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LUCKY THIRTEEN! As summer begins to ebb, a new season flows in, pulling in its wake a cloud of visual spectacles and written delights. For Issue thirteen we bring the sex back to the sinister. We strip away the superficial, exposing a hybrid of strength, splendour and ferocity. The bold beauty of this issue will make you sit up from start to finish. Our cover is under the command of one of fashion’s most legendarily lensman, Tiziano Magni. The ultimate convergence of strength and glamour, presented in our cover story “Flesh, Flags and Fatigues” will lead you into the new season, feeling recharged and invigorated. Things heat up further with Garrett Neff, who features solo in Jean Paul Gaultier for our dramatic monochrome editorial, shot by Phillip Mueller and directed by Laurent Dombrowicz. And this All-American talent has never looked so good.   Closely followed by this, Schön! digs deeper to bring you stories of the striking visual talent of Drew Struzan and Christopher Moeller. We welcome them to Issue thirteen, as they give us a VIP view of the art world- and from an entirely new angle, we gain insight into their long and illustrious careers. Gone but not forgotten, we reminisce about the life of the late and great Edith Head - the brilliant mind behind many of the most extraordinary costumes to venture forth from the Golden Age of movies. We also share a word with of-the-moment ‘superblogger’ BryanBoy, who tells us about his lucky streak in the media world and wearing women’s clothes. And that’s not all. We will captivate you with our ethereal editorial “Skin Ink”- a platform for collaboration between Diego Indraccolo and Pok U Chan, and an explosive sensation of photography and illustration that adds a rich new dimension to the classic nude shoot. What’s more, prepare to toughen up for the ferocious Rob Evans, new face of Givenchy, as he returns with a storm to our pages, unveiling the new collection of UNCONDITIONAL.   We encounter the sly humour of Comedienne Kathy Griffin, our very own lucky charm. She talks to Schön! about her personal journey, her lust for life and the importance of a good laugh. Her stark humour is captured exquisitely as she poses for photographer Matthew Lyn.   It is a shared state-of-mind between artists, designers, editors and other creators who bring all of these ideas to life as a collective. What you hold is proof of how we work: the force and the passion behind those with whom we share this vision. So go forth. Immerse yourself. Take in the beauty and explore the darkness- raw and unflinching. Keep reading and fear blinking, or else face the risk that something awe-inspiring might pass you by. Enjoy the journey. Welcome to the dark side. Unlucky thirteen? We think not!

Cover 1 Maritza Veer by Tiziano Magni

Raoul Keil, Editor-in-Chief

Cover 2 Garrett Neff by Philipp Mueller & Laurent Dombrowicz

Letter from the Editor



skin ink photography / diego indraccolo illustrator / pok u chan

Photography / Diego Indraccolo Illustrations / Pok U Chan Art Direction / Kay Korsh Model /Sylwia BĹ‚aszczyk


Diego Indraccolo Pok U Chan


Christos Karantzolas



MY NAME IS NEFF – GARRETT NEFF Philipp Mueller / Laurent Dombrowicz


Anna Cone and Christopher Nelson



WATER DEEP Mara Desipris


Rose Cooper-Thorne / Sophie Duvall


Benjamin Lamberty

FRAGMENT Tomas Falmer


Emma Ruttle

THE SEVENTH SEAL Yiorgos Mavropoulos


Dimitris Theocharis




Matthew Lyn

THE GUARDIAN Dimitris Theocharis


Nisha Khimji


Mariah Jelena


Andre Da Silva


Nicolas Valois


Nisha Khimji


Riccardo Bernardi / Ellen Mirck


Danielle Dzumaga


Ellen Rogers Kay Korsh


Sophie Everman




Saskia Reis


Tiziano Magni


Cranium Photography / Christos Karantzolas

Previous page Black leather jacket / Calvin Klein Collection Gown / Jose Duran Leather bracelet worn on knee / Waxing Poetic Leather multi-finger ring / Bliss Lau Skull necklaces (from top to bottom) / Karen Walker Hirotaka Zoe Chicco

Pants / Original Leather, New York Necklace / Bevel Leather and skull bracelet / Shashi

Blouse / Salvatore Ferragamo Pants / Salvatore Ferragamo Stud embellished belt / And_i Biker hat / Stylist’s own Earrings / Laruicci Leather wrap bracelet / Waxing Poetic Leather and skull bracelet / Shashi Silver eagle bracelet / Gara Danielle

Leather underpants / Jeremy Scott Charm & necklace / Waxing Poetic Ring / Waxing Poetic Leather wrap bracelets / Waxing Poetic Silver link bracelet / Karen Walker Silver eagle bracelet / Gara Danielle Leather & skull bracelet / Shashi

Harness / Bliss Lau Shirt / Paul Smith Leather pants / Original Leather, New York Ring / Waxing Poetic

Mask / And_i Leopard claw ring / Hirotaka Signet rings / Waxing Poetic

Previous page Menswear pants / Calvin Klein Collection Razor blade necklace / Laruicci Skull necklace & earrings / Zoe Chicco Studded jeans / Bess, New York Cross necklace & leather bracelet / Waxing Poetic Biker hat / Stylist’s own Next page Multi charm necklace / Waxing Poetic Skull necklaces / Hirotaka Earring and skull necklace / Zoe Chicco Gold link necklace / Laruicci

Photographer / Christos Karantzolas @ 212 Artists Representatives Stylist / Eric Launder @ Halley Resources Hair / Menelaos Alevras @ Make Up / Sylvia Dimaki @ Halley Resources Models / Eugeniy Sauchenka & Nathalie Kuzmenko @ Major Models, NY Prop Stylist / Conor Fay @ Ray Brown Shot @ Divine Studios, New York Special Thanks to Katerina, Kat, Kos and Helen

Artist Li Tianbing started off Painting using traditional Chinese ink techniques. Today he Takes Photo Documentation and mixes it with colours alluding to chinese cultural codes; such as blue as the colour for capitalism, violet for nostalgia or green of ghosts. Li´s personal and artistic development is marked by transformation, change and dichotomy. The Paris based artist brings duality to canvas by mingling elements of Chinese and Western painting, which evolves into a seemingly natural hybrid. The surplus information and layers within his work can be read as an suggestion of postmodern control and manipulation mechanisms of the subconscious.

Li Tianbing Moi et mon Frere avec Deng Xiaoping (My brother and I with Deng Xiaoping) Oil on canvas 205 x 160 cm Image Š Opera Gallery Ltd.

Beizitou #4, 2006 Oil on canvas 21 2/3 x 18,1 in. Image Š Opera Gallery Ltd.

Autoportrait avec ma mere, 2006 (Self-portrait with my mother) Oil on canvas 200 x 160 cm Image Š Opera Gallery Ltd.

heliotrope Photography / Grant Thomas

Previous Page Vintage parasol / Stylist’s own Sunglasses / Emmanuel Katsaros ‘Berry Love’ earrings / Madame Moi Pink floral housecoat / Beyond Retro Nude body with tattoo print / Bebaroque Vintage headscarf / Rokit Long sleeved navy dress / Sanna Naapuri Velvet flower print dress / Ashley Isham Next page Glitter hummingbird headband / Tatty Devine

Studded leather collar / Ăšna Burke Feather capelet, from a selection / Zara

Studded leather collar / Ăšna Burke Feather capelet, from a selection / Zara Red beaded dress / Bernard Chandran Gold brassiere / Beyond Retro Opposite page Nude net dress / KatyaKatya Shehurina Print shift (worn underneath) / Sanna Naapuri Next spread Nude net dress / KatyaKatya Shehurina Print shift (worn underneath) / Sanna Naapuri Rainbow hearts necklace / Tatty Devine

Photographer / Grant Thomas @ Styling / Sabrina Bangladesh Hair / Kim Roy Make Up / Keiko Nakamura using MAC Model / Lisa Bommerson @ FM Models

CEO and Editor-in-Chief

Zohra Bakhsh

Assistant Editor-in-Chief

Kay Korsh

Fashion Editor Writers Saskia Reis Nisha Khimji Emma Ruttle Sophie Duvall Meghan Hutchens Sophie Everman

Contributing Writer Andre Da Silva Danielle Dzumaga Rose Cooper -Thorne Paul Heilig Grace Urban Graphics & Layout Jacob Law-Sales Rebecca Hamersley Alexandra Walton Kate Scannell Ivone Chao Kaisa Kokko Global Advertsing Alby Bailey

Distribution Print Pineapple Media UK

Web Development Hara Mihailidou

General Contact

Special Thanks Luis Munoz-Rodriguez ♥ Kay Korsh Caroline Lindop Mai Takagi Laurent Dombrowicz Will Forrester Carlos Singh Chad Burton Donnacha Gleeson Farshad Vahdat

Public Relations Andrew Collins Donnacha Gleeson


Schön! Magazine accepts no liability or any unsolicited material whatsoever. Opinions contained in the editorial content are those of the contributors and not necessarily those of the publishers of Schön! Magazine. Any reproduction in whole or in part without written permission is strictly prohibited.Worldwide print distribution by Pineapple Media Ltd. Worldwide digital & Mobile distribution by Schön! Magazine is designed in London, United Kingdom and printed in the UK. Schön! Magazine is a trademark of The Group © ONE NINE SEVEN FOUR LTD, 2011 Registered in England and Wales. Number 6343211 Vat Registration 928275301 58-60 Berners Street London United Kingdom email : phone: +44 (0) 207 631 0979 web:

Raoul Keil

My name is Neff Garrett Neff Photography, Philipp Mueller Fashion Editor, Laurent Dombrowicz Clothing, Jean Paul Gaultier

Previous page Leather jeans / Jean Paul Gaultier Neoprene tuxedo jacket / Jean Paul Gaultier

Neoprene jacket / Jean Paul Gaultier Neoprene shorts / Jean Paul Gaultier

White poplin shirt / Jean Paul Gaultier Gabardine pants with zipped attached skirt / Jean Paul Gaultier Vest / Jean Paul Gaultier Silk stole / Jean Paul Gaultier

Hoodie / Jean Paul Gaultier Black pants / Jean Paul Gaultier

White poplin shirt Gabardine pants with zipped attached skirt Vest Silk stole

/ / / /

Jean Jean Jean Jean

Paul Paul Paul Paul

Gaultier Gaultier Gaultier Gaultier

Sequined top / Jean Paul Gaultier Jogging pants / Jean Paul Gaultier Opposite Leather harness / Jean Paul Gaultier Leather jeans / Jean Paul Gaultier

Photographer / Philipp Mueller Fashion Editor / Laurent Dombrowicz Model / Garrett Neff @ Success Hair & Grooming / Tanya K @ B Agency Styling Assistant / Nicolas Dureau Special Thanks to Jean Paul Gaultier & to Studio Daylight, Paris


* We want to get to the core of sex: The apple and the pips. We want your response to be: ‘That’s f**king hot’

Follow us LACHS observes sex. LACHS talks about sex. LACHS makes sex. Bold, arrogant and daring, LACHS Magazine is an online multimedia and print on demand sex magazine which explores and seeks to redefine the multi-facets of eroticism from a contemporary point of view. LACHS aims to overcome mainstream notions of sex whilst provoking clichés and playing with the avant-garde. LACHS considers the dichotomies of human sexuality as a rich source to ask questions: Have you ever had sex in public? Is masturbation a form of sex in its own right - and - What is the art of sex? LACHS embraces the naughty and the tensions of the sensual as a part of its fabric. In the beginning there was sex … and LACHS has come to make the oldest trick in the book fresh! Sexy is a multi-denotative word: it means something different to everyone. LACHS is about expanding the demographic by bringing sexy to spheres above and below the average. We want to get to the core of sex: the apple and the pips. We are here to break down common fundamentals of the hitherto sexy. We want your response to be: This is f**king hot! Everyone feels a bit guilty about certain aspects of the desire and the deed. Within and between the folds of LACHS Magazine, sex is precious and real. It is process and dialogue-oriented. We liberate porn from the homogenised ban of society and we put the high class back into the hooker.


