rick genest by matthew lyn & kay korsh
Rick Genest by Matthew Lyn and Kay Korsh
Andrej Pejic by Christos Karantzolas and Kyle Anderson
Rick wears Coat / Rag & Bone
Andrej wears Jacket / Louis Vuitton Pin / Chanel
STRIKE! Where to begin with our striking 14th issue? Our latest offering is like a lucky dip of treats, each prize as lovely as the last. We’re opening our issue with a double cover with two of the emerging heavyweights of the fashion industry: Andrej Pejic with “Allure”, and Rick Genest with “Undercover”. Shot by Christos Karantzolas and styled by Kyle Anderson, Andrej Pejic, Jean Paul Gaultier’s choice pick for his SS11 men’s show and ad campaign, shows us the right way to approach the theme of androgyny, taking it from a totally new angle and raising it to new heights, where he simply drips glamour and style, clutch handbag and all! The enigmatic Canadian-based Rick Genest, who shot to fame for his remarkable full body tattoos of a human skeleton and decomposing flesh, shows us the attitude and charisma that has kept him firmly in fashion’s goodbooks. Shot by Matthew Lyn, and styled by our very own Fashion Editor Kay Korsh, he even gives us a peek at his true face under his signature tattoos, giving Schön! a very privileged exclusive! As you pass through the pages, you’ll join on us on our globe-trekking adventure, where we pick up the very best of international creative talent along the way – as always! Hye Jung Lee and Lina Zhang continue the theme of Allure with a sharp and edgy twist, showing us a new side to ‘Asian Girls’, as captured by our treasured Christos Karantzolas and styled by Elle’s Magazine very own senior accessory editor Kyle Anderson. Think glamour, steeped in patent leather and statement shades, and you’ll have the picture! As we celebrate our recent print distribution to China we also speak with Hung Huang, hailed as ‘China’s Oprah Winfrey’, and gain an earnest insight into her truly inspiring upbringing in her home country and impressive rise to fame as a woman in a largely patriarchal society. We also skip over to Spain with beautiful actress Ivana Baquero, who talks to us about how she went from her school uniform to the big screen in a heartbeat, displaying her newfound prowess with lensman Sergi Pons. Now have you ever wondered who gets to create the amazing superhero costumes, or the haunting creatures that feature in all of your favourite blockbusters? We talk to Christian Beckman of Quantum Creation FX who is responsible for many of the ‘marvel’-ous makeup effects and costumes that make cinema seem so very real. Then, from bringing heroes and legends to life, we speak to a real life legend in photography, Oliviero Toscani, where we give to you the most candid interview of the iconic figure, which will certainly leave you with an impression of the well accomplished man. Revelling in the gloriously vintage, Mary Pierce and Sebastien Mercier bring us straight back to the mid-20th century, rejoicing in the timeless class of a past era of fashion, shot by Anne Combaz and styled by the keen eye of Laurent Dombrowicz, who also works his magic in our gloriously dark ‘Better The Devil You Know’ feature. With his rugged beard and manly scowl, Mateus Verdelho is the epitome of masculinity in the aptly named ‘Draconic’, where Omar Macchiavelli captures the gentleman within from this fiercely handsome model. And there is so much more! So join us in luxuriating in the international magnetism of this issue, and the thrill of uncovering the gems that we have in store. You may well find yourself love struck!
Raoul Keil, Editor-in-Chief
Coat / Rag & Bone Opposite Trousers / Rag & Bone Boots / John Galliano
UNDERCOVER PHOTOGRAPHY / MATTHEW LYN
FASHION EDITOR / KAY KORSH
Waist coat / Gaspard Yurkievich Trousers / Kenzo Boots / John Galliano
Jacket / Issey Miyake
Knitwear / James Long Trousers / Kenzo
Trousers / Rag & Bone Boots / John Galliano
Shirt / James Long
Shirt / Cheap Monday Shirt / Rag & Bone Trousers / John Galliano
Wearing Jacket / Henrik Vibskov Trousers / John Galliano Boots / John Galliano Laying on Coat / Rag & Bone Leggings / John Galliano Cardigan / James Long Cardigan / Issey Miyake Waist coat / Kenzo
Photographer / Matthew Lyn @ matthewlyn.com Fashion Editor / Kay Korsh @ kaykorsh.com Model / Rick Genest Make Up / Dylan K. Hanson @ dylankhanson.com using M.A.C. Cosmetics Retouch / Emma Jacob @ Happy Finish @ happyfinish.co.uk Photographer's Assistants / Thierry Séguin and Jean-Sébastien Senécal Styling Assistants / Florence O. Durand and Brandon Deslauriers Digital technician / Julia C. Vona Special Thanks to Emma Jacob @ Happy Finish and Colin Singer
BEHIND THE SCENES
Film / LEZZ Photographer / Matthew Lyn @ matthewlyn.com Fashion Editor / Kay Korsh @ kaykorsh.com Model / Rick Genest Make Up / Dylan K. Hanson @ dylankhanson.com using M.A.C. Cosmetics Photographer’s Assistants / Thierry Séguin Jean-Sébastien Senécal Styling Assistants / Florence O. Durand Brandon Deslauriers Digital technician / Julia C. Vona MUSIC / MAN THAT YOU FEAR - MARYLIN MANSON VLADIMIR’S BLUES - MAX RICHTER
Undercover / Matthew Lyn & Kay Korsh Asian girls / Christos Karantzolas & Kyle Anderson Sunkillssed / Javier Ortúzar On the phone with … Oliviero Toscani / Saskia Reis Better the devil you know / Nicolas Menu & Laurent Dombrowicz Alyssa Monks / Alyssa Monks by Lauren Cowley Typo / Danielle Dzumaga Inkpin / Laretta Houston The Art of Beauty / Rebecca Chuks interviews Terry Barber Short Story / Anne Combaz & Laurent Dombrowicz Street Stories: Vivian Maier / Emma Ruttle It's a man's world / Fulvio Maiani "Brand New China" - Made in China / Saskia Reis meets Hung Huang Matryoshka / Sarah Brimley Wisteria / Richard Stow Frederic Malle / Andre Da Silva Nikki Tibbles / Rebecca Chuks Stripped & Painted / Jeremy Kost Tearing man apart / Giulia Cardoso speaks about Andreco Fontainebleau / Pierre Dal Corso Desert / Daniel 'Samo' Bolliger The last thing we do … / Charlotte Summers interviews Ryohei Hase Soldiers of Love / Philip Riches Naye Quiros / Caroline Barnes speaks to Naye Quiros Lustrous / Rayan Ayash Ivana Baquero / Sergi Pons Draconic / Omar Macchiavelli Christian Beckman / Rebecca Chuks Noir / Dimitris Theocharis W / João Paulo Nunes Allure / Christos Karantzolas & Kyle Anderson
GIRLS Photography / Christos Karantzolas
STYLING / KYLE ANDERSON
Previous page Hat / Heather Huey Fur coat / Salvatore Ferragamo Bra / Kiki de Montparnasse Boots / Gianvito Rossi Hat / Givenchy Glasses / Givenchy Coat / Michael Kors
Bag / Our Lord & Saviour
Necklace / Gregg Wolf Belt / YSL Jacket / Moschino Swimsuit / Norma Kamali Gloves / Lauren Urstadt
Skirt / Versace Boots / Versace Bra / Kiki de Montparnasse Glasses / Jeremy Scott Glove / Lauren Urstadt
Hat / Louis Vuitton Glasses / Marc Jacobs Necklace / Etro Jacket / Jeremy Scott
Boots / Casadei Bag / Louis Vuitton Coat / Marc Jacobs Panty / Fleur
Jacket / Moschino Gloves / Lauren Urstadt Belt / NY Vintage Watch / Rolex Necklace / Givenchy Swimsuit / Norma Kamali Boots / Diane Von Furstenberg Necklace / Gregg Wolf Belt / YSL Bag / Fendi Jacket / Moschino Swimsuit / Norma Kamali Gloves / Lauren Urstadt Boots / Giuseppe Zanotti
Jacket / Moschino Gloves / Lauren Urstadt Belt / NY Vintage Watch / Rolex Swimsuit / Norma Kamali
Dress / Jean Paul Gaultier Boots / Jean Paul Gaultier Bracelet / Robert Lee Morris Necklace / Robert Lee Morris Hat / Rodrigo Otazu Bag / Proenza Schouler @net-a-porter.com
Jacket / Azzedine Ala誰a Cropped pants / Azzedine Ala誰a Shoes / Burberry Prorsum Clutch / Lulu Guinness Necklace / Robert Lee Morris Sweater / Azzedine Ala誰a Necklace / Robert Lee Morris Cropped pants / Azzedine Ala誰a Shoes / Burberry Prorsum Clutch / Lulu Guinness
Gloves / Chanel Lipstick / Giorgio Armani Coat / Alexander Wang Glasses / Chanel Sweater / Salvatore Ferragamo
Photographer / Christos Karantzolas @ 212 Artists Representative Styling / Kyle Anderson @ kyleeditor.com Hair / Menelaos Alevras @ menelaoshair.com Make Up / Sylvia Dimaki @ Halley Resources Models / Hye Jung Lee @ Major Models, NY Lina Zhang @ Fusion Model Management, NY Fashion Assistants / Jenna Blaha Rom Bokobza Nicole Draga Shot @ Divine Studios, New York Special Thanks to Kat, Kos, George, Letta, Michael, Helen, Katerina and Leon.
CEO and Editor-in-Chief
Saskia Reis Rebecca Chuks Lauren Cowley Charlotte Summers
Graphics & Layout
Rebecca Hamersley Chloe Hwang Alexandra Walton Kaisa Kokko
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Kyle Anderson, Luis Munoz-Rodriguez ♥, Taylor Hendrich @ DNA, Wen-Hsin Yang, Kay Korsh, Matthew Lyn, Christos Karantzolas, Laurent Dombrowicz, Donnacha Gleeson, Colin Singer, Andrej Pejic, Hung Huan, Nina Ventura, Ann Harrison, Mariana Jungmann, Cleide Carina Cardoso, Gael @ Elite Barcelona, Ivana Baquero, The Team of Motif Managment, Barcelona, Alby Bailey, Caroline Barnes, Roger Erickson, Luis & Len, Hans Keil, Anette Grässler, Ria Thompson, Caroline Lindorp, Sally Richards, Karen Ainscow, Alyssa Monks, Oliviero Toscani, Terry Barber, Frederic Malle, Andreco, Felix Martinez, Naye Quiros, Christian Beckman, Dimitris Theocharis, Lynfa Jenkin, Nikki Tibbles
Andre Da Silva Danielle Dzumaga Emma Ruttle Giulia Cardoso Meghan Hutchens João Paulo Nunes Emma Ruttle cleide carina cardoso
killssed Photography / Javier OrtĂşzar
Heeled Leather Boots / Alexander Wang Stockings / Wolford
Turban / Paul Smith Bra / Balmain Jacket / Marc Jacobs
Blazer / Hugo Boss Boxers / Calvin Klein
Blazer / Comme Des Garรงons Trousers / Hugo Boss
Dress / Vivienne Westwood Belt / Tommy Hilfiger Fur Stole / HermĂŠs
Fur scarf / Gucci Japanese Belt / Haider Ackermann Dress / Gucci
Jersey / Dior Homme Piton Belt / Gucci Cotton Pants / Jil Sander Opposite Fur / Gucci
Photography / Javier Ortúzar Styling & Fashion Edition / Víctor Soria Photo Assistant / Jena Megan James Styling Assistant / Elena Zapatero Make-up & Hair / Joanna Berdzinska Make-up & Hair Assistant / Beca Thorne Manicurist / Trevor Yale Model / Víctor Soria
ON THE PHONE WITH... OLIVIERO TOSCANI A priest and a nun kissing, an anorexic model, or horses having intercourse – these are the images that photographer Oliviero Toscani is known for. Most publications mention the Italian in connection with his advertising work for the fashion brand Benetton, along with buzzwords such as “provocation”, “shock” and “scandal”. The 69-year-old knows that one stimulus can cause both love and hate, and that sometimes the lines between the two can blur. Now, let me give you an insight. Being on the phone with Mr Toscani was preceded by the general procedure: research, question compilation, and more research. We look into existing material on how the person in question has been previously described. We check the questions they have been asked, and we take their responses into consideration. Before we broach a follow-up question, we make sure that the fact that it is based on is correct. When I picked up the phone to call Mr Toscani, I had no clue that I was entering into a talk-show-rollercoster-deluxe, which included yelling, shouting and swearing. What a character! Talking to Mr Toscani was a blast and a hell of a lesson on interviewing. To be honest, I even liked the fact that he didn´t even answer the last question. This man knows how to leave an impression. Now make up your own mind... Mr Toscani would appreciate it, for sure!
BY SASKIA REIS Mr, Toscani, can you hear me? Yes, now yes. Great, and the connection is also great. We should have been talking the other day. So, the war (London riots, August 2011) is over? The war is over. Did you see some news images? Of course. What can I do for you? You are known as a photographer. But you are also an art director, a graphic designer, a publisher, a media producer. What would you call yourself? All the different terms, I am doing all that. What do you mean? I would like to know if there is any title that you prefer or if you say they all have their own right to be used? They can all be used. I am a photographer, and I use the different media and the different arts to make the images, that´s it. Imaginator, OK, imaginator in the sense to imagine and to produce the image. Imaginator is not bad, I just invented this word for you. Did you see the film Peter Scharf made in 2011 about you for German television? It was called “The Man who makes Politics through Advertisement”. Did you watch the final result? Yes. How did you like the film? It´s OK. It´s one of those TV works. It´s OK. What do you mean by OK? OK means it´s nothing spectacular, it´s OK.
