deluxxdigital isuue 13

deluxxdigital.com I S S U E 1 3 • S E PTE M B E R 201 1 Wendy Bevan • Kevin Azzopardi • Kellyanna • Beirut • Postmodernism at the V&A Pierre Manning • Masami Naruo • Vlada Krasilnikova • Hiro Kimura • Karl Slater • Martin Sweers Steven James Emberton • Wendy Bevan • Cleon Manz • Joke Schaper • Ricardo Gomes • Edel Verzijl

WENDY BEVAN THE CUT OF THE LIGHT

ONLINE SHOP WWW.ELEVENPARIS.COM

CONTENTS Welcome to the September issue of deluxxdigital.com we have indepth interviews with fashion photographer and artist Wendy Bevan, fashion designer Kevin Azzopardi and illustrator Kellyanna.

Plus music from Beirut and the latest at the V&A.

WENDY BEVAN KEVIN AZZOPARDI KELLYANNA BEIRUT POSTMODERNISM AT THE V&A PIERRE MANNING MASAMI NARUO VLADA KRASILNIKOVA HIRO KIMURA KARL SLATER MARTIN SWEERS STEVEN JAMES EMBERTON WENDY BEVAN CLEON MANZ JOKE SCHAPER RICARDO GOMES EDEL VERZIJL

deluxxdigital.com is a unique online publication which offers a creative platform for the latest up-andcoming artists to showcase their work. With highly creative fashion photography, together with features and interviews on 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 info@deluxxdigital.com creative director: STEPHEN J LEE contibutors: CHARMAINE AYDEN KAREN BANWELL DAVID HELLQVIST front cover: SAYAKA MARUYAMA back cover: PIERRE MANNING

Portrait of Wendy Bevan: Sayaka Maruyama from the Starless Night series.

WENDY BEVAN PAST ERAS AND FEMME FATALES T ext: C H A R M A I N E AYD E N Plunged into a world of unnerving desire and surreal storytelling, Wendy Bevan carefully captures a formidable feminine beauty. Celebrated as a photographer, artist and musician, her efforts scream curious tales of past eras and femme fatales. With subdued colouring and a tarnished finish, each enchanting image, film and song conveys a haunting romance that will effortlessly entice. Speaking with deluxxdigital.com, Wendy Bevan talks Polaroid’s, performing and ‘The Pain of Desire’.

Pain of Desire images: photographer: Wendy Bevan. hair and head pieces: Tomihiro Kono. make-up: Thomas De Kluyver. model: Rachel.

DD. Your recent exhibition, The Pain of Desire orientates around femme fatales – how does a woman’s mystery and seductivity intrigue you?

WB. The notion of the femme fatale really inspires me, these mysterious women are portrayed as strong and seductive, untouchable but strange and often damaged. In my recent exhibition, The Pain of Desire; I examined how an idealised concept of female beauty and success can cause pain and suffering. The photographs are both brutal and beautiful but with undertones of madness, self-inflicted violence and claustrophobia. The haunting, seductive women in my images are often captured in moods vacillating

from what appears to be serenity and calm; to deep melancholy and near-madness. The strength of emotion that is portrayed is why the images are strangely seductive.

The reaction these images provoke is the most intriguing thing to me.

DD. You portray women so powerfully, do you aim for their best aesthetic or are you hoping to capture something else?

WB. I try to offer a tender, and sympathetic portrayal of the feminine form, which is an alternative to the glossy, digitally manipulated imagery that proliferates today. Perhaps by choosing to work in this way,

I am able to access something stronger and more intimate, and romantic. I examine and explore a maze of emotions; perhaps a subconscious reflection of my own.

Often these women I create, appear to be influenced by a vision of the past, harking back to a golden age of silent films, I like to create a strange romantic atmosphere that throws the viewer in to another era.

The Pain of Desire captures, in a variety of raw and anguished poses a celebration of the form of the female nude. The rich poetry that I endeavour to create through my imagery is intended to draw the viewer into a world of ambiguity and uncomfortable narratives.

DD. You carefully explore the ‘notions of perfection promoted by contemporary society and media, and the negative impact they can have on women’ - What has been the female reaction to the The Pain of Desire exhibition?

WB. I have had a really positive response to the exhibition. Both women and men, seem to really love the imagery... I think the pure raw, vulnerability that I

have been able to explore within the nude ‘Pain of Desire’ series, was a wonderful juxtaposition to my fashion imagery; a selection of which, hung in this same exhibition. This was an exciting opportunity, and a bold statement that I would like to continue to explore.

DD. You performed with your band Temper Temper at the opening of the exhibition, how do you feel this enhanced the experience for the viewing audience?

WB. My assumed character, as the lead vocalist in the band, emotionally and physically offered a vocal interpretation, response to the photographic images I had created, this enabled me to totally embody my ideas visually, vocally and physically, interlinking the works, and opening the door to a larger tapestry universe that I endeavour to create as an artist. This enabled

the viewing audience to experience the exhibition fully.

