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inaugural c o mpendium of creativity

spring’07 3deep jeff r utten chicks on speed christian wijnants robb young dino dinco jim lee

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NEWS 20 Skin Over 22 R.M. Fischer 24 Ping Pong Bitches 26 Joe Colombo 29 Kaviar Gauche 30 Charles Trevelyan INTERVIEW 32 Jeff Rutten by Ninette Murk 36 Trico by Anton N 42 Dino Dinco by Ninette Murk 46 Chicks on Speed by Javier Barcala 48 Christian Wijnants by Javier Barcala 52 Robb Young by Hongyi Huang FASHION REPORT 58 The Fashion Underground 60 Richard Macabre 62 Wendy & Jim 64 Romain Kremer 66 Gregory Littley MUSIC 56 Louie Austen by Paul Davies DESIGN 68 3 Deep by Sulin C FEATURE STORY 78 Jim Lee by Beth Vincent FASHION 100 Witchcraft by John Paul Pietrus 116 Analysis of Brazilian Style by Jacques Dequeker 136 Grrr.... by Jason Ell 148 Starman by Jorge Camarotti 168 Friends by Asi of Iceland BEAUTY 156 Adam de Cruz PHOTOGRAPHY / ART 161 Incognito by Philip Provily GRAPHIC 175 Ode to Nature TRAVEL 196 Tokyo Metropolis by Jun Kit

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incognito by Philip Provoly

through the lens of Jim Lee

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The Fashion Underground

bending the rules with 3 deep design

through the lens of Jim Lee

Witchcraft by John Paul Pietrus — 13 —

friends by Asi of Iceland — 14 —

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photo: Arthur Meehan ( / model: Alek Alexeyeva (Next London) — 16 —

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beauty by Simon Songhurst

Chicks on Speed rules

Ode to Nature

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w w w .chr is t ia nw ijna nts .be

EDITOR-IN-CHIEF / CREATIVE DIRECTOR Dominic Sio EDITOR Adam de Cruz FASHION EDITOR Niki Brodie (London) Loic Massie (Paris) SPECIAL PROJECT Ninette Murk CONTRIBUTING EDITOR Vinnie Pizzingrilli (Brazil) Jared Johnson (USA) Hongyi Huang (London) Javier Barcala (Spain / Belgium) CONTRIBUTORS Annie Horth, Anton N, Asi of Iceland, Bart Peeters, Christopher Sweeny, Claire Park, Diane Pernet, Drogo Molinas, Hind Matar, Hongyi Huang, Jason Ell, Jorge Camarotti, John Paul Pietrus, Jun Kit, Paul Davies, Philip Provily, Shane Brazier, Simon Songhurst EDITORIAL CO-ORDINATOR Hamid Jamil ART DIRECTION Dominic Sio / Ben Thain DESIGN CONSULTANT DESIGNERS Feon T. / Moses Chee EDITORIAL OFFICE Suite63-2 Manor 2 Jalan Perkasa 9 Taman Maluri 55100 Cheras Kuala Lumpur, Malaysia T/ F : + 6 (03) 928 763 82 UK OFFICE 21, Girdlers Road London W14 0PS United Kingdom T/ F : + 44 (0) 207 603 7549 WORLDWIDE COMMUNICATION ADMINISTRATIVE OFFICE 35 Selegie Road #04-06 Parklane Shopping Mall Singapore, 168073 ADVERTISING ENQUIRIES SUBSCRIPTIONS PRINTING MunSang Printers Sdn. Bhd. WORLDWIDE DISTRIBUTOR Comag Ltd (UK) tel +44 (0) 1895 433 600 fax +44 (0) 1895 433 603 ON THE COVER - THIA photographed by John-Paul Pietrus Black dress by Gaspard Yurkievich Styling by Loic Masi Make-up by Adam de Cruz COPYRIGHT

Stimuli © 2007, by the artists, the authors & photographers. Reproduction in whole or in part without written permission is strictly prohibited. All prices and credits are accurate at press time but are subject to changes. This magazine accepts no liability for loss or damage of manuscripts, artworks, photographic prints and transparencies.

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photo: Annick Geenen w w w. v e ro n i q u e b r a n q u i n h o . c o m

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Show your flaws Rotterdam based artist Silvia B. has launched a line of gloves – ‘sculptures to wear’, as she calls them. Known for her depictions of teenagers with their skin sutured together or completely covered with a furry pelt (also see, Silvia B. has a fascination for a kind of beauty that is just outside normality. That’s why each edition of her elegant elbow-length gloves – in a pale skin color – shows a specific peculiarity. The beauty of the long evening gloves is challenged by a feature that can be considered either a special or dissonant skin quality, like freckles or a plaster. Now you can get dressed up in a second skin and feel the sensation of wearing somebody else’s tattoos or moles! New models are presented bi-monthly on the website So far there have been six models: ALMOST PERFECT that is sutured together, LOVE/HATE with tattoos on the knuckles, BEAUTY SPOTS that shows some dark hairy moles, MUTANT with its second thumbs, WOUNDED that wears plasters – and the latest, FRECKLES. Six more are being developed in 2007. All pairs are made of the finest lamb skin, branded, signed and numbered. They come in handmade showcases and are available in sizes 7/ 7.5 /8 /8.5; the ALMOST PERFECT model is available in sizes 6 /6.5 /7 /7.5. All models come in small, limited editions of only 7 pairs (courtesy RONMANDOS gallery). Talking to the hand has never been more interesting! – Ninette Murk — 22 —

Fusion Fashion and Product Design The task of developing a floor lamp is usually put into the hands of an industrial designer. Interior designers Joerg Boner and Christian Deuber (Zürich) and fashion designer Lela Scherrer (Antwerp) however integrated a “couture” aspect in an abstract way into the creation of the Alma floor lamp. “Couture” here stands for high quality and uniqueness, for the lamp to become an outstanding object of limited edition. Alma was developed mainly with a view to construction and function. Due to its high grade materials it achieves a new and totally different value compared to conventional, mass-produced articles. The particularly dyed, finished and treated fabric, the hand embroidered unique application motifs – which are part of a bigger picture and therefore make every shade a unique piece – and the massive walnut stand put the lamp into an artistic context. The Alma floor lamp is as much an experiment of product – the combination of precious wood with first quality textiles – as it is in the sharing of the development process. The designers lay their competence and skills on one scale, with a result that will light up many nights for design lovers worldwide. – Ninette Murk

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“Modern Times” etching and aquatint framed with metal matt and brass hardware edition of 25 45 x 34 x 3&3/4 inches

Let’s call it art For about 30 years now, R.M. Fischer has brought the past into the future, continuously combining architectural figures and interior designs, old and new, within futuristic yet nostalgic art pieces. Mixing electrical, plumbing and industrial additions into functional sculptures, with a good knowledge of media and construction materials, he has formed working sculptures that inspire and motivate the creative mind. An example is Empire Towers, 1985, a large scale exterior sculpture with the concept of a grain silo, constructed out of stainless steel, anodized aluminum and electric lights, and standing 16ft in height and 5ft in diameter. Crowning the structures’ high points in the middle and capping each of the four poles that hold the towers upright are figures found on many palace gates and royal guard helmets. At night the work’s functional aspects come to life as electric light shining up from the bottom of the cylinder penetrates through more than 4,000 drilled holes in the sides of the anodized aluminum. The mixture of these iconic, imperial, and functional features not only represents a bold impressive work of art but also set a standard for his work. As a result of creating these towers, the artist subsequently received commissions to create major works for the Massachusetts State House in Boston and for the gateways

of Battery Park in New York and MacArthur Park in Los Angeles. Bubble World, 1999, for Deitch Projects, on the other hand is a fabulous mixture of interior and architectural design, fashion and technology. Mashing an anthropomorphic past with a biomedical future, rounded light shades move into organic shapes made out of up to 14 polyethylene spheres, big and small. These smooth white shapes could be taken as sexual ideas, almost held up and adored by old brass Victorian style fittings. These life sized works stand 6 ft tall and are quiet impressive, like classic lamps which seem to be expanding and dividing, or cells forming and breaking away from the nucleus, beaming forth as new lives of their own. R.M. Fischer provides the viewer with pieces that can be read on many levels, not only his highly developed craft and an aesthetic approach to industrial materials, but his ability to deal with paradox which adds to the sculptures’ complexities, continuously blurring the lines between art and design, technology and fashion, past and the future. Whether a three dimensional wall hanging or the centrepiece of a room, the artist continuously experiments with prestigious mediums of the past fused with contemporary construction and ideas. – Shane Brazier fischer.html

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Luc at me “Look at me!,” young Dutch designer Luc Schouten seems to say, with his floating lamps, pre-fab baroque decorations and SMS printers. Schouten has already made quite a name for himself. He recently graduated from the widely touted Design Academy of Eindhoven, which is said to be eclipsing the Royal College of Art in London in turning out hot young prospects such as Joris Laarman, Maarten Baas and Bertjan Pot. From his graduation project itself — “Sunken” — Schouten won first prize in an international design competition for his method of pushing back decorations into the wall, or sinking them, so as to integrate decorations into the process of pre-fab concrete casting. This also allowed the decorated panels to be stackable and adjustable. Pretty fab, wouldn’t you agree! Since then, he caught the public eye literally with his floating lamp – “Light”. You’ll want to tear your strip lights straight down once you’ve laid eyes on these freefloating helium-filled illuminating balloons. A single Light radiates tranquility, luster and nothing less than a

sultry atmosphere. Many Lights make a merry party of luminescent airborne jellyfish! Furthermore, each Light contains a controllable LED which may be put on different modes (on/flashing/slow flashing/off ) for instantly programmable atmosphere. Since its debut, “Light” has aptly enough been shown off at the Cologne Fair as well as been employed in Amsterdam’s chic Supperclub. Schouten’s other designs and illustrations have also been shown at several design exhibitions, including the Salone del Mobile in Milan, Italy. His portfolio also includes an internship project with Viktor and Rolf, a series of three foldable lamps, a portable SMS printing device, as well as a lamp, which with the use of light, structure and mirrors, allows you to read while lying on your back. At the heart of Schouten’s creativity is an unconventional designer who questions rather than accepts, as well as a curiosity that is trigged by people and technology. If you thought that Dutch design was perhaps reaching a doldrums, it’s emerging talents like Schouten who are putting it back on the map! – Sulin C

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Let’s get out the bats Nobody said it would be easy being the Ping Pong Bitches. There is the name, for starters. “Yes, everyone thinks we’re a bunch of underage girls from Patpong,” says Louise Prey, who started her female rock band with best friend, Emily Hell some five years ago. In reality, the name has less exotic origins, referencing a certain sampling technique in recording studios. But don’t be disappointed just yet, because these girls throw down a fierce rocking set when they perform live. Which is thankfully often. Their sets are an intoxicating hybrid of every clichèd rock n’ roll pose in the book, hardwired to truly gritty guitar licks served up with just enough electro attitude to keep the dancefloor happy. “All our basslines are really strong,” Prey explains. “They’re taken from hip hop. And sometimes disco – so they’re very funky too.” Image-wise, the Ping Pong Bitches are all about The Ramones, with a healthy dose of L’il Kim plus Joan Jett and The Runaways – the ‘Thelma and Louise’s of New York’s nascent Punk era. The results are compelling. When they insist, “we like to break down the audience’s reserve. Have them participate a bit more. We want people to let loose,” they are not kidding. And the audience are only too willing to comply. Joined by Emily’s sibling, Sister Hell on keyboards and Danny Noise on guitar, plus an occasional DJ for added beats, this is one

hellraising act that has found themselves invited to music festivals all over the world; sometimes on the strength of their website alone. It was at the highly regarded Coachella festival in Palm Springs last year where they met The Prodigy. A collaboration followed, with the single “Girls” being the best selling single off the band’s last album. Now, the Ping Pong Bitches have their own album to promote. Due in the New Year, ‘Alpha Dog’ contains eleven tracks of raw element rock and roll, stripped to the bone. Onstage, they mix their self-designed shredded t-shirts with choice designer pieces that don’t boast any garish logos. Offstage, the girls seem quite sweet and harmless. The sort who might serve you tea and scones at a quaint teashop in the English countryside. Except when they make sinister remarks like, “It’s not just a celebration of ‘sex, drugs, rock n’ roll’, but more of an undertone. We’re not as destructive as we used to be.” It’s tough being a rock star sometimes. – Paul Davies Alpha Dog by the Ping Pong Bitches is due out in early 2007 on Umami records.