The title said you make politics through advertisement. Do you do that? Everything is politics, even a postcard is a political image. Everything is politics, that belongs to the society. Fashion photography is politics. It´s the behaviour of society. Anything that describes the behaviour of society is politics. If we call you “The Man who makes politics through advertisement”, isn´t it actually a limitation of what you do, as you don´t only do advertisement? I didn´t make the title. They are to sell the product to the television, that´s good for the commercial television. Today everything is conditioned by the marketing, so don´t try to be too smart. Marketing is not smart. Marketing is made by stupid people, that´s the reason why it is stupid. You said you consider the human being to be the only piece of artwork that nature has produced? No, no, no, no. I said that just the human being can produce art, that nature does not produce art, just the human being can produce art, that´s what I said. OK, that´s good we clarified that, because in that case it was not correctly translated. The Matterhorn is a piece of art, OK, because it is made by nature. OK. I think just the human can make art.
What is it that fascinates you about imperfection? Art is what is analysing the space between our imperfection and our willingness to find perfection. How far do you find it interesting to canalise this fascination into, for example, taking pictures of people? Well, it is a research. I don´t care to take pictures of the Grand Canyon or some trees or flowers. I like to analyse the human being, I like to photograph the human being. Mr Toscani, how do you like the idea of being named - I will give you two options and if you do not like it, please also feel free to throw this at me, I can take that. But when I see what you do, I think you could also be called - a creative journalist or a journalistic creative? No, creative, not even god was creative. What I do is to create images. That is my work. And then, if it is created or not created, it is a consequence, OK, it is a result. You can be a creative art director. You can be an art director and if your work is good enough then this would be a creative art direction. OK? Some people call themselves “a creative person” – what a bullshit is that, I would never say that about myself. When you look back to your childhood, did you have a role model or someone who inspired you? No, I don´t know. Of course, but I am not such a starfucker at all.
It´s not about starfucking. My role models are in my family. I know, I know, I am not that kind of person. I can do what I can do. I can´t do better than what I can do, that´s it. I am doing what I feel like doing, and I am very priviliged to do so. I am very lucky to be able to work by doing what I want to do. I understand, and I appreciate that you like the opportunity to say that. Still, I would be interested, and it is not about starkissing or anything, if there was a role model in your childhood. I thought it could have been, but I don´t know, maybe your father. Was there someone you looked up to and you said “Wow, this is amazing?” No, I never had this kind of ... Of course, there were things and people that were more interesting than others but I have never been a fanatic. Did your father influence your development? Well, my father was a very liberal person. Probably he would not mind that I would go to the movies instead of going to school, for example. Of course this influenced my behaviour. I found school very boring, so instead of going to school I used to go to the cinema. What films did you like to watch? All kinds of films. There were three movies in Milan that showed pictures in the morning. So I used to go to the movies in the morning, instead of going to school. I got credible education about movies, American and French movies in the 50s.
Images / © Oliviero Toscani
You gave one example of what made your father a liberal father, but was there something he taught you that you would say, looking back, was really encouraging? My father was a very honest man, that is what he was. Very sincere. He said what he felt and he was a very honest man. This honesty is a very important issue for me.
I don´t know if you ever crossed borders, but I can see that there were, when you grew up, there were rules that you were brought up with. Parents told you “this is good and this is not good.” I don´t care what people tell me to do. I just analyze myself what I should do and what I shouldn´t do.
So, that was something you could see in him that you really appreciated? I just appreciate now, I didn´t really understand at that time. At that time I thought it was just normal to be like that. But then I realized it is not normal, not everybody is honest.
There are different environments for people. And one environment can encourage you “yeah, go ahead, do this, don´t care what other people say” and another environment would restrict you, would tell you “don´t do this, this is what a person should do or not”. I would like to ask you----I know both environments. And I chose to do what I feel like doing and not what other people tell me to do.
When people write about you, they say you provoke, you polarize, but what you do shows that you know excactly how to hit a nerve in people. I would like to ask you, if you think there was something in your childhood that maybe shaped this ability? No, I don´t know, I don´t think so. No. I am not shocking people. What the hell ... No, no, no, but, come on, if you google your name, Mr Toscani, that is how you are described. I don´t care how people describe me. I am telling what I am. Listen, I am not looking for consensus, I really don´t care about what people say about me. I am not going to read or watch. You know, the other night, there was a programme, I was on TV, I didn´t even watch it. I don´t really care. I won´t read your article in the magazine, I won´t. Do you understand? I really don´t care what other people think of me. They can think anything about me, I don´t care. Everybody is free of expression, so everybody can say anything they want. Saying that about me doesn´t mean that it is right or wrong, try to analyze that. Of course, but that is why I am talking to you, because I am interested in your opinion. Ask the people who say that about me, don´t ask me. But you are a communication-oriented person – even though you are maybe not interested in it afterwards-----[he interrupts]? But I can´t really explain you why people say that about me, because they say that. I didn´t say that. So, would you say as a child, you were encouraged to cross borders or would you say-Why am I crossing borders? Sorry, I did not go to prison, I did not cross any border. Why am I crossing borders, sorry. Which border did I cross, tell me.
Can you describe a little bit more the values and the approach? What did the Bauhaus teach you? The concept of designing for rationality and not for marketing, first of all. Not to design for the aesthetics. But the aesthetics would be a consequence of something that should be socially useful, designing for a better society. Designing for a real reason, and not for a commercial reason. When you think back to when you were studying, were your colleagues equally driven by this idea? I don´t know, there were so many people, and some were probably not equal. We are not all equal, everybody is different. Yes, but there must have been some kind of atmosphere----I am the same age as Bob Dylan and the Rolling Stones. We were busy doing other things, not just analyzing, like you are doing now. We were busy inventing and created creativity, not analyzing the past. I do not care about what happened 6 months ago.
Images / © Oliviero Toscani
I know. So what is your background, which environment did you come from? I was analyzing what people are telling me to do and not to do and I thought I should do what I feel like doing and I should not do what I don´t feel like doing, even if they tell me I should do it. That´s it, it´s as simple as that. When you went to study in Zurich, in photography and graphic design, what was your experience like within the university education system? OK, good, very good school. I enjoyed that. I couldn´t speak German, so I had to learn German, with effort, and I don´t mind effort. When I like to do something I do it without effort. Is it true that you went there because you were fascinated by the Bauhaus? Yes. How far did this influence your own creative development and approach at that time? A lot. It was a very good education, the Bauhaus. I thought it was an incredible moment for design and for the concept of design and still very modern.
I remember last time we spoke, Mr Toscani, you asked me “What do you want? Do you only want to ask me questions about Benetton?” and I said “Of course not, Benetton is just one part of it”. But would you mind just three questions on this subject? Yeah, go ahead. Most people connect you with the Benetton images----First of all, it is not a Benetton image, because as you see now, Benetton has no image. That was a Toscani image that Benetton bought – that I sold to Benetton. I think you should make that clear, it is interesting to do so, right? It was not a Benetton image at all. That was an Oliviero Toscani image, that I was able to sell to Benetton. Actually I was able to exploit Benetton to promote the image I wanted to promote. We weren´t at the question yet. Is that, Mr Toscani, your achievement? I wanted to ask you what you consider, and this is a totally sincere question, what you consider your achievement for Benetton to have been. What did you do for them? I managed to kill all the rules of marketing. I proved that it is not necessary to use television to
make a label important in the world. I managed to exploit advertising to say other things that are much more interesting and more intriguing than just selling, buying and consuming, so, I did exploit advertising. The second question: was there perhaps anything you think Benetton did for you? Benetton didn´t do much for me. They just paid me. Nothing else. They didn´t really actually understand what I was doing at all. The only thing, that they accepted to go ahead, because they were making a lot of money. And a company has to make money, has to make profit. They just look for the profit. And the profit was there. So I proved that I can do things like that and produce profit, too. They didn´t really care about AIDS, racism, they didn´t care.
It is not trouble at all, I don´t find any trouble. It‘s interesting that you say that one thing can invoke two different reactions at the same time. Always, always. The biggest critique, and the biggest reward. Is there a project that you could call your favourite? A project that you feel very strongly about, or that you have a strong emotional connection with? Success, what is a career? I don´t have a career, OK? Success has to be measured not just on your work, but on the 24 hours of the day of your life, OK? You’re a successful person if your family is fine, nobody is mad or sick, if you are lucky, if the work is good, if the weather is nice, if your house does not burn down. Do you understand? The real career is quality of life for me.
When I read about it, I thought it was a really good opportunity for you to realize your ideas and make a living through them. You could do what you wanted to do. I am a professional person, I have to make a living with my work. I would not work for free. I understand, but for many creative people, it is difficult to do so. They are not creative at all in that sense, they are not creative at all. They are just bureaucrats that work for the money. I did not work for the money. Third and last question about Benetton: since you are asked questions about this again and again, does it annoy you to talk about it? No, it is not that annoying. But I find it very interesting, that after 10 years that I finished that work, people still remember every single picture. They still talk about that. I mean, incredible. Not even the best literature ever makes such a success. Your work includes much more than what you did with this brand. Looking back on your career, was there a project that caused more trouble than any other? I don´t know. Why trouble? Sorry, there is no trouble. Maybe trouble is not the right word. Strong reactions from the public. The reaction of the public has always been very different. [With] the same picture I won a prize and I had the biggest cases. Everybody has an opinion and has the right to express it.
Other than photography and visual communication, tell me a little bit more about the things you really love, but that you are not necessarily associated with? I don´t have hobbies. I breed horses, but that´s not a hobby. I make wine and olive oil, but that‘s not a hobby. It is serious stuff. I don´t do a thing as a hobby. I do a thing because I want to do things. I don´t have any free time or spare time. I am always busy. I understand, you do not have an 9-to-5 job. Everything you do is part of your lifestyle. Right now you are doing the “Photo for Life” talent -project with ARTE. Why are you doing this? Why not? Why is this interesting to you? Why shouldn´t I do it? I’m not saying that you shouldn´t do it. Why is it interesting for you? Just to see how young people are today. That was a good thing to analyse.
Images / © Oliviero Toscani That is a perfect answer to the question. “ What does success mean to you?” 24 hours a day, [I‘m] interested to be alive. I love that. Still, the original question was another one, Mr Toscani. Is there a project that you still feel very emotional towards? Any project that I do. Otherwise I wouldn´t do it. Can you tell me the idea behind the project you made for Vera Pelle* earlier this year? Well, I see all these calenders made with seduction – (seductive) women, sexy. So I said, OK, I am going to do a real thing. I am just going to show the real thing that nobody really shows. They are all concealing and hiding. So I did the thing that a five-year-old child would see of the mother. That´s it. As straight and as simple as that. Was there a particular perception that you wanted to criticise? I wanted to criticise those sexy calendars, made by those stupid starlets.
What have you seen so far in young people and their approach? They are losing their creativity because they give up with their technology. They are all very technology dependent and computers don´t help creativity. Of course they could help creativity, but not in a way young people normally work. What do you mean, they are too technical? They are too computer dependent. Was there an interesting exchange with these younger photographers? I don´t know. Exchange? I exchange all day on everything. I am also exchanging with my dog. Mr Toscani, you said this project was interesting for you to see how young people----Of course I learn. Every day I have something to learn. So what did you learn from them? What did I learn from them? I learned that they are six students, one different from the other. Four of them they spoke German, two of them spoke French and they had different personalities. I realized that photography is finished, as they think they want to be photographers.
But the way they want to be photographers won´t be the future of photography. What is the future of photography? What would you like to see, that you can’t see now? I would like to see a new generation that finally will make something new. But probably the new generation is as repetitive as the music they produce. There is nothing really new. Today I switch on the radio and here we go, The Rolling Stones, 50 years old. It is ridiculous. What are the young people doing, fuck them. I would like to see that they would do something that would really make an interesting change and improve the world quality.
I think I’ve misunderstood you. Do you think you are not an interesting person to talk to? Come on, let´s go. I mean I would like to hear new questions, new energy, new something, still the same old questions that I have heard since ten years ago, do you understand me? So, I am very nice, really, but please try to understand, it is so boring. Mr Toscani, I don´t like to ask you questions that you have already been asked, but I need to-----
How long I will go on? Are you annoyed already? Am I boring you? I mean we can´t stay here an hour. I would have expected at least an hour with you, Mr Toscani. No, no, I cannot. Now we are at 30 minutes. What are you, German? Yes. What do you do in London then? I am studying my masters degree. Everybody is asking so much time for a school----No Mr Toscani, it is not a school project----Try to understand. Let´s get it over with, finished. I understand if I was Mick Jagger. Let´s go on.
Why does revolution only work if you are part of the system? What the hell, what kind of question is that? Revolution does not work all the time if you are part of the system. Revolution works if it works. Cool. See, Mr Toscani, this is very interesting and this is why I want to talk to you. I know you want to talk to me, but come on, I am on vacation. I’ve got other things to do. This was communicated in several publications, where you made this statement. Who cares what is communicated? What kind of question is that?
