The Forumist #11 GENERATION

The

Forumist

issue 11

Generation

Generation Issue 11 Here is the first issue of the year and the next step in The Forumist’s journey, which started three years ago. Over this period, we have been taken on an interesting roller-coaster of events, set against the backdrop of captivating and puzzling climates, both political and social. So, for this issue, we decided to explore the concept of a word that has characterised the times we have been living in: generation.

It’s a word that is a simple signifier and, on the surface, has specific meaning, but as the times have changed, so the definition of generation has become more complex. What does it mean today? Is it the moment of birth or is it the bloom of life, or an awakening when our conscious being starts to take form and create a personality. Who decides what generation we belong to and who sets the timelines? What identifies each generation and allots it its moment, revealing its place on the canvas where our evolution is plotted out. Do we still want to live our lives based on definitions set for a larger group of people, or would we rather decide for ourselves which generation we belong to? Once again we asked our talented collaborators to translate and reveal the answers to these conundrums. The result is another issue full of stories from different generations from all over the world. Enjoy.

COVER Photography: John Scarisbrick. Styling: Christopher Insulander. Make-up: Josefina Zarmén. Hair: Jacob Kajrup. Model: Josefin T at Mikas.

Hoodie: Silvana Imam – Regnbågsfärger över Sverige tour. Dress: Marlene Birger. Gloves: Emelie Janrell. Tights: Capezio

Editor-in-Chief Pejman Biroun Vand

Beauty Editor Céline Exbrayat (Paris)

Creative Direction See Studio

Paris Editor Sophie Faucillion

Fashion Co-ordinator Emma Thorstrand

Berlin Editors Veronika Dorosheva Ole Siebrecht

Marketing Managers Magnus Rindberg Online & Production Manager Gustav Bagge Managing Editor Anna Thofte

Music Editor Filip Lindström (Sthlm) Art Editor Ashik Zaman (Sthlm) Contributing Designer Daniel Björkman (Sthlm)

Contributing Fashion Editors Maria Barsoum (Sthlm) Delphine Brossard (Paris) Alexandra Conti (Paris) Veronika Dorosheva (Berlin) Christopher Insulander (Sthlm) Alice Lönnblad (Sthlm) Angel Macias (NYC) Delphine Michel (Paris) Jamal Nxedlana (South Africa) Koji Oyamada (Tokyo) Gabriela Pintado (Berlin) Contributing Editors Johanna Bergström (Sthlm) Camila-Catalina Fernandez (Sthlm)

Contributing Photographers Harling & Darsell (Berlin) Motohiko Hasui (Tokyo) Hanro Havenga (South Africa) Alexander Neumann (Berlin) Babette Pauthier (Paris) Estelle Rancurel (Paris) Ivan Rudolfovich Nunez (Sthlm) John Scarisbrick (Sthlm) Dan Sjölund (Sthlm)

Advertising ad@theforumist.com © 2017. All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in the magazine are those of the contributors and not necessarily shared by the magazine

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Contributing Illustrator Eimi Tagore Erwin (Sthlm) Printing MittMedia

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Scented emotions and fragrant memories — we meet one of the creators behind the world’s most unique perfumery to find out how they’re bottling the smells of those who mean the world to us

Let us spray

A lot of people can probably relate to that since a scent or an odour can create all sorts of associations in our minds. Do you have any other powerful scent-related memories?

“My mother and I have a lot of olfactory memories.

Smell is the most powerful sense when it comes to memories. The funniest thing is that I only discovered my sensibility to scents when I decided to join my mother in this crazy adventure. I’ve always been sensitive to smells but I didn’t realise it before.

However, when I was a young boy, my comfort blanket was one of my father’s T-shirts! It’s as though I was destined to work in this field.

“Each day is a real olfactory tour for us. When I meet people, or when I use the subway in Paris, I can smell different scents depending on the station. Or when I go to the library or walk in the forest. Even occupations have scents! I still hold some olfactory memories from my travels, such as the frangipani flowers in Bali and tiger balm in Thailand. I am pretty sure that my mother still has my grandfather’s smell in her head every day, even if we weren’t able to transcribe his scent back then.”

Words by Camila-Catalina Fernandez Illustration by Eimi Tagore Erwin We all know that the sense of smell holds a special and powerful position when it comes to our memories. Who hasn’t travelled back years or even decades when sensing a familiar scent? Or been grabbed by a nostalgic moment when recognising a fragrance that holds the key to a memory we thought had been firmly locked away in our subconscious?

Two people who have realised the potential and power of olfaction, also known as the sense of smell, are mother-son duo Katia Apalategui and Florian Rabeau. They are the people behind one of the most unique customised perfumeries in the world: Kalain.

Their concept is to transcribe a loved one’s scent, alive or deceased, into the form of a perfume. Yes, you read that right. Kalain can create a perfume based on your own memories of a person, place or treasured pet.

And all you need to do is send them some fabric that has been infused with the scent that you want to preserve – a loved one’s old jumper, your baby’s blanket, a piece of cloth from your dog’s bed.

We spoke to Rabeau at his Normandy base to talk about scent, memories and what it’s like to collaborate with your mother.

You get requests from people all over the world.

What are people usually looking for when they contact you?

“At the beginning our offer was primarily focused on helping people to cope with a definitive absence. And then after some requests, we noticed there were also a lot of people who had to cope with a temporary absence. For example, mothers who wanted to keep an olfactory memory of when their children were babies, couples who are separated because of work.”

As a dynamic mother-son duo, you two are a perfect example of a creative collaboration that stretches through the generations. How did it all start?

“From an early age I often heard my mother speak about her creative ideas and I have always been impressed by that ability. You know, sometimes it’s when you are at your most disorientated that your most impressive ideas come to you. That’s exactly what happened to my mother when my grandfather passed away in 2007. That’s when the research started.

Eight years later, Kalain was born. Through that creation I came to understand that the hardest thing is not to come up with ideas but to be able to give life to the good ones and then live your passion through your work.”

What are the more unusual requests you’ve received?

“As our concept really is to help people to keep an olfactory memory, we get a lot of different requests.

To be honest, we don’t like to use the word ‘unusual’.

There is almost nothing we consider ‘unusual’, except requests that aren’t ethical. However, a few examples of some of the more rare requests are a woman who wanted to keep a rubber’s scent because it reminded her of her school years. Another customer wanted to keep a flower’s smell. Some people want to bottle a holiday’s smell and, these past few months, we’ve had a lot of requests for transcribing the smell of dogs who have passed away.”

Have you two always worked creatively together?

“Yes, ever since I decided to join the project and create the company, my mother and I have been working together creatively. We are the only company in the world that is able to fully transcribe a smell into perfume, so we have to stay on top creatively every day. We both love that each day is different and my secret to staying creative is to travel as much as I can to get ideas.”

Do you ever get the background story from your customers?

“That really depends on the customer. Some feel the need to speak and exchange with us because they are in mourning. Others don’t communicate too much.

We always ask customers after they’ve received the product if they are pleased with the result and we always get positive feedback. That is the best reward we can get.”

