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# OCTOBER 2015
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# I m p r i n t SUPERIOR MAGAZINE www.superior-magazine.com SUPERIOR MAGAZINE FOUNDERS & PARTNERS | Tom Felber, Marc Huth Chief Editor V.i.S.d.P. | Tom Felber | firstname.lastname@example.org CREATIVE Director | Franziska Raue | email@example.com Senior Editor Fashion & Lifestyle | Sarah Weyers | firstname.lastname@example.org fashion Consultant | Simon Heeger | email@example.com Editorial Department | firstname.lastname@example.org PR Management | email@example.com Advertising | firstname.lastname@example.org GENERAL CONTACT | email@example.com SUPERIOR MAGAZINE BERLIN CHIEF EDITOR | Lola Froebe | firstname.lastname@example.org Editor Fashion & Lifestyle | Susanne Kircher | email@example.com Editorial Department | firstname.lastname@example.org ADDRESS | Lychener Straße 76, 10437 Berlin SUPERIOR MAGAZINE LONDON CHIEF Correspondent | Jana Wilms | email@example.com Editorial Department | firstname.lastname@example.org SUPERIOR MAGAZINE FRANKFURT CHIEF EDITOR | Laura Sodano | email@example.com Editorial Department | firstname.lastname@example.org Publisher SUPERIOR Publishing UG (haftungsbeschränkt) Lychener Strasse 76, 10437 Berlin GESCHÄFTSFÜHRER | Thomas Felber | email@example.com HR Charlottenburg HRB 143585 B UST-ID DE284291789 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
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# Editorial Dear readers, Our October issue is the second one where the Digital Magazine and the App Magazine form together ONE magazine. If you haven’t downloaded our new App for iPad and Android Tablet, you should not wait to do it – it’s free and provides a lot of interactive content around fashion, art and food. In this October issue Art is an important theme. We have an interview with the renowned artist Heinz Mack and Jia, an artist from Beijing who lives and works in Berlin. Furthermore we talked to the designer Alex Trochut who lives a life between Barcelona and Brooklyn, New York. Last but not least the team of ARTPRESS by Ute Weingarten presents their Berlin Art Week Diary. Another important role plays London in this issue. End of September London attracted not only the international fashion crowd for the London Fashion Week. The city hosted also The London Design Festival, one of the most important design festivals worldwide. Jana, our Chief Correspondent SUPERIOR MAGAZINE London and Tom visited both events and met great people. Some of them you find in this issue. Sarah’s column “Let’s Talk About Green” this time presents Ina Köhler from AMD Akademie Mode und Design Düsseldorf and her sustainable fashion project “Buy Good Stuff”. And with our three “Ch(i)efs” Jana (London), Laura (Frankfurt) and Lola (Berlin) you learn a lot about Food Trends. More food you get in our App. But our magazine wouldn’t be SUPERIOR without the great editorials we got from across the world, perfectly designed by our Creative Director Franziska. Enjoy our multi-media October issue … Best, Tom, Marc and the whole SUPERIOR MAGAZINE team
Find related and additional content in our SUPERIOR MAGAZINE Tablet App
FASHION & STYLE
60 Matija Tomc
»PRISHA ON PERSIAN RUGS«
»THE DISTANT BLUE«
COLUMN: LET'S TALK ABOUT GREEN
104 LONDON FASHION WEEK S/S 16
184 Sahar Kaderie
LIFE & TRAVEL
INTERVIEW: SOPHIA HOFFMANN
ART & CULTURE
INTERVIEW: HEINZ MACK
56 INTERVIEW: JIA
INTERVIEW: ALEX TROCHUT
BERLIN ART WEEK DIARY THE LONDON DESIGN FESTIVAL 2015
124 REVIEW: Mรฅns Zelmerlรถw
DEL WATER GAP
au ska r
Food Trends IN BERLIN, FRANKFURT & LONDON
fr a n zi s ka r a ue
More food trends:
#1 CLEAN EATING TRY IT AT: The Good Life Eatery, LONDON The Good Life Eatery is heaven for anyone interested in clean eating. Founded in 2013 by Iranian-American duo Yasmine Larizadeh and chef Shirin Kouros, the GLE developed from being a cold-pressed juice bar to a café that now even offers catering to its diverse fan base of gym-goers, office workers, families and everyone in between. Being healthy has become a trend and so has researching what we eat, rethinking if that chocolate bar that contains so much sugar that we could just eat sugar on a spoon, really is the way to go.
The Good Life Eatery 59 Sloane Avenue London SW3 3DH Mon - Fri: Sat: Sun:
7.30am - 8pm 8am - 7pm 9am - 6pm
text | JANA WILMS photos | © THE GOOD LIFE EATERY
#2 VEGAN CUISINE TRY IT AT: Mildreds, LONDON Skipping meat and going for a vegetarian meal has become a huge trend, even for meat-eaters, because eating a vegetarian or vegan meal is not just lettuce without dressing. It is exciting cuisine that Mildreds serves for more than twenty-seven years. Established in 1988, Mildreds serves internationally inspired food with organic ingredients and tries to use small businesses for their suppliers.
MILDREDS 45 Lexington Street London W1F 9AN Mon - Sat:
12am - 11pm
text | JANA WILMS photos | ÂŠ Kirsti-Lee Poulter
#3 ROASTED COFFEE TRY IT AT: Hoppenworth & Ploch, Frankfurt The enjoyment of coffee has become a regular event for the most of us, which we do not even take time for consciously. Hoppenworth & Ploch, a small roasting house and café on the Friedberger Landstraße in Frankfurt proves that a good coffee is not about a fast drink in a paper cup to go loaded with tons of special „upgrades“. It is more about a real treat and a short break from daily life.
Hoppenworth & Ploch Friedberger Landstr. 86 60316 Frankfurt Tue - Fri: Sat + Sun:
8am - 7pm 12am - 7pm
+ Siolistr. 7 60323 Frankfurt Mon - Fri: Sun:
9.30am - 6pm 12am - 5pm
text | LAURA SODANO photos | © Hoppenworth & Ploch
#4 SUPERFOOD SMOOTHIES TRY IT AT: Liquid Garden, Berlin Superfood Smoothies are designed like a restaurant dish – one or two seasonal ingredients are chosen and the rest is built around it to get a balanced and structured end product. Liquid Garden creates unique, very delicious and healthy green Superfood Smoothies.
Liquid Garden Stargarder Str. 72 10437 Berlin Mon - Fri: Sat: Sun:
8am - 6pm 10am - 6pm 12am - 6pm
CONTACT www.facebook.com/ liquidgardenberlin
text | LOLA FROEBE photos | © LIQUID GARDEN
#5 SANDWICHES Pulled Mushroom BBQ Sandwich by Sophia Hoffmann This is Sophias meat free alternative to the classic Pulled Pork Sandwich – the exorbitant and incredible tasty Pulled Mushroom Sandwich. Try the recipe at our SUPERIOR MAGAZINE Berlin app issue!
text | LOLA FROEBE photos | © SOPHIA HOFFMANN
Get the recipe:
More recipes on: www.oh-sophia.net
#eat & drink
Sophia Hoffmann LIFE WITH VEGAN FOOD
To welcome you to the mouth-watering world of the Berlin Food Week with its great cooks, delicious recipes and different tastes and in occasion of our food trend research, SUPERIOR MAGAZINE discovered that there is a “trend” one can't stop: vegan cuisine. Of course, in the best case people aren't just vegans out of a trend motivation – because vegan cuisine is much more: the consciousness about the harmony between every creature and the convincement to pull one's weight to it via personal nutrition.
Read full Interview:
interview | LOLA FROEBE text | Susanne Kircher & LOLA FROEBE
One who knows best about the vegan lifestyle is the Berlin-based vegan cook, author, blogger and foodie Sophia Hoffman. Sophia cooks with passion and invites everybody to the vegan way of life. She shows you how to cook “White Krauts” or “Fake Cupcakes” on YouTube, writes great articles in her blog and offers delicious recipes and interesting vegans’ secrets in her cook book “Sophias vegane Welt” (“Sophia's Vegan World”). She will also participate in the Berlin Food Week and is speaking at the first “Gastro-Gründertag 2015” together with other culinarians on current trends and the future of the food-scene. We met Sophia at Berlin “Blogfabrik” and interviewed her to give you an insight into this might unexplored world of healthy vegan eating.
# Hi Sophia, nice to meet you. How did you decide to live vegan – what influenced you? It was a very slow and subtle development. As a teenager, I stopped eating meat and lived as a vegetarian for some years. But I didn't really understand the whole issue. A big influence then was my friend Nina, who is the owner of the vegan creperie, burger & bar location “Let it be” in Berlin Neukölln. I started reading a lot about reasons behind the vegan lifestyle and in 2010 I read an article about animal breeding and its connection to the climate change. I used to only think about the cruelty to animals, but then I understood that there were other important subjects, like health reasons and global warming to consider. So I stopped buying leather products and decided to eat vegan. I didn't throw away my non-vegan things however, but I don't like them that much anymore (laughs).
# Living vegan, what does this particularly mean to you? As a vegan it is very important for me to buy only non-animal based items, be it food, clothing or cosmetics. It is very difficult to live purely vegan in our world, but I'm trying the best I can.