Do you feel that young people are lacking in the ability to make a statement or to formulate an opinion? Yeah, I am missing a statement and an opinion of the young generation. They are all dependent, they are all very comfortable, they are not creative at all. They dress exactly like they used to dress 30 years ago. Blue jeans, long hair, it´s ridiculous. I feel very deceived. I mean not everybody, there are some single people that are OK, but they are single exceptions. Isn´t it that the special thing is always an exception? No, you can´t make it all up on that. How long will you go on?
politics of the moment onto something that is not going to be the picture, but a historical memory of society.
So, revolution can work if you are not part of the system. Isn´t it sometimes even better if you are not part of the system? Well, you can be part of the system. But Che Guevara was not Cuban. He was Argentinian. OK? Good, next question. Which are the three most important photographers----I don´t know. Most important, I don´t care who they are. Depends what kind of picture. © Oliviero Toscani You need, you need. You want to sell. I am very gentle to listen to you and to answer to you. You are. But please understand that this is part of my job, because I can´t just write what other people wrote about you, I have to make sure--OK, let´s get it going. You say you want to be able to see a story within images. What is it, apart from visual storytelling, that makes a photograph a good photograph? If you can tell a good story. Is that the only thing? Yes. What features are needed in the personality of the photographer? Culture, sense of criticism, capacity to not just look but view, capacity to analyse the sociopolitical situation and to project the general
You‘ve said that everything is staged, that reality is staged. Is that right? Of course. I understand your opinion when you say that there is no such thing as an objective picture. The selection, the point of view, the framing – it‘s always subjective----You got all the answers, so, you got them all from the internet. You are for sure one of those girls who got informed from your monitor all day long. And then you analyse, so you have got all the answers. I don‘t consider what I find on the internet to be the truth, so this is why we are speaking. Well, you sound like: you ask me questions, because you read (something) somewhere else. Yes, I‘ve read, and now I‘m asking. That‘s the process. Still, I would be interested in what your definition of authenticity is, or if there is such a thing as authenticity?
Images / © Oliviero Toscani Everything is authenticity, even the biggest lie. Even the war is authentic. Everything is authentic. Even the fake is authentic fake. You´ve said that conventional advertising is socially useless. Yes. Should advertising be socially useful? The Sistine Chapel of Michelangelo was useful to the church, OK? And on top of being useful to the church it was useful to art, OK? That is an example. What is it about the social usefulness of advertising then? Something that has got a reason to improve the society. Why is advertising a good mediator? You read a book and that is advertising a story, OK? Everything is advertising. For me, advertising is not just selling chewing gum or cars or underwear. That is one way to advertise. But religion is advertising, politics is advertising. So what is the connection between art, communication and advertising? Oh, cazzo. Michelangelo did work for the church
to advertise religion, God, Virgin Mary and all that bullshit, OK? And he made [a] piece of art. Art is the highest expression of communication, as simple as that, in any field. What do you think about provocation as a term? What is your definition, your understanding of it? Provocation is a good word, it means to provoke the possibility to see things from another point of view. And how do you use it? Anything that you look at should provoke something in you. If it does not provoke anything, it is not good.
If you have courage, you might produce some creativity, because then you are going to go in a field that you haven´t been in before. If you are secure, you can produce creativity. Do you understand? So you have to have the courage to be insecure to produce that. I read that all you want is to achieve an intense quality in all that you do. That is why I am getting bored here. What do you mean? You‘re getting bored? I am getting questions that are very boring. If you consider creative freedom, does this have boundaries? If it is freedom it has no boundary.
Do you think it is also something you have to learn to do? I am busy, I have got to go, I have to go now. I’ll give you another 30 seconds. Please try to understand.
What do you want to achieve that you haven´t achieved already? -/[Mr. Toscani hung up...]
What are the parameters of true creativity? Creativity is just a consequence of a work that is well done. There is no parameter.
*In January 2011, Toscani shot a campaign with images of the female pubic region for Vera Pelle. Women’s organisations were up in arms and Florence’s city council asked the company vainly to refrain from publishing the campaign.
Then, what is the correlation between courage and creativity?
All photographs / © Oliviero Toscani Oliviero Toscani has been interviewed by Saskia Reis
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ALYSSA MONKS Brooklyn based artist Alyssa Monks uses photography as her main reference for creating paintings with amazingly realistic final results, which highlight and document the beauty of the seemingly mundane: the beauty of everyday life.
Alyssa Monks, three-time Elizabeth Greenshields Foundation Grant winner, was educated at the New School in New York and Montclair University, and earned a BA from Boston College and an MFA in painting from the New York Academy of Art. There, Alyssa studied alongside artists such as American realist painter Vincent Desiderio and the Best Young British Artists award winner Jenny Saville. Alyssa’s paintings show visually distorted representations of the human body. With her focus firmly on realism, she explains her intent in keeping it as her recurrent theme, saying that she “chased” it. Everyday scenes are shown with startling clarity; gritty and honest, yet overwhelmingly beautiful.
in art can sometimes portray. Instead, they look healthy, comfortable in their own skin and strangely lacking in eroticism. In fact, the paintings are wholesome, the picture of glowing skin and lustrous hair.
In addition to creating her own work she has taught at the New York Academy of Art, Montclair University and the Lyme Academy College of Fine Art. Her creations, which begin as mere photographs to then be imbued with life with the help of her chosen medium of paint, explore both reality and invention. Widely displayed, her paintings have been shown in numerous solo and group exhibitions around the world including Intimacy at the Kunst Museum in Germany and her current show as of September 2011, Rarity Summer Salon in Greece.
Alyssa mostly uses herself as the model for her work, so as not to have to “worry about issues of self-consciousness that might arise with models.” The intimate feel of her paintings is further explained in that she has “been exploring the faces of family and friends recently too” and prefers to “work with people I know personally and have a relationship with.”
Hailed by Flavorwire.com as “worth smiling over”, the Telegraph as “intimate snapshots” and the Daily Mail as “touching”, her shower portraits of 2009 show her subjects at their most vulnerable: naked, drenched and yet somehow, confident. The people shown never seem objectified or exploited, as nudity Artwork / Alyssa Monks Words / Lauren Cowley Edit / Rebecca Chuks
Her photo-realistic paintings span from the extraordinary to the everyday, with babies being born, to bathing, to watching television. At first glance each portrait could be a photograph, a moment captured in time that we as the viewer are intruding upon. The intricacy allows for imperfections to shine through, and in Alyssa’s own words, she tries “to display how beautiful the real is, rather than the ideal.”
Alyssa takes about 1,000 pictures to utilize as loose reference for a small series of paintings, allowing her to experiment with colour, so she can ultimately create the most real product possible. The use of water and steam as filters through which we view the subjects make for a constantly shifting focus and a perception that with every glimpse, it’s possible to discover something new.
Press, 2008 50x42 in oil/linen Courtesy of the artist Alyssa Monks
Scream, 2010 48x72 in oil/linen Courtesy of the artist Alyssa Monks
Tell, 2011 30x20 in oil/panel Courtesy of the artist Alyssa Monks
TYPO “We just added the European Creative Director of Google and You Tube, Tom Uglow. That might work as some kind of newsworthy intro?”
writes Robin Richmond, conference director of TYPO London 2011. This signing is indicative of the calibre of industry heroes and headline-grabbing names willing to be a part of London’s first introduction to TYPO. Already on the line-up are leaders of design Michael Bierut, Marina Willer and Jeff Faulkner, the Creative Director of Xbox Next Generation. Following the success of TYPO Berlin, Europe’s leading design conference for fifteen years, the move to London has been long overdue, or judging by the buzz already circling the event, well worth the wait. Between the 20th-22nd October at the University of London, the fledgling of the TYPO brand will come to establish itself in the shadow of its big brother back in Berlin, but already looks set to become a fixture on the international design scene that will draw in a crowd as impressive as its luminary speakers. Q. Why do you feel that after fifteen years success with TYPO Berlin, it’s time to expand across to London? Robin Richmond: The roots of TYPO can be traced back to the FUSE conferences of 1994 and 1995 in London and Berlin respectively. Fuse then went on to San Francisco in 1998 and the feeling at the time was that it would probably reconvene in London – only it didn’t. The team that puts the TYPO Berlin conferences together is centred at FontShop AG in Berlin and it’s done a brilliant job focusing on TYPO Berlin. The idea of returning to London has been discussed for some time and it’s more a case of it being the right idea, the right time and the
“PENCILS AT THE READY, TYPO LONDON IS SET TO MAKE A MARK ON EVERY CREATIVE CALENDAR. DANIELLE DZUMAGA TALKS TO ROBIN RICHMOND ABOUT THE MOVE FROM ONE DESIGN CAPITAL TO ANOTHER.”
right people getting involved to make it happen. Q. What do you think separates or defines TYPO London from other design conferences? RR: TYPO has ploughed a unique furrow in Berlin. There’s always been a solid base to conferences with very focused presentations on typography and visual communication, but over time the conference has diversified to become a broad creative platform. TYPO London celebrates this diversity. London is a global creative hub and there’s so much interest in what we’re trying to achieve. We’ve adopted the format that has served Berlin so well, which means we’ll be running keynotes and workshops over three days and ending with a party night for speakers and delegates. A typical TYPO will provide huge contrasts, from exceptionally detailed information on type, information design and graphic design to emerging technologies, social media and brands. Our speaker programme for 2011 celebrates this heritage and we’ll have a great variety of talks from classic graphic design to type workshops, keynotes from film makers, animators, artists, an African King, the European Creative Director of Google and You Tube and the usual array of superstar creative directors who have worked on a huge variety of projects. So while the name TYPO is evocative of a very niche offering, the conference is rich and diverse. Q. The success of the TED talks reveals a growing trend for shared knowledge and a staple of how we can grow – is this the value of staging events like TYPO London? RR: TED has tapped into something that also underpins TYPO. That is the creative mindset and desire to create change through innovation. The design process is a key element to enable people to think bigger, providing the tools to expand and develop ideas, make tangible prototypes that people can measure to see how ideas work and can be beneficial in commercial, social and cultural settings. Even practising as
Interview by Danielle Dzumaga a designer or creative, you can get stale. Conferences like TYPO provide a shot in the arm of inspiration to showcase what’s going on and encourage people to take risks in their thinking, pursue excellence in what they’re doing and seek new ways of learning. The ceiling on your life, ideas and creativity bears a direct relationship to your exposure to new ideas. Stop learning and the world becomes a stagnant and smaller place. Q. In a time when we are seeing radical cuts to the funding of the arts and creative sectors, and with education and the economy under threat, do you think that events like TYPO London can stimulate solutions for a world under fire? RR: Well, yes in our own small way I think events like TYPO help. We have a seasoned commitment to education. A third of TYPO tickets are reserved for students. Our aim is to develop a cultural platform that bridges the gap between education and the professional world. Put simply, students learn something new from being around professionals – vocational skill sets and processes, while professionals need to adopt questioning minds, to look at creative problems in new ways. There is a symbiotic need to put the old with the new to regenerate. Innovation often requires the tension created by some kind of breakdown to thrive. As you can imagine, events like TYPO feel the pinch at such moments, and we have to work very hard to get people to sign-up. It is however times like these that need events like TYPO to stimulate thinking. We see a ticket for TYPO as a positive investment in the future. It’s part of the wellness concept – like going for a workout, only with the eyes and the mind. TYPO London 2011 ‘Places’ will be running from 20th-22nd October at the University of London. For further information please visit: typolondon.com typoberlin.de
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THE ART OF BEAUT Y
Whether it’s a touch of mascara or a flurry of lipstick, makeup plays a steady and necessary role in most women’s lives, and indeed in some men’s too. this importance is magnified exponentially in the fashion industry. Schön! speaks to Terry Barber, the Director of Makeup Artistry for M.A.C Cosmetics and learns the details of this art that is so integral in both everyday life as well as to the fashion industry. From a young creative who was simply out to express himself and display to the world the type of tribe that he belonged to, to an accomplished and highly skilled makeup professional, Terry Barber has always been intimately involved in the art of makeup. “I lived in makeup really. I went to art school in the 80’s, at a time when everybody was wearing makeup, male or female.” He explains that “makeup was a way of belonging to something, expressing a belief... or just wanting to belong to some kind of sub-culture”. Not a great deal has changed. Rather than being the subject, Terry now applies makeup to models that are tasked with expressing the message of the designer, that are there to tell us the story of the designs. But it is not just the long, lean and beautiful amongst us that are eligible to receive the talents of Mr Barber. He describes the scope of his commissions as “a bit of everything”, including real women, socialite girls, celebrities, advertising, and of course fashion. To Terry, this diversity of work is part and parcel of the trade. “I think that’s what makeup artists are required to do these days. You have to be able to adapt yourselves to all of the medium”. And it is the real woman, the everyday Joanne, that Terry most enjoys working with. “You get the most appreciation for what you do [for] making a regular woman, who’s not in the industry, not a model or a celebrity, making her look beautiful. It’s incredible.” Makeup today is an integral, crucial element in fashion. It adds the final touch in completing a look and in fully conveying an intended message. And Terry goes one step further in his beliefs about the industries that he knows so well. “Well I think beauty now is as important as fashion, particularly to real women. I think real women now would put as much thought into a lip shade as they would
into a shoe or a bag.” He describes that just as one day a woman will power dress with a sharp shouldered blazer, and then try a subtle sexy look with a hint of lace the next, so will her makeup reflect the character that she dons for the day ahead. “She might wear a power red lip one day; she might just wear powder the next day with dewy skin. I think women change their beauty as they change their clothes. So I think beauty and fashion now work hand in hand. I don’t think they’re separate at all.” To Terry, the importance of makeup and beauty extends far beyond the fashion industry, where its importance is just as related to what makes us human, as it is to fashion. “Beauty is very often criticised as being frivolous but let’s face it, it’s been with us for the last thousands of years and it will be with us for the rest of the next thousands of years. It’s just a natural human instinct to make yourself look good. It’s a carnal instinct and it will never disappear”. Despite the fact that Terry works with a medium that’s constantly evolving, and a canvas that is in a state of constant flux, he finds his work surprisingly difficulty free. “Once I have the brush in my hand and the face in front of me I’m perfectly happy. I don’t find it difficult at all, because it’s a passion.” Describing the process behind creating a look, Terry explains the procedure. “You’re told the story of the collection. It’s never really ‘we want this colour’: it’s never as specific as that. It’s always who ‘the woman’ is, which might involve a lot of mood boards.” And the practice medium? “They’ll always book a model for the test. You can get (the right look) in 5 minutes, it could take hours. But then the difficulty lies in that you have about 20 – 30 models in the show and you have a team of makeup artists, so you have to demo that backstage, so the models all look consistent.” Now for women (and indeed some men) on an everyday basis, we use makeup to make us look a little less sleep deprived and overworked. But for some of the most beautiful amongst us, who have forged their careers on their looks, Terry explains that the focus is a little bit different. The idea is, “to put as little makeup on as possible, but have the maximum effect. There’s almost a kind of more organic feel to beauty, where it’s makeup plus the elements that have created it. Even like working with the idea of ‘sweaty’ or ‘hot’, like those old Peter Lindbergh pictures that I love [from] back in the 90’s, that are all shot in the desert and all looking a bit windblown and worn.” Despite the decades that he has spent in the industry, Terry explains that he is still
constantly learning. “There’s always a new genre in beauty to master. There’s always something new to learn. I never think that I know everything. I think beauty is one of the art forms that is really ever-changing.” And despite the nature of fashions ever-changing seasonal reinventions, Terry does have a look that, for him, will never go out of style. “I love a Helmut Newton woman. If I had to quote my favourite look I think it would have to be that slightly S&M, but extremely chic woman, like he used to portray in the 70s for French Vogue and Yves Saint Laurent.” Having reached what he describes as the pinnacle of his career, in working with JeanPaul Goude and Grace Jones for the cover of V magazine, Terry’s sublimely successful career is a patchwork of art, celebrity, hard work, fashion, and of course beauty. From Diana Ross to Pamela Anderson, his flexibility is demonstrated in his ability to adapt to the beauty blueprints that he’s required to conform to. With certainly much more to offer, the next generation of makeup artists have much to live up to in learning the art behind the beauty.