Working with family and friends can have its challenges. Do you and your mother ever clash?

“We are both strong characters, so of course there are some clashes, but that’s what makes the relationship

so powerful! It’s not easy to work with friends or family, you need to set up some rules to be really productive every day. My mother and I are very different and that’s what fuels our creativity. There are two different ‘schools of thought’ in our work, as we’re not from the same generation, but each idea can be completed or improved upon thanks to the other one. I think that’s really important when it comes to an inter-generational duo.”

What does scent mean to you and your mother?

“Scent means a lot to us. We love to analyse them to better understand their constitution. Each scent is unique – the human scent is composed of more than 02

a hundred different molecules and that’s why this work is awesome. There is a real power to scent, and we know that they establish a real interaction between people. The human scent can bring a lot of comfort to someone when there are sentimental values intertwined. Personally, I love to smell my girlfriend’s scent on the bedsheets when she’s not sleeping at home.”

images courtesy of kalain

What are your own preferences when it comes to fragrance?

“I choose my perfume based on the occasion.

During the summer I prefer to wear a fresh fragrance, and in winter it’s the opposite – I prefer to wear a woody one then. I use a lot of different ones, but nowadays, depending on my mood, the season and the kind of day, I might wear Diptyque’s L’Eau du 34, a fresh fragrance with green notes, or their Essences Insensées, which smells of centifolia rose. Also, Terre d’Hermès, a spicy, wooded gem created by Jean-Claude Ellena, or L’Homme from Yves Saint Laurent, which is composed with vetiver. Perfumes have always had an important role in emotions.” kalain.fr

ART, MUSIC & TAILORING

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Here and

now

Every generation has its own sense of beauty. Sometimes, it’s a sleek, timeless look that could be from virtually any era. But if you play with that look – with colour and light – it can easily be transformed into something completely different. A goddess, perhaps, or a vampire. And then back to that pretty girl next door who has raided her mother’s make-up bag Words by Johanna Bergström Photography by Babette Pauthier Make-up by Céline Exbrayat using MAC Styling by Alexandra Conti

above, FROM LEFT FACE: FACE AND BODY FOUNDATION IN N2. EYES: MIXING MEDIUM LASH AND PIGMENT IN BASIC RED. LIPS: PREP + PRIME LIP. FACE: FACE AND BODY FOUNDATION IN N2. EYES: MIXING MEDIUM LASH WITH PIGMENT IN BASIC RED. ALL BY MAC sweatshirt by Off-White. top by Dumitrascu opposite page from left, INGVILD WEARS FACE: FACE AND BODY FOUNDATION IN N1 AND POWDER BLUSH/MARIAH CAREY IN LIGHT CANDY PINK. LIPS: LIPSTICK IN STUDDED KISS; DINA WEARS FACE: FACE AND BODY FOUNDATION IN N2 AND POWDER BLUSH/MARIAH CAREY IN LIGHT CANDY PINK. LIPS: LIPSTICK IN STUDDED KISS. ALL BY MAC Ingvild wears fishnet top by Sacai, black top by Monki, necklaces by Ambush; Dina wears fishnet top by Sacai, white top by & Other Stories, necklace by Anne Thomas

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TOP FACE: FACE AND BODY FOUNDATION IN N1. EYES: MIXING MEDIUM LASH AND PIGMENT IN BASIC RED. ALL BY MAC above, from left FACE: FACE AND BODY FOUNDATION IN N1 AND POWDER BLUSH/MARIAH CAREY IN LIGHT CANDY PINK. LIPS: PREP + PRIME LIP. FACE: FACE AND BODY FOUNDATION IN N1 AND POWDER BLUSH/MARIAH CAREY IN LIGHT CANDY PINK. LIPS: LIPSTICK IN STUDDED KISS. ALL BY MAC top by Koché, jeans by Levi’s, necklaces by Anne Thomas. jacket by Helmut Lang, tops by Jean Colonna, earrings model’s own, necklaces by Ambush opposite page FACE: FACE AND BODY FOUNDATION IN N1, POWDER BLUSH IN AMBERING ROSE AND LIP PENCIL IN CHERRY. LIPS: LIP PENCIL IN CHERRY. ALL BY MAC hoodie by Ivy Park, poloneck by Tara Jarmon, earrings by H&M Hair: Carole Douard. Models: Dina Shalaby at IMG and Ingvild Rasumsen at Girl

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The other sex Can art succeed where porn fails and actually turn us on?

The answer is yes, according to the people behind the German collective that has made it its mission to present an artistic alternative to the seamy side of pornography Words by Ole Siebrecht Photography by Harling & Darsell Styling by Gabriela Pintado Terroba The Berlin-based art collective Pornceptual deals with pornography in a different way: by creating a platform for everyone who is curious and interested in seeing pornography, sexuality and intimacy in a way that’s far removed from the grubby movies that propagate unrealistic body images or degrade women. Pornceptual questions these views by offering their own. The Forumist found out exactly what those views were when they met the team behind this sexual revolution – Raquel Fedato (23), Chris Phillips (28) and Justus Karl (22).

Porn is often connected with films that degrade women and give unrealistic impressions of sex.

How do you see porn?

RF: “Like any medium of expression, it is subject to the people who project their opinions and views on the world through it. The vast majority of mainstream porn today projects a degrading view of women. Like any other artistic product, pornography is subject to market conditions, resulting in a ‘race to the bottom’. It seems that what began as erotic art diverged towards a profane, disillusioned and oversaturated portrait of human sexuality.”

CP: “There is often confusion between porn as a concept and porn as the specific product of capitalist corporations. There is a porn industry that profits from dehumanising all involved while depicting hard-core, body-punishing sex in which people, especially women, are demeaned. We are proposing an alternative that brings back authenticity and intimacy, to blur the lines of porn and art. I see porn as an aesthetic experience.”

Nowadays we don’t deny pornography any more – it’s still #1 when it comes to online traffic. Would you call us the new generation of pornography?

How do we deal with it differently from our parents’ generation?

CP: “Yes, we are the first generation of internet pornography. Pornography is not recent, but past generations had very limited access to the material. Some agents like Playboy were able to push it into mainstream culture, opening the economic and cultural space for internet porn.

With the democratisation of internet, mass production of pornography became possible. This shaped the way porn is now produced, perceived and consumed.”

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But most people still deal with pornography in the same way as previous generations. It’s often seen as shameful, both for those producing it and the consumers. It’s not something a lot of people would feel comfortable about discussing with their parents or their bosses. There is still a huge hypocrisy related to it.

RF: “Not at all. I consider pornography and sexuality more of a taboo now than it has been previously.

Our generation appears to consume pornography the same way we wind up consuming each other as objects. I think the constant availability of pornography has much to say about the lack of authentic, liberating sexuality that many millennials are reportedly experiencing.”

Do you think our society is too prudish sometimes?

CP: “Of course. We live in a society that gets offended by a female nipple. Maybe our society has become more liberal and open-minded, but then this has also caused a reaction in the opposite direction.