DD. You seem to have a multi-disciplinary approach to your work, how does your music inspire your photography and film, and vice-versa?

WB. My career as a photographer has given me a platform to develop my identity visually as an artist.

However I have always pursued a multi-disciplinary approach to my practice; theatre, music and performance have always been a central part of my artistic oeuvre.

Each element inevitably is integral to the development of my work, and deeply influence and nurture one another to create one universe of vision, physicality and music.

My work seems to embody me, distilled into my performances are echoes of many of the themes found throughout my photographic and film work, drawing together my vision and literal voice.

Image courtesy of Marie Claire Italia.

DD. Is it important to you to take a unique approach to each person you photograph and film?

WB. Absolutely, although my fashion work isn’t portraiture, it is important to understand your subject. I find that I’m most content with my work when I know the model, and we feel relaxed with one another. It’s important that they understand my approach to the work and my vision.

this page: top image: The Cut of The Light. bottom image: The Show Must Go On. opposite page: Image courtesy of Marie Claire Italia.

DD. You shoot predominantly on Polaroid film, when did your passion for Polaroid begin?

WB. I used to take Polaroid’s because I loved the way they instantly captured a moment; a memory that appears in your hand 30 seconds later. This was magic, and somehow the tactile object became just as precious to me as the moment itself.

Shortly after I finished university I was commissioned by i-D magazine, when the Art Director looked through my portfolio, he saw some of the Polaroid images that I kept tucked away in the back. He then commissioned me to shoot for i-D in the same way that I had taken these pictures.

I feel that the Polaroid’s tactile,

timeless quality enables me to capture and express my vision, emotion and voice that has perfectly aided the development of this unhinged nostalgia that people seem to be able to so clearly associate with my work.

DD. Does your use of Polaroid ever hinder your vision for a photograph?

WB. I work within the constraints of the film, and the cameras, but when you know the rules, you know how to break them too! There are many wonderful ways to manipulate the process and working with what you’ve got and working against it offers a challenge every time. The challenge that will never bore me is the challenge of ‘chance’.

If there are restrictions and

surprises, I enjoy them, and work with them.

DD. Is there something you always ask yourself or think to yourself just before you take the shot?

WB. I think to myself; ‘Look at the light on the eyes; look at the eyes’.

The eyes give away everything, they determine whether the image is ‘the one’ or not. Sometimes I even hold my breath.

DD. Both your photography and film have a beautiful uneasy quality; do you aim to unnerve the viewer?

WB. It’s not a clumsy intention; it’s simply the universe I enjoy creating. This visual purity may be unnerving for some people, but it’s the way I see things.

DD. Your video ‘Starless Night’ transports the watcher into a stunningly eerie world, what’s the inspiration behind the video and song?

WB. I originally wrote the lyrics to Starless night in 2009, and then in 2010 co-wrote the rest of the song with David McAlmont and music producer, Paul Simm. I then went on to collaborate with artists Sayaka Maruyama and Tomihiro Kono on the film and the imagery.

It was then published online with TEST magazine. http://testmag.co.uk/ starless-night/ The lyrics in the song were inspired by a time when I felt haunted by many emotions linked to the past. The video then went on to stylistically explore and express these ideas and emotions using surrealist references and a contorted identity of a character who’s subconsciousness led her to madness and longing for an escape, to a distant and forgotten world.

DD. Your first feature film was a fusion of your music

and photography, how easy did you find this union?

WB. I felt it was a natural progression, and one that I was keen to explore. I shot ‘Reaching For The Moon’ as part of a body of work which explores the Circus and Magic. I had also just finished recording the track ‘Reaching for the Moon’ and decided to cut the film to the track. I was really happy with the results, it certainly explored and created the universe I had intended and added a dimension to my work that I had been keen to pursue for a while.

DD. Your work is celebrated and appeals to both commercial fashion magazines and niche art enthusiasts – why do you think it translates so easily?

WB. What is art without commerce? I have always wanted my work to be commercially accessible, but not to exploit my own desires to be considered and known as an artist. But I believe, that today both Art and Commerce work hand in hand, and need to in order to exist.

this page: Photograph of Wendy Bevan: Sayaka Maruyama for the Starless Night series. opposite page: Wendy Bevan and her band TEMPER TEMPER performing at the ICA March 2011. Image courtesy of Sayaka Maruyama.

this page: Image courtesy of The Independent. opposite page: Beach images: Taken from Wendy’s archive of personal works. These will be exhibited in her new exhibition The Cut of The Light, at Camera16 in Milan: opening September 15th 2011.

DD. What’s next for Wendy Bevan?

WB. I am currently working as a performer with Punchdrunk theatre company, on their project The Black Diamond.

I play Lola, the mysterious Jazz singer, who is involved in the theft of the Black Diamond.

www.camera16.it www.wendybevan.com

Then, in September I have a new solo exhibition opening in Milan. The show is called ‘The Cut of The Light’, it opens on 15th September at Camera16 gallery and will show until 22nd October.

