Lykke Li WhoMadeWho, Scarlett Johansson, The Presets, Brice Partouche,
Kate Moross, Jeppe ‘Senior’ Laursen, Silas ‘Soulland’ Adler, Ivan Grundahl, Aminaka Wilmont, Vilsbøl de Arce,
No. 4 - August 2008
Bibi Ghost, Hubert
WE MADE THIS: Editor-in-Chief Nicolai Torp Editor Kristian Keller Art Director Hanne Falkenberg jørgensen Assistance in Art Direction Anders Cold, JOAKIM OLSSON, Jesper Rasmussen Executive Sales Manager Anders Rune Hansen Key Account Managers Jesper Fuglevig Andersen, Martin Chidekel, Peter raun Translation Pernille Jensen CEO Lasse Kyed
Words Nanna Balslev, Marie Louise Tüxen Barfod, Lene Hald, Kristian Keller, Nikolina Olsen-Rule, Cathrine Rodalgaard, Luisa Traina Photography Sophie Dreijer, Christian Friis, Elizabeth Heltoft, Sacha Maric, Kasper Nørregaard, Javier Peres, Lærke Posselt, Tre Dadlar Illustration Naja Conrad-Hansen/Meannorth.com
Soundvenue A/S © 2002-2008 Vimmelskaftet 47 – 1161 Copenhagen email@example.com Tel. 70 20 00 12 – Fax 70 20 14 12 www.soundvenue.com Distribution: Soundvenue Distributions Printed on: 150 g Arctic plus Silk (Content) 250 g Arctic plus Silk (Cover) From Arctic Paper Denmark www.arcticpaper.com/denmark Next edition: February 2009 All rights reserved copyright © 2008
Cover: Photography Tre Dadlar Styling Max eriksson Make-up/hair anna rodin
WHY... This is about being different. Really. And not to provoke or stand out, but simply because we have to. Like Jeppe ‘Senior’ says inside this magazine, it is about combining things in new ways. Not overdoing it, but just adding something new. That is why we are rethinking our look again. We’ve done the rough, uncoated look. Now here is the new glossy us. But as always we do things with a little twist, so we stapled the back this time. We hope you like it. And who would be better on the cover of a magazine, trying to stand out and follow its own path than Swedish sensation Lykke Li? In 2008, no one. Because this year, no one has made a bigger musical stir. And Lykke has done so by just being Lykke and by making the most sensitive and unique pop album heard in a good while. But Lykke is not the only one. Throughout this magazine we praise people who are not afraid of being different – from Kim Ann Foxmann, Ivan Grundahl and Silas Adler to Vilsbøl de Arce, Sassie Baré and Brice Partouche. All people, who have followed their own path. Not necessarily to provoke, but because they simply had to. We hope you notice the difference.
Enjoy. Kristian Keller Editor
Experience Heineken. Experience Music.
A LITTLE BLING So, if I was to turn gay, I would want to look like Kim Ann Foxman, who this year has become famous as one of the vocalists of neo-disco sensation Hercules and Love Affair. She is very cool to watch with her half-shaved head and tattoos, but still she seems warm and honest, like her ‘I-am-hitting-the-notes-I-like’ vocals. Am I in love? Yes. I am in love with the jewellery designed by this 31-yearold singer and DJ. Check out her gold and silver shields, which have already created quite a rave. Everyone needs some bling for their wardrobe. She herself has once described her jewellery as »inspired by stylish gay boys I know, that rub off on me.« The idea is to mix and match the shields into a personalized necklace of cool protection. You can find them at hip New York hangouts, Oak or Opening Ceremony. But if you are not there, you can order them directly from www.kimannfoxman.com. Marie Louise Tüxen Barfod
FASHION NEEDS ART! What happens when four creative forces from different fields are drawn together? Moonspoon Saloon is one answer. It is a new Danish creative collaboration between fashion designer Sara Sachs, artist Tal R, photographer Noam Griegst and stylist Melanie Buchave. They have set out to create fashion from an artistic platform in a distinct limited collection. But why art and fashion? »Fashion needs art – not the other way around – but slowly and not as a topping,« says the label’s chief designer, Sara Sachs, who has a degree in fashion design from Central Saint Martins in London. »I am often inspired by the primitive, because it is honest. Sophistication has to come from an emotional place as the costumes for a film like ‘Great Expectations’. But everything can inspire: Drunk sailors, horses, renaissance, erotica, melancholy and so on.« In Moonspoon Saloon’s collections every piece is seen as a collector’s item, and the idea is that all collections are limited editions. This means that the label will create 99 styles, each produced in only 99 samples. Every piece of clothing is numbered and signed by its maker. After style number 99 the project is completed. In the collection Sara Sachs’ design meets Tal R’s distinctive colour combinations where strong colours are juxtaposed by pastels. And for each collection a film is showcased. »Moonspoon Saloon does not want to follow the usual fashion-driven business approach, but centers around an artistic core,« ends Sachs. Moonspoon Saloon present their collection at a show at the Royal Danish Theatre August 8th at 1 p.m. www.moonspoonsaloon.com Nikolina Olsen-Rule
monotype no. 4 by Carl Krüll
DIFFERENT FASHION OUTLOOK Once again, Copenhagen Unfair invites you to see fashion from a different perspective than what the official Fashion Week fairs offer. As the organizers put it »Fashion is an expression that is created in the interaction between other creative outlets. Therefore we invite other types of art and design to join to compliment the fashion and create an atmosphere brimming with coexistence, integrity, edge and innovation.« This year, Bibi Chemnitz, Gepebba, Julius Ceasar, Stella B, Qhuit and D.Anna are among the designers exhibiting at the fair, while Carl Krüll, Mythos and Easteric will display art and the Danish bass lovers from Ohoi! bring the music. The Danish film production company Zentropa will display an array of movies and productions. Copenhagen Unfair Copenhagen Skate Park Enghavevej 78, Copenhagen SV Thurs-Sat 10:00-20:00, Sun 10:00-15:00 Entrance 40 DKK www.cph-unfair.dk Kristian Keller
COLLAR ME UP Detachable collars first came into existence in 1827 when New York housewife, Hannah Lord Montague, snipped off the collar from her husband’s white shirt to wash it, and then sewed it back on. An accessory with rather historical connotations, until spring/summer 2008 when Miu Miu paraded sleek models down the runway in French maid-inspired thigh high bloomers and harlequin printed mini dresses, equipped with colour contrasting, pointy and starched-to-death detachable collars. Since then, collar fanatics have arisen, rummaging through flea markets and vintage stores to find the must-have detachable collar. Who can blame them? It is an easily accessible and versatile trend that can add a tongue in cheek, Lolita-style femininity to anything it touches. Bring life back to your favourite teenage rock’n’roll t-shirts by combining them with a cute white embroidered collar, and for winter, use different coloured collars to freshen up all your tired knitwear. Luisa Traina
A ROYAL ORGY OF CONSUMPTION Designer and graphic artist Helle Mardahl scratches the royal varnish, when she shows her installation of wall prints, sculptures and collages, which form one big royal orgy at WAS Gallery during Copenhagen Fashion Week. Pop culture, extravagant consumption and modern hedonism are thematically blended with glitter and pearls into a gigantic chandelier, which along with the royal family takes centre stage at Mardahl’s first solo exhibition in Copenhagen. Known for her intense graphic style, which captures the vulgarity and beauty of modern life in illustrative narratives and anecdotes, Mardahl is a perfect example of how fashion, visual art and sculpture meet. She manages to extract the most interesting, thought provoking and yet compelling aspects of consumption in a superfluous and profit-driven world. The exhibition opens August 7th at WAS, Absalonsgade 21B, Copenhagen V. www.hellemardahl.com Nikolina Olsen-Rule
DJ DUO UNG FLUGT
PARTY HARD Being locked up in the Soundvenue office all the time, rummaging through the latest, secret mp3’s, discussing new collections, setting up photo shoots and writing about it all to keep you posted, we build up an enormous urge to let it all out. To party hard. Thankfully, this is an itch we know how to scratch. We set up Soundvenue parties all over the country, just so we can experience our favourite bands and DJ’s live, and of course hook up with our faithful and über cool readers. Previous headliners at Soundvenue parties include Spank Rock, TTC, These New Puritans, The Teenagers, Nôze, The Pipettes and Mr. Oizo. During this Copenhagen Fashion Week, we will once again add fuel to the fire, when we pound the meat the hardest possible way in The Meatpacking District on August 8th. The lineup is still very much a secret, though we can reveal, that the beautiful and talented DJ duo Ung Flugt will be there to represent.
