Masquerade Magazine Issue 4 by DARKSTARMEDIA

issue 4.

www.masquerademag.com, Masquerade Magazine, Editor, Ros Okusanya, Masquerade Magazine, Deputy Editor, Marius Kamara, Masquerade Magazine, Creative Director, Chris Jones, Masquerade Magazine, Director of photography, Kevin Persyn, Masquerade Magazine, Beauty Director, Richard Harvey, Masquerade Magazine, Article coordinator, Natasha al-Atassi

WHO AM I THE IDENTITY ISSUE

Masquerade Magazine, Editor, Ros Okusanya Masquerade Magazine, Deputy Editor, Marius Kamara Masquerade Magazine, Creative Director, Chris Jones Masquerade Magazine, Director of photography, Kevin Persyn Masquerade Magazine, Article coordinator, Natasha al-Atassi

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contents UNMASKED P.08 P.20 P.44 P.48 P.60

WHO AM I? ROBERT DOWNEY JR - THE FALL AND RISE LONG LIVE ALEXANDER MCQUEEN MUST HAVE LUXURY BROOKE MILLINER INTERVIEW

ENCHANTMENT P.32 P.40 P.49

IAN COLE - THE VANDALL OF VANITAS THE LOST CITY OF THE INCA’S DUPLICITOUS

DECADENT P.12

INDEFECTIVE

SURRENDER P.28

A VERY BRITISH JOB INDEED

COVER - PHOTOGRAPHY BY SHAYANIM MODEL - MARIA BERNALDEZ @ PINKERTON AGENCY LA

MASQUERADE MAG TEAM:

THE WRITERS:

ADDITIONAL THANKS GO OUT TO:

EDITOR: ROSALIND OKUSANYA. DEPUTY EDITOR: MARIUS KAMARA. CREATIVE DIRECTOR: CHRIS JONES. EDITORIAL CO-ORDINATOR/SUB EDITOR: NATASHA AL-ATASSI. DIRECTOR OF PHOTOGRAPHY: KEVIN PERSYN. BEAUTY EDITOR: RICHARD HARVEY. MANAGING DIRECTOR: NAJI HADDAD. MASQUERADE MAGAZINE WOULD LIKE TO THANK THE FOLLOWING PEOPLE FOR THEIR CONTRIBUTION: SIONED BANNISTER. FAYE CHEESEMAN. RICHARD HARVEY. CHRIS J. ROS OKUSANYA. KEVIN PERSYN. NATASHA AL-ATASSI. RUTH M SHEPHERD: PROOF READER. PLUS ALL CONTRIBUTING PHOTOGRAPHERS. KATIE RUTH. HECABE DUFRAISSE. MELISSA OKUSANYA. SARAH NEAL. LATALIA JONES.

issue 4.

EDITORS NOTE elcome to Issue four of Masquerade. THE NEXT LEVEL Where will my identity take me? Masquerade Magazine has new fresh ventures in stall for the future as I relocate to New York City. Issue four takes our readers through an exploration around different identities and personas. Under our trademark ‘M’ you may pose the question around our Identity? Masquerade’s uniqueness is growing in stature as parts of our mask reveals sections of our vision with our ever popular alternative views. Featuring... Who am I? - Sioned Bannister Natasha Al-tassi takes us into ‘The Lost City’ Duplicitous - Kirstie McNulty - Fashion Cloning The fall and rise of Robert Downey Jr by Chris J Ian Cole’s vision into ‘The Vandal of Vanitas’ Introducing Brooke Milliner, a personal profile - by me Enjoy our Issue 4! Ros xxx I would love our readers to feel free to make any comments regarding any articles within this Issue to: rosalind@masquerademag.com

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ARE WE BORN, OR ARE WE MOULDED? DO WE HAVE A SAY IN WHO WE BECOME; CAN WE CHANGE WHO WE ARE, OR IS IT ALL JUST A CASE OF SCIENCE AND LUCK? >> Written by Sioned E Bannister

www.masquerademag.com, Masquerade Magazine, Editor, Ros Okusanya, Masquerade Magazine, Deputy Editor, Marius Kamara, Masquerade Magazine, Creative Director, Chris Jones, Masquerade Magazine, Director of photography, Kevin Persyn, Masquerade Magazine, Beauty Editor, Richard Harvey, Masquerade Magazine, Article coordinator, Natasha al-Atassi

stare hard at the reflection in the mirror. My reflection stares right back. At least I think it’s a reflection of me. It’s “me” as I see “me”, but is it the “me” that everyone else sees? In fact, what do other people see when they look at me, and what makes up that reflection? What makes up me? Who am I? Why am I who I am?