Starless Night: Performance

by Wendy Bevan. Song by Wendy Bevan and David McAlmont.

Film and concept by Wendy Bevan and Neon o’clockworks. click here

A performance at the ICA with TEMPER TEMPER, earlier this year. click here Reaching for the Moon: film made by Wendy Bevan, song also performed by Wendy Bevan. click here

The Pain of Desire: Film by Sayaka Maruyama Performance by Wendy Bevan and Masumi Tipsy Music/Sound Track by: Wendy Bevan and Christos Faranas. click here Link to TEMPER TEMPER’s soundcloud. click here Link to Wendy Bevan’s Facebook page. click here Link to TEMPER TEMPER’s Facebook page. click here

KEVIN AZZOPARDI WE ARRIVE IN PIECES T ext: D A V I D H E L LQV I ST Kevin Azzopardi is an Oslo-based menswear designer with an unorthodox and conceptual take on the manufacturing process of fashion.

How can a designer have full control over his collection?

Will he ever be able to completely oversee and supervise the manufacturing of his garments?

When do the clothes cease to be the work of the designer?

the actual design process and manufacturing. By accepting the work back half done, Azzopardi as such reassumes creative control and responsibility for his garments and reclaims the final say of its montage.

These are questions that Kevin Azzopardi has confronted in his Autumn Winter 2011 collection.

‘We Arrive in Pieces’ is a detailed study in how to maintain creative control in a day and age where everything, fashion included, is outsourced and manufactured by a third partner. Azzopardi started the design process by asking himself when will the distance between him and the clothes mean that it’s no longer his own collection.

This means that ‘We Arrive in Pieces’ is a collection where every piece is able to stand alone, each item designed and finally individually put together by Azzopardi using an intricate and elaborate hand stitching technique that has come to characterise Azzopardi’s work through his previous collections.

For this season, that led to the perfect combination of traditional Italian factory expertise and Azzopardi’s own take on conceptual menswear for a modern man who is aesthetically demanding whilst yet craving an exclusive mode of fashion construction and style.

The result is a unique interpretation of the manufacturing process where Azzopardi has interrupted the outsourcing by receiving the clothes from his factory in a state of incompletion. Upon return, the pieces have been altered and reconfigured by Azzopardi, adding another creative layer on top of

Technically speaking, Azzopardi received his wardrobe breakdown - the collection consists of jackets, trousers, T-shirts and jumpers - in fragments.

Tops came back without joined shoulders, with unattached sleeves and an unfinished centre back, jackets arrived in three pieces, and the trousers were delivered in front and back parts. Azzopardi then united and bonded the pieces in his studio, achieving the unique sartorial voice of this collection.

‘We Arrive in Pieces’ is an elegant everyday wardrobe.

It takes care of your daily needs in a playful way, but adds the couture details that only a handmade craftsmanship can provide. Focusing on dark colours - charcoals, grey, black and deep navy - Azzopardi has brightened up the collection by adding gold and steel nuances.

Using Italian and Portuguese fabrics, the collection is centred around viscose cotton, silk, jersey and wool - all unified by Azzopardi’s embroidery-like stitching.

‘We Arrive in Pieces’ is being stocked at The Unconventional as well as Wolf and Badger. www.kevinazzopardi.com

KELLYANNA HOUSE IN THE MOUNTAINS T ext: C H A R M A I N E AYD E N From the avant-garde and flamboyant to the unaffected beauty of ordinary people, illustrator Kellyanna has a distinctive raw aesthetic that gracefully translates into each sketch. Embracing the distorted world of style, her surreal imagery has naturally captured the imagination of the fashion elite. Celebrating her latest works of collage, House in the Mountains and My Fair Lady, deluxxdigital.com prepares to be enthralled.

DD. When did you first decide that you wanted to pursue career in fashion?

KA. I didn’t intend to pursue a career in fashion, but I have this vague memory of illustrating garments when I was about 10.

I have always been around art because my father is an artist, and I always knew that it was time to start drawing when he got out the ‘sketchpad’. I loved it.

DD. How important is illustration in the world of design?

KA. I think illustration plays a really important part in the world of design because it’s the first ‘mark making’ of your idea. However, I do believe that creativity isn’t just being able to illustrate, some of the most incredible designers can’t draw.

Creativity to me is mainly about concepts, ideas and craft.

DD. Do you have a mentor?

If so, who?

KA. My dad has always been my mentor; he is very straight talking and has a real eye for creativity.

Also Piers Atkinson, who was my tutor at University. Similarly he is also very straight talking and will tell you exactly what he thinks.

go. I don’t quite know how else to explain it, but it’s a great feeling.

DD. How have you developed your own style in an industry saturated with immerging creative talent?

KA. I think it’s about not caring and just doing. I understand that a lot of people won’t like my work, but I also always believe that someone out there will appreciate it. I enjoy illustrating, so that’s all that really matters to me. Then if people like it, it’s a bonus.