# Where do you get inspirations for your recipes? I think I have two ways to find new recipes: through an idea from a dinner or a motto. This could be a vegetable, like red cabbage, and I brainstorm on what I have not yet done with it. Another way is to go to supermarkets or farmers markets looking for something I've never used before and start to think about a new menu after I've found it. And sometimes it's just a stupid idea like: “I like watching Game Of Thrones – let's do a bloody vegan seven courses GOT-Dinner!”
Gluten-free cookies à la Oreo
# What do you miss the most in vegan food? I love cheese! Many people can easily stop eating meat, but to stop eating cheese is more difficult than anything else. I don't miss milk, yoghurt and eggs at all. Many people try developing tasty vegan sorts of cheese, like Cashew-Brie, in Los Angeles the first vegan cheese store just opened. I think there will be much more varieties over the next years though. This is also the exciting thing about vegan cuisine – it's a big playground. I am waiting for the day someone invents delicious vegan Gorgonzola. Maybe I have to do it myself though.markets looking for something I've never used before and start to think about a new menu after I've found it. And sometimes it's just a stupid idea like: “I like watching Game Of Thrones – let's do a bloody vegan seven courses GOT-Dinner!”
# Do you have to explain yourself very often, because you are a vegan? Sometimes you get strange reactions, but they don't upset me. The oddest thing about the vegan food I cook is, that I have to show people that they should simply like it because it tastes good and not because it is vegan. People shouldn't think about it as vegan or that vegan food is like a garnish, they should just enjoy it. Meanwhile, I take it as a personal insult that many people think that vegan food just isn't tasty – I can cook very well and I think that these statements are very silly.
I have to show people that they should simply like it because it tastes good and not because it is vegan.
"Paint It Black" ravioli
www.oh-sophia.net -35# BERLIN
ANTI THESIS -36-
photography & film direction by Stephanie Pistel @ Caviar Content camera by Job Kraaijneveld editing by Kim Hinrichs film production by Bart Reef @ CAVIAR Content post production by Saskia @ Magic Group Media grading by Brian Krijgsman @ The Ambassadors gaffer Bram van Woudenberg styling by Pedro Dias @ ERA ARTIST MANAGEMENT hair by Mark van Westerop @ ERA ARTIST MANAGEMENT make up by Angelique Stapelbroek @ Ellis Faas Cosmetics model Aimee @ elvis models
dress Django Steenbakker
feather coat Dennis Diem Couture
corsage kiki de Montparnasse
dress Dorhout Mees
dress Django Steenbakker shoes Dennis Diem Couture ring Rodrigo Otazu
dress Dennis Diem Couture mask Custom Made
hat Wolford dress Dennis Diem Couture
Watch the fashion film "Antithesis"
Heinz Mack On Light and Borders
Heinz Mack Große Nekropole 2000, Chromatische Konstellation, Acryl auf Leinwand, 213 × 265 cm © Archiv Mack, VG Bild-Kunst, Bonn 2015
Heinz Mack is considered among the most significant German artists of our time. As a founding member of the ZERO movement he created a new platform for the devastated cultural landscape of post-war Europe together with other artists. The major ZERO exhibition at the Martin-Gropius-Bau at the beginning of the year commemorated this period.
interview & text | Victoria Trunova
On September 11, 2015 a major overview of the artist’s work opended at the Ulm Museum, which encompasses works beyond the 1960s and 1970s, providing a comprehensive look at the artist’s oeuvre. The exhibition offers viewers the opportunity to discover Mack’s work after ZERO and the post-war period. A particular highlight of the exhibition “MACK. Das Licht meiner Farben” (“MACK. The Light of My Colors”) draws on Mack’s interest in Persian and Islamic art and culture, presenting a series of works and explorations inspired by Goethe’s West-Eastern Divan. We talked with the artist about this aspect of his work.
# In the period after World War II you transcended artistic and national borders through your work. Today, Europe is confronted with new kinds of borders, delineations, and challenges, which are closely related to an attempt to set Europe apart from Islamic cultures. How do you view these developments? After World War II artists were the first to reach out and go beyond national borders. Fontana, Yves Klein, Manzoni, Christo, Tinguely, Schoonhoven and Kusama as well as German artists such as Piene, Uecker, and I sought a dialogue with one another. This was a unique phenomenon, since each artist at first gathered artistic ideas and made certain discoveries is isolation — which could then be compared to those of other artists. The founding of the ZERO movement in 1957 was indebted to this spirit. In short, one could say that we somehow anticipated the idea of Europe. National conscious receded into the background, and artists unfolded their practices in the context
of a united European spirit. The studios of London, Milan, Paris, Amsterdam, and Basel no longer seemed so far away from Düsseldorf. We were interested in an exchange with other artists, and the same held true vice versa. Over fifty years later the Guggenheim Museum, the Martin-Gropius-Bau in Berlin, the Stedelijkmuseum in Amsterdam, and the Sabanci Museum in Istanbul presented, or in the case of the later are currently presenting, excellent exhibitions of the ZERO movement, which have achieved astounding visitor records. What was once the everyday experience of intensive exchanges between artists is now canonized art history. Today artists from Islamic countries are looking for opportunities to work, not only in the US, but in particular in Europe, since in their native countries the fundamental condition of freedom, as humanistic concept, is practically nonexistent and cannot be experienced. Without this fundamental condition of freedom, artistic and creative work has no perspective. I think it is more that just a bold assumption to say that the creative potential in Islamic countries is probably very substantial and carries a great deal of latent energy. Should it be allowed to emerge and develop a vital form of expression, it will need to have a specific, Islamic character, since the possible impetus to integrate such tendencies into western culture could potentially result in a fiasco, in the sense of a contradictio oppositorum. Conversely, the same applies to artists from the West, like me for example, who are interested in the art of the Near East. I create my own work, which could not readily be assimilated into the culture of the Orient. But comparisons are productive! And must be infused with a creative, transitory spirit. What both
worlds have in common, I would describe as the fact that the entirety of Islamic art is as non-representational and non-figurative like the “konkrete Kunst” or Art Informel of the western hemisphere (which, incidentally, has proven to be the most lasting and consistent of all modern styles within the past 100 years). My work is non-representational and entails no content-based references in an ideological sense. For me, the secular history of humanism is a sphere of freedom that does not rely on political borders as a basis for existence. All people on earth are human in the end, and underneath their clothes they are all naked. That we all have in common — according to anthromorphology and anthropology. Now millions of people on earth have emigrated from their native countries. This unfathomable number indicates to what extent politicians, religious groups, scholars, and the so-called average population are overwhelmed by having to face the question whether we must send back all refugees to their chaotic and confused “home country,” or whether we could welcome the fact that at least 25% of the immigrants have a college degree. For demographic and also cultural-sociological reasons we are dependent on taking in and integrating intelligent immigrants. That less educated members of our populace view this unfavorably (worrying that their jobs and associated opportunities will be minimized) is a much more prevalent problem in democratic countries than in dictatorships.
Heinz Mack Ohne Titel, 2014, Chromatische Konstellation, Acryl auf Leinwand, 140 × 99,5 cm © Archiv Mack, VG Bild-Kunst, Bonn 2015 -52# BERLIN
Heinz Mack Ohne Titel, 1997, Keramik glasiert, 93 × 35 × 21cm © Archiv Mack, VG Bild-Kunst, Bonn 2015
# How and at what point did you develop a personal interest in Persian and Islamic cultures? Maybe I was inspired by reading Goethe’s late poems, with their rich color and sensual power. Suleika was the star of a passionate love, which Goethe celebrated with sensitivity and subtlety, unencumbered by all the world’s problems. Very early on I traveled to North African countries, whose contribution to Mediterranean culture made a deep impression on me. There the spirit of the transition from East to West was “physically” and “visually” palpable.
# Is Islamic art a form of abstract art? Islamic art is not abstraction in the western sense of the word, but it does have an incredible, still largely unexplored relationship to the western art of the present, in which structures have taken the place of western art forms (rooted in the Greek notion of eidos) and dramatic compositions. Western science only sees nature through the scanning electron microscope. Abstract diagrams are an aid to viewing what one cannot see and identify with the naked eye. This is a new worldview of nature. The painting and sculpture of the East no longer portray nature, our surroundings; nor do they present an abstraction of nature, with the exception of the few organic forms found in ornamentation.
# Despite the enormous influence that Islamic culture has repeatedly exerted on European art and cultural history, for a long time the European view of Islam defined by colonialism. Do you see your artistic interests in these regions as also having a post-colonial impetus? European colonialism is one of the most shameful exploits, in which the powerful humiliated the powerless to the (supposed) advantage of the powerful and for the purpose of profit. Europe also has a history whose diabolical abstruseness, religious fanaticism, and capacity for murderous action overwhelms any imagination — which, however, does not free us from the imperative of confronting our history. Having the opportunity to exhibit my works in an Islamic county (until now almost no one is interested in buying them), I do not want to be seen as a “cultural ambassador,” even if that is what I actually am. I represent myself first and foremost, and I don’t see myself as a representative of the West. It is practically impossible to determine what influence I have had, but in all likelihood I have been able to inspire creative individuals to fight for and carve out their own realm of freedom, just as I had to fight for mine. I stated this very clearly in front of the overfilled auditorium of the university of Teheran. This is something far removed from the history of colonization, in which my country played a role that is often forgotten. Futurologists claim that Europe will one day be Islamic—another consideration, that is by no means unrealistic.