We honour the universal power of sex and we dare to bring it down to its knees. Target Group: We are going to get to the bottom of humanity’s preoccupation with sex: examining the fetish regardless of gender, race or creed. LACHS Magazine is not just for men or for women, for hetero-, homo- or bisexuals. We are bringing sexy to everyone, regardless of classification. No guilt. No shame. Pure pleasure! LACHS observes sex – As a playful observer, LACHS busts the habits of the passive voyeur. We look at sex in order to discover the unknown. LACHS talks about sex – As an outspoken communicator, LACHS tackles prejudices and dares to ask questions you never thought about asking. We talk about sex in order to push forward to progression. LACHS makes sex – As a multi-sexual organ, LACHS penetrates hidden desires and gives and receives the flesh of the fresh. We make sex in order to find … satisfaction. Want to be teased and titillated? Head to Think you know sex? LACHS Magazine is now accepting submissions of illustrations, text and photographs for their next issue. Don’t be static. Don’t be predictable. Be sexy. Chronically esurient? Now LACHS is here to feed you. Isn’t it all just about seduction?

email :

Photography / Anna Cone & Christopher Nelson

Previous spread Black long skirt / Pierre Ancy Black and gold necklace / Rodrigo Otazu Black bodysuit / Camilla and Marc Blue stone necklace / Rodrigo Otazu Black and white dress / Mara Hoffman

Blue cut-out dress / Falguni & Shane Peacock Triangle double ring / Unearthen

Knickers / American Apparel Denim top / Levis Ring / Unearthen Bracelets / Unearthen Shoes / Loriblu Underwear / American Apparel Blue pants / Ksubi Necklaces / Unearthen

Floral top / Emily Factor Shorts / Obesity and Speed Necklaces / Unearthen Denim vest / Levis Floral body suit as bottoms / Emily Factor Necklaces / Unearthen

Photographer / Anna Cone & Christopher Nelson Styling / Krissie Torgerson @ Make Up / Elizabeth Ulloa @ Artists by Timothy Priano Hair /Charles Baker Strahan @ Artists by Timothy Priano Models / Chloe @Photogenics LA & Alexandra Palmer @ NEXT LA


Divine Elegance

Photography / Bo Brinkenfalk

Previous page Fur hat / Stylist’s own Shirt / Viktor & Rolf Fur coat / Gucci Helmet / Hermés Shirt / Louis Vuitton Jumper / Loewe Gloves / Hermés Skirt / Louis Vuitton

Fur hat / Stylist’s own Fur jacket / Isabel Marant Belt / Maison Martin Margiela Gloves / Moschino Dress / Dolce & Gabbana Stockings / Wolford Shoes / Barbara Bui

Helmet / Stylist’s own Gloves / Bottega Veneta Polo / Haider Ackermann Cape / 3.1 Philip Lim Skirt / Martin Margiela Archive

Hat / Stylist’s own Gloves / Sportmax Blouse / Marc Jacobs Jacket / Chanel

Fur hat / Stylist’s own Shirt / Alberta Ferretti Coat / Roberto Cavalli Gloves / Giorgio Armani

Fur hat / Stylist’s own Fur Jacket / Brioni Skirt / Ann Demeulemeester Gloves / Giles Top / Acne

Fur hat / Stylist’s own Shirt / Prada Top / Jil Sander Fur Jacket / J.Mendel Skirt / Akris Gloves / Calvin Klein Next page Fur hat / Stylist’s own Polo / Céline Skirt / Ralph Lauren Collection Gloves / Hermés

Photographer / Bo Brinkenfalk Styling / Gordana Zlatanovic Hair and Make Up / Eva Brodin Model / Astrid S

Switzerland and fashion? Sounds like transforming cozy cows to hot-blooded race horses. But in the land of heaven-storming mountains and discreet banks there do exist a few race-stables. Far ahead the Institut Mode-Design (Institute of Fashion Design/IMD) at the Academy of Art and Design in Basel. The city is not the centre of the fashion world, but the Academy´s ambitions are clear: Cutting the cord from the regional league, playing in the Champions league.

v v

Priscilla Morgan has sniffed height air. Born in 1968 in Zurich, she studied fashion at Basel and worked as first assistant designer to Raf Simons in Antwerp from 1996 to 2001. After years of experience she stopped at Vienna, founded the label RADIC/MORGER @ together with Danijel Radic. Since 2011 she has been artistic director / professor at the IMD Basel. Together with Laura Costa, one of her students, she took time out for an interview. The IMD credo is: “Fight mindless uniformity” Good battlecry. Will the fight be won?

To what degree do uniformity and vacuity rule Swiss minds?

What is your own fashion style? Your favourite material?

Priska / It is the start of a new time, a new generation with a high level of professionalism. The mainstream approach is truly over! Specialization may be one of the keys. I think that our Institute has a duty to strengthen the students so that they continuously fight for “individuality”. Our mission statement “fight mindless uniformity by doing deeply committed contemporary fashion” has to move forward. That’s why our Institute is a professional playground where we figure out the power of each student, their strengths and passions. We support them to go for their own vision of how they live and transform fashion to the world. This means that one, universally valid way to design professional, state-of-the-art fashion doesn’t exist for us. The students design their own rules.

Laura / Uniformity is found not only in Switzerland - it is a global problem with fashion. The majority of people are dressed the same, they buy the horrible mass produced garments that have no personality. This sight destroys my eyes - so I try to change it by realizing my visions in fashion.

Priska / Japanese silks that follow the beautiful woman’s body into a breath-taking, interspersed dress! These pieces are perfect for a modern nomadic people like me. In one move you are perfectly dressed. You just need a pair of high heels. It is a shame that knit dresses are so seldom. I like a unique style which stands for effortless chic, combined with a certain rough elegance and also have functional details. I mix my own designs to share with designer pieces of friends like, “Pelican Avenue” by Carolin Lerch, “Haltbar“ by Kathleen König, Boris Bidjan Saberi. I add unique found pieces from all kind of different flea markets and of course unique pieces made by the students. My clothes tell a personal story which essentially underlines my charismatic attitude.

What specialities does the IMD provide for counteracting? Priska / I like what Jacque Tati advises, to “Explore in your work, but don’t do below.“ I believe that your whole life should exercise complexities in that oppose common sense. Laura, your collection at the IMD Degree Show 2011 was the darling of public and press. For inspiration, you went on a visual tour to street markets around the world.... Laura / I named it “Haku Famusi“. At my first imaginary stop I visited markets in the district of Tharparkar in Pakistan. There I saw fabrics made from tiny squares. With the Seminole, a Native American tribe in southeastern USA, I learned strip quilting technique. In Panama I met the Kuna women whose clothing becomes an image telling a story through appliqué. In Macedonia I tried on traditional embroidered garments. In South and Central Africa I discovered improvised street styles. In Wales and Melanesia I was surprised by the power of groups of people all dressed alike, and at the same time it aroused negative associations I have towards uniforms.

Priska, Is there a specific fashion DNA of Switzerland? Priska / Important actions have to be made again so that we get out of the accustomed jog trot! Individuality and creativity being key concepts. We need to develop an atmospheric quality in the materialisation, realization and orchestration of a strong unique style. If Swiss members with good fashion qualities hold together, each of us can bring in networking contacts to strengthen our position in the industry and remain avantgarde. An increase in professional power can help get rid of these ‘terrible fashion events’ and once again show high fashion qualities. We have a great Swiss Textile Federation that represents and speaks for the Swiss Textile and Clothing Industry. And what Jakob Schläpfer demonstrates through his textile evolution to the fashion industry is on a high international level. That is just one of our great Swiss Textile Companies- you can see the rest at www. I hope in the future they will invest in young Swiss talents again! Is there any sentence you would love to say the people who might still think, that fashion in Switzerland is more a cozy cow than a hotblooded race horse? Priska / Well, Switzerland is not a known ‘fashion country’, but I hope we cultivate a distictive cultural generation by being deeply committed to contemporary fashion. We will gain a positive reaction so that we can then move forward in a new era and maintain an eager eye on ““ culture.

Laura, who are your favourite international fashion designers? Laura / No question - Bernhard Willhelm und Alexander McQueen Well, Priska, please offer to all those who may not be familiar - the names of three worldrenowned Swiss fashion designers. Priska / For sure AKRIS, but it stops right there. Ask me again in a few years. I am sure that a new Swiss generation will start to become established worldwide in the near future. Laura, what are the names of the up and coming Swiss stars? Laura (smiling) / Sara Vidas, Emelie Meldem, Joy Ahoulou. They all have potential - and have studied at the IMD. Like me... Thank you.

More about the IMD @ Words / Paul Heilig


All jewellery / Maria Mastori @ Photographer / Mara Desipris @ Fashion Editor / Nicholas Georgiou Assistant Photographer / Yiorgos Markozanis Model / Anastasia Perrakis Assistant / Marilena Frangou Special Thanks to Athens Hiltons Spa and Filep Motwary @



S NDR KOLST D Originally trained as a classical pianist, today Norwegian singer Sandra Kolstad makes moody, energetic electronica. Dark yet light, soft and heavy, her album CRUX is intricately constructed with a strong, mature sound for such a youthful debut songstress. With an experimental attitude and an eye-catching personal style it is little wonder the buzz around her is starting to grow. Now a resident deeply immersed in Berlin’s electro scene, Rose Cooper-Thorne caught up with her for Schön!. She describes the experience of recording her latest album in an idyllic forest location in Sweden. “This forest is located next to a big lake. We recorded in February and the lake was frozen. We went for walks every day on the lake. The feeling of standing in the middle, knowing that it could break, helped me to produce music with a lot of risk-taking.” Kolstad, originally from Norway, now lives in Berlin and Oslo. Referring to the Berghain nightclub as her “university,” Kolstad is enamoured with the city’s fluidity and continual movement of people. “Berlin, to me, is a place where I can enjoy the effects of everything not being straight. It’s a city where people and places come and go all the time; there is an ever-shifting atmosphere. That is both very fascinating and a little bit frightening.” Residing in the heart of the Berlin electro scene, she has been called the “Little Norwegian Gem,” and compared to artists like Laurie Anderson and Robyn. Sounds created by Anderson can be heard on CRUX after a simple “email with a question” was sent from Kolstad in exchange for a few copies of the album, and collaboration eventuated. “I’m quite curious about what she thinks of the album. I share Anderson’s will to experiment and Robyn’s desire to have people dance. My aim at the moment is to make electronic dance music that is interesting and ambitious, tonal as well as textual.” Based on the album, Kolstad sounds like she is right on target. Her innovative spirit and insatiable drive to find new rhythms and sounds to incorporate in to her music have made her an up-and-coming force to

reckon with in the world of electronic. Kolstad’s sense of style and view on fashion is no less pioneering than her music. She wore a dress made of human hair long before Lady Gaga shocked and awed us with her meaty masterpiece. “My mother has worked with clothes and fashion since the day I was born. I’m used to having it around me. It’s not the changing aspect of fashion that fascinates me, but the lasting.” Kolstad’s next endeavour involves recording music under water for her next album. Along with festivals and concerts this season, Kolstad will be touring in Scandinavia and making appearances in England, Iceland, and Germany. Fans will want to see her live performances of music from CRUX because there is always something new, whether it’s extended versions of songs or new work with the sound material. “I want every concert to be an experience for all senses. I want something to change in people when they listen to our music and see us perform. I make music to dance to, be born through, live to, kiss to, and die to.” We wait in anticipation for what’s next from this artist who engages the body, mind, and soul.

Sandra was interviewed by Rose Cooper-Thorne Editing / Sophie Duvall Photographs / BLUNDERBUSS/Anna-Julia Granberg



All Basquiat Works © Estate of Jean-Michel Basquiat. Used by permission. Licensed by Artestar, New York






Previous page Lisa Jumpsuit / Trend by H&M Belt / Vintage Shoes / COS Oscar Underpants / Calvin Klein Michel Suit / Viktor & Rolf Shirt / Baldessarini Bow tie / Lanvin Lisa Blazer / Balmain Shirt / Burberry  Pants / Gucci Marco   Suit / Cavalli Shirt / Lanvin Bow tie / Lanvin

Oscar Suit  / Viktor & Rolf  Shirt / Lanvin Bow tie / Lanvin Lisa Shirt / COS  Necklace / Vintage Skirt / COS  Tights / Wolford Michel   Suit / Versace Shirt / Lagerfeld Bow tie / Etro

Lisa Jacket / Boss Lipstick / Chanel

Michel Suit / Viktor & Rolf  Shirt / Baldessarini Bow tie / Lanvin Lisa Blazer / Balmain Shirt / Burberry Bow tie / Boss Shoes / Buffalo Oscar Underpants / Calvin Klein Marco   Suit / Cavalli Shirt / Lanvin Bow tie / Lanvin

Photographer / Ben Lamberty @ Styling / Patrick Rinkel  @ Hair & Make Up / Nick Assfalg @ using Chanel Models / Lisa Akesson @ Modelwerk Michel Stachowicz @ Modelwerk Oscar Kinter @ Modelwerk Markus S @ Place

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Schรถn! in Print


Photography / Tomas Falmer

Previous page Dress / Malene Birger Skirt on top / Acne Sweater (underneath) / John Galliano Shoes / Model’s own Skirt around neck / Malene Birger Cardigan / Filippa K Armwarmers / American Apparel Trousers / Maison Martin Margiela Skirt / Acne Coat / Acne Coat (underneath) / Fifth Avenue Shoe Repair Jacket / Haider Ackermann Bow tie / Dior Vintage Next page Sweater / Maison Martin Margiela T-Shirt / Nakkna Short dress / Burfitt Dress (underneath) / Haider Ackermann

Hoodie / H&M Jacket / Acne

Hoodie / The Local Firm

Coat / Ann Demeulemeester Polo neck sweater / H&M Shirt / Filippa K Hat & Belt / Vintage

Dress / Malene Birger Skirt on top / Acne Sweater (underneath) / John Galliano Shoes / Model's own

Polo neck sweater / H&M Blouse / Acne Blouse (underneath) / John Galliano

Sweater worn as turban / Ann Demeulemeester Next page Dress / Haider Ackermann Short dress on top / Whyred Blouse as a bow tie / Motel Jacket / Acne

Photographer / Tomas Falmer @ lundlund Styling / Hanna Holmgren @ link details Hair & Make Up / Ignacio Alonso @ link details Styling Assistant / Josefine Skomars

B U TO H - dance of darkness -

Twisted bodies, ethereal arcs of gesture, dart like movements, and subtle shifts of control. Energy conserved, and shimmering tremors of force transmitted. Sensations of the absurd, the dark, and the surreal are cast out into the audience. Butoh is a contemporary dance practice that challenges and stretches our preconceptions about what dance truly means as an art form. It combines intense drama with resolute stillness, and is not constricted by method, venue or theme. This constantly evolving dance form is extremely diverse in its execution and problematic to define without viewing. Director of Butoh UK, MarieGabrielle Rotie calls it a “magpie movement” in reference to its nature of incorporating elements from a diverse array of dance modes such as ballet, tai chi and yoga. Yet it stands apart from these practices in its freedom from technical restraint. We can view Butoh more as a journey of discovery than a fixed technique. Rotie comments that “Butoh training works on all the levels of existence, to train bones, skin, muscles, nerves, imagination, spirit and creativity”, thus is caught up not only with the purely physical, but also with the emotional and the spiritual.

