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I S S U E 1 7 • S E PTE M B E R 201 2 Diane Pernet • The Irrepressibles • The Cherry Thing MOO Piyasombatkul • Davy Rothbart Haizhen Wang • Asher Levine

CONTENTS DIANE PERNET THE IRREPRESSIBLES THE CHERRY THING MOO PIYASOMBATKUL DAVY ROTHBART HAIZHEN WANG ASHER LEVINE RODRIGO CARMUEGA YUJI WATANABE NICK AITKEN SHUNICHI ODA GAEL DELHAYE KAORI ITO KYOKO MUNAKATA deluxxdigital.com is a unique online publication which offers a creative platform for the latest up-and-coming artists to showcase their work. With highly creative fashion photography, together with features and interviews on fashion, music, art and culture, these elements blend to form the incomparable creativity that is deluxxdigital.com If you would like to submit work for future issues please contact: info@deluxxdigital.com www.deluxxdigital.com

design & art direction: STEPHEN J LEE contributors: CHARMAINE AYDEN KAREN BANWELL EMILY PARKER LUCY TOPPING CHRISTOPHER HODGE front cover: RODRIGO CARMUEGA back cover: SHUNICHI ODA

TURNING THE LENS ON FASHION FILM

DIANE PERNET TEXT : LUCY TOPPING

Diane Pernet cuts an impressive, not to mention instantly recognisable, figure within the fashion industry. Having worked in various fields such as film, curation, design and journalism, Pernet is once again turning her attention back to the medium of film. Originating from an unwavering dedication to the showcasing of fashion through the use of film, she created A Shaded View on Fashion Film (ASVOFF) back in 2008, a venture which has gone from strength to strength and which plays a vital role in the nurturing of emerging talent.

Diane talks to Deluxx about all things ASVOFF and what the future holds for fashion film.

Your personal blog, A Shaded View on Fashion, provides an incredible platform for up and coming talent to showcase their work. With such an established position in the industry, what made you decide to focus on helping to promote the work of emerging designers?

The reason behind setting up the blog was that I wanted to give a platform to creative and emerging talents in all fields that I find interesting. Of course when an emerging talent becomes an established talent I am very happy for them and naturally continue my support.

I like to be a window on the world and for that I have enlisted the help of my very able contributors so we can cover as much that is interesting as possible.

As for the responsibility, it gives me the

greatest pleasure when I can support new talent. I was a fashion designer myself for 13 years in New York with a license in Japan for 5 years and I know as an independent designer, and not an advertiser, it is not always that easy to get the coverage in the press that they deserve. Blogs are good for that.

Naturally I do not expect anything in return for my support but it is gratifying when people do not suffer from that disease of ‘fashion amnesia’.

For instance it made me happy when my contributor Alex Murray Leslie interviewed Wisharawish Akarasantisook who won the 2012 Mango Award and in the interview he remembered that on my only trip to Bangkok I had singled out the collection that he had designed and thanked me for my support.

photography: Miguel Villalobos

Shining Directed by Stewart Shining & Vincent Gagliostro

Exercise in sartorial depravation Directed by Davide Bedoni

Onions Don’t Make Me Cry Directed by Bryan Adams

Tutti Frutti Directed by Ellen Von Unwerth for Vs Magazine

Last Dinner Directed by Takahiro Kimura

I Want Muscle Directed by Elisha Smith-Leverock

He had submitted his work for the Festival d’Hyeres about 4 years ago and I was gutted when his portfolio was rejected. It was great compensation for him winning this very generous award.

My own career path has included the 13 years designing my own brand, costume designer in Paris for a few films, assistant to the producer at CBC for Fashion Files with Tim Blanks as the on camera man, editor for Elle.com with my own styling advice column called Dr. Diane, editor for Vogueparis.fr and then in February 2005, I set up A Shaded View on Fashion. Before that I was making lo-fi films on fashion with people like Bernhard Willhelm, Olivier Theyskens, Marjan Pejoski, As Four, etc. In 2006 I launched You Wear it Well my first fashion film festival with my collaborator in LA. Since moving to Paris 21 years ago I’ve gone from being on the podium to supporting new talents.

Your career path included costume designer, fashion designer, fashion editor and now blogger and designer’s friend. Which of these positions did or do you feel the most comfortable with? Is there one that you enjoyed more?

Naturally when I was a fashion designer for my own brand for 13 years it was my heart and soul but honestly I feel the same with ASVOFF, my fashion film festival. I founded it and direct it and it is a way that I can join all the things that I love, fashion and film and giving a platform for emerging and established talent.

You started A Shaded View on Fashion Film (ASVOFF) back in 2008.

What inspired you to create such a project?

When I first started this back in 2008, somehow I instinctively knew that ASVOFF would fill a much needed creative gap. I guess it was because I understood there was already an audience waiting to be served. But what I could never have anticipated was just

how quickly the cross-over between fashion and film would evolve from wild experimentation into a bona fide art form and a valuable commercial outlet. To begin with, I think the ‘fashion film’ was born out of a real need to breathe life into the old static medium and set fashion in motion through the magic of cinema.

What ASVOFF does is to give people in both industries – and talented outsiders too – a platform to let this genre flourish.