All people on earth are human in the end, and underneath their clothes they are all naked . . .
Heinz Mack Ohne Titel, 1997, Keramik glasiert, 93 × 35 × 21cm © Archiv Mack, VG Bild-Kunst, Bonn 2015
Heinz Mack Wind und Licht, 1992, Aluminium geprägt, Holz, 97 × 66 cm © Archiv Mack, VG Bild-Kunst, Bonn 2015
Heinz Mack West-Östlicher Divan, Ohne Titel, 1997, Pastell und Öl, 69 × 53 cm © Archiv Mack, VG Bild-Kunst, Bonn 2015
Heinz Mack Ohne Titel 2013, Chromatische Konstellation, Acryl auf Leinwand, 44 × 60 cm © Archiv Mack, VG Bild-Kunst, Bonn 2015
Heinz Mack in his studio © Foto Archiv Heinz Mack, VG Bild-Kunst, Bonn 2015
MACK. The Light of My Colors An exhibition celebrating the 90th anniversary of the Ulm Museum September 11th, 2015 to January 10th, 2016 Ulm Museum Marktplatz 9 89073 Ulm Tel. +49 (0)731 161 43 30 Opening Hours Closed on Mondays Tue – Sun: 11am – 5pm Thursday: Special exhibitions open until 8 pm -55# BERLIN
Alex Trochut As much as possible
Photo: © Mumm Sekt
SUPERIOR MAGAZINE met Alex Trochut – a Spanish graphic designer, illustrator and typographer with focus on cool digital design – and talked with him about his designs' influences and his life between Barcelona and Brooklyn, New York.
interview | LOLA FROEBE text | Susanne Kircher & Lola Froebe
Alex Trochut was born in Barcelona in 1981 as the grandson of the famous Spanish graphic artist Joan Trochut and after studying he owned his own design studio in Barcelona which has soon gained international reputation. Alex has worked as a freelancer for a diverse range of clients around the world: Nike, BBC, The Rolling Stones, Katy Perry, Coca Cola, The New York Times, MTV and many more. He acknowledges his passion for design and illustration as a talented artist and is always keen to learn and evolve his work. His art can be characterized as “minimalism flipped on it´s side” and by a philosophy of “More is more”: rich and elegant with detailed execution. Alex is known for various techniques, but especially for his Binary Prints, his expressive style and a fluid merging of styles and genres like pop culture, street culture, fashion and music. In 2005 he received his first award: the Certificate of Excellence from TDC - and since that has often been honored for his outstanding work. Exhibitions in Paris, Beijing, London, New York, Barcelona and Basel showed his excellent art. Recently he has also participated in the ART.FAIR Cologne, Germany, presenting a live-installation in cooperation with MUMM as a preview for the upcoming MUMM Art-Edition 2016..
# In 2007 you started with a design studio in Barcelona. How was the first period of time working as a freelance designer and how did you succeed establishing your studio and work to international reputation? I'm still a freelancer, I had an assistant that helped me out with non-creative tasks, but basically I like doing things myself. I feel when I would hire others to do my job I would stop doing what I love (design) and start just managing. I prefer not to grow, but keep my freedom and control on what I do.
Now SUPERIOR MAGAZINE gives you some insights into his work and life – his artistic disciplines, inspirations and special moments.
# What was your first contact ever to design and illustration? In my childhood, probably as every child, my personal belongings as skateboards, stickers & cartoons surrounded me. When I turned eighteen, I started to study graphic design at Elisava in Barcelona – with the intention to work in the design field. -57-
Alex Trochut @ ART.FAIR Photos: © Mumm Sekt
# Who was your first bigger client? Do you remember your feelings before, during and after your work for it? Did you feel a certain pressure or were you just happy to do it? It was for the Rolling Stones, actually a pitch for the Rolled Gold + cover. My expectations were very little, I just wanted to do it because I loved the project and the brief was fun. When my idea was finally realized, I was so happy of course! But whether a project is produced or not, what really drives me is the experience i make during the process. The fact that things are produced is not always equivalent to success to me. Until now, this is how I work.
# Trusting your monograph „More Is More“ your work is all about overload, wildness, bright colors and details. Why are you so curious about mixing so many influences and artistic disciplines for your artworks? I feel it is the best way to get to your own creative identity, stealing from the best and as much as possible.
# Illustrations and designs for different musicians such as Katy Perry and Arcade Fire are also a big part of your work. Which role does music play in your private life? I totally depend on it; it‘s hard for me not to work with music.
# How does your process of design take place? Is it always the same or does it depend on the task, medium or other circumstances? Every project is different and I try not to repeat too many methods. I try to learn something new or get to a new result every time. The final work always is a result of the process’s nature and of the tools I use. So while working I aim to let those conditions happen, in order to get an unexpected result.
© Alex Trochut -58# BERLIN
# You are living between your hometown Barcelona and New York. Why did you decide for a second residence in NY? Which advantages does the city have for you and which does Barcelona have? NYC has a special energy and it’s infectious: everybody has been sting by the same bug, I love its intensity. Barcelona is my homeland and a place with so much quality of life – I would never replace Barcelona for any other city.
# What is the theme of your latest bottle design for Mumm? What has your inspiration been and what is the idea behind? I wanted to create a seductive imagery that interfaces the celebratory experience of a sparkling wine bottle and the art world. The result is a graphic close-up look on colorful paint splashes that evokes the bubbles of Mumm.
Photo: © PR
Barcelona is my homeland and a place with so much quality of life – I would never replace Barcelona for any other city.
More information about Mumm at ART.FAIR:
www.mumm-sekt.de/mummentdecken/mumm-at-artfair -59# BERLIN
blue T HE DIS TANT
dress Free People
photography by Grayson Lauffenburger styling by Cara Scott hair & make up by Xenia Brady model Dakota Parrish -61-
dress Max Mara
all clothes VINTAGE
dress Free People
top Zara pants For Love and Lemons
top TopShop skirt Rica hat Vintage
jacket, skirt & top TopShop necklace Free People
one-piece American Apparel skirt Free People
jacket Rica hat Vintage -72-
THE LANGUAGE OF ART IS UNIVERSAL Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence. Only by the form, the pattern, Can words or music reach The stillness, as a Chinese jar still Moves perpetually in its stillness. — Burnt Norton, T.S. Eliot
interview & text | WAYRA SCHÜBEL photos | © JIA
Jia’s work The Chinese Version adresses the simplification of Chinese characters imposed by the Communist Party in the 1950s, which she considers the most far-reaching destruction of the Chinese language ever to occur. Two-thirds of all Chinese characters were prohibited and removed from the official lexicon, ostensibly in an attempt to improve communication between people of different classes and levels of education across China. Today less than 10% of traditional characters are in use today in the People’s Republic of China. Visiting her in her studio, I was deeply touched by my direct experience of her works, which I only knew from her recent publication Jia (Walther König, 2015, edited by Drew Hammond). Using large-scale canvases, an unusual medium for calligraphy, she generates works with a highly sensual quality that is paired with innate conceptual strength. Jia introduced me to two paintings that I was particularly drawn to, 100 Birds and 100 Fish. These each show 100 unique Chinese characters as well as the animals, birds, and fish represented by the symbols. The artwork is a strong statement about the extinction of both natural and cultural entities due to the rapid advance of progress. # Thanks for inviting me to your studio, Jia! I was wondering why you are using only this one word as your artist name. Is this your second or your first name? Phonetically it reminded me of the word for "family". You certainly have not forgotten your Chinese, because “jia” is indeed the word for family 家(jia) in Pinyin, the system used to transcribe Mandarin pronunciation into the Latin alphabet. My name -75-
sounds like that word, but my given name is written with a different character, 嘉(jia). This means something like “glorious” or “beautiful,” but it contains two separate characters that together mean something like “more good luck,” and I think that is what Chinese often really mean when they say glorious or beautiful. The reason I sign my work with a single character is twofold. On the one hand, a first name is enough to let you know that the same person made different works but does not have the specific degree of identity as a given name and surname together. This reflects my wish, however naïve, that my works have a larger identity, beyond their author. On the other, I later arrived at the second reason, almost silly to mention; Jia by itself is just easier to remember.
# You were born in an era when the first special economic zones were initiated in Shenzhen, Xiamen, and other areas. How do you view your generation as positioned between traditional and socialistic culture? And how do you view its role in terms of building bridges within the context of globalized culture? Special economic zones brought an end to China’s isolation during the catastrophe of the Cultural Revolution and allowed for the development of enterprises that brought hundreds of millions of people out of poverty. My generation was the first to benefit from these reforms and the hard work of many. Unlike many people from our parents’ generation, we did not experience famine. Despite all the difficulties involved, many of us have set our sights on cultural activities. Although the government has hindered some of our efforts, I think what distinguishes my generation is that many of us still hold the old socialist ideal that culture must be socially engaged, that it must benefit humanity in some way. Many people have now let go of this idea, but if China is to globally communicate its culture, this is the most constructive path to pursue.