It’s about the way they actually hold it up, but also the way we imagine they are responding to us, and both of those things intermingle to create, over time, a sense of our identities”. It’s certainly true to say that identities change over time, as children turn from adolescents to adults, the sense of self becomes stronger as influences in our lives other than families are thrown into the melting

I’m getting dizzy with the mind-boggling profundity of it all, but in fact, the question of what makes an individual and the roots of identity has been baffling scientists and psychologists for years. The nature versus nurture debate is as ancient as Plato’s philosophies, when he argued that everything you know and are is inherited biologically from parents. Aristotle meanwhile argued that humans are born as a blank page, and environmental influences like wealth, lifestyle and culture determined what was written on the sheet of identity. It seems that nearly two and a half thousand years, and probably as many theories, later we’re still no closer to agreeing whether it’s nature or nurture that plays the biggest role in deciding who I am or who you are. Certainly, there are physical traits that have been passed down from my family, and like it or not I’m stuck with. I have wispy hair from my father, rosy cheeks from my mother and I’m short, just like my grandmother. I will never be six feet tall and willowy with masses of bouncing blonde curls, that’s a fact. But, I have also inherited other family traits like my father’s propensity for mountains of chocolate, and my mother’s disposition for list-making. But, are these genetically inherited? Is there an undiscovered “chocolate addiction” gene that will forever haunt me, to which I can palm off responsibility for an ever expanding waistline?

THE MANY ME’s However, there are some traits which although not genetic, are inescapable, and will all combine to create “me”. I can’t change my country of birth; neither can I change my ethnicity, skin colour or whether I was born into a poor or a wealthy family, and all of these things form the basis of identity. Scientists believe that the beginnings of identity are formed at such a young age, before we can even speak or really think independently, that the main influences must come from parents, adults and other children in our immediate world. Wendy Holloway is Professor of Psychology at the Open University. She believes that the formation of identity is definitely influenced by other people. “…the way we are treated by other people becomes embedded in our experience…We are very, very influenced by the people around us; who hold up a mirror to us through which we see ourselves.

pot of constructing a sense of identity. In our teenage years we might experiment with clothes, fashion, hair colour, make-up, social groups, musical styles, cultural influences, literary works and religions, all of which are rebellious if they do not confirm with family ideals. In most cases, they are simply an attempt to work out a sense of self away from the family nest, and to discover the individual “who” and the “I”.

www.masquerademag.com, Masquerade Magazine, Editor, Ros Okusanya, Masquerade Magazine, Deputy Editor, Marius Kamara, Masquerade Magazine, Creative Director, Chris Jones, Masquerade Magazine, Director of photography, Kevin Persyn, Masquerade Magazine, Beauty Editor, Richard Harvey, Masquerade Magazine, Article coordinator, Natasha al-Atassi

BOYS AND GIRLS There was once a time when, if nothing else, our identity in terms of gender was concrete. Humans were born as males or females, and those identities were fixed. Now, however, thanks to radical social changes in the last century of differing roles of men and women in a society, even that identity is now far from stable, causing sometimes seismic shifts and confusions in issues self-identity. Men can now

Many psychologists believe that gender is merely a question of nurture; that boys or girls are governed by different sets of rules historically laid out by society, and that given a different set of rules, in all but physical aspects, boys can be raised as girls and visa-versa. The famous case of David Reimer, a boy who after his penis was destroyed during surgery as a baby, was raised as a girl, highlights just this. That this particular story ends in tragedy with David’s suicide points to the enormous complexities of gender reassignment and theories of Gender Neutrality. The nature versus nurture argument also strongly rages on in the debate about the existence of genes that determine sexuality. There is still no conclusive evidence for or against such a gene. Critics of the gene theory claim that many other factors, from early cultural influences to the number of older siblings, contribute towards determining a person’s sexuality. Most scientists and psychologists agree though that it’s likely a combination of genetic and factors are responsible.

SMOOTH CRIMINAL And, if a gene can be found to explain the development of sexuality, then many scientists argue that criminal behaviour can also be down to genes. This raises enormous moral and ethical questions. If criminality and bad behaviour is part of a person’s make-up, then surely they can’t be held responsible for their actions it isn’t their fault? This of course in turn raises huge issues with the justice system and treatment of such criminals. There is also always the hope that if a genetic defect has created a criminal, then a cure can be found to reverse the effects of the bad gene, such as in cases of haemophilia and other genetically transmitted diseases. As with sexual identity, most scientists agree that it’s a combination of genes and environment that are likely to make a criminal, but how much of each is influential remains unclear, and as with most things, there are always exceptions to rules, even scientifically tested ones.

freely, and happily in many cases, take on work that was traditionally the realm of only women. Likewise, women can join the army, become a farmer or run the country. Do we attribute one woman’s success as a company director to nature or nurture, when many of her colleagues left the business world long ago to have children and care for families?