So what is Butoh? Tadashi Okamura, director of Atelier Beni Butoh group in Tokyo sees it in abstract form, bound up with what it means to be emancipated, “as a dance of liberation, free from modernism or materialism.” Rotie references the achievements of Butoh founders Tatsumi Hijikata and Kazou Ohno, who created the possibility for dance that goes beyond steps or external forms, and derives from the inner life of the dancer. For her, it is this “shift in our consciousness of what dance can be” that defines Butoh’s revolutionary nature. Butoh’s openness draws people in from a variety of backgrounds. Both Okamura and Rotie heralded from arts backgrounds but have no formal dance training. Okamura discovered Butoh through his fascination with the philosophy of modern art and theatre, stumbling across cofounder Hijikata’s work. Rotie, too discovered Butoh by accident in 1992 whilst exploring other dance styles. As Rotie and Okamura continue, the vast scope and diversity of dance styles within the practice of Butoh fast emerges, and what becomes clear is that Butoh is a medium that is closely caught up with personality and the psyche, thus it takes on an extremely subjective role, according to each individual’s take on Butoh. Rotie’s Butoh wrestles with issues of the body, identity, feminism and sexuality, with themes including mythology and fairytales. She aims to channel these themes into an iconography which is at once personal, but also connects with a more collective consciousness, linking these experiences with the audience. Here, both Okamura and Rotie speak about the importance of the audience, sharing in the single moment of the performer, taking part in what Okamura sees as a “collaborative ceremony” that celebrates the importance of the “now”.

Butoh can be seen as a tool that enables us to confront, liberate and reconcile parts of the inner self with the outer self. Rotie furthers this idea, adding, “I think the best Butoh dancers have a strong connection to their darkness”. This connection between the darkness, the hidden, and the revealed, outer self is suggestive of a holistic view of the body, integral to Butoh. No longer are socially unacceptable parts of personality subverted, they are celebrated. Butoh revels in the involuntary: the flicker of an eyelid, the trip or the fall. And in liberating the darkness of the unexpected, through strange, eerie or disturbing gestures and movements. Butoh brings us close to a full, unflinching exploration of the human psyche, giving us the opportunity to widen the horizons of what we may conceive beauty to be. Okamura also sees the body as a whole, but suggests that this idea of the “inner and outer being” is problematic, and little more than a convenient construct that attempts to fragment our essential and unified core.

"A call to anarchy, to dissolution, to destruction and creation." For him too, Butoh celebrates all, incorporating the grotesque, the savage, and the sublime, without the need to designate actions and emotions to the inner or the outer self. Through Butoh then, we gain an unflinching insight into the complete emotional and physical contents of the body. The opportunity for transformation in Butoh is endless, and Rotie’s roles bear testament to this, having ranged from that of a vampire, a wolf, an old woman, to a trembling leaf and a ghost. It is due to the diversity and freedom of Butoh techniques that these roles are possible. She ventures, “In my dance I am looking to re-invent my image, play with its manifestations, undo the stereotypes, the straightjackets of conformity or gender or sexuality, and be free.“ Okamura agrees, putting emphasis on the fact that Butoh does the opposite of traditional dance, such as ballet in that it trains us to “release our body from the enslavement of rigid techniques and barriers, that turn us into machines who cannot think outside the box.” Rotie notes that in Butoh training, mirrors are often discarded in the effort to allow dancers to focus on their inner journey, and not on their outer shell. The aim of her Butoh is to “surrender to the inner space, to embrace the darkness, and abandon concern with what movement looks like, instead embracing how a movement emerges and feels.” Coming to know and value this “darkness” through Butoh transforms the suppressed into the expressed, a creative tool that allows for the achievement of complete self understanding. And is Butoh revolutionary? Certainly, says Rotie, who sees Butoh as “a call to anarchy, to dissolution, to destruction and creation.” She adds that in Butoh, “nothing can ever be fixed or certain, everything flows between chaos and form, between shadow and light.” This sense of the eternal is also picked up on by Okamura who views Butoh not only as an innovative dance form but one inherently rooted in human tradition, simultaneously bound up in our history and our future. Something timeless. Both maintain that the knowledge of Butoh is transformative, that it permeates all of life. For Rotie, it as a force that changes her every day, empowering her to walk out into the world with a fearlessness and relentless urge for adventure and discovery. It is “the journey to find one’s own dance”.

Images from left to right Photographer / Brian Slater Photographer / Dygo Photographer / Brian Slater Special Thanks / Marie-Gabrielle Rotie Tadashi Okamura Words / Emma Ruttle


EVOLUTION a film by John Hicks with Marie Gabrielle Rotie



Mythic is Marie-Gabrielle Rotie’s current touring solo. Premiered at Laban

The Seventh Seal

Photographer / Yiorgos Mavropoulos

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“On the Phone with Bernhard Paul” He is the Ringmaster of Circus Roncalli. Since Roncalli’s first world premier in 1976, this Austrian has dedicated his life to developing his concept of a classical circus. Not only has the 64-year-old gathered Europe’s biggest collection of circus and vaudeville history, he is celebrating the 35th anniversary of Roncalli with a monumental show in Bonn, Germany. The mind behind this melding of illusion and dreams is an inexhaustible source of inspiration – always struggling with bureaucracy and the concomitants of modern times, as he strives to preserve what threatens to become lost. The first thing that differentiates Bernhard Paul from so many others is his origin. Born into a family of craftspeople in the town of Wilhelmsburg in Austria, Paul tried to find his way in a variety of disciplines: as a student of civil engineering and graphic design, financing his studies by making music. He became art director of the Austrian news magazine ‘Profil’ and worked for an international advertising agency. On a typically untypical Sunday afternoon, the phone is ringing. I know when I pick up I must be ready. I am interviewing an extremely busy man – someone who manages to run one of the most successful circuses in history, and who is constantly thinking outside the box. Before we start, I ask him how much time we have. “Endless amounts” he replies. His answer allows me to completely immerse myself in the mind-

set of Bernhard Paul: Paul’s voice sounds warm, and he puts thought and emphasis into each word, speaking with the spirit of a true nostalgic. “We live in a time where everyone is looking just for money. Back in the old times, money was a means to an end. Everyone likes to earn money, but back then, it was in order to reach a goal,” he says, citing John Lennon, who “didn’t want to become rich, but simply make music.” He also speaks about Charlie Chaplin “who reinvested all of his earnings into his next film.” Chaplin is one of Paul’s biggest role models. “He was courageous,” says Paul, who continues, “During Hitler’s reign, Chaplin released his filmic parody ‘The Great Dictator’ and he was one of those artists who showed his true colours from the very beginning, whilst others were struggling to reveal their genuine identities”.

Paul describes himself as a perfectionist. “I am obsessed with quality. There are very simple things in life about which anyone can say ‘Oh, that is beautiful’. Aesthetics follow certain principles. You can see it in good artisanry and handicraft,” he says, placing emphasis on the fact that globalisation seems to have devastated the quality of local arts and crafts. “We now have to travel further and further to find good costumiers for our stage outfits. It has become normal to go to Paris or London to meet people who can work on shoes, strass, feathers and embroidery according to our specific needs.” However, quality is also about intangible factors, such as the moment of performance. “What lies in the essence of things is invaluable” furthers Paul. He has worked with the big names, from eccentric Hollywood actor and director Klaus Maria Brandauer to the legendary Hungarian playwright and

theatre director George Tabori, who rejects the term ‘director’, preferring the title of ‘Spielmacher’ (playmaker). All of Paul’s circus programs are devoted to one of his role models, for example, Charlie Chaplin or Clown Grock. For Roncalli´s 35th anniversary, Paul went back to his own roots for inspiration. As a child growing up in the small town of Wilhelmsburg, there existed two factories: a porcelain factory and an iron foundry. “When people came home from work on their bicycles, the ones from the porcelain factory were completely white from the dust and the ones from the iron foundry were totally black. It looked entirely staged and it fascinated me,” he recalls. Paul cites a memory from a young age - of his monochrome world erupting into colour when a travelling circus paid a visit to Wilhelmsburg- as extremely significant and one that shaped him irrevocably. “It felt like a culture shock. I absorbed all the colours like a sponge. Subsequently, my life turned from bleak to colourful and I knew that this was it. For his jubilee show, he decided to incorporate his heritage, including a caoutchouc artist (an artist with a white front and black back), the costume also featuring the logos of the porcelain factory and iron foundry - a tribute to Paul’s childhood. He notes, “When [the caoutchouc] folds himself up, he starts to resemble a chess board. We also have black and white horses. All of the pieces in the show are connected and devoted to Wilhelmsburg.” At the age of 28, Paul was the youngest art director of an international advertising agency in Austria and had already plateaued. He then realised that he did not want to be in this line of work for the rest of his life, so he started giving thought to his childhood dream: “Many people have a childhood dream, but only a few realise it. I wanted to live in my dreams,” says Paul. He conducted research and observed that existing circuses no longer bore semblance to those of his childhood. “Before, there had been wooden wagons, which had now been swapped for trucks, trailers and containers. It was not romantic at all. Light strings had become neon tubes and red velvet curtains were now replaced with plastic foil. It was all alien and disgusting,” he laments. Paul could not find the integral elements that he had identified in the circuses of his childhood, so he invented his own circus. He realised his dream according to memories past, blended with pure imagination. “In my head, the idea

of the circus had been totally idealised over the years. Even as a child, I had not seen gold plated or colour matched work. So I incorporated these elements of my ‘ideal’ circus, and the entire combination became much of the reason for its success.“ Circus Roncalli had its world premier in Germany, 1976. “That kind of artistic circus

was not right for middle-sized Austrian cities at that time. People asked, ‘Where are the monkeys, where are the bears?’ and I could not satisfy their desire. German cities like Hamburg, München or Frankfurt had a bigger theatre audience and what we did was more theatre than cattle-show.” The most important elements of my circus are, says Paul, “maximum performance, acrobatics, eroticism, aesthetics, and humour with an exotic touch. Poetry is also important, “But it is not a flavouring you just put on top. Something either has poetry or it doesn’t you have to stage it accordingly.” He then speaks strongly about what he holds no value for: “Zeitgeist is something that I hate. Zeitgeist is the most perishable of all goods. Once it is invented it is already ridiculous.” Referring to the artist’s inner urge to create, he comes back to love: “When I do not love what I do I should better not do it. In the arts you have to love what you do.” A new interpreter of circus artistry, Roncalli´s concept is that of a rolling museum, which pays particular attention to historical setdesign. “The design of the stage frames the circus; the old wagons, the tents, this is all intentionally set and incorporates a certain degree of colour psychology. When people enter, they say ‘Wow, this is magnificent’ even before the show has begun.” Paul goes on to describe the unique atmosphere of the show: “You cannot leave the audience at peak excitement. I calm them down first. My approach to the circus is artistic, in that it has to be beautiful, it has to make sense and it has to be concept-based.”

Before Paul could even contemplate longterm success, he deeply struggled with his conflicting passions. “For a long time I was torn. Shall I become a graphic designer, shall I become a painter or an architect? Or shall I just stay in advertising?” He found it impossible to reach a decision: “I was always afraid to miss something, to do something wrong or to let too much time pass by.” Yet, Paul speaks with contentment about his decision to create his own circus, in the potential it offered to utilise many of his talents: “In the circus I need to be an architect, I need to be a musician, I also need to advertise. I studied ring mastering over all those years. Every single concern is extremely important for the circus.” His years as a designer for magazine covers enabled him to gather a strong grounding in visual communication for Roncalli, and his knowledge in engineering allowed him to invent a biological air conditioner for circus tents. Together with his wife Eliana Larible (who comes from an old Italian circus-dynasty) and his three children; Liliane, Vivien and Adrian, he continues to pursue his childhood dream. Paul combines persistence with revolutionary thinking: a recipe that produces explosive results. For more than 20 years he has been planning an exceptional project, ‘Boulevard of Broken Dreams’, which is a permanent physical space to showcase his circus, perhaps including a museum, a fair and amusement rides - Bernhard Paul’s very own time machine - an enduring celebration of the good old times.