# Is the pollution of Chinese cities a topic that concerns you? I was asking this because of your artwork Bicycle Tracks, a brilliant urban analysis, which also reveals your educational background in architecture. I like to think that Berlin is now experiencing the kind of bicycle traffic that Beijing had in the 1980s. But I am assuming, and perhaps this is a preconception, that young Chinese couples are more focused on -76# BERLIN
owning a car than Berlin couples (who are constantly tinkering on their single-speed “fixies” bikes). That is not just a preconception but a matter of fact! In China, even if people live 100 meters from their workplace, they drive to work in order to show that they have a car! This is a general form of madness that I satirized in my photo project The Road Series. Bicycle Tracks uses a GPS recording app as well as other media; it has an interesting tension between a bicycle rider who acts as the the stylus of the drawing and a “fictional” drawing made by a machine that calculates mathematical averages between points fixed by GPS. The work operates by revealing the anatomy of its dual construction. The animation allows us to observe this process, not after the fact but as a narrative in the process of being generated. Of course, this narrative is related both to my current discovery of Berlin and to how it evokes the Beijing of my childhood, which was even more full of bicycles. Back then, people could never have imagined having the attitude, “You are what you drive.” At least Berlin is still not that way!
# You mentioned that 90% of traditional Chinese characters are no longer in use. What about regions where the long versions of the characters are still used? As you know, traditional characters remain the standard in Taiwan and Hong Kong, where the Chinese Communist Party could not or chose not to impose its will. The continued use of traditional characters in these places exposes the falsehood that the imposition of simplified characters was a “benefit” in terms of increasing literacy rates, instead of an act of cultural destruction that made it nearly impossible for people to read pre-revolutionary texts. In Taiwan, the literacy rate exceeds 99%, about the same as in Switzerland.
The loss of traditional Chinese characters in their heartland—where they evolved over millennia and in the tenth century B.C. already were used to compose sophisticated poetic literature by combining a pictographic element and semantic content—is a loss not only to China, but also to the world. It saddens me to think that cultural destruction is all around us, not only in extreme cases, such as the recent destruction of Palmyra, an atrocity that was coupled with murder, but even with our general condition of consumerist mania. The drive to mindless acquisition as a means of defining our self-worth invariably comes at the expense of culture.
Jia One Hundred Birds, from the series The Chinese Version (2015), acrylic on canvas, 200 x 200 cm, copyright and courtesy of the artist
I think what distinguishes my generation is that many of us still hold the old socialist ideal that culture must be socially engaged, that it must benefit humanity in some way.
Jia One Hundred Fish, from the series The Chinese Version (2015), acrylic on canvas, 200 x 200 cm, copyright and courtesy of the artist
# Could you pick one of the vanished characters in your body of work as an example and explain what you feel has specifically been lost? You asked me to name a single vanished character, but one of my works contains a hundred such characters, which are the names of fish species indigenous to China. Just as the characters for these fish are all extinct, so are the fish.
# As much as I feel the necessity to oppose the totalitarian abuse of power, in my memory I have scenes from my travels by train in the 1990s, which allowed me to grasp the enormous territorial expanse of China as a country, incomparable to any European dimension. Since the Han Yu language has so many different dialects, simply drawing characters on the palm of the hand helped to communicate between people from different parts of the country. What is your vision for a new cultural step that could be taken in the People’s Republic in terms of language?
People drawing characters on the palms of their hands in order to overcome dialect differences went on long before the simplification program, and it certainly still goes on today. Chinese characters have always been a unifying force in China, despite periodic impulses to the contrary. In China, we often think that if Europeans had only kept Latin as a universal second language, then Europe might have remained a single country, and many centuries of war might have been averted. In the case of China, I believe that even the government now recognizes the need to recover lost elements of Chinese culture, but the destruction of Chinese characters makes this goal very difficult to achieve. How can China venture into the world community, if it offers only an imitation of Western consumerism? I hope that China will recognize that it needs the richness of its own language in order to have a cultural identity. This would require the will and the courage to institute another language reform that would include traditional characters and texts. It might take generations to achieve this, but technology makes this more feasible today than ever. The limitation of language is a limitation of the mind, and today it is necessary is to open new windows to old wisdom, in order not to lose our humanity. Wittgenstein wrote, “The limits of my language mean the limits of my world.”
Jia (*1979) is an artist from Beijing who lives and works in Berlin. Jia’s work is striking in the way that it is situated within the tradition of conceptual art through its combination of image and text. Her paintings are infused with a fascinating interplay of visuality and language. Underlying her work is a critical rejection of recent art historical propositions, which were embraced by the preceding generation of Chinese contemporary artists. Jia’s work, in its conceptual underpinnings, often examines ideas originally developed in Western culture, which are then formally reinterpreted in Chinese paradigms. This overarching tension between her work’s formal and conceptual elements serves the critique of specific conditions in both cultures. -78# BERLIN
Exhibitions: Infosphere, curated by Peter Weibel | ZKM Museum of Contemporary Art Karlsruhe, from September 5th, 2015 to January 31st, 2016
The Chinese Version, Galerie Arratia Beer | Potsdamer Str. 87 | 10785 Berlin, Opening: October 15th, 2015 at 6pm # BERLIN
Galerie Neu presenting Karl Holmqvist. Photo: © DONE STUDIO - Ulf Saupe
Berlin Art Week Diary Openings and happenings
Once again Berlin was at the center of the international art world’s attention. Collectors, gallerists, and everyone interested in arts and culture comes to mingle every year for the Berlin Art Week, in 2015 featuring numerous exhibitions and events. A range of exhibitions presented works by artists such as Cindy Sherman, Paul McCarthy, Jonas Burgert, and Jorinde Voigt. ARTPRESS was there and took a look behind the scenes.
text | BARBARA GREEN photos | ULF SAUPE, MICHAEL KLAUS, ROSIE UBACHER, STEFAN KORTE
abc - art berlin contemporary From September 17 to 20, the 8th edition of abc— art berlin contemporary took place in the halls of Station Berlin at Gleisdreieck. 47 leading galleries brought exciting and highly international works to the capital.
Ute Weingarten and Jochen Sandig. Krobath presenting Esther Stocker. Photo: © DONE STUDIO - Ulf Saupe Galerie Hans Mayer in cooperation with Stevenson Gallery Photo: © DONE STUDIO - Ulf Saupe
Artist Augustina Woodgate at abc. Presented by Spinello Projects. Photo: © DONE STUDIO - Ulf Saupe
Barbara Gross presenting Michaela Melián. Photo: © DONE STUDIO - Ulf Saupe -81-
abc - art berlin contemporary
ASPN presenting Grit Hachmeister. Photo: © DONE STUDIO - Ulf Saupe
Sprueth Magers presenting Lizzie Fitch and Ryan Trecartin. Photo: © DONE STUDIO - Ulf Saupe
Avlskarl presenting Ester Fleckner. Photo: © DONE STUDIO - Ulf Saupe
Ute Weingarten and Gerd Harry Lypke. Eigen + Art presenting Lada Nakonechna. Photo: © DONE STUDIO - Ulf Saupe neumeister bar-Am presenting Kate Cooper. Photo: © DONE STUDIO - Ulf Saupe
Proximities and Desire Right next to the venue of abc, art lovers could visit the exhibition Proximities and Desire with art works from Berlin’s private collections.
abc installation shot. Bernadette Corporation. Collection Alexander Schroeder Photo: © Stefan Korte
Sturtevant, Julia Stoschek Foundation e.V. Photo: © Stefan Korte
Cindy Sherman The exhibition at me Collectors Room featured 60 photographs by the artist. Including works from almost all periods of her career, the collection provides a remarkable insight into her entire body of work.
Cindy Sherman Untitled 96, 1981 ÂŠ Courtesy of the artist and Metro Pictures New York. 145x72
Paul McCarthy A solo exhibition by US-American artist Paul McCarthy opened during ART WEEK at the Schinkel Pavillon. McCarthy confronts the viewer with scenarios of raw reality via events transmitted by film and television, exploring the tension between the surface of transmitted images and their invisible, unsettling origins.
BERLIN ART WEEK 2015 Artconnect Suggestions for Berlin Art Week Paul McCarthy Horizontal, 2012 Photo by Fredrik Nilsen, Courtesy Paul McCarthy and Hauser Wirth -84-
insider tip: Arcadia Unbound An absolute gem was the thrilling exhibition Arcadia Unbound with more than 40 artists, including Jorinde Voigt, Jonas Burgert, Christian Jankowski, Despina Stokou and Bjørn Melhus. The guests were taken by boat shuttle to the former GDR broadcasting center, Funkhaus Berlin. Now best known for its unique recording studios - used for example by Daniel Barenboim - the building represents an architectural landmark of East Berlin. Today more than ever, this historical place offers a unique backdrop for highlighting artistic presentations. The exhibition was curated by four Berlinbased artists: Janine Eggert, Sibylle Jazra, Marte Kiessling and Christopher Sage.