The truth is, there is no answer to the nature versus nurture debate, and perhaps, despite even with the most amazing advances in genetic science, there may never be, because one cannot exist without the other. And while theories of genes inherited from parents may make you more likely to behave in a certain way, or become a certain person, or contract a certain illness, it doesn’t mean that any individual can’t make life choices based on their own moral code, values and instincts. The ability to control your own destiny should always be yours.

DEFECTIVE Photographer: Shamayim

Overleaf - Natalia Romano. Jewelry by Cotrice. This page - Natalia Romano. Right: Natalia Romano. www.masquerademag.com, Masquerade Magazine, Editor, Ros Okusanya, Masquerade Magazine, Deputy Editor, Marius Kamara, Masquerade Magazine, Creative Director, Chris Jones, Masquerade Magazine, Director of photography, Kevin Persyn, Masquerade Magazine, Beauty Director, Richard Harvey, Masquerade Magazine, Article coordinator, Natasha al-Atassi

Left - Natalia Romano. Jewelry by Jackie Jones. This page: Blazer by Venexiana. Leggings by Adeyemo.

Photographer: SHAMAYIM, www.shamayim.net Models: Teah Spears @ NEXT Model Management and Josephine Dow Makeup Artist: Daniel Chinchilla, www.danielchinchilla.com Hair Stylist: Arlene Martin Model: Maria Bernaldez @ Pinkerton Agency LA Makeup Artist: Shon Sanks Hair Stylist: Larry McDaniel

T R E Y b E O N R W O D

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Source: Sgt. Don Crager of the Palm Springs Police Department and Roberty Downey Jr Biography, Biography Channel.

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"It was my lowest point in terms of addictions. At that stage, I didn't give a fuck wheth I would love to know what was going through Robert Downey Jnr's mind in the brief moments just before the police came knocking on his Palm Springs hotel room door in 2000. He'd only been out of jail a year, and had just won a Golden Globe for his performance in Ally McBeal - his life was back on track. So why did he find himself in this situation yet again? Well renowned by the industry for fully immersing himself into his movies’ characters - Chaplin, 1992 for which his astonishing performance earned him an Academy nomination for best actor. Then why should I be surprised when he applied the same entusiasm to his drug addictions ‘He was sentenced to three years in 1999 after he repeatedly violated the terms of his parole’ - (BBC news). Described by many as the most gifted actor of his generation, Downey Jnr has had one hell of a roller coaster ride. From his early acting accolades to his many incarcerations Robert has seen all the highs and lows Hollywood has had to offer. You watch him on-screen and quickly realise what a fantastic actor he is, when interviewed you cant help but warm to him so it was saddening to see his total collapse in front of a world-wide TV audience. When Ally McBeal broke for Thanksgiving in 2000 he checked himself into a Palm Springs hotel for a bender that allegedly included alcohol, drugs and strippers. Following an anonymous 911 call, police were called and found him with cocaine. He was arrested and convicted again. Looking back, he claims that his performance on Ally McBeal was overrated saying, "It was my lowest point in terms of addictions. At that stage, I didn't give a fuck whether I ever acted again." Most addicts use drugs as a sort of 'safe haven' where their problems and troubles cannot invade, but with Downey Jr the reasons for his habit were unclear. Many promising actors seem to fail to conquer their demons, Belushi and Phoenix to name a couple, that to see an actor overcome them is refreshing. His scrapes with the law have given him a sort of twisted kudos other actors cannot experience no matter how much they can pull at the box office. For instance: Tom Cruise's crazy outburst on Oprah only seemed to alienate him from the public, whereas (with his problems now firmly behind him) during Robert’s appearance on the show you got to know him; you felt for him; you forgave him. Viewed like some celluloid version of Keith Richards, Robert Downey Jnr had suddenly become cool. And it showed, in Kiss Kiss Bang Bang (2005) he was most certainly back with a bang. He was soon announced to play Marvel superhero ron Man in 2007, for which he gave an excellent portrayal. The film was a massive box office success and he had managed to enlist a whole new army of admirers. At this point in his career it seemed there was nothing he could not do ... then came Tropic Thunder (2008). There was much controversy over his portrayal of Sgt Osiris in Ben Stiller’s 2008 comedy. Acting the part of a white Australian Kirk Lazarus who darkens his skin to play the role of Sgt Osiris, originally written as a black man, Robert Downey Jnr said he was worried that this part could harm his career. The storm eventually blew away and praise was heaped on him for such a convincing role. He received his second Oscar nomination (the first being for Chaplin in 1992) for his performance as supporting actor , which he lost out to Heath Ledger for The Dark Knight. Images - Above Right: Downey Jr as ‘Sgt Osiris’ in Tropic Thunder, Rex Features. Above: Happy days, Rex Features.

her I ever acted again."