SOUNDVENUE / LEE ROCKS Fashion Week Party Friday August 8th - 21:00-04:00 Dat-Schaub, Kødbyen Flæsketorvet 41 Entry DKK 50,-
retail enquiries: + 45 861 85838 路 www.smac-as.com
POP GOES FASHION After a few years of inviting the fashion-correct crowd to party, the creative minds behind Pop now also want to dress the crowd, as they release their first men’s and women’s collections during August’s Fashion Week. »It has always been the more creative part of organizing parties that interested us, so we always knew, we wanted to take it a step further. There is a great connection between parties, style and fashion,« says one half of the duo, Mikkel Kristensen. Along with his partner Kasper Henriksen, he has created two small collections that are focusing on clothes you can party in. »It is important for us not to be known as a brand for club kids, though. Our clothes is more sophisticated with a sexy edge and some roughness to it. At the same time it has clean lines and a very classic cut,« Kristensen says and continues: »It is exciting to have a brand with a strong identity and then take that universe and use it as the conceptual identity for the clothing line, like we have done.« The first collections are presented Friday August 8th at a launch party with live performance from London’s electro duo Heartbreak and dj sets by Kjeld Tolstrup and SuperTroels. The fashion show will not be a traditional catwalk, but will instead be integrated into the party around midnight and feature a soundtrack composed by Jean von Baden. www.popcph.dk Kristian Keller
jaconfetti modelling for thanapara.
WEAR YOUR CONCERN The trend of making ethical fashion is luckily continuing, and while Peter Ingwersen and Noir might not have been as fair-trading as they would have liked you to believe, other Danish brands are now doing what Noir has only been able to talk about. One of the latest examples is the fair-trade brand, Thanapara, run by textile designer Helena Lindberg and video artist Sigrid Astrup also known as MotherMother. »The idea is to show the design industry and the design-interested consumers that the production of clothes can have real values, which are not always evident in fashion,« Astrup says. The clothes are made in the small village of Thanapara in one of the world’s most underdeveloped countries, Bangladesh, in collaboration with the NGO organization Thanapara Swallows, which provides jobs for the poorest women in the village, and also kindergartens and schools for their children. MotherMother visited the women who work within the project, and collaborated with them to make a collection of clothes that mix the traditions of Bangladesh with Western trends. Check out their website for photos of the checkered shirts, purple shorts, orange jumpsuits and leaf pillows that are among the results modeled by Danish indie-duos JaConfetti and Snake & Jet’s Amazing Bullit Band. www.houseofmother.org Kristian Keller
NAIL THE EXPRESSION American girls have always had a thing for long, fake nails with a plethora of motives and colours. And that has not changed, especially not since the two upcoming female rappers Amanda Blank and Kid Sister have started sporting their extensions at every opportunity. This year, Kid Sister even had a hit single with the track ‘Pro Nails’ featuring none other than Kanye West where she raps about her love for nails: »Nails like whoa / Acrylic base / Top all gold / Colours on my nails / To the paint on my toes.« While the two rappers’ ghetto-fabulous style has not quite made a big impact in Denmark, yet, who knows what the future holds? Both are on the verge of releasing debut albums, and Kid Sister is playing Scandinavian festivals Øya and Way Out West as you read this, so get ready. Nail art is the new bling. www.myspace.com/kidsister and www.myspace.com/littleamandablank Kristian Keller
electronics Ray Barbee The Lady Tigra Amy Gunther Steed Lord
Photo: Vincent Skoglund
Words: Marie Louise Tüxen Barfod
STARLETT JOHANSSON When you are a reigning star in one field it can be a tricky business to embrace other artistic fields without losing your integrity. No need to bring up any names, it is too easy. Anyhow, Scarlett Johansson is breaking down this well-known curse when she transforms herself into a multi-facetted artist. She acts, she models, she sings and she designs clothes, too. We first laid eyes on this New York-bred girl in a movie starring the legend, husky Robert Redford, who was whispering healing words in horses’ ears. Scarlett was only 8 at the time, but her lips were as full as melons, and her presence and voice conveyed great maturity. Later on, she and Bill Murray had a very adult quasi-affair in ‘Lost in Translation’, while Woody Allen showed all her bombshell material in both ‘Match Point’ and ‘Scoop’. Many more movies have been graced by Johansson, but acting just was not enough. This year, Scarlett Johansson climbed another mountain, and released her debut album, ‘Anywhere I Lay My Head’ – a collection of covers of Tom Waits songs. An ambitious endeavour for sure, and though the album has received a mixed reception, it still has increased people’s respect for the young artist. Johansson herself explains her new professional path with ease: »I always loved to sing«, she says. »I started acting because I wanted to be in musical theatre. I took vocal lessons
when I was young, and then hit puberty and got self-conscious about being on stage«. She continues: »Some people may like or dislike how I sound, but I felt confident that I could interpret these songs strongly enough. That is why I had the crazy idea to believe I could do it in the first place«. This straight-up self-confidence applies to everything she does. Whether she is campaigning for Louis Vuitton bags and Calvin Klein perfume, or designing her own line of clothes for Reebok. On the latter career move she states: »It is casual, urban street wear that is fitted to my body. So I know they will fit a regular person«. As it appears, nothing gets dodgy with this overly human being. Perhaps it is due to her laid-back anti-Hollywood attitude. An approach which shines through when she describes the gap between New York and Hollywood: »In L.A. everything is a big scene. You go shopping, and you find Lara Flynn Boyle trying on bikinis. I swear I need a plastic surgeon on speed-dial every time I go shopping there«. It figures, Scarlett has a way with words, too. Anyway, a woman with a set of vocal chords like hers is worth keeping an eye on. No matter what adventure she embarks on next. Check Soundvenue.com for our review of ‘Anywhere I Lay My Head’. www.scarlettalbum.com
Words: Kristian Keller
kate moross and her logo design for record label young turks.
KATE MOROSS Some people just have a special drive, an urge to keep creating and exploring new territory. British graphic designer Kate Moross is one of those people. She is only 22 years old and just finished her BA in Graphic Design at Camberwell College of Art, yet she has already made quite a name for herself. With an almost hyperactive productivity, her geometric designs have decorated anything from her own signature range for Topshop and the window of the brand’s flagship store in London, to a slew of music-related things like t-shirts for Simian Mobile Disco and Chromatics, and the visual identity for British record label, Young Turks. On top of all this, Moross also started her own small record label, Isomorphs. Music has always been important to her and a natural entry into graphic design. »I had been designing at school for a year or so, had the facilities and needed a project, because it is hard to do graphic design, if you do not have a specific outcome. I met the guy who runs Young Turks through a friend. I told him I would do their website, if I could also do flyers and stuff. I have worked a lot for Young Turks since,« Moross says. »The music industry is a great industry to get involved with creatively because you work with other creative people in different ways, so it was a perfect network that I wanted to get involved with,« she continues.