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The Wonderful Wizard of Art Since its opening in January 1996, Deitch Gallery Projects, located in New York, has expanded the notion of the everyday gallery to bring art, design, fashion and performance art into the same space. Even the front exterior of the gallery regularly alters with its exhibitions, showing that they think far outside the white walled focus of the average gallery. Why stop there? Why not bring art on to the streets? And they did, in Art Parade on West Broadway, featuring performers, artists and designers who created floats, placards, portable sculptures, kites and street installations, to provide a motley scene and spectacle to the everyday commuter. Jeffery Deitch has been involved in the art world for many years now. In the 1980s, he worked with Keith Haring and Jean-Michel Basquiat. Since then, the gallery has handled their sales and represented their estates, as well been a longtime advisor to several of the most important collectors of modern and contemporary art, besides consulting to corporate art collections. One of its recent projects was advising Mori Building Company in Tokyo on the development of the Mori Art Museum, as well as on the Roppongi Hills Art Project. When asked to have his portrait taken, Jeffery Deitch agreed, on the condition that he share the stage with artists he’d worked with. The portrait, entitled “The Wonderful Wizard of Art”, included such artists as Yoko Ono and Prada, all backed by Paul McCarthy’s The Garden, 1991-92. Everyone was fashionably dressed. Deitch Projects are pleased to present many up and coming new artists and performance ideas. It exhibits a wide range of artists, from The Voluptuous Horror of Karen Black (with The Sound of Music) to video projects from Japan’s Enlightenment collective. The gallery’s best known

projects include the Shopping exhibition which featured installations by 36 artists in 36 shops within the SoHo district of N.Y. No longer is it indeed a white room with paintings on the walls and sculptures sitting quietly on their white boxes. The gallery also brings in extra entertainment for openings, including performances connected in some way to the theme of art being shown. DJ’s, musicians, performers and the crowd alike bring the space to life. Settled within the comfort of these art works, these elements surround the view completely, from the floors to the ceilings, creating a world of its own. These are in turn documented by Tom Powel, whose 360 degree photographic tours of installations make up an essential part of the programme and are simply an amazing way to record and catalog these works. During the Garden Party group exhibition, the space was completely filled out as a park, complete with statues, park benches, signs, fireplace, grape vines, and a grassy hill, which seems to have been fun to roll down, as the exhibition on the whole must have been, with so much lush green. Artist Julie Atlaz Muz used these calm and beautiful surroundings in fact for her Deflowered performance, as if it had taken place in the Garden of Eden itself. It’s all fun. Many galleries have had to widen and diversify the range of activities taking place within the space they provide. This has often had to come with energy and persistence to bring contemporary art to the outside world and in reproducing the outside world on the inside. In this, Deitch Project walks at the front of the line. – Shane Brazier

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Return to the Space Odyssey “Open the pod bay doors, HAL,” for we are entering 1968 – the year of miniskirts, pop and mod, colour television, Sergeant Pepper’s Lonely Hearts Club Band and Barbarella.

movement” of painters and frequenting jazz clubs, Colombo began to be interested in design. Thus after inheriting his father’s electrical conductor factory, he duly transformed it into a plastics experimental playground.

Not all of it was swinging, sure enough. Reality saw the Vietnam and civil rights movements, post-independence new nations, the space race and Martin Luther King shot. But the combination of baby boomed youth and post-war technology opened up unprecedentedly optimistic horizons. Virtually, there were Stanley Kubrick’s 2001: A Space Odyssey, Archigram’s walking cities and the global village theory of Marshall McLuhan. Actuality wasn’t far behind however with the Boeing 747’s maiden flight, NASA’s first manned Apollo mission, the sighting of the far side of the moon and yes, the invention of hypertext.

Along the way, he began productive collaborations with important design companies of his time, like Kartell, Zanotta, Stilnovo, O-Luce, Alessi and Rosenthal, with most of his designs still being produced by these firms to the present day.

From the elites to the masses, the introduction of plastics made anything possible and colourful too. People were seeing the era’s fluid, cosmic, groovy, psychedelic fun creep into everyday life, from shag carpeting and inflatables to master control panels and combination furniture. It was new stuff for a new life and no designer encapsulated this time better than Italian plastics pioneer Joe Colombo. Alongside Eero Aarnio and his Ball and Bubble chairs, Colombo created works such as the Elda and Astrea chairs without which the shag pad, the lounge trend or Austin Powers, may not have been envisioned. Colombo’s Universale furthermore, was the first chair to be moulded from one material and is sure enough the precursor to what has been called the decade’s ‘it’ chair, Philip Stark’s Louis Ghost. Even the precision moulded in-flight service tray may have been said to be pioneered by Colombo’s prototype for Italian airline Alitalia. It was nothing short of a coincidence of inclination and destiny however that allowed him to dream without boundaries, from the ideas up. Having started out with an interest in architecture, being part of the “nuclear

Colombo’s plastic fantastic forms gradually ballooned into full-blown living microcosms of sci-fi kitsch living, oozing with the futuristic promise of the late 60s. Containing televisions that retract into the ceiling or pivoting walls with a built-in mini-bar, these were all-in-one living systems which culminated in his opulent Visiona – the “habitat of the future”. Perhaps more than any other designer of his lifetime, Joe Colombo lived the dream. The heavy-smoking Colombo invented smoke glasses that enabled the drinker to smoke at the same time, as well as the Optimal self-supporting pipe which did not require a stand, besides employing his own home as a showcase for his designs. As exuberant and energetic in enjoying his private life as his work, Joe Colombo died of heart failure on his birthday – 30 July 1971 – exactly 41 years after the day he was born. All in all, this design icon gave us a slice of that era’s imagination and creativity that we post-millenials may only yearn for or emulate – a sensuality that is still mined by folks the likes of Tom Ford, Marimekko and Miucca Prada. If Colombo were here today, he may just have repeated his oft-quoted phrase: “Now, if the elements necessary to human existence could be planned with the sole requirements of maneuverability and flexibility... then we would create an inhabitable system that could be adapted to any situation in space and time...” Ladies and gentlemen, we are floating in space. – Sulin C

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Gentle Persuasion Dandyism may be enjoying a recurrence at the moment but Omar Kashoura has always been a true gentleman in style. With heavy influences from British tailoring, Kashoura’s choices in fabric and cut are often reflective of his roots. Growing up in the Leeds countryside, he moved to London at the age of 17 to study menswear design, graduating with a highly acclaimed collection that went on to receive the Gen Art New York Styles 2005 Best Menswear Award. His talent was immediately recognised and the prestigious agent, Floriane de Saint Pierre, consequently approached to represent him. Kashoura chose instead to work for the London based label, Preen and consulted for another label, Unconditional. In 2006, Kashoura introduced his first collection entitled Choice, Chance, Luck featuring a mix of tailored suits and shirts with matching cardigans, second skin t-shirts and skinny trousers. Hand-worked crochet pieces adorn outfits to complete a masculine outlook that is both polished and

romantic. Working on a monochrome palette with splashes of cream, coral and a paisley floral pattern, Kashoura develops his tailoring to another level for Autumn Winter 06, constructing sharp evening and smoking suits. Garments have a multi-visual aesthetic using the clever placement of buttons and buttonholes. His skill in fabric manipulation is evident in SS07, creating detachable frill panels that snake and twirl around the neck shoulders as well as ruffle pieces that trail along lapels of suit jackets to give the wearer the option of looking very much the whimsical or modern gentleman. – Hongyi Wong Kashoura collection is available from Shop@Bluebird (London) and Addition Adelaide (Tokyo).

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Slowly Does It Deryck Walker’s foray into fashion was rather different. Built on a solid foundation of support from Arena magazine’s Fashion Director, Andrew Davies, Japanese designer, Rei Kawakubo and her husband, Adrian Joffé, Walker has slowly nurtured his talent without the hype that can sometimes overwhelm and destroy young talent. His first contact with the Comme des Garçons founders was through Davies who invited Joffé to view Walker’s debut collection with the intention of seeking constructive criticism. Instead, Joffé expressed an interest to buy the collection, compelling Walker to expand his business overnight. The label takes pride in its artisanal qualities, using nationally sourced factories and fabrics. In Autumn Winter 06 Walker made his debut catwalk show under the umbrella of London Fashion Week’s MAN show. Using a palette of silvery-greys, black and white, Walker juxtaposed gloss and matte textures, sending down icepale models in gingham paneled shirts with straight-leg trousers riding on their hips. Elongated duvet coats with snug elephant sleeves and paper leather bombers also featured with outfits accessorized with Kryptonite coloured bands and belts. His style has often been described as “ASBO” chic though this comparison comes close only because of the recurrence of sweatshirting fabrics, hoods, full pockets and gingham shirts. Following up to his debut catwalk show, Walker showed again at MAN in Sep 06 with the ‘Oracle’ collection. Colours were kept to a minimum – white, black, royal blue and metallics with a clear play on natural and highly synthetic fabrics. Walker maintains a street element in his clothes but he is in fact a romantic visionary, with his designs flourishing through imaginary knights and warriors of the future. – Hongyi Wong Deryck Walker studied fashion and textiles at the Glasgow School of Art and showed at Rendezvous Paris in Jan 07. His clothes are sold in Dover Street Market (London) and Side-by-Side (Tokyo).

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Shiny Happy People After graduating from the Fashion School Esmod in Berlin, Alexandra Fischer-Roehler and Johanna Kuhl got together and launched their fashion label, Kaviar Gauche, starting it off with a guerrilla fashion show in front of the Parisian store of style, Colette in 2003. Since then, the label has grown from strength to strength, with a recent nomination for the Swiss Textiles Award, one of the world’s most prestigious awards whose past winners include Christian Wijnants and Raf Simons, alongside Bruno Pieters, Jonathan Saunders and Ann-Valerie Hash. In Sep 2006, they also won the ON OFF Visionary Award where they had the opportunity to present their SS07 “Ladies in Shining Armour” collection on catwalk at the Royal Academy of Art during London Fashion Week. Matching extremes to perfection, the softest and stiffest fabrics, darkest and lightest colours, glossiest and dullest textures were put together to form outfits that were fluid but incredibly controlled. The collection was light and flowing but silhouettes remained shapely. Stylised with shining metallic details, jewellery elements were incorporated into garments to create the image of a Grecian maiden. Kaviar Gauche have also earned renown for their lamella structures, using plate-like panels to add shape to the bodice, not to mention a sci-fi element to their clothes. – Hongyi Wong Kaviar Gauche got their name from the term “gauche caviar” which was coined in the 60s to describe glamorous socialists – lefties who didn’t the need to espouse a low-end lifestyle. The designers showed again at the On|Off exhibitions during London Fashion Week. They are currently stocked in more than 10 countries, in stores which include Liberty’s (London), Galeries Lafayette (Paris) and Midwest ( Japan).