Today, he's not shy to talk about his past; he seems to be a very intelligent, articulate man who has a lot to say. He especially likes to talk about his acting and methodry. When interviewed, you see the sorrow in his face, but you also notice his eyes light up whenever he's asked an intelligent question. As a result you get to know his inner most thoughts. Nothing less than you’d expect from the funny guy who can engage his audience whether on-screen or onstage. Iron Man Two is on course to be the biggest hit of the summer, taking in over £150million worldwide, including £15m in the UK in its first weekend (mirror.co.uk), Robert Downey Jnr will play a huge part in that success. His incredible personal journey has made him the person he is today as long as the demons don’t resurface, he could be at the top for many more years to come.

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ZOOBS “My images are neither illustrations nor photographs. They stand somewhere in between the two in their full technicolour or monochromatic glory and magazine-like glossiness, often verging on the unreal or fantasy” In 1985, a poster announcing a joint exhibition of Andy Warhol and Jean-Michel Basquiat, depicted the ar tists dressed in boxing attire ready to battle for their territory within the contemporary ar t scene. Fast forward 25 years onwards, and the idea of survival of the fittest is still relevant to today’s contemporary ar t world. Inspired by this concept, for the very first time, new works by the prominent Italian Pop ar tist, Marco Lodola will be exhibited alongside one of the fastest selling British photographers, Zoobs, who over the years mastered the fragility in treading the line between fashion and ar t photography. Born in 1972, Zoobs studied Fine Ar t at the Slade School of Ar t (1991-92), later gaining his degree in Graphic Design and Photography from Kingston University (1992-96). He was awarded a priceless internship at Shiseido Cosmetics in Japan on the strength of his Ar t Directional skills combined with Photography and Design. This was followed by his appointment to work as a designer and photographer at the Paris Headquar ters of the same company, assisting Serge Lutens, the then creative director for Shiseido. Taking inspiration from the theatrical shootings of Shiseido campaigns, the immaculately prepared models and the thought provoking creative direction of Serge Lutens, Zoobs moved on to fur ther explore and immerse himself in the creative route of fashion photography and image making. Shor tly after his return to London, the striking works of Zoobs attracted immediate attention as he stepped into the ar t market with his debut solo exhibition in London (Ego is the Enemy, 2007). In 2009, Zoobs joined the Opera Gallery, under the initiation of Jean-David Malat (Director of Opera Gallery London), where he continues to create breathtaking iconic images. With a fine ar t background, Zoobs is inspired by illustrators and painters – Tamara De Lempicka’s stylized statuesque women, Modigliani’s haunting por traits, Andy Warhol’s glamorous Monroes and Alphonse Mucha’s highly stylized illustrations. The creative process of Zoobs, however, is somewhat reminiscent of Man Ray, one of few photographers that inspire the ar tist. His innovative approach to shooting does not abide to any rule book, as he allows the image to go on a journey where the destination point is unknown, not even to Zoobs himself. And thus the magical images are created – enraptured by freedom, vulnerability and spontaneity. Since the early 1980s, Marco Lodola, has been continuosly recognized for his outstanding contribution to the contemporary ar t scene of Italy. Born in Dorno, he attended the Academy of Fine Ar ts in Florence and Milan before developing an avid interest in the New Futurismo movement (the main theorist of which was critic Renato Barilli), of which he was one of the founding members in the early 1980s. Over the years, the works of Lodola have been exhibited in major cities worldwide – Rome, Milan, Florence, Vienna, Madrid, Barcelona, Paris, Beijing and Amsterdam to name a few. He has worked on several commission projects with companies like Swatch, Coke, Ferrari, Fiat, Juventus, Harley Davidson, Ducati, Carlsberg, Valentino and Illy. In 1996, Lodola began working in the United States - Miami and New York, before taking par t in the XII Quadriennale di Roma and VI Biennale of the Sculptures of Montecarlo. Always expanding his horizons and comfor t zones, he has explored various creative directions, collaborating on projects with a number of contemporary writers and musicians. In the summer of 1998, under the supervision of Saatchi & Saatchi, Lodola designed posters for the Grand Opera Tosca di Puccini, which were displayed at the Piazza del Popolo in Rome. In 2000, Lodola fur ther explored his involvement in theatre and dance by running the Maximum Theatre in Palermo and realizing a video-documentary of Sergio Pappalettera. The luminous sculptures of Lodola, have appeared in public places such as the Palace of Fine Ar ts of Brussels, Museum of Modern Ar t of Rio de Janeiro, at the international airpor t of City of Mexico and the Regional Museum of Guadalajara. Lodola’s mixed media sculptures depict the simplicity of nur tured and developed optimism. Colourful figures are usually por trayed in a dance or a movement, illustrating the lightness of life and good humour. This creates an interesting juxtaposition against the haunting works of Zoobs, the recurring themes of which are death, magic, love and deep emotions - at times possessing a sinister and dark character reflecting the ar tist’s own torments from when he was a child. Having lost a parent at a young age, Zoobs sought to fill the emotional void and immediately took refuge in ar t and creativity. Today, despite his inner inhibitions, Zoobs creates a surreal world, wrapped up in fantasy and dreamland, where each por trayed emotion is a reflection of the reality surrounding the ar tist himself.