Bernhard Paul has been interviewed by Saskia Reis Images courtesy of Circus Roncalli


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What’s red and white and funny all over? Comedienne Kathy Griffin, that’s who.

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This is a woman who tells it like it is, who plays no games and takes no prisoners. Born in Oak Park, Illinois, a suburb just on the border of Chicago, to second-generation Irish-Americans, (“I think [that] makes them drink even more … in a good way,” she jokes), Kathy began her career with the long journey from Chicago to Los Angeles, eventually joining ‘The Groundlings’ comedy improvisational troupe.

about being a ‘fake network,’ but creatively they pretty much let me do whatever I wanted for six seasons and I’m proud to have done a reality show that was, in fact, a sitcom disguised as a reality show.”

Many people credit the hit 1990s U.S. television show ‘Suddenly Susan’, starring model and actress Brooke Shields, for giving Kathy her big break. But Kathy tells the story slightly differently: “My big break was supposed to happen for about ten years. Every time I got a job, whether it was a guest spot on ‘The Fresh Prince of Bel-Air,’ a small role in a movie, or a big budget Pepsi campaign, I thought it was going to be my big break. I didn’t start making a living from acting alone until after I had been in ‘The Groundlings’ and doing stand-up for about five years.” So what did ‘Suddenly Susan’ do for Kathy? “It was great to have a steady job” she confesses. “I loved the entire cast. We had a blast and it was a great learning experience to be working with Brooke Shields everyday for four years. I had never spent so much time with someone that famous and I watched her handle that situation with grace and humor.” Following her role on ‘Suddenly Susan’, Kathy flew relatively under the radar. It was not until the 2005 premiere of her reality television show ‘Kathy Griffin: My Life on the D-List’ that Kathy permanently re-entered the public consciousness. The show landed her two Emmy Awards, and she credits it for reinvigorating her career. “It is the little show that could. I tease Bravo

maintains a sense of humor about life. She is frank in the best sense of the word, and has no fear about revealing the most intimate secrets about her life. In her 2009 autobiography, ‘Official Book Club Selection,’ Kathy reveals she struggled with an eating disorder as a child and continues to struggle with “food issues.” “The best solution for me has been to calm down about it,” she says. “[If] I know I am going to have a few days of fun and fattening food … when I get home it will be back to working out every day, big salads and brussel sprouts.” Fair enough.

“You have to go where the work is, which [in the United States] means Los Angeles or New York. However, I did join ‘The Groundlings’ because I am such a fan of ‘The Second City’ improv group in Chicago. I will always be a Chicagoan at heart,” she says. Kathy credits ‘The Groundlings’ for teaching her how to be a comedienne. “It was the greatest school for performing, writing and sleeping with all the straight guys in the troupe and a couple of bi-sexual ones. Don’t judge” she says. “No, seriously, I got to work with everyone from the late great Phil Hartman to Lisa Kudrow. It’s the place where I learned how to write; and in fact, I started doing stand-up by kind of forcing them to make it a part of their Friday Late Show.”

Words / Grace Urban

FUNNY LADY Needless to say, Kathy is a woman who has done it all; improvisation, stand-up, acting on television and in film, reality TV, and now Broadway with the recent debut of her show ‘Kathy Griffin Wants a Tony.’ Of all the comedic mediums she has tackled, does she have a favorite? “I prefer any environment that lets me be funny,” she says matter-of-factly. “The best part about stand-up is that I can say whatever I want and be completely uncensored, so I will always do it and love it. The best thing about television is the more of communal aspect of getting to work with others—making them laugh and watching how they work.” “Broadway was f-ing fantastic. I did ten shows in eight days, but enough about me. The audiences were off the chain. I was afraid they would be ‘stuffy Broadway’ audiences, but it turned out to he a no-holds-barred free-for-all and the audience was raucous and up for anything.” It seems that Kathy too, is up for anything. She recently gained a great deal of media attention for controversial jokes, including comments made about Bristol Palin, the teenage mother and daughter of 2008 Republican U.S. vicepresidential nominee Sarah Palin. But controversy is nothing new for Kathy who, in the past, has been banned from particular shows, events and venues for comment she’s made. “They can all suck it.” she says. No regrets. Clearly a woman of strong convictions, Kathy

Like many celebrities before her, Kathy attempts to use her stardom for good, not evil (although the Palin family may disagree). She is known as a champion of the LGBTQ community. “The premise of the ‘D-List’ was that most people feel like they are outsiders looking in and I think that’s why I have such a great relationship with the LGBTQ community,” she explains. “My unsubstantiated theory is that when you are a part of a group who has to struggle for basic rights, you need a good laugh. I lovingly call them my ‘unshockable gays.’” Kathy is also a huge advocate for legalizing samesex marriage in the United States: “Let’s remind ourselves that the landmark case of Loving v. Virginia happened as recently as 1967—a time when in [the United States] it was illegal to marry outside of your own race. I think we can all agree that it is an embarrassment, and I truly believe that the next generation will look at today’s laws that prevent same-sex marriage from being recognized as an embarrassment as well … For me as a ‘straight ally’ it’s simply a matter of equality” she says. Apparently there are some things even Kathy Griffin doesn’t joke about. However, fortunately for us, there are some things Kathy most certainly does joke about, and we can expect a lot more from her in the near future. She tours all year long and is doing four stand-up specials in one year for Bravo (“Let’s say that again, four in one year! Never been done, bitches!” she exclaims.) And if Kathy has her way, you will soon see her accepting a Grammy Award: “I’ve been nominated three times. This is bullshit” she says candidly. Perhaps there is something we can learn from this fiery comedienne: to overcome internal struggles, how to persevere, honor and fight for our convictions. But in the meantime, we at Schön! intend to appreciate her for exactly what she is: one hell of a funny lady.

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The Wizard of Oz / Š Copyright Drew Struzan 2005

Drew Struzan: The Master of Arts Here’s a puzzle to ponder upon…What links Harry Potter, E.T and Indiana Jones? No suggestions? Need a few clues? Well then, what connection does Hellboy have to Blade Runner and Star Wars?? Still nothing…

Well as always Schön is proud to feature some of the worlds most creative and unorthodox artists from around the world to engage their readers through the work of some of the most illustrious craftsman, like Drew Struzan! For the past twenty five years, from a small studio in California, now 60 something and retired, Struzan has created some of the worlds most iconic and memorable movie posters. With a fan base such as George Lucas, who claims Struzan is ‘The only collectible artist since WWII’, Stephen Spielberg and Disney’s Chairman Michael Eisner (who all own personal collections) Drew Struzan has certainly proved himself a true master of his vocation.

Having only scraped merely enough money to get him by, Struzan decided to open his own diminutive company ‘Pencil Pushers’, which lasted approximately eight years in a partnership which Struzan can only describe as ‘awful’. However the later 1970’s and 80’s brought him renowned success as he started collaborating with George Lucas and designed the initial logo

Born March 18th 1947 in Oregon City, Struzan had a passion to create and capture all things beautiful. When he first applied at the ‘Art Centre College of Design’ (1965) he was given a choice to major in either fine art or illustration. As a fine arts student he had the liberty to paint exactly what he wanted but as an illustrator his art could revenue a decent income. ‘I’ll be an illustrator’ he announced ‘I need to eat’, and with his practical intuition at hand Struzan painted to his hearts contempt solely to provide a roof over his family’s head. ‘I was poor and hungry, and illustration was the shortest path to a slice of bread. I had nothing as a child. I drew on toilet paper with pencils-that was the only paper around’. After graduating, his early career rocketed; his first job landed him designing album covers for ‘Pacific Eye and Ear Design Studios’. Under the careful guidance of Ernie Cefalu, Struzan as a staff artist took delight in designing covers for a number of recording artists including Tony Orlando, The Beach Boys, Bee Gees, Earth, Wind and Fire and Black Sabbath. Alongside this Struzan also illustrated the album cover for Alice Cooper’s ‘Welcome to My Nightmare’ that Rolling Stone magazine later credited in the Top 100 Album Covers of All Time.

His technique was undeniably distinguished; having mastered the airbrush combined with a unique one sheet style (27 x 40 inch sheet - a typical size used for printed movie posters) and using nothing but photographic images as references Struzan became known for working rather efficiently. He had to also develop a flexible approach to ensure the posters were still accessible if movie producers and directors made any last minute alterations. ‘Art is emotional, not intellectual, it connects with people, I like to think my work adds a little more beauty and love to the world. It’s peaceful, productive and kind to people’. Struzan has certainly engrained into his work his initial reason to paint in the first place, ‘I paint, One: Because it makes me happy, Two: For the joy of others and Three: To support my family, together there is true satisfaction. My purpose is to paint, my work is seen everywhere I have a connection with the world’. His low-key attitude and humble persona has won the hearts of millions of fans and movie spectators from around the world which Struzan describes as sublime love. Away in his silent studio, emerges what only be expressed as true genius, ‘You don’t just paint the thing, you paint the feeling, If you want to touch the heart you do it through art’. Developing upon his signature style and working incredibly hard at all his projects, Struzan was able to complete a poster within two nights.

for Industrial Light and Magic (A Lucas Film Company). In addition to this he was given the opportunity to create poster works for numerous films including Blade Runner, Police Academy, Goonies and Back to the Future. Struzan was engaged in producing near enough ten movie posters a year.

Whilst working on the theatrical release for Star Wars special edition Struzan faced an incredibly huge task, creating a three-panel triptych poster in just three weeks. On the other hand the poster artwork for John Carpenter’s 1982 remake of ‘The Thing’ was literally created over night. ‘Some of the movies I’ve never seen. I’m just looking for the spirit of the thing. I flip through the still photos and that’s like watching a movie frame by frame. I see all of the themes and designs and the colours’. The Witches of Eastwick / © Copyright drew Struzan 1987

Big Trouble in Little China Š Copyright 20th Century Fox Picture Corp. 1986

Indiana Jones Trilogy  © Copyright & TM Lucasfilm Ltd. 2003 Used by permission All right reserved

Harry Potter and the Sorcerer's Stone © Copyright Warner Bros 2001

E.T. the Extraterrestrial / Parks © Copyright Universal City Studios 1990

When questioned what his most memorable piece of artistry was, Struzan simply replied, ‘All four Indiana Jones movies’. Besides having painted Harrison Ford more times than any artist in the Hollywood industry, Struzan was only introduced to the star quite recently, earlier this year. ‘People are under the impression because I’m the artist or the painter; I’m involved. I sit here alone, in the studio and paint the pictures I don’t meet the people. I’m not a mover and shaker; I paint cause’ I don’t wana’ talk’.

Preferring to use figurative art within a commercial enviroment, Struzan not only evokes emotion in his art work but likes to convey current social implications.

His inspiration derives from what he believes is intimate emotion, ‘It’s not stuff-its ideas, principles. What inspires me is the stuff life is made out of: Love, truth, justice, honesty, goodness, faith, hope and beauty. That’s what inspires me. Wherever I find those things, I want to express them and exhort them. When I paint, it’s about feeling. If the subject matter is a vehicle to the feeling that’s great! Like ‘Indiana Jones’ or ‘Star Wars’ is a vehicle that immediately says adventure. That’s a vehicle to a particular feeling. What does it mean? It’s about justice in ‘Indiana Jones’ case, or a young man growing to his maturity in ‘Star Wars’. It’s much more about that for me than just, oh, it’s a guy in a neat black suit’. His array of miscellaneous thoughts transpire throughout his works not only on movie posters or the covers of comic books and album covers, but in his own preferred subject matters, ‘When I choose to paint on my own, it’s either animal or human being. They are alive and they embody values and emotions. Of course that’s the first thing that we attach to them. The thing closest to being able to talk to a person’s heart is to draw a human being or something alive. I paint people on purpose because that’s where we connect’.

His aesthetic has been recognised far more than just iconographic movie posters. As a ‘private’ and ‘quiet guy’ he generated artwork for campaigns against racism for cultural promotion, portraying more serious and intellectual aspects to his labour. Having a deep found understanding and appreciation for his work, it clear to see Drew Struzan is more than just an artist. He is a magician. Still remaining modest and true to his creations, Struzan has provided feelings for images that are deeply rooted in our memories, which happen to surface time and time through. ‘Having been working relentlessly, not working has produced a guy who could never return to illustration again. It took a lot to attempt the idea of retiring from my forty years of effort and sacrifice but now I have, I am delighting in life as never before. I had forgotten how to rest, to smell the proverbial roses and see the future as an opportunity. I am grateful and honoured to have had the opportunity to do all the work I did. I am well pleased to have been able to give my gift of beauty and peace through my art work to so many throughout the world. Now I have laid down the burden and have peace and happiness as the reward for my day’s labour’ - Drew Struzan Words / Nisha Khimji

Star Wars Episode I / The Phantom Menace Copyright & TM Lucasfilm Ltd. 1999 Used by permission. All rights reserved

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The overtly out-spoken Miguel Adrover talks to Andre Da Silva about moving to New York in the nineties, establishing a brand and attracting some of the most influential people in fashion.