What inspires you? »I hate the word inspiration. It is a dirty word, it cheapens the enormity of what actually happens in your brain, if that makes any sense. So I think it is impossible to describe what drives and feeds you as an artist. For me, I am not sure where my drive comes from. I was just born that way. There is definitely a history in my family to work really hard and be really proud of what you do.« What is the best part of your job? »I just have a real hunger for what I do, and I really enjoy it. It is very gratifying, especially with what I do because it has a final outcome. I am a collector and have always collected things, so to be able to collect beautiful things that I have made, or to see other people collecting them is very rewarding.« What are your plans for the near future? »Basically setting up a design agency for the music business. I will help with branding and creative things that labels can do to cut out the 60-year-old art-director system that seems to be in place now. I am bringing the youth back into the music industry – hopefully.« www.katemoross.com
Download tĂŚt pĂĽ 2 mio. musiknumre til din pc eller mobil
Words: Kristian Keller
MODULAR RECORDS While everybody is talking about the death of the record label, one record company is thriving like few others and taking up the challenge of a changing music industry. But Australian cool kid Modular Records is also much more than a traditional label. With parties, t-shirts, a magazine, a blog, a podcast and, of course, great bands such as Cut Copy, Van She, The Presets, Ladyhawke and The Softlightes, Modular has become a brand. »All of a sudden here I am, a person in a band, telling you how cool a record label is. You know, 20 years ago can you imagine anybody ringing up the Sex Pistols and asking »How cool is EMI?« Do you know what I mean?« It is obviously not the first time that Kim Moyes, one half of club hit The Presets, is being interviewed about the Sydneybased label, and even though he is joking at first when he says that Modular has been branding itself as a lifestyle, there is definitely some truth to it. »In Australia it is big. Now it seems like the lifestyle that Modular has branded has become almost mainstream, so if you go to a festival, it is as if all the kids have taken their cues from the Modular-kind-of-look book«, Moyes says. That lifestyle is for example shown in Modular’s own magazine, which mix random things like live shots of its signees, over regular interviews to lots of party photos of fashion cool kids.
So basically a lot has happened since the world first paid attention to Modular Records in 2001, when The Avalanches released their debut album through the label. It had been founded a few years prior by concert promoter Steve Pavlovic. Today, Modular’s base is in a cool loft office in Sydney, while local offices have also been opened abroad in New York, Los Angeles and London. But in the middle of all this coolness and branding, Modular would of course not be anything without their ability to find and sign great acts. »They have been good at signing music that did not initially have a large audience, but has received it within the past couple of years. And as opposed to many big labels, they allow their artists to make the music they want, instead of what the label wants,« says indie-pop lovers Cut Copy’s guitarist Tim Hoey, and Moyes agrees: »They look at people and see a raw talent and sign them with the hope that they are going to do something with that talent without Modular getting involved.« So there is no doubt that Modular has been able to extend the notion of what a record label can be, and as long as they keep releasing great music, we are all for it. Cut Copy play their first-ever Danish concert Friday August 8th at Vega. www.modularpeople.com
Words: Lene Hald Photography: Elizabeth Heltoft Styling: Rikke Wackerhausen Model: Marianne SchrĂ¸der Make-up: Line Ebbesen
Fashion is the celebrated new soundtrack and visual surprise of a season. Still, first of all, fashion comes down to clothes and the people who design them. That is why we are proud to present four exciting upcoming brands, orchestrated by Danish designers with unique signatures, individual value and an ability to balance the conflicting forces of art and commerce. Meet artistic design duo VilsbĂ¸l de Arce, critically-acclaimed couple Aminaka Wilmont, newcomer Bibi Ghost and minimalist Hubert.
VILSBØL DE ARCE
Even though design duo Vilsbøl de Arce’s approach to fashion is more artistic than the art of clothes-making normally allows, they hope that their garments are valued as wearable. »It motivates us when people respond to our work. The higher the demand, the more the responsibility to create. It is part of our drive to be understood and appreciated«. However, using clothing design as a medium to respond to certain things in the world is just as important to the two young designers behind the brand, Pia Perez de Arce and Prisca Vilsbøl. »As a creative form, designing clothes is close to sculpturing or painting. Costume can easily be an initiating part of the creative process, instead of the mere interpretation or decoration of a concept«, the couple says. During Copenhagen Fashion Week in February, they proved their point. On stage they presented their upcoming collection in a collaborative show called ‘The Egg, the Monk and the Warrior’ combining fashion, dance performance, music and character play. The idea of creative collaboration is essential
to the duo. »Abso-fucking-lutely!«, they agree. »Most ideas will not get anywhere without it«. The performance was later documented on film and chosen to be on show during the Spring Exhibition 2008 at Kunsthal Charlottenborg. »We are inspired by playful, experimental personalities in any art-field – Bless, Kate Bush or Michel Gondry, to name a few – people that create a world of their own and are able to invite others into it, if only for a moment«. Unfortunately, they admit, their dedication to the creative process might to some extend be their Achilles’ heel. »We are both really bad at the commercial part. Naïveté is fantastic for creation but does not work in business. So if you are out there looking for a challenge, write us an e-mail«. Is anyone out there up for the challenge? Vilsbøl de Arce is sold at Henrik Vibskov Store, Krystalgade 6, Copenhagen. www.vilsboldearce.com
The London-based duo Aminaka Wilmont consists of Dane Marcus Wilmont and Swede Maki Aminaka, who form alliance both personally and professionally. The couple met while working for eccentric London fashion-designer, Robert Cary-Williams, where their shared attraction to everything avant-garde laid the foundation for the label. »When I was doing my MA at the Royal College of Art, I wanted work experience and went to Robert, as he was the most creative designer around at that time. Maki and Robert interviewed me, and gave me a job instead of an internship«, Wilmont says. »Maki and I worked very closely on the showpiece section of the ranges, and we quickly realized that we shared an affinity in terms of design style, aesthetics and personal taste«. When Wilmont graduated from the Royal College of Art, he won a prestigious international design competition which gave the couple enough money to take the leap and try starting up their own label. And it turned out to be a rewarding collaboration. »We are able to bounce ideas off each other, and share the massive responsibility and workload involved in running a fashion label«. And as an extra bonus: »It also
means that I get to see Maki almost every day!«, Wilmont explains. Their aesthetics are driven by an obsession with shape and form, as well as a unique preference for powerful, sensual, intelligent and experimental looks. »To us, beauty is self-confidence and personality. We try not to let critics – positive or negative – effect us. We make it a priority to please ourselves, which at the end of the day is probably the most difficult, but also the most rewarding«. This approach has proven to be a sound recipe for success, and has most recently won them the international award for promising new talent: The Fashion Fringe trophy. Does the triumphant couple have anyone particular in mind when they design? »Iman is the muse for most of the collections we design. To us she is the epitome of self-confidence, effortless sensuality and unique personal style. Just look at her choice in men!« Iman is married to David Bowie, should it have slipped anybody’s mind. Aminaka Wilmont is sold at www.net-a-porter.com. www.aminakawilmont.com
The name Bibi Ghost may indicate a dark spookiness, and more than a pinch of sulking pout attitude. However, there is no somber gothic references in the designs made by Bibi Vogelia Gadix Lowe, who is presenting her second collection of oversized cocoon-ish signature styles during this Copenhagen Fashion Week: »In fact, my aesthetics are more paired down than theatrical«, the young designer explains. »It is more minimal and about volume and form, than circus looks and mix-matched prints«. Her designs are inspired by extreme contrasts, and she highlights old, skinny well-off ladies in large coats as her favorite source of inspiration: »The concept of small people wearing something really big fascinates me. I myself will always choose a style to be four times oversize than normal. It is beautiful the way excessive amounts of textile drapes around a body, and leaves room for subtle focus points, such as collarbone and wrist«.