Hopefully, by rewarding excellence in the field, it also keeps pushing them to push the boundaries forward too.

You have already collaborated with a vast array of major names within the fashion industry, including Nick Knight, Bruce Weber and Hussein Chalayan, to name but a few. Is there anyone in particular who you hope to work with in the future?

Yes, I would love to work with Todd Haynes, I love his films and his obsession about them.

The creation of film is quite a personal process for those involved.

What do you look for when judging the entries for the ASVOFF competition?

I want something that is up close and personal, something that grabs the viewer’s attention within the first 30 seconds of film. A little comedy can be a clever way to seduce people who are starved for humor in fashion. It is extremely important that the director knows he is creating a film and not a photo shoot in motion. Of course fashion must be the protagonist of the film and it has to take us somewhere that we have not already been. A clear scenario helps, as does a good sound design that supports the images. It helps to develop a unique aesthetic for the film and to know when to contrast and when to complement. Both the raw and the refined should be considered.

Good technicians are a huge asset. The film should evoke powerful emotions.

Consider the subtext of the film, superficiality can be fun or funny but

subtext adds depth and dimension.

The film should leave us wanting more not checking the time line to see when it is about to end. Basically I want the film to take my breath away.

Some argue that the medium of film is far more experiential than that of the still image.

Do you think film will overtake photography in the future as the predominant means of depicting fashion? Where do you see the genre of fashion film heading?

Fashion has often been a powerful force in cinema and in a few films the wardrobes have occasionally eclipsed the stars in highly stylised productions.

So that has always been around as a backdrop. But fashion film is a genre where fashion rose above a mere prop to become the protagonist, that’s one key distinction. I think there are two main reasons why it is emerging as such a compelling vehicle. Yes, the commercial side to it, like shoppable video, is proving itself time and time again as a great impetus to move the genre forward but we can’t forget the original creative push of designers, stylists, make-up artists, photographers and directors who were simply hungry to challenge themselves.

This is where the real birth of the genre came about as far as I’m concerned. It happened rather organically once the technology had become affordable and ubiquitous enough for people to produce, use and disseminate fashion films easily.

Not long after that, others began realising the commercial implications of fashion film. We’ve only seen the tip of the iceberg so far. How to monetize fashion film is the ‘next big thing’ in fashion and creators should have dialogues with entrepreneurs early on as new business models arise to make sure everyone gets their fair share of the proceeds and to ensure creativity isn’t overly compromised. As far as the budgets are concerned they run the gamut. www.asvof.com www.asvoff.com

QUESTIONS OF IRREPRESSIBILITY

THE IRREPRESSIBLES TEXT : CHRISTOPHER HODGE

Deluxx are delighted to be invited into the fascinating and seemingly irrepressible world of Jamie McDermott and his Human music box of orchestral magicians. Meet The Irrepressibles.

We have read and heard many attempts to define The Irrepressibles, who you are and what you do. What would your self-definition be, if indeed you feel that it is correct to attempt any definition at all?

The Irrepressibles’ aim is to be free from genre and restriction. To create music and visuals that are an expression of the intention of the lyric, the sound, and its meaning.

Your sound bridges such a variety of genres and even centuries. It fluctuates between a huge range of emotions and moods, does your own mood at the time of composition define the sound or does the music dictate your mood?

It’s completely defined by my mood

and what I want to say in that moment certainly. I usually hear everything in the moment of composition and through the process am trying to find that sound and expression through the mix and the sound world of instrumentation. It’s a bit like a puzzle I need to work out.

At times the is an almost medieval feeling within the sound, is it fair to say there is something of the traditional troubadour or minstrel in The Irrepressibles story?

Definitely for the last album Mirror Mirror. I wanted to make a record that was distinctly european, even english in style and express my roots in North Yorkshire but it also brought in much other influences from my child-hood and adolescence of the music I was listening to. The new record certainly goes back

to the 80’s when I was growing up, the landscape of the moors, the darkness of the skies and the emotional weight held in this landscape for me. I often go back to this landscape to set my songs.

Do the concepts for the visual and the auditory narrative arrive in unison or does one tend to inform the other?

The songs are always the starting point but then it’s really about the situation.

I compose the parts that the musicians play with a consideration for the movements they will do on stage so the musical parts are actually defined by movement and this movement by the emotional expression of the lyric.

So that the performers own emotional viscera plays into the music. In the area of music videos and film we allow the director the freedom to create what she or he sees. The same goes for photography but with this we are present. Recently I created a music video for the single Arrow and with this it was important for me to find a real expression of the lyric and a performance that could express this and augment and give weight to the lyric, but I can imagine so many other beautiful videos made by other artists, there are

always other ways to express a song.

How much and in what ways do you feel that gender can inform the art you create? Does your gender and sexuality have a strong voice within the creative process?

I do. I think that we have a monoclastic religious hangover which makes us all believe that we are the same. But we are not. We are all distinctly different and it is this difference that should be most enthused and celebrated in Art. Sometimes people have to be brave to be different but I think everyone already is.

It is better not to be a sheep but instead to have a dialogue with your society, your generation, your racial group or sexuality through your art. To make safe, carefully packaged plastic cheese is not an option for me and there is so much of this these days and people trying to be each other. That or very high-brow stuff that references upon references upon references until you need a long conversation to understand it. I love pop music as it communicates to people emotionally, makes them dance, makes them feel alive! This is important to me but it need not be safe pop music.