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Good Vibrations Having first studied Materials Engineering then Sculpture and 3D design, up-and-coming London-based furniture designer Charles Trevelyan is well placed to transform shape into form. Witness the Shelflife unit which functions not only as a bookshelf and room divider but further reveals a chair and side table within its structure. Or the Harmonique table, reminiscent of sinuous undercurrents; or the Titanic lamp that seems to sink into its surface. His Archipelago coffee table set, meanwhile, cleverly extrapolates cartographic outlines into moving bits of land mass. One can imagine a former Risk player finding his latest executive toy in commanding the troops over the corner “peninsula” and two “island” incidental tables. Exhibited together with the Hidden Art design group at the Milan Furniture Fair, Archipelago has already created tremors. Speaking of making an impact, Trevelyan’s Tectonic coffee table meanwhile, features two halves that slide apart on textured rollers, causing the table to vibrate and growl as in an earthquake. When expanded, a hidden storage compartment is revealed. “For a new designer such as myself,” Trevelyan has said, “I believe that form [as opposed to function] is arguably the most important consideration. Without a profile on which to launch a product, being distinctive maximises the chances of drawing attention from a limited amount of exposure. It is this attention that then provides the designer

with the opportunity to work on products more suitable for the wider market. Working in this way has the advantage of allowing you to work on projects that are unlikely to become products, but which can often inspire more practical versions or concepts.” Indeed, it is signature pieces such as these that has won Trevelyan significant attention as well as jobs such as lighting projects for the retailer Heal’s and London manufacturer 2PM. Membership has also been gained into collaboration with several London design groups, notably Viable London and 100% design. Viable London is made up of Trevelyan, together with fellow product designers, Magnus Long and Gala Wright, who promise intelligent and stimulating designs for furniture, lighting and other living products. The group was launched unconventionally enough last September in a restored gymnasium at King’s Cross. At 100% Design meanwhile, Trevelyan has become the poster boy for up-and-coming design, having won two Design for Production briefs and a Design for Commission brief. Which all just goes to show that for figuring that bit of provocative intellect into your life space, Charles Trevelyan makes good. – Sulin C

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w e i v r e Int

“ TROF EE ” the ultimate solution for those who can’t say goodbye to their favourite pair of j e a n s

Jeff Rutten by Ninette Murk

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The man who put the fun back into functional When you think of Belgian design, your first thoughts probably go to fashion greats such as Martin Margiela, Dries Van Noten and Raf Simons. But did you know that this small country is also a hotbed of contemporary interior and furniture design? We are very proud to present you Jeff Rutten, Belgium’s up and coming furniture designer who combines a great sense of humour with a discerning eye for what’s possible with various materials.

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>> Jeff Rutten <<

Who are you?

Which existing design would you like to have thought up yourself?

Jeff Rutten: “My name is Jeff Rutten, aka JR. I’m a 25 year-old farmer’s son and I live in a little Belgian town called Tessenderlo. At school I studied Interior Design and an extra year of Furniture Design.”

Jeff: “The Dutchtub from Floris Schoonderbeek (Holland). It’s an outdoor polyester hot tub which looks like a cannibal cauldron. It requires no electricity, plumbing or hot water. All you need to do is fill the tub with cold water and light some firewood in a special steel basket. It’s an ingenious system to give yourself and your friends a hot bath – anytime, anyplace!”

What do you do? Jeff: “First of all I develop prototypes and manufacture some of my own designs. Furthermore I take design orders on a freelance basis and I furnish interiors. I also do designs for a company in plastics.”

Which designers inspire you? Other sources of inspiration? Jeff: “There are several designers I admire, but what really inspires me is coincidences in everyday life and the materials I work with. I like to explore all the possibilities of a material and take those as a starting point. I like no-nonsense designs, objects that speak for themselves.”

“What really inspires me is coincidences in everyday life and the materials I work with.”

What is your motto? Jeff: “Belgian rocker Admiral Freebee once sang: ‘You can’t milk a cow with your hands in your pants’. I couldn’t have said it better.”

What are your dreams?

Can you tell us a bit more about your recent exposition that was held last spring in Tessenderlo/Belgium?

Jeff: “I hope that I’ll get lots of chances to work on interesting projects and orders. And – most importantly – that I’ll never lose the ability to dream.”

Jeff: “The exposition gave an overview of my work up till now. Visitors also got the chance to see some of my new work, like the ‘Madelove’, a new indoor/outdoor seat.”

Which of your designs so far are you most proud of?

Where is your work sold?

Jeff: “The ‘Eureka’. It’s a seat for one or two persons, that can be placed in or next to a swimming pool. There is no top or bottom and the form allows the piece to be used in the most ergonomic sitting and lying down positions.”

Jeff: “Mostly I sell it myself – personally or via my website. I use my own designs when I furnish interiors and regularly it’s also sold in galleries.”

“ JR – O S AU RUS” J r – O s a u r u s i s a series of reincar nated skulls . By ador ning them with a new flocked skin and the wings of an angel they are given new l i f e .

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“ASSCA NDY” bench in PU foam, packed up in PVC cover – photography b y B A R T P E E T E R S

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w e i v r e Int

Trico by Anton N

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Playful Established in 1996, Japanese outfit Trico started out exploring design as a large concept encapsulating everything from choice of wine and music to the creation of evening dresses. Since then, they’ve made a name particularly in furniture and interior design, having opened 2 showrooms in Tokyo and Fukuoka exhibiting international designers the likes of William Warren, Yosuke Watanabe, Richard Hutton, Michael Marriott and Inflate. The crew of 7 also came out with their own playful creations, having in 1998 given birth to TRICO DESIGN LOVE! and AIRCONDITIONED, their cross-disciplinary design consultancy and internal design team respectively. — 39 —

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What’s behind the name? By Trico is the key name of us. There is almost no meaning, just an internationally familiar sound… This is our statement: “ENJOY DESIGN THE SAME AS BEER!” We think design should be friendly and at the same time serious. BYTRICO is the name we often put up after we’ve made something. How about TRICO DESIGN LOVE! and AIRCONDITIONED? Share with us the roles or significance they play in the overall family. TRICO DESIGN LOVE! is a design consultancy of product, graphic, architecture and interior design… We often work with outside designers and specialists as a design consultancy. AIRCONDITIONED is the name of our own design team. We are trying to condition the detailed invisible circumstances around people. It is not necessary to be products. Beautiful wine is often more important than beautiful chairs to make lovers happy. ‘DESIGN’ is a very big word for us. We can choose nice vintage wine, select good music, design beautiful evening dresses... under the term ‘DESIGN’.

Our ordinary day starts with brooms and finishes with some beers. We spend lots of time researching, analyzing and discussing all our works. Design is not just a thing to do on a desk for us. Drawing sketches, developing, distributing, sales, PR, and other necessary tasks are all creative works for us. If you came upon a log lying by the village roadside, would you a) burn it for fuel, b) exchange it for food, c) make something out of it and then sell it for money or d) wonder how it got there and walk away? I will decide what to do depending on my situation. If I needed fuel a), if I was hungry b), if I needed money c), if I was just on holiday hiking d). If I found it in my studio now, I will make my desk and book shelf. If I found it in my home, I will make a tall bird house. Working with plastics or natural materials – your preference? I prefer natural materials of course. But if there was any positive reason to use plastic, I do not hesitate to use it.

How important is your retail operation, By Trico, in conveying your philosophy?

Do fans come up to you in the streets and thank you for changing their lives?

It’s not just a retail shop for us. It’s a place to dispatch our philosophy as you said, and also a place to communicate with the public directly.

We do not have many fans like pop stars. We prefer to be their friends, not a star.

Filling our world with wonderful products or filling our minds with great design communication – what’s at the top of your list? Products (visible design) can bring something to our minds. Products (visible design) which bring nothing to our minds is rubbish. Even if it is visible or invisible, design should bring something to our minds in a nice way. What happens in a typical ‘Trico’ day? Do you start with unorthodox creative rituals or some random analysis of global sales figures?

Founded in 1996? – 10 years of Trico. What is the next decade going to bring? Yes we were established in 1996. We will go our way and will do something worthy for another 10 years. What’s your Stimuli? Daily life.

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Kiss & tell In Spring 2007, YOTEL launches at Heathrow and Gatwick airports in England. This revolutionary hotel concept, merging the language of luxury airline travel and Japanese capsule hotel rooms has already caused a stir in the industry. Conceived by Simon Woodroofe, the founder of the YO! Sushi phenomenon, and brought to life by YOTEL CEO Gerard Greene, this innovative idea hopes to redefine our accommodation needs as we jetset around the world on our busy work and leisure schedules. Fascinated, Stimuli spoke to the people behind Yotel before their highly touted double launch.

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In today’s trend for highly aestheticized yet more intimate and individual-centered hotels, is YOTEL just another boutique hotel? Yotel: Not at all – yes we are about great fun and engaging design but YOTEL’s key unique selling proposition is its location – in terminal buildings and literally a few minutes walk from departures or arrivals. The design of the cabins create a ‘haven’ for relations, entertainment, rejuvenation, refreshment or just a great sleep! With the hotel not necessarily needing its own architectural structure, share with us what kind of out-of-the-ordinary spaces it could occupy and how this

would work in cities around the world?


Yotel: YOTEL can go anywhere with no need for great views or outside windows, we can go underground, floating, on rails, wheels, in any other building. City centre locations are key for both leisure and corporate customers. YOTEL can take over a redundant unloved building and repopulate it with life. Re-use rather than re-build.

Designed by Priestman Goode, who helped Airbus define the interior of its double-decker aircraft, the ‘cabins’ are 10m² with luxury bedding, techno walls, sophisticated mood lighting, pull down desks, monsoon shower, flat screen TV with surround sound system, a choice of hundreds of downloadable movies, wi-fi access, eat-in grazing menu and web booking facilities. This funky design was realised by internationally renowned interior design experts Conran, together with London-based architecture firm, the Manser Practice. Gerard Greene CEO YOTEL has said: “With YOTEL, we want to shake things up in the travel industry. It is all about thinking outside the box and creating a value-for-money proposition that still offers great design, functionality and excites the consumer. YOTEL will be the iPod of the hotel industry.”

How cool is YOTEL? Yotel: That’s for our customers to decide – we’ll be warm and friendly, comfortable, approachable and we’ll be totally flexible – our customers will be able to book what they want when they want to.

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Dino Dinco by Ninette Murk

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Dino Dinco wears it well Photographer/filmmaker Dino Dinco (1970, Pennsylvania, US) studied literature at school and is a self taught photographer/ artist. He moved to Los Angeles at age 14 – he had been visiting there since the age of 4 and knew that to be happy he had to move to the West Coast. Dinco loves doing documentary and portrait photography, has several solo expositions under his belt and publishes in magazines as diverse as Tokion, surface, Butt, i-D and Zoo. His latest project – in collaboration with fashion diva Diane Pernet – is YOU WEAR IT WELL, a travelling festival of short fashion films. Stimuli talked to him about his work, dreams and inspiration.