“In essence, when I create images, I lose myself in a visual dream of perfection.” Zoobs

Written by Kevin Persyn

the

A VERY BRITISH JOB, INDEED God bless the Mini! With its 50th birthday in May last year, this super number is one of our British ic music for Miniâ&#x20AC;&#x2122;s major birthday celebration at Silverstone 2009. Thousand of fans â&#x20AC;&#x201C; lifelong Mini dr

D cons. Another true Brit icon, Paul Weller – a true fanatic of the Mini – entertained the crowd with his rivers – were present at this huge event to celebrate the ongoing reign of this well-loved car. >>>

The design of the Mini came about in response to the boom of the now-classic German Bubble car. The Suez Crisis of 1956 led to the introduction of petrol rationing, which in turn spelled a need for a more fuel-efficient car, and the Bubble was the big hit of the time. Lord Leonard, chairman of the British Motor Corporation, felt that it was time for a new breed of small-engine car, so he commissioned automotive designer, Alec Issigonis – creator of the Morris Minor and the Austin 1100 – to create a prototype for a four-seated car, that was smaller than the Morris Minor, and powered by an existing BMC engine. So Issigonis and his team - Jack Daniels and Chris Kingham - went to work developing what was to be considered a revolutionary design – one for which Issigonis was later knighted. The front-wheel drive design afforded the designers much more room for passengers and luggage, the result being the Doctor Who Tardis factor: more space inside than could be imagined. Its fame had been established in the world rally circuit with the famous Mini Cooper S designed by a friend of Alec Issigonis, John Cooper, a builder of Formula 1 cars and Rally cars. He had a vision of what could be done with the car and the Cooper S was born. Winning the Monte Carlo rally in 1964/65, one of the most prestigious rallies of all time, it also achieved top position out of 67 and in other events as well. Famous names in the motoring world Radford, Hoopers and Wood & Pickett, all high class coachbuilders of the time put their stamp on the Mini in the way of luxury and identity. Each one was built to the customer’s taste from paint work, interiors and performance. Peter Seller’s Mini had wicker sides and his wife had a special rear door on her estate wagon. The mini came in many shapes from standard to estate, vans, pickups and even a jeep ‘The Mini Moke’. This American Jeep style vehicle was a primarily a prototype for military applications but failed as a military vehicle because of the size. As the ’60s came in and put its stamp on the world of fashion, music and culture so did The Mini. It became a household name among the A-list celebrities of the time including Britt Ekland and Marianne Faithfull who owned a psychedelic painted model, which appeared in the film Magical Tour. Face of the ’60s Twiggy played a huge role in world of advertising for The British Mini. As with their chosen photographic campaign model, it instantaneously became a ‘wanted item’ as much as any fashionista’s ‘top of their wish-list accessory’. Fashion designers wanted a piece of the Mini as well. The Mod of Mods gent’s designer Paul Smith had his own one-off limited edition with 86 different-coloured stripes and a Paul Smith

Twiggy

blue one with gold badges. Other limited edition models included the de Ville, Margrave and Margrave SE to name a few - w could only be bought in Mayfair dealerships in L place to be at that time. The film industry saw the impact it had on the stars then got in on the act in 1969 with the famous film Italian Job. The car was the star from the start - fr its mark on the big screen. But this was not the o world on celluloid. It was also used in The Bourn plenty of tricks up its sleeve. The small screen also Prisoner in the disguise of a Mini moke. Music got on board with the likes of John Lennon Radford the coachbuilders, who also built a custom Monkees. Models, actors, filmstars, racing drivers and the pu a icon of its time. Each gave it its own identity to p

Image: Paul Smith Mini Cooper, Ian Southwell via Flickr.