How much is the music an

extension of you? Or could it be said that you are an extension of the musical, visual and physical visions that you conjure up?

I’ve definitely gone through the mirror in the Never Ending Story. I don’t hold my ego it’s held by my stage self. I very much approach it as if it’s another me but at the same time it couldn’t be any closer to the truth.

What does it mean to you to be male? Can you elaborate on what you would consider to be contemporary masculine fashion semantics?

To be male is very defining. Just as to be female is very defining. But then of course there is so much complexity in between which is hugely interesting and important. I’ve never seen myself as in anyway female as a gay man.

And living in my world where I see allot of complexity in men I think that male fashion can often be too orientated by what we feel / worry is correct or can sometimes be made female.

I think that male fashion is hugely orientated around sexuality and the expression of this through style.

I think this is wonderful and powerful.

But I sometimes feel there is more to

express. I feel that the models often only express one type of man. This said there is always so much fashion, so many amazing designers, it is always an exiting place full of sexuality.

Can your musical voice ever switch gender as you write or even perform?

This is an interesting question. In some parts of the world they refer to me as “she”. I am certainly very much he, and very much a gay man. I think that I can be bold enough to say that the gay man often expresses something of men that we are not always willing to show and that this is often misconstrued as female.

Ten years into The Irrepressibles and a new album out in October, what visual treats do we have to look forward to in the future in terms of live performance?

Tomorrow we are to take the stage to perform two shows in London.

One a set with “Electro Nude” which will show some of the choreography and electronic shape of the album NUDE and the other show before is “Expanding Landscapes into Nude” which will allow people to have a taste of the landscape of

NUDE and its orchestral world.

Does the creative process ripple ever on or is there a deep breath moment of temporary stillness before the next wave of invention?

It’s always moving. I am constantly evolving the music I have begun and then we allow others to remix the tracks and continue this process. At the moment we are running a competition for choreographers to create dances to our track TEARS that we will edit together to create a master video encompassing dances created all over the world.

We are also sending out the stems to anyone who wants to remix the track.

The track is also available to download for free allowing people to create art works. There will be an exhibition in London on the 6th August when these works will be played and shown. http:// soundcloud.com/jamie-mcdermott/ tears-remix_it_dance_it_make_art We absolutely adore the vicious tenderness and intensity of the film, which accompanies Arrow, is this a genre that you see yourselves exploring more in the future?

Yes. It was an intense experience making that video. We have more plans.

Do you have any more plans to involve yourselves in the world of fashion? Can we anticipate any collaboration on that front?

Yes we are collaborating with designers for appearances at fashion weeks internationally. More details to come.

Ultimately do you find a kind of peace or salvation through the process and execution of your craft, or is it as tumultuous an experience as it can sometimes feel?

It is always tumultuous and difficult to realise my work. I would not wish it on anyone. I think gay artists have a difficult time in the music industry still.

But then I have chosen to do this and so I must do my best because, at the end of the day people are choosing to listen and I am very appreciative of this.

THE IRREPRESSIBLES The new single, “New World” will be featured in London fashion designer, Jayne Piersons SS13 film screening presentation during London Fashion Week at Somerset House on the 18th of September? www.theirrepressibles.com www.myspace.com/theirrepressibles www.facebook.com/theirrepressibles

“SHE IS THE MOST AMAZING SINGER I HAVE EVER WORKED WITH! PERIOD!”

THE CHERRY THING TEXT : KAREN BANWELL

As an established artist whose reputation precedes her, Neneh Cherry is an unusual choice for the Deluxx music feature. Her excellent 2012 collaboration with jazz trio The Thing however, makes her a worthy candidate for any attention you would normally pay to new artists on your horizon.

The Thing is a three-piece Norwegian/Swedish Jazz band who established themselves in 2000 with some live shows and a recording of songs by Neneh’s father, the innovative and respected jazz cornetist, Don Cherry. The Cherry Thing, their 2012 album with his daughter, is the latest and possibly most successful example of Neneh’s lifelong attempts to “ignore all the borders of music, as much as I can”.

The BBC describe the album as “one of the most enjoyable and original albums of the year”. They say it is “more than just a welcome return” and add that it is one of this year’s essential albums.

If you are remembering the terrific international hit record Raw Like Sushi (and its huge single Buffalo Stance), The Cherry Thing is very different. Mainly recorded live it is a series of covers of both jazz artists, including Don Cherry, and the likes of The Stooges and Suicide. Neneh’s improvised jazz vocal style is a revelation and is what makes the album so special. Her soulful yet wild and passionate interpretations recall and surpass many much younger artists and

there are even hints of her punk roots sprinkled throughout.

“I’m really proud of what we’ve done” Neneh said recently. “The Thing were really up for doing something together, which was a massive honour. I feel a righteous connection with the wildness of what they do.”

wanted the whole record to feel like a bit of a punch. It’s fairly wild, but also fairly compact.” On covering her father’s music she says, “The way he made music – that is something I have always had with me, but I haven’t contemplated it so much.

Now I’ve maybe journeyed into it.”

