0-Magazine issue 2

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Superwomen Hussein Chalayan A life behind the scenes Sarah Lerfel this must be the place Angelo Flaccavento Lucky Star Sascha Lillic Dance.dance,otherwise we are lost Strangmacfarlane Noisettes,a day in life I’m not there Listen to me,baby,it’s time to settle down,am I asking too much for you to stick around?

credits: editorinchief:

Emanuele

D’angelo

emanuele@livincool.com

art director:

Giuseppe Alagna contributors: photographers:

c a m i l o e c h e v e r r i , www.camiloecheverri.net L u c a T o m b o l i n i , www.ascariluca.com e l e n a r e n d i n a , www.elenarendina.com j u l i e c a l b e r t , www.juliecalbert.be e l e o n o r a c e c c h i n i , www.eleonoracecchini.com Stylists: Cecilia Cauville, Mara Palena, stefano fumagalli writers: Vanessa Semmens, Emanuela virago, Karli-Jade Fontiverio-Hylton, gaia de siena

0 is the start and is the end.

0 has no consistence nor actual body.

0 is space-less and time-less.

0 is infinity and nullity.

Hence, 0 Magazine has 0 desire of self-definition.

0 Magazine only wants to be a convergence of everything we like.

This issue is meant to be the mirror of what makes us feel inspired, awakes our creativity, draws our attention and boosts our enthusiasm.

Whatever that is. Might it be fashion, might it be photography, might it be just the story of a human being.

0 Magazine is simply a way of saying, trough these pages, “This is us�.

We don't claim to be original nor ground-breaking.

0 Magazine has a thousand aspirations, but 0 pretenses.

0 Magazine longs for one and one only characteristic: authenticity.

Enjoy.

S u p e r W o m e n

photos:

camilo

echeverri

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C a m i l o E c h e v e r r i was born in Medellin,Colombia and currently lives between Medellin,New York and Riga.He studied at UPB University,obtained a BA in Architecture and an MA in Fashion Photography at London College of Fashion.

After having worked in the fashion and advertising industry,Camilo built his work using the seductive language of these industries to question our perception of reality.

Each image in the SuperWomen series is the still of a story,an instant,having past and future,unseizable by photography.Every image tells the story of everyday life in a fictional way.Hollywood cinematic language has been used to represent the paradoxical happiness of consumption. These images,full of nostalgia,sadness and colours,question us about the border where fiction starts and reality ends.

H u s s e i n C h a l a y a n

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Can you remember your first experience, or impression of the Fashion industry?

I started my label in March 1994.I am constantly renewing myself,which keeps me energized.Whilst evolving my company I have also taken up consultancies,exhibited work in museums and galleries and made short films within my career.

N o t b e i n g f r o m L o n d o n , h o w d e e p ly d i d i t affect you to study there?

As there was a lot of back and forth from Cyprus when I was a younger,so if you add it up,I have spent more years here,so I am really Londoner.

It has fed my sensual and historical curiosity,but the pursuit of fashion design has come from London.

C a n yo u t e l l u s w h at i n s p i r e d yo u t o work in the fashion industry?

As a child,I developed an independent fascination for the body–I was so excited about anything to do with it.

I was also brought up mainly by women,which probably helped to fuel this I started to create narratives around the body.In my culture,a lot of emphasis is placed on going out and looking good,it is a hot environment–which also creates a sexual charge.

I guess fashion for me was the

closest thing which celebrated the body and that’s why I decided to study it.

W h at i s yo u r s ta r t i n g p o i n t w h e n getting to think about a new work?

I am a curious person and an ideas person,everything I do is imbued with my curiosity and love of exploring ideas.

If I had to define my philosophy in just a few words,it would be an exploration,a journey, storytelling at the same time.

W h at i s yo u r fav o u r i t e pa r t o f t h e design and research process?

Both,I still have the same

passion for both as the past, but now I have a lot more to think about,so now designing and research expands into evenings and weekends.

S o y o u w o r k m a i n ly o n i n d i v i d u a l p i e c e s , or is it the concept of a collection m o r e i m p o r ta n t t o yo u ?

I always start with an idea,so the collection evolves form there.

When working, do you have a specific person, or type of person in mind? Or do y o u p r e f e r t o w o r k f o r y o u r s e l f, a n d t o see the reactions to your views?

I like the idea that everyone can wear my clothes,it can be somebody that is interested in

culture and likes fashion as an art form Or somebody who just wants to look sexy and feel empowered in a way.

H o w d o yo u s o u r c e yo u r m at e r i a l s, a n d w h at i s t h e a p p e a l o f n o n - c o n v e n t i o n a l textiles? source my collection fabrics like most designers,through the established fabric fairs in Europe,but I also like to use japenese fabrics as the quality is amazing.As a designer who is always moving forward with new ideas non conventional textiles are a way to treat classic shapes in a new way.

When you decided to enter the fashion i n d u s t r y, y o u i n e v i t a b ly m u s t h a v e h a d e x p e c tat i o n s o f h o w yo u r f u t u r e w o u l d h av e d e v e l o p e d a n d w h at yo u w o u l d h av e a c h i e v e d. D i d t h e y m at c h u p t o yo u r w o r k u p u n t i l t o d ay ?

I feel the work is never done,I can recognize there is amazing work in my collections,but I see my pieces as prototypes for further development.I think my masterpiece is really being an independent label able to compete against large fashion conglomerates and doing it on my own terms.

Photos by: Chris Moore interview by: Vanessa Semmens

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L E T ’S S TA R T T H I S I N T E R V I E W BY A S K I N G YO U : W H A T I S Y O U R C U LT U R A L B A C K G R O U N D A N D HOW DID YOU GET INTO THIS BUSINESS? It came very quick,I was still studying history of art when me and my mom visited this space and immediately had the vision of a shop we could open with fashion,beauty,music,design,a gallery space,and a restaurant.