When did you acquire a taste for fashion? When I was a kid I always had a great interest in clothing and costumes, and how they relate to different cultures. At a young age I would go on an exchange program with English kids. I used to be really fascinated by the London bands, and what their clothing said about them. Clothing has always been a part of me. I never went to school, I just followed cultural movements and learnt to express myself through clothes.

Do you think it is necessary to go to school and study fashion to be able to understand it? I think that today, all the big businesses are behind the fashion schools. The truth is that I don’t think there is a job out there for everybody after they finish school. You have to be lucky. I never had the chance to go to school. The only education I received was working for Lee for [Alexander] McQueen, and I worked for almost six years researching and consulting in London, and also in Paris for the Givenchy shows too. We used to be very close. He would spend a lot of time here in Majorca with me and taught me about the process of putting together a collection.

In 1991 you moved to New York and within four years you opened a clothing boutique named ‘Horn’, which alexander McQueen was also a part of. Was this your first business venture and how did it come about? He [Alexander McQueen] painted the store with me, and we used to do exchanges. I would work for him, and he would give me clothes to sell at the store. I carried mostly British designers, second hand, and one of a kind pieces. It was my first ever clothing business and I needed all the money I could get just to keep my head above water, living in New York. I found that there was a big gap in the market for young designers who didn’t have a platform to showcase their work. You’ve got to understand that the New York of those days was focused on the commercial, minimalistic aesthetic and didn’t really have its own individual voice. Not that there was no interest at all in young designers: it was just that the spotlight largely shone on the large corporate fashion houses, for example, Calvin Klein and Ralph Lauren.

Following ‘Horn’, your shows attracted

fashion editors like anna Wintour and Cathy Horyn. Did you feel the pressure to impress powerful people in order to gain your deserved recognition? I remember there being this hunger for something to happen in New York, and whispers growing louder as people became more restless. I think it’s the duty of Anna Wintour, or any editor to be at every show, expectantly waiting for something new that will reignite the city’s excitement for fashion. I remember when the editor for Harper’s Bazaar then (Kate Betts) had left and her replacement was not interested in going to the shows or reporting on them. I saw her one day in the Metropolitan [Museum of Art] where one of my pieces was on show, and I grabbed her and said, “Shame on you. We have been creating a stir all over the city and you don’t even report it? This is your duty!” There’s a lot of people that have a position that they believe merits the power to dictate the future of fashion, but I think now, more than ever, the power resides with the people through the possibilities of the internet, to communicate and make choices. But back then if was a different story.

What’s the story behind the snakeskin coat you lent to Vogue? Vogue took a lot of my clothes for a photo shoot, and I had a long Amazonian python snakeskin that a friend had given me as a present. It was Giselle who wore it and it got stolen. It just disappeared like that, so I asked for the money to maybe replace it. But I ended up using the $12,000 replacement money to produce my next show. It sounds kind of unbelievable that I pulled it off, but you’ve got to understand that I got by previously to this by collecting everything from the garbage. I never spent any money. I used to go around at night on my bicycle, remembering where all the factories were, and collecting old pieces of fabric: anything that was usable.

Including your neighbour Quentin Crisp’s old mattress that you transformed into an overcoat. What was the idea behind that? This ended up being in the permanent collection of the Metropolitan. My neighbour Quentin had recently passed away and the Mayor of the city was closing all of the homeless shelters. There were huge controversies surrounding this move, and concerns raised for the welfare of the homeless. So when I was looking for fabric in January, I was walking down the sidewalk and saw a mattress covered in a thin layer of snow by Quentin’s house and I realised it was his. I called my friend Macarena and we dragged it inside the basement and started to open it. We were lucky that the mattress had two covers: the first one was very dirty and the second was even worse and gave us a rash. But I always like to use the dirt of existence in my creations. The authenticity of dirt brings fabrics to life, allowing them to tell their own stories. Connecting a piece of clothing to contemporary issues gives it a place and purpose in society.

something of me in other collections. It shows that my collections have societal as well as monetary value. I have no shame in using other people’s inspirations, ideas or fabrics. I think that what is most important is to adapt ideas, not just pull brand new initiatives out of nowhere, with no basis in previous inspirations. It is about adapting ideas to your own collection, and having the flexibility to change, when time dictates. The way I use my resources is also in keeping with ecological concerns. I try not to consume too much, I use what I have and try to put together exciting collections in the most resourceful and creative way possible.

don’t use fabrics that contain chemical dyes. It is not only about having a t-shirt that is organic, it is also about the treatment of the cotton as it is grown. If it is treated with pesticides or fertilizers, then the ground will suffer, and it will become increasingly difficult to cultivate new plants. The way in which large countries, and our society in general are becoming part of this vicious cycle of buying non-recyclable things is dangerous. If we don’t start to think about the impact we are having upon the earth’s reserves and how we use them, we will soon not have enough sustainability to grow the natural resources we depend upon.

“I believe when you see something so much in your life, from when you’re a kid, it belongs to you, it belongs to your life”

Like the mattress overcoat, your collections tell a story. How far have you gone to create such pieces? I’ve done a lot of crazy stuff. For example, many of the pieces that I made for the ‘Meeteast’ show, I took to Luxor, Egypt and buried them in the River Nile. I put the pieces in the water under the mud and I left them there for a week. After I collected them, I sent them back to New York without washing, with all the mud still remaining on the clothes, (which of course is probably illegal). I used to do a lot of crazy stuff, even baking clothes in the oven.

In one of your collections, ‘Midtown’, you used iconic pieces from past designers to transform them into your own. What was the message behind the pieces you created?

Since leaving New York in 2005, you now work for the German eco-clothing company ‘Hessnatur’. What have you learnt about working with organic textiles?

I believe when you see something that affects your life enough, it belongs to you: it belongs to your life. I’ve never been really concerned about people copying me, I believe when something becomes iconic, it should be used. A lot of people copy my silhouettes, but I have never sued or wanted to sue anybody. It just shows me that I have affected society when I recognise

Hessnatur is one of the only companies on this planet that have associations with so many farmers all over the world. I have been working for Hessnatur for four years now and for me it is a fantastic experience. We have helped thousands of women to be able to provide for their families whilst remaining in their own environment. We

Miguel adrover, 45, currently lives in Majorca, Spain and travels to and from Germany for meetings with Hessnatur, for whom he creates two capsule collections a year that are available for mail-order or to buy in store.

Words / Andre Da Silva Images / Xim Izquierdo

DUSK Photography / Nicolas Valois

Previous page Black linen dress / Étoile Isabel Marant Black jacket / Maison Martin Margiela Black silk pants / Gaspard Yurkievich Next page Leather and fur long gloves / Junko Shimada Black cotton pants / Azzaro Rose metal ring / Maison Martin Margiela

Cotton vest / Maison Martin Margiela

Black fur cape / Barbara I Gongini

Black silk jumpsuit / Marc by Marc Jacobs Stockings / Falke Black sandals / Vivienne Westwood

Black lace dress / Alice by Temperley Black silk culottes / Alice by Temperley Stockings / Falke Black sandals / Vivienne Westwood

Black body / Maison Martin Margiela Black felt hat / Ca4la Next page Black long dress / Maison Martin Margiela. Stockings / Falke Black sandals / Vivienne Westwood

Leather jacket / Valentino Chiffon pants / Anne Fontaine

Photographer / Nicolas Valois @ Eric Hennebert Stylist / Donatella Musco Model / Cornelia @ Nathalie Hair / Helene Bidard @ Artlistparis Make-Up / Eny Whiteheand @ Callisteparis Assistant Photographer & Digital Operator / Eleonora Bravi



Often remembered as the ‘Queen of Her Profession’ Edith Head designed THE most undeniably luxurious costumes in Hollywood during the Golden Era of Motion Picture. Combining high art with skill, glamour, elegance and of course good taste, in essence you could say she was Hollywood’s first celebrity stylist.

in the Sun’ (1950) Audrey Hepburn ‘Roman Holiday’ (1953) Sophia Loren ‘That Kind of Woman’ (1959) and Gloria Swanson ‘Sunset Boulevard’ (1950) to name a few! Edith Head was a pioneering figure providing satirical wisdom for men and women, ‘You can have anything in life, if you dress for it!’

Winning a staggering 8 academy awards, nominated 35 times (the most any woman has in Oscar history) designing costumes for over 1000 films and with a career reigning over 6 decades - if you were in show business you knew Edith Head was the business!

Q. Firstly, was Edith Head really as flamboyantly satirical as claimed to be?

Born in California 1897, from a young age Head was destined for success; it was her very desire, passion and hunger to strive that gave birth to Hollywood’s most renowned costume designer. She was recognised fundamentally for defining style throughout the 1930’s right into the early 80’s. Collaborating with Hollywood’s finest movie production houses such as Paramount and Universal Studios (where she was adopted by British film director Alfred Hitchcock in 1967) Head transmitted a strong female presence in a predominately male industry.

 Q. Which design was her favoured piece and which actor/actress did she most enjoy creating costumes for?

Dressing celebrities such as Ginger Rogers, ‘Lady in the Dark’ (1944) Bette Davis, ‘In the Hurricane’ (1937) Elizabeth Taylor ‘A Place

 Q. Do you think Brad Bird director of Pixar’s animation movie ‘The Incredibles’ portrayed the character Edna Mode in the true light of Edith Head?

With nothing but traces of Head’s legendary career I managed to contact the only two women on this earth who have managed to keep her legacy alive for an introspective view at Head’s career in Hollywood. Paddy Calistro, co-author with Head of the only authorised biography, ‘Edith Head’s Hollywood’ and Susan Claassen who has been performing her distinguished theatrical production, ‘A Conversation with Edith Head’ all throughout the world. Both were kind enough to take a walk down memory lane and recall upon Hollywood’s most fascinating tale yet.

Susan Claassen: Edith Head had a marvellous sense of humour. She was extremely bright and it was reflected in her wit.

Paddy Calistro: When you asked Edith Head who her favourite stars were and what her favourite film was, she replied: “Grace Kelly and Cary Grant in To Catch a Thief.” She was thoroughly disappointed not to win an Academy Award for that work. She believed that the golden gown she designed for the ball scene was her finest work.

Paddy Calistro: No, the character didn’t reflect Edith’s personality, but she was certainly a visual inspiration for Edna Mode. And, Edith always referred to her own “Edithisms,” so the fashionable comments Edna made throughout the film could be inspired by Edith. She was a Wonderful character, wasn’t she? Edith would have loved her!  Q. For a person who had such a fabulous and eccentric personality Edith Head very rarely spoke of her childhood and was very secretive about her personal life. Why? Paddy Calistro: Her early personal life was painful. Although she was a born Jewish, her mother converted her to Catholicism to protect her from the anti-Semitism that was rampant at the time. In addition to hiding her Jewish heritage, she was concerned that people never knew her real age, so she said that there had been a fire at the hall of records where her birth certificate was registered. That was one of her many lies: she was born Edith Claire Posener in San Bernardino California on October 28, 1897.  As she got older in Hollywood there was more to hide: In addition to her lack of art training, her first husband was an alcoholic who created stress at home when she was just beginning her career--he was getting in her way. Q. What inspired Edith to become a Hollywood costume designer? Where did her ingenuity derive from? Susan Claassen: Edith was a very smart woman. She would read a script and confer with the director. She knew that a costume must further the story line. She also knew that things could change dramatically from the time of shooting to the release of the film. She made sure that her costumes were timeless.

Q. Edith Head undoubtedly created costumes which were magnificent visionary spectacles on screen yet she herself constantly dressed in monotone business suits. Do you think her personal style echoed her personality? Susan Claassen: Edith said, “Are there two Ediths? Yes. Most people lead one life, but I’m two separate people with two distinct lifestyles. At work, I’m a disciplined business woman; I wear simple clothes because I have no intention of competing with the stars I’m dressing. But at home it is a different story - I dress in bright colours and look rather like a Spanish omelette.” Q. Do you think as the first woman to break into a predominantly male industry, Edith Head became an emancipator for women during a time of war and gender and sexual conflict?  Paddy Calistro: I don’t think that Edith Head thought about the roles of men and women in the industry, so no, she didn’t try to be an emancipator. She was all about business, realized she was a lucky woman to be as successful as she was. She never felt totally secure in her position so she always worked harder than those around her. Q. How much of an impact as both a renowned costume designer and a business woman did Edith Head make in the film industry itself? Susan Claassen: Enormous. She considered herself a better diplomat than a designer. Her record of 35 Academy Award nominations and 8 Oscars will go unbroken. She was a founding member of the Costume Designers Guild. Sixty years, 1,131 films - she is the history of film! Q. Edith Head often spoke of ‘camouflaging’ the actor/actress, she dressed to portray personality rather than to create a trend… What challenges did she face?

“Don’t wear leather pants unless you look like Marlene Dietrich or Roy Rodgers.” - Paddy CalistRo -

clothing. How did she manage to create so many designs on such a limited time scale?

Paddy Calistro: Her first big challenge was Clara Bow who was not svelte like other stars. She had to camouflage that figure to make the most of Bow’s curves. Decades later she was frustrated that styles had become so casual-she detested blue jeans. Her passion was for beautiful gowns like those she designed for Elizabeth Taylor in A Place in the Sun. Those formal gowns were not intentionally designed to create a trend, but they became huge successes with teenage girls who were going to their school proms.