Words / Rebecca Chuks Terry Barber M.A.C Cosmetics Director of Make Up Artistry, UK & Ireland for Just Cavalli Show AW’11 Image courtesy of M∙A∙C cosmetics
S H O RT
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Whoever said “you have to be current to be street”, was very wrong.
A chance occurrence has brought amateur street photographer Vivian Maier into the limelight, which is undoubtedly where she deserves to be. But what is it about Maier’s photographs that has so captivated the nation and brought her such worldwide acclaim? Certainly the mystery that shrouds Maier draws people in. Who was she? What was she trying to achieve? Why did she never show anybody her photographs? All are questions that the public is clamouring to know. The last question can only be guessed at, as she died in obscurity, in 2009, aged 83, before the significance of her photos was truly understood. We still know relatively little about Maier, a nanny who spent the majority of her working life in Chicago. From what has been pieced together, she was an intensely private person: eccentric and opinionated. She wore men’s shoes, coats and hats throughout winter and summer. Her days off were spent taking photos. And boy, did she take photos. But for who? And for what purpose? Photographs perhaps took the place of family and friends, becoming Maier’s one great passion, giving her ultimate artistic self-determination. She left behind over 100,000 photographs, mostly undeveloped in an old storage locker. Yet until 2007, her photographs seemed destined to be lost forever, remaining in boxes, piled high to the ceiling of a dusty attic, gathering cobwebs. Her legacy extinguished. Yet thanks to John Maloof, the local Chicago historian who discovered Maier’s talent by pure chance, she has now achieved the worldwide renown she deserves. Maloof acquired Maier’s work when he picked up an old box of negatives for $400 from a Chicago auction house in 2007, hoping that they might be relevant to a book he was co-authoring about Chicago. A cursory glance proved the images unsuitable for the book, and the box was shortly relegated to storage. It was only a couple of months after the book was finished that he gave these negatives a closer look. What had been mistaken for a $400 dollar box of anomalies, fast turned into a treasure trove. As Maloof scanned in these negatives, he became sure that what he had discovered was not an every-day occurrence. Being a photography novice, he started blogging Maier’s photos to gain outsider opinions. And the sensation blew up from there. Maloof has now made it his full time job to archive and catalogue Maier’s vast collection of undeveloped negatives and photographs. Thanks to him, new photos are unfolding every day. The sheer quantity of Maier’s legacy continues to astound audiences across the world. Yet with Maier, quantity does not signify lack of quality. Each photograph of hers is acutely observed, and rendered with a virtuosity that one uncommonly encounters.
For street photographer Henri Cartier-Bresson, the great virtue of the photograph resided in its ability to “fix eternity in an instant”, and it is not an understatement to say that Maier’s photos have this quality of timelessness, and a stark beauty that is unfading. She has a knack for holding up a mirror to society, for freezing a moment, imbuing it with eternality. In each photograph she captures a tiny part of reality, the upturned curl of a smile forming, the deep crevices in a man’s wizened face that speak of life’s encounters, or the powdered ivory of a woman’s face, glancing back. The breadth of Maier’s work is astounding. Although her photographs largely document street scenes or portraits from Chicago between 1950-1990, she also travelled widely, her camera always by her side. Maier’s images are at once monumental and intimate. The acute structural arrangement of her photographs often takes on an extremely modernist dimension. The sharp angles, crisp lines, and partially abstracted forms in her depiction of four ladies standing against a wall bears comparison with Paul Strand’s iconic Wall Street of 1915. Whilst Maier’s photograph almost becomes a study of pure form, the strong human dimension pulls it back from the brink of abstraction, focusing us on what she was most fascinated by. People. We see this over and over again in her work. Her structural compositions, though exquisite, are only a backdrop for the people that she celebrates. And we too must celebrate Maier’s determination to capture the heroic, to instil the everyday with beauty and grandeur. Although Maier is gone, her voice continues to speak loud and clear, these photographs comprising her last word. We’ll let them do the talking.
All Images From Vivian Maier: Street Photographer photographs by Vivian Maier edited by John Maloof published by powerHouse Books 50s-60s / New York City / Chicago Clothbound hardcover, 10.125 x 11.125 inches, 136 pages, over 100 duotone photographs ISBN: 978-1-57687-577-3, $39.95 Words / Emma Ruttle
Photography / Fulvio Maiani
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A “BRAND NEW CHINA” – MADE IN CHINA -
Saskia Reis interviews 洪晃* *Hung Huang is CEO of the China Interactive Media Group (CIMG), a columnist, a cultural critic, a television host, an author, a blogger, publisher of the fashion magazine iLook – or, in short – one of the most influential media figures in China. Beijing´s high-end Sanlitun North Village, home to luxury brands like Balenciaga and Comme des Garcons, also hosts her latest project “BRAND NEW CHINA”: a revolutionary concept store which promotes aspiring Chinese design talent. Now it´s up to you to check out how down to earth a woman can be, who is termed the Chinese version of Oprah Winfrey, though who finds being termed an opinion leader, “much exaggerated”. As the daughter of Mao Zedong´s English teacher later diplomat Zhang Hanzhi, Hung Huang was sent to the USA at the age of 12 and later earned a scholarship to study at New York´s prestigious Vassar College. Join Schön! on a captivating culture clash backstory. “I usually say I am in the media business,” she states, aware that with her multimedia activities in Chinese media she does try to influence. Hung Huang´s parents were part of the revolutionary upper class, who worked alongside Mao Zedong: her mother was Mao´s English teacher, her father was foreign minister. In 1973, as a 12-year-old, she was sent to the USA as part of a study group of 28 children. “They briefed us our mission. They told us that we have been chosen for one of the most glorious possible missions by the state, which is to learn English. We would come back as an elite troup of translators to serve the country. They were quite heavyhanded [with] what we should think about this,” she recalls. Huang´s voice sounds as if she still feels the responsibility she had to carry at her young age, being put into the role as a representative of the People´s Republic of China. In the States, she was confronted with a totally different value system. “It was intimidating and unbelievably difficult in terms of trying to make sense what is going on around us. Is it good, is it bad? When you come from a totalitarian society, everything that happens is either right or wrong. There is no room for ambiguity.” Soon, she gave up thinking the way she was taught to think. Huang learned there was no such thing such as right or wrong. Remembering the pigeons on the streets of New York, she explains; “Where I came from, to feed birds was wrong, because that was a waste of food. In New York I saw these old ladies sitting on a bench, feeding the pigeons. I remember watching that and constantly thinking ‘is this right?’” One day she was sitting there, waiting for a friend. One of the ladies handed her some bread crumbs. She took it and started to feed the pigeons, without even thinking. “That was the first moment I realized what joy it was to let go of all this ideology and just be a 12-year-old kid and do what a kid wants to do,” Huang shares.
Four years later, in 1977, she returned to China. Her perception about her country had completely changed, “It was like going to the moon again. The first thing I remember was being put back into boarding school. I saw my old class mates who did not leave China all lined up in a row, goose-stepping to the cafeteria for breakfast. I just felt sick and I wanted to throw up,” she remembers. After Mao´s death her parents had fallen out of favour and were put under house arrest for two years. Huang's mother Zhang Hanzhi was accused of collaborating with the "Gang of Four", a political faction of four leaders of the Chinese Communist Party, who carried out a series of crimes during the Cultural Revolution from 1966 to 1976. During this time, Huang learned about discrimination in society. The same woman who had before handed her a bag of groceries to give to her mother as a gift, would instead spit on the street when she saw her walking by, stigmatizing her as one of “the filthy children of the Gang of Four”. Despite this, some people still treated her with common courtesy, such as the former spokesperson in the foreign ministry. “My parents were under house arrest and I had nowhere to go. She invited me into her house for Chinese New Year´s and really treated me like her sister,” Huang retells with heartfelt appreciation. Her family was not especially wealthy, but with a scholarship, Huang was able to go back to New York and graduated with a Political Science Major from the prestigious Vassar College in 1984. On comparing the education systems of China and the States, she says; “The liberal arts education, which is based on the British-American tradition, focuses on training the independent thinking ability. They are trying to train minds to have their own opinion,” adding that this certainly does not apply to all American universities. “In China it is the opposite. It is to train you with a set of certain technical skills very well. The only thing that matters is the skill.”
When Huang´s mother died, she left a great amount of money for her granddaughter´s education at Harvard. “My mother was a very traditional Chinese mother. The education of her granddaughter was the most incredibly important thing in her life.” However, Huang does not feel an obligation for her 6-year-old daughter to live up to any legacy that comes along with the family name: “I do not carry the same burden. I think my daughter should be able to decide what she wants to do by the time she is going to college. She should have free will, form her own opinion about her life and what she wants to do.” “In China, one of the most horrible things is that because you are told how you should feel about everything, nobody is quite comfortable with themselves,” the media professional states, doubting that this is something she can properly explain to a Westerner. Her mother worked for the government but Huang emphasises that she perceived her primarily as her mother. “I never bothered to ask her what her opinion was - except that I knew she had to say what she had to say.” Huang´s mother brought her daughter up with quite a value package, with the independence of women being at the forefront. “She was an over-achiever. She was a career woman and to just rely on your family and the reputation of your family would mean you are useless. You have to try something yourself, you have to prove yourself and you have to constantly try your best and never give up.” Huang speaks with me on a Saturday evening, while her family and friends wait for her to come to dinner. Nevertheless, she keeps going, telling me the best qualities her mother left her. “She did believe that all men are created equal. She always taught me to be polite to people.” Huang was married three times. Her first husband was a US lawyer, the second a Chinese director, and the third, a French diplomat. She straddled cultures and knows her craft. In 1996, CIMG took over the struggling state-owned women´s magazine Look, and re-lauched it as iLook Magazine. In the beginning, international luxury brands were not as forthcoming as they are today. In an interview with Yuan Li, editor of the Chinese Wall Street Journal, she once illustrated how hard it was to get big names to advertise: “[The Western fashion magazines] eat the meat, and we get the soup.” In the meantime, Huang turned iLook into one of the top, if not the most powerful domestic fashion magazine, with global advertisers such as Chanel, Dior and Louis Vuitton. With her straightforward style, she attracts minds and hearts. After fellow blogger Dreamer’s first encounter with her blog in 2006, she certainly left an impression. “You see so many "famous" associated with this woman, but she is just so special (…) I can feel she is such an interesting woman, living in her own way and doesn't care about others’ impression on her. She is such a real person!” Today, her site views reaches 117,516,846 visitors. A year ago she started her latest adventure: a retail concept store called “BRAND NEW CHINA”. On the occasion of the shop’s first anniversary on 8 August 2011 she tweeted: “BNC is not only a channel to promote Chinese design, but also a sale platform for Chinese design. We can prove we do not just take advantage of Chinese design, we really want to do something good. One year after the opening of BNC we have gained a lot of recognition and reputation." The 540 square meter boutique in Beijing´s deluxe Sanlitun Village showcases fashion, accessories and lifestyle items made by emerging Chinese design talent, like Wei Minghui, Huang Yichuan and He Yan, whose products are sold on consignment. The idea is to curate domestically produced design with high quality. The Chinese name of the store is “BOHE NUOMI CONG”, which means “mint, sticky rice, scallion” – food ingredients of a random dish Huang ate one night which clearly inspired her. Speaking about food, her family and friends are still waiting. “Mrs Huang, 请享用!*” Words / Saskia Reis Image of Hung Huang courtesy of BNC Special Thanks to Hung Huang and Wen-Hsin Yang *Enjoy your meal!