DD. Who or what is your biggest source of inspiration?

KA. My biggest source of inspiration is my father. In addition, I really like wandering around the antiques market at Spitafields and going to car-boot sales. It all sounds so cliché, but I do generally enjoy doing the things a creative loves to do.

I adore looking at older styles of illustration and using these within my own research and work.

DD. You illustrate live for London Fashion Week, how does this impact on your other works?

KA. Illustrating at London Fashion Week has been an incredible experience, each time I return I receive the same adrenaline rush.

Sketching down each look as fast as you can to just create lines; I would never be able to do that normally. The rush drives a certain arrogance within the line, and the pencil moves wherever it wants to

DD. You’re the personal illustrator for designer Charlie Le Mindu, how was this collaboration initiated?

KA. I met Charlie when he was looking for a fashion illustrator and I was recommended to him.

I went to his studio, showed him my work and the rest is history. Charlie and I have recently collaborated on a project which will be coming out soon; unfortunately I can’t tell you what it is yet.

DD. What’s the Kellyanna mantra?

KA. Never stop looking or listening.

DD. With House in the Mountains and My Fair Lady, you move away from classic illustration to experiment with collage and photographic imagery – How did this change come about?

KA. I’ve always enjoyed using collage. It’s actually a technique I have used in my research process to create surreal imagery. I decided to show it to someone this time, and it spawned from there.

DD. Do you plan develop this collage technique in future works?

KA. I have always used collage in my research work to create surreal imagery, but I’ve never really shown it. I definitely will be revealing more of it in the future because I really enjoy it.

DD. Is there a specific narrative behind House in the Mountains?

KA. I have an old book of photos and I really wanted to play around and have fun with the imagery that was in there. House in the Mountains was inspired by an old photo that I had stored away in my book for a while. Every time I glanced at the photo I felt a sense of discomfort, instead of trying to take abandon that uncomfortable feeling I decided to work with it. The result, House in the Mountains.

DD. How long does it take you to create a piece of collage or illustration?

KA. House in the Mountains took about 4 hours, just because I play around for a long time. I print the image off, paint into it, scan it, play around with it some more, print it off and work into it again etc. I just like having fun, however I’m not very good at knowing when to stop.

DD. What is your process like, when creating illustrations and collages? (tools, medium,

where do you create your works)?

KA. It really varies with each illustration. If I was working on my more detailed pieces, for example MAN London Project, one piece can take up to 10 days. However If I’m working on a quick fashion sketch it can take about 2 minutes.

DD. Which fashion illustrators (past or present) do you most admire?

KA. Rene Gruau and David Dowton are two of my all time muchloved fashion illustrators, their use of line and ink is incredible.

However, my favourite illustrator has to be Egon Schiele. I have his work all over my room.

DD. How do you relax and escape from the world of style?

KA. I feel scared when I’m separated from it. I’m more relaxed within it all.

DD. Is there a dream project you wish to pursue one day?

KA. I have so many dreams. But I’ll have to re-write my list before I can tell you that, or even tell myself that.

DD. You were named in i-D’s top ten illustrators to watch, what’s next for Kellyanna?

KA. I am currently collaborating with another illustrator called Andy Bumpus. We are now perusing a creative partnership together called Pen & Paper studios. We will both be illustrating at Fashion week this coming season.

KELLYANNA.wordpress.com

photo: Kristianna Smith

BEIRUT Tex t: K A R E N B A NW E L L US band Beirut have been chosen to inaugurate deluxxdigital’s brand new music feature.

Beirut is the brainchild of Zach Condon, a 25-year-old American who grew up in New Mexico and now resides in Brooklyn. Zach’s work is the product of his constant searching for new influences from around the world. His first two albums and sundry EPs reflect his many and diverse interests including jazz, Eastern European folk, gypsy, mariachi and French chanson music. His main instruments are the flugelhorn and ukulele and his singing recalls variously Tom Smith, Scott Walker and even a touch of Bon Iver, while the songs themselves recall a gentler Arcade Fire, George Harrison’s instrumentation, most of the folk music you’ve heard from around the world and much you undoubtedly haven’t.

Their debut album, Gulag Orkestar (recorded mostly

by Zach alone in his bedroom) was released in 2006 and was immediately chosen as Rough Trade’s album of the year.

The Flying Club Cup was released in 2007 and features string contributions from Owen Pallet of Final Fantasy.

Perhaps most curiously, when Elephant Gun (from a 2007 EP of the same name) was played constantly throughout the Brazilian TV series Capitu, Beirut acquired a massive following

within that country. This led to a 2009 event in Brazil called Beirutando na Praça, where a number of the tribute bands formed in homage to Beirut came together to play their music live. The bands had adapted the music to fit their own culture and rhythms. “It is funny that it is such a social thing for them and I’m such a private person. I can’t help but think that in some ways they felt the fantasy that I felt when I was writing the music” said Zach recently.