As a newcomer in the fashion industry, Lowe is still open in terms of the direction in which her brand will take her, so she is not making too many plans for the future. »The fashion cycle moves so fast, and if you are not careful you will spend all your time being ahead instead of being present in the now. It is a work hazard in the fashion industry, since you have to be one or even two seasons ahead with your collections«. This is also why she chose to put Bibi Ghost on the show calendar during Copenhagen Fashion Week. »Some might find it daring of me to do a show so early in my career. I was more like: »Why wait?« When I am doing something, I do it fully and I want to test if it works«. Carpe Diem, Bibi Ghost! Bibi Ghost is sold at Nørgaard paa Strøget, Amagertorv 13, Copenhagen. www.bibighost.com
Designer Rikke Hubert does not find the task of designing styles for her label Hubert difficult. »I feel I have turned my hobby into a job. I love the process of generating a unique universe for each new collection, inventing new, exciting garments, working with cuts and combining excessive showpieces with more commercial basic styles, into a whole concept«. The downside to the job, she admits, is draining paperwork, unreliable sales and the fickle fashion industry, which at times seems as if »it is only cut out for people with pointy elbows«. Hubert’s interest lies within the creative process, but she is aware that to make it in the industry, commercial parameters have to be accounted for. »I like feminine silhouettes and girly pieces. Using black as my main colour base adds both a contrast and roughness to my pieces, which I like, but of course it is also more sellable to do excessive, experimenting styles in black, than in some audacious acid yellow«.
It is with the human body in mind that Rikke Hubert creates her real clothes for real people. »It is a challenge to make fashion, because each body is unique and every human different«, she explains. Her deep-felt interest in the female silhouette is channeled into body-conscious styles and hourglass silhouettes. There is always a cut that underline a feminine curve, a textile that drapes sensually around the body or a print that emphasizes a girly atmosphere. Pair this with an easy edginess and add a smidgen of the 80s and you are tuned in for Rikke Hubert’s modern, subdued, utilitarian aesthetics, which she refers to as being »black, bold and arty, yet wearable«. Hubert is sold at Henrik Vibskov Store, Krystalgade 6, Copenhagen. www.rikkehubert.dk
Words: Nanna Balslev Photography: Javier Peres
During the past couple of years, Jeppe Breum Laursen – or ‘Senior’ as he is called when he is busy singing in the pop duo Junior Senior – has seen his share of the world. He has lived in both Los Angeles and London, and last year he packed his things and moved to Berlin. There he has spent his time working on a solo album that is expected to be released in the beginning of next year. Apart from music, one of Jeppe’s big interests is clothing and fashion, and he has a large selection of colourful sneakers in his closet. Because even though he does not see himself as a fashionista, he enjoys playing with his look. »Because I make music, people notice my clothes and judge me by them. So I want to send the right signals through my style. Music and fashion have always gone hand in hand. Therefore it can be fun to combine different things in ways people do not expect,« says Jeppe. »Of course, I care about what I wear. Style is interesting to me, but it is not like I walk around thinking about whether I look good. It is more about having personal style. It can easily become too much if you try too hard to stand out. The trick is to find the balance where you add something new yourself.« ‘Senior’ shops for both vintage and new brands in big cities around the world. He especially enjoys shopping in sports shops in Los Angeles and Berlin. »I enjoy buying clothes, but I actually do not spend much time on it. I used to buy a lot of vintage but now I also buy more expensive brands. I especially enjoy brands like Supreme and Pharrell’s labels Billionaire Boys Club and Ice Cream. I also buy shoes online, because on American sites I can always find my size 47. I have bought a few Ice Cream pairs and Nike. But it can be dangerous to buy things online,
because then you are just sitting at home and can easily spend a couple of thousand crowns without really noticing.« What would you like to express with your clothes? »I guess my style is to mix things and not keep it too clean, so it does not become boring. Sometimes it is cool to wear something else than you are used to. It is always fun to play with who you are. It is okay if my style changes people’s opinion about who I am, because I actually consider a lot of things to be me. I have, for example, always liked strong colours and then this whole new-rave style came along and all of a sudden people told me that I was completely new rave. There is a fine line between being trendy and not.« Who has really good style? »A Chinese/Canadian artist named Terence Koh. He lives in New York and no matter what he wears, he wears it well. He does it the cool way. I have always been very fascinated by that. It is alluring when people can get away with it.« Living abroad, you see Denmark with fresh eyes when returning home, and sometimes Jeppe finds it funny when he visits Denmark and sees how Vibskov scarves and big geeky glasses still dominate the street scene. »Then I notice what a small bubble Denmark is. Some things just keep popping up like the big scarves. In London it’s the same way, but over there trends change every month. But even though Denmark is small, I think we have a really cool fashion scene with many creative talents. Abroad you can also feel that focus has turned toward Denmark after brands like Henrik Vibskov and Stine Goya broke through in New York and London.« Listen to Jeppe’s cover of Fine Young Cannibals’ ‘Johnny Come Home’ at www.myspace.com/jeppe.
Jeppe ‘Senior’ Breum Laursen is known for his colourful style with multi-coloured t-shirts and funky sneakers. The inspiration for his wardrobe comes from Los Angeles, London and Berlin where he lives at the moment. We talk to the Danish singer about personal style.
Words: Nikolina Olsen-Rule Photography: Lærke Posselt
Over the years, Danish fashion has been affected by different generations of designers, whose attitudes, dogmas and styles have dominated from time to time. One of these figures, who introduced Danish women to avant-garde cut dresses with asymmetrical silhouettes, is Ivan Grundahl. In terms of groundbreaking, Grundahl was an exponent of a new style in the 80s. A style which draws on a minimalistic, Japanese style with deconstructive undertones, which can be traced directly back to some of Grundahl’s own personal favourite designers, Rei Kawakubo and Yohji Yamamoto. As Ivan Grundahl’s opposition stands Silas Adler – a young auto-didactic and atypical designer, or, more likely, a creative, all-embracing jack-of-all-trades. With his brand, Soulland, (founded in 2002), Adler has proved that you can enter the fashion industry without all sorts of diplomas and education, and slowly, but surely, he has morphed street wear with the runway. Aided by curiosity, willpower and an unfailing determination, Silas’ dream of starting up his own brand and selling it internationally, has come true. We arranged a meeting between the two designers for a faceto-face session about their differences, similarities and their individual views upon the ever-changing world of fashion. Your collections and styles are completely different. What type of person do you have in mind when you design a new collection? Ivan: »I used to have a wish to reach a younger audience, but it has turned out to be a seemingly endless challenge. Throughout the years, I have gained a reputation of having a sort of ‘wife-y’ style. That is very difficult to change. Having said that, it is also crucial that you have the courage to stick to what you do, and to do it fully and completely. Eventually, the rest will follow.« Silas: »It is funny, that you say so. I happen to live and work next to your shop on Gammel Kongevej, and when I walk by, my girlfriend always wants to stop to have a look through the windows. Honestly, I think a lot of young people find
your clothes really nice, but perhaps they do not have the money to buy it. I think more people are checking you out, than you know of.« Ivan: »I know young people have grown more interested.« Silas: »I do not believe that you can find a formula to do everything right. I started out doing a lot of t-shirts and prints. Now I feel like I am ready to do something more mature, and the collection, which will be on the street come fall, is definitely more subtle and played down.« How did you start out? Silas: »I began making clothes because I was tired of being in school. My mother told me, I would have to find something reasonable to do instead of it, and so I made my own brand. I thought that it could not be that hard. I did not have any experience, but I have always been interested in clothes, and I have been skateboarding a lot. I have worked in a skate shop selling skateboarding equipment, and that was sort of my way into the industry. Plus I did not think that any Danish brands were making interesting skating clothes.« Ivan: »It is interesting, that you are completely self-taught. Fashion is all about interest and talent. I myself do not believe that education is the only way. If you only knew how many hopeless interns, I have had from the schools of arts and crafts. The good thing about you being auto-didactic is that you are less narrow-minded. On the other hand, you do lack basic, technical knowledge. Isn’t that a problem?« Silas: »I am not afraid of asking for help whenever I enter an area, where I feel like I cannot do it by myself. I am not afraid of losing face. By now, I have been in the industry long enough to know exactly what my strengths and my weaknesses are. Therefore I also know when and where to ask for help. When it comes to construction I have to consult others – same goes for sales.«
With a more than 30-year age difference and widely different styles, technical skills and backgrounds, Ivan Grundahl and Silas Adler represent the older and the younger generation of Danish fashion. We met up with the two creative souls and asked them about their thoughts on the fashion industry, and their different approaches to it.