Matt Gustafsson (frontman and saxophonist of The Thing) returned the compliment adding, “She is the most amazing singer I have ever worked with!

Period! Because she can really kick the music in all directions.”

Join Neneh Cherry and The Thing on this journey via Neneh’s facebook page at: http://www.facebook.com/ nenehcherryofficial

Talking about the sounds on The Cherry Thing, Neneh says, “The tunes stretch out, they go where they go, but we

Listen to Dream Baby Dream from The Cherry Thing click here: The Cherry Thing is out now.

WAYS OF SEEING

MOO PIYASOMBATKUL TEXT : CHARMAINE AYDEN A rare blend of sartorial direction and architectural elegance, eyewear designer MOO Piyasombatkul has tickled the fancy of eccentrics, antique-lovers and fashiony-types alike. Hand-carving exquisite fine porcelain baroque adornment which she fits on vintage frames, four eyes and a uni-brow has never looked so good.

When we think of porcelain, teacups and dolls spring to mind; how did you realise that it could be adapted for eyewear?

Actually, I had done a few experiments using porcelain clay as a medium, during the initial stage of this project. This is my graduation collection which I had a good 7 months to create a capsule collection. I had a lot of time to develop and explore my ideas with different mediums.

Your frames are all vintage, where do you find them and are they easy to choose?

I used to find vintage frames at Camden Passage in London but now I’ve based my production in Bangkok and so this is where I find the vintage frames. From Emilio Pucci to Lanvin vintage... I could find in Bangkok.

my first collection for myself. I was my own muse. I wanted to create something that I didn’t have much in my wardrobe.

Normally I wear statement necklace and shoes because there are plenty of these items at fashion stores. Eyewear is another accessories that I wear but I couldn’t find standout design so why not design it myself :-)

Baroque is celebrated for its ornate beauty; do you have a favourite place or artist that embraces this elaborate style?

My home is full of Baroque styled furniture, not too rich though, just the right amount. I think this is my most favourite place and it is where I began to absorb the era.

Could you adapt baroque adornment for other accessories?

We’re thinking clutches, brogues; the list is endless.

We’ll see... I only produce things that I feel “THIS IS RIGHT”, “THIS IS ME”, because after all I’m putting my name on it and it should be a clear representation of me.

Tell us about the day-to-day workings of MOO Piyasombatkul’s world.

I’m overseeing every thing in the brand.

From production to PR and marketing.

I’m still doing the makings and exploring with materials and new ideas that I can potentially put forward for future collections. Lots of phone calls with suppliers. My phone battery usually runs out every afternoon.

Both your eyewear and imagery has an odd-meets-elegant and tongue-in-cheek naughtiness, is this reflective of the MOO girl?

Yes... more or less. All of my girls in the lookbook wear shirts (white shirts especially), and blazer, which is my everyday wear. Plain white shirts with statement jewellery such as my eyewear :-) I tend to wear only 1 or 2 statement pieces, I don’t want to overload myself with too many items. The right balance is good.

You split your time between Bangkok, Thailand and the UK; does the clash of cultures influence you?

Probably. Although Baroque influences are everywhere in the world. The fact that I chose Baroque as an era to work with was because I had opportunities to travel to many places, to see many things in different cultures. So I was lucky in the way that I had plenty of choices to choose from.

If you could create accessories for any designer’s show, who would you

What’s next?

WE’LL SEE... :-)

You have a unique personal sense of style; does this influence your collections?

One hundred percent!!! YES!! I designed

choose and what would you do?

I would love to create for CHANEL and Lanvin... I’ve been a fan of these brands because they’ve still based the designs on classical elegance which is what I do for my eyewear as well. A classic with a twist is what I love and these brands are doing it so well.

This would be such a dream if I got an opportunity...

You use a largely monochrome porcelain colour palette, are you tempted to introduce more colour?

Maybe :-) If you could frame the eyes of anyone with MOO glasses, who would it be?

Mila Kunis. Very powerful eyes.

photography: Dan Busta

HUMAN SNOWBALL

DAVY ROTHBART TEXT : CHARMAINE AYDEN

Davy Rothbart possesses somewhat magpie tendencies. As creator of FOUND magazine, the off-beat Californian reprinted lost scraps, letters and everyday personal debris, offering an untarnished and often hilarious looking glass into the world of ‘other’ people. Rothbart talks to Deluxx following the publication of ‘My Heart Is An Idiot’, his own collection of personal essays.

We’ve laughed, cried and been amazed at the pieces that you’ve discovered for FOUND magazine, do you have a greatest ‘find ’?

Every 2 or 3 days I seem to have a new favorite find, as I open new mail that has landed at FOUND Magazine HQ and pore through the latest finds.

That being said, there’s been a few that have always stuck with me. One is a

particularly beautiful and heartbreaking letter from a teenage kid to his longlost father, found in Erie, Pennsylvania.

Another one is a strange love letter found on the streets of New York City. It starts out as a very earnest love letter from a guy in Seattle, but then devolves into a series of bizarre sexual fantasies, then transitions quickly back into everyday stuff. Pretty hilarious and amazing find.

70s Group FOUND by Eric Lingafelter in Wichita, Kansas

What are your limits, is there anything too special or private that you wouldn’t publish?