After having this vision we realized we could actually get this space and from there it all went very quickly.

YO U U S E D T O I N T E R N AT P U R P L E M A G A Z I N E , HOW WAS YOUR EXPERIENCE THERE? It was very different from today,it was almost 15 years ago.It was perfect for me because it was more into Art and Fashion.Olivier Zahm and Ellen Fleiss were already there. She was very involved in writing about art and I went with them to some art biennale and art exhibitions.I also shot one series of photos of some friends with lingerie.It was an interesting and funny experience.The magazine was based in the 13th arrondissement in the Chinese district,it was also in a different format,and I would say more intellectual than today.With Zahm I met Viktor & Rolf before their first couture show when they were still conceptual artists.It was a great experience and I had the opportunity to meet a lot of people from art and fashion.

We could define Colette as a magazine turned into a store, A KIND OF HUB FOR F A S H I O N , A R T, M U S I C A N D D E S I G N .

T O A L O T O F P E O P L E C O L E T T E I S A W AY T O K E E P U P T O D AT E O N T H E S E S U B J E C T S. H O W D I D YO U B U I L D T H I S P L AT F O R M ?

It came very naturally.

This because at Colette we are curious about what’s going on in music,fashion,design,art etc.

We have this space which is like a magazine with pages to fill with new stories.

If we like something we bring it to the shop.We keep on looking at things,updating,and refreshing what we propose in

the shop.Colette is not a very big team.We have one person managing the music department (cd’s-dvd’s),another one hi-tech,and I’m doing everything else: fashion, books, design, beauty.

Would you define yourself as a cool hunter? How did you develop this eye f o r d i s c o v e r i n g w h at t h e n e x t b i g t h i s will be?

I never know if is it the next big thing.I just find something interesting,new and of good quality,and if I like it I give it a chance to sell inside Colette.For example now while we are talking I see these people trying these weird sunglasses from a young French girl designer that we are selling in the store.As you could see they are enjoying them but I never know if a product will work or not. Is part of the game.

E V E RYO N E L O V E S T H E C O L L A B O R AT I O N BETWEEN BRANDS/DESIGNERS AND YOUR STORE.HOW DID YOU MAKE THIS HAPPEN AND W H AT ’S C O M I N G N E X T ?

Usually what we try to do is not to have as many collaborations as we can with brands.

A lot of brands come to us and ask for a collaboration but to do a product in a limited edition it has to make sense.Awareness also is very important.Sometimes you see the work of this artist and this brand and immediately you think it will be a perfect match to put them together.For upcoming collaborations for example we have just received a new model of Reebok Pump that are designed by the street-wear team.

We are also doing something with Tommy Hilfiger and there is a special bag by Olympia Letan for the shoes.The most successful collaboration perhaps was the one we had with Hermes.

It was great to have some of their scarves done just for Colette.Also the one we had with Chanel for Colette with the concept store just very close from here on rue st honore was fantastic.

You often go to Miami Art Basel in December.

W H AT D O YO U F I N D I N T E R E S T I N G T H E R E ?

What I see everytime I go there is a general energy and atmosphere.I really enjoy to see the works from contemporary artists.I Iike Cyril Duval and we work with him regularly.

Another artist, interesting to follow, is Cyprien Gaillard.

I also visited some art collections to see pieces.

At the last Miami Art Basel there was this huge installation

by Friends with you,these artists which do characters etc.

After I saw that, I invited them to do a show at Colette next September. So for me it is a very important platform to see and to meet with the artists.

DID COLETTE SUFFER THE WORLD CRISIS? Yes we are like everybody.

Yes it was more difficult after 9/11 because everyone was scared to fly and we needed our international customers.

For the recent crisis it was ok because fortunately we are not only a luxury fashion brand store.We have a restaurant and a gallery.As you can see here it is always busy.

If you were to be born again, where and when would you like it to happen?

For some reasons it could be interesting to live in the 50s or the 60s but I like to live in this age,I’m happy with internet!

DO YOU THINK A NEW COLETTE WILL OPEN S O O N E R O R L AT E R ?

Not really.We are happy to do some pop-up stores as for example we did in New York, Tokyo or Sao Paulo but always for few days.At the moment we prefer to be more focused on Colette here in Paris.

W h at i s yo u r fav o u r i t e p l a c e i n Pa r i s ?

Do you think this city has changed since you opened your store in 1997?

Yes one of the motivations to open Colette was the fact that everyone was leaving Paris to go to London or New York.

At that time Paris wasn’t really exciting,there were few nice restaurants or clubs.

Now the situation has completely changed.Here close to the store or in the Marais area there are so many new super delicious restaurants.It is very difficult for me to say which is my favourite place except here at Colette (laughing..).

I love the Palais Royal which is a beautiful garden.One of my favourite restaurants,that is also close to our store, is Spring by Daniel Rose in the 1er arrondissement.For nightlife I like Le Montana and Le Baron.

Recently they re-opened Le Trianon for concerts.

Also La Cigale.

M Y C O L L E A G U E A N D I AT L I V I N C O O L .C O M A R E F R O M R O M E , W H AT D O YO U L I K E O F T H I S CITY? Last time I went to Rome was many years ago.But I love the history and the art that you can see in such a beautiful city.

I went there for holidays and of course for shopping.

We are currently working with Delfina Delletrez,she is great and she is also from Rome.

I KNOW YOU TRAVEL A LOT FOR WORK, WHICH IS AN INSPIRING PLACE FOR YOU? I would say Tokyo.