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>> Dino Dinco <<

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What is so fascinating about photography & film and what do you prefer – if money were no object?

when I worked in private investigation, and most recently, helping directors develop their ideas for TV commercials and music videos.  

Dino Dinco: “Photography and film often act as a mirror to our lives, our fantasies, our histories, our dreams, our realities.  What do I prefer?  I enjoy both real life and various representations of real life.”

So, without any parameters or restrictions from Diane, I became a fairly frequent contributor to Diane’s blog, reporting on whatever it is I’ve gotten my hands into, whether it’s accompanying Bruce Benderson on the West Coast promotional tour for his book, The Romanian, or climbing out of a dark and stinky tranny bar after closing hours with a few new girlfriends. Hmm... maybe there’s not much of a difference between these two examples, but you get the idea.  

What are your favorite subjects (man, plant, house, anything with a heart – or maybe better without one i.e still life)? Dino: “For me, it’s less an issue what is captured, than HOW it is captured. Five people can take a photograph or make a film of the same thing and the results will reflect their individual subjectivity. In YOU WEAR IT WELL, we chose to program a short film from Nick Knight’s SHOWstudio (, where Knight shot footage at a John Galliano fashion show and invited various people to cut the exact same footage to create unique films. We chose Nigel Buck’s edit, as we felt that it was not only powerful on its own, but that it was the most potent selection from all those who had a go at the footage. Take a look for yourself.  Maybe you’d prefer a different edit. But the point is, all the guest editors had the same raw material to work with, and each came up with their own telling of the moment.” What would be your dream assignation, what kind of job, for which kind of magazine? Dino: “For me, personally?  Well, if we’re talking about photography, I’d like a cozy retainer from a nice looking, smart magazine.  I also know that there are a few wealthy individuals out there who would like nothing more than to be my benefactor.  They can call me at home.”

“I want to put together a festival of short films all about fashion. ” How did you meet Diane and how did YOU WEAR IT WELL come about? What did you expect of the entries, are you happy so far? What are the plans after Los Angeles, San Francisco, Antwerp and Spain? Can people still submit films and where can they learn more about the project? What is its aim? Dino: “I met Diane Pernet when I had my first solo photography show in Paris in 2001. Last year, I received an email from her from out of the blue, asking me “Do you remember meeting me in Paris?” I instantly thought of what an iconic figure she is and thought, “Who could ever forget meeting you?”  She asked me to be a contributor to her Paris-based fashion blog, A Shaded View on Fashion ( and I agreed, thinking that it might be fun. In addition to photography, I’ve written in a variety of formats ever since I was a teenager... for magazines, for attorneys

Diane’s background is in filmmaking and she’s been making these very intimate, “insider” films of the avant garde fashion world for years.  She sent me the 17 minute film where she documented design team Eley Kishimoto’s car that raced in the Gumball rally.  And I really loved the film. Later on, Enrique Gonzalez, Diane’s Mexico City correspondent, made a short film called “Clinica” and he posted it on A Shaded View on Fashion. It was great and showed a little slice of life and style in D.F. I thought, “There’s something really cool here and it’s about getting away from the computer and into a theater to watch this stuff with other people who are interested...” So I said, “Diane, I want to put together a festival of short films all about fashion. Let’s see what’s out there and see what people want to create....” It took no coercion from my end and well, here we go. YOU WEAR IT WELL is a work in progress and I couldn’t be more excited about our launch installment.   What we need are some solid sponsors – especially a digital media corporation like Sony or Canon – with deep pockets and committed backing and we’d like to make this an annual, traveling event that inspires people to keep making fashion films. We didn’t want to impose many restrictions on people, but we needed to have a few. Ideally, we wanted the films to be under 5 minutes in length. Most people followed that rule, but we requested films from certain designers and artists that were a bit longer. Also, I’ve been working in music videos for years, and although music and fashion go hand in hand, we wouldn’t accept “music videos” as the focus is always the music artist. We wanted fashion, style and/ or beauty to be the focus of each film. I think that was about it. In our Open Call guidelines, we wrote that the film could be cheap but it better be chic.   I think overall, we received about 25 submissions from our Open Call and about 25 films that we specifically requested to screen, like Ruben Toledo’s stunning Fashionation and an awesome collaboration between SHOWstudio’s Nick Knight and Alexander McQueen called The Bridegroom Stripped Bare. Any surprises? Yeah, a bunch of them. A really sweet film came in from Grit Menzzer and Dogpool Pictures made just for us, called Wear It Well that we selected for the presentation. And unexpectedly, Jean-Charles de Castelbajac sent in the film they made for Hello Kitty’s birthday exhibition that’s really fun. Oh and at the last minute, I came across an excellent short film

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by “twotom” from Paris that is both warm and clever and has a funny suggestion of sex in it. We want to make this a project that inspires designers, artists and filmmakers to continue to consider the intersection of fashion and the moving image, with screenings in cities around the world. Maybe we align ourselves with film and fashion institutions and go on to help nurture young filmmakers and designers now that filmmaking isn’t such an elitist and expensive endeavor. I’m thinking that we will ideally become a welcome component in Fashion Weeks around the world. Early on, my goal was to screen submissions by established names in the creative world with totally unknown filmmakers and designers and it looks like that’s happening. Maybe some of the big names will realize the talent that’s out there and ask the “undocumented”  to come in and work with them. Anything is possible at this point.” Do you like fashion? Why (not)? Dino: “Sure, I love fashion. The creation of something interesting / smart / artful / new out of nothing never fails to amaze / impress / inspire me. This also applies to food, architecture, community, art, etc.” Would you rather see photography as a craft or as an art? Dino: “Good question. Photography usually involves both craft and art.” How would you ideally live from your work and where do you see yourself in 10 years time, doing what? Dino: “I prefer to take a multi-disciplinary approach to income. I don’t just want to be a photographer, but rather be involved in various creative endeavors that ideally nurture and inform one another. I love making photographs and working with a creative team, like in fashion photography and advertising. But then I also like to work alone, making “art photos” for a totally different audience. At the same time, I love contributing to Diane’s blog, as it keeps me writing but in a non-commercial way, and working on curatorial projects like YOU WEAR IT WELL that keep me in touch with what’s bubbling around the world.” What were the highlights of your career so far? Dino: “Having my photo work next to Robert Mapplethorpe’s in Kelly Klein’s book, Cross.  Having my photo work curated by Arianne Phillips and Jeremy Scott in the beautiful book, Sample – 100 Fashion Designers / 010 Curators.  Having solo shows in Paris. Getting picked as one of the “Avant Guardians” in surface magazine’s first annual Avant Guardians portfolio and traveling exhibition. Oh, and busting my ass getting prepared for my tax audit from 2003, recreating an entire year of my life based on receipts and records, and not having to pay the IRS one cent more in tax.”

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Chicks On Speed by Javier Barcala

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Brush it up! The Chicks on Speed (COS) musicians / artists family grows, teaming up with long time producer, Christopher Just, and fine multimedia artist Douglas Gordon, to rule an art scene near you. COS is a concept, a free space, to be filled, yes even by you. A COS art-book / diary a friend found me in Tokyo includes fabric and patterns to design your own pants. American designer Jeremy Scott, close friend of COS, appears wearing a suit made of the same fabric. Play with it. There are even instructions to make your own shoes with gaffa tape and some pieces of leather. If you look at COS, you’ll never be close enough. They are always evolving and one step further than you think. Just barely, I caught up with Melissa (Logan) in Hamburg… JB: I have this idea of you beyond music, you’d become sort of a Factory on the move, you show how to DoItYourself so your contributions have no limit. Neither do they the other way around, for the people who work with you... ML: Yes this is pretty much the way we’re made. From the start we’ve always worked with a lot of people and then we got involved in a pop trinity, Alex, Kiki and me. Now in the last 2 years, we have been actively working with a larger group again, also on stage. JB: COS were 3 and now you have doubled, no? ML: Yeah! Indeed the stage is merging into a workshop / theater / fashion show more and more. This includes 3 new girls with us on tour: Anat Ben-David, with whom we have worked on about half the songs on our new album. Kathi Glas, we have made clothes with her for the last 5 years and now she is on stage with her sewing machine. A.L. Steiner, a photographer from NYC is with us for all the art projects. JB: What does it mean for you to make a living from art? ML: I think it is about being in love with art and cultural progression and at the same time, we have fun sticking out our tongue with a shallow market that has the thrill of a no risk casino… What is important for us in art is discovering amazing thought-triggering mechanisms that function in a way that’s different to pop, to work more intensely with the subject matter. In pop you can say anything and it works because it is stylized. In art, it’s on a different level removed from the function of entertainment to that of cultural phenomena.

JB: Your first shows are in Pompidou (Paris) and MoMa (NYC). ML: Yes, the premiere of ART RULES! is at Pompidou on 24th February, but there will be further ART RULES! events throughout 2007 in museums and institutions the world over. JB: It looks like a pretty intense and lovely year for you. You’ve become so well known and respected in very important art venues. Although not everybody has always acted so coolly in all your gigs, I think you have a gift to scream out lout while still being polite. There was a certain situation at a festival in the south of Spain, in Andalucía, that could have ended in a fight, but none of the three of you lost your manners. The same cannot be said for the others… ML: We really couldn’t believe that someone could be so idiotic and force us off the stage. It is our stage after all. At one point I was hitting a security guard with part of my saxophone and then I thought, “What am I doing? This is my instrument, not a weapon. This is sick!” JB: That was smart of you. The video is still somewhere on the Internet. It’s cool to have the chance to see everything in detail. ML: But still it is really upsetting that these guys are running around in Córdoba. They should really be stopped and Gonzalo from Oritz Salado promoters in Barcelona is not working with them again I’m sure. Those guys were really on the mean so-called organizers’ side for most of the whole ordeal. (They did finally pay us our fee so I shouldn’t be too mean to the Barcelona promoters) but they were really listening to these authoritative Córdoba monsters (so called organizers) acting like their dogs... Grrrr... it will all come back to you, monsters!

JB: Is art making and acting necessarily positive?

JB: How did you meet and end up working with Douglas Gordon?

JB: Talking about monsters, the GIRL MONSTER compilation you released at the end of September this year, unburied many female groups who weren’t understood during their times. There is this text by Lucy O’Brien that you include in the album, it says: “The most iconic women have always been imagined and invented by men and for men, from Nico to Marilyn.” Do you think female singers are still conditioned today by male decisions when they reach an outstanding level in their scene?

ML: Douglas had a big show in Barcelona and met Alex and Adi Nachman (our manager) there. He asked us to come to MoMa to perform. We wrote ART RULES! & he sang backing vocals, also adding a conversation with his gallerist, where they are dealing over the phone, reducing art to like a kind of drug dealing.

ML: A lot of female artists are ignored, past and present, that’s the point of GIRL MONSTER. That’s why we release other bands on our label at a time when it is no more good business to release records. It’s an act of passion and belief in the importance of music, music that is unusual.

JB: What can we expect from your performances in 2007?

JB: There will be another GIRL MONSTER compilation soon?

ML: NO. Positive sounds peaceful & passive. To make good work we need to push limits, examine, make a mess & in the end we don’t know what is the art. It is an overwhelming experience & sometimes we don’t know what happened, we have to look at the documentation. Our minds hurt & we feel good & exhausted.

ML: The show has gotten more theatrical and at the same time more musical. We still perform a lot of our classic songs and have added a lot of new visuals that we set aside more room for.

ML: Yes, this is just the beginning.