which London, the

s and the public. Paramount m based around the Mini – The om its paintwork to stunts, it made only time its fame was seen around the e Identity (2002) as the escape car, again with o used it in the TV series Mr Bean and the original n and Ringo Starr, who then had his own built by mised Mini Cooper S for Michael Nesmith from the

go to work, shop and school run car but a car that you could express yourself with – to say ‘this is me, this is my car’. When the original Mini production was stopped in 2000, the new brand owner stepped forward and announced to the world that they were going to produce a new Mini – a longer, wider ‘BMW Mini’. The Mini’s form is still the same but every body panel has been redsigned. Some cheered and some sneered. Those who cheered welcomed a new look and features and gizmos that all today’s car have in abundance. Those who sneered said all would be lost, it would lose what makes a Mini a Mini.

ublic all took this car under their wing and created produce a car that was not just your run-of-the-mill

Only time will tell, the new Mini has been around now for 10 years and is still going strong. But will it last another 30 years, will it step out of the original’s red, white and blue shadow and find its own lasting identity?

Photographer: Ian Cole www.iancole.org.uk Grooming: Sandra Bermingham www.sandrabermingham.com

Model: Harvey Haydon at D1 Models Headpieces by Richard Quinn, Central St Martins

Machu Picchu THE LOST CITY OF THE INCAâ&#x20AC;&#x2122;S Written by Natasha Al-Atassi

utting through the sky’s horizon, the Inca ruins lie speckled on the mountain top. Razor-sharp cliffs are defined by ancient stones that sit together to make this complete city, full of character, full of being, yet empty and alone. Years of energy, life and love stood erect on the peak and now, there stands emptiness. The echo of children laughing can still be heard and the picture of everyday life can still be seen but no one has lived here for hundreds of years. Everything remains intact but the world around it has changed. Machu Picchu holds the mysticism of a city, a civilisation that has simply disappeared. And here beneath your feet stand hundreds of years of stories untold; here at your fingertips lies the mystery and the truth behind the Lost City of the Incas.

Machu Picchu’s famous development of perfectly-maintained buildings set between misty clouds high in the Andes Mountains has become one of the most familiar symbols of the Inca Empire. Yet, to this day, no one really knows what Machu Picchu was or even why it was built. Only eighty kilometres northwest of the Inca Capital, Cuzco, Machu Picchu is said to have been built around 1430AD but its existence was virtually unknown to the outside world until the 20th Century. It is one of the few Inca ruins that survived the Spanish conquest, mainly because its strategic position 2430 metres above sea level, camouflaged on silver peaks, meant that the Spanish did not even know it existed. Hidden in the folds of the Urubamba Valley, this civilisation was the Inca’s best kept secret. It was only in 1911 when American historian, Hiram Bingham, discovered the magnificent city of Machu Picchu by accident, while searching for another Inca site, Vilcapampa. Saddled between two mountains, locked in deep precipices and restricted with secret bridges, it is only by luck that Bingham happened upon the great site at all. Concealed under mounds of jungle vegetation and overgrowth, it was only in 1915, after various excavations, that the true majesty of his discovery was revealed. The uncovering exposed a kingdom of more than 140 residences, staircases, terraces, temples, palaces, towers and fountains. Indeed, as Bingham scripted, this really was ‘The Lost City of the Incas.’ There are many speculations over what Machu Picchu was built for but archaeologists cannot agree. The purpose and existence of this city is still as much a mystery as it has ever been and its discreet location, on top of the world, compounds this anonymity. Everything about Machu Picchu was purposefully designed - its terraced hillsides could cultivate enough crops to feed four times the number of people who ever lived there; tunnels and springs were built for a water supply to all residents; its stone buildings were designed to move in tune with the natural movements and quakes of the earth without collapsing; and secret entrances via rope bridges were built to allow only inhabitants private access to the otherwise impassable mountain. But why this degree of engineering precision and intent is completely unknown. Some historians believe the site could have been used for religious purposes; indeed, the many Incan temples, statues and sacrificial areas support this. However, the secrecy and positioning of the site also indicates that it could have been used for military purposes. The fact that, during the occupation of Peru, the Spanish did not discover this mountain settlement only makes this speculation more plausible. For more information on travelling to Machu Picchu go to: www.statravel.com