I don’t know what is going to happen there now.But there is a lot of attention for retail shops and a lot of space for young people to express themselves.I would say New York of course but there are so many places that could be inspiring from Berlin to Buenos Aires.

D O YO U R E A D B L O G S ? W H AT D O YO U T H I N K ABOUT THIS PHENOMENON? It’s great to receive all this information so quickly,to have so many points of view and to see what’s going on everywhere and be able to stay at home and be updated.I normally look at a

lot of blogs from design,food, fashion and art.For photography I enjoy to see Olivier Zahm’s Purple Diary or Terry’s Diary by Terry Richardson.They both show their life in their blogs but sometimes I find something interesting and inspiring for the shop.For street-wear I look at Hypebeast or Slam Hype.

For food I like David Lebovitz from Paris.And many many others that at the moment I don’t have in mind.

I t h i n k i t i s r e a l ly i n t e r e s t i n g t h a t y o u a r e a w o m a n o f f a s h i o n a n d a r t, b u t a r e a l s o i n v o l v e d i n s t r e e t - w e a r a l o t.

I have seen you sometimes wearing sneakers during fashion shows.

I T I S V E R Y D I F F I C U LT T O S E E S O M E O N E L I K E YO U T H AT H A S K N O W L E D G E O F B O T H W O R L D S. HOW COME? Yes for me it has been like this since the beginning.

I have always been wearing sneakers more than high heels.

Creativity can be everywhere so I enjoy wearing a t-shirt with a good message written on it just as much as a beautiful dress from a couture brand. interview and photo by: Emanuele D’angelo

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credits: editorinchief:

Emanuele

D’angelo

emanuele@livincool.com

art

director: Giuseppe Alagna contributors: photographers:

c a m i l o e c h e v e r r i , www.camiloecheverri.net L u c a T o m b o l i n i , www.ascariluca.com e l e n a r e n d i n a , www.elenarendina.com j u l i e c a l b e r t , www.juliecalbert.be e l e o n o r a c e c c h i n i , www.eleonoracecchini.com Stylists: Cecilia Cauville, Mara Palena, stefano fumagalli writers: Vanessa Semmens, Emanuela virago, Karli-Jade Fontiverio-Hylton, gaia de siena

this page: Cape,Shirt givenchy,Trousers dylan do leung,Shoes paul smith Opening page: Jumpsuit beyond retro,Shoes stylist own,Coat dylan lo heung

Skirt antonio marras, Waistcoat beyond retro, Epaulettes margiela, Hat ntc, Tights sonia rykiek

opposite page: Waistcoat beyond retro,Shirt paul smith, Trousers dylan go leung,Shoes doc marteens comme des garcons this page: Shirt jacket avalon,Dress alexander wang, Trousers ann demeulemeester

Rosanne wears: Dress by Jiyun Lapthorn Louis and Max wear: Suit Robert Huth, Shoes Doc Marteens

opposite page: Coat godze,Shirt paul smith,Waiscoat ann demeulemeester, Shorts Rick owens,Shoes dc marteens by comme des garcons, Glasses linda farrow raf simons This page: Gilet Beyond retro,Shirt katy leung,Skirt Paul Smith,Gloves margiela Shoes alexander wang,Ties Beyond Retro,Glasses Linda Farrow s t y l i n g : Cecilia Cauville h a i r : Atsushi Takita using “Bumble and bumble” M a k e u p : Namiko Takemiya using “make up store” a r t d i r e c t i o n : Giuseppe Alagna

angelo flaccavento t h e

j o u r n a l i s t

w i t h

a

b o w t i e

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We are happy to host Angelo Flaccavento for our issue no.1!

A n g e l o , y o u w e r e b o r n i n S i c i ly r i g h t ?

Yes,I was born in Sicily,where I still live,although travels bring me here and there all the time.Insularity defines me a lot.By insularity,I mean the constant awareness that there is something more,something new, behind the sea and the horizon, and the will to both explore and ignore it.I enjoy having a lateral view.I need my own space to think & dream.

Insularity is a bit extreme sometimes: technology and connections keep me on the pulse of what’s happening anyway.

W h at a b o u t yo u r p r o f e s s i o n a l b i r t h ?

W h e n a n d h o w d i d yo u s ta r t ?

I’ve always imagined my future in fashion,but first and foremost I wanted to be schooled in a very rigorous,academic way –it’s always been like that in my family.Thereafter,I studied Art History at university.

After graduation and a brief stint in a museum,I had a try as a fashion journalist.

It all happened by pure chance in January 2001.I was in Paris, rang the Dutch (r.i.p.) offices and asked for an appointment.

The fantastic Rebecca Voight, who was the editor in chief, said “yes,pass by”.I proposed a couple of stories,which she liked.That was the beginning of it all.Uomo Vogue and Tank soon followed.Ten years later,I’m still around.

W h at a r e t h e m a g a z i n e s t h at yo u a r e c o l l a b o r at i n g w i t h n o w ?

I am a contributing editor to newspaper Il Sole 24 ore and the related fashion website Luxury24.it,and act as the fashion features editor at Hunter magazine,formerly The/ End.I run a monthly style column in GQ Italia and a blog,titled Note a margine,on their website.

I regularly contribute to Uomo Vogue,GQ Style (Italia, Russia, Germany),Fantastic Man,D La Repubblica delle donne,Studio.

D o y o u w o r k d i r e c t ly w i t h f a s h i o n brands too?

No,I don’t,but I’d love to.

I s t h e r e s o m e o n e w h o i s t r u ly d i s t i n c t i v e a n d i n n o vat i v e ?

I am not for name-dropping,because innovation is such a fickle concept,in our media-saturated cultural landscape.I’d say independent spirits are always innovative: people who march to their own rhythm.So much so,in fact,they maybe work under the radar.

