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Joint Editors-in-Chief:


Artur Dziewisz Ania Mroczkowska Louise Munro

Caroline Hoermann Chris Purnell Daniel Jung Erica Fava Rebecca Litchfield Evita Weed Jess Wu Kasem Janyaworawong Kusi Kubi Maks Andala Patrik Linden Rena Niamh Smith Sophia Price StĂŠphane Roy facebook/slavemagazine twitter/slavemagazine Design & layout:

So a lot has happened in the Slave head quarters over the last few months. We’ve relocated to London, launching a new look website, celebrated our first birthday and we have a lot more still to come too so keep watching. In issue 6 you are going to be pleasantly surprised yet again. We have interviews that will get you thinking, articles for you fashion forward people, editorials that are sensational and an astonishing amount more just for you. We thank all our amazing talented contributors of this issue and you our readers and followers as always. With Love Slave Magazine Editors

Photographer: Stephane Roy Model: Rick Genest - Style: Florence Abelin - Stylists: Jackie Tadéoni & CYAM Créations Assistant: Bérénice V

Balancing between dreams and nightmares, fantasy, decadence and madness, my photographic work provides a view of the world and introspective depths of the human species. The photographs go beyond the surface and try to open doors to other dimensions (psychological, philosophical, sociological) leading to a reflection upon the construction or destruction of identity and human behaviour. Through working in a cinematographic way I'm trying to create characters who are confronted with themselves, others and the world. Each photograph is an autonomous piece of work, containing different levels of interpretation. The spectator gets invied to enter these worlds and reflect upon them. I met Rick Genest in Paris last December. His personal story touched me, and this has created in me the desire to pursue this collaboration. When I work with someone, I don't care whether this person is known or not. I care only about the human behind the mask. Rico took the exact measure of his personal experience by going beyond the limit of his thinking and his being. He accepted his scars and went beyond, building a personal thought for all. He is one of the perfect example of why I do photography. As a human, and as model, he represents some of the main lines of my artistic world. A true icon in our contemporary and virtual world, he summons these issues that affect us all: our relationship to our bodies, to life and death, to others,-even the desire of metamorphosis, evolution, being honest with himself and his impulses. If the tattoo culture is becoming more and more a fad, it still remains a culture of extreme for some media and much of public opinion. The judgments that undergo this kind of people are interesting and show many borders of the human and social relations, even if they change over time. The tattoo and body modification are part of the many themes that inspire me, whether in image, or in thoughts. “The road is still long, I'm young and I still have many things to express...�

Photographer: Daniel Jung Model: Ashley Bowers@Model International Hair&Make-up: Kat Laskey Stylists: Andrea Spratt&Caley Johnson Production Design: Alicia Drake

Headdress: Miss G Dress: Kucoon

Headdress: Miss G Dress: Kucoon

Headdress: Miss G Dress: Kucoon

Headdress: Miss G Top and Shorts: Kucoon

Headdress: Miss G Slip: Kucoon

The girl behind Bree Olson by Chris Purnell

Bree Olson did porn. Known as Porn’s filthiest dirty talker, the 25 year old won multiple AVN (Adult Video News) Awards, including Best Anal Sex Scene, Best All Girl Three-Way Sex Scene, and Best New Starlet. She was a porn star. Bree - also known by ex-boyfriend Charlie Sheen as his ‘Goddess’ - real name Rachel Marie Oberlin, has now retired from the adult industry and is pursuing a mainstream acting career akin to fellow retired adult star Sasha Grey. I was surprised by Rachel. She is not what I was expecting. She is very articulate, good humoured, and speaks with a world-weariness that hints at a deeper character than her screen credits would suggest. When speaking about the adult industry, Rachel made me think it was fine, and a wonderful place for anyone to make quick and easy cash. Now, having had time to think about it, I know it cant be. My liberal, broadsheet reading mind wont let it be. But I can see how someone could be seduced by it. We spoke from her home in Indiana, a town she has always lived in, about her life in porn, and about her unwillingness to tell me how much money can be made.