Not really! We do publish some incredibly raw and personal letters in FOUND Magazine. I think it’s important to reveal that other people are going through some of the same dark and difficult moments in life that we are.

That said, we are very careful to change the names and keep the notes anonymous when they deal with anything especially revealing. We definitely don’t want to put anyone in an uncomfortable or compromising position.

Have you ever deliberately ‘lost’ something, so that someone would find it? If so, are you able to share?

I have a funny story about this. Back in 1998, before I started FOUND Magazine, I was roaming around Washington, D.C. one night around 4 in the morning (I was living in D.C. at the time). I was feeling particularly lost and sad that night, and I wandered into a youth hostel, wondering if I’d meet anyone interesting. Everyone else had gone to sleep but the guy who ran the place was really cool and we chatted for an hour or so. The hostel was full, but he offered to let me sleep on the sofa in the lobby, thinking that I was traveling through town (he didn’t know I

had an apartment a few miles away). So I did, and in the morning, before taking off, instead of leaving him a Thank You note, I found myself doing something odd: writing a letter to a made-up friend about my invented travels, and in the letter I talked about how nice the guy was who’d let me stay at the hostel the night before.

Then I left the letter behind, figuring the guy would read it, and know how much I appreciated his kindness.

Has your work on FOUND affected you as a writer?

Absolutely! FOUND gives me constant, powerful glimpses into other people’s lives, an array of intense emotion and incredible stories. In my writing, I try to channel the same kind of raw feeling.

We read a great anecdote about the explanation you had to give to your grandmother regarding your movie, Easier With Practice; a film that details your real-life torrid phone sex affair with a girl named Nicole – did she ever get to see the movie, and what was her reaction?

My grandmother is 96 years old and is a real inspiration to me. After my grandfather passed away, I lived with her for a few months, and was always

amazed by how insightful and wise she was. I could talk to her about anything. I wrote a story about her and what it was like to share an apartment with her in my first book, The Lone Surfer of Montana, Kansas.

Still, there are certain things you don’t want to dig into in a conversation with your grandmother -- and phone sex is one of those things. That piece I wrote about the phone-sex relationship -“What Are You Wearing?” -- is featured in my new book, My Heart Is An Idiot.

But no, she has not seen the movie Easier With Practice, based on that essay, and I’m not going to go out of the way to get her a copy of the DVD! Ultimately, she’d probably think it was a pretty funny story, but I don’t need to go there with her right now!

Both Easier With Practice and your latest book My Heart Is An Idiot are extremely personal depictions of your life, do you ever worry that you’re giving too much away?

Yes -- the new book is intensely personal, but I’ve been publishing other people’s most private thoughts in FOUND Magazine for the last 10 years, so I figure it’s only fair to open myself up in the same kind of way!

This page clockwise: You Are Violating Fashion FOUND by Matt in Cambridge, Massachusettes Happy Couple FOUND by Casey C-P Headphones Lady FOUND by Laura Butler in LaGrange, Georgia Drunk Tina FOUND by Fletcher Kauffman in Pittsburgh, Pennsylvania FOUND Book

‘Human Snowball’ was one of our favourite short stories, as we were left in complete awe of your pursuit for love; are you still that idealistic about love? (We hope so) Absolutely! I think it can be really thrilling to meet someone and instantly feel that kind of deep and powerful connection.

At the same time, that chemistry is not necessarily an indicator of how successful a relationship with that person would actually be, as I’ve learned. A lot of the stories in the new book deal with the fallout that occurs when your idealized version of someone collides with the reality of who they (and you) might really be.

Have any of the ‘characters’ included in My Heart Is An Idiot objected to being featured?

Everyone has been remarkably generous about giving me permission to write about some very personal and intense experiences -- although it’s yet to be

determined what they’ll make of the stories once they actually get a chance to read them, now that the book is out! But really, if anyone gets skewered in these stories, it’s me. The stories are honest, but the depictions of the people in my life are affectionate, since I still have so much affection for all of these people.

You have an obvious love of travelling, has there been a particular town or country that’s particularly resonated with you?

The American Southwest is a place I really love, especially New Mexico.

There’s a desolate beauty to the place that is magical and unique. I actually moved to New Mexico in the year 2000 without knowing a soul there, just because I’d seen the landscapes in a movie and thought it was so beautiful. The story “Shade” in My Heart Is An Idiot deals with my return trip to the Southwest to visit a girl in Arizona, and our ill-fated road trip to New Mexico.

You’ve lead a colourful life that’s been nothing short of inspiring to us; if you could offer one piece of advice from the Davy Rothbart Mantra, what would it be?

Engage with people. Always be curious.

Finally, we’re disappointed that you’re not travelling to the UK on the My Heart Is An Idiot book tour, will you ever ‘cross the pond ’ and come visit us?

Without a doubt! My brother Peter (www.peterrothbart.com) and I had an amazing time on our UK tour with FOUND back in 2008, and we can’t wait to come back. I’m hoping a UK publisher will pick up My Heart Is An Idiot and we can set up a big UK tour in 2013. It would be great to see all of you!