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photography / sarah brimley
Previous page Macrame knot chiffon dress / Chichi Luo Knot belt / Chichi Luo Wool overcoat / Bottega Veneta Snakeskin heels / Gucci Multicoloured scarf worn as head scarf / HermĂ¨s Chunky knit jumper / Stephanie Wong Skinny trouser / Burberry Prorsum
Helmet straps / Nikita Karizma Wool coat / Prada Knit scarf / Giorgio Armani Gloves / Emporio Armani Ankle boots / Burberry
Knit skirt worn on head / Christopher Kane Leather and straw mini dress / Shao Yen Silk men blazer / Paul Smith Snakeskin high boots / Prada
Polka dot mens scarf / Canali Wool dress / Bottega Veneta
Fox fur collar / Gucci Tweet jacket with leather trim / HermĂ¨s Knit cardigan with double blazer / Stephanie Wong Fur ankle boots / Pringle of Scotland
Polka dot men scarf / Canali Wool dress / Bottega Veneta Cardigan / Bottega Veneta Leather parachute waistcoat / Emporio Armani Wool balloon sleeves / Emporio Armani Leather ankle boots / HermĂ¨s Enamel bracelet / HermĂ¨s
Wool knit dress / Burberry Cropped jacket / Gucci Opposite Dress / Shao Yen
Photographer / Sarah Brimley Styling / Pop Kampol Hair / Soichi Inagaki using Bumble and Bumble Make Up / Joey Choy using M.A.C Model / Lina Alminas @ Profile Photography Assistants / Philip Banks and Anna Michell Styling Assistant / Fay Lamchaiprasert Hair Assistant / Michiko Yoshida Special thanks to Sunbeam Studio
* 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 www.lachsmagazine.com 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 : BeNaughty@lachsmagazine.com
WISTERIA PHOTOGRAPHY RICHARD STOW
Photography / Richard Stow Styling / Phillip Bush Hair / Benjamin Mohapi @ Opus Beauty, L.A. Make Up / Sharon & Priscilla @ Opus Beauty, L.A. Model / Masha Rudenko All underwear & jewellery from Agent Provocateur, all sunglasses vintage
Frederic Malle talks to Andre Da Silva about how he came to create his luxury fragrance brand, training with some of the best noses in the industry and the release of his new fragrance.
rederic Malle knew that perfume was something he was always interested in. With his family already in the business (his mother being the art director of Christian Dior) and acquaintances like Jacques Heulles, Chanel’s long-serving artistic director, the decision to continue into this profession was unclear as it was something that was always so close to him. Until one of the perfumer gods at the time, Jean Amic of fragrance and flavour laboratory Roure, now Givaudan Roure, asked him to become his assistant. His interest in fragrance began at an early age, “I smelt a lot of perfumes as a child. As a teenager, when going out a lot, I also did” says Frederic. “By the time I was hired by Roure laboratory I could recognise most perfumes on the market.” Roure then later sent Frederic to the world’s capital of Perfume, Grasse, a town in the South of France where he spent some time learning how to smell perfume. “I have been working with perfumers ever since, its been twenty-five years and I’m still learning,” Frederic says.
“I’M STILL LEARNING.” Perfume is generally described as a musical metaphor with three sets of notes, each of them unfolding over time. The immediate impression is the ‘head’ note, which is the scent that hits you first, that then leads on to the middle note or the main body of the perfume described as the ‘heart’ notes, and finally the last lingering scent called the base note. The creator of these notes is often labeled the nose of the perfume and after his time at Roure, Frederic trained with some of the best noses in the business like Edouard Fléchier (Poison, Dior) and Jean Guichard (Obsession, Calvin Klein). The mass market, however, was never Frederic’s destiny. “Mass market is the opposite of freedom. It is not a good playground to create the classics of tomorrow. I was bored doing it and so were the other perfumers. So, we had to do something about it.” Editions de Parfums opened its doors in 2000 at the time fine fragrances were about to disappear. His first collection, launched in June of that year, and it was made up of nine separate fragrances, one per perfumer. Frederic’s inspiration came from the great French publishing houses and great film directors. “My job with perfumers is very close to theirs …
I wanted each of these perfumes to be a world of it’s own,” explains Frederic. The result is a collection that Frederic describes as “a totally compromising approach.” Each bottle of scent comes in a simple glass cylinder topped by a backlight cylinder, an idea that comes from Frederic’s devotion to Bauhaus design. “The form of our packaging is dictated by our function … the weight, although not ostentatious is enough to convey a sense of luxury,” he says. “The bottle is presented in a black cardboard box covered with an orange sleeve that indicates the name of the author, the name of the perfumer and a brief description of the perfume on the back.” Frederic states that this new environment enables him and his team to go even further, as the public now understands that there are two different markets, mass and luxury. “We are now able to come up with such perfumes as ‘Portrait of a Lady’ or ‘Carnal Flower’, perfumes that are based on extremely precious raw materials,” says Frederic. “Apart from Serge Lutens, there were no more real luxury fragrances in sight, and the larger brands then were focusing all their energy on mass market fragrances. I started this company to allow the best perfumers and myself to create new perfumes freely without going through the hurdles that were imposed to us by marketing.” Eleven years later, members of the fragrance industry have noted some of these perfumes as modern classics. New luxury perfume brands have appeared and well established houses like Chanel, Dior and Hermès have come up with luxury perfume collections. For now the focus for Frederic remains in perfume with the release of his eighteenth perfume, ‘Portrait of a Lady’. “I see this fragrance as a fantastic opportunity to reinforce our personality,”
Portrait of a Lady is available on fredericmalle.com or in any of the Edition de Parfums Parisian Boutiques Words / Andre Da Silva Image / Frédéric Malle’s portrait © Julia Magenau
tanding in the entrance of Liberty, I watched as the stall came to life with the buckets of beautiful flowers in gently vivid colours, that gave me a sense of the warmth of summer. Astrid Haynez was talking with a walk-in customer who, on requesting a bunch of white roses, received Astrid’s munificent philosophy: “I like to try to educate the customers”. Suggesting some colour for the arrangement, she proceeded to add some richly coloured foliage to the piece, stalk by stalk, inspecting her work with each addition. At the finished piece, the customer simply smiled. Next, Nikki came into the shop, sending out ‘good mornings’ to her staff in her soft and sweet voice that so matched her much loved design medium. She walked from pot to pot, preening here and simply admiring there. Once she had taken in as many aspects of her stall as was possible in those few short minutes, her attention was mine and I was welcomed into her story. Nikki Tibbles, the creator of Wild at Heart, started her career in sales and advertising, where her success there has been more than trumped by her accomplishments in floristry. Considering the beautiful creations that fill her days now, Nikki explains that the drastic change was primarily motivated by the fact that, “I wasn’t very good at what I did!” She explains that “I wasn’t an advertising sort of person and I didn’t really enjoy it. You spend so much time working in your life and it’s so important that what you do on a daily basis is something that you’re passionate about.” So as someone who did not have any particularly remarkable talents in drawing, painting, writing or music, for Nikki, flowers were a great medium to create her art and express her inherent creativity. She described it as “[being] like having materials with which to paint: you create a colour or texture. It seemed perfect.” Describing her first flower arrangement experience as being something of a light-bulb moment, Nikki describes those early days as “such a joy”, which led her straight into her first store. With her Notting Hill “up-market flower stand”, Ms Tibbles explained that she felt it was important to do something different from the flower stalls and shops that she had so far experienced. It was neither a “come and get ‘em darling, 20 roses for a pound!” outdoor market stall, nor an indoor classy but rather clinical experience in a “proper shop”. To Nikki, “It felt like a little corner of Paris and the first flower stall that had a luxury product”.Tibbles now has two independent stalls under her belt, as well as two concession stalls at London’s Harrods and Liberty, intermingled with commissions for countless exclusive high profile events. Most recently, Nikki catered for the annual Formula 1 for GOSH charity event at the Natural History Museum. The decorations completely transformed the somewhat lacklustre space into something gleaming and bespoke. Nikki has also done amazing collaborations with fashion designers like Meadham Kirchhoff. For Fashion Week 2010, Nikki created an amazing catwalk that reformed the walkway into “a fantastic pink garden for the models to walk through” which included pink ivy garlands and pink cyclamen. The arrangement beautifully accentuated the designs and theme of the designers’ offerings and brought the show onto another plane. Nikki explained that after almost 20 years of hard work, she still gets excited about what she does. “I get to work with something beautiful. When I go to the market and I see black irises for the first time... it’s like ‘gasp!’... I love what I do.” And what she does involves a much overlooked art that subtly creates a full and detailed atmosphere into which you are gently settled, preparing you perfectly for what is to come. For when Nikki simply can’t be at all of her stalls and events at once, her team of hand-picked staff come into play. “I was told when I worked in advertising that you should always employ people that are better than you
NIKKI TIBBLES Walking into the Wild at Heart flower stall, the nectarous gust of fragrance and colour and delicacy hit me, making me understand immediately how the appeal of flowers will be ever present, especially in the fashion world. Nikki TIbbles, the founder of Wild at Heart, and her accomplished staff member Astrid Haynez talk to me about their lovely work.
Pop-up shop with Meadham Kirchhoff for Topshop, 2011
and I always try and do it, now I have got some great staff”. Whether she is better than Nikki or not, Astrid Haynez who has been with Wild at Heart for over 6 years, agrees at least that she has the same style as her boss. “It’s like she doesn’t really need to tell me (what to do) – I get it.” When looking for the next step in her career that grew its roots when she was 13 in her auntie’s flower shop in Paris, she decided that Wild at Heart was the way to go. “I was like, I’ve got to go for the best. And Nikki and Wild at Heart were the only ones that really did work that I related to.” And to anyone that doesn’t give this art its due credit, Astrid explains that she would convert a disbeliever by producing a custom sample, demonstrating the skill required, and displaying the simple beauty and eternal relevance of the humble flower. “Basically, it has to be visual. I think actions speak louder than words with that kind of thing – you’ve gotta show them what you can do.” Nikki’s penchant for design extends well beyond her skills in floristry. Her home has been featured numerous times for its distinct and ever-changing beautiful style. For Nikki, her love of colour and texture is enjoyed and explored both in her professional and home life. “I like things that go together that shouldn’t really go together. I have a beautiful Terence Woodgate sofa, but it’s covered in an old fashioned flowered print in old linen, and I love that about it. It’s all about personality.” With hopes to one day extend her brand to New York, Nikki explains the importance of growth and evolution. “I think we have to keep changing and evolving and moving, and carving a niche for ourselves. We have to be true to Wild at Heart and carry on doing what we love whilst evolving.” Describing the most ‘Schön!’ aspect of her work as “seeing a smile on someone’s face when they’re happy with an event or bunch of flowers”, it’s clear to see that Nikki’s heart is in the right place, leading Wild at Heart in precisely the right direction. Words / Rebecca Chuks
Stripped & Painted
lensed by Jeremy Kost
Jeremy Kost represented by Jedroot @ jeremykost.com Models / Eian Scully @ Soul Jeremy Santucci @ Ford Tanner Dillon @ Re:Quest Make-up / Gregory Labon (Veruca laâ€™Pirahana) Casting / Edward Kim @ House Casting Film / The Impossible Project USA Special Thanks to Donald Baechler
away from the truth – and all of this happens so naturally that the masks become a second skin, only removable through a painful Odyssey: “For the book Aletheia – the state of not being hidden, I made 15 drawings of a man removing a mask,” the artist explains. “Throughout the whole process, the man has to face abstract and inner obstacles that prevent him from telling the truth. To reveal oneself is always a thorny process”. This is why Andreco often includes the Italian character Pinocchio in his installations and etchings: the famous puppet, a symbol for lies and truth, well represents man’s dishonesty. And still, Andreco goes further. His works are endless-faced polyhedrons, of which each side tells a different story and projects the mind towards a new dimension. Masks, thus, are not only a simple means to hide. Thanks to a deep knowledge of African and Brazilian voodoo religion, Andreco works on the role they hold in the rituals: “Voodoo is a spiritualist religion: the spirits, the loa, are thought to possess the people during the rituals. Hence, you become someone else: this is why masks are so important”. Taking inspiration from these ancient beliefs, Andreco has realised numerous masks, looking “for a way of creating my own masks, my own symbols”. African Pinocchio / Painting / Andreco
TEARING MAN APART
Along with voodoo, the artist has always cultivated a passionate interest for anthropology, focusing in particular on African tribal groups and primeval populations; the influence of these cultures is clearly visible in his human figures, smooth, simple and with African-like features. What seems to fascinate him the most about them, though, is their fearful respect and worship for Nature. As committed as he is in the battle to preserve the environment, Andreco holds
Black, sinuous figures evoke a timeless and psychedelic atmosphere. Gigantic whales swim on the walls of Italian cities. Thin fingers rip apart a chest, showing lungs and liver. Andreco is no ordinary artist. Born in Rome, the 33-year-old has lived in Namibia, Spain, Portugal and the UK before settling down in New York City, where he is currently based. He never attended an art academy, but his grandparents, both painters, had passed onto him the love for art: he learnt how to paint, draw, and even how to shoot videos, his favourite techniques, all on his own, gaining enough skills to be appreciated in the US, Asia and most European countries. His works don’t display the usual portrayals of some dull and shallow form of beauty, it feels like they are staring at you with a touch of cruelty. They absorb you and suck you in a spiral that goes deeper and deeper behind the mask everyone wears, deeper and deeper to the core of every human being. They enrapture you with a magnetic pulsation emanated by every inch of the thin lines that shape them. They bring you back to those primordial times when men still looked at nature with a hint of fear in their hearts. The Italian artist shows us what eyes can’t see, by bringing the internal organs to light: hearts, lungs and stomachs appear in most of his drawings, as a clear reminder of what we humans are really made of. And we are certainly not talking about mere flesh: we are passion, courage, we are ephemeral sensations and never-ending emotions. Yet Andreco is aware that men aren’t as transparent as he draws them: they don’t easily show what’s inside them. Every man takes refuge and enshrouds himself behind a mask made of lies, concealing his own nature and running
myman / Drawing / Andreco
Video still from "Mnliebe Aqumitate" by Andreco as fundamental a more peaceful relationship between modern man and Nature: “I find it interesting to compare how men related to Nature in ancient time and how they do it now; if there once used to be gifts and sacrifices in honour of a goddess-like Nature, throughout the years men’s attitude has become utterly exploiting and utilitarian. But I believe that the modern world has all the means to re-establish a more harmonic relationship with Nature.”
