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Issue No. 2 The Global Issue Rem D. Koolhaas Francois Berthoud Nick Wooster Neil Moodie


Lara Angol Art Director

Hannah Lewis Sub-Editor

Lorelei Marfil

Jamila Robertson

Maria Saleem

Effy Fay

c t b o

o r u r

n i t s

Hannah Newman

Angelica Pursley Editor-at-large

Isabella Redmond Styles

Yolanda Chen

Holly Swayne

NoĂŠMie Schwaller

Ramona Deckers

Gabriel Weil

Devora Neikova

Arina Holod

Shannon Kilgore

Qianna Smith

Keira Lee & Louise Amie Hunt Simmrin

Contact us |



Contents 4-5 News 6-7 Loves 8-9 Culture British Fashion Council 10-13 Culture Music, Film, Photography 14 Global Rem D Koolhaas 15 Global The Oriental Other 16-17 Still Life Orangina 18 Culture Think Ink 19 Global Street style 20 People Paul Avarali

Ella Pearce Heath Editor

Editor’s Letter

21 People Pearl Read 22 -23 People Francois Berthoud 24-26 People Nick Wooster, Craig Mabbit, Ari Cohen, Neil Moodie 27 Fashion Make a Statement 28-29 Fashion Colour me Softly 30-31 Fashion Twenty Four Seven 32-35 Fashion Pretty in Print

After the success of our initial foray into the world of publishing last season, we felt the only way to make Issue Two even better was to get back to basics. The birthplace of STOP was none other than our alma mater, the London College of Fashion, an institution that has produced some of the biggest names in the industry. Looking around at our MA Fashion Journalism class, we felt it was ludicrous not to make use of such a talented and varied collection of creatives; stylists, writers and graphic designers from Canada to China, Russia to the US, and Pakistan to Bulgaria. In other words – us.

38-39 Fashion MA_12

It was this, our far flung collection of heritages, that inspired the global theme of this issue. We interviewed a handful of iconic foreigners, from legendary fashion illustrator Francois Berthoud to New York’s man-about-town Nick Wooster, and turned the spotlight on Swiss porn, Chinese supermodels and stylish septuagenarians.

40-41 Global Different Strokes

One more thing. If you like what you see, get in touch; our CVs are prepped and ready. Shameless self-promotion? Tick.

42 Global Gina Stewart Cox

You stopped for us last time, so why not do it again?

36-37 Fashion Spring Awakening

43 Global Paris Survival Guide 44 End The Schedule

Cover Credits Fashion Hannah Newman Photography Hayley Benoit Model Jade @ First Headpiece Little Shilpa T-shirtWornby

It’s that time of year again. That’s right, London Fashion Week. Which also means it’s time to STOP.

- E.P.H

n e w s Compiled by Arina Holod

Stop news Kew’s Tropical Flower Extravaganza Don’t miss your chance to catch a glimpse of exotic plants in the middle of winter – visit Kew’s annual Extravaganza and see the Princess of Wales Conservatory transformed into a tropical paradise. This year’s tropical flower festival is inspired by the four elements of nature – earth, fire, air and water. Aside from this breathtaking showcase, Flower Extravaganza will also include behind-the-scenes tours of Kew’s tropical nursery, seminars, and afternoon tea at the Orangery restaurant. February 4th-March 4th, Princess of Wales Conservatory, Kew gardens, Kew Rd, Richmond, TW9 3AB Obika Now open in Canary Wharf, Obika is a world famous mozzarella bar well worth checking out. With more than fifteen branches across the world, Obika offers a variety of creamy mozzarella cheeses farmed around Naples, served with authentic mortadella sausages, Tuscan porchetta, traditional Sicilian aubergine casserole and a variety of other side dishes. Yum. Obika, West Wintergarden, 35 Bank Street, Canary Wharf, E14 5NW

b store at Liberty This February, b store moves into the second floor of Liberty of London with a pop-up shop created to present its new ‘b store Loves Liberty’ collection. Throughout its history, b store has always offered a fresh view on menswear. And now, for the first time, they’re turning their hand to womenswear. Make sure you don’t miss the most exciting collaboration of the winter. 13-28 February, Liberty, 210-220 Regent Street, St James, London, W1 Hyper Japan Festival Get ready to learn more about contemporary Japan - Hyper Japan is making waves in London in 2012. The UK’s biggest Japanese pop-culture festival will take over Brompton Hall in west London from February 24th. Highlights of the festival will include a carnival of cosplay, various fashion shows, sushi and sake awards, anime and manga drawing master-classes, and life performances of acclaimed j-pop and j-rock musicians, such as Natsuko Aso and L’Arc-en-Ciel. 24-26 February 2012, Brompton Hall, Warwick Rd, SW5 9T Copyright Steffi Santiago

Galante Now open on Sloane Avenue, Galante is a brand new destination for the tastiest cocktails in West London. Created by the Gaucho team, this Argentine bar calls out to those who appreciate sophisticated Art Deco interiors, an inviting atmosphere and - of course - a great drink. 04

Galante, 87 Sloane Avenue, South Kensington, SW3 3DX

n e w s

Anselm Kiefer’s Il Mistero delle Cattedrali at the White Cube

The White Cube Gallery presents a new exhibition of works by German painter and sculptor Anselm Kiefer. Known for his passion for unusual materials such as ash, human hair, metals and earth, Kiefer is one of the foremost figures of post-war art. The collection of works presented in ‘Il Mistero delle Cattedrali’ indicates Kiefer’s fascination with the transformative nature of alchemy and reflects his ongoing interest in mystical systems. The exhibition includes some of the most famous of Kiefer’s creations, such as ‘Samson’ (2010) and ‘Merkaba’ (2011). Anslem Kiefer, 9 December-26 February, White Cube Bermondsey, 144-152 Bermondsey St, London, SE1 3TQ BAKU Newly opened Azerbaijani restaurant Baku, found on Sloane Street, is the place to go for traditional cuisine in a deluxe atmosphere. The restaurant offers a variety of authentic Aizerbajani dishes; Toyuk shorba chicken soup, beef turshu govurma, barberry plov, and bastirma kebab are just some of the offerings promising to take you on a journey to the exotic East. Chocolate baklava or white truffle alba ice cream for a dessert will leave you wanting more as the taste of the region lingers deliciously. Baku, 164 Sloane Street, Knightsbridge, SW1X 9QB Rachmaninov Piano Concerto No.2 Following a series of sold-out performances in 2011, the London Philharmonic Orchestra presents Rachmaninov’s famous piano concerto. Regarded as one of the greatest composers of the 20th century, Rachmaninov created romantic, melancholic and exceptionally emotive melodies. Conducted by Neeme Järvi and presented by Boris Giltburg, this interpretation is a mustsee for all classical music lovers. 17 February, Royal Festival Hall, Belvedere Rd, South Bank, London, SE1 8XX

Yayoi Kusama at the Tate Modern One of the most famous Japanese avant-garde artists in the contemporary art world, Yayoi Kusama is showing a collection of her works at the Tate Modern this February. This exhibition follows Kusama’s 60 year career, presenting the largest set of her works ever displayed in Britain. As well as the famous soft sculpture know as ‘Accumulations’ and a series of paintings, the exhibition includes Kusama’s film performances and immersive installations. Yayoi Kusama, 9 February–5 June, Tate Modern, Bankside, SE1 9TG Leon de Bruxelles

Copyright Sasha Gusov

Maslenitsa Festival in London Leon de Bruxelles is an outpost of the legendary Chez Léon, which was first opened near Brussels’s Grand Palace in 1983. Located at 24 Cambridge Circus, Leon de Bruxelles offers you authentic Belgian cuisine in a contemporary setting. Simply delicious food (mussels in Madras curry sauce, traditional seafood soup and fantastic Belgian fries) and an impressive selection of Belgian beers will impress even the most committed foodies at your dinner table. Leon de Bruxelles, 24 Cambridge Circus, Covent Garden, WC2H 8AA

Backed by the Mayor of London, the UK capital’s Maslenitsa Festival will mark the Russian traditional celebration of Maslenitsa - a pagan sun carnival celebrating the end of winter. In keeping with tradition, enjoy a fun day out and use this chance to say goodbye to February with blinis (Russian pancakes), red caviar, ice cold vodka and acclaimed dance and music performances. 05

26 February 1012, 1PM - 7PM, Trafalgar Square

l o v e s

Stop loves

Compiled by Hannah Newman

Moustache lollies A tasty chocolate treat that also serves as a handy disguise. £2,

Red House Spray-painted hair Clothing label Red House was founded in 2011 by Spanish designer Helena Manzano. She and her team travel the world each season to find unique and interesting fabrics, making each garment they produce a limited edition. Their latest collection combines sheer knit dresses, full-length velvet coats, woollen ponchos, mint-coloured silk shirts, duffle blazers and handdyed dungarees. Prices start at £40,

As seen at Thakoon and Narciso Rodriguez Spring/Summer 2012.

Stencils Commissioned stencil art work and cards by Tom GautierOllerenshaw.

Vintage Elizabeth Olsen Star of the already critically acclaimed Martha Marcy May Marlene, it seems Elizabeth is the Olsen to keep an eye on in 2012. The film tells the haunting story of a young woman (Olsen) struggling to escape an abusive cult. Olsen, however, is not just being praised for her acting credentials. When your older sisters go by the names of Mary-Kate and Ashley, you can be assured that when attending red carpet events you are well suited and booted. Olsen can next be seen in the horror film The Silent House and opposite Robert De Niro in Red Lights. Martha Marcy May Marlene is in cinemas now.

Ice Watch What a peach. Ice Watches come in a selection of rainbow colours. Prices start at £75,


Blitz London is London’s largest-ever vintage department store. Set inside a 9,000-square-foot ex-furniture factory in East London, Blitz promises genuinely hand selected, on trend vintage eccentricities. The eclectic and comprehensive range of clothing and accessories, from every era for men and women, features anything from coveted labels such as Yohji Yamamoto, Comme des Garçons and Vivienne Westwood, to second hand books, records, accessories, swatch watches, dress watches and pens. Its antique furniture spans from the early 20th century to modernist, industrial and reclaimed pieces. Complete with a cafe, with a vintage Fiat at the bar, this is a magpie’s heaven. Blitz, 55-59 Hanbury Street, E1 5JP (020 7377 0730) or

l o v e s

Stop loves

Louis Vuitton A Louis Vuitton monogrammed parasol - Make a statement with this classic umbrella.

Louis Vuitton A tiara headband, Louis Vuitton - Step off the magic roundabout into a fairy tale; perfect for princesses everywhere.

Dolce & Gabbana Feeling peckish? Take a bite out of Dolce & Gabbana’s vegetable jewellery.

Prada Patent leather flame sandals, Prada - These wings of fire are perhaps the most coveted footwear of the season; light it up.

Stella McCartney Micro-print sunglasses, Stella McCartney - Get a piece of classic gentleman’s style with these tie-print inspired sunglasses.

Illustrations by Sarah Bradley


culture Words by Isabella Redmond Styles

British Fashion Council International Fashion Showcase

There’s something about London this season. Maybe it’s our shiny new Duchess, maybe it’s the prospect of all those lycra-clad athletes running around East London in July, or maybe it’s just the host of breathtakingly talented designers that choose to show here. Either way, everyone wants a piece of the pie. So it’s lucky that the British Fashion Council have teamed up with the British Council to launch the International Fashion Showcase. As part of Fashion 2012 - the official fashion industry initiative for the Olympic year - the showcase will see 19 embassies and cultural institutions across the city opening their doors during London Fashion Week to showcase the work of over 80 emerging designers. The countries participating, which include Australia, America, Belgium, Botswana, and South Korea, will present the work of homegrown, emerging designers who they feel best represent the future of fashion in their country. The way each embassy chooses to present this emerging talent is entirely up to them, and will range from straightforward exhibitions to films, pop-up shops and shows. The culmination of the showcase will be an awards ceremony on Sunday 19th February where a panel, chaired by US Vogue’s Sarah Mower, will honour the country that presents the best project.

With stills, moving images, static displays and installations, China – an increasing power in the fashion world – shows its softer side.

Participants range from nations already well known as epicentres of fashion design and commerce to countries lesser known for their sartorial prowess. American design school Parsons will present 10 of its first US graduate students studying on their recently launched Masters of Fine Art in Fashion Design and Society program, at the American Embassy, four of which were finalists in the Alexander McQueen Metropolitan Museum Exhibition competition. Vogue Talents, developed by Vogue Italia, will be representing Italy with a presentation of eight designers at the Italian Cultural Institute, showcasing womenswear, menswear, accessories and jewellery. Belgian designers A.Knackfuss, Cedric Jacquemyn and OMSK will be presented by The Flanders Fashion Institute at The Exhibition at London Fashion Week. The Embassy of Japan are counting on milliner Kaji Masahito and recent Central Saint Martins graduate, Kawanishi Ryohei, to snag them the best project. The exhibition in the Korean Cultural Centre looks at 8 British-educated designers who, in a short space of time, have developed high profile collaborations and attracted significant media attention. Similarly the Chinese exhibition offers a smorgasbord of the country’s diverse designers, including Xander Zhou who is listed in Forbes’ Top 25 most influential people in the fashion industry in China. A selection of the best emerging African talent from Botswana, Nigeria and Sierra Leone, curated by the V&A’s Carol Tulloch, will be on display at the British Council offices, while Estonia will present an exhibition of work by three young designers, including Kaspar Paas who currently designs for John Lobb. The showcase provides an important platform for participating countries to display emerging fashion talent before key British and international industry professionals, which the organisers hope will stimulate dialogue. As well as being a brilliant opportunity for the public to explore the fashion scene of these exotic locations, without jumping on a plane. It’s also a timely reminder of London’s status as a hothouse for talent and a key fashion player on the international stage. But you knew that already didn’t you?

Exploring the work of contemporary South Korean designers – whose work is characterised by humour, fantasy and outlandish design – A New Space Around the Body reconfigures traditional notions of beauty, fashion and the feminine.



What you need to know Australia - Fashion Photography Exhibition 11-27 February, Australia House, Strand, WC2B 4LA, outdoor exhibition, open all day Belgium - Exhibition and Installation 17-21 February, London Fashion Week Exhibition, Somerset House, Strand, WC2R 1LA, by appointment only Botswana, Sierra Leone, Nigeria - Exhibition and Installation 14 February-2 March, British Council, 10 Spring Gardens, SW1A 2BN, daily 15.00-16.00, by appointment only (for bookings contact China - Exhibition 17-23 February, Bow Arts Trust, 181-183 Bow Road, E3 2SJ, Mon-Fri 10.00-18.00 and Sat-Sun 11.00-17.00

Promising to be a ‘dreamlike space in the heart of Soho’, Estonia’s offering combines the formal with the traditional to create menswear like you’ve never seen it before.