Ivan Grundahl * Graduated from the Danish School of Arts and Crafts (now known as Danmarks Designskole) in 1972. Majored in fashion design. * Already during his studies, Grundahl was invited to establish a workshop of his own in the house of luxurious Copenhagen brand, Birger Christensen. * Opened his first shop in 1974 in Mikkel Bryggers Gade in Copenhagen. Today, Ivan Grundahl runs four shops in Denmark, one in Malmö and one on Grand Avenue in New York. * Grundahl is a huge David Bowie fan and also enjoys Brian Eno, Roxy Music and Scott Walker.
Soulland * Founded by Silas Adler in 2002. He was only 17 then. * The name is not a reference to soul music. It is a direct translation of the name of the Danish island, Sjælland. * Started out as a pure street wear brand, but today, Soulland addresses a broader and more fashion-oriented audience – even though Silas refuses to label Soulland. * Collections are available in Scandinavia, Germany, Russia, Japan, USA, Holland and France. * Silas likes minimal techno and rapper Lil’ Wayne at the moment and is huge Wu-Tang fan.
Ivan: »Sales are a nightmare for all of us. It simply does not go well with what we do. If I could only concentrate on the creative process and leave sales up to others… That would be a dream. My company was always small, so I must have a say on every phase, which can be quite difficult at times.« Ivan, can you explain how the world of fashion has changed since you started out? Ivan: »Truth be told, I was kind of spoiled when I started out in the 70s. There were not many other people in the field. And when we earned some money, we went straight out and spent it all in one night. We did not care much about the future. It was a different time back then.« »But then things started to get more business-minded. The commercial factors gained impact – that is the serious part of the game. And it is simply unavoidable. It is good fun to be 20 years old and worriless, but if you really want to stay in the industry, you have to be serious about the commercial part.« How do you deal with the commercial aspect, Silas? Silas: »My partner, Kristian, takes care of sales, while I am in charge of design and production. I put my heart and soul into the production, and right now I spend much more time doing that, as opposed to focusing on the design part.« Ivan: »Actually, when I was young I also used to think that there was something really creative about the production part. You continue to discover new techniques, which serve to improve your creativity.« Silas: »Absolutely. When I began making prints, it was difficult to explain my ideas to the printer, and get a satisfying result out of it. Often, my ideas are being rejected by the production specialists, because they say that it is simply impossible to execute technically. But if I insist on them doing the job, the design will transform. And even though the technicians may have to go different ways in order to get there, I often find that the they end up being positively surprised
about the result, because they learned new methods along the way.« How do your collections take form? Do you think up something new for every season, or do you re-work elements from your earlier collections? Ivan: »I actually do find inspiration from my past collections. In every collection there are ideas, which I may pick up on again, and continue to work on. Reinventing yourself twice a year is simply a drag.« Silas: »I definitely recognise how you can have an almost finished collection in front of you, and then discover something that has not been completed. Something you have not fully executed. But that is just wonderful, because it means that you have a starting-point for your next collection.« »Usually, after this race of different fairs and fashion weeks, I sit down and make sketches of things I would like to do. But as soon as I have made those basic drawings, I put them away again. And then I leave them be for a while. Otherwise, you run the risk of repeating some of the things that were perhaps less successful. I try to be conscious of it, when some things just did not work out.« If you should give each other a good advice, what would it be? Ivan: »Stay young and curious. Always listen to your gut feeling, and keep believing in yourself.« Silas: »Being a young designer, I guess you tend to keep your ear to the ground, and pay attention to everything all at once. I imagine that you grow more stable in your creative process, and thereby lose some of your curiosity along the way. I do not think you need to be so focused on what young people want, or whatever trends are happening at the moment. You must create on your own terms. But I think it is crucial to stay open to the world – even though you may have done and tried most things already.« See Ivan Grundahl’s new collection Friday August 8th and Soulland’s Saturday August 9th.
Photography: Sacha Maric Styling: Frederik Larsen Styling assistant: Vibe Knoblau Hededam Make-up and hair: Jacob Henriksen
The modelling promoters:
CECILIE BRANDEL – though one of the younger promoters on the circuit, she has been active for many years and is currently organizing Klubklub at Stengade 30 where indierock and pop mix with electronic beats, rocking the building’s three stories.
LE GAMMELTOFT – dj’s a lot around town as Le Mans and is currently organizing a new neo-disco club at Vega Nightclub called Go Bang, which began in June with Hercules And Love Affair among the DJ’s. From time to time, she still throws her Friday afternoon party Clap Clap at various locations.
RASMUS SCHACK – an active dj and promoter on the Danish hiphop scene. He used to run the Wednesday club Midweek Brakes at Rust, but is now throwing parties around town under the same name. He also sets up hiphop concerts and brought The Cool Kids to town during February’s Fashion Week.
FREDERIK SCHLÜTER – currently one of the driving forces behind the party brand Billy, which organizes parties around Copenhagen and publishes a booklet of party photos among their many activities. The music is generally provided by DJ’s with a taste for techno and house.
Getting ready to go out is about feeling good and being with friends. It is about finding that special something in your wardrobe that is going to set you apart from the rest of the party. Here we use the small vibrations between too big or too small, incompatible materials and different styles to animate the body and create a connection between design and personality. Now go out.
RASMUS: SHOES NIKE, PANTS FILIPPA K, SHIRT VELOUR, SECOND HAND LEATHER JACKET CECILIE: BODY SUIT BITTE KAI RAND, T-SHIRT MARIA MØLLER, SCARF HAIDER ACKERMANN VINTAGE, SHOES VERONIQUE
LE: JACKET PETER JENSEN, EARRINGS ZARAH VOIGHT, DRESS THE STRAY BOYS, BOOTS ANN HAGEN FREDERIK: HAT PETER JENSEN, BLOUSE BENETTON, PANTS RAND JEANS, SHOES CONVERSE CECILIE: JACKET PETER JENSEN, DRESS NEW YORKER, RINGS ZARAH VOIGHT, STOCKINGS FOGAL, SHOES VERONIQUE BRANQUINHO RASMUS: JACKET AND I, T-SHIRT SHIESSER, PANTS Y3, SHOES PIERRE HARDY
LE: DRESS PETER JENSEN, NECKLESS ZARAH VOIGHT, LEGGINGS AND SHOES THE STRAY BOYS
CECILIE: TOP GUDRUN & GUDRUN LE: SHIRT FROM SECOND HAND FREDERIK: JACKET PETER JENSEN, SECOND HAND SHIRT
Words: Marie Louise Tüxen Barfod Photography: Tre Dadler Styling: Max Eriksson Make-up: Anna Rodin
Lykke Li appears with her music in the vast echo of late modernity. Yes, my friend, we will take off with a kaleidoscopic view on our time. For the past many years, cultural life has been an outburst of breaking down genres and gluing them back together in new ways. A battlefield of spheres interfering and mixing with each other to the extent where you sometimes want to scream and tear them apart. Just to see if the different parts can make it on their own. Truthfully they rarely can. Simply because things are connected and make more sense when related to each other. It is an old song of defining things by defining them against something different… Anyway, take fashion and music, sometimes they are so mashed up it is hard to figure out which one comes first. With this whimsical personage called Lykke Li, music came first. Lykke Li has spread her little bits around the world since late 2007. With vocals so breathy and peachy you want to dance on a ‘goddamn strawberry field forever’, she has won over a grateful audience. An audience who has had its fair share of young female artist singing their honest guts out. Troubled teenagers with big sorrows and rotten old souls, they seem. But Lykke Li is a different kind of artist. She centres her ethereal vocals in lo-fi electronic melodies (produced by fellow Swede, Björn Yttling of Peter Bjorn And John), while infamously singing »For you I keep my legs apart and forget
about my tainted heart.« It is sweet and playful, yet confronting and harsh. Like herself, perhaps. One way of getting to know Lykke Li is to look at her upbringing. She has true hippie/artsy parents, and spent her childhood moving back and forth between Stockholm and a small mountain village in Portugal. Her father is a jazz musician who played in the Swedish band Dag Vag. Her mother was a founding member of Sweden’s first allgirl punk group, She would later become a model and photographer. »I remember feeling different when I was younger. My mum used to dress in a certain style, and my father had long hair and a ponytail. At some point I was thinking: »Please, do not come to my school.« You have to know, we had a really shitty car as well, but later on, I realized that my friends thought they were great. I used to study a lot in school, but eventually I found out, that my mum and dad did not care about that, so I started to relax. We had very few rules in my family.« Few rules also makes it harder to rebel, which is exactly what Lykke Li told American music magazine Fader earlier this year: »It was hard to be rebellious with parents like mine. My sister Zara was the bad one. Since my parents were such hip-
»Express yourself,« sang Madonna in her early days, and so spoke N.W.A in their time. Lykke Li – in her time – has a thing for Madonna’s ‘Immaculate Collection’, and the hiphop sound of the 90s. The way this Swedish creature expresses herself is concise – from the way she hits a note to the way she moves her body. She stands out in style and character, and we decided to find out what makes her do so.