My Heart Is An Idiot website: www.myheartisanidiotbook.com/ Check out some fun book videos: www.myheartisanidiotbook.com/videos/

ROYALTY AND ANDROGYNY

HAIZHEN WANG TEXT : EMILY PARKER

Explore Fashion Fringe finalist Haizhen Wang’s unique take on the returning Military trend in this exclusive interview with Deluxx Where did your interest in fashion originate? What made you decide to pursue the field as a career?

Originally my plan was to pursue a career within graphic design, but my father sent my application in for fashion studies instead! After my first year of fashion at the University, I realised it was the path I wanted to pursue.

That has of course been the highlight of my career so far. Not everyone has this kind of opportunity. I know I am very lucky and I will work as hard as I can to prove myself worthy and gain as much from the experience as possible. Being mentored by some of the veterans in the business has given me so much invaluable insight and new a perspective on things.

You have been shortlisted as a Finalist for the exclusive Fashion Fringe award, chaired by Christopher Bailey, which concludes with a joint show at London Fashion Week. How are you finding the experience of working alongside other upcoming designers and being mentored by some of the best in the business?

Has training at companies such as Max Mara, Boudicca, All Saints and Handwritten affected the house style of your solo brand today?

I have been so fortunate to work for these companies, it has provided me with a great deal of insight into the reality of running a fashion label. It has enabled me to understand production, sourcing, communication, management and so

much more. Working for other designers requires you to be able to put yourself into their mindset and consider the target market and customers expectations, which is so important. This experience has aided me in defining my own customer and their characters and needs.

How did you go about setting up your business? What challenges did you have to overcome to be where you are at present?

I got to a point where I found it had to happen, kind of a “now or never” moment. Running your own business is hard work, but for me there is actually nothing else I can do.

Your designs appear to be somewhat androgynous. The muted colour palettes and highly tailored finishes are traditionally components of a menswear collection. What leads you to create these asexual pieces?

Is this aesthetic a key component of what your brand promotes?

Yes, my garments tend to circle around this theme. I am fascinated with exploring the boundaries of traditional male and female clothing and how femininity and masculinity can be given a new meaning in different contexts.

Your AW12 collection incorporates elements of the returning military trend - through sharp tailored coats, tall hats and classic silhouettes. Where did you get the inspiration for the collection and how did you decide which materials to utilise?

Yes, I drew inspiration from African and Asian traditional armours, in combination with classical British tailoring. I also wanted to give my tribute to the Queen’s Diamond Jubilee, so there’s some elements drawn form the Royal Guards in the collection.

Currently you only work in womenswear. Are there any plans to explore the possibilities of menswear in the future?

Yes! My female customers often bring their male partners with them when they are shopping and I’ve received many requests from them to create menswear.

My aim is to make a sustainable business providing beautiful garments for both men and women. www.haizhenwang.co.uk

A SCIENTIFIC IMPRESSION OF FASHION

ASHER LEVINE TEXT : LUCY TOPPING

Biological forms can be seen amalgamating with military references in the innovative work of New York-based designer, Asher Levine. Always seeking to challenge the boundaries of fashion design as we know it, Levine not only focusses his efforts on his main collection, but also works on custom creations for musical superstars including Lady Gaga and The Black Eyed Peas and collaborations with Converse and Nicola Formichetti to name but a few on what is a highly impressive list.

A complex world of design contradictions, the resulting work of Asher Levine never fails to make a significant visual impact, leaving little wonder as to why he is fast making quite the name for himself on a global scale.

Originally from Port Charlotte, Florida, you moved to New York at the age of 18 and immediately began work within the fashion industry. How important is it for you to be based in New York and how has this influenced the Asher Levine brand?

I remember the skyline as I was first coming to the island, I felt as if I was coming home. It is the New York energy, people, and excitement that influence my direction. It could be the graffiti, that stylish person, or even a flattened dead bird on the street that influences me. The beauty about New York is it’s spontaneity, unpredictability -- it’s exhilarating.

You have an impressive selection of collaborations under your belt, having worked with Dr Martens, Nicola Formichetti and Converse to name but a few. How do you find the whole collaborative process with external brands? Do you find it easy to apply your own vision to such products?

My aim is to push the limits of fashion and to discover new shapes, materials and perspectives of fashion objects that already exist. I love collaborating with brands and people because I can dive into their heritage and figure out what the core is. Understanding an object’s integral components gives you the opportunity to re-think and manipulate its function, appearance and materiality into something fresh.

Many of your designs play with an extreme use of silhouette and juxtaposing proportions. Where do you look to for inspiration for your collections? Is each one a natural progression from the last?

If you compared our inspiration boards from 3 years ago to those of today, you’d see many similarities – new scientific discoveries, military themes, cultural icons, reptilian and oceanic organisms.

Each collection is unique, but the overall sensibility is a progression from the last.

You have created custom designs for some of the biggest names in the music industry, including Lady Gaga, The Black Eyed Peas and Bruno Mars. Do you approach custom design in a different way to the method used for your main collections?

The approach for our custom clients is similar, and yet different from our collection approach. Sometimes our client has a special direction and it’s our goal to create new iconic images yet still maintaining the essence of the artist.

Well, now that I think of it, it is like our collections in that aspect, however, I don’t put boundaries on the collections, I want to push as far and wide as I can.