Anyway,the great Rei Kawakubo never ceases to amaze.

W h at i s i t l i k e t o b e a f r e e l a n c e j o u r n a l i s t n o w a d ay s ?

Difficult,but rewarding.

It offers me the possibility to communicate my thoughts to a very rich and varied audience,stretching from hardcore fashionistas to the non-immediately fashion-y readers of an economic newspaper like Il Sole 24 Ore. Last year you wrote an interesting article for Vogue about bloggers.

W h at d o yo u t h i n k a b o u t t h i s increasing phenomenon?

Do you see them as competitors?

Do you think they affect fashion?

Honestly,I don’t see bloggers as real competitors.

They are definitely another voice,but a blog is not a newspaper,nor a magazine.

Sometimes I find them a bit too obsessed with self-promotion, and with it-items.

Most bloggers see their blogs as a way to expand their own wardrobes and promote themselves as megastars.By becoming the flavour of the month,they affected fashion: everything now is super-fast,super-pop, super-superficial.

You are loved by all street photographers.

Can you describe your style?

Paradoxically classic.

Unruly but full of rules.

Crazily disciplined.

Your distinctive mark are bowties.

How many do you have?

Do you collect them?

I own one hundred bowties and counting.

I’m not a collector though,nor I see myself as such.A collection sounds like something that you don’t use,and that you keep there for contemplation.

It’s not my case.

If you were to be born again, where w o u l d t h at b e a n d w h at w o u l d yo u d o ?

Tell us.

I’d like either to be born again as a dandy in London’s swinging 60s,as a Tibetan monk,or in Versailles partying wild with Marie Antoinette.

H o w d o e s y o u r s ta n d a r d d ay l o o k l i k e during fashion weeks?

There is really no standard day,apart from the frantic pace–show after show after show.

This involves,of course, lots of writing and stressful deadlines.

I am so exhausted at the end of the day,I usually skip parties.I’m a boring loner,I know. interview by: Emanuela virago

L U C K Y S TA R photos: elena

rendina

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Fruit Accessorize Topshop,Shirt Beyond Retro Opening page: Bathing Cap Beyond Retro, Earring Chanel Vintage

this page: Feathers Topshop, Earrings Monies, Ribbon American Apparel, Bra Sonia Rykiel for H&M, Tshirt both American Apparel

Headband Missoni,Sunglasses Linda Farrow by Jeremy Scott Tshirt Vintage,Earrings Chanel Vintage

Dress Vintage, Scarf American Apparel s t y l i n g : Mara Palena h a i r & M a k e u p : Katharine Shaw

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S : Ok this table is really wobbly. e: Can you tell us about how you g o t i n t o t h e f a s h i o n i n d u s t r y, a n d e s p e c i a l ly s t y l i n g ?

S : My parents immigrated to Germany from Yugoslavia in the 1960’s.They moved to a small suburb where they worked in factories.

They only got us children out of Yugoslavia when we were about six years old and put us into school in Germany.

We had to learn the language and from there on we were in a very good education-system that I think they still have to this very day.And that is also where I discovered my artistic streak.

I thought‘Oh,I want to be in design,in fashion’.

E: I think it’s raining S : No I think it’s a cat peeing, or a bird…SHHH. (Inside) S : I wanted to go to design and fashion school,but it’s a bit like St Martins College of Art today or any other high profile design school.

My parents just couldn’t afford it.It cost a lot of money,especially for a young couple from a working class background raising two kids.

Basically,the only way to get close to fashion for me was becoming a hairdresser,and so I did in 1981.I did a proper apprenticeship for 3 years and I learnt to cut hair,colours, perms,make-up,etc.

And in 1986 I left home and moved to Paris.

I started working as a studio hairdresser there and did my first shoot for L’Officiel Paris shortly after my arrival.

And then I did my first shoot for Vogue in 1987.One thing led to another,and in the early 90s I met Helmut Newton.

At about the same time I had started styling.

The advantage was,that at that point in my life I had worked with loads of amazing (and less

amazing)stylists,and it’s not a job that you need any special qualifications for.

All you need is a certain understanding and taste for fashion,as well as the understanding of visual conception and imagery,and then you’re laughing all the way.

So that’s how it all started.

Then one thing led to another,and in the mid-90s, I was asked to take over the Fashion & Creative direction of Spoon magazine.I accepted the offer and continued doing that until the magazine closed in 2002.And in 2004 I launched my own publication,Above Magazine.

E: Can you tell us about your first experiences in the industry?

And who influenced and inspired you to r e a c h t h e p r o f e s s i o n a l l e v e l t h at yo u a r e n o w w o r k i n g at ?

S : The first impression is always the strongest.

My first impression,I remember, was coming to Studio Rouchon in Paris in the 1980s for an Haute Couture shoot for L’Officiel Paris.At the same time,in another studio in the same building was a shoot going on with Jean Paul Gaultier and Marthe Lagache who was the ‘It-Girl’ at the time.

Seeing this iconic girl corseted in her Jean Paul Gaultier dress with the pointy breasts being photographed in a very exuberant way by a very famous photographer was like a revelation.I just thought: ‘Wow,this is amazing!’I think that that’s what got me the “fashion-bug”.Getting close to that kind of creation,to people like Gaultier,Yamamoto,Mugler etc.I knew then that that’s what I wanted to work.

E: Have you ever met Guy Bourdin?

S : I’ve seen Guy in the big studios in Paris.He used to work a lot at Studio Rouchon and you’d come across people of his calibre there all the time.

I’ve come across Testino,Meisel,Klein, La Chapelle,Lindbergh,etc.

It’s just part of the job.