Hiram Bingham

The obscurity over this landmark thickens still upon the discovery that somehow its entire population was mysteriously wiped out. There is conjecture that the inhabitants were erased by smallpox but only 100 skeletal remains have been unearthed, most of whom are females. The uncertainty over the other dwellers remains as unanswered as ever. This mystery is why Machu Picchu has become so distinctly exciting and deliciously inviting to visitors. Even how it was built is mystifying. Historians know that the Incas did not use the wheel and with the perilous mountain terrain and the lack of strong animals, it is unclear how they managed to carry the heavy stones to the peak. It simply makes us question why all this effort was undertaken to ensure it was so secluded. Why did they isolate this city so far from Peru’s bustling towns; why is it so flawlessly structured that a whole civilisation could have survived here alone and most importantly, why didn’t it? On one hand it is the supreme foundation of a great empire with unbelievable defences and an impenetrable location. On the other, it survives conquest and yet disappears without so much as leaving a record in history. It has been built to endure an invasion and hundreds of years of geophysical and political change, yet it leaves no human legacy. So impressive is this city and so seductively mysterious is its history that over 400,000 people visit Machu Picchu each year, each trying to piece together a bit of its past. In 1983 Machu Picchu became a UNESCO World Heritage Site as it is “An absolute masterpiece of architecture and a unique testimony to the Inca civilisation.” If only we knew the extent of this testimony and indeed, the extent of this civilisation. Thousands of people may trek along the now infamous Inca Trail through the Andes peaks to catch a glimpse of the sun breaking over Machu Picchu, but no one really knows the full story behind this territory. To us, to historians and to the millions more people who will visit Machu Picchu in the future, it will remain one of history’s greatest hidden stories. It encompasses the majesty and mystery of a world unknown and a past that has seemingly been erased. Less than one hundred years ago, beneath tangled trees and overgrown leaves, it lay dormant and unheard of, and now it commands historical, mythological and archaeological interest. A truly fascinating and inspiring discovery, it begs the question: what other cities lie disguised and embedded upon mountain tops with a history as unsolved and as completely unknown? Majestic and breathtaking, the true enchantment behind Peru’s most impressive ruin will always be the unheard stories behind its civilians, the sound of its children’s laughter; the real lives behind the death of the Inca’s Lost City. Image - Overleaf: Carlos Sala /Promperu, www.promperu.gob.pe Left: Wikimedia Commons. Above: Balaguer /Promperu. Above Inset: Wikimedia Commons.

LONG LIVE

IN THE AFTERMATH OF ALEXANDER MCQUEENâ&#x20AC;&#x2122;S DEATH, FAYE CHE

Written by Faye Cheeseman www.masquerademag.com, Masquerade Magazine, Editor, Ros Okusanya, Masquerade Magazine, Deputy Editor, Marius Kamara, Masquerade Magazine, Creative Director, Chris Jones, Masquerade Magazine, Director of photography, Kevin Persyn, Masquerade Magazine, Beauty Director, Richard Harvey, Masquerade Magazine, Article coordinator, Natasha al-Atassi

EESEMAN GOES IN SEARCH OF THE MAN BEHIND THE NAME. >>

Who was Alexander McQueen? The bare bones of McQueen’s life are well-known and have been much revisited of late. The effect of this has been to reduce them to a strange minimalism; life as potted history, the black and white of a colourful character. But the facts of a life can sometimes reveal relatively little about the person they are or were. Lee Alexander McQueen was born in London in 1969, the youngest of six children. He began his journey towards the fashion icon he would later become at the age of sixteen, with an apprenticeship on Savile Row, followed by a stint in Milan and a masters degree in fashion design at Central St Martins. Controversial shows, time at one of the great fashion houses and an exciting reputation for outspoken bursts of unbridled emotion carried him to the pinnacle of his chosen career. But there is a dichotomy between Lee McQueen the man and Alexander McQueen the brand. It is hard not to be struck by the otherworldliness of McQueen’s seeming to announce his own passing. In the hours after his death, his company - Alexander McQueen - released a statement to the press: “Alexander McQueen today announces the tragic news that Lee McQueen has been found dead at his home.” This dichotomy has also led to a strange immortality. In the weeks after his death, the future of ‘Alexander McQueen’ was called into question. So heavily meshed with Lee the man, the industry debated whether anyone could step into his shoes. Lee McQueen the man was dead, but could Alexander McQueen-the-business still be resurrected? His many devotees showed their support. McQueen may have died in his London apartment but he also walked the red carpet at a slew of awards ceremonies in the weeks that followed. The world of the designer is a strange one; particularly for those who become living, breathing embodiments of their creative vision. They are the inventors of the means by which others reinvent themselves. Sometimes it is hard to know whether their creations support their vision of themselves or steadily build an impregnable fabric fortress around the real person behind the drama. McQueen was the creator of a world famous label, but he was also a man beset by labels. He was ‘l’enfant terrible’, the ‘hooligan of British fashion’. He was British Designer of the Year on four occasions, International Designer of the Year in 2003. He was Alexander McQueen, CBE. Some of those labels certainly didn’t hold him back; one could argue that all - the endorsed and the notorious - helped in their way to catapult him to the top of his field. But the nature of labelling is to pigeon hole and most of us have felt frustrated by the attempts of others to do just that at some stage in our lives. You end up wondering whether McQueen’s labels shed light on his identity or moulded it into something that people wanted him to be; to shock, to create headlines, to sell clothes. McQueen was also defined by his relationship with others, famously Isabella Blow who discovered and bought his graduation collection in its entirety. His identity was, in part, shaped by coverage of his infamous exchanges with Bernard Arnault, LVMH president, who established him as John Galliano’s successor at Givenchy. The end of his life is indelibly connected to the death of his mother, a woman whom he clearly adored and ultimately could not survive without. www.masquerademag.com, Masquerade Magazine, Editor, Ros Okusanya, Masquerade Magazine, Deputy Editor, Marius Kamara, Masquerade Magazine, Creative Director, Chris Jones, Masquerade Magazine, Director of photography, Kevin Persyn, Masquerade Magazine, Beauty Director, Richard Harvey, Masquerade Magazine, Article coordinator, Natasha al-Atassi