Beirut (alongside Bob Dylan) also provided music for Bombay Beach a documentary about the Californian community of the same name. The director Alma Har’el, also directed several of Beirut’s videos. The film won Best Documentary Feature at the prestigious Tribeca Film Festival this year. Zach says “She (Alma) found the beaten-down landscape [of Bombay Beach] to fit my music quite well, and all the dreamy-eyed wandering of the people who live in the desert there.”

The Rip Tide, the band’s eagerly anticipated third studio album, will be released on 29th August on Pompeii Records, Condon’s own label. “I feel like I’ve found a musical home,” says Zach “It’s almost like I’m crystallizing the sound that I’ve come to adapt.

I’ve been very centered on what

the Beirut sound actually is, and what is my voice and melody and my sense of rhythm.

It’s been about maturing,” he says. The new album was recorded in upstate New York with a crew of six to seven of Condon’s usual touring musicians. A set of introspective songs, they started as small melodies, conceived on piano or ukulele, then were built on by the entire band’s contributions in the studio, before undergoing a paring down and retrofitting.

Lyrically, the songs speak of love, friendship, isolation and community, touching on universal human themes that are impressions of life at a quarter century of age.

The album is instantly accessible, very beautiful and probably addictive enough to inspire a flash mob on this side of the Atlantic.

Beirut play a handful of UK dates in September 02-Sep Dorset End of the Road.

04-Sep Stradballyr, IRE Electric Picnic.

06-Sep Manchester Academy.

16-Sep London Brixton Academy.

Visit Beirut’s website. Hear Elephant Gun. Hear East Harlem and watch a live version of Goshen from The Rip Tide.

Learn more about Bombay Beach.

Power, Corruption, and Lies New Order album cover © Peter Saville

POSTMODERNISM STYLE AND SUBVERSION 1970 – 1990

T ext: C H A R M A I N E AYD E N Surrounded by a barbed wire of confusion, the definition of Postmodernism defies being catagorised. Masked by myths and pretention, it remains one of the most contentious yet celebrated art movements in recent design history.

this page left to right: ÄòConsumer‚ Äôs Rest‚ Äô chair: Frank Schreiner (for Stiletto Studios) © V&A images Homage to L√©vi-Strauss dress Autumn Winter collection 1983‚ Äì4. Artist: Cinzia Ruggeri © V&A images Grace Jones maternity dress: Jean-Paul Goude © Jean-Paul Goude

Keen to dispel the uncertainty that defines Postmodernism, this autumn the V&A will exhibit Postmodernism: Style and Subversion 1970 – 1990.

Celebrated for its progressive and dramatic displays, the South Kensington museum will unveil the intelligent substance behind the loud colours and bold patterns that label Postmodernist style.

Encompassing art, film, music and fashion, the radical exhibition will carefully illustrate how Postmodernism has evolved from an architectural movement in the 1970’s, into a phenomenon that has profoundly inspired popular culture as we know it.

Curated by Glen Adamson and Jane Pavitt, Postmodernism: Style and Subversion 1970 – 1990 will endeavor to explore ‘the radical ideas that challenged the orthodoxies of Modernism; overthrowing purity and simplicity in favour of historical quotation, parody and wit, and a new found freedom in design’.

Observing the diverse and often surreal nature of Postmodernism, the V&A will unite over 250 objects across all genres of art and design, exploring an era when ‘style was not just a ‘look’ but an attitude’.

Perfectly exposing a departure from Modernism, Postmodernism: Style and Subversion 1970 – 1990 is flawlessly arranged into three

chronological sections that identify the key aspects and intriguing nature of Postmodernism.

The opening gallery explores the emergence of Postmodernism through architecture, while attacking the inadequacies of Modernism. Celebrating Aldo Rossi, Charles Moore and James Stirling, the first gallery examines the artists and architects that combined ‘motifs of the past with elements of the present’.

Incorporating a fashion element and highlighting designers such as Vivienne Westwood and Ron Arad, the V&A studies how ‘bricolage’ has facilitated the escalation of postmodernism.

The second gallery of the exhibition will embrace the explosion of Postmodernism through the extravagant and potent mix of club culture, music and fashion in the 1980’s.

Observing the beautifully garish performances of Klaus Nomi and Leigh Bowery, the V&A will celebrate a riot of fashion photography and visual installations, incorporating stage ensembles worn by Annie Lennox and the turntables used by hip-hop pioneer Grandmaster Flash.

The final section will exhibit and examine ‘the hyper-inflated commodity of culture in the 1980’s’. Depicting the potent

graphics of Andy Warhol and Karl Largerfeld, the gallery dissects our fascination with wealth and prosperity. Exploding during the 1980’s, consumerism and hedonism were perceived trademarks of a postmodernist lifestyle and the perfect catalyst of inspiration. The ‘Big Brands’ that saturated society during this time were keen to apply a postmodernist magnetism to their products; heavyweights such as Disney, Swatch and MTV employed post-modern artists to design significant products. One example on display will be a Mickey Mouse tea set designed by architect Michael Graves.