We have been experiencing a massive wave of conservative views that are reimposing outdated moral values and judgmental attitude. As Pornceptual, we are constantly struggling with censorship and, even that fact that we label the project as pornographic is often problematic, since there is still a lot of stigma around it.”

RF: “It depends on which society you are referring to.

Prudish reactions are often a way of rejecting something you recognise on a certain level but do not wish to associate yourself with. I think people often deflect their deep-seated dissatisfactions with their lives by pointing fingers at people who are openly enjoying themselves.”

Pornography is available everywhere – just pull out your smartphone and there you go. Do you think this omnipresence makes it less interesting for people?

CP: “It doesn’t make it less interesting at all. This would be the same as saying that people are becoming less hungry because there are too many photos of food on Instagram. It makes it more interesting and more engaging. After the democratisation of internet, mobile technology is the second revolution in terms of digital pornography.”

RF: “There is a small minority of people for whom sexuality is not interesting. The omnipresence of porn is something of an issue, but it also presents itself as an opportunity. I think that the lack of options plays a big part in enjoyment. When was the last time you really enjoyed a movie on Netflix anyway?”

What are you hoping to change in people’s minds?

RF: “Our goal is to challenge people’s minds by questioning gender-, race- and ethnicity-based stereotypes from a body-positive perspective. The ultimate change would be people feeling empowered and realising we are able to use our bodies as a medium for fighting conservatism.”

CP: “We are questioning labels and trying to propose an alternative. It has definitely helped me to become a more understanding person and allowed me to experiment sexually.”

How did you come up with Pornceptual?

CP: “I come from a very conservative background and started to experiment with erotic photography as a way of exploring my own sexuality. But then I realised this should not be about myself, but rather a collective platform where artists can share their views on the topic.”

RF: “The intention was to create a sexually affirmative movement guided by the need for our generation to develop a body- and sex-positive kind of porn that doesn’t exploit its participants or its audience.” clockwise from top: Body by Pieces; Belt Necklace stylist’s own. Top by KOLI, from pornceptual; choker by ROSA. Belt model’s own, gloves by KOLI. Top and shorts by KOLI, choker by Emma Big, all from Pornceptual

Who’s responsible for what?

RF: “Chris and I run Pornceptual together. He is responsible for the creative/artistic part and I take care of the marketing-/business-related development of the project. This is especially interesting due to the fact that both of us come from very different career backgrounds, which is in the end what makes Pornceptual work. Justus curates performances for the party and assists us in photoshoots and video productions.”

What exactly is Pornceptual and what does it stand for?

RF: “As mentioned, it’s an attempt to confront heteronormative gender roles that define and shape much of western society today. It is an online gallery, a party, a magazine and, most importantly, a platform to spread positive discourse. We aim to combine politics, art and pornography in an overarching vision of change.”

CP: “It is an art-porn project that stands for sexual freedom.”

How does Berlin and its vibe shape your platform?

RF: “It would have never been possible to develop Pornceptual to this extent in any other city. Its vibe and mentality have allowed us to explore different ways of producing and consuming pornography without having to deal with difficulties such as censorship and harassment. It has allowed us to grow – almost – free of judgments and it has given us the inspiration to expand the project into different areas.”

CP: “Berlin is a unique city. It has an amazing underground scene and we still have a lot of freedom to express ourselves here.”

Has Berlin shaped the way you see sexuality?

CP: “Yes, it has inspired me with its fetish scene and very direct approach to sex. It has encouraged me to experiment.”

RF: “Berlin definitely shaped the way I deal with my own sexuality. For sure the main reason is that it is a very open-minded city compared to Brazil, the country I grew up in. People love saying Brazil is very liberal, but it’s actually a highly misogynist and sexist country. Moving here made me feel secure about exploring different aspects of my sexuality without having to worry about my safety or about being judged in my professional and personal life.”

You regularly post photo series on Pornceptual showing models, mostly nude. Do these models and photographers contact you or do you ask them if they’re interested?

CP: “Both. I often photograph friends or people who have found out about the project and feel motivated to participate somehow. We also keep the platform open for artists to submit their work.”

Some people feel uncomfortable undressing in front of a camera/posing nude. Is there anything you tell your models to make them feel better?

CP: “I don’t photograph people who are unsure about posing naked as I don’t want them to regret it.

During the shoot, I try to be as respectful as possible and always keep a dialogue so they can also participate in the creative process.”

When you launched Pornceptual, how did people react?

CP: “We had very positive feedback from the beginning of the project and a lot of support from friends. But of course people also criticised it, with some saying that it wasn’t art and others that it wasn’t porn. I was happy it caused this kind of confusion, it showed me it was relevant enough to cause a reaction.”

Pornceptual is not only an online platform, it’s also a party. What’s special about it? Do I have to come naked?

RF: “The special element about the party is definitely its artistic approach. It’s not only a club night but also an art event. Many also say it’s a less-aggressive version of common sex parties. We allow people to attend wearing normal clothes as long as they have the right mindset and respect guests who choose to be naked.”

CP: “The Pornceptual party is a mix of art happening, sex party and underground music event.

Nudity is not mandatory, but encouraged. We do have a dress code and different entrance prices, depending on how naked you are or if you’re dressed in fetish gear or theme-related outfits.”

Where do you want to take Pornceptual in the future?

RF: “We intend to create a sort of art residency and focus on our film productions.”

CP: “We want to invest in the production of independent movies and offer the possibility for different artists to launch their art porn through our platform – the next step is to launch crowdfunding.” pornceptual.com

Above left: top by KOLI, from Pornceptual; necklace by Rosa. Above, from top: choker model’s own. Top by Monki; Harness by Imon studio, from Porceptual. From left, Raquel wears jacket by Marciano, dress by Only, body stylist’s own; Justus wears vintage coat, jacket by Koli, choker by Rosa; Chris wears vintage coat, shirt, hat and scarf

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Have it all The best forms of artistic output can come from combining the different worlds that feed it. The Forumist caught up with a few of the individuals carving out their own place in the creative universe by merging art, fashion and music Words by Filip Lindstrรถm Photography by Dan Sjรถlund Styling by Maria Barsoum Special thanks to Whyred

above, from left: Simone Jacket, Eline Softan Blazer, Katja Blouse, Sioux Trousers and Lommi Shoes. Sister Blazer. ALL by Whyred From far left: Sister Blazer, Lolo Narrow Check trousers and Ozzy Shoes. black Herti Devore Shirt and Karolina Silk Shirt. Katja Blouse and Sioux Pants. All by Whyred Opposite page: Pauline Shirt, Rita Linnen Skirt and OSSY Shoes by Whyred

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Cajsa Wessberg A young, inspiring artist who understands the bond between all forms of art is illustrator and model Cajsa Wessberg. Her drawings and designs often show animals and are influenced by nature in a beautiful way that can be at once innocent and purposeful. The line of educational toys she has created – Köttdjur (Meat Animals) – is about teaching children that the meat we eat comes from real animals. It is a mindful method that seeks to educate the young about things that our and Wessberg’s generation did not have the chance to learn when we were growing up. Change must start early, and change is needed.