“I only want to stir their curiosity” All of these thoughts come together in Andreco’s drawings and paintings, covering them in a thick and meaningful fog and imbuing the atmosphere with a confusing feel of uncertainty. “I’d rather disorientate than define”, he claims, revealing that he never explains his opinion about his works because “I only like to lighten up a question, to generate an interest in the audience. I want people to form their own questions and find their own answers. I’m no one to give them resolutions. I only want to stir their curiosity”. Andreco, though, isn’t subtly getting rid of the burden of giving an actual meaning to what he does; he has a clear plan in his mind: “My work consists in trying to create images with a deeper purpose than being an end to themselves, trying to create my own religion with my own symbols.” He wants to push everyone to take the matter into their own hands and form their own belief. Undoubtably his men and women, with their surreal expressions and disturbing looks, inevitably pinch our conscience, urging everyone to look inside themselves, their hearts and their mind.
Words / Giulia Cardoso Artwork / Andreco
Shaman face / Drawing / Andreco
F ontainebleau PHOTOGRAPHY / PIERRE DAL CORSO
Silk charmeuse dress / Paule Ka Camel wool jacket with belt / Patrizia Pepe Brown velvet hight heels / Melissa for Vivienne Westwood
Nude coat with ruffles / Lie Sang Bong Nude bodysuit / American Apparel Black and gold tights / Gaspard Yurkievich Red crocodile-finish leather belt / Paule Ka Straw visor with flowers / Paname Par Jane Schmitt
Cream jacket with fur / John Galliano Black and gold tights / Gaspard Yurkievich Orange leather gloves / Vivienne Westwood White hight heels with fur / John Galliano Sunglasses / Escada sun
Beige tweed jacket and skirt / John Galliano Nude top / Avtandil String of pearls / Misaki Straw visor with flowers and feathers / Paname Par Jane Schmitt Brown velvet high heels (unseen) / Melissa For Vivienne Westwood
Beige shirt and pants / Jean Paul Gaultier Beige crocodile-finish leather bag / Paule Ka Brown mocassins (unseen) / Jean Michel Cazabat
Photography / Pierre Dal Corso Assisted by Mathis Styling / Sophie Clauzel Assisted by Blaise Model / Caroline Corinth @ Marilyn Agency Make Up / Eva Mâ€™baye @ B4 agency Hair / Mickael Jauneau @ agence Aurelien Special Thanks to Family Schmitt
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"Meaningless scramble for more room" / 2009 /Digital paint by Ryohei Hase
Find beauty in darkness Charlotte Summers interviews digital illustrator Ryohei Hase
â€œtheir feelingsâ€? / 2006 Digital paint by Ryohei Hase
“their feelings” / 2006 Digital paint by Ryohei Hase Next page “child mind” / 2003 Digital paint by Ryohei Hase
I am hypnotised by rabbits in their underwear and cannibal pigs. Ryohei Hase’s digital illustrations make dark, offensive subjects dazzling and desirable. The Japanese artist based in Tokyo spent four years at Bandai Namco Games learning to use CGI before realising his dream as a freelance illustrator. Ryohei’s work is a journey of appreciation, through discomfort to admiration. The subjects often involve animals, sometimes half human, in torment or distress. This unsettling topic gives way to wonder for his incredible skill and dedication to technique and disfigured photorealism. Each piece is powerfully dynamic and full of minute, delicately executed detail. I was eager for the opportunity to speak with the genius behind these sinister creations. Ryohei has an intriguing outlook on his career as he tells me that his time working at Bandai Namco Games taught him more about team work than technical computer skills. He is thankful for that experience as it helps him interact with his current clients. Now as a freelancer he prefers to work in solitary confinement with his dog as his only companion. Ryohei hates to be talked to or distracted by anyone while he is concentrating on work. He tells me “I just sit there face to face with my loneliness”. His introverted technique is unmistakably effective and even contributes to the power of his illustrations. When discussing his consumer he describes them as a person “who was able to find beauty in a dark place among his heart”. Ryohei’s attitude of finding beauty in a dark place makes his work richly potent as the viewer experiences a mixed torment of emotion and distress which ultimately leads to delight and contentment. A selection of Ryohei’s illustrations have an unfinished appearance, which can be explained by his work process. He makes several sketches on his computer and chooses the one he likes most. At this point he still does not see the final picture in his mind. He uses a trial and error process and this is why he often stops drawing without finishing the image. With the majority of Ryohei’s images being a depiction of a human body with an animal head I was intrigued to find out what this recurrent theme meant. “Nothing” was his response. They come from Ryohei’s own unique visions where he “saw a fierce tiger seeking fresh meat in a figure of person who was burning with anger, or a rabbit running away from something, coinciding with a figure of a person who runs hard even though he is very weak.” When I look at ‘Repetition 2011’, ‘The last thing we do’ and ‘Meaningless scramble for more room’, I see torment and
aggression within the animal subjects. Ryohei tells me this is “the energy from people around me. Everyone is fighting. Fighting with work, themselves, time, people, the world, or something I can’t even see. I feel beauty among people who try hard every day.” His somewhat positive attitude about human nature surprises me as I had perceived the humans with animal heads as his disgust for human nature. Ryohei says of this “I do respect humans very much. Of course, there is good and bad in people, but I believe that there must be a beautiful part among people who live strongly.” With these epic visions of aggressive and dynamic energy I wondered how Ryohei found peace and relaxation when not illustrating. Swimming in the sea and walking his dog help to calm him and make his mind go blank. Ryohei inspires his passion for living creatures and profound thinking by watching small insects on the ground and remarking on their big world in a small place. This will “enlarge his spirit”. If Ryohei was not in the creative industry he says he would enjoy a profession as a Doctor of Biological Sciences to further his love of these living creatures. On the triumph of his career Ryohei remarks he will feel ultimately successful when “I am able to feel very happy about what I have been doing just before my death.” Ryohei has done work for a vast amount of commercial companies from Mercedes-Benz to Playboy magazine. In terms of a template for which clients he works for, the important factors are that the image could only have been created by him, it could only be his work. And he does not like grotesque things, only beauty, so this has to be considered. With Ryohei’s work falling into so many specialisms, such as illustration, fine art and fashion, there is a wide pool of opportunity for international collaboration. The most important thing for him when considering a collaborator would be “someone who creates wonderful work and we have a mutual respect for each other. I’m always looking to meet those kinds of people.” After the Japanese earthquake Ryohei was not able to draw for some time. With his mantra that there must be some beauty even within pain or deep sorrow, he is still searching. This has been such a truly deep and huge sadness and he has not been able to find it. The film “The Cell” directed by Tersem Singh has influenced Ryohei a lot. He talks of the film expressing “a dark part of the mind with beautiful graphics.” This is a perfect description of Ryohei’s work. He is consumed by dark thoughts and transforms them into exquisite images with an exceptional kind of beauty. All artworks / Digital paint are created by Ryohei Hase Words / Charlotte Summers
SOLDIERS OF LOVE PHOTOGRAPHY / PHILIP RICHES
Shorts / Rick Owens Stockings / Wolford Boots /Rick Owens
Jacket / Vintage Boots / Rick Owens Opposite Back pack / Silent Boots / Rick Owens
Photographer / Philip Riches @ Eric Elenbaas Agency Hair & Make Up / Liselotte van Saarloos @ House Of Orange sponsored by Lauren Mercier Styling / JeanPaul Paula Models / Jolijn Spek @ House of Orange Models / Kelvin Bram @ Tony Jones Model Management Assistant Photography / Thomas VĂ¸rding
NAYE QUIROS Naye Quiros does not view jewellery as something static to be admired in a cabinet or worn for ‘best’. She has designed pieces that are resilient, movable and connect with the wearer. Her experiences as a constant traveller have shaped her creations and it is no surprise that the concept behind them is, in her own words, ‘Portable art’. A woman influx, wanting to be constantly on the move, it is key that she needs a fashion line that can be part of this constant shifting perspective. Quiros herself was born in Mexico, studied in Milan, moved to New York and has visited a number of other countries including Spain and Canada. She is currently living in Buenos Aires; with her South American roots, it is there she attributes her passion and inspiration. Driven there by desire, she says: “I followed my intuition. I felt I had to travel to Buenos Aires which is a Latin American Paris, so I moved there, fell in love with the city, fell in love with a man and opened up a workshop that is located in the heart of the jewellers street in the city.” This enthralling desire is inherent throughout her collections, giving each a particular name; one of them is entitled poison, based on the dangers of the elixir of intoxicating love. Having the social revolutionary David Alfaro Siqueiros as her great grandfather, she could do little to escape inheriting a rebellious nature. “My nationality is traditional but I was always free and broke the rules, my family is a not a conventional family. My great grand father made a statement, and I feel it runs in my veins, he was and is revolutionary and powerful, he expressed his political ideology in his worldwide murals and made a lot of noise.” Replicating her predecessor, she is a designer who does not shy away from making her own noise in the fashion world. On her 2010 campaign pictures, which took place in a jail, she comments: “It was strong and controversial.” There is a sense in the way she talks that Quiros gives herself over to the designs, dedicated to the design process. Each piece has a strong, formidable personality, they are not precious, “each collection is designed in silver, or silver base with a gold (pink-yellow-gold) plate, real gold or platinum. My ideology is ‘Design not Carats.’” The identity of Quiros’s woman is someone not unlike herself, describing them as, “persistent, passionate, extravagant”, and naturally, a “traveller”. The focus is on the wearer’s experiences rather than pieces to be seen, jewellery as a woman that is all yours and all your own; being led by your heart’s desires. To find out more about Naye and her collections visit: nayequiros.com
Photographer / Salome Vorfas Styling / Barbara Castro Make Up / Sofi Klei Hair / Ale Reyes & Marcelo Pedrozo Q&A by Lauren Cowley Edited by Caroline Barnes
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IVANA BAQUERO Photographer / Sergi Pons
Previous page Dress / Victoria Beckham Skirt / Moschino Vintage Kimono / Ralph Lauren Both golden belts and earrings vintage / The Blow Gold bracelet / Carmina Rotger Tiger ring / Carrera & Carrera Gardenia ring / Carrera & Carrera Bracelet / Suarez Body / Andres Sarda Leather and fur jacket / Maria Escote Velvet pants / Roberto Cavalli Shoes and clutch / Alexander McQueen @ Jean Pierre Bua Gold belt / Le Swing Necklace / Rodrigo Otazu @ Carmina Rotger Tiger necklace / Maria Escote Mirror earrings / The Blow Tiger ring / Carrera & Carrera Afrodita ring / Carrera & Carrera
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I vana Baquero When Ivana Baquero, at age eight, accompanied her friends, to an open casting at her school, she was curious to see what it was all about, but had no thought of auditioning herself. As it happened, she did audition, and, to her great surprise, was given the role. Her part in the film ‘Romasanta’ (2004) was the first of many that would progress from just a hobby into something much more serious.