Croatia – Exhibition 10-24 February, Stone Theatre Gallery, Newnham Terrace, Hercules Road, SE1 7DR, Mon-Sat 09.00-18.30 Estonia - Exhibition and Installation 16-22 February, 94 Berwick Street, Soho, W1F 0QF, daily 11.0019.00, Shoemaking worship with Kasper Paar, 21 February, 18.00 Contact : Italy – Exhibition 17-20 February, Italian Cultural Institute, 39 Belgrave Square, SW1X 8NX, daily 10.00-19.00 Japan - Exhibition 17-22 February, Somerset House, Strand, WC2R 1LA, courtyard open to the public Korea - Exhibition and Installation 1-28 February, KCC, Grand Buildings, 1-3 Strand, WC2N 5BW, Mon-Fri 10.00-17.00 and Sat 11.00-17.00 (closed Sunday)

Belgium’s exhibition presents emerging fashion talent from the nation that gave us the Antwerp Six.

Netherlands - Multimedia Presentation and Exhibition 17-22 February, B & N Gallery, 16 Hewett Street, EC2A 3NN, daily 11.00-18.00 Philippines - Exhibition and Film Screening 15-17 February, 10 Suffolk Street, SW1Y 4HG, Mon-Sat 10.0016.30 Poland - Multimedia Installation and Exhibition 14-29 February, Royal Opera Arcade Gallery, 5b Pall Mall, Royal Opera Arcade, SW1Y 4UY, Mon-Sun 10.00-20.00, La Mania Winter Tales Installation with Marco Perego, 17 February, Royal Academy of Arts, 6 Burlington Gardens, W1S 1ET, 10.00-18.00

USA - Recent graduates of Parsons The New School of Design fly the flag for America in this showcase of the latest talent in innovation.

Romania – Exhibition 10-22 February, 1 Belgrave Square, SW1X 8PH, Mon-Fri 10.00-17.00 and closed Sat- Sun United States – Exhibition 15-21 February, Benjamin Franklin House, 36 Craven Street, WC2N 5NF, daily 11.00-17.00, Curator talks: 19 February, 11.30 & 12.30 Uzbekistan 16-29 February, Embassy of Uzbekistan, 41 Holland Park, W11 3RP, daily 9.30-17.30, discussion and master-class with Munisa Askarova 22 February

Bringing together young designers Kaji Masahito and Kawanishi Ryohei, Japan’s Showcase is a stark exploration of the country’s past, present and future – addressed through the medium of fashion.

For more information visit

Get swept away by Tales by Moonlight, an exhibition filled with colour, texture and print – a truly contemporary interpretation of Nigerian folklore.


Rockin’ Under the Red Flag china’s thriving music scene The vermillion walls by the lake shine as the light hits the willow trees. Septuagenarians fly kites on bridges all over town. Bars and night clubs line up like stars on the northwest of the city’s central axis. The graffitiflecked walls exude an air of underground mystery. Tattooed college students and pierced fans wear anti-government and rock-themed tshirts, arms flailing vigorously to get the performing band’s attention. On stage CMCB, China’s most distinguished hip-hop/rock band, breaks into the chorus of their hit single ‘Why’, and the audience rewards them by nodding along to their words. Then the vocal rips into the opening chords of ‘This Is Beijing’, an anthem of patriotism just polished enough to give it popular appeal. Situated in Nanluoguxiang, one of Beijing’s oldest ‘hutongs’ (alleyways) lined with eclectic boutiques and hip cafes, Mao Live House takes the crown as Beijing’s premier music venue and has grown into something of a cultural landmark. The Chinese rock Mecca, located on a street of rich history, is an intriguing blend of the past and the present - the modern and the ancient. Young indie rockers flock into the Live House, making confessions of confusion and rebellion through their music and showing a new face of the Eastern behemoth to the world.

to My Name’ at a Beijing concert commemorating the Year of World Peace in 1986, the Chinese audience was stunned and moved by the new spirit of music he presented. From that moment on young people all over post-revolutionary China were deeply influenced by the new ethos and individualism introduced by the artist, and Chinese rock embraced an historic beginning. “Cui Jian’s tunes rock with an authenticity that remains unprecedented and unsurpassed,” Jiang Xin comments with her signature smile.

China’s independent music scene is still in its adolescence; alternative music has yet to break through to the mainstream. The dispersed seeds of rock ‘n’ roll have had a different effect on the Chinese soils than those of its Western origins. Renowned bands such as post-punk P.K.14 and indie-pop Perdel sing in English, creating an obstacle to the audience’s full understanding the message they convey. The explosion of music festivals and the increase of professional venues interestingly blend music and commerce. Prominent indie labels such as Modern Sky, Maybe Mars and Pilot Records have contributed to the commercial side of the music. Rock musicians survive in harmony with Chinese government’s quest for a harmonious society.

The Three Prominent Ones of Moyan Records (He Yong, Dou Wei and Zhang Chu) marked another crucial chapter for the genre in the country. The emergence of Tang Dynasty and Black Panther were highlights in an era when Chinese rock was in the ascendant. By the early 90s, its mainstream popularity began to decline and the genre created a newfound scene in the underground. Time has passed and the Chinese government has come to realise that the success of rock music does not necessarily equate to the end of single-party rule. Rather, they now see the market value it carries. Li Chi, founder of Mao Live House, remarks that “the more encouraging and permissive atmosphere for indie music has allowed rock musicians to monetise their craft, making noise at home and abroad.” Long a mysterious corner of the country, live houses have sprawled over China within the past two decades. “Music of originality deserves to be heard and respected. At Mao we pride ourselves on providing rock musicians with such platform.”

Jiang Xin, China’s most celebrated female rock singer, has recently released When the Dream Were Young (Days of Long Hair Flying), a book that documents her youth from the years 1988 to 1995. “It’s a period of time that witnessed the development of Chinese rock and my own,’ Jiang Xin claims with a grin. A fusion of American, British, Japanese and traditional Chinese music, the history of Chinese rock can be traced back to the early 80s. By the mid-1980s the bulk of Western rock music had found its way into China’s cultural underground, and the likes of Simon and Garfunkel, John Denver, The Beatles and The Rolling Stones inspired many musicians, prompting Chinese rock legend Cui Jian to embark on his long march of rock ’n’ roll. When the former trumpeter cried out his best-known and most beloved song ‘Nothing

Twenty five years after Chinese rock has soared from early obscurity to superstardom and the Beijing scene has been anointed as rock relevant in China, the esoteric language of rock music is canonising — and continuing to commercialise in the Chinese way. Words by Yolanda Chen



Lady Porn does it always have to be the hideous couch?

Glory Hazel have dedicated their heart and soul to the field of pornography and lustfully play with its untapped potential. By approaching this aesthetically neglected area in a sensual, creative and innovative manner, Sandra Lichtenstern and Sabine Fischer prove that creativity and pornography can very much go hand in hand. STOP met up with both pornographers in their studio in Basel, Switzerland.

Design follows function - what is the function of Glory Hazel products? Sabine: Most of all we want to escape the mainstream. Sandra: We make porn that works, that arouses but also feels great on an aesthetic level - visually attractive pornography. What is unfair about mainstream porn is that it works even though it is made without care. Nevertheless, it leaves a bad aftertaste.

Sandra and Sabine, would you consider yourselves typical porn consumers? Sabine: No, because we do not pay any attention whatsoever to mainstream pornography. Sandra: One can be a typical porn consumer by being exactly the opposite – by being atypical.

Filmmaker Petra Joy is widely regarded as the poster child of this sub-genre as well as a feminist liberator of the female need for politically correct pornography. Would you consider yourselves feminists? Sandra: No, we do not feel directly connected to Petra.

What was the first porn you have ever watched? Sabine: My first porn movie was just awful and wrong on so many levels: ‘American teens’ played by forty-something actors with fake tits, fornicating in glaring set light to trashy music on a hideous couch. Really nasty. Sandra: For me it was a movie with foxhunters and women in Victorian dresses. It involved a hunting hideout and later in the movie there was some pool playing. Very bizarre indeed. Where did you two meet? Sandra: Ten years ago we both worked in the interior design department at Ikea. I told Sabine about my idea and soon she joined in. it has been two years now since Glory Hazel was founded. How did you come up with the idea in the first place? Sandra: Glory Hazel came into being during my style & design BA study. I had to write a thesis on the future of style and design. My conclusion was that the field of pornography would offer a lot of potential for creatives since there had been so little going on in terms of creativity in that area.

For the last few years the lust for porn has been mainly satisfied through the Internet. The amateur porn video site Youporn has existed since 2009. What is your take on ‘reality porn’? Sabine: We are mainly annoyed by the sloppiness. Does it always have to be the hideous couch? It is somewhat absurd how professional actors act as amateurs and are later re-enacted by real amateurs. One has to wonder what level of reality is left in those movies. What is reality in porn anyway? Would you agree that soundtrack music in porn is a disaster? It is understandable that certain music labels do not want to be associated with the porn industry, but nobody seems to realise the potential to make some money... Sandra: I agree, that is why we have music specifically made to fit our footage. Porn as the new pop culture? Sandra: Porn exists much more on the surface than it used to and the aesthetic connected to it can be used universally, for instance in art. The

question remains: How far can you go? Sabine: No car is sold without bikini girls. When you look at hip hop videos, there is a downloadable porn version next to a censored version made for MTV. Sandra: Commercials are pushing the limits more and more in that respect, stopping just short of depicting truly explicit images. To me, it feels like there still have to be certain measurable limits. The attraction of the concealed is still there despite all the ‘pornographisation’. What is the Swiss take on all this? Are the Swiss more open-minded than the Brits or other Europeans? Sandra: The definition of porn as a depiction of sexual fantasies is as diverse as humans are themselves. It is therefore impossible to reach a universally accepted conclusion. I try to avoid it. I can only speak for myself. There are more alternative porn labels in England than Switzerland, but it is a bigger country. In England, things are based upon the punk heritage and productions are often alternative in nature. Sabine: For other women this is a big issue, they love that Glory Hazel presents a true alternative to them. We get overwhelmingly positive feedback, but hardly ever get in contact with the average consumer of high-end, super-glossy American productions. We reach audiences outside that group. What are your favourite porn movies? Sabine: The Golden Classics, filmed on 35mm, depict sex as something positive, humorous and human. They were an eye-opener to us. Where do you see yourselves five years down the road? Sandra: On the porn throne of course! No, seriously, we want the label to stand on its own feet economically. Questioning each image five times, something the regular porn industry fails to do, just makes our productions more expensive. Words by NoeMie Schwaller Concept by Ramona Deckers


Raffertie’s Favourites getting deep with the dubstep dj

Benjamin Stefanski – or DJ Raffertie as he is better known - is not one to be pinned down by genres. Filling international dance floors with sets comprising of everything from high-energy pop tunes and 90’s rave anthems to garage, grime and dirty dubstep, this boy’s music tastes are far from predictable.

Tell us your favourite…

His own productions are equally eclectic. Since hecaught our attention with the glitchy beats of ‘Stomping Grounds VIP’ in 2009, Raffertie’s tracks have continued to push the boundaries of electronic music in ways you’d never expect. Along with a remix for Paris concept store Colette, February sees the release of Raffertie’s new EP ‘Mass Appeal’ from London-based label Ninja Tune. While the record maintains Raffertie’s undisputed dance sensibility, its stripped back approach provides a more subtle sound than his previous offerings, proving that Raffertie’s inimitable style is forever evolving.

Sound Radio 4

In the aftermath of the new release, we caught up with the DJ to find out more about his music, as well as a few of his favourite things about London. What’s new with you? I’ve been doing lots of promotion, mixes and interviews for my new EP. It’s all go. I’ve also been working on quite a bit of music for films and computer games lately, which is something new and exciting for me. How would you describe your music to someone who hadn’t heard it before? I shy away from talking about genres and styles generally, not out of laziness but because I think it removes some of the joy of listening to music and drawing one’s own conclusions about it. But for these purposes it will suffice to say that I predominantly make music with electronics. Who do you make your music for? Unless I’m asked to write something for a specific occasion or purpose I generally write music for me - expressions and extensions of thoughts and ideas I wish to express. My music is intensely personal but I do want others to listen to it, so its important to strike a balance between what I want to say and what others want to hear What gives you inspiration? Inspiration comes to me through many different things; images, films, books, thoughts, other music of course. What I love about the phenomenon of inspiration is how it takes you completely by surprise. Out of the blue nothing turns into something and with that comes an intriguing combination of feelings somewhere between relief and excitement. What are you listening to at the moment? One of the best records I purchased recently was ‘Spiritual Church Movement’ by Perispirit. Also a record from last year that I have started listening to again: ‘Aftertime’ by Roly Porter.

Singer Py Band New Look

Set you’ve ever played Glastonbury festival a couple of years ago Restaurant NOPI, Soho Sunday activity A film at BFI or a walk on Hampstead Heath. Or both Drinking hole The Washington, Camden Club Room 3 in Fabric always has something about it when it is full to overflowing Snack Crunch Corners or Jaffa Cakes Magazine New Scientist App ‘Farm to Fork’ – you put in a type of meat and the cut and then it comes back with recipe suggestions Holiday I had my birthday in Paris one year, which was so nice. I love to go to New York when I can also Friend They know who they are Outfit I love clothes shopping when I can afford to but I couldn’t say exactly which outfit is my best. I have a very nice Joseph suit but I don’t have that many opportunities to wear it Haircut I like interesting haircuts. My hair is probably the most normal it has been in ages but I’m into that quite tight, short and tailored haircut at the moment Best possession My Moleskin notebook Raffertie’s Mass Appeal EP is out now on 12” vinyl and can be downloaded from iTunes. You can catch Raffertie at Electrowerkz in London on 5th April 2012.

Words by Holly Swayne



Are you enjoying being a boss? I’m not really ‘a boss’, but I love being a manager. How much of your time is taken up by being a photographer? Previously I was an animator. After breaking with animation, photography is now my passion and takes up most of my time.

DC Zhao china goes commercial

How long have you been a photographer? I started in 2003. My first job as a formal photographer was working inhouse on a tech magazine. When I left that job, I worked as a freelancer for one year before I could afford a studio and form my own company. I have moved my studio three times since the company was formed. Everything is getting bigger and better. So you mean you were an individual photographer at the beginning? Yes, but it wasn’t a nice experience. At the beginning, I left a steady job and became a freelance photographer for weddings. My parents were so upset about it and thought it wasn’t safe and that I wouldn’t be able to make a regular income. But I knew what I wanted and that was just a path to my goal. In order to make enough money for setting up a company as soon as possible, I worked so hard that I spent every day shooting photos of the newly married. How did you become a fashion photographer? A friend who was a fashion editor recommended me to shoot for her magazine and they liked my pictures. Then, one after another, more and more magazines were asking me for shoots. How do you describe your photographic style? I usually say: ‘You need to consider yourself as water; your clients who are the container should decide the shape.’ If you can adapt to all different kinds of clients, you should be a good commercial photographer. If you’re unable to adapt, you will lose the market. Do you consider yourself an artist? I don’t want to say I am an artist. I graduated from a school of fine art. Being an artist was a dream for me. But when I began to work and came into society, I was faced by the reality and discovered that it was not easy to be an artist. The value of art is measured by money. So now, I would call myself just a commercial shooter rather than a photography artist. Have you ever thought about doing some personal projects? I think about it every day but I’m very busy at present.