For Wessberg, when it comes to art, seeing the synergy is natural to her and the creative people of her generation. “Everything is definitely connected,” she says. “I’m really inspired by music, fashion and film, probably much more than visual arts. I don’t really gather that much inspiration from the outside, it’s more from the inside.”

Being both a model and an illustrator, Wessberg gets a first-hand glimpse of the worlds of fashion and art. She feels that there is a rise of consciousness in the arts, with questions about racism and feminism being raised more often. When asked about her ability to operate within both worlds, she shares some of her thoughts on artistic innovation: “Combining the two works perfectly! Since my illustration work is freelance and it’s all my own projects, I am free to work wherever and whenever I want. It can be a bit difficult to find enough time and, right now, modelling takes up most of my time. Sometimes I am very artistically stimulated by it, when the art direction and the concept are exciting and innovative, but I am surprised at how often the fashion world lacks innovation. I feel like there is a lot of reproducing of what already exists – the same old poses, make-up and clothing.”

Perhaps there is a lot of reproduction of what already exists in music and in fashion. Perhaps that is one of the foundations of art – redoing the past in our own images. Wessberg is part of a generation that is ready to step in and change the worlds of music, fashion, art, film, illustration – whatever its members set their minds to. This generation, my generation, is ready to take over. cajsawessberg.com

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This page, from far left: Axel wears Moon Blazer, Asher Shirt and Ferry Animal Scarf. Tom wears Graham Evening Blazer, Asher Polka dot Shirt and Earl Evening Trousers; Axel wears Hawk Jacket, Karolina Unicorn Shirt, Earl Trousers and Ferry Polka Dot Scarf. Tom wears Graham UNC Harris Tweed Blazer. BELOW LEFT: FROM LEFT, Tom wears Graham UNC Harris Tweed Blazer and Earl Evening Trousers; Axel wears Moon Blazer, Asher Shirt, Earl Trousers and Ferry Animal Scarf. All by Whyred Opposite page: from left, Tom wears Graham Evening Blazer, Asher Shirt and Earl Evening Trousers; Axel wears Hawk Jacket, Karolina Unicorn Shirt, Earl Trousers and Ferry Polka Dot Scarf. All

by Whyred all available at whyred.com Hair: Sherin at Adamsky Belts and shoes: talents’ own

Ruby Empress Few bands today understand the shared history and common purpose of music and fashion. Ruby Empress, on the other hand, is built upon that understanding. The Gothenburg quartet breathes new air into the predetermined visual depiction of a pop band by crossing over styles and ignoring gender confinements. Their music is stitched together by inspiration gathered from different eras and parts of the world, making their songs Strung Out and Deluca underground hits all over the globe.

“Today, difference comes from distance, rather than innovation” is a quote that Ruby Empress’s lead vocalist Tom Serner once read in a magazine, meaning that progress in the art world comes from looking over your shoulder and reshaping what you find so that it suits you. Serner and keyboardist/vocalist Axel Agervi share a philosophy that views all art forms as pieces of one puzzle, renewing itself by people interpreting the past. They believe that innovation and inspiration can come from other people’s ideas, whether past or present.

When you talk to them, Ruby Empress’s lust to create instils a wonderful desire to be just as creative.

“In attempting to make something new and combining things, you have to seek inspiration in places other than music,” says Serner. “We are curious about art, fashion and photography. We try to take in as much as we can to channel it in the music.”

“Everything is connected,” Agervi agrees. “Even though you’re only interested in music or only in fashion, they are connected.”

“There is a synergy between music and fashion,” adds Serner. “We have grand plans about Ruby Empress being a world of its own and we want to motivate young people to do their own thing – feeling free in one’s form of expression – rather than be locked down to one form or a specific way of dressing.”

Serner and Agervi are excited to share their music and way of thinking with the world, and they are aware that no one knows what they are about at the moment. That is why we need to listen closely to these young innovators. Their debut EP, Empressionism, and their passionate musical visions – described by Agervi as “a hungry tiger waiting to be released” – are two good reasons to keep an eye on Ruby Empress, a band with their most exciting days ahead of them. rubyempress.com

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New order

Rein is a great spokesperson for a generation that is about letting new voices be heard. With self-esteem to inspire and energy to emulate, she has opened the public’s eyes to music that was previously seen as alternative and extreme, not unlike the journey from the cultural underground to the mainstream that Dr. Martens footwear has made Words by Filip Lindström Photography by Ivan Rudolfovich Nunez Styling and grooming by Alice Lönnblad Special thanks to Dr. Martens

It felt like she came out of nowhere. When Rein emerged with a merciless electronic sound that made all other dance music pale in comparison, she was instantly embraced by alt-synth devotees as well as mainstream-music fans. She made it clear that she deserved the attention, hooking everyone through an attitude that is impossible to ignore. Her music is unapologetic, straightforward and loud in a simple and natural way. She has managed to transform a style previously considered extreme and alternative into something that everyone can see quality in. For lack of a better description, one could say Rein has brought an esoteric genre to the masses without removing its essence. Unsurprisingly, she has no lack of self-esteem.

“There isn’t really anyone who does what I do today,” she says. “For a long time, I have felt like someone like me is needed and I can’t understand why no one has done it sooner.”

Earlier this year, she performed at a Forumist party at the Dr. Martens store in Södermalm, Stockholm, a recurring event that’s held in a setting where guests 14

can listen to good music and look at shoes at the same time. For Rein, the evening was a first. She is a good match with the iconic brand that is inextricably connected to music history, and she describes why perfectly: “I have loved Dr. Martens shoes ever since I was a teenager. It has been a shoe for alternative people, but today many others also walk around in them. That’s fun!”

It’s not only some kinds of music that have shifted from being well-kept secrets among a select few to gaining the attention of a wider audience. Almost all fashion statements are founded in the cultural underground and later accepted and loved by a demography that has no idea about their origin. Dr. Martens boots were once known as the footwear of choice for the peaceful, music-loving, equalityaspiring original British skinheads. Today, you can see them on the feet of people who have never heard a song by The Specials in their lives. Progress in music and fashion happens simultaneously, with one world influencing the other, and it is the natural growth of

any expression. The mainstream can’t exist without the underground and the underground wouldn’t seek new kicks if it weren’t for the mainstream and its systematic borrowing of everything that is cool.

“It is always interesting to amplify your approach by producing music that chimes with what you are wearing,” says Rein about using fashion as an advantage in a music career. Her time in the public eye doesn’t go back very far, even though the world of music is not new to her.

“I’ve been making music by myself since I was 13 years old, mostly because I wanted to wait until I was mature enough. I’ve always had a clear idea of what my sound should be like, before Rein,” she says. “It’s not that common to hear women making hard electronic music, with the expression and the message that I want to put out. I’ve always gotten a kick from hard, monotonous bass lines. I bring something entirely unique, I am in a class of my own – not only in Sweden but in the rest of the world. I am a club act with my live drummer. We keep the audience going with our raw and aggressive energy.”

It is possible that Rein gathered the emotions necessary while making music on her own just to unleash them when the time was right. And she has arrived at exactly the right time, when the world needs her as much as she needs the world.