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all photos by JAVIER BARCALA

Christian Wijnants by Javier Barcala

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Love me tender He’s making a flashing career showing his dream vision of a tender woman. Charlotte Gainsbourgh might be the type he has in mind, and he’s certainly getting the maximum out of Antwerp’s vibes while following his vision. Honored with the first prize of the Academy in 2004, he worked with Dries Van Noten, won the Swiss Textile Prize and the grand prize at the Hyeres fashion festival in France in 2005. The collections of this young Belgian designer are full of softly tailored garments, with a breeze of fresh air and a lot of sensuality.

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>> Christian Wijnants <<

JB: Where did you grow up? CW: I was born in Brussels, in a French ‘quartier’ and my very first memories of living in Belgium are linked to the francophone culture. I remember Brussels in the early eighties being a very spirited city, very creative and full of interesting energy that was coming from other countries in Europe. My mum is from Switzerland and my father from Germany so I inherited part of their cultures as well. JB: You moved to Antwerp quite young, didn’t you? CW: I was attracted by what was happening in Antwerp, so I moved there to study and afterwards I stayed to live and work there. Nevertheless, I love to go to Brussels once or twice a week. In a way I miss that feeling of being anonymous and to walk around and have fun. There are many different entertainment options in Brussels, which is nice. JB: Who were your icons when you discovered you wanted to become a fashion designer? CW: That was in the early 90’s and I admired Martin Margiela, Ann Demeulemester and Dries Van Noten. I moved to Antwerp because I was eager to study at the Fashion Academy – I loved the energy that these designers – who all studied there – gave to the fashion scene. I still believe there is a positive energy in the air here, although it’s quite an indoors culture, maybe because of the horrible weather. You could say that everything works very structured, but very quiet too. There’s a bit of a myth about this being a revolving city. There’s a lot of space for spontaneity too, that’s true. Antwerp remained in the spotlight in the period I studied here.

JB: What had happened industry-wise in the 80’s was very haunting. It was the moment when Belgium became very well-known and respected worldwide? CW: I fulfilled my creative expectations since I studied in the Arts School, a year before I started studying at the Academy. Then I went on thinking that I wanted to live the same way these designers did. Being in Antwerp I kept that enthusiasm, but I also got tired many times because of this feeling of being in a very small circle of people. That’s why I run to Brussels every time I have the chance. JB: Have you ever dream about going to a bigger city? CW: Right after I graduated from the Academy I moved to Paris for six months. I worked in a very classic fashion house, directed by Angelo Tarlazzi, but I moved back to Antwerp after that, quite disappointed when I found out about many aspects that I don’t like about Paris. The fashion world is much more regulated there and I was used to another kind of freedom. Plus of course it’s much cheaper for me to work in Antwerp. Living so close to Brussels, you can fly to many other places from there in the blink of an eye. Our location is a privilege. JB: In central Antwerp, where you have your atelier, you enjoy quite a view? CW: It’s very inspiring to me. I used to live here myself since I was a student until a couple of years ago. I can appreciate the vibrant architecture of the city, it’s what gives this perception of history, between the Middle Age and modernity, that I love.

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JB: How was it coming back after Paris? CW: The first thing I did after I built my atelier here, is call Dries Van Noten. At my graduation I had been awarded with the first prize Dries donates to the Academy to help a student to build his career. At that moment it was 2500 euros and this was the very first time anybody got the prize. On top of that he called me to work with him but I kept to the idea of trying to work in Paris at first. I felt very flattered but couldn’t resist this impulse. Once I moved back I understood there was no time to lose to call back. JB: Do you think maybe Paris is selling something not suitable for everyone? CW: The scene and the tradition are there, but is not necessarily a must for every designer to spend time there. I don’t regret going there, because working with Angelo Tarlazzi gave me a lot of experience in a very traditional atelier and this is not easy to get in the industry nowadays. He had a glorious period two decades ago and he made a comeback to the scene around 2000. I also worked very close to him when he was becoming stronger again, it really was a golden opportunity. On the other had, working with Dries Van Noten right after, showed me that it’s worth it to work with a big team in a very well organized and clean atmosphere. I say clean, because there is a sense of comfort and transparency in every work process that is unique. JB: Why did you choose to work exclusively in women’s wear? CW: Because I couldn’t conceive the same beauty I want to achieve through clothing for men. All my goals are about how to make women look superb and personally I don’t like men who are accessorized too much or who are excessively worried about what they’re going to wear.

show them in the best magazines, it’s when a woman tells me how good she feels wearing it and how happy she is since she bought it. It fills my heart! That’s the proof of getting a good result. JB: Let’s talk about your Summer/Spring ’07 collection, you were awarded with the Pierre Berge – Yves Saint Laurent prize to create it and the result was inspired by Ulan Bator and the architecture of Mongolia. Where did all this come from? CW: It came from a trip I took last winter. I was invited with other western designers by the government to do a fashion event there and my mind captured the richness of this culture and its monasteries. I based the prints of the later collection on these designs. There is lot of color and energy, with very delicate fabrics. JB: And you presented it in Paris, in the École National Supériere des Beaux Arts, another interesting architectonical piece. CW: Yes, I did the show in the courtyard, the models had to walk along the narrow corridors around the square. There was quite a contrast between the two styles, the one that inspired my collection and the building itself. JB: Is there any period in art history that you find particularly interesting? CW: I like the classic Flemish painters, but also I’m very inspired by Bauhaus. Something related to my childhood in Brussels is the Art Nouveau architecture. Regarding painters, I like Spilliaert, a Belgian artist from the first half of the century whose exhibition I saw recently in Brussels. His most famous paintings are related to the Belgian coast, his use of shades and colors is a great source of inspiration. JB: In which way do you admire art?

JB: Do you care about your own appearance? CW: I do in a certain way, with the food I eat, by playing sports or in trying to feel good with myself – that way I think I will look good too. But I’m not really aware of the fact that what I wear could cause any impact on others. I like to keep it rather simple, very classic.

CW: Besides going to museums and buying art books, I don’t do it in any other way. I wouldn’t mind having some pieces to look at all the time, but I’m not a person who likes to possess many things. I feel very comfortable knowing that I can leave this space and move somewhere else without carrying a lot of luggage with me. JB: What does luxury mean to you?

JB: What is your favourite piece of clothing as a design item? CW: I like dresses and skirts. Any dress with a sensual touch and many possibilities. These are the essentials of every collection.

CW: It means to have the wealth of living doing what I do, having the possibility to design, which is what I like the most. And to have the sensibility to appreciate what catches my attention from different points of view. JB: I’m very curious to know what are you presenting in Paris for next winter!

JB: How would you describe your taste, style and approach? CW: I would say I like women to look natural, sensual and fresh. I don’t mean that they have to look very self-confident and very aware of their sensuality or proud about themselves. It’s enough that they’re happy with what they’re wearing. I find some weaknesses very charming. I don’t like the image of these models who are absolutely strong and capable of doing anything.

CW: This collection has a lot to do with the novel L’amant by Marguerite Duras. It’s the story of a woman who falls desperately in love with a man, a very passionate story with a very fragile soul. The colors are again related to Vietnam, where the novel is situated and is as tender and sensual as the pages I’ve been through.

JB: Do you have a particular type of woman in mind when designing?

CW: I’m very impressed by a woman crossing that period between being a young girl and a lady and also by women who look sensual and fresh. I watched Charlotte Gainsbourg in “Prête-moi ta main” and that gave me a lot of inspiration. In terms of glamour and self-confidence I love the image of French and southern European actresses better than those strong American women. Charlotte Gainsbourg for instance, has this soft image that shows fragility combined with a lot of sensuality. JB: Do you feel inspired by Charlotte’s music as well? CW: Not so much by the music itself, but I like to see that this vulnerability that I’m talking about is also shown there. JB: What about the women you see in your daily life, are they also a source of inspiration? CW: Absolutely. As I can never try clothes on myself (laughs), I ask female friends to try them on and to tell me how they feel in them. For me the most important part of the process is the try-out and certain friends whose looks I admire are very helpful in this. Especially because I don’t know If I would ask Charlotte Gainsbourg to try on a piece that I created thinking about her, I’m very shy right now. This is a call for Charlotte’s attention, “If you read this, Charlotte...” Well, that would be cool, I’d be very pleased. The best reward I can have for a piece is not to — 53 —

n o i t a nvers


all photos courtesy of DIANE PERNET

Robb Young by Hongyi Huang

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Style sans frontiers Robb Young and I met at the queue outside an electroclash club called The Cock about 5 years ago. He looked so childlike and young, I thought he was just the average old club kid out on a night. I knew he had a wild streak by the end of night when I spotted him again at an afterhours completely immersed in his music. Somehow, these spontaneous meetings kept occurring after – Friday nights at The Cock or some afterparty either at a person’s flat or in a sordid club. He soon became the acquaintance you had a friendly chat with and a regular at the now-defunct monthly fashion club night, Drama where I worked as a door person but it wasn’t till when I started working as a fashion PR that I realised Robb actually works and was not some art school student. Not only did he have a job, he also holds a huge amount of respect in the industry and soon became the person I could turn to for work advice and the secret friend at network do’s who’d have the sneaky extra drink with you. I caught up with this colourful yet serious character over the New Year break, struggling over online chat while attempting to talk about the world of fashion…

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> >> > RR oo bb bb YYoo uu nn gg < << < HY: Hi Robb, let’s start with you introducing yourself to our readers. Robb: Well, I’m a fashion journalist contributing to the International Herald Tribune, the Financial Times, the New York Times Style Magazine, several UK daily broadsheet newspapers and various magazines. I consult for Diptrics, a Japanese distributor of up-and-coming designer labels in Tokyo as well as for the Swiss Textiles federation in Zurich. I’m based in London and travel rather extensively for these and other fashion projects but I’m always very relieved to touch down back in the UK. HY: You’re also very much a feature on Diane Pernet’s fashion blog site read by fashion industry types, kind of like a recurring character in her “journals”. Many friends of mine even recognise you from it. How did this happen? Robb: Yes, I know. I first met Diane about seven years ago when I was working as fashion editor for Composite magazine in Tokyo. She was one of my dream contributors and I was lucky enough to persuade her to write for my fashion pages when we met during the Paris pret-a-porter shows one season. She was someone that I had been intrigued with for quite some time. Over the years, we’ve become very close friends so such “appearances” on her blog come with the territory of spending a lot of great time together. She’s so dedicated. We travel to weird and wild places together around the world – as well as the major spots. We’re a bit inseparable when we’re lucky enough to be in the same city. Some people think fashion in obscure places is peripheral to the fashion business but that’s only true if you’ve got a limited vision on fashion in the first place.

HY: You’ve been pretty nomadic it seems. How does each of these cities compare to London? Robb: I’m a sucker for London, really. Of course I moan about it being expensive and the usual complaints but when I first came here a decade ago as a wide-eyed fashion student after my Bachelor’s degree in the States, I knew after a month that this was home. It’s just that after finishing my little fashion course here, opportunities took me elsewhere – to New York and Tokyo then New York again and then Tokyo a second time before returning here 6 years ago to finally settle. Mad, isn’t it? There’s the classic ‘grass is always greener’ scenario between New Yorkers and Londoners of course, where both look longingly across the pond. But you really can’t compare the cities beyond the cosmetics of urban cultural centres. Attitudes are so different and it’s a cliché. Nevertheless there’s a stubbornness about London that I find myself so much more in tune with. People here are not willing to sacrifice so much creative integrity for the pursuit of business as they are in New York. And that’s not just in fashion but goes across the board. HY: I did a bit of to and fro-ing myself, deciding to live in London, then going to Singapore before returning to make this my home. I have never felt it more till today, literally. I went to Singapore and Bangkok and found myself pining away for my London flat and people here. London is beyond. It’s pretty hard but it also gives you the freedom to live your way. I think life here is tough and because of that you appreciate the fruits of your labour more.