You work with some and with others just stay on social terms.

E: If you were to be born again, where and when would you choose?

S : Oh,my!If I were to be born again,maybe I would choose 2243, in a completely different place.

I would probably like to be the child of medical researchers, and I’d be more interested in science.I would like to be born in the future…

Definitely not the past!!!

E: The fashion industry is very tough, w h e n d i d yo u r e a l i s e t h at yo u w e r e doing well?

S : I still haven’t.(laughs).

Put it this way,the fashion industry is like the art world.

It’s not you who decides if you’re doing well or if you’re an artist.It’s the public that makes you an artist.

Whether you’re a photographer, a painter,a sculptor and or a musician.It’s the same thing for fashion.I like what I do,and I always do my thing,and if other people judge it to be good, I’m happy and flattered.But I’m my worst critic so ‘well’ is not the term that I apply to the work that I do because I know what I could do better.

E : Y o u ’ r e v e r y m o d e s t.

S : No.Just honest!

E : M o s t o f t h e s h o o t s t h at yo u h av e worked on present half naked women in p r o v o c at i v e p o s e s.

How did you achieve this aesthetic, passion and knowledge on how to make a woman sexy?

S : I have always worked with photographers who love women, and most of them were men who loved women with their eyes.

And they always created the dream creature they desired,if it was Helmut Newton or anybody else.You know Helmut’s pictures were highly sexual,but they were never raw or graphic.

The women in his images are dream objects.They are Amazonian warriors,beauties,ladies and all

the other women that existed in his head.With Ellen Von Unwerth for example,her aesthetics are very imaginary like a film script or a fairytale.

She imagines the Countess,the French Maid,the sexy girl,whatever character inspires her at that moment.

Her head is her playground.

And in a way it was the same thing with Helmut.

His visual obsession and love for women was what created his images.When you start understanding these artists,you learn how to cater to their aesthetic and you also learn to appreciate every woman in her own way.Me being gay man and being famous for a lot of female nudes and erotic photography is a compliment.It’s not because you’re diabetic that you can’t look at a doughnut!It’s just the visual love of things.

I help creating the image of the women these artists have in their head with my tools and my personal taste and input.

In a way,we create a beautiful hybrid of their vision and mine.

E: Ellen von Unwerth is the p h o t o g r a p h e r t h at yo u ’ v e w o r k e d w i t h t h e m o s t, o r o n e o f t h e m , h o w d i d y o u meet her?

S : Ellen… You can meet her at a party,in a club,in a bar,in a gallery or at the opening of a toilet seat…She is where the fun is!I’ve known her when she was still modelling and at the same time she started to become a young photographer.

And one day I was booked by her to do the hair on a shoot for Italian Vogue–And that’s how we properly met.That was the early 90s.We got along like a house on fire and as I had taken over the Creative Direction of Spoon magazine at the time we just shot loads of stuff together for it and had loads of fun.

Her whole lifestyle is based on fun,and on really good imagery.

E: Can you tell us about your r e l at i o n s h i p w i t h H e l m u t N e w t o n , and how working with him was?

S : In the beginning,

my relationship with Helmut was that of a client and a Hair & Make-up Artist.My first encounter with him was when I was booked on a job in Alsace (the German part of France).

I got there,and it was a photo shoot where there were loads of Germans and Alsatians so I wasn’t really paying attention.

I knew that there would be a Gertrude,a Wolfgang and a Helmut.It was only when I got to the job that I realised that the photographer called Helmut was Helmut Newton.I was absolutely fascinated.By that time I already had all of his books,so it was huge to meet the man himself.I remember when I started in this job,one of the first shoots I did the photographer wanted to do a Helmut Newton inspired picture.

He had a photo and said ‘Let’s do that’.We recreated the whole scene,the clothes,the light, everything!But looking at the result,I saw that it wasn’t the same thing.It looked the same but there was something missing. Something that only the true Helmut Newton could bring to a picture.And I thought to myself: ‘Oh,I hope I get to meet the real man one day!’And I did on this shoot in Alsace.

We got talking,and he was such a wonderful,fascinating man that I just thought,WOW!We ended up working together all the time and I spent 10 years of my life between Paris and Monte Carlo.

To me he had become a sort of father figure,if you want to call it that,or better,a mentor. His vision influenced my vision in fashion completely and I was absolutely drawn to his work. We worked together and became very good friends.Some stylists on his shoots wouldn’t listen to Helmut.They were there to photograph their clothes and do their fashion story with Helmut. But nobody does Helmut Newton Stories!Helmut knows exactly what he wants and how he wants it to look.They would come with flat shoes,and you cannot put a woman in flat shoes for Helmut Newton,or they would come with weird clothing,when they

should’ve known that he wanted sharp silhouettes,good looks and all that.So at certain times he would get very angry and threw the stylist out.Then,at one point we were shooting Charlotte Rampling for American Vanity Fair.I got there and there to do my job as a Hair & Make-up artist and noticed that there was no stylist,just a box of clothes.Helmut said:“You are a magazine stylist now as well, aren’t you?So you can do this too!”And that’s how I started to be a stylist with Helmut Newton.At that time there was a new emerging press around so I would collect all these magazines and take them back with me to Monte Carlo every week to give them to Helmut and his wife June.They would look at all the work of all these photographers that they’d never heard of.It was an amusing exchange between the Newtons and I.On the other hand I always had to remember that I was there to cater to a big artist and to always do a Helmut Newton image.There was no ‘Oh,I’m going to give it a Sascha-moment and he’s going to photograph it. ’If Helmut didn’t like it, he would fucking tell you!

So you would make it work until he liked it,but then you’re 100% sure to get a great image out of it.

E: Have you ever worked with Terry Richardson?