What did you want to be when you were growing up? RACHEL: I was going to school to be a doctor. I went to university in Indiana for two years and I dropped out to work in adult films. I was just a young college girl and I was just like weeeee, let me go, it makes money and I can pay some bills and buy some fun stuff. I didn't even think I was going to make a career out of the adult industry - I just wanted to try it. Needless to say I never went back to school. What made you think of being a doctor? RACHEL: It was just something that had been branded into me since I was a child. That's how my family was. You had to decide from a young age what your interest is, then go and make a career from that. That was my interest. I watch my diet and I exercise and I'm still very much interested in nutrition and health - it's just that I do it for myself and not for other people. I try to help other people, but some want to listen and some don't. How did you first get work in adult films? RACHEL: Indiana is very far from where most porn is shot, which is in LA. So I looked it up on the internet, thinking, 'there must be an application for this?' I did it out of curiosity more than anything. I Googled 'porn applications' and a website came up called It features different types of sex jobs. Whether you want to be a phone sex operator, a stripper, a porn star or what have you. I put my picture on the site and said I had never done this before, but I wanted to try doing porn here is my number. I was very naïve back then. The calls started flooding in, and I decided to pick someone. She was very convincing, she told me not to worry about anything, leave it all behind, and come out here to LA. And it all began right there. Early on, I was trying to maintain school and do filming on the side without anyone knowing. Finally I dropped out because I was making a good career out of it. I thought, 'I'll go back to school, I'll go back.' But I never did. I don't think I realised until about year two or three that I wasn't going back to school. Why did you want to be in porn? RACHEL: I’m a really sexual being. When I was growing up, I would always talk about sex. My group of girl friends thought I was crazy, because other than sex, I’m just your normal girl next door. I have the exact same interests as everyone else - I just have a higher sex drive. Honestly, I think I would have done better growing up with a group of boys, because I imagine I talked about sex as much as the boys did when they were going through puberty. I’m like a horny dude stuck in a chick’s body. Where do you think that came from? RACHEL: I think some people are wired that way. A lot of people ask me if something happened to me as a child, but no. Nothing out of the ordinary. I think some people are naturally like that, and at first I thought it was a bad thing and I was really ashamed of it.

You spoke about shame there, and how the first time you filmed something you didn't want to tell anyone. Has that shame gone now? RACHEL: I was terrified to tell anyone because Indiana is part of what's called the 'Bible belt' and it's full of Christians and really conservative people, so I was worried about how my friends, family and everyone would react to it. I kept it a secret for about a year, but it got to the point where I didn't have to anymore because I was starting to appear on television shows and in magazines. I worked so much in that first year it was impossible for people not to know. I was really shocked by people's reaction. They were like. '' long as you're happy and healthy...' The same goes for my parents - sort of. They knew before they approached me. I think that they were upset for an amount of time before they ever said anything to me. We never sit around and talk about it. I'm not extremely close with my parents, so we don't sit around and have in depth conversations about anything. It's just something that was accepted. They don't ask, I don't tell sort of thing. For someone just starting in the industry, can they expect a lot of money? RACHEL: It depends on the type of person that you are. If you are a young female, you're between the ages of 18 and 21, or you look even younger than that, and you have little to no tattoos, no piercings, pretty face, nice body, never had kids or if you did you can't tell, if you come in looking like that - oh, also blonde, blondes always sell way better than brunettes - that's in the statistics - if a blonde is on the cover its eighty something percent more likely to sell than if a brunette is on the cover. So if you put all of those into an equation, that is going to determine how much money the girl is going to make. And girls, on average, make twice to three times as much as a guy, and that's if a guy is average or above average in his work. Can we put a figure on that? Do you know roughly what that would be? RACHEL: My goodness. My numbers are completely different from other girls. It would be above minimum wage though? RACHEL: Oh well of course, yes. It’s an easy pay cheque. So $200, $300, $500? RACHEL: Honestly, it depends if they are working with legit agencies and companies in LA as well. I’m sure if they are just looking up someone on Craigslist that lives in their local town they might get $200, but if they go out and do everything the way I did in LA then it’s going to be a lot more lucrative for them.