Rein shares her thoughts on where the world of music is heading: “I think the contemporary political time will come with a clearer message and musical shallowness will decrease. All revolutionary times have brought with them great art. Being committed is a pillar of art.” facebook.com/reinelectronic

Main photograph: 1460 George & The Dragon boots. Clockwise, from top: vintage shoes. 1460 Mono Black Smooth boots. 1460 George & The Dragon boots. 1461 Bandana Bentley II Heart boots. 1460 George & The Dragon boots. all by Dr. Martens Main photograph: jacket and skirt by Stand, bra by Wood Wood, fishnets by Asos.

Clockwise from top: fur stylist’s own, top by Na-kd, shorts by Dr Denim. Jacket stylist’s own, shorts by Dagmar, knee stockings by Wolford, fishnets by Asos. top by Na-kd, jeans by Mih Jeans. vintage top, tank top by Brandy Melville, trousers by Stand. jacket by Dr Denim, vintage T-shirt, trousers by Hunkydory SPECIAL THANKS TO: DR. MARTENS STORE, KATARINA BANGATA 15, STOCKHOLM

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make the

connection Bring colour to the Nordic climate with local brands and looks that will tease the sunshine out and get everything moving Photography by John Scarisbrick Styling by Christopher Insulander OPPOSITE PAGE: Jacket and jeans by Acne Studios, hat by Sensitive Kids Club

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this page: Waistcoat by Whyred, dress and belt by Emelie Janrell opposite page: top and Dress by Back, belt and gloves by Emelie Janrell

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this page: Jacket by LXLS, top and shoes by Whyred, skirt by & Other Stories, scarf (worn as belt) by Diana Orving, socks by Back opposite page: Dress by Rodebjer, skirt by Back, belt by Emelie Janrell, shoes by Whyred

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this page: Hoodie and dress by Acne Studios, belt and gloves by Emelie Janrell opposite page: Jacket by Frame Denim, dress by Day-Mar, belt by Whyred

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this page: Top by Back, shorts by Dr Denim THIS PAGE: TOP AND CHOKER BY CHRISTIAN DADA, SKIRT BY opposite page: Sweater byAKIKOAOKI Acne Studios, dress by opposite PAGE: TUNIC AND SHIRT BY Whyred, shoes

by Christian Louboutin AKIKOAOKI, CHOKER BY CHRISTIAN DADA Hair and make-up: Rie Model: Kako Takahashi

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Hair: Jacob Kajrup at Adamsky Make-up: Josefina ZarmĂŠn at LinkDetails Models: Josefin T, Matilda L and Nikita C at Mikas, and Shirwac A at Nisch Tailor: Emelie Janrell

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In the mix

While the rest of the world seems to be hurtling in the wrong direction, throwing up barriers and redrawing the borders with their neighbours, South Africa has been becoming a multicultural and vibrant creative hot spot that is making the rest of us take notice today

Words by Johanna Bergström Photography by Hanro Havenga Styling by Jamal Nxedlana Special thanks to Elvine The new generation of artists and creators that has sprung up around South Africa has been fuelled by the mix of cultures that has been fermenting since the dismantling of apartheid. The result is an exciting music and performance art scene that is, in turn, inspiring the rest of the world – including the Swedish minimalist fashion brand Elvine, which chose to dedicate its joyful and colourful SS17 collection to this new vanguard. The Forumist met some of the artists ringing the changes.

Big Space A musician and artist, Big Space is also known by the name Montle Moorosi, which he uses when performing his other creative passion – writing.

Tell us about you and music making.

“I started making music in high school and the focus of my work so far has been to find my own voice or sound. At first I tried to copy all my favourite producers, which left me feeling utterly frustrated with my style. But then, at some point, I realised my style was right in front of me the whole time. I just needed to nurture it properly.”

What is your relationship with Nordic countries?

“When I was about 16, I always had this weird fantasy that a tall, blonde Nordic girl, dressed in camouflage pants and Timberlands, would take my hand in marriage and we would elope to Norway and make a living there. Today, I know a few creatives from Scandinavia. And I do have a friend in Sweden. He is from South Africa but lives there now, working as a rapper and a model.”

And what are your future plans?

“I will be focusing on my record label – Wet Dreams Recordings, or just WDR. We have a lot of great releases coming up this year. First out is the official WDR Compilation, which is a collection of some really good underground producers from South Africa. I also see myself acting in movies one day, or maybe hosting a daytime talk show.” facebook.com/BigSpaceEsq

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Dear Ribane A creative collective consisting of Manthe, Tebogo and Kokona Ribane, Dear Ribane is known for building strong, timeless narratives through photography, film, set designs, fashion design and theatrical performances.

Tell us about the South African creative scene of today.

“It’s courageously consistent and has been growing strongly lately. Thank God also for the internet. It gave us a voice to start new conversations with the world. There is a strong energy here for creating job opportunities through art and culture. And for having financial freedom through your craft.”

What do you know about Sweden? What are the main similarities and differences compared with South Africa?

“We have only been to Sweden for a short stay, but our impression was that the Swedish are stylish and not afraid to explore their fashion statements. We think our two countries consist of similar, cool, fresh-driven minds. The Swedish government is investing a lot in art and culture and we would love to see the same investments here. Also, Swedish schools are more advanced. South Africa is getting there!”

What do you think about the Elvine South Africa-inspired collection? Do you see a connection with your country?

“We love the simplicity and quality of the collection.

It is settled and very concentrated. The printed clothes are the most interesting pieces and they remind us of the Durban Zulu taxi drivers.” za.pinterest.com/DEARRIBANE113 This page, left: from left, Tebogo wears Clive shirt and Hermansson trousers; Manthe wears Waldemar sweater and Slimson trousers; Kokona wears Santiago shirt and Wilson trousers.

Below: from left, Desire Marea and Fela Gucci wear Billy jackets. ALL by Elvine Opposite page, clockwise from top: Tebogo wears Marie sweater and Clive shirt. BIG SPACE wears Dan jacket; and Buddy AOP T-shirt and Wilson trousers.

ALL by Elvine

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Faka

Nonku Phiri and Dion Monti

The dynamic and colourful duo Faka, or Desire Marea and Fela Gucci, use music and performance art to promote young, black, queer voices.

With their focus set on finding interesting ways to explore reality, Nonku Phiri and Dion Monti are a musical duo with a very personal and mystical approach.

How do you refer to your South African heritage in your artistic work?

“Our work is our South African heritage. We do not see heritage as a thing stuck in a specific era.

There are many aspects to our heritage that have evolved and influenced the way we live and the way we work in different ways. Therefore, the two are not separate.”

Tell us something about the current creative culture of South Africa.

“There are many movements and subcultures, so you cannot really reduce it to one concept. One common thing, however, is that the aesthetics are authentic, created out of resistance and brilliance.

Right now, the whole creative scene is quite complex. We are entering a new era, where young, black, marginalised artists have a voice. For the future, we would love to see more work being created and more opportunities coming from this.”