HY: It’s true, Diane is very much a personality. You can’t help but give her the respect. I’ve been on her site and you realise that she is passionate about fashion but she’s also able to find the humour within. I’m glad you found her too. It’s great to look forward to a familiar face on a foreign trip. I think she’s also hit on something too as blogs are growing into a recognised form of publication. might not be widely read but it’s certain got a credible following. Do you see the work you do, like her site, nurturing and providing discovery opportunities for young designers?

Robb: That’s not to say that London isn’t a lucrative place for the creative industries, far from it. But I think there’s a more sensible and natural cohesion between art and commerce here than in New York where everything’s geared toward quick manifestations of money. I’m a Taurus and am mightily interested in practical matters like money, don’t get me wrong. I’m fascinated with business and marrying it to creativity but I find the approach here much more my style. And let’s face it, New York is nowadays just a big American city, no longer the international gateway city to the rest of the world that it once was. American politics shape that city too unfortunately.

“I see myself more and more interested in fashion’s big picture, in which young designers play a small but important role.”

HY: It sounds just like Singapore. The city has changed so much it didn’t feel the same to me. Materialism is so much more blatant. I was shocked at the amount of shops and goods being peddled. They read international magazines and are in touch with the latest must-haves and must-dos. They are the perfect consumer. It sounds just like New York where money is a driving factor. It’s definitely not where I want to be. Let’s choose London.

Robb: Yes and no. I think Diane is probably more focused on up and coming talent than I am. Her principal outlet is the blog although she does several independent projects like a fashion film festival, and produces other events. If I’m totally honest, I dare say she’s even more passionate about young talent as a whole than I am. Especially as time moves on, I see myself more and more interested in fashion’s big picture, in which young designers play a small but important role. Of course with certain roles I fill, I have to keep a keen eye on the young designer market. I headhunt them for the distributor in Japan and I structure nominations for an international fashion award. On a personal level, I do take a particular interest in them since their creativity is what brings about the directions in fashion’s future. What I’m most interested in is a global view on the fashion business and on cultural movements around style. HY: You mentioned culture and styles. It seems that travelling is a big part of your work. I guess when I first met you, and I believe it applies to everybody who has, I was fascinated with your linguistics... Japanese, French and I believe I’ve heard you blurting out Italian too. How did all that happen? Robb: It must be “Fashionitalian” that you’ve heard because I don’t speak Italian really, maybe Spanish. But yes, I picked up Japanese after having lived in Tokyo for a few years over a couple times. No studies per se but when you arrive in Japan from New York like I did the first time it’s really a question of sink or swim. And trust me you can sink really deep in Japan without the language. It’s definitely a big investment to learn it but it was always on my mind to function as part of Tokyo’s larger society instead of being stuck in the gaijin foreigners ghetto. I guess I was gifted in languages in my younger years. Now that I’m past 30, I think I’ve kind of given up on picking up more languages; it’s not the same any more. French is something I began studying in junior high school in my hometown which is near the Ontario/Quebec/USA border. A lot of my Anglophone classmates were rubbish at it but it clicked with me and I just held onto it since... though it’s slipping away a bit as I only really use it when doing business in Paris.

Robb: Definitely. It’s a filter – like NY to some degree – but so much more liberating. I think that comes from the national environment, British institutions of civil liberties and all that. I doubt I would want to live back in Tokyo again. That’s a city everyone needs to witness in all its glory, both great and gory. But it’s certainly not a place that most Westerners can make home. Ironically I was really integrated the first time I lived there, pseudo-Japanese even. But I would never fit in 100% and no matter how good your Japanese is, the whole business culture and mentality is very different so you have to really be prepared to set aside some basic premises. I think the biggest drawback for me however was the lack of Japanese to socialize in a way that I found attractive. I’m still a bit of a party boy from time to time and, if I can be frank, let’s just say it didn’t suit me there. I’m so grateful for all I learned there and discovered about myself and how to be more efficient and meticulous (I hope!), but I’m very happy here. HY: Too right. Western capitalism’s definitely assimilated into every culture. It seems that to grow and be part of this world now is to be economically successful. Singapore became a perfect S.E Asian model. I was in Bangkok as well and so much has changed too. The tubes are similar to Singapore. The malls are alike too. In fact the amount of shopping centres and night bazaars mushrooming on the island is just ridiculous... I mean come on, there’s a limit to the amount you can shop. It’s pretty sad really. It seems that as a country, you get left behind if you don’t go with the western flow. Robb: Seems so, doesn’t it? Even China – they’re a threatening superpower only now that they’ve privatized sectors of their economy. Money talks. HY: I’m more amazed about how everyone’s looking towards a western footprint when it comes to developing their economy. You know it used to be just America and Europe but soon we’ll have Russia, China, India etc... Soon they’d all have equal power. Hopefully things will get interesting then coz you no longer listen to the Big Brother.

Robb: Big brother = American dominance?

instead of launching their own label. They’ve seen in the late 90s how there’s really only so much room out there for young labels and now many people, both educators and fashion hopefuls, are aware that experience at a big brand and commercial maturity are needed to start your own label... save a few exceptional exceptions.

HY: Exactly. Robb: You’re right. As those regions flex their muscles, the axis will tilt and every sector will have to sit up and take notice. Fashion included. That’s what interests me most about fashion, the emerging markets – both how global brands penetrate and how local designs go international. Of course we’re still a long way off before many fashion brands from China, India, Russia or even Brazil make a big splash internationally. Europe, America and Japan will still dominate the industry for quite a while forward but things are changing and I don’t think most people in this business realise how much potential there is for these markets to produce products and have a big influence on trends. They are still seen largely as a consumer market. That’s underestimating things severely. And when I say produce products, I don’t mean just manufacture, I mean build brands from the ground up. Brands that might some day in the not too distant future have the whole world watching – and buying. HY: Influential consumers will also be asserting their demands and shops will have to cater to a variety of tastes, instead of just Euro and American labels. For example, the rich Chinese women living in London who want to buy a China-based label or the Indian millionairess who wants her locally embellished and embroidered dress. Shops will need to cater to that as people move around more.

HY: By the way before we end, I have one last question… these days you’ve been masquerading under a different name... tell us what it is and what it means. Robb: You mean Arianwyn? HY: Yeah... full name please.. Robb: It’s a mouthful – Arianwyn Rhobbet Siarl Young. It’s my full legal name. Robb Young is my byline for work and comes from my nickname growing up, Robbie. It’s Welsh since I have Welsh blood. My ancestors came from Ynys Mon in North Wales to Quebec and settled on the Ontario border with the US. It’s a long story. I’ve come to really love “Arianwyn” now but you know how it is when you’re growing up... It means “holy silver” or shiny silver if you translate it less poetically. And Rhobbet Siarl are Welsh names for Robert a–d Charles respectively, after my father. Young is what they chose in the New World as a family name. As I get older, it’s a small consolation knowing that technically at least, I could be “Forever Young”. Ha ha. HY: Eternal youth… What a wonderful thought…

Robb: Definitely. And that’s how brands cross over to new markets. Londoners and other shoppers here would then see the new brands on offer, and it has the potential to mushroom from there. HY: I saw a label in Bangkok recently called Greyhound and it was in every mall. It has a diffusion line and also does collaborations with Disney as well as having cafes. Clearly they are very successful in their country. Nevertheless, it is not an aesthetic that transcends here as it’s too street and fashion-led. When it comes to labels that transcend, they tend to have some classicism and roots from where they hail. But Japanese brands like Mihara Yasuhiro have showed international potential, I thought. Robb: Yeah, heritage is important. But it’s getting the balance right for brands from these countries so that they offer something different, an essence of the designer’s personal roots. But if it’s a pastiche with all the cliches of where they’re from, that’s not going to work either. Having said that, there is the model of Shanghai Tang to look at. That still shocks me that it’s so successful. I guess some people do want cliches – with luxury quality. HY: Shanghai Tang is truly baffling. It’s not even the best of its kind. It’s definitely a lifestyle product. So have you got any labels that you’d recommend to look out for, creative and commercial ones? Robb: Well, I was quite impressed with Kaviar Gauche when I saw it backstage at the Swiss Textiles Award when I was in Zurich in November. The two designers are very bright and I think they will go places. Then there is Sandra Backlund from Stockholm who I think is promising. On a more commercial note, I’m curious to see more from Nathan Jenden who was working with Diane von Furstenberg in New York before launching his own label a couple of seasons ago. HY: I liked Kaviar Gauche too! I spoke to her last season before she did her first show in London. It is a very understated aesthetic. I enjoy clothes that are focused on cuts and fluidity. I’m not big on over-the-top. So how about London, who should we look out for? Robb: Well, to be totally honest, I’m not that excited by much in London at the moment. There are so many defections to NY – Issa and Jonathan Saunders are the latest. It’s getting very serious. I guess I’m still waiting for Marios Schwab to break through the glass ceiling of a niche label and merchandise his collection with more variety. He’s very talented but his product is still very narrow. Fingers crossed. I’m extremely unenthusiastic about Fashion Fringe’s discoveries each season. Of course there are a few labels over the years that are OK but somehow it’s not living up to people’s expectations of what young London designers can do. Maybe I’m missing out on something but I think we just have to face that creative booms come in cycles and London fashion had its big boom during the 90s and it’s due to retract a bit until the next one. I feel like everyone’s trying to create stars when there’s not really much star potential left, save the ones that have already proved themselves like the names we all already know. It’s still the Belgian moment, though that might not last for terribly long either. Plus, I think that London fashion students and the industry in general is a lot more geared to pointing the talented graduates into a stable job at a big house or label — 57 —


Louie Austen by Paul Davies

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Changing skins Completing a postgraduate degree in Opera Singing at the revered Vienna Conservatorium of Music to become a slinky lounge crooner in Las Vegas would seem to most like an unadvisable career move. But for singing sensation Louie Austin, it was the most normal thing in the world. Today, Austin is just as comfortable singing his timeless compositions to a crowd of 20-somethings in a sweaty underground club of any big city. He currently performs 150 shows a year, taking him on the road for the majority of the year. Anywhere from the Royal Polo Club in Bangkok to the elegant grandeur of London’s Great Eastern Hotel. The man likes to get around. All the world loves a good crooner, and back in the mid-70’s, Austin was sufficiently enamoured with the Rat Pack trio of Dean Martin, Sammy Davis Jr. and Sinatra to seek his fortunes on the vaudeville stage. After brief spells in South Africa and Australia, he found himself in New York, “where I learnt how to starve,” he chuckles. He hung out with the Harlem Blues and Jazz Band – “the youngest member was 65 years old,” he remembers. “They were as fascinated by this young Austrian who came to see them three consecutive nights as I was by them.” By the early 80’s, Austin had returned to his hometown to accept an appointment as in-house lounge singer for the Hilton hotel. His popularity was such that the bar extended its closing hours from a genial 10.00pm to an unprecedented 4.00am whilst tripling in size during his tenure. Headhunted as Entertainments Director by the nearby Marriot, he recalls his earlier years; “I was no longer living in cheap two dollar hotel rooms, sharing a burger with three other musicians.” It was here that upcoming music producer, Patrick Pulsinger came across Louie’s inimitable style, and decided he was perfect for a different crowd. A younger audience that was style hungry and would openly accept a class act like Austin. The debut album, “Consequences” (Cheap records, 1999) was a somewhat introspective affair, but attracted enough attention for its bizarre blend of 4.00am ballads and oddball electronica. His follow up, “Only Tonight” (2001) was altogether more upbeat and spawned a hit in the sell-out single, Hoping. He cemented this further in 2003 with the feelgood vibes of “Easy Love”, then gained further recognition collaborating with artists as varied as Peaches, Gonzalez and Christopher Just. With four albums already under his belt – culminating in a superb compilation – and a new one due this Spring, it is ample proof that Austin keeps delivering with impeccable consistency. To witness Louie Austin perform is to see a man in his element. And working with cutting edge music producers is certainly no gimmick – he knows how to woo his audience – and can dance with as much consummate ease as he sings his way into your heart. He is the ultimate raconteur with a dapper sense of the sartorial. Dressed in a lime green blazer, white slacks, retro leather sneakers and a baseball cap, he modestly explains how young women approach him after each show. “They keep insisting, ‘I want my boyfriend to be like you when he’s your age’.” “Hear My Song – the Best of Louie Austin” is out now on Tirk recordings, UK. “Iguana” is due for release in Spring ’07 on Klein records, Austria.