The exhibition thoughtfully concludes in asking how the movement of postmodernism has aroused and motivated the next generation of design pioneers, while also considering its relevance within contemporary society.

Despite the diverse nature of postmodernism and the spectrum of subjects that it encompasses, the V&A effortlessly embraces a beautifully eclectic mix of fashion, performance, architecture and music (to name but a few). Love it or hate it, Postmodernism: Style and Subversion 1970 – 1990 subtly uncoils the mystery that surrounds arts most confusing movement, while cleverly leaving enough room for debate and deliberation. www.vam.ac.uk

SALTARE IN BANCO PHOTOGRAPHY: PIERRE MANNING STYLING: LACY BARRY ART DIRECTION: MAÏNA MILITZA / PIERRE MANNING

photography: PIERRE MANNING www.shootstudio.ca make-up & hair: MAÏNA MILITZA www.agencesatellite.com costumes designer: LACY BARRY digital artist retouching: AUDRÉE DESNOYERS www.shootstudio.ca photo assistant: MARIE MICHEL BERNIQUEZ

NEO COULEUR TENDRESSE PHOTOGRAPHY: MASAMI NARUO STYLING: TATSUYA SHIMADA

this page Alex wears Jacket, trousers & hat: J. SABATINO Pink shirt: PHENOMENON opposite page Tin Tin wears Navy coat: TOGA VIRILIS Navy knit and trousers: VISVIM Orange shirt: CAMEL LORINZA Flower brooch: STYLIST OWN

this page Alex wears Mohair knit: SEDITIONARIES from A STORE ROBOT Navy trousers: VISVIM Navy shirts: PHENOMENON Knit stole: SNUG opposite page Yuan wears Orange blouse, belt & navy skirt: MAME

this page Tin Tin wears Red coat: YOHJI YAMAMOTO Purple shirt: URU Navy trousers: VISVIM opposite page Tin Tin wears Red coat: PHENOMENON Red shirt: J. SABATINO

photography: MASAMI NARUO stylist: TATSUYA SHIMADA hair: HORI (S-14) make-up: MAYUKO YAJIMA model: TIN TIN @ FRIDAY ALEX @ FRIDAY YUAN @ BELLONA photography assistant: NABEHIRO @ IINO MEDIA PRO this page Yuan wears Navy knit & green skirt: TOGA Clear bangle: MAME opposite page Tin Tin wears Yellow jacket: CAMEL LORINZA Shirts: NIT Hat: YOHJI YAMAMOTO Black bowtie: VISVIM

A GIRL OF PURPOSE PHOTOGRAPHY: VLADA KRASILNIKOVA MAKE-UP: LARISA CHIVLIKLI

Mix fondation SATELLITE3, Cream beige & Amber; powder SATELLITE3, translucent; Eye Shadow SATELLITE3, Global Poshover & Face the Future; mascara MAXFACTOR, False Lash Effect; eyebrow CHANEL, Perfect brows; lipstick SATELLITE3,Va Va Vamp, Chanel Precision Eye Definer, 01.

Fondation SATELLITE3, porcelain & cream beige; powder SATELLITE3, translucent; eye shadow MAQPRO cream texture,#8,#222; cake mascara LONCCILS BONCZA, black; blush SATELLITE3, Lady Penelope’s Flush; lipstick SATELLITE3, Vinyl FRONTIER & BEAM ME UP.

Fondation SATELLITE3, porcelain & cream beige; cake mascara LONCCILS BONCZA, black; eye pigment OCC, Red; OCC lip Tar, TROLLOP.

photography & style: VLADA KRASILNIKOVA www.krasilnikova.com make-up artist: LARISA CHIVLIKLI model: MARTA @ ALMODELS Fondation SATELLITE3, color Porcelain; powder MAC Hyper Real, Super White; Chanel Powder Blush, 54; eye Shadow SATELLITE3, Chaos Matter & Flight of the Mauvigator; MAC Eye Kohl, Fascinating; eyebrows and mascara MAQPRO Palette Fard Creme, 41; lipstick SATELLITE3, Quark.

RAIN SONG PHOTOGRAPHY: HIRO KIMURA STYLING: TAICHI KAWATANI

this page Motorcycle Jacket: RAG & BONE Sunglasses: MAISON MARTIN MARGIELA opposite page Shirts: DIOR Vest: ANN DEMEULEMEESTER Pants: JIL SANDER Suspenders: MARC JACOBS Belt on head: DRIES VAN NOTEN

Jacket: YVES SAINT LAURENT Pants: JIL SANDER Suspenders: MARC JACOBS Shoes: ALDEN Sunglasses: MAISON MARTIN MARGIELA

this page Trench Coat: YVES SAINT LAURENT Underwear: DOLCE & GABBANA opposite page Cadilac tee: ADAM KIMMEL Pants: JIL SANDER Suspenders: MARC JACOBS

photography: HIRO KIMURA stylist: TAICHI KAWATANI make-up artist: LYSE using MAKE UP FOR EVER hair: SHINGO SHIBATA model: JONATHAN @ RED NYC lighting technician: KOUKI TAKEZAWA