pies, she got back at them by spending money on expensive clothes or telling my mom that she was going to have cosmetic surgery. I always felt like I needed something to push against, but it took me a long time to figure out what I wanted to be.« Booed off stage Growing up with hippie parents also meant loads of travelling. No doubt her different homes have shaped her view of the world. Today, she mostly dreams of the countries she has not seen yet. Like Argentina. »I imagine myself walking on a dusty road with a big cigar.« But New York will always have her heart. She lived there by herself for a year, trying to make it – in a super small room with no heat, no nothing. »I love the variety of New York, the possibility of going incognito, and all the great bands. I do not get the rest of America, though. It is always about buying and consuming stuff. And then there is this heavy history of racism. To me Americans come off as narrow-minded.« Well, narrow-minded is how the Americans acted when she went on stage at a legendary club in the land of freedom. Fronting a crowd of Afro-Latinos, she engaged in one of her newest Kate Bush-type songs. It was an open-mic moment before a hiphop concert and her friend had dared her to do it. The bat-
tle was lost, when people booed her off stage, shouting »Get the Britney Spears off stage.« She felt like puking, but instead of being a coward, she did it and today, it makes her happy. »I see movies in my head,« Lykke Li replies to a question on music and visuality. »Music is the most important thing, but I am a very visual person. It comes naturally to me, I cannot turn it off. I like playing with masks, and with gender. I have an idea for a song, and I get a vision of the whole thing. It goes all the way to how I present myself on stage. The body is a canvas you can paint on, and I love doing that. The basic rule is to do the gender thing. If I wear an oversize male shirt, I put on skinny jeans and high heels. Simple. But I do not follow trends at all, I will simply always love vintage and silky stuff. The thing is, you can say so much through an outfit – put on a smile or escape.« You have to mention Madonna when relating music and visual appearances to one another. And to Lykke Li, Madonna was an immense inspiration. The period from ‘Like a Virgin’ to the ‘Blonde Ambition’-tour was groundbreaking to her. »She was sexy, cool, wild, everything. It is like her music made the most sense when you could watch it, too.« Like the rest of us, Lykke has the deepest respect for Madge, and she finds her current stage of stardom as simply »being really fit for her age.«
BIOGRAPHY Lykke Li Timotei Zachrisson Born March 18, 1986 in Stockholm, Sweden Released the ep ‘Little Bit’ in the end of 2007 and her debut album ‘Youth Novels’ in February 2008. We reviewed the album to five out of six stars and wrote: »It is not every day that crystal clear and distinctive pop stars appear in the music whirlwind of our time. But Swedish Lykke Li is without a doubt such a star.« Check Soundvenue. com for the full review. www.lykkeli.com
DRESS MARTIN BERGSTRÖM, T-SHIRT NOM*D, LEATHER JACKET POUR, TIGHTS WON HUNDRED
Music from the heart Maybe Lykke Li should have had her go in the 60s or 70s. She talks of this period with veneration in her voice: »Those times sound real to me. You belonged to some sort of clique, you could choose to be a hippie, or join a punk group. Today everything is done and over. There is no music on TV, in the papers people are dying, and there are no kids on the streets, no manifests. I believe mainstream society is really lacking something.« It makes you feel kind of empty to hear these words from a 21-year-old. It makes you think, maybe she is missing something in her worldly picture, or maybe you yourself are. Now Lykke Li has already shown her ability to make fierce, lyrical statements and actually, this is a refreshing view. So is her very precise idea of good music and good style: »Good music comes from the heart,« she spins off, almost as if prepared for this original take on an interview. »It is honest and never perfect, and you either want to dance or cry to it.« She is just as specific when it comes to explaining the concept of having style: »You should not try too hard. Then it all goes wrong. I find it essential to use your imagination. You can find something in the trash and still make it look great. I do not believe in following trends. I think you should dress the way you feel. And never show too much skin... Well, sometimes it is
cool, but a lot of people seem to be uncomfortable in their own skin, pulling down their sweater all the time.« Lykke Li’s visual identity is a big part of her charm. And her musical expression is linked to her uncanny stage presentation. It flows freely. No doubt about that. So it can be hard to understand people’s sometimes oversimplifying interpretations of who she is and how she looks. Like when she became notorious for her hairstyle in Sweden. Her video for ‘Little Bit’ inspired the ‘Lykke Li bun’, which was copied by many young girls. One magazine actually asked her to do a story where she showed them how to make the perfect bun. As a result she stopped wearing her hair that way. »Now I wear my hair down, and look like a grunge girl from the 90s.« Because Lykke Li is not the kind of person who does what people want or expect her to do. She follows her own path, and it seems that it has taken her in the right direction. »But I cannot feel the difference. I felt the same ten years ago. This life is really not very glamorous but I have had a nice opportunity, and I hope to be a great performer one day. It is beginning to feel weird to talk so much about myself. I do not know how I feel about that in the long run.« Okay, let us give Lykke Li a second alone to rest her vocal chords and leave her here with the impression she made.