Baquero reflects upon this time with the poise and consideration of someone more worldly, making it hard to believe that a girl of sixteen is on the other end of the phone. Her transatlantic twang is thanks to her education at an American school in Barcelona – a place that she loves for its beauty and bustling summertime buzz - and it’s spiked, wholesome vibe. It is Baquero’s hometown. Incredibly, this softly spoken girl has a genuine taste for Horror and Fantasy films - which can be seen in her extensive film repertoire, from Sci-fi Horror ‘Rottweiler’ (2004) to her most recent role as a girl with increasingly bizarre behavioural tendencies in ‘The New Daughter’ (2010). Her most famous lead so far has her cast as Ofelia/Princess Montana in the potent fairy tale, ‘Pan’s Labyrinth’ (2006), a divine Guillermo del Toro concoction that she remembers well. A memorable experience to work under the direction of one of the world’s best minds in film. “He always showed me this little book he had, he wrote everything in it. He drew pictures that he had in his mind about the movie! He has this beautiful way - he knows how to work with kids. During difficult scenes I needed support, I needed advice - and he was always there for me.” Everything that she knew and remembered as a child has been important to Baquero, who learned to “extract from past experiences and to put back into her life.” Baquero tends to gravitate towards films with dark, fantasy filled plots and these have delivered many challenges - such as dealing with postproduction special effects with imaginary props and characters - from robotic dogs to fairies. As a result of these challenges, her skills were developed on set rather than within the confines of an acting school. “I remember one of the things Guillermo told me was that the most powerful thing you have as an actress is your instinct”, something she now deems crucial to success in her performances so far. It is interesting to note as we speak, that although Ivana is emotive and connected to her work, she is also very pragmatic. As she fragmentises the process of acting, she is able to isolate the performance process - a technique
acquired from working on difficult sets like that of 'Pan’s Labyrinth'. “Guillermo knows exactly what he wants and he controls everything at all times. Clearly when you’re playing with other characters that might not actually be there in the studio or in the scenes, like fairies, then you have to be really careful with what you’re doing.” As a result of this, Baquero notes that she has learnt to take information in like a sponge. “The filming has been like an ‘acting school’ for me. I have a coach. I start with him two, three months before the actual shooting starts. I have discussions with the director, and I like to develop my character so that when I go into a scene, there is some space, some freedom, some choices, but I do know exactly what I am going to do and what’s required of me.” But this highly motivated ingénue and staron-the-rise has a solid life plan which includes avoiding the many traps that child stars before her have fallen into. Baquero cites actress Natalie Portman as a huge inspiration: “I have always said since I was ten years old that I admired her - she studied psychology and has still had a successful acting career.” Now Baquero is at a time in her life when her career and her future are increasingly playing on her mind, and it doesn’t stop at acting. She is aiming high when it comes to her studies. “I like law, I like business, I like psychology, but they’re all really different. I like them all, and I’ll have to choose soon…” For now she lives at home with her family, trying to live the life of a normal teenager. “I have time off to enjoy my youth, you know, my childhood, so I find that I’m not really missing anything because I have what I love most in the world, which is acting. But then I am also able to take on a more normal life when I’m not shooting a movie.” She is very aware of the harsh criticism that comes with show business, and at sixteen is more perceptive than many her age. “As an actress you are exposed to the outer world, because you know you are going to be judged… so you have to be very strong, and very brave in that sense.” As an avid reader, she regularly dives into fantasy; “I was addicted for a time because Guillermo sent me so many books and comics, but now I like to read different things. I like
Spanish literature. Right now I am reading ‘Balzac and the little Chinese Seamstress’. I think it is such a beautiful story.” Musically she is attuned to the legends of rock and roll. “My Dad is such a fan that he influences me. I like other forms of music, but I go to concerts with Dad quite a lot - I just went to Pink Floyd - ‘The Wall Tour’- they played in Barcelona” she says excitedly. So what movie would she act in if she had the possibility to jump in on a set? “One of my favourite movies is ‘Troy’, and in that I would have loved to have played a role. Or, ‘Lord of the Rings’ by Peter Jackson, which I love. It would be bliss to play in either of them. These are the type of movies that I enjoy - epic, historical movies.” As Baquero gets older, she is keen to see what sort of future prospects emerge. “I have noticed that I went from playing the role of ‘the girl’, who was a kid to someone, whereas now I am starting to be selected for more important main character roles- mostly women coming of age.” In the future? “I would like to try some comedy, because I have never done any comedy, so it would be nice to try. But I will keep doing Fantasy, the type of film that I feel the most comfortable with”. And as for what is just around the corner, “I just did a short called ‘The Red Virgin’ which is based on real events that took place in Spain. I’m not sure when that’s coming out, but the short will be screened at festivals, so maybe we will film the feature soon also. But what is exciting is that I am actually going to LA this summer to talk to my manager and my agent about starting a new film, but it’s still not 100% confirmed so I can’t really say anything - even though I just did - but that will be filmed next fall…” These are opportunities that so many actresses would kill for- and Baquero hasn’t taken this for granted. Acting simply ‘found her’ - and while she slips comfortably into a more mature version of the Ivana Baquero who captured us as a child - we will be on the lookout for her new persona on the big screen.
Words / Meghan Hutchens
Feather dress / Andres Sarda Top / Chanel Vintage @ The Blow Leather shorts / Paule Ka Gold eyelet suspender / Agent Provocateur Shoes / Gianmarco Lorenzi Gold belt / Le Swing Necklace / Paco Liston @ Carmina Rotger Bracelet / Ivete Bijoux @ Carmina Rotger Tiger bracelet / Maria Escote
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CHRISTIAN BECKMAN Where Fact Meets Fiction.
Words / Rebecca Chuks Photography / Roger Erickson – we are trying to fool the audience by creating simulated elements on a performer. We utilized a lot of these effects in M. Night’s The Happening. Animatronics apply to characters that are fully created in the studio and are then animated by using mechanically designed elements. One good example of this is my work as part of the team that built and puppeteered the tentacle’s attached to Alfred Molina’s character Dock Ock in Spiderman II. We generally refer to prosthetics as ‘prosthetic makeups’ and this is a process of designing and sculpting foam or silicon makeup appliances that may be glued onto a performer’s face changing their whole appearance drastically or slightly”. But how does it all begin? With such an intricate process ending in the product taking pride of place in the ‘costumes’ trailer, Christian explains the procedure for speciality costumes. The process begins with, “scanning the actor wearing the costume so we can build a costume that is custom to the actor’s body.” From there, “we can begin the process of sculpting the three dimensional elements of the speciality costume.” Following this, once the sculptural elements are approved, the necessary components are moulded and cast. Once these constructions are painted, they can then be sent to filming location where a further team of costumers and technicians take charge of maintenance and dressing the actors. In terms of design, the amount of freedom Christian and his team are afforded depends on the project. “When it comes to creature designs and prosthetics we are generally given the leeway to design the character from
Storm Trooper Helmet from "Sucker Punch" Have you ever wondered what would happen if the deepest recesses of your mind were emptied out of your cranium and imbued with life? Or what the heroes that we know so well from the world of fantasy and fiction would look like, if you were tasked with fashioning them? Well Christian Beckman has done exactly that with his makeup and effects company Quantum Creation FX, inviting us into a world where the fictional lives and breathes. With his desire to work in the world of makeup effects beginning when he was just 8 years old, Christian describes the source of his early inspiration. “I think when I started watching films such as John Carpenter’s The Thing as well as Friday the 13th and Star Wars – this is where I would say the true “Nightmares inception began.” And the drawings can be fun, or and sculptures of a young boy became inspire fantastic the creatures and characters that grace the big screen, transforming mere ideas.” ideas into reality. With an impressive resume that includes Watchmen, TRON, Sucker Punch, and Star Trek, Christian has come a long way. Christian and his team specialise in makeup effects, animatronics and prosthetics. And in English, Christian explains exactly what these are. “The art of makeup effects is generally speaking an ‘art of illusion’
Adrianne Palicki's outfit for Wonder Women
Christian Beckman at work
scratch. In the world of superhero costume building we generally won’t get much latitude in the design process as this is left up to the costume designer and director generally”. In the latter case, there is a different focus, “Our challenges will lie more in bringing that comic book hero to function while still trying to maintain the aesthetics of the costume designer, director, and the fans. I like to believe that our super hero costumes enhance the actor’s ability to play that super hero character. You can’t help but feel more than human when you are wearing a full Nite Owl costume, cape, and cowl.” The beauty of film, and all of its facets, lies in that it sets out to convince us that what we are shown bears some semblance to reality. Even the most futuristic and fantastical stories set out to look as realistic as possible, to transport us into the world of that “The art of makeup story and truly captivate us. And in effects is generally fooling our senses, Christian is a master. But it is not flesh and bones speaking an ‘art of that he uses to create his characters illusion’.” and creatures. Instead, “We use everything from gel-filled silicones, foams, synthetic fur and blood to acrylic paints, and in some cases we may add light as we did for TRON Legacy – all these materials can be manipulated into giving the aesthetics that we need to provide the audience with the final desired illusion”. If asked to imagine or invent some creature or animal that has never before been, most of us would struggle, and eventually settle on some combination of creatures that already exist. The centaur, the griffin, the mermaid – all hybrids. But Christian explains what it takes to create these things that are novel. “You certainly have to have a unique imagination and understanding of how to transform and realize a design and bring it into the functional real world of film.” And from living in a world that consists of dreams brought to life, Mr Beckman describes his perception of reality that is somewhat shifted from the norm. “You can’t help noticing items in the real world (animals, insects, underwater life) and not be sometimes inspired to create your own version. I think my psyche can be affected due to the research required to develop some of these effects. For instance, when I am asked to create 60 dead charred bodies for a war film or a body that has fallen 20 stories – I can’t help but be affected by this. But nightmares can be fun, or inspire fantastic ideas.” In bringing mere concepts into the realm of reality, Christian’s world truly is the place where fact meets fiction. With the limits set by technology receding further and further, the effectiveness of his creations can only improve, leading us into a whole new dimension in which anything is possible.
Garrett Hedlund's outfit from "Tron: Legacy"
PHOTOGRAPHY / DIMITRIS THEOCHARIS
Previous page Savil wears Underwear / Dolce and Gabbana Sam wears Metallic top / Stylist's own Necklace / Ericson Beamon Patent belt / Beyond Retro Skirt / David Koma DAVID KOMA Studded shoes & Bra / Jiv D This page India wears Leather Lace Dress / McQ by Alexander McQueen Selection of Gold Bangles / Sho Fine Shoes / Jiv D
Savil wears Leather Harness Waistcoat / Jean Pierre Braganza
Savil wears Kilt / Kenzo Rope belt / Stylist's own Patrick wears Kilt / Vivienne Westwood
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Patrick (left) wears Leggings / Vivienne Westwood Necklace / Ericson Beamon India wears Earring / Ericson Beamon Top & Skirt / Vivienne Westwood Leather Cropped Vest / Maria Francesca Pepe Leggings / American Apparel Nick wears Mesh Top / McQ by Alexander McQueen Savil wears Head Piece / Elenor Amoroso Trousers / Alexander McQueen
Photographer / Dimitris Theocharis @ dimitristheocharis.com Assisted by Giovanni Martins Styling / Darren Knight @ BALLSAAL Assited by Karina Tanabe Jones Make Up / Emma Miles using MAC Pro Hair / Daniel Dyer @ DWM using Bumble and Bumble Retouch / Samuel Hearn Models / India and Savil @ Next Sam Rollinson @ Select Patrick Rukai @ Premiere Nick Riback @ NEVS
W Hotel London: Resolving the Dualities of British Culture through Luxury by João Paulo Nunes In most hotels, the identity of the brand can usually be found in logos choicely displayed on patterns on worn-out carpets in cluttered lobbies, or on the stacks of stationery paper scribbled with numbers and doodles on bedroom desks. This is most definitely not the case of the W London. Surprising as it may seem, the character of the newest hospitality addition to London’s Leicester Square can be best witnessed in the gigantic images that occupy two of the walls in its gym, which is almost too stylish to be used. On one wall, a muscular and half-naked male model wears a tartan kilt, while the opposite wall features a female model wearing only a pair of impeccably tailored pin-stripe trousers. The choice of images at the gym of the W London was undoubtedly carefully planned to portray the hotel’s profile: the attempt to resolve British cultural dualities, like tradition vs. contemporary innovation; staid decorum vs. explicit sensuality; and timid style vs. conspicuous luxury. Described as an innovative, contemporary, design-led lifestyle hotel, the W London is one of dozens of W Hotels all over the world, which are part of the conglomerate Starwood
Hotels & Resorts Worldwide. It is virtually impossible to avoid the presence of the numerous W Hotels and Retreats that have mushroomed in cities and exotic destinations worldwide, particularly over the last decade. Having started in 1998 with the W New York (on 49th Street and Lexington), the brand now comprises over 40 properties internationally, with plans to double its footprint by 2011, as announced in March 2011. W Hotels are renowned for offering innovative design and architecture, and for celebrating the lifestyle of fashion, music and entertainment professionals that work hard and play hard. The hedonistic sensibility of the brand is made possible by integrating contemporary restaurant and retails concepts, nightlife experiences, and signature spas. For years, the brand has been working with designers and architects including Gwathmey Siegel, Yabu Pushelberg and Clodagh. Architecturally, W Hotels have been pushing boundaries, but not without controversy. For example, the opening of the massive W Barcelona (designed by Ricardo Bofill) was mirred with criticism and rumours of
corruption regarding its building permission. In London, the W Hotel in Leicester Square with its translucent glass façade, has attracted similar criticism by conservative architectural factions. It has been suggested that the volume and design of the hotel is not sympathetic with the architectural context and with the community life of neighbouring China Town and Soho. Nevertheless, the hotel has secured prestigious architectural and design accolades, including ‘Special Tribute to UK Country of Honour’ at the 2011 MIPIM Awards. W London has been shortlisted in several categories at the 2011 European Hotel Design Awards and the World Architecture Festival Awards, whilst Jestico + Whiles, the architects behind the build, have been shortlisted for Hotel Architect of the Year. Regardless of the awards and the controversy, the five-star W London is regarded by many as an enhancement to London’s Leicester Square. The W London, with its 192 bedrooms, retail and leisure spaces, and residential accommodation spread over 200,000 square feet, is the result of the work of James Dilley, an associate director at Jestico + Whiles.