Photo: © Michael Klaus
Photo: © Michael Klaus
Photo: © Michael Klaus
Funkhaus Berlin Photo: © Rosie Ubacher
Photo: © Michael Klaus -85-
Prisha on Persian rugs
photography by Matija Tomc styling by Špela Jambrek hair by Žiga Abram @ Mare dresura frizure make up by Maja Razboršek model Prisha Justinek @ Immortal models locations Hotel Allegro & Galerija Farzad, Ljubljana
t-shirt spelajambrek socks American Apparel rug Galerija Farzard
t-shirt spelajambrek leggings Max Mara rug Galerija Farzard
coat Matic Veler bra Agent Provocateur shoes Max & Co. tights Max Mara -89-
coat & shoes Max & Co. socks American Apparel
dress & scarf Max & Co. rug Galerija Farzard -93-
coat & shoes Max & Co. dress Cliché bag DusicaDusica, Cliché socks American Apparel -94-
bra Agent Provocateur pants Dajana Ljubicic hat Max & Co. necklace Cornelia, ClichĂŠ
dress Max &Co. rug Galerija Farzard -96-
bra Agent Provocateur necklace Cornelia, ClichĂŠ coat VINTAGE
Let's talk about Green COLUMN: SUSTAINABLE FASHION
With the market of sustainable fashion and overall conscious shopping is growing the options for consumers grow as well. More and more concept stores open their doors and shops to a more sustainable range of products. We spoke to one of the founders of “BUY GOOD STUFF”, Düsseldorf’s first fair fashion guide, as well as we are introducing you to the content of the guide with one of the articles that were published in “BUY GOOD STUFF”.
interview & text | SARAH WEYERS photo | © SUSANNE BOIDOL
To be able to offer support in understanding as well as finding sustainable and fair trade fashion, Ina Köhler and Elisabeth Hackspiel-Mikosch, who teach at the Academy of Fashion and Design in Düsseldorf, decided to develop a concept to do just that: simplify green shopping. We spoke to Ina Köhler to find out more about the project “BUY GOOD STUFF”, the idea of a fashion guide and what the future of fair shopping might look like. # What was your inspiration to start the project of “BUY GOOD STUUF”? My college Elisabeth Hackspiel-Mikosch and I sat together before the summer semester of 2014 started and wanted to plan a project for which the students of different fields of study would have to cooperate. She introduced me to the Fashion Guide that had been published by FemNet for the city of Bonn and I thought “Düsseldorf has an even greater platform for that!” We started to develop the idea for a fashion city such as Düsseldorf and decided to give it a try.
# What were the goals when you started working on the topic? First of all we wanted to integrate the topic itself into the classes. Since the importance of sustainability has been growing rapidly its definitely something the students should be confronted with as early as possible. The teaching goal was for the students to understand the complexity of the topic. Secondly, we wanted to create something for the consumer to use as a guideline and we quickly found the initiative of the “Lokale Agenda21” as a very fitting partner for cooperation.
# What are the main contents of the fashion guide? We started with a survey for all shops in Düsseldorf; whether it is a Second Hand Boutique, a chain, a high class label or a concept store, in order to find out what their range of product looks like, where they produce, if they are willing to tackle the obstacle of sustainability, if consumers have been asking for -101-
Ina Köhler Photo: © Susanne Boidol
more “green fashion”… then we developed a list with all the stores that had answered positively to our questions, we had a photo shoot to proof that eco fashion can be extremely stylish, we had interviews with designers, labels, consumers, wrote portraits, explained the seals and other things like “Greenwashing”. The list is long!
# What kind of feedback did you get? The reaction has been overwhelming and extremely positive. Already during the short time of three month in which the project came to life the feedback has been positive but after publishing the guide we were all surprised. We had 10.000 copies of BUY GOOD STUFF which have all been distributed, the press conference was packed with reporters, local and regional and even the WDR channel filmed a piece on the guide. The response has been really great!
# When you say the 10.000 copies were gone rather quickly, did just then the idea of the app develop? We had been thinking about a way to keep BUY GOOD STUFF updated constantly and also create a way for the consumer to have something to always carry around – especially when shopping. So in the beginning of 2015 we were able to present the App for tablets, which is very similar to the printed version. The content is basically the same, except for the app being rather interactive: For example clicking the portrait of a concept store can take you to their website right away, there are some animations and it is connected to Google Maps to locate stores.
# What about the smartphone version of the app? The app for smartphones has been published only a couple of weeks ago. It focuses on the list of stores and the usage of the app while shopping and still gives away facts and figures of fair fashion. We updated the content of BUY GOOD STUFF so that all shops are up to date, new shops are listed, old ones deleted, more labels included etc.
# What is the target group not only of fair fashion, but of BUY GOOD STUFF? I think the topic targets anyone that is interested in fashion. Maybe the really young consumers don’t know all the facts yet, but young costumers of 20+ years start to put their mind to the background of the products they buy. Many labels are in the medium price segment such as brands big concept stores sell; they might even have a similar style – but a much better quality and ethical background and the importance of that is growing rapidly.
# What is the ultimate goal considering fair fashion? I think it is a constant process of development. Consumers are more conscious than ever and that is going to grow even more. People are demanding information on their products and labels are going to have to come clean about their manufacturing processes. The fashion industry is finally taking a stand against injustice and the response is great. The Green Showroom and Ethical Fashion Show in Berlin during Fashion Week have never been as stylish, popular and well visited as they have been this year. # Thank you very much for your time!
BUY GOOD STUFF App
KABUKI photography by GAETANO CARTONE styling by AKIKO UCHIDA wardrobe by VIVIANO SUE - AW 14/15 accessories STYLIST'S OWN make up by MIYUKI YOSHIDA retouch by NATALIE SCHWARZ model YURIKA @ FRIDAY TOKYO -105-
The London Design Festival 2015 -124-
For many people the number "13" is a magic number. In one case it is definitely - for the The London Design Festival 2015. Established in 2003 The London Design Festival became one of the world's most important annual design events. The Festival program from September 19. - 27. was made up of over 400 events and exhibitions staged by hundreds of Partner organisations across the design spectrum and from around the world. One of the most prestigious venues in London is Somerset House. The West Wing Galleries hosted the work of ten internationally renowned design names, many of them collaborating with a design brand to create thoughtprovoking and innovative individual room installations within the recently renovated rooms in the buildingâ€™s West Wing. SUPERIOR MAGAZINE presents four of the ten designers:
TINO SCHAEDLER, OPTIMIST DESIGN & UNITED REALITIES ROSS LOVEGROVE, KEF LUCA NICHETTO, HEM JASPER MORRISON, PUNKT.
TINO SCHAEDLER OPTIMIST DESIGN & UNITED REALITIES During The London Design Festival 2015 Tino Schaedler of Optimist Design, who partnered up with director Nabil and their company United Realities, presented an exciting project by creating the first VR experience at the Festival titled 'Odyssey'.
Photo: ÂŠ JANA WILMS
text | JANA WILMS photos | JANA WILMS & ODYSSEY
Photo: © ODYSSEY
Tino Schaedler, who is a Berlin native, but now resides in Los Angeles, started his career as an architect and then moved into set design for feature film. Right there, he learned about the many layers in stories that are needed to evoke certain feelings and emotions. With Odyssey, he redefines the relationship between the physical and virtual. He explores the intersection of film, architecture, furniture design and virtual reality and frees himself of the traditional conception of spatial design. As an Art Director, Tino worked on productions such as 'Charlie and the Chocolate Factory', 'V for Vendetta' and several 'Harry Potter‘ films. Some of the bigger brands he has worked with are Nike, Google, Apple, Red Bull, Swarovski, BMW, Beats by Dre and Warner Brothers, as well as music artists like Daft Punk (Grammy Stage in 2014), James Blake, Pharrell Williams and Kanye West. -127-
"Odyssey" truly translates his experiences in film, design and music to this futuristic art piece, which could very well be the beginning of a new form of watching film. By actually feeling it physically. When you entered the room, you found a black turbine sculpture in the middle. It didn't only stand out, because it was the only thing there, but it really contrasted the historical appearance of the room. That in itself was a story of moving from “old-school” 3D-experiences to this interactive installation, which serves as a digital portal. Influenced by Hollywood's film world, Tino's design studios established a new form of story-telling that isn't normally used in the design world. As a visitor, you not only view this installation from the outside, you sit down on it and let yourself take this free fall into something that has not been before. And there will literally be a free fall as
Photo: © JANA WILMS
you put on your VR helmet, lift your feet up on the pedals and wear a backpack that vibrates, opening up a new dimension of viewing film. But the film you are seeing is not just any movie. It is the room that you are in, changing into something absolutely different. Yet, it feels real. One becomes immersed in the transition of the room and questions the definition of time and space in the context of digital communication. Tino explains: ”The turbine takes you to a different place. It really immerses you. We work with sounds, light and vibration. The VR experience is a new form of story-telling. A new medium, sort of a like a new language that has yet to be understood by all. We can now craft stories with all possibilities. It is not just about technology, but about the emotional experience.”
The headset and VR glasses represent the new HTC technology that will be launched into the consumer market soon, setting new standards for the industry. And after trying it out personally, I can honestly say that this 90 second trip changed my understanding of watching film. First, you find yourself in the room that you are in at Somerset House. Then you see the room change into this landscape that was created digitally, but looks, feels and sounds real. Like a kid, learning something new, I couldn't help, but smile and got excited for what's to come next.