S : Terry worked for me actually.

I published his work in Spoon and also Above Magazine.

He used his own stylist on his shoots.It was this wonderful girl,Leslie Lessin,who used to style with Terry a lot.And they did the most amazing work together.I had to deal with lots of people,but didn’t actually have to physically do everything myself.Because when you are the editor in chief of a magazine, it’s not only about you,it’s just about your vision.

And if you respect an artist, you either take the teams that they’re comfortable with or if they’re ok with it,you put

your people on there,but you always have to make sure that they’re properly briefed so that they cater to that artists vision.Like this you don’t get a watered down version of his work.

E: Regarding your experiences with the m a g a z i n e ,w h at wa s i t l i k e t o w o r k t h e r e and how did you manage to do it all?

E s p e c i a l ly a s y o u w e r e s t y l i n g t o o .

S : I nearly killed myself.

I didn’t have any sleep.

To be perfectly honest,it’s not a question of how you manage it all,you just wonder how you’re actually living life.

It wasn’t just a job;it was like having a child.

The only thing that I could compare it to would be when I see people that have children with special needs that need constant care and looking after.I see how much effort that is,and I think having a magazine was a bit like that.

You really have to look after it all the time and constantly make sure that it’s ok and that it’s being looked after.

Deadlines,advertising sales, printing,art direction,etc.

What shocked me most about that was that a lot of the communications directors,who placed the advertising for brands in magazines,are actually so rarely being put in touch with the creative side of things.It’s a really weird world.Normally magazines have an advertising sales person,who goes in and sells a page and places it.I went there myself.

I wanted to know what these communication people looked like,what their brand strategy is,their product placement ideas and also talk to them about the magazine,it’s content,creative concepts,artists, …It was quite interesting.They’re suit and tie people,not fashion people.

But don’t underestimate them.

Some of them knew more about fashion,art and photography then me! I don’t know how I managed, but once I sold Above Magazine I definitely needed a break.

W h at w o u l d yo u r s u g g e s t i o n s b e f o r n e w e d i t o r s w h o a r e s ta r t i n g magazines now?

S : Editors in chief or fashion editors?

E : E d i t o r s i n C h i e f, w h o a r e s t a r t i n g a new magazine.

S : My best advice is to hang on to your knickers,as you don’t know what you’re in for.

It’s a bumpy ride!Anyone who starts a publication nowadays, I wish them all the best of luck,as it’s become so hard for creatives to actually express themselves,as it’s no longer solely an art form.Fashion,art and photography have become an industry.And lot of people will batter your creativity down because of economic demands.

E: Do you think the role of the stylist has changed over the last 10 years?

Did they have more freedom in the past?

S : Yes.To a certain extent in magazine work,especially mainstream-magazine work,you are a label whore.A list is given to you by the magazine telling you what brands you can use, which one of them you have to use as a total look,which labels you can play with.It’s become so hard for young designers to get a foot in the door as nearly each page in a magazine is controlled by labels who have bought advertising.

So when you’re a stylist,and you want to get creative,there aren’t many publications left for you.Certain advertisers hold you by the balls,as they invest money in your magazine,so they want to see coverage of their product or else they’ll pull their advertising and your publication will lose the money it needs to exist.

Was it different when you were running your own magazine?

S : Not that much.It had already started in Spoon magazine in the 90’s and later on in Above Magazine it was even worse.

As it was independent press you’re not considered a priority by brands.Big brands advertise in independent magazines to please themselves,it’s more for their image.They know they won’t get the return that they expect from advertising in mainstream publications.You know when you have a magazine,you have to have a media kit that you present to brands saying how many copies you sell,how many you print, your target audience and their income.It’s nonsense!

Most of those media kits are a lie but it is part of the process.On the basis of this kit,they’ll buy pages,but there will never be a check up on if it’s actually true what it says in there.You have a certain degree of freedom but they still want to see themselves represented.You do independent, crazy,arty photography,that’s why they like the magazine.

It’s how they want their product visualised.So they come to you with a boring product like loafers,and you’re expected to weave that into your photography.But if you’re good at what you do, you will do so and do it good!

E: Have celebrities ever been embarrassed in your photo shoots?

Has it ever been noticeable?

Of course!Some just hide it better than others.

It’s never a very comfortable when you’re standing there half naked or with your breasts out.

Some aren’t comfortable with it, but they know that skin sells so they do it.

Also,if you treat them with respect and show them that they can trust the imagery you provide them with,they will do it.But a lot aren’t 100% comfortable.It’s like doing a love scene on a movie set.

Just imagine yourself with 100 people standing around you on what’s called a ‘closed set’ and you’re there naked with some person lying on top of you, throbbing,pretending.That’s not a very comfortable feeling….

W h o i s t h e c e l e b r i t y t h at yo u h av e enjoyed working with the most?

S : Oh there were loads!

The latest one that I enjoyed working with was Beth Ditto.

We had a fabulous time.She’s another one who does very sexy and beautiful things,and at the same time she’s a girl who does get embarrassed.But because she’s so normal and does so many great and unexpected things,you never know what’s going to happen next.Or another one is Diane Kruger;she has just such a wonderful sense of humour on set.She can not only take the piss out of you but also joke about herself.

And that’s brilliant.

A wonderful little woman.

I love her!

E: Where is your career going now?

Do you have any current or different projects?

S : Put it this way,I don’t even know where I’m going next week.

I don’t know where it’s taking me,but I never did.I’ve been doing this business blindfolded for the last 25 years,so I’ll just let it guide me and hope there’s no tree in the way.

W h at m a g a z i n e o r b l o g d o yo u r e a d m o r e often?

S : I never learnt to read, I work in Fashion.(laughs) I’m more of a newspaper person.