And for you? What are your future plans?

“We want to continue creating important and meaningful work. The ultimate plan is to develop platforms for black/brown, queer/trans creatives, because there are not enough forums for us to express ourselves and validate our experiences.” facebook.com/faka0000

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Tell us about your artistic work and your inspiration.

“We are inspired by things like everyday life, African culture, storytelling and mysticism. Our current setup comprises mostly electronic instruments, coupled with vocal looping. It focuses on blend dance music, with South African genres such as kwaito and shangaan electro. Even though our music is very electronic, it is also very organic and intuitive, especially from a performance perspective.”

What can you say about the South African creative scene of today?

“It’s thriving in all directions and disciplines at the moment. And many artists are taking their work all over the world. And the world is also looking towards South Africa, because artists here work with a very personal and somewhat spiritual approach in comparison to the very conceptual approach we have observed in Europe.”

What is your next step as artists?

“We are currently embarking on an Asian tour and will hopefully also be able to spend more time touring in Europe over the next year. And, of course, we are looking forward to sharing our new sound, which we have been developing during the past year.” facebook.com/nonkuphiri; dionmonti.com

This page, from left: Sho Madjozi wears Tuva AOP dress; and Milla APO jacket.

Both by Elvine Opposite page, from top: from left, Desire Marea and Fela Gucci wear Billy jackets.

From left, Nonku wears Zoe jacket; Dion wears Allan T-shirt. All by Elvine Stylist’s assistant: Hazel Kimani

Sho Madjozi For young rapper Sho Madjozi – whose given name is Maya – the ultimate goal with her art is to use it to lift her childhood village out of poverty.

What inspires you as an artist? And how do you involve your heritage in your work?

“Making art is a powerful urge that I have. And it is the only way I can live my life. I have a deep desire to be understood, and this is the reason I got into writing. In my work, I just try to be as honest as possible about my life – and my life cannot be divorced from my heritage. I wear my traditional skirt and I rap in my own language. Because that is who I am.”

What is your relationship with Sweden? Do you see any connection between Sweden and South Africa?

“My father’s mother is actually Swedish and I visited once or twice as a child. My Swedish grandmother lives in the forest somewhere in Sweden. She keeps chickens and uses firewood and an outside toilet. My other grandmother lives in Limpopo, South Africa.

She also keeps chickens and uses firewood and an outside toilet.”

What do you think about the Elvine clothes in this shoot? Do you think that they represent South Africa in some way?

“I like the colours of the Elvine pieces that I wore. I like it when wax prints are transferred to lighter fabrics. With regards to the connection between the garments and my country, some of Elvine’s prints are afro, while some of the cuts are very Western. What country could better embody that clash of those cultures than South Africa?” facebook.com/shomadjozi

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places to

go

When life is moving, step up. Our New Mexican street-cast talent show you how to do it in designer pieces that make it clear to the world which way you’re headed Photography by Alexander Neumann Styling by Angel Macias

OPPOSITE PAGE: JACKET BY 3.1 PHILLIP LIM. JEWELLERY TALENT’S OWN

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Above: T-shirt by Carolina Sarria, jeans by Jose Duran opposite page: Top and bodysuit by Louis Vuitton, trousers by Ellery, shoes by Giuseppe Zanotti Previous page: T-shirt by Dries Van Noten, vintage earrings, necklace by Laruicci

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above, from left: Top by Shahista Lalani, jeans by Carven. Shirt by Gucci opposite page: Shirt by Jil Sander, shorts by Cheng-Huai Chuang Previous spread, from left: Shirt by Anna Sui, trousers by Dries Van Noten. jumpsuit by DKNY Hair: Colin Yeo Make-up: Alejandro Campos Models: Maria Gonzalez, Fernanda Alvarez and Sofia Bak at Guerxs Stylist’s assistant: Elvia Oliver

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A view into one’s own

US or Manhattan, or the different continents.

What does it feel like, though, growing up deprived of such a pillar of familiarity, when everything you know is constantly morphing? This is the reality for both Israelis and Palestinians.

Coupled with my own childhood memories of growing up in Israel, I wanted to create this hybrid that’s part the story of people’s loss, and part my own history. I use black and white gesso that contains sand that I bring from the West Bank and Ra’anana, my hometown in Israel, and I paint in fragments and use silkscreens to have the paint sort of struggle to make it onto the surface. I guess these landscape abstracts are a reinterpretation of maps and the visuals that made an impression during my early years, whether they be accurate or romanticised memories.”

Disengaging out of convenience isn’t possible for the visual artist Amir Guberstein, whose compelling identity-based practice is largely informed by the complex and morphing realities of his native Israel in relation to Palestine and the long-term conflict. We asked him to explain further

You paint more or less exclusively with gesso, right?

“Yeah, I love gesso – it can take a figurative beating.

It’s a primer so it’s made to withstand lots of layering and is great for having stuff mixed into it, such as the sand I bring back, and still come out kind of graceful.

I use both black and white gesso and mix them, trapping gradations that I then unfold and spread from the core outwards.”

What’s the story behind the series of monotypes called Excerpts from hate mail and conspiracy theories sent to the East End Temple in Gramercy, Manhattan?

“Religious institutions have always been a venue for people’s airing of messianic grievances and hallucinations, no matter their faith. The institution where I teach the after-school programme occasionally receives visually fascinating mail with anything ranging from ‘truths we all have to open our eyes to’, to illuminati-themed theories, to straight-up pulverised substances. Whenever a new one comes in, the school gives me access to it and I scan it and make large-scale monotype abstracts and small-scale zines out of the original materials.”

Words by Ashik Zaman Portrait by Benjamin Fredrikson

You were recently showing at Samuel in Chicago, in a group show where each artist was invited to submit a flag based on the Earth Day flag, which makes for a symbol of environmental protection.

What did you present?

“I showed one of my micro-suede pieces, an abstract made with my gesso mixture containing sand from Palestine/Israel. In many ways this regional dispute is emblematic of what typifies almost every conflict in the world – a land grab, born out of different circumstances, which then seeks justification for itself, be it religious, nationalist or survivalist. In almost all cases, the occupation radically redefines the occupier over time. Land grabs tell a story that covers a people’s past, present and future, and contains all the elements of the human psyche – from our capacity to hurt each other to the ultimate devotion to our origins and this earth.”

In light of our times it seems the political will increasingly claim centre stage in contemporary art, with a shift away from post-internet art and an echo of societal changes and challenges occurring. With the recent outcome of the US presidential elections, it was interesting to see art taking to the streets in the form of protest signs and the like. How do you see your artist peers in NYC responding to what’s going on?

“Art in the service of social movements has been a pretty reliable companion throughout the past century.

I would like to see artists translate their vigour not just into creation but action and organisation. Whether we like it or not, the discourse has changed tremendously almost overnight. It’s almost as if we don’t speak the old language any more. How do you stay adept at processing this new configuration when you’ve momentarily lost the battle over language? I guess you gotta approach this in ways you don’t find immediately conducive to your creative process.”