Having already designed a number of garments for women which have been worn in a performance arena, do you have any future plans to explore womenswear further?

Yes. How would you describe the Asher Levine design aesthetic?

My goal on this planet is to create shapes and forms that make people turn within, question his/her purpose, feel sexy, beautiful, and enjoy the moment. www.asherlevine.com

SEASONS CHANGE Photography: RODRIGO CARMUEGA Styling: KARINA TANABE JONES

Shirt: BEYOND RETRO Collarless jacket: AGI & SAM Hat: AGNES B Sash: STYLIST’S OWN

this page Hat: AGNES B Shirt, Coat & trouser: CHRISTOPHER O’BRIEN opposite page White shirt & jacket: CHRISTOPHER O’BRIEN Striped shirt: PAUL SHARK Trousers: WILLIAM RICHARD GREEN Scarf: AGNES B Shoes & belt: BEYOND RETRO

this page Printed jacket: AGI & SAM Metalic cardigan: JAMES LONG Trousers: WOOLRICH Scarf: STYLIST’S OWN opposite page Knitted waistcoat: WOOLRICH Jacket: WILLIAM RICHARD GREEN Black waistcoat, skirt and hat: STYLIST’S OWN Shoes: BEYOND RETRO

this page Cotton knitted jumper: JAMES LONG Vintage Dickies trousers: BEYOND RETRO Scarf worn as head wrap: STONE ISLAND opposite page Shirt with black buttons: STONE ISLAND Shirt on top: TWEEN White jeans: WOOLRICH Shoes & hat: BEYOND RETRO

Shirt with black buttons: STONE ISLAND Shirt on top: TWEEN White jeans: WOOLRICH Shoes & hat: BEYOND RETRO

photography: RODRIGO CARMUEGA stylist: KARINA TANABE JONES grooming: JULIA WILSON model: TOBY NORMAN @ PREMIER

IN MY TRIBE Photography: YUJI WATANABE Styling: MARIE REVELUT

Top & jacket: HEIKKI SALOMEN Bag & hat: EVA BUUT Neckles: WILD FOX

this page Jacket: AZZEDINE ALAIA Dress: CORRADO DE BIAZE Neckles: THE LOSER PROJECT In hair: PAULE KA opposite page Top & gold: BARBARA BUI Coat: NINO BOLLAG Jacket fur: PELLISSIMO Harney: ZANA BEYNE Skirt: AZZEDINE ALAIA In hair: MARLENE BIRGER

this page Combination: AZZEDINE ALAIA Jacket: IIMUAHII COUTURE Dress: NINO BOLLAG Ring: WILDFOX Hat top: JOSEP FONT opposite page Shift hat: THE LOSER PROJECT Neckless in hat: MALENE BIGER Shirt: AZZEDINE ALAIA Jacket: VENERA ARRAPU Pull: FATIMA LOPEZ Broche: WILD FOX

In hair: MADEMOISELLE SARONG Pull: AZZEDINE ALAIA Jacket: FATIMA LOPEZ

photography: YUJI WATANABE stylist: MARIE REVELUT make-up: KASIA FURTAK hair: RAPHAEL MARIAGE model: PAULINE MOULETTES post production: AKINFIEV SERGEY

ROBOT GALLERY Photography: NICK AITKEN Styling: PHYLLIS SMITH

Jacket: IIMUAHII COUTURE

Dress: ALEXANDER WANG Leggings: IIMUAHII COUTURE

this page Shirt: 3.1 PHILLIP LIM Leggings: IIMUAHII COUTURE Shoes: ENZO ANGIONLINI opposite page Jacket, Skirt & Gloves: IIMUAHII COUTURE Boots: ENZO ANGIOLINI

left Shirt: 3.1 PHILLIP LIM right Dress: ALEXANDER WANG Gloves: IIMUAHII COUTURE

this page Dress: IIMUAHII COUTURE Boots: ENZO ANGIOLINI opposite page Dress and necklace: IIMUAHII COUTURE

photography: NICK AITKEN stylist: PHYLLIS SMITH make-up: PRESTON NESBIT hair: JAMES MAREZ models: KATIE (Brunette) ALWYN (Blonde) STARS MODEL MANAGEMENT SAN FRANCISCO photography assistant: MANUTSAWEE BUAPET thanks to: IIMAUHII COUTURE FOR SHARING MOST OF THE FASHION INVOLVED WITH THIS EDITORIAL

THE PERFECTIONIST Photography: SHUNICHI ODA (LONG QUEUE) Styling: HIROHITO EGUSA

this page Blazer: BAARTMANS AND SIEGEL Shirt: BODYBOUND opposite page Blazer and Shirt: TBFRANK Hat: CA4LA Necklace: STYLIST OWN

this page Blazer and Trousers: BAARTMANS AND SIEGEL Shirt: MATTHEW MILLER Gloves: HIROAKI KANAI Belt: STYLIST OWN opposite page Coat and Shoes: BAARTMANS AND SIEGEL Trousers: BODYBOUND Gloves: HIROAKI KANAI Necklace: BEYOND RETRO Belt: STYLIST OWN

this page Coat: BAARTMANS AND SIEGEL Studded shirt: BODYBOUND Shirt: BEYOND RETRO opposite page Shirt: MATTHEW MILLER