AND THEN SO CLEAR PHOTOGRAPHY: KARL SLATER STYLING: CLAUDIA BEHNKE

Sheer top and jacket: KATRINA FERRARI Leggings: AMERICAN APPAREL

this page Bra top: LA PERLA Neckpiece: OLGA NORONHA opposite page White sculptural dress: TZE GOH

this page Mohair cape: TZE GOH opposite page Dress and cape: TZE GOH

this page Black and white patterned dress: VERONI DECO Belt: AGENT PROVOCATEUR opposite page Jacket: KATRINA FERRARI

photography: KARL SLATER www.karlslater.com stylist: CLAUDIA BEHNKE www.claudiabehnke.co.uk hair: PERRY PATRASZEWSKI & ANDI HINTEREGGER using DAVINES www.andiandperry.com make-up: EMMA BROOM using M.A.C. model: ADA STROM @ D1 MODELS photography assistant: ANNA RAWLES stylist assistant: NIEKI CHAN opposite page Dress: ARA JO Black and white dress: AQUA

FERRUM FEMINA PHOTOGRAPHY: MARTIN SWEERS STYLING: JIHANE RUTS

Dress: TONI KALIN Shoes: TOMMY HILFIGER

this page Dress: TONI KALIN Shoes: TOMMY HILFIGER opposite page Dress: TOMMY HILFIGER

this page Dress: TOMMY HILFIGER Shoes: TOMMY HILFIGER opposite page Dress: TONI KALIN

photography: MARTIN SWEERS www.msweers.com stylist: JIHANE RUTS make-up & hair: ELLEN ROMEIJN www.ellenromeijn.com model: SHONA-LEE @ FUTUREFACES.COM this page Dress: HU-FASHION opposite page Dress: TONI KALIN

PRAIRIE FIRE PHOTOGRAPHY: STEVEN JAMES EMBERTON STYLING: RILEY LAWSON

Suede shirt: GAP (vintage) Satin skirt: BANANA REPUBLIC (vintage)

this page Black lace dress from Fazio: TRAFFIC PEOPLE opposite page Suede fringe trousers: DANIER (vintage) MacramĂŠ waistcoat: BLUE ASPHALT (vintage)

this page Black gown from NWL: PRONOVAIS opposite page Midnight blue victorian blouse: TRAFFIC PEOPLE Jodhpurs: BELSTAR

this page Lace plaid blouse: (Vintage) opposite page Vintage pale blue dress: THE BARN

photography: STEVEN JAMES EMBERTON www.stevenjamesemberton.com stylist: RILEY LAWSON stylist asistant: TIA ZELINSKI hair: CHRIS PRITCHARD hair assistant: JOLENE make-up: SARA LINDSAY model: TORY @ EDGE this page Brown midi skirt: H&M Lace top: NIKI BIKI (vintage) MacramĂŠ waistcoat: BLUE ASPHALT (vintage) Cowboy boots: STYLISTS OWN (vintage) opposite page Black leather corset: FINDERS KEEPERS Black maxi dress: SUPERTRASH

THE BREATH OF THE ETERNAL PHOTOGRAPHY & WORDS: WENDY BEVAN

Softly wounded Your heart Mirrors untouchable sadnesses.

Crushed cerise As a velvet seed, Creased its shadow.

Oh to sip From your blazing red brow; That storms such keen perfection.

Where once this seed grew daintily Suckling between the cabbage roses, In fields that sliced such withered silences.

Here only lily trumpets split the aches of My intolerable mind, That crumpled those stars ahead.

I lay.

Complacent, watching birds entice Our skies.

We followed them; We flew with the winds that teased us To the edge of our world.

Gripping strong Our wretched nativity.

We troubled the stars that night.

Now only when dappled dew scatters Can I sleep.

Amidst these little things that dream and talk when silenced.

Amidst the mother veins, that i can’t shed.

In weeping skin that Cores the fleshy rot Of only me; Deepens these deadened purples that Once parched my bed.

Constant this dewy drip of salted liquors That invades memories deep.

A sickly darkness breathes; The breath of the eternal.

photography: WENDY BEVAN hair & head props: TOMIHIRO KONO make-up: LIZ MARTINS model: CASSIE assistant: ITHAKA RODDAM Boots: VIVIENNE WESTWOOD

THUNDER ROAD PHOTOGRAPHY: CLEON MANZ STYLING: RILEY LAWSON

this page Grey jeans: CHEAP MONDAY Sand Stripe button down shirt: BILLABONG Leather cording (belt) Cowboy hat (stylists own) opposite page Black jeans: LEVI’S Burnt red dessert boots: ALDO

this page Dark denim jeans: NUDIE Shirt: BOY KINGS ROAD LONDON Leather braided accessory opposite page Jeans: NUDIE Plaid button down shirt: BILLABONG Belt (stylists own) Skull belt buckle (stylists own) Black cowboy hat (stylists own)

this page Jacket: THIERRY MUGLER opposite page top right Denim shorts: LEVI’S

Vintage brown belt (stylists own)