TANK TOP THE LOCAL FIRM TUNIC FABRICS INTERSEASON SKIRT POUR SUNGLASSES BLAMMO NECKLACES, BRACELET AND RINGS FAFAFA AND LYKKE’S OWN SHOES CHLOE SEVIGNY FOR OPENING CEREMONY
DRESS MARTIN BERGSTRÖM, T-SHIRT SKYWARD, NECKLACES, BRACELET AND RINGS FAFAFA AND LYKKE’S OWN
Words: Cathrine Rodalgaard
The French brand April77 is perhaps best known for the skinny jeans, which have been tightening around the thighs of everybody with a sense of both music and fashion. With its punk-rock aesthetics and stylish design, the jeans have become synonymous with both a cool attitude, and a dedication to music, which the designer himself, Brice Partouche, has been keen on ever since he founded April77 seven years ago: »It all started with the music. I began making clothes for me and my friends, who were part of the punk-rock scene, because we could not buy the clothes we wanted to wear,« says Brice Partouche about the birth of the brand, which got its name from his own birthday in April 1977. The idea was to create a new fusion of artistic mediums. Partouche seeks to capture the elements of music and combine them with the notion of design, thus creating a line of clothing revolved around a stylized mix of punk-rock and fashion. »At the time I started out, people were not at all into skinny jeans. But I insisted on doing that style. Then one day suddenly everyone seemed to want skinny jeans. It happened when rock’n’roll became in again with The Strokes and all that shit. So, I would say that the success of April77 is a lot of work, and a little bit of luck,« Partouche says with a twinkle. Because in only a few years, the tight jeans with the characteristic guitar plectrum pocket, have become a noticeable piece in fashion today. Teen hipsters and stylish musicians including Alison ‘VV’ Mosshart of The Kills and Rolling Stone, Ronnie Wood, have celebrated April77 as their favourite jeans. Clothes with an attitude Ever since the beginning, music has been an important factor of April77. Every design and every collection takes its inspiration from a specific music era or trend, which at the same time reflects Brice Partouche’s own personal relation to music. »It is in the small details that you see the link between the clothes and the music. When I listen to a sound it just inspires me, and I visualize the music in graphics or texture. We would never print a T-shirt saying ‘Rock’n’Roll’. Instead you see the rock’n’roll in the fabric, style and name of the clothes. Mostly it is very personal, though. Because at the end of the day, it is only me who knows that one piece is inspired by a certain music video, record cover or band.«
Still, he continues: »Mostly I am quite happy when I see people on the street wearing April77, but of course you do not just want anyone to wear it. You only want the cool people to wear your clothes,« Partouche laughs. Fashion you can dance to Brice Partouche has now taken his music dedication one step further, and started his own record label with the name April77 Records. A label that does not only release music the usual way – it also brings music to the people via its clothing. Every month the label puts out a 7” single with a new artist. But the songs are also available as mp3s, which can be found on clothes from April77 Records, which will represent a new line of designs from April77. »Thanks to the record label the music and clothes get linked directly, because now we actually wear the music,« Brice Partouche explains. But even though the music now becomes even more connected to fashion, April77 Records demands no particular sense of fashion from the bands released on the label. »It is all about the music. We do not care about how the bands dress. We just listen to the music. That is also why all the covers of the 7”’s are blank. You do not need more than the name on your record sleeve,« Partouche says. The concept of April77 Records is to expose new music and up-coming bands that they themselves feel they can vouch for. So every band is carefully picked out by Brice Partouche and his staff of fellow music-loving fashionistas. »We find our artists on Myspace, through friends or by demos that have been sent to us. But most importantly, we do what all record labels should do: We go to see the concerts,« Partouche says. During the past months, US punk-rockers The Red Hearts, psych-punk band Neils Children and indie-rockers The Willowz have been released on April77 Records, while Swedish pop-rock darlings The Pets will be out in September. So, next time you buy a piece of clothing from April77 Records remember that it is not only fashion you can dance in, but also to. www.april77.fr www.april77records.com
What happens when you mix fashion with punk-rock? You get April77, the brand of French designer and music-enthusiast Brice Partouche. He has now taken his passion for music and design to a new level by starting his own record label and releasing music via clothes.
Words: Lene Hald Photography: Christian Friis
They may be paid to dress celebrities and make looks commercially effective, but the best stylists are also artistically respected. Inspired styling changes our perception on how to dress. It proposes avant-garde fashion trends and move our attitudes towards what is considered pleasing to the eye, right-on-trend or simply hideous. A great stylist skillfully draws on the creative consciousness of a moment and has the ability to make the clothes part of a bigger story that reflects an artistic vision. Styling is putting clothing in the picture and reflecting something essential about the time we live in. Some musicians choose to work closely with a stylist in order to create a highly personal and unique look. A well-known example of a collaboration, which seem to be bonded by a mutual sense of style and artistic vision, feeding off the same references, both musically and visually, is neon whirlwind Carri Mundane (Casetteplaya), who has styled British female rapper M.I.A . Also Christian Joy dressing Yeah Yeah Yeahs’ singer Karen O represents an approach to image and styling, which is highly personal and DIY. These collaborations correspond to a whole story, a distinct and creative look as well as a highly personal consistency in style. An attitude which seems far from any opinionated decision about saleable and successful looks made by label bosses and consumers.
Other musicians become synonymous with constant opposing stylistic reinventions. Think ultimate style chameleon David Bowie turning from dazzling glam rocker, androgynous Ziggy Stardust to his ultra cool, cabaret-ish ‘Thin White Duke’ persona. Or pop icon Madonna, who personifies good girl, bad girl, material girl, virgin and whore. This wide and complex range of style exploration has turned them both into unique pop-culture icons, and the creative catalogue of characters they and their style soldiers have invented over the years have effectively framed and formulated the aesthetics of prevailing times. Whether it is part of the creative development to keep up with ‘fashion-now-culture’, a fear of falling behind, or a commercial craving for innovation that encourages styling as a major factor in the music industry, cool looks and a hip image have proven to be a successful recipe. Most people expect from musicians and music videos, what they expect from theatres: Wit, wonder, drama, awe and visual wows. The right fashion style and image may be the icing on the cake that helps lift talented, upcoming bands onto a bigger stage. We asked three image-making, behind-the-scene Danish stylists to spill the beans on their individual style, source of inspiration and pick out personalities in the music industry, who has that impeccable, hard-to-copy, sought-after fashion style.
The mission of picking out clothing to fit a band or any other celebrity may sound as a humble undertaking, but the extent of the stylist profession is wide. Stylists are the co-editors, image makers, taste formers and visual provocateurs of the images we see when we flip open a magazine, watch a music video or drive past a commercial billboard. Meet three of Denmark’s most acclaimed stylists: Sassie Baré, Christian Schleisner and Isabel Berglund.
CHRISTIAN SCHLEISNER Do you have a signature style? »Simple, raw, sophisticated.« Who has been the greatest influence on your style? »Original characters from movies from the 70s and 80s, such as ‘9 1/2 Weeks’ with Mickey Rourke and Kim Basinger.« What inspires you? »People with personality and character, movies, music and travelling. Also other cultures.« What is the most excessive, out-there styling you have ever made? »The first thing that comes to mind is the music video for (Danish singer, red.) Aura’s ‘Song for Sophie’. I got to use a lot of vintage couture styles, which normally are really difficult to get a hold of. It was also a fun job to do because I could freak out a little bit style wise.« What is your favourite piece of clothing? »Slim black blazers.« ....and worst piece of clothing? »Girls with low-waist jeans and gstrings – Roberto Cavalli style.« What musicians have that unique, impeccable, hard-to-copy, sought-after fashion style? »The Rolling Stones, The Kills, Morrissey, Jane Birkin, Serge Gainsbourg, David Bowie, Lou Reed, Nico and the Velvet Underground and, of course, Madonna!« If you could choose any band or singer to style, who would it be? »Britney Spears. She is a pretty girl, but she has a terribly style. She really needs some help. Also in that area.« What styling trends do you see happening next? »Contrast in the styling. Black mixed with lots of colours. And wearing leather.« What is your definition of beauty? »Personality.« What is the concept behind your self-styled portrait? »I wanted to make the photo rather simple, as it is the style that I am most comfortable with – not too much attention and not too styled.« JEANS ACNE T-SHIRT AMERICAN VINTAGE SUNGLASSES MARC JACOBS SECOND HAND BOOTS