The facts of McQueen’s life paint him as even more of a dichotomy. He was the bad boy made good; the son of a taxi driver from the East End who gatecrashed the glamorous world of the fashion elite. He was the man who learned the tools of his trade in the sedate, classical world of Savile Row and the man who used car robots to spray model Aimee Mullins’ simple white dress with paint on the catwalk for Givenchy. He was famous world-wide and made it quite clear that fame was never his motivation. He created fashion as energy, fashion as art, fashion as identity and yet he was also responsible for some of the most unwearable items ever to grace the catwalk. He was a man who is immortalised on celluloid and online at hundreds of glittering parties, surrounded by smiling celeb friends - the great and the good of the glitterati. He was a man who couldn’t overcome the grief that resulted from the loss of his beloved mother. He was known by the world and yet he felt so alone that he took his own life. The internet is awash with images of McQueen’s signature shows; it’s three clicks from his controversial highland rape collection, a couple more from images of Daphne Guinness in those armadillo shoes. Click, tribute, click, tribute, click, tribute. But identity is a challenging and elusive concept; a chimera on ever- shifting sands. Alexander McQueen has an identity in the media and it’s safe to assume he had a personal identity - one that may or may not mirror the impression put forward by the press. How to define the real Alexander McQueen? Visionary? Wild child? Devoted son? It strikes me that he has already had his fair share of labels. Fortunately, he leaves behind him a creative legacy through which we can continue trying to make up our minds about who he really was.

Image - Gettyimages.

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introducing...

Brooke Millin UKâ&#x20AC;&#x2122;S BIGGEST UPCOMING URBAN STREET DANCER HAS A QUICK CHAT WITH OUR EDITOR Interview by Ros Okusanya, photos by JOSEPH SINCLAIR

ner

Name -

Brooke Milliner

Age -

City -

LONDON

How would you describe yourself in a few words?

[Hesitation] ……Quiet and Passionate Talk us through your career as a dancer. How long you have been dancing?

Well, I went to the Brit School when I was 14, in 2000. That’s when I first sort of started, which was just like twice a week, though. Then in 2002, I started Street Dance. That’s when I joined the [Street Dancing] crew ‘Plague’, who I am still with now. And then in 2005, I went to dance college, where I studied for 3 years. Then in 2008, I performed at the Beijing Olympics closing ceremony. Street Dance the movie 3D is your first film. In the film, you play the character Brooke. Was this character based on yourself?

Yeah. Basically, they didn’t really create a character for me; I think they just liked the way I danced. When they first put me in the film, I didn’t have as big a part as I eventually went on to have. I think, and I can’t be too sure, that they didn’t give me any lines or anything. And they asked what I wanted to call myself, and I was just like ‘Brooke’. Who is your Idol? What inspires you?

My dad and my uncles were dancers, so I was influenced a lot by them. Of course Michael Jackson. James Brown. The Nicholas Brothers – I have been watching those guys since before I can remember, really. Yeah, lots of other people. The Lockers. Electric Boogaloos. Elite Force I found out about them later in life, I didn’t know about them when I was young but now I watch them all the time. Whats your favourite childhood memory?

Going to Euro Disney at the age of eight with my family, I’m a real family guy! I love being with my family all the time. Whats the worst lie you have ever told? Did you get caught out?

I’m a good boy! I don’t tell lies. [laughs] If you could re-live the past five years of your life, what would you change?

Over the years I have been a self-taught dancer. Only over the past few years I’ve had more technical training. You can’t really master a style properly unless you have been shown. It’s good being self-taught but you can’t improve unless you have had proper training. If I had known that before, I think I would have been a lot more developed than I am now. Whats next for Brooke?

I’m doing a lot more work with my crew ‘Plague’ at the moment. More training with the boys and practicing so we can get a lot better. I would love to do more movies, but acting is definitely not for me, I prefer to express myself through dance.

Street The Movie 3D in cinemas across the UK now. www.streetdancethemovie.co.uk

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