Susan Claassen: A very large staff of cutters, fitters, pattern makers, stitchers, drapers and sketch artists. Western Costume also was a resource. Q. Edith Head grew up in a surrounding inspired by colour and light whereas director Alfred Hitchcock preferred keeping colours muted as he believed it detracted intensity from scenes. How then did they manage to establish such a long-lasting and successful business relationship?

Q. How did Edith Head manage to design such elegant timeless pieces that are still accessible to the younger generation of today? Paddy Calistro: She stayed away from trends, was very aware of proportion and colour. She believed that balance was the key to making every figure look its best. She relied on dark colours for women who were not thin. For perfectly proportioned stars like Grace Kelly, she minimized the waist by accenting the bustline. She never liked the “football player” shoulders that Adrian designed for Joan Crawford. But the shoulder-padded look became a trend that she occasionally followed in the 1940s. Q. Edith took evening art classes so she could stay ahead of the class she taught at La Jolla and then borrowed work of fellow classmates from Chouinard to gain a place as an assistant designer position at Paramount. Would you say Edith Head was an opportunist? Susan Claassen: I would say she recognized opportunity and worked extremely hard. Edith was determined. She had tenacity and knew how to play the game in Hollywood better than anyone.

Susan Claassen: Miss Head took direction and gave Hitch exactly what he wanted. Q. Finally…What ‘Edithism’ or style advice do you think Edith Head would give to the women of the 21st century? Q. Her first significant design was for leading lady Mae West in ‘She Done Him Wrong’ (1933). West insisted the design to be, ‘Tight enough so I look like a woman, loose enough so I look like a lady’. Ultimately this became Edith Head’s philosophy, how effective was this? Paddy Calistro: Although many people might not recognize Mae West’s face, they recognized her clothes. Today, many people might not recognize Edith Head, but they recognize her classic designs and her name, since it is emblazoned on more than 1100 films. The correct quote, as Edith recalled it is: I’m a lady, but most of all I’m a sexy female--the blackvelvet-and-diamonds type. I want my clothes loose enough to prove I’m a lady, but tight enough to show ‘em I’m a woman.” Q. During my research I read that Edith Head would create some fifty to sixty costumes for one production; almost an entire line of

Paddy Calistro: Don’t wear leather pants unless you look like Marlene Dietrich or Roy Rodgers.  

I would like to thank Paddy Calistro and Susan Claassen for taking the time out for this interview and contributing in support of Ms.Head and the influence her vocation has had even on today’s fashion. Thank you Paddy and Susan, Sincerely. Nisha Khimji


dutch golden age

Photography / Riccardo Bernardi Styling & Production / Ellen Mirck

Previous page Knitted sweater / Ilaria Nistri White plissĂŠ skirt / Antonio Neroni - TShirterie Hat of T-shirts / Grey / Mauro Grifoni White / Ilaria Nistri Bracelet knitted yarn / Kirsten Hallegraeff Dress / Ilaria Nistri Blouse / Mauro Grifoni

Cardigan / Ilaria Nistri Leggings / Ilaria Nistri

Turtleneck sweater / Marije de Haan Leather skirt / Iris van Herpen Shoes / ILJA

Dress / Alessandro De Benedetti

Hood / Marithé + François Girbaud Pearl earring / Stylist’s own T-shirt / Mauro Grifoni

Dress / Ilja Visser / ILJA Eamz Pump / United Nude

Photographer / Riccardo Bernardi Styling & Production / Ellen Mirck Hair & Make Up / Ania Melnikova Model / Katja Borghuis @ Ulla Models - Netherlands Special Thanks / Edward Timmer for the location

HIDDEN ROOMS The depopulated rooms that spark from the imagination of British artist Anne Hardy exist on the borders of reality. Their presence in her studio is brief, but the effect of observing these no-where places establishes an imagined theatrical life with the viewer. Here, Danielle Dzumaga interviews the artist as she opens the doors of her studio to the general public for the first time.

Anne Hardy enjoys chasing after imaginary spaces. She once drove around the Westway Interchange, in Central London, searching for a bunker of land that the author J G Ballard had cast his ill-fated protagonist into, following an unfortunate road traffic accident. “Maybe it was just the generic idea of one like it, or maybe it did exist physically in the seventies” says Hardy of her thwarted search for that particular petrol-infused target. Places that can conceivably exist in our imagination, must exist somewhere, formed from the remnants of our personal geography. And for a while they exist in Hardy’s studio, where she builds ‘sets’ of imagined rooms, photographs them to document their temporary existence and then she dismantles them. The hunt for fictional cavities in the urban motorway is typical of this artist’s desire to create rooms that can only be seen from one angle: “There’s no way to understand that space any further than what he has presented me with in that book. There’s no way for me to go and understand how it really was like that, or if it really could be like that. And that’s why I wanted to build spaces that didn’t have any real place in the world, that you can’t go back to”. Instead, the room’s survival is retained in the photograph.

Hardy’s interiors are congested with a deliberate unease; not the sort of places you’d want and are to hang around in for too long. There are rarely any windows in her rooms, so that whatever might happen within is hidden from view. Dread leads you to wonder what category of goings-on could occur in her 2006 piece Booth, reminiscent of a mildewed hotel-lobby. Who are the winners of the trophies and multicoloured ribbons of the gymnastics hall in Interval (2011)? And is there no–one employed to tidy up the discarded judging panel and confetti of Coordinate (2009)? I imagine that the mirrors in Cipher (2007) could reveal a body that is the product of the heavy weights stacked around the imagined room. Whatever the narrative, Hardy has caught each room at a point when all the occupants have disappeared elsewhere. Unlike the messy, unpolished interiors she creates, Hardy is well groomed and stylish in her appearance, a blend of punk and prim. Her hair is swept up into a land-girl quiff at the front and she is wearing an off-white cap-sleeve angora sweater, teamsed with heavy boots. As part of her residency at the Camden Arts Centre, today is the first time Hardy has opened her studio doors to the general public,

allowing us to step into the photograph. The studio is dark, the large white windows have been boarded up, mainly to protect the open camera, positioned from the start of each set-build and providing a centre-point from which to assemble her room. But viewing the encased room in the shadows reminds us how privileged our view is.

“The camera creates an arena for me to inhabit, to perform in and to enter my imagination completely” At this stage of the build she has erected two large walls, painted carmine red and decorated with half-drawn chubby chalk characters, floating in the walls or tangled in the chalky weeds. The primary wall that you’ll be able to view from the camera’s lens is dominated by a large mirror running along the length of it, and holds a reflection of the other wall inside. Tools are strewn about the floor and a bundle of heavy naval rope is snaking around the overhead beams. But the opportunity to step into the photograph is halted when we notice the makeshift signs: ‘Please do not walk on the carpet, thanks’.

This is not an exercise in control for the artist, as Hardy is in not worried about allowing people to see her work before it is finished, “The studio at Camden is very close to being public, in a way so it’s a different way for me to think about my work I guess being here. Opening it up for people to come in, yeah I mean it’s odd, it’s different – but that’s something that I was interested in exploring”. The way she works is ‘organic’, as one guest in the studio remarks repeatedly, and the word is drilled back and forth between the artist and spectator. She begins with no preconceived idea of how the scene will turn out. Instead, the method of adjusting (sometimes by millimetres) and adding to the picture, culminates in a feeling of “just-so perfection”. She waits for signals from the room, for “A moment of cohesion where the fragility of the structure and the image that you’re building is balanced, both physically and psychologically”, and it is at this point that the image has come into fruition, organically. Hardy’s work isn’t about capturing the exquisite, nor is it about the mundane – it’s simply about the significance of any moment, “It’s about it not being the decisive moment, there’s not supposed to be the sense that you capture something so

perfect … it’s much more about using the photograph to put you in a relationship to somewhere”. Viewing Hardy’s work is to examine the situation in front of you like a crime scene. Staring into her pictures is an exercise in anti-voyeurism. Not a process of watching people in action, but instead looking for the imprint they have left behind. The total absence of humans doesn’t mean that they aren’t her subjects; cigarette butts and withered balloons indicate the recent presence of people and act as motifs that recur in each story she tells. They are representative of their personal connection to a character who has pursed their lips around the object, puckered up and blown. “They also have a real sense of time to them. You can really see, or imagine how long it has been there: it’s either quite fresh or it’s a bit shrivelled” says Hardy, justifying her habitual balloon blowing. Vacuums of time form around the image, “People often think about photography or a photograph as this very quick, short moment. And what I’m really interested in with my images is creating this sense of time”. This is dependent on the viewer’s motivation to invest an imaginary life span around the scene. Normally in Hardy’s work there is a distinct lack of exit strategies from the rooms: how do you get out of a place that doesn’t

exist and one that you cannot - even materially - occupy? Significantly, the viewer’s reflection is missing from within the mirrors. Only Hardy knows the way into and out of the scene, as she has controlled the borders of the set up, “The camera creates an arena for me to inhabit, to perform in and to enter my imagination completely. It forms a perimeter for me to envisage a world within”. Currently, Hardy has been struggling to fit her ‘set’ around the fire exit in this provisional studio, but similar to the process of welcoming the public into the space, she accepts it as a part of the contract of her residence. I get the impression that if she could have her way, the fire exit would be blocked off, bricked up or told to disappear. Since to Anne Hardy, an escape from the interior world is the only thing that remains unimaginable. Anne Hardy will have a solo show in Autumn 2012 at ‘Secession’, Vienna. Images courtesy of Maureen Paley London @ Words / Danielle Dzumaga

Leafroom Photography Ellen Rogers Fashion Editor Kay Korsh

Previous page Face piece / Keko Hainswheeler Mask / Gabriella Marina Gonzalez Belt / Una Burke

Mask / Gabriella Marina Gonzalez

Head piece / Anthony Janopulo Face piece / Keko Hainswheeler

Mask / Keko Hainswheeler Head piece / Anthony Janopulo

Cage dress / Fannie Schiavoni

Collar / Keko Hainswheeler

Shoulder piece / Fannie Schiavoni Head piece / Anthony Janopulo Next page Mask / Keko Hainswheeler Head piece / Anthony Janopulo

Photographer / Ellen Rogers Fashion Editor / Kay Korsh Make Up and Hair / Suzie Love Model / Ellen C @ Profile Set / Ellen Rogers Vegetable head pieces custom made for Schรถn! by Anthony Janopulo

"Heroes of Shadow", cover to the newest Dungeons & Dragons rulebook, ©Wizards of the Coast

When Fantasy Becomes Reality Schön! meets Christopher Moeller, one of the remaining few ‘retro’ comic illustration geniuses of our time.

Born in 1963, the year that Leonardo da Vinci’s Mona Lisa was first exhibited in America, the first James Bond film was released, and the launch of the Beatles’ first album, it came as no surprise that Christopher Moeller would develop quite an artistic streak. Growing up during The Silver Age of Comic Books and thanks to the continued support of his parents, he aspired to be an illustrator from an early age. Once graduated from college, he moved to New York before relocating to Pittsburgh, PA in 1990. This is where his career really took off: The same year he landed his first professional job writing and painting a graphic novel for Innovation Comics’ highly respected Rocketman: King of the Rocketmen, an adaptation of a 1948 movie serial. This exciting start led to additional graphic novels at Dark Horse Comics and DC Comics as well as a career creating cover illustrations for the comic and gaming industries. Admirably and unlike so many others, no matter how hard times got, financial difficulties never tempted Christopher to stray from his path. Instead, he developed his unique style by combining passion with hard work, attention to detail, and of course a steady hand.

Do you consider yourself a bit of a geek? Certainly I do, but why only a bit? Being a geek is something of a badge of honour nowadays. When I was in high school, I played violin, was active in Boy Scouts and the Dungeons and Dragons Club. Being a geek was most definitely NOT cool. Now, everyone wants to say: “I was such a geek back in high school.” I say: “Show me your membership card, poseur.”

With all the new electronic drawing gadgets How did your work on the monthly comic book on the market, like the graphic tablet, has the Lucifer come about? ‘power’ of technology converted you or do you believe the old school way of getting down’n’dirty Working on Lucifer was amazing. It was one of the real highlights of my career. It with pen and paper as the only way forward? was a privilege to work on such a long series I don’t believe there is ever only one way forward. Back when I was in college in the mid 80s, the airbrush was the hottest tool on the market. If you look at the Society of Illustration annuals from that era, half of the images are airbrushed. The airbrush achieved amazing results, but it certainly didn’t invalidate the other approaches to drawing. That said, the scope for digital illustration is greater than that of the airbrush, and will be the dominant medium for image-making from now on, no question. It has forced me to re-think my approach to making images. There’s no way I will be able to compete with digital art in terms of detail, textures, atmospheric effects, precision lighting, etc… The computer will increasingly be able to simulate reality in ways that a traditional painter just can’t. So I’ve decided that it’s foolish to try to compete on that level. My work has to look like a painting. When you look at my artwork, I want you to see every mark my brush is making. My direction at this point in my career/life is very organic. I’ve never hidden my marks in the interest of creating photo-realism. So the digital revolution has prompted me to alter how I create my art, but it hasn’t invalidated it.