SASSIE BARÉ Do you have a signature style? »Humour, street, avant-garde.« Who has been the greatest influence on your style? »Varvara (Danish Baroness, red.) and Suzanne Brøgger (Danish author, red.).« What inspires you? »People, music and food.« What is the most excessive, out-there styling you have ever made? »Probably gluing plastic frogs all over a model.« What is your favourite piece of clothing? »Dresses in all shapes and sizes.« ....and worst piece of clothing? »Crocs plastic sandals. Maybe I should use them in my next fashion series.« What musicians have that unique, impeccable, hard-to-copy, sought-after fashion style? »Definitely Grace Jones. Bryan Ferry always looks sharp, too.« If you could choose any band or singer to style, who would it be? »Suspekt (Danish hiphop act, ed.). I am keen on their dark universe and would like to push it even further.« What styling trends do you see happening next? »Organic shapes.« What is your definition of beauty? »Inner beauty. It is such a cliché, I know.« What is the concept behind your self-styled portrait? »It is fashion meets real life. Fashion is real life. I am very inspired by the street scene, but also by the big haute couture houses.«
BLOUSE AND BELT FROM GLAM DRESS IVAN GRUNDAHL SHOES MARC JACOBS
ISABEL BERGLUND Do you have a signature style? »I am a small person dressed in large clothing.« Who has been the greatest influence on your style? »Artist Mike Kelly, designer Martin Margiela, art and design duo Bless. I am inspired by their way of twisting objects.« What inspires you? »Small everyday things that, twisted in my mind, become large.« What is the most excessive, out-there styling you have ever made? »My ‘blow the whistle-scarf’ made out of wood. Much too heavy to wear. Or my head pieces shown in Vs magazine.« What is your favourite piece of clothing? »Men’s classic shirts. I love the contrast of soft cotton next to the stiff collar.« ....and worst piece of clothing? »G-strings are never really sexy – especially if you are past 50.« What musicians have that unique, impeccable, hard-to-copy, sought-after fashion style? »Everyone who has a personal style is hard to copy, but I find that more bands from the 60s to the 90s had personal style than now.« If you could choose any band or singer to style, who would it be? »It should be a band with a lot of instruments. Loads of whistles, bass and drums.« What styling trends do you see happening next? »Too long dresses, fun and happiness.« What is your definition of beauty? »Beauty for me runs just between the ugly and the attractive.« What is the concept behind your self-styled portrait? »I have styled myself as a statue or totem pole. The title of the photo is ‘Holiday on Ice.’«
JACKET AND COTTONCOAT DÉCOR SOCKS FOGAL SHOES FROM TIME’S UP SCULPTURE BY ISABEL BERGLUND
Words: Marie Louise Tüxen Barfod Illustration Naja Conrad-Hansen
First of all, in order to talk about vintage fashion, we need to get a little closer to its meaning. Since the term ‘vintage clothing’ is kind of vague in its core definition, why not get down to business and be hardcore and theoretical about it from the beginning? Maria Mackinney-Valentin is researching the life of trends for her fashion ph-d. She states that the term generally refers to the revival of second-hand clothing, shoes and accessories originating from the 20th century. Today, people are not hunting vintage clothing because they cannot afford new clothes, but rather because they wish to express a sense of uniqueness and authenticity. In the late 80s and beginning of the 90s, the interest in vintage moved from a fairly narrow group of collectors and young rebels, to the more mainstream-oriented society. On a broader scale, we can find the answers to this movement by looking at the way in which we still embrace anything that has to do with nostalgia, because we are ambivalent about the political uncertainty, and technological innovations in our world. So far, so good. On a more fashion-moment kind-of-level, some have described Julia Roberts’ red carpet presence in 2001 as being the biggest reason for vintage fashion going mainstream. Mackinney-Valentin explains this perception very precisely: »It was the general conception that you did not exude enough personality if you wore simply a designer dress. But if the dress was vintage, it would add more character and style.« This may be, however, the way fashion revival always worked. Ever since Western society got the triple bang of the Agricultural Revolution, the French Revolution, and the Industrial Revolution all hitting us in short order. The more rapid and extreme society changes, the more rapid and extreme fashion changes are. Booming, progressive times tend to have fewer revivals and more original innovations, because people are more positive
about the future. The late 60s and early 70s was one of the most innovative and exciting eras for fashion. Much of what it did was to remove taboos from certain clothing choices, like women wearing pants and men growing their hair long, Western people in non-Western styles and fragmentation of styles into sub-groups. And well, one of the most significant taboo removals was of that against wearing old clothes. Before the early 70s the whole idea of a vintage clothing store freaked out good citizens all over the world. There were used clothing places like the Salvation Army, but you surely did not want to be caught there. Second-hand clothes were linked to kids who had grown up during the Great Depression, and were ‘forced’ to wear second hand-clothes by necessity. This all changed in the 70s, where the hippies would happily patch up old rags and make you a fine pair of sway denim trousers. But the bourgeois were still almost more willing to accept a gay couple holding hands, better than actually buying used clothes. As mentioned earlier, the 90s made vintage into a quality phenomenon. Former designer at Matthew Williamson and present stylist of CYAN, Katrine Agger has no trouble travelling back in time: »I remember my key look of the 90s. I was going out on a limb to stand out in my Neneh Cherryinspired look. I had the combat trousers, the dollar sign necklace and the fishnet wife beater – really powerful.« MacKinney points to the explanation that »the skill of discovering vintage among the mass of second-hand, coupled with the prime commodity of the late 20th century namely time, which adds to the distinctive power of vintage.« Again, we have this socio-political reasoning stating the times of insecurity and unrest with fear of war and terror as a logical chain reaction towards retro and ‘the old days’. Then, if we take a closer look, we find that the need to stand out and show creativity and originality is also important to consumers of today.
Think about the word ‘fashion.’ The actual meaning of the word, that is. You may find some well-written definitions like ‘the constant change of aesthetic expression.’ This makes sense. But how does the idea of vintage fashion fit in? How did ‘old’ become the new ‘new’?
Katrine Agger supports this view: »Vintage pieces allow you to create an expression, instead of just following one. In fact, fashion editorials featuring vintage clothes have worked as a main inspiration for current designers trying to create their next collection – myself included,« she reveals. Add to this the changed status of today’s consumers. They play a more controlling role than ever before. There are new ways to get a hold on the clothes you need. Hello, cyberspace and e-commerce. The fashion industry, in its function as a mirror of time, has of course reacted to this challenge. This means that now many fashion houses re-release former fashion hits. Remember those oversized vintage clutch bags looking boldly like those from the 40s and 50s? How about the romantic printed 30s crepe day-dresses and classic 50s sundresses with huge skirts and nipped in waists? Or full cotton skirts in typically quirky 50s prints? One could go one, but one should not.
Though vintage clothing as a main inspiration for both mainstream society and couture designers has waned out, people will continue to buy it. Because, as the owner of Copenhagen vintage store Time’s Up, Jesper Richardy, says: »These clothes have so much history. Like the emancipating clothes brought on by the feminist movement, or the need for excess after World War ll. At that time it was common to create dresses from no less than 100 meters of fabric. And the qualities were ever so solid. Contemporary designers simply do not make dresses like that anymore.« Too bad they do not, though. Because everlasting clothes would fit the latest big trend of ethical fashion perfectly. Over the last couple of years, global concern brought this trend upon us. This is how trends come and go, but vintage fashion will probably never die. More likely, it will figure as a category of clothing rather than a trend. It is a durable term, which is something very rare to find in a field defined by constant change.
3 Copenhagen vintage ‘musts’
Blågårdsgade 2a, Copenhagen N
Larsbjørnsstræde 6, Copenhagen K
Vesterbrogade 79 and Kaalundsgade 1, Copenhagen V
This Nørrebro shop is packed with treasures. The handpicked items include unique vintage designer and couture finds from Chanel, Dior, Givenchy and Cardin. The time period spans from the art deco decades of the 20s, through the 40s and up to the 70s. You can really find something special on these shelves. Their shoe collection is one of the finest in town, and they have some really magnificent jewellery, too.
The name of this vintage shop is taken from the owner’s family fishing boat. A boat which has become a childhood memory that will never change or fade. The same goes for the robes of this couture-ish store. Here you can dig out original vintage and customized pieces. The aesthetics of the collection are very classy and sophisticated, which allows customers to get a hold on Lanvin and Nina Ricci haute couture.
Formerly located on legendary Jagtvej, this traditional second hand shop has packed up its bags and moved to Vesterbro. The collection is still huge, though, and you can find both ladylike furs, 50s pumps and 80s shoulder-patted spandex dresses. It is fun, and also the perfect way of training your eye to spot the gold. They re-load their stock quite often, so keep your eyes open.
THE AVENUE FEELING
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