Do you like the things you are doing? I like what I am working on at present otherwise I wouldn’t do it. Approximately how many days do you work every month? I normally work every day. Do you have time to work on your own projects? Rarely. I don’t think I have made anything that truly satisfied me in the past year. Everything I have been working on recently has been commercial, commercial, commercial. But I don’t dislike this side of the business; making money makes me happy. Do you think that creativity is not a necessary requirement for a photographer? Of course we need creativity. But the first thing we have to do is make ends meet. You need to feed the people who work for you. If the pictures can’t make money, the survival of the company will be under threat; that’s my understanding of commercial photography in China. Creativity is not fully respected and everybody bows to money. How did you get started as a photographer? That’s a long story. I was an animator after my graduation. I developed so well that I founded my own studio. However, I sustained a defeat in the year of the SARS outbreak – the newborn studio had to be shut down. I had devoted my youth, since I was a teenager, to animation and I really didn’t know what to do next. I was so depressed and felt confused about my future. I just hung around in bed for six months. I

used up all my savings until the money left would buy only two Baozis [dim sum]. I knew I had to move on. So in the beginning it was simply about making money in order to survive. I made my first money using a borrowed camera but once I had enough funds, I set up my own company. There is a big difference between an individual photographer and one who owns a company as a boss. There are more duties and responsibilities when you are in charge. What kind of responsibilities are you taking on? For your company’s sake, you need to consider more about how to keep the company going. There is a limit to one person’s energy. When you have to be the boss, there is little time available to be creative. It is difficult to do both. That’s why I call myself ‘not only a photographer’. Not only a photographer but also a boss? Well, the thing is: I’m quite confident with my skills as I can shoot both still life and people quite well. Clients usually advertise that they require shootings for both celebrities and products. In China, the clients need to hire two shooting teams: one for portraits and one for still life. However, if they hire me, I can take charge of both so it is more economical and easier for the client. That’s my advantage. There have been no well-established photography agencies in China, so the only way to get more business was to have a company. Why not just focus on running the company and quit photography? I also love shooting. It was photography that made my dreams come true, so to me photography is everything.

How do you like fashion? Fashion tends to be monopolized by developed countries and areas. Fashion in China today is still blindly following the others; I feel it’s fake and contributes nothing. The main reason western countries are interested in China is for the massive potential market, not for Chinese fashion. So what you are doing is also ‘fake’ fashion? Yes. Then what do you think is ‘real’ fashion photography? They lead trends and tell people what fashion is. But what we are doing currently is copying, which happens everywhere in the industry. Editors show you some pictures as a reference and ask you to shoot like that. Local fashion brands copy the big-name designers. The owners plagiarize from the western runways. All we’re going to do is translate the blondes into blacks. So there is little room for creativity in editorial? There is almost no room. What should a piece of real fashion photography work be? First of all, it should be original. It should be created by a creative team and it should be brand new, without so-called “references”. It should be created purely for beauty. It would be different from what we do, as everything we do is just about making money. Do you feel happy? My happiness comes from other people’s recognition of my work. Words by Effy Fay Photography D C Zhao

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Rem D Koolhaas the glass slipper of shoes

United Nude 90 Degrees Coal shoe

United Nude Geisha shoe

United Nude Möbius shoe

United Nude x Iris Van Herpen

Modern-day Cinderellas roam the streets of many a stylish metropolitan city in hot pursuit of the shoe that could change their life and style; at least for a season. So in Chelsea, New York at the penthouse studio of United Nude shoes, STOP was greeted by Rem D Koolhaas the brand co-founder and creative director of United Nude. Tall, charismatic and smartly dressed, Koolhaas, could easily be considered the Prince Charming of the shoe industry. Since launching the brand in 2003, the Dutch architect turned designer has been creating innovative footwear that excites the imagination; much like Cinderella’s glass slipper. Koolhaas’ fairytale entry into fashion began with the Möbius shoe, his first and favourite design, created while heartbroken over a breakup. A self proclaimed ‘true romantic,’ Koolhaas sized the Möbius to a 38 and set out to find the woman that could fit it. What he found was a marketplace ready to embrace and buy into his technological theories on design and construction. STOP received a guided tour of the United Nude spring/summer 2012 collection from Koolhaas. While drooling over looks dubbed The Geshia, 90 Degrees and Abstract Rome, we discovered a nude model shoe show may be in the works. In terms of trend forecasting and technological innovation, how does the future of footwear look to you? Describe your footwear design philosophy. If you look at what’s happening in the world of manufacturing, in particular women’s shoes, the whole technological aspect of shoe making, is making it more difficult to make shoes in a traditional way at an affordable price. Nike for example, in the athletic footwear industry basically reinvented the way shoes are made with all the components and new materials. The fact of the matter is, wages of any manufacturing country are going up, and so the prices of traditional footwear will go up. A lot of shoe designers will have to rethink the way shoes are made and designed. Athletic footwear companies are already doing it, they have something called PPH (product per hour), which means how much time it takes to make a particular shoe. So if labour goes up, that’s going to be really important because it will impact the allotted time to produce a shoe. We are looking for ways to be smarter in design, construction and manufacturing. Technology is one of United Nude’s biggest strengths. We are not trained as shoemakers. I was trained as an architect, so we are frontrunners in re-inventing shoe making. In terms of design construction, United Nude shoes are

very conceptual. What are your most unique concepts as a line?

the shoe, my heart would beat at double speed. It was cute, but I was so desperate. Ironically my wife wears a 38.

I think we are unique, like our first shoe the Möbius, it was designed as an object. The Möbius had nothing to do with traditional shoe making. It was a true industrial/architectural design. We are a true architectural design shoe company, if not the architectural shoe brand. At the same time, we are a designer brand, but we are not selling for designer prices. We sell exclusively by design and not by price. You’re going to always pay more for something that takes more time to design, but if you compare us to other luxury brands, we look affordable ‒ an affordable luxury lifestyle brand. We started with shoes but we’re also making furniture and we probably will enter other segments other than shoes in the future.

It appears you are a true romantic.

Your shoe designs are very conceptual and often resemble small structures. How do you balance function, complexity and wearability? The higher the heel, the more attractive or the more attention a shoe or a woman will get. Our clientele demographic is between 25 to 35years old. It’s an educated clientele, and thus does not want to wear high heels all the time. We are trying new concepts, so wearability and comfort is very important for shoes. If you look at our sales figures, the high heels get all the press, but it’s the mid-heels that sell the most. You have to listen to the market. What type of shoe embodies sexy for you? My favourite shoe is the Möbius or the ultra Möbius. The Möbius changed my life, if it wasn’t for this shoe, I would not be here. Sounds like a Cinderella story, one shoe can change your life... It really is a Cinderella story. Before I even knew to design a shoe, I made a cardboard model of the Möbius shoe and I stuck aluminium foil on it, or aluminium tape, and it looked like a jewel. I was heartbroken over a breakup with a girl, so I had this aluminium foil cardboard model in my back pack and I would go out at night, and if I would see a nice a girl with a size 38 shoe ‒ my Cinderella size ‒ I would make conversation and say ‘I have designed this nice shoe. Would like to try it on?’ And it would be like a Cinderella moment. If the girl would fit

I am a true romantic. I am a very passionate person, a lot of designers are. Design comes from emotion. I am pretty romantic in that sense. The term romantic hero rejects established convention, an archetype in the literary sense. Do you consider yourself a romantic hero? Yes, we like to break the rules. United Nude is definitely a brand that breaks all the rules of conventional shoe design. Nobody else had done the Möbius design. There are a lot of copies of United Nude, fake/ counterfeit out there. You’re nobody till somebody copies you. Your uncle Rem Koolhaas has designed some of the world’s most iconic buildings and has even ventured into the world of fashion, designing concept stores for brands like Prada. What does your uncle say about your shoe designs? He is actually a huge fan of United Nude and a good friend of Miuccia Prada. He has presented Miuccia several pairs of United Shoes and she has been spotted wearing them. Now for a fun question. Tell us, what would people never guess about you? I have two sides, designer and businessman, and father and husband. My kids are 2 and 4. I like to take them to the beach. There is nothing better than playing with your kids on the beach and forgetting about your silly business. I am sure people would never guess that United Nude comes from the DeLorean car, I’m a big fan. Even our logo takes inspiration from the DeLorean logo. Do you see yourself doing a runway show which is exclusive, conceptual and just about the shoe? We would like to coordinate with Vanessa Beecroft and do a nude model shoe show. Maybe one day we will create our own clothing line or work with Iris Van Herpen, who is an incredible designer. Words by Qianna Smith


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In Fashion the oriental other

In June 2011 UK Vogue printed a feature which misidentified one of the biggest Chinese models today; its credits reported Du Juan to be Liu Wen. In the same year, made a similar mistake, this time with Emma Pei and Zhang Lina suffering from misidentification. It would seem that the professional fashion media may have a problem with identifying one Chinese model from another. As comments on remarked, “this is not really the kind of mistake you would expect a fashion magazine to make.” So why did they? In sync with the recent and rapid growth of the fashion consumer market in China, an increasing number of Chinese models have arrived on the international fashion stage. As their typical Chinese faces and eastern beauty win favour from top designers, Chinese models are ever more frequently the faces of advertising campaigns. And the spring/ summer 2012 show season - from New York, Milan and London to Paris – saw more than twenty Chinese models take to the runway, walking for top designers. Surely at this time the names of Chinese models should be at the tip of our tongues – especially those tongues belonging to the professional fashion media. So what is going on? Western culture and ideals of beauty are very different to those of the East and China: perhaps unfamiliarity is the excuse. Where the details and unique features of western ideals of beauty, so deeply ingrained throughout western culture, are so obviously recognisable to a Westerner, for the same observer the detail and unique features of Chinese faces, the features which set apart one model from another, and the features so obvious to the Chinese themselves – are less easy to identify. Westerners are able to identify Asian beauty as a group, but no individual signature or impression sticks. It is not uncommon to hear “it would be hard to distinguish between those models, since they all have a very similar kind of beauty”. In other words, to the Western world, it would seem that Chinese models are just the faces of labels; they are just a type of beauty, and their individual identities are obscured.

Also, models - and the term ‘fashion model’ - are a relatively recent Chinese development. It is believed that China’s modern concept of fashion only began in 1979 with Pierre Cardin who brought a group of models - eight French and four Japanese - to Beijing for his inaugural Chinese fashion show. Not long after it, in 1980, the Shanghai Garment Company established a model performance team. And thus began the new era for the fashion industry in China. By 1987, the Chinese modelling team stormed the second international fashion festival in Paris, earning praise and applause for their perfect performance. Yet as relative newcomers to the stage their faces must work all that harder. The obscuring of personal identity may also present problems for Chinese models, as it does for models of every nationality. Even Naomi Campbell has expressed frustration at being taken at face value rather than being appreciated as a real model, saying, “Part of the problem is that people only take models at face value. In a way, what we do is like acting, except that we don’t speak…These pictures are poses, that is not what we are like in real life at all…When you have a very visual job, your appearance is taken to be the most important thing about you.” And yes, by nature of their job, models are a face, or a look which is currently fashionable, and one which could be displaced overnight. As Huang Xiaomeng, Chinese-born model based in Beijing, complains, there is a different understanding and approach to beauty by Westerners: “Their ideas are always changing, leading to the appearance of more new faces.” There is a fear that while Chinese models might be welcomed with enthusiasm in 2010 and 2011, in the ever-changing fashion industry their longevity in international modelling is questionable if their individual images remain obscure. Without representatives with clarified identities and iconic personalities who can stand apart from all other Chinese models, and without someone who can impose a strong individual influence, it will be difficult in the future for Chinese models to survive a changing trend.


But in their pursuit to find a long lasting place on the international stage, there are more obstacles in the way of Chinese models. The first and foremost is the question of the lack of personality Chinese models seem to emanate as individuals. However, it must be recognized that this is a cultural trait - one displayed by many Chinese people, not just the models. The Chinese are not encouraged to be different from others, uniformity and conformity is appreciated and valued and - as a nation - Chinese people tend to be more reserved. The models of China are in a position in which to succeed and stand out on an international stage they must remove themselves from socially accepted norm of their own culture. This is asking a lot, and as a native Chinese writer I empathise with them. Perhaps the greatest obstacle blocking the progress of Chinese models on an international stage is that their native modelling agencies do not encourage China-born models to explore their careers abroad. This is most often because there is very little incentive for agencies to do so and there are few economic returns in the short term to work in this way. “They are simply not interested,” explains Huang Xiaomeng. Without the support of the Chinese modelling agencies, the road is hard, and many a promising Chinese model will not be ushered into the spotlight of the international stage. However, in spite of all these unfavorable circumstances, it is widely believed that Chinese models do still have a remarkable potential to become internationally recognised models, icons of the fashion and entertainment industries. “The desire of the West to look for diversity in beauty ideals opens the door to models from all over the world, including China,” explains Bonnie Chen, herself a successful editorial model from the mainland, now New York based. The Chinese fashion industry has gone a long way to embrace the international fashion industry and vice versa, but there is still a long way for Chinese models to go. Personally, I wish these women luck. Words by Keira Lee

orangina Think TOWIE tans and satsuma brights for Spring Summer ‘12. Styling Lara Angol

Photography Adam Tickle


Photography Micheal Mann



Print’s Not Dead think ink

The rustle of pages, the crackle as sheets turn, the stain on your fingers, and the smell of fresh print: yes, print. We love print. A broadsheet through which you declare an allegiance; an issue of a magazine that made you belong; a book on your coffee table which stands as a statement; and a dog-eared novel that changed you. But can print, the unaffordable, impractical, slow and outdated medium compete with the allure of electronic media and alternatives? Well, the answer is simple, it must. Styling Jamila Robertson Photography Panos Damaskinidis Hair & Make-Up Pace Chen Model Tatiana @ D1

Print - books, magazines and newspapers - are a part of our history; and they are part of a tradition that has shaped the modern world. From the first Caxton press established in England in 1476 - the press that gave us Chaucer’s Canterbury Tales and Malory’s Le Morte d’Arthur - print has given not only pleasure and escapism, but also a growth in literacy and knowledge. It has helped form the values that modern society still holds. Now we see evidence that modern society is becoming increasingly illiterate; the years of development turning back. And this is no surprise seeing as we increasingly communicate through bite sized, badly formed statements. And as we read online articles – thanks to the so-called ‘online scribblers’ who have never heard the word ‘edit’ - filled with misspellings, typos, grammatical errors, and forgotten commas. As we read articles bashed out and regurgitated in a desperation to fill the abyss of cyber-space; so fast moving that we can’t keep up. But we know all this already.... So what is it that should stop us turning to the Kindle that fits so neatly in our bag? The Kindle that lets us become so wholly absorbed in the story; the Kindle with no page number to trace the time as it ticks. One cannot argue illiteracy, regurgitation or a lack of care - it is no different to the copy we see in print. But the answer is so simple. Print, and the objects it creates, are our readily available source of beauty; the antithesis to so much of our lives which is filled with ugliness, chaos, stress and change. Print is an art form, and has been practised so since


its first origins. Think of the Gutenberg Bible - one of the first books printed on a press - an object of artistry, dedication, detail and awe. An object as beautiful now as it was miraculous then. Think of the books that are the prized possessions of modern libraries across the world. Items of such value not only because of what they hold within their bindings, or for what they tell us of history, but for their beauty as an object. And must we not continue to create and admire beauty? What do you love about reading in print? Is it the glossy and embossed cover of the magazine, or the full-bleed fashion editorial? Is it that blown-up cartoon satirizing a politician that has been treated as an artwork in your Sunday paper? Is it the deeply coloured cover of a new hard-back book? It is print that forms our personal library, that fills our homes and weighs down our bookshelves. A prize won at school, an heirloom passed down through generations, a gift from a loved one or a collection of magazines built over years. It is print that tells your story. In cyberspace and the world of electronics, you are simply a hologram. And perhaps this is the real answer. While yes, reading proper print is beneficial in immeasurable ways – for vocabulary, grammar, spelling, education; for knowledge; for an understanding of history; for entertainment; as an object of beauty – but there is something more to print than this; our emotional bond. What is your favourite book, how did it change you, and where does it take you? It is your favourite not for its qualities, but for its feeling – and for what it means to you. It is an object that roots you and grounds you; that offers you stability as it stands still whilst time passes. Print is lasting. Print is treasured. Print is permanent. And it won’t abandon you when the internet goes down... Words by Ella Pearce Heath

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Ni Hao, London London’s unique vintage fashion takes East Asia by storm.

