with clothing brands. Just to mention a couple of examples, she performed at London’s Fashion Rocks and sang on stage at Viktor & Rolf’s spring/ summer 2010 show in Paris. More recently, she paired with former Blur bass player Alex James to work on Aubin & Wills’s Christmas 2010 campaign. Now the mother of one-year old daughter Clodagh, Murphy shows no sign of slowing down, showing admirable energy levels in performing, song writing or embracing the stage limelight. In fact, as these stunning photographs for Schön! show, we are all extremely happy that she continues her composing and singing career while continuously raising the style bar.

Previous page Dress / Francesco Scognamiglio Turban / Louis Mariette @ Ring / Peter Lang Australia Dress / Halston Heritage at Clutch bag / Christian Louboutin Shoes / Terry de Havilland Earrings / Erickson Beamon

Previous page Swimsuit / Daniel Hermann Bracelet / Dominique Aurientis  Swim suit / Seafolly Legging / Yiqing Yin Necklace / AND-i

Swimsuit / Daniel Hermann Bracelet / Dominique Aurientis

Bra / Héléne Ponot Pant / Luis Buchinho Shoes / Eva Minge

Swimsuit / Daniel Hermann Bracelet / Dominique Aurientis

Bag / Commuun Pant / Luis Buchinho Bracelet / Dominique Aurientis

Headpiece / Ikou Tsch端ss Top / Seafolly Legging / Daniel Hermann Necklace / Ek Thongprasert Next page Headpiece / Yoshiko Creation Paris Swimsuit / Daniel Hermann Bracelet / AND-i

Photographer / Jannis Tsipoulanis @ 1st Assistant / Laurent Dubin 2nd Assistant / Stephane Leguay Styling / Grégory Ambroisine Model / Grace Guozhi @ VIVA PAris by Alex Schwab Hair / Christian Attuly  @ Make Up / David Lenhardt Retouch /


alvaro villarrubia has photographed stars of the screen, fashion and music world, Kings Of Leon,

Jean Paul Gaultier and Gael Garcia Bernal. Hailing from Spain, his work as a portrait photographer has enjoyed wide recognition, with his work being published in various books and magazines. In 2001 his web page received one of the most prestigious awards in the field of design and photography. andoni

& arantaxa

The husband and wife duo, born in 1980s Spain now reside in Italy after spending some time traveling the world working in arts and music. Starting their photography career in New York, they have built up an amazing portfolio in fashion photography. The couple is infamous thanks to their abstract work in fashion, as they creatively capture surreal images. andrej skok began his career styling for magazines and music videos in his home country of Slovenia. He continued to build his experiences and has worked with fashion industries alongside Androyny magazine, also as a freelance stylist for other publications such as metal, Stimuli, and Mykro magazine. danielle dzumaga is a writer currently interning after graduating from Cambridge

University where she read English. Her interest in journalism began whilst at university where she contributed to the student newspaper Varsity and Vivid Magazine. She also wrote a feature for the Cambridge Design Collective reporting on international designer Emanuel Ungaro’s visit to the student union.


popovi ć Born in Montenegro in 1951, his work consists of highly charged subject matter ranging from

Marilyn Monroe to the crucifixion of Jesus Christ. He has had his work exhibited at the gallery Alexander Braumuller as part of a collection in 1978, alongside artists such as Salvador Dali, Ernst Fuchs, and Victor Brauner. In 2003, along with fifteen other artists, art critics and philosophers, Popovic was invited to write an

answer to the Letter of Pope John Paul II to Artists. dimitris theocharis Not only have Dimitris images graced previous issues of Schön! Magazine, but also Vogue, The Evening Standard and The Independent. As the man behind our full-length Tony Ward editorial, photographer Dimitris Theocharis is constantly pushing boundaries with his work. eric white is a painter, a veteran in the art world and a favourite among

celebrities. Having graduated from Rhode Island School of Design in 1990, White uses photographs as a starting point, he works with the positive and negative prints to create multi-dimensional scenes that defy reality. fiona

hudson recently graduated from Reading University, in Graphic Communication and Typography. As well as

working on both design and layout for Schön! Magazine, since graduating Fiona has been interning as a designer with a particular focus on graphic design within fashion. Her interests lie in Graphic Design, typography and all it encompasses.

france goneau Known for her clay wall murals, Canadian ceramic artist

France Goneau transcends art and fashion in Japon. Influenced by her time in Japan, she uses ribbons and the female form to exhibit her pieces in Schön!

fulvio maiani 's career has seen him capture the images of

many famous faces such as David Bowie and shooting for magazines like Elle, Wound and Vogue to name but a few. When he isn’t behind the camera, Fulvio likes to spend his time snowboarding in the Alps and competing in

Mountain Bike downhill races. giovanni squatriti is a young photographer who lives and works in Milan. He is fond of Fine Arts, and chose photography for artistic expression and work. This sensitivity towards art is always transferred and is evident in his photographs. During the years, he has made substantial advertising campaigns and fashion editorial for Italian and international magazines, all characterized by a strong and clear artistic trend

james mountford This London-based photographer has worked for The Sunday Times

Style, i-D and Nylon magazines. With that, we recommend you check out his blog,

for more exciting images. jannis tsipoulanis The Greek photographer has shot for the likes of Vogue, Numero and L’Officiel along with campaigns for La Perla, L’Oreal and Bulgari. In his work he captures high fashion, rawness and sex.