What was you first shoot like? RACHEL: When I got into the business I worked with a company that specialised in brand new girls, and they started me off with just a solo video - just me. I was so nervous. But when they turned the camera on, it was like this alter ego came out of me. I just started talking dirty, and that's where I got the reputation as porn's filthiest dirty talker. I don't know where any of it came from. I had this confidence exude that I never even knew existed as Rachel. Ever since then it was almost like a power trip for me. Every time that camera turned on, I thought, 'what can Bree do next that Rachel never could?' Did you need the protection of an alter ego? RACHEL: It wasn't for self-protection per se, I think it was because in my personal life I'm an extremely shy person, and as Bree I was able to be a lot more open and expressive, especially with my sexuality. Looking into the camera when having sex, what's that about? I hate it. RACHEL: Some guys like that. Opinion is split half and half. It depends on what the director tells us to do. The point of doing the camera eye contact is that it makes the guy who's watching the video feel more like he's having sex with the girl. It makes him feel more of a connection. I've had a lot of guys tell me they really enjoy when I look in the camera it feels like I'm looking right at them. It's actually more comfortable. It's a lot less intimidating for me to look at a camera lens than it is to look into someone's eyes. That's a lot more personal. When the girl says 'Daddy.' Why? That's weird. RACHEL: I think a lot of people, even in their personal lives, use it as a playful thing, more than actually thinking it. I know personally, I'm not sitting there actually thinking about my father, I just say it to be playful, just because, for whatever reason, it's become part of sex talk. I don't relate it with an actual father figure at all. Right. Is that an American thing? RACHEL: It very well could be. Because your job was having sex, did that affect sex in your private life? RACHEL: No, it didn’t. I was actually more turned on because I was around sex so much. Now I’ve retired, I have actually tamed. Maybe it’s my age too, because I’m 25 now, and maybe I’m just finally calming down. I promise you thought I’m still a thousand times hornier than any other 25 year old girl I know.

You say 25 like that’s old. Do you feel old? Do you feel like you’ve had a lot of life? You have, obviously, but does it feel that way? RACHEL: Yeah, I feel like I’ve experienced a lot, but there is a lot more out there. A lot of my friends are jealous of me because they see me travel the world and all the materialistic things I have, but I’m jealous of them because they already have their families started, and are married with kids. They always say you want what you don’t have. What do you want? RACHEL: I want to get married and have kids. I don’t have that, because I never focused on it before. I always focused on money, money, money and now I have the huge beautiful house and all these nice things but I don’t have anyone to share it with. It would be nice to have a family in here, because without family you have nothing. Do you look back on your time in the adult industry with fondness? RACHEL: Yeah, it was nice. It was very much a job. People turned up on set, 50-100 people, everyone just wants to get the job done, get out of there so they can go home to their families or whatever they’re going to do. We had fun and joked around, and it was like any other workplace. When it came down to work - everyone worked. That was it.

Dress: Nilay sorguven   Jacket: Nazli Bozdag

Photographer: Erica Fava Stylist: Melda Yilmaz Make Up: Ufuk Celep Hair: Ibrahim Ardic Art director: Hazer Cosgun Model: Alex Jay @Select Models