Photo: © ODYSSEY
ROSS LOVEGROVE KEF Ross Lovegrove installed 1000 unique annodised MUO wireless speakers in one of the rooms of Somerset House for The London Design Festival 2015. It is a collaboration between Lovegrove and KEF, where the products were finished by Neal Feay Studio.
text & photos | JANA WILMS
KEF, founded in 1961, has maintained a flair for unusual and controversial speaker engineering, design and material use. Industrial Designer Ross Lovegrove tries to stimulate a profound change in the physicality of our three dimensional world. He is inspired by the logic and beauty of nature so that his designs possess a trinity between technology, materials science and intelligent organic form, creating what many industrial leaders see as the new aesthetic. Vitality is one of his main design principles, which can very well be seen in the MUO speakers. Previously, he designed KEF’s £140,000 Muon loudspeakers, which now gains a redesigned new little sibling called “MUO”. It is a wireless Bluetooth speaker with a distinct state-of-the-art industrial design, but also offers high-performance, when it comes to audio. KEF engineers worked with Lovegrove to create an extremely strong molded internal enclosure to house MUO’s innovative drivers, high-performance digital-to-analogue converter (DAC) and other internal components. These are encased in a stunningly designed and acoustically inert outer shell of extruded Aluminium, with soft rubber feet optimally positioned for MUO to be sat at exactly the right angle for desktop use. The acoustic is fantastic, while the design is also. A combination that now, more than ever, is valued again. It is not just about the music, but the quality of it. Smaller speakers usually decrease the quality of sound, but (after trying it out personally a couple times), there really is no quality loss at all. That is due to the miniaturized Uni-Q driver array, which decouples the tweeter dome from the outer cone by a flexible membrane. This means the whole diaphragm is free to pump out midrange frequencies as powerfully as a conventional driver, while allowing the tweeter dome to move independently, thus reproducing the higher registers with pinpoint accuracy. The mid/bass cone is profiled to act as a waveguide for the tweeter, further widening the soundstage to fill the room with a full-bodied, stunningly clear sound. -131-
You can just use one speaker for your home, but if you use two, you can enable the ‘Dual Connect’ party mode and get really loud! The MUO wireless speakers can not only be connected via Bluetooth, but also via an AUX cable, in case your device doesn't have Bluetooth. The speakers come in five different finishes: Horizon Gold, Storm Grey, Light Silver, Neptune Blue and Sunset Orange.
photos | © KEF
LUCA NICHETTO HEM For The London Design Festival 2015 the online design platform HEM collaborated with designer Luca Nichetto and created the customisable Alphabeta lamb.
text | JANA WILMS styling | LOTTA AGATON art direction | ILENIA MARTINI photos | ÂŠ MIKKEL MORTENSEN assistants | RUNE BUCH, GITTE CHRISTENSEN, ILAN ZARANTONELLO
Photo: ÂŠ JANA WILMS
The room they designed was all black, where an illuminated piano was set in the middle. A woman played a few notes and according to those, the lights flickered. A stunning interactive space, where 44 lamps were tethered to the piano. Like you use letters of the alphabet to create words, you hit a key and a story of light was created. HEM is a global design brand that offers premium, customisable furniture and design products online, which can be bought by customers directly from the website. Their products are developed in Hem's Helsinki workshop and manufactured in factories across Europe. They make design personal by allowing the customer to put a unique spin on their favorite products. 10 billions of combinations are possible with the Alphabeta lamp. -135-
Eight different shapes for top and bottom, each is available in its own color, as well as in black and in white. The shades are made from steel and pun by hand in a factory near Venice, Italy. To not only illuminate what is below he lamp, the pendants adapt to a bi-directional lighting source that also brightens the space above. To “inspire people and allow them to dream-up new ways of creating interior for their home” is what Petrus Palmér, HEM Co-Founder and Head of Design, intended with these lamps. Designer Luca Nichetto elaborates that his inspiration was to create an alphabet; a system where you can combine different kinds of shades to create your own lamps. He researched different kinds of shades and effects of light and tried to simplify that by creating a single piece that can be combined with other shades, to create a kind of alphabet. In connection with The London Design Festival, HEM launched a pop-up store in Seven Dials with a two-level retail space. You will of course find the Alphabeta lamps there, but also a couple other furniture pieces. It is all customisable and you can pick certain pieces up right in the store or get it shipped to you within two weeks. There is also a 10% discount for everyone, who orders from the pop-up store. Have a look at 9 Earlham Street, London WC2H 9LS.
JASPER MORRISON PUNKT. Jasper Morrison from the Swiss design-led consumer technology company PUNKT. presented pure design at The London Design Festival at Somerset House. He showcased the MP 01 mobile telephone.
Photo: ÂŠ JANA WILMS
text | JANA WILMS photos | JANA WILMS & PUNKT.
As one entered the room, of course, one found the mobile phone in the center. But what was really interesting, the posters on the wall caught our first attention. One said: “Got news? Talk.” or "Distracted? Focus.". And these statements seem to oppose the abilities of a smart phone to some degree. Designer Jasper Morrison explained that a smart phone is a computer. It is very handy and could help us with mostly anything nowadays, but people forget the phone part in smart phone. The essential idea of two people being able to communicate, even though they are not close together. Founder and CEO of PUNKT., Petter Neby, elaborated further: “Technology is a very powerful tool, but as our life becomes increasingly complicated, it is important to find time to disconnect and rediscover the simple things. (MP 01) is a liberating device that removes unnecessary distractions and goes back to the essentials of communication.”
Nowadays, when your phone slips out of your hands, you panic, wondering: “Is the screen broken?”, but with a MP 01, you would not need to worry anymore. The screen is made from Gorilla Glass, but it is still thin enough to look sleek and elegant. The back of the phone has a soft touch texture and a moulded back plate, making it comfortable to hold and to able to lay down on any surface. The idea was to create a mobile phone that lasts and is robust, but still carries a great design. It has a monochromatic surface, large round buttons and, very important, a long battery life. Calls can be made, texts can be send, but there is also a calendar and clock function. Custom-made ringtones by Norwegian sound artist Kjetil Røst Nilsen add a “nice little extra” to phone, which will be released in black initially and be followed by two additional colorways in 2016.
Photo: © PUNKT
Photo: © JANA WILMS
Photo: © PUNKT
Photo: © PUNKT
London Fashion Week S/S 16 -142-
Edeline Lee Markus Lupfer Vielma London Felder Felder Rein London
Edeline Lee Debuting London Fashion Week this year is Canadian-born, London-based designer Edeline Lee, who designs for the â€œFuture Ladyâ€?. Her work has been worn by stars like Alicia Vikander, Taylor Swift, and Solange Knowles. Her signature is the aesthetically sophisticated look and that she presented in her Spring/Summer 2015 collection as well.
text | JANA WILMS photo | @ Walter Zoniel
The inspiration for the upcoming collection was the Ocean Park Series of Richard Diebenkorn. Edeline explains: “I studied his method of composition, his sense of proportion, his wonderful sense of light and juxtapositions of color. I ended up experimenting much more intensely and directly with color than I ever have before. Somewhere along the way, inspiration from the Memphis Group worked its way in. The final result is a joyful, breezy collection that makes me think of a summer’s day driving along Highway One and the mythical Californian coastline.” The pastel colors reflect the softer side of the collection while some more popping colors accentuate the California beach life feeling that Edeline wanted to recreate, like she has seen in Diebenkorn's paintings. The main pop colors are Coral, Lilac, Aqua and Yellow, which she combines with
the basic White or Black. The Memphis Group's geometry is clearly recognizable on the applications of most pieces. Using textured Flou Bubble jacquard in some pieces hints, again, at the geometrical look and highlights it. Edeline used varied stitching techniques like color-blocking, paneling, piping, patchwork, overlays, inserts embroidery and appliqué to make her pieces unique. The floral design brings out the sweet side of the collection, while other prints are a bit more funky. The waist is especially in focus with many X- and A-line pieces, where some of them have cut-outs, bringing a subtle sexyness to the piece. To balance these tailored shapes, Edeline created oversized H- and I-Line looks that are not too harsh, but rather playful. In general, she likes to contrast this season. Lighter and brighter colors, symmetrical and asymmetrical applications and tailored versus oversizes pieces.
S/S 16 Lookbook Photos: © Theresa Marx
S/S 16 Lookbook Photos: ÂŠ Theresa Marx
Markus Lupfer Markus Lupfer presented his Spring/Summer 2016 collection at London Fashion Week that is sweet and girly, but with a humorous twist. Markus' signature. At his presentation, flowers were put up on the floor and the models stood in between them, in a flower field in the middle of an old Victorian room in Central London. Romantic and modern.
text | JANA WILMS photos | @ MARKUS LUPFER
Inspiration were the contrasts found in the fertile deserts of Mexico, which translates into the clothes e.g. in the print of a Mexican luchador in a traditional wrestling mask holding a flower. Markus' designs have a certain funny twist that makes them truly outstanding. The sheer materials and laced create a darker, more modern scenario that is broken up by the light, floral details. Nature meets femininity in black, taupe and light pink pieces. Motifs of cacti and flowers definitely hint at the earthy inspiration. A-line dresses, silk pants, embroidered sheer organza bombers and skirts are paired with heavily embellished shoes. All in all, this upcoming collection features beautiful designs that touch upon the themes of nature and Mexico, while also bringing an elegant look with them.