Your work is very intriguing – intricate and visually titillating at once, even independent from a given context. But reading into your artistic statement, there’s really an extended breath to your work and you can see all the elements start to unfold. Notably, you address the influence of the geopolitics of Israel and the occupied Palestinian territories and reflect on land grabs and borders.

“Yeah. I moved to Berlin when I was 21 and it was there, at a relative distance, where I got a better understanding of where I’m from. I also met my future husband there who’s a native New Yorker – he’s half-Palestinian and grew up on the Jew-y Upper West Side in Manhattan. So over the years, self-definition and political responsibilities changed for me and I came to terms with – but also started challenging – certain aspects of the narrative I grew up with. That meant that I had to reconcile my

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Lastly, what’s coming up for you in 2017?

“I’m a member of the artist council at Jewish Voice for Peace so we’re in the process of figuring out what the cultural legacy of this grass-roots organisation could be. There are a couple of publications in the works. Other than that I’m in a couple of upcoming group shows in Europe and America, and a residency later this year. Stay tuned.” guberstein.com

undeniable love for my homeland in spite of all its problematic aspects. And I’m not just paying lip service saying that – there are actual consequences to partisanship in this conflict. Opting out of studying the history of the two peoples because it’s inconvenient or doesn’t sit right with your beliefs makes you complicit to varying degrees in this situation. Disengaging is just not possible.

“After I got my MFA in Berlin we moved to New York, where once again my Jewish and Israeli identities had to reconfigure themselves. Shortly after that, I started volunteering at Jewish Voice for Peace, a grass-roots organisation that calls for peace and social justice in the region, and I’ve also been teaching kids at an after-school programme at a Reform Jewish congregation in downtown Manhattan.”

The notions of collecting data and creating maps to chart the flux of power is omnipresent in your work. Tell us more about this process and how it’s carried out.

“A few years ago I started researching and navigating through databases of several independent Israeli monitoring agencies that operate in the occupied territories and track anything from borders in administrative shift to statistics reflected in maps. For example, you’d have these maps showing which parts of cities are off-limits to Palestinians, or you’d see bypass roads for Israeli use only that create these meandering choreographies that hug and bisect Palestinian villages, and so on.

“Most people know what their home countries look like on a map – they know the shape of the

images courtesy of the artist

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Street life

In Tokyo, anything goes, so relax in loose shapes and let the rest keep passing through Photography by Motohiko Hasui Styling by Koji Oyamada

above: Jumpsuits by MSGM, Neckpiece by FACETASM Right: Dress and shoes by MSGM, trousers by ALLSAINTS far right: Shirt and shoes by Diesel, trousers by Bless opposite page: Top by MSGM

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right, from top: Sweater and trousers by Diesel, top by MSGM. top and skirt by MSGM opposite page: Jumpsuit by Diesel, top and shoes by MSGM Hair and make-up: Rie Shiraishi Model: Sawa Nimura

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what they wanted to do before hitting the record button because film cost money. Today you can record hours of video footage and then choose what you want to use.

“Many people think they are artists because they use the same codes as many artists do, which they can see everywhere on the internet and on social media. I also have to push myself sometimes to remember that filmmaking is not just about making beautiful things, it’s more about sending messages out there and having something to say.”

Nowadays, people constantly want to see new content. How do you deal with the pressure of creating something new?

“We all feel the time pressure because of the fast pace of our daily lives.

Every day there are new releases, innovations and creations. Something new is happening every hour, maybe even every second. Maybe that’s why I’m so impatient and feel the urge to create, which often means I have to juggle 10 projects at the same time.

“I think that if we want to be able to deal with the time pressure we need to be aware of the fact that we are still young and have a lot of time to accomplish what we want to. People shouldn’t be concerned about becoming super-famous and should learn to acknowledge what they’ve already done and not be so obsessed with the future. But you know I am saying it even though I think I will never be able to do it myself !”

How did you start making movies?

“I moved to high school in Paris and started attending a cinema class there.

One day, someone asked me to appear in a movie that was going to be shot in Turkey. It was an awful experience [Laughs.]. I realised I’m no good at acting and I was more interested in watching the director. When I got back to Paris it was clear that I wanted to become a film director. I started making videos of friends doing silly things like citing poetry at a cemetery while wearing animal masks. It was very bad, but I was 15 and just trying to express myself.”

Who do you think you are?

Generation Y, gen next, millennials – they’re all popular terms right now, used by the media to describe those born between the 1980s and Noughties.

But what do they think about the next generations already snapping at their heels? The 21-year-old Berlin-based filmmaker Reda Ait explains how he sees it Words by Veronika Dorosheva Portrait by Marie Chatard If you were to Google the term millennials to check the exact dates of their genesis, you might be surprised to discover two subsequent generations have also now been christened – generation Z (1996-2010) and gen alpha (2011-2025). So is there any difference in how these generations go through their daily lives? Some millennials will remember times when there were no 44

RIght: A still from Salambo, © Julie Lalaaj

What happened in between your first video-making attempts and your ongoing project, Portray Them, a series of short documentaries featuring queer people? How did your work evolve?

“After school I entered Luc Besson’s L’Ecole de la Cité film school, where I learnt everything I can do now. We had a documentary class for which we had to think about making a portrait using film language. Some days before that, I had been with friends in a club in Paris where they had introduced me to some drag queens. I was fascinated by them and the way they expressed themselves and by the sense of freedom they emanated.

When I got set the assignment at school I immediately thought about the drag queens and called one of them right away. This is how Portray Them was born. I wanted to explore how some people feel about being in between the two genders. I like the idea that your identity doesn’t have to be something fixed and that your sense of self can change according to your feelings. Drag queens are what they want to be, whenever they want.

“Portray Them is an ongoing project that I see as an inspirational archive of different characters I can go back to whenever I feel the need for inspiration. All the people who appear in my documentaries are potential fictional characters for a possible big movie to come. My movie Salambo was shot in the Parisian club Concorde Atlantique two years after I started Portray Them.”

Why did you move to Berlin?

“I was just following a gut feeling. I also needed to go to a place where I could strengthen my confidence. In Paris people judge a lot. After just one week in Berlin I felt accepted and as though I was part of a big family.

I also felt really happy to be among so many expressive people who are just being themselves. There’s also quite a mix here. You have refugees and people from all over the world and they all have a different story.

In Paris you have Parisians and tourists whom the Parisians consider ‘those creatures’ who they watch from their cafes… People in Berlin are more authentic.”

Reda is currently working on The Real Housewives of Neukölln, a documentary featuring queer people from Berlin

smartphones, no MacBooks and certainly no WiFi, but someone who was born into generation alpha will never experience life that way. Here we talk to the talented, Berlin-based filmmaker Reda Ait, born in Paris on February 10, 1995, to find out more about his work and his millennial peers.

What do you think about generation Y? “Um, it depends... I think I always had a problem finding people of my age who are passionate about what they are doing. But when you find the ones who are, they are really making things happen. And I’ve always been very surprised by our generation’s ability to do that with nothing more than the need to express themselves. This is especially true nowadays, when everyone can make videos and photos and publish them on social media. It’s very easy to express yourself.”