this page Coat and Vest: BODYBOUND Hat: CA4LA Gloves: HIROAKI KANAI opposite page Blazer: RICK OWENS Shirts: NATTAPHONSAMPATAPHAKDEE Trousers: TBFRANK Gloves: HIROAKI KANAI Necklace and Belt: BEYOND RETRO

this page Blazer, trousers and gloves: HIROAKI KANAI Shirt: DIRK SCHONBERGER Necklace: STYLIST OWN opposite page Coat: BAARTMANS AND SIEGEL Trousers: MATTHEW MILLER Belt and necklace: STYLIST OWN

photography: SHUNICHI ODA (LONG QUEUE) Shunichioda@long-queue.com stylist: HIROHITO EGUSA hair & make-up: SATORU YANAGAWA models: HARIS @ MODELS 1 SHANE GIBSON @ STORM MODELS photo assistant: SENA OHARA stylist assistant: KURATA YOSHIKO

MEMPHIS BELLE Photography: GAEL DELHAYE Styling: KARINA TANABE JONES

Green monster top: FAM IRVOLL Neon orange dress: AQUA Red glitter ring: KITTY JOSEPH Two tone socks: TABIO Shoes: NICHOLAS KIRKWOOD White perspex necklace: STYLIST’S OWN

this page Patent snake print jacket & art printed trousers: DANS LA VIE Woven dress top: PANKAJ &NIDHI Target head piece: RIITTA HAKKARAINEN for DANS LA VIE Socks: TABIO Shoes: UNDERGROUND opposite page Two tone shirt: FAM IRVOLL Minnie mouse head piece: LITTLE SHILPA

this page Velvet tie dye dress: KITTY JOSEPH Painted egg denim Jacket: MARGO BOWMAN Polka dot tights: VIVIENNE WESTWOOD Shoes: UNDERGROUND Orange sunglasses: Stylist’s own opposite page Head piece: RIITTA HAKKARAINEN for DANS LA VIE

this page Fur dress: MARYME - JIMMYPAUL Glitter sunglasses: KITTY JOSEPH Orange sunglasses: STYLIST’S OWN opposite page Lilac pring top: DANS LAVIE Black jumpsuit: AQUA Glitter ring: KITTY JOSEPH Socks: TABIO Shoes: UNDERGROUND

Leopard fur coat: DANS LA VIE Tights: WOLFORD

photography: GAEL DELHAYE stylist: KARINA TANABE JONES hair: ATSUSHI TAKITA using BUMBLE & BUMBLE make-up: JOEY CHOY using MAC set designer: MAGGIE MUSIAL model: BETH @ PREMIER

VITALITY Photography: KAORI ITO Styling: TOMOHIRO HANADA

Shirt: VANESSA G Trousers: MARKUS LUPFER Shoes: REPUBLIC

this page Dress: JAEGER LONDON opposite page Cardigan: FREE PEOPLE Roll Neck: JAEGER Skirt: ZOE JORDAN Shoes: REPUBLIC

this page Blouse: GERARD DAREL Trousers: GERARD DAREL Belt: STYLIST OWN Shoes: GERARD DAREL opposite page Leather Jacket: 2ND DAY Shirt: FREE PEOPLE Skirt: JAEGER

Cardigan: WON HUNDRED Skirt: JAEGER Shoes: BEYOND RETRO

photography: KAORI ITO stylist: TOMOHIRO HANADA hair: MASANORI YAHIRO make-up: MAI KODAMA models: KATARINA @ PROFILE MODEL

SKY ROOM Photography: KYOKO MUNAKATA Styling: KARINA TANABE JONES

Blouse with sash: CORRIE NIELSEN Printed smoking trousers: HILDA MAHA Shoes: CAMILLA SKOVGAARD Bangles: EDDIE BORGO

this page Polo neck top: BORA AKSU Netted top: KRYSTOF STROZYNA Poncho: EMMA COOK Skirt: J. JS LEE Leather cuff used as belt: CHARLIE MAY Tights: WOLFORD Wedge shoes: ZOE JORDAN opposite page White long sleeve top: EUDON CHOI Extra long maxi dress: LITTLE SHILPA Organza dress: CAMILLA & MARC Red harness: FLEET ILYA Wedge shoes: ZOE JORDAN

this page Top: J.JS LEE Necklace: FENTON opposite page Blouse with high collar: CORRIE NIELSEN Knickers: THAPELO PARIS Tights: WOLFORD

this page Lace top: AMBER SAKAI Dress: GILES Tights: WOLFORD Shoes: CIMILLA SKOVGAARD opposite page Fur dress: CHRISTIAN BLANKEN Leather head cap: EUDON CHOI Tights: WOLFORD Wedge shoes: ZOE JORDAN

this page Lace top: AMBER SAKAI Jacquard top: ZOE JORDAN Ear cuff with chain: BJORG opposite page Dress: DAVID KOMA TIghts: WOLFORD Blue metallic shoes: NANETTE LEPORE

photography: KYOKO MUNAKATA stylist: KARINA TANABE JONES make-up: YUKA HIRATA hair: YOSHITAKA MIYAZAKI model: MARY BALLANTYNE @ SELECT

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