VIELMA LONDON The Chilean designer Gabriel Vielma trained Industrial Design in Madrid, before he moved to London. He now presented his Spring/Summer 2016 VIELMA LONDON collection at London Fashion Week in the Elms Lester's Painting Rooms.
text | JANA WILMS photos | @ VIELMA LONDON
Despite the Las Vegas influence, all pieces are absolutely wearable and and truly show that here, the combination is what makes the outfit. A checked pencil skirt with a metallic, denim croptop? 1950 meets 2015. Creating a look that is unique and elegant, but also fun and empowering that is Gabriel's design mantra. His designs want to address a modern, vibrant woman, who is independent and isn't afraid to let her both, her wild and soft side, shine. Feminine silhouettes with wild aspects, like the silver and gold foil stars, can be seen in his entire collection. Even the delicate and demure cream separates have some sheerness, once again capturing the two opposing ides of a country-club resort and the Las Vegas Strip.
He was inspired by the golden age of Las Vegas and recreated a 1950's motel room to showcase his upcoming collection. Soft whites and cremes on delicate dresses are mixed with bright blue glitter dresses. A classic, dark blue, lond A-line skirt is mixed with a white T-Shirt with a brighter print. Another long A-line skirt is studded with silver stars and combined with a dark blue jacket, creating a modern twist to the 50s inspired look. The star print is mixed with gold on a jacket-pant combination that truly captures the American feeling of the entire collection. Soft blue printed dresses with brown details fit to the beige, brown and snake-print patent leather boots and booties that hint at the 70s. Gabriel used jeans materials and foil prints, while also creating looks in luxurious printed crepes and organza, truly creating a connection between the old and new. -153-
Photos: © JOE HART
FELDER FELDER Felder Felder, the label of German-born, London-based designers and identical twins Daniela and Annette Felder, premiered their Spring/Summer 2016 collection at the Freemason's Hall in London today. The collection is called 'Flamingo Flaneur' and is described like this: "Imagine a woman who lives surrounded by contemporary art, by bold design, brave colour. Now filter her through the languorous light of late afternoon Miami Beach. Give her an unfathomable remote air, like cherubic misfits and carnal angels in Jeffery Eugendides Virgin Suicides, seductively imagined to life by Sofia Coppola. All the bold palm prints and visual tropes of a Latin city, but with a European quiet, like the Parisian flaneur."
text | JANA WILMS photos | @ A. ALLEN
Beautiful soft shimmering metallics come in elegant fabrics like Jacquard and also in a variety of colors: turquoise, gold, silver, coral pink and peachy orange. A-line dresses with cut-outs accentuate the bolder side of the collection, which is overall very romantic, dreamy and soft . Bruised banana prints underline the tropical feeling of the entire collection, yet it's also not too brightly colored, but rather faded to make it, like the Felder Felder duo said 'with a European quiet'. Black lace and decorated black fabric can be seen on an overall, a pleaded skirt, smart pants, dresses and also a blazer. Muted flamingo prints on silky materials support the dreamy aspect, while circle skirts in black net lace give an edgier feel to 'Flamingo Flaneur'. All in all, Felder Felder created another feminine, but never girly collection that captures the aspects of that tropical, summery feeling in an elegant way and makes the next spring and summer truly shine with their metallics.
Rein London Rein London presented their Spring/Summer 2016 collection called 'Labyrinth' at the Brewer Street Car Park, the new venue for London Fashion Week.
text | JANA WILMS photos | @ Rein London
The collection is inspired by women and their female form. The body and clothing should connect and create a symphony that is to be recognized by the wearer and observer. It is sexy and revealing, but also concealing, exploring a complex network of self discovery on a route to empowerment. This struggle, Rein titles 'the maze'. And a maze like structure are the nets that seem to be Rein's trademark. The dominant color is black, while a bright white is used to accentuate certain pieces. There are black net shorts with white details that are paired with a black, destroyed blazer. Or a long black coat with those maze like structures, which ultimately add a unique feature to the piece. Rebecca Morter and Gemma Vanson, the designers, used dense suede leathers, which are laser
cut with geometric formations, where depth is hightened by heavy, thick yet intricate lasercut panels. This collection is for a courageous woman, who isn't afraid to show some skin, while also coming across as fierce, not in any way cheap. Rein London has been adored by many celebrities like Lady Gaga, Eve, Charli XCX, Little Mix and outftits were also featured within music videos such as Cheryl Cole’s ‘Crazy Stupid Love’, Bo Ningen’s ‘Nowness and Alexandra Burke’s ‘Renegade’ EP.
top Asli Polat necklace MAWI jacket Clio Peppiatt sunglasses The Crystal Cult
photography by Aleksandra Podburtnaja styling by Kiera Liberati hair by Adam Garland using Balmain Hair UK make up by Charlotte Kraftman using Nars & Tom Ford model Nastya @ M&P Models London -164-
jacket Roberta Einer swimsuit This Is A Love Song shoes Kim Kwang jewelry MAWI
top Blomor skirt Bimba Y Lola jacket Asli Polat necklace & earrings Tatty Devine bracelets & rings MAWI
top UNIF skirt Clio Peppiatt braces Filla Pappa bracelets MAWI necklace Tatty Devine shoes Kickers
body William Wilde x Lascivious pants & jewelry Mane shoes Amelie Pichard
dress Roberta Einer jacket Asli Polat jewelry MAWI
swimsuit Chic Freak top Roberta Einer jewelry Mawi
top This Is A Love Song pants Clio Peppiatt shrug Cote shoes Kim Kwang jewelry MAWI
A LOOK INTO THE SOUNDCHECK AND CONCERT With his artistic performance during the song „Heroes“, Eurovision 2015 winner Måns Zelmerlöw caught the attention of many.“12 points for Sweden“ was said many times on that special night in May, which changed Måns' life forever.
text | JANA WILMS photos | © Seamus O'Sullivan
He has been known in Sweden for a couple years now and even participated in Melodifestivalen (Sweden's competition, which determines the country's representative) twice, in 2007 & 2009, before he eventually won this year. And now Vienna and the whole of Europe, also including Australia this year for the anniversary of 60th Eurovision Song Contest, chose him as a winner. Having gained 365 points during the public votes, makes him the third-highest winner that there ever was. “Heroes” is the story of Måns experience as a kid in school, where he was bullied. A good friend stood up for him, ultimately making him his own personal hero. And now the hero, which Måns sings about in that song. During the performance at Eurovision, he needed to be in absolute accordance to the video and light show that was shown on a big screen behind him. A stick man that was very much him himself as a kid, went through the obstacles that Måns had to face himself, when he was younger. This entire installation was and still is something absolutely unique, which was probably part of the reason why the song “Heroes” was chosen as a winner in the end. Vienna was the place, where Måns' dream of winning this contest came true and this is also one of the many places, he will play a concert in during his European „We are Heroes“-Tour. The Swedish leg of the tour was finalized earlier this summer and now at the end of September, Måns started the European part in Dublin, Ireland. We went to see him during the soundcheck and concert in London. Heaven was the venue that he played in. An iconic gay club that has seen many performances of great artists like Madonna, Jessie J, Cyndi Lauper, a-ha, Leona Lewis, One Direction, Adele, Ellie Goulding, Lady Gaga and now Måns Zelmerlöw as well. -173-
He was very focussed, when he rehearsed with his band, consisting of keyboardist Mathias Sommer, drummer Marcus Liliequist, bassist Alexander Holmgren and guitarist Effe Törnfeldt during soundcheck. They practiced some of the older songs that long-time fans of his will probably remember, while also getting the tune right for his newest single “Should've gone home”. His dedication to really giving his best, even though the club was completely empty at that point, was really impressive. You could also tell that all of them are not only band mates, but friends as well. It is something that is hard to describe, you feel it in the music they create that they themselves are not only connected by that, but much more. And that again translates to the quality of the music they are making.
Fast forward a few hours to the concert. Heaven is filled with people of all ages. From teenagers to die-hard Eurovision fans... everyone was there. That in itself shows how Måns reaches out to not only Eurovision fans from day one, but a younger crowd as well. “Someday”, an electric pop tune that immediately got the whole venue in the mood, was the intro. People started singing along, while others danced, whereas some did both and really seemed over the moon excited. Seeing such a diverse crowd, it was definitely interesting to see how that would play out during the concert, but Måns and his band were able to get everyone in together. It was are more intimate show in comparison to the Eurovision finale with thousands of guest in the arena and millions more on TV, but the energy was the same.