Did you have to conduct a lot of research for Lucifer and keep to any guidelines, or is he a character you created simply from your imagination? When I came onboard with Lucifer (issue #16 of the monthly title), he had already been established in terms of his look and character, so my role was to develop this further.

How about other projects, for example Iron Empire or JLA? The Iron Empires are my baby. It’s a series of stand-alone science fiction stories, all set in the same universe, but featuring different characters. It currently consists of two graphic novels, fully painted and written by me: Faith Conquers and Sheva’s War. An award-winning role-playing game was subsequently developed by Luke Crane called Burning Empires, which expands on the universe and allows players to bring their own characters and stories to life. I’m working on a third graphic novel at the moment. But it’s a long process. It won’t see print for another year at least.

What tools or gadgets make you happy? All of my artwork is done the old fashioned way: with paper, paint and a fist-full of brushes. That said, I like technological toys as much as the next person. I have an iPhone that I adore, and enough laptops to keep me happy anywhere in my house. I’m addicted to my Xbox, not simply as a gaming platform, but because it can stream video through Hulu and Netflix. I never watch actual television anymore – except, of course, when my beloved Pittsburgh Steelers are on.

So are you a MAC or PC kind of guy? Mac. Since day one. I had an Apple II growing up. My brother and I learned to code basics as kids in high school. We designed our own games. We’ve had one Mac or another in the house ever since then.

of illustrations with such a broad range of subjects, concepts, and characters. I never got bored. My editor, Shelly Bond, was a joy to work with. Every month, she would schedule a conference call with writer Mike Carey and me, and we’d hammer out ideas for the next month’s cover. I would make a handful of small thumbnail drawings after, putting our concepts into visual terms. Shelly and I would work back and forth until we came up with a final image. The only reason I ended my run on Lucifer was because my painted comic book JLA: Cold Steel was falling off schedule and DC was insistent that I devote myself full-time, to completing it. If it hadn’t been for that, I would absolutely have gone on to finish the full 75 issue run. I have a lot of regrets about that, actually, but hard decisions are something that you are bound to experience in this business from time to time.

“Lucifer 16”, cover to the Lucifer comic book, ©DC/Vertigo Comics

The JLA books were also fully painted and written by me. The first, JLA: A League of One is still in print in several languages. The second, JLA Classified: Cold Steel is out of print and harder to find. I’m hoping that DC will collect it eventually. There is a German language collection of Cold Steel that is quite beautiful.

Do you enjoy the process and effort that goes How long does it usually take you to complete What would you say is the highlight of your into creating them, or do you sometimes get an entire graphic novel? career? bored half way through? I love my work. Yes it gets boring. Yes it gets frustrating. Unlike a hobby, even the coolest job has its difficult moments, but for me, there is really no other work that will satisfy me. When I wake up in the morning, there are only three kinds of work I want to do: write, draw or paint. All of these activities nourish me. Of course, occasionally there are days when I wake up and I don’t want to work at all. That never goes away…

One to two years, depending on the length of the story. That doesn’t include all of the preliminary work, pitching ideas, hammering out contracts, etc… That can extend the process by another year or two. I produced full graphic novels in 1991, 1994, 1998, 2001 and 2004, to give you an idea of the intervals. I think of myself as a movie director. You’ll get a movie from me every three to four years.

Do you sometimes get emotionally attached to a graphic novel or feel like you are becoming part of its world? Definitely, this is especially true with the Iron Empires project, because it is so completely my own creation. I always resent having to stop work on it to take commercial jobs. It inevitably takes me a day or two to switch from my creator-dreamer persona to my illustrator persona. I love the people who populate my stories – even the evil dudes. When I get to the end of a project, I can draw them in my sleep. At the beginning I use lots of photo-reference to make sure I get the likenesses right. After 100+ paintings, I hardly use the reference anymore. I’ve come to know them inside and out. That’s less true of single-image illustration jobs of course. Even Lucifer, for which I painted around 40 covers, wasn’t as emotionally engaging as my storytelling work. There’s something about telling stories that brings you into a character’s life. Painting is more visual, more about composition, light, form and colour. It’s a different discipline.

As an artist there are sometimes huge gaps between selling your work. Did you ever hit rock bottom, both artistically and financially, wanting to throw everything out of the window and change career paths? There have been intensely difficult times for me financially, particularly when I was a young artist, married with two children, and we were living on my income alone. Staying in the game through those years was a huge leap of faith for me. There were many times when my ex-wife encouraged me to think about getting a salaried job somewhere: as an art-director or professor. And logically, she was right. It would have helped our family tremendously if I had gone down that route. It took a lot of faith in myself to say no, but what I said earlier is the truth: when I get up in the morning, what I want to do is write, draw or paint. I know that’s where my passion lies, and if I’m going to compete to be the best I can be at my job, it’s got to be the thing I’m passionate about. We all know what it’s like to work in a job you’re not really suited to. Everyone needs money to live, and work is a part of life. When I’m writing or painting, my work and my life are the same thing. To me, that’s worth struggling for.

There have been a number of exciting and transformative moments, but three encounters in my early career really stick in my mind. Prior to breaking into business, three professional artists had a tremendous impact on my life: David Small, Richard Williams, and Murray Tinkelman. David Small ran a storytelling workshop at the University of Michigan that I took part in as a junior. He was the first professional illustrator I’d ever met, and he changed how I looked at art and artists. He was a slight, neurotic, mild-mannered man – a very normal, very ordinary person, not a mythical creature at all. He gave me hope in the fact that if he could do this, so could ordinary Christopher Moeller. Of course, in retrospect, he was not ordinary in the least. His talent, intellect and heart were prodigious, but he helped make an art career feel achievable. I met Richard Williams right after graduation. A very successful oil-painter, mostly in advertising, he spent the better part of a year coaching me from his studio in Syracuse, NY. When I first met him, he said: “Before I can help you build a portfolio, you have to learn how to draw.” Hearing that was hard, I thought that’s what I’d spent 4 years at art school learning how to do. But he was right. After spending a year under his watchful eye, my drawing skills completely transformed. Finally, Murray Tinkelman was one of those illustrators I’d seen as a student in the Society of Illustration annuals in college. A giant in the industry. he was also a teacher at Syracuse University, and he helped me to take what Richard Williams had given me, and turn it into finished illustrations. He also gave me a solid grounding in the history of illustration, which I will always treasure.

Centre Portrait of Christopher Moeller by Scott Hampton ©Scott Hampton Bottom left "Raven Guild Initiate" from the Magic the Gathering card game ©Wizards of the Coast Right page ”Amazing Stories”, interior illustration for Amazing Stories #600 ©Wizards of the Coast Words / Sophie Everman

Right bottom:"Amazing Stories", interior illustration for Amazing Stories #600, ŠWizards of the Coast

rise photography / juicybulldog

Previous page Dress / Christian Dada Bustier & Bracelet / Araisara Necklace / ASA Vintage Hakama / Ooedokazuko Vintage Boots / Laboratory Berberjin R Flower / Aguri Sagimori Coat / Matohu Dress & Necklace / Araisara Belt / ASA Flower Accessory / Aguri Sagimori

Vest, Belt and Bustier / Araisara Bracelet / Saphir East Embroidered skirt & Vinyl Skirt / Christian Dada Necklace / ASA

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Dress / Araisara Vintage Haori / Harajuku Chicago Omotesando Store

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Bryan Grey-Yambao began blogging from his parents’ home in Manila, 2004. He has created an award winning blog with that has become one of the most influential fashion blogs worldwide. As someone who does not restrict himself solely to fashion, Bryan also voices his opinions on society and culture. During a stay in New Delhi, he took the time to answer our questions via email. As Bryanboy you are known as “Le Superstar Fabuleux”. How would you describe yourself as Bryan? Describing myself is not my best quality because I often think it’s an exercise of delusion and ego. How we view ourselves is always different from how others view us. If I were to describe myself, I would say I’m smart, quite funny and outspoken online: shy in real life.

You started in 2004 as a travel diary. And in a way, it still is. What makes your blog so different from other fashion blogs? What differentiates my blog from most is that fashion is not the primary focus of my site - I am. If you liken the blog to a movie, I, as a person, a character, and as a personality, have the lead role. Fashion, as a whole, has the supporting role. My blog started as a personal diary. It still is a personal diary and it will always be a personal diary. Fashion, like travel, happens to be one of my major interests, therefore it has a big presence on my blog. Using fashion as a tool allows me to express myself creatively. But it is not the be-all or end-all of my site. People don’t go to me for hard-hitting journalism, runway or street style photos, or criticism of the collections. My loyal readers go to me to be entertained or to see what I’m up to. They like my friendly, personal approach to fashion. They are curious to know what I like and what’s available on the

market. They want to know what it’s like to go to different places and events, to see how I am handling myself in situations that both I and they could only dream of, but only I have access to.

What excites womenswear?



Yes, it’s true that I have a soft spot for womenswear for various reasons. I’m a petite, slim guy. It’s difficult to buy off-the-rack clothes in my size because most retail stores cater to taller, wider young men. Since I was young, I conditioned myself to bypass looking at most men’s designers because even their size XS (if they make it) is too big for me. Also, women’s collections have more variety, whereas menswear doesn’t have the same breadth and scope. Why is it perfectly acceptable - if not cool - for women to embody a ‘dress-likeyour-boyfriend’ style (i.e. ‘Boyfriend sweater’, ‘boyfriend shirt’, ‘boy-cut trousers’) when you don’t see terms like ‘the girlfriend trouser’ in the men’s fashion? It doesn’t matter whether something is for men or women. I don’t restrict myself to a label or a department. I buy what I like regardless of where it’s from - as long as I can afford it. For what it’s worth, menswear these days is so exciting! It’s a good thing I’m getting older; because my waistline and hips are getting bigger. I can finally fit into a men’s size 44/46, which used to be so baggy on me. Also, have you seen the new Prada spring/summer 2012 collection? How desirable! I have my limits

though. I don’t think you’ll ever see me wear a puffy skirt or a bra top any time soon. Unless it’s Halloween, of course! ;-)

What factors influence you when you choose your outfit for the day? Two things: my mood, and the amount of time I have. Contrary to what most people think, I get dressed in less than five minutes. I never put in too much thought or effort when it comes to dressing up. Which is probably why, at times, I look like a Christmas tree when I go out. *wink* Personally, I think I’m only wasting time (which sadly I don’t have very much of) if I worry too much about what I wear on a day-to-day basis. I have deeper problems I need to resolve, rather than worry about what shoe matches the colour of my shirt collar. I don’t want to be contrived when it comes to dressing up (or down). I believe in having fun with fashion and being natural. No one is going to die if I make a dreaded sartorial mistake or if I wear something that doesn’t match in the eyes of others. Besides, I’ve been living out of a suitcase for quite some time now and I can’t afford to be choosy. I’m limited to what I have!

Is it true that you take care to maintain a size zero, and if yes, why? I used to be obsessed with keeping my weight low because at one point I was deluded into thinking, “oh wow I have something in common

with models - it may not be the face but at least I’m thin”. And then over time, I realised it’s pointless. Sure, clothes look terrific on slim, slender bodies but I shouldn’t sacrifice enjoying some of the greatest pleasures in life - excellent food - over it.

It is said that you literally absorb the contemporary ‘Fashion Zeitgeist’. Do you observe a global phenomenon in fashion? You can blame the Internet for this. The digital landscape enables anyone and everyone can have a grasp of the moment. There are thousands, if not millions, of outlets online that reflect that. It’s not limited to fashion, either. Any major event that’s happening somewhere in the world is live-streamed online, with pictures and videos broadcasted instantly, minutes (if not seconds) from happening. When I was growing up, the flow of information was much slower. I remember subscribing to international magazines and it was torturous waiting for my issues to arrive in the mail sometimes two or three months later than the intended date. Everything is online these days. I don’t even need to subscribe to magazines anymore. Someone, somewhere, perhaps another fashion-obsessed teenage kid will scan pages from a fresh-from-the-newsstand magazine and post them online for everyone to see.

You mix vintage and urban street style with Haute Couture. How do you describe your style and how did you find it? Describing one’s personal style is not an easy task, especially when I haven’t yet mastered my own style. What makes fashion thrilling and exciting is that it allows me, or anyone, to play with as many combinations as I like, using different garments or accessories. I dress based on what I like or how I feel. What we put on our bodies is reflected in our personality. To me, I find my style effortless because I like to pile on as many things as naturally possible and with very little thought. But then, many will disagree and say I’m too much or I’m eclectic or eccentric. How did I find my style? Years and years and years of mismatching. I like to go against the grain by not conforming to the status quo but rather, maintaining an element of relevance by having some key pieces that are relatively of the moment, but not necessarily trendy.