Dress: Gulen Yalcin Acc: Angle Dust Shoes: Descalza

Dress: Feray Kanpolat Acc: Aida Pekin 

Dress: Nilay sorguven Jacket: Nazli Bozdag

Dress: Feray Kanpolat Acc: Aida Pekin 

Dress: Haerco Jacket: Nazli Bozdag

Blouse & Skirt: Hazerico Acc: Hazerico

Acc: Angle Dust Top & Shorts: Kubra Konka

Generation Next by Rena Niamh Smith

Establishing ones name as a designer has never been easier, or more difficult, than today. The internet lends an ever-expanding platform to the proliferation of fashion media, with the number of blogs and live-streamed shows increasing by the season. Proving one’s fashion credentials on the red carpet or being spotted on the front row at fashion shows has become part of every celebrity’s day job, having a knock-on effect on public tastes, shopping choices and perception of new names. That the New Years Honours List annually includes names from the rag trade, that Price Charles will help launch London’s first Men’s Fashion Week and that Boris Johnson and Samantha Cameron are seen supporting the British Fashion Council’s endeavours all go to show that fashion is increasingly respected in Britain today. However, like most industries, it is notoriously hierarchical, and household-name brands continue to dominate. While the luxury market is growing, fashion students graduate by the thousand every year into a world facing recession, where the high street can easily and cheaply imitate the most innovative ideas. A key fashion export in Britain is the education system. Central Saint Martin’s enjoys a reputation as a leading light in the business thanks to an innovative teaching structure and industry professionals’ participation in the courses. EXPAND Their graduates frequently wind up working for the biggest names abroad; Stella McCartney, Alexander McQueen and John Galliano all studied there. Having your own name emblazoned on branding across the globe is a holy grail reserved for the lucky few. Many more fashion students, and certainly the more specialised ones, find themselves part of the larger family in big labels with extensive ranges. Even when a company is known under one person’s name, this belies the fact that it takes many creative talents to produce at high volume and standards. Leanne Claxton did a BA in Textile design at the college and was drawn to the star-studded alumni list. Now a print and embroidery designer, she has worked for brands from the high end, such as Christian Lacroix, Guess and Calvin Klein, to the highly commercial, such as Zara, Tesco and M&S. “If I had not studied at Central Saint Martins, I would not have got my first job at Next in Hong Kong”, she says. “Nearly every company I have worked for has at least one ex Central Saint Martins student working there.” From what is the largest creative network in the world, the alumni association of CSM allowed Claxton to get work straightaway as a designer for larger companies, before launching herself is a freelance name. She is now setting up her own print studio in Hong Kong.

Luke Brooks / Central Saint Martins fall 2012 ready to wear collection

It is the links with the working fashion world and a business savvy for lending new talent a helping hand that makes the catwalks of CSM’s MA graduate show a launch pad for many names lucky enough to start their own label. Part of London Fashion Week each February, students show their work to editors, buyers and stars in the midst of the bi-annual merry-go-round of fashion weeks in the four fashion capitals. No single graduate show gives students a better, or more daunting, opening into the front line battlefield of the industry. Highlight this year and joint-winner of the L’Oreal Professional Creative Award is Luke Brooks. Playing to a front row that included Gareth Pugh, Zaha Hadid and Mrs B of Browns, his statement knitwear thrilled onlookers and judges alike. Experimenting with volume and texture to create something truly refreshing, he sent models out in huge platform shoes and headpieces with Olympic motifs and wording. The collection featured fishnet textures, with signage and newspaper caught between the fibres, a riff on waste and the beauty of the deconstructed. Originality is undoubtedly paramount to success as a designer, and for Brooks, knitwear is “pioneer territory”. It is a combination of techniques as well as an eye for quirky detail that lends Brooks’ work its edge. Using every type of stitch from crochet to machine work to basket weave styles, he creates knitwear that is visionary while referencing the past. “Knitted garments at their best are like ciphers made by angelic spiders”, he said, underlining both his love of his medium as well as his rigorous imagination. Christopher Kane graduated from Central Saint Martins MA programme in 2005 and has enjoyed a glittering career to date. Despite being something of a new designer, tickets to his shows are as contested as those for Burberry, a brand with a 150-year history. Originality and a clear point of view are very much at the heart of this success, and he tickled fashion editors pink with his Spring Summer 2011 collection of laser-cut leather resembling lace made into twin sets in eye-popping neon shades, earning the short-hand “Princess Margaret on acid”. “Kane is an utterly original talent, a maverick mind who sees beauty where others don’t even begin to look”, writes Tim Blanks of Vogue affiliate His Spring Summer 2012 collection was inspired by photographs of girls in council estate bedrooms, and a slightly gritty if sugar sweet version of flowering teenage femininity. For Autumn Winter 2012, he took direction from Al Pacino’s film Cruising and the idea of young women infiltrating lurid sex clubs to produce something more dark and sexy, in fur and Wall Street pinstripe. He seems to offer a wearable fantasy of femininity, no doubt helped by his muse, fit model and business partner, sister Tammy. He describes his design process as “trial and error”. “You have too many ideas”, he says, “and that can be a big mistake. I have to really reflect and focus”. It is most likely this focus Kane’s clothes their commercial viability, despite their playfulness and eccentricity. In 2011, he won the British Fashion Council/Vogue Designer Fashion fund, a prize of £200,000, and according to Alexandra Shulman, Vogue’s Editor in Chief, it was the “extraordinary conviction he has in his ideas” which really impressed the panel.