Photography Yi Tian Directed by Keira Lee

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Paul Avarali prep goes global Lorelei Marfil caught up with Ralph Lauren Media’s Global Editorial Director to talk about style, inspiration, and what’s currently on his mood board.

With a keen eye for fashion and worldwide trends, Paul Avarali works to bridge stylish editorial with digital innovation, taking all-American Ralph Lauren around the globe. Raised in upstate New York before studying Fashion Marketing at LIM College, Avarali has previously held editorial positions at Details and Best Life before assuming his current role as Global Editorial Director for Ralph Lauren Media. Today, with the goal of achieving a seamless bridge between editorial and e-commerce, Avarali and his team create the tools and vehicles that help consumers understand the quality of each product and assist in their shopping experience. What is your take on global fashion today? The infiltration of new markets is easier than ever thanks to the internet. By the time a brand physically arrives in a new arena, the youth of that growing city have already built a relationship with the brand through blogs, online magazines, and brand websites. What’s important for global brands is not only to control their brand image through PR and marketing efforts, but to dictate their own public image through their online presence. We have more power than we realise over the way we present ourselves - of course you go into a new market and do your best to assimilate without messing with brand identity, but I’m not so sure assimilating is the best route any more.  The world was already a small place, but now we are all connected in real time. This means that fashion’s influence is broader than ever and even though a country does not have the ties to, say, the American frontier or traditional Savile Row tailoring like we might, they can fully understand and appreciate it through our presentation of the brand. It’s an exciting time for fashion, the influences on young designers is incredible, the access is unbelievable and what’s great is seeing how a particular city, known for its own style or “look” is reinterpreting its own traditions of style, I’d say, due in part to the globalization of the industry. What trends from across the globe are on your radar at the moment? I’m obsessed with the deco, 1920s moment that’s happening for women. It’s super chic. There’s also this really great underlining

Parisian thing—sheer fabrics and long pant silhouettes, it’s subtly sexy and refined. I also love the mixed media styles of wool and leather and how creative everyone is getting with suiting, while keeping it totally wearable. Surprisingly, the colour stories have been a huge hit with me. I’m always in navy and grey, but recently am in love with colour, and not just the rich jewel and earth tones—I found myself swooning for the neons and the pale washed out hues. Who are your favourite young designers at the moment and why? In menswear I’m looking at Antonio Azzuolo, Ami by Alexandre Mattiussi, and Carlos Campos. They just make great clothes that guys want to wear. Menswear has rules and a menswear designer who can execute a collection that stays within those sartorial boundaries while still making it interesting and fresh is talented and gets my attention. In womenswear it’s Prabal Gurung - I’m amazed at his ability to create clothes that are pretty, sexy and always have this innate sort of strength. And I’m recently obsessed with Thomas Tait. It’s everything my friends would want to wear, every day. Just pure genius. I love it all I’m also interested to see how Louise Amstrup continues to develop as a designer. I love her use of colour and print and fun silhouettes. What is on your mood board currently? Well I’m in the process of decorating a new apartment, so it’s a lot of wall and fabric colour options (greys and taupes mostly), furniture tears and the like. There are always a few photos that are a mainstay on my board and have followed me through three jobs and four apartments. First is the super iconic photo of James Dean wearing an oversized coat walking in New York City in the rain. Then a beautiful shot of Stefano Pilati smoking a cigarette from a 2008 issue of Interview magazine. Then the bedroom portraits of Mario Sorrenti, shot by Kate Moss. And then various photos from photographer friends. What was the last thing you saw that inspired you and why? This amazing shelving unit made from lead pipes and reclaimed wood. I’m obsessed with the mixed materials and the sort of structureless idea of it. It’s totally open and raw. I’ve commissioned my brother to build


a replica of it in my new apartment (my version will be attached to the ceiling) - it’s what I’m centring the entire space around. What are your three must-visit boutiques in the world and why? Union in Los Angeles - they merchandise that place so well and are usually the ones who introduce the most sought-after and hard-toget Japanese designers to the American market. L’Eclaireur in Paris just such a beautiful shop and space. You walk into what looks like a small apothecary, and then a discrete door opens up to reveal a hidden bunker of the most amazingly curated designers and styles. Fivestory in New York City--It’s an old townhouse, beautifully renovated and restored with original details—offering one-of-a-kind pieces and fashion from emerging designers as well as the established ones. It’s the kind of place I see as introducing a lot of major talent from around the world to New York and the States. What are your three top cities for fashion and why? It’s still New York, Paris and Milan. Each city has its own energy that can be easily seen through the collections that come out of each one of the cities. London has always been an incredible city for fashion— from the punk days to the traditions of Savile Row, to modern geniuses like Christopher Bailey and Alexander McQueen and with the recent boom of its fashion week, I look forward to some more major talent emerging there. What is your go-to ensemble? Grey or navy sport coat. Grey or navy knit. Trench. What is on your wish list this season? A marble topped Saarinen coffee table and a cashmere cable knit sweater.

Words by Lorelei Marfil Photography Nicole Vitagliano

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Pearls of Wisdom seventy is the new seventeen Styling Gabriel Weil Words by Isabella Redmond Styles

Pearl Read is talking about how she stays in shape: ‘I eat anything really, and if something gets tight then I’ll lay off the ice cream for a few days but, really, to be so obsessive is just ridiculous’. These could be the words of pretty much any working model, except this particular model turned 70 last year and is currently recovering from a hip replacement. Like Carmen Dell’ Orifice, Pearl Read is a perfect example of the bevy of female models who have enjoyed success later in life; she may be well over retirement age but she is still posing for everything from edgy editorials to adverts for stair lifts. This surge of success could in part be attributed to the notoriety of her decision to take part in an Age Concern advertising campaign during the late 90s. A pastiche of the iconic Wonderbra adverts, the campaign - which set out to fight age discrimination - depicted Read resplendent in a simple black bra, with the caption ‘the first thing some people see is her age.’ Unsurprisingly, it proved controversial, and Read’s décolletage was the subject of frenzied media debate. She however, is fairly nonchalant about the whole episode, although does admit she enjoyed receiving letters from members of the Armed Forces who pronounced her their ‘New Pin-Up.’

However, bearing her cleavage on a billboard next to the Houses of Parliament wasn’t Read’s first foray into modeling. A career that began, aged 17, in London’s storied Windmill Theatre, has gone through many reinventions. From stormy relationships with powerful men - including gangster Joe Wilkins and football millionaire David Bulstrode - and a wardrobe heaving with Chanel and Yves Saint Laurent , to running a riding stable in Hampshire. What has remained constant though, is her extraordinary energy, which she attributes to her love of sport, and her petite, still girlish, prettiness. In a sea of 70 year old women, all weighed down by vats of anti-ageing cream and the pressure to look 20 years younger, Read is refreshingly un-selfconscious. And it is this confidence which came through when she stripped off again just a few years ago; this time aged 65, in a bikini for the Daily Mail. Wasn’t she nervous? ‘It is what it is,’ she says stoically, ‘I just hoped they got the shot they needed.’ Read has no plans to give up her day job anytime soon, ‘Why should I stop? I love how my job keeps me active and allows me to meet new people.’ It seems that, according to Read, 70 is the new 17. We would certainly agree.

Photography Raymond Tan Hair Michiko Yoshida using Bumble & Bumble Make-Up Dora Simson using MAC Model Pearl Read Pearl wears vintage Yves Saint Laurent Rive Gauche throughout


p e o p l e 1. François Berthoud, Foto: Kurt Markus, 2009, © François Berthoud 2.. François Berthoud, Flowerbomb, Werbung für Viktor & Rolf Parfüm, gemischte Techniken, 2008, © François Berthoud 3. François Berthoud, Calzedonia Tights, Verpackung für Calzedonia (Italien), Monotype, 2002, © François Berthoud

Francois Berthoud my work is the privilege of a blank page of paper

NoeMie Schwaller talks to fashion illustrator Francois Berthoud about high heels, the Swiss watch industry, and why he wouldn’t choose to be a terrorist.


François, with hazel eyes and in jeans and T-shirt, has a cheerful personality that gives away his mixed heritage and time spent in Italy. While we listen to Jimi Hendrix and chain smoke Parisiennes in his expansive studio in an industrial quarter of Zurich, he tells me about his life as a prestigious fashion illustrator.

a magazine had its own photographer and studio that was like a lab, and people wouldn’t be travelling all the time but would be there. It was a boutique-like thing, now it’s an agenda thing. Not that long ago you started doing dripping images – is that a new, faster way to express yourself? Sometimes I can’t find a solution for some work or my setup and technique don’t allow me to. The dripping happened when I was to do a portrait and had some other materials in mind but never had gone into the process of using them. With new techniques, you have to be lucky in the beginning. If not, I would abandon them immediately. But I was lucky and it pushed me to evolve it until the result was great. Talking about the market that defines what you do: change isn’t good. Having different styles makes it complicated, but it’s my liberty, my luxury to add another language according to the project. I wouldn’t like to repeat myself constantly. What did you eat for breakfast? Nothing, not this morning.

Francois, you were born just over thirty years after Mickey Mouse and wanted to become a comic illustrator – how did you end up in fashion? In the French speaking part of the world, comics are important, it’s our heritage from Hergé. I started to draw comics because it was part of my education. Later I was working as a fashion art director in Milan and at a certain point had the opportunity to do fashion illustration. Basically, I just had to put my two interests together. But you grew up in Switzerland where we don’t have any fashion. I don’t know what image of fashion I had back then. It had to do with pretty girls, which is always a good starting point. I thought of it as something attractive, sexy and connected to the future, not to established things. Never having been in touch with Haute Couture clothes as physical objects, I didn’t know that much about fashion. At the time there weren’t so many magazines either and the few that existed were much more expensive. I would get the French or Italian Vogue as rare things, but it wasn’t until weeks after they had arrived at the newsstand that I would get this precious information. But since the fashion scene has changed, the fact of where you are geographically has become obsolete. Even though here is not the best place for well-dressed people… go to Spain, to Barcelona and see... I mean; it’s horror.

How is it to work alone, what makes you sure about the decisions you take during the process of creation? I have an assistant, which helps. My criterion is, if I really like it, then it’s good for me and I’ll see how it will be appreciated by others. I’ve always been confident and concerned about what I’d love to see if I’d open a magazine. My work is the privilege of a blank page of paper and the excitement to do something that

You said you liked fashion because it showed something new. Is that still the case today? There are still very good people working in the industry, maybe even more now in terms of numbers since the field is much bigger, but many fashion brands have become just like any other commercial brand: they globally design products that have to match certain demands and industrial processes. I don’t get excitement from that, but it’s part of the business, as am I, and it’s my job. Is fashion repeating itself like an old meal you heat up? You constantly see cyclical references. The occidental way of dressing men and women has one root which divided into a lot of branches. That’s due to our physicality which has certain unchangeable characteristics. Adapting old ideas to new moments is part of the game, though through new fabrics those things may seem completely new. Is there enough space for creativity with all the commerciality in fashion? There are boundaries, but it’s a question of opportunities. There is always space for good ideas, but you need the opportunity to develop and put them in the right context. A magazine spread is great to be experimental and live your own visual adventures. Unfortunately, the leading fashion magazines, which used to be the hottest point for creativity, are now suffering from all the compromises the commercial part entails. They’d have all the means possible to realise good ideas, but they have other problems to solve. There is a small group of photographers who are very much in demand and – as good as they are – their level is not where it should be. If they worked less, their pictures would be better Is this the case with your work? I really can’t work more. At least, if something goes wrong, I can change it immediately, whereas if you’re on a shoot and something goes wrong, you just have to deal with what you have. It’s not just a question of money but of time and availability of people. If you compare the situation with the 1950s;




hasn’t been done before. After all those years, the set up is here, I don’t have to start from zero each time. I follow my tracks. With my experience, to know whether it’s the right way to go or not isn’t difficult, but the timing might be. The limits are the deadlines and they force you to choose. You have done accessories as well – what do you like to do best, do you have a fetish? The best moment is when I have the mental and physical space to enter a subject. I love drawing shoes, they’re such beautiful accessories. Especially women with heels which is an absurd, unnatural, strange thing we should be questioning radically. A shoe is a small, complex and variable sculpture with shapes and lines that are so tense and precise it helps me to make iconic measures. It’s both, a fetish of men as well as of women; you simply can’t have enough. Do you wear high heels? Not when I work [laughs and lights another cigarette]. In the exhibition at the ‘Museum fur Gestaltung’, I found this note on one of your sketches: ‘Does it occupy my mind, my heart, my soul? Does it require any special abilities to do? Does it entertain my eyes’ That’s either me listing things I need to be aware of when drawing, or it could be that I took a note because I liked it when I heard it on the radio. In fact, I like it very much. Probably, I unconsciously ask myself these questions. If I had proper breakfast, I could then read my commandments daily to be sure that I’m in the right frame of mind [laughs]. What do you want to achieve with your illustrations? Entertainment is one part, experiment another. It’s about discovering materials, shapes, colours and combining them to a certain level of balance where those elements have a dialogue with each other. I don’t know where it comes from. Sometimes you just have to remove something, solutions are buried. Dig a little in the sand and the image is right there. It’s a revealing rather than having an vision. When this happens, when the image suddenly has a vibration, I’m done. Where do you find inspiration? When I create something, it’s new, that’s its nature. But I do new things with all my knowledge, the references are always here. Inspiration is the sum of many sources, layers of things I’ve seen or read plus the experiences I’ve made; all mixed together. That’s the reason why you can’t explain in detail why an image works. If I was to do a jacket I’m sure I would know how YSL did jackets in every fucking detail because from there you go somewhere else. When doing something new, you’d better not ignore what has been done before. Would you call yourself a trendsetter? I’ve done things in the 1980s revealing what was so cool at that very moment. While I was discovering the results, I was discovering myself. It was so now. Today, I’m different. Trendsetter – why not, but it’s not my goal. After having met so many amazing people – who would you love to spend a day with? I want to meet people who are not from my field and who I can learn from. The other day I was listening to the Michèl Simon who in the 1970s used to be a popular singer but is a writer now. I was fascinated by his philosophical and enlightening way of talking: “What kind of life do you want to lead?” Work is a large part of my life, I like it and it brings a balance into my life. But it’s the global thing that’s interesting since suddenly I want to spend every hour of my day in an exciting way. How can I avoid all the annoying stuff and do more of the fun stuff ? Manual work is good for body and mind. I never feel like I’m wasting my time. How better could I spend my time? I wouldn’t know. You’ve been living between Milan and New York for years but have recently moved back to Switzerland. Why’s that? I’ve just had enough. My time in Milan was done. Honestly, I felt a bit of a decline of inputs of the situation there. In the 1980s and 1990s it was very exciting, now I need another point of view on things. New Yorkers are born in a place where they can stay because it’s all there, but I cannot live in La Chaux-de-Fonds, you know, that’s just not possible. So I’m condemned to moving. You say in New York it’s all there – is it all here? I’m not saying that if you’re born in Zurich, you want to live here forever like Spanish people from Barcelona would. It was an easy move because here, the attention of people to art is pretty high. There is an artistic understanding, a love for books and arts as well as a habit of taking care of precious stuff, collecting and preserving it. That’s special for such a small city, I feel that and a lot of energy crossing here.

Furthermore, it’s very well placed within Europe. I would never start a business in France with its terrible infrastructure. My archive is here and it’s going to stay here. Do you get the feeling that because there is so much money here, the creativity is not as high as in cities with less cash flow? Do you want some coffee?… You know, I cannot talk about grants, it wouldn’t be nice. There are a lot of grants for would-be artists to theoretically put up the conditions to work and produce, but in fact they don’t produce much. Art is nurtured by life. If you don’t go out there and have a life, what kind of art can you do? We did have artists taking advantage of these grants that were able to do things they otherwise couldn’t have done. On the other hand, do we need all these artists, do we need all this art? The category ‘art’ isn’t necessary; the world is fine without it. Apparently, we have enough means – money, structure and education – to produce such things. Which is nice, there are countries that couldn’t because they’re at war. I would choose to be an artist rather than a terrorist, what can I say? [Laughs] So why do we need art? It’s the best thing we can imagine to bring a bit of sense to our lives. Recently, I visited the geological collection at the ‘Neues Museum’ in Berlin with its fantastic sculptures of Egyptian art. It was stunning to see those pieces that had made it through time, which were art at the time and are art now – it made even more sense. After we’ve eaten, art obviously is the most precious thing we have. At the end of the day, if you go deep, you would keep the Nefertiti sculpture. Do you ever get tired of drawing fashion? No, especially not the pretty girls. It’s up to me if I want to get bored or not. I have been making my living out of this for thirty years and it still flows. It’s an enormous subject and the variations are endless. Fashion has been a very good playground for me, but I don’t feel tied to it. There is room for me somewhere else. You always stay close to the object you want to depict. When I was doing comic strips I had perspectives, backgrounds, trees, cars and such. Then I started to use a new, abstract level with graphic, plain-coloured backgrounds, working like a sculptor with something standing in the air without any perspectives. I like the symbolic aspect this gets. By separating the processes I work in a very structured way, starting with a ruler, axes; very much like an architect. As soon as the sketch is solid, I can let it go, expecting unexpected texture and overlapping lines to come out and life to come in. I like this. If everything would be loose, it would be a mess. But when it’s well prepared, I can fuck it up and in the worst case go back to the beginning. How do you withstand the temptation to constrain your work to the computer, where all this would make your life so much easier? No, no, wait, my life has been much easier since I can use the computer. I went from working prePhotoshop which involved sending drawings perfectly finished and dried packed in a box by Fedex – extremely stressful – to scanning at home and sending it off via email. Retouching things made my life so much easier. I go back to the printing machine after having already visualised the illustration on screen so I already know where I actually want to go. In your opinion, who are the fashion illustrators to watch? To be honest, I wouldn’t know, I cannot tell them apart. But there is always room for good work. People keep complaining about the little amount of illustration in fashion magazines, which in my opinion is due to a lack of good artists. Another theory is that magazines are packed with mediocre photos, but they can be edited. A mediocre drawing, however, really makes you sick. Mediocrity isn’t tolerated here. So there is no one worth mentioning? I’m afraid not, but I am not studying my subject. It’s a difficult one. Have you ever had the chance to work with live models? Yes. It’s cruel but it solves the proportion problem: Compared to the rest, the head is too small and there is too much information and details. The most interesting part of a dress is concentrated on the middle part of the body, so why show all the rest? Any other cruelties you what to confess? [Laughs] When I did comic strips I did much worse than that. Therein lies the origin of that idea. Thank you very much for your time. You are very welcome. By the way, there is an S&M club in the building. Sometimes a client rings my door and I just say ‘It’s upstairs, thank you’. Words by NoéMie Schwaller

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Nick Wooster a manhattan man about town

Craig Mabbit the smoking lollipop guild ensure the merchandise mix will make sense and stimulate his increasingly jaded consumer. “At the end of the day, it’s only a rack of clothes. What makes the difference is the story you tell with it. It’s all about information. I’m a well-informed soundboard”, he explains. This includes defining visual merchandising, the mix of products, colours, shapes and turning it all into a concept that will make the retailer sell by telling the right story. A heavy responsibility, no doubt.

“I’m a very shallow person, I love surface”

Over the past three decades Wooster’s talent has served prestigious designers such as John Bartlett, Ralph Lauren and Calvin Klein, given him the job of men’s fashion director for Neiman Marcus/Bergdorf Goodman, and gained him his current position at the Gilt Group. Internet visibility, however, has happened in the last few years and, according to him, is contained within a universe of fashion followers. “I’m not recognised at the grocery store… but I’ll have people approach me when I’m shopping for clothes. It’s very funny, but super flattering”

Fashion insiders tend to be more conscious about what they wear than most. To the untrained eye, those who err on the avant garde side of dressing may seem too extreme, too creative or too fussy. Too experimental to offer inspiration to the everyday wardrobe. Yet look closer and they have real things to teach when it comes to style.

Wooster’s scrapbook is available online on his Tumblr page With a collection of imagery that ranges from cars to people, interiors to graphic design, he’s one of many in the fashion world who share their inspirations with blog followers. Lately, Tumblr has become one of his favourite activities. “I’m obsessed with Tumblr. It’s easy, it puts me in touch with what other people think, and it’s a great way to build an inspiration board.” As inspiring as his profile may seem, remember not to try it at home. Wooster is impossible to recreate. More than a lesson in style, he’s example of individuality, and should inspire other gentlemen to become their own soundboards.

Can you begin by introducing yourself and telling us a bit about Lollipops and Cigarettes?

In a league of his own is veteran Nick Wooster. With a dauntless yet elegant approach to style, this Manhattan-based menswear expert is the ultimate masculine style icon. He is also at the centre of the cult surrounding the ever-growing universe of street style. Whether classically or rebelliously suited, Wooster - once described as a “sartorial badass” never ceases to impress with his experiments in proportion, colour and pattern. And somehow, as bold as they may be, Wooster’s choices never sacrifice precise tailoring, masculinity or propriety.


In full control of both the rebel and the gentleman within himself, Wooster pulls off sartorial combinations that just shouldn’t work. Matching tie and shirt combos, blazers with shorts, cropped suits and leopard print trousers. His shoes are often stylised brogues that perform an extra function: “I always look for thick soled shoes to add an inch to my height. A 5’7” midget like me has to”, he exaggerates. His hairstyle is youthful, suitable and classic, his facial hair is impeccably groomed, his collection of classic shades protect without masking, and accessories are carefully selected.

What do you like to eat? “Steak.”

Rebellion – etched onto his skin in colourful tattoos - didn’t happen in his teens or early twenties as usual, but in his early thirties. “I got my first tattoo at thirty-three, in 1993. I finished my sleeves in 2008 and I started the legs in 2009. The legs are the only part I regret, because it was an extremely painful experience.” He also started smoking at 31, an age when most regret having started in the first place. “I know it’s stupid, but that’s just me”, he jokes. Without a doubt, there’s much to learn from a man that had already wised up before making the regrettable choices of life.

Do you work out? “Yes. Six times a week if I’m in the zone.”

Wooster’s ability to use fashion to create a character that oozes elegance, has an air of mystery and breaks convention is a true talent. “I’m a midget who is known for dressing well, but I don’t think my ability to dress myself is very remarkable.” Nick’s superpower is an “eye” and a remarkable skill of synthesising what he sees, converting varied stimuli and inspiration into fashion editing. “I don’t have an original idea. I was given a good filter at birth and I have my mum and dad to thank for it”. It is in this exercise of style that both his personal and professional success originate. “An editorial eye for retailers” is how he describes his job. Beyond buying clothes from designers and discovering new talents, it is his job to

Can Escape The Fate vocalist Craig Mabbit take on the fashion world with his new clothing line, ‘Lollipops & Cigarettes’? Louise Amie Hunt Simmrin chats to the rockstar turned designer about the trials and tribulations of this transition.

Where did you grow up? “In Salina, Kansas. It was perfect.” Which is your drink? “I don’t drink, so I’ll have iced coffee or club soda with cranberry juice.”

What do you drive? “I don’t have a car right now, but I had a BMW when I lived in LA. I’d drive a Range Rover now. You know, for the height.” What are your hobbies? “Shopping, walking around, and tumblr.”

What’s the worst look for men? “I’ll give you a PC answer: It’s not about money. Some people spend a fortune on designer things that don’t go together. Jeans and a t-shirt can look great.” Do you shop online? “Yes, for groceries. But for other things, I love the thrill of finding them physically.”

My name is Craig Mabbitt and I am the vocalist for a band called “Escape the Fate.” Alongside my band, I am working on a new clothing line called Lollipops & Cigarettes which includes many different t-shirts with designs that I like. Where did the name Lollipops and Cigarettes come from? It’s quite a random story really. One night I was at a bar and overheard a girl saying that all she ever had in her purse were lollipops and cigarettes. The sound of this caught my attention and so when I went home I typed it into google which led me to discover it was an unknown quote. The quote began ‘when lollipops turn to cigarettes’ and basically told a tale of how as we grow older we become exposed to the evils of the world. This lead me to having a name for the clothing line which I liked alongside a quote behind it that I loved. As a successful musician, what made you decide to create your own clothing line? I realised that there were many other musicians around me who were creating successful clothing lines and so I figured that I should give it a go and start my own line. I have always been inspired by many different things around me which I felt I could develop into designs. What would you say influences the designs? Would you say the music scene has played an important role? There are many different things that have influenced the designs, and music is definitely one of the major influences. However, there is no specific ‘look’ for any of the designs as they are mostly just random thoughts, sayings or images that I have seen in and out of my mind. I hope that one day I will be able to progress from just designing t-shirts to creating and designing my own unique styles of clothing.

Words by Gabriel Weil Illustration Gabriel Marques


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Ari Cohen advanced style What is the aim of Lollipops and Cigarettes? The ultimate aim of Lollipops and Cigarettes is to become an affordable cut and sew company that has really unique items. I’d like to be like Forgotten Saints on Melrose in LA or Trash and Vaudville in NYC. However, for now I’m making shirts that I like. Do you think traveling around the world has played a role in influencing your style and designs? I definitely think it has as it has exposed me to many different styles. However, I think this will be reflected much more in the future when I develop this company beyond just t-shirts and can afford to do much cooler things. With many other musicians having clothing lines too, what do you think gives Lollipops and Cigarettes an edge and makes it different? I think the fact that there is a clear message that goes along with Lollipops and Cigarettes as it is based around the quote about growing up, which really makes it really stand out. I think many other musicians lack any sort of message or story behind their clothing lines. What has the reaction been to Lollipops and Cigarettes so far? So far it’s been great! Lots of people have been ordering online and I even sold some of the t-shirts on the Uproar Tour we did last September. The fans have really seemed to enjoy the items.

Ari Cohen is a street style blogger with a difference. Bypassing the fashion editors, he prefers to capture the more mature (but no less glamorous) women and men of New York, London, Milan and Paris.

What are your plans for 2012?

Once upon a time all a street style photographer had to do was capture cool young things dressed in offbeat ensembles. If their looks were distinctly untrendy and ruffled a few fashion feathers, so much the better. Fast forward a few years, and the majority of street style bloggers have turned their lenses to focus solely on fashion editors dressed head to toe in looks that are still warm from the runway. In an overcrowded blogosphere, where shots of Anna Dello Russo in an outrageous hat are ten-a-penny, it is increasingly hard to create a street style blog that stands out.

To hopefully keep expanding the company and to be recognised as a designer alongside being a ‘band guy.’ What do you think would be a good slogan for the brand? ‘The smoking lollipop guild’ Haha. Words by Louise Amie Hunt Simmrin

This isn’t, however, a cause for concern for Ari Seth Cohen. His Advanced Style blog looks beyond the front row fixtures at fashion week to capture the personal style of ‘older folks’ across America. Cohen’s homage to the sartorial brilliance of grown up men and women was born from his close relationship with his own grandmother. He ‘wanted to change people’s perception of ageing and bring a focus on older people. People don’t stop being stylish, creative and active as they age. With time, style and creativity become advanced.’ Since moving to New York in August 2008, Cohen has been snapping every well dressed over 60 he get his hands on- be they former models, artists, writers or passers-by. The result is a blog that speaks of the enjoyment of life, of the confidence that comes with maturity and the surprising energy of men and women in later life. The style of Cohen’s subjects ranges from a prim and proper tweed suit and pearls to swathes of citrine silk and a towering head piece. Above all, the style of the women that Cohen captures is original, daring, elegant and witty. It is certainly a refreshing change to the paint-by-numbers fashion that conventional street style has become so obsessed with. There’s the cool elegance of the cover star of Cohen’s upcoming book, Gitte Lee, all clean lines and wide brimmed hats. Or the unbridled vibrancy of 78-year old TV Presenter Lynn Dell who favours statement head pieces and jewellery mixed with huge splashes of colour. These women certainly don’t adhere to any rules and refuse to let stereotypes of age drive them to a wardrobe full of neutral knits. They know themselves, they know what they love to wear, and they dress purely for their own pleasure. As Lynn Dell, radiant in lime silk and ornate monochrome earrings, puts it ‘fashion says me too but style says only me.’ Ari Seth Cohen’s book Advanced Style is released this Spring and is available to pre-order at at Words by Isabella Redmond Styles

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Neil Moodie session stylist

Iconic session stylist Neil Moodie takes time out from his increasingly busy schedule to chat to Hannah Newman about life at the top, his key trends for Spring/Summer and working with the late, great Corinne Day. What made you go into session styling? I did three years training and then actually worked in a salon for almost ten years. Funnily enough session styling wasn’t actually something I thought of going into. I did some testing when I was in my early twenties to no avail really. I was just plodding along at the salon, quite happy. After about five years though I got a little bit bored of cutting hair so I decided to switch. I became a colour technician. That’s how I got into session styling because I met the photographer Corinne Day and we became friends and I used to highlight her hair for her. She actually asked me to colour a model’s hair for a shoot for The Face. So I did the colour and about two days before the shoot happened the hairdresser who was meant to be styling pulled out and she was without a hairdresser. So she called me. I went along and luckily for me it paid off. From that I got booked for a job with Vogue Italia. That’s quite a way to get into session styling. Yeah I know. I came in with a bit of a bang to be honest with you. What happened was I did a Mohawk with this model’s hair and I sprayed the ends pink. That was the picture that launched my career as a session stylist. I got the phone call from Vogue Italia about three months later. I actually thought it was a joke at first. They said ‘could you come and do a shoot for Vogue Italia and could you bring your pink spray with you’. One of the models was Stella Tennant and she had just started modelling. So that’s how I started. I guess it was one of those being in the right place at the right time moments. I continued to work with Corinne for another 14 years until she became ill. That is definitely a way to get into session styling. An unusual way I suppose. Well I had assisted a couple of people but, you know what it was, I didn’t like it. I assisted Sam McKnight on a couple of things and Anthony Mascolo on a couple of things because I was at Toni&Guy at the time. I just didn’t like doing hair that other people wanted me to do because I had quite strong ideas of my own. I think that’s why I worked so well with Corinne really because we happened to like the same things, aesthetically. What inspires you? I get inspired by young kids on the street. They’re probably the most experimental when it comes to hair and make-up and the way they dress. As people get older most people get less experimental. Certain photographers inspire me. I get inspired by books. I travel a lot as well. Seeing how different people wear their hair in other countries inspires me. Lots of things inspire me; films, documentaries… All kinds of stuff really.

When you’re doing a catwalk show, do the designers give you a strong brief or is it usually quite free? There is always quite a strong brief initially because designers already have an idea in their head of the kind of woman that would wear their clothes. Some of them are much more regimented about what they want and have strong parameters. Others are like ‘Well this is our inspiration. What do you think?’ It depends, really. When I work for Burberry for example, they have very strict parameters that I have to work within because Christopher Bailey has a very strong idea of how a Burberry woman should look. But then when I work on a show like Peter Jensen, although they have a strong idea of who their woman is, where you go with hair and make-up is much more free. So it really depends on the designer. Do you have a favourite show that you work on from season to season? I’ve got a couple that I work on regularly that I love doing. Burberry I love doing, partly because the parameters are so tight. The changes each season have to be very subtle. It’s much more challenging than people realise. I also love doing shows like Ruffian in New York. Each collection is completely different and it allows you, hair-wise, to really think outside the box. They’re very much like ‘Neil do your thing, do what you think will work with our collection’. Having said that, they always make a big moodboard at Ruffian so you have all these references. Then it’s our job to hone everything in and come up with something. Having worked with them for so long, you start to understand them as a designer and what they’re trying to put across. That’s why I think it’s important that you work with designers regularly. I hate it when you do a show one season and then they don’t use you again. Do you have a favourite trend from the S/S 2012 shows? I have to say one of my favourites was the Peter Jensen show. I love putting hair up but I love trying to reinvent it. It’s really quite hard to do. When you talk to people on the street about hair up they’ve all got these set ideas about how it should be. It’s either a chignon or a pleat or a plait. They’re all very set and I love trying to find new ways to put hair up. Again, it’s a harder thing to do because so much has been done already, so to keep finding new things is much more challenging. Is there one particular product that you always have with you? Bumble and Bumble Prep Spray I love as a product. It’s not even a styling product, it’s a detangler. If you’ve got somebody that doesn’t like putting styling products in their hair you can spray that in and somehow get the hair to do what you want it to do, as long you’re not trying to manipulate it from straight to curly. It’s just a really great, light product that seems to work for absolutely everybody’s hair. The other product I seem to work with loads backstage is Bumble and Bumble Styling Lotion, purely because I love how it changes the texture of the


hair but it’s not as strong as gel or as sticky as mouse. I just love what it does to hair. I think it’s one of those products people use quite lightly because they don’t want it to be heavy but actually you can put a bit more in than people realise. It’s great for getting a beachy texture or a slightly more matt finish. I think they’re definitely my two favourite products. What do you think has been your career highlight? Getting Vogue covers is a highlight. There’s only 12 a year so just to have even one a year feels quite special. I guess getting my first British Vogue cover felt very special because it was my home country Vogue. Any picture could be picked to go on that cover and when you go and see the magazine on the shelf it’s such a nice feeling. People don’t even have to pick up the magazine to see your work. Another highlight was working on the Kate Moss images, the nine shots that Corinne Day took of Kate Moss that are now part of the permanent exhibition at the National Portrait Gallery in London. Working with such an iconic figure as Kate was an amazing feeling. It’s great that it’s permanently available for people to see as well. Sometimes when you work for magazines it can feel a little bit throw away because it’s on the shelf for a month and then it disappears. What’s the best hair tip that you’ve ever been given? When you’re putting hair up, and using grips, it’s always a good idea to cross the grips, one on top of the other because it locks the grips onto the hair. If you just use one grip they can quite easily slip out. Such a small thing to know. Also make sure the hair is not clean when putting it up. It’s hard to put the hair up when it’s just been shampooed because the hair is so shiny and slippery and it’s hard to make it stay up. It’s much better when the texture is a day old, a little bit dirty. I hate using the word ‘dirty’ with hair because people always assume it must be grubby. I guess I just mean not freshly washed. And lastly, who is your ultimate hair idol? Vidal Sassoon. It’s just the fact that he revolutionised hairdressing and I don’t think anyone will ever be able to do that again. As far as hair cutting is concerned he is the God. When it comes to hair styling, Raymond to me was a genius. When it comes to cutting hair, though, the winner is Vidal hands down. There is no competition.

Words by Hannah Newman


make a statement One shirt, seven looks – get maximum impact with minimal effort by letting your jewellery speak for itself against a sheer white shirt. Buy less, get more, with a stylish statement necklace. Words & styling Angelica Pursley


colour me softly Spray it. Paint it. Dip it. Whatever. Just make sure you’re wearing your barnet loud and proud this season. Styling & Photography Phoebe Lettice Creative Direction Hannah Newman


Models Ben @ Select, Jack @ Oxygen Make-Up Olivia Newman-Young Hair Stella Shim Accessories Stylists own


twenty four seven if you’re a bloke, go for bespoke Styling Gabriel Weil Photography Raymond Tan Model Mike @ Nevs


Opposite page : Jacket Giorgio Armani, Shirt Parada. This page : Suit Armani, Polo neck Eric Bompard (left) Shirt Prada, Jumper Brunello Cucinelli, Tie Dolce & Gabbana (below)


Pretty in Print keep it fresh with playful patterns

Shirt Beyond Retro. Opposite page: Playsuit Beyond Retro, Hat Urban Outfitters, Boots New Look

Styling Hannah Lewis Photography Tommy Clarke Model Rose @ Storm


Jumper Primark, Shirt stylist’s own, Belt Dorothy Perkins Skirt vintage Boots Dr Martens Opposite page: Dress Beyond Retro, Jumper Glass Onion Vintage, Leggings Topshop, Boots Vintage Dr Marten, Rucksack Beyond Retro


Spring Awakening meet the season head on Styling Effy Fay Photography Jayden Tang

Hair & Make-Up Pei Chen Chen Model Samara Donda @ Premier Fashion Assistant Cheng Zhang


Opposite page : Top & trousers Yidan Liang, coat Hana Cha, (Image just seen) dress Yulia Huo, coat Hana Cha. This page : Top & coat Yidang Liang, Skirt Rahull Verma, top & trousers Yujia Huo, Jacket Rahull Verma, Shoe ALDO



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In a magazine which has become our own exhibition of sorts, we thought it only right to showcase the work of our fellow graduates. From the wacky to the wearable, the sexy to the slightly unnerving, LCF’s 2012 graduates are already making waves across the arts. These are names you should remember, and Jamila Robertson tells you exactly why.

Charlotte Simpson’s heavily beaded and encrusted gowns and jackets - handmade in India - were mesmerising, show-stopping pieces fit for the red carpet. In an array of gold, bronze, champagne and snow white, darker beads were used to highlight and define the silhouette. The stand out piece of the collection? Undoubtedly the floor-skimming white beaded collarless cape coat.

The Exhibition

The winners produced great collections. Womenswear winner Hana Cha’s, palette was desirable in itself- claret coloured mohair jumpers, plum jumpsuits, a burgundy silk gown graduating to a regal purple, and a carmine coat with a yellow fringed hem. Menswear winner Tina Elizabeth Reiter’s costumey tweeds, biscuit coloured knits and distressed scarves were fittingly Dickenisan.

From the British Ghanian student de-wigging and de-robing, in an attempt to re-define her own notions of beauty, to Daisy J Feng’s biscuit-hued breast plates embellished with hand-stitched silver chains, to Joanna Natalia Gourley’s vintage portraits, reminiscent of ancestral Indian wedding photos. The common thread throughout the collections - be they design, media production or photography - was a sense of exploring and re-interpreting one’s heritage. Joseph Turvey

The show delivered by the MA class of 2012 felt an apt reflection of our generation. A generation that does not see a difference between black and white and has never been taught to do so. And when the aforementioned British Ghanian Costume for Design graduate, Lesley Asare, publicly shed her customary western costume and hair in favour of a Ghanian head wrap, was testament to this. Perhaps a decade before, she would have had neither the confidence, nor the understanding audience, to be able to do so. The exhibition itself was a triumph. Situated in Bloomsbury’s Victoria House, the high ceilings, discreet domes and stone walls seemed the perfect canvas upon which to display such an important show. The location, in itself, played to this fusion of past and present, in which the scale of photographer Roberto Aguilar’s corpulent lingerie models in 3-D, struck such a chord. Photographer Ivan Benedies must be singled out as one of the best of the photographers. His Latin American portrait couplets of fiercely independent yet fragile women, nude aside from warpaint, were raw, gritty, tribal, exotic, and- though often blurred - cogently stark.

Yao Zhang

Also highly memorable was the work of Elin Melin, a Fashion Footwear graduate. Her re-appropriation and reworking of the coffin creepers made famous by 80s punk brand Underground showed a whole collection with what is sure to become a signature thick black sole. Brown thigh-high leather boots with black leather laces at the knee were a kinky breath of fresh air for fans of flats. The black leather boots with adjoining pouch, were not only perfect for next season’s penchant for waders, but a perfect demonstration of the British sartorial ability to mix punk with pragmatism and a pinch of the perverse. The Show The MA show itself was a rather swanky affair. Hosted by Lauren Laverne and Christopher Raeburn, it was a magical moment to which fashion heavyweights flocked in the hope of laying claim to fashion’s future tastemakers. Every show revealed elements of greatness, whether in commercial viability or the avant garde.

Ming-Pin Tien’s collection could have been construed as a tribute to the hunchback of Notre Dame. Models stormed the catwalk like awkward gangly teens, in studded nude cocoon coats reminiscent of straight jackets, and fabric enhanced hunchbacks. Wool embossed as if fashion braille, Tien offered up a new approach to the manipulation of fabric and silhouette. Hole-punched blush jackets showed aggrandised harnesses at the back, perhaps to instigate the same potency of the 80s shoulder. The juxtaposition of the nude palette and the raised but restricting leather harnesses was a telling interpretation of a woman; an undefinable creature with elements of fragility, her harness or shell protecting her from the world and all its woes. It was menswear, however, that really caught my eye. It is so easy to forget in menswear that you can be exciting, you can experiment. Jennifer Murray and Joseph Turvey reminded us that you don’t have to be boring to make clothes men can wear. Jennifer Murray’s Cirque d’Amen collection was a showcase of kneelength gold-brocade ivory vests and kitsch floral-print separates reminiscent of upholstery fabric. Offering up fur trimmed tunics and silk linen skirts - to be worn over trousers - Murray demonstrated the effeminacy characteristic of archaic royals. The cream gown presented with a fur stole adorned in brooches was reminiscent of Henry VIII in all his splendour. It was a quintessentially British collection, reiterating the potential femininity lying at the heart of menswear. Joseph Turvey’s offering proved that sheer panelled knits, graduating from a spectrum of fuchsia to coral, could be masculine. Short sleeved t-shirts illustrated by Turvey, printed with the motif of a man, were made more interesting as the pattern of the shirts on the illustrated character followed into the model’s trousers. Striking, bold, daring, and soon to be loved by East-end cool kids and the boys at Dazed, Turvey’s covetable collection could not have been more relevant for the modern young man. We’re all predicting big things here. Words by Jamila Robertson

Beatrice Newman presented herself as a threat to Craig Lawrence’s knitwear throne, with sparkly green woven bodies and black knitted string maxi dresses, her pieces completed with a metallic finish, embellished with heavy beading and fringe. Reminiscent of retro Rodarte, Newman’s dark web like dresses were perfect for the modern disco goth. The mood was brighter at Xianfen Gu, who showcased tailored blazers and jackets topped with exploding red flowers. Brooch-fastened drape-front jackets, embellished tailored 7/8ths, sequin-encrusted sheer blue trousers, and asymmetric hemlines on jackets, gave tailored and classically androgynous pieces an unorthodox spin.

Hana Cha

Yao Zhang maintained the parade of unconventional transfigurations with his paint - or perhaps blood - stained checked boiler suits and overalls, and lipstick marked trousers. Meanwhile, his flower embossed nude rubber tees and coats leant to the overall concept of workwear, reworked with a creative sensibility.


Ming-Pin Tien & Xianfen Gu


Korean designer Emily Seulki Uhm’s bright pieces in asymmetric  cuts certainly earned her collection the title of ‘Visual Illusion Through Textile’. The skirts featured sheer material at the bottom and there was a definite contrast between the masculine tailoring and the bright colours and accents used. The bold block hues undercut by lines or dots combined with the shapes of the garments definitely held a 60s feel; yet the undeniable fun and innovation Emily brings through her use of colour, shape and experimentation with texture makes this collection a visual delight in many ways.

May Tang’s glamorous collection featured 60s style cat-eye sunglasses and gorgeous leather envelope clutches reminiscent of old school femme fatales. The feline femininity of her collection also evoked a slightly darker feel through the occasional appearance of hats adorned with chunky and intricately patterned veils. Winner of the ‘Most Promising Young Talent’ award (sponsored by Lane Crawford), May’s interest lies in discovering and experimenting with new shapes and patterns, as is evident in the intricate designs of her shirts, hats, shoes and veils.

Kay Kwok’s plastic, eye-obscuring headwear and glasses continued to expand on the theme of identity and obscurity which many of the collections seemed to be exploring. These menswear pieces rooted in a future apocalyptic world and the bright, symmetrical patterns on the long overcoats strengthened this feeling. Kay used digital printing to his advantage for this collection, and states that he was inspired by ancient Egypt and the myth of the Sphinx. Through his graphic printed neoprene pieces, Kay’s fresh interpretation of an ancient civilization resulted in a striking exploration of a post-modern world.

Rahull Verma’s beautiful nude, neutral, black and white garments embellished with spots of fur trim evoked an ethereal feel as the oversized nature of the clothes floated around the models. One of the few designers who bared some of the models’ flesh through one-shouldered dresses or bare shoulders, Rahull’s pieces excite through their interweaving textures and patterns. Sheer fabric has been mixed with fur trim, delicate silks and woollens resulting in pieces with a beautiful structure and intense attention to detail. Inspired by the architectural influence on fashion, Rahull presented a classically beautiful collection of creative and innovative pattern cutting and design.

At the end of the show we caught up with designers Charlotte Simpson and Rahull Verma to discuss their collections and the inspiration of India. Charlotte Simpson ‘The collection is based around increased surface area in internal biology. It’s all about maximising the surface area, so this is where the embroidery comes in and it’s also why it covers the whole of the pieces. The embroidery for my collection was done in India, and what drew me to having it done there was simply the fact that I knew that they would be the best at it. I was also able to make contact with someone over there so it worked out well. I didn’t get a chance to go to India myself though.’ Rahull Verma ‘My research was in architecture and philosophy, so I was primarily working with two concepts: deconstruction and difference. You often don’t see different textures together, so I took on the challenge of combining things like fur and tulle and wool. I wanted the collection to be very visually striking. All the pieces were made in London by myself. I am originally from India, and I am inspired by my home country in the sense that it’s such a diverse place. I always think about globalisation and how things are coming together and mixing and that what I wanted to also convey in this collection. I wanted to combine lots of fabrics together in order to create a hybrid combination of a silhouette.’ Words by Devora Neikova


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Pop Folk the eastern european rhythm

Anyone familiar with the Eurovision Song Contest will be aware of the ongoing commentary surrounding the (usually) female singers from the Balkans. Scantily clad with long hair, Barbie doll faces and pneumatic breasts, their image has permeated the Westerner’s view of the fashion and women of the region. In Bulgaria, this is most recognisably translated as ‘pop-folk’ – a music and fashion trend that has come to define mainstream contemporary Bulgarian style. Emerging from the early 1990s, when political unrest was at its peak following the collapse of Communism, pop-folk, or chalga as it is most commonly known, mixes elements of modern pop with more traditional folk, ethno, Turkish, Arabic and Roma musical influences. With their newfound freedom of expression, early performers composed songs that voiced discontent with the political system, the mafia or the poverty that was dominating Bulgaria at the time. Meanwhile, the female performers projected particularly kitsch and sexualised images in the accompanying low-budget music videos. Chalga was music born at the heart of Bulgaria; a means of expressing collective hardships and triumphs, or simply a way of letting off steam and forgetting about the external reality. Fast forward twenty years or so, and Bulgaria’s music scene has experienced complete domination by pop-folk and its stars. Although the nation’s economic and political circumstances may have changed, pop-folk remains the music of the people, most frequently listened to

in clubs or on radios. The pop-folk stars have also undergone a revamp, with more European-looking videos and outfits, but their underlying essence remains the same: plenty of peroxide and silicone matched with, at times, questionable singing and styling skills. Their images grace billboards, cards and matchboxes, sparking widespread debate and concern over the potentially detrimental effects they might be having on young girls who now, more than ever, look up to them as their role models. Arguably more concerning is the fact that these pop-folk ‘role models’ rarely try to disassociate themselves from the stamp of controversy which, in part, makes chalga such a phenomenon in Bulgaria. Take Azis, for example, one of the country’s biggest pop-folk stars. All peroxide hair, false eyelashes, and sexual fluidity, his videos are the most watched on Youtube of any Bulgarian pop-folk star. Though Azis’s voice is arguably unique enough to succeed without seedy and explicit PR tricks, his videos are filled with them. They feature highly explicit sexual scenes, violence, and deliberately controversial topics, and Bulgaria’s lack of censorship means that they are readily available for anyone to watch. These are the videos that draw the greatest attention. Unfortunately, in a country where morals are in a state of flux, the motto ‘sex sells’ holds true in extreme forms. There is no doubt that in Bulgaria pop-folk is here to stay, despite the increasingly large number of people shunning it for its tasteless


lyrics and fashions. Indeed, in contemporary Bulgaria, where pop-folk singers are trying to gradually move away from the scandalous images of their early years, the line between looking glamorous and looking ‘pop-folk’ is becoming increasingly thinner. Many young women see the pop-folk stars as their fashion icons, and thus heavily backcombed hair, tight-fitting and revealing outfits, heavy make-up and, at times, plastic surgery, are seen as the ultimate expression of fashion and style in the country. Pop-folk may have given Bulgaria’s fashion scene a bad reputation, yet paradoxically style and fashion are essential to the chalga performers who always strive to be cutting edge in the way they dress (though not always with the best results). Needless to say, on a night out in the Balkans, chalga and pop-folk will be your backing track. Indeed, the emotions which this type of music evokes reach to the heart of every Bulgarian, whether they claim to like chalga or not. The pop-folk stars have established their own distinct fashion sense, and, although this might be questionable and kitsch, it is something that the Bulgarian people can proudly call their own. Chalga has become a way of life, a means of establishing an identity which the Bulgarian people have searched for long and hard after years of difficulty and hardship. Whether or not this justifies its content or loose morality is a different matter altogether. But hey, we’ve got TOWIE, so who are we to pass judgement? Words by Devora Neikova

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Eastern Promise the birth of fashion in pakistan

Fashion, flamboyance and looking good have always been integral to Pakistani culture, but when did the country start to make its mark on international style? Maria Saleem charts the rise of fashion in Pakistan. Established in 1995, the Pakistan Institute of Fashion Design was the first ever institution in Pakistan to offer a graduate degree in fashion. It is this institution that has produced some of the best designers the country has to offer: HSY, Maria B, and Kamiar Rokni to name just a few. Before this moment during the mid-nineties, fashion design in Pakistan had been little more than high-end tailoring, going little further than to handcraft a saree or embroider a salwar kameez. The following decade and a half has seen the slow formation of a fashion industry in Pakistan, and with it a growth in related media. Change had begun. First, as fashion began to spread its wings, it became necessary for the sector to become more organized, and in 2006 the Pakistan Fashion Design Council (PFDC) emerged. Yet change did not come overnight, and it is as recently as 2009 that we have seen the most defining moment in the development of the Pakistani fashion industry: the launch of Pakistan Fashion Week. One of the country’s most influential fashion events - a collaboration between the PFDC and Sunsilk - PFW was initially launched in Karachi and subsequently in Lahore and Islamabad. It has helped both to improve domestic demand for fashion and also to spread a message to the world: There is something stirring in Pakistan’s fashion circles. In its fourth season now, PFW is still going strong. Pakistani designers are building a reputation for their flair and attention to detail, a method

totally ingrained in the Pakistani tradition of intricate embroidery and embellishments. Those that produce traditional garments have been singled out for their ornate craftsmanship and have found success in the local market, in large part due to a demand for traditional clothing for weddings. Nationally, Pakistanis spend as much as a small nation’s GDP on weddings - much of that being on the clothes. And while you won’t see any of these wedding saris and lehngas in haute couture shows abroad, these traditional outfits can cost the same as a car and weigh as much as the bride. While global luxury brands have found success in Pakistan - particularly with handbags and accessories - local designers still control the market. As is true of much of Southeast Asia, brand obsession is the new status quo, and evidence of this duality of desire is evidenced by spending patterns. Big sellers range from luxury goods such as monogrammed Louis Vuitton bags or quilted Chanel purses to local designer wear from Omar Saeed or Sana Safinaz. While at this stage fashion weeks in Pakistan are still mostly for entertainment, and so far not much has come out of them in terms of buyers and sales, they are a good form of publicity - both for new designers and for a country that has long been marred by political instability. Undoubtedly the Pakistani fashion industry is still in its infancy. It is where the equivalent industries in Brazil and India were 15 years ago. But for Pakistani designers, there are possibilities on either side of the equation: a large domestic market where most of them have already found success, as well as an international market keen to see them combine traditional flare with western commercial viability. Words by Maria Saleem

An American in London facing up to not fitting in

On a typically sardine-packed homeward bound tube carriage I read an eye-catching quote in one of the free evening newspapers about Terry Gilliam, the solo American-born Monty Python member and director, who proudly renounced his American citizenship in the 60s in favour of becoming a fully-fledged Brit. While I personally think that’s depressingly extreme, Gilliam can explain his love affair with 1960s London. Being a foreigner in London, to him, means “I’m not responsible for the horrible things that have gone on in Europe. I’m innocent; it’s all your fault.” It’s hard to explain why exactly I chuckled at this - especially since the person sat next to me on the train was eating a fragrant tuna sandwich but I oddly identified with Gilliam’s interesting expat take. I’ve proudly lived in London for over a year and a half now - loving it despite my student poverty, rush hours on the District Line, and a definite lack of GPs willing to hand out prescriptions like I’m used to. But like Gilliam, I’ve only just recently come to embrace that my Yank accent actually gives me an anonymity that most Brits in their home country just don’t have. I don’t carry the social stereotypes or the responsibilities that many of my British friends are faced with. I’ve been given a chance to fall outside of the battles: private versus public school; and posh versus chavvy. And this is simply because Buffalo, New York hardly registers on European maps. Being an expat is also an opportunity to reinvent yourself –an initially daunting thought, but ultimately an exciting fresh start, if you want it. Economically and politically, the same goes. I can’t vote (yet), and therefore avoid the labour-conservative - or left-right - struggle, and all the historically


bound associations that go with it. However, when the Brits start on Iraq or the financial crisis, my American-ness is remembered, and is most usually a ploy for guilting the unfortunate Americans in-situ into buying the next round. I love living in London. The diverse mix of people and nationalities, the culture, emerging fashion talent, and pub culture keeps every day new and interesting if you want it to be. I’ve taken to using the words knackered and loo; even finding myself thinking the American dollar note looks a bit lacking without a tiara on President Lincoln’s green head. To an American, the home-declared annoyances of British life - such as the monarchy - will always be a source of wonder and awe. Though it’s important to note that when it came to the Royal Wedding I’ve never seen so many men claim they ‘would never watch the bloody thing,’ but who yet oddly knew more about the ceremony than me. Perhaps those annoyances aren’t so annoying after all. While Terry Gilliam and countless others have given up their American passports in favour of Blighty, there is something innate that keeps an American being American for life. I love the Brits and get along famously with them, but my eternal optimism is a trait that I will always inject into London’s dreary days. As circumstances in work and relationships change, which may work to keep this American on British soil indefinitely, I’ve discovered it may well be possible to fit in to this great city and nation, simply by not doing so. Words by Shannon Kilgore

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Gina Stewart Cox friendship bracelets, the protection of elephants and the empowerment of women in Thailand

Gina Stewart Cox – a jewellery designer with a first class degree in fashion and textile design and positions with top designers under her belt – has already seen her fair share of success as the accidental reviver of the friendship bracelet. Her celebrity following is not bad either; Kate Moss, Agyness Deyn, Nick Grimshaw, Eliza Doolittle and Jack Whitehall are all great fans. But this is not enough for Stewart Cox, who is now taking on the human-animal conflicts that threaten to destroy rural areas of Thailand.

als, gemstones and vibrant cords came first. However, a strong part of our brand ethos is the personal meaning a piece of jewellery can hold, which can represent the relationship between two people when given as a gift. It was just lucky for us that after two years it suddenly became fashionable again. We started to notice that celebrities were really liking our products, which then lead to a great demand from the general public. So I would say from our standpoint that the friendship bracelet craze was initiated from a celebrity following.

And it couldn’t be more timely. Almost 1,100 threatened or endangered species across the world need help, and in Thailand fewer than 2,000 wild elephants are thought to survive nationwide. It is also a time where the agricultural labour force of developing countries are amongst the world most underpaid workers, and where women from the rural areas of these countries making up more than two-thirds of the world’s illiterate adults and 70% of the world’s 1.3 billion poor. Something needs to be done, something that both empowers vulnerable women across the world and protects these rare and endangered species. Perhaps Gina Stewart Cox has the answers.

And what about your current work with The Elephant Conservation Network?

What is the concept behind the Gina Stewart Cox brand? Our designs originate from a love of the vibrant, colourful bracelets brought back from travelling, which remind the wearer of their experiences around the world. Our concept is to provide jewellery - inspired by travel and the beautiful, unique and far-flung places across the globe - which is stylish, exclusive and of high quality, and yet also precious to the wearer in a personal way. I believe that jewellery is more than just an accessory; it is part of you. Our pieces are intended to be worn all the time and in doing so become part of the wearer, rather than being worn for just special occasions. You’ve become very closely associated with the revival of friendship bracelets. Was this ever your intention? When we started out we did not actually design specifically to create friendship bracelets. The concept and aesthetic of quality, precious met-

I was deeply inspired by the human-animal conflict taking place in the rural areas of Thailand. Previously, the livelihood of local villagers in and around the Salakphra area was entirely dependent on growing sugar cane. But not only is growing sugar cane a hard process, where the villagers have to travel long distances through the jungle to get to the farmland, where they must then work long hours preparing the land, sowing the seeds and harvesting the crop, it also puts them in direct conflict with the elephants who love the taste of sugar and so raid the cane fields. The local population were forced to kill elephants in order to save their crops, and their livelihood. So instead of just donating money from each piece of jewellery sold, we have aimed to create alternative jobs for the Thai villagers, and in doing so reduce their reliance on sugar cane. How does the collaboration work? We have created a gSc manufacturing hub where the Thai villagers can work, giving them a place to learn new skills and most importantly an alternative livelihood to growing sugar cane and farming. This not only protects the elephants from slaughter, but also improves the working lives of local Thai people, increasing welfare and reducing economic problems. Villagers can work in the gSc Studio whenever they want, even while looking after children. And though it has taken us two years to forge these successful relationships and to train the villagers to standards of gSc’s quality, we have had a great time teaching them. The villagers have been extremely welcoming and friendly, and are so eager to


learn and be part of our team. There has been a lot of sign language, and laughing, but we have got there in the end. And why elephants of all the endangered species? I have always loved elephants, and I believe they have a global respect due to not only their beauty, but also for their intelligence and extreme power. They are a national, royal and religious icon in Thailand. It is extremely sad that they are becoming endangered. As well as this my Aunt, Belinda Stewart Cox - who has recently been awarded an OBE is the founder of the Elephant Conservation Network, and so it seemed the perfect collaboration. Although you employ both men and women in the Thai manufacturing site, the employment you provide for women, where they can look after their children at the same time as earning a living, must be another golden tick for your project? Yes, I am extremely happy to help change the welfare and way of life for the women that we employ. This venture allows women to work whenever and wherever possible, creating the beautiful jewellery and earning a safer living. To fulfil a role in providing a stable living for the women has been so very beneficial. They now have enough money to provide for their family and also schooling for their children and themselves, independent of their husbands. I think that it can only be positive in creating equality between men and women in relation to income, as power, conflict and varying interest will always collide, but less so where there is equality between different genders within the relationships. So, can a simple friendship bracelet improve the world? Well, the material and aesthetics of a bracelet will not improve the world. However I hope the meaning behind them can. Gina Stewart Cox bracelets can signify and represent the ECN projects, and help to build public awareness in the fight to aid the survival of elephants in western Thailand. Find out more and Words by Ella Pearce Heath

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Illustrations Clarisse de Cointet & Olivia Grenez

Paris Survival Guide extracts fromThe Definitive Guide for the Modern Woman, Ella Pearce Heath Shows, parties, mad dashes across Paris, sore feet, long waits, temperamental weather - not to mention waiters - and still a days’ work to be done at the end of it all... Negotiating your way through Paris Fashion Week can be more than a little stressful. Here are our tried and tested tips to survive and stay stylish.

They are the time for building relationships so use them wisely. If invited, remember to reciprocate

Cultural Etiquette – Your extra Savoir Faire

• Shake hands when meeting and parting but in social settings with friends, double kissing is the norm

Etiquette is the customary code of behaviour in society or among members of a particular profession or group that delineates expectations for social behaviour according to contemporary conventional norms. Its origin is from the French etiquette, ‘a list of ceremonial observances of a court’, and it first appeared in English in around1750 (Oxford English Dictionary). Etiquette works to define your style; it reinforces your brand and is a reflection of your success and social status. It is your way to be effective, to show you belong and to send signals that you are to be taken seriously. Getting socially acceptable and expected behaviours right - no matter which country or culture - is essential. Key Vocab

The French Recommend • Take brunch at Le Fumoir in front of the Louvre (6 Rue Amiral de Coligny, 1er) • Try the real Parisian’s ultimate steak tartare at the tiny gem Zinc Caius (rue d’Armaille, 17e) • For a 24 hour food emergency take a pitt-stop at the Pizza Pino (31/33 avenue des Champs-Elysees, 8e); or if it’s a steak that you’re craving at midnight, try La Maison de L’Aubrac (rue Marbeuf, 8e) just of the Champs Elysee • And celebrate the end at The Experimental Cocktail Club (37 rue Saint Sauveur, quartier Montorgueil Sain Denis)

Top Four Films set in Paris to Serenade Sleepless Nights • Les Enfants du Paradis, Marcel Carné, 1943-45 A romantic epic darkened by the undertones of being filmed in Paris during the Nazi occupation follows a group of mime artists and the Parisian theatre scene of the 19th century • Last Tango In Paris, Bernardo Bertolucci, 1972 A highly sexual and X-rated story of a young Parisian woman’s affair with a middle-aged American widower; see the sordid side of the city • Amélie, Jean-Pierre Jeunet, 2001 Audrey Tatou’s stand-out performance is guaranteed to delight; this unusual love story is the epitome of Parisian charm and humour, filmed and set in Montmartre • Ratatouille, Brad Bird and Jan Pinkava, 2007 A French cooking rat who discovers the city whilst feeding its inhabitants is a cartoon not only for children

Perhaps no other culture so highly regards its language as a symbol of itself than France; the inability to speak even some French will be counted against you. So, to learn a few key phrases and customary social niceties will aid every traveller in Paris. Remember, it would be unthinkable in France not to exchange a friendly ‘Bonjour’ before any other communication. Whether you are in a patisserie or shopping at Le Bon Marche, it is the first order of business for everyone.

• Punctuality is a relaxed affair - don’t be late yourself but expect others to be so

• Use Monsieur or Madame followed by the surname. First names should only be used after being invited to do so. Tipping Etiquette In France by law, 15% is added to your restaurant bill, so there is no need to leave more unless you want to. Tipping at bars is not expected, but is nice. Taxi drivers will always charge extra for luggage. Must Read Le Bumper Book of Franglais, Miles Kington, Old Street Publishing, 2011, £12.99 The laugh-out-loud episodes, from ‘Le Lost Property’ to ‘Un Meeting Tres Important’, may even help your French...

Bonjour (Hello, or more literally good day): the only start to any conversation Bonsoir (Good evening): you must switch to this after 5.30pm Ravie de faire votre connaissance (Delighted to meet you): this is sure to impress Enchante (Enchanted, or pleased to meet you): a more relaxed greeting always accompanied by the double kiss Comment allez vous (How are you, polite) and ca va (How are you, informal): get these the wrong way round at your own peril; offence will be taken

Top Tips

Au revoir (Goodbye): Most pleasurably used at the end of a long day

• In France you must never cut your salad with a knife

A demain (See you tomorrow) and a tout a l’heure (see you later): use these and feel like a native

• If you’re not travelling first class, the Eurostar coaches 5 and 14 are next to the buffet - take 14 on your way to Paris, and 5 on your way back – who wants to carry their bottle of champagne the length of the train?

Pardon (Sorry): a Parisian favourite; use it everywhere and for everything S’il vous plait (Please): manners matter Excusez-moi, or excuse-moi when spoken to children, (Excuse me): perhaps not as Parisian as Pardon, but is magnificent when barked in a crowd Merci (Thank you): a magic word in any culture Merdre (Shit) N.B. Always stick to the vous form until told to use tu to avoid causing, perhaps, irreversible offence. Behaviour and Etiquette French business and society emphasises courtesy and formality - you should too. • Wait to be told where to sit, even at social engagements • Lunches – usually long ones - are the norm when doing business.


Secrets Parisiens • Mariage Freres, Maison de The a Paris For those days where any-old cup of tea just will not do, head for Mariage Freres where you can choose from 600 different varieties 30 rue de Bourg-Tibourg, Paris 4e; metro Hotel de Ville, 260 Faubourg Saint-Honore, Paris 8e; metro Ternes and Carrousel de Louvre, Paris 1er; metro Tuileries • For incredible deals on fur head to the Porte Saint Denis in the 10e. Ring the little bells aside each door and step into an animal rights protester’s hell; you will not see these prices anywhere in London • In moments of calm stroll through the Jardin du Luxuembourg, off Rue de Vaugirard, or Parc Monceau, at the junction of Boulevard de Courcelles, Rue de Prony and Rue Georges Berger, 8e • Escape the queues of tourists for a short visit to Le Musee Maillol, 61 Rue de Grenelle 7e, just a stone’s throw from Boulevard Saint Germain. This lesser known gallery always offers something different

London Fashion Week Show Schedule AW 12

tation Presen 2 – 1 e s 0 u 2 o ruary erset H – Som h Feb t s 0 m 2 o e o u R ay en ortico hop V Mond | Tops lme | BFC P o t t lo i Hu er P ophie 0 Pet 09:0 – 12:30 S di | WC1 0 G EN erar 1 n 09:3 NEW onio B otland | SW t C n F entatio B A – Pres nue – 0:00 ingle of Sc e e s 1 V u e o p n o H Pr Ka psh House 012 merset 11:00 Christopher er Ham | To s – So ary 2 merset resentation u o m r d S o 0 b o n – a e 0 R e : v P o el – 12 hF pac Portic Micha House y 17t how S | TB C 3:00 rdem | SE1 Butler | BFC – Somerset Frida BFC S on Bregazzi erset House ation 1 | n o s E nt nt ace red Ali om n / Prese 14:00 – 16:30 F C Show Sp y Thor ry – S oni & entatio 11 F 0 Ant :00 Preen b | BFC Galle Salon Show ouse s B 0 e 0 r | : 3 P t : 9 s 0 0 14 Fa h 2 se ow / erset H inner 2 Mark ue | SW3 t Hou Launc rsum 0–1 lon Sh a S – 5:00 urberr y Pro opshop Ven 09:3 LFW Press ine Charles pace – Som s – Somerse on Fringe W e 1 s S i B ol m |T 5 ouse et Hou 09:4 11:30 Car | BFC Show ortico Roo ouse – Fash 16:00 ashion East erset H r y – Somers m o S P , H n F – t e 0 le C e l Niels Kiely | BF 10:3 17:00 iles | WC2 Show Space n | BFC Ga omers t House Corrie ry – S rla e C ke 0G F n 0 B : la | B 8 11:00 19:00 O | BFC Galle e – Somers entation 1 n n n – Osma ac n es hristia ntatio 11:00 yodor Gola FC Show Sp | SW1 – Pr 19:00 – 20:30 C / Prese w o F h d B S a 0 | e ueen lon ckst 12:0 Bora Aksu 19:00 tion se – Sa r McQ lia Wi e u i d o a m 0 n t H a 2 E n 0 x t e : / 00 WC 13 Ale erse ouse Pres ard – 15: McQ n Show vogel | – Som rset H n For w ouse – Salo 2012 0:00 o 13:30 Maria Grach FC Galler y ace – Some erset House i 2 y h r s a a m Sp |B B FC F erset H Febru 14:00 Zoe Jordan BFC Show Galler y – So 21st enue – ooms – Som V y | a p r C 0 e o d EN F 3 s h ld : s B n | Fe io 14 Tue Top ico R EWG Felder rre Braganza – Presentat House tzou | | BFC Port FC N 0 n B a 0 r : – t e t a 5 e e s 1 i 1 se us ou yK sen Jean-P Somer loni | W set Ho rset H House 0 Mar 0 Peter Jen 16:00 – 18:30 Sa ow Space – ler y – Some Somer 09:0 merset 3 – : o S e 0 c 1 – a h l e a S Sp 5, EN 16:30 PQ | BFC ini | BFC G sentation / w Spac Show 09:4 tion EWG ation P g C Sho re FC N Salon Show | BFC 1 – Present ta B a n e – m s e o e s r 17:00 inder Agg u re | W1 – P Fashion | BF K – u P W o d e | i s v H u h a t o K to D se arc erset H 19:00 – 21:00 bS Martine MA Somer 10:00 nya Hindm ic | SW1 ation t A pace – aller y – Som c n S 0 i n 0 i a l 0 w : I resent S 0 o : l P a 9 h a 0 G d 1 r – S 1 t n e C a n s C s e F ou | BF R ok 0C ix | B 2012 ouse – tation erset H 20:3 11:00 olly Fulton igners Rem ruary erset H Presen – Som se b s u H s m – e e o o m 1 F 0 S o D H 0 |W s– Ro set 8th 12: 14:00 Room ortico Somer n 2012 day 1 :00 – n oratio BFC P p Venue pace – BFC Portico 2 Satur | b S 1 e la l e w o o L h ion sho tatio ne C BFC S by Sibling | Presen – 14:30 D chhoff | Top ai9nt Marti use tation Daks | er t s r S 0 o i i l S 0 0 H a K se : e r Presen n 3 t s 0 u t : e o m u o – n i s 3 2 a 09 t o : e r e 1 a H h e 1 s t C H d t 1 u et Mea resen 0– – Som merse et Ho ally & omers EN 09:3 WGEN / P iro 14:00 – 17:00 B Show Space aller y – So s – Somers se EWG ace – S sentation p N e E S G b m i C N w C o 0 F C R o o F -B Sh Pre nts oR | BF B FC et Hou 14:0 Ashish | B Cleme nran | BFC elve | SE1 – erset House NEWGEN orena BFC Portic e – Somers 0 M 0 0 la : 0 o : c e w d 10 C a| pa 15 FC Som enty8T Jasper how S Emilio se se – B ta-Nak ler y – 6:00 18:30 Ta ont | BFC S merset Hou House 11:00 13:30 Tw a | BFC Gal merset Hou et House 1 n o i t a – t d s o – o t r h r lm n S S e a i c e e 0 s 0 s o r – w – e m 3 W e r ry Pr eR So Fo 11: om pace 16:0 Aminaka Simon | BFC Galle ow Space – ic | TB C – C Fashion how S Galler y – S 0 S EN 0 0 C : 0 h F : F h e 2 e S 1 17 – dC –B EN M Z | B teng | BFC J. JS L | B FC ap An ’ Hall EWG entation House 0 KT ar t N a e e 3 o s : C r w B 8 e 12:00 Aquascutum schino Che Goldsmiths t House F s s 1 B ld re o – Som se – Ozwa - Men ouse – ow / P ion 13:00 – 15:30 M nd | MBF ace – Somer rtico Rooms N 19:15 ruary erset H e – Salon Sh – Presentat E b m e G o la F l S o p W o S 0 P E d e s – s u n H 3 e w N u C : o c f 2 o o F a o 3 C h H 2 1 H S F Sp |B et House | B FC Show N merset eburn esday on use – B omers 14:00 John Rocha istopher Ra on N ME | BFC Rooms – S Rooms – So sentati set Ho Wedn e r n r e e P m / M o WGE r i o t n S E h w d c a 0 o i r o t – s C t N a 0 h r n r y : o e e S o 0 r C s P n F 0 15 nd lle yB se n Pre – 17: | B FC use J.W. A ntatio use – B s | Nav FC Ga e – Salo et Hou EN – 9:00 artine Rose s & Hawke al Opera Ho omerset Ho tions | Prese tion 15:00 WGEN M Women | B ce – Somers erset Hous a 0 t n e s e E re n a om iev –S alla 5M Roy use – P BFC N J.W. Anderso FC Show Sp Galler y – S 09:4 – 13:00 G an Venue – Show Space ast Men Inst – set Ho B r C 0 | e E m e F C 0 M EN s 0 p n n m B F : u 0 o n | o o : o B i 6 y 1 10 G EN s–S N | T hannon | ra H Fash dd L dium 1 e W m A o o p & o E T p M i o O t N N 0 l R n S 0 0A 17:0 | SW rtico 10:3 hristopher WGEN ME nue – Roya set House – use , 18:3 FC Po ondon set Ho C er E d Ve 17:30 emperley L on Choi | B ace - Somer or war 11:15 – 17:00 N n | Topman ooms –Som T p hion F ud s g S R 0 i E a 0 s n o 0 F w e o : 0 c 0 o i i : – t 8 D t 3 h 1 S ta se or 12 an – 20: Presen | B FC Topm B FC P et Hou 18:30 ssa London tney Special omers tation 12:15 ou Dalton | tion S – e I c r L a ta pa sen 19:00 Stella McC 13:15 ow / Presen FC Show S Scout – Pre cout / B 0 2 n | Sh nS 1 o g i o n i 0 n h n Show h lo use s o 2 s a a 20:0 S ary all Fa omerset Ho ouse – Salo mes L Vauxhall F u a h r J x b u 0 e a / V H th F 14:0 E. Tautz | Men | ace – S n Show merset ay 19 Watch FC Show Sp ooms – So 1 :00 e – Salo o s 5 Sund T W u 1 | s o e l R l H we On et rtico cer | B omers ret Ho 15:30 Oliver Spen r | BFC Po ms – S Marga y | W1 o le 0 o l i 0 R 0 : M 0 rr 09 rtico 16: atthew Mulbe | SW1 FC Po m :00 M n ouse 7 10:00 icole Farhi awrence | B H 1 t e s N L mer ioncou ntatio o h 1 e s S s e fa – n W r | h 11:00 2:15 Craig o s e P e i i s it ac at R AK E ,1 ee br ow Sp et Hou resent 11:15 tion 18:00 FC Sh r y - Somers EWGEN P tion s tion B a a | t m n b r a e a t s o le N re nf s Schw l | BFC Gal C2 – BFC Presen use – P test i Mario ol set Ho the la r e r o m 12:00 Richard Nic mas Tait | W bel (EC4) o F o a ms – S 13:00 – 15:30 Th wood Red L Portico Roo t s e 0 C 13:3 Vivienne W Theo | BF na 14:00 – 18:30 Je hop Venue ation tion ps 0 o 3 T : esenta | resent 4 1 nique Belstaff | P EN Pr U G W 0 E 15:0 – 17:30 B FC N SW1 enue – For ward V 15:30 Paul Smith | ders p o h un shion Tops 16:00 Jonathan Sa ir Mazhar | e – BFC Fa s u a n 0 e N 17:0 – 19:30 hop V 2 | Tops C 17:30 ouise Gray liamson | W n Scout L io il 18:00 Matthew W auxhall Fash V | 0 g 0 og 19: Pam H 2 19:30 Acne | WC 0 20:0

Supported by London College of Fashion

STOP magazine 2  

Stop Mag Issue No. 2