He continued with one his older classics “Brother oh Brother”, which was a top-ten hit in Sweden in 2007. A more upbeat song called “Stir it up” followed, which has some Asian vibe to it.“Live while we're alive” was up next with the lyrics truly matching the atmosphere in Heaven: “We will sing out our lungs until the air runs dry, be the beautiful ones under the pale moonlight.” Not much moonlight in the club, but a light show that could very well take the moonlight's place. Måns and his band then brilliantly performed to the new single
“Should've gone home”, a slower song that Måns sang whole heartedly. During the whole concert, newer and older songs, and slower and faster songs alternated, like a wave, going up and down again. A really good idea! Every country is proud to hear some of their own songs and that is why at that point during the concert, the band started to play a local song that changes from country to country. Some older singles like “Hope and Glory” and “Impossible” followed, then playing one of his newer songs “Core of You”. “Hearts Collide” is an emotion packed ballad that showcased his talent once again, being able to hit the high notes not only on CD, but live also. -175-
Covering The Killers' “Human” or Walk the Moon's “Shut up and Dance” was a nice little change, where the latter song actually made a lot of people dance. Shut up, not so much, rather singing as loud as they could. “Cara Mia”, Måns' number one hit single in Sweden from 2007, ended the concert until the “encore”-shouts brough the band out again. His biggest single “Heroes”, which everyone was anticipating for a while started playing and the performance was as powerful as imagined. It would have been nice though to hear it earlier on during the concert and once again at the end, but that did not dismiss the quality of the band's vibrant performance throughout the concert. The last song was “Broken Parts”, where Måns sat down on stage and gave his all, when singing to the crowd. It felt like he was singing a lullaby to everyone, because the song was raw, calm and slow, actually showcasing his talent not only as a performer, but as a good singer as well. And if you want to see him and his band live in concert, he is continuing his tour throughout Europe until early November. Do check back this space as we are going to meet Måns for an interview soon, learning more about his music and experiences.
Del Water Gap Make it here, make it anywhere
We met a young New York band and talked about the daily struggle to survive in the big apple and the positive attitude they tackle every day with.
text | SARAH WEYERS photos | ÂŠ SASKIA JUNG
I distinctly remember walking around the corner of 34th and 6th Avenue when my phone shuffled to “A clear mind, a better time” by Del Water Gap. The light breeze was a nice difference to the New York sun that had been burning all day and I looked across the crowded street when I finally realized that I hadn’t heard the song before. A recommendation on YouTube had me buying all the music of the band that I’d never heard of before and I hadn’t really had the chance to actually listen to it before either downloading or putting it on my phone. So now here I am walking on the busy streets of New York, not realizing that at this exact moment I was listening to the music that would frame my time working in New York City. Del Water Gap is a band from New York that – opposing to what they sound like – have only been making music together for about two years. Lead singer Holden Jaffe is a student at a music school in New York and had been writing songs intensively in his last year of High School but “had forgot about it pretty much” until he came to New York. Jaffe: “I had never played in a band before and wasn’t sure what it would be like. Then I met Charlie at a party and found out he plays the drums. A little later I met Will who plays the bass and well… suddenly we were a band.” The late September sun is burning on the pavement and the cement seems to be sparkling “everything is shiny in New York”, I think. “I don’t know if this is the right place. Many things would probably come to us a lot easier if we weren’t in the big apple. Venues up North aren`t booked by so many bands as they are here; if you’re a band people will know you much faster there. In NYC there are probably 250 shows and events every single night. Being in a band isn’t as special as it might be somewhere else. Yet there is something so magical about this place.” Jaffe seems to be torn about New York.
Cabs are honking and fire trucks are growling and the noises of the city seem to be consuming every other sound you hear. The second you aren’t focused on something in particular the loudness of the city becomes very clear again. Maybe that’s why it’s so hard for a band to survive. “In Vermont for example you’d have a car and would be able to drive to a show – which is just so much easier!” I think of the times I had to carry more than my purse down the endless stairs of every subway station and the uncomfortable heat and humidity that made every train ride feel like a trip to the sauna – at least during summer. “Also the living conditions here are so different from what they are like any where else in the states. Usually - and very cliché - bands practice in their parents’ garage. We cant do that here.” Looking back at the street the traffic underlines Holden’s statement: you don’t have a garage because you don’t have a car. Obviously.
“But New York is so amazing!” I think. I don’t quiet understand how torn he is about this place because, in my eyes, it’s just the best place on earth. He then agrees that there are quiet some great aspects to NYC as well: “Anything you could possibly want is here in New York. The entire music business has its center in here and being a part of the music scene of this city opens the door to many things. We as a band got to tour pretty much the entire East Coast, which is what we have been doing this past year. So many important people live and work here that we would have never met, if we hadn’t been living and making music here.” Playing a show at the right venue is probably the best thing to happen to a band; “…especially in NYC. Supervisors, record labels, bloggers and managers always look for new talent and there is no better place to look for than a New York club during the week” he continues. Recently the charity organization Oxfam America reached out to them, wanting to cooperate. The band will be donating the new version of a song to their 2015 Summer Jams mixtape, which will be distributed at music festivals to help raise awareness within the national music scene and the first festival to hand out the CDs was be Bonnaroo in Tennessee. I take a look around and see hundreds of different people. They could be anyone, doing anything in the world. Because it’s New York – and here, anything’s possible. You never really know who you pass by – or, in Del Water Gap’s case – play for. “We will be recording with a producer in Chicago for the new records we will put out in summer. That is huge for us! Although platforms like Spotify are getting bigger and bigger, we like it a little old school and will put out Vinyls by the end of the year. Also Bloggers are really important and shows are the best platform to meet them, show them our style and what we do and who we are.” I wonder: “ Is social media still as important as it used to be maybe 2 or 3 years ago?” – Jaffe: “I don’t know. What I know for sure is that it’s great for bands and artists to close the gap between fan and musician. Also, it offers many opportunities to communicate with other people from the industry and exchange ideas, visions and inspirations. I think it’s important to have a good and vital social media appearance not only for the fans, but also for editors, bloggers and people from the music industry. It shows that you’re serious about what you’re doing.”
The green leafs of the big red maple trees are dancing to the songs on my phone. “Rockman’s Pier” will later turn out to be my favorite song of the ones Del Water Gap has put out. “Since I appreciate the balance of a great melody as well as meaningful lyrics I might have found the perfect song here” I think, as watch the dresses and
We look at every person we meet, every song that was played on Spotify, every like on Facebook, every gig we play as a potential success.
skirts of strangers fly around in the late summer breeze. Jaffe: “Good songs are true songs, those that are honest and sincere. The best songs come from the best experiences.” – “Then what do you think is the best song you have published?” – Holden’s answer takes a little longer than I thought it would to come out: “No fear, dragon here”. I listen to it again after knowing this is his favorite and have to agree: the lyrics are meaningful; moving, even. “We were friends, we were more, we were laughing on the floor” I hear him sing. But what makes a good song? A rhythm to clap along to? A melody to remember and sing? Or lyrics that actually make you think? “Put your lipstick back, I take you as you are” I hear Holden softly singing in my ear. What a beautiful request: Be all natural, I prefer the real you. Since I can’t really define what genre Del Water Gap fit in, I ask the singer and songwriter what kind of music he listens to himself. “Classic country, Jonny Cash, Bob Dylan – strong songwriting more than anything.” Someone is singing in my headphones. I immediately tab my fingers on the bottle in my hand, rhythmically. Every song seems to contain so many emotions and feelings that I wonder how Del Water Gap manage to create so many different but equally fun and catchy pieces. “We’ve gotten so much better!” Jaffe says as he’s laughing, seeming to think back to the first times they played together. He goes on: “I booked our first show before we had really made music together. We had about two weeks to just get everything going and play for a crowd. It was surreal! It was such a funny feeling to play in front of about 50 or 60 people in Sullivan Hall that come there to see you play and hear your music. The entire time I felt like I was tricking them into something; tricking them into actually paying money to see us. I mean – who are we even? Why would they come? But they did and it was amazing. I kind of went on autopilot and just sang with all my heart and it turned out to be fantastic. I still get nervous sometimes now but nothing compares to what we felt like back then.” For some odd reason the question that pops in my head is what they were wearing for their first show. He laughs: “ a blue mechanic suit. I was trying to make an impression by dressing like a mechanic (I wonder what he was thinking back then) but now it’s all about the music. The music speaks for itself and its make it or break it for us with “only” that.” -180-
The water bottle in my hand has little drops of freezing cold water running down the sides. I wait to cross the street once more and realize just how many people are only in this little spot, how hard it is to stand. “Isn’t it frustrating to have so much competition?” I think. “Well, it can be. But it’s all about your attitude. We are not expecting success to be handed to us easily; we’re in for the long haul and so we take every little thing that happens to us as a great opportunity and we’re just very optimistic all the time!” he smiles. “ We look at every person we meet, every song that was played on Spotify, every like on Facebook, every gig we play as a potential success.” “Oh thank you, thank you.” Holden says, a little shy and sheepishly, when I admit that “Rockman’s Pier” indeed became my favorite song; and even though I have been listening to all the songs the band has put out every single day since I first crossed that street on 34th and 6th, I still do – and probably will for a much longer time. Upcoming shows are the weekly residency at Arlenes Grocery with varying other artists every Thursday as well as at the Radio Bean on October 3rd, at Rockwood Music Hall on October 6ths and at the CMJ Music Marathon 2015 on October 13th and 14th.
Y O U R EDITORIAL -182-73-
MAY 2015 DIGITAL
editorials from SEPTEMBER @ Superior online I
»ECCENTRIC BEARD MEN«
Nicolas Le Forestier
»OUTSIDE OF THE FRAME«
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editorials from SEPTEMBER @ Superior online II
Anna Grodskaya & Danila Romankov
Oscarscar Young Hun
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»B(L)ACK TO COLOR« Stevie Chris
»WE OWN THE NIGHT«
Summer Heat photography & post production by Sahar Kaderie model Dennis Yeboah @ AWA MODELS -188-
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underpants RALPH LAUREN sunglasses H&M -190-
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