Indeed, one thing it would seem new designers must learn quickly is to make clothes to sell. Brand Kane and his innovative vision were quickly exported; he has successfully collaborated with Topshop, Swarovski and Lancome, and designs the Versus range for Versace. This allows him to explore both avenues as designer with a bigger brand and that of a solo artist; “having my own label, I can do as I please”, he told Opening Ceremony. “With Versus, I act as a consultant so I have to be aware of the brand’s requirements.” Central Saint Martins and the British Fashion Council play key roles in giving support to the best new talents by collaborating with sponsors to create funding and awards for up and coming talent. As well as the Designer Fashion Fund, NewGen sponsorship has helped launch the careers of David Koma, Holly Fulton, Ashish, Meadham Kirchhoff and Louise Gray, to name a few. It provided a platform for Kane, too. Yet Central Saint Martins MA Fashion Director Louise Wilson believes a lot of sacrifice and hard work still goes into the making of a designer. “The students work harder than we ever worked,” she told Elle. “But the dynamic hasn’t changed. They’ve always been poor, they’ve always been untalented and then become talented, and they’ve always been insecure.” She believes that the changing fashion education landscape has made things simultaneously better and worse for bright young things. “A lot of them haven’t got the skills the old courses trained them in”, she argues, citing Christopher Kane and Lee McQueen as examples of those who did things on a shoestring using more traditional methods. Yet at the same time, she says “The pressure on students is greater now. The MA show is shown during London Fashion Week. It’s viewed in a professional arena we never had. We were allowed to fail.” On a platform with so many others, it will be interesting to see if the likes of Luke Brook is allowed to succeed.

Photography: Caroline Hoerman Stylist: Isabel Kibler@ Nude. Agency Hair and Makeup: Tom Strohmetz @ Nude. Agency Models: Emmie Preisler& Jan Buchard @M4MODELS .de

Fake fur coat: Fendi

Corset: LABEL /NYC Black Wool Cloak: Dior Homme Black Knitted Wool Pants: Adidas SLVR

Flower Dress: LANVIN Vintage BLack Leather Gloves: NINA PETERS Black-Grey Lambfur bag: Zara Special Collection Black Fringe earring: Isabel Kibler Jewelry

Gold Leather Jacket: Vintage White Jeans: J Brand Black & white Leather Boots: Topshop

Silver Shirt & Silver Sweater as a scarf: LALA Berlin Dark Grey skinny pants: John Varvatos Sneakers Special Edition John Varvatos CONVERSE

Smoking with Black revers: Dior Homme White Lace Shirt: Markus Lupfer Leather boots: John Varvatos

Corset: LABEL /NYC Black Wool Cloak: Dior Homme Black Knitted Wool pants: Adidas SLVR Leather Boots: John Varvatos

Embroidered Dress: PRADA Vintage Black Suede Leather boots: Giuseppe Zanotti

Suit: Queen of the Wild Belt: Azulu

Photography: Ania Mroczkowska Styling: Sophie O Make up &hair: Fiona Tanner Model: Holly @Models1 Make up/hair assistant: Monica Mao

Blue dress: Olwen Bourke Coat: Jessicama

3 short black dress: Olwen Bourke, Tights: Top shop Gloves: stylist own

Black dress; Kathy L

Leather jacket: Olwen Bourke, Shirt: Victoria Geaney, Skirt: H&M Headpiece & gloves: Beyond Retro

Photography: Louise Munro Hair & Grooming: Judit Soltesz Model: Elliott Mackie @ Icon All head pieces: Fair Feathered Friend

Illustrations: Max Andala

Raf Simons The Unlikely Hero by Jess Wu Twitter (@DressMeBest)

Ever since Galliano’s dramatic (how else?) ejection from Dior last year, the speculation about who is to be crowned his successor reached such intensity that it was almost as though the next man at the helm would be decided by the masses through the sheer power of tweeting, retweeting and hash tags. Yes, Riccardo Tisci will be the next creative director because thousands of other people have already said so! Oh but I heard Sarah Burton… No…wait…it’s definitely Marc Jacobs - he’s our guy. When the announcement was finally made, it is probably fair to say that most people were at least a little surprised when Raf Simons’ name came out of the hat. So in the spirit of over-speculation, let’s speculate about what he will bring to Dior. While the world thought about what it meant to have Raf in the role, he pre-emptively allayed the doubts and fears some may have had about his appointment, with a speech about his vision and a gush of sentiment and praise for the fashion power house. While “fears” may be too strong a word for how most people thought about the decision, it has been a challenge for me, at least, to conceptualise what Simons will bring to Dior, even as the designer he is now.