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The Fashion Underground — 60 —

Different locations beget different creations By Jared Johnson

There come times in the fashion industry when there are yearnings for underground and unknown designers. Fashion in its pure form doesn’t have to occur in a set geographical area either; it’s alive worldwide. The more eccentric designers prefer to show in open‑minded Parisian niches. At the same time, other designers locate their work, from conception to presentation, in their basements. The following labels are experimenting with design, pushing innovation, forging new technical skills, and daunting the crowd. Through few words and more images, this editorial is an attempt to reveal the work of a few avant-garde designers around the world, known and unknown. MACABRE, a Swedish label, felt that Swedish people dressed too mediocrely and that there was a need for change. Across the Pacific, graphic designer-turned-clothing designer Gregory Littley is making your body his sketchpad with t-shirts channeling images from pop culture and American street style. Then there is Wendy and Jim, the label fabricated by Helga Schania and Hermann Fankhauser. This Austrian duo awed the industry during Spring and Summer 07 with New Shit –­ the non-conformist name of their runway collection in Paris. Their collection is certainly new, but there was no shit on this runway. Parisian player Romain Kremer has changed the whole meaning of the midas touch. His expedition of models with copper cut-outs, golden padding, and enigmatic celestial prints was enough gear for any space-aged exploration. So now, I introduce a glimpse into a mindset which is criticized and shunned on one side, and completely accepted and understood on the other.

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>> London Fashion Underground <<

Richard Macabre “We like to play with gravity, how the clothes work in movement and the way the lining drops down. The F/W 06 collection (these pictures) are inspired by the 18-19th centuries mixed [with the] futuristic.” – Mic Richard is a 21 year-old man who taught himself how to create clothes. He collaborated until he decided to launch his own brand. He recently started to study the cuts of a garment. location: Sweden email: /

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>> London Fashion Underground <<

Wendy & Jim “We were looking for a man who had aggressive potential in his habits, (which is hidden in every man). We started to define the silhouette with skinny legs and skinny sleeves, but added volume on the body for a comfortable feeling. The prints are very aggressive as well. The shirts are not for everyday wear. We felt the message on the shirts is very strong, thus it’s great for clubs, raves, or just to feel good.” – Hermann Taught by top designers such as Helmut Lang, Jean-Charles de Castelbajac, and Vivienne Westwood while studying at the University of Applied Arts in Vienna, Helga Schania and Hermann Fankhauser are putting a creative spin on menswear. Inspired by music from the likes of DJ Hell and Marilyn Manson, expect to see a lot more of the pair in the future. – portrait by Katja Rahlwes

location: Vienna, Austria email:

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>> London Fashion Underground <<

Romain Kremer “Being bored by the outside and the aesthetic of reality, believing in my own world, are the things that keeps me alive and excited to design.” – Romain The juxtaposition of metallics, leggings, and safety cushioning illustrated the summoning of futurism and space-aged elements for A Celestial Awakening, this season of Romain Kremer. Cutouts and metal eyelets revealed the skin by “exposing the void.” Black was worked in a strong sense: shaped, ruffled, sewn, and polished with a Lycra sheen. All 22 looks this S/S 07 season were executed without loss of the overall concept. location: 129 Avenue Parmentier – 75011 Paris, France email:

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>> London Fashion Underground <<

Gregory Littley “My goal is to make something so unique that you look at it as a second skin, not just cotton.” – Greg Gregory Littley always had a strong passion for design and visual art. He began sketching t-shirts at 19 years old while he attended the University of Arts in his hometown of Philadelphia, Pennsylvania. His street wear label is tentatively called “G.Laundry” and his goal is to sell his high end t-shirts across the globe. location: NYC, America email:

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Bending the rules By Sulin C.

What do you get when you cross a stylist with the most sensitive appreciation for beauty, and a clinically methodical forensic scientist? Design firm 3 Deep of Melbourne, perhaps. 3 Deep, made up of Brett Phillips, David Roennfeldt and their team, comprehensively researches their cases â&#x20AC;&#x201C; from posters for the Australian Ballet to in-store visuals for Tiffany & Co â&#x20AC;&#x201C; as assiduously as your favourite on-screen investigator may sift through the human genome pool. The results are as immediately visceral as their means may have been systematically deduced. Makes you almost think the two come together.

>> 3 Deep <<


>> 3 Deep <<


>> 3 Deep <<

3 dee p design POSTER MAGAZINE / POSTER MAGA Z I N E I S S U E 1 1

>> 3 Deep <<

3 dee p design BLANKA (UK) / A1. AN EXHIBITION IN MO N O E X H I B I T I O N

3 dee p design TONI MATICEVSKI / SPRING 2007 CAMPA I G N P O S T E R S

a l l p ho t o s b y C l a i r e Par k

Jim Lee by Beth Vincent

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Veteran photographer Jim Lee, famous for producing iconic imagery in the 60’s and 70’s, is England’s answer to Guy Bourdin As fashion weeks draw to a close, the designers, the shows and the after parties are relegated to the archives of fashion history. Only the pivotal trends and key looks survive, their essence concentrated into copycat pieces on the shelves of high street chains. These essential trends remain strong in our wardrobes and our collective aesthetic consciousness, much in the way the iconic photography of Jim Lee, shot between the mid sixties and late seventies, is seeing a current revival. The resurgence in popularity for retro fashion, the reinvention of British stalwarts Burberry and Mulberry, the resurrection of cult label Biba and last season’s collaboration between Topshop and Celia Birtwell – wife of the late legendary designer Ossie Clark, fashion maverick and friend of Lee’s – first established a receptive platform for his exhibition, Eye For Images, sponsored by Nikon. It was this connection with Clark that provided Lee with the impetus to accumulate these works. As a friend of the V & A, Lee was reading an article in the members’ magazine previewing the Ossie Clark retrospective when he noticed a familiar but unaccredited photograph amongst the text. “When I saw it I thought, God, I recognise that picture. I went to bed that night wondering where I’d seen it before and woke up early the next morning realising I’d shot it.” After contacting the Victoria & Albert Museum and affirming he was indeed the photographer responsible, Lee was given space to show six more of his pieces amongst the exhibition. Although never bosom buddies, Lee and Clark were both groundbreaking figures in the 60’s London party scene. Both men were synonymous with creative innovation. It was inevitable that their paths would at some point cross artistically, as they had done socially. “He let me take photos as I wanted to; he didn’t have any part in what the content of my pictures was to be. Ossie wasn’t a client who gave a

brief; I never contemplated what his style was exactly. I just thought I was excited by those powerful looking dresses and I could see them in a certain context – he allowed me to create these crazy ideas which are now looked upon as pieces of art. He was quite mad himself, and I wasn’t that sane either.” Lee’s photography is notable for many characteristics, in particular its narrative, its drama and its cinematic subject matter – in which, with the trite inevitability of art mirroring life, women consistently take centre stage. As a child, Lee’s closest relationships were with women. A sheltered childhood meant that during the holidays from boarding school, any free time was spent almost exclusively in the company of his siblings – three sisters and a brother. In a way too, he was close to his mother, a loving and artistic woman, but describes both his parents as remote, distant, guarded. The son of highly academic parents, both members of the MI5, Lee’s entry into the inner circle of British intelligentsia seemed assured from his birth. However, dyslexia and a strong sense of independence combined with a desperate need to escape from overbearing patriarchal expectations led to him leaving Britain for Australia on the Ten Pound Pom immigration scheme aged just 16. Upon arriving down under, a chance meeting with Dutch photographer John Van Galen and an offer of a floor to sleep on in exchange for helping with the printing of Van Galen’s work led to Lee’s first foray into the world of fashion photography, capturing his then girlfriend Bronwyn Stephens Jones for Australian Vogue.

“I just thought I was excited by those powerful looking dresses and I could see them in a certain context”

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Jefferies, owner of Hamilton’s gallery and champion of Lee’s work. The full exhibition is booked to show simultaneously at the Moscow House of Photography. Typically, Lee himself finds it extraordinary that a print buried in his garage for three decades, now lying in the V&A, has catapulted him thirty years later back into the photographic mainstream. However, on viewing his work it’s clear that its longevity was assured from the start. Lee’s photography not only mythologises the essence of the late sixties and early seventies but transcends the stifled mentality of proceeding decades to encapsulate the hedonistic escapism at the heart of the noughties. The frivolous erotica, the frisson of sexual danger and the wanton glamour at the heart of his photographic narratives are as pertinent now as they have ever been. Lee has an obvious instinct for high fashion, but unusually the couture stays predominantly in the background of his work. Rather it is the movement and narrative of his pieces that really capture the imagination of the onlooker. While Bronwyn may have been responsible for helping to launch his career, it has been the support network of sisters, models, girlfriends, wives, exwives and children accumulated over the years, that has been responsible for keeping his very evident ebullience, charisma and joie de vivre alive. The women in Lee’s work are – as those in his life too seem to be – sexual, confident, utterly self assured Amazonians. It is with deliberation that Lee constructs his pictorial narratives to maximise not only his models’ femininity but also their sexual potency and prowess; the females in his work are as far removed from stilted clothes horses as it is possible to get. They dominate his frames with as much allure and presence as Hollywood’s most memorable leading ladies. As the man himself says, “There is nothing more attractive than a powerful woman.” Lee found the butch female iconography of sixties’ feminism little short of alarming. He felt it did little to assert or liberate the female position as independent of and equal to men. He freely admits to being highly driven by sexual encounter, but would hate to think of himself fulfilling the predatory cliché of the fashion photographer. Instead, he sees sexuality as a state of awareness and his work as a protestation against what he felt to be unjust imbalance in relationships between the genders. Through his photography, Lee chooses to celebrate the presence, authority and eroticism of female sexual empowerment, a maxim consistently present in both his work and his life. Soon after the Victoria & Albert museum / Ossie Clark show, Lee approached Nikon with a sponsorship proposal which was duly accepted. Further sponsorship has funded the framing of his most iconic photographs, now immortalised within the Fashion Photography Archives of the V&A. After initially exhibiting at The Firehouse, Hamilton’s Gallery of Mayfair became interested and began to sell Lee’s prints, with the most popular selling for up to £8000 a piece. Lee later took his work to Milan, showing at the prestigious Galleria Carla Sozzani which led to a chance meeting with Franca Sozzani, editor of Italian Vogue and a creatively fruitful commission for L’uomo Vogue, the men’s edition. In November, Lee’s work exhibited at Paris Photo – “the mother ship of all art fairs” as he blithely describes it. By spring this year meanwhile, Hamilton’s Gallery will this time be exhibiting the best of Lee’s contemporary work alongside the most popular shots from “Eyes for Images”. “Jim Lee’s images are still as profound and as edgy today as they first were in the late 60s and 70s where he was pushing the envelope of what people expected to see in magazines and advertising pictures,” says Tim