Leather braid (made by stylist) Underwear: NAUTICA

Black cowboy hat (stylists own) middle Dark denim jeans: NUDIE Shirt: BOY KINGS ROAD LONDON Leather braided accessory bottom Dark denim jeans: NUDIE

Cowboy hat (stylists own) Vintage black jeans

Cowboy hat (stylists own)

photography: CLEON MANZ www.cleonmanz.com stylist: RILEY LAWSON hair: JOLENE ANTONISHYN model: JEFF & CODIE @ EDGE special thanks to LISA MARIE this page Silver skull knuckle ring (stylists own) Blanket: LA FERME opposite page Jacket: THIERRY MUGLER Jeans (vintage) Boots: ALDO

BACK TO DUST PHOTOGRAPHY: JOKE SCHAPER STYLING: JALAL DE BOER

3D alien catsuit & wood corset: ANBASJA BLANKEN & ALJONA MINEJEVA Shoes: TOP SHOP

Leather look Bodysuit with a huge shoulders FORM: ANBASJA BLANKEN & ALJONA MINEJEVA Leopard print tights: H&M Shoes: INVITO

opposite page, Hairy dress: FAKE HAIR MAX with gladiator belt: ANBASJA BLANKEN & ALJONA MINEJEVA Tights: WOLFORD

this page, Futuristic bodysuit & gladiator belt: ANBASJA BLANKEN & ALJONA MINEJEVA Flower tight print: CETTE FUN Shoes: MANGO

Transparent kaftan: ANBASJA BLANKEN & ALJONA MINEJEVA Tights: WOLFORD

photography: JOKE SCHAPER stylist: JALAL DE BOER hair & make-up: SASKIA WAGENVOORT fashion designers: ANBASJA BLANKEN & ALJONA MINEJEVA model: MARIEKE DE KAN Stylish dusty overall mix with futuristic belt: ANBASJA BLANKEN & ALJONA MINEJEVA Leopard print shoes: NEW LOOK LONDON

SOMETHING NEW PHOTOGRAPHY: RICARDO GOMES STYLING: ANDREIA OLIVEIRA

photography: RICARDO GOMES www.ricardogomesphotography.com stylist & all clothing: ANDREIA OLIVEIRA www.andreiaoliveira.com make-up: NELSON VIEIRA www.nelsonvieira.net model: TIAGO PINHEIRO from CENTRAL MODELS

THE LAND BEYOND PHOTOGRAPHY: EDEL VERZIJL STYLING: MARLEEN DE JONG

Simon wears Sweater: ADO LES SCENTS Trousers: AVELON Hat: H&M Shoes: DIESEL BLACK GOLD Benno wears Sweater: AVELON Trousers: ADO LES SCENTS Hat: SURFACE TO AIR Boots: BOSS ORANGE

this page Benno wears Shirt: EDWIN Jeans: ACNE JEANS Hat: SURFACE TO AIR Boots: BOSS ORANGE Rijntje wears Blouse: EDWIN Sleeveless cardigan: DIESEL BLACK GOLD Trousers: MONKI Socks: ZARA Shoes: DIESEL BLACK GOLD Hat: DIESEL BLACK GOLD opposite page Simon wears Shirt: AVELON Scarf: MAISON MARTIN MARGIELA

this page Benno wears Shirt: MONIQUE VAN HEIST Simon wears Jacket: ADO LES SCENTS T-shirt: AMERICAN APPAREL Scarf: MAISON MARTIN MARGIELA Rijntje wears Cardigan: MARLOES BLAAS opposite page Rijntje wears Hat: DIESEL BLACK GOLD T-shirt: AMERICAN APPAREL Cardigan: H&M

Benno wears Jacket: DIESEL BLACK GOLD Hat: HUGO BOSS Simon wears T-shirt: AMERICAN APPAREL Hat: YOU AS ME

photography: EDEL VERZIJL @ UNIT stylist: MARLEEN DE JONG @ NCL REPRESENTATION hair & make-up: YVONNE NUSDORFER for LAURA MERCIER @ ANGELIQUE HOORN styling assistant: RUDY SPIGT models: RIJNTJE @ PAPARAZZI BENNO @ RUPUBLIC SIMON @ TONY JONES this page Benno wears Jacket: EDWIN Trousers: NON BY KIM Boots: DIESEL BLACK GOLD Rijntje wears Sweater: DIESEL BLACK GOLD Socks: DIESEL Hat: SURFACE TO AIR Simon wears Sweater: ADO LES SCENTS Trousers: DIESEL BLACK GOLD Hat: DIESEL BLACK GOLD Shoes: JARAH STOOP OPPOSITE PAGE Benno wears Sleeveless cardigan: DIESEL BLACK GOLD Trousers: AVELON Shoes: H&M

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