Having worked in fashion magazines I know what they write and am not too impressed by it.

I’m more impressed by books than by magazines.I love reading blogs,but I’m very eclectic.

It can go from political blogs to fashion blogs to awfulplasticsurgery.com.

And as stylists we are more or less obliged to dive our nose into style.com at least an hour a day.I read about fashion,there are some very good fashion critics out there and analysts.

I’m not interested in some fashion person giving me her too personal and pointless taste on clothes.

I’d rather stick to my own!

I know a lot of people who are trying to w o r k a s s t y l i s t s, o r a s s i s ta n t s, b u t f i n d i t a v e ry c o m p l i c at e d profession to break into.

W h at i s yo u r a d v i c e f o r t h e m ?

S : Don’t!It’s not because you can put a Chanel suit on a girl that you’re a stylist.

E : I k n o w m a n y p e o p l e w h o s ay t h e y ’ r e s t y l i s t s , b u t. . .

S : I can cook pasta but that doesn’t mean I’m a chef.

E: Of course, but they’re trying...

S : It’s tough,especially if you don’t have the ambition or the connections.The problem with a lot of young stylists is that they want to do this job because they’d want to wear the clothes themselves,and that’s not a good starting point.

You have to like creation,know about patterns,construction, clothing,details and also who the artists and creatives behind it are,what their inspiration is.There’s fashion politics and certain basic knowledge that you can only learn on the job.

You can either assist a stylist or intern in a fashion magazine to brush up on this.

The business is overpopulated so it’s not going to be easy!

How many guys do you know who own a digital camera and think that they’re a photographer?

E : E s p e c i a l ly w h e r e I l i v e , e v e r y b o d y i s a p h o t o g r a p h e r , s t y l i s t, d e s i g n e r . . .

S : Or a wannabe model.

My favourite models in Britain are glamour models.

It’s brilliant!I haven’t seen that anywhere else on the planet!Women with fake hair, acrylic nails,fake boobs and orange skin.Ha!J’adore!!!

But if you really want to become a stylist,it’s not just about shopping and your personal taste.It’s about history,a way of working,discipline and sacrifice.A lot of sacrifice!

You know what: It’ll never make you happy.

It’ll always cheat on you!

It’s like a bit having a sexy bad girl (or boy)-friend you love more then they love you.

Interview by: Emanuele D’Angelo

d a n c e , D a n c e , o t h e r w i s e w e

a r e

l o s t photos:

julie

calbert

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dancers: Yaron Shamir,Anca Huma

S t r a n g M a c f a r l a n e TO MANIFEST: VALUe,ETIQUETTE,HONEST ART

73

Acerbic, supercilious and d e l i g h t f u l ly d i s c e r n i n g , t h e F i n e A r t g r a d u at e s o f C e n t r a l S a i n t M a r t i n s s p e a k t o L i v i n C o o l’

The work has to have impact.

It has to entertain, to touch people; humour has always helped us do this.

H av i n g t h e p l e a s u r e o f s i t t i n g at a b a r with you both, observing the glories o f p a s s e r s b y a n d d a r e I s ay t h e h u m a n f o r m , I s e e m t o r e c a l l t h at w e s o u g h t huge delight in observing particular f e at u r e s, t h at b e i n g e l b o w s, h a n d s a n d knees…do you remember?!...

M : But it goes deeper than just entertainment value.

The joke has long been used to challenge social structure, challenge authority and alleviate fears. The joke has a certain power with people - a resonance.

( l a u g h t e r ) M a c f a r l a n e : It’s the excess skin, I’ve never seen an elbow that I could call attractive.

S t r a n g : I would say my elbows are the epitome of beauty.

(Laughter) I also recall the pace of those o b s e r vat i o n s b e i n g r at h e r r u t h l e s s a n d e x t r e m e ly c r i t i c a l . P l a y f u l t o o o f c o u r s e a n d i n f a c t, r i g h t i n l i n e t o t h e manner of your workings ( ‘ Yo u J u d g e m e n ta l C u n t ’ , 2 0 1 0 ) .

Do you agree?!. How do such elements ie humour shape your thinking’s and your new body of work?...

S : An artist can come up with the most ingenious idea but if people don’t understand, or they don’t bother to look at it because lacks intrigue your idea’s a failure.

S : We never sat down and said lets make our work funny.

Humour is part of the raw fabric in all our ideas.

When an idea comes that has an energy its exciting, we get excited, we laugh about it, push it round, see where it can go. But wherever it ends up it always has to be true to that initial energy...

M : …It has to be honest to the idea… If not you go back to the drawing board, if so you have something to be proud of, something powerful and exciting.

S : With the new work’s I think we’ve been a little more playful. We’ve always been concerned with value’s, be it intrinsic value, perceived value, the physicality of an object,

it all filters through to the work.

S : The same thing seems to be true to a lot of duo’s.

Are there any particular artistic lege n d s w h o h av e r o o t e d yo u r i n s p i r at i o n ?

S : John Baldessari – The Pencil Story, Damien Hirst – 1000 years, Roberto Benigni - Life is beautiful.

E : It changes, for today Ryan Trecartin, David Abbott & Meadham Kirchhoff I s u p p o s e t h at i t i s f a i r t o s ay t h at w e now live in a time in which everything has claims to having already been done.

In light of this, how do you feel the nature of your ideas have been reborn? etiquette or rules.

I think this really comes through in the new works.

I ’ m a l l f o r p l ay i n g j o k e s b o t h f o r a n d u p o n t h e a u d i e n c e a n d e s p e c i a l ly a fan of such contradictive and subvers i v e c o m m e n t a r y. B e i n g n a m e d a s t h e ‘ s a r d o n i c d u o ’ i t s e e m s t h a t n a t u r a l ly, there are hints to Gilbert & George.