“I was never interested in photographing clothes for the sake of clothes. I’m not particularly interested in the models either. I’m interested in telling stories and I found photography a medium that allowed me to put down something I wanted to say with political or social awareness.” Fashion for Lee is a story that can only be told through the lives of the people who wear the clothes – without the people and their lives and their history and drama, the clothes are nothing. It is this inherent journey beyond fashion to the creative world which links Lee with the man he closely regards as a mentor, Helmut Newton. Although the pair never met, the similarities between the two and the paths their lives have taken are marked. Newton has been the biggest photographic influence Lee can cite; both their works are risqué, evocative, erotic. Both men think outside the frame, so to speak. The cinematic grounding of both their bodies of photographic work provides an intelligence and integrity that sets them apart from the common herd of fashion photographers. Poignantly however, it is the drama of Newton’s background, the complications and the chaos of his upbringing and its manifestation in his work that Lee finds the biggest draw. He describes the upheaval inherent in Newton’s photography as something of a comfort; the pair are bound by their similar values and their unorthodox upbringings. Newton’s photographs encapsulated the energy and creativity of the era with curious precision. Lee was fifteen in 1960 and the impact of the ethos of the decade upon him as an artist is evident throughout his work, contemporary and otherwise. Similarly, the traits of the decade that made him are inherent in the man himself, warm, engaging and ultimately as charismatic as the subjects of many of his photographs appear. The currency and challenge inherent in Lee’s photography should guarantee its longevity long after Clark and Biba have been lovingly returned to fashion’s vast archives. As Biba shut up shop in the mid-seventies, so metaphorically did Lee, ducking out of the photographic limelight in order to pursue his first love of film directing. Paradoxically, he had only ever seen photography as an entry into the far more complex and competitive world of movie making: “You need to know about photography to get into film and an opening to get into photography simply came up first.” Lucky for us that it did, and be it stories captured still or in movement, there’s more of Lee’s spirit of the sixties and seventies to come.

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Jim Lee’s Portfolio

A Retrospective

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>> Jim Lee <<

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>> Jim Lee <<

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16   —  18 th A ug, Stoc k holm www.pluS 46fA Shion.Se

t he fA Shion tR ADe S how f oR p Rog R e S S i v e BR A nDS + 46 AwAR D : A comp e t i t ion foR t he moS t tAl en t eD up AnD com ing De S igneR S in Sc AnDinAv i A . Jury: Robb Young, Herald Tribune Diane Pernet, Mandi Lennard, Pr agent: Gareth Pugh, Cassette Playa, POP   Hermann Frankhauser, Wendy & Jim Joseph Quartana, Seven New York

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Enskilda galleriet

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pendant and veil


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b r o o c h o n t h e l i p s S T YLI ST ’S OWN

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cape B RU NO PIET ER S corset VI VIENNE WE S T WOOD stockings FALK E mask ST YL I ST ’S OWN

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dress and shoes


silver rose






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fashion editor & prop stylist






photographer assistant




digital retouching


special thanks to


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d r e s s


f l o r a l c r o w n c o u r t e s y


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s k u l l a n d c o r a l b r o o c h


v i n t a g e s i l v e r  b o t t l e p e n d a n t

E L S A PERET TI f o r T IF FA N Y & CO .



s t o c k i n g s FA L KE shoes


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r i n g i n t h e g l a s s

K . MO







styling assistant


photographer assistant


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necklace TARA NT U L A dress KAR L L A GIROT TO

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f e a t h e r n eck p i ece


d r e s s


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d r e s s PRIS C IL A DA ROLT n ec k l a c e S T Y LI ST ’S OWN s h o e s K A RL L A G IROT TO

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dress VAL ERIO A RAU J O shoes J.PIG

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trilby PHI LIP T RE AC Y dress GI UL I AN A RO M ANO sandals D EPEY RE

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jumpsuits PRI S CI L A D AROLT shoes KAR L L A GIROT TO

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short jacketsuits




rrrr...... photography by Jason Ell styling by Hind Matar

s i l v e r a n t i q u e c h i n e s e bracelet


o l i v e v i n t a g e w o o d e n bracelet


a n t i q u e r i n g s


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b l a c k b o d i c e w i t h t a s s els


b e a d e d b l a c k d r e s s w i th stones


1 9 6 0 ’ s v i n t a g e n e c k l a ce


b l a c k t i g h t s


v i n t a g e d i a m a t e b e l t


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0 -1 -2 -3 -5 -7 -9 -11 -14 -18

-18 -14 -11 -9 -7 -5 -3 -2 -1 0 0 -1 -2 -3 -5 -7 -9 -11 -14 -18

-18 -14 -11 -9 -7 -5 -3 -2 -1 0

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vintage top




neon pink stilletos


black belt

T J a n d C LEO

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printed shirt


purple skirt


vintage leggings


platfrom shoes


feather handbag


antique gold bracelet


vintage flower ring

ST Y LI S T â&#x20AC;&#x2122; S OWN

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vintage shirt

TJ and CL EO

lace top wor n as skirt


vintage lace tights


clutch handbag


long crabs necklace


1980’s vintage stone necklace


gold chains belt


vintage earings


heart shape ring


gems bracelet


vintage rings


copper black wire ring


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fashion assistent


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T h i s p a g e , f i n e k n i t t e d beige long sleeves shirt by RICK OWENS g r e y l e a t h e r j a c k e t b y RICK OWEN S g r e y s w e a t p a n t s w i t h ribbed cuff by ACNE J E AN S b r o w n l e a t h e r s a n d a l s by PAUL SM ITH O p p o s i t e p a g e , C o t t o n knitted round collar long sleeve shirt by RI CK OWENS B r o w n z i p - u p l e a t h e r j acket by ACNE J E A NS W h i t e w o v e n c o t o n b o xers by F RUIT OF TH E LOOM

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ribbed grey button down coton combinaison


grey cotton jacket


grey printed scar f at neck


silver necklace with gold crown


brown leather sandals


r i b b e d g r e y v - n e c k t - s hirt


c r i n k l e d w h i t e j a c k e t


w h i t e w o v e n c o t o n b o xers


g r e y s w e a t p a n t s w i t h ribbed cuff


c o n v e r s e , c a n v a s a l l s tar


n e c k l a c e


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fine cashmere jersey cream kangaroo charcoal reversible cotton sweat pants with elastic cuffs

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Prussian blue was the first synthetic pigment, discovered by accident in 1704 Photography by Simon Songhurst make-up

Adam de Cruz using MAC cosmetics

â&#x20AC;&#x201D; 158 â&#x20AC;&#x201D;

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“The gesture on the canvas was a gesture of liberation from value — political, aesthetic, moral.” – Harold Rosenberg on Jackson Pollock

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photography by


represented by CLAUDINE STEFFEN (

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>> Philip Provily <<

MARI A’S H OME commissioned by Maria Austria Institute, Amsterdam

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WOR KAHO LI C commissioned by Randstad, Amsterdam

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>> Philip Provily <<

THEAT RE commissioned by Prins Ber nhard Culture Foundation, Amsterdam

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MUS IC commissioned by Prins Ber nhard Culture Foundation, Amsterdam

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>> Philip Provily <<

EDUCAT ION commissioned by Prins Ber nhard Culture Foundation, Amsterdam

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SCIEN CE commissioned by Prins Ber nhard Culture Foundation, Amsterdam

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illustrations by


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RAV EN- stylist / bu y e r f o r LI BORIU S RAVEN is we a r i n g h e r o w n s k i n

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This page, HUG RU N – shop o w n e r ( K ro n K ro n ) dress by ROK S AN D A I L L INIC Opposite page, EYGLO MA RGRET L A RUSD OT TIR – f a s h i o n d e s i g n e r knitted dress a n d h o o d i e b y K T Z

T h i s Pa g e , A NN A C L AUSEN – stylist T - s h i r t b y K AT H RINE D E PL ACE BJ OERN O p p o s i t e Pa g e ,S VA L A BJORGVINS – singer in a band called S teed L ord r a i n b o w j a c k e t i s a c o a t by VIV IENE W E ST WOOD

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— 176 —

Ode to Nature curated by

haniff jamil featuring

nktobss romain cheval ricardo portilho david picchiottino nikola. s levantis olka osadzinska veline stoykova nik dudukovic yetzer hara julie joliat herbie naĂŻma

â&#x20AC;&#x201D; 177 â&#x20AC;&#x201D;

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NIK DUDUKOVI C / w w w. p i l o t 5 . c o m

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YETZER HA RA / www. ye t ze r - h a r a . c o m

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HER BIE / o t o s / r a l a ro t c h a n

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NAÏMA / www.n a i m a o r a m a . c o m

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Weather Project ( from the disappearing globe) by VEL INE S TOY KOVA

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Flocks(Christien Meindertsma) by JUL IE J OLIAT w w w. j o l i a t . n e t

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DAV ID PICCHIOT TINO / www.da v i d e t c l a i re . c o m

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Tokyo Metropolis

fluorescent nirvana...

Photography by JUN KIT

screws like scared eyes...

Red Godzilla...

the artist and his sculpture...


going public...

ginko sunlight... — 198 —

vintage geisha...

subway sticker poetry...

naka-meguro afternoon...

sepia memories....

Mickey loves Coco... â&#x20AC;&#x201D; 199 â&#x20AC;&#x201D;

hanji bukkake....

convenience store reading

boy with willowy eyes...

dirty pink bear, lost in concrete jungle.... â&#x20AC;&#x201D; 200 â&#x20AC;&#x201D;

black clad corporate ninja....

willow tree in winter, sparse....

basket, monotone silence....

pervy hotel programmes, tofu entertainment.... â&#x20AC;&#x201D; 201 â&#x20AC;&#x201D;

index Acne Jeans

Filippa K

Nudie Jeans

Alexander Herhcovitch


Omar Kashoura

Alma Floor Lamp

Fruit of the loom

Paul Smith


Gaspard Yurkievich

Philip Treacy


Gianni Versace



Giuliana Romano

Rick Owens

Bruno Frisoni

Gregory Littley

Richard Macabre

Bruno Pieters

Jeff Rutten

Romain Kremer


Jeroen van Tuyl

Rosa Mosa

Cathy Pill

Kaviar Gauche

Skin Over

Charles Trevelyan

Karlla Girotto

Sonia Rykiel

Christophe Coppens


Three As Four

Christian Wijnants

Le Silla

Toni Maticevski


Luc Schouten


Deryck Walker

Martin Grant

Veronique Branquinho


Marc Jacobs

Viktor & Rolf

Elsa Peretti for Tiffany & Co

Martin Margiela

Vivienne Westwood


Material by Product

Wendy & Jim


Miu Miu

Yves Saint Laurent Rive Gauche

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issue 01