The Raf Simons SS 2002 Collection ‘‘Woe Onto Those Who Spit On The Fear Generation...The Wind Will Blow It Back”,

The reason I say that is because he has not always been Raf Simons former creative director of a revived Jil Sander, dresser of women in clean, cool minimalist lines, now creative director of Dior ready to wear and couture. To start, a little history. A Belgian designer (automatic cool points), he is best known in the fashion circles firstly for his contemporary menswear design. Belgian designers are known for their strong aesthetics and vision, and Raf was no different. His early years were drastically different to what he later achieved at Jil Sander, and presumably even more removed from what he will bring to Dior. Youth culture and modernism dominated his shows and his collections were the new staple for young men in the know, as he successfully combined fashion and subculture to critical acclaim. Many cite him (those not citing Hedi Slimane) as the most influential menswear designer of the modern age, and dilutions of his concepts could be seen in more commercial offerings by other designers. So how and will this part of Raf Simons inform his first couture collection? The whole purpose of couture is escapism, luxury and fantasy, the direct opposite of Raf’s early work in the dissection and reflection of the youth around him. Galliano’s previous offerings of highly stylised, elaborately decorated garments with themes that were usually a throwback to a bygone era - worlds away from young men in slim suiting and hoodies. He did not, of course, go straight from shows with balaclava-wearing teenagers and themes of anti-globalisation and eco-terrorism, to dressing the super-rich and Oscar nominees. When Raf joined Jil Sander back in 2005, the label was in need of a new direction, back to its old former glory but with a modern touch. Fresh from his sabbatical from fashion, he took the reins at Jil Sander and the rest, as they say, is history. His success at Jil Sander is well documented and his contribution to womenswear and tailoring is revered, with commercial success to boot. This last but important factor is a far cry from the kind of cult recognition received by plucking teenagers from the street to appear in his shows and staging them in a car park. Themes from his old life as a niche menswear designer still carried through – modernism and sharp tailoring, but for an audience of sophisticated and fashionable women. Completely gone though, was the defining theme of tortured youth and a disregard for commercial success. So now that we have established some history, it seems as though Simons has gone from shows with balaclava-wearing teenagers and themes of globalisation and eco-terrorism, to power-dressing with minimalism, to dressing the super-rich and Oscar nominees. How he will achieve the transition to the latter is an intriguing question to anyone who is anticipating couture season, and the future of Dior. How will he bring his minimalist aesthetic to a line of fashion that is all about more more more? It seems he already has ideas on the evolution of his design aesthetic, by referencing the old – “I find that period between 1947 and 1957 extremely attractive, and there was a lot of modernity.” Arguably, he made the more difficult transition from menswear to womenswear seamlessly and with great results, but fans of old school Raf will argue that he lost a lot of what defined him in the first place – his relationship and exploration of disillusioned youth, the strong cultural references in his earlier work and the ability to tap into and influence a group that had little or no interest in real fashion. Fans of his current work will be hoping he doesn’t lose too much of his identity in the quest to reinvent yet another brand.

Jil Sander AW 2012

Dior AW 2010 Couture collection.

Jil Sander AW 2012

Photographer: Rebecca Litchfield Makeup: Rebecca Ryther Model: Paula @ Profile Hair Artist: Elbie Van Eeden Clothes Stylist: Nina Sobers Retoucher: Catherine Day

Sequinned Dress: Aqua Swarovski Encrusted Neckpiece: Elsa SmithBlack Ocea Necklace, Skyla Bracelet, Pelo Bracelet: Sarah Angold Studio 3 Tiered Bracelet: Maria Piana Horn Ring: Leju

Top: Martina Spetlova Briefs: Patricia Pereira Da Costa Neon Ocea Necklace, Butterfly Lacio Necklace, Grad Bracelet: Sarah Angold Studio Perspex Earrings; Perspex Cuff: Maria Piana Knuckle Duster Ring: Elsa Smith Horn Bangle: Leju Hinged Ring: Eddie Borgo