jo ã o paolo nunes Since setting up his blog, World Man About Town in

January 2010, he has been featured in the Fashion Section of The Times in June 2010 and has been invited to

write for Schön! as well as having articles published in Geil Magazine. As a testament to how well thought of, he

and his blog is, Nunes was invited to cover a number of shows at last season’s London Fashion Week. juha

arvid helminen In an all-black editorial, this Helsinki-based photographer shows us a beautifully dark

medley of moods and messages with ‘Invisible Empire’. kate chauncey is a writer and blogger based in Cape Town, South Africa. Obsessed with all things fashion since birth, Kate is a copywriter by day and a fashion

writer by night. Driven by an insatiable hunger for good fashion journalism, Kate's writing is tempered with

lyricism, lust and a love of all things dark. This is Kate's first feature in an international publication.

kim joon Read about Joon’s rise to fame and latest exhibit in ‘Tattoo and Taboo’. This professor turned artist

is famed for his tattoo art, which goes against the conservative South Korea, his native country. kyrre

wangen This photographer studied in England, but chose his native Norway as a base. He contributed the

Asiana shoot, on one of his many work and inspiration-related trips back to London. leah eynon A Journalism, Film and Media BA graduate from Cardiff University; Leah has worked in Marketing and Styling for London’s Fashion week. The recent graduate has also completed a course in image styling for performance

at London College of Fashion and is currently interning for Schön! Magazine as a writer. marian newman Marian Newman is a manicurist. She has worked with some of the top nail care companies in the world. She is Technical and Training Director at United Beauty Products. Her collaboration with Photographer Nick Knight

has led to her working on campaigns for Dior and Lancôme and shoots for Vogue. martin tremblay Montreal-based Tremblay has been the photo editor of since 2003. In this issue of Schön! Magazine he is the photographer and the visionary behind the Japon ceramic art shoot.


clayton Matthew is a 25 year old graphic designer currently in his 3rd year of studying BA graphics at

London Metropolitan University. He has a strong focus on illustration and is currently an intern for Schön! Magazine designing typography illustrations for this issue's spread.

matthew lyn The fashion

photographer enchants us with the male body in a shoot for Schön! Magazine. We say, ‘keep watch’ for this talent on the rise. ndapanda shangula Born in Oslo and raised in Windhoek and Stockholm, this University of The Arts, London College of Communication student is currently interning at Schön! Magazine. With a deep interest spirits and classic cocktails, she uses this to fuel her dreams of conquering the world of lifestyle journalism. pierre dal corso Born in the South West of France, Dal Corso studied Art History and photography before working as a photography assistant for several years between France and New York. He enjoys working with colour and effortlessly captures the innate sex appeal of the female body. His images have

graced the pages of various fashion magazines. raoul keil is the Editor- in- Chief of Schön! Magazine and Creative Director of – the world’s first creative networking-site, where pioneering designers, photographers, journalist and illustrators can connect with each other from across the globe. Raoul, originally from Germany, moved to London to realize his dream of creating a hub for talented artists all over the world to congregate. Today, his search for new flair continues as he strives to unite all nations in the name of fashion.

ross waters graduated from Reading University with a 2:1 in Design for Communication and Typography.

Ross is a contributor to Schön! Magazine working on the layout and design of this issue; he has been on several internships and has his own website. saskia reis is a London based journalism graduate from Germany, studying MA Fashion Media Production at the University of the Arts, London College of Fashion. With her background in painting, dancing and storytelling she now uses art, fashion and lifestyle-related film and photography, combined with audio and text production for her journalistic, artistic and commercial purposes.

soha abbas A London based journalist, and a recent graduate from London College of Communication,

University of the Arts London. Soha’s interest in journalism began whilst working for her universities newspaper ‘Arts London News’ on the way to setting herself up with a successful career she has interned for the likes of the

Daily Mirror, CraneTV and is currently interning at Schön! Magazine. tiziano magni has been shooting some of the most super-supermodels for spreads in the top glossies and high profile ad campaigns for prestigious fashion, beauty, and automotive clients. The Italian born has worked for the likes of Italian Vogue, Italian Marie

Claire and Numero China as well as other prestigious publications. ya yun cheng is a graphic designer. She recently completed her masters at Goldsmiths University where she studied Design Critical and Practice. She has great passion about art and design. Her past projects include identity design, brochures, publications, web sites and advertising and is currently interning for Schön! Magazine.

zohra bakhsh Born in

Afghanistan and raised in Dubai, Zohra Bakhsh studied Illustration Design in Hertfordshire. She began her career at Schön! Magazine as a Graphic Designer, but is now Assistant Editor.





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com pamela love paule ka pawaka peter lang rad by rad hourani radhourani raf simons

prada ralph lauren risto ristobimbiloski rupert sanderson for karl lagerfeld seafolly shao yen chen shao- shiseido siki im stephen jones for kinder aggugini

talbot runhof

tara jarmon

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tobias wistisen tobiaswistisen.


tom ford topshop unique



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vivienne westwood

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yang du

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NAPLE’S CALLING by Eleonaora Esposito with Special Thanks to FACTORY311 @ For full credits see our editors page

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