But do you see this as something positive or negative? Since everyone can be a creator nowadays, there’s more competition. Do you think having access to the internet has made generation Y special?

“We were born in the internet age and are very dependent on it. We all need so much equipment in our daily lives. As for photography and video, of course easy access to the internet and the kit needed makes the market more competitive, which is why what we create isn’t really art any more. When people were shooting analogue they had to think carefully about

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this page, Clockwise from top: dress by JEAN COLONNA, underwear by PETIT BATEAU. T-shirt by THE WHITE BRIEFS. Top by DRY CLEAN ONLY. Shirt by HENRIK VIBSKOV. Zac wears top

by JULIEN DAVID, jeans by LEVI’S; Mia wears jacket by LEE, dress

by AF VANDEVORST. Jacket by LEE, dress by AF VANDEVORST opposite page, Top: from left, Zac wears jeans by LEVI’S, underwear by HANRO; Giorgia wears vest by JEAN COLONNA, jeans by LEVI’S, bra by PETIT BATEAU; Samy wears jeans by CHEAP MONDAY; Paul wears jeans by BARBOUR opposite page, bottom: clockwise from far left, Paul wears jeans by BARBOUR; Giorgia wears vest by JEAN COLONNA, jeans by LEVI’S, bra

by PETIT BATEAU; Elodie wears top by REALITY STUDIO; Samy wears jeans by CHEAP MONDAY; Mia wears top by MARIE SIXTINE, jeans by LEVI’S; Aurea wears vest by PETIT BATEAU, jeans by CHEAP MONDAY

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nobody hangs out any more Put down the devices and talk face to face, in relaxed French style.

There’s more fun to be had Photography by ESTELLE RANCUREL Styling by DELPHINE BROSSARD

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this page, Clockwise from centre: Top by GOLDEN GOOSE DELUXE BRAND. Dress

by SWILDENS. Top by GOLDEN GOOSE DELUXE BRAND, jeans by KOCHÉ. Samy wears jeans by CHEAP MONDAY; Mia wears top

by MARIE SIXTINE, jeans by LEVI’S. T-shirt by THE WHITE BRIEFs, jeans by CHEAP MONDAY. Vest

by PETIT BATEAU, jeans by CHEAP MONDAY. jacket by ADIDAS Originals by ALEXANDER WANG, top by COMMUNE DE PARIS, jeans

by CHEAP MONDAY

opposite page: From left, Samy wears jacket by APC, T-shirt

by THE WHITE BRIEFs, trousers

by LE COQ SPORTIF, trainers by ADIDAS; Zac wears top by CHEAP MONDAY, underwear by HANRO

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this page, Clockwise from top left: T-shirt by THE WHITE BRIEFS. Dress by ZUCCA. Jacket by HED MAYNER, top by ROSEANNA, dress by HANRO, leggings by CHEAP MONDAY. Vest by PETIT BATEAU. Underwear by HANRO

opposite page, Clockwise from top: shirt by ANDREA CREWS. Jacket by HED MAYNER. Dungarees by APC. Jeans by Levi’s, underwear by HANRO. Mia wears jacket by LEE, dress by AF VANDEVORST; Zac wears top by JULIEN DAVID. T-shirt by REALITY STUDIO. Top by MARIE SIXTINE Hair and make-up: Céline EXBRAYAT Hair and make-up assistant: Mouna Benouhoud Casting director: Maxence Orard Set design and graphic conception: César Sébastien and Mathieu Selvatic

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The kid loves pilsner Goat is seldom seen on the menu north of Thessaloniki.

We may love goat’s cheese up here, but the meat often goes to waste. Too bad, says chef Göran Svartengren, who predicts a brilliant future for it and a lot of other forgotten produce. The new generation loves smart food.

And in new combinations Words by Alfredo L Jones Special thanks to Pilsner Urquell In the bible, God seldom shows up. But when he does, it is often suggested that food is what’s is at the forefront of his mind. Apparently, gastronomy is regarded as something very important in the heavens, and goat meat is regularly a relevant matter for discussion. It’s a piece of meat that was very popular back in the day.

“Goat has unfortunately had a bad reputation since the ‘You shall not boil a young goat in the milk of its mother’ quote from the Old Testament,” says Göran Svartengren, the head chef at the restaurant that bears his name. “And it seems that, even back then, it was regarded as something that wasn’t very special. But the truth is very much the opposite. Young goat is fantastic – as a steak on its own, or in a stew or a sausage. It’s like lamb, but even more exquisite.”

Svartengrens is a well-known spot in Stockholm for meat lovers. Here they serve impressive pieces of meat from local producers, knowing that their guests are very demanding. Today we go out on the town for dinner like there is no tomorrow, but we are also pickier and more educated than ever. And wastage isn’t something we appreciate these days.

“It’s a shame that we only enjoy the cheese from the goat and disregard the meat. The Greeks are smart – they know how tasty the goat is. So we want to put the it back on the menu,” Svartengren continues. “And there are many other interesting things out there waiting to be put on the restaurant table. Well… all in a civilized and educated tradition, of course.”

Goat meat is also very lean. If you think chicken breasts are your best option for lean-meat proteins, you’re on the right track. A little further up the health spectrum you’ll find goat meata. Not only is it the leanest red meat out there, it has lower calorie and cholesterol levels than chicken and turkey.

It suits a new, health-conscious generation. But as with lamb, it should not be too old – kid is the best there is.

“Kid is a true delicacy and goes very well with beer. That’s why kid was my first thought when Pilsner Urquell invited me to create a dish for Eat Pilsner,” says Svartengren. “However, when you’re involved with beer cuisine, it’s important to have a sweetness to complement the bitterness of the pilsner. It’s not like wine, which you can reduce and reduce. You must take care, but when you do, you get tremendous results.”

But the world of gastronomy is a conservative one. In restaurant kitchens around the world, wine is naturally the dominant liquid when it comes to making sauces and stocks, but making food with pilsner offers new possibilities – and not just with classics such as robust stews. It also goes really well with seafood, as other restaurants have shown with dishes such as raw pilsner lobster and scallops Urquell.

Goat is too often regarded as a lowly dish. Something you eat on the horn of Africa, while waiting for a container ship to pass by to hijack, perhaps. In the film Captain Phillips the pirates keep reminding the captain, played by Tom Hanks, that when the hijack is over they shall enjoy some lovely goat in their Somalian hideout. But the old view is about to change. Goat is finally coming to town.

Eat Pilsner is an invitation for restaurants all over Europe to create new dishes using Pilsner Urquell – the original pilsner – as a key ingredient. Kid, pilsner and marrow, created by Svartengrens, was made using kid sausage, marrow and Pilsner Urquell. The dish includes dry-aged topside of ox, smoked marrow, onion cream, beetroot, applewood and pilsner onion sauce 52

The Two Goats

by Gustave Dore c.1868

DR MARTENS STOCKHOLM KATARINA BANGATA 15

INDIVIDUAL STYLE UNITED SPIRIT ALICE DIGITAL EDITOR - WEARS ANNAH