I n s o m e w ay s , t h e m o d e r n d ay v e r s i o n (If such a claim can be made…) I guess the origins of the notion of reincarnation are obscure...(your thoughts on this)…

M : When you work with someone else you spend your days sitting opposite them talking about ideas.

S : Do you think you’ve spent more hours looking at my face or your mother’s?

M : (Laughter) I’m not sure...

When you work with someone else you have to constantly explain and justify your thoughts to your partner There’s a constant to and fro. Your ideas get challenged, changed, picked up and moved on.

S : There’s this ongoing cycle in the working process between a positive conflict and play…

M : … a sense of humour and a sense of tension, and naturally

M : There’s never been a duo called StrangMacfarlane before.

In these peculiar modern times, there is a strong feeling of ‘rebecoming’ and t h e i d e a o f a f i x e d e n t i t y t h at i s r e b o r n . A c t u a l ly, t h e r e s e e m t o b e a l o t of ‘hipster’ types (some of whom with no fine art school background) who now c a l l t h e m s e lv e s a r t i s t s a n d f o r m c o ll e c t i v e s , r u t h l e s s ly j u m p i n g o n t o s u b versive ideas similar to yours and well, t o p u t i t n i c e ly, ‘ d e c o r a t i n g ’ t h e m .

W h at d o yo u t h i n k o f t h e s e fa k e s ? ! . . . .

M : As our ideas evolve into works we never try to force anything, we just guide them.

The idea dictates its presentation. Our works look and feel the way they do because they had to. The aesthetics are true to and representational of the concept. That’s what we mean when we talk about honest work.

I think you can always tell when an artist has done this because the work has a life, a soul. For me anybody who makes work that’s honest… their work inspires and excites me.

That’s what we hope to achieve.

Neither social background nor education factor into this.

S : But then there is the other work. For more on the subject see StrangMacfarlanes brilliant ‘Hollow Art 2010’

M : (Laughter) Nice plug… In fact I think there may even be an artist proof still available…

S : …For enquires contact StrangMacfarlane@StrangMacfarlane.com (Laughter) I n l i g h t o f h av i n g g r a d u at e d f r o m Central Saint Martins, How have you found the experience of producing work post art school and how has your work changed? (give examples) S : Its been an interesting transition but being out of university gives a real feel-

ing of passion. Every moment we get is someway or another art based. The great thing about using comedy means that watching box sets counts as research, and it is!

E : We’ve had a lot more time.

Its been useful, its allowed us to really work out what StrangMacfarlane is - what it’s capable of. I think there are great things to come.

W h at d i r e c t i o n d o yo u s e e yo u r w o r k i n g going from here (now)?

M : In the new series each work has it’s own character – for example there’s a

masochistic one, a comic, a suicidal work, a know it all...

We’re excited about showing them and they should be ready soon, but we’ll take our time.

We never want to put something out that’s not complete or to our total satisfaction…

S : …There less wordy than the previous series, there bolder and we’ve used a lot of color this time. So there’s more for us to conceder, and we have to be more concise.

Because of that there taking a little longer than we expected but so far we’ve been really

happy with how there turning out.

M : After that we have a lot of new projects lined up.

Are there any shows planned for the near future?

S : No dates set in stone but we are looking at early next year Once everything’s confirmed you’re all invited, im talking to the readers.

As if they’re not invited to every gallery opening.

M : As soon as we know the dates will be up on our site.

S : What’s the address for that website Ewan?

M : I’m glad you asked, its www.strangmacfarlane.com N o w, R a n d o m s ( T h e s e yo u c a n a d d j u s t a word/phrase to finish off the sentence.

S o m e a r e p l ay s o n y o u r t i t l e s – 1 & 2 ) B e i n g s e l f i s h i s … necessary – within reason.

W h a t i s e a s y… staying in a comfort zone.

T h e a r t o f L i f e i s . . . woooah

zone.

T h e a r t o f L i f e i s . . . woooah (laughter) I don’t know, that’s one for google.

T h e a r t o f T r u t h i s … to be a good actor T o d e c o r a t e i s … to make yourself at home F a k e a e s t h e t i c s a r e … carcasses.

R e b i r t h o f R u l e s i s … something to play with.

A w a k e n i n g s a t i s f a c t i o n i s … waking on the sabbath and then remembering you’re an atheist.

A pleasure boys. A pleasure.

For more information on StrangMacfarlane visit w w w. s t r a n g m a c fa r l a n e .c o m Interview by: Karli-Jade Fontiverio-Hylton

A day

in the life with:

the noisettes

photos: emanuele

d’angelo

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i’m

not photos: eleonora

there

cecchini

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L i s t e n t o m e , b a b y, i t ' s t i m e t o s e t t l e d o w n ,

Am I asking too much for you to stick around?

photos: emanuele

d’angelo

93

Austin wears: jacket and trousers Samantha Wood Yulia wears: t-shirt and belt Samantha Wood,shorts Beyond Retro

Yulia wears: everything beyond retro,bag Benedetta Bruzzichess Austin wears: Fur vintage,shirt Yasmin Bawa

Austin wears: shirt Yasmin Bawa,jacket vintage.

Yulia wears: everything beyond retro,belt Samantha Wood.

Yulia M wears: lurex jumper Peter Jensen,shorts Holly Skousbo Austin wears: yellow jumper COS,blue jeans Acne

Yulia M wears: lurex jumper Peter Jensen, Vintage fur Austin wears: jacket Avanti Bidikar s t y l i n g : Stefano fumagalli M a k e u p : Katharine Shaw h a i r : Atsushi Takita using “Bumble and bumble