What are the three most important things in your wardrobe and why are they so special for you? Take me anywhere as long as I have clean, fresh underwear, a great pair of shoes and simple, white button-down shirt. Worse comes to worse, everything else that I have in my wardrobe, regardless of its value, is disposable and can be taken away from me. Ok, maybe not. But you get the point. I don’t really have that many important things in my wardrobe and I can survive with the bare essentials

entries involving gifts sent by companies, they are indicated by terminology such as “gifted by X”, “courtesy of X”, or “sent by X”. In some instances, I even blog everything including the box (there’s a term for it - “unboxing”). For samples that were borrowed for an event, I indicate them in a manner that is polite and accurate - “borrowed from X”, “provided by X”. Most of the clothing and accessories that I wear are personal purchases. Which is why I wear some items to death - to get mileage from my buck! I don’t get as many gifts as one would think. The notion that a blogger is gifted left, right and centre is absurd and ridiculous. Where and who are they!? Not the case with me. is now connected to your fellow bloggers Rumi Neely and Elin Kling. What is the idea behind the collaboration?

You are Manila-based. What are your feelings towards your city? Is there a Manilavibe which does not exist anywhere else?

All of us bloggers collaborated on a platform called NowManifest for advertising reasons. We thought that it’s a great idea to approach advertisers using the power of a collective approach - it makes perfect sense to work with brands this way, and at the same time, keep our blogs independent with our own voice. Not one blogger influences the way others blog.

I feel indifferent towards my city. I love it - of course! But aside from it being my home, I’m very disconnected from it. For the past few years, I have spent most of my time travelling and it’s very rare that I get to go home. And when I do, I make sure I spend that time with family and friends.

Blogging, as you can tell, is my primary source of livelihood and I see nothing wrong with embracing the commercial side. It allows a blogger like me, without the assistance of a big publishing or media house, to have the resources to generate great content.

Critics accuse you of product placement. What is your definition of product placement in a fashion blog context and what is your opinion of it? Critics like whom? Name them! Magazine critics whose magazines give special prominence to advertisers only and not to independent, young designers with little budgets? Magazines who hide and mask advertorials by creating so-called “special supplements” or “special advertising sections”? Newspaper critics whose journalists get a salary coming from the newspaper’s advertisers? I don’t see anything wrong with product placement as long as the blogger has implemented some sort of an ethical code. First and foremost, I only blog about what I personally like and believe in. I would never accept product placement for something I have very little interest in, in exchange for product or monetary benefit. It has to fit my personal taste and my personal standard. When it comes to blog

What is the fashion?



Love! Love is similar to fashion. We can’t survive without it. The love of family is similar to the fashion version of the classics - a classic trench coat that can withstand weather, rain, wear or tear, is like one’s father. The softness and comfort of a cashmere sweater is akin to a mother’s love. A great pair of jeans that you can take to many places is very brotherly or sisterly. Friends come and go over time so the love of friends is similar to accessories - the timeless classic bag, willing to be there while you carry your baggage, is your best friend. The musthave shoe is your other BFF. Acquaintances and all the people that go through the revolving door of life are trend pieces - they make you happy temporarily but after a few short moments, they’re disposable. And when it comes to real, unconditional, special love from THE one and only? We’re all going to have to go through many, many dresses, some tight, some loose, some probably ill-fitting, but there’s only one, clean and pristine dress that will march with us to the altar. It takes time to find that one. Love is all we need. Don’t be greedy!

Questions / Saskia Reis Illustration / Luis Munoz-Rodriguez


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Photographer / Tiziano Magni Styling / Yuji Takenaka @ L&Artist Hair / Kenshin Asano @ L’Atelier Make Up / Asami Taguchi @ L’Atelier Model / Maritza Veer @ Next Digi-tech / Greg Manis @ Milk Digital Digital Producer / Shelby Gates @ Milk Digital Retouch / Studio / Contra Studio @ Photo Assistant / Olivia Owen Styling Assistants / Yuka Kinoshita Minoto Fukuoka Kosuke Aoki Hair Assistant / Yumi Sen

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Alexandra Walton

A graphic designer with an eye for typography, Alex has done commercial and corporate design work before joining the team at Schön! Magazine.

Andre Da Silva

is a media and cultural studies graduate from London College of Communication who regularly writes for Schön! Magazine.

Anna Cone

One half of ACCN photography, Anna, living in Los Angeles, shoots commercial and editorial spreads with partner Christopher Nelson. Inspired by film, landscape, and music, Anna is constantly stimulated by her surroundings. See Anna and Christopher’s work at

Benjamin Lamberty

is a German photographer. After assisting on shoots across the world, in New York, Los Angeles, and Paris, Benjamin went on to study photography at university in Hamburg. View his work at

Bo Brinkenfalk

is a photographer living in Stockholm. Check his work out at

Christopher Nelson

Is the other half of ACCN photography with Anna Cone. Meeting in New York, the pair have worked together professionally since 2009. Drawing on a diverse wealth of inspirations, Christopher is always excited to take on new projects. Check out Christopher and Anna’s work at annaconephotography. com

Christos Karantzolas

left his biology studies in Athens to pursue art and fashion photography in London and New York. Now, he is one of the most renowned Greek photographers, and has been part of several editorial collaborations with magazines such as Vogue, Elle, Marie Claire, and many more.

Danielle Dzumaga

is a writer and contributor to Schön! Magazine. She has recently graduated from Cambridge University with an English degree and in her university career has contributed to the student newspaper Varsity.

Diego Indraccolo

is an Italian photographer turned Londoner. In 2008, Diego won the fashion competition launched by the London Photographic Association. Check out his work and his blog at

Dimitris Theocharis

born in California, Dimitris grew up in Greece in the 80s, discovering a passion for visual arts, drawing and painting. After a brief stint studying sculpture, he moved to London to study a newfound passion — photography. And the rest, as he says, is history. View more at

Donnacha Gleeson

is a London based student studying international business/marketing with Spanish and Italian in the European School of Economics. With the ability to speak five languages he has a strong desire to succeed in the global business environment.

Ellen Mirck

is a Dutch freelance fashion consultant and stylist. The daughter of an interior designer, Ellen studied for her masters in fashion styling in Milan. Before freelancing, she worked for Hermès and Alexander McQueen. View her work at

Ellen Rogers

is a firm believer in analogue photography. This London-based fashion photographer doesn’t use digital equipment for her works and has developed her particular techniques through experimentation in her darkroom. Her interest in the occult, in religion and unsolved mysteries influences the dark and shadowy atmosphere of her photos.

Emma Ruttle

is a writer in her final year at the University of St Andrews, studying English literature and art history. She writes for both print and online publications and has engaged with the written word from a young age. It is this desire to connect to readers through her words that is her constant impetus to achieve higher and reach farther.

Grace Urban

first took an interest in journalism after writing for her university’s newspaper, The Daily Cardinal. She now is a journalism and political science student at the University of Wisconsin-Madison and writes features and newsletters for Schön! Magazine.

Grant Thomas

is a young Welsh photographer. Grant moved to London at 16 to pursue his passion for fashion and photography at a higher level. Interested in the intricacies and details of fashion, Grant creates images filled with texture and emotion. Discover it for yourself at

Giulia Cardoso

is a young student from Milan who is taking her first steps in the world of journalism. She combines a passionate interest for culture, art and photography with her love for writing.

Ioannis Dimitrousis

graduating from London College of Fashion in menswear in 2005, Ioannis is a Greek designer who incorporates interesting textile patterns and fabrics along with innovative pattern cutting. An attention to detail and use of organic, but luxurious material has given way to progressively groundbreaking collections. See for yourself at

Ivone Chao

A Brazilian with Chinese heritage, Ivone started out at Chelsea College, completing her bachelors with honors in interior and spatial design. She received a second, postgraduate degree in visual communication from London College of Communication after an enlightening experience spent in Beijing.

Jacob Law-Sales

An avid guitar player and skier, Jacob is a regular graphic designer for Schön! Magazine. His clientele includes Studio Maximus and Best Response.


is a photographer based in London and Tokyo. Born in Kyoto, Japan, Juicybulldog moved to the UK at the age of thirteen. After completing his masters in fine art and spending five years in the advertising industry as a producer, he started pressing the shutter button himself in 2008 and loves it.

Kaisa Kokko

Was born in Finland and is in her final year of study for a degree in graphic design. After an amazing exchange year spent in Barcelona, Kaisa decided to continue her studies abroad by doing an internship at Schön! Magazine.

Kate Scannell

has shown exhibits and worked for several design companies in Ireland before receiving her honours degree in 2009 in visual communication from the National College of Art and Design in Dublin. After graduation, Kate spent some time abroad and picked up photography before arriving at Schön! Magazine as a graphic designer.

Kay Korsh

treats fashion more like a science than an art - considering herself to be a real fashion geek. She has recently been appointed as a fashion editor here at Schön! and we are greatly looking forward to future projects together. You can see her work at kaykorsh. com.

Laurent Dombrowicz

studied film at university in Belgium before turning to fashion at the age of 23. His styling focuses on the tension between art and fashion, incorporating his knowledge of film. See his work at

Li Tianbing

Born in China in 1974, leaving his native country for Paris at the age of 22 and graduating from the Ecole Supérieure des Beaux-Arts de Paris in 2002, Li’s solo and group exhibitions are extensive — ranging from New York to France. His work, chaotic and symbolic, has been described as a “labyrinth, where we get lost in the joy.”

Louis Park

is a photographer, film director, and publisher living in London. His clientele ranges from the editorial and the commercial, from Nylon Korea to Olive des Olive. See his work at

Mara Desipris

has served fashion photography at its best for the past 20 years. Her collaborations with publications include Greek Vogue, Votre Beaute, Dapper Dan, Esquire, Playboy, Madame Figaro, and L’Officiel.

Mariah Jelena

began her photographic adventure in 1985 and has quickly become an important figure in the fashion world. She shot the 2011 campaign for Nathan Paul Swimwear and was featured in publications such as Kurv, Remix and Faint magazines.

Meghan Hutchens

is currently a student of fashion design at RMIT, Australia. With a love for lingerie and writing, Meghan lives and breathes fashion. As an editor for dutch Odd Magazine, she joins the Schön! editorial team for experience in publishing.

Nicolas Valois

is a French photographer with a passion for anthropology and ethnology. His client list includes Elle, L’Oreal, and Nuxe. See more of his work at

Nisha Khimji

is an English literature & American studies graduate from the University of Leicester. Nisha has returned to her hometown of London bursting with energy, vision, and creativity. Along with her flair for literacy, Nisha has a unique passion for urban arts, music, fashion, and culture.

Saskia Reis

With her insatiable thirst for creativity and innovation, Saskia sets — and resets — the bar for design in film and photography.

Sophie Duvall

is a German author and journalist as well as a regular contributor to Schön! Magazine. His writing largely focuses on fashion, culture, and social issues.

Is entering her final year at the University of Texas, studying journalism with an emphasis in copyediting and design. She has worked as an editor and writer for print and online publications, Schön! Magazine being her first taste of the fashion world. She has loved every minute of it, along with her time spent across the pond.

Philipp Mueller

Sophie Everman

Paul Heilig

is a Swiss photographer now calling Paris home. His work is inspired by music, particularly rock, punk, and alternative. See it at

Pok U Chan

is an illustrator and graphic designer based in London. Studying communication in Beijing and fashion in London, Pok U is inspired by the influence of culture upon community. Pok U believes that our sadness can give us strength. See her beliefs permeate her work at

Raoul Keil

Is the Editor-in-Chief of Schön! Magazine, and creative director of — the world’s first creative network site, in which pioneers of ingenuity can connect with one another no matter where they are in the world. Raoul’s mission to create an epicenter for talented artists to congregate led him from his native Germany to London. As he strives to unite all nations under fashion, his thirst to discover new flair is never quenched.

Rebecca Hamersley

Moved to London from Australia to learn more about the creative industry. She has gained experience working in photography and retouching.

Riccardo Bernardi

is a photographer with Italian-based Noone’s Idea. He specializes in editorial portraiture and beauty. View more of his work at

Rose Cooper-Thorne

is a London-based writer in charge of the architecture section of Stimulus Respond magazine. She also writes about fashion, culture, and music for Le Cool London and The Veal Pen.

a recent graduate in fashion and journalism, Sophie is now a freelance fashion and beauty writer both in the UK and abroad. The power of the written word to provoke emotion and heighten human sensibility led her to the fast-paced world of fashion.

Tiziano Magni

was born in Italy in 1953 and developed his passion for photography when he was a teenager. He has successfully collaborated with several publications, among them Italian Vogue and Italian Marie Claire, and renowned brands such as Missoni and Calvin Klein, shooting some of the most recognizable photos of the last decades. His works display a relentless pursuit of harmony in both beauty and strength.

Tomas Falmer

is a London-based photographer. With a BA in photography, Tomas loves being on location and using natural light to create an effortless, poetic feeling to his images. His work has appeared editorially and commercially in GQ, Vogue Russia, H&M, and Umbro for Kim Jones. View his work at

Yiorgos Mavropoulos

Yiorgos Mavropoulos started shooting fashion in 2004. Since then, he’s been looking for ways to portray the beauty found in simplicity, melancholy and darkness. His inspiration usually comes from the world of cinema, poetry and literature.

Zohra Bakhsh

Born in Afghanistan and raised in Dubai, Zohra came to Schön! Magazine as a graphic designer after studying illustration design in Hertfordshire. She has now risen to the right hand of Editor-in-Chief, Raoul Keil, as Assistant Editor.


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