Dress: Marie-Elise Llagas Triple Body Piece: Emma Ware White Perspex Necklaces, White Perspex Ring: Maria Pian Horn Bangles: Leju Via Bracelet, Munitio Earrings: Sarah Angold Studio Shoes: Ellen Sampson

Skirt: Marie-Elise Llagas Perspex Cuff, Perspex Hand Cuff, Perspex Collar: Maria Piana Pelo Bracelet: Sarah Angold Studio

Dress: Marie-Elise Llagas Perspex Ring, Black Perspex Necklace: Maria Piana

Dress: Sigita Janelionyte Tulu Earrings: Acito Necklace: Sarah Angold Studio Necklace, Body Piece: Emma Ware Ring: Maria Piana

Dress: Sigita Janelionyte Skyla Bracelet, Pelo Bracelet, Tulu Earrings: Acito Necklace: Sarah Angold Studio Necklace, Body Piece: Emma Ware Ring: Maria Piana

Ram Shoulder Piece, Namarietti Perspex Earrings,4 Tiered Bracelet, Perspex Neckpiece: Maria Pian Horn Ring: Leju Space Ring: Sarah Angold Studio

Photography: Kasem Janyaworawong Stylist: Cee Cee O'Neal Make up artist: Denise Moretti Designers: Mary Martin London & VERGI DUET Models: Illy Jay, Dasha Shipa, Richard Hutson@Oxygen, Jay Cullen@Oxygen, Leon Immanuelle, Rayon Rashid

Photography: Ivona Chrzastek Styling: Naz&Kusi at Tzarkusi Styling Assistant: Joanna Hang Make up & Hair: Yogimo Kong Model: Alexandra Moon-Age

Dress: Versace Shoes: Malene Oddershede Bach Belt: Stylist own Socks: Happy socks

Rubber Collar: Rafika Boujdadi Wonder Cup mini Dress: Atsuko Kudo Metallic Top: Topsho Socks: Happy Socks Belt: Stylist Own Shoes: Malene Oddershede Bach Rings: Topshop

Top: Chloe Suspender Belts and Pants: Atsuko Kudo

Top: Chloe Suspender Belts and Pants: Atsuko Kudo Shoes: Jimmy Choo

Blouse: Pam Hogg Skirt: Rafika Boujdadi

Plastic Collar: Rafika Boujdadi Bra: Mark Fast Baby Bib: Stylist own Pants: Topshop

Photographer: Erica Fava Stylist: Melda Yilmaz Make Up & Hair: Ufuk Celep Art director: Hazer Cosgun Model: Sylwia Blaszczyk @Ice Models

Accessories: Tar Tar Top: Vintage Pashmina: La Purse

Dress- Ceylan Zigoslu

Dress: Hazerico Pashmina La Purse

Jacket: Sive Basoglu Short & Accessories: Hazerico Shoes: Vera T-shirt: Vintage

Dress: Burcu Aslan Accessories: Hazerico

Dress: Ceylan Zigoslu

Dress: Burcu Aslan Accessories: Hazerico

Accessories: Tar Tar Top: Vintage Pashmina: La Purse

All by Hazerico

Photographer: Patrik LindĂŠn, Stylist: Daniella Laporta Makeup: Michelle Rozen Model: Juan IbaĂąez

Photography: Sophia Price Make Up: Sophia Price using Mac Model: Emily Rodgers @BMA

Photography: Evita Weed

The reproduction of any part of this publication is strictly prohibited without prior permission from Slave Magazine, including titles, logos, and graphics. Exceptions are granted for press and blogs were there is a link a back to and full credits are included and for downloading to media devices for personal use. The views expressed in Slave Magazine are those of the contributors and are not necessary shared by Slave Magazine. All rights reserved. Copyright Slave Magazine 2012 See website for full terms and conditions.

Slave Magazine 6  

Zombie Boy / Bree Olson / Raf Simons / Fashion / Photography / Art / Youth Culture

Slave Magazine 6  

Zombie Boy / Bree Olson / Raf Simons / Fashion / Photography / Art / Youth Culture