Dilley conceived the hotel’s façade as a second skin of frameless glazing with an undulating, abstract pattern suspended from the face of the building. The design also allows for the façade of the building to function as a vast pixelated screen, intended to project dynamic light displays at night. The light intensity and colour saturation of the veil is supposed to change the presence of the building as day turns to night, but has been defective from the beginning. To maximise activity at street level, the lower floors of the building are occupied by shops, bars and restaurants, whilst the hotel entrance is located off Wardour Street. Contrasting the rowdy environment that often typifies Leicester Square, once patrons of the W London enter the building, they are presented with a very different atmosphere. The interiors of the hotel, which have been designed by the Dutch company Concrete Architectural Associates, aim to offer guests an experience of London culture by combining the formal with the frivolous, from varied spheres of London life, into one idiosyncratic experience. In a mix of traditional and contemporary materials, and comfortable and cutting-edge design, Concrete’s interiors illustrate the face of London pop and street cultures and attempt to resolve the dualities of British culture. Guests make their entrance underneath a sculpture made of 280 disco balls surrounded by black glass walls. On the left side of the entrance, Concrete’s Spice Market restaurant mixes the ethnic vintage feel of Spice Market New York to the contemporary architecture of the new building. On the first floor, visitors are led through the reception atrium into the Wyld bar, which overlooks Leicester Square.
On the floors above, and spread across six levels, there are 165 standard-size rooms ingeniously decorated with enclosed bathroom areas behind mirrored doors to maximise space. In addition, there are nearly 30 suites, vast bathrooms, Jacuzzis with television, spacious dining areas, and gigantic rotating sofas in the entertainment room encapsulates the conspicuous luxury of the hotel.
saw journalist Damian Barr invite ten of his favourite international writers to choose a personally significant book each, and inscribe in them a handwritten introduction. The books were then made available to guests and visitors of the hotel to borrow and read. Over the summer of 2011, W London also collaborated with choice artists to design bicycles, with the profits going towards the Elton John Foundation.
“...the attempt to resolve British cultural dualities, like tradition vs. contemporary innovation, staid decorum vs. explicit sensuality, and timid style vs. conspicuous luxury.”
If the size, form and purpose of the W London were to be questioned in the context of London’s West End, the hotel could certainly improve its image by refurnishing itself as a hosting venue for cultural activities in the heart of the British capital. But by going beyond the belief that the value of its brand lies in engendering luxury into bedroom pillows, bar sofas, or on the walls of its gym, the W London would certainly be taking positive steps towards embracing Leicester Square’s residents and visitors, by offering new and enriching cultural experiences.
The decor of the bars and the rooms are marked by traditional British cultural elements such as the UK (‘Union Jack’) flag, Chesterfield sofas, gentlemen-club fireplaces, and displays of knick-knack plates that are reinterpreted to fit into a 21st century aesthetic. The sofas are clad in conventional pin-stripe patterns but with contemporary shapes, whilst the goldrimmed plates are emblazoned with punk imagery, illustrating the intention to revitalise tradition and genteel antique collecting habits by means of present-day images of luxury. When asked about their occupancy rates, the management of the W London were proud to state that the opening of W London represented the fastest launch of any W in history, with 90% occupancy during the first month of operation. The success of the build can also be measured in its wider achievements, where the hotel recently created the (W)riters’ Library, which
All interior images provided by Jestico & Whiles © Ewout Huibers Drawings © Jestico + Whiles Words / João Paulo Nunes
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andrej pejic by chri stos karantzolas & kyle anderson
Previous page Fur coat / Adrienne Landau Choker / Michael Kors Bag under arm / Chanel Quilted Corset belt / Chanel White belt / Chanel Pants / Salvatore Ferragamo Bag around waist / Chanel Jacket / Jean Paul Gaultier Bangle / Tiffany & Co.
Pant / Jean Paul Gaultier Both bags / Chanel Boots / Giuseppe Zanotti All jewelry / Robert Lee Morris
Jacket / Balmain @ net-a-porter.com Tank top / Calvin Klein Bag / Chanel Pants / Jean Paul Gaultier Boots / Christian Louboutin Bracelet / HermĂ¨s
Jacket / Louis Vuitton Pins / Chanel Pants / Alexander Wang Belt / HermĂ¨s
Bodysuit / Salvatore Ferragamo
Trousers / Jean Paul Gaultier Suspenders / Jean Paul Gaultier Bag / Gucci Both bracelets / HermĂ¨s
Clutch / YSL Sunglasses / Lanvin Jacket / Jean Paul Gaultier Bracelet / HermĂ¨s
Photographer / Christos Karantzolas @ 212 Artists Representatives Styling / Kyle Anderson @ kyleeditor.com Make Up / Niki M'nray Hair / Menelaos Alevras @ menelaoshair.com Manicure / Yuki Fukuda Fashion Assistants / Jenna Blaha Rayner Reyes Marianne Dabir Model / Andrej Pejic @ DNA, NYC Shot @ Divine Studios, New York
Alexandr a Walton is a graphic designer who has worked on issue 13 of Schön, with a sharp eye for typography. Alexandra has done several commercial and corporate graphic design layouts before joining the team at Schön magazine. Andre Da Silva is a longtime contributing writer to Schön magazine who has interviewed fashion, art and design figures for the magazine. Anne Combaz is a self taught Paris based photographer noted for her backstage fashion show imagery and has photographed many well known models including Jessica Stam, Karlie Kloss, Lindsay Wixson and Sasha Pivovarova. Charlotte Summers is a fashion design student in her final year at LCF writing for Schön! magazine. She is passionate about international design. Her craving is finding innovative creatives hidden around the world. Chloe Hwang originally from Korea, Chloe splits her time working as a graphic designer and studying at Chelsea College of Art and Design. Having grown up in big cities like Seoul, Shanghai and London, she considers her multicultural background to be her greatest asset.
Christos K ar antzolas is a Greek photographer who originally studied Biology before pursuing art, fashion and photography in London and New York. He has collaborated editorially with many international publications including Vogue, Harper’s Bazaar and Surface. Cleide Carina Cardoso splits her Journalism studies at City University with a semester exchange in Sydney, Australia in February, writing/copyediting for Schön, and also interviewing creative people and up-andcoming talent for her blog Creative Forensics. Her love of languages, culture and under-known talent have pushed her to learn Mandarin. Daniel ‘Samo’ Bolliger is a widely published photographer whose creations have been exhibited all over the world from Beijing to New York to Zurich and Los Angeles. Danielle Dzumaga is a fashion writer who has contributed to Schön several times, writing Schön 11’s cover story on Queen Elizabeth II. She has recently graduated from Cambridge University with an English degree and in her university career contributed to the student newspaper Varsity. Dimitris Theocharis is a Greek photographer who has been widely published in magazines such as Vogue, Let Them Eat Cake and Wound. Dimitris previously shot Sebastian Sauve and Leebo Freeman for the cover of Issue 12 of Schön! magazine.
Donnacha Gleeson is a London-based student studying International Business/Marketing with Spanish and Italian. With the ability to speak five languages he hopes to one day establish his own international public relations company. Emma Ruttle is a writer in her final year at the University of St Andrews, where she reads English literature and art history. She writes for both print and online publications and her desire to connect to readers through her works is her constant impetus to achieve more and reach farther. Fulvio Maiani has had an eclectic 20 year career as a widely recognised photographer having been published in ELLE, GQ, Zink, Flair, Grazia and many more. Some of his commercial clients have included D&G, Roberto Cavalli and Benetton while he has shot Dannii Minogue, Sophie Ellis Bextor and Valentino Rossi. Giulia Cardoso is a young student from Milan who is a taking her first steps in the world of journalism. Contributing to Schön for the first time she combines a passionate interest for culture, art and photography with her love for writing. Javier Ortuzar is a Spanish photographer and at just 22, has a clean and sharp aesthetic and an extensive portfolio. Based in his home country, he has a one of a kind simple style all his own. Jeremy Kost was born in Corpus Christi, Texas and now lives and works in New York City, though he regularly travels the world to capture his images and showcase his work from the Andy Warhol Musuem in Pittsburgh, Pennsylvania, USA to Galerie Nuke in Paris. Jeremy specialises in shooting photographs with Polaroids of thriving subcultures. Joao Paulo Nunes is founder and editor of the fashion and lifestyle website worldmanabouttown.com, his articles on fashion, art, design nd architecture have been published in Byron, Muse, Out There and Schön. K aisa Kokko was born in Finland and is currently in her final year of a Graphic Design degree. After an amazing exchange year in Barcelona she decided to continue her studies via an internship at Schön! magazine. K ay Korsh is a Ukrainian freelance fashion stylist currently based in London who has previously been featured in Issue 13 of Schön! and has recently been appointed as a fashion editor for the magazine. Kyle Anderson Born in Stockholm, Sweden, Kyle is the charismatic Senior Accessories Editor at ELLE
magazine and lives in New York City. As well as his role at ELLE. He is more commonly known as KyleEditor on his blog and twitter. Laretta Houston is an award-winning beauty and fashion photographer based in Atlanta whose work has been used for both media promotion with celebrities – recording artists including Lupe Fiasco and DWoods – and featured all over the world in publications such as Runway, OBVIOUS, Epic and Savoy. Lauren Cowley is a London-based student currently studying Journalism at the University of the Arts. Combining her love of both fashion and writing, interning for Schön! is her first foray into the world of publishing. Laurent Dombrowicz is a Belgian-born stylist who started his career in fashion at 23 as Fashion Director of the weekend magazine Weekend L’Express. Over the course of his career, he has worked with a wide array of celebrities including Monica Bellucci, Clemence Poesy, Kelly Slater and Liz Hurley. Matthew Lyn started his photographic career in 2007, having been inspired by the coastal landscapes of Jamaica. Matthew has been published in magazines worldwide and is planning on releasing a photography book titled Fashion Erotica, coming out in 2012.
R ayan Ayash has worked with models including Irina Funtikova, Madeleine Blomberg and Jaclyn White. He was featured previously in several issues of Schön! Magazine. R aoul Keil moved from his native Germany to London to accomplish his goal of gathering creative people from all over the globe and bringing exposure to undiscovered talent. He is the Editor-in-Chief of Schön! and the creative director behind Nineteen74.com as well as his new venture, Lachs magazine. Rebecca Chuks hailing from London, this young creative operated as a freelance copywriter and editor alongside completing her degree in Philosophy and Psychology at the University of Leeds. Her penchant for the art of words has led her to writing an anthology of short stories. Rebecca Hamersley moved to London from Australia to learn more about the creative industry She has gained experience working in photography and retouching and has out these skills to work here at Schön. Richard Stow has notably shot all of the backstage pictures for legendary catwalk photographer Chris Moore from 2006-2008. He has been published in US Harper’s Bazaar, The Sunday Times Style, US Marie Claire and Spanish Vogue.
Meghan Hutchens is a writer who has recently contributed to the 14th issue of Schön where she interviewed teenage actress Ivana Baquiero, who shot to fame as a child actor in Pan’s Labyrinth.
Ryohei Hase is a freelance illustrator and artist based in Tokyo, Japan. In order to become a professional illustrator, creating illustrations for CDs, the web, magazines and fashion photographs.
Nicolas Menu is a Paris-based multi-oriented photographer and art director. Mixing classical culture and a kick of the American way of life, he easily switches from still lives inspired by Quattrocento masterworks to edgy black and white portraits.
Sar ah Brimley is an award-winning photographer who has shot for Idol, Flaunt, Out There and LIVE magazine. Sarah was named the judges choice at the AOP awards 2011 as well as being chosen as photographer of the year 2010.
Omar Macchiavelli is currently based in Milan and has shot models including Rob Evans and Marlon Teixeira. Omar has been previously featured in Issue 12 of Schön! with the beautiful editorial ‘Flow!’ Philip Riches photographic career has spanned both editorial and commercial endeavours, working in conjunction with brand Viktor & Rolf, Geil, Attitude and Winq magazine. He has shot models including Geoffrey Jonckheere, Janice Fronimakis and Matt Morgan. Pierre Dal Corso is a photographer based in Paris who has been featured in Vogue Italia, Lurve, BlackBook and has also had exhibitions displayed in Rotterdam and Beijing.
Saskia Reis is an editor at Schön magazine, contributing to most issues, she is also an MA student at the London College of Fashion, studying Fashion Media Production. Her skills range from digital documentary, art and fashion filmmaking, photography and journalism. Sergi Pons is a photographer who was born in Barcelona and began shooting his own editorials in 1990 after working as a photographic assistant. He regularly contributes to magazines such as Vogue, Glamour, El Pais & French GQ. Zohr a Bakhsh originally came to Schön magazine as a graphic designer after graduating from Hertfordshire University with a degree in Illustration Design. She now holds the key position of Assistant Editor and contributes to every issue.
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Andrej Pejic by Christos Karantzolas and Kyle Anderson
Rick Genest by Matthew Lyn and Kay Korsh
Andrej wears Louis Vuitton
Rick wears Shirt / Cheap Monday Shirt / Rag & Bone Trousers / John Galliano
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Raf Simons for Dr. Martin
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