SUPERIOR DIGITAL November 2014

Magazine for young vanguard fashion & art photography • www.superior-mag.com

NOVEMBER 2014

MEET CREATIVE PEOPLE

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NOVEMBER 2014

...and meet creative people from the scenes of fashion, design, lifestyle, art & culture

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# I m p r i n t

SUPERIOR MAGAZINE Lychener Strasse 76, 10437 Berlin www.superior-mag.com connection@superior-mag.com Publisher

SUPERIOR Publishing UG (haftungsbeschränkt) Lychener Strasse 76, 10437 Berlin

Chief Editor V.i.S.d.P. Tom Felber / tom@superior-mag.com CREATIVE Director Marc Huth / marc@superior-mag.com fashion Consultant Simon Heeger / simon@superior-mag.com fashion & LIFESTYLE CORRESPONDANT Kristian Greve /kristian@superior-mag.com Graphic editor Franziska Raue / franziska@superior-mag.com Graphic editor Michael Länger / michael@superior-mag.com fashion & Lifestyle editor Lisa Oke / lisa@superior-mag.com fashion & Lifestyle editor Viktoria van der Way / viktoria@superior-mag.com Editorial Department editor@superior-mag.com Advertising advertising@superior-mag.com PR Management press@superior-mag.com

Superior Magazine accepts no liability for any unsolicited material whatsoever. Opinions contained in the editorial content are those of the contributors and not necessarily those of the publisher of Superior Magazine. Despite careful control Superior Magazine accepts no liability for the content of external links.

Any reproduction in whole or in part without written permission is strictly prohibited

COVER: Illustration by Agnieszka Stopyra

green showroom 19 — 21 january 15 Postbahnhof, Berlin

IF YOU DO IT RIGHT, IT WILL LAST FOREVER Postbahnhof, Berlin, 19 – 21 January 15

# Editorial Dear readers, SUPERIOR MAGAZINE “went illustration” again, as you can see on our November cover. For the second time we asked illustrators from all around the world to send us their illustrated cover images.

From all submissions we selected 16 and asked YOU whose illustration should be our November cover.

Congratulations to the winner Agnieszka Stopyra and many thanks to all illustrators who participated. In our issue you find again the images of the 16 illustrations and interviews with the first 5 illustrators.

Did you ever try to live or work without a computer for a certain time? Twelve students from the Art Center College of Design in Pasadena/USA do this for their project “Berlin Unplugged”. They are currently working at Art Center’s pop-up design studio in BIKINI Berlin. Read the interview with the lead instructor Simon Johnston and get an insight into the project “Berlin Unplugged”.

And of course you find wonderful fashion editorials with completely different looks, including the winner of our Editorial Voting for this issue.

Enjoy our November issue, Tom, Marc and the whole SUPERIOR MAGAZINE team

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PEOPLE

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BERLIN UNPLUGGED: SIMON JOHNSTON

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FABIAN BLASCHKE

VISUAL ARTS

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Lena Kholkina

»POISON«

42 Fabian Blaschke

»L.A. DIARY«

ILLUSTRATED COVER CHALLENGE

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Fashion magazines?

We’ve got a million free ones.

Issuu.com

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VISUAL ARTS

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Benjamin Becker

»STADIUM«

Ulrich Hartmann

»THE SOUND OF SILENCE«

Kapturing

»WHICH WITCH?«

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104 Patrick Jendrusch

»PLAYGROUND«

Teresa Horstmann

»CHROME ROMANTICS«

142 Israel Veintidos

»THE OBSERVER«

EDITORIALS OCTOBER

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BERLIN UNPLUGGED We live in a world that is controlled and dominated by technology.

But students from Art Center College of Design, Pasadena, California, who are currently guests in BIKINI Berlin, have carried out an experiment. Banned from any technology, they focused their creativity on the actual process of design, and worked with analog methods and tools in their creative process. The results are remarkable, and will be shown in form of an exhibition on November 20th. This project is directed by the designer and typographer Simon Johnston.

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text VIKTORIA VAN DER WAY | photos LISA OKE

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# Simon, please tell us something about your personal and your professional background.

I was born in Leamington Spa, England, and went to Bath Academy of Art. After graduating, I lived in Switzerland, where I attended the “Kunstgewerbeschule“ in Basel.

I studied with Armin Hoffmann and Wolfgang Weingart and had an inspiring time there. Then I moved to London, where I spent the next 7 years and founded a design studio called “8vo“. We published a magazine called “OCTAVO“, a typographic journal about using letterforms in design and the arts. Finally I moved to California, where I have been living now for 25 years. In my current practice I design books for museums and galleries, and work as a professor of design at Art Center College of Design, in Pasadena, California. # So there is a connection between Art Center College of Design and Berlin?

Yes, the school recently developed a relationship with BIKINI Berlin. Prof. Nikolaus Hafermaas, head of the graphic design department at Art Center Pasadena, had the connection with the management of the building, so he was able to negotiate a studio space here. He also asked me at the beginning of the year if I would be interested in leading this particular project. I have worked a bit in Germany before, so I liked the idea of coming back and working here for 12 weeks.

I really love California but I need my European visits. # How is the system of Art Center College of Design structured and where do the students come from?

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semester as a program run by the graphic design department, but it is also open to other departments, so we have illustration students, graphic designers and interaction design students as well. Every term we have a group of students coming over to Berlin. The students are able to explore the city and work on projects, so they are able to get in contact with the German culture. Fortunately it is working out very well, and we were happy to come here and work on a new kind of project, which is mostly about the idea of being unplugged and working without computers and smartphones just as an experiment. # Please tell us more about the current “Berlin Unplugged“ project.

The idea is to step back from using any kind of digital technology and to create art and design through analog techniques. The current generation is used to doing almost everything on their computers, and this is particularly true for designers. One of the ideas here was to remove ourselves from the need to be totally dependent of technology and see how creative you can become with humble, simple materials that are around us.

Just working with straightforward materials and processes like letterpress printing, collage and hand work.

Digital technology can be a blessing, but it sometimes restricts your thinking in certain ways instead of opening your senses for the creative process. So for example, the students had to start working without using any smartphones for navigating the city. We called the first six weeks the “digital ramadan“. The second phase is called "OK Computer" as they are allowed to use digital tools to complete the presentation of some analog projects.

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while working with the computer. Part of the intention is that from the starting point, you don’t know where the final result is going to end up. Creativity comes from a kind of positively curious uncertainty, and a willingness to immerse yourself in the not-knowing aspect of the working process. # So the working process can become the end result?

# If you look at it in more detail, then the experiment is not only artistically but also mentally an interesting challenge, right?

It is interesting what they have discovered. A secondary goal of the program is to reflect and think about this process. They had to write down notes about their perceptions of working without the tools that they are normally dependent upon. The real challenge is to see what conclusions we can ultimately make, to find a better balance with technology in our lives, not just as designers but as people.

Without smartphones, the students were getting lost but in a good sense, because they found themselves going down streets they wouldn’t otherwise have gone down, finding interesting restaurants, cafes and bookstores. And so, chance and coincidence play an interesting part in the creative process, whereas everything is overly coordinated -20-

Right. Students often want something immediately without understanding the numerous steps which are needed to achieve the final result. After initially getting frustrated that the process was taking too long, they became accustomed to working with what was immediately available in their surroundings. They formed a habit of collecting everything just in case it could be interesting or useful for the project. It does not work to wait for an inpsiration to descend from heaven, you have to start making something, then react and remake and continue to rework and refine. There is no such thing as a mistake in this process, only learning. # Do you see a difference in your students from the first day of the “digital ramadan” until now?

Of course there were moments in which the students yearned for their phones to research something, call friends, or design on their computers, but on the whole I know they were happy to have had this experience. They signed up for it! Many students have come to the conclusion that creativity and activity go hand in hand and should not be completely taken over by technology. We need unmediated senses to be fully present in our world. Maybe the biggest lesson is that we need to ration our dependence on digital technology.

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'B' designs to advertise the website Berlin Kreativ Capital

Letterpress prints by students made at Erik Spiekermann's P98a press

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photography by Lena Kholkina designer Venera Kazarova make up by Olga Glazunova model Katia Berlin

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ILLUSTRATED COVER CHALLENGE Since our last illustrated cover voting was such a huge success last year, we asked several illustrators again to send us their idea of a SUPERIOR MAGAZINE cover. We are proud to present sixteen different cover drafts for this November issue including interviews with five illustrators who got the most votes. Thank you very much to the competitors for your participation in November’s cover voting!

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#  Since when do you work as an illustrator? How did you get to your job and where did you learn?

It is hard to say how long I have been working as an illustrator. Painting has become naturally integrated with my work.

I have always been painting and some time ago I decided that it was the road I wanted to take and I would like to connect it to my work. Although I treat making illustrations as realizing my dreams and my passion, I also work as an illustrator. To be honest, I am learning graphic design and painting all the time and I am developing my style, I am always looking for inspiration. I like the artistic point at which I am right now. Being an artist means constant action, constantly creating and perfecting your style, and this in turn means constant learning. I am learning something all the time, but I must admit that art classes which I took when I was in secondary school were extremely inspiring and helpful, and then later art studies showed me other perspectives.

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#  Where do you get your inspirations from and what is your style of illustration like?

As an artist I am very sensitive to beauty and aesthetics. My studies were especially inspiring. I also find inspiration in film, art and fashion, where I can also find different kinds of beauty. I love splendor in fashion and I love haute-couture in its richness and grandeur. But I also like connecting complete opposites: the expressionistic or pop-art, nonchalant climate and the subtlety and delicacy of lines and colours. I think this is what my style is like: full of opposites. On the one hand it has the eccentricity and courage of looking for something, and on the other hand it is sophisticated, delicate and very feminine. It is a mixture of my way of interpreting the reality and my emotions and states.

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# What do you want to express with your illustrations?

# How would you describe your interpretation of SUPERIOR Magazine cover?

It is not that I want it. It just happens, whether I am aware of it or not. We cannot pretend that what we are painting does not bring out what is inside us, because it is not like that. There is a lot of me in my illustrations. Sometimes too much. And this question has just made me aware of how I treat what I am doing. I treat it as something very personal and purifying, or as something healing. That is why I have a tendency to put the works I create in my drawer, away from the public eye.

I wanted to create a certain vision of femininity, a different woman, as if cut into small pieces. A woman who is not defined, who is enigmatic and is looking for her components. Again, a woman who is very extreme, because on the one hand she is chaotic and on the other hand very logical in this chaos.

Finally, I wanted to show a woman in a different way, not in a very obvious traditional way, but to show her from a different perspective: a partly painted and partly drawn, geometric light figure.

# What are your future goals?

At the moment I am reading Andy Warhol’s biography and I wish I had lived in the times of the famous fashion magazines when illustrations were the most important and graphic art was just developing. Now, definitely, everything has changed. I wish magazines could appreciate handmade drawings.

I mention that because I definitely connect my future with illustrating. I dream about working for famous fashion brands, magazines and creative people. I dream about some unique artistic challenges. Apart from illustrating I would like to focus on graphic design and to combine the two techniques: traditional painting and graphics. The beauty of it is that being an artist offers you a broad range of activities and opportunities. The truth is that I do not limit myself to a small area, but there are many things which I would like to try doing in the future: from my own graphic agency, which will focus on creating unique artistic designs, through illustrating, designing clothes or even creating my own artistic, lifestyle magazine. In other words, I have many visions and plans for the future.

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# What do you want to express with your illustrations?

I always loved drawing so it was pretty clear, that I‘m going to be an illustrator at one point in my life. That point came in February 2014 when I got my Bachelor of Arts degree.

Since then I‘ve worked as a freelance illustrator for several clients and agencies. # Where do you get your inspirations from and what is your style of illustration like?

# What do you want to express with your illustrations?

I get my inspiration from everyday life, music, comics, cartoons and video games.

My style is always changing but most of the time I use a cartoon style for my illustrations. I love to experiment with different tools, materials and styles though. As I said, always changing.

There is no general answer to this question. Every illustration is different and the reasons why I create them is different every time, too.

Lena Dirscherl

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# What are your future goals?

I‘m currently working on an illustrated book which I would love to publish. Besides that a huge dream of mine is to create character designs for video games. And I am also thinking about founding my own fashion label with cool prints of my illustrations and patterns. # How would you describe your interpretation of SUPERIOR Magazine cover?

I was making up my mind about fashion and what it means. Fashion is about the things we wear to define ourselves. So I used interesting objects as accessory and put them in the hair of my female character since for many women their haircut is an important part of their fashion style and a way to express themselves. The eyes of the character are blank because I wanted to show that she defines herself not through the features she already has but the things she adds.

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# What do you want to express with your illustrations?

I worked as a freelance illustrator since 2013. I worked for several magazines, design companies and interior designer. I studied fashion design at Kunsthochschule Berlin Weißensee. I had the pleasure to learn something from Tina Berning. # Where do you get your inspirations from and what is your style of illustration like?

My style is between less and nothing.

After graduating fashion design and the master class of Kunsthochschule Berlin Weißensee, I continued examination of the subject of “aesthetics of the absence”. My illustrations are often studies and visualisation of my work. I´m very interested in the changing meaning of the human body in time of digitalisation and the virtual age.

JULIA DANCKWERTH

# What do you want to express with your illustrations?

Furthermore my illustrations deal with a maximum of minimalism. Especially delicate, thin pencil drawing and works by way of analogy and collage. The faces with gaps and missing gestures are united in a weird, almost scurrile mood, which is not revealed right away. # What are your future goals?

I would like to realize more interdisciplinary projects and collaborate with other people, materials and surfaces.

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# How would you describe your interpretation of SUPERIOR Magazine cover?

The cover is a very clear and pure idea and give space for interpretetion and the own impression of the observer.

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# What do you want to express with your illustrations?

My Dad being a painter and architect I kinda grew up with the pencil in my hand. I studied fashion design when my professor at university encouraged me to concentrate more on my drawing skills. # Where do you get your inspirations from and what is your style of illustration like?

Whenever I come across a catching face, I create one of my „realistic mixed with abstract forms“ collages. # What do you want to express with your illustrations?

Same with tattoos, people always ask for the deeper meaning. Fuck that. There is none. Its aesthetic material to decorate your life.

SIMONE KLIMMECK GERMANY -50-

# What are your future goals?

One day i want to be able to tattoo all my drawings onto real skin to send them to a lifelong relationship with another person. # How would you describe your interpretation of SUPERIOR Magazine cover?

A cover is nothing different from a newspaper headline, you have to catch peoples attention. Sex and tragedy is what people react to the most. I once knew a person who combined the two better than anything. She showed me how beauty could be a curse and how happy my average nobody life actually is. Don’t we all love hollywood drama?

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# What do you want to express with your illustrations?

I have started illustration after my fashion design studies in Paris and London College Of Fashion but my first collage work was in 2009. I have been drawn to images of beauty, collecting eyes, lips and started putting them up together like a mosaic. Illustration has always been a passion. # Where do you get your inspirations from and what is your style of illustration like?

My latest work has been inspired by the music scene creating collage portraits of bands mixed as one entity like the music they make. For my beauty and fashion series as the one I am presenting here, I get inspired by faces, which I am fascinated with, all the features that creates a unique person. I am inspired by artists who question realism and create different views and perceptions of things we are familiar with such as Ron Mueck, Man Ray or Yayoi Kusama.

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# What do you want to express with your illustrations?

I love playing with contrast and irony, my concept is about transforming existing proclaimed ‚beauties‘ as we see in magazines to re-create stranger ones but nonetheless beautiful. It‘s about how you feel about someone, how this person moves you on an emotional level. # What are your future goals?

I am planning exhibitions and working on album covers for bands which brings together both my love for creating illustrations and my love for music. # How would you describe your interpretation of SUPERIOR Magazine cover?

We are living in a very busy digital era and are overwhelmed with a flow of visual information. Beside the initial meaning of my work that beauty is made of imperfection, what I want to reveal with this cover is that moving feel we have these days, constantly growing into something new. Nothing is fixed.

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LOVISA BURFITT Sweden

ANNA McKAY New Zealand

Giulio Iurissevich Italy

Ben Marriott Australia

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Mariuska Italy

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Chris Nixon Australia

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Victoria Skinner USA

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Hye Khim South Korea

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Alessandro Pautasso Italy

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Jessica Singh Australia

Rachel Nosco USA

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photography by Benjamin Becker photography assistant Denise Beinlich styling by Vera Witthaut hair & make up by Christian Schild @ N Management USING MAC model Tamina @ Modelwerk

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photography by Ulrich Hartmann production by Bianca W端rriehausen styling by Julius Forgo styling assistants Nicholas Coutts & Anne Kathrin Reiche make up by Younes Bent @ LOUISA ARTISTS USING SEXY HAIR & SISLEY COSMETICS model Donny Truter @ pure management

jacket & collar COS shirt & belt Ivanman pants Hugo Boss shoes Martin Margiela

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shirt Ivanman top Country Road suit Burberry Prorsum bracelet Martin Margiela shoes Acne

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top Ivanman kaftan Adriaan Kuiters & Jody Paulsen head piece Julius Forgo

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hat Sasha Kanevski shirt Ivanman top Country Road suit Burberry Prorsum bracelet Martin Margiela shoes Acne

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shirt Ivanman top Country Road suit Burberry Prorsum bracelet Martin Margiela shoes Acne

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shirt Ivanman top Country Road suit Burberry Prorsum bracelet Martin Margiela shoes Acne

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March 2014 NOVEMBER 2014

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FABIAN BLASCHKE Fabian Blaschke is a Berlin-based photographer that focuses on fashion and lifestyle photography. After working on our Fashion Locals project with the LNFA-Store at Bikini Berlin, we asked him to test the new Canon EOS 100D whilst working in LA. As soon as he returned to the city, we took him in for questioning.

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text KRISTIAN BARELLA GREVE | photos FABIAN BLASCHKE

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Steffen Jänicke for a year, which chanced my point of view considerably. He is one of those people that will leave a mark on you no matter how short your passage together is. For instance I love the way Heinrich portraits people or Lohr knows how to reduce his subject to it core identity, but, as I said, those are people I would like to work with but not really idols. I believe that one should stay on ones toes and pick the best out of every master. # Where do you get your inspiration from?

My first motive was taken with a disposable camera my mother gave me. We were at a ranch and I tried to take a picture of some childhood friend. Unfortunately my finger blocked the lens so I guess my first motive was a finger.

I have that ritual with my roommate who is a stylist. We sit at the kitchen table for hours throwing words at each other, playing with their meanings and wondering about their impact on pop culture. Usually with some wine he chooses, as I am no connoisseur. When we sense a idea coming up we start to play with it. I try to stay away from mood boards or other photographers.

Every time I did that I felt like I was copying or worse stealing. So I take my references from pop culture, galleries or even night life.

# How did you develop your passion for photography?

# What makes a good photo “a good photo” in your opinion?

I actually love that question. A lot of people tell you that magical story about how they woke up one day and just knew, or even better had that wicked moment were everything made sense. I wish I could… But since I was in preschool I played with my parents cameras and well loved it. And I still love it. The only difference is that I have my own camera now and people are paying me to play with it.

There is no such thing as a good or a bad photo. That would mean that there were some rule book about how photography should look. That idea is just ludacris. A photo has to engage people, create a sentiment and leave them wanting more. In fashion one focuses this sentiment on the product or people’s of beauty. One sells an illusion, which is great fun to build.

# Who are your idols in photography?

# What are your next plans? Is there any future project you would “die for”?

# Do you remember your first motive?

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I am experimenting a lot at the moment. I am involved in two projects that I can’t really

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talk about, but which look extremely promising. I would furthermore love to work more in the UK. I have been in London a couple times for some productions and loved it. The Londoners have that sensational rush about them, which makes the city the perfect petri dish for young artists. #  Do you have some words concerning the L.A. - Editorial?

L.A. is a incredibly empty city. I realised that the first time I visited and was fascinated by that. It seams to be a haunted city, filled with illusions. I wanted to get that across, because when people traditionally think about LA, they see the Sunset Boulevard or the walk of fame. But that is not how I see the city. For me it is the most geometrical city in the world. The light is amazing and how the small things add up to that image which is absolutely wrong.

Another thing I realised this time was how many homeless people lived in L.A. It saddens me to see how indifferent everyone acted when asked about it and how nobody cared.

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photography by Kapturing styling by Adelaida Cue B채r @ Nina Klein Agency hair & make up by Fee Steinvorth @ Nina Klein Agency

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Which Witch

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dress Talbot Runhof cape Sololaverdadessexy collar Shrimps shoes Chie Mihara blouse Paul & Joe rings Ben Amun

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jacket & sweater Edith und Ella pants Kilian Kerner shoes Gina Tricot bag Alexander McQueen

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jacket Kilian Kerner sweater Kenzo pants YVES Saint Laurent

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coat Shrimps pants Moschino top Asos bag Cos necklace Ben Amun

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suit Edith & Ella jacket Donna Karan necklace Nicola Hinrichsen shoes Marc Jacobs bracelets Stylist’S own hat Herr von Eden belt Cos

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dress Talbot Runhof cape Sololaverdadessexy collar Shrimps shoes Chie Mihara blouse Paul & Joe rings Ben Amun

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blouse & skirt Talbot Runhof scarf Prada necklace Stylist’S own hat YVES Saint Laurent

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coat Edith & Ella shirt Paul & Joe shoes LOUboutin tights Wolford sunglasses Asos

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photography by Patrick Jendrusch photography assistant Eike Eckold art direction & styling by Isabel Kibler @ perfectprops styling assistant Sabrina Rommel hair & make up by Memo Schmage using Yves Saint Laurent models José & Marvin @ Izaio

metal vest Guillaume AIRIAUD rings & earrings MARIA BLACK earpiece as lip piercing MARIA BLACK other jewelry STYLIST’S OWN

PLAY GROUND PLAY GROUND PLAY GROUND PLAY GROUND PLA GROUND PLAY GROUND PLAY GROUND

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shirts & shorts FRANZISKA MICHAEL necklace BAZARA BERLIN pants, silver ring (left hand) & bracelet STYLIST'S OWN oxidized silver ring (right hand) MARIA BLACK shoes DR. MARTENS -120-

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hat BOY LONDON earring MARIA BLACK hair necklace ISABEL KIBLER JEWELRY coat FRANZISKA MICHAEL sweater ELEVENPARIS handlet STYLIST'S OWN short UCON ACROBATICS leggings RICK OWENS shoes TK MAXX -122-

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shirt & pants JULIAN ZIGERLI leggings DAISY Street blouson & shoes ODEUR bracelet BAZARA Berlin rings DINH VAN

DIGITAL

shirt & pants ODEUR jacket ELEVEN PARIS necklace & bracelet Guillame AIRIAUD ring Stylist’s own

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NOVEMBER 2014

coat & dress STARSTYLING necklace, bracelet & rings on left hand VINTAGE GIVENCHY other jewelry STYLIST'S OWN leggings RICK OWENS shoes NIKE -125-

DIGITAL

pants & jumper STARSTYLING scarf CHEAP MONDAY ring (right hand) MARIA BLACK necklaces & cap STYLIST'S OWN rings (left hand) DINH VAN shoes NIKE

air bomber jacket ODEUR pants & shirt JULIAN ZIGERLI cape DSTM jewelry MARIA BLACK leggings RICK OWENS boots ADIDAS Y3

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NOVEMBER 2014

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blouson ELEVENPARIS shirt & shorts JULIAN ZIGERLI necklaces STLYIST'S OWN earring & rings MARIA BLACK leggings RICK OWENS shoes DR. MARTENS

DIGITAL

shirt ELEVEN PARIS bracelets LEATHERPUNK shoulder pats SCHUTT redesigned by Isabel Kibler

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NOVEMBER 2014

jacket & shorts ODEUR shirt RICK OWENS leggings & jewelry Stylist’s own

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DIGITAL

pants & shirt JULIAN ZIGERLI jacket ODEUR cape DSTM jewelry MARIA BLACK pants RICK OWENS boots ADIDAS-Y3

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NOVEMBER 2014

pants STARSTYLING shoes DR. MARTENS ring MARIA BLACK jacket ALPHA INDUSTRIES

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DIGITAL

Chrome Romantics photography by Teresa Horstmann styling by Alexandra Klar hair & make up by Jeannette Johansson model Nina Dรถinghaus @ Core Management

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NOVEMBER 2014

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sweater Jil Sander skirt H&M Studio cap private shoes Birkenstock

DIGITAL

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NOVEMBER 2014

skirt & sweater Stefanel shoes ZARA

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DIGITAL

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NOVEMBER 2014

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pants BCBG MAXAZRIA blouse ZARA bag Vintage

DIGITAL

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dress Victor & Rolf shoes Adidas socks Falke

NOVEMBER 2014

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dress & sweater ZARA shoes Birkenstock ring private

DIGITAL

dress Dondup backpack Missoni

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NOVEMBER 2014

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DIGITAL

Israel Veintidos

»THE OBSERVER«

Mikkel Vigholt Petersen

»AS A GIRL«

Kristine Krauze Slucka

»A POET'S MUSE«

Joshua Charles Dawe

»CARCASSONNE«

Click on the image to view full editorial

Ten Photos

»CMYK«

Dan Hilburn

»HOME ALONE«

Ed Phillips

»WILDER«

NOVEMBER 2014

Frank Barthold

»BLISS«

Arya Shirazi

»EYE OF LONDON«

Clément Louis

»WALK TROUGH THE FIRE«

Emma Dudlyke

»VISION OF GLAMOUR« Alexandra Wind

»CRAVING FOR COLOURS«

Sarah Dulay

»FLY«

Katja Kat

»FRAGILE YOUTH«

DIGITAL

Daniel Fliegauf

»GIRL ON THE SPORTY SURFACED ROAD« Embry Lopez

»OLD FASHION, MEETS NEW FASHION« Seb Winter

»STUDIO 54«

Ishmil Waterman

»BAZZAR-JUZAR«

Shelby Goldstein

»POLARIZED«

Irina Vasilkovskaya

Click on the image to view full editorial

»WAITING FOR THE FALL«

Lia Light

»PLATINUM« Mae Richards

»WEIRD LIKE WIXSON, CLASSIC LIKE KATE«

NOVEMBER 2014

Neil Danvers

»BETTER SUITED TO SUMMER«

Maike Banger

»NON FICTION«

Florian Maas & Aglaja Brix

»STAGE DIVING«

Gaetano Cartone

»WOOD OF SILENCE«

Anrike Piel

»IN THIS BODY«

Fábio Caetano

»LIGHTS & STONES« Monika Maslanek

»HOTEL PENSION FUNK«

Vienna Chen

»LOOK HERE«

DIGITAL

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jacket Topman shirt H&M

NOVEMBER 2014

THE OBSERVER

photography by ISRAEL VEINTIDOS styling by Lesley Thompson make up by Ariana Rose model Dominique Shaw @ e-足 models agency -147-

DIGITAL

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NOVEMBER 2014

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shirt John Varvatos pants Topman belt Ben Sherman

DIGITAL

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suit Topman shirt Paul Smith tie H&M

NOVEMBER 2014

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DIGITAL

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NOVEMBER 2014

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sweater Ted Baker pants TOPMAN

DIGITAL

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suit Topman shirt Paul Smith tie H&M

NOVEMBER 2014

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Magazine for young vanguard fashion & art photography • www.superior-mag.com

MEET CREATIVE PEOPLE

coming out on November 28th 2014

DIGITAL